title: Figure-ground (cartography)

abstract: Figure-ground contrast, in the context of map design, is a property of a map in which the map image can be partitioned into a single feature or type of feature that is considered as an object of attention, with the remainder of the map being relegated to the background, outside the current focus of attention. It is thus based on the concept of figure–ground from Gestalt psychology. For example, in a street map with strong figure-ground contrast, the reader would be able to isolate and focus attention on individual features, like a given street, park, or lake, as well as layers of related features, like the street network. Strong figure-ground contrast has been seen as a desirable goal of map design, because it helps the map reader to perceive distinct geographic phenomena in the map. This allows more complex composition techniques such as visual hierarchy to organize these phenomena into clear structures that help readers use the map for its intended purposes.

text:
# Figure-ground (cartography)

**Figure-ground contrast**, in the context of map design, is a property of a map in which the map image can be partitioned into a single feature or type of feature that is considered as an object of attention (the *figure*), with the remainder of the map being relegated to the background, outside the current focus of attention. It is thus based on the concept of figure–ground from Gestalt psychology. For example, in a street map with strong figure-ground contrast, the reader would be able to isolate and focus attention on individual features, like a given street, park, or lake, as well as layers of related features, like the street network.

Strong figure-ground contrast has been seen as a desirable goal of map design, because it helps the map reader to perceive distinct geographic phenomena in the map. This allows more complex composition techniques such as visual hierarchy to organize these phenomena into clear structures that help readers use the map for its intended purposes.

Fields other than cartography, such as psychology, neurology, and computer science, have studied differentiation of figure from ground. Many studies have employed different experiments, varying the shades, textures, and orientations of test pictures to determine the best method for figure–ground design with mixed results. A current application of figure–ground research is the development of computer vision for robots. By studying the way humans perceive figure and ground, methods can be developed to improve computer vision algorithms. Unlike some of these other applications, in which figures and grounds are *discovered* in a natural visual field that may or may not have this contrast, in cartography they are intentionally *created* by design, based on knowledge of the visual perception tendencies of map readers.

Since the early days of academic cartography, there has been a recognition of the need for maps to have a conceptual structure. In *The Look of Maps* (1952), Arthur Robinson emphasized the need for visual contrast in making maps that are clearly organized, including the figure-ground relationship, "the visual relation of one or more components to the background on which they are seen." In 1972, Borden Dent appears to have been the first to use the principles of perceptual psychology to develop a theory of how the figure-ground relationship emerges on maps (as well as Visual hierarchy), and a set of guidelines for design to strengthen it. He identified heterogeneity (contrast), Contour (strong edges), Area (size) and Enclosedness (closure) as the primary determinants of figure identification, a model that gained wide support, soon becoming a core principle of the cartographic canon found in textbooks (including his own). He tied it directly to the idea of *visual levels*, the illusion that some elements on the map appear to float above the page, suggesting that figures are "above" their ground. This correlation has also gained widespread, if not universal, acceptance, even though there are common situations when figures appear below their ground (such as a river beneath a road network).

Further research was largely grounded in Gestalt psychology and perception, which largely corroborated and expanded upon Dent's model. In summarizing the work to date, MacEachren added Orientation and Convexity to Dent's list, with the acknowledgment that these are relatively minor influences compared to the others. MacEachren discussed the concept of visual levels as "related," but not equal, to figure-ground contrast.

## Influences on figure–ground contrast

Several visual patterns are believed to contribute to figure-ground contrast, such that features that exhibit these patterns are easier to recognize as figures. These have been largely adopted from Gestalt psychology.

* **Differentiation** or **heterogeneity**, the amount of difference in appearance between the intended figure and the intended ground. A strong figure looks significantly different than everything in the ground, while the elements of the ground look relatively similar to each other. This can be accomplished using almost any of the visual variables, such as color, size, and texture. Achieving difference is more important than using prescribed design techniques on the figure and ground; for example, a dark figure stands out on a light background just as much as a light figure stands out on a dark background.
* **Closure**, the appearance of a figure to be completely contained within the visual field, and thus entirely surrounded by ground. A figure with closure stands out because it looks like "a thing." The proclivity for closed objects is so strong in human visual processing that humans will perceive closure even when figures are only mostly closed.
* **Centrality**, in which features near the center of the visual field (the map) are easier to isolate as figures than features on the edge. The concept of centrality is important because the object located in the center of a map is most often assumed to be the figure. Other map elements can be centered in the remaining visual space after the figure has been centered.
* **Size**, in which smaller elements are more easily recognized as figures than those that fill the visual field. This is one of the few factors in which figure-ground and visual hierarchy have opposite effect.
* **Interposition** is when some features appear to be "in front" of others in the visual field, with the former partially obscuring the latter. The former thus has a stronger recognition as a figure. This property could be considered a more complex use of closure.
* **Articulation** utilizes texture to differentiate figure from ground. One common example of using articulation on a map is differentiating a continent from the ocean. The ocean, in most cases, will be the ground and the continent will be the figure. By adding fine-textured shading to water, the continent pops out visually as the figure. Another method that can be employed for articulation is called vignetting, or the inclusion of brightness gradients at the land-water edge.
* **Contour** is the strength of the boundary or edge of a figure. The figure is formed by a contour or outline (as opposed to an isometric contour line), the common boundary between the figure and ground, usually through a brightness contrast. If a figure is not separated entirely from the ground, a simple black contour line can be drawn around the figure enclosing it and thus differentiating it from the ground.

## Relationship to visual hierarchy

The concept of figure-ground contrast is often confused with the concept of visual hierarchy. Both are related elements of map composition, the same design techniques frequently achieve both goals simultaneously, and they are synergistic in that strengthening one typically has the side effect of strengthening the other. The primary difference is in intent. Figure-ground contrast is about making each feature appear *distinct* from the rest of the features in the map, while visual hierarchy is about making each feature appear more or less *important* than the rest of the features in the map.


title: Palaeohyphantes

abstract: Palaeohyphantes is a monotypic genus of Australian dwarf spiders containing the single species, Palaeohyphantes simplicipalpis. It was first described by Alfred Frank Millidge in 1984, and has only been found in Australia.

text:
# Palaeohyphantes

***Palaeohyphantes*** is a monotypic genus of Australian dwarf spiders containing the single species, ***Palaeohyphantes simplicipalpis***. It was first described by Alfred Frank Millidge in 1984, and has only been found in Australia.

## InfoBox

| *Palaeohyphantes* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Subphylum: | Chelicerata |
| Class: | Arachnida |
| Order: | Araneae |
| Infraorder: | Araneomorphae |
| Family: | Linyphiidae |
| Genus: | *Palaeohyphantes*
Millidge, 1984 |
| Species: | ***P. simplicipalpis*** |
| Binomial name | |
| ***Palaeohyphantes simplicipalpis***
(Wunderlich, 1976) | |
|


abstract: Copyright in South Africa consists of various classes of works of intellectual property, which in terms of section 2(1) of the Copyright Act 98 of 1978 are eligible for copyright and that copyright can exist in them if they are original and comply with certain requirements. The classes of works include literary works, musical works, artistic works, cinematograph films, sound recordings, and broadcasts. This article is about cinematograph film and the registration of copyright. In South Africa, both the Registration of Copyright in Cinematograph Films Act and the Copyright Act govern the registration of copyright in cinematograph films. The registration and enforcement of the copyright in cinematograph films is regulated by the Companies and Intellectual Property Commission (CIPC). The registering of copyright in cinematograph films in South Africa is administered by the Registrar and the CIPC. Section 6(1) of the Registration of Copyright in Cinematograph Films Act states that "only the owner of a cinematograph film may apply for a copyright and pay the prescribed fee", this is also stated in the Copyright Act. Section 6(2) provides that "the registrar may accept or reject the application as they deem fit, with the accepted applications being published with any conditions or limitations. The applicant has six months to register their trademark after the application is advertised."

text:
# Registration of copyright in cinematograph films in South Africa

**Copyright in South Africa** consists of various classes of works of intellectual property, which in terms of section 2(1) of the Copyright Act 98 of 1978 are eligible for copyright and that copyright can exist in them if they are original and comply with certain requirements. The classes of works include literary works, musical works, artistic works, cinematograph films, sound recordings, and broadcasts. This article is about cinematograph film and the registration of copyright.

In South Africa, both the Registration of Copyright in Cinematograph Films Act and the Copyright Act govern the registration of copyright in cinematograph films. The registration and enforcement of the copyright in cinematograph films is regulated by the Companies and Intellectual Property Commission (CIPC).

The registering of copyright in cinematograph films in South Africa is administered by the Registrar and the CIPC. Section 6(1) of the Registration of Copyright in Cinematograph Films Act states that "only the owner of a cinematograph film may apply for a copyright and pay the prescribed fee", this is also stated in the Copyright Act. Section 6(2) provides that "the registrar may accept or reject the application as they deem fit, with the accepted applications being published with any conditions or limitations. The applicant has six months to register their trademark after the application is advertised."

## Definition of cimematograph films

In terms of section (1) of the Copyright Act, cinematograph film means "any fixation or storage by any means whatsoever on film or any other material of data, signals or a sequence of images capable, when used in conjunction with any other mechanical, electrical or other device, or being seen as a moving picture and of reproduction, and includes the sounds embodies in a sound-track associated with the film, but does not include a computer program". In *Nintendo Co Ltd v Golden China TV Game Center* and others, cinematograph films are not limited to movies but also include video games, music videos, documentary films, YouTube videos and TikTok videos.

Provision is also made in the definition to protect the soundtrack of a film, which means if someone were to use a sound recording as the soundtrack of a movie, the sound recording will also benefit from the copyright protection associated with the film. The categories of protection in cinematograph films also include elements such as the script and screenplay.

## Positive effects of registration in the lives or work of potential creators

There are multiple benefits and positive effects that come with the registration of copyright in cinematograph films in South Africa. Section 8(1) of the Copyrights Act states that having copyright in cinematograph films grants exclusive rights to authorize or to perform acts such as to reproduce the film in any matter, to publicize the film, broadcast the film, adapt the film and grants exclusive rights to authorize the direct or indirect hiring of such production through trading the copy of the film.

The registration of cinematograph films also grants the owner the recognition they deserve, the right to monetary benefits from their work, and to protect their work from infringement. Economic protection is also present, monetary loss is prevented when someone other that the copyright holder uses and distributes the films for their own benefit. A public record of ownership is established which in turn deters infringements, and any infringements have legal consequences that owners can rely on.

## Negative effects of registration in the lives or work of potential creators

The copyright law in South Africa has positive and negative elements that "promote and pose barries of free expression and development of creative industries'. Copyright laws promote cinematograph films by providing exclusive rights of production which permit filmmakers to sell and distribute their work but sometimes films will require the use of historical and illustrative content in their work, which compromise the exclusive rights of other creators.

The Copyright Act is meant to protect the production of creators of cinematograph films, but such works actually lack copyright protection. Section 2(1)(c) of the Copyright Act creates a statutory default vesting copyright in a film in the party commissioning the work rather than the film's owner or author. South African filmmakers also have a lack of exploitation of user rights, as it is very expensive and time-consuming to get copyright clearance for the use of historical footage and music of other works in their films, making it difficult to properly and smoothly produce their creativity in the film industry.

Another negative element present in the registration of copyright in cinematograph films is the expiration of such registration. When the term of copyright expires, the work or production becomes part of the public domain. The expiration tears down a lot of restrictions that were present, enabling anyone access to the works or production and use of such works without the author's permission, which in turn is detrimental to the making of revenue of the author's work.

1. The Copyright Act 98 of 1978 sec 2(1).
2. Dean (n1) 8.
3. The Registration of Copyright in Cinematograph Films Act 62 of 1977.
4. Copyright Act (n2).
5. Universal City Studios Inc. and Another v Network Video (Pty) Ltd. 1986 ZA SCA 3.
6. Registration of Copyright in Cinematograph Films Act (n4) sec 6(1).
7. Registration of Copyright in Cinematograph Films Act (n4) sec 6(2).
8. Registration of Copyright Cinematograph Films Act (n4) sec 7.
9. Registration of Copyright in Cinematograph Films Act (n4) sec 8.
10. Copyright Act (n2) sec 1 (1).
11. Ninetendo Co Ltd v Golden China TV Game centre and Others 1995 (1) SA 229 (T).
12. Dean (n1) 11.
13. Copyright Act (n2) sec 8(1) (a-g).
14. "CELEBRATING HISTORY COPYRIGHT LAW". *Southern African Music Rights Organisation*.
15. Flynn, S (2015). "copyright legal and practical reform for South African Film industry". *The African Journal of Information and Communication* (6): 38. doi:10.23962/10539/19313.
16. Flynn, S (2015). *The African Journal of Information and Communication* (6): 39. `{{cite journal}}`: Missing or empty `|title=` (help)
17. Flynn, S (2015). *The African Journal of Information and Communication* (6): 39–40. `{{cite journal}}`: Missing or empty `|title=` (help)
18. Rens and Lessig, A and L (2006). "Forever minus a day: a consideration of copyright term extension in South Africa". *The South African Journal of Information and Communication* (7): 25.


title: Radek Bělohlav

abstract: Radek Bělohlav is a Czech former professional ice hockey player, and a current coach. He played with HC Kladno in the Czech Extraliga during the 2010–11 Czech Extraliga season.

text:
# Radek Bělohlav

**Radek Bělohlav** (born 11 April 1970) is a Czech former professional ice hockey player, and a current coach. He played with HC Kladno in the Czech Extraliga during the 2010–11 Czech Extraliga season.

