title: Anisoscelis luridus

abstract: Anisoscelis luridus is a species of leaf-footed bug in the family Coreidae. It was first described by Harry Brailovsky in 2016 and it has been recorded in Texas, Mexico, Central and South America.

text:
# Anisoscelis luridus

***Anisoscelis luridus*** is a species of leaf-footed bug in the family Coreidae. It was first described by Harry Brailovsky in 2016 and it has been recorded in Texas, Mexico, Central and South America.

## InfoBox

| *Anisoscelis luridus* | |
| --- | --- |
|  | |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Insecta |
| Order: | Hemiptera |
| Suborder: | Heteroptera |
| Family: | Coreidae |
| Tribe: | Anisoscelini |
| Genus: | *Anisoscelis* |
| Species: | ***A. luridus*** |
| Binomial name | |
| ***Anisoscelis luridus***<br>Brailovsky, 2016 | |
|


abstract: The women's 100 metres at the 1962 European Athletics Championships was held in Belgrade, then Yugoslavia, at JNA Stadium on 12 and 13 September 1962.

text:
# 1962 European Athletics Championships – Women's 100 metres

The **women's 100 metres** at the 1962 European Athletics Championships was held in Belgrade, then Yugoslavia, at JNA Stadium on 12 and 13 September 1962.

## Participation

According to an unofficial count, 19 athletes from 11 countries participated in the event.

## Results

### Heats

12 September

#### Heat 1

| Rank | Name | Nationality | Time | Notes |
| --- | --- | --- | --- | --- |
| 1 | Hannelore Raepke | East Germany | 11.9 |  |
| 2 | Galina Popova | Soviet Union | 11.9 |  |
| 3 | Erzsébet Heldt | Hungary | 12.0 |  |
| 4 | Zdenka Leskovac | Yugoslavia | 12.1 |  |
| 5 | Michèle Davaze | France | 12.2 |  |
|  | | | Wind: -0.2 m/s | |

#### Heat 2

| Rank | Name | Nationality | Time | Notes |
| --- | --- | --- | --- | --- |
| 1 | Jutta Heine | West Germany | 11.5 | CR, |
| 2 | Halina Górecka | Poland | 11.7 |  |
| 3 | Margit Markó | Hungary | 11.8 |  |
| 4 | Madeleine Cobb | Great Britain | 12.0 |  |
| 5 | Therese Schueremans | Belgium | 13.0 |  |
|  | | | Wind: -0.3 m/s | |

#### Heat 3

| Rank | Name | Nationality | Time | Notes |
| --- | --- | --- | --- | --- |
| 1 | Dorothy Hyman | Great Britain | 11.6 |  |
| 2 | Teresa Ciepły | Poland | 11.8 |  |
| 3 | Lyudmila Motina | Soviet Union | 11.9 |  |
| 4 | Daniela Spampani | Italy | 12.1 |  |
| 5 | Veselina Kolarova | Bulgaria | 12.2 |  |
|  | | | Wind: -0.5 m/s | |

#### Heat 4

| Rank | Name | Nationality | Time | Notes |
| --- | --- | --- | --- | --- |
| 1 | Elżbieta Szyroka | Poland | 12.0 |  |
| 2 | Martha Pensberger | West Germany | 12.0 |  |
| 3 | Daphne Arden | Great Britain | 12.1 |  |
| 4 | Teréz Bata | Hungary | 12.2 |  |
|  | | | Wind: -0.9 m/s | |

### Semi-finals

13 September

#### Semi-final 1

| Rank | Name | Nationality | Time | Notes |
| --- | --- | --- | --- | --- |
| 1 | Jutta Heine | West Germany | 11.4 | CR, |
| 2 | Teresa Ciepły | Poland | 11.6 |  |
| 3 | Daphne Arden | Great Britain | 11.7 |  |
| 4 | Galina Popova | Soviet Union | 11.8 |  |
| 5 | Erzsébet Heldt | Hungary | 12.0 |  |
| 6 | Margit Markó | Hungary | 12.6 |  |
|  | | | Wind: +0.8 m/s | |

#### Semi-final 2

| Rank | Name | Nationality | Time | Notes |
| --- | --- | --- | --- | --- |
| 1 | Dorothy Hyman | Great Britain | 11.6 |  |
| 2 | Elżbieta Szyroka | Poland | 11.7 |  |
| 3 | Hannelore Raepke | East Germany | 11.7 |  |
| 4 | Martha Pensberger | West Germany | 11.8 |  |
| 5 | Lyudmila Motina | Soviet Union | 11.9 |  |
| 6 | Halina Górecka | Poland | 12.0 |  |
|  | | | Wind: +0.6 m/s | |

### Final

13 September

| Rank | Name | Nationality | Time | Notes |
| --- | --- | --- | --- | --- |
|  | Dorothy Hyman | Great Britain | 11.3 |  |
|  | Jutta Heine | West Germany | 11.3 |  |
|  | Teresa Ciepły | Poland | 11.4 |  |
| 4 | Daphne Arden | Great Britain | 11.5 |  |
| 5 | Hannelore Raepke | East Germany | 11.6 |  |
| 6 | Elżbieta Szyroka | Poland | 11.8 |  |
|  | | | Wind: +2.3 m/s | |

## InfoBox

| Women's 100 metres <br>at the 1962 European Athletics Championships | |
| --- | --- |
| Venue | JNA Stadium |
| Location | Belgrade |
| Dates | * 12 September (heats) * 13 September (semifinals & final) |
| Competitors | 19 from 11 nations |
| Winning time | 11.3 |
| Medalists | |
| Great Britain  West Germany  Poland | |
|


title: 10th Parliament of Upper Canada

abstract: The 10th Parliament of Upper Canada was opened 8 January 1829. Elections in Upper Canada had been held in July 1828. All sessions were held at York, Upper Canada. This parliament was dissolved 8 September 1830 on the announcement of the death of King George IV. The House of Assembly of the 10th Parliament of Upper Canada had two sessions 8 January 1829 to 6 March 1830: Both the House and Parliament sat at the old York Court House on King Street.

text:
# 10th Parliament of Upper Canada

The **10th Parliament of Upper Canada** was opened 8 January 1829. Elections in Upper Canada had been held in July 1828. All sessions were held at York, Upper Canada. This parliament was dissolved 8 September 1830 on the announcement of the death of King George IV.

The House of Assembly of the 10th Parliament of Upper Canada had two sessions 8 January 1829 to 6 March 1830:

Both the House and Parliament sat at the old York Court House on King Street.

| Sessions | Start | End |
| --- | --- | --- |
| 1st | 8 January 1829 | 20 March 1829 |
| 2nd | 8 January 1830 | 6 March 1830 |

| Riding | Member |
| --- | --- |
| Carleton | Thomas Mabon Radenhurst |
| Dundas | Peter Shaver |
| Dundas | George Brouse |
| Durham | John David Smith |
| Durham | Charles Fothergill |
| Essex | John Alexander Wilkinson |
| Essex | François Baby |
| Frontenac | Hugh Christopher Thomson |
| Frontenac | Thomas Dalton |
| Glengarry | Alexander Fraser |
| Glengarry | Alexander McMartin |
| Grenville | George Longley |
| Grenville | Rufus C. Henderson |
| Halton | George Rolph |
| Halton | Caleb Hopkins |
| Hastings | Joseph N. Lockwood |
| Hastings | James Hunter Samson |
| Kent | William Bent Berczy |
| Kingston | Donald Bethune |
| Lanark | William Morris |
| Leeds | John Kilborn |
| Leeds | William Buell |
| Lennox & Addington | Marshall Spring Bidwell – Speaker 1829–1830 |
| Lennox & Addington | Peter Perry |
| 1st & 2nd Lincoln County | William Terry |
| 1st & 2nd Lincoln | William Woodruff |
| 3rd Lincoln | John Johnston Lefferty |
| 4th Lincoln | Robert Randal |
| Middlesex | John Matthews |
| Middlesex | John Rolph |
| Niagara (town) | Robert Dickson |
| Norfolk | Duncan McCall |
| Norfolk | William Warren Baldwin |
| Northumberland | James Lyons |
| Northumberland | Benjamin Ewing |
| Oxford | Thomas Hornor |
| Oxford | Finley Malcolm |
| Prescott & Russell | Donald Macdonell |
| Prince Edward | James Wilson |
| Prince Edward | Paul Peterson |
| Simcoe | John Cawthra |
| Stormont | Archibald McLean |
| Stormont | Ambrose Blacklock |
| Wentworth | George Hamilton |
| Wentworth | John Willson |
| York (town) | John Beverley Robinson |
|  | Robert Baldwin |
| York | Jesse Ketchum |
| York | William Lyon Mackenzie |

## Further reading

* *Handbook of Upper Canadian Chronology*, Frederick H. Armstrong, Toronto : Dundurn Press, 1985. ISBN 0-919670-92-X


abstract: The 1970 All-Big Ten Conference football team consists of American football players chosen by various organizations for All-Big Ten Conference teams for the 1970 Big Ten Conference football season. The teams selected by the Big Ten coaches for the United Press International (UPI) were dominated by the 1970 Michigan Wolverines football team with 10 first-team selections and the 1970 Ohio State Buckeyes football team with six first-team selections.

text:
# 1970 All-Big Ten Conference football team

The **1970 All-Big Ten Conference football team** consists of American football players chosen by various organizations for All-Big Ten Conference teams for the 1970 Big Ten Conference football season. The teams selected by the Big Ten coaches for the United Press International (UPI) were dominated by the 1970 Michigan Wolverines football team with 10 first-team selections and the 1970 Ohio State Buckeyes football team with six first-team selections.

## Offensive selections

### Quarterbacks

### Halfbacks

### Fullbacks

### Tight ends

### Split ends

### Flankers

### Tackles

* **Dan Dierdorf**, Michigan (AP-1; UPI-1)
* John Rodman, Northwestern (AP-1; UPI-2)
* Dave Cheney, Ohio State (UPI-1)
* Jack Harpring, Michigan (AP-2)
* John Muller, Iowa (AP-2)
* Donnie Green, Purdue (UPI-2)

### Guards

### Centers

## Defensive selections

### Ends

### Tackles

### Middle guards

### Linebackers

### Defensive backs

## Key

AP = Associated Press

UPI = United Press International, selected by the Big Ten Conference coaches

**Bold** = Consensus first-team selection by both AP and UPI


title: 1. FC Bamberg

abstract: The 1. FC Bamberg was a German association football club from the town of Bamberg, Bavaria. In 2006, the club merged with TSV Eintracht Bamberg to form 1. FC Eintracht Bamberg. 1. FC Eintracht went bankrupt in 2010 and a new club was formed, FC Eintracht Bamberg 2010. 1. FC had spent a number of seasons at top level in German football but, by the time of the merger, had fallen to an existence in the fifth and sixth division of German football. The new club briefly rose to tier-four Regionalliga Süd, dropped back to the Bayernliga before rising to the new Regionalliga Bayern again.

text:
# 1. FC Bamberg

The **1. FC Bamberg** was a German association football club from the town of Bamberg, Bavaria.

