title: Lewis Bryden

abstract: Lewis Bryden is an artist known for naturalistic landscapes – mainly of the Connecticut River valley. He also paints genre scenes and makes realism sculptures. Bryden's plein air paintings include Mexico, Cuba, Alaska, Russia, New York City and the American West. He has exhibited since 1973 at over 20 solo exhibitions and many group shows. Formally trained as an architect, Bryden is self-taught in the fine arts. His style is informed by his interest in rendering different kinds of light. Curator Martha Hoppin describes Bryden's method: “He paints the light in space, and then fills the space with nature.” Bryden lives in New York City with his wife Elizabeth. His daughter, Nell Bryden, is a singer performing around the UK and Ireland. Bryden maintains studios in New York City and Hadley, Massachusetts. In Hadley, he paints in his home or on a houseboat on the Connecticut River.

text:
# Lewis Bryden

**Lewis Bryden** (born 1944) is an artist known for naturalistic landscapes – mainly of the Connecticut River valley. He also paints genre scenes and makes realism sculptures. Bryden's *plein air* paintings include Mexico, Cuba, Alaska, Russia, New York City and the American West. He has exhibited since 1973 at over 20 solo exhibitions and many group shows. Formally trained as an architect, Bryden is self-taught in the fine arts. His style is informed by his interest in rendering different kinds of light. Curator Martha Hoppin describes Bryden's method: “He paints the light in space, and then fills the space with nature.”

Bryden lives in New York City with his wife Elizabeth. His daughter, Nell Bryden, is a singer performing around the UK and Ireland. Bryden maintains studios in New York City and Hadley, Massachusetts. In Hadley, he paints in his home or on a houseboat on the Connecticut River.

## Background

From an early age, Bryden knew he wanted to be an artist. When he was nine years old, he won second place in a statewide children's art competition. That same year he sold a watercolor out of a children's exhibit at the Norton Museum of Fine Art in West Palm Beach, Florida. “That sealed it for me,” Bryden remembers. He graduated from Yale (B.A.1966) and from Graduate School of Design at Harvard (M.A. 1970). While making a living as an architectural renderer, Bryden continued to develop his technique as an artist by going to the Metropolitan Museum of Art in New York City where he spent hours copying masterpieces.

> “The best place to study the art that interested me was in the museum… I set my easel up in front of one masterpiece after another, copying from Velasquez, Vermeer, Caravaggio, Titian, Hals, and of course Rembrandt. I also copied Renoir, Monet, and Pissarro among the Impressionists. It was here, that I began to see the common thread of art that moved me, and why contemporary art had failed to do so. The subjects of these paintings were people from across the ages who were also like us, and they were captured in believable human moments.”

It wasn't until 1988, when Bryden moved to Massachusetts, that his dream of supporting himself as a professional artist became a reality. He continued to do architectural work but began selling more canvases as area art buyers discovered his paintings of local landscapes. “It’s a beautiful spot and people like to see things they know. That allowed me for the first time to sell enough to live on.”

## Landscapes

Bryden paints three basic types of landscapes: panoramic views, waterscapes and architecture in landscape.

Bryden's best-known works are his panoramic views, usually from Mt. Holyoke in Hadley, Mass. In this work, he focuses on nature as a paradox. Bryden says, “Nature up close is wild and brutal, but from a distance it is serene and ordered.” In all of his landscapes he emphasizes nature over man. Carl Little in *Paintings of New England* says “In his landscapes of the Pioneer Valley of Massachusetts Lewis Bryden has been known to edit out all the accumulated debris of modern life, including cars, telephone poles, and road signs.”

A second focus is waterscapes. Bryden paints scenes of mountain vistas and the shoreline of the Connecticut River from the water's surface. Bryden's "river studio," a houseboat he bought as a place to paint, allows him to maximize his time working in nature and provides a unique viewpoint.

A third category is architecture in landscape. Bryden's background as an architect comes through in these works, but his depictions have a rich style that uses the light, irregular edges, and the texture of the paint to portray the building's character, rather than a strict draftsman-style representation of the form.

Most of Bryden's painting is done outdoors, which presents the obstacles of varied weather conditions and rapidly changing light. In Hadley, Mass. he paints from his 26-foot pontoon boat called *"Float des Artistes."*

“Usually the studio is where you go back to after you find a spot you like. This way I can take the studio to the spot I like.” Many artists work from a bridge or on the bank. Bryden has always preferred to be in the river. “This allows me to be right in the middle of the water, and allows me to see things in a different way.” When he received a commission from the MD Anderson Cancer Center in Houston for a 47x54-inch painting on the river, he knew he needed to come up with a unique solution. He purchased a houseboat from the owner of the Food Bank Farm in Hadley. After a few upgrades, including replacing the 15-horsepower motor with a 50-horsepower engine and adding some new flooring he was ready to go. “I turned the houseboat into a floating studio.”

Since the light on the river is so variable, he has to work quickly. “In about two hours, the light has changed so much that I really can’t continue any more. I have to start a new painting and wait until the same time of day for the light to come back.” He has developed several methods to overcome the time pressure. He takes 15 minutes to mix his colors and then another 15 to sketch the scene on canvas. He'll spend two or three hours on the river, take a break, and then return in the afternoon.

Another method he uses is to make a pencil sketch from memory of a view that interests him. Later he'll revisit the site to add details. He'll then transfer the drawings to canvas and sketch the composition in sepia paint. Once this is ready, he takes the large canvas outside at the same time of day and in the same light conditions as in his memory, and he captures the colors. Over the summer, Bryden will begin 30-50 paintings. He later finishes his paintings, with the help of his sketches to remind him of the colors, in either his Hadley or Manhattan studio.

### Vision

In an article on Bryden, Martha Hoppin speaks highly of his sensitivity:

> "Bryden is a poet. He constructs studies of light and air and space. ‘I am not painting a landscape,’ he says, ‘I am painting a painting.’ Despite the artist's emphasis on the act of painting, he cares deeply about his subject matter. He communicates his own joy at being outside in nature and his sense that the world is a satisfying place to live. He depicts nature's beauty in its serene and comfortable moments. The human element in relation to the landscape does not interest him. He does not seek drama, and he does not strive for ‘higher’ meaning through the use of symbolic motifs. His works are most remarkable for their feeling of harmony and serenity, and above all, for their unaffected naturalness."

## Painting locations

### Havana (2002)

In 2002, the US Treasury Department sanctioned Bryden's visit to Cuba on an artistic mission. He spent five days there and completed a series of "plein air" paintings.

> I had permission from the Treasury Department to go to Cuba on a kind of cultural exchange, and I intended to use the time to do as many "plein air" paintings as I could, even though I only had five days. My impressions were quick and sketchy; it is hard to say how much they might have changed with more time spent there. Although I do not know a lot about Cuba, it has always formed a part of my imagination. My youth spent in Florida was filled with stories told by people who had visited it as tourists before the Revolution and by refugees after the Revolution who remembered it as their lost homeland. I always had a very vivid image of the island in my mind. My short visit there both confirmed and contradicted that vision. Now, in my mind there are two Cubas—the Cuba imagined or remembered from stories, versus the Cuba seen and experienced. The tension between the two, finally, forms a theme for this series of paintings.

### Colorado

Bryden has taken several painting trips to Colorado and the neighboring states of New Mexico and Arizona. He enjoys the spectacular scenery in the mountains and the dramatic seasons.

### Glacier Bay Basin. Alaska

For an artist who pursues light, Alaska is a natural setting. Bryden has gone to Glacier Bay, Alaska to capture the unusual lighting conditions there. In the Alaskan summer, painting could be done in natural light from very early morning to nearly the middle of the night.

### Coney Island

Bryden has painted a series he calls ‘’Boardwalk Idyll’’ that spans over 30 years of work. The series, which explores the eternal summer of adolescence, was exhibited at the Brooklyn Public Library in 2004 and later at the R. Michelson Galleries in Northampton, Massachusetts. In a talk about this series, he states “Other artists before me have used Coney Island, each in his own way. I started studying the work of Reginald Marsh, David Levine, and the photographer Bruce Davidson. My own particular inspiration was a fascination with people in public places who are acting out their private dramas.”

One collector of Bryden's work, Michael Mao, has four of the series’ near life-size paintings displayed in one small room, creating the illusion of having walked into a cocktail party where people have already gathered. “The figures are friendly, not intimidating, so they are a welcome addition to our home,” said Mao. “When Lewis borrows them for an exhibition it is as if some of the family has gone missing.”

Bryden's method for these pieces was inspired by the “crust of paint” on impressionist Claude Monet’s work “Water Lilies.” Bryden developed his own textured sculptural-style technique to create the surface texture for his Boardwalk paintings. To “mimic the atmospheric conditions of a hot summer day,” Bryden mixes Neo Megilp with 50% stand oil to coat his canvas. He then adds pigment and varnish, “as much as the canvas will take.”

Each painting portrays a moment of interaction or isolation on the boardwalk. Bryden describes them, “They’re \[moments\] of tranquility, waiting for something to happen.” They tell a story. “Each of one these is a stand-alone story, even though I have no idea what the story is.” He captures people's interactions, “I wanted them to react to each other. He goes after the tension that is built when they “recognize that the other person exists.”

With the bustle of the Boardwalk, Bryden relies on sketches and photographs as well as sessions with live models for his pieces. A few paintings were inspired by a box of Kodachrome slides he found of a couple. The slides captured scenes similar to the ones he had been painting. As there was no way to identify the owners to return the slides, he used the images as an inspiration for several pieces.

### Mexico and American Southwest

Bryden began visiting Mexico annually in 1993. During his visits, he does informal portraits and sketches in the public squares capturing *plein air* impressions of the moment. In 1994, he put his work together into a series, “Tierra Insolita” which was formally presented in the exhibition at the Galleria Ixcateopan in Acapulco in that same year.

Acapulco is his home base during these visits, but he takes trips with friends to remote, mountainous areas of Guerrero. During one of these trips, he decided to do a series on the average, everyday person living in Mexico.

Writer Stephen Lockwood describes these paintings: “Every picture in the series is very direct, there is little for the eye to focus on, other than the facial characteristic of the subject. The directional gaze of each sitter is varied: some look directly at the viewer, others look off to the left or to the right. The different position of each head has the effect of changing how engaged or disengaged each portrait is with the observer.”

## Art projects

### Portraits

While Bryden has done many portraits, he does not consider himself a portrait artist and has never taken a commission for a portrait. He usually paints friends and family and occasional professional models. He has done a few self-portraits, but they have rarely been exhibited.

Bryden is very interested in the relationships and stories of people he paints. He is attracted to stories of artists and the relationships they have with the muses that inspire them.

### Sculpture

As with the rest of his art, Bryden's sculpting technique is mainly self-taught. He has recently been doing more sculpture, having entered this mode after he learned one of his models was allergic to turpentine. His time with the model was limited and he wanted to capture her features, so he turned to the medium of clay. He later learned the process of bronze sculpture and stone carving. His most recent commission, *Nature as Muse*, is a life-size bronze in the Mallinckrodt Garden at the art center called View in Old Forge, NY.