## InfoBox

| Radek Bělohlav | | | |
| --- | --- | --- | --- |
| Born | (1970-04-11) 11 April 1970<br>České Budějovice, Czechoslovakia | | |
| Height | 6 ft 0 in (183 cm) | | |
| Weight | 185 lb (84 kg; 13 st 3 lb) | | |
| Position | Forward | | |
| Shoots | Left | | |
| Czech Extraliga team | *HC Kladno* | | |
| National team | Czech Republic | | |
| Playing career | 1989present | | |


title: Yucho Chow

abstract: Yucho Chow (1876–1949) was a professional photographer who was Vancouver's first Chinese photographer and its most prolific. He ran a studio in Chinatown from 1906 to 1949.

text:
# Yucho Chow

**Yucho Chow** (1876–1949) was a professional photographer who was Vancouver's first Chinese photographer and its most prolific. He ran a studio in Chinatown from 1906 to 1949.

## Life and career

Yucho Chow was born on 3 June 1876, in Hoy Ping (now called Kaiping), Guangdong province, China. Leaving his wife and two children behind, he arrived in Canada in February 1902, with the requirement of paying the $100 head tax. It is rumoured that he worked as a house servant while apprenticing with an unknown photographer. By 1906, he had the money to buy equipment and open up a photographic studio.

Although Chow was Chinese, he became as well a favourite photographer for other marginalized communities. He opened his doors to customers of South Asian; African; Indigenous; mixed-race and Eastern European descent. His marketing slogan, which he emblazoned on his business cards and on the signs at the front of his studio, was "Rain or Shine. Anything. Anywhere. Anytime." He often produced photographs in postcard format. Chow paid careful attention to his props and backdrops, using them to convey an aura of sophistication and success for his patrons. In 1935, his studio was extensively damaged by fire, and afterwards he changed his background from European opulence to a striking Art Deco style.

Over four decades, he captured photos of people across the arc of life's journey: from newborn babies to the recently deceased (whose photographs were sent back to family in China and Europe, and served as an informal death certificate). He recorded the faces of entertainers, politicians, families, children and soldiers. Outside the studio, he chronicled the community: celebrations, graduating school children, clan events, and celebrity visits. Frequently, he also was at the local train station, photographing newly arrived European immigrants.

Cultural researcher Naveen Gill stated, "Without him, I would say we had almost no photographs of the early South Asian community." In 1915, Chow photographed the funeral procession of the Sikh activist Mewa Singh.

In 1927, he created a composite photograph of the Hoy Ping Benevolent Association. Chow portrayed Dr. Sun Yat-Sen on one of his final visits to Vancouver. His photograph of the young tap dancer Howard Fair appeared in the *Vancouver Sun* in 1938. Later shown in the same newspaper was his 1943 image of the paratrooper Richard Keye Mar.

A number of Chow's children worked in the studio. His first assistant was his eldest daughter, Mabel Chow (19001940). Since the Yucho Chow Studio was open twenty four hours, Mabel worked long days and did everything from carrying the heavy tripod to developing the film. In the early years, she also was a frequent model for her father as he honed his skills on the camera.

In the 1930s, another daughter, Jessie Chow, joined the studio and was trained to hand paint photos using oils. At first she only painted in small articles like flowers and ties, but later expanded to colouring whole photographs.

Upon Chow's sudden death of chronic myocarditis in November 1949, his sons Peter and Philip Chow took over the studio and ran it until 1986. When they finally retired and closed the studio, all of the negatives, spanning almost eight decades, were discarded. Consequently, today most of Chow's work is hidden away in private family albums.

## Legacy

A life-sized image of Chow was placed in an East Pender street window in 2017.

In 2019, an month-long exhibition of 80 of his photographs was shown in Vancouver at the Chinese Canadian Museum. It took the curator, Catherine Clement, over eight years to find Chow's photographs which she uncovered one photo at a time, one family at a time.

A 344-page book of his photographs was published in 2019. *Chinatown Through a Wide Lens: The Hidden Photographs of Yucho Chow* showcases a wide range of these private photographs of diverse communities that were taken by him.

Artifacts from his Vancouver studios, including some portraits, are housed in the permanent collection of the Museum of Vancouver.

Yucho Chow Studio Locations
| Year | Location |
| --- | --- |
| 1907–1908 | 68 West Hastings |
| 1909–1913 | 5 West Pender |
| 1914–1929 | 23 West Pender |
| 1930–1950 | 518 Main Street |
| 1944–1945 | Vogue Photo Studio |
| 1950–1986 | 512 Main Street |

## InfoBox

| Yucho Chow | |
| --- | --- |
|  | |
| Born | Yucho Chow
(1876-06-03)June 3, 1876
Kaiping, Guangdong, China |
| Died | November 10, 1949(1949-11-10) (aged 73)
Vancouver, British Columbia, Canada |
| Known for | Photographer |


title: Michael Foreman (illustrator)

abstract: Michael Foreman is a British author and illustrator, one of the best-known and most prolific creators of children's books. He won the 1982 and 1989 Kate Greenaway Medals for British children's book illustration and he was a runner-up five times. For his contribution as a children's illustrator he was UK nominee in 1988 and again in 2010 for the biennial, international Hans Christian Andersen Award, the highest recognition available to creators of children's books.

text:
# Michael Foreman (illustrator)

**Michael Foreman** OBE (born 21 March 1938) is a British author and illustrator, one of the best-known and most prolific creators of children's books. He won the 1982 and 1989 Kate Greenaway Medals for British children's book illustration and he was a runner-up five times.

For his contribution as a children's illustrator he was UK nominee in 1988 and again in 2010 for the biennial, international Hans Christian Andersen Award, the highest recognition available to creators of children's books.

## Life

Foreman was born and grew up in Pakefield, near Lowestoft, Suffolk, where his mother kept the village shop. His father died a month before he was born. When he was three, the family home was hit by a German bomb, but he survived along with his mother and two older brothers. He studied at Lowestoft School of Art, and later in London at the Royal College of Art, where he won a scholarship to the United States.

Foreman was appointed Officer of the Order of the British Empire (OBE) in the 2022 Birthday Honours for services to literature.

## Approach to illustration

Foreman learned to respond instantly to text as an art student. Having drawn for the newspapers and for the police, drawing female suspects when Identikit only catered for men, he gained valuable drawing experience. A travel scholarship took him all around the world, drawing landscapes, architecture and wildlife. Although many of his books feature luminous watercolours, it is the drawing that he sees as vital: "It's all in the drawing and illustration. It's a question of creating another world, believable in its own right. I think I was very lucky to have started art school so young when they actually taught Art. It was a rigorous training – not just painting and drawing from life – but hours of anatomy and perspective. ... it really taught you to understand what you were looking at." His aim in illustration is to make the worlds created believable, real: "I keep trying to make things more real, not in a literal photographic sense, but in an emotional sense, telling a story by capturing the essence of the situation, giving it some meaning."

## Selected works

### 1960s

* 1961 *Comic Alphabets: Their origin, development, nature* (illustrator) Routledge & Kegan Paul (ISBN 978-0-7100-1939-4), by Eric Partridge
* 1961 The General (illustrator) Routledge & Kegan Paul, by Jane Charters
* 1961 The King Who Lived on Jelly (illustrator) Routledge & Kegan Paul
* 1962 Poems by Children 1950–61 (illustrator) Routledge & Kegan Paul
* 1966 Huit Enfants et un Bebe (illustrator) Abelard-Schuman
* 1966 Making Music (illustrator) Longman
* 1966 The Bad Food Guide (illustrator) Routledge & Kegan Paul
* 1967 I'm for You, and You're for Me (illustrator) Abelard-Schuman
* 1967 The Perfect Present (author/illustrator) Hamish Hamilton
* 1967 The Two Giants (author/illustrator) Brockhampton Press
* 1968 Let's Fight! and Other Russian Fables (illustrator) Pantheon (U.S.)
* 1968 The Great Sleigh Robbery (author/illustrator) Hamish Hamilton
* 1969 Essex Poems, 1963–67 (illustrator) Routledge & Kegan Paul

### 1970s

* 1970 Adam's Balm (illustrator) Bowmar (U.S.)
* 1970 Horatio (author/illustrator) Hamish Hamilton
* 1970 The Birthday Unicorn (illustrator) Gollancz
* 1971 James and the Giant Peach (an adaptation) (illustrator) Penguin
* 1971 Moose (author/illustrator) Hamish Hamilton
* 1971 The Living Arts of Nigeria (illustrator) Studio Vista
* 1972 Dinosaurs and all that rubbish (author/illustrator) Hamish Hamilton, adapted into an online series and musical theatre production by Roustabout Theatre in 2021
* 1973 Alexander in the Land of Mog (illustrator) Brockhampton Press
* 1973 Mr Noah and the Second Flood (illustrator) Gollancz
* 1973 The Living Treasures of Japan (illustrator) Wildwood House
* 1973 The Pushcart War (illustrator) Hamish Hamilton
* 1974 War and Peas (writer and illustrator) Hamish Hamilton
* 1975 Private Zoo (illustrator) Collinsn
* 1975 Rainbow Rider (illustrator) Collins
* 1976 Hans Andersen: His Classic Fairy Tales (illustrator) Gollancz
* 1976 Monkey and the Three Wizards (illustrator) Collins
* 1976 The Stone Book (illustrator) Collins
* 1977 Granny Reardun (illustrator) Collins
* 1977 Panda's Puzzle (author/illustrator) Hamish Hamilton
* 1977 Teeny-Tiny and the Witch-Woman (illustrator) Andersen Press
* 1977 Tom Fobble's Day (illustrator) Collins
* 1978 Borrowed Feathers and Other Fables (illustrator) Hamish Hamilton
* 1978 Mickey's Kitchen Contest (illustrator) Andersen Press
* 1978 *Popular Folk Tales* (illustrator) Gollancz, newly translated from Brothers Grimm by Brian Alderson —a Greenaway runner up,
* 1978 The Aimer Gate (illustrator) Collins
* 1978 The Princess and the Golden Mane (illustrator) Collins,
* 1978 The Selfish Giant (illustrator) Kaye & Ward
* 1979 Alan The Three Golden Heads of the Well (illustrator) Collins
* 1979 How to Catch a Ghost (illustrator) Holt (U.S.)
* 1979 The Golden Brothers (illustrator) Collins
* 1979 Winter's Tales (author) Benn

