, is one of the oldest Japanese crafts and art forms, dating back to the Neolithic period. Kilns have produced earthenware, pottery, stoneware, glazed pottery, glazed stoneware, porcelain, and blue-and-white ware. Japan has an exceptionally long and successful history of ceramic production.  Earthenwares were made as early as the Jōmon period (10,500–300BC), giving Japan one of the oldest ceramic traditions in the world. Japan is further distinguished by the unusual esteem that ceramics holds within its artistic tradition, owing to the enduring popularity of the tea ceremony.

Japanese ceramic history records distinguished many potter names, and some were artist-potters, e.g. Hon'ami Kōetsu, Ogata Kenzan, and Aoki Mokubei. Japanese anagama kilns also have flourished through the ages, and their influence weighs with that of the potters. Another characteristically Japanese aspect of the art is the continuing popularity of unglazed high-fired stoneware even after porcelain became popular. Since the 4th century, Japanese ceramics have often been influenced by Chinese and Korean pottery. Japan transformed and translated the Chinese and Korean prototypes into a uniquely Japanese creation, and the result was distinctly Japanese in character. Since the mid-17th century when Japan started to industrialize, high-quality standard wares produced in factories became popular exports to Europe. In the 20th century, a modern ceramics industry (e.g., Noritake and Toto Ltd.) grew up.

Japanese pottery is distinguished by two polarised aesthetic traditions. On the one hand, there is a tradition of very simple and roughly finished pottery, mostly in earthenware and using a muted palette of earth colours. This relates to Zen Buddhism and many of the greatest masters were priests, especially in early periods. Many pieces are also related to the Japanese tea ceremony and embody the aesthetic principles of . Most raku ware, where the final decoration is partly random, is in this tradition. The other tradition is of highly finished and brightly coloured factory wares, mostly in porcelain, with complex and balanced decoration, which develops Chinese porcelain styles in a distinct way. A third tradition, of simple but perfectly formed and glazed stonewares, also relates more closely to both Chinese and Korean traditions. In the 16th century, a number of styles of traditional utilitarian rustic wares then in production became admired for their simplicity, and their forms have often been kept in production to the present day for a collectors market.

History

Jōmon period

In the Neolithic period ( millenniumBC), the earliest soft earthenware was made.

During the early Jōmon period in the 6th millenniumBC typical coil-made ware appeared, decorated with hand-impressed rope patterns. Jōmon pottery developed a flamboyant style at its height and was simplified in the later Jōmon period. The pottery was formed by coiling clay ropes and fired in an open fire.

Yayoi period
In about the 4th–3rd centuriesBC Yayoi period, Yayoi pottery appeared which was another style of earthenware characterised by a simple pattern or no pattern. Jōmon, Yayoi, and later Haji ware shared the firing process but had different styles of design.

Kofun period

In the 3rd to 4th centuriesAD, the anagama kiln, a roofed-tunnel kiln on a hillside, and the potter's wheel appeared, brought to Kyushu island from the Korean peninsula.

The anagama kiln could produce stoneware, Sue pottery, fired at high temperatures of over , sometimes embellished with accidents produced when introducing plant material to the kiln during the reduced-oxygen phase of firing. Its manufacture began in the 5th century and continued in outlying areas until the 14th century. Although several regional variations have been identified, Sue was remarkably homogeneous throughout Japan. The function of Sue pottery, however, changed over time: during the Kofun period (AD300–710) it was primarily funerary ware; during the Nara period (710–94) and the Heian period (794–1185), it became an elite tableware; and finally it was used as a utilitarian ware and for the ritual vessels for Buddhist altars.

Contemporary Haji ware and  funerary objects were earthenware like Yayoi.

Heian period

Although a three-color lead glaze technique was introduced to Japan from the Tang dynasty of China in the 8th century, official kilns produced only simple green lead glaze for temples in the Heian period, around 800–1200.

Kamui ware appeared in this time, as well as Atsumi ware and Tokoname ware.

Kamakura period
Until the 17th century, unglazed stoneware was popular for the heavy-duty daily requirements of a largely agrarian society; funerary jars, storage jars, and a variety of kitchen pots typify the bulk of the production. Some of the kilns improved their technology and are called the "Six Old Kilns": Shigaraki (Shigaraki ware), Tamba, Bizen, Tokoname, Echizen, and Seto.

Among these, the Seto kiln in Owari Province (present day Aichi Prefecture) had a glaze technique. According to legend, Katō Shirozaemon Kagemasa (also known as Tōshirō) studied ceramic techniques in China and brought high-fired glazed ceramic to Seto in 1223. The Seto kiln primarily imitated Chinese ceramics as a substitute for the Chinese product. It developed various glazes: ash brown, iron black, feldspar white, and copper green. The wares were so widely used that  became the generic term for ceramics in Japan. Seto kiln also produced unglazed stoneware. In the late 16th century, many Seto potters fleeing the civil wars moved to Mino Province in the Gifu Prefecture, where they produced glazed pottery: , Shino, , and Oribe ware.

Muromachi period

According to chronicles in 1406, the Yongle Emperor (1360–1424) of the Ming dynasty bestowed ten Jian ware bowls from the Song dynasty to the  Ashikaga Yoshimitsu (1358–1408), who ruled during the Muromachi period. A number of Japanese monks who traveled to monasteries in China also brought pieces back home. As they became valued for tea ceremonies, more pieces were imported from China where they became highly prized goods. Five of these vessels from the southern Song dynasty are so highly valued that they were included by the government in the list of National Treasures of Japan (crafts: others). Jian ware was later produced and further developed as  and was highly priced during tea ceremonies of this time.

Azuchi-Momoyama period
From the middle of the 11th century to the 16th century, Japan imported much Chinese celadon greenware, white porcelain, and blue-and-white ware. Japan also imported Chinese pottery as well as Korean and Vietnamese ceramics. Such  were regarded as sophisticated items, which the upper classes used in the tea ceremony. The Japanese also ordered custom-designed ceramics from Chinese kilns.

Highly priced imports also came from the Luzon and was called  or "Luzon ware", as well as  from Annam, northern Vietnam.

Sengoku period

With the rise of Buddhism in the late 16th century, leading tea masters introduced a change of style and favored humble Korean tea bowls and domestic ware over sophisticated Chinese porcelain. The influential tea master Sen no Rikyū (1522–1591) turned to native Japanese styles of simple rustic pottery, often imperfect, which he admired for their "rugged spontaneity", a "decisive shift" of enormous importance for the development of Japanese pottery. The Raku family (named after the pottery rather than the other way round) supplied brown-glazed earthenware tea bowls. Mino, Bizen, Shigaraki (Shigaraki ware), Iga (similar to Shigaraki), and other domestic kilns also supplied tea utensils. The artist-potter Hon'ami Kōetsu made several tea bowls now considered masterpieces.

During Toyotomi Hideyoshi's 1592 invasion of Korea, Japanese forces brought Korean potters as slaves to Japan, although there is also evidence of earlier voluntary immigration. According to tradition, one of the kidnapped, Yi Sam-pyeong, discovered a source of porcelain clay near Arita and was able to produce the first Japanese porcelain. These potters also brought improved kiln technology in the  or rising kiln, running up a hillside and enabling temperatures of  to be reached. Soon the Satsuma, Hagi, Karatsu, Takatori, Agano and Arita kilns were begun.

Edo period

In the 1640s, rebellions in China and wars between the Ming dynasty and the Manchus damaged many kilns, and in 1656–1684 the new Qing dynasty government stopped trade by closing its ports. Chinese potter refugees were able to introduce refined porcelain techniques and enamel glazes to the Arita kilns. From 1658, the Dutch East India Company looked to Japan for blue-and-white porcelain to sell in Europe (see Imari porcelain). At that time, the Arita kilns like the Kakiemon kiln could not yet supply enough quality porcelain to the Dutch East India Company, but they quickly expanded their capacity. From 1659 to 1740, the Arita kilns were able to export enormous quantities of porcelain to Europe and Asia. Gradually the Chinese kilns recovered, and developed their own styles of the highly coloured enamelled wares that Europeans found so attractive, including famille rose, famille verte and the rest of that group. From about 1720 Chinese and European kilns also began to imitate the Imari enamelled style at the lower end of the market, and by about 1740 the first period of Japanese export porcelain had all but ceased. The Arita kilns also supplied domestic utensils such as the so-called Ko-Kutani enamelware.

Porcelain was also exported to China, much of which was resold by Chinese merchants to the other European "East Indies Companies" which were not allowed to trade in Japan itself. It has been suggested that the choice of such items was mainly dictated by Chinese taste, which preferred Kakiemon to "Imari" wares, accounting for a conspicuous disparity in early European collections that can be reconstructed between Dutch ones and those of other countries, such as England, France and Germany. Because Imari was the shipping port, some porcelain, for both export and domestic use, was called . The European custom has generally been to call blue and white wares "Arita" and blue, red and gold ones "Imari", though in fact both were often made in the same kilns arong Arita. In 1759 the dark red enamel pigment known as  became industrially available, leading to a reddish revival of the orange 1720  style.

In 1675, the local Nabeshima family who ruled Arita established a personal kiln to make top-quality enamelware porcelain for the upper classes in Japan, which is called Nabeshima ware. This uses mainly decoration in traditional Japanese styles, often drawing from textiles, rather than the Chinese-derived styles of most Arita ware. Hirado ware was another kind of porcelain initially reserved for presentation as political gifts among the elite, concentrating on very fine painting in blue on an unusually fine white body, for which scroll painters were hired.  These two types represented the finest porcelain produced after the export trade stalled by the 1740s. Unlike Nabeshima ware, Hirado went on to be a significant exporter in the 19th century.

During the 17th century, in Kyoto, then Japan's imperial capital, kilns produced only clear lead-glazed pottery that resembled the pottery of southern China. Among them, potter Nonomura Ninsei invented an opaque overglaze enamel and with temple patronage was able to refine many Japanese-style designs. His disciple Ogata Kenzan invented an idiosyncratic arts-and-crafts style and took  (Kyoto ceramics) to new heights. Their works were the models for later . Although porcelain bodies were introduced to  by Okuda Eisen, overglazed pottery still flourished. Aoki Mokubei, Ninami Dōhachi (both disciples of Okuda Eisen) and Eiraku Hozen expanded the repertory of .

In the late 18th to early 19th century, white porcelain clay was discovered in other areas of Japan and was traded domestically, and potters were allowed to move more freely. Local lords and merchants established many new kilns (e.g., Kameyama kiln and Tobe kiln) for economic profit, and old kilns such as Seto restarted as porcelain kilns. These many kilns are called "New Kilns" and they popularized porcelain in the style of the Arita kilns among the common folk.

Meiji period

During the international openness of the Meiji period, Japanese arts and crafts had a new audience and set of influences. Traditional patrons such as the  class broke away and many of the artisans lost their source of income. The government took an active interest in the art export market, promoting Japanese arts at a succession of world's fairs, beginning with the 1873 Vienna World's Fair. The Imperial Household also took an active interest in arts and crafts, appointing Imperial Household Artists and commissioning works ("presentation wares") as gifts for foreign dignitaries. Most of the works promoted internationally were in the decorative arts, including pottery.

Satsuma ware was a name originally given to pottery from Satsuma province, elaborately decorated with overglaze enamels and gilding. These wares were highly praised in the West. Seen in the West as distinctively Japanese, this style actually owed a lot to imported pigments and Western influences, and had been created with export in mind. Workshops in many cities raced to produce this style to satisfy demand from Europe and America, often producing quickly and cheaply. So the term "Satsuma ware" came to be associated not with a place of origin but with lower-quality ware created purely for export. Despite this, there were artists such as Yabu Meizan and Makuzu Kōzan who maintained the highest artistic standards while also successfully exporting. These artists won multiple awards at international exhibitions. Meizan used copper plates to create detailed designs and repeatedly transfer them to the pottery, sometimes decorating a single object with a thousand motifs.

Japan's porcelain industry was well-established at the start of the Meiji period, but the mass-produced wares were not known for their elegance. During this era, technical and artistic innovations turned porcelain into one of the most internationally successful Japanese decorative art forms. A lot of this is due to Makuzu Kōzan, known for Satsuma ware, who from the 1880s onwards introduced new technical sophistication to the decoration of porcelain, while committed to preserving traditional artistic values. During the 1890s he developed a style of decoration that combined multiple underglaze colours on each item. The technical sophistication of his underglazes increased during this decade as he continued to experiment. In the decade from 1900 to 1910 there was a substantial change in the shape and decoration of his works, reflecting Western influences. His work strongly influenced Western perceptions of Japanese design.

