In sociology, a tipping point is a point in time when a group—or many group members—rapidly and dramatically changes its behavior by widely adopting a previously rare practice.

History

The phrase was first used in sociology by Morton Grodzins when he adopted the phrase from physics where it referred to the adding a small amount of weight to a balanced object until the additional weight caused the object to suddenly and completely topple, or tip.  Grodzins studied integrating American neighborhoods in the early 1960s. He discovered that most of the white families remained in the neighborhood as long as the comparative number of black families remained very small. But, at a certain point, when "one too many" black families arrived, the remaining white families would move out en masse in a process known as white flight. He called that moment the "tipping point".

The idea was expanded and built upon by Nobel Prize-winner Thomas Schelling in 1971. A similar idea underlies Mark Granovetter's threshold model of collective behavior.

Other uses
The phrase has extended beyond its original meaning and been applied to any process in which, beyond a certain point, the rate of the process increases dramatically. It has been applied in many fields, from economics to human ecology to epidemiology. It can also be compared to phase transition in physics or the propagation of populations in an unbalanced ecosystem.

Journalists and academics have applied the phrase to dramatic changes in governments, such as during the Arab Spring. The concept of a tipping point is described in an article in an academic journal, the Journal of Democracy, titled "China at the Tipping Point? Foreseeing the unforeseeable":

Regime transitions belong to that paradoxical class of events which are inevitable but not predictable. Other examples are bank runs, currency inflations, strikes, migrations, riots, and revolutions. In retrospect, such events are explainable, even overdetermined. In prospect, however, their timing and character are impossible to anticipate. Such events
seem to come closer and closer but do not occur, even when all the conditions are ripe—until suddenly they do.

American journalists at NPR have used it to describe an influx of sexual assault allegations, saying that a tipping point has been passed regarding societal tolerance of sexual harassment and feminism.

Mathematically, the angle of repose may be seen as a bifurcation. In control theory, the concept of positive feedback describes the same phenomenon, with the problem of balancing an inverted pendulum being the classic embodiment. The concept has also been applied to the popular acceptance of new technologies, for example being used to explain the success of VHS over Betamax.

Decarbonization

The concept of social tipping points has been applied to analyze global decarbonization pathways and the ability to activate contagious and fast-spreading processes of social and technological change that would accelerate carbon emission reductions needed to achieve the goals of the Paris Agreement.

A study suggests, "path dependencies, increasing returns to scale and learning-by-doing cost reductions can produce sudden, tipping-point-like transitions that cannot be extrapolated from past system behaviour", and that "historically, technological innovation and government policies often motivated by energy security concerns have also, in notable cases, spurred rapid shifts in energy systems".

Moreover, "social norms that shape individual behaviour and preferences can exhibit similar tipping-point style dynamics", which could affect "the regulatory and market conditions in which energy technologies compete". When social norms of sustainability are costly – or at least detrimental rather than beneficial – for individuals to violate, this may substantially increase the probability that an individual engages in pro-environmental behaviour.

In popular culture
The term was popularized in application to daily life by Malcolm Gladwell's 2000 bestselling book The Tipping Point: How Little Things Can Make a Big Difference.

See also

 Cascading failure
 Catastrophe theory
 Chaos theory
 Critical mass
 Domino effect
 Emergence
 Hundredth monkey effect
 Information cascade
 Inflection point
 Micromotives and Macrobehavior
 Microtrends: The Small Forces Behind Tomorrow's Big Changes
 Network effect
 Interconnectedness
 Saddle-node bifurcation
 Self-fulfilling prophecy
 Straw that broke the camel's back
 Traffic congestion
 Viral phenomenon
 Virtuous circle and vicious circle

References

External links
 Tipping Point-Net Version (Robert Paterson's Weblog)

Group processes
Sociological terminology
Behavior modification
Attitude change

he:נקודת המפנה

Tipping point (sociology)


පුජා (සංස්කෘත - ගෞරවය, භක්තිය හෝ වන්දනාව) දෙවියන් හා ගුරුන් කෙරෙහි පවතින ගෞරවය පෙන්වීම සඳහා හින්දුන් විසින් සිදුකරති. පුජාවේ අරමුණ වන්නේ දෙවියෙක්, දෙවියන් හෝ සත්ගුරුන් සමඟ සම්බන්ධ වි භෞතික ලෝකය හා අපට නොපෙනෙන අභ්‍යන්තර ලෝකය සමඟ නොකඩවා බැඳීම් පවත්වාගෙන යාමයි. පුජාවන් දෙවියන් කෙරෙහි භක්තිය, පැසසුම හා ස්තූතිය ප්‍රකාශ කිරීමටද යොදාගනිති. පුජාවන් පවත්වන්නේ 'දෙවියනි මම ඔබතුමාටම අයත් මේ දෙය ඔබතුමාට පුජා කරමි' යන වාක්‍ය කීමෙන් අනතුරුවය. ඒ අනුව පුජාවකින් පැවසෙන්නේ යමෙකුගේ නිරහංකාරබව පුජාවෙන් මානය දුරුවන අතර එමඟින් දියුණුවට මග සැලසේ. මෙලෙස නිරහංකාර බව හා ලෝකය සමඟ සැසැඳුවිට තමාගේ කුඩා බව අවබෝධ කරගැනීමේ ක්‍රමය හින්දුන් විසින් ගන්නා උත්සාහයකි. නිදසුනක් ලෙස පුජනීය සත්වයෙකු ලෙස සලකන ගවයාට පුද පුජා දැක්වීමෙන් යමෙකුගේ ආධිපත්‍යයට උපකාරිවේ. ගව මුත්‍ර පරිභෝජනය වැනි ක්‍රියා මෙයට හේතුවේ. නමුත් බොහෝ හින්දු මෙය පුජාවක් ලෙස නොසලකති. මුර්තියක් වෙත සිදුකරන  පුජාව උතුම් බව පංචතන්ත්‍රයේද සඳහන්වේ.

පුජාවන් ප්‍රමාණය අනුව වෙනස්වේ. පුජාවේ ප්‍රමාණය එය සඳහා ගතවන කාලය, පුජා ලබන දෙවියන් ගණන, එය සිදුකරන්නේ පෞද්ගලික හෝ පොදු කරුණක් හේතුවෙන්ද යන ලක්ෂණ මත රඳාපවතී. හින්දුන් දිනකට වරක් හෝ දෙවරක් පුජා පවත්වති. පුජාවන් පැවැත්විය යුත්තේ ස්නානයෙන් අනතුරුව වන අතර, යහපත් හැසිරිම් හා පුර්ණ අවධානය (ධ්‍යාන) සඳහා ආහාර ගැනීමේදී සැලකිලිමත් විය යුතුය. දෛනික චාරිත්‍රයකට අමතරව විශේෂ අවස්ථාවලදී ද පුජා පවත්වති. මේ අතරට දුර්ගා පූජා, පොන්ගල් හා ලක්ෂ්මි පූජා ඇතුලත්ය.

දෛනිකව දේවාලයක හෝ නිවසක පවත්වන පුජා හා විශේෂ පුජා වෙනස්වේ. එය සඳහා විශාල සම්පත් ප්‍රමාණයක් හා මිනිසුන් විශාල ප්‍රමාණයක් අවශ්‍ය වේ. මේ සඳහා ප්‍රමාණය කෙසේ වුවද සියළුම පුජා එකම මුලධර්මයක් අනුගමනය කරයි. එනම් දෙවියන් ගෞරවනීය අමුත්තෙක් ලෙස සැලකීමය.
පුජා යන නම ප්‍රසිද්ධ හින්දු ගැහැණු නමකි.

පූජා චාරිත්‍ර
පූජාවක් ආරම්භ වීමට පෙර සංකල්ප හෙවත් පොරොන්දුවක් වීමේ චාරිත්‍රයක් ඉටුකළ යුතුය. මෙම චාරිත්‍රයේදී බැතිමතා පුජාව සිදුවන වේලාව, ස්ථානය, අවස්ථාව, දෙවියන්ගේ නම, බැතිමතාගේ නම හා පුජාව සිදු කිරීමේ අරමුණ පවසනු ලැබේ. අවශ්‍ය අවසරය පුජකතුමාගෙන් ලැබුණු පසු පුජාව සිදුකළ හැක. පුජාව යනු දෛනික වතාවන් කිරීමක්ද විය හැක. ගෘහමුලිකයා විසින් තෝරාගන්නා ලද දෙවියෙකුට හෝ දෙවඟනකට දිව්‍ය ලෝකයෙන් පැමිණ තමන් හා එක්වන ලෙස ආරාධනා කරයි.

පූජකතුමා සහභාගි වීම අනිවාර්ය නොවුවද, එය පුජාවට වටිනාකමක් එක් කරයි. මෙයට හේතුව පුජකයා දෙවරක් උපත ලබා තිබිමයි. වරක් මනුෂ්‍යයෙක් ලෙස හා දෙවනුව වේද අධ්‍යාපනය ලබන ශිෂ්‍ය ජීවිතය ආරම්භකළ විට. එමනිසා ඔහු වේදයේ නිපුනභාවය හඟවන පුජනීය නුල දරයි. එම හේතුවෙන් ඔහුට පුජාභණ්ඩ වලට ආශිර්වාද කළ හැකි අතර දෙවියන් හා නියම ආකාරයන් සම්බන්ධ විය හැක.

පුජාව භාවනාව (ධ්‍යාන), තපස (තාප), යාඥාව (මන්ත්‍ර), ධර්ම පාඨ කියවීම (ස්ව ධ්‍යාන), ආහාර පුජාව (භෝග) හා දණ්ඩ නමස්කාරය (ෂඨංග හෝ අෂ්ඨංග පුණාම, දෘණ්ඩවාත්) යන කොටස් අඩංගුය. බැතිමතුන් තම නළලේ සඳුන් වලින් නතන ලද තිලකයක් තබා ගන්නා අතර, එය මධ්‍යයේ කුංකුම තබනු ලැබේ. මෙය සර්ව බලධාරි දෙවියන් කෙරෙහි භක්තිය හා එතුමන් සංකේතවත් කරයි. පුජාවක් අවසාන වන්නේ දෙවියන් වෙත ආරති පුජා කිරීමෙන් පසුවයි.

විශාල පුජාවන් සඳහා බැතිමතුන් රාශියකගේ සහභාගීත්වයෙන් දෙවියන්ට හෝ දෙවඟනට යාඥා කරනු ලැබේ. සාමාන්‍යයෙන් මෙය දවස පුරාම පැවැත්වෙන අතර පුජා චාරිත්‍රයෙන් පසුව ප්‍රසාදම් බෙදා දීම, භජන් ගායනය හා අවසානයේ සම්පුර්ණ නිර්මාංශ ආහාර වේලකින් බැතිමතුන්ට සංග්‍රහ කරනු ලැ‍බේ.

හින්දු පූජා


Carlo I Tocco, hijo de Leonardo I Tocco, fue conde palatino de Cefalonia y Zacinto a la muerte de su padre en 1381. Estuvo bajo regencia de su madre Maddalena Buondelmonti hasta 1388.

Ocupó Natolico, Angelocastron y Dragomeste en 1405 y Ioánina y Arta en 1418, y fue déspota de Acarnania, Etolia y Epiro desde 1418 a 1429. Ocupó Clarentza en 1421 pero la perdió en 1428. No tuvo hijos legítimos y adoptó a los de su hermano Leonardo II Tocco en 1414.

Se casó con Francisca Acciaioli, señora de Megara y Sición, hija de Nerio I Acciaioli, duque de Atenas.

Su hijo ilegítimo Memnone recibió Acarnania asociado a los hijo adoptivos del padre, y tierras en Morea en 1429. Memnone perdió lo que le quedaba de Acarnania en 1449.

Referencias

Déspotas de Epiro
Condes palatinos de Cefalonia y Zacinto
Familia Tocco

Carlo I Tocco


Medea (, Mēdeia) is an ancient Greek tragedy written by Euripides. It is based upon the myth of Jason and Medea and was first produced in 431 BC as part of a trilogy; the two other plays have not survived. The plot centers on the actions of Medea, a former princess of the kingdom of Colchis, and the wife of Jason; she finds her position in the Greek world threatened as Jason leaves her for a Greek princess of Corinth. Medea takes vengeance on Jason by murdering his new wife as well as her own two sons, after which she escapes to Athens to start a new life.

Euripides' play has been explored and interpreted by playwrights across the centuries and the world in a variety of ways, offering political, psychoanalytical, feminist, among many other original readings of Medea, Jason and the core themes of the play.