In 2006, the club merged with TSV Eintracht Bamberg to form 1. FC Eintracht Bamberg. 1. FC Eintracht went bankrupt in 2010 and a new club was formed, FC Eintracht Bamberg 2010.

1. FC had spent a number of seasons at top level in German football but, by the time of the merger, had fallen to an existence in the fifth and sixth division of German football. The new club briefly rose to tier-four Regionalliga Süd, dropped back to the Bayernliga before rising to the new Regionalliga Bayern again.

## History

### 1901–45

1. FC Bamberg, formed in 1901, made its first division debut in 1910, when it earned promotion to the Ostkreisliga, a statewide football league in Bavaria, where it played against the strongest Bavarian clubs at the time, 1. FC Nürnberg, FC Bayern Munich and SpVgg Fürth. 1. FC lasted for two seasons at this level, coming ninth in the league on both occasions and being relegated in 1912.

The club returned to the Bavarian first division, now renamed the Kreisliga Bayern and divided into a northern and a southern division, after the First World War, in 1919. After struggling for the first two seasons, it profited after 1921 from a further split of the league, now into four regional divisions, and came fourth in 1922 and 1923. Nevertheless, in 1923, when the league was renamed to Bezirksliga Bayern and reorganised into a single division once more, *1. FC* did not qualify and was unable to return to top-level football for almost 20 years.

It was not until the Second World War that the club made a return to top-flight football, when it earned promotion to the northern division of the Gauliga Bayern, which had replaced the Bezirksliga in 1933. Bamberg had its greatest season in 1943–44, when it finished runners-up in its division, three points behind 1. FC Nuremberg. The following season was never completed because of the effects of the war.

### 1945–63

Post-war football saw the club being grouped in the second division Landesliga Bayern in 1945, a league the club won, earning promotion to the Oberliga Süd. The following season marked the team's last-ever in top-flight, coming 18th out of 20 clubs and being relegated once more in 1947. In the Landesliga, now sub-divided into two regional divisions, 1. FC won another championship but missed out on promotion when it lost to southern champions BC Augsburg, drawing at home and losing 1–4 in Augsburg. Bamberg won another title in the Landesliga in 1950, now in a single division again, but failed to gain promotion, missing out to Hesse champions SV Darmstadt 98. Instead, the side, along with four other Bavarian clubs, gained entry to the newly formed second division, the 2nd Oberliga Süd.

In the new league, Bamberg never performed particularly well, with the exception of 1952–53, when the side came third, four points behind a promotion rank. While it narrowly avoided relegation in 1955, the season after the side went down after coming last in the league. The club took out two division titles in the northern group of the Amateurliga Bayern in 1957 and 1958, followed up by Bavarian championship wins over southern division winners FC Penzberg and FC Wacker München. It remained winless in the promotion round to the 2nd Oberliga in 1957, when Amicitia Viernheim and Borussia Fulda were promoted instead, but was luckier the following year and earned promotion alongside VfB Friedberg from Hesse. The team lasted for two seasons in the second division and made a permanent farewell from the league in 1960, when it once more came last.

Bamberg remained a strong side in the Amateurliga, coming second and fifth in the years after relegation, with a final league title in 1963. It was unable however to crown the season with the Bavarian championship, missing out to TSV Straubing in three games. Additionally, because of the reorganisation of the German league system with the introduction of the Bundesliga, no promotion was available. For the club, it was the end of an era, it was never again able to repeat past performances.

In the era from 1961 to 1967, Bamberg's Dieter Zettelmaier was capped twenty times for the German amateur team, scoring 13 goals for the team. Zettelmaier, an outstanding goal scorer, was also top scorer of the Bayernliga from 1961 to 1963 and once more in 1966.

### 1963–2006

1. FC qualified to play in the new single division third tier Bayernliga, which was established in 1963, but results from now on were poor. In 1967, the club suffered relegation to the fourth division the Landesliga Bayern-Nord, and it took until 1975 to make a return to Bavaria's highest league. The club became a predominantly mid-table side in the Landesliga from then on. A brief stint in the Bayernliga in 1975–76 was followed by another five Landesliga seasons. Another title in this league, in 1981, however returned the side to the Bayernliga. It spent five seasons at this level, with a seventh place in the first one as its best result, but another relegation followed in 1986. The club was not to return to this level either after that.

Bambergs return to the Landesliga was an unlucky one, the club finished 15th and was relegated even further down, now to the Bezirksliga. Difficult years followed for the club, playing for a season in the Bezirksliga, gaining entry to the new Bezirksoberliga Oberfranken in 1988, and making a brief return for two seasons to the Landesliga from 1992 to 1994.

In 1997, the side finally made a permanent return to the Landesliga, which it would play in for the next nine seasons, until the merger. In this era, two second places, in 2004 and 2006, were its best result, the later allowing the club to earn promotion back to the Bayernliga through the promotion round, but then under a new name. The club's promotion-clinching 2–0 victory against Freier TuS Regensburg in Schwabach on 13 June was to become the side's last competitive game under the old name and identity.

The new club retained most of the old club's logo which depicts the Bamberg Horseman.

## Honours

The club's honours:

### Youth

## Final seasons

The final seasons' performances of the club since 1999:

| Year | Division | Tier | Position |
| --- | --- | --- | --- |
| 1999–2000 | Landesliga Bayern-Nord | V | 4th |
| 2000–01 | Landesliga Bayern-Nord | | 6th |
| 2001–02 | Landesliga Bayern-Nord | | 6th |
| 2002–03 | Landesliga Bayern-Nord | | 4th |
| 2003–04 | Landesliga Bayern-Nord | | 2nd |
| 2004–05 | Landesliga Bayern-Nord | | 4th |
| 2005–06 | Landesliga Bayern-Nord | | 2nd ↑ |

### Key

| Promoted | Relegated |
| --- | --- |

## Basketball

The club operated a successful basketball department for many years before it became independent as what is now the Brose Baskets Bamberg. The team shared the football departments rivalry to local neighbour Bayreuth, in the form of SpVgg Bayreuth in football and BBC Bayreuth in basketball.

### Sources

* *Die Bayernliga 1945–97* (in German) DSFS, published: 1998
* *Süddeutschlands Fussball in Tabellenform 1897 – 1988*, by Ludolf Hyll
* *Die Deutsche Liga-Chronik 1945–2005* (in German) History of German football from 1945 to 2005 in tables, publisher: DSFS, published: 2006

## InfoBox

1. FC Bamberg
|  | |
| --- | --- |
| Full name | 1. Fußball-Club Bamberg 1901 e.V. |
| Founded | 3 March 1901 |
| Ground | Hauptkampfbahn |
| League | *Merged* |
| Current name | FC Eintracht Bamberg |
|  | |
|  | |
|  | |


title: 1. FC Femina

abstract: 1. FC Femina is a Hungarian women's football team competing in the Hungarian First Division. Founded in 1970, Femina is the most successful team in the championship with 10 titles between 1988 and 2008, including two 3-year winning streaks in 2000–03 and 2005–08. The following two seasons marked a decline with the club's worst rankings yet, while in 2011 Femina was 3rd. Femina has been less successful in the national Cup, with just one title to make a double in 1996. Femina was the first team to represent Hungary in the UEFA Women's Cup. Its major success in its six appearances so far was reaching the last 16 in 2007.

text:
# 1. FC Femina

**1. FC Femina** is a Hungarian women's football team competing in the Hungarian First Division.

Founded in 1970, Femina is the most successful team in the championship with 10 titles between 1988 and 2008, including two 3-year winning streaks in 2000–03 and 2005–08. The following two seasons marked a decline with the club's worst rankings yet, while in 2011 Femina was 3rd. Femina has been less successful in the national Cup, with just one title to make a double in 1996.

Femina was the first team to represent Hungary in the UEFA Women's Cup. Its major success in its six appearances so far was reaching the last 16 in 2007.

## Former players

## Honours

Other league results
| Position | Years |
| --- | --- |
| **2** | 1989, 1995, 1999, 2000 |
| **3** | 1985, 1986, 1987, 1990, 1992, 1993, 1993, 1998, 2005, 2011 |
| **4** | 2004 |
| **5** | 2009 |
| **6** | 2010 |

### Record in European competitions

| Season | Competition | Stage | Result | Opponent |
| --- | --- | --- | --- | --- |
| 2001–02 | UEFA Women's Cup | Group stage | 4–0 | Grand Hotel Varna |
|  |  |  | 0–1 | Sparta Prague |
|  |  |  | 0–6 | Umeå |
| 2002–03 | UEFA Women's Cup | Group stage | 0–1 | Toulouse |
|  |  |  | 4–0 | Maccabi Haifa |
|  |  |  | 2–5 | Lazio |
| 2003–04 | UEFA Women's Cup | Group stage | 0–11 | Energiya Voronezh |
|  |  |  | 3–3 | Osijek |
|  |  |  | 0–4 | Foroni Verona |
| 2006–07 | UEFA Women's Cup | Qualifying Stage | 7–1 | Gömrükçü Baku |
|  |  |  | 1–0 | NSA Sofia |
|  |  |  | 7–0 | Narta Chişinău |
|  |  | Group stage | 1–5 | Brøndby |
|  |  |  | 0–6 | Arsenal |
|  |  |  | 2–4 | Rossiyanka |
| 2007–08 | UEFA Women's Cup | Qualifying Stage | 6–0 | Ruslan |
|  |  |  | 2–0 | Narta Chişinău |
|  |  |  | 1–3 | Almaty |
| 2008–09 | UEFA Women's Cup | Qualifying Stage | 3–1 |  |
|  |  |  | 0–2 | Gintra Universitetas |
|  |  |  | 0–1 | Zvezda Perm |
|

## InfoBox

Femina
| Full name | 1. Football Club Femina |
| --- | --- |
| Founded | 1970 (August 19) |
| Ground | Laszló Budai II Stadium, Budapest |
| Capacity | 7,500 |
| Chairman | Béla Halmosi |
| Manager | István Herczku |
| League | First Division |
| 2012–13 | 5th |
|  | |
|  | |
|  | |


title: 1. FC Bad Kötzting

abstract: 1. FC Bad Kötzting is a German association football club from the city of Bad Kötzting, Bavaria.

text:
# 1. FC Bad Kötzting

**1. FC Bad Kötzting** is a German association football club from the city of Bad Kötzting, Bavaria.

## History

Founded on 5 May 1921 as *1. FC Kötzting*, the club spent most of its existence as a lower-tier side until earning promotion to the Landesliga Bayern-Mitte (V) in 1990. The club had a good second season in this league, finishing third in 1993, but it came close to relegation in 1998, when it could only come 15th.

The team came close to advancing to the Bayernliga (IV) in 2000, finishing as league vice-champions before losing on penalties to SpVgg Landshut in the promotion round. They earned promotion in 2004. The club adopted its new name in 2006 after the city changed its name in 2005. 1. FC Bad Kötzting was relegated in 2010 and the team, after this, played in the Landesliga Bayern-Mitte again. At the end of the 2011–12 season the club qualified for the promotion round to the newly expanded Bayernliga. A first round loss to FC Amberg however meant the club would remain in the Landesliga instead. The club won the Landesliga Mitte in 2014 and earned promotion back to the Bayernliga. The club won promotion to the Bayernliga in 2014, after a Landesliga championship, but came only fifteenth in the league in 2014–15 and was forced to enter the promotion/relegation round where it suffered relegation after being defeated by ASV Burglengenfeld.

