Deities & Demigods (abbreviated DDG), alternatively known as Legends & Lore (abbreviated L&L or LL), is a reference book for the Dungeons & Dragons fantasy role-playing game (D&D).  The book provides descriptions and game statistics of gods and legendary creatures from various sources in mythology and fiction, and allows dungeon masters to incorporate aspects of religions and mythos into their D&D campaigns.

The first Deities & Demigods was published in 1980 by TSR, Inc. while another book called Deities and Demigods was published in 2002 by Wizards of the Coast, which acquired the D&D brand with their purchase of TSR in 1998.

The original 1980 edition was the first print appearance of various fictional non-human deities, such as Corellon Larethian, Moradin, Gruumsh, and others, many of which have become standard features of the D&D game and its derivatives.  These deities were the creation of Jim Ward. Later printings of Deities & Demigods, beginning in 1981, removed some material present in the 1980 printings.

Printings

1st Edition Advanced Dungeons & Dragons
TSR published the first version of Deities & Demigods in 1980 as a 144-page hardcover for the first edition Advanced Dungeons & Dragons rules. This edition, by James M. Ward and Robert J. Kuntz, served to update the material they had earlier included in 1976's Supplement IV: Gods, Demi-Gods & Heroes for the original D&D ruleset. The book presents the game statistics and background information for gods and legendary heroes and creatures taken from various mythologies. The original edition included 12 pantheons of gods taken from both myth and folklore, as well as gods for various nonhuman races, and four groups taken from fictional works: the Arthurian heroes, the Nehwon mythos from Fritz Leiber, the Melnibonéan mythos from Michael Moorcock, and the Cthulhu Mythos from H. P. Lovecraft. These statistics are presented in a fashion similar to that of the Monster Manual, and illustrations accompany the statistics, as well as a short description that details what circumstances might cause the god to personally appear and what actions the god might take in such an instance, and what responsibilities and penchants that god may have. The book also details the mythoi of these religions, as well as what behaviors are expected of clerics, and describes the known planes of existence and how characters may find themselves in the afterlife . Interior illustrations were submitted by Jeff Dee, Eymoth (Kenneth Rahman), Jennell Jaquays, Dave S. LaForce, Jeff Lanners, Erol Otus, Darlene Pekul, Jim Roslof, David C. Sutherland III, and D.A. Trampier.

The original Deities & Demigods includes a 9-page chart for clerics, as well as an entire chapter about the various planes of existence.

For the first 1980 printing, TSR obtained permission from Michael Moorcock for inclusion of Melnibonéan material (from his Elric series of books), and from Arkham House, which claimed to hold the copyrights on a number of works by H. P. Lovecraft, for inclusion of characters from the Cthulhu Mythos. However, Arkham House had already licensed the Cthulhu property to the game company Chaosium. Furthermore, Chaosium had also licensed the Melnibonéan copyright from Moorcock. When Chaosium threatened legal action, the first printing was halted and the two companies agreed on a compromise: TSR could continue to use the material but must provide a credit to Chaosium to do so. TSR added the credit for the second printing of the book.

The Cthulhu and Melnibonéan sections were removed from the 1981 edition, making it a 128-page hardcover (which resulted in the original edition having a high collector's value). TSR felt its material should not contain such an overt reference to one of its competitors and removed the two pantheons altogether, thus negating the need for the credit. For this reason, the first and second printings have generally been in greater demand by D&D fans and collectors. The credit to Chaosium and incorrect page and pantheon counts were still included in some of the subsequent printings.

For the 1985 printing, the book was repackaged and its name was changed to Legends & Lore. This sixth printing featured the name change to avoid potential conflicts with fundamentalist Christian groups such as Patricia Pulling's BADD. Despite the name change and new cover artwork (by Jeff Easley), the interior material was nearly identical to the fifth printing.

In 1999, a paperback reprint of the first edition was released.

2nd Edition Advanced Dungeons & Dragons
When the second edition of the Advanced Dungeons & Dragons game was released, a new Legends & Lore was written for it. Cover art is by Jeff Easley, with interior illustrations by George Barr, Terry Dykstra, Erol Otus, Erik Olsen, Jean Elizabeth Martin, Jeff Easley, Carol Heyer, Roger Loveless, John and Laura Lakey, and Keith Parkinson. Legends & Lore was expanded, completely revised from the 1st Edition AD&D volume, and rewritten for the 2nd Edition rules. This edition had pared-down content in comparison to the original; the sections on Babylonian, Finnish, Sumerian and non-humanoid deities were wholly excised. The Central American mythos was renamed the Aztec mythos, while the Nehwon mythos was retained. A separate sourcebook, Monster Mythology, later covered the non-human deities in much greater detail than any previous source, introducing several new deities in the process. Furthermore, the late 2nd Edition Planescape book, On Hallowed Ground, gave a virtually comprehensive look at the various pantheons present in the D&D shared universe up to that point, and a level of detail not since exceeded.

3rd Edition Dungeons & Dragons

For the third edition of Dungeons & Dragons, the name was changed back to Deities & Demigods and the cover artwork was changed again to bring it more in line with other third edition D&D manuals. The interior material bears little resemblance to the previous printings of the book (first through sixth). Additionally, this edition presents only a few historical pantheons and in something of a vacuum, without any reference to or inclusion of their development in previous D&D sources, choosing instead to detail them as one-off campaign options.

The third edition volume was written by Rich Redman, Skip Williams, and James Wyatt. The cover illustration was by Sam Wood, with interior illustrations by Kyle Anderson, Glen Angus, Matt Cavotta, Dennis Cramer, Tony DiTerlizzi, Jeff Easley, Donato Giancola, Lars Grant-West, Rebecca Guay, Matt Mitchell, Eric Peterson, Wayne Reynolds, Darrell Riche, Richard Sardinha, and Brian Snoddy, with Justin Norman, Arnie Swekel, and Sam Wood.

James Wyatt comments on the book's relationship to similar books from earlier editions: "This book owes a lot to the 1st Edition Deities and Demigods/Legends and Lore book, more so than the 2nd Edition version. However, the new material we introduced meant that we had a lot less room to include the variety of pantheons included in the earlier version. So we chose the pantheons that we felt were (a) most popular and (b) most ensconced in the popular culture of fantasy: the Greek, Norse, and Egyptian. It stung a bit to leave out the Celtic deities, but we just didn't have the space."

4th Edition Dungeons & Dragons
Rather than a separate sourcebook, Deities & Demigods is the name of a semi-regular column in Dragon and Dungeon magazines.  Deities & Demigods articles in Dragon offers options for players and tips on roleplaying worshippers of a particular god, while articles in Dungeon offer backstory and monsters that DMs can use in a campaign. Starting with Dragon #380, the column was renamed Channel Divinity, though it continues to appear under its original name in Dungeon.

Artwork
The artwork for the first several printings of this "cyclopedia" was created by artists Jeff Dee, Erol Otus, Eymoth, Darlene Pekul, Jennell Jaquays, Jim Roslof, David S. LaForce, David C. Sutherland III, Jeff Lanners, and David A. Trampier. Each artist usually providing all the artwork for an entire pantheon. Erol Otus produced the cover artwork.

The most recent printings of the book contain illustrations from numerous artists and are more in line with the Wizards of the Coast modern treatment of Dungeons & Dragons. These illustrations are in full color, as compared to the black and white art of the original.

Legal history
Deities & Demigods was one of many items named in a 1992 lawsuit between TSR and Game Designers' Workshop regarding the Dangerous Journeys role-playing game and various rulebooks/sourcebooks designed for that game.  One section of this lawsuit argued that "The Plane of Shadow in MYTHUS (pages 190 and 402) and MYTHUS MAGICK (pages 21–22, ...) is derived from the Plane of Shadow in the AD&D DEITIES & DEMIGODS book (Appendix 1, page 129);  ..."

Reception

1st Edition
Kevin Frey reviewed the supplement in The Space Gamer No. 34. He commented that "If you like a wide variety of deities, this is for you.  The gods range from Greek to Chinese to Newhon." He noted that "The problem with this book is that worshippers' alignments are too restricted.  For example, in the Melnibonean mythos, there are no gods for the alignments of lawful-evil, chaotic-good, lawful-neutral, or neutral-good; the majority were chaotic-evil.  What good is a godless lawful-evil cleric?" Frey concluded his review by saying, "On the whole, it's worth [the price]. Any AD&D DM should get this book."

The original Deities & Demigods was reviewed by Andy Slack in issue #23 of the magazine White Dwarf (February/March 1981), who gave the book a rating of 8 out of 10. Slack called the book "an integral part of the rules", and he found the quick reference chart for clerics particularly worthwhile, which describe items such as what a cleric should wear, what his holy colors and animals are, when and where he should worship, and what he should sacrifice. Slack felt that the book provides an alternative to the approach of inventing one's own religions, "which I expect most AD&D DMs will employ".

Lawrence Schick, in his 1991 book Heroic Worlds, was critical of the format used for the original Deities and Demigods: "Unfortunately, the book is usually used merely as a sort of Monster Manual that describes very high-powered monsters. This usage is encouraged by the book's format, which emphasizes the gods' physical abilities over their religious significance."

In a retrospective review of Deities & Demigods in Black Gate, Nick Ozment said "One of the most fun, crazy, and controversial tomes to come out of Advanced Dungeons & Dragons was, without a doubt, Deities and Demigods (1980)." Ozment later commented on the artwork by Erol Otus, calling it "some of the oddest, most bizarre, and original illustrations in his D&D oeuvre. This stuff looks like it burst straight out of the most trippy Cthulhu for underground comics of the '70s."

Scott Taylor for Black Gate in 2014 listed Deities & Demigods by Erol Otus as #5 in The Top 10 TSR Cover Paintings of All Time.

2nd Edition
Keith Eisenbeis reviewed the manual in the June–July 1991 issue of White Wolf. His overall view was generally negative while he noted details about priests as a positive. He rated it overall at a 2 out of 5 possible points, qualifying it as "a substandard product".

Schick calls the second edition of Legends & Lore for the 2nd edition rules "a vast improvement... with a much greater emphasis on mythology and the duties of each deity's priesthood".

3rd Edition
The reviewer from Pyramid commented on the art for the third edition Deities and Demigods, stating that the book "uses a broader mix of styles than earlier books; some art is done is a more abstract fashion that stands in stark contrast to the crisp look of the veteran Wizards of the Coast artists".

James Voelpel from mania.com commented: "The rulebook's mix of excellent artwork, rules and layout makes Deities and Demigods a real winner. Once again, it is a bit pricey for the average gamer at $29.95, but well worth it for the contents."

The third edition Deities and Demigods won the 2002 Ennie Award for "Best Art (Interior)".

Notes

References

Further reading
 "Tuatha de Danaan", Dragon #65.
 Reviews: Different Worlds #19 (1982);

External links
 Deities & Demigods (first edition) from the Pen & Paper RPG Database
 Legends & Lore (second edition) from the Pen & Paper RPG Database
 Deities & Demigods / Legends & Lore from the Acaeum.com
 http://www.rpg.net/news+reviews/reviews/rev_7815.html
 http://www.rpg.net/reviews/archive/12/12867.phtml

1980 books
Classical mythology in popular culture
Dungeons & Dragons sourcebooks
ENnies winners
Norse mythology in popular culture
Role-playing game supplements introduced in 1980

Deities & Demigods


Steve Yarbrough ist der Name folgender Personen:

* Steve Yarbrough (Arizona), US-amerikanischer Politiker (Arizona)
 Steve Yarbrough (Autor) (* 1956), US-amerikanischer Schriftsteller
 Steve Yarbrough (Ohio), US-amerikanischer Politiker (Ohio)

Steve Yarbrough


Parodia stuemeri ist eine Pflanzenart aus der Gattung Parodia in der Familie der Kakteengewächse (Cactaceae). Das Artepitheton stuemeri ehrt den argentinischen Feldsammler und Pflanzenhändler Ernst Stuemer.

Beschreibung
Parodia stuemeri wächst meist einzeln und bildet manchmal Gruppen. Die trübgrünen kugelförmigen bis kurz zylindrischen Triebe erreichen Wuchshöhen von bis zu 20 Zentimeter und Durchmesser von 15 Zentimeter. Der Triebscheitel ist mit weißlichem oder bräunlichem Filz besetzt. Die 20 oder mehr flachen, senkrecht bis leicht spiralförmig angeordneten Rippen sind in konische Höcker untergliedert. Die vier über Kreuz stehenden bräunlichen Mitteldornen besitzen eine schwarzbraune Spitze. Sie sind steif und nadelig. Die Mitteldornen weisen Längen von bis zu 1,5 Zentimeter auf. Einige vorn ihnen weisen gelegentlich eine mehr oder weniger gebogene Spitze auf. Die etwa 25 feinen, nadeligen weißlichen Randdornen greifen gegenseitig ineinander. Sie sind 1 bis 1,5 Zentimeter (selten bis 2 Zentimeter) lang.

Die gelblich orangefarbenen bis rötlichen Blüten erreichen Längen von bis zu 4 Zentimeter. Ihr Perikarpell und die Blütenröhre sind mit weißer Wolle und wenigen Borsten besetzt. Die Narben sind blassgelb. Die grünlichen gelben länglichen Früchte weisen Längen von bis zu 1,5 Zentimeter und Durchmesser von 5 Millimeter auf. Die Früchte enthalten schwarze, etwa 0,7 Millimeter lange Samen, die fein gehöckert sind.

