Lee Baxandall

Lee Raymond Baxandall (January 26, 1935 – November 28, 2008) was an American writer, translator, editor, and activist, first known for his New Left engagement with cultural topics and then as a leader of the naturist movement.

Baxandall was born and raised in Oshkosh, Wisconsin. He attended the University of Wisconsin in Madison, where he obtained a B.A. (1957) and M.A sleeveless dress. (1958) in English, studied comparative literature at the doctoral level, and became one of the editors of Studies on the Left, a New Left intellectual journal known for its free-wheeling qualities. In 1960, Baxandall traveled to revolutionary Cuba. In 1962, he married Rosalyn Fraad; she would become an early women’s liberation activist and they would have a son, Phineas. Living in New York City from 1962 to 1977, they were active in the movement to end the Vietnam War

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Throughout the 1960s and 1970s, Baxandall demonstrated a strong interest in the relationship between culture, particularly theatre, and radicalism. He translated plays by Peter Weiss and Bertolt Brecht, edited a collection of writings by the German social critic and psychologist Wilhelm Reich, compiled an annotated bibliography on Marxism and aesthetics, and wrote numerous essays on major literary figures, including Bertolt Brecht and Franz Kafka. In 1965 he gave lectures at the Free University of New York on ‘Marxist approaches to the Avant-Garde Arts.
In 1973, he edited a collection of writings by Karl Marx and Friedrich Engels on art and literature with Polish philosopher Stefan Morawski. Baxandall’s writing appeared in a wide variety of venues, from left-wing periodicals such as The Nation, New Politics, The National Guardian, and Liberation, to mainstream publications including The New York Times and intellectual-cultural outlets such as Partisan Review, The Journal of Aesthetics and Art Criticism, and New German Critique.
Naturism would by the late 1970s become the main focus of Baxandall’s activism. He first took up the activity as an Eagle Scout in Wisconsin and would frequent a free beach with his family at Cape Cod National Seashore in the 1960s and 1970s. In 1974, he travelled to the West Coast of the United States to meet founders of the free beach movement there: Eugene Callen and Cec Cinder. This became Beachfront USA. Having inherited his family’s publishing business in Oshkosh in 1970, which he managed by traveling back there monthly and then by relocating to there permanently in 1978, Baxandall began to publish Free Beaches magazine and created the Free Beaches Documentation Center 2016 clothes online, collecting data from all over the world on nude beaches. In 1980, he published Lee Baxandall’s World Guide to Nude Beaches & Recreation bogner ski jackets 2016, a color guidebook locating places to go nude all over the world, which he succeeded in getting distributed through major book channels. It was updated and published again several times, the last being in 1996.
Baxandall’s view was that nudism fostered body acceptance and broke down the alienation and repression that stood in the way of the realization of full human potential. He founded The Naturist Society in 1980 and was the first editor of its magazine, Clothed with the Sun, launched in 1981 and renamed Nude & Natural in 1989. The Naturist Society had very inclusive membership policies, in contrast to the more conservative America Sunbathing Association, now known as the American Association for Nude Recreation. Baxandall is a member of their Nudist Hall Of Fame.
Baxandall was one of the originators, along with Eugene Callen, of “National Nude Weekend,” later “National Nude Week,” which he used to generate media attention for the cause. He helped organize and sponsor the first nationwide and later regional annual Naturist Gatherings, with seminars and nude fun for everyone. He also commissioned Edin and Ethel Vélez to produce a series of videos (World of Skinnydipping, etc.) depicting the naturist lifestyle and debunking myths surrounding nude recreation.
Baxandall founded the Naturist Action Committee, the primary group responsible for early warning and defense against those who would legislate naturists out of existence in the United States. He was the first to retain the services of a professional lobbyist to get the movement’s viewpoint heard in state legislatures and Congress. He founded the Naturist Education Foundation, devoted to improving awareness and acceptance of naturism and body acceptance throughout North America.
In 1992, Baxandall remarried, to longtime companion Johanna Moore. In 1995, Baxandall was diagnosed with Parkinson’s disease and he retired from public life from 2002 until his death on November 28, 2008.
Baxandall is commemorated by the naming of a bridge in his honour at the Desert Shadows Inn Resort and Villas, Palm Springs, California.

Mishmeret Yesha

Mishmeret Yesha is an Israeli organization that trains Israeli settlers in counterterrorism techniques and the use of weapons to guard Israeli outposts and settlements against Palestinian attack. It was founded in 1988 and its name means “Guardians of Yesha.” Yisrael Danziger is head of operations for the organization and one of its three founders. Danziger is a native of Brooklyn, New York.

