text:
Persepolis (comics)

Persepolis is a series of autobiographical graphic novels by Marjane Satrapi that depict her childhood and early adult years in Iran and Austria during and after the Islamic Revolution. The title Persepolis is a reference to the ancient capital of the Persian Empire. Originally published in French, Persepolis has been translated to many other languages. , it has sold more than 2 million copies worldwide.

French comics publisher L'Association published the original work in four volumes between 2000 and 2003. Pantheon Books (North America) and Jonathan Cape (United Kingdom) published the English translations in two volumes – one in 2003 and the other in 2004. Omnibus editions in French and English followed in 2007, coinciding with the theatrical release of the film adaptation.

Due to its graphic language and images, there is controversy surrounding the use of Persepolis in classrooms in the United States. Persepolis was featured on the American Library Association's list of Top Ten Most Challenged Books in 2014.

Persepolis 1: The Story of a Childhood
Persepolis 1 begins by introducing Marjane, the ten-year-old protagonist. Set in 1980, the novel focuses on her experiences of growing up during the Islamic Revolution in Iran. Her story details the impact of war and religious extremism on Iranians, especially women. Belonging to an upper-middle-class family, Marji has access to various educational materials, such as books and a radio, which expose her to Western political thought at a very young age. By discovering the ideas of numerous philosophers, Marji reflects on her class privilege and is eager to learn about her family's political background. This inquiry inspired her to participate in popular demonstrations against the Shah's regime, in which people asked for his exile to safeguard their rights. Unfortunately, after the Shah's departure, Marji notices the rise of religious extremism in her society and is unhappy about it. Her uncle Anoosh's visit deepens her interest in politics when he tells her stories of being imprisoned as a communist revolutionary. His stories cause her to value ideas of equality and resistance. The new government then began to reform Iranian society, especially by having women cover themselves publicly and restricting social freedoms. Marji's family begins to fear for their lives since many of their friends and thousands of Iranians have fled the new regime to Europe or the USA, but they resolve to stay. Anoosh is arrested again and accused of being a spy. He is executed for his political beliefs. Marji is upset that God did nothing to help her uncle and rejects her faith.

After an abrupt family vacation to Europe, Marji returns to Iran, where she learns from her grandmother that the government has declared war against Iraq. As her hometown of Tehran comes under attack, she finds safety in her basement, which doubles as a bomb shelter. One night, the family hears the Iranian national anthem play on the TV, moving them to tears. It is later revealed that the government released the soldiers and air pilots from prison who were in jail for protesting. The soldiers agreed to fight on the condition that the country's national anthem be played on public broadcasting. Amidst the chaos of an ongoing war, her family secretly revolts against the new regime by having parties and consuming alcohol, which is prohibited in the country. Two years of war force Marji to explore her rebellious side by skipping classes, obsessing over boys, and visiting the black market that has grown due to the shortages caused by war and repression.

As the war intensifies, Marji rushes home one day to find that a long-range ballistic missile has hit her street. Her family escaped the missile as it hit the neighboring building, which housed their neighbors of Iran's minor population of Jews, the Baba Levys. She is traumatized by seeing her friend's dead body and expresses her anger against the Iranian political system. Her family begins to worry about her safety and decides to send her off to Austria for further study and to escape the war. The novel ends with her departure to Europe and the final sight of her mother fainting in her father's hands, unable to bear letting go of Marjane.

Persepolis 2: The Story of a Return
The second part of the series takes place in Vienna, where Marji starts her new life, whilst a student at the Lycée Français de Vienne, at a boarding house because her mother's friend has no room for her at her own apartment. Since she cannot speak German upon arrival, Marji finds it hard to communicate, but eventually overcomes it and makes friends. She assimilates into the culture by celebrating Christmas and going to Mass with her roommate. Away from home, Marji's Iranian identity deepens, and she is expelled from the boarding house after a verbal altercation with a nun who makes xenophobic comments against Marji.

Marji starts living with her friend Julie and her mother. Here, she experiences more culture shock when Julie talks about her sexual endeavors, as such topics are prohibited in Iran. Soon she undergoes a physical and ideological transformation by using drugs and changing her appearance while continuing to move house. Marji finally settles on a room with Frau Dr. Heller, but their relationship is unstable. Issues also arise in many of Marji's relationships, in which she finds comfort in drugs. She forms a relationship with Markus, but breaks up with him when she discovers that he has been cheating on her. Marji leaves Frau Dr. Heller's house after she accuses Marji of stealing her brooch. She spends the day on a park bench and ends up living on the streets for two months. When she catches bronchitis, she almost dies, but is found and taken to a hospital. Marji reaches out to her parents who arrange for her to move back and thus, after living in Vienna for four years, she returns to Tehran.

At the airport, she recognizes how different Iran is from Austria. Donning her veil once more to go out, she takes in the 65-foot murals of martyrs, rebel slogans, and the streets renamed after the dead. At home, her father tells her the horrors of the war, and they talk deep into the night about what she had missed. After hearing what her parents had gone through while she was away in Vienna, she resolves never to tell them of her time there. However, her trauma from Austria makes her fall into depression, forcing her to attempt suicide twice. When she survives, she takes it as a sign to live and starts her process of recovery by looking after her health and taking up a job. She also begins art classes at the local university. However, due to the restrictions of showing female nudity, Marji and her friends attend secret sessions and parties, away from the prying eyes of the religious police.

Following her return to Iran, Marji meets Reza, also a painter, and they soon begin to date, but this proves to be frowned upon by the religious police. They are caught holding hands and their families are forced to pay a fine to avoid their lashings. In 1991, Reza proposes marriage to Marji, and after some contemplation, she accepts. Her mother, Taji, warns her that she has gotten married too young, and Marji soon realizes that she feels trapped in the role of wife. Marji attends a party, but someone warns them about the religious police. They quickly discard the alcohol and the women cover themselves as the police enter the building. The men make their escape by jumping from the rooftop, but Marji's friend Nima hesitates and falls to his death. Later on in 1994, her marriage has deteriorated and Marji confides in her friend, Farnaz, that she no longer loves Reza and wants a divorce. Farnaz advises her to stay with her husband because divorced women are social outcasts, but her grandmother urges her to get a divorce. After much contemplation, Marji decides to separate from a reluctant Reza. She goes to her parents and tells them about her and Reza's divorce, and they comment on how proud they are of her and suggest that she should leave Iran permanently and live a better life back in Europe.

In late 1994 before her departure for Europe, Marji visits the countryside outside Tehran. She also visits the Caspian Sea, the grave of her grandfather, and the prison building where her uncle Anoosh is buried. In the autumn, Marji along with her parents and grandmother go to Mehrabad Airport for their final goodbye as she heads off to live in Paris. Marji then reveals that her grandmother died in 1996. The book ends with the message: "Freedom had a price."

Character list

 * Persepolis: The Story of A Childhood
 * Marjane (main character): nicknamed Marji, Marjane's life is depicted beginning with her early childhood. Growing up in Iran during the Iran-Iraq war, Marjane grows up in a family who is involved in the political unrest of Iran. This influences her world-view of oppression and its consequent rebellion. Eventually, her family sends her to Vienna in hopes of escaping the unrest of her home. Throughout her journey, she grows and matures while maintaining her rebellious nature, which sometimes gets her into trouble. Her family decides that she should leave Iran permanently, and she settles in Paris at the end of her story.
 * Mrs. Satrapi (Marjane's mother): Taji is a passionate woman, who is upset with the way things are going in Iran, including the elimination of personal freedoms, and violent attacks on innocent people. She actively takes part in her local government by attending protests.
 * Mr. Satrapi, Ebi, or Eby (Marjane's father): He also takes part in many political protests with Taji. He takes photographs of riots, which was illegal and very dangerous, if caught. Both Mr. and Mrs. Satrapi come from a middle class background. This is important to note within the political and social context of their actions, values, and influences on their rebellious daughter.
 * Marjane's Grandmother: Marjane's Grandmother develops a close relationship with Marjane. She enjoys telling Marjane stories of her past, and Marjane's Grandfather.
 * Uncle Anoosh: Marjane's father's brother. He is executed by the new Islamic revolutionary authorities. His execution serves as a representation of the millions of activists who were killed under this regime.
 * Mehridia: Marjane's family maid who became friends with Marjane during her childhood. She had a secret relationship with the neighbor boy who was from a higher social class. The boy falls in love with her, but then abandons her when he learns of her social background.
 * Khosro: A man who makes fake passports. Marjane's father went to him when one of Marjane's uncles was suffering from heart trouble and needed surgery in England, but the hospital's director refused to send him abroad. Khosro shelters his relative Niloufar, who is wanted for her Communist beliefs. Unfortunately, Niloufar was spotted, arrested and executed and Khosro was forced to flee to Turkey and was unable to finish the passport for Marjane's uncle. Khosro then settled in Sweden.
 * Characters only in Persepolis: The Story of A Return
 * Julie: A friend and schoolmate of Marjane's who takes her in when she is kicked out of the Catholic boarding facility in Vienna. Raised by a single mother, Julie is four years older than Marjane and the two become close friends. Julie is already sexually active with different men and very open, blunt, and direct about sex, unlike teenage Marjane who is sexually timid and still a virgin.
 * Frau Dr. Heller: A former philosophy teacher who rents Marjane a room in her home. She has an unstable personality and accused Marjane of stealing her brooch, causing Marjane to leave.
 * Markus: Marjane's lover who cheats on her, and she breaks up with him.
 * Reza: Marjane's husband, who she had a socially strained relationship with. They were divorced after two years of marriage.

Background
Marjane Satrapi's use of graphic novels to depict her own life events has made her reading easily accessible to people throughout the world. In an article titled "Why I wrote Persepolis", Satrapi says "Images are a way of writing. When you have the talent to be able to write and to draw, it seems a shame to choose only one. I think it's better to do both". Her first novel in this series, Persepolis: The Story of a Childhood, depicts her childhood experiences in Iran during the Islamic Revolution, while her subsequent novel, Persepolis 2: The Story of a Return, depicts her high school years in Vienna, Austria. Persepolis 2 also includes Satrapi's return to Iran where she attends college, marries, and later divorces before moving to France. Hence, the series is not only a memoir, but a Bildungsroman. Throughout both books, she focuses on the idea of "witnessing". Meaning, the motivation behind her writing involves describing her life from the viewpoint of someone viewing political and social chaos. This displays the "survival" aspect behind Satrapi as a young girl, and eventually young woman within this context. The influences of Satrapi's past education in Iran and Europe, and specifically German expressionism, can be felt throughout her writings and drawings as well. She seeks to create a visual context for not only those from the West, but also those from the Middle-East due to the lack of physical optics for this important time in history.