### 1980s

* 1980 After Many a Summer (illustrator) Folio Society
* 1980 Alan Garner's Fairytales of Gold (illustrator) Collins
* 1980 *City of Gold and Other Stories from the Old Testament* (illustrator) Gollancz, retold by Peter Dickinson, who won the Carnegie Medal —a Greenaway runner up (Highly Commended),
* 1980 The Faithful Bull (illustrator) Hamish Hamilton
* 1980 The Pig Plantagenet (illustrator) Hutchinson
* 1980 The Tiger Who Lost his Stripes (illustrator) Andersen Press
* 1981 *Fairy Tales* (illustrator) Pavilion, by Terry Jones
* 1981 Over the Bridge (illustrator) Viking Kestrel
* 1981 Panda and the Old Lion (author/illustrator) Hamish Hamilton
* 1981 The Nightingale and the Rose (illustrator) Kaye & Ward
* 1981 Trick a Tracker (author/illustrator) Gollancz
* 1982 Land of Dreams (author/illustrator) Andersen Press
* 1982 *Long Neck and Thunder Foot* (illustrator) Viking Kestrel, by Helen Piers —joint winner of the Kate Greenaway Medal for British children's book illustration
* 1982 *Sleeping Beauty and other favourite fairy tales* (illustrator) Gollancz, selected and translated from Perrault and Le Prince de Beaumont by Angela Carter —joint winner of the Greenaway Medal and winner of the Kurt Maschler Award for integration of writing and illustration in a British children's book
* 1982 The Crab That Played with the Sea (illustrator) Macmillan
* 1982 The Magic Mouse and the Millionaire (illustrator) Hamish Hamilton
* 1983 A Christmas Carol: A Ghost Story of Christmas (illustrator) Gollancz
* 1983 Poems for 7-Year-Olds and Under (illustrator) Viking Kestrel
* 1983 The Brontosaurus Birthday Cake (illustrator) Methuen
* 1983 *The Saga of Erik the Viking* (illustrator) Pavilion, by Terry Jones —a Greenaway runner up
* 1983 Treasure Island (illustrator) Puffin
* 1984 A Cat and Mouse Love Story (illustrator) Heinemann Quixote
* 1984 Cat and Canary (author/illustrator) Andersen Press
* 1984 Panda and the Bunyips (author/illustrator) Hamish Hamilton
* 1984 Poems for 9-year-olds (illustrator) Viking Kestrel
* 1984 Poems for Over 10-year-olds (illustrator) Viking Kestrel
* 1985 *Charlie and the Chocolate Factory* (illustrator, revised edition) Allen & Unwin, by Roald Dahl
* 1985 I'll Take You to Mrs Cole (illustrator) Andersen Press
* 1985 Nicobobinus (illustrator) Pavilion
* 1985 Poetic Gems (illustrator) Folio Society
* 1985 *Seasons of Splendour: Tales, myths, and legends of India* (illustrator) Pavilion, Madhur Jaffrey —a Greenaway runner up,
* 1986 Ben's Box: A Pop-up Fantasy (author/illustrator) Hodder & Stoughton
* 1986 *Charlie and the Great Glass Elevator* (illustrator) Allen & Unwin
* 1986 Early in the Morning: A Collection of New Poems (illustrator) Viking
* 1986 Letters from Hollywood (illustrator) Harrap
* 1986 Panda and the Bushfire (author/illustrator) Hamish Hamilton
* 1986 Tales for the Telling (illustrator) Pavilion
* 1987 Ben's Baby (author/illustrator) Andersen Press
* 1987 Brontosaurus Superstar (illustrator) Magnet
* 1987 du Maurier's Classics of the Macabre (illustrator) Gollancz
* 1987 Fun (illustrator) Gollancz
* 1987 Adventures of Charlie and Mr Willy Wonka (illustrator) Unwin Hyman
* 1987 The Jungle Book (illustrator) Puffin
* 1988 Edmond Went Far Away (illustrator) Walker Macmillan
* 1988 The Angel and the Wild Animal (author/illustrator) Andersen Press
* 1988 The Curse of the Vampire's Socks (illustrator) Pavilion
* 1988 The Magic Ointment (illustrator) Macmillan
* 1988 The Night Before Christmas (illustrator) Viking
* 1988 Peter Pan and Wendy (illustrator) Pavilion
* 1988 Worms Wiggle (author/illustrator) Carnival
* 1989 Land of the Long White Cloud (illustrator) Pavilion
* 1989 Once Upon a Planet (illustrator) Puffin
* 1989 The Sand Horse (illustrator) Andersen Press
* 1989 *War Boy: a country childhood* (author/illustrator) Pavilion —memoir, winner of the Kate Greenaway Medal, —also entitled *War Boy: a wartime childhood*

### 1990s

* 1990 Michael Foreman (author/illustrator) Beetles
* 1990 Michael Foreman's Mother Goose (illustrator) Walker
* 1990 Michael Foreman's World of Fairy Tales (illustrator) Pavilion
* 1990 One World (author/illustrator) Andersen Press
* 1990 The Brothers Grimm: Popular Folk Tales (illustrator) Gollancz
* 1991 Busy! Busy! Busy! (illustrator) Andersen Press
* 1991 Michael Foreman's Nursery Rhymes (illustrator) Walker
* 1991 The Boy Who Sailed with Columbus (author/illustrator) Pavilion
* 1991 The Puffin Book of Twentieth-Century Stories (illustrator) Viking
* 1991 The Puffin Book of Twentieth-Century Verse (illustrator) Viking
* 1991 The Young Man of Cury and Other Poems (illustrator) Macmillan
* 1992 Fantastic Stories (illustrator) Pavilion
* 1992 Jack's Fantastic Voyage (author/illustrator) Andersen Press
* 1992 Spider the Horrible Cat (illustrator) Pavilion
* 1992 The Arabian Nights (illustrator) Gollancz
* 1992 The Echoing Green (illustrator) Viking
* 1992 Wyvern Winter (illustrator) Andersen Prensiess
* 1993 A Fish of the World (illustrator) Pavilion
* 1993 Funnybunch: A New Puffin Book of Funny Verse (illustrator) Viking
* 1993 Grandfather's Pencil (author/illustrator) Andersen Press
* 1993 The Beast with a Thousand Teeth (illustrator) Pavilion
* 1993 The Long Weekend (illustrator) Andersen Press
* 1993 There's a Bear in the Bath (illustrator) Pavilion
* 1993 *War Game* (author/illustrator) Pavilion —a Greenaway runner up,
* 1993 Wyvern Spring (illustrator) Andersen Press
* 1994 Arthur, High King of Britain (illustrator) Pavilion/The National Trust
* 1994 Dad! I Can't Sleep (author/illustrator) Andersen Press
* 1994 Sarah and the Sandhorse (illustrator) Andersen Press
* 1994 The Fly-by-Night (illustrator) Pavilion
* 1994 The Sea Tiger (illustrator) Pavilion
* 1994 Wyvern Fall (illustrator) Andersen Press
* 1994 Wyvern Summer (illustrator) Andersen Press
* 1995 After the War was Over (author/illustrator) Pavilion
* 1995 Peter's Place (illustrator) Andersen Press
* 1995 Shakespeare Stories II (illustrator) Gollancz
* 1995 Surprise! Surprise! (author/illustrator) Andersen Press
* 1995 The Little Prince (illustrator) Pavilion
* 1996 A Child's Garden of Verses (illustrator) Gollancz
* 1996 Peter Pan and Wendy (illustrator) Pavilion
* 1996 Robin of Sherwood (illustrator) Pavilion
* 1996 Seal Surfer (author/illustrator) Andersen Press
* 1996 The Little Reindeer (author/illustrator) Andersen Press
* 1996 The Songs My Paddle Sings (illustrator) Pavilion
* 1996 There's a Bear in the Classroom (illustrator) Pavilion
* 1997 Creation: Stories from Around the World (illustrator) Walker
* 1997 Farm Boy (illustrator) Pavilion
* 1997 Look! Look! (author/illustrator) Andersen Press
* 1997 The Knight and the Squire (illustrator) Pavilion
* 1997 The Little Ships (illustrator) Pavilion
* 1998 Chicken Licken (illustrator) Andersen Press
* 1998 Cockadoodle-doo Mr Sultana! (illustrator) Scholastic
* 1998 Jack's Big Race (author/illustrator) Andersen Press
* 1998 Joan of Arc (illustrator) Pavilion
* 1999 Kensuke's Kingdom (illustrator) Heinemann
* 1999 Michael Foreman's Christmas Treasury (author/illustrator) Pavilion
* 1999 The Little Red Hen (author/illustrator) Andersen Press
* 1999 The Merrymaid of Zennor (illustrator) Orchard
* 1999 The Rainbow Bear (illustrator) Doubleday
* 1999 The Shining Princess and Other Japanese Legends (illustrator) Andersen Press
* 1999 The Story of Millennia the Angel (illustrator) Orchard
* 1999 The Wonderful Wizard of Oz (illustrator) Pavilion

### 2000s

* 2000 Billy the Kid (illustrator) Pavilion
* 2000 Cat in the Manger (author/illustrator) Andersen Press
* 2000 Memories of Childhood (author/illustrator) Pavilion
* 2000 Rock-a-doodle-doo! (author/illustrator) Andersen Press
* 2000 The Lady and the Squire (illustrator) Pavilion
* 2000 Why Bear has a Stumpy Tail (illustrator) Walker
* 2001 Out of the Ashes (illustrator) Macmillan
* 2001 Saving Sinbad (author/illustrator) Andersen Press
* 2001 The Wind in the Willows (illustrator) Pavilion
* 2001 Tom and the Pterosaur (illustrator) Walker
* 2001 Toro! Toro! (illustrator) Collins
* 2002 Bedtime Stories (illustrator) Chrysalis
* 2002 Cool! (illustrator) Collins
* 2002 Dinosaur Time (author/illustrator) Andersen Press
* 2002 Evie and the Man who Helped God (author/illustrator) Andersen Press
* 2002 Michael Foreman's Playtime Rhymes (author/illustrator) Walker
* 2002 The Last Wolf (illustrator) Doubleday
* 2002 The Sleeping Sword (illustrator) Egmont
* 2002 Wonder Goal (author/illustrator) Andersen Press
* 2003 Bobby, Charlton and the Mountain (illustrator) Andersen Press
* 2003 Cat on the Hill (author/illustrator) Andersen Press
* 2003 Hello World (author/illustrator) Walker
* 2004 Dolphin Boy (illustrator) Andersen Press
* 2004 Gentle Giant (illustrator) Collins
* 2004 Sir Gawain & the green knight (illustrator) Walker
* 2004 Alice's adventures in Wonderland (illustrator) Sterling
* 2004 One world (author/illustrator) Anderson Press
* 2004 Christmas crimes (illustrator) Folio Society
* 2005 Classic fairy tales (illustrator) Sterling
* 2005 The amazing story of Adolphus Tips (illustrator) Harper Collins
* 2005 Can't Catch Me!, author/illustrator, Andersen Press
* 2006 Beowulf, illustrator, Candlewick
* 2006 Fox Tale, author/illustrator, Andersen Press
* 2006 Mia's Story, author/illustrator, Walker
* 2006 Norman's Ark, author/illustrator, Andersen Press
* 2007 Michael Foreman's Classic Fairy Tales, adapter/illustrator, Pavilion
* 2007 Say Hello, illustrator, Walker
* 2007 Soggy the Bear, illustrator, Mabecron Books
* 2007 Soggy to the Rescue, illustrator, Mabecron Books
* 2007 Team Trouble, illustrator, Andersen Press
* 2007 The Mozart Question, illustrator, Walker
* 2007 White Owl, Barn Owl, illustrator, Candlewick
* 2008 Kaspar, illustrator, HarperCollins
* 2008 Soggy and the Mermaid, illustrator, Mabecron Books
* 2008 The Lion Who Ate Everything, illustrator, Walker
* 2008 The Little Dinosaur, author/illustrator, Walker
* 2009 A Child's Garden: A Story of Hope, author/illustrator, Walker
* 2009 Pirates Ahoy!, illustrator, Andersen Press
* 2009 The Littlest Dinosaur's Big Adventure, author/illustrator, Walker
* 2010 Why the Animals Came to Town, author/illustrator, Walker
* 2015 The Tortoise and the Soldier, author/illustrator, Henry Holt
* 2021 Noa and the Little Elephant, author/illustrator, HarperCollins Children's Books in association with Tusk Trust

## Awards

* 1997 Nestlé Smarties Book Prize (Silver Award)
* 1993 Nestlé Smarties Book Prize (Gold Award)
* 1989 Kate Greenaway Medal
* 1982 Kate Greenaway Medal
* 1982 Kurt Maschler Award
* 1980 Bologna Children's Book Fair Graphics Prize
* 1977 Francis Williams Award for Illustration
* 1977 National Art Library Illustration Award
* 1972 Festival International du Livre Aigle d'Argent Award
* 1972 National Art Library Illustration Award
* 1971 Francis Williams Award for Illustration

1. "Michael Foreman: 50 years of picture books". *The Guardian*. 22 February 2010. Retrieved 7 December 2010.
2. "Kate Greenaway Medal" Archived 16 September 2014 at the Wayback Machine. 2007(?). Curriculum Lab. Elihu Burritt Library. Central Connecticut State University (**CCSU**). Retrieved 2012-06-26.
3. "2010 HCA Winners and Finalists". International Board on Books for Young People (IBBY).
"Hans Christian Andersen Awards". IBBY. Retrieved 2013-07-23.
4. "Candidates for the Hans Christian Andersen Awards 1956–2002". *The Hans Christian Andersen Awards, 1956–2002*. IBBY. Gyldendal. 2002. Pages 110–18. Hosted by Austrian Literature Online (literature.at). Retrieved 2013-07-23.
5. Triggs, Pat (March 1983). "Authorgraph No.19: Michael Foreman". *Books for Keeps*. **19**. Retrieved 7 December 2010.
6. "Michael Foreman". *Puffin Books*. Penguin Books. Archived from the original on 5 December 2008. Retrieved 24 December 2008.
7. "The CILIP Carnegie and Kate Greenaway Awards". Archived from the original on 23 August 2016. Retrieved 5 July 2016.
8. Coughlan, Marjorie (September 2011). "Interview with author and illustrator Michael Foreman". Archived from the original on 22 October 2015. Retrieved 5 July 2016.
9. "Writers: Michael Foreman". British Council: Literature. Retrieved 2012-12-20. The Biography and the Critical Perspective are mainly hidden.
10. "No. 63714". *The London Gazette* (Supplement). 1 June 2022. p. B13.
11. "Michael Foreman". Magic Pencil. The British Library. Archived 4 November 2011 at the Wayback Machine
12. (Carnegie Winner 1980). Living Archive: Celebrating the Carnegie and Greenaway Winners. CILIP. Retrieved 2012-07-16.
13. (Greenaway Winner 1982a). Living Archive: Celebrating the Carnegie and Greenaway Winners. CILIP. Retrieved 2012-07-16.
14. (Greenaway Winner 1982b). Living Archive: Celebrating the Carnegie and Greenaway Winners. CILIP. Retrieved 2012-07-16.
15. "Kurt Maschler Awards". Book Awards. *bizland.com*. Retrieved 2012-07-16.
16. (Greenaway Winner 1989). Living Archive: Celebrating the Carnegie and Greenaway Winners. CILIP. Retrieved 2012-07-16.
17. "Noa and the Little Elephant". *HarperCollins Publishers UK*. Retrieved 10 March 2021.

