Men Are from Mars, Women Are from Venus (1992) is a book written by American author and relationship counselor John Gray. The book states that most common relationship problems between men and women are a result of fundamental psychological differences between the sexes, which the author exemplifies by means of its eponymous metaphor: that men and women are from distinct planets—men from Mars and women from Venus—and that each sex is acclimated to its own planet's society and customs, but not to those of the other. One example is men's complaint that if they offer solutions to problems that women bring up in conversation, the women are not necessarily interested in solving those problems, but mainly want to talk about them. The book asserts each sex can be understood in terms of distinct ways they respond to stress and stressful situations.

The book has sold more than 15 million copies and, according to a CNN report, it was the "highest ranked work of non-fiction" of the 1990s, spending 121 weeks on the bestseller list. The book and its central metaphor have become a part of popular culture and the foundation for the author's subsequent books, recordings, seminars, theme vacations, one-man Broadway show, TV sitcom, workout videos, a podcast, men's and ladies' apparel lines, fragrances, travel guides and his-and-hers salad dressings.

Summary of results
Gray writes how men and women each monitor the amount of give and take in relationships. If the balance shifts, one person feeling they have given more than they have received, resentment can develop. This is a time when only communication can help to bring the relationship back into balance.

Gray further asserts men and women view giving and receiving love differently, how individual actions intended as loving expressions are "tallied up." According to Gray, women and men are often surprised to find their partners "keep score" at all, or that their scoring methods widely differ.

He says women use a points system which few men are aware of. Each individual act of love gets one point, regardless of magnitude. Men, on the other hand, assign small acts, small expenditures, fewer points. Larger blocks of points (20, 30, 40 points, etc.) go to what they consider bigger expenditures. To a woman, the emotional stroke delivered by sincere attention is inseparable from the act. The different perception of expenditure can lead to conflict when the man thinks his work has earned him, say, 20 points and deserves corresponding recognition, while the woman has assigned him only 1 point and recognizes him accordingly. The man tends to think he can do one Big Thing for her (scoring 50 points) and not do much else, assuming he has "banked" points and can afford to "coast." The woman should be satisfied with his performance and give him credit for it. Instead, the woman would rather have many little things done for her on a regular basis, because women like to think their men are thinking of them and care for them more constantly. Gray clarifies how these two perceptions of "strokes" cause conflict. He encourages talking about these issues openly.

Another major idea put forth in Gray's book regards the difference in the way the genders react to stress. Gray states that when male tolerance to stressful situations is exceeded, they withdraw temporarily, "retreating into their cave", so to speak. Often, they literally retreat: for example, to the garage, or to go spend time with friends. In their "caves", Gray writes, men are not necessarily focused on the problem at hand. Yet this "time-out" lets them distance themselves from the problem and relax, allowing them to re-examine the problem later from a fresh perspective.

Gray holds that male retreat into the cave has historically been hard for women to understand. When women become unduly stressed, their natural reaction is to talk with someone close about it (even if talking doesn't provide a solution to the problem at hand). This sets up a natural dynamic where the man retreats as the woman tries to get closer, which becomes a major source of conflict between them.

The "wave" is a term Gray uses to describe a natural dynamic centered around a woman's ability to give to other people. He writes when she feels full of love and energy to give to others, her wave is stable. When she gives of herself, but doesn't receive adequate love and attention in return, her wave becomes unbalanced, cresting and eventually crashing. Then, a woman needs the attention, listening, understanding, and reassurance of those around her—as well as self-love. Gray explains that once she is rejuvenated by getting the support she needs, her wave is able to build and rise once again, with renewed love and energy to give. Men, advises Gray, should support this natural cycle by not being threatened by it or telling her why she should not feel the way a woman feels.

Reception

Popularity
The book has sold more than 15 million copies and, according to a CNN report, it was the "highest ranked work of non-fiction" of the 1990s.

The book has become a "popular paradigm" for problems in relationships based on the different tendencies in each gender and has spawned infomercials, audiotapes and videotapes, weekend seminars, theme vacations, a one-man Broadway show, a TV sitcom, and a proposed movie topic with 20th Century Fox. The book has been turned into a successful stage show in France in 2006, where it has been running for six years in Paris. In 2012, an English version went on tour in the UK.

Criticism of the book
The book has been criticized for placing human psychology into stereotypes.

Michael Kimmel, a professor of sociology at Stony Brook University, makes the assertion that men and women are not fundamentally different, contrary to what Gray suggests in his book. In Kimmel's 2008 lecture at Middlebury College in Vermont, titled "Venus, Mars, or Planet Earth? Women and Men in a New Millennium", Kimmel contends that the perceived differences between men and women are ultimately a social construction, and that socially and politically, men and women want the same things.

In 2002, author Julia T. Wood published a critical response to the portrayal of the genders in Men Are from Mars, Women Are from Venus. In the first chapter of the 2003 book, The Essential Difference, Simon Baron-Cohen states: "the view that men are from Mars and women Venus paints the differences between the two sexes as too extreme. The two sexes are different, but are not so different that we cannot understand each other." In 2004, Erina MacGeorge, a Purdue University communications professor, said that based on research she conducted using questionnaires and interviews, men and women are not so different and "books like John Gray's Men are From Mars and Women are From Venus and Deborah Tannen's You Just Don't Understand tell men that being masculine means dismissing feelings and downplaying problems (which many men themselves that read the book disagree with). That isn't what most men do, and it isn't good for either men or women."

A study by Bobbi Carothers and Harry Reis involving over 13,000 individuals found that on most psychological characteristics or tendencies, including the Big Five personality traits as well as sex-related questions like rating level of desire for casual sex, there was not a taxonomic difference between men and women on the vast majority of personality traits and preferences. Despite there being differences in averages by gender, the distributions overlapped so much that a taxonomic distinction was not meaningful.  "Thus, contrary to the assertions of pop psychology titles like Men Are From Mars, Women Are From Venus, it is untrue that men and women think about their relationships in qualitatively different ways."  There were notable taxonomic differences on physical attributes and measurements of physical strength.

See also
 Gender essentialism
 Relationship counseling
 Sex and psychology
 The Myth Of Mars And Venus: Do Men and Women Really Speak Different Languages?

References

Further reading

External links
 Men are from Mars, Women are from Venus
 Men are from Mars, Women are from Venus at WikiSummaries

1992 non-fiction books
Popular psychology
Self-help books
Gender studies books
HarperCollins books
Sex differences in psychology
1992 neologisms

Men Are from Mars, Women Are from Venus


Rocaille (pronunție românească [rocai], pronunție franceză [ʁɔkɑj]) este un stil francez de ornamentare exuberantă, cu o abundență de curbe, controcurbe, ondulații, volute și elemente modelate pe natură, care au apărut pe mobilă și în decorul interior în timpul domniei timpurii a lui Ludovic al XV-lea al Franței. A fost o reacție împotriva greutății și formalității stilului Ludovic al XIV-lea (cunoscut și ca baroc francez). A început în jurul anului 1710, a atins apogeul în anii 1730 și a luat sfârșit la sfârșitul anilor 1750, fiind înlocuit de neoclasicism. A fost începutul mișcării baroce franceze în mobilă și design și a marcat, de asemenea, începutul mișcării rococo, care s-a răspândit în Italia, Bavaria și Austria până la mijlocul secolului al XVIII-lea.

Prezentare generală
Rocailleul a fost exuberant și inspirat de natură la fel cum a fost și rococoul, dar, spre deosebire de rococo, era de obicei simetric și nu era supraîncărcat cu ornamente. Și-a luat numele din amestecul de piatră, scoici și tencuială care au fost folosite pentru crearea unui efect pitoresc în grote în timpul Renașterii și din numele unui ornament în formă de scoică sau cochilie, care e o caracteristică frecventă a ornamentației rocaille. În 1736, designerul și bijutierul Jean Mondon a publicat Premier Livre: De forme Rocquaille et Cartel, o colecție de designuri pentru ornamente de mobilă și decorațiuni interioare. A fost prima apariție tipărită în care termenul rocaille a fost folosit ca să desemneze stilul.

Stilul a fost folosit în special în saloane, un stil nou de cameră conceput ca să impresioneze și să distreze oaspeții. Cel mai proeminent exemplu e salonul prințesei din Hôtel de Soubise din Paris, proiectat de Germain Boffrand și Charles-Joseph Natoire (1735–40). Caracteristicile rococoului francez includ o artă excepțională, în special în cadrul complex realizat pentru oglinzi și picturi, care au sculptat în tencuială și sunt adesea aurite; curbe sinuoase și contracure și folosirea formelor vegetale (viță de vie, frunze, flori) împletite în modele complexe. Printre cei mai importanți designeri de mobilă din stilul ăsta s-au numărat Juste-Aurele Meissonier și Charles Cressent, alături de meșterul în lemn Nicolas Pineau.

Mobila
Ornamentarea rocaille a fost puternic încărcată cu forme modelate pe scoici, cascade de frunze și flori, frunze de palmier și alte elemente naturale. Decorul de pe pereți și mobilier era de obicei realizat din lemn sculptat sau tencuială aurită. Designerul francez Bernard Toro a produs în 1716 o carte de modele rocaille timpurii, care a fost larg răspândită în Europa. Primul meșter major în stilul ăsta a fost Juste-Aurèle Meissonnier, urmat de Jean Bérain cel Bătrân, Gilles-Marie Oppenordt, Nicolas Pineau și sculptorii-modelatori Thomas Germain, Jacques Caffieri și germanul Jean-Claude Duplessis.

