Artists' books (or book arts or book objects) are works of art that utilize the form of the book. They are often published in small editions, though they are sometimes produced as one-of-a-kind objects.

Overview
Artists' books have employed a wide range of forms, including the traditional Codex form as well as less common forms like scrolls, fold-outs, concertinas or loose items contained in a box. Artists have been active in printing and book production for centuries, but the artist's book is primarily a late 20th-century form. Book forms were also created within earlier movements, such as Dada, Constructivism, Futurism, and Fluxus.

Artists' books are made for a variety of reasons. An artist book is generally interactive, portable, movable and easily shared. Some artists books challenge the conventional book format and become sculptural objects. Artists' books may be created in order to make art accessible to people outside of the formal contexts of galleries or museums. Artists' books can be made from a variety of materials, including found objects. The Mexican artist Ulises Carrión understood artists' books as autonomous forms that are not reduced only to text, as in a traditional book.

Early history

Origins of the form: William Blake
Whilst artists have been involved in the production of books in Europe since the early medieval period (such as the Book of Kells and the Très Riches Heures du Duc de Berry), most writers on the subject cite the English visionary artist and poet William Blake (1757–1827) as the earliest direct antecedent.

Books such as Songs of Innocence and of Experience were written, illustrated, printed, coloured and bound by Blake and his wife Catherine, and the merging of handwritten texts and images created intensely vivid, hermetic works without any obvious precedents. These works would set the tone for later artists' books, connecting self-publishing and self-distribution with the integration of text, image and form. All of these factors have remained key concepts in artists' books up to the present day.

Avant-garde production 1909–1937

As Europe plunged headlong towards World War I, various groups of avant-garde artists across the continent started to focus on pamphlets, posters, manifestos and books. This was partially as a way to gain publicity within an increasing print-dominated world, but also as a strategy to bypass traditional gallery systems, disseminate ideas and to create affordable work that might (theoretically) be seen by people who would not otherwise enter art galleries.

This move toward radicalism was exemplified by the Italian Futurists, and by Filippo Marinetti (1876–1944) in particular. The publication of the "Futurist Manifesto", 1909, on the front cover of the French daily newspaper Le Figaro was an audacious coup de théâtre that resulted in international notoriety. Marinetti used the ensuing fame to tour Europe, kickstarting movements across the continent that all veered towards book-making and pamphleteering.

In London, for instance, Marinetti's visit directly precipitated Wyndham Lewis' founding of the Vorticist movement, whose literary magazine BLAST is an early example of a modernist periodical, while David Bomberg's book Russian Ballet (1919), with its interspersing of a single carefully spaced text interspersed with abstract colour lithographs, is a landmark in the history of English language artists' books. With regards to the creation of Artists' books, the most influential offshoot of futurist principles, however, occurred in Russia. Marinetti visited in 1914, proselytizing on behalf of Futurist principles of speed, danger, and cacophony.

Russian Futurism, 1910–1917

Centered in Moscow, around the Gileia Group of Transrational (zaum) poets David and Nikolai Burliuk, Elena Guro, Vasili Kamenski and Velimir Khlebnikov, the Russian futurists created a sustained series of artists' books that challenged every assumption of orthodox book production. Whilst some of the books created by this group would be relatively straightforward typeset editions of poetry, many others played with form, structure, materials, and content that still seems contemporary.

Key works such as Worldbackwards (1912), by Khlebnikov and Kruchenykh, Natalia Goncharova, Larionov Rogovin and Tatlin, Transrational Boog (1915) by Aliagrov and Kruchenykh & Olga Rozanova and Universal War (1916) by Kruchenykh used hand-written text, integrated with expressive lithographs and collage elements, creating small editions with dramatic differences between individual copies. Other titles experimented with materials such as wallpaper, printing methods including carbon copying and hectographs, and binding methods including the random sequencing of pages, ensuring no two books would have the same contextual meaning.

Russian futurism gradually evolved into Constructivism after the Russian Revolution, centered on the key figures of Malevich and Tatlin. Attempting to create a new proletarian art for a new communist epoch, constructivist books would also have a huge impact on other European avant-gardes, with design and text-based works such as El Lissitzky's For The Voice (1922) having a direct impact on groups inspired by or directly linked to communism. Dada in Zurich and Berlin, the Bauhaus in Weimar, and De Stijl in the Netherlands all printed numerous books, periodicals, and theoretical tracts within the newly emerging International Modernist style. Artists' books from this era include Kurt Schwitters and Kate Steinitz's book The Scarecrow (1925), and Theo van Doesburg's periodical De Stijl.

Dada and Surrealism
Dada was initially started at the Cabaret Voltaire, by a group of exiled artists in neutral Switzerland during World War I. Originally influenced by the sound poetry of Wassily Kandinsky, and the Blaue Reiter Almanac that Kandinsky had edited with Marc, artists' books, periodicals, manifestoes and absurdist theatre were central to each of Dada's main incarnations. Berlin Dada in particular, started by Richard Huelsenbeck after leaving Zurich in 1917, would publish a number of incendiary artists' books, such as George Grosz's The Face Of The Dominant Class (1921), a series of politically motivated satirical lithographs about the German bourgeoisie.

Whilst concerned mainly with poetry and theory, Surrealism created a number of works that continued in the French tradition of the Livre d'Artiste, whilst simultaneously subverting it. Max Ernst's Une Semaine de Bonté (1934), collaging found images from Victorian books, is a famous example, as is Marcel Duchamp's cover for Le Surréalisme (1947) featuring a tactile three-dimensional pink breast made of rubber.

One important Russian writer/artist who created artist books was Alexei Remizov. Drawing on medieval Russian literature, he creatively combined dreams, reality, and pure whimsy in his artist books.

After World War II; post-modernism and pop art

Regrouping the avant-garde
After World War II, many artists in Europe attempted to rebuild links beyond nationalist boundaries, and used the artist's book as a way of experimenting with form, disseminating ideas and forging links with like-minded groups in other countries.

After the war, a number of leading artists and poets started to explore the functions and forms of the book 'in a serious way' Concrete poets in Brazil such as Augusto and Haroldo de Campos, Cobra artists in the Netherlands and Denmark and the French Lettrists all began to systematically deconstruct the book. A fine example of the latter is Isidore Isou's Le Grand Désordre, (1960), a work that challenges the viewer to reassemble the contents of an envelope back into a semblance of narrative. Two other examples of poet-artists whose work provided models for artists' books include Marcel Broodthaers and Ian Hamilton Finlay.

Yves Klein in France was similarly challenging Modernist integrity with a series of works such as Yves: Peintures (1954) and Dimanche (1960) which turned on issues of identity and duplicity. Other examples from this era include Guy Debord and Asger Jorn's two collaborations, Fin de Copenhague (1957) and Mémoires''' (1959), two works of Psychogeography created from found magazines of Copenhagen and Paris respectively, collaged and then printed over in unrelated colours.

Dieter Roth and Ed Ruscha
Often credited with defining the modern artist's book, Dieter Roth (1930–98) produced a series of works which systematically deconstructed the form of the book throughout the fifties and sixties. These disrupted the codex's authority by creating books with holes in (e.g. Picture Book, 1957), allowing the viewer to see more than one page at the same time. Roth was also the first artist to re-use found books-comic books, printer's end papers and newspapers (such as Daily Mirror, 1961, and AC, 1964).  Although originally produced in Iceland in extremely small editions, Roth's books would be produced in increasingly large runs, through numerous publishers in Europe and North America, and would ultimately be reprinted together by the German publisher Hansjörg Mayer in the 1970s, making them more widely available in the last half-century than the work of any other comparable artist.

Almost contemporaneously in the United States, Ed Ruscha (1937–present) printed his first book, Twentysix Gasoline Stations, in 1963 in an edition of 400, but had printed almost 4000 copies by the end of the decade. The book is directly related to American photographic travelogues, such as Robert Frank's The Americans (1965), but deals with a banal journey on route 66 between Ruscha's home in Los Angeles and his parents' in Oklahoma. Like Roth, Ruscha created a series of homogenous books throughout the sixties, including Every Building on the Sunset Strip, 1966, and Royal Road Test, 1967.

A Swiss artist worth mentioning is Warja Honegger-Lavater, who created artists' books contemporaneously with Dieter Roth and Ed Ruscha.

Fluxus and the Multiple
Growing out of John Cage's Experimental Composition classes from 1957 to 1959 at the New School for Social Research, Fluxus was a loose collective of artists from North America and Europe that centred on George Maciunas (1931–78), who was born in Lithuania. Maciunas set up the AG Gallery in New York, 1961, with the intention of putting on events and selling books and multiples by artists he liked. The gallery closed within a year, apparently having failed to sell a single item. The collective survived, and featured an ever-changing roster of like-minded artists including George Brecht, Joseph Beuys, Davi Det Hompson, Daniel Spoerri, Yoko Ono, Emmett Williams and Nam June Paik.

Artists' books (such as An Anthology of Chance Operations) and multiples<ref>The term Multiple had first been used by Daniel Spoerri to describe his Edition MAT' mass-produced sculptures in 1959</ref> (as well as happenings), were central to Fluxus' ethos disdaining galleries and institutions, replacing them with "art in the community", and the definition of what was and wasn't a book became increasingly elastic throughout the decade as the two forms collided. Many of the Fluxus editions share characteristics with both; George Brecht's Water Yam (1963), for instance, involves a series of scores collected in a box, whilst similar scores are collected together in a bound book in Yoko Ono's Grapefruit (1964). Another famous example is Literature Sausage by Dieter Roth, one of many artists to be affiliated to fluxus at one or other point in its history; each one was made from a pulped book mixed with onions and spices and stuffed into sausage skin. Literally a book, but utterly unreadable. Litsa Spathi and Ruud Jansen of the Fluxus Heidelberg Center in the Netherlands have an online archive of fluxus publications and fluxus webslinks.

Conceptual art
The artist's book proved central to the development of conceptual art. Lawrence Weiner, Bruce Nauman and Sol LeWitt in North America, Art & Language in the United Kingdom, Maurizio Nannucci in Italy, Jochen Gerz and Jean Le Gac in France and Jaroslaw Kozlowski in Poland all used the artist's book as a central part of their art practice. An early example, the exhibition January 5–31, 1969 organised in rented office space in New York City by Seth Siegelaub, featured nothing except a stack of artists' books, also called January 5–31, 1969 and featuring predominantly text-based work by Lawrence Weiner, Douglas Huebler, Joseph Kosuth, and Robert Barry. Sol LeWitt's Brick Wall, (1977), for instance, simply chronicled shadows as they passed across a brick wall, Maurizio Nannucci "M/40" with 92 typesetting pages (1967) and "Definizioni/Definitions" (1970), whilst Kozlowski's Reality (1972) took a section of Kant's Critique of Pure Reason, removing all of the text, leaving only the punctuation behind. Another example is the Einbetoniertes Buch, 1971 (book in concrete) by Wolf Vostell.

Louise Odes Neaderland, the founder and Director of the non-profit group International Society of Copier Artists (I.S.C.A.) helped to establish electrostatic art as a legitimate art form, and to offer a means of distribution and exhibition to Xerox book Artists. Volume 1, #1 of The I.S.C.A. Quarterly was issued in April 1982 in a folio of 50 eight by eleven inch unbound prints in black and white or color Xerography. Each contributing artist's work of Xerox art was numbered in the Table of Contents and the corresponding number was stamped on the back of each artist's work. "The format changed over the years and eventually included an Annual Bookworks Edition, which contained a box of small handmade books from the I.S.C.A. contributors."
After the advent of home computers and printers made it easier for artists to do what the copy machine formerly did,  Volume 21, #4 in June 2003 was the final issue. "The 21 years of The I.S.C.A. Quarterlies represented a visual record of artists' responses to timely social and political issues," as well as to personal experiences. The complete I.S.C.A quarterly collection is housed and catalogued at the Jaffe Center for Book Arts at the Florida Atlantic University library.

Proliferation and reintegration into the mainstream
As the form has expanded, many of the original distinctive elements of artists' books have been lost, blurred or transgressed. Artists such as Cy Twombly, Anselm Kiefer and PINK de Thierry, with her series Encyclopaedia Arcadia, routinely make unique, hand crafted books in a deliberate reaction to the small mass-produced editions of previous generations; Albert Oehlen, for instance, whilst still keeping artists' books central to his practice, has created a series of works that have more in common with Victorian sketchbooks. A return to the cheap mass-produced aesthetic has been evidenced since the early 90s, with artists such as Mark Pawson and Karen Reimer making cheap mass production central to their practice.

Contemporary and post-conceptual artists also have made artist's books an important aspect of their practice, notably William Wegman, Bob Cobbing, Martin Kippenberger, Raymond Pettibon, Freddy Flores Knistoff and Suze Rotolo. Book artists in pop-up books and other three-dimensional one-of-a-kind books include Bruce Schnabel, Carol Barton, Hedi Kyle, Julie Chen, Ed Hutchins and Susan Joy Share.