Medea, along with three other plays, earned Euripides third prize in the City Dionysia. Some believe that this indicates a poor reception, but "the competition that year was extraordinarily keen"; Sophocles, often winning first prize, came second. The play was rediscovered with Rome's Augustan drama; again in the 16th-century; then remained part of the tragedic repertoire, becoming a classic of the Western canon, and the most frequently performed Greek tragedy in the 20th century. It experienced renewed interest in the feminist movement of the late 20th century, being interpreted as a nuanced and sympathetic portrayal of Medea's struggle to take charge of her own life in a male-dominated world. The play holds the American Theatre Wing's Tony Award record for most wins for the same female lead character, with Judith Anderson winning in 1948, Zoe Caldwell in 1982, and Diana Rigg in 1994.

History

Medea was first performed in 431 BC at the City Dionysia festival. Here every year, three tragedians competed against each other, each writing a tetralogy of three tragedies and a satyr play (alongside Medea were Philoctetes, Dictys and the satyr play Theristai). In 431 the competition was among Euphorion (the son of famed playwright Aeschylus), Sophocles (Euripides' main rival) and Euripides. Euphorion won, and Euripides placed third (and last). Medea has survived the transplants of culture and time and continues to captivate audiences with its riveting power (Tessitore). The play's influence can be seen in the works of later playwrights, such as William Shakespeare.

While Medea is considered one of the great plays of the Western canon, Euripides' place in the competition suggests that his first audience might not have responded so favorably. A scholium to line 264 of the play suggests that Medea's children were traditionally killed by the Corinthians after her escape; so Euripides' apparent invention of the filicide might have offended, as his first treatment of the Hippolytus myth did. That Euripides and others took liberties with Medea's story may be inferred from the 1st century BC historian Diodorus Siculus: "Speaking generally, it is because of the desire of the tragic poets for the marvellous that so varied and inconsistent an account of Medea has been given out." A common urban legend claimed that Euripides put the blame on Medea because the Corinthians had bribed him with a sum of five talents.

In the 4th century BC, South-Italian vase painting offers a number of Medea-representations that are connected to Euripides' play — the most famous is a krater in Munich. However, these representations always differ considerably from the plots of the play or are too general to support any direct link to Euripides' play. But the violent and powerful character of Medea, and her double nature — both loving and destructive — became a standard for later periods of antiquity. Medea has been adapted into numerous forms of media, including operas, films, and novels.

With the text's rediscovery in 1st-century Rome (the play was adapted by the tragedians Ennius, Lucius Accius, Ovid, Seneca the Younger and Hosidius Geta, among others); again in 16th-century Europe; and with the development of modern literary criticism: Medea has provoked multifarious reactions.

Form and themes

The form of the play differs from many other Greek tragedies by its simplicity. Most scenes involve only Medea and someone else. The Chorus, here representing the women of Corinth, is usually involved alongside them. The simple encounters highlight Medea's skill and determination in manipulating powerful male figures. The play is also the only Greek tragedy in which a kin-killer makes it unpunished to the end of the play, and the only one about child-killing in which the deed is performed in cold blood as opposed to in a state of temporary madness. Medea's "rebellion" is that which shakes the very world everyone must inhabit…her rebellion tells of her past history, the goddess-like figure denigrated and ultimately dethroned gives lead to why she would act the way she does. Euripides displays Medea as an archetype. As a result, he reinforces the modern stereotype as a woman to be the devourer of men and children, instead of Medea- The great mother wronged.

Euripides' characterization of Medea exhibits the inner emotions of passion, love, and vengeance.
The character of Medea has variously been interpreted as either fulfilling her role of "mother and wife" and as acting as a "proto-feminist".
Feminist readings have interpreted the play as either a "sympathetic exploration" of the "disadvantages of being a woman in a patriarchal society", or as an expression of misogynist attitudes.
In conflict with this sympathetic undertone (or reinforcing a more negative reading) is Medea's barbarian identity, which some argue could antagonize a 5th-century BC Greek audience.

It can be argued that in the play Euripides portrays Medea out to be an enraged woman who kills her children to get revenge on her husband Jason because of his betrayal of their marriage. Medea is often cited as an example of the "madwoman in the attic" trope, in which women who defy societal norms are portrayed as mentally unstable. Although, Medea is not the only character in the play to use deception; other characters, such as Jason and Creon, also use lies and manipulation. A competing interpretation is that Medea kills her children out of kindness because she cares and worries for them and their well-being. Once Medea commits to her plan to kill Kreon and Jason's new bride, she knows her children are in danger of being murdered. Medea is not paranoid. In another version of the myth, the people of Korinth kill her children to avenge the deaths of Kreon and his daughter Glauke. At this time in myth and history, helping one's friends and hurting one's enemies was considered a virtue. Thus, by this ethic, the Korinthians will do right by avenging their king and princess. Conversely, a focus on Medea's rage leads to the interpretation that "Medea becomes the personification of vengeance, with her humanity 'mortified' and 'sloughed off'" (Cowherd, 129). Medea's heritage places her in a position more typically reserved for the male in her time. Hers is the power of the sun, appropriately symbolized by her great radiance, tremendous heat and boundless passion.  In this view Medea is inhuman and her suffering is self-inflicted just as Jason argues in his debate with her. And yet, if we see events through Medea's eyes, we view a wife intent on vengeance and a mother concerned about her children's safety and the life they can be expected to live. Thus, Medea as wife kills Kreon and Glauke in the act of vengeance. Medea as a mother thinks that her children will be better off killed by her kind hand than left to suffer at the hands of an enemy, intent on vengeance. And so, Medea saves her children from this brutality and a worse fate by killing them herself, providing them with as peaceful an outcome as she can.

Story

Medea is centered on Medea's calculated desire for revenge against her unfaithful husband. Medea is of divine descent and had the gift of prophecy. She married Jason and used her magic powers and advice to help him find and retrieve the golden fleece. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea in a blind rage towards Jason for arranging to marry Glauce, the daughter of king Creon. The nurse, overhearing Medea's grief, fears what she might do to herself or her children.

Creon, in anticipation of Medea's wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day's delay and eventually Creon acquiesces. In order to be accepted Medea must become trickier and must totally conceal her position. Crouching at Creon's feet, she begs him in the name of her children to allow her only one day. At this Creon is moved and grants to her one more day in Corinth. Medea's unexpected power of persuasion or even of fascination lies in her change of attitude: instead of preaching to Creon about the unpopularity of the sophoi she plays the role of a desperate mother, needing one day to prepare for exile. Medea is aware of the humiliating quality of this tactic, but she justifies it on the grounds of a gain and of her need to remain in Corinth: "Do you think that I would ever have flattered that man unless I had some gain to make or some device to execute? I wouldn't have even spoken or touched him with my hands". In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he could not pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him ("I rescued you [...] I betrayed both my father and my house [...] now where should I go?"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage ("If you wish me to give you or the children extra money for your trip into exile, tell me; I'm ready to give it with a lavish hand"), but Medea spurns him: "Go on, play the bridegroom! Perhaps [...] you've made a match you'll one day have cause to lament."

In the following scene Medea encounters Aegeus, king of Athens. He reveals to her that despite his marriage he is still without children. He visited the oracle who merely told him that he was instructed "not to unstop the wineskin's neck". Medea relays her current situation to him and begs for Aegeus to let her stay in Athens  if she gives him drugs to end his infertility. Aegeus, unaware of Medea's plans for revenge, agrees.

Medea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios, her grandfather) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of the exile. She convinces Jason to allow their two sons to give gifts to Glauce in hopes that Creon to lift the exile against the children. Eventually Jason agrees.

In the next scene a messenger recounts Glauce and Creon's deaths. When the children arrived with the robes and coronet, Glauce gleefully put them on and went to find her father. The poison overtook her and she fell to the floor, dying horribly and painfully. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, was poisoned and died as well.

While Medea is pleased with her current success she decides to take it one step further. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children's deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. Determined to stop Medea, the chorus runs after her only to hear the children scream. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce, and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in a chariot given to her by the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:

Although Jason calls Medea most hateful to gods and men, the fact that the chariot is given to her by Helios indicates that she still has the gods on her side. As Bernard Knox points out, Medea's last scene with concluding appearances parallels that of a number of indisputably divine beings in other plays by Euripides.  Just like these gods, Medea "interrupts and puts a stop to the violent action of the human being on the lower level, … justifies her savage revenge on the grounds that she has been treated with disrespect and mockery, … takes measures and gives orders for the burial of the dead, prophesies the future," and "announces the foundation of a cult."

She then escapes to Athens in the divine chariot. The chorus is left contemplating the will of Zeus in Medea's actions:

This deliberate murder of her children by Medea appears to be Euripides' invention, although some scholars believe Neophron created this alternate tradition. Her filicide would go on to become the standard for later writers. Pausanias, writing in the late 2nd century AD, records five different versions of what happened to Medea's children after reporting that he has seen a monument for them while traveling in Corinth. The play's popularity in ancient Greece may have been due in part to its portrayal of a strong, independent woman who defies patriarchal norms.

Modern productions and adaptations

Theatre

 Catulle Mendès adapted Medea into his play Medée in 1898, in three acts and in verse. Alfons Mucha drew a poster for a performance of this play starring Sarah Bernhardt.
 Jean Anouilh adapted the Medea story in his French drama Médée in 1946
 Robinson Jeffers adapted Medea into a hit Broadway play in 1947, in a famous production starring Judith Anderson, the first of three actresses to win a Tony Award for the role.  It was directed by John Gielgud, who co-starred as Jason, Medea opened on Broadway at the National Theatre on October 20, 1947, transferred to the Royale Theatre on December 15, and closed on May 15, 1948, after 214 performances. At the 2nd Tony Awards on March 28, 1948,  Judith Anderson shared (with Katharine Cornell and Jessica Tandy) the Award for Best Actress in a Play. Another staging, produced and directed by Guthrie McClintic at the City Center, premiered on May 2, 1949, and closed, after 16 performances, on May 21. A staging in 1982, at the Cort Theatre, brought a Tony win for Zoe Caldwell, who played Medea, and a Best Featured Actress in a Play nomination for Judith Anderson as Nurse.
 Ben Bagley's Shoestring Revue performed a musical parody off-Broadway in the 1950s which was later issued on an LP and a CD, and was revived in 1995. The same plot points take place, but Medea in Disneyland is a parody, in that it takes place in a Walt Disney animated cartoon
 Canada's Stratford Festival staged an adaptation of Medea by Larry Fineberg in 1978, which starred Patricia Idlette in the title role.