Printre maeștrii fabricanți de mobilă rocaille e și Mathieu Criaerd (1689–1776), care a devenit maestru în 1738. El era cunoscut în special atât pentru marchetarea sau incrustările sale fine, cât și pentru cuferele sale cu teme chineze sau japoneze, cu panouri lăcuite chinezești și ornamente din bronz aurit și sculptat.

O altă figură importantă a rocailleului a fost meșterul de mobilă Charles Cressent (1685–1768), care a fost maestru meșter atât în breasla sculptorilor în lemn, cât și a sculptorilor de ornamente din bronz, o realizare rar câștigată, respectiv, în 1708 și 1714. Cressent a realizat mobilă nu numai pentru Ludovic al XV-lea, dar și pentru regele Portugaliei și pentru Principele Elector al Bavariei. E cunoscut mai ales pentru comode, dulapuri și birouri, care erau adesea încrustate cu lemn de trandafir și de violetă, și dotate cu ornamente rocaille deosebit de fine din bronz aurit, inclusiv putti amestecați cu păsări și cascade de vegetație. El a introdus mai multe inovații stilistice, inclusiv spagnolettes à aigrette, mici busturi de femei tinere, aplicate pe colțurile comodei și birourilor sale. Tipul ăsta de ornament a devenit o decorație obișnuită folosită de alți maeștri ai rocailleului.

Alți meșteșugari notabili ai mobilei au inclus membrii familiei Cresson, Louis Cresson (1706–1761), Rene Cresson (1705–49) și Michel Cresson (1709–81), toți furnizând scaune, dulapuri, comode și alte mobile lucrate excepțional pentru reședințele regale. Copiii lor au devenit, de asemenea, lucrători în mobilă în timpul domniei lui Ludovic al XVI-lea.

Lucrăturile în lemn și decorarea interioarelor
Ornamentare rocaille e obișnuită pe panourile de perete din lemn și alte decorațiuni interioare între 1730 și 1750. Garnitura e realizată de obicei din lemn sculptat și aurit sau stuc pe un fundal alb. Panourile în rame au adesea picturi decorative, de obicei cu arabescuri sau modele florale colorate, și adesea prezentau animale sau subiecte exotice, amplasate în China, Japonia sau Turcia.

Argintul, porțelanul și lucrăturile în metal
Pe lângă folosirea sa în mobilier, stilul a apărut și în porțelan și metal. În 1738, Manufacture de Vincennes a fost fondată datorită sprijinului lui Ludovic al XV-lea și al Marchizei de Pompadour, ca să concureze cu fabricile de la Chantilly și Meissen. În 1756, fabrica s-a mutată într-o clădire din Sèvres, construită la inițiativa Marchizei de Pompadour, lângă château-ulei.

Cea mai remarcabilă lucrare metalică rocaille sunt gardurile și porțile din fontă și aurite create de producătorul de fier Jean Lamour pentru noua Place Stanislas din Nancy între 1750 și 1758, pentru că Ducatul Lorena era atașat Franței. Piața a fost completată cu un ansamblu de clădiri ale căror balcoane și lămpi suspendate se potriveau cu grătarul gardului și porților.

Influență și declin
Rocailleul a influențat stilul Chippendale din Anglia și opera artistului decorativ bavarez de origine belgiană François de Cuvilliés. Stilul a devenit, de asemenea, foarte popular pentru o vreme în Italia, în special în Veneția, și s-a răspândit în Austria, Bavaria și Spania, unde a luat o formă mai exuberantă și supraîncărcată.

Descoperirea antichităților grecești începând din 1738 la Herculaneum și mai ales la Pompeii în 1748 a transformat arhitectura franceză în direcția neoclasicismului mai simetric și mai puțin flamboiant și a stilului Ludovic al XV-lea. Mobila și ornmantele au devenit mai geometrice; picioarele mobilei au devenit drepte, asemănătoare coloanelor romane sau grecești, iar sculptura ornamentală de pe exteriorul mobiliei a fost înlocuită din ce în ce mai mult cu încrustări fine din lemn multicolor.

Note și citări

Bibliografie

Legături externe

Arte decorative
Arta secolului al XVIII-lea
Epoca modernă timpurie
Genuri artistice
Mișcări artistice în Europa
Mișcări și genuri artistice
Secolul al XVIII-lea în arte

Rocaille


Winning Time: The Rise of the Lakers Dynasty é uma série televisiva de drama esportivo americana criada por Max Borenstein e Jim Hecht para a HBO, baseada no livro Showtime: Magic, Kareem, Riley, and the Los Angeles Lakers Dynasty of the 1980s por Jeff Pearlman . A primeira temporada narra a era Showtime dos anos 80 do time de basquete Los Angeles Lakers, apresentando as notáveis estrelas da NBA Magic Johnson e Kareem Abdul-Jabbar . Apresenta um elenco liderado por John C. Reilly, Jason Clarke, Gaby Hoffmann, Rob Morgan e Adrien Brody . A série estreou em 6 de março de 2022, com o episódio piloto dirigido por Adam McKay . Em 6 de agosto de 2023 estreou a segunda temporada

Sinopse
A série narra a vida profissional e pessoal do time de basquete Los Angeles Lakers da década de 1980, dentro e fora da quadra.

Elenco

Principal
 John C. Reilly como Jerry Buss
 Quincy Isaiah como Magic Johnson
 Jason Clarke como Jerry West
 Adrien Brody como Pat Riley
 Gaby Hoffmann como Claire Rothman
 Tracy Letts como Jack McKinney
 Jason Segel como Paul Westhead
 Julianne Nicholson como Cranny McKinney
 Hadley Robinson como Jeanie Buss
 DeVaughn Nixon como Norm Nixon
 Solomon Hughes como Kareem Abdul-Jabbar
 Tamera Tomakili como Earletha "Cookie" Kelly
 Brett Cullen como Bill Sharman
 Stephen Adly Guirgis como Frank Miriani
 Spencer Garrett como Chick Hearn
 Sarah Ramos como Cheryl Pistono
 Molly Gordon como Linda Zafrani
 Joey Brooks como Lon Rosen
 Delante Desouza como Michael Cooper
 Jimel Atkins como Jamaal Wilkes
 Austin Aaron como Mark Landsberger
 Jon Young como Brad Holanda
 Rob Morgan como Earvin Johnson Sr.
 Sally Field como Jessie Buss

Recorrentes

 Michael Chiklis como Red Auerbach
 LisaGay Hamilton como Christine Johnson
 Michael O'Keefe como Jack Kent Cooke
 Kate Arrington como JoAnn Mueller
 Sean Patrick Small como Larry Bird
 David Purdham como Larry O'Brien
 Kirk Bovill como Donald Sterling
 Rickey Eugene Brown como Quincy Johnson
 Darone Okolie como Larry Johnson
 Andy Hirsch como David Stern
 Lola Kirke como Karen West
 Rachel Hilson como Cindy Day, namorada de Magic Johnson
 Carter Redwood como Brian
 Lucy Walters como Beverly
 Gillian Jacobs como Chris Riley
 Rory Cochrane como Jerry Tarkanian
 Danny Burstein como Vic Weiss
 Ta'Nika Gibson como Debbie Allen
 Terence Davis como Adrian Dantley
 Rodney Barnes como Maurício
 Nell Sherman como Maude
 Newton Mayenge como Jim Chones
 Wood Harris como Spencer Haywood
 Edwin Hodge como Ron Boone
 Ja'Quan Cole como Ron Carter
 Jynediah Gittens como Kenny Carr
 Michael AG Scott como Butch Lee
 Mike Epps como Richard Pryor
 Max E. Williams como Jack Nicholson
 Carina Conti como Paula Abdul
 Mariama Diallo como Iman

Produção

Desenvolvimento
Em 20 de abril de 2014, o roteirista da Era do Gelo 2, Jim Hecht, cruzou os EUA até a casa do roteirista esportivo Jeff Pearlman. Ele propôs uma adaptação do best-seller de Pearlman, Showtime: Magic, Kareem, Riley and the Los Angeles Lakers Dynasty, no estilo de Friday Night Lights. De acordo com o The Hollywood Reporter, Hecht trouxe a Pearlman uma garrafa de vinho sem álcool, uma barra de chocolate e um tomate como oferta para convencer Pearlman a vender os direitos do livro para ele. "Eu não tinha dinheiro, então, se ele dissesse 'US$ 30.000', eu estaria ferrado", lembrou Hecht. Pearlman, que havia oferecido vários de seus livros e "nada acontecia", concordou em deixar Hecht comprar seu livro por um ano. Em 2015, o produtor Kevin Messick convenceu Adam McKay a dirigir o piloto e produzir a série.

Em abril de 2019, a HBO encomendou um piloto da série, que foi escrita por Max Borenstein com uma história de Borenstein e Hecht. A série foi inicialmente referida pelo título de trabalho "Showtime''', em referência ao livro de Pearlman e a era Lakers que a inspirou. Naquele verão, a série foi descrita como sem título, com o executivo da HBO Casey Bloys reconhecendo mais tarde que o título causaria confusão no mercado, por ser o mesmo nome da concorrente de TV e streaming da HBO, o canal Showtime . Em dezembro, a HBO oficialmente deu sinal verde para a produção da série. Em 8 de dezembro de 2021, a HBO anunciou que a série seria intitulada Winning Time: The Rise of the Lakers Dynasty (Lakers: Hora de Vencer, no Brasil) ; de acordo com Bloys, "Winning Time" é uma frase que já estava associada a Magic Johnson.

Durante o desenvolvimento do projeto, os colaboradores McKay e Will Ferrell deixaram de ser amigos, devido à decisão de McKay de escalar John C. Reilly sem que Ferrel soubesse. Em 7 de abril de 2022, a HBO renovou a série para uma segunda temporada.