## Exhibitions

## Commissions

## Awards and collections

Beginning early in his career, Bryden received numerous awards, such as the Silvermine Guild Award, first prize 1985 (Carolyn Lanchner, juror) and Mid Hudson Arts Competition 1985, second prize (Barbara Haskell, juror). In 2009 the Springfield Art Museums acquired two Bryden landscapes — "The Beginning of the Day" and "The End of The Day."

### Further reading

* Doezema, Marianne, et al., "Changing Prospect, The View from Mount Holyoke." Cornell University Press, 2002
* Driscoll, John and Skolnick, Arnold "The Artist and the American Landscape," First Glance Books, 1998 (illustration)
* Little, Carl, "Paintings of New England," Down East Books, 1996

## InfoBox

| Lewis Bryden | |
| --- | --- |
|  | |
| Born | 1944 (age 7980) |
| Education | Yale University<br>Harvard University |
| Occupation | Painter |
| Spouse | Elizabeth |
| Children | Nell Bryden |


title: Leżajsk Brewery

abstract: The Leżajsk Brewery is one of Poland's oldest breweries and belongs to the Żywiec Group. Żywiec Group has four main breweries: Żywiec Brewery, Elbrewery, Leżajsk Brewery, and Warka Brewery, and is majority owned by the Dutch Heineken Group. The brewery is located in the historic downtown of Leżajsk.

text:
# Leżajsk Brewery

Leżajsk
| Leżajsk beer | |
| --- | --- |
| Type | Beer |
| Manufacturer | Grupa Żywiec |
| Distributor | Żywiec |
| Country of origin | Poland |
| Introduced | 1525 |
| Alcohol by volume | 5.5 % |
| Style | Pale lager |
| Website | https://www.grupazywiec.pl/ |

The **Leżajsk Brewery** (Polish pronunciation: \[ˈlɛʐajsk\]) is one of Poland's oldest breweries and belongs to the Żywiec Group. Żywiec Group has four main breweries: Żywiec Brewery, Elbrewery, Leżajsk Brewery, and Warka Brewery, and is majority owned by the Dutch Heineken Group. The brewery is located in the historic downtown of Leżajsk.

## Beer

The company claims that in 1525 Polish King Sigismund I the Old granted the town Leżajsk the exclusive right to brew beer.

Since its recent upgrades, it is estimated that the brewery has a capacity of 1.85 million hl a year. Leżajsk constitutes for 17% of Grupa Żywiec's output. The company has three different brews: Leżajsk Pełne, Leżajsk Chmielowe Pils, and Leżajsk Niepasteryzowane. The last of which has won several awards, including Eurobeer 1995, Polagra and Chmielaki. The brewery also makes Tatra Jasne Pełne and Tatra Mocne.

The Lezajsk's logo features a blue and red shield with a cursive L on the foreground.

## InfoBox

Leżajsk Brewery
|  | |
| --- | --- |
| Type | Brewery |
| Location | Leżajsk, Poland |
| Opened | 1972 |
| Owned by | Grupa Żywiec S.A. |
| Active beers | |
| Leżajsk   Name Type | |


title: Letícia Izidoro

abstract: Letícia Izidoro Lima da Silva, commonly known as Letícia or Lelê, is a Brazilian professional football goalkeeper for Brazilian club Corinthians and the Brazilian national team. She was part of the Brazil squad at the 2015 FIFA Women's World Cup.

text:
# Letícia Izidoro

**Letícia Izidoro Lima da Silva** (born 13 August 1994), commonly known as **Letícia** or **Lelê**, is a Brazilian professional football goalkeeper for Brazilian club Corinthians and the Brazilian national team. She was part of the Brazil squad at the 2015 FIFA Women's World Cup.

## Club career

### Kindermann

Letícia made her league debut against Foz Cataratas on 18 September 2013.

### São José

Letícia played in the 2014 Club World Cup that was not validated by Fifa. São José beat Arsenal 2–0 to win the Women's Club World Cup.

### Centro Olímpico

Letícia made her league debut against Santos on 30 September 2015.

### First spell at Corinthians

A draft in February 2016 assigned Brazil women's national football team players Letícia and Rafinha to a combined Corinthians Audax team, who went on to win the 2016 Copa do Brasil de Futebol Feminino. She made her league debut against Iranduba on 24 March 2016.

In October 2017 Corinthians Audax won the 2017 Copa Libertadores Femenina. Letícia made two saves in a penalty shootout win over Colo-Colo following a 0–0 draw in the final at Estadio Arsenio Erico, Asunción.

### Second spell at Corinthians

Letícia rejoined Corinthians in 2022. During her second spell, she made her league debut against RB Bragantino on 5 March 2022.

## International career

Letícia represented Brazil's youth team at the 2010 FIFA U-17 Women's World Cup in Trinidad and Tobago. After graduating to the under-20 team, she attended the FIFA U-20 Women's World Cup in 2012 and 2014.

In December 2015, she won a cap for the senior Brazil women's national football team at the 2015 International Women's Football Tournament of Natal, appearing as a substitute for Bárbara in an 11–0 win over Trinidad and Tobago.

## Personal life

Letícia is dating Mariana Dantas.

## Honours

**Benfica**

## InfoBox

Lelê
| Lelê with Corinthians in 2023 | | | |
| --- | --- | --- | --- |
| Personal information | | | |
| Full name | Letícia Izidoro Lima da Silva | | |
| Date of birth | (1994-08-13) 13 August 1994 | | |
| Place of birth | Oswaldo Cruz, Rio de Janeiro, Brazil | | |
| Height | 1.75 m (5 ft 9 in) | | |
| Position(s) | Goalkeeper | | |
| Team information | | | |
| Current team | Corinthians | | |
| Number | 12 | | |
| Youth career | | | |
|  | América | | |
| 2010 | Kindermann | | |
| 2011–2012 | Vitória das Tabocas | | |
| Senior career\* | | | |
| Years | **Team** | **Apps** | **(Gls)** |
| 2012 | Vitória das Tabocas |  |  |
| 2013 | Kindermann | 4 | (0) |
| 2014 | São José |  | (0) |
| 2015 | Centro Olímpico | 6 | (0) |
| 2016–2021 | Corinthians | 84 | (0) |
| 2021–2022 | Benfica | 20 | (0) |
| 2022– | Corinthians | 30 | (0) |
| International career | | | |
| 2012–2014 | Brazil U20 | 3 | (0) |
| 2015– | Brazil | 25 | (0) |
| \*Club domestic league appearances and goals, correct as of 17:01, 22 April 2024<br>‡ National team caps and goals, correct as of 17:01, 22 April 2024 | | | |


title: Leymus cinereus

abstract: Leymus cinereus is a species of wild rye known by the common names basin wild rye, Great Basin wild rye, and Great Basin lyme grass. It is common in western North America.

text:
# Leymus cinereus

***Leymus cinereus*** is a species of wild rye known by the common names **basin wild rye**, **Great Basin wild rye**, and **Great Basin lyme grass**. It is common in western North America.

## Description

*Leymus cinereus* is a perennial bunchgrass forming large, tough clumps up to about 2 metres (6+12 feet) tall and sometimes exceeding 1 m (3+12 ft) in diameter. It has a large, fibrous root system and sometimes small rhizomes.

The inflorescence is an unbranched, cylindrical spike divided into up to 35 nodes with several flower spikelets per node.

## Distribution and habitat

*Leymus cinereus* is a common native grass of western North America, including western Canada and the United States from California to Minnesota. It grows in many types of habitat, including grassland and prairie, forests, scrub, chaparral, and sagebrush.

The species can be found in moist, semi-alkaline flats. In salt flats, it is replaced by *Distichlis stricta*.

## Ecology

The species may hybridize with *Leymus triticoides*, *Leymus salina*, and *Elymus elymoides*.

## Uses

Native American groups had a variety of uses for the grass. The Okanagan and Colville used the roots medicinally to treat internal bleeding and gonorrhea and as a hair tonic. The Cheyenne burned the grass and mixed the ash with blood to make a black dye. Various groups used it for bedding, floor coverings, arrows, and basketry.

Cultivars used in rangelands or site reclamation include 'Magnar' and 'Trailhead'.

## InfoBox

| *Leymus cinereus* | |
| --- | --- |
|  | |
| Conservation status | |
|
Secure  (NatureServe) | |
| Scientific classification | |
| Kingdom: | Plantae |
| *Clade*: | Tracheophytes |
| *Clade*: | Angiosperms |
| *Clade*: | Monocots |
| *Clade*: | Commelinids |
| Order: | Poales |
| Family: | Poaceae |
| Subfamily: | Pooideae |
| Genus: | *Leymus* |
| Species: | ***L. cinereus*** |
| Binomial name | |
| ***Leymus cinereus***
(Scribn. & Merr.) A.Löve | |
|
| Synonyms | |
| * *Elymus cinereus* Scribn. & Merr. * *Elymus piperi* Bowden | |


title: Libby Liu

abstract: Libby Liu is an American nonprofit executive, lawyer, and privacy advocate who is the chief executive officer of Whistleblower Aid. She was the president of Radio Free Asia for 14 years, where she led the founding of the Open Technology Fund. After the OTF became an independent organization in 2019, she was the chief executive officer until June 2020.

text:
# Libby Liu

**Libby Liu** is an American nonprofit executive, lawyer, and privacy advocate who is the chief executive officer of Whistleblower Aid. She was the president of Radio Free Asia for 14 years, where she led the founding of the Open Technology Fund. After the OTF became an independent organization in 2019, she was the chief executive officer until June 2020.

## Early life and education

Liu was born in California to parents who had emigrated from China. She completed a bachelor's degree at University of California-Berkeley, an MBA at the Wharton School of the University of Pennsylvania, and a JD at University of Pennsylvania Law School.

## Career

At Radio Free Asia, Liu began as the Vice-President for Administration and Finance, and in September 2005, she was appointed president of the organization. She had previously worked as the Director of Administration and Strategic Planning for the NAACP in Baltimore and had been a director of human resources and employment counsel at a technology company.

As president of Radio Free Asia, Liu worked to support efforts to circumvent Chinese government censorship, including the development of digital technology to evade Chinese government internet firewalls. In 2012, Liu began the Open Technology Fund (OTF) with a team within Radio Free Asia, which was supported by funding from the U.S. Agency for Global Media (USAGM). In 2019, the OTF became an independent non-profit organization and grantee of the USAGM, and Liu became the chief executive officer. The OTF funds digital privacy and security technology, including The Tor Project, Signal, and other encryption projects.

In June 2020, Liu offered her resignation from OTF after Michael Pack was appointed to lead the USAGM. The OTF board accepted with a month delay in her leaving the organization, and then Pack fired her and several heads of USAGM-funded news outlets. OTF filed a lawsuit against Pack in federal court and the federal court ruled Pack was within his legal authority to fire Liu and other heads of news outlets overseen by the USAGM. Liu also filed a whistleblower complaint in September 2020. The District of Columbia attorney general also sued Pack for alleged violations of nonprofit law in D.C. Superior Court based on firings that included Liu, the OTF president, and the OTF board, and the D.C. Superior Court ruled the firings by Pack were unlawful.