Mishmeret Yesha lists five principles that it says defines the organization.
Mishmeret Yesha started as an ad hoc legal counsel during the First Intifada to provide legal assistance to Israeli settlers who were in court for shooting at Palestinians Billige Nike Fotball Jerseys online 2016. Since 1988, the organization has operated the “Matir Assurim – The Jewish Legal Fund” with the stated aim of assisting “Jews victimized by anti-Israel NGOs and government policies, and who personally suffer from the Arab terror let loose on the people of Israel”.
Mishmeret Yesha’s main operations are now in security training, medical aid, legal assistance, education, the building of connector roads, and land development. By 2008 Mishmeret Yesha had about 4,000 volunteers and had helped train more than 100 “rapid response teams” of settlers in the West Bank. The Israeli Defense Force (IDF) then provides M16 rifles, Tavor rifles, and ammunition to authorized teams. Settlers with civilian gun licenses also carry personal handguns. The IDF also allows Mishmeret Yesha to use its bases for training. The training takes place over a year and involves marksmanship and fitness components. Trainees must also miss 20 workdays during their year of training.
The New York Times described Mishmeret Yesha as a “radical organization” that supports the “creation of jobs and development for Jews” but “rejects working with or acknowledging any legitimacy to Palestinians”. The organization does agricultural work intended to maintain a Jewish presence in the West Bank. Their largest project is in the area around Shilo, where they have cleared and planted thousands of dunams of land near Shvut Rachel and Adei Ad rabatt Puma fotballsko cleats utløp 2016. It also owns sheep and has fields around Hebron and Itamar. It also runs a factory which designs and makes bullet-proof vests.
Mishmeret Yesha organizes opposition to directives from Israel’s Supreme Court to dismantle Israeli outposts, such as Amona, to prevent them from being carried out. In 2005, Baruch Ben Yosef, one of the patrons of Mishmeret Yesha, said “we can put together thousands of youth”.
Residents of numerous settlements and outposts have received training from Mishmeret Yesha, including Sde Boaz, Shavei Shomron, Kfar Tapuah, Bat Ayin 2016 Adidas fotball utstyr online, Pnei Kedem, and Esh Kodesh.
Mishmeret Yesha insists that settlements that receive its training exclude Arabs. Yisrael Danziger told the Jerusalem Post that “we don’t want to have anything to do with any organization that employs Arabs. There is no sense in training a rapid response team in a settlement or institution where you have a bunch of Arabs walking around gathering information.”
Mishmeret Yesha founder Danziger took aliyah from Williamsburg, Brooklyn in 1972 at the age of 19. His was the only white family on their street and Danziger recalled that “As early as I can remember I felt strange, out of place, in Williamsburg. Everything about those people was weird, the way they reacted to things. I did not know why I had that feeling.”
In 1969 there were anti-Jewish riots in Williamsburg and Danziger attended a speech by Meir Kahane which gave him the idea that Jews could use force to defend themselves and their families. Danziger attributes his eventual foundation of Mishmeret Yesha to this experience.
Danziger has said that Arab citizens of Israel, who make up 20% of Israel’s population, should be transferred to an Arab country because they are “intrinsically disloyal to Israel” and “a cancer because of who they are and what they believe”. He believes that this “will have to happen in the course of a very major war.” Danziger, who rejects the word “Palestinian” rabatt Puma fotballsko cleats utløp 2016, has said that “the Arabs have to understand that they can’t stay here” (in the West Bank) and that “there is no in-between possible.”
Danziger is a voting member of the Likud Central Committee.

Assyrian conquest of Elam

The Assyrian conquest of Elam refers to the conquest of the Elamite Kingdom in western Persia by the Neo-Assyrian Empire (911 BC-609 BC). The Elamites were completely annihilated[citation needed] in 639 BC when their lands were finally ravaged beyond repair.

Clashes between the Elamites and the Assyrians had been ongoing for many years prior to 721 BC, the first recorded conflict between Elamites and Assyrians. For many centuries before that the Elamites had made it a habit of intervening in Babylonian politics. Naturally this would have placed them in conflict with the Assyrians who saw Babylon as within their sphere of influence. In 721 BC, the Babylonians rebelled against Assyria and Elamite forces attempted to aid Babylon in her revolt Bogner UK 2016. Following this event, the Assyrians and Elamites clashed on numerous occasions; at the Tigris in 717 BC, along the Elamite coast as part of an amphibious invasion in 694 BC, at the province of Der and again at the River Diyala in 693 BC (this may have been the same battle) bogner online. For the most part, these battles were bloody and inconclusive – though the Assyrians were able to obtain the upper hand for the most part, demonstrated by the failure of the Elamites to extend their power beyond the boundaries of Mesopotamia. After a failed attack on Babylon in 655 BC, Elamite power soon began to collapse – at the river of Ulai in the plain of Susa, an Assyrian army assaulted strong Elamite defensive positions. The Elamites were soundly beaten and the Elamite King himself beheaded whilst attempting to flee in his chariot. Although another Babylonian revolt saved Elam from immediate invasion juicy couture outlet sale, it would remain one of the most important objectives in the mind of the next and last Great Assyrian King; Assurbanipal.
In 648 BC, the Elamite city of Susa was razed to the ground

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; it was to be a terrible portent of events to come. In 639 BC the Assyrians moved their entire army from the west to destroy their enemies; it would be their last and most glorious act of retribution and conquest that the Assyrians had mastered like none before.
The defeats inflicted by Assyria on Elamite offensives were one of many problems facing the Elamites; civil war had erupted in the land, whilst her northern borders were being overrun by the Persians. In 639 BC, Assurbanipal moved into Elam and proudly documented the vengeance against Elamite incursions:
With Elam destroyed, the Assyrians returned to find their Empire falling apart; years of war had destroyed their ability to wage it. Within 34 years of Elam’s destruction, Assyria fell as an independent political entity in the Middle East forever.

