The Calculus Affair () is the eighteenth volume of The Adventures of Tintin, the comics series by the Belgian cartoonist Hergé. It was serialised weekly in Belgium's Tintin magazine from December 1954 to February 1956 before being published in a single volume by Casterman in 1956. The story follows the attempts of the young reporter Tintin, his dog Snowy, and his friend Captain Haddock to rescue their friend Professor Calculus, who has developed a machine capable of destroying objects with sound waves, from kidnapping attempts by the competing European countries of Borduria and Syldavia.

Like the previous volume, Explorers on the Moon, The Calculus Affair was created with the aid of Hergé's team of artists at Studios Hergé. The story reflected the Cold War tensions that Europe was experiencing during the 1950s, and introduced three recurring characters into the series: Jolyon Wagg, Cutts the Butcher, and Colonel Sponsz. Hergé continued The Adventures of Tintin with The Red Sea Sharks, and the series as a whole became a defining part of the Franco-Belgian comics tradition. The Calculus Affair was critically well-received, with various commentators having described it as one of the best Tintin adventures. The story was adapted for both the 1957 Belvision animated series Hergé's Adventures of Tintin,  the 1991 Ellipse/Nelvana animated series The Adventures of Tintin, and the 1992–93 BBC Radio 5 dramatisation of the Adventures.

Synopsis
During a thunderstorm, glass and porcelain items at Marlinspike Hall shatter inexplicably. Insurance salesman Jolyon Wagg arrives at the house to take shelter, annoying Captain Haddock. Gunshots are heard in the Hall's grounds, and Tintin and Haddock discover an unconscious man with a foreign accent who soon disappears with an accomplice. The next morning, Professor Calculus leaves for Geneva to attend a conference on nuclear physics. Tintin and Haddock use the opportunity to investigate Calculus' laboratory, discovering that his experiments were responsible for the glass-shattering of the previous night. While exploring, they are attacked by a masked stranger, who then takes off. While escaping, Snowy rips the stranger's coat, causing a cigarette packet to fall off. On the packet, the name of "Hotel Cornavin, Geneva" where Calculus stays was written on it. Tintin feared that Calculus is in danger. Tintin, Haddock, and Snowy head for Geneva. In Geneva, they learn that Calculus has gone to Nyon to meet Professor Topolino, an expert in ultrasonics. The group travel there in a taxi, but their car is attacked by two men in another car, who force the taxi into Lake Geneva. Surviving the attack, Tintin, Haddock and Snowy continue to Nyon, where they find Topolino bound and gagged in his cellar. As Tintin questions the professor, the house blows up, but they all survive.

Tintin and Haddock meet the detectives Thomson and Thompson, who reveal that the man at Marlinspike was Syldavian. Tintin surmises that Calculus had invented an ultrasonic device capable of being used as a weapon of mass destruction, which Bordurian intelligence agents are now seeking to obtain. Later that night, a huge scuffle sees a group of men fighting each other and Tintin was knocked down by one of the men. Discovering that Bordurian spies have kidnapped Calculus and are holding him hostage in their Rolle embassy, Tintin and Haddock seek to rescue him. During the attempt, he is captured by Syldavian agents, who are able to escape by plane to their home country.  The next morning, Tintin and Haddock learn that Bordurian fighter aircraft forced down the Syldavian plane and captured Calculus, who is now being held in Borduria. They travel to Borduria's capital, Szohôd, intent on rescuing him.

In the city, they are escorted to their hotel by agents of the Bordurian secret police, who have been ordered by police chief Colonel Sponsz to monitor the duo. Aware that they are being monitored, Tintin and Haddock escape the hotel and hide in the opera house, where Bianca Castafiore is performing. When police come searching for them, they hide in Castafiore's closet. When Sponsz comes to visit Castafiore in her dressing room, Tintin is able to steal papers from his overcoat pocket that will secure Calculus' release from the fortress of Bakhine. After disguising themselves as officials from the International Red Cross, Tintin and Haddock are able to get Calculus released from prison. During their escape, they drive off the road, but are able to hijack a tank and narrowly escape across the border. At the lost property office, a relieved Calculus finally collects the black umbrella by Snowy alongside Tintin and Haddock. Back at Marlinspike Hall, Wagg moves his family in. Meanwhile, Calculus reveals that he forgot to take his plans for the ultrasonic device with him to Geneva, and that he had left them at home all along; he announces his intention to destroy the plans so they cannot be used to create a weapon. Haddock lights his pipe with the intention of smoking it, but Calculus uses it to burn the plans. Haddock's fit of rage over the plans literally burning up in his face leaves the hard-of-hearing Calculus believing that Haddock has chickenpox; Calculus relays this to Wagg, who moves his family out of Marlinspike Hall to avoid a contagious disease.

History

Background

Reflecting Cold War tensions, The Calculus Affair was published at a time when espionage thrillers were popular in France and Belgium.
The Calculus Affair marked a return to the single volume format which was to persist for the rest of The Adventures of Tintin. The volume started its publication in Tintin magazine in December 1954. Before working on the book, Hergé would make sketches in pencil; subsequently he would work over the drawings and text in ink. With the development of his own Studios Hergé, he selected the best sketch from a number of versions and traced it onto the page he was creating.

In The Calculus Affair Hergé introduced Jolyon Wagg, a Belgian insurance salesman, who appeared in each subsequent adventure with the exception of Tintin in Tibet. Wagg was intended as "the proverbial bore", who provides comic relief by repeatedly annoying Captain Haddock and inviting himself to Marlinspike. For the name, Séraphin Lampion in the original French version, Hergé initially chose Crampon, which was derived from the French expression "Quel crampon!" (English: "What a leech!"), but ultimately preferred the less explicit and harsh-sounding Lampion. Lampion's insurance company was Assurances Mondass, which in the English translation became the Rock Bottom Insurance Company.

Also introduced in this volume were Cutts the butcher (originally Sanzot from the French sans os ("without bones")) and the Bordurian chief of secret police Colonel Sponsz, whose name is derived from the Brussels dialect term for a sponge (éponge in French). Hergé used his brother, Paul Remi, as the model for Sponsz, although he was also influenced by the image of the Austrian American filmmaker Erich von Stroheim.

Influences

A key influence on the plot of The Calculus Affair was an article that Hergé had read in a February 1954 issue of the Belgian weekly La Face à Main, reporting that there had been a number of incidents along the road from Portsmouth to London in southern England in which motorists' car windscreens had spontaneously shattered; the article's author suggested that it may have been caused by experiments undertaken in a nearby secret facility. To develop this plot further, Hergé consulted Professor , an astrophysicist at Liège.

Hergé's depiction of Switzerland avoided repeating national clichés, instead seeking a high level of realism. Hergé requested that Jean Dupont, the editor of L'Écho illustré — the magazine in which The Adventures of Tintin was serialised in Switzerland — send him documentation on Swiss railways from which he could draw. He also requested that his Swiss friend Charly Fornora send him a bottle of Valais wine, which he could again use as a model from which to draw. Hergé subsequently travelled to Switzerland in person to produce accurate sketches of scenes around Geneva, which he could then incorporate into the story; these included at Geneva Cointrin International Airport, Genève-Cornavin railway station, and the Cornavin Hotel, as well as the road through Cervens and Topolino's house in Nyon. Despite this realism, a number of minor errors were made in Hergé's depiction of Geneva.

