George "Buddy" Guy (born July 30, 1936) is an American blues guitarist and singer. He is an exponent of Chicago blues who has influenced generations of guitarists including Eric Clapton, Jimi Hendrix, Jimmy Page, Keith Richards, Stevie Ray Vaughan, Jeff Beck, Gary Clark Jr. and John Mayer. In the 1960s, Guy played with Muddy Waters as a session guitarist at Chess Records and began a musical partnership with blues harp virtuoso Junior Wells.

Guy has won eight Grammy Awards and a Lifetime Achievement Award, the National Medal of Arts, and the Kennedy Center Honors. Guy was ranked 27th in Rolling Stone magazine's 2023 list of greatest guitarists of all time. His song "Stone Crazy" was ranked 78th in the Rolling Stone list of the "100 Greatest Guitar Songs of All Time". Clapton once described him as "the best guitar player alive". In 1999, Guy wrote the book Damn Right I've Got the Blues, with Donald Wilcock. His autobiography, When I Left Home: My Story, was published in 2012.

Early life

George "Buddy" Guy was born and raised  in Lettsworth, Louisiana. He was the first of five children to parents Sam and Isabel, who were sharecroppers, and as a child, Guy would pick cotton for $2.50 per 100 pounds. His brother Phil Guy was also a blues musician.
He began learning to play the guitar using a two-string diddley bow he made. Later he was given a Harmony acoustic guitar which, decades later in Guy's lengthy career, was donated to the Rock and Roll Hall of Fame.

Career
In the mid-1950s, Guy began performing with bands in Baton Rouge, including with Big Papa Tilley and Raful Neal. While living there, he worked as a custodian at Louisiana State University. In 1957, he recorded two demos for a local DJ in Baton Rouge for Ace Records, but they were not issued at the time.

Soon after moving to Chicago on September 25, 1957, Guy fell under the influence of Muddy Waters. In 1958, a competition with West Side guitarists Magic Sam and Otis Rush gave Guy a record contract. Soon afterwards he recorded for Cobra Records. During his Cobra sessions, he teamed up with Ike Turner who helped him make his second record, "You Sure Can't Do" / "This Is The End", by backing him on guitar and composing the latter. After two releases from Cobra's subsidiary, Artistic, Guy signed with Chess Records.

Guy's early career was impeded by his record company, Chess Records, his label from 1959 to 1968, which refused to record Guy playing in the novel style of his live shows. Leonard Chess, Chess Records founder, denounced Guy's playing as "just making noise". In the early 1960s, Chess tried recording Guy as a solo artist with R&B ballads, jazz instrumentals, soul and novelty dance tunes, but none of these recordings was released as a single. Guy's only Chess album, I Left My Blues in San Francisco, was released in 1967. Most of the songs were influenced by the era's soul boom, with orchestrations by Gene Barge and Charlie Stepney. Chess used Guy mainly as a session guitarist to back Muddy Waters, Howlin' Wolf, Little Walter, Sonny Boy Williamson, Koko Taylor and others. As late as 1967, Guy worked as a tow truck driver while playing clubs at night.

During his tenure with Chess, Guy recorded sessions with Junior Wells for Delmark Records under the pseudonym Friendly Chap in 1965 and 1966. In 1965, he participated in the European tour American Folk Blues Festival.

He appeared onstage at the March 1969 "Supershow" in Staines, England, which also included Eric Clapton, Led Zeppelin, Jack Bruce, Stephen Stills, Buddy Miles, Glenn Campbell, Roland Kirk, Jon Hiseman, and the Misunderstood. In 1972, he established The Checkerboard Lounge, with partner L.C. Thurman.

Guy's career was revived during the blues revival of the late 1980s and early 1990s. His resurgence was sparked by Clapton's request that Guy be part of the "24 Nights" all-star blues guitar lineup at London's Royal Albert Hall. Guy subsequently signed with Silvertone Records and recorded his mainstream breakthrough album Damn Right, I've Got the Blues in 1991.

Guy had a small role in the 2009 crime film In the Electric Mist as Sam "Hogman" Patin.

As of 2019, Guy still performs at least 130 nights a year, including a month of shows each January at his Chicago blues club, Buddy Guy's Legends.

Artistry and legacy

Music style

While Guy's music is often labelled Chicago blues, his style is unique and separate. His music can vary from the most traditional, deepest blues to a creative, unpredictable and radical gumbo of the blues, avant rock, soul and free jazz that changes with each performance.

As the New York Times music critic Jon Pareles noted in 2005,

In an interview taped on April 14, 2000, for the Cleveland college station WRUW-FM, Guy said,

Guitars
Guy has played numerous guitars over the course of his career and continues to use multiple guitars in concerts and recordings, but he has become known for his custom model Fenders with their characteristic Polka-dot finish. In a June 2022 interview, Guy explained that the Polka-dot pattern was a tribute to his late mother, and to remind him of a lie he told her when leaving home to start his career in Chicago: The original guitar was based on the Eric Clapton Custom Shop Stratocaster that Guy had been playing in the late 80s and has since been developed into its own line of Buddy Guy Signature models that Fender sells to the public. Various models of the Polka-dot guitar and Polka-dot motif feature in the artwork for a number of his albums since 1994's Slippin' In. Recent years saw him on stage wearing a shirt of the same design.

Accolades

When inducting Guy into the Rock and Roll Hall of Fame, Eric Clapton said, "No matter how great the song, or performance, my ear would always find him out. He stood out in the mix, simply by virtue of the originality and vitality of his playing."

Beck recalled the night he and Vaughan performed with Guy at Buddy Guy's Legends club in Chicago: "That was just the most incredible stuff I ever heard in my life. The three of us all jammed and it was so thrilling. That is as close you can come to the heart of the blues."

Former Rolling Stones bassist Bill Wyman said,

Guy was a judge for the 6th and 8th annual Independent Music Awards to support independent artists.

Guy has influenced the styles of subsequent artists such as Reggie Sears and Jesse Marchant of JBM.

On February 21, 2012, Guy performed in concert at the White House for President Barack Obama and First Lady Michelle Obama. During the finale of the concert, he persuaded President Obama to sing a few bars of "Sweet Home Chicago".

Awards
On September 20, 1996, Guy was inducted into Guitar Center's Hollywood Rockwalk.

Guy has won eight Grammy Awards, for his work on electric and acoustic guitars and for contemporary and traditional forms of blues music, as well as a Lifetime Achievement Award.

In 2003, he was presented with the National Medal of Arts, awarded by the President of the United States to those who have made extraordinary contributions to the creation, growth and support of the arts in the United States.

By 2004, Guy had also earned 23 W.C. Handy Awards, Billboard magazine's Century Award (he was its second recipient) for distinguished artistic achievement, and the title of Greatest Living Electric Blues Guitarist.

Guy was inducted into the Rock and Roll Hall of Fame on March 14, 2005, by Eric Clapton and B.B. King. Clapton recalled seeing Guy perform in London's Marquee Club in 1965, impressing him with his technique, his looks and his charismatic showmanship. He remembered seeing Guy pick the guitar with his teeth and play it over his head—two tricks that later influenced Jimi Hendrix. Guy's acceptance speech was concise: "If you don't think you have the blues, just keep living." He had previously served on the nominating committee of the Rock and Roll Hall of Fame.

In 2008, Guy was inducted into the Louisiana Music Hall of Fame, performing at the Texas Club in Baton Rouge to commemorate the occasion.

In October 2009, he performed "Let Me Love You Baby" with Jeff Beck at the 25th anniversary concert at the Rock & Roll Hall of Fame.

On November 15, 2010, he performed a live set for Guitar Center Sessions on DirecTV. The episode also included an interview with Guy by program host Nic Harcourt.

On December 2, 2012, Guy was awarded the 2012 Kennedy Center Honors. At his induction, Kennedy Center chairman David Rubenstein said, "Buddy Guy is a titan of the blues and has been a tremendous influence on virtually everyone who has picked up an electric guitar in the last half century". In a musical tribute to Guy, blues vocal powerhouse Beth Hart, accompanied by guitarist Jeff Beck, sang a rousing version of "I'd Rather Go Blind". Also honored that night were actor Dustin Hoffman, surviving members of the rock band Led Zeppelin (John Paul Jones, Jimmy Page and Robert Plant), comedian and late-night TV host David Letterman and prima ballerina and choreographer Natalia Makarova.

On January 28, 2014, Guy was inducted into Musicians Hall of Fame and Museum.

In 2015, Guy received a Grammy Lifetime Achievement Award from the National Academy of Recording Arts and Sciences.

Born to Play Guitar won a Grammy Award in 2016 for Best Blues Album.  Also in 2016, Guy toured the US east coast as the opening act for Jeff Beck.

December 8, 2018 was designated "Buddy Guy Day" by Louisiana and Mississippi officials and a stretch of Highway 418 through Lettsworth was designated "Buddy Guy Way".

In 2018, Guy was honored with a marker on the Mississippi Blues Trail in Pointe Coupee Parish, Louisiana.

In 2019, Guy received the Golden Plate Award of the American Academy of Achievement presented by Awards Council member Jimmy Page.

Personal life
Guy married Joan Guy in 1959. They have six children together: Charlotte (1961), Carlise (1963), Colleen (1965), George Jr., Gregory, and Geoffrey. Greg Guy also plays blues guitar.

He was married to Jennifer Guy from 1975 to 2002. They had two children: Rashawnna and Michael. The marriage ended in divorce. Rashawnna Guy, known by her stage name Shawnna, is a rapper.

Guy has lived in Orland Park, Illinois, a suburb south of Chicago .

Discography

Left My Blues in San Francisco (1967)
A Man and the Blues (1968)
Hold That Plane! (1972)
The Blues Giant / Stone Crazy! (1979)
Breaking Out (1980)
DJ Play My Blues (1982)
Damn Right, I've Got the Blues (1991)
Feels Like Rain (1993)
Slippin' In (1994)
Heavy Love (1998)
Sweet Tea (2001)
Blues Singer (2003)
Bring 'Em In (2005)
Skin Deep (2008)
Living Proof (2010)
Rhythm & Blues (2013)
Born to Play Guitar (2015)
The Blues Is Alive and Well (2018)
The Blues Don't Lie (2022)

with Junior Wells

Hoodoo Man Blues (1965)
Chicago / The Blues / Today!, Vol. 1 (1966)
It's My Life, Baby! (1966)
Coming at You (1968)
Buddy and the Juniors (1970, also with Junior Mance)
Southside Blues Jam (1970)
Play the Blues (1972)
Pleading the Blues (1979)
Going Back (1981)
Alone & Acoustic (1991)
Better Off with the Blues (1993)

with Phil Guy

Buddy & Phil (1981)
The Red Hot Blues of Phil Guy (1982)
Bad Luck Boy (1983)
All Star Chicago Blues Session (1994)
He's My Blues Brother (2006)

with Memphis Slim

Southside Reunion (1971)

See also
 Buddy Guy's Legends
 Checkerboard Lounge
 Chicago Blues Festival
 Montreux Jazz Festival

References

Further reading

External links

1936 births
Living people
American blues guitarists
American male guitarists
American blues singers
American memoirists
Atlantic Records artists
Charly Records artists
Chess Records artists
Chicago blues musicians
Contemporary blues musicians
Delmark Records artists
Electric blues musicians
Grammy Lifetime Achievement Award winners
Jive Records artists
Kennedy Center honorees
Lead guitarists
MCA Records artists
MPS Records artists
People from Pointe Coupee Parish, Louisiana
McKinley Senior High School alumni
Musicians from Baton Rouge, Louisiana
Blues musicians from Louisiana
Blue Thumb Records artists
RCA Records artists
Songwriters from Louisiana
United States National Medal of Arts recipients
Vanguard Records artists
Zomba Group of Companies artists
African-American guitarists
Songwriters from Illinois
Singers from Louisiana
Guitarists from Chicago
Guitarists from Louisiana
20th-century American guitarists
Black & Blue Records artists
Mississippi Blues Trail
African-American songwriters
20th-century African-American male singers

Buddy Guy


O acidente do Cessna C550 prefixo PT-LTJ em 2019 se refere ao acidente de um Cessna C550, prefixo PT-LTJ, ocorrido em 14 de novembro de 2019 em Maraú, Brasil, matando um tripulante e quatro passageiros.

Aeronave e tripulação
A aeronave era uma Cessna C550, prefixo PT-LTJ, de uso particular, fabricada em 1981. Sua última inspeção havia sido feita em 22 de maio de 2019, quando a aeronave com  horas e 10 minutos de voo, ou  ciclos. O piloto tinha cerca de 8 mil horas totais de voo, sendo 2,5 mil nesta aeronave, e o copiloto 350 horas totais, sendo 25 horas e 50 minutos nesta aeronave.

Acidente
Realizando um voo privado, o avião decolou do Aeródromo Comandante Rolim Adolfo Amaro, com destino ao Aeródromo Barra Grande, em Maraú, Bahia, Brasil, por volta das 14h58min (UTC), com oito passageiros a bordo, além do piloto e copiloto. Chegando no aeródromo de destino, às 17h17min (UTC), a aeronave realizou um pouso aquém da pista 11, ocasionando a ruptura dos trens de pouso principais e auxiliar. A aeronave se deslocou pela pista, arrastando a fuselagem inferior e o intradorso das asas, saindo pela lateral esquerda e parando com a proa defasada, aproximadamente 210 graus em relação à trajetória do pouso. Iniciou-se logo depois um incêndio que consumiu grande parte da aeronave, que ficou destruída. Um tripulante e quatro passageiros sofreram lesões fatais e um tripulante e quatro passageiros sofreram lesões graves.

Investigação
O relatório final divulgado pelo Centro de Investigação e Prevenção de Acidentes Aeronáuticos (CENIPA) em 19 de agosto de 2021 aponta como fatores contribuintes:
Aplicação dos comandos — que levou a aeronave a realizar uma rampa mais baixa que a ideal;
Coordenação de cabine — com o emprego inadequado do Crew Resource Management; e
Julgamento de pilotagem — avaliação inadequada do comandante quanto à posição da aeronave.
Como fatores possivelmente contribuintes (indeterminado), foram apontados: Atenção, Atitude, Comunicação, Ilusões visuais, Percepção, Planejamento de voo e Limitações físico sensoriais.