Both describe her life experiences of being Iranian and the way in which the Revolution shaped her life and the lives of her friends and family. The novel narrates "counter-historical narratives that are mostly unknown by a Western reading public."

Satrapi chose the name Persepolis, originating from the Ancient Greek term for Iran, in order to convey the message that the current state of Iran comes from thousands of years of background, not just recent hostile events.

After the writing and publication of Persepolis, Satrapi herself has transformed into a diplomat for her home country of Iran. She has "become a spokeswoman for greater freedom [in Iran], and a voice against war and for cross-cultural understanding".

Genre and style
Persepolis is an autobiography written as a graphic novel based on Satrapi's life. The genre of graphic novels can be traced back to 1986 with Art Spiegelman's Maus, portraying the Holocaust through the use of cartoon images of mice and cats. Later, writers such as Aaron McGruder and Ho Che Anderson used graphic novels to discuss themes such as Sudanese orphans and civil rights movements. This genre has become an appropriate forum for examining critical matters by using illustrations to discuss foreign topics, such as those discussed in Persepolis. The "graphic novel" label is not so much a single mindset as a coalition of interests that happen to agree on one thing—that comics deserve more respect. Nima Naghibi and Andrew O'Malley, English professors at Ryerson University, believe that Persepolis is part of a larger movement of autobiographical books by Iranian women. Satrapi wrote Persepolis in a black-and-white format: "the dialogue, which has the rhythms of workaday family conversations and the bright curiosity of a child's questions, is often darkened by the heavy black-and-white drawings". The use of a graphic novel has become much more predominant in the wake of events such as the Arab Spring and the Green Movement, as this genre employs both literature and imagery to discuss these historical movements. In an interview titled "Why I Wrote Persepolis", Marjane Satrapi said that "graphic novels are not traditional literature, but that does not mean they are second-rate."

Persepolis uses visual literacy through its comics to enhance the message of the text. Visual literacy stems from the belief that pictures can be "read." As defined by the Encyclopedia of the Social and Cultural Foundations of Education, "Visual literacy traces its roots to linguistic literacy, based on the idea that educating people to understand the codes and contexts of language leads to an ability to read and comprehend written and spoken verbal communication."

Due to the nature of artistic choices made in Persepolis by virtue of it being an illustrated memoir, readers have faced difficulty in placing it into a genre. The term "novel" most commonly refers to books that are fiction. Thus, there is some controversy surrounding how to classify the genre of Persepolis, being that it is non-fiction. Nima Naghibi and Andrew O'Malley, illustrate this by stating how bookstores have had issues with shelving Persepolis under a single label. Furthermore, scholars like Hillary Chute argue that Persepolis, like other similar books, should be called a "graphic narrative" instead of a "graphic novel." She argues that the stories these works contain are unique in themselves and challenge popular historical narratives. Chute explains that graphic narratives defy convention portraying complex narratives of trauma emphasize a different approach on discussing issues of "unspeakability, invisibility, and inaudibility that have tended to characterize recent trauma theory-as well as a censorship-driven culture at large." She adds that this technique of uncovering the invisible is an influential feminist symbol. Chute contends that Persepolis highlights this 'unseen' by appearing to be visually simplistic so that it can draw attention to the intense political events happening in the story.

Professor Liorah Golomb from the University of Oklahoma states about Persepolis and related books; "As time went on the comics still tended towards the autobiographical, but storytelling gained importance. Most of the women creating comics today are still doing so from a woman's point-of-view, but their target audience seems more universal.

An article from a journal on multicultural education written about teaching Persepolis in a middle school classroom acknowledges Satrapi's decision to use this genre of literature as a way for "students to disrupt the one-dimensional image of Iran and Iranian women." In this way, the story encourages students to skirt the wall of intolerance and participate in a more complex conversation about Iranian history, U.S. politics, and the gendered interstices of war." Satrapi utilizes a combination of the text and accompanying drawings to represent Iranian and European culture through both images and language, asserts Marie Otsby in an article for the Modern Language Association of America published in 2017.

Analysis
Persepolis reminds readers of the "precarity of survival" in political and social situations.

Feminism in the East
Satrapi's graphic memoir contains themes concerning feminist ideals and the hegemonic power of the state. Satrapi uses the context of the Iranian Revolution to criticize the hypocrisy of state-enforced social pressures that seek to enact violence. During the Iranian Revolution, martyrdom had been nationalized by the state in order to encourage young men to participate in the revolution and strict social rules were forced upon women and were justified as protection. Satrapi's recount of her harassment by both male and female members of the Guardians of the Revolution because of her untraditional behavior and clothing exemplifies the hypocrisy of the state's beliefs. Although Satrapi criticizes the socio-political pressures, she does not fully dismiss her Iranian identity. Marji struggles with finding her identity because she is torn between a deep connection with her Iranian heritage and culture and the political and religious pressure enforced by the state. Satrapi's struggle with societal pressures is based on her belief that the Islamic state oppresses women when it regulates their expression and dictates their beliefs.

Jennifer Worth, an Adjunct Assistant Professor at Wagner College, presents that Satrapi uses the veil as a metaphor to describe the desire to control women. Worth proposes that the Guardians of the Revolution wield the cultural symbolism of the veil to oppress the social liberties of women, while Marji herself dons the symbolic veils of makeovers in Austria to escape social ostracization for her Iranian identity. Through her utilization of the veil as a symbol of concealing latent struggles, Satrapi contends that the confusion surrounding Marji's transition into adulthood stems from her complex beliefs and feelings about her Iranian heritage.

The portrayal of the veil in Persepolis has also been used to combat the Western perception that the veil is solely a symbol of oppression. The perceptions are challenged in the first chapter of Persepolis similarly titled 'The Veil,' where Satrapi illustrates young girls playing in the schoolyard with their veils. Lisa Botshon, a professor of English, and Melinda Plastas, a professor of Women and Gender studies, comment that Satrapi's depictions of the veil illuminate for Western audiences the extent of Middle Eastern women's agency. The depictions challenge the Western notion that women who wear the veil are helpless and victims of brutal social oppression.

Manuela Constantino’s article, published as part of the University of Toronto Press, argues that Persepolis was released during a crucial time that aided its reception in North America. In 2003-04, tensions over middle eastern evasion were on the rise in the United States. At the same time, Persepolis started to circulate in the North American education system. It’s possible that “its arrival could be read as a political attempt to shape an understanding of Middle Eastern cultural practices by presenting a liberal Middle Eastern viewpoint amidst radical unrest” Constantino speculates if Satrapi’s memoir had anti-American or anti-Western sentiment, “would it have been so widely circulated and therefore so popular”? This makes Persepolis "easily accessible and seemingly transparent," Constantino states that these childlike reactions to the horrors they are exposed to bridge the gap between human and history. The complicated historical facts of war are broken down into easily understandable moments in history, and help people understand what is usually complex and culturally intricate into relatable and educational.

Mahdiyeh Ezzatikarami and Firouzeh Ameri of the International Journal of Applied Linguistics & English Literature published their article the strengths of Persepolis as a memoir. Telling the story from a child's point of view allows Satrapi to facilitate "supreme authenticity and immediacy" to her memoir. Satrapi created an identity that readers immediately relate and identify with. This is seen through her childish ways of coping with evil. When Marji's grandmother asks how she will install the rule of old people never feeling pain, Marji states she will simply forbid it. Seeing how children react to the violence of war makes Persepolis "easily accessible and seemingly transparent."

Publication history
The original French series was published by L'Association in four volumes, one volume per year, from 2000 to 2003. Marie Ostby, professor at Connecticut College, noted that, David Beauchard, a co-founder of L'Association, strove to "create a forum for more culturally informed, self-reflective work," especially consisting of female writers. L'Association published Persepolis as one of their three "breakthrough political graphic memoirs." Persepolis, tome 1 ends at the outbreak of war; Persepolis, tome 2 ends with Marji boarding a plane for Austria; Persepolis, tome 3 ends with Marji putting on a veil to return to Iran; Persepolis, tome 4 concludes the work.

When the series gained critical acclaim, it was translated into many different languages. In 2003, Pantheon Books published parts 1 and 2 in a single volume English translation (with new cover art) under the title Persepolis which was translated by Blake Ferris and Mattias Ripa, Satrapi's Swedish husband and edited by Anjali Singh; parts 3 and 4 (also with new cover art) followed in 2004 as Persepolis 2, with the translation credited to Anjali Singh. In October 2007, Pantheon repackaged the two English language volumes in a single volume (with film tie-in cover art) under the title The Complete Persepolis. The cover images in the publications from both countries feature Satrapi's own artwork; however, the French publication is much less ornamented than the United States equivalent.

Critical reception
Upon its release, the graphic novel received high praise, but was also met with criticism and calls for censorship. According to Book Marks, the book received "rave" reviews based on 6 critic reviews with 3 being "rave" and 3 being "positive". On Metacritic, for part two, the book received a 84 out of 100 based on 11 critic reviews. On the French site Zoo Le Mag, aggregates critic reviews of comics, the comic received 4.0 out of 5 based on critic reviews of individual volumes. Globally, the work, based on assessments of reviews from the Complete Review, received ratings such as "A" and "B+" for reviews of the volumes.

Andrew Arnold of TIME described Persepolis as "sometimes funny and sometimes sad but always sincere and revealing." Kristin Anderson of The Oxonian Review of Books of Balliol College, University of Oxford said, "While Persepolis' feistiness and creativity pay tribute as much to Satrapi herself as to contemporary Iran, if her aim is to humanise her homeland, this amiable, sardonic and very candid memoir couldn't do a better job."