Hergé's depiction of Borduria was based on Eastern Bloc countries. Their police force was modelled on the Soviet KGB. Hergé named the political leader of Borduria Plekszy-Gladz, a pun on Plexiglas, although the English translators renamed him Kûrvi-Tasch ("curvy tash"), a reference to the fact that the leader's curved moustache, inspired by that of Soviet leader Joseph Stalin, was a prominent symbol in Borduria. As evidence for the accuracy of Hergé's depiction of an Eastern Bloc city, Farr highlighted that Borduria's Kûrvi-Tasch Platz closely resembled East Berlin's Platz der Republik, which would only be completed in the 1970s. All of the furniture in the Bordurian police headquarters was drawn from that found in the Studios Hergé premises.

The idea of a sonic weapon was one that had been unsuccessfully pioneered by German scientists under the control of Albert Speer during World War II.A book that Tintin examines in Professor Topolino's house, German Research in World War II by Leslie E. Simon – a retired major general in the United States Army – really existed and was published in 1947. In the strip, Hergé preserved the English-language title of the book rather than translating it into French, although altered the book's cover design to remove a prominent swastika. The inclusion of the book is one of the few instances that there is any reference to the Second World War within The Adventures of Tintin. The photograph of the sonic weapon is also authentic.

Hergé's decision to name a character Topolino was a reference to Walt Disney, whose character of Mickey Mouse was known as Topolino in Italian. Hergé included a reference to his friend and colleague, the former opera singer Edgar P. Jacobs, in the story, adding a figure named Jacobini to the billing on the opera performance alongside Castafiore. He also inserted a cameo of himself as a reporter.

Publication
The Calculus Affair began serialisation in Tintin magazine's Christmas edition on 22 December 1954, and continued to appear in the pages of that publication until 22 February 1956. It would be the first of The Adventures of Tintin to be serialised without interruption since Red Rackham's Treasure (1944). Serialisation began in the French edition of Tintin in February 1955. It was subsequently published in single form as L'Affaire Tournesol by Casterman in 1956. For this volume Hergé had designed a front cover; initially, it simply showed Tintin and Haddock hiding Calculus from Bordurian soldiers, but he subsequently added shattered yellow glass around the edges of the image for dramatic effect.

Critical analysis

Harry Thompson opined that while the story's ending was somewhat unsatisfactory and rushed, it remained "probably the best of all the Tintin books". Biographer Benoît Peeters agreed, describing it as "Hergé's masterwork", "a masterpiece of the classic strip cartoon". Elsewhere, he referred to it as "one of his most brilliant books", describing Wagg as "the last great figure of The Adventures of Tintin". Peeters added that the story had "the atmosphere of a spy novel worthy of John Buchan or Eric Ambler". Similarly, Farr described The Calculus Affair as "one of Hergé's finest creations". Biographer Pierre Assouline stated that the "illustrations and the scenario are vibrant and rich; the story thread holds from beginning to end".

Jean-Marc Lofficier and Randy Lofficier stated that the introduction of Wagg and Cutts the butcher represented "yet another turning point in the series", praising the characterisation of Wagg as "bitter and successful social satire". They were critical of Syldavia's inclusion as an antagonist in the story, stating that the Syldavian attempts to kidnap Calculus "strains believability" because they had appeared as allies of Calculus and Tintin in both the preceding two-volume story arc, Destination Moon (1953) and Explorers on the Moon (1954), and in the earlier King Ottokar's Sceptre (1939). The Lofficiers felt that "the plot seems somewhat shoe-horned into the familiar universe" and "one feels that Hergé's heart was not really much into the action part of the story", ultimately awarding it three stars out of five.

In his psychoanalytical study of The Adventures of Tintin, the literary critic Jean-Marie Apostolidès declared that The Calculus Affair marked the beginning of the third and final period of the series, which he believed could be characterised by Hergé's depiction of a world run by "wheeling and dealing" and in which "detective work takes precedence over any mystical quest". Apostolidès considered The Calculus Affair to be both Calculus' "triumph and his defeat". He felt that while Calculus had become "an impartial figure" in the preceding two-volume story arc, Destination Moon and Explorers on the Moon, here he had become "the Bad Mother" through his creation of an ultrasonic weapon and the threat that he poses both to the tranquility of Marlinspike and to world peace. He viewed the scene at the end of the story in which Calculus burns the plans to his ultrasonic device as "a symbolic castration", allowing the character to become "the Oedipal Father with whom the sons [Tintin and Haddock] can compete", thus stabilising "the family hierarchy" of the series.

Literary critic Tom McCarthy believed that The Calculus Affair aptly illustrated how Tintin was no longer political in the manner that he was in earlier works like Tintin in the Land of the Soviets (1930) and Tintin in the Congo (1931); instead, Tintin travels to Borduria to rescue Calculus, "not to fight or expose totalitarianism". Calculus became "a genius compromised", with his role being a "counter-position to, or flip-side of, the one he represented in the moon books". When Tintin and Haddock arrive in Borduria, they are "treated as honoured guests but are in fact prisoners of the police state", a reversal of the situation in The Blue Lotus in which Tintin believes himself a prisoner but is in fact a guest. As with The Crab with the Golden Claws (1941), The Calculus Affair was "one long tobacco-trail" with cigarettes representing clues throughout the story. As for the opera house scene in which Tintin and Haddock spy upon Sponsz and Castafiore, he compared it to the scene in David Lynch's 1986 film Blue Velvet in which Jeffrey Beaumont spies on the sexual activities of Dorothy Vallens and Frank Booth.

Adaptations
In 1957, the animation company Belvision Studios produced a string of colour adaptations based upon Hergé's original comics, adapting eight of the Adventures into a series (named Hergé's Adventures of Tintin) of daily five-minute episodes. The Calculus Affair (renamed The Calculus Case) was the eighth such story in the second series, being directed by Ray Goossens and written by Greg, himself a well-known cartoonist who in later years would become editor-in-chief of Tintin magazine.

In 1991, a collaboration between the French studio Ellipse and the Canadian animation company Nelvana adapted 21 of the stories into a series of episodes, each 22 minutes long. The Calculus Affair was the sixteenth and seventeenth episodes of The Adventures of Tintin to be produced. Directed by Stéphane Bernasconi, the series has been praised for being "generally faithful", with compositions having been actually directly taken from the panels in the original comic book.

References

Notes

Footnotes

Bibliography

External links
 The Calculus Affair at the official Tintin website
 The Calculus Affair at Tintinologist.org

1956 graphic novels
Comics set in a fictional country
Comics set in Europe
Comics set in Switzerland
Literature first published in serial form
Methuen Publishing books
Spy comics
Tintin books
Weapons of mass destruction in fiction
Works originally published in Tintin (magazine)
Comics set in mansions and country houses

The Calculus Affair


The Young Turks (TYT) é um programa de comentários de notícias progressista americano no YouTube que também é transmitido em canais de televisão selecionados. O TYT serve como o principal programa da TYT Network, uma rede multicanal de séries da web associadas com foco em notícias e eventos atuais. O programa cobre política, estilo de vida, cultura pop, ciência, esporte e outros tópicos sociais. Foi fundado por Cenk Uygur, Ben Mankiewicz e Dave Koller em 2002.

