Metal Church is an American heavy metal band formed in 1980. Originally based in San Francisco, California, they relocated to Aberdeen, Washington the following year and briefly called themselves Shrapnel. Led by guitarist and songwriter Kurdt Vanderhoof, the band has released twelve studio albums and is considered to be an integral part of the Seattle heavy metal music scene of the 1980s. They achieved considerable popularity that decade, with two of their first three albums entering the Top 100 on the US Billboard 200 chart. The band's early lyrical topics such as conflict and paranoia later expanded into philosophical and social commentary.

Metal Church has had a revolving lineup of vocalists, guitarists, bassists and drummers throughout its -year career, and Vanderhoof remains the group's sole consistent creative force, despite reducing his role strictly to composition in 1986 after tiring of performing. The "classic" lineup of Vanderhoof, vocalist David Wayne, guitarist Craig Wells, bassist Duke Erickson, and drummer Kirk Arrington recorded the band's first two studio albums, Metal Church (1984) and their major breakthrough The Dark (1986). By the end of the 1980s, Vanderhoof and Wayne had parted ways with the band and were replaced by vocalist Mike Howe and guitarist John Marshall respectively. Metal Church's popularity continued with their third album Blessing in Disguise (1989), which spawned one of their best-known songs "Badlands". After releasing two more studio albums with Howe, The Human Factor (1991) and Hanging in the Balance (1993), the band first called it quits in 1996.

Metal Church reformed in 1998 with most of their "classic" lineup, including Vanderhoof's return to performance, resulting in the Masterpeace album. They endured numerous lineup changes thereafter, releasing three further studio albums while fronted by Ronny Munroe (who replaced Wayne in 2003) before disbanding once again in July 2009. The group reunited for the second time in October 2012, and released their tenth studio album Generation Nothing a year later. Following Munroe's departure in the fall of 2014, Metal Church considered disbanding for the third time before Howe was rehired in April 2015 as the band's lead singer. He recorded two more albums with the group, which enjoyed a renewed popularity in the mid-to-late 2010s, before his death on July 26, 2021. Howe has since been replaced by Marc Lopes, who debuted on the band's thirteenth studio album Congregation of Annihilation (2023).

History

Formative years (1980–1984)
Then based in San Francisco, Kurdt Vanderhoof formed the band in 1980 with various musicians. This era included a brief audition period with future Metallica drummer Lars Ulrich. The three-song, instrumental Red Skies demo appeared in 1981, featuring Vanderhoof, guitarist Rick Condrin, bassist Steve Hott, and drummer Aaron Zimpel.

Vanderhoof returned to his hometown of Aberdeen in 1981 and began the new group Shrapnel with Craig Wells, Duke Erickson, drummer Tom Weber, and vocalist Mike Murphy.  Murphy departed before their next demo, which was recorded without vocals, and Weber departed shortly thereafter. The enlistment of Kirk Arrington and David Wayne completed the group's classic lineup. They released the demo Four Hymns and spent following years touring and accruing material, readopting the Metal Church moniker in 1983. The song "Death Wish" is featured on the compilation album Northwest Metalfest.

First two records and commercial success (1984–1988)
In 1984, they released their self-titled debut album, which included three songs from the Four Hymns demo and a cover of Deep Purple's "Highway Star". They sold 70,000 copies of the album independently before signing to Elektra. According to Wayne, Ulrich and Metallica bandmate James Hetfield urged Elektra to sign the band before another label did.

By the time Metal Church released their second studio album, The Dark, in 1986, they were touring with high-profile acts including Metallica. The Dark was a commercial success, helped by the fact that the band's first music video, "Watch the Children Pray", received frequent airplay on MTV. As a result, the album managed to enter the US Billboard 200, and saw Metal Church support the album with a world tour from October 1986 to July 1987, playing with bands such as King Diamond, Celtic Frost, Testament, Overkill, D.R.I., Trouble and, individually, with each of the "big four" of thrash metal (Metallica, Megadeth, Slayer and Anthrax).

Shortly after the album's release, however, they were plagued by lineup changes: Vanderhoof ceased performing with the group in 1986, to be replaced briefly by Mark Baker and more extensively by John Marshall. Vanderhoof nonetheless continued to work with the group in composing thereafter, co-writing much of their subsequent material. Wayne also departed shortly thereafter and was replaced by former Heretic singer Mike Howe. Wayne teamed up with the remaining members of Heretic to form Reverend.

Further albums and first breakup (1989–1996)
With Howe and Marshall, Metal Church released their third studio album, Blessing in Disguise, in 1989.  Critics responded favorably, including some assertions that the record was the group's strongest effort. Blessing in Disguise was even more successful than its predecessors, peaking at number 75 on the Billboard 200; this was Metal Church's highest chart position, until it was surpassed 27 years later by XI. The album's success was attributed to the music video for "Badlands" getting airplay on MTV's Headbangers Ball, and its opening track "Fake Healer" receiving some attention from mainstream radio stations, most notably KNAC and Z Rock; unlike "Badlands", however, no music video was released for "Fake Healer". After spending much of 1989 and 1990 touring heavily behind Blessing in Disguise (performing with numerous bands such as Metallica, W.A.S.P., Accept, Annihilator, Saxon, Meliah Rage, Forced Entry and D.B.C.), the band was dropped from Elektra.

Metal Church released its fourth studio album, The Human Factor, on Epic Records in 1991. Critics applauded the group for transitioning to a major label and successfully retaining the vitality of their sound, while also releasing a record with conceptual accessibility beyond the heavy metal genre. Unlike their previous two albums, however, The Human Factor failed to chart on the Billboard 200.

The band followed with their fifth studio album, 1993's Hanging in the Balance on Mercury Records. After touring almost non-stop in support of that album for about two years, Metal Church officially disbanded in 1996, citing management problems and poor record sales as factors.

Reunion of classic lineup and Masterpeace (1998–2001)

The members of Metal Church began compiling their first live album in 1998, Live, which featured songs from their first two records performed by their classic lineup. During the production of Live, Wayne, Vanderhoof, Wells, Arrington, and Erickson decided to reform the band and began work on a new studio album.  Wells was forced to depart the band due to familial obligations, however, and was replaced by the returning Marshall. The live album Live in Japan (recorded on the band's 1995 Japanese tour) was also released in 1998, only in Japan.

The resulting album, Masterpeace, was released in 1999 on Nuclear Blast Records. Critics responded positively, hailing it as a focused product that increased the energy over previous releases, despite it ultimately failing to break new ground.  Arrington and Erickson were unable to tour behind the record, so the band enlisted members of Vanderhoof's side projects, bassist Brian Lake and drummer Jeff Wade, for live performances later that year.

Wayne expressed regret regarding the record, which influenced his musical output that followed. He again departed in 2001 due to personal and creative differences, forming the group Wayne with Wells and releasing the curiously titled debut album Metal Church thereafter. Vanderhoof objected to the album's name and cover art; according to Wayne, the purpose of the album's name was to alert the audience of his involvement. Erickson and Marshall also ceased involvement with Metal Church after Wayne's departure.

Munroe-led lineup, Wayne's death, and second breakup (2002–2009)
Vanderhoof's eponymous band released A Blur in Time in 2002, and he began working on new material for Metal Church's next album thereafter.  In 2003, he and Arrington recruited singer Ronny Munroe, former Malice guitarist Jay Reynolds, and bassist Steve Unger to form a new lineup of Metal Church. The band's seventh studio album, The Weight of the World, was released in the following year. Critics generally reacted to the record with a lukewarm response, recognizing its accomplishments while noting its lack of consistency and innovation.

On May 10, 2005, David Wayne died of complications from injuries sustained in a car accident that occurred months before. He was 47 years old.

In 2006, Arrington left the band due to health complications with diabetes. His replacement was Jeff Plate, who previously worked with Savatage, Chris Caffery and the Trans-Siberian Orchestra.  Later that year, the band released their eighth studio album, A Light in the Dark, which featured a re-recording of "Watch the Children Pray" as a tribute to Wayne. Vanderhoof said that the tribute was a way of showing fans that he harbored no ill will towards Wayne despite the contentious situation that existed between them before Wayne's death.

