An Stanhopea saccata in uska species han Liliopsida nga ginhulagway ni James Bateman. An Stanhopea saccata in nahilalakip ha genus nga Stanhopea, ngan familia nga Orchidaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Mga sumpay ha gawas

Stanhopea

Stanhopea saccata


Indie Recordings ist ein norwegisches Plattenlabel mit Sitz in Oslo. Die Firma ist auf die Genres Metal und Hard Rock spezialisiert.

Geschichte
Die Gründung erfolgte im Jahre 2006 durch die Brüder Espen und Erik Solheim Røhne, die drei Jahre zuvor die Firma Tabu Recordings gegründet hatten. Nachdem bei Tabu Recordings einige Mitarbeiter entlassen werden mussten, wurde Indie Recordings gegründet. In den Jahren 2008 und 2010 wurde die Band Enslaved für die Alben Vertebrae bzw. Axioma Ethica Odini mit dem Spellemannprisen in der Kategorie Metal ausgezeichnet. Im Jahre 2011 wurden Kvelertak mit dem Spellemannprisen in den Kategorien Bester Newcomer und Beste Rockband ausgezeichnet.

Bands

Weblinks
 Offizielle Website

Einzelnachweise

Metal-Label
Norwegisches Musiklabel
Unternehmen (Oslo)
Gegründet 2006

Indie Recordings


Trasímenó-vatn er 4. stærsta stöðuvatn Ítalíu með flatarmál uppá 128 km2, og liggur í Úmbría-héraði.

Bæir við vatnið

 Castiglione del Lago
 Passignano sul Trasimeno
 Tuoro
 San Feliciano
 Borghetto

Stöðuvötn á Ítalíu
Úmbría

Trasímenó-vatn


Henry Carr (November 27, 1941 – May 29, 2015) was an American track and field athlete who won two gold medals at the 1964 Summer Olympics in Tokyo, Japan.

Early life
Born in Montgomery, Alabama, in 1941, Carr moved with his family to Detroit, Michigan when he was young.

Prior to bringing his athletic talents to Arizona State University (ASU), Carr was a state champion sprinter for Northwestern High School in Detroit having posted a 100-yard time of 9.3 seconds.  While competing for the ASU Sun Devils, he won three national titles; along the way setting world records at 220 yards and as a member of the Sun Devil 4 x 440 yard relay team.

Henry Carr won the 1963 NCAA title at 200 meters in 20.5; the same year he ran 20.69 to tie Paul Drayton for the USA title. Twice that season Carr ran world records; a non-ratified 20.4 for 220 yards and, three days later in a college triangular meet, a 20.3 for 220 yards. Henry Carr ran even faster in 1964; setting a world record of 20.2 for 220 yards. He also defeated Drayton into second place to win the national title.

Olympics
It was at the 1964 Olympics where Carr would achieve his greatest fame; Carr won the 200 meters (in an Olympic Record time) and anchored the winning 4 x 400 meter relay team to a world record 3:00.7 (with Ollan Cassell, Mike Larrabee and Ulis Williams).

Carr had a fright in his qualification for the Olympics. He had won the semi-final trials held in New York in July and only had to prove his fitness at the final trials in September in Los Angeles. However, he was well beaten into fourth place in the final there and with only 3 to qualify he could have been eliminated. His earlier win was enough though to convince the selectors that he should go to the Olympics.

Professional football career
Following the Olympics, Carr played American football in the National Football League.  He was drafted in the fourth round of the 1965 NFL Draft by the New York Giants and played three seasons as a safety and cornerback with the Giants. In his last year with them he was hampered by a knee injury.

In 1969, he had a try-out with the Detroit Lions but quit their training camp.

Personal life
After he left the NFL he found difficulty in adjusting and finding work. He found new purpose in 1973 when he became a Jehovah's Witness. In the mid-1970s he was described as living a simple life with his family outside Atlanta, Georgia. In later life, Carr became a Jehovah's Witness elder, and was reported to have done contracting work and owned a restaurant. He died of cancer on May 29, 2015, in Griffin, Georgia.

Accolades and awards
Carr was a 1975 Charter inductee in the Arizona State Sun Devils Athletics Hall of Fame. In 1997, he was inducted into the USA Track and Field Hall of Fame.

World records
Carr set the following world records during his track career:

 220 y of 20.3 s at Tempe, Arizona on March 23, 1963, in a tri Meet ASU-Utah-USC;
 4×440 y of 3:04.5 at Walnut, California on April 27, 1963, at the Mt. SAC Relays for the ASU;
 220 y of 20.2 s at Tempe, Arizona on April 4, 1964, in a dual meet ASU-SC Striders;
 4 × 400 m of 3:00.7 at Tokyo, Japan on October 21, 1964, in the Olympic final.

Note: he also ran a 20.4 s for 220 y on March 19, 1963, that was never ratified as a world record.

World rankings
Carr was ranked among the best in the US and the world in the 100, 200 and 400 m sprint events in the period 1962-64, according to the votes of the experts of Track and Field News.

References

External links

Henry Carr: Detroit Northwestern High School 1961, Michtrack
Whether at ASU, the Olympics or NFL, Carr could motor. Arizona Daily Star, July 16 2011.

1942 births
2015 deaths
African-American male track and field athletes
African-American players of American football
American football safeties
American male sprinters
Arizona State Sun Devils men's track and field athletes
Athletes (track and field) at the 1964 Summer Olympics
World record setters in athletics (track and field)
Medalists at the 1964 Summer Olympics
New York Giants players
Olympic gold medalists for the United States in track and field
Players of American football from Detroit
Northwestern High School (Michigan) alumni
Track and field athletes from Detroit
20th-century African-American sportspeople
21st-century African-American people

Henry Carr


La Ruta Estatal de California 68, y abreviada SR 68 (en inglés: California State Route 68) es una carretera estatal estadounidense ubicada en el estado de California. La carretera inicia en el Oeste desde la Playa Estatal Asilomar en Pacific Grove hacia el Este en la . La carretera tiene una longitud de 35,4 km (22.02 mi).

Mantenimiento
Al igual que las autopistas interestatales, y las rutas federales y el resto de carreteras estatales, la Ruta Estatal de California 68 es administrada y mantenida por el Departamento de Transporte de California por sus siglas en inglés Caltrans.

Cruces
La Ruta Estatal de California 68 es atravesada principalmente por la .

Véase también

Referencias

Enlaces externos

 Página oficial de Caltrans

 Lista de Autopistas por estado
 Lista de sitios web de carreteras para cada estado

Carreteras estatales de California
Carreteras del condado de Monterrey
Monterrey (California)
Salinas (California)

Ruta Estatal de California 68


Olaylar
 5 Mart - Karlstad, İsveç'te kent konumuna alındı.

Doğumlar
 ? - William Baffin, İngiliz seyrüseferci (ö. 1622).
 ? - III. Mehmed Giray, Kırım Hanı (ö. 1629).

Ölümler
 18 Mart - Rus Çarı Korkunç İvan

Öldüğü gün ve ay bilinmeyenler
 Yi I, Neokonfüçyüsçü filozof

1584


An Schizochilus angustifolius in uska species han Liliopsida nga ginhulagway ni Robert Allen Rolfe. An Schizochilus angustifolius in nahilalakip ha genus nga Schizochilus, ngan familia nga Orchidaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Schizochilus

Schizochilus angustifolius


A mainsail is a sail rigged on the main mast of a sailing vessel.

 On a square rigged vessel, it is the lowest and largest sail on the main mast.

 On a fore-and-aft rigged vessel, it is the  sail rigged aft of the main mast. The sail's foot is normally attached to a boom. (In extremely heavy weather, the mainsail may be lowered, and a much smaller trysail hoisted in its place).

Historical fore-and-aft rigs used a four-sided gaff rigged mainsail, sometimes setting a gaff topsail above it.

Whereas once the mainsail was typically the largest sail, today the mainsail may be smaller than the jib or genoa; Prout catamarans typically have a  mainmast stepped further aft than in a standard sloop, so that the mainsail is much smaller than the foresail.

Bermuda rig

The modern Bermuda rig uses a triangular mainsail aft of the mast, closely coordinated with a jib for sailing upwind. A large overlapping jib or genoa is often larger than the mainsail. In downwind conditions (with the wind behind the boat) a spinnaker replaces the jib.

Some mainsails are "full-batten" mainsails, meaning the batten extends all the way from the mast to the leach of a sail.  A partial batten extends from the leech partway to the mast.  Battens enable the mainsail to project farther away from the mast.  However, there is some cost associated with the battens themselves, "batten pockets" need to be sewn into the sail, and "batten cars" may be needed to allow the sail to be raised and lowered.

Before Nathanael Greene Herreshoff's invention of sail tracks and slides in the 1880s, mainsails were limited in height.  Traditional mainsails were held against the mast by hoops that went the full way around the mast.  This meant a traditional mainsail could be raised no higher than the first point a rope or wire was required to keep the mast upright. Further mainsail area (and height) was obtained by adopting a gaff rig.

A mainsail may be fixed to the boom via slugs, cars, or a bolt-rope, or may be "loose-footed," meaning it is only attached at the tack and clew.

See also
 Reefing

References

Sailing rigs and rigging

Mainsail


Las rutas de la Interestatal 80 que funcionan como "business" o interestatales que funcionan como anillos periféricos en los centros de ciudades.

California

Sacramento, California business loop

Truckee, California business loop
Interstate 80 Business es un anillo periférico en el estado de California. Sirve como anillo periférico de Truckee cerca de la Interestatal 80, y pasa por el Donner Pass Road.

Nevada/Utah

Verdi

Reno/Sparks

Wadsworth/Fernley

Lovelock

Winnemucca

Battle Mountain

Elko

Wells

West Wendover, Nevada/Wendover, Utah

Wyoming
Evanston
Fort Bridger
Green River
Rock Springs
Rawlins
Laramie
Cheyenne

Enlaces externos
Interstate Business Routes @ Interstate-Guide.com: Business Route 80

80

Interstate 80 Business


Vermillion River or Vermilion River or Vermillon River may refer to the following rivers:

Canada
Vermilion River (Alberta)
Vermilion River (British Columbia)
Vermillon River (La Tuque), Quebec
Vermillon River (Chigoubiche River tributary), Quebec
Vermilion River (Lac Seul), Ontario
Vermilion River (Sudbury District), Ontario

United States
Vermilion River (Wabash River tributary), in Illinois and Indiana
Middle Fork Vermilion River
Vermilion River (Illinois River tributary), in Illinois
Vermilion River (Louisiana)
Vermilion River (Minnesota), in northern Minnesota
Vermillion River (Minnesota), in southern Minnesota
Vermilion River (Ohio)
Vermillion River (South Dakota)

See also

 Vermilion (disambiguation)
 Little Vermilion River (disambiguation)
 Vermillion Creek, a tributary of the Green River in Colorado, U.S.
 Vermillion River Formation, a geological formation in Manitoba, Canada

Vermillion River


De Arbeiderspers este o editură olandeză, care a avut inițial o orientare socialistă. Numele ei înseamnă "Presa muncitorilor". Compania a fost înființată în 1929 prin fuziunea companiilor Elektrische Drukkerij Vooruitgang dim Amsterdam, care edita din anul 1900 ziarul Het Volk al Partidului Social Democrat al Muncitorilor din Țările de Jos, Drukkerij en Uitgeversmaatschappij Voorwaarts din Rotterdam, care edita ziarul Voorwaarts, și N.V. Boekhandel en Uitgevers Maatschappij Ontwikkeling din Amsterdam. În prezent, ea face parte dintr-un mare conglomerat media, Weekbladpersgroep, care include, de asemenea, editurile De Bezige Bij și Querido.

Conducerea și politica editorială
Până în anii 1960 editura a fost cunoscută ca un "bastion socialist" și până în 1964, când s-a alăturat Martin Ros, literatura publicată era privită cu suspiciune — editura a publicat romane provinciale ale unor autori precum Herman de Man și A.M. de Jong. Martin Ros, un publicist citit și ascultat, a fost angajat special pentru a "se amesteca în oală", iar una dintre primele sale achiziții a fost Gerrit Komrij, care era la acel moment un tânăr poet cu o orientare formalistă, nesocialistă. Ros este responsabil, de asemenea, împreună cu directorul Johan Veeninga, pentru inițierea și elaborarea seriei Privé-domein. Theo Sontrop s-a alăturat companiei în anul 1972.

