ලන්දේසි ලංකාව
විකිපීඩියා වෙතින්
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වෙනත් භාවිතා සඳහා, යටත්විජිත ලංකාව බලන්න.

මෙම ලිපිය කිසිදු මූලාශ්‍රයක් උපුටා දක්වන්නේ නැත. කරුණාකර මෙම ලිපිය විශ්වාස කළ හැකි මූලාශ්‍ර උපුටා දක්වනවමින් වැඩි දියුණු කිරීමට උදව් වන්න. මූලාශ්‍ර රහිත කරුණු අභියෝගයට ලක්වීමට හා මකා දැමීමට ඉඩ ඇත.
සිලෝන්
ශෙයිලාන්
1640–1796
Flag of සිලෝන් හී ධජය
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තත්ත්වය	යටත් විජිතය
අගනුවර	කොළඹ
පොදු භාෂාවන්	ලන්දේසි
රජ
ආණ්ඩුකාර
• 1640
විල්ලෙම් ජාකොබ්ස් කොස්ටර් (පළමු)
• 1794-1796
ජේ.ජී. වොන් ඇන්ගල්බීක් (අවසන)
ඓතිහාසික යුගය	අධිරාජ්‍යවාදය
• ලන්දේසීන් විසින් කොළඹ ඈඳා ගැනීම
12 මැයි 1640
• බ්‍රිතාන්‍යයන් විසින් කොළඹ ඈඳා ගැනීම
16 පෙබරවාරි 1796
පූර්වප්‍රාප්ති වනුයේ	අනුප්‍රාප්ති වනුයේ
	පෘතුගීසි ලංකාව
	සීතාවක රාජධානිය
මහනුවර රාජධානිය
1658-1796 කාලයේදී ලන්දේසීන් විසින් ග්‍රහණයට ලක්ව සිටි ලංකාව හෝ ශ්‍රී ලංකාව ට අයත් සරිය සහ ඔවුන්ගේ එම පාලනය හැඳින්වීමට මෙම පදය තුල්‍යාර්ථමය ලෙසින් භාවිතා වේ.

1600 ගණන් වලදී, ශ්‍රී ලංකාව, අඩ වශයෙන් පෘතුගීසි ආක්‍රමණකාරීන් විසින් පාලනය කල අතර, සිංහල රාජධානිය, එකිනෙක ඇණ කොටා ගනිමින් කල ගෙවූහ. පෘතුගීසිහු යුද්ධය දීනීමට අසමත් වූවද, ඔවුන්ගේ පාලනය, ඔවුන්ගේ ග්‍රහණය‍ට නතුව තිබූ සරිය තුල වූ ජනතාවට යම් පීඩාවක් ඇති කිරීමට හේතු කාරක විය. ස්පාඤ්ඤ පාලනයෙන් මිදෙනු වස්, නිදහස සඳහා යුද්ධය ක ලන්දේසීහු නිරතව සිටියහ. මෙම පසුබිම පැවැති කලෙක, සිංහල රජ (උඩරට රජු) විසින්, පෘතුගීසීන් පැරදවීමට සහාය වෙන මෙන් ලන්දේසීන්ගෙන් උපකාර පතන ලදි. අයිබේරියානුවන් ට එරෙහිව එකමුතු සටනක් දියත් කිරීමට එවක පැවැති අදිටන නිසාවෙන් ලංකාව පිලිබඳ ලන්දේසි අවධානය යොමු විය.

ලන්දේසින් විසින් ශ්‍රී ලංකාව පාවා දීමට අනතුරුව, ලන්දේසීන් විසින් ශ්‍රී ලංකාවේ කොටස් ආක්‍රමණය කරන ලදි. යුද්ධයේ වියදමට හිලවු වන පරිදි භූමියෙන් කොටසක් තම භාරයෙහි තබාගත් ඔවුහූ කෙමෙන් තම භූමිය ව්‍යාප්ත කිරීමෙහි යෙදුනහ. ලන්දේසීන්විසින් වෙරළබඩ පෙදෙසෙහි පාලනය නතු කර ගත් නමුත්, යටත්විජිතවාදී ඉංග්‍රීසි පාලකයන් පසුව ඔවුන්ගේ අනුප්‍රාප්තිකයන් වූහ. ලන්දේසින් හා ඉංග්‍රීසින් දළ වශයෙන් වසර 150 ක් පාලනය සිදු කලහ.

පටුන
පෘතුගීසී පසුබිම
ආසියාව බටහිරින් මුස්ලිම් වරුන්ගෙන්ද නැගෙනහිරින් මොංගෝලියන් වරුන්ගෙන්ද එල්ල වූ ආක්‍රමණවලට මුහුණ දෙමින් සිටියේය. පෘතුගීසීන් එන්නට පළමු ලංකාවේ සිංහල රජවරු කප්පම් ගෙවමින් සිටියහ. පෘතුගීසි ආක්‍රමණයෙන් නිදහස් වීමට සහ ඔවුන් විසින් බලයෙන් අන්‍ය ආගම්වලට ජනතාව හරවා ගැනීම වැළැක්වීමේ අරමුණින් ශ්‍රී ලාංකිකයෝ ලන්දේසීන්ට පැමිණීමට ඇරයුම් කළහ. රාජසිංහ රජු සමග 1638 උඩරට වෙස්ටර් වෝල්ඩ් ගිවිසුම අත්සන් කිරීමෙන් ඔවුහු ජාතීන්ගේ නීතිය අනුගමනය කරමින් දෙපාර්ශවයේම පොදු සතුරා සමග සටනකට අවතීර්ණ වූහ. මෙ පරිදි ලන්දේසීහු රටේ ආරක්ෂකයන් බවට පත් වූහ.

ඉතා ඉක්මණින් දිවයිනේ ජනතාව ලන්දේසීන්ට කැමති වූහ. රාජසිංහ රජු ප්‍රංශයන් ලංකරගෙන ඔවුනට ත්‍රීකුණාමලය කොටුව පැවරුවේ ලන්දේසීන්ට එරෙහිව බලය තුලනය කිරීමටයි. ලන්දේසීහු ත්‍රීකුණාමලය ප්‍රංශවරුන්ගෙන් අල්ලා ගෙන දිවයිනේ සම්පූර්ණ මුහුදු බඩ ප්‍රදේශයේ පාලනය ඔවුන්ගේ අතට ගත්හ. ලන්දේසීන් සහ රාජසිංහ රජු එකිනෙකා රවටා පරාජය කිරීමේ සෙල්ලමක යෙදී සිටියහ. දෙපාර්ශවයම 1638 ගිවිසුම ක්‍රියාත්මක කළහ. ලන්දේසිහු දෙමළ පලාත් සියල්ලම පාලනය කල අතර බස්නාහිර පළාතේ කුරුඳු වතුවල වැඩ කිරීම සඳහා තන්ජෝර්වලින් දෙමළ වහලුන් ගෙන ආහ. ඔවුන්ගේ ඉන්දියාවේ අගනගරය වූයේ පුලිකට් නගරයයි. ඔවුන්ට අවශ්‍ය මිනිස් ශ්‍රමය සපයා ගන්නා ලද්දේ ඉන්දියානු ජනපද වලිනි.

සෙනරත් රජු ඔහුගේ රාජධානිය කොටස් කර තමාගේම පුතා වූ රාජසිංහට කඳුකරයට ඉහළ පෙදෙස් ප්‍රදේශ පහක්ද (වර්තමාන නුවර දිස්ත්‍රික්කය) රජු යන නාමයද ප්‍රධානය කළේය. දෝනකතිරිනාගේ අනිත් පුතුන් වූ කුමාරසිංහ හා විජයපාල දෙදෙනා පිළිවෙලින් ඌව සහ මාතලේ පළාත් ලබා ගත්හ. රාජසිංහ විසින් සෙනරත් මිය යාමට පළමුව කුමාරසිංහට වස දී මරා දමනු ලැබුවේය. සෙනරත් රජු 1635 දී මිය ගියේය. බාලම කුමරු දෙවැනි රාජසිංහ (1635-1687) රජු බවට පත් විය. 1634 ගිවිසුම ඉතා තදින් ක්‍රියාත්මක නොවුණි. නව රජය ඉතා ඉක්මණින් ලන්දේසීන් කැඳවූයේ කොට්ටියාර් නැතහොත් මඩකලපු කොටුවක් පවරා දෙන බව පොරොන්දු වෙමිනි. ඔවුන්ගේ නාවික වියදම් ගෙවන බවටද පොරොන්දු විය. ඒ වන විටත් ලංකාවේ කුරුඳු වෙළඳාම ගැන ඇස් ගසා ගෙන සිටි බතාවියාවේ නැගෙනහිර ඉන්දියා සමාගම් බලධාරීන් මෙම අවස්ථාව ප්‍රයෝජනයට ගෙන ගෝව නගර‍යේ ආරක්ෂාව සඳහා යමින් සිටි අද්මිරාල් ඇඩම් වෙසටර්වොල්ඩ් හට ආපසු එන ගමනේදී ලංකාව බලා යන ලෙසට උපදෙස් දුන්නේය. මේ අතරවාරයේදීම තවත් දූත පිරිසක් රාජසිංහ රජු හමුවීමට පිටත් කළ අතර ඔවුහු 1637 දී රජු හමුවට පැමිණියහ. සාකච්ඡා කිපයකින් පසු ඔවුහු සිංහලයන් තිදෙනෙකු සමග ගෝවාවලට පිටින් සිටි වෙස්ටර්වොල්ඩ් හා සම්බන්ධ වීමට ගියහ. එහිදී පෘතුග්‍රීසි හා ලන්දේසි නාවික හමුදා අතර සිදුවූ සටන් ඇසින් දුටුවහ. පෘතුග්‍රීසීහු 1638 ජනවාරි 4 දින පරාජයට පත් වූහ. මෙහිදී අද්මිරාල් තැන විසින් ඔහුට පළමුව උප අණදෙන නිලධාරී කොස්ටර්ට කුඩා හමුදාවක්ද කැටුව යන ලෙස උපදෙස් දුන් අතර ඒ පිරිස අප්‍රේල් 3 දින ත්‍රිකුණාමලයට ගොඩ බැස්සේය.

ලන්දේසි අභිභවනය
ලන්දේසීන් හා සිංහල පාලකයන්ගේ දෙපිටකාට්ටු උපක්‍රම
ලන්දේසි-පෘතුගීසි යුද්ධය
1580 සිට 1640දක්වා පෘතුගාලය (Portugal) පාලනය කලේ ස්පේන්හි හබ්ස්බ'ග් (Habsburg) අධිරාජ්‍යවරු විසිනි.

හබ්ස්බ'ග් (Habsburg) kings in the period of personal union of පෘතුගාලය (නිල්) සහ ස්පාංඥය (රතු) අයත් භූමියෙහිහි සිතියම - (1580-1640)
ලන්දේසීන් විසින් පෘතුගීසි බලකොටු අත්පත් කර ගනිති
1638 වර්ෂයේ ගිවිසුමෙන් පසු ප්රුතුග්රීසීන් මෙරටින් නෙරපා හැරීමට තවත් වසර 20ක් ගත විය.ඒ කාලයේ ප්රුතුග්රීසීන් සතුව තිබූ ත්රීකුණාමලය, මීගමුව, ගාල්ල,කළුතර,කොළඹ,මන්නාරම,යාපනය වගේ බලකොටු තමා සතු කර ගැනීමට ලන්දේසින් සමත් විය. ඒ උඩරට රජුගේ ද සහය ඇතිවය.

මහනුවරදී විශ්වාසය කඩ කිරීම
ලන්දේසීන් සහ පෘතුගීසීන්
පෘතුගීසි පාලනය හැම විටම සීමා වී තිබුණේ මුහුදු බඩ පළාත්වලට වූ අතර ඔවුන්ගේ ආගමට හරවා ගත් බොහෝ මිනිසුන් ධීවරයෝ වූහ. ඔවුන්ගේ බලයේ කොඳු නාරටිය වූයේ එම ජනතාවයි. ඉතිරි ලංකාව බෞද්ධ-හින්දු ආගම පිළිපැද්දහ.

තම පාලන ප්‍රදේශ පුළුල් කර ගැනීමට අවශ්‍යව සිටි පෘතුගීසින්ගෙන් පළිගැනීම සඳහා සිංහල රජු විසින් ලන්දේසීන් ප්‍රයෝජනයට ගන්නා ලදී. ලන්දේසීන්ගේ පැමිණීම පෘතුගීසීන්ට සතුරන් දෙදෙනෙකු සමග ගණු දෙණු කිරීමක් වූයේය. අවසානයේ ලන්දේසීන් සමග ගිවිසුමකට බැඳීමට පෘතුගීසීන්ට බල කෙ‍රිණි. එහි අර්ථය වූයේ විවෘත ආර්ථිකයට එළඹීමයි. අවසානයේ පෘතුගීසීහු ලංකාව අත හැරදා ගියහ.