Reynolds left the group in 2008 and was replaced by Rick Van Zandt.  The band's ninth studio album, This Present Wasteland, followed in 2008, which was hailed generally as an effective release consistent with their previous material.  After subsequent touring, the band took a hiatus from performing due to Vanderhoof's back problems. They nonetheless continued studio work, while Munroe and Vanderhoof also completed the former's solo album.

After Vanderhoof's health improved, they returned to performing and composing new material.  On July 7, 2009, however, the group announced unexpectedly that they were disbanding following a final performance at Rocklahoma two days later, cancelling numerous further live dates. They cited industry frustrations as a major factor influencing the decision. Several former members remained musically active, including Munroe and Vanderhoof in Presto Ballet and Plate in Machines of Grace.

Second reformation, Generation Nothing and rotating singers (2012–2015)

In October 2012, the band announced resumption of activity around a lineup featuring Vanderhoof, Munroe, Unger, Reynolds (soon replaced by Van Zandt), and Plate. Their first performances came the following January during the 70,000 Tons of Metal event, a heavy metal cruise. During one of these two shows, the band performed their debut album, Metal Church, in its entirety. Shortly thereafter, Vanderhoof told Music Life Radio that Metal Church had been working on a new album. In order to promote their tenth studio album, the band played festivals in the summer of 2013. The album, Generation Nothing, was released in October.

Munroe left the band in September 2014 to "pursue other interests". The band announced its plans to continue nonetheless. On April 30, 2015, Metal Church announced on their Facebook page that former singer Mike Howe had rejoined the band, some 20 years after first leaving the band.

According to Howe, Metal Church was on the verge of disbanding once more before he agreed to rejoin the band. He explained to Spotlight Report in May 2016: "Kurdt Vanderhoof got ahold of me in August of 2014, and he proposed [me] coming back to the band. He said Ronny [Munroe] left the band and he didn't really wanna carry on with Metal Church unless maybe I would consider coming back. So I said, 'Well, I don't know. I'm open to it. But let's see what kind of music we can come up with.' So Kurdt went back to the studio and started writing songs in the vein of 'Hanging In The Balance', where we left off twenty years ago, and he sent them to me over the Internet. And I was, like, 'Damn! The guy still has it and he's doing great work.' So he sent me another batch, and that batch was just as good [as], if not better than, the other. So, from there, I said, 'Well, I can't say no to this. And let's just see how it goes.' And we started writing lyrics and getting together, and it's morphed into being back in Aberdeen in the studio making the new Metal Church record."

XI and Damned If You Do (2016–2020)
Metal Church released their eleventh studio album, XI, on March 25, 2016, and it was their first album with Howe on vocals since 1993's Hanging in the Balance. Hailed by some critics as a comeback album, XI received positive reviews from critics, and was Metal Church's first album in 27 years (since Blessing in Disguise) to enter the Billboard 200; the album peaked at number 57, making it the band's highest chart position in their career. On the album's supporting tour, guitarist Rick Van Zandt had to go in for emergency eye surgery to repair a detached retina, and was temporarily replaced by former Firewolfe guitarist Paul Kleff, and Savatage guitarist Chris Caffery. The band co-headlined a West Coast North American tour with Armored Saint in June 2016, and along with Amon Amarth, Suicidal Tendencies and Butcher Babies, they supported Megadeth on the latter's Dystopia tour in September–October 2016.

When asked in October 2016 if he intended write another album with Metal Church, Howe stated, "We have every intention of doing that and that's what it's all about. If you're not putting on new music, then it's time to go away for me. In Metal Church... it's always been like a two-year cycle band, but we put our album out this year in March. So our album is actually only being out for six months. But we have plans on this fall getting back to writing and try to put something out next year. We're also looking at some dates for the spring possibly back in the States and maybe back over here. But our drummer Jeff, he's also on the TSO. He leaves from the end of October through December. So we might take that time to start writing new record."

Metal Church released a live album on April 28, 2017, titled Classic Live, which was recorded on the 2016 XI tour. This is the band's first live album since 1998's Live in Japan, and their first live album with Howe on vocals.

On March 21, 2017, drummer Jeff Plate announced his departure from Metal Church. As the result of his departure, the band withdrew from a U.S. tour with Alter Bridge and In Flames that was scheduled to take place in May 2017. Plate was replaced by former W.A.S.P. drummer Stet Howland.

In a May 2017 interview, Vanderhoof stated that Metal Church had begun writing and demoing their twelfth studio album, which would be tentatively due in early 2018.

On October 1, 2018, Metal Church teased an audio sample of a song from their twelfth studio album. The album, Damned If You Do, was announced shortly after and it was released on December 7, 2018. In support of Damned If You Do, Metal Church co-headlined a North American tour with Doro in April–May 2019, and performed at Megadeth's first-ever Megacruise that October.

In a July 2019 interview with Italy's Metalforce, Howe said that Metal Church would likely begin writing new material in 2020. Vanderhoof stated in an interview with Metal Wani in April 2020 that Metal Church would "probably start writing that later in the summer." He concluded, "We're gonna sit and we're gonna wait till there's a new album, and then we'll go out and do the normal promoting it or backing it up by touring and playing shows. But we're gonna wait till there's a new record."

Metal Church released their first compilation album From the Vault on April 10, 2020. It contains four new studio tracks, five B-side tracks from the Damned If You Do sessions, three song covers and two tracks culled from their performance at Club Citta in Kawasaki, Japan. The band stated on their Facebook page in July 2021 that their thirteenth studio album would be released in 2022.

Howe's death,  new singer and Congregation of Annihilation (2021–present)
On July 26, 2021, Metal Church announced that Howe had died that morning at his home in Eureka, California, at the age of 55. His death was ruled to be a suicide by hanging. In October 2021, after announcing the return of his short-lived early 1990s band Hall Aflame, Vanderhoof hinted on his Facebook page that Metal Church would continue on with a yet-to-be-announced replacement for Howe. A month later, drummer Stet Howland revealed that he and the remaining members of the band had started to "communicate again" following Howe's death. Although he did not specify the current state of Metal Church, Howland declared, "We're all slowly digesting. We just started talking again a few weeks ago, and we're barely talking about anything except making jokes, and we have our banter, we're starting to joke and communicated again together. Building on the future will come, but right now... we're just like hugging right now, we're all like 'I love you, man'. That's kind of where we're at. I know everybody wants to know more, when there's more you'll hear about it." By mid-2022, rumors suggested that Ronny Munroe would rejoin the band, but resulted in him joining Vicious Rumors.

In a September 2022 interview with Metal Rules, Vanderhoof revealed that the band had found a replacement for Howe, but added that they were "keeping a lid" on the identity of their new singer "for the time being." He also revealed that a new Metal Church album, which they had begun writing just before Howe's death, would be released in 2023. The band played one of their first shows in four years at Belgium's Alcatraz Open Air in August 2023.

On February 2, 2023, Metal Church announced Marc Lopes as their new lead vocalist. A month later, the band announced their thirteenth album, Congregation of Annihilation, would be released on May 26. Four days prior to the album's release, former Metal Church drummer Kirk Arrington died at the age of 61.

An authorized book by author James R. Beach and co-author and archivist Brian L. Naron, titled Beyond the Black: The Story of Metal Church, is tentatively due in November 2023. In addition to past and present members of Metal Church, the book will include interviews with the band's road crew members, record producers and contemporaries, and a foreword by former Grim Reaper guitarist Nick Bowcott.

