Namie Amuro ( ; ; born September 20, 1977) is a Japanese former singer, dancer, model, actress and entrepreneur who was active between 1992 and 2018. A leading figure of the Japanese entertainment industry since the early 1990s, Amuro is known for breaking the youthful idol stereotype of J-Pop, changing the fashion trends and lifestyle of women in Japan, her experimentation across music styles, and for her visual imagery in music videos and live performances. Due to her career longevity, resilience, professionalism, efforts behind-the-scenes in the music industry, and her way of life, she is considered a pop culture icon in Japan and Asia. She has been referred to as "Diva of Heisei Era" and the "Queen of Japanese Pop", and has been recognized as having the influence and career impact domestically equivalent to artists such as Janet Jackson and Madonna in Western music and pop culture.

Born in Naha, Okinawa, Japan, Amuro debuted as the lead singer of the idol group Super Monkey's when she was 14 years old. Despite early sales disappointments, she ventured into modeling and acting, attracting domestic attention with the group's best-selling single "Try Me (Watashi o Shinjite)". She signed to Avex Trax in 1995 and debuted as a solo artist with the single "Body Feels Exit". Her 1996 studio album, Sweet 19 Blues, sold over 3 million copies, setting the record at the time for the biggest selling album by a female artist in Japan and the highest selling album debut in the world (currently ranked #15 in the world's largest first week album sales). One of the singles from her album Concentration 20 (1997), "Can You Celebrate?", is the best-selling single by a solo female artist in Japanese music history. From 1999, Amuro partnered with international musicians and producers on her records, beginning with Genius 2000 (2000).

In the early 2000s, Amuro's music evolved from pop to R&B, and she saw a decline in sales. Play (2007), her eighth studio album, began the period of commercial resurgence. She continued to experiment musically, moving to electronic dance music and English language songs with follow-up records Uncontrolled (2012) and Feel (2013). She subsequently released her eleventh studio album Genic (2015) and her last compilation album Finally (2017), which contains re-recordings of her selected singles from 1992 to 2017.

Amuro is noted within the Japanese entertainment industry for "producing" and managing her own career. Aside from music, she has appeared in various advertisement campaigns in Japan and founded her own management company Stella88, and her own record label Dimension Point.

Having sold more than 40 million records, Amuro is recognized as one of the best-selling artists in Japan by Oricon. Since her solo debut, she achieved top 10 singles for 23 consecutive years (#1 for solo artist). All of her albums are certified Platinum, and her debut solo album, Sweet 19 Blues, was the best selling album in Japan. She is the only artist in Japan to sell a million albums in her teens, 20s, 30s and 40s. Her last album, Finally, topped the year-end album charts of both Oricon and Billboard Japan for two consecutive years (the first and only artist in the Japanese Music Industry to do so). Amuro has frequently been noted for her live performances at music award ceremonies and is the recipient of World Music Awards, Japan Record Awards, Japan Gold Disc Awards, and MTV Video Music Awards Japan, among many others.

On September 16, 2018, Amuro officially retired from the music and entertainment business.

Life and career

1977–1995: Early life and career beginnings
Namie Amuro was born on September 20, 1977, at Okinawa Red Cross Hospital in Naha, Okinawa. She is one of four children of Emiko Taira. Through her mother, Amuro is a quarter Italian. Having divorced when Amuro was only 4 years old, Taira raised her children solely in Okinawa – she worked as a nursery school employee and a bar hostess to support her family. Although Amuro had no ambition to become a singer, she was discovered at age 12, while visiting a friend. One year later, Amuro was scouted by Masayuki Makino, the owner of Okinawa Actors School, and eventually she was enrolled there. In 1991, Makino placed her in an idol group named Super Monkey's, with four other girls: Anna Makino, Hisako Arakaki, Minako Ameku and Nanako Takushi. The sixth member, Rino Nakasone, joined the group one year later. On September 16, 1992, Super Monkey's released their debut single, "Koi no Cute Beat/Mr USA". However, Anna Makino left the group at the end of that year. In 1993, the remaining members of Super Monkey's moved to Tokyo.

Super Monkey's did not gain much success and the group went through constant lineup changes. In 1994, the group changed their name to Namie Amuro with Super Monkey's to reflect Amuro's rising popularity as an upcoming actress and fashion model. Aside from group's musical activities, Amuro had bit parts in Japanese television series and small films. Super Monkey's experienced a large amount of success with their single "Try Me (Watashi o Shinjite)", produced by Italian eurobeat producer Dave Rodgers, and Japanese businessman Max Matsuura. Released on January 25, 1995, the song reached number eight on the Oricon Singles Chart, and stayed in the top 200 chart for 25 weeks. Despite the beginning success as a group, the other four members of the Super Monkey's formed their own sub-group, MAX, under the Japanese record label Avex Trax. As a result, Amuro released two more solo singles under Toshiba-EMI before moving to Avex Trax herself.

After signing with Avex Trax in 1995, the corresponding record company Avex Group enlisted Japanese musician Tetsuya Komuro to work with Amuro on her then-upcoming album. Amuro made her solo debut with Avex, releasing the single "Body Feels Exit" on October 25, 1995. It became a huge success in Japan, peaking at number three on the Oricon Singles Chart and sold over 882,000 units in Japan. Amuro's second single with Komuro, "Chase the Chance", became her first number-one single on the Oricon Singles Chart and her first single to sell over 1 million units in Japan. For Amuro's success with those singles, she won the Golden Arrow Award in 1995.

1996–1998: Sweet 19 Blues, Concentration 20, pregnancy, marriage, breakthrough, 181920 and motherhood

After a brief hiatus, Amuro released two more singles in 1996: "Don't Wanna Cry" and "You're My Sunshine". Both singles were successful in Japan, bringing her second and third consecutive number one singles, and both sold over one million units there. Amuro achieved huge success after the release of her first solo studio album, Sweet 19 Blues (1996). Released on July 22, it reached number one on the Oricon Albums Chart in Japan, and has sold over 3.6 million units. She released the album's final single, the title track, on August 21, 1996; it achieved success by peaking at number two on the Oricon Singles Chart, and shifted over 400,000 units in Japan. On November 27, 1996, she started work on her second solo studio album with Komuro, and released its lead single "A Walk in the Park". It gave Amuro her fourth number one single on the Oricon Singles Chart, and her fourth single to sell over one million units there. At the end of 1996, she was awarded the Grand Prix Award for her song "Don't Wanna Cry", the highest honor at the Japan Record Awards, making her the youngest artist to have won the award. On February 19, 1997, she released her single "Can You Celebrate?", which became her fifth number one single. The single became a huge success in Japan, eventually selling 2,750,000 units there, making it the best-selling single by a solo female artist in Japan. After releasing her sixth consecutive number one single "How to Be a Girl" on May 21, 1997, Amuro released her second album Concentration 20 in July of that year. It became her third number one album in Japan, and sold over 1.9 million units there. For additional promotion, she embarked her Concentration 20 Dome Tour in Japan, which achieved commercial success. By early August 1997, the total sales of Amuro's records reached 20 million units in Japan. During a press conference on October 22 of that year, Amuro confirmed her marriage to Japanese musician and TRF band member Masaharu "Sam" Maruyama. During the conference, she announced that she was three months pregnant with their first child. At the end of the year, she won the Grand Prix Award at the Japan Record Awards again for "Can You Celebrate?" and made her final appearance on the annual Japanese television music show 48th Kōhaku Uta Gassen before beginning her one-year hiatus from the music industry. She legally changed her name to Namie Maruyama, but continued to use her maiden name as her professional name.

Amuro's first compilation album, 181920, was released on January 28, 1998, and covers twelve singles which were released prior to her hiatus. The total sales of the album were around 2 million units in Japan. Four months later, on May 19, Amuro gave birth to her son, Haruto Maruyama at Maruyama Memorial General Hospital. She returned to the music industry by releasing the single "I Have Never Seen" on December 23, 1998. It became her eighth number one single on Oricon, and sold over 650,000 units in Japan. She made her first televised appearance on 49th Kōhaku Uta Gassen days later, performing a tearful rendition of her single "Can You Celebrate?".

1999–2001: Personal struggles, Genius 2000 and Break the Rules
Working on the album Genius 2000 with Komuro and American producer Dallas Austin, after releasing its first single "I Have Never Seen" in 1998, Amuro released its second single "Respect the Power of Love" on March 17, 1999. On the same day, news publication's in Amuro's hometown, Okinawa, reported that her mother, Emiko Taira, had been murdered. According to staff editors at The Japan Times, Emiko and her second husband, Tatsunobu Taira, were hit by an axe, owned by Kenji Taira, Emiko's ex-husband's brother. While her second husband survived with moderate injuries, Emiko was taken to hospital, and pronounced dead after noon on March 17. Kenji was then found dead in his car, after consuming insecticide. Upon hearing the news, Amuro postponed all promotional activities and flew back to Okinawa in order to identify her mother's body. A week later, the single debuted at the number two on the Oricon Singles Chart, beaten by the single "Dango 3 Kyodai". A third single, "Toi et Moi", was used for the Japanese animation movie Pokémon: The Movie 2000. Both singles proved successful, selling over 400,000 and 200,000 units in that region, respectively. Amuro made her first single debut with Austin on "Something 'Bout the Kiss", released on September 1, 1999. It became a success in Japan, reaching number three on the Oricon Singles Chart and sold over 390,000 units there. In January 2000, Amuro released her fourth studio album Genius 2000; it reached number one on the Oricon Albums Chart, and shifted over 800,000 units there. That same month, Amuro confirmed her separation from husband Masaharu. For the first half of 2000, Amuro embarked on her Genius 2000 concert tour throughout Japan. She then released the single "Never End", in July, confirming work on her fifth studio album with Komuro and Austin. The single was used as part of the G8 Summit taking place in Okinawa, Japan that year. It was commissioned by late Prime Minister Keizō Obuchi, who asked Tetsuya Komuro to write a song conveying "a vision of harmony and interaction in the world in the 21st century". Obuchi later asked Amuro to perform the single at the summit.

Amuro's fifth studio album Break the Rules was released on December 20, 2000, and is her final full-length produced album with Komuro. It became her first studio album to miss the top spot, peaking at number two on the Oricon Albums Chart. Amuro's sales started to decline from this release, as the album only shifted 335,000 units in Japan. To promote the studio album, Amuro toured Japan in March 2001, and finished in May that same year. In August, she released the single "Say the Word"; it was her first single that she contributed to songwriting. This was her first single to be released after departing with Komuro, until years later, and was released in part of her upcoming greatest hits album. Since then,she started to produce her own activities.However, in December she worked with Komuro for the last time on "Lovin' It", a single released as part of Avex's Song+Nation charity project. The single featured Japanese rapper Verbal from the music group M-Flo.

2002–2004: Love Enhanced Single Collection, decline in sales and popularity, Suite Chic project and Style

Amuro released her second compilation album, Love Enhanced Single Collection, on March 13, 2002. The album reworked nearly every single released after her return from hiatus in 1998, with new vocals, mixes or rearrangements. The single "I Will" was released a month before the album and became Amuro's first single below 100,000 units in sales. Although the album was moderately successful, peaking at number three and shifting over 300,000 units, it only sold a fraction of its predecessor 181920 (1998). In July 2002, Amuro divorced Maruyama, and legally changed her name back to Namie Amuro, having cited irreconcilable differences. According to reports, her divorce was due to her personal issues with Maruyama's family. Retrospectively, The Times attributed her loss in popularity during this era to the attention surrounding her personal struggles, while The Japan Times cited the rise of newer artists Hikaru Utada and Ayumi Hamasaki, who achieved great success in the wake of her hiatus. In a 2005 interview, Amuro said: "Even my closest friend said I was finished, but I think I may be a little different from the others. My popularity plunged three years ago and I didn't try to court publicity. It was a real challenge forcing myself to be consistent in not playing up to my fans." Amuro started work on her sixth studio and third collaboration album with Dallas Austin, releasing Diane Warren-written single "Wishing on the Same Star" on September 11, 2002. The single saw a large slip in Amuro's sales, only shifting 95,000 units by the end of the year. In December 2002, Amuro was part of the musical project Suite Chic, involving several Japanese artists like Verbal, Zeebra, Dabo and DJ Muro. The project released two singles, one studio album and one remix album before dissolution in 2003.