Atualmente é co-apresentado por Uygur e Ana Kasparian, também é frequentemente acompanhado por vários outros colaboradores em estúdio. The Young Turks começou como um programa de rádio que estreou em 14 de fevereiro de 2002, na Sirius Satellite Radio antes de lançar uma série na internet em 2005 no YouTube.

Além de ser transmitido na rede TYT e no YouTube, também está disponível no Amazon Prime Video, iTunes, Hulu, Roku, na Pluto TV por meio de um feed de 24 horas e nas plataformas de mídia social Instagram, Facebook e Twitter.

The Young Turks é o talk show de notícias e política online mais antigo.

Controvérsias
O nome do programa The Young Turks foi criticado devido ao movimento político de mesmo nome Jovens Turcos no Império Otomano ter sido responsável por cometer o genocídio armênio, o genocídio assírio e o genocídio grego. Alex Galitsky, que trabalha para o Comitê Nacional Armênio da América, afirmou: "Se um grupo decidisse se autodenominar os Jovens Nazistas e se apresentasse como um disruptor ou veículo de notícias anti-establishment, as pessoas ficariam indignadas com razão".

Ativismo político
O TYT se promove como a "Casa dos Progressistas". O canal referencia notícias de fontes tradicionais e fornece sua própria análise de conteúdo, conectando-o a diferentes narrativas e discursos relacionados às realidades sociais de seu público. Os comentários da rede geraram contra-narrativas em relação às discussões políticas tradicionais.  Ao se envolver com movimentos sociais, a emissora convocou seu público a fazer parte de seu "exército TYT". A rede usa suas plataformas para advocacy, como convocar seu público a participar do processo político e dar apoio a candidatos progressistas como Bernie Sanders e Alexandria Ocasio-Cortez nas eleições americanas de 2016 e 2020.

Ligações externas

Canais do YouTube
Canais de televisão por Internet
Mídia da Califórnia
Vencedores do Shorty Award

The Young Turks


Edmond Montague Grant (n. 5 martie 1948) este un vocalist și muzician guyanez-britanic. El a fost membru fondator al grupului Equals, unul dintre primele grupuri pop populate rasial din Regatul Unit. De asemenea, el este cunoscut pentru o carieră solo de succes care include platina unică "Electric Avenue". A fost, de asemenea, pionierul genului ringbang-ului.

Viața personală
Grant sa născut în Plaisance, Guyana Britanică, după care sa mutat la Linden. Tatăl său, Patrick, a fost un trumpeter care a jucat în Nello și pe Luckies. În timp ce la școală, părinții săi locuiau și lucrau în Regatul Unit, trimițând bani înapoi pentru educația lui. În 1960, a emigrat să se alăture părinților săi la Londra. El a locuit în orașul Kentish și a mers la școală la Acland Burghley Secondary Modern la Tufnell Park, unde a învățat să citească și să scrie muzică. A devenit un mare fan al lui Chuck Berry și, după ce la văzut jucând la Finsbury Park, Astoria a decis o carieră în muzică.

Carieră
În 1965, Grant a format Equals, cântând la chitară și cântând vocale de fundal, iar formația a avut două albume hit și un hit minor cu single-ul "I Get So Excited" înainte de a avea un număr unu în 1968 cu melodia "Baby Come Back". De asemenea, melodia a fost în fruntea clasamentului britanic Singles în 1994, când a fost acoperită de Pato Banton cu Robin și Ali Campbell din grupul reggae al UB40. În această perioadă, a lucrat și ca compozitor și producător pentru alți artiști, printre care Piramidele (producând single-ul de debut "Train Tour to Rainbow City") și Prince Buster, pentru care a scris "Rough Rider", și a lansat marca de discuri Torpedo , lansând singurele reggae britanice.

În 2006 a lansat albumul Reparation.

În 2008, Grant a participat la concertul de 90 de ani de naștere al lui Nelson Mandela și, de asemenea, a jucat mai multe întâlniri în Marea Britanie, inclusiv în Festivalul Glastonbury.

În 2016 a fost anunțat că Grant va primi un premiu de realizare pe durata vieții de la guvernul din Guyana.

Discografie

Albume de studio
1975 – Eddy Grant
1977 – Message Man
1979 – Walking on Sunshine
1980 - Love In Exile
1981 - Can't Get Enough
1982 - Killer on the Rampage
Going for Broke
1987 – Born Tuff
File Under Rock (1988)
Barefoot Soldier (1990)
Paintings of the Soul (1992)
Soca Baptism (1993)
Hearts and Diamonds (1999)
Reparation (2006)
Plaisance (2017)

Note

Nașteri în 1948
Cantautori englezi

Eddy Grant


Tigeciclina (cu denumirea comercială Tygacil, Pfizer) este un antibiotic din clasa tetraciclinelor, primul reprezentant din subclasa glicilciclinelor, fiind utilizat în tratamentul unor infecții bacteriene. Printre acestea se numără: infecții severe ale pielii, infecții severe intraabdominale și pneumonia comunitară, inclusiv cele cauzate de stafilococ auriu meticilino-rezistent. Calea de administrare disponibilă este cea intravenoasă.

A fost aprobată pentru uz medical de către Food and Drug Administration (FDA) în iunie 2005.

Utilizări medicale
Tigeciclina are un spectru larg de acțiune, similar cu al tetraciclinei. Este activă față de: stafilococi, streptococi, enterococi, Enterobacteriaceae, Acinetobacter, germeni anaerobi Gram-pozitivi si negativi, ricketsii, chlamydii, germeni atipici, micobacterii cu multiplicare rapidă. Proteus si Pseudomonas sunt rezistente la acțiunea tigeciclinei.

Reacții adverse
Colorarea dinților în roșu sau brun, fotosensibilitate. Nu se poate asocia cu alte medicamente care conțin ioni bivalenți, precum antiacide pe bază de aluminiu sau antianemice pe bază de fier (inactivare reciprocă). Din același motiv nu se poate asocia cu alimente bogate în calciu (lapte, iaurt).

Note

Vezi și
 Doxiciclină
 Minociclină
 Tetraciclină

Tetracicline
Carboxamide
Pfizer

Tigeciclină


Gulbeddin Hikmetyar (d. 26 Haziran 1947, Kunduz), eski Afganistan başbakanıdır. 1975 yılında kurulan Hizb-i İslami'nin kurucusu ve lideridir.