## InfoBox

| Michael Foreman
OBE | |
| --- | --- |
| Born | (1938-03-21) 21 March 1938
Pakefield, Suffolk, England |
| Occupation | * Author * illustrator |
| Notable awards |  |


title: Moon Over Manifest

abstract: Moon Over Manifest is a 2010 children's novel written by American Clare Vanderpool. The book was awarded the 2011 Newbery Medal for excellence in children's literature, the Spur Award for best Western juvenile fiction, and was named a Kansas Notable Book. The story follows a young and adventurous girl named Abilene who is sent to Manifest, Kansas by her father in the summer of 1936. The author's note at the end of the book states the fictional town of Manifest, Kansas, is based on the real town of Frontenac, Kansas.

text:
# Moon Over Manifest

***Moon Over Manifest*** is a 2010 children's novel written by American Clare Vanderpool. The book was awarded the 2011 Newbery Medal for excellence in children's literature, the Spur Award for best Western juvenile fiction, and was named a Kansas Notable Book. The story follows a young and adventurous girl named Abilene who is sent to Manifest, Kansas by her father in the summer of 1936. The author's note at the end of the book states the fictional town of Manifest, Kansas, is based on the real town of Frontenac, Kansas.

## Plot summary

In 1936, twelve-year-old Abilene Tucker is sent by her father Gideon to the small town of Manifest, Kansas. Abilene arrives to find the town run-down and greatly affected by the Great Depression. A pastor takes her in, and in that house, she discovers a box of mementos and letters from a boy named Ned addressed to a boy named Jinx stashed away under a floorboard. One letter mentions the "Rattler." Abilene and her two friends, Lettie and Ruthanne, believe the Rattler was a German spy in 1918. After some investigating, they receive a note telling them to "leave well enough alone."

Realizing that she lost her father's compass while searching for the spy, Abilene walks down the "Path to Perdition", a house where Miss Sadie, a diviner, lived, to search for it. On the way, Abilene accidentally breaks a diviner's pot. To pay off her debt and earn her compass back from the diviner, Abilene does odd jobs for her: she tills dry soil during a drought, plants seeds in it, and hunts for strange plants, all of which seemed to have no useful purpose.

Sensing that Abilene feels abandoned by her father, the diviner tells her a story of the past about two boys in Manifest in 1918 called Jinx and Ned. Jinx is a twelve-year-old con artist who leaves his partner after thinking he accidentally killed a man, and Ned, the writer of the letters, is a fifteen-year-old adopted boy who used Jinx's skills to sign up for the army underage. He leaves Jinx his compass when he goes off to war and writes him letters from the battlefield. At the time, Manifest is controlled by the owners of the mine because there are no jobs or money without them during the war; the owners pay the workers very little and forced them to work more shifts.

After a land-owning widow dies, the mine owners desire that piece of land for their own profit. However, the town has first pick, and they need to raise $1,000 for it before the deadline. They don't want the mine owners to know about it, or else they'd give them more work and also stop them from raising the money, so everyone feigns illness and put the town under quarantine to get rid of the mine owners. They sell a healing elixir and raised most of the money, but someone reveals their plans to the mine owners, causing them to return and put everyone back to work.

A government official, the nephew of a resident of Manifest, tricks one of the mine owners into buying part of the land up for sale because of the "healing spring" he could use to make a fortune. However, it is regular water, and the tax he paid for the land goes to the town, giving them enough money to buy the rest of the land. Soon afterwards, the fooled man sells his part of the land for a fraction of the cost he paid for it. Meanwhile, Jinx confronts his old partner in crime, and discovered that the partner is the one who killed the man, not Jinx. The old partner dies when trying to pursue Jinx. The town celebrates their triumph over the mine owners, only to be crushed by news of the death of the well-known Ned in St-Dzier, France, on October 8, 1918. Jinx thinks it was his fault Ned was killed by the Germans. He leaves Manifest for good. Soon after, Spanish influenza kills many people in Manifest and the town becomes the run-down, battered outpost Abilene knows.

Abilene hears the story and matches the letters and mementos she had to the story the diviner told her. She put the pieces together and discovered that Jinx was her father; when she got a cut and became very ill, her father began acting differently around her because he thought it was his fault, which it wasn't. That was the reason he left her in Manifest. Furthermore, Ned was the son of the diviner, who had been keeping watch on her son from afar. After sending a telegram to her father, feigning ill herself, she discovered that the Rattler was a story someone made up after seeing a nun and her rattling rosary in the woods at night. The "spy" they happened to find was the undertaker, the person who had revealed the town's trick to the mine owners almost twenty years ago. He was afraid that the kids had found out about that, so he sent them the note to scare them. Abilene's father returned to Manifest and found that his daughter wasn't ill, and after she told him about knowing about his past, he understood her when she asked him to stay. They go into Manifest together to rebuild their lives.

## Characters

### Main characters

* **Abilene Tucker**, a brave 12-year-old girl stuck in a small town after a life on the road begins to learn about the town's history and how it ties in with her own. She is very confident, almost to the point of being plucky.
* **Miss Sadie Redizon**, a mysterious Hungarian fortune teller who only tells stories about the past.
* **Jinx (Gideon Tucker)**, a boy that comes to Manifest and changes it. Jinx was a friend of Ned.
* **Soletta (Lettie) Taylor**, Abilene's friend who is helping find the Rattler and Ruthanne's cousin.
* **Benedek (Ned) Gillen**, son of Miss Sadie and friend of Jinx. Ned appears only in flashbacks, and died in World War I on the battlefield.

### Minor characters

* **Gideon Tucker**, Abilene's father who sends her to stay with a friend in the town.
* **Hattie Mae Harper**, the town's newspaper reporter who helps Abilene research her family's past.
* **Sister Redempta**, the town's school teacher nun, also helps with other affairs.
* **Mr. Underhill**, an undertaker.

## Reception

*Moon Over Manifest* has been received favorably. *Kirkus Reviews* described it as "richly detailed, splendidly written", while *Publishers Weekly* saw a "memorable coming-of-age story" and "Replete with historical details and surprises, Vanderpool's debut delights, while giving insight into family and community." Common Sense Media called it "a nostalgic, robust story". *Booklist* found it "like sucking on a butterscotch. Smooth and sweet." *School Library Journal* said that "thoroughly enjoyable, unique page-turner \[*Moon Over Manifest*\] is a definite winner."

## InfoBox

Moon Over Manifest
| Front cover | |
| --- | --- |
| Author | Clare Vanderpool |
| Cover artist | Richard Tuschman |
| Language | English |
| Genre | Children's literature, Historical fiction |
| Publisher | Delacorte Press |
| Publication date | 2010 |
| Media type | Print (Hardcover) |
| Pages | 351 |
| ISBN | 978-0-385-73883-5 |
| OCLC | 460709773 |
| LC Class | PZ7.P28393 Mo 2010 |


title: Michael J. Birmingham

abstract: Michael J. Birmingham was an American politician from Maryland and a member of the Democratic Party. He served as the first Baltimore County Executive from 1956 to 1958.

text:
# Michael J. Birmingham

**Michael J. Birmingham** was an American politician from Maryland and a member of the Democratic Party. He served as the first Baltimore County Executive from 1956 to 1958.

## InfoBox

| Michael J. Birmingham | |
| --- | --- |
|  | |
| 1st Executive of Baltimore County | |
| **In office**<br>1956–1958 | |
| Preceded by | *Inaugural Officeholder* |
| Succeeded by | Christian H. Kahl |
|  | |
| Personal details | |
| Political party | Democratic |
|  | |


title: H World International

abstract: H World International, formerly branded Deutsche Hospitality and Steigenberger Hotel Group, is the umbrella brand of the German hotel chain company Steigenberger Hotels AG. Since 2020, it is a subsidiary of the Chinese Huazhu Hotels Group and operates hotels under several brands, including Steigenberger, IntercityHotel and Zleep Hotels.

text:
# H World International

**H World International**, formerly branded *Deutsche Hospitality* and *Steigenberger Hotel Group*, is the umbrella brand of the German hotel chain company Steigenberger Hotels AG. Since 2020, it is a subsidiary of the Chinese Huazhu Hotels Group and operates hotels under several brands, including *Steigenberger*, *IntercityHotel* and *Zleep Hotels*.

## History

The company was founded by Albert Steigenberger in 1930 and was run as a family business by the descendants of the founder, who died in 1958.

In 2009, the Egyptian travel and tourism company Travco Group acquired Steigenberger Hotels. In 2016, the company was rebranded as Deutsche Hospitality. On 4 November 2019, it was announced that the Chinese Huazhu Hotels Group through one of their subsidiaries has purchased Deutsche Hospitality for 700 million Euro.

Since 1 November 2020, Marcus Bernhardt has been CEO and chairman of the management board of Steigenberger Hotels AG/Deutsche Hospitality.

In 2024, Deutsche Hospitality announced a rebranding and name change to H World International.

## Brands and locations

As of 2024, H World International manages and operates more than 100 hotels under the following brands:

* Steigenberger Hotels & Resorts (over 30 in 8 countries, majority located in Germany and Egypt)
* Steigenberger Icons (6 in 2 countries)
* IntercityHotel (over 50 in 8 countries, majority located in Germany)
* Jaz in the City (3 in 3 countries)
* MAXX (4 in 2 countries)
* Zleep Hotels (15 in 4 countries)

Furthermore, there are currently three new brands in development, namely *Steigenberger Porsche Design Hotels*, *House of Beats* and *Ji Hotel*.

Media related to Steigenberger Hotels at Wikimedia Commons

## InfoBox

H World International
| Company type | Public |
| --- | --- |
| Founded | 1930 |
| Headquarters | Frankfurt, Germany |
| Key people | * Oliver Bonke (CEO) * Ulrich Johannwille (CFO) |
| Revenue | 829.3 m EUR (2019) |
| Owner | Huazhu Hotels Group |
| Number of employees | 10,742 (2019) |
| Website | hworld.com |


title: Pakala Forest Park

abstract: Pakala Forest Park is a protected area in the Gambia covering 1,161 ha. It was established in January 1954. The national park is located at an altitude of 41 meters.

text:
# Pakala Forest Park

**Pakala Forest Park** is a protected area in the Gambia covering 1,161 ha (2,870 acres). It was established in January 1954.

The national park is located at an altitude of 41 meters.

## InfoBox

| Pakala Forest Park | |
| --- | --- |
| IUCN category IV (habitat/species management area) | |
| Location | North Bank Division  Gambia |
| Nearest city | Farafenni |
| Coordinates | 13°34′0″N 15°38′0″W / 13.56667°N 15.63333°W / 13.56667; -15.63333 |
| Area | 1,161 ha (2,870 acres)es |
| Established | 1 January 1954 |


title: Registro Internacional Naval

abstract: Registro Internacional Naval (RINAVE) is a maritime classification society, based in Lisbon, Portugal.

text:
# Registro Internacional Naval

38°46′05.9″N 9°10′51.8″W / 38.768306°N 9.181056°W / 38.768306; -9.181056

**Registro Internacional Naval** (**RINAVE**) is a maritime classification society, based in Lisbon, Portugal.

## Origin

RINAVE was formally established in 1973.