පෘතුගාලය සමග යුද්ධ කිරීම ඔවුන්ගේ පාලකයා වූ ස්පාඤ්ඤයේ රජුට එරෙහිව කරන යුද්ධයක් විය. එක් වතාවකදී පෘතුගාලය ස්පාඤ්ඤයෙන් නිදහස ලබාගත් අවස්ථාවේදී නෙදර්ලන්තය විසින්පෘතුගාලය සමග සාමයක් ඇති කර ගත්තේය. ඉන් පසු ගෝවේදී අත්සන් කරන ලද ගිවිසුමක් මගින් ලංකාවේ අත්පත් කර ගත් ප්‍රදේශ සමගි ලීලාවෙන් බෙදූහ. සෙමෙන් සෙමෙන් ලන්දේසීහූ ලංකාවේ සහ ඉන්දුනීසියාවේ මුහුදු බඩ පෙදෙස් සහ පිටත පෙදෙස්වල පාලකයෝ බවට පත්වූ අතර පෘතුගීසීන්ට ඉතිරි වූයේ ලන්දේසීන් හා ඉංග්‍රීසීන් සමග සසඳන කළ කුඩා පෙදෙස් විය.

ලංකාවේ ලන්දේසි පාලනයේ පටලැවිලි
ලන්දේසීහු ඔවුන්ගේ ප්‍රදේශ පාලනය කිරීම හා පුළුල් කිරීම ඇරඹූහ. මෙකල වන විට, මහනුවර රජු යුද්ධ කටයුතු සඳහා උදවු ලබා ගැනීමට වෙනත් බලවත් පාර්ශවයක් සොයමින් සිටියේය. මේ සඳහා ඔවුන් ප්‍රවේශ වූයේ ප්‍රංශය වෙතටය. අවසානයේදී නැපෝලියානු යුද්ධ කාලයේදී රාජ්‍ය තාන්ත්‍රික අයුරින් ලන්දේසි පාපන ප්‍රදේශ අත්පත් කර ගත් ඉංග්‍රීසින් විසින් ලන්දේසීන් ප්‍රතිස්ථාපනය කෙරිනි.

ස්වදේශීන් පාලනය කිරීමේ ක්‍රමවේදයක් ලෙසින් ලන්දේසීන් විසින් මැලේ සොල්දාදුවන් සහ පොලිස් නිලධාරීන් කීප දෙනෙක් ලංකාවේ පදිංචි කරවූහ.

ලන්දේසින් ජනරජවාදීන් වූ අතර ලෙස ජනරජ හෙවත් සමූහාණ්ඩු පිළිබඳ අදහස් ලංකාවට රැගෙන ආහ. [1][2][unreliable source?]

ලන්දේසි ජනතාව අතර වඩාත් ජනප්‍රිය වූයේ ඔරෙන්ජ් හි කුමරුගේ පාලනයට වඩා බතාවියානු පාලනය විය. 1799 දී සිදු වූ බ්‍රිතාන්‍ය-රුසියන් ආක්‍රමණයේදී මෙය විද්‍යාමාන විය.

ප්‍රංශ ගැති රාජ්‍යයක් ලෙසට බතාවියන් සමූහාණ්ඩුව, බ්‍රිතාන්‍යයට එරෙහිව යුද්ධයේදී ප්‍රංශයේ මිත්‍ර පාක්ෂිකයෙකු විය. 1797 දී සිදු වූ කැම්පර්ඩවුන් සටනේදී ලන්දේසි නාවික බලඇණියක් පරාජයට පත් වීමත් සමගම බොහෝ ලන්දේසි යටත් විජිත අධිරාජ්‍යය ඔවුනට අහිමි වීමට මෙය හේතු පාදක විය. ලන්දේසීන්ගේ වෙළඳාම කඩා වැටීම ආර්ථික අර්බුද කීපයකට හේතු විය. ලන්දේසීන්ගේ ධනය පෙර තිබූ මට්ටමට ගෙන ආ හැකි වූයේ 19 සියවසේ දෙවැනි භාගය තරමේදීය.

Landesi


The Jon Spencer Blues Explosion was an American three-piece rock band from New York City, formed in 1991. The group consisted of Judah Bauer on guitar, backing vocals, harmonica and occasional lead vocals, Russell Simins on drums and Jon Spencer on vocals, guitar and theremin. Their musical style is largely rooted in rock and roll although it draws influences from punk, blues, garage, rockabilly, soul, noise rock, rhythm and blues and hip hop. They released nine official studio albums, collaborative records with Dub Narcotic Sound System and R.L. Burnside as well as numerous live, singles, out-take albums, compilations, remix albums and, in 2010, a series of expanded reissues. Throughout the course of their career, this experimental sound and occasionally unconventional recording techniques has allowed the band to work with such artists as Elliott Smith, Beck, Solomon Burke, Steve Albini, Martina Topley-Bird and Ad Rock of the Beastie Boys.

History

Formation
Originally from Hanover, New Hampshire, United States, Jon Spencer attended Brown University in Providence, Rhode Island where he was part of the noise rock band Shithaus, with Tod Ashley (Cop Shoot Cop, Firewater), before moving to Washington, D.C. in 1985 where he formed the band Pussy Galore with  Julia Cafritz, relocating to New York in May 1986. Spencer played and recorded with Gibson Bros., Boss Hog and The Honeymoon Killers prior to the formation of the Blues Explosion.

Judah Bauer, from Appleton, Wisconsin, had been in an early line-up of The Spitters, and with Russell Simins, from Queens, New York, recorded as part of Crowbar Massage.

It was with Jerry Teel's Honeymoon Killers that Bauer, Simins and Spencer would all perform and record and from which they would go on to form The Jon Spencer Blues Explosion.

"Russell and I would rehearse with Honeymoon Killers and the rehearsal would be over and Russell and I would keep playing, eventually inviting Simins' friend Bauer to join in."

The sound of The Jon Spencer Blues Explosion was informed by previous bands with influence taken from working with the Gibson Bros. which was already evident in the last Pussy Galore album. "That final Pussy Galore album exuded a very Gibson Brothers-bent version of what was to come with Spencer's next, more successful venture the Jon Spencer Blues Explosion."

 "...after five years of Pussy Galore I was able to connect to rock 'n' roll in some way that I wasn't able to before," he remembers those formative days. "I was pissed off about a lot of things...so much shitty rock 'n' roll that angered me, and Pussy Galore was kicking against that. With the Blues Explosion, there was some of that, but now I was into celebrating it." – Jon Spencer

They were signed to the large independent label Matador Records between 1993 and 2002 in the US, Crypt Records between 1992 and 1994 in Germany and Mute Records between 1996 and 2005 in the UK although they have released material on a number of different labels including the 2010 reissues on Shout Factory in the US and Shove Records in the UK.

A Reverse Willie Horton / The Jon Spencer Blues Explosion / Crypt Style (1991–1992)
The band had been playing together for six months when they had their first recording session with Kramer at Noise NY, New York in July 1991 and recorded fourteen songs over the course of three hours, "only doing second takes here and there, we didn't even go to the mixing board". This session was issued in its entirety as the first album by The Jon Spencer Blues Explosion, A Reverse Willie Horton. This was an unofficial album issued by "Pubic Pop Can", at some point between late 1991 and early 1992, in an edition of 500 or 1000 copies (the figure varies between sources). It has been suggested that the source of the bootleg was a dubbed copy of a cassette that Jon Spencer let somebody copy during a tour with the Gibson Bros. in August 1991.

The front cover image on the album is a negative of Clarence Thomas, his wife, and George Bush at Thomas' swearing in ceremony for the Supreme Court on October 19, 1991, with the title and artist written in a typewriter style font. The rear sleeve features hand-written titles and label information over the top of a photograph of a topless woman. Both front and rear artwork are pasted onto a plain black sleeve. The title refers to the convicted felon William R. Horton who was used extensively for political advertisements during the 1988 presidential campaign.

The second session was recorded by Steve Albini at the Waterfront, Hoboken, NJ in November/December 1991. Tracks from both the Kramer and Albini sessions were then officially issued on the Caroline (US) / Hut (UK) release The Jon Spencer Blues Explosion; in larger amounts by Crypt Records as Crypt Style; and in an alternate version of Crypt Style by 1 + 2 Records (Japan), including the track "Colty" which was unavailable elsewhere until the 2010 Shout! Factory release of Year One which compiled every released track from both sessions with the exception of an alternate take of "Feeling of Love" (released on Dirty Shirt Rock N Roll: The First Ten Years).

The band made a music video for the song "Rachel" directed by Jim Spring and Jens Jurgensen which was later issued by Matador Records on the 1997 Live Promo Video.

The first album by The Jon Spencer Blues Explosion was the only one to be issued by Caroline Records.

"In 1992, The Jon Spencer Blues Explosion inked a deal with Caroline Records and requested a very specific signing bonus-- the then-new 10xCD Jerry Lee Lewis box set. As band lore has it, Caroline never sprang for the set, and the Blues Explosion's tenure there was short-lived and acrimonious."

The first single release was "Shirt Jac" on In The Red Records (1992) also from the second recording session with Steve Albini. This was the first of the Explosion Juke Box Series singles inspired by "a similar series of Charlie Feathers released in the 70s" (the third single in the series, "Get With It", was actually an arrangement of a Feathers single from 1956).

The b-side "Latch On" is a Jon Spencer arrangement of a rockabilly song despite the fact that The Jon Spencer Blues Explosion recording has very little in common with the most well-known recordings of this track (released by Ron Hargrave and The Cochran Brothers). The Jon Spencer Blues Explosion version is more than likely a cover of the Cochran Brothers version of this song as both tracks feature the words "you are really gone" which do not appear in the lyrics sung by Ron Hargrave.

Extra Width (1993–1994)
When the band signed with Matador Records they "asked for the 9xCD Stax-Volt Complete Singles 1959–1968...Matador made good with Stax, and the band enjoyed a decade-long partnership with the label".

In late 1992 Jon Spencer Blues Explosion embarked on a long tour in the US supporting the Jesus Lizard. Frank Kozik designed posters for shows at Emo's, Austin, Texas and Kennel Club, San Francisco.

Recording sessions for the Extra Width, The Jon Spencer Blues Explosion's second studio album, took place in Memphis at Doug Easleys studio on November 23/24 and December 3, 1992 during the Jesus Lizard tour and at Waterworks Recording in New York with Jim Waters where all further overdubs and mixing was done. The album graphic design copies a package of panty hose purchased in Memphis, Tennessee. The original panty hose packaging can be seen in a band photo used on Mo' Width and the later reissues of Extra Width.

It is said that during this time Jon Spencer's stage persona evolved and he established what is now synonymous with a Blues Explosion live performance.

"Jon had a breakthrough. It was time and art. He got better at it. The James Brown-style show was an old method, but Jon brought it to another level. Before that, it was punk – he was into it, but he was coy. he finally crossed over and became a full-fledged performer. He wanted to be watched."

"Spencer writhes about, possessed by Presley during the amazing "Vacuum of Loneliness" – his tortured soul dragged over shards o' glass for all to see. The wailin' theremin spits out sound and adds to the cathartic confusion. If this is real and not theatre, I'm disturbed."

Extra Width was released in June 1993. "Afro" was later released as a 7" only single in the UK in 1994 and had a music video directed by Tom Surgal. This was the only single to be released from the album and featured b-side "Relax-Her" which is labelled as "Incidental" on the test pressing and introduced as such on the recording.

On September 11, 1993 The Jon Spencer Blues Explosion appeared at Blast First event The Lost Weekend at London Astoria 2 with The Afghan Whigs, God Machine and Hair & Skin Trading Company. The accompanying Lost Weekend compilation album was limited to 3000 copies and included the song "Afro". 2000 copies were given to attendees of the two-day event and the remaining 1000 were sold via (now defunct) UK music weekly Melody Maker for £1.50 each.

Their first TV appearance was on Channel 4 UK TV show The Word (Season 4, Episode 12) in February 1994, performing "Afro" and "History of Sex". Afterwards presenter Mark Lamarr said "they're the best live band I've ever seen."

Also in early 1994 In The Red Records released "Train No. 3" and "Train No. 1" as the third installment of the Explosion Juke Box Series ("Train No. 2" appeared Extra Width).

Mo' Width was issued in July 1994 by Au Go Go Records and made-up of out-takes from the Extra Width-era featuring covers of "There Stands The Glass" (Webb Pierce), "Beat of The Traps" (Teri Rodd & MSR Singers) and Ole Man Trouble (Otis Redding), an alternate mix of "Afro" with a much more prominent organ solo and "Rob K" features Rob Kennedy from The Workdogs and the song was later titled "Rob K is President" on the Mute Records 2000 reissue.

During an interview with Dutch magazine Oor Jon Spencer said that the release of Mo' Width was delayed until two months before the release as the next studio album.

Orange (1994–1995)
Orange was recorded at Waterworks, NYC with Jim Waters and released in October 1994. The original vinyl Matador Records was as a silver-coloured picture disc and first issue of the Crypt Records edition had orange-coloured sleeves rather than the usual silver.

"Bellbottoms" opens the album and features a string section arrangement by Kurt Hoffman. The song was also issued by Matador Records as a white vinyl 7" only single in the UK and had a music video directed by Tom Surgal. There were also music videos for "Dang" directed by Steve Hanft, "Flavor"
directed by Evan Bernard and featuring appearances by Beck (who also appears on the song) and Mike D of the Beastie Boys.

