Superheroes come from a wide array of different backgrounds and origins. Some superheroes (for example, Batman and Iron Man) derive their status from advanced technology they create and use, while others (such as Superman and Spider-Man) possess non-human or superhuman biology or use and practice magic to achieve their abilities (such as Captain Marvel and Doctor Strange).[2][3][4] The Dictionary.com definition of "superhero" is "a figure, especially in a comic strip or cartoon, endowed with superhuman powers and usually portrayed as fighting evil or crime",[5] and the Merriam-Webster dictionary gives the definition as "a fictional hero having extraordinary or superhuman powers; also: an exceptionally skillful or successful person."[6] Terms such as masked crime fighters, costumed adventurers or masked vigilantes are sometimes used to refer to characters such as the Spirit, who may not be explicitly referred to as superheroes but nevertheless share similar traits.
Some superheroes use their powers to help fight daily crime while also combating threats against humanity from supervillains, who are their criminal counterparts. Often at least one of these supervillains will be the superhero's archenemy or nemesis. Some popular supervillains become recurring characters in their own right.
The vigilantes of the American Old West also became an influence to the superhero.[12] Several vigilantes during this time period hid their identities using masks.[10] In frontier communities where de jure law was not yet matured, people sometimes took the law into their own hands with makeshift masks made out of sacks. Vigilante mobs and gangs like the San Diego Vigilantes and the Bald Knobbers became infamous throughout that Old West era.[10][13][14] Such masked vigilantism later inspired fictional masked crimefighters in American story-telling, beginning with the character Deadwood Dick in 1877.[10][12]
In August 1937, in a letter column of the pulp magazine Thrilling Wonder Stories, the word superhero was used to define the title character of the comic strip Zarnak, by Max Plaisted.[21][22] In the 1930s, the trends converged in some of the earliest superpowered costumed heroes, such as Japan's Ōgon Bat (1931) and Prince of Gamma (early 1930s), who first appeared in kamishibai (a kind of hybrid media combining pictures with live storytelling),[23][24]Mandrake the Magician (1934),[25][26][27]Olga Mesmer (1937)[28] and then Superman (1938) and Captain Marvel (1939) at the beginning of the Golden Age of Comic Books, whose span, though disputed, is generally agreed to have started with Superman's launch.[29] Superman has remained one of the most recognizable superheroes,[29] and his success spawned a new archetype of characters with secret identities and superhuman powers.[30][31][32] At the end of the decade, in 1939, Batman was created by Bob Kane and Bill Finger.
1940s
During the 1940s there were many superheroes: The Flash, Green Lantern and Blue Beetle debuted in this era. This era saw the debut of one of the earliest female superheroes, writer-artist Fletcher Hanks's character Fantomah, an ageless ancient Egyptian woman in the modern day who could transform into a skull-faced creature with superpowers to fight evil; she debuted in Fiction House's Jungle Comic #2 (Feb. 1940), credited to the pseudonymous "Barclay Flagg".[33][34] The Invisible Scarlet O'Neil, a non-costumed character who fought crime and wartime saboteurs using the superpower of invisibility created by Russell Stamm, would debut in the eponymous syndicatednewspapercomic strip a few months later on June 3, 1940.[35]
Captain America also appeared for the first time in print in December 1940, a year prior to the attack on Pearl Harbor by the Japanese government, when America was still in isolationism. Created by Joe Simon and Jack Kirby, the superhero was the physical embodiment of the American spirit during World War II.
In 1952, Osamu Tezuka's mangaTetsuwan Atom, more popularly known in the West as Astro Boy, was published. The series focused upon a robot boy built by a scientist to replace his deceased son. Being built from an incomplete robot originally intended for military purposes, Astro Boy possessed amazing powers such as flight through thrusters in his feet and the incredible mechanical strength of his limbs.
In 1957 Japan, Shintoho produced the first film serial featuring the superhero character Super Giant, signaling a shift in Japanese popular culture towards tokusatsu masked superheroes over kaiju giant monsters. Along with Astro Boy, the Super Giant serials had a profound effect on Japanese television. 1958 saw the debut of superhero Moonlight Mask on Japanese television. It was the first of numerous televised superhero dramas that would make up the tokusatsu superhero genre.[47] Created by Kōhan Kawauchi, he followed up its success with the tokusatsu superhero shows Seven Color Mask (1959) and Messenger of Allah (1960), both starring a young Sonny Chiba.