Taishō period
Japanese pottery strongly influenced British studio potter Bernard Leach (1887–1979), who is regarded as the "Father of British studio pottery". He lived in Japan from 1909 to 1920 during the Taishō period and became the leading western interpreter of Japanese pottery and in turn influenced a number of artists abroad.

Shōwa period

During the early Shōwa period, the folk art movement  developed, starting in the late 1920s and 1930s. Its founding father was Yanagi Sōetsu (1889–1961). He rescued lowly pots used by commoners in the Edo and Meiji period that were disappearing in rapidly urbanizing Japan. Shōji Hamada (1894–1978) was a potter who was a major figure of the  movement, establishing the town of Mashiko as a renowned centre for Mashiko ware. Another influential potter in this movement was Kawai Kanjirō (1890–1966) and Tatsuzō Shimaoka (1919–2007). These artists studied traditional glazing techniques to preserve native wares in danger of disappearing.

One of the most critical moments was during the Pacific War when all resources went towards the war efforts, and production and development became severely hampered and the markets suffered.

Heisei period to present
A number of institutions came under the aegis of the Cultural Properties Protection Division.

The kilns at Tamba, overlooking Kobe, continued to produce the daily wares used in the Tokugawa period, while adding modern shapes. Most of the village wares were made anonymously by local potters for utilitarian purposes. Local styles, whether native or imported, tended to be continued without alteration into the present. In Kyūshū, kilns set up by Korean potters in the 16th century, such as at Koishiwara, Fukuoka and its offshoot at Onta ware, perpetuated 16th-century Korean peasant wares. In Okinawa, the production of village ware continued under several leading masters, with Kinjo Jiro honored as a .

The modern potters operate in Shiga, Iga, Karatsu, Hagi, and Bizen. Yamamoto Masao (Toushuu) of Bizen and Miwa Kyusetsu of Hagi were designated . Only a half-dozen potters had been so honored by 1989, either as representatives of famous kiln wares or as creators of superlative techniques in glazing or decoration; two groups were designated for preserving the wares of distinguished ancient kilns.

In the old capital of Kyoto, the Raku family continued to produce the rough tea bowls that had so delighted Hideyoshi. At Mino, potters continued to reconstruct the classic formulas of Momoyama period Seto-type tea wares of Mino, such as the Oribe ware copper-green glaze and Shino ware's prized milky glaze. Artist potters experimented at the Kyoto and Tokyo arts universities to recreate traditional porcelain and its decorations under such ceramic teachers as Fujimoto Yoshimichi, a . Ancient porcelain kilns around Arita in Kyūshū were still maintained by the lineage of Sakaida Kakiemon XIV and Imaizumi Imaemon XIII, hereditary porcelain makers to the Nabeshima clan; both were heads of groups designated .

British artist Lucie Rie (1902–1995) was influenced by Japanese pottery and Bernard Leach, and was also appreciated in Japan with a number of exhibitions. British artist Edmund de Waal (b. 1964) studied Leach and spent a number of years in Japan studying  style. Brother Thomas Bezanson from Canada was influenced by it.

In contrast, by the end of the 1980s, many master potters no longer worked at major or ancient kilns but were making classic wares in various parts of Japan. In Tokyo, a notable example is Tsuji Seimei, who brought his clay from Shiga but potted in the Tokyo area. A number of artists were engaged in reconstructing Chinese styles of decoration or glazes, especially the blue-green celadon and the watery-green . One of the most beloved Chinese glazes in Japan is the chocolate-brown  glaze that covered the peasant tea bowls brought back from southern Song China (in the twelfth and thirteenth centuries) by Zen monks. For their Japanese users, these chocolate-brown wares embodied the Zen aesthetic of  (rustic simplicity). In the United States, a notable example of the use of  glazes may be found in the innovative crystalline pots thrown by Japanese-born artist Hideaki Miyamura.

Clay
Clay is chosen largely based on local materials available.  There is an abundance of most basic types of clay in Japan. Due to naturally occurring kaolin deposits, many porcelain clays are found in Kyushu. Kilns were traditionally built at the sites of clay deposits, and most potters still use local clays, having developed a range of glazes and decoration techniques especially suited to that clay. The pottery clays found in the Japanese archipelago range from fusible earthenwares to refractory kaolins. From the Jōmon period to the Yayoi period, Japanese potters relied on high plastic iron-bearing shale and alluvial clays. Organic materials appear in much of the early Jōmon period work, but sand or crushed stone predominates thereafter.

Further refinements came about under the Chinese influence in the 8th and 9th centuries AD, when creators of Nara three-color wares and Heian ash glazed wares sought out white, refractory clays and enhanced their fineness through levigation. In Kyoto, where demand makes it both practical and profitable, the clay is crushed, blunged (made into slip), and filtered commercially.

The clay is first broken up into small pieces, with a small amount of water poured over it, and is then beaten it with a , a wooden mallet, until the plasticity and uniformity of texture desired is obtained. The clay is then put through an  or "rough wedging" process, a kneading movement, after which the clay is stored for two or three days, or sometimes up to a week. Before the clay is ready to be thrown, it must pass through the  process, which produces a bullet-shaped mass from which all air bubbles have been removed, and in which the granular structure is arranged so that it radiates outwards from the center of the mass.

Production methods

The earliest pieces were made by pressing the clay into shape. This method continued to be employed after the invention of the wheel, such as when producing Rengetsu ware. Coiled methods developed in the Jōmon period. Production by kneading and cutting slabs developed later, for example, for  clay figures.

Potter's wheel
The first use of the potter's wheel in Japan can be seen in Sue pottery. While Sue productions combined wheel and coiling techniques, the lead-glazed earthenware made under Chinese influence from the 8th to the 10th centuries include forms made entirely on the potter's wheel.

The original potter's wheel of the Orient was a circular pad of woven matting that the potter turned by hand and wheel, and was known in Japan as the . But with the arrival of the  or handwheel, the mechanics of throwing made possible a more subtle art. The wheel head was a large, thick, circular piece of wood with shallow holes on the upper surface around the periphery of the disc. The potter kept the wheel in motion by inserting a wooden handle into one of the holes and revolving the wheel head on its shaft until the desired speed was reached.

The handwheel is always turned clockwise, and the weight of the large wheel head induces it, after starting, to revolve rapidly for a long period of time. Pieces made on the handwheel have a high degree of accuracy and symmetry because there is no movement of the potter's body while throwing, as is the case with the kick wheel. In the early days of porcelain making in Japan, the Kyoto, Seto, and Nagoya areas used only the handwheel; elsewhere, in the Kutani area and in Arita, the kick wheel was employed. The Japanese-style kick wheel or  was probably invented in China during the early Ming dynasty. Its design is similar in many respects to that of the handwheel, or it may have a wooden tip set in the top, and an iron pipe, like later wheels. The kick wheel is always turned in a counterclockwise direction, and the inevitable motion of the potter's body as they kick the wheel while throwing gives many Japanese pots a casual lack of symmetry which appeals to contemporary Western tastes.

Following the Meiji Restoration in 1868, a student of Dr. Wagener went to Germany to learn how to build a downdraft kiln, and observed many wheels operated by belts on pulleys from a single shaft. On his return he set up a similar system in the Seto area, using one man to turn the flywheel that drove the shaft and the pulley system. From this beginning the two-man wheel developed.

Today, most potters in Kyoto use electric wheels, though there are many studios that still have a handwheel and a kick wheel. However, it is now difficult to find craftsmen who can make or repair them.

Coil and throw
At Koishibara, Onda, and Tamba, large bowls and jars are first roughly coil-built on the wheel, then shaped by throwing, in what is known as the "coil and throw technique". The preliminary steps are the same as for coil building, after which the rough form is lubricated with slip and shaped between the potter's hands as the wheel revolves. The process dates back 360 years to a Korean technique brought to Japan following Hideyoshi's invasion of Korea.

Tools
Generally fashioned out of fast-growing bamboo or wood, these tools for shaping pottery have a natural feel that is highly appealing. While most are Japanese versions of familiar tools in the West, some are unique Japanese inventions.

  or "cows' tongues" are long sled-shaped bamboo ribs used to compress the bottoms and shape the sides of straight-sided bowls. They are a traditional tool from Arita, Kyushu.
  are round, shallow clam shell-shaped bamboo ribs used to shape the sides of curved bowls. They can also be used to compress the bottoms of thrown forms.
 , similar to wooden ribs, are leaf-shaped bamboo ribs used to shape and smooth the surfaces of a pot.
  are bamboo trimming and modeling "knives" available in several different shapes for carving, cleaning up wet pots, cutting, and for producing sgraffito effects.
 , "dragonflies", are the functional equivalent of Western calipers with an added feature. Suspended from a  or balanced on the rim of a pot, these delicate bamboo tools are used for measuring both the diameter and the depth of thrown forms.
  are wire and bamboo trimming harps that double as a fluting tool. They are used to cut off uneven or torn rims as well as to facet leather-hard forms.
 , "cranes' necks", are s-curved Japanese wooden throwing sticks used to shape the interiors of narrow-necked pieces such as bottles and certain vases.
  are cutting, carving and incising tools made of iron and used to trim pieces, for carving, sgraffito and for scraping off excess glaze.
 A  is a large looped ribbon tool made of iron that can be used for trimming as well as carving.
 An  is a trimming harp used to level flat, wide surfaces, such as the bottom of a shallow dish or plate.
  are not strictly throwing tools; these combs are used to score a minimum of two decorative parallel lines on pot surfaces. The largest combs have about 20 teeth.
 A  is also not a throwing tool, but a Japanese slip-trailer. A  is a high-capacity bamboo bottle with a spout from which slip and glaze can be poured out in a steady, controlled stream so the potter can "draw" with it.

Wares
Hundreds of different wares and styles have existed throughout its history. The most historic and well-known ones have received recognition from the government. For more information see the list of Japanese ceramics sites.

Museums and collections
A number of museums in Japan are dedicated entirely only to ceramics. Amongst the most well-known ones are the Aichi Prefectural Ceramic Museum close to Nagoya, the Arita Porcelain Park, the Fukuoka Oriental Ceramics Museum, the Kyushu Ceramic Museum, the Noritake Garden, the Museum of Oriental Ceramics, Osaka, the Okayama Prefectural Bizen Ceramics Museum, and the Ōtsuka Museum of Art. Public museums such as the Kyushu National Museum, Kyoto National Museum, Nara National Museum, Tokyo National Museum and Ishikawa Prefectural Museum of Art have important ceramic collections. A number of private museums also have important items such as the MOA Museum of Art, Mitsui Memorial Museum, Seikadō Bunko Art Museum, Fujita Art Museum and Kubosō Memorial Museum of Arts, Izumi. A number of important ceramic items are also owned and kept in various temples in Japan such as the Ryūkō-in, Kohō-an and Shōkoku-ji, however the items are not exhibited publicly.

Most ceramic museums around the world have collections of Japanese pottery, many very extensive.  Japanese modern ceramic works are often very sought-after and expensive. Apart from traditional styles art and studio pottery in contemporary art styles are made for the international market.

See also
 Japanese craft
 Japanese art
 Chinese ceramics
 Korean pottery and porcelain

 List of National Treasures of Japan (crafts: others)

References

Citations

Bibliography

Tsuneko S. Sadao and Stephanie Wada, Discovering the Arts of Japan: A Historical Overview, Tokyo-New York-London, KODANSYA INTERNATIONAL, 2003,

Sanders, Herbert Hong. The World of Japanese Ceramics. Kodansha International LTD, 1967.
Simpson, Penny. The Japanese Pottery Handbook. New York and San Francisco: Kodansha International LTD, 1979.
Turner, Jane. "Japan: Ceramics". Dictionary of Art: Jansen to Ketel. 1996. 240+.
Yap, Jennifer. "Wheel Throwing Tools: Japanese: Descriptions & Explanations – Traditional Japanese Clay Tools". Pottery @ Suite101.com. 30 Apr. 2007. 1 May 2009

Further reading

Simpson, Penny. The Japanese Pottery Handbook. New York and San Francisco: Kodansha International LTD, 1979.
Turner, Jane. "Japan: Ceramics". Dictionary of Art: Jansen to Ketel. 1996. 240+.
Sanders, Herbert Hong. The World of Japanese Ceramics. Kodansha International LTD, 1967.
Yap, Jennifer. "Wheel Throwing Tools: Japanese: Descriptions & Explanations – Traditional Japanese Clay Tools". Pottery @ Suite101.com. 30 Apr. 2007. 1 May 2009

External links

 Japanese Pottery Information Center

Japanese porcelain

Japanese pottery and porcelain


La Liga Premier de Antigua y Barbuda, llamada Digicel/Red Stripe Premier Division por razones de patrocinio, es la liga principal de fútbol en Antigua y Barbuda, se disputa desde 1928, pero no fue hasta 1962 cuando se empezaron a recavar los primeros datos de la liga teniendo al Arsenal como el primer campeón registrado. La liga es organizada por la Asociación de Fútbol de Antigua y Barbuda.