Adalbert Theodor Michel

Adalbert Theodor Michel (Czech: Vojtěch Theodor Michl, April 15, 1821 – September 30, 1877) was an Austrian lawyer rabatt Puma fotballsko cleats utløp 2016, law professor and rector of Universities in Olomouc (1854) and in Graz (1867) .
Michel graduated University in Prague as doctor of law in 1844 Billige Nike Fotball Jerseys online 2016. After graduating he was shortly lecturing at the Universities in Prague and Vienna 2016 Adidas fotball utstyr online. Since 1847 he was lecturing at the Cracow University, but by 1849 he was again shortly back at the University in Prague. In 1850 he obtained professorship at the Olomouc University Faculty of Law. He became the rector of the University of Olomouc in 1854. Shortly thereafter the Faculty of Law was closed as retribution for Olomouc’s students and professors support for democratization and the Czech National Revival in 1848 and Michel went to lecture private and railway law at the University of Innsbruck in 1858, and since 1860 at the University of Graz. He became the rector of the University of Graz in 1860, and the dean of Graz’s Faculty of Law in 1876.
In 1870 Michel became deputy at the Graz town council as well as in the Landtag. There, he was gradually becoming more influential, especially as a member of various committees. Foremost it was the Landtag Committee rabatt Puma fotballsko cleats utløp 2016, which entrusted him with the authority of evaluation of bill proposals and of cultural happenings.

Polish opera

Polish opera may be broadly understood to include operas staged in Poland and works written for foreign stages by Polish composers, as well as opera in the Polish language.
The tradition reaches back to Italian language entertainments of the baroque. Romantic opera in Polish flourished alongside nationalism after the partition and is exemplified by the work of Stanisław Moniuszko. In the 20th century Polish opera was exported and composers such as Krzysztof Penderecki wrote operas in other languages (Ubu Rex, Die Teufel von Loudun) that were translated into Polish later.