In 1963, Astro Boy was adapted into a highly influential anime television series. Phantom Agents in 1964 focused on ninjas working for the Japanese government and would be the foundation for Sentai-type series. 1966 saw the debut of sci-fi/horror series Ultra Q created by Eiji Tsuburaya this would eventually lead on to the sequel Ultraman, spawning a successful franchise which pioneered the Kyodai Hero subgenre where the superheroes would be as big as giant monsters (kaiju) that they fought.
The kaiju monster Godzilla, originally a villain, began being portrayed as a radioactive superhero in the Godzilla films,[48] starting with Ghidorah, the Three-Headed Monster (1964).[49] By the 1970s, Godzilla came to be viewed as a superhero, with the magazine King of the Monsters in 1977 describing Godzilla as "Superhero of the '70s."[50]
1970s
In 1971, Kamen Rider launched the "Henshin Boom" on Japanese television in the early 1970s, greatly impacting the tokusatsu superhero genre in Japan.[51] In 1972, the Science Ninja Team Gatchaman anime debuted, which built upon the superhero team idea of the live-action Phantom Agents as well as introducing different colors for team members and special vehicles to support them, said vehicles could also combine into a larger one. Another important event was the debut of Mazinger Z by Go Nagai, creating the Super Robot genre. Go Nagai also wrote the manga Cutey Honey in 1973; although the Magical Girl genre already existed, Nagai's manga introduced Transformation sequences that would become a staple of Magical Girl media.
The 1970s would see more anti-heroes introduced into Superhero fiction such examples included the debut of Shotaro Ishinomori's Skull Man (the basis for his later Kamen Rider) in 1970, Go Nagai's Devilman in 1972 and Gerry Conway and John Romita's Punisher in 1974.
The dark Skull Man manga would later get a television adaptation and underwent drastic changes. The character was redesigned to resemble a grasshopper, becoming the renowned first masked hero of the Kamen Rider series. Kamen Rider is a motorcycle riding hero in an insect-like costume, who shouts Henshin (Metamorphosis) to don his costume and gain superhuman powers.
The ideas of second-wave feminism, which spread through the 1960s into the 1970s, greatly influenced the way comic book companies would depict as well as market their female characters: Wonder Woman was for a time revamped as a mod-dressingmartial artist directly inspired by the Emma Peel character from the British television seriesThe Avengers (no relation to the superhero team of the same name),[52] but later reverted to Marston's original concept after the editors of Ms. magazine publicly disapproved of the character being depowered and without her traditional costume;[53] Supergirl was moved from being a secondary feature on Action Comics to headline Adventure Comics in 1969; the Lady Liberators appeared in an issue of The Avengers as a group of mind-controlled superheroines led by Valkyrie (actually a disguised supervillainess) and were meant to be a caricatured parody of feminist activists;[54] and Jean Grey became the embodiment of a cosmic being known as the Phoenix Force with seemingly unlimited power in the late 1970s, a stark contrast from her depiction as the weakest member of her team a decade ago.
Both major American publishers began introducing new superheroines with a more distinct feminist theme as part of their origin stories or character development. Examples include Big Barda, Power Girl, and the Huntress by DC comics; and from Marvel, the second Black Widow, Shanna the She-Devil, and The Cat.[55] Female supporting characters who were successful professionals or hold positions of authority in their own right also debuted in the pages of several popular superhero titles from the late 1950s onward: Hal Jordan's love interest Carol Ferris was introduced as the Vice-President of Ferris Aircraft and later took over the company from her father; Medusa, who was first introduced in the Fantastic Four series, is a member of the Inhuman Royal Family and a prominent statesperson within her people's quasi-feudal society; and Carol Danvers, a decorated officer in the United States Air Force who would become a costumed superheroine herself years later.
In 1975 Shotaro Ishinomori's Himitsu Sentai Gorenger debuted on what is now TV Asahi, it brought the concepts of multi-colored teams and supporting vehicles that debuted in Gatchaman into live-action, and began the Super Sentai franchise (later adapted into the American Power Rangers series in the 1990s). In 1978, Toei adapted Spider-Man into a live-action Japanese television series. In this continuity, Spider-Man had a vehicle called Marveller that could transform into a giant and powerful robot called Leopardon, this idea would be carried over to Toei's Battle Fever J (also co-produced with Marvel) and now multi-colored teams not only had support vehicles but giant robots to fight giant monsters with.