Awards, lists, and impact
The book continued to receive acclaim among many critics lists. According to The Greatest Books, a site that aggregates book lists, it is "the 592nd greatest book of all time". Persepolis has won numerous awards, including one for its text at the Angoulême International Comics Festival Prize for Scenario in Angoulême, France, and another for its criticism of authoritarianism in Vitoria, Spain. Marie Ostby points out that "Satrapi's work marks a watershed movement in the global history of the graphic novel," exemplified by the recent increase in use of the graphic novel as a "cross-cultural form of representation for the twenty-first century Middle East." Time magazine included Persepolis in its "Best Comics of 2003" list.

Despite the controversy surrounding the novel, Persepolis has turned into an important piece of literature which connects the Western and Iranian world. The graphic novel was awarded to Newsweek's Ten Best Fiction books list, and was created into a film in 2007. Reading Persepolis "lends itself to discussion of literary strategies and to teaching visual literacy, as well as to broader discussions of cultural difference as constructed in art and the media and as experienced in life".

Friere and Macedo argue that teaching Persepolis in a middle school classroom has proved to be beneficial in the development of students' literacy and critical thinking skills, which are necessary to help them interpret the world around them. In a journal article on how to teach Persepolis in a post 9/11 classroom, Lisa Botshon and Melinda Plastas from the University of Illinois assert that Persepolis offers a platform for students to question Western stereotypes and fear surrounding the Middle East. Another study that was done also showed that Persepolis has greatly impacted the thinking skills of middle school students who were taught it in their ELA classroom. Despite the images and easy-to-read text, Persepolis is also often taught at the high school level because high-school aged students would be able to take the information learned and thoroughly discuss it to enhance their literary skills. From writing about her life and the people in it, Satrapi's writing also denies the typical assumptions made by the world about Western Iranian women. Friere and Macedo believe that the way women and Iranian society in general are presented in the book can help students come to doubt their perceived sense of national insecurity when it comes to the Middle East.

In 2019, the graphic novel was ranked 47th on The Guardian's list of the 100 best books of the 21st century. In 2024, it was ranked 48th of the 100 best books of the 21st century by the New York Times.

Censorship in the United States
Despite the positive reviews, Persepolis faced some attempts at censorship in school districts across the United States. In March 2013, the Chicago Public Schools ordered copies of Persepolis to be removed from seventh-grade classrooms after Chicago Public Schools CEO Barbara Byrd-Bennett determined that the book "contains graphic language and images that are not appropriate for general use". Upon hearing about the proposed ban, upperclassmen at Lane Tech High School in Chicago flocked to the library to check out Persepolis and organized demonstrations in protest. CPS reinstituted the book in school libraries and classrooms.

In 2014, the book faced three different challenges across the United States, which led to its placement as #2 on the ALA's list of "Top Ten Most Challenged Books of 2014". The first of these controversies occurred in Oregon's Three Rivers School District, where a parent insisted on the removal of the book from its high school libraries due to the "coarse language and scenes of torture". The book remained in libraries without any restriction after school board meetings to discuss this challenge. Another case of censorship arose in central Illinois' Ball-Chatham School District, where a student's parent stated that the book was inappropriate for the age group assigned. The parent also inquired into why Persepolis was assigned to the students to read on September 11. Despite this opposition, the school board unanimously voted to keep the book both in the school libraries and within the curriculum. The third case occurred in Smithville, Texas, where parents and members of the school community challenged the book being taught in Smithville High School's World Geography Class. They voiced concerns about "the newly-introduced Islamic literature available to students". The school board met to discuss this issue at a meeting on February 17, 2014, after a formal complaint was filed against the book. The board voted 5–1 to retain the novel.

In 2015, Crafton Hills College, in Yucaipa, California, also witnessed a challenge to the incorporation of Persepolis in its English course on graphic novels. After her completion of the class, Tara Shultz described Persepolis as pornographic and lacking in quality. Crafton Hills administrators released a statement, voicing strong support of academic freedom, and the novel was retained.

In 2022, Franklin Regional High School, located near Pittsburgh, Pennsylvania, paused teaching of Persepolis after complaints to the district. The book was reinstated to the curriculum as of a meeting on March 31, 2022.

Film
Persepolis has been adapted into an animated film, by Sony Pictures Classics. The film was co-directed by Marjane Satrapi and Vincent Paronnaud. It was voiced by Catherine Deneuve, Chiara Mastroianni, Danielle Darrieux and Simon Abkarian. Debuting at the 2007 Cannes Film Festival, Persepolis won the Jury Prize but also drew complaints from the Iranian government before its screening at the festival. It was nominated for an Academy Award in 2007 for best animated feature. The film has also received high honors, specifically, in 2007, when it was named the Official French Selection for the Best Foreign Language Film.

Persepolis 2.0
Persepolis 2.0 is an updated version of Satrapi's story, created by different authors who combined Satrapi's illustrations with new text about the 2009 Iranian presidential election. Only ten pages long, Persepolis 2.0 recounts the re-election of President Mahmoud Ahmadinejad on June 12, 2009. Done with Satrapi's permission, the authors of the comic are two Iranian-born artists who live in Shanghai and who give their names only as Payman and Sina. The authors used Satrapi's original drawings, changing the text where appropriate and inserting one new drawing, which has Marjane telling her parents to stop reading the newspaper and instead turn their attention to Twitter during the protests.

Persepolis 2.0 was published online, originally on a website called "Spread Persepolis"; an archived version is available online.

title: Persepolis (comics)


text:
Ryman Auditorium

Ryman Auditorium (originally Union Gospel Tabernacle and renamed Grand Ole Opry House for a period) is a historic 2,362-seat live-performance venue and museum located at 116 Rep. John Lewis Way North, in the downtown core of Nashville, Tennessee, United States. It is best known as the home of the Grand Ole Opry from 1943 to 1974. It is owned and operated by Ryman Hospitality Properties, Inc. Ryman Auditorium was listed on the National Register of Historic Places in 1971 and was later designated as a National Historic Landmark on June 25, 2001, for its pivotal role in the popularization of country music. A storied stage for Rock & Roll artists for decades, the Ryman was named a Rock & Roll Hall of Fame Landmark in 2022.

Union Gospel Tabernacle
The auditorium opened as the Union Gospel Tabernacle in 1892. Its construction was spearheaded by Thomas Ryman (1843–1904), a Nashville businessman who owned several saloons and a fleet of riverboats. Ryman conceived the idea of the auditorium as a tabernacle for the influential revivalist Samuel Porter Jones. He had attended one of Jones' 1885 tent revivals with the intent to heckle, but was instead converted into a devout Christian who pledged to build the tabernacle so the people of Nashville could attend large-scale revivals indoors. It took seven years to complete and cost US$100,000 1892. Jones held his first revival at the site on May 25, 1890, when only the building's foundation and 6 ft walls had been completed.

Architect Hugh Cathcart Thompson designed the structure. Exceeding its construction budget, the tabernacle opened US$20,000 1892 in debt. Jones sought to name the tabernacle in Ryman's honor, but Ryman denied the request several times. When Ryman died in 1904, his memorial service was held at the tabernacle, with Jones officiating. During the service, Jones proposed the building be renamed as Ryman Auditorium, which was met with the overwhelming approval of the attendees. Jones died less than two years later in 1906.

The building was originally designed to contain a balcony, but a lack of funds delayed its completion. The balcony was built and opened in time for the 1897 gathering of the United Confederate Veterans, with funds provided by members of the group. As a result, the balcony was once called the Confederate Gallery. Upon completion of the balcony, the Ryman's capacity rose to 6,000. In 2017, the "Confederate Gallery" plaque was removed and replaced with one that reads "1892 Ryman Auditorium." A stage was added in 1901 that reduced the capacity to just over 3,000.

Under the leadership of Lula C. Naff
Though the building was designed as a house of worship – a purpose it continued to serve throughout most of its early years – it was often leased to promoters for nonreligious events in an effort to pay off its debts and remain open. In 1904, Lula C. Naff, a widow and mother who was working as a stenographer, began to book and promote speaking engagements, concerts, boxing matches, and other attractions at the Ryman in her free time. In 1914, when her employer went out of business, Naff made booking these events her full-time job. She eventually transitioned into a role by 1920 as the Ryman's official manager. She preferred to use the name "L.C. Naff" in an attempt to avoid initial prejudices as a female executive in a male-dominated industry. Naff gained a reputation for battling local censorship groups, who had threatened to ban various performances deemed too risqué. In 1939, Naff won a landmark lawsuit against the Nashville Board of Censors, which was planning to arrest the star of the play Tobacco Road due to its provocative nature. The court declared the law creating the censors to be invalid.

Naff's ability to book stage shows and world-renowned entertainers in the city's largest indoor gathering place kept the Ryman at the forefront of Nashville's consciousness and enhanced the city's reputation as a cultural center for the performing arts, even as the building began to age. Harry Houdini in 1924, W.C. Fields, Will Rogers in 1925, Charlie Chaplin, Bob Hope with Doris Day in 1949, and John Philip Sousa (among others) performed at the venue over the years, earning the Ryman the nickname "The Carnegie Hall of the South". The Ryman also hosted lectures by U.S. presidents Theodore Roosevelt and William Howard Taft in 1907 and 1911, respectively. Italian opera singer Enrico Caruso appeared in concert there in 1919. It also hosted the inaugurations of three governors of the state of Tennessee.

The first event to sell out the Ryman was a lecture by Helen Keller and Anne Sullivan Macy in 1913. While being a trailblazer for working women, Naff also championed the cause of racial diversity. The building was used as a regular venue for the Fisk Jubilee Singers (they performed there in 1913) from nearby Fisk University, a historically black college. The state's Jim Crow laws required Ryman audiences to be segregated, with some shows designated for "White Audiences Only" and others for "Colored Audiences Only". But period photographs show that, in practice, Ryman audiences were often integrated. Naff retired in 1955 and died in 1960.

Grand Ole Opry
After debuting in 1925, the local country music radio program known as the Grand Ole Opry (originally called the WSM Barn Dance) became a Nashville institution. Broadcast over clear-channel AM radio station WSM, it could be heard in 30 states across the eastern part of the nation. Although not originally a stage show, the Opry began to attract listeners from around the region who would go to the WSM studio to see it live. When crowds got too large for the studio, in 1934 WSM began broadcasting the show from the Hillsboro Theatre (now Belcourt Theatre). The Opry moved to East Nashville's Dixie Tabernacle in 1936 and then to War Memorial Auditorium in 1939.