 Escalação
Francine Maisler é a diretora de elenco do programa. Em agosto de 2019, Jason Clarke e Michael Shannon foram escalados para interpretar Jerry West e Jerry Buss, respectivamente. No entanto, no mês seguinte, Shannon sairia devido a diferenças criativas, fazendo com que John C. Reilly. assumisse o papel de Buss. Shannon supostamente não gostou do formato de quebra da quarta parede do show e achou difícil trabalhar com ele. Quincy Isaiah e Solomon Hughes também foram escalados para interpretar Magic Johnson e Kareem Abdul Jabbar após uma longa pesquisa de elenco. DeVaughn Nixon foi adicionado ao elenco para retratar Norm Nixon, seu pai na vida real.

Por volta de março de 2021, foram escalados Adrien Brody, Sally Field, Michael Chiklis, Bo Burnham, Jason Segel, Sarah Ramos, Brett Cullen e Lola Kirke . Em maio de 2021, Rory Cochrane, Danny Burstein, Austin Aaron, Ta'Nika Gibson, Edwin Hodge, Terence Davis e Ja'Quan Cole se juntaram ao elenco. Em junho de 2021 foi a vez de Mike Epps, Max E. Williams, Carina Conti e Mariama Diallo se juntarem ao elenco. Em agosto de 2021, Burnham saiu do projeto devido a conflitos de agenda, enquanto Sean Patrick Small, Rachel Hilson, Olli Haaskivi, Newton Mayenge e Jon Young se juntaram ao elenco, com Small substituindo Burnham.

 Filmagens
As filmagens começaram em Los Angeles em 12 de abril de 2021 e foram concluídas em 31 de outubro.

 Lançamento
Junto com o anúncio do título em dezembro de 2021, a HBO anunciou que a série estrearia em março de 2022, com a data de estreia posteriormente marcada para domingo, 6 de março, com a tradicional exibição semanal dos episódios subsequentes, concluindo a temporada em 8 de maio de 2022.

 Recepção
 Resposta da Crítica
No site agregador de críticas Rotten Tomatoes, a série possui 82% de aprovação com base em 51 críticas, com uma classificação média de 7,7/10. O consenso dos críticos do site diz: "Alegremente excessivo em forma e função, Winning Time'' combina uma lista gigante de personagens com estilo whiplash para entregar um slam dunk absoluto".  No Metacritic, a série tem uma pontuação de 69 em 100, com base em 23 críticas, indicando "críticas geralmente favoráveis".

Referências

Ligações externas
 Lakers: Hora de Vencer na HBOMax

Séries de televisão ambientadas em Los Angeles
Séries de televisão ambientadas na década de 1980
Los Angeles Lakers
Programas da HBO
Programas de televisão dos Estados Unidos que estrearam em 2022


Lovedrive Tour es la sexta gira mundial de conciertos de la banda alemana de hard rock y heavy metal Scorpions, en promoción al álbum Lovedrive de 1979. Comenzó el 17 de febrero de 1979 en el recinto Paradiso de Ámsterdam en los Países Bajos y culminó el 7 de diciembre del mismo año en el Performing Arts Center de Providence (Rhode Island) en los Estados Unidos. Gracias a la extensa gira, les permitió tocar por primera vez en los Estados Unidos y en Austria.

Antecedentes

Durante el segundo semestre de 1978, el guitarrista Michael Schenker anunció su regreso a Scorpions luego de haber renunciado al grupo inglés UFO. Por aquel mismo tiempo la banda inició las grabaciones de Lovedrive, donde el menor de los Schenker grabó la guitarra líder en las canciones «Another Piece of Meat», «Lovedrive» y en la instrumental «Coast to Coast». La expectación de ver de nuevo en vivo a Michael junto a Scorpions, aumentó la venta de entradas de las primeras presentaciones de la gira. Sin embargo, su paso dentro de la serie de conciertos solo duró hasta el 20 de mayo, ya que luego del concierto dado en Londres se retiró afirmando que no se sentía cómodo tocando canciones de otros, hecho que posteriormente lo llevó a fundar su propia agrupación en 1980.

Para suplantar su puesto la banda llamó a Matthias Jabs, que ya había colaborado con ellos como guitarrista líder en las canciones restantes de Lovedrive. El joven músico conocido en la escena alemana por haber sido el guitarrista de bandas como Lady y Fargo, tuvo que aprender los acordes de todas las canciones de la gira en tan solo diez días, antes de la presentación en Nagoya dada el 3 de junio.

Luego de presentarse en Japón durante los primeros días de junio, la banda se embarcó en su primera visita por los Estados Unidos, cuya primera presentación se llevó a cabo el 28 de julio en el marco del festival World Series of Rock en Cleveland, donde también participaron AC/DC, Aerosmith, Ted Nugent, Journey y Thin Lizzy. Para aquel concierto la banda fue contratada por tan solo treinta minutos, pero tocaron más de cuarenta y cinco, siendo aplaudidos por el público y también por sus pares. Tras ello dieron un par de conciertos como apoyo a AC/DC y Ted Nugent, y compartieron escenario en otros shows con Sammy Hagar, Pat Travers y Blackfoot. Debido a su exitoso paso por el país norteamericano, en noviembre fueron nuevamente contratados para dar una serie de shows junto a Sammy Hagar, donde en algunas noches cerraban ellos y en otras cerraba el vocalista estadounidense. Ya a principios de diciembre abrieron los conciertos de Rainbow y Aerosmith, que además fueron las últimas fechas de la gira.

Lista de canciones

A lo largo de la extensa gira Scorpions interpretó varios listados de canciones, que incluían menos o más canciones dependiendo de donde tocaban, como por ejemplo y durante la estadía de Michael Schenker, interpretaron «Doctor Doctor» y «Lipstick Traces», canciones de UFO coescritas por él. A continuación el listado de canciones interpretado por la banda en el Nippon Budokan en Tokio, Japón y en el Memorial Hall en Kansas City (Kansas).

Fechas

Músicos

 Klaus Meine: voz
 Rudolf Schenker: guitarra rítmica y coros
 Matthias Jabs: guitarra líder (desde el 3 de junio hasta el 7 de diciembre)
 Michael Schenker: guitarra líder (desde el 17 de febrero al 20 de mayo)
 Francis Buchholz: bajo
 Herman Rarebell: batería

Referencias

Giras musicales de Scorpions
Giras musicales de 1979

Lovedrive Tour


Benjamin-Joseph Logre, né le  à Lisieux et mort le  à Antibes, est un médecin et psychiatre français.

Biographie

Élève d'Ernest Dupré à qui il consacrera une étude, il obtient son doctorat en médecine en 1913 avec la thèse Les Œdèmes infectieux du poumon puis devient chef de clinique psychiatrique à la faculté de médecine de Paris. Collaborateur des quotidiens Le Temps et Le Monde, il est célèbre pour avoir été le médecin de Raymond Roussel.

En 1927, il est le psychiatre qui diagnostique des « troubles psychiques polymorphes. Dépression, tristesse, inquiétude. Phases d'anxiété avec peur… » chez Léona Delcourt (la Nadja d'André Breton) qu'il envoie à l'hôpital Sainte-Anne. Le médecin-chef de Sainte-Anne confirme alors son diagnostic.

Jacques Lacan en 1933, lors du procès des sœurs Papin qui a pris une tournure politique, les partisans de l'ordre espérant une condamnation à mort et l'assassinat de la patronne des deux domestiques étant vu comme l'expression d'une révolte de classe, intervient pour appuyer son collègue le  Benjamin-Joseph Logre et les journalistes Jean et Jérôme Tharaud dans leur contestation des trois experts qui ont conclu à la responsabilité pénale.

En 1936, il est le premier à décrire le syndrome d'Elpénor. Dans un article publié dans Le Monde du 1-3 mai 1948, il rapporte le cas de Paul Deschanel qui avait absorbé une forte dose de barbituriques et dont les symptômes illustrent le syndrome d'Elpénor.

Il reçoit en 1947 le prix Jules-Janin de l'Académie française pour son étude L'anxiété de Lucrèce

Publications

 Les Œdèmes infectieux du poumon (1913)
 Les anxieux, étude clinique (1917)
 Le Professeur E. Dupré. 1862-1921. Son œuvre psychiatrique (1921)
 Les toxicomanies (1924)
 L'anxiété de Lucrèce (1946)
 Psychiatrie clinique (1961)

Notes et références

Bibliographie

Liens externes

Médecin français du XXe siècle
Psychiatre français
Naissance en février 1883
Naissance à Lisieux
Décès en mars 1963
Décès à Antibes
Décès à 80 ans

Benjamin-Joseph Logre


Looking Glass est un groupe américain de pop rock du début des années 1970 qui fait partie du Jersey Shore Sound. Leur titre Brandy (You're a Fine Girl) de 1972 se classe à la première place du Billboard Hot 100 et du Cash Box Top 100, restant en position une semaine entière.

Histoire
Le groupe est formé en 1969 à l'université Rutgers à New Brunswick au New Jersey. La toute première version du groupe se sépare à la sortie de l'université, mais les deux membres originels Elliot Lurie et Larry Gonsky recrutent deux nouveau membres, créant ainsi le groupe : Elliot Lurie à la guitare et au chant, Jeff Grob à la batterie, Larry Gonsky au piano et au chant et Pieter Sweval à la basse et au chant.

Le groupe se classe à la première place du top de la semaine du 26 août 1972 avec Brandy (You're a Fine Girl), écrit par Elliot Lurie.

