text:
User:Hippietrail

Whence "KTV" & "MTV"?: Chinese? English?
On a trip to China I saw lots of buildings and establishments with "KTV" emblazoned on them. I began wondering why an English looking acronym/abbreviation/initialism that I'd never heard of was so prevalent. I'm still fascinated.

 *
 * Another very common lexical item involving Sino-alphabetic transcription of a non-western item is *kǎlā OK* "karaoke". This word began life as a Japanese loanword blend: J. 空 *kara* "empty", and オーケストラ *ookesutora* "orchestra", meaning that the orchestra is on the tape, but the tape is empty of the human voice, to be supplied by the patron. *Ookesutora* was clipped to *oke*, (the loss of the long vowel is puzzling), and the whole compound word is written in karakana as カラオケ *karaoke*. When borrowed into Mandarin, the first two syllables were transliterated using semantically empty Sinographs, and the latter two with Roman letters. Undoubtedly this is not a pure case of Sino-alphabetic transcription, but is influenced by folk etymology, given the existence of *OK* firmly entrenched in the loan lexicon. But again, this is independent use of *OK* to transcribe material that is not English in origin. In a further independent development, *kǎlā OK* has recently been clipped to a single *K* and combined with *TV* to produce *KTV*, a word which refers to the latest innovation in entertainment technology, video karaoke.
 * pp774
 * Speakers in Taiwan have used the morpheme *TV* to coin several initialisms, some of which are shown in (8) the P.R.C. coined the hybrid word in (9).
 * (8)
 * component of the lexicon | example
 * foreign | *MTV* 'music television'59 adopted directly
 * foreign influenced | karaoke > K / M : K = MTV : *KTV* 'karaoke TV'
 * foreign influenced | restaurant > R / M : R = MTV : *RTV* 'restaurant TV'
 * foreign influenced | barber(shop) > B / M : B = MTV : *BTV* 'barber(shop) TV'
 * foreign influenced | disco > S / M : S = MTV : *STV* 'sleeping television' (recreational center)
 * (9)
 * foreign | *MTV* 'music TV' adopted directly
 * foreign-influenced | M : 相声 *xiàngsheng* = / MTV : 相声 TV *xiàngsheng TV* 'cross-talk TV'
 * 59 The word *MTV* gained a new meaning in Taiwan. In addition to the meaning 'music television', *MTV*s are also a type of business where individuals can rent videos and watch them in a private room. *MTV*s were popular in the 1990s but have generally given way to *KTV*s, where individuals can rent a private room to sing *karaoke* to music that led to the creation of other *-TV* suffixed words representing similar types of businesses in Taiwan.
 * In (8), the natively created initialisms *KTV*, *RTV*, *BTV*, and *STV* (all from Liu 2001) are formed by analogy with the earlier borrowed form *MTV* and also by analogy with one other. In each case, *TV* is the head of the initialism, and the one-letter initialism before it is the modifier.
 *
 * Karaoke (minus the video) first showed up in local coffee shops and restaurants in 1976 as an import from Japan. Soon it had swept the island, becoming immensely popular in both urban and rural areas. A second boom started in 1988, when the government began to boost enforcement of a ban against pirated videotapes. Many of the island's numerous MTV parlors, which rent videos for customers to watch in private rooms, were forced to stop showing pirated movies, a mainstay of their offerings. To stay in business, many added karaoke equipment and switched a letter on the signboard to become KTVs. And so, a new trend was born.
 *
 * What’s KTV? It’s a word Chinese use for karaoke.
 * Thanks a lot for the kind words. I always associated KTV with China only :)
 *
 * I have been reading parts of the forum and keep seeing 'KTV' but have no idea what it is. Can anyone explain it to me?
 * KTVs are karaoke bars consisting entirely of private rooms.
 * what is KTV without girls called?
 * KTV is simply what Chinese people call Karaoke (Karaoke TV).
 *
 * But I digress, we’re here to talk about Chinese karaoke which they call KTV. KTV joints are everywhere in China.
 *
 * Karaoke is a national obsession in China, where they call it KTV.
 *
 * The preferred name for karaoke in Taiwan is “KTV” (which I’m guessing means Karaoke Television, although to be honest I’m not sure).
 *
 * KTV, the Chinese word for “Karaoke,” means a place (kind of bar or club) where people go to sing and have fun.
 * In fact, KTV in the U.S. can only be found in some major cities’ Chinatown area, and often cost three times as much as the KTV in China.
 *
 * KTV, Taiwan's version of Japanese karaoke, has become immensely popular.
 * Taiwan developed its own distinct version of karaoke, called KTV.
 * It's impossible not to notice the big flashing KTV signs everywhere, or even the newer offshoots such as DTV (disco karaoke) and RTV (restaurant karaoke).
 *
 * ¿Qué es un KTV? KTV o Karaoke television es un fenómeno cultural en China.
 *
 * I want to talk about a big part of Chinese nightlife culture: KTV. The chinese word for Karaoke.
 *
 * Wir haben Bubble Tea getrunken, der hier tausendmal leckerer schmeckt als in Deutschland und waren Karaoke singen (hier heißt das KTV).
 *
 * Another name for karaoke equipment is KTV and only few countries are using this name.
 *
 * KTV: Le Karaoké Asiatique
 *
 * Here another name for Karaoke is KTV (Seale). KTV is a really popular thing to do in Beijing on the weekends, there is a spot to test out your singing skills on seemingly every corner (Seale).
 *
 * Assim como as casas de massagens, é possível achar um karaoke em cada rua da cidade. Todos tem o mesmo nome: KTV.
 *
 * Karaoke Chinese Style aka KTV
 * But I digress, we’re here to talk about Chinese karaoke which they call KTV. KTV joints are everywhere in China.
 *
 * The Karaoke in China is very much different than the USA. They call it KTV.
 *
 * Vierter Tag in Taiwan ... Und da ich den Vormittag und Nachmittag mit schlafen und ausruhen verbracht habe, komme ich diesmal gleich zum Abendprogramm: Karaoke! (oder wie es hier heißt: KTV)
 *
 * When we got back it was time to go to karaoke with Fu Ma, Shi Jia, and Alex. (They call it KTV in China… I did not catch onto this until way later in the trip..)
 *
 * The Chinese love their karaoke or as they call it KTV and it is probably their number one entertainment.
 *
 * Karaoke (or as they call it, KTV) is really popular in China among all ages.
 *
 * Für alle die es noch nicht wissen: KTV heisst in China das ursprünglich aus Japan stammende Karaoke, welches sich hier einer ungeheuren Beliebtheit erfreut.
 *
 * KTV -- the Chinese name for karaoke -- is a rite of passage among all foreign travelers to China, and if you ever intend to spend any length of time at all in the country, you’re certain to be invited out to chang K (唱K) -- to sing karaoke songs.
 *
 * I knew this day would come. I tried to avoid it as long as possible, but like going to the bathroom on a squat toilet it could not be avoided while living in China: I went to a KTV. KTV? I hear you ask. What is KTV? I’ll give you one hint. The K stands for karaoke.
 *
 * …..wir machen das beim KTV…so heißt hier in China das Karaoke singen….
 *
 * While we call it “karaoke” in the US, they call it “KTV” over here (and in Hong Kong, just “K”).
 *
 * I'm sure you have all heard how much the Chinese like karaoke. You will be happy to know it is true. They love Karaoke. They call it KTV (karaoke television) and they do not mess around.
 *
 * Chinese Karaoke (they call it KTV here, short for karaoke television) shows a music video or concert footage on a big screen with subtitles that light up as a guide for you to sing along.
 *
 * Now for those of you who are only familiar with European karaoke bars, which I am going to assume is most of you, I will give you a short introduction to KTV, which is the Chinese name for karaoke.
 *
 * Bisher sind wir um diese Art der typisch chinesischen Freizeitgestaltung noch herumgekommen, aber anläßlich des Geburtstages eines Kollegen betreten wir zum ersten Mal ein KTV, so heißen Karaoke Bars in China.
 *
 * El KTV (así se llama el karaoke en China) es un espacio oscuro, artificial, del todo aislado del mundo exterior, a medio camino entre aquellos locales para juegos de disparar láser de mediados de los 90 y un hotel de lujo de provincias
 *
 * If you remember, KTV is karaoke, and I’ve only been once, the evening into my birthday. It was awesome but what I’ve found in Zhangzhou, RTV, is even better! KTV is just drinking and doing karaoke, whereas RTV is a restaurant karaoke, you can eat, drink and do karaoke, and as I love food, this is a much better option in my opinion!
 *
 * 2nd week travel in china ... After the sushi and sake we were went to Karaoke. They call it KTV here. And it’s a little different from it is in the U.S.
 *
 * That's a lie, we actually just sang karaoke. They call it KTV here, and it's a bit different from North American Karaoke. You go with a group (Jen and I went with some of our Chinese conversation partners) and you get a little room with couches and a karaoke machine all to yourself.
 *
 * So that evening the crew roll back into Xiaoshan, and went to KTV for the evening. Now as you've heard karaoke is big in Asia. When you went to go out with friends, you don't go to a bar. You go to karaoke. Of course karaoke is an evil Japanese word, so here they call it KTV, as in karaoke television.
 *
 * The Chinese favourite evening outing is karaoke, they call it KTV. There are dozens of KTV bars around Wenshan, all packed every night of the week.

