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Asteroid | Dedicated missions | Dedicated missions
The first asteroid to be photographed in close-up was 951 Gaspra in 1991, followed in 1993 by 243 Ida and its moon Dactyl, all of which were imaged by the Galileo probe en route to Jupiter. Other asteroids briefly visited by spacecraft en route to other destinations include 9969 Braille (by Deep Space 1 in 1999), 5535 Annefrank (by Stardust in 2002), 2867 Šteins and 21 Lutetia (by the Rosetta probe in 2008), and 4179 Toutatis (China's lunar orbiter Chang'e 2, which flew within in 2012).
The first dedicated asteroid probe was NASA's NEAR Shoemaker, which photographed 253 Mathilde in 1997, before entering into orbit around 433 Eros, finally landing on its surface in 2001. It was the first spacecraft to successfully orbit and land on an asteroid. From September to November 2005, the Japanese Hayabusa probe studied 25143 Itokawa in detail and returned samples of its surface to Earth on 13 June 2010, the first asteroid sample-return mission. In 2007, NASA launched the Dawn spacecraft, which orbited 4 Vesta for a year, and observed the dwarf planet Ceres for three years.
Hayabusa2, a probe launched by JAXA 2014, orbited its target asteroid 162173 Ryugu for more than a year and took samples that were delivered to Earth in 2020. The spacecraft is now on an extended mission and expected to arrive at a new target in 2031.
NASA launched the OSIRIS-REx in 2016, a sample return mission to asteroid 101955 Bennu. In 2021, the probe departed the asteroid with a sample from its surface. Sample was delivered to Earth in September 2023. The spacecraft continues its extended mission, designated OSIRIS-APEX, to explore near-Earth asteroid Apophis in 2029.
In 2021, NASA launched Double Asteroid Redirection Test (DART), a mission to test technology for defending Earth against potential hazardous objects. DART deliberately crashed into the minor-planet moon Dimorphos of the double asteroid Didymos in September 2022 to assess the potential of a spacecraft impact to deflect an asteroid from a collision course with Earth. In October, NASA declared DART a success, confirming it had shortened Dimorphos' orbital period around Didymos by about 32 minutes.
NASA's Lucy, launched in 2021, is a multiple-asteroid flyby probe focused on flying by 7 Jupiter trojans of varying types. While not yet set to reach its first main target, 3548 Eurybates, until 2027, it has made a flyby of main-belt asteroid 152830 Dinkinesh and is set to flyby another asteroid 52246 Donaldjohanson in 2025. |
Asteroid | Planned missions | Planned missions
thumb|upright=1.3|Asteroids and comets visited by spacecraft as of 2019 (except Ceres and Vesta), to scale
NASA's Psyche, launched in October 2023, is intended to study the large metallic asteroid of the same name, and is on track to arrive there in 2029.
ESA's Hera, launched in October 2024, is intended study the results of the DART impact. It is expected to measure the size and morphology of the crater, and momentum transmitted by the impact, to determine the efficiency of the deflection produced by DART.
JAXA's DESTINY+ is a mission for a flyby of the Geminids meteor shower parent body 3200 Phaethon, as well as various minor bodies. Its launch is planned for 2024.
CNSA's Tianwen-2 is planned to launch in 2025. If all goes as planned, it will use solar electric propulsion to explore the co-orbital near-Earth asteroid 469219 Kamoʻoalewa and the active asteroid 311P/PanSTARRS. The spacecraft is tasked with collecting samples of the regolith of Kamo'oalewa. |
Asteroid | Asteroid mining | Asteroid mining
thumb|Artist's concept of a crewed mission to an asteroid
The concept of asteroid mining was proposed in 1970s. Matt Anderson defines successful asteroid mining as "the development of a mining program that is both financially self-sustaining and profitable to its investors". It has been suggested that asteroids might be used as a source of materials that may be rare or exhausted on Earth, or materials for constructing space habitats. Materials that are heavy and expensive to launch from Earth may someday be mined from asteroids and used for space manufacturing and construction.
As resource depletion on Earth becomes more real, the idea of extracting valuable elements from asteroids and returning these to Earth for profit, or using space-based resources to build solar-power satellites and space habitats, becomes more attractive. Hypothetically, water processed from ice could refuel orbiting propellant depots.
From the astrobiological perspective, asteroid prospecting could provide scientific data for the search for extraterrestrial intelligence (SETI). Some astrophysicists have suggested that if advanced extraterrestrial civilizations employed asteroid mining long ago, the hallmarks of these activities might be detectable. |
Asteroid | Threats to Earth | Threats to Earth
thumb|Frequency of bolides, small asteroids roughly 1 to 20 meters in diameter impacting Earth's atmosphere
There is increasing interest in identifying asteroids whose orbits cross Earth's, and that could, given enough time, collide with Earth. The three most important groups of near-Earth asteroids are the Apollos, Amors, and Atens.
The near-Earth asteroid 433 Eros had been discovered as long ago as 1898, and the 1930s brought a flurry of similar objects. In order of discovery, these were: 1221 Amor, 1862 Apollo, 2101 Adonis, and finally 69230 Hermes, which approached within 0.005 AU of Earth in 1937. Astronomers began to realize the possibilities of Earth impact.
Two events in later decades increased the alarm: the increasing acceptance of the Alvarez hypothesis that an impact event resulted in the Cretaceous–Paleogene extinction, and the 1994 observation of Comet Shoemaker-Levy 9 crashing into Jupiter. The U.S. military also declassified the information that its military satellites, built to detect nuclear explosions, had detected hundreds of upper-atmosphere impacts by objects ranging from one to ten meters across.
All of these considerations helped spur the launch of highly efficient surveys, consisting of charge-coupled device (CCD) cameras and computers directly connected to telescopes. , it was estimated that 89% to 96% of near-Earth asteroids one kilometer or larger in diameter had been discovered. , the LINEAR system alone had discovered 147,132 asteroids. Among the surveys, 19,266 near-Earth asteroids have been discovered including almost 900 more than in diameter.
In June 2018, the National Science and Technology Council warned that the United States is unprepared for an asteroid impact event, and has developed and released the "National Near-Earth Object Preparedness Strategy Action Plan" to better prepare. According to expert testimony in the United States Congress in 2013, NASA would require at least five years of preparation before a mission to intercept an asteroid could be launched. |
Asteroid | Asteroid deflection strategies | Asteroid deflection strategies
thumb|Double Asteroid Redirection Test in 2022 demonstrated that spacecraft impact is a viable option for planetary defense.
Various collision avoidance techniques have different trade-offs with respect to metrics such as overall performance, cost, failure risks, operations, and technology readiness. There are various methods for changing the course of an asteroid/comet.C. D. Hall and I. M. Ross, "Dynamics and Control Problems in the Deflection of Near-Earth Objects", Advances in the Astronautical Sciences, Astrodynamics 1997, Vol. 97, Part I, 1997, pp. 613–631. These can be differentiated by various types of attributes such as the type of mitigation (deflection or fragmentation), energy source (kinetic, electromagnetic, gravitational, solar/thermal, or nuclear), and approach strategy (interception,Solem, J. C.; Snell, C. (1994). "Terminal intercept for less than one orbital period warning ", a chapter in Hazards Due to Comets and Asteroids, Geherels, T., ed. (University of Arizona Press, Tucson), pp. 1013–1034. rendezvous, or remote station).
Strategies fall into two basic sets: fragmentation and delay. Fragmentation concentrates on rendering the impactor harmless by fragmenting it and scattering the fragments so that they miss the Earth or are small enough to burn up in the atmosphere. Delay exploits the fact that both the Earth and the impactor are in orbit. An impact occurs when both reach the same point in space at the same time, or more correctly when some point on Earth's surface intersects the impactor's orbit when the impactor arrives. Since the Earth is approximately 12,750 km in diameter and moves at approx. 30 km per second in its orbit, it travels a distance of one planetary diameter in about 425 seconds, or slightly over seven minutes. Delaying, or advancing the impactor's arrival by times of this magnitude can, depending on the exact geometry of the impact, cause it to miss the Earth.
"Project Icarus" was one of the first projects designed in 1967 as a contingency plan in case of collision with 1566 Icarus. The plan relied on the new Saturn V rocket, which did not make its first flight until after the report had been completed. Six Saturn V rockets would be used, each launched at variable intervals from months to hours away from impact. Each rocket was to be fitted with a single 100-megaton nuclear warhead as well as a modified Apollo Service Module and uncrewed Apollo Command Module for guidance to the target. The warheads would be detonated 30 meters from the surface, deflecting or partially destroying the asteroid. Depending on the subsequent impacts on the course or the destruction of the asteroid, later missions would be modified or cancelled as needed. The "last-ditch" launch of the sixth rocket would be 18 hours prior to impact. |
Asteroid | Fiction | Fiction
Asteroids and the asteroid belt are a staple of science fiction stories. Asteroids play several potential roles in science fiction: as places human beings might colonize, resources for extracting minerals, hazards encountered by spacecraft traveling between two other points, and as a threat to life on Earth or other inhabited planets, dwarf planets, and natural satellites by potential impact. |
Asteroid | See also | See also
Exoasteroid
List of minor planets
List of exceptional asteroids
List of asteroid close approaches to Earth
Lost minor planet
Meanings of minor-planet names |
Asteroid | Notes | Notes |
Asteroid | References | References |
Asteroid | Further reading | Further reading
|
Asteroid | External links | External links
NASA Asteroid and Comet Watch site
Category:Minor planets
Category:Solar System |
Asteroid | Table of Content | Short description, Terminology{{anchor, History of observations, Discovery of Ceres, Further search, 19th and 20th centuries, Naming, Symbols, Formation, Distribution within the Solar System, Asteroid belt, Trojans, Near-Earth asteroids, Martian moons, Characteristics, Size distribution, Largest asteroids, Rotation, Color, Surface features, Composition, Water, Organic compounds, Classification, Orbital classification, Spectral classification, Problems, Active asteroids, Observation and exploration, Ground-based observations, Space-based observations, Space probe missions, Dedicated missions, Planned missions, Asteroid mining, Threats to Earth, Asteroid deflection strategies, Fiction, See also, Notes, References, Further reading, External links |
Allocution | Short description | An allocution, or allocutus, is a formal statement made to a court by the defendant who has been found guilty before being sentenced. It is part of the criminal procedure in some jurisdictions using common law. |
Allocution | Concept | Concept
An allocution allows the defendant to explain why the sentence should be lenient. In plea bargains, an allocution may be required of the defendant. The defendant explicitly admits specifically and in detail the actions and their reasons in exchange for a reduced sentence.
In principle, that removes any doubt as to the exact nature of the defendant's guilt in the matter.
The term allocution is used generally only in jurisdictions in the United States, but there are vaguely similar processes in other common law countries. In many other jurisdictions, it is for the defense lawyer to mitigate on their client's behalf, and the defendant rarely has the opportunity to speak. |
Allocution | Australia | Australia
In Australia, the term allocutus is used by the Clerk of Arraigns or another formal associate of the court.
It is generally phrased as: "Prisoner at the Bar, you have been found Guilty by a jury of your peers of the offence of XYZ. Do you have anything to say as to why the sentence of this Court should not now be passed upon you?"e.g. in Queensland, Criminal Practice Rules 1999 s51
The defense counsel will then make a plea in mitigation (also called submissions on penalty) in an attempt to mitigate the relative seriousness of the offense, and heavily refer to and rely upon the defendant's previous good character and good works, if any.
The right to make a plea in mitigation is absolute: if a judge or magistrate refuses to hear such a plea or does not properly consider it, the sentence can be overturned on appeal. |
Allocution | United States | United States
In most of the United States, defendants are allowed the opportunity to allocute before a sentence is passed. Some jurisdictions hold that as an absolute right. In its absence, a sentence but not the conviction may be overturned, resulting in the need for a new sentencing hearing. In the federal system, Federal Rules of Criminal Procedure 32(i)(4) provides that the court must "address the defendant personally in order to permit the defendant to speak or present any information to mitigate the sentence".
The Federal Public Defender recommends that defendants speak in terms of how a lenient sentence will be sufficient but not greater than necessary to comply with the statutory directives set forth in . |
Allocution | See also | See also
Confession (law)
Newton hearing, the equivalent in England and Wales |
Allocution | References | References
Category:Criminal procedure
Category:Evidence law |
Allocution | Table of Content | Short description, Concept, Australia, United States, See also, References |
Affidavit | Short description | thumb|Vasil Levski's affidavit, 16 June 1872, Bucharest, Romania
An ( ; Medieval Latin for "he has declared under oath") is a written statement voluntarily made by an affiant or deponent under an oath or affirmation which is administered by a person who is authorized to do so by law. Such a statement is witnessed as to the authenticity of the affiant's signature by a taker of oaths, such as a notary public or commissioner of oaths. An affidavit is a type of verified statement or showing, or containing a verification, meaning it is made under oath on penalty of perjury. It serves as evidence for its veracity and is required in court proceedings. |
Affidavit | Definition | Definition
An affidavit is typically defined as a written declaration or statement that is sworn or affirmed before a person who has authority to administer an oath. There is no general defined form for an affidavit, although for some proceedings an affidavit must satisfy legal or statutory requirements in order to be considered. An affidavit may include,
a commencement which identifies the affiant;
an attestation clause, usually a jurat, at the end certifying that the affiant made the statement under oath on the specified date;
signatures of the affiant and person who administered the oath.
In some cases, an introductory clause, called a preamble, is added attesting that the affiant personally appeared before the authenticating authority. An affidavit may also recite that the statement it records was made under penalty of perjury.