Bibliografia

Leitura adicional

Acidentes e incidentes aéreos de 2019
Acidentes e incidentes aéreos no Brasil
2019 na Bahia
Maraú

Acidente do Cessna C550 prefixo PT-LTJ em 2019


صورة الكرة القَفّازة (أسفله) تتكون من هذه الأطر (لقطات) الستة.

هذه الصورة تتحرك بسرعة 10 أطر بالثانية

نفس الصورة بسرعة إطارين بالثانية

التحريك أو الأنیميشن  هو عرض سريع لتتابع من الصور ثنائية البعد أو الصور ثلاثية الأبعاد لإيجاد إيحاء بالحركة.

الرسوم المتحركة هي إحياء الحركة بجعل الصور تستمر أو لنقول انه خداع بصري للصور المتتالية ، ويمكن صنع وعرض الصور المتحركة بطرق متعددة. والطريقة الشائعة هي عرض الحركة كفيلم أو كفيديو. وهناك أيضاً طرق أخرى متعددة لعرض الصور المتحركة موجودة حالياً.

أنواع التحريك

هناك تقنيات حركية متنوعة.

التحريك التقليدي

كان التحريك التقليدي (يسمى أيضاً التحريك بأوراق السيلولويد  أو التحريك اليدوي) العملية المستعملة في معظم أفلام الرسوم المتحركة المنتجة في القرن العشرين. حيث أن كل الأطر (اللقطات) الفردية عبارة عن صور للرسوم ترسم أولاً على الأوراق.
ولخلق وهم الحركة يرسم كل رسم مختلفا عن الذي قبله قليلًا. ويتم نسخ أو إعادة رسم الرسوم التي يرسمها المحركون إلى أوراق شفافة تسمى (سيل) وهي اختصاراً لكلمة سيلولويد، والتي تملأ برسوم أو ألوان مخصصة أو تدرجات ألوان، في الجهة المعاكسة للرسم في الورقة الشفافة.
تصور خلايا الشخصية الكاملة لقطة وراء لقطة في الفيلم المتحرك لتقابل الخلفية الملونة وذلك باستخدام آلة تصوير خاصة.

أصبحت عملية التحريك التقليدي باستخدام السيلولويد قديمة في بدايات القرن الحادي والعشرين. حالياً وبسبب تطور الحاسوب، الرسوم والخلفيات التي يرسمها المحركون يتم مسحها ضوئياً أو يتم رسمها مباشرة في الحاسوب.

على صعيد الإنتاج ينقسم التحريك التقليدي:

التحريك الكامل: وتشير إلى عملية إنتاج افلام رسوم متحركة بتحريك كامل الاطارات في الثانية، أي 25 اطار في الثانية، بغض النظر عن جودة العمل. غالباً ما يكون هذا النوع من الافلام ذو جودة عالية وتفاصيل كثيرة ودقيقة بسبب التكلفة الباهظة لهذا النوع من الافلام فلا يقدم عليه غير الاستوديوهات الضخمة كشركة والت ديزني الاميركية التي قدم فيلم الجميلة والوحش 1991، علاء الدين 1992، و الملك الاسد 1994، واستديو جيبلي الياباني الذي المعروف بفيلم المخطوفة 2001، قلعة هاول المتحركة 2004، و بونيو 2008.

التحريك المحدود: وهو عبارة عن تحريك لعدد اقل من الاطارات في الثانية، قد يصل إلى ست اطارات في الثانية، تلجأ لها اغلب الاستوديوهات والشركات الاعلانية بسبب تكلقتها الاقل ولكن ليس بالضرورة ان يكون ذلك على حساب تفاصيل الرسم، فافلام التحريك الياباني، الأنمي، يقوم بالاستعاضة عن قلة عدد الاطارات بجعل الخلفيات والشخصيات مليئة بالتفاصيل الدقيقة للغاية.

الروتوسكوب

هذه تقنية حصل على براءة اختراعها ماكس فليتشير عام 1917 حيث يستخدم رساموا الكرتون افلام حقيقية من ممثلين حقيقيين ليقوموا بتمثيل الدور المطلوب كاملا ثم يستخدموا الروتوسكوب ليعيدوا رسم هذا المشهد من الفيلم الحقيقي بطريقة كرتونية كما في فيلم (سيد الخواتم، عام 1978) وفيلم (اسكانر داركلي عام 2006 - a scanner darkly) وفيلم (هيفي ميتال عام 1981) والعديد من الافلام الأخرى.

live action / animation : وهذه الطريقة تدمج بين الرسوم المتحركة والافلام الحقيقية ومن الامثلة المشهورة لهذه الطريقة هو فيلم who framed roger rabbit .

إيقاف الحركة

(بالانكليزية:Stop motion) هذه النوع تستخدم مواد جامدة مثل الدمى أو الطين الاصطناعي أو أي شيء آخر ويتم تحريكه واخذ لقطة له في كاميرا الفيلم وتحريكه مرة أخرى وأخذ لقطة ثانية وهكذا إلى أن يتم تسجيل المشهد أو الفيلم المطلوب.

انظر أيضاً

 رسومات حاسوبية متحركة
 رسوم متحركة
 كرتون (فن)
 مسلسل الكرتون

مراجع

أنواع الأفلام
تكنولوجيا الأفلام والفيديو
رسوم كاريكاتورية
رسوم متحركة

تحريك صور


Gypsum Township ist der Name folgender Townships in den Vereinigten Staaten:

 Gypsum Township (Saline County, Kansas)
 Gypsum Township (Sedgwick County, Kansas)

Gypsum Township


The Sengoku period was a time of nearly constant military conflict in Japan from the middle 15th to the early 17th century.

Sengoku may also refer to

Entertainment
 Sengoku (1991 video game), a trilogy of arcade fighting games for the Neo-Geo
 Sengoku (2011 video game), a videogame for Microsoft Windows
 Sengoku (MMA), a mixed-martial arts event organized by World Victory Road
 Sengoku (One Piece), a character in the anime One Piece
 Sengoku (role-playing game), a role-playing game book by Mark Arsenault and Anthony J. Bryant
 Sengoku Ace, an arcade shooting game by Psikyo
 Sengoku Rance, an eroge by Alice Soft

Other uses
 Sengoku (surname), a Japanese surname
 Sengoku clan, a family of daimyō in Edo period Japan
 Sengoku Station, a metro station on the Toei Mita Line in Bunkyo, Tokyo, Japan

See also
 Son Goku (disambiguation)

Sengoku (disambiguation)


Clubul Sportiv Municipal Galați este o echipă de handbal feminin din Galați, România, secție a clubului polisportiv cu același nume înființat prin Hotărârea nr. 334 din 30 mai 2018 a Consiliului Local Galați. Prin aceeași hotărâre a fost aprobat și regulamentul de funcționare al clubului.

Pe data de 26 august 2018, fosta echipă de handbal feminin CSU Danubius Galați a anunțat pe pagina sa oficială Facebook că "a devenit istorie" și că "va fi preluată integral de clubul municipalității, CSM Galați". Pe data de 31 august 2018, Consiliul de Administrație al Federației Române de Handbal a aprobat preluarea CSU Danubius Galați de către CSM Galați, permițând acestei din urmă echipe să evolueze în Liga Națională.

Între timp însă, câteva handbaliste de la CSU Danubius Galați se transferaseră deja la alte echipe.

Primul antrenor al CSM Galați a fost Valeriu Costea, fost antrenor al CSU Danubius Galați. Acesta a fost înlocuit în februarie 2019. cu Alexandrina Soare. După o scurtă perioada în care antrenor interimar a fost Relu Druțu din septembrie 2021 Valeriu Costea este din nou antrenorul echipei. Din februarie 2023, CSM Galați este antrenată de Daciana Balaban.

Sezoane recente

<div id="1">✳ Sezonul 2019-2020 al Diviziei A s-a încheiat, din cauza pandemiei de coronaviroză cauzată de noul coronavirus 2019-nCoV (SARS-CoV-2), fără a se mai disputa ultimele etape, cu rămânerea în vigoare a clasamentului valabil la data de 11 martie 2020, când s-a desfășurat ultimul meci, aplicându-se criteriile de departajare finală, iar promovarea în Liga Națională ar fi urmat să se facă în urma disputării unui turneu final, la care participau 8 echipe cel mai bine clasate în seriile Diviziei A. După ce mai multe echipe au renunțat la participarea la turneul final de promovare, în cursă au rămas doar patru echipe care concurau pentru patru locuri de promovare, făcând inutilă organizarea unui turneu. Pentru a decide locul de promovare ocupat de cele patru echipe, FRH a ales tragerea la sorți, care a avut loc pe 21 septembrie 2020.

Echipa
Conform presei din Galați:

Portari
 1  Ana Maria Micu
 12  Bianca Aron
 16  Nicoleta Petre
 96  Alexandra Prodan

Extreme stânga
 6  Andreea Merlă
 37  Maria Frăsinel
 89  Bianca Zegrean

Extreme dreapta
 7  Iulia Eiler
 15  Sorana Chiriac
 20  Iasmina Ichim

Pivoți
 14  Andreea Filip
 22  Raluca Tănasă
 23  Mădălina Manolachi

Intermediari stânga
 9  Cristina Andrița
 11  Andreea Prescură

Centri
 5  Lavinia Lazăr
 18  Daniela Corban

Intermediari dreapta
 10  Mălina Bichir
 27  Diana Nichitean
 99  Andreea Sandu

Banca tehnică
Conform presei din Galați:

Marcatoare în competițiile naționale

Cele mai bune marcatoare în Liga Națională

Cele mai bune marcatoare în Cupa României

Note

Cluburi românești de handbal
CSM
Fondări în 2018

CSM Galați (handbal feminin)


"Did You Know That There's a Tunnel Under Ocean Blvd" (estilizada em maiúsculas e minúsculas) é uma canção da cantora e compositora estadunidense Lana Del Rey, lançada em 7 de dezembro de 2022 como o primeiro single de seu nono álbum de estúdio com o mesmo nome (2023). Foi composta pela própria artista juntamente com Mike Hermosa e Jack Antonoff, sendo produzida por este último.

Recepção critica
Sam Sodomsky da Pitchfork descreveu a canção como uma "balada lenta e sonhadora" com "momentos incidentais" e descobriu que o túnel no título da canção é "menos um ponto focal geográfico do que uma janela para o potencial que ela vê nas cenas mais familiares e nas rotas mais percorridas".

Créditos e pessoal
Créditos adaptados do Tidal e Genius.

 Gestão
Publicado pela UMG e Polydor Records — administrado por Interscope Records

 Pessoal

 Lana Del Rey — vocais, compositora, letrista, produtora, vocais de fundo
 Mike Hermosa — compositor, letrista, produtor
 Jack Antonoff — compositor, letrista, produtor, mixagem
 Drew Erickson — produtor
 Zach Dawes — produtor
 Shikena Jones — vocais de fundo
 Voncielle Faggett — vocais de fundo
 Melodye Perry — vocais de fundo
 Logan Hone — saxofone, clarinete
 Paul J. Cartwright — violino
 Wynton Grant — violino
 Charlie Bisharat — violino
 Andrew Bulbrook — violino
 Christine Kim — violoncelo
 Jake Braun — violoncelo

 Benji Lysaght — efeito de áudio, violão
 Jim Keltner — bateria
 Ruairi O'Flaherty — masterização
 Dean Reid — engenheiro de gravação
 Laura Sisk — engenheiro de gravação
 Michael Harris — engenheiro de gravação
 Bill Mims — engenheiro assistente de gravação
 Ivan Handwerk — engenheiro assistente de gravação
 Mark Aguilar — engenheiro assistente de gravação
 Ben Fletcher — engenheiro assistente de gravação
 Jon Sher — engenheiro assistente de gravação
 Megan Searl — engenheiro assistente de gravação
 Brian Rajaratnam — engenheiro assistente de gravação
 Matt Tuggle — engenheiro assistente de gravação

Histórico de lançamento

Canções de 2022
Singles de 2022
Canções gravadas por Lana Del Rey
Singles lançados pela Interscope Records
Singles lançados pela Polydor Records
Canções compostas por Lana Del Rey
Canções compostas por Jack Antonoff

Did You Know That There's a Tunnel Under Ocean Blvd (canção)


මහායාන ධර්‍ම ග්‍රන්ත අතුරින් උසස් යයි පොදුවේ පිලිගන්නා ග්‍රන්තයකි. මහායාන ධර්‍මය ඈත පෙරදිග කරා යාමේදී, ප්‍රතමයෙන් ඒ රටවලට ගියා වූ ද, එ‍මෙන්ම ඒ රටවල ඉතා ගැඹුරු ආකාරයෙන් මුල් බැසගත්තා වූ ද සූත්‍රයයි. ආරම්භය අවිනිශ්චිතයි. මෙය ක්‍රි.ව. 1 වන විට, සංස්කෘත බසින් සැකසී තිබී ඇතැයි සැලකේ. ක්‍රි.ව. 255 සිට 601 දක්වා චීන පරිවර්තන 6 ක් කෙරී ඇත. ඒ අතුරින් ක්‍රි.ව. 401 දී චීනයට පැහැරගෙන යනු ලැබූ කුමාරජීව හිමියන් කළ පරිවර්තනය උසස්ම ලෙස සැලකේ. ජපානයේ මෙම සූත්‍රයට ජීවමාන බුදුන්වහනන්සේට මෙන් "නමුම්‍යේෙහා් රෙන්ගෙ ක්‍යේ" ලෙස නමස්කාර නරති. මෙම සූත්‍රය භක්තියෙන් කියවීමේදී බුදුන්දැකිය හැකිය. -හැදින්වීම

ආශ්‍රය

සද්ධර්‍මපුණ්ඩරීක සූත්‍රය


My lost generation er en dokumentarfilm instrueret af Vladimir Tomić efter manuskript af Tomić selv.
My lost generation var Tomić afgangsfilm fra Det Kongelige Danske Kunstakademi og han fik debutantprisen for værket.