1980–present
In subsequent decades, popular characters like Dazzler, She-Hulk, Elektra, Catwoman, Witchblade, Spider-Girl, Batgirl and the Birds of Prey became stars of long-running eponymous titles. Female characters began assuming leadership roles in many ensemble superhero teams; the Uncanny X-Men series and its related spin-off titles in particular have included many female characters in pivotal roles since the 1970s.[56] Volume 4 of the X-Men comic book series featured an all-female team as part of the Marvel NOW! branding initiative in 2013.[57] Superpowered female characters like Buffy the Vampire Slayer[58] and Darna[59][60] have a tremendous influence on popular culture in their respective countries of origin.
The first use of the word “super hero” dates back to 1917.[67] At the time, the word was merely used to describe a “public figure of great accomplishments.”[67] However, in 1967, Ben Cooper, Inc., an American Halloween costume manufacturer, became the first entity to commercialize the phrase “super hero” when it registered the mark in connection with Halloween costumes.[67] In 1972, Mego Corporation, an American toy company, attempted to register the mark “World’s Greatest Superheroes'' in connection with its line of action figures.[68] Mego Corporation’s attempted registration led Ben Cooper, Inc. to sue Mego Corporation for trademark infringement.[68] Due to its financial struggles, Mego Corporation was unwilling to defend itself against Ben Cooper Inc.’s suit.[68] As a result, in 1977, Mego Corporation jointly assigned its interest in the trademark to DC Comics, Inc. (“DC) and Marvel Comics (“Marvel”).[68] Due to the financial prowess of DC and Marvel, Ben Cooper, Inc. decided to withdraw its trademark opposition and jointly assigned its interest in the “World’s Greatest Super Heroes” mark to DC and Marvel.[68] Two years later in 1979, DC and Marvel applied for the mark in connection with comic books, and were granted the mark by the United States Patent and Trademark Office (USPTO) in 1981.[69]
In the years leading up to the assignment of the mark, both DC and Marvel battled to register various trademarks involving the phrase “super hero.”[70] However, DC and Marvel quickly discovered that they could only register marks involving the phrase “super hero” if the phrase referenced their own company or a character associated with their company.[70] As a result, DC and Marvel decided to become joint owners of the “super hero” trademark.[70]
Although many consumers likely see DC and Marvel as competitors, the two comic book publishing giants are allies when it comes to protecting the trademark “super hero” and variants thereof. Although joint ownership in a trademark is uncommon, the USPTO will grant joint ownership in a mark.[71] For example, in the case Arrow Trading Co., Inc. v. Victorinox A.G. and Wegner S.A., Opposition No. 103315 (TTAB June 27, 2003), the TTAB held that when "two entities have a long-standing relationship and rely on each other for quality control, it may be found, in appropriate circumstances, that the parties, as joint owners, do represent a single source.”[72]
DC and Marvel have continued to expand their commercialization of the "super hero" mark to categories beyond comic books.[73] Now, the two publishers jointly own numerous trademarks for figurines (see Spiderman, Batman), movies, TV shows, magazines, merchandise, cardboard stand-up figures, playing cards, erasers, pencils, notebooks, cartoons, and many more.[73] For instance, the companies filed a trademark application as joint owners for the mark “SUPER HEROES” for a series of animated motion pictures in 2009 (Reg. No. 5613972).[69] Both DC and Marvel also individually owned[74][75] trademarks involving the “super hero” mark.[69] Notably, DC owns the mark “Legion of Super-Heroes” for comic magazines and Marvel owns the mark “Marvel Super Hero Island” for story books, fiction books, and children’s activity books.[69]
DC and Marvel have become known for aggressively protecting their registered marks.[76] In 2019, the companies pursued a British law student named Graham Jules who was attempting to publish a self-help book titled “Business Zero to Superhero.”[77] Much academic debate exists about whether the “super hero” mark has become generic and whether DC and Marvel have created a duopoly over the "super hero" mark.[69][78][79] Conversely, DC and Marvel hold that they are merely exercising their right and duty to protect their registered marks.[79]
Current status/relevant cases
The following trademarks are registered jointly to MARVEL CHARACTERS, INC. and DC COMICS:
As mentioned, the two companies also own a variety of other super hero related marks. For instance, DC owns “Legion of Super-Heroes" and "DC Super Hero Girls" and Marvel owns “Marvel Super Hero Island" and "Marvel Super Hero Adventures."[85]