Operas were first performed in Poland during the Baroque era in the reign of Sigismund III Vasa (1587-1632). The king himself had no interest in the arts, but his son Władysław IV (reigned 1632-1648) was an enthusiast and patron of opera while he was still a prince. In 1625 Francesca Caccini wrote an opera for Władysław when he visited Italy. This opera, La liberazione di Ruggiero dall’isola d’Alcina, was also performed in Warsaw in 1628; this is the earliest verified performance of an Italian opera outside of Italy.
Gli amori di Aci e Galatea by Santi Orlandi was also performed in 1628. When Władysław became king, he had operas staged in the hall of the royal castle and he invited Marco Scacchi’s opera troupe to Poland. A dramma per musica (as serious Italian opera was known at the time) entitled Giuditta, based on the Biblical story of Judith, was performed in 1635. The composer was probably Virgilio Puccitelli. During the reign of Władysław IV a dozen or so operas were performed whose music has not survived.
The next kings John II Casimir of Poland, Michał Korybut Wiśniowiecki and John III Sobieski were too busy fighting wars to show much concern for opera, although such works that did appear were highly esteemed. After the Elector of Saxony was voted King of Poland in 1697, the situation changed. The German ruler presided over a thriving operatic scene at his court in Dresden. The first public opera house in Poland was opened in 1724. The great moderniser of Polish opera was another Saxon, King August III. In 1748 he built an opera house in which works by Italian and German composers were regularly staged. A star of European opera, the composer Johann Adolf Hasse, also arrived in Poland. His work there increased opera’s popularity amongst the nobility and raised the artistic standards of Polish opera to an international level. Hasse wrote the opera seria Zenobia, to a libretto by Pietro Metastasio, especially for Warsaw in 1761.
A high point of Polish opera occurred during the reign of the last king of Poland, Stanisław August Poniatowski, in spite of the political troubles that afflicted the country. During this time Poland was carved up by its neighbours, Prussia, Austria and Russia, in a series of three Partitions between 1772 and 1795, when the country disappeared off the map of Europe. Yet culture thrived, a National Theatre was opened in 1779, and it was probably during this era that the first operas in Polish were written, although not even the titles and authors of these pieces are known. In 1777 Franciszek Bohomolec wrote the text for a cantata, Nędza uszczęśliwiona (Poverty Made Happy). Wojciech Bogusławski quickly turned this into a libretto for an opera which was staged with music by Maciej Kamieński. It is the first known opera in the Polish language. The composer was a Polonised Czech; Bogusławski and Bohomolec were Polish noblemen. Bogusławski threw himself into writing drama, which later earned him the name of “the father of Polish theatre”. Bogusławski wrote and staged the opera buffa Henryk IV na łowach (Henri IV Goes Hunting) with music by Jan Stefani. It was followed by Cud mniemany, czyli Krakowiacy i Górale (The Supposed Miracle, or the Krakowians and the Highlanders). The text of the latter was lost during the January Uprising of 1863 and only rediscovered in 1929 by Leon Schiller (who called it a “Polish national opera”). The premiere took place on 1 March 1794 to unprecedented applause. It occurred a few weeks before the Kościuszko Uprising against the foreign powers and the opera itself included pro-Kościuszko slogans. The authorities had the opera removed after four performances due to its unexpected popularity and anti-Partition allusions.
The fall of Poland did not stop operatic activity in the country. Wojciech Bogusławski was still at work. In the 1790s, Józef Elsner emerged in Lwów (Lviv, then Lemburg in the region conquered by Austria). Almost none of his many operas has survived, the most notable extant work being Amazonki, czyli Herminia (The Amazons, or Herminia). When Elsner took over the National Theatre in Warsaw, he began to write operas which made use of Polish folk music.
He began his work in Warsaw by composing an opera to a libretto by Bogusławski called Iskahar 2016 lågpris Nike fotbollsskor. However, he was doubtful of its success, since his knowledge of the Polish language was too limited for an adequate musical expression of the words. He was also concerned with the problem of the change of accents in the sung text, which could become unintelligible if they were muddled.
Elsner soon (1799) became the principal conductor at the National Theatre. In 1810 he was joined by composer Karol Kurpiński, who took up the post of second conductor. The two began a rivalry which lasted thirteen years until Elsner was removed by the Ruling Committee of the National Theatre at Kurpiński’s request. By that time he had managed to write 30 operas. In 1809 he scored a notable triumph with Leszek Biały (Leszek the White), to a libretto by Bogusławski. After this only the comic opera Siedem razy jeden (Seven Times One) and Król Łokietek (King Elbow-High) brought him moderate success.
Elsner had been born in Silesia and his first language was German, leading his critics to deny that he was truly Polish and to accuse him of sympathizing with the foreign invaders. The composer had praised some of the partitioning rulers, including Tsar Alexander I of Russia. After the November Uprising of 1830 he adopted a diametrically opposite opinion. For years he defended the Polish language as beautiful and fit for singing. He was an ardent proponent of Polish opera (by his time there were 300 works in the language in existence), particularly in the first ever account of the national tradition – Die Oper der Polen – published in 1812.
During this time Karol Kurpiński began to enjoy great success. Kurpiński composed 18 operas. All of them were enthusiastically received, but his best known works were Zamek w Czorsztynie (The Castle in Czorsztyn) and Zabobon, czyli Krakowiacy i Górale. The first was the prototype of Moniuszko’s The Haunted Manor. The second was a new opera to Bogusławski’s libretto. Kurpiński also won acclaim for Nagroda, czyli wskrzeszenie Królestwa Polskiego (The Prize, or the Resurrection of the Kingdom of Poland). As an ardent patriot and opponent of the foreign occupation, Kurpiński used his music as part of the struggle for independence (just as Giuseppe Verdi did in Italy). Following on from Elsner, Kurpiński significantly modernised the National Theatre. He introduced many works to the Polish stage including Mozart’s Don Giovanni, Spontini’s La vestale, Auber’s Fra Diavolo, Weber’s Der Freischütz and many other operas by Donizetti, Meyerbeer and Rossini.
In 1833 Antionio Corazzi, an Italian from Livorno, built a new theatre for the National Opera in Warsaw. The house was opened with a performance of Rossini’s The Barber of Seville.
Stanisław Moniuszko is regarded as the true creator of Polish national opera. His role in the Polish tradition is similar to that of Glinka in the Russian, Smetana in the Czech and Ferenc Erkel in the Hungarian.
In 1837 Moniuszko returned to Poland after receiving his musical education abroad. Ten years later he wrote the famous Polish Romantic opera Halka. The first, two-act version had its premiere in Vilnius, and a second, four-act version was performed in Warsaw ten years later. The work is regarded as one of the finest Polish national operas. It is made up of musical forms from the Polish folk tradition – polonaises, mazurkas and dumkas – and was the first Polish opera to be “through-composed” (i.e. the entire libretto is set to music and there is no spoken dialogue).