Până în 1991 Sontrop a fost director administrativ. Ronald Dietz i-a succedat, iar în timpul mandatului său editura a pierdut o parte din scriitorii de profil înalt (Jeroen Brouwers, Kristien Hemmerechts și alții). Martin Ros a demisionat în 1997. Atunci când Gerrit Komrij, unul dintre cei mai cunoscuți scriitori neerlandezi, a semnat în anul 2000 un contract cu De Bezige Bij, presiunea asupra lui Dietz a crescut și el a demisionat din funcție. Rob Haans a devenit director interimar.

Privé-domein
Una dintre cele mai de succes serii ale editurii Arbeiderspers este Privé-domein ("domeniul privat"), alcătuită din memorii și autobiografii. Seria a fost inspirată de o serie similară de ego documente de Editions du Cap, numită Domaine privé, al cărui titlu a fost împrumutat. Primele volume (memoriile lui Mary McCarthy și un jurnal incitant al lui Paul Léautaud) au fost publicate în 1966 și pe parcursul a patruzeci și cinci de ani au apărut aproape trei sute de cărți în această serie. "Anii de aur" ai seriei au fost anii 1980, atunci când redactrii editurii erau Martin Ros, Theo Sontrop și Emile Brugman.

Note

Bibliografie
  Sjaak Hubregtse. "Uitgeverij De Arbeiderspers: van ontstaan tot en met ontzuiling" in Marnix Krop, Martin Ros, Saskia Stuiveling and Bart Tromp (eds.) Het zevende jaarboek voor het democratisch socialisme. Amsterdam: De Arbeiderspers / Wiardi Beckman Stichting, 1986, . pp. 132–67. Revised version in pdf

Legături externe
 Alles over Privé-domein, website incl. reviews, catalog, and interviews.
 Collectie Glasdia's Arbeiderspers at the International Institute of Social History

Edituri din Țările de Jos
Fondări în 1929

De Arbeiderspers


O Programa Nacional Socialista, também conhecido como Programa de 25 pontos ou Plano de 25 pontos (), foi o programa partidário do Partido Nacional Socialista dos Trabalhadores Alemães (NSDAP, e referido em português como o Partido Nazista). Adolf Hitler anunciou o programa do partido em 24 de fevereiro de 1920 para aproximadamente 2.000 pessoas no Festival de Munique da Hofbräuhaus e dentro do programa estava escrito "Os líderes do Partido juram seguir em frente, se necessário sacrificar suas vidas para garantir o cumprimento do pontos precedentes" e declarou o programa inalterável. O Programa Nacional Socialista teve origem em um congresso do DAP em Viena, depois foi levado para Munique, pelo engenheiro civil e teórico Rudolf Jung, que por ter apoiado explicitamente Hitler havia sido expulso da Tchecoslováquia por causa de sua agitação política.

O historiador Karl Dietrich Bracher resume o programa dizendo que seus componentes "dificilmente eram novos" e que "proponentes alemães, austríacos e boêmios de movimentos anticapitalistas, nacionalistas-imperialistas e anti-semitas foram recorridos em sua compilação", mas que um apelo para "quebrar os grilhões do capital financeiro" foi adicionado em deferência à ideia fixa de Gottfried Feder, um dos membros fundadores do partido e Hitler forneceu a militância da postura contra o Tratado de Versalhes e a insistência de que os pontos não poderiam ser mudaram e deveriam ser a base permanente do partido. Bracher caracteriza os pontos como sendo "expressos como slogans; eles se prestavam à disseminação sensacionalista concisa da posição 'anti' na qual o partido prosperava. . . . Ideologicamente falando, [o programa] era uma mistura confusa e eclética de desejos políticos, sociais, racistas e nacional-imperialistas. . ."

Ver também

 Manifesto Fascista
 Manifesto dos Intelectuais Fascistas
 nazismo
 strasserismo

Ligações externas

 Texto completo do programa NSDAP de 25 pontos

Plataformas partidárias
Manifestos políticos
Teorias políticas
Nazismo

Programa do Partido Nazista


Žljezdastodlakavi trputac (trputac afrički, buhačina, lat. Plantago afra), vrsta jednogodišnjg raslinja iz porodice trpučevki. Raširena je po dijelovima Europe (uključujući Hrvatsku), Azije i Afrike.

Stabljika uspravna i dlakava, naraste od 15 do 50cm. Cvjetići žuti

Sinonimi
Postoje brojni sinnimi, među njima i
 Plantago afra var. parviflora (Desf.) Lewalle
 Plantago cynops L.
 Plantago durandoi Pomel
 Plantago parviflora Desf.
 Plantago sicula C.Presl
 Plantago squalida Salisb.
 Psyllium cynops (L.) Mirb.
 Psyllium squalidum (Salisb.) Soják

Izvori

Trputac

Žljezdastodlakavi trputac


الوطن الأكبر أو وطني حبيبي هو نشيد للوطن العربي ألفه أحمد شفيق كامل ولحنه محمد عبد الوهاب وغناه مجموعة من الفنانين عام 1960.

تاريخ النشيد
 مع ولادة الجمهورية العربية المتحدة بالاتحاد بين مصر، وسوريا، انطلقت الأغاني الوطنية مرحبة بهذا الإنجاز الذي كان حلماً للكثير من العرب، وكان عبد الوهاب من المرحبين بهذه الوحدة فقدم أغنيته الجميلة «يا إلهي انتصرنا بقدرتك» (كلمات حسين السيد) عام 1958.
 في يناير 1960 قدم هذا النشيد احتفالاً بوضع حجر الأساس للسد العالي وقد غناه أولاً عبد الحليم حافظ، وصباح، وهدى سلطان، وشادية، ونجاة الصغيرة، ثم ظهر النشيد المسجل والمصور الذي نسمعه الآن والذي يشترك فيه الفنانون السابق ذكرهم باستثناء هدى سلطان، وبإضافة وردة الجزائرية، وفايدة كامل. وهناك بعض الاختلاف في الكلمات والألحان بين النشيد الذي ظهرت فيه هدى سلطان، وبين النشيد الذي ظهرت فيه وردة وفايدة، ومن غير المعروف سبب هذا التغيير في الكلمات، والألحان، والفنانين.
 هناك تسجيل آخر لهذا النشيد بصوت محمد عبد الوهاب على العود، وهو مقارب للنشيد الأول الذي ظهرت فيه هدى سلطان.
 اشتركت الفنانة فايزة أحمد في التدريبات الأولية لهذا اللحن، لكنها انسحبت منه بسبب خلافها مع الفنانات المشاركات معها في غناء النشيد، ويبدو أنها ندمت لاحقاً على عدم مشاركتها في هذا النشيد لأنها شاركت في أناشيد أخرى من ألحان عبد الوهاب لكنها لم تكن في مستوى هذا النشيد ولا نجاحه.
 عبد الوهاب أيضاً لم يشارك في غناء هذا النشيد (لسبب غير معلوم) رغم أنه شارك في غناء أناشيد أخرى مثل الجيل الصاعد، وصوت الجماهير.

وطني حبيبي يا وطني الأكبر هي أوبريت عربي قام بتلحينه الفنان الراحل محمد عبد الوهاب عام 1960 وقام بالغناء نخبة من فناني العصر الذهبي في مصر والوطن العربي وهم على الترتيب عبد الحليم حافظ ثم صباح ثم فايدة كامل ثم شادية ثم وردة الجزائرية ثم نجاة الصغيرة ثم كوبليه آخر لعبد الحليم حافظ.

ويعد هذا المقطع من أهم أعمال الفنان الراحل محمد عبد الوهاب ومعه هذه النخبة الكبيرة من الفنانين العرب.

شعبية النشيد

آراء النقاد
 هناك عدة أسباب أدّت إلى نجاح هذا النشيد أكثر من أناشيد كثيرة أخرى، وجعله من الأغاني المرغوب سماعها حتى يومنا هذا:
 ذكره لمفاهيم شاملة مثل الوحدة العربية، وهو مفهوم يوجد من يؤمن به في أقطار عربية كثيرة.
 عدم تحيزه لنظام سياسي معين أو فلسفة سياسية معينة.
 لم يذكر في النشيد اسم أي زعيم عربي.
 سلاسة اللحن وخلوه من التعقيد، وإن كان هذا الحكم يخضع للتقييم الشخصي لكل مستمع على حدة.
 لكن في المقابل هناك من انتقد هذا النشيد، إذ انتقد موسيقار مصري «كذب» النشيد في عبارات مثل «وانتصاراته.. مالية حياته» على اعتبار الهزائم الكثيرة التي تكبدها العرب، وهو تحميل للنشيد أكثر مما يحتمل، إذ أن النشيد ظهر أيام الوحدة بين مصر، وسوريا، وهذا يراه الكثيرون انتصاراً، كما أنه ظهر قبل هزيمة الجيوش العربية في حرب 1967 بأكثر من سبع سنوات.

نص العنوان

تقليد النشيد
قُلِدَّ النشيد عدة مرات مع الحفاظ على نفس اللحن لكن مع تغيير الكلمات من عديد النشطاء والشعراء العرب لتعبر عن احباطهم بالحالة العربية الراهنة، مثل نسخة الشاعر المصري محمود عبد الله في 2010 ("وطني (نصيبي) الوطن الأكبر - يوم ورا يوم (أزماته) بتكتر - و (انكساراته) ماليه حياته - وطني (بيُنهَب وبيُستَعْمَر)") ونسخة بها نقد لاذع لقطر في برنامج باسم يوسف المصري يوم 5 أبريل 2013 بعنوان "قطري حبيبي الأخ الأصغر". كما استخدمت الأغنية في فيديوهات لبعض الناشطين المعارضين لحكم الجيش بمصر في 2012 بعنوان ""وطنى حبيبى كلوه العسكر".

كما قام بأداءها عديد من المغنين في برامج مسابقات غنائية، أو بأصوات محلية.

ملاحظات

وصلات خارجية

مصادر
 مجدي العمروسي، «كراسة الحب والوطنية...»، صوت الفن.
 فكتور سحاب، «السبعة الكبار في الموسيقى العربية».

أغان عربية
أغان مصرية
أغاني 1960
أغاني عبد الحليم حافظ
أغاني محمد عبد الوهاب

الوطن الأكبر


Un Crăciun cosmic (titlu original: A Cosmic Christmas) este un film de Crăciun, de animație, de televiziune, un scurtmetraj canadian din 1977 regizat de Clive A. Smith. Rolurile principale au fost interpretate de actorii Joey Davidson, Martin Lavut, Patrick Moffatt și Nick Nichols. Filmul este prima producție a studiourilor  Nelvana. A avut premiera la 4 decembrie 1977 în Canada pe CBC Television.

Prezentare

Trei extratereștri (care simbolizează Magii biblici) de pe o planetă necunoscută vin în vizită pe Pământ pentru a afla care este adevărata semnificație a Crăciunului.

Distribuție
 Joey Davidson	...	Peter (voce)
 Martin Lavut	...	Dad / Plutox / Santa Joe (voce)
 Richard M. Davidson	...	Lexicon (voce) (ca Richard Davidson)
 Duncan Regehr	...	Amalthor (voce)
 Patricia Moffatt	...	Mom (voce)
 Jane Mallett	...	Grandma (voce)
 Marvin Goldhar	...	Snerk (voce)
 Greg Rogers	...	Marvin (voce)
 Chris Wiggins	...	Mayor (voce)
 Nick Nichols	...	Townie (voce)
 Marian Waldman	...	Townie (voce)

Note

Legături externe

Vezi și
 Listă de filme de Crăciun de televiziune sau direct-pe-video

Filme din 1977
Filme canadiene
Filme de animație
Filme de televiziune
Filme în limba engleză
Filme regizate de Clive A. Smith
Filme de Crăciun
Filme de scurt metraj
Filme cu extratereștri
Filme SF din anii 1970

A Cosmic Christmas


Adaletnâme, Osmanlı padişahlarının tahta çıktıklarında yayımladıkları bir tür genelgedir. Adaletnâmelerde kanunlara uyulması ve hiç kimsenin herhangi bir haksızlığa uğratılmaması gibi konular kaleme alınırdı.

Tarih terimleri
Osmanlı İmparatorluğu'nda hukuk

Adaletnâme


Anne Louise Germaine de Staël (22 Nisan 1766 - 14 Temmuz 1817), Madame de Staël olarak bilinen İsviçreli yazar. İsviçre'nin Fransızca konuşulan bölgesinden olan Staël ülkesi dışında, daha çok da Paris'te yaşadı. Toplumsal Kurumlarla Bağlantısı İçinde Edebiyat adlı yapıtı din, hukuk, ahlak ve edebiyat arasındaki ilişkileri ele alıyordu. Bu kitap günümüzde edebiyat sosyolojisinin başlangıcı kabul edilir.

