Overview.

Population and sample effect sizes.

As in statistical estimation, the true effect size is distinguished from the observed effect size, e.g. to measure the risk of disease in a population (the population effect size) one can measure the risk within a sample of that population (the sample effect size). Conventions for describing true and observed effect sizes follow standard statistical practices—one common approach is to use Greek letters like ρ to denote population parameters and Latin letters like "r" to denote the corresponding statistic. Alternatively, a "hat" can be placed over the population parameter to denote the statistic, e.g. with formula_1 being the estimate of the parameter formula_2.  As in any statistical setting, effect sizes are estimated with sampling error, and may be biased unless the effect size estimator that is used is appropriate for the manner in which the data were sampled and the manner in which the measurements were made. An example of this is publication bias, which occurs when scientists report results only when the estimated effect sizes are large or are statistically significant. As a result, if many researchers carry out studies with low statistical power, the reported effect sizes will tend to be larger than the true (population) effects, if any. Another example where effect sizes may be distorted is in a multiple-trial experiment, where the effect size calculation is based on the averaged or aggregated response across the trials.

Relationship to test statistics.

Sample-based effect sizes are distinguished from test statistics used in hypothesis testing, in that they estimate the strength (magnitude) of, for example, an apparent relationship, rather than assigning a significance level reflecting whether the magnitude of the relationship observed could be due to chance. The effect size does not directly determine the significance level, or vice versa. Given a sufficiently large sample size, a non-null statistical comparison will always show a statistically significant result unless the population effect size is exactly zero (and even there it will show statistical significance at the rate of the Type I error used). For example, a sample Pearson correlation coefficient of 0.01 is statistically significant if the sample size is 1000. Reporting only the significant "p"-value from this analysis could be misleading if a correlation of 0.01 is too small to be of interest in a particular application.

Standardized and unstandardized effect sizes.

The term "effect size" can refer to a standardized measure of effect (such as "r", Cohen's "d", or the odds ratio), or to an unstandardized measure (e.g., the difference between group means or the unstandardized regression coefficients). Standardized effect size measures are typically used when: In meta-analyses, standardized effect sizes are used as a common measure that can be calculated for different studies and then combined into an overall summary.

Interpretation.

Whether an effect size should be interpreted as small, medium, or large depends on its substantive context and its operational definition. Cohen's conventional criteria "small", "medium", or "big" are near ubiquitous across many fields, although Cohen cautioned:  "The terms'small,''medium,' and 'large' are relative, not only to each other, but to the area of behavioral science or even more particularly to the specific content and research method being employed in any given investigation...In the face of this relativity, there is a certain risk inherent in offering conventional operational definitions for these terms for use in power analysis in as diverse a field of inquiry as behavioral science. This risk is nevertheless accepted in the belief that more is to be gained than lost by supplying a common conventional frame of reference which is recommended for use only when no better basis for estimating the ES index is available." (p. 25)  In the two sample layout, Sawilowsky concluded "Based on current research findings in the applied literature, it seems appropriate to revise the rules of thumb for effect sizes," keeping in mind Cohen's cautions, and expanded the descriptions to include "very small", "very large", and "huge". The same de facto standards could be developed for other layouts.  Length noted for a "medium" effect size, "you'll choose the same "n" regardless of the accuracy or reliability of your instrument, or the narrowness or diversity of your subjects. Clearly, important considerations are being ignored here. Researchers should interpret the substantive significance of their results by grounding them in a meaningful context or by quantifying their contribution to knowledge, and Cohen's effect size descriptions can be helpful as a starting point." Similarly, a U.S. Dept of Education sponsored report said "The widespread indiscriminate use of Cohen’s generic small, medium, and large effect size values to characterize effect sizes in domains to which his normative values do not apply is thus likewise inappropriate and misleading."  They suggested that "appropriate norms are those based on distributions of effect sizes for comparable outcome measures from comparable interventions targeted on comparable samples." Thus if a study in a field where most interventions are tiny yielded a small effect (by Cohen's criteria), these new criteria would call it "large". In a related point, see Abelson's paradox and Sawilowsky's paradox.

Types.

About 50 to 100 different measures of effect size are known. Many effect sizes of different types can be converted to other types, as many estimate the separation of two distributions, so are mathematically related. For example, a correlation coefficient can be converted to a Cohen's d and vice versa.  All different effect size measures can be converted into and expressed as the e-value. As a universal standardized effect size measure, the e-value overcomes the difficulty in interpreting the ranges and meanings of effect size measures such as "d" and partial eta square. Similar to the correlation coefficient, e-values range from -1 to +1, with zero indicating no effect. However, unlike the correlation coefficient which is understood as a measure of association, e-value is explicitly reported as an effect size.

Correlation family: Effect sizes based on "variance explained".

These effect sizes estimate the amount of the variance within an experiment that is "explained" or "accounted for" by the experiment's model (Explained variation).

Pearson "r" or correlation coefficient.

Pearson's correlation, often denoted "r" and introduced by Karl Pearson, is widely used as an "effect size" when paired quantitative data are available; for instance if one were studying the relationship between birth weight and longevity. The correlation coefficient can also be used when the data are binary. Pearson's "r" can vary in magnitude from −1 to 1, with −1 indicating a perfect negative linear relation, 1 indicating a perfect positive linear relation, and 0 indicating no linear relation between two variables. Cohen gives the following guidelines for the social sciences:

Coefficient of determination ("r" or "R").

A related "effect size" is "r", the coefficient of determination (also referred to as "R" or ""r"-squared"), calculated as the square of the Pearson correlation "r". In the case of paired data, this is a measure of the proportion of variance shared by the two variables, and varies from 0 to 1. For example, with an "r" of 0.21 the coefficient of determination is 0.0441, meaning that 4.4% of the variance of either variable is shared with the other variable. The "r" is always positive, so does not convey the direction of the correlation between the two variables.

Eta-squared ("η").

Eta-squared describes the ratio of variance explained in the dependent variable by a predictor while controlling for other predictors, making it analogous to the r. Eta-squared is a biased estimator of the variance explained by the model in the population (it estimates only the effect size in the sample). This estimate shares the weakness with r that each additional variable will automatically increase the value of η. In addition, it measures the variance explained of the sample, not the population, meaning that it will always overestimate the effect size, although the bias grows smaller as the sample grows larger.

Omega-squared (ω).

A less biased estimator of the variance explained in the population is ω  This form of the formula is limited to between-subjects analysis with equal sample sizes in all cells. Since it is less biased (although not "un"biased), ω is preferable to η; however, it can be more inconvenient to calculate for complex analyses. A generalized form of the estimator has been published for between-subjects and within-subjects analysis, repeated measure, mixed design, and randomized block design experiments. In addition, methods to calculate partial ω for individual factors and combined factors in designs with up to three independent variables have been published.

Cohen's "ƒ".

Cohen's "ƒ" is one of several effect size measures to use in the context of an F-test for ANOVA or multiple regression. Its amount of bias (overestimation of the effect size for the ANOVA) depends on the bias of its underlying measurement of variance explained (e.g., "R", "η", "ω").  The "ƒ" effect size measure for multiple regression is defined as:  Likewise, "ƒ" can be defined as:  The formula_8 effect size measure for sequential multiple regression and also common for PLS modeling is defined as:  Cohen's formula_13 can also be found for factorial analysis of variance (ANOVA) working backwards using :  In a balanced design (equivalent sample sizes across groups) of ANOVA, the corresponding population parameter of formula_15 is  wherein "μ" denotes the population mean within the "j" group of the total "K" groups, and "σ" the equivalent population standard deviations within each groups. "SS" is the sum of squares in ANOVA.

Cohen's "q".

Another measure that is used with correlation differences is Cohen's q. This is the difference between two Fisher transformed Pearson regression coefficients. In symbols this is  where "r" and "r" are the regressions being compared. The expected value of "q" is zero and its variance is  where "N" and "N" are the number of data points in the first and second regression respectively.

Difference family: Effect sizes based on differences between means.

A (population) effect size "θ" based on means usually considers the standardized mean difference between two populations  where "μ" is the mean for one population, "μ" is the mean for the other population, and σ is a standard deviation based on either or both populations.  In the practical setting the population values are typically not known and must be estimated from sample statistics. The several versions of effect sizes based on means differ with respect to which statistics are used.  This form for the effect size resembles the computation for a "t"-test statistic, with the critical difference that the "t"-test statistic includes a factor of formula_20. This means that for a given effect size, the significance level increases with the sample size. Unlike the "t"-test statistic, the effect size aims to estimate a population parameter and is not affected by the sample size.

Cohen's "d".

Cohen's "d" is defined as the difference between two means divided by a standard deviation for the data, "i.e."  Jacob Cohen defined "s", the pooled standard deviation, as (for two independent samples):  where the variance for one of the groups is defined as  and similarly for the other group.  The table below contains descriptors for magnitudes of "d" = 0.01 to 2.0, as initially suggested by Cohen and expanded by Sawilowsky.  Other authors choose a slightly different computation of the standard deviation when referring to "Cohen's "d"" where the denominator is without "-2" This definition of "Cohen's "d"" is termed the maximum likelihood estimator by Hedges and Olkin, and it is related to Hedges' "g" by a scaling factor (see below).  With two paired samples, we look at the distribution of the difference scores. In that case, "s" is the standard deviation of this distribution of difference scores. This creates the following relationship between the t-statistic to test for a difference in the means of the two groups and Cohen's "d":  and  Cohen's "d" is frequently used in estimating sample sizes for statistical testing. A lower Cohen's "d" indicates the necessity of larger sample sizes, and vice versa, as can subsequently be determined together with the additional parameters of desired significance level and statistical power.

Glass' Δ.

In 1976, Gene V. Glass proposed an estimator of the effect size that uses only the standard deviation of the second group  The second group may be regarded as a control group, and Glass argued that if several treatments were compared to the control group it would be better to use just the standard deviation computed from the control group, so that effect sizes would not differ under equal means and different variances.  Under a correct assumption of equal population variances a pooled estimate for "σ" is more precise.

Hedges' "g".

Hedges' "g", suggested by Larry Hedges in 1981, is like the other measures based on a standardized difference  where the pooled standard deviation formula_29 is computed as:  However, as an estimator for the population effect size "θ" it is biased. Nevertheless, this bias can be approximately corrected through multiplication by a factor Hedges and Olkin refer to this less-biased estimator formula_32 as "d", but it is not the same as Cohen's "d". The exact form for the correction factor "J()" involves the gamma function

Ψ, root-mean-square standardized effect.