Formato
El campeonato se juega entre septiembre y marzo con el sistema de todos contra todos a 2 vueltas, completando 18 fechas. Quien consiga más puntos es el campeón. El último y el penúltimo clasificado descienden a Segunda División, mientras que el antepenúltimo clasificado juega una promoción contra el ganador del playoff por el tercer lugar de la segunda categoría.

Desde la temporada 2009-10, los equipos de Antigua y Barbuda no participan en el Campeonato de Clubes de la CFU ni en la Liga de Campeones.

Equipos 2022-23

Temporadas

Títulos por club

 † Equipo desaparecido.

Principales goleadores

Clasificación Histórica
 Clasificación histórica de la Primera División de Antigua y Barbuda desde la temporada 2000-01 bajo el nombre de la ABFA Premier League hasta la terminada temporada 2019-20.
 En color azul los equipos que disputan la Primera División de Antigua y Barbuda 2022-23.
 En color verde los equipos que disputan la Primera Liga de Antigua y Barbuda 2022-23.
 En color amarillo los equipos que disputan la Segunda Liga de Antigua y Barbuda 2022-23

Véase también
 Anexo:Clubes de fútbol de Antigua y Barbuda

Enlaces externos
 Football Antigua
 Lista de Campeones

Primera División de Antigua y Barbuda


Delfi, Yunanistan'da Dünya Kültür Mirası listesinde bulunan antik kent
 Delphi, programlama dili
 Delphi, Indiana, ABD'nin Indiana eyaletinde şehir
 Delphi metodu, yapısal iletişim ve tahmin yöntemi

Delphi


The Honolulu Advertiser was a daily newspaper published in Honolulu, Hawaii.  At the time publication ceased on June 6, 2010, it was the largest daily newspaper in Hawaii. It published daily with special Sunday and Internet editions. The Honolulu Advertiser was the parent publisher of Island Weekly, Navy News, Army Weekly, Ka Nupepa People, West Oahu People, Leeward People, East Oahu People, Windward People, Metro Honolulu People, and Honolulu People small, community-based newspapers for the public.

The Honolulu Advertiser has had a succession of owners since it began publishing in 1856 under the name the Pacific Commercial Advertiser. On February 25, 2010, Black Press, which owned the Honolulu Star-Bulletin, purchased The Honolulu Advertiser from Gannett Pacific Corporation, which acquired the Advertiser in 1992 after it had sold the Star-Bulletin to another publisher that later sold it to Black Press in 2000. On May 3, 2010, a new company set up by Black Press, HA Management, took over operations of the Advertiser and merged it with the Star-Bulletin on June 7, 2010, to form the Honolulu Star-Advertiser.

History

Henry M. Whitney

Businessman and son of Congregational missionaries, Henry M. Whitney founded the Pacific Commercial Advertiser in 1856, a weekly newspaper that was circulated primarily in the whaling port of Honolulu.  The inaugural edition was published on July 2 of that year with this statement from Whitney:
Thank Heaven, the day at length has dawned when the Hawaiian nation can boast a free press, untrammeled by government patronage or party pledges, unbiased by ministerial frowns or favors.

The biggest story in the first edition was a report on the wedding of Kamehameha IV and Queen Emma.  However, the front page was devoted almost exclusively to advertisements.  Throughout the paper, Whitney posted fifty-two advertisements for sailing ships in port at Honolulu Harbor with three hundred vessel timetables.  In 1870, Whitney went broke and was forced to sell the Commercial Advertiser to James Black and William Auld, local printers.  Whitney stayed on as the newspaper's editor.

Claus Spreckels
In 1880, Black and Auld sold the Pacific Commercial Advertiser to cabinet minister Walter M. Gibson, who was generally under financial control of Claus Spreckels. John Edward Bush, who was minister of the interior at the time, arranged for a government loan, and a guarantee of all government printing contracts.
Vehemently opposed to Spreckels's conservative  and pro-monarchy political stance, Whitney, as a devout annexationist, resigned as editor.  In his place, Wallace Rider Farrington, future Governor of the Territory of Hawaii, arrived from Maine to become the new editor. Spreckels's royalist slant in his editorial articles were deplored by many of the American businessmen residing in Hawaii at the time. Revenue suffered as a result, forcing Spreckels to eventually sell the Pacific Commercial Advertiser.

Lorrin A. Thurston and Son
In 1888, Spreckels sold his newspaper to the Hawaiian Gazette Company.  It in turn sold the newspaper in 1898 to Lorrin A. Thurston. Thurston was organizer of the Hawaiian League, which had forced King Kalākaua to agree to the "Bayonet Constitution" of 1887 backed by the Honolulu Rifles armed militia, and make Thurston a cabinet minister.  The 1887 constitution stripped the monarchy of most authority, took away many rights of native Hawaiians to vote in elections, and granted voting rights to American residents, even those who did not have citizenship in the kingdom. Thurston had been instrumental to the overthrow of the monarchy and the end of the existence of the Kingdom of Hawaii.

In 1921, Thurston changed the name of the Pacific Commercial Advertiser to The Honolulu Advertiser. The following year, Thurston hired Raymond S. Coll to be the newspaper editor. Coll served in that capacity until his retirement in 1959.

In 1931, Lorrin P. Thurston took over his father's position as editor and president of The Honolulu Advertiser. He would later become chairman of the Hawaii Statehood Commission.  Upon Raymond Coll's retirement, Thurston hired George Chaplin, former editor of the  military newspaper Pacific Stars and Stripes, as the editor of The Honolulu Advertiser. He would serve in this capacity for 28 years.

Thurston Twigg-Smith and George Chaplin
In 1961, Thurston Twigg-Smith continued family ownership as he inherited The Honolulu Advertiser from his uncle.  He remained publisher and president until 1986.  With the coupling of Chaplin and Twigg-Smith, The Honolulu Advertiser shifted its political slant from a staunchly conservative pro-Big Five newspaper to become a more moderate, racially progressive newspaper.  Both were enormously influenced by the rising local Chinese American, Filipino American and Japanese American readership and worked to cater to these communities' news interests.  In 1967, Twigg-Smith formed the Persis Corporation (known as Asa Hawaii Corporation until 1978) as the Advertisers parent company.

Gannett Pacific Corporation
In 1992, The Honolulu Advertiser was purchased by the Gannett Pacific Corporation, a subsidiary of Gannett Company Incorporated.  It became the first morning edition publication in Gannett's corporate history.  The company had already owned Honolulu's other major newspaper, the Honolulu Star-Bulletin, since 1973.  From 1962 to 2001, both dueling newspapers were administered under a joint operating agreement under which they shared printing and advertising operations but kept separate editorial staff and printing functions.  The agreement ended when the Honolulu Star-Bulletin was sold to a separate company.

Acquisition by Black Press and merger
On February 25, 2010, Black Press, which owned the Honolulu Star-Bulletin, purchased The Honolulu Advertiser. As part of the deal to acquire the Advertiser, Black Press agreed to place the Star-Bulletin on the selling block. If no buyer came forward by March 29, 2010, Black Press started making preparations to operate both papers through a transitional management team and then combine the two dailies into one.

On March 30, 2010, three parties came forward with offers to buy the Star-Bulletin, but a month later on April 27, 2010, the bids were rejected because their bids for the Star-Bulletin was below the minimum liquidation price. Black Press canceled the sale as a result and proceeded with transition plans, which came on the same day that they were approved to take over the Advertiser by the Department of Justice.

On May 3, 2010, a new company set up by Black Press, HA Management, took over the operations of the paper while Black Press continued overseeing the Star-Bulletin during a 30- to 60-day transition period, in which both papers merged into one daily, The Honolulu Star-Advertiser. The Advertiser published its final edition at 12:01 AM on June 6, 2010, and Black Press officially launched the Honolulu Star-Advertiser''' as a broadsheet morning daily on June 7, 2010.

The newspaper will be based out of the former Star-Bulletin offices at Restaurant Row and published at the former Advertiser printing facilities in Kapolei.  A total of 474 staffers are employed at the daily, 265 from the Advertiser and 209 from Star-Bulletin. The fonts still use the "Star-Bulletin" masthead but with "Advertiser" replacing the "Bulletin" name.

Advertiser BuildingThe Honolulu Advertiser staff occupied the Advertiser Building on 605 Kapiolani Boulevard in downtown Honolulu up until its last day of business on June 4, 2010, and the final pressing of its June 6, 2010, issue. It was built in 1929 by the architectural firm Emory & Webb in the beaux arts style. From the 1930s through the 1950s the building's roof sported two radio towers with the transmitting antenna of AM radio station KGU strung between them.

Although Gannett sold the Advertiser in May 2010, the building that housed the newspaper will not be for sale as it is expected to be sold to a different party in the future. Employees and staff have since moved over to the "Star-Advertiser" offices at Restaurant Row and to the Kapolei facility, leaving the building vacant except for a small crew that will remove most of the equipment and items in preparation for its sale.

The Advertiser Building is also used as a soundstage and houses small studios for Hawaii Five-0.

 References

 Further reading

External links
Official website
 Issues of The Pacific Commercial Advertiser (from July 2, 1856 to December 29, 1883), predecessor of The Honolulu Advertiser'', on Chronicling America

Defunct newspapers published in Hawaii
Mass media in Honolulu
Newspapers established in 1856
Publications disestablished in 2010
1856 establishments in Hawaii
2010 disestablishments in Hawaii
Black Press newspapers

The Honolulu Advertiser


Okrug Clare (, ) je jedan od 32 povijesna okruga na otoku Irskoj, smješten u njegovom jugozapadnom dijelu, u pokrajini Cúige Mumhan (Munster).

Irski okruzi

Clare (okrug)


Jutro će promeniti sve je srbijanska televizijska serija iz 2018. godine u produkciji RTS-a.

Sinopsis
Jutro će promeniti sve priča o mladim ljudima koji su prešli tridesetu, završili sa školovanjem, nisu osnovali obitelj, nemaju stalne poslove i još uvijek traže sebe i svoje mjesto u svijetu. Kroz borbu sa životnim izazovima jedne generacije, serija pokušava dočarati i duh Beograda danas.

Izvori

Srbijanske serije

Jutro će promeniti sve


جمعية الشبان المسلمين في فلسطين مؤسسة فلسطينية خيرية، اجتماعية، ثقافية، رياضية، كشفية، غير ربحية، تاسست عام 1985 في مدينة الخليل. والجمعية عضو في اتحاد الجمعيات الخيرية، ومعظم الاتحادات الرياضية الفلسطينية وتطبق منهاج التربية والتعليم في مدارسها إلى جانب انها توفر كل الإمكانات المتاحة لخدمة العملية التعليمية ابتداء من المباني المدرسية النموذجية وانتهاء بالمختبرات العلمية والفنية الحديثة والساحات والملاعب الرياضية والمواصلات والانشطة اللاصفية.

جمعية خيرية تعمل في مجالات متعددة أبرزها العمل الاجتماعي والرياضي والتربوي والكشفي والثقافي والعلمي.

توجد للجمعية هيئة عامة تقوم بانتخاب الهيئة الإدارة للجمعية كل عامين وقد أجريت آخر انتخابات للجمعية بتاريخ 22/2/2008م، ومن الجدير بالذكر ان عدد أعضاء الهيئة الإدارية المنتخبة سبعة أعضاء.

تقوم الهيئة الإدارية على رعاية الجمعية وقد أخذت على عاتقها مواصلة عملية البناء والتطوير لمسيرة الجمعية استكمالاً لعمل الهيئات الإدارية السابقة.

تحوى الجمعية العديد من المرافق منها أربعة رياض أطفال ومدرستين إحداها للذكور وأخرى للإناث ودار الفرقان لتحفيظ القرآن الكريم ولجان متعددة أبرزها نشاطاً اللجنة الاجتماعية والنسائية والثقافية والفنية. حيث يوجد لكل لجنة مهامها وأهدافها الخاصة التي تسعى لتحقيقها.

المقر
تقع الجمعية في الخليل في جنوبي الضفة الغربية، تحديداً في شارع عين سارة.

انظر أيضًا
 الجمعية الإسلامية بغزة
 جمعية الشبان المسلمين (مصر)

روابط خارجية
 بوابة جمعية الشبان المسلمين - الخليل

جمعيات إسلامية
نواد وجمعيات في فلسطين

جمعية الشبان المسلمين (فلسطين)


Elephantulus fuscipes es una especie de musaraña elefante en la familia Macroscelididae. Se encuentra en el noreste de la República Democrática del Congo, el sur de Sudán del Sur y Uganda. Sus hábitats naturales son pastizales secos subtropicales o tropicales con tierras bajas.