 Yukio Ninagawa staged a production called Ohjo Media (王女メディア) in 1978, followed by a second version in 2005
In 1982, George Eugeniou at Theatro Technis London, directed Medea as a barefooted unwanted refugee played with "fierce agility " and "dangerous passions" by Angelique Rockas
 In 1983, kabuki Master Shozo Sato created Kabuki Medea uniting Euripides play and classical Kabuki storytelling and presentation. It debuted at Wisdom Bridge Theater in Chicago.
 The 1990 play Pecong, by Steve Carter, is a retelling of Medea set on a fictional Caribbean island around the turn of the 20th century
 The play was staged at the Wyndham's Theatre in London's West End, in a translation by Alistair Elliot. The production opened on 19 October 1993.
 Chrysanthos Mentis Bostantzoglou makes a parody of this tragedy in his comedy Medea (1993).
 A 1993 dance-theatre retelling of the Medea myth was produced by Edafos Dance Theatre, directed by avant-garde stage director and choreographer Dimitris Papaioannou.
 John Fisher wrote a camp musical version of Medea entitled Medea the Musical that re-interpreted the play in light of gay culture. The production was first staged in 1994 in Berkeley, California.
Christopher Durang and Wendy Wasserstein co-wrote a sketch version for the Juilliard School's Drama division 25th Anniversary. It premiered 25 April 1994, at the Juilliard Theater, New York City.
 In November 1997 National Theatre of Greece launched a worldwide tour of Medea, a critically acclaimed production directed by Nikaiti Kontouri, starring Karyofyllia Karambeti as Medea, Kostas Triantafyllopoulos as Creon and Lazaros Georgakopoulos as Jason. The tour included performances in France, Australia, Israel, Portugal, United States, Canada, Turkey, Bulgaria, China and Japan and lasted almost two years, until July 1999. The play opened in the United States at Shubert Theatre in Boston (18 and 19 September 1998) and then continued at City Center Theatre in Manhattan, New York City (23 to 27 September 1998), receiving a very positive review from The New York Times.
 Neil Labute wrote Medea Redux, a modern retelling, first performed in 1999 starring Calista Flockhart as part of his one act trilogy entitled Bash: Latter-Day Plays. In this version, the main character is seduced by her middle school teacher. He abandons her, and she kills their child out of revenge.
 Michael John LaChiusa created a Broadway musical adaptation work for Audra McDonald entitled Marie Christine in 1999. McDonald portrayed the title role, and the show was set in 1890s New Orleans and Chicago respectively.
 Liz Lochhead's Medea previewed at the Old Fruitmarket, Glasgow as part of Theatre Babel's Greeks in 2000 before the Edinburgh Fringe and national tour. 'What Lochhead does is to recast MEDEA as an episode-ancient but new, cosmic yet agonisingly familiar- in a sex war which is recognisable to every woman, and most of the men, in the theatre.' The Scotsman
In 2000, Wesley Enoch wrote and directed a modern adaptation titled Black Medea, which was first produced by Sydney Theatre Company's Blueprint at the Wharf 2 Theatre, Sydney, on 19 August 2000. Nathan Ramsay played the part of Jason, Tessa Rose played Medea, and Justine Saunders played the Chorus. Medea is re-characterised as an indigenous woman transported from her homeland to the city and about to be abandoned by her abusive social-climbing husband.
 Tom Lanoye (2001) used the story of Medea to bring up modern problems (such as migration and man vs. woman), resulting in a modernized version of Medea. His version also aims to analyze ideas such as the love that develops from the initial passion, problems in the marriage, and the "final hour" of the love between Jason and Medea
 Kristina Leach adapted the story for her play The Medea Project, which had its world premiere at the Hunger Artists Theatre Company in 2004 and placed the story in a modern-day setting.
 Peter Stein directed Medea in Epidaurus 2005
 Irish playwright Marina Carr's By the Bog of Cats is a modern re-telling of Euripides' Medea.
 In November 2008, Theatre Arcadia, under the direction of Katerina Paliou, staged Medea at the Bibliotheca Alexandrina (University of Alexandria, Egypt). The production was noted (by Nehad Selaiha of the weekly Al-Ahram) not only for its unexpected change of plot at the very end but also for its chorus of one hundred who alternated their speech between Arabic and English. The translation used was that of George Theodoridis.
 US Latina playwright Caridad Svich's 2009 play Wreckage, which premiered at Crowded Fire Theatre in San Francisco, tells the story of Medea from the sons' point of view, in the afterlife.
 Paperstrangers Performance Group toured a critically acclaimed production of Medea directed by Michael Burke to U.S. Fringe Festivals in 2009 and 2010.
Bart Lee's interpretation of Medea, renamed 'Medea, My Dear', was performed in Surrey and later toured the south of England from 2010 to 2011.
Luis Alfaro's re-imagining of Medea, Mojada, world premiered at Victory Gardens Theater in 2013.
 Theatre Lab's production, by Greek director Anastasia Revi, opened at The Riverside Studios, London, on 5 March 2014.
The Hungry Woman: A Mexican Medea by Cherríe Moraga takes elements of Medea and of other works
 14 July – 4 September 2014 London Royal National Theatre staging of Euripides in a new version by Ben Power, starring Helen McCrory as Medea, directed by Carrie Cracknell, music by Will Gregory and Alison Goldfrapp.
 25 September – 14 November 2015 London Almeida Theatre a new adaptation by Rachel Cusk, starring Kate Fleetwood as Medea, directed by Rupert Goold.
 17 February – 6 March 2016 in Austin at the Long Center for the Performing Arts starring Franchelle Stewart Dorn as Medea and directed by Ann Ciccolella.
 May 2016 – MacMillan Films released a full staging of the original Medea which was staged for camera. The DVD release shows the entire play. complete with the Aegis scenes, choral odes and triumphant ending. Directed by James Thomas and starring Olivia Sutherland, the staging features Peter Arnott's critically acclaimed translation.
 Chico Buarque and Paulo Pontes, Gota d'Água (musical play set in 1970s Rio de Janeiro, based on Euripides, 1975). Several times revived, including a 2016/2017 production starring Laila Garin (celebrated for her title role in the highly regarded musical biography of Elis Regina, staged in Brasil in 2015).
 February 2017: the play was staged in South Korea, directed by Hungarian theatre director Róbert Alföldi, with Lee Hye-young in the titular role.
 In some editions of the theatrical play, Medea would be played as a man instead of a woman to show a unique and perhaps more culturally accepted point of view.
 In some play adaptations, Jason is played as a sympathetic figure who is manipulated by Medea, rather than a conniving opportunist.

Film
Pier Paolo Pasolini adapted the legend into a movie of the same name in 1969 starring Maria Callas as Medea
In the 1983 film Storia di Piera by Marco Ferreri, Isabelle Huppert as the protagonist learns the part of Medea at school and plays it when she is an adult actress.
Mexican filmmaker Arturo Ripstein adapted the plot for his 2000 film Such Is Life
Asian-American filmmaker Michael Justin Lee reinterpreted the story into a film noir short film set in modern-day America starring Amy Gordon as Medea. (2018)

Television
 Australian actress Zoe Caldwell's performance in the 1982 Broadway adaptation of the Jeffers' script was recorded for broadcast on the PBS series Kennedy Center Tonight.
 Lars von Trier made a version for television in 1988, based on the script adaptation by Carl Theodor Dreyer.
 Theo van Gogh directed a miniseries version that aired 2005, the year following his murder.
 OedipusEnders, a documentary broadcast on BBC Radio 4 on 13 April 2010, discussed similarities between soap opera and Greek theatre. One interviewee revealed that the writers for the ITV police drama series The Bill had consciously and directly drawn on Medea in writing an episode for the series.
 Playwright Mike Bartlett was inspired to create a modern-day suburban Medea after adapting the Euripides play for a theatre production in 2012. Bartlett's 2015-2017 BBC1 miniseries Doctor Foster follows the structure of the Greek tragedy. A Korean remake of the series, The World of the Married, became the highest rated cable drama in Korean history, with its final episode reaching a nationwide rating of 28.371%.

English translations
 Michael Wodhull, 1782 – verse
 Edward P. Coleridge, 1891 – prose: full text
 Theodore Alois Buckley, 1892 – prose: full text
 Gilbert Murray, 1912 – verse: full text
 Arthur S. Way, 1912 – verse
 F. L. Lucas, 1924 – verse
 Augustus T. Murray, 1931 – prose
 Countee Cullen, 1935
 R. C. Trevelyan, 1939 – verse
 Rex Warner, 1944 – verse
 Robinson Jeffers, 1946 – verse
 Peter D. Arnott, 1961 – verse
 Philip Vellacott, 1963
 John Davie, 1996
 James Morwood, 1997 – prose
 Paul Roche, 1998 – verse
 Ruby Blondell, 1999 – verse
 George Theodoridis, 2004 – prose: full text
 Stephen Esposito, 2004 – verse
 Joseph Goodrich, 2005 – verse: full text
 Graham Kirby, 2006 – verse (The Bloomsbury Theatre)
 Diane Arnson Svarlien, 2008 – verse
 Robin Robertson, 2008 – verse
 J. Michael Walton, 2008 – prose
 Ian C. Johnston, 2008 – verse: full text
 Tom Paulin, 2010 - full text
 Judith Mossman (classicist), 2011 – prose
 Brian Vinero, 2012 – verse: full text
Mike Bartlett, 2012 – play
 Diane Rayor, 2013
 David Stuttard, 2014 – prose
 Alan Chriztopher R. Aranza, 2015 – prose
Rachel Kitzinger, 2016 - verse
Charles Martin, 2019
Richard Swanson, 2020 - prose
Michael Ewans, 2022 - verse

References

Further reading

 Haralu, L. (2017). Madwomen and Mad Women: An Analysis of the Use of Female Insanity and Anger in Narrative Fiction, From Vilification to Validation. ProQuest Dissertations Publishing. (Accession No. 10643100)
 Lootens, Barbara J. "Images of Women in Greek Drama." Feminist Teacher, vol. 2, no. 1, 1986, pp. 24–28. JSTOR, . Accessed 27 Mar. 2023.

 Pucci, Pietro. "Survival in the Holy Garden." The Violence of Pity In Euripides' "Medea," vol. 41, Cornell University Press, 1980, pp. 91–130. JSTOR, http://www.jstor.org/stable/10.7591/j.cttq44w0.6. Accessed 27 Mar. 2023.

 Tessitore, Aristide. "Euripides' 'Medea' and the Problem of Spiritedness." The Review of Politics, vol. 53, no. 4, 1991, pp. 587–601. JSTOR, . Accessed 27 Apr. 2023.
 Tigani, Francesco (2010), Rappresentare Medea. Dal mito al nichilismo, Aracne.

External links

Structure of the tragedy.
ClassicNotes about "Medea"
The Medea of the modern times
Cultural Organization "Theatre Arcadia"
  link to photographs and reviews of Medea directed by George Eugeniou at Theatro Technis and Angelique Rockas in the title role

see the famous 3rd Choral ode of Medea from the Olivia Sutherland Medea

Corinthian mythology
Feminism and the arts
Filicide in fiction
Greek plays adapted into films
Plays based on classical mythology
Plays by Euripides
Plays set in ancient Greece
Women and death
Works about Medea
Cultural depictions of Jason
Helios

Medea (play)


Gompper ist ein Familienname.

 August Gompper  (1886–1969), deutscher Politiker der SPD
 Rudolf Gompper (1926–1999), deutscher Chemiker

Gompper


قلعة راشيا أو قلعة الاستقلال هي نصب تذكاري وطني، في لبنان. تم بناؤه كقصر من قبل عائلة شهاب في القرن الثامن عشر، وقد استخدمه الانتداب الفرنسي، وهو الآن متمركز للجيش اللبناني. وهو موقع سياحي يمكن زيارته تحت مراقبة الجيش. تضم القلعة غرفًا مقببة وتطل على المدينة الجبلية التاريخية.

معالمها
في القرن الحادي عشر بنى الصليبيون برجا على تلة في وادي راشيا تطل على فلسطين لحماية قوافل التجار الآتين من فلسطين نحو بلاد الشام وكنقطة مراقبة وحماية لمواكب الحجاج والمسافرين عبر وادي التيم من دمشق إلى القدس في فلسطين.

تنتصب قلعة راشيا حول البرج الصليبي الذي يعلو نحو 1400م عن سطح البحر وتمتد على مساحة تبلغ 8500 مترمربع في موقع استراتيجي تحيط به المنحدرات من ثلاث جهات وتواجه الجهة الرابعة قمة حرمون. أما مدخل القلعة فهو من جهة الجنوب وهي تشبه بجدرانها السميكة واقبيتها ودهاليزها المتعددة قلعة الشقيف الصليبية وبقناطرها تتماثل مع قناطر قصر بيت الدين بناء واثار رومانية منها دهاليز بمسافة 1500م يصل إلى عين مري قرب مثلث العقبة - بكيفا، وكان يستعمل لحركة المقاتلين وتأمين التموين في حالات الحصار.

ومن معالمها أبنية واثار صليبية وآبار منحوتة بالصخر وقد ردمت اليوم باستثناء بئر واحد ما زال صالحا للاستعمال. والأقبية السفلى للقلعة فيها قاعة أثرية ومخزن من الجهة الشمالية الشرقية والبرج من الجهة الجنوبية الغربية وهو يعتبر أعلى قمة في القلعة.

وفيها أبنية وآثار شهابية تعود إلى العام 1370م حين تولى الأمير أبو بكر شهاب ولاية حاصبيا وكان يأتي برفقة زوجته وابنته إلى راشيا للصيد والقنص، فبنى منزلا داخل القلعة. كما بنى الشهابيون مدخل القلعة والسور والقناطر من الجهة الجنوبية الغربية.

اما السور الشرقي فقد بناه الفرنسيون بعد دخولهم إلى القلعة مستخدمين حجارة المنازل المحيطة بها بعد تهديمها. وما تزال أسماء أصحاب المنازل موجودة على مدخل القسم الشمالي من القلعة وكذلك معالم لكنيسة ضمن حرم القلعة.

تاريخها
لقد شهدت قلعة راشيا احداثا مهمة أبرزها المعركة الشهيرة في 22 تشرين الثاني 1925 حين اقتحم المقاتلون في الثورة السورية الكبرى بقيادة سلطان باشا الأطرش أسوار القلعة لتحريرها من الحامية الفرنسية وقد سقط العديد من الشهداء من أبناء راشيا والجوار في تلك المعركة. وفي الساحة العامة للقلعة تنتصب اليوم لوحتان تحمل إحداهما أسماء القتلى الفرنسيين والثانية أسماء شهداء منطقة راشيا.

قلعة الاستقلال
في 11 تشرين الثاني 1943 اعتقلت السلطات الفرنسية كل من الرئيس بشارة الخوري والرئيس رياض الصلح ووزير الخارجية والاشغال العامة سليم تقلا ونائب لبنان الشمالي عبد الحميد كرامي ووزير التموين والتجارة والصناعة عادل عسيران ووزير الداخلية كميل شمعون وسجنتهم في غرف منفردة في القلعة بسبب تحركاتهم نحو الاستقلال. واطلقتهم في 22 تشرين الثاني 1943 والذي يعتبر يوم الاستقلال اللبناني.