An affidavit that is prepared for use within the context of litigation may also include a caption that identifies the venue and parties to the relevant judicial proceedings. |
Affidavit | Worldwide | Worldwide |
Affidavit | Australia | Australia
On 2 March 2016, the High Court of Australia held that the ACT Uniform Evidence Legislation is neutral in the way sworn evidence and unsworn evidence is treated as being of equal weight. |
Affidavit | United Kingdom | United Kingdom
The term "affidavit" is used in the UK. According to the UK government website, "The affidavit can be sworn or affirmed by a solicitor, notary or commissioner for oaths (for a charge) or by an authorised member of court staff." |
Affidavit | India | India
In Indian law, although an affidavit may be taken as proof of the facts stated therein, the courts have no jurisdiction to admit evidence by way of affidavit. Affidavit is not treated as "evidence" within the meaning of Section 3 of the Evidence Act. However, it was held by the Supreme Court that an affidavit can be used as evidence only if the court so orders for sufficient reasons, namely, the right of the opposite party to have the deponent produced for cross-examination.Khandesh Spg & Wvg Mills Co. Ltd. vs Rashtriya Girni Kamgar Sangh, citation 1960 AIR571, 1960 SCR(2) 841) Therefore, an affidavit cannot ordinarily be used as evidence in absence of a specific order of the court. |
Affidavit | Sri Lanka | Sri Lanka
In Sri Lanka, under the Oaths Ordinance, with the exception of a court-martial, a person may submit an affidavit signed in the presence of a commissioner for oaths or a justice of the peace. |
Affidavit | Ireland | Ireland
Affidavits are made in a similar way as to England and Wales, although "make oath" is sometimes omitted. An affirmed affidavit may be substituted for an sworn affidavit in most cases for those opposed to swearing oaths. The person making the affidavit is known as the deponent and signs the affidavit. The affidavit concludes in the standard format "sworn/affirmed (declared) before me, [name of commissioner for oaths/solicitor], a commissioner for oaths (solicitor), on the [date] at [location] in the county/city of [county/city], and I know the deponent", and it is signed and stamped by the commissioner for oaths. It is important that the Commissioner states his/her name clearly, sometimes documents are rejected when the name cannot be ascertained.
In August 2020, a new method of filing affidavits came into force. Under Section 21 of the Civil Law and Criminal Law (Miscellaneous Provisions) Act 2020 witnesses are no longer required to swear before God or make an affirmation when filing an affidavit. Instead, witnesses will make a non-religious "statement of truth" and, if it is breached, will be liable for up to one year in prison if convicted summarily or, upon conviction on indictment, to a maximum fine of €250,000 or imprisonment for a term not exceeding 5 years, or both.
This is designed to replace affidavits and statutory declarations in situations where the electronic means of lodgement or filing of documents with the Court provided for in Section 20 is utilised. As of January 2022, it has yet to be adopted widely, and it is expected it will not be used for some time by lay litigants who will still lodge papers in person. |
Affidavit | United States | United States
thumb|upright=0.9|Affidavit signed by Harriet Tubman
In American jurisprudence, under the rules for hearsay, admission of an unsupported affidavit as evidence is unusual (especially if the affiant is not available for cross-examination) with regard to material facts which may be dispositive of the matter at bar. Affidavits from persons who are dead or otherwise incapacitated, or who cannot be located or made to appear, may be accepted by the court, but usually only in the presence of corroborating evidence. An affidavit which reflected a better grasp of the facts close in time to the actual events may be used to refresh a witness's recollection. Materials used to refresh recollection are admissible as evidence. If the affiant is a party in the case, the affiant's opponent may be successful in having the affidavit admitted as evidence, as statements by a party-opponent are admissible through an exception to the hearsay rule.
Affidavits are typically included in the response to interrogatories.Rule 33. Interrogatories to Parties. Cornell Legal Information Institute.Interrogatories. Requests for admissions under Federal Rule of Civil Procedure 36, however, are not required to be sworn.Federal Rule of Civil Procedure 36.Cornell Legal Information Institute.
When a person signs an affidavit, that person is eligible to take the stand at a trial or evidentiary hearing. One party may wish to summon the affiant to verify the contents of the affidavit, while the other party may want to cross-examine the affiant about the affidavit.
Some types of motions will not be accepted by the court unless accompanied by an independent sworn statement or other evidence in support of the need for the motion. In such a case, a court will accept an affidavit from the filing attorney in support of the motion, as certain assumptions are made, to wit: The affidavit in place of sworn testimony promotes judicial economy. The lawyer is an officer of the court and knows that a false swearing by them, if found out, could be grounds for severe penalty up to and including disbarment. The lawyer if called upon would be able to present independent and more detailed evidence to prove the facts set forth in his affidavit.
Affidavits should not be confused with unsworn declarations under penalty of perjury. In federal courts and about 20 states as of 2006, unsworn declarations under penalty of perjury are authorized by statute as acceptable in lieu of affidavits. The key differences are that an unsworn declaration does not bear the jurat of a notary public and the declarant is not required to swear an oath or affirmation. Rather, the signature of the declarant under a carefully worded phrase binding them to the truth of their statements "under penalty of perjury" is deemed as a matter of law to be sufficiently solemn to remind the declarant of their duty to tell the truth, the whole truth, and nothing but the truth (that is, the oath they would normally swear if they were testifying in person in a court of law). The point of such affidavit substitution statutes is that unsworn declarations can be prepared and executed far more quickly and economically than affidavits, in that the witness need not meet personally with a notary public for the notarization process.
The acceptance of an affidavit by one society does not confirm its acceptance as a legal document in other jurisdictions. Equally, the acceptance that a lawyer is an officer of the court (for swearing the affidavit) is not a given. This matter is addressed by the use of the apostille, a means of certifying the legalization of a document for international use under the terms of the 1961 Hague Convention Abolishing the Requirement of Legalization for Foreign Public Documents. Documents which have been notarized by a notary public, and certain other documents, and then certified with a conformant apostille, are accepted for legal use in all the nations that have signed the Hague Convention. Thus most affidavits now require to be apostilled if used for cross border issues. |
Affidavit | See also | See also
Declaration (law)
Deposition (law)
Fishman Affidavit, a well-known example of an affidavit
Performativity
Statutory declaration
Sworn declaration |
Affidavit | References | References
Category:Evidence law
Category:Legal documents
Category:Notary
Category:Oaths |
Affidavit | Table of Content | Short description, Definition, Worldwide, Australia, United Kingdom, India, Sri Lanka, Ireland, United States, See also, References |
Aries (constellation) | Short description | Aries is one of the constellations of the zodiac. It is located in the Northern celestial hemisphere between Pisces to the west and Taurus to the east. The name Aries is Latin for ram. Its old astronomical symbol is 20px (♈︎). It is one of the 48 constellations described by the 2nd century astronomer Ptolemy, and remains one of the 88 modern constellations. It is a mid-sized constellation ranking 39th in overall size, with an area of 441 square degrees (1.1% of the celestial sphere).
Aries has represented a ram since late Babylonian times. Before that, the stars of Aries formed a farmhand. Different cultures have incorporated the stars of Aries into different constellations including twin inspectors in China and a porpoise in the Marshall Islands. Aries is a relatively dim constellation, possessing only four bright stars: Hamal (Alpha Arietis, second magnitude), Sheratan (Beta Arietis, third magnitude), Mesarthim (Gamma Arietis, fourth magnitude), and 41 Arietis (also fourth magnitude). The few deep-sky objects within the constellation are quite faint and include several pairs of interacting galaxies. Several meteor showers appear to radiate from Aries, including the Daytime Arietids and the Epsilon Arietids. |
Aries (constellation) | History and mythology | History and mythology
Aries is now recognized as an official constellation, albeit as a specific region of the sky, by the International Astronomical Union. It was originally defined in ancient texts as a specific pattern of stars, and has remained a constellation since ancient times; it now includes the ancient pattern and the surrounding stars. In the description of the Babylonian zodiac given in the clay tablets known as the MUL.APIN, the constellation, now known as Aries, was the final station along the ecliptic. The MUL.APIN was a comprehensive table of the rising and settings of stars, which likely served as an agricultural calendar. Modern-day Aries was known as , "The Agrarian Worker" or "The Hired Man". Although likely compiled in the 12th or 11th century BC, the MUL.APIN reflects a tradition that marks the Pleiades as the vernal equinox, which was the case with some precision at the beginning of the Middle Bronze Age. The earliest identifiable reference to Aries as a distinct constellation comes from the boundary stones that date from 1350 to 1000 BC. On several boundary stones, a zodiacal ram figure is distinct from the other characters. The shift in identification from the constellation as the Agrarian Worker to the Ram likely occurred in later Babylonian tradition because of its growing association with Dumuzi the Shepherd. By the time the MUL.APIN was created—in 1000 BC—modern Aries was identified with both Dumuzi's ram and a hired labourer. The exact timing of this shift is difficult to determine due to the lack of images of Aries or other ram figures.
In ancient Egyptian astronomy, Aries was associated with the god Amun-Ra, who was depicted as a man with a ram's head and represented fertility and creativity. Because it was the location of the vernal equinox, it was called the "Indicator of the Reborn Sun". During the times of the year when Aries was prominent, priests would process statues of Amon-Ra to temples, a practice that was modified by Persian astronomers centuries later. Aries acquired the title of "Lord of the Head" in Egypt, referring to its symbolic and mythological importance.
thumb|left|300px|Aries and Musca Borealis as depicted in Urania's Mirror, a set of constellation cards published in London
thumb|Aries depicted in an early medieval manuscript,
Aries was not fully accepted as a constellation until classical times. In Hellenistic astrology, the constellation of Aries is associated with the golden ram of Greek mythology that rescued Phrixus and Helle on orders from Hermes, taking Phrixus to the land of Colchis. Phrixus and Helle were the son and daughter of King Athamas and his first wife Nephele. The king's second wife, Ino, was jealous and wished to kill his children. To accomplish this, she induced famine in Boeotia, then falsified a message from the Oracle of Delphi that said Phrixus must be sacrificed to end the famine. Athamas was about to sacrifice his son atop Mount Laphystium when Aries, sent by Nephele, arrived. Helle fell off of Aries's back in flight and drowned in the Dardanelles, also called the Hellespont in her honour.
Historically, Aries has been depicted as a crouched, wingless ram with its head turned towards Taurus. Ptolemy asserted in his Almagest that Hipparchus depicted Alpha Arietis as the ram's muzzle, though Ptolemy did not include it in his constellation figure. Instead, it was listed as an "unformed star", and denoted as "the star over the head". John Flamsteed, in his Atlas Coelestis, followed Ptolemy's description by mapping it above the figure's head. Flamsteed followed the general convention of maps by depicting Aries lying down. Astrologically, Aries has been associated with the head and its humors. It was strongly associated with Mars, both the planet and the god. It was considered to govern Western Europe and Syria and to indicate a strong temper in a person.
The First Point of Aries, the location of the vernal equinox, is named for the constellation. This is because the Sun crossed the celestial equator from south to north in Aries more than two millennia ago. Hipparchus defined it in 130 BC. as a point south of Gamma Arietis. Because of the precession of the equinoxes, the First Point of Aries has since moved into Pisces and will move into Aquarius by around 2600 AD. The Sun now appears in Aries from late April through mid-May, though the constellation is still associated with the beginning of spring.
Medieval Muslim astronomers depicted Aries in various ways. Astronomers like al-Sufi saw the constellation as a ram, modelled on the precedent of Ptolemy. However, some Islamic celestial globes depicted Aries as a nondescript four-legged animal with what may be antlers instead of horns. Some early Bedouin observers saw a ram elsewhere in the sky; this constellation featured the Pleiades as the ram's tail. The generally accepted Arabic formation of Aries consisted of thirteen stars in a figure along with five "unformed" stars, four of which were over the animal's hindquarters and one of which was the disputed star over Aries's head. Al-Sufi's depiction differed from both other Arab astronomers' and Flamsteed's, in that his Aries was running and looking behind itself.
The obsolete constellations Apes, Vespa, Lilium, and Musca Borealis all centred on the same four stars, now known as 33, 35, 39, and 41 Arietis. In 1612, Petrus Plancius introduced Apes, a constellation representing a bee. In 1624, the same stars were used by Jakob Bartsch for Vespa, representing a wasp. In 1679, Augustin Royer used these stars for his constellation Lilium, representing the fleur-de-lis. None of these constellations became widely accepted. Johann Hevelius renamed the constellation "Musca" in 1690 in his Firmamentum Sobiescianum. To differentiate it from Musca, the southern fly, it was later renamed Musca Borealis but it did not gain acceptance and its stars were ultimately officially reabsorbed into Aries.
In 1922, the International Astronomical Union defined its recommended three-letter abbreviation, "Ari". The official boundaries of Aries were defined in 1930 by Eugène Delporte as a polygon of 12 segments. Its right ascension is between 1h 46.4m and 3h 29.4m and its declination is between 10.36° and 31.22° in the equatorial coordinate system. |
Aries (constellation) | In non-Western astronomy | In non-Western astronomy
In traditional Chinese astronomy, stars from Aries were used in several constellations. The brightest stars—Alpha, Beta, and Gamma Arietis—formed a constellation called 'Lou',variously translated as "bond" or "lasso" also "sickle", which was associated with the ritual sacrifice of cattle. This name was shared by the 16th lunar mansion, the location of the full moon closest to the autumnal equinox. This constellation has also been associated with harvest-time as it could represent a woman carrying a basket of food on her head. 35, 39, and 41 Arietis were part of a constellation called Wei (胃), which represented a fat abdomen and was the namesake of the 17th lunar mansion, which represented granaries. Delta and Zeta Arietis were a part of the constellation Tianyin (天陰), thought to represent the Emperor's hunting partner. Zuogeng (左更), a constellation depicting a marsh and pond inspector, was composed of Mu, Nu, Omicron, Pi, and Sigma Arietis. He was accompanied by Yeou-kang, a constellation depicting an official in charge of pasture distribution.
In a similar system to the Chinese, the first lunar mansion in Hindu astronomy was called "Aswini", after the traditional names for Beta and Gamma Arietis, the Aswins. Because the Hindu new year began with the vernal equinox, the Rig Veda contains over 50 new-year's related hymns to the twins, making them some of the most prominent characters in the work. Aries itself was known as "Aja" and "Mesha". In Hebrew astronomy Aries was named "Taleh"; it signified either Simeon or Gad, and generally symbolizes the "Lamb of the World". The neighboring Syrians named the constellation "Amru", and the bordering Turks named it "Kuzi". Half a world away, in the Marshall Islands, several stars from Aries were incorporated into a constellation depicting a porpoise, along with stars from Cassiopeia, Andromeda, and Triangulum. Alpha, Beta, and Gamma Arietis formed the head of the porpoise, while stars from Andromeda formed the body and the bright stars of Cassiopeia formed the tail. Other Polynesian peoples recognized Aries as a constellation. The Marquesas islanders called it Na-pai-ka; the Māori constellation Pipiri may correspond to modern Aries as well. In indigenous Peruvian astronomy, a constellation with most of the same stars as Aries existed. It was called the "Market Moon" and the "Kneeling Terrace", as a reminder of when to hold the annual harvest festival, Ayri Huay. |
Aries (constellation) | Features | Features
thumb|left|256px|The constellation Aries as it can be seen with the naked eye |
Aries (constellation) | Stars | Stars |
Aries (constellation) | Bright stars | Bright stars
Aries has three prominent stars forming an asterism, designated Alpha, Beta, and Gamma Arietis by Johann Bayer. Alpha (Hamal) and Beta (Sheratan) are commonly used for navigation. There is also one other star above the fourth magnitude, 41 Arietis (Bharani). α Arietis, called Hamal, is the brightest star in Aries. Its traditional name is derived from the Arabic word for "lamb" or "head of the ram" (ras al-hamal), which references Aries's mythological background. With a spectral class of K2 and a luminosity class of III, it is an orange giant with an apparent visual magnitude of 2.00, which lies 66 light-years from Earth. Hamal has a luminosity of and its absolute magnitude is −0.1.