Referencias

Enlaces externos

fuscipes
Afroterios del África subsahariana
Fauna endémica del África subsahariana
Vertebrados descritos en 1894
Taxones descritos por Oldfield Thomas

Elephantulus fuscipes


Diese Seite listet die Zeichen U+6000 bis U+7FFF im Unicodeblock Vereinheitlichte CJK-Ideogramme auf.

Siehe auch
 Unicodeblock Vereinheitlichte CJK-Ideogramme
 Unicodeblock Vereinheitlichte CJK-Ideogramme/4E00 bis 5FFF
 Unicodeblock Vereinheitlichte CJK-Ideogramme/8000 bis 9FFF

CJK

Unicodeblock Vereinheitlichte CJK-Ideogramme/6000 bis 7FFF


Lucy Walker (* in London) ist eine britische Dokumentarfilmerin und Filmproduzentin.

Leben
Lucy Walker wuchs in London auf und begann während ihrer Schulzeit damit, Theaterstücke zu leiten. Dies führte sie als Studentin am New College der Oxford University fort, wobei sie Literaturwissenschaft studierte. Nachdem sie 1992 ihren Abschluss machte, bekam sie die Teilnahme am Fulbright-Programm und nahm an einem Studiengang der Tisch School of Arts der New York University teil, den sie mit dem Abschluss Master of Fine Arts beendete.

Walker ist für ihre vier Dokumentarfilme Devil's Playground, Blindsight, Waste Land und Countdown to Zero und zudem für ihren Dokumentar-Kurzfilm The Tsunami and the Cherry Blossom bekannt. Insgesamt gewann sie für ihre Filme 27 Preise und wurde zusätzlich 14 mal nominiert. Für Waste Land erhielt sie 2011 eine Oscarnominierung in der Kategorie Bester Dokumentarfilm, auch Walkers Dokumentar-Kurzfilm The Tsunami and the Cherry Blossom erhielt 2012 eine Oscarnominierung in der Kategorie Bester Dokumentar-Kurzfilm.

Filmografie
 2002: Devil's Playground
 2006: Blindsight
 2010: Waste Land
 2010: Countdown to Zero
 2011: The Tsunami and the Cherry Blossom
 2013: The Crash Reel
 2017: Buena Vista Social Club: Adios
 2021: Bring Your Own Brigade
 2022: How to Change Your Mind
 2023: Mountain Queen: The Summits of Lhakpa Sherpa

Einzelnachweise

Weblinks

 Twitter-Account von Lucy Walker

Filmproduzent
US-Amerikaner
Geboren im 20. Jahrhundert
Frau

Lucy Walker (Regisseurin)


Iriomote kedisi (Prionailurus iriomotensis), kedigiller (Felidae) familyasından yırtıcı bir kedi türü. Sadece Japonya'nın Ryūkyū Adaları'nın en güneyindeki adası olan Iriomote'da yaşar. İlk 1967 yılında bilimsel olarak tanımlanmıştır. Japonca: イリオモテヤマネコ İriomote-yama-neko olarak adlandırılır. Anlamı İriomote dağ kedisidir; neko=kedi yama=dağların (dağlardan gelen, dağlara ait). Ayrıca bölgesel diyalektte Yamamayaa ("dağ kedisi") veya Yamapikaryaa ("dağ parlak gözlüsü") veya İriomote Adası yerlileri tarafından da Pingiimayaa ("kaçmış kedi") olarak bilinir.

Özellikleri
Bu kedinin postu koyu kahverengi olup, şerit şeklinde sıralanmış koyu lekelerle kaplıdır. Vücudu uzun, organları görece kısa, kuyruk yine aynı şekilde bodur ve kalındır. Kulaklar küçük ve yuvarlağımsı olup, diğer birçok kedi türlerindeki gibi arka tarafında beyaz bir leke bulunur. Büyüklük bakımından ev kedisi ile kıyaslanabilir. Vücut uzunluğu yaklaşık 60 cm, kuyruğu ise 20 cm civarındadır. Erkekler 4.2 kg civarında olup, ortalama olarak 3.2 kilogram gelen dişilerden daha ağırdır.

Yaşam tarzı
Iriomote kedilerinin yaşam alanı ilk tahlilde, anavatanları olan adadaki kıyı şeridinin, subtropik yağmur ormanlarıdır. Dağlık olan iç bölgelerden mümkün mertebe kaçınırlar. Ağırlıklı olarak gece aktiftirler ve ağaç kovuklarında, dallarda ve kaya yarıklarında dinlenirler. Geceleri, nadiren gündüzleri de, ağaçlara tırmanarak veya yüzerek yiyecek ararlar.

Bu hayvanlar yalnız hareket ederler ve kendi bölgeleri vardır. Erkeklerin alanı 3 km2 büyüklüğünde olup diğer hayvanlarla çakışabilir ve birkaç ay sonra değiştirilir. Dişilerinki ise daha küçük (1.75 kilometrekare) olmakla birlikte süreklidir ve genelde diğeriyle çakışmaz.

Beslenme
Iriomote kedisi, Iriomote Adası'nda yaşayan hayvanların hemen hemen tamamıyla beslenen bir etoburdur. Menülerinde Meyve yarasaları (Uçanköpekler), Keme gibi memeliler, kuşlar, Scincidae, amfibyumlar, yengeçler bulunur.

Üreme
Başlıca üreme zamanı Şubat ve Mart aylarına rastlar, genelde doğumlar Mayıs ayına denk gelir. Gebelik 60 gün civarında olup akabinde dişi, bir vaya iki yavru dünyaya getirir. Bunlar iki ile üç aya kadar emzirilir. Sekiz ay civarında cinsel olgunluğa ulaşırlar. Yaşam süreleri tahminen 10 yıl civarındadır.

Tehdit
Iriomote kedisi en nadir kedi türü olup, ayrıca kedigiller familyasının  en küçük dağılım alanına da sahip olanıdır. Zira Iriomote Adası sadece 290 kilometrekare bir alanı kaplar. Tür tamamen koruma altındadır. Yaşam alanının daralması ve yol-araç trafiği şüphesiz tehdit oluşturur. Toplam popülasyonu sadece 100 yetişkin örnekten ibaret olduğu tahmin edilir. Aslında bu sayı 1980'lerden beri sabittir ve tür IUCN listesinde tehdit altında olarak listelenmiştir.

Dış bağlantılar
 Bilgiler (İngilizce)
 Deutsche Artbeschreibung (welt-der-katzen.de) Almanca

Ayrıca bakınız
Bengal kedisi

Prionailurus

Iriomote kedisi


Die Liste der denkmalgeschützten Objekte in Iža enthält die vier nach slowakischen Denkmalschutzvorschriften geschützten Objekte in der Gemeinde Iža im Okres Komárno.

Denkmäler

Legende

Einzelnachweise

!
Iza


Herman Vukušić (Zagreb, 9. svibnja 1966.) hrvatski je psihijatar.

Diplomirao je na Medicinskome fakultetu Sveučilišta u Zagrebu, a potom je položio specijalistički ispit iz psihijatrije. Od 1993. godine intenzivno se bavio utjecajem psihičke traume na duševno i tjelesno zdravlje hrvatskih branitelja i žrtava velikosrpske agresije. Na tomu je području autor niza znanstvenih i stručnih članaka, javno-zdravstvenih inicijativa i projekata te je čest predavač na skupovima u zemlji i inozemstvu. Član je američke Akademije stručnjaka za traumatski stres. Bio je stručni suradnik Europske komisije za pitanja psihosocijalnog stresa te pozvani predavač na godišnjim skupovima Nacionalnoga centra za PTSP na Sveučilištu Yale. Predavač je i na dodiplomskim i poslijediplomskim studijima medicine i psihologije. Obnašao je i dužnost pomoćnika ministra obitelji, branitelja i međugeneracijske solidarnosti u Vladi RH.

Izvori

Životopisi, Zagreb
Hrvatski psihijatri

Herman Vukušić (psihijatar)


Onthophagus monapoides é uma espécie de inseto do género Onthophagus, família Scarabaeidae, ordem Coleoptera.

História
Foi descrita cientificamente por Bates em 1888.

Referências

Ligações externas

monapoides
Coleópteros descritos em 1888

Onthophagus monapoides


Die Langnasenmanguste (Xenogale naso) ist eine Raubtierart aus der Familie der Mangusten (Herpestidae). Sie ist in ihrer Verbreitung auf den Zentralafrikanischen Regenwaldblock beschränkt. Früher wurde sie zur Gattung Herpestes gerechnet, was aber heute aufgrund von genetischen Analysen abgelehnt wird.

Merkmale
Die Langnasenmanguste ist eine große, dunkel gefärbte Manguste mit langer Schnauze. Sie erreicht eine Kopf-Rumpf-Länge von 40 bis 61 cm, eine Schwanzlänge von 32 bis 42,5 cm und ein Körpergewicht von 1,9 bis 4,5 kg. Das Deckhaar auf der Oberseite ist schwarzbraun sowie gelblich oder orange gesprenkelt, dazu relativ lang und rau. Die Unterwolle ist graubraun bis orangebraun. Das Fell auf der Bauchseite ist insgesamt heller und dünner. Am Kopf ist das Fell gräulich. Der recht langhaarige Schwanz und die Beine sind schwarz oder bräunlichschwarz. Die Füße tragen lange Krallen sowie angedeutete Schwimmhäute.

Verbreitung

Das Verbreitungsgebiet der Langnasenmanguste umfasst den gesamten Regenwaldblock Zentralafrikas. Hier findet man sie in Südost-Nigeria, in Kamerun, in der Zentralafrikanischen Republik, in Äquatorialguinea, in Gabun, der Republik Kongo und der Demokratischen Republik Kongo.

Lebensraum
Die Langnasenmanguste bevorzugt Wälder in der Nähe von Sümpfen, flussnahe Wälder und Flussbetten, kommt aber auch in etwas höher gelegenen Waldgebieten vor. Man hat sie bis in eine Höhe von 640 m nachgewiesen. Eine Studie im Dzanga-Sangha-Gebiet ergab, dass die Langnasenmanguste, die man vorher als seltene Art eingestuft hat, in diesem Gebiet das häufigste Raubtier ist. Die Langnasenmanguste bewohnt hier vor allem etwas höher gelegene Wälder, während das Vorkommen der ähnlichen Sumpfmanguste auf tiefer gelegene Sumpfwälder beschränkt ist. In Flusswäldern überlappen die Habitate beider Arten.

Lebensweise
Die Nahrung der Langnasenmanguste besteht vor allem aus Arthropoden und Kleinsäugern. Daneben frisst sie auch Früchte, Amphibien, Schlangen, Vögel, Echsen und Fische. Nur selten werden Bestandteile größerer Tiere wie etwa Duckern im Kot der Langnasenmanguste gefunden. Die Art ist vorwiegend tagaktiv. Nachts ruhen die Tiere meist in wechselnden Unterschlüpfen. Langnasenmangusten bewegen sich meist am Erdboden und leben in der Regel als Einzelgänger. Nur selten werden Paare beobachtet. Über das Fortpflanzungsverhalten ist wenig bekannt. Ein Wurf von drei Jungen ist nachgewiesen. Mit etwa sieben Jahren erreichen die Jungen die Größe der ausgewachsenen Tiere.

Systematik
Die Langnasenmanguste wurde ursprünglich in die Gattung Herpestes eingereiht. Genetische Studien zeigten allerdings eine relativ nahe Verwandtschaft zur Sumpfmanguste, die einer eigenen Gattung Atilax angehört. Mittlerweile wird sie deshalb als einzige Art der Gattung Xenogale behandelt. Ursprünglich wurden drei Unterarten der Langnasenmanguste beschrieben. Diese lassen sich allerdings morphologisch nicht unterscheiden und sind daher nicht akzeptiert.

Bedrohung und Schutz
Die International Union for Conservation of Nature and Natural Resources (IUCN) stuft die Indische Kurzschwanzmanguste als "nicht gefährdet" (least concern) ein. Die Art wird teilweise wegen ihres Fleisches vom Menschen bejagt. Im Nigerdelta scheint sie selten zu sein.

Einzelnachweise

Literatur
 J. S. Gilchist, A. P. Jennings, G. Veron, & P. Cavallini (2009). Family Herpestidae (Mongooses). In: Don E. Wilson, Russell A. Mittermeier (Hrsg.): Handbook of the Mammals of the World. Volume 1: Carnivores. Lynx Edicions, 2009, ISBN 978-84-96553-49-1, (S. 311).