Amuro returned to solo activities in mid-2003, releasing the singles "Shine More", "Put 'Em Up", and the double A-side singles: "So Crazy" and "Come". The single's saw an exploration of westernised musical styles with American producers, including R&B producers Full Force and the work of Austin. "Come" was used for the Japanese anime InuYasha, and is a re-arranged song that was originally recorded by Australian recording artist and TV personality Sophie Monk. At the end of the year, she released her sixth studio album and first album in three years, Style. The album became her lowest chart album on the Oricon Albums Chart, peaking at number four. It is also her lowest selling studio album, shifting only 222,000 units in that region. To promote the studio album, Amuro conducted her So Crazy Tour Featuring Best Singles on November 29. The tour concluded on April 11, 2004. She extended the concert tour, marked as a promotional appearance, in Taiwan, and South Korea. Shortly after the tour, she released the single "All for You" on July 22, 2004, confirming work on her seventh studio album. This was followed by the double A-side single "Girl Talk" and "Girl Talk/The Speed Star", released on October 14, 2004. It was successful in Japan, peaking at number two, and sold over 107,000 units in that region; it became her first top three single in two years. Amuro decided not to appear on 55th Kōhaku Uta Gassen, although she had been invited to perform at the event. She had previously attended the event nine years in a row.

2005–2006: Queen of Hip-Pop and expansion into Asia

In April 2005, Amuro released the single "Want Me, Want Me". The song was a success in Japan, reaching number two on Oricon Singles Chart, and sold over 103,000 units in that region. In May, following a three-year split from Maruyama, Japanese publications reported that she would take back full custody of their child, Haruto. In August, she was granted full custody of Haruto with visitation rights by Maruyama. On May 29, Amuro performed at MTV Video Music Awards Japan for the fourth consecutive year in a row. She won two awards, "Best R&B Video" and "Most Impressive Performing Asian Artist", making her the first artist to win MTV VMAJ awards four years in a row (she won "Inspiration Award" in 2002, "Best Collaboration" in 2003 and "Best R&B Video" in 2004). Amuro released her seventh studio album Queen of Hip-Pop in July 2005. The album includes four singles: "Alarm", "All For You", "Girl Talk/The Speed Star" and "Want Me, Want Me". Queen of Hip-Pop was a success, reaching number two on the Oricon Albums Chart, and sold over 455,000 units in Japan. In collaboration with MGM Studios, Amuro was granted permission to use Pink Panther in the album. A female panther counterpart was created for the album as well. Both panther characters appeared in the music video of "WoWa". In September 2005, Amuro embarked on her Space of Hip-Hop concert tour in Japan. Shortly after the commencement of the tour, she announced that she would contribute to the Japanese theatrical release of the film Sin City (2005). After viewing the movie, Amuro made an offer to the Japanese distribution company to sing its theme song; the company, feeling that her image fit the movie, accepted her offer. The theme song, "Violet Sauce", was later released as part of a double A-side single, "White Light/Violet Sauce", in November 2005. It achieved moderate success in Japan, reaching number seven on the Oricon Singles Chart, and sold over 72,000 units there. The movie's director, Robert Rodriguez, was impressed by the song and asked to be a part of it; he can be heard saying "Welcome to Sin City" towards the end of the song. Shortly after the single, she released Filmography 2001–2005' (2006), a compilation of twelve of her music videos between the years 2001 to 2005. Amuro collaborated with Japanese recording artists Zeebra, Ai, and Mummy-D on Zeebra's album, The New Beginning, released in February 2006, in a song called "Do What U Gotta Do". In May, she released the double A-side single "Can't Sleep, Can't Eat, I'm Sick/Ningyo", which peaked at number two on the Oricon Singles Chart and shifted over 80,000 units in Japan. In August 2006, Amuro conducted her first annual tour Best Tour Live Style 2006, spanning between August and November 2006. Released in February 2007, the Live DVD of the tour was placed on the second position by Oricon. Its total sales exceeded 90,000 units in Japan.

2007–2009: Resurgence of sales, revived popularity, Play, Best Fiction and Past<Future

Amuro released the third single from her upcoming eight studio album, "Baby Don't Cry" on January 24, 2007; it was used as the theme song for the Japanese television series Himitsu no Hanazono. It was successful in Japan, reaching number three on the Oricon Singles Chart, and sold over 144,000 units in that region, her highest selling single since "Say the Word". Based on ringtone sales, it became her first single to shift over one million units since "How to Be a Girl". Alongside this, she achieved the distinction in having a top ten single each year for 13 consecutive years, breaking the solo female artist's record in Japan by Kyōko Koizumi and Shizuka Kudō. At the end of 2007, it ranked at number seven on the RIAJ yearly ringtone sales charts. She then released the fourth and final single, "Funky Town", on April 4, 2007. It achieved moderate success on the Oricon Singles Chart, peaking at number seven, and shifted over 54,000 units. She was also featured on Japanese group, M-Flo's album, Cosmicolor, in a song titled "Luvotomy". Her eighth studio album, Play, was released on June 27, 2007. The album charted atop of the Oricon Albums Chart, becoming Amuro's first number-one album in more than 7 years. To promote the album, Amuro conducted her concert tour in Japan, titled Play Tour 2007, spanning between August 18, 2007, and February 27, 2008. Originally consisting of 53 performances, it increased by 12 performances to 65 performances, making this Amuro's longest spanning tour. On the day when Play Tour 2007 concluded, Amuro released the Live DVD of the tour. It was placed on the second position by Oricon.

In early 2008, Amuro confirmed that she would promote Japanese hair company Vidal Sassoon through their new marketing campaign Fashion x Music x VS, with a new single. The single, though marketed as an extended play, was titled 60s 70s 80s, and consisted of three songs: "New Look", "Rock Steady", and "What A Feeling". The songs feature samples from The Supremes's "Baby Love" (1964), Aretha Franklin's "Rock Steady" (1971) and Irene Cara's "What A Feeling" (1983), respectively. 60s 70s 80s became a huge success in Japan, reaching number one on the Oricon Singles Chart, and sold over 293,000 units in that region, becoming Amuro's first number-one single since "I Have Never Seen" and her highest selling single since "Baby Don't Cry". On March 25, 2008, Amuro was awarded "Best Female Video" for "Hide & Seek" (from the album Play) at Space Shower Music Video Awards. "Hide & Seek" also won the award for "Best R&B Video" at MTV Video Music Awards, which was held at the Saitama Super Arena on May 31. In the same month, Amuro recorded a collaboration with Japanese musician Double in a song called "Black Diamond". Despite lacklustre success on the Oricon Singles Chart, it sold over 500,000 ringtone units. On July 26, Amuro participated at the 2008 A-nation music concert; an estimated 25,000 people attended her performance. This was the first time she was invited to perform in seven years. On July 30, she released her third greatest hits album, Best Fiction. Featuring tracks between 2003 and 2008, Best Fiction sold 681,000 copies in the first week and debuted at number one on the Oricon Albums Chart. Within its third week, Best Fiction sold over one million units, making her the first artist to have one million certified album in three consecutive decades. Best Fiction eventually spent six consecutive weeks at the number-one position, becoming the first album to do so in more than 14 years since the Dreams Come True's 1993 album Magic. By the end of 2008, Best Fiction became the second best-selling album behind Exile's Exile Love. In addition, it became the second best selling digital-format album by a Japanese artist behind Hikaru Utada's Heart Station. Best Fiction was awarded the Album of the Year award at the 50th Japan Record Awards. To promote the album, Amuro conducted her Best Fiction Tour, spanning between October 25, 2008, and July 12, 2009. The Live DVD and Blu-ray of the tour were released on September 9, 2009. Amuro was invited again to the 59th NHK Kōhaku Uta Gassen, but she declined.

On January 20, 2009, Amuro begun working on her ninth studio album, and featured a new track entitled "Dr." through a Vidal Sassoon commercial. She then released the album's lead double A-side singles, "Wild/Dr.," on March 18, 2009. The song was a success, peaking at number one on the Oricon Singles Chart, and sold over 119,000 units in that region. As a result, she also broke her own record of having all of her singles debut in the top 10 (on the Oricon Daily Singles Chart) for the last 15 years. Amuro collaborated with Japanese music group Ravex on a song for their album Trax (2008), entitled "Rock U". On October 1, Vidal Sassoon released new commercials featuring Amuro, and two tracks from her ninth studio album, "My Love" and "Copy That". On December 16, 2009, Amuro released her ninth studio album, Past<Future. The album was a success on the Oricon Albums Chart, reaching number one, and sold over 600,000 units in that region, slightly higher than the sales of Play.

2010–2012: Award at WMA 2010, Checkmate!, Uncontrolled and 20th anniversary commemoration

To promote Past<Future, Amuro travelled throughout 26 cities in Japan to conduct her Past<Future Tour 2010, which began on April 3, 2010, in Ichihara, Chiba and concluded on December 15, 2010, in Nagoya, Aichi. On the day when Past<Future Tour 2010 ended, Amuro released the Live DVD and Blu-ray of the tour, which reached the top spot on the Oricon DVD charts and shifted over 100,000 copies. On May 18, 2010, Amuro won the Best Asian Artist award at World Music Awards in Monte Carlo, Monaco. There, she performed her track "Hide & Seek" from her album Play. Two months later, she released her double A-side single "Break It/Get Myself Back", which performed well on several record charts in Japan. On December 15, 2010, together with the premiere of Live DVD and Blu-ray of Past<Future Tour 2010, the Blu-rays of Space of Hip-Pop, BEST Tour Live Style 2006 and PLAY Tour 2007 were also released.

On April 27, 2011, Amuro published her fifth compilation and second collaboration album Checkmate!, her first musical release of the year. The album featured nine collaborative tracks Amuro had participated in throughout her career and four new recordings: "Wonder Woman", "Make It Happen", "Unusual" and "#1". Checkmate! was a commercial success, reaching the top spot on Oricon and distributed over 500,000 units in Japan. On July 27, Amuro released her first triple A-side single, "Naked/Fight Together/Tempest". Although it reached number two on Oricon Singles Chart, "Fight Together" was used as the theme song of the anime series One Piece. "Naked/Fight Together/Tempest" achieved better sales through digital store and certified double platinum by RIAJ. At the end of July 2011, Amuro conducted her first arena tour Live Style 2011 to promote Checkmate! and some new materials taken from her then-upcoming studio record. "Sit! Stay! Wait! Down!/Love Story" was the next double A-side single from Amuro's upcoming studio album, released on December 7, 2011. While the physical release of the single exceeded 100,000 units in Japan, "Love Story" shifted over 3 million digital copies throughout Japan, becoming one of Amuro's highest-selling singles to date. The single also featured two unreleased tracks: "Higher" and "Arigatou". "Higher" made an appearance on her Live Style 2011, whereas "Arigatou" was made available as a free download on Amuro's official Facebook page. The Live DVD and Blu-ray of the tour were released on December 21, 2011.

The final single, "Go Round/Yeah-Oh!", was released on March 21, 2012, and continued the 100,000 sales streak in Japan. In April, the singer confirmed the release of her 10th studio and first bilingual album Uncontrolled, which premiered on June 27, 2012. The album proved to be commercially successful, reaching the top spot on the Oricon Albums Chart and shifted 500,000 units throughout Japan. Uncontrolled also gave her the highest first-week sales of the year, and her 10th overall number one in the region. On September 16, Amuro was scheduled to host a special concert tour in her hometown Okinawa, commemorating her 20th anniversary in the music business. However, due to typhoon warnings in the region, the tour was cancelled and never rescheduled. After debuting her first digital single "Damage" on October 31, Amuro finished the year by conducting her 5 Major Domes Tour 2012 in Japan, spanning between November 24 and December 21, 2012, attended by around 340,000 people. Released on February 27, 2013, the Live DVD and Blu-ray of the tour were placed on the first position by Oricon. Their total sales exceeded 300,000 units in Japan.

2013–2015: Feel, Ballada and Genic

On March 6, 2013, Amuro released her double A-side single "Big Boys Cry/Beautiful". Although both tracks appeared in the commercials for the make-up brand Kosé, its commercial experience resulted in being the singer's worst-performing single to date, barely shifting 30,000 units in Japan. Amuro returned to sole-digital releases with her single "Contrail", which was used as the theme song for the Tokyo Broadcasting System (TBS) series Flying Public Relations Office, and sold over 250,000 digital copies in Japan. Additionally, two more songs were released on the iTunes Store to promote her then-upcoming album: "Hands on Me" and "Heaven". On July 10, 2013, Amuro released her 11th studio and second bilingual album Feel. This was her first studio release through her own record label Dimension Point, which was operated under Avex Trax. Despite offering the track "Beautiful" as a single, it did not appeal on the final track list of the album. It was commercially successful on the Oricon Albums Chart, debuting at the top spot and was certified platinum by RIAJ. In support of the album, Amuro conducted her FEEL Tour 2013, spanning between August 16 and December 23, 2013. The Live DVD and Blu-ray of the tour were released on February 26, 2014. During the course of Amuro's digital releases, she was offered to feature in the remake of "Waterfalls", a song originally recorded by American girl-group TLC. Amuro—who knew the group during the singer's sessions with producer Dallas Austin, and whose fellow Okinawa Actors School alumni Speed had been huge fans of TLC—accepted the role, and re-recorded the rap segment as a homage to previous member Lisa 'Left Eye' Lopes, who had died in a car accident in La Ceiba, Honduras in 2002. Despite being a Japan-only release, Amuro's version was heavily criticized and caused controversy over the announcement of Amuro's involvement prior to know acknowledgement of Lopes family. However, TLC defended Amuro's involvement due to the fact neither member had commercial rights to use Lopes vocals, and decided to "use creative ways to honor Lisa's memory and celebrate this milestone with the fans".