Le guitariste Brendan Harkin rejoint le groupe au début de l'année 1974, et Elliot le quitte pour poursuivre une carrière solo. Il est remplacé par Michael Lee Smith, un chanteur de Géorgie. Plus tard la même année le groupe change de nom pour Fallen Angels. Après que le guitariste Richie Ranno rejoint le groupe en septembre 1974, le claviste Larry Gonsky quitte le groupe puis le groupe change à nouveau de nom pour devenir les Starz.

Pieter Sweval décède le 23 janvier 1990.

En 2003, Elliot Lurie reconstitue le groupe avec de nouveaux musiciens.

 Albums
 1972 : Looking Glass 1973 : Subway Serenade''

Références

Liens externes

Groupe américain de pop
Groupe musical du New Jersey
Étudiant de l'université Rutgers
Artiste d'Epic Records

Looking Glass (groupe)


The King Edward VII class was a class of eight pre-dreadnought battleships launched by the Royal Navy between 1903 and 1905. The class comprised , the lead ship, , , , , , , and . They marked the first major development of the basic pre-dreadnought type that had been developed with the  type of the mid-1890s, all of which had been designed by the Director of Naval Construction, William Henry White, with the primary innovation being the adoption of a heavy secondary battery of four  guns to supplement the standard main battery of four  guns. The King Edward VIIs were among the last pre-dreadnoughts built for the Royal Navy before the construction and launch of the revolutionary battleship HMS Dreadnought in 1906, which immediately rendered them obsolescent.

The ships served with the Atlantic Fleet from 1905 to 1907, when they were transferred to the Channel Fleet, though this service lasted only until 1908–1909, when they were reassigned to the Home Fleet. During this period, King Edward VII served as fleet flagship as a result of a request from her namesake that she always serve as such. Africa and Hibernia were involved with experiments with seaplanes in 1912, and that year all members of the class were assigned to the 3rd Battle Squadron of the Home Fleet and were later sent to the Mediterranean Sea to respond to the First Balkan War.

By the outbreak of the First World War in August 1914, the King Edward VIIs were sent to the Grand Fleet to support the Northern Patrol and to conduct sweeps in the North Sea for German warships, though they never saw combat. In January 1916, King Edward VII struck a German naval mine and sank, though her crew was safely evacuated. By mid-1916, the surviving ships were no longer suitable for front-line fleet service, and so they were dispersed to other tasks, including coastal defence with the Nore Command and for operations in the Gallipoli Campaign. Africa was sent to the Atlantic Patrol in 1917 and was later stricken with Spanish flu, and Britannia was torpedoed and sunk by a German U-boat two days before the end of the war, one of the last British warships to be sunk in the conflict. The surviving members of the class were all sold for scrap in the early 1920s.

Design

Design work on what would become the King Edward VII class began in 1901; the Royal Navy had observed that foreign battleships, such as the Italian  and the American , had begun to carry a heavy secondary battery of  guns. The design staff, operating without the direction of the Director of Naval Construction, William Henry White, who was ill at the time, began a series of studies for a battleship based on the preceding  armed with a secondary battery of  or  guns. The Assistant DNC, J. H. Narbeth, initially had a great deal of trouble arranging the guns such that the secondary turrets did not interfere with the main battery guns. After examining the directly superimposed turrets used in the Virginias, Narbeth concluded that it was not a workable solution, and so adopted an arrangement with four secondary turrets, one at each corner of the superstructure.

The Admiralty provisionally accepted a draft equipped with eight 7.5 in guns in twin gun turrets, but after White returned, he suggested the 9.2 in guns would be more effective against heavily armoured ships, and so the decision was made to switch to that armament. The heavy secondary guns added a great deal of weight high in the ship and they took up space on the deck, thus forcing the designers to make compromises to other aspects of the vessels, particularly the rest of the secondary battery. These guns, traditionally carried in casemates, were relocated to a central box battery, since it would require less armour to protect the guns in such a compact arrangement. They were also mounted lower relative to the waterline, owing to the decreased freeboard; this rendered the guns essentially unusable in anything but relatively calm seas. Combined with a higher metacentric height, the low freeboard of the King Edward VIIs made them prone to shipping water in heavy seas and excessive rolling.

Despite the problems with their secondary armament, the ships were significantly more powerful than earlier British battleships and they compared well with foreign contemporaries. They nevertheless suffered the same fate as all late pre-dreadnought battleships. Completed shortly before the advent of the all-big-gun  in 1906, they were quickly rendered obsolescent, such that during the First World War, the King Edward VII-class ships were frequently deployed at the front of the dreadnought battle squadrons to screen them for naval mines, either by sighting or striking them before the dreadnoughts entered the area.

The King Edward VII class was the culmination of battleship design under the direction of White that had begun with the  in the late 1880s. The follow-on class, the two s, were a major departure from previous designs and marked a transitional stage between pre-dreadnought and dreadnought-type battleships.

General characteristics

The ships of the King Edward VII class were  long between perpendiculars and  long overall. They had a beam of  and a draft of . The King Edward VII-class ships were more than a thousand tons heavier than earlier battleships displacing  normally and up to  fully loaded. The ships had  of freeboard forward,  amidships, and  aft. To save weight, the ships had their storage for food and other supplies reduced from a 4-month supply that was standard in previous designs to 3 months. Their crew varied over the course of their careers, ranging from 755 to 815; for example, after entering service,  had a crew of 777 officers and ratings; crews tended to increase during wartime.

King Edward VII and her sister ships discarded the aft conning tower that was standard practice in favour of a torpedo control tower that directed the firing of the stern torpedo tubes. The ships were fitted with two heavy pole masts; their foremasts were equipped with tops used to mount wireless telegraphy and fire control equipment. , , Dominion, , and  carried large, oval tops for most of their equipment and a smaller top below, while , , and  had smaller, square tops, with two small tops lower on the masts.

The King Edward VIIs were the first British battleships with balanced rudders since the 1870s and were very manoeuvrable, with a tactical diameter of  at . However, they were difficult to keep on a straight course, and this characteristic led to them being nicknamed "the Wobbly Eight" during their 1914–1916 service in the Grand Fleet. They had a slightly faster roll than previous British battleship classes, but were good gun platforms, although very wet in bad weather.

Machinery
The King Edward VII-class ships were powered by a pair of 4-cylinder triple-expansion engines that drove two inward-turning screws, with steam provided by water-tube or fire-tube boilers of various types. King Edward VII had ten Babcock & Wilcox boilers and six Scotch marine boilers, while Africa, Britannia, Hindustan, and Hibernia received eighteen Babcock & Wilcox boilers and three cylindrical return tube boilers. New Zealand used eighteen Niclausse boilers and three of the cylindrical return tube boilers, and Dominion and Commonwealth had sixteen of the Babcock & Wilcox boilers only. The reason multiple boiler arrangements were adopted was to compare the effectiveness of different boiler types. In service, the ships with mixed boiler types proved to be something of a disappointment, since the differing boiler types added complications to the powerplant and hampered efficient operation; they produced no benefit in return, and the experiments were not repeated in subsequent designs. The boilers were trunked into two funnels located amidships. Primarily powered by coal, all of the class except New Zealand had oil sprayers installed during construction, the first time this had been done in British battleships. These allowed steam pressure to be rapidly increased, improving the acceleration of the ships; this ability later led to the decision to adopt all oil-fired boilers in the  super-dreadnoughts. New Zealands Niclausse boilers could not be adapted to use the oil sprayers.

The King Edward VII-class ships had a top speed of  from , though some of the ships exceeded  on speed trials, including Dominion and Hindustan. Using only coal, the ships had a cruising radius of about  at an economical speed of , and with the supplemental fuel oil, their range increased to .

Armament

The King Edward VIIs had four 12-inch 40-calibre Mk IX guns mounted in twin-gun turrets fore and aft. The guns were carried in BVIIS-type mountings, which had a range of elevation from -5 degrees to of 13.5 degrees, and required the guns to return to 4.5 degrees to be loaded. The guns had a muzzle velocity of , and they were capable of penetrating 12 inches of Krupp armour at a range of . At their maximum elevation, the guns had a range of . Commonwealth and Zealandia later had their mounts modified to allow elevation to 30 degrees, which extended their maximum range significantly, to . These were supported by a heavy secondary battery of four  guns in four single turrets, two on each broadside. The guns were carried in Mk VS mounts, which had a range of elevation from -7 to +15 degrees, allowing for a maximum range of . Muzzle velocity was .

The first five ships also mounted ten  Mark VII 45-calibre guns, the same battery carried by earlier British battleships, though unlike earlier battleships, the King Edward VIIs mounted these guns in a central battery rather than in casemates. The guns had a muzzle velocity of , and they could penetrate six inches of Krupp armour at . Maximum elevation was 14 degrees, which allowed the guns to engage targets out to . The last three ships (Britannia, Africa and Hibernia) were instead fitted with 6-inch 50 calibre guns, which had been ordered for the Warrior-class armoured cruisers, but were surplus when it was decided to complete the Warriors with a secondary armament of  guns.  For defence against torpedo boats, they carried fourteen 12-pounder  guns and fourteen 3-pounder  guns that were dispersed in pivot mounts around the ship. As was customary for battleships of the period, they were also equipped with five  torpedo tubes submerged in the hull; two were on each broadside, with the fifth in the stern.