Liu became the chief executive officer of Whistleblower Aid in April 2021. During her tenure, the organization has represented Facebook whistleblower Frances Haugen and other former Facebook employees.

## Honors and awards

* 2020/2021 Luxembourg Peace Prize for Outstanding Peace Technology
* "Washington DC's 500 Most Influential People of 2023", *Washingtonian*


title: Li Choh-ming

abstract: Li Choh-ming was a Chinese-born American economist and educator. He was the founding Vice-Chancellor of the Chinese University of Hong Kong in 1963. He compiled The Li Chinese Dictionary (Cantonese-Mandarin). He was an economics professor at the University of California, Berkeley and at Nankai University in Tianjin during his academic career.

text:
# Li Choh-ming

**Li Choh-ming** (李卓敏, 1912  1991) was a Chinese-born American economist and educator. He was the founding Vice-Chancellor of the Chinese University of Hong Kong in 1963. He compiled The Li Chinese Dictionary (Cantonese-Mandarin). He was an economics professor at the University of California, Berkeley and at Nankai University in Tianjin during his academic career.

## Career

Born in Canton, China in 1912 to Li Kanchi and Li Mewshing, Li Choh-Ming was the third child and the eldest son in a family of 11 children. He graduated from Puiying High School in Canton before heading off to the U.S. at the University of California, Berkeley where he earned his B.S. in commerce (1932), M.A. (1933) and Ph.D. in economics (1936). Eventually, three of his brothers Choh-Hao, Choh-Hsien, Choh-Luh and a sister, Djoh-i, came from China to study various sciences at U.C. Berkeley.

Li returned to China to teach economics at Nankai University in Tianjin in 1937. From 1938-1943, Li taught at the National Southwest Associated University (Lianda) when the top three universities in China (Tsinghua, Peking, Nankai) consolidated into one, moving to Kunming and Chongqing as the Sino-Japanese war broke. Li was among the key economists to bring Western economic ideas into China, both in teaching and serving as China's representative at various international missions. In 1945-47 Li was named Deputy Director-General of the Chinese National Relief and Rehabilitation Administration (CNRRA)in Shanghai, to work with the United Nations (UNRRA) in managing the postwar relief and recovery effort in China. As the war ended, Li became China's permanent delegate to the United Nations Economic Commission for Asia and the Far East (ECAFE) in 1948-49 and Chairman of the Board of Trustees for Rehabilitation Affairs (BOTRA) 1949-50 to help reconstruct China with long-term economic development.

In 1951 Li immigrated to the U.S. where he began as a lecturer in economics, becoming professor of business administration in 1958, and Chairman of the Center for Chinese Studies (1961) at his alma mater, the University of California-Berkeley. Upon becoming a U.S. citizen, Li was able to bring his wife Sylvia and family of 2 sons, Winston and Tony, and a daughter Jeannie, to the U.S. from Hong Kong in 1955.

## Writing

His scholarly contributions focused on the economic system of Communist China and its performance. His books, the *Economic Development of Communist China* (1959) and *The Statistical System of Communist China (1962)* were seminal works before China sealed itself off from outsiders. Li's continuous study of social and economic problems of China helped establish UC-Berkeley as a center for scholarly research on China. His expertise in international trade and economics helped establish international business in the School of Business Administration curricula.

In 1963 the Government of Hong Kong appointed Li Choh-Ming to head the Chinese University of Hong Kong. With government backing of the U.K. and the U.S., the Board of Regents of the University of California granted him an unprecedented 10-year leave of absence to form and establish the new university. As head, Li was named Vice-Chancellor of the university (in the British tradition, the Governor of Hong Kong was the Chancellor of all Hong Kong colleges and universities). The new university was founded with the motto “to combine tradition and modernity and to bring together China and the West” by adding the Chinese dimension or data into every academic discipline. From the beginning, English, Cantonese, and Mandarin were the languages of instruction. Student and faculty exchanges with the U.S., the U.K., and other countries were established. He wrote and oversaw The CUHK publications on the formation and development of the university: *The First Six Years 1963-69* (1971), *The Emerging University* (1975), and *A New Era Begins* (1979). Li retired from The CUHK in 1978. Li was Professor Emeritus at Berkeley in 1973. Throughout his tenure at The CUHK, Li personally compiled and developed a pictophonetic Cantonese-Mandarin dictionary. He called his new system of codifying Chinese characters the Fan System. *The Li Chinese Dictionary* (李氏中文字典, Li shi zhong wen zi dian) was published and distributed in the West and in the People's Republic of China in 1981.

Li Choh-Ming received many honors from around the world. Among them were honorary knighthoods, the Commander of the Order of the British Empire (CBE) in 1967 and Knight Commander of the Order of the British Empire (KBE) in 1973. At The Chinese University of Hong Kong, the medical building is named after him and a life size statue of him sits at the Institute of Chinese Studies. From the University of California, he received the Elise and Walter A. Haas International Award (1974) and the Clark Kerr Award (1979).

International Who's Who, 1999

The Gale Group, Contemporary Authors Online, "Choh-Ming Li" 2000

University of California, Berkeley, Haas School of Business 100 Years: Brief Centennial History 1898-1998, p. 23

Berkeley China Initiative video, “Center for Chinese Studies, UC Berkeley 50th Anniversary 1957-2007”

Balderston, Garbarino, Kerr, Votow, 1992 “Choh-Ming Li” University of California, In Memoriam

The Chinese University of Hong Kong Bulletin, Autumn-Winter 2004 “Immortalizing the Spirit of the Trailblazer: Statue of Founding Vice-Chancellor Dr. Choh-Ming Li”, pp. 41–42

Trescott, Paul. Jingji Xue: History of the Introduction of Western Economic Ideas into China, 1850-1950. Hong Kong: The Chinese University Press, 2007.


title: Liberty (apple)

abstract: Liberty is a hybrid apple cultivar developed by the New York State Agricultural Experiment Station. It was a seedling produced in 1955 from pollinating 'Macoun' from 'Purdue 54-12' for the sake of acquiring Malus floribunda disease resistances. It was first released to the public in 1978.

text:
# Liberty (apple)

**Liberty** is a hybrid apple cultivar developed by the New York State Agricultural Experiment Station. It was a seedling produced in 1955 from pollinating 'Macoun' from 'Purdue 54-12' for the sake of acquiring *Malus floribunda* disease resistances. It was first released to the public in 1978.

## Official description

"The fruit of 'Liberty' is a deep dark red over 90 percent of the surface. The ground color is yellowish. The red is striped rather than blushed. The shape of the fruit is oblate to oblate conic, and the size averages 234–3 inches although it may be smaller on heavily cropping trees. The cavity is obtuse, broad, smooth to slightly russeted. The stem is short. The calyx is medium large and mostly closed.

There are numerous light colored small sunken dots on the surface of the fruit. The flesh is yellowish in color, juicy, crisp, fine. The flavor is subacid and good. The core is medium large and is slightly to wide open. The quality has been rated as good. At Geneva, it is ripe about October 5 on the average or about 10 days after Mclntosh. 'Liberty' is considered to be primarily a dessert apple and has not as yet been given a processing test."

It makes a fine pinkish applesauce.

## Disease susceptibility

1. Developing New Fruit Varieties
2. Dr. Stephen Miller of the USDA Fruit Research Lab in Kearneysville, West Virginia.

## InfoBox

| *Malus domestica* 'Liberty' | |
| --- | --- |
|  | |
| Hybrid parentage | 'Macoun' × 'Purdue 54-12' |
| Cultivar | 'Liberty' |
| Origin | New York, United States, 1955 |


title: Li Wei (Tang dynasty)

abstract: Li Wei, courtesy name Maoxiu (茂休), was an official of the Chinese Tang dynasty, serving as a chancellor during the reign of Emperor Xizong.

text:
# Li Wei (Tang dynasty)

**Li Wei** (李蔚; died November 20, 879), courtesy name **Maoxiu** (茂休), was an official of the Chinese Tang dynasty, serving as a chancellor during the reign of Emperor Xizong.

## Background and early career

It is not known when Li Wei was born. He was from the Guzang Branch of the Li clan of Longxi, which, like the Tang dynasty's imperial clan, claimed ancestry from Li Gao, the founder of the Sixteen Kingdoms period state Western Liang—with the Tang imperial clan descended from Li Gao's second son Li Xin (Western Liang's second duke) and Li Wei's ancestors descended from Li Gao's eighth son Li Fan (李翻) and Li Fan's son, the prominent Northern Wei general Li Bao (李寶). Subsequent male-line ancestors of Li Wei's served as officials of Northern Wei, the Sui dynasty, and Tang. Li Wei's grandfather Li Shanggong (李上公) served as the director of the archival bureau (秘書監, *Mishu Jian*), while his father Li Jingsu (李景素) served on the staff of a crown prince.

Li Wei himself passed the imperial examinations in the *Jinshi* class late in Emperor Wenzong's *Kaifeng* era (836–840) and was made an assistant to the military governor (*jiedushi*) of Shannan East Circuit (山南東道, headquartered in modern Xiangfan, Hubei). At some point thereafter, he apparently served as an assistant to the military governor of Hedong Circuit (河東, headquartered in modern Taiyuan, Shanxi). Late in the *Huichang* era (841–847) of Emperor Wenzong's brother and successor Emperor Wuzong, he passed a special imperial examination for those who made good rulings and was thereafter made an imperial censor with the title *Jiancha Yushi* (監察御史). He thereafter served as director of imperial palace affairs (殿中監, *Dianzhong Jian*). In 853, by which time Emperor Wuzong's uncle Emperor Xuānzong was emperor, Li Wei became in charge of the affairs of the Office of Censors. Thereafter, he became in charge of drafting imperial edicts and was made *Zhongshu Sheren* (中書舍人), a mid-level official at the legislative bureau of government (中書省, *Zhongshu Sheng*).

## During Emperor Yizong's reign

In 864, during the reign of Emperor Xuānzong's son Emperor Yizong, Li Wei was put in charge of the imperial examinations for that year at the ministry of rites (禮部, *Libu*). In 865, he was made the deputy minister of rites (禮部侍郎, *Libu Shilang*), and he was subsequently made *Shangshu You Cheng* (尚書右丞), one of the secretaries general of the executive bureau (尚書省, *Shangshu Sheng*). As he considered Emperor Yizong overly devout in Buddhism—with the emperor often holding grand feasts for large groups of Buddhist monks in the palace—he submitted a lengthy petition asking the emperor to curb his ways. Emperor Yizong praised him for the advice, but did not follow it. Li Wei later served as the mayor of Jingzhao Municipality (京兆, i.e., the region of the capital Chang'an), and then the minister of worship (太常卿, *Taichang Qing*). Yet later, he served as the military governor of Xuanwu Circuit (宣武, headquartered in modern Kaifeng, Henan), then of Huainan Circuit (淮南, headquartered in modern Yangzhou, Jiangsu). When his term as the military governor of Huainan was over, the people petitioned to have him remain as military governor, and Emperor Yizong agreed to a one-year extension.