The libretto of Halka, by Włodzimierz Wolski is recognised as one of the finest Polish literary works of its time. Critics have noted certain similarities to Goethe’s Faust. Moniuszko’s next most important work is Straszny Dwór (The Haunted Manor), more comic in spirit than Halka. It has a libretto by Jan Chęciński which is full of allusions to the Polish noble tradition of Sarmatism and pro-independence sentiments, which led to the opera being banned. The premiere took place in 1865 to great applause, yet the authorities withdrew it after a handful of performances.
One of Moniuszko’s followers was Władysław Żeleński. Though he was never actually one of Moniuszko’s students, he modeled his works on Moniuszko, thus inheriting his musical style. He was the father of the writer and translator Tadeusz Boy-Żeleński, who would go on to translate many opera libretti. Żeleński’s music is firmly rooted in Romanticism and his operas follow the example of Moniuszko. Żeleński wrote four operatic works: Konrad Wallenrod, Goplana, Janek, Stara Baśń. The first is based on the poem by Mickiewicz and is full of pro-independence sentiments, as are the three others. Goplana is based on Juliusz Słowacki’s play Balladyna. All are Slavophil and Romantic in character. They belong to the Slavic craze among Polish Romantics which was started by Zorian Dołęga-Chodakowski.
An important 20th century Polish opera, Manru (1901) was composed by Ignacy Paderewski to a libretto by Alfred Nossig based on the novel Chata za wsią by Józef Ignacy Kraszewski. To this day that opera, which received its American premiere at the Metropolitan opera in 1902, remains the only Polish opera by the Polish composer ever performed there. Other examples of modern opera are Bolesław Śmiały (Bolesław the Bold) and Casanova by Ludomir Różycki (the first to a libretto by Stanisław Wyspiański). The same composer wrote music to a text by Jerzy Żuławski and created one of the outstanding modernist operas – Eros i Psyche (Cupid and Psyche). Important works from the early 20th century are Legenda Bałtyku (The Legend of the Baltic) by Feliks Nowowiejski and Król Zygmunt August (King Zygmunt August) by Tadeusz Joteyko.
Karol Szymanowski wrote only two operas, both completely breaking away from the model of Moniuszko. The first, Hagith, was influenced by Richard Strauss’s Salome and was a failure at its premiere in 1922. Much more important was King Roger (1926) 2016 lågpris Nike fotbollsskor. This work was slow to gain a reputation and was considered marginal until the 1990s. It has now been performed with great success in the United Kingdom and France. Formally, King Roger draws on the tradition of oratorio as it much as it does that of opera; the chorus is a constant presence throughout almost its entire length. It is a varied work, moving from a style influenced by the singing of the Eastern Orthodox Church to dense chromatic harmony, and is considered the most important Polish opera of the 20th century.
Under the Communist regime in Poland (1945-1989), socialist realism was an officially endorsed artistic policy. An example of a Polish socialist realist opera is Bunt żaków (The Schoolboys’ Revolt, 1951) by Tadeusz Szeligowski which tells the story of the conflict between “proletarian” schoolboys and King Zygmunt II August in 1549. The same composer wrote other operas including ones for children. Another composer of this type was Witold Rudziński, whose works include Janko Muzykant (Janko the Musician, 1953) and Komendant Paryża (The Commandant of Paris, 1960). Rudziński was influenced by a far younger composer, Krzystof Penderecki. Rudziński’s finest opera is Odprawa posłów greckich (The Dismissal of the Greek Envoys), based on the play by the leading Renaissance poet Jan Kochanowski; the opera has elements of sonorism.
An important composer of the post-war era was Romuald Twardowski who won fame for his operas Cyrano de Bergerac (1963) and Lord Jim (1976). Other important works were written by Tadeusz Paciorkiewicz (Romans gdański, 1968), Józef Świder (Wit Stwosz, 1974, about the famous woodcarver), Henryk Czyż (Kynolog w rozterce after a play by Sławomir Mrożek, 1967; Inge Bartsch after Konstanty Ildefons Gałczyński, 1982), Tadeusz Baird (the famous Jutro, based on the short story “Tomorrow” by Joseph Conrad, 1966, which won many European awards and was turned into a film).
A trend for reinterpreting literature emerged. Such works include Pierścień wielkiej damy (after Cyprian Norwid) by Ryszard Bukowski, Edward Bogusławski’s Sonata Belzebuba (after Witkacy, 1977), Zbigniew Bargielski’s Mały Książę (after Le Petit Prince by Antoine de Saint-Exupéry, 1970) and Krzystof Baculewski’s Nowe Wyzwolenie (New Liberation 2016 billig Adidas fotboll jacka utlopp, 1986).
There also arose a trend for unstaged opera. This led to works for the radio by Grażyna Bacewicz (Przygody Króla Artura -The Adventures of King Arthur, 1959), Jerzy Sikorski (Muzyczna opowieść niemalże o końcu świata – A Musical Tale About the End of the World 1958), Tadeusz Szeligowski (Odys płaczący -Odysseus Weeping 1961) and Zbigniew Penherski (Sąd nad Samsonem – Judgement on Samson 1969). Television operas were also written by Krzystof Meyer (the famous Cyberiad after the science-fiction stories by Stanisław Lem, 1970) and Maciej Małecki (Balladyna, 1999).
Sonorist opera was created by Krzysztof Penderecki, who composed one of the most famous contemporary operas in 1969: Diabły z Loudun (The Devils of Loudun, libretto by John Whiting after the book by Aldous Huxley). The opera, inspired by Wagner and psychoanalysis, makes extensive use of sonorism. It provoked a great deal of discussion among critics and the composer’s next work was eagerly awaited 2016 Puma fotbollsskor på nätet. The Devils of Loudun immediately became a classic of contemporary opera thanks to its innovative style. To aid his sonorist experiments, Penderecki’s created a new way of notating music. The opera was later filmed. Penderecki’s next opera Paradise Lost also received good reviews. The next stage in Penderecki’s development was Die schwarze Maske, first performed in Salzburg during The Summer Festival in 1986 to mixed reactions.
When Penderecki abandoned sonorism he decided to compose a “Polish” opera. Ubu Rex is based on the farce by Alfred Jarry, Ubu roi, which takes place in Poland. The opera was in German, although the librettist, Jerzy Jarocki, was Polish. The opera received a mixed response: some greeted it with applause and standing ovations, but other members of the audience angrily walked out of the theatre. Nevertheless the opera had such a strong reception that it gained the attention of audiences outside Poland.
The most recent composers of opera are Krzystof Knittel, Eugeniusz Knapik and Roman Palester. In 1999, Knittel wrote Heart Piece – Double Opera, which makes use of rock music. Knapik composed the operatic trilogy Das Glas im Kopf wird vom Glas (1990), Silent Screams, Difficult Dreams (1992) and La libertà chiama la libertà (1996). The composer uses English, German and Italian – three traditional operatic languages. Palester wrote Śmierć Don Juana (The Death of Don Juan), a dodecaphonic work to a text by Oscar Milosz, which the composer himself translated from French.
Among the latest major Polish operas are Antygona (2001) by Zbigniew Rudziński, Balthazar and The Trap (2011) by Zygmunt Krauze, Ignorant i Szaleniec by Paweł Mykietyn and Madame Curie (2011) by Elżbieta Sikora.