After four years – and several reports of upholstery damage caused by its rowdy crowds – the Opry was asked to leave War Memorial and sought a new home yet again. Thanks to Ryman Auditorium's wooden pews and central location, Naff and other institution leaders thought the auditorium would be a perfect venue for such an audience. They began renting the venue to WSM for its shows. The Grand Ole Opry was first broadcast from the Ryman on June 5, 1943, and it originated there every week for nearly 31 years thereafter. Every show sold out, and hundreds of fans were often turned away.

During its tenure at Ryman Auditorium, the Opry hosted the major country music stars of the day and became a show known around the world. In addition to its home on WSM, portions of the show (at various times throughout its history) were also broadcast on network radio and television to a wider audience. Melding its then-current usage with the building's origins as a house of worship, the Ryman got the nickname "The Mother Church of Country Music", which it holds to this day.

Because of the period during which it was constructed and because it was not designed to be a performance venue, the Ryman lacked a true backstage area. It had only one dressing room for the men, and women were relegated to an inadequate ladies' restroom. The shortage of space forced performers to wait in the wings, the narrow hallways, and the alley behind the building's south wall. Thus, many performers often ventured across the alley to Tootsie's Orchid Lounge and other bars, where they drank alongside patrons and sometimes performed. This practice enhanced the popularity and appeal of the honky-tonk bars along Nashville's Lower Broadway.

The Ryman through the mid-1960s hosted many musicians: Marian Anderson in 1932, Bill Monroe and the Bluegrass Boys in 1945, Little Jimmy Dickens in 1948, Hank Williams in 1949, The Carter Sisters with Mother Maybelle Carter in 1950, Elvis in 1954, Johnny Cash in 1956, trumpeter Louis Armstrong in 1957, Patsy Cline in 1960, Lester Flatt & Earl Scruggs (bluegrass) in 1964, and Minnie Pearl in 1964.

Prior to September 27, 1963, Ryman Auditorium had no singular owner; it was an independent entity governed by a board of directors. That changed when WSM, Inc., purchased the building for US$207,500 1963. When WSM assumed total control of the auditorium, it renamed the building as the Grand Ole Opry House. Many people continued to refer to it by the familiar Ryman name, well-known after 60 years in use.

WSM financed minor upgrades to the Opry House in 1966 to maintain its functionality, but soon began making plans to move the Opry to a new location altogether. Despite the building's deteriorating condition, the lack of air conditioning, and the abundance of unsavory surroundings in its urban neighborhood, the show's increasing popularity often attracted crowds too large to fit inside the venue. Plans announced in 1969 centered around a larger, custom-built auditorium that would provide a more controlled and comfortable atmosphere for audiences and performers alike, as well as better radio and television production facilities.

The company purchased a large tract of land in a then-rural area a few miles away. The new Opry theater served as the anchor of a grand entertainment complex. The development became known as Opryland USA. It eventually included the Opryland theme park and the Opryland Hotel.

The amusement park opened on May 27, 1972, and the new venue (also called the Grand Ole Opry House) debuted on Saturday, March 16, 1974. The last Opry show at the Ryman occurred the previous evening, on Friday, March 15. The final shows downtown were emotional. Sarah Cannon, performing as Minnie Pearl, broke character and cried on stage. In an effort to maintain continuity with the Opry's storied past, a large circle was cut from the floor of the Ryman stage and inlaid into the center of the new Opry stage. In another traditional holdover, the new Opry House was also designed to feature pew seating, although (unlike the Ryman) they are cushioned.

Eventually and without fanfare, the building downtown resumed using the Ryman Auditorium name to differentiate it from the new Grand Ole Opry House.

Facing demolition
When the plans for Opryland USA were announced, WSM president Irving Waugh also revealed the company's intent to demolish the Ryman and use its materials to construct a chapel called "The Little Church of Opryland" at the amusement park. Waugh brought in a consultant to evaluate the building, noted theatrical producer Jo Mielziner, who had staged a production at the Ryman in 1935. He concluded that the Ryman was "full of bad workmanship and contains nothing of value as a theater worth restoring." Mielziner suggested the auditorium be razed and replaced with a modern theater. But Waugh's plans were met with resounding resistance from the public, including many influential musicians of the time. Architectural critic Ada Louise Huxtable ridiculed the decision in The New York Times, writing: "First prize for the pious misuse of a landmark, and a total misunderstanding of the principles of preservation. Gentlemen, for shame." (She had won a Pulitzer Prize for her writing.)

However, Roy Acuff, an Opry stalwart and a major stakeholder of Opryland USA, reportedly said, "I never want another note of music played in that building." He led the unsuccessful charge to tear down the Ryman. Acuff, a staunch supporter of moving the Opry to a modern home, told The Washington Post in 1974, "Most of my memories of the Ryman Auditorium are of misery, sweating out here on this stage, the audience suffering too... We've been shackled all of my career." Acuff notably hated the dressing room situation at the Ryman so much that he bought a nearby building just to have a bigger one. A life-sized statue of Acuff (alongside one of Sarah Cannon as Minnie Pearl) has been installed in the lobby of the preserved Ryman Auditorium.

Members of historic preservation groups argued that WSM, Inc. (and Acuff, by proxy) exaggerated the Ryman's poor condition, saying the company was worried that attachment to the old building would hurt business at the new Opry House. Preservationists emphasized the building's importance to regional religious history and gained traction for their case as a result. The building was formally assessed and approved for the National Register of Historic Places in 1971. In 1974, United States Senators from Tennessee Howard Baker and Bill Brock, together with officials of the United States Department of the Interior, pleaded with WSM, Inc. (and its parent company, NLT Corporation) to preserve the building. The company tabled the decision on the Ryman's fate. The building was ultimately saved from demolition, although no active efforts were made to improve its condition.

Dormancy
Following the departure of the Opry, the Ryman failed to attract new performers. It was mostly vacant and deteriorating for nearly 20 years. In that period, the surrounding neighborhood also declined. Despite its regressing condition and the absence of performances, Ryman Auditorium was never closed. It remained a destination for heritage tourism in the city.

On August 30, 1979, following a tip from a citizen, the Nashville bomb squad discovered and disarmed a massive car bomb that could have damaged or destroyed a three-block area of downtown Nashville that included the Ryman. A nearby strip club was found to be the bomber's target. The device was disarmed less than 20 minutes before it was timed to detonate.

In September 1983, soon after NLT Corporation was acquired in a hostile takeover bid by American General Insurance, the building was included in the sale of all the WSM and Opryland properties to Oklahoma-based Gaylord Broadcasting Company for US$250000000 1983. (The WSM assets were organized into a subsidiary holding company called Opryland USA, Inc., which would change its name to Gaylord Entertainment Company following a 1991 corporate spin-off.) The company's chief executive, Ed Gaylord, had become acquainted with many of the Opry stars during his involvement with the long-running television series Hee Haw. His fondness for the Opry and friendships with its figures – particularly Sarah Cannon – are often cited as reasons for his interest in the acquisition. Ryman Auditorium was included in the sale almost as an afterthought, but Gaylord's appreciation of its history helped preserve it.

In 1986, as part of the Grand Ole Opry 60th-anniversary celebration, CBS aired a special program that featured some of the Opry's legendary stars performing at the Ryman. While the auditorium was dormant, major motion pictures continued to be filmed on location there, including John Carpenter's Elvis (1979), Coal Miner's Daughter (1980 – Loretta Lynn Oscar-winning biopic), Sweet Dreams (1985 – story of Patsy Cline), and Clint Eastwood's Honkytonk Man (1982). A 1979 television special, Dolly & Carol in Nashville, included a segment featuring Dolly Parton performing a gospel medley on the Ryman stage.

Revival and renovations
In 1989, Opryland USA, Inc. began work to beautify the Ryman's exterior. The structure of the building was also improved, as the company installed a new roof, replaced broken windows, and repaired broken bricks and wood. The building's interior, however, was left mostly untouched.

From April 30 to May 2, 1991, Emmylou Harris and the Nash Ramblers performed three acoustic concerts at the dilapidated building, during which no one was allowed to sit on or beneath the balcony due to safety concerns. Capacity was limited to around 200. Some of the recordings were released as an album entitled At the Ryman, which won the Grammy Award for Best Country Performance by a Duo or Group at the 35th Annual Grammy Awards in 1993. The concerts and album's high acclaim are given near-universal credit for renewed interest in reviving Ryman Auditorium as an active venue.

The Ryman hosted a concert and one-act play entitled The Ryman: The Tabernacle Becomes A Shrine on May 18, 1992, to celebrate the building's centennial. In October 1992, executives of Gaylord Entertainment announced plans to renovate the entire building and expand it to create modern amenities for performers and audiences alike. This was part of their larger initiative to invest in the city's revitalization of the downtown area.

In September 1993, renovations were begun to develop it as a world-class concert hall. Building systems were upgraded, such as air conditioning for the first time. The auditorium's original wooden pews were removed, refurbished, and returned to the building to serve as the auditorium's seating. Both far-reaching ends of the U-shaped balcony (which had previously extended all the way to the building's south wall) were removed. New backstage facilities were built inside the original building. An addition containing a lobby, restrooms, concessions, offices, and a grand staircase leading to the balcony was constructed and attached to the east side of the auditorium. With this change, the Ryman's main entrance was moved from the west side of the building (Fifth Avenue North) to the east side (Fourth Avenue North). An outdoor entry plaza was also added here, and a large statue of Thomas Ryman was installed.

The first performance at the newly renovated Ryman was a broadcast of Garrison Keillor's A Prairie Home Companion on June 4, 1994. Keillor said he was inspired to create A Prairie Home Companion while reporting on the final Opry show at the Ryman in 1974 for The New Yorker. Following that, the Ryman hosted an extended residency of the original musical Always... Patsy Cline, which starred Mandy Barnett in the titular role about the life of the legendary singer.

