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Rihannsu is a fictional language invented by author Diane Duane which is spoken by the Rihannsu ( Romulans ) in Duane's Star Trek novels.
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Rihannsu and is
In the Pocket Books novels by Diane Duane, the Romulan name for the planet is ch ' Rihan, hence the endonym for the people is Rihannsu.
* Diane Duane's mini-series Rihannsu, consisting to-date of five books written between 1984 and 2006, is regarded as one of deepest works focusing on the Romulans.
Rihannsu is a series of five Star Trek novels by author Diane Duane.
Rihannsu is the name that Romulans use for their race in Duane's series of books and the name of their language.
" Rihannsu " is also the name for the Romulan language invented by Duane.
The main Rihannsu character in the above series is Ael i-Mhiessan t ' Rllaillieu.
However, Gene Roddenberry himself is said to have taken issue with the depiction, particularly Duane and Morwood's assertion in The Romulan Way that the Rihannsu " were never Romulans.
Rihannsu and language
There are some differences in their history and the way they are portrayed on television, in the motion pictures and in several books by Diane Duane, called the Rihannsu series, after the term they use to refer to themselves in their Romulan native language.
This language, described as sounding somewhat like Latin and Welsh, came to be known as Rihannsu.
Rihannsu and by
The original colonization group of Rihannsu came to this system after they fled their homeworld in rebellion against the philosophy of peace and logic proposed by Surak.
Duane's creation of the Rihannsu was generally well received by fans, with some going so far as to lobby Paramount to accept them as canonical.
Novels in the 1980s by Diane Duane and John M. Ford established a complex backstory and culture for the Romulans ( Rihannsu ) and Klingons respectively, which were later not taken up by TNG.
Rihannsu and Diane
Romulus and Remus ( ch ' Rihan and ch ' Havran respectively in Diane Duane's Rihannsu novels ) are the two Romulan homeworlds.
Rihannsu and Duane's
Duane's Mirror Universe novel Dark Mirror also refers to the Rihannsu.
Rihannsu and Star
Rihannsu has however never been considered part of Star Trek canon.
* Star Trek: TOS: Rihannsu # 2: The Romulan Way
Rihannsu and Trek
At least three different explanations are given in Trek novels -- The Price of the Phoenix, Rihannsu # 1: My Enemy, My Ally and Vulcan's Heart --( in the early days of Trek writing, many novels tended to contradict each other, and so the commander has had many different names and fates ).
Rihannsu and novels
The 2006 omnibus, Rihannsu: The Bloodwing Voyages ( ISBN 1-416-52577-7 ), reprints the first four Rihannsu novels, with minor timeline and character rank tweaks for consistency with other novels.
is and fictional
It is from this unpromising background that the fictional private detective was recruited.
As a free-lance investigator, the fictional detective is responsible to no one but himself and his client.
Thus the fictional detective is much more than a simple businessman.
In short, the fictional private eye is a specialized version of Adam Smith's ideal entrepreneur, the man whose private ambitions must always and everywhere promote the public welfare.
Now time is also the concern of the fictional narrative, which is, at its simplest, the story of an action with, usually, a beginning, a middle, and an end -- elements which demand time as the first condition for their existence.
In some fictional works, the difference between a robot and android is only their appearance, with androids being made to look like humans on the outside but with robot-like internal mechanics.
Abdul Alhazred is a fictional character created by American horror writer H. P. Lovecraft.
Hercule Poirot (; ) is a fictional Belgian detective, created by Agatha Christie.
On publication of the latter, Poirot was the only fictional character to be given an obituary in the New York Times ; 6 August 1975 " Hercule Poirot is Dead ; Famed Belgian Detective ".
Jane Marple, usually referred to as Miss Marple, is a fictional character appearing in twelve of Agatha Christie's crime novels and in twenty short stories.
The Amber Diceless Roleplaying Game is a role-playing game created and written by Erick Wujcik, set in the fictional universe created by author Roger Zelazny for his Chronicles of Amber.
The Dodo is a fictional character appearing in Chapters 2 and 3 of the book Alice's Adventures in Wonderland by Lewis Carroll ( Charles Lutwidge Dodgson ).