DC and Marvel have garnered a reputation for zealously protecting their super hero marks. As noted above, one of these instances included a man by the name of Graham Jules, who sought to publish a book entitled “Business Zero to Superhero.”[86] In 2014, he received a cease and desist from DC and Marvel who claimed that his use of the term superhero would cause confusion and dilute their brands.[86] He was offered a few thousand dollars in settlement to change the name of his book, but he did not concede.[86] A few days prior to the scheduled hearing at the Intellectual Property Office in London, the companies backed down.[86]
A similar scenario occurred when comic book creator Ray Felix attempted to register his comic book series "A World Without Superheroes" with the USPTO.[87] Felix is one of many who argue that the term "super hero" has become generic (see discussion below).[87] Felix's mark is currently abandoned, but he has stated that he intends to fight against DC and Marvel for use of the term.[88]
Ongoing legal debate
There is an ongoing debate among legal scholars and in the courts about whether the term "superhero" has become genericized due to its widespread use in popular culture, similar to terms like "aspirin" or "escalator" which lost their trademark protection and became generic terms for their respective products.[89] Some argue the term "SUPER HERO" trademark is at risk of becoming generic.
Courts have noted that determining whether a term has become generic is a highly factual inquiry not suitable for resolution without considering evidence like dictionary definitions, media usage, and consumer surveys.[90] Trademark owners can take steps to prevent genericide, such as using the trademark with the generic product name, educating the public, and policing unauthorized uses.[91] However, misuse by the public alone does not necessarily cause a trademark to become generic if the primary significance of the term is still to indicate a particular source.[92]
Some legal experts argue that, like the once-trademarked terms "aspirin" and "yo-yo," the term "superhero" now primarily refers to a general type of character with extraordinary abilities, rather than characters originating from specific publishers.
Minority superheroes
In keeping with their origins as representing the archetypical hero stock character in 1930s American comics, superheroes are predominantly depicted as White Americanmiddle- or upper-class young adult males and females who are typically tall, athletic, educated, physically attractive and in perfect health. Beginning in the 1960s with the civil rights movement in the United States, and increasingly with the rising concern over political correctness in the 1980s, superhero fiction centered on cultural, ethnic, national, racial and language minority groups (from the perspective of US demographics) began to be produced. This began with depiction of black superheroes in the 1960s, followed in the 1970s with a number of other ethnic-minority superheroes.[93] In keeping with the political mood of the time, cultural diversity and inclusivism would be an important part of superhero groups starting from the 1980s. In the 1990s, this was further augmented by the first depictions of superheroes as homosexual. In 2017, Sign Gene emerged, the first group of deaf superheroes with superpowers through the use of sign language.[94]
Female super heroes—and villains—have been around since the early years of comic books dating back to the 1940s.[95] The representation of women in comic books has been questioned in the past decade following the rise of comic book characters in the film industry (Marvel/DC movies). Women are presented differently than their male counterparts, typically wearing revealing clothing that showcases their curves and cleavage and showing a lot of skin in some cases.[96][97] Heroes like Power Girl and Wonder Woman are portrayed wearing little clothing and showing cleavage.[96][97] Power Girl is portrayed as wearing a suit not unlike the swimsuits in the T.V. show Baywatch. The sexualization of women in comic books can be explained mainly by the fact that the majority of writers are male.[97] Not only are the writers mostly male, but the audience is mostly male as well.[98][97] Therefore, writers are designing characters to appeal to a mostly male audience.[98][99] The super hero characters illustrate a sociological idea called the "male gaze" which is media created from the viewpoint of a normative heterosexual male.[99][100] The female characters in comic books are used to satisfy male desire for the "ideal" woman (small waist, large breasts, toned, athletic body).[99][101][97] These characters have god-like power, but the most easily identifiable feature is their hyper sexualized bodies as they are designed to be sexually pleasing to the hypothetical heteronormative male audience.[96][100][101][97]
Villains, such as Harley Quinn and Poison Ivy, use their sexuality to take advantage of their male victims.[97] In the film versions of these characters, their sexuality and seductive methods are highlighted. Poison Ivy uses seduction through poison to take over the minds of her victims as seen in the 1997 film Batman and Robin. Harley Quinn in 2016's Suicide Squad uses her sexuality to her advantage, acting in a promiscuous manner.