Çocukluk
Germaine (veya Minette ), İsviçreli mürebbiye Suzanne Curchod'un ve önde gelen İsviçreli bankacı ve devlet adamı Jacques Necker'in tek çocuğuydu.Babası Fransa Kralı XVI  Louis döneminde Fransa Maliye bakanı olmuştur ve kızının İsviçreli filozof Jean-Jacques Rousseau'nun ilkelerine göre eğitim görmesini ve babasının ona aşıladığı entelektüel eğitim ve Kalvinist disiplini ona vermesini istiyordu. Babası cuma günleri küçük bir çocukken Germaine'i düzenli olarak  salonuna ayaklarının dibine oturması için getirir, burada konuklar parlak çocuğu konuşturmaktan zevk alırdı.  Germaine 13 yaşında Montesquieu, Shakespeare, Rousseau ve Dante okudu.  Ebeveynlerinin sosyal hayatı, annesinin taleplerine boyun eğmek istemeyen, biraz ihmal edilmiş ve vahşi bir Germaine'e yol açtı.

 Aile sonunda 1784'te Cenevre Gölü'ndeki bir mülk olan Château Coppet'te ikamet etti. Aile, 1785'te Paris bölgesine döndü.

Evlilik

Marie-Charlotte Hippolyte de Boufflers'ın yardımıyla , Protestan ve İsveç elçiliğinin Fransa ataşesi Baron Erik Magnus Staël von Holstein ile bir evlilik ayarlandı. Düğün 14 Ocak 1786'da 97, Rue du Bac adresindeki İsveç büyükelçiliğinde gerçekleşti.Germaine 20, kocası 37 yaşındaydı. Genel olarak, evlilik her iki taraf için de uygun olsana, ancak ikisinin de bir birine pek sevgisi yok gibi görünüyordu. Germaine, üç ciltlik romantik dram Sophie (1786) ve beş ciltlik trajedi  Jeanne Gray (1787) dahil olmak üzere çeşitli eserler yazmaya devam etti. Aynı zamanda bir kumarbaz olan baron, 80.000 poundalarak maçtan büyük kâr sağladı ve ömür boyu Paris büyükelçisi olarak atandı, ancak karısı  kesinlikle daha etkili elçi olacaktı.
1766 doğumlular
Paris doğumlu yazarlar
1817 yılında ölenler
İsviçreli roman yazarları
18. yüzyılda İsviçreliler
18. yüzyıl filozofları
18. yüzyıl Fransız yazarları
19. yüzyıl Fransız roman yazarları
19. yüzyıl Fransız filozofları
Birinci Fransa İmparatorluğu
Fransız Devrimi'nde kişiler

Devrimci faaliyetler

Anne Louise Germaine de Staël


بني يخلف هي قرية مغربية غرب المملكة. تقع بني يخلف بإقليم خريبكة، 30 كلم جنوبي الرباط. تضم بني يخلف 9.553 نسمة (إحصاء 2004).

انظر أيضا
 إقليم خريبكة

مصادر

جماعات قروية في المغرب
جماعات قروية في إقليم خريبكة

بني يخلف (إقليم خريبكة)


Jeff Sarwer blev født den 14. maj 1978 i Kingston. Han er skakspiller og har en fortid som skak-vidunderbarn. På grund af hans store talent blev medierne meget interesseret i ham og han har deltaget i mange TV-programmer og har givet mange interviews siden. Han lærte at spille skak da han var 4 år gammel af sin ældre søster Julia. Som 6-årige begyndte han at spille i Manhattan Chess Club i New York. Han gjorde et stort indtryk på klubbens ejer Bruce Pandolfini og blev tildelt et livsvarigt gratis medlemskab. Det var en stor ære, fordi Manhattan Chess Club var dengang en af de mest prestigefyldte klubber i verden. I 1986 blev Jeff verdensmester i skak i U-10 kategorien. Bruce Pandolfini kaldte ham den mest usædvanlige unge spiller han har set i sit liv (og han har trænet tusindvis af dygtige unge skakspillere) og Allen Kaufman som var leder af American Chess Society sagde, at 9-årige Sarwer var bedre end Bobby Fischer i en alder af 11 år.

Siden Jeff var 7 år gammel plejede Jeff en gang imellem at underholde store folkemængder ved at genenmføre 40 partier skak på samme tid og vinde dem alle. Det gjorde han oftest til Canada Dag på Parliament Hill i Ottawa eller i Washington Square Park i New York.

Sarwers liv i medierne

Da Jeff var 8 år gammel fangede han Edmar Mednis' opmærksomhed (stormesteren i skak). Han bad Sarwer om at analysere en kamp under verdensmesterskab i 1986 mellem Garrim Kasparow og Anatolij Karpow på en amerikansk tv-kanal PBS. Det viste sig, at han var god til det og han fortsatte at analysere andre kampe sammen med sin søster Julia. De blev berømte i medierne og begyndte at stille op i flere og flere tv-programmer. Der opstod mange artikler om dem i aviser, såsom GQ og Sports Illustrated.

Da Sarwers far kom til at forstå, at han ikke havde styr på sin søns liv længere, besluttede han at flytte sammen med børnene ud af New York. Senere fik han problemer med Børnehjælpsforeningen i Ontario, da han blev anklaget om at bruge vold mod sine børn: Jeff og Julia. Til sidst blev børnene flyttet til fosterfamilier. Der var tale om, at de blev udsat for fysisk og psykisk vold og ikke gik i skole. Søskende var dog ikke glade og flygtede for at vende tilbage til faren. Familien gemte sig for politiet ved at ganske ofte skifte sin bopæl. Gennem årene boede de i mange forskellige lande og levede et usædvanligt liv.

Jonathan Poe
I 1993 blev der udgivet en film, som hed Searching for Bobby Fisher. Jeff Sarwers karakter blev portrætteret som Jonathan Poe. I filmens klimaksscene afviser Poe tilbuddet om en remis og til sidst taber han i spillet. I vikeligheden sluttede spillet uafgjort og Jeff delte sejret med sin modstander Joshua Waitzkin. På dette tidspunkt af karrieren var Sarwer 7 år og Joshua 9 år.

Comeback
Efter Jeff var forsvundet sammen med sin familie, troede mange, at han ikke ville spille skak igen.

Men i 2007 stillede han sig op til en turnering i Malbork og indtog en tredjeplads uden at have trænet i lang tid. Han sluttede med et resultat 7/9 i en gruppe af 86 spillere, heriblandt 4 stormestre. I Januar 2010 gav Sarwer et interview til Cheff Life Online hvor han fortalte om sine oplevelsen fra turneringen og sit nuværende liv i Europa. I August 2010 opstod der en artikel om ham, hvor han snakkede om sin fars metoder, sin karriere i skak og sit comeback i det offentlige liv. Sarwer sagde at hvis han besluttede sig for at prioritere skak, ville han stræbe efter at blive stormester. Han fortalte, hvad der skulle til for at opnå målet. "Det ville kræve i det mindste 2 år af hardcore læring og praksis, især i begyndelsen af forberedelsen." sagde han.

Poker
Siden 2008 har Sarwer spillet poker og deltaget i European Poker Tour, hvor han sluttede 5 gange men en pengepræmie. Blandt andet sluttede han på 10. pladsen i ETP i Warszawa i Oktober 2009 og på 3. pladsen i EPT Vilamoura i November 2009.

Eksterne links
 Interview med Jeff Sarwer US Chess
 Den store poker database
 Bluff magasin artikel
 Pokerstars blog artikel
 Sarwers profil på chessgames.com

Personer fra Canada
Skakspillere fra Canada
Pokerspillere fra Canada

Jeff Sarwer


Wheelchair rugby (originally murderball, and known as quad rugby in the United States) is a team sport for athletes with a disability.  It is practiced in over twenty-five countries around the world and is a summer Paralympic sport.

The US name is based on the requirement that all wheelchair rugby players need to have disabilities that include at least some loss of function in at least three limbs. Although most have spinal cord injuries, players may also qualify through multiple amputations, neurological disorders or other medical conditions. Players are assigned a functional level in points, and each team is limited to fielding a team with a total of eight points.

Wheelchair rugby is played indoors on a hardwood court, and physical contact between wheelchairs is an integral part of the game. The rules include elements from wheelchair basketball, ice hockey, handball and rugby union.

The sport is governed by the International Wheelchair Rugby Federation (IWRF) which was established in 1993.

History

Wheelchair rugby was created to be a sport for persons with quadriplegia in 1976 by five Canadian wheelchair athletes, Gerry Terwin, Duncan Campbell, Randy Dueck, Paul LeJeune and Chris Sargent, in Winnipeg, Manitoba.

At that time, wheelchair basketball was the most common team sport for wheelchair users.  That sport's physical requirement for players to dribble and shoot baskets relegated quadriplegic athletes, with functional impairments to both their upper limbs and lower limbs, to supporting roles.  The new sport—originally called murderball due to its aggressive, full-contact nature—was designed to allow quadriplegic athletes with a wide range of functional ability levels to play integral offensive and defensive roles.

Murderball was first introduced into Australia in 1982. The Australian team competing in the Stoke Mandeville games in England were invited by the Canadians to select a team to play them in a demonstration game. After receiving limited instructions on the rules and skills of the game the "contest" began. Following a fast and very competitive exchange, Australia won. The game was then born and brought back to Australia where it has flourished.

Murderball was introduced to the United States in 1979 by Brad Mikkelsen.  With the aid of the University of North Dakota's Disabled Student Services, he formed the first American team, the Wallbangers.  The first North American competition was held in 1982.

In the late 1980s, the name of the sport outside the United States was officially changed from Murderball to Wheelchair Rugby.  In the United States, the sport's name was changed to Quad Rugby.

The first international tournament was held in 1989 in Toronto, Ontario, Canada, with teams from Canada, the United States and Great Britain.  In 1990, Wheelchair Rugby first appeared at the International Stoke Mandeville Games as an exhibition event, and in 1993 the sport was recognized as an official international sport for athletes with a disability by the International Stoke Mandeville Wheelchair Sports Federation (ISMWSF).  In the same year, the International Wheelchair Rugby Federation (IWRF) was established as a sports section of ISMWSF to govern the sport. The first IWRF World Wheelchair Rugby Championships were held in Nottwil, Switzerland, in 1995 and wheelchair rugby appeared as a demonstration sport at the 1996 Summer Paralympics in Atlanta.

The sport has had full medal status since the 2000 Summer Paralympics in Sydney, Australia, and there are now twenty-five active countries in international competition, with several others developing the sport.

Rules

Wheelchair rugby is mostly played by two teams of up to twelve players.  Only four players from each team may be on the court at any time.  It is a mixed-gender sport, and both male and female athletes play on the same teams.

Wheelchair rugby is played indoors on a hardwood court of the same measurements as a regulation basketball court—28 metres long by 15 metres wide.  The required court markings are a centre line and circle, and a key area measuring 8 metres wide by 1.75 metres deep at each end of the court.

The goal line is the section of the end line within the key.  Each end of the goal line is marked with a cone-shaped pylon.  Players score by carrying the ball across the goal line.  For a goal to count, two wheels of the player's wheelchair must cross the line while the player has possession of the ball.

A team is not allowed to have more than three players in their own key while they are defending their goal line.  Offensive players are not permitted to remain in the opposing team's key for more than ten seconds.

A player with possession of the ball must bounce or pass the ball within ten seconds.

A team's back court is the half of the court containing the goal they are defending; their front court is the half containing the goal they are attacking. Teams have twelve seconds to advance the ball from their back court into the front court and a total of forty seconds to score a point or concede possession.

Physical contact between wheelchairs is permitted, and forms a major part of the game. However, physical contact between wheelchairs that is deemed dangerous—such as striking another player from behind—is not allowed. Direct physical contact between players is not permitted.

Fouls are penalized by either a one-minute penalty, for defensive fouls and technical fouls, or a loss of possession, for offensive fouls.  In some cases, a penalty goal may be awarded in lieu of a penalty.  Common fouls include spinning (striking an opponent's wheelchair behind the main axle, causing it to spin horizontally or vertically), illegal use of hands or reaching in (striking an opponent with the arms or hands), and holding (holding or obstructing an opponent by grasping with the hands or arms, or falling onto them).

Wheelchair rugby games consist of four eight-minute quarters.  If the game is tied at the end of regulation play, three-minute overtime periods are played.