In August 1994 The Jon Spencer Blues Explosion played a number of tour dates in Australia and New Zealand with Beck and in September 1994 they played in the Netherlands at Vera, Groningen on the 18th and recorded a live set for VPRO radio on the 25th. The VPRO session was issued as an unofficial 10" bootleg which included otherwise unreleased songs "Curfew Blues" and "Wriggle and Move" and the "Intro" is edited together in the same way as "Tour Diary" on Experimental Remixes and at least two segments appear on both releases. "Curfew Blues" was later released on Jukebox Explosion Rockin' Mid-90s Punkers and the 2010 reissue of Orange includes two VPRO session tracks "Very Rare" and "Woman Love" (title sometimes given as "Frustrate").

In October 1994 the Blues Explosion made their first attempt to record a live album at DPC, Tucson, Arizona, US but the performance was plagued with technical problems and was stopped when an audience member threw a stink bomb. Some of the songs were later released on the 2010 reissue of Controversial Negro.

In December 1994 they performed live on The Jon Stewart TV Show at MTV Studios, New York City. "Get With It" from this show was released on the 1997 Live Promo Video by Matador Records.

The Jon Spencer Blues Explosion played UK shows in March 1995 with the Beastie Boys (including Brixton Academy, London where they would headline in April 2002 on the Plastic Fang tour) and in May they toured the US with The Roots and Beastie Boys.

Experimental Remixes EP was released in May 1995 featuring various tracks from Orange reworked by artists including UNKLE, Beck, Mario Caldato Jr., Mike D, Dub Narcotic Sound System, Moby and GZA (featuring Killah Priest).

By September 1996 Orange had sold 70,000 copies.

In 2000 Experimental Remixes was reissued with new remixes on CD and double vinyl and Orange was reissued on CD with an enhanced section featuring "Dang", "Flavor" and "Bellbottoms" music videos and on the vinyl edition was packaged with a poster. The album was reissued again in 2010 by Shout! Factory (US) / Shove Records (UK) as a double CD set this time combining Orange, Experimental Remixes and several rare, live and previously unreleased tracks.

Now I Got Worry (1996–1997)
On the afternoon of February 6, 1996, the Jon Spencer Blues Explosion recorded the album A Ass Pocket of Whiskey with R.L. Burnside and Kenny Brown at Lunati Farms in Holly Springs, Mississippi. A further two tracks, "Alice Mae" and "Highway 7", also recorded at Lunati Farms in February 1996, would be released on the 1997 R.L. Burnside album Mr Wizard. Both albums featured cover artwork by Derek Hess.

The musical arrangements used on the tracks "2 Brothers" and "Tojo Told Hitler" from A Ass Pocket of Whiskey would evolve into The Jon Spencer Blues Explosion song "Cool Vee" which was released as a b-side to "2Kindsa Love". "Have You Ever Been Lonely?" is a jam based on "Vacuum of Loneliness" originally released on the 1992 self-titled album.

"It was pretty intimidating to go down [to Mississippi] and record with R.L. since he's such an idol of mine," says Spencer, who toured with the guitarist/singer in 1995. "You definitely get the feeling you're playing for him, rather than with him. It was pretty much the same with Rufus Thomas."

Now I Got Worry was produced by Jon Spencer and Jim Waters and recorded at Easley Studio, Memphis; G-Son, Los Angeles; and Waterworks West, Tucson. These sessions were mostly between February 5 and 13, 1996 (the same time as the recording with R.L. Burnside). The album was released by Matador Records and Mute Records in October 1996 (reaching number 50 in the UK album chart) and features appearances by Thermos Malling of Doo Rag (credited with "Bang" on "2Kindsa Love"), Rufus Thomas and Money Mark and a cover version of "Fuck Shit Up" originally by Dub Narcotic Sound System with Judah Bauer on lead vocals. The Korean edition did not include "Fuck Shit Up" and the Japanese release featured "Get With It" and "Cool Vee" as bonus tracks.

During this time Matador releases were distributed by Capitol in an article about this Marc Burton, buyer for Minneapolis' Electric Fetus, said "I think with the extra exposure he'll get through wider distribution, Spencer could hit as big as Beck did."

Capitol / Matador released a promo-only 7" single of five different radio promo spots.

R.L. Burnside would also join The Jon Spencer Blues Explosion for the Now I Got Worry tour dates in the UK, Europe and the US in October and November 1996. On October 23, 1996 Lola da Musica, VPRO TV filmed both artists in a pre-show jam session at De Melkweg, Amsterdam. "Boogie Chillun" was later released officially on the Live Promo Video.

On October 29 The Jon Spencer Blues Explosion recorded a short live set for MTV Studios, London consisting of Now I Got Worry songs and "Water Main" and "Vacuum of Loneliness". "Love All of Me" and the band introduction were officially released on the Live Promo Video.

"2Kindsa Love" was the first UK single released from Now I Got Worry by Mute Records issued on pink vinyl 7" and CD in November 1996 with music video directed by Mike Mills it reached 122 in the UK charts.

"Wail" was released in the UK by Mute Records on May 10, 1997 as a CD and two 7" singles (grey and green vinyl). The incorrectly-spelled "John Spencer Blues Explosion" cover artwork was written in Tipp-Ex on an escalator hand-rail at Tottenham Court Road underground station in London (there was also a second part a bit further down the which just said "Damn"). Each of the covers features a slightly different photo by William Bankhead of the same text.

The music video for "Wail" was directed by Weird Al Yankovic, reaching number 66 in the UK singles chart.

In Melbourne, Australia, on September 6, 1997 The Jon Spencer Blues Explosion performed "2Kindsa Love" / "Flavor" on ABC's national, weekly morning youth program, Recovery. Jon Spencer can be seen running through the audience, around the set and destroying the "Blues Explosion" back drop. Jon Spencer was asked about this particular performance in a June 2010 issue of the UK music weekly NME:
"Which song were you playing with Jon Spencer Blues Explosion when you trashed a TV studio in Melbourne in '97?"
"We may have started with another song and went into 'Flavour'. It wasn't planned, it just kinda hit me. It may have just been exhaustion. You reach a point on tour and you get a bit punch-drunk. That show is broadcast live in the morning! They were all really nice about it though!"

In 2010 a new version of this album was released by Shout! Factory / Shove! Records expanded to include b-sides, rare tracks and the previously unreleased "Roosevelt Hotel Blues" featuring Beck and Money Mark.

In May 1997 Controversial Negro was released. This was a promotional only live album issued on vinyl in the US, CD in the UK and it was officially released in Japan on CD with five additional tracks.

The title for this album comes from the Public Enemy song "Burn Hollywood Burn" from their 1990 album Fear of a Black Planet. Towards the end of the track someone asks Flava Flav the following question: "Now we're considering you for a part in our new production, how do you feel about playing a controversial negro?"

The artwork used on the promotional version along with the title Controversial Negro was originally intended for Now I Got Worry.

In June 1997 they performed at the Tibetan Freedom Concert in New York City and a live version of "Blues X Man" was released on the accompanying triple CD album (which also featured Russell Simins performing with Cibo Matto).

Acme (1997–1999)
In March 1997 the band recorded a track at Dub Narcotic Studios, Olympia track for the K Records released the compilation Selector Dub Narcotic (released May 1998). The song titled "Blues Explosion Attack" name checked Calvin Johnson, Doo Rag, Subsonics, Speedball Baby, Demolition Doll Rods, R.L. Burnside, Dub Narcotic Sound System and Sleater Kinney who had supported the Blues Explosion at their Moore Theatre gig the previous day (The song would later be re-written and re-recorded for the album Acme).

Work on Acme began in October 1997, when the band entered the studio with Dan Nakamura, a.k.a. Dan the Automator for "Right Place, Wrong Time", a cover of the Dr. John hit used on the soundtrack to Scream 2.

Spencer said: "The reason we did that Scream 2 soundtrack was to try working with a producer. We were definitely into the Dr. Octagon record – it's a great record, and also a bizarre kinda record. So besides 'Right Place.' we recorded some other songs.""

The next stop was Steve Albini's studio, Electrical Audio, where the Blues Explosion cut some tracks in the days following their 1998 New Year's Eve Chicago performance. "Steve's we cut everything live, like we always do," he says. "I wanted to use Steve because I knew he would do a good job and the tapes would sound great, and we could send them to anybody because we had a great starting point and couldn't really go wrong"

Whilst in Chicago they also met Andre Williams who was playing locally. He recorded guest vocals for the track "Lapdance" (which wasn't released until the Acme Plus / Extra Acme albums issued the following year).

The singer explained: "Some of Acme was done in the old-fashioned Blues Explosion way, me working with the engineer, but we were also casting a wide net. Some songs were mixed and remixed by different producers, which is one reason it got so expensive, and some of them were eventually stitched together from two or three different mixes. We weren't being so precious about these songs, we were letting other people work on it and then we'd shuffle the deck."

Acme was released in October 1998. In the US the first single to be released from the album was "Talk About The Blues". This song was recorded during a session with Calvin Johnson at Dub Narcotic, Olympia, Washington. Most of the other tracks recorded at this time would be released in 1999 as the collaborative album Sideways Soul: Dub Narcotic Sound System Meets The Jon Spencer Blues Explosion in a Dancehall Style!.

The music video, directed by Evan Bernard, features Winona Ryder, Giovanni Ribisi and John C. Reilly as the Blues Explosion with Judah, Russell and Jon acting. The singer told MTV Online: "I think that people are really going to be surprised when they see the acting on the part of the Blues Explosion. When people get a load of some of the heavy, dramatic, really very intense scenes that we pulled out from our souls, I think people are really going to be blown away...".

Throughout the life of the band the use of the word "blues" in the band name has caused a great deal of debate. The lyrics of "Talk About The Blues" address this issue referring directly to MTV and Rolling Stone magazine and features the line "I do not play no blues, I play rock 'n' roll" (which itself was a reference to the Mississippi Fred McDowell album I Do Not Play No Rock 'n' Roll).

"Talk About The Blues" was a reaction a Rolling Stone review of Now I Got Worry and Q&A with Jon Spencer.

"I wrote the song right after we did the interview, inspired by that and also some of the criticism we've received over the past couple years. If we tried to record some song that was a response to criticism as it happened, that would be too heavy-handed. The lyrics stayed true to the original off-the-cuff feel, what you call a rant. But it's not such a big deal, you know. A lot of that stuff just doesn't merit a response."

"Magical Colors" reached number 92 in the UK singles chart in November 1998. The Terry Richardson directed video is a compilation of still photographs.

"Talk About The Blues" reached number 120 in the UK singles chart in March 1999.

Non-Acme track "New Year (Destroyer)" was released as a split-single with Barry Adamson as the fourth single in the Slut Smalls series.

"Heavy" was the final single to be released from Acme in August 1999: it reached number 106 in the UK singles chart.

In 1998 they appeared on the Canal+ show Nulle Part Ailleurs performing "High Gear" and "Talk About The Blues". During the nine and a half minute performance Jon Spencer made full use of the television studio, running through the audience, standing on the desk and was carried back to the stage by one of the bemused presenters. Whilst on the desk Jon referred to and shook the hand of Jackie Chan who was given a copy of the album Acme.

On the morning of July 22, 1999, The Jon Spencer Blues Explosion tour van was broken into in the loading dock of The Sheraton in Vancouver, British Columbia, Canada. The window was smashed and a mess of gear was stolen, including mics, amps, rack equipment, and the original 1962 Vanguard Model Theremin. The theremin was never recovered.

Sideways Soul (1999–2001)
In September 1999 they released the collaborative album Sideways Soul under the name Dub Narcotic Sound System Meets The Jon Spencer Blues Explosion in a Dancehall Style. The nine-track album was recorded at Dub Narcotic Studios, Olympia and featured a line-up of Jon Spencer on guitar, vocals and organ, Judah Bauer on guitar, Russell Simins on drums, Jeff Smith on organ and Calvin Johnson on vocals and melodica (Talk About The Blues was also recorded during these sessions).

The Acme outtakes and remixes were issued as Acme + (UK), Xtra Acme USA (US) and Extra Acme (CD) / Ura Acme (LP) / Extra Acme (Promo Only LP) (Japan), all of which had slightly different track listings. Like Acme the album features different production, mixing, remixing credits and guest appearances including Steve Albini, Nick Sansano, Jack Dangers, David Holmes, Tim Goldsworthy, Calvin Johnson, Moby, Andre Williams, Jill Cunniff, Cody Dickinson, Luther Dickinson and Jim Dickinson.

The Shout Factory! / Shove Records 2010 expanded reissue of Acme included a 22-track version of Acme Plus as the second disc.

In February 2000 a 12" single, "Andre Williams Blues Explosion", featured remixes of the Andre Williams collaboration Lap Dance by Jim Waters/Scott Benzel and Jim Thirlwell.

Plastic Fang (2002–2003)
The album Plastic Fang was produced by Steve Jordan and recorded at Oorong, the Magic Shop and The Hit Factory. Released in April 2002, it featured art and design by Chip Kidd with the limited CD and vinyl editions being issued in a 'Fang Pack'. The original artwork for this album was culled from comics.

Various editions of this album featured different track listings but there were guest appearances by Dr. John, Elliott Smith, Bernie Worrell, Willie Weeks and Bashiri Johnson.

"She Said" was the first single taken from the album, this had a music video directed by Floria Sigismondi. On February 8, the group filmed a second live performance video at the 100 Club on Oxford Street, London for "She Said" (directed by Barney Clay). This single would be, to date, their highest UK single chart entry at number 58.