On 23 May 1974, RINAVE was officially recognised by the Portuguese Government as a Classification Society and authorised to perform surveys on their behalf in order to verify a vessel's compliance with international conventions, codes and resolutions covering safety at sea.

## Operations

RINAVE undertakes approval of plans for vessels before they are built, surveys during the construction phase and the issuance of a suitable class certificate when they are completed.

RINAVE undertakes periodical surveys of ships in service to ensure that quality and safety standards are maintained. It also surveys vessels under repair and being converted.

In 2004 RINAVE co-operated with other organisations in a project to study the safe abandoning of ships and the improvement of life saving appliance systems (SAFECRAFTS).


title: Agbadza

abstract: Agbadza is an Ewe music and dance that evolved from the times of war into a very popular recreational dance. It came from a very old war dance called Atrikpui and usually performed by the Ewe people of the Volta Region of Ghana, particularly during the Hogbetsotso Festival, a celebration by the Anlo Ewe people. In addition, it is also performed by Togolese and Beninese of Ewe descent. The dance has five movements in performing it, 1. Banyinyi which is a short introductory in prayer to the gods and ancestors, 2. Vutsortsor which is the main dance, 3. Adzo- which is less energetic and only the master is made to drum along with Gankogui and Axatse, 4. Hatsatsa- historical songs are performed along with Gankogui and Atoke, 5. Vutsortsor- finally, another round of the main dance which usually last for a number of hours. Gankogui is an instrument in a form of a bell where a stick is used to play. Atoke is also an iron banana shaped bell and played with a small forged iron rod. The Atoke can be used in place of the Gankogui they are both used for the same purpose. The dance is usually played at funerals, weddings, and parties. Essentially, it is played at any occasion that called for an Ewe identity emblem, since this music is known by other ethnic groups to be uniquely Ewe. Everyone is welcome to join in the dance, unlike other Ewe dances, which sometimes are reserved for people of a certain age, religion, or gender. The dance is sometimes known as the “chicken dance” due to the bird-like motions required for the dance.

text:
# Agbadza

**Agbadza** is an Ewe music and dance that evolved from the times of war into a very popular recreational dance. It came from a very old war dance called Atrikpui and usually performed by the Ewe people of the Volta Region of Ghana, particularly during the Hogbetsotso Festival, a celebration by the Anlo Ewe people. In addition, it is also performed by Togolese and Beninese of Ewe descent. The dance has five movements in performing it, 1. **Banyinyi** which is a short introductory in prayer to the gods and ancestors, 2. **Vutsortsor** which is the main dance, 3. **Adzo-** which is less energetic and only the master is made to drum along with Gankogui and Axatse, 4. **Hatsatsa**\- historical songs are performed along with Gankogui and Atoke, 5. **Vutsortsor**\- finally, another round of the main dance which usually last for a number of hours. Gankogui is an instrument in a form of a bell where a stick is used to play. Atoke is also an iron banana shaped bell and played with a small forged iron rod. The Atoke can be used in place of the Gankogui they are both used for the same purpose.

The dance is usually played at funerals, weddings, and parties. Essentially, it is played at any occasion that called for an Ewe identity emblem, since this music is known by other ethnic groups to be uniquely Ewe. Everyone is welcome to join in the dance, unlike other Ewe dances, which sometimes are reserved for people of a certain age, religion, or gender. The dance is sometimes known as the “chicken dance” due to the bird-like motions required for the dance.

## Origin

Agbadza finds its origin in the times of war. The Ewe people went through various times of war and oppression before settling down in the Volta Region of Ghana and in Southern Togo. In order to train their warriors to be ready for battle, the Ewes used various songs and dances to encourage the warriors. Through this a dance called *Atrikpui* was born. This dance later evolved to Agbadza, which is no longer used for war but rather in events that are more joyful. Through Agbadza, at the time known as *Atrikpui*, Ewe singers and poets sang about battles, life and death, heroism, cowardice, migration, conquest, imperialism, and a warrior ethos. The move towards Agbadza was done due to a period of peace that was enjoyed by the Ewes around the 1920s, and so instead they decided to use some of their old songs as entertainment. Today, Agbadza is the most famous and widely played Ewe dance.

## Instruments

Bell: It has a recurring phrase that establishes the tempo of the song and serves as a timeline for the rest of the ensemble.

Sogo: This is the ensemble leader drum. It indicates to the other drums what they are supposed to be playing. This drum also signals the dancers when they are supposed to be starting to dance, through the use of drumming language.

Kidi: This is the second drum in the ensemble. It communicates with the Sogo to create a conversation using drumming language.

Kagan: This is a support drum, which has a recurring rhythm throughout the performance that interacts with the bell to create a specific melody.

Rattle/ Axatse: This is a beaded-rattle that follows the rhythm of the timeline closely to complement the Agbadza song.

Handclaps: The handclaps in Agbadza are used to add human interaction to the song and create a dense musical texture of high energy.

## Song

The song is based on a call and responses system, which is widely present in the music of West Africa.

**Call**: Se Se Se Ioooo

**Response**: Aho Aho Ahoooo

**Call**: Se Se Se Iooo

**Response**: Aho Aho Ahoooo

**ALL**: Enyo o Egble o ahooo

Ne meku Agbadzawua nadim hee Ne meku Agbadzawua nadim hee Ne mekua Kiniwua nadi hee Ne makua Kiniwua nadi hee  1. "Agbadza - The Famous Ewe Rhythm And Dance". *African Music Safari*. Retrieved 2017-03-06.
2. "Agbadza - Awesome Tapes From Africa". *Awesome Tapes From Africa*. 2008-11-16. Retrieved 2017-03-06.
3. "Ewe Dances: Agbadza Dance". October 12, 2015.
4. "Ewe Dances: Agbadza Dance". *Ghana Goods*. 2015-10-12. Retrieved 2019-10-22.
5. Locke, David (2010-12-01). "Yewevu in the Metric Matrix". *Music Theory Online*. **16** (4).
6. Locke, David. "Agbadza" (PDF). *The Critical Edition*  via Tufts University Press.
7. Agordoh, Alexander Akorlie (2005). *African music : traditional and contemporary*. ISBN 9781594545542. OCLC 876592656.
8. "Repertoire". *www.azaguno.com*. Archived from the original on 2017-07-02. Retrieved 2017-03-06.
9. Kuwor, Sylvanus Kwashie. *Agbadza Song*. University of Ghana.

## InfoBox

Agbadza dance
| People dancing to Agbadza in Traditional clothing | |
| --- | --- |
| Origin | Ewe People Ghana |


title: Raiamas kheeli

abstract: Raiamas kheeli is a species of cyprinid fish in the genus Raiamas from the Democratic Republic of the Congo.

text:
# Raiamas kheeli

***Raiamas kheeli*** is a species of cyprinid fish in the genus *Raiamas* from the Democratic Republic of the Congo.

## InfoBox

| *Raiamas kheeli* | |
| --- | --- |
| Conservation status | |
|
Data Deficient  (IUCN 3.1) | |
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Chordata |
| Class: | Actinopterygii |
| Order: | Cypriniformes |
| Family: | Cyprinidae |
| Subfamily: | Danioninae |
| Genus: | *Raiamas* |
| Species: | ***R. kheeli*** |
| Binomial name | |
| ***Raiamas kheeli***
Stiassny, Schelly & Schliewen, 2006 | |
|


abstract: The NCAA Division III Women's Tennis Championship is the annual tennis tournament hosted by the National Collegiate Athletic Association (NCAA) to determine the team, singles, and doubles champions of Division III in women's collegiate tennis. Tennis was one of twelve women's sports added to the NCAA championship program for the 1981–82 school year, as the NCAA engaged in battle with the Association for Intercollegiate Athletics for Women (AIAW) for sole governance of women's collegiate sports. The AIAW continued to conduct its established championship program in the same twelve sports; however, after a year of dual women's championships, the NCAA conquered the AIAW and usurped its authority and membership. Williams has won the most national championships, with 10 national titles. Claremont-Mudd-Scripps is the reigning national champion, defending their 2022 title.

text:
# NCAA Division III women's tennis championships

The **NCAA Division III Women's Tennis Championship** is the annual tennis tournament hosted by the National Collegiate Athletic Association (NCAA) to determine the team, singles, and doubles champions of Division III in women's collegiate tennis.

Tennis was one of twelve women's sports added to the NCAA championship program for the 1981–82 school year, as the NCAA engaged in battle with the Association for Intercollegiate Athletics for Women (AIAW) for sole governance of women's collegiate sports. The AIAW continued to conduct its established championship program in the same twelve (and other) sports; however, after a year of dual women's championships, the NCAA conquered the AIAW and usurped its authority and membership.

Williams has won the most national championships, with 10 national titles. Claremont-Mudd-Scripps is the reigning national champion, defending their 2022 title.