## During Emperor Xizong's reign

At some point, Li Wei was recalled to Chang'an, and in 875, by which time he was chief imperial censor (御史大夫, *Yushi Daifu*), he was made *Zhongshu Shilang* (中書侍郎), the deputy head of the legislative bureau, and given the designation *Tong Zhongshu Menxia Pingzhangshi* (同中書門下平章事), making him a chancellor *de facto*.

Little is known about Li Wei's acts as a chancellor. In 878, he was removed from his chancellor position and made the defender of the eastern capital Luoyang. In 879, after Cui Jikang (崔季康) the military governor of Hedong was killed in a mutiny, and Cui's successor Li Kan (李侃) was not well liked by the soldiers, the imperial government decided that, because Li Wei had previously treated the people of Hedong well when he served there, to make him military governor. He arrived there late in 879 but died just three days after arrival.

## Notes and references

1. Academia Sinica Chinese-Western Calendar Converter.
2. *Zizhi Tongjian*, vol. 253.
3. *New Book of Tang*, vol. 72."漢川草廬-二十四史-新唐書-卷七十二‧表第十二". Archived from the original on November 20, 2008. Retrieved October 3, 2008."新唐書-宰相世系二(隴西李氏姑臧房)". Archived from the original on 2010-06-20. Retrieved 2009-03-29.
4. *New Book of Tang*, vol. 70 Archived 2012-02-18 at the Wayback Machine
5. *Old Book of Tang*, vol. 178.
6. *New Book of Tang*, vol. 181.
7. *Zizhi Tongjian*, vol. 252.


title: License to Kill (2013 film)

abstract: License to Kill is a 2013 German documentary film about Israel directed by Egmont R. Koch. The documentary offers interviews with lawyers, politicians and former Mossad agents.

text:
# License to Kill (2013 film)

***License to Kill*** (German: "Lizenz zum Töten: Wie Israel seine Feinde liquidiert") is a 2013 German documentary film about Israel directed by Egmont R. Koch. The documentary offers interviews with lawyers, politicians and former Mossad agents.

## Cast

* *License to Kill* at IMDb
* "Lizenz zum Töten - Die Story im Ersten: Lizenz zum Töten - Reportage & Dokumentation - ARD | Das Erste". Archived from the original on 2013-04-04. Retrieved 2014-05-12.
* "YouTube". *YouTube*. Archived from the original on 2016-03-14. Retrieved 2014-05-12.
* Sascha Imme. "OFDb - Lizenz zum Töten - Wie Israel seine Feinde liquidiert \[Kurzfilm\] (2013)". ofdb.de. Retrieved 2014-05-12.
* Kurzbeschreibung des Films auf der Website von Das Erste (www.daserste.de)
* Kurzbeschreibung des Films für "tagesschau24".


title: License to Kill (1984 film)

abstract: License to Kill is a 1984 television film directed by Jud Taylor. It stars James Farentino and Penny Fuller. It was released on DVD in 2008 by Echo Bridge Home Entertainment.

text:
# License to Kill (1984 film)

***License to Kill*** is a 1984 television film directed by Jud Taylor. It stars James Farentino and Penny Fuller. It was released on DVD in 2008 by Echo Bridge Home Entertainment.

## Plot

John and Judith Peterson's world is shattered when their daughter Lynne is killed by a drunk driver on the same day she graduates from high school and receives an award for safe driving. John becomes obsessed with seeing Tom Fiske, the arrogant businessman who caused the accident and who shows no remorse, punished for his crime. Fiske hires a crafty defense attorney who delays the trial repeatedly and succeeds in having his blood sample showing his inebriation suppressed as evidence. However dogged prosecutor Martin Sawyer prevails by entering into evidence Fiske's bar bill on the day of the accident showing his consumption of martinis as proof of his inebriation. Justice prevails when Fiske is sentenced to prison.

## Production

Both Farentino and Murray are said to have swapped roles early on during principal photography.

## Cast

## Home media

The film was released in Australia as a double feature DVD with *Resting Place* by Payless Entertainment.

## InfoBox

| *License to Kill* | |
| --- | --- |
| Genre | Drama |
| Written by | William A. Schwartz |
| Directed by | Jud Taylor |
| Starring | James Farentino
Penny Fuller |
| Music by | Laurence Rosenthal |
| Country of origin | United States |
| Original language | English |
| Production | |
| Executive producer | Marian Rees |
| Producer | Dorothea G. Petrie |
| Production location | Dallas |
| Cinematography | Robert C. Jessup |
| Editor | Paul LaMastra |
| Running time | 96 minutes |
| Production companies | D. Petrie Productions
Marian Rees Associates |
| Original release | |
| Network | CBS |
| Release | January 10, 1984 (1984-01-10) |


title: Life Partner

abstract: Life Partner is a 2009 Indian Hindi-language romantic comedy film. It stars Govinda, Fardeen Khan, Tusshar Kapoor, Genelia D'Souza and Prachi Desai in lead roles. The film is written and directed by Rumi Jaffery and produced by Abbas–Mustan under their banner, Burmawalla Bros.

text:
# Life Partner

***Life Partner*** is a 2009 Indian Hindi-language romantic comedy film. It stars Govinda, Fardeen Khan, Tusshar Kapoor, Genelia D'Souza and Prachi Desai in lead roles. The film is written and directed by Rumi Jaffery and produced by Abbas–Mustan under their banner, Burmawalla Bros.

## Plot

Karan and Bhavesh are close friends living in Cape Town, South Africa. Karan has a good life with a well-paying job. He is in a comfortable relationship with his beautiful yet childish and pampered girlfriend Sanjana, who changes her profession every six months, rather disastrously. Her father, who dislikes Karan, always tries to keep her happy and supports her. Bhavesh wishes for an arranged marriage and keeps a diary of all the beautiful things he will do to his wife after marriage. His father, Darshan Manibhai Patel, is a strict autocrat and patriarch. Jeet does not believe in marriage or love and is a womaniser. He encourages married women into divorcing their spouses so that his living as a divorce lawyer is uncompromised.

Bhavesh's father treats him as young and incapable of marriage, but on his wife's insistence, he travels with his family, along with Karan and Sanjana, to Gujarat to find Bhavesh a bride. In Gujarat, they stay at the palatial home of Bhavesh's father's friend, Vijay Singh Jadeja. Bhavesh meets some girls but ends up falling for Prachi, Vijay Singh's daughter, and they get married. During their wedding, Sanjana says "yes" to Karan's proposal as well, and they get married the same night.

The movie then switches to the present, where both couples are at court. The judge declares the divorce between Karan and Sanjana and Bhavesh and Prachi valid. The story goes back 6 months earlier, showing what led to the divorces when they came back to Cape Town from India.

After marriage, Karan and Sanjana's family life deteriorates, with Karan wanting domestic stability and Sanjana being a horrible homemaker. Karan finally loses patience with Sanjana after she accidentally burns down their apartment and yells at her, venting his frustration at her stupidity and his dislike for her father. Shocked and heartbroken, Sanjana leaves and sends a notice of divorce to him the very next morning.

Bhavesh is happy with Prachi, but Prachi is stifled by the old-fashioned ideals and strict rules of Bhavesh's father. She, without her father-in-law's knowledge, applies for a job – the very idea of which angers him. Bhavesh, taking sides with his father, slaps her at the same time Prachi's father arrives. Bhavesh, bound by his father's old-fashioned ideas, is unable to stand by his wife. This ends with Prachi divorcing Bhavesh.

Jeet later changes his lifestyle when he meets Anjali, who turns out to be different from all the other girls he has met, since she does not give up on him and expresses a genuine desire to marry him. He decides to marry her, and Karan and Bhavesh shout themselves hoarse at him, stating that since Jeet had facilitated their divorces, he has no right to get married. Jeet explains that he was wrong in taking a negative view of love and marriage and also says that wives or "life partners" always stood by their husbands, thus it is never worth it to break up such a relationship.

At Jeet's wedding, Sanjana enters the party, wearing a "bomb," shouting that Jeet was happily getting married when he had caused her divorce. With five minutes left for the bomb to explode, Karan and Sanjana have an argument as to why their divorce took place. Sanjana's father intervenes by saying that he had been against the relationship from the start, and he had sent the divorce papers to them without their knowledge. With only seconds left, Bhavesh's father also apologises to Prachi and the family for imposing his traditional values on them. However, the "bomb" turns out to be fake. When this is revealed to be a plan concocted by Jeet and Sanjana to bring everyone to admit their mistakes, everyone reconciles with each other.

At the end, Bhavesh's father lets go of his strict ideals and is shown interacting happily and in a modern manner with his family. Jeet becomes a marriage counsellor, now uniting the very people he separated, and Karan unsuccessfully tries to teach Sanjana how to cook.

## Cast

## Soundtrack

| Life Partner | |
| --- | --- |
| Soundtrack album by Pritam Chakraborty & Sachin–Jigar | |
| Released | 16 July 2009 |
| Recorded | 2008–2009 |
| Genre | Film soundtrack |
| Length | 34:12 |
| Label | T-Series |
| Pritam Chakraborty chronology | |
| *Love Aaj Kal*
(2009) ***Life Partner***
(2009) *Love Khichdi*
(2009) | |
|  | |
| Sachin–Jigar chronology | |
| '**Teree Sang'**
(2009) ***Life Partner***
(2009) '**F.A.L.T.U'**
(2011) | |
|  | |

The music for this film was composed by Pritam Chakraborty and Sachin–Jigar, with lyrics written by Javed Akhtar. The film has seven songs, featuring two remixes.

The song "Gunji Aangna Mein Shehnai" was composed by Sachin–Jigar.

| Track # | Song | Artist(s) | Duration |
| --- | --- | --- | --- |
| 01 | "Kuke Kuke" | Shaan, Antara Mitra | 04:22 |
| 02 | "Teri Meri Yeh Zindagi" | Soham Chakrabarty & Shreya Ghoshal | 04:32 |
| 03 | "Aage Aage" | Mika Singh, Soham Chakraborty, Antara Mitra | 03:59 |
| 04 | "Gunji Aangna Mein Shehnai" | Sunidhi Chauhan, Keerthi Sagathia | 05:11 |
| 05 | "Poorza Poorza" | Sunidhi Chauhan, Kunal Ganjawala | 04:41 |
| 06 | "Kuke Kuke" (Remix by DJ A-Myth) | Shaan, Debojeet Dutta, Antara Mitra | 05:01 |
| 07 | "Poorza Poorza" (Remix by DJ A-Myth) | Sunidhi Chauhan, Kunal Ganjawala | 04:26 |

## Reception

*Life Partner* netted 17.5 million (US$210,000) overseas in its opening week while it netted 180 million (US$2.2 million) domestically by the third week. It was elevated to *average* verdict by Box Office India.