 *
 * I made the mistake of suggesting that we go to KTV (the Chinese name for Karaoke).
 *
 * What to do? We were all planning to go back to the apartment with no one really knowing how to pack us together there, but in the end, we got an excellent idea: KTV, which is the Chinese name for Karaoke.
 *
 * The location of the hotel is convenient to the MRT and the railway station giving you easy access to the city and the night markets, as well as department stores and KTV (which is Taiwanese name for Karaoke).
 *
 * There is a little past time that Chinese people love- in America we call it Karaoke, here they call it KTV. I have so many memories at KTV from all my travels to China.
 *
 * KTV in China (Chinese Karaoke) ... I accepted the offer not knowing I was about to experience KTV in China, which is totally different from karaoke in the western hemisphere.
 *
 * KTV, or Karaoke Television, is a national obsession in China. Sure, they have many Karaoke bars in Japan, but no one can do KTV like the Chinese do KTV.
 * No matter where you are in China, KTVs will be everywhere. No matter the smallest cities in China, a KTV is sure to be somewhere near.
 *
 * After Duck Blood soup, everybody wanted to walk across the way to do some karaoke (they call it KTV in China).
 *
 * Someone brought up the idea of karaoke (they call it KTV), and obviously we had to say yes to that (when in Asia…)! We went to a pretty nice KTV place down the main strip in downtown Qingdao, because they knew that place had some English songs and also we managed to find a flyer on the street that gave us a free hour.
 *
 * In China they call it KTV, and instead singing in front of a whole bar, you get a private room, with a couch, table, and big screen tv, and a computer console to choose your music.
 *
 * After dinner, some of those who were with us played cards while others sang with karaoke. Here in Taiwan, they call it KTV.
 *
 * The city of Xi'an was also a pretty strange place. The central downtown area felt like Las Vegas to me, with flashing lights advertising things like KFC and KTV (the inexplicable Chinese name for karaoke; I don't think it stands for anything).
 *
 * Friday, as usual, was our going out night. Some of our Chinese language partners wanted to go to KTV (Chinese name for karaoke lounges), so 6 of us Hayzers and four of our partners went out for that. It was super fun!!
 *
 * It was awesome to get half off everything with my “Wu Krew” card and after trivia ended we decided to head over to KTV (the Chinese name for Karaoke).
 *
 * The day ended with a 4 hours karaoke (here they call it ktv), then sleep in a hotel found on the way. The morning after, the guys helped me to get back to the bus station and buy a ticket to 昆明 Kunming.
 *
 * After I got back from the game, another group of people wanted me to go do karaoke with them. They call it KTV and it is extremely popular in Taiwan and China.
 *
 * The Taiwanese claim to have invented karaoke television or KTV. Whereas karaoke takes place around the karaoke jukebox in a bar and performers can thus be observed by all the clients, KTV not only introduces a visual element, it also takes place in separate private rooms.
 *
 * Around here a communist is someone who goes to karaoke five or six time a day stone damn sober. (They call it KTV) Here it's not a big room where everyone laughs at you for spilling your vodka tonic down your shirt as you mumble through 'Knock on Wood' by Amii Stewart.
 *
 * Last night we were invited to go out for Karoke with our Chinese teachers and some friends who are leaving Beijing. This is a truely favorite pastime in China.  Everyone sings karoke (they call it KTV) and they take it very seriously.
 *
 * i'm not really a fan, since i can't sing worth ****, and it's really popular in a lot of places -- when i went to taiwan, i couldn't believe how many karaoke (they call it KTV) bars there were!!
 *
 * Friday was…wow. I experience Chinese karaoke or, as they call it, KTV.
 *
 * The Nikki Madi Dynasty ... China Adventures ... Some of my students even sang sang along to some Elvis, The Beatles, Michael Jackson, Backstreet Boys, Brittney Spears, and Taylor Swift when I played some samples and we did some karaoke (they call it KTV here).
 *
 * Kala Ok or KTV (Karaoke) ... KTV Karaoke clubs, aka Ka La O.K. in Chinese, aka KTVs (a karaoke in your own private room) are Asia's claim to fame.
 *
 * También, el MOI sugirió que los MTV (centros para ver películas en televisión) y los KTV (clubes de karaoke en los que se canta con el apoyo de un sistema estereofónico) paguen a los autores una porción de las ganancias obtenidas por el alquiler al público de obras de audio o visuales.
 *
 * The issue concerned American films that were being shown without licensing in personalized movie parlors, called "Movie TV" (MTV), in Taiwan. The U.S. government argued that MTV was nothing but a movie house where any film shown must be licensed, even if a copyrighted videotape (usually designated for personal use only) of the film was used in such a performance.
 * After 1988. motion pictures became the focal point of discussions. With the aid of technological innovation, a personalized movie viewing room called an MTV became popular and mushroomed all over Taiwan. Videotapes of movies, copyrighted and uncopyrighted, were shown in MTVs without following relevant regulations, thereby causing concerns for the American motion-picture industry.
 *
 * Laser disk smorgasbord—Taiwan's MTV parlors, where clients rent LDs and a private viewing room, have been hard hit by the IPR crackdowns. More than half have closed shop since the late 1980s.
 * Local and foreign film companies suffered great losses during the 1980s becauseof the island's many MTV parlors (theaters that rent videos and private viewing rooms).
 * In the late 1980s, most MTV parlors carried two thousand to three thousand unauthorized films for clients to rent. Most of these companies have now closed down. Taipei had more than two hundred MTV parlors operating four years ago, but only a handful have survived.
 *
 * May 1989 / Special 301 Priority Watch list / Licensing requirement for U.S. films shown in Taiwan's private movie parlors (MTV)
 *
 * KTV is short for “karaoke-television” and refers to the use of private rooms in large clubs, where popular music soundtracks minus the lyrics are played on televisions upon the request of the club patrons. This form of entertainment arose in Taiwan in the 1980s. The term “KTV” actually derives from the “MTV” (for movie television). MTV were video-film houses that became popular in Taiwan in the 1980s.
 * As in Japan, small Taiwanese karaoke bars allowed customers to sing songs with the “mama” or hostesses, a custom also with Japanese colonial-era precedents in Taiwan.19 Larger “KTV” bars with private singing rooms (baofang) arose in Taiwan in the late 1980s. Many of these KTV bars also involved hostesses, which fostered prostitution. “Karaoke boxes” came to Hong Kong directly from Japan later in the 1980s, and Taiwanese and Hong Kong entrepreneurs brought karaoke to China in the early 1980s, where it was initially very popular in restaurants.
 * This was certainly true of institutions such as bars and KTV hostess clubs, which were developed abroad before being imported into China.
 * ...
 * Also in the early 1980s, Music TV emerged in the US and landed in Taipei around mid-decade. Due to the close contacts between the two countries, especially through linkages with the US West Coast Chinese communities, pirated copies of Music TV produced in the US were shipped over to Taiwan and quickly established their public presence in coffee houses.
 * Ironically, as more capital was invested Music TV was eliminated; such venues were turned into places for watching movies on video. From mid-1980s on, the so- called MTV-centers, i.e., movie-tv centres, became the most popular form of entertainment.
 * However, with the subsequent imposition of legislation to protect intellectual property, the MTV moment was over.
 * In relation to movie theaters, MTV-centers provided not only more variety but also a sense of privacy. It is the latter which made MTV-centers so popular, especially for teenagers who were dating. Significantly, the MTV-centers also 'renovated' the traditional sex industry which picked up this form so that soon consumers could go and watch porn videos with sex workers. MTV-centers thus became a problem for the parents and certain state authorities. For example, in 1990, the then Prime Minister, Hau Bo-tsun, openly stated 'good people will not go to MTV or KTV' (China Times, 26 August, 1990).
 * With American MTV, local music industry also began to make music videos as advertising promotions for newly released pop songs. Not only was advertising style thus transformed, the growing popularity of video clips with images and songs paved the way for the KTV. The M(ovie)TV forms of entertainment space with karaoke and TV screen with moving images were all the elements necessary for business people to put together to create KTV. The initial 'trial' of simply taking over MTV spaces and putting in singing equipment proved to be a great success and grew immediately. One small technical difference between KTV and karaoke should be noted because it partly explains the instant popularity. With karaoke, performers have to know the songs well enough to sing along at the right pace; whereas with KTV, singers are prompted by the screen on when to sing and what to sing; the subtitles are gradually colored in, thus cueing singers as to when to sing the right lyrics. Hence more people can be incorporated into KTV's cultural space.
 * Given the different strands of singing practices in Taiwan elucidated earlier, it could be argued that as a cultural practice singing in general, and KTV in particular, is crucially about social memories. The different song-preferences of the different generations reflect the historical moments that have been incorporated into the KTV culture. Thus, when the more mature generations go to KTV, Japanese songs dominate their choices; that Japanese songs constitute an independent category is, of course, historically not accidental.
 *
 * A growing number of lettered words are also natively created initialisms, such as KTV 'karaoke TV', and hybrid words, such as PC机 'personal computer', lit. ‘PC-machine’.