A similar effect size estimator for multiple comparisons (e.g., ANOVA) is the Ψ root-mean-square standardized effect. This essentially presents the omnibus difference of the entire model adjusted by the root mean square, analogous to "d" or "g". The simplest formula for Ψ, suitable for one-way ANOVA, is  In addition, a generalization for multi-factorial designs has been provided.

Distribution of effect sizes based on means.

Provided that the data is Gaussian distributed a scaled Hedges' "g", formula_35, follows a noncentral "t"-distribution with the noncentrality parameter formula_36 and ("n" + "n" − 2) degrees of freedom. Likewise, the scaled Glass' Δ is distributed with "n" − 1 degrees of freedom.  From the distribution it is possible to compute the expectation and variance of the effect sizes.  In some cases large sample approximations for the variance are used. One suggestion for the variance of Hedges' unbiased estimator is

Other metrics.

Mahalanobis distance (D) is a multivariate generalization of Cohen's d, which takes into account the relationships between the variables.

Categorical family: Effect sizes for associations among categorical variables.

Commonly used measures of association for the chi-squared test are the Phi coefficient and Cramér's V (sometimes referred to as Cramér's phi and denoted as "φ"). Phi is related to the point-biserial correlation coefficient and Cohen's "d" and estimates the extent of the relationship between two variables (2 x 2). Cramér's V may be used with variables having more than two levels.  Phi can be computed by finding the square root of the chi-squared statistic divided by the sample size.  Similarly, Cramér's V is computed by taking the square root of the chi-squared statistic divided by the sample size and the length of the minimum dimension ("k" is the smaller of the number of rows "r" or columns "c").  φ is the intercorrelation of the two discrete variables and may be computed for any value of "r" or "c". However, as chi-squared values tend to increase with the number of cells, the greater the difference between "r" and "c", the more likely V will tend to 1 without strong evidence of a meaningful correlation.  Cramér's "V" may also be applied to 'goodness of fit' chi-squared models (i.e. those where "c" = 1). In this case it functions as a measure of tendency towards a single outcome (i.e. out of "k" outcomes). In such a case one must use "r" for "k", in order to preserve the 0 to 1 range of "V". Otherwise, using "c" would reduce the equation to that for Phi.

Cohen's "w".

Another measure of effect size used for chi-squared tests is Cohen's "w". This is defined as  where "p" is the value of the "i" cell under "H", "p" is the value of the "i" cell under "H" and "m" is the number of cells.

Odds ratio.

The odds ratio (OR) is another useful effect size. It is appropriate when the research question focuses on the degree of association between two binary variables. For example, consider a study of spelling ability. In a control group, two students pass the class for every one who fails, so the odds of passing are two to one (or 2/1 = 2). In the treatment group, six students pass for every one who fails, so the odds of passing are six to one (or 6/1 = 6). The effect size can be computed by noting that the odds of passing in the treatment group are three times higher than in the control group (because 6 divided by 2 is 3). Therefore, the odds ratio is 3. Odds ratio statistics are on a different scale than Cohen's "d", so this '3' is not comparable to a Cohen's "d" of 3.

Relative risk.

The relative risk (RR), also called risk ratio, is simply the risk (probability) of an event relative to some independent variable. This measure of effect size differs from the odds ratio in that it compares "probabilities" instead of "odds", but asymptotically approaches the latter for small probabilities. Using the example above, the "probabilities" for those in the control group and treatment group passing is 2/3 (or 0.67) and 6/7 (or 0.86), respectively. The effect size can be computed the same as above, but using the probabilities instead. Therefore, the relative risk is 1.28. Since rather large probabilities of passing were used, there is a large difference between relative risk and odds ratio. Had "failure" (a smaller probability) been used as the event (rather than "passing"), the difference between the two measures of effect size would not be so great.  While both measures are useful, they have different statistical uses. In medical research, the odds ratio is commonly used for case-control studies, as odds, but not probabilities, are usually estimated. Relative risk is commonly used in randomized controlled trials and cohort studies, but relative risk contributes to overestimations of the effectiveness of interventions.

Risk difference.

The risk difference (RD), sometimes called absolute risk reduction, is simply the difference in risk (probability) of an event between two groups. It is a useful measure in experimental research, since RD tells you the extent to which an experimental interventions changes the probability of an event or outcome. Using the example above, the probabilities for those in the control group and treatment group passing is 2/3 (or 0.67) and 6/7 (or 0.86), respectively, and so the RD effect size is 0.86 − 0.67 = 0.19 (or 19%). RD is the superior measure for assessing effectiveness of interventions.

Cohen's "h".

One measure used in power analysis when comparing two independent proportions is Cohen's "h". This is defined as follows  formula_39  where "p" and "p" are the proportions of the two samples being compared and arcsin is the arcsine transformation.

Common language effect size.

To more easily describe the meaning of an effect size, to people outside statistics, the common language effect size, as the name implies, was designed to communicate it in plain English. It is used to describe a difference between two groups and was proposed, as well as named, by Kenneth McGraw and S. P. Wong in 1992. They used the following example (about heights of men and women): "in any random pairing of young adult males and females, the probability of the male being taller than the female is.92, or in simpler terms yet, in 92 out of 100 blind dates among young adults, the male will be taller than the female", when describing the population value of the common language effect size.  The population value, for the common language effect size, is often reported like this, in terms of pairs randomly chosen from the population. Kerby (2014) notes that "a pair", defined as a score in one group paired with a score in another group, is a core concept of the common language effect size.  As another example, consider a scientific study (maybe of a treatment for some chronic disease, such as arthritis) with ten people in the treatment group and ten people in a control group. If everyone in the treatment group is compared to everyone in the control group, then there are (10×10=) 100 pairs. At the end of the study, the outcome is rated into a score, for each individual (for example on a scale of mobility and pain, in the case of an arthritis study), and then all the scores are compared between the pairs. The result, as the percent of pairs that support the hypothesis, is the common language effect size. In the example study it could be (let's say).80, if 80 out of the 100 comparison pairs show a better outcome for the treatment group than the control group, and the report may read as follows: "When a patient in the treatment group was compared to a patient in the control group, in 80 of 100 pairs the treated patient showed a better treatment outcome." The sample value, in for example a study like this, is an unbiased estimator of the population value.  Vargha and Delaney generalized the common language effect size (Vargha-Delaney A), to cover ordinal level data.

Rank-biserial correlation.

An effect size related to the common language effect size is the rank-biserial correlation. This measure was introduced by Cureton as an effect size for the Mann–Whitney "U" test. That is, there are two groups, and scores for the groups have been converted to ranks. The Kerby simple difference formula computes the rank-biserial correlation from the common language effect size. Letting f be the proportion of pairs favorable to the hypothesis (the common language effect size), and letting u be the proportion of pairs not favorable, the rank-biserial r is the simple difference between the two proportions: "r" = "f" − "u". In other words, the correlation is the difference between the common language effect size and its complement. For example, if the common language effect size is 60%, then the rank-biserial r equals 60% minus 40%, or "r" = 0.20. The Kerby formula is directional, with positive values indicating that the results support the hypothesis.  A non-directional formula for the rank-biserial correlation was provided by Wendt, such that the correlation is always positive. The advantage of the Wendt formula is that it can be computed with information that is readily available in published papers. The formula uses only the test value of U from the Mann-Whitney U test, and the sample sizes of the two groups: "r" = 1 – (2"U")/("n" "n"). Note that U is defined here according to the classic definition as the smaller of the two "U" values which can be computed from the data. This ensures that 2"U" < "n""n", as "n""n" is the maximum value of the "U" statistics.  An example can illustrate the use of the two formulas. Consider a health study of twenty older adults, with ten in the treatment group and ten in the control group; hence, there are ten times ten or 100 pairs. The health program uses diet, exercise, and supplements to improve memory, and memory is measured by a standardized test. A Mann-Whitney "U" test shows that the adult in the treatment group had the better memory in 70 of the 100 pairs, and the poorer memory in 30 pairs. The Mann-Whitney "U" is the smaller of 70 and 30, so "U" = 30. The correlation between memory and treatment performance by the Kerby simple difference formula is "r" = (70/100) − (30/100) = 0.40. The correlation by the Wendt formula is "r" = 1 − (2·30)/(10·10) = 0.40.

Effect size for ordinal data.

Cliff's delta or formula_40, originally developed by Norman Cliff for use with ordinal data, is a measure of how often the values in one distribution are larger than the values in a second distribution. Crucially, it does not require any assumptions about the shape or spread of the two distributions.  The sample estimate formula_40 is given by:  where the two distributions are of size formula_43 and formula_44 with items formula_45 and formula_46, respectively, and formula_47 is the Iverson bracket, which is 1 when the contents are true and 0 when false.  formula_40 is linearly related to the Mann–Whitney U statistic; however, it captures the direction of the difference in its sign. Given the Mann–Whitney formula_49, formula_40 is:

Confidence intervals by means of noncentrality parameters.

Confidence intervals of standardized effect sizes, especially Cohen's formula_52 and formula_53, rely on the calculation of confidence intervals of noncentrality parameters ("ncp"). A common approach to construct the confidence interval of "ncp" is to find the critical "ncp" values to fit the observed statistic to tail quantiles "α"/2 and (1 − "α"/2). The SAS and R-package MBESS provides functions to find critical values of "ncp".

"t"-test for mean difference of single group or two related groups.

For a single group, "M" denotes the sample mean, "μ" the population mean, "SD" the sample's standard deviation, "σ" the population's standard deviation, and "n" is the sample size of the group. The "t" value is used to test the hypothesis on the difference between the mean and a baseline "μ". Usually, "μ" is zero. In the case of two related groups, the single group is constructed by the differences in pair of samples, while "SD" and "σ" denote the sample's and population's standard deviations of differences rather than within original two groups.  and Cohen's  is the point estimate of  So,

"t"-test for mean difference between two independent groups.

"n" or "n" are the respective sample sizes.  wherein  and Cohen's  So,

One-way ANOVA test for mean difference across multiple independent groups.