SSCB işgaline karşı mücadele etmiş ve SSCB nin Afganistan'dan çıkarılması sonucu kurulan Afganistan hükûmetinde Başbakanlık yapmıştır. Afganistan 1989'da kurtulduktan sonra 1992'de Afgan mücahitlerin kurduğu Yönetim Konseyi tarafından başbakan seçilmiştir. Daha sonra ise, ABD'nin Sovyetler'e karşı desteklediği Afgan mücahitlerinin liderliğini üstlenmiştir. Son olarak Hikmetyar'ın Associated Press'e yaptığı açıklamada, Taliban liderlerinden ABD'ye karşı savaşmak için geniş tabanlı bir ittifak oluşturmalarını istedi ve kendisi ve adamlarının böyle bir güce katılacaklarını söyledi. Görevde olduğu 1996 yılında Kâbil'deki radyo ve televizyonlarda müzik yayınlanmasının yasaklanmasını ve bütün sinemaların kapatılmasını emretti. İnsan Hakları İzleme Komitesi, Ağustos 1992'de Hikmetyar kuvvetlerinin roket saldırıları sebebiyle çoğunluğu sivillerden oluşan en az 2000 insanın öldüğü ve yarım milyon insanın da Kabil'i terk ettiğini bildirdi. 9 Ocak 1995 tarihinde Hikmetyar'ın kuvvetlerinin başkent Kâbil'i bombalamasıyla 20'den fazla insan öldü.

Kaynakça

|-

Yaşayan insanlar
1947 doğumlular
Afganistan başbakanları
Afgan antikomünistler
Peştunlar
Cihatçılık

Gulbeddin Hikmetyar


Grev Dahlborgs Hemmelighed er en dansk stumfilm fra 1914, der er instrueret af Eduard Schnedler-Sørensen efter manuskript af Palle Rosenkrantz.

Filmen har Nordisk Film neg. nr. 1112, men den er produceret af Valdemar Psilander selv og blev vist i samspil med hans varieté-optræden på Royal Orfeum i Budapest i Ungarn i februar og marts 1914. Filmen fremstår derfor ikke som et selvstændigt værk.

Handling

Referencer

Eksterne henvisninger

Danske film fra 1914

Stumfilm fra Danmark

Grev Dahlborgs Hemmelighed


معالة هي بلدية جبلية جزائرية تعتبر عاصمة قبيلة صنهاجة البربرية أو ما يعرف  ببني جعد تقع في ولاية البويرة, و تبعد عن عاصمة مدينة الأخضرية بحوالي 15 كليومتر.

انظر
 زاوية الحمامي

مواضيع ذات صلة
 بلديات ولاية البويرة
 دوائر ولاية البويرة

مراجع

معالة

معالة


Gemersdorf ist der Name folgender Orte:

 Gemersdorf (Gemeinde Böheimkirchen), Katastralgemeinde von Böheimkirchen, Bezirk Sankt Pölten-Land, Niederösterreich
 Gemersdorf (Gemeinde Haibach), Ortschaft der Gemeinde Haibach ob der Donau, Bezirk Eferding, Oberösterreich

Gemersdorf


MJET é uma companhia aérea com sede em Schwechat, Áustria.

Destinos

Frota

A frota da MJET consiste nas seguintes aeronaves (Janeiro de 2021):

Ver também

 Lista de companhias aéreas em atividade

Ligações externas

 Sítio oficial

Empresas aéreas fundadas em 2007
Empresas aéreas da Áustria

MJET


Gladden means to bring happiness or to become happier. It may also refer to:

Places in the United States
 Gladden, Missouri, an unincorporated community
 Gladden Creek, Missouri
 Gladden Farm, a historic home and farm complex in Maryland
 Gladden Windmill, a historic windmill in Napoli, New York

Other uses
 Gladden (name), a list of people with either the given name or surname
 Gladden (Middle-earth), a fictional Middle-earth river
 Gladden, an Intel embedded processor - see List of Intel Pentium processors

See also
 Carrack Gladden, a coastal headland in St Ives Bay in Cornwall
 Gladden Fields, a fictional location in J. R. R. Tolkien's Middle-earth
 Beth Gladen, American biostatistician

Gladden


Andong, (en chino: 安東省, pinyin: Āndōng shěng) también conocido como Antung (Wade-Giles), fue una antigua provincia del noroeste de China, ubicado en lo que fue una vez parte de Liaoning y Jilin. Limitaba al sureste con el río Yalu, que la separaba de Corea.

Historia

La provincia de Andong fue creada en 1934 como un anto (provincia) del Estado de Manchukuo, cuando la antigua provincia de Fengtian fue dividida en tres partes: Andong, Fengtian y Jinzhou. Andong fue subdividida en 1939 en las provincias de Andong y Tonghua.

Después de la re-anexión de Manchukuo por la República de China luego del final de la Segunda Guerra Mundial, el Kuomintang reunió Andong y Tonghua, y continuó reconociendo el área como la Provincia de Andong. Sin embargo, bajo la administración de la República Popular de China, Andong fue abolida en 1954, y su área se dividió entre las provincias de Liaoning y Jilin.

Administración

La capital de la provincia de Andong entre 1934 y 1939 fue Tonghua (en chino: 通化; Wade-Giles: T'unghua). Sin embargo después de la reorganización administrativa de 1939 la provincia, la capital se trasladó a Andong, una ciudad fronteriza importante entre Manchukuo y Corea, y un centro importante en el ferrocarril de Corea a Mukden.

El área de la provincia desde fue cercana a los 62160 km², con una población de más de 2,9 millones (a partir de junio de 1948).

Referencias

Andong
Andong
Estados y territorios fundados en 1934
Estados y territorios desaparecidos en 1954

Provincia de Andong


Félix Bovet, né le 7 novembre 1824 à Neuchâtel et mort le 4 septembre 1903 à Grandchamp, est un théologien, professeur de littérature et directeur de bibliothèque suisse.

Biographie
Félix Bovet est le fils de Claude-Abram Bovet (1773-1857), négociant en indiennes, et de Louise Bovet (1785-1842). Félix Bovet obtient une licence de l'Académie de Neuchâtel (aujourd'hui Université de Neuchâtel) en 1843 avant de partir étudier le droit puis la théologie à Berlin. Là, il se spécialise dans l'exégèse de l'Ancien Testament et l'archéologie biblique et devient un redoutable hébraïsant. Malgré ses prédispositions pour la chose religieuse et, comme l'écrira Philippe Godet, par refus des "collectivités disciplinées", Félix Bovet renonce à la consécration pastorale. Il s'y prépare cependant et passe les premiers examens avant de renoncer, pris de doute dans sa Foi. Dans sa préface à l'œuvre posthume de Bovet, les Pensées, Philippe Godet affirme que celui-ci ne pouvait se résoudre à se lier à un corps idéologique. Car, s'il est un homme pieux, Félix Bovet tient surtout à rester un homme libre.

Aussi, en 1848, de retour d'Allemagne et bien décidé à ne pas devenir pasteur, Félix Bovet se présente à la succession de César-Henri Monvert à la tête de la bibliothèque de la ville de Neuchâtel, alors fraîchement installée dans le bâtiment du collège latin. Là, il met en place le premier catalogue général de l'institution. En tant que directeur, il endosse aussi la responsabilité des archives de Jean-Jacques Rousseau conservées depuis 1795 par l'institution qu'il dirige désormais. Frappé par leur importance, il liste l'ensemble des manuscrits et des ouvrages conservés à Neuchâtel dans : Bibliographie de J.J. Rousseau. En 1853, il est également le premier éditeur du manuscrit du Discours sur les richesses et, en 1850, il fait connaître au monde des lettres le manuscrit des Confessions conservé à la bibliothèque de Neuchâtel. Cette troisième version du manuscrit de l'autobiographie de Rousseau, la plus ancienne, n'avait jusqu'alors pas été exploitée. Dans Fragments inédits des Confessions de J.-J. Rousseau, Bovet édite la préface dudit manuscrit, préface absente des deux versions ultérieures. Le texte paraît dans la "Revue suisse" dont il dirige la rédaction aux côtés de ses amis Charles Secrétan, Édouard Desor, Henri Jaccottet et Charles Berthoud.