title: User:Hippietrail


text:
Transport aircraft

Transport aircraft is a broad category of aircraft that includes:

 * Airliners, aircraft, usually large and most often operated by airlines, intended for carrying multiple passengers or cargo in commercial service
 * Cargo aircraft or freighters, fixed-wing aircraft designed or converted for the carriage of goods, rather than passengers, lacking in passenger amenities and generally featuring one or more large doors for loading cargo; also known as freight aircraft, freighters, airlifters, or cargo jets.
 * Mail planes, airplanes used for carrying mail
 * Military transport aircraft, airplanes or helicopters used to deliver troops, weapons, and military equipment, usually outside of the commercial flight routes in uncontrolled airspace, and employed historically to deliver airborne forces and tow military gliders; sometimes also called military cargo aircraft.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Transport aircraft


text:
Râmnicu Vâlcea

Râmnicu Vâlcea (formerly Râmnic, ) is a city in Romania. Located in the south-central part of the country, in the historical province of Oltenia, it is the seat of Vâlcea County and its main urban settlement. According to the 2021 Romanian census, it has a population of 93,151.

Geography and climate

Râmnicu Vâlcea is situated in the central-southwestern area of Romania and is the county capital of Vâlcea County. Set at the foothills of the Southern Carpathians, the town is located at about 12 km from the Cozia Mountains and about 40 km from the Făgăraș and Lotrului Mountains. The southern limit of the city is formed by the Getic Plateau (Platoul Getic) and the Olt River valley.

The city is crossed by national roads DN7 (part of European route E81), DN64, and DN67. The Râmnicu Vâlcea railway station serves the CFR Line 201, which runs along the Olt River from Podu Olt, Sibiu County, to Piatra-Olt, Olt County.

According to Köppen climate classification, the climate of the town is defined as Dfa (humid continental with hot summers) bordering Cfa (humid subtropical). Precipitation amount is higher in the summer, although not high enough in order to be a "Dwa" type climate, winters are not dry enough for Dwa classification, either. There are on average 30.3 days annually with snow depth reaching or exceeding 1 cm.

The table below highlights climate data for Râmnicu Vâlcea between 1991 and 2020, detailing the average high temperature, the average low temperature, the average precipitation (in mm/inches) as well as the sum of mean monthly sunshine hours.

History

The area has been inhabited since Dacian and Roman times, and was the site of a castrum (known as Buridava or Burridava, previously a Dacian town). A new fortress was built on the location during the Middle Ages. Râmnicu Vâlcea was first attested during the rule of Prince Mircea cel Bătrân, as "the princely town of Râmnic" (4 September 1388), and confirmed as the seat of a Vâlcea County during the same period (8 January 1392).

The town seal dates to 1505. Cetățuia, the actual fortress, served as the residence of Oltenian Bans and, from 1504, of the Orthodox bishops of the Râmnic Diocese; in 1529, Prince Radu of Afumați was killed in Cetățuia by a boyar conspiracy.

During the rules of Matei Basarab and Constantin Brâncoveanu, it became an important cultural center. It was here where the first paper mill and printing press in Romania were built (see Anthim the Iberian). The town was heavily damaged during the Habsburg monarchy's takeover of Oltenia which lasted between 1718 and 1739, and its purpose was again reduced to that of a fortress.

During the Wallachian Revolution, on 29 July 1848, Deșteaptă-te, române! (the current national anthem of Romania), with lyrics written by Andrei Mureșanu and music composed by Anton Pann (whose memorial house lies in the center of the town), was sung for the first time in Râmnicu Vâlcea.

Gheorghe Magheru gathered his military force in Râureni, now part of the town, in an attempt to face the anti-revolutionary forces of Imperial Russia and the Ottoman Empire.

In the 1980s, the town was completely rebuilt in a style combining socialist realism with local vernacular architecture of Brâncovenesc style.

The town was the center and peak point of the path of total darkness of the Solar eclipse of 11 August 1999. Around 2005, the town gained notoriety as a centre of cybercrime.

Politics

The mayor of Râmnicu Vâlcea is Mircia Gutău of the Romanian Ecologist Party (PER), following the 2020 Romanian local elections. The Râmnicu Vâlcea Municipal Council, elected at the 2020 local elections, consists of 23 councillors, with the following party composition:

Sports
Râmnicu Vâlcea is home to SCM Râmnicu Vâlcea, which is a women's handball club that competes traditionally in the EHF Champions League. At football, the town was previously known for its now dissolved local football club Chimia Râmnicu Vâlcea which won one Romanian cup in 1973. It briefly participated in the UEFA Cup Winners' Cup/European Cup Winners' Cup during one season (namely in 1973–1974) for just one round (more specifically the first one) against Northern Irish side Glentoran F.C. which subsequently went on to the quarter-finals.

Villages
The city administers thirteen villages: Aranghel, Căzănești, Copăcelu, Dealu Malului, Fețeni, Goranu, Lespezi, Poenari, Priba, Râureni, Săliștea, Stolniceni, and Troian. Goranu, Fețeni, Lespezi, and Săliștea were a separate commune, Goranu, until 1996, when they were merged into the town.