Armour
Most of the heavy armour of the King Edward VII class consisted of Krupp cemented armour; this included most of the belt armour, main and secondary turrets and their barbettes, and the conning tower. The armour layout of the King Edward VII class was very similar to the protection scheme used in the  and London classes, with the primary change being the adoption of the armoured box for the 6-inch guns, rather than individual, armoured casemates. They had an armoured belt that was  thick in the main portion of the belt; the transverse bulkhead on the aft end of the belt was  thick. Aft of the transverse bulkhead, the side of the ship was protected with  of Krupp non-cemented plate. Forward of the fore barbette, the belt was reduced to , then tapered to , then to  at the extreme end of the bow. The upper edge of the main belt was reduced to  thick, and above that was the battery deck for the 6-inch guns, which was protected with 7-inch-thick plate. The guns in the battery were divided with Krupp non-cemented screens.

The armoured deck was 2 in of mild steel, apart from the central portion of the hull, where it was reduced to  and raised a deck level to the roof of the central battery. The reduction in thickness there was necessary to reduce topweight. The ships' main battery turrets had sides that were 8 to 12 inches thick, mounted atop 12-inch-thick barbettes. The 9.2-inch guns received thinner armour protection, with 5- to 9-inch sides; their barbettes were only  thick, and they were reduced in height on the assumption that the side armour provided sufficient protection, and the likelihood of a shell exploding below the barbette in the ammunition hoists was very small. The conning tower had 12-inch sides.

Modifications

The ships of the King Edward VII class underwent a series of modifications over the courses of their careers. In 1907, King Edward VII had some of her 12-pounder guns temporarily relocated to the main battery turret roofs, but this was found to be unsatisfactory and they reverted to their original locations that same year. Between 1907 and 1908, she and Commonwealth, Dominion, Hindustan, and New Zealand had their bridge-mounted 3-pounders removed. They also received search lights in various positions, including the 9.2-inch turret roofs and the bridge wings. Funnel identification bands were added to all eight ships as well. Hibernia and Hindustan received rangefinders on their aft superstructure in 1911–1912, and most of the ships had further alterations to their search lights. Africa had experimental aircraft launching ramps installed on her bow in 1912 for flight tests, though the equipment was later transferred to Hibernia that year, from which it was removed altogether.

After the start of the First World War in August 1914, Zealandia (ex-New Zealand) gave one of her 12-pounders to arm a Q-ship, receiving a pair of 3-pounders in its place. During a refit in that period, Dominions bridge was enlarged. The 6-inch battery was removed from all of the ships of the class between 1916 and April 1917, with each ship having four of the guns re-mounted a deck higher in open pivot mounts in place of the 12-pounder guns that had been located there, where they were less affected by heavy seas, and thus, were more usable weapons. Additional search lights were installed during this period as well.

In 1918, Zealandia and Commonwealth were heavily modernised for use as gunnery training ships. Their pole masts were replaced with heavy tripod masts that were capable of supporting the latest fire control directors and rangefinders. Their remaining 12-pounder guns were removed and a pair of  anti-aircraft guns were added on the aft superstructure. Commonwealth received anti-torpedo bulges, though Zealandia did not. Commonwealth received dazzle camouflage, and it has been reported that Zealandia was similarly painted, but according to the naval historian R. A. Burt, the "lack of official and photographic evidence rules this out."

Ships
King Edward VII, the first battleship laid down after the beginning of Edward VII's reign, was named for the monarch; the rest of the members of the class were named for the constituent parts of the British Empire, including the Commonwealth of Australia, Dominion of Canada, Hindustan (India), Britannia (the Roman name for Great Britain), New Zealand, the Empire's African colonies, and Hibernia (the Roman name for Ireland).

Service history

As the members of the King Edward VII class entered service beginning in 1905, they joined the Atlantic Fleet, where King Edward VII served as the fleet flagship, per her namesake's request that the ship always be used as a flagship. In 1907, the members of the class were transferred to the Channel Fleet, with King Edward VII again the fleet flagship. King Edward VII and Africa were transferred to the Home Fleet in 1908, and the rest of the class followed them there the next year. New Zealand was renamed Zealandia in 1911 to allow her original name to be used for the battlecruiser . Beginning in 1912, the ships were reorganised as the 3rd Battle Squadron, a component of the Home Fleet.

In mid-1912, Africa and Hibernia were involved in tests with the Short Improved S.27 biplane "S.38" flown by Commander Charles Samson; the former was the first British warship to launch an aircraft, and the latter was the first to do so whilst underway. The tests demonstrated the utility of aircraft used to spot the fall of shot and to scout for hostile vessels, but also revealed the impracticability of the equipment available at the time. During the First Balkan War of 1912–1913, the ships of the 3rd  Battle Squadron were sent to the Mediterranean Sea to represent British interests in the region; they were involved in an international blockade of Montenegro to protest the Montenegrin occupation of Scutari, which was to be part of the newly-created state of Albania. The King Edward VIIs returned to British waters in 1913, where they passed the next year uneventfully.

After Britain entered the First World War on 5 August 1914, the 3rd Battle Squadron was assigned to the Grand Fleet, the main British fleet during the war. The ships were temporarily detached to reinforce the Channel Fleet in November before returning to the Grand Fleet at the end of the month. While serving with the Grand Fleet, the squadron was tasked with conducting operations around Scotland and the North Sea as part of the Northern Patrol. The 3rd Battle Squadron was also involved in patrols of the entire Grand Fleet central North Sea through mid-1915, including in response to the German raid on Scarborough, Hartlepool and Whitby in December 1914 and to support the 1st Battlecruiser Squadron during the Battle of Dogger Bank in January 1915. The 3rd Battle Squadron did not see action against German forces during this period, however. In January 1916, while steaming to Ireland for a refit, King Edward VII struck a mine that had been laid by the German auxiliary cruiser ; the battleship sank slowly enough that her entire crew was taken off, with the exception of one man who fell to his death during the evacuation.

In 1916, the squadron was detached to the Nore Command to guard the British southern coast, and some ships were assigned to other operations elsewhere. Hibernia and Zealandia were sent to the eastern Mediterranean in late 1915 to take part in the Gallipoli Campaign, though they saw little activity there apart from during the evacuation of Allied forces from the peninsula in early 1916. Zealandia returned to the 3rd Battle Squadron after the end of the Gallipoli Campaign. That year, Britannia was sent to the Adriatic Sea to reinforce the Italian Regia Marina (Royal Navy) against the Austro-Hungarian Navy, though she saw no action there. Africa was attached to the 9th Cruiser Squadron for service in the Atlantic Patrol in 1917, tasked with escorting convoys between Sierra Leone and Cape Town, South Africa. Africas crew was stricken with Spanish flu while she was in Sierra Leone in 1918, with some 476 men reported ill and 52 deaths.

That year, Commonwealth and Zealandia were heavily modernised, with the former being used briefly on the Northern Patrol in 1918 before serving as a gunnery training ship. Zealandia was never actually used as a training ship, but she was involved in fire control experiments and was later used as a barracks ship. Dominion and Hindustan served as depot ships to support the Zeebrugge Raid in 1918. Britannia was torpedoed by the German U-boat  off Cape Trafalgar on 9 November, just two days before the Armistice with Germany that ended the fighting; she was one of the last British warships to be lost during the war. The torpedo started a serious fire in one of her 9.2-inch magazines, but like King Edward VII, she remained afloat long enough for her crew to be taken off, though some fifty men were killed in the torpedoing and subsequent fire. The six surviving members of the class were sold to ship breakers between 1920 and 1923 and were subsequently broken up for scrap.

Notes

References

Further reading

External links

The Dreadnought Project

Battleship classes

Ship classes of the Royal Navy
World War I battleships of the United Kingdom

King Edward VII-class battleship


سڤن أپ  هي علامة تجارية أمريكية للمشروبات الغازية غير المحتوية على الكافيين بنكهة الليمون واللّيْم. حقوق العلامة التجارية مملوكة لشركة كيريج دكتور ببر في الولايات المتحدة وبيبسيكو في بقية العالم. النسخة الأمريكية من شعار سفن أب تتضمن دائرة حمراء-برتقالية بين "7" و "Up"؛ تم تحريك هذه الدائرة ذات اللون الأحمر البرتقالي واستخدامها كشخصية للعلامة التجارية مثل كوول سبوت. قبل ذلك، كانت التميمة شخصية خيالية تدعى فيدو ديدو أنشأتها جوانا فيروني وسو روز. يتم استخدامه خارج الولايات المتحدة لأكواب سفن أب ذات الشكل والشعار القديم، والتي تكون محدودة الوقت. يتنافس سفن أب بشكل أساسي مع سبرايت من شركة كوكاكولا.

تاريخ

تم إنشاء سفن أب بواسطة تشارلز ليبر غريغ، الذي أطلق شركته ذا هاودي كوربوريشن التي يقع مقرها في سانت لويس في عام 1920. ابتكر غريغ تركيبة مشروب غازي ليمون حامض في عام 1929. تم إطلاق المنتج، الذي أطلق عليه في الأصل اسم «بب-لَيّبل ليمون-لَيم صودا» (Bib-Label Lemon-Lime Soda)، قبل أسبوعين من انهيار وول ستريت عام 1929. كان يحتوي على سترات الليثيوم، وهو دواء يعمل على استقرار الحالة المزاجية، حتى عام 1948. كان واحداً من عدد من منتجات طب براءات الاختراع الشائعة في أواخر القرن التاسع عشر وأوائل القرن العشرين. تم اختصار اسمه لاحقًا إلى «أب لثييتد ليمون صودا 7» (7 Up Lithiated Lemon Soda) قبل أن يتم اختصاره إلى «سفن أب» فقط بحلول عام 1936.