* Patrick O ' Brian's fictional British sea captain Jack Aubrey is described as owning a " fiddle far above his station, an Amati no less ," in The Surgeon's Mate.
The term " fictional autobiography " has been coined to define novels about a fictional character written as though the character were writing their own biography, of which Daniel Defoe's Moll Flanders, is an early example.
Salinger's The Catcher in the Rye is a well-known modern example of fictional autobiography.
Charlotte Brontë's Jane Eyre is yet another example of fictional autobiography, as noted on the front page of the original version.
Edited, with an Afterword, by Sharrar, Avery Hopwood's The Great Bordello, a Story of the Theatre, is a roman à clef that tells the story of Edwin Endsleigh — Hopwood ’ s fictional counterpart — who graduates from the University of Michigan and heads for Broadway to earn his fortune and the security to pursue his one true dream of writing the great American novel.
" In the same article, the Reverend Al Sharpton ( whose fictional analogue in the novel is " Reverend Bacon ") asserts that " twenty years later, the cynicism of The Bonfire of the Vanities is as out of style as Tom Wolfe's wardrobe.
Big Brother is a fictional character in George Orwell's novel Nineteen Eighty-Four.
Andy Medhurst wrote in his 1991 essay " Batman, Deviance, and Camp " that Batman is interesting to gay audiences because " he was one of the first fictional characters to be attacked on the grounds of his presumed homosexuality ," " the 1960s TV series remains a touchstone of camp ," and " merits analysis as a notably successful construction of masculinity.
Obviously as a fictional character he ’ s intended to be heterosexual, but the basis of the whole concept is utterly gay.
In the fictional world of Ghosts of Albion, Queen Bodicea is one of three Ghosts who once were mystical protectors of Albion and assists the current protectors with advice and knowledge.
is and language
He speaks your language too, for he is the grandson of a chieftain on Taui who made much magic and was strong and cunning.
When Heidegger and Sartre speak of a contrast between being and existence, they may be right, I don't know, but their language is too philosophical for me.
it is a mystique, and their private language is rich in the multivalent ambiguities of sexual reference so that they dwell in a sexualized universe of discourse.
For this reason, too, their language is more forthright and earthy.
Jazz is the musical language of sex, the vocabulary of the orgasm ; ;
Of the longer pieces of the volume none is so memorable as `` Nameless And Immortal '', which at once took rank among the finest poems ever written in the Swedish language.
The capacity for making the distinctions of which diplomacy is compact, and the facility with language which can render them into validity in the eyes of other men are the leader's means for transforming the moral intuition into moral leadership.
and it is surely clear that the first of these is the result of the way in which the individual's command of language interacts with the other two.
How literature does this, or for whom, is certainly not clear, but the content, form, and language of the `` message '', as well as the source, would all play differentiated parts in giving and molding a sense of purpose.
But to go from here to the belief that those more sensitive to metaphor and language will also be more sensitive to personal differences is too great an inferential leap.
Much of his earlier work was conceived in terms of a `` pseudo-anthropological '' myth reference, which is concerned with imaginary places and beings described in grandiloquent and travelogue-like language.
This, in more diplomatic language, is what Adlai Stevenson told the newspaper men of Latin America yesterday on behalf of the United States Government.
This is going to be a language lesson, and you can master it in a few minutes.
One is impressed with the dignity, clarity and beauty of this new translation into contemporary English, and there is no doubt that the meaning of the Bible is more easily understandable to the general reader in contemporary language in the frequently archaic words and phrases of the King James.
Some of the poetic cadence of the older version certainly is lost in the newer one, but almost anyone, with a fair knowledge of the English language, can understand the meaning, without the necessity of interpretation by a Biblical scholar.
but I am also a young, able and willing girl who wants to study the Chinese language but is not old enough.
A significant reduction in the voume of store information is thus realized, especially for a highly inflected language such as Russian.
Here again, in the written language it is possible to help the reader get his stresses right by using underlining or italics, but much of the time there is simply reliance on his understanding in the light of context.
It is clear that patterns of stress sometimes show construction unambiguously in the spoken language where without the help of context it would be ambiguous in the written.
In the first of these sentences if by is the complement of come and Tuesday is an adjunct of time equivalent to on Tuesday, there will be strong stress on by in the spoken language ; ;
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