In April they appeared on the BBC TV show Later with Jools Holland featuring Jools playing piano during "Sweet n Sour".

The single "Sweet N Sour" came out in July with a video directed by Stylewar  it reached number 66 in the UK singles chart. Another single "Shakin' Rock'n'Roll Tonight" followed in November, reaching number 126.

On January 31, 2003 the band performed with Solomon Burke at Royal Festival Hall, London as "Solomon Burke Meets Jon Spencer Blues Explosion".

Damage (2004–2006)
Damage was the only album to be released on Sanctuary Records and for this release the band were temporarily known as just the Blues Explosion. The shortened name lasted less than two years.

The album was recorded between December 2003 and April 2004 at Empire View Studios, NYC, Globe Studios, NYC and Elegant Too Studios with production and mixing credits including Dan The Automator, DJ Shadow, Steve Jordan, Free Association (David Holmes), Jay Braun, Alan Moulder, Danny Madorsky, Chris Maxwell and Phil Hernandez (Elegant Too) as well as the Blues Explosion, Jon Spencer and Russell Simins.

During this time the band also recorded the Guitar Wolf cover version "Kawasaki ZII750 Rock 'N' Roll" at Empire View Recording Studio with Danny Madorsky for the tribute album I Love Guitar Wolf...Very Much. As a side note, the band Guitar Wolf once recorded an homage to the creator of the power chord, Mr. Link Wray.

Damage was released in September 2004 and features appearances from artists including Chuck D ("Hot Gossip"), Martina Topley-Bird ("Spoiled" / "You Been My Baby"), James Chance and DJ Shadow ("Fed Up and Low Down") and Simon Chardiet, who would later perform with the Heavy Trash live band ("Rattling").

The single "Burn It Off" was issued with music video directed by Stylewar. It number 77 in the charts.

In November, "Hot Gossip", the second single reached 119 in the official UK charts and had a music video directed by David Raccuglia. Issued as a red vinyl 7" only single featuring Elliott Smith on the B-side "Meet Me in the City" previously released on the tribute album Sunday Nights The Songs of Junior Kimbrough.

"Crunchy" was the third and final single released in April 2005, reaching number 89 in the UK charts.

The sleeves for all the Damage-era released featured photography by Ashkan Sahihi and design by Chip Kidd.

In Japan there were two slightly different promotional Radio Session CDs featuring live recordings of the album tracks "Help These Blues", "Spoiled", "Rattling", "Hot Gossip" and a cover of the Suicide song "Rocket USA", which is unavailable elsewhere.

In September (28/29) Russell Simins and Judah Bauer would join Tom Waits and Larry Taylor for a performance on the David Letterman TV show playing "Make It Rain" from the album Real Gone.

This particular event caused a furore behind the scenes when Mike Edison wrote a "crazed conspiracy rant" about Jon Spencer being replaced with Tom Waits for the Blues Explosion website . This was part of a bigger plan to get the a picture of Tom with Russell and Judah and send it out with a tongue-in-cheek press release ("Tom Waits Blues Explosion") to see if the story would get picked up by the mainstream press but before the event took place a record company publicist took the text direct from the Blues Explosion website and sent it out as a legitimate press release and very nearly led to the show being called off.

Between August 2004 and May 2005 the band toured Europe/the UK, the United States, Japan (eight dates with The Kills), Australia, the UK again (supporting The Hives) and Turkey.

At this time in the UK 'garage rock' and bands such as The Hives, The Strokes, White Stripes were popular and it was often noted that The Jon Spencer Blues Explosion never got the recognition many writers felt they deserved.

"It must rankle a little. Jon Spencer has been wrangling his brand of the blues – extrovert, down-and-dirty, pinched by punk and acknowledging a debt to Little Richard and Carl Perkins as much as Hasil Adkins and Son House – for around 14 years now. And have he and his band enjoyed even a taste of White Stripes-like acclaim? Have they flick"

Of Crunchy NME said it was "packing the kind of irresistible groove that would shoot straight to the number one for 14 years in any right-thinking world."

A mock-up newspaper (front page only) titled "The Daily Explosion" and DVD featuring the music videos for "Burn It Off" and "Hot Gossip" was available at US gigs in November 2004.

In 2005 an EP titled Snack Cracker was released in Japan. This compiled many of the UK single B-sides album with "Hot Gossip" and "Burn It Off" videos, a Jay Braun remix of "Hot Gossip" and a live recording of "Rattling" featuring Steve Jones of the Sex Pistols.

The Blues Explosion recorded the theme tune for Anthony Bourdain series No Reservations broadcast on The Travel Channel in 2005. The track lasts approximately 60 seconds and around 20 seconds of this is used during the programmes intro sequence and the menu screen on the subsequent DVD release.

On September 21, 2005 The Jon Spencer Blues Explosion appeared at Ko Ko, London performing as part of the "Don't Look Back" shows organised by ATP where artists played albums in their entirety. The band played Orange followed by a set of non-Orange songs.

During this time there was a message sent out to the Blues Explosion mailing list outlining a number of future projects and releases including news of a Live Recordings album recorded during the Damage tour (possibly just the Japanese shows) which has, to date, never been released.

Towards the end of 2005 the band went on hiatus and the members worked on numerous different projects with different artists.

Compilations and hiatus (2007–2011)
In October 2008 they released a compilation of rare and unreleased tracks including all tracks from the five Explosion Jukebox Series singles ("Shirt Jac", "Son of Sam", "Train No. 3", "Get with It" and "Ghetto Mom"). The album artwork parodied the original Back from the Grave 1983 compilation  with drawings of Judah, Russell and Jon replacing the original characters. Both sleeves were created by Mort Todd.

The band also started playing live again in June 2008 with a secret show at Bowery Electric followed by New York City Bicycle Film Festival and a short Jukebox Explosion European tour during August and September 2008.

In 2009 it was announced that The Jon Spencer Blues Explosion would release the 22 track retrospective compilation Dirty Shirt Rock 'n' Roll: The First Ten Years followed by expanded reissues of the previous albums Extra Width, Orange, Acme, Now I Got Worry, Controversial Negro and tracks from the early releases (the original Kramer and Steve Albini recordings) Year One.

On April 16, 2010 they played a one-off show at Brooklyn Bowl and announced more shows taking place from July 2010 including Pitchfork Music Festival, Chicago, the Matador @ 21 Festival at The Pearl, Las Vegas and a number of US and Canadian shows.

In an interview with "Get Back", Jon Spencer responded to a question about the possibility of the band releasing new material with "There's totally a chance. We've been playing concerts, touring and playing live because these records are coming out again. It's been very, very enjoyable. We have been talking about the possibility of something new."

The track "Bellbottoms" from the album Orange was featured at number 180 in a chart titled "The Top 200 Tracks of the 1990s" published by Pitchfork on August 30, 2010

In October Yahoo! Music interviewed Jon Spencer and the band performed acoustic versions of "Burn It Off", "Wail" and "Blues X Man". On October 15, 2010 videos of the songs and interview were published on the "Maximum Performance" blog along with a short article.

During 2010 the band started playing more regularly in Europe, US and Australia. They made their first UK appearance at London (Heaven) since the Don't Look Back performance of Orange at Koko in September 2005.

During the live shows the band played some previously unreleased songs including a cover of "My War" by Black Flag. And the band look set to continue playing live with further European live shows in mid-2011 including Primavera Festival in May.

Whilst touring in Australia, they recorded a cover version of "Black Betty" at Linear Recording for a commercial created by Volkswagen of America's agency Deutsch L.A. Inc. broadcast during Super Bowl Sunday on American television (February 6, 2011).

Meat + Bone (2012)
The band was chosen by Jeff Mangum of Neutral Milk Hotel to perform at the All Tomorrow's Parties festival that he curated in March 2012 in Minehead, England.

They released their new album Meat + Bone in September. It was very well received by the likes of Pitchfork, Mojo, The Quietus, The Independent on Sunday and The Observer.

Freedom Tower – No Wave Dance Party 2015 and split (2015−2018)
After extensive touring to promote Meat+Bone, the band returned to the studio in early 2015 to start work on their next album. The album, titled Freedom Tower - No Wave Dance Party 2015 was released on March 24, 2015. The band toured in support of the record, playing their final show in Nuremberg on March 18, 2016.

In a 2018 interview, Spencer confirmed that the Blues Explosion had split permanently, offering as an explanation:

"...everything got nipped in the bud when Judah [Bauer] got sick. He had developed a respiratory problem. He's doing better now, but he can't be going out on a rock and roll tour. Other things happened also. It wasn't just Judah's illness. For multiple reasons, it was, 'OK, this is probably over, this is done.'"

Other work / guest appearances

Judah Bauer
Judah Bauer was part of The Spitters "in their embryonic form" and has recorded or performed with Honeymoon Killers, Crowbar Massage, Twenty Miles aka: Bauer Brothers, Childballads (Stewart Lupton of Jonathan Fire*eater), Tom Waits, Speedball Baby and Cat Power & Dirty Delta Blues.

Under the name 20 Miles, Judah has released the following albums and EPs:

 Ragged Backyard Classics (In The Red, 1996)
 R.L. Boyce Othar Turner Fife & Drum Spam LP/CD (Fat Possum/Epitaph, 1997)
Sinful Tunes & Spirituals (Au Go-Go, 1998; split EP with Doo Rag)
 I'm a Lucky Guy (Fat Possum/Epitaph, 1998)
Let Every Town Furnish Its Own Women (Epitaph/Sony, 2000; split EP with Bob Log III)
 Keep It Coming (Fat Possum, 2002)
 Life Doesn't Rhyme (Fat Possum, 2003)

Russell Simins
Russell Simins has produced, remixed and performed with numerous bands including Yeah Yeah Yeahs, Honeymoon Killers, Crowbar Massage, Cibo Matto, Grapevine, Ween, Luscious Jackson, Yoko Ono, Money Mark, Fred Schneider, Duran Duran, Asian Dub Foundation, Stereolab, Tom Waits, The Pierces, Tandy, Spalding Rockwell, The Morning Pages, Little Barrie, Jena Malone, Tiny Masters of Today and Harper Simon. Russell Simins' song "I'm Not A Model" was also featured in the 2002 video game Jet Set Radio Future.

And as a core band member he has released the following albums:
Honeymoon Killers – Hung Far Low LP/CD (Fist Puppet, 1991)
Butter (Grand Royal, 1996)
Crunt (Trance Syndicate, 1994)
Russell Simins – Public Places LP/CD (Grand Royal, 2000)
Men Without Pants (Victor, 2006)
Men Without Pants – Naturally (Expansion Team (US)/Vicious Circle (FR), 2009)

Jon Spencer

Jon Spencer has released some solo material in addition to being a core member of Shithaus, Pussy Galore, Boss Hog, Spencer Dickinson, Solex vs Cristina Martinez + Jon Spencer and in Heavy Trash with Matt Verta-Ray released the following albums:

Heavy Trash LP/CD (Yep Roc (US)/Crunchy Frog (DK)/Victor/JVC (JP), 2005)
Heavy Trash – Going Way Out With Heavy Trash LP/CD (Yep Roc (US)/Crunchy Frog (DK)/Victor/JVC (JP), 2007)
Heavy Trash – Mightnight Soul Serenade LP/CD (Big Legal Mess (US)/Crunchy Frog (DK)/Bronzerat (UK), 2009)

With the Honeymoon Killers he appears on several recordings and made one complete album as a member of the band with Russell Simins, Jerry Teel and Lisa Wells:

Honeymoon Killers – Hung Far Low LP/CD (Fist Puppet, 1991)

He has also performed with, recorded, remixed and produced a huge number of artists including: Gibson Bros., Workdogs, Nancy Sinatra, Moby, Cheater Slicks, Beck, Demolition Doll Rods, Edison Rocket Train/Mike Edison, Einstürzende Neubauten, Coldcut, Powersolo, Puffy AmiYumi, Eros Ramazzotti, The Sadies, Add N to (X), Rob K, Haze XXL, Lost Crusaders, David Holmes, Khan, Los Straitjackets, Bomb the Bass, Princess Superstar, Speedball Baby, Five Dollar Priest, The King Brothers, The Tremolo Beer Gut, Bikini Machine, Phenomenal Handclap Band, The Micragirls, Cobra Killer, The Japanese Popstars, The Slew and Perrosky.

Discography

Studio albums

Other albums and EPs

Singles

Music videos

References

External links
 Jon Spencer Blues Explosion at Matador Records
 Jon Spencer Blues Explosion – Discography/Website: Pop-Catastrophe.co.uk
 "The Spencer Report", a complete list of songs and releases these appear on, 1991–95.

Matador Records artists
Alternative rock groups from New York (state)
American blues rock musical groups
Garage rock groups from New York (state)
Indie rock musical groups from New York (state)
Musical groups established in 1990
Mute Records artists
Punk blues musical groups
In the Red artists
Mom + Pop Music artists
Au Go Go Records artists
Sanctuary Records artists

Jon Spencer Blues Explosion


Ba'athisme ( al-ba'ath betyder "renæssance"/"genopstandelse") er en arabisk-nationalistisk ideologi, der taler for udviklingen og oprettelsen af en forenet arabisk stat gennem et fortropspartis lederskab af en progressiv revolutionær regering. Ideologien er officielt baseret på teorier fremsat af de syriske intellektuelle Zaki al-Arsuzi (ifølge den pro-syriske Ba'ath-bevægelse), Michel Aflaq og Salah al-Din al-Bitar.