Return of the Opry
On Sunday, October 18, 1998, the Opry held a benefit show at Ryman Auditorium, marking its return to the venue for the first time since its final show on March 15, 1974. The show was well received by fans, performers, and management alike, so the decision was made to host the Opry's regular shows there on January 15 and 16, 1999, as part of the celebration to commemorate 25 years at the new venue.

Given the success of the January shows that year, beginning in November 1999, the Opry was produced at Ryman Auditorium for three months. In addition, this enabled them to avoid performance conflicts from construction of the Opry Mills shopping mall (which replaced the Opryland USA theme park in 2000) next door to the Grand Ole Opry House. The Opry returned to the Ryman annually for all of its November, December, and January shows until 2019–20. This enabled the production to acknowledge its roots while taking advantage of a smaller venue during the off-peak season for tourism. It also freed the Grand Ole Opry House for special holiday presentations. The Ryman also served as the primary venue for the Opry in the summer of 2010, while the Grand Ole Opry House was undergoing repairs after damage from a devastating flood.

The annual winter season at the Ryman was suspended in 2020 due to the COVID-19 pandemic, during which the Opry performed abbreviated shows for broadcast in front of an empty Grand Ole Opry House. The Winter Ryman residency was not revived in 2021 although pandemic-related attendance restrictions were lifted. Opry shows returned to Ryman for a one-month run in January 2023, and a three-night run in January 2024. While still officially the Grand Ole Opry, the shows there have been billed as Opry at the Ryman.

The Ryman today
Gaylord Entertainment Company, the venue's owner since 1983, adopted the Ryman's name as its own when it transitioned into a real estate investment trust in 2012. The company is now known as Ryman Hospitality Properties, Inc. Ryman Auditorium is managed within the company's majority-owned subsidiary, Opry Entertainment Group. The renovation of the Ryman, combined with the construction of other attractions such as Bridgestone Arena and Wildhorse Saloon, helped revitalize Nashville's downtown district into a destination for tourists and locals alike in the mid-1990s.

Since then, the Ryman has become one of the most venerable performance venues in Nashville. Performers have praised Ryman Auditorium's acoustics, calling them among the best in the world.

The Ryman was unharmed in the 2010 Tennessee floods and the 2020 Nashville bombing, both of which resulted in major damage to parts of the downtown neighborhood.

In January 2012 plans were announced to replace the Ryman's 61-year-old stage with one of medium-brown Brazilian teak. The new stage floor, the facility's third, retained an 18-inch lip of its predecessor's blonde oak at its front edge, similar to the way the Ryman stage had been commemorated with an inlaid circle of wood at the new Opry House. The stage's original hickory support beams were reinforced with concrete foundations, crossbeams, and joist work that helped triple the stage's load capacity, ensuring it would remain viable for performances in the decades to come.

In 2015, the Ryman underwent another US$14,000,000 2015 renovation and expansion. Much of the 1994 expansion was gutted and remodeled. The original building received only minor touch-ups and remained in use throughout the construction. The renovation and expansion includes more lobby space, plus expanded restrooms, concessions, and a retail shop. A new quick-service restaurant was added, called "Cafe Lula" and named in memory of Lula C. Naff. The cafe closed in 2020 due to the COVID-19 pandemic, and was not reopened. An expanded retail shop selling Ryman memorabilia opened in its place in 2023. The previous retail shop was then converted to a VIP lounge.

Prior to the pandemic, Opry Entertainment Group held regular shows at the Ryman year-round. In addition to the Opry at the Ryman shows in the winter, the auditorium hosted Opry Country Classics each spring and autumn, and Bluegrass Nights at the Ryman each summer. Due to the scheduling of concerts postponed during the pandemic, those Opry spin-off shows were canceled or moved to the Grand Ole Opry House in 2021. As COVID-19 hit Nashville, live music at the Ryman briefly came to a halt, until the venue launched the Livestream concert series, "Live at the Ryman" in August 2020. For King & Country, Cam, Chris Janson, Scotty McCreery, Brett Young, and Old Crow Medicine Show put on Friday night shows from the Ryman stage for a completely digital audience. Ultimately, Bluegrass Nights returned to the Ryman in 2021 and Opry at the Ryman returned in January 2023. Opry Country Classics has remained at the Grand Ole Opry House, except for a yearly matinee during CMA Fest in June.

The Ryman has welcomed a wide variety of talent since its inception. In recent years, Wu-Tang Clan made history as the Ryman's first hip-hop headliner; the Ryman welcomed its first headlining drag queens, Trixie and Katya; and the venue hosted its first comedy residency in August, 2022, with comedian John Mulaney doing four stand-up shows in three nights.

Ryman Auditorium has hosted several notable residencies including a string of 10 shows from Little Big Town in 2017 that took place as part of the Ryman's 125th anniversary celebration. In 2022 alone, Vince Gill and Amy Grant, Vince Gill (solo), Jason Isbell, and Brett Eldredge all held residencies at the Ryman.

In 2018, the Ryman was named the most iconic structure in Tennessee by Architectural Digest. The Ryman has been named Pollstar's Theater of the Year 13 times and was named the Academy of Country Music's Theater of the Year in 2022. The Academy of County Music Awards, Americana Music Association Awards, Nashville Songwriter Awards, and several other industry award ceremonies have taken place on the Ryman stage.

The Ryman features prominently in the music video of the 2021 song "Where Have You Gone" by Alan Jackson.

On May 26, 2022, the Ryman officially became a Rock & Roll Hall of Fame Landmark. Later that year, Rock & Roll Hall of Fame partnered with the Ryman to transform a wing of the building into a tour feature dedicated to rock history in Nashville. "Rock Hall at the Ryman" opened to the public on Nov. 2, 2022, and includes artifacts from artists including Elvis Presley, James Brown, Joan Jett, Foo Fighters and Dolly Parton.

The Ryman has also served as a gathering place for the memorial services of many prominent country music figures. Tammy Wynette, Chet Atkins, Skeeter Davis, Harlan Howard, Bill Monroe, Waylon Jennings, Johnny Cash, Billy Block, George Hamilton IV, Earl Scruggs, Jim Ed Brown, and Naomi Judd have all been memorialized from the Ryman stage.

Museum and tours
The Ryman is open for tours during daytime hours when the performance venue is not in active use. Guided tours include access to backstage facilities, while self-guided tours feature exhibits displayed in cases throughout the auditorium, which are shielded from view when the building is being used for a show. Permanent exhibits include the Rock Hall At The Ryman, a collaboration with the Rock & Roll Hall of Fame showcasing the venue's influence in the rock genre, as well as the Soul of Nashville, a short holographic film that serves as the first stop on the tour. Situated in an immersive 100-seat theatre, the film features an actress portraying Lula C. Naff in presenting the history of the Ryman. It also features an original song performed by Darius Rucker, Sheryl Crow, Vince Gill, and the Fisk Jubilee Singers.

Notable events
The venue hosts alternative rock, bluegrass, blues, country, classical, folk, gospel, jazz, pop, hip hop, and rock concerts, as well as musical theater and stand-up comedy.

 * The Hardeman Tabernacle Sermons were held at the Ryman beginning in 1922 through 1942. A series of New Testament gospel sermons by N.B. Hardeman, minister of the gospel with the churches of Christ. They were sold-out events turning away up to 3,000 people. Lessons were published in the then Nashville Banner and Tennessean. Freed-Hardeman University in Henderson, TN bears his name as one of its founders.
 * The Ryman was home to the Grand Ole Opry from 1943 to 1974, a period when many traditional country music artists, including Dolly Parton, Tammy Wynette, Loretta Lynn, Hank Williams (who received six encores), Bill Monroe, and Patsy Cline made their Opry debuts.
 * Country Music Association Awards shows were performed and broadcast live from the Ryman from 1968 through 1973.
 * Most episodes of the ABC variety series The Johnny Cash Show were recorded at the auditorium and broadcast between June 7, 1969, and March 31, 1971. Besides its host, the series also featured Carl Perkins, Derek and the Dominos (their only televised performance), Tennessee Three, Statler Brothers, and the Carter Family. One episode featured one of the final public appearances of jazz icon Louis Armstrong.
 * In 1999, Bill Gaither recorded The Cathedrals' Farewell Celebration video and album there with various other artists, such as The Statler Brothers, The Oak Ridge Boys, Guy Penrod, and Sandi Patti.
 * On January 30, 2003, Patty Griffin recorded her live album, A Kiss in Time, at the Ryman.
 * In 2005 Neil Young recorded the Jonathan Demme-directed concert film Neil Young: Heart of Gold at the Ryman.
 * In April 2006 Josh Turner recorded a live album at the Ryman.
 * In May 2006 English band Erasure recorded their live album (on both CD and DVD), titled On The Road To Nashville.
 * In 2009 Jonny Lang recorded Live at the Ryman. It debuted at number 2 on the Billboard Blues chart.
 * On July 7, 2012, Ringo Starr recorded his 72nd birthday concert, called "Ringo at the Ryman", with his All-Starr Band.
 * In 2014, Foo Fighters performed at the Ryman as part of the Foo Fighters: Sonic Highways television series.
 * September 8, 2016, Garth Brooks performed at the Ryman for the first time ever in his professional career (30-plus years) while promoting a live concert recording to debut his new channel on SiriusXM radio, The Garth Channel.
 * July 27–28, 2018, Grammy Award winner Anita Baker performed at the Ryman as part of her Farewell Tour. She sold out both show dates.
 * On June 9, 2019, Wu-Tang Clan performed the first concert consisting solely of hip hop music at the Ryman.
 * On April 4, 2021, during the COVID-19 pandemic, Carrie Underwood performed her album My Savior in a live, virtual concert from the Ryman stage.
 * On June 8, 2021, following the lifting of restrictions from the COVID-19 pandemic, Miley Cyrus headlined Peacock's special Miley Cyrus Presents Stand by You, celebrating Pride Month, featuring Little Big Town, Maren Morris, Brothers Osborne, and more in a live, virtual concert from the Ryman stage.
 * On April 14, 2022, Wheeler Walker, Jr. commenced his 2022 Comeback Tour by performing at the sold out venue. He broke alcohol and merchandise sales records.
 * On August, 2022, the Ryman hosted its first comedy residency with comedian John Mulaney doing four stand-up shows in three nights.