Verbreitung, Systematik und Gefährdung
Parodia stuemeri ist in der argentinischen Provinz Salta in Höhenlagen von 1000 bis 2000 Metern verbreitet.

Die Erstbeschreibung als Echinocactus stuemeri durch Erich Werdermann wurde 1931 veröffentlicht. Curt Backeberg stellte die Art 1936 in die Gattung Parodia. Ein weiteres nomenklatorisches Synonym ist Bolivicactus stuemeri  (2000).

In der Roten Liste gefährdeter Arten der IUCN wird die Art als "", d. h. als nicht gefährdet geführt.

Nachweise

Literatur

Einzelnachweise

Weblinks

Parodia (Kakteen)
Stuemeri

Parodia stuemeri


Ahmet Suat Özyazıcı (20 Nisan 1936 - 18 Şubat 2023), Türk eski futbolcu ve teknik direktör. Trabzonspor ilk şampiyonluğunu ve üç şampiyonluk hariç diğer tüm şampiyonluklarını onun yönetiminde kazanmıştır. Kendisine, taktikleri başarıyla uygulayabilmesinden ötürü taraftar ve yorumcular tarafından "Brezilyalı" benzetmesi yapılmıştır.

Kariyeri

Futbolculuk kariyeri
Futbol hayatına 17 yaşında Trabzon Yolspor'da başlamıştır. Daha sonra zamanının Trabzon'daki (İdmangücü ile birlikte) en popüler futbol takımı olan İdmanocağı'nda gerçek anlamıyla futbola kendini adamıştır. İdmanocağı ve İdmangücü arasındaki rekabetin bir getirisi olarak; Trabzon'daki futbol kültürünün bağrında yetişen Özyazıcı, Trabzon'daki futbol kulüplerinin Trabzonspor çatısı altında birleşmesiyle  Trabzonspor'da top koşturmaya başlamıştır.

Teknik direktörlük kariyeri
Futbolu bıraktıktan sonra teknik direktörlük kariyerine başlayan Özyazıcı, Trabzonspor'u değişik dönemlerde çalıştırmıştır. Trabzonspor'un Anadolu İhtilali yaparak, 1975-1980 ve 1983-84 aralıklarında kazandığı şampiyonluklarda Trabzonspor'un önderliğini yapmıştır. Bu şampiyonluklarla Türk futbol tarihinde bir ilk gerçekleşmiş; İstanbul takımları olan Beşiktaş, Fenerbahçe ve Galatasaray dışında ilk kez bir Anadolu takımı şampiyon olmuştur. Bu şampiyonluklar Türk futboluna "Dört Büyükler" kavramını kazandırmıştır. Özyazıcı'nın bu başarıları, onun Trabzonspor taraftarları arasında "efsanevi" olarak tanımlanmasını sağlamıştır. Özyazıcı ayrıca Türkiye'nin en çok şampiyonluk gören 2. yerli teknik direktörüdür.

Özyazıcı, son olarak Sarıyer ve Vanspor'u çalıştırmış; daha sonra ise herhangi bir takımı çalıştırmamıştır. 2010 yılında ise Trabzonspor teknik heyeti ve yönetimine danışmanlık yapmıştır. Şu an Trabzon'da Kemeraltı çarşısında bir nalburiye dükkânını 3 oğlu Hakan, Can ve Okan ile işletmektedir. Ahmet Suat Özyazıcı ayrıca Trabzonspor'a kazandırdığı 4 şampiyonluğun yanı sıra 4 kez Cumhurbaşkanlığı Kupası şampiyonluğu, 2 kez Başbakanlık Kupası şampiyonluğu, 3 kez Türkiye Kupası şampiyonluğu ve bir kere düzenlenen Kıbrıs Barış Kupası şampiyonluğu kazandırmıştır.

Son yılları ve vefatı
2022 yılında kalça kırığı nedeniyle ameliyat olan Özyazıcı, hayatının son dönemlerinde alzheimer ile de mücadele ediyordu. Ahmet Suat Özyazıcı 18 Şubat 2023'te evinde vefat etti. Bir gün sonra Hüseyin Avni Aker Millet Bahçesi'nde anısına Trabzonspor tarafından bir tören düzenlendi. Cenaze törenine Ali Kemal Denizci, Hüseyin Tok, Lemi Çelik ve Sadi Tekelioğlu gibi isimler katılmıştır. Cenazesi öğle namazına müteakip İskenderpaşa Camii'nde kılındıktan sonra Sülüklü Mezarlığı'nda 2020 yılında vefat eden eşinin yanında defnedildi.

Başarıları

Teknik direktör olarak
Trabzonspor
 Süper Lig: 1975-76, 1976-77, 1979-80, 1983-84
 Türkiye Kupası: 1976-77, 1977-78, 1983-84
 Türkiye Süper Kupası: 1976, 1977, 1979, 1983
 Başbakanlık Kupası: 1976, 1978

Kaynakça

1936 doğumlular
Trabzon doğumlu futbolcular
2023 yılında ölenler
Trabzon ilinde hastalıktan ölenler
Trabzon'da defnedilenler
Türk erkek futbolcular
Türk teknik direktörler
Orta saha futbolcuları
Trabzonspor futbolcuları
Trabzonspor teknik direktörleri
Bursaspor teknik direktörleri
Türk Olimpiyat futbolcuları
1960 Yaz Olimpiyatları futbolcuları
Sarıyer SK teknik direktörleri
Süper Lig şampiyonluğu kazanan teknik direktörler
Süper Lig teknik direktörleri

Ahmet Suat Özyazıcı


حدثت حادثة حذاء خوروشوف (Shoe-banging incident) أثناء الدورة العادية للجمعية العامة للأمم المتحدة رقم 902 التي عُقدت في نيويورك يوم 12 أكتوبر عام 1960 عندما ضرب خوروشوف طاولة الوفد السوفيتي بحذاءه اعتراضاً على خطاب رئيس الوفد الفلبيني لورينزو سومولونغ.

وكان لورينزو قد انتقد السياسة الخارجية للاتحاد السوفيتي وتصرفاته في شرق أوروبا واصفاً إياها بالاستعمارية.

يعتقد كثيرون أن حادثة حذاء خوروشوف التي ضرب بها طاولة في اجتماع الأمم المتحدة بسبب العدوان الثلاثي على مصر عام 1956، والحقيقة أن هذه الحادثة جاءت في عام 1960 اعتراضاً على خطاب رئيس الوفد الفلبيني لورينزو سومولونغ الذي انتقد فيه ما وصفه سياسات استعمارية سوفيتية. وكان اعتراض الموفد الفلبيني على سياسات السوفييت في أوروبا الشرقية وهو ما اعتبره خورشوف رئيس الاتحاد السوفييتي آنذاك تدخلا مرفوضا، حيث طالب الوفد الفلبيني بمزيد من الحريات والديمقراطية في أوروبا الشرقية.

ومن ناحية أخرى، قال أستاذ العلوم السياسية، وصاحب كتاب "Khrushchev: The Man and His Era" ويليام تاوبمان، في مقال له في صحيفة نيويورك تايمز الأمريكية، نقل فيه عن مصور في مجلة Time، حضر الاجتماع أن خوروشوف لم يضرب الطاولة بحذائه، وأن كاميرات المصورين كانت مصوبة عليه حال فعل ذلك.

انظر أيضًا
 حادثة ضرب بوش بالحذاء

المراجع

مدينة نيويورك في 1960
الأمم المتحدة في 1960
التاريخ العسكري في 1960
الجمعية العامة للأمم المتحدة
الحرب الباردة
السياسة الأمريكية في 1960
أحداث أكتوبر 1960
أزمات دبلوماسية
خطب الحرب الباردة
علاقات الاتحاد السوفيتي الخارجية
علاقات دولية في 1960
نيكيتا خروتشوف

حادثة حذاء خوروشوف


Utchunju milli est un village de la région de Kelbajar en Azerbaïdjan.

Histoire
En 1993-2020, Utchunju milli était sous le contrôle des forces armées arméniennes. Le 25 novembre 2020, sur la base d'un accord trilatéral entre l'Azerbaïdjan, l'Arménie et la Russie en date du 10 novembre 2020, la région de Kelbajar, y compris le village d'Utchunju milli, a été restituée sous le contrôle de l'Azerbaïdjan.

Voir aussi
Nadirkhanli (Kelbajar)
Tovladara (Kelbajar)
Chahkerem (Kelbajar)
Marjimak (Kelbajar)

Notes et références

Ville en Azerbaïdjan

Utchunju milli


An Pholidota pachyglossa in uska species han Liliopsida nga ginhulagway ni Leonid Vladimirovich Averyanov. An Pholidota pachyglossa in nahilalakip ha genus nga Pholidota, ngan familia nga Orchidaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Pholidota (Orchidaceae)

Pholidota pachyglossa


El saltarín frentiblanco (Lepidothrix serena), también denominado saltarín de frente blanca, es una especie de ave paseriforme de la familia Pipridae perteneciente al género Lepidothrix. Es nativa del noreste de América del Sur.

Distribución y hábitat
Se distribuye en el extremo sureste de Guyana, Surinam, Guayana francesa y norte de Brasil al norte del río Amazonas (bajo río Negro hacia el este hasta Amapá).

Esta especie es considerada bastante común en su hábitat natural: el sotobosque de selvas húmedas de baja altitud, por debajo de los 500 metros.

Descripción
Mide aproximadamente 8,7 cm de longitud. Presenta dimorfismo sexual. El macho es negro, con la frente blanca y brillante; en el centro del pecho tiene una mancha color anaranjado a amarillo azufrado y el vientre es amarillo; la parte baja de la espalda es azul. La hembra es verde claro brillante en el dorso, con la cabeza azulada, la garganta y el pecho verde oliva y el vientre amarillento.

Alimentación
Se alimenta de frutos.

Sistemática

Descripción original
La especie L. serena fue descrita por primera vez por el naturalista sueco Carolus Linnaeus en 1766 bajo el nombre científico Pipra serena; su localidad tipo es «Crique Ipoucin, río Approuague, Guayana francesa».

Etimología
El nombre genérico femenino «Lepidothrix» se compone de las palabras del griego «λεπις lepis, λεπιδος lepidos»: escama, floco, y «θριξ thrix, τριχος trikhos»: cabello; y el nombre de la especie «serena», proviene del latín «serenus»: brillante, justo, sereno.

Taxonomía
Se asemeja y está estrechamente emparentado con el saltarín ventrinaranja Lepidothrix suavissima, por lo que ambos fueron anteriormente considerados conespecíficos, pero difieren marcadamente en la vocalización y en la anatomía de la siringe, y también en las características del plumaje del macho. Es monotípica.

Referencias

Enlaces externos

 Videos, fotos y sonidos de Lepidothrix serena en eBird.
 Sonidos y mapa de distribución de Lepidothrix serena en xeno-canto.
 Fotos y sonidos de Lepidothrix serena en Wikiaves.

serena
Aves de las Guayanas
Taxones descritos por Carlos Linneo
Animales descritos en 1766

Lepidothrix serena


Naselje u Srbiji:
 Donja Trepča (Čačak, Srbija), naselje u općini Čačak

Naselje u Crnoj Gori:
 Donja Trepča (Nikšić, Crna Gora), naselje u općini Nikšić

Donja Trepča


Crkva sv. Mande na Škrapama u Splitu, Hrvatska, zaštićeno je kulturno dobro. Nalazi se u Klovićevoj ulici u eponimnom predjelu Škrape.

Povijest crkve
Crkva sv. Marije Magdalene, poznatija kao crkva sv. Mande nalazi se u splitskom predjelu Škrape, na nekadašnjem antičkom putu između Splita i Stobreča. Izgrađena je na mjestu antičke građevine i ranosrednjovjekovne crkve iz 10. st., o čemu svjedoče antički i predromanički ulomci uzidani u crkvu. U današnjem je obliku crkva sagrađena je u 17. stoljeću, 1678. godine, nakon što je 1657. bila spaljena u turskim pohodima. Građena je poput poljskih crkvica, od lomljenog kamena, jednobrodna bez apside, sa zvonikom na preslicu vrh pročelja. Crkva i njezin okoliš obnovljeni su 1993. godine.

Zaštita
Crkva je obnovljena u drugoj polovini 20. stoljeća, danas je zavedena pod oznakom Z-3860 kao nepokretno kulturno dobro - pojedinačno, pravna statusa zaštićena kulturnog dobra, klasificiranog kao sakralna graditeljska baština.

Izvori

Manda, Škrape
Zaštićene sakralne građevine u Splitsko-dalmatinskoj županiji

Crkva sv. Mande na Škrapama


Hæren i arbejde kan henvise til

 Hæren i arbejde (dokumentarfilm fra 1945)
 Hæren i arbejde (dokumentarfilm fra 1961)

Hæren i arbejde


La microrregión del Alto Parnaíba Piauiense es una de las microrregiones del estado brasileño del Piauí perteneciente a la mesorregión Sudoeste Piauiense. Su población según el censo 2010 es de 43.606 habitantes y está dividida en cuatro municipios.Su población está formada por una mayoría de negros y mulatos 57.3 blancos de origen portugués y árabe 23.6 caboclo (mestizos de indios y blancos) 18.9 y asiáticos 0,2 solo 14 indígenas habitaban la región en 2010.  Posee un área total de 25.525,453 km².