Bad Kötzting plays its home matches in the Stadion am Roten Steg which has a capacity of 6,000 (800 seats).

## Honors

## Recent seasons

The recent season-by-season performance of the club:

| Year | Division | Tier | Position |
| --- | --- | --- | --- |
| 1999–2000 | Landesliga Bayern-Mitte | V | 2nd |
| 2000–01 | Landesliga Bayern-Mitte | | 9th |
| 2001–02 | Landesliga Bayern-Mitte | | 8th |
| 2002–03 | Landesliga Bayern-Mitte | | 5th |
| 2003–04 | Landesliga Bayern-Mitte | | 1st ↑ |
| 2004–05 | Bayernliga | IV | 6th |
| 2005–06 | Bayernliga | | 5th |
| 2006–07 | Bayernliga | | 11th |
| 2007–08 | Bayernliga | | 11th |
| 2008–09 | Bayernliga | V | 13th |
| 2009–10 | Bayernliga | | 19th ↓ |
| 2010–11 | Landesliga Bayern-Mitte | VI | 11th |
| 2011–12 | Landesliga Bayern-Mitte | | 9th |
| 2012–13 | Landesliga Bayern-Mitte | | 8th |
| 2013–14 | Landesliga Bayern-Mitte | | 1st ↑ |
| 2014–15 | Bayernliga Süd | V | 15th ↓ |
| 2015–16 | Landesliga Bayern-Mitte | VI | 3rd |
| 2016–17 | Landesliga Bayern-Mitte | | 5th |
| 2017–18 | Landesliga Bayern-Mitte |  |

* With the introduction of the Bezirksoberligas in 1988 as the new fifth tier, below the Landesligas, all leagues below dropped one tier. With the introduction of the Regionalligas in 1994 and the 3. Liga in 2008 as the new third tier, below the 2. Bundesliga, all leagues below dropped one tier. With the establishment of the Regionalliga Bayern as the new fourth tier in Bavaria in 2012 the Bayernliga was split into a northern and a southern division, the number of Landesligas expanded from three to five and the Bezirksoberligas abolished. All leagues from the Bezirksligas onwards were elevated one tier.

| Promoted | Relegated |
| --- | --- |

## InfoBox

1. FC Bad Kötzting
|  | |
| --- | --- |
| Full name | 1. FC Bad Kötzting 1921 e.V. |
| Founded | 5 May 1921 |
| Ground | Stadion am Roten Steg |
| Capacity | 6,000 |
| Chairman | Hans Kuchler |
| Manager | Peter Gallmaier |
| League | Landesliga Bayern-Mitte (VI) |
| 2016–17 | 5th |
|  | |
|  | |
|  | |


title: Angelo Antonino Pipitone

abstract: Angelo Antonino Pipitone is a member of the Sicilian Mafia from Carini near Palermo. Pipitone is the boss of the cosca of Carini and was arrested on September 25, 2014 together with his wife Franca Pellerito, his daughter Epifania and her husband Benedetto Pipitone, his cousin Francesco Marco Pipitone as well as Angela Conigliaro, who according to the investigators is loyal to the Pipitone family.

text:
# Angelo Antonino Pipitone

**Angelo Antonino Pipitone** (born August 30, 1943 in Carini, Sicily) is a member of the Sicilian Mafia from Carini near Palermo. Pipitone is the boss of the cosca of Carini and was arrested on September 25, 2014 together with his wife Franca Pellerito, his daughter Epifania and her husband Benedetto Pipitone, his cousin Francesco Marco Pipitone as well as Angela Conigliaro, who according to the investigators is loyal to the Pipitone family.


title: Elachista herbigrada

abstract: Elachista herbigrada is a moth of the family Elachistidae. It is found in North America, where it has been recorded from Alberta, Utah, Colorado and Arizona.

text:
# Elachista herbigrada

***Elachista herbigrada*** is a moth of the family Elachistidae. It is found in North America, where it has been recorded from Alberta, Utah, Colorado and Arizona.

## InfoBox

| *Elachista herbigrada* | |
| --- | --- |
|  | |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Insecta |
| Order: | Lepidoptera |
| Family: | Elachistidae |
| Genus: | *Elachista* |
| Species: | ***E. herbigrada*** |
| Binomial name | |
| ***Elachista herbigrada***<br>Braun, 1925 | |
|
| Synonyms | |
| * *Cosmiotes herbigrada* | |


title: 15th Division (Yugoslav Partisans)

abstract: The 15th Slovenian Assault Division was Yugoslav Partisan division formed in Dolenjske Toplice on 13 July 1943. Upon formation it had around 1,600 soldiers in three brigades, those being the 4th, 5th and the 6th Slovenia Brigades. First commander of the division was Predrag Jeftić and its political commissar was Viktor Avbelj. Jeftić was killed in action on 30 July 1943 and Rajko Tanasković became the new commander. On 3 October 1943, the division became a part of the 7th Corps.

text:
# 15th Division (Yugoslav Partisans)

The **15th Slovenian Assault Division** (Serbo-Croatian Latin: **Petnaesta slovenačka udarna divizija**) was Yugoslav Partisan division formed in Dolenjske Toplice on 13 July 1943. Upon formation it had around 1,600 soldiers in three brigades, those being the 4th, 5th and the 6th Slovenia Brigades. First commander of the division was Predrag Jeftić and its political commissar was Viktor Avbelj. Jeftić was killed in action on 30 July 1943 and Rajko Tanasković became the new commander. On 3 October 1943, the division became a part of the 7th Corps.

## InfoBox

| 15th Slovenia Division | |
| --- | --- |
| Flag of Democratic Federal Yugoslavia (used by the Partisans) | |
| Active | 1943–1945 |
| Country | Democratic Federal Yugoslavia |
| Branch | Yugoslav Partisan Army |
| Type | Infantry |
| Size | ~1,600 (upon formation) |
| Part of | 7th Corps |
| Engagements | World War II in Yugoslavia |
| Commanders | |
| Notable
commanders | Predrag Jeftić
Rajko Tanasković |


title: 1986–87 Coupe de France

abstract: The Coupe de France 1986–87 was its 70th edition. It was won by Girondins de Bordeaux which defeated Olympique de Marseille in the Final.

text:
# 1986–87 Coupe de France

The **Coupe de France** 1986–87 was its 70th edition. It was won by Girondins de Bordeaux which defeated Olympique de Marseille in the Final.

## Round of 16

| Team 1 | Agg.Tooltip Aggregate score | Team 2 | 1st leg | 2nd leg |
| --- | --- | --- | --- | --- |
| **Stade Lavallois** (D1) | 2–2 () | Stade Brestois (D1) | 0–1 | 2–1 |
| **Lille OSC** (D1) | 5–3 | AJ Auxerre (D1) | 3–0 | 2–2 |
| **Girondins de Bordeaux** (D1) | 3–2 | AS Monaco (D1) | 2–0 | 1–2 |
| **Olympique de Marseille** (D1) | 5–2 | Olympique Lyonnais (D2) | 3–0 | 2–2 |
| **RC Strasbourg** (D2) | 5–3 | Toulouse FC (D1) | 2–1 | 3–2 |
| Périgueux (D4) | 2–8 | **RC Lens** (D1) | 0–4 | 2–4 |
| FC Martigues (D2) | 1–2 | **Stade de Reims** (D2) | 1–0 | 0–2 |
| **Olympique Alès** (D2) | 3–2 | Tours FC (D2) | 3–1 | 0–1 |

## Quarter-finals

| Team 1 | Agg.Tooltip Aggregate score | Team 2 | 1st leg | 2nd leg |
| --- | --- | --- | --- | --- |
| RC Lens (D1) | 0–1 | **Olympique de Marseille** (D1) | 0–1 | 0–0 |
| **Girondins de Bordeaux** (D1) | 4–3 | Lille OSC (D1) | 3–1 | 1–2 |
| Stade Lavallois (D1) | 1–1 (3–4 ) | **Stade de Reims** (D2) | 1–0 | 0–1 (a.e.t.) |
| **Olympique Alès** (D2) | 2–1 | RC Strasbourg (D2) | 2–0 | 0–1 |

## Semi-finals

### First leg

| Alès (2) | 2–2 | Bordeaux (1) |
| --- | --- | --- |
| J. Martinez  70'
Cabanel  85' | Report | Vercruysse  73'
Ferreri  83' |

Stade Pierre Pibarot, AlèsAttendance: 17,000Referee: Gérard Biguet

---

| Marseille (1) | 2–0 | Reims (2) |
| --- | --- | --- |
| Brisson  41'
Benoît  47' | Report |  |

Stade Vélodrome, MarseilleAttendance: 17,085Referee: Jean-Marie Lartigot

### Second leg

| Bordeaux (1) | 0–0 | Alès (2) |
| --- | --- | --- |
|  | Report |  |

Parc Lescure, BordeauxAttendance: 20,000Referee: René Lopez

*2–2 on aggregate. Bordeaux won on away goals.*

---

| Reims (2) | 1–5 | Marseille (1) |
| --- | --- | --- |
| Badjika  64' (pen.) | Report | Laurey  2'
Passi  35'
Cubaynes  60'
Genghini  78'
Förster  83' |

Stade Auguste Delaune, ReimsAttendance: 28,000Referee: Robert Wurtz

*Marseille won 7–1 on aggregate.*

## Final

| Bordeaux | 2–0 | Marseille |
| --- | --- | --- |
| Fargeon  14'
Zl. Vujović  88' | Report |  |

Parc des Princes, ParisAttendance: 45,145Referee: Michel Vautrot

## InfoBox

1986–87 Coupe de France
| Tournament details | |
| --- | --- |
| Country | France |
|  | |


title: Effingen

abstract: Effingen is a former municipality in the district of Brugg in canton of Aargau in Switzerland. On 1 January 2022 the former municipalities of Bözen, Effingen, Elfingen and Hornussen merged into the new municipality of Böztal.

text:
# Effingen

**Effingen** is a former municipality in the district of Brugg in canton of Aargau in Switzerland. On 1 January 2022 the former municipalities of Bözen, Effingen, Elfingen and Hornussen merged into the new municipality of Böztal.

## History

Effingen is first mentioned in 1284 as *Efingen* though the area was settled earlier. The earliest evidence of a settlement is a High Middle Ages chapel with associated Alamanni graves.

Effingen belonged to the court of Elfingen until 1460 when it was purchased by Bern. Under Bern it belonged to the court of Bözen of the Schenkenberg Bailiwick. By 1550 the village administrative rights were limited and in 1614 village officials were first mentioned.

Effingen's chapel belonged to the parish of Elfingen and after 1600 to the parish of Bözen. By no later than 1684 there was a village school.