One-way ANOVA test applies noncentral F distribution. While with a given population standard deviation formula_65, the same test question applies noncentral chi-squared distribution.  For each "j"-th sample within "i"-th group "X", denote  While,  So, both "ncp"("s") of "F" and formula_69 equate  In case of formula_71 for "K" independent groups of same size, the total sample size is "N" := "n"·"K".  The "t"-test for a pair of independent groups is a special case of one-way ANOVA. Note that the noncentrality parameter formula_73 of "F" is not comparable to the noncentrality parameter formula_74 of the corresponding "t". Actually, formula_75, and formula_76.

External links.

Further explanations

In statistics, an effect size is a quantitative measure of the magnitude of a phenomenon. It can refer to the value of a statistic calculated from a sample of data, the value of a parameter of a hypothetical statistical population, or to the equation that operationalizes how statistics or parameters lead to the effect size value. Examples of effect sizes include the correlation between two variables, the regression coefficient in a regression, the mean difference, or the risk of a particular event (such as a heart attack) happening. Effect sizes complement statistical hypothesis testing, and play an important role in power analyses, sample size planning, and in meta-analyses. The cluster of data-analysis methods concerning effect sizes is referred to as estimation statistics.

En statistique, une taille d'effet est une mesure de la force de l'effet observé d'une variable sur une autre et plus généralement d'une inférence. La taille d'un effet est donc une grandeur statistique descriptive calculée à partir de données observées empiriquement afin de fournir un indice quantitatif de la force de la relation entre les variables et non une statistique inférentielle qui permettrait de conclure ou non si ladite relation observée dans les données existe bien dans la réalité. En ce sens, la taille de l'effet est complémentaire d'autres mesures statistiques telle que la valeur p d'un test "t". Les mesures de taille d'effet sont particulièrement utiles pour conduire des méta-analyses qui exigent de comparer entre eux des résultats issus de différentes études scientifiques pour en faire la synthèse ou pour conduire des analyses de puissance destinées à établir si un protocole expérimental est adapté pour mesurer le phénomène que l'on cherche à étudier.


History.

Sankey diagrams are named after Irish Captain Matthew Henry Phineas Riall Sankey, who used this type of diagram in 1898 in a classic figure (see diagram) showing the energy efficiency of a steam engine. The original charts in black and white displayed just one type of flow (e.g. steam); using colors for different types of flows lets the diagram express additional variables.  Over time, it became a standard model used in science and engineering to represent heat balance, energy flows, material flows, and since the 1990s this visual model has been used in life-cycle assessment of products. One of the most famous Sankey diagrams is Charles Minard's Map of Napoleon's Russian Campaign of 1812. It is a flow map, overlaying a Sankey diagram onto a geographical map. It was created in 1869, so it actually predates Sankey's 'first' Sankey diagram of 1898.

Science.

Sankey diagrams are often used in fields of science, especially physics. They are used to represent energy inputs, useful output, and wasted output.

Active examples.

The United States Energy Information Administration (EIA) produces numerous Sankey diagrams annually in its "Annual Energy Review" which illustrate the production and consumption of various forms of energy.  The US Department of Energy's Lawrence Livermore Laboratory maintains a site of Sankey diagrams, including US energy flow and carbon flow.  Eurostat, the Statistical Office of the European Union, has developed an interactive Sankey web tool to visualise energy data by means of flow diagrams. The tool allows the building and customisation of diagrams by playing with different options (country, year, fuel, level of detail).  The International Energy Agency (IEA) created an interactive Sankey web application that details the flow of energy for the entire planet. Users can select specific countries, points of time back to 1973, and modify the arrangement of various flows within the Sankey diagram.  Ben Schmidt, an assistant professor of history at Northeastern University, created a Sankey diagram relating majors in college to eventual careers.

Sankey diagrams are a type of flow diagram in which the width of the arrows is proportional to the flow rate.

Un diagramme de Sankey ou diagramme Sankey est un type de diagramme de flux dans lequel la largeur des flèches est proportionnelle au flux représenté. Les diagrammes de Sankey sont utilisés en particulier pour visualiser les flux énergétiques de processus. Ils font ressortir les transferts majeurs au sein d'un système complexe, ainsi que ses apports et ses pertes.


Description.

The site at Sa Huỳnh was discovered in 1909. Sa Huỳnh sites were rich in locally worked iron artefacts, typified by axes, swords, spearheads, knives and sickles. In contrast, bronze artifacts were dominant in the Đông Sơn culture sites found in northern Vietnam and elsewhere in mainland Southeast Asia.  The Sa Huỳnh culture cremated adults and buried them in jars covered with lids, a practice unique to the culture. Ritually broken offerings usually accompanied the jar burials. The culture is also typified by its unique ear ornaments featuring two-headed animals, believed by some to depict saola. The ornaments were commonly made from jade (nephrite), but also made from glass. Bead ornaments were also commonly found in Sa Huynh burials, most commonly made from glass.

Trade network.

The Sa Huỳnh culture showed evidence of an extensive trade network that existed between 500 BC to AD 1500, known as the Sa Huynh-Kalanay Interaction Sphere (named after the Sa Huỳnh culture and the Kalanay Cave of Palawan, Philippines). It was mainly between Sa Huỳnh and the Philippines, but also extended into archaeological sites in Taiwan, Southern Thailand, and northeastern Borneo. It is characterized by shared red-slipped pottery traditions, as well as double-headed and penannular ornaments known as "lingling-o" made from materials like green jade (sourced from Taiwan), green mica (from Mindoro), black nephrite (from Hà Tĩnh) and clay (from Vietnam and the Northern Philippines). Sa Huynh also produced beads made from glass, carnelian, agate, olivine, zircon, gold and garnet; most of whom use materials that are also imported. Han Dynasty-style bronze mirrors were also found in Sa Huynh sites.

The Sa Huỳnh culture was a culture in modern-day central and southern Vietnam that flourished between 1000 BC and 200 AD. Archaeological sites from the culture have been discovered from the Mekong Delta to Quang Binh province in central Vietnam. The Sa Huynh people were most likely the predecessors of the Cham people, an Austronesian-speaking people and the founders of the kingdom of Champa.

La culture de Sa Huỳnh (vietnamien : Văn hóa Sa Huỳnh) a fleuri dans le centre et le sud de l'actuel Viêt Nam entre 1000 avant notre ère et 200 après. Des sites archéologiques de cette culture ont été découverts du delta du Mékong jusqu'à la province de Quang Binh, dans le centre du pays. Ses populations ont probablement été les prédécesseurs des Chams, un peuple austronésien fondateur en 192 du royaume de Champa. Le site de Sa Huỳnh, dans la province de Quảng Ngãi, a été découvert en 1909. Les sites de la culture de Sa Huỳnh sont riches en objets de fer produits localement, en particulier des haches, des épées, des fers de lance, des couteaux et des faucilles. Par contraste, les objets en bronze sont dominants dans les sites de la culture Dong Son dans le nord du Viêt Nam et dans le reste de la péninsule indochinoise.


Story.

For as long as he can remember, Takashi Natsume has had the ability to see spirits, inheriting the power from his grandmother Reiko Natsume. This ability resulted in his having a lonely childhood because children his age considered him strange. He had also been passed from one relative to another. Upon her death, Reiko bequeathed to her grandson her Book of Friends, a book containing the names of spirits she had bullied into servitude.  The Book of Friends is considered a highly prized item in the spirit world, and spirits - both good and malicious - haunt Takashi constantly because of it. Whereas Reiko formed the contracts, however, Takashi spends his time dissolving the contracts and releasing the various spirits that come to him for help. Malicious spirits on the other hand try to kill him to obtain possession of the book. Which is where Madara (called Nyanko-sensei by Natsume) comes in; Madara serves as Natsume's bodyguard and spiritual advisor of sorts, even though ostensibly he is motivated by his own desire to possess the Book of Friends. He later begins to become more attached to Takashi, with the latter forming a similar bond with Madara.

Development.

Midorikawa created "Natsume's Book of Friends" as an episodic serial for a manga magazine published every two months, so that each chapter was a story that could be read on its own. As the result of earlier writing a ghost story that an editor made her revise to include more romance than she initially wanted, Midorikawa specifically created "Natsume's Book of Friends" as a supernatural story with less romance, containing supernatural elements that stir readers' imaginations the way stories about yōkai and local gods stirred hers growing up in a rural area. For the basic story, she wanted to write about a boy and his non-human teacher, and include the incongruous element of the boy's grandmother in a school uniform.  This was the first series Midorikawa wrote in which the protagonist was also the central character. Midorikawa claimed that as a character Natsume is almost as bad as herself at expressing his thoughts, which caused her to use more interior monologue than she was comfortable with for a male character.

Media.

Manga.

"Natsume's Book of Friends" is written and illustrated by Yuki Midorikawa and published in Japan by Hakusensha. It began serialization in 2005 in the bimonthly "shōjo" (aimed at teenage girls) manga magazine "LaLa DX"; in 2008, serialization switched to the monthly sister magazine "LaLa". The untitled chapters have been collected in twenty-four "tankōbon" volumes.  The series is licensed in English in North America by Viz Media, with the first volume published in January 2010. It is also licensed in French by Delcourt, in South Korea by Haksan, in Taiwan by Tong Li, in Thailand by Bongkoch Publishing and in Germany by Egmont Manga & Anime.  In addition, a fan book was published on January 5, 2009 () and a notebook reproduction of Natsume's Book of Friends was published July 3, 2009 ().

Drama CDs.

"Natsume's Book of Friends" has been adapted as a series of three drama CDs, which were distributed as extras with issues of "LaLa".

Anime.

"Natsume's Book of Friends" has been adapted as an anime television series produced by Brain's Base, directed by Takahiro Omori. It was broadcast on the TV Tokyo network. Season 1 & 2 were released on five DVDs each.  The series is streamed online by Crunchyroll; episodes of the second season were available online on the day of broadcast. NIS America has licensed the series for retail release in North America. NIS America later released the series from Volume 1 through Volume 3 alongside Natsume's Book of Friends seasons 1 and 2 on February 4, 2014. It is also licensed in Chinese by Muse Communication.

Others.

An OVA titled was released on February 5, 2014, with the staff and cast of the previous anime seasons returning. The BD/DVD consisted of two discs, the second containing a clip of the "Sound Theatre x Natsume Yuujinchou ~ Tsudoi Ongeki no Shou~" musical event which was held the previous year on September 28, 2013.  Separate soundtrack albums for the two seasons were released in Japan by Sony Music on September 24, 2008 and March 18, 2009, respectively. The series opening and closing theme songs were also released by Sony Music. As singles, "Issei no Sei" reached a peak rank of 48th on the Oricon singles chart, "Natsu Yūzora" reached 27th, and "Ano Hi Time Machine" reached 38th. "Aishiteru" was not released as a single, but instead included on an album called Uta no Hibi by Kourin (Also known as Callin').