Much like able-bodied rugby matches, highly competitive wheelchair rugby games are fluid and fast-moving, with possession switching back and forth between the teams while play continues.  The game clock is stopped when a goal is scored or in the event of a violation—such as the ball being played out of bounds—or a foul.  Players may only be substituted during a stoppage in play.

Tries
Goals (see above under Rules) are sometimes called "tries".

Equipment

Wheelchair rugby is played in a manual wheelchair.  The rules include detailed specifications for the wheelchair. Players use custom-made sports wheelchairs that are specifically designed for wheelchair rugby.  Key design features include a front bumper, designed to help strike and hold opposing wheelchairs, and wings, which are positioned in front of the main wheels to make the wheelchair more difficult to stop and hold.  All wheelchairs must be equipped with spoke protectors, to prevent damage to the wheels, and an anti-tip device at the back.

New players and players in developing countries sometimes play in wheelchairs that have been adapted for wheelchair rugby by the addition of temporary bumpers and wings.

Wheelchair rugby uses a regulation volleyball typically of a 'soft-touch' design, with a slightly textured surface to provide a better grip.  The balls are normally over-inflated compared to volleyball, to provide a better bounce. The official ball of the sport from 2013 to 2016 is the Molten soft-touch volleyball, model number WR58X.
Players use a variety of other personal equipment, such as gloves and applied adhesives to assist with ball handling due to their usually impaired gripping ability, and various forms of strapping to maintain a good seating position.

Classification

To be eligible to play wheelchair rugby, athletes must have some form of disability with a loss of function in both the upper limbs and lower limbs. The majority of wheelchair rugby athletes have spinal cord injuries at the level of their cervical vertebrae.  Other eligible players have multiple amputations, polio, or neurological disorders such as cerebral palsy, some forms of muscular dystrophy, or Guillain–Barré syndrome, among other medical conditions.

Players are classified according to their functional level and assigned a point value ranging from 0.5 (the lowest functional level) to 3.5 (the highest).  The total classification value of all players on the court for a team at one time cannot exceed eight points.

The classification process begins with an assessment of the athlete's level of disability to determine if the minimum eligibility requirements for wheelchair rugby are met.  These require that an athlete have a neurological disability that involves at least three limbs, or a non-neurological disability that involves all four limbs.  The athlete then completes a series of muscle tests designed to evaluate the strength and range of motion of the upper limbs and trunks.  A classification can then be assigned to the athlete.  Classification frequently includes subsequent observation of the athlete in competition to confirm that physical function in game situations reflects what was observed during muscle testing.

Athletes are permitted to appeal their classification if they feel they have not been properly evaluated. Athletes can be granted a permanent classification if they demonstrate a stable level of function over a series of classification tests.

Wheelchair rugby classification is conducted by personnel with medical training, usually physicians, physiotherapists, or occupational therapists.  Classifiers must also be trained in muscle testing and in the details of wheelchair rugby classification.

Active countries

 there are thirty-one active countries playing wheelchair rugby and twenty-six more developing national teams, divided into three zones:

International competitions

The major wheelchair rugby international competitions are Zone Championships, held in each odd-numbered year, and the World Championships held quadrennially in even-numbered years. Wheelchair rugby is also an included sport in regional events such as the Parapan American Games.

Since 2000, it has been one of the sports of the Summer Paralympic Games.

In July 2022, the World Games in Birmingham, Alabama hosted six teams to compete: Japan, USA, Germany, Switzerland, Canada, and Great Britain. These games had been postponed from 2021 due to the Covid-19 pandemic.

Variations
The paralympic version of wheelchair rugby has been adapted with new variations on the rules developed. These variations have broadened the classification system to allow players with higher functionality to compete.

Invictus Games
Team size reduces from 12 in the preliminary rounds to 10 in the semi-finals and final.
Classifications in three categories:
 "Maximum" players (1 point) - roughly in line with classification for the paralympic version of the game
 "Moderate" players (2 points) - players with functional or physical impairments (eg all leg amputees (single and double) or significant balance issues (e.g. player must walk with assistive devices) )
 "Open" players (3 points) - players with minor or non-permanent physical disabilities and other illnesses (e.g. PTSD, TBI, minor orthopedic injuries)
A maximum of 10 points from 4 players can be played on court at any time.

Wheelchair Rugby 5s
The 5s version of wheelchair rugby was developed in the UK by Great Britain Wheelchair Rugby in 2017. The game was officially adopted by World Wheelchair Rugby in June 2021.
Like the Invictus variation, the 5s game widens eligibility.
Team size remains at 12.
Classifications in broad groups:
 0.5 - Paralympic wheelchair rugby classifications from 0.5-1.5
 1.0 - Paralympic wheelchair rugby classifications from 2.0-3.5
 1.5 - GBWR Paralympic classification of 4.0 and players with an impairment in one upper limb
 2.0 - Players with an impairment in both lower limbs
 3.0 - Players with an impairment in one lower limb
 4.0 - Players with a diagnosed pain related impairment (GBWR only)
A maximum of 10 points from 5 players can be played on the court at any time.

In popular culture
Wheelchair rugby was featured in the Oscar-nominated 2005 documentary Murderball. It was voted the #1 Top Sport Movie of all time by the movie review website Rotten Tomatoes.

The character Jason Street in the NBC television show Friday Night Lights, having been paralyzed in a game of American football in the pilot, tries out for the United States quad rugby team in a later episode.

See also
Wheelchair sports
Wheelchair rugby league
Wheelchair Australian rules football

Notes

References

External links
 Official site of World Wheelchair Rugby (WWR)
 Official site of the International Wheelchair and Amputee Sports Federation (IWAS)
 Official site of the International Paralympic Committee (IPC)
 Official site of the United States Wheelchair Rugby (USAWR)
 Official site of the United States Quad Rugby Association (USQRA)

Mixed-sex sports
Variations of rugby union
Sports originating in Canada

Wheelchair rugby


Christian Thobo Køhler (født 10. april 1996) er en dansk fodboldspiller, der spiller for ÍA Akranes.

Karriere
Køhler startede sin karriere i Hørsholm UI, inden han skiftede til Farum Boldklub i 2008.

FC Nordsjælland
I sommeren 2015 blev Køhler rykket op på FC Nordsjællands førstehold. Han skrev samtidig under på en kontrakt.

Han fik sin debut i Superligaen den 1. maj 2016, da han startede inde og spillede de første 65 minutter i 2-2-kampen hjemme mod Randers FC. Han scorede samtidig sit første mål i Superligaen i denne kamp, da han scorede til 1-1 i det 53. minut. De efterfølgende måneder frem mod sæsonafslutningen bød på seks kampe mere i Superligaen. Han rundede den gode sæsonafslutning af med at skrive under på en toårig kontraktforlængelse og blev i samme ombæring udnævnt som Årets Værdispiller uddelt af FC Nordsjælland ved FCN Awards.

Sæsonen efter bød på 19 kampe i Superligaen, hvoraf fem af dem var med fuld spilletid. I forårssæsonen røg han dog bagerst i køen om midtbanepladserne.

FC Helsingør
I løbet af sommeren 2017 forsøgte både Viborg FF og FC Helsingør at hente Køhler i FC Nordsjælland. Det blev dog i sidste ende FC Helsingør, der løb med Køhler. Her skrev han under på en toårig kontrakt.

Da FC Helsingør rykkede ned i 2. division efter 2018-19-sæsonen, ønskede Køhler ikke at forlænge sin kontrakt.

Trelleborgs FF
Han skiftede i første halvdel af juli 2019 til den svenske klub Trelleborgs FF.

Noter

Referencer

Eksterne henvisninger

 Christian Køhlerpå fcn.dk

Fodboldspillere fra Danmark
Fodboldspillere fra FC Nordsjælland
Fodboldspillere fra FC Helsingør
Fodboldspillere fra Trelleborgs FF

Christian Køhler


Golgi aygıtı (ayrıca Golgi cisimciği veya Golgi kompleksi),  çoğu ökaryotik hücrede bulunan bir organeldir. 1897'de, Golgi aygıtı isminin kaynağı olan,  İtalyan tabip Camillo Golgi tarafından keşfedilmiştir.

Proteinler sentezlendikten hedef noktalarına gitmeden önce golgi tarafından işlenir ve paketlenir; bu özellikle sekresyon için işlenen proteinlerde önemidir. Golgi aygıtı hücresel endomembran sisteminin bir bölümünü oluşturur.

Keşfi
Oldukça büyük boyutundan dolayı, golgi aygıtı keşfedilip ayrıntılarıyla incelenen ilk organellerden biridir. Bu aygıt ilk defa 1897 yılında İtalyan tabip Camillo Golgi tarafından  sinir sistemi üzerinde yapılan bir inceleme sonucu keşfedilmiştir. Bu organeli kendi mikroskobunda ilk keşfinde yapıyı apparato reticolare interno (Türkçe:  dahili ağsı aygıt) olarak adlandırdı. Bu yapının adı, keşfinden 1 yıl sonra Camillo Golgi'nin soyadıyla yeniden adlandırıldı. Ancak bazıları ilk başlarda keşiften şüphe duydu, bu yapının  aslında sadece Golgi'nin gözlem tekniğinden kaynaklanan bir optik yanılsama olduğu iddia edildi. 20. yüzyılda modern mikroskopların gelişmesiyle keşif doğrulandı.

Yapısı
Hem bitkisel hem hayvansal hücrelerde bulunan golgi, sisterna olarak bilinen kıvrımlı zar kümelerinden oluşur. Özellikle bitki hücrelerinde bulunan diktozom adlı (Yunanca, dictyon: ağ + soma: cisim) özgün bir küme bulunur. Bir memeli hücresinde genellikle 40'tan 100'e kadar küme gözlenir. Bir kümede genellikle dört veya sekiz sisterna bulunur.; ancak bazı Protistalarda sisternaların altmışa kadar çıktığı gözlenmiştir. Her sisterna, onu boydan boya geçen kargo proteinlerine yardım eden veya onlara yardım eden özel golgi enzimlerini içeren yassı, etrafı zarlarla çevrili disklerden oluşur.

Sisterna kümesinin dört işlevsel bölgesi vardır: cis golgi ağı, medial golgi, endo golgi ve trans golgi ağı. Endoplazmik retikulumden veziküler tübüler küme aracılığıyla gelen veziküller, ağ örgüsüyle kaynaşır ve daha sonra paketlenip hedef noktalara gönderildikleri trans golgi ağı boyunca işlenir. Her bölge, bulundukları yere göre içerikleri seçici olarak modifiye eden farklı enzimler içerir. Sisternalar aynı zamanda kendi onarımları için gereken yapısal proteinler taşır.

Görevleri
Hücreler büyük miktarlarda değişik makromolekül sentezler. Golgi aygıtı bu makromoleküllerin hücre sekresyonu (Ekzositoz) veya hücre içi kullanım için paketlenmesinde, türlerine göre ayrılmasında ve modifiye edilmesinde bütünleyici bir göreve sahiptir. Golgi aygıtı öncelikli olarak granüllü endoplazmik retikulumdan gelen proteinleri modifiye eder ve aynı zamanda lipitlerin hücre içinde taşınmasını ve lizozomun oluşumunda görev alır. Bu bakımdan postaneye benzetilebilir; daha sonradan hücrenin çeşitli yerlerine yollayacağı materyalleri paketler ve etiketler.

Sisternada bulunan enzimler karbonhidrat (Glikozilasyon)  veya fosfat (Fosforilasyon) ilavesi ile proteinleri modifiye edebilir. Bunu yapabilmek için sitozolden nükleotid şekerler gibi materyalleri içe aktarır. Bu modifikasyonlar aynı zamanda proteinin son varış noktasını belirleyecek olan sinyal sekansını oluşturabilir. Örneğin golgi aygıtı, lizozomlara gidecek olan proteinleri mannoz-6-fosfat ile etiketler

Mitoz esnasında Golgi aygıtı (cisimciği)

Hayvan hücrelerinde, mitozun başlangıcından sonra ayrışır ve kaybolur. Mitozun telofaz evresi esnasında tekrar ortaya çıkar; ancak bunun nasıl olduğu konusunda hala kesin bir kanıya varılamamıştır.

Yanıltıcı bir şekilde bitkilerin veya mayaların hücrelerindeki golgi aygıtlarının hücre döngüsü boyunca bozulmadan durduğu gözlenmiştir. Bu farklılığın nedeni bilinmemekle birlikte kısmen golgi proteinlerinin farkından kaynaklandığı düşünülmektedir.