Through the overdeveloped bodies of the heroes or the seductive mannerisms of the villains, women in comic books are used as subordinates to their male counterparts, regardless of their strength or power.[102] Wonder Woman has been subject to a long history of suppression as a result of her strength and power, including American culture's undoing of the Lynda Carter television series.[103] In 2017's Wonder Woman, she had the power of a god, but was still drawn to a much weaker, mortal male character.[100] This can be explained by the sociological concept "feminine apologetic," which reinforces a woman's femininity to account for her masculine attributes (strength, individualism, toughness, aggressiveness, bravery).[100] Women in comic books are considered to be misrepresented due to being created by men, for men.[99][101]
The Hawkeye Initiative is a website satirizing the sexualized portrayal of women in comics by recreating the same poses using male superheroes, especially Marvel's Hawkeye.[104][105][106]
Comic-book companies were in the early stages of cultural expansion and many of these characters played to specific stereotypes; Cage and many of his contemporaries often employed lingo similar to that of blaxploitation films, Native Americans were often associated with shamanism and wild animals, and Asian Americans were often portrayed as kung fu martial artists. Subsequent minority heroes, such as the X-Men's Storm and the Teen Titans' Cyborg avoided such conventions; they were both part of ensemble teams, which became increasingly diverse in subsequent years. The X-Men, in particular, were revived in 1975 with a line-up of characters drawn from several nations, including the Kenyan Storm, GermanNightcrawler, Soviet/RussianColossus, IrishBanshee, and JapaneseSunfire. In 1993, Milestone Comics, an African-American-owned media/publishing company entered into a publishing agreement with DC Comics that allowed them to introduce a line of comics that included characters of many ethnic minorities. Milestone's initial run lasted four years, during which it introduced Static, a character adapted into the WB Networkanimated seriesStatic Shock.
Certain established characters have had their ethnicity changed when adapted to another continuity or media. A notable example is Nick Fury, who is reinterpreted as African-American both in the Ultimate Marvel as well as the Marvel Cinematic Universe continuities.
In 1992, Marvel revealed that Northstar, a member of the Canadian mutant superhero team Alpha Flight, was homosexual, after years of implication.[112] This ended a long-standing editorial mandate that there would be no homosexual characters in Marvel comics.[113] Although some minor secondary characters in DC Comics' mature-audience 1980s miniseries Watchmen were gay, and the reformed supervillain Pied Pipercame out to Wally West in an issue of The Flash in 1991, Northstar is considered to be the first openly gay superhero appearing in mainstream comic books. From the mid-2000s onward, several established Marvel and DC comics characters (or a variant version of the pre-existing character) were outed or reintroduced as LGBT individuals by both publishers. Examples include the Mikaal Tomas incarnation of Starman in 1998; Colossus in the Ultimate X-Men series; Renee Montoya in DC's Gotham Central series in 2003; the Kate Kane incarnation of Batwoman in 2006; Rictor and Shatterstar in an issue of X-Factor in 2009; the Golden Age Green Lantern Alan Scott is reimagined as openly gay following The New 52 reboot in 2011;[114][115] and in 2015, a younger time displaced version of Iceman in an issue of All-New X-Men.[116]