Municipios
 Baixa Grande do Ribeiro
 Ribeiro Gonçalves
 Santa Filomena
 Uruçuí

Alto Parnaíba Piauiense

Microrregión del Alto Parnaíba Piauiense


An Helictotrichon mongolicum in uska species han Liliopsida nga syahan ginhulagway ni Roman Julievich Roshevitz, ngan ginhatag han pagkayana nga asya nga ngaran ni Johannes Jan Theodoor Henrard. An Helictotrichon mongolicum in nahilalakip ha genus nga Helictotrichon, ngan familia nga Poaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Mga sumpay ha gawas

Helictotrichon

Helictotrichon mongolicum


An Platanthera channellii in uska species han Liliopsida nga ginhulagway ni James P. Folsom. An Platanthera channellii in nahilalakip ha genus nga Platanthera, ngan familia nga Orchidaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Platanthera

Platanthera channellii


مسييه 10 (بالإنجليزية:M10) هو عبارة عن عنقود نجمي مغلق يقع في كوكبة الحواء الاستوائية. بقدر ظاهري يصل لـ 6.4 + تم أكتشافه من قِبل عالم الفلك الفرنسي شارل مسييه في 29 مايو 1764، والذي صنفه بالرقم 10 في كتالوجه الخاص ووصفه بأنه «سديم بلا نجوم». وفي عام 1774، أطلق العالم الفلك الألماني يوهان إلرت بودي على العنقود أسم «رقعة ضبابية بدون نجوم؛ شاحبة جداً». وباستخدام أجهزة أكبر أصبح عالم الفلك الألماني ويليام هيرشل أول يحلل نجوم مسييه 10. ووصفها بأنها «مجموعة جميلة من النجوم المضغوطة للغاية». وكان عالم الفلك الأمريكي هارلو شابلي أول من حاة قياس مسافة وبُعد العنقود وحينها توصل إلى أن العنقود يبتعد عن الأرض بمسافة 33,000 سنة ضوئية وكان أبعد بكثير من القيمة الصحيحة.

خصائصه
يقدّر بأنه يبعد عن الأرض بحوالي 14,300 سنة ضوئية ويسبتعد عن مركز المجرة بحوالي 16,000 سنة ضوئية، أو 5,000 فرسخ فلكي، من مركز المجرة ويكمل مسييه 10 دورة واحدة حول مجرة درب التبانة كل 140 مليون سنة تقريبًا مبتعداً عن نظامنا الشمسي بسرعة 69 كم / ث، وخلال هذه المدة يمر من مستوى قرص المجرة كل 53 مليون سنة وقدّر بأنه يبعد عن الأرض بحوالي 14,300 سنة ضوئية ويبتعد عن مركز المجرة بحوالي 16,000 سنة ضوئية أو 5,000 فرسخ فلكي، من مركز المجر.

نجومه
و من حيث وفرة عناصر غير الهيدروجين والهيليوم أو كما يسميه علماء الفلك بالمعدنية، فإن ميسييه 10 هو فقير إلى حد ما بالمعادن إن وفرة الحديد، المقاسة بوحدة [Fe / H] تساوي (1.45- ± 0.04 ديكس)، وهي 3.5٪ فقط من المعادن الموجودة على سطح الشمس. ويظهر العنقود دليلاً على إثراءه بالعناصر المتولدة من خلال عملية التقاط النيوترون البطيئة في النجوم الضخمة والمستعرات الأعظمية من النوع الثاني. يظهر القليل من الأدلة على الإثراء بواسطة المستعرات الأعظمية من النوع 1. ونظراً لأن النجوم الثنائية، في المتوسط، تكون أكثر العناقيد النجمية من النجوم النجوم المنفردة وتبلغ نسبة النجوم الثنائية في مسييه 10 في مركز العنقود حوالي 14٪ . وهي في حالة تناقص مع زيادة نصف القطر إلى حوالي 1.5٪ في المناطق النائية (قليلة النجوم).  بالمقابل يتحوي العقنود في مركزه على النجوم الزرقاء الساطعة المتكونة نتيجة التفاعلات الشديدة بين النجوم، والتي تشكل معظمها منذ 2-5 مليار سنة. وتبلغ كثافة النجوم في مركز العنقود حوالي 3.8 كتلة شمسية لكل فرسخ مكعب.  و تم أكتشاف أربعة نجوم متغيرة في هذا العنقود.

اقرأ أيضاً
 انفجار أشعة غاما 080319ب
 انفجار أشعة غاما 090423
 نجم
 مجرة
 قزم أبيض
 عملاق أحمر
 الانفجار العظيم
 خط زمني للانفجار العظيم
 نجم نيوتروني
 ثقب أسود

مراجع

أجرام الفهرس العام الجديد
أجرام فلكية اكتشفت في 1764
اكتشافات شارل مسييه
عناقيد مغلقة
فهرس مسييه
كوكبة الحواء

مسييه 10


Ousmane Dembélé ()

Perioada sa de glorie a început la clubul german Borussia Dortmund, unde s-a făcut remarcat prin stilul sau de joc foarte creativ.
Din 2023 Dembélé evoluează la Paris Saint-Germain.

Referințe

Nașteri în 1997
Fotbaliști francezi
Atacanți
Fotbaliști ai Stade Rennais FC
Francezi expatriați în Germania
Fotbaliști ai Borussia Dortmund
Fotbaliști ai FC Barcelona
Fotbaliști ai Paris Saint-Germain FC
Fotbaliști internaționali francezi
Fotbaliști ai Campionatului Mondial de Fotbal 2018

Ousmane Dembélé


Neel er en kortfilm instrueret af Jeanette Nordahl efter eget manuskript.

Handling
Neel har mistet sin mand. Hun står nu overfor udfordringen om at se fremad, men Neel længes efter fortiden og dens minder.

Referencer

Eksterne henvisninger

Danske film fra 2010

Kortfilm fra Danmark

Neel


This Is My Truth Tell Me Yours is the fifth studio album by Welsh alternative rock band Manic Street Preachers. It was released on 14 September 1998 by record label Epic.

Like its 1996 predecessor Everything Must Go, This Is My Truth Tell Me Yours was a commercial and critical success. The album debuted at number 1 in the UK Albums Chart, selling 136,000 copies, going Gold in the first week. It sold well in the United Kingdom, Europe and Asia, and represented a change in the sound from the furious alternative rock sound to a more melodic and tender approach. By March 1999 the album was Triple Platinum in the UK alone and since its release it has sold more than five million copies worldwide. It earned the band further nominations and accolades at the BRIT Awards in 1999. This is their first album whose lyrics were solely written by bassist Nicky Wire; their previous album still had songs that featured lyrics contributed by the late rhythm guitarist Richey Edwards.

Music and lyrics

The title is a quotation taken from a speech given by Aneurin Bevan, a Labour Party politician from Wales. Its working title was simply Manic Street Preachers. The cover photograph was taken on Black Rock Sands near Porthmadog, Wales.

It was the first Manics album to feature lyrics solely by Nicky Wire, while all the music was written by the duo of James Dean Bradfield and Sean Moore. This Is My Truth Tell Me Yours shows considerably less hard rock influence than their previous efforts and finds the band experimenting with sound and production techniques. It features cleaner guitar sounds in general and the increased use of additional instrumentation such as strings, keyboards and both real and programmed percussion. Clash magazine described the album's sound as "a glacial distillation of the anthemic rock that had served them so well two years previous", an approach further developed on 2004's Lifeblood.

In an interview Dave Eringa admitted that: "James was piling on the pressure at the time. He's got this idea that I work best under pressure; it's about putting me under as much as he can all the time!". After recording "If You Tolerate This Your Children Will Be Next", he also said that the song went through a four-month gestation period.

Eringa said that even in the week of release he was nervous: "You get midweek chart positions and sales figures all week, and it was my first chance of a possible Number One, which is such an exciting thing. Every day it was just getting worse and worse; I was becoming more and more psychotic. If it had been released the same week as a Nirvana record or an Oasis record, you'd just have to put your hands up and say 'c'est la vie' – but the horror of losing out to Steps would have been unbelievable!". James Dean Bradfield has cited John Frusciante as the main influence for the intro riff of "My Little Empire".

Release

The album was preceded by the single "If You Tolerate This Your Children Will Be Next", released on 24 August 1998, which debuted at No. 1 on the UK Singles Chart, their first single to do so. The album itself was released on 14 September 1998, and its sales were such that a spokesperson for Virgin Megastores claimed it to be the biggest selling album of the year. It reached No. 1 on the UK Albums Chart, becoming their only album to do so until The Ultra Vivid Lament reached the same position in 2021. Like the preceding single, This Is My Truth Tell Me Yours prevented Steps from topping the chart; "One for Sorrow" was held off at No. 2 by "If You Tolerate This Your Children Will Be Next" while the album Step One was also relegated to No. 2. The album remained at the top of the albums chart for three weeks, selling around 250,000 copies in those three weeks. The album has been certified Triple Platinum in the UK and spent a total time of 74 weeks on the UK Albums Chart.

Apart from the lead single, the album presented another three singles, with the second one being "The Everlasting". "You Stole the Sun from My Heart" was released on March 1999 and was nominated for Best British Single at the 2000 BRIT Awards. The final single from the album was "Tsunami", which was inspired by The Silent Twins, June and Jennifer Gibbons, who gave up speaking when they were young, became involved in crime and ended up being sent to Broadmoor Hospital. Both singles "The Everlasting" and "Tsunami" peaked at number 11, while "You Stole the Sun from My Heart" ended up peaking at number 5 on the UK Singles Chart. In Japan the band released "Nobody Loved You", replacing the UK single "The Everlasting".

Around the world the album was as successful as it was in the UK. In Sweden the album managed to remain in the chart for a total of 43 weeks, debuting at number 2, and peaking at number one in its second week. In Finland the album sold enough to stay in the charts for 32 weeks, peaking at number one, securing the top spot for two consecutive weeks. In Ireland the album also debuted at number one and charted within the top 20 in Norway, New Zealand, Denmark, Austria and Australia. It was the number one album in Europe's for two weeks, and it has been certified Platinum (one million copies) by the International Federation of the Phonographic Industry. The album's success ensured that by 1999 the band had sold more than three million albums worldwide. To the present day This Is My Truth Tell Me Yours has sold more than five million copies since its release.

On 7 December 2018, This Is My Truth Tell Me Yours was re-released as a '20 Year Collector's Edition' on streaming services, as well as physically on three CDs and two LPs. As well as being remastered, the track listing was revised, with "Nobody Loved You" replaced by the former B-side "Prologue to History". The CD and streaming releases also include various demos, B-sides and remixes.

Controversy

The album's final track, "S.Y.M.M." is an initialism for "South Yorkshire Mass Murderer". The title is a reference to actions of South Yorkshire Police in the Hillsborough disaster of 1989, in which 97 people died in a human crush during an Association football match at the Hillsborough Stadium in Sheffield. Although he admitted to not having heard the song, the title was criticised by South Yorkshire's then Assistant Chief Constable, Ian Daines as "offensive" and "bad taste". At the time of the album's release, the actions of the police were the subject of a long-running and ongoing private prosecution by the Hillsborough Families Support Group. However the track was praised by Jimmy McGovern, who is name-checked in the song itself. McGovern stated that he felt the sentiment of the song was "brilliant" and that he was taken back by the "power" of the lyrics adding "I've heard those sentiments (how do you sleep at night, etc) expressed by many of the Hillsborough families".

Critical reception

The album was generally well received by critics.

NME awarded the album with a 7/10, stating: "No longer is James Dean Bradfield required to turn metrical somersaults in order to translate screeds of vituperative prose into the realm of the performable. Nicky's opaque verses lend themselves more readily to poetic contemplation, and James responds with his most incontrovertibly delicate vocals, singing as opposed to lacerating his larynx in the quest for empathy."

Sputnikmusic wrote in 2014 that the album was "the most indecisive piece of works [sic] in the Manic's [sic] canon. Technically proficient and brilliantly written in spats", finishing with: "Still, This Is My Truth's spot as one of the bands [sic] weakest releases is often overstated, if only because the rot was just beginning and the future predicted a bigger storm to come."

Sarah Zupko, writing for Pitchfork, said that the album was her "album of the year so far", stating that "The Manic Street Preachers are also one of the few groups capable of integrating orchestral instruments in a way that still produces great rock music (check out the cello in "My Little Empire"), always avoiding the schmaltzy elevator music that can result when some rock musos get a hold of an orchestra. Meanwhile, they manage to infuse some quite dour lyrics with some of the most haunting melodies in rock this side of Radiohead. Bradfield and Moore seldom choose the obvious chords, arrangements and melodies, resulting in music that is heads- and- tails above almost any band on the planet."

The Independent gave the album a positive review, saying that: "In their first album as a true trio, the Manics deliver another slab of anthemic rock that manages to be gloomy yet uplifting. Their recent hit single is one of the more joyous moments here, but they also offer class introspection."

AllMusic praised the album, calling it "a strangely effective fusion of string-drenched, sweeping arena rock and impassioned, brutally honest punk", noting that it contains "a searing passion and intelligence that is unmatched among their peers on either side of the ocean – and, in doing so, it emphasizes the Manics' uniqueness as one of the few bands of the '90s that can deliver albums as bracing intellectually as they are sonically."

Among less positive comments Entertainment Weekly gave the album a C−, concluding with: "Their best efforts, particularly the 1994 screed called Holy Bible, were triumphs of sheer will and caustic attitude. Sadly, the albums made after his [Edwards'] departure prove the Preachers were, after all, a James gang. How else to explain such treacly dreck on This Is My Truth Tell Me Yours as You Stole the Sun From My Heart and You're Tender and You're Tired. This is my truth: The album is lucky to get a C−".