Après dix années passées à diriger la bibliothèque, Félix Bovet prend le temps de réaliser le grand voyage vers l'Orient dont il rêve depuis toujours. De ce périple il ramène la matière pour Voyage en Terre sainte, publié quelques années plus tard et qui, traduit en cinq langues, sera constamment réédité. Le retour à Neuchâtel est difficile et, en 1859, Félix Bovet démissionne du poste de directeur de la bibliothèque de la ville. La même année, il épouse Hélène Bovet, fille de son cousin, et prend la direction des établissements éducatifs installés par ses beaux-parents à Grandchamp, sur le territoire de la commune de Boudry. Il veut y appliquer le modèle éducatif des Frères moraves.

Sous la direction de Félix Bovet, l'établissement de Grandchamp est brièvement le lieu de rencontre clandestin des salutistes neuchâtelois. En effet, au nom de la liberté religieuse, Félix Bovet décide d'y accueillir ceux que l'on chasse ailleurs. C'est à Grandchamp encore que s'ouvre, sous l'impulsion de Jules Paroz soutenu par le maître de céans, la première école normale du canton de Neuchâtel (plus tard réinstallée à Peseux). Si, en 1859, en quittant la bibliothèque de la ville, Félix Bovet projetait de se consacrer pleinement à l'orphelinat de Grandchamp et à la rédaction d'une suite à son Voyage en Terre sainte, il est rapidement rattrapé par sa notoriété. En effet, dès 1860, il est appelé pour enseigner la littérature française aux Auditoires de Neuchâtel. À la suite de quoi, dès 1866 et jusqu'en 1873, il enseigne l'hébreu et l'Ancien Testament au sein de la faculté de théologie de la classe des pasteurs. Sa stature d'éminent hébraïsant l'amène également à être recruté par Frédéric Godet pour participer, aux côtés d'Augustin Gretillat, de Paul de Coulon et de Charles Monvert, au vaste chantier de La Bible annotée (Neuchâtel : Attinger Frères, 1881-1898). Nouvelle traduction à partir des textes hébreux et grecs, La Bible annotée propose à ses lecteurs un appareil critique et historique. Homme de foi mais aussi de conviction, Félix Bovet se rend aussi à plusieurs congrès de l'Alliance évangélique ainsi qu'aux congrès abolitionnistes.

Parfois comparé à Henri-Frédéric Amiel, les commentateurs de Félix Bovet que sont Samuel Berthoud et Philippe Godet louent sa conception libérale de la Foi ainsi que son anti dogmatisme. Si sa mémoire est restée vive, c'est aussi grâce à son fils Pierre, pédagogue, et son neveu Paul Bovet, pasteur, qui, au travers de manifestations anniversaires, firent vivre l'œuvre de leur père et oncle. Ils permettent aussi la publication posthume des écrits autobiographiques inédits de Félix Bovet : Lettres de jeunesse, Lettres de Grandchamp et d'ailleurs et, bien sûr, Pensées.

Publications

Hommages

La salle de lecture de la Bibliothèque publique et universitaire de Neuchâtel, que Félix Bovet a dirigé entre 1848 et 1859, porte le nom de son ancien directeur.

La commune de Boudry a rendu hommage à l'homme qui fit rayonner Grandchamp en baptisant de son nom la rue qui mène à l'ancien complexe éducatif.

Notes et références

Voir aussi

Bibliographie
 Samuel Berthoud, Le Doute et la Foi, Neuchâtel, H. Messeiller, [1952].
 André Bovet, "Félix Bovet et l'armorial neuchâtelois", Musée neuchâtelois, 1937, p. 80-88.
 Emile Faguet, "Félix Bovet", La Revue, Paris, Année 24 (1913), no 12, série 6, vol. 102, p. 477-492.
 Philippe Godet, "Préface", dans Félix Bovet, Pensées, Saint-Blaise, Foyer solidariste, 1909, p. i-xxxiii.
 Michel Schlup, "Félix Bovet, bibliothécaire, professeur et historien (1824-1903)", dans Michel Schlup (dir), Biographies neuchâteloises, T. 3, Neuchâtel, Éditions Gilles Attinger, 2001, p. 51-56.

Liens externes

Naissance en novembre 1824
Naissance à Neuchâtel
Décès en septembre 1903
Bibliothécaire suisse
Personnalité neuchâteloise
Théologien suisse
Professeur à l'université de Neuchâtel
Décès à 78 ans

Félix Bovet


David Ochterlony Dyce Sombre (født 18. december 1808, død 1. juli 1851), også kendt som D. O. Dyce Sombre og David Dyce Sombre, var en angloinder, der betragtes som den første person af asiatisk herkomst, der er blevet valgt ind i Det britiske parlament. Han blev valgt til at repræsentere Sudbury i juli 1841, men blev afsat igen i april 1842, som følge af bestikkelse i valgprocessen.
Han blev opkaldt efter David Ochterlony, der var en brite, som boede i Delhi.

Referencer

Personer fra Storbritannien
Politikere fra Storbritannien
Personer fra Indien
Politikere fra Indien

David Ochterlony Dyce Sombre


Lumpers and splitters are opposing factions in any discipline that has to place individual examples into rigorously defined categories. The lumper–splitter problem occurs when there is the desire to create classifications and assign examples to them, for example schools of literature, biological taxa and so on. A "lumper" is a person who assigns examples broadly, judging that differences are not as important as signature similarities. A "splitter" is one who makes precise definitions, and creates new categories to classify samples that differ in key ways.

Origin of the terms
The earliest known use of these terms was thought to be Charles Darwin, in a letter to Joseph Dalton Hooker in 1857: It is good to have hair-splitters & lumpers. But according to research done by Deputy Director at NCSE, Glenn Branch the credit is due to naturalist Edward Newman who wrote in  1845 "'The time has arrived for discarding imaginary species, and the duty of doing this is as imperative as the admission of new ones when such are really discovered. The talents described under the respective names of 'hair-splitting' and 'lumping' are unquestionably yielding their power to the mightier power of Truth.'"

They were introduced more widely by George G. Simpson in his 1945 work The Principles of Classification and a Classification of Mammals. As he put it:

A later use can be found in the title of a 1969 paper "On lumpers and splitters ..." by the medical geneticist Victor McKusick.

Reference to lumpers and splitters in the humanities appeared in a debate in 1975 between J. H. Hexter and Christopher Hill, in the Times Literary Supplement. It followed from Hexter's detailed review of Hill's book Change and Continuity in Seventeenth Century England, in which Hill developed Max Weber's argument that the rise of capitalism was facilitated by Calvinist Puritanism. Hexter objected to Hill's "mining" of sources to find evidence that supported his theories. Hexter argued that Hill plucked quotations from sources in a way that distorted their meaning. Hexter explained this as a mental habit that he called "lumping". According to him, "lumpers" rejected differences and chose to emphasize similarities. Any evidence that did not fit their arguments was ignored as aberrant. Splitters, by contrast, emphasised differences, and resisted simple schemes. While lumpers consistently tried to create coherent patterns, splitters preferred incoherent complexity.