Notable people

 * Radu Berceanu (born 1953), engineer and politician
 * Dan Burghelea (born 1943), mathematician
 * Florin Cîțu (born 1972), politician who served as Prime Minister
 * Bogdan-Daniel Deac (born 2001), chess grandmaster
 * Doru Dudiță (born 1977), footballer
 * Ion Emanuel Florescu (1819–1893), general who served as Chief of the General Staff and Prime Minister
 * Gheorghe I. Lahovary (1838–1909), engineer and writer
 * Gabriel Liiceanu (born 1942), philosopher
 * Nicolae Manolescu (born 1939), literary critic
 * Marian-Jean Marinescu (born 1952), politician
 * Maria Marinela Mazilu (born 1991), skeleton racer
 * Horia Moculescu (born 1937), pianist and composer
 * Mihail Oromolu (1875–1945), magistrate and politician
 * Alexandru Papadopol (born 1975), actor
 * Napoleon Pop (1945–2023), economist and politician
 * Ilie Purcaru (1933–2008), journalist and poet
 * Dem Rădulescu (1931–2000), theatre, film, and television actor, and academic
 * Dorel Zugrăvescu (1930–2019), geophysicist

title: Râmnicu Vâlcea


text:
Talk:2004 United States Senate elections

Initial comments
Having "seats up for re-election" is very common:. It used here too:.

 * Well it's a stupid usage but I won't argue about it.

If they're going to retire, are they any longer up for re-election?

 * Yes. "up for" means "due to stand for." Whether they choose to or not is another matter.

It should be OK to refer to seat being up for election (notice I did not say re-election); this avoids comment on what the incumbent plans to do. — Preceding unsigned comment added by 128.63.16.20 (talk) 15:26, 22 October 2012 (UTC)

Please use American date formats for American subjects. --Jiang 13:43, 28 Nov 2003 (UTC)

 * The election cannot be on November 1. The formula is "the first Tuesday after the first Monday in November." U.S. presidential election, 2004 says November 2 and I followed that article. Please check this.

Adam 13:48, 28 Nov 2003 (UTC)

 * Jiang, with all respect, please don't be a pedant about date formats. -- Viajero 14:15, 28 Nov 2003 (UTC)

Now now, he can't help it, and there are worse vices. Adam

The Jim Marshall link out of Georgia doesn't seem to have any info about this Jim Marshall. I don't know anything about him though. Dfarmer

those declared
Without the § scheme that I just implemented, the confines of the chart make it look like Johnnie Byrd, Betty Castor, Peter Deutsch, Alcee Hastings, Larry Klayman, Mel Martinez, Bill McCollum, Alex Penelas and Dan Webster have all declared. Kingturtle 17:43, 11 Jan 2004 (UTC)~

 * Might someone be kind enough to explain the § scheme? - Mcarling 03:23, 5 Mar 2004 (UTC)

It means "declared candidate." Now that the primary season is well advanced, I think the § should be deleted from candidates who have won primaries and are thus officially candidates, as opposed to merely running for the right to be candidates. Or else we need a new symbol for them. Adam 03:21, 18 Mar 2004 (UTC)

 * I'm tempted to get rid of the table altogether and make a subheading for each state. Some of the states in question (Illinois and Florida come to mind) are developing some real drama. -- Sekicho 23:59, May 25, 2004 (UTC)

 * OK, I've killed the § marks. Primary or general, it doesn't matter... they're still candidates.  I think it should be obvious, in this context, whether they're running within their own party or running against the other party's (or parties') opponent(s). - Sekicho 16:20, Jul 15, 2004 (UTC)

The text now says: "The Democrats thus need to make a net gain of two seats to gain control of the Senate, or one if Kerry and his vice presidential running mate win the presidential election." This is presumably because Edwards would have a casting vote in the Senate if there should be a tie. But does it not ignore the fact that Kerry will be replaced in the Senate by a Republican, since Massachusetts has a Republican governor? Adam 08:39, 14 Jul 2004 (UTC)

 * Ah, but it is still Massachusetts.

 * Acegikmo1 14:03, 15 Jul 2004 (UTC)
 * Adam and Acegikmol,
 * We need to gain three seats to control the Senate. Let me explain...
 * The Senate is currently 51 GOP 48 Dems and Jim Jeffords. If three GOPers were to lose, we control the Senate outright (w/o a partner); that is, it would be 51 Dems 48 GOP and Jeffords. If two GOPers lose that numbers would be 49 GOP 50 Dem and Jeffords. Without Jeffords that would give us a majority of one or with Jeffords' help the majority would be a majority of two.
 * Things get interesting if Kerry resigns to become prez. If the bill passes and the Guv is stripped of his power to appoint. then it would be upto the voters and we would win, since MA is a hardcore dem state. If the bill that would strip the Guv to appoint fails, that means Gov Rommey would appoint someone, and that also he could hold the balance of power....
 * If Kerry loses, then the above is moot. If the GOP makes any gains, then everything I said is moot!
 * One last thing, the Georgia seat is a notional GOP seat. I'll go into more details on the article. --iHoshie 06:23, 29 Jul 2004 (UTC)

 * If the Dems are ahead 50-49, they take control of the Senate even though they don't technically have a majority. (Remember the last Senate?) So 2 is the magic number, unless Massachusetts goes red as a result of Kerry winning, in which case 3 is the magic number, unless Jeffords becomes a Democrat, in which case 2 is the magic number. (Whoever said American politics were simple?) Sekicho 14:46, Jul 29, 2004 (UTC)
 * I came to the number three due to the fact if we do gain three GOP seats and keep all of our current seats, we would have 51 seats and control the Senate outright. Besides that, you are correct. However to be sure, I will email the DSCC to ask. - iHoshie 07:17, 7 Aug 2004 (UTC)

Edwards' seat is not vulnerable.
" Most polls show Bowles leading Burr by eight to 10 points; one Republican source said a GOP poll gave the Democrat an 18-point advantage." . Kingturtle 00:43, 19 Sep 2004 (UTC)

Pennsylvania/Specter
This race was never considered close by anyone in Pennsylvania (or even nationally) after Arlen Specter defeated conservative challenger Pat Toomey in the GOP primary. The DNC never spent a great deal of money in support of Joe Hoeffel, and he was never really considered a serious challenger. Accordingly I've deleted it from the Close Republican Races category. It never should have been there. --Xinoph 14:53, Nov 4, 2004 (UTC)

Pluralizing the name of this article
Are there any objections to a move to U.S. Senate elections, 2004? Ground 21:29, 14 Jan 2005 (UTC)
 * I'd have to object. I see your point, but it is common practice to refer to collective whole (i.e., all the elections for the given body that took place on the given date) using "election". This is the way that all similar articles are named, and should be the way this is named.
 * Some examples: U.S. Senate election, 2002, U.S. House election, 2002, Australian federal election, 2004 (and see 2004 election for more). The only counterexample I can find is Indian general elections, 2004, where the plural is used. However, in that case, there were actually multiple separate elections held, "in four phases between April 20 and May 10, 2004". modargo 18:53, 16 Jan 2005 (UTC)
 * Okay. I think I'm just going to create a redirect. Ground 01:40, 17 Jan 2005 (UTC)
 * Good idea. modargo 00:44, 18 Jan 2005 (UTC)
 * I'm not in favor of changing the format now, but in all fairness I have to note that all the other Senate and House election pages were probably named after this one. :-) Willhsmit 03:24, 2 Feb 2005 (UTC)

Question
What does the "C" stand for here: David Schumann (C) 1% (Nevada's Senate election results)? --Anon

 * Constitution Party. I have added a key to the abbreviations. — DLJessup 15:27, 31 Mar 2005 (UTC)

Boxer percentage
I saw a change in Boxer's vote percentage from 58% to 59%. Checking on this, I found that the California dept of state cites 57.8%, Psephos (attributing NY Times) cites 57.9%. The Congress web site repeats the 58% figure. Thus, I reverted. Can you cite a source if changing? Willhsmit 04:27, September 8, 2005 (UTC)