In the United States the film grossed $110,240 while it obtained $347,100 from New Zealand, Fiji, the United Kingdom and Malta.

## Awards and nominations

## InfoBox

| Life Partner | |
| --- | --- |
| Theatrical release poster | |
| Directed by | Rumi Jaffery |
| Written by | Rumi Jaffery |
| Screenplay by | Yunus Sajawal |
| Story by | Rumi Jaffery |
| Produced by | Abbas–Mustan
Hussain Burmawala |
| Starring | Govinda
Fardeen Khan
Tusshar Kapoor
Genelia D'Souza
Prachi Desai |
| Cinematography | Sameer Arya |
| Edited by | Hussain Burmawala
Sanjay Sankla |
| Music by | **Score:**
Sanjoy Chowdhury
**Songs:**
Pritam
**Guest Composition:**
Sachin-Jigar |
| Production
company | Burmawala Bros. |
| Distributed by | Indian Films
Studio 18 |
| Release date | * 14 August 2009 (2009-08-14) |
| Running time | 138 minutes |
| Country | India |
| Language | Hindi |
| Budget | 140 million (US$1.7 million) |
| Box office | 270 million (US$3.2 million) |


title: Life Partners

abstract: Life Partners is a 2014 American romantic comedy drama film directed by Susanna Fogel and co-written with Joni Lefkowitz. It is Fogel's feature film directorial debut. The film stars Leighton Meester, Gillian Jacobs, Adam Brody, Greer Grammer, Gabourey Sidibe, and Julie White. The film premiered on April 18, 2014, at the Tribeca Film Festival in the Spotlight section. The film was released on demand platforms on November 6, 2014, and in select theaters on December 5, 2014.

text:
# Life Partners

***Life Partners*** is a 2014 American romantic comedy drama film directed by Susanna Fogel and co-written with Joni Lefkowitz. It is Fogel's feature film directorial debut. The film stars Leighton Meester, Gillian Jacobs, Adam Brody, Greer Grammer, Gabourey Sidibe, and Julie White. The film premiered on April 18, 2014, at the Tribeca Film Festival in the Spotlight section. The film was released on demand platforms on November 6, 2014, and in select theaters on December 5, 2014.

## Plot

Paige, an environmental lawyer, and Sasha, a struggling musician working as a receptionist, are long-time best friends in their late 20s. Paige supports her lesbian friend in her LBGTQ rallies and they regularly watch TV shows together. After forcing themselves to try online dating one night, they go on separate dates. Sasha's ends in disaster, while Paige has a good date with Tim, a young and charming dermatologist. Sasha continues to have a string of bad dates and failed relationships, while Paige and Tim continue dating. When Paige has a big win at work, he whisks her off to a celebratory dinner, thwarting the surprise party Sasha had organised.

As Paige and Tim spend more and more time together, she is impressed with his thoughtfulness and her mother helps her coax him into improving his style. Sasha begins to feel excluded as Paige begins to focus more on Tim and their relationship. Even on Sasha's 29th birthday, when she and Paige are meant to spend the whole evening celebrating in a motel, his call disrupts the evening. Tim eventually surprises Paige with a proposal and she accepts. Paige begins to feel that Sasha is childish, as she hates the girls Sasha dates and does not think much of her lack of direction. She voices this to Tim but tries to be supportive of Sasha. The woman Sasha is seeing is another lesbian friend's ex, when the group finds out she is excluded. Then the woman in question moves on, and Paige goes over with it. At a barbecue that Paige and Tim host, they try to set up Sasha with a new lawyer in her firm, a woman they think of as kind and reliable. When Sasha is rude to her and blows her off, Paige and Sasha have a falling out and stop speaking to one another.

Sasha gets fired from her job over her poor performance, specifically by failing to send a bid to China when told to, losing a job for the company. She later runs into Tim, who is also having a difficult time in his relationship with Paige, who is constantly trying to control him and refuses to apologize. While there, Tim also tells Sasha that it is fine for her to give up on her dream of being a musician if that is no longer what she is passionate about. The conversation leaves Sasha with a better impression of Tim. After spending some time in a bridal shop with her domineering mother trying on wedding dresses, Paige realizes she learned to be too stubborn from her. She goes home and first finally admits to the neighbor that she's at fault for having run into his parked car days ago, then apologizes to Tim.

Sometime later, as Paige is out driving her car, she sees Sasha at the stop light ahead. They begin to honk and shout at each other in pretend anger, a joke that they played on one another when they were friends, to show that all is forgiven.

## Cast

## Production

Susanna Fogel and Joni Lefkowitz met in 2002 at a sketch comedy writing class and became friends. Lefkowitz and Fogel both starred in the 2008 web series *Joni & Susanna*.

The film is an adaptation of the play *Life Partners*, written by Lefkowitz and Fogel based on their friendship and similar to the one depicted in *Walking and Talking* by Nicole Holofcener. In 2011, the play, starring Amanda Walsh and Shannon Woodward, was created and premiered as part of one-act play series *Unscreened*, which develops and produces world-premiere short plays by some of Hollywood's fastest-rising writers and featuring multi-star casts. In the aftermath of its success, producer Jordana Mollick approached the pair to consider adapting the play into a feature.

Lefkowitz and Fogel first considered Kristen Bell and Evan Rachel Wood for the role of Sasha, but when they both became pregnant, the role was given to Leighton Meester. Magnolia Pictures acquired the US rights to the film on May 16, 2014.

### Filming

Set in Minneapolis, Minnesota, principal photography began in April 2013 and lasted 19 days. The film was primarily shot in Glendale, California, and Eagle Rock, Los Angeles. Some scenes were shot at Griffith Park and at Long Beach, California, during the Long Beach Lesbian & Gay Pride. Other scenes were also filmed in Minneapolis, Minnesota. The Minneapolis skyline and a few Minneapolis landmarks are also shown in the film.

## Reception

### Box office

*Life Partners* earned $8,265 in North America.

### Critical reception

On Rotten Tomatoes, the film has an approval rating of 68%, based on 37 reviews, with an average rating of 6.10/10. The site's consensus reads: "With two appealing leads adrift in a sitcom-worthy plot, *Life Partners* doesn't do quite enough to earn viewers' commitment." On Metacritic, the film has a score of 57 out of 100, based on 15 critics, indicating "mixed or average reviews".

Ronnie Scheib of *Variety* praised the lead performances: "Jacobs fully inhabits her less-than-completely-sympathetic role with warmth and just the right touch of unconscious entitlement, while Meester luminously expands the film's affective core." Frank Scheck of *The Hollywood Reporter* wrote: "Life Partners boasts a sweetly relaxed vibe that makes it go down easily thanks to the witty screenplay by Fogel and Joni Lefkowitz and the highly appealing performances by Leighton Meester (*Gossip Girl*) and Gillian Jacobs (*Community*)."

## InfoBox

| Life Partners | |
| --- | --- |
| Theatrical release poster | |
| Directed by | Susanna Fogel |
| Written by | * Susanna Fogel * Joni Lefkowitz |
| Produced by | * Brendan Bragg * Jordana Mollick * Joni Lefkowitz * Riva Marker * Daniela Taplin Lundberg |
| Starring |  |
| Cinematography | Brian Burgoyne |
| Edited by | Kiran Pallegadda |
| Music by | Eric D. Johnson |
| Production<br>companies | * Black Sheep Entertainment * Minerva Productions * Sandia Media |
| Distributed by | Magnolia Pictures |
| Release dates | * April 18, 2014 (2014-04-18) (Tribeca) * December 5, 2014 (2014-12-05) (United States) |
| Running time | 93 minutes |
| Country | United States |
| Language | English |
| Box office | $8,265 |


title: Liberty Township, Elk County, Kansas

abstract: Liberty Township is a township in Elk County, Kansas, USA. As of the 2000 census, its population was 117.

text:
# Liberty Township, Elk County, Kansas

**Liberty Township** is a township in Elk County, Kansas, USA. As of the 2000 census, its population was 117.

## Geography

Liberty Township covers an area of 59.61 square miles (154.4 km2) and contains no incorporated settlements. According to the USGS, it contains three cemeteries: Mount Zion, Old Tailor and Wade.

The stream of Little Indian Creek runs through this township.

## Transportation

Liberty Township contains one airport or landing strip, Clogston Ranch Landing Strip.

## InfoBox

| Liberty Township | |
| --- | --- |
| Township | |
| Location in Elk County | |
| Coordinates: 37°33′40″N 096°03′06″W / 37.56111°N 96.05167°W / 37.56111; -96.05167 | |
| Country | United States |
| State | Kansas |
| County | Elk |
| Area | |
| Total | 59.61 sq mi (154.39 km2) |
| Land | 59.5 sq mi (154.1 km2) |
| Water | 0.11 sq mi (0.29 km2)  0.19% |
| Elevation | 1,004 ft (306 m) |
| Population (2000) | |
| Total | 117 |
| Density | 2/sq mi (0.8/km2) |
| GNIS feature ID | 0475068 |


abstract: Liberty Township is a township in Decatur County, Kansas, USA. As of the 2000 census, its population was 48.

text:
# Liberty Township, Decatur County, Kansas

**Liberty Township** is a township in Decatur County, Kansas, USA. As of the 2000 census, its population was 48.

## Geography

Liberty Township covers an area of 35.2 square miles (91 km2) and contains no incorporated settlements. The county seat of Oberlin sits on the township's southeastern border.

## Transportation

Liberty Township contains two airports or landing strips: Oberlin Municipal Airport and R and D Aerial Spraying Airport.

## InfoBox

| Liberty Township | |
| --- | --- |
| Township | |
| Coordinates: 39°53′54″N 100°34′07″W / 39.89833°N 100.56861°W / 39.89833; -100.56861 | |
| Country | United States |
| State | Kansas |
| County | Decatur |
| Area | |
| Total | 35.2 sq mi (91.17 km2) |
| Land | 35.19 sq mi (91.15 km2) |
| Water | 0.01 sq mi (0.02 km2)  0.02% |
| Elevation | 2,802 ft (854 m) |
| Population (2000) | |
| Total | 48 |
| Density | 1.4/sq mi (0.5/km2) |
| GNIS feature ID | 0470919 |


title: Liang (realm)

abstract: Liang was a traditional Chinese fief centered on present-day Kaifeng. It was held by various powers over the course of Chinese history. It generally comprised modern Henan with a small part of Shanxi.

text:
# Liang (realm)

**Liang** (Chinese: ) was a traditional Chinese fief centered on present-day Kaifeng. It was held by various powers over the course of Chinese history. It generally comprised modern Henan with a small part of Shanxi.

## Ancient China

Liang (sometimes as 梁州, *Liángzhōu*) was one of the Nine Provinces of ancient China originally recorded in the *Yu Gong* or *Tribute of Yu* section of the *Book of Documents*. By the time of the *Erya*, it had been replaced among the list of the nine major provinces of China. Nevertheless, it was usually included among the lists of the Twelve Provinces in the reigns of the mythological figures of Emperor Yao and Emperor Shun. It included the upper Han River basin west of the Huaxia homeland.