Usage in various fields

Biology

The categorization and naming of a particular species should be regarded as a hypothesis about the evolutionary relationships and distinguishability of that group of organisms. As further information comes to hand, the hypothesis may be confirmed or refuted. Sometimes, especially in the past when communication was more difficult, taxonomists working in isolation have given two distinct names to individual organisms later identified as the same species. When two named species are agreed to be of the same species, the older species name is almost always retained dropping the newer species name honoring a convention known as "priority of nomenclature".  This form of lumping is technically called synonymization. Dividing a taxon into multiple, often new, taxa is called splitting. Taxonomists are often referred to as "lumpers" or "splitters" by their colleagues, depending on their personal approach to recognizing differences or commonalities between organisms.

For example, the number of genera used in Pteridophyte Phylogeny Group (PPG) I has proved controversial. PPG I uses 18 lycophyte and 319 fern genera.  The earlier system put forward by Smith et al. (2006) had suggested a range of 274 to 312 genera for ferns alone. By contrast, the system of Christenhusz & Chase (2014) used 5 lycophyte and about 212 fern genera. The number of fern genera was further reduced to 207 in a subsequent publication. Defending PPG I, Schuettpelz et al. (2018) argue that the larger number of genera is a result of "the gradual accumulation of new collections and new data" and hence "a greater appreciation of fern diversity and [..] an improved ability to distinguish taxa". They also argue that the number of species per genus in the PPG I system is already higher than in other groups of organisms (about 33 species per genus for ferns as opposed to about 22 species per genus for angiosperms) and that reducing the number of genera as Christenhusz and Chase propose yields the excessive number of about 50 species per genus for ferns. In response, Christenhusz & Chase (2018) argue that the excessive splitting of genera destabilises the usage of names and will lead to greater instability in future, and that the highly split genera have few if any characters that can be used to recognize them, making identification difficult, even to generic level. They further argue that comparing numbers of species per genus in different groups is "fundamentally meaningless".

History

In history, lumpers are those who tend to create broad definitions that cover large periods of time and many disciplines, whereas splitters want to assign names to tight groups of inter-relationships. Lumping tends to create a more and more unwieldy definition, with members having less and less mutually in common. This can lead to definitions which are little more than conventionalities, or groups which join fundamentally different examples. Splitting often leads to "distinctions without difference", ornate and fussy categories, and failure to see underlying similarities.

For example, in the arts, "Romantic" can refer specifically to a period of German poetry roughly from 1780 to 1810, but would exclude the later work of Goethe, among other writers. In music it can mean every composer from Hummel through Rachmaninoff, plus many that came after.

Software modelling
Software engineering often proceeds by building models (sometimes known as model-driven architecture). A lumper is keen to generalize, and produces models with a small number of broadly defined objects. A splitter is reluctant to generalize, and produces models with a large number of narrowly defined objects. Conversion between the two styles is not necessarily symmetrical. For example, if error messages in two narrowly defined classes behave in the same way, the classes can be easily combined. But if some messages in a broad class behave differently, every object in the class must be examined before the class can be split. This illustrates the principle that "splits can be lumped more easily than lumps can be split".

Language classification

There is no agreement among historical linguists about what amount of evidence is needed for two languages to be safely classified in the same language family. For this reason, many language families have had lumper–splitter controversies, including Altaic, Pama–Nyungan, Nilo-Saharan, and most of the larger families of the Americas. At a completely different level, the splitting of a mutually intelligible dialect continuum into different languages, or lumping them into one, is also an issue that continually comes up, though the consensus in contemporary linguistics is that there is no completely objective way to settle the question.

Splitters regard the comparative method (meaning not comparison in general, but only reconstruction of a common ancestor or protolanguage) as the only valid proof of kinship, and consider genetic relatedness to be the question of interest. American linguists of recent decades tend to be splitters.

Lumpers are more willing to admit techniques like mass lexical comparison or lexicostatistics, and mass typological comparison, and to tolerate the uncertainty of whether relationships found by these methods are the result of linguistic divergence (descent from common ancestor) or language convergence (borrowing). Much long-range comparison work has been from Russian linguists belonging to the Moscow School of Comparative Linguistics, most notably Vladislav Illich-Svitych and Sergei Starostin. In the United States, Greenberg's and Ruhlen's work has been met with little acceptance from linguists. Earlier American linguists like Morris Swadesh and Edward Sapir also pursued large-scale classifications like Sapir's 1929 scheme for the Americas, accompanied by controversy similar to that today.

Religious studies
Paul F. Bradshaw suggests that the same principles of lumping and splitting apply to the study of early Christian liturgy. Lumpers, who tend to predominate in this field, try to find a single line of successive texts from the apostolic age to the fourth century (and later). Splitters see many parallel and overlapping strands which intermingle and flow apart so that there is not a single coherent path in the development of liturgical texts. Liturgical texts must not be taken solely at face value; often there are hidden agendas in texts.

The idea of a single Hindu religion is essentially a lumper's concept, sometimes also known as Smartism (on the basis of the Smārta synthesis).  Hindu splitters, and individual adherents, often identify themselves on the other hand as adherents of a religion such as Shaivism, Vaishnavism, or Shaktism - according to which deity they believe to be the supreme creator of the universe.

Various "holistic" approaches to religion can prioritise themes such as individual spirituality,
the New-Age-style essential oneness of multiple religious traditions, or religious fundamentalism.

Philosophy

Physicist and philosophy writer Freeman Dyson has suggested that one can broadly, if over-simplistically, divide "observers of the philosophical scene" into splitters and lumpers - roughly corresponding to materialists (who imagine the world as divided into atoms) and Platonists (who regard the world as made up of ideas).

Psychiatry
In psychiatry, the
'splitters' and the 'lumpers' have fundamentally different approaches to psychiatric diagnosis and classification. First, 'splitters' emphasise the heterogeneity within the diagnostic categories and argue that this heterogeneity drives the 'splitting' process'. 'Lumpers', on the other hand, point to the similarities between the diagnostic categories, and suggest that these similarities justify the creation of broader entities.
Thus lumpers might see "stress" where splitters could identify (say) worry, grief, or some sort of anxiety disorder.

Neuroscience
In neuroscience, "uncertainty aversion" and "uncertainty tolerance" in semantic representations appear to correlate with the terms "splitters" and "lumpers" respectively. As neuroscientist Marc-Lluís Vives observes:"Our survival is possible because every day we make use of previously acquired categories to navigate the world. Every single mug we encounter is distinct, but fundamentally the same. Thanks to this powerful capacity to classify distinct stimuli under the same category, we can generalize our knowledge from the previously encountered subset of mugs to a future subset of mugs. However, this also posits a dilemma: Is a glass mug still a mug? That is, what are the defining principles that make something a "mug"? Establishing this is fundamental since it also affects its relationship with its close-neighbors. Conceptualizing a mug as very different from a glass creates a more clear-cut mapping between the input—that is, the stimulus perceived—and the output that a person needs to generate—that is, the response, such as drinking coffee. Classical work in cognitive science demonstrates that the more similar two stimuli are, the harder it is to discriminate them and respond with different behavior."