Members

Current members
Kurdt Vanderhoof – rhythm guitar, keyboards (1980–1986, 1998–2009, 2012–present)
Steve Unger – bass, backing vocals (2003–2009, 2012–present)
Rick Van Zandt – lead guitar (2008–2009, 2012–present)
Stet Howland – drums, percussion (2017–present)
Marc Lopes – lead vocals (2023–present)

Discography

Studio albums
 Metal Church (1984)
 The Dark (1986)
 Blessing in Disguise (1989)
 The Human Factor (1991)
 Hanging in the Balance (1993)
 Masterpeace (1999)
 The Weight of the World (2004)
 A Light in the Dark (2006)
 This Present Wasteland (2008)
 Generation Nothing (2013)
 XI (2016)
 Damned If You Do (2018)
 Congregation of Annihilation (2023)

Live albums
 Live (1998)
 Live in Japan (1998)
 Classic Live (2017)

Compilation albums
 From the Vault (2020)

Demos
 Red Skies (1981)
 Hitman (1983)
 Four Hymns (1983)

Singles
 "Gods of Wrath" (1985)
 "Start the Fire" (1986)
 "Watch the Children Pray" (1986)
 "Iron Man" (1988) (with Sir Mix-a-Lot)
 "Badlands" (1989)
 "Fake Healer" (1989)
 "Date with Poverty" (1991)
 "In Harm's Way" (1991)
 "In Mourning" (1991)
 "The Human Factor" (1991)
 "Gods of Second Chance" (1993)
 "Mirror of Lies" (2006)
 "No Tomorrow" (2016)
 "Killing Your Time" (2016)
 "Reset" (2016)
 "Needle and Suture" (2016)
 "Fake Healer" (2017) (with Todd La Torre)
 "Damned If You Do" (2018)
 "By the Numbers" (2018)
 "Pick a God and Prey" (2023)
 "Making Monsters" (2023)

References

External links

Official website

1980 establishments in California
American musical quintets
American power metal musical groups
American thrash metal musical groups
Heavy metal musical groups from California
Heavy metal musical groups from Washington (state)
Musical groups established in 1980
Musical groups disestablished in 1996
Musical groups reestablished in 1998
Musical groups disestablished in 2009
Musical groups reestablished in 2012
Musical groups from San Francisco
Musical groups from Seattle
Thrash metal musical groups from California

Metal Church


"Nada Contra (Ciúme)" (estilizado em caixa baixa) é uma canção gravada pela cantora brasileira Clarissa Müller, lançada como um single sem álbum no dia 20 de agosto de 2021. A canção ganhou o TikTok Awards 2021 na categoria "Hit do Ano". No dia 12 de novembro, ela lançou um videoclipe para a canção.

Prêmios e indicações

|2021
|TikTok Awards
|Hit do Ano
|"Nada Contra (Ciúme)"
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|}

Canções de 2021
Singles de 2021

Nada Contra (Ciúme)


දේශිය නාට්‍යය කලාවේ වැදගත් සන්ධිස්ථානයක් සනිටුහන් කරමින් ඇරඹි කවි නාඩගම් වලින් පසුව නාඩගම් ජනප්‍රියත්වයට පත්විය. දක්ෂිණ භාරතීය වීර්‍ට නාට්‍ය වල අභාෂය ඇතිව නිර්මාණය වු නාඩගම් කලාවේ පියා ලෙස සලකනු ලබන්නේ පිලිප්පු සිංඤෝ නම් කලාකරුවෙකි. මෙය නාඩගම් කලාවේ දෙවන අවස්ථාව ලෙස පෙනේ. වෘත්තිමය වශයෙන් කම්මල් කරුවෙකු වු මොහු 1770 දී පමණ උපන් අයෙකි. කතෝලික ආගම් භක්තිකයෙකු වු මොහු කම්මලේ වැඩකරන අවස්ථාවේ පවා නාඩගම් නාට්‍ය පෙළ සැකසු බව කියවේ. මේසේ රචනා කළ මුල් කාලීන නාඩගම් ද්‍රවිඩ භාෂාවෙන් ද පසුව ද්‍රවිඩ වචන බහුලව යෙදීමෙන් හා සංස්කෘත භාෂාවෙ වචන භාවිතා  බහුලව යෙදුමෙන් සකස් වුවත් පසු කාලය වන විට සිංහල ජන‍වහරට සමීප බසක් භාවිතා කරන ලදී. ඉන් පසුව ඔ‍වුන් සිය නිර්මාණ සදහා ජාතක කථා,  සිංහල සාහිත්‍යයේ පු‍වත් යොදා ගන්නා ලදී. මෙසේ රචනා කරන ලද නාඩගම් ලෙස ඇහැලේපොල, සිංහවල්ලී, සකුන්තලා, රජතුන්කට්ටු‍ව, සෙනගප්පු ආදිය දැක්විය හැකිය.

නාඩගම්
නාඩගම් වල භාෂාව දෙස බලන විට විවිධ භාෂා වලින් ගත් වචන දැකිය හැකිය. ශබ්ද රසයට  මුල් තැනක් දී තිබෙන බැව් පැහැදිලි කරුණකි. සාහිත්‍යයක වචන වෙනස් කරමින් අර්ථ ශුන්‍ය වචන භාවිතය විශේෂයෙන් දැකිය හැකි අතර එසේ කර ඇත්තේ ශබ්ද රසයට ප්‍රමුඛතාව දීමට විය හැකිය. නාඩගම් සදහා යොදා ගනු ලැබුවේ කර්ණාටක සංගීතයයි. සිංදු මාධ්‍ය කොට ගත් කවි වලට සමාන තාලයක් නොමැති ගායනා විලාස දැකිය හැකිය.

"නිල්සිකි පිලසේ දිගු වරලා
හෙලා පුලාවි අදරී"

ආදී වශයෙන් පිලිප්පු සිංඤෝගේ ස්ථාක්ති නාඩග‍මේ ඇතුලත් ගීතයේ "රංග ශෘංගාරතුංග ජෝගියේ" ආදී වචන යොදා ගෙන තිබේ.

ද්‍රවිඩ අභාෂය
"ඉන්ද්‍ර කැට, සුරඔ සබායා, කුඹු සොලවාලු නෙත නටවාලු" වැනි විවිධ භාෂාවන් වල වචන යොදා තිබෙන බැව් පෙනේ. එමෙන්ම නාඩගම් කවිවල යොදා ඇත්තේ ද්‍රවිඩ ඡන්දස්ය. එම කවිවල විරිත් ද  ද්‍රවිඩ ගී විරිත් අනුගමනය කරන ලද බැව් පෙනේ. එමෙන්ම නාඩගම් වල භාවිතා කරන තර්ගම් හා වචනම් ද ද්‍රවිඩ අභාෂයෙන් යොදා ගත්තක් බව පෙනේ. එපමණක් නොව ගායන ශෛලීන් වලද    කොච්චිකම්, වඩබෝධි, තෙක්මෝඩි, මුරිවාඩ්, කුරිඩාඩ් ආදියද පොතේ ඉන්නිස තර්ගය, සිංදුව, තෝඩායම ආදිය ද සෙල්ලන් ළමා කෝනංගී සෙල්ලයිලෙ‍් ආදී භාවිතයෙන් ද්‍රවිඩ අභාෂයන් ලබා ඇති බැව් පෙනේ. එබැවින් ද්‍රවිඩ අභාෂය තුලින් නාඩගම් පෝෂණය වී ඇති බව නොරහසකි. කෙසේ නමුත් 19 වන සියවසේ ඇරඹි  නාඩගම් කලාව පසු කාලය වන විට දේශිය ලක්ෂණ වලින් යුතුව දේශිය නාට්‍ය සම්ප්‍රදායක් බවට පත් වී තිබුණු බ‍ව පෙනේ.

ශ්‍රී ලංකාව

දේශීය නාට්‍ය කලාවෙ සංස්කෘතික පසුබිම


DIN 929 er en DIN-Standard for en svejsemøtrik. Den har standard gevindstigning (ISO-metrisk gevind), men har noget større nøglevidde end alm standardmøtrikker (DIN 555) for de fire mindste størrelser.

h1 er højden på kanten mærket 'G'
h2 er højden på de tre 'tænder' i spidserne

Kilde
http://bolte.dk/svejsemoetrikker
http://www.schrauben-lexikon.de/technische-masse-DIN.asp

DIN-standarder

DIN 929


Giorgi Margvelasjvili (georgisk: გიორგი მარგველაშვილი, født den 4. september 1969) er en georgisk politiker som var den fjerde præsident af Georgien (2013–2018).

Kilder og henvisninger

Georgiens præsidenter

Giorgi Margvelasjvili


Alexandre Clément Léon Joseph Luigini (9 March 185029 July 1906) was a French composer and conductor, especially active in the opera house.  As a composer, he is now remembered almost solely for his  Ballet égyptien.

Life and career
Luigini was born in Lyon in 1850.  His grandparents had moved to Lyon from Modena, Italy, when his grandfather took up the post of trumpeter with the orchestra of the Grand Théâtre. Alexandre Luigini was brought up with music, his father Joseph also playing with, and later conducting, the orchestra of the Grand Théâtre. He was the nephew of César and (another) Alexandre Luigini, both noted instrumentalists. His daughter was the harpist Caroline Luigini, who married the painter Victor Tardieu. His grandson is the poet Jean Tardieu.