Det Danske Filminstitut opsummerede filmen med

Filmen deltog i den internationale konkurrence ved den internationale dokumentarfilmsfestival i Zagreb i 2010.

Referencer

Eksterne henvisninger

Danske film fra 2009

Dokumentarfilm fra Danmark

My lost generation


Culoarea apei variază în funcție de condițiile ambientale în care aceasta este prezentă. La observarea unor cantități relativ mici de apă aceasta apare fi incoloră, iar apa pură are o nuanță ușor albăstrie care devine mai profundă odată cu creșterea grosimei stratului de apă. Nuanța albastră a apei este o proprietate intrinsecă a acesteia și este cauzată de absorbția și dispersia selectivă a luminii albe. Elementele suspendate dizolvate sau impuritățile din apă îi pot da acesteia o culoare diferită. Astfel, culoarea generală a apei este incoloră pentru ochiul uman, cu toate acestea, aceasta pare albastră în cantități mari, o iluzie a nervilor optici.

Culori
Apă

Culoarea apei


Cassia Sharpley (Vinduque, 25 de novembro de 2000) é uma modelo e rainha da beleza da Namíbia, vencedora do concurso Miss Namíbia 2022. Ela representará a Namíbia no Miss Universo 2022.

Biografia
Sharpley nasceu e cresceu em Vinduque. Ela frequentou a Academia Cristã das Águias e está trabalhando como paramédica de suporte básico de vida e cursando um bacharelado em atendimento médico de emergência na Universidade de Ciência e Tecnologia da Namíbia em Vinduque.

Sharpley começou sua carreira em concursos de beleza ainda adolescente em 2017, ela se juntou ao Miss Teen Namibia 2017, onde ficou em 5º lugar. Em 23 de junho de 2018, ela representou a Namíbia no Miss Teen Continents 2018 no South Point Hotel and Casino em Las Vegas, Nevada, Estados Unidos e competiu contra outras oito candidatas. Ela não foi colocada na semifinal, mas ganhou o prêmio Melhor em entrevista.

Em 12 de agosto de 2022, Shikongo competiu contra 12 outras finalistas no Miss Namíbia 2022 no Windhoek Country Club Resort and Casino em Vinduque. Ela conquistou o título e foi sucedida por Chelsi Shikongo. Ela representará a Namíbia no Miss Universo 2022.

Misses da Namíbia
Naturais de Vinduque
Nascidos em 2000
Concorrentes do Miss Universo

Cassia Sharpley


Jezero Ribnjak površine oko 2,5 hektara nalazi se u Koprivničko-križevačkoj županiji na sjevernom dijelu područja općine Drnje, par stotina metara istočno od vikend naselja Šoderica. Udaljeno je oko 500 metara od rijeke Drave iz koje se opskrbljuje vodom i desetak metara istočno od jezera Šoderice.

Opis
To je umjetno jezero nastalo iskapanjem šljunka i pijeska. Istočna obala jezera je prilično neprohodna obrasla niskim i visokim raslinjem, šikarom, trskom, čičkom, nešto divljih kupina (trnja)  i drugom vegetacijom. Pristup vodi je moguć uglavnom na zapadnoj obali na dvadesetak ribičkih mjesta, od kojih je desetak uređeno za sportska takmičenja. Dno jezera je šljunkovito, mjestimično muljevito od trulog lišća i većim dijelom obraslo vodenom travom krocanj, trskom a ima i bijelog lopoča, žutog lokvanja i drugog vodenog bilja. Uz mutnu vodu ima rogoza, šaša, ljutka, ježinca i druge vegetacije. Jezero je još do nedugo bilo zavidno bistre vode i prirodnijeg izgleda dok nije pretvoreno u jezero sustava "Ulovi i pusti" za svu ribu. Jugoistočno, iza pojasa obalne vegetacije, oko jezera su poljoprivredne površine i livade. Zapadno od Ribnjaka je najveće jezero Podravsko-prigorskog kraja Šoderica, mjestimično udaljena samo desetak metara.

Ribolov
Jezero se poribljava i bogato je skoro svim ribljim vrstama koje obitavaju u ovom kraju: posebno šaran (divlji/vretenasti i ribnjački/bezljuskaš), pastrvski grgeč (bass), amur, obični grgeč (ostriž), tolstolobik (bijeli/sivi glavaš), smuđ?, som, štuka, linjak i ostale sitnije riblje vrste koje obitavaju u ovom području (autohtone vrste): deverika, crvenperka, žutooka-bodorka, bjelka-uklija, gavčica i dr.). Ima i štetnih unesenih alohtonih invazivnih vrsta: patuljasti som (patuljan-američki som), bezribica i sunčanica (sunčarka). Ima dovoljno ribljih vrsta za skoro sve vrste sportskog ribolova i za ulov kapitalnih primjeraka šarana i amura. Održavaju se razna kup natjecanja, najčešće u višednevnom šaranskom ribolovu. Na jezeru Ribnjak vrijedi sistem "Ulovi i pusti" (C&R) za sve vrste riba (osim za invazivne alohtone vrste?). Ribolov grabežljivaca dozvoljen je samo umjetnim mamcima (varalicom). Na jezeru je zabranjena upotreba čamaca.

Galerija

Izvori
Popis ribolovnih voda  Ribolovne vode podravsko-prigorskog kraja

Porječje Drave
Umjetna jezera u Hrvatskoj

Ribnjak (jezero)


Estelle Nze Minko (født 11. august 1991 i Saint-Sébastien-sur-Loire, Frankrig) er fransk håndboldspiller som spiller venstre back for ungarske Győri Audi ETO KC og Frankrigs kvindehåndboldlandshold.

Hun var med til at vinde OL-guld i håndbold for , ved Sommer-OL 2020 i Tokyo, efter finalesejr over , med cifrene 30-25.

Kilder

Eksterne henvisninger

Håndboldspillere fra Frankrig
Håndboldspillere fra Siófok KC
Olympiske håndboldspillere fra Frankrig
Olympiske medaljevindere i håndbold
Olympiske sølvmedaljevindere fra Frankrig
Medaljevindere ved sommer-OL 2016
Håndboldspillere ved sommer-OL 2016
Håndboldspillere ved sommer-OL 2020
Deltagere for Frankrig ved sommer-OL 2016
Deltagere for Frankrig ved sommer-OL 2020

Estelle Nze Minko


O circuito Copa do Mundo da FIG de Ginástica Rítmica de 2023 é uma série de competições oficialmente organizadas e promovidas pela Federação Internacional de Ginástica.

Formatos

Medalhistas

Geral

Individual

Grupo

Aparelhos

Arco

Bola

Maças

Fita

5 Arcos

3 Fitas e 2 Bolas

Quadro geral de medalhas

Ver também
 Copa do Mundo de Ginástica Artística de 2023

Referências

2023 na ginástica
2023

Copa do Mundo de Ginástica Rítmica de 2023


Alfred von Arneth (født 10. juli 1819 i Wien, død 30. juli 1897 sammesteds) var en østrigsk historieskriver. Han var søn af Joseph von Arneth

von Arneth blev tidlig ansat i det kejserlige statsarkiv, hvis direktør han blev 1868; i politikken deltog han blandt andet som medlem af Frankfurt-parlamentet 1848—49 og blev 1869 medlem af det østrigske herrehus. Hans ideal som politiker var i sin tid Tysklands enhed under ledelse af det østerrigske kejserhus, og som historiker har han også med forkærlighed syslet med Østrigs storhedstid i 18. århundrede. Hans første hovedværk omhandlede Prins Eugen von Savoyen (1858—59, 3 bind); derefter skrev han en bredt anlagt skildring: Geschichte Maria Theresias (1863—79, 10 bind). Ligesom disse arbejder helt igennem støtter sig på arkivstudier af den mest omfattende natur, har von Arneth også indlagt sig stor fortjeneste ved at offentliggøre en række vigtige brevsamlinger, især Marie Antoinettes og Josef II's.

Kilder

Historikere fra Østrig
Arkivarer
Faglitterære forfattere fra Østrig
Tysksprogede forfattere
Østrigere i 1800-tallet
Personer fra Wien

Alfred von Arneth


Park Albori, park u Čajniču. Uređen je početkom 20. stoljeća, dok je Čajniče bilo u Austro-Ugarskoj. Nazvan je prema von Alboriju, počasnom građaninu i namjesniku BiH. Uzor po kojem je park uređen bili su naljepši parkovi u Austriji. Spomenik je urbane arhitekture. Odmah je poznao znamenitost omiljena u tisku koji ju je putnicima preporučivao za vidjeti. Smješten je u neposrednoj blizini građevinskog kompleksa Appelovog vrela.

Izvori

Parkovi u Bosni i Hercegovini
Čajniče

Park Albori


Lositz-Jehmichen ist ein Ortsteil der Stadt Saalfeld/Saale im Landkreis Saalfeld-Rudolstadt in Thüringen.

Geografie
Das Thüringer Schiefergebirge neigt sich bei den Gemarkungen beider Ansiedlungen gen Osten und bildet so die unsichtbare Nahtstelle zum Südostthüringer Schiefergebirge. Die Gemarkung der Ansiedlungen sind kupiert und mit Wälder durchsetzt. Bürger und Touristen haben über Kreisverbindungsstraßen Verbindung zur Bundesstraße 281 und auch zur 85. Über beide Strecken erreicht man Saalfeld und das erweiterte Umland.

Geschichte
Lositz wurde 1410 und Jehmichen 1414 erstmals urkundlich erwähnt und in Unterlagen archiviert.
Die heutige Kirche entstand nach dem Abriss des Vorgängerbaus im Jahr 1796.
Über die vergangenen politischen Verhältnisse in dieser Gegend gibt die angegebene Literatur Auskunft.
Neben begrenzt möglicher landwirtschaftlicher Nutzung der Flächen war die Gäste- und Touristenbetreuung wichtig für die Bevölkerung in diesem Raum.
Jetzt bieten die Leute Ferienwohnungen, Pferdesport und Betreuung der Gäste an.

Von 1991 bis 1996 gehörte der Ort der Verwaltungsgemeinschaft Saalfelder Höhe an. Mit Umwandlung dieser in die Einheitsgemeinde Saalfelder Höhe wurde Lositz-Jehmichen ein Ortsteil dieser. Diese wurde am 6. Juli 2018 nach Saalfeld/Saale eingemeindet.

Weblinks

Einzelnachweise

Geographie (Saalfeld/Saale)
Ehemalige Gemeinde (Landkreis Saalfeld-Rudolstadt)
Gemeindegründung 1960
Gemeindeauflösung 1997

Lositz-Jehmichen


Otok Southampton (jezik inuktitut: Shugliaq) je veliki otok na ulazu u zaljevu Foxe u Hudsonov zaljev. Otok Southampton, jedan od većih otoka Arktičkog arhipelaga, dio je regije Kivalliq u Nunavutu u Kanadi. Površinu otoka Statistics Canada navela je kao 41.214 km². To je 34. najveći otok na svijetu i deveti po veličini otok u Kanadi. Jedino naselje na otoku Southampton je Coral Harbour (1035 stanovnika, popis stanovništva Kanade 2021.), pod nazivom Salliq u Inuktitutu.

Otok Southampton jedno je od rijetkih kanadskih područja i jedino područje u Nunavutu koje ne koristi ljetno računanje vremena.

Povijest
Povijesno gledano, otok Southampton poznat je po svojim sada izumrlim stanovnicima, Sadlermiutima (moderni Inuktituti Sallirmiut "Stanovnici Salliqa"), koji su bili posljednji trag Tuniita ili Dorseta. Tuniit, predinuitska kultura, službeno je etnički i kulturno izumrla 1902.-1903. kada je zarazna bolest ubila sve Sallirmiute u nekoliko tjedana.

Prvi Europljanin čiji je posjet bio zabilježen je bio velški istraživač Thomas Button 1613.

Početkom 20. stoljeća, otok su ponovno naselili Aivilingmiuti iz Naujaata i Chesterfield Inleta, na koje su utjecali kapetan kitolovca George Comer i drugi. Otočani Baffina stigli su 25 godina kasnije. John Ell, koji je kao malo dijete putovao sa svojom majkom Shoofly na Comerove škune, na kraju je postao najpoznatiji od stanovnika otoka Southampton.

Arheološko nalazište Native Point na ušću uvale Native najveće je nalazište Sadlermiuta na otoku.

Geologija
Otok Southampton ima geološke resurse koji su od znanstvenog i industrijskog interesa.

Međutim, prema nunavutskoj vladi, još uvijek nedostaje puno znanje o otoku.

Geografija
Od poluotoka Melville dijeli ga tjesnac Frozen. Ostali vodeni putovi koji okružuju otok uključuju bazen Roes Welcome na zapadu, Zaljev Gods Mercy na jugozapadu, tjesnac Fisher na jugu, tjesnac Evans na jugoistoku i kanal Foxe na istoku.

Jezero Hansine nalazi se na krajnjem sjeveru. Poluotok Bell nalazi se na jugoistočnom dijelu otoka. Planina Mathiassen, dio planine Porsild, najviši je vrh otoka. Oblik otoka pomalo nalikuje Newfoundlandu.

Klima
Otok Southampton ima oštru subarktičku klimu (Köppen Dfc) koja prelazi u klimu tundre (ET). Kao i gotovo cijeli Nunavut, otok Southampton je u potpunosti iznad linije drveća. Coral Harbor nikada nikada u siječnju, veljači i ožujku nije zabilježio temprerature iznad nule (iako je potonji zabilježio 0.0 °C). Zbog smrznute prirode zaljeva Hudson, postoji ozbiljno sezonsko zaostajanje do lipnja, posebno u usporedbi s kontinentalnim područjima kao što je Fairbanks unatoč puno sunca i stalnog sumraka noću. Zbog pada sunčeve snage i izostanka tople vode čak i ljeti, temperature i dalje vrlo brzo padaju kako se bliži rujan. Hladni ekstremi su ozbiljni, ali su u skladu s mnogim područjima čak i južnije u unutrašnjosti Kanade.