Awards

The album won Best British Album, and the band Best British Group, at the 1999 BRIT Awards. The album was nominated for the 1999 Mercury Prize, but just like the previous album it failed to win the award. In the NME Awards in 1999, the band won every single big prize, Best Band, Best Album, Best Live Act, Best Single and Best Video.

Accolades

The album was a critical success; on end-of-the-year critics lists it achieved the following accolades:

 It achieved number 14 in Kerrang! Albums of the Year 1998.
 A spot in Q Magazine's Albums of 1998.
 Placed at number 29 in Melody Maker End of Year Critic List for 1998.
 NME listed This Is My Truth Tell Me Yours as the 24th best album of 1998.
 Melody Maker also listed "If You Tolerate This Your Children Will Be Next" as the sixth best single of the year.
 NME also named "If You Tolerate This Your Children Will Be Next" the fifth best single of the year.

Reflecting on the album, Drowned in Sound in 2008 said that This Is My Truth Tell Me Yours is "sad" and is a "stately, tender lament to their past" stating that: "Just as the Holy Bible was Richey's, this is Nicky's more than anything; confused where Richey was focused, afraid of loneliness while Richey embraced it. You can't escape the idea that he almost feels guilty for what they'd turned into, and that imbues This Is My Truth, Tell Me Yours with a sadness and longing that wasn't immediately evident on its initial release."

Looking back on the catalogue of the band, Clash stated the following about the record: "Misfiring album closer and Hillsborough referencing 'S.Y.M.M.' was a rare error, brushing up against eternal favourites 'You Stole The Sun From My Heart' and 'Tsunami' and the delicate shimmer of 'Black Dog on My Shoulder', which more than make up for it. Although a little close to AOR with the preference for mid-paced melancholia, the Manics were now making grown up, actually rather beautiful music. Which, of course, couldn't last."

The album is ranked number 987 in All-Time Top 1000 Albums (3rd edition, 2000).

Track listing

20th Anniversary Collectors' Edition

Personnel
Manic Street Preachers

 James Dean Bradfield – lead vocals, lead and rhythm guitar, acoustic guitar, 12-string guitar (tracks 2, 10 and 12), electric sitar (tracks 5 and 7), Omnichord (tracks 4 and 5), melody horn (track 10)
 Sean Moore – drums, programming (tracks 1, 3 and 5)
 Nicky Wire – bass guitar, acoustic bass (tracks 6 and 11), vocals (track 6), Hammond organ (track 4)

Additional personnel

 Nick Nasmyth – Wurlitzer electric piano (tracks 1–4, 7 and 13), Mellotron (tracks 2, 8 and 13), keyboards (tracks 5 and 7), piano (track 8), Vox Continental (track 11), accordion (track 9), yang-ching (track 7)
 Martin Ditcham – percussion (tracks 1, 3–5, 7, 8 and 11)
 Andy Duncan – percussion (tracks 2, 6, 10 and 12)
 Craig Pruess – sitar (track 5), tambura (track 5)
 Ken Barry – whistling (track 8)
 Sally Herbert – string arrangements (tracks 1, 5 and 11), violin (tracks 1, 5 and 11)
 Gini Ball and Anne Stephenson – violin (tracks 1 and 11)
 Jos Pook and Claire Orsler – viola (tracks 1, 5 and 11)
 Padlock McKiernan – tin whistle (tracks 4, 7 and 13)
 Dinah Beamish – cello (tracks 1 and 6)
 Fenella Barton, Nell Catchpole, Sue Dench, Margaret Roseberry, Sonia Slany, Jules Singleton and Ann Wood – additional string section (track 11)

Charts

Weekly charts

European charts

Year-end charts

Certifications

References

Sources

External links

This Is My Truth Tell Me Yours at YouTube (streamed copy where licensed)

Manic Street Preachers albums
1998 albums
Epic Records albums
Virgin Records albums
Brit Award for British Album of the Year
Pop rock albums by Welsh artists
Albums produced by Dave Eringa
Albums produced by Mike Hedges
Albums recorded at Rockfield Studios

This Is My Truth Tell Me Yours


Le musée Zaporogue d'histoire locale  (en ukrainien : Запорізький краєзнавчий музей) au 29 rue Trinité de Zaporijjia.

Historique
Fondée en 1921 par M. Novitsky, mais à la mort de son initiateur le musée périclite lentement. En 1931 il a été réuni avec le musée de Dnipro, ses collections furent gravement endommagées lors de la seconde guerre mondiale ; il fut recréé en 1944 à Mélitopol avant d'être relocalisé à Zaporijjia en 1948. C'est en 1991 qu'il fut relocalisée dans les bâtiments de l'ancienne administration Zemsky.

Sa collection regroupe plus de .

Collections
Présentation de la vie et la culture Zaporogue, une collection archéologique, paléographique, numismatique et autour de Makno et de la révolution ukrainienne de 1917.

Images

Articles connexes
 Liste de musées en Ukraine.

Notes et références

Sources

Zaporijjia
Culture à Zaporijjia
Patrimoine classé d'Ukraine

Musée Zaporogue d'histoire locale


Helanthium, maleni rod vodenog bilja iz porodice žabočunovki raširenih po Sjevernoj, Srednoj i Južnoj Americi i Karibima. Rodu pripadaju zasada tri priznate vrste.

Vrste
 Helanthium bolivianum (Rusby) Lehtonen & Myllys
 Helanthium tenellum (Mart. ex Schult.f.) J.G.Sm.
 Helanthium zombiense (Jérémie) Lehtonen & Myllys

Izvori

Žabočunovke

Helanthium


Trupa Totuși este o formație românească de muzică folk/rock, înființată în anul 1983, la București. Imaginea Trupei Totuși este în mare parte legată de evoluția Cenaclului Flacăra, trupa fiind nelipsită în cadrul nenumăratelor turnee prin țară și străinătate ale Cenaclului începând cu 1983.

Istoria formației

Debut
La inițiativa lui Andrei Păunescu, alături de sora sa Ioana și câțiva prieteni se înființează în vara anului 1983 trupa Totuși. Ea debutează pe scena Cenaclului Flacăra în data de 21 iulie 1983, la concertul de pe stadionul din localitatea Siret.

În prima formulă a trupei, erau alături de Andrei Păunescu (chitară electrică), Radu Victor Popescu (percuție), Dana Guțu (voce și chitară electrică) și Ioana Păunescu (chitară bas și voce).

Perioada de dinainte de 1989

Cenaclul Flacăra
Până la interzicerea Cenaclului Flacăra (15 iunie 1985, după concertul de pe stadionul din Ploiești, unde furtuna extrem de puternică și proasta organizare au creat haos și o busculadă soldată cu victime), în componența trupei Totuși mai intră, în diverse formule de concert și turneu: Cristi Minculescu (1 ianuarie 1984–3 februarie 1985), Sanda Lăcătușu, Dan Popescu (soliști vocali), Nicky Dinescu, Romeo Beianu (percuție), Horațiu Rad, Jerry Schwartz (bas), Dan Cărăbaș (chitară electrică).

În 1983, Andrei Păunescu înregistrează în studioul 6 al Radiodifuziunii Române cântecele "Da da da" (versiunea românească, acompaniat instrumental de Trupa Flapo: Alexandru "Jimmy" Zărnescu – chitară, Romeo Beianu – percuție, Jerry Schwartz – bas, Ionuț Văduva – claviaturi) și "Totuși" (chitară electrică și compoziție, alături de Trupa Totuși: cu Dana Guțu – chitară și voce, Romeo Beianu – percuție, Ioana Păunescu – bas).

La 1 ianuarie 1984, cunoscutul solist Cristian Minculescu (membru Harap-Alb, Iris, Voltaj) se alătură trupei Totuși, eveniment despre care Andrei Păunescu spunea: "La revelionul 1984, organizat de Cenaclul Flacăra la Breaza, s-a întâmplat ceea ce nu speram să trăiesc vreodată eu, fanul declarat al lui Cristi Minculescu: artistul a dorit să vină în continuare și să rămână, chiar și fără Iris, la «Flacăra», iar noi, adolescenții componenți ai Trupei Totuși, tocmai rămași fără vocalist, i-am devenit colegi, pentru un an și o lună."

Andrei Păunescu înregistrează în studioul 8 al Radiodifuziunii Române și în studioul audio al Televiziunii Române următoarele cântece: "Marile iubiri", "În grabă", "Totuși" (1984, împreună cu Trupa Totuși: Cristi Minculescu – voce, Nicky Dinescu – percuție, Ioana Păunescu – bas, Dan Cărăbaș – chitară electrică, Andrei Păunescu – chitară și compoziții). Alte cântece din repertoriu, cu Minculescu la voce: "Roboții", "Șapte mări și șapte țări", "Noua modă" (toate pe versuri de Adrian Păunescu).

La Televiziunea Română, este prezentat un singur microrecital al trupei Totuși, la începutul lunii august 1984, în componența Andrei Păunescu (chitară), Cristi Minculescu (voce), Nicky Dinescu (percuție), Ioana Păunescu (bas), Dan Cărăbaș (chitară). Minculescu părăsește formația pe 3 februarie 1985, revenind la Iris.

Între 1983 și 1985, piesele lui Andrei Păunescu și ale trupei Totuși (înregistrări din studio sau live, la Cenaclul Flacăra), sunt difuzate frecvent la postul național de radio, în emisiunea Radio Cenaclul Flacăra.

Andrei Păunescu și Trupa Totuși obțin următoarele premii pentru activitatea muzicală în cadrul Cenaclului Flacăra:
 1983 – Premiul pentru debut cu Trupa Totuși
 1984 – Marele Premiu pentru compoziția "Marile iubiri"
 1984 – Marele Premiu al Cenaclului Flacăra cu Trupa Totuși

După interzicerea Cenaclului Flacăra
După interzicerea Cenaclului Flacăra (16 iunie 1985), timp de doi ani, Trupa Totuși cântă foarte rar, fiind pe lista cu artiști care au în repertoriu texte considerate subversive de către cenzură.

În martie 1986, după șase luni de repetiții, spectacolul de compoziții ale lui Andrei Păunescu, pe versuri de George Bacovia, pe care îl pregătise împreună cu trupa Totuși pentru Teatrul Foarte Mic (director Dinu Săraru), este oprit de cenzură, înainte de prima reprezentație (din trupa Totuși mai făcând parte, alături de Andrei Păunescu, Marian Ionescu sau Cristian Babeș – bas, Nicky Dinescu – percuție, Romeo Unga sau Radu Corneanu – voce).

Trupa se destramă în martie 1986, după eliminarea din sala de repetiții de la Teatrul Foarte Mic, impusă direcțiunii de către Securitate și cenzura Partidului Comunist Român.

În aprilie 1986, la inițiativa tinerilor Marius Stoian (solist vocal, 15 ani) și Ionel Tănase "Tase" (percuție, 16 ani), Andrei Păunescu reface trupa Totuși. Andrei Păunescu fiind proaspăt Student la Filologie, reîncepe repetițiile într-o debara de 3 metri pătrați a Clubului Universitas (al Universității din București din strada Schitu Măgureanu), apoi și activitatea concertistică, tot în octombrie 1987 (alături de Ionel Tănase "Tase" – percuție, Marius Stoian – voce, și Paul Simion – chitară bas).

Până în decembrie 1989, din trupa Totuși, alături de Andrei, mai fac parte, pe rând, Virgil Popa (solist vocal), Mihai Cristea, Cristian Florea, Ștefan Iuga, Cristian Rusu, Liviu Hoisan, Gabriel Mitran (chitară bas), Petre Traian Roșu, Costin Olaru (percuție), Dan Tufan (claviaturi). Au loc spectacole și participări la festivaluri și concursuri din țară, unde trupa Totuși obține premii (Folk, Rock, Jazz – Craiova 1987, Primăvara Baladelor – București 1988, Top T – Buzău 1988 și 1989, Constelații Rock – Râmnicu Vâlcea 1988, trupa fiind invitată în recital la Festivalul TimRock – Timișoara 1988 și 1989).

Andrei Păunescu înregistrează în studioul 8 al Radiodifuziunii Române următoarele cântece: "Oamenilor muncii", "Într-o bună zi" (1988, cu Trupa Totuși: Ionel Tănase "Tase" – percuție, Virgil Popa – voce, Cristian Florea / Gabriel Mitran – bas, Dan Tufan – claviaturi, Andrei Păunescu – chitară electrică).

Perioada postdecembristă
Odată cu Revoluția din decembrie 1989, Cenaclul Flacăra iese de sub interdicția autorităților, iar Andrei Păunescu participă la aproape toate spectacolele noului Cenaclu (peste o mie, în calitate de director muzical, cantautor, solist vocal, chitarist și conducător al trupei Totuși, în care mai cântă ocazional și la claviaturi, bas și percuție), subintitulat, temporar, "Totuși iubirea".

În componența Trupei Totuși mai intră, de-a lungul vremii, după 1989: Mihai Napu, Mălin Cristache, Emilian Florentin, Sandu Vasile Hotima, Cezar Zavate, Alexandru Zărnescu, Marcis Nuț, Vasile Mardare, Vlady Săteanu, Rareș Suciu, Radu Vălean (chitară bas), Valeriu Neamțu "Gălăgie", Dan Ivanciu, Cristian Prihotcă, Alexandru Neagu, Dan Alexandru, Ciprian Diaconu, Claudiu Purcărin (percuție), Ionuț Văduva, Călin Ciama, Tatiana Stepa, Mugurel Coman (claviaturi), Jelena Milovanovic, Dana Salahor, Maria Maria (voce).