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

title: Ryman Auditorium


text: Category:Particle physics

title: Category:Particle physics


text:
Larry Gostin

Lawrence Oglethorpe Gostin (born October 19, 1949) is an American law professor who specializes in public health law. He was a Fulbright Fellow and is best known as the author of the Model State Emergency Health Powers Act and as a significant contributor to journals on medicine and law.

Early life and education
Larry Gostin was born in New York City in 1949, the son of Joseph and Sylvia Gostin. He received a B.A. in psychology from the State University of New York at Brockport in 1971 and a J.D. from Duke Law School in 1974.

He was an adjunct professor at Harvard University from 1986 to 1994 and went on to be a professor of law at Georgetown University's Law Center and a professor of law and public health at Johns Hopkins University's School of Hygiene and Public Health.

Career in health law
In the 1970's, Gostin relocated to the United Kingdom and joined the mental health charity MIND, where he helped establish its Legal Welfare and Rights Department in 1975. He served as the organization's legal director until 1983. During his time at MIND, he was instrumental in the organization's campaign regarding reform of mental health legislation. According to Jennifer Brown, Gostin's writings on "new legalism" – a regulatory philosophy which combined protection of mental health patients' civil rights with entitlement to proper mental health treatment – was a big influence on the Mental Health Act 1983. Gostin himself estimated that two thirds of the act were based on proposals from MIND or from his writings. As legal director of MIND, Gostin also oversaw the filing of many test cases at the European Commission of Human Rights and European Court of Human Rights "highlighting the absence of possibilities for a legal review of detention [under UK mental health legislation] for many."

From January 1984 to 1985, Gostin was general secretary of the National Council for Civil Liberties in the United Kingdom. From 1986 to 1994, he was executive director of the American Society for Law, Medicine, and Bioethics. He worked on Hillary Clinton's health plan, serving as chairman of the health information privacy and public health committees of the President's Task Force on Health Care Reform.

His proposed Model State Emergency Health Powers Act ignited a firestorm of controversy across the ideological spectrum, from Phyllis Schlafly to LAMBDA, for being overly broad and ripe for abuse.

He is also Professor of Public Health at the Johns Hopkins University and Director of the Center for Law & the Public's Health at Johns Hopkins and Georgetown Universities—A Collaborating Center of the World Health Organization and the Centers for Disease Control and Prevention. He is Adjunct Professor of Public Health (Faculty of Medical Sciences) and Research Fellow (Centre for Socio-Legal Studies) at Oxford University.

Gostin chairs a World Health Organization project on the law and ethics of public health strategies for pandemic influenza and is leading a drafting team on developing a Model Public Health Law for the World Health Organization.

In a January 25, 2020 interview with NPR, Gostin argued against travel restrictions to prevent the spread of coronavirus, stating, “The risk is extraordinarily low for people in the United States.”

In an April 2021 interview with Vox, he described his previous belief about travel restrictions being bad as an "almost religious belief" with no evidence behind it, saying “I have now realized [..] that our belief about travel restrictions was just that — a belief. It was evidence-free”.

He is the Linda D. and Timothy J. O'Neill Professor of Global Health Law at the Georgetown University Law Center, where he directs the O'Neill Institute for National and Global Health Law.

Awards and honours

 * 1994, the Chancellor of the State University of New York conferred an Honorary Doctor of Laws Degree.
 * 2006, Her Majesty Queen Elizabeth II and the Vice Chancellor awarded Cardiff University's (Wales) highest honor, an Honorary Fellow.
 * Elected lifetime Member of the Institute of Medicine, National Academy of Sciences.
 * 2006, the IOM awarded Gostin the Adam Yarmolinsky Medal.
 * He has received the Rosemary Delbridge Memorial Award from the National Consumer Council (U.K.) for the person "who has most influenced Parliament and government to act for the welfare of society."
 * Received the Key to Tohoko University (Japan) for distinguished contributions to human rights in mental health.
 * At the CDC Public Health Law Conference in 2006, he received the Public Health Law Association Distinguished Lifetime Achievement Award "in recognition of a career devoted to using law to improve the public's health."
 * He is an elected fellow of the Hastings Center, an independent bioethics research institution.

Books

 * Foundations of Global Health & Human Rights (co-editor; Oxford University Press, 2020)
 * Human Rights in Global Health: Rights-Based Governance for a Globalizing World (co-editor; Oxford University Press, 2018)
 * Principles of Mental Health Law and Policy (co-author; Oxford University Press, 2010)
 * Public Health Law: Power, Duty, Restraint (University of California Press and Milbank Memorial Fund, 2nd ed. 2008)
 * Public Health Ethics: Theory, Policy and Practice (Oxford University Press, 2007)
 * The AIDS Pandemic: Complacency, Injustice, and Unfulfilled Expectations (University of North Carolina Press, 2004)
 * The Human Rights of Persons with Intellectual Disabilities: Different But Equal (Oxford University Press, 2003)
 * Public Health Law and Ethics: A Reader (University of California Press and Milbank Memorial Fund, 2002)

title: Larry Gostin


text:
The Last Word (Greene short story)

"The Last Word" is a dystopian short story by the author Graham Greene, written in 1988 (see 1988 in literature). It first appeared in The Independent but can also be found in collections of his short fiction, notably the Penguin edition of The Last Word and Other Stories, for which it is the lead story. The story, written toward the end of Greene's life, reflects his frustration at the declining influence of religion, particularly Catholicism, in the modern world.

"The Last Word" is Greene's final short story, before his death from leukaemia in 1991.

Plot summary
The story revolves around the last Pope, John XXIX, who was overthrown more than twenty years earlier with the establishment of a new world government under General Megrim. The pope is now a frail old man, who lives in obscurity under a moderate form of house arrest, ignored by his neighbours and forbidden to keep any religious items. All he has left is a book, possibly a Bible, that he has managed to hide, and a crucifix with an arm broken off. He is already feeble-minded and has forgotten most of his past, and the world has forgotten him as well—when the concierge at a hotel is told that he is the pope, he answers, "The Pope? What's the Pope?"

When the Pope was toppled, there was an attempt to assassinate him, but this failed, and it was afterwards decided not to make him a martyr to the few surviving Christians. Since then, Christianity has been eradicated, and the Pope is now the last surviving Christian.

In the story, the Pope is flown for a formal meeting with the General, the new leader of the new world order. After many long years, it is a formal meeting, much publicized in the world press. The Pope's robes and even his papal ring are restored to him from the World Museum of Myths, and he is forced to don them for the occasion, faintly remembering earlier days when they were his normal attire. At 11:30 am sharp, he is taken to meet the general, who reminds him that he is "The last Pope, but still a Pope," and therefore still a threat. The general places a gun on the table and offers him an opportunity to die with dignity, "The last Christian. This is a moment of history." After many long years of isolation, this is a relief to the Pope. The two men share a glass of wine before the execution is to take place. His last words, before he is shot, are Corpus domini nostri...

Greene ends the story by reflecting on the General's concern that Christianity may be abandoned and its last believers persecuted, but that somehow the faith will survive. Even after performing the execution himself, the General is plagued by the doubt, "...is it possible that what this man believed may be true?"

title: The Last Word (Greene short story)


text:
Solanine

Solanine is a glycoalkaloid poison found in species of the nightshade family within the genus Solanum, such as the potato (Solanum tuberosum), the tomato (Solanum lycopersicum), and the eggplant (Solanum melongena). It can occur naturally in any part of the plant, including the leaves, fruit, and tubers. Solanine has pesticidal properties, and it is one of the plant's natural defenses. Solanine was first isolated in 1820 from the berries of the European black nightshade (Solanum nigrum), after which it was named. It belongs to the chemical family of saponins.

Symptoms
Solanine poisoning is primarily displayed by gastrointestinal and neurological disorders. Symptoms include nausea, diarrhea, vomiting, stomach cramps, burning of the throat, cardiac dysrhythmia, nightmares, headache, dizziness, itching, eczema, thyroid problems, and inflammation and pain in the joints. In more severe cases, hallucinations, loss of sensation, paralysis, fever, jaundice, dilated pupils, hypothermia, and death have been reported.

Ingestion of solanine in moderate amounts can cause death. One study suggests that doses of 2 to 5 mg/kg of body weight can cause toxic symptoms, and doses of 3 to 6 mg/kg of body weight can be fatal.

Symptoms usually occur 8 to 12 hours after ingestion, but may occur as rapidly as 10 minutes after eating high-solanine foods.

Correlation with birth defects
Some studies show a correlation between the consumption of potatoes suffering from late blight (which increases solanine and other glycoalkaloid levels) and the incidence of spina bifida in humans. However, other studies have shown no correlation between potato consumption and the incidence of birth defects.

Livestock poisoning
Livestock can also be susceptible to glycoalkaloids. High concentrations of solanine are necessary to cause death to mammals. The gastrointestinal tract cannot efficiently absorb solanine, which helps decrease its strength to the mammal body. Livestock can hydrolyze solanine and excrete its contents to diminish its presence in the body.

Mechanism of action
There are several proposed mechanisms of how solanine causes toxicity in humans, but the true mechanism of action is not well understood. Solanum glycoalkaloids have been shown to inhibit cholinesterase, disrupt cell membranes, and cause birth defects. One study suggests that the toxic mechanism of solanine is caused by the chemical's interaction with mitochondrial membranes. Experiments show that solanine exposure opens the potassium channels of mitochondria, increasing their membrane potential. This, in turn, leads to Ca2+ being transported from the mitochondria into the cytoplasm, and this increased concentration of Ca2+ in the cytoplasm triggers cell damage and apoptosis. Potato, tomato, and eggplant glycoalkaloids like solanine have also been shown to affect active transport of sodium across cell membranes. This cell membrane disruption is likely the cause of many of the symptoms of solanine toxicity, including burning sensations in the mouth, nausea, vomiting, abdominal cramps, diarrhea, internal hemorrhaging, and stomach lesions.