Seat schematic
Comparing the schematic with the apparent layout of the assembly (United States Senate) doesn't work. How are member seats allocated in the chamber itself? Fishhead64 22:37, 16 March 2006 (UTC)

Government Source Gaff
The government has cocked up their own tables. For the state of Oregon it lists 1,128,728 votes for the Democrats. Yet, the end repcap table lists them as having 2,257,456, which would be quite difficult considering the fact that that there was only 1,780,550 votes cast. Unless theres something I'm missing? Using this, the Democrat total vote count for the 2004 senate elections should be I believe 43,625,890, which is less than the current figure listed which is using the recap table. I've tried to hunt it down, but I can't find where this 2,257,456 figure comes from. Mikebloke 04:49, 26 October 2006 (UTC)

formatting/table updating
Folks, I've updated a few tables on the "United States Senate elections, XXXX" pages, and want to make sure my edits are acceptable before continuing. The most complete example is at United States Senate elections, 2004. The main changes are as follows: Any thoughts before I continue along these lines? -Pete 18:35, 16 April 2007 (UTC)
 * convert from HTML to Wiki table formatting where necessary.
 * use class="wikitable" to standardize table formatting, with lighter borders and other characteristics in line with other tables on Wikipedia.
 * use and  to standardize the colored cells on the tables.
 * replace candidate names, for the most part, with the names of their Wikipedia articles, under the assumption that is the most widely known name they're known by. Middle initials/names etc. may still be found by clicking into the individual's article.
 * reformat the "composition chart" (which is incredibly cool!) to have less obtrusive (narrower) dividing lines (class="wikitable" again) and standardize colors.


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Big Wing

The Big Wing, also known as a Balbo,  was an air fighting tactic proposed during the Battle of Britain by 12 Group commander Air Vice-Marshal Trafford Leigh-Mallory and Acting Squadron Leader Douglas Bader. In essence, the tactic involved meeting incoming Luftwaffe bombing raids in strength with a wing-shaped formation of three to five squadrons. In the Battle, this tactic was employed by the Duxford Wing, under Bader's command.

The name "Balbo" refers to Italo Balbo, an Italian air force officer and fascist political leader famous for leading large formations of aircraft on long distance flights before the war.

Background
Air Vice-Marshal Keith Park was the commanding officer of Fighter Command's No. 11 Group RAF, which covered southern England below a line from the East Anglian coast to the Isle of Wight. As such it faced most of the Luftwaffe attacks. Air Chief Marshal Sir Hugh Dowding, commanding officer of RAF Fighter Command, had put a huge amount of effort into developing the world's first integrated air defence system, the Dowding system, incorporating the Chain Home radar stations, Royal Observer Corps ground observation posts, telecommunications and information processing. Using the tactics devised by Sir Hugh Dowding, Park met the raids with individual squadrons, which he considered to be the most flexible and effective use of his aircraft, particularly in light of the shallow depth of penetration of British airspace by the Luftwaffe. He used hit and run tactics, with an enemy raid potentially being engaged by several squadrons in turn. The tactic had been questioned by many of Park's subordinates, who were appalled by the high losses amongst the squadrons of 11 Group. In this battle of attrition they wanted to employ larger formations to provide mutual protection and reduce casualties.

Big Wing
Leigh-Mallory, the commander of the neighbouring No. 12 Group RAF (12 Group) to the north, was an advocate of a Big Wing policy, causing enormous friction in his relationship with Park. One of Leigh-Mallory's subordinates was the acting leader of No. 242 (Canadian) Squadron RAF (242 Squadron), Douglas Bader, who had flown in Park's Big Wings defending British forces at Dunkirk a few weeks earlier. Experience covering the French beaches against air attack had convinced Bader that large formations were essential and with Leigh-Mallory's blessing, a wing was formed at RAF Duxford (one of the closest stations to the boundary between 11 and 12 Groups) to try to prove the Big Wing theory. Supported by Duxford station commander Group Captain "Woody" Woodhall, Bader's wing theory was developed over the next few days and initially involved three squadrons; No. 242 Squadron RAF (Canadians) and No. 310 (Czech) Squadron RAF, both flying Hawker Hurricanes and No. 19 Squadron RAF (19 Squadron), based at nearby RAF Fowlmere flying Supermarine Spitfires.

On 7 September 1940, the Big Wing was scrambled operationally for the first time, to patrol North Weald but the formation arrived late. Bader acknowledged the fact that they were too slow forming up and for the flight to the patrol area the formation was too disjointed; the Big Wing claimed 11 enemy aircraft destroyed for the loss of one fighter. In September 1940, the wing was sent up several times to try to disrupt Luftwaffe raiders. The Duxford Big Wing was not an organised and rehearsed military unit, merely an ad-hoc collection of squadrons led by one of Fighter Command's less experienced squadron leaders. Between Leigh-Mallory and Bader there was neither planning on how to use a Big Wing nor an assessment of its achievements. On 9 September, the Hurricanes of No. 302 Polish Fighter Squadron (302 Squadron) and the Spitfires of No. 611 Squadron RAF (611 Squadron), were allocated to the "Big Wing" and again Park requested protection of 11 Group airfields, with much the same results of 7 September.

Park had experimented with large wings (covering the Dunkirk evacuation in May 1940) and insisted that they were unwieldy, difficult to manoeuvre into position and rarely in the right place when needed. The 11 Group squadrons were closer to the Luftwaffe than 12 Group and Park pointed out that there was insufficient time over Kent and Sussex for a large formation to gain altitude against the incoming raids. Bader countered by pointing out that his wing could be used as a reserve for 11 Group. Positioned well away from the Luftwaffe bases in France he could be in place at altitude when the wing was needed, providing adequate early warning was given. The best early warning possible was provided to 12 Group. Bader further delayed deployment of 12 Group fighters by insisting he lead the Big Wing; to do this he had to fly 242 Squadron to Duxford from RAF Coltishall every day. Bader wanted time to fly to Duxford, land, take-off again, then form a Big Wing; the amount of early warning required for this was wildly unrealistic.

The Duxford Big Wing comprised Hurricane and Spitfire squadrons—the Spitfires were slowed by having to fly and climb at the same speed as the slower Hurricanes. Bader did not always follow ground control instructions (GCI) and often flew into 11 Group on his own initiative. For such a large formation to succeed, it needed good planning and training; its leadership had to follow Fighter Command's battle plan but this was blatantly disregarded. If Leigh-Mallory had a vested interest in the Big Wing, then he had a responsibility to make sure that at least it was organised properly. This clash of opinions between the 11 and 12 group commanders was left unresolved by Leigh-Mallory and Dowding. Subsequent events, in which Dowding retired from his post at Fighter Command and Leigh-Mallory was promoted to command 11 Group, show that Leigh-Mallory's arguments had the sympathies of the senior officers of the RAF. These sympathies could have been due to tensions between these officers and Dowding rather than how Britain could be most effectively defended.

In Spitfire: Portrait of a Legend, Leo McKinstry cites sources saying that Dowding was widely criticised after the Battle in RAF reviews of his strategy for keeping the control of 11 Group and 12 Group resources separate under Park and Leigh-Mallory, instead of uniting them under one command or at least coordinating them as one group. The effect of this decision was a lack of coordination between the groups, which often meant the aircraft of 11 Group were fully committed, while those of 12 Group sat idle. A letter by Park in 1968, quoted by McKinstry, illustrates the problem.

"Throughout August and September 1940, on occasion when all my squadrons had been dispatched to engage the many German bomber forces, I called on No 10 Gp to cover some vital targets on my right with one or two squadrons. Brand always responded at once and on many occasions effectively intercepted the enemy, preventing them from bombing their target unmolested. In similar circumstances I called on No 12 Gp to cover my fighter aerodromes northeast and east of London but Leigh-Mallory failed to respond. This resulted in North Weald, Hornchurch, and Debden being accurately bombed whilst 12 Group wing was being dispatched, assembled and climbed in mass formation to the rear of my area."