Reception.

"Natsume's Book of Friends" was one of twelve finalists for the first Manga Taishō award in 2008.  Since the fifth volume of the series, the individual volumes have made the best-seller list for manga in Japan. Volume 5 was ranked at number 8 on the charts for the week of March 4–10, 2008; Volume 6 was number 5 for the week of July 8–14, 2008; Volume 13 has done the best so far of the volumes, staying on the chart for three consecutive weeks (number 2 for the week of January 2–8, 2012, number 4 for the week of January 9–15, 2012, then falling to number 19 the following week).  The anime has been popular not just in Japan, but also in the United States, Canada, South Korea, the Philippines, Taiwan, China, Vietnam, and Indonesia. Both the show and the manga have been noted for their optimistic themes and presentation.

"Natsume's Book of Friends" has been adapted as a series of drama CDs, as well as an anime television series produced by Brain's Base (seasons 1–4) and Shuka (seasons 5–6), which was broadcast on TV Tokyo for 6 seasons in 2008, 2009, 2011, 2012, 2016 and 2017. The manga is licensed for English-language release in North America by Viz Media, which released the first volume in January 2010. The first four seasons of the anime have been licensed by NIS America for a North American release in 2012. A fifth season began airing on October 4, 2016. A sixth season began airing on April 11, 2017.

Le scénario tourne autour de la vie de Natsume, un adolescent orphelin qui a la particularité de voir des esprits ("ayakashi" et "yōkai") que son entourage ne perçoit pas. Il hérite de sa grand-mère Reiko un cahier, le « Livre des amis », où sont recensés le nom de nombreux esprits et qui lui donne le pouvoir de les contrôler. Accompagnés d'amis esprits et humains, il se met en quête de restituer leur nom aux Yōkai piégés. Mais les deux mondes sont parfois difficiles à tenir ensemble.


Early years.

Brownlee was educated at Bradford Grammar School before attending the University of Leeds, where he studied history. He swam for Aireborough Swimming club and still holds the record for the A&W boys 9/10 yrs 2 lengths backstroke, which was set in 2000. He is a member of the Bingley Harriers and is coached by Malcolm Brown and Jack Maitland at the British Triathlon Federation's High Performance Centre, based at Leeds Metropolitan University's Carnegie Centre.  His father Keith was a runner, while his mother Cathy was a swimmer. His older brother Alistair Brownlee holds two Olympic titles in the triathlon event (2012, 2016), and is a two-time Triathlon World Champion (2009, 2011). His younger brother Edward, who was a very successful academic, is also a keen sportsman, but prefers rugby and water polo over the triathlon.  Brownlee was the British youth champion in both the triathlon and duathlon in 2006 and 2007. In 2008 he won bronze medals at both the ETU European Junior Triathlon Championships and ITU World Junior Championships, and placed 17th in his ITU World Championship Series début event in Kitzbühel. During the 2009 season he also won gold in the triathlon at the Australian Youth Olympic Festival and competed in two races in the 2009 ITU World Championship Series, finishing 13th in Kitzbühel and 27th in London.  In 2010, Brownlee represented the French club "ECS Triathlon" and took part in the prestigious French Club Championship Series "Lyonnaise des Eaux", also called "Grand Prix." In Dunkirk, at the first triathlon of this circuit, he won the gold medal in the individual ranking which helped "EC Sartrouville" to win the silver medal.  Despite a 15-second penalty, Jonathan took the bronze medal in the Triathlon event at the London 2012 Olympic Games, his brother Alistair taking gold.  He took gold in the mixed triathlon team relay at the 2014 Commonwealth Games, with his brother Alistair, Vicky Holland and Jodie Stimpson.

ITU competitions.

In the five years from 2006 to 2010, Jonathan Brownlee took part in 23 ITU competitions and achieved 14 top ten positions, winning five gold medals.  The following list is based upon the official ITU rankings and the Athlete's Profile Page. Unless indicated otherwise, the following events are triathlons (Olympic Distance) and belong to the "Elite" category.

Jonathan Callum Brownlee (born 30 April 1990) is a British professional duathlete and triathlete. He was the 2012 Triathlon World Champion, and the silver medalist in 2013 and 2016.

Jonathan Callum Brownlee né le à Leeds en Angleterre est un triathlète professionnel anglais, champion du monde de triathlon en 2012, médaillé de bronze puis d'argent lors des Jeux olympiques d'été de Londres en 2012 et de Rio de Janeiro en 2016. Il est le frère cadet d'Alistair Brownlee triathlète professionnel également, double champion du monde de triathlon en 2008 et 2011 et double champion olympique lors des mêmes Jeux olympiques.


History.

First tenure with ABC.

The station first signed on the air on October 27, 1954, as WTVW (for its on-air slogan "Wisconsin's TeleVision Window"). WTVW's transmitter building was built under a tent, as rain had threatened to delay construction. After the building was finished, a second tent was erected, and used for live automobile commercials, until it collapsed one day in early 1955. In early 1955, the station was purchased by the Hearst Corporation, publishers of "The Milwaukee Sentinel" and owners of WISN radio (1130 AM); the new owners changed channel 12's call letters to WISN-TV, after its radio sister (whose calls were derived from now-defunct newspaper "The Wisconsin News", which merged with the "Sentinel" 15 years prior to its sign-on; the WTVW calls are now used by the CW-affiliated station in Evansville, Indiana). The station originally operated as a primary ABC affiliate with a secondary DuMont affiliation. WISN-TV lost the DuMont affiliation when that network ceased operations in 1956, leaving it exclusively with ABC.  In January 1958, WISN-TV became the flagship station of the Badger Television Network, a three-station network serving Wisconsin that also included WFRV-TV in Green Bay and WKOW-TV in Madison. Programs broadcast by the network included "Homemaker's Holiday", a quiz show hosted by Charlie Hanson; "Good Housekeeping", hosted by Trudy Beilfuss titled after the Hearst magazine of the same name; and "Pretzel Party", a variety program originally hosted by Larry Clark. All three programs originated from WISN-TV's studios. During March 1958, the network also aired Senate Investigation Committee hearings during late-night hours. The network ceased operations on August 8, 1958. WISN-TV and WISN radio would gain an FM radio sister when Hearst signed on WISN-FM (97.3, now WRNW) in 1961.

Switch to CBS.

In 1961, CBS decided to affiliate with WISN-TV, as its sister radio station had been a longtime affiliate of the CBS Radio Network. As a result, Storer Broadcasting-owned WITI-TV (channel 6) and WISN swapped networks: channel 12 switched its affiliation to CBS and channel 6 became an ABC affiliate on April 2, 1961. The final ABC network program to air on WISN before it joined CBS was an edition of the "Fight of the Week" with boxers Benny Paret and Emile Griffith; it ran the evening before the switch at 9:00 p.m. Central Time.  During channel 12's time with CBS, it served as the default home station for the NFL's Green Bay Packers for the Milwaukee market, and airing the team's first two Super Bowl appearances (also the first two Super Bowl games in NFL history); it was succeeded and preceded in this stead by WITI.  Hearst sold the "Milwaukee Sentinel" to Journal Publishing (the publishers of the "Milwaukee Journal") in 1962, retaining WISN-TV and WISN radio. The "Journal" also competed with the "Sentinel" (both of which were eventually consolidated into the "Milwaukee Journal Sentinel" in 1995) in broadcasting as owners of WTMJ radio (620 AM) and WTMJ-TV (channel 4), which Journal operated until April 1, 2015, when Journal and E. W. Scripps Company merged and split their assets into the broadcast-specific Scripps company, and publishing operations into the short-lived Journal Media Group, which merged only a year later into Gannett.

Second tenure with ABC.

On September 26, 1976, CBS announced it was moving its Milwaukee affiliation back to WITI-TV. Storer Broadcasting had much better relations with CBS than it reportedly had with ABC; weeks earlier, ABC opted to drop Storer's San Diego station KCST-TV from the network after a four-year dispute stemming from KCST's successful battle to strip that market's ABC affiliation from XETV-TV in nearby Tijuana, Mexico. Meanwhile, ABC had become the top-rated television network in the United States, thanks in large part to two Milwaukee-set sitcoms: "Happy Days" and "Laverne & Shirley". WISN-TV and ABC agreed to a new affiliation contract about a month later; the two stations swapped networks once again on March 27, 1977; the final CBS program to air on channel 12 was an episode of "The Carol Burnett Show" with guest Ken Berry, which aired at 9:00 p.m. Central Time on the night before the station rejoined ABC (the station also aired the United Cerebral Palsy Telethon ahead of its return to ABC at 6:00 p.m. that Sunday evening). WISN even used "Happy Days" star Henry Winkler (in character as Arthur "Fonzie" Fonzarelli) to herald its return to ABC with the slogan "Happy Days are Here Again" in on-air and print campaigns leading up to the switch. To this day, WISN-TV has been one of ABC's most successful affiliates, and bills itself as such in its own promotions.  Around the same time, the station was the first which utilized newscast composer Frank Gari's "Hello News" package, which included an imaging song individualized to each market's city; in this case "Hello Milwaukee", which remains well-remembered and remains used in various ways by WISN-TV to the present day, and was cited as one of the factors in driving viewers to the station in the late 1970s and allowing it to be competitive.  For most of its years with ABC, the station did not include the network's logo next to theirs, branding solely with the channel number and/or call letters vocally and visually (outside of network-created radio promos which listed the station as "12 ABC") until 2012, when the network began to contractually require the ABC logo be included with any affiliate's logo redesign. In November 2014, the station unveiled their current logo with the call letters beneath the long-used "12" logo form and the ABC logo on the right side of the "12" number mark, the first with the ABC logo blended in for all uses, including for news and entertainment programming, and ending a long run where the station's call letters were rendered in Bank Gothic font. Vocally, the station remains "WISN 12". The station is among the few in the nation which has their logo in a transparent bug at all times, including ABC network and news programming, though not during commercial breaks or paid programming.  Channel 12 was the first commercial station in the market to produce a high-definition broadcast, airing the Summerfest "Big Bang" fireworks show in HD on June 29, 2006. Milwaukee Public Television assisted WISN-TV in the production of the broadcast, and have continued to do so each year since, with additional help from sister stations in Sacramento and Boston in later years.  Hearst sold WISN radio and what by then became WLTQ to Clear Channel Communications in 1997, and the third floor WLTQ/WISN radio studios were vacated in 2000 after their move to the expanded WOKY facility in Greenfield. All ties between WISN-TV and its former sister radio stations were severed when a longtime agreement with channel 12 to provide forecasts for WISN (AM) and the then-WQBW (now WRNW) and four others within Clear Channel's Milwaukee radio cluster ended on July 27, 2009 (though WRNW continues to transmit from WISN-TV's tower), as WITI began its own weather/news content agreement with the stations. WISN-TV then began a news content agreement with Saga Communications for its five area radio stations (WKLH, WHQG, WJMR-FM, WJYI and WNRG-FM). Due to the now separate ownership of the two stations, WISN-TV's news staff disclaim both on-air and through their social networking channels that the station has no connections with WISN radio's conservative talk format other than sharing the same call letters, a point of contention and confusion during events such as live shots at the Wisconsin State Capitol for the 2011 state budget debate.  In February 2014, the station added an SAP audio channel, allowing the station to carry ABC programming featuring audio description or a Spanish-language dub, and complying with the FCC's requirements to offer audio description.