Weblinks

Mangusten

Langnasenmanguste


Fugleskræmslet er en dansk stumfilm fra 1919 instrueret af Lau Lauritzen Sr..

Handling

Medvirkende
 Arne Weel, Adonis
 Lauritz Olsen, Hansen, Adonis' far
 Hertha Christophersen, Skyldfri
 Hans Dynesen, Jensen, Skyldfris far
 Frederik Buch, Fipp, skrædder
 Betzy Kofoed

Eksterne henvisninger

Kortfilm fra Danmark
Stumfilm fra Danmark
Danske film fra 1919

Fugleskræmslet (film fra 1919)


An Paepalanthus convexus in uska species han Liliopsida nga ginhulagway ni Henry Allan Gleason. An Paepalanthus convexus in nahilalakip ha genus nga Paepalanthus, ngan familia nga Eriocaulaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Mga sumpay ha gawas

Paepalanthus

Paepalanthus convexus


Die Pardelgenette (Genetta pardina, englisch West African Large-spotted Genet) ist eine Raubtierart aus der Familie der Schleichkatzen (Gattung Ginsterkatzen). Sie lebt in Westafrika und gilt als ungefährdet.

Merkmale
Genetta pardina ist eine kräftig gebaute Ginsterkatze mit kurzem, rauem Fell. Dieses ist oberseits gelblichgrau bis blass oder sandgrau gefärbt. Die breite, dunkle Linie auf der Rückenmitte (Aalstrich) beginnt hinter den Schultern und reicht bis zur Schwanzwurzel, ein "Rückenkamm" fehlt. Die Rückenflecken sind dunkelbraun oder rötlich, länglich, kantig und von dunklen Ringen begrenzt. Die Flecken der beiden oberen Reihen sind relativ gleichmäßig angeordnet und etwa so breit wie der Aalstrich, nach unten werden die Flecken kleiner und unregelmäßiger. Das Gesicht trägt eine klar abgrenzte dunkle Maske zwischen hellen Zeichnungselementen. Der Schwanz weist 6–7 helle Ringel auf, die sich mit deutlich breiteren dunklen Streifen abwechseln, die Schwanzspitze ist hell. Für die Kopf-Rumpf-Länge werden 41–55,3 cm für Männchen und 41–53 cm für Weibchen angegeben. Die Schwanzlänge beträgt 39–49 cm bei Männchen und 42–45 cm bei Weibchen, das Gewicht kann bis zu 3,1 kg betragen.

Verbreitung und Lebensräume

Das Verbreitungsgebiet der Pardelgenette erstreckt sich vom Senegal und Mali über Gambia, Guinea, Guinea-Bissau, Sierra Leone, Liberia und die Elfenbeinküste nach Ghana und Burkina Faso. Der Verlauf des östlichen Arealrandes ist unklar.

Als Lebensräume dienen primäre und sekundäre Regenwälder, Galeriewälder und feuchte Savannen. Auch verbuschte Bereichen ("bushland"), Forst-Plantagen und Ortsränder werden bewohnt.

Lebensweise
Die Lebensweise ist weitgehend unbekannt. Pardelgenetten ernähren sich vermutlich von Nagetieren, Wirbellosen und Früchten. Die Tiere sind wahrscheinlich nachtaktiv.

Gefährdung
Aufgrund der relativ weiten Verbreitung und des Vorkommens in unterschiedlichen Habitaten stuft die IUCN die Pardelgenette als ungefährdet ("least concern") ein. Aufgrund des hohen Jagddrucks ("bushmeat") auf die im Gebiet lebenden Ginsterkatzen kann eine Neubewertung notwendig werden.

Einzelnachweise

Weblinks

 [ Genetta pardina bei der IUCN]

Schleichkatzen

Pardelgenette


Ashley Roberts, 14 Eylül 1981 yılında Phoenix, Arizona'da doğmuştur. Eskiden The Pussycat Dolls dans/müzik grubunun üyelerinden biri olan Roberts gruptan ayrılmıştır. Gruptayken en yakın arkadaşları Kimberly Wyatt ve Jessica Sutta'ydı. Aynı zamanda grupta dansçı erkeklerden olan Kenny Wormald sevgilisidir.

Kayıt grubu kurulmadan önce de Pussycat Dolls grubunda olan Ashley, PCD'nin Doll Domination albümünde Played adlı şarkıyı söylemiştir.

Dış bağlantılar
 Ashley Roberts  - MySpace
 Pussycat Dolls Resmi Web Sitesi

1981 doğumlular
Phoenix, Arizona doğumlular
Amerikalı kadın müzisyenler
Amerikalı kadın dansçılar
The Pussycat Dolls üyeleri
Yaşayan insanlar
Amerikalı kadın dizi oyuncuları
21. yüzyılda Amerikalı şarkıcılar
Amerikalı kadın pop şarkıcıları

Ashley Roberts


Lilit Hovhannisyan (armeană: Լիլիթ Հովհաննիսյան; n. 7 decembrie 1987, Erevan) este o cântăreață armeană de muzică pop. A devenit cunoscută în 2006, odată cu participarea la primul sezon al emisiunii-concurs Hay Superstar, unde a ocupat locul 4. Primul album al artistei, Nran ("Pentru el"), a fost lansat în 2011. Patru ani mai târziu a apărut "Im Tiknikn Es", cel mai popular single al artistei, cu peste 57 de milioane de vizualizări pe YouTube. De-a lungul carierei, Lilit a câștigat numeroase premii, cel mai notabil dintre acestea fiind cel de "Cea mai bună cântăreață", decernat în cadrul "2016 Pan Armenian Entertainment Awards" din Los Angeles, eveniment organizat de Global Arts International în colaborare cu PanArmenian Media Group.

Biografie
Lilit Hovhannisyan s-a născut pe 7 decembrie 1987 în Erevan dintr-o mamă profesoară de armeană și un tată inginer. Lilit este absolventă a Conservatorului de Stat din Erevan, secțiunea Jazz–Voce. Din 2011 este căsătorită cu Vahram Petrosyan, compozitor și fostul ei mentor la Hay Superstar.

Discografie

Albume

Single-uri

 "Voch-Voch" (2011)
 "Nran" (2011)
 "Mayrik" (2011)
 "Im Srtin Asa" (2012)
 "Too-Too-Too" (2012)
 "Te Aghjik Lineir" (2012)
 "Es Em Horinel" (2012)
 "Requiem" (2013)
 "Qez Mi Or Togheci" (2013)
 "Gnchu" (2013)
 "Eli Lilit" (2013)
 "Elegia" (2013)
 "Qez Khabel Em" (2014)
 "Armenian Girl" (2014)
 "Indz Chspanes" (2014)
 "De El Mi" (2014)
 "Im Tiknikn Es" (2015)
 "Mexican" (2015)
 "Im Ser, Atum Em Qez" (2015)
 "Im Bajin Sere" (2016)
 "HETDIMO" (2016)
 "Hin Chanaparhov" (2016)
 "Avirel Es" (2017)
 "Balkan Song" (2018)
 "Bulgarian" (2018)

Note

Legături externe
 Lilit Hovhannisyan pe Facebook
 Lilit Hovhannisyan pe Twitter
 Lilit Hovhannisyan pe Instagram
 Lilit Hovhannisyan pe YouTube
 Lilit Hovhannisyan pe Spotify
 Lilit Hovhannisyan pe Apple Music

Nașteri în 1987
Nașteri pe 7 decembrie
Cântărețe de muzică pop
Cântăreți armeni

Lilit Hovhannisyan


An Eulophiella galbana in uska species han Liliopsida nga syahan ginhulagway ni Henry Nicholas Ridley, ngan ginhatag han pagkayana nga asya nga ngaran ni Jean Marie Bosser och Philippe Morat. An Eulophiella galbana in nahilalakip ha genus nga Eulophiella, ngan familia nga Orchidaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Eulophiella

Eulophiella galbana


El faro Cabo San Pio se encuentra en la ubicación  frente a la isla Nueva, en la costa de la margen norte del Canal Beagle, en el departamento Ushuaia de la provincia de Tierra del Fuego, Antártida e Islas del Atlántico Sur (Argentina). Se encuentra sobre el cabo del mismo nombre, sobre una costa acantilada con angostas playas y un acceso muy dificultoso desde el mar.

La construcción se inició en el mes de marzo de 1919 bajo la supervisión del Teniente de Fragata Francisco Stewart de la embarcación A.R.A. "Piedra Buena" contando con 34 albañiles, 2 peones albañiles, 3 peones, 1 cocinero y 2 foguistas. El faro fue construido en 10 días y para el 20 de marzo ya le habían dado dos manos de cal blanca. Es una torre cónica de 8 metros de altura y es ligeramente curvilínea siendo librado al servicio el 22 de marzo de 1919.

Se trata de una torre cónica, a franjas blancas y rojas, de 8 metros de altura. El alcance luminoso actual es de , mediante energía solar fotovoltaica (con paneles solares y baterías), equipo instalado en marzo de 1985.

El nombre del cabo alude a la corbeta San Pío con la cual el teniente de fragata Juan José de Elizalde y Ustáriz realizó en 1790 una expedición a las costas orientales de Tierra del Fuego. En el mes de febrero de 1791 enviaron una lancha desde Bahía Aguirre que llega el día 3 de ese mes a una punta que identifica como sin nombre. Sin embargo la distancia consignada por Elizalde no coincide con la medible desde Bahía Aguirre por lo que la identificada por la expedición no sería la que hoy lleva dicho nombre. La expedición de Robert Fitz Roy en el siglo XIX es la que le otorga el actual nombre es este accidente geográfico.

Véase también
 Anexo:Faros de Argentina

Referencias

Canal Beagle
Departamento Ushuaia
Cabo San Pio

Faro Cabo San Pío


මෙහිදී රචකයන්  හා නිෂ්පාදකයන්, අධ්‍යක්ෂණය විවිධ අංගයන්ට ගැලපෙන්නා වූ නාට්‍යශාලා ප්‍රභේද ඇත.

සටහන්

නාට්‍ය ශාලා වර්ග


Donald Young (født 23. juni 1989) er en professionel amerikansk tennisspiller, der blev professionel i 2004, og som sin bedste rangering har været nummer 38 på ATP-listen i single, hvilket skete i februar 2012. Sit bedste grand slam-resultat har han opnået i US Open, hvor han to gange er nået til fjerde runde, senest i 2015.

Eksterne henvisninger

Tennisspillere fra USA

Donald Young


Valverde Portekiz'de Aguiar da Beira belediyesine bağlı olan, 7,37 km2 yüzölçümüne sahip, 203 nüfuslu (2001) bir bucaktır (Portekizce: freguesia).

Aguiar da Beira'nın bucakları

Valverde (Aguiar da Beira)


was originally the area around today's Sakurai City in Nara Prefecture of Japan, which became Yamato Province and by extension a name for the whole of Japan.

Yamato is also the dynastic name of the ruling Imperial House of Japan.