## State of Liang

The counts of Liang (梁伯, *Liángbó*) possessed the surname Ying (). Their capital was located south of Hancheng in Shaanxi. During the 8th and 7th centuriesBC, they were involved in various alliances against the hegemony of Jin. In 642BC, the count constructed a new capital for his realm only to have it seized by Qin upon its completion. The State of Liang collapsed from internal problems in 641 BC, and Duke Mu of Qin annexed the area completely.

## Wei Kingdom

The kings of Liang (梁王, *Liángwáng*) were the lords of Wei. Descending from the Bi () branch of the Ji (), the Zhou royal family, they came to be known as the Wei family () after Bi Wan conquered that land for Jin. In 344BC, they were forced to move the capital from Anyi to Daliang (lit. "Greater Liang", now Kaifeng) to escape attacks from Qin. In 344BC, Marquess Hui declared himself independent of the Zhou and styled himself "King of Liang". His successors carried on the title until Liang's conquest by Qin in 225BC but are generally known as the "Kings of Wei" today.

* Wei Ying, King Hui (r. 344319BC)
* Wei Si or He, King Xiang (r. 319296BC), son of King Hui
* Wei Chi, King Zhao (296277 BC), son of King Xiang
* Wei Yu, King Anxi (277243 BC), son of King Zhao
* Wei Zeng or Wu, King Jingmin (243228 BC ), son of King Anxi
* Wei Jia, King Jia (228225 BC), son of King Jingmin

## Han Principality

The princes of Liang (梁王) bore the same title in Chinese as the Wei kings but are generally translated differently into English to reflect their changed status following the creation of the title of emperor of China by Shi Huangdi. Their capital was generally at Suiyang in present-day Henan.

The Qin Empire was a unitary state following legalist policies but, upon establishing its Han successor, Liu Bang reïnstituted the previous fiefs and granted high titles to relatives and allies. In 202BC, he created his general Peng Yue the first prince of Liang. Within five years, however, Peng was arrested on false charges of treason and executed. His title was then given to the emperor's son Liu Hui. As Liang was a rich and important patch of territory, its princes were powerful and prominent: many met with untimely deaths either because they began to covet the imperial throne or because they were feared to do so. A famous example apart from Peng Yue was Emperor Jing's younger brother Liu Wu, whose minions executed ten of the emperor's ministers for standing in his way. After the death of Liu Wu in 144 BC, his realm was divided among his five sons. Liu Pengli, the prince of Jidong, became a notorious serial killer and had his lands confiscated by Emperor Jing.

## Empire

The Liang Empire was established by the Southern Qi general Xiao Yan in AD502. It was named for the titles duke of Liang (梁公, *Liánggōng*) and prince of Liang (梁王) which Xiao had the Empress An bestow upon him in her position as regent for the teenage Emperor He. Despite the title, his capital and court were at Jiankang (within modern Nanjing).

## Sui Kingdom

A new and independent kingdom of Liang (梁王) was declared in 619 by Shen Faxing, a Sui general in the lower Yangtze. Despite the name, his capital was at Piling (modern Changzhou) and he only ever controlled areas of present-day Zhejiang and Jiangsu before his territory was conquered by the agrarian rebel Li Zitong (under the title Emperor of Wu).

## Tang Principality

The title of prince of Liang (梁王) was revived in AD690 under the empress dowager Wu Zetian's new Zhou dynasty in order to honor her half-nephew Wu Sansi. He was demoted to a lesser principality after her death in 705 but restored as prince of Liang posthumously two years later.

## Yuan Principality

The title of prince of Liang (梁王) was revived a fourth time under the Yuan dynasty as a hereditary appanage for one of the sons of Kublai Khan. The Princes of Liang served as the Yuan viceroys of Yunnan. By far the most famous was Basalawarmi (d.1382), who continued his family's fight against the Ming long after the fall of Khanbalik in 1368.


title: Lilia taluka

abstract: Lilia Taluka is a geographical subdivision located in the Amreli district of the state of Gujarat, India. It is situated in the western part of the country and falls within the Saurashtra region. Lilia is the headquarters of the taluka.

text:
# Lilia taluka

**Lilia Taluka** is a geographical subdivision located in the Amreli district of the state of Gujarat, India. It is situated in the western part of the country and falls within the Saurashtra region. Lilia is the headquarters of the taluka.

## Demographics

According to 2011 Census, the Lilia Sub-district has a total of 12,358 households. The population of this sub-district stands at 60,423 individuals, comprising 30,520 males and 29,903 females. Among them, there are 6,072 children, with 3,222 being male and 2,850 female. In terms of demographics, the Scheduled Castes population in Lilia Sub-District is recorded at 5,452, consisting of 2,807 males and 2,645 females. Additionally, there are 256 individuals belonging to Scheduled Tribes, with 126 males and 130 females. Out of the total population, 40,051 individuals are literate, encompassing 22,386 males and 17,665 females. On the other hand, there are 20,372 individuals who are illiterate, with 8,134 being male and 12,238 female. there are 28,923 workers in Lilia Sub-District, including 18,926 males and 9,997 females. Conversely, there are 31,500 non-workers, with 11,594 males and 19,906 females.

## InfoBox

| Lilia Taluka | |
| --- | --- |
| Taluka of Gujarat | |
| Interactive Map Outlining Lilia Taluka | |
| Country | India |
| State | Gujarat |
| District | Amreli |
| Headquarters | Lilia |
| Population (2011) | |
| Total | 60,423 |
| Sex ratio | 980 / |
| Literacy | 66.03% |
| Languages | |
| Official | Gujarati, Hindi |
| Time zone | UTC+5:30 (IST) |
| Telephone code | +91-079 |
| Vehicle registration | GJ |


abstract: The Liberia Institute of Statistics and Geo-Information Services (LISGIS) is an agency of the Liberian government. It organized a census in March 2008, 24 years after the last one.

text:
# Liberia Institute of Statistics and Geo-Information Services

The **Liberia Institute of Statistics and Geo-Information Services** (LISGIS) is an agency of the Liberian government. It organized a census in March 2008, 24 years after the last one.

## InfoBox

Liberia Institute of Statistics and Geo-Information Services
| Agency overview | |
| --- | --- |
| Jurisdiction | Government of Liberia |
| Agency executive | * Dr. T. Edward Liberty, Director General |
| Website | http://www.lisgis.gov.lr/ |


title: Libkov (Domažlice District)

abstract: Libkov is a municipality and village in Domažlice District in the Plzeň Region of the Czech Republic. It has about 100 inhabitants. Libkov lies approximately 17 kilometres (11 mi) south-east of Domažlice, 46 km (29 mi) south-west of Plzeň, and 123 km (76 mi) south-west of Prague.

text:
# Libkov (Domažlice District)

**Libkov** is a municipality and village in Domažlice District in the Plzeň Region of the Czech Republic. It has about 100 inhabitants.

Libkov lies approximately 17 kilometres (11 mi) south-east of Domažlice, 46 km (29 mi) south-west of Plzeň, and 123 km (76 mi) south-west of Prague.

## Demographics

Historical population
| Year | Pop. | ±% |
| --- | --- | --- |
| 1869 | 327 |  |
| 1880 | 292 | −10.7% |
| 1890 | 274 | −6.2% |
| 1900 | 261 | −4.7% |
| 1910 | 244 | −6.5% |
| 1921 | 259 | +6.1% |
| 1930 | 223 | −13.9% |
| 1950 | 170 | −23.8% |
| 1961 | 142 | −16.5% |
| 1970 | 116 | −18.3% |
| 1980 | 140 | +20.7% |
| 1991 | 113 | −19.3% |
| 2001 | 111 | −1.8% |
| 2011 | 115 | +3.6% |
| 2021 | 118 | +2.6% |
| Source: Censuses | | |

## InfoBox

| Libkov | |
| --- | --- |
| Municipality | |
| Main road in the centre of Libkov | |
|  | |
| LibkovLocation in the Czech Republic | |
| Coordinates: 49°21′59″N 13°8′4″E / 49.36639°N 13.13444°E / 49.36639; 13.13444 | |
| Country | Czech Republic |
| Region | Plzeň |
| District | Domažlice |
| First mentioned | 1379 |
| Area | |
| Total | 4.12 km2 (1.59 sq mi) |
| Elevation | 568 m (1,864 ft) |
| Population (2024-01-01) | |
| Total | 124 |
| Density | 30/km2 (78/sq mi) |
| Time zone | UTC+1 (CET) |
| Summer (DST) | UTC+2 (CEST) |
| Postal code | 345 06 |
| Website | www.libkov.cz |


title: Liblogs

abstract: Liblogs is a group of Canadian bloggers. The Liblogs membership consists of bloggers who generally support the Liberal Party of Canada. Content from member blogs is aggregated on the main Liblogs website. Founded in 2005 by blogger and Liberal activist Jason Cherniak, Liblogs now includes more than 250 blogs, and is a registered non-profit corporation.

text:
# Liblogs

**Liblogs** is a group of Canadian bloggers. The Liblogs membership consists of bloggers who generally support the Liberal Party of Canada. Content from member blogs is aggregated on the main Liblogs website.

Founded in 2005 by blogger and Liberal activist Jason Cherniak, Liblogs now includes more than 250 blogs, and is a registered non-profit corporation.

## History

Liblogs was created around the same time as Progressive Bloggers as a reaction to The Blogging Tories. Beginning in April 2005 as simply a small list of links included on Liberal blogs, a central website was created to aggregate content from member sites. During the 2006 federal election, as many as ten new members joined each week.

Liblogs was originally authored by Wayne Chu in 2005. In the fall of 2006, it was completely rewritten by Liberal blogger David Graham ahead of that year's federal Liberal leadership convention.

## Corporate identity

In the spring of 2006, Cherniak realized that Liblogs was expanding beyond his initial concept of an unofficial list of Liberal bloggers. He began a fund-raising campaign in order to fund an application for non-profit corporate status. By April 2006, Liblogs was a company with the legal name of "Blogger Support Services".

## 2006 Liberal leadership election

Liblogs took off after Paul Martin announced that he would be resigning as Liberal leader following the 2006 election. The different leadership campaigns began courting bloggers; Cherniak and Rob Edger were named as official "Stéphane Dion blog campaign co-chairs". Other Liberal bloggers, such as John Lennard and Dan Arnold did similar work for other leadership campaigns. In July 2006, the *Toronto Star* and *The Globe and Mail* both published articles on the involvement of bloggers in the leadership campaigns.

As the Leadership Convention approached, the Liberal Party chose to invite bloggers and treat them as media. Cherniak took the opportunity to launch new features to Liblogs, including a fully bilingual template, a French name of "Liblogues," a Young Liblogs list for Young Liberals and a news section.