Many book artists working in traditional, as well as non-traditional, forms have taught and shared their art in workshops at centers such as the Center for Book Arts in New York City, and the Visual Arts Studio (VisArts), the Virginia Museum of Fine Arts Studio School, the Virginia Museum of Fine Arts Statewide Outreach Program, and the no longer extant Richmond Printmaking Workshop, all in Richmond, Virginia. Other institutions devoted to the art form include San Francisco Center for the Book, Visual Studies Workshop in Rochester, New York, and Women's Studio Workshop in Rosendale, New York.

Art book fairs
The recent boom in artists' books production and dissemination is closely linked to art book fairs:

Critical reception
In the early 1970s the artist's book began to be recognized as a distinct genre, and with this recognition came the beginnings of critical appreciation of and debate on the subject. Institutions devoted to the study and teaching of the form were founded (The Center for Book Arts in New York, for example); library and art museum collections began to create new rubrics with which to classify and catalog artists' books and also actively began to expand their fledgling collections; new collections were founded (such as Franklin Furnace in New York); and numerous group exhibitions of artist's books were organized in Europe and America (notably one at Moore College of Art and Design in Philadelphia in 1973, the catalog of which, according to Stefan Klima's Artists Books: A Critical Survey of the Literature, is the first place the term "Artist's Book" was used). Artists' books became a popular form for feminist artists beginning in the 1970s. The Women's Studio Workshop (NY) and the Women's Graphic Center at the Woman's Building (LA), founded by graphic designer, Sheila de Bretteville were centers where women artists could work and explore feminist themes. Bookstores specializing in artists' books were founded, usually by artists, including Ecart in 1968 (Geneva), Other Books and So in 1975 (Amsterdam), Art Metropole in 1974 (Toronto) and Printed Matter in New York (1976). All of these also had publishing programmes over the years, and the latter two are still active today.

In the 1980s this consolidation of the field intensified, with an increasing number of practitioners, greater commercialization, and also the appearance of a number of critical publications devoted to the form. In 1983, for example, Cathy Courtney began a regular column for the London-based Art Monthly (Courtney contributed articles for 17 years, and this feature continues today with different contributors). The Library of Congress adopted the term artists books in 1980 in its list of established subjects, and maintains an active collection in its Rare Book and Special Collections Division.

In the 1980s and 1990s, BA, MA and MFA programs in Book Art were founded, some notable examples of which are the MFA at Mills College in California, the MFA at The University of the Arts in Philadelphia, the MA at Camberwell College of Arts in London, and the BA at the College of Creative Studies at the University of California, Santa Barbara. The Journal of Artists' Books (JAB) was founded in 1994 to "raise the level of critical inquiry about artists' books."

In 1994, a National Book Art Exhibition, Art ex libris, was held at Artspace Gallery in Richmond, Virginia, and the Virginia Commission for the Arts awarded a technical assistance grant for videotaping the exhibition.

In 1995, excerpts from Art ex Libris: The National Book Art Invitational at Artspace video documentary were shown in the Frances and Armand Hammer Auditorium at the 4th Biannual Book Arts Fair sponsored by Pyramid Atlantic Art Center at the Corcoran Gallery of Art. In 1996, the Art ex Libris documentary was included in an auction at Swann Galleries to benefit the Center for Book Arts in New York City. Many of the books exhibited in Art ex Libris at Artspace Gallery and Art ex Machina at 1708 Gallery are now in the Sackner Archive of Concrete and Visual Poetry in Miami, Florida.

In recent decades the artist's book has been developed, by way of the artists' record album concept pioneered by Laurie Anderson into new media forms including the artist's CD-ROM and the artist's DVD-ROM. Beginning in 2007, the Codex Foundation began its Book Fair and Symposium, a biennial 4-day event in the San Francisco Bay Area attended by collectors and producers of artist books as well as laypeople and academics interested in the medium.

Critical issues and debate

A number of issues around the artist's book have been vigorously debated. Some of the major themes under examination have been:

 Definition of the artist's book: distinguishing between the terms "artist's book", "book art", "bookworks", "livre d'artiste", fine press books, etc.
 Where the artist's book "should" be situated in relation to Craft and Fine Art traditions.
 Where to put the apostrophe.
 When is a magazine a book? Some examples of "artists' books" provided on this page (such as Theo van Doesburg's De Stijl) are magazines and not books at all.
 Publishing as an explicitly political act and the desire to challenge an art establishment.
 Publishing as an implicitly political act and its challenge to imagine a new kind of reading.

Practitioners have asserted that the term artist's book is problematic and sound outdated:

Photo gallery

See also

 Art diary
 Altered book
 Asemic writing
 List of book arts centers
 Bookbinding
 Chapbook
 Ezine
 Fine press
 Illuminated manuscript
 Letterpress printing
 Miniature book
 Minicomic
 Pop-up book
 Something Else Press
 Visual poetry
 Zine

References

Further reading
 Abt, Jeffrey (1986) The Book Made Art: A Selection of Contemporary Artists' Books
 Alexander, Charles, ed. (1995) Talking the Boundless Book: Art, Language, and the Book Arts
 Bernhard Cella(2012) Collecting Books: A selection of recent Art and Artists' Books produced in Austria  , a YouTube Video that is part of the project.
 Bleus, Guy (1990) Art is Books
 Borsuk, Amaranth (2018). The Book. Cambridge, Massachusetts: The MIT Press
 Bright, Betty (2005) No Longer Innocent: Book Art in America, 1960–1980
 Bringhurst, Robert, Koch, Peter Rutledge. (2011)The Art of the Book in California: Five Contemporary Presses Stanford: Stanford University Libraries,
 Brown, Kathryn, ed. (2013), The Art Book Tradition in Twentieth-Century Europe: Picturing Language.
 Bury, Stephen (1995) Artists' Books: The Book As a Work of Art, 1963–1995
 Castleman, Riva (1994) A Century of Artists Books
 Celant, Germano, translated from the Italian by Corine Lotz (1972) Book as Artwork, 1960–72
 Celant, Germano and Tim Guest (1981) Books by Artists

 Friedman, Julia. Beyond Symbolism and Surrealism: Alexei Remizov's Synthetic Art, Northwestern University Press, 2010.   (Trade Cloth)
 Fusco, Maria and Ian Hunt (2006) Put About: A Critical Anthology on Independent Publishing
 Hubert, Rennée Riese, and Judd D. Hubert (1999) The Cutting Edge of Reading: Artists' Books
 Lauf, Cornelia and Clive Phillpot (1998) Artist/Author: Contemporary Artists' Books
 Leszek Brogowski, Éditer l'art. Le livre d'artiste et l'histoire du livre, nouvelle édition revue et augmentée, Rennes, Éditions Incertain Sens, coll. "Grise" ()

 Johanna Drucker, (1998) Figuring the Word: Essays on Books, Writing, and Visual Poetics
 Jury, David, ed. (2007) Book Art Object Berkeley: Codex Foundation,
 Jones, Shirley (2019). Mezzotint and the Artist's Book: a forty year journey (The Red Hen Press)
 Jury, David, Koch, Peter Rutledge, eds. (2013) Book Art Object 2 Berkeley: Codex Foundation and Stanford: Stanford University Libraries,
Khalfa, Jean (2001) The Dialogue between Painting and Poetry: Livres d'Artistes 1874–1999, Black Apollo Press
 Klima, Stefan (1998) Artists Books: A Critical Survey of the Literature
 Lippard, Lucy (1973) Six years: The Dematerialization of the Art Object from 1966 to 1972
 Lyons, Joan, ed. (1985) Artists' Books: A Critical Anthology and Sourcebook
 Martinez, Alejandro (2021). "Ten Theses on the Artist's Book". Artishock.
 Moeglin-Delcroix, Anne. (1997) Esthétique du livre d'artiste, 1960-1980. Paris: Jean-Michel Place; Biliothèque nationale de France.
 Maurizio Nannucci, "Artists' Books", Palazzo Strozzi, Florence 1978
 Perrée, Rob (2002) Cover to Cover: The Artist's Book in Perspective
 Pichler, Michalis (2019), Publishing Manifestos MIT Press, Cambridge, MA
 Phillpot, Clive (2013). Booktrek: Selected Essays on Artists' Books (1972–2010). Switzerland: JRP/Ringier, ISBN 978-3-03764-207-8
 Phillpot, Clive (1982). "Real Lush". ArtForum.
 Smith, Keith (1989) Structure of the Visual Book
 Umbrella, founded and edited by Judith Hoffberg, is one of the oldest online periodicals covering artists' books and other multiple editions. Available online for the years 1978–2005 through the Digital Collections of the IUPUI University Library.
 Viola Hildebrand-Schat, Stefan Soltek: Art by the Book (German), ed. by Klingspor Museum Offenbach, Lindlar 2013. Die Neue Sachlichkeit,

Dada
Xerox art

Artist's book


David René de Rothschild, punim imenom David René James de Rothschild (* New York City, New York, 15. prosinca 1942.), francuski bankar, poduzetnik, političar iz francuske loze bogate židovske obitelji Rothschild. Predsjednik je uprave Rothschild Continuation Holdings-a i predsjednik Svjetskog židovskog kongresa od 2013. godine. Njegovo bogatstvo procjenjivalo se 2017. godine na 10 milijardi $.

Životopis

Rodio se u New Yorku, u SAD-u, gdje mu je izbjegla obitelj pred nacističkim progonom za vrijeme Drugog svjetskog rata. Bio je jedino dijete u obitelji baruna Guya de Rothschilda (1909. – 2007.) i Alix Hermine Schey de Koromla (1911. – 1982.). Ima polubrata Édouarda Étiennea de Rothschilda (r. 1957.) iz očeva drugog braka s barunicom Marie-Hélène van Zuylen van Nyevelt (1927. – 1996.). Tijekom rata ostao je s majkom u New Yorku, dok mu se otac Guy vratio u Europu i aktivno sudjelovao u ratu. Nakon završetka rata obitelj se vratila u Francusku, gdje je David 1966. godine diplomirao na Institut d'Études Politiques de Paris u Parizu.

Poslovnu karijeru počeo je u obiteljskoj međunarodnoj kompaniji za miniranje Société miniére et métallurgique de Peñarroya sa sjedištem u Parizu, nakon čega je odradio pripravništvo u obiteljskoj banci de Rothschild Frères, koja je 1967. godine restrukturirana prema novim vladinim zakonima i preimenovana u Banque Rothschild. Godine 1981. francuski predsjednik François Mitterrand nacionalizirao je brojne francuske privatne banke, uključujući i Banque Rothschild, zbog čega je David René utemeljio novu banku u Parizu, da bi 1987. godine zajedno s polubratom Édouardom de Rothschildom, grofom Philippeom de Nicolayem i rođakom Éricom de Rothschild osnovao banku Rothschild & Cie Banque, koja je uskoro postala vodećom bankom u Francuskoj i središnjoj Europi.

Godine 2003., poslije umirovljenja njegovog engleskog rođaka, Sir Evelyna Roberta de Rothschilda (r. 1931.), koji je bio na čelu engleske banke N M Rothschild & Sons, provedeno je spajanje engleske i francuske obiteljske banke pod jednom krovnom kompanijom, Paris Orléans. David René je naslijedio rođaka, Sir Evelyna, na čelu N M Rothschild & Sons, predsjednik je i Rothschild Continuation Holdings, potpredsjednik Rothschild Bank AG i nadzornog odbora Paris Orleans, a ujedno je i stariji partner Rothschild & Cie Banque. Po dovršetku spajanja banka, djelovao je kao predsjednik uprave banke Rothschild & Co.

Godine 2018. bilo je najavljeno da će David René odstupiti s položaja predsjednika uprave Rothschild & Co i da će ga naslijediti sin Alexandre de Rothschild (r. 1980.), što je provedeno, a David René je postao predsjednik nadzornog odbora, zamijenivši na toj funkciji rođaka Érica de Rothschilda.

Osim dužnosti u bankarskom sektoru, David je bio osmanaest godina gradonačelnik mjesta Château Reux u Normandiji, gdje obitelj živi i posjeduje farmu konja, kojima se bavi Davidov polubrat Édouard. David također posjeduje i dio imanja Château Lafite-Rothschild, ali ne sudjeluje u svakodnvenom radu vinarije.

Privatni život

Godine 1974. oženio je talijansku princezu Olimpiju Annu Aldobrandini (r. 1955.), s kojom ima četvero djece:
 Lavinia Anne Alix (r. 1976.)
 Stéphanie Anne Marie (r. 1977.)
 Alexandre Guy Francesco de Rothschild (r. 1980.)
 Louise Lili Béatrice (r. 1989.)

Vodio je Ujedinjeni židovski fond od 1982. do 2006. godine.

Bilješke

Vanjske poveznice

 David René James de Rothschild (1942-) - family.rothschildarchive.org

Bankari iz obitelji Rothschild (Francuska)

David René de Rothschild


Höfen ist ein Gemeindeteil der Kreisstadt Dingolfing und liegt in der Gemarkung Teisbach. Früher war Höfen ein Dorf des Marktes Teisbach, der am 1. Januar 1972 im Zuge der Gebietsreform in Bayern in die Stadt Dingolfing eingemeindet wurde.