Fauna
Utočište za ptice selice East Bay i Utočište za ptice selice Harry Gibbons nalaze se na otoku i važna su mjesta za razmnožavanje male snježne guske (Anser caerulescens caerulescens). Otok je također mjesto dva važna područja za ptice (IBA), močvara rijeke Boas na jugozapadu i East Bay / Native Bay na jugoistoku. Obje su domaćini velikih ljetnih kolonija male snježne guske, koje zajedno čine preko 10% svjetske populacije snježne guske, a samo mjesto rijeke Boas domaćin je više od 500.000 jedinki koje se tu gnijezde. Manje, ali i važne, tamo su kolonije guske branta (Branta bernicla) i brojnih drugih polarnih vrsta ptica. Otok Southampton jedno je od dva glavna ljetovališta poznata po grenlandskim kitovima u zaljevu Hudson.

Izvori

Daljnja literatura
 Bird, J. Brian. Southampton Island. Ottawa: E. Cloutier, 1953.
 Brack, D. M. Southampton Island Area Economic Survey With Notes on Repulse Bay and Wager Bay. Ottawa: Area & Community Planning Section, Industrial Division, Dept. of Northern Affairs and National Resources, 1962.
 Mathiassen, Therkel. Contributions to the Physiography of Southampton Island. Copenhagen: Gyldendalske Boghandel, 1931.
 Parker, G. R. An Investigation of Caribou Range on Southampton Island, Northwest Territories. Ottawa: Information Canada, 1975.
 Pickavance, J. R. 2006. "The Spiders of East Bay, Southampton Island, Nunavut, Canada". Arctic. 59, no. 3: 276–282.
 Popham RE. 1953. "A Comparative Analysis of the Digital Patterns of Eskimo from Southampton Island". American Journal of Physical Anthropology. 11, no. 2: 203–13.
 Popham RE, and WD Bell. 1951. "Eskimo crania from Southampton Island". Revue Canadienne De Biologie / ̐ưedit̐ưee Par L'Universit̐ưe De Montr̐ưeal. 10, no. 5: 435–42.
 Sutton, George Miksch, and John Bonner Semple. The Exploration of Southampton Island. Pittsburgh: Carnegie Institute, 1932.
 Sutton, George Miksch. The Birds of Southampton Island. Pittsburgh: Carnegie Institute, 1932.
 VanStone, James W. The Economy and Population Shifts of the Eskimos of Southampton Island. Ottawa: Northern Co-ordination and Research Centre, Dept. of Northern Affairs and National Resources, 1959.
Kanadski otoci u Arktičkom oceanu
Nunavut

Southampton (otok)


[[ملف:Warm-ups at Brazil & North Korea match at FIFA World Cup 2010-06-15 1.jpg|تصغير|460 بك|مشهد لمدرجات الجماهير البرازيلية خلال كأس العالم لكرة القدم 2010 في لقاء الدور الأول الذي جمع البرازيل وكوريا الشمالية]]ملعب إليس بارك (أو ملعب طيران الإمارات لأسباب الرعاية، وسابقًا ملعب كوكاكولا''')، أنشأ في عام 1928، وهو يختص بلعبتي الرغبي وكرة القدم، وسمي نسبة إلى جي دي إليس الذي كان حينها مستشاراً في مدينة جوهانسبرغ ووافق على تخصيص أرض لبناء هذا الملعب الذي احتضن مباريات لرياضتي الرغبي والكريكت، ثم تم هدمه في عام 1982 وأعيد تشييده وبدأت تقام عليه مباريات كرة القدم بجانب الرغبي.

البطولات

كأس العالم للرغبي
احتضن هذا الملعب خمسة مباريات من كأس العالم للرغبي 1995 وشاركت في المباريات الخمس منتخبات أيرلندا ونيوزيلندا والويلز وأيرلندا وجنوب أفريقيا وساموا والذي بها جنواب أفريقيا

كأس العالم للقارات
وفي عام 2009 أقيمت على أرضه خمسة مباريات من بطولة كأس العالم للقارات (كرة قدم) منها مباراة النهائي بين منتخبي الولايات المتحدة الأمريكية والبرازيل، ومباراة نصف النهائي بين البرازيل وجنوب أفريقيا، وسبقهما ثلاثة مباريات من دور المجموعات.

كأس العالم 2010
يشارك هذا الملعب في استضافة العرس الكروي الأكبر في 2010 حيث تقام فيه خمسة مباريات من دور المجموعات ومباراة ضمن منافسات الدور ثمن النهائي وأخرى في الدور ربع النهائي.

مراجع

تأسيسات سنة 1928 في إفريقيا الجنوبية
ملاعب اتحاد الرغبي في جنوب إفريقيا
ملاعب رياضية اكتملت في 1928
ملاعب رياضية في جوهانسبرغ
ملاعب كأس العالم 2010
ملاعب كأس العالم للرغبي
ملاعب كأس القارات 2009
ملاعب كرة قدم في جنوب إفريقيا
ملاعب كرة القدم في جنوب إفريقيا

ملعب إليس بارك


Margaret Bain, née Margaret Elizabeth Emberson le  à Suva et morte en  dans cette même ville, est une personnalité fidjienne de la seconde moitié du .

Biographie
Margaret Emberson, dite « Betty », est la troisième de huit enfants d'une famille multi-ethnique et catholique. Son arrière-grand-père paternel avait été le trésorier du premier gouvernement colonial britannique aux Fidji, sous le gouverneur Arthur Gordon à la fin du . Son père est d'ascendance tongienne, anglaise, tahitienne et rotumienne, et sa mère d'ascendence tongienne et danoise. Elle est retirée de l'école par sa mère à la fin de son enseignement primaire et envoyée seule suivre une formation de sténographie à Auckland, en Nouvelle-Zélande. De retour aux Fidji, elle est employée à l'âge de 15 ans comme sténographe par la Cour suprême coloniale, puis par le Conseil législatif pour le Hansard (transcriptions parlementaires) de la colonie.

En 1951 elle quitte l'Église catholique pour épouser un Néo-Zélandais presbytérien, Kenneth Bain. Elle est alors un temps employée au consulat britannique aux Tonga. Aux élections législatives fidjiennes de 1966, le parti de l'Alliance, parti du grand chef autochtone Ratu Kamisese Mara, la choisit parmi ses trois candidats pour les trois sièges réservés aux représentants des petites minorités ethniques pour la circonscription de Suva, la capitale. Les deux autres candidats du parti, John Falvey et William Yee, y sont élus mais Margaret Bain est devancée de 60 voix par le candidat indépendant Charles Stinson. Les deux seules autres femmes à se présenter, Irene Jai Narayan et Adi Loloma Livingston sont quant à elles élues, devenant les premières femmes députées aux Fidji. Ce sera sa seule participation à des élections ; elle devient la secrétaire privée du gouverneur colonial Sir  dans les années 1960 puis, lorsque les Fidji obtiennent leur indépendance en 1970, accompagne son époux qui est fait « numéro deux » du haut commissariat des Fidji à Londres. En 1968, elle organise aux Fidji une exposition des peintures de l'artiste australienne , obtenant l'assistance pratique et des financements de la part du haut commissariat australien aux Fidji ainsi des compagnies Qantas et Air Pacific.

Références

Personnalité politique fidjienne
Personnalité fidjienne du XXe siècle
Naissance en septembre 1929
Naissance à Suva
Décès en septembre 2019
Décès à Suva
Décès à 90 ans

Margaret Bain


ක්‍රි.ව 3300-1700 වකවානුවේදී පකිස්ථානය, බටහිර ඉන්දියාව හා ඇෆ්ගනිස්ථානය ඇතුළු විශාල බිම් ප්‍රදේශයක් පුරා ඉන්දු නිම්න ශිෂ්ටාචාරය විහිදී පැවතිණි. මෙය "හරප්පා" ශිෂ්ටාචාරය ලෙස ද හැදින්වේ. අතීතයේ දී ඉන්දු නිම්න ශිෂ්ටාචාර වැසියන් සුමේරියන්වරු සමඟ ද සම්බන්ධතා පවත්වා ඇතිමුත් මෙය වර්තමාන ලෝකයට දැන ගැනීමට හැකිවූයේ 1920 දී සිදුකරන ලද පුරාවිද්‍යාත්මක කැණීම්වල ප්‍රතිඵලයක් ලෙසය.

සංස්කෘත භාෂාවෙන් ලියැවී ඇති සෘග්වේදයට අනුව මෙහි ඉතිහාසය ක්‍රි.ව 1500 දක්වා විහිදී ඇත. සංස්කෘත සාහිත්‍යයේ සඳහන් වන පරිදි ක්‍රි.ව 500 දී පමණ මෙහි පාලනය රාජාණ්ඩු සහ සමූහාණ්ඩු 16 ක් යටතේ සිදුවිණි. ඒ අතරින් මගධය, කෝසල හා කුරු යන රාජ්‍යයන් ප්‍රධාන තැනක් ගනී. රාමායනය, මහා භාරතය වැනි මහා වංශකතාවන්ද මෙකල බිහිවී ඇතැයි සැලකේ.

ක්‍රි.ව. 6 දී බුදුරජාණන් වහන්සේගේ පහළ වීමත් සමඟ ඉන්දියානු ඉතිහාසයේ පිබිදීමක් දක්නට ලැබේ. එවකට "මහජනපදාස්" නමින් හැදින්වූ රාජ්‍යයන් 16 අතරින් අශෝක අධිරාජ්‍යයාගේ බලවත් වීමත් සමඟ මගධ රාජ්‍යය වඩාත් ප්‍රබල විය. දකුණු ඉන්දියාවේ පැවති කේරළ පාණ්ඩ්‍ය හා චෝළ වැනි කුඩා දෙමළ රාජ්‍යයන්ගේ සහය ද ඊට ලැබිණි.

ක්‍රි. වර්ෂ 320-550 අතර කාලවලදී පැවති ගුප්ත අධිරාජ්‍යයාගේ සමයේදී ද ආගමික හා අධ්‍යාපනික වශයෙන් ඉන්දු වැසියන් ඉතා දියුණු මට්ටමක සිටි බව ඉතිහාසයේ සඳහන් වේ. එකල භාවිතා වූ ප්‍රධාන භාෂාව සංස්කෘත වූ අතර ඊට අමතරව ප්‍රාදේශීය වශයෙන් භාවිතා වූ භාෂා කීපයක් ද විය.

ශතවර්ෂ 1-15 ත් අතර කාලයේ ඉන්දියාව, ආර්ථීක වශයෙන් මහත් වූ දියුණුවක් අත්කරගෙන තිබූ අතර මහා බ්‍රිතාන්‍යයේ යටත් විජිතයක් වූවායින් පසුව එම ගොඩනගාගත් ආර්ථීක සංවර්ධනය ශිඝ්‍ර කඩාවැටීමකට ලක්විය.

සටහන්

{|

|Ancient_history Ancient_India
ඉන්දියාව

පුරාණ ඉන්දියාව


Labrador retriever, retriever öbeğinden köpek ırkı.

Sağlam yapılı, orta boylu bir köpek olan Labrador retrieverin erkeğinin omuzdan yere yüksekliği 57,2 - 62,2 cm arasında, ağırlığı 27 – 34 kg arasında, dişisinin omuzdan yere yüksekliği 54,6 - 59,7 cm arasında, ağırlığı da 25 - 31,7 kg arasında değişir. Kuyruğu orta uzunlukta, ucu sivridir. Kısa tüylü postu siyah, sarı ya da koyu kahverengi olabilir.

Çok sabırlı ve duygusal bir köpektir. Zekası, eğitilebilirliği, hareketliliği ve söz dinlemesi en belirgin özellikleridir. İnsanlarla birlikte yaşamaya bayılır. Çocuklar dahil herkese çok yakın, sevgi dolu ilişki kurmak ister. Hoşlanmadığı kişilere de çok mesafeli davranır. Suda ve çamurda oynamayı çok sever.

İlk olarak Labrador'da yetiştirilmiş, en soğuk sulara bile duraksamadan giren Labrador Retriever, o dönemler balıkçıların ağ çekmelerine yardımcı olmaktaydı. Duydukları bazı seslere kimi zaman havlayarak tepki verseler de, çoğu zaman sessiz kalabilen bir ırktır. Bazı Labradorların bekçilik yaptığı bilinse de yabancı insanlara kolayca güvenebilen, az havlayan ve boğazına düşkün olan bu ırk için bekçilik doğru görev değildir. Günümüzde ise Labrador Retriever ırkı köpekler yaygın olarak narkotik köpeği veya görme engelliler için rehber köpek olarak görev yapmaktadır. Kanada'daki rehber köpeklerin yaklaşık %60-%70 kadarını Labrador Retriever ırkı oluşturur. Koku alma konusundaki yüksek kabiliyetleri sayesinde iz sürme, arama ve kurtarma köpeği olarak avcılar ya da bomba ve uyuşturucu arama/bulma görevlerinde güvenlik güçleri tarafından tercih edilirler.

Galeri

Kaynakça

Dış bağlantılar
 Labrador Labrador Irkı
 Fotoğraflar
 Labrador Retriever Irk Bilgileri

Kuzey Amerika kökenli köpek ırkları
Newfoundland ve Labrador'un sembolleri

Labrador retriever


(né en 1961), historien français ;
Jean-François Berdah (né en 1962), cancérologue français;
 Magali Berdah (née en 1981), agente artistique, présentatrice et chroniqueuse française.

Autre

 le , montagne malaisienne.

Voir aussi

Berdah


නිල වශයෙන්  ලෙබනන ජනරජය  වන ලෙබනනය  ( ; ලෙබනනනීය අරාබි: ), යනු, බටහිර ආසියාවේ රටකි.

සටහන්

ලෙබනනයේ රූ රැජින 2012

ලෙබනනය


Sumiyoshi Park (住吉公園 Sumiyoshi Kōen) is an Osaka prefectural park in Hamaguchi-higashi Itchome, Suminoe-ku, Osaka, Japan.

It was registered by Osaka Prefecture in 1873 with Hamadera Park in Nishi-ku, Sakai, and is the oldest park in Osaka.