## Liblogs News

Liblogs News includes sections on national and regional news and politics. It is edited by journalist Jeff Jedras, who attempts to highlight the best Liberal blog postings at least once a day. The theory is that this will provide an easy way for media or others with limited time to read Liberal blogs and get a feel for what they have to say each day.

## Liblogs Videos

On March 28, 2007, Liblogs launched a new video page. This is a page where Liberals from across Canada can post YouTube videos for easy access by other Canadians. Days later, media were reporting that the Conservatives would be unveiling new ads attacking Stéphane Dion the following week. Mr. Cherniak called on Libloggers to create YouTube videos in order to respond to the new ads. On April 2, the Conservatives launched a new French ad and unveiled their 17,000-square-foot (1,600 m2) campaign headquarters. On April 3, Mr. Cherniak posted 7 new videos to the Liblogs video page and issued a press release contrasting the expensive Tory headquarters to the grassroots YouTube campaign. This led to a Canadian Press story that was distributed to media across the country. On April 4, 2007, the video page was included in the front-page story of *The Globe and Mail* and some Liberal videos were highlighted on page 4. The CP story was printed in daily papers across the country. Some examples include, the Toronto Star, Le Soleil and the Daily News (Halifax).

## Split

During the 2008-2009 war in Gaza, Cherniak purged Liblogs of bloggers who expressed criticism of Israel, which also resulted in a number of resignations from Liblogs in protest. As a result, a new aggregator called LiberalsONLINE was created as another choice to Liblogs.


title: Municipal Theatre of Teramo

abstract:
The Municipal Theatre of Teramo has been the biggest and the most important theatre of the city. It was located in Corso San Giorgio, near Piazza Garibaldi.
It's been inaugurated in 1868 and demolished in 1959. It lasted 91 years, without reaching neither a century. In its place there are the new municipal Cineteatro and big commercial warehouse.

text:
# Municipal Theatre of Teramo

The **Municipal Theatre of Teramo** has been the biggest and the most important theatre of the city. It was located in Corso San Giorgio, near Piazza Garibaldi. It's been inaugurated in 1868 and demolished in 1959. It lasted 91 years, without reaching neither a century. In its place there are the new municipal Cineteatro and big commercial warehouse.

## History

The first location in Teramo City of which we have sure information was the one opened in Corradi House around 1792, in which this important family used to live, near the current Via Vittorio Veneto.

Since 1840, therefore, the necessity of having a public theatre and not a private one got stronger, until some projects were made. One of these was the one from Marchese Spaccaforno, but it was never realized.

After around 20 years of arguments, reviewed projects and continually forgotten, things changed thanks to the National Unity. The architect Nicola Mezucelli from Teramo was charged to make the final project of the new Municipal Theatre of the city. The work, managed in a short period of time, gave the desired theatre to the population. The official inauguration took place on April 20, 1868, during the evening, with *Il ballo in maschera*, an opera by Giuseppe Verdi.

The Municipal Theatre has been very active since its opening, even though it never achieved excellent levels. There have been a lot of shows and the fact that many people went to see them confirmed the interest of the population for the structure.

After the First World War, the theatrical activity became progressively less intense and the high level cultural shows were really insufficient. The advent of the cinema and the imminent start of the Second World War determined the final compromise of the aims of the theatre. In 1936, the Municipality of Teramo decided to turn the theatre into a movie theatre and also to change its name in Cineteatro Comunale.

The theatrical activity found itself sharing spaces and times with the cinematographic one. The last certain theatre season was that of 1954. From 1954 to 1959, the year of its demolition, the Municipal Theatre Functioned almost exclusively as a movie theatre.

The unstable condition of the building, the excessive cost of the necessary restoration work, the ceased opera activity and the opening of new cinema spaces, both in the city and in the province, determined the need to take drastic decisions on the future of the theatre.

Also due to a local economic situation that was struggling to recover from the results of a heavy war, the Municipality of Teramo made some deals with somme of the first department stores of commercial distribution. The people of Teramo saw in the opening of new commercial chains and in the promise of important jobs a lifeline.

On May 18, 1959, the city council decided to demolish the theatre. Carino Gambacorta was then the mayor of the city. Out of 25 councillors, only two voted against the demolition proposal. The remaining 23 were in favour. The people were essentially in favour of the decision. Few and isolated voices tried to defend the structure.

On November 30, 1959 the demolition of the Municipal Theatre began. In its place was erected the building that today houses the modern Cineteatro and the department store SottoSopra.

## Structure

The Municipal Theatre building was externally very modest. There were three entries and, in addition to be closed by arched doors, they had never used Casino appartements windows on the upper floor. The entry and the principal facade in front of Corso San Giorgio, where the central entry was situated, hadn't any monumental characteristic. Nor for dimensions, neither for decorations. The interior, and particularly the hall, were very fascinating. The hall, equipped with extraordinary acoustic, was capable to host a lot of spectators: total capacity was 608 sits. The location was built in a horseshoe form.

There were 56 stages, organised on three orders. On the highest part there was a large gallery, for which a low cost entry ticket was expected. The stage was very significant: about 200 square metres, equipped with the most modern stage machine installations. There were a "so called puller machine, to move all scenery flats ahead and behind at the same time", a sophisticated device that could create thunder sounds on the stage through «a box full of pieces of wood with a toothed wheel», or the rain, through «a tin wheel with a wooden foot», or «a burst of the thunderbolt», through «thin boards of walnut, iron plates and ropes».

The stage arch was gracefully decorated, as was the vault of the hall. The same furnishings chosen by Mezucelli were carefully studied. 24 tin can lights with reverberation for the opera's mouth", "22 painted tin lights for the corridors and the stairs' shelves", "160 wooden chairs for the stalls, with circularly arranged armrests" were prepared. As well as the "lecterns, the insoles and the 30 ordinary chairs for the musicians", as well as the "paintings of the scene of the countryside, with the backstage, and corresponding skies". The curtain was of remarkable workmanship. It was decorated by Bernardino De Filippis Delfico and depicted a fine scene relating to the Coronation of Petrarch.Upstairs, overlooking Corso San Giorgio, there was an apartment intended to house the caretaker. In 1906 this room was radically transformed and adapted to the Reduced Theatre. This is how the famous Sala della Cetra was born, with its own stage and a large loft. The small curtain of this pretty room was decorated by Gennaro Della Monica with the representation of Giannina Milli improvising in Florence.In the remaining part of the theatre building there were elegantly decorated staircases, service stairs, numerous corridors, seven dressing rooms for artists, service rooms and a dressing room.In 1943, one of the two anti-aircraft sirens delivered by the Ministry of the Interior to the Prefecture of Teramo for the protection of the population in the event of air raids was installed on the roof of the theatre. The siren was then disassembled and returned to the State in 1949, together with its twin placed on the arch of Porta Reale.

## The Mystery of the Chandelier Modifies

In the centre of the vault in the hall of the Municipal Theatre there was a precious chandelier, commissioned by Nicola Mezucelli. It was a particularly beautiful work, designed by Carlo Ferrario, set designer at La Scala in Milan, and made in Milan by Antonio Pandiani, with a gilded bronze structure and "guardian of crystals", equipped with female sculptures on four sides and supported by "ropes with its wheel of pull". The cost of this chandelier of extraordinary beauty was very high: it was around 5,000 lire at the time.Following the demolition of the building in 1959, this chandelier was not officially known any more. There are two reconstructions recently advanced in relation to the fate of this artifact.

## Dismemberment and sale

A recent testimony released in the local press by the son of a Teramo robivecchi, now deceased, in the dismemberment and sale has indicated as used metal the end of this precious chandelier. According to the present testimony, the work was stolen from the demolition site of the theatre and subsequently sold to the deceased robivecchi; the latter, in relation to this purchase, was condemned for the crime of receiving stolen goods. The chandelier, dismembered in the crystal parts and now deformed, was then sold as used metal and then sent to the foundry.

## The copy in the church of the SS. Annunziata

A different reconstruction is based on the circumstance, confirmed by historical documentation, on the basis of which the architect Mezucelli made two separate copies of the chandelier: one to be installed in the hall of the Municipal Theatre and the other, slightly smaller, to be used as a stock.

The date on which the chandelier was dismantled from the vault of the theatre hall is not known with certainty; the most reliable hypotheses are those relating to 1959 (the year of the demolition of the building) or to the years just before or after the last known theatre season, that is, 1954.

The archive documents show that in 1960, one year after the end of the demolition work on the building, the chandelier removed from the vault was probably kept in storage. The Cathedral of Teramo, unlike today, did not have a parish in its bosom. The parish seat was located in the nearby church of Sant'Agostino, which thus played the role of Vicar Care of the Cathedral, at the time led by Don Giovanni Iobbi. On January 11, 1960, the Curated Vicar transmitted a note to the City of Teramo with which he asked to have access to the chandelier of the old theater, demolished the previous year, in order to adorn the church of the Immaculate Heart of Mary, of which the same Don Giovanni Iobbi will become the first parish priest, then under construction at the time in Piazza Garibaldi. The City Council then approved Resolution no. 80/38 on February 9, 1960 and ceded to the Vicar Care of the Cathedral "the chandelier in question". From this moment on, therefore, the chandelier became available to the Aprutina Church but in the Parish in Piazza Garibaldi the work will never arrive.

In Teramo, in the church of SS. Annunziata in Via Nicola Palma there is a chandelier very similar to the one at the time located in the Municipal Theatre. The archives, however, provide nothing in this respect in relation to this unique installation. The current Rector of the church has declared that he settled in the SS. Annunziata in 1954, the year of the last theater season in the building of Mezucelli (and, hypothetically, the chandelier may have been removed from the theater on that occasion). When he took office, the Rector found the chandelier of the church in the exact position it still occupies today. This work of remarkable similarity with the one present in the building of Mezucelli, therefore, was already there since 1954. In this case, the resolution of the city council cannot be explained, which in 1960, six years later, ceded the building (obviously still in the hands of the city council) to the vicar of the cathedral. However, it can be assumed that at the church of SS. Annunziata there is a smaller copy of the chandelier of the theater.

## Further reading

* Paola Ferella, *L'attività teatrale a Teramo*, in *Musica e società a Teramo*, Teramo, Andromeda Ed., 1999, pp. 67–96
* Luciano Paesani, *Del Teatro in Teramo*, "Itinerari", XLIII, 3, 2004, pp. 81–98
* Silvio Paolini Merlo, *Destino di un teatro. Vita, avventure e morte del cuore culturale cittadino*, "Teramani", VI, 61, febbraio 2010, pp. 12–13
* Alessandro Misson, *Ecco dov'è finito il lampadario*, "La Città - mensile", n.91 (marzo 2011), p. 23
* Fabrizio Primoli, *Il Teatro comunale di Teramo. 1868-1959. Fasti e miserie, fra silenzi e applausi, in appena novant'anni di vita*, Teramo, Edizioni Palumbi, 2011.
* Elso Simone Serpentini, *Solo il piccone. Come fu abbattuto il Teatro comunale di Teramo*, Teramo, Artemia Edizioni, 2015.
* Elso Simone Serpentini, *Teramo e il cinematografo*, Teramo, Artemia Edizioni, 2015.
* Elso Simone Serpentini, *Teramo e il teatro lirico*, Teramo, Artemia Edizioni, 2016.
* Fernando Aurini, Il "Comunale" ieri e oggi, articolo in Quadrilatero, Teramo, n. 1, marzo 1990, pp. 31–32.