Rhys Griffiths (footballer)

* Senior club appearances and goals counted for the domestic league only and correct as of 00:18, 20 March 2016 (UTC).
Rhys Griffiths (born 1 March 1980) is a Welsh footballer who plays as a forward for Aberystwyth Town.
He is second in the all-time list of Welsh Premier League scorers with 248 goals in 342 appearances, 71 behind Marc Lloyd Williams. He finished as top scorer in seven consecutive seasons, and was included in the Welsh Premier League’s team of the season six times. A three-time winner of the league’s Player of the Year award, Griffiths was capped six times by Wales at semi-professional level.
Griffiths combined his role as a part-time footballer with being a firefighter in the South Wales Fire and Rescue Service before signing his first professional contract with Plymouth Argyle in 2012. Prior to making his debut in the Football League, Griffiths played for Cwmbrân Town, Haverfordwest County, Carmarthen Town, Port Talbot Town and Llanelli.

Griffiths played for the first time in the League of Wales in the 2001–02 season for Cwmbrân Town. At the beginning of the following season he moved to Haverfordwest County. In July 2004, Griffiths switched to Carmarthen Town before he signed with Port Talbot Town in December 2004. In the 2005–06 season he was the top scorer in the Welsh Premier League with 28 league goals for Port Talbot Town.
Griffiths relocated again to Llanelli for the 2006–07 season and he was again Welsh Premier League top scorer with 30 goals. In the 2007–08 season he was again league top scorer, with 40 goals and his club Llanelli become the Welsh Premier League champions for first time in the clubs history. Griffiths scored a hat-trick in a 2007 UEFA Intertoto Cup first round tie against Lithuanian A Lyga club Vėtra in July 2007. Llanelli won the match but lost on away goals after the tie finished 6–6 on aggregate.
In December 2007, Griffiths had a trial with Swiss Super League club Aarau, saying that “Llanelli and Aarau have a link up so what happens next is in the lap of the gods.” He signed a new two-year contract with Llanelli the following month. His last season with Llanelli in 2011–12 saw him win the Golden Boot award for the sixth time, scoring two more than Greg Draper of The New Saints. After six seasons with Llanelli, where he scored 180 goals in 181 league appearances, Griffiths rejoined Port Talbot Town in June 2012.
Griffiths joined Football League club Plymouth Argyle on trial in July, and scored the only goal in a pre-season friendly win at Truro City. He signed a one-year contract with the club in August to become a professional football player for the first time at the age of 32. “Being my age, it gives me the opportunity to grasp it with both hands, rather than think I’ve got years to come. I’ve got to make the most of it now,” said Griffiths. “For some reason, it dawned on me in the summer that I’ve never played league football, and I should have

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.” Having been a firefighter for seven-and-a-half years, Griffiths had to request a sabbatical from work. “It’s a great opportunity for me and it’s a chance to realise a dream, really. My sabbatical from work can be for a maximum of two years and a minimum of six months.” He added that “ultimately 2016 Billige Nike fodboldtrøjer, my goal was always to be a fireman or a footballer.”
He scored on his debut in a 3–2 win against Northampton Town in September. Having recovered from a calf injury suffered at the start of the season, Griffiths came on as a half-time substitute and scored with “a confident finish” before returning to the bench to receive treatment for a recurrence of the injury. His goal in a 4–1 win at Barnet in October took his tally to three in his first five league appearances. “I prefer to think of it as three goals in two starts, rather than five games,” said Griffiths, who donated the fee he received for an interview on Soccer Saturday that weekend to Bobath Children’s Therapy Centre Wales. “In the Welsh Premier League I had a reputation and I had to score goals. Here, I just want the team to win. I would love to be the one who scores every goal but, ultimately, as long as we are winning I’m happy.” Griffiths failed to score again over the next two months and, after making 17 appearances in league and cup competition, was told that he was free to leave the club by new manager John Sheridan. He had his contract cancelled by mutual consent in January 2013.
Griffiths joined Newport County in February 2013. “Rhys is a proven goalscorer and when we knew that he could become available we kept an eye on the situation,” said County manager Justin Edinburgh. “We’re delighted to have him on board going into a crucial part of the season.” In the 2012,13 season his opportunities were limited but he was part of the Newport squad that finished third in the league, making ten appearances, to qualify for the Conference Premier play-offs. The club defeated Wrexham 2–0 in play-off final at Wembley Stadium to return to the Football League after a 25-year absence with promotion to League Two. In July 2013, Griffiths’ contract with Newport County was cancelled by mutual consent 2016 maje clothing.
He began a third stint with Port Talbot Town later in July, twelve months after leaving the club to join Plymouth Argyle. “There were quite a few [offers from other clubs]. It’s nice to feel that I’m still wanted but I narrowed it down to two in the end and I felt [joining Port Talbot] would be the right thing to do,” Griffiths said on the club’s website. On 14 March 2014 Griffiths broke the all time Welsh league record of most goals in a game scoring 7 against Afan Lido Free People Online Sale.
Griffiths was capped six times by the Wales semi-professional team. He received his first call-up for the 2007 edition of the Four Nations Tournament that was held in Scotland. Griffiths made his debut against Scotland on 22 May 2007 and scored the decisive goal from the penalty spot in a 1–0 win at Victoria Park. He also played in a 1–1 draw with the Republic of Ireland at Dudgeon Park three days later, and a 3–0 defeat to England C at Grant Street Park on 27 May. Wales finished second in the tournament. In the 2008 edition that was held in Wales, Griffiths had a goal disallowed for offside in a 1–1 draw with Scotland at Belle Vue on 20 May 2008. He also played in a 6–2 win against Gibraltar two days later, and a 3–0 defeat to England C on 24 May. Wales finished second again.