In 2014, Amuro released her single "Tsuki", including the title track and two previous digital compositions – "Ballerina" and "Neonlight Lipstick". The physical single was successful in sales, while the title song achieved a platinum award by the RIAJ. On June 4, 2014, Amuro released Ballada, her first conceptual greatest hits compilation. 15 tracks were all selected via a fan poll on the singer's website, and a few selection were re-recorded with new vocals and arrangements by Amuro. Additionally, a bonus DVD package included new music videos for her 1990's singles "Sweet 19 Blues" and "Can You Celebrate?", and two newly established videos for "Himawari" and "Four Seasons". It was placed on the first position by Oricon, and shifted under 500,000 units in Japan. In support of the album, Amuro conducted her second nationwide tour Live Style 2014, spanning between August 22 and December 23, 2014. The Live DVD and Blu-ray of the tour were released on February 11, 2015, through her label Dimension Point. In November 2014, Amuro released her first stand-alone single titled "Brighter Day", which featured a total of three different tracks and instrumentals. It was moderately successful on the Oricon Singles Chart, whereas the titular track sold over 250,000 digital copies in Japan. That same month, Amuro collaborated with Taiwanese singer Jolin Tsai on a song titled "I'm Not Yours", which was released as a track on Tsai's album Play (2014). The music video of the song was published on YouTube on February 2, 2015.

On June 10, 2015, Amuro released her 12th studio and third bilingual album Genic. It marked her first record with her own management company Stella88, which she founded after leaving Vision Factory. Despite there being five music videos from the record, the entire collection of tracks were newly recorded and featured no singles. However, it was a commercial success, peaking atop of Oricon Albums Chart and sold 250,000 copies in Japan alone. In collaboration with Google, the music video of "Anything", one of the songs from Genic, was produced as an extension of Google Chrome. To promote the album, Amuro conducted her LIVEGENIC 2015–2016 tour, spanning between September 5, 2015, and February 10, 2016. During the course of her December concert dates, Amuro released her second independent maxi-single "Red Carpet" on December 2, 2015. The B-side track of the single, "Black Make Up", was used as the ending soundtrack of the anime series One Piece. Despite reaching number two on Oricon Singles Chart, the sales of "Red Carpet" slumped and only shifted 36,000 units in Japan, making it one of Amuro's lowest-selling singles to date. The Live DVD and Blu-ray of LIVEGENIC 2015–2016 were released on March 2, 2016.

2016–2018: Return of maxi-single releases, 25th anniversary commemoration, Finally and retirement

On May 18, 2016, Amuro released her third independent maxi-single "Mint", which was used as the theme song of Fuji TV series Bokuno Yabai Tsuma (2016). Despite reaching number four on the region's single chart, the digital sales skyrocketed with the music video of the song, and achieved platinum status months later. The same year in June, Amuro accepted an offer by NHK to record the theme song for the Japanese broadcast of 2016 Summer Olympics and Paralympics in Rio de Janeiro. The single was titled "Hero" and saw a rise in its physical sales, achieving a gold certification by RIAJ. On October 26, 2016, Amuro released two songs "Dear Diary" and "Fighter" as a double A-side single "Dear Diary/Fighter". Both songs were used in Death Note: Light Up the New World, a 2016 movie adaption of the manga of the same name.

Amuro conducted her fourth annual tour Live Style 2016–2017, spanning between August 19, 2016, and May 3, 2017. The tour initially scheduled 88 dates, but due to a higher demand and further promotional activities with singles and the unreleased track "Christmas Wish", Amuro added 13 dates. The Live DVD and Blu-ray of the tour were released on May 3, 2017, and certified gold by RIAJ. On May 31, 2017, Amuro released her single "Just You and I", which sold over 100,000 digital units according to RIAJ. The following month, Amuro announced her 25th anniversary concert in her hometown Okinawa, which redeemed her cancelled 20th anniversary concert on September 16, 2012, due to typhoon warnings in the region. She opened the show on September 16 and 17, with 52,000 attenders totally (26,000 attenders each day), resulting in being one of the largest for a Japanese concert. Additionally, Amuro announced her third-time collaboration with One Piece. The anime's theme song, "Hope", premiered on October 1, 2017.

On September 20, 2017, Amuro's 40th birthday, she announced her plan to retire from the music industry on September 16, 2018. Her final compilation album, Finally, was released on November 8, 2017. The album includes new recordings and re-recordings of her selected singles from 1992 to 2017. Finally became a huge success in Japan – it was placed on the first position by Oricon and sold in 2,250,000 units by the end of 2017. In support of the album, Amuro conducted Final Tour 2018 ~Finally~ as her farewell tour, spanning between February 17 and June 3, 2018. The tour took place in Nagoya Dome, Fukuoka Dome, Sapporo Dome, Osaka Dome and Tokyo Dome. During this tour, Amuro conducted another tour, named Final Tour 2018 ~Finally~ In Asia, to perform in China, Hong Kong and Taiwan. Taking place in Shenzhen Bay Sports Center, Hong Kong Coliseum and Taipei Arena, Final Tour 2018 ~Finally~ In Asia began on March 17 and concluded on May 20, 2018.

On May 23, 2018, Amuro was awarded "Okinawa's National Honor Award" at Okinawa Prefecture Government Office in Naha. By August 21, the total number of pre-ordered Live DVD and Blu-ray of Final Tour 2018 (the concerts in Japan only) exceeded 1 million units in Japan. On August 25, One Piece featured the anime version of Amuro at the end of one of its episodes to bid a farewell to her. The Live DVD and Blu-ray of Final Tour 2018 (the concerts in Japan only) were released on August 29, 2018. On September 15, Amuro made her final appearance as an entertainer at the "We ♥ Namie Hanabi Show: I ♥ Okinawa / I ♥ Music" at the Okinawa Convention Center, a commemoration of Amuro's career and other cultural and musical aspects in Okinawa. She officially retired from the entertainment industry on September 16, 2018. On September 30, 2018, her official website, official fanclub, official Facebook page, and official online store officially terminated service. On June 16, 2019, Amuro released her entire music collection onto the iTunes store (most of which was previously restricted to Japan), through her label Dimension Point. Her records published by her own label were also released through Apple Music, Apple's streaming service, on the same day.

Artistry

Amuro has a mezzo-soprano vocal range. During the early stages of her singing career, she was noted for her limited vocal capabilities, and was criticized for constantly relying on production values to overlap these flaws. For example, her first two studio albums, Sweet 19 Blues and Concentration 20, were examined by Ted Mills at AllMusic, and labelled her voice very "limited" and occasionally sung "higher than she can manage". By 2000, the English language started to heavily mix in with her music, starting with Genius 2000. In several tracks, Amuro would record her vocals in Japanese (and additionally in English), whereas back-up vocalists would provide English translations and marry the two together. By Play, the singer would start to record tracks with less electronic synths and beats, particularly with the album track "Baby Don't Cry". According to Mills, he felt that the song focused more on her vocals than the production. Her final three studio albums, Uncontrolled, Feel and Genic, had multiple full-length English tracks and, although it received positive remarks for experimentation, she was frequently lambasted for her incomprehensible deliveries in most songs.

Throughout her career, Amuro has covered a wide range of musical styles and genres. Her music through the 1990s were influenced by eurobeat and the rise of J-pop music. Additionally, she identifies Madonna and Janet Jackson as her inspirations, despite constant comparisons with sound and imagery by critics and publications alike. Sweet 19 Blues stuck with J-pop elements, but she began to experiment with Western genres such as R&B, jungle, acid house, house and jazz. From Genius 2000, she worked with American producer Dallas Austin, resulting in a fully adapted hip hop record with elements of J-pop. She carried this sound on with Style (2003), another record produced by Austin, and eventually onto Queen of Hip-Pop (2005). Amuro's transition from J-pop to "more mature, transatlantic" R&B was noted by critics, and the aforementioned title "Queen of Hip-Pop" was used by the Japanese media to identify her (the term "Hip-Pop" is Amuro's combination of hip-hop and pop).

In 2007, Amuro released Play, which was highlighted as one of her key re-inventions of her entire career. Sonically, the record relied on R&B and hip hop elements, but started to involve contemporary dance-pop music. To an extent, Tills from AllMusic compared the effort to the works of Jennifer Lopez and En Vogue. Uncontrolled (2012) saw yet another transition with her sound, leaving R&B and focusing on electronic dance music. Additionally, this saw her first experimentation with full-length English language tracks. Unlike her previous records, Uncontrolled ventured into Western practitioners to helm the collection, including the likes of The Nervo Twins, Henrik Nordenback, Christian Fast and Peter Mansson. This trend also moved onto her follow-up album Feel, where she worked with artists such as Hook n Sling, Dsign Music and Zedd. Her final studio album, Genic (2015), was her first record not handled by Japanese producers, and her second record to include almost all tracks entirely in English (after her 2013 album Feel).

Legacy

Ever since her debut, Amuro has been classified as one of Japan's most prominent and successful singers. In an opined article published by The Japan Times, writer Ian Martin encompassed the singer alongside superlatives Yumi Matsutoya, Hikaru Utada, Seiko Matsuda and Hibari Misora as the leading female figures in Japanese music history. Although Martin identified Utada as one of the "only contemporaries" to break the Western society, he felt Amuro was her "most immediate predecessor," based solely on the fact that "[Amuro] represented a period when Japanese pop was learning to see itself as something that could stand alongside the Western music from which it took many cues." Additionally, Amuro's career has been constantly compared to the likes of Matsuda's, both whom grew up in the idol routine and having achieved commercial resilience ever since; music author Motti Regev regarded the musicians as part of the "golden age of J-Pop", before records declined due to the rise of the digital market in the mid-2000s. Because of her longevity and the numerous musical and imagery re-inventions, numerous publications have referred her as the "Queen of Japanese Pop" and the Japanese equivalent to American singers Janet Jackson and Madonna.

Throughout her years active as a singer, Amuro has sold more than 36 million records in Japan according to Oricon. According to a report by Entertainment Weekly announcing her retirement, she has sold more albums in Japan than Lady Gaga, Katy Perry or Kesha have in the United States combined. As of 2017, this makes her the fifth highest-selling female act, and fourth best-selling female solo act overall, just behind Yumi Matsutoya, Ayumi Hamasaki, Hikaru Utada, and Japanese all-girl idol group AKB48 (see total list here). Additionally, Amuro was ranked the 12th best-selling digital artist according to Japanese digital site Recochoku. The singer has achieved nine number-one studio albums with an additional five compilation/collaborative inclusions, and 10 number-one singles. She is one of the only female solo artists to achieve the most accumulations of million-certified physical singles, with a total of five ("Chase the Chance", "Don't Wanna Cry", "You're My Sunshine", "A Walk in the Park" and "Can You Celebrate?" – see her discography for more). "Can You Celebrate?" still remains the best-selling physical release by a female singer—with estimate sales of 2.750 million copies sold in Japan alone. For a brief period in 1996, her second studio album Sweet 19 Blues was the best-selling album in Japanese music history. Additionally, she held the record for the highest-opening sales for a female or solo artist until it was challenged by Hikaru Utada's 1999 studio album First Love, which to this day stands as the best-selling album in Japan.

With her sudden rise to stardom, Amuro was noted by journalists and commentators as a trendsetter to the Japan and across Asia. She eventually became the most prominent figure in fashion magazines and the general press for changing the typical Japanese idol image and styles of women in Japan, in favour of "dyeing their hair brown, plucking their eyebrows... thick-soled/long boots, a miniskirt, tanned-skin and tattoos". This made her a fashion icon, and created a phenomenon fan base known as Amuraa in the 1990s, with many young girls and women looked up to her fashion, hairstyle and makeup. Additionally, her fashions also paved the ways for a Japanese fashion culture, kogal , and fashion trends known as gyaru,  a Japanese transliteration of gal. Anthropologist Hiroshi Aoyagi said in 2003 that Amuro changed the stereotypical idol culture. Writer Marwan Kraidy described Amuro in 2005 as part of "Japan's rising cultural power" towards the world. Nichi-Bei Josei Jānaru, writing for the U.S.-Japan Women's Journal, believed the success of Sweet 19 Blues was the reason many people emulated her as a role model between 1996 and 1997.