Et ba'athistisk samfund søger at bringe oplysning og renæssance til arabisk kultur og værdier. Det støtter oprettelsen af etpartistater, og afviser politisk pluralisme indenfor et udefineret tidsrum – Ba'ath-partiet bør teoretisk anvende et ikke nærmere defineret tidsrum til at udvikle et oplyst arabisk samfund. Ba'athisme er baseret på principper fra arabisk nationalisme, panarabisme, arabisk socialisme, såvel som idéen om socialt fremskridt. Det er en sekulær ideologi, der fokuserer på kultur (arabisk) snarere end nogen eksplicit form for religion. En ba'athistisk stat støtter i varierende grad socialistiske økonomier, og støtter offentligt ejerskab af økonomiens højder, omend den modsætter sig konfiskering af privat ejendom. Socialisme betyder indenfor ba'athistisk ideologi ikke statssocialisme eller økonomisk lighed, men derimod modernisering; ba'athister mener at socialisme er den eneste måde at kunne udvikle et arabisk samfund, der både er frit og forenet.

De to ba'athistiske stater, som har eksisteret (Ba'athistisk Irak og det ba'athistiske Syrien) har begge forbudt kritik af deres ideologi gennem autoritær regeringsførelse. Disse regeringer er blevet betegnet som "neoba'athistiske", da den form for ba'athism, der udviklede sig i Irak og Syrien var meget anderledes end den ba'athisme som Aflaq og al-Bitar fremlagde; for eksempel har ingen af Ba'ath-partierne søgt at forene den arabiske verden

Historie

Ba'athismen startede med de politiske idéer udviklet af Zaki al-Arsuzi og Michel Aflaq. Selvom Aflaq, Bitar og Arsuzi aldrig var medlemmer af den samme organisation, betragtes de normalt som ba'athismens grundlæggere. Det tætteste de kom på at være medlemmer af samme organisation var i 1939, da de tre sammen med Michel Quzman, Shakir al-As og Ilyas Qandalaft, forsøgte at etablere et parti. Dette lykkedes dog ikke på grund af personlige uenigheder, særligt mellem Arsuzi og Aflaq.

Arsuzi dannede det Arabiske Ba'athparti i 1940, og hans idéer påvirkede Aflaq som, sammen med sin yngre partner Salah al-Din al-Bitar, dannede den Arabiske Ihya-bevægelse i 1940, som senere skiftede navn til den Arabiske Ba'ath-bevægelse i 1943. Selvom Aflaq var påvirket af ham, samarbejdede Arsuzi til at begynde med ikke med Aflaq's bevægelse. Arsuzi havde mistanke om at den Arabiske Ihya-bevægelse, som til tider i 1941 omtalte sig selv som  "Arabisk Ba'ath", var en del af et imperialistisk plot for at forhindre hans egen mulighed for at påvirke den arabiske verden ved at danne en anden bevægelse med samme navn.

Arsuzi var selv araber fra Alexandretta som havde været associeret med arabisk nationalistisk politik i mellemkrigstiden. Han var inspireret af den franske revolution, bevægelserne for den tyske og italienske samling, samt det japanske økonomiske "mirakel". Hans syn blev påvirket af en række fremtrædende europæiske filosofiske og politiske figurer, heriblandt Hegel, Marx, Nietzsche og Spengler.

I 1939 forlod Arsuzi det syriske parti Ligue d'action nationaliste efter dets populære leder var død og der herskede kaos i partiet. I stedet grundlagde han det kortlivede Parti National Arabe samme år, men opløste det dog igen kort efter. 29. november 1940 grundlagde Arsuzi det Arabiske Ba'athparti. En betydningsfuld konflikt og centralt punkt indenfor ba'athismens udvikling skete da Arsuzis og Aflaqs bevægelser blev uenige om det coup d'etat der i 1941 blev begået af Rashid Ali al-Gaylani og som førte til den efterfølgende engelsk-irakiske krig. Aflaqs bevægelse støttede al-Gaylanis og den irakiske regerings krig mod briterne, og organiserede frivillige styrker der kunne rejse til Irak og kæmpe for den irakiske regering. Arsuzi var dog modstander af al-Gaylanis regering, og betragtede kuppet som dårligt planlagt og et fejltrin. Mange af hans samtidige var dog ikke enige, og Arsuzis parti mistede i denne periode mange medlemmer til Aflaqs bevægelse. Efterfølgende mistede Arsuzi sin direkte indflydelse på arabisk politik, da de Vichy-franske autoriteter udviste ham fra Syrien i 1941. Aflaqs Arabiske Ba'ath-bevægelse fortsatte sit politiske virke, og støttede blandt andet i 1943 Libanons uafhængighedskrig mod Frankrig. I 1947 konsoliderede bevægelsen sin magtposition, da den afholdt sin første partikongres og fusionerede med den Arabiske Socialistbevægelse anført af Akram al-Hawrani og blev til det Arabiske Socialistiske Ba'athparti.

I 1966 splittedes ba'ath-bevægelsen i to, hvoraf den ene var syrisk-ledet og den anden irakisk-ledet. Historikeren Ofra Bengio har udtalt at en konserkvens af opdelingen blev at Arsuzi overtog Aflaqs rolle som "ba'athismens fader" i den syriske ba'ath-bevægelses øjne, mens den irakiske ba'ath-bevægelse stadig betragtede Aflaq som ophavsmand til ideologien.

Definition
Aflaq betragtes i dag generelt som grundlæggeren af Ba'ath-bevægelsen, eller i det mindste som den best betydningsfulde bidragsyder til den. Der var dog også flere andre betydningsfulde ideologer i bevægelsen udover ham og Arsuzi, såsom Salah al-Din al-Bitar. Fra grundlæggelsen af den Arabiske Ba'ath-bevægelse og frem til midten af 1950'erne (i Syrien) og starten af 1960'erne (i Irak) var Ba'ath-partiets ideologi mere eller mindre synonym med Aflaq. Aflaqs syn på arabisk nationalisme betragtes af nogle, såsom historiker Paul Salem fra Middle East Institute, som en af de mere romantiske og poetiske forestillinger.

Intellektuelt set omformede Aflaq de konservative arabisk-nationalistiske tanker til at reflektere en stærk revolutionær og progressiv tendens, som udviklede sig parallelt med afkoloniseringen af den arabiske verden. Han insisterede på at de gamle herskende klasser skulle sættes fra magten, og støttede oprettelsen af et sekulært samfund hvori islam var adskilt fra staten. Ikke alle disse idéer var oprindeligt Aflaqs egne, men han tilskrives normalt æren som værende den, der gjorde dem til en transnational bevægelse. Kernen i ba'athisme er arabisk socialisme, en socialisme med arabiske præg, der ikke er associeret med den internationale socialistiske bevægelse, men i stedet kombineret med en panarabisk ideologi.

Ba'athismen, som den blev udviklet af Aflaq og Bitar, var en unik venstreorienteret arabisk-centrisk ideologi. Ideologien så sig selv som repræsenterende "den arabiske ånd mod materialistisk kommunisme" og "arabisk historie mod død reaktion." Den delte visse ideologiske ligheder, og nærede sympati for, den politik som de alliancefrie landes bevægelse bedrev under Jawaharlal Nehru, Gamal Abdel Nasser og Josip Broz Tito, og nægtede historisk både at engagere sig med den amerikansk-ledede Vestblok og den sovjetisk-ledede Østblok under den kolde krig.

Begreber

Arabisk nation

Aflaq støttede Sati' al-Husris idé om at sproget var den centrale forenende faktor for den arabiske nation, da sproget førte til foreningen af tanke, norm og ideal. Historie var en anden forenende egenskab, da det var "den frugtbare jord hvori vores bevidsthed formede sig." Det centrale element i Aflaqs ba'athist-tanke var egenskaben ba'ath (der direkte oversat betyder "renæssance").

Denne renæssance kunne kun opnås ved at forene den arabiske stat, og den ville transformere den arabiske verden politisk, økonomisk, intellektuelt og moralsk. Denne "fremtidsrenæssance" ville være en "genfødsel", mens den første arabiske renæssance ifølge Aflaq havde været fremkomsten af islam i det 7. århundrede. Den nye renæssance ville bringe et nyt arabisk budskab; dette syn blev opsumeret i Ba'ath-partiets slogan "En nation, bærende på et evigt budskab".

Den arabiske nation kunne kun nå denne renæssance gennem en revolutionær proces hen mod et mål om "enhed, frihed og socialisme". In Aflaq's view, a nation could only "progress" or "decline"; Arabiske stater kunne på denne tid kun falde sammen efterhånden på grund af deres sygdomme – "feudalisme, sekterisme, regionalisme, intellektuel reaktion". Disse problemer mente Aflaq kun kunne løses gennem en revolutionær proces. En revolution kunne kun lykkes hvis de revolutionære var rene, og nærmest religiøst drevet. Aflaq støttede den leninistiske idé om behovet for et fortropsparti efter en vellykket revolution; en vellykket revolution var ikke et "uundgåeligt resultat". Fortroppen i den ba'athistiske ideologi, var Ba'ath-partiet. Ba'athismen lignede kommunismen på det punkt at fortropspartiet skulle herske i et udefineret tidsrum mens man opbyggede et "nyt samfund''.

Aflaq mente at ungdommen var central for revolutionens udfald; ungdommen var åben overfor forandring og oplysning, da de endnu ikke var blevet indoktrineret i andre syn. Aflaq så det derfor som et stort problem at den arabiske ungdom i det store og hele var disillusioneret. Disillusion førte til individualisme, og individualisme var ikke et godt tegn i et underudviklet land, i modsætning til et udviklet land, hvor det var en god ting.

Referencer

Fodnoter

Værker citeret

Eksterne henvisninger
Det Arabiske Socialistiske Ba'ath-partis forfatning

Arabisk nationalisme
Socialisme

Ba'athisme


Mig og min familie er en dansk dokumentarserie i 10 afsnit om børn, hvis familier adskiller sig fra det gængse på hver sin måde. Serien havde premiere ved BUSTER filmfestival for børn og unge 17. september 2012 og blev efterfølgende vist på DR Ramasjang i 2013. De ni afsnit er instrueret af Anja Hauberg efter eget manuskript og med Thomas Heurlin som producent. Afsnittet om Danni stod Thomas Heurlin selv for.

Handling
Serien består af en række portrætter af fem til syv-årige børn, spredt over hele Danmark. Hvert portræt fortæller historien om, hvordan børnene oplever og håndterer deres verden - og hverdagen med deres forældre. Børnene vokser alle op i familier, som adskiller sig fra normen om en hverdag, med middag på bordet hver dag klokken seks. Børnene kan for så vidt godt være en del af en kernefamilie med far, mor, søskende, hus og have. Men noget i rammen om børnenes liv skiller sig ud, i en grad der påvirker deres syn på dem selv og deres vilkår. Hvordan oplever Frida det, når hendes far, som har været soldat i krigen, snart skal afsted igen? Hvad med Sylvester, hvis forældre er skilt, så han har to hjem. Eller Victor, som har en mor der er blind, eller for Marie, der har to fædre, men ingen mor?

Afsnit

Eksterne henvisninger

Noter

Dokumentarfilm fra Danmark
Tv-serier for børn
Børnefilm fra Danmark

Mig og min familie (dokumentarserie)


Leyl Suresi (Arapça: سورة الليل), Kur'an'ın 92. suresidir. Sure, 21 ayetten oluşur.

Mekke'de indirildiğine inanılmaktadır. Sure, ismini ilk ayette geçen ve "gece" anlamına gelen "leyl" kelimesinden almıştır. Surede genel olarak cömertlikten ve cimrilikten bahsedilmekte, Allah'a iman edip iyilik yapan cömert olan insanlar övülmekte, cimrilik eleştirilmekte, insanlara mallarını ve servetlerini iyilik yolunda harcamaları tavsiye edilmektedir.

Sure
1:  Yemin olsun, bürüyüp örttüğünde geceye;

2:  Aydınlandığında gündüze;

3:  Erkeği ve dişiyi yaratan ilâhî kudrete ki;

4:  (Sizin) çabalarınız elbette farklı farklıdır.

5:  Artık kim cömert davranır, günah işlemekten sakınırsa;

6:  Bunların güzel karşılığına da inanırsa;

7:  Biz ona iyilik yollarını kolaylaştırırız.

8:  Ama kim cimrilik eder, kendisiyle yetinirse;

9:  Güzel karşılığı da yalan sayarsa;

10:  Biz onu zora sokarız.

11:  Kabir çukuruna düştüğü zaman da malı kendisine hiç fayda vermez.

12:  Doğru yolu göstermek bize aittir.

13:  Şüphesiz ahiret de dünya da bizimdir.

14:  Böylece alev alev yanan bir ateşe karşı sizi uyarmış bulunuyorum.

15-16:  O ateşe ancak gerçeği yalan sayıp sırt çeviren isyankâr kişi girer.