Ayrıca bakınız
 Diktiyozom
 Mitokondri

Kaynakça

Dış bağlantılar

Organeller

Golgi aygıtı


Legally Blonde is a 2001 American comedy film directed by Robert Luketic in his feature-length directorial debut and scripted by Karen McCullah Lutz and Kirsten Smith from Amanda Brown's 2001 novel of the same name. It stars Reese Witherspoon, Luke Wilson, Selma Blair, Matthew Davis, Victor Garber, and Jennifer Coolidge. The story follows Elle Woods (Witherspoon), a sorority girl who attempts to win back her ex-boyfriend Warner Huntington III (Davis) by getting a Juris Doctor degree at Harvard Law School, and in the process, overcomes stereotypes against blondes and triumphs as a successful lawyer.

The outline of Legally Blonde originated from Brown's experiences as a blonde going to Stanford Law School while being obsessed with fashion and beauty, reading Elle  magazine, and frequently clashing with the personalities of her peers. In 2000, Brown met producer Marc Platt, who helped her develop her manuscript into a novel. Platt brought in screenwriters McCullah Lutz and Smith to adapt the book into a motion picture. The project caught the attention of director Luketic, an Australian newcomer who came to Hollywood on the success of his quirky debut short film Titsiana Booberini. "I had been reading scripts for two years, not finding anything I could put my own personal mark on, until Legally Blonde came around," Luketic said.

The film was released on July 13, 2001, and was a hit with audiences, grossing $141 million worldwide on an $18 million budget, as well as receiving moderately positive reviews from critics, with particular praise going to Witherspoon's performance. It was nominated for a Golden Globe Award for Best Motion Picture: Musical or Comedy. Witherspoon received a Golden Globe nomination for Best Actress – Motion Picture Musical or Comedy, and the 2002 MTV Movie Award for Best Female Performance.

The box office success led to a series of films: a 2003 sequel, Legally Blonde 2: Red, White & Blonde, and a 2009 direct-to-DVD spin-off, Legally Blondes. Additionally, Legally Blonde: The Musical premiered on January 23, 2007, in San Francisco and opened in New York City at the Palace Theatre on Broadway on April 29, 2007, starring Laura Bell Bundy.

In May 2020, it was announced that Mindy Kaling and Dan Goor were signed to write a third film. The third film was set to release in 2022 but has been delayed to an undisclosed date.

Plot

Fashion merchandising student and sorority girl Elle Woods is taken to an expensive restaurant by her boyfriend, Warner Huntington III. She expects a proposal, but he breaks up with her instead. Intending to go to Harvard Law School and become a successful senator, he believes that Elle is not "serious" enough for that kind of life. Elle believes she can win Warner back if she shows herself capable of achieving the same things. After months of studying, Elle scores a 179 on the Law School Admission Test and, combined with her 4.0 GPA, is accepted to Harvard Law School.

Upon arriving at Harvard, Elle finds her SoCal personality is a complete contrast to her East Coast classmates, who frequently distrust her. She soon encounters Warner but discovers he is engaged to his old girlfriend, Vivian Kensington, who considers Elle a fool. Later, Elle tells Warner that she intends to apply for one of her professor's internships, but he tells her that she is wasting her time as she is not intelligent enough. Realizing that Warner will never take her back or take her seriously, Elle finds motivation to prove herself by working hard and demonstrating her understanding of the subject.

The following semester, Professor Callahan, the school's most respected teacher, decides to take on some first-year interns to help with a high-profile case. Among those chosen are Elle, Warner, and Vivian. Callahan is defending a prominent fitness instructor named Brooke Windham, one of Elle's role models. Accused of murdering her husband, Brooke is unwilling to produce her alibi, and she later reveals to Elle that she was having liposuction, a fact that would ruin her reputation, which Elle promises not to disclose. Vivian gains a new respect for Elle and reveals that Warner could not get into Harvard without his father's help. Emmett Richmond, Callahan's junior partner, has also taken notice of her potential.

One night, Callahan tries seducing Elle, who now believes that is why she got the internship. Devastated, she quits and nearly returns home to California, telling Emmett what happened. When he tells Brooke, she fires Callahan, replacing him with Elle under Emmett's guidance; as she is only a law student, David Kidney (Elle's classmate) cites a Massachusetts Supreme Court ruling that law students may represent clients if they do so under the supervision of a licensed attorney.

Elle begins to cross-examine Brooke's stepdaughter, Chutney, and catches her in a lie when she discovers significant inconsistencies in her story: Chutney testified that she was home during her father's murder but did not hear the gunshot because she was in the shower after getting her hair permed that morning. Elle says that washing permed hair within the first 24 hours would deactivate the ammonium thioglycolate, pointing out that Chutney's curls are still intact. A distraught Chutney admits her culpability in inadvertently killing her father as she really intended to kill Brooke because she hated the fact that her father married someone the same age as her.

After the trial, Chutney is sent to jail, and Warner asks Elle to take him back as she has proven herself. She rejects him, realizing he is shallow and a "complete bonehead". However, she and Vivian become best friends, especially after Vivian dumps Warner. Elle gives the graduation speech two years later, while Warner graduates with no honors, no job offers, and no girlfriend. Emmett has started his own law firm and has been dating Elle for two years, with plans to propose to her later that night.

Cast

Production

Background

Amanda Brown published Legally Blonde in 2001, basing it upon her real life experiences as a blonde attending Stanford Law School, while being obsessed with fashion and beauty, reading Elle magazine, and frequently clashing with the personalities of her peers.

Brown said that when she first arrived at Stanford, she discovered she had made a big mistake. "I was in my first week of law school, in 1993, and I saw this flyer for "The Women of Stanford Law," so I was like, 'I'll go and meet some nice girls. Whatever.' I went to the meeting, and these were not women. These were really angry people. The woman who was leading it spent three years at Stanford trying to change the name 'semester' to 'ovester.' I started laughing and I realized everyone in the room took it very seriously. So I didn't make any friends there."

Brown wrote letters to her parents about these experiences and originally thought about writing a book of essays about her law school experience until a literary agent advised her to adapt them into a novel. Brown took a community college writing class, put together a manuscript, and shopped the book around but was unsuccessful. She later resubmitted her manuscript again, this time in pink, which got the attention of an agent, and "movie people went nuts." Amanda's mother, Suzanne, remembers the day of the bidding war and thought she would be lucky to get $10,000 but the final figure was considerably more.

Producer Marc Platt was intrigued by the character of Elle Woods when an unpublished novel manuscript was delivered to him. "What I loved about this story is that it's hilarious, it's sexy and, at the same time, it's empowering," says Platt. "The world looks at Elle and sees someone who is blonde and beautiful but nothing more. Elle, on the other hand, doesn't judge herself or anybody else. She thinks the world's great, she's great, everyone's great and nothing can change that. She's truly an irrepressible modern heroine."

Screenwriters Karen McCullah Lutz and Kirsten Smith spent two days on Stanford's campus in the spring of 2000 doing research for their screenplay based on Brown's novel. Director Robert Luketic, an Australian newcomer who came to Hollywood on the success of his quirky debut short film Titsiana Booberini, was drawn to the project while looking for a breakthrough film. "I had been reading scripts for two years, not finding anything I could put my own personal mark on, until Legally Blonde came around," Luketic said.

Development

Luketic explained that when the studio first green-lit the project, they were not aware that the film would be structured as a progressively feel-good, women's empowerment movie. "Initially, they thought it was going to be much more wet T-shirts and boobs than it actually turned out to be", said Luketic. In fact, the first script for Legally Blonde was edgy and raunchy in a similar vein to American Pie. The murder trial was not part of the plot and the film ended with Elle getting into a relationship with a professor. "It transformed from nonstop zingers that were very adult in nature to this universal story of overcoming adversity by being oneself," said Smith. When it was decided to change the film's plot, McCullah and Smith finessed some details and added a few characters, like Paulette.

Charlize Theron, Gwyneth Paltrow, Alicia Silverstone, Katherine Heigl, Christina Applegate, Milla Jovovich and Jennifer Love Hewitt were all considered for the lead role but Luketic said he "knew on page five of the script that [he] wanted Reese to play Elle." "I wanted someone with gravitas and brains," he explained. "There had to be more behind the face, and Reese just fit the bill." Witherspoon was the first person who read the script, and it was not sent to any other actresses; casting director Joseph Middleton had also previously worked with Witherspoon in The Man in the Moon and A Far Off Place, so he strongly believed in her for the role when Platt brought up Witherspoon's name. Applegate turned down the role and Platt suggested at one point to cast Britney Spears, but McCullah convinced him to not cast Spears after her Saturday Night Live appearance. Despite Luketic's enthusiasm for Witherspoon to be cast as the lead, Metro-Goldwyn-Mayer was not convinced. Witherspoon's performance as Tracy Flick in Election put her at risk of being typecast by the studio heads. "They thought I was a shrew," Witherspoon told The Hollywood Reporter. Witherspoon had been passed over for several other post-Election roles. "My manager finally called and said, 'You've got to go meet with the studio head because he will not approve you. He thinks you really are your character from Election and that you're repellent.' And then I was told to dress sexy." Witherspoon went through several rounds of auditions for the part, even meeting with executives in character with a Southern California accent. "I remember a room full of men who were asking me questions about being a coed and being in a sorority," Witherspoon recalled. "Even though I had dropped out of college four years earlier and I have never been inside a sorority house." Luketic remembered meeting with her to discuss how she'd approach the role. "We met at a hotel on Sunset Boulevard and discussed the film...we were both concerned about some aspects, like how can the audience feel sorry for a rich girl driving a Porsche; and she had to dress in a very particular way that wasn't distracting or off-putting...And every decision came from a certain innocence [of the character]."

Jennifer Coolidge was cast as Elle's manicurist friend Paulette, a role which according to some rumors Coolidge heard, Courtney Love and Kathy Najimy were up for. For the role of Warner's new girlfriend Vivian, Smith suggested to cast Chloë Sevigny in the role, but such suggestion did not work out, so Selma Blair was cast instead; Blair and Witherspoon had previously been together in Cruel Intentions, allowing their friendship to be an anchor between their characters. Ali Larter was originally wanted to play one of Elle's sorority sisters, but upon reading the script, she fell in love with the character of Brooke Taylor Windham, the fitness instructor on trial for murder.

The screenwriters envisioned Luke Wilson as they were coming up with Elle's love interest Emmett Richmond. "They auditioned a bunch of other guys and we're like, 'How about auditioning Luke Wilson for the Luke Wilson role?'" McCullah Lutz said. Middleton desired to cast Paul Bettany as Emmett, but the crew felt that the character should be American whereas Bettany is British.

The final product came after "something like 10 drafts of the script. I worked with the writers (Kirsten Smith, Karen McCullah Lutz, working from Amanda Brown's novel) who stayed on after we started shooting," Luketic explained. "And we'd have re-thinks and re-writes, often in the middle of the night." An unused idea for the finished film included having a cameo appearance of Judge Judy during Elle's Harvard video essay in which Elle and her friends chased down the show's host, but the scene was cut when Judge Judy Sheindlin could not get on board. Alanna Ubach suggested instead to cast Witherspoon's then husband Ryan Phillippe for the part, rewritten as a male character, but Witherspoon did not feel the idea would play out.

Witherspoon researched the character by studying sorority girls on their campuses and associated hot spots. She went to dinner with them and joked she was conducting an "anthropological study". "I could have gone into this and been really ditsy and played what I would have thought this character was, and I would have missed a whole other side of her," Witherspoon added. "But by going down to Beverly Hills, hanging out in Neiman Marcus, eating in their cafe and seeing how these women walk and speak, I got into the reality of the character. I saw how polite these women are, and I saw how much they value their female friendships and how important it is to support each other".

The cast and crew also did a lot of research, with McCullah and Smith visiting the Stanford Law School for a week during orientation time; a scene of a group composed of new students going around in a circle was inspired on law students the screenwriters eavesdropped during their visit. They also sat for the criminal law and constitutional law classes; McCullah particularly got bored during the second class despite finding the first interesting, but this inspired her to write some scenes during that class.

Reese Witherspoon said in an interview regarding her character:

Costume design

The film's costume designer, Sophie De Rakoff, became fast friends with Witherspoon on the set, bonding over Dolly Parton. "It was that simple. We just liked each other, and geeked out on Dolly," De Rakoff said. The dominant color palette for Elle's outfits in the film is pink. "The backstory is, Reese and I, and maybe the production designers, went to visit some sororities [in downtown Los Angeles]. We knew that she needed a signature color, and we were like, 'Do we really want it to be pink? It's so on the nose. It's so feminine. Could we do lavender? Could we do light blue? Is there another color that we could do?' When we met all the sorority girls, it had to be pink."