Din 2007, componența trupei Totuși se stabilizează pentru o vreme în formula Andrei Păunescu (chitară, voce), Ionel Tănase "Tase" (percuție), Mihai Napu (bas / chitară, voce), Vlady Săteanu (bas).

Din 2008, Andrei Păunescu este prezent la toate edițiile Festivalului Folk You de la Vama Veche și la Galele Folk You de la București, singur sau cu trupa Totuși.

Din martie 2010, trupa Totuși își reia activitatea susținut, cu spectacole în cluburi din București și în țară.
În ziua de 1 august 2010, participă la ultimul concert în care Adrian Păunescu conduce de pe scenă Cenaclul Flacăra, pe stadionul din Năvodari.

Odată cu renașterea fenomenului Cenaclul Flacăra prin seria de concerte Remember Cenaclul Flacăra, Totuși devine o prezență permanentă în cadrul acestor manifestări culturale.

Componență

Membri actuali
 Andrei Păunescu – chitară electroacustică, chitară electrică, chitară bas, voce, claviaturi, percuție (1983–prezent)
 Ionel Tănase "Tase" – percuție (1986–prezent)
 Maria Maria – voce
 Rareș Suciu – chitară bas
 Claudiu Purcărin – percuție
 Radu Vălean – chitară bas

Foști membri

 Tatiana Stepa – voce, claviaturi
 Cristi Minculescu – voce (1 ianuarie 1984–3 februarie 1985)
 Mihai Napu – chitară bas, chitară armonie
 Vladimir "Vlady" Săteanu – chitară bas
 Ioana Păunescu – chitară bas și voce
 Alexandru Neagu – percuție
 Alexandru "Jimmy" Zărnescu – chitară
 Călin Ciama "Efendi" – claviaturi
 Cezar Zavate – chitară bas
 Ciprian Diaconu – percuție
 Costin Olaru – percuție
 Cristian Babeș – chitară bas
 Cristian Florea – chitară bas
 Cristian Prihotcă – percuție
 Cristian Rusu – chitară bas
 Dan Alexandru – percuție
 Dan Cărăbaș – chitară electrică
 Dan Ivanciu – percuție
 Dan Popescu – voce
 Dan "Cândoi" Tufan – claviaturi
 Dana Guțu – voce și chitară electrică
 Dana Salahor – voce
 Emilian Florentin – chitară bas
 Gabriel Mitran – chitară bas
 Horațiu Rad – chitară bas

 Ionuț Văduva – claviaturi
 Jelena Milovanovic – voce
 Jerry Schwartz – chitară bas
 Liviu Hoisan – chitară bas
 Marcis Nuț – chitară bas
 Marian Ionescu – chitară bas
 Marius Stoian – voce
 Mălin Cristache – chitară bas
 Mihai Cristea – chitară bas
 Mugurel Coman – claviaturi
 Nicolae "Nicky" Dinescu – percuție
 Paul Simion – chitară bas
 Petre Traian Roșu – percuție
 Radu Corneanu – voce
 Radu Victor Popescu – percuție
 Romeo Beianu – percuție
 Romeo Unga – voce
 Sanda Lăcătușu – voce
 Sandu Vasile Hotima – chitară bas
 Ștefan Iuga – chitară bas
 Valeriu Neamțu "Gălăgie" – percuție
 Vasile Mardare – chitară bas
 Virgil Popa – voce

Referințe

Bibliografie
 Ionescu, Doru. Timpul chitarelor electrice. Jurnal de călătorie în arhiva TVR (Vol. 1, ediția I), Editura Humanitas Educațional, București, 2006. ISBN 973-689-063-5
 Ghiu-Caia, Miron. Iris. Spectacolul abia începe, Editura Humanitas, București, 2003. ISBN 973-50-0477-1

Legături externe
 Trupa Totuși – Grup Facebook
 "Cristi Minculescu, un idol la 50 de ani" (Andrei Păunescu, blog personal, 9 ianuarie 2009)
 "Reuniune de excepție: După 35 de ani, Cristi Minculescu și Andrei Păunescu vor cânta din nou în trupa Totuși" (B1 TV, 11 septembrie 2018)
 Totuși cu Cristi Minculescu și Andrei Păunescu • Cenaclul Flacăra, Sala Sporturilor, Brăila, februarie 1984 (Andrei Păunescu, YouTube, 9 ianuarie 2021)

Vezi și
 Andrei Păunescu
 Cristi Minculescu
 Cenaclul Flacăra

Formații rock
Formații hard rock
Formații rock românești
Formații de muzică folk
Fondări în 1983

Trupa Totuși


ප්‍රමාණ, ව්‍යුහ, අවකාශය සහ විචල්‍යයන්ට අදාළව ගැටලු මතුවන ඕනෑම අවස්ථාවකදී ගණිතය භාවිත වීම සිදුවේ. ආරම්භයේදී වානිජ කටයුතු සහ භූමි මිනුම් හිදි ගණිතය භාවිතා වු අතර පසුකාලීනව එය තාරකා විද්‍යාව සඳහාද භාවිත විය. වර්තමානයේදී සියලු විද්‍යාවන් ආශ්‍රිතව ගණිතඥයන් විසින් අධ්‍යයනය කළ යුතු ආකාරයේ ගැටලු ඇති වන අතර ගණිතය වැනි විෂයයන්ගෙන් පවා එවන් ආකාර ගැටලු මතු වීම සිදුවේ. නිව්ටන් අත්‍යනුක කලනයේ එක් නිර්මාතෘ වරයෙක් වන අතර එහිදී භාවිතා කරන සියලුම අංකනයන් පාහේ (කාලය විශයෙහි අවකලනය දැක්වීම සදහා විචල්‍යයකට ඉහලින් තබන තිත හැරුණු විට) ලිබ්නීස් විසින් නිර්මාණය කරන ලද ඒවාය. ෆේමන් විසින් හේතු දැක්වීම් සහ භෞතික දැනුම සංකලනයෙන් ෆේමන් පථ අනුකලය නිර්මාණය කල අතර වර්තමාන තන්තුවාදය නව ගණිතමය සොයා ගැනීම් සදහා ඒවායින් පෙළඹවීමක් සපයයි. සමහර ගණිතමය කොටස් ඒවා නිර්මාණයට හේතු වු ක්ෂේත්‍රයට පමණක් අදාළ වන අතර තවදුරටත් එම ක්ෂේත්‍රයෙහි ඇති වන ගැටලු විසදීම සදහා භාවිතා කෙරේ. නමුත් බොහෝ විට එක් ක්ෂේත්‍රයක් ආශ්‍රිතව නිර්මාණය වු ගණිතමය සංකල්ප වෙනත් බොහෝ ක්ෂේත්‍ර වලදීද ප්‍රයෝජනවත් වන අතර සාමාන්‍ය ගණිතමය සංකල්ප සමුදායේ කොටසක් බවට පත්වේ. සංශුද්ධමය ගණිතමය සංකල්ප සදහා වුවද ඇතැම් විට ප්‍රායෝගික යෙදීම් පැවතීම පුදුම සහගත වුවත් ඉයුජීන් විග්නර් මෙය "ගණිතයේ අහේතුක සඵලත්වය" ලෙස හැදින්වීය.

අනෙක් බොහෝ අධ්‍යයන ක්ෂේත්‍ර වලදී මෙන්ම විද්‍යාත්මක යුගයේ දැනුමෙහි සිදු වු වේගවත් වර්ධනය හේතුවෙන් ගණිතයද විශේෂිකරණය වී ඇත. මෙවැනි එක් ප්‍රධාන බෙදීමක් වන්නේ ශුද්ධ ගණිතය සහ ව්‍යවහාරික ගණිතය එකිනෙකින් වෙන්කර හදුනාගැනීමයි. සමහරක් ව්‍යවහරික ගණිත කොටස් ඒවා හා සම්බන්ධ ගණිතයෙන් පරිබාහිර සම්ප්‍රදායයන් සමග සංයෝජනය වී වෙනම විෂය ක්ෂේත්‍රයන් බවට පත්ව තිබේ. සංඛ්‍යානය, සංකාර්ය පර්යේෂණ සහ පරිගණක විද්‍යාව මෙවන් ක්ෂේත්‍ර වලට අයත් වේ.

ගණිතයට නැඹුරු වු බොහෝ දෙනා එහි සෞන්දර්යාත්මක පැතිකඩක් දැකීමට සමත් වෙති. බොහෝ ගණිතඥයන් ගණිතයෙහි සෝබනත්වය, එහි සහජ සෞන්දර්යය සහ අභ්‍යන්තර අලංකාරත්වය පිළිබඳ අදහස් දක්වති. එහි සරලත්වය සහ පොදු බව ඉතා වැදගත් වේ. ප්‍රථමක සංඛ්‍යා අපිරිමිත සංඛ්‍යාවක් ඇති බවට යුක්ලිඩ්ගේ සාධනය වැනි සරල සහ අලංකාර සාධනයන්හි මෙන්ම වේගවත් ෆුරියර් පරිණාමනය වැනි ගණනය කිරීම් වේගවත් කරන අලංකෘත අංක ගණිතමය ක්‍රමයන්හීද සුන්දරත්වයක් පවතී. G.H හාඩි සිය "A Mathematician's Apology" (ගණිතඥයෙකුගේ සමාව ඉල්ලීම) නම් ග්‍රන්ථයේ දී ගණිතයේ සෞන්දර්යාත්මක ලක්ෂණ ශුද්ධ ගණිතයෙහි අධ්‍යනයෙන් සාධාරණීකරණය කිරීම සඳහා ප්‍රමාණවත් වන බවට ඔහු තුළ තිබු විශ්වාසය ප්‍රකාශයට පත්කර ඇත. බොහෝවිට ගණිතඥයින් ප්‍රමේයයන් සඳහා අලංකෘත වු සාධනයන් සෙවීමට වෙහෙසෙති. ඔවුන්ගේ මෙම උත්සාහයන් පොල් අඩොස් විසින් දෙවියන් විසින් සිය ප්‍රියතම සාධනයන් ලියා ඇති පොතේ අඩංගු සාධනයන් සේවීම ලෙස නම් කළේය. විනෝදාත්මක ගණිතමය ක්‍රියාකාරකම්වල ප්‍රචලිත බව ගණිතමය ගැටලු  විසදීමෙන් පුද්ගලයින් හට ලබාගත හැකි සතුට සදහා සාක්ෂියකි.
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සටහන්

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සෞන්දර්ය විද්‍යාව, ශුද්ධ ගණිතය සහ ව්‍යවහාරික ගණිතය සදහා ඇති වු ප්‍රබෝධය


Ethnobotany is the study of a region's plants and their practical uses through the traditional knowledge of a local culture and people. An ethnobotanist thus strives to document the local customs involving the practical uses of local flora  for many aspects of life, such as plants as medicines, foods, intoxicants and clothing. Richard Evans Schultes, often referred to as the "father of ethnobotany", explained the discipline in this way:
Ethnobotany simply means ... investigating plants used by societies in various parts of the world.

Since the time of Schultes, the field of ethnobotany has grown from simply acquiring ethnobotanical knowledge to that of applying it to a modern society, primarily in the form of pharmaceuticals. Intellectual property rights and benefit-sharing arrangements are important issues in ethnobotany.

History

The idea of ethnobotany was first proposed by the early 20th century botanist John William Harshberger. While Harshberger did perform ethnobotanical research extensively, including in areas such as North Africa, Mexico, Scandinavia, and Pennsylvania, it was not until Richard Evans Schultes began his trips into the Amazon that ethnobotany became a more well known science. However, the practice of ethnobotany is thought to have much earlier origins in the first century AD when a Greek physician by the name of Pedanius Dioscorides wrote an extensive botanical text detailing the medical and culinary properties of "over 600 mediterranean plants" named De Materia Medica. Historians note that Dioscorides wrote about traveling often throughout the Roman empire, including regions such as "Greece, Crete, Egypt, and Petra", and in doing so obtained substantial knowledge about the local plants and their useful properties. European botanical knowledge drastically expanded once the New World was discovered due to ethnobotany. This expansion in knowledge can primarily be attributed to the substantial influx of new plants from the Americas, including crops such as potatoes, peanuts, avocados, and tomatoes. The French explorer Jacques Cartier learned a cure for scurvy (a tea made from the needles of a coniferous tree, likely spruce) from a local Iroquois tribe.

Medieval and Renaissance
During the medieval period, ethnobotanical studies were commonly found connected with monasticism. However, most botanical knowledge was kept in gardens such as physic gardens attached to hospitals and religious buildings. It was thought of in practical use terms for culinary and medical purposes and the ethnographic element was not studied as a modern anthropologist might approach ethnobotany today.

Age of Reason
In 1732, Carl Linnaeus carried out a research expedition in Scandinavia asking the Sami people about their ethnological usage of plants.

The age of enlightenment saw a rise in economic botanical exploration. Alexander von Humboldt collected data from the New World, and James Cook's voyages brought back collections and information on plants from the South Pacific. At this time major botanical gardens were started, for instance the Royal Botanic Gardens, Kew in 1759. The directors of the gardens sent out gardener-botanist explorers to care for and collect plants to add to their collections.

As the 18th century became the 19th, ethnobotany saw expeditions undertaken with more colonial aims rather than trade economics such as that of Lewis and Clarke which recorded both plants and the peoples encountered use of them. Edward Palmer collected material culture artifacts and botanical specimens from people in the North American West (Great Basin) and Mexico from the 1860s to the 1890s. Through all of this research, the field of "aboriginal botany" was established—the study of all forms of the vegetable world which aboriginal peoples use for food, medicine, textiles, ornaments and more.