Geographie
Im Süden schließt sich das Dorf Schönbühl an, und im Nordosten liegt der Weiler Gaubitzhausen. Die drei Gemeindeteile liegen in einem engen räumlichen Zusammenhang im ländlichen Bereich im Isartal links der Isar. Die im Westen gelegene Siedlung Kronwieden gehört zur Gemeinde Loiching. Die Gemeindegrenze verläuft teilweise mitten durch bebautes Gebiet. So grenzen die Anwesen am westlichen Ende des Bachwegs (Hausnummern 42 und 43) direkt an die Anwesen des Veilchenwegs in Kronwieden. Das Anwesen an der Hauptstraße 2 grenzt an die Anwesen der Poststraße in Kronwieden. Die Gemeindegrenze durchschneidet das Betriebsgelände der BayWa an der Hauptstraße 7. Ansonsten grenzen die offenen Fluren Höfens an das inzwischen bis an die Gemeindegrenze bebaute Kronwieden.

Zum Stichtag 30. Juni 2011 hatte das Dorf laut Melderegister der Stadt Dingolfing 390 Einwohner mit Hauptwohnsitz und 18 mit Nebenwohnsitz. Mit der Fertigstellung des Wohnbaugebiets Höfen II mit 105 Parzellen wurde mit einem Zuwachs von rund 315 Einwohnern gerechnet. Nach Fertigstellung und Bezug der meisten neuen Wohngebäude sieben Jahre später, zum Stichtag 30. Juni 2018, betrug die Einwohnerzahl mit Hauptwohnsitz bereits 755 (18 Nebenwohnsitz).
Die neuen Gebäude tragen nach dem Vorschlag des Bauausschusses die Straßenanschrift "Im Unteren Moosfeld".

Im Südosten des Dorfes liegt ein Baggersee, der örtlich unter dem Namen Birkensee bekannt ist.

Die A 92 verläuft an der Nordgrenze des ehemaligen Gemeindegebiets. Beim BMW-Dynamikzentrum, wo die DGF-16 über die A 92 führt, wurde der dritte Autobahnanschluss der Stadt Dingolfing bzw. der erste im ehemaligen Gemeindegebiet am 9. Dezember 2014 dem Verkehr übergeben. Bereits vorher wurde die DGF-16 nach Norden Richtung Dornwang zurückgebaut, bzw. rund 1500 Meter nach Osten über den Kreisverkehr beim Grüblhof verlegt. Der nur mit Blinklichtern versehene, unbeschrankte Bahnübergang in Höfen wurde für den Durchgangsverkehr gesperrt. Die ursprünglich beabsichtigte Beseitigung aber wird wegen des landwirtschaftlichen Verkehrs nicht durchgeführt.

Geschichte
Historisch entwickelte sich Höfen aus zwei bäuerlichen Ansiedlungen, von denen die westliche und ursprünglich kleinere, Teisbacherhöfe, dem Markt Teisbach zugeordnet war, während die östliche und ältere im Bereich des heutigen Schwalbenwegs, Höfer schweigen, bei der Gemeindebildung im Jahr 1818 der Gemeinde Loiching zugeschlagen wurde. Die Grenze der beiden Dörfer verlief etwa entlang der heutigen Lerchenstraße. Erst am 1. Januar 1946 kam es durch die Eingliederung des Loichinger Teils (zusammen mit Schönbühl und Gaubitzhausen) in den Markt Teisbach zur Aufhebung der kommunalen Grenze sowie auch der Gemarkungsgrenze innerhalb Höfens. Bis zu diesem Zeitpunkt bildete das Teisbacher Dorf Höfen eine 170 Hektar große Enklave, die vollständig von Loichinger Gemeindegebiet umgeben war.

Das heutige Dorfgebiet links (nördlich) des Längenmühlbachs wurde seit Jahrhunderten als Weidegebiet genutzt. Bauern des Marktes Teisbach hatten hier schon im Spätmittelalter Weiderechte. Ackerbau und damit zunehmend Viehhaltung mit Stallfütterung begann hier erst gegen Ende des 18. Jahrhunderts.

In einer Aufstellung des Güterbestandes des Landgerichts Teisbach im Jahre 1752 taucht Höfen als einziger Ort der Obmannschaft Höfen in Schwaigen auf, eine von sechs Obmannschaften des Amtes Teisbach. Die später separat nachgewiesenen Orte Schönbühl und Gaubitzhausen waren also unter Höfen subsumiert, ebenso das auch heute noch zur Gemeinde Loiching gehörige Kronwieden, das noch in der Besitzfassion von 1809 noch zu Höfen gehörte und erst im Gemeindeverzeichnis von 1840 als eigener Ortsteil verzeichnet wurde. Der Ort bzw. die Obmannschaft schloss auch den Grüblhof ("Wirtshaus am Grieblhof") ein, der später ebenfalls als separater Ortsteil geführt wurde, zu dem aber auch die Rostmühle (später auch als Mosermühle bekannt) gehörte. Diese Aufstellung wies insgesamt 16 Anwesen unterschiedlicher Größe nach, davon vier unter fremder Jurisdiktion (Hofmark Warth). Der Ort ist auf Adrian von Riedls Karte von 1802 als Höfer schweigen mit dem Grieblhof verzeichnet.

Schönbühl taucht in der Aufstellung als Achtelanwesen Kurf. Kasten Teisbach (Müller auf der Schönbichlmühle) auf. Das Gebiet dieser Obmannschaft Höfen in Schwaigen wurde 1818 bei der Gemeindebildung der Gemeinde Loiching zugeschlagen. Neun der zwölf Anwesen der Obmannschaft trugen Hofnamen, die endeten auf *schwaige, auch wenn die einzelnen Anwesen nicht exakt verortbar sind: Schererschwaige, Kanzlerschwaige, Hansenschwaige, Dräxlerschwaige, Demblschwaige, Räckerschwaige, Rohrerschwaige, Wörtherschwaige und Moosschwaige. Die übrigen drei Anwesen waren der vorgenannte Müller auf der Schönbichlmühle (Schönbühl), das Wirtshaus am Grieblhof (Grüblhof) und das Auhäusl. Räckerschwaige und Wörtherschwaige werden als Zubau zum Wirt qualifiziert.

Der schon länger als Exklave zum Markt Teisbach gehörige gleichnamige Weiler Höfen bestand nach dieser Aufstellung von 1752 nur aus vier Anwesen. Drei Anwesen waren je 1/8 (Fischersölde, Furtnersölde, Eberlsölde), und eines 1/16 (Weberhäusl). Der Weiler ist auf Adrian von Riedls Karte von 1802 als Teisbacherhöfe verzeichnet.

Bei Hazzi (1808) taucht Höfen im Amt Teisbach mit 17 Häusern und ebenso vielen Herdstellen auf. Dabei wird angemerkt, dass ich in dem Dorf drei Mühlen befinden.

Im Topographisch-statistischen Handbuch für den Isarkreis im Königreich Baiern von 1825 finden sich folgende Einträge, die Höfen (nur innerhalb der Gemeinde Loiching) betreffen, sowie die zu anderen Zeitpunkten unter Höfen subsumierten Ortschaften:
 Höfen (119 Einwohner in 23 Häusern)
 Grüblhof (12 Einwohner in 1 Haus)
 Schönbichl (6 Einwohner in 1 Haus)

Im bayerischen Ortsverzeichnis von 1831/1832 taucht innerhalb des damaligen Landgerichts Vilsbiburg Höfen nur einmal auf: Dorf des Ldg. Vilsbiburg und der Pfr. Loiching, 2 1/4 Std. von Wörth. Es besteht aus 23 H. mit 120 E. und liegt an der Isar. In diesem Werk sind Gaubitzhausen (als Einöde) und Schönbühl (als Einöde Schönbichel mit 6 Einwohnern) separat gelistet. Ebenso taucht der 1946 in die Stadt Dingolfing eingemeindete Grüblhof auf: Grübelhof: Einöde an der Straße von Landshut nach Deggendorf unweit unweit Loiching, im Ldg. Vilsbiburg. Sie enthält 12 E. und liegt 2 1/2 St. von Wörth. Ebenso aufgeführt ist Neuhausen: Einöde an der Straße von Landshut nach Deggendorf, unweit Teisbach und Loiching, im Ldg. Vilsbiburg, 2 1/8 Std. von Wörth. Dieser Ort, der auch auf historischen amtlichen Karten nördlich der Straße von Landshut nach Deggendorf (der heutigen Hauptstraße bzw. Staatsstraße 2074) und westlich der heutigen Lerchenstraße eingezeichnet ist, taucht in späteren amtlichen Ortsverzeichnissen nicht mehr auf und ist heute als Ortsbezeichnung unbekannt. Unmittelbar westlich davon wurde das Baugebiet Höfen I mit 35 Wohneinheiten ausgewiesen.

Auch die Matrikel des Bistums Regensburg von 1838 listet Höfen unter den zur damaligen Expositur Teisbach gehörigen Orten nur einmal auf, offensichtlich unter Einbeziehung von Schönbühl und Gaubitzhausen, da diese dort nicht auftauchen: Höfen oder Teisbacher-Schwaigen, 23 Häuser, 144 Seelen.

Das erste amtliche Ortschaftenverzeichnis Bayerns zum Stand 1875 dagegen trennte nach Gemeindezugehörigkeit: Das Dorf Höfen der Gemeinde Loiching (71 Gebäude, 116 Einwohner, sowie separat gelistet die Weiler Gaubitzhausen und Schönbühl mit 11 Gebäuden und 14 Einwohnern bzw. 5 Gebäuden und 15 Einwohnern), sowie der Weiler Höfen des Marktes Teisbach (23 Gebäude, 67 Einwohner).

Die Eingliederung des bislang zu Loiching gehörigen Teils von Höfen sowie der Ortsteile Schönbühl und Gaubitzhausen in den damaligen Markt Teisbach zum Stichtag 1. Januar 1946, die das Gemeindegebiet von Teisbach arrondierte und die Exklaveneigenschaft des Teisbacher Ortsteils Höfen aufhob, ist erstmals im Amtlichen Ortsverzeichnis von 1950 reflektiert (Höfen 415 Einwohner in 67 Wohngebäuden, Weiler Gaubitzhausen 25 Einwohner in 6 Wohngebäuden und Dorf Schönbühl 88 Einwohner in 14 Wohngebäuden).

Die Freiwillige Feuerwehr Höfen hat sich im Laufe der Zeit zu einer Stützpunktfeuerwehr entwickelt. Es werden Funktionen im Brand- und Katastrophenschutz im gesamten Landkreis Dingolfing-Landau übernommen.

Baudenkmäler
Die Wegkapelle bei Hausnummer 49 an der Nordseite der Hauptstraße (Staatsstraße 2074), örtlich nach dem Eigentümer auch als Ernst-Kapelle bekannt, ist eines der drei denkmalgeschützten Bauwerke Höfens. Der kleine Satteldachbau mit Fassadengliederung stammt aus der zweiten Hälfte des 19. Jahrhunderts. Bis vor wenigen Jahrzehnten wurden hier regelmäßig Maiandachten abgehalten.

Literatur
 Georg Schwarz: Vilsbiburg: Die Entstehung und Entwicklung der Herrschaftsformen im niederbayerischen Raum zwischen Isar und Rott. München 1976. ISBN 3 7696 9898 3 (Digitalisat).
 Joseph Wolfgang Eberl: Die Geschichte der Stadt Dingolfing und ihrer Umgebung. F. Datterer, Freising 1856
 Hermann Raith: Der Konflinkt zwischen den Gemeinden Teisbach und Loiching um die sog. "Teisbacher Enklave". Ein rechtshistorischer Beitrag zur Problematik der Gemeindebildung in Bayern im 19. und 20. Jahrhundert. Eichendorf 2007, ISBN 978-3-930648-70-2.

Weblinks

Einzelnachweise

Ort im Landkreis Dingolfing-Landau
Geographie (Dingolfing)
Dorf

Höfen (Dingolfing)


Spomen-križ na ušću Vuke u Dunav je spomen-križ u gradu Vukovaru, u središtu grada.

Zemljopisni položaj

Podignut je kod ušća rijeke Vuke u Dunav, gdje se uvijek pružao pogled na široku, moćnu rijeku.

O križu
Podignut je u čast i spomen svim onima koji su svoj život dali za slobodnu i neovisnu Hrvatsku. Autor spomen-križa je hrvatski kipar Šime Vidulin iz Pule.

Križ je postavljen u listopadu 1998. godine. Dar je Hrvatske ratne mornarice zbornog područja Pula.

Osobine

Križ je bijele boje. Na križu je uklesan tekst pisan glagoljicom Navik on živi ki zgine pošteno koje je davno spjevao hrvatski velikan Fran Krsto Frankopan. Masa cijele konstrukcije je 40 tona. Visine je 9,5 metara. Konstrukciju križa čine postolje i križ. Postolje oblika okrenutog trapeza je od pazinskog kamena, koji nije glačan. Baza postolja uža je od vrha postolja. U postolju je na četvorinastoj površini uklesan natpis. Postolje je na četvorinastoj podlozi koja je stuba od tamnog kamena. gornji dio konstrukcije, na postolju od bračkog kamena je konstrukcija od bijelog bračkog kamena. To su šira kockasta konstrukcija manjeg postolja na kojoj je glagoljični natpis. Gornji dio donjeg postolja od bračkog kamena nastavlja se od četvorine u piramidu koja je sasječena blizu osnovice. Na vrhu tog sasječenog dijela je manje, srednje postolje od bračkog kamena, ista oblika kao i dolnje postolje. Na njemu je u srednje visokom reljefu uklesan grb Republike Hrvatske. Na srednje postolje postavljene je latinski križ. Gornji krak križa u odnosu na dolnji krak su visinom 1:2. Na prednjoj strani križa, na svim krakovima je u srednje visokom reljefu uklesan hrvatski pleter.