Discography

Dance Tracks Vol. 1 (1995)
Sweet 19 Blues (1996)
Concentration 20 (1997)
Genius 2000 (2000)
Break The Rules (2000)
Style (2003)
Queen of Hip-Pop (2005)
Play (2007)
Past<Future (2009)
Uncontrolled (2012)
Feel (2013)
Genic (2015)

Filmography

Concert tours
 March 23 – May 18, 1997: Namie Amuro Tour 1997 A Walk In The Park
 July 26 – August 13, 1997: Mistio presents Namie Amuro Summer Stage 97 Concentration 20
 March 20 – May 7, 2000: Namie Amuro Tour GENIUS 2000
 March 18 – May 27, 2001: Namie Amuro Tour 2001 Break The Rules
 October 17 – November 10, 2001: Namie Amuro Tour "AmR" 01
 November 29, 2003 – April 11, 2004: Namie Amuro So Crazy Tour featuring Best Singles 2003–2004
 May 1–2, 2004: Namie Amuro So Crazy in Taipei
 May 13–15, 2004: Namie Amuro So Crazy Tour in Seoul 2004
 August 27 – September 20, 2004: Namie Amuro Tour "Fan Space 04"
 September 1 – December 24, 2005: Space of Hip-Pop: Namie Amuro Tour 2005
 August 13 – November 23, 2006: Namie Amuro BEST Tour LIVE STYLE 2006
 August 18 – December 25, 2007: Namie Amuro PLAY Tour 2007
 January 26 – February 27, 2008: Namie Amuro PLAY MORE!!
 April 12–13, 2008: Namie Amuro PLAY MORE!! in Taipei
 October 25, 2008 – July 12, 2009: Namie Amuro Best Fiction Tour 2008–2009
 April 3 – December 15, 2010: Namie Amuro Past<Future Tour 2010
 July 30 - December 27, 2011: Namie Amuro LIVE STYLE 2011
 November 24 - December 21, 2012: Namie Amuro 5 Major Domes Tour 2012 ~20th Anniversary Best~
 February 23 - March 16, 2013: Namie Amuro ASIA Tour 2013
 August 16 - December 23, 2013: Namie Amuro FEEL Tour 2013
 August 22 – December 23, 2014: Namie Amuro LIVE STYLE 2014
 September 5, 2015 – March 26, 2016: Namie Amuro LIVEGENIC 2015–2016
 August 19, 2016 – May 3, 2017: Namie Amuro LIVE STYLE 2016–2017
 September 16–17, 2017: Namie Amuro 25th Anniversary in Okinawa
 February 17 – June 3, 2018: Namie Amuro FINAL Tour 2018 ~Finally~
 March 17 – May 20, 2018: Namie Amuro FINAL Tour 2018 ~Finally~ in ASIA'

Awards

Video games
Digital Dance Mix Vol. 1 Amuro Namie (1997, Sega Saturn)

See also
J-pop
Japanese popular culture
Honorific nicknames in popular music
List of best-selling music artists in Japan
List of best-selling singles in Japan
List of best-selling albums in Japan
Japan Record Awards
MTV Video Music Awards Japan
Billboard Japan Music Awards

References

Further reading

External links

Namie Amuro Official Site

1977 births
Living people
Actors from Okinawa Prefecture
Avex Trax artists
English-language singers from Japan
Japanese dancers
Japanese female dancers
Japanese idols
Japanese mezzo-sopranos
Japanese people of Italian descent
Japanese rhythm and blues singers
Japanese synth-pop singers
Japanese women in electronic music
Japanese women pop singers
Ryukyuan people
Singers from Naha
Universal Music Japan artists
20th-century Japanese actresses
21st-century Japanese actresses
20th-century Japanese singers
21st-century Japanese singers
20th-century Japanese women singers
21st-century Japanese women singers

Namie Amuro


Patronyme

 Eduardo Anguita (1914-1992), poète chilien ;
 Eleuterio Anguita (1969-), coureur cycliste espagnol ;
 Julio Anguita (1941-2020), homme politique espagnol ;
 Manuel Anguita (1991-), coureur de fond espagnol.

Toponyme

 Anguita, commune de Castille-La Manche, en Espagne.

Divers
 (9560) Anguita, un astéroïde

Patronyme hispanique

Anguita (homonymie)


An Gahnia aspera in uska species han Liliopsida nga syahan ginhulagway ni Robert Brown, ngan ginhatag han pagkayana nga asya nga ngaran ni Spreng.. An Gahnia aspera in nahilalakip ha genus nga Gahnia, ngan familia nga Cyperaceae.

Subspecies

Ini nga species ginbahin ha masunod nga subspecies:

 G. a. aspera
 G. a. globosa

Mga kasarigan

Mga sumpay ha gawas

Gahnia

Gahnia aspera


Warm River can refer to:

 Warm River, Idaho
 Warm River (story) - short story by Erskine Caldwell, included in We Are the Living (1933)

Warm River


An Olyra micrantha in uska species han Liliopsida nga ginhulagway ni Carl Sigismund Kunth. An Olyra micrantha in nahilalakip ha genus nga Olyra, ngan familia nga Poaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Olyra (Poaceae)

Olyra micrantha


Matična rešetka ili Hanemanova rešetka je dopunski dio (element) uz košnicu. Služi da se u određenom razdoblju matica u plodišnom nastavku (plodištu)
drži zatvorena. Kroz matičnu rešetku prolaze pčele radilice, a ne mogu matica i trutovi. Matična rešetka mora imati okvir u koji je ugrađena a na prednjoj strani okvira ima otvor (leto) da pčele sakupljačke (radilice) izlaze iz medišnih nastavaka (medišta), a da se ne vraćaju ponovo kroz rešetku i cijelo plodište.

Matična rešetka je metalna ili plastična pregrada između plodišta i medišta radi osiguravanja da matica ne raširi leglo na medišne okvire. Izrađuju se od žica, limova ili plastične folije koja se stavlja na satonoše (LR košnice) ili u pregradnu dasku (AŽ košnice). Kroz matičnu rešetku mogu proći radilice, a ne mogu trutovi i matica. Širina otvora u foliji ili mreži je od 4,14 do 4,38 milimetara. Postoje i takozvane trutovske rešetke koje omogućuju prolaz matici i radilicama, a ograničavaju prolaz trutovima.

Objašnjenje
Matična rešetka je poznata kao dopunski dio košnice ali koji nije baš obavezan. Ta njena neobaveznost čini je u praksi prihvatljivom, ali vrlo često i neprihvatljivom. Razlozi za upotrebu matične rešetke su brojni ali isto toliko pčelara ima razloge i da je ne prihvati. I u jednom i u drugom slučaju može se govoriti da su razlozi uglavnom opravdani. Da bi se uopće mogla razmatrati svrsishodnost upotrebe matične rešetke prvenstveno je prije svega imati postavljene tehnološke ciljeve koji se žele ostvariti u pojedinim procesima pčelarske proizvodnje. Ako se, na primjer radi o tehnologiji odgajanja matičnjaka ili proizvodnji matične mliječi u košnicama s prisustvom matice, matična rešetka svakako mora biti obavezan dio košnice.

Kada se radi o pčelarenju na med u uslovima tihih livadskih i drugih paša, gdje se dnevni unos kreće oko 1 kilogram, tada je upotreba matične rešetke veoma značajna. Ako matica u tim uslovima nije ograničena na manji prostor, leglo će se u košnici neograničeno širiti tako da za pčelara praktično meda neće ni ostati. Jasno je da bi ovakav unos nektara povoljno djelovao na razvoj legla a samim tim i na nepotrebno umnožavanje pčelinje zajednice osim ako nije u planu neka kasnija paša jačeg prinosa kojom bi bili zamijenjeni prinosi koji bi se ostvarili na toj tihoj paši.

Osnovna uloga matične rešetke je da ograniči plodište za razvoj legla, odnosno da onemogući matici polaganje jaja u okvirima medišta. Time se čuva čistoća i prirodna boja meda i neugrožava kasnije čuvanje saća od napada voskovog moljca. Poznato je da voskov moljac uglavnom ne napada djevičansko saće, već samo saće u kojem je već bilo leglo.

Neki pčelari pokušavaju da s manjim brojem okvira u medištu dobiju saće s dubljim ćelijama u kojima matica po pravilu ne zaliježe, ali se time stvara drugi problem. Naime, med u takvom saću veoma teško sazrijeva i po pravilu iako je poklopljen ostaje rjeđi, odnosno s većim postotkom vlažnosti od meda iz normalnih ćelija.

Postoje dva osnovna standardna tipa matičnih rešetki i to jedan s okvirom koji ima mjere vanjskih mjera košnice i neuokvirene koje se postavljaju na unutarnje okvire, odnosno imaju unutarnje mjere košnice. Kod ovih posljednjih se propustljivost pčela iz plodišta u medište bitno smanjuje jer matična rešetka velikom površinom praktično naliježe na okvire. Veliki dio preostalih otvora pčele zatvore voskom i tako kretanje pčela kroz matičnu rešetku postaje još sporije što na jakim pašama dovodi do velike blokade plodišta, zastoja u razvoju legla a samim tim i stvaranja uslova za pojavu rojevog nagona.

Uokvirene matične rešetke povećavaju razmak između plodišnih i medišnih okvira, a poznato je da svaki razmak veći od 7 milimetara pčele nadograduju zapercima u želji da ostvare vezu između plodišta i medišta. Ovi zaperci takođe utiču na smanjenje prostora za kretanje pčela ali ipak u mnogo manjoj mjeri nego što je to slučaj kod rešetki koje se nalaze direktno na unutarnjim okvirima. Uokvirene rešetke mogu biti izrađene s letom ili bez leta. Tehnološki gledano matične rešetke s letom su korisnije iz razloga što kroz njega pčele mogu direktno djelovati s prirodom bez provlačenja kroz matičnu rešetku, ali i zbog mogućnosti izlijetanja trutova ako na medištima nemamo pomoćna leta. Uvažavajući sve iznešene činjenice logično je da ćemo se odlučiti za nabavu uokvirenih matičnih rešetki s letom ali prije toga je potrebno još jednom sagledati pozitivne i negativne posljedice pčelarenja s ili bez matične rešetke, naravno na jakim snažnim pašama jer se može zaključiti da je na tihim pašama matična rešetka neophodna.

Izvori

Pčelarstvo

Matična rešetka


Garry John Orriss (* 7. Oktober 1967 in Sydney) ist ein britisch-australischer Maler und Fotograf. Er lebt und arbeitet im Berliner Ortsteil Prenzlauer Berg.

Leben
Garry Orriss hat deutsche, französische und irische Vorfahren und wurde im Kindesalter von einem australischen Paar britischer Herkunft angenommen.

In Sydney studierte er von 1985 bis 1988 an der Meadowbank School of Fine Art (Abschluss: Art Certificate) sowie am City Art Institute.

Nachdem er von seiner Adoption erfuhr, reiste er in den Jahren 1990 bis 1995 mit einem Fahrrad durch 45 Länder zum Geburtsort seines Adoptiv-Vaters nach Oxford. Später traf er seine leibliche deutsche Mutter, eine bei Heilbronn lebende Künstlerin und Fotografin.

Seine Eindrücke hielt er in Skizzentagebüchern fest, Zeichnungen wurden in einigen Ausstellungen veröffentlicht.

Garry Orriss ging 1999 für kurze Zeit nach China und war dort für mehrere Unternehmen tätig, unter anderem für Hotel Kempinski.

Bekannt wurde er vor allem durch seine kontrastreichen Bilder von Paaren die kulturelle, soziale, politische oder religiöse Tabus durchbrechen.