Artificial intelligence and linguistics
Natural Language Processing, using algorithmic approaches such as Word2Vec, provides a way to quantify the overlap or distinguish between semantic categories between words. This can provide a sense of how often the contexts of words overlap or are dissimilar in general usage.  (Natural Language Processing is often abbreviated as NLP, but it should not be confused with the similarly abbreviated, pseudoscientific term "Neuro-Linguistic Programming.") ChatGPT makes using these programming tools easy for even non-programmers to quantify similarities and dissimilaries between concepts.  For example, one can prompt Bard or OpenAI with: "Can you calculate semantic similarity between 'cat' and 'dog' using Word2Vec?"

See also
 Evolutionary biology
 Heterarchy
 No true Scotsman
 Prototype theory
 Sorites paradox

References

External links
 Abstraction: Lumpers and Splitters

Knowledge representation
Taxonomy
Classification of people

Lumpers and splitters


Max Otto von Stierlitz (en , IPA: [ˈʂtʲirlʲɪts] ) est le personnage principal d'une série de livres russes écrits dans les années 1960 par Julian Semenov et de son adaptation télévisée Dix-sept Moments de printemps, mettant en vedette Viatcheslav Tikhonov, ainsi que dans des longs métrages, produits à l'époque soviétique, et dans un nombre de suites et de préquelles. D'autres acteurs ont dépeint Stierlitz dans plusieurs autres films. Stierlitz est devenu un espion stéréotypé dans la culture soviétique et post-soviétique, semblable à James Bond dans la culture occidentale. L'historien américain Erik Jens a décrit Stierlitz comme étant .

Origines des personnages
La culture de la Russie impériale était très fortement influencée par celle de la France et, par conséquent, les écrivains russes partageaient le mépris traditionnellement porté par les écrivains français envers les romans d'espionnage, considérés comme une littérature très inférieure. En Union soviétique, l'espionnage était décrit avant 1961 comme quelque chose commis contre l'État soviétique par ses ennemis et non comme une activité dans laquelle l'État soviétique lui-même s'est engagé. Le meilleur exemple de cette attitude est peut-être la fondation de SMERSH en 1943, qui était un acronyme du slogan de guerre Smert' shpionam! (« Mort aux espions ! »), qui reflétait l'image promue par l'État soviétique des espions comme un type de personnes peu recommandables qui méritaient d'être tuées sans pitié. De plus, l'héritage des Grandes Purges (Yezhovshchina) et d'autres répressions staliniennes avaient donné aux Tchéka (Chekisty), comme on appelle toujours les policiers secrets en Russie, une image très négative. En novembre 1961, Vladimir Semitchastny devient le président du KGB et s'emploie à améliorer l'image du Chekisty.

Semichastny voulait effacer la mémoire des Grandes Purges et donner au KGB une image plus positive. C'est pendant son mandat de président du KGB, de 1961 à 1967 que le culte des  commence en Union soviétique, les médias soviétiques faisant l'éloge des réalisations d'espions tels que Harold "Kim" Philby, Richard Sorge et le colonel Rudolf Abel. Inspiré par la popularité des romans de James Bond en Occident, Semichastny encourage également les écrivains soviétiques à écrire des romans mettant en vedette des Chekisty héroïques. Un de ces romans est Aucun mot de passe requis (1966) par Julian Semenov, dont l'action se déroule pendant la guerre civile russe et qui marqué la première apparition de l'agent héroïque Cheka Maxim Maximovich Isaуev. En 1967, Semitchastny est remplacé en tant que président du KGB par Iouri Andropov qui  encourage également les écrivains à publier des romans mettant en vedette l'héroïque Chekisty.

En janvier-février 1969, le roman Dix-sept Moments de printemps de Julian Semenov, une suite de Aucun mot de passe requis (Пароль не нужен), est sérialisé dans la Pravda et est publié sous forme de livre par après, en 1969. Le roman se déroule à Berlin de mars à mai 1945 sous le titre L'Armée rouge a avancé sur Berlin, provoquant le désespoir des nazis tandis qu'Isayev, qui se cache à Berlin sous le pseudonyme de Max Otto von Stierlitz, manœuvre pour vaincre leurs plans. Impressionné par la réponse publique favorable à Dix-sept Moments de printemps, Andropov insiste pour que le livre soit adopté en mini-série télévisée, filmée en 1971–1972. Dix-sept Moments de printemps est alors l'une des productions télévisées soviétiques les plus chères jamais filmées, tournée à une échelle somptueuse inhabituelle pour la télévision soviétique et tous les rôles principaux sont joués par des acteurs célèbres et respectés, ce qui a certainement contribué à son attrait. La mini-série suscite de nombreuses protestations de la part de l'Armée rouge, qui se plaint que la série donne l'impression que c'est le NKVD qui a remporté la Grande Guerre patriotique. La réalisatrice et scénariste Tatiana Lioznova reçoit donc l'ordre d'ajouter de nouvelles scènes montrant l'Armée rouge avançant et prenant Berlin. De ce fait, le tournage prend une année de plus, et la diffusion de la mini-série a lieu en 1973 alors qu'elle était prévue en 1972. Pour économiser de l'argent et donner un sentiment d'authenticité, les scènes de bataille ajoutées par Tatiana Lioznova sont principalement des images d'archives de la guerre. La mini-série Dix-sept Moments de printemps connait un énorme succès en 1973, attirant en moyenne 30 à 40 millions de téléspectateurs par soirée et transforme le personnage d'Isayev en un véritable phénomène culturel en Union soviétique.

Personnage
Dans Dix-sept Moments de printemps, Stierlitz est le nom de couverture d'un super-espion soviétique, le colonel Maxim Maximovich Isaуev (Макси́м Макси́мович Иса́ев), dont le vrai nom est Vsevolod Vladimirovich Vladimirov (Все́волод Влади́мирович Владимиров).

Romans avec Stierlitz

Adaptations

Bibliographie

Notes et références

Liens externes

Folklore russe
Colonel de fiction
Personnage de fiction soviétique
Personnage de fiction russe
Cinéma soviétique
Agent secret ou espion de fiction

Stierlitz


Skátafélagið Garðbúar er skátafélag í Fossvogi, Reykjavík. Skátafélagið var stofnað 29. mars, 1969. Skátafélagið býður upp á skátastarf fyrir börn og ungmenni á aldrinum 7-25 ára. Skátafélagið Garðbúar er hluti af Skátasambandi Reykjavíkur og heyrir undir Bandalag íslenskra skáta.

Skátasveitir
Í skátafélaginu starfa sex skátasveitir fyrir mismunandi aldursbil:

 Drekaskátasveitin Náttfarar fyrir börn á aldrinum 7-9 ára.
 Fálkaskátasveitin Völsungar fyrir börn á aldrinum 10-12 ára.
 Dróttskátasveitin Bótes fyrir unglinga á aldrinum 13-15 ára.
 Rekkaskátar fyrir ungmenni á aldrinum 16-17 ára
 Róverskátar fyrir fullorðna, 19-26 ára.