Development and application in modern science
The first individual to study the emic perspective of the plant world was a German physician working in Sarajevo at the end of the 19th century: Leopold Glück. His published work on traditional medical uses of plants done by rural people in Bosnia (1896) has to be considered the first modern ethnobotanical work.

Other scholars analyzed uses of plants under an indigenous/local perspective in the 20th century: Matilda Coxe Stevenson, Zuni plants (1915); Frank Cushing, Zuni foods (1920); Keewaydinoquay Peschel, Anishinaabe fungi (1998), and the team approach of Wilfred Robbins, John Peabody Harrington, and Barbara Freire-Marreco, Tewa pueblo plants (1916).

In the beginning, ethonobotanical specimens and studies were not very reliable and sometimes not helpful. This is because the botanists and the anthropologists did not always collaborate in their work. The botanists focused on identifying species and how the plants were used instead of concentrating upon how plants fit into people's lives. On the other hand, anthropologists were interested in the cultural role of plants and treated other scientific aspects superficially. In the early 20th century, botanists and anthropologists better collaborated and the collection of reliable, detailed cross-disciplinary data began.

Beginning in the 20th century, the field of ethnobotany experienced a shift from the raw compilation of data to a greater methodological and conceptual reorientation. This is also the beginning of academic ethnobotany. The so-called "father" of this discipline is Richard Evans Schultes, even though he did not actually coin the term "ethnobotany". Today the field of ethnobotany requires a variety of skills: botanical training for the identification and preservation of plant specimens; anthropological training to understand the cultural concepts around the perception of plants; linguistic training, at least enough to transcribe local terms and understand native morphology, syntax, and semantics.

Mark Plotkin, who studied at Harvard University, the Yale School of Forestry and Tufts University, has contributed a number of books on ethnobotany. He completed a handbook for the Tirio people of Suriname detailing their medicinal plants; Tales of a Shaman's Apprentice (1994); The Shaman's Apprentice, a children's book with Lynne Cherry (1998); and Medicine Quest: In Search of Nature's Healing Secrets (2000).

Plotkin was interviewed in 1998 by South American Explorer magazine, just after the release of Tales of a Shaman's Apprentice and the IMAX movie Amazonia. In the book, he stated that he saw wisdom in both traditional and Western forms of medicine:
No medical system has all the answers—no shaman that I've worked with has the equivalent of a polio vaccine and no dermatologist that I've been to could cure a fungal infection as effectively (and inexpensively) as some of my Amazonian mentors. It shouldn't be the doctor versus the witch doctor. It should be the best aspects of all medical systems (ayurvedic, herbalism, homeopathic, and so on) combined in a way which makes health care more effective and more affordable for all.

A great deal of information about the traditional uses of plants is still intact with tribal peoples. But the native healers are often reluctant to accurately share their knowledge to outsiders. Schultes actually apprenticed himself to an Amazonian shaman, which involves a long-term commitment and genuine relationship. In Wind in the Blood: Mayan Healing & Chinese Medicine by Garcia et al. the visiting acupuncturists were able to access levels of Mayan medicine that anthropologists could not because they had something to share in exchange. Cherokee medicine priest David Winston describes how his uncle would invent nonsense to satisfy visiting anthropologists.

Another scholar, James W. Herrick, who studied under ethnologist William N. Fenton, in his work Iroquois Medical Ethnobotany (1995) with Dean R. Snow (editor), professor of Anthropology at Penn State, explains that understanding herbal medicines in traditional Iroquois cultures is rooted in a strong and ancient cosmological belief system. Their work provides perceptions and conceptions of illness and imbalances which can manifest in physical forms from benign maladies to serious diseases. It also includes a large compilation of Herrick's field work from numerous Iroquois authorities of over 450 names, uses, and preparations of plants for various ailments. Traditional Iroquois practitioners had (and have) a sophisticated perspective on the plant world that contrast strikingly with that of modern medical science.

Researcher Cassandra Quave at Emory University has used ethnobotany to address the problems that arise from antibiotic resistance. Quave notes that the advantage of medical ethnobotany over Western medicine rests in the difference in mechanism. For example, elmleaf blackberry extract focuses instead on the prevention of bacterial collaboration as opposed to directly exterminating them.

Issues

Many instances of gender bias have occurred in ethnobotany, creating the risk of drawing erroneous conclusions. Anthropologists would often consult with primarily men. In Las Pavas, a small farming community in Panama, anthropologists drew conclusions about the entire community's use of plant from their conversations and lessons with mostly men. They consulted with 40 families, but the women only participated rarely in interviews and never joined them in the field. Due to the division of labor, the knowledge of wild plants for food, medicine, and fibers, among others, was left out of the picture, resulting in a distorted view of which plants were actually important to them.

Ethnobotanists have also assumed that ownership of a resource means familiarity with that resource. In some societies women are excluded from owning land, while being the ones who work it. Inaccurate data can come from interviewing only the owners.

Other issues include ethical concerns regarding interactions with indigenous populations, and the International Society of Ethnobiology has created a code of ethics to guide researchers.

Scientific journals
Journal of Ethnobiology and Ethnomedicine
Economic Botany
Ethnobotany Research and Application
Journal of Ethnopharmacology
Indian Journal of Traditional Knowledge (IJTK)Latin American and Caribbean Bulletin of Medicinal and Aromatic Plants''

See also

 Society for Ethnobotany
 Agroecology
 Anthropology
 Botany
 Economic botany
 Ethnobiology
 Ethnomedicine
 Ethnomycology
 History of plant systematics
 Ethnobotany of Poland
 Medical Ethnobotany of India
 List of ethnobotanists
 Non-timber forest product
 Phytogeography
 Plant Resources of Tropical Africa
 Plants in culture
 Traditional ecological knowledge

References

External links

"Before Warm Springs Dam: History of Lake Sonoma Area" This California study has information about one of the first ethnobotanical mitigation projects undertaken in the USA.
Grow Your Own Drugs, a BBC 2 Programme presented by ethnobotanist James Wong.
Phytochemical and Ethnobotanical Databases
Ethnobotanical Database of Bangladesh (EDB)
Native American Ethnobotany
North Dakota Ethnobotany Database
Websites on ethnobotany and plants
Howard P. The Major Importance of 'Minor' Resources: Women and plant biodiversity. 2003

Pharmacognosy
Traditional knowledge

Ethnobotany


Michael Fahlbusch (* 1957) ist ein Schweizer Geograph und Historiker.

Leben
Michael Fahlbusch schloss sein Studium der Geographie, Soziologie und Politikwissenschaften an der Universität Münster 1985 mit dem Diplom als Geograph ab. Im Jahre 1993 wurde er an der Universität Osnabrück mit einer wissenschaftsgeschichtlichen Arbeit über die Entstehung und die Geschichte der Stiftung für deutsche Volks- und Kulturbodenforschung in Leipzig von 1920 bis 1933 promoviert. Seine Studie Wissenschaft im Dienst der nationalsozialistischen Politik? entstand im Rahmen des durch die Deutsche Forschungsgemeinschaft geförderten Projekts Die Volksdeutschen Forschungsgemeinschaften (VFG) in Deutschland von 1931–1945. Er arbeitet als freischaffender Wissenschaftshistoriker in Basel. Seit 2011 ist er Lehrbeauftragter und seit 2015 Assoziierter Forscher am Historischen Institut der Universität Bern.

2005 wurde sein Buch German Scholars and Ethnic Cleansing, 1918–1945, welches er zusammen mit Ingo Haar herausgegeben hat, in den USA mit dem "Choice Outstanding Book Of The Year Award" ausgezeichnet.

Schriften (Auswahl)
 "Wo der deutsche ... ist, ist Deutschland!" Die Stiftung für Deutsche Volks- und Kulturbodenforschung in Leipzig 1920–1933. Brockmeyer, Bochum 1994, ISBN 3-8196-0240-2 (zugl. Dissertation, Universität Osnabrück, 1993).
 Wissenschaft im Dienst der nationalsozialistischen Politik?  Die "Volksdeutschen Forschungsgemeinschaften" von 1931–1945. Nomos, Baden-Baden 1999, ISBN 3-7890-5770-3.
 (Hrsg. zusammen mit Ingo Haar): Handbuch der völkischen Wissenschaften. Personen – Institutionen – Forschungsprogramme – Stiftungen. Saur, München 2008, ISBN 978-3-598-11778-7.
 (Hrsg. zusammen mit Ingo Haar): Völkische Wissenschaften und Politikberatung im 20. Jahrhundert. Expertise und "Neuordnung" Europas. Schöningh, Paderborn 2010, ISBN 978-3-506-77046-2.
 Ein fragwürdiger Philanthrop. Die subversiven Aktivitäten des deutsch-völkischen Stiftungsgründers Toepfer in der Schweiz. In: Geschichte Online. Heft 12, 2013, S. 39–68 (Volltext).
 (Hrsg. mit Ingo Haar, Alexander Pinwinkler): Handbuch der völkischen Wissenschaften. Akteure, Netzwerke, Forschungsprogramme. 2. vollständig überarbeitete und erweiterte Auflage, 2 Bde., Berlin 2017, ISBN 978-3-11-042989-3.
 (Hrsg. mit Ingo Haar, Anja Lobenstein-Reichmann u. a.): Völkische Wissenschaften. Ursprünge, Ideologien und Nachwirkungen. De Gruyter, Berlin/Boston 2020, ISBN 978-3-11-065272-7.

Weblinks

 Webseite an der Universität Bern
 Webseite über Michael Fahlbusch bei der Gerda Henkel Stiftung
 Für Volk, Führer und Reich! Volkstumsforschung und Volkstumspolitik 1931–1945. Vortrag vom 10. Mai 2000 an der Universität Konstanz, anlässlich der Ringvorlesung über "Deutsche Historiker im Nationalsozialismus und danach". Online bei H-Soz-u-Kult

Anmerkungen

Neuzeithistoriker
Geograph (20. Jahrhundert)
Geograph (21. Jahrhundert)
Schweizer
Geboren 1957
Mann

Michael Fahlbusch


Graziadio Isaia Ascoli (Gorizia, 16. srpnja 1829. – Milano 21. siječnja 1907.) je bio talijanski jezikoslovac, glotolog i dijalektolog. Također je bio indoeuropeist, keltolog, romanist, semitist, utemeljitelj talijanske i romanske znanstvene dijalektologije, tvorac teorije supstrata. U romanistici načeo problem "ladinskoga" (poslije retoromanskoga) i utvrdio lingvističku posebnost frankoprovansalskoga.

Životopis
Rođen je u talijanskoj židovskoj obitelji u sklopu Austro-Ugarske Monarhije. Kao dijete je naučio njemački, slovenski, furlanski i mletački jezik, jer su tim jezicima služili stanovnici grada.

Zaposlen je 1860. u milanskoj Znanstveno-književnoj akademiji (Accademia scientifico-letteraria Milan) gdje je skovao riječ glotologiju i postao prvim profesorom toga predmeta. Pridao je dijalektima dostojanstveni status jezika. Vrlo su važne njegove studije i razrade pojma supstrat.

Godine 1873. pokrenuo časopis "Archivio glottologico italiano" koji dan danas postoji; u VIII. svesku toga časopisa objavio je svoj rad "Dijalektalna Italija" (L'Italia dialettale), kojim je utvrdio načela i metode talijanske dijalektologije. Njegova ostala djela su "Kritički ogledi" ("Saggi critici", I–II, 1861. – 1877.), "Ladinski ogledi" ("Saggi ladini", 1873.), "Kritičke studije o jezikoslovstvu" ("Kritische Studien zur Sprachwissenschaft", 1878.), "Jezikoslovna pisma" ("Lettere glottologiche", 1887.).

U Julijskoj krajini, odnosno Julijskoj Veneciji je odredio ime i opisao joj povijesno-geopolitički prostor. Skovao je naziv istriotski (istrioto) po uzoru na veljotski dijalekt (govor otoka Krka). Njime je označavao šest predvenecijanskih autohtonih govora Istre (Rovinj, Bale, Vodnjan, Fažana, Galižana i Šišan). postao je članom slavne rimske Akademije Dei Lincei (Accademia Nazionale dei Lincei) 13. svibnja 1875., a u njemu je posvećeno Furlansko filološko društvo (Società filologica friulana), utemeljeno 1919. u Goriziji. Jedan je od osnivača društva za promicanje talijanskog jezika i kulture (Società Dante Alighieri). U Italiji je odlikovan je odličjima (Grand'Ufficiale dell'Ordine della Corona d'Italia, Cavaliere dell'Ordine dei Santi Maurizio e Lazzaro) i inozemstvu (Cavaliere dell'Ordine pour le Mérite).

Izvori

Vanjske poveznice

Talijanski jezikoslovci

Dijalektolozi
Indoeuropeisti
Romanisti

Graziadio Isaia Ascoli


El cementerio vikingo de Borre (noruego: Borrehaugene, del nórdico antiguo borró y haugr que significa "montículo") es una parte del parque nacional de Borre en Horten, Vestfold, Noruega.

El parque tiene una extensión de 45 acres (182,000 m²) y el conjunto de montículos funerarios es único en Escandinavia. Actualmente, se pueden observar siete grandes montículos y un cairn. Dos montículos y un cairn han sido destruidos en tiempos recientes. Hay también 25 cairns más pequeños y el cementerio pudo tener una mayor extensión. Algunos de los montículos alcanzan 45 metros de diámetro y hasta seis metros de alto. Borrehaugene ofrece una perspectiva histórica muy importante y evidencia la importancia del poder local durante el periodo merovingio hasta la Era vikinga.