Until the 19th century agriculture prevailed with wine being the most important product. In the 18th century home processing of cotton brought another industry to the village. The village has had a tavern since the 13th century, which provided a stopping point for traffic over the Bözberg and another source of income.

In 1777-79 a new road was built, which increased the traffic into the village. Then, in 1875, a railroad station was built in Effingen. In 1996, the A3 motorway was built near Effingen. Since about 1980 the village has been expanding with new construction. By 2000, the third sector of the economy accounted for about two thirds of jobs in Effingen.

## Geography

Effingen has an area, as of 2006, of 6.85 square kilometers (2.64 sq mi). Of this area, 2.98 square kilometers (1.15 sq mi) or 43.5% is used for agricultural purposes, while3.23 square kilometers (1.25 sq mi) or 47.2% is forested. Of the rest of the land, 0.58 square kilometers (0.22 sq mi) or 8.5% is settled (buildings or roads), 0.05 km2 (12 acres) or 0.7% is either rivers or lakes and 0.03 km2 (7.4 acres) or 0.4% is unproductive land.

Of the built up area, housing and buildings made up 3.6% and transportation infrastructure made up 4.8%. 46.0% of the total land area is heavily forested and 1.2% is covered with orchards or small clusters of trees. Of the agricultural land, 21.5% is used for growing crops and 20.4% is pastures, while 1.6% is used for orchards or vine crops. All the water in the municipality is in rivers and streams.

The municipality is located in the Brugg district on the western flank of the Bözberg. It consists of the linear village of Effingen and the hamlet of Chästel as well as scattered individual farm houses.

The municipalities of Bözen, Effingen, Elfingen, Hornussen and Zeihen are considering a merger some time in the future into a new municipality with an as yet (as of 2010) undetermined name.

### Distance from Major Municipalities

Effingen is a small municipality, yet is near some of Switzerland's major cities.

* Effingen to Zürich: 35.27 kilometers (21.92 mi)
* Effingen to Lucerne: 51.63 kilometers (32.08 mi)
* Effingen to Bern: 78.03 kilometers (48.49 mi)

## Coat of arms

The blazon of the municipal coat of arms is *Per fess Gules a Wing Argent and Argent a Mullet of Five Gules and Coupeaux Vert.*

## Demographics

Effingen has a population (as of December 2020) of 632 As of June 2009, 9.4% of the population are foreign nationals. Over the last 10 years (1997–2007) the population has changed at a rate of -0.6%. Most of the population (as of 2000) speaks German (93.0%), with Albanian being second most common ( 1.4%) and English being third ( 0.9%).

The age distribution, as of 2008, in Effingen is; 44 children or 7.2% of the population are between 0 and 9 years old and 91 teenagers or 14.9% are between 10 and 19. Of the adult population, 89 people or 14.5% of the population are between 20 and 29 years old. 57 people or 9.3% are between 30 and 39, 106 people or 17.3% are between 40 and 49, and 114 people or 18.6% are between 50 and 59. The senior population distribution is 59 people or 9.6% of the population are between 60 and 69 years old, 37 people or 6.0% are between 70 and 79, there are 13 people or 2.1% who are between 80 and 89, and there are 2 people or 0.3% who are 90 and older.

As of 2000 the average number of residents per living room was 0.61 which is about equal to the cantonal average of 0.57 per room. In this case, a room is defined as space of a housing unit of at least 4 m2 (43 sq ft) as normal bedrooms, dining rooms, living rooms, kitchens and habitable cellars and attics.

About 66.4% of the total households were owner occupied, or in other words did not pay rent (though they may have a mortgage or a rent-to-own agreement). As of 2000, there were 11 homes with 1 or 2 persons in the household, 98 homes with 3 or 4 persons in the household, and 102 homes with 5 or more persons in the household. The average number of people per household was 2.76 individuals. In 2008 there were 129 single family homes (or 54.2% of the total) out of a total of 238 homes and apartments. There were a total of 4 empty apartments for a 1.7% vacancy rate. As of 2007, the construction rate of new housing units was 1.6 new units per 1000 residents.

In the 2007 federal election the most popular party was the SVP which received 43.1% of the vote. The next three most popular parties were the SP (15.5%), the CVP (9.7%) and the Green Party (9.1%).

The entire Swiss population is generally well educated. In Effingen about 77.3% of the population (between age 25–64) have completed either non-mandatory upper secondary education or additional higher education (either university or a *Fachhochschule*). Of the school age population (in the 2008/2009 school year), there are 35 students attending primary school in the municipality.

The historical population is given in the following table:

Historical population
| Year | Pop. | ±% |
| --- | --- | --- |
| 1764 | 265 |  |
| 1850 | 504 | +90.2% |
| 1900 | 431 | −14.5% |
| 1950 | 395 | −8.4% |
| 1980 | 403 | +2.0% |
| 2000 | 632 | +56.8% |

## Heritage sites of national significance

The Roman road at the Bözberg near Effingen was listed as a heritage site of national significance but is no longer listed in the 2009 inventory.

## Transportation

The municipality is located on the A3 motorway.

## Economy

As of  2007, Effingen had an unemployment rate of 1.53%. As of 2005, there were 53 people employed in the primary economic sector and about 18 businesses involved in this sector. 11 people are employed in the secondary sector and there are 5 businesses in this sector. 101 people are employed in the tertiary sector, with 20 businesses in this sector.

As of 2000 there was a total of 301 workers who lived in the municipality. Of these, 214 or about 71.1% of the residents worked outside Effingen while 51 people commuted into the municipality for work. There were a total of 138 jobs (of at least 6 hours per week) in the municipality. Of the working population, 18.3% used public transportation to get to work, and 52% used a private car.

## Religion

From the 2000 census, 170 or 26.9% were Roman Catholic, while 353 or 55.9% belonged to the Swiss Reformed Church. Of the rest of the population, there was 1 individual who belonged to the Christian Catholic faith.

## InfoBox

| Effingen | |
| --- | --- |
| Former municipality | |
|  | |
|  | |
| Location of Effingen | |
| EffingenEffingen | |
| Coordinates: 47°30′N 8°6′E / 47.500°N 8.100°E / 47.500; 8.100 | |
| Country | Switzerland |
| Canton | Aargau |
| District | Brugg |
| Area | |
| Total | 6.85 km2 (2.64 sq mi) |
| Elevation | 432 m (1,417 ft) |
| Population (31 December 2018) | |
| Total | 595 |
| Density | 87/km2 (220/sq mi) |
| Time zone | UTC+01:00 (Central European Time) |
| Summer (DST) | UTC+02:00 (Central European Summer Time) |
| Postal code(s) | 5078 |
| SFOS number | 4096 |
| ISO 3166 code | CH-AG |
| Surrounded by | Bözen, Elfingen, Gallenkirch, Linn, Mönthal, Oberbözberg, Unterbözberg, Zeihen |
| Website | effingen.ch
SFSO statistics |


title: Andragogy

abstract: Andragogy refers to methods and principles used in adult education. The word comes from the Greek ἀνδρ- (andr-), meaning "adult male", and ἀγωγός (agogos), meaning "leader of". Therefore, andragogy literally means "leading men", whereas "pedagogy" literally means "leading children".

text:
# Andragogy

**Andragogy** refers to methods and principles used in adult education. The word comes from the Greek ἀνδρ- (*andr-*), meaning "adult male", and ἀγωγός (*agogos*), meaning "leader of". Therefore, andragogy literally means "leading men (adult males)", whereas "pedagogy" literally means "leading children".

## Definitions

There are many different theories in the areas of learning, teaching and training. Andragogy commonly is defined as the art or science of teaching adults or helping adults learn. In contrast to pedagogy, or the teaching of children, andragogy is based on a humanistic conception of self-directed and autonomous learners where teachers are defined as facilitators of learning.

Although Malcolm Knowles proposed andragogy as a theory, others posit that there is no single theory of adult learning or andragogy. In the literature where adult learning theory is often identified as a principle or an assumption, there are a variety of different approaches and theories that are also evolving in view of evolving higher education instruction, workplace training, new technology and online learning (Omoregie, 2021).

Malcolm Knowles identified these adult learner characteristics related to the motivation of adult learning.

1. Need to know: Adults need to know the reason for learning something.
2. Foundation: Experience (including error) provides the basis for learning activities.
3. Self-concept: Adults need to be responsible for their decisions on education; involvement in the planning and evaluation of their instruction.
4. Readiness: Adults are most interested in learning subjects having immediate relevance to their work and/or personal lives.
5. Orientation: Adult learning is problem-centered rather than content-oriented.
6. Motivation: Adults respond better to internal versus external motivators.

Blaschke (2012) described Malcolm Knowles' 1973 theory as "self-directed" learning. The goals include helping learners develop the capacity for self-direction, supporting transformational learning and promoting "emancipatory learning and social action" (Blaschke, 2019, p. 76).

Although Knowles' andragogy is a well-known theory in the English-speaking world, his theory has an ancillary role internationally. This is especially true in European countries where andragogy is a term used to refer to a field of systematic reflection. The acceptance of andragogy in European countries, according to St. Clair and Käpplinger (2021) is to accept andragogy as the "scientific study of learning in adults and the concomitant teaching approaches" (p. 485). Further, the definition of andragogy and its application to adult learning is more variable currently due to both the impact of globalization and the rapid expansion of adult online learning.

## History

The term was originally coined by German educator Alexander Kapp in 1833. Andragogy was developed into a theory of adult education by Eugen Rosenstock-Huessy. It later became very popular in the US by the American educator Malcolm Knowles. Knowles asserted that andragogy (Greek: "man-leading") should be distinguished from the more commonly used term *pedagogy* (Greek: "child-leading").

Knowles collected ideas about a theory of adult education from the end of World War II until he was introduced to the term "androgogy". In 1966, Knowles met Dušan Savićević in Boston. Savićević was the one who shared the term andragogy with Knowles and explained how it was used in the European context. In 1967, Knowles made use of the term "andragogy" to explain his theory of adult education. Then after consulting with Merriam-Webster, he corrected the spelling of the term to "andragogy" and continued to make use of the term to explain his multiple ideas about adult learning.

Knowles' theory can be stated with six assumptions related to the motivation of adult learning:

1. Need to know: Adults need to know the reason for learning something.
2. Foundation: Experience (including error) provides the basis for learning activities.
3. Self-concept: Adults need to be responsible for their decisions on education; involvement in the planning and evaluation of their instruction.
4. Readiness: Adults are most interested in learning subjects having immediate relevance to their work and/or personal lives.
5. Orientation: Adult learning is problem-centered rather than content-oriented.
6. Motivation: Adults respond better to internal versus external motivators.

In most European countries, the Knowles discussion played at best, a marginal role. "Andragogy" was, from 1970 on, connected with emerging academic and professional institutions, publications, or programs, triggered by a similar growth of adult education in practice and theory as in the United States. "Andragogy" functioned here as a header for (places of) systematic reflections, parallel to other academic headers like "biology", "medicine", and "physics".