Ausstellungen
 1987 Skizzen auf Papier, The Wendy Smith Gallery, Bundanoon Australien
 1988 Recent Paintings, Atelier des Künstlers, Bundanoon Australien
 1989 City Scapes and Recent Paintings, Atelier des Künstlers, Sydney, Australien,
 1989 Sacred Ceremonies and Images from Papua Neu Guinea, Mosman Town Hall, Sydney, Australien
 1990 Works on Paper, Atelier des Künstlers, Bundanoon, Australien
 1991 Zeichnungen auf Papier, The Old Brewery Gallery, Goulburn Australien
 1991 Ölbilder und Aquarelle, Atelier des Künstlers, Bundanoon Australien
 1999 Past and Present, Sonderausstellung im Carl Zeiss Planetarium, Berlin
 1999 Arbeiten auf Papier, Kempinski Hotel, Beijing, China
 2002 Große Skizzen und andere Arbeiten auf Papier, Atelier des Künstlers, Berlin
 2007 Sonderausstellung im Berliner Atelier des Künstlers, eröffnet vom australischen Botschafter in Deutschland (Ian Kemish)
 2007 Radierungen und Arbeiten auf Papier, Galerie z ruky, Tschechien

Preise und Auszeichnungen
 1987 Australien National Student – Kunstpreis (1. Preis), Bathurst, Australien
 1988 Bicentennial Royal Easter Show Drawing Prize (2. Preis), Sydney Stadium, Australien.
 1989 The Bowral Photo Art Prize (1. Preis), Bowral, Australien
 1991 Berrima District Art Prize, Young Peoples Arts prize (1. Preis), Bowral, Australien

Installationen und Performances
 1986 Party out of bounds (Projekt: verpacktes Haus), Bundanoon, Australien.
 1990 The Burning – The burning of all the artists artworks, Bundanoon, Australien
 1992 Monropo, Entropy and Atrophy (Sea-Side Installation), The Mon Repos Nationalpark, Bargara Beach, Australien
 1993 The Clever Country (Highway installation), Marlborough-Serina Road, Australien

Weblinks
 Bilder des Künstlers bei GoArt
 Artikel in Berliner Zeitung
 Artikel Vorwärts zu den Wurzeln bei Spree Babe

Maler (Australien)
Maler (Deutschland)
Bildender Künstler (Berlin)
Brite
Australier
Geboren 1967
Mann

Garry John Orriss


Ludmila Guzun ( - ) est une femme politique moldave, députée du Parlement moldave pour le district d'Ungheni.

Député au Parlement
Elle est élue au Parlement moldave le 24 février 2019, en tant que représentante du Parti démocrate de Moldavie.

Décès
Le 7 avril 2021, elle est testée positive à la COVID-19 et est hospitalisée en soins intensifs. Elle décède des suites de complications liées à cette maladie à 03h00 le 16 avril 2021.

Références

Décès en avril 2021
Naissance en juin 1961
Mort de la maladie à coronavirus 2019 en Moldavie
Femme politique moldave
Décès à 59 ans

Ludmila Guzun


Departamentul  Apărării ( DoD, USDOD, sau DOD) este un departament executiv guvernamental federal al Statelor Unite, însărcinat cu coordonarea și supravegherea tuturor agențiilor și funcțiile guvernului ocupate direct cu securitatea națională și cu Forțele armate ale Statelor Unite. Departamentul este, de asemenea, cel mai mare angajator din lume, cu mai mult de 2.130.000 militari în serviciu, bărbați  și femei precum și personalul de lucrători civili de sprijin al lor. Sunt de adăugat la total, peste 1,1 milioane oameni ai Gărzii Naționale și rezerviștii din cele patru arme componente, ridicând astfel numărul total la peste 3,2 milioane de angajați. Departamentul are cartierul general la Pentagon, în Arlington, Virginia, puțin în afara Washington DC.

Note de completare

Note bibliografice

Departamentul Apărării al Statelor Unite ale Americii


සිංහල භාෂාවෙන් ජා මිනිසුන් ලෙස හදුන්වන ශ්‍රී ලාංකික මැලේවරු යනු,  අග්නිදිග ආසියාවේ සම්භුත ප්‍රජාවකි. ශ්‍රී ලංකාවේ සමස්ත ජනගහනයෙන් 40,000 වන අතර එය ප්‍රතිශතයෙන් 0.20% පමණ වේ. ලන්දේසි යටත්විජිත යුගයේදී මැලේ ප්‍රජාව ලංකාවට පැමිණි අතර බ්‍රිතාන්‍ය අධිරාජ්‍ය යුගයේදී  (1796–1948) හමුදා සේවාව සදහා ඉන්දුනීසියානු අර්ධද්වීපයෙන් බොහෝ පිරිසක් පැමිණියහ.

සැලකිය යුතු ප්‍රජාවක් ශ්‍රිලංකාව තුල 13 වන සියවස පෙර සිටම සිටි බව සාධක ඇත. 1247 දී යාපනය අල්ලා ගැනීම සදහා මෙහෙයවූ රජකු වන චන්ද්‍රභාහු ශ්‍රීධර්මරාජ මැලේ ජාතිකයෙකු වේ .

ආශ්‍රිත

ශ්‍රී ලාංකික මැලේවරු


Nikola Kalinić (født 5. januar 1988 i Solin, Jugoslavien), er en kroatisk fodboldspiller (angriber). Han spiller for AC Milan i Italien.

Klubkarriere
Kalinić startede sin karriere i hjemlandet hos Hajduk Split, hvor han frem til 2009 scorede 32 mål i 59 ligakampe. Herefter blev han solgt til den engelske Premier League-klub Blackburn Rovers. Her formåede han dog aldrig for alvor at slå igennem, og han forlod klubben igen to år efter.

I sommeren 2011 skiftede Kalinić til ukrainske FC Dnipro. Her var han med til at vinde sølv i den ukrainske liga i 2014 samt nå finalen i UEFA Europa League året efter. Klubben solgte ham til italienske Fiorentina i sommeren 2015.

Efter to år i Fiorentina valgte Firenze-klubben i sommeren 2017 at leje Kalinić ud til ligarivalerne AC Milan. En del af udlejningen var en købsforpligtelse fra Milans side på Kalinić.

Landshold
Kalinić debuterede for det kroatiske landshold 24. maj 2008 i en venskabskamp mod Moldova. Han har siden da repræsenteret Kroatien ved adskillige store slutrunder.

Referencer

Eksterne henvisninger

Fodboldspillere fra Kroatien
Fodboldspillere fra FC Dnepro
Fodboldspillere fra Hajduk Split
Fodboldspillere fra Blackburn Rovers F.C.
Fodboldspillere fra ACF Fiorentina
Fodboldspillere fra AC Milan
Deltagere ved det europæiske mesterskab i fodbold 2008
Deltagere ved det europæiske mesterskab i fodbold 2012
Deltagere ved det europæiske mesterskab i fodbold 2016
Deltagere ved verdensmesterskabet i fodbold 2018

Nikola Kalinić


A Copa FGF de 2023 ou Troféu Rei Pelé é a décima nona edição do torneio realizado pela Federação Gaúcha de Futebol. O nome da competição homenageia o ex-jogador Pelé, falecido em 29 de dezembro de 2022. O campeão dessa competição assegurará uma vaga para a Copa do Brasil de 2024, além de disputar a Recopa Gaúcha de 2024 com o Grêmio, campeão do Campeonato Gaúcho de Futebol de 2023 - Série A.

Participantes

Fase de Grupos

Grupo A

Grupo B

Grupo C

Fase final
Em itálico, os clubes que jogarão como mandante no jogo da volta por possuírem a melhor campanha. Em negrito, os classificados.

2023
Futebol de 2023 no Rio Grande do Sul

Copa FGF de 2023


est un magazine de jeux vidéo japonais publié par Enterbrain et spécialisé dans les jeux d'arcade.

Le magazine Arcadia est lancé en , il succède au mensuel Gamest, qui a cessé de paraître à la suite de la faillite de l'éditeur Shinseisha la même année. L'équipe d'Arcadia est à l'origine composée de membres qui ont auparavant travaillé pour Gamest, magazine disparu en 1999 et Neo Geo Freak. Le magazine est publié de manière irrégulière jusqu'au troisième volume puis est publié en tant que magazine mensuel sous le titre de Arcadia Monthly à partir du numéro de . Le magazine se renouvèle avec le numéro de  paru en . Le numéro de  (paru en ) fête les 10 ans du magazine, pour cette occasion, Arcadia se renouvèle une seconde fois, la couverture et le papier sont repensés. Après le numéro du , le magazine passe d'une publication mensuelle à bimestrielle. Arcadia publie sa dernière presse en  le  et aura totalisé 168 numéros.

Références

Presse mensuelle au Japon
Magazine japonais de jeu vidéo

Monthly Arcadia


Yardley may refer to:

People

Surname
Bruce Yardley (1947–2019), Australian cricketer
David Yardley (1929–2014), British legal scholar and public servant
Doyle Yardley (1913–1946), American military officer
Eric Yardley (born 1990), American professional baseball pitcher
George Yardley (1928–2004), American basketball player
George Yardley (footballer) (1942–2018), Scottish footballer
Herbert Yardley (1889–1958), American cryptologist
Jane Yardley, English 20th-century author
Jim Yardley (born 1964), American journalist working in Rome
Jim Yardley (cricketer) (1946–2010), English first-class cricketer
Jimmy Yardley (1903–1959), Scottish professional footballer
John F. Yardley (1925–2001), American engineer
John H. Yardley, M.D. (born 1926), American pathologist
Jonathan Yardley (born 1939), book critic (Washington Post and Washington Star)
Lucy Yardley CPsychol FBPsS (born 1961), British psychologist and professor of health psychology
Malcolm Yardley (1940–2020), British sprinter
Mark Yardley (born 1969), Scottish professional footballer
Norman Yardley (1915–1989), English cricketer
Ralph O. Yardley (1878–1961), American cartoonist
Richard Q. Yardley (1903–1979), American editorial cartoonist
Robert Blake Yardley (1858–1943), British Barrister and philatelist
Robert Morris Yardley (1850–1902), Republican politician from Pennsylvania
Stephen Yardley (born 1942), English actor
Tracy Yardley (born 1979), American comic book artist
William F. Yardley (1844–1924), American attorney, politician and civil rights advocate
William Yardley (1632–1693), early settler of Bucks County, Pennsylvania
William Yardley (cricketer) (1849–1900), English cricketer

Given name
Yardley Chittick (1900–2008), for several years the oldest living patent attorney in the US
Marissa Yardley Clifford, British-American visual artist and writer based in Los Angeles
Yardley Griffin (born 1979), American gospel musician, recording artist, worship leader
Dame Kathleen Yardley Lonsdale (1903–1971), Irish pacifist, prison reformer and crystallographer
Athol Yardley Meyer (1940–1998), Australian journalist and politician
Patrick Nicholas Yardley Monrad Sanders (born 1966), senior British Army officer
Yardley Taylor (1794–1868), Quaker living in Goose Creek, Loudoun County, Virginia
Charles Yardley Turner (1850–1919), American painter, illustrator, muralist and teacher
Charles Yardley Weaver (1884–1930), Canadian politician, barrister, justice of the peace and soldier

Places
Yardley, Pennsylvania, United States
Yardley, a province of the former West Indies Federation
Yardley, Birmingham, an area of Birmingham city, UK
Birmingham Yardley (UK Parliament constituency)
South Yardley, electoral ward in Birmingham, England
Yardley Chase, 357.6 hectare biological Site of Special Scientific Interest, mostly in Northamptonshire, England
Yardley Court, school in Tonbridge, Kent, England
Yardley Gobion, village in Northamptonshire, England
Yardley Hastings, village in Northamptonshire, England
Yardley station, SEPTA Regional Rail station in Yardley, Pennsylvania
Yardley Wood, area of Birmingham, United Kingdom
Yardley-Wilburtha Bridge across the Delaware River

Business
E.S. Yardley & Co., known as Smith and Yardley, a firm of railway signalling and signal box contractors in Manchester, England
Yardley of London, a British personal care company

See also
Ardley (disambiguation)
Yardy
Yarly
Yeardley

English toponymic surnames

Yardley


An Aponogeton viridis in uska species han Liliopsida nga ginhulagway ni Henri Lucien Jumelle. An Aponogeton viridis in nahilalakip ha genus nga Aponogeton, ngan familia nga Aponogetonaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Aponogeton

Aponogeton viridis


, dite « al-Haririyya » ou « al-Haruriyya », morte en  à Koufa, est l'épouse de Shabib ibn Yazid al-Shaybani, chef de la rébellion kharidjite de 695. Elle est regardée a posteriori comme l'une des premières imames avec Oumm Waraka, compagnonne de Mahomet.

Éléments biographiques
Les informations sur Ghazala ne viennent que des sources sunnites, qui contiennent des éléments anti-kharidjites car considérés comme hérétiques. Les propos sur Ghazala sont parfois contradictoires d'un ouvrage à un autre, mais Ghazala est admirée pour son courage et ses talents à cheval, ainsi que son ascétisme et sa piété.

Selon les sunnites, les kharidjites ont une vision égalitaire de la chefferie : une personne peut être cheffe ou imame tant qu'elle est pieuse et juste, peu importe son origine sociale, tribale ou son genre. Selon ces mêmes sources, le djihad était un pilier de l'islam pour les hommes et les femmes, qui allaient à la bataille comme certaines femmes du temps de Mahomet.