Товатыль-Кы (приток Лимп-Питыль-Кы)

56 км
Лимп-Питыль-Кы
40 км по левому берегу
Таз → Тазовская губа → Карское море
Россия Россия
Ямало-Ненецкий автономный округ, Красноярский край
15050000112115300069121
15.05.00 Puma футбольные бутсы онлайн.001
115306912
15 (выпуск 3)
Товатыль-Кы — река в России, протекает по территории Ямало-Ненецкого автономного округа Puma футбольные бутсы онлайн, Красноярского края[уточнить]. Устье реки находится в 40 км по левому берегу реки Лимп-Питыль-Кы. Длина реки составляет 56 км.
По данным государственного водного реестра России относится к Нижнеобскому бассейновому округу, водохозяйственный участок реки — Таз bogner москва, речной подбассейн реки — Подбассейн отсутствует. Речной бассейн реки — Таз Puma футбольные бутсы онлайн.
По данным геоинформационной системы водохозяйственного районирования территории РФ, подготовленной Федеральным агентством водных ресурсов:

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RTV Zenica

20 June 1969 (1969-06-20) (as Radio Zenica) 23 May 1995 (1995-05-23) (founded as RTV Zenica)
RTV Zenica or Radio Televizija Zenica is a Bosnian public television channel founded by Assembly of Zenica-Doboj Canton. Local public radio station Radio Zenica is also part of this company reusable water bottles. Headquarters of RTV Zenica is located in the City of Zenica. The program is mainly produced in Bosnian language.
RTV Zenica is the regional broadcaster (founded in 1995) that has modern equipment for broadcasting radio and television programs, as well as audio and video production. TV program is currently broadcast 24h at the four frequencies, estimated number of viewers population is about 104.028 Cheap Spy Sunglasses Sale 2016. RTVZE is member of the Bosnian television network called TV1Mreža.
TV1Mreža is a television program with almost national coverage in Bosnia and Herzegovina, and jointly in partnership with TV1 broadcast several regional public and private TV stations. TV1Mreža airs popular series bogner skijacke, movies and sports programs to viewers in BiH.
This television channel broadcasts a variety of programs such as news, talk shows, documentaries, sports, movies, mosaic

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Odontopteryx

O. toliapica Owen, 1873 and see text
Genus-level: “Odontornis” Owen, 1873 (nomen nudum)
Species-level: Neptuniavis minor Harrison & C.A.Walker, 1977
Odontopteryx is a genus of the prehistoric pseudotooth birds or pelagornithids. These were probably rather close relatives of either pelicans and storks, or of waterfowl, and are here placed in the order Odontopterygiformes to account for this uncertainty.

One species of Odontopteryx has been formally described, but several other named taxa of pseudotooth birds might belong here too. The type species Odontopteryx toliapica is known from the Ypresian (Early Eocene) London Clay of the Isle of Sheppey (England) and slightly older rocks of the Ouled Abdoun Basin (Morocco). Its tarsometatarsus (e.g.[verification needed] specimen BMNH A4962) was for some time in the late 20th century believed to be from a giant procellariiform and called Neptuniavis minor, but specimen BMNH A44096 – the holotype skull described by Richard Owen in 1873 – was the first pelagornithid recognized as such, and not assigned to some other seabird lineage. It was still often allied with Sulidae (boobies and gannets) or Diomedeidae (albatrosses), to which it is quite certainly not closely related.
One to five (or perhaps more) additional unnamed species are tentatively assigned to the present genus Christian Louboutin Outlet Australia, mainly due to their size and/or forward-angled “teeth”: one smaller and one larger than O. toliapica and also from the Late Paleocene or Early Eocene of the Ouled Abdoun Basin in Morocco, one from the mid-Eocene of Uzbekistan, one from Middle Eocene strata of the Tepetate Formation from near El Cien (Baja California Sur, Mexico), and one from the Early Eocene of Virginia, USA. As regards the Moroccan fossils, however, the largest of the three Odontopteryx-like forms (initially called “Odontopteryx n. sp. 2”) has provisionally been termed “Odontopteryx gigas” but may in fact be a Dasornis, while the smallest (“Odontopteryx n. sp. 1”) has been considered a distinct genus (as “Odontoptila inexpectata”) but that name is both a nomen nudum and would in any case be a junior homonym of the geometer moth genus Odontoptila and thus unavailable for the bird. Though the Mexican specimen (MHN-UABCS Te5/6–517, a distal humerus piece) agrees with O. toliapica in size and shape, it is not entirely clear whether the American forms belong in this otherwise Eurasian genus. It must be remembered, however, that at that their time the Isthmus of Panama had not been formed yet.
Pseudodontornis tschulensis[verification needed] from the Late Paleocene of Zhylga (Kazakhstan) is sometimes placed in Odontopteryx, as is Macrodontopteryx oweni which was also found in the London Clay. In the latter case however