β Arietis, also known as Sheratan, is a blue-white star with an apparent visual magnitude of 2.64. Its traditional name is derived from "sharatayn", the Arabic word for "the two signs", referring to both Beta and Gamma Arietis in their position as heralds of the vernal equinox. The two stars were known to the Bedouin as "qarna al-hamal", "horns of the ram". It is 59 light-years from Earth. It has a luminosity of and its absolute magnitude is 2.1. It is a spectroscopic binary star, one in which the companion star is only known through analysis of the spectra. The spectral class of the primary is A5. Hermann Carl Vogel determined that Sheratan was a spectroscopic binary in 1903; its orbit was determined by Hans Ludendorff in 1907. It has since been studied for its eccentric orbit.
γ Arietis, with a common name of Mesarthim, is a binary star with two white-hued components, located in a rich field of magnitude 8–12 stars. Its traditional name has conflicting derivations. It may be derived from a corruption of "al-sharatan", the Arabic word meaning "pair" or a word for "fat ram". However, it may also come from the Sanskrit for "first star of Aries" or the Hebrew for "ministerial servants", both of which are unusual languages of origin for star names. Along with Beta Arietis, it was known to the Bedouin as "qarna al-hamal". The primary is of magnitude 4.59 and the secondary is of magnitude 4.68. The system is 164 light-years from Earth. The two components are separated by 7.8 arcseconds, and the system as a whole has an apparent magnitude of 3.9. The primary has a luminosity of and the secondary has a luminosity of ; the primary is an A-type star with an absolute magnitude of 0.2 and the secondary is a B9-type star with an absolute magnitude of 0.4. The angle between the two components is 1°. Mesarthim was discovered to be a double star by Robert Hooke in 1664, one of the earliest such telescopic discoveries. The primary, γ1 Arietis, is an Alpha² Canum Venaticorum variable star that has a range of 0.02 magnitudes and a period of 2.607 days. It is unusual because of its strong silicon emission lines.
The constellation is home to several double stars, including Epsilon, Lambda, and Pi Arietis. ε Arietis is a binary star with two white components. The primary is of magnitude 5.2 and the secondary is of magnitude 5.5. The system is 290 light-years from Earth. Its overall magnitude is 4.63, and the primary has an absolute magnitude of 1.4. Its spectral class is A2. The two components are separated by 1.5 arcseconds. λ Arietis is a wide double star with a white-hued primary and a yellow-hued secondary. The primary is of magnitude 4.8 and the secondary is of magnitude 7.3. The primary is 129 light-years from Earth. It has an absolute magnitude of 1.7 and a spectral class of F0. The two components are separated by 36 arcseconds at an angle of 50°; the two stars are located 0.5° east of 7 Arietis. π Arietis is a close binary star with a blue-white primary and a white secondary. The primary is of magnitude 5.3 and the secondary is of magnitude 8.5. The primary is 776 light-years from Earth. The primary itself is a wide double star with a separation of 25.2 arcseconds; the tertiary has a magnitude of 10.8. The primary and secondary are separated by 3.2 arcseconds.
Most of the other stars in Aries visible to the naked eye have magnitudes between 3 and 5. δ Ari, called Boteïn, is a star of magnitude 4.35, 170 light-years away. It has an absolute magnitude of −0.1 and a spectral class of K2. ζ Arietis is a star of magnitude 4.89, 263 light-years away. Its spectral class is A0 and its absolute magnitude is 0.0. 14 Arietis is a star of magnitude 4.98, 288 light-years away. Its spectral class is F2 and its absolute magnitude is 0.6. 39 Arietis (Lilii Borea) is a similar star of magnitude 4.51, 172 light-years away. Its spectral class is K1 and its absolute magnitude is 0.0. 35 Arietis is a dim star of magnitude 4.55, 343 light-years away. Its spectral class is B3 and its absolute magnitude is −1.7. 41 Arietis, known both as c Arietis and Nair al Butain, is a brighter star of magnitude 3.63, 165 light-years away. Its spectral class is B8 and it has a luminosity of . Its absolute magnitude is −0.2. 53 Arietis is a runaway star of magnitude 6.09, 815 light-years away. Its spectral class is B2. It was likely ejected from the Orion Nebula approximately five million years ago, possibly due to supernovae. Finally, Teegarden's Star is the closest star to Earth in Aries. It is a red dwarf of magnitude 15.14 and spectral class M6.5V. With a proper motion of 5.1 arcseconds per year, it is the 24th closest star to Earth overall. |
Aries (constellation) | Variable stars | Variable stars
Aries has its share of variable stars, including R and U Arietis, Mira-type variable stars, and T Arietis, a semi-regular variable star. R Arietis is a Mira variable star that ranges in magnitude from a minimum of 13.7 to a maximum of 7.4 with a period of 186.8 days. It is 4,080 light-years away. U Arietis is another Mira variable star that ranges in magnitude from a minimum of 15.2 to a maximum of 7.2 with a period of 371.1 days. T Arietis is a semiregular variable star that ranges in magnitude from a minimum of 11.3 to a maximum of 7.5 with a period of 317 days. It is 1,630 light-years away. One particularly interesting variable in Aries is SX Arietis, a rotating variable star considered to be the prototype of its class, helium variable stars. SX Arietis stars have very prominent emission lines of Helium I and Silicon III. They are normally main-sequence B0p—B9p stars, and their variations are not usually visible to the naked eye. Therefore, they are observed photometrically, usually having periods that fit in the course of one night. Similar to α2s, SX Arietis stars have periodic changes in their light and magnetic field, which correspond to the periodic rotation; they differ from the α2 Canum Venaticorum variables in their higher temperature. There are between 39 and 49 SX Arietis variable stars currently known; ten are noted as being "uncertain" in the General Catalog of Variable Stars. |
Aries (constellation) | Deep sky objects | Deep sky objects
thumb|right|NGC 772, with a notated supernova
NGC 772 is a spiral galaxy with an integrated magnitude of 10.3, located southeast of β Arietis and 15 arcminutes west of 15 Arietis. It is a relatively bright galaxy and shows obvious nebulosity and ellipticity in an amateur telescope. It is 7.2 by 4.2 arcminutes, meaning that its surface brightness, magnitude 13.6, is significantly lower than its integrated magnitude. NGC 772 is a class SA(s)b galaxy, which means that it is an unbarred spiral galaxy without a ring that possesses a somewhat prominent bulge and spiral arms that are wound somewhat tightly. The main arm, on the northwest side of the galaxy, is home to many star forming regions; this is due to previous gravitational interactions with other galaxies. NGC 772 has a small companion galaxy, NGC 770, that is about 113,000 light-years away from the larger galaxy. The two galaxies together are also classified as Arp 78 in the Arp peculiar galaxy catalog. NGC 772 has a diameter of 240,000 light-years and the system is 114 million light-years from Earth. Another spiral galaxy in Aries is NGC 673, a face-on class SAB(s)c galaxy. It is a weakly barred spiral galaxy with loosely wound arms. It has no ring and a faint bulge and is 2.5 by 1.9 arcminutes. It has two primary arms with fragments located farther from the core. 171,000 light-years in diameter, NGC 673 is 235 million light-years from Earth.
NGC 678 and NGC 680 are a pair of galaxies in Aries that are only about 200,000 light-years apart. Part of the NGC 691 group of galaxies, both are at a distance of approximately 130 million light-years. NGC 678 is an edge-on spiral galaxy that is 4.5 by 0.8 arcminutes. NGC 680, an elliptical galaxy with an asymmetrical boundary, is the brighter of the two at magnitude 12.9; NGC 678 has a magnitude of 13.35. Both galaxies have bright cores, but NGC 678 is the larger galaxy at a diameter of 171,000 light-years; NGC 680 has a diameter of 72,000 light-years. NGC 678 is further distinguished by its prominent dust lane. NGC 691 itself is a spiral galaxy slightly inclined to our line of sight. It has multiple spiral arms and a bright core. Because it is so diffuse, it has a low surface brightness. It has a diameter of 126,000 light-years and is 124 million light-years away. NGC 877 is the brightest member of an 8-galaxy group that also includes NGC 870, NGC 871, and NGC 876, with a magnitude of 12.53. It is 2.4 by 1.8 arcminutes and is 178 million light-years away with a diameter of 124,000 light-years. Its companion is NGC 876, which is about 103,000 light-years from the core of NGC 877. They are interacting gravitationally, as they are connected by a faint stream of gas and dust. Arp 276 is a different pair of interacting galaxies in Aries, consisting of NGC 935 and IC 1801.
NGC 821 is an E6 elliptical galaxy. It is unusual because it has hints of an early spiral structure, which is normally only found in lenticular and spiral galaxies. NGC 821 is 2.6 by 2.0 arcminutes and has a visual magnitude of 11.3. Its diameter is 61,000 light-years and it is 80 million light-years away. Another unusual galaxy in Aries is Segue 2, a dwarf and satellite galaxy of the Milky Way, recently discovered to be a potential relic of the epoch of reionization. |
Aries (constellation) | Meteor showers | Meteor showers
Aries is home to several meteor showers. The Daytime Arietid meteor shower is one of the strongest meteor showers that occurs during the day, lasting from 22 May to 2 July. It is an annual shower associated with the Marsden group of comets that peaks on 7 June with a maximum zenithal hourly rate of 54 meteors. Its parent body may be the asteroid Icarus. The meteors are sometimes visible before dawn, because the radiant is 32 degrees away from the Sun. They usually appear at a rate of 1–2 per hour as "earthgrazers", meteors that last several seconds and often begin at the horizon. Because most of the Daytime Arietids are not visible to the naked eye, they are observed in the radio spectrum. This is possible because of the ionized gas they leave in their wake. Other meteor showers radiate from Aries during the day; these include the Daytime Epsilon Arietids and the Northern and Southern Daytime May Arietids. The Jodrell Bank Observatory discovered the Daytime Arietids in 1947 when James Hey and G. S. Stewart adapted the World War II-era radar systems for meteor observations.
The Delta Arietids are another meteor shower radiating from Aries. Peaking on 9 December with a low peak rate, the shower lasts from 8 December to 14 January, with the highest rates visible from 8 to 14 December. The average Delta Arietid meteor is very slow, with an average velocity of per second. However, this shower sometimes produces bright fireballs. This meteor shower has northern and southern components, both of which are likely associated with 1990 HA, a near-Earth asteroid.
The Autumn Arietids also radiate from Aries. The shower lasts from 7 September to 27 October and peaks on 9 October. Its peak rate is low. The Epsilon Arietids appear from 12 to 23 October. Other meteor showers radiating from Aries include the October Delta Arietids, Daytime Epsilon Arietids, Daytime May Arietids, Sigma Arietids, Nu Arietids, and Beta Arietids. The Sigma Arietids, a class IV meteor shower, are visible from 12 to 19 October, with a maximum zenithal hourly rate of less than two meteors per hour on 19 October. |
Aries (constellation) | Planetary systems | Planetary systems
Aries contains several stars with extrasolar planets. HIP 14810, a G5 type star, is orbited by three giant planets (those more than ten times the mass of Earth). HD 12661, like HIP 14810, is a G-type main sequence star, slightly larger than the Sun, with two orbiting planets. One planet is 2.3 times the mass of Jupiter, and the other is 1.57 times the mass of Jupiter. HD 20367 is a G0 type star, approximately the size of the Sun, with one orbiting planet. The planet, discovered in 2002, has a mass 1.07 times that of Jupiter and orbits every 500 days. In 2019, scientists conducting the CARMENES survey at the Calar Alto Observatory announced evidence of two Earth-mass exoplanets orbiting Teegarden's star, located in Aries, within its habitable zone. The star is a small red dwarf with only around a tenth of the mass and radius of the Sun. It has a large radial velocity. |
Aries (constellation) | See also | See also
Aries (Chinese astronomy) |
Aries (constellation) | References | References |
Aries (constellation) | Explanatory notes | Explanatory notes |
Aries (constellation) | Citations | Citations |
Aries (constellation) | Bibliography | Bibliography
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Aries (constellation) | Online sources | Online sources
SIMBAD
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Aries (constellation) | External links | External links
The Deep Photographic Guide to the Constellations: Aries
The clickable Aries
Star Tales – Aries
Warburg Institute Iconographic Database (medieval and early modern images of Aries)
Category:Constellations
Category:Constellations listed by Ptolemy
Category:Northern constellations |
Aries (constellation) | Table of Content | Short description, History and mythology, In non-Western astronomy, Features, Stars, Bright stars, Variable stars, Deep sky objects, Meteor showers, Planetary systems, See also, References, Explanatory notes, Citations, Bibliography, Online sources, External links |
Anime | Short description | is hand-drawn and computer-generated animation originating from Japan. Outside Japan and in English, anime refers specifically to animation produced in Japan. However, , in Japan and in Japanese, describes all animated works, regardless of style or origin. Many works of animation with a similar style to Japanese animation are also produced outside Japan. Video games sometimes also feature themes and art styles that are sometimes labelled as anime.
The earliest commercial Japanese animation dates to 1917. A characteristic art style emerged in the 1960s with the works of cartoonist Osamu Tezuka and spread in the following decades, developing a large domestic audience. Anime is distributed theatrically, through television broadcasts, directly to home media, and over the Internet. In addition to original works, anime are often adaptations of Japanese comics (manga), light novels, or video games. It is classified into numerous genres targeting various broad and niche audiences.