Biosynthesis

Solanine is a glycoalkaloid poison created by various plants in the genus Solanum, such as the potato plant. When the plant's stem, tubers, or leaves are exposed to sunlight, it stimulates the biosynthesis of solanine and other glycoalkaloids as a defense mechanism so it is not eaten. It is therefore considered to be a natural pesticide.

Though the structures of the intermediates in this biosynthetic pathway are shown, many of the specific enzymes involved in these chemical processes are not known. However, it is known that in the biosynthesis of solanine, cholesterol is first converted into the steroidal alkaloid solanidine. This is accomplished through a series of hydroxylation, transamination, oxidation, cyclization, dehydration, and reduction reactions. The solanidine is then converted into solanine through a series of glycosylation reactions catalyzed by specific glycosyltransferases.

Plants like the potato and tomato constantly synthesize low levels of glycoalkaloids like solanine. However, under stress, such as the presence of a pest or herbivore, they increase the synthesis of compounds like solanine as a natural chemical defense. This rapid increase in glycoalkaloid concentration gives the potatoes a bitter taste, and stressful stimuli like light also stimulate photosynthesis and the accumulation of chlorophyll. As a result, the potatoes turn green, and are thus unattractive to pests. Other stressors that can stimulate increased solanine biosynthesis include mechanical damage, improper storage conditions, improper food processing, and sprouting. The largest concentration of solanine in response to stress is on the surface in the peel, making it an even better defense mechanism against pests trying to consume it.

Suggested limits on consumption of solanine
Toxicity typically occurs when people ingest potatoes containing high levels of solanine. The average consumption of potatoes in the U.S. is estimated to be about 167 g of potatoes per day per person. There is variation in glycoalkaloid levels in different types of potatoes, but potato farmers aim to keep solanine levels below 0.2 mg/g. Signs of solanine poisoning have been linked to eating potatoes with solanine concentrations of between 0.1 and 0.4 mg per gram of potato. The average potato has 0.075 mg solanine/g potato, which is equal to about 0.18 mg/kg based on average daily potato consumption.

Calculations have shown that 2 to 5 mg/kg of body weight is the likely toxic dose of glycoalkaloids like solanine in humans, with 3 to 6 mg/kg constituting the fatal dose. Other studies have shown that symptoms of toxicity were observed with consumption of even 1 mg/kg.

Storage of potatoes
Various storage conditions can have an impact on the level of solanine in potatoes. Glycoalkaloid levels increase when potatoes are exposed to light because light increases synthesis of glycoalkaloids like solanine. Potatoes stored in a dark place avoid increased solanine synthesis. Potatoes that have turned green due to increased chlorophyll and photosynthesis are indicative of increased light exposure and are therefore associated with high levels of solanine. Synthesis of solanine is also stimulated by mechanical injury because glycoalkaloids are synthesized at cut surfaces of potatoes. Storage of potatoes for extended periods of time has also been associated with increased solanine content. A study found that the solanine levels in Kurfi Jyoti and Kurfi Giriraj potatoes increase solanine levels by 0.232 mg/g and 0.252 mg/g respectively after being poorly stored in a heap.

Effects of cooking on solanine levels
Most home processing methods like boiling, cooking, and frying potatoes have been shown to have minimal effects on solanine levels. For example, boiling potatoes reduces the α-chaconine and α-solanine levels by only 3.5% and 1.2% respectively, but microwaving potatoes reduces the alkaloid content by 15%. Deep frying at 150 C also does not result in any measurable change. Alkaloids like solanine have been shown to start decomposing and degrading at approximately 170 C, and deep-frying potatoes at 210 C for 10 minutes causes a loss of ~40% of the solanine. Freeze-drying and dehydrating potatoes has a very minimal effect on solanine content.

The majority (30–80%) of the solanine in potatoes is found in the outer layer of the potato. Therefore, peeling potatoes before cooking them reduces the glycoalkaloid intake from potato consumption. Fried potato peels have been shown to have 1.4–1.5 mg solanine/g, which is seven times the recommended upper safety limit of 0.2 mg/g. Chewing a small piece of the raw potato peel before cooking can help determine the level of solanine contained in the potato; bitterness indicates high glycoalkaloid content. If the potato has more than 0.2 mg/g of solanine, an immediate burning sensation will develop in the mouth.

Recorded human poisonings
Though fatalities from solanine poisoning are rare, there have been several notable cases of human solanine poisonings. Between 1865 and 1983, there were around 2000 documented human cases of solanine poisoning, with most recovering fully and 30 deaths. Because the symptoms are similar to those of food poisoning, it is possible that there are many undiagnosed cases of solanine toxicity.

In 1899, 56 German soldiers fell ill due to solanine poisoning after consuming cooked potatoes containing 0.24 mg of solanine per gram of potato. There were no fatalities, but a few soldiers were left partially paralyzed and jaundiced. In 1918, there were 41 cases of solanine poisoning in people who had eaten a bad crop of potatoes with 0.43 mg solanine/g potato with no recorded fatalities.

In Scotland in 1918, there were 61 cases of solanine poisoning after consumption of potatoes containing 0.41 mg of solanine per gram of potato, resulting in the death of a five-year old.

A case report from 1925 reported that 7 family members who ate green potatoes fell ill from solanine poisoning two days later, resulting in the deaths of the 45-year-old mother and 16-year-old daughter. The other family members recovered fully. In another case report from 1959, four members of a British family exhibited symptoms of solanine poisoning after eating jacket potatoes containing 0.5 mg of solanine per gram of potato.

There was a mass solanine poisoning incident in 1979 in the U.K., when 78 adolescent boys at a boarding school exhibited symptoms after eating potatoes that had been stored improperly over the summer. Seventeen of them ended up hospitalized, but they all recovered. The potatoes were determined to have between 0.25 and 0.3 mg of solanine per gram of potato.

Another mass poisoning was reported in Canada in 1984, after 61 schoolchildren and teachers showed symptoms of solanine toxicity after consuming baked potatoes with 0.5 mg of solanine per gram of potato.

In potatoes

Potatoes naturally produce solanine and chaconine, a related glycoalkaloid, as a defense mechanism against insects, disease, and herbivores. Potato leaves, stems, and shoots are naturally high in glycoalkaloids.

When potato tubers are exposed to light, they turn green and increase glycoalkaloid production. This is a natural defense to help prevent the uncovered tuber from being eaten. The green colour is from chlorophyll, and is itself harmless. However, it is an indication that increased level of solanine and chaconine may be present. In potato tubers, 30–80% of the solanine develops in and close to the skin, and some potato varieties have high levels of solanine.

Some potato diseases, such as late blight, can dramatically increase the levels of glycoalkaloids present in potatoes. Tubers damaged in harvesting and/or transport also produce increased levels of glycoalkaloids; this is believed to be a natural reaction of the plant in response to disease and damage.

Also, the tuber glycoalkaloids (such as solanine) can be affected by some chemical fertilization. For example, different studies have reported that glycoalkaloids content increases by increasing the concentration of nitrogen fertilizer.

Green colouring under the skin strongly suggests solanine build-up in potatoes, although each process can occur without the other. A bitter taste in a potato is another – potentially more reliable – indicator of toxicity. Because of the bitter taste and appearance of such potatoes, solanine poisoning is rare outside conditions of food shortage. The symptoms are mainly vomiting and diarrhea, and the condition may be misdiagnosed as gastroenteritis. Most potato poisoning victims recover fully, although fatalities are known, especially when victims are undernourished or do not receive suitable treatment.

The United States National Institutes of Health's information on solanine strongly advises against eating potatoes that are green below the skin.

In other plants
Fatalities are also known from solanine poisoning from other plants in the nightshade family, such as the berries of Solanum dulcamara (woody nightshade).

Some, such as the California Poison Control Center, have claimed that tomatoes and tomato leaves contain solanine. However, Mendel Friedman of the United States Department of Agriculture contradicts this claim, stating that tomatine, a relatively benign alkaloid, is the tomato alkaloid while solanine is found in potatoes. Food science writer Harold McGee has found scant evidence for tomato toxicity in the medical and veterinary literature.
 * In tomatoes

In popular culture
Dorothy L. Sayers's short story "The Leopard Lady", in the 1939 collection In the Teeth of the Evidence, features a child poisoned by potato berries injected with solanine to increase their toxicity.

title: Solanine


text:
Sympodial branching

Sympodial growth is a bifurcating branching pattern where one branch develops more strongly than the other, resulting in the stronger branches forming the primary shoot and the weaker branches appearing laterally. A sympodium, also referred to as a sympode or pseudaxis, is the primary shoot, comprising the stronger branches, formed during sympodial growth. The pattern is similar to dichotomous branching; it is characterized by branching along stems or hyphae.

In botany, sympodial growth occurs when the apical meristem is terminated and growth is continued by one or more lateral meristems, which repeat the process. The apical meristem may be consumed to make an inflorescence or other determinate structure, or it may be aborted.

Types
If the sympodium is always formed on the same side of the branch bifurcation, e.g. always on the right side, the branching structure is called a helicoid cyme or bostryx.

If the sympodium occurs alternately, e.g. on the right and then the left, the branching pattern is called a scorpioid cyme or cincinus (also spelled cincinnus).

Leader displacement may result: the stem appears to be continuous, but is in fact derived from the meristems of multiple lateral branches, rather than a monopodial plant whose stems derive from one meristem only.

Dichotomous substitution may result: two equal laterals continue the main growth.

In orchids
In some orchids, the apical meristem of the rhizome forms an ascendent swollen stem called a pseudobulb, and the apical meristem is consumed in a terminal inflorescence. Continued growth occurs in the rhizome, where a lateral meristem takes over to form another pseudobulb and repeat the process. This process is evident in the jointed appearance of the rhizome, where each segment is the product of an individual meristem, but the sympodial nature of a stem is not always clearly visible.

title: Sympodial branching


text:
Sufentanil

Sufentanil, sold under the brand names Dsuvia and Sufenta, is a synthetic opioid analgesic drug approximately 5 to 10 times as potent as its parent drug, fentanyl, and 500 to 1,000 times as potent as morphine. Structurally, sufentanil differs from fentanyl through the addition of a methoxymethyl group on the piperidine ring (which increases potency but is believed to reduce duration of action ), and the replacement of the phenyl ring by thiophene. Sufentanil first was synthesized at Janssen Pharmaceutica in 1974.