## Results

| NCAA Division III Women's Tennis Championship | | | | | | | | |
| --- | --- | --- | --- | --- | --- | --- | --- | --- |
| Year | Site
(Host) |  | Team Championship | | |  | Singles Champion | Doubles Champions |
| | | | Winner | Score/Games | Runners-Up | | | |
| 1982
*Details* | Jackson, MS | | **Occidental** | 18–15 | UC San Diego | | Beckie Donecker
(Elizabethtown) | Kathleen McFadden / Jean Marie Sanders
(Occidental) |
| 1983
*Details* | Claremont, CA
(Claremont-Mudd-Scripps) | | **Principia** | 17–13 | UNC Greensboro | | Jean Marie Sanders
(Occidental) | Kristi Martin and Wendy Clark
(Principia) |
| 1984
*Details* | Kalamazoo, MI
(Kalamazoo) | | **Davidson** | 15–14 | UC San Diego | | Courtney Allen
(Principia) | Courtney Allen and Suzy Verheul
(Principia) |
| 1985
*Details* | Haverford, PA
(Haverford) | | **UC San Diego** | 8–1 | | | Davidson | Jessica Vernon and Nadine Akimoto
(UC San Diego) |
| 1986
*Details* | Kalamazoo, MI
(Kalamazoo) | | **Trenton State** | 6–3 | Occidental | | Debbie Daniel
(Trenton State) | Courtney Allen and Sue Godfrey
(Principia) |
| 1987
*Details* | | | **UC San Diego** (2) | 6–3 | Occidental | | Courtney Allen
(Principia) |
| 1988
*Details* | Atlanta, GA
(Emory) | | **Mary Washington** | 7–2 | Kenyon | | Caroline Bodart
(Menlo) | Julie Lindberg and Karen Nilsen
(Pomona–Pitzer) |
| 1989
*Details* | Claremont, CA
(Claremont-Mudd-Scripps) | | **UC San Diego** (3) | 8–1 | | | Kenyon | Christine Behrens and Nancy Calhoun
(UC San Diego) |
| 1990
*Details* | Trenton, NJ
(Trenton State) | | **Gustavus Adolphus** | 5–4 | UC San Diego | | Christine Behrens
(UC San Diego) | Shelley Keeler and Caryn Cranstonn
(Pomona–Pitzer) |
| 1991
*Details* | Atlanta, GA
(Emory) | | **Mary Washington** (2) | 5–4 | Gustavus Adolphus | | Karyn Cooper
(Wellesley) | Shelley Keeler and Erin Hendricks
(Pomona–Pitzer) |
| 1992
*Details* | Kalamazoo, MI
(Kalamazoo) | | **Pomona–Pitzer** | 5–4 | Kenyon | | Shelley Keeler
(Pomona–Pitzer) |
| 1993
*Details* | Northfield, MN
(Carleton) | | **Kenyon** | 7–2 | Gustavus Adolphus | | Helen Motter
(Middlebury) | Helen Motter and Nanci Olson
(Middlebury) |
| 1994
*Details* | Kalamazoo, MI
(Kalamazoo) | | **UC San Diego** (4) | 7–2 | Williams | | Claire Turchi
(Pomona–Pitzer) | Becky Mallory and Julie Greenwood
(Williams) |
| 1995
*Details* | Sweet Briar, VA
(Sweet Briar) | | **Kenyon** (2) | 5–4 | UC San Diego | | Nao Kinoshita
(Rhodes) | Marilyn Baker and Natalia Garcia
(Washington and Lee) |
| 1996
*Details* | Kalamazoo, MI
(Kalamazoo) | | **Emory** | 5–1 | Washington and Lee | | Dina Dajani
(Redlands) | Porter Harris and Julie Greenwood
(Williams) |
| 1997
*Details* | Claremont, CA
(Pomona) | | **Kenyon** (3) | 6–3 | Trinity (TX) | | Nao Kinoshita
(Rhodes) | Nao Kinoshita and Taylor Tarver
(Rhodes) |
| 1998
*Details* | Lexington, VA
(Washington and Lee) | | **Skidmore** | 5–1 | Kenyon | | Jamie Levine
(Skidmore) | Caryn Cuthbert and Erin Hockman
(Kenyon) |
| 1999
*Details* | Trenton, NJ
(TCNJ) | | **Amherst** | 5–2 | Williams | | Cornelia Steinberg
(Amherst) | Inke Noel and Lisa Powers
(Skidmore) |
| 2000
*Details* | St. Peter, MN
(Gustavus Adolphus) | | **Trinity (TX)** | 5–4 | UC San Diego | | Jamie Cohen
(Amherst) | Sheree Schwartz and Meghan Gould
(Pomona–Pitzer) |
| 2001
*Details* | San Antonio, TX
(Trinity) | | **Williams** | 6–3 | Trinity (TX) | | Elena Blanina
(Methodist) | Mary Ellen Gordon and Anusha Natarajan
(Emory) |
| 2002
*Details* | Sweet Briar, VA
(Sweet Briar) | | **Williams** (2) | 6–3 | | | Emory |
| 2003
*Details* | Redlands, CA
(Redlands Bulldogs) | | **Emory** (2) | 5–1 | Washington and Lee | | Mary Ellen Gordon
(Emory) | Mary Ellen Gordon and Jolyn Taylor
(Emory) |
| 2004
*Details* | Memphis, TN
(Rhodes) | | **Emory** (3) | 5–0 | | | Amherst |
| 2005
*Details* | Kalamazoo, MI
(Kalamazoo) | | **Emory** (4) | 5–3 | Washington and Lee | | Lindsay Hagerman
(Washington and Lee) | Tara Houlihan and Lyndsey Palen
(Gustavus Adolphus) |
| 2006
*Details* | Santa Cruz, CA
(UC Santa Cruz) | | **Emory** (5) | 5–1 | Washington and Lee | | Emily Applegate
(Washington and Lee) |
| 2007
*Details* | Fredericksburg, VA
(Mary Washington) | | **Washington and Lee** | 5–2 | Amherst | | Liz Bondi
(DePauw) | Brittany Berckes and Alicia Menezes
(Amherst) |
| 2008
*Details* | St. Peter, MN
(Gustavus Adolphus) | | **Williams** (3) | 5–4 | Washington and Lee | | Siobhan Finicane
(Pomona–Pitzer) |
| 2009
*Details* | Brookhaven, GA
(Oglethorpe) | | **Williams** (4) | 5–2 | Amherst | | Lorne McManigle
(Emory) | Chrissy Hu and Kendra Higgins
(Chicago) |
| 2010
*Details* | Fredericksburg, VA
(Mary Washington) | | **Williams** (5) | 5–0 | Emory | | Julia Browne
(Tufts) |
| 2011
*Details* | Claremont, CA
(Claremont-Mudd-Scripps) | | **Williams** (6) | 5–4 | Amherst | | Kristin Lim
(Claremont–Mudd–Scripps) | Jordan Brewer and Gabby Devlin
(Amherst) |
| 2012
*Details* | Cary, NC
(Meredith) | | **Williams** (7) | 5–2 | Chicago | | Gabrielle Clark
(Emory) | Laura Danzig and Gabby Devlin
(Amherst) |
| 2013
*Details* | Kalamazoo, MI
(Kalamazoo) | | **Williams** (8) | 5–2 | Emory | | Lok Sze Leung
(Middlebury) | Jordan Brewer and Gabby Devlin
(Amherst) |
| 2014
*Details* | Claremont, CA
(Claremont-Mudd-Scripps) | | **Emory** (6) | 5–1 | Amherst | | Gabrielle Clark
(Emory) |
| 2015
*Details* | Mason, OH
(Ohio Northern) | | **Williams** (9) | 5–4 | Emory | | Eudice Chong
(Wesleyan) | Juli Raventos / Linda Shin
(Williams) |
| 2016
*Details* | Kalamazoo, MI
(Kalamazoo) | | **Emory** (7) | 5-4 | | | Williams |
| 2017
*Details* | Chattanooga, TN
(Sewanee) | | **Williams** (10) | 5-4 | | | Emory | Eudice Chong / Victoria Yu
(Wesleyan) |
| 2018
*Details* | Claremont, CA
(Claremont-Mudd-Scripps) | | **Claremont-Mudd-Scripps** | 5-4 | | | Emory | Julia Cancio / Juli Raventos
(Williams) |
| 2019
*Details* | Kalamazoo, MI
(Kalamazoo) | | **Wesleyan** | 5-4 | Claremont-Mudd-Scripps | | Ysabel González-Rico
(Emory) | Catherine Allen / Caroline Cox
(Claremont–Mudd–Scripps) |
| 2020
*Details* | St. Louis, MO
(Washington University in St. Louis) | | *Cancelled due to the COVID-19 pandemic* | | | | | |
| 2021
*Details* | Claremont, CA
(Claremont-Mudd-Scripps) | | **Emory** (8) | 5-0 | Wesleyan |  | Erica Ekstrand
(Williams) | Ysabel Gonzalez-Rico / Katie Chang
(Emory) |
| | 2022
*Details* | | Orlando, FL
(Oglethorpe) | **Claremont-Mudd-Scripps** (2) | 5–1 | Chicago | Elle Christensen
(Tufts) | Elle Christensen / Tilly Rigby
(Tufts) |
| | 2023
*Details* | | Orlando, FL
(Oglethorpe) | **Claremont-Mudd-Scripps** (3) | 5–4 | Chicago | Angie Zhou
(Pomona-Pitzer) | Brooke Despriet / Katherine Perry
(Sewanee) |
| | 2024 | | St. Louis, MO
(Washington–St. Louis) | **Chicago** | 5-3 | Wesleyan | Rena Lin
(Chicago) | Matia Cristiani / Olivia Soffer
(Babson) |
| | 2025 | | Claremont, CA
(Claremont-Mudd-Scripps) |  |  |  |  |  |
| | 2026 | | Chattanooga, TN
(Sewanee) |  |  |  |  |  |

## Champions

* Schools highlight in yellow have reclassified from NCAA Division III.

## InfoBox

NCAA Division III women's tennis championships
| Logo of the most recent iteration of the championship | |
| --- | --- |
| Sport | College tennis |
| Founded | 1982 |
| No. of teams | 48 |
| Country | United States |
| Official website | NCAA.com |


title: Michael Norman (Australian cricketer)

abstract: Michael John Norman is a former Australian cricket player, who played for Tasmania. Norman was a right-handed batsman who represented Tasmania from 1975 until 1979. He played in Tasmania's inaugural Sheffield Shield match in October 1977. He made his highest first-class score on his first-class debut against the West Indians in 1975-76 when he top-scored in Tasmania's first innings with 65.

text:
# Michael Norman (Australian cricketer)

**Michael John Norman** (born 17 August 1952 in Launceston, Tasmania) is a former Australian cricket player, who played for Tasmania.

Norman was a right-handed batsman who represented Tasmania from 1975 until 1979. He played in Tasmania's inaugural Sheffield Shield match in October 1977. He made his highest first-class score on his first-class debut against the West Indians in 1975-76 when he top-scored in Tasmania's first innings with 65.

## InfoBox

Michael Norman
| Personal information | |
| --- | --- |
| Full name | Michael John Norman |
| Born | (1952-08-17) 17 August 1952<br>Launceston, Tasmania, Australia |
| Batting | Right-handed |
| Domestic team information | |
| Years | Team |
| 1975/761978/79 | Tasmania |
|  | |
| Career statistics | |
| Competition FC LA  Matches 11 5  Runs scored 366 28  Batting average 17.42 5.60  100s/50s /3 /  Top score 65 15  Balls bowled    Wickets    Bowling average    5 wickets in innings    10 wickets in match    Best bowling    Catches/stumpings 4/ 1/ | |
|  | |
| Source: Cricinfo, 2 January 2011 | |


title: Moon Over Ireland

abstract: Moon Over Ireland is the 31st studio album released by Irish singer Daniel O'Donnell in 2011. It contained original songs and newly recorded versions of well-known Irish songs.

text:
# Moon Over Ireland

***Moon Over Ireland*** is the 31st studio album released by Irish singer Daniel O'Donnell in 2011. It contained original songs and newly recorded versions of well-known Irish songs.

## Track listing

1. "Moon Over Ireland" - 4:09
2. "Maggie" - 3:28
3. "The Fields of Athenry" - 4:53
4. "Tipperary Girl" - 3:01
5. "Cottage by the Lee" - 3:40
6. "My Father's House" - 4:00
7. "Sweet Sixteen" - 3:28
8. "The Galway Shawl" - 4:46
9. "My Lovely Donegal" - 3:42
10. "My Wild Irish Rose" - 3:08
11. "The Boys from Killybegs" - 3:30
12. "Sonny" - 4:32
13. "Moonlight in Mayo" - 3:14
14. "Two Little Orphans" - 3:08
15. "The Town I Loved So Well" - 7:01

## Charts

| Chart (2011) | Peak
position |
| --- | --- |
| UK Albums Chart | 9 |
| Irish Albums Chart | 11 |
| Australian Physical Albums Chart | 47 |

## InfoBox

| Moon Over Ireland | |
| --- | --- |
|  | |
| Studio album by Daniel O'Donnell | |
| Released | March 7, 2011 |
| Recorded | 2011 |
| Genre | Easy-listening, Irish folk |
| Label | Rosette Records |
| Daniel O'Donnell chronology | |
| *O Holy Night*
(2010) ***Moon Over Ireland***
(2011) *The Ultimate Collection*
(2012) | |


title: Habrosyne plagiosa

abstract: Habrosyne plagiosa is a moth in the family Drepanidae first described by Frederic Moore in 1882. It is found in Sikkim, India. The wingspan is about 56 mm (2 in). The forewings are pinkish brown with an antemedial oblique pink line met below the costa by an oblique line from near the base. The area beyond the antemedial line is suffused with brown and there are some short faint waved brown lines from the costa. The orbicular spot is represented by a speck and the reniform is elongate, with a dark outline. There is also a faint waved double postmedial line filled in with bright chestnut towards the inner margin and a curved pink band from the apex to the outer angle. The hindwings are fuscous.

text:
# Habrosyne plagiosa

***Habrosyne plagiosa*** is a moth in the family Drepanidae first described by Frederic Moore in 1882. It is found in Sikkim, India.

The wingspan is about 56 mm (2 in). The forewings are pinkish brown with an antemedial oblique pink line met below the costa by an oblique line from near the base. The area beyond the antemedial line is suffused with brown and there are some short faint waved brown lines from the costa. The orbicular spot is represented by a speck and the reniform is elongate, with a dark outline. There is also a faint waved double postmedial line filled in with bright chestnut towards the inner margin and a curved pink band from the apex to the outer angle. The hindwings are fuscous.

## InfoBox

| *Habrosyne plagiosa* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Insecta |
| Order: | Lepidoptera |
| Family: | Drepanidae |
| Genus: | *Habrosyne* |
| Species: | ***H. plagiosa*** |
| Binomial name | |
| ***Habrosyne plagiosa***<br>Moore, 1882 | |
|


title: Pascal Island (Antarctica)

abstract: Pascal Island in the Antarctic is a small rocky island 0.37 kilometres (0.2 nmi) east-southeast of Descartes Island and 1.9 kilometres (1 nmi) northeast of Cape Mousse. Charted in 1951 by the French Antarctic Expedition and named by them for Blaise Pascal (1623–1662), French physician and philosopher.

text:
# Pascal Island (Antarctica)

**Pascal Island** in the Antarctic is a small rocky island 0.37 kilometres (0.2 nmi) east-southeast of Descartes Island and 1.9 kilometres (1 nmi) northeast of Cape Mousse. Charted in 1951 by the French Antarctic Expedition and named by them for Blaise Pascal (1623–1662), French physician and philosopher.

This article incorporates public domain material from "Pascal Island (Antarctica)". *Geographic Names Information System*. United States Geological Survey.