After studying at the Conservatoire in Paris where he gained a second prize for violin, Luigini returned to Lyon and from 1872 played as a violinist in the theatre orchestra, which he went on to lead, becoming conductor in 1877. As resident conductor he was also expected to meet the compositional demands of the theatre, leading to a number of ballets, operas and orchestral suites. In 1879 he was appointed professor of harmony and composition at the Conservatory of Lyon.

In 1897 he left Lyon to take up the conductorship of the Opéra-Comique in Paris, and led a busy life until his sudden death there in 1906. At the Opéra-Comique he notably conducted the world premiere of Jules Massenet's Cendrillon on 24 May 1899. The other premieres he conducted were Aphrodite 1906, Enfant roi 1905, Le Juif polonais 1900, Miarka 1905, Muguette 1903, and L'Ouragan 1901. He also supervised revivals of Alceste, Falstaff, Fidelio, Le Roi d'Ys and The Flying Dutchman, among others. Paris premieres conducted by Luigini included Chérubin, Hélène, Le jongleur de Notre-Dame and the first staging of Marie-Madeleine.

As a theatre conductor he followed the old practice of having his conductor's stand directly against the prompt box.

Luigini's Ballet égyptien (1875) is his best known work, gaining great popularity in the early 20th century as a concert suite. It originally gained prominence when it was included in the second act of Verdi's Aida for a performance in Lyon in 1886.

His compositions reflect his stage-orchestra background, being mostly light music for ballet and operas: Ange et démon, Le Rêve de Nicette, Les Caprices de Margot (one-act opéra comique, Lyon, 1877), Reine des fleurs, Fleurs et papillons, Les Écharpes, Le Meunier, Arlequin écolier, Faublas (three-act operetta, Théâtre Cluny, Paris, 1881). He also composed a number of songs and works for string quartet and other chamber groups.

References

External links

1850 births
1906 deaths
Musicians from Lyon
19th-century classical composers
19th-century conductors (music)
19th-century French composers
20th-century classical composers
20th-century French conductors (music)
20th-century French composers
20th-century French male musicians
French ballet composers
19th-century French male classical violinists
French male classical composers
French male conductors (music)
French people of Italian descent
French Romantic composers
Music directors (opera)

Alexandre Luigini


An Carex eriophylla in uska species han Liliopsida nga syahan ginhulagway ni Georg Kükenthal, ngan ginhatag han pagkayana nga asya nga ngaran ni Vladimir Leontjevitj Komarov. An Carex eriophylla in nahilalakip ha genus nga Carex, ngan familia nga Cyperaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Carex

Carex eriophylla


Događaji

Rođenja

Smrti
 13. prosinca  Fridrik II., car Svetog Rimskog Carstva (* 1194.)

Izvori

Vanjske poveznice

1250.


El Condado Palatino de Cefalonia y Zacinto () existió desde 1185 hasta 1479 como parte del Reino de Sicilia. El título y el derecho a gobernar las Islas Jónicas de Cefalonia y Zacinto fueron entregadas originalmente a Margaritone de Bríndisi por sus servicios a Guillermo II, rey de Sicilia, en 1185.

Después de Margaritone, el condado pasó a una rama de la familia Orsini hasta 1325, cuando pasó brevemente a los Anjou y luego, a partir de 1357, a la familia Tocco. Los Tocco utilizaron el condado como trampolín para la adquisición de tierras en la Grecia continental y consiguieron controlar el Despotado de Epiro en 1411. Sin embargo, al enfrentarse al avance de los turcos otomanos, perdieron sucesivamente sus territorios continentales y fueron reducidos de nuevo al condado palatino, que ocuparon hasta 1479, cuando se dividió entre Venecia y los otomanos.

Historia

Creación

El comienzo de la conquista franca de las islas de Cefalonia, Zacinto e Ítaca estuvo vinculado al pirata y almirante de la armada siciliana Margaritone de Bríndisi, conocido por los cronistas de finales del . Desarrolló una importante actividad como corsario de Guillermo II, rey normando de Sicilia. En documentos latinos de 1192 y 1193, firmó en griego como Μαργαρίτος Βρεντεσίνος αμιράς κόμης Μελιτήιος (Margaritone de Bríndisi, almirante y conde de Malta). Independientemente de la ascendencia poco clara de Margaritone, es seguro que Guillermo II, después de su invasión de 1185 contra las provincias bizantinas, le concediera las nuevas adquisiciones en el mar Jónico, a cambio de los servicios que había ofrecido al normando.

Gobierno bajo la familia Orsini

Diez años más tarde, en 1195, Mateo o Maio Orsini, a quien generalmente se le considera un descendiente de la noble familia romana Orsini, sucedió a Margarito como conde palatino. Para asegurar su posición, Mateo reconoció la soberanía de la República de Venecia en 1209, del papa en 1216 y luego del Principado de Acaya en 1236. Durante ese mismo período el obispado ortodoxo de las islas fue abolido, las sedes episcopales fueron ocupadas por latinos y se puso en vigor el sistema feudal. El sucesor de Mateo, Ricardo, confirmó las propiedades del obispado latino de Cefalonia en 1264. Durante el reinado de este último, Ítaca se había convertido en refugio de piratas.

La familia Orsini no solo gobernó las islas, sino que también se hizo con el poder en Epiro a principios del  y también adquirió el título de déspotas. Ciertos miembros de la familia se convirtieron a la fe ortodoxa y se casaron con mujeres griegas. En 1325, Juan de Anjou, príncipe de Acaya, confisco el condado a los Orsini ya que el gobernador de Cefalonia rehusó darle la bienvenida durante su viaje a Acaya.

Ocupación del condado por los Anjou

La ocupación de los Anjou duró hasta 1357, cuando el territorio fue cedido a la familia italiana de los Tocco, que permaneció en el poder durante más de un siglo y aseguró la unidad en el gobierno de las tres islas. En 1357, el príncipe Roberto de Tarento confirió Cefalonia, Zacinto e Ítaca al gobernador de Corfú, Leonardo I Tocco, como recompensa por los servicios que había prestado cuando estaba cautivo de Luis I de Hungría.

Periodo de los Tocco y caída

Después de la expansión de su dominio a Léucade, Leonardo I intentó reforzar su posición entablando relaciones familiares con la poderosa familia florentina de los Acciaioli. Esta política dio a la familia de Tocco un mayor poder, que alcanzó su punto máximo durante el  con su expansión a la costa de la Grecia central, después de que Carlo I Tocco conquistó Ioánina en 1411 y Arta en 1416. Recibió el título de déspota del emperador bizantino Manuel II Paleólogo y mantuvo la tradición bizantina. Según la Crónica de los Tocco, la familia intentó congraciarse con la población mediante la concesión de derechos y propiedades a los señores nativos; un ejemplo de esto es la familia Galati, que recibió privilegios en la isla de Ítaca. En 1452, Leonardo III Tocco, restableció el obispado ortodoxo de Cefalonia que había sido abolido por los Orsini.

Sin embargo, al enfrentarse al avance de los turcos otomanos, Leonardo III perdió sucesivamente sus territorios continentales y se vio reducido nuevamente al condado palatino original, que gobernó hasta 1479, cuando se dividió entre Venecia y los otomanos.

Condes palatinos de Cefalonia y Zacinto

No dinástico (1185-1195)

Casa de Orsini (1195-1325)

Casa de Anjou (1325-1357)

Casa de Tocco (1357-1479)
Las figuras significativas de la sucesión que no fueron condes palatinos de todas las islas, como Leonardo II Tocco, se indican con color de fondo beige.

Notas

Referencias

Bibliografía

Estados y territorios fundados en 1185
Estados y territorios desaparecidos en 1479
Antiguos condados de Europa en la Edad Media
Estados y territorios desaparecidos de Grecia

Condado Palatino de Cefalonia y Zacinto


Koori (also spelt koorie, goori or goorie) is a demonym for Aboriginal Australians from a region that approximately corresponds to southern New South Wales and Victoria. The word derives from the Indigenous language Awabakal clan, Worimi nation, Gathang language|Awabakal]]. For some people and groups, it has been described as a reclaiming of Indigenous language and culture, as opposed to relying on European titles such as "Aboriginal". The term is also used with reference to institutions involving Koori communities and individuals, such as the Koori Court, Koori Radio and Koori Knockout.