Sufentanil is marketed for use by specialist centers under different trade names, such as Sufenta and Sufentil. Sufentanil with and without lidocaine or mepivacaine is available as a transdermal patch similar to Duragesic in Europe under trade names such as Chronogesic. It is available as a sublingual tablet under the trade name Dsuvia.

Medical uses
The main use of this medication is in operating suites and critical care where pain relief is required for a short period of time. It also offers properties of sedation and this makes it a good analgesic component of anesthetic regimen during an operation.

Because of its extremely high potency, it is often used in surgery and post-operative pain management for patients that are heavily opioid dependent/opioid tolerant because of long term opiate use for chronic pain or illicit opiate use. Currently sufentanil is the most potent opioid painkiller available for use in humans. Although more potent narcotic pain medications do exist, all medications stronger than sufentanil are approved for veterinary use only. It is also used in surgery and post operative pain control in patients that are taking high dose buprenorphine for chronic pain because it is the only opioid that has a potency and binding affinity strong enough to displace buprenorphine from the opioid receptors in the central nervous system and provide analgesia.

In 2018, the Food and Drug Administration (FDA) approved Dsuvia, a sublingual tablet form of the drug, that was developed in a collaboration between AcelRx Pharmaceuticals and the United States Department of Defense for use in battlefield settings where intravenous (IV) treatments may not be readily available. The decision to approve this new potent synthetic opioid came under criticism from politicians and from the chair of the FDA advisory committee, who fear that the tablets will be easily diverted to the illegal drug market.

Side effects
It is essential for the administering medical professional to be trained in airway management with readily available airway equipment because the drug causes significant respiratory depression and may cause respiratory arrest if given too rapidly or in too high a dose. Other opioid side effects such as heart rhythm irregularity, blood pressure changes and nausea/vomiting can also be present in patients given this drug and should be dealt with accordingly.

Sufentanil has been associated with extremely rare instances of life-threatening anaphylaxis.

Management
Because sufentanil is very potent, practitioners must be prepared to reverse the effects of the drug should the patient exhibit symptoms of overdose such as respiratory depression or respiratory arrest. As for all other opioid-based medications, naloxone (trade name Narcan) is the definitive antidote for overdose. Depending on the amount administered, it can reverse the respiratory depression and, if enough is administered, completely reverse the effects of sufentanil.

title: Sufentanil


text:
Talk:Particle physics

Large scale rewrites of page need discussion first
, you have been trying to remove/change large sections of this page, and your changes have been reverted. Many editors have spent time working on this page and you seem to want to remove all their work and start over. Since editors have objected to what you are doing it is time to discuss here on the talk page. See Consensus. The article can use improvement. Can you outline what you propose to do? Changing section by section, and incorporating good material already there, is a better approach. An overview article like this may well need reorganizing since it has just grown over time. StarryGrandma (talk) 00:30, 29 July 2022 (UTC)

 * I am currently planning to rewrite the whole article entirely. I've incorporated some of the materials to my new version, however the lack of sources make it really hard to justify doing so. The article's organization currently is very disorganized and undue, so expanding these sections individually is not a great option either. (why should the Subatomic particles section be separated from the Standard Model section? Why should there be a list at the Experimental laboratories section at all?) CactiStaccingCrane (talk) 00:51, 29 July 2022 (UTC)
 * StarryGrandma do you think that my revised version is ok now? CactiStaccingCrane (talk) 01:55, 29 July 2022 (UTC)
 * Also notifying earlier revert by others: User:Yakme and User:Spicy. CactiStaccingCrane (talk) 02:33, 29 July 2022 (UTC)
 * @CactiStaccingCrane, I don't have any way to easily compare what is in your sandbox with what is in the article. And more people need to be involved. I will post a note at Wikipedia talk:WikiProject Physics. Tell us what your plan is for the article. The article says almost nothing about the experimental side of particle physics (experimentalists tend not to edit Wikipedia as much as theorists). The section about labs is the only thing so it shouldn't just be removed. It should be replaced with sections on what experimental particle physics is and how it is carried out. The history section lacks information about that area also. StarryGrandma (talk) 02:34, 29 July 2022 (UTC)
 * Agreed, I am not at all an expert at the topic really, I'm just expanding the article with summarized sourced content from other articles. That's why I keep the "Fundamental interactions" section empty, I couldn't wrap my head around it :) CactiStaccingCrane (talk) 02:37, 29 July 2022 (UTC)
 * If you are copying things from other articles you have to be careful to credit the material to those other articles. See Copying within Wikipedia. I suggest doing an outline of what you think the article should look like first. What topics should be in a top-level particle physics/high energy physics article. There are whole textbooks on the subject and this will just be a relatively short article. StarryGrandma (talk) 03:19, 29 July 2022 (UTC)
 * For an example see the table of contents at Introduction to High Energy Physics by Donald Hill Perkins. StarryGrandma (talk) 03:22, 29 July 2022 (UTC)

@User:CactiStaccingCrane, I am not at all an expert at the topic really then sorry but I totally do not trust your judgement on the re-structuring of this article, which is very technical. You cannot really say that there is a lack of sources on particle physics, either! Given that particle physics is one of the most studied branches of physics with tens of thousands of publications per year. The major problem with your restructuring is also that one cannot really notice what you changed and what you kept or moved around. If you would like to improve this article I would suggest to do so gradually, with a proper edit message for each step, so that other editors can see what you changed. Yakme (talk) 06:56, 29 July 2022 (UTC)

 * I think you misunderstand my message – I mean the old version of the article is lacking a lot of sources, so reusing the content is sub-optimal. That's why I rewrite the article entirely rather than just retrofitting the old version. But otherwise, you are right, I should have detailed my plans on the edit summary and on the talk page more throughly. CactiStaccingCrane (talk) 07:03, 29 July 2022 (UTC)
 * The article needs to focus both on theory, experiment, and the in-between (particle phenomenology). At the moment the rewrite seems to be a brief summary of the types of particles there are in the SM and a bit on BSM physics. But those articles do that already; the summary here should not be the main aspect of this article, although a brief summary is needed. Rather this article should focus on what this field is about, that is what is done in it. Most of particle theory is particle phenomenology, that is constraining possible SM extensions using experiments and it should briefly elaborate a bit on these (axions, composite Higgs, dark photons, etc etc etc). Particle theory in other things is also important, such as particle cosmology and astroparticle physics. There is also a lot on improving SM calculations (higher order loop calculations, scattering amplitude methods, etc). Then, half of the article should be on experimental particle physics; looking at what experimentalists do, some accelerator physics, calculation techniques, something on the numerical side (ROOT, lattice methods, etc). But generally SM based particle physics focuses on precision measurements to test the limits of the SM and measuring the many particle properties (just browse the Particle Data Group (PDG) to see). The PDG 2022 Review chapters (there is a lot of them) gives a pretty good idea of what particle physics is about. OpenScience709 (talk) 11:10, 29 July 2022 (UTC)
 * OpenScience709, I just changed the draft to have 4 main sections: history, theory, experimental (including phenomenology), and interdisciplinary (Astroparticle physics and such). I may be able to help a little bit at the history and interdisciplinary sections, but the theory and experimental sections are just way beyond me. Feel free to make changes to the draft, I don't mind the sections being rearranged again. CactiStaccingCrane (talk) 11:26, 29 July 2022 (UTC)
 * Update: I moved the draft to Draft:Particle physics to give space for my sandbox. CactiStaccingCrane (talk) 04:09, 30 July 2022 (UTC)
 * Yakme, StarryGrandma, OpenScience709 Do you guys have any more concerns about the draft? Is it ok to go online now? CactiStaccingCrane (talk) 03:46, 31 July 2022 (UTC)
 * Well, I'm just gonna post the draft per WP:BOLD and wait for the response then. No use waiting forever. CactiStaccingCrane (talk) 07:26, 31 July 2022 (UTC)
 * I think that was a mistake. The earlier version was better . The new draft had grammatical and other errors and I have corrected some of these. It is hardly "forever"  since the 29th of July and not enough time has been allowed for a full discussion. I propose reverting to the earlier version. Graham Beards (talk) 16:21, 31 July 2022 (UTC)
 * Graham Beards, feel free to revert my edits. I have bit off more than I can chew. CactiStaccingCrane (talk) 12:30, 1 August 2022 (UTC)
 * CactiStaccingCrane I think your introduction added some value. Graham Beards (talk) 15:12, 1 August 2022 (UTC)

high energy physics?
Just wondering why this isn't high energy physics? I would think that is the WP:COMMONNAME, at least among physicists. One complication, I don't know if it should have the hyphen or not. Gah4 (talk) 18:58, 13 June 2023 (UTC)
 * Particle physics is not restricted to high energies. Where does this idea even come from? ♆ CUSH ♆ 13:45, 14 June 2023 (UTC)
 * High energy physics is one of the common names - on the experimental side the energies are high. See https://www.energy.gov/science/hep/high-energy-physics and https://science.osti.gov/hep/Research/Science-Drivers-of-Particle-Physics from the US Office of High Energy Physics. Not hyphenated. StarryGrandma (talk) 14:06, 14 June 2023 (UTC)

Wiki Education assignment: 4A Wikipedia Assignment
— Assignment last updated by Timbenuka (talk) 03:08, 16 November 2023 (UTC)

Future section?
@Drbogdan Are plans and speculation notable aspects of particle physics? News about plans? Do we want to have research proposals from groups doing particle physics? Grant proposals? Etc. I say no, only verifiable information about particle physics here.

It seems reasonable to mention the P5 group but the details of the P5 group belong on Particle Physics Project Prioritization Panel. Johnjbarton (talk) 16:40, 8 December 2023 (UTC)
 * (and others) - Thank You for your comments - yes - *entirely* agree - no problem whatsoever - whatever is finally decided is completely ok with me - Thanks again for your comments - and - Stay Safe and Healthy !! - Drbogdan (talk) 17:01, 8 December 2023 (UTC)
 * Thanks! I moved your paragraph into the P5 page where it nicely filled in a blank spot in the TOC! Johnjbarton (talk) 17:26, 8 December 2023 (UTC)

title: Talk:Particle physics