Early examples of this use of andragogy are the Yugoslavian (scholarly) journal for adult education, named *Andragogija* in 1969, and the Yugoslavian Society for Andragogy; at Palacky University in Olomouc (Czech Republic) the *Katedra sociologie a andragogiky* (Sociology and Andragogy Department) was established in 1990. Also, Prague University has a *Katedra Andragogiky* (Andragogical Department); in 1993, Slovenia's *Andragoski Center Republike Slovenije* (Slovenian Republic Andragogy Center) was founded with the journal *Andragoska Spoznanja*; in 1995, Bamberg University (Germany) named a *Lehrstuhl Andragogik* (Androgogy Chair).

On this formal level "above practice" and specific approaches, the term "andragogy" could be used relating to all types of theories, for reflection, analysis, training, in person-oriented programs, or human resource development.

## Principles

Adult learning is based upon comprehension, organization and synthesis of knowledge rather than rote memory. Some scholars have proposed seven principles of adult learning:

* Adults must want to learn: They learn effectively only when they are free to direct their own learning and have a strong inner motivation to develop a new skill or acquire a particular type of knowledge, this sustains learning.
* Adults will learn only what they feel they need to learn – Adults are practical in their approach to learning; they want to know, "How is this going to help me right now? Is it relevant (content, connection, and application) and does it meet my targeted goals?"
* Adults learn by doing: Adolescents learn by doing, but adults learn through active practice and participation. This helps in integrating component skills into a coherent whole.
* Adult learning focuses on problem solving: Adolescents tend to learn skills sequentially. Adults tend to start with a problem and then work to find a solution. A meaningful engagement, such as posing and answering realistic questions and problems is necessary for deeper learning. This leads to more elaborate, longer lasting, and stronger representations of the knowledge (Craik & Lockhart, 1972).
* Experience affects adult learning: Adults have more experience than adolescents. This can be an asset and a liability, if prior knowledge is inaccurate, incomplete, or immature, it can interfere with or distort the integration of incoming information (Clement, 1982; National Research Council, 2000).
* Adults learn best in an informal situation: Adolescents have to follow a curriculum. Often, adults learn by taking responsibility for the value and need of content they have to understand and the particular goals it will achieve. Being in an inviting, collaborative and networking environment as an active participant in the learning process makes it efficient.
* Adults want guidance and consideration as equal partners in the process: Adults want information that will help them improve their situation. They do not want to be told what to do and they evaluate what helps and what doesn't. They want to choose options based on their individual needs and the meaningful impact a learning engagement could provide. Socialization is more important among adults.

## Academic discipline

In the field of adult education during recent decades, a process of growth and differentiation emerged as a scholarly and scientific approach, andragogy. It refers to the academic discipline(s) within university programs that focus on the education of adults; andragogy exists today worldwide. The term refers to a new type of education which was not qualified by missions and visions, but by academic learning including: reflection, critique, and historical analyses.

Dušan Savićević, who provided Knowles with the term andragogy, explicitly claims andragogy as a discipline, the subject of which is the study of education and learning of adults in all its forms of expression' (Savicevic, 1999, p. 97, similarly Henschke, 2003,), Reischmann, 2003.

Recent research and the COVID 19 pandemic have expanded andragogy into the online world internationally, as evidenced by country and international organizations that foster the development of adult learning, research and collaboration in educating adults. New and expanding online instruction is fostered by national organizations, literacy organizations, academic journals and higher education institutions that are helping adults to achieve learning and skills that will contribute to individual economic improvement.

New learning resources and approaches are identified, such as finding that using collaborative tools like a wiki can encourage learners to become more self-directed, thereby enriching the classroom environment. Andragogy gives scope to self-directed learners and helps in designing and delivering the focused instructions. The methods used by andragogy can be used in different educational environments (e.g. adolescent education).

Internationally there are many academic journals, adult education organizations (including government agencies) and centers for adult learning housed in a plethora of international colleges and universities that are working to promote the field of adult learning, as well as adult learning opportunities in training, traditional classes and in online learning.

In academic fields, andrologists are those who practice and specialize in the field of andragogy. Andragologists have received a doctoral degree from an accredited university in Education (EdD) or a Philosophy (PhD) and focused their dissertation utilizing andragogy as a main component of their theoretical framework.

## Differences in learning: The Pedagogy, andragogy and heutagogy continuum

In the 20th century, adult educators began to challenge the application of pedagogical theory and teacher-centered approaches to the teaching of adults. Unlike children, adult learners are not transmitted knowledge. Rather, the adult learner is an active participant in their learning. Adult students also are asked to actively plan their learning process to include identifying learning objectives and how they will be achieved. Knowles (1980) summarized the key characteristics of andragogy in this model: 1) independency or self-directedness 2) using past experiences to construct learning, 3) association with readiness to learn, and 4) changing education perspectives from subject-centered one to performance centered perspectives.

A new educational strategy has evolved in response to globalization that identifies learners as self-determined, especially in higher education and work-place settings: heutagogy, a process where students learn on their own with some guidance from the teacher. The motivation to learn comes from the students' interest in not only performing, but being recognized for their accomplishment (Akiyildiz, 2019). In addition, in heutagogy, learning is learner-centric - where the decisions relating to the learning process are managed by the student. Further, the student determines whether or not the learning objectives are met.

Differences between pedagogy, andragogy, and heutagogy include:

|  | Pedagogy Children Learning | Andragogy Adult Learning | Heutagogy Self-directed Learning |
| --- | --- | --- | --- |
| **Learner** | * The learner is dependent on the instructor, the teacher schedules all the activities; determining how, when and where they should take place * Teacher is the one who is responsible for what is taught and how it is taught * Teacher evaluates the learning | * The learner is self-directed and moves towards independence * Learner is responsible for the learning * Students are able to self-evaluate | * The learner is self-directed * Learner is able to manage their own learning * The learner uses their own experiences and those of others |
| **Learner's** **Experience** | * There is little experience which could be gained from this kind of learning * Method is didactic |  | * The learner is able to reflect on their experiences * They are able to use experiences of other learners |
| **Readiness** **to Learn** | * Standardized curriculum set which will be based on societal needs * Learning is a goal to move to the next level | * Curriculum is more application based and it revolves around life experiences | * Learning is self-determined * The learner is able to manage their own learning * Learning is driven by the potential to learn in new situations |
| **Orientation to Learning** **and Role of Instructor** | * Teachers support students in becoming learners and understanding learning needs | * Adult learning is task or problem centered * Adults may be asked to explore their own effective learning strategies | * The learner is self-directed * Learner is able to manage their own learning |
| **Resources for Learning** | * Standardized curriculum and resources * Teachers lead instructional methods | * Resources maybe provided by instructors but adults use their own (and other students') experiences * Adult learners seek out additional resources | * The learner is self-directed * The learner is able to manage their own learning * Instructors may provide some resources but the learner negotiates their own learning |
| **Motivation** | * Motivation is by external pressure such as grading, class rank, completion of grade-levels |  | * Self-efficacy—The learner is self-directed * Learner is able to manage their own learning in new situations and in working with others |

## Critique

There is no consensus internationally on whether andragogy is a learning theory or a set of principles, characteristics or assumptions of adult learning. Knowles himself changed his position on whether andragogy applied only to adults and came to believe that "pedagogy-andragogy represents a continuum ranging from teacher-directed to student-directed learning and that both approaches are appropriate with children and adults, depending on the situation." Hanson (1996) argues that the difference in learning is not related to the age and stage of one's life, but instead related to individual characteristics and the differences in "context, culture and power" within different educational settings.

In another critique of Knowles' work, Knowles was not able to use one of his principles (Self-concept) with adult learners to the extent that he describes in his practices. In one course, Knowles appears to allow "near total freedom in learner determination of objectives" but still "intended" the students to choose from a list of 18 objectives on the syllabus. Self-concept can be critiqued not just from the instructor's point of view, but also from the student's point of view. Not all adult learners will know exactly what they want to learn in a course and may seek a more structured outline from an instructor. An instructor cannot assume that an adult will desire self-directed learning in every situation.

Kidd (1978) goes further by claiming that principles of learning have to be applied to lifelong development. He suggested that building a theory on adult learning would be meaningless, as there is no real basis for it. Jarvis even implies that andragogy would be more the result of an ideology than a scientific contribution to the comprehension of the learning processes. Knowles himself mentions that andragogy is a "model of assumptions about learning or a conceptual framework that serves as a basis for an emergent theory." There appears to be a lack of research on whether this framework of teaching and learning principles is more relevant to adult learners or if it is just a set of good practices that could be used for both children and adult learners.

The way adults learn is different from the pedagogical approach used to foster learning in K-12 settings. These learning differences are key and can be used to show that the six characteristics/principles of andragogy remain applicable when designing teaching and learning materials, in English as a Foreign Language (EFL), for example.

## Further reading


title: Anne Martin (rower)

abstract: Anne Martin is an American rower. She competed in the women's quadruple sculls event at the 1988 Summer Olympics. After her rowing career, Martin worked as the Chief Investment Officer at Wesleyan University.

text:
# Anne Martin (rower)

**Anne Martin** (born September 24, 1961) is an American rower. She competed in the women's quadruple sculls event at the 1988 Summer Olympics. After her rowing career, Martin worked as the Chief Investment Officer at Wesleyan University.

## Biography

Martin was born in 1961. She attended Smith College, and took up rowing in the early 1980s during her sophomore year. She competed at the World Rowing Championships from 1984 to 1987. At the 1984 and 1985 Championships, she won bronze in the single sculls. At the 1986 World Rowing Championships, Martin won gold in the coxless four. After the World Championships, Martin began training for a spot on the US Olympic team.

At the 1988 Summer Olympics in Seoul, Martin competed in the women's quadruple sculls, where the US team finished in ninth place.

After her rowing career, Martin went to Stanford University earning an MBA. She started work in the finance sector at Alex. Brown & Sons, before moving to a private equity company in San Francisco. After becoming a director at Yale Investments Office, Martin became the chief investment officer at Wesleyan University.

Martin is married to John Pescatore, who also rowed for the United States at the Olympics in 1988 and 1992, and has twin boys. She was inducted into the National Rowing Foundation's hall of fame in 1997.

## InfoBox

Anne Martin
| Personal information | |
| --- | --- |
| Nationality | American |
| Born | (1961-09-24) September 24, 1961 |
| Sport | |
| Sport | Rowing |


title: Dorothea O'C. Wefing

abstract: Dorothea O'C. Wefing is a retired New Jersey judge. Wefing is from Teaneck. She graduated from Manhattanville College and received her J.D. from Seton Hall University School of Law. She was appointed a judge on the Superior Court on January 19, 1984. She was elevated to New Jersey Superior Court, Appellate Division, Part E. on September 1, 1993. She became presiding judge of Part E on September 1, 2004. In June 2011, Wefing was named an interim member of the New Jersey Supreme Court by Chief Justice Stuart Rabner to succeed Edwin Stern, who was appointed as an acting justice in 2010, during a period of controversy and conflict with the New Jersey Senate about the composition about its composition. She retired in October 2012.

text:
# Dorothea O'C. Wefing

**Dorothea O'C. Wefing** (born 1943) is a retired New Jersey judge.

Wefing is from Teaneck. She graduated from Manhattanville College and received her J.D. from Seton Hall University School of Law.