بعد جلاء القوات الفرنسية عام 1946 تمركزت في القلعة قوات من الدرك اللبناني وبعض الادارات الرسمية، ثم تسلمها الجيش اللبناني في 1 آيلول 1964 ولا تزال في عهدته حتى اليوم. وقد أدرجت القلعة مؤخرا ً على لائحة الأماكن السياحية في لبنان وأنارتها وزارة السياحة ويؤمها السياح من كل لبنان

انظر أيضا
 عادل أبو ربيعة

مراجع

 راشيـا الــوادي - قـلـعـة الـوفـاء

تاريخ لبنان
جبل عامل
حصون لبنان
قصور لبنان
قضاء راشيا
قلاع صليبية
قلاع في لبنان
مواقع جذب سياحي في لبنان

قلعة راشيا


Daniel Badale(n. 15.08.1969 Trușești) este considerat un actor născut pentru a-și trăi viața pe scenă. Descoperit de Dan Puric pe vremea când era elev la un liceu din Botoșani, Daniel Badale a reușit să uimească cu talentul său nativ până și pe cei mai mari actori ai țării.

Formație: Academia de Teatru și Film, București, promoția 1994, clasa profesor universitar Dem Rădulescu, Nominalizări și premii, Premiul Național la Festivalul Comediei, Galați, pentru rolul Ivan Turbincă, 2006, Premiul pentru cel mai bun actor în rol principal în cadrul Festivalului Comediei Românești FESTCO, București, pentru rolul Ivan Turbincă, 2006, Nominalizat la Premiul pentru "cel mai bun actor". În stagiunea curentă joacă în:Micul infern, Molto, gran' impressione, Omul cu mârțoaga, Visul unei nopți de vară.

Roluri la TNB:

Flămânzilă - "Visul unei nopți de vară" de William Shakespeare, regia Petrică Ionescu, 2015,

Ordonanța - "Micul infern" de Mircea Ștefănescu, regia Mircea Cornișteanu, 2013,

Chirică - "Omul cu mârțoaga" de George Ciprian, regia Anca Bradu, 2011,

Barry Derrill - "S-a sfârșit cum a-nceput" de Sean O`Casey, regia Horațiu Mălăele, 2010,

Ivan Turbinca - "Ivan Turbincă" după Ion Creangă, regia Ion Sapdaru, 2009,

Damis - "Tartuffe" de Molière, regia Andrei Belgrader, 2009 ,

Dansul - "Comedia norilor" după Aristofan, regia Dan Tudor, 2009,

Dumitru - "Molto, gran' impressione" de Romulus Vulpescu, regia Dan Tudor, 2009,

Eduard, prinț de Walles – "Eduard al III-lea" de William Shakespeare, regia Alexandru Tocilescu, 2008,

Marcel - "Viața mea sexuală", de Cornel George Popa, regia Sorin Militaru, 2007,

Sache Dumitrescu - "Jocul ielelor" de Camil Petrescu, regia Claudiu Goga, 2007,

Tom - "Menajeria de sticlă", de Tennessee Williams, regia Cătălina Buzoianu, 2006.

Activități în afara TNB

Roluri în teatru

1994 – 2002: Teatrul Mihai Eminescu, Botoșani
2002 – 2005: Teatrul de Păpuși Vasilache, Botoșani

Volodea - "Dragă Elena Sergheevna" regia Petru Vutcărău, (Debut), One man show - "Spectacol fără titlu", regie proprie, Iuda - "Iuda" de Leonid Andreev, regia Ion Sapdaru, Gufi - "Țara lui Gufi" de Matei Vișniec, regia Ion Sapdaru, Hamlet - "Hamlet" de William Shakespeare, regia Ion Sapdaru, Nae Girimea - "D`ale carnavalului" de I.L. Caragiale, regia Ion Sapdaru
Miroiu - "Steaua fără nume" de Mihail Sebastian, regia Mihaela Săsărman
Brutus - "De divinatione", studiu după Cicero, regia Doina Zotinca
Jakob Fugger - "Martin Luther", regia Mihaela Săsărman, Nebunul, Șeful de secție - "Însemnările unui nebun" de Nicolai Vasilievici Gogol, regia Ion Sapdaru, Ițic - "Take, Ianke și Cadâr" de Victor Ioan Popa, regia Ion Bordeianu, Revizorul - "Revizorul" de Nikolai Vasilievici Gogol, regia Ion Bordeianu, Ivan Turbincă - "Ivan Turbincă" de Ion Creangă, regia Ion Sapdaru, Surugiul - "Ultimul Sutto" de Dumitru Crudu, regia Sandu Vasilache

Filmografie
 A fost sau n-a fost? (2006) - profesorul
Nebunul fricos - "Țăcăniții", regia Gerard Cuq, 2002, Ghenovicescu - "Patul lui Procust", regia Sergiu Prodan și Veronica Mesina, 2001, "Drumul câinelui", regia Laurențiu Damian, 1991

Daniel Badale


Socijalistička partija (SP) je parlamentarna politička stranka sa sjedištem u bosanskohercegovačkom entitetu Republika Srpska koja je osnovana 2. srpnja 1993. godine u Banjoj Luci. Trenutačni predsjednik stranke je Petar Đokić.

Povijest
Socijalistička partija Republike Srpske osnovana je 1993. godine. Tada je imala bliske odnose sa Socijalističkom partijom Srbije Slobodana Miloševića. Godine 1998. godine stranka ulazi u sastav koalicija "Sloga" čiji je član Živko Radišić izabran za člana Predsjedništva Bosne i Hercegovine iz entiteta Republika Srpska. Od samog osnivanja parlamentarna je stranka u Bosni i Hercegovini.

Od 2004. godine nosi naziv samo Socijalistička partija te svoje političko djelovanje započinje na cijeloj teritoriji Bosne i Hercegovine. Predsjednik stranke je Petar Đokić. Na izborima održanim listopada 2006. godine, Socijalistička partija je osvojila tri mandata u Narodnoj skupštini Republike Srpske.

U međuvremenu je kroz svoje postojanje imala nekoliko turbulentnih razdoblja tijekom kojih su se odvijali žestoki unutarstranački sukobi. Poslije svakog Kongresa partije nezadovoljna struja bi napustila partiju i osnovala novu. Tako je svojevremeno osnovana Demokratska socijalistička partija (DSP) koja se kasnije utopila u Savez nezavisnih socijaldemokrata Milorad Dodik. Također, izdvajanjem iz SP-a nastali su i Narodna demokratska stranka (NDS) i Nova Socijalistička partija (NSP).

Izvori

Vanjske poveznice
 Službena stranica

Bosanskohercegovačke političke stranke

Socijalistička partija (Bosna i Hercegovina)


João Augusto Anchieta Amazonas Mac Dowell SJ (Belém,  — Belo Horizonte, ) foi sacerdote católico, filósofo, teólogo e educador brasileiro. Afiliado à Companhia de Jesus, notabilizou-se por seus trabalhos acadêmicos na área de Filosofia e na direção de diversas instituições de educação pertencentes à sua congregação.

Biografia
Nasceu em Belém, Pará, em 4 de junho de 1934, mas pertencia a influente família de Pernambuco. Seus pais eram Maria Anita (de Almeida) Amazonas (1908-2006) e o professor Samuel Wallace do Rego Barros Mac Dowell (1899-1966), os últimos proprietários do Casarão Amazonas MacDowell, antiga casa-grande do engenho que deu origem ao município de Camaragibe, Pernambuco. Por parte de seu pai, descendia do conselheiro Samuel Wallace MacDowell e, por parte de sua mãe, dos barões de Escada. Dentre seus nove irmãos, destacam-se Maria Antônia Amazonas Mac Dowell (1930-2013), professora e ex-vice-reitora da Universidade Federal de Pernambuco, e Antônio Maria Mac Dowell (1937-2008), engenheiro aeronáutico e servidor público.

João estudou no Colégio Nóbrega em Recife, Pernambuco, e concluiu o ensino médio no Colégio Santo Inácio no Rio de Janeiro, ambos de propriedade da Companhia de Jesus. Em 10 de fevereiro de 1950, ingressou na dita congregação religiosa, com dezesseis anos de idade, e cursou Filosofia no Colégio Anchieta, em Nova Friburgo, Rio de Janeiro. Recebeu a ordenação sacerdotal em 12 de setembro de 1962, em Recife, por imposição das mãos do arcebispo Dom Carlos Gouveia Coelho. Em 1963, fez mestrado em Teologia na Faculdade de Filosofia e Teologia Sankt Georgen em Frankfurt, na Alemanha, e, em 1968, doutorado em Filosofia na Pontifícia Universidade Gregoriana em Roma, na Itália.

De volta ao Brasil, trabalhou, entre 1968 e 1974, na Faculdade de Filosofia Nossa Senhora Medianeira, em São Paulo, onde foi professor de História Contemporânea e Ontologia, ministro, consultor provincial e prefeito de estudos. Em 1975, iniciou sua atuação na Pontifícia Universidade Católica do Rio de Janeiro (PUC-Rio), como vice-reitor para Assuntos Acadêmicos. Foi nomeado reitor no ano seguinte, aos 42 anos de idade, o mais jovem na história da universidade. Durante seu mandato, foi membro da Comissão Nacional de Pós-Graduação (1977-1979), do Diretório do Conselho de Reitores das Universidades Brasileiras (1977-1979), do Conselho Internacional das Universidades Católicas (1978-1980) e da Comissão de Reintegração dos Professores Cassados pelo AI-5 do Ministério da Educação (1979-1980).

O período de sua gestão como reitor da PUC-Rio coincidiu com o movimento de abertura política no Brasil, e de reestruturação do movimento estudantil, muito ativo na universidade naquele momento. Foram criados o Departamento de Artes, desmembrado do Departamento de Letras, o Projeto Portinari, o Instituto de Relações Internacionais (IRI), e o Departamento de Geografia promoveu a I Semana Universitária do Meio Ambiente. Concluiu, em 1979, um processo complexo que se desenvolveu ao longo de quase duas décadas, com a assinatura do protocolo de Acerto Final entre o Estado do Rio de Janeiro e a PUC para a construção da Ligação Lagoa-Barra. Utilizou-se a meia-encosta do morro atrás do Edifício Cardeal Leme, evitando-se com isso que a estrada cortasse o campus, e decidiu-se pela construção do túnel acústico para redução do ruído causado pelo trânsito.

Terminado seu período como reitor, foi superior da Província dos Jesuítas do Centro-Leste de 1982 a 1987. Em seguida, foi pesquisador no Centro João XXIII, IBRADES, no Rio. Entre 1990 e 1998, esteve em Roma como membro do Conselho Geral e assessor do Superior Geral para a América Latina da Cúria Geral da Companhia de Jesus, além de delegado para o Pontifício Colégio Pio Brasileiro.

Foi fundador da Academia Brasileira de Educação e da Sociedade Brasileira de Filósofos Católicos, e presidente do Conselho Deliberativo do Instituto Cultural Brasil-Japão (ICBJ).

Transferido para Belo Horizonte, Minas Gerais, em 1997, passou a atuar na Faculdade Jesuíta de Filosofia e Teologia (FAJE), onde foi reitor e professor no Departamento de Filosofia. Em 2006, fundou o Programa de Pós-graduação em Filosofia da FAJE e esteve à frente, como editor, por vários anos, da Síntese, revista de filosofia. Ficou reconhecido por suas pesquisas sobre Tomás de Aquino e Heidegger. Também esteve à frente do Memorial Padre Vaz, foi reitor do Instituto Santo Inácio/Centro de Estudos Superiores da Companhia de Jesus (ISI-CES), assistente do Centro Loyola, diretor da Associação Jesuíta de Educação e Assistência Social (AJEAS) e desenvolveu trabalho pastoral na Paróquia São Francisco Xavier.

Faleceu aos 88 anos de idade, um dia após completar 60 anos de sacerdócio, no Hospital Madre Teresa, em Belo Horizonte, onde estava internado havia dias por problemas cardíacos. Seu corpo foi sepultado no dia seguinte no Cemitério Bosque da Esperança, no mesmo município.

Naturais de Belém (Pará)
Jesuítas do Brasil
Filósofos do Brasil
Teólogos do Brasil
Professores do Brasil
Padres de Minas Gerais
Reitores da Pontifícia Universidade Católica do Rio de Janeiro
Alunos da Pontifícia Universidade Gregoriana
Brasileiros de ascendência escocesa

João Mac Dowell (padre)


Randi Vestergaard Evaldsen (født 13. april 1984 i Sisimiut) er en grønlandsk politiker. Hun er tidligere formand for partiet Demokraterne og var i en periode medlem af Naalakkersuisut (minister) for Finanser og Råstoffer.

Afsked med politik
I juli 2019 sagde hun, at hun ville stoppe i politik, fordi hun skulle arbejde for Brugsen som indkøbschef.

Evaldsen er akademimerkonom i international handel og markedsføring og er desuden serviceøkonom indenfor turisme.