هناك أسطورة مفادها أن اسم سفن أب يأتي من المشروب الذي يحتوي على درجة حموضة تزيد عن 7. هذا من شأنه أن يجعلها محايدة أو أساسية على المقياس؛ ومع ذلك، ليس هذا هو الحال، حيث أن درجة حموضة سفن أب تقترب من 3.79، مما يجعله حمضيًا على مقياس الأس الهيدروجيني ويشبه المشروبات الأخرى من هذا النوع. الأصل الحقيقي للاسم غير واضح، على الرغم من ادعاء بريتفيك أن الاسم يأتي من المكونات السبعة الرئيسية في المشروب، بينما ادعى آخرون أن الرقم هو إشارة مشفرة إلى الليثيوم الموجود في الوصفة الأصلية، التي لها كتلة ذرية حوالي 7. يدعي بريتفيك أيضًا أن الاسم ناتج عن حقيقة أن سفن أب كانت معبأة في زجاجات سعة 7 أونصات أو 207 مل (كوكاكولا ومعظم المشروبات الغازية الأخرى كانت معبأة في زجاجات 6 أونصات).

كانت سفن أب شركة خاصة مملوكة للعائلات المؤسسة الأصلية حتى تم بيعها في عام 1978 لشركة فيليب موريس، والتي باعتها في عام 1986 في جزأين: القسم الدولي لشركة بيبسيكو والأعمال التجارية الأمريكية لمجموعة بقيادة شركة الاستثمار هيكس آند هاز. في الولايات المتحدة، اندمجت سفن أب مع دكتور ببر في عام 1988؛ اشترت كادبوري شويبس الشركة المندمجة في عام 1995. تم إنشاء دكتور ببر سْنابل جروب من كادوبوري شويبس في عام 2008؛ اندمجت مع كيرغ غرين ماونتن في عام 2018 لتشكيل كيرغ دكتور ببر.

استخدام

يشيع تناول سفن آب الباردة مع الثلج، وهو معروف أيضًا بخلاط كوكتيل المشروبات الغازية-الكحولية بالليمون والليم، والنسخة الأكثر شيوعًا هي سفن آند سفن، أو «سي سي آند سفن» (ويسكي كلوب الكندي وسفن أب). يستخدم سفن أب أيضًا في مشروبات البنش (مشروب مُشكل) غير الكحولية.

صيغة
تمت إعادة صياغة سفن أب عدة مرات منذ إطلاقها في عام 1929. في عام 2006، تمت إعادة صياغة إصدار المنتج المباع في الولايات المتحدة بحيث يمكن تسويقه على أنه «طبيعي 100٪». تم تحقيق ذلك عن طريق التخلص من عامل مخلب الكالسيوم ثنائي الصوديوم EDTA، واستبدال سترات الصوديوم بسيترات البوتاسيوم لتقليل محتوى الصوديوم في المشروبات. لا تحتوي هذه الصيغة المعدلة على عصير فواكه، وفي الولايات المتحدة، يتم تحليتها بشراب الذرة عالي الفركتوز (HFCS). دفعت عملية التصنيع المستخدمة في إنتاج مركبات الكربون الهيدروفلورية بعض مجموعات الصحة العامة والدعوة إلى تحدي الادعاءات «الطبيعية» للحملة الإعلانية. في عام 2007، بعد أن هدد مركز العلوم في المصلحة العامة بمقاضاة سفن أب، أُعلن أن سفن أب ستتوقف عن تسويقها على أنها «طبيعية 100٪». بدلاً من ذلك، يتم الترويج له الآن على أنه يحتوي على «نكهات طبيعية 100٪». لا يمتد الجدل إلى دول أخرى، مثل المملكة المتحدة، حيث لا يتم استخدام مركبات الكربون الهيدروفلورية بشكل عام في الأطعمة، بما في ذلك سفن أب. في عام 2011، بدأت سفن أب في اختبار تسويق صيغة تسمى سفن أب ريترو (7Up Retro)، باستخدام السكر بدلاً من مركبات الكربون الهيدروفلورية. تحمل ملصقات الحاويات التسمية التوضيحية «مصنوعة من السكر الحقيقي».

أنواع

سفن أب تن (7Up Ten): تم طرحه في عام 2013، إلى جانب «عشرة» أشكال مختلفة لمعظم العلامات التجارية الكبرى من دكتور ببر/سفن أب، يحتوي هذا على 10 سعرات حرارية. إنه مزيج يستخدم شراب الذرة عالي الفركتوز مع الأسبارتام وأسيسولفام البوتاسيوم لتحليته.

تروبيكال سفن أب (Tropical 7Up): بنكهة الأناناس/المانجو، تم تقديمه في عام 2014 لفترة محدودة، بالإضافة إلى عودته في عام 2015 مع علامة تجارية جديدة.

سفن أب ريترو (7Up Retro): تستخدم هذه التركيبة لعام 2011 السكر بدلاً من مركبات الكربون الهيدروفلورية كمُحلي لها. تم تقديمه في خاتمة موسم 2011 من مسلسل ذي أبرنتس (The Apprentice)، التعبئة والتغليف في 12 أونصة (355 مل). تتميز العلب إما بشعار كرة مرآة الديسكو في السبعينيات أو شعار الثمانينيات. كما أنه متوفر بحجم 12 أونصة. عبوات زجاجية بملصق مستوحى من شعار سفن أب الأصلي.

سفن أب زيرو شوغر / دايت سفن أب (7Up Zero Sugar / Diet 7Up): تم تقديم صودا الدايت هذه في الأصل في عام 1963 باسم لايك (Like) (يجب عدم الخلط بينها وبين مشروب سفن أب لايك كولا من الثمانينيات). ومع ذلك، تم إيقافه في عام 1969 بسبب حظر الحكومة الأمريكية لتحلية السيكلامات. بعد إعادة الصياغة، أعيد تقديمه تحت اسم سفن أب دايت في عام 1970. تم تغيير اسمه إلى سفن أب شوغر فري في عام 1973 ثم عاد إلى سفن أب دايت في عام 1979. تمت إعادة صياغة سفن أب دايت والإعلان عنه على أنه محلى بـ سبلندا (سكرالوز)؛ تمت إعادة تجهيز الصيغة وأدرجت هذه المكونات: المياه الغازية المفلترة، النكهات الطبيعية، حامض الستريك، سترات البوتاسيوم، بنزوات البوتاسيوم، الأسبارتام، أسيسولفام البوتاسيوم، الكالسيوم ثنائي الصوديوم EDTA. مكونات سفن أب دايت مع سبلندا هي: المياه الغازية المفلترة، النكهات الطبيعية، حامض الستريك، سترات البوتاسيوم، بنزوات البوتاسيوم، ثنائي الصوديوم EDTA، اسيسولفام البوتاسيوم، السكرالوز. تدعي شركة سفن أب أنها عادت إلى الأسبارتام لأنها أجرت دراسة على مستوى البلاد تظهر أن الناس يفضلون طعم الأسبارتام بدلاً من سبلندا. تمت إعادة تسمية المشروب ليصبح سفن أب زيرو شوغر في أواخر عام 2020.

تشيري سفن أب (Cherry 7Up): نوع بنكهة الكرز، تم تقديمه في عام 1987. نكهة تشيري سفن أب، مع هذه المكونات المدرجة لإصدار الولايات المتحدة: المياه الغازية، شراب الذرة عالي الفركتوز، حامض الستريك، النكهات الطبيعية والاصطناعية، بنزوات البوتاسيوم، الأحمر 40 (صبغة). أحد المكونات المعروفة بين «النكهات الطبيعية والاصطناعية» هو عصير التفاح. النسخة المباعة في الولايات المتحدة ملونة باللون الوردي وتأتي في زجاجة شفافة، بينما النسخة العالمية عديمة اللون وتأتي حاليًا في زجاجة وردية. تمت إعادة تسميته وإعادة صياغته إلى تشيري سفن أب أنتيوكسدنت (مضاد الأكسدة) في يناير 2009. يحتوي على 10٪ من جرعة فيتامين هـ (E) الموصى بها يوميًا في الولايات المتحدة لكل 8 أونصات أو 355 مل . في 8 نوفمبر 2012، قالت كيرغ دكتور ببر إنهت سوف يسحبون سفن أب بمضادات الأكسدة من الرفوف لإعادة صياغتها بحلول عام 2013. كما قالوا إن قرارها لا علاقة له بالدعوى، ولكن بسبب الاتساق في جميع المجالات.

دايت تشيري سفن أب (Cherry 7Up Zero Sugar / Diet Cherry 7Up): تم إعادة تقديم دايت تشيري سفن أب مؤخرًا بسبب الطلب الشعبي بعد أن فقد بسبب وجود نكهة سفن أب بلس تشيري. المكونات هي: مياه غازية مصفاة وتحتوي على 2٪ أو أقل مما يلي: حامض الستريك، نكهات طبيعية وصناعية، بنزوات البوتاسيوم (يحمي النكهة)، الأسبارتام، سترات البوتاسيوم، أسيسولفام البوتاسيوم، أحمر 40. فينيل كيتونوريكس: يحتوي على فينيل ألانين.

أورانج سفن أب (Orange 7Up): كانت هذه النكهة متاحة لفترة قصيرة في النرويج خلال منتصف التسعينيات. تم إصدارها في نفس وقت إصدار رازبيري سفن أب. كان مشروبًا غازيًا بنكهة الليمون، الليم، والبرتقال. تم سحبها من السوق بعد 2-3 سنوات. اليوم،  ] لا يزال من الممكن شراء أورانج سفن أب في النمسا. ، وهو متوفر في هولندا.