Japanese history
 Yamato people, the dominant ethnic group of Japan
 Yamato period, when the Japanese Imperial court ruled from Yamato Province
 Yamato Kingship, the government of the Yamato period
 Yamato clan, clan active in Japan since the Kofun period
 Yamato-damashii, the "Japanese spirit", or Yamato-gokoro, the "Japanese heart/mind"
 Yamato nadeshiko, the ideology of the perfect Japanese woman
 Yamato Takeru, a legendary Japanese prince of the Yamato dynasty
 Yamato-e, classical Japanese painting
 Yamato-uta, alternative term for waka (poetry)
 Yamatai, ancient geographical term that may be associated with Yamato
 Daiwa (disambiguation) is spelled using the same kanji as Yamato

Geography

Japan
 Yamato Province, Japan, former province, present-day Nara Prefecture
 Yamato, Fukuoka, a town in Fukuoka Prefecture
 Yamato, Fukushima, a town in Fukushima Prefecture
 Yamato, Gifu, former town now part of Gujo City, Japan
 Yamato, Ibaraki, a village in Ibaraki Prefecture
 Yamato, Kagoshima, a village in Kagoshima Prefecture
 Yamato, Kanagawa, a city in Kanagawa Prefecture
 Yamato, Kumamoto, a town in Kumamoto Prefecture
 Yamato, Niigata, former town now part of the city of Minamiuonuma
 Yamato, Saga, a town in Saga Prefecture
 Yamato, Yamaguchi, former town now part of Hikari
 Yamato, Yamanashi, a village in Yamanashi Prefecture
 Yamato River, a river in Nara and Osaka Prefecture
 Yamato Town, later renamed Wakō, Saitama
 Yamato Village, later renamed Higashiyamato, Tokyo

United States
 Yamato Colony, California, Japanese-American agricultural community
 Yamato Colony, Florida, former Japanese farm settlement

Antarctica
 Yamato Glacier
 Yamato Mountains

Meteorites
 Yamato 691, 4.5-billion-year-old meteorite
 Yamato 791197, lunar meteorite found on Earth
 Yamato 000593, Martian meteorite found on Earth

Ships
 Yamato (ship), several Japanese ships of this name
 Yamato-class battleship
 Japanese battleship Yamato
 Japanese corvette Yamato
 Yamato 1

Companies
 Yamato Life Insurance Company, Japan
 Yamato Transport, Japan, delivery service

Animals
 Caridina multidentata (Yamato shrimp)

Language
 Yamato kotoba, native Japanese language vocabulary

People
 Yamato (surname)
 Yamato (given name)
 Yamato (wrestler), Japanese professional wrestler

Entertainment
 Wadaiko Yamato, Japanese musical group
 Yamato (film), about the World War II battleship Yamato
 Space Battleship Yamato (2010 film), Japanese live action film
 Yamato Man, a robot master in Mega Man 6 and Mega Man Battle Network 3
 Yamato, the signature sword wielded by Vergil in the Devil May Cry franchise
 The Ark of Yamato, an area in the video game Ōkami
 The Yamato Perpetual Reactor, a particle accelerator from Shin Megami Tensei IV
 Yamato, a battlecruiser cannon from the StarCraft franchise
 Takeshi Yamato, alter ego of Ultraman 80's TV show

Anime and manga
 Space Battleship Yamato (disambiguation), Japanese TV, film and game series; Star Blazers in the West
 Yamato Takeru (anime)
 Yamato Takeru (film)
 Shiroi Senshi Yamato (Yamato, the White Fighter), a manga by Yoshihiro Takahashi
 Takeru Yamato, character in the Eyeshield 21 manga
 Yamato, Kaido's daughter from One Piece

Publications
 Yamato (magazine), Italian propaganda magazine published during World War II

See also
 An Investigation of Global Policy with the Yamato Race as Nucleus
 Yamoto (disambiguation)
Yamato is usually written as "大和", but these two characters can also be read as "Daiwa" or "Taiwa".

Yamato may erroneously refer to the identically written:
 Daiwa, Hiroshima, now part of the city of Mihara, Japan
 Daiwa, Shimane, now part of the town of Misato, Japan
 Taiwa, Miyagi, a town in Miyagi Prefecture
 Daiwa Bank, now a part of Resona Holdings

Japanese-language surnames
Japanese masculine given names
Masculine given names

Yamato


An Platylepis zeuxinoides in uska species han Liliopsida nga ginhulagway ni Schltr.. An Platylepis zeuxinoides in nahilalakip ha genus nga Platylepis, ngan familia nga Orchidaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Platylepis

Platylepis zeuxinoides


Robert Změlík () (born 18 April 1969 in Prostějov) is a Czech track and field athlete who won a gold medal in Olympic decathlon in 1992.

His personal best in decathlon was 8627 points (1992), in Heptathlon 6228 points (1997), both former national records. Změlík's Olympic success was influential for two other Czech decathletes and world record holders, Tomáš Dvořák and Roman Šebrle.

He was a frequent competitor at the Hypo-Meeting in Götzis, Austria, participating in 1989, 1991, 1992, 1993 and 1995. He made the podium for the first time in the 1991 Hypo-Meeting, taking second place with a score of 8346 points, then had his first win at the 1992 Hypo-Meeting, where he set a career-best score.

International competitions

External links

1969 births
Living people
Sportspeople from Prostějov
Czech decathletes
Czechoslovak decathletes
Czech male hurdlers
Olympic athletes for Czechoslovakia
Olympic gold medalists for Czechoslovakia
Athletes (track and field) at the 1992 Summer Olympics
Olympic athletes for the Czech Republic
Athletes (track and field) at the 1996 Summer Olympics
World Athletics Championships athletes for Czechoslovakia
World Athletics Championships athletes for the Czech Republic
Medalists at the 1992 Summer Olympics
Olympic gold medalists in athletics (track and field)
World Athletics Indoor Championships winners

Robert Změlík


Besa Shahini (nascida a 1982) é uma política albanesa, nascida no Kosovo, que serviu como Ministra da Educação, Desporto e Juventude no segundo governo de Edi Rama.

Nascidos em 1982
Pessoas vivas
Políticos da Albânia
Políticos do Kosovo
Naturais do Kosovo
!Mais Teoria da História na Wiki (Mulheres)

Besa Shahini


Veleda () was seeress of the Bructeri, a Germanic people who achieved some prominence during the Batavian rebellion of AD 69–70, headed by the Romanized Batavian chieftain Gaius Julius Civilis, when she correctly predicted the initial successes of the rebels against Roman legions.

Name
The name Veleda () is most likely a borrowing from Gaulish *ueletā ('seeress'; cf. Gaul. uelets, Old Irish filed, Middle Welsh gwelet, Middle Breton guelet), with regular Germanic sound shift -t- > -d-.

Life
The name may be Celtic and generic title for a prophetess (from Proto-Celtic *welet- "seer", a derivative of the root *wel- "to see"). The ancient Germanic peoples discerned a divinity of prophecy in women and regarded prophetesses as true and living goddesses. In the latter half of the 1st century AD Veleda was regarded as a deity by most of the tribes in central Germany and enjoyed wide influence. She lived in a tower near the Lippe River, a tributary of the Rhine. The inhabitants of the Roman settlement of Colonia Claudia Ara Agrippinensium (now Cologne) accepted her arbitration in a conflict with the Tencteri, an unfederated tribe of Germany (i.e., one outside the boundary of the Roman Empire). In her role as arbitrator, the envoys were not admitted to her presence; an interpreter conveyed their messages to her and reported her pronouncements.

Batavian Uprising
The Batavian leader Civilis originally raised his force as an ally of Vespasian during the Roman power struggle in AD 69, but when he saw the weakened condition of the legions in Romanized Germany he openly revolted. It is not clear whether Veleda merely prophesied the rebellion or actively incited it; given the Germans' adoration of her as a goddess, remote in her tower, the distinction may not have been clear at the time. Early in AD 70 the revolt was joined by Julius Classicus and Julius Tutor, leaders of the Treviri who like Civilis were Roman citizens. The Roman garrison at Novaesium (now Neuss) surrendered without a fight, as did the one at Castra Vetera (near modern Xanten in Niederrhein, Germany). The commander of the Roman garrison, Munius Lupercus, was sent to Veleda, though he was killed en route, evidently in an ambush. Later, when the praetorian trireme was captured, it was rowed upriver on the Lippe as a gift to Veleda.

A strong show of force by nine Roman legions under Gaius Licinius Mucianus caused the rebellion to collapse. Civilis was cornered on his home island of Batavia on the lower Rhine by a force commanded by Quintus Petillius Cerialis; his fate is unknown, but in general Cerialis treated the rebels with surprising lenience, so as to reconcile them to Roman rule and military service. In Veleda's case, she was left at liberty for several years.

In AD 77 the Romans either captured her, perhaps as a hostage, or offered her asylum. According to Statius, her captor was then-Governor of Germania Inferior Rutilius Gallicus. A Greek epigram has been found at Ardea, a few kilometres south of Rome, that satirizes her prophetic powers. Veleda may have acted in the interest of Rome by negotiating the acceptance of a pro-Roman king by the Bructeri in AD 83 or 84. She was evidently long since deceased by the time Tacitus wrote his Germania in AD 98.

Legacy

In her 1795 novel Velleda, ein Zauberroman (Velleda, a Magic Novel), Benedikte Naubert conflated the lives of two contemporaries, Boudica and Veleda, whom she romanticized as Boadicea and Velleda. In Naubert's work, Velleda is portrayed as a sorceress who offers Boadicea's daughters access to immortality in the magical world of Germanic goddesses, while Boadicea draws her daughters back to the real world. A large extract from Naubert's novel appeared in Shawn C. Jarvis and Jeannine Blackwell's The Queen's Mirror, as did Amalie von Helwig's 1814 story "Die Symbole" (The Symbols), in which she was called Welleda. The forms "Velleda" and "Welleda" appear to be attempts to render the name in modern German (much as Richard Wagner rendered Odin or Wōden as Wotan in his Ring cycle).

Other 19th-century works incorporating Veleda/Velleda/Welleda included Friedrich de la Motte-Fouqué's 1818 novel, Welleda und Gemma; Eduard Sobolewski's 1835 opera Velleda; E.H. Maindron's 1843–44 marble sculpture Velleda; Franz Sigret's drawing Veleda, Prophetess of the Bructeri, and Paul Dukas' cantata Velléda.

More recently, Veleda's story was fictionalized by Poul Anderson in Star of the Sea (1991), and by Lindsey Davis in The Iron Hand of Mars (1992) and Saturnalia (2007). Veleda is also referenced as a prophetess turned saint/goddess in The Veil of Years (2001) by L. Warren Douglas.  She is also a character in The Dragon Lord (1979), by David Drake.

On November 5, 1872, Paul Henry of Paris discovered an asteroid which was named 126 Velleda in honor of Veleda.

See also
 Germanic paganism
 Weleda

References

Bibliography

External links
 Livius.org: Veleda

1st-century clergy
1st-century Germanic people
People of the Year of the Four Emperors
Deified women
Germanic seeresses
Women in 1st-century warfare
Women in ancient European warfare
1st-century women

Veleda


Salix nakamurana es una rara especie de sauce perteneciente a la familia de las salicáceas. Es nativa de las laderas alpinas del centro de Japón.

Descripción
Es un pequeño arbusto postrado caducifolio que alcanza un tamaño de 10 a 30 cm de altura. Forma una pequeña comunidad de ramas rastreras. Las hojas son ovales y aparecen después del deshielo y miden aproximadamente 2 a 5 cm de longitud. Los márgenes son serrados. Es dioica en la que las flores masculinas y femeninas se presentan en plantas separadas.

Taxonomía
Salix nakamurana fue descrita por Gen-Iti Koidzumi y publicado en Bot. Mag. (Tokyo) 1913
Etimología
Salix: nombre genérico latino para el sauce, sus ramas y madera.

nakamurana: epíteto
Sinonimia
Salix aquilonia KIMURA
Salix ketoiensis KIMURA
Salix rashuwensis KIMURA

Referencias

Enlaces externos

nakamurana
Flora de Japón
Plantas descritas en 1913
Plantas descritas por Koidzumi

Salix nakamurana


An Vallisneria longipedunculata in uska species han Liliopsida nga ginhulagway ni X.S.Shen. An Vallisneria longipedunculata in nahilalakip ha genus nga Vallisneria, ngan familia nga Hydrocharitaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Vallisneria

Vallisneria longipedunculata


Shtora-1 (, "curtain") is an electro-optical active protection system or suite for tanks, designed to disrupt the laser designator and laser rangefinders of incoming anti-tank guided missiles (ATGMs). The system is mounted on the Russian T-80 and T-90 series tanks and the Ukrainian T-84. The existence of Shtora  was revealed in 1980 by Adolf Tolkachev.

Description
Shtora-1 is an electro-optical jammer that disrupts semiautomatic command to line of sight (SACLOS) ATGMs, laser rangefinders and target designators. Shtora-1 is a  soft kill countermeasure system. The system was shown fitted to a Russian main battle tank during the International Defense Exposition, held in Abu Dhabi in 1995. The first known application of the system is the Russian T-90 main battle tank, which entered service in the Russian Army in 1993. It is also available on the BMP-3M infantry fighting vehicle.

Components

The Shtora-1 has four key components: two electro-optical/infrared (EO/IR) "dazzlers" mounted on both turret cheeks, an infrared jammer, a modulator, and a control panel in the fighting compartment.

 Banks of forward firing grenade launchers on each side of the turret that lay an aerosol smoke screen opaque to IR light.
 A laser warning system consisting of four angle sensors with two higher precision sensors covering the frontal 90° arc and two lower precision sensors covering the sides and rear.
 A control system comprising control panel, microprocessor, and manual screen-laying panel. This processes the information from the sensors and activates the aerosol screen-laying system.
 Two IR lights, one on each side of the main gun, continuously emit coded pulsed-IR jamming when an incoming ATGM has been detected.

Shtora-1 has twelve smoke grenade launchers and weighs 400 kg. It can lay a 15 meter high and 20 meter wide smoke screen in three seconds that lasts about twenty seconds at ranges from 50 to 70 meters. The Shtora-1 can also automatically slew the main gun towards a detected threat, so that the tank crew can return fire and so that the stronger frontal turret armour is facing it.