Referencer

Politikere fra Demokraatit
Medlemmer af Landsstyret

Randi Vestergaard Evaldsen


An Paspalidium gracile in uska species han Liliopsida nga syahan ginhulagway ni Robert Brown, ngan ginhatag han pagkayana nga asya nga ngaran ni Dorothy Kate Hughes. An Paspalidium gracile in nahilalakip ha genus nga Paspalidium, ngan familia nga Poaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Mga sumpay ha gawas

Paspalidium

Paspalidium gracile


Competiția de handbal de la Jocurile Olimpice de vară din 2020, care s-a desfășurat la Tokyo, în Japonia, a fost inițial prevăzută a avea loc în perioada 24 iulie - 9 august 2021. Pe 24 martie 2020, într-o conferință de presă susținută de președintele Comitetului Olimpic Internațional și de premierul japonez Shinzo Abe, în prezența altor demnitari și oficiali olimpici și politici, s-a anunțat că, din cauza gravei pandemii provocate de coronavirusul COVID-19, turneul olimpic final "va trebui reprogramat pentru o dată ulterioară anului 2020, dar nu mai târziu de vara anului 2021".

În final, turneul de handbal masculin a fost programat să se desfășoare între 24 iulie și 7 august 2021, iar cel de handbal feminin între 25 iulie și 8 august 2021.

Probe sportive
Participanții au concurat pentru cele trei medalii olimpice: aur, argint și bronz, din cele două probe sportive de handbal:
handbal masculin
handbal feminin

Programul competiției
Calendarul partidelor a fost făcut public pe 23 iulie 2020 și actualizat ulterior.

Criterii de calificare
Fiecare Comitet Olimpic Național a avut dreptul de a include o echipă în proba masculină și o echipă în proba feminină.

Masculin

Feminin

Sala
Toate meciurile s-au jucat în Gimnaziul Național Yoyogi, situat în Parcul Yoyogi din sectorul Shibuya al capitalei Tokyo.

Tragerea la sorți
Tragerea la sorți a avut loc pe 1 aprilie 2021, la sediul Federației Internaționale de Handbal de la Basel, Elveția.

Arbitrii
Pentru conducerea partidelor au fost selectate 16 perechi de arbitri:

Turneul masculin

Competiția a fost alcătuită din două faze: o fază a grupelor, urmată de faza eliminatorie.

Faza grupelor
Echipele au fost împărțite în două grupe de câte șase națiuni și au jucat fiecare împotriva celorlalte adversare din grupă. S-au acordat două puncte pentru victorie și un punct pentru egal. Echipele clasate pe primele patru locuri în fiecare grupă au avansat în sferturile de finală.

Grupa A

Grupa B

Fazele eliminatorii

Schemă

Turneul feminin

Competiția a fost alcătuită din două faze: o fază a grupelor, urmată de faza eliminatorie.

Faza grupelor
Echipele au fost împărțite în două grupe de câte șase națiuni și au jucat fiecare împotriva celorlalte adversare din grupă. S-au acordat două puncte pentru victorie și un punct pentru egal. Echipele clasate pe primele patru locuri în fiecare grupă au avansat în sferturile de finală.

Grupa A

Grupa B

Fazele eliminatorii

Schemă

Medaliați

Note

Legături externe
 Jocurile Olimpice pe pagina IHF

Handbal la Jocurile Olimpice de vară din 2020


Varano de' Melegari ist eine italienische Gemeinde (comune) mit  Einwohnern (Stand ) in der Provinz Parma in der Emilia-Romagna. Die Gemeinde liegt etwa 29 Kilometer südwestlich von Parma im Valle del Ceno. Hier mündet der Ceno in den Taro, der die östliche Gemeindegrenze bildet.

Persönlichkeiten
 Gian Paolo Dallara (* 1936), Automobilkonstrukteur (Dallara)

Verkehr
Im Osten der Gemeinde verläuft die Autostrada A15 von Parma nach La Spezia.

Weblinks

Einzelnachweise

Ort in der Emilia-Romagna
Weinbauort in Italien

Varano de’ Melegari


Au Pair; kelime anlamı ile anne yardımcılığıdır. Bir uluslararası kültürel değişim programıdır. Au Pair programında amaç; gençlerin farklı ülkelerdeki bir aile yanında kalarak, o ülkenin dilini ve kültürünü öğrenmesidir.

Tüm Avrupa, Amerika ve Avustralya kıtalarında vatandaş olan gençler Au-Pair programına katılabilmektedir. Türkiye, Avrupa Birliği'ne üye başvurusunda bulunduğu ve bir NATO Ülkesi olduğu için AuPair programına dahil edilen ülkeler arasında yer almaktadır.

Au Pair ailenin bir üyesi olarak kabul edilir ve genel olarak günde 5, haftada 25 saat anneye yardım eder. Aynı zamanda 2 akşam babysit (çocuklarla akşam/gece birlikte evde kalmak) olur. Genellikle evi ve kendi odasını temiz, düzenli tutması için hafif ev işleri yapması ve çocuklarla ilgilenmesi beklenir. Au Pair, genelde bebek bakımından sorumlu değildir ve en az anaokulu ve üzeri yaş grubu çocuklarla ilgilenir. Bebek bakımı için ise konusunda eğitim almış adaylar istenmektedir.

Au Pair'lik, haklarınızı biliyorsanız ve tüm yabancı olduğunuz konularda bilgili olarak gidiyorsanız sizin için çok faydalı ve kariyeriniz için önemli bir dönem olacaktır. Hatta adaylar, gidecekleri ülkeyi iyice tanıdıktan sonra vizelerini öğrenim vizesine çevirebilir ve meslek okullarında, halkla ilişkiler, yönetim, muhasebe, bankacılık, turizm vb. birçok konuda devlet okullarında eğitim alabilir.

Yurt dışında eğitim görmek ve bir süre yaşamak herkes için en büyük rüyalardan birisidir fakat oldukça da pahalı ve zahmetlidir. Türkiye'deki ailelerin ekonomik durumu Batı ülkeleri standartlarına oranla düşük olduğu için her aile çocuğunu yurt dışı eğitime gönderememektedir. Günümüzde 3 aylık bir eğitiminin toplam maliyeti (okul, konaklama, yemekler, uçak bileti ve cep harçlığı dahil) en az 5,000 Amerikan dolarını bulmaktadır. Bu kadar yüksek bir maliyeti yeni mezun ve ailesi orta gelir düzeyine sahip bir gencin karşılaması gerçekten güçtür ve 3 aylık bir sürede ne kadar yabancı bir dilin öğrenilebileceği ise belirsizdir. Tüm bu nedenlerle, Au-Pair'lik çok sayıda gence ve ailesine cazip gelmektedir. Güvenli bir ortamda 2 yıla kadar, hiçbir şey harcamadan kalıp, iyi düzeyde bir yabancı dil öğrenmek veya mesleki konuda bir sertifika veya diploma programına katılmak en mantıklı ve pratik çözüm olarak görünmektedir.

Avantajları
Au-pair sisteminin en önemli avantajlarından birisi maliyetlerin oldukça düşük olmasıdır. Sadece danışmanlık ücreti, uçak bileti ve vize ücreti ödenmektedir ve bu ücretler gidilecek olan ülkeye göre farklılık göstermektedirler. Au-Pair olarak birlikte yaşanılan aile, mutfak masraflarını ve temel ihtiyaçları karşılar ve buna ek olarak az miktarda harçlık verir. Au Pair deneyimi, yurt dışında uzun bir süre yaşama, arkadaşlıklar kurma ve yabancı bir kültürü öğrenme deneyimidir.

Öte yandan programa katılanlar, kendi ülkeleri döndüklerinde edindikleri yabancı dil sayesinde iş dünyasında da tercih edilecek adaylar konumuna gelmektedirler.

Au-pair'in görev ve sorumlulukları
Au-Pair olarak temel göreviniz ailenin çocuklarının ihtiyaçları üzerine yoğunlaşacaktır. Au-Pairler çocuklar konusunda çok hassas ve titiz olmak zorundadırlar. Çocukları her şeyden önce tutmalı ve sorumlu olduğu saatlerde onlara büyük dikkat göstermelidirler. Aile içindeki özel kişisel harcamalar Au-Pair'e aittir. Özellikle telefon ve ekstra kişisel ihtiyaçlardan doğan mutfak ve giyim gibi alışverişler. Çocuklarla ilgilendiğiniz zamanlarda, sigara, alkol gibi zararlı alışkanlıklardan uzak durmalısınız. Diğer zamanlarda ise bu konularda aileyi rahatsız etmeyecek biçimde davranmalısınız.

Ailelerin görev ve sorumlulukları
Ev sahibi aile, sizi bir hizmetçi veya ücretli olarak değil, ailenin doğal bir bireyi olarak kabul etmeli, sizden ağır ev işleri istememelidir. Aile, gerekli donanıma sahip ve bir kişinin rahatlıkla kalabileceği bir odayı Au-Pair'e tahsis etmek zorundadır. Aile, Au-Pair'in beslenme, barınma, temizlik ve diğer zorunlu ihtiyaçlarını karşılamak zorundadır. Aile, harçlığınızı (haftalık veya aylık) zamanında ve eksiksiz ödemek zorundadır. Aileler, yanlarında kalan Au-Pair'e kötü muamelede bulunamaz ve görevleri dışında çalıştıramaz.

Türkiye'de Au-Pair'lik
Türk'lerin yurt dışında au pair olarak çalıştığı gibi yurt dışından Türkiye'ye gelip au pair olarak çalışabilmek için de bir program mevcuttur. İnternet üzerinde biraz araştırma yaptığınız zaman bununla ilgili birçok bilgiye sahip olabilirsiniz. Aşağıda bilinen en iyi iki au pair acente firmaların web sitelerine ulaşarak daha ayrıntılı bilgi de edinebilirsiniz. Dünya'nın birçok yerinden hem dil öğrenmek için hem para kazanmak için gelen yabancı genç kızlar bulunmaktadır. Bu programda yer almak isteyen ve şartları karşılayan erkek adaylarda bulunmaktadır. Aileniz ile birlikte yaşayıp çocuklarınızla ilgilenecek bir au pair isteyebilirsiniz bu programdan yararlanan Türkiye'de birçok kişi bulunmaktadır. Ayrıca bu sisteminden çok da memnun olduklarını belirtmişler.

Yani eğer sizde isterseniz tüm şartlara uyarak au pair çağırabilirsiniz.

İngiltere İçişleri Bakanlığı'nin belirlediği yasalara göre au pair için geçerli olan şartlar tüm dünyada aynıdır.

İngiltere'de Au-Pair'lik
İngiltere'de kimlerin Au Pair olabileceğine İngiltere Çalışma Bakanlığı (Employement Department) karar verir. Bakanlığın kararına göre ve İngiliz vize sistemine (İngiliz İçişleri Bakanlığı tarafından verilir) göre, İngiltere'de Au Pair olabilmek için aşağıdaki koşullar aranır.

Amerika'da Au-Pair'lik
Amerikan aileler yanına Türk Au-Pair'lerini yerleştirmektedir. Amerika'da Au-Pair'lik, Amerikan Hükûmetinin denetimi ve kontrolü altında yapılmaktadır ve uluslararası bir değişim projesi olarak Birleşmiş Milletlerce tanınmaktadır.

Amerika'da Au-Pair'ler haftada 45 saat ev işleri ve çocuk bakımında aileye yardımcı olmaktadırlar. Amerika'da Au-Pair'lik sistemi oldukça ciddi ve Au-Pair'den istenilen koşullar ağırdır.

Amerikan aileler yanına Türk Au-Pair'lerini yerleştirmektedir. Amerika'da Au-Pair'lik, Amerikan Hükûmetinin denetimi ve kontrolü altında yapılmaktadır ve uluslararası bir değişim projesi olarak Birleşmiş Milletlerce tanınmaktadır.

Amerika'da Au-Pair'ler haftada 45 saat ev işleri ve çocuk bakımında aileye yardımcı olmaktadırlar. Amerika'da Au-Pair'lik sistemi oldukça ciddi ve Au-Pair'den istenilen koşullar ağırdır.

Başvuru Koşulları
 18-27 yaşları arasında olmak
 En az lise mezunu olmak (Üniversite mezunları tercih edilmektedir.)
 Temel düzeyde İngilizce bilmek
 Bekar olmak (Hiç evlenmemiş olmak)
 Çocukları seven, ev işlerine yatkın bir yapıda olmak
 Problemleri çözebilen, esnek ve uyumlu bir kişilik yapısına sahip olmak.
 Sigara içmemek ve sürücü ehliyeti sahibi olmak tercih edilir.
 Erkek adayların başvurusu kabul edilir. Ancak yerleştirme suresi 3-4 ay sürebilir.

Kaynakça

Çocuk bakımı meslekleri
Ev işi

Au pair


Onthophagus porcus é uma espécie de inseto do género Onthophagus, família Scarabaeidae, ordem Coleoptera.