17-18:  Malını Allah yolunda verip arınan takva ehli ise, ondan (ateşten) uzak tutulur.

19-20:  O öyle biridir ki, hiç kimsenin kendisi üzerinde karşılığını ödeyeceği bir hakkı olmadığı halde, sırf yüce Rabbinin rızasını kazanmak için yardım eder.

21:  Ve sonunda hoşnut da olacaktır.

Tefsir
Bazı tefsirciler, 19 ilâ 21. ayetlerin, bazıları ise 5 ilâ 19. ayetlerin, Mekkeli paganların işkence ettiği köleleri satın alıp hürriyetlerine kavuşturan sahabe Ebû Bekir hakkında indiğini söylemişlerdir. Yine de ayetlerin hükümlerinin ve mesajlarının genel olduğu düşünülmektedir.

Ayrıca bakınız

 Ebû Bekir
 Sahabeler listesi
 Fecr Suresi

Kaynakça

Sureler

Leyl Suresi


Frédéric Volle (* 4. Februar 1966 in Montpellier) ist ein ehemaliger französischer Handballspieler und Weltmeister des Jahres 1995.

Frédéric Volle spielte in seiner Karriere unter anderem für USAM Nîmes, OM Vitrolles, die SG Wallau/Massenheim und Montpellier AHB, sein größter Erfolg auf Vereinsebene war der Sieg im Europapokal der Pokalsieger 1993 mit OM Vitrolles. Die letzten Jahre seine Profikarriere verbrachte er in Japan.

Von 1987 bis 1996 spielte er in der Nationalmannschaft, in der in 241 Einsätzen 1016 Tore warf. Volle spielte als Regisseur im mittleren Rückraum, wo er neben seiner eigenen Torgefährlichkeit auch die Auswahl der Spielzüge für seine Nebenleute einbrachte. Volle gewann mit der Nationalmannschaft drei internationale Medaillen: Bronze bei den Olympischen Spielen 1992 in Barcelona, Silber bei der Weltmeisterschaft 1993 und Gold bei der Weltmeisterschaft 1995, es waren dies die ersten drei internationalen Medaillen für den französischen Handball überhaupt. Nach dem vierten Platz bei den Olympischen Spielen 1996 trat er aus der Nationalmannschaft zurück und wechselte nach Deutschland zur SG Wallau/Massenheim.

Volle lebt mittlerweile in Kanada, der Heimat seiner Frau.

Erfolge
 Französischer Meister: 1988, 1990, 1991, 1994, 1996
 Torschützenkönig der französischen Liga: 1989
 Französischer Pokalsieger: 1985, 1986, 1993, 1995
 Europokalsieger der Pokalsieger: 1993
 Japanischer Meister: 1999, 2000, 2001, 2002
 Japanischer Pokalsieger: 1999
 Weltmeisterschaft: Silber 1993, Gold 1995
 Olympische Spiele: Bronze 1992, Platz 4 1996
 Erster Franzose mit über 1000 Länderspieltoren

Weblinks

Einzelnachweise

Handballnationalspieler (Frankreich)
Handballspieler (Montpellier Handball)
Olympiateilnehmer (Frankreich)
Teilnehmer der Olympischen Sommerspiele 1992
Teilnehmer der Olympischen Sommerspiele 1996
Weltmeister (Handball)
Französischer Meister (Handball)
Japanischer Meister (Handball)
Rückraumspieler
Franzose
Geboren 1966
Mann

Frédéric Volle


Les experts conduisent l'enquête (, Sledstvie vedout ZnaToKi) est un cycle de téléfilms policiers soviétiques basés sur des scénarios d'Olga et Alexandre Lavrov. Les épisodes de cette série extrêmement populaire en URSS sont sortis principalement entre 1971 et 1989.

Synopsis

Fiche technique
 Titre original : Следствие ведут ЗнаТоКи
 Titre français : Les experts conduisent l'enquête
 Réalisation : Viatcheslav Brovkine, Iouri Krotenko, Viktor Tourbin, Gennady Pavlov, Vasily Davidtchouk, Vladimir Khotinenko, Viatcheslav Sorokine
 Scénario : Olga Lavrova, Alexandre Lavrov
 Musique : Mark Minkov, David Toukhmanov
 Pays d'origine : URSS, Russie
 Format : Couleurs - 35 mm - Mono
 Genre : policier, drame
 Durée : 24 épisodes
 Date de sortie : 1971-2002

Distribution
 Gueorgui Martyniouk : Znamenski
 Leonid Kanevski : Tomine
 Elza Lejdeï : Kibrit
 Lydia Velejeva : Kitaïeva
 Youri Averine : le chef de gang Mordvinov

Notes et références

Liens externes

Série télévisée soviétique
Série télévisée créée en 1971

Les experts conduisent l'enquête


Skaberværk er et udtryk, der navnlig i bestemt form: Skaberværket, formidler et kristent natursyn, således som det fremgår af skabelsesberetningen i Bibelen. Udtrykket skaberværk er også anvendt om forfattere og kunstneres produktion, der er beskyttet ved lov om ophavsret. Den nuværende lov bruger udtrykket 'litterært eller kunstnerisk værk'.

Udtrykket 'Skaberværket' anvendes typisk i kristen stillingtagen til global økologi. 'Fra og med Kirkernes Verdensråds generalforsamling i Vancouver i 1983 ... får [deltagerne] øjnene op for ... den ødelæggelse af skaberværket, som videnskaber som økologien skærer ud i pap for os'. Det fremgår blandt andet af skabelsesberetningen, at mennesket er indsat til at herske over resten af skabningen. Konsekvenserne af en udbyttende holdning og praksis overfor resten af skabelsen og ødelæggelse af mange arters levesteder har ført til en genlæsning af skabelseshistorien. Planter og dyr har deres egenværdi, og udgør sammen med mennesker et mangfoldigt og kosmisk hele, som har en enestående værdi for Gud. Senere har Europæiske Økumeniske Forsamlinger (European Ecumenical Assemblies, EEA) på sit tredje møde i 2007 formuleret sig om skaberværkets opretholdelse.

I juni 2015 udkom Pave Frans' encyklika Laudato si' ('Lovet være du'), der også angår skaberværket og menneskers ansvar.

Kilder

Økologi
Kristen teologi

Skaberværk


Gerhard Merkl ist der Name folgender Personen:

* Gerhard Merkl (Politiker) (1940–2016), deutscher Politiker (CSU)
 Gerhard Merkl (Domkapellmeister) (1961–2016), deutscher Kirchenmusiker

Gerhard Merkl


Die Schottische Badmintonmeisterschaft 2012 fand vom 3. bis zum 5. Februar 2012 in Perth statt. Perth war damit zum elften Mal in Serie Austragungsort der Titelkämpfe.

Austragungsort
Perth, Bell's Sports Centre

Finalresultate

Weblinks
http://www.tournamentsoftware.com/sport/tournament.aspx?id=4528D1DC-9BB6-4AFB-93F8-DE9F6CB6871B

2012
Badminton 2012
Badmintonwettbewerb in Perth (Schottland)

Schottische Badmintonmeisterschaft 2012


قنسرين  موقع أثري سوري في هضبة حلب الجنوبية عبارة عن مدينة أثرية، يبعد الموقع حوالي 40 كم عن مدينة حلب، وتاريخيًّا كانت قنسرين ذات أهمية كبيرة بالنسبة للكنيسة السريانية الأرثوذكسية فكانت تحتوي على مدرسة لاهوتية ضاهت مدرستي الرها ونصيبين. كما أصبحت بعد الفتوحات الإسلامية موقعًا عسكريًا مهمًّا في هذه المنطقة من سوريا.

التسمية

اسم الموقع القديم قنسرين أي قن النسور باللغة السريانية (السورية القديمة). وتعرف الآن بالعيس على سفح جبل العيس الجنوبي.

كما عُرفت لدى العثمانيين باسم «اسكي حلب» أيّ حلب القديمة.

آثار الموقع

يتألف الموقع من تل يضم بقايا مدينة أثرية مسورة ينسب بناؤها في مكان مدينة آرامية قديمة إلى سلوقس نيكاتور، وفي العصور العربية تحولت بعد تحريرها إلى مركز ارتباط بين حوض الفرات والساحل السوري وعالم البحر الأبيض المتوسط، وكانت قنسرين في بداية العصر الإسلامي جندًا مستقلًا وكانت حلب تابعة لها ثم اتبعت بعد ذلك بحلب. تشتهر اليوم بزراعة القطن والحبوب وخاصة الذرة البيضاء.

أعلام
 ساويرا سابوخت
 سعيد بن عمرو الحرشي

مصادر

أماكن مأهولة أسست في الألفية الأولى قبل الميلاد
أماكن مأهولة انحلت في القرن 12
أماكن مأهولة سابقا في سوريا
مدن سوريا القديمة
مدن ممزقة
مواقع أثرية
مواقع أثرية في سوريا
مواقع أثرية في محافظة حلب

قنسرين


was a town located in Higashiyatsushiro District, Yamanashi Prefecture, Japan. As of 2003, the town had an estimated population of 11,111 and a density of 362.87 persons per km2. The total area was 30.62 km2. Ichinomiya literally means "the first shrine" of the province. In case of this town, it is the Sengen Shrine of the Kai Province.

History
On October 12, 2004, Ichinomiya, along with the towns of Isawa, Misaka and Yatsushiro, the village of Sakaigawa (all from Higashiyatsushiro District), and the town of Kasugai (from Higashiyamanashi District), was merged to create the city of Fuefuki.

Transportation
 Route 20 to Tokyo or Shiojiri
 Route 411 to Ōme via Okutama
 Ichinomiya-Misaka IC, Chūō Highway

Special Products
 Peaches

External links
 Official website of Fuefuki in Japanese (English portions)

Dissolved municipalities of Yamanashi Prefecture
Fuefuki, Yamanashi

Ichinomiya, Yamanashi


كنتيشي، هو أحد أنواع التمور التي تنتج بواحات الجريد بالجنوب التونسي، ولا تنتجه واحات نفزاوة التي تقع على الضفة الجنوبية من شط الجريد. والكنتيشي تمر صغير الجرم إذ يبلغ طول التمرة حوالي 3 صم. وهو جاف بحيث يسهل نقله وتسويقه خارج مناطق الواحات، ومما جعله من أشهر أنواع التمور رخص ثمنه وهو ما جعله في متناول الفئات الشعبية بالمقارنة مع تمور الدقلة أو حتى العليق التي تكون أثمانها مرتفعة.

مراجع

تمور تونسية
نخيل

كنتيشي


Hans Magnus Enzensberger (født 11. november 1929 i Kaufbeuren, død 24. november 2022) var en tysk forfatter, digter, oversætter og redaktør. Han skrev også under pseudonymet Andreas Thalmayr. Han har igennem årene udgivet over 70 værker inden for både lyrik, essays og teaterstykker, ligesom han har været oversætter, udgiver og kritiker.

Han debuterede med sin første digtsamling i 1957, og var medlem af forfattersammenslutningen Gruppe 47. Enzensberger omtales som en af Tysklands vigtigste intellektuelle efter den anden verdenskrig, på linje med Günther Grass og Heinrich Böll.

I 2010 modtog Enzensberger Sonningprisen for sit "europæiske engagement".

Baggrund
Enzensberger havde tre yngre brødre, blandt andre engelskfilolog Christian Enzensberger, professor i engelsk litteratur, og det tidligere medlem af kollektivet Kommune 1. Han voksede op i en borgerlig familie. Faderen var ingeniør og specialist i telekommunikation.

Han blev udvist fra Hitlerjugend på grund af ulydighed. I 1944, 15 år gammel) blev han indrulleret i Volkssturm og deserterede i krigens slutfase.

Han studerede litteraturvidenskab og filosofi i Erlangen, Freiburg, Hamburg og ved Sorbonne i Paris. I 1955 tog han doktorgraden med et arbejde om poesien til Clemens Brentano. Derefter arbejdede han til 1957 som radioredaktør i Stuttgart. Han deltog på flere møder i Gruppe 47.

Han var først gift med norske Dagrun Kristensen og senere med Maria Makarova fra Rusland. Han boede for det meste i München.

Virke
Fra 1965 til 1975 udgav Enzensberger ut tidsskriftet Kursbuch (kursbog). Enzensberger havde stor indflydelse på studentbevægelsen med sit værk (specielt Kursbuch). I 1968 hævdede han i et foredrag han holdt i Californien, at retten til kritik kun er en amerikansk luksus, på linje med konsumgoder. Fra 1985 udgav han bogserien Die Andere Bibliothek (det andet bibliotek).

Specielt med teksten Baukasten zu einer Theorie der Medien (Byggeklodser for en teori om medier), udgivet i 1970, analyserede Enzensberger fjernsynet og andre medier. Han betegnede de elektroniske medier som en hovedkraft for bevidsthedsindustrien, som gav dem en omfattende styrings- og kontrolfunktion i det senindustrielle samfund. Enzenbergers mål var en socialistisk teori om medierne.