Summer 2012 Time Warner Cable carriage dispute.

As Hearst and Time Warner Cable entered into a retransmission consent dispute that resulted in Hearst's stations being removed from TWC's systems in certain markets on July 10, 2012, WISN was not immediately removed from its Milwaukee area systems in an eleventh hour announcement, as the direct fiber connection between WISN and TWC is also provided by the cable provider to Charter Communications (which serves outer portions of the market such as western Waukesha County and most of Washington, Fond du Lac and Sheboygan Counties) under a side agreement between the providers which TWC and Hearst were contractually obligated to honor. It was the only Hearst station to remain on TWC during the dispute, but with both Start Over video on demand and the ability to record station programming to TWC DVRs completely removed. Charter then tried to pursue a different method of transmitting WISN's signal to remove itself as an intermediary from the dispute, and was able to make the arrangements by July 12, allowing WISN's removal from Time Warner Cable one day later, with WISN's SD and HD channel slots replaced with Hallmark Movie Channel. The dispute was resolved on July 19, returning the station to TWC's systems that evening.

Digital television.

Digital channels.

The station's digital signal is multiplexed:

Analog-to-digital conversion.

WISN-TV shut down its analog signal, over VHF channel 12, at 8:30 a.m. on June 12, 2009 (the transition was led by a retrospective on the station's history narrated by former longtime anchor Jerry Taff, followed by a still of digital transition information that remained until noon, when its analog transmitter was permanently shut down). The station's digital signal continued to broadcast on its pre-transition UHF channel 34. Through the use of PSIP, digital television receivers display the station's virtual channel as its former VHF analog channel 12. The channel 12 frequency was subsequently used as the post-transition digital signal of WBBM-TV in Chicago.  On May 17, 2010, WISN-TV filed an application to upgrade its digital transmitter's power to 1 megawatt, mainly to place the station's digital antenna at the taller height of the dormant analog antenna, which would be replaced by a new digital unit. The analog antenna was removed in September 2010, and the digital antenna was activated from the new placement in early October 2010.

News operation.

WISN-TV presently broadcasts 34 hours of locally produced newscasts each week (with five hours each weekday and 41⁄2 hours each on Saturdays and Sundays); WISN is one of the few Hearst-owned stations that carries an hour-long midday newscast. The station utilizes two weather radars as part of its "Doppler 12 Radar Network", using radar sites based at the National Weather Service forecast office in Sullivan, and atop Froedtert's Community Memorial Hospital in Menomonee Falls, which is operated by the station.  Longtime anchor Jerry Taff retired in May 2005, as WISN's newscasts began to climb in the ratings. Its success stems from hiring popular local anchors and reporters released from other stations, a stronger ABC schedule, and a period of change at rival WTMJ-TV due to NBC's weaker ratings and changes in its newsroom staff. The station's biggest hire came when longtime WTMJ anchor Mike Gousha joined channel 12 in 2007, a year after he retired as WTMJ's evening news anchor in order to focus on his new position as a distinguished fellow in law and public policy at Marquette University. Gousha served as a political analyst for WISN, and hosted the Sunday morning program "UpFront with Mike Gousha", which is a mix of the interview segments familiar to viewers of his former WTMJ program "Sunday Night", and local political analysis. Hearst syndicated the show to other stations statewide, and in August 2010 all of the stations involved (along with Milwaukee Public Television, which provided technical assistance with HD production) broadcast a Gousha-moderated forum for the Wisconsin Republican gubernatorial candidates called the "UpFront Town Hall Challenge" from Marquette's new law building, which was purposefully structured to avoid classification as a traditional debate where either candidate could use the format to "sell" themselves. The format was repeated in October 2010 between the Democratic and Republican nominees for governor and U.S. Senate.  WISN has gradually expanded its newscast schedule since 2007, and is unusual in programming hour-long newscasts, starting that year with a Sunday at 10 p.m. broadcast and for a time, an hour-long Saturday 6 p.m. newscast (the 6:30 p.m. half-hour currently features either paid programming, "Project Pitch It" [a local version of ABC's "Shark Tank", which is syndicated to stations throughout Wisconsin] or "12 Sports Saturday"). On July 30, 2010, WISN, like most of its ABC-affiliated sister stations under Hearst did on that date, added a one-hour extension of its weekend morning newscast from 8 to 9 a.m. On September 6, 2010, WISN expanded its weekday morning newscast a half-hour early to 4:30 a.m., extending the program to hours.  On April 21, 2009, the station began using full-time pillarboxing with the station logo and callsign on the respective sides of the screen for newscasts and other standard-definition programming. Afterwards, the station began to slowly implement graphical elements; in March 2010, WISN-TV unveiled 16:9-optimized weather alert graphics to allow programs to continue to be shown in HD rather than force a downscale to a modified mode in which the program was displayed in 3:3 (to much viewer complaint over the years, especially with ABC prime time programming), with the weather warnings taking up the remainder of the screen. News tickers and logo bugs were also later upgraded; the only HD news segments until late June 2011 aired on its newscasts the day of the Summerfest "Big Bang" fireworks show, usually scenic and human interest pieces, along with Milwaukee Public Television co-productions. On October 10, 2010, the station began broadcasting its newscasts in 16:9 widescreen standard definition, with the pillarboxes being removed. Then on June 28, 2011, WISN-TV became the third station in Milwaukee (behind WTMJ-TV and WITI) to begin broadcasting its newscasts in high definition. Footage shot in-studio is broadcast in HD, while all news video from on-remote locations was initially upconverted to widescreen standard definition for broadcast. Since 2012, the station has upgraded its mobile units and field cameras to HD as equipment has needed replacement. In May 2013, the station unveiled its first HD skycam, overlooking the downtown Cathedral Square Park.  On January 24, 2011, WISN-TV expanded its 10 p.m. newscast to one hour (becoming the third Hearst-owned station with an hour-long late local newscast, along with Albuquerque's KOAT and Honolulu's KITV). This bumped "Access Hollywood" from its longtime 10:30 p.m. slot to 12:30 a.m., resulting in NBCUniversal Television Distribution asking for an opt-out from the program's syndication contract with WISN to move "Access", ending up on WTMJ at 6:30 p.m. on April 11, 2011 ("Access" aired at 1:37 a.m. from January 2013 until September 2014 due to WTMJ's January 2013 relaunch of its 6:30 p.m. newscast as the newsmagazine "Wisconsin Tonight"; it now airs on WITI in late night at 4:00 a.m.).  On September 10, 2018, the station added an hour-long 11 a.m. local newscast leading into "GMA Day" (now "Strahan, Sara and Keke"), which coincided with the station introducing a next-generation news set, replacing one utilized since October 2001 with multiple re-facings and equipment replacements in the interim. On January 14, 2019, the station reduced its 10 p.m. newscast to the standard 35 minutes (likely due to its current ABC affiliation agreement), allowing WISN-TV to carry the ABC late night lineup "live" and in pattern for the first time in the station's history. The station began to air a nightly half-hour 9 p.m. newscast on WISN-DT2 on April 1, 2019 entitled "WISN 12 News at 9 on Justice", joining WITI and WMLW-TV (via WDJT) in carrying news at that time. It joined with many of its fellow Hearst stations in programming a prime time newscast on their.2 subchannels, which are usually associated with MeTV. On days where Justice has an hour-long program in the news timeslots, alternate programming like "Upfront" and "Matter of Fact" is re-aired in the latter half to fill the entire hour. The newscast also features a "Working for Justice" segment where a crime or public safety story is highlighted in order to naturally tie into its network's format.

WISN-TV, virtual channel 12 (UHF digital channel 28), is an ABC-affiliated television station licensed to Milwaukee, Wisconsin, United States. Owned by the Hearst Television subsidiary of Hearst Communications, it is the second-oldest television station to remain with the company in all of its various iterations behind WBAL-TV in Baltimore. WISN's studios are located on North 19th Street on the west end of the Marquette University campus, and its transmitter is located at Lincoln Park in the northeastern part of Milwaukee (next to the Weigel Broadcasting tower, which is used by CBS affiliate WDJT-TV, channel 58, and its sister stations).

WISN-TV est une station de télévision américaine basée à Milwaukee, ville de l'État américain du Wisconsin, et affiliée au réseau de télévision ABC. Son signal couvre le sud-Est du Wisconsin, ainsi qu'une partie du nord de l'Illinois, dont les communes de Racine, Kenosha, Sheboygan et de Waukesha. Les locaux de la station sont situés au niveau de la Nord et la rue Wells Ouest, à l'Ouest du campus de l'université Marquette, et son émetteur est situé dans l'enceinte du Lincoln Park, dans la partie nord de Milwaukee, à côté de la tour de qui est utilisé par (canal 58), la station de télévision régionale affiliée au réseau CBS.


History.