Shtora-1 can operate in fully automatic or semi-automatic modes, continuously for six hours against ATGM attack.

Operational history
The Shtora-1 can effectively jam obsolete SACLOS missiles such as the TOW, HOT, MILAN, Dragon, and Malyutka and laser guided weapons such as the Copperhead and some variants of the Maverick and Hellfire. Newer missiles such as the TOW 2 (which encodes the tracking beacon signals to reject interference) and imaging infrared guided missiles such as the Javelin are unaffected by it. This has resulted in a number of Shtora-1 protected T-90s being lost to such weapons in Syria and Ukraine. The jammers have been removed from many currently serving T-90s and the more modern S and M variants did not include them.

Specifications
 Laser illumination sensors:
 2x TShU-1-1 coarse precision sensors and 2x TShU-1-11 fine sensors
 Field of view (each): 138° azimuth (coarse) 45° (fine) and −5 to +25° elevation
 Field of view (total): 360° azimuth
 Angular resolution: 7.5° (coarse) 3.75° (fine)
 EO interference emitters:
 2x OTShU-1-7
 Operating band: 0.7-2.7 μm
 Protected sector: 4° elevation and 20° azimuth
 Energy consumption: 1 kW
 Light intensity: 20 mcd
 IR smoke grenades:
 12x 81 mm 3D17
 Obscured band: 0.4-14 μm
 Bloom time: 3 s
 Cloud persistence: 20 s

Notes

References

Armoured fighting vehicle equipment
Missile countermeasures
Military equipment introduced in the 1980s

Shtora-1


Østre Ringvej  er en 2 sporet ringvej, den er en del af sekundærrute 265 og der går igennem det østlige Næstved. Der kører dagligt omkring 13.500 bilister på vejen.

Østre Ringvej leder trafikken øst om, og den gennemgående trafik uden om bykernen, samt fordeler trafikken ud til de østlige og sydlige boligområder.
Vejen forbinder Vestre Ringvej i øst med Ringstedgade i nord, den har forbindelse til sekundærrute 265 Ny Præstøvej som går mod Præstø. Vejen ender i Ringstedgade i det nordlige Næstved, og som går videre mod Ringsted.

Vejen blev anlagt i 1938-1941, og i den forbindelse gravede man igennem Mogenstrup Ås åsen frem for at få en plan lige vej.

Vejdirektoratet er i gang med at bygge en ny omfartsvej nord om Næstved, første etape af Ring Nord åbnede for trafik den 24. november 2015, efter denne åbning, blev Østre Ringvej nedgraderet fra primærrute til almindelig vej.

Broer
En vejbro over jernbanen blev revet ned i 2019 for at gøre plads til en udvidelse af Sydbanen. I mellemtiden blev der etableret omkørsel i byen. Broen, og dermed Østre Ringvej, genåbnede efter fire måneder i september.

Tidligere har der eksisteret to gangbroer over Østre Ringvej, der kunne lede gående over vejen mellem Skyttemarksvej og Kalbyrisvej; M-broen og A-broen (navngivet efter formen på broerne). Førstnævnte blev fjernet i 2017 efter at have stået der i 25 år, og der i stedet etableret et fodgængerovergangsfelt.

Den 18 december 2018 ved middagstid blev A-broen ramt af en lastbil, såledesat broen faldt sammen. Lastbilen væltede ved sammenstødet, og flere dele fra broen føj ind og ramte en afdeling af Ellebækskolen, ingen kom dog til skade. Lastbilchaufføren fik benbrud. I oktober 2019 blev det annonceret, at Næstved Kommune sammen med vognmandens forsikringsselskab Topdanmark var nået til enighed om at genopføre broen.

Kilder

Veje i Næstved
Ringveje i Danmark

Østre Ringvej (Næstved)


Le  (en coréen : ) est un ensemble de bâtiments religieux situé en Corée du Sud dans le bourg rural de Haemi sis dans la municipalité de Seosan, auquel l'Église catholique donne le statut de sanctuaire international depuis 2020. Il est rattaché au diocèse de Daejeon.

Historique

Persécutions
À plusieurs occasions au , la dynastie Joseon persécute les catholiques de Corée. Haemi est alors une importante base militaire , et même si le pouvoir politique s'est déplacé de la ville, la zone sous son contrôle reste très étendue .

Les premiers martyrs catholiques de Haemi recensés sont exécutés le . Entre 1866 et 1872, lors de ce que l'on appelle les , plus d'un millier de catholiques des régions avoisinantes sont regroupés à la , où ils sont soit exécutés soit enterrés vivants.

Sanctuaire

En 1935, des fouilles sont effectuées par les catholiques pour estimer l'ampleur et l'horreur des persécutions. Dans les années 1950, un petit sanctuaire est créé, mais il est détruit en 1982 par le gouvernement au nom de la préservation de l'unité culturelle du pays, et sa reconstruction pour un temps interdite.

La paroisse de Haemi est fondée en 1985. Les restes des martyrs, qui avaient été déplacés à la cathédrale de Seosan en 1935, sont ramenés sur place le . Une collecte de fonds a lieu à partir de 1999, et le sanctuaire est inauguré en août 2000, avec une chapelle achevée le .

Reconnaissance

Le pape François se rend en Corée du Sud pour l'Année de la foi en 2014 . Le , il reconnait  coréens comme bienheureux, dont trois morts à Haemi. Le lendemain, il se rend sur le lieu du sanctuaire.

Le site est reconnu sanctuaire international par le Saint-Siège depuis le premier dimanche de l'Avent 2020, le . L'annonce est rendue publique plus tard, le . Il s'agit du second site coréen ainsi reconnu après les Sentiers du pèlerinage catholique de Séoul, qui ont le statut depuis 2018.

Références

Voir aussi

Articles connexes
 Catholicisme en Corée du Sud
 Sentiers du pèlerinage catholique de Séoul
 Martyrs de Corée

Lien externe

Catholicisme en Corée du Sud
Église en Corée du Sud
Lieu de pèlerinage catholique

Sanctuaire du Martyre de Haemi


Josip Štolcer-Slavenski (Serbian Cyrillic: Јосип Штолцер-Славенски; 11 May 1896 – 30 November 1955 ) was a Croatian composer and professor at the Music Academy in Belgrade.

British musicologist Jim Samson described Štolcer-Slavenski as "undoubtedly one of a very small handful of truly major composers from South East Europe in the first half of the twentieth century".

Life and career
Josip Štolcer was born in Čakovec in 1896. His father gave him his first instruction in music, then in 1913 he entered the Budapest Conservatory  where his teachers included Zoltán Kodály, Albert Siklós, and Béla Bartók.  His studies were interrupted in 1916 by army service and at the end of the war he returned to his father's bakery business in Čakovec. In 1921 he went to study in Novák's masterclasses at the Prague Conservatory.  While in Prague, he joined the International Society for Contemporary Music. Having completed his studies in 1923 he returned to Croatia and taught for a year at the music school of the Zagreb Music Academy. At that time, he started to sign his last name as Štolcer-Slavenski, which was both a reflection of his enthusiasm for the Yugoslav idea, and a rejection of his German-sounding last name. In 1924 he moved to Belgrade, where he stayed for the rest of his life (except for a period in 1925–6 spent in Paris); he taught first at the Stanković School of Music, then at the music school of the Belgrade Academy (1937–45), becoming in 1945 professor of composition at the latter.

Slavenski first attracted attention when in 1920 his orchestral Notturno op.1 was performed in Zagreb; in 1924 his First String Quartet was performed with success at the Donaueschingen Festival. Kleiber conducted his symphony Balkanophonia, first in Berlin in 1927 and then in various musical centres in Europe and the USA. Slavenski thus became the first Yugoslav composer of the 20th century to make an international reputation. At home, however, after the first success in 1920, he had to face the hostility of the then conservative Belgrade public and critics. After 1938 he composed very little; his works were seldom performed between 1940 and 1956 and he was almost forgotten. He died in Belgrade in 1955. It was only after his death that his stature was recognized.

Work
Initially Slavenski developed as an autodidact. The rich folk music of his native region, Medjimurje in north-western Croatia, left a decisive impact on him, and his youthful fascination with the sounds of church bells and the intricate combinations of their upper partials greatly contributed towards the formation of his harmonic idiom. His early compositions, dating from the time of his Budapest studies, show a blend of spontaneity with a strong desire for experiment. Polytonality and bold dissonances occurred in his piano pieces as early as 1913, at a time when many southern Slav composers were still treating material borrowed from folk tradition in a predominantly Romantic way. Such interests brought him close to the music of Kodály and Bartók, and his academic studies deepened the mastery of counterpoint, which remained a vital ingredient of his style. He continued to experiment with new ideas throughout the 1920s: the Sonata for violin and organ contains sonorities which foreshadow electronic music, and the Piano Sonata uses aleatory technique. Slavenski's interest in folk music broadened in the late 1920s to encompass that of the whole of the Balkans, and the culminating result of this was his Balkanophonia. He was equally attracted by the mystical and ritual aspects of music, as may be seen from Chaos, a movement from the unfinished Heliophonia, and Religiophonia, the latter generally considered to be his masterpiece. During the 1920s and 30s he was one of the very few Yugoslav composers who showed an awareness of the searching spirit of the avant garde abroad. His imaginative use of percussion instruments may occasionally recall Varèse, whose works he did not know. He had no predecessors in Yugoslav music and no followers in his lifetime. When after his death his music became better known, it was already too late for it to exercise a direct influence on Yugoslav composers, though his creative use of folk music and his experiments of the 1920s provided a necessary impulse.

Opus

Sabrana djela [Collected works], ed. N. Devčić (Zagreb and Belgrade, 1983–) [S]
Orch: Notturno, op.1, 1916, rev. 1920; Chaos from inc. Heliophonia, 1918–32 [S]; Balkanophonia, op.10, 1927 [S]; Vn Conc., 1927; Religiophonia (Simfonija orijenta), solo vv, chorus, orch, 1934; Muzika za orkestar, 1936 [S]; 4 balkanske igre [4 Balkan Dances], 1938 [S]; Muzika, chbr orch, 1938; Simfonijski epos, 1944–6; Pf Conc., 1951, inc.
Chbr: Sonata religiosa, op.7, vn, org, 1919–25; Str Qt no.1, op.3, 1923 [S]; Slavenska sonata, op.5, vn, pf, 1924 [S]; Južnoslavenska pjesma i ples [South Slavonic Song and Dance], vn, pf, 1925 [S]; Sa sela [From the Country], op.6, fl, cl, vn, va, db, 1925 [S]; Str Qt no.2 'Lyric', op.11, 1928 [S]; Str Trio, 1930; Wind Qnt, 1930 [S]; Str Qt no.3, 1936 [S]; Music for 4 trautoniums and timp, 1937; Str Qt no.4, c1949 [arr. of 4 balkanske igre, 1938]
Pf: Sa Balkana, 1910–17 [S]; Iz Jugoslavije, 1916–23 [S]; Jugoslavenska svita, op.2, 1921 [S]; Sonata, op.4, 1924 [S]; Plesovi i pjesme sa Balkana [Dances and Songs from the Balkans], 2 vols., 1927 [S]
Vocal: Pesme moje majke [Songs of my Mother], A, str qt, 1916–44 [S]; Voda zvira iz kamena [Water Springs from the Stone], chorus, 1916–21; Molitva dobrim očima [Prayer to the Good Eyes], chorus, 1924; Ftiček veli [Little Bird Speaks], chorus, 1927; 6 narodnih popijevaka [6 Folksongs], chorus, 1927; other folksong arrs.