Izvori

Vukovar, Ušće Vuke u Dunav

Spomenici hrvatskim vojnicima iz Domovinskog rata

Građevine u Vukovaru

Spomen-križ na ušću Vuke u Dunav


Hamund Sigmundsson (nórdico antiguo: Hámundr, n. 733) es el nombre de un legendario caudillo vikingo de Dinamarca, activo durante la era de Vendel, que tuvo dos papeles en la mitología nórdica.

Primero, aparece como hijo de Sigmund y hermano de Sigurd, Helgi Hundingsbane y Sinfjötli. Y en segundo lugar, como padre de los reyes del mar Haki y Hagbard. Hagbard se enamoró de Signý, vinculada familiarmente a Siggeir, enemigo acérrimo de Sigmund.

Sagas
Hámundr aparece como personaje de un cameo en Frá dauða Sinfjötla (Edda poética), donde se cita a su familia. Según el pasaje, era el hijo más joven de Sigmund, «rey sobre la tierra de los francos»; su hermano mayor era Sinfjötli, y Helgi, el mediano.

La presencia de Hámundr en la saga Völsunga es también prácticamente ínfima, limitado al capítulo 26 de algunas ediciones modernas. Una traducción incluye una cita Brynhildr, hablando sobre Haki, Hagbard y sus hijos. No obstante, la referencia no aparece en el original, sino que es una aportación basado en los escritos de Saxo Grammaticus, quien en su Gesta Danorum (libro 7), le menciona como un caudillo vikingo y padre de Hagbard y Haki, así como otros dos hijos que murieron en las guerras contra Sigger (Sigar), llamados Helwin y Hamund (como su padre).

Referencias

Caudillos vikingos legendarios de Dinamarca

Hamund


Gustavo Zapata (født 15. oktober 1967) er en tidligere argentinsk fodboldspiller.

Argentinas fodboldlandshold

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Eksterne henvisninger

Fodboldspillere fra Argentina

Gustavo Zapata


Erzberg ist ein Gemeindeteil der Gemeinde Wörnitz im Landkreis Ansbach (Mittelfranken, Bayern).

Geographie
Das Pfarrdorf liegt am Arzbacher Mühlbach (im Unterlauf Waldhausener Mühlbach genannt), der ein rechter Zufluss der Wörnitz ist, und am Harlanggraben, der ein linker Zufluss des Arzbacher Mühlbach ist. Nordwestlich des Ortes grenzt die Schillingsfürst-Wettringer Hardt an, die Teil der Frankenhöhe ist. Im Nordosten liegt das Flurgebiet Weißlohe.

Eine Gemeindeverbindungsstraße führt nach Arzbach zur Kreisstraße AN 16 (0,8 km westlich) bzw. nach Mühlen zur Kreisstraße AN 5 (1,7 km östlich), eine weitere führt zur AN 5 bei Bösennördlingen (2 km östlich).

Geschichte
Von St. Peter und Paul (Wettringen) aus wurde in Erzberg die St. Galluskirche gegründet. 1330 erhielt diese Pfarrpfründe, 1393 wurde sie selbständig. 1544 wurde die Kirchengemeinde evangelisch-lutherisch. 1723 hatte die Kirchengemeinde 419 Mitglieder, 1778 waren es 514.
1800 gab es in Erzberg 20 Gemeinderechte, von denen 2 der Reichsstadt Rothenburg und 18 dem Deutschen Orden unterstanden.

Mit dem Gemeindeedikt (frühes 19. Jahrhundert) wurde der Steuerdistrikt Erzberg gebildet, zu dem Arzbach, Grüb, Harlang, Kleinmühlen und Rothof gehörten. Wenig später entstand die Ruralgemeinde Erzberg, zu der Arzbach, Bastenau, Harlang, Kleinmühlen und Rothhof gehörten. Sie war in Verwaltung und Gerichtsbarkeit dem Landgericht Rothenburg zugeordnet. Die Gemeinde hatte eine Gebietsfläche von 7,924 km². Im Zuge der Gebietsreform in Bayern wurde diese am 1. November 1971 nach Wörnitz eingemeindet.

Baudenkmäler
 Evang.-Luth. Pfarrkirche St. Gallus, Langhaus 1722, Chorturm 14. Jahrhundert; mit Ausstattung; Friedhof, wohl im Kern spätmittelalterliche Ummauerung, mit Grabsteinen.
 Ehemaliges Schulhaus. Spätes 18. Jahrhundert. Westlich der Kirche an die Innenseite des Friedhofmauer stoßendes, langgestrecktes Gebäude mit Fachwerkobergeschoss und Mansarddach. Im südlichen Teil Durchgang zum Friedhof.
 Haus Nr. 6: Einfaches Fachwerkwohnhaus, mittleres 19. Jh.
 Haus Nr. 7: Wappenrelief, 1778.

Bodendenkmäler
In der Gemarkung Erzberg gibt es vier Bodendenkmäler, darunter:
 Befestigungsgraben auf dem Kamm des "Firstle". Kleiner, etwas gebogener Halsgraben unbekannten Alters. Wohl von einer mittelalterlichen Anlage herrührend.

Einwohnerentwicklung
Gemeinde Erzberg

Ort Erzberg

Religion
Der Ort ist Sitz der Pfarrei St. Gallus und seit der Reformation evangelisch-lutherisch geprägt. Die Einwohner römisch-katholischer Konfession sind nach Kreuzerhöhung (Schillingsfürst) gepfarrt.

Literatur

Weblinks

Fußnoten

Ortsteil von Wörnitz
Ort im Landkreis Ansbach
Ehemalige Gemeinde (Landkreis Ansbach)
Gemeindeauflösung 1971
Kirchdorf (Siedlungstyp)

Erzberg (Wörnitz)


Low Voltage ist das 2010 erschienene, fünfte Studioalbum der deutschen Band The BossHoss. Das Album ist ein Best-of-Album von zwölf schon auf vorigen Alben der Band vertretenen Liedern und drei Coverstücken. Dabei wurden die Titel mit dem Deutschen Filmorchester Babelsberg und der Bläsergruppe "Tijuana Wonderbrass" neu eingespielt. Laut Leadsänger Boss Burns stellt Low Voltage "eine Hommage an AC/DCs High Voltage" dar.

Titelliste

Allgemeines
Low Voltage belegte Platz sieben in Deutschland, Platz 49 in Österreich und Platz 69 in der Schweiz und war damit weniger erfolgreich als das Vorgängeralbum. The BossHoss spielten auf der Tour zu Do or Die einige Titel unplugged, und aufgrund der positiven Reaktionen seitens des Publikums beschlossen sie, ein Best-of-Album aufzunehmen.

Wie schon bei den vier vorigen Alben war Hoss Power hier nicht nur als Produzent, sondern auch als Arrangeur und Abmischer tätig. Als Toningenieur tritt hier erstmals Guss Brooks auf, das Schlagzeug und die Perkussionsinstrumente wurden von Sir Frank Doe und Ernesto Escobar de Tijuana aufgenommen. Das Grafikdesign übernahm wie gewohnt Boss Burns.

Erläuterungen zu den einzelnen Stücken

Stallion Battalion
Das Lied wurde deutlich entschleunigt und um 1:15 Minuten verlängert. Hoss Power spielt entgegen dem Original akustische Gitarre, die Bläser übernehmen eine tragende Rolle und verdrängen damit die Gitarrenparts des Originals.

Have Love Will Travel
Im Original von Richard Berry geschrieben, weist es große Ähnlichkeiten mit der Version der Sonics auf, nach deren Lied The Real BossHoss die Band 2004 benannt wurde.

Rodeo Queen
Einzige große Veränderungen gegenüber dem Original stellen die Streicher im Hintergrund und die Backing Vocals dar, die in dieser Version wegfielen. Das Stück wurde um 26 Sekunden verlängert. Im Intro werden die Harmonien von Burns gesungen.

Shake & Shout
Das Lied wurde genauso wie Stallion Battalion deutlich entschleunigt und um 40 Sekunden verlängert.

Go!Go!Go!
Das Intro von Do or Die wurde in dieser Version verkürzt.

Rodeo Radio
Rodeo Radio wurde um 1:09 Minuten verlängert.

Close
Entgegen der Version auf Do or Die treten im Intro die Streicher und im Refrain auch die Bläser deutlich hervor. Von den Schlaginstrumenten sind lediglich einige Trommel- und Beckenakzente (gespielt von Doe) sowie ein Shaker im Refrain (gespielt von de Tijuana) zu hören.

I Say a Little Prayer
I Say a Little Prayer wurde gegenüber der Version auf Rodeo Radio um 55 Sekunden verlängert.

Break Free
Das Intro und die erste Strophe ist im Gegensatz zu dem Original wesentlich leichter gestaltet, was wiederum dem Break zum Refrain eine andere Wirkung gibt.

Mary Marry Me
Das einzige Lied, das entgegen dem Original verkürzt wurde. Im Original wird es nur von Hoss Power gesungen, begleitet von einer akustischen und einer elektrischen Gitarre. Die elektrische Leadgitarre wurde gegen eine akustische getauscht und wird von Streichern begleitet.

Gay Bar
Gay Bar wurde entgegen der Version auf Stallion Battalion um 18 Sekunden verlängert. Die Gitarre wurde vollkommen herausgenommen und das gesamte Lied wird weniger als halb so schnell gespielt. Die Bassdrum-Linien im Intro bzw. in der Bridge wurden weggelassen. Das Intro wird nicht auf der E-Gitarre, sondern auf einer Flöte gespielt.

Remedy
Das einzige Stück, das vom Debütalbum Internashville Urban Hymns zu der Kompilation dazu genommen wurde.

Sugarman
Das Lied wurde zuvor erstmals von Sixto Diaz Rodriguez aufgenommen. Von The BossHoss wurde der Titel zunächst als Bonustrack auf der Deluxe-Edition von Stallion Battalion veröffentlicht. Entgegen dem Original von Rodriguez wurden bei Intro und Strophe Gitarren und eine Bläsergruppe eingesetzt.

No One Knows
Das Lied wurde von Josh Homme geschrieben. Im Intro wurde zum ersten Mal auf einer Veröffentlichung von The BossHoss eine Pauke gespielt. Doe kommt erst im zweiten Viertel des Stücks zum Einsatz. Den leitenden Part des Chorus übernehmen statt der Gitarren die Bläser.

Last Day
Vor das Intro des Originals wurde ein weiterer Teil gesetzt. Die Perkussionsinstrumente treten deutlicher hervor als auf Do or Die.

Einzelnachweise

Album 2010
Album (Country)
The BossHoss

Low Voltage


Rum Ortodoks Kilisesi, şu manalara gelebilir.

Roma döneminde Havarilerin kurduğu Dört Eski Patriklik:
İstanbul Rum Ortodoks Patrikhanesi
İskenderiye Rum Ortodoks Patrikhanesi
Antakya Rum Ortodoks Patrikhanesi
Kudüs Rum Ortodoks Patrikhanesi
ve 1054 yılında diğer dört patriklikten ayrılan Roma Katolik Kilisesi.

Rum Ortodoks Kilisesi (anlam ayrımı)


Ingelen, Elektrotechnische Fabrik Ing. Ludwig Neumann GmbH, war ein österreichischer Hersteller elektrotechnischer Geräte, insbesondere Hersteller von Rundfunkempfängern wie etwa Kofferradios. Die Marke Ingelen setzt sich aus dem Titel und den gesprochenen Initialen des Gründers, Ing. Ludwig Neumann, zusammen.

Geschichte

Das Unternehmen wurde 1907 im 1. Bezirk Wien am Schottenring gegründet. Im gleichen Jahr erfolgte der Umzug in die Bergsteiggasse 36–38 im 17. Bezirk, welcher bis zur Auflösung Firmenstandort blieb. Im Jahr 1921 gründet Neumann als Tochterfirma die Ingelen-Frauenthal-Elektroporzellan in Frauenthal in der Steiermark, die erste österreichische Porzellanfabrik (heute IBIDEN Porzellanfabrik Frauenthal GmbH und PPC Insulators Austria GmbH, Teil der SEVES Gruppe). Im Jahr 1924 wurden die ersten Radiobestandteile und Detektorempfänger in Serienfertigung gebaut. Um 1928 hatte die Firma im Sektor Kofferradios einen Marktanteil von 80 Prozent.

Während des Zweiten Weltkrieges produzierte Ingelen in Niederösterreich und Tirol, die Wiener Fabrik wurde im Krieg durch Bombentreffer beschädigt. Bekannte Radiomodelle waren zu der Zeit unter anderem der Ingelen Geographic mit der weltweit patentierten Geographic-Skala (die Einstell-Frequenzen im Kreis um eine kleine Karte eingetragen).