According to McInstry, in another letter Park wrote at the time he said, "Frankly I was more worried at the lack of cooperation (with Leigh-Mallory), than I was about out-witting the massed German raids".

What has been described  as an "even-handed" assessment of the affair was published in the Air Ministry's Air Historical Branch history, written shortly after the battle and published in 1941,

"[T]he pity is that a controversy was ever allowed to develop; for far from the two Group commanders representing two contrasting methods of solving one and the same tactical problem they really represented tactics complementary to each other, each of which had a valuable part to play in the common struggle, the more so as together the most economical use of the dangerously limited forces available would have been assured."

This is the Air Ministry view, of which the most senior individuals were involved in using the Big Wing theory as the means to conspire against Dowding. Given this and the animosity towards Dowding, the Air Ministry view of the Battle of Britain cannot be said to be "even-handed". As first published by the Air Ministry there was no mention of Dowding or Park; it was withdrawn and a revised version issued in 1943 at Winston Churchill's insistence. Further evidence of this conflict can also be seen in a memo, again cited by McKinstry, which Leigh-Mallory sent to Park during the Battle, "Full explanation required why 11 Group fighters have shot down enemy fighters over 12 Gp area". This is more than a little ironic given that 12 Group was expected to reinforce the defence in 11 Group (by shooting enemy aircraft down) but instead a Big Wing was sent, often to the wrong place, causing more disruption to the well thought-out plans of 11 Group than to the Luftwaffe.

Effectiveness
After the Battle of Britain Leigh-Mallory never really had a chance to use the Big Wing defensively again, and it quickly mutated from a defensive to an offensive formation—Bader eventually led one of these new wings on massive fighter sweeps over France. To this day there is debate over the effectiveness of the "Big Wing" as it was used during the Battle. Although Leigh-Mallory and Bader argued it was a great success, post-war analysis suggests the actual number of German aircraft shot down by the wing was probably a fraction of those claimed (the claims for the Big Wing were never credible even at the time. On 15 September 1940, the Big Wing was scrambled twice against incoming raids and claimed 52 kills, eight probables and others damaged. (German records showed that six aircraft were lost). Some senior officers like Leigh-Mallory and Sholto Douglas wanted to believe these claims so that they could use the Big Wing as a political tool against Dowding. This would seem to support the idea that, for a "Big Wing", there were "not enough enemy to go around"; the Wing had too high a concentration of aircraft in the same air space looking for targets.

It could be argued that 12 Group had more time to get fighters into position but even then it failed to do so. When 11 Group was stretched to its limits and required support, due to the delay imposed by 12 Group, 11 Group airfields were left undefended. This was due not only to time wasted in forming up the Big Wing but also due to 12 Group commanders not following 11 Group's instructions and thus arriving in the wrong place. Not only did 12 Group fail to support 11 Group, they left their own airfields undefended; a large portion of UK airspace was left undefended while Leigh-Mallory and Bader tested their Big Wing theory. The time taken to form a Big Wing also wasted fuel and combined with the limited range of the fighters, reduced time over the combat zone. When 10 Group was asked to provide cover for 11 Group in similar circumstances, it was provided and 11 Group airfields defended.

Casualties for the "Big Wing" were significantly lower than in the smaller formations—suggesting that they did indeed benefit from protection in numbers. The "Big Wing" invariably joined combat with the enemy over Northern London, where the German fighter escort was at the very limit of its range and effectiveness. Consequently, the Big Wing also made very few interceptions, and as a result lower casualties would be expected on both sides. Park's tactics (which had included the occasional use of two- and three-squadron wings) were correct for the conditions he had to fight under. The most powerful argument against the Big Wing in the Battle of Britain is that without a clear idea of a target as a raid assembled over France, it was impossible for the Big Wing to get airborne and form up in time to meet it.

Another argument against the use of the Duxford Big Wing was that it was never a serious tactical proposition. It was formed after a telephone discussion between Leigh Mallory and Bader and there was no planning, protocols for its operation or discussion (let alone agreement) within Fighter Command. Leigh-Mallory did not question Bader's claims or critically assess the Big Wing's results. For a senior commander to take the word of an inexperienced junior officer and commit to such a poorly planned experiment at a critical time is questionable. The interceptions by the Big Wing only occurred over a short period of time in September, when the Luftwaffe switched from military targets and airfields to daylight raids on London. The Luftwaffe bombers were at their most vulnerable when they were at the limit of the range of the escorting Messerschmitt Bf 109s and many German fighters had already expended their fuel in combat with 11 Group aircraft over Kent.

However, when encountered by the Luftwaffe on 15 September, the Big Wing had an immense psychological impact. Having been told that the RAF was down to its last 50 fighters by their leaders, Luftwaffe aircrew were continuously attacked on the run over Kent, only to be confronted by a further formation of 60 RAF aircraft over London, just as their escort reached the limit of their range. This led to further demoralization in the Luftwaffe. One reason for this level of surprise was that a recent large Luftwaffe fighter sweep had encountered little resistance, confirming the Luftwaffe leaders' belief that there were few RAF fighters left; in fact Park had recognised this fighter sweep as a ruse to get his fighters into the air; with no threat of bombing he had kept his fighters on the ground.

While not effective as a fighting tactic, the Big Wing, along with some blatant manipulation of statistics, worked as a political tool for those against Dowding. Dowding had clashed with Hugh Trenchard (founder of the RAF) while both were Royal Flying Corps commanders during the First World War. Trenchard was retired by the Second World War but was a Marshal of the RAF and still influential at the highest level in the RAF. He supported the theory of the "knock out blow", where air attack was fought by counter-attack with bombers, not defence by fighters and this view was shared by many senior RAF and Air Ministry personnel. Despite this RAF policy, Dowding got enough political support to build up Fighter Command into a very effective weapon, the weapon that won the Battle of Britain. In 1940 (and arguably throughout the war) Bomber Command was in no way capable of delivering a knock out blow to Germany, so the pro-bomber advocates were severely embarrassed by the success of Fighter Command. Dowding's "stuffy" personality and unwillingness to fight this political battle also contributed to his downfall. The Big Wing débâcle was a smokescreen manipulated by his political enemies to bring him down. It is understandable that Dowding did not fight back given the stress he had been under for the best part of a year, first to conserve Fighter Command, then to oversee the long battle of attrition against the Luftwaffe.

Big Wing exercise
The use of a Big Wing in 11 Group was explored by Fighter Command in paper exercises run by Leigh-Mallory in January 1941. The intention was to prove the superiority of large formations using the circumstances of a real attack on the Kenley, Biggin Hill and Hornchurch sectors on 6 September 1940. Leigh-Mallory mismanaged the operation, permitting the raid to progress unhindered, resulting in Kenley and Biggin Hill airbases being "bombed" while their aircraft were still on the ground. One of Park's former controllers explained Leigh-Mallory's mistakes to him. He replied that he would do better next time and that if a large-scale raid approached he would permit it to bomb its target and intercept it in force on its return to France. The enemy, he believed, would be so badly mauled that there would be no more raids.

title: Big Wing


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Werewolf fiction

Werewolf fiction denotes the portrayal of werewolves and other shapeshifting therianthropes, in the media of literature, drama, film, games and music. Werewolf literature includes folklore, legend, saga, fairy tales, Gothic and horror fiction, fantasy fiction and poetry. Such stories may be supernatural, symbolic or allegorical. A classic cinematic example of the theme is The Wolf Man (1941) which in later films joins with the Frankenstein Monster and Count Dracula as one of the three famous icons of modern day horror. However, werewolf fiction is an exceptionally diverse genre, with ancient folkloric roots and manifold modern re-interpretations.

Literary origins
In Greek mythology, there is a story of an Arcadian King called Lycaon who tested Zeus by serving him a dish of his slaughtered and dismembered son to see if Zeus was really all-knowing. As punishment for his trickery, Zeus transformed Lycaon into a wolf and killed his 50 sons by lightning bolts, but supposedly revived Lycaon's son Nyctimus, who the king had slaughtered and who succeeded his father in the kingdom of Arcadia.