The Koori region is home to the largest proportion of Australia's Indigenous population (Aboriginal and Torres Strait Islander people), with 40.7% of Indigenous Australians living in either New South Wales or Victoria. Within the region however, Koori-identifying people make up only 2.9% and 0.8% of the overall populations of New South Wales and Victoria respectively. Most of this Koori population speak English in the home, although a small number do report continued usage of traditional Indigenous languages.

Koori culture is characterised by a commitment to the Dreaming, an overall worldview that believes in and values interconnectedness between the land and community. Koori art and literature continue to be produced in contemporary Australia, often with reference to traditional Indigenous artistic techniques.

The first recorded meeting between Koori people and Europeans occurred in 1770. Kooris have since experienced a sharp population decline, influenced by the colonisation of Australia by Europeans. The legacy of colonisation is still strongly felt, and has had ongoing ramifications for Koori life and wellbeing.

Etymology

"Koori" comes from the word gurri, meaning "man" or "people" in the Indigenous language Awabakal, spoken on the mid-north coast of New South Wales. On the far north coast of New South Wales, the term may still be spelt "goori" or "goorie" and pronounced with a harder "g". The term's first documented usage occurred in 1834 in An Australian Grammar as "Ko-re", translated to mean man or mankind.

Geography and subgroups
Koori Indigenous Australians inhabit the broad region of southern New South Wales and Victoria. Indigenous subgroups within this region are numerous, including the Eora Nation of modern-day Sydney, Ngunnawal Nation of Canberra and Woiwurrung Nation of Melbourne.

Knowledge and culture

Art
Like archetypal Indigenous painting, Koori painting is based largely on dot work, done in "earthy colours" such as blacks, whites, reds and browns. Some Koori elders identify this style as a means of reconnecting with traditional Indigenous culture and ancestry.

More unique to the Koori population is the prevalence of artistic "shell craft", using shells found in the coastal environment to decorate ornamental pieces. Documents from the 1880s detail Koori women selling shell craft baskets and decorative shoes to settler women at markets in La Perouse and Circular Quay, a practice that appears unique to the Sydney area.

Shell craft has continued to be of importance to the modern Koori population, with a 2008 exhibit at the Museum of Contemporary Art in Sydney incorporating Indigenous shell craft. In 2005, Koori shell artist Esme Timbery won the Parliament of New South Wales Indigenous Art Prize for her shell-adorned model of the Sydney Harbour Bridge. The economic prevalence of Koori shell craft, too, has increased in contemporary Indigenous art history. While in 2005, shell craft shoes retailed for approximately AUD$20, a pair sold for AUD$140 at a Sydney gallery in 2009.

Also unique to the Koori region were possum-skin cloaks, traditionally gifted to Koori newborns. The cloaks were embellished with the markings of the newborn's clan and family, and were added to as the child grew, to represent a kind of Koori "autobiography". Although the craft of possum-skin cloaks has declined, it is being revived by contemporary Koori artists such as Kelly Koumalatsos.

Language
The Koori region is home to a number of traditional Indigenous languages. The state of Victoria has speakers of 38 Aboriginal languages, while New South Wales has historically been home to more than 70. However, the number of Kooris who report speaking an Indigenous language at home is low. Only 0.8% of New South Wales and 1% of Victorian Kooris speak an Indigenous language in the home, being the lowest rates of Indigenous language usage outside of Tasmania.

There are some attempts to revive Koori languages. In New South Wales, the number of Koori families speaking an Indigenous language at home is on the rise. Census data indicates that the number of New South Wales Indigenous language speakers increased by 123% between 2006 and 2016. The New South Wales Government's Aboriginal Languages Act was enacted in 2017 in an attempt to preserve Indigenous languages.

In addition to traditional languages, Kooris may also speak "Koori English", the dialect of English spoken by Kooris within their communities. The dialect developed from the pidgin English used by Kooris to communicate with settlers at the time of colonisation. It employs nonverbal language cues such as silences, gestures and lip pursing. Some grammatical elements of Koori English may persist from traditional Indigenous languages, such as distinct ways of marking plural nouns.

Birthing rituals
Historical records show Koori birthing rituals involving song, dance and ceremonial practices. Gunditjmara Kooris of South West Victoria record the ritualistic use of sand, heated by fire both to warm the infant and welcome it to country. Records also exist detailing Koori use of medical techniques such as natural pain management, and the teaching of these techniques to European settler women.

Historically, "birthing trees" were essential to Koori birthing rituals. These were trees used as the sites of births, where mothers, families and communities could congregate to deliver the baby and welcome it to country. Sometimes, the placenta would be buried under the birthing tree to symbolise the newborn's connection to country. A Koori birthing tree in Western Victoria has received status as a Significant Tree on the Australian Register of the National Trust in recognition of its importance to the Koori population.

History

Before European colonisation
Radiocarbon dating has identified evidence of Indigenous inhabitancy in the Koori region as early as 50,000–45,000 years ago. Ancient Koori artefacts including human remains and tools have been found at Lake Mungo in New South Wales, dated to be between 50,000 and 46,000 years old.

In Western Victoria, structures from ancient Koori populations have been discovered, including stone-walled fishing traps measuring up to six metres in height and three kilometres in length. The traps date to approximately 6,600 years old, making them one of the world's oldest known fish-trapping system. Similarly aged "village" sites have been found in South-Eastern Victoria, featuring wooden structures, garden areas and agricultural wetlands.

In New South Wales, small tools used for processing plants and hunting have been discovered to be approximately 10,000 years old. Fishhooks appear to have been widely used across the Koori coastline as early as 1000 years ago. These fishhooks appear to originate from outside of Australia, possibly from the Torres Strait or Polynesia, indicating a system of regional trade.

Early contact
The first documented contact between Indigenous Australians and Europeans on Koori territory occurred in 1770 during James Cook's HMS Endeavour expedition. In his journals, Cook documents interactions with Indigenous groups at Botany Bay near modern-day Sydney. During this initial contact, two Indigenous men resisted Cook's landing, causing Cook to open fire and wound one of the men. The Endeavour remained docked in the bay for the subsequent seven days, meaning that interactions between the explorers and Indigenous Kooris were conducted from a distance.

Koori material culture was observed, such as the use of watercraft, weaponry and tools, but there was little European documentation of Koori religious and cultural life during this voyage. The Indigenous groups of Botany Bay did not accept Cook's trade offerings and resisted farther encroachment of the explorers onto Koori territory.

European colonisation and population decline
Following this initial contact, Great Britain established a penal colony at Botany Bay in New South Wales. The first settlers of this colony arrived in 1788 aboard the First Fleet, beginning the official colonisation of Australia by Europeans.

Over the century following colonisation, there occurred a steep decline in the Aboriginal population. Approximations of overall Indigenous population decline range from 80 to 96%, with estimates of around 80% in the Koori region in the first 20 years of contact.

Generally accepted estimates approximate that 2000 non-Aboriginals (mostly Europeans) and 20,000 Aboriginals were killed in armed conflict between the two groups. This included the Waterloo Creek Massacre on New South Wales Koori territory in 1837, during which an estimated 200–300 Kooris were killed. In the 1830s and 40s, the Western District of Victoria was recorded as one of the two worst regions for violence. Sexual violence also occurred, particularly towards Koori women and children, sometimes resulting in death or infertility.

Many Kooris also died from epidemics of European diseases to which they had no tolerance. In 1791, all but two of the Koori inhabitants of inner Sydney died of smallpox or chickenpox. Another smallpox epidemic affected the New South Wales and Victoria regions in 1830. Deaths also occurred due to sexually transmitted infections, transported to Australia by the settlers. In Port Phillip, Victoria, two-thirds of the Koori population died of sexually transmitted infections.

20th century
The Aborigines Protection Board of New South Wales and Victoria enabled the segregation of Kooris onto government-run missions and reserves. In the 1910s, the Board's powers were extended to allow for the removal of Koori children from their families for assimilation into the non-Indigenous population. Some Koori children were placed into white families, while others were sent to labour schools such as the Cootamundra Domestic Training Home for Aboriginal Girls and Kinchela Aboriginal Boys' Training Home. This process of segregation and child-removal was common throughout Australia and became known as the Stolen Generations.