Ingelen ging auch Kooperationen mit anderen Firmen ein, so wurde das Geographic in den Folgejahren als Standmodell bei der Firma Capello in Polen unter Lizenz gefertigt und vertrieben. Radiogeräte der Firma Ingelen wurde auch in Argentinien vertrieben, die Firma Lumex S.A. Buenos Aires war der Importeur. Später gliederte man die Radiofabrik in die Tochterfirma Porzellanfabrik Frauenthal, Figer & Co. Wien ein.

1966 verkaufte Figer & Co. die Radiofabrik Ingelen an die ITT-Tochter Standard Elektrik Lorenz, der Name Ingelen wurde als Marke weiter geführt. Zu ITT gehörte zu der Zeit auch Graetz und so wurden auch in Pforzheim unter der Marke Graetz entwickelte Geräte in Österreich unter dem Namen Ingelen verkauft. 1987 übernahm Nokia die Standard Elektrik Lorenz und stellte kurz darauf die Verwendung des Namens Ingelen ein. Mit Stand 2017 befindet sich an dem ehemaligen Firmenstandort der Ingelen Wirtschaftspark Hernals, welcher von einer Supermarktkette und verschiedenen Firmen wie der Dor Film genutzt wird.

Zur Jahresmitte 1997 erwarb das Multimedia-Vertriebsunternehmen HB-Austria die Rechte an der Marke Ingelen und vertrieb unter dem Namen HB-Ingelen sieben verschiedene Fernsehertypen. 2015 ging HB Austria in Konkurs.

Literatur
 Ing. Ludwig Neumann, Gesellschaft m. b. H., Radiofabrik Ingelen-Porzellanfabrik Frauenthal 1907–1937. Eigenverlag 1937
 Walter Regelien, Wilhelm August Schenk: Ingelen, Kapsch. Ausgabe 6 von Empfänger-Vade-Mecum: Radio-Schaltbilder aller Industrie-Empfänger für Neubau und Reparaturen. W. A. Schenk. Hrsg. im Einvernehmen mit den Radio-Fabriken von Walter Regelien, 1949 (später auch wiedererschienen als Heinz Lange, Heinz Karl Nowisch: Empfänger-Schaltungen der Radio-Industrie: Czeija, Emig, HEA, Horny, Ingelen, Kapsch. zsgest. von Heinz Lange, Band 10 von Bücher für den Rundfunktechniker, 2. Auflage, Fachbuchverlag, 1957).

Weblinks
 Geräteausstellung im Bezirksmuseum Hernals (pdf, auf gbstern.at)
 Historisches Ingelen-Radio Geographic 39W, auf radiomuseum.org
 Ingelen UKW Fidelio 57 3DW, Radiomuseum Innsbruck » Exponate
 Die Ingelen Geographic Radio-Modelle

Einzelnachweise

Ehemaliges Unternehmen (Wien)
Elektronikhersteller
Gegründet 1907
Aufgelöst 1966
Markenname
Aufgelöst 1987
Österreichische Technikgeschichte
Hernals
Frauental an der Laßnitz

Ingelen


Die Volen von Wildenau waren die Besitzer der Burg Wildenau und des Weilers Rübgarten bei Pliezhausen, der im 14. Jahrhundert "das Dorf im Rübgarten" hieß. Sie waren Dienstmannen der Pfalzgrafen von Tübingen und stammverwandt mit den Herren von Lustnau, mit denen sie dasselbe Wappen, den Hirschkopf, führten.

Geschichte

Diese Familie mit dem Familiennamen Vol erscheint häufig in Urkunden der Pfalzgrafen von Tübingen und des Klosters Bebenhausen, wo sie ihre Erbbegräbnisstätte hatten. Der erstbekannte ist H[einricus] de Wildenowe, in einer Adelberger Urkunde von 1232. Sonst kommen Namen wie Konrad, Hans, Albert, Wilhelm, Adam vor. Auf Bebenhauser Grabsteinen finden sich folgende Namen:

 Hans Wendel von Wildenau, genannt Vol († 76-jährig am 16. Juni 1579)
 jung Hans Wendel († 45-jährig am 20. August 1577)

Im Jahr 1406 hatten zwei Brüder der Volen von Wildenau  einen widerlichen Streit. Der ältere hatte das Schloss und wollte dem jüngeren nichts geben, sondern meinte, er solle sich mit Kriegen unterhalten. Der jüngere Bruder verklagte deshalb den älteren beim Hofgericht in Rottweil, aber der ältere missachtete den Urteilsspruch; hierauf rief jener die Stadt Rottweil um Hilfe an und erhielt von ihr Mannschaft und Geschütz, womit er den älteren vertrieb und das Schloss gänzlich zerstörte.

Mit Tübingen kam 1342 die Oberlehensherrlichkeit über die Volen von Wildenau an Württemberg; die Jurisdiktion über Wildenau und Rübgarten gehörte danach den Württembergern.

Einzelnachweise

Schwäbisches Adelsgeschlecht

Volen von Wildenau


Oscar Paolo Samuel Storch (født 14. januar 1833 i Dresden, død 22. april 1896) var en dansk læge. Han var søn af historiemaleren Frederik Ludvig Storch.

Med forældrene kom Storch 1835 til München og blev fra det derværende gymnasium dimitteret som student 1851, men immatrikuleredes 1852 i København, hvor forældrene nu havde taget bolig. Han begyndte her sine medicinske studier og viste sig tidlig naturvidenskabelig og særlig kemisk interesseret, hvad der gav sig udslag i, at han 1857 vandt en pris for en af Videnskabernes Selskab stillet opgave om guano. I 1858 tog Storch lægeeksamen, var de følgende år kandidat ved Almindeligt Hospital, 1861-62 læge ved Sygehjemmet og samtidig kirurgisk prosektor, virkede 1862-65 som reservemedikus ved Almindeligt Hospital og det nye Kommunehospital, i samme tidsrum som medredaktør af Hospitalstidende og var 1864-65 læge ved den mediko-pneumatiske anstalt. I 1865 erhvervede han sig doktorgraden for en afhandling om den akute fosforforgiftning, foretog derpå med stipendium en studierejse og konkurrerede 1867 til det nye lektorat i retsmedicin og hygiejne. 1868-70 var Storch distriktslæge på Nørrebro, 1870-75 læge ved Københavns Amts sygehus, 1869-96 ved Ladegårdens sygeafdeling, 1873-79 ved Københavns Amts Ting- og Arresthus. 1871-74 var han censor ved lægeeksamen og virkede i et længere tidsrum som klinisk privatdocent med brystsygdommene som specialæmne. I 1874 blev Storch medlem af Sygehjemmets bestyrelse, 1882 meddirektør for lægernes enkekasse. I 1894 fik han professortitelen. Med altid uforandret varm videnskabelig og human interesse varetog Storch sin gerning, men i en årrække var hans virksomhed hemmet af en besværlig sygdom, for hvilken han til sidst bukkede under. I 1869 ægtede han Marie Félicité Louise Gamél, datter af grosserer Antoine Gamél.

Kilder

Læger fra Danmark
Titulære professorer fra Danmark
Danskere i 1800-tallet
Personer fra Dresden
Artikler fra 1. udgave af Dansk biografisk leksikon

Oscar Storch


ياماشيتا توموهيسا (باليابانية:山下 智久) و، ممثل ومغني وإعلامي ياباني، يعرف بلقب يامابي (YamaPi).

الإصدارات الغنائية

الألبومات

الأغاني المفرده

الأفلام

الدراما

روابط خارجية

مراجع

آيدول يابانيون
أشخاص على قيد الحياة
أشخاص من فوناباشي
أشخاص من فوناباشي (تشيبا)
مغنو بوب يابانيون
مغنون باللغة اليابانية
مغنون ذكور يابانيون في القرن 20
مغنون ذكور يابانيون في القرن 21
مغنون يابانيون باللغة الإنجليزية
مغنون يابانيون في القرن 20
مغنون يابانيون في القرن 21
ممثلو أفلام يابانيون
ممثلو تلفزيون يابانيون
ممثلون أطفال ذكور يابانيون
ممثلون ذكور يابانيون
ممثلون يابانيون في القرن 20
ممثلون يابانيون في القرن 21
مواليد 1985
مواليد في فوناباشي (تشيبا)
موسيقيون من تشيبا
موسيقيون يابانيون في القرن 21

يامشيتا توموهيسا


Weatherzone, connue avant le  sous le nom de The Weather Company et toujours active sous ce nom, est le principal fournisseur de services météorologiques à valeur ajoutée en Australie. Les principaux secteurs d'activité sont les services aux sociétés d'énergie, de services publics et d'exploitation minière. La société fournit également des services aux ports, aux assurances et aux grandes sociétés de vente au détail. Elle se spécialise dans l'agrégation de contenu provenant d'un large éventail d'organisations privées et publiques (ex. Bureau of Meteorology, Autorité de protection de l'environnement, Organisation météorologique mondiale, Australian Broadcasting Corporation).

Description
Weatherzone emploie une équipe de météorologues pour offrir une alternative au Bureau of Meteorology (BOM). La société fournit à des centaines d'entreprises à travers l'Australie des informations météorologiques spécialisées dont certaines des plus grandes entreprises dans les domaines de l'aviation, des mines, de l'énergie et des services publics. Weatherzone exploite également le plus grand réseau total de détection de la foudre en Australie. Elle présente également des produits pour certains grands sites internet comme Elders, un site agricole australien, News Corp Australia, l'Australian Broadcasting Corporation et des bulletins météorologiques mondiaux pour Bloomberg Television.

Weatherzone gère aussi son propre site météo et des applications pour téléphone intelligent qui combinent leur propre contenu avec les informations du BOM et celles de plusieurs fournisseurs mondiaux.

Historique
The Weather Company a été fondée en 1998 par l'ancien météorologue du Bureau of Meteorology (BOM), Mark Hardy, fournissant des graphiques, des scripts et des briefings météorologiques pour les présentations météorologiques télévisées. En 2008, en réponse à une demande croissante de l'industrie pour des prévisions météorologiques plus précises et de mises à jour plus fréquentes, la société a développé le système de prévision Opticast qui utilise des informations de plus d'une douzaine de modèles de prévision numérique du temps, y compris des variantes modèle météorologique Weather Research and Forecasting (WRF) américain, mises à jours à chaque heure.

Le , Fairfax Media a acquis une part de 75 % dans la société, 25 % étant toujours détenue par Mark Hardy qui a conservé le poste de directeur général. Le , l'organisation a changé son nom pour Weatherzone mais se négocie toujours sous le nom de The Weather Company Pty Ltd. Fairfax l'a mis das le groupe de sociétés Digital Ventures et en , Charles Solomon a été nommé directeur général. En 2015, Weatherzone s'est étendu à l'Afrique avec un investissement dans AfricaWeather, basé en Afrique du Sud.

Le , la participation de 75 % de Fairfax dans Weatherzone a été acquise par la société américaine DTN pour un montant non divulgué.

Références

Voir aussi

Articles connexes
 Météorologie
 Météorologie à la télévision

Liens externes

Entreprise météorologique privée
Entreprise de services ayant son siège en Australie
Entreprise fondée en 1998

Weatherzone


An Amorphophallus hildebrandtii in uska species han Liliopsida nga syahan ginhulagway ni Adolf Engler, ngan ginhatag han pagkayana nga asya nga ngaran ni Adolf Engler och Karl Gehrmann. An Amorphophallus hildebrandtii in nahilalakip ha genus nga Amorphophallus, ngan familia nga Araceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Amorphophallus

Amorphophallus hildebrandtii


Nutrizio, t.j. Nutrizio-Babić, trogirska plemićka obitelj. Obiteljsko stablo počinje 1155. s poljičkim knezom Ilijom Babićem. U 18. stoljeću je talijanizirana. Bili su najuglednija trogirska obitelj potkraj 19. i početkom 20. stoljeća. Imali su najljepše trogirske palače, pa tako i palaču Stafilicos u povijesnoj jezgri, vilu Biancu izvan zidina i ine. Brojne zemljišne posjede imali su po trogirskoj općini i dijelom po Splitu. Obitelj je dala odvjetnike, svećenike i liječnike školovane u Padovi, Štajerskom Gradcu i Beču. Nasuprot katedrali imali su obiteljsku ljekarnu Alla Madonna assunta, u palači Cipiko. Obitelj je dala glasovitog doktora pravnih znanosti i pisca o povijesnim, prirodnim i kulturnim prilikama u ondašnjoj Dalmaciji Petra Nutrizija-Grisogona, poduzetnika i novinara Luigija Nutrizija Babića, modnu kreatoricu Milu Schön (rođenu kao Carmen Maria Nutrizio Babić).
Postojali su ogranci Nutrizio (Babić), Nutrizio-Grisogono i Nutrizio-Guidotti. Iz grane Nutrizio-Grisogono, kapetan Šimun proglašen je grofom 1773. godine u Mletcima.

Izvori

Dalmatinsko komunalno plemstvo
Povijest Trogira
Trogirsko plemstvo

Nutrizio


Amphelikturus dendriticus,  (e.pipehorse), er tegund af pípufiski með náttúrleg heimkynni um vestanvert Atlantshaf.

Þessi tegund er smá og í litum sem falla vel að umhverfið og því sjaldséð.
Lengstir verða einstaklingar 7,5 sm.  Er eina tegund sinnar greinar.