Han blev bekymret over socialisternes tilbageholdende forhold til medierne. I stedet forlangte han en frigørende omgang med dem. Han så et problem med det han kaldte undertrykkende mediebrug: Et centralstyret program med en sender og flere modtagere, som pacificerer og afpolitiserer konsumenterne. Indholdet blir produceret af specialister, som igen kontrolleres af ejere eller af bureaukratiet. Enzensberger ser alligevel mange større muligheder for de elektroniske medier. Et frigørende mediebrug vil gøre hver modtager også til sender. Tekniske hindringer er kunstig skabte. Ved at ophæve disse hindringer vil masserne blive mobiliseret og politisk inkluderet. Den forretningsmæssige kontrol vil ikke bare komme fra et sted, men via en selvorganiseret forening.

I 1987 brugte han begreberne «Ossie» (beboer i det daværende Øst-Tyskland) og «Wessie» (beboer i det daværende Vest-Tyskland) i prosabindet Ach, Europa! Wahrnehmungen aus sieben Ländern (Ak, Europa! Observationer fra syv lande). I en fiktiv rejseberetning gennem Europa i 2006 beskrev han i et kapitel en fredelig genforening af Tyskland.

I hans Gesammelten Zerstreuungen (Samlede adspredelser) 1988 kaldte han fjernsynet for et nulmedium.

Enzensberger var litteraturreporter og gjorde blandt andre Ryszard Kapuscinski kendt i Tyskland.

Værker (udvalg)
Bøger udgivet på dansk:
Hammerstein, eller egensindigheden, Åh Europa, Borgerkrigen, Taldjævelen, Mig og Josefine, Tumult, Hvor har du været, Robert?, Det tandløse monster i Bruxelles og Kiosk.

Bøger og digte udgivet på tysk:
 verteidigung der wölfe. Suhrkamp, Frankfurt am Main 1957.
 landessprache. Suhrkamp, Frankfurt am Main 1960.
 Gedichte. Die Entstehung eines Gedichts. Suhrkamp, Frankfurt am Main 1962.
 blindenschrift. Suhrkamp, Frankfurt am Main 1964.
 Mausoleum. 37 Balladen aus der Geschichte des Fortschritts. Suhrkamp, Frankfurt am Main 1975.
 Der Untergang der Titanic. Eine Komödie. Versepos. Suhrkamp, Frankfurt am Main 1978.
 Die Furie des Verschwindens. Gedichte. Suhrkamp, Frankfurt am Main 1980.
 Zukunftsmusik. Suhrkamp, Frankfurt am Main 1991.
 Kiosk. Neue Gedichte. Suhrkamp, Frankfurt am Main 1995.
 Leichter als Luft. Moralische Gedichte. Suhrkamp, Frankfurt am Main 1999, .
 Die Geschichte der Wolken. 99 Meditationen. Suhrkamp, Frankfurt am Main 2003, .
 Rebus. Suhrkamp, Frankfurt am Main 2009, .
 Blauwärts. Ein Ausflug zu dritt. Suhrkamp, Berlin 2013, .
 Wirrwarr. Suhrkamp, Berlin 2020, .

Essays (udvalg)
 Brentanos Poetik. 1961. (Druckfassung der Diss. Erlangen 1955.)
 Einzelheiten. 1962.
 Politik und Verbrechen. 1964.
 Deutschland, Deutschland unter anderm. Äußerungen zur Politik. 1967.
 Staatsgefährdende Umtriebe. Rede zur Verleihung des Nürnberger Literaturpreises, 1968.
 Palaver. Politische Überlegungen 1967–1973. 1974.
 Von der Unaufhaltsamkeit des Kleinbürgertums. Eine soziologische Grille. 1976.
 Politische Brosamen. 1982.
 Ach Europa! Wahrnehmungen aus sieben Ländern. Suhrkamp, 1987.
 Ach Europa! Wahrnehmungen aus sieben Ländern. Mit einem Epilog aus dem Jahr 2006. Suhrkamp, Frankfurt am Main (= suhrkamp taschenbücher. Band 1690).
 Mittelmaß und Wahn. Gesammelte Zerstreuungen. Suhrkamp, 1988, .
 Die Große Wanderung. 1992.
 Aussichten auf den Bürgerkrieg. Suhrkamp, Frankfurt am Main 1993, .
 Zickzack. Aufsätze, 1997.
 Drawbridge Up: Mathematics – A Cultural Anathema / Zugbrücke außer Betrieb: Die Mathematik im Jenseits der Kultur. (dt., engl.) Natick, Mass., Peters, 1999.
 Einladung zu einem Poesie-Automaten. Suhrkamp, 2000.
 Nomaden im Regal. Essays. 2003
 unter dem Pseudonym Andreas Thalmayr: Lyrik nervt! Erste Hilfe für gestresste Leser. 2004.
 unter dem Pseudonym Andreas Thalmayr: Heraus mit der Sprache. Ein bisschen Deutsch für Deutsche, Österreicher, Schweizer und andere Aus- und Inländer. Hanser, München 2004, ; als Taschenbuch: dtv München 2008, .
 Schreckens Männer – Versuch über den radikalen Verlierer. Suhrkamp, 2006.
 Im Irrgarten der Intelligenz. Ein Idiotenführer. Zürich 2006. (Schriftenreihe der Vontobel-Stiftung. Nr. 1760.) und edition suhrkamp, 2007, .
 Fortuna und Kalkül – Zwei mathematische Belustigungen. Suhrkamp, Berlin 2009.
 Sanftes Monster Brüssel oder Die Entmündigung Europas. Suhrkamp, Berlin 2011, .
 Enzensbergers Panoptikum: Zwanzig Zehn-Minuten-Essays. Suhrkamp, Berlin 2012, .
 Überlebenskünstler. 99 literarische Vignetten aus dem 20. Jahrhundert. Suhrkamp, Berlin 2018, .
 unter dem Pseudonym Andreas Thalmayr: Schreiben für ewige Anfänger. Ein kurzer Lehrgang. Hanser, München 2018, .
 Eine Experten-Revue in 89 Nummern, Suhrkamp, Berlin 2019, .

Referencer

Eksterne henvisninger
 Hans Magnus Enzensberger på Den Store Danske Encyklopædi

Personer fra Bayern
Forfattere fra Tyskland
Digtere fra Tyskland
Redaktører
Modtagere af Sonningprisen
Tyskere i 1900-tallet
Tyskere i 2000-tallet

Hans Magnus Enzensberger


The flag of Laos (Lao: ທຸງຊາດລາວ; thungsad Lāo) consists of three horizontal stripes, with the middle stripe in blue being twice the height of the top and bottom red stripes. In the middle is a white disc, the diameter of the disc is  the height of the blue stripe. The flag ratio is 2:3.

The flag was first adopted in 1945 under the short-lived Lao Issara government of 1945–46, then by the Pathet Lao. It is one of the two flags of a currently communist country (the other being Cuba) that currently does not use any communist symbolism. The current flag was adopted on December 2, 1975, when it became a socialist state. The royal flag before 1975 remains in use by a number of Laotian diaspora.

Overview
This current flag replaced the red flag, with the triple-headed white elephant Airavata on a pedestal beneath a parasol, which had been the flag of the 19th century Kingdom of Luang Phrabang. The flag had continued to be used when this kingdom became a French protectorate, and following its unification with the other provinces of Laos into the Kingdom of Laos, which became independent in 1953. The flag expressed the ancient name of the country, "Land of a Million Elephants". From 1953 onward the royal government waged war with the Pathet Lao, whose flag was blue with a white disk and red borders at the top and bottom.

From 1973 to 1975, the Pathet Lao formed part of the government coalition, before assuming power directly and prompting the abdication of the king. Their flag was adopted as the national flag. According to the original creator of the current Lao flag, Maha Sila Viravong, the white disk in the center symbolizes the unity of the Lao people (and the future reunification of the two Laotian regions of Laos and Northeastern Thailand that are divided by the Mekong River) under one nation. It is also said to represent a full moon against the Mekong River. The red stripes stand for the blood shed by the Lao people on both banks of the Mekong River (the multi-ethnic people of Laos and the Isan people of Northeastern Thailand) in their struggle for freedom and independence from the French, and the blue symbolizes the Mekong River itself, a symbol of the nation's prosperity.

History

The current Lao flag was designed in 1945 by Maha Sila Viravong, a famous Lao nationalist, intellectual, and scholar of traditional Lao literature, history, and culture. As one of the members of the Lao Issara government, he was tasked with creating a new Lao national flag that is to be distinct from the royalist flag (the red flag with the white three-headed elephant) that represented the monarchy of Luang Prabang, inspired in how Thailand in 1917 adopted the red-white-blue tricolour as its national flag over the traditional royalist flag (the red flag with the white elephant). In accordance with the establishment of the Lao Issara government and its first Lao constitution on October 12, 1945, Viravong's flag was adopted by the new government as its national flag until the French takeover in 1946. The Lao Issara, as a political movement, continued to use the flag in exile until its dissolution in 1949. Its communist-led successor, the Pathet Lao, re-used Viravong's flag to represent the movement until the fall of the royal government in 1975 when the Pathet Lao re-adopted it as the national flag.

From 1952 until the fall of the royal government in 1975 the country had a red flag, with a white three-headed elephant (representing the Hindu god Erawan) in the middle. On top of the elephant is a nine-folded umbrella, while the elephant itself stands on a five-level pedestal. The white elephant is a common royal symbol in Southeast Asia, especially in Myanmar, Thailand and Laos. This flag was adopted by the royal monarchy of Luang Prabang since the beginning of the 20th century under French rule, inspired by its similar flag (red flag with the single white elephant) in Thailand during that time.

The nine-folded umbrella is also a royal symbol, originating from Mount Meru in the Buddhist cosmology. The pedestal represented the law on which the country rested.

Currently, the flag, similar to the Flag of South Vietnam, remains in use by the Royal Lao Government in Exile and various Laotian opposition groups who opposed communist rule in Laos. In 2015, the city of Smithfield, Rhode Island passed a resolution to adopt the royalist flag as its "Heritage and Freedom" flag.

Historical flags

Colours schemes

Construction Sheet

References

External links

Laos
Laos
National symbols of Laos

Flag of Laos


Liga Nogometnog podsaveza Kosovsko-metohijske oblasti, također kao i Liga Kosmetskog podsaveza, Liga Podsaveza AKMO, Podsavezna liga Kosova, je bila liga drugog stupnja nogometnog prvenstva Jugoslavije u sezoni 1952./53.  Sudjelovalo je 10 klubova, a prvak je bila "Trepča" iz Kosovske Mitrovice.

Ljestvica

 "Trepča" iz Kosovske Mitrovice je igrala završnicu "Prvenstva Srbije". Nije se plasirala u kvalifikacije za 1. saveznu ligu.

Rezultatska križaljka

 Izvori:

Unutrašnje poveznice
 Vojvođanska liga 1952./53.

Vanjske poveznice

Izvori

 exyufudbal.in.rs, Nogometno prvenstvo FNRJ 1952/53., Podsavez Kosovsko-metohijske oblasti , wayback arhiva

KOS 1952-53 1
KOS 1
1952-53 1 zona
1952-53

Liga Nogometnog podsaveza Kosovsko-metohijske oblasti 1952./53.


Helsingørvej  er en to sporet omfartsvej der går nord om Helsinge. Vejen er en del af sekundærrute 205 der går imellem Helsinge og Frederiksværk.

Den er med til at lede trafikken der skal mod Frederiksværk, Helsingør, uden om Helsinge Centrum, så byen ikke bliver belastet af for meget trafik.

Vejen forbinder Frederiksværkvej i vest med Helsingørvej i øst, og har forbindelse til Græstedvej, Skolegade, Kildevej og Frederiksværk.

Kilder

Helsinge
Omfartsveje i Danmark

Helsingørvej (Helsinge)


An Eragrostiella in uska genus han Liliopsida. An Eragrostiella in nahilalakip ha familia nga Poaceae.

An kladograma hini sumala ha Catalogue of Life:

Mga kasarigan

Mga sumpay ha gawas

Eragrostiella

Eragrostiella


An epithet (, ), also byname, is a descriptive term (word or phrase) commonly accompanying or occurring in place of the name of a real or fictitious person, place, or thing. It is usually literally descriptive, as in Alfred the Great, Suleiman the Magnificent, Richard the Lionheart, and Ladislaus the Short, or allusive, as in Edward the Confessor, William the Conqueror, Æthelred the Unready, John Lackland, and Bloody Mary.

The word epithet also may refer to an abusive, defamatory, or derogatory word or phrase. This use is criticized by Martin Manser and other proponents of linguistic prescription. H. W. Fowler noted in 1926 that "epithet is suffering a vulgarization that is giving it an abusive imputation."

Linguistics
Epithets are sometimes attached to a person's name or appear in place of their name, as what might be described as a glorified nickname or sobriquet, and for this reason some linguists have argued that they should be considered as pronouns. It has also been argued that epithets are a phenomenon with the syntax–semantics interface, because they have components of both, and also a pragmatic dimension.

An epithet is linked to its noun by long-established usage. Not every adjective is an epithet. An epithet is especially recognizable when its function is largely decorative, such as if "cloud-gathering Zeus" is employed other than in reference to conjuring up a storm. "The epithets are decorative insofar as they are neither essential to the immediate context nor modeled especially for it. Among other things, they are extremely helpful to fill out a half-verse", Walter Burkert has noted.