Witherspoon sported 40 different hairstyles in the film. "Oh my God, it became known as 'The Hair That Ate Hollywood,'" Luketic said. "It became all about the hair. I have this obsession with flyaways. It would annoy Reese a little bit because I would always have hairdressers in her face. But really the most time and research and testing on the set went into getting the color right, because 'blonde' is subject to interpretation, I found."

Filming

Luketic said he was "terrified" on his first day of filming. "I come from making a ten-minute short with a crew of ten people to a crew of 200 and having enough trucks and trailers to wrap around a city block."

Both the University of Southern California and Stanford refused to allow the producers to use their college names in the film. "[The producers of the film] asked if they could set the film at USC, but the images of her as an undergraduate and being in a sorority ... we felt there was too much stereotyping going on," says Elijah May, campus filming coordinator at USC. The production settled on having Elle go to a fictional college called CULA.

Although the film was primarily set at Harvard University, campus scenes were filmed at USC, University of California, Los Angeles, California Institute of Technology, and Rose City High School in Pasadena, California. Production initially lasted from October to December 2000.

The "bend and snap" scene — where Elle explains to Paulette how to get her crush's attention — almost did not make it into the movie.
"[Producer] Marc Platt wanted a B plot for Paulette (Jennifer Coolidge)," McCullah Lutz told Entertainment Weekly. "At first we were like, 'Should the store be robbed?'" Co-writer Kirsten Smith observed, "I think we spent a week or two trying to figure out what the B plot and this big set piece should be. There were crime plots. We were pitching scene after scene and it all felt very tonally weird".

Later, while brainstorming at a bar in Los Angeles, McCullah Lutz came up with a solution: "What if Elle shows [Paulette] a move so she can get the UPS guy?" On the spur of the moment, Smith invented a move, standing up and demonstrating what would become the bend and snap. Smith explains, "It was a spontaneous invention. It was a completely drunken moment in a bar." Director Robert Luketic later adapted the "bend and snap" move into a dance number for the film.

"... It was a fully choreographed number by Toni Basil, and she was awesome," Witherspoon recalls. "She did the whole dance." "I remember just reading it and thinking it was the most hysterical thing ever," she added. "That is still the most asked request I get from people. Even this past year, when I have been giving speeches or talking about whatever, they always ask me, 'Will you do the bend and snap?' I have a feeling I will be doing the bend and snap until I am 95". While filming the courthouse scenes, Raquel Welch requested cinematographer Anthony B. Richmond special lightning for her scenes as Mrs. Windham Vandermark due to her obsession with light and dressed on her own accord to look better.

The film originally ended at the courthouse right after Woods won the case, with Elle on the courthouse steps sharing a victory kiss with Emmett, then cutting one year into the future to her and a now-blonde Vivian starting their own Blonde Legal Defense Club at law school. After test audiences revealed they did not like this ending, McCullah Lutz and Smith consulted with Luketic, Platt and other members of the production team while still in the lobby of the movie theater and they all agreed a new conclusion was necessary. "It was just kind of a weak ending," explained screenwriter McCullah Lutz. "The kiss didn't feel right because it's not a rom-com — it wasn't about their relationship. So test audiences were saying, 'We want to see what happens — we want to see her succeed.' So that's why we rewrote for graduation". Ubach and Jessica Cauffiel claim that the original ending also included Elle and Vivian drinking margaritas in Hawaii, with the implication that they were either now best friends or involved romantically although Smith and McCullah never wrote such ending. Other endings proposed for the film included a musical number in which Elle, the judge, the jury and everyone in the courthouse broke into singing and dancing.

The screenwriters wrote a new ending taking place at graduation, which was filmed at Dulwich College in London, England since Witherspoon was in that city filming The Importance of Being Earnest. Witherspoon had also cut her hair for that film and Wilson had shaved his head for The Royal Tenenbaums. As both actors had changed their hair for their next movies, each had to wear wigs for the scene.

Reception

Box office
Legally Blonde was released on July 13, 2001 in North America. Its opening weekend gross of $20 million made it a sleeper hit for the struggling MGM studio, and it went on to gross $96.5 million in North America and $45.2 million elsewhere, for a worldwide total of $141.7 million. The film was released in the United Kingdom on October 26, 2001, and opened on #2, behind American Pie 2.

Critical response
On Rotten Tomatoes Legally Blonde has an approval rating of 71% based on reviews from 150 critics, with an average rating of 6.20/10. The site's consensus reads, "Though the material is predictable and formulaic, Reese Witherspoon's funny, nuanced performance makes this movie better than it would have been otherwise." On Metacritic the film has a score of 59 out of 100, based on 32 reviews, indicating "mixed or average reviews". Audiences surveyed by CinemaScore gave the film a grade "A−" on scale of A to F.

Roger Ebert gave it three out of four stars, saying the film was "impossible to dislike" and "Witherspoon effortlessly animated this material with sunshine and quick wit." Todd McCarthy of Variety said Witherspoon gave a "wonderful and winning" performance. "Beaming star wattage out of every pore, not to mention her hair, Witherspoon once again proves herself a comedienne worthy of comparison to such golden era greats as Carole Lombard and Ginger Rogers." Michael Wilmington of Chicago Tribune also commended Witherspoon's performance, saying her "comic timing immaculate, her persona irresistible. But it's her spirit and immersion in the part that really infuse the whole film and make it work." He added that Witherspoon [pours] "so much humor and pizazz into Elle that she lifts up the whole movie." B. Ruby Rich of The Nation called it "the best empowerment movie for teenage girls to come along in ages." CNN's Paul Clinton lauded the film as a "sassy satire that retains a message: believe in yourself and follow your dreams."

Others were more critical of the film and its screenplay. Kirk Honeycutt of The Hollywood Reporter described the film as "predictable, cutesy and surprisingly short on genuine humor" but "still gets by thanks to the magnetic presence of Witherspoon." Michael O'Sullivan of The Washington Post called the movie a "Clueless redux but without the edgy, knowing wit." Jessica Winter of The Village Voice panned the film as a "junk-food movie striving to be nutritious." "It's one of your racier Be Yourself after-school specials crossed with Who Moved My Cheese? for Cosmo girls," Winter asserted.

Legal accuracy
Legally Blonde has received mixed reviews among legal scholars for its depiction of law school and the accuracy of its application of the law. Devin Stone, better known online as LegalEagle, a YouTuber and American lawyer, observed that the application process portrayed in the movie in which Elle Woods sent the Harvard Law School admissions board a video essay was not possible. "There's no way to upload that on the law school application system," Stone noted. "During orientation, Harvard Law School actually played the clip of Elle's admissions video with the admissions committee deciding to let her in, and then they swore that's not how they made decisions," explained Jameyanne Fuller, a student at Harvard Law School. Certain elements of law school are also omitted from the film. "The movie totally skipped first semester exams which is like the most stressful time in law school ever," said Fuller.

Stone said Woods had no authority to act as a lawyer when she represented Paulette Bonafonté over custody of her dog from her ex-husband and called her conduct a "huge ethical violation." "She hasn't finished law school, she's never passed the bar and she has absolutely no right to call herself an attorney," Stone observed. "That's called the unauthorized practice of law. If anyone finds out that she committed this...while she was at Harvard Law School, she'd probably be barred from entering the bar in virtually any state in the United States." Unauthorized practice of law in Massachusetts carries a fine of $100 or imprisonment for not more than six months.

Contrary to what is shown in the film, Woods would not be able to question a witness on the stand during a criminal trial, according to W. Bradley Wendel, a law professor at Cornell Law School. The film cites Massachusetts Supreme Judicial Court Rule 3.03 as precedent for Woods being able to represent a client while under the supervision of a licensed attorney, but the ruling only applies to third-year law students.

Accolades

Legacy
More than twenty years later, the film continues to inspire generations of filmgoers, many of them women who went on to become prospective law students. "At least once a week, I have a woman come up to me and say, 'I went to law school because of Legally Blonde,'" Witherspoon said. "It's incredible...You can be unapologetically feminine but also smart and driven." "When I saw the movie I just felt it gave me like a real surge of motivation because I really identified with her," Layla Summers, a family law attorney, told Spectrum News. "I think the movie is still very relevant," she added. "Just being a girl and being a woman, the odds are stacked against you still...When I watch the movie now I feel like I'm part of a great club of powerful professional women, like a sorority."

"When I got to law school, on the toughest days, I would pop in the movie and get a good laugh," Shalyn Smith, a California law student and sorority president, said in an interview with People magazine. "Elle embodies fighting for what is right, staying true to yourself, and defeating the odds. It's crazy that one movie can do that, you know?" Entertainment reporter Lucy Ford revealed to Witherspoon during an interview in 2018 that she had written her college dissertation on the film and presented her a pink-ribbon bound copy.

According to a 2023 poll by Costa Coffee, Legally Blonde was named by Brits as one of the top ten movies to help them "overcome heartbreak and move on".

Soundtrack

The Legally Blonde soundtrack includes music from Vanessa Carlton, Samantha Mumba, Superchick, and Hoku, who sings the opening song, "Perfect Day."

"No one really knew that Legally Blonde was going to be what it was, Literally, [my label heads] were like, 'This movie's not going to become anything.' And then the next thing you know, it's like, this iconic movie. And my song opens it!" Hoku said in an interview with Billboard. "Sitting in the premiere and hearing my song open the movie, and everyone's cheering – it felt like, 'I've really arrived now, folks.'"

The soundtrack album was released July 10, 2001, by A&M Records.

Franchise

The success of the film spawned a sequel, Legally Blonde 2: Red, White & Blonde, a musical, one straight-to-home video release starring British twins Camilla and Rebecca Rosso, Legally Blondes, and a third theatrical film in development, with Mindy Kaling and Dan Goor announced as writers.

Musical

In April 2007, a musical adaptation premiered on Broadway to mixed reviews, starring Laura Bell Bundy as Elle, Christian Borle as Emmett, Orfeh as Paulette, Nikki Snelson as Brooke, Richard H. Blake as Warner, Kate Shindle as Vivienne, and Michael Rupert as Callahan, running until October 19, 2008. The show, Bundy, Borle, and Orfeh were all nominated for Tony Awards. Later, the Broadway show was the focus of an MTV reality-TV series called Legally Blonde: The Musical – The Search for Elle Woods, in which the winner would take over the role of Elle on Broadway. Bailey Hanks from Anderson, South Carolina, won the competition.

Legally Blonde also had a three-year run at the Savoy Theatre in London's West End, starring Sheridan Smith, Susan McFadden, and Carley Stenson as Elle, and Duncan James, Richard Fleeshman, Simon Thomas, and Ben Freeman as Warner. During its run, the cast also included Alex Gaumond, Denise Van Outen, and Lee Mead.

References

External links

 'Legally Blonde' Oral History: From Raunchy Script to Feminist Classic

Legally Blonde (franchise)
2001 films
2001 directorial debut films
2001 romantic comedy films
2000s American films
2000s English-language films
2000s feminist films
2000s legal films
2000s romantic comedy films
American feminist comedy films
American legal films
American romantic comedy films
Blond hair
Films about beauty queens
Films about fraternities and sororities
Films about lawyers
Films adapted into plays
Films based on American novels
Films directed by Robert Luketic
Films produced by Marc E. Platt
Films scored by Rolfe Kent
Films set in 2001
Films set in 2004
Films set in Harvard University
Films set in Los Angeles
Films set in Massachusetts
Films shot in Boston
Films shot in London
Films shot in Los Angeles
Legal comedy films
Metro-Goldwyn-Mayer films
Vegetarianism in fiction

Legally Blonde


La Rioja, İspanya'nın kuzeydoğusunda özerk bir topluluktur. Yörel ve yerel idare itibarıyla hem bir özerk topluluk hem de bir il statüsü vardır. Başkenti Logroño şehridir.

Yüzölçümü 5,045 km², nüfusu (2018 tahminiyle) 315.675 kişidir. Bölge Başbakanı Concha Andreu'dur.