Access
Nankai Railway Nankai Line: Sumiyoshitaisha Station
Hankai Tramway Uemachi Line: Sumiyoshikoen Station
Hankai Tramway Hankai Line: Sumiyoshi-toriimae Station

References

External links
 Sumiyoshi Park - Osaka Prefectural Park Association
 Sumiyoshi Park

Parks and gardens in Osaka

Sumiyoshi Park


() est un poliziottesco hispano-italien réalisé par Tulio Demicheli et sorti en 1973.

Le film est connu pour ses nombreuses scènes de violence, dont une séquence sanglante montrant une castration. Pour cette raison, le film est le plus souvent disponible dans sa version censurée.

Synopsis
Gaspare Aversi, un homme vieillissant qui a gagné sa vie dans de sombres affaires, est tué par Don Vito, qui agit pour le compte de la mafia. Son fils Rico se retrouve en prison en tentant de le venger. Libéré au bout de deux ans, il se lance à la poursuite de Cirano, l'ancien compagnon de son père, qui travaille désormais pour Don Vito. Avec l'aide de la belle Scilla, il parvient à s'emparer de 500 millions et de plusieurs diamants, le produit d'une transaction entre le chef de la mafia et un Marseillais. Il doit maintenant non seulement échapper à la vengeance du Marseillais et des tueurs que Don Vito lui a envoyés, mais il doit aussi se débarrasser de Cirano, qui revendique le butin pour lui-même. La famille de Rico est assassinée par les gangsters avant qu'il ne gagne lui-même un duel avec le patron, mais au prix de sa vie.

Fiche technique
 Titre original :
 Titre français :  ou Règlement de comptes
 Réalisateur : Tulio Demicheli
 Scénario : Santiago Moncada, Mario Di Nardo, Josè Guitierrez Maesso
 Photographie : Francisco Fraile
 Montage : Ángel Serrano
 Musique :
 Décors : Lidia Soprani
 Production :	Josè Guitierrez Maesso
 Société de production : Tecisa Film (Madrid), BRC Produzione (Rome)
 Pays de production :  •
 Langue de tournage : italien
 Format : Couleur par Eastmancolor - Son mono - 35 mm
 Durée : 83 minutes (1h23)
 Genre : Poliziottesco
 Dates de sortie :
 Italie :
 Espagne :  (Madrid)
 France :  (Alsace)

Distribution

Notes et références

Bibliographie
 Il Morandini - Dizionario del film, Zanichelli, 2013.
 Il Farinotti - Dizionario di tutti i film, Newton Compton, 2013.

Liens externes

Film italien sorti en 1973
Film espagnol sorti en 1973
Film réalisé par Tulio Demicheli
Poliziottesco
Film policier italien
Film policier espagnol
Film sur la mafia
Film tourné à Turin
Film se déroulant à Turin

Ricco (film)


(石田 スイ, Ishida Sui?, født 25. december 1986) er en japansk mangaka. Han er bedst kendt for sin horror manga, Tokyo Ghoul, en historie om en teenager, der bliver forvandlet til en ghoul. Tokyo Ghoul startede som en serie af one-shots i 2010. Serien er senere blevet til en light novel og anime. Mangaen er også blevet oversat til engelsk, hvor den toppede New York Times bestseller liste i 2015.

Værker

References

Mangaka

Sui Ishida


هنري هازليت  (1894-1993) فيلسوف ليبرتاري واقتصادي وصحفي أمريكي، عمل للوول ستريت جورنال، ونيورك تايمز ونيوزويك، وعدد آخر من الصحف والمجلات. صنف عددا كبيرا من الكتب، أشهرها كتاب «الاقتصاد في درس واحد».

يعد هازلت من أتباع المدرسة النمساوية للاقتصاد وأحد أهم ناشري أفكارها باللغة الإنجليزية (وتحديدا في أمريكا)، وينسب إليه جزء من النجاح الذي اكتسبه كتاب فريدريك هايك الطريق إلى الرق.

مسيرته المهنية

إنجازات مبكرة
بدأ هازليت حياته المهنية في صحيفة وول ستريت جورنال كسكرتير لرئيس التحرير الإداري عندما كان لا يزال مراهقًا، وبدأ اهتمامه بمجال الاقتصاد أثناء عمله هناك. قادته دراساته إلى «منطقية الاقتصاد السياسي» لمؤلفه فيليب ويكستيد، الذي قال فيما بعد إنه كان أول «تأثير هائل» له في هذا الموضوع. نشر هازليت كتابه الأول «التفكير كعلم» في سن الحادية والعشرين.

الخدمة العسكرية
إبّان الحرب العالمية الأولى، خدم في الخدمة الجوية للجيش. أثناء إقامته في بروكلين، جُند في مدينة نيويورك في 11 فبراير 1918، وخدم في قسم الطيران في سلاح الإشارة للمجندين الاحتياط حتى 9 يوليو 1918. كان بعدها في الكلية الأمريكية للطيران العسكري في برينستون بولاية نيوجيرسي حتى 22 أكتوبر، عندما أرسِل إلى معسكر ديك في دالاس بولاية تكساس لبضعة أسابيع حتى السابع من نوفمبر، وخرج بشرف من الخدمة برتبة جندي من الدرجة الأولى في 12 ديسمبر 1918. عاد إلى نيويورك، مقيمًا في واشنطن سكوير بارك لسنوات عديدة.

محررًا ومؤلفًا
في أوائل عشرينيات القرن العشرين، كان محررًا ماليًا في صحيفة نيويورك إيفننغ ميل، وأثناء هذه الفترة، ذكر هازليت أن فهمه للاقتصاد كان أكثر تنقيحاً من خلال مناقشات متكررة مع بروفيسور الاقتصاد السابق في جامعة هارفارد، بنيامين أندرسون، الذي كان يعمل آنذاك لصالح بنك تشيس الوطني في مانهاتن. في وقت لاحق، عندما اقترحت شركة النشر «دبليو. دبليو. نورتون» كتابة سيرة ذاتية رسمية لكاتبهم بيرتراند راسل؛ أمضى هازليت «وقتًا طويلًا»، كما وصفه، مع الفيلسوف الشهير. أعجِب اللورد راسل جدًا بموهبة الصحفي الشاب» حتى أنه وافق على اقتراح نورتون، ولكن المشروع انتهى بعد ما يقارب عامين من العمل، بعد إعراب راسل عن نيته في كتابة سيرته الذاتية.

خلال العقود ما بين الحربين، وهي فترة حيوية في تاريخ الأدب الأميركي، عمل هازليت محررًا أدبيًا لصحيفة «نيويورك سن» من عام 1925 حتى عام 1929، وكمحرر أدبي للمجلة ذات التوجه اليساري «ذا نيشن» من عام 1930 لغاية عام 1933. فيما يتعلق بعمله في مجلة ذا نيشن، حرر هازليت أيضًا برنامجًا عمليًا لأميركا عام 1932، وهو عبارة عن تجميع لاعتبارات سياسة أزمة الكساد الكبير، ولكنه كان من بين الأقلية المطالبين بحد التدخل الحكومي في الاقتصاد. ترك هازليت المجلة بعد سلسلة من المناقشات العامة مع الاشتراكي لويس فيشر.

في عام 1933، نشر هازليت كتاب «تشريح النقد»، وهو «حوار ثلاثي» موسع يدرس طبيعة النقد والتقدير الأدبي، الذي يعتبره البعض تفنيدًا مبكرًا للتفكيك الأدبي. وفي نفس العام، أصبح خليفة هنري لويس منكن المختار كمحرر للمجلة الأدبية «ذا أمريكان ميركري»، التي أسسها منكن مع جورج جان ناثان، ونتيجة لهذا التعيين؛ أضافت مجلة «فانيتي فير» هازليت بين الذين أشادوا بصورتها الفوتوغرافية الاعتيادية، «قاعة المشاهير». بسبب الخلافات المتزايدة مع الناشر ألفرد أ. كنوبف سينيور، عمل هازليت في هذه المهنة لفترة وجيزة فقط، ولكن منكن كتب أن هازليت كان «الناقد الكفء الوحيد للفنون والذي سمعت أنه كان بنفس الوقت خبيرًا اقتصاديًا كفؤًا، وذا تدريب عملي ونظري أيضًا»، وأضاف أنه «أحد الاقتصاديين القلائل في تاريخ البشرية الذين يستطيعون الكتابة حقًا».

في الفترة من 1934 إلى 1946، كان هازليت كاتب التحرير الرئيسي في المالية والاقتصاد لصحيفة نيويورك تايمز، إذ كان يكتب عمودًا أسبوعيًا موقّعًا وأغلب المقالات الافتتاحية غير الموقّعة عن الاقتصاد، منتجًا قدرًا كبيرًا من العمل. في أعقاب الحرب العالمية الثانية، دخل في نزاع مع آرثر سولزبرجر، ناشر صحيفة نيويورك تايمز، حول نظام بريتون وودز المُنشأ حديثًا والذي أنشأ البنك الدولي وصندوق النقد الدولي. عارض هازليت اتفاق بريتون وودز، خشية خطر التضخم في المقام الأول. بعد موافقته على عدم كتابته عن الموضوع، بحث عن مكان آخر لعمله، ليقرر العمل مع مجلة نيوزويك، التي كتب لها عمودًا موقّعًا بعنوان «بزنس تايدز» أي أمواج التجارة، من عام 1946 إلى عام 1966.

حياته الشخصية
ولد هنري لوالديه ستيوارت كلارك وبيرثا (زونر) هازليت في 28 نوفمبر 1894 في فيلادلفيا في بنسلفانيا. كانوا يقيمون في شارع 819 نورث برود ستريت في فيلادلفيا. كانت عائلة هازليت في الأصل من إنجلترا، على الرغم من أن جدته والدة أبيه كانت من أيرلندا. كان أجداده من جهة أمه من المهاجرين الألمان. توفي والد هنري، وهو كاتب، بمرض السكري عندما كان هنري في أشهره الخمسة الأولى. تزوجت والدته بيرثا من فريدريك إي بيبيس، الذي كان يعمل في التصنيع، وأقاموا في بروكلين، حيث نشأ هنري. يُذكر أن هنري مدرج في التعداد السكاني لولاية نيويورك عام 1905 باسم هنري إس بيبيس، وهو مدرج تحت وصية فريدريك باسم هنري هازليت بيبيس، ابن فريدريك المتبنى. توفي زوج أمه عام 1907، تاركًا هنري ليساند أمه، وربما مؤديًا بذلك إلى الطموح الذي مكنه من العمل في صحيفة وول ستريت جورنال بينما كان لا يزال مراهقًا.

في عام 1929، تزوج هازليت من فاليري إيرل، ابنة المصور الشهير ومخرج استوديو فيتاغراف ويليام بي إس. إيرل. تزوجا بواسطة وزير السلام جون هاينز هولمز، ولكنهما انفصلا لاحقًا. في عام 1936، تزوج فرانسيس كانيس، مؤلفة «الكتاب المقدس الموجز»، والتي تعاون معها هنري لاحقًا لإنتاج أنثولوجيا للفلاسفة الرواقيين، بعنوان «حكمة الرواقيين: مختارات من سينيكا، وإبيكتيتوس، وماركوس أوريليوس» عام 1984. استمر زواجهما حتى وفاة فرانسيس عام 1991.

توفي هازليت عن عمر يناهز 98 عامًا في فيرفيلد، بولاية كونيتيكت. كان يقيم في ويلتون بولاية كونيتيكت في فترة وفاته.

تركته
كان هازليت كاتبًا غزير الإنتاج، إذ ألف خمسة وعشرين عملًا خلال حياته.

في عام 1981، نادى الرئيس رونالد ريغان في خطابه أمام مؤتمر العمل السياسي المحافظ، هازليت باعتباره أحد «الزعماء المفكرين» (إلى جانب فريدريش هايك، لودفيج فون ميزس، ميلتون فريدمان، راسيل كيرك، جيمس بيرنهام، وفرانك ماير) الذين «شكلوا الكثير من أفكارنا...».

قال لودفيج فون ميزس في عشاء تكريمًا لهازليت: «في هذا العصر من النضال العظيم من أجل الحرية والنظام الاجتماعي الذي يمكن أن يعيش فيه الرجال أحرارًا، أنت زعيمنا. قاتلت بلا كلل ضد التقدم التدريجي للقوى المتلهفة على تدمير كل ما خلقته الحضارة الإنسانية على مدى قرون طويلة... أنت الضمير الاقتصادي لبلادنا وأمتنا».

مؤسسة هنري هازليت
في الفترة الممتدة من عام 1997 إلى 2002، كانت هناك منظمة تسمى مؤسسة هنري هازليت التي عملت بنشاط على تعزيز التواصل الشبكي الليبرالي عبر الإنترنت، وخاصة من خلال الموقع الإلكتروني Free-Market.Net. سميت هذه المنظمة على شرف هازليت لأنه كان معروفًا بتقديمه مجموعة واسعة من الأشخاص للأفكار الليبرالية من خلال كتاباته ولمساعدة مؤيدي free-market على التواصل فيما بينهم. بدأت المؤسسة بعد وفاة هازليت ولم يكن لها أي علاقة رسمية بتركته.

مركز هازليت للسياسة
في 1 مارس 2019، أعلنت منظمة الشباب الأمريكي للحرية عن إطلاق مركز هازليت للسياسة «لتزويد المسؤولين المنتخبين في المنظمة بتشريعات وحقائق واستراتيجيات حديثة لمنحهم القوة الإضافية التي يحتاجون إليها لكي يكونوا مشرعين حرية فعالين».

مراجع

وصلات خارجية

 كتاب «الاقتصاد في درس واحد» (باللغة الإنجليزية).