In 1971 Nelly Seiler Filipson (1926–2012), sensitized by her personal background, created a rehabilitation centre in Laeken for children with mental disabilities. She named it Nos Pilifs from an anagram of her name. This centre still receives some fifty disabled children up to the age of 13. Other organizations have been created to meet the needs of disabled persons who attended the centre. That is how the leisure club was established in 1980, "La Ferme Nos Pilifs" as a company that hires people with disabilities in 1984, the Maison Nos Pilifs providing accommodation and support service in 1985, "le Potelier des Pilifs" day centre in 1989, the "Ados Pilifs" secondary school for autistic children in 2011, the "Villa Pilifs" hostel in 2015, and soon "Les Piloux" inclusive children's nursery. All these private nonprofit organizations share the same philosophy: acceptance of difference and inclusion of people with disabilities.

The centre.

Nos Pilifs centre is a pre-primary and primary school with specialized education for children with pervasive developmental disorders (specialized in type 3 – autism) or with mental retardation or deficiency. The school is part of the non-confessional network. Nos Pilifs centre provides multidisciplinary care in speech therapy, psychomotor education, occupational therapy, physiotherapy and behavioural psychology.

Ferme Nos Pilifs ASBL.

The farm was created in 1984, on the initiative of Mrs Filipson and Benoit Ceysens in response to a lack of employment for disabled people in the north of Brussels. The farm is now a recognized company with disabled employees certified by the Cocof. With social and ecological purposes, 140 out of its 180 employees are disabled. It works a 12-acre long field in Neder-Over-Heembeek in the north of Brussels, with an animal park, a garden centre, different plots, a grocery shop, a brewery and a conditioning workshop for organic dry food. Eight teams of gardeners also offer various gardening services. Children can spend their school breaks at the farm, and school groups can visit it on field trips at any time of the year. Through those various activities, Nos Pilifs Farm showcases disabled people's skills and gives them a real role in their neighbourhood.

Accessibility.

Bus line, stop "Nos Pilifs". Bus line, (new route since 2 March 2020), stop "Ferme Nos Pilifs".

Nos Pilifs Farm is a farm and company that hires disabled people (nonprofit organization) founded in 1984 and located in Brussels.

La Ferme Nos Pilifs est une entreprise de travail adapté (association sans but lucratif) créée en 1984 et établie à Bruxelles.


History.

Archeological excavations have identified some 200 Ozieri sites, located both in plain and mountain areas, but with a preference for low ridges, and largely organized around an economy of Hunter-gatherers mixed with an initial presence of husbandry and agriculture. The settlements consisted of small stone huts, with a circular (rarely rectangular) wall supporting a wooden frame with a ceiling of boughs. One, near Sestu, consisted of 60 huts. Another, near Mogoro, included 267 huts, perhaps also erected on poles driven into the ground, with pavements composed of limestone slabs, basalt cobbles or clay. Su Coddu, the largest known settlement, consisted of more complex structures and multiple room dwellings; located near Selargius, it has been partially built over by modern development, limiting the present understanding of its size. The finding of unique tools and objects in individual huts, and early evidence of metal-working, suggests the Ozieri culture was well organized and specialized.  The villages had no walls, and findings of weapons in the tombs are scarce, indicating the Ozieri civilization was perhaps a peaceful one, very different from the later Nuragic civilization. The tombs consisted of rock-cut hypogeous structures that later became known as domus de janas, which were built underground or in rock faces, with the largest example being the Necropolis of Anghelu Ruju. Some tombs, of more monumental appearance, belonged perhaps to chiefs, in the fashion of those in Crete. The Ozieri burial practices differ from what is found in the region of Gallura (as a feature of the contemporaneous Arzachena culture), where the dead were interred in Megalithic circles. The Ozieri produced finely made ceramic pottery with complex patterns, incisions and surface decoration. Archaeological excavations held in 1914 and 1949 found fine worked vases with geometrical motifs carved in the clay and colored with red ochre. The oldest ones were still rather crude, while the more recent examples were more refined and slender. Such ceramics were a novelty for prehistoric Sardinia, since up to that point they had been considered typical of the Cyclades and Crete. The development of the Ozieri culture, therefore, probably stemmed from contacts with other eastern Mediterranean civilizations, in particular from the area of Neolithic Greece. The Ozieri culture appears to have been much involved in the obsidian trade, due to rich deposits on the island, which may have led to increased trading contact.  Figurines recovered indicate the Ozieri may have worshiped a mother goddess, with the most well known example being an alabaster statuette found at Ponto Ferro Tomb, Senorbì, and sharing some stylistic characteristics with later Cycladic figures. Female statuettes similar to those of the Ozieri culture have also been found in Malta. Bull horns were recovered from tombs and elsewhere, indicating the sacred bull was also an important concept.  The religious center of the Ozieri culture may have been the Monte d'Accoddi, a massive stone structure that was probably an altar, and has been called "the most singular cultic monument in the early Western Mediterranean."

The Ozieri culture (or San Michele culture) was a prehistoric pre-Nuragic culture that occupied Sardinia from c. 3200 to 2800 BC. The Ozieri was the culmination of the island's Neolithic culture and takes its name from the locality where early findings connected with it have been found, the cave of San Michele near Ozieri, in northern Sardinia. The Ozieri existed contemporaneously with the Arzachena culture, sharing some similarities, and its influence also extended to nearby Corsica.

La culture d'Ozieri (ou culture de San Michele) est une culture préhistorique de la fin du Néolithique qui s'est développée en Sardaigne entre 4300 à Elle tire son nom de la localité d'Ozieri dans laquelle se trouve la grotte de San Michele. Les riches niveaux archéologiques de cette cavité fouillée à partir de 1914 ont livré un abondant matériel permettant de la définir. On la retrouve sur l'ensemble de la Sardaigne, mais son influence au-delà, y compris dans la Corse voisine, est très limitée.


Biography.

Early life.

Anthony Steel was born in Chelsea, the son of an Indian army officer, Edward (1897-1965), who later became an actor himself. Steel spent most of his early childhood in India (in Lahore) and was educated at Alexander House Prep School, Broadstairs, Kent until he was fourteen. He continued his studies at home with a tutor before attending Trinity College, Cambridge.

War service.

Steel had only completed a year at Cambridge when the Second World War broke out. He enlisted in the Grenadier Guards aged 18 and was evacuated from Dunkirk in May 1940. He received a commission and served in the Middle East where he was badly injured on patrol. He trained as a parachutist, and made nine operational jumps. He finished the war with the rank of major.

Acting.

On demobilisation Steel decided to become an actor. For a time he worked with a pick and shovel at Clapham Junction for £6 a week. He began to get some parts on stage, including appearing opposite Margaret Lockwood in "Roses for Her Pillow", a stage version of the film "Once Upon a Dream" which was being given a special performance by Rank contract artists. He was dating a niece of J. Arthur Rank who introduced Steel to her uncle at a party. Rank subsequently signed the actor to a long-term contract with his company.

Early Rank years.

Steel was trained at Rank's "charm school" and given a slow buildup with small parts in several films, starting with "Saraband for Dead Lovers" (1948). He also appeared in "A Piece of Cake" (1948), "Portrait from Life" (1948), "Once Upon a Dream" (1949), "Marry Me!" (1949), "Quartet" (1948), "The Blue Lamp" (1949), "Trottie True" (1949), "Poet's Pub" (1949), "Don't Ever Leave Me" (1949), "Helter Skelter" (1949), "Christopher Columbus" (1949), and "The Chiltern Hundreds" (1949). He also acted on stage in repertory at Aldershot and Worthington.  He tested unsuccessfully for a part in Walt Disney's "Treasure Island" (1950).

Stardom.

Steel's roles up until then had been essentially bit parts. His first big break was being cast as one of three British POWs who escape from a camp in "The Wooden Horse" (1950). This film, based on a true story, was the third most popular film at the British box office in 1950 and established Steel as a leading man. Director Jack Lee said that the actor "was fine to work with, just a physical type, a young chap who could do certain things, though he didn't have much acting to do in this." He was paid £15 a week. "[Co star] Leo Genn was getting thousands," Steel recalled. "It made me pretty mad."  Steel was cast as the romantic male lead in "The Mudlark" (1950), a Hollywood film starring Irene Dunne being shot in London. He had a small part in the comedy "Laughter in Paradise" (1951) then supported another Hollywood name, Bette Davis in the thriller, "Another Man's Poison" (1951).  Steel's next big break was being cast as a game park warden inspired by Mervyn Cowie in "Where No Vultures Fly" (1951), shot mostly on location in Kenya. This was the most popular British movie of the year and the Royal Command Performance Film for 1951, confirming Steel's status as a genuine box office draw. In 1952 British exhibitors voted him the fourth most popular British star and he was seen as the successor to Stewart Granger.  He co-starred with Jack Warner in a thriller directed by Lewis Gilbert, "Emergency Call" (1952). Rank tried Steel in a comedy, "Something Money Can't Buy" (1952), with Patricia Roc but the public response was not enthusiastic. They put him back in uniform in "The Planter's Wife" (1952), set during the Malayan Emergency. It was the sixth most popular film of 1952 in Britain, although Steel's part was a relatively minor one in support of Jack Hawkins and Claudette Colbert.  He again supported two stars in a military story when he appeared in "Malta Story" (1953), with Hawkins and Alec Guinness. It was the fourth most popular film of the year in Britain in 1953. Hollywood called in the form of Warner Bros, who cast him in support of Errol Flynn in the British-shot swashbuckler "The Master of Ballantrae" (1953); it was a minor success.  Also moderately popular was "Albert R.N." (1952), reuniting Steel with Jack Warner and Lewis Gilbert in another World War Two POW film. He starred in a sequel to "Where No Vultures Fly", "West of Zanzibar" (1954). It was not as successful as the first movie although Steel had an unexpected hit record when he recorded a version of the title track.  "The Sea Shall Not Have Them" (1954) was another war film from Gilbert, co-starring Dirk Bogarde and Michael Redgrave. "Out of the Clouds" (1955) was an ensemble movie set at London airport, not as well received as Steel's war movies.  In 1954 Steel and Dirk Bogarde were the highest paid actors with the Rank Organisation with a reported salary of £15,000 a film. Still, he was not happy with his roles. "In America, they build their male stars by starring them opposite exciting women," he said. "What do they give me? Elephants, crocodiles and giraffes." However, in "Passage Home" he was cast opposite Diane Cilento. "At last I can prove that I have blood in my veins and can make love to a woman," said Steel. "You know how the public identify themselves with the stars. Well, they think that an actor who gets the girl all the time — especially if she is very glamorous — must really have something."  He was given the starring part in "Storm Over the Nile" (1956), an almost shot-for-shot remake of "The Four Feathers" (1939) but a solid hit in Britain. "The Black Tent" (1956) was another war movie, set in Northern Africa during World War Two. "Checkpoint" (1956) was a change of pace, a racing-car thriller partly shot in Italy for director Ralph Thomas.