Galeri

Kaynakça

La Rioja (özerk topluluk)


Sabre Wulf é um jogo eletrônico de ação e aventura desenvolvido e lançado pela Ultimate Play the Game para o ZX Spectrum em 1984. O jogador controla o personagem Sabreman através de um labirinto 2D que remete à selva, enquanto coleta peças de um amuleto para passar pelo guardião em sua saída. Sem receber orientação explícita sobre como jogar, o jogador é deixado para decifrar os objetivos de Sabre Wulf por meio de tentativa e erro. Sabreman se move entre as 256 telas conectadas do labirinto, tocando na borda onde uma tela termina e a outra começa. Cada tela é preenchida com flora colorida, inimigos que aparecem aleatoriamente e, ocasionalmente, itens colecionáveis.

A Ultimate lançou o jogo para ZX Spectrum a um preço acima da média para combater a pirataria. Sua embalagem premium tornou-se o padrão da empresa. Os desenvolvedores haviam terminado as sequências de Sabre Wulf antes de seu lançamento, mas, mantendo sua tendência ao sigilo, optaram por retê-las para fins de marketing. As sequências foram lançadas rapidamente no final daquele ano. A Ultimate contratou desenvolvedores externos para portar Sabre Wulf para outras plataformas: BBC Micro, Commodore 64 e Amstrad CPC. O jogo foi posteriormente apresentado em compilações, como Rare Replay (2015).

Várias publicações de jogos recomendaram Sabre Wulf, e os leitores da revista Crash elegeram-o como o "Melhor Jogo de Labirinto" de 1984. Foi um best-seller e um sucesso financeiro. Embora sua jogabilidade labiríntica fosse semelhante à sua versão anterior, os críticos preferiram Sabre Wulf. Eles ainda notaram sua jogabilidade difícil e elogiaram seus gráficos. Jornalistas classificam Sabre Wulf, que iniciou a série Sabreman, entre os melhores lançamentos do Spectrum.

Jogabilidade

Em Sabre Wulf, o jogador guia o aventureiro Sabreman por um labirinto bidimensional. Seu objetivo é reconstruir um amuleto a partir de quatro peças espalhadas pelo labirinto para passar pelo guardião em sua saída, chegando em uma caverna que leva à sequência do jogo, Underwurlde. O labirinto é apresentado em telas conectadas de modo que o jogador veja uma por vez. Por exemplo, quando Sabreman atinge a borda esquerda de uma tela, ele continua o labirinto na borda direita da próxima tela.

O jogo abre com música composta por Johann Sebastian Bach. Seu labirinto ladrilhado contém 256 telas, desenhadas em uma grade de 16 por 16. Os caminhos do labirinto são delimitados pela flora tropical, povoada por inimigos atacantes e cercada por montanhas. Além da selva, o labirinto do jogo também inclui vários lagos. O jogador gira o sabre de Sabreman, pressionando o botão de disparo do controle, para derrotar os inimigos que surgem em locais aleatórios na tela. Quando o jogador fica inativo por muito tempo na mesma tela, um incêndio florestal indestrutível aparece para perseguir Sabreman. Os inimigos incluem aranhas, escorpiões, cobras, morcegos, povos indígenas, hipopótamos adormecidos e um lobo rápido (o Sabre Wulf mencionado no título). Alguns inimigos são mortos, outros fogem ao serem atingidos, enquanto o lobo, o guardião da caverna e o incêndio florestal não são afetados pelo sabre.

O jogador não recebe nenhuma orientação explícita sobre como jogar e é deixado para decifrar os objetivos do jogo por tentativa e erro. Os gráficos de Sabre Wulf preenchem a tela com uma interface de usuário mínima que consiste na pontuação atual, número de vidas restantes e um medidor de pontuação máxima na linha superior. Sabreman pode comer orquídeas, que servem como um power-up. Elas florescem por apenas alguns segundos e dão ao jogador um efeito especial. Alguns efeitos fortalecem (por exemplo, invulnerabilidade e velocidade aumentada), enquanto outros prejudicam (por exemplo, inversão dos controles). Sabreman também pode coletar tesouros e vidas extras espalhadas pelo labirinto. Os lançamentos para Spectrum e Commodore 64 incluem um modo para dois jogadores no qual eles se revezam controlando seu próprio Sabreman.

Desenvolvimento

A desenvolvedora de Sabre Wulf, a Ultimate Play the Game, tinha uma reputação de sigilo. A empresa raramente dava entrevistas ou revelava detalhes sobre suas práticas internas ou jogos futuros. Pouco se sabe sobre seu processo de desenvolvimento além do uso de computadores Sage IV, preferindo desenvolver para o microprocessador Z80 do ZX Spectrum, e frequentemente terceirizando o desenvolvimento para outras plataformas, como aquelas que executavam microprocessadores 6502. Depois de lançar Atic Atac no final de 1983, a Ultimate ficou em silêncio até que foi veiculado um teaser para Sabre Wulf em abril de 1984. A empresa raramente retratava a jogabilidade real em seus anúncios. Eles já haviam preparado Knight Lore, o terceiro jogo da série Sabreman, antes da introdução do personagem em Sabre Wulf. A Ultimate reteve Knight Lore por cerca de um ano porque eles sentiram que Sabre Wulf não venderia tão bem, uma vez que os jogadores veriam os avanços gráficos do primeiro. Knight Lore posteriormente tornou-se conhecido como um trabalho seminal na história dos jogos britânicos e um jogo icônico da década de 1980 por popularizar gráficos isométricos.

A Ultimate lançou Sabre Wulf para o ZX Spectrum em 1984, assim como outros jogos da série Sabreman foram lançados no final daquele ano. Sabre Wulf foi o primeiro jogo da Ultimate a usar o que se tornaria o preço padrão da empresa e uma embalagem misteriosa e sem adornos. Vendido no varejo por 9,95 libras, a Ultimate quase dobrou seu preço normal, o que considerou um "passo ousado" no combate à pirataria. Eles esperavam que os proprietários legais fossem mais protetores ao permitir que amigos copiassem seus jogos mais caros. A Ultimate viu os preços dos concorrentes aumentarem lentamente e sentiu que o preço era justo pelo tempo investido. O jogo foi vendido em uma grande caixa de papelão de alta qualidade com um manual de instruções brilhante, ambos com atualizações em relação à embalagem típica de jogos. Tornou-se a embalagem padrão da Ultimate para novos lançamentos. A embalagem do jogo não o descrevia e não mostrava nenhuma captura de tela. Os jogos da Ultimate também não exibiam créditos internos. A empresa contratou desenvolvedores externos para concluir portes de Sabre Wulf para outros computadores. Paul Proctor escreveu a conversão para BBC Micro e, em 1985, Greg Duddle escreveu a conversão para Commodore 64, que foi licenciada sob a Firebird Software. O jogo apareceu mais tarde na compilação de 1985 They Sold a Million, uma coleção de jogos para Spectrum que, juntos, venderam um milhão de unidades. Quando a compilação foi lançada para o Amstrad CPC, Sabre Wulf foi convertido para a plataforma e finalmente lançado em uma edição autônoma. Sabre Wulf também apareceu ao lado de Underwurlde, sua sequência, em um pacote para Commodore 64, e na compilação de 2015 Rare Replay, para Xbox One, contendo trinta títulos da Ultimate e sua sucessora, a Rare.

Recepção

Críticos apreciaram os gráficos do jogo e acharam sua jogabilidade semelhante ao jogo anterior da Ultimate, Atic Atac — particularmente sua sequência de abertura e o formato de labirinto — mas preferiram Sabre Wulf. Os críticos também notaram a dificuldade do jogo e o preço acima da média. Sabre Wulf foi uma recomendação selecionada na Crash (julho de 1984), Personal Computer Games (agosto de 1984), e Popular Computing Weekly (junho de 1984). O jogo foi nomeado "Melhor Jogo de Labirinto" na Crash Readers Awards de 1984. A nova estratégia de preços da Ultimate foi um sucesso e Sabre Wulf liderou a parada de vendas de jogos eletrônicos. Enquanto a Retro Gamer relatou que Sabre Wulf quebrou os recordes de vendas da empresa, a Computer and Video Games (CVG) disse que o lançamento teve desempenho inferior, com apenas 30 mil cópias vendidas até dezembro de 1984. A Eurogamer relatou mais tarde que 350 mil unidades foram vendidas no total.

A Crash confirmou os rumores de que o jogo era semelhante a Atic Atac, mas declarou que Sabre Wulf era melhor e previu que eles teriam legados semelhantes. A revista escreveu que sua incapacidade de intuir o inventário de Sabreman ou a resistência a danos aumentaram a mística do jogo, e que a Ultimate era particularmente hábil em não dar dicas, mas deixar pistas suficientes através do design do jogo. A Personal Computer Games descobriu uma dica: que os inimigos indígenas fazem um som quando alinhados com uma peça de amuleto. Em uma experiência semelhante, a Popular Computing Weekly lentamente aprendeu a usar, em vez de evitar, as orquídeas. A CVG descreveu as instruções do jogo como "enigmáticas". Mais tarde, a Crash disse que as comparações com Atic Atac em seu lançamento eram injustas, semelhantes a chamar quaisquer dois jogos de aventura baseados em texto de idênticos.

Os críticos elogiaram os gráficos e animações coloridas e detalhadas. Na opinião dos críticos da CVG, Sabre Wulf carregou o ímpeto da Ultimate de Jetpac e Atic Atac, e tinha os melhores gráficos de qualquer jogo de ZX Spectrum, com detalhes gráficos que ultrapassaram o que os revisores anteriores haviam considerado os limites do computador. A Sinclair User gostou particularmente de como os inimigos hipopótamos forçam o jogador a variar seu estilo de jogo hack and slash. Um revisor da Crash chamou o jogo de "uma obra-prima do software". A revista recebeu mais correspondência elogiando Sabre Wulf em 1984 do que qualquer outro jogo e, um ano depois, repetiu que Sabre Wulf estava entre os melhores jogos disponíveis para o Spectrum, acrescentando que o jogo não parecia antiquado. A análise da CVG sobre a versão de Commodore 64, dois anos após o lançamento original, foi positiva, dizendo que o jogo permanecia um clássico.

Os críticos reclamaram do alto preço do jogo, que era quase o dobro da média. A Crash se perguntou se o custo poderia levar a mais pirataria. Críticos também notaram um bug no modo para dois jogadores, repetindo telas de outros lugares do labirinto, e a janela frustrantemente estreita em que os golpes do sabre são registrados como ataques do inimigo. A CVG recomendou desenhar um mapa do labirinto, sem o qual era fácil de se perder. Enquanto Sabre Wulf tinha alguns problemas de oscilação, segundo a Sinclair User, o jogo atendeu aos benchmarks de alta qualidade da Ultimate.

Uma crítica retrospectiva da Retro Gamer disse que Sabre Wulf era "um labirinto interativo" repleto de cores e jogabilidade hack and slash. A revista comparou a escolha de cor e configuração do jogo ao que a revista considerou o melhor jogo de arcade da Ultimate, Dingo (1983), e lamentou a incapacidade de Sabreman de acertar os inimigos acima ou abaixo dele. Peter Parrish, da Eurogamer, também achou, retrospectivamente, a detecção de colisão imprecisa. Em The Routledge Companion to Video Game Studies, Simon Niedenthal usou Sabre Wulf como um exemplo de jogos que maximizaram a paleta de cores limitada dos computadores de 8 bits. Ele descreveu suas cores como "brilhantes como vitrais, e os efeitos da pureza da cor são realçados pelo contraste com o fundo preto".

Legado
Jogadores e jornalistas consideram o jogo um dos melhores do Spectrum. Sabre Wulf foi o primeiro de quatro títulos da série Sabreman para a plataforma. A Retro Gamer creditou o nome do personagem e seus traços por sua memorabilidade duradoura. Como um ser humano comum com um chapéu e nariz exagerado, Sabreman se encaixava no arquétipo de personagens de jogos da era 8 bits. O último jogo da série Sabreman para Spectrum, Mire Mare, nunca lançado, foi planejado para ser semelhante a Sabre Wulf na jogabilidade. A Rare, sucessora da Ultimate, lançou em 2004 um jogo de rolagem lateral para o console portátil Game Boy Advance — também intitulado Sabre Wulf — em que Sabreman recruta animais da selva para resolver os quebra-cabeças de Sabre Wulf. Não foi bem recebido pelos fãs. Elementos do Sabre Wulf original aparecem em outros jogos, incluindo Jet Force Gemini. A Retro Gamer considerou a aparição recorrente de Sabreman uma prova do interesse da Rare no personagem e na série.