Heimildir

Pípufiskar

Amphelikturus dendriticus


අරක්ගත් ගත් මුණිවරයාණෝ :ප්‍රථම වරට සත්ප්‍රසාද ලබන දරුවන්ගේ

මංගල්‍ය දිනය:අගෝස්තු 15

ආයු කාලය: 3වන සියවස

රට හෝ ග්‍රාමය : රෝමය

1වන ශු.ඩැම්සියස් පාප්තුමා (366-384)ප්‍රාණ පරිත්‍යාගීවරුන්ට විශේෂ තැනක් දුන්හ.එසේම පිරිමි,ගැහැණු ,ළමා සාන්තුවරයන්ගේ විශ්වාසය ආදර්ශයක් ලෙස පෙන්වා දුන්හ. එතුමා ම ප්‍රාණ පරිත්‍යාගීවරුන් 60 දෙනෙකු ගැන විස්තර ලියූ අතර ශුද්ධවූ තාර්සියස් තුමා එතුමන්ලා අතර කෙනෙකු විය.මෙම පාප්තුමාට අනුව ශු.තාර්සියස් තුමා පුජා සහයක නව යොවුන් වියේ දරුවෙක් විය.එහෙත් වයස සදහන් කර නොමැත.මෙම තේවාව පුජක දිවියට ඇතුළු වීම සදහා ලබන්නාවු එක් වරයකි.මෙතුමා සිරකදවුරු වල සිටින ක්‍රිස්තියානින් වෙත දිව්‍ය සත්ප්‍රසාද වහන්සේ ගෙන ගියේය.එකල එය ඉතා භයානක කාර්යයක් විය.නව යොවුන් වියේ දරුවෙකු වූ ඔහු ගැන රෝම හේවායින් සැක කරමින් පරීක්ෂා කරන්නට වන්හ. වරක් රෝම පවුරෙන් එපිට වූ අප්පියන් මාවතේ තාර්සියස් ගමන් කරන විට මිත්‍යා දුෂ්ටින් පිරිසක් මුණ ගැසින.එතුමා තම ඇදුම් වල සගවා ගෙන යමක් ගෙනයන බව සැක කළ ඔවුන් එය පෙන්වන ලෙස ඉල්ලීය .නැවත නැවත ඉල්ලුවද එතුමා එය ප්‍රතික්ෂේප කළේ තමා සිරකරුවන් සඳහා ගෙන යන දිව්‍ය සත්ප්‍රසාද වහන්සේ සුරැකිව තබා ගැනීම සඳහා ය.ඔවුන් ඔහුව මරණයට පත්කළ විට රෝමයේ විසු ක්‍රිස්තියානිවරු එතුමාව අප්පියා මාවතේ ඇති සා.කැලිස්ටස් කැටකුම්බ් එකේ භූමදාන කරන ලදී.සිය වසර ගණනකට පසුව දිව්‍ය සත්ප්‍රසාද වෙනුවෙන් පණදුන් එතුමාගේ ශු.ධාතු කැපිටෙ හී සා.සිල්වෙස්තර් දෙව්මැදුරට ගෙන එන ලදී.සමහරු ඔවුන්වහන්සේගේ අත් ඔවුන් පිට තබා ගනු පිණිස,තම ළදරුවන් පවා උන්වහන්සේ වෙත උන්වහන්සේ වෙත ගෙන ආවෝය .ශ්‍රාවකයන් ඒ දැක ඔවුනට තරවටු කළහ.එහෙත් ජේසුස් වහන්සේ ඔවුන් තමා වෙත කැඳවා ළදරුවන් මා වෙතට ගෙන එන්නට ඉඩ දෙන්න .ඔවුන් නොවළක්වන්න මන්ද දෙවියන් වහන්සේගේ රාජ්‍යය මෙබඳු වන්නී ය .ඇත්තෙන් ම මම ඔබට කියමි,යමෙක් දෙවියන් වහන්සේගේ රාජ්‍යය ළදරුවෙකු මෙන් නොපිළිගන්නේ ඔහු කිසි සේත් එහි ඇතුළු නොවන්නේය.(ලුක් 18:15-17)

ශුද්ධවූ තාර්සියස් මුනිතුමා


Hrvatsko kulturno-umjetničko društvo "Sveta Barbara" - Vrdnik je kulturno-umjetničko društvo Hrvata iz srijemskog sela Vrdnika, AP Vojvodina, Srbija. Osnovano je radi očuvanja tradicije Hrvata u Srijemu.

Povijest

Društvo je izraslo iz Udruženja rudara Vrdnik, koje je osnovano 1999. godine. S obzirom na to da su 80 posto vrdničkih rudara bili Hrvati i Slovenci, javila se jednom potreba koja je sazrela tijekom vremena o potrebi nacionalnog predznaka u nazivu društva.

Osnivačka skupština održala se 17. kolovoza 2009. u vrdničkom restoranu »Mimoza«. Sudjelovalo je dvadesetak članova-osnivača. Nazočili su gosti iz Rume, Novog Sada i Hrtkovaca, kao i predstavnici Generalnog konzulata Republike Hrvatske u Subotici – Ljerka Alajbeg i Anto Franjić. Za predsjednika udruge izabran je Ivan Karačić, prometni inženjer iz Vrdnika. Sjedište udruge je u Ulica 26. oktobra 49 u Vrdniku. Udruga nije bila odmah službeno registrirana, jer je tad bilo u procesu stupanje na snagu novog Zakona o udrugama. Stoga je u početeku društvo više funkcioniralo kao zavičajni klub i bavilo se istraživanjem povijesti, sadašnjosti i znamenitih Hrvata iz ovoga kraja. Sjedište je u početku bilo u jednoj privatnoj kući, a u vrijeme osnivanja bilo je renoviranje prostorija u tijeku.

Aktivnosti

HKUD se nazvao po zaštitnici rudara sv. Barbari, jer je mnogo vrdničkih Hrvata podrijetlom iz rudarskih obitelji koji su radili u mjesnom u rudniku mrkoga ugljena. Cilj HKUD-a je bolje povezati se s ostalim hrvatskim udrugama u Srijemu i u ostatku Vojvodine, u rad društva uključiti što više mjesnih Hrvata te raditi na stvaranju baze podataka da bi se došlo do podatka o stvarnom broju Hrvata u ovom dijelu Vojvodine. Zbog toga osnivači animiraju ljude i pripremaju se za izbor za Hrvatsko nacionalno vijeće. Prave i bazu podataka svih ovdašnjih Hrvata gospodarstvenika i ostvarivanje kontakta s gospodarskim subjektima iz Hrvatske koji imaju predstavništva u Srbiji, a radi rješavanja ekonomskih problema sugrađana iz Vrdnika čime bi se utjecalo na poboljšanje života i opstanak Hrvata na tim prostorima. Članovi društva aktivni su na športskom planu unutar hrvatske zajednice. Glavni događaj društva je obilježavanje blagdana Svete Barbare.

Izvori

Srijemski Hrvati
Hrvatska kulturno-umjetnička društva iz Vojvodine

HKUD Sveta Barbara, Vrdnik


An editor-in-chief (EIC), also known as lead editor or chief editor, is a publication's editorial leader who has final responsibility for its operations and policies.

The highest-ranking editor of a publication may also be titled editor, managing editor, or executive editor, but where these titles are held while someone else is editor-in-chief, the editor-in-chief outranks the others.

Description
The editor-in-chief heads all departments of the organization and is held accountable for delegating tasks to staff members and managing them. The term is often used at newspapers, magazines, yearbooks, and television news programs. The editor-in-chief is commonly the link between the publisher or proprietor and the editorial staff.

The term is also applied to academic journals, where the editor-in-chief gives the ultimate decision whether a submitted manuscript will be published. This decision is made by the editor-in-chief after seeking input from reviewers selected on the basis of relevant expertise. For larger journals, the decision is often upon the recommendation of one of several associate editors who each have responsibility for a fraction of the submitted manuscripts.

Typical responsibilities of editors-in-chief include:
 Ensuring that content is journalistically objective
 Fact-checking, spelling, grammar, writing style, page design and photos
 Rejecting writing that appears to be plagiarized, ghostwritten, published elsewhere, or of little interest to readers
 Evaluating and editing content
 Contributing editorial pieces
 Motivating and developing editorial staff
 Ensuring the final draft is complete
 Handling reader complaints and taking responsibility for issues after publication
 For books and journals, cross-checking citations and examining references
 Working to advance the commercial success of the publication
 Position may involve recruiting, hiring and firing staff.

References
5406

Further reading

 The New Fowler's Modern English Usage (3rd edn 1996, edited by R. W. Burchfield); Bryan A. Garner, Garner's Modern American Usage (2009).

External links

Types of editors
Leaders of organizations

Editor-in-chief


Kıbrıs Türk diasporası, Kuzey Kıbrıs Türk Cumhuriyeti dışında yaşayan Kıbrıslı Türkler.

Diaspora
Kıbrıs Türklerinin bir kısmı 1955 yılından itibaren siyasi ve ekonomik sebeplerle ülke dışına göç etmişlerdir. Özellikle Birleşik Krallık, Avustralya ve Türkiye; Kıbrıs'tan büyük oranda göç almıştır. Ülkeye uygulanan ekonomik ambargolar nedeniyle üçüncü ülkelere yapılan ticarette büyük zorluklar çekilmesi ülke dışına yapılan göçlerin zaman içerisinde devamlılık kazanmasına yol açmıştır. Kesin sayısı bilinmemekle beraber ülke dışında yaşayan Kıbrıs Türkleri sayısı Kuzey Kıbrıs Türk Cumhuriyeti'nde yaşayan Türk nüfusundan fazladır.

Kıbrıs dışındaki Kıbrıs Türklerinin büyük kısmı Batı Avrupa, özellikle Birleşik Krallık'ta ve Türkiye'de yaşamaktadır. Diğer kayda değer Kıbrıslı Türk grupları Avustralya ve Kuzey Amerika'dadır.

Birleşik Krallık

Birleşik Krallık'ta, Kuzey Kıbrıs Türk Cumhuriyeti'nde yaşayan Türk nüfusu kadar Kıbrıs Türkü'nün yaşadığı tahmin edilmektedir. I. Dünya Savaşı sırasında çoğu Türk, Birleşik Krallık Ordusu'na katılarak dünyanın çeşitli yerlerinde savaşır ve savaş sonunda ise Britanya adasına yerleşmeye başlarlar. II. Dünya Savaşı'nda ise Kıbrıs adasında yaşanan ekonomik istikrarsızlıkla göçler yaşanır.

1951 senesinde ise Türk nüfuzu, Birleşik Krallık'ta varlıklarını pekiştirmek amacıyla Kıbrıs Türk Cemiyetini kurarlar ve 1958 yılında ise dönemin Türkiye Başbakanı Adnan Menderes'in de maddi yardımları ile Oxford Street'teki dernek binası alınarak faaliyetlerine orada devam eder. Dernek, 1950'li yılların sonunda Türkiye'nin Taksim isteğine yönelik Birleşik Krallık'taki Kıbrıs Türklerin mitingler yapmalarını sağladı.

Kaynakça

Kıbrıs Türkleri
Türk diasporası
Kıbrıs diasporası

Kıbrıs Türk diasporası


Die Balaguša-Moschee (kroatisch/bosnisch: Džamija Bali-age Ljubunčića, Balaguša džamija oder Čaršijska džamija) ist eine Moschee in der Altstadt von Livno in Bosnien und Herzegowina in dem Čaršija genannten Bezirk des Städtchens, von dem sie einen ihrer volkstümlichen Namen ableitet. Sie ist ein nationales Kulturdenkmal.

Geschichte
Die Moschee wurde möglicherweise zwischen 1530 und 1550 errichtet (eine andere Datierung lautet auf das Jahr 1514/1515, womit die Moschee eine der ältesten in Bosnien und Herzegowina wäre). Nach der Überlieferung war der Stifter Balagija ein wohlhabender Aga, der nahe bei der Moschee begraben worden sein soll. Die Stiftungsurkunde ist nicht erhalten.

Anlage
Der Bau ist eine Kuppelmoschee aus Bruchsteinen mit einer 14 m hohen Kuppel auf einem niedrigen achteckigen Tambour und einem niedrigen, 20,6 m hohen Minarett mit quadratischer Basis und sechzehnseitigem Schaft. Die Raummaße betragen innen 8,47 m mal 8,53 m. Das Innere ist reich dekoriert. Rechts des Eingangs befindet sich ein kurzes Mahfil. Der handwerklich hervorragende, 4 m hohe Minbar steht auf einem erhöhten steinernen Piedestal. Auch bei dem 3,50 m hohen Mihrab handelt es sich um eine handwerklich hochstehende Arbeit. Die Moschee besitzt eine dreischiffige, 3,29 m tiefe Vorhalle mit auf drei auf sphärischen Dreiecken ruhenden Tufa-Kuppeln und zwei zylindrischen Säulen aus feingeschliffenem Stein mit Basen und Kapitellen, zwischen denen sich Spitzbögen befinden. Über dem Eingang befindet sich das originale Tarih-Chronogramm. Wände und Kuppeln tragen Reste der originalen Ausmalung.