أشخاص من فيلادلفيا (بنسيلفانيا)
أمريكيون معادون للشيوعية
اقتصاديون أمريكيون
اقتصاديون أمريكيون في القرن 20
اقتصاديون تحرريون
اقتصاديون من بنسيلفانيا
المحافظة في الولايات المتحدة
اليمين القديم
تحرريون أمريكيون
سياسة يمينية في الولايات المتحدة
عواقبيون
فلاسفة سياسيون أمريكيون
كتاب أمريكيون في القرن 20
كتاب اقتصاد أمريكيون
كتاب سياسة أمريكيون
كتاب غير روائيين أمريكيون في القرن 20
كتاب غير روائيين ذكور أمريكيون
كتاب من فيلادلفيا (بنسلفانيا)
كتاب وكاتبات أمريكيون في القرن 20
لاأدريون أمريكيون
منظرون تحرريون
مواليد 1894
مواليد في فيلادلفيا (بنسيلفانيا)
نفعيون
وفيات 1993
وفيات في نيويورك

هنري هازليت


West York puede referirse a:
West York (isla), la tercera isla más grande de las Islas Spratly en el sur del Mar de la China.
West York (Illinois), lugar designado por el censo en el condado de Crawford, estado estadounidense de Illinois.
West York (Pensilvania), borough en el condado de York, estado estadounidense de Pensilvania.

West York


Robert Burgess Aldrich (August 9, 1918 – December 5, 1983) was an American film director, producer, and screenwriter. An iconoclastic and maverick auteur working in many genres during the Golden Age of Hollywood, he directed mainly films noir, war movies, westerns and dark melodramas with Gothic overtones. His most notable credits include Vera Cruz (1954), Kiss Me Deadly (1955), The Big Knife (1955), Autumn Leaves (1956), Attack (1956), What Ever Happened to Baby Jane? (1962), Hush...Hush, Sweet Charlotte (1964), The Flight of the Phoenix (1965), The Dirty Dozen (1967), and The Longest Yard (1974).

Aldrich's directorial style combined "macho mise-en-scene and resonant reworkings of classic action genres," and were known for pushing the boundaries of violence in mainstream cinema, and for their psychologically-complex interpretations of genre film tropes. The British Film Institute wrote that Aldrich's films "subversive sensibility in thrall to the complexities of human behaviour." Several of his films later proved influential to members of the French New Wave.

Aside from his directorial work, Aldrich was also noted for his advocacy as a member of the Directors Guild of America, serving as its President for two terms, and becoming the namesake for its Robert B. Aldrich Achievement Award.

Early life

Family
Robert Burgess Aldrich was born in Cranston, Rhode Island, into a family of wealth and social prominence – "The Aldriches of Rhode Island". His father, Edward Burgess Aldrich (1871–1957) was the publisher of The Times of Pawtucket and an influential operative in state Republican politics. His mother, Lora Elsie (née Lawson) of New Hampshire (1874–1931), died when Aldrich was 13 and was remembered with fondness by her son. Ruth Aldrich Kaufinger (1912–1987) was his elder sister and only sibling.

Among his notable ancestors were the American Revolutionary War general Nathanael Greene and the theologian Roger Williams, founder of Rhode Island Colony.

His grandfather, Nelson Wilmarth Aldrich, was a self-made millionaire and art investor. A Republican member of the U.S. Senate for thirty years (1881–1911), he was dubbed "General Manager of the Nation" by the press for his dominant role in framing federal monetary policy.

A number of Aldrich's paternal uncles had impressive careers, among them a successful investment banker, an architect and Harvard instructor, a member of the U.S. House of Representatives, and a chairman of the Chase Manhattan Bank who also served as U.S. Ambassador to Great Britain.  An aunt, Abigail Greene "Abby" Aldrich married John D. Rockefeller Jr., scion of the Standard Oil fortune, and was a leading figure in the establishment of the Museum of Modern Art in New York City. Nelson Rockefeller, a four-term governor of New York State and U.S. vice-president under Gerald Ford, and Rockefeller's four brothers were the director's first cousins.

Education
As the only male heir to the Lawson-Aldrich family line, Aldrich was under considerable pressure to compete successfully with his numerous cousins in a family of high achievers.

Following family tradition and expectations, Aldrich was educated at Moses Brown School in Providence from 1933 to 1937. There he served as captain of the track and football teams and was elected president of his senior class.

Failing to matriculate to Yale due to mediocre grades, Aldrich attended the University of Virginia from 1937 to 1941, majoring in economics. He continued to excel in sports and played a leading role in campus clubs and fraternities.

During the Great Depression, the adolescent Aldrich began to question the justice of his family's "politics and power" which clashed with his growing sympathies with left-wing social and political movements of the 1930s. Aldrich's disaffection from the Aldrich-Rockefeller right-wing social and political orientation contributed to a growing tension between father and son.

Having satisfactorily demonstrated his aptitude for a career in finance, Aldrich defied his father by dropping out of college in his senior year without taking a degree.

Aldrich approached his uncle Winthrop W. Aldrich, who got his 23-year-old nephew a job at RKO Studios as a production clerk at $25 a week. For this act of defiance, Aldrich was promptly disinherited. Aldrich reciprocated by expunging public records of his connection with the Aldrich-Rockefeller clan, while stoically accepting the breach. He rarely mentioned or invoked his family thereafter. It has been said that "No American film director was born as wealthy as Aldrich — and then so thoroughly cut off from family money."

RKO Pictures: 1941–1943

At the age of 23, Aldrich began work at RKO Pictures as a production clerk, an entry-level position, after declining an offer through his Rockefeller connections to enter the studio as an associate producer.

He married his first wife, Harriet Foster, a childhood sweetheart, shortly before he departed for Hollywood in May 1941.

Though the smallest of Hollywood's top studios, RKO could boast an impressive roster of directors (George Cukor, John Ford and Howard Hawks) as well as movie stars (Fred Astaire and Ginger Rogers, Cary Grant, Katharine Hepburn and the Marx Brothers). The 23-year-old Aldrich assumed his duties shortly after Orson Welles, at 26, signed a six-movie contract with RKO after the release of the widely acclaimed Citizen Kane (1941).

When the United States entered the Second World War in December 1941, Aldrich was inducted into the Air Force Motion Picture Unit, but was quickly discharged when an old football injury disqualified him for military service. The film studios' manpower shortage allowed Aldrich to win assignments as third- or second-tier director's assistant to learn the basics of filmmaking.

Second assistant director
In just two years he participated on two dozen movies with well-known directors. He was second assistant director on Joan of Paris (1942, directed by Robert Stevenson), The Falcon Takes Over (1942, directed by Irving Reis), The Big Street (1942), directed by Reis, Bombardier (1943, directed by Richard Wallace), Behind the Rising Sun (1943, directed by Edward Dmytryk),  A Lady Takes a Chance (1943, directed by William A. Seiter), The Adventures of a Rookie (1943, directed by Leslie Goodwins), Gangway for Tomorrow (1943, directed by John H. Auer), and Rookies in Burma (1943, directed by Goodwins).

First assistant director
Towards the end of the war, Aldrich had risen to first assistant director making comedy shorts with director Leslie Goodwins.

In 1944, Aldrich departed RKO to begin free-lancing on feature films at other major studios, including Columbia, United Artists, and Paramount.

Assistant director: 1944–1952
Aldrich was fortunate to serve as an assistant director to many notable and talented Hollywood filmmakers. During these assignments, which spanned nine years, Aldrich gained both practical and aesthetic fundamentals of filmmaking: "set location and atmosphere" (Jean Renoir, The Southerner, 1945), the "techniques of pre-planning a shot" (Lewis Milestone's The Strange Love of Martha Ivers, 1946), "action scenes" (William A. Wellman's The Story of G.I. Joe, 1946), the "importance of communication with actors" (Joseph Losey's The Prowler, 1951), and "establishing visual empathy between camera and audience" (Charlie Chaplin's Limelight, 1952).

He also worked on Pardon My Past (1945, directed by Leslie Fenton) and The Private Affairs of Bel Ami (1947, directed by Albert Lewin).

Aldrich approached these projects and directors with a fine discrimination, enabling him to learn from both their strengths and weaknesses.

During these years Aldrich forged lasting professional relationships with talented artists who would serve him throughout his filmmaking career, namely, cinematographer Joseph Biroc, film editor Michael Luciano, music director Frank De Vol, art director William Glasgow and screenwriter Lukas Heller. A troupe of loyal, mostly male, players were enlisted for his film leads and supporting roles: Burt Lancaster, Jack Palance, Lee Marvin, Eddie Albert, Richard Jaeckel, Wesley Addy, Ernest Borgnine and Charles Bronson.

The Enterprise Studios: 1946–1948
Aldrich's association with The Enterprise Studios marks the most formative period of his apprenticeship. The production company offered a unique venue of independent filmmakers welcoming socially conscious themes critical of authoritarian aspects of American society.

While at Enterprise, Aldrich established both a professional and a personal affiliation with screenwriter and director Abraham Polonsky, a major figure in the Popular Front movement of the 1930s. Their respective films addressed the issue of an individual's often desperate struggle to resist destruction by an oppressive society.

Enterprise's Body and Soul (1947), written by Polonsky, directed by Robert Rossen, and starring John Garfield, made a deep and lasting impression on the 29-year-old assistant director from both structural and thematic standpoints. Garfield plays a corrupt prizefighter who seeks to redeem himself by defying mobsters who insist he throw a fight or forfeit his life. While the protagonist's personal failings contribute to his own oppression, the film censures capitalism as an unredeemable system. Aldrich would revisit Body and Soul throughout his career when seeking guidance on how to convey the progressive ideals of the 1930s while working in the reactionary political atmosphere of the Cold War era.

In 1948 Aldrich joined Polonsky and Garfield on the early noir film Force of Evil. The story concerns a Wall Street attorney turned mob lawyer (Garfield) who informs on his employers when they murder his brother. Force of Evils cinematically excessive visuals and striking sound would later appear in Aldrich's films Kiss Me Deadly and Twilight's Last Gleaming.

A number of Aldrich's associates at Enterprise came under scrutiny by the HUAC in the late 1940s after Enterprise had closed its doors. Among them were Rossen, Polonsky, Garfield, directors John Berry, and Joseph Losey, producer Carl Foreman, and screenwriter Dalton Trumbo, some of whom suffered blacklisting and imprisonment. Aldrich was never targeted by the authorities, despite his collaborations with these artists. This was largely due to his post-1930s entry into the film industry when recruitment by Communist and leftist organizations was declining. Nonetheless, Aldrich remained a champion for the victims of the Red Scare.

At Enterprise, Aldrich also worked as an assistant director on Arch of Triumph (1948) and No Minor Vices (1948) for Lewis Milestone, So This Is New York (1948) for director Richard Fleischer and producer Stanley Kramer, and Caught (1949) for Max Ophüls.

During his apprenticeship Aldrich developed a keen appreciation for the nexus between autonomous control over every element of picture production and achievement of his creative vision. He would forever strive for full control over his films.

Freelance assistant director: 1948–1952
After the demise of The Enterprise Studios, Aldrich continued to be in much demand as an assistant director. He worked again for Lewis Milestone on The Red Pony (1949) at Republic and did Red Light (1949) for Roy Del Ruth, A Kiss for Corliss (1949) for Richard Wallace,  The White Tower (1950) for Ted Tetzlaff, M (1951) and The Prowler (1951) for Joseph Losey, and New Mexico (1951) for Reis.

Aldrich was assistant to producer Harold Hecht on Ten Tall Men (1951), a French Foreign Legion action film starring Burt Lancaster. He worked as production manager on When I Grow Up (1951) for Sam Spiegel and as production manager on The Steel Trap (1952) for Andrew L. Stone.

Hecht had enjoyed working with Aldrich on Ten Tall Men and used him on The First Time (1952), the feature directorial debut of Frank Tashlin.

Aldrich's most notable credit to date came on Limelight (1952), for which he was assistant director to Charlie Chaplin. He was assistant on Abbott and Costello Meet Captain Kidd (1952).

Television: 1952–1954
By 1952, the 34-year old assistant director, fully prepared to make his directorial debut, had no offers materializing in Hollywood. Eager to perform at a journeyman level, he moved to New York City to join its television startups.

The infant industries' golden age of live broadcasts was in a primitive stage of organization, and producers were pleased to enlist talent from the Hollywood film industry. More than merely a career move, television offered Aldrich an opportunity to apply the cinematic skills and concepts he had garnered during his eclectic education in movie-making to an entirely new medium.

"All they were paying directors was scale", recalled Aldrich of this time. "Who the hell wanted to go live in New York and work for scale? Only guys that had never directed or couldn't get a shot... Walter Blake... convinced these people who were doing the Camay soap shows that I was a genius waiting behind a rock out here. I had been assistant director on a Chaplin picture, so he told them that I had directed Chaplin. Nobody directs Chaplin except Chaplin, but these guys didn't know the difference. So I went back to New York and did, I don't know, thirty or forty shows."

Procter & Gamble hired Aldrich in 1952 to direct episodes of the anthology series The Doctor (later retitled The Guest in syndication), an early soap opera starring Warner Anderson. Shooting schedules were notoriously tight. Despite this, Aldrich routinely dedicated half or more of the allotted time to rehearsals, an immensely reassuring practice for the players that contributed to the efficient execution of the final live shoot.

Following The Doctor, Aldrich resettled in Hollywood to complete twenty episodes of television's China Smith starring Dan Duryea, filmed on an even tighter timetable.

He also filled in as director on TV's Four Star Playhouse and the Schlitz Playhouse of Stars ("The Pussyfootin' Rocks").

Aldrich described the early TV industry as a "director's crash course" where, unlike feature film production, the overall quality of the series outweighed the success or failure of an individual episode.  In his two-year stint in television, Aldrich was free to experiment with technique and narrative schemes that would appear later in his film treatments. As such, he used cinematic framing and composition to reveal character motivation and close ups serving to highlight dialog, all of which endowed his episodes with a polished Hollywood studio-like appearance. Aldrich avoided disparaging television as an art form, only regretting its "rushed schedules and lack of preparation time."

Feature film director

Early feature films
In December 1951 Irving Allen announced he had formed Warwick Productions with Albert Broccoli. He intended to make The Gamma People with Robert Aldrich. In August 1952 Allen announced that Aldrich would make his feature debut as director with The Gamma People, to be shot in Europe in the winter from Aldrich's own script. Dick Powell was slated to star. However, the film would not be made for several years, with Aldrich's involvement limited to working on the story.

Aldrich broke into feature films as a director when Herbert Baker, who had worked with Aldrich on So This is New York, recommended the director to MGM, which was looking for someone with a background in sports for a low-budget baseball film, Big Leaguer (1953).