Saga Skátafélagsins Garðbúa
Skátafélagið Garðbúar varð til við það að Skátafélag Reykjavíkur og Kvenskátafélag Reykjavíkur sameinuðust og í stað þeirra voru stofnuð félög í hverjum borgarhluta. Skátastarf hafði þó farið fram í Fossvogi, en skátasveitin Sturlungar hafði staðið fyrir skátastarfi fyrir drengi í Háaleiti, Bústaðahverfi og Fossvogi frá árinu 1951. Skátasveitin Sturlungar fékk afhent húsnæði við Hólmgarð 34 árið 1958. Sama ár var skátasveitin Uglur stofnuð fyrir stúlkur í hvefinu.

Lækjabotnar
Skátafélagið hefur haft umsjón með skátaskálanum Lækjabotnum síðan 1957 en eignaðist hann 1996. Lækjarbotnar eru í Lækjarbotnalandi í Kópavogi, um 14 km austur af Reykjavík. Skálinn er á tveimur hæðum með ríflega 30 gistiplássum. Rúmgott svefnloft er á skálanum, eldhús og samkomusalur. Við skálann er minningarreitur þar sem fallnir félagar hafa verið heiðraðir með gróðursetningu.

Skátafélag
Skátafélög á Íslandi
Skátafélög í Reykjavík

Skátafélagið Garðbúar


Redlizzard est un groupe de rock portugais, originaire d'Almada. Il est formé en 2008, par des musiciens ayant une expérience des groupes locaux : Patrick Elmer et Elvis Batista. Redlizzard sort l'EP In Your Face en 2011, l'album The Red Album en 2015, et The Black Album en 2019.

Leur style musical et leurs performances live ont permis au groupe de réaliser quelques exploits, comme la première partie du concert de Bon Jovi au Parque da Bela Vista en 2011, devant 56 000 personnes.

Biographie

Origines
Les débuts sur scène des Redlizzard ont lieu le , au Ponto de Encontro (Casa Municipal da Juventude) d'Almada, devant environ . Le groupe se produit ensuite dans plusieurs bars et clubs, principalement dans la région du Grand Lisbonne.

Cherchant à montrer leur musique à un public plus large et à faire connaître leur travail plus rapidement, Redlizzard commence également à participer à des concours dans diverses localités du pays. Dans ces événements, le groupe se distingue par sa  place au Rock Alive'09, qui s'est tenu dans le Paradise Garage, par la  place obtenue à la  édition du Pop-Rock Grândola 2010 et par sa victoire à la Battle of the Bands 2010, organisée à Costa da Caparica.

Débuts
Redlizzard commence l'année 2011 en entrant en studio pour enregistrer son premier EP, intitulé  (édition d'auteur). Ils participent également au  Festival Música Moderna de Corroios 2011, où ils obtiennent la  place et sont choisis pour participer aux étapes de qualification du concours , sur scène avec Bon Jovi - promu par Hard Rock Cafe, Everything Is New et Rádio Comerciall.

Après avoir joué devant une salle du Hard Rock Cafe complètement remplie, le jury choisit le groupe pour participer à la finale de l'émission  de Commercial Radio. Cette opportunité amène Redlizzard à sortir l'EP en avance, en faisant une courte tournée promotionnelle avant le concert avec Bon Jovi.

Le , Redlizzard monte sur scène et se produit devant , partageant l'ouverture du concert de Bon Jovi avec le groupe également portugais Klepht. En octobre, un mois avant la sortie de leur EP In Your Face, le groupe subit un revers avec le départ du bassiste David. Le , Redlizzard commence la tournée promotionnelle , déjà avec le nouveau bassiste Nuggy, à la Fnac d'Almada. Cette tournée dure 2 ans et demi, passant par des lieux mythiques comme le Hard Rock Cafe, Musicbox et Aula Magna. Fin 2011, Redlizzard remporte les Upper State Independent Awards (États-Unis), dans deux catégories : meilleur groupe pop rock et meilleur groupe international.

Au cours de l'année 2013, Redlizzard commence à réfléchir au premier album du groupe et contacte le producteur anglais Joe  Foster, qui dans son cursus a eu la production de groupes comme The Jesus and Mary Chain, Primal Scream, ou My Bloody Valentine. Le processus d'écriture, de pré-production et d'enregistrement prend beaucoup de temps, en raison de la fin de la tournée  et du changement constant de bassiste. Le groupe commence les mixages des albums dans la seconde moitié de 2014 avec João Martins Sela, producteur bien connu de groupes comme Xutos & Pontapés, Da Weasel, João Pedro Pais ou UHF, entre autres.

Le  sort le premier extrait de , , déjà avec le retour du groupe à son line-up original. Le groupe commence alors la promotion de l'album, qui sort le 7 avril, et poursuit sa promotion , avec . Après la première partie de la tournée, le chanteur Mauro Carmo quitte le groupe.

Après trois mois d'auditions, en , Redlizzard présente le nouveau frontman, Gerson Santos, ancien participant de l'émission  ( édition), du Portugal au concours de l'Eurovision 2012 et de  ( édition) sortant la chanson The Answer, mixée par le producteur lauréat de plusieurs disques de platine Beau Hill (Winger, Warrant, Ratt, Europe, Kix, Alice Cooper).

Redlizzard font une courte tournée présentant le nouveau chanteur et dans laquelle ils avaient joué avec les groupes internationaux Ménage (Luso-Canadiens) et Tesouro (groupe hommage aux Héroes del Silencio avec Gonzalo Valdivia). Durant la première moitié de 2017, Redlizzard s'enferme en studio pour écrire et pré-produire le nouvel album, enregistrant même certains de ces moments en studio. Et quelques instants avant le début des enregistrements, le groupe subit à nouveau le revers du départ du bassiste David. Redlizzard invite alors Eurico Orvalho (Um Zero Azul) pour occuper le poste ouvert. Puis, Redlizzard sort le premier single , du nouvel album, en  avec les mixages à nouveau en charge de João Martins Sela avec une production conjointe du groupe lui-même, João Martins Sela et Nuno Espírito Santo. Peu après la sortie de , le groupe est invité à jouer la première partie du musicien nord-américain Marco Mendonza, des Dead Daisies, qui est venu à Lisbonne pour une tournée européenne avec son projet.

Le , le deuxième single du  est publié, intitulé  et  était le troisième single, sorti le 3 mai. Les deux singles sont  une nouvelle fois mixés et masterisés par le producteur américain Beau Hill. Le nouvel album sort le .

Membres

Membres actuels
 Hugo Baptista — chant
 Patrick Elmer — guitare
 Elvis Batista — guitare
 Eurico Orvalho — basse
 Rick Gonçalves — batterie

Anciens membres
 Gerson Santos — chant
 Mauro Carmo — chant
 David Smith — basse
 Mário  Valente — basse
 Rogério Rosário

Musiciens invités
 Nuno Espirito Santo — basse

Discographie

Albums
 2011 :
 2015 :
 2019 :

Singles
 2011 :
 2012 :
 2015 :
 2016 : The Answer (Beau Hill Mix)
 2017 :
 2019 :  (Beau Hill Mix)
 2019 :  (Beau Hill Mix)
 2019 :
 2020 :
 2021 :  (10º Aniversário)

Notes et références

Groupe portugais de hard rock
Groupe musical portugais
Groupe musical formé en 2008

Redlizzard