Relation avec Shabib ibn Yazid
L'historien Khalifa ibn Khayyat (mort en ) rapporte que Ghazala entre à Koufa avec Shabib ibn Yazid, mais ne précise pas leur relation. C'est l'historien abbasside irakien al-Jahiz (m. ), qui indique que Ghazala était mariée à Salih ibn Musarrih, commandant kharidjite ; lors que Shabib lui succède, ce dernier aurait « hérité » de Ghazala. Il pourrait d'agir d'une pratique pré-islamique  d'attribuer des femmes par héritage, ce qui est condamné par le Coran (IV, 19).

L'acharite Ibn Tahir al-Baghdadi (m. ) affirme pour sa part que Salih a permis l'imamat à une femme anonyme, qui participait aux batailles. Après ces précisions, al-Baghdadi indique que Ghazala était la mère et Jahziya l'épouse de Shabib.

Prière dans la grande mosquée de Koufa
Selon Ibn Khayyat, Ghazala est montée sur le minbar et a récité le wird, une prière privée surérogatoire qui se concentre sur la récitation du Coran, à la suite d'un vœu fait.

Dans sa Chronique, le lettré musulman Tabari (m. ) raconte que Ghazala avait fait le vœu de réciter deux unités de prières dans la grande mosquée de Koufa, si sont mari parvenait à conquérir la ville aux Omeyyades. Il réussit, et Ghazala dirigea la prière et récita les sourates de La Vache et La Famille d'Imrân, les plus longues du Coran. Cette prière permet aux kharidjites d'affirmer leur contrôle spirituel, et la récitation de ces deux sourates en particulier montre la mémorisation du Coran par Ghazala, un trait associé au chef idéal dans l'islam.

Selon Ibn A'tham al-Kufi (m. début du ) toutefois, c'est Shabib qui récite les deux sourates, mettant sa mère al-Jahizah et son épouse Ghazala sur le minbar. Al-Baghdadi rapporte un événement similaire, mais toujours en inversant le lien des deux femmes avec Shabib.

Al-Masudi (m. ), qui salue le courage et les compétences guerrières de Ghazala, donne comme détails que, lorsqu'elle récitait le Coran, soixante-dix hommes entrèrent dans la mosquée pour une prière spontanée (ghada), où un imam n'est pas obligatoire.

Mort
Le gouverneur de Koufa, al-Hajjaj ben Yusef, envoie des troupes dans cette ville pour la contrôler de nouveau ; Ghazala est tuée durant l'attaque. Le cavalier assassin ramène sa tête à al-Hajjaj comme trophée de guerre, mais Shabib ibn Yazid l'arrête en chemin. Reconnaissant la tête de son épouse, le général ordonne à un kharidjite nommé Alwan de tuer le cavalier, puis Shabib enterre la tête de Ghazala en disant : . Khalid ibn Attab l'aurait assassinée, Tabari affirme qu'il s'agit plutôt de Farwah ibn al-Daffan al-Kalbi.

Perception de son imamat

Prétendante illégitime
L'hérésiologue koufite Al-Malati (m. ) ne mentionne pas de récitation de sourates, mais rapporte que l'épouse de Shabib est montée au minbar et qu'elle fit un sermon dans lequel elle maudit al-Hajjaj et ses gens. Le fait que Ghazala monte au minbar est important car la chaire est un lieu d'autorité religieuse et politique. L'historicité de cet événement est contestable, Koufa était connue pour ses juristes-théologiens n'aimant pas les femmes dans les mosquées, et al-Malati a plusieurs fois inventé des pratiques aux kharidjites qui pouvaient être jugées hérétiques ou extrêmes pour les sunnites.

Selon al-Baghdadi, après la mort de son « fils » Shabib, Ghazala est élevée à l'imamat par les kharidjites, car le général avait installé sa « mère » au minbar, duquel elle avait fait un sermon. Al-Baghdadi cherche à lier l'histoire de Shabib et sa « mère » avec la bataille du Chameau et le rôle de cheffe tenu par Aïcha, fille d'Abou-Bakr, durant celle-ci. Il accuse les kharidjites de double standard, car ils accusaient Aïcha d'hérésie de ne pas rester dans sa maison (conformément à l'injonction coranique [XIII, 32-33]), alors qu'eux-même élevaient une femme à leur commandement et qu'elles combattaient dans leurs rangs. Dans le contexte où écrit al-Baghdadi, l'imamat des femmes, c'est-à-dire leur permettre un rôle politique et militaire, est une hérésie, quelque chose allant contre la Sunna de Mahomet. Al-Baghdadi dédouane Aïcha de toute responsabilité en disant qu'elle allait pour négocier avec Ali ibn Abi Talib, et que ceux qui l'accompagnaient choisirent de combattre sans sa permission.

Icône féministe au
Au , Ghazala est un considérée comme exemple de femme imame ayant guidé une prière mixte, la prière ghada des soixante-dix hommes pourrait être la même que la sienne.

Notes et références

Notes

Références

Bibliographie
Sources primaires
 .

Sources secondaires
 .
 .

Articles connexes
 Oumm Waraka
 Kharidjisme
 Place des femmes dans l'islam
 Féminisme musulman

Personnalité du haut Moyen Âge par nom
Personnalité de la religion musulmane au VIIe siècle
Imame
Histoire des débuts de l'islam
Date de naissance incertaine (VIIe siècle)
Décès en 696
Décès à Koufa
Pionnière en religion
Personnalité arabe du VIIe siècle
Rebelle du VIIe siècle

Ghazala


An Ophrys nouletii in uska species han Liliopsida nga ginhulagway ni E.G.Camus. An Ophrys nouletii in nahilalakip ha genus nga Ophrys, ngan familia nga Orchidaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Ophrys

Ophrys nouletii


إيناس النجار (28 يونيو 1983-)، ممثلة تونسية . كانت بدايتها كموديل في فيديو كليب المغني بهاء سلطان «يا تري» ورشحها المخرج محمد النجار للقيام بدور مهم في فيلم ميدو مشاكل.

أعمالها

الأفلام
 2000: فرقة بنات وبس
 2002: معالى الوزير
 2003: ميدو مشاكل
 2003: بحبك وأنا كمان
 2004: كيمو وأنتيمو
 2004: قشطة يابا
 2005: علي سبايسي
 2006: ايه النظام
 2007: كركر
 2007: طاطا نام طاطا قام
 2007: اثنين على الرصيف
 2008: مفيش فايدة
 2009: عزبة آدم
 2009: ابقى قابلني
 2010: عايشين اللحظة
 2010: أحاسيس
 2013: كلبي دليلي
 2014: واحد صعيدي
 2014: أبو العريف
 2016: عمود فقري
 2019: قهوة بورصة مصر
 2019: دفع رباعي بقوة
 2021:  نص يوم

المسلسلات
 2002: مارينا مارينا
 2002: العصيان (ج1)
 2003: العصيان (ج2)
 2006: أولاد الشوارع
 2007: يتربى في عزو
 2008: علي مبارك
 2008: المحطة أكشن نيوز
 2008: العائد
 2009: ورق التوت
 2009: علشان ماليش غيرك
 2009: الوتر المشدود
 2010: منتهى العشق
 2010: ماما في القسم
 2012: أم الصابرين
 2012: الإخوة أعداء
 2013: كان ياما كان
 2016: مملكة يوسف المغربي
 2017: الدخول في الممنوع
 2018: لعنة كارما
 2018: عفاريت عصمت
 2022 : مزاد الشر

المسرحيات
 2005: إن كبر إبنك

البرامج
 2012: ملكة المطبخ (مذيعة)

روابط خارجية

مصادر

أشخاص على قيد الحياة
ممثلات أفلام تونسيات
ممثلات تلفزيون تونسيات
ممثلات تونسيات في القرن 21
ممثلات تونسيات مغتربات في مصر
مواليد 1399 هـ
مواليد في صفاقس
ممثلات مسرح تونسيات

إيناس النجار


Konkordija (lat. Concordia), rim. božica, personifikacija sloge. Prikazivana je s rogom obilja u lijevoj i grančicom palme ili masline u desnoj ruci. Njezin gl. hram nalazio se u Rimu uz Forum na obronku Kapitolija (←121). U njemu su se povremeno održavale sjednice Senata. Najstariji hram u Rimu podigao je Furije Kamilo (←367) kao zahvalu za pomirenje patricija i plebejaca. Kult joj je bio ne samo javni, nego i privatni kao zaštitnici obiteljske sloge. Vjerojatno se štovala i prije nego što je postala zaštitnica obitelji za cara Augusta. Na novcu se K. prikazivala kao matrona s velom na glavi.

Izvori

Vanjske poveznice

Rimska mitologija

Konkordija


Kai Lung () is a fictional character in a series of books by Ernest Bramah, consisting of The Wallet of Kai Lung (1900), Kai Lung's Golden Hours (1922), Kai Lung Unrolls His Mat (1928), The Moon of Much Gladness (1932; published in the US as The Return of Kai Lung), Kai Lung Beneath the Mulberry Tree (1940), Kai Lung: Six (1974) and Kai Lung Raises His Voice (2010).

Overview
Kai Lung is a Chinese storyteller whose travels and exploits serve mainly as excuses to introduce substories, which generally take up the majority of a Kai Lung book. He is a man of very simple motivations; most frequently, he is animated by a desire for enough taels to be able to feed and clothe himself. Otherwise, his main motivation is love for his wife, Hwa-mei, and he seeks nothing more than a simple, sustainable lifestyle. Generally, he does not intrude in other people's affairs unless he thinks it necessary to teach them the rudiments of classical proportion with one of his fables.

He usually comes into conflict with barbarians, bandits, and other people who are not classically educated, as well as various unscrupulous individuals who are intent on taking away his property.

References by other writers
In  Thorne Smith's comedic fantasy The Stray Lamb, the character Mr. Lamb relaxes while reading Kai Lung.

Dorothy L. Sayers mentions Kai Lung and/or quotes from the books in several Lord Peter Wimsey novels, specifically Strong Poison, Gaudy Night and Busman's Honeymoon

In "'He Cometh and He Passeth By!'" by H. Russell Wakefield, one of the principal characters reads The Wallet of Kai-Lung before retiring to bed.

Ford Madox Ford repeatedly quoted the allegedly Chinese proverb "It would be hypocrisy to seek for the person of the Sacred Emperor in a Low Tea House." It has been convincingly argued that Ford originally acquired this proverb from the Kai Lung novels of Ernest Bramah, and that Bramah had created it for Kai Lung, rather than quoting a genuine Chinese proverb.

Irene the Librarian quotes Kai Lung in Genevieve Cogman's novel "The Secret Chapter".

References

Literary characters introduced in 1900
Characters in British novels of the 20th century
Fictional Chinese people in literature

Kai Lung


El USS Buffalo (SSN-715), es un submarino con propulsión nuclear de clase Los Ángeles. Es el segundo buque de la Armada de los Estados Unidos a en recibir el nombre Buffalo en honor de la ciudad de Buffalo (Nueva York), mientras que los otros tres buques así nombrados, lo fueron por el animal.

Historial
El contrato para su construcción se le adjudicó a Newport News Shipbuilding y a Dry Dock Company, en Newport News (Virginia) en febrero de 1976. Su quilla, fue puesta en grada el 25 de enero de 1980 y fue botado el 8 de mayo de 1982, amadrinado por Mrs. Joanne Kemp y realizó su primera singladura el 5 de noviembre de 1983, al mando del Comandante G. Michael Hewwit.

En 1999, el Buffalo fue modificado para llevar un Refugio Seco en Cubierta (Dry Deck Shelter o DDS). En 2002, entró en el dique seco de Pearl Harbor (Hawái) y se convirtió en el primer navío sometido a repostaje de combustible nuclear en Hawái.

A finales de noviembre de 2005, el DDS fue usado para lanzar un planeador capaz de recopilar y almacenar información, para luego ser transmitida por medio de un teléfono satélite integrado.

En junio de 2008, el Buffalo atracó en la ciudad de Olopango (Filipinas), permitiendo a los niños de esta localidad visitarlo.

Véase también
 Anexo:Submarinos de la Armada de Estados Unidos

Referencias

Bibliografía
Este artículo, incluye información del dominio público, procedente del Diccionario de buques de guerra americanos (Dictionary of American Naval Fighting Ships, (DANFS) y del Registro naval de buques.

Pies de página

Enlaces externos

Buffalo

USS Buffalo (SSN-715)


Čížov (deutsch Zeisau) ist eine Gemeinde in Tschechien. Sie liegt fünf Kilometer südlich des Stadtzentrums von Jihlava in Mähren und gehört zum Okres Jihlava.