## InfoBox

Pascal Island
| Pascal IslandLocation in Antarctica | |
| --- | --- |
| Geography | |
| Location | Antarctica |
| Coordinates | 66°47′S 141°29′E / 66.783°S 141.483°E / -66.783; 141.483 |
| Administration | |
| Administered under the Antarctic Treaty System | |
| Demographics | |
| Population | Uninhabited |


title: Pala Narayanan Nair

abstract: Pala Narayanan Nair was an Indian poet and lyricist, best known for his work, Keralam Valarunnu, written in 1953, comprising eight volumes, which earned him the title of Mahakavi. He wrote more than 5,000 poems, which have been compiled in about 43 anthologies. Nair, who also wrote the lyrics for the 1956 Malayalam movie, Avar Unarunnu, was a recipient of the Ezhuthachan Puraskaram, the highest literary honour of the Government of Kerala as well as Vallathol Award and Kerala Sahitya Akademi Award for Poetry, besides other honours.

text:
# Pala Narayanan Nair

**Pala Narayanan Nair** (11 December 1911 – 11 June 2008) was an Indian poet and lyricist, best known for his work, *Keralam Valarunnu*, written in 1953, comprising eight volumes, which earned him the title of *Mahakavi*. He wrote more than 5,000 poems, which have been compiled in about 43 anthologies. Nair, who also wrote the lyrics for the 1956 Malayalam movie, *Avar Unarunnu*, was a recipient of the Ezhuthachan Puraskaram, the highest literary honour of the Government of Kerala as well as Vallathol Award and Kerala Sahitya Akademi Award for Poetry, besides other honours.

## Biography

Narayanan Nair was born on 11 December 1911 in Pala of Kottayam district in Kerala to Keezhpallil Sankaran Nair and Puliannoor Puthoor Parvathy Amma. His schooling was at St. Thomas School, Pala from where he passed the final examination but his father's death in 1932 forced him to start earning and he joined Palai Central Bank as an accountant, simultaneously giving private tutions. He moved to S. M. V. S. High School as teacher in 1937 but had to quit the job during World War II to join the Indian Army. He quit military service in 1947 to join the University of Kerala (then known as the University of Travancore) in their publications division. While working at the university, he resumed his studies to earn a bachelor's degree in 1954 and a master's degree in Malayalam in 1956, standing first in the examination. He retired from the university in 1967 as the head of the department of publications and served as a professor of Malayalam at Alphonsa College, Palai until 1972. He also served at MMNSS College Kottiyam for a while.

Narayanan Nair was married to Subhadrakutty Amma and the couple had two daughters and two sons. He died, at the age of 96, on 11 June 2008, at a private hospital in Kottayam, where he had been admitted following age-related illnesses.

## Legacy

Narayanan Nair published 43 poetry anthologies and *Keralam Valarunnu* (Kerala is growing), an eight-volume epic which earned him the title, *Mahakavi*. *Pookkal*, *Adima*, *Nirdhanan*, *Padakkalam*, *Bhasparangam*, *Anthya Pooja*, *Olangal*, *Kairali Murali*, *Ragalapam*, *Manusyan*, *Malanad*, *Paalazhy*, *Sundarakadam*, *Amarajyothi*, *Pournami*, *Meghasancharam*, *VilakkuKoluthu*, *Soorya Gayathri*, *Samara Mukhathu*, *Ananthapuri*, *Shravanageetham* and *Amruthavarshini* feature among his notable works. Besides his poems, he wrote the lyrics for *Avar Unarunnu*, a Malayalam movie directed by N. Sankaran Nair and released in 1956. Besides the nine songs featured in the film, he also wrote other songs. When Kerala Sahitya Akademi was constituted in 1957, he was elected as the founder secretary of the academy, a post he held for two years.

## Awards and honours

The Kerala Sahitya Akademi awarded Nair their annual award for poetry in 1976 for his anthology, *Vilakku Koluthoo*. He received the inaugural Vallathol Award in 1991 followed by FOKANA Kerala Ganam Award, the next year. Ulloor Smaraka Samithi awarded him the Ulloor Award in 1999 and he received the Ezhuthachan Puraskaram, the highest literary award of the Government of Kerala in 2000. A year later, he was selected for the 2001 Asan Smaraka Kavitha Puraskaram and he received the Mathrubhumi Literary Award in 2004. A recipients of other honours such as *Puthezhan Award* and *Mooloor Award*, Nair was honoured by Kerala Sahitya Akademi with their distinguished fellowship in 2006.

Mahatma Gandhi University has instituted a chair, *Pala Narayanan Nair Chair*, in his honour with Sukumar Azhikode, holding the chair during the initial two years. *Pala: Kavithakalude Palazhy* is a documentary film made by Jinoop J. Nair on the life of Narayanan Nair.

## Bibliography

* Narayanan Nair Pala (1996). *Kerala Valarunnu*. D.C. Books, Kottayam: D.C. Books, Kottayam.
* Narayanan Nair, Palai (1986). *Thenkuruvikal*. Kottayam: National Book Stall.
* Narayanan Nair, Pala; Parameswaranpillai, Erumeli (2011). *Theranjedutha kavithakal* (1st ed.). Thrissur: Kerala Sahithya Academy. ISBN 9788176901765.
* Narayanan Nair, Pala (2008). *Sisu ganangal*. Kollam: Keerthi Books.
* Narayanan Nair. Pala (1973). *Megha Sancharam*. SahitiaPravarthaka Sahakaransangam: SahitiaPravarthaka Sahakaransangam.
* Narayanan nair. Pala (1951). *Bashpa rangam*. Press Ramsass: Press Ramsass.
* Narayanan Nair. Pala (1971). *Pournami*. Kottayam: Sahithyapravarthaka sahakaranasangam.
* Narayanan Nair. Pala (1966). *Palazhi*. Kottayam: National book stall.
* Narayanan Nair, Pala (1949). *Nirdhanan*. Kottayam: N.B.S.
* Narayanan Nair, Pala (1975). *Vilakku Koluthu*. KOTTAYAM: N.B.S.
* Narayanan Nair, Pala (1977). *Sravana geetham*.
* Narayanan Nair, Pala (1985). *Samara mukhathu*. Kottayam: S.P.C.S.
* Naryanan Nair, Pala (1979). *Aalipazham*. Kottayam: Vidhyarthi mithram.
* Narayanan Nair, Pala (2003). *Kumkuma pookkal*. Kottayam: Malayala Gaveshanavedi.
* Narayanan Nair, Pala (1979). *Aalippazham*. Vidhyarthimithram.
* Narayanan Nair, Pala (1988). *Anandapuri*. Kottayam: S.P.C.S.

### Writings on Pala Narayanan Nair

## InfoBox

| Pala Narayanan Nair | |
| --- | --- |
| Born | (1911-12-11)11 December 1911
Palai, Kottayam, Kerala, India |
| Died | 11 June 2008(2008-06-11) (aged 96)
Kottayam, Kerala |
| Occupation | Poet |
| Nationality | Indian |
| Notable works | * *Keralam Valarunnu* * *Amritakala* * *Vilakku Koluthoo* |
| Notable awards |  |
| Spouse | Subhadrakutty Amma |
| Children | 4 |
| Relatives | * Keezhpallil Sankaran Nair (father) * Puliannoor Puthoor Parvathy Amma (mother) |


title: Gymnopilus laricicola

abstract: Gymnopilus laricicola is a species of mushroom in the family Hymenogastraceae.

text:
# Gymnopilus laricicola

| Gymnopilus laricicolaMycological characteristics | |
| --- | --- |
|  | **Gills** on hymenium |
|  | Cap is **convex** |
|  | Hymenium is **adnexed** or **adnate** |
|  | Ecology is **saprotrophic** |

***Gymnopilus laricicola*** is a species of mushroom in the family Hymenogastraceae.

## InfoBox

| *Gymnopilus laricicola* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Fungi |
| Division: | Basidiomycota |
| Class: | Agaricomycetes |
| Order: | Agaricales |
| Family: | Hymenogastraceae |
| Genus: | *Gymnopilus* |
| Species: | ***G. laricicola*** |
| Binomial name | |
| ***Gymnopilus laricicola***<br>J. Favre | |
|


title: Jerre DeNoble

abstract: Jerre DeNoble was an American outfielder who played part of a season in the All-American Girls Professional Baseball League. She batted and threw right-handed. Born in Oakland, California, Jerre DeNoble started to play baseball when she was 14 years old. She joined the league with the Peoria Redwings in the 1947 season, after attending the first AAGPBL spring training outside the United States which was held in Havana, Cuba. DeNoble was regarded as a solid outfielder and for her flashy speed on the basepaths, but she did not have many opportunities to show off her qualities after sustaining assorted injuries to her shoulder, a leg and a broken finger. She contributed to the Redwings first victory that year by scoring the winning run in the 12th inning of a game against the Racine Belles. During her brief stint with Peoria, she posted a.107 batting average and stole 11 bases in 21 game appearances. Following her baseball career, DeNoble worked at the Owens-Illinois for 40 years, retiring in 1981. Since 1988 she is part of Women in Baseball, a permanent display based at the Baseball Hall of Fame and Museum in Cooperstown, New York, which was unveiled to honor the entire All-American Girls Professional Baseball League rather than individual baseball personalities. DeNoble was a longtime resident of San Lorenzo, California, where she died at the age of 89.

text:
# Jerre DeNoble

**Jerre DeNoble** (June 11, 1923 – January 18, 2011) was an American outfielder who played part of a season in the All-American Girls Professional Baseball League. She batted and threw right-handed.

Born in Oakland, California, Jerre DeNoble started to play baseball when she was 14 years old. She joined the league with the Peoria Redwings in the 1947 season, after attending the first AAGPBL spring training outside the United States which was held in Havana, Cuba.

DeNoble was regarded as a solid outfielder and for her flashy speed on the basepaths, but she did not have many opportunities to show off her qualities after sustaining assorted injuries to her shoulder, a leg and a broken finger. She contributed to the Redwings first victory that year by scoring the winning run in the 12th inning of a game against the Racine Belles. During her brief stint with Peoria, she posted a .107 batting average and stole 11 bases in 21 game appearances.

Following her baseball career, DeNoble worked at the Owens-Illinois for 40 years, retiring in 1981.

Since 1988 she is part of *Women in Baseball*, a permanent display based at the Baseball Hall of Fame and Museum in Cooperstown, New York, which was unveiled to honor the entire All-American Girls Professional Baseball League rather than individual baseball personalities.

DeNoble was a longtime resident of San Lorenzo, California, where she died at the age of 89.

## Career statistics

**Batting**

| GP | AB |  |  | 2B | 3B | HR | RBI | SB | TB | BB | SO | BA | OBP | SLG | OPS |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| 21 | 28 | 3 | 3 | 1 | 0 | 0 | 0 | 4 | 4 | 3 | 11 | .107 | .194 | .143 | .336 |

**Fielding**

| GP | PO |  |  | TC | DP | FA |
| --- | --- | --- | --- | --- | --- | --- |
| 11 | 12 | 0 | 1 | 13 | 0 | .923 |

## Sources

## InfoBox

| Jerre DeNoble | |
| --- | --- |
|  | |
| All-American Girls Professional Baseball League | |
| **Outfielder** | |
| **Born:** (1923-06-11)June 11, 1923
Oakland, California | |
| **Died:** January 18, 2011(2011-01-18) (aged 87)
San Lorenzo, California | |
| **Batted:** Right**Threw:** Right | |
|  | |
| Teams | |
|  | |


title: Raincourt

abstract: Raincourt is a commune in the Haute-Saône department in the region of Bourgogne-Franche-Comté in eastern France.

text:
# Raincourt

**Raincourt** (French pronunciation: \[ʁɛ̃kuʁ\]) is a commune in the Haute-Saône department in the region of Bourgogne-Franche-Comté in eastern France.