Anime is a diverse medium with distinctive production methods that have adapted in response to emergent technologies. It combines graphic art, characterization, cinematography, and other forms of imaginative and individualistic techniques. Compared to Western animation, anime production generally focuses less on movement, and more on the detail of settings and use of "camera effects", such as panning, zooming, and angle shots. Diverse art styles are used, and character proportions and features can be quite varied, with a common characteristic feature being large and emotive eyes.
The anime industry consists of over 430 production companies, including major studios such as Studio Ghibli, Kyoto Animation, Sunrise, Bones, Ufotable, MAPPA, Wit Studio, CoMix Wave Films, Madhouse, Inc., TMS Entertainment, Pierrot, Production I.G, Nippon Animation and Toei Animation. Since the 1980s, the medium has also seen widespread international success with the rise of foreign dubbed, subtitled programming, and since the 2010s due to the rise of streaming services and a widening demographic embrace of anime culture, both within Japan and worldwide. Japanese animation accounted for 60% of the world's animated television shows. |
Anime | Etymology | Etymology
As a type of animation, anime is an art form that comprises many genres found in other mediums; it is sometimes mistakenly classified as a genre itself. In Japanese, the term anime is used to refer to all animated works, regardless of style or origin. English-language dictionaries typically define anime () as "a style of Japanese animation" or as "a style of animation originating in Japan". Other definitions are based on origin, making production in Japan a requisite for a work to be considered "anime".
The etymology of the term anime is disputed. The English word "animation" is written in Japanese katakana as () and as (, ) in its shortened form. Some sources claim that the term is derived from the French term for animation ("cartoon", literally 'animated drawing'), but others believe this to be a myth derived from the popularity of anime in France in the late 1970s and 1980s.
In English, anime—when used as a common noun—normally functions as a mass noun. (For example: "Do you watch anime?" or "How much anime have you watched?") As with a few other Japanese words, such as saké and Pokémon, English texts sometimes spell anime as animé (as in French), with an acute accent over the final e, to cue the reader to pronounce the letter, not to leave it silent as English orthography may suggest. Prior to the widespread use of anime, the term Japanimation, a portmanteau of Japan and animation, was prevalent throughout the 1970s and 1980s. In the mid-1980s, the term anime began to supplant Japanimation; in general, the latter term now only appears in period works where it is used to distinguish and identify Japanese animation. |
Anime | History | History |
Anime | Precursors | Precursors
and shadow plays (kage-e) are considered precursors of Japanese animation. was common in the eleventh century. Traveling storytellers narrated legends and anecdotes while the was unrolled from the right to left in chronological order, as a moving panorama. Kage-e was popular during the Edo period and originated from the shadow plays of China. Magic lanterns from the Netherlands were also popular in the eighteenth century. The paper play called kamishibai surged in the twelfth century and remained popular in the street theater until the 1930s. Puppets of the Bunraku theater and ukiyo-e prints are considered ancestors of characters of most Japanese animation. Finally, manga were a heavy inspiration for anime. Cartoonists Kitzawa Rakuten and Okamoto Ippei used film elements in their strips. |
Anime | Pioneers | Pioneers
thumb|right|Namakura Gatana (1917), the oldest surviving Japanese animated short film made for cinemas
Animation in Japan began in the early 20th century, when filmmakers started to experiment with techniques pioneered in France, Germany, the United States, and Russia. A claim for the earliest Japanese animation is Katsudō Shashin (), a private work by an unknown creator. In 1917, the first professional and publicly displayed works began to appear; animators such as Ōten Shimokawa, Seitarō Kitayama, and Jun'ichi Kōuchi (considered the "fathers of anime") produced numerous films, the oldest surviving of which is Kōuchi's Namakura Gatana. Many early works were lost with the destruction of Shimokawa's warehouse in the 1923 Great Kantō earthquake.
By the mid-1930s, animation was well-established in Japan as an alternative format to the live-action industry. It suffered competition from foreign producers, such as Disney, and many animators, including Noburō Ōfuji and Yasuji Murata, continued to work with cheaper cutout animation rather than cel animation. Other creators, including Kenzō Masaoka and Mitsuyo Seo, nevertheless made great strides in technique, benefiting from the patronage of the government, which employed animators to produce educational shorts and propaganda. In 1940, the government dissolved several artists' organizations to form the The first talkie anime was Chikara to Onna no Yo no Naka (1933), a short film produced by Masaoka. The first feature-length anime film was Momotaro: Sacred Sailors (1945), produced by Seo with a sponsorship from the Imperial Japanese Navy. The 1950s saw a proliferation of short, animated advertisements created for television. |
Anime | Modern era | Modern era
thumb|left|Frame from the opening sequence of Tezuka's 1963 TV series Astro Boy
In the 1960s, manga artist and animator Osamu Tezuka adapted and simplified Disney animation techniques to reduce costs and limit frame counts in his productions. Originally intended as temporary measures to allow him to produce material on a tight schedule with inexperienced staff, many of his limited animation practices came to define the medium's style. Three Tales (1960) was the first anime film broadcast on television; the first anime television series was Instant History (1961–64). An early and influential success was Astro Boy (1963–66), a television series directed by Tezuka based on his manga of the same name. Many animators at Tezuka's Mushi Production later established major anime studios (including Madhouse, Sunrise, and Pierrot).
The 1970s saw growth in the popularity of manga, many of which were later animated. Tezuka's work—and that of other pioneers in the field—inspired characteristics and genres that remain fundamental elements of anime today. The giant robot genre (also known as "mecha"), for instance, took shape under Tezuka, developed into the super robot genre under Go Nagai and others, and was revolutionized at the end of the decade by Yoshiyuki Tomino, who developed the real robot genre. Robot anime series such as Gundam and Super Dimension Fortress Macross became instant classics in the 1980s, and the genre remained one of the most popular in the following decades. The bubble economy of the 1980s spurred a new era of high-budget and experimental anime films, including Nausicaä of the Valley of the Wind (1984), Royal Space Force: The Wings of Honnêamise (1987), and Akira (1988).
Neon Genesis Evangelion (1995), a television series produced by Gainax and directed by Hideaki Anno, began another era of experimental anime titles, such as Ghost in the Shell (1995) and Cowboy Bebop (1998). In the 1990s, anime also began attracting greater interest in Western countries; major international successes include Sailor Moon and Dragon Ball Z, both of which were dubbed into more than a dozen languages worldwide. In 2003, Spirited Away, a Studio Ghibli feature film directed by Hayao Miyazaki, won the Academy Award for Best Animated Feature at the 75th Academy Awards. It later became the highest-grossing anime film, earning more than $355 million. Since the 2000s, an increased number of anime works have been adaptations of light novels and visual novels; successful examples include The Melancholy of Haruhi Suzumiya and Fate/stay night (both 2006). Demon Slayer: Kimetsu no Yaiba the Movie: Mugen Train became the highest-grossing Japanese film and one of the world's highest-grossing films of 2020. It also became the fastest grossing film in Japanese cinema, because in 10 days it made 10 billion yen ($95.3m; £72m). It beat the previous record of Spirited Away which took 25 days.
In 2021, the anime adaptations of Jujutsu Kaisen, Demon Slayer: Kimetsu no Yaiba and Tokyo Revengers were among the top 10 most discussed TV shows worldwide on Twitter. In 2022, Attack on Titan won the award of "Most In-Demand TV Series in the World 2021" in the Global TV Demand Awards. Attack on Titan became the first ever non-English language series to earn the title of World's Most In-Demand TV Show, previously held by only The Walking Dead and Game of Thrones. In 2024, Jujutsu Kaisen broke the Guinness World Record for the "Most in-demand animated TV show" with a global demand rating 71.2 times than that of the average TV show, previously held by Attack on Titan. |
Anime | Attributes | Attributes
thumb|upright=1.5|Anime artists employ many distinct visual styles.Clockwise from the top left: Dead Leaves, Flag, Serial Experiments Lain, Monster, Mind Game, Lucky Star, Cat Soup, and Gurren Lagann.
Anime differs from other forms of animation by its art styles, methods of animation, its production, and its process. Visually, anime works exhibit a wide variety of art styles, differing between creators, artists, and studios. While no single art style predominates anime as a whole, they do share some similar attributes in terms of animation technique and character design.
Anime is fundamentally characterized by the use of limited animation, flat expression, the suspension of time, its thematic range, the presence of historical figures, its complex narrative line and, above all, a peculiar drawing style, with characters characterized by large and oval eyes, with very defined lines, bright colors and reduced movement of the lips. |
Anime | Technique | Technique
Modern anime follows a typical animation production process, involving storyboarding, voice acting, character design, and cel production. Since the 1990s, animators have increasingly used computer animation to improve the efficiency of the production process. Early anime works were experimental, and consisted of images drawn on blackboards, stop motion animation of paper cutouts, and silhouette animation. Cel animation grew in popularity until it came to dominate the medium. In the 21st century, the use of other animation techniques is mostly limited to independent short films, including the stop motion puppet animation work produced by Tadahito Mochinaga, Kihachirō Kawamoto and Tomoyasu Murata. Computers were integrated into the animation process in the 1990s, with works such as Ghost in the Shell and Princess Mononoke mixing cel animation with computer-generated images. Fuji Film, a major cel production company, announced it would stop cel production, producing an industry panic to procure cel imports and hastening the switch to digital processes.
Prior to the digital era, anime was produced with traditional animation methods using a pose to pose approach. The majority of mainstream anime uses fewer expressive key frames and more in-between animation.
Japanese animation studios were pioneers of many limited animation techniques, and have given anime a distinct set of conventions. Unlike Disney animation, where the emphasis is on the movement, anime emphasizes the art quality and let limited animation techniques make up for the lack of time spent on movement. Such techniques are often used not only to meet deadlines but also as artistic devices. Anime scenes place emphasis on achieving three-dimensional views, and backgrounds are instrumental in creating the atmosphere of the work. The backgrounds are not always invented and are occasionally based on real locations, as exemplified in Howl's Moving Castle and The Melancholy of Haruhi Suzumiya. Oppliger stated that anime is one of the rare mediums where putting together an all-star cast usually comes out looking "tremendously impressive".
The cinematic effects of anime differentiates itself from the stage plays found in American animation. Anime is cinematically shot as if by camera, including panning, zooming, distance and angle shots to more complex dynamic shots that would be difficult to produce in reality. In anime, the animation is produced before the voice acting, contrary to American animation which does the voice acting first. |
Anime | Characters | Characters
thumb|left|Anime character design is diverse, but often incorporates common elements depending on the target demographic and era. These are representative samples. Clockwise from the top left: Ashita no Joe (1970), Macross: Do You Remember Love? (1984), Ghost in the Shell (1995), K-On! (2009), Your Name (2016), The Hidden Dungeon Only I Can Enter (2021), Fruits Basket (2001), and Rurouni Kenshin (1996).
The body proportions of human anime characters tend to accurately reflect the proportions of the human body in reality. The height of the head is considered by the artist as the base unit of proportion. Head to height ratios vary drastically by art style, with most anime characters falling between 5 and 8 heads tall. Anime artists occasionally make deliberate modifications to body proportions to produce chibi characters that feature a disproportionately small body compared to the head; many chibi characters are two to four heads tall. Some anime works like Crayon Shin-chan completely disregard these proportions, in such a way that they resemble caricatured Western cartoons.
A common anime character design convention is exaggerated eye size. The animation of characters with large eyes in anime can be traced back to Osamu Tezuka, who was deeply influenced by such early animation characters as Betty Boop, who was drawn with disproportionately large eyes. Tezuka is a central figure in anime and manga history, whose iconic art style and character designs allowed for the entire range of human emotions to be depicted solely through the eyes. The artist adds variable color shading to the eyes and particularly to the cornea to give them greater depth. Generally, a mixture of a light shade, the tone color, and a dark shade is used. However, not all anime characters have large eyes. For example, the works of Hayao Miyazaki are known for having realistically proportioned eyes, as well as realistic hair colors on their characters.
Hair in anime is often unnaturally lively and colorful or uniquely styled. The movement of hair in anime is exaggerated and "hair actions" is used to emphasize the action and emotions of characters for added visual effect. Gilles Poitras traces hairstyle color to cover illustrations on manga, where eye-catching artwork and colorful tones are attractive for children's manga. Some anime will depict non-Japanese characters with specific ethnic features, such as a pronounced nose and jutting jaw for European characters. In other cases, anime feature characters whose race or nationality is not always defined, and this is often a deliberate decision, such as in the Pokémon animated series.
Anime and manga artists often draw from a common canon of iconic facial expression illustrations to denote particular moods and thoughts. These techniques are often different in form than their counterparts in Western animation, and they include a fixed iconography that is used as shorthand for certain emotions and moods. For example, a male character may develop a nosebleed when aroused. A variety of visual symbols are employed, including sweat drops to depict nervousness, visible blushing for embarrassment, or glowing eyes for an intense glare. Another recurring sight gag is the use of chibi (deformed, simplified character designs) figures to comedically punctuate emotions like confusion or embarrassment. |
Anime | Music | Music
thumb|250px|An example of a 2022 anime video with music
The opening and credits sequences of most anime television series are accompanied by J-pop or J-rock songs, often by reputed bands—as written with the series in mind—but are also aimed at the general music market, therefore they often allude only vaguely or not at all, to the thematic settings or plot of the series. Also, they are often used as incidental music ("insert songs") in an episode, in order to highlight particularly important scenes.
Future funk, a musical microgenre that evolved in the early 2010s from Vaporwave with a French house Euro disco influence, heavily uses anime visuals and samples along with Japanese City pop to build an aesthetic.