Geographie
Čížov befindet rechtsseitig des Flüsschens Jihlávka an der Einmündung des Baches Čížovský potok. Östlich erhebt sich der Holý vrch (660 m), südwestlich der Vraní kopec (606 m) und im Westen der Popický vrch (682 m). Durch den Ort führt die Europastraße 59/Staatsstraße I/38 zwischen Jihlava und Znojmo.

Nachbarorte sind Pístov und Rančířov im Norden, Studénky und Puklice im Nordosten, Příseka im Osten, Rosice im Südosten, Cerekvička im Süden, Vílanec, Jezdovice und Salavice im Südwesten, Popice, Okrouhlík und Kostelec im Westen sowie Dvorce, Vysoká und Hosov im Nordwesten.

Geschichte
Erstmals urkundlich erwähnt wurde das Dorf im Jahre 1358.

Nach der Aufhebung der Patrimonialherrschaften bildete Čížov/Zeisau ab 1850 einen Ortsteil der Gemeinde Rancířov/Ranzen in der Bezirkshauptmannschaft Iglau. 1873 entstand die politische Gemeinde Čížov/Zeisau. Im Jahre 1961 wurde Čížov nach Vílanec eingemeindet und mit Beginn des Jahres 1989 mit diesem zusammen nach Jihlava. Am 11. Dezember 1991 bewilligte das Innenministerium den Beschluss des Stadtrates von Jihlava über die Abtrennung von Čížov. Seit 1992 bildet Čížov wieder eine eigene Gemeinde.

Gemeindegliederung
Für die Gemeinde Čížov sind keine Ortsteile ausgewiesen. Zu Čížov gehört die Siedlung Okrouhlík.

Sehenswürdigkeiten
 Kapelle
 Sühnestein
 Speicher

Weblinks

 Website der Gemeinde

Einzelnachweise

Ersterwähnung 1358

Čížov


El orejerito ecuatoriano (en Ecuador) (Phylloscartes gualaquizae), también denominado moscareta ecuatoriana (en Perú), tiranuelo ecuatoriano (en Colombia) o tiranolete ecuatoriano (en Ecuador), es una especie de ave paseriforme de la familia Tyrannidae, perteneciente al  numeroso género Phylloscartes. Es nativo de regiones andinas del noroeste de América del Sur.

Distribución y hábitat
Se distribuye a lo largo de la pendiente oriental de la cordillera de los Andes desde el suroeste de Colombia (Caquetá), hasta el extremo sureste de Ecuador, y en el norte de Perú (San Martín).

Esta especie es considerada poco común en sus hábitats naturales: el dosel y los bordes de selvas húmedas de estribaciones y montanas bajas, en altitudes entre 700 y 1500 m.

Estado de conservación
El orejerito ecuatoriano ha sido calificado como casi amenazado por la Unión Internacional para la Conservación de la Naturaleza (IUCN) debido a que, con base en modelos de deforestación de la cuenca amazónica, se estima que su población, todavía no cuantificada, irá a declinar alrededor de 25 a 30 % a lo largo de las próximas tres generaciones.

Sistemática

Descripción original
La especie P. gualaquizae fue descrita por primera vez por el zoólogo británico Philip Lutley Sclater en 1881 bajo el nombre científico Pogonotriccus gualaquizae; su localidad tipo es: «Gualaquiza, Ecuador».

Etimología
El nombre genérico masculino «Phylloscartes» se compone de las palabras del griego «phullon» que sinifica 'hoja', y «skairō» que significa 'saltar, bailar'; y el nombre de la especie «gualaquizae» se refiere a la localidad tipo, Gualaquiza, Morona Santiago, Ecuador.

Taxonomía
Es monotípica.

Referencias

Enlaces externos
 Videos, fotos y sonidos de Phylloscartes gualaquizae en eBird.
 Sonidos y mapa de distribución de Phylloscartes gualaquizae en xeno-canto.

gualaquizae
Aves de América del Sur
Animales descritos en 1887
Taxones descritos por Philip Lutley Sclater

Phylloscartes gualaquizae


Maria Antonina Czaplicka (Varsóvia, 25 de outubro de 1884 – Bristol, 27 de maio de 1921), também conhecida como Marya Antonina Czaplicka e Marie Antoinette Czaplicka, foi uma antropóloga cultural polonesa que é mais conhecida por sua etnografia do xamanismo siberiano. A pesquisa de Czaplicka se destaca em três grandes obras: seus estudos na Aboriginal Siberia (1914); um diário de viagem publicado como My Siberian Year (1916); e um conjunto de palestras publicadas como The Turks of Central Asia (1918). A editora britânica Curzon Press republicou todos os três volumes, além de um quarto volume de artigos e cartas, em 1999.

Primeiros anos de vida e estudos
Czaplicka nasceu no distrito de Stara Praga, em Varsóvia, em 1884, em uma família pobre da nobreza polonesa. Seus pais, Zofia Czaplicka (nascida Zawisza) e Feliks Czaplicki, ambos vieram de famílias historicamente ricas e conhecidas, mas foram forçados a se mudar de suas casas de família para a cidade para trabalhar devido à crescente agitação política na Polônia. Feliks Czaplicki acabou trabalhando para o departamento ferroviário em Varsóvia. Ela era a terceira mais velha dos cinco filhos de seus pais, Jadwiga Markowska (nascida Czaplicka), Stanisław Czaplicki, Gabriela Szaniawska (nascida Czaplicka) e Marian Czaplicki. Feliks Czaplicki encontrou emprego no que hoje é a Letônia, onde a família viveu de 1904 a 1906 antes de retornar a Varsóvia. Foi aqui que Maria Czaplicka pôde fazer o exame que lhe permitiria frequentar a universidade mais tarde na vida.

Ela começou seus estudos na Anna Jasieńska Girls' School e frequentou a escola até 1902. Ela começou seus estudos no ensino superior com a chamada Universidade Itinerante (mais tarde Wyższe Kursy Naukowe), uma instituição clandestina de ensino superior na Polônia controlada pela Rússia. Ela se sustentou com uma série de empregos mal pagos, como professora na Łabusiewiczówna Girls' School, secretária e companheira de uma dama. Ela também era conhecida por suas palestras na University for Everyone (1905–1908) e na Sociedade de Cultura Polonesa. Ela também escreveu poesia, sendo publicada na revista Odrodzenie de Varsóvia. Enquanto lutava contra uma doença, ela passou um tempo em Zakopane, onde trabalhou para a Sociedade Pedológica enquanto escrevia Olek Niedziela, um romance para crianças centrado na educação. Em 1910 tornou-se a primeira mulher a receber uma bolsa Mianowski, podendo assim continuar os seus estudos no Reino Unido.

Ela deixou a Polônia em 1910. Acometida de apendicite no final de março de 1911, ela foi internada no St Batholomew's Hospital em Londres, e operada pelo Dr. Józef Handelsman. Ela continuou seus estudos na Faculdade de Antropologia da London School of Economics sob Charles G. Seligman, e no Somerville College, Oxford sob RR Marett, graduando-se na School of Anthropology em 1912. Marett a encorajou a usar suas habilidades no idioma russo em uma revisão da literatura sobre tribos nativas da Sibéria, que se tornou seu livro Aboriginal Siberia, publicado em 1914. Em 1914, tornou-se membro da Royal Anthropological Society, e também esteve envolvida com a British Association for the Advancement of Science, apresentando pesquisas centradas na conexão entre religião e meio ambiente na Sibéria. Nesta fase, ela nunca havia visitado a Sibéria, mas a qualidade de sua escrita fez com que a Sibéria aborígine se tornasse a principal obra de referência em seu campo.

Expedição Yenisei

Marett pretendia que o trabalho relatado na Sibéria aborígene de Czaplicka fosse a base para o trabalho de campo na Sibéria. Em maio de 1914, ela começou esse trabalho de campo, parcialmente financiado pela Mary Ewart Traveling Scholarship concedida pelo Somerville College, liderando uma expedição conjunta da Universidade de Oxford e da equipe do Museu de Arqueologia e Antropologia da Universidade da Pensilvânia. Juntamente no museu com a ornitóloga inglesa Maud Doria Haviland, a pintora inglesa Dora Curtis e Henry Usher Hall, ela chegou à Rússia pouco antes do início da Primeira Guerra Mundial. Depois que a guerra começou, Czaplicka e Hall decidiram continuar sua expedição enquanto os outros decidiram voltar para o Reino Unido. Czaplicka e Hall (acompanhados por Michikha, uma mulher tungus) passaram o inverno inteiro viajando ao longo das margens do rio Yenisei através do Oryol: mais de  completamente.

Czaplicka preparou várias centenas de fotografias de pessoas da Sibéria, bem como inúmeras notas sobre antropometria e seus costumes. Czaplicka também recebeu fundos do Comitê de Antropologia do Museu Pitt Rivers em Oxford para coletar espécimes da Sibéria; 193 objetos foram doados por Czaplicka para a coleção asiática do museu. Além disso, ela coletou espécimes botânicos para o Fielding-Druce Herbarium. Especula-se que as gravações das muitas línguas que eles encontraram durante sua expedição foram produzidas em cilindros de cera, mas isso não foi comprovado e as gravações não são muito conhecidas e provavelmente nunca passaram por processamento acadêmico se fossem trazidas de volta ao universidade. Os resultados gerais da expedição foram modestos, algo que os historiadores atribuem à natureza do estudo e às muitas lutas financeiras e políticas enfrentadas pela equipe durante a viagem.

Ela também era conhecida por suas críticas ao termo "histeria ártica" para se referir à perspectiva ocidental da apresentação de doenças nervosas. Ela encoraja o relativismo cultural, o que significa que aspectos de uma cultura não devem ser vistos e julgados através das lentes de uma cultura diferente quando se trata dessa situação. Ela descreve que o que os acadêmicos ocidentais chamavam de "histeria" era visto por uma lente muito diferente nas culturas siberianas. Tudo isso fazia parte de seus trabalhos estudando o Xamanismo na Sibéria.

Retorno à Inglaterra e morte
Czaplicka retornou à Inglaterra em 1915. Ela escreveu um diário de sua viagem intitulado My Siberian Year, que foi publicado em 1916 pela Mills & Boon (em sua série de não-ficção "My Year"); o livro tornou-se muito popular. Em 1916, ela também se tornou a primeira professora de antropologia na Universidade de Oxford, apoiada pelo Mary Ewart Trust. Ela deu palestras sobre as nações da Europa Central e Oriental, bem como sobre os hábitos das tribos siberianas. Ela também falou sobre questões polonesas, incluindo a disposição pós-guerra de Danzig.

Em 1920, seu trabalho foi homenageado com um Murchison Grant da Royal Geographical Society, "por seu trabalho etnográfico e geográfico no norte da Sibéria". Apesar desse triunfo, seu futuro financeiro ainda era inseguro. Sua bolsa de três anos em Oxford expirou em 1919, ela obteve uma posição de professora temporária em antropologia no Departamento de Anatomia da Universidade de Bristol.

Em 1921, ela não conseguiu obter a Albert Kahn Traveling Fellowship que ela esperava, e em maio daquele ano ela se envenenou. O Senado da Universidade de Bristol expressou seu pesar e "apreciação pela perda para a Universidade de um membro tão distinto de sua equipe". Czaplicka está enterrada no Cemitério de Wolvercote em Oxford.

Legado
Em um testamento escrito meses antes de morrer, Czaplicka deixou suas notas e relatórios para seu colega Henry Usher Hall. Embora ela nunca tenha se casado, foram levantadas questões sobre o relacionamento entre Hall e Czaplicka, e se ela tinha sentimentos por ele. Hall havia se casado nos Estados Unidos mais ou menos na mesma época do suicídio de Czaplicka; não se sabe se o casamento de Hall levou Czaplicka a se matar. Depois que Hall morreu em 1944, alguns dos primeiros trabalhos de Czaplicka foram doados ao Museu da Universidade da Pensilvânia, mas pelo menos um relatório e um manuscrito parcial podem ser perdidos. Seus trabalhos primários estão arquivados no Somerville College, Oxford. Os museus poloneses guardam algumas cartas particulares de Czaplicka para Bronisław Malinowski e Władysław Orkan, um dos poetas poloneses mais proeminentes da época.

Após sua morte em 1971, Barbara Aitkin, uma estudante de Marett e amiga de Czaplicka, homenageou Czaplicka com um fundo no Somerville College. Em 2015, o Museu Pitt Rivers em Oxford realizou uma pequena exposição intitulada "Meu Ano Siberiano, 1914-1915" para comemorar o 100º aniversário da expedição de Czaplicka à Sibéria.