Foi descrita cientificamente por Arrow em 1931.

Referências

Ligações externas

porcus
Coleópteros descritos em 1931

Onthophagus porcus


Kirenlik, Samsun ilinin Havza ilçesine bağlı bir mahalledir.

Tarihçe
Mahallenin ismi kızılcık (kiren) ağaçlarından gelmektedir.

Coğrafya
Samsun iline 107 km, Havza ilçesine 23 km uzaklıktadır.

Nüfus

Havza'nın mahalleleri

Kirenlik, Havza


La începutul anului 1918, Armata României avea practic aceeași organizare de război ca în anul 1917, care cuprindea: două comandamente de armată (Armata 1 și Armata 2), cinci comandamente de corp de armată, cincisprezece divizii de infanterie, două divizii de cavalerie, unități de artilerie, aviație, marină, artilerie antiaeriană, etc. În plus, la începutul anului 1918 Marele Cartier General a decis gruparea cele 10 regimente de vânători în două mari unități de nivel divizie, Diviziile 1 și 2 Vânători. Tot la începutul anului 1918 s-a reînființat și Divizia 16 Infanterie.

Fiecare din cele 15 divizii de infanterie era formată din: 2 de brigăzi de infanterie, cu un total de 4 de regimente a trei batalioane fiecare, o brigadă de artilerie cu două regimente, un divizion de cavalerie și o companie de mitraliere. Diviziile de vânători erau formate din 2 brigăzi, cu un toatl de 2-3 regimente a două batalioane fiecare. Cavaleria era formată din două divizii cu 4 brigăzi, câte o divizie pentru fiecare armată.

Conducerea supremă a forțelor române era asigurată nominal de către generalul Constantin Prezan numit generalisim de regele Ferdinand la 19 noiembrie 1917.

Asigurarea aspectelor administrative și a celor care țineau de înzestrarea armatei și coordonarea efortului de război revenea Ministerului de Război, care nu avea însă atribuții pe linia conducerii militare.

Organele de conducere

Comanda de Căpetenie

General de corp de armată Constantin Prezan - 19 noiembrie  1917 - 1 aprilie  1918

Ministerul de Război

Ministerul de Război avea un rol pur administrativ, fără atribuții în comanda operativă. Sarcinile sale principale erau gestionarea bugetului, administrația armatei, controlul financiar și administrarea fondului de pensii militare. Ministerul era supus controlului guvernului și Parlamentului.

Structura ministerul nu a suferit schimbări esențiale față de cea de la intrarea în război, fiind organizat pe două Direcții Generale și mai multe servicii.
În anul 1918 au ocupat funcția de ministru de război generalii Constantin Iancovescu, Constantin Hârjeu și Eremia Grigorescu.

Marele Cartier General
Marele Cartier General (abreviat M.C.G.) a fost cea mai înaltă structură militară destinată conducerii operațiunilor militare ale Armatei României, pe timp de război, funcționând în anul 1918 la Iași. Marele Cartier General a fost demobilizat la 1 aprilie 1918 - ca urmare a aplicării prevederilor Păcii de la București, fiind remobilizat la 26 octombrie/9 noiembrie 1918. În perioada cât acesta a fost desființat, comanda forțelor române a fost asigurată de Marele Stat Major, condus de generalul Constantin Christescu.

Începând cu data de 5 decembrie 1916 generalul de corp de armată Constantin Prezan a fost numit șef al Marelui Cartier General, înlocuindu-l pe generalul Dumitru Iliescu. Primele obiective și realizări ale noului șef al Marelui Cartier General au fost redislocarea comandamentelor, unităților și marilor unități în teritoriul dintre Siret și Prut, reglementarea relațiilor cu conducerea militară rusă referitoare la transporturile feroviare, relațiile de comandament, zonele de responsabilitate, precum și crearea cadrului de colaborare cu Misiunea Militară Franceză.

Forțele armate

Armata 1

În prima parte a anului 1918 - până la demobilizare, Armata 1 a fost organizată pe două corpuri de armată (III și V) cu un total de 5 divizii. La comanda armatei s-au aflat generalul de divizie Eremia Grigorescu. Ordinea sa de bătaie era următoarea:
Armata 1
Cartierul General al Armatei 1
Corpul III Armată
Divizia 2 Infanterie
Brigada 3 Infanterie
Regimentul 2 Infanterie
Regimentul 26 Infanterie
Brigada 4 Infanterie
Regimentul 3 Infanterie
Regimentul 19 Infanterie
Brigada 2 Artilerie
Regimentul 9 Artilerie
Regimentul 14 Obuziere
Batalionul 2 Pionieri
Divizia 4 Infanterie
Brigada 7 Infanterie
Regimentul 5 Infanterie
Regimentul 20 Infanterie
Brigada 8 Infanterie
Regimentul 6 Infanterie
Regimentul 21 Infanterie
Brigada 4 Artilerie
Regimentul 2 Artilerie
Regimentul 10 Obuziere
Batalionul 4 Pionieri
Divizia 10 Infanterie
Brigada 19 Infanterie
Regimentul 23 Infanterie
Regimentul 39 Infanterie
Brigada 20 Infanterie
Regimentul 33 Infanterie
Regimentul 38 Infanterie
Brigada 10 Artilerie
Regimentul 3 Artilerie
Regimentul 20 Obuziere
Batalionul 10 Pionieri
Corpul V Armată
Divizia 5 Infanterie
Brigada 9 Infanterie
Regimentul 7 Infanterie
Regimentul 32 Infanterie
Brigada 10 Infanterie
Regimentul 8 Infanterie
Regimentul 9 Infanterie
Brigada 5 Artilerie
Regimentul 7 Artilerie
Regimentul 19 Obuziere
Batalionul 5 Pionieri
Divizia 14 Infanterie
Brigada 27 Infanterie
Regimentul 69/77 Infanterie
Regimentul 53/65 Infanterie
Brigada 28 Infanterie
Regimentul 55/67 Infanterie
Regimentul 54/56 Infanterie
Brigada 14 Artilerie
Regimentul 24 Artilerie
Regimentul 29/4 Obuziere
Batalionul 14 Pionieri

Armata 2

În prima parte a anului 1918 - până la demobilizare, Armata 2 a fost organizată pe două corpuri de armată (II și IV) cu un total de 5 divizii. La comanda armatei s-au aflat generalul de corp de armată Alexandru Averescu. Ordinea sa de bătaie era următoarea:
Armata 2
Cartierul General al Armatei 2
Corpul II Armată
Divizia 1 Infanterie
Brigada 1 Infanterie
Regimentul 17 Infanterie
Regimentul 18 Infanterie
Brigada 2 Infanterie
Regimentul 1 Infanterie
Regimentul 31 Infanterie
Brigada 1 Artilerie
Regimentul 1 Artilerie
Regimentul 5 Obuziere
Compania divizionară de mitraliere
Divizionul de cavalerie
Batalionul 1 Pionieri
Divizia 3 Infanterie
Brigada 6 Infanterie
Regimentul 4 Infanterie
Regimentul 28 Infanterie
Brigada 5 Infanterie
Regimentul 22 Infanterie
Regimentul 30 Infanterie
Brigada 3 Artilerie
Regimentul 6 Artilerie
Regimentul 15 Obuziere
Compania divizionară de mitraliere
Divizionul de cavalerie
Batalionul 3 Pionieri
Divizia 12 Infanterie
Brigada 23 Infanterie
Regimentul 45/60 Infanterie
Regimentul 46/61 Infanterie
Brigada 24 Infanterie
Regimentul 44/68 Infanterie
Regimentul 62/70 Infanterie
Brigada 12 Artilerie
Regimentul 22 Artilerie
Regimentul 27/2 Obuziere
Compania divizionară de mitraliere
Divizionul de cavalerie
Batalionul 12 Pionieri
Corpul IV Armată
Divizia 6 Infanterie
Brigada 11 Infanterie
Regimentul 10 Infanterie
Regimentul 24 Infanterie
Brigada 12 Infanterie
Regimentul 11 Infanterie
Regimentul 12 Infanterie
Brigada 6 Artilerie
Regimentul 11 Artilerie
Regimentul 16 Obuziere
Compania divizionară de mitraliere
Divizionul de cavalerie
Batalionul 6 Pionieri
Divizia 8 Infanterie
Brigada 15 Infanterie
Regimentul 13 Infanterie
Regimentul 25 Infanterie
Brigada 16 Infanterie
Regimentul 29 Infanterie
Regimentul 37 Infanterie
Brigada 8 Artilerie
Regimentul 12 Artilerie
Regimentul 17 Obuziere
Compania divizionară de mitraliere
Divizionul de cavalerie
Batalionul 8 Pionieri
Brigada 2 Călărași
Regimentul 3 Călărași
Regimentul 4 Călărași
Batalionul 17 Pionieri
 - Escadrilele N.1, F.2, F.6

Corpul I Armată

Divizia 7 Infanterie
Brigada 13 Infanterie
Regimentul 15 Infanterie
Regimentul 27 Infanterie
Brigada 14 Infanterie
Regimentul 14 Infanterie
Regimentul 16 Infanterie
Brigada 7 Artilerie
Regimentul 7 Artilerie
Regimentul 8 Obuziere
Compania divizionară de mitraliere
Divizionul de cavalerie
Batalionul 7 Pionieri
Divizia 9 Infanterie
Brigada 17 Infanterie
Regimentul 34 Infanterie
Regimentul 40 Infanterie
Brigada 18 Infanterie
Regimentul 35 Infanterie
Regimentul 36 Infanterie
Brigada 9 Artilerie
Regimentul 13 Artilerie
Regimentul 18 Obuziere
Compania divizionară de mitraliere
Divizionul de cavalerie
Batalionul 9 Pionieri
Divizia 15 Infanterie
Brigada 29 Infanterie
Regimentul 63/79 Infanterie
Regimentul 73/78 Infanterie
Brigada 30 Infanterie
Regimentul 74/80 Infanterie
Regimentul 75/76 Infanterie
Brigada 15 Artilerie
Regimentul 25 Artilerie
Regimentul 30/5 Obuziere
Compania divizionară de mitraliere
Divizionul de cavalerie
Batalionul 15 Pionieri
Brigada 1 Călărași
Regimentul 1 Călărași
Regimentul 2 Călărași

Corpul VI Armată

Divizia 11 Infanterie
Brigada 21 Infanterie
Regimentul 43/59 Infanterie
Regimentul 42/66 Infanterie
Brigada 22 Infanterie
Regimentul 57/58 Infanterie
Regimentul 41/71 Infanterie
Brigada 11 Artilerie
Regimentul 21 Artilerie
Regimentul 26/1 Obuziere
Compania divizionară de mitraliere
Divizionul de cavalerie
Batalionul 11 Pionieri
Divizia 13 Infanterie
Brigada 25 Infanterie
Regimentul 50/64 Infanterie
Regimentul 51/52 Infanterie
Brigada 26 Infanterie
Regimentul 47/72 Infanterie
Regimentul 48/49 Infanterie
Brigada 13 Artilerie
Regimentul 23 Artilerie
Regimentul 28/3 Obuziere
Compania divizionară de mitraliere
Divizionul de cavalerie
Batalionul 13 Pionieri
Divizia 1 Cavalerie
Brigada 2 Roșiori
Regimentul 4 Roșiori
Regimentul 9 Roșiori
Brigada 3 Roșiori
Regimentul 5 Roșiori
Regimentul 10 Roșiori
Divizionul 1 Artilerie Călăreață
Grupul 1 Automitraliere
Divizia 2 Cavalerie
Brigada 4 Roșiori
Regimentul 6 Roșiori
Regimentul 11 Roșiori
Brigada 5 Roșiori
Regimentul 2 Roșiori
Regimentul 7 Roșiori
Divizionul 2 Artilerie Călăreață
Grupul 2 Automitraliere
Brigada 5 Călărași
Regimentul 9 Călărași
Regimentul 10 Călărași
Grupul Aeronautic basarabean- Escadrilele N.3bis, F.4

Rezerva Marelui Cartier General
Divizia 1 Vânători
Brigada 1 Vânători
Regimentul 1 Vânători
Regimentul 5 Vânători
Regimentul 9 Vânători
Brigada 2 Vânători
Regimentul 2 Vânători
Regimentul 6 Vânători
Regimentul 31 Artilerie (6 baterii de 76 mm)
Regimentul 34 Obuziere (3 baterii de obuziere de 122 mm)
Divizia 2 Vânători
Brigada 3 Vânători
Regimentul 3 Vânători
Regimentul 7 Vânători
Regimentul 10 Vânători
Brigada 4 Vânători
Regimentul 4 Vânători
Regimentul 8 Vânători
Regimentul 32 Artilerie (6 baterii de 76 mm)
Regimentul 35 Obuziere (3 baterii de obuziere de 122 mm)
Divizia 16 Infanterie
Brigada Grăniceri
Regimentul 1 Grăniceri
Regimentul 2 Grăniceri
Brigada Ardeleni
Regimentul 1 Ardeleni
Regimentul 2 Ardeleni
Regimentul 33 Artilerie
Regimentul 36 Obuziere
Escadron de cavalerie
Rezerva de artilerie
Regimentul 1 Artilerie Grea
Regimentul 2 Artilerie Grea
Regimentul 3 Artilerie Grea
 - Escadrilele N.3, F.5, S.8, N.11