Since the 2020s anime songs have experienced a rapid growth in global online popularity due to their widened availability on music streaming services like Spotify and promotion by fans and artists on social media. In 2023, the opening theme "Idol" by Yoasobi of the anime series Oshi no Ko topped the Billboard Global 200 Excl. U.S. charts with 45.7 million streams and 24,000 copies sold outside the U.S. "Idol" has become the first Japanese song and anime song to top the Billboard Global chart as well as taking the first spot on the Apple Music's Top 100: Global chart. |
Anime | Genres | Genres
Anime are often classified by target demographic, including , , , , and a diverse range of genres targeting an adult audience. Shōjo and shōnen anime sometimes contain elements popular with children of all genders in an attempt to gain crossover appeal. Adult anime may feature a slower pace or greater plot complexity that younger audiences may typically find unappealing, as well as adult themes and situations. A subset of adult anime works featuring pornographic elements are labeled "R18" in Japan, and are internationally known as hentai (originating from ). By contrast, some anime subgenres incorporate ecchi, sexual themes or undertones without depictions of sexual intercourse, as typified in the comedic or harem genres; due to its popularity among adolescent and adult anime enthusiasts, the inclusion of such elements is considered a form of fan service.Ask John: Why Do Americans Hate Harem Anime? . animenation.net. May 20. 2005. Note: fan service and ecchi are often considered the same in wording. Some genres explore homosexual romances, such as yaoi (male homosexuality) and yuri (female homosexuality). While often used in a pornographic context, the terms yaoi and yuri can also be used broadly in a wider context to describe or focus on the themes or the development of the relationships themselves.
Anime's genre classification differs from other types of animation and does not lend itself to simple classification. Gilles Poitras compared the labeling of Gundam 0080 and its complex depiction of war as a "giant robot" anime akin to simply labeling War and Peace a "war novel". Science fiction is a major anime genre and includes important historical works like Tezuka's Astro Boy and Yokoyama's Tetsujin 28-go. A major subgenre of science fiction is mecha, with the Gundam metaseries being iconic. The diverse fantasy genre includes works based on Asian and Western traditions and folklore; examples include the Japanese feudal fairytale InuYasha, and the depiction of Scandinavian goddesses who move to Japan to maintain a computer called Yggdrasil in Ah! My Goddess. Genre crossing in anime is also prevalent, such as the blend of fantasy and comedy in Dragon Half, and the incorporation of slapstick humor in the crime anime film Castle of Cagliostro. Other subgenres found in anime include magical girl, harem, sports, martial arts, literary adaptations, medievalism, and war. |
Anime | Formats | Formats
Early anime works were made for theatrical viewing, and required played musical components before sound and vocal components were added to the production. In 1958, Nippon Television aired Mogura no Abanchūru ("Mole's Adventure"), both the first televised and first color anime to debut. It was not until the 1960s when the first televised series were broadcast and it has remained a popular medium since. Works released in a direct-to-video format are called "original video animation" (OVA) or "original animation video" (OAV); and are typically not released theatrically or televised prior to home media release. The emergence of the Internet has led some animators to distribute works online in a format called "original net animation" (ONA).
The home distribution of anime releases was popularized in the 1980s with the VHS and LaserDisc formats. The VHS NTSC video format used in both Japan and the United States is credited with aiding the rising popularity of anime in the 1990s. The LaserDisc and VHS formats were transcended by the DVD format which offered the unique advantages; including multiple subtitling and dubbing tracks on the same disc. The DVD format also has its drawbacks in its usage of region coding; adopted by the industry to solve licensing, piracy and export problems and restricted region indicated on the DVD player. The Video CD (VCD) format was popular in Hong Kong and Taiwan, but became only a minor format in the United States that was closely associated with bootleg copies.
A key characteristic of many anime television shows is serialization, where a continuous story arc stretches over multiple episodes or seasons. Traditional American television had an episodic format, with each episode typically consisting of a self-contained story. In contrast, anime shows such as Dragon Ball Z had a serialization format, where continuous story arcs stretch over multiple episodes or seasons, which distinguished them from traditional American television shows; serialization has since also become a common characteristic of American streaming television shows during the "Peak TV" era. |
Anime | Industry | Industry
upright=1.15|thumb|Akihabara district of Tokyo is popular with anime and manga fans as well as otaku subculture in Japan.
The animation industry consists of more than 430 production companies with some of the major studios including Toei Animation, Gainax, Madhouse, Gonzo, Sunrise, Bones, TMS Entertainment, Nippon Animation, P.A.Works, Studio Pierrot, Production I.G, Ufotable and Studio Ghibli. Many of the studios are organized into a trade association, The Association of Japanese Animations. There is also a labor union for workers in the industry, the Japanese Animation Creators Association. Studios will often work together to produce more complex and costly projects, as done with Studio Ghibli's Spirited Away. An anime episode can cost between US$100,000 and US$300,000 to produce. In 2001, animation accounted for 7% of the Japanese film market, above the 4.6% market share for live-action works. The popularity and success of anime is seen through the profitability of the DVD market, contributing nearly 70% of total sales. According to a 2016 article on Nikkei Asian Review, Japanese television stations have bought over worth of anime from production companies "over the past few years", compared with under from overseas. There has been a rise in sales of shows to television stations in Japan, caused by late night anime with adults as the target demographic. This type of anime is less popular outside Japan, being considered "more of a niche product". Spirited Away (2001) was the all-time highest-grossing film in Japan until overtaken by Demon Slayer: Kimetsu no Yaiba – The Movie: Mugen Train in 2020.Gross
North American gross: $10,055,859
Japanese gross: $229,607,878 (March 31, 2002)
Other territories: $
Japanese gross
End of 2001: $227 million
Across 2001 and 2002: $270 million
As of 2008: $290 million It was also the highest-grossing anime film worldwide until it was overtaken by Makoto Shinkai's 2016 film Your Name. Anime films represent a large part of the highest-grossing Japanese films yearly in Japan, with 6 out of the top 10 in 2014, 2015 and also in 2016.
Anime has to be licensed by companies in other countries in order to be legally released. While anime has been licensed by its Japanese owners for use outside Japan since at least the 1960s, the practice became well-established in the United States in the late 1970s to early 1980s, when such TV series as Gatchaman and Captain Harlock were licensed from their Japanese parent companies for distribution in the US market. The trend towards American distribution of anime continued into the 1980s with the licensing of titles such as Voltron and the 'creation' of new series such as Robotech through the use of source material from several original series.
In the early 1990s, several companies began to experiment with the licensing of less child-oriented material. Some, such as A.D. Vision, and Central Park Media and its imprints, achieved fairly substantial commercial success and went on to become major players in the now very lucrative American anime market. Others, such as AnimEigo, achieved limited success. Many companies created directly by Japanese parent companies did not do as well, most releasing only one or two titles before completing their American operations.
Licenses are expensive, often hundreds of thousands of dollars for one series and tens of thousands for one movie.ADV Court Documents Reveal Amounts Paid for 29 Anime Titles The prices vary widely; for example, Jinki: Extend cost only $91,000 to license while Kurau Phantom Memory cost $960,000. Simulcast Internet streaming rights can be cheaper, with prices around $1,000–2,000 an episode,"The Anime Economy Part 3: Digital Pennies" but can also be more expensive, with some series costing more than per episode.
The anime market for the United States was worth approximately $2.74 billion in 2009. Dubbed animation began airing in the United States in 2000 on networks like The WB and Cartoon Network's Adult Swim. In 2005, this resulted in five of the top ten anime titles having previously aired on Cartoon Network. As a part of localization, some editing of cultural references may occur to better follow the references of the non-Japanese culture. The cost of English localization averages US$10,000 per episode.
The industry has been subject to both praise and condemnation for fansubs, the addition of unlicensed and unauthorized subtitled translations of anime series or films. Fansubs, which were originally distributed on VHS bootlegged cassettes in the 1980s, have been freely available and disseminated online since the 1990s. Since this practice raises concerns for copyright and piracy issues, fansubbers tend to adhere to an unwritten moral code to destroy or no longer distribute an anime once an official translated or subtitled version becomes licensed. They also try to encourage viewers to buy an official copy of the release once it comes out in English, although fansubs typically continue to circulate through file-sharing networks. Even so, the laid back regulations of the Japanese animation industry tend to overlook these issues, allowing it to grow underground and thus increasing its popularity until there is a demand for official high-quality releases for animation companies. This has led to an increase in global popularity of Japanese animation, reaching $40 million in sales in 2004. Fansub practices have rapidly declined since the early-2010s due to the advent of legal streaming services which simulcast new anime series often within a few hours of their domestic release.
Since the 2010s, anime has become a global multibillion industry setting a sales record in 2017 of ¥2.15 trillion ($19.8 billion), driven largely by demand from overseas audiences. In 2019, Japan's anime industry was valued at $24 billion a year with 48% of that revenue coming from overseas (which is now its largest industry sector). By 2025 the anime industry is expected to reach a value of $30 billion with over 60% of that revenue coming from
overseas. |
Anime | Markets | Markets
Japan External Trade Organization (JETRO) valued the domestic anime market in Japan at (), including from licensed products, in 2005. JETRO reported sales of overseas anime exports in 2004 to be (). JETRO valued the anime market in the United States at (), including in home video sales and over from licensed products, in 2005. JETRO projected in 2005 that the worldwide anime market, including sales of licensed products, would grow to (). The anime market in China was valued at in 2017, and is projected to reach by 2020. In Europe the anime merchandising market was valued at about $950 million with the figurine segment accounting for most of the share and is expected to reach a value of over $2 billion by 2030. The global anime market size was valued at $26.055 billion in 2021 with 29% of the revenue coming from merchandise. It is expected that the global anime market will reach a value of $47.14 billion by 2028. In 2023 the anime industry generated a $19.8 billion in total global revenue, including $5.5 billion from streaming and $14.3 billion from merchandising sales. North America and Asia contributed a combined $14.3 billion in total revenue, accounting for over 72% of anime's global impact. By 2030 the global anime market is expected to reach a value of $48.3 Billion with the largest contributors to this growth being North America, Europe, Asia–Pacific and The Middle East. The global anime market size was valued at $25.8 Billion in 2022 and is expected to have a market size of $62.7 Billion by 2032 with a CAGR of 9.4%.
In 2019, the annual overseas exports of Japanese animation exceeded $10 billion for the first time in history. |
Anime | Awards | Awards
The anime industry has several annual awards that honor the year's best works. Major annual awards in Japan include the Ōfuji Noburō Award, the Mainichi Film Award for Best Animation Film, the Animation Kobe Awards, the Japan Media Arts Festival animation awards, the Seiyu Awards for voice actors, the Tokyo Anime Award and the Japan Academy Prize for Animation of the Year. Internationally, anime TV series and films compete in the Crunchyroll Anime Awards. There were also the American Anime Awards, which were designed to recognize excellence in anime titles nominated by the industry, and were held only once in 2006. Anime productions have also been nominated and won awards not exclusively for anime, like the Academy Award for Best Animated Feature or the Golden Bear. |
Anime | Working conditions | Working conditions
In recent years, the anime industry has been accused by both Japanese and foreign media of underpaying and overworking its animators. In response the Japanese Prime Minister Fumio Kishida promised to improve the working conditions and salary of all animators and creators working in the industry. A few anime studios such as MAPPA have taken actions to improve the working conditions of their employees. There has also been a slight increase in production costs and animator pays during the COVID-19 pandemic. Throughout 2020 and 2021 the American streaming service Netflix announced that it will greatly invest and fund the anime industry as well as support training programs for new animators. On April 27, 2023, Nippon Anime Film Culture Association (NAFCA) was officially founded. The association aims to solve problems in the industry, including the improvement of conditions of the workers. |
Anime | Global popularity and cultural impact | Global popularity and cultural impact
thumb|300x300px|Anime Expo in Los Angeles, California, United States – one of the largest fan conventions in the Western world.
Anime has become commercially profitable in the Western world, as demonstrated by early commercially successful Western adaptations of anime, such as Astro Boy and Speed Racer. Early American adaptions in the 1960s made Japan expand into the continental European market, first with productions aimed at European and Japanese children, such as Heidi, Vicky the Viking and Barbapapa, which aired in various countries. Italy, Spain, and France grew a particular interest in Japan's output, due to its cheap selling price and productive output. As of 2014, Italy imported the most anime outside Japan. Anime and manga were introduced to France in the late 1970s and became massively popular in spite of a moral panic led by French politicians in the 1980s and 1990s. These mass imports influenced anime popularity in East Asian, Southeast Asian, South Asian, Latin American,The Latin American Appetite for Asian Content. Ark One Studios.Exploring Asian Heritage in Latin America. Luz Media. Arabic and German markets.
The beginning of 1980 saw the introduction of Japanese anime series into the American culture. In the 1990s, Japanese animation slowly gained popularity in America. Media companies such as Viz and Mixx began publishing and releasing animation into the American market. The 1988 film Akira is largely credited with popularizing anime in the Western world during the early 1990s, before anime was further popularized by television shows such as Pokémon and Dragon Ball Z in the late 1990s. By 1997, Japanese anime was the fastest-growing genre in the American video industry. The growth of the Internet later provided international audiences with an easy way to access Japanese content. Early on, online piracy played a major role in this, through over time legal alternatives appeared which significantly reduced illegal practices. Since the 2010s streaming services have become increasingly involved in the production, licensing and distribution of anime for the international markets. This is especially the case with net services such as Netflix, Crunchyroll and others which have large catalogs in many countries, although until 2020 anime fans in multiple developing countries, such as India and the Philippines, had fewer options for obtaining access to legal content, and therefore would still turn to online piracy. However beginning with the 2020s anime has been experiencing yet another boom in global popularity and demand due to the COVID-19 pandemic and streaming services like Netflix, Amazon Prime Video, HBO Max, Disney+, Hulu and anime-only services like Crunchyroll and Hidive, increasing the international availability of the amount of new licensed anime shows as well as the size of their catalogs.
Netflix reported that, between October 2019 and September 2020, more than member households worldwide had watched at least one anime title on the platform. Anime titles appeared on the streaming platform's top-ten lists in almost 100 countries within the one-year period.
As of 2021, anime series are the most demanded foreign-language television shows in the United States accounting for 30.5% of the market share. (In comparison, Spanish-language and Korean-language shows account for 21% and 11% of the market share, respectively.) In 2021 more than half of Netflix's global members watched anime.
In 2022, the anime series Attack on Titan won the award of "Most In-Demand TV Series in the World 2021" in the Global TV Demand Awards. Attack on Titan became the first ever non-English language series to earn the title of "World's Most In-Demand TV Show", previously held by only The Walking Dead and Game of Thrones. In 2024, the anime series Jujutsu Kaisen won the award of "Most In-Demand TV Series in the World 2023" in the Global TV Demand Awards.
Rising interest in anime as well as Japanese video games has led to an increase of university students in the United Kingdom wanting to get a degree in the Japanese language. The word anime alongside other Japanese pop cultural terms like shonen, shojo and isekai have been added to the Oxford English Dictionary.