Weblinks
 Entscheidung über den Denkmalschutz mit ausführlichem Text (englisch)

Osmanische Moschee in Bosnien und Herzegowina
Moscheebau in Bosnien und Herzegowina
Moscheebau in Europa
Erbaut im 16. Jahrhundert
Livno

Balaguša-Moschee


The Distributed Sender Blackhole List was a Domain Name System-based Blackhole List that listed IP addresses of insecure e-mail hosts. DSBL could be used by server administrators to tag or block e-mail messages that came from insecure servers, which is often spam.

The DSBL published its lists as domain name system (DNS) zones that could be queried by anyone on the Internet.

DSBL is a dead RBL as of May 2008. Its administrators continued to run their authoritative nameservers for several months after their decommissioning announcement; as of March 9, 2009, even those servers are offline. At this point, using any *.dsbl.org lookups in an RBL check results in DNS failures and can even prevent an SMTP server from starting a conversation.

Blocking
It is not possible for DSBL to block or intercept mail. E-mail is sometimes blocked or bounced with a message referencing DSBL. These messages were not blocked by DSBL; they were blocked by the administrator of the receiving mail server, who chose to reject messages coming from a potentially-insecure IP address listed by DSBL. See DNSBL for a description of how mail transfer agents interact with these lists.

Methodology
DSBL lists IP addresses of hosts that are demonstrated to be insecure. DSBL defines an insecure host as one that allows e-mail to be sent from anyone to anyone else. Normal servers only send mail from their own users to anyone else. Insecure servers are commonly abused by spammers, although DSBL does not claim that the hosts have sent spam or have been abused by spammers; only that they could be.

DSBL builds its lists by receiving specially-formatted "listme" e-mails triggered by testers. DSBL itself does not test hosts for security vulnerabilities. The testers use software that causes insecure servers to send a message to an e-mail address monitored by DSBL. The message includes a time-sensitive cryptographically secure cookie to prevent servers from being listed by mistake. When a valid listme message is received DSBL adds the IP address of the server that delivered the message to one of its lists.

For these messages to reach DSBL the insecure server must have allowed anyone (a DSBL tester) to send mail to anyone (DSBL's monitored address). This proof-of-vulnerability is kept on file at DSBL's web site.

In addition to open mail relays, DSBL lists hosts that were vulnerable to abuse due to formmail bugs, open proxies, and other problems. Because the testers can use any available method to trigger the listme messages, they can adapt to newly discovered vulnerabilities as spammers do.

The testers normally perform tests on hosts that have sent spam to them. Thus many of the IP addresses listed by DSBL are the addresses of servers that have been abused by spammers.

Delisting
For an IP address to be removed from DSBL's lists, the administrator of the IP address must demonstrate "accountability" by first requesting, and then responding, to a delisting message from DSBL. The message can only be sent to the postmaster or abuse desk of the listed IP address. The postmaster's e-mail domain is determined by consulting reverse DNS.

Until this accountability test is passed, the host remains listed. Thus it is possible that some of the IP addresses listed by DSBL have been secured, but are still listed because the administrator has not demonstrated accountability by requesting and responding to a de-listing message.

Because DSBL does not perform vulnerability tests, the only criterion for removal is this accountability test. It is entirely possible that hosts that are delisted are still vulnerable to abuse. If this is the case, it is expected that the host will be relisted by a tester the next time it is abused.

The problem with the delisting process is that dynamic dial-up IP-addresses which make it to the list will never be delisted since delisting would require to run an SMTP-server in the temporary dial-up IP.  Another problem is that they require the SMTP server to be running behind a router that allows packets marked with the ECN bits.  This may require an upgrade to the newest router software before the accountability email can be received.

Automated system and credibility
DSBL is a largely automated system. The delisting process, in particular, is an automated self-service web page. Manual processes are not used to remove an IP address from the list, except in rare cases where a bug in DSBL's software prevented a delisting. DSBL's operators believe that manual delisting processes would undermine the list's credibility.

Lists
DSBL operated three lists:

 unconfirmed.dsbl.org: The unconfirmed list contains IP addresses of hosts that have delivered listme messages triggered by anonymous or untrusted testers. DSBL does not recommend using this list as part of a blocking system.
 list.dsbl.org: The trusted list contains IP addresses of hosts that have delivered listme messages triggered by trusted testers.
 multihop.dsbl.org: The multihop list contains IP addresses of hosts that deliver mail for insecure servers. The servers in this list may appear to be secure, but can be abused by spammers because they trust other servers that are insecure. This category sometimes includes the mail servers of large ISPs, and DSBL recommends using this list as part of a message scoring system, not as a blocking list.

External links
 DSBL web site
 Source code of DSBL and related software
 Open relay test which can report to DSBL

Email
Spamming

Distributed Sender Blackhole List


Hydrolithaceae, porodica crvenih algi, dio reda Corallinales. Postoji dvadesetak vrsta unutar tri roda koji čine zasebnu i jedinu potporodicu

Rodovi
 Adeylithon V.Peña, L.Le Gall & J.C.Braga
 Fosliella M.Howe
 Hydrolithon (Foslie) Foslie

Izvori

Corallinales

Hydrolithaceae


The  bronze-winged jacana (Metopidius indicus) is a wader in the family Jacanidae. It is found across South and Southeast Asia and is the sole species in the genus Metopidius. Like other jacanas it forages on lilies and other floating aquatic vegetation, the long feet spreading out its weight and preventing sinking. The sexes are alike but females are slightly larger and are polyandrous, maintaining a harem of males during the breeding season in the monsoon rains. Males maintain territories, with one male in the harem chosen to incubate the eggs and take care of the young. When threatened, young chicks may be carried to safety by the male under his wings.

Taxonomy and systematics

The bronze-winged jacana was formally described by the English ornithologist John Latham in 1790 and given the binomial name Parra indica. He placed it in the genus Parra along with all the other jacanas. Latham had earlier included the species in a supplement to his A General Synopsis of Birds but had not coined a scientific name. The present genus Metopidius was introduced by the German zoologist Johann Georg Wagler in 1832. The bronze-winged jacana is the only species within the genus. The name Metopidius is from the Ancient Greek word metōpidios meaning "on the forehead", referring to the frontal lappet. The specific epithet indicus is the Latin word for "Indian". There are no recognised subspecies.

Like other jacanas it has 10 tail feathers and the oil gland is tufted. Many jacana species have a carpal spur that is used in territorial fights. In some species the spur is reduced but the wing bones are modified. The carpal spur is reduced to a tubercle in the bronze-winged jacana. In the genera Actophilornis, and Irediparra the radius bone is flattened and blade-like (and associated with a reduced spur) and is thought to be an adaptation either for territorial combat, or for brooding eggs and carrying young under the wings. In Metopidius, the radius curves and diverges to form a broad gap between the radius and ulna. Male jacanas, based on observations in the African jacana, incubate eggs and move their forewings under the eggs so as to hold them between the body and the wing. This behaviour known as wing-brooding may be aided by the flattened radius bone.

Description
Bronze-winged jacanas are rail-like, large, short tailed birds that appear dark at a distance except for the supercilium. They are  in length. The sexes are similar but the females are slightly larger than the males. The wings are bronzy brown with a green sheen and have a reduced tubercular carpal spur. The head, neck and breast are black and contrast with the broad white supercilium that runs from over the eye to the back of the neck. The lower back and tail coverts are chestnut. The tail is stubby and reddish brown with black terminal band. The greenish yellow bill has a red-base to the upper mandible. A lappet or frontal shield extends up over the forehead and is reddish purple. The legs are greenish. The toes are long and the straight and the elongated nail on the hind toe is longer than the toe. Downy chicks are light brown with a dark stripe running down the nape. Young birds have brown upperparts, a rufous crown, white underparts, a buff foreneck, an undeveloped frontal shield, and may have a dull supercilium. Adults can be confused at a distance with the common moorhen (which is found in similar habitat) and with the watercock and while young can appear similar to the young of the pheasant-tailed jacana, they lack the black necklace seen in that species.

Distribution and habitat
The species is widely distributed across the Indian Subcontinent (but not Sri Lanka or western Pakistan) and Southeast Asia mainly in low elevations. Both this species and the pheasant-tailed jacana can occur in the same habitat. It is sedentary apart from seasonal dispersal in response to drought and rains. They are able to use wetlands covered in introduced weeds such as water hyacinth and make use of the cover provided by Ipomoea aquatica when breeding.

Behaviour and ecology

Bronze-winged jacanas are found singly or in pairs foraging on aquatic vegetation. They balance on their long legs and long toes, and feed on plant material (claimed to be purely incidental), insects and other invertebrates picked from the floating vegetation or the water's surface. Call is a wheezy piping seek-seek-seek given mostly in alarm. When threatened they sometimes hide by submerging themselves. The breeding season starts after the rains (June to September in India but occasional breeding in March rains reported in Rajasthan). Males defend territories from other males with open wing and neck stretched displays which can escalate to pecking. The territory maintenance activities are at a maximum from around 9 to 11 AM. The nest is a small platform of stems and leaves of Pistia, Nymphoides, Hydrilla, and Eichhornia placed on a mat of vegetation but eggs may also be laid directly on the leaf of a lotus plant. The usual clutch is four, the eggs are very conical, glossy brown with irregular black zig-zag markings. Incubation and care of the young is entirely left to males. The eggs hatch in 29 days. Predation rates of eggs are high, up to 94% were lost in one study to various predators including birds and turtles. Young chicks may be sheltered between the wings and carried to safety. They become independent of their father when they are about ten weeks old.

Nematode parasites, Gongylonema indica and Stellocaronema alii and the feather louse Rallicola indicus have been described from specimens of the bronze-winged jacana.

Mating system
Bronze-winged jacanas, like other jacanas, show a reversal of sex-roles with the female being larger, territorial, polyandrous, and competing with other females to maintain harems of males to incubate their clutches of eggs. Each female's territory encompasses one to four males and their individual territories. Heavier males defend their territories from other males and the degree of polyandry of females is a trade-off based on the sizes of the male territories and the number of males in the harems. Females mate with multiple males, leading to intense sperm competition, and the male that receives (termed as receivers) a clutch of eggs for incubation may destroy clutches in which their paternity is in doubt. In addition to the territorial males, there may be many "floater" males that attempt to copulate with females. Females may copulate more often with receiver males to ensure clutch survival while also copulating with non-receivers to maintain their harem. The fitness cost of clutches destroyed by receivers is much higher than losing males from her harem. Males make a yelling call to gain the attention of females. Males yell more when in larger harems. Females appear to use yells to assess male quality, and copulate with males that yelled more.

References

External links
Xeno-canto: audio recordings of the bronze-winged jacana

bronze-winged jacana
Birds of South Asia
Birds of Southeast Asia
bronze-winged jacana
Taxa named by John Latham (ornithologist)

Bronze-winged jacana


Jónsi es el nombre o alias por el que son conocidos dos artistas islandeses:

Jónsi Birgisson, (n. 1975), guitarrista y primera voz de la banda islandesa de post-rock Sigur Rós.
Jón Jósep Snæbjörnsson, (n. 1977), cantante y representante de Islandia en el Festival de Eurovisión.

Jónsi (desambiguación)


Víctor Manuel Leites Larreca (Paysandú, 3 de marzo de 1933 - 12 de abril de 2016) fue un dramaturgo, guionista, narrador y crítico uruguayo.

Biografía
Sus primeros trabajos como guionista fueron para la televisión, con trabajos propios o adaptaciones. Lo hizo para el Canal 5, orientado por Francisco Espínola.

En 1960 comenzó a publicar cuentos en El Popular, Eco y Última Hora. Ejerció la crítica teatral durante casi 25 años en dichas publicaciones y en De frente, hasta el cierre por el gobierno de facto de estos medios de prensa en 1973. Posteriormente ejerció la crítica en los semanarios La Democracia y Brecha.

Obtuvo el Premio Florencio a Autor Nacional por las obras Doña Ramona (1982), El reformador (1990) y El loco julio (1998).
Fue Director Artístico de la Comedia Nacional, de la que contribuyó a su reestructura, en el periodo 1990-1993.

Su obra teatral más difundida fue Doña Ramona; fue estrenada en 1982 en el Teatro Circular y fue representada más de 500 veces en Montevideo.

Obras

 Informe para distraídos (Club de Teatro, 1968)
 Alicia en el País de la Maravillas (Sala Verdi, 1970)
 Crónicas de bien nacidos (Club de Teatro, 1972)
 Yo tengo una idich mame (La Claraboya Amarilla, 1974)
 Quiroga (Teatro Circular, 1978)
 Doña Ramona (Teatro Circular, 1982)
 El chalé de Gardel (Comedia Nacional, 1985)
 El reformador (Teatro Circular, 1990)
 El copamiento (La Gaviota, 1997)
 El loco Julio (Casa del Teatro, 1998)
 Amor Pasado (Teatro Circular, 2000)
 El día de los cuchillos largos (El Galpón, 2008)

Referencias

Bibliografía

Nacidos en Paysandú
Dramaturgos de Uruguay
Guionistas de televisión de Uruguay
Periodistas de Uruguay
Críticos de teatro de Uruguay
Ganadores del premio Florencio

Víctor Manuel Leites


Mathilde Aloisia Kralik von Meyrswalden (Linz, 3. prosinca 1857. – Beč, 8. ožujka 1944.), austrijska pijanistica i skladateljica s prijelaza iz 19. u 20. stoljeće, najplodnija u razdoblju uoči Prvoga svjetskog rata.