Many new openly gay, lesbian and bisexual characters have since emerged in superhero fiction, such as Gen13's Rainmaker, Apollo and Midnighter of The Authority, and Wiccan and Hulkling of the Young Avengers. Notable transgender or gender bending characters are fewer in number by comparison: the alter ego of superheroine Zsazsa Zaturnnah, a seminal character in Philippine popular culture,[117] is an effeminate gay man who transforms into a female superhuman after ingesting a magical stone. Desire from Neil Gaiman's The Sandman series, Cloud from Defenders, and Xavin from the Runaways are all characters who could (and often) change their gender at will. Alysia Yeoh, a supporting character created by writer Gail Simone for the Batgirl ongoing series published by DC Comics, received substantial media attention in 2011 for being the first major transgender character written in a contemporary context in a mainstream American comic book.[118]
The Sailor Moon series is known for featuring a substantial number of openly LGBT characters since its inception, as Japan have traditionally been more open about portraying homosexuality in its children's media compared to many countries in the West.[119][120] Certain characters who are presented as homosexual or transgender in one continuity may not be presented as such in others, particularly with dubbed versions made for international release.[121]
In 2017, Pluin introduced Sign Gene, a film featuring a group of deaf superheroes whose powers derive from their use of sign language. The film was produced by and with deaf people and deals with Deaf culture, history and language.[94][122][123]
^Bell, Karl. "8 The Decline and Demise of Spring-heeled Jack". The Legend of Spring-Heeled Jack: Victorian Urban Folklore and Popular Cultures, Boydell and Brewer: Boydell and Brewer, 2012, pp. 200-222. https://doi.org/10.1515/9781782040392-010Archived September 26, 2024, at the Wayback Machine
^ abGavaler, Chris. On the Origin of Superheroes: From the Big Bang to Action Comics No. 1. University Of Iowa Press; 1 edition (November 1, 2015). p. 132. ISBN978-1609383817
^ abTorrance, Richard (2005). "Literacy and Literature in Osaka, 1890–1940". The Journal of Japanese Studies (31). Society for Japanese Studies: 56. Archived from the original on September 26, 2024. Retrieved April 15, 2022. Sarutobi Sasuke precipitated a "ninja boom" among the young throughout the country. Sarutobi is an adolescent superhero who, in addition to his ability to chant incantations, appear and disappear at will, and leap to the top of the highest tree, can hear whispered conversations hundreds of yards away, is superhumanly strong, can ride on clouds, is able to conjure water, fire and wind as well as transform himself into other people and animals.
^Burke, Liam (2008). Superhero Movies. Harpenden, UK: Oldcastle Books. ISBN978-1842432754. Archived from the original on September 26, 2024. Retrieved November 21, 2020. If Superman can be credited with the creation of the superhero archetype, then Batman should be recognised for its refinement.
^Markstein, Don. "The Black Widow". Don Markstein's Toonopedia. Archived from the original on May 25, 2024. Retrieved July 26, 2013. Fantomah was the first female character in comics to use extraordinary powers in combatting evil. The Woman in Red was the first to wear a flashy costume and maintain a dual identity while doing so. On the other hand, The Black Widow was the first to do both.
^Takeshobo, ed. (November 30, 1995). "BonusColumn「変身ブーム到来!!」" [Bonus Column 'The Henshin Boom Arrives!']. 超人画報 国産架空ヒーロー四十年の歩み [The Super Heroes Chronicles: The History of Japanese Fantastic Televisions, Movies and Videos, 1957–1995] (in Japanese). Takeshobo. p. 85. ISBN4-88475-874-9. C0076.
^"We were all in love with Diana Rigg and that show she was on." Mike Sekowsky, quoted in Les Daniels, Wonder Woman: The Complete History (Chronicle, 2004), p. 129.
^Sailor Moon (superhero). The Superhero Book: The Ultimate Encyclopedia of Comic Book Icons. January 1, 2004. ISBN9781578591541. Archived from the original on February 6, 2024. Retrieved July 19, 2014.
^ abChute, Rebecca. 2016. "The" Pornographic Polemic": The Objectification and Inferiority of Female Comic Book Characters." UNBC Award for Academic Writing International Student Academic Writing Award William & Mary Wanka History:1.
^Rubin, Alexandra. 2015. "The Female Superhero: Fighting Villains and Stereotypes." A Publication of the Critical Writing Program the University of Pennsylvania 3808 Walnut Street Philadelphia, PA 19104-6221:18.