She was appointed a judge on the Superior Court on January 19, 1984. She was elevated to New Jersey Superior Court, Appellate Division, Part E. on September 1, 1993. She became presiding judge of Part E on September 1, 2004.

In June 2011, Wefing was named an interim member (Judge of the Appellate Division, Temporarily Assigned to the Supreme Court) of the New Jersey Supreme Court by Chief Justice Stuart Rabner to succeed Edwin Stern, who was appointed as an acting justice in 2010, during a period of controversy and conflict with the New Jersey Senate about the composition about its composition.

She retired in October 2012.


title: Alex McDonald (rugby union)

abstract: Alexander McDonald was a New Zealand rugby union player. A loose forward, McDonald represented Otago at a provincial level, and was a member of the New Zealand national side, the All Blacks, between 1905 and 1913. He played 41 matches for the All Blacks including 14 as captain. McDonald played in eight internationals, including the famous "Match of the Century" against Wales. He went on to coach both the Otago and Wellington provincial teams, and was a North Island, South Island and national selector. He co-managed the All Blacks on their 1938 tour of Australia, and was assistant manager for the 1949 South African tour. McDonald died at Dunedin on 4 May 1967, and his ashes were buried in Andersons Bay Cemetery.

text:
# Alex McDonald (rugby union)

**Alexander McDonald** (23 April 1883 – 4 May 1967) was a New Zealand rugby union player. A loose forward, McDonald represented Otago at a provincial level, and was a member of the New Zealand national side, the All Blacks, between 1905 and 1913. He played 41 matches for the All Blacks including 14 as captain. McDonald played in eight internationals, including the famous "*Match of the Century*" against Wales. He went on to coach both the Otago and Wellington provincial teams, and was a North Island, South Island and national selector. He co-managed the All Blacks on their 1938 tour of Australia, and was assistant manager for the 1949 South African tour.

McDonald died at Dunedin on 4 May 1967, and his ashes were buried in Andersons Bay Cemetery.

## InfoBox

Alex McDonald
| Birth name | Alexander McDonald |
| --- | --- |
| Date of birth | (1883-04-23)23 April 1883 |
| Place of birth | Dunedin, New Zealand |
| Date of death | 4 May 1967(1967-05-04) (aged 84) |
| Place of death | Dunedin, New Zealand |
| Height | 1.78 m (5 ft 10 in) |
| Weight | 83 kg (183 lb) |
| School | George Street School, Dunedin |
| Rugby union career | |
| **Position(s)** Loose forward  Provincial / State sides  **Years** **Team** **Apps** **(Points)**  1904–1919 Otago   ()  International career  **Years** **Team** **Apps** **(Points)**  1905–13 New Zealand  8  (11) | |


title: Albrecht von Massow

abstract: Albrecht von Massow is a German musicologist. Since 2000 he has held a professorship for 20th century music and systematic musicology at the joint Institute for Musicology Weimar-Jena.

text:
# Albrecht von Massow

**Albrecht von Massow** (born in 1960) is a German musicologist. Since 2000 he has held a professorship for 20th century music and systematic musicology at the joint Institute for Musicology Weimar-Jena.

## Life

Born in Bonn, von Massow studied musicology, philosophy and modern German literature at the University of Freiburg from 1982 to 1988. As a research assistant, he contributed to the Handwörterbuch der musikalischen Terminologie. From 1988 to 1991 he did his doctorate under Hans Heinrich Eggebrecht. His dissertation dealt with "Half-world, culture and nature in Berg's *Lulu* and was graded *summa cum laude*. From 1993 von Massow gave courses in analysis at the musicological seminar of the University of Freiburg and organised weekend seminars together with Eggebrecht as part of the Studium generale. He was a founding member of the Society for Musik & Ästhetik. In 2000, Von Massow won his habilitation at the Technical University of Dortmund with the thesis "Musikalisches Subjekt – Idee und Erscheinung in der Moderne".

Since then he has held a professorship for 20th century music and systematic musicology at the joint Institute for Musicology of the Hochschule für Musik Franz Liszt, Weimar and the Friedrich-Schiller-Universität Jena. Von Massow is founder, supervisor and co-editor of the series *KlangZeiten - Musik, Politik und Gesellschaft*, which has been published since 2004. Since 2012 he has been a member of the board of the Landscape Park Nohra Foundation. Since October 2017 he is president of the German Liszt Society.

## Publications

* *Halbwelt, Kultur und Natur in Alban Bergs Lulu*. (*Beihefte zum AfMw* 33), Stuttgart 1992.
* *Musikalisches Subjekt. Idee und Erscheinung in der Moderne.* Rombach, Freiburg in Br. 2001.
* *Ästhetik und Analyse*, in *Musikalischer Sinn. Beiträge zu einer Philosophie der Musik*, edited by Alexander Becker and Matthias Vogel, Frankfurt 2007, pp. 129174.
* Published with Michael Berg, Knut Holtsträter: *Die unerträgliche Leichtigkeit der Kunst. Ästhetisches und politisches Handeln in der DDR.* Böhlau Verlag, Köln/Weimar/Wien 2007.
    + includes: *Probleme einer humanistischen Legitimation von Kunst.* pp. 163175.
* *Musikalische Autonomieästhetik zwischen Geistes-, Natur- und Sozialwissenschaften*, in *Laboratorium Aufklärung* 1, edited by Olaf Breidbach, Daniel Fulda and Hartmut Rosa, Munich 2010, pp. 169197.
* *Gehversuche musikwissenschaftlicher Vergangenheitsbewältigung*, in *Freiburger Universitätsblätter*, H. 195, 2012, pp. 1350.
* Published with Thomas Grysko, Josephine Prkno: *Ein Prisma ostdeutscher Musik: Der Komponist Lothar Voigtländer.* Böhlau Verlag, Köln/Weimar/Wien 2015.
* *Die unterschätzte Kunst. Musik seit der Ersten Aufklärung.* Böhlau Verlag, Cologne 2019.


title: Don Rosa

abstract: Keno Don Hugo Rosa, known as Don Rosa, is an American comic book writer and illustrator known for his Disney comics stories about Scrooge McDuck, Donald Duck, and other characters which Carl Barks created for Disney-licensed comic books, first published in America by Dell Comics. Many of his stories are built on characters and locations created by Barks; among these was his first Duck story, "The Son of the Sun" (1987), which was nominated for a Harvey Award in the "Best Story of the Year" category. Rosa created about 90 stories between 1987 and 2006. In 1995, his 12-chapter work The Life and Times of Scrooge McDuck won the Eisner Award for Best Serialized Story.

text:
# Don Rosa

**Keno Don Hugo Rosa** (/ˈkn ˈdɒn ˈhjɡ ˈrzə/), known as **Don Rosa** (born June 29, 1951), is an American comic book writer and illustrator known for his Disney comics stories about Scrooge McDuck, Donald Duck, and other characters which Carl Barks created for Disney-licensed comic books, first published in America by Dell Comics. Many of his stories are built on characters and locations created by Barks; among these was his first Duck story, "The Son of the Sun" (1987), which was nominated for a Harvey Award in the "Best Story of the Year" category.

Rosa created about 90 stories between 1987 and 2006. In 1995, his 12-chapter work *The Life and Times of Scrooge McDuck* won the Eisner Award for Best Serialized Story.

## Early life

Don Rosa's grandfather, Gioachino Rosa, lived in Maniago, a town at the foot of the Alps in Northern Italy, in the province of Pordenone. He immigrated to Kentucky, the United States, around 1900, established a successful tile and terrazzo company, then returned to Italy to marry and start a family. In 1915 just after the birth of his son Ugo Rosa, Gioachino returned to Kentucky with his wife, two daughters and two sons. Ugo Rosa grew up and was later married in Kentucky. His wife was born to a German-American father and a mother with both Scottish and Irish ancestry.

Don Rosa was born Keno Don Hugo Rosa on June 29, 1951, in Louisville, Kentucky. He was named after both his father and grandfather. Gioachino was called "Keno" for short. Don's father was named Ugo Dante Rosa but used the name "Hugo Don" Rosa in America.

Rosa's older sister, Deanna, was an avid collector of comics and exposed Don to comics as a storytelling medium at a very early age, teaching him to “read the pictures.”

Rosa's favorite comic books while growing up were *Uncle Scrooge* and *Little Lulu* comics from Dell Comics, as well as his sister's collection of MAD magazines. At age 12, Rosa discovered the Superman titles of DC Comics, with particular attention to editor Mort Weisinger's period, drawn mostly by Superman artists Curt Swan and Kurt Schaffenberger. Shortly after Rosa started to collect Superman comics, he also began to trade in the comics he had inherited from his older sister for old Superman comics. By the 1970s Rosa's comic trading had ended up with him only having two Barks duck comics issues left from the collection his sister originally passed on to him. One of them being *Dell Comics' Four Color Comics #386* (also known as Dell Comics' One shot's) issue titled: *"Uncle Scrooge in Only a Poor Old Man"*, which was unknown to him to be the first issue of the new Carl Barks Uncle Scrooge Title. The second issue is his other favorite Barks Comic from his youth, Dell's Donald Duck in "The Golden Helmet". Later when Rosa became a serious collector of all comics of the post-war years, he particularly enjoyed and collected the classic E.C. Comics of the horror and science fiction genres published in the early 1950s, Will Eisner's *The Spirit*, Walt Kelly's *Pogo*, and virtually all other comics from 1945 and onward.

Rosa entered the University of Kentucky in 1969. He graduated in 1973 with a Bachelor of Science degree in civil engineering.

## Career

In 1969, while still in college, Rosa won an award as "best political cartoonist in the nation in a college paper". "I'm not really an editorial cartoonist. I'd much rather be doing comedy adventure. But I must have done something right, for at one point *The Journal of Higher Education* named me one of the five or six best college newspaper cartoonists in the nation."

Rosa's first published comic (besides the spot illustrations in his grade school and high school newspapers) was a comic strip featuring his own character, Lancelot Pertwillaby, titled *The Pertwillaby Papers*. He created the strip in 1971 for *The Kentucky Kernel*, a college newspaper of the University of Kentucky, which wanted the strip to focus on political satire.

Rosa later switched the strip to comedy-adventure, his favorite style of comics, and drew the story *Lost in (an alternative section of) the Andes*. (The title is a reference to *Lost in the Andes!*, a Donald Duck story by Carl Barks, first published in April 1949.) The so-called *Pertwillaby Papers* included 127 published episodes by the time Rosa graduated in 1973.

Meanwhile, Rosa participated in contributing art and articles to comic collector fanzines. One contribution was *An Index of Uncle Scrooge Comics*. According to his introduction: "Scrooge being my favorite character in comic history and Barks my favorite pure cartoonist, I'll try not to get carried away too much."

After attaining his bachelor's degree, Rosa continued to draw comics purely as a hobby, his only income came from working in the *Keno Rosa Tile and Terrazzo Company*, a company founded by his paternal grandfather.