Las primeras investigaciones en el cementerio tuvieron lugar en 1852. Los constructores locales usaron los montículos como pozos de grava y en el proceso se destruyó gran parte del abundante contenido de una nave vikinga. El anticuario Nicolay Nicolaysen examinó lo que sería el resto del contenido del montículo. La tumba contenía armas y equipamiento de montura, lo que sugiere que pertenecía a un varón. Las excavaciones descubrieron una inusual selección de artesanía, la mayor parte expuesta en el Museo de barcos vikingos de Oslo.

El particular trazo y características de la artesanía fue bautizada como estilo Borre y actualmente es uno de los conocidos por su belleza ornamental en figuras animales y nudos, que a menudo se usaban para decorar arneses. Los cairns más pequeños se investigaron en 1925 descubriendo que eran simples tumbas convertidas en cenizas por la cremación de los difuntos. Otras excavaciones tuvieron lugar de 1989 a 1991, dentro del parque y en sus exteriores.

Referencias

Enlaces externos

 Forhistorien til nasjonalparken (en noruego)
 Nasjonal Samlings bruk av nasjonalparken under andre verdenskrig (en noruego)
Midgard historiske senter om Borreparken (en noruego)
Vestfoldmuseene: Borrehaugene (en noruego)

Cementerios de Noruega
Monumentos de Noruega
Vida y costumbres en la Era vikinga

Cementerio vikingo de Borre


Gabriel Véraldi (* 1926 in Annecy; † 23. April 2009) war ein Schweizer Schriftsteller.

Véraldi war Biologe und arbeitete bei der Welt-Ernährungs- und Landwirtschaftsorganisation FAO. 1954 erhielt er den Prix Femina für sein Werk "Einem Engel zum Gedenken". Sein literarisches Genre war der fantastische Realismus.

Werke (Auswahl)
 La machine humaine. Roman., Paris, Gallimard 1954.
 Einem Engel zum Gedenken. Roman. Karlsruhe, Stahlberg 1955
 Die Spione guten Willens. Karlsruhe, Stahlberg 1968
 Guerir par l'eau. Paris, Robert Laffont, 1977

Einzelnachweise

Autor
Literatur (Schweiz)
Schweizer
Geboren 1926
Gestorben 2009
Mann

Gabriel Veraldi


Vulkalnoklastični sedimenti su sedimentne stijene sastavljene pretežno od čestica vulkanskog podrijetla. Vrstu nastalog vulkanoklastičnog taloga određuje vrsta magme. Magma može biti kisela, neutralna ili bazična, što ovisi uglavnom o geotektonskom položaju. Kiselije magme sadrže veći udio volatila. U volatile prije svega spadaju H2O i CO2.

Vulkanoklastični sedimenti dijele se prema kriteriju nastanka na autoklastične, piroklastične naslage nastale slobodnim padom iz zraka, vulkanoklastične nastale procesima tečenja, hidroklastične i epiklastične naslage.

Vidi
litoklasti
kristaloklasti
vitroklasti
tefra
plovućac
skorija
pršinac ili tuf
tufit
ignimbriti
zeoliti
vulkansko staklo

Izvori

Vanjske poveznice

Igneous rock
Igneous, Plutonic and Intrusive
Gabbro

Petrologija
Vulkanologija

Vulkanoklastični sedimenti


Finally Enough Love: 50 Number Ones é um álbum de remixes da cantora estadunidense Madonna, lançado pela Warner Records em em 19 de agosto de 2022. Sua edição compacta, de 16 faixas, intitulada Finally Enough Love, teve pré-lançamento nos serviços de streaming em 24 de junho de 2022, enquanto a edição completa, com 50 faixas, e todos os formatos físicos, foram lançados em 19 de agosto de 2022. O álbum marca o recorde de Madonna alcançando 50 números um na parada americana da Billboard Dance Club Songs, a maior quantidade de números um de qualquer artista em qualquer parada da Billboard. O título deriva da letra de seu 50º número um, "I Don't Search I Find". Este é também o primeiro lançamento de uma campanha de relançamentos anos com a Warner, comemorando o 40º aniversário da carreira de Madonna.

Álbuns de Madonna
Álbuns de remisturas de 2022
Álbuns lançados pela Warner Records
Coletâneas de 2022

Finally Enough Love: 50 Number Ones


Semantisk-pragmatisk sprogforstyrrelse (SPSF) handler om verbale og non-verbale vanskeligheder, som ikke skyldes kognitive problemer i øvrigt. Det handler om vanskeligheder ved at tilegne sig og anvende sprog, mundtligt og/eller skriftligt, men hvor der ikke er problemer med den formelle brug og forståelse af sprog, men derimod med de sociale/situationelle aspekter.

Et barn med SPSF kan således tale og forstå korrekt, men have svært ved at forstå nuancer, ironi etc., ligesom barnet kan komme til at bruge upassende ord eller udsagn. Der er et højt sammenfald med autisme, og hvis et barn har SPSF, anbefales det at udrede barnet for autisme.

Noter

Indlæringsvanskeligheder

Semantisk-pragmatisk sprogforstyrrelse


Spiro Theodore Agnew (9. nóvember 1918 – 17. september 1996) var bandarískur stjórnmálamaður og 39. varaforseti Bandaríkjanna. Agnew var varaforseti frá 1969 þar til hann sagði af sér árið 1973. Hann er annar af tveimur varaforsetum Bandaríkjanna á eftir John C. Calhoun árið 1832 sem hafa sagt af sér, en ólíkt Calhoun sagði Agnew af sér vegna hneykslismála.

Æviágrip
Spiro Agnew fæddist árið 1916  í Baltimore. Faðir hans var grískur innflytjandi sem hafði upphaflega heitið Anagnostopoulos en hafði breytt ættarnafni sínu í Agnew eftir flutning sinn til Bandaríkjanna. Fjölskylda Agnews rak veitingahús í Baltimore en neyddist til að loka því á tíma kreppunnar miklu.

Árið 1937 hóf Agnew nám í efnafræði við Johns Hopkins-háskóla. Hann hætti í því námi eftir þrjú ár og skipti yfir í lögfræðinám við Háskólann í Baltimore. Agnew gekk í bandaríska herinn á tíma seinni heimsstyrjaldarinnar og barðist í Evrópu, þar sem hann vann til fjölda heiðursmerkja. Að stríði loknu hélt Agnew laganámi sínu áfram og lauk prófi árið 1947. Hann hóf síðan lögmannsstörf í Baltimore en gegndi aftur herþjónustu á tíma Kóreustríðsins.

Agnew hafði verið meðlimur í Demókrataflokknum á yngri árum en að lokinni herþjónustu skipti hann yfir í Repúblikanaflokkinn og vann fyrir framboð Repúblikana til sveitastjórnar Baltimore-sýslu í Maryland. Árið 1957 var Agnew skipaður fulltrúi í áfrýjunarrétt Baltimore-sýslu og varð hann síðar forseti hans. Árið 1962 var Agnew kjörinn héraðsstjóri Baltimore-sýslu, sem þótti mikið afrek þar sem Demókratar voru mun fjölmennari en Repúblikanar í sýslunni.

Árið 1967 var Agnew kjörinn fylkisstjóri Maryland. Maryland var eitt af höfuðvígjum Demókrataflokksins en Agnew tókst meðal annars að ná kjöri með því að höfða til bandarískra blökkumanna með frjálslyndum húsnæðisstefnum sínum. Agnew þótti í upphafi frjálslyndur og vinveittur réttindabaráttu blökkumanna en samband hans við réttindahreyfinguna átti síðar eftir að stirðna, að sögn Agnews vegna þess að honum þótti hún orðin of róttæk og vinstrisinnuð. Í óeirðunum sem hófust eftir að Martin Luther King var myrtur árið 1968 fór Agnew í hár saman við leiðtoga blökkumanna í Maryland og lét handtaka 230 svarta stúdenta sem kröfðust áheyrnar hans. Í ræðu sem Agnew hélt á landsþingi Repúblikanaflokksins á Miami Beach árið 1968 lýsti hann því yfir að lögreglan ætti ekki að hika við að skjóta fólk sem færi ránshendi í óeirðum.

Á landsfundinum studdi Agnew í upphafi framboð Nelsons Rockefeller til forseta, en Rockefeller ákvað óvænt að draga framboð sitt til baka. Að endingu varð Richard Nixon forsetaefni Repúblikanaflokksins og Agnew var valinn varaforsetaefni flokksins í yfirvofandi forsetakosningum Bandaríkjanna. Ein ástæðan fyrir því að Agnew varð fyrir valinu var sú að Strom Thurmond, öldungadeildarþingmaður frá Suður-Karólínu sem naut verulegra áhrifa í flokknum og studdi áframhaldandi kynþáttaaðskilnaðarstefnu, gat sætt sig við hann. Einnig var talið að Agnew gæti veitt framboði Nixons mótvægi gegn sjálfstæðu forsetaframboði George Wallace, sem reyndi opinskátt að höfða til kynþáttahatara í kosningabaráttu sinni.

Nixon og Agnew unnu sigur í forsetakosningunum 1968 á móti Hubert Humphrey, frambjóðanda Demókrataflokksins. Agnew tók við embætti varaforseta Bandaríkjanna í janúar næsta ár. Sem varaforseti varð Agnew kunnur fyrir stórorðar ræður sínar þar sem hann hallmælti frjálslyndum, vinstrimönnum og fjölmiðlum. Hlutverk Agnews innan Nixonstjórnarinnar varð það að ráðast að Demókrötum án þess að Nixon þyrfti sjálfur að leggjast í skítkast. Nixon hafði sjálfur gegnt svipuðu hlutverki sem varaforseti á stjórnartíð Dwights D. Eisenhower og því leiddi þetta til þess að Agnew varð kallaður "Nixoninn hans Nixons".

Nixon og Agnew unnu afgerandi sigur til endurkjörs í forsetakosningum ársins 1972 á móti Demókrötunum George McGovern og Sargent Shriver. Stuttu eftir að Nixon og Agnew hófu annað kjörtímabil sitt fóru hneykslismál hins vegar að varpa skugga á þá báða. Nixon lenti í vandræðum vegna Watergate-hneykslisins en Agnew blandaðist inn í ótengt spillingarmál frá fylkisstjóratíð hans í Maryland. Agnew var sakaður um skattsvik og um að hafa þegið mútufé frá verktakafyrirtækjum í Maryland á meðan hann gegndi embætti fylkisstjóra. Ákæruvaldið færði sönnur á að Agnew hefði tekið við rúmlega 100 þúsund dollara mútgreiðslu bæði á meðan hann var fylkisstjóri og eftir að hann tók við embætti varaforseta. Peningarnir hefðu verið skráðir sem framlag til kosningasjóðs en Agnew hefði í reynd haft þá til eigin umráða.

Þann 6. ágúst 1973 spurðist út að dómsmálaráðuneytið hefði hafið rannsókn á máli Agnews. Agnew varði sig af hörku og sakaði starfsmenn dómsmálaráðuneytisins um ofsóknir gegn sér. Nixon forseti kom Agnew ekki til varnar nema að takmörkuðu leyti, enda dreifði mál Agnews athygli almennings frá Watergate-málinu. Þann 10. október 1973 lýsti Agnew sig sekan af einum ákærulið, skattsvikum, við héraðsdómstól í Baltimore og lýsti síðan yfir afsögn sinni úr embætti varaforseta. Agnew var dæmdur til 10.000 dollara fjársektar og þriggja ára skilorðseftirlits. Hann hafði ekki frekari afskipti af stjórnmálum það sem hann átti eftir ólifað.

Tilvísanir

Fylkisstjórar Maryland
Repúblikanar
Varaforsetar Bandaríkjanna

Spiro Agnew


Ivan Strinić (født 17. juli 1987 i Split, Jugoslavien), er en kroatisk fodboldspiller (venstre back). Han spiller for AC Milan i Italiens Serie A.

Klubkarriere
Tidligt i sin karriere spillede Strinić blandt andet for Le Mans i Frankrig samt for Hajduk Split i sin fødeby. I januar 2011 blev han solgt til FC Dnipro i den ukrainske liga.

Strinić tilbragte de følgende fire år i Dnipro, inden han i sommeren 2015 skiftede til SSC Napoli i Italien på en fri transfer. Han blev dog aldrig fast mand i klubben, og i sommeren 2017 solgte Napoli ham videre til Sampdoria.

Efter et enkelt år i Sampdoria skiftede Strinić i sommeren 2018 til AC Milan.

Landshold
Strinić debuterede for Kroatiens landshold 19. maj 2010 i en venskabskamp mod Østrig. Han har siden da repræsenteret Kroatien ved både EM 2012 i Ukraine/Polen, ved EM 2016 i Frankrig og ved VM 2018 i Rusland.