In 1937, New South Wales Koori activist William Ferguson founded the Aborigines Progressive Association in Sydney to protest the oppression of the Aborigines Protection Board. Approximately 1000 Indigenous Australians attended the organisation's first rally in Sydney on 26 January 1938.

From the 1970s, the policies of segregation and assimilation began to shift. New South Wales adopted the Aboriginal Child Placement Principle in 1987, mandating that an Indigenous family be chosen for the rehoming of Koori children wherever possible. In 1997, the premiers of both New South Wales and Victoria apologised for the historic mistreatment of Indigenous Australians, including an apology for the Stolen Generation, and affirmed their commitment to reconciliation.

Current issues
Statistics indicate ongoing divergences between Koori and non-Koori Australians in areas such as health, education, income levels, and incarceration rates. The Australian National University's Centre for Aboriginal Economic Policy Research ties these statistical divergences to the Indigenous experience of colonialism.

Health
Statistics show that Koori Australians have poorer health than their non-Koori counterparts, reflected in their lower life expectancy. Across New South Wales and Victoria, non-Koori individuals were expected to live 8–10 years longer than Koori individuals between 2015 and 2017. Thus, the Koori population is younger in demographic, with the median age of the New South Wales Koori community being 22, in contrast to 38 for the non-Koori population.

In New South Wales, 7.6% of the Indigenous population are profoundly or severely disabled, compared to 5.6% of non-Indigenous individuals, and this gap is widening. Additionally, New South Wales Kooris with a disability tend to be younger: 36% of the Indigenous disabled population in New South Wales is under 25, compared to 12.7% of the non-Indigenous.

Education
Koori Australians also have lower levels of education than their non-Koori counterparts. In New South Wales, Koori children are half as likely to have completed secondary school. In Victoria, only 56.5% of Koori 25–34 year olds have some form of tertiary education, compared to 74.9% of non-Koori individuals.

Income
Koori Australians are more likely to be living below or near the poverty line. Approximately 32.4% of Koori households in New South Wales earn below A$500/week, compared to 22.3% of non-Indigenous. Less than half of New South Wales Kooris own their homes, compared to 70% of non-Koori residents.

New South Wales Kooris are less likely to be in the labour force, with an underemployment rate of 43% compared to 35.9% of non-Koori residents. The professional services industry has the highest divergence, with non-Koori employees three times as likely to work in this sector.

Incarceration rates
Koori Australians are more likely to be incarcerated in both New South Wales and Victoria. In 2019, Koori adults were 9.3 times more likely to be incarcerated in New South Wales than their non-Koori counterparts. In Victoria, they were 14.5 times more likely.

These statistics are mirrored in youth detention. In New South Wales, Koori children aged 10–17 were sixteen times more likely to be in detention on an average day in 2018 and 2019. In Victoria, they were 10 times as likely.

Government initiatives
New South Wales and Victoria have both introduced initiatives to address these divergences between Koori and non-Koori individuals. In March 2019, both states established a formal partnership with the Australian Federal Government to address the goals of the Closing the Gap initiative. The partnership also includes representatives from Indigenous activist groups.

Koori Courts

A Koori Court is a division of the Magistrates' Court of Victoria that sentences Indigenous Australians who plead guilty, operational since 2002.

New South Wales has several Youth Koori Courts, the first of which was established in Parramatta in 2015.

Koori Radio

Koori Radio, a community radio-station based in Redfern, broadcasts to Sydney on a citywide licence. It forms part of the Gadigal Information Service and is the only radio station in Sydney providing full-time broadcasting to the Aboriginal and Torres Strait Islander community.

Koori Mail

Koori Mail is a national Indigenous newspaper based in Lismore, New South Wales.

Koori Knockout

The NSW Koori Rugby League Knockout is one of the largest gatherings of Indigenous people in Australia. A modern-day corroboree for the Koori people of NSW, it has been held annually over the October long weekend since 1971.

Koorie Heritage Trust

The Koorie Heritage Trust in Melbourne holds over 100,000 artistic artefacts from Indigenous South-Eastern Australia. The Trust's collection includes prehistoric tools, 19th Century art by Koori artists William Barak and Tommy McRae, and pieces by contemporary Koori artists.

Other names used by Australian Indigenous people
There are a number of other names from Australian Aboriginal languages commonly used to identify groups based on geography:
 Anangu in northern South Australia, and neighbouring parts of Western Australia and Northern Territory
 Pama in northern Queensland
 Murri in southern Queensland and northern New South Wales
 Nunga in southern South Australia
 Nyoongar in southern Western Australia
 Palawah (or Pallawah) in Tasmania

See also
 List of Australian Aboriginal group names
 Koori Bina, a 1970s monthly published by Black Women's Action
 The Koori History Website (Kooriweb)
Koori Mail

Notes

Citations

Sources

External links

 Bangerang Cultural Centre. Australia's first Aboriginal museum.

Aboriginal peoples of New South Wales
Aboriginal peoples of Victoria (state)
Australian Aboriginal words and phrases

Koori


Soğdca, Soğutça veya Soğdakça, Orta Asya'da yer alan Soğdiana'da ve Çin'deki Soğd göçmen gruplarının yaşadığı bazı bölgelerde kullanılmış bir Doğu İran dili.

MS 4. yüzyıldan başlayarak Çin'de ve Soğdiana'da bu dil ile yazılmış pek çok dinî, hukukî ve siyasi el yazması üretilmiştir. 9. yüzyıla kadar İpek Yolu üzerindeki geçer dil olmuş olan Soğdca, Soğdiana'nın Müslümanlarca ele geçirilmesinden bir süre sonra neredeyse tamamen kaybolmuştur. 21. yüzyıla ulaşmış tek Soğd lehçesi olan Yagnobice, Tacikistan'ın yüksek yaylalarında Yagnobiler tarafından konuşulmaktadır.

Soğd alfabesi, 17 sessiz harften oluşan bir ebced ile yazılmıştır ancak bu alfabenin yanında Süryani ve Mani alfabeleri de kullanılmıştır. Soğd alfabesi; Eski Uygur, Moğol ve Mançu alfabelerinin atasını oluşturmaktadır. Soğd dili ayrıca Türk ve Moğol dillerinde önemli etkiler bırakmıştır.

Sınıflandırma
Soğdca, en geniş çerçevede bir Hint-Avrupa dilidir ve bu ailenin Hint-İran dilleri koluna mensuptur. Daha ayrıntılı bir şekilde İran dilleri içinde değerlendirilen Soğdca, İskitçe ve Baktriya dili gibi tarihi dillerin yanı sıra Peştuca gibi modern dilleri de kapsayan Doğu İran dilleri içerisinde sınıflandırılır. Glottolog'a göre Merkezi İran dilleri içerisinde yer alan Soğd dilleri ve Oset dilleri, Soğd-Oset dilleri adlı bir grup oluşturur. Soğd dilleri Harezmce ile Yagnobice-Soğdca olmak üzere ikiye bölünmüştür.

Tarihi sınıflandırma açısından Soğdca, Baktriya dili, Hotan Sakacası, Orta Farsça ve Partça ile birlikte, MÖ 4. yüzyıl ile MS 9. yüyıl arasını kapsayan Orta İran dilleri dönemi içerisinde değerlendirilir.

Tarihçe

Çin'in Tang Hanedanı döneminde (MS 7. yy) İpek Yolu'nun Orta Asya'dan Çangan'a kadar olan bölümünde lingua franca Soğdca idi. Bu dönemde Soğdca konuşurları genellikle Soğdcanın yanında Çin ve Türki dilleri ticari amaçlar için öğrenmiş, bu durum Soğdcanın pek çok çeşitli dilden karşılıklı olarak etkilenmesi ve alıntı kelimeler alması ile sonuçlanmıştır. Soğd dili ayrıca çeşitli başka halkların da yazı dili olarak kullanılmıştır. Günümüzde Moğolistan'da yer alan ve 6. yüzyılda, Göktürk Kağanlığı döneminde dikilmiş Bugut Yazıtı, Soğd alfabesi ile Soğdca yazılmıştır.