Note

Bibliografie
 Dabija, Gheorghe(general), Armata română în răsboiul mondial (1916-1918), vol.I-IV, Tipografia "Lupta" N. Stroilă, București, 1932-1936
 Kirițescu, Constantin, Istoria războiului pentru întregirea României, Editura Științifică și Enciclopedică, București, 1989
 Ioanițiu Alexandru (Lt.-Colonel), Războiul României: 1916-1918,vol I-II, Tipografia Geniului, București, 1929
  ***, România în războiul mondial 1916-1919, vol. I-IV, Monitorul Oficial și Imprimeriile Statului, București, 1934-1936
 ***, Marele Cartier General al Armatei României. Documente 1916 – 1920, Editura Machiavelli, București, 1996
 ***, Istoria militară a poporului român, vol. V, Editura Militară, București, 1989
 ***, România în anii primului Război Mondial, Editura Militară, București, 1987
 ***, România în primul război mondial'', Editura Militară, 1979

Vezi și
Participarea României la Primul Război Mondial
Ordinea de bătaie a Armatei României (1916)
Ordinea de bătaie a Armatei României (1917)

Unități militare române din Primul Război Mondial
Ordine de bătaie

Ordinea de bătaie a Armatei României (1918)


The European/South American Cup, more commonly known as the Intercontinental Cup and from 1980 to 2004 as the Toyota European/South American Cup (abbreviated as Toyota Cup) for sponsorship reasons, was an international football competition endorsed by UEFA (Europe) and CONMEBOL (South America), contested between representative clubs from these confederations (representatives of most developed continents in the football world), usually the winners of the UEFA Champions League and the South American Copa Libertadores. It ran from 1960 to 2004, when it was succeeded by the FIFA Club World Championship, although they both ran concurrently in 2000.

From its formation in 1960 to 1979, the competition was as a two-legged tie, with a play-off if necessary until 1968, and penalty kicks later. During the 1970s, European participation in the Intercontinental Cup became a running question due to controversial events in the 1969 match, and some European Cup-winning teams withdrew. From 1980, the competition was rebranded and contested as a single match played in Japan, regarded neutral territory for both contestants, and sponsored by multinational automaker Toyota, which offered a secondary trophy, the Toyota Cup. At that point, the Japan Football Association was involved at a logistical level as host, though it continued to be endorsed by UEFA and CONMEBOL.

The first winner of the cup was Spanish side Real Madrid, who beat Peñarol of Uruguay in 1960. The last winner was Portuguese side Porto, defeating Colombian side Once Caldas in a penalty shoot-out in 2004. The competition ended in 2004.

History

Beginnings
According to Brazilian newspaper Tribuna de Imprensa in 1958, the idea for the Intercontinental Cup rose in 1958 in a conversation between the then president of the Brazilian FA João Havelange and French journalist Jacques Goddet. The first mention of the creation of the Intercontinental Cup and the Copa Libertadores was published by Brazilian and Spanish newspapers on 9 October 1958, referring to Havelange's announcement of the project to create such competitions, which he uttered during a UEFA meeting he attended as an invitee. Prior to this announcement, the reigning European champions, Real Madrid, played just one intercontinental club competition, the 1957 Tournoi de Paris (they also played the 1956 Pequeña Copa, but scheduled their participation in it before becoming European champions). According to a video record of the highlights of the Tournoi de Paris, a video published by Journal Les Actualités Françaises on 19 June 1957, the match between Real Madrid and Vasco da Gama was the first match ever dubbed as "the best team of Europe vs. the best team of South America", as Madrid was the European champions and Vasco was the "Brazilian" (in fact, Rio de Janeiro) champions, having this match been held at Parc des Princes, then managed by Jacques Goddet; moreover, the 1957 Paris match was the only defeat of Real Madrid to a non-European side since becoming European champions in 1956 and prior to the Intercontinental Cup in 1960, having Madrid's then-president Santiago Bernabéu been one of the instigators of the Intercontinental Cup (see below); for these reasons, Vasco da Gama executives have claimed that the 1957 match and the 1958 FIFA World Cup Brazilian victory have influenced the Europeans on the importance of South American football, and thus the idea in 1958 for the creation of the Intercontinental Cup (the Madrid team declined to participate in the 1958 Paris Tournoi for it was held just 5 days before the final of the 1957/1958 European Cup). The Madrid-Vasco 1957 match was described as "being like a club world cup match" by the Brazilian press, as was a June 1959 friendly between Real Madrid and Torneio Rio – São Paulo champions Santos, which Real Madrid won 5–3.

Created in 1960 at the initiative of the European confederation (UEFA), with CONMEBOL's support, the European/South American Cup, known also as the Intercontinental Cup, was contested by the holders of the European Champion Clubs' Cup and the winners of its newly established South American equivalent, the Copa Libertadores. The competition was not endorsed by FIFA, and in 1961 FIFA refused to allow it to take place unless the participants gave it a "private friendly match" status. However, the competition went on regardless, with the endorsement of UEFA and CONMEBOL, both of whom include every edition of the competition in their records. It was the brainchild of UEFA president Henri Delaunay, who also helped Jules Rimet in the realisation of the inaugural FIFA World Cup in 1930. Initially played over two legs, with a third match if required in the early years (when goal difference did not count), the competition had a rather turbulent existence. The first winners of the competition were Spanish club Real Madrid. Real Madrid managed to hold Uruguayan side Peñarol 0–0 in Montevideo and trounce the South Americans 5–1 in Madrid to win.

After Real Madrid's victory in the first Intercontinental Cup, Barcelona newspaper Mundo Deportivo hailed the Madrid team as the first world champion club; although they pointed out that the competition "did not include Africans, Asians and other countries part to FIFA", they also expressed doubt that these regions presented football of the same quality as Europe and South America. The Spaniards titled themselves world champions until FIFA stepped in and objected; citing that the competition did not include any other champions from the other confederations, FIFA stated that they can only claim to be intercontinental champions of a competition played between two organisations. Peñarol would appear again the following year and come out victorious after beating Portuguese club Benfica on the play-off; after a 1–0 win by the Europeans in Lisboa and a 5–0 trashing by the South Americans, a play-off at the Estadio Centenario saw the home side squeeze a 2–1 win to become the first South American side to win the competition.

In 1962 the tournament grew more in worldwide attention after it was swept through the sublime football of a Santos team led by Pelé, considered by some the best club team of all times. Os Santásticos, also known as O Balé Branco ("The White Ballet"), which dazzled the world during that time and containing stars such as Gilmar, Mauro, Mengálvio, Coutinho, and Pepe, won the title after defeating Benfica 3–2 in Rio de Janeiro and thrashing the Europeans 2–5 in their Estádio da Luz. Santos would successfully defend the title in 1963 after being pushed all the way by Milan. After each side won 4–2 at their respective home legs, a play-off match at the Maracanã saw Santos keep the title after a tight 1–0 victory. The competition attracted the interest of other continents. The North and Central American confederation, CONCACAF, was created, among other reasons, to attempt the participation of North and Central American clubs in the Copa Libertadores, and thus in the Intercontinental Cup. Milan's fierce rivals, Internazionale, would go on to win the 1964 and 1965 Intercontinental Cups, beating Argentine club Independiente on both occasions, in 1964 after a play-off match won at Santiago Bernabéu in extra time with a goal from Mario Corso, becoming the first european team to win two times in a row the competition. Peñarol gained revenge for their loss in 1960 by crushing Real Madrid 4–0 in aggregate in 1966.

Rioplatense violence
However, as a result of the violence often practised in the Copa Libertadores by Argentine and Uruguayan clubs during the 1960s, disagreements with CONMEBOL, the lack of financial incentives and the violent, brutal and controversial way the Brazilian national team was treated in the 1966 FIFA World Cup by European teams, Brazilian football—including its club sides—declined to participate in international competitions in the late 1960s, including the Copa Libertadores and consequently the Intercontinental Cup. During this time, the competition became dogged by foul play. Calendar problems, acts of brutality, even on the pitch, and boycotts tarnished its image, to the point of bringing into question the wisdom of organising it at all.

The 1967 games between Argentina's Racing Club and Scotland's Celtic were violent affairs, with the third decisive game being dubbed "The Battle of Montevideo" after three players from the Scottish side and two from the Argentine side were sent off. A fourth Celtic player was also dismissed near the end of the game, but amid the chaos he got away with staying on.

The following season, Argentine side Estudiantes de La Plata faced England's Manchester United in which the return leg saw Estudiantes come out on top of a bad-tempered series. But it was the events of 1969 which damaged the competition's integrity.

 After a 3–0 win at San Siro, Milan went to Buenos Aires to play Estudiantes at La Bombonera. Estudiantes' players booted balls at the Milan team as they warmed up and hot coffee was poured on the Italians as they emerged from the tunnel by Estudiantes' fans. Estudiantes resorted to inflicting elbows and allegedly even needles at the Milanese team in order to intimidate them. Pierino Prati was knocked unconscious and continued for a further 20 minutes despite suffering from a mild concussion. Estudiantes goalkeeper Alberto Poletti also punched Gianni Rivera, but the most vicious treatment was reserved for Néstor Combin, an Argentinean-born striker, who had faced accusations of being a traitor as he was on the opposite side of the intercontinental match.

Combin was kicked in the face by Poletti and later had his nose and cheekbone broken by the elbow of Ramón Aguirre Suárez. Bloodied and broken, Combin was asked to return to the pitch by the referee but fainted. While unconscious, Combin was arrested by Argentine police on a charge of draft dodging, having not undertaken military service in the country. The player was forced to spend a night in the cells, eventually being released after explaining he had fulfilled national service requirements as a French citizen. Estudiantes won the game 2–1 but Milan took the title on aggregate.

Italian newspaper Gazzetta dello Sport dubbed it "Ninety minutes of a man-hunt". The Argentinean press responded with "The English were right" – a reference to Alf Ramsey's famous description of the Argentina national football team as "animals" during the 1966 FIFA World Cup. The Argentinean Football Association (AFA), under heavy international pressure, took stern action. Argentina's president, military dictator Juan Carlos Onganía, summoned Estudiantes delegate Oscar Ferrari and demanded "the severest appropriate measures in defence of the good name of the national sport. [It was a] lamentable spectacle which breached most norms of sporting ethics". Poletti was banned from the sport for life, Suárez was banned for 30 games, and Eduardo Manera for 20 with the former and latter serving a month in jail.

Degradation
Due to the brutality in the 1967 match, FIFA was called into providing penalties and regulating the tournament. However, FIFA stated that it could not stipulate regulations in a competition that it did not organise. Though the competition was endorsed by UEFA and CONMEBOL, René Courte, FIFA's General Sub-Secretary, wrote an article shortly afterwards (1967) stating that FIFA viewed the competition as a "European-South American friendly match". Courte's statement was endorsed by then-FIFA president Sir Stanley Rous, who then stated that FIFA saw the Intercontinental Cup as a friendly match. After these controversial statements, Madrid newspaper ABC then pointed out that, though the Intercontinental Cup was not endorsed by FIFA, it was endorsed by UEFA and CONMEBOL, therefore being an "intercontinental jurisdiction" cup. However, with the AFC and CONCACAF club competitions in place, FIFA opened the idea of supervising the Intercontinental Cup if it included those confederations, which was met with a negative response from its participating confederations, UEFA and CONMEBOL. According to Rous, CONCACAF and the Asian Football Confederation had requested in 1967 to participate in the Intercontinental Cup, which was rejected by UEFA and CONMEBOL. In 1970, the FIFA Executive Committee gathering put forward, unsuccessfully, a proposal for the expansion of the Intercontinental Cup into a Club World Cup with representative clubs of every existing continental confederation. Nevertheless, some European champions started to decline participation in the tournament after the events of 1969.

Estudiantes would face Dutch side Feyenoord the following season, which saw the Dutch side victorious. Oscar Malbernat ripped off Joop van Daele's glasses and trampled on them claiming that he was "not allowed to play with glasses". Dutch side Ajax, European champions of 1971, would decline to face Uruguay's Nacional due to violence in previous matches, which resulted in European Cup runners-up, Greek side Panathinaikos, participating. Ajax fears about Nacional's brutal game were confirmed. In the first game in Athens, Uruguayan striker Julio Morales broke the leg of Yiannis Tomaras with a brutal blow. According to the Greek press of the time, the sound of the fracture was heard up to the stands. The Greek defender collapsed on the ground and was transported unconscious out of the field. The medical diagnosis was a fracture of the tibia and fibula, an injury that effectively ended his career. Nacional won the series 3–2 on aggregate.