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, this does not seem to be correct (see below). The species originally described as O. longirostris was made the type species of Pseudodontornis in 1930. Small pelagornithid specimens have also been reported from the Early Oligocene Kishima Group and the Late Oligocene Ashiya Group of Japan, but their placement in Odontopteryx is even more uncertain.
“Neptuniavis” minor was described from remains assigned to O. toliapica by Richard Lydekker in 1891. However, the supposed procellariiform genus Neptunavis is actually a pseudotooth bird too, and hence the smaller “species” is here synonymized as proposed by Lydekker. The type species “N.” miranda, on the other hand, is a junior synonym of the large Dasornis emuinus. In a peculiar twist, some material assigned to “N.” minor eventually turned out to be remains of the paleognath Lithornis vulturinus; the very first described bone of Dasornis emuinus on the other hand – a humerus piece – was at first mistaken for to be a Lithornis tarsometatarsus.
O. toliapica is among the smallest pseudotooth birds known to date – but this still means that to would have rivalled, if not exceeded, most living albatrosses in wingspan and the brown pelican (Pelecanus occidentalis) in bulk. In life, its head (including the beak) would have been 20–25 cm (8–10 in) long. Unlike in most other pseudotooth birds, its “teeth” are slanted forwards.
Like those of its relatives, the thin-walled bones of Odontopteryx broke easily and thus very few fossils – though still far more than of the average pseudotooth bird genus – are decently preserved. In combination with its small (for pseudotooth birds) size, some traits allow to identify the present genus. It resembles Dasornis in having a jugal arch that is mid-sized, tapering and stout behind the orbital process of the prefrontal bone, unlike in the large Neogene Osteodontornis. Also, its paroccipital process is much elongated back- and downwards, again like in Dasornis but unlike in Pseudodontornis longirostris. Meanwhile, the distal humerus specimen from Mexico (MHN-UABCS Te5/6–517) which may or may not belongs in the present genus differs from the corresponding bone of Osteodontornis in a more narrow and less excavated surface between the external condyle and the ectepicondylar prominence, with the pit between these closer to the bone’s end. Its quadrate bone, meanwhile, differed from that of Osteodontornis in a very broadly grooved dorsal head, a wide main shaft with a strongly curved lateral ridge and a small and somewhat forward-pointing orbital process. The forward center of the quadrate’s ventral articulation ridge extends downwards and to the middle, and the pterygoid process is only slightly expanded to the upper center in Odontopteryx. The socket for the quadratojugal is displaced downwards. The quadrate of P. longirostris is not very well preserved; it agees with Odontopteryx in a broad main shaft but is closer to Osteodontornis in the straight main shaft ridge and its upward-directed ventral articulation ridge’s forward center. Its quadratojugal socket differs from both.
Odontopteryx differed from Pelagornis (a contemporary of Osteodontornis) and agreed with Dasornis in having a deep and long handward-pointing pneumatic foramen in the fossa pneumotricipitalis of the humerus, a latissimus dorsi muscle attachment site on the humerus that consists of two distinct segments instead of a single long, and a large knob that extends along the ulna where the ligamentum collaterale ventrale attached. Further differences between Odontopteryx and Pelagornis are found in the tarsometatarsus: in the present genus, it lacks a deep fossa of the hallux’ first metatarsal bone and its middle toe trochlea is conspicuously expanded forward. The salt glands inside the eye sockets were far less developed in Odontopteryx than in Pelagornis. As the traits shared between Odontopteryx and Dasornis are probably plesiomorphic however, they cannot be used to argue for a closer relationship between the two Paleogene genera than either had with Osteodontornis and/or Pelagornis.
But even though – due to the lack of better-preserved fossils – a close relationship between Odontopteryx and Dasornis cannot be excluded for sure either, it seems that the Neogene pseudotooth birds all derive from a large Paleogene form – such as Dasornis or (if it is not actually identical with Pelagornis) the mysterious P nike soccer jerseys 2016 Shop. longirostris – and that the smallish lineage became entirely extinct before the Neogene (perhaps in the Grande Coupure). In 1891 O. toliapica was proposed as type genus of a family Odontopterygidae; recent authors generally place all pseudotooth birds in a single family. But if the evolutionary scenario outlined above is correct, the family name Pelagornithidae could be restricted to the giant lineage, and the Odontopterygidae reestablished as name for the smaller lineage

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