Notas

Bibliografia

Ligações externas

Jogos eletrônicos de 1984
Jogos eletrônicos de ação e aventura
Jogos para Amstrad CPC
Jogos para Acorn Electron e BBC Micro
Jogos para Commodore 64
Jogos eletrônicos multijogador e um jogador
Jogos eletrônicos da Rare
Jogos eletrônicos desenvolvidos no Reino Unido
Jogos para ZX Spectrum
Jogos eletrônicos de labirinto

Sabre Wulf


38. breddegrad kan henvise til:

 38. nordlige breddekreds
 38. sydlige breddekreds

38. breddegrad


Bazitli mantarlar  veya topuzlu mantarlar (), mantar âleminin büyük bir bölümüdür. Topuz şekilli bazit adlı yapılar üzerinde spor oluşturan türlerden meydana gelir. Asklı mantarların kardeş grubu sayılır, tanımlanmış mantarların %37'sini oluşturan yaklaşık 22.300 farklı tür içerir. Bazidyumlu mantarlar geleneksel olarak Homobasidiomyctes (gerçek mantarlar) ve Heterobasidiomycetes (pas ve rastık mantarları) olarak ikiye ayrılmıştır. Günümüzde ise bazitli mantarların üç kladdan oluştukları düşünülür, bunlar Hymenomycotina (Hymenomycetes; mantarlar), Ustilaginomycotina (Ustilaginomycetes; rastık mantarları) ve Teliomycotina (Urediniomycetes; pas mantarları).

Bazitli mantarların hem tek hücreli hem de çok hücreli tipleri, eşeyli ve eşeysiz türleri vardır. Hem kara ortamında, hem de deniz dahil olmak üzere suda bulunurlar. Bazit üzerinde eşeysel sporlar taşımaları, uzun ömürlü çift çekirdekli hücrelere (dikaryonlara) sahip olmaları ve genelde kıskaç bağlantıları oluşturma özellikleri ile tanımlanırlar.

Yaşam döngüsü
Bazitli mantarların anormal bir cinselliği vardır. Genelde farklı cinsiyete sahip bireylerden oluşurlar (heterotaliktirler), iki kutuplu (tek faktörlü) veya dört kutuplu (iki faktörlü) bir çiftleşme sistemi ile çok eşeyli gibi davranırlar. Genelde somatogami (hifogami) olur, yani farklı eşey tiplerine sahip iki monokaryotik miselyum hücresinin (hifin) birleşmesinden çift çekirdekli (dikaryotik) bir miselyum hücresi oluşur. Bu hücrenin içindeki iki çekirdek vejetatif büyüme boyunca birleşmez. Bu tip miselyuma dikaryotik, onu oluşturan miselyumlara dikaryon denir.

Çoğu bazitli mantar hayatının büyük bölümünde iki çekirdekli (dikaryotik) miselyum halinde yaşar, uygun çevresel şartlar oluşursa bir bazidyum meydana gelir, içinde çekirdek kaynaşması (karyogami) ardından mayoz gerçekleşir ve dört tane tek çekirdekli hücre meydana gelir.

Diploid hayat döngüsü örnekleri de vardır. Xerula cinsi spor şeklinde diploid klonlar oluşturur. Yaygın bir orman patojeni olan Armillaria, diploid miselyuma sahiptir, bunda hücre kaynaşmasını (plasmogamiyi) çekirdek kaynaşması (karyogami) izler.

Bazitli mantar türlerinde, eşeysiz sporlara (konidyumlara) da sıkça rastlanır.

Dış bağlantılar
 Mantarlar Âlemi
 Küf Mantarları ve Şapkalı Mantarlar
 Topuzlu mantarlarda kıskaç bağlantı oluşumu (İngilizce)
 Basidiomycota Hayat Ağacı Projesi'nden (Tree of Life Web Project) (İngilizce)

Kaynakça

Dikarya
Mantar şubeleri
Mikoloji

Bazitli mantarlar


Die World Team Trophy ist ein von der Internationalen Eislaufunion veranstalteter Eiskunstlauf-Teamwettbewerb zum Abschluss der Eiskunstlaufsaison.

Geschichte

Traditionell beendete die Eiskunstlauf-Weltmeisterschaft die Saison. Die World-Team-Trophy wurde 2008 ins Leben gerufen, mit dem Ziel Nationen zu ermutigen Eiskunstläufer in allen vier Disziplinen zu fördern. Erstmals ausgetragen wurde die World Team Trophy im April 2009 in der Nationalen Sporthalle Yoyogi in Tokio. Die USA gewannen den ersten Teamwettbewerb. Das Preisgeld betrug 2009 eine Million US-Dollar, das höchste Preisgeld bei einem ISU-Wettbewerb überhaupt. Die Siegernation bekam 200.000 Dollar.

Modus
Jede der sechs besten Nationen der Saison entsendet zwei Herren, zwei Damen, ein Paarlaufpaar und ein Eistanzpaar. Für jede Platzierung gibt es Punkte, für den ersten Platz 12 Punkte, für den zweiten Platz 11 Punkte, für den dritten Platz 10 Punkte usw., sodass der letzte Einzelläufer noch einen Punkt bekommt und das letzte Paarlauf- und Eistanzpaar 7 Punkte.

Bis zur dritten Austragung des Wettbewerbs im Jahr 2013 erfolgte diese Punktevergabe auf Basis des kombinierten Gesamtergebnisses aus den Resultaten von Kurzprogramm und Kür. Seit 2015 werden die Punkte für das Kurzprogramm und die Kür getrennt vergeben. Somit verdoppelte sich die für ein Team maximal erreichbare Punktzahl von 70 auf 140 Punkte.

Teilnehmende Nationen
Bis zur Austragung 2021 hatten lediglich sieben Nationen je an der World Team Trophy teilgenommen. Bei jeder Austragung dabei waren Frankreich, Japan, Kanada, Russland und die USA. China war viermal, Italien dreimal vertreten. Da in der Saison 2022/23 aufgrund der Sanktionen gegen Russland seit dem Überfall auf die Ukraine russische Sportler nicht an den Wettbewerben der ISU teilnehmen durften und China sich nicht qualifizierte, war bei der Austragung 2023 mit Südkorea erstmals eine achte Nation am Start. Vor allem aufgrund der guten Leistungen seiner Einzelläufer konnte sich der Neuling auf Anhieb den Silberrang knapp vor Japan sichern.

Medaillengewinner

Medaillenspiegel

Einzelnachweise

Erstveranstaltung 2009

World Team Trophy


este un municipiu din prefectura Fukuoka, Japonia.

Vezi și
 Lista municipiilor din Japonia

Legături externe

Municipii din Japonia

Nakagawa, Fukuoka


To cast lots or draw lots is to make a random selection, and may refer to:
 Cleromancy, a form of divination
 Drawing lots (decision making)
 Lottery, a form of gambling that involves the drawing of numbers for a prize
 Sortition, the practice of randomly selecting political officials from a larger pool of candidates
 Drawing lots (cards), the practice, in card games, of cutting or drawing a random card to determine seating, partners, or first dealer
 Drawing straws, using cut straws to select a random outcome

Casting lots


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

 Franconia Township (Minnesota)
 Franconia Township (Pennsylvania)

Franconia Township


D. Francisco de Portugal, comendador de Fronteira na Ordem de Avis, era filho de D. Francisco da Gama, 2.º conde da Vidigueira, mas que tomou para si e seus descendentes o apelido Portugal, «em memória de seu avô, o primeiro [conde de Vimioso – o das Sentenças – Francisco de Paula de Portugal e Castro.̃

Fazia parte do Conselho de Estado e foi sumilher, estribeiro-mor do João Manuel, Príncipe de Portugal e de seu filho o rei D. Sebastião, depois feito vedor da Fazenda

Terá ̝participado na Batalha de Alcácer-quibir mas só vindo a faleceu em 1579, depois de ficar cativo em Fez.

Casou com D. Luísa Giraldes, irmã de Francisco Giraldes, comendador da Ordem de Cristo, embaixador e governador do Brasil, filha natural de Lucas Giraldes, moço fidalgo de Casa Real, descendente de mercadores florentinos, e de D. Margarida Pais, de origem nobre, filha de Bernardim Pais.

Tiveram os seguintes filhosː

 D. Lucas de Portugal, alcaide-mor e comendador de Fronteira na Ordem de Avis casado com D. Antónia de Castro (da Silva), filha de D. Antão Soares de Almada e D. Vicência de Castro.
 D. João de Portugal, teve o mesmo percurso que o pai, morrendo em Fez depois de ter participado com ele na Batalha de Alcácer. Sem geração.
 D. Sebastião de Portugal, morreu moço.
 D. Filipe de Portugal que acompanhou seu pai na Batalha de Álcacer Quibir, onde ficou cativo, e sendo resgatado morreu em Tânger.
 D. Vasco da Gama, passou à Índia e lá casou duas vezes. A primeira com D. Maria Godim, filha de António Godim. A segunda com D. Maria do Amara, viúva do seu primeiro marido Rui Dias da Cunha, e filha de Gaspar do Amaral.
 D. Paulo da Gama, passou à Índia no ano de 1596 com seu primo D. Francisco conde da Vidigueira; serviu naquele Estado; fez algumas viagens à China e morreu em Malaca. Casou com D. Luísa da Silva, filha de João da Silva, governador de Malaca, e de D. Inês Freire, de quem não teve filhos. Teve sim dois bastardos que morreram desgraçadamente, vindos da Índia, numa nau que se incendiou à barra de Lisboa.
 D. Margarida de Vilhena, que casou com D. Diogo de Meneses, filho herdeiro de D. Fernando de Meneses,  alcaide e governador mor de Castelo-Branco na Ordem de Cristo. Sem sucessão.
 D. Catarina de Ataíde, casou duas vezes. A primeira com Fernão Gomes da Grã, guarda-mor da Casa da Índia e Armadas, de quem era a segunda mulher, sem geração. A segunda com Luís Ribeiro Pacheco, senhor do morgado das Cachoeiras, comendador de Santa Maria de Vila Nova na Ordem de Cristo. de quem teve o único filho Bernardim Ribeiro Pacheco que morreu jovem sem sucessão..
 D. Maria de Portugal, beneditina no convento de São Bernardo de Odivelas.
 D. Guiomar de Vilhena, dominicana no convento de São João de Setúbal.
 D. Francisca de Ataíde, clarissa no convento de Santa Clara em Lisboa.

Nobres de Portugal do século XVI
Alcaides-mores de Fronteira
Comendadores da Ordem de Avis
Conselheiros do Reino de Portugal
Estribeiros-mores da Casa Real
Portugueses na Batalha de Alcácer-Quibir


Stema județului Timiș se compune dintr-un scut tăiat; în partea superioară, pe câmp roșu, un leu din aur ieșind din crenelurile unui zid din aur zidit; leul tine o sabie încovoiată, cu vârf lat, din argint; în colțul din dreapta sus se află un soare din aur, iar în stânga sus, o lună din argint în creștere. În partea inferioară, pe câmp albastru este reprezentată o fascie undată din argint.

Semnificațiile elementelor:

 Leul cu braț înarmat, caracteristic Banatului Timișan, simbolizează apărătorii ținutului și ai creștinătății împotriva armatelor otomane; leul poartă sabia victorioasa a lui Pavel Chinezu, comite de Timiș.
 Zidul din aur simbolizează cetatea Timișoarei.
 Soarele din aur simbolizează, prin poziția sa, țelurile înalte pentru care au luptat eroii acestui ținut.
 Luna din argint reprezintă perechea soarelui.
 Fascia undată din argint, pe câmp albastru, simbolizează râul Timiș, cel care da numele județului.

Variante vechi ale stemei

Note
 Consiliul Județean Timiș

Stemele județelor din România
 Județul Timiș

Stema județului Timiș


Åsandfjorden (også skrevet Åsanfjorden) er en fjord på vestsiden af Langøya i Bø kommune i Nordland  fylke  i Norge. Fjorden går ti kilometer mod øst til Eidet i enden af fjorden.
Fjorden starter mellem Floholman i nord og Nittingen i syd. Åsandøyan ligger midt i fjorden. En anden ø i den ydre del er Torvøy. På sydsiden af fjorden går Spjelkvågen og Husvågen mod syd. Husvågen er også en bebyggelse i  enden af bugten. Mellem Småskjæran og Dagfinnskjæret og ind til enden af fjorden bliver den kaldt Eidspollen.

Fylkesvej 915 (Nordland) går langs nordsiden af fjorden.

Kilder og henvisninger

Fjorde i Nordland
Bø (Nordland)

Langøya (Vesterålen)

Åsandfjorden