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Навчально-науковий інститут інноваційних освітніх технологій Західноукраїнського національного університету Герб навчально-наукового інституту інноваційних освітніх технологій ЗУНУ Скорочена назва ННІІОТ ЗУНУ Основні дані Засновано 2013 Заклад Західноукраїнський на…
SMP Negeri 39 SurabayaInformasiDidirikan26 Oktober 1995Kepala SekolahDrs.JUWARI.M.M.PDJumlah kelas25 kelasRentang kelasVII, VIII, IXKurikulumKurikulum 2013AlamatLokasiJl. Raya Prapen, Panjang Jiwo, Tenggilis Mejoyo, Kota SBY, Jawa Timur 60299, Surabaya, Jawa TimurMoto SMP Negeri (SMPN) 39 Surabaya, merupakan salah satu Sekolah Menengah Pertama Negeri yang ada di Provinsi Jawa Timur, Indonesia. Sama dengan SMP pada umumnya di Indonesia masa pendidikan sekolah di SMPN 39 Surabaya ditempu…
لغة رسميةمعلومات عامةصنف فرعي من لغة جانب من جوانب سياسة اللغاتculture of violence theory (en) يدرسه لسانيات اجتماعية النقيض لغة محلية تعديل - تعديل مصدري - تعديل ويكي بيانات اللغات الرسمية حسب البلد استمع إلى هذه المقالة (3 دقائق)noicon هذا الملف الصوتي أُنشئ من نسخة هذه المقالة المؤرخة في 6…
Economic zone exclusive to India EEZs in the Atlantic and Indian Oceans India has the 18th-largest exclusive economic zone (EEZ) with a total size of 2,305,143 km2 (890,021 sq mi).[1] It includes the Lakshadweep island group in the Laccadive Sea off the southwestern coast of India[2] and the Andaman and Nicobar Islands in the Bay of Bengal and the Andaman Sea.[3] India's EEZ is bordered to the west by Pakistan, to the south by the Maldives and Sri Lanka and…
Hungarian jazz guitarist and composer (born 1953) Attila LászlóBackground informationBirth nameLászló AttilaBorn (1953-07-10) July 10, 1953 (age 70)Kaposvár, HungaryGenresJazzOccupation(s)MusicianInstrument(s)GuitarYears active1975–presentWebsitelaszloattila.comMusical artist Attila László (born 10 July 1953) is a Hungarian jazz guitarist and composer. László is one of the leaders of Hungary's second generation of jazz musicians, which includes Lakatos, Dés, Kőszegi, and Pege.&…
Type of steel Steels Phases Ferrite Austenite Cementite Martensite Graphite Microstructures Spheroidite Pearlite Bainite Ledeburite Tempered martensite Widmanstätten structures Classes Crucible steel Carbon steel Spring steel Alloy steel Maraging steel Stainless steel High-speed steel Weathering steel Tool steel Other iron-based materials Cast iron Gray iron White iron Ductile iron Malleable iron Wrought iron Kirk nardeban pattern of a sword blade made of crucible steel, Zand period: 1750–179…
Polynesian language spoken in Tokelau Tokelauangagana TokelauNative toTokelau, Swains Island (American Samoa, United States)EthnicityTokelauansNative speakers1,200 in Tokelau (2020)[1]2,500 in New Zealand (2013 census)[1]Language familyAustronesian Malayo-PolynesianCentral–Eastern Malayo-Polynesian?Eastern Malayo-PolynesianOceanicCentral–Eastern OceanicCentral PacificEast Central PacificPolynesianNuclear PolynesianSamoic or ElliceanPukapukic?Samoan–Tokelauan?Tokel…
Jewish weekly newspaper published in Cincinnati, Ohio The Israelite redirects here. For an Israelite person, see Israelites. The American IsraeliteAugust 5, 2010, front pageTypeWeekly newspaperFormatBroadsheetPublisherNetanel DeutschEditorNetanel DeutschFoundedJuly 15, 1854LanguageAmerican EnglishHeadquarters18 West Ninth StreetCincinnati, OhioCountryUnited StatesCirculation6,500 (as of 2016)[1]OCLC number11975053 Websitewww.americanisraelite.comMedia of the United StatesList of news…
جهة العيون الساقية الحمراء الإحداثيات 26°26′N 12°33′W / 26.44°N 12.55°W / 26.44; -12.55 [1] تاريخ التأسيس 2015 سبب التسمية العيون، والساقية الحمراء تقسيم إداري البلد المغرب الجمهورية العربية الصحراوية الديمقراطية التقسيم الأعلى المغرب العاصمة …