Rosa authored and illustrated the monthly *Information Center* column in the fanzine *Rocket's Blast Comicollector* from 1974 to 1979. This was a question-and-answer feature dealing with readers' queries on all forms of pop entertainment of which Rosa was a student, including comics, TV and movies. He also revived the *Pertwillaby Papers* in this "RBCC" fanzine as a comic book style story rather than a newspaper comic strip from 1976 to 1978.

Rosa accepted an offer from the editor of the local newspaper to create a weekly comic strip. This led to his creation of the comic strip character Captain Kentucky for the Saturday edition of the local newspaper *Louisville Times*. Captain Kentucky was the superhero alter ego of Lancelot Pertwillaby. The pay was $25/week and not worth the 12+ hours each week's strip entailed, but Rosa did it as part of his hobby. Publication started on October 6, 1979. The comic strip ended on August 15, 1982, after the publication of 150 episodes. After three years with Captain Kentucky, Don decided that it was not worth the effort. He retired from cartooning and did not draw a single line for the next four years. Years later, as his fame grew, his non-Disney work was published by the Norwegian publisher Gazette Bok in 2001, in the two hard cover "Don Rosa Archives" volumes, *The Pertwillaby Papers* and *The Adventures of Captain Kentucky*.

### Gladstone

In 1986, Rosa discovered a Gladstone Comics comic book. This was the first American comic book that contained Disney characters since Western Publishing's discontinuation of their Whitman Comics in the 1970s. Since early childhood Don Rosa had been fascinated by Carl Barks' stories about Donald Duck and Scrooge McDuck. He immediately called the editor, Byron Erickson, and told him that he was the only American who was born to write and draw one Scrooge McDuck adventure. Erickson agreed to let him send a story, and Don Rosa started drawing his first Duck story, "The Son of the Sun," the very next day.

"The Son of the Sun" was a success and Rosa's very first professional comic story was nominated for a Harvey Award "Best Story of the Year". The plot of the story was the same as his earlier story, *Lost in (an alternative section of) the Andes*. As Don Rosa explained it, he was just "(...) turning that old Pertwillaby Papers adventure back into the story it originally was in my head, starring Scrooge, Donald, the nephews, and Flintheart Glomgold."

Rosa created a few more comics for Gladstone until 1989. He then stopped working for them, because the policies of their licensor, Disney, did not allow for the return of original art for a story to its creators.

After making some stories for the Dutch publisher Oberon, the publishers of an American Disney children's magazine called *DuckTales* (based on the animated series of the same name) offered Rosa employment. They even offered him a much higher salary than the one he received at Gladstone. Rosa made just one script (*Back in Time for a Dime*). The publishers never asked him to make more, and due to problems with receiving the payment, he did not care.

### Egmont

After working with the *DuckTales* magazine, Rosa found out that the Denmark-based International publisher Egmont (at that time called Gutenberghus) was publishing reprints of his stories and wanted more. Rosa joined Egmont in 1990. Two years later, at Rosa's suggestion, Byron Erickson, the former editor at Gladstone, also went to work for Egmont and has been working there ever since as an editor and later as a freelancer.

In 1991 Rosa started creating *The Life and Times of Scrooge McDuck*, a 12 chapter story about his favorite character. The series was a success, and in 1995 he won an Eisner Award for best continuing series. After the end of the original series, Rosa sometimes produced additional "missing" chapters. Some of the extra chapters were turned down by Egmont, because they were not interested in any more episodes. Fortunately, the French magazine *Picsou* was eager to publish the stories. From 1999, Rosa started working freelance for Picsou magazine as well. All of these chapters were compiled as *The Life and Times of Scrooge McDuck Companion*.

### On strike

During early summer 2002, Rosa suddenly laid down work. As an artist, he could not live under the conditions Egmont was offering him but he did not want to give up making Scrooge McDuck comics either. So, his only choice was to go on hiatus and try to come to an agreement with Egmont. His main issues were that he had no control over his works. Rosa had discovered too often that his stories were printed with incorrect pages of art, improper colors, poor lettering, or pixelated computer conversions of the illustrations. Rosa has never, nor has any other artist working on Disney-licensed characters, received royalties for the use or multi-national reprinting of any of his stories worldwide.

Rosa came to an agreement with Egmont in December of the same year, which gave him more control over the stories and the manner in which they were publicized.

### Quitting

Rosa, who had poor eyesight since childhood, experienced a severe retinal detachment in March 2008, which required emergency eye surgery. However, the surgery was only partially successful, and Rosa had to undergo further surgery in both eyes, making drawing even more challenging. In an interview at the Danish Komiks.dk fair on June 2, 2008, Rosa announced his decision not to continue creating comics due to various reasons such as his eye troubles, low pay, and the use of his stories by international Disney licensees in special hardback or album editions without payment of royalties or permission for the use of his name.

In 2012, Rosa wrote an essay about his retirement for Egmont's 9-volume *Don Rosa Collection*, which was to be published in Finland, Norway, Germany and Sweden. The essay, posted at *career-end.donrosa.de*, cites the above reasons, with special emphasis on the "Disney comics system" for paying writers and artists a flat per-page rate, and then allowing publishers around the world to print the stories without payment to the creators.

Rosa is more popular with readers in Europe than in his native United States. According to him, even his next-door neighbors do not know his profession.

## Personal life

In 1980, Rosa married Ann Payne. Payne is a retired social studies middle school teacher.

### Character

Don Rosa describes himself as an introvert due to being socially isolated as a child. Also, he thinks of himself as a workaholic.

Rosa suffered from depression during the years before he quit. He believes that it was caused by working hard while taking little time for leisure, a result of his self-imposed work regimen due to his enthusiasm for Barks' characters.

### Hobbies

Rosa is an avid collector of many things, including comic books, *TV Guide*, *National Geographic*, and movie magazines, fanzines, books, White Castle memorabilia, pinball machines and movies and more.

Rosa also grows exotic chili plants and tends nearly 30 acres of a private nature preserve with wildflower fields and numerous forest trails. That and taking semi-annual European signing tours to visit his fellow BarksDucks fans, takes up all of his time. He is also working to complete his collections of all American comic books published between 1945 and 1970.

## Work

In Europe, Rosa is recognized as one of the best Disney comics creators. Carl Barks and Rosa are among the few artists who have their name written on the covers of Disney magazines when their stories are published. Rosa enjoys including subtle references to his favourite movies and comics as well as his own previous work. He normally uses about twelve panels per page, instead of the more common eight.

Rosa has an especially large following in Finland, and in 1999, he created a special 32-page adventure featuring Scrooge McDuck for his Finnish fans called; *Sammon Salaisuus* (translates to *The secret of the Sampo*, but it is officially named *The Quest for Kalevala* in English), based on the Finnish national epic, the Kalevala. The publication of this story created a national sensation in Finland where Donald Duck and the Kalevala are important aspects of culture. It was published in many other countries as well. The cover for the comic book was a spoof of a famous painting by Akseli Gallen-Kallela.

The latest work that Rosa has worked on is a cover for the album *Music Inspired by the Life and Times of Scrooge* by Tuomas Holopainen from Nightwish who is a fan of Rosa's comics.

### Drawing style

With a Bachelor of Arts degree in civil engineering as his only real drawing education, Rosa has some unusual drawing methods, as he writes: "I suspect *nothing* I do is done the way anyone else does it."

Because of being self-taught in making comics, Rosa relies mostly on the skills he learned in engineering school, which means using technical pens and templates extensively. He applies templates and other engineering tools to draw what other artists draw freehand. He usually drew just under a page per day, but that depended on the amount of detail he puts in the picture.

Rosa's drawing style is considered much more detailed and "dirtier" than that of most Disney artists, living or dead, and often likened to that of underground artists, and he is frequently compared to Robert Crumb. When Rosa was first told of this similarity, he said that he "drew that bad" long before he discovered underground comics during college. He went on to explain these similarities to underground artists with a similar background of making comics as a hobby:

"I think that both my style and that of Robert Crumb are similar only because we both grew up making comics for our personal enjoyment, without ever taking drawing seriously, and without ever trying to attain a style that would please the average comics publisher. We drew comics for fun!"

### Carl Barks

> "I want to take everything Barks wrote and forge it into a workable timeline. My original dream was to become the new Carl Barks. I wanted to write, draw, and letter all my own stories. People tell me that my pencils look just like Barks, but my inks are pure Rosa, and I can't letter properly! So I'll have to settle for being Don Rosa." – Don Rosa in 1987

> "Don Rosa has often been called the heir of Carl Barks, especially for the way in which he has carried on the Ducks' Family Saga. But I don't think so: in my opinion Don Rosa \[...\] is an author who has used Barks' characters to make stories that are completely new, 'Donrosian' rather than 'Barksian', just like Barks can't be considered the heir of Al Taliaferro only because he has worked on the Ducks after him." – Carlo Chendi, Italian Disney comics writer

Rosa's idol when it comes to comics is Carl Barks. Rosa builds almost all his stories on characters and locations that Barks invented. Many of Rosa's stories contain references to some fact pointed out in a Barks story. At the request of publishers in response to reader demands, Rosa has even created sequels of old Barks stories. For example, his *Return to Plain Awful* is a sequel to *Lost in the Andes!*, where the Ducks return to the same hidden country. To add more to his admiration and consistency to Barks and Barks' stories, Rosa makes all his ducks' stories set in the 1950s. This is because Barks writes most of the stories about Scrooge, Donald and all people of Duckburg in the 1950s (it also conveniently resolves potential continuity problems, such as Scrooge's age). As explained in text pages in the *Life and Times of Scrooge McDuck* and its companion volume, Rosa does intense research of time periods to ensure not only that he gets the physical details right, but also to ensure that all characters could have been present.

Barks either created most of the characters used by Rosa or is credited for greatly developing their personalities. Rosa thus feels obliged to make his stories factually consistent. He has spent a lot of time in making lists of facts and anecdotes pointed out in different stories by his mentor. Especially *The Life and Times of Scrooge McDuck* was based mostly on the earlier works of Barks. Rosa admitted however that a scene of the first chapter was inspired by a story by Tony Strobl.

As most of the characters Rosa uses were created by Barks, and because Rosa considers Scrooge rather than Donald to be the main character of the Duck universe, he does not regard himself as a pure Disney artist, nor the characters really as Disney's. "Rosa prefers to say that the characters he uses are Barks's, Barks having reshaped Donald Duck's personality and creating everything else we know of Duckburg while working as a freelancer in 1942–1967 for an independent licensed publisher (Dell/Western Comics). Barks even claimed to have also created Huey, Dewey, and Louie while working as a writer on Donald Duck animated cartoons in 1937." Because of his idolization of Barks, he repeatedly discourages his fans to use an absolutist way of saying his clearly different drawing style would be better than Barks's, and he found that notion confirmed when Barks himself spoke about Rosa's style in a critical tone though it is uncertain whether those comments were Barks's or those of his temporary "business managers" who filtered his communications.