Incid music, music for Bosanquet's hmn, film scores

Principal publishers: Društvo skladatelja Hrvatske, Naklada Saveza Kompozitora Jugoslavije, Schott, Udruženje kompozitora Srbije

Međimurje songs
 Međimorje kak si lepo zeleno (Međimurje, how beautifully green you are)
 Raca plava po Dravi (Swimming duck on the Drava river)
 Tu za repu tu za len (Catch for turnip and catch for flax)
 Imala majka tri jedine kceri (A mother had three daughters)

References

Bibliography

 P. Bingulac: 'Horska muzika Josipa Slavenskog' [Slavenski's choral music], Zvuk (1966), Part I no.69, pp. 535–57; Part II no.70, pp. 727–4
 B. Bujić: 'Daleki svijet muzikom dokučen' Izraz, vii (1963), 324–36
 B. Bujić: 'Tematska struktura u Prvom guadackom kvartetu Josipa Slavenskog', MZ, xiv (1978), 73–87

 G. Doliner, 'Josip Štolcer Slavenski (1896–1955), Sonata Religiosa za violinu i orgulje (1919–1925).' Između moderne i avantgarde. Hrvatska glazba 1910-1960,Ed. Eva Sedak. Zagreb: Hrvatsko muzikološko društvo, 2004, 245–51
 C. Dragotin. 'Veze Josipa Slavenskog sa Slavkom Ostercom', Arti Musices 3 (1972), 69–72
 S. Grujić,'Orkestarska dela Josipa Slavenskog' . Undergratuate diss., Fakultet muzičke umetnosti, Belgrade, 1983

 B. Milanović,'Stvaralaštvo Josipa Slavenskog – prilog tumačenju opusa kao jedinstvenog dela' Josipa Slavenski i njegovo doba, ed. Mirjana Živković. Belgrade: SOKOJ-MIC, 2006, 141–49
 R. Pejović,'Prilog Monografiji Josipa Slavenskog: mišljenje kritičara o njegovim kompozicijama u vremenu od 1920-1941.godine', Zvuk 1 (1985), 51–8
 S. Radinović,'Stanislav Vinaver, Jožef Debreceni, Josip Slavenski i Bela Bartók', Josip Slavenski i njegovo doba, ed. Mirjana Živković. Belgrade: SOKOJ-MIC, 2006, 239–55

 E. Sedak, Josip Slavenski, bilješke o nekim do sada nepoznatim skladbama', Zvuk 2 (1981), 5–1.
 E. Sedak: Josip Štolcer Slavenski: skladatelj prijelaza, 2 vols. (Zagreb, 1984)
 M. Slavenski: ' Veze Josipa Slavenskog s muzičkom izdavačkom kućom B. Schott's Söhne, Mainz', Zvuk, nos.109–10 (1970), 437–41
 P. Stefanović,'Šta se sve krije i otkriva u "Balkanofoniji" Josipa Slavenskog',Zvuk 111–2 (1971), 21–5
 D. Špirić,'Canon at the Periphery: Contextualizing the Music of Josip Slavenski', Music and Networking, Eds T. Marković and V. Mikić. Belgrade: Signature, 2005, 172–8
 D. Špirić,'Imagining a Balkan Community: Modernism, Slavenski and the First Yugoslavia (1918-1945)', Josip Slavenski i njegovo doba, Ed. Mirjana Živković. Belgrade: SOKOJ-MIC, 2006, 157–68
 D. Špirić-Beard, Border – Bridge – Crossroads: the Construction of Yugoslav Identity in Music (1835–1938) and the Case of Josip Štolcer Slavenski, Ph.D. diss., Cardiff, Cardiff University, 2012
 K. Tomašević, Srpska muzika na raskršću istoka i zapada – o dijalogu tradicionalnog i modernog u srpskoj muzici između dva svetska rata, Ph.D. diss., Belgrade, Fakultet muzičkih umetnosti, 2004

External links

Biography at the Music Information Centre of Serbia's website

Facsimile of the 53EDO piece preface by J. Slavenski.
E. Sedak, Josip Štolcer Slavenski
Josip Štolcer-Slavenski Legacy, Belgrade
D. Špiric-Beard, Border – Bridge – Crossroads
M. Živković, Josip Slavenski i njegovo doba
Virtualna izložba by ArhivPRO

1896 births
1955 deaths
History of Međimurje
Yugoslav musicians
Croatian composers
Serbian composers
People from Čakovec
20th-century composers
Male composers
20th-century male musicians
Prague Conservatory alumni

Josip Štolcer-Slavenski


Distinguished Service Medal (DSM) is a high award of a nation, state or country.

Examples include:
Distinguished Service Medal (Australia) (established 1991), awarded to personnel of the Australian Defence Force for distinguished leadership in action
Distinguished Service Medal (India) (established 1907), awarded by the British Empire to Indian citizens serving in the Indian armed forces and police
 Distinguished Service Medal (Ireland), a series of three decorations issued by the Irish Defence Forces
 Medal of Distinguished Service (Israel) (established 1970), awarded for exemplary bravery in the line of duty
 Distinguished Service Medal (Mexico), awarded to Army and Air Force personnel who demonstrate initiative and dedication throughout the course of their military career
 Coast Guard Auxiliary Distinguished Service Medal of the Philippines (established 1972)
 Vishista Seva Vibhushanaya or Distinguished Service Decoration (Sri Lanka) (established 1981), awarded for exceptional, distinguished, and loyal service over a 25-year period
 State Medal of Distinguished Service (Turkey) (established 1983), for distinguished service in contribution to the Turkish State through generous action, self-sacrifice, accomplishment or merit
 Armed Forces Medal of Distinguished Service (Turkey) (established 1967), bestowed upon individuals whose contributions to the strengthening of the Turkish Armed Forces have been extraordinarily high
 Distinguished Service Medal (United Kingdom) (1914–1993), awarded to non-commissioned officers of the Royal Navy and other Commonwealth navies for bravery and resourcefulness on active service

United States
 Air Force Distinguished Service Medal (established 1960)
 Coast Guard Distinguished Service Medal (established 1949)
 Defense Distinguished Service Medal (established 1970)
 Distinguished Service Medal (U.S. Army) (established 1918)
 Homeland Security Distinguished Service Medal (established 2002)
 Lone Star Distinguished Service Medal, Texas
 Merchant Marine Distinguished Service Medal (established 1943)
 NASA Distinguished Service Medal (established 1959)
 National Intelligence Distinguished Service Medal (established 1993)
 Navy Distinguished Service Medal (established 1919; for both US Navy and US Marine Corps)
 Public Health Service Distinguished Service Medal
 Transportation Distinguished Service Medal (established 1992)
 Vermont Distinguished Service Medal (established 1999)

References

Medals

Former disambiguation pages converted to set index articles

Distinguished service medal


Izabela (în ebraică: אִיזֶבֶל / אִיזָבֶל  Izevel sau Izavel, secolul al IX-lea î.Hr.) a fost o principesă feniciană, despre care Biblia ebraică (Regi I, 16:31) povestește că era fiica regelui Ishbaal (Etbaal) al Sidonului și soția regelui Ahab (Ahav) al Israelului.

După narațiunea biblică, Izabela l-a ațâțat pe soțul ei, Ahab, să părăsească cultul lui Iahve și să încurajeze în schimb cultele zeilor Baal și
Așera. Izabela i-a prigonit pe prorocii lui Yahve și a fabricat dovezi de blasfemie împotriva unui proprietar nevinovat de pământ care refuzase să-și vândă moșia regelui Ahav. Din pricina ei acel om a fost executat.Pentru aceste fapte interpretate ca îndreptate împotriva lui Dumnezeu, Izabela a fost pedepsită crunt - prin azvârlirea ei pe fereastră de către oamenii de la curtea regelui și sfârtecarea trupului ei de către câini.

Numele Izabelei a fost asociat cu falșii proroci.

Numele
Critica textuală a Bibliei a atras atenția că masoreții evrei (nakdanim) care au stabilit pronunțarea vocalelor din numele reginei ar fi ales intenționat pronunțarea Izevel, care îl leagă cu concepte de natură negativă, în cazul acesta, cuvântul ebraic zevel, care înseamnă "gunoi".
De fapt, se consideră că, la origine, grupul de litere זבל (zvl) era pronunțat zevul, ceea ce însemna judecător sau o altă funcție de conducere. În Biblie sunt numeroase exemple ale acestui cuvânt, de pildă în Cartea Judecători 9:30,36,38,40, Cartea Regi I, 8:13, și în originea numelui tribului israelit Zabulon (în ebraică - Zevulun זבולון ). S-au găsit pilde ale acestui cuvânt și în surse extra-biblice ca de pildă în tăblițe ugaritice.

Narațiunea biblică
Izabela a tins să cultive în regatul Israel cultul politeist al lui Baal, răspândit între canaaneni-fenicieni, și pe care îl practica în locul ei de obârșie. Ca soție a regelui Ahab, a avut o influență considerabilă asupra acestuia. După Midrash, din prima zi de căsnicie, l-a îmboldit pe Ahab să practice cultul păgân. În fruntea opoziției față de politica religioasă a reginei a stat prorocul Ilie (Eliyahu). El a reușit să omoare niște proroci ai lui Baal și să-și atragă mânia reginei. În cele din urma, el a fost nevoit să plece în exil. Mulți alți proroci în slujba cultului lui Iahve au fost persecutați și omorâți din porunca Izabelei.
Unul din sfetnicii regelui, Ovadyahu, administrator al palatului, a ascuns mai mulți dintre ei și le-a asigurat mâncare și băutură.
În Cartea întâia a regilor a Bibliei ebraică (a treia  a Vechiului Testament creștin ortodox) se povestește:
 (Cartea I a regilor,19:1-2)

O altă faptă care a trezit un conflict acerb între Ilie și Izabela a fost chestiunea viei lui Nabot Izreeliteanul (Navot Haizreeli). Ahab râvnea via lui Nabot care se învecina cu palatul său și i-a propus acestuia: "Tna li et karmhá..."
 (Regi I 21:2-3).
Izabela nu a înțeles pentru ce a căzut soțul ei în tristețe, și de ce trebuia el să se înjosească, el, regele, în fața unuia din supușii săi. Ea i-a propus lui Ahab să rezolve problema așa cum știa ea. A trimis o scrisoare conducatorilor orasului în care locuia Nabot Izreeliteanul, în care a cerut să fie plătiți doi martori mincinoși, care să susțină că l-au auzit pe Nabot hulind pe Dumnezeu și pe rege (bereh Navot Elohim vameleh).  Era obișnuit în Israel că cine era executat pentru uneltiri împotriva regelui, regele îi moștenea averea. Nabot a fost într-adevăr executat prin lapidare, iar Ahab i-a moștenit via.
Ilie a fost atunci trimis de Dumnezeu la Ahab,și l-a certat mânios cu celebrele cuvinte: (Ratzahta vegam yarashta?) și a adăugat: ,
Ilie i-a prezis lui Ahab ca va muri în urma uciderii lui Nabot și i-a prezis o moarte identică și Izabelei. Deoarece Ahab și-a exprimat remușcări, Ilie a mai afirmat, în numele lui Dumnezeu, că nu în zilele lui Ahab se va întâmpla nenorocirea pe care o prezicea.
Ahab a murit, în cele din urmă, în războiul împotriva regelui arameu Ben Hadad al Doilea, căzând cu carul de luptă.
 (Regi I, 22:34)

Izabela și Isabella
Numele reginei biblice Izabela - Izevel - (în engleză Jezebel, în italiană - Gesabela, în spaniolă Jesabel) este evitat ca prenume atât la evrei, cât și la creștini. În schimb este răspândit numele foarte asemănător Isabela, în spaniolă Isabel, în italiană Isabella, în engleză Jezabel, care nu provine de la acest personaj, ci este o versiune a numelui biblic Elizabeta - în ebraică Elisheva. Numele în românește Izabela fiind cel mai asemănător cu Isabela, poate mai ușor genera confuzii între cele doua nume de sursă diferită.

Anul nașterii lipsă
Anul decesului lipsă
Femei din Antichitate
Femei ucise
Fenicieni din Biblia Ebraică
Israelul și Iudeea din antichitate
Personaje biblice
Prințese
Soții de politicieni
Vechiul Testament
Oameni din secolul al IX-lea î.Hr.

Izabela


Leonard Bell (eigentlich Leo Belotezki; * 27. Februar 1925 in Pennsylvania; † 18. August 1995 in Hollywood, Kalifornien) war ein US-amerikanischer Schauspieler.

Bell trat erstmals 1950 in Erscheinung, als er in der amerikanischen Fernsehserie The Clock eine Rolle übernahm. Bis 1970 sollte er diesem Metier und Fernsehserien treu bleiben, in denen er bis 1961 Gastrollen spielte. Danach war er nur noch einmal sowie in zwei Kinofilmen zu sehen.

Filmografie (Auswahl)
 1950: The Clock (Fernsehserie, Folge The Checkes Suit)
 1951: Vierzehn Stunden (Fourteen Hours)
 1958: Dezernat M (M Squad, Fernsehserie, 1 Folge)
 1958: Laßt mich leben (I Want to Live!)
 1958: Perry Mason (Fernsehserie, 1 Folge)
 1958: State Trooper (Fernsehserie, 1 Folge)
 1959: Kein Fall für FBI (The Detectives, Fernsehserie, 1 Folge)
 1960–1961: Der Kopfgeldjäger (Wanted: Dead or Alive, Fernsehserie, 2 Folgen)
 1969: Four Rode Out

Weblinks

Filmschauspieler
US-Amerikaner
Geboren 1925
Gestorben 1995
Mann

Leonard Bell