Move to Hollywood.

In 1956 Steel married Swedish actress Anita Ekberg and together they moved to Hollywood, with mixed results. He broke his contract with the Rank Organisation – for whom he was meant to star in "The Secret Place" (1957) – received bad publicity for fighting with Ekberg and attacking paparazzi, and was arrested twice for drunk driving. During his time in Hollywood he appeared in one film, the little-seen "Valerie" (1957). It was announced he would be in a film to be made in Spain, "Tetuan", but this did not come to fruition.

Career decline.

Steel returned to Britain but was unable to regain his earlier popularity. He had the lead in a courtroom drama, "A Question of Adultery" (1958), and supported Stewart Granger in a Hollywood-financed adventure tale shot partly in India, "Harry Black" (1958).  He appeared in a film directed by Michael Powell, "Honeymoon" (1959), but it was one of Powell's least known works. John Davis, head of the Rank Organisation was known to be furious about Steel having left the company earlier after the support they had given him, and this was thought to have harmed his chances at reviving his career. Steel was also hurt that the sort of war films in which he had made his name were going out of fashion.  In 1960 Steel went missing for a week from a luxury hotel in Germany, leading to a two-nation search. He later turned up in Rome, claiming he had just gone there to discuss another film.  In 1960 Steel moved to Rome and lived there for the next decade. He starred off appearing - like many fading stars - in a peplum, "Revenge of the Barbarians" (1960) - and a swashbuckler, "Tiger of the Seven Seas" (1962). His roles grew smaller and less prestigious, such as appearing as "Sir Stephen" in the Just Jaeckin film adaptation of "Story of O" (1975).

Return to Britain.

By the 1970s he had returned to Britain where he appeared in TV shows such as "Bergerac", "The Professionals", "Robin of Sherwood" and "Crossroads". He made stage tours in the 1980s and his last role was in "Cinderella", a pantomime at Birmingham's Alex Theatre in 1989. He lived for a number of years in a tiny flat in Northolt, west London. His then agent, David Daly, said that: He was a very private man. He just decided that he would withdraw. He found a place to live and simply went into hiding. In some ways, it was not unlike him; if he decided that things weren't right, he would withdraw into himself and not contact anybody. In 1995 John Mills tried to rehouse him through the Actors Benevolent Fund but Steel refused. Steel told a journalist in 1997: This is a very difficult time for me. You can see that by where I'm living. I know a lot of people are trying to find out where I am, but to be honest that's how I want it. I want to be left alone. I don't want to see any of my old friends from my old life. I've been quite ill lately and it's too much for me to go back to it all now.Of course I have regrets, but there is nothing anyone can do to change the past. I just want to get on with it. Daly arranged for him to stay at Denville Hall, a London retirement home for actors. Not long before he died he had a guest role in the TV series "The Broker's Man".

Singer.

In 1954, Steel teamed up with the British vocal ensemble The Radio Revellers to record "West of Zanzibar". Released on the Polygon Records label, it peaked at No. 11 in the UK Singles Chart.

Personal life.

Steel was married three times: Steel had an affair with actress Patricia Roc in 1952 while they were co-starring in "Something Money Can't Buy", resulting in a son, Michael. Both Steel and Roc were married at the time, he to Juanita Forbes and she to André Thomas, but the latter was unable to have children, so Thomas agreed to bring up Michael as his own.  Steel, then 35, was engaged to his secretary, Anne Hanson, age 20, in 1954. They had one daughter, Penelope Steel.  His engagement and subsequent marriage to Ekberg was widely publicised at the time. Ekberg later claimed he hit her:When he wasn't drunk he was charming and cultured, intelligent, a sense of humour. Too bad he got on that road. He would start arguments with anybody after one drink too much and then he would get violent."

Death.

Anthony Steel died from lung cancer in Northolt, Middlesex in 2001, aged 80.

Selected filmography.

Box office ranking.

At the height of his career, British exhibitors voted Steel among the most popular local stars in the country.

Anthony Maitland Steel (21 May 1920 – 21 March 2001) was a British actor and singer best known for his appearances in British war films of the 1950s such as "The Wooden Horse" (1950), and his marriage to Anita Ekberg. He was described as "a glorious throwback to the Golden Age of Empire... the perfect imperial actor, born out of his time, blue-eyed, square-jawed, clean-cut." As another writer put it, "whenever a chunky dependable hero was required to portray grace under pressure in wartime or the concerns of a game warden in a remote corner of the empire, Steel was sure to be called upon."

Anthony Steel est un acteur anglais né à Chelsea à Londres le, et mort à Northwood dans la même ville le.


Facilities.

The airport features a single runway, long and wide, making it one of the longest in Spain and Europe. Its design was to enable the airport to accept all forms of commercial airliners, including the Airbus A380. The passenger terminal was designed so that it could process two million passengers a year, and a maximum of ten million passengers a year if additional modules were added, while its cargo facilities were designed to handle a maximum of 47,000 tonnes a year. One part of the airport was designed with facilities to cater for private flights and sport flights. The airport is linked by road to the A-41 motorway.  As part of its planned expansion, the airport was to feature a maintenance area, a heliport and an industrial zone of over 8 km2. In addition, a long foot bridge was built to connect the terminal to the nearby Madrid–Seville high-speed rail line, towards a site for a railway station; construction of this transportation link was never started, though had such a project been undertaken and completed, it would have made Ciudad Real Airport the first in Spain to be linked to the AVE rail network, with travel times to the closest cities (Madrid and Córdoba) of 50-60 minutes.

History.

Operations.

Following its opening in 2009, the airport's first flights were to Palma de Mallorca, run by Air Berlin until it discontinued this service in 30 May 2010. Air Nostrum also operated flights to Barcelona, Gran Canaria, and briefly to Lanzarote.  Ciudad Real Airport began handling international flights in June 2010, with its first international service launched by Ryanair. The airline service ran three flights per week from London Stansted, until its discontinuation on 11 November that year, having flown approximately 22,000 passengers into or from the airport. The cancellation of the route, which resulted in the loss of 22 jobs, was the result of a breakdown in trade agreements with Ryanair, and financial difficulties being faced by the airport. Spanish low-cost carrier Vueling became the only airline serving the airport at this point, running flights to Barcelona, Paris and Palma de Mallorca, until it eventually ended services on 29 October 2011.  By 2012, the airport's financial difficulties forced the management company to file for bankruptcy, after accumulating more than €300 million of debt, eventually going into receivership. By 13 April 2012, all airport operations were shut down, and would remain so for more than 7 years.

Reasons for bankruptcy.

Much of the fault behind the closure of Ciudad Real Airport lay within the following factors. The first factor was centered around the poor planning of its construction. During the early planning stages, some deficiencies were overlooked. The main one was its location in a Bird Special Protection Area (SPA) and in the middle of the inactive Campo de Calatrava Volcanic Field, with the European Union blocking its construction until environmental protection measures had been taken (moving a portion of the protected area and downsizing the airport facilities). This delayed the initial opening for four years (2008 instead of 2004).  Meanwhile, in 2006 the main airport of Madrid (Barajas) had finished work on an expansion that would allow it to handle 70 million passengers a year, relieving the previously over-saturated facilities. Consequently, all the airlines that were previously considering to operate from Ciudad Real, chose instead to fly from Madrid, a more convenient option for passengers from the capital, as the distance between Ciudad Real airport and Madrid is of approximately 200 km, effectively making road journeys to the airport over two hours long.  Had construction of a station on the Madrid–Seville high-speed rail line been made, as had been originally planned, journey times to the airport would have been more reasonable - at present, travel times from Madrid to Ciudad Real by train stand at around fifty minutes. But before bankruptcy, only the bridge that would connect the station to the terminal was built. There is also a disused railway station in the vicinity of the airport (Cañada de Calatrava station), but it only provides access to the conventional railway, and not to the high-speed one.  Finally, the period when the airport first operated coincided with the worst years of the financial crisis in Spain, that resulted in a decrease of traffic in all Spanish airports, with passenger traffic at Ciudad Real airport measured within the low thousands. In addition, its main shareholder Caja Castilla-La Mancha (a regional savings bank) was the first Spanish bank to be bailed-out during the crisis, due to their investments in the Airport, and in several building companies, both small local ones and some big ones such as Colonial, that failed due to the housing bubble burst.  Other sources point to overoptimism in passenger numbers, while a BBC News magazine report published suggestions that the airport's investors had intended for the airport to fail; all had benefited from construction contracts awarded to their own companies.

On receivership.

On 9 December 2013, having been considered to be a significant contributor towards the financial trouble of the creditor institutions and the Castilla-La Mancha Regional Government, Ciudad Real Airport was put up for auction with a minimum asking price of €100 million. No offers were made, and so extensions were made to the sale period over time, with the Commercial Court of Ciudad Real agreeing a 7th extension to the sale deadline on 27 July 2014, but with the asking price reduced to €80 million by this time.  On 17 July 2015, Chinese investment company Tzaneen International put forward a bid of €10,000 to buy the airport, stating that their intention was to invest an additional €100 million towards redeveloping the airport towards becoming a European hub for Chinese cargo shipments. However, the Commercial Court rejected the bid on the grounds that the offer was too low, and that the unfinished terminal building and the car parks would not have been included in the deal. In September 2015, an unidentified UK group made an offer to the court of €28 million for the airport, though complications led the sale to fall through.

Under new ownership.

The airport was sold in April 2016 to the new company CRIA (CR International Airport SL). Due to financial and bureaucratic difficulties, the sale was not finalized until 2018. The airport was finally reopened in September 2019, and in October 2019 the Irish company Direct Aero Services opened a maintenance base. Spanish firm Jet Aircraft Services (JAS) also opened an aircraft dismantling base in December 2019.  In addition, the airport has also had some general aviation movements since the reopening, while commercial passenger flights are not expected in the near future.  In May 2020, cargo flights returned to the airport, as part of a Guangzhou-Ciudad Real cargo corridor to bring medical equipment during the COVID-19 pandemic.

Media.

Before opening and after closure, the airport has been used in a number media ventures:

Ciudad Real Central Airport, previously known as "Don Quijote Airport" and "South Madrid Airport", is an international airport and long-storage facility, situated south of Ciudad Real in Spain. Constructed at a cost of €1.1 billion, it was opened in 2009, and became the first international private airport in Spain.