رازبيري سفن أب (Raspberry 7Up): كانت هذه النكهة متاحة لفترة قصيرة في النرويج والدنمارك (وربما دول أوروبية أخرى) خلال أواخر الثمانينيات. تم إصداره في نفس وقت إصدار أورانج سفن أب. كان مشروبًا غازيًا بنكهة الليمون، الليم، والتوت. تم سحبها من السوق الأوروبية بعد 2-3 سنوات، ولكن لا يزال من الممكن العثور عليها في العديد من دول جنوب شرق آسيا مثل سنغافورة.

سفن أب فري (7Up Free): يباع سفن أب فري في أيسلندا، المملكة المتحدة، أيرلندا، المكسيك، إسبانيا، النرويج، السويد، الأرجنتين، فنلندا، الإمارات العربية المتحدة، أوروغواي، باكستان، هولندا، تايلاند، فرنسا وألمانيا. لا يحتوي على مادة الكافيين أو السكر أو الملونات أو المواد الحافظة، ويتم تسويقه على أنه «نكهة الليمون والليم الطبيعية» على غرار النسخة الأمريكية «الطبيعية 100٪». يحتوي على مزيج من السكريات الاصطناعية، وكان النوع الوحيد في السوق النرويجي لمدة ثماني سنوات. يتسبب الافتقار إلى العلامة المعتادة أو عدم وجود علامة صفرية في إرباك المستهلكين النرويجيين، الذين يشترونها غالبًا دون علمهم بأنهم يشترون منتجًا يحتوي على سكريات صناعية. في المملكة المتحدة، تم بيع سفن أب فري في زجاجة سعة 600 مل، بدلاً من 500 مل منذ أوائل عام 2010. هذا جزء من دفع الحياة الصحية البريطانية لشركة بريتفيتش المصنعة لسفن أب حيث تباع إصدارات المنتجات الخالية من السكر في زجاجة أكبر.

سفن أب لايت (7Up Light): في الأسواق الدولية، تبيع شركة بيبسيكو سفن أب لايت كإصدار دايت من سفن أب.

سفن أب لَيّم (7Up Lime): سفن أب ليم يباع في الولايات المتحدة والأرجنتين. في الولايات المتحدة، ليست قوية وأقل كربونية. في الأرجنتين، تكون كربوناتها أكثر بكثير وتحتوي على 5٪ من عصير الليم.

سفن أب تشيري (7Up Cherry): سفن أب تشيري هو البديل المتاح حاليًا في المملكة المتحدة وفرنسا. إنه مشروب مختلف عن تشيري سفن أب ويستخدم وصفة مختلفة.

سفن أب ريفايف (7Up Revive): سفن أب ريفايف هو نوع مختلف من ماركة سفن أب المتوفرة في الهند (تم إطلاقها في عام 2015) ولاوس ويتم تسويقها على أنها هيدروتونيك (تحتوي على تركيز ملح وسكر أقل من جسم الإنسان).

سالتد ليمون سفن أب (Salted Lemon 7Up): مشروب ليمون مملح نشأ في هونغ كونغ، وهو مصنوع من الليمون المملح وسفن أب. إنه مشروب شائع يمكن العثور عليه في داي باي دونغ وتشا شان تينغ. تم تسميته أيضًا بأحد مشروبات هونغ كونغ الصيفية بواسطة كاثي باسيفيك ديسكفري.

سفن أب موخيتو فلايفور (7Up Mojito Flavour): تم إطلاق هذه النكهة في فرنسا في عام 2014 وهي متوفرة أيضًا في المملكة المتحدة وأيرلندا منذ أوائل عام 2016. الإصدار المباع في المملكة المتحدة يعتمد على سفن أب فري ولا يحتوي على سكر أو لون أو كافيين.

صلصات الباربكيو والمخللات
في عام 2007، دخلت كادبوري شويبرز في شراكة ترخيص مع فيتا فود برودكتس لإنتاج مجموعة من صلصات الشواء والمخللات بنكهة دكتور ببر، سفن أب، وأي آند دبليو روت بير.

حملات إعلانية

تم تثبيت علامات عبور المشاة المعدنية التي تقول «إشرب سفن أب السلامة أولاً» (Drink 7up Safety First) في العديد من المدن الأمريكية في الثلاثينيات.

وكان أحد الشعارات المستخدمة هو «تعجبك - تعجب بك» (You like it - It likes you) والتي ظهرت على لافتة كبيرة كانت لسنوات عديدة خارج شاطئ بونتشارترين في نيو أورلينز.

كان فريش أب فريدي (Fresh-Up Freddie) تميمة الديك لسفن أب في الخمسينيات من القرن الماضي. أعطى المشاهدين دروسًا حول كيفية التخطيط للحفلات والنزهات الناجحة من خلال توفير الكثير من سفن أب في متناول اليد. أنتجت الإعلانات التجارية ديزني، مما أعطى الشخصية مظهر ديزني المحدد في ذلك الوقت. تم وصف فريدي بأنه هجين من الديك باتشيتو بيستولز من ذا ثري كابلييروز والفكاهي أركوان بيرد من نفس الفيلم. غالبًا ما كان يرتدي ملابس بشرية. ظهر فريدي أيضًا في الاستراحات التجارية لمسلسل زورو عام 1957. في هذه الإعلانات التجارية، يتشاجر فريدي مع بيت القط. تم التعبير عن فريدي، الذي ظهر في كمية صغيرة من التجارة، بواسطة بول فريس.

في السبعينيات والثمانينيات، ظهر جيفري هولدر في الإعلانات التلفزيونية كجزء من حملة 7 أب الإعلانية «أنكولا» (Uncola)، المصممة لتسليط الضوء على الاختلافات بين سفن أب والمشروبات الغازية الأخرى في السوق بنكهة الكولا. في الإعلانات، يحمل جيفري زوجًا من مكسرات الكولا في يد والليمون والليم في اليد الأخرى (يستخدمان في نكهة سفن أب) من ناحية أخرى ويصفهما بـ «مكسرات أنكولا».

في عام 1987، قدمت شركة سفن أب سبوت، النقطة الحمراء-البرتقالية في شعار سفن أب مجسّمة في تعويذة. تم استخدام الشخصية بكثافة في الإعلانات والعناصر المرخصة في جميع أنحاء الولايات المتحدة، بما في ذلك منصة لعبة فيديو عام 1993 كوول سبوت.

تم استخدام شخصية الرسوم المتحركة التلفزيونية فيدو ديدو كتميمة من أواخر الثمانينيات وحتى أوائل التسعينيات، وأعيد تقديمها في الأسواق الدولية في أوائل العقد الأول من القرن الحادي والعشرين.

في أوائل عقد 2000، عمل أورلاندو جونز كمتحدث باسم شركة سفن آب في الولايات المتحدة في سلسلة من الإعلانات التجارية. والجدير بالذكر أن أحد الإعلانات التجارية جعله يرتدي قميصًا يحمل شعار شركة سفن أب آنذاك إجعل سفن أب لك (Make 7 Up Yours) مقسمًا بين الأمام والخلف مع المعنى المزدوج على الظهر الذي يتميز بجزء أب لك (Up Yours)؛ ستبيع سفن أب القميص من خلال متاجر التجزئة المتخصصة سبينسر غيفت لسنوات عديدة.

من عام 2002 إلى عام 2009، كان سفن أب كريسماس أون آيس حدثًا سنويًا للتزلج على الجليد يقام في العديد من البلدات والمدن في جميع أنحاء أيرلندا. حضر الحدث أكثر من 90,000 شخص في سميثفيلد، دبلن.

انظر أيضًا
 كوول سبوت
 فيدو ديدو

مراجع

وصلات خارجية

 الموقع الرسمي

أدوية مسجلة
علامات تجارية
علامات تجارية لبيبسيكو
مشروبات غازية
منتجات عرضت في 1929

سفن أب


Hob Gadling, also known as Robert, Robbie, or Bobby, is a fictional character from the Sandman comic book series by Neil Gaiman. Gadling first appears in issue #13, "Men of Good Fortune". A soldier who has recently fought in the Hundred Years' War, Gadling argues with friends about the nature of death in an inn located in what will become modern-day London. He develops significance both as a recurrent character in the series and friend to Dream, appearing in a total of seven issues spanning six hundred years.

Hob Gadling appears in the Netflix drama series The Sandman (2022), portrayed by Ferdinand Kingsley.

Appearances

Gadling first appears in vol. 2, "The Doll's House" issue #13, "Men of Good Fortune" in 1389, sitting in a smoky tavern, the White Horse, in what will eventually become the East End of London. Gadling is arguing that if he refuses to die, he will have eternal life. Dying, he argues, is merely a habit, something that people do simply because everybody does. It is, as Gadling puts it, "a mug's game". This catches the attention of Death, who encourages Dream to listen. Death agrees, at the request of her brother, who says that "it might be amusing" to grant Gadling eternal life. Dream strikes up a conversation with Gadling who agrees to meet him again in the same inn once every hundred years.

They do so, and Gadling recounts each century of his life. In the century following his initial appearance and meeting with Dream, Gadling continues fighting as a soldier and gets into the new field of printing (1389–1489 AD). In the next century, he becomes rich, marries and is knighted (1489–1589 AD). Over the course of the next three hundred years, he falls into disgrace following the premature death of his wife and child (1589–1689 AD), enters the slave trade to again become wealthy (1689–1789 AD), and exits it after Dream comments on its immorality (1789–1889 AD).

In 1789, their meeting is interrupted by the arrival of magician Lady Johanna Constantine, ancestor of John Constantine, who says she heard it rumoured that once every hundred years, the Devil and the Wandering Jew meet there in that very same tavern.