Referencer

Eksterne henvisninger

Fodboldspillere fra Kroatien
Deltagere ved det europæiske mesterskab i fodbold 2012
Deltagere ved det europæiske mesterskab i fodbold 2016
Deltagere ved verdensmesterskabet i fodbold 2018
Fodboldspillere fra Le Mans UC72
Fodboldspillere fra Hajduk Split
Fodboldspillere fra FC Dnepro
Fodboldspillere fra S.S.C. Napoli
Fodboldspillere fra UC Sampdoria
Fodboldspillere fra AC Milan
Personer fra Split

Ivan Strinić


An Cyperus rockii in uska species han Liliopsida nga ginhulagway ni Georg Kükenthal. An Cyperus rockii in nahilalakip ha genus nga Cyperus, ngan familia nga Cyperaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Mga sumpay ha gawas

Cyperus

Cyperus rockii


"Lux Æterna" é uma canção da banda americana de heavy metal Metallica, lançada em 28 de novembro de 2022 como o single principal de seu décimo primeiro álbum de estúdio, 72 Seasons (2023). A música foi tocada pela primeira vez ao vivo em 16 de dezembro de 2022, no Microsoft Theater em Los Angeles. Além disso, James Hetfield descreveu a música como "uma música animada, meio rápida e alegre", descrevendo-a como uma música da NWOBHM.

Videoclipe
O videoclipe, dirigido por Tim Saccenti, foi filmado pela primeira vez em 3 de novembro de 2022 e apresenta a banda tocando ao vivo em um palco. Durante todo o vídeo, lasers piscam na tela em sincronia com a banda tocando. Kirk Hammett descreveu o videoclipe como se a banda estivesse tocando dentro de um vulcão, além de apontar que James Hetfield chegou muito perto dos lasers e que ele passou por uma cirurgia LASIK e deveria "ficar longe".

Recepção
Escrevendo para o Musictalkers, Nicholas Gaudet descreveu os vocais durante o refrão como "surpreendentes", além de elogiar o solo de guitarra. Gaudet também interpretou a canção como uma retrospectiva de sua carreira, chamando-a de a melhor coisa que eles fizeram em duas décadas. Jon Hadusek do Consequence, também elogiou a canção, também afirmando que a canção pega onde "Hardwired... to Self-Destruct" parou. Ele afirma que a canção tem influência do pop-punk, bem como do típico thrash metal.

Paradas musicais

Créditos
 James Hetfield – vocais, guitarra rítmica
 Lars Ulrich – bateria
 Kirk Hammett – guitarra solo
 Robert Trujillo – baixo, vocais de apoio

Canções gravadas por Metallica
Singles de 2022

Lux Æterna (canção de Metallica)


Palaeoloxodon antiquus, comummente conhecido como elefante-de-presas-retas ou elefante-europeu-de-presas-direitas, é uma espécie extinta de mamífero proboscídio da família dos elefantídeos que viveu durante o Pleistoceno, há cerca de 800.000 a 30.000 anos.

Descrição
Estes paquidermes podiam chegar aos quatro metros de altura, orçando um peso estimado de cerca de 6.000 a 7.000 kg. Tinham as patas relativamente mais compridas do que as dos elefantes modernos e presas compridas e rectilíneas rematadas numa pequena curva,, que fazem jus ao seu nome comum. Crê-se que estes elefantes tinham uma língua de 80 centímetros de comprimento, a qual poderia projectar-se a pouca distância para apanhar folhas e ervas.

Distribuição
O Elephas (Palaeoloxodon) antiquus teve a sua origem em África, sendo certo que se evidencia a sua rápida distribuição pela Eurásia em territórios das Penínsulas Itálica e Ibérica.

O P. antiquus vivia nos ambientes quentes e florestais que havia no continente europeu durante os períodos interglaciares. Os vestígios que se descobriram mais recentemente encontravam-se em Portugal e têm cerca de 30.000 anos. Tratar-se-ão, presumivelmente, dos antepassados dalguns dos elefantes anões das varias ilhas mediterrâneas que se extinguiram durante o Holoceno.

Em sedimentos eólicos do Pleistoceno superior do Alentejo Litoral, descobriram-se várias icnitas da icnoespécie Proboscipeda panfamilia, atribuídas ao Palaeoloxodon antiquus.

Portugal
Os raros achados de proboscídeos no Plistocénico português reportam-se quase exclusivisamente a esta espécie. Foram identificados vestígios osteológicos desta espécie não muito longe da praia do Malhão em Santa Cruz (em Santiago do Cacém). Alguns dos achados mais recentes desta espécie na Europa têm uma idade 33600 ± 500 e foram encontrados na Bacia do rio Tejo, em Vila Velha de Ródão, correspondendo ao início da última glaciação.

Mamíferos do Pleistoceno
Mamíferos extintos de Portugal
Mamíferos extintos da Espanha
Espécies descritas em 1847

Palaeoloxodon antiquus


Pedro Samayoa es futbolista guatemalteco. Nació el 25 de julio de 1985 y se desempeña como volante creativo en el Club Deportivo Iztapa.

Historia
Nacido en la cantera del CSD Municipal, jugó a préstamo con el equipo de Mixco de la Primera División del Fútbol Guatemalteco

regreso un par de temporadas al club que lo vio nacer el CSD Municipal pero no tuvo mucha regularidad, pasando a jugar para el deportivo mictlan donde mantuvo la titularidad.

El 11 de diciembre de 2013 es contratado por Xelajú M.C. para la temporada 2014.

Clubes

Campeonatos nacionales

Futbolistas de Guatemala
Futbolistas de la selección de fútbol de Guatemala en los años 2010
Futbolistas del Club Social y Deportivo Municipal en los años 2000
Futbolistas del Club Social y Deportivo Municipal en los años 2010
Futbolistas del Deportivo Mixco
Futbolistas del Deportivo Mictlán
Futbolistas del Xelajú Mario Camposeco

Pedro Samayoa


5 beats before death er en dansk dokumentarfilm fra 2010 instrueret af Katrine Philp.

Eksterne henvisninger

Dokumentarfilm fra Danmark
Danske film fra 2010

5 beats before death


Donna Consuelo Wilkes (nascida  1958–1959)  é uma atriz americana. Ela começou sua carreira como atriz infantil em comerciais antes de fazer sua estreia no cinema em Tubarão 2 (1978). Posteriormente, ela teve um papel coadjuvante em Quase Verão (1978), seguido por papéis principais nos filmes de terror Schizoid (1980) e Blood Song (1982). Ela também apareceu em vários programas de televisão, incluindo a novela Days of Our Lives (1982-1983), retratando Pamela Prentiss. Ela interpretou Diane Alder na comédia de curta duração Hello, Larry (1979), um papel que ela reprisou em um episódio spin-off de Diff'rent Strokes.

Wilkes é talvez mais conhecida por seu papel no thriller Angel (1984), no qual ela interpretou uma estudante preparatória em Los Angeles que vive uma vida dupla como prostituta à noite. Seus outros créditos incluem o filme de terror Grotesque (1988), ao lado de Linda Blair e Tab Hunter, e papéis de estrela convidada na série Dragnet (1989) e FBI: The Untold Stories (1991).

Wilkes abandonou sua carreira de atriz no início de 1990 após o nascimento de sua filha. Ela voltou a atuar em 2013, aparecendo nos filmes independentes My Stepbrother Is a Vampire!?! e 90210 Ataque de Tubarão (2014).

Biografia

Início de vida
Wilkes nasceu em Manhattan, Nova Iorque no Harlem espanhol. Seu pai era Wayman Otis Wilkes (1918–2013), um quiroprático americano irlandês originário do Texas, enquanto sua mãe, uma cantora de boate de El Salvador, era descendente de espanhóis e franceses. Os pais de Wilkes se divorciaram quando ela tinha 3 meses. Ela foi criada falando inglês e espanhol, e é fluente em ambos.

Quando ela tinha seis anos, ela fez seu primeiro comercial, para tênis Keds. Ela treinou em atuação no Dominica American Theatre of Performing Arts, mas parou seu treinamento aos 11 anos para se tornar uma "estudante normal". Aos 12 anos, ela foi morar com seus tios na República Dominicana. Wilkes frequentou o Collegio Santo Domingo, onde era uma aluna avançada, graduando-se aos 14 anos. Aos 15 anos, ela se mudou para Los Angeles, Califórnia, mas, incapaz de trabalhar em uma idade tão jovem, convenceu muitos empregadores de que ela tinha 18 anos e era casada. Seus primeiros empregos incluíram ser operadora de computador para um serviço de ambulância e como secretária e assistente administrativa de uma grande corporação.

Início de carreira
Wilkes começou a atuar novamente aos 17 anos. Seu primeiro papel foi o papel de Jackie Peters no filme de 1978 da Universal Pictures, Jaws 2. Nesse mesmo ano, ela estrelou como Meredith em Quase Verão, que lhe rendeu um cartão do Screen Actors Guild (SAG). Por volta dos 18 anos, ela se casou com o ator Billy Gray, de 39 anos, conhecido por seu trabalho em Father Knows Best. O casamento logo terminou em divórcio.

Em 1980, Wilkes interpretou a filha mentalmente instável de um psicólogo (interpretado por Klaus Kinski ) no filme de terror Schizoid.  Ela posteriormente estrelou o filme de terror Blood Song (1982) ao lado de Frankie Avalon, interpretando uma jovem deficiente perseguida por um assassino maníaco com quem ela tem uma conexão telepática.

Angel, hiato e carreira posterior
Wilkes teve um papel central como Pamela Prentiss na novela Days of our Lives de 1983 a 1984.

Ela posteriormente ganhou atenção internacional por seu papel principal no filme cult de sexploitation Angel, no qual ela interpretou Molly "Angel" Stewart, uma estudante de honra do ensino médio durante o dia e uma prostituta à noite, ao lado de Cliff Gorman, Susan Tyrrell, Dick Shawn, e Rory Calhoun.  O filme gerou três sequências mal sucedidas nas quais Wilkes não teve envolvimento. Wilkes tinha 22 anos ou mais na época em que interpretou o personagem de 15 anos. Para se preparar para o papel, ela passou um tempo em casas de recuperação e centros de reabilitação em Los Angeles. Lançado pela New World Pictures em janeiro de 1984, Angel foi um sucesso de bilheteria, arrecadando US$ 17,5 milhões nos Estados Unidos.

Após Angel, Wilkes continuou a trabalhar na televisão, fazendo aparições nas séries Partners in Crime (1984), Hell Town (1985) e Dragnet (1989). Ela também teve um papel coadjuvante no filme de terror Grotesque (1988), co-estrelando com Linda Blair e Tab Hunter.

Wilkes abandonou sua carreira de atriz no início de 1990 depois de dar à luz sua filha. Ela voltou a atuar na década de 2010, aparecendo nos filmes independentes My Stepbrother Is a Vampire!?! (2013) e 90210 Ataque de Tubarão (2014).

Filmografia

Filme

Televisão

Referências

Fontes

Ligações externas

Norte-americanos de ascendência espanhola
Norte-americanos de ascendência irlandesa
Norte-americanos de ascendência francesa
Atrizes de cinema dos Estados Unidos

Donna Wilkes


La calle Ronda del Ferrocarril es una de las principales calles de la ciudad de Miranda de Ebro, en España. Es la calle de mayor longitud de la ciudad y actúa como una vía rápida desde el centro comercial y financiero hasta las salidas de la localidad.

Características

Tiene una anchura aproximada de entre 25 y 30 metros, en función del tramo, y una longitud de casi tres kilómetros. Comienza su recorrido en glorieta que conecta la carretera BU-735 y el barrio de San Juan, y se dirige en dirección noreste hacia el centro neurálgico de la ciudad. Tras atravesarlo, finaliza en otra glorieta con la calle Logroño. Se una vía de doble calzada con dos carriles cada una, a excepxión de un pequeño tramo en su inicio. Se trata de la calle que canaliza el tráfico de manera más rápida por el centro de la ciudad.

A la calle se asoman en su mayoría edificios residenciales, aunque también se sitúan en ella numerosos equipamientos como la estación de ferrocarril, la estación de autobuses, el Centro Cívico Raimundo Porres, así como dos parques: el de Antonio Machado y el de Emiliano Bajo.

Entre los elementos ornamentales de la calle, destaca:
 Monumento a la Libertad.
 Máquina de Vapor.
 Monumento a los Sanjuaneros.
 Monumento Vivir Miranda (escultura M).

Referencias

Véase también
 Urbanismo de Miranda de Ebro

Calles de Miranda de Ebro

Ronda del Ferrocarril


Uvariopsis dicaprio est une espèce d'arbre de la famille des Annonaceae. Elle est originaire du Cameroun (en Afrique). Cette espèce a été décrite pour la première fois en l'an 2022.

Étymologie
Cette espèce a été nommée par les scientifiques du jardin botanique britannique de Kew qui ont mis à l'honneur l'acteur Leonardo DiCaprio qui s'est engagé en 2020 pour la préservation de la forêt tropicale où cet arbre a été découvert.

Description
Uvariopsis dicaprio est un petit arbre de 4 mètres de haut.

Ses feuilles sont persistantes.

Ses fleurs sont grandes, jaune-verdâtre, groupées et sont directement placées sur le tronc.

Habitat et écologie
Uvariopsis dicaprio est originaire du Cameroun (en Afrique) et plus précisément, il a été trouvé dans la forêt d'Ebo (au Nord de Douala).

Les études menées semblent indiquer que cette espèce est en danger critique d'extinction étant donné que seulement une cinquantaine d'arbres de cette espèces ont été trouvés et étant donné que la forêt où se situe Uvariopsis dicaprio est menacée par les diverses exploitations humaines comme les exploitations forestières et minières mais également par la conversion d'une partie de cette forêt en terre de plantations.

Articles connexes
 Plante
 Magnoliophyta (Angiospermes)
 Annonaceae
 Uvariopsis
 Espèce en danger critique
 Afrique
 Cameroun
 Forêt tropicale
 Leonardo DiCaprio

Notes et références

Annonaceae
Espèce de Dicotylédones (nom scientifique)

Uvariopsis dicaprio