Soğdiana'nın Müslümanlar tarafından ele geçirilmesinin ardından dil, sahip olduğu ekonomik ve politik güç nedeni ile birkaç yüzyıl daha var olmayı sürdürmüştür. 10. yüzyılda, Arap hakimiyetinde Soğdiana halkı büyük oranda Farsça konuşmaya başlamıştır, ancak El-Makdisi Zerefşan'da hâlâ Soğdca konuşurlarının olduğuna değinmiştir. Ayrıca 10. ve 11. yüzyıla tarihlenen Soğd metinleri Kırgızistan'da ele geçirilmiştir. Bu eserlerin bazılarının Türk dilleri konuşan ancak Soğdcayı yazı dili olarak kullanan kişilerce yazıldığı düşünülmektedir. 12. yüzyıl sonrasında ise Soğdca neredeyse tamamen ölü bir dil haline gelmiş, yerini batıda Fars, doğuda ise Türk dillerine bırakmıştır.

Soğdcanın günümüzde Tacikistan'da yer alan tarihi Üsrûşene bölgesinde 8. yüzyılda konuşulmuş bir lehçesi, 21. yüzyıla Yagnobiler tarafından konuşulan Yagnobice olarak evrilmiş ve hayatta kalmıştır.

Metinler ve araştırmalar
Soğdcanın MS 4. yüzyıldan başlayan büyük bir korpusu vardır. Soğdcaya, Budist, Manihesit ve Hristiyan dini metinlerin yanı sıra, mektuplar, sikkeler ve hukukî dokümanlar da kaynak oluşturur. Soğdca metinlerin büyük çoğunluğu Soğdiana yerine Çin'deki ticaret yolları üzerinde yer alan Soğd kolonilerinde keşfedilmiştir.

19. yüzyılın sonlarında Almanlar'ın Sincan'daki Turfan Havzası'na düzenledikleri keşif gezisi sırasında Soğdca Maniheist ve Hristiyan metinler (bir Kutsal Kitap çevirisi de dahil) ele geçirilmiştir. Bu metinlerdeki dil, ilk olarak Alman oryantalist Friedrich Carl Andreas tarafından Pehlevice olarak tanımlanmış ve Partça yazıtlardan ayrılmıştır.

Metinlerin araştırılmasına olan ilgi Çin'in Sincan bölgesinde keşfedilmiş antik el yazmaları ile başlamıştır. İlk Budist-Soğdbilimci Robert Gauthiot, Fransız oryantalist Paul Pelliot'un Dunhuang'da keşfetmiş olduğu Soğdca metinleri incelemiş ve yazılar yazmıştır. Gauthiot'un I. Dünya Savaşı'nda ölmesinden sonra Émile Benveniste Soğdca üzerine çalışmalar yürütmüştür.

Bulunmuş en eski Soğut metni Aurel Stein tarafından 1920'de Dunhuang, Çin'de keşfedilmiştir ve Erken Soğd alfabesi ile yazılmıştır. Metin, MS 4. yüzyılın başına tarihlenir. Sutra alfabesi ile yazılmış Budist metinler ise 6. ve 8. yüzyıl arasında oluşturulmuştur. Bu el yazmalarının büyük bir kısmı British Museum, Bibliothèque nationale de France ve Rus Bilimler Akademisi'nde yer almaktadır.

Yazı sistemi

Soğdcanın yazımı için Soğd alfabesi, Mani alfabesi ve Süryani alfabesi olmak üzere üç adet farklı sistem kullanılmıştır. Soğd alfabesinin kökenleri Süryani alfabesine ve dolayısıyla da Arami alfabesine dayanmaktadır ve bir ebced olarak değerlendirilir, ancak alfabeye benzer yönleri de vardır. Yazı 17 sessiz harften oluşmuştur ve pek çok harfin kelimenin başında, ortasına veya sonunda olmasına göre farklı formları olmuştur. Sesli harflerin gösterilmesi için sessiz alef, yud ve vav harfleri kullanılmıştır.

Soğd alfabesinin 3 farklı varyetesi bulunmaktadır. Bu çeşitleri, düz yazı benzeri ve arkaik Erken Soğd alfabesi, Budist metinlerin yazımında kullanılan Sutra yazısı ve el yazısı benzeri en son alfabedir. Erken Soğd alfabesi 4. yüzyılın başında, Sutra alfabesi 5. yüzyılda, en son alfabe ise bundan yaklaşık 1 yüzyıl sonra kullanılmıştır.

Soğd alfabesi diğer diller için kullanılan yazı sistemlerini de etkilemiştir. El yazısı benzeri geç Soğd yazısı, Eski Uygurcanın yazımı için kullanılmış Eski Uygur alfabesinin atasını oluşturmaktadır ve bu alfabe daha sonra geleneksel Moğol ve Mançu alfabesi temellerini oluşturmuştur.

Diğer diller üzerindeki etkileri
Soğdca, bir diğer Hint-Avrupa dili olan Toharca gibi Moğol dilleri ve Türki diller üzerinde önemli etkiler bırakmıştır. Eski ve Orta Türkçe dönemleri içerisinde değerlendirilen dillerdeki İrani kökenli sözcüklerin bazıları Soğdcadan bu dillere girmiştir. Bu kelimelerin çoğu dini anlamlar taşımak ile birlikte, günlük hayatta kullanılan pek çok kültürel kelime de ödünçlenmiştir.

Modern Türkiye Türkçesinde hâlâ yer alan Acun, akşam, Asena, bayram, bey, kadın, hatun, kağıt, kap, şaman, pazar, Tarkan ve Tigin gibi kelimeler Soğdca kökenli oldugu iddia edilmekte veya Türkçeye Soğdca vasıtasıyla girdigi iddia edilmektedir fakat bu konu hakkinda tartismalar surmektedir.

Yakın bir süreç içerisinde İran dilleri kategorisinde olduğu sanılan bey-bay gibi böri gibi kelimelerin ön Türkçe kelimelerden olduğu anlaşılmıştır.Soğdça da Ön Türk halklarından da kültürel ve dilsel açıdan alıntılar saptamak mümkündür.

Kaynakça

Doğal diller
Kuzeydoğu İran dilleri
Asya kökenli ölü diller
Soğdiana
Soğdca

Soğdca


Jannik Rundholdt (født 1970'erne i København) er en fiktiv dansk vlogger, YouTuber, freestyle-rapper, og musiker. Jannik bliver spillet af den danske komiker Anders Matthesen.

Rundholdt har haft en hurtigt voksende karriere på Youtube med sine succesfulde videoer og indgik den 22. august 2017 en aftale med Splay Danmark hvor de begyndte at distribuere hans videoer. Han er muligvis mest kendte for at have roastet de nominerede til Årets Youtuber som presenter til Guldtuben 2017 den 9. september, 2017, hvilket medførte massiv omtale i de danske medier med delte meninger og stor debat i offentligheden, især på Facebook. Rundholdt spilles af komiker Anders Matthesen

Tidlige liv
Som barn havde Rundholdt en hård skoletid med en del mobning, samt undervisere der ikke mente at han ville drive sit liv til noget specielt. Han var tyk som barn og blev drillet med sit navn og bl.a. kaldt for "Kannik Rundboldt". Den massive mobning medførte at han måtte skifte skole 3 gange. Han havde oprindeligt planer om at starte sin egen dyrehandel eller en karriere som tv-tilrettelægger.

Karriere
Rundholdt har altid haft en passion for krybdyr og begyndte at fremvise dem i sine videoer hvilket var en del af sin succes. Rundholdt havde ifølge ham selv 10 kanaler på Youtube, (bla ''BeautybyJannik'', ''Jannikhreadygamingvlogs'') men de blev alle slettet i forhold til reglerne for håndtering af krybdyr i terrarium, samt videoer, der blev fundet anstødelige og amoralske. Med sin succes så han det som formaning til det danske skolesystem og den måde de formstøber de unge og mangel på værdsættelse af deres potentiale. Hans mest succesfulde videoer til dato er "3 liter mælk på 20 sec challenge" og "Pytonprank i Barnevognen" samt mange af sine parodier. Han har ligeledes gæsteoptrådt i videoer hos nogle af de største danske YouTubere som LouLiving (Louise Bjerre), som han lagde make-up på, samt atleten Brian Mengel Brizze som han udfordrede i diverse fodbolddiscipliner.

Videoer og fans
Rundholt går meget op i sine fans og anser dem som sin vigtigste grund til at han laver sine videoer. Han er stærk modstander af mobning hvilket kan ses i sin video: "StopHoldOpOgMob (Alle skal være her)".