## InfoBox

Municipal Theatre of Teramo
|  | |
| --- | --- |
| Address | Corso San Giorgio
Teramo
Italy |
| Type | Three classes of platforms and gallery |
| Capacity | 608 |
| Construction | |
| Opened | 1686 |
| Demolished | 1959 |
| Years active | 91 |
| Architect | Nicola Mezucelli |


title: Ōmura Domain

abstract: Ōmura Domain was a Japanese domain of the Edo period. It was centered around Kushima Castle in what is now the city of Ōmura, Nagasaki and was ruled by the tozama daimyō Ōmura clan for all of its history.

text:
# Ōmura Domain

**Ōmura Domain** (大村藩, *Ōmura-han*) was a Japanese domain of the Edo period. It was centered around Kushima Castle in what is now the city of Ōmura, Nagasaki and was ruled by the *tozama daimyō* Ōmura clan for all of its history.

## History

The lineage of the Ōmura clan, who ruled over this region, is somewhat obscure, although the clan claimed to have descended from Fujiwara no Sumitomo (died 941). From the late Heian or Kamakura period, they were one of several military families that had roots in the 11th century in Hizen Province on the island of Kyushu. The clan is notable for being the first *daimyo* family in Japan to convert to Christianity in 1562.

Ōmura Sumitada, believed to be the 12th head of the clan, offered Yokoseura (now Saikai, Nagasaki) to the Portuguese in 1561, and Nagasaki in 1570, and Nagasaki developed into a center of Nanban trade, which was a major source of the clan's revenues. In 1580, he donated the area around Nagasaki Port to the Society of Jesus as an ecclesiastical territory, further solidifying the clan's ties to the Church. He sent his eldest son Ōmura Yoshiaki to aid Toyotomi Hideyoshi's subjugation of Kyushu in 1587. However, although the Toyotomi regime confirmed him in the majority of his territories in northern Kyushu, it took the port of Nagasaki under direct control, and the clan lost its trade profits. Yoshiaki fought on the side of the Eastern Army at the 1600 Battle of Sekigahara against the Toyotomi, and was reconfirmed in his holdings by the Tokugawa shogunate. The domain is thus one of the few domains which managed to retain its territorial status from ancient times and was not subject to any transfers until the Meiji Restoration. Consequently, during the Edo period, it had many vassals in relation to its nominal *kokudaka* of 27,500 *koku*. These vassals were not concentrated in the castle town, and approximately two-thirds of them resided in various villages rather than in Ōmura itself.

Ōmura Yoshiaki's son Sumiyori died suddenly at the age of 28 in 1619, and the clan was in danger of attainder as he had no heir. Sumiyori did have an illegitimate son, but for unknown reasons, he ordered the child to be aborted. However, his chief retainer secretly allowed the child, Matsuchiyo, to survive. The Ōmura clan pretended that Sumiyori had adopted Matsuchiyo as his official heir. In the land survey of 1631, the actual *kokudaka* was calculated to be 42,730 *koku*, although its the domain's direct *kokudaka* was 23,322 *koku*. However, the domain was also required to pay for garrisoning Nagasaki, and the domain's finances were also strained due to expenses in Edo.

In 1657, many *Kakure Kirishitan* were discovered and arrested in three villages in the northern part of the domain. This incident occurred 45 years after the official ban on Christianity, and was a major incident that threatened the survival of the domain. However, the domain was not punished because it immediately reported the incident to the shogunate.

Ōmura, which has a lot of terrain that is not suitable for paddy field cultivation, introduced sweet potatoes as a daily food ingredient in the first half of the 18th century, along with Satsuma Domain. As a result, the damage caused by the Great Kyōhō famine was relatively minor. In 1721, the population of the Ōmura Domain was around 65,000, but by 1856, the population had increased 1.8 times to 117,300.

During the Bakumatsu period, Ōmura Domain was largely divided between those who supported the shogunate and those who supported the emperor. In 1862, when the final *daimyō*, Ōmura Sumihiro became the Nagasaki bugyō, the pro-shogunate faction rose to power, while the pro-imperial faction formed the "Reformist Alliance". In 1864, Sumiyoshi resigned from his position as Nagasaki bugyō, and the pro-imperial faction rose to power instead. In 1867, Matsubayashi Iiyama, the leader of the Reformist Alliance, was assassinated, and Hario Kuzaemon was seriously injured. This incident unified the domain's opinion in favor of pro-imperial and anti-shogunate faction, and an anti-shogunate army was formed. Afterwards, along with Satsuma and Chōshū, Ōmura played an active role as one of the central clans in the overthrow of the shogunate. In particular, just before the Battle of Toba-Fushimi, Ōmura Domain was the first to send troops to Ōtsu in Ōmi Province. Although the small number of only 50 men, this force prevented the shogunate's reinforcements from invading Kyoto. After the Meiji restoration, Ōmura Sumiyoshi received an increase 30,000 *koku*, which was second only to the 100,000 *koku* of the Satsuma and Chōshū domains and the 40,000 Chōshū of Tosa Domain. However, soon afterwards, with the abolition of the han system, Ōmura became "Ōmura Prefecture", which was later incorporated into Nagasaki Prefecture. The Ōmura clan was made a viscount in 1884 under the *kazoku* peerage system. Later, in recognition of their contributions to the overthrow of the shogunate, they were promoted to count in 1891.

## Holdings at the end of the Edo period

As with most domains in the han system, Ōmura Domain consisted of several discontinuous territories calculated to provide the assigned *kokudaka*, based on periodic cadastral surveys and projected agricultural yields.

## List of daimyo

|  | Name | Tenure | Courtesy title | Court Rank | *kokudaka* |  |
| --- | --- | --- | --- | --- | --- | --- |
| **Ōmura clan,** 1587 - 1871 (*fudai daimyo*) | | | | | |
| 1 | Ōmura Yoshiaki (大村喜前) | 1587 – 1616 | *Tangō-no-kami* (丹後守) | Junior 5th Lower Grade (従五位下) | 27,500 *koku* |
| 2 | Ōmura Sumiyori (大村純頼) | 1616 – 1619 | *Minbu-daisuke* (民部大輔) | Junior 5th Lower Grade (従五位下) | 27,500 *koku* |
| 3 | Ōmura Suminobu (大村純信) | 1620 – 1651 | *Tangō-no-kami* (丹後守) | Junior 5th Lower Grade (従五位下) | 27,500 *koku* |
| 4 | Ōmura Suminaga (大村純長) | 1651 – 1706 | *Inaba-no-kami* (因幡守) | Junior 5th Lower Grade (従五位下) | 27,500 *koku* |
| 5 | Ōmura Sumimasa (大村純尹}) | 1706–1712 | *Chikugo-no-kami* (筑後守) | Junior 5th Lower Grade (従五位下) | 27,500 *koku* |
| 6 | Ōmura Sumitsune (大村純庸) | 1712 – 1727 | *Ise-no-kami* (伊勢守) | Junior 5th Lower Grade (従五位下) | 27,500 *koku* |
| 7 | Ōmura Sumihisa (大村純富) | 1727 – 1748 | *Kawachi-no-kami* (河内守) | Junior 5th Lower Grade (従五位下) | 27,500 *koku* |
| 8 | Ōmura Sumimori (大村純保) | 1748 – 1761 | *Danjō-shōsuke* (弾正少弼) | Junior 5th Lower Grade (従五位下) | 27,500 *koku* |
| 9 | Ōmura Sumiyasu (大村純鎮) | 1761 – 1803 | *Shinano-no-kami* (信濃守) | Junior 5th Lower Grade (従五位下) | 27,500 *koku* |
| 10 | Ōmura Sumiyoshi (大村純昌) | 1803 – 1836 | *Tangō-no-kami* (丹後守) | Junior 5th Lower Grade (従五位下) | 27,500 *koku* |
| 11 | Ōmura Sumiaki (大村純顕) | 1835. – 1847 | *Tangō-no-kami* (丹後守) | Junior 5th Lower Grade (従五位下) | 27,500 *koku* |
| 12 | Ōmura Sumihiro (大村純熈)) | 1847 – 1871 | *Tangō-no-kami* (丹後守) | Junior 5th Lower Grade (従五位下) | 27,500 *koku* |
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## Ōmura Domain Ōmura clan cemetery

The *bodaiji* of the Ōmura clan is the Nichiren sect temple of Honkyō-ji (本経寺 ), located in the Furumachi neighborhood of the city of Ōmura, on the right bank of the Daijogo River that flows into Ōmura Bay, along the Nagasaki Kaidō road north of the castle town of Kushima. The Ōmura clan under Ōmura Sumitada was one of the first clans to convert to Christianity, and together with his son Ōmura Yoshiaki destroyed Buddhist temples and Shinto shrines throughout his domain. He also sponsored the Tenshō embassy to Europe in 1582. However, due to the Tokugawa shogunate's banning of the Christian religion and increasingly draconian punishments for remaining believers, Ōmura Yoshiaki apostatised, and ordered the construction of this temple in 1605. It was completed in 1608. Following his death in 1615, he was buried in the graveyard located on the southwest side of the main hall. This graveyard expanded to contain the graves of every *daimyō* of Ōmura Domain through the 11th, Ōmura Sumiaki, along with the graves of their wives, concubines and children, as well as the graves of many of members of the Matsura clan, who served as the *karō* of the domain. The graves of Ōmura Yoshiaki and Ōmura Sumiyori were built facing southeast in the northeast part of the cemetery, while the graves of the third to sixth *daimyō* were constructed to face these two graves across an open plaza in the center; however, by the 19th century there was no more room, so the open plaza was filled in with the graves of the ninth, tenth and eleventh *daimyō*. The cemetery is noted for its large number and large variation in grave markers. including *kasatōba*, *gorintō* and other styles. It was designated a National Historic Site in 2004 as the Ōmura Domain Ōmura clan cemetery (大村藩主大村家墓所, *Ōmura-han-shu Ōmura-ke bosho*). It is located is about five minutes by car from Suwa Station on the JR Kyushu Ōmura Line.

## InfoBox

| Ōmura Domain大村藩 | |
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| Domain of Japan | |
| 1587–1871 | |
| *Mon* of the Ōmura clan | |
| <br>Reconstructed *yagura* of Kushima Castle | |
| Capital | Kushima Castle |
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| Type | Daimyō |
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| Historical era | Edo period |
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| Established | 1587 |
| Disestablished | 1871 |
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| Today part of | Nagasaki Prefecture |
| class=notpageimage|Location of Kushima CastleŌmura Domain (Japan) | |