In medieval romances, such as Bisclavret and Guillaume de Palerme, the werewolf is relatively benign, appearing as the victim of evil magic and aiding knights errant.

However, in most legends influenced by medieval theology, the werewolf was a Satanic beast with a craving for human flesh. This appears in such later fiction as "The White Wolf of the Hartz Mountains": an episode in the novel The Phantom Ship (1839) by Marryat, featuring a demonic femme fatale who transforms from woman to wolf.

Sexual themes are common in werewolf fiction; the protagonist kills his girlfriend as she walks with a former lover in Werewolf of London (1935), suggesting sexual jealousy. The writers of The Wolf Man (1941) were careful in depicting killings as motivated out of hunger.

The wolf in the fairy tale "Little Red Riding Hood" has been reinterpreted as a werewolf in many works of fiction, such as The Company of Wolves (1979) by Angela Carter (and its 1984 film adaptation) and the film Ginger Snaps (2000), which address female sexuality. 2011 also saw the release of Red Riding Hood  with Amanda Seyfried in the main role, with the character name of Valerie.

Folklore
In folk and fairy tale traditions all over the world, humans who can shapeshift at will into both human and lupine forms appear in several fairy tales. According to the Aarne-Thompson-Uther Index, they can appear in this capacity in the following tale types:

 * Aarne-Thompson-Uther Index tale type ATU 409, "The Girl as Wolf": a tale type more commonly found in the folklore of Estonia and Finland, a human hunter finds a woman in the woods and hides her animal (wolf) skin. Years later, after the wolf-maiden has given birth to children, one of them finds her wolf skin and returns it to her. She puts it back and disappears, never to return.
 * Aarne-Thompson-Uther Index tale type ATU 425, "The Search for the Lost Husband" and ATU 425A, "The Animal Bridegroom": a maiden is betrothed to an animal bridegroom (a wolf, in several variants), who comes at night to the bridal bed in human form. The maiden breaks a taboo and her enchanted husband disappears. She is forced to search for him. Example: The White Wolf, Belgian fairy tale; Prince Wolf, Danish fairy tale.
 * Aarne-Thompson-Uther Index tale type ATU 425C, "Beauty and the Beast": a father has three daughters, the youngest the most beautiful and the most loved by her parent. He needs to go on a journey and asks his daughter what presents should he bring them, the youngest suggest something simple, but very or nearly impossible to find. Near the end of his journey, he finds the wished-for object in the garden of a (seemingly) abandoned castle, when a booming voice interrupts him. The voice belongs to a fierce creature (sometimes explicitly described as a wolf by the narrative) who demands "his most precious gift" in return: the youngest daughter. She willingly offers herself to the beast and discovers he is an enchanted prince. She helps him break the curse and they both live happily ever after.
 * Aarne-Thompson-Uther Index tale type ATU 552, "The Girls who married Animals": a bankrupt nobleman or a poor farmer is forced to wed his daughters to three animal suitors, who are actually enchanted princes under a curse. In some variants, one of the suitors is a wolf.

19th century
Nineteenth-century Gothic horror stories drew on previous folklore and legend to present the theme of the werewolf in a new fictional form. An early example is Hugues, the Wer-Wolf by Sutherland Menzies, published in 1838. The year after in 1839, Frederick Marryat's book The Phantom Ship was published, which included one of the first stories about a female werewolf, and is often reprinted as a stand-alone short story called The White Wolf of the Hartz Mountains. In another, Wagner the Wehr-Wolf (1847) by G. W. M. Reynolds, we find the classic subject of a man who, although a kind-hearted man himself, accepts a Deal with the Devil to become a werewolf for 18 months accompanying Dr. Faustus and killing humans, in exchange for youth and wealth. "The Man-Wolf" (1831) by Leitch Ritchie yields the werewolf in an 11th-century setting, while Catherine Crowe penned what is believed to be the first werewolf short story by a woman: "A Story of a Weir-Wolf" (1846). Other werewolf stories of this period include The Wolf Leader (1857) by Alexandre Dumas and Hugues-le-Loup (1869) by Erckmann-Chatrian.

A later Gothic story, Robert Louis Stevenson's Strange Case of Dr Jekyll and Mr Hyde (1886), has an implicit werewolf subtext, according to Colin Wilson. This has been made explicit in some recent adaptations of this story, such as the BBC TV series Jekyll (2007). Stevenson's Olalla (1887) offers more explicit werewolf content, but, like Strange Case of Dr Jekyll and Mr Hyde, this aspect remains subordinate to the story's larger themes.

Charles De Coster's 1867 novel The Legend of Thyl Ulenspiegel and Lamme Goedzak includes an extensive episode where the Flemish town of Damme is terrorized by what seems a rampaging werewolf, the numerous victims' bodies bearing what seems the mark of a wolf's fangs - thought ultimately they turn out to have been killed by a completely mundane serial killer, clever and ruthless, who used metal blades to simulate these wolf's tooth marks.

A rapacious female werewolf who appears in the guise of a seductive femme fatale before transforming into lupine form to devour her hapless male victims is the protagonist of Clemence Housman's acclaimed The Were-wolf published in 1896.

In literature
The 20th century saw an explosion of werewolf short stories and novels published in both England and America. The famed English supernatural story writer Algernon Blackwood wrote a number of werewolf short stories. These often had an occult aspect to them. English author Gerald Biss published the 1919 werewolf novel The Door of the Unreal. American pulp magazines of the 1920 to 1950s, such as Weird Tales, include many werewolf tales, written by such authors as H. Warner Munn, Seabury Quinn and Manly Wade Wellman. Robert E. Howard made his own contribution to the genre in "Wolfshead".

The most renowned werewolf novel of the 20th century was The Werewolf of Paris (1933) by American author Guy Endore. This novel has been accorded classic status and is considered by some to be the Dracula of werewolf literature. It was adapted as The Curse of the Werewolf in 1961 for Hammer Film Productions. The novel The Wolf's Bride: A Tale from Estonia written by the Finnish author Aino Kallas was published in 1928 and it tells the story of the forester's wife living in Hiiumaa in the 17th century who became a werewolf under the influence of a malevolent forest spirit. A more recent example is Moon of the Wolf (1967) by Les Whitten, which the 1972 movie of the same name, Moon of the Wolf, was based on.

In the Harry Potter stories (1997 to 2007), the characters Remus Lupin (Defence Against the Dark Arts teacher during Harry's third year at Hogwarts, who becomes one of Harry's friends), and Fenrir Greyback (a villain), are werewolves.

In films
In cinema during the silent era, werewolves were portrayed in canine form in such films as The Werewolf (1913) and Wolf Blood (1925). The first feature film to portray an anthropomorphic werewolf was Werewolf of London in 1935 (not to be confused with the 1981 film of a similar title), establishing the canon that the werewolf always kills what he loves the most. The main werewolf of this film was a dapper London scientist who retained some of his style and most of his human features after his transformation.

However, he lacked warmth, and it was left to the tragic character Laurence Stewart "Larry" Talbot played by Lon Chaney Jr. in 1941's The Wolf Man to capture the public imagination. This catapulted the werewolf into public consciousness. The theme of lycanthropy as a disease or curse reached its standard treatment in the film, which contained the now-famous rhyme:

This movie draws on elements of traditional folklore and fiction, such as the vulnerability of the werewolf to a silver bullet (as seen for instance in the legend of Beast of Gévaudan), though at the climax of the film, the Wolf Man is actually dispatched with a silver-handled cane.

While the process of transmogrification is sometimes portrayed in such films and works of literature to be painful, other works omit this aspect in favor of a loss of consciousness during the change and even an inability to recall the event. Regardless, the resulting wolf is typically cunning but merciless, and prone to killing and eating people without compunction, regardless of the moral character of the person when human.