Kako je otac William svirao violinu, a majka Louise glasovir odrastala je uz glazbu unutar obitelji. Svoje prve radove, poeme i himne pisala je temeljene na bratovim djelima. Glasovirsku poduku dobila je od majke još u djetinjstvu, a bila je i učenicom Antona Brucknera i Juliusa Epsteina. Studirala je na glazbenom konzervatoriju u rodnom Linzu, na kojem je diplomirala skladanje.

Još 1894. i 1895. djela su još doživjela praizvedbe u bečkom Musikvereinu i postala sastavni dio njegova repertoara. Bila je članicom Bečkih glazbenika, Društva bečkih književnika i umjetnika te počasna predsjednica Ženskoga udruženja bečkih zborova. Najveći uspjeh doživjela je operom Blume und Weissblume, koja je svoju praizvedbu imala u njemačkom Hagenu te je svoju popularnost zahvalila i velikom pokriću u medijima jer se smatrala svojevrsnom senzacijom.

Majčina smrt krajem 1905. ostavlja velikog traga na njezinom stvaralaštvu te se, unatoč brojnim izvedbama i popularnosti, počela povlačiti iz javnog života. Nakon Prvoga svjetskog rata njezino stvaralaštvo pada u zaborav te umire u osami u ožujku 1944. u Beču.

Pisala je skladbe za glasovir, orgulje, orkestar, kao i oratorije, kantate, vokalnu i komornu glazbu, offertorije i melodrame.

Vanjske poveznice
 Popis skladbi na klassika.info

Austrijski skladatelji
Pijanisti
Austrijski glazbenici

Mathilde Kralik


The Hampster Dance  is one of the earliest Internet memes. Created in 1998 by Canadian art student Deidre LaCarte as a GeoCities page, the dance features rows of animated GIFs of hamsters and other rodents dancing in various ways to a sped-up sample from the song "Whistle-Stop", written and performed by Roger Miller for the 1973 Walt Disney Productions film Robin Hood. In 2005, CNET named the Hampster Dance the number-one Web fad.

Background

Canadian art student Deidre LaCarte (of Nanaimo, British Columbia) was in a competition with her best friend and sister to generate the most Web traffic when she created the Hampster Dance page with the free Geocities web service in August 1998. She named the site "Hampton Hampster's Hamster House" in homage to her pet hamster, "Hampton Hampster", who on the page declared his intent to become a "Web star." LaCarte noted that the misspelling of "hamster" as "hampster" in both her pet's name and the Hampster Dance page was intentional.

The Hampster Dance site originally consisted of a single page with just four unique animated GIFs of cartoon hamsters. These images were repeated in rows by the dozens and were paired with an infectious, continuously looping background tune. At the time the page was created, embedding background music in HTML pages was a fairly novel browser feature. The clip, a nine-second looped WAV file, was a sped-up sample of Roger Miller's "Whistle Stop", a song written for the opening credits of the 1973 Disney animated feature film Robin Hood.

From its creation in August 1998 to March 1999, the Hampster Dance site only recorded about 800 total visits (roughly four per day). In February 1999, word of the website spread by e-mail and early blogs. By March, the site gathered approximately 60,000 views in four days. Soon the site was even featured on bumper stickers and in a television commercial for Internet service provider EarthLink. A common office prank at that time was to set a co-worker's browser homepage to the Hampster Dance Web site, which led to televised news reports that furthered its notoriety to an international level. Fans of the site created variations on the original theme, using politicians such as Dan Quayle and Cynthia McKinney, as well as household objects such as Pez dispensers.

The original website was hosted on Geocities, and LaCarte failed to register the hampsterdance.com domain. With the continued popularity of the original site, an unauthorized duplicate website was hosted on hampsterdance.com. LaCarte thus used the domains hamsterdance.com, hamsterdance2.com, and hampsterdance2.com. In early 2000, the domain was transferred to humor business Nutty Sites for undisclosed reasons. In late 2001, LaCarte sold the "Hampster Dance" rights to Abatis International, who managed to acquire the original domain. The site later expanded, revealing the names of all four characters (Hampton, Dixie, Hado, and Fuzzy) and offering themed versions for birthdays, graduation, holidays, etc. The original website is no longer functional, but other sites inspired by the original still exist.

Hampton and the Hampsters
The popularity of the website led to the creation of a full song called "The Hampsterdance Song", which was produced by the Boomtang Boys and released on July 4, 2000. Disney did not allow the use of the actual "Whistle Stop" clip, so the Boomtang Boys created a sound-alike rerecording. The liner notes for the single include the statement "Includes elements of 'Whistle Stop' by Roger Miller." A cartoon video was produced for the single that introduced a cartoon "band" of four hamsters; though the song was solely credited to "Hampton the Hampster", the band was later dubbed "Hampton and the Hampsters." The song reached number one on the Canadian Singles Chart while peaking at number 32 on the RPM charts. In Australia, "The Hampsterdance Song" was released in 2001 and reached number five on the ARIA Singles Chart. The song proved to be very successful on Radio Disney, where it became the station's all-time most played song and was later included on the compilation album Radio Disney Ultimate Jams. LaCarte created an online store offering T-shirts and CDs of the fictional group's music. An Flash-animated series was planned by Nelvana, but never made it past the planning process. Prior to the release of "The Hampsterdance Song", a similar song featuring an unofficial sound-alike rendition of "Whistle Stop" was released as "Cognoscenti vs. Intelligentsia" and performed by the Cuban Boys. This version peaked at number 4 on the Christmas 1999 UK singles chart.

Following the relative success of "The Hampsterdance Song" single, an entire album featuring the fictional band titled Hampsterdance: The Album was released in 2000. Some follow-up singles from this album were moderately successful in Australia, such as "Thank God I'm a Country Boy" (a cover of the John Denver song, reaching number 12) and "Hampster Party" (reaching number 44). Hampsterdance: The Album was reissued with a shorter tracklist as The Hampster Dance Party in 2002. Later album releases were Happy Times Ten (2002), the compilation Hampsterdance Hits (2004), and A Very Hampsterdance Christmas (2008).

Discography

Albums

Reissues

Compilations

Singles

Promotional singles

Direct-to-video film
The direct-to-video animated film How the Hampsters Saved Winter was produced by Abatis International LLC and animated by Unreal Productions, located in New Jersey. The DVD was released for sale on the Hampster Dance website on April 2, 2009, and was purchasable until 2012. 2000 copies of the film were sold. After the film became unavailable for purchase on the website, the film was thought to be lost as no copies were made available elsewhere. However, four screenshots were featured via a game on the website called Hamster Hijinks. In 2022, the film was archived on the Lost Media Wiki and uploaded onto YouTube.

Notes

References

External links

 Hampster dancing into other venues
 Hamster Dance modified to work correctly in modern web browsers

Viral videos
Internet memes introduced in the 1990s
1998 introductions
Fictional hamsters

Hampster Dance


رأس الكراسيم هو أحد الرؤوس على الساحل الشرقي للبلاد التونسية، يقع في ولاية مدنين، وهو يقابل رأس تربلة من جزيرة جربة.

كراسيم

رأس الكراسيم


Djègbé, un arrondissement du Bénin, dans le département des Collines
Djègbè, un arrondissement du Bénin, dans le département de Zou

Djègbé


Sidney Robert Buchman () a fost un scenarist și producător de film american, care a colaborat la realizarea a aproximativ 40 de filme de la sfârșitul anilor 1920 și până la începutul anilor 1970. El a obținut patru nominalizări la premiile Oscar și a câștigat un singur premiu pentru cel mai bun scenariu pentru comedia romantică Here Comes Mr. Jordan (1941), împreună cu Seton I. Miller.

Biografie
S-a născut într-o familie evreiască din Duluth, Minnesota și a urmat studii la Universitatea Columbia, unde a fost un membru al Philolexian Society. A îndeplinit funcția de președinte al Screen Writers Guild of America (asociația scenariștilor americani) în perioada 1941-1942. Buchman a fost unul dintre cei mai de succes scenariști de la Hollywood în anii 1930 și 1940.

În această perioadă el a scris scenariile următoarelor filme:  The Right to Romance (1933), She Married Her Boss (1935), The King Steps Out (1936), Theodora Goes Wild (1936) și Holiday (1938). A fost nominalizat la Premiul Oscar nominalizări pentru scenariile filmelor Domnul Smith merge la Washington (1939), The Talk of the Town (1942), și Jolson Sings Again (1949) și a câștigat un premiu Oscar pentru Here Comes Mr. Jordan (1941). În această perioadă el a colaborat, de asemenea, la diverse filme, fără a fi menționat pe generic. În 1965 i s-a decernat Premiul Laurel de către asociația Writers Guild of America, West.

Refuzul lui Buchman de a furniza numele membrilor Partidului Comunist din SUA către Comitetul pentru Activități Antiamericane al Camerei Reprezentanților a determinat acuzarea lui de sfidarea Congresului. Buchman a fost amendat, a primit o sentință de 1 an cu suspendare și apoi a fost pus pe lista neagră de către șefii studiourilor de film de la Hollywood.

El a reveni la scenaristică în anii 1960, când a colaborat la scrierea scenariilor filmelor Cleopatra (1963) și The Group (1966).

Viața personală
Buchman a fost căsătorit de două ori și are o fiică, Susanna Silver, cu prima lui soție. Nepoata și nepotul lui sunt Amanda Silver și respectiv Michael B. Silver. A murit în orașul său adoptiv, Cannes, pe data de 23 august 1975, la vârsta de 73 de ani.

Filmografie selectivă

 The Music Goes 'Round (1936)
 The King Steps Out (1936)
 The Howards of Virginia (1940)

Premii și nominalizări

Sidney Buchman a obținut Premiul Laurel pentru realizări de o viață în scrierea scenariilor la cea de-a 17-a ediție a Premiilor Writers Guild of America pe data de 17 martie 1965.

Note

Legături externe

Nașteri în 1902
Decese în 1975
Scenariști americani
Absolvenți ai Universității Columbia
Lista neagră de la Hollywood
Producători de film americani
Americani din secolul al XX-lea după ocupație

Sidney Buchman


La presión de los pares o presión social hace referencia a la influencia que ejerce un grupo de pares en alentar a una persona a cambiar sus actitudes, esto puede ocurrir si la persona no tiene la autonomía suficiente para diferenciarse de aquellos y hacerles frente comportamiento de manera de conformidad a las normas del grupo. Los grupos sociales afectados incluyen grupos con membresía, en los cuales el individuo es un miembro en sentido "formal" (por ejemplo, un partido político, sindicato), o un grupo social primario. Una persona que se ve afectada por la presión social puede o no querer pertenecer a dichos grupos. Ellos también pueden reconocer grupos disociativos con los cuales ellos no desean asociarse, y por lo tanto se comportan en forma contraria a los comportamientos de dichos grupos. En este caso cede ante la presión del grupo por las siguientes razones:
la inseguridad personal
los sentimientos de inferioridad
el adolescente que no se siente valorado (autoestima baja)
falta de Personalidad

Entre la gente joven, la presión de los otros jóvenes es considerada una de las formas más difundidas de presión social. Es muy difundida ya que la mayoría de los jóvenes permanecen por períodos prolongados de tiempo en grupos fijos (escuelas y subgrupos en las mismas) independientemente de su opinión sobre los mismos. Además, ellos pueden no tener la madurez necesaria para manejar la presión que ejercen los 'amigos'. Los jóvenes también se encuentran más predispuestos a comportarse en forma negativa con aquellos individuos que no forman parte de sus grupos de pares. Sin embargo, la presión social en la juventud también puede tener efectos positivos.

Por ejemplo, si un individuo se encuentra relacionado con un grupo de personas ambiciosas y que trabajan para tener éxito, la persona se puede sentir presionada para seguir el mismo comportamiento para evitar quedar excluido del grupo. A veces el niño se presiona a sí mismo. Ellos sienten que precisan del grupo para ser "cool". Por lo tanto, el joven es presionado para mejorar, con un efecto beneficioso a largo plazo. En el caso contrario, el individuo puede alejarse del grupo por tanta presión que ejerce el mismo. Este comportamiento es visto con frecuencia en aquellos jóvenes que participan en deportes u otras actividades extracurriculares en las cuales la conformidad con su grupo social es muy pronunciada.

Suelen ceder fácilmente a la presión social aquellos jóvenes cuyos padres les inculcan patrones educativos rígidos y autoritarios, lo cual genera inseguridad, baja autoestima y rebeldía.

Otra forma muy común de presión social consiste en prácticamente obligar a los varones jóvenes a buscar novia sine qua non para encajar con los estándares de masculinidad so pena de ser rechazado y poner en entredicho su orientación sexual (por ejemplo, juzgarlos como homosexuales reprimidos, especialmente en países donde la diversidad sexual es mal vista). También puede provenir de los mismos padres de familia ocasionalmente.

Véase también

 Sesgo de grupo
 Pensamiento de grupo

Referencias

Psicología social

Presión de los pares