Some epithets are known by the Latin term , as they are required to distinguish the bearers, as an alternative to numbers after a prince's name—such as Richard the Lionheart (Richard I of England), or Charles the Fat alongside Charles the Bald. The same epithet can be used repeatedly joined to different names, such as Alexander the Great as well as Constantine the Great.

Other epithets can easily be omitted without serious risk of confusion and are therefore known as . Thus, the classical Roman author Virgil systematically called his main hero , the epithet being , meaning religiously observant, humble and wholesome, as well as calling the armsbearer of Aeneas , the epithet being , which means faithful or loyal.

There are also specific types of epithets, such as the kenning which appears in works such as Beowulf. An example of a kenning would be using the term whale-road instead of the word "sea".

Literature
Epithets are characteristic of the style of ancient epic poetry, notably in that of Homer or the northern European sagas (see above, as well as Epithets in Homer). When James Joyce uses the phrase "the snot-green sea" he is playing Homer's familiar epithet "the wine-dark sea". The phrase "Discreet Telemachus" is also considered an epithet.

The Greek term , in rhetoric, means substituting any epithet or phrase for a proper name, as "Pelides", signifying the "son of Peleus", to identify Achilles. An opposite substitution of a proper name for some generic term is also sometimes called , as a Cicero for an orator. The use of a father's name or ancestor's name, such as "Pelides" in the case of Achilles, or "Saturnia" in the case of the goddess Juno in Virgil's Aeneid, is specifically called a patronymic device and is in its own class of epithet.

In William Shakespeare's play Romeo and Juliet, epithets are used in the prologue, such as "star-cross'd lovers" and "death-mark'd love."

Epithets were in layman's terms glorified nicknames that could be used to represent one's style, artistic nature, or even geographical reference. They originated to simply serve the purpose of dealing with names that were hard to pronounce or just unpleasant. It from there went to something that could be very significant assigned by elders or counterparts to represent one's position in the community, or it could be a representation of whomever one wanted to be or thought he was. The elegance of this movement was used throughout history and even modern day, with many examples ranging from "Aphrodite the Heavenly & Zeus the Protector of Guests" all the way to "Johnny Football & King James".

American comic books tend to give epithets to superheroes, such as The Phantom being "The Ghost Who Walks", Superman called "The Man of Steel", and "The Dynamic Duo" Batman and Robin, who are individually known as "The Dark Knight" and "The Boy Wonder".

Additionally, , the Spanish version of epithet, is commonly used throughout poems in Castilian literature.

Religion

In many polytheistic religions, such as those of ancient India and Iran (the most ancient of which go back to a common Indo-Iranian period), Greece and Rome, a deity's epithets generally reflected a particular aspect of that god's essence and role, for which their influence may be obtained for a specific occasion: Apollo  is "Apollo, [as] leader of the Muses" and therefore patron of the arts and sciences, while Phoibos Apollo is the same deity, but as shining sun-god. "Athena protects the city as , oversees handicrafts as , joins battle as  and grants victory as ."

Alternatively, the epithet may identify a particular and localized aspect of the god, such as a reference to the mythological place of birth or numinous presence at a specific sanctuary: sacrifice might be offered on one and the same occasion to Pythian Apollo (Apollo Pythios) and Delphic Apollo (Apollo Delphinios). A localizing epithet refers simply to a particular center of veneration and the cultic tradition there, as the god manifested at a particular festival, for example: Zeus Olympios, Zeus as present at Olympia, or Apollo Karneios, Apollo at the Spartan Carneian festival.

Often the epithet is the result of fusion of the Olympian divinity with an older one. Poseidon Erechtheus and Artemis Orthia reflect intercultural equations of a divinity with an older one that is generally considered its pendan. Thus, most Roman gods and goddesses, especially the Twelve Olympians, had traditional counterparts in Greek, Etruscan, and most other Mediterranean pantheons, such as Jupiter as head of the Olympian Gods with Zeus. But in specific cults there may be a different equation, based on one specific aspect of the divinity. Thus, the Greek word  ("thrice grand") was first used as a Greek name for the Egyptian god of science and invention, Thoth, later as an  for the Greek Hermes and, finally, the fully equated Roman Mercurius Mercury (both were messenger of the gods). Among the Greeks, T.H. Price notes that the nurturing power of  might be invoked in sacrifices and recorded in inscription, without specifically identifying Hera or Demeter.

Some epithets were applied to several deities of the same pantheon rather accidentally if they had a common characteristic, or deliberately, emphasizing their blood or other ties. Thus, in pagan Rome, several divinities gods and heroes were given the  Comes as companion of another (usually major) divinity. An epithet can even be meant for collective use, e.g., in Latin , "the felt hat-wearers" for the brothers Castor and Pollux. Some epithets resist explanation.

Catholics, Eastern Orthodox Christians, and Christians of other churches practice the use of epithets in the veneration of Jesus (e.g., "Christ"; "Prince of Peace"; "The Good Shepherd"), of Mary, Mother of Jesus (e.g., "Mother of God"; "Panagia"), and of the saints (e.g., "Pope Saint John Paul the Great, Saint Theophan the Recluse"). "Our Lady of Lourdes" is essentially periphrasis, except where some aspect of the Virgin is invoked.

Rhetoric

An epithet is an adjective or adjectival phrase that characterizes a place, a thing, or a person that helps make the characteristics of this thing more prominent. These descriptive phrases can be used in a positive or negative way that benefits the orator. "It will generally happen, that the Epithets employed by a skillful orator, will be found to be, in fact, so many abridged arguments, the force of which is sufficiently conveyed by a mere hint; e.g., if any one says, 'We ought to take warning from the bloody revolution of France,' the Epithet suggests one of the reasons for our being warned; and that, not less clearly, and more forcibly, than if the argument had been stated at length." With persuasion being a key component of rhetoric, it is rational to use epithets. The use of persuasive wording gives leverage to one's arguments. Knowledge along with descriptive words or phrases can be a powerful tool. This is supported in Bryan Short's article when he states, "The New Rhetoric derives its empiricist flavor from a pervasive respect for clarity and directness of language." Rhetoricians use epithets to direct their audience to see their point of view, using verbal forms of imagery as a persuasive tactic.

Orators have a variety of epithets that they can employ that have different meanings.  The most common are fixed epithets and transferred epithets. A fixed epithet is the repetitive use of the same word or phrase for the same person or object. A transferred epithet qualifies a noun other than the person or thing it is describing.  This is also known as a hypallage. This can often involve shifting a modifier from the animate to the inanimate; for example, "cheerful money" and "suicidal sky".

Orators take special care when using epithets so as to not use them as smear words.  Orators could be accused of racial or abusive epithets if used incorrectly. American journalist William Safire discussed the use of the word in a 2008 column in The New York Times: "'I am working on a piece about nationalism with a focus on epithet as a smear word,' writes David Binder, my longtime Times colleague, 'which was still a synonym for 'delineation' or 'characterization' in my big 1942 Webster's but now seems to be almost exclusively a synonym for 'derogation' or 'smear word.' ... In the past century, [epithet] blossomed as 'a word of abuse,' today gleefully seized upon to describe political smears."

Usage prior to surnames

Descriptive bynames were given to a person to distinguish them from other people of the same name. In England bynames were used during the period when the use of surnames had not been extensively adopted. As an example the Domesday Book of 1086 identifies 40 individuals with the given name of "Richard".  Most (40%), such as "Richard of Coursey"  are identified with a locational byname, indicating where they came from, or in some cases where they lived. Others (25%), such as "Richard the butler" and "Richard the bald" are identified with an occupational or a personally descriptive byname. Some of the individuals, such as Richard Basset, made use of what would now be recognized as a surname.

The distinction between a byname and a surname is that the byname is not usually heritable, and may change for any given person as his circumstances change.  Richard the Bald, for example, was presumably not always bald, and Richard of Brampton may not have always lived at Brampton.

The use of bynames did not end with the adoption of surnames.  In some cases, before the adoption of middle names, government records, such as taxes lists, included people with both the same given name and the same surname.  This led to the use of bynames to further distinguish the person.  For example, one "John Smith" might be described as "John Smith of the mill", while another might be described as "John Smith the short".

See also
 Animal epithet
 Bahuvrihi, a Proto-Indo-European formation often used for epithets
 Cognomen
 Honorific
 List of monarchs by nickname
 Lists of people by epithet
 Makurakotoba
 Nickname
 Plant epithet
 Sobriquet
 Synecdoche
 Toponymic surname, a surname derived from a place name

References

External links
 Homer's Epitheta ornantia Bibliotheca Augustana

Onomastics
Titles

Epithet


José Tomás Sánchez (Pandan, 17 de marzo de 1920 - Ciudad de San Juan, 9 de marzo de 2012) fue un cardenal y arzobispo católico de Filipinas.

Biografía
Fue ordenado sacerdote el 12 de mayo de 1946.

El 5 de febrero de 1968 fue elegido obispo titular de Lesvi y auxiliar de Cáceres. Fue consagrado obispo el próximo 12 de mayo por el entonces Nuncio Apostólico en Filipinas Carmine Rocco. Fue trasladado como asistente a la Diócesis de Lucena en el 13 de diciembre de 1971, le sucedió en el mismo lugar en 25 de septiembre de 1976. El 12 de enero de 1982 fue promovido a arzobispo de Nueva Segovia. El 30 de octubre de 1985 fue nombrado secretario de la Congregación para la Evangelización de los Pueblos. El 22 de marzo de 1986 renunció al gobierno pastoral de la Archidiócesis de Nueva Segovia.

Desde 1 de julio de 1991 al 15 de junio de 1996 ocupó el cargo de prefecto de la Sagrada Congregación para el Clero. Fue al mismo tiempo presidente de la Comisión Pontificia para el Patrimonio Cultural de la Iglesia.

Juan Pablo II lo elevó a la dignidad de cardenal en el consistorio del 28 de junio de 1991. El 17 de marzo de 2000 provino de las filas de los cardenales y se convirtió en un elector cardinal para la realización de 80 años de edad.

Murió el 9 de marzo de 2012 a la edad de 91 años en el Centro Médico en San Juan Ciudad, como consecuencia de un fallo multiorgánico después de permanecer hospitalizado durante una semana.

Referencias

Enlaces externos

Catanduanes
Cardenales de Filipinas
Cardenales creados por Juan Pablo II
Fallecidos por falla multiorgánica
Doctores honoris causa por la Universidad de Santo Tomás (Filipinas)
Obispos católicos del siglo XX
Arzobispos del siglo XX
Obispos de Filipinas del siglo XX
Cardenales creados en el siglo XX

José Tomás Sánchez


Ivan Palčić (Novalja, 25. studenoga 1892. – Novalja, 29. svibnja 1969.) bio je grafičar i slikar.

Životopis
Pohađao je pučku školu u Novalji, a u Zadru gimnaziju 1912. godine s hrvatskim nastavnim jezikom. Studij prava u Pagu započeo je 1913. godine, ali ubrzo je otišao u Zagreb i upisao slikarstvo kod Bele Čikoša Sesije i Aurea Roberta. Prvi svjetski rat proveo je u Petrinji gdje je bio vojnik i kao zarobljenik na Siciliji. Nakon rata, 1919. godine, boravio je u Splitu gdje je otvorio atelje. Kratko se zadržavši u Splitu, odlazi u Prag na Akademiju kod grafičara i slikara Maxa Švabinskog i Vlahe Bukovca. Nakon Akademije otišao je u Beč gdje je napravio nekoliko ekspresionističkih radova. Kasnije se vratio u Pag gdje je živio povučeno. Svoje izložbe izlagao je samostalno u Zagrebu, Zadru i drugim mjestima.

Dvadeset pjesama Ivana Palčića sačuvane su u rukopisu, a uz 140 reprodukcija 20 ih je objavljeno u monografiji posvećenoj njemu.

Izvori

Vanjske poveznice
 Književna rijeka

Životopisi, Novalja
Hrvatski slikari

Ivan Palčić


To be macho is to possess machismo or exaggerated masculinity.

Macho may also refer to:

Arts and entertainment
Macho (band), a short-lived Italian-American disco/R&B group in the late 1970s
Macho (album), a 1975 album by Hungarian guitarist Gábor Szabó
"El Macho", a song on the Sailing to Philadelphia album by Mark Knopfler
Macho, original title of the 1975 novel Cry Macho
El Macho, a 1977 Italian-Argentine Spaghetti Western film
Macho (film), a 2016 Mexican film
the title character of the 1970 Civil War film Macho Callahan, played by David Janssen

People
 Macho (surname), a list of people
 Macho (nickname), a list of people nicknamed "Macho" or "El Macho"

Science and technology
Massive compact halo object (MACHO), a hypothesised astronomical body to explain the dark matter in galaxy halos
 MACHO Project, an observational search for MACHOs
Mach-O, binary file format on Mach-kernel systems
 Marine Cable Hosted Observatory (MACHO), an underwater seismic monitoring network

Other uses
Toyota Land Cruiser (J40) (Toyota Macho in Venezuela), a four-wheel-drive vehicle
Bursera glabrifolia, a Mexican tree called macho in woodcarving
"El macho", a pair of percussive claves' striking clave
, a river in Vázquez de Coronado, Costa Rica

See also

Machos, a community in Greece
Machos (TV series), a Chilean telenovela
Mach O (disambiguation)
Macho man (disambiguation)

Macho (disambiguation)