Lon Chaney Jr. himself became somewhat typecast as the Wolf Man and reprised his role in several sequels for Universal Studios. In these films, the werewolf lore of the first film was clarified. In Frankenstein Meets the Wolf Man (1943) it is firmly established that the Wolf Man is revived from the dead at a night of the full moon after his grave was disturbed. In House of Frankenstein (1944), silver bullets are used for the first time to dispatch him. Further sequels were House of Dracula (1945) and the parodic Abbott and Costello Meet Frankenstein (1948).

The success of Universal's The Wolf Man prompted rival Hollywood film companies Columbia Pictures and Fox Studios to bring out their own, now somewhat obscure, werewolf films. The first of these was The Undying Monster produced by Fox in 1942, adapted from a werewolf novel of the same name by Jessie Douglas Kerruish, published in 1936.

In 1981, two prominent werewolf films, The Howling and An American Werewolf in London, both drew on themes from the Universal series. While the werewolves in The Howling resembled bipedal wolves, the one in An American Werewolf in London had a more quadrupedal form with longer claws, a short tail, and finger-like structures on its front paws. The later had a follow-up called An American Werewolf in Paris.

In games
As a well-known and iconic creature type, lycanthropes, and particularly werewolves, are central to a variety of games, including board games, role-playing games, and video games.

These include a number of games where lycanthropes are either incidental villains, or the primary villain of the game, as well as games that allow players to play as a lycanthrope. It has been noted with respect to video games in particular that werewolves are "most often presented in videogames as mindless, slavering enemies", though some games do provide a more nuanced presentation.

In more rare cases, they feature as NPCs, such as the character Witherfang from Dragon Age: Origins (2009), who is not strictly evil and was created as an act of revenge, or even the game's protagonist, as in the case of Bigby Wolf from The Wolf Among Us (2013), a noir adventure game based on the eponymous comic book series that includes characters inspired by fairy tales. The Legend of Zelda: Twilight Princess (2006) causes the series' recurring main character, Link, to become a werewolf, a transformation induced by a magical "Twilight" that has spread across the realm. In wolf form, he is ridden and guided by the imp Midna. While the idea was praised as fun to control, it also proved divisive, seen as a "gimmick" in comparison to controlling Link as a sword-wielding human.

Werewolves have long been a race in the tabletop game Dungeons & Dragons. In the game's 5th edition, its most recent version, werewolves are weak to silver, and can shift between human, wolf, and hybrid humanoid forms, being able to use weapons in both human and hybrid form.

Dungeons & Dragons
In Dungeons & Dragons, a lycanthrope ( or  ) is a humanoid shapeshifter based on various legends of lycanthropes, werecats, and other such beings. In addition to the werewolf, in Dungeons & Dragons, weretigers, wereboars, werebears and other shapeshifting creatures similar to werewolves and related beings are considered lycanthropes, although traditionally, the term "lycanthrope" refers to a wolf-human combination exclusively. The presence of lycanthropes in the gaming system is one of the elements that has led Christian fundamentalists to condemn Dungeons & Dragons and to associate it with the occult.

Description
In the standard Dungeons & Dragons rules, lycanthropy is both hereditary (the children of lycanthropes are lycanthropes of the same type) and infectious (victims of lycanthrope bites become lycanthropes themselves, of the same type as the attacker). The rules distinguish between natural and afflicted lycanthropes, according to the cause of lycanthropy, and handle them by different rules.

Hereditary lycanthropes can change shape at will, and retain their personality, being in control of their actions. Infected lycanthropes' shapechanges are affected by the full moon. They usually are not aware of their actions and act as aggressive predators. Lycanthropes can assume the form of an animal/humanoid hybrid, in addition to their animal form. Most lycanthropes in animal form can communicate with animals of their type. In humanoid form, they can use any weapon, and in animal form they use natural weapons like the corresponding animals, but each type has a different fighting style in hybrid form. An illustration in one edition of the Monster Manual implied that the beast in Disney's Beauty and the Beast was a lycanthrope, with a creature having a resemblance to the Beast attacking a human resembling that film's antagonist, Gaston.

Screen Rant has described the operation of lycanthropy in the game as an aspect that "makes no sense" because it is often a positive development for a character. "It is possible for a character to be infected with lycanthropy in Dungeons & Dragons and it comes highly recommended, as the benefits outweigh the negatives". It notes that "[i]n exchange for learning how to control your condition, you gain Damage Reduction, +2 to your Wisdom stat, the Scent ability, Low-Light Vision, a new Hit Dice, the Iron Will feat, and the ability to transform into a more powerful form". Like many examples of werewolves in modern fiction, D&D's werewolves and other lycanthropes are vulnerable to silver and highly resistant to other kinds of harm.

The archetypal lycanthrope, the werewolf, was ranked sixth among the ten best low-level monsters by the authors of Dungeons & Dragons For Dummies. The authors described the werewolf as "a classic monster" and "the best illustration of a monster with damage reduction; unless characters have a silver weapon, they will have a hard time hurting this creature". The authors also note that "Werewolves are shapechangers, which means players can never be entirely sure whether that surly villager might indeed be the great black wolf who attacked their characters out in the forest." The werewolf is also fully detailed in Paizo Publishing's book Classic Horrors Revisited (2009), on pages 58–63.

Werewolf: The Apocalypse
Another role-playing game featuring the creature is Werewolf: The Apocalypse from the Classic World of Darkness line by White Wolf Publishing. Other related products include the Collectible card games named Rage and several novels (including one series). In the game, players take the role of werewolves known as "Garou" (from the French loup garou). These werewolves are locked in a two-front war against both the spiritual desolation of urban civilization and supernatural forces of corruption that seek to bring about the Apocalypse. Game supplements detail other shapeshifters.

Along with the other titles in the World of Darkness, Werewolf was discontinued in 2004. Its successor title within the Chronicles of Darkness line, Werewolf: The Forsaken, was released on March 14, 2005. A fifth edition is in development. The books have been reprinted since 2011 as part of the "Classic World of Darkness" line.

Video games
Numerous video games have featured lycanthropes, both as antagonists of the player, and as playable characters.

 * Knight Lore (1984)
 * Altered Beast (1988) allows the player to take various creature forms over the course of the game, including a wolf, dragon, bear, tiger, and golden wolf.
 * Werewolf: The Last Warrior (1990)
 * Shining Force (1992)
 * Contra: Hard Corps (1994) features a "cyborg werewolf" wearing "rad sunglasses" and named Brad Fang
 * Darkstalkers (1994), features a playable werewolf named Jon Talbain
 * Nightmare Creatures (1997)
 * Castlevania: Legacy of Darkness (1999)
 * The Legend of Zelda: Twilight Princess (2006)
 * Wolf Team (2007)
 * Sonic Unleashed (2008) is another of the few games to feature another form of lycanthrope, with the protagonist turning into a werehog
 * Dragon Age: Origins (2009)
 * Castlevania: Lords of Shadow (2010)
 * The Elder Scrolls V: Skyrim (2011)
 * Keyboard Drumset Fucking Werewolf (2011), a promotional video game made for the band Fucking Werewolf Asso
 * Blood of the Werewolf (2013)
 * The Wolf Among Us (2013–2014)
 * Bloodborne (2015)
 * The Order: 1886 (2015)
 * Werewolves Within (2016)
 * Werewolf: The Apocalypse – Earthblood (2021)
 * The Quarry (2022)

Some games have been noted to feature werewolf-like creatures, but without the element of lycanthrope. For example, in Pokémon, Zoroark has such an appearance as the final form of what previously appears as another creature.

Other kinds of games
Ultimate Werewolf, a card game designed by Ted Alspach and published by Bézier Games, is based on the social deduction game, Werewolf, which is Andrew Plotkin's reinvention of Dimitry Davidoff's 1987 game, Mafia. The Werewolf game appeared in many forms before Bézier Games published Ultimate Werewolf in 2008.

title: Werewolf fiction