The film was not particularly successful, so Aldrich returned to television, doing episodes of Four Star Playhouse, several of which were written by Blake Edwards. He directed "The Witness", which starred Dick Powell, Strother Martin, and Charles Bronson, and "The Bad Streak" with Charles Boyer.

Aldrich remained ambitious to work in features and raised money for a low-budget action film using many of the same sets and cast members of China Smith, including star Dan Duryea, called World for Ransom (1954). It was made for Plaza Productions and financed by Allied Artists; Aldrich produced and directed. The cinematographer was Joseph F. Biroc, who would shoot many of Aldrich's later features.

Burt Lancaster: Apache and Vera Cruz
World for Ransom was seen by Harold Hecht and Burt Lancaster, who hired Aldrich to direct his first color film, Apache (1954), a western starring Lancaster as an Apache fighter. It was made for Hecht-Lancaster Productions and released through United Artists. This film was a big hit, earning $6 million.

Hecht and Lancaster used Aldrich again on Vera Cruz (1954), a western starring Gary Cooper and Lancaster.  It was even more successful at the box office than Apache, making $9 million, and firmly established Aldrich as a director.

Turning producer: Kiss Me Deadly, The Big Knife and Attack
The success of these movies enabled Aldrich to set up his own company, The Associates and Aldrich, and sign a deal with United Artists. Its first movie was to be The Way We Are by Jack Jevne, about a woman who has an affair with a younger man. It was not immediately made.

Instead Aldrich produced and directed Kiss Me Deadly (1955), a film noir adapted by A. I. Bezzerides from a novel by Mickey Spillane starring Ralph Meeker as Mike Hammer.  It was made for Parklane Productions, the independent company of Victor Saville, who owned the rights, and released through United Artists.

Aldrich and his company then made The Big Knife (1955), based on a play by Clifford Odets. Aldrich directed and produced this film about a movie star played by Jack Palance.

The Associates and Aldrich Company made a second film, also based on a play and released through United Artists, Attack (1956), starring Palance and Lee Marvin.

None of the three films was particularly successful at the box office, although they received some excellent reviews. In particular, Kiss Me Deadly became a major cult favorite in France. "I worked almost for nothing, economically, on those movies", he said. "They got caught up in the system and were not profitable pictures." Aldrich said his experiences made him "more cynical in terms of what preference to give survival and what preference to give material that might make a fine film which nobody or very few would go to see. That was the break. I realized that if you're careful in choosing projects and setting costs your taste and knowledge will, out of every six or seven pictures, produce one that makes a good deal of profitable return for everybody."

The Associates announced numerous projects around this time, including Tryanny, Kinderspiel, Potluck for Pomeroy, Candidate for President (by Don Weis) and Machine for Chuparosa.

The Associates and Aldrich Company expanded to offer financing and distribution for other films. The only one that resulted was The Ride Back (1957) for UA. They wanted to make The Build Up Boys with Dana Andrews but the film did not eventuate.

Columbia: Autumn Leaves and The Garment Jungle
In between making Big Knife and Attack, Aldrich directed the Joan Crawford melodrama Autumn Leaves (1956) (originally The Way We Are), which was a minor hit.

Aldrich worked on the original story for the thriller The Gamma People (1956), made for Columbia and Warwick Productions in England.

In July 1956 Robert Aldrich signed a two-picture deal with Columbia to make films through his own company. The first was to be The Garment Jungle (1957). The second was to be Until Proven Guilty. He also acquired the John O'Hara story Now We Know.

Aldrich started directing Garment but was fired towards the end of filming and replaced by Vincent Sherman.

In March 1957 Aldrich sued Columbia for reneging on a promise to make a film of the play Storm in the Sun, which he wanted to do with Crawford. The case was settled the following month.

Aldrich announced a range of projects – Kinderspiel, Pommeroy, The Snipe Hunt, Until Proven Guilty, Now We Know – but he found it difficult to get financing.

The Associates and Aldrich had the rights to the script for 3:10 to Yuma but ended up selling the project outright to Columbia.

Europe
Aldrich was unable to get a job until he had an offer from Hammer Films and Seven Arts to write and direct Ten Seconds to Hell (1959), starring Palance and Jeff Chandler, in Germany. While there, he was head of the jury at the 9th Berlin International Film Festival.

Aldrich stayed in Europe to make The Angry Hills (1959), based on the novel by Leon Uris and starring Robert Mitchum, for MGM in Greece for producer Raymond Stross. Aldrich had the film rewritten by Bezzerides, but then his cut of the film was re-edited by Stross. It was an unhappy experience for Aldrich and the film lost money.

Adlrich was going to make Taras Bulba in Yugoslavia with Anthony Quinn and a budget of $3 million, but the film did not proceed. Neither did another proposed subject, The Catalyst, based on a play by Ronald Duncan about male bisexuality. Aldrich would attempt to make Taras Bulba several times but ended up having to sell his script to Harold Hecht, who produced a film without Aldrich in 1962. Other projects he developed around this time include Angry Odyssey, The Left Bank, and Too Late the Hero.

Aldrich returned to Hollywood to direct episodes of Hotel de Paree ("Sundance Returns"), and Adventures in Paradise.

He directed a western, The Last Sunset (1961), starring Kirk Douglas and Rock Hudson, made for Douglas's company at Universal.

Aldrich tried to make Cross of Iron with John Mills but could not get financing.

Aldrich then went back to Italy, where he directed the Biblical spectacular Sodom and Gomorrah (1962)  for Joseph E. Levine. Aldrich disparaged the final film, which ended up costing $6 million.

Warner Bros: What Ever Happened to Baby Jane? and 4 For Texas
Aldrich rejuvenated his career by optioning the novel What Ever Happened to Baby Jane? (1962) for the Associates and Aldrich Company. He signed Bette Davis and Joan Crawford as stars, got Lukas Heller to write the script, and raised financing through Warner Bros. The film was a massive hit at the box office and earned five Academy Award nominations (including a win for black-and-white costume design), restoring Aldrich's commercial and critical reputation. It also revived the popularity of Davis and Crawford as box office draws and led to a subgenre of horror movies starring elder actresses nicknamed "Psycho-biddy". It also started a run of films (continued in Hush Hush Sweet Charlotte and others) with a gothic, camp sensibility that became an immediate hit with queer audiences.

Still at Warners, Aldrich wrote, produced and directed a comic western with Frank Sinatra and Dean Martin, 4 for Texas (1963). Made for Sam Productions, it had Charles Bronson, Victor Buono, Ursula Andress and Anita Ekberg in supporting roles. The film was reasonably popular at the box office, but Aldrich disliked working with Sinatra and the resulting film.

20th Century Fox: Hush Hush Sweet Charlotte and Flight of the Phoenix
Emboldened by his recent commercial successes, Aldrich announced a $14 million production program of eight films, including Cross of Iron, Whatever Happened to Cousin Charlotte, The Tsar's Bride, Brouhaha, The Legend of Lylah Clare, Paper Eagle, Genghis Khan's Bicycle, and There Really Was a Gold Mine a sequel to Vera Cruz. He had prepared scripts on  Now We Know, Vengeance Is Mine, Potluck for Pomeroy and Too Late the Hero. Other projects were The Strong Are Lonely, Pursuit of Happiness and the TV series The Man.

He started with a follow-up to Baby Jane, Hush...Hush, Sweet Charlotte (1964), made for the Associates and Aldrich at 20th Century Fox. Bette Davis starred as a Southern woman who lives in a mansion and thinks she is going insane. Davis was to be reunited with Joan Crawford, but Crawford left the film and was replaced by Olivia de Havilland. The movie was popular, though not as successful as Baby Jane.

Aldrich stayed at Fox for his next film, the all-male action story The Flight of the Phoenix (1965), with James Stewart, Richard Attenborough and Peter Finch. The film was a commercial disappointment but eventually proved profitable.

MGM: The Dirty Dozen and The Legend of Lylah Clare
Aldrich had his biggest hit to date with The Dirty Dozen (1967), produced by Kenneth Hyman's Seven Arts Productions and released through MGM. Starring Lee Marvin, Charles Bronson, Ernest Borgnine and John Cassavetes, the film was a massive success at the box office.

Aldrich stayed at MGM for The Legend of Lylah Clare (1968) starring Finch and Kim Novak, made for Aldrich's own company. It was a critical and commercial disappointment.

Aldrich Studios
Aldrich sold his profit participation in Dirty Dozen to MGM for $1,350,000 and used the money to achieve a long-time dream – to buy his own studios, which he called the Aldrich Studios. He picked a facility at 201 North Occidental Boulevard, which had been in existence as a film studio since 1913, making Mary Pickford movies, and had recently been the basis of Sutherland Productions. Aldrich had made The Big Knife there.

"My dream has always been to own my own studio", he said. "With the possible exception of the old Enterprise Studio back in '45 I've never seen a studio run the way it should. That's because everybody at Enterprise felt they could make a contribution
and that's the feeling I hope we can have here."

The studios were opened in August 1968. Along with Goldwyn, The Associates and Aldrich was the only major independent company with a studio in Hollywood. For the next few years he would make his movies there.

ABC Pictures
Aldrich's success with The Dirty Dozen led to the newly formed ABC Pictures offer the Associates and Aldrich Company a four-film contract. Aldrich announced they would be The Killing of Sister George, The Greatest Mother of Them All, Whatever Happened to Aunt Alice and Too Late the Hero.

Aldrich's first film for ABC was The Killing of Sister George (1968), adapted from by Lukas Heller from the play by Frank Marcus. It starred Beryl Reid and Susannah York and was notable for its frank depiction of a lesbian relationship. The movie was popular but because of its high cost lost money.

Aldrich produced but did not direct What Ever Happened to Aunt Alice? (1969), a psycho-biddy thriller in the vein of Baby Jane directed by Lee H. Katzin and starring Geraldine Page and Ruth Gordon. It also lost money. (Aldrich announced he would make a third "Whatever Happened to" film, Whatever Happened to Dear Elva? based on the novel Goodbye, Dear Elva by Elizabeth Fenwick. However no film was made.)

Aldrich made a 20-minute demo film, "The Greatest Mother of Them All" (1969), in an attempt to raise money for a feature-length version, but was unable to attract interest from ABC. Peter Finch starred.

ABC wanted Aldrich to make a war film in the vein of The Dirty Dozen so he produced and directed Too Late the Hero (1970), a "patrol" film, which he had been developing since 1959. Despite starring Michael Caine and Cliff Robertson and location work in the Philippines, the film made an overall loss of $6,765,000, making it one of the biggest money losers in the history of ABC Films.

Aldrich's next film for ABC was The Grissom Gang (1971), an adaptation of No Orchids for Miss Blandish set in the 1930s, with Scott Wilson and Kim Darby. It was another flop, losing ABC $3,670,000.

Films Aldrich announced but did not make around this time included Rebellion, a western about Victoriano Huerta with Ernest Borgnine and George Kennedy;, The Movement, about student protest;. He also developed scripts for books which were turned into films by others: Coffee, Tea or Me? and Monte Walsh.

By now Aldrich's relationship with ABC had become fraught and devolved into lawsuits, in part caused by ABC refusing to finance other Aldrich projects. Aldrich parted company with ABC and in January 1972 put his studios up for sale.

In a 1972 interview Aldrich said that:
Lasting power is the most important power. Especially in this business, staying at the plate or staying at the table, staying in the game, is the essential. You can't allow yourself to get passed over or pushed aside. Very, very talented people got pushed aside and remained unused... If you must make a choice between luck and talent, you have to opt for luck. It's nice to have some of both, or a lot of both; but if you can't, luck is the answer. Nowhere else more so than in this business. The right place, the right time, the right script, all the right auspices—they made the difference to directors, writers, actors.

Ulzana's Raid and Emperor of the North Pole
Aldrich returned to westerns with Ulzana's Raid (1972), made at Universal for the Associates and Aldrich with producer Carter De Haven. It reteamed Aldrich with Lancaster for the first time since Vera Cruz. The film was a commercial disappointment but has subsequently come to be regarded as one of his finest films.

Aldrich followed it with Emperor of the North Pole (1973), a story of railway hobos in the 1930s starring Lee Marvin and Ernest Borgnine. Produced by Hyman at 20th Century Fox, it was another box office failure, though it too has seen its reputation soar in recent years (Leonard Maltin gave it 3 1/2 stars, calling it "unusual, exciting" and a "unique entertainment").

Two with Burt Reynolds: The Longest Yard and Hustle
Aldrich's commercial fortunes were revived with a prison comedy starring Burt Reynolds,The Longest Yard (1974). Made for producer Albert S. Ruddy at Paramount, it was Aldrich's biggest hit since The Dirty Dozen.

Aldrich and Reynolds promptly reteamed on Hustle (1975), made for their own production company RoBurt and released through Paramount. A tough police drama co-starring Catherine Deneuve, it was another box office success. However, tension between Aldrich and Reynolds during filming meant they made no more movies together. In 1975 Aldrich was elected president of the Directors Guild of America and served two two-year terms.

Lorimar: Twilight's Last Gleaming and The Choirboys
Aldrich signed a two-picture deal with Lorimar Productions, a TV company which wanted to move into features.

The first was Twilight's Last Gleaming (1977), an action thriller starring Lancaster. The second was a comedy, The Choirboys (1977), based on the best selling novel by Joseph Wambaugh, which Wambaugh disliked so much he sued to get his name taken off the film.

Final films: The Frisco Kid and All the Marbles
Aldrich's last movies were comedies: The Frisco Kid (1979), set in the West with Gene Wilder and Harrison Ford, and ...All the Marbles (1981), set in the world of female wrestling with Peter Falk. Neither was particularly popular.

When the latter film came out, Aldrich said, "I'm 63 and I've had hits every ten years and I just hope I can function long enough to have one in the 90s."

Personal life
From his marriage to Harriet Foster (1941–1965), Aldrich had four children, all of whom work in the film business—Adell, William, Alida and Kelly. In 1966, after divorcing Foster, he married fashion model Sibylle Siegfried.