> "I usually don't like my stories. I mean I try really hard, but I know I don't draw that well. I know people like it because it's got lots of extra details, but art directors know good artwork, and they know mine is not good artwork. Now, people always say, 'You're being too modest, you're being too modest', and I say, 'What?' They just have to ask me the right question. I know it's not good artwork and I don't know if it's well-drawn, but I know it's entertaining." – Don Rosa, Torino Comics Festival, April 2011

> "Don Rosa has a style that is a little bit different from the Disney style. I know that there is a great deal of people that like that style, which is extremely detailed. So, there is room in the business for artists like Don Rosa and for others like Van Horn. They have a different style. But if they have a good story and tell it properly, then people are going to like it." – Carl Barks, interview given at Disneyland Paris, July 7, 1994

Beside Rosa's constant effort to remain faithful to the universe Barks created, there is also a number of notable differences between the two artists. The most obvious of these is Rosa's much more detailed drawing style, often with many background gags, which has been credited as being a result of Rosa's love of the Will Elder stories of *MAD* comics and magazines. While Barks himself discouraged the use of extreme grimacing and gesturing in any other panel for comical or dramatic effect, Rosa's stories are rich with exaggerated facial expressions and physical slapstick. Barks had over 600 Duck stories to his name while Rosa only created 85 until his eye trouble set in, but whereas Barks made many short one and two-pagers centered around a subtle, compact gag, Rosa's oeuvre consists almost exclusively of long adventure stories.

Andrea "Bramo" Bramini identifies the following four differences between Barks's and Rosa's way of storytelling:

* Rosa follows a very strict continuity, while Barks paid very little attention to continuity between stories.
* Rosa's characterization of Scrooge is that of a much more sentimental person for often relishing his memories of past adventures.
* Barks situated his stories in the present day of when he was creating them and had a penchant for satire. Rosa strictly writes stories taking place in an era at least half a century prior to their creation, and mostly abstains from any political or social commentary.
* With his engineering degree, Rosa often goes to great lengths to give scientifically plausible explanations within his stories, whereas Barks never cared much for any detailed scientific rationalizations to his stories.

### D.U.C.K.

Most of Rosa's stories have the letters D.U.C.K. hidden within either the first panel or, if Rosa has created the cover art, within the cover art itself. D.U.C.K. is a backronym for "**D**edicated to **U**nca **C**arl from **K**eno" (Carl being Carl Barks and Keno being Rosa's given first name). Due to Disney's refusal to allow artists to sign their work, early Rosa dedications to Barks were deleted as they seemed to be a form of a signature. Later Rosa began hiding the dedication acronym from his editors in various and unlikely places within his drawings.

Rosa has drawn covers for reprints of Carl Barks stories and has included his D.U.C.K. dedication within them as well.

### Mickey

Another curiosity is his Hidden Mickeys. Rosa is only interested in creating stories featuring the Duck family, but he often hides small Mickey Mouse heads or figures in the pictures, sometimes in a humiliating or unwanted situation. An example of this is in the story *The Terror of the Transvaal* where a flat Mickey can be seen under an elephant's foot. Rosa has admitted to neither liking nor disliking Mickey Mouse, but being indifferent to him.

In the story *Attack of the Hideous Space-Varmints*, the asteroid with Uncle Scrooge's money bin on it crashes into the Moon along with two missiles, creating a large Mickey Mouse head on the surface. When Huey, Dewey, and Louie tell Donald that the missiles hit the "dark" (far) side of the Moon, Donald is thankful no one is going to see it  — "For a minute there, I thought we were going to have some legal problems."

In the second Rosa story featuring The Three Caballeros, Donald Duck is shocked by the sight of a capybara standing on its hind legs, with shrubs, leaves and fruit in front of its body, coincidentally making it look like Mickey Mouse. José Carioca and Panchito Pistoles, never having seen Mickey Mouse, ask Donald what is wrong, but Donald replies he is just tired. Later in the same story, the Caballeros free several animals from a poacher. One panel shows the animals fleeing; Mickey can be seen among them.

In *The Quest for Kalevala* this running gag can be seen on the original, Akseli Gallen-Kallela-inspired cover art. In the original work, Louhi is depicted as bare-chested, but the Disneyfied version has been drawn a top, of fabric patterned with Mickey Mouse heads.

## Awards

His work has won Rosa a great deal of recognition in the industry, including nominations for the Comics' Buyer's Guide Award for Favorite Writer in 1997, 1998, and 1999. Heidi MacDonald of Comics Buyer's Guide also mentioned Rosa's 1994 story *Guardians of the Lost Library* as *"possibly the greatest comic book story of all time"*.

In 1995, Rosa was awarded the Eisner Award for Best Serialized Story for *The Life and Times of Scrooge McDuck*. In 1997 he won an Eisner for Best Artist/Writer – Humor Category. He was awarded the Inkpot Award in 2014.

Rosa's story *The Black Knight GLORPS Again!* was nominated for the 2007 Eisner Award in the category Best Short Story. While *The Prisoner of White Agony Creek*, Rosa's latest Duck story to-date, was published in 2006, he was also nominated for the 2007 Harvey Awards in five categories (more than any other creator was that year) for his Uncle Scrooge comics: "Best Writer", "Best Artist", "Best Cartoonist", "Best Cover Artist", and "Special Award for Humor in Comics." In 2013 Rosa received the Bill Finger Award which recognizes excellence in comic book writing for writers who have not received their rightful reward and/or recognition.

International "Best Cartoonist of the Year" awards include:

* Germany: International Grand Prize 2005 (Frankfurt Book Fair).
* Denmark: ORLA Award (DR Television Network).
* Sweden:
    + Svenska Serieakademins (Swedish Comics Academy).
    + Seriefrämjandets Unghunden (Swedish Comics Association).
* Norway: Sproing Award (Norsk Tegneserieforum / Norwegian Comics Forum).
* Italy:
* Spain: Haxtur Award (Gijon Comics Festival).

## Biographies

In 1997 the Italian publishing house Editrice ComicArt published a lavish volume about Rosa's biography and work related to the Disney characters. It was titled *Don Rosa e il Rinascimento Disneyano* ("Don Rosa and the Disneyean Renaissance") and written by famous Disney and Rosa scholars, Alberto Becattini, Leonardo Gori and Francesco Stajano. This work not only discusses all of Rosa's creative life up to 1997, but it also gives a comprehensive biography, lists up to that date his Disney work and presents an extensive interview with Rosa.

In 2009, Danish director Sebastian S. Cordes shot a 75-minute documentary called *The Life and Times of Don Rosa*, consisting of exclusive interviews with Rosa himself on his farm near Louisville, Kentucky. According to the project's Facebook group, the English-language DVD was released in Denmark on April 16, 2011.

In 2011, Italian Disney fan forum *papersera.net* published *Don Rosa: A Little Something Special* (edited by Italian Rosa fan Paolo Castagno), a large folio format, bilingual (Italian and English) book about Rosa's life and work, containing interviews with Rosa and articles by many Italian and European Disney artists, Disney scholars, and established art critics commenting on Rosa's work and career, also including many exclusive, rare Rosa drawings and illustrations. The book was originally made as a gift by *papersera.net* for Rosa himself upon the occasion of Rosa's April 2011 visit to Turin, Italy.

In 2017 the book, *I Still Get Chills!*, featuring text by German journalist Alex Jakubowski and photographs by Lois Lammerhuber, was published by Edition Lammerhuber in honour of Rosa's 66th birthday and the 70th anniversary of the first appearance of Scrooge McDuck.

A feature documentary about Don Rosa and Scrooge McDuck by French director Morgann Gicquel titled *The Scrooge Mystery* was released in December 2017 and was released on DVD and Blu-ray in 2018.

## Comic collections

### United States

### Other countries

Apart from the *Don Rosa Collection* in Germany and *Don Rosas Samlade/Samlede Verk* and *Don Rosan kootut* in the Nordic nations, the following collections only contain Rosa's work for Disney.

| Country | Collection | Year | Remarks |
| --- | --- | --- | --- |
| Brazil | — Tio Patinhas e Pato Donald – Biblioteca Don Rosa 1-10 | 2017–2020 |  |
| Denmark | — Hall of Fame: Don Rosa – bog 1–10<br>— Don Rosas Samlede Værker 1–9 | 2004–2009<br>2014–2015 | <br>Including non-Disney comics |
| Finland | — Don Rosan Parhaita<br>— Don Rosan kootut 1–9 | 1995–2010<br>2011–2013 | <br>Including non-Disney comics |
| France | — La jeunesse de Picsou 1-2/Les trésors de Picsou 3–7<br>— Intégrale Don Rosa 1–7 | 2004–2008<br>2012–2016 |  |
| Germany | — Onkel Dagobert von Don Rosa 0–32<br>— Hall of Fame: Don Rosa 1–8<br>— Don Rosa Collection 1–9<br>— Don Rosa Library 1–10 | 1994–2006<br>2004–2011<br>2011–2013<br>2020–2022 | <br>Incomplete<br>Including non-Disney comics<br><br> |
| Greece | — Βιβλιοθήκη Κόμιξ vol 1-6 | 2008–2012 | Not including *The Life and Times of Scrooge McDuck* and *The Life and Times of Scrooge McDuck Companion* collections and the story *A Little Something Special* |
| Indonesia | — Komik Petualangan Paman Gober Karya Don Rosa 1–8 | 2011 | Incomplete |
| Italy | — The Don Rosa Library - Zio Paperone & Paperino<br>— Don Rosa Library De Luxe | 2017–2019<br>2019-2022 | Both reprints of the Fantagraphics library, the first one is composed of 20 economic paperback volumes, the second one is composed of 10 hardback volumes |
| Netherlands | — Oom Dagobert 53–74<br>— Het levensverhaal / De reisavonturen van Dagobert Duck | 1996–2005<br>2013–2019 | Incomplete (only upper collection) |
| Norway | — Hall of Fame: Don Rosa – bok 1–10<br>— Don Rosa Samlede Verk 1–9 | 2004–2010<br>2011–2013 | <br>Including non-Disney comics |
| Poland | — Komiksy z Kaczogrodu: Życie i czasy Sknerusa McKwacza <br>— Życie i czasy Sknerusa McKwacza <br>— Wujek Sknerus i Kaczord Donald 1-10 | 2000 <br>2017 <br>2019-2022 |  |
| Russia | — Дядюшка Скрудж и Дональд Дак - Библиотека Дона Росы | 2017–2019 |  |
| Sweden | — Hall of Fame: Don Rosa – bok 1–10<br>— Don Rosas samlade verk 1–9<br>— Don Rosa-biblioteket 1–10 | 2004–2009<br>2011–2013<br>2020– | <br>Including non-Disney comics |

## InfoBox

| Don Rosa | |
| --- | --- |
| Rosa in 2022 | |
| Born | Keno Don Hugo Rosa<br>(1951-06-29) June 29, 1951<br>Louisville, Kentucky, U.S. |
| Area(s) | Writer, Penciller, Artist, Inker |
| Notable works |  |
| Awards | Full list |
| Spouse(s) | Ann Payne (m. 1980) |
| Signature | |
|  | |