L'aéroport Central-Ciudad Real est un aéroport ouvert en décembre 2008 situé au sud de la ville de Ciudad Real en Espagne. Il s'agit du premier aéroport international d'Espagne à être entièrement financé par le secteur privé.


Synopsis.

Claudiu Crulic is dead and recounts from beyond the grave how his mother and sister have difficulties recognising his body. He is significantly thinner than last time they saw him, and looks closer to 70 years old than his actual age of 33. Crulic had supported himself by buying goods in Poland and then selling them in his native Romania. In 2007 he was arrested for theft in Poland. At the time of the crime he had been in Italy. Crulic's protests were dismissed and his pleads to the Romanian consul for help were fruitless. Crulic began a hunger strike. Prison doctors dismissed signs of his deteriorating health. When they finally agreed to force-feed him, his lung was injured by a needle. After Crulic's death, authorities and the doctors deny responsibility.

Production.

Claudiu Crulic, a 33-year-old Romanian, was arrested for theft in Poland in 2007. Crulic asked the Romanian consulate in Poland for help, but when nothing happened he began a four-month hunger strike, which ended with his death from starvation in January 2008. The case received significant media attention and led to the resignation of the Romanian foreign minister and the recall of the consul in Poland. Three prison doctors were trialed for their responsibility in the death.  Anca Damian had debuted as a feature-film director in 2009. She became interested in Crulic's case and fascinated by the slow nature of a death caused by hunger strike. She therefore wanted to make a film which captured the emotional aspects of Crulic's death. Damian researched the case for one year. She interviewed Crulic's family, neighbours and co-prisoners, and was, unlike the journalists who wrote about the case, eventually allowed to read every page in the Polish police files. The film was produced by Damian's Romanian company Aparte Film and co-produced by the Polish company Fundacja Magellana. Further co-production support came from Editura Video and Kraków Festival Office. The film received financial support from the Romanian National Centre for Cinema, the Polish Film Institute, the Kraków Film Commission, the Romanian Ministry of Culture and Editura Video.  The film was made with a mix of techniques including hand-drawn animation, cutout animation from photographs, scanned documents, projection, stop motion and digital 3D. It was the first Romanian animated feature film in two decades, and the team of animators was formed specifically for the film. All the artwork and animation for the film were done at the animation and visual effects studio DSG, in Bucharest, by a team made of Dan Panaitescu, Raluca Popa, Dragos Stefan, Roxana Bentu and Tuliu Oltean, with Vlad Pascanu and Andrei Saraliischi. As a stylistic choice, Damian decided to use photos mixed with drawing, and to make the outlines of the drawings gradually thinner as Crulic comes closer to death. At the end of the film there is live-action news footage; Damian intended this to remind the viewer that the story did take place in the real world.

Release.

The film premiered at the 2011 Locarno International Film Festival. It was released in Romania on 21 October 2011 and in Poland on 1 December. It was not initially planned to be released theatrically in Poland, but after positive festival reactions, the Polish co-producer decided to give it a release. The Polish version was dubbed by Maciej Stuhr. The French release was on 12.12.2012, and the French version was dubbed by Vlad Ivanov and Sandrine Bonnaire. The movie was theatrically released also in Czech Republic, Italy, Hungary, Germany.

Reception.

Giuseppe Sedia of the "Krakow Post" compared the film to the journalistic comics of Chappatte, and the darkly humouristic sensibilities of the Romanian filmmaker Lucian Pintilie. Sedia wrote that the film "has, deservedly, been cherished across Europe." Jay Weissberg of "Variety" praised the artwork and Damian's straightforward style of storytelling, but had a reservation about how he sometimes found it difficult to process all information on the screen. Weissberg wrote: "Beautiful artwork and a powerful story are the key elements of animated docu "Crulic — The Path to Beyond", recounting the Kafkaesque history of a Romanian man arrested in Poland and abandoned by everyone until his death following a hunger strike in 2008.... Animation is especially appealing, featuring attractive watercolors and lovely washes forming the background to an imaginative use of drawings, cutouts and photos. Even if overloaded at times, the individual frames are beautifully rendered and clear, accompanied by Piotr Dziubek's seamless and understated compositions."  The film won the Special Mention Don Quixote at the Locarno Film Festival. The Romanian Filmmakers Union honoured it with its Grand Prix for best domestic film of 2011. It won the Cristal for Best Feature film at the 2012 Annecy International Animated Film Festival. It also received awards at the Cottbus, Warsaw, Jihlava, ASTRA Film Fest Sibiu, CPH DOX, Istanbul, FICUNAM and Gdynia film festivals.

Crulic: The Path to Beyond () is a 2011 Romanian-Polish animated biographical film, directed by and starring Vlad Ivanov. It tells the story of Claudiu Crulic, a Romanian citizen who died in a Polish prison while on a hunger strike. The film was made with a mix of techniques including hand-drawn animation and animated photographs. Artwork and animation was done at the animation studio DSG, by Dan Panaitescu, Raluca Popa, Dragos Stefan, Roxana Bentu and Tuliu Oltean. The film won the Cristal for Best Feature Film at the 2012 Annecy International Animated Film Festival.

Le Voyage de monsieur Crulic est un long métrage d'animation roumano-polonais réalisé par Anca Damian et sorti en Roumanie et en Pologne en 2011. Il s'inspire de l'histoire vraie de la mort de Claudiu Crulic, un homme condamné et emprisonné qui entame une grève de la faim pour clamer son innocence. Le film a remporté plusieurs récompenses prestigieuses, dont le Cristal du long métrage au festival d'Annecy en 2012.


Chronology.

The Bonnanaro culture is divided chronologically into two main phases:

Origin.

According to Giovanni Lilliu the people who produced this culture probably originated in Central Europe and the Polada culture area. From a material culture point of view, the Bonnanaro culture shows influences of the preceding pan-European Bell Beaker culture and of the post-Beaker ("epicampaniforme") Polada culture from northern Italy.

Description.

Bonnanaro sites, mostly burials, are scattered throughout Sardinian territory, with a higher concentration in the mining regions of Nurra and Sulcis-Iglesiente and in the Campidano. Ceramics were smooth and linear without decorations and characterized by handles. Numbers of metal objects increased and the first swords of arsenical bronze appeared.  Only four settlements of this culture are known: "Su Campu Lontanu" Florinas, "Sa Turricula" Muros, "Costa Tana" Bonarcado and "Abiti" Teti. The houses had a base of masonry while the roof was made of wood and branches.  It is still uncertain whether the first "protonuraghi" or "pseudonuraghi" were built at this time, or in the successive "Sub-Bonnanaro culture" (or "Bonnanaro B") of the middle bronze age (1600–1330 BC), although c14 analysis on organic finds from the Protonuraghe Bruncu Madugui suggest that it was built sometime around 1820 BC.</ref> The Proto-Nuraghi were megalithic edifices which are considered the precursors of the classic Nuraghi. They are horizontal buildings characterized by a long corridor with rooms and cells.  The Bonnanaro grave typologies include the "domus de janas", caves, cists and allée couvertes.

Physical anthropology.

About 200 human skeletons of the period show that the Bonnanaro population (phase A1) was composed mainly of dolicochepalic individuals (67%) with a minority of brachycephalics (33%), the latter concentrated in the north-western portion of the island. The average height was 1.62 m for men and 1.59 m for women. The Bonnanaro population suffered from osteoporosis, hyperostosis, anemia, caries and tumors. Cranial trepannation was practiced.

The Bonnanaro culture is a protohistoric culture that flourished in Sardinia during the 2nd millennium BC (1800–1600 BC), considered to be the first stage of the Nuragic civilization. It takes its name from the comune of Bonnanaro in the province of Sassari where in 1889 the eponymous site was discovered.

La Culture de Bonnanaro est une culture prénuragique qui s'est développée en Sardaigne au cours du (vers 1800-1500 av. J.-C.) et étroitement liée à la précédente culture campaniforme dans laquelle les savants la considèrent comme une régionalisation. La culture de Bonnanaro montre aussi de nombreuses similitudes avec la culture de Polada diffusée à la même époque en Italie du Nord.


Early years.

Dunn was born in New York City and educated at the Holy Cross convent.

Career.

Dunn's first venture into entertainment came at age 14 when she became a member of the chorus at the Winter Garden Theatre. Rather than return to school, she continued in her career, appearing in almost 20 productions, including the "Ziegfeld Follies". Her Broadway credits include "Between Two Worlds" (1934), "Take a Chance" (1932), "Pickwick" (1927), and "Dear Sir" (1924).  Dunn began her film career with a role in "Fascinating Youth" (1926) after she completed the then-new Paramount Pictures School. She went on to have the lead roles in "Love's Greatest Mistake" (1927) and "Fireman, Save My Child" (1927).  After nine months of inactivity in film, Dunn signed a long-term contract with Metro-Goldwyn-Mayer.  She starred in 23 silent films, and in 1929 she was one of 13 girls named as "WAMPAS Baby Stars", which that year included actress Jean Arthur. In 1930 she made a successful transition, unlike many silent stars, to sound films. In 1930 she starred in "Safety in Numbers" (1930) alongside Carole Lombard and Kathryn Crawford. She starred in sixteen films through 1932.

Personal life.

Dunn became associated with what would become known as the "Algonquin Round Table", which included actress Tallulah Bankhead.  In 1925, Dunn married William P. Cameron in Elkton, Maryland. He was a contracting engineer. They were divorced in 1928. She married Clyde Greathouse, an official of an oil company, in Los Angeles on January 10, 1931, and they were divorced on October 26, 1931. On January 6, 1933, in Great Neck, New York, she married Eugene J. Lewis, whom she divorced in 1935 to marry Carroll Case, whose father Frank Case owned the Algonquin Hotel in New York City, which housed the now famous "Algonquin Round Table". She retired from acting in 1938, and remained with Case for the remainder of his life, until he died in 1978.

Death.

Dunn died of cancer on February 3, 1983, in Thousand Oaks, California, aged 76.

Mary Josephine Dunn (May 1, 1906 – February 3, 1983) was an American stage and film actress of the 1920s and 1930s.

Josephine Dunn (de son vrai nom Mary Josephine Dunn) est une actrice américaine née le à New York et décédée le à Thousand Oaks (Californie).