Privatliv
Rundholdt er gift. Hans yndlingsmusikgenre er rap og hans yndlingskunstnere er Drake, Die Antwoord samt John Mogensen. Desuden er han veganer fem dage om ugen og går ind for respekt for dyr.

Juridiske forhold
I forbindelsen med fjernelsen af sine YouTube konto har Rundholdt ligeledes fået polititilhold fra MiniZoo i Hvidovre hvor han har fået forbud mod at købe reptiler.

Roast til Guldtuben 2017

Den 8. september 2017 udløb hans praktik hos Splay Danmark og det blev annonceret at han skulle være presenter til Guldtuben 2017, hvor han skulle præsentere og overrække den største pris til begivenheden, Årets Youtuber.

Til prisuddelingen i Royal Arena i København den 9. september gjorde Rundholdt grundigt grin med de unge nominerede i form af en såkaldt roast. Indslaget modtog delte meninger på sociale medier, hvor de fleste var positive over nummeret, mens få mente at, det var pinligt og usmageligt. Rundholts roast var en reaktion på sin skuffelse over ikke at have fået et potentielt wild card til prisen han skulle overrække.

Han lagde ud med at kritisere komiker Uffe Holm, der har gjort sin datter Holly til en kendis på de sociale medier ved at kommentere: "Det er meget ungt, lad mig lige sende et shout out til Uffe, årets Instagrammer. Det er fedt at se, at en på 40 også kan vinde. Det beviser, at man behøver ikke være et barn for at have en chance – bare man har et barn", imens Holm ikke så glad ud i salen.

Herefter begyndte hans roast på de nominerede, hvor han startede med 18-årige Astrid Olsen. "Jeg har forsket lidt, Astrid Olsen som laver sådan nogle videoer, hvor hun sidder og laver sin dag i outfits helt stille uden at sige noget. Hun sidder ligesom Chaplin. Hun har også lavet en video, hvor hun snakkede. Og der kunne jeg så pludselig forstå, hvorfor hun plejer at holde kæft. Det er eddermame drøjt at komme igennem", sagde Rundholdt.
Om Julie Sofia, der er YouTuber og deltager i årets 'Vild med dans', sagde han:" Det er jo helt vildt. Starte på YouTube og pludselig står man der i 'Vild med dans'. Det siger en del om, hvor få kendisser vi har tilbage i Danmark", hvorefter han kritiserede hendes skønhedsvideoer og sammenlignede dem med den amerikanske tv-vært og rapper Xzibits tv-show Pimp My Ride.

Han sammenlignede Fie Laursens udseende med Super Mario uden overskæg og refererede til hendes kontroversielle løgne i hendes videoer med: "Jeg synes, du er en smuk pige. Jeg synes, du er en dygtig pige. Jeg synes, du er en pige, der har noget på hjerte. Og fra nu af vil jeg være ærlig". Hvor første del af vittigheden ikke havde nogen bemærkelsesværdig effekt på Laursen, reagerede hun negativt på hvordan Rundtholdt gjorde nar af den kendte bloggers forhold til religion og krystaller og kommenterede efterfølgende: "Jeg synes ikke, det var sjovt, at han blandede religion ind i det ". Hun mente at en komiker som Dan Andersen skulle være hyret i stedet for. Børnelægen Vibeke Manniche støttede dette og mente at karakteren var fejlcastet.

Rundholdts 'ristning' blev dog forsvaret af en del kendte Youtube, bl.a. Rasmus Brohave og Kristine Sloth. Han fik ligeledes solid opbakning fra blandt andet Youtube-profilen 'Spørg Casper' (Casper Harding), hvor karakteren nærmest grædende i videoen "Lad Jannik Rundholdt være" opfordrede folk til at stoppe med at ytre negative meninger om "sin ven".

Matthesen tog selv afstand fra karakterens holdninger og kommentarer og forklarede det med:"Jeg står ikke og lukker mine personlige holdninger ud her. Det er en mand, der ikke har vundet sin Youtube-pris, som han havde håbet. Der bare bliver mega smålig lige pludselig".

Singler
 Verden går rundt og rundt (som en fidget-spinner) (feat. Stroganoff) (2017)

Eksterne henvisninger
 Jannik Rundholdts officielle hjemmeside

Fiktive personer fra Danmark
Anders Matthesen
Musikere fra Danmark
Bloggere fra Danmark

Jannik Rundholdt


Thunder Bay Press is a California-based publisher of illustrated non-fiction books. Subject matter includes adult crafts and leisure activities, pop culture, cooking, pets and domestic animals, sports, history, transportation, and nature.

Thunder Bay was founded by the book distributor Advanced Marketing Services in 1990. Advanced Marketing Services was acquired by Baker & Taylor in 2007.

It is owned by the book distribution firm, Readerlink Distribution Services, who acquired Thunder Bay from Baker & Taylor in 2015. The imprint's distribution is handled by Publishers Group West.

Then and Now series
It is also one of the two United States publisher of books in the Then and Now series of books  that include:

 Baltimore Then and Now
 Minneapolis-Saint Paul Then and Now
 New York Then and Now

References

External links
 Thunder Bay Press Official site

Publishing companies established in 1990
Companies based in San Diego
Book publishing companies based in California

Thunder Bay Press


Xtra Ottawa (formerly Capital Xtra) was a lesbian, gay, bisexual and transgender community newspaper published in Ottawa, Ontario, Canada. It was launched in 1993. Xtra Ottawa, started as a monthly, and was later published 17 times a year, with a publication schedule of every three weeks. The Ottawa edition had a circulation of 20,000 copies which reached 36,000 readers.

Printed on newsprint in tabloid format from its establishment in 1993, Pink Triangle Press announced on January 14, 2015, that the paper edition would be discontinued and the publication would continue in an exclusively digital media format.

Xtra Ottawa also published a gay tourism map, Out in Ottawa, every spring; the Ultimate Pride Guide in mid-July; and the Index gay business directory in December.

History
Xtra Ottawa was launched by Pink Triangle Press as Capital Xtra in 1993, shortly after the organization learned that Ottawa's existing LGBT publication, GO Info, had largely collapsed and was publishing irregularly with only a skeleton staff. Brandon Matheson, then a freelance journalist working in the Parliament Hill Press Gallery, was chosen to launch the project in conjunction with George Hartsgrove, then an administrator at the University of Ottawa. GO Info briefly tried to beef up its content in the face of its new competition, but folded in early 1994.

In 2007, Ottawa City Council attempted to pass restrictions on the paper's distribution in public facilities after a complaint was filed by Greg Evans. Evans, a father who sat down to read the newspaper while his eight-year-old son was participating in basketball practice at the Hunt Club-Riverside Community Centre, was reportedly offended by the sexually explicit nature of two advertisements in the publication. Evans stated that he was LGBT-friendly and that his complaint was not motivated by homophobia, but by a concern for the possibility of exposing children to sexually explicit material regardless of whether that material was gay or straight in nature.

In March 2010, Capital Xtra was renamed Xtra Ottawa with the launch of a redesign of the Xtra papers in the Toronto, Ottawa and Vancouver markets.

The paper's final print edition was published on February 12, 2015.

Contributors
Early contributors to the magazine included Irshad Manji, Alex Munter, David Pepper, Andrew Griffin and Don McLean. Other contributors have included Glenn Crawford, Suki Lee, Blaine Marchand, Ariel Troster and Bradley Turcotte. Photographic contributors have included Pat Croteau, Eric Faure, Phillip Hannan, Shawn Scallen and Ben Welland.

Community involvement
Xtra Ottawa put on a series of events every year for the Ottawa queer community: the LGX business & consumer expo each spring, the Transgress Festival as part of the Ottawa International Writer's Festival each October, and the Capital Xtra! Community Achievement Awards ceremony to acknowledge local volunteers and activists.

See also
List of newspapers in Canada

References

External links
 Xtra Ottawa

1993 establishments in Ontario
2015 disestablishments in Ontario
LGBT culture in Ottawa
LGBT-related newspapers published in Canada
Newspapers established in 1993
Publications disestablished in 2015
Newspapers published in Ottawa
Defunct newspapers published in Ontario
Online newspapers with defunct print editions
1990s LGBT literature
2000s LGBT literature
2010s LGBT literature
LGBT-related magazines published in Canada

Xtra Ottawa