## InfoBox

| Raincourt | |
| --- | --- |
| Commune | |
| Location of Raincourt | |
| RaincourtRaincourt | |
| Coordinates: 47°51′39″N 5°53′11″E / 47.8608°N 5.8864°E / 47.8608; 5.8864 | |
| Country | France |
| Region | Bourgogne-Franche-Comté |
| Department | Haute-Saône |
| Arrondissement | Vesoul |
| Canton | Jussey |
| Government | |
| Mayor (20202026) | Cédric Martel |
| Area**1** | 8.28 km2 (3.20 sq mi) |
| Population (2021) | 110 |
| Density | 13/km2 (34/sq mi) |
| Time zone | UTC+01:00 (CET) |
| Summer (DST) | UTC+02:00 (CEST) |
| INSEE/Postal code | 70436 /70500 |
| Elevation | 217–321 m (712–1,053 ft) |
| **1** French Land Register data, which excludes lakes, ponds, glaciers \> 1 km2 (0.386 sq mi or 247 acres) and river estuaries. | |


abstract: The NCAA Division III women's volleyball tournament is the annual event that decides the championships in women's volleyball from teams in Division III contested by the NCAA each winter since 1981 except in 2020, when all D-III championship events were canceled due to COVID-19. Washington St. Louis is the most successful program, with ten national titles. Juniata are the current champions, winning their fourth overall and second consecutive national title in 2023.

text:
# NCAA Division III women's volleyball tournament

The **NCAA Division III women's volleyball tournament** is the annual event that decides the championships in women's volleyball from teams in Division III contested by the NCAA each winter since 1981 except in 2020, when all D-III championship events were canceled due to COVID-19.

Washington St. Louis is the most successful program, with ten national titles.

Juniata are the current champions, winning their fourth overall and second consecutive national title in 2023.

## History

From 1970 through 1980, before the NCAA governed women's collegiate athletics, the Association for Intercollegiate Athletics for Women alone conducted the women's collegiate volleyball championships.

Volleyball was one of twelve women's sports added to the NCAA championship program for the 1981-82 school year, as the NCAA engaged in battle with the AIAW for sole governance of women's collegiate sports. The AIAW continued to conduct its established championship program in the same twelve (and other) sports; however, after a year of dual women's championships, the NCAA conquered the AIAW and usurped its authority and membership.

The NCAA added a Division III men's championship in 2012, which at the time was the newest NCAA-sponsored championship. That distinction has since passed to the NCAA Beach Volleyball Championship, an all-divisions women-only championship launched in 2016.

## Champions

| NCAA Division III Women's Volleyball Championship | | | | | | | | | |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| Year | Site
(Host Team) |  | Championship | | |  | Third Place Final / Semifinalists | | |
| | | | Champion | Games | Runner-Up | | Third-place | Games | Fourth-place |
| 1981
*Details* | Maryville, TN
(Maryville) | | **UC San Diego** | 3–2 | Juniata | | Occidental | 3–0 | Benedictine (IL) |
| 1982
*Details* | La Jolla, CA
(UC San Diego) | | **La Verne** | 3–1 | UC San Diego | | Sonoma State | 3–2 | Juniata |
| 1983
*Details* | La Verne, CA
(La Verne) | | **Elmhurst** | 3–1 | UC San Diego | | La Verne | 3–1 | MIT |
| 1984
*Details* | Elmhurst, IL
(Elmhurst) | | **UC San Diego** (2) | 3–0 | MIT | | La Verne | 3–0 | Calvin |
| 1985
*Details* | | | **Elmhurst** (2) | 3–0 | Juniata | | La Verne | 3–0 | UW–La Crosse |
| 1986
*Details* | Grand Rapids, MI
(Calvin) | | **UC San Diego** (3) | 3–2 | Calvin | | UW–La Crosse | 3–1 | Juniata |
| 1987
*Details* | Elmhurst, IL
(Elmhurst) | | **UC San Diego** (4) | 3–0 | Elmhurst | | Benedictine (IL) | 3–2 | Juniata |
| 1988
*Details* | La Jolla, CA
(UC San Diego) | | **UC San Diego** (5) | 3–2 | Benedictine (IL) | | Juniata | 3–2 | UW–Whitewater |
| 1989
*Details* | St. Louis, MO
(WashU) | | **WashU** | 3–0 | Ohio Northern | | Juniata | 3–1 | Menlo |
| 1990
*Details* | | | **UC San Diego** (6) | 3–2 | WashU | | St. Benedict | 3–0 | Juniata |
| 1991
*Details* | | | **WashU** (2) | 3–2 | UC San Diego | | Juniata | 3–1 | UW–Oshkosh |
| 1992
*Details* | | | **WashU** (3) | 3–0 | UC San Diego | | Stony Brook | 3–2 | Calvin |
| 1993
*Details* | Huntingdon, PA
(Juniata) | | **WashU** (4) | 3–0 | Juniata | | RIT | 3–2 | UC San Diego |
| 1994
*Details* | Ithaca, NY
(Ithaca) | | **WashU** (5) | 3–0 | UW–Oshkosh | | Juniata | 3–2 | Ithaca |
| 1995
*Details* | Whitewater, WI
(UW–Whitewater) | | **WashU** (6) | 3–2 | Cal Lutheran | | UW–Whitewater | 3–2 | Ithaca |
| 1996
*Details* | Oshkosh, WI
(UW–Oshkosh) | | **WashU** (7) | 3–0 | Juniata | | St. Olaf | 3–1 | UW–Oshkosh |
| 1997
*Details* | La Jolla, CA
(UC San Diego) | | **UC San Diego** (7) | 3–2 | Juniata | | Central (IA) | 3–0 | WashU |
| 1998
*Details* | Huntingdon, PA
(Juniata) | | **Central (IA)** | 3–2 | UC San Diego | | Juniata and Wellesley | | |
| 1999
*Details* | | | **Central (IA)** (2) | 3–0 | Trinity (TX) | | Muskingum | 3–0 | Juniata |
| 2000
*Details* | Pella, IA
(Central) | | **Central (IA)** (3) | 3–0 | UW–Whitewater | | WashU | 3–2 | Juniata |
| 2001
*Details* | Whitewater, WI
(UW–Whitewater) | | **La Verne** (2) | 3–2 | UW–Whitewater | | Juniata | 3–1 | Wellesley |
| 2002
*Details* | | | **UW–Whitewater** | 3–0 | WashU | | Trinity (TX) | 3–0 | Juniata |
| 2003
*Details* | La Verne, CA
(La Verne) | | **WashU** (8) | 3–0 | NYU | | La Verne | 3–0 | Emory |
| 2004
*Details* | Winona, MN
(St. Mary's (MN)) | | **Juniata** | 3–0 | WashU | | La Verne | 3–1 | NYU |
| 2005
*Details* | Salem, VA | | **UW–Whitewater** (2) | 3–0 | Juniata | | La Verne and Wittenberg | | |
| 2006
*Details* | | | **Juniata** (2) | 3–2 | WashU | | UW–Whitewater and Wittenberg | | |
| 2007
*Details* | Bloomington, IL
(Illinois Wesleyan) | | **WashU** (9) | 3–2 | UW–Whitewater | | Juniata and Wittenberg | | |
| 2008
*Details* | | | **Emory** | 3–1 | La Verne | | Juniata and Ohio Northern | | |
| 2009
*Details* | University Heights, OH
(John Carroll) | | **WashU** (10) | 3–1 | Juniata | | Hope and UW–Oshkosh | | |
| 2010
*Details* | St. Louis, MO
(Washington) | | **Calvin** | 3–1 | Emory | | Juniata and WashU | | |
| 2011
*Details* | | | **Wittenberg** | 3–0 | Christopher Newport | | Carthage and Eastern | | |
| 2012
*Details* | Holland, MI
(Hope) | | **St. Thomas (MN)** | 3–2 | Calvin | | Christopher Newport and Elmhurst | | |
| 2013
*Details* | | | **Calvin** (2) | 3–2 | Cal Lutheran | | Emory and UW–Stevens Point | | |
| 2014
*Details* | Newport News, VA
(Christopher Newport) | | **Hope** | 3–2 | Emory | | Calvin and UW–Stevens Point | | |
| 2015
*Details* | Grand Rapids, MI
(Calvin) | | **Cal Lutheran** | 3–0 | Wittenberg | | Carthage and Hendrix | | |
| 2016
*Details* | Oshkosh, WI
(UW–Oshkosh) | | **Calvin** (3) | 3–0 | WashU | | Northwestern (MN) and Southwestern (TX) | | |
| 2017
*Details* | Grand Rapids, MI
(Calvin) | | **Claremont–Mudd–Scripps** | 3–0 | Wittenberg | | Calvin and Ithaca | | |
| 2018
*Details* | Pittsburgh, PA
(Duquesne) | | **Emory** (2) | 3–0 | Calvin | | Juniata and UW–Eau Claire | | |
| 2019
*Details* | Cedar Rapids, IA | | **Johns Hopkins** | 3–0 | Emory | | Carthage and Trinity (TX) | | |
| 2020
*Details* | *Canceled due to COVID-19.* | | | | | | | | |
| 2021
*Details* | Saint Louis, MO
(Washington) |  | **UW–Eau Claire** | 3–0 | Calvin |  | Claremont–Mudd–Scripps and Juniata | | |
| | | 2022
*Details* | Pittsburgh, PA
(Saint Vincent) | **Juniata** (3) | 3–0 | Trinity (TX) | Northwestern (MN) and NYU | | |
| | | 2023
*Details* | Claremont, CA
(Claremont–Mudd–Scripps) | **Juniata** (4) | 3–0 | Hope | Claremont Scripps and NYU | | |
| | | 2024
*Details* | Salem, VA
(ODAC) |  |  |  |  | | |
| | | 2025
*Details* | Bloomington, IL
(Illinois Wesleyan) |  |  |  |  | | |

### Records

* Most championships: Washington University in St. Louis (10), UC San Diego (8)
* Undefeated Seasons: Washington University in St. Louis (1992), Central (IA) (1999), Johns Hopkins (2019), Juniata (2023)

## Champions

| Team | Titles | Years |
| --- | --- | --- |
| Washington St. Louis | 10 | 1989, 1991, 1992, 1993, 1994, 1995, 1996, 2003, 2007, 2009 |
| Juniata | 4 | 2004, 2006, 2022, 2023 |
| Calvin | 3 | 2010, 2013, 2016 |
| Central (IA) | | 1998, 1999, 2000 |
| Emory | 2 | 2008, 2018 |
| Wisconsin–Whitewater | | 2002, 2005 |
| La Verne | | 1982, 2002 |
| Elmhurst | | 1983, 1985 |
| Wisconsin–Eau Claire | 1 | 2021 |
| Johns Hopkins | | 2019 |
| Claremont–Mudd–Scripps | | 2017 |
| Cal Lutheran | | 2015 |
| Hope | | 2014 |
| Wittenberg | | 2011 |

### Former programs

| Team | Titles | Years |
| --- | --- | --- |
| *UC San Diego* | 7 | 1981, 1984, 1986, 1987, 1988, 1990, 1997 |
| *St. Thomas (MN)* | 1 | 2012 |

## InfoBox

NCAA Division III women's volleyball tournament
|  | |
| --- | --- |
| Sport | College indoor volleyball |
| Founded | 1981 |
| Country | United States |
| Most recent
champion(s) | Juniata (4th) |
| Most titles | Washington St. Louis (10) |
| TV partner(s) | ESPNU |
| Official website | NCAA.com |


title: Michael Glover (historian)

abstract: Michael Glover (1922–1990) served in the British army during the Second World War, after which he joined the British Council and became a professional author. He has written many articles and books on Napoleonic and Victorian warfare.

text:
# Michael Glover (historian)

**Michael Glover** (1922–1990) served in the British army during the Second World War, after which he joined the British Council and became a professional author. He has written many articles and books on Napoleonic and Victorian warfare.

## Published works

Glover has written the following published works:

* *Britannia Sickens: Sir Arthur Wellesley and the Convention of Cintra*, London: Leo Cooper, 1970.
* *Legacy of Glory. The Bonaparte Kingdom of Spain, 1808-1813*, London: Leo Cooper, 1972.
* *Wellington as Military Commander*, London: Sphere Books, 1973.
* *The Peninsular War, 1807-1814: A Concise Military History*, London: David & Charles; Hamden, Conn.: Archon Books, 1974.
* *Rorke's Drift: A Victorian Epic*, London: Cooper, 1975.
* *General Burgoyne in Canada and America: Scapegoat for a System*, London: Gordon & Cremonesi; \[New York: Atheneum Publishers\], 1976.
* *A Very Slippery Fellow: The Life of Sir Robert Wilson 1777-1849*, Oxford: OUP, 1978.
* *The Napoleonic Wars: An Illustrated History, 1792-1815*, London: Batsford, 1979.
* *Warfare in the Age of Bonaparte*, London: Cassell, c. 1980.
* *The Fight for the Channel Ports: Calais to Brest 1940: A Study in Confusion*, London: Leo Cooper, 1985.

Glover contributed additional text to the following published work:

* Pericoli, Ugo, *1815 - The Armies at Waterloo*, additional text by Michael Glover; translations from the Italian by A. S. W. Winkworth; introduction by Elizabeth Longford, London: Seeley, 1973.