Obras publicadas

 Aboriginal Siberia: A Study in Social Anthropology. Oxford: Clarendon Press, 1914. (em inglês)
 Shamanism in Siberia. Oxford at the Clarendon Press, 1914. (em inglês)
 The Influence of Environment upon the Religious Ideas and Practices of the Aborigines of Northern Asia. Folklore. 25. pp. 34–54. 1914. (em inglês)
 "The Life and Work of N.N. Miklubo-Macklay". Man. 14. pp. 198–203, 1914. (em inglês)
 My Siberian Year. London, Mills and Boon, 1916. (em inglês)
 "Tribes of the Yenisei. The Oxford Expedition". Times Russian Supplement. 13. p. 6. 18 September 1915. (em inglês)
 Siberia and some Siberians Journal of the Manchester Geographical Soc. 32. pp. 27–42. 1916. (em inglês)
 The Siberian Colonist or Sibiriak In W. Stephens ed. The Soul of Russia. London: Macmillan. 1916 (em inglês)
 On the track of the Tungus. Scottish Geographical Magazine. 33. pp. 289–303. 1917. (em inglês)
 "Ostyaks". Encyclopædia of Religion and Ethics. volume 9. pp. 289–303. 1917 (em inglês)
 "The Evolution of the Cossack Communities". Journal of the Central Asian Society. 5. pp. 42–58. 1918. (em inglês)
 "A plea for Siberia". New European. 6. pp. 339–344. 1918. (em inglês)
 The Turks of Central Asia in History and at the Present Day, An Ethnological Inquiry into the Pan-Turanian Problem, and Bibliographical Material Relating to the Early Turks and the Present Turks of Central Asia. Oxford: Clarendon Press. 1918. (em inglês)
 "Poland". The Geographical Journal. 53:36. 1919. (em inglês)
 "Samoyed". Encyclopædia of Religion and Ethics. volume 11. pp. 172–177. 1920 (em inglês)
 "Siberia, Siberiaks, Siberians". Encyclopædia of Religion and Ethics. volume 11. pp. 488–496. 1920 (em inglês)
 The Ethnic versus the Economic Frontiers of Poland. Scottish Geographical Magazine. 36. pp. 10–16. 1920. (em inglês)
 "History and Ethnology in Central Asia". Man. 21. pp. 19–24. 1921. (em inglês)
 "Tungus". Encyclopædia of Religion and Ethics. volume 12. pp. 473–476. 1921 (em inglês)
 "Turks". Encyclopædia of Religion and Ethics. volume 12. pp. 476–483. 1921 (em inglês)

Bibliografia

 Urry, James; David N. Collins: Maria Antonina Czaplicka. Życie i praca w Wielkiej Brytanii i na Syberii (em polonês); Varsóvia, 1998.

Ligações externas

 Sibéria aborígene - Trechos do arquivo de Textos Sagrados (em inglês)
 Álbum de Fotos de Maria Czaplicka – Álbum de Fotos de Maria Czaplicka (em inglês)
 Oxford Dictionary of National Biography David N. Collins, 'Czaplicka, Marya Antonina (1884-1921)', publicado pela primeira vez em setembro de 2004, 960 palavras, com ilustração de retrato (em inglês)

Nascidos em 1884
Suicídios por envenenamento
Alunos da London School of Economics
Alunos da Somerville College
!Mais Teoria da História na Wiki (Wikiconcurso de edição)

Maria Czaplicka


"Killing an Arab", The Cure'un yayınladığı ilk single. Parça İngiltere'de çıkardıkları Three Imaginary Boys (1979) albümleriyle aynı zamanlarda yayınlandığı halde bu albümde yer almadı. Ancak parça bir sene sonra Amerika'da çıkaracakları Boys Don't Cry (1980) albümünde yayınlandı.

Bestecisi Robert Smith parçayı Albert Camus'nün Yabancı (L'etranger) kitabının kısa ve şiirsel anlatımı olarak yorumlar. Camus'nün kitabının ana karakteri olan Meursault, kumsalda oturup denizi seyreden bir Arap'la karşılaşır ve Arap'ın elinde tuttuğu bıçak güneş ışınlarını Mersault'un gözlerine yansıtır. Sıcaktan ve gözlerinin kamaşmasından rahatsız olan Meursault, bir anda düşünmeden ateş eder ve sahilde duran Arap'ı vurur.

Yayınlandığında Killing an Arab sansasyon yaratır ve ırkçılığı tetikliyor düşüncesiyle toplatılır ancak kapağına yapıştırılan ırkçılığı reddeden bir stickerla tekrar piyasaya sunulur. Irkçılığın Avrupa'da yükselmesinden dolayı, 2005'te katıldıkları bazı Avrupa ülkelerindeki festivallerde grup şarkı sözünü Killing an Arab yerine Kissing an Arab olarak değiştirir.

1978 şarkıları
The Cure şarkıları
1970'lerde İngilizce şarkılar

Killing an Arab


إيفان يوريتش (مواليد 25 أغسطس 1975 في سبليت - يوغوسلافيا) (بالكرواتية:Ivan Jurić) لاعب كرة قدم كرواتي يلعب حاليا لصالح نادي الدرجة الأولى جنوى الإيطالي منذ 2006 في مركز الوسط المحوري .

مسيرته الكروية
لعب إيفان يوريتش خلال مسيرته الاحترافية مع 6 أندية في ثمانية عشر موسمًا وسجل خلالها 21 هدفًا ضمن 401 مباراة. حيث فاز في موسم واحد بالكأس وفي موسم واحد بالدوري.

خاض إيفان يوريتش مسيرته مع نادي هايدوك سبليت في موسم 1994–95 واستمر معه طيلة ثلاثة مواسم، مشاركًا في 55 مباراة سجل خلالها هدفين. ثم انتقل إلى نادي إشبيلية في موسم 1997–98 ليلعب معه أربعة مواسم، حيث شارك في 64 مباراة سجل خلالها 6 أهداف. لينتقل بعدها إلى  في موسم 2000–01 لمدة موسم واحد، مشاركًا في مباراتين ولم يسجل أي هدف. ثم انتقل إلى نادي كروتوني في موسم 2001–02 ليلعب معه خمسة مواسم، مشاركًا في 152 مباراة سجل خلالها 11 هدفًا. هذا وانتقل لاحقًا إلى نادي جنوى في موسم 2006–07 ليلعب معه أربعة مواسم، مشاركًا في 111 مباراة سجل خلالها هدفًا واحدًا.

مراجع

روابط خارجية

لاعبو كرة قدم رجالية كروات مغتربون
لاعبو كرة قدم رجالية كرواتيون
لاعبو كرة قدم رجالية مغتربون في إيطاليا
لاعبو كرة قدم رجالية مغتربون في إسبانيا
لاعبو وسط كرة قدم رجالية
أشخاص على قيد الحياة
رياضيون كرواتيون مغتربون في إسبانيا
رياضيون كرواتيون مغتربون في إيطاليا
رياضيون من سبليت (كرواتيا)
طاقم إنتر ميلان غير اللاعبين
لاعبو الدوري الإسباني
لاعبو الدوري الإسباني الدرجة الثانية
لاعبو الدوري الإيطالي
لاعبو الدوري الإيطالي الدرجة الثانية
لاعبو الدوري الكرواتي الممتاز
لاعبو إشبيلية
لاعبو جنوى
لاعبو كروتوني
لاعبو كرة قدم كرواتيون
لاعبو كرة قدم كرواتيون مغتربون
لاعبو كرة قدم مغتربون في إسبانيا
لاعبو كرة قدم مغتربون في إيطاليا
لاعبو منتخب كرواتيا تحت 21 سنة لكرة القدم
لاعبو منتخب كرواتيا لكرة القدم
لاعبو منتخب كرواتيا لكرة القدم للشباب
لاعبو نادي ألباسيتي
لاعبو نادي هايدوك سبليت
مدربو الدوري الإيطالي
مدربو الدوري الإيطالي الدرجة الثانية
مدربو تورينو
مدربو جنوى
مدربو كرة قدم كرواتيون
مدربو كرة قدم كرواتيون مغتربون
مدربو كرة قدم مغتربون في إيطاليا
مدربو نادي كروتوني
مدربو نادي مانتوفا
مدربو هيلاس فيرونا
مواليد 1975
لاعبو كرة قدم من سبليت، كرواتيا

إيفان يوريتش


Albert Rudbeck Lindhardt (født 12. juli 2001) er en dansk skuespiller, der blandt andet har medvirket i filmen Der kommer en dag fra 2016, hvor han spiller drengen Erik. Han er også med i julekalenderen Den anden verden.

Albert er lillebror til skuespilleren William Rudbeck Lindhardt, der blandt andet har medvirket i tv-serien Limbo samt i julekalenderen Tidsrejsen.

Filmografi
 Den magiske juleæske (2016) - stemme
 Der kommer en dag (2016)
 Landet af Glas (2018)
 Kollision (2019)
 Familien Addams (2019)
 Retfærdighedens Ryttere
 Du som er i himlen (2021)

Eksterne henvisninger

Børneskuespillere fra Danmark

Albert Rudbeck Lindhardt


Émile-Louis-Gustave Deshayes de Marcère (16 de março de 1828 - 26 de abril de 1918) foi um político francês. Sua atuação parlamentar, marcada por uma forte defesa das ideias republicanas contra as ideias monárquicas, contribuiu para fortalecer as instituições e descentralizar o poder, notadamente dando mais liberdade aos conselhos gerais e municipais.

Marcère foi deputado na Assembleia Nacional de 1871 a 1884. Em 1876 e 1878, foi Ministro do Interior, continuando no cargo por algumas semanas no ministério Waddington de 1879.

Em 1884, Marcère foi nomeado senador vitalício (senateur inamovible). Foi prefeito de Messei de 1892 a 1912, onde morreu em 1918. Na sua morte, foi o último senador sobrevivente vitalício da Terceira República.

Publicações

Monografias

 Politique d'un provincial, lettres d'un oncle à son neveu, Charles Douniol libraire éditeur, Paris, 1869, 410 p.
 La République et les conservateurs, E. Lachaud, Paris, 1871, 110 p.
 Entretiens et souvenirs politiques...[I. 1892-1893 ; II. 1893-1894], Société des écrivains français, 2 vol. in-18, Paris, 1894.
 L'Assemblée nationale de 1871, [I. Gouvernement de M. Thiers - II. La Présidence du maréchal de Mac-Mahon], Plon, Nourrit et Cie, Paris, 1904-1907, 2 vol., 270 p.
 Histoire de la République, de 1876 à 1879... [1. De la fin de l'Assemblée nationale au; 2. Le Seize mai et la fin du septennat], Plon-Nourrit et Cie, 2 vol. in-16, Paris, 1908-1910, 288 p.
 Vision d'un siècle. Souvenirs d'un témoin, Plon, Paris, 1914, 302 p.

Diários

 Le Cardinal de Bonnechose et la société contemporaine, Paris, Nouvelle Revue, 1887, 56 p.
 La Constitution de 1875, Paris, Nouvelle Revue Française, 1888, 45 p.
 La Question religieuse, Paris, Nouvelle Revue, 1891, 33 p.
 La Constitution et la constituante : lettre à M. Marcel Fournier, Paris, Revue politique et parlementaire, 1899, 23 p.

Cartas, discursos e conferências

 Lettre aux électeurs à l'occasion des élections pour la Constituante, impr. de Vve Céret-Carpentier, Douai, 1871, 28 p.
 Lettre aux électeurs, Folloppe, Flers, 1873, 31 p.
 Discours : deuxième délibération sur le projet de loi électorale : à l'Assemblée Nationale, le / prononcé par M. de Marcère, Paris, Publications législatives (libr.), Wittersheim et Cie, 1875, 39 p.
 Discours prononcé à Maubeuge:, Paris, Dupont, 1879, 43 p.
 Lettre de M. de Marcère, L'Écho du Nord.
 Conférence au profit de la ligue contre l'athéisme, le : De l'idéal et de la politique, Paris, Mouillot, 1889, 13 p.
 Discours prononcé dans la discussion du projet de loi sur les dépenses ordinaires de l'instruction primaire publique et les traitements du personnel de ce service, Paris, Mouillot, 1889, 19 p.
 Discours prononcé au Sénat le, Paris, Mouillot, 1891, 20 p.
 Discours, Paris, Dupont, s.d., 24 p.
 Discours prononcé aux assises de « la Pomme » : à Honfleur le, Flers, Lévesque, 1898, 10 p.
 Discours : Distribution des prix du Lycée d'Alençon 1898-1899, Flers, Lévesque, 1899, 12 p.
 Assemblée générale de « La Patrie française » : discours du, Paris, s.n., 1905, 32 p.

Trabalhos universitários

 Des actes juridiques entre époux, Thèse : Université de Caen, 1849.

Ministros do Interior da França
Políticos da Terceira República Francesa

Deshayes de Marcére