Various anime and manga series have influenced Hollywood in the making of numerous famous movies and characters. Hollywood itself has produced live-action adaptations of various anime series such as Ghost in the Shell, Death Note, Dragon Ball Evolution and Cowboy Bebop. However most of these adaptations have been reviewed negatively by both the critics and the audience and have become box-office flops. The main reasons for the unsuccessfulness of Hollywood's adaptions of anime being the often change of plot and characters from the original source material and the limited capabilities a live-action movie or series can do in comparison to an animated counterpart. One of the few particular exceptions to this includes Alita: Battle Angel, which has become a moderate commercial success, receiving generally positive reviews from both the critics and the audience for its visual effects and following the source material. The movie grossed $404 million worldwide, making it director Robert Rodriguez's highest-grossing film.
Anime and manga alongside many other imports of Japanese pop culture have helped Japan to gain a positive worldwide image and improve its relations with other countries. In 2015, during remarks welcoming Japanese Prime Minister Shinzo Abe to the White House, President Barack Obama thanked Japan for its cultural contributions to the United States by saying:
In July 2020, after the approval of a Chilean government project in which citizens of Chile would be allowed to withdraw up to 10% of their privately held retirement savings, journalist Pamela Jiles celebrated by running through Congress with her arms spread out behind her, imitating the move of many characters of the anime and manga series Naruto. In April 2021, Peruvian politicians Jorge Hugo Romero of the PPC and Milagros Juárez of the UPP cosplayed as anime characters to get the otaku vote. On October 28, 2024, The Vatican unveiled its own anime-styled mascot, "Luce", in order to connect with Catholic youth through pop culture.
In April 2023, the Japan Business Federation laid out a proposal aiming to spur the economic growth of Japan by further promoting the contents industry abroad, primarily anime, manga and video games, for measures to invite industry experts from abroad to come to Japan to work, and to link with the tourism sector to help foreign fans of manga and anime visit sites across the country associated with particular manga stories. The federation seeks on quadrupling the sales of Japanese content in overseas markets within the upcoming 10 years.
A 2018 survey conducted in 20 countries and territories using a sample consisting of 6,600 respondents held by Dentsu revealed that 34% of all surveyed people found excellency in anime and manga more than other Japanese cultural or technological aspects, which makes this mass Japanese media the third most-liked "Japanese thing", below Japanese cuisine (34.6%) and Japanese robotics (35.1%). The advertisement company views anime as a profitable tool for marketing campaigns in foreign countries due to its popularity and high reception.
Anime plays a role in driving tourism to Japan. In surveys held by Statista between 2019 and 2020, 24.2% of tourists from the United States, 7.7% of tourists from China and 6.1% of tourists from South Korea said they were motivated to visit Japan because of Japanese popular culture. In a 2021 survey held by Crunchyroll market research, 94% of Gen-Z's and 73% of the general population said that they are familiar with anime. |
Anime | Fan response | Fan response
thumb|Cosplay of Madoka Kaname and Kyubey from Puella Magi Madoka Magica during Tracon 2013 event at the Tampere Hall in Tampere, Finland
Anime clubs gave rise to anime conventions in the 1990s with the "anime boom", a period marked by anime's increased global popularity. These conventions are dedicated to anime and manga and include elements like cosplay contests and industry talk panels. Cosplay, a portmanteau of "costume play", is not unique to anime and has become popular in contests and masquerades at anime conventions. Japanese culture and words have entered English usage through the popularity of the medium, including otaku, an unflattering Japanese term commonly used in English to denote an obsessive fan of anime or manga. Another word that has arisen describing obsessive fans in the United States is wapanese meaning 'white individuals who want to be Japanese, or later known as weeaboo or weeb, individuals who demonstrate an obsession with Japanese anime subculture, a term that originated from abusive content posted on the website 4chan.org. While originally derogatory, the terms "Otaku" and "Weeb" have been reappropriated by the anime fandom overtime and today are used by some fans to refer to themselves in a comedic and more positive way.
Anime enthusiasts have produced fan fiction and fan art, including computer wallpapers, and anime music videos (AMVs).
Many fans visit sites depicted in anime, games, manga and other forms of otaku culture. This behavior is known as "Anime pilgrimage".
As of the 2020s, many anime fans and followers use social media platforms and other sites like YouTube, Bilibili, Twitch, Fandom, Facebook, Instagram, Reddit, Discord, Tumblr, 4chan, TikTok and Twitter with online communities and databases such as IMDb, MyAnimeList to discuss anime, manga and track their progress watching respective series as well as using news outlets such as Anime News Network.
According to Crunchyroll's research data from 2023 to 2024 provided by its President Rahul Parini, revealed that there are approximately 800 million people globally (outside of China and Japan) who are either highly aware of anime, show interest in anime or currently watch anime and identify as fans.
According to a 2024 survey conducted on anime fans by Polygon, 65% of the surveyed anime fans said that they find anime more emotionally compelling than other forms of media and more than 3 in 4 of Millennial and Gen-Z fans use the medium as a form of escapism. Almost two-thirds of the anime-watching Gen Z audience said they emotionally connect better with anime than they do with traditional media. Over 50% of surveyed Gen-Z anime fans said that anime influences their identity, fashion and social understanding.
Due to anime's increased popularity in recent years, a large number of celebrities such as Elon Musk, BTS and Ariana Grande have come out as anime fans. |
Anime | Anime style | Anime style
One of the key points that differentiated anime from a handful of Western cartoons is the potential for visceral content. Once the expectation that the aspects of visual intrigue or animation are just for children is put aside, the audience can realize that themes involving violence, suffering, sexuality, pain, and death can all be storytelling elements utilized in anime just as much as other media.
However, as anime itself became increasingly popular, its styling has been inevitably the subject of both satire and serious creative productions. South Parks "Chinpokomon" and "Good Times with Weapons" episodes, Adult Swim's Perfect Hair Forever, and Nickelodeon's Kappa Mikey are examples of Western satirical depictions of Japanese culture and anime, but anime tropes have also been satirized by some anime such as KonoSuba.
Traditionally only Japanese works have been considered anime, but some works have sparked debate about blurring the lines between anime and cartoons, such as the American anime-style productions Avatar: The Last Airbender and Avatar: The Legend of Korra. These anime-styled works have become defined as anime-influenced animation, in an attempt to classify all anime styled works of non-Japanese origin. Some creators of these works cite anime as a source of inspiration, for example the French production team for Ōban Star-Racers that moved to Tokyo to collaborate with a Japanese production team. When anime is defined as a "style" rather than as a national product, it leaves open the possibility of anime being produced in other countries, but this has been contentious amongst fans, with John Oppliger stating, "The insistence on referring to original American art as Japanese "anime" or "manga" robs the work of its cultural identity."
While some anime will depict non-Japanese characters with specific ethnic features, such as a pronounced nose and jutting jaw for European characters, there are some styles that deliberately forgo any identification of its characters with real-world ethnicities or nationalities, termed in criticism as mukokuseki (statelessness). Mukokuseki characters can significantly impact the reception of a property outside of Japan.Bîrlea, Oana-Maria. “Soft Power: ’Cute Culture’, a Persuasive Strategy in Japanese Advertising.” TRAMES: A Journal of the Humanities & Social Sciences, vol. 27, no. 3, July 2023, pp. 311–24. EBSCOhost via Wikipedia Library, https://doi.org/10.3176/tr.2023.3.07.Altiok, Revna. "What Is Mukokuseki in Anime – And Why Is It Important? " from Comic Book Resources, 24 June 2022.
A U.A.E.-Filipino produced TV series called Torkaizer is dubbed as the "Middle East's First Anime Show", and is currently in production and looking for funding. Netflix has produced multiple anime series in collaboration with Japanese animation studios, and in doing so, has offered a more accessible channel for distribution to Western markets. Similar initiatives have been enacted by the US-based streaming service Crunchyroll, producing titles such as High Guardian Spice and an adaptation of Tower of God.
The web-based series RWBY, produced by Texas-based company Rooster Teeth, is produced using an anime art style, and the series has been described as "anime" by multiple sources. For example, Adweek, in the headline to one of its articles, described the series as "American-made anime", and in another headline, The Huffington Post described it as simply "anime", without referencing its country of origin. In 2013, Monty Oum, the creator of RWBY, said "Some believe just like Scotch needs to be made in Scotland, an American company can't make anime. I think that's a narrow way of seeing it. Anime is an art form, and to say only one country can make this art is wrong." RWBY has been released in Japan with a Japanese language dub; the CEO of Rooster Teeth, Matt Hullum, commented "This is the first time any American-made anime has been marketed to Japan. It definitely usually works the other way around, and we're really pleased about that." |
Anime | Media franchises | Media franchises
thumb|Pokémon Center at Jewel Changi Airport in Singapore
In Japanese culture and entertainment, media mix is a strategy to disperse content across multiple representations: different broadcast media, gaming technologies, cell phones, toys, amusement parks, and other methods.Henry Jenkins, Convergence Culture: Where Old and New Media Collide, p. 110 It is the Japanese term for a transmedia franchise.Marc Steinberg, Anime's Media Mix: Franchising Toys and Characters in Japan The term gained its circulation in late 1980s, but the origins of the strategy can be traced back to the 1960s with the proliferation of anime, with its interconnection of media and commodity goods.Steinberg, p. vi
A number of anime and manga media franchises such as Demon Slayer: Kimetsu no Yaiba, Dragon Ball, Fate/stay night, Yu-Gi-Oh!, Neon Genesis Evangelion and Gundam have gained considerable global popularity, and are among the world's highest-grossing media franchises. Pokémon in particular is estimated to be the highest-grossing media franchise of all time. |
Anime | See also | See also
Cool Japan
Hentai
History of anime
Japanese popular culture
Japanophilia
Lists of anime
La nouvelle manga
Manfra
Mechademia
OEL manga
Otaku
Soft power § Japan
Television in Japan
Video games in Japan
Voice acting in Japan
Vtuber |
Anime | Notes | Notes |
Anime | References | References |
Anime | Sources | Sources
Category:1917 introductions
Category:Anime and manga terminology
Category:Japanese inventions |
Anime | Table of Content | Short description, Etymology, History, Precursors, Pioneers, Modern era, Attributes, Technique, Characters, Music, Genres, Formats, Industry, Markets, Awards, Working conditions, Global popularity and cultural impact, Fan response, Anime style, Media franchises, See also, Notes, References, Sources |
Asterism | Wiktionary | Asterism may refer to:
Asterism (astronomy), a pattern of stars
Asterism (band), a Japanese rock band
Asterism (gemology), an optical phenomenon in gemstones
Asterism (typography), (⁂) a moderately rare typographical symbol denoting a break in passages |
Asterism | See also | See also
Aster (disambiguation)
Asterisk (disambiguation) |
Asterism | Table of Content | Wiktionary, See also |
Ankara | short description | Ankara is the capital city of Turkey. Located in the central part of Anatolia, the city has a population of about 5.2 million in its urban center and about 5.8 million in Ankara Province. Ankara is Turkey's second-largest city by population after Istanbul, first by urban land area, and third by metro land area after Konya and Sivas.
Ankara was historically known as Ancyra and Angora. Serving as the capital of the ancient Celtic state of Galatia (280–64 BC), and later of the Roman province with the same name (25 BC–7th century), Ankara has various Hattian, Hittite, Lydian, Phrygian, Galatian, Greek, Persian, Roman, Byzantine, and Ottoman archeological sites. The Ottomans made the city the capital first of the Anatolia Eyalet (1393 – late 15th century) and then the Angora Eyalet (1827–1864) and the Angora Vilayet (1867–1922). On 23 April 1920, the Grand National Assembly of Turkey was established in Ankara, which became the headquarters of the Turkish National Movement during the Turkish War of Independence. Ankara became the new Turkish capital upon the establishment of the Republic on 29 October 1923, succeeding in this role as the former Turkish capital Istanbul following the fall of the Ottoman Empire.
The historical center of Ankara is a rocky hill rising over the left bank of the Ankara River, a tributary of the Sakarya River. The hill remains crowned by the ruins of Ankara Castle. Although few of its outworks have survived, there are well-preserved examples of Roman and Ottoman architecture throughout the city.
The government is a prominent employer, but Ankara is also an important commercial and industrial city located at the center of Turkey's road and railway networks. The city gave its name to the Angora wool shorn from Angora rabbits, the long-haired Angora goat (the source of mohair), and the Angora cat. The area is also known for its pears, honey and Muscat grapes. Although situated in one of the driest regions of Turkey and surrounded mostly by steppe vegetation (except for the forested areas on the southern periphery), Ankara can be considered a green city in terms of green areas per inhabitant, at per head. Ankara is among the top 100 science and technology clusters in the world. |
Ankara | Etymology | Etymology
The orthography of the name Ankara has varied over the ages. It has been identified with the Hittite cult center , although this remains a matter of debate.Gorny, Ronald L. "Zippalanda and Ankuwa: The Geography of Central Anatolia in the Second Millennium B.C." The Journal of the American Oriental Society. Vol. 117 (1997). In classical antiquity and during the medieval period, the city was known as (, ) in Greek and in Latin; the Galatian Celtic name was probably a similar variant. Following its annexation by the Seljuk Turks in 1073, the city became known in many European languages as Angora; it was also known in Ottoman Turkish as (). The form "Angora" is preserved in the names of breeds of many different kinds of animals, and in the names of several locations in the US (see Angora). |
Ankara | History | History
The region's history can be traced back to the Bronze Age Hattic civilization, which was succeeded in the 2nd millennium BC by the Hittites, in the 10th century BC by the Phrygians, and later by the Lydians, Persians, Greeks, Galatians, Romans, Byzantines, and Turks (the Seljuk Sultanate of Rûm, the Ottoman Empire and finally republican Türkiye). |
Ankara | Ancient history | Ancient history
The oldest settlements in and around the city center of Ankara belonged to the Hattic civilization which existed during the Bronze Age and was gradually absorbed c. 2000 – 1700 BC by the Indo-European Hittites. The city grew significantly in size and importance under the Phrygians starting around 1000 BC, and experienced a large expansion following the mass migration from Gordion, (the capital of Phrygia), after an earthquake which severely damaged that city around that time. In Phrygian tradition, King Midas was venerated as the founder of Ancyra, but Pausanias mentions that the city was actually far older, which accords with present archeological knowledge.Pausanias, Description of Greece, 1.4.1., "Ancyra was actually older even than that."