Ajax participated in 1972 against Independiente. The team's arrival at Buenos Aires was extremely hostile: Johan Cruyff received several death threats from Independiente's local fan firms. Due to the indifference from the Argentine police, Ajax manager Ştefan Kovács appointed an organised emergency security detail for the Nederlandse meester, headed by himself and team member Barry Hulshoff, described as a big and burly man. In the first leg, Cruyff opened the scoring in Avellaneda at the 5th minute. As a result, Dante Mircoli retaliated with a vicious tackle a couple of minutes later; Cruyff was too injured to continue and the Dutch team found themselves being assaulted with tackles and punches. Kovács had to convince his team to play on during half-time as his players wanted to withdraw. Ajax squeezed a 1–1 tie and followed up with a 3–0 trounce in Amsterdam to win the Cup. Although Ajax were the defending champions, they again declined to participate in the 1973 Intercontinental Cup after Independiente won the Copa Libertadores again, leaving it to Juventus, European Cup runners-up, to play a single-match final won by the Argentines.

Also in 1973, French newspaper L'Équipe, which helped to bring about the birth of the European Cup, volunteered to sponsor a Club World Cup contested by the champions of Europe, South America, North and Central America, and Africa, the only continental club tournaments in existence at the time; the competition was to potentially take place in Paris between September and October 1974 with an eventual final to be held at the Parc des Princes. The proposal, supported by CONMEBOL, was dismissed due to the negativity of the Europeans. In 1974, João Havelange was elected president of FIFA, having made the proposal, among others, of creating a multicontinental Club World Cup. In 1975, L'Équipe once again made its 1973 proposal, again to no avail.

West German club Bayern Munich also declined to play in 1974 as Independiente again qualified to participate. European Cup runners-up Atlético Madrid from Spain won the competition 2–1 on aggregate. Once again, Independiente qualified to participate in 1975; this time, both finalists of the European Cup declined to participate and the competition was not played. That same year, L'Équipe tried, once again, to create a Club World Cup, in which the participants would have been: the four semifinalists of the European Cup, both finalists of the Copa Libertadores, as well as the African and Asian champions. However, UEFA declined once again and the proposal failed.

In 1976, when Brazilian side Cruzeiro won the Copa Libertadores, the European champions Bayern Munich willingly participated, with the Bavarians winning 2–0 on aggregate. In an interview with Jornal do Brasil, Bayern's manager Dettmar Cramer denied that Bayern's refusal to dispute the 1974 and 1975 Intercontinental Cups were a result of the rivals being Argentine teams. He claimed it was a scheduling impossibility, rather, which kept the Germans from participating. He also stated that the competition was not economically rewarding due to the team's fan base's disinterest in the Cup. To cover the costs of playing the first leg in Munich's Olympiastadion, the organisers needed to have a minimum of 25,000 spectators. However, due to heavy snow and cold weather, only 18,000 showed up. Because of this deficit, Cramer stated that if Bayern were to win the European Cup again, they would decline to participate as it held no assurances of income.

Argentine side Boca Juniors qualified for the 1977 and 1978 matches, for which the European champions, English club Liverpool, declined to participate on both occasions. In 1977, Boca Juniors defeated European Cup runners-up, German club Borussia Mönchengladbach, 5–2 on aggregate. Boca Juniors declined to face Belgian club Brugge in 1978 leaving that year's competition undisputed. Paraguay's Olimpia won the 1979 match against European Cup runners-up, Swedish side Malmö FF, after winning both legs. However, the competition had greatly declined in prestige. After the 0–1 win of the South Americans in the first leg at Malmö, which saw fewer than 5,000 Swedish fans turn up, Mundo Deportivo called the Cup "a dog without an owner".

According to Brazilian newspaper O Estado de São Paulo, the deal for the establishment of the Interamerican Cup was made in 1968 by CONMEBOL and CONCACAF, and established that the Interamerican Cup champion club would be entitled to represent the American continent in the Intercontinental Cup. According to the Mexican newspapers, after winning the 1977 and 1980 Interamerican Cup tournaments, Mexican clubs América and PUMAS Unam, and the Mexican Football Association, demanded, unsuccessfully, to participate in the Intercontinental Cup, either by representing the American continent against the European champions or by creating a UEFA-CONMEBOL-CONCACAF tournament.

Rebirth in Japan

Seeing the deterioration of the Intercontinental Cup, Japanese motor corporation Toyota took the competition under its wing, and created contractual obligations to have the Intercontinental Cup played in Japan once a year, with every club participating being obliged to participate or face legal consequences. This modern format breathed new air into the competition which saw a new trophy handed out along with the Intercontinental Cup, the Toyota Cup.

In order to protect themselves against the possibility of European withdrawals, Toyota, UEFA and every European Cup participant signed annual contracts requiring the eventual winners of the European Cup to participate at the Intercontinental Cup – this was added as a condition to those UEFA stipulated for clubs to participate in the European Cup –or face an international lawsuit from UEFA and Toyota.

The first Toyota Cup was held in 1980, which saw Uruguay's Nacional triumph over Nottingham Forest. The 1980s saw a domination by South American sides as Brazil's Flamengo and Grêmio , Uruguay's Nacional and Peñarol, Argentina's Independiente and River Plate take the spoils once each after Nacional's victory in 1980. Only Juventus, Porto and Milan managed to bring the trophy back to Europe.

In that decade, the English Football Association attempted to organise a Club World Cup sponsored by promoting company West Nally, only to be shot down by UEFA.

The 1990s proved to be a decade dominated by European teams, as Milan, Red Star Belgrade, Ajax, Juventus, Real Madrid, Manchester United, and newcomers Borussia Dortmund of Germany were fuelled to victory by their economic powers and heavy poaching of South American stars. Only three titles went to South America, as São Paulo and Argentina's Vélez Sársfield came out the winners, each of them defeating Milan, with São Paulo's inaugural win being over Barcelona.

The 2000s would see Boca Juniors win the competition twice for South America, while European victories came from Bayern Munich, Real Madrid, and Porto.

The 2004 Intercontinental Cup proved to be the last one, as the competition was merged with the FIFA Club World Cup.

International participation

All the winning teams from Intercontinental Cup were regarded as de facto "world club champions". According to some texts on FIFA.com, due to the superiority at sporting level of the European and South American clubs to the rest of the world, reflected earlier in the tournament for national teams, the winning clubs of the Intercontinental Cup were named world champions and can claim to be symbolic World champions, in a "symbolic" club world championship, while the FIFA Club World Cup would have another dimension, as the "true" world club showdown, created because, with the passage of time and the development of football outside Europe and South America, it had become "unrealistic" to continue to confer the symbolic title of world champion upon the winners of the Intercontinental Cup, the idea to expand it being mentioned for the first time in 1967 by Stanley Rous as CONCACAF and the AFC had established their continental club competitions and requested the participation, an expansion that was to occur only in 2000 through the 2000 FIFA Club World Championship. Nevertheless, some European champions started to decline participation in the tournament after the events of 1969. Though "symbolic" or de facto as a club world championship, the Intercontinental Cup has always been an official title at interconfederation level, with both UEFA and CONMEBOL having always considered all editions of the competition as part of their honours.

FIFA recognition

Throughout the history of football, various attempts have been made to organise a tournament that identifies "the best club team in the world" – such as the Football World Championship, the Lipton Trophy, the Copa Rio, the Pequeña Copa del Mundo and the International Soccer League– due to FIFA's lack of interest or inability to organise club competitions, – the Intercontinental Cup is considered by FIFA as the predecessor to the FIFA Club World Cup, which was held for the first time in 2000.

On 27 October 2017, the FIFA Council, while not promoting statistical unification between the Intercontinental Cup and the Club World Cup, in respect to the history of the two tournaments (which merged in 2005), has made official (de jure) the world title of the Intercontinental Cup, recognising all the winners as club world champions, with the same title of the FIFA Club World Cup winners, or "FIFA Club World Champions".

FIFA recognises the Intercontinental Cup as the sole direct predecessor of the Club World Cup, and the champions of both competitions are the only ones uncontroversially officially recognised by FIFA as Club World Champions, as seen in the FIFA Club World Cup Statistical Kit, the official document of FIFA's club competition.

Trophy
The competition trophy bears the words "Coupe Européenne-Sudamericaine" ("European-South American Cup") at the top. At the base of the trophy, there is the round logo of UEFA and a map of South America in a circle.

During the sponsorship by Toyota, the competition awarded an additional trophy, entitled "Toyota Cup", usually given to the winning team's vice-captain.

Cup format
From 1960 to 1979, the Intercontinental Cup was played in two legs. Between 1960 and 1968, the cup was decided on points only, the same format used by CONMEBOL to determine the winner of the Copa Libertadores final through 1987. Because of this format, a third match was needed when both teams were equal on points. Commonly this match was host by the continent where the last game of the series was played. From 1969 through 1979, the competition adopted the European standard method of aggregate score, with away goals.

Starting in 1980, the final became a single match. Up until 2001, the matches were held at Tokyo's National Stadium. Finals since 2002 were held at the Yokohama International Stadium, also the venue of the 2002 FIFA World Cup final.

Results

Performances
The performance of various clubs is shown in the following tables:

Performance by club

Performance by country

Performance by confederation

Notes
 After the events of the 1969 Intercontinental Cup, many European Cup champions refused to play in the Intercontinental Cup. On five occasions, they were replaced by the tournaments' runners-up. Additionally, two Intercontinental Cups were called off after runners-up, too, declined to participate.

Coaches

Carlos Bianchi won three Intercontinental Cups as coach: one with  Vélez Sársfield in 1994, and two with  Boca Juniors in 2000 and 2003.
Luis Cubilla and Juan Mujica won cups both as players and coaches:
Luis Cubilla (played for  Peñarol in 1961 and for  Nacional in 1971, then coached  Olimpia in 1979)
Juan Mujica (played for  Nacional in 1971, and coached it in 1980)

Players
Alessandro Costacurta and Paolo Maldini played five times in the competition, all with  Milan (1989, 1990, 1993, 1994, 2003).
 Estudiantes (1968, 1969 and 1970) and  Independiente (1972, 1973 and 1974) played in three consecutive years. A few players in those teams participated in all three, including Carlos Bilardo and Juan Ramón Verón.

All-time top scorers

 Pelé is the all-time top scorer in the competition having scored seven goals in three matches.
 In 1962, he scored five goals in two matches against  Benfica, including a hat-trick in the second leg played in Lisbon (the only hat trick in competition's history).
 In 1963, he scored two goals in the first leg (vs AC Milan).
 Only six players scored at least three goals in the Intercontinental Cup.

Hat-tricks
Pelé is the only player to have scored a hat-trick in an Intercontinental Cup match (1962 second leg, vs Benfica in Lisbon).

Man of the Match
The man of the match was selected from 1980.

See also
Intercontinental Champions' Supercup
List of association football competitions
List of world champion football clubs

References

Bibliography

External links

 Intercontinental Club Cup at the RSSSF

Defunct CONMEBOL club competitions
Defunct UEFA club competitions
FIFA club competitions
World championships in association football
Recurring sporting events established in 1960
Recurring events disestablished in 2004
November sporting events
December sporting events

Intercontinental Cup (football)


هورامان   هي منطقة جبلية تقع ضمن محافظتي كردستان وكرمانشاه في غرب إيران وفي شمال شرق إقليم كردستان في العراق. تقع على هذه السلسلة مدن مريوان وباوه في الجانب الإيراني ومدينة حلبجة وناحية خورمال في الجانب العراقي. معظم سكان هذه المنطقة يتحدثون اللهجة الهورامية والتي هي جزء من اللهجة الكورانية والتي هي فرع من اللغة الكردية. كما أن هذه المنطقة تضم عدداً من أتباع الطائفة اليارسانية. وهي مشهورة بطبيعتها الخلابة والماء الصافي العذب والطيور بأنواعها وعدد وفير من الخراف والأبقار والماعز.

ومن الناحية الفنية، فأن سكان هورامان لديهم نبرة صوت خاصة وأغانيهم مشهورة وهي تتكون من أنواع: منها البطيء لتكوين مزاج هادئ، ومنها الرقص السريع (دبكة).

المحاصيل الزراعية
تشتهر هورامان بزراعة الجوز والمشمش والخوخ والرمان. وينتشر في حدود محافظة حلبجة الواقعة قرب الشريط الحدودي بين العراق وإيران من جهة شمال الشرق، أكثر من خمسة وثمانين ألف شجرة جوز و12 ألف دونم من البساتين المثمرة.

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سلاسل جبلية
مناطق العراق
مناطق إيران
مواقع التراث العالمي في إيران

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