Death and legacy
Aldrich died of kidney failure on December 5, 1983, in a Los Angeles hospital. He is buried in Lot 5153 of the Whispering Trees Section of Forest Lawn Cemetery in Hollywood Hills.

Film critic John Patterson summarized his career in 2012: "He was a punchy, caustic, macho and pessimistic director, who depicted corruption and evil unflinchingly, and pushed limits on violence throughout his career. His aggressive and pugnacious film-making style, often crass and crude, but never less than utterly vital and alive, warrants — and will richly reward — your immediate attention."

In 2012, John Patterson of The Guardian commented that Aldrich is "a wonderful director nearly 30 years dead now, whose body of work is in danger of slipping over the horizon." Japanese film director Kiyoshi Kurosawa noted Aldrich's influence on him.

In the FX miniseries Feud: Bette and Joan, Aldrich is portrayed by English actor Alfred Molina. The series follows the productions of What Ever Happened to Baby Jane? and Hush...Hush, Sweet Charlotte.

Filmography

Television

Schlitz Playhouse of Stars (1951) — director, 1 episode ("The Pussyfootin' Rocks" 21 Feb 1952)
China Smith (1952) — director, 2 episodes ("Straight Settlement", "Shanghai Clipper")
The Doctor (1952) — director, 1 episode (including "Blackmail" 21 Sept 1952, "The Guest" 26 Oct 1952, "A Tale of Two Christmases" 21 Dec 1952, "Take the Odds" 18 Jan 1953)
Four Star Playhouse (1952) — director, 5 episodes (including "The Squeeze" 1 Oct 1953, "The Witness" 22 Oct 1953, "The Hard Way" 19 Nov 1953, "The Gift" 24 Dec 1953, "The Bad Streak" 14 Jan 1954)
Hotel de Paree (1959) — director, 1 episode ("Sundance Returns" 2 Oct 1959)
Adventures in Paradise (1959) — director, 2 episodes ("The Black Pearl" 12 Oct 1959, "Safari at Sea" 16 Nov 1959)

Unmade projects
Rebellion (late 1960s) — a western
The Crowded Bed (early 1970s)
The Greatest Mother of 'em All (1969) — the full-length feature was never shot
Rage of Honor (1970s) — western set in 1929 about an aging cowboy
Coffee, Tea or Me?  (early 1970s) — comedy about virginal air stewardess

Accolades

Footnotes

Sources
Arnold, Edward T. and Miller, Eugene, L. 1986. The Films and Career of Robert Aldrich. University of Tennessee Press. Knoxville, Tennessee.
Sarris, Andrew 1981. What Ever Happened to Bobby Aldrich? CineFiles. University of California, Berkeley Art Museum and Pacific Film Archive. Retrieved 18 October, 2018.
 Sauvage, Pierre. 1976. Aldrich Interview in Edward Arnold's and Eugene Miller's Robert Aldrich: Interviews, 2004. University of Mississippi Press.
 Silver, Alain and Ursini, James. 1995. What Ever Happened to Robert Aldrich?: His Life and His Films Limelight Editions.
Walsh, David. 2018. 100 years since the birth of American filmmaker Robert Aldrich: Including an interview with film historian Tony Williams Retrieved 10 October 2018.
Williams, Tony. 2003. Body and Soul: the cinematic vision of Robert Aldrich. The Scarecrow Press, Inc. Lanham, Maryland.

Further reading
  Entry written by Robert Shail.
 A special issue of a film journal that emerged from a symposium devoted to Aldrich & Associates on August 2, 1998, in Melbourne.
 Silver's contribution to the journal's "Great Directors" series.

External links

 Literature on Robert Aldrich

1918 births
1983 deaths
20th-century American businesspeople
20th-century American male writers
20th-century American screenwriters
American film producers
American male screenwriters
Burials at Forest Lawn Memorial Park (Hollywood Hills)
Deaths from kidney failure
Film directors from Rhode Island
First Motion Picture Unit personnel
Military personnel from Rhode Island
Moses Brown School alumni
People from Cranston, Rhode Island
Presidents of the Directors Guild of America
Screenwriters from Rhode Island
Silver Bear for Best Director recipients
United States Army Air Forces personnel of World War II
Western (genre) film directors

Robert Aldrich


Ioan Pricu (n. 2 februarie 1875, Brașov – d. 5 aprilie 1949, Brașov) a fost un deputat în Marea Adunare Națională de la Alba Iulia, organismul legislativ reprezentativ al "tuturor românilor din Transilvania, Banat și Țara Ungurească", cel care a adoptat hotărârea privind Unirea Transilvaniei cu România, la 1 decembrie 1918.

Biografie
S-a născut la 2 februarie 1875, la Brașov. A urmat cursurile Institutului Superior de Comerț din Anvers, Belgia și ale Institutului pentru pregătirea profesorilor din școlile superioare de comerț din Budapesta. A fost profesor de contabilitate la Școala superioară comercială română din Brașov, iar după 1918 a fost directorul acesteia. A publicat și o lucrare, intitulată Date din trecutului comerțului brașoveanîn 1931, la Brașov. A decedat în 5 aprilie 1949 în localitatea natală.

Activitatea politică

A participat la Marea Adunare Națională de la Alba Iulia din 1 decembrie 1918 ca delegat al "Școlii române superioare de comerț" din Brașov.

Note

Bibliografie
 Ioan I. Șerban, Dorin Giurgiu, Ionela Mircea, Nicolae Josan, Dicționarul personalităților Unirii. Trimișii românilor transilvăneni la Marea Adunare Națională de la Alba Iulia, Muzeul Național al Unirii, Alba Iulia, 2003, ISBN 973-8141-90-7

Lectură suplimentară
 Daniela Comșa, Eugenia Glodariu, Maria M. Jude, Clujenii și Marea Unire, Muzeul Național Transilvania, Cluj-Napoca, 1998
 Florea Marin, Medicii și Marea Unire, Editura Tipomur, Târgu Mureș, 1993
Neamțu, Gelu, Vaida-Voevod, Mircea, 1 decembrie 1918. Mărturii ale participanților, vol. I-II, Editura Academiei Române, București, 2005, ISBN 973-27-1258-9 (vol. I); ISBN 973-27-1264-3 (vol. I+II)
 Silviu Borș, Alexiu Tatu, Bogdan Andriescu, (coord.), Participanți din localități sibiene la Marea Adunare Națională de la Alba Iulia din 1 decembrie 1918, Editura Armanis, Sibiu, 2015

Legături externe
  Membrii de drept ai Marii Adunării Naționale de la Alba-Iulia din 1 decembrie 1918, lista publicată în "Gazeta Oficială", Sibiu, nr. 1, 1/14 decembrie 1918

Vezi și
 Lista delegaților la Marea Adunare Națională de la Alba Iulia

Nașteri în 1875
Decese în 1949
Delegați la Marea Adunare Națională de la Alba Iulia
Profesori români
Brașoveni

Ioan Pricu


علوم سياسة الدين أو السياسة والدين أو الدين والسياسة هي واحدة من احدث الفروع الجانبية للعلوم السياسية. وقد تم تأسيسها في العقود الأخيرة للقرن العشرين.

نطاق البحث
مجالات بحثها الأساسية هي:
 جميع نواحي التعليمات والممارسات الدينية والتي تتضمن المضامين والرسائل السياسية المباشرة، مثل الفهم الديني للحكومة والقوة والسلطة السياسية والدولة والتنظيم السياسي والحرب والسلام، الخ؛
 جميع نواحي السلوك والممارسة الدينية والتي لا تتضمن المضامين والرسائل السياسية المباشرة، لكن لهما عواقب سياسية مباشرة، مثل إنشاء الصروح الدينية والحج، الخ؛
 مواقف ومواقع الجوانب السياسية في السياق الضيق نحو الدين والجماعات الدينية، مثل مواقف الأحزاب السياسية ومجموعات الضغط نحو الدين والجماعات الدينية؛
 كل ما هو في اطار السلوك الاجتماعي العلماني البحت والذي يبدو على النقيض من ذلك والذي ليس لديه دوافع دينية ولكن مع ذلك يسبب عواقب دينية، نذكرعلى سبيل المثال لايمكن الاحتكار الاقتصادي من قبل مجموعة دينية ضمن مجتمع متعدد الديانات - بدون أن يسبب عواقب سياسية.

وبناء على ما تم ذكره اعلاه فمن الممكن أن نعرف علوم سياسة الدين على أنها إحدى احدث فروع العلوم السياسية التي تبحث في تأثير الدين على السياسة وتأثير السياسة على الدين، مع تركيز خاص على ترابط الجوانب السياسية، بسياق ضيق، والدين والجماعات الدينية.
ان هذا الحقل من البحث هو في مرحلة التطوير الثابت. فعلم سياسة الدين يدرس، تقريبا، في كل أقسام علم السياسة في الجامعات في الولايات المتحدة. وجمعية علم السياسة الأمريكية لها قسم الدين والسياسة.

كما يتزايد تطويرها ويتم تدريسها في أوروبا ودول البلقان وأوروبا الشرقية. فقد تم إلقاء أول محاضرة لعلوم سياسة الدين في بلغراد عام 1993 في كلية العلوم السياسية لجامعة بلغراد/ صربيا.
وكذلك تم إصدار أول مجلة نصف سنوية بعنوان السياسة والدين في بغلراد/ صربيا في شهر شباط للعام 2007 من قبل مركز بحوث الدين والتسامح الديني، برئاسة التحرير الدكتور ميروليوب يفتيتش، أستاذ في كلية العلوم السياسية، جامعة بلغراد، صربيا.

المراجع

وصلات خارجية
 http://www.politicsandreligionjournal.com
 http://www.fpn.bg.ac.yu/eng/pages/p_id1/o_p.html
 Miroljub Jevtic, Religion as Political Science Research Subject, Религия и политика, стр.45-46, Благоевград, 2005, ISBN 954-8118-39-4 (ميروليوب يفتيتش، الدين كموضوع بحث العلوم السياسية، بلاغوفغراد، بلغاريا، 2005، ص 45-46)
 Мирољуб Јевтић, Религија и политика-увод у политикологију религије, стр.15 Институт за политичке студије и Факултет политичких наука, Београд, 2002, ISBN 86-7419-048-0 (ميروليوب يفتيتش، السياسة والدين - مقدّمة إلى علم سياسة الدين، معهد الدراسات السياسية وكلية العلوم السياسية، بلغراد، 2002، ص 15)
 Miroljub Jevtic, Political Science and Religion, Политикологија религије, бр.1/2007 Вол.I, стр.63-64, Београд, ISSN 1820-6581 (ميروليوب يفتيتش، العلوم السياسية والدين، علم سياسة الدين، المجلة، 1/2007، ص 63-64، بلغراد)
 http://www.politicsandreligionjournal.com/PDF/broj1/Political_science_and_religion.pdf
Miroljub Jevtic, Religion and Power –Essays on Politology of Religion, ed. Prizren: Diocese of Ras-Prizren and Kosovo-Metohija, Belgrade: Center for study of religion and religious tolerance, 2008, ISBN 978-86-82323-29-7, COBISS.SR-ID: 153597452, стр.268-2 (ميروليوب يفتيتش، الدين والقوة – مقالات حول علم سياسة الدين، بريزران: ابرشية راس – بريزران وكوسوفو – ميتوحيا، بلغراد: مركز الدراسات الدينية والتسامح الديني، 2008) ISBN 978-86-82323-29-7, COBISS.SR-ID: 153597452, pp. 268–269

الحقول الفرعية للعلوم السياسية
الدين والسياسة
دراسة الدين

علم سياسة الدين


Radio La Crónica 1320 AM, fue una radioemisora pública peruana que perteneció al Instituto Nacional de Radio y Televisión del Perú (IRTP), sin cortes comerciales. Fue la radio hermana de Radio Nacional del Perú. Su señal solo se emitió en Lima.

Historia
La radio comenzó como Radio Internacional del Perú en 1935 por Antonio Vásquez Pequeño. Su frecuencia original fue de onda corta. Su centro de operaciones fue el edificio Minería, en la calle del mismo nombre. Esta poseía un catálogo mayormente musical.

Fue renombrada en Radio Colonial por Gustavo Prado, que hacia los años 1940 acusó de supuestamente promover ideas políticas extranjeras. En 1953, fue bautizado finalmente a «Radio La Crónica AM» por el desaparecido diario La Crónica en la cual pertenecía en ese entonces. La radio fue reubicada en el edificio del periódico.

En 1974, durante la dictadura militar del gobierno del General Juan Velasco Alvarado en los años setenta, fue expropiado y desde entonces es administrada por el Estado Peruano.

La emisora transmitía en la frecuencia 1320 AM, aunque en el pasado operó también en la señal de onda corta en la frecuencia 9330 AM.

Posteriormente se reestrenó junto a la señal AM, además de vía Internet y solía entrar en cadena con Radio Nacional del Perú, cuyo centro de operaciones se quedó allí. Su programación, desde 2006, se orientaba a la difusión de música del recuerdo, música peruana, criolla, valses peruanos entre otros géneros musicales.

El 16 de marzo de 2020, en la pandemia de la COVID-19, Radio La Crónica deja de emitir su señal en AM siendo reemplazado por Radio Nacional como repetidora. Parte de su antigua programación migró a los horarios de Nacional.

Antiguos programas
Avance informativo
Los éxitos musicales de la nueva ola
El baúl de los recuerdos
Nuestra música se pasa
Los boleros de Lula
Musirecuerdos
La noche es tuya
Del Perú y América Latina
La hora peruana
Se dice así

Véase también
Instituto Nacional de Radio y Televisión del Perú
Radio Nacional del Perú
Radio Filarmonía
Radio en Perú

Referencias

Enlaces externos
Facebook Oficial de Radio La Crónica 1320 AM
Audio de Radio La Crónica - Lima, Perú - 1976
Página web de Radio Nacional del Perú

Emisoras de radio de Perú
Emisoras de radio de Lima
Instituto Nacional de Radio y Televisión del Perú
Empresas públicas de radiodifusión
Empresas del Estado de Perú
Emisoras de radio fundadas en 1935

Radio La Crónica AM