Phrygian rule was succeeded first by Lydian and later by Persian rule, though the strongly Phrygian character of the peasantry remained, as evidenced by the gravestones of the much later Roman period. Persian sovereignty lasted until the Persians' defeat at the hands of Alexander the Great who conquered the city in 333 BC. Alexander came from Gordion to Ankara and stayed in the city for a short period. After his death at Babylon in 323 BC and the subsequent division of his empire among his generals, Ankara, and its environs fell into the share of Antigonus.
Another important expansion took place under the Greeks of Pontos who came there around 300 BC and developed the city as a trading center for the commerce of goods between the Black Sea ports and Crimea to the north; Assyria, Cyprus, and Lebanon to the south; and Georgia, Armenia and Persia to the east. By that time, the city also took its name Ἄγκυρα (Ánkyra, meaning anchor in Greek) which, in slightly modified form, provides the modern name of Ankara. |
Ankara | Celtic history | Celtic history
thumb|right|The Dying Galatian was a famous statue commissioned some time between 230 and 220 BC by King Attalos I of Pergamon to honor his victory over the Celtic Galatians in Anatolia. Roman marble copy of a Hellenistic work of the late 3rd century BC, at the Capitoline Museums, Rome.
In 278 BC, the city, along with the rest of central Anatolia, was occupied by a Celtic group, the Galatians, who were the first to make Ankara one of their main tribal centers, the headquarters of the Tectosages tribe.Livy, xxxviii. 16 Other centers were Pessinus, today's Ballıhisar, for the Trocmi tribe, and Tavium, to the east of Ankara, for the Tolistobogii tribe. The city was then known as Ancyra. The Celtic element was probably relatively small in numbers; a warrior aristocracy which ruled over Phrygian-speaking peasants. However, the Celtic language continued to be spoken in Galatia for many centuries. At the end of the 4th century, St. Jerome, a native of Dalmatia, observed that the language spoken around Ankara was very similar to that being spoken in the northwest of the Roman world near Trier. |
Ankara | Roman history | Roman history
The city was subsequently passed under the control of the Roman Empire. In 25 BC, Emperor Augustus raised it to the status of a polis and made it the capital city of the Roman province of Galatia. Ankara is famous for the Monumentum Ancyranum (Temple of Augustus and Rome) which contains the official record of the Acts of Augustus, known as the Res Gestae Divi Augusti, an inscription cut in marble on the walls of this temple. The ruins of Ancyra still furnish today valuable bas-reliefs, inscriptions and other architectural fragments. Two other Galatian tribal centers, Tavium near Yozgat, and Pessinus (Balhisar) to the west, near Sivrihisar, continued to be reasonably important settlements in the Roman period, but it was Ancyra that grew into a grand metropolis.
An estimated 200,000 people lived in Ancyra in good times during the Roman Empire, a far greater number than was to be the case from after the fall of the Roman Empire until the early 20th century. The small Ankara River ran through the center of the Roman town. It has now been covered and diverted, but it formed the northern boundary of the old town during the Roman, Byzantine and Ottoman periods. Çankaya, the rim of the majestic hill to the south of the present city center, stood well outside the Roman city, but may have been a summer resort. In the 19th century, the remains of at least one Roman villa or large house were still standing not far from where the Çankaya Presidential Residence stands today. To the west, the Roman city extended until the area of the Gençlik Park and Railway Station, while on the southern side of the hill, it may have extended downward as far as the site presently occupied by Hacettepe University. It was thus a sizeable city by any standards and much larger than the Roman towns of Gaul or Britannia.
Ancyra's importance rested on the fact that it was the junction point where the roads in northern Anatolia running north–south and east–west intersected, giving it major strategic importance for Rome's eastern frontier. The great imperial road running east passed through Ankara and a succession of emperors and their armies came this way. They were not the only ones to use the Roman highway network, which was equally convenient for invaders. In the second half of the 3rd century, Ancyra was invaded in rapid succession by the Goths coming from the west (who rode far into the heart of Cappadocia, taking slaves and pillaging) and later by the Arabs. For about a decade, the town was one of the western outposts of one of Palmyrean empress Zenobia in the Syrian Desert, who took advantage of a period of weakness and disorder in the Roman Empire to set up a short-lived state of her own.
The town was reincorporated into the Roman Empire under Emperor Aurelian in 272. The tetrarchy, a system of multiple (up to four) emperors introduced by Diocletian (284–305), seems to have engaged in a substantial program of rebuilding and of road construction from Ancyra westwards to Germe and Dorylaeum (now Eskişehir).
In its heyday, Roman Ancyra was a large market and trading center but it also functioned as a major administrative capital, where a high official ruled from the city's Praetorium, a large administrative palace or office. During the 3rd century, life in Ancyra, as in other Anatolian towns, seems to have become somewhat militarized in response to the invasions and instability of the town. |
Ankara | Byzantine history | Byzantine history
thumb|The Column of Julian (362) was erected in honor of the Roman emperor Julian the Apostate's visit to Ancyra.|281x281px
The city is well known during the 4th century as a center of Christian activity (see also below), due to frequent imperial visits, and through the letters of the pagan scholar Libanius. Bishop Marcellus of Ancyra and Basil of Ancyra were active in the theological controversies of their day, and the city was the site of no fewer than three church synods in 314, 358 and 375, the latter two in favor of Arianism.
The city was visited by Emperor Constans I (r. 337–350) in 347 and 350, Julian (r. 361–363) during his Persian campaign in 362, and Julian's successor Jovian (r. 363–364) in winter 363/364 (he entered his consulship while in the city). After Jovian's death soon after, Valentinian I (r. 364–375) was acclaimed emperor at Ancyra, and in the next year his brother Valens (r. 364–378) used Ancyra as his base against the usurper Procopius. When the province of Galatia was divided sometime in 396/99, Ancyra remained the civil capital of Galatia I, as well as its ecclesiastical center (metropolitan see). Emperor Arcadius (r. 383–408) frequently used the city as his summer residence, and some information about the ecclesiastical affairs of the city during the early 5th century is found in the works of Palladius of Galatia and Nilus of Ancyra.
In 479, the rebel Marcian attacked the city, without being able to capture it. In 610/11, Comentiolus, brother of Emperor Phocas (r. 602–610), launched his own unsuccessful rebellion in the city against Heraclius (r. 610–641). Ten years later, in 620 or more likely 622, it was captured by the Sassanid Persians during the Byzantine–Sassanid War of 602–628. Although the city returned to Byzantine hands after the end of the war, the Persian presence left traces in the city's archeology, and likely began the process of its transformation from a late antique city to a medieval fortified settlement.
In 654, the city, also known in Arabic sources as Qalat as-Salasil ("fortress of the chains"), was captured for the first time by the Arabs of the Rashidun Caliphate, under Muawiyah, the future founder of the Umayyad Caliphate. At about the same time, the themes were established in Anatolia, and Ancyra became capital of the Opsician Theme, which was the largest and most important theme until it was split up under Emperor Constantine V (r. 741–775); Ancyra then became the capital of the new Bucellarian Theme. The city was captured at least temporarily by the Umayyad prince Maslama ibn Hisham in 739/40, the last of the Umayyads' territorial gains from the Byzantine Empire. Ancyra was attacked without success by Abbasid forces in 776 and in 798/99. In 805, Emperor Nikephoros I (r. 802–811) strengthened its fortifications, a fact which probably saved it from sack during the large-scale invasion of Anatolia by Caliph Harun al-Rashid in the next year. Arab sources report that Harun and his successor al-Ma'mun (r. 813–833) took the city, but this information is later invention. In 838, however, during the Amorium campaign, the armies of Caliph al-Mu'tasim (r. 833–842) converged and met at the city; abandoned by its inhabitants, Ancara was razed to the ground, before the Arab armies went on to besiege and destroy Amorium reaching as far as Smyrna. In 859, Emperor Michael III (r. 842–867) came to the city during a campaign against the Arabs, and ordered its fortifications restored. In 872, the city was menaced, but not taken, by the Paulicians under Chrysocheir. The last Arab raid to reach the city was undertaken in 931, by the Abbasid governor of Tarsus, Thamal al-Dulafi, but the city again was not captured. |
Ankara | Ecclesiastical history | Ecclesiastical history
thumb|160px|St. Theodotus of Ancyra
Early Christian martyrs of Ancyra, about whom little is known, included Proklos and Hilarios who were natives of the otherwise unknown nearby village of Kallippi, and suffered repression under the emperor Trajan (98–117). In the 280s we hear of Philumenos, a Christian corn merchant from southern Anatolia, being captured and martyred in Ankara, and Eustathius.
As in other Roman towns, the reign of Diocletian marked the culmination of the persecution of the Christians. In 303, Ancyra was one of the towns where the co-emperors Diocletian and his deputy Galerius launched their anti-Christian persecution. In Ancyra, their first target was the 38-year-old Bishop of the town, whose name was Clement. Clement's life describes how he was taken to Rome, then sent back, and forced to undergo many interrogations and hardship before he, and his brother, and various companions were put to death. The remains of the church of St. Clement can be found today in a building just off Işıklar Caddesi in the Ulus district. Quite possibly this marks the site where Clement was originally buried. Four years later, a doctor of the town named Plato and his brother Antiochus also became celebrated martyrs under Galerius. Theodotus of Ancyra is also venerated as a saint.
However, the persecution proved unsuccessful and in 314 Ancyra was the center of an important council of the early church; its 25 disciplinary canons constitute one of the most important documents in the early history of the administration of the Sacrament of Penance. The synod also considered ecclesiastical policy for the reconstruction of the Christian Church after the persecutions, and in particular the treatment of lapsi—Christians who had given in to forced paganism (sacrifices) to avoid martyrdom during these persecutions.
Though paganism was probably tottering in Ancyra in Clement's day, it may still have been the majority religion. Twenty years later, Christianity and monotheism had taken its place. Ancyra quickly turned into a Christian city, with a life dominated by monks and priests and theological disputes. The town council or senate gave way to the bishop as the main local figurehead. During the middle of the 4th century, Ancyra was involved in the complex theological disputes over the nature of Christ, and a form of Arianism seems to have originated there.
In 362–363, Emperor Julian passed through Ancyra on his way to an ill-fated campaign against the Persians, and according to Christian sources, engaged in a persecution of various holy men. The stone base for a statue, with an inscription describing Julian as "Lord of the whole world from the British Ocean to the barbarian nations", can still be seen, built into the eastern side of the inner circuit of the walls of Ankara Castle. The Column of Julian which was erected in honor of the emperor's visit to the city in 362 still stands today. In 375, Arian bishops met at Ancyra and deposed several bishops, among them St. Gregory of Nyssa.
In the late 4th century, Ancyra became something of an imperial holiday resort. After Constantinople became the East Roman capital, emperors in the 4th and 5th centuries would retire from the humid summer weather on the Bosporus to the drier mountain atmosphere of Ancyra. Theodosius II (408–450) kept his court in Ancyra in the summers. Laws issued in Ancyra testify to the time they spent there.
The Metropolis of Ancyra continued to be a residential see of the Eastern Orthodox Church until the 20th century, with about 40,000 faithful, mostly Turkish-speaking, but that situation ended as a result of the 1923 Convention Concerning the Exchange of Greek and Turkish Populations. The earlier Armenian genocide put an end to the residential eparchy of Ancyra of the Armenian Catholic Church, which had been established in 1850.Bull Universi Dominici gregis , in Giovanni Domenico Mansi, Sacrorum Conciliorum Nova et Amplissima Collectio, vol. XL, coll. 779–780F. Tournebize, v. II. Ancyre, évêché arménien catholique, in Dictionnaire d'Histoire et de Géographie ecclésiastiques , vol. II, Paris 1914, coll. 1543–1546 It is also a titular metropolis of the Ecumenical Patriarchate of Constantinople.
Both the Ancient Byzantine Metropolitan archbishopric and the 'modern' Armenian eparchy are now listed by the Catholic Church as titular sees,Annuario Pontificio 2013 (Libreria Editrice Vaticana 2013 ), p. 832 with separate apostolic successions. |
Ankara | Seljuk and Ottoman history | Seljuk and Ottoman history
thumb|Ottoman houses in Hamamönü district
After the Battle of Manzikert in 1071, the Seljuk Turks overran much of Anatolia. By 1073, the Turkish settlers had reached the vicinity of Ancyra, and the city was captured shortly after, at the latest by the time of the rebellion of Nikephoros Melissenos in 1081. In 1101, when the Crusade under Raymond IV of Toulouse arrived, the city had been under Danishmend control for some time. The Crusaders captured the city, and handed it over to the Byzantine emperor Alexios I Komnenos (r. 1081–1118). Byzantine rule did not last long, and the city was captured by the Seljuk Sultanate of Rum at some unknown point; in 1127, it returned to Danishmend control until 1143, when the Seljuks of Rum retook it.
After the Battle of Köse Dağ in 1243, in which the Mongols defeated the Seljuks, most of Anatolia became part of the dominion of the Mongols. Taking advantage of Seljuk decline, a semi-religious cast of craftsmen and trade people named Ahiler chose Angora as their independent city-state in 1290. Orhan, the second Bey of the Ottoman Empire, captured the city in 1356. Timur defeated Bayezid I at the Battle of Ankara in 1402 and took the city, but in 1403 Angora was again under Ottoman control.
The Levant Company maintained a factory in the town from 1639 to 1768. In the 19th century, its population was estimated at 20,000 to 60,000. It was sacked by Egyptians under Ibrahim Pasha in 1832.
From 1867 to 1922, the city served as the capital of the Angora Vilayet, which included most of ancient Galatia.
Prior to World War I, the town had a British consulate and a population of around 28,000, roughly of whom were Christian. |
Ankara | Turkish republican capital | Turkish republican capital
thumb|President Mustafa Kemal Atatürk (center) and Prime Minister İsmet İnönü (left) leaving the Grand National Assembly of Türkiye during the 7th anniversary celebrations of the Turkish Republic in 1930
Following the Ottoman defeat in World War I, the Ottoman capital Constantinople (modern Istanbul) and much of Anatolia was occupied by the Allies, who planned to share these lands between Armenia, France, Greece, Italy and the United Kingdom, leaving for the Turks the core piece of land in central Anatolia. In response, the leader of the Turkish nationalist movement, Mustafa Kemal Atatürk, established the headquarters of his resistance movement in Angora in 1920. After the Turkish War of Independence was won and the Treaty of Sèvres was superseded by the Treaty of Lausanne (1923), the Turkish nationalists replaced the Ottoman Empire with the Republic of Turkey on 29 October 1923. A few days earlier, Angora had officially replaced Constantinople as the new Turkish capital city, on 13 October 1923, and Republican officials declared that the city's name is Ankara.
thumb|left|A view of the old general directorate building of Ziraat Bank. It was designed by Istanbul-born Italian Levantine architect Giulio Mongeri and built between 1926 and 1929.