 In the penultimate meeting in 1889, Gadling suggests to Dream that the true purpose for meeting was friendship. Dream rejects the suggestion angrily and walks out. In 1989 Dream, freshly escaped after decades of captivity, returns, stating that it is impolite to keep a friend waiting, confirming their friendship.

In issue #22, collected in "Season of Mists", Dream visits Hob in his dreams while preparing for a visit to Hell. He gives Hob a bottle of Château Lafitte 1828, which remains material in the waking world.

He next appears in issue #53, "Hob's Leviathan", which recounts a portion of Hob's biography independent of the Dream King; the story, which takes place on a ship called the Sea Witch in the first half of the 20th century, forms a section of the frame narrative which comprises "Worlds' End". In it he shares an adventure with a girl named Peggy; Peggy and Hob appear again, albeit briefly, during the Blitz in issue #32 of The Dreaming.

The narrative later reunites Hob and Dream in issue #59 of "The Kindly Ones". Having lost his most recent significant other in a car accident, Hob is devastated and asks Dream to resurrect her, remarking that "it never gets easier, people you love not being there any more". Dream states that such an act is impossible, but offers Hob the comfort of making her killer aware, while dreaming, of that which he has destroyed. As they leave Hob warns Dream that he has the stench of death upon him, which Dream responds with an ambiguous smile and thanks.

Hob's final three appearances occur in issues #70 ("Chapter One, Which Occurs in the Wake of What Has Gone Before"), #72 ("Chapter Three, In Which We Wake"), and #73 ("An Epilogue, Sunday Mourning") of "The Wake". In "Sunday Mourning", Hob attends a Renaissance festival with his African-American girlfriend Guenevere and reminisces guiltily about the slave trade. Disgruntled by the inaccuracy of the event, he spends most of the afternoon drinking in a derelict tavern, somewhat similar to the one in which he first met Dream. While there, he is visited by Death who, reflecting that Hob may have reconsidered his pact for eternal life since Dream's death, offers him an end. He thanks Death for the offer but ultimately refuses, saying "I'm not ready to die. Not today. Not yet. Maybe not ever. Anyway, Gwen'd kill me." The issue concludes with Hob dreaming of walking on a beach with Dream and Destruction.

He also makes an appearance in The Sandman Presents: Dead Boy Detectives spinoff, where Gilles De Rais tricks Charles Rowland and Edwin Paine into tracking Gadling down in an attempt to harvest his immortality. De Rais' plot is foiled when he is tricked into turning down Hob's particular brand of eternal life in favour of the extended feeling of childhood the Dead Boy Detectives experience, overlooking the fact that they have no life to steal.

Characterization
Gadling, like Element Girl, is one of several humans in The Sandman series who do not age.

By 1989, Gadling comes to regret his involvement in the Atlantic slave trade, an occupation Morpheus advised him to forgo centuries before; having apologized repeatedly to his 20th century girlfriend in "Sunday Mourning", he is told by Gwen to drop the subject. When he responds "You can't just forget about it", she answers "Sure you can, Robbie. You know how? You just forget about it", echoing the structure of Gadling's own earlier thoughts on death in "Men of Good Fortune": "The only reason people die, is because everyone does it. You all just go along with it. It's rubbish, death. It's stupid. I don't want anything to do with it."

Creation and concept
Gaiman has said that he based Gadling's speech pattern on that of British actor Bob Hoskins, particularly in the film The Long Good Friday. He has been regularly portrayed as a man of middle height with slightly receding reddish-brown hair, but only in "Sunday Mourning" did artist Michael Zulli base his appearance on a specific person: Ian Anderson, lead singer of rock band Jethro Tull. Over the course of the series, Hob has been penciled by Kelley Jones, Michael Zulli, Bryan Talbot, and Marc Hempel; inked by Malcolm Jones III, David Giordano, Mark Buckingham, and D'Israeli; and colored by Steve Oliff and Daniel Vozzo.

In other media
Hob Gadling appears in the 2022 TV series based on The Sandman. Just like previously, he was granted immortality and agelessness by Death; with Dream meeting him on the same day once a century, to see if he would be ready to accept dying. Despite the ups and downs of each century, Hob refuses to die; even pondering if Dream feels lonely, with his immortality an excuse for friendship. Dream took offense in the 1900s, shortly afterward missing their next meeting due to being detained. Hob was happy to see Dream make up from missing the correct year, by showing up on the right day; Dream admitted, albeit indirectly, that he did consider Hob a friend.

See also
 Wandering Jew

References

The Sandman (comic book)
British comics characters
Characters created by Neil Gaiman
DC Comics characters with immortality
DC Comics fantasy characters
DC Comics male characters
Fictional characters with slowed ageing
Fictional knights
Fictional characters from the 16th century
Fictional characters from the 17th century
Fictional characters from the 18th century
Fictional characters from the 19th century
Fictional characters from the 20th century
Fictional soldiers

Hob Gadling


Shimson Kleuger (également Szymon Klieger ou Szymon Klüger) (du 19 janvier 1925 au 26 mai 2000) était le dernier juif à vivre dans la ville d'Oświęcim (allemand: Auschwitz) en Pologne. Il est devenu connu sous le nom de "Le dernier juif d'Auschwitz".

Enfance et famille
Kleuger venait d'une famille juive hassidique qui vivait à Oświęcim. La famille avait une petite maison qui était adjacente à la synagogue d'Oświęcim. La maison appartenait à l'origine au grand-père de Shimson, Bernard Teichman, et à sa fille, Frymet. Ils l'ont acheté en 1928. Bernard Teichman était dans le négoce de marchandises sèches à Oświęcim. Il possédait également un magasin d'articles d'occasion à Bytom. Le père de Shimson, Symcha, était un melamed, ou enseignant religieux – l'un des huit enseignants religieux d'Oświęcim.

La Seconde Guerre mondiale
En 1939, lorsque la Seconde Guerre mondiale éclata, Szymon avait 14 ans. Il a assisté à la liquidation progressive de la communauté juive d'Oświęcim et a probablement vu les nazis incendier et détruire la Grande Synagogue en septembre 1939. En 1941, probablement avec une partie de sa famille, il se retrouve dans le ghetto de Będzin (Bendsburg). Lors de la liquidation du ghetto, il est d'abord envoyé au camp de Blechhammer (sous-camp d'Auschwitz-Birkenau à Kędzierzyn-Koźle), puis aux camps de Buchenwald et Gross Rosen.

Bien qu'on ne sache pas où il a été interné, le rabbin qui l'a préparé pour l'enterrement a confirmé qu'il avait un numéro utilisé pour l'identification des détenus dans les camps de concentration allemands sur son bras: "Je ne peux pas dire que cela veut dire qu'il était à Auschwitz, mais il était dans l'un des camps, c'est sûr".

Sur les neuf frères et sœurs Kleuger, seuls trois ont survécu à l'Holocauste (Mojżesz et Bronia). Après la libération de son camp, Shimson Kleuger s'est rendu en Suède. Mojżesz et Bronia ont émigré aux États-Unis. En 1962, malgré les protestations de sa famille, il retourne à Oświęcim et habite au rez-de-chaussée de la maison familiale (à l'époque 287 rue Podzamcze, aujourd'hui : 2 ks. Place Jana Skarbka). Il a trouvé un emploi dans l'usine chimique d'Oświęcim (Synthos).

Vie tardive à Oświęcim
En 1962, malgré les protestations de sa famille, il retourne à Oświęcim et habite au rez-de-chaussée de la maison familiale (à l'époque 287 rue Podzamcze, aujourd'hui : 2 ks. Place Jana Skarbka). À son retour, il a découvert que tous les autres Juifs survivants étaient partis pour l'Amérique ou Israël. Klueger a élu domicile dans sa maison familiale. Il a trouvé un emploi dans l'usine chimique d'Oświęcim (aujourd'hui Synthos).

Kleuger s'est installé dans l'ancienne maison de ses parents dans la rue Podzamcze et a travaillé dans une usine de produits chimiques, jusqu'à ce qu'il cesse de se présenter au travail de manière inattendue. Kleuger a peut-être souffert des effets psychologiques du traumatisme de trois camps de concentration nazis. Il commença à s'enfermer dans la maison, qui tombait de plus en plus en ruine. Au fil du temps, Kleuger a complètement cessé de sortir.

Kleuger ne quittait sa maison que le vendredi pour allumer des bougies du sabbat près du mur de la synagogue Lomdei Mishnayot, qui avait été utilisée comme entrepôt de tapis. Kleuger avait l'intention de restaurer la synagogue et aux quelques personnes avec qui il avait parlé, il dit qu'il se croyait le gardien de la synagogue. La rénovation de la synagogue a finalement été possible grâce à l'initiative du Centre juif d'Auschwitz. Aujourd'hui, la maison de Kleuger fait partie d'un musée consacré non pas à l'Holocauste, mais à la vie des Juifs d'Oświęcim. Dans l'ancienne maison de Szymon Kluger, un café moderne a été aménagé.

Mort et enterrement
Shimson Klueger est décédé en mai 2000, trois mois avant l'achèvement de la rénovation de la synagogue Oświęcim. Il n'y avait plus de Juifs à Oświęcim pour le préparer correctement à l'enterrement (la loi juive prescrit un lavage rituel avant l'enterrement). Le rabbin le plus proche, le rabbin Sacha Pecaric de Cracovie, a été convoqué. Il s'est rendu à la morgue d'Auschwitz pour effectuer la cérémonie de taharah. Un minyan, un quorum de 10 hommes de plus de 13 ans, était également requis - un bus rempli d'étudiants juifs américains a accepté d'assister aux funérailles pour compenser ce nombre. Kleuger était la