After Ankara became the capital of the newly founded Republic of Turkey, new development divided the city into an old section, called Ulus, and a new section, called Yenişehir. Ancient buildings reflecting Roman, Byzantine, and Ottoman history and narrow winding streets mark the old section. The new section, now centered on Kızılay Square, has the trappings of a more modern city: wide streets, hotels, theaters, shopping malls, and high-rises.
Government offices and foreign embassies are also located in the new section. Ankara has experienced a phenomenal growth since it was made Turkey's capital in 1923, when it was "a small town of no importance".Columbia Lippincott Gazetteer In 1924, the year after the government had moved there, Ankara had about 35,000 residents. By 1927 there were 44,553 residents and by 1950 the population had grown to 286,781. After 1930, the city officially became known in Western languages as Ankara. By the late 1930s, the English name "Angora" was no longer in popular use.Deriu, Davide. "A challenge to the West: British views of republican Ankara" (Chapter 12). In: Gharipour, Mohammad and Nilay Özlü (editors). The City in the Muslim World: Depictions by Western Travel Writers. Routledge, 5 March 2015. , 9781317548225. Start: p. 279 . CITED: p. 299 .
thumb|The Presidential Library in Ankara is the largest library in Turkey, with a collection of over 4 million printed books and over 120 million electronic editions published in 134 languages.
Ankara continued to grow rapidly during the latter half of the 20th century and eventually outranked İzmir as Turkey's second-largest city, after Istanbul. Ankara's urban population reached 4,587,558 in 2014, while the population of Ankara Province reached 5,150,072 in 2015.
The Presidential Palace of Türkiye is situated in Ankara. This building serves as the main residence of the president. |
Ankara | Geography | Geography
Geographically, Ankara is located in between the Kızılırmak and Sakarya rivers, and the Sakarya River forms its border with Eskişehir in the west. Ankara shares its borders with Bolu and Çankırı in the north; Konya in the south and Kırıkkale in the east.
Ankara and its province are located in the Central Anatolia Region of Turkey. The Çubuk Brook flows through the city center of Ankara. It is connected in the western suburbs of the city to the Ankara River, which is a tributary of the Sakarya River. |
Ankara | Climate | Climate
Ankara has a cold semi-arid climate under the Köppen climate classification (BSk), while under the Trewartha climate classification, the city is classified as humid continental (Dc). Due to its elevation and inland location, Ankara has cold and snowy winters, and hot and dry summers. Rainfall occurs mostly during the spring and autumn. The city lies in USDA Hardiness zone 7b, and its annual average precipitation is fairly low at , nevertheless precipitation can be observed throughout the year. Monthly mean temperatures range from in January to in July, with an annual mean of . Ankara's overall temperature regime is very similar to New York City. |
Ankara | Demographics | Demographics
thumb|right|Ankara metropolitan area
Ankara had a population of 75,000 in 1927. There were 74,632 male residents and 48,882 female residents in Ankara according to the 1935 census. As of 2022, the population of the Ankara Province was 5,782,285. When Ankara became the capital of the Republic of Turkey in 1923, it was designated as a planned city for 500,000 future inhabitants. During the 1920s, 1930s and 1940s, the city grew in a planned and orderly pace. However, from the 1950s onward, the city grew much faster than envisioned, because unemployment and poverty forced people to migrate from the countryside into the city to seek a better standard of living. As a result, many illegal houses called gecekondu were built around the city, causing the unplanned and uncontrolled urban landscape of Ankara, as not enough planned housing could be built fast enough. Although precariously built, the vast majority of them have electricity, running water and modern household amenities.
Nevertheless, many of these gecekondus have been replaced by huge public housing projects in the form of tower blocks such as Elvankent, Eryaman and Güzelkent; and also as mass housing compounds for military and civil service accommodation. Although many gecekondus still remain, they too are gradually being replaced by mass housing compounds, as empty land plots in the city of Ankara for new construction projects are becoming impossible to find.
Çorum and Yozgat, which are located in Central Anatolia and whose population is decreasing, are the provinces with the highest net migration to Ankara. About one third of the Central Anatolia population of 15,608,868 people resides in Ankara.
The literacy rate in the whole province for people who are 15 years old or older is 98.18% according to 2020 TÜİK data. Ankara Province also has the highest percentage of tertiary education graduates in Turkey with 29.08% of the population having either an undergraduate, master's or doctor's degree. |
Ankara | Economy and infrastructure | Economy and infrastructure
thumb|250px|YDA Center in Söğütözü, Ankara
Ankara has long been a productive agricultural region in Anatolia. In the Ottoman period, Ankara was well known for producing grain, cotton, and fruits.
The city has exported mohair (from the Angora goat) and Angora wool (from the Angora rabbit) internationally for centuries. In the 19th century, the city also exported substantial amounts of goat and cat skins, gum, wax, honey, berries, and madder root. It was connected to Istanbul by railway before the First World War, continuing to export mohair, wool, berries, and grain.
The Central Anatolia Region is one of the primary locations of grape and wine production in Turkey, and Ankara is particularly famous for its Kalecik Karası and Muscat grapes; and its Kavaklıdere wine, which is produced in the Kavaklıdere neighborhood within the Çankaya district of the city. Ankara is also famous for its pears. Another natural product of Ankara is its indigenous type of honey (Ankara Balı) which is known for its light color and is mostly produced by the Atatürk Forest Farm and Zoo in the Gazi district, and by other facilities in the Elmadağ, Çubuk and Beypazarı districts. Çubuk-1 and Çubuk-2 dams on the Çubuk Brook in Ankara were among the first dams constructed in the Turkish Republic.
thumb|250px|Kızılay Square and Emek Business Center (1959–1965), the first International Style office tower and shopping center in Turkey.
Ankara is the center of the state-owned and private Turkish defence and aerospace companies, where the industrial plants and headquarters of the Turkish Aerospace Industries, MKE, ASELSAN, HAVELSAN, ROKETSAN, FNSS, Nurol Makina, and numerous other firms are located. Exports to foreign countries from these defense and aerospace firms have steadily increased in the past decades. The IDEF in Ankara is one of the largest international expositions of the global arms industry. A number of the global automotive companies also have production facilities in Ankara, such as the German bus and truck manufacturer MAN SE. Ankara hosts the OSTIM Industrial Zone, Turkey's largest industrial park.
A large percentage of the complicated employment in Ankara is provided by the state institutions; such as the ministries, subministries, and other administrative bodies of the Turkish government. There are also many foreign citizens working as diplomats or clerks in the embassies of their respective countries. |
Ankara | Transportation | Transportation
thumb|Ankara railway station is a hub for conventional trains.
thumb|The new ATG terminal is a hub for the high-speed rail (YHT) services.
The Electricity, Gas, Bus General Directorate (EGO) operates the Ankara Metro and other forms of public transportation. Ankara is served by a suburban rail named Başkentray (B1) and five Metro lines (A1, M1, M2, M3, M4) of the Ankara Metro with about 400,000 total daily commuters, while additional subway lines (A2 and M2a/b) are planned. A long gondola lift with four stations connects the district of Şentepe to the Yenimahalle metro station.
Ankara Central Station is a major rail hub in Turkey. The Turkish State Railways operates passenger train service from Ankara to other major cities, such as: Istanbul, Eskişehir, Balıkesir, Kütahya, İzmir, Kayseri, Adana, Kars, Elazığ, Malatya, Diyarbakır, Karabük, Zonguldak and Sivas. Commuter rail also runs between the stations of Sincan and Kayaş. On 13 March 2009, the new Yüksek Hızlı Tren (YHT) high-speed rail service began operation between Ankara and Eskişehir. On 23 August 2011, another YHT high-speed line commercially started its service between Ankara and Konya. On 25 July 2014, the Ankara–Istanbul high-speed line of YHT entered service.
Ankara Esenboğa Airport, located in the north-east of the city, is Ankara's main airport. Whilst the AŞTİ is the main coach terminal. |
Ankara | Ankara public transportation statistics | Ankara public transportation statistics
The average amount of time people spend commuting on public transit in Ankara on a weekday is 71 minutes. 17% of public transit passengers, ride for more than two hours every day. The average amount of time people wait at a stop or station for public transit is sixteen minutes, while 28% of users wait for over twenty minutes on average every day. The average distance people usually ride in a single trip with public transit is , while 27% travel for over in a single direction. 50x50px Material was copied from this source, which is available under a Creative Commons Attribution 4.0 International License. |
Ankara | Politics | Politics
alt=|right|175x175px
thumb|left|upright|Mansur Yavaş of the CHP is the Mayor of Ankara.
Since 8 April 2019, the mayor of Ankara is Mansur Yavaş from the Republican People's Party (CHP), who won the mayoral election in 2019 and 2024.
Ankara is politically a triple battleground between the ruling conservative AK Party, the opposition Kemalist center-left Republican People's Party (CHP) and the nationalist far-right MHP. The province of Ankara is divided into 25 districts. Historically, the CHP's key and almost only political stronghold in Ankara lied within the central area of Çankaya, which is the city's most populous district. While the CHP has always gained between 60 and 70% of the vote in Çankaya since 2002, political support elsewhere throughout Ankara was minimal. The high population within Çankaya, as well as Yenimahalle to an extent, has allowed the CHP to take overall second place behind the AK Party in both local and general elections, with the MHP a close third, despite the fact that the MHP was politically stronger than the CHP in almost every other district. Overall, the AK Party enjoyed the most support throughout the city. The electorate of Ankara thus tended to vote in favor of the political right, far more so than the other main cities of Istanbul and İzmir. In retrospect, the 2013–14 protests against the AK Party government were particularly strong in Ankara, proving to be fatal on multiple occasions.
The city suffered from a series of terrorist attacks in 2015 and 2016, most notably on 10 October 2015; 17 February 2016; and 13 March 2016. The city was also one of the sites of the coup attempt on 15 July 2016.
Melih Gökçek was the Metropolitan Mayor of Ankara between 1994 and 2017. Initially elected in the 1994 local elections, he was re-elected in 1999, 2004 and 2009. In the 2014 local elections, Gökçek stood for a fifth term. The MHP's metropolitan mayoral candidate for the 2009 local elections, Mansur Yavaş, stood as the CHP's candidate against Gökçek in 2014. In a heavily controversial election, Gökçek was declared the winner by just 1% ahead of Yavaş amid allegations of systematic electoral fraud. With the Supreme Electoral Council and courts rejecting his appeals, Yavaş declared his intention to take the irregularities to the European Court of Human Rights. Although Gökçek was inaugurated for a fifth term, most election observers believe that Yavaş was the winner of the election. Gökçek resigned on 28 October 2017 and was replaced by the former mayor of Sincan district, Mustafa Tuna; who was succeeded by Mansur Yavaş of the CHP, the current mayor of Ankara, elected in 2019. |
Ankara | Main sights | Main sights |
Ankara | Ancient/archeological sites | Ancient/archeological sites
thumb|Ankara castle and citadel
thumb|Theatre of Ancyra
thumb|At the Monumentum Ancyranum (Temple of Augustus and Rome) in Ulus, the primary intact copy of Res Gestae written by the first Roman emperor Augustus survives.
thumb|Roman Baths of Ankara |
Ankara | Ankara Citadel | Ankara Citadel
The foundations of the Ankara castle and citadel were laid by the Galatians on a prominent lava outcrop (), and the rest was completed by the Romans. The Byzantines and Seljuks further made restorations and additions. The area around and inside the citadel, being the oldest part of Ankara, contains many fine examples of traditional architecture. There are also recreational areas to relax. Many restored traditional Turkish houses inside the citadel area have found new life as restaurants, serving local cuisine.
The citadel was depicted in various Turkish banknotes during 1927–1952 and 1983–1989.The citadel was depicted in the following Turkish banknotes:
On the obverse of the 1 lira banknote of 1927–1939 (1. Emission Group – One Turkish Lira – I. Series ).
On the obverse of the 5 lira banknote of 1927–1937 (1. Emission Group – Five Turkish Lira – I. Series ).
On the reverse of the 10 lira banknote of 1927–1938 (1. Emission Group – Ten Turkish Lira – I. Series ).
On the reverse of the 10 lira banknote of 1938–1952 (2. Emission Group – Ten Turkish Lira – I. Series ).
On the reverse of the 100 lira banknotes of 1983–1989 (7. Emission Group – One Hundred Turkish Lira – I. Series & II. Series ).
Central Bank of the Republic of Turkey . Banknote Museum. – Links retrieved on 20 April 2009. |
Ankara | Roman Theater | Roman Theater
The remains, the stage, and the backstage of the Antique Rome theatre of Ankara can be seen outside the castle. Roman statues that were found here are exhibited in the Museum of Anatolian Civilizations. The seating area is still under excavation. |
Ankara | Temple of Augustus and Rome | Temple of Augustus and Rome
The Augusteum, now known as the Temple of Augustus and Rome, was built 25 20 BC following the conquest of Central Anatolia by the Roman Empire. Ancyra then formed the capital of the new province of Galatia. After the death of Augustus in AD 14, a copy of the text of the Res Gestae Divi Augusti (the Monumentum Ancyranum) was inscribed on the interior of the temple's in Latin and a Greek translation on an exterior wall of the . The temple on the ancient acropolis of Ancyra was enlarged in the 2nd century and converted into a church in the 5th century. It is located in the Ulus quarter of the city. It was subsequently publicized by the Austrian ambassador Ogier Ghiselin de Busbecq in the 16th century. |
Ankara | Roman Baths | Roman Baths
The Roman Baths of Ankara have all the typical features of a classical Roman bath complex: a frigidarium (cold room), a tepidarium (warm room) and a caldarium (hot room). The baths were built during the reign of the Roman emperor Caracalla in the early 3rd century to honor Asclepios, the God of Medicine. Today, only the basement and first floors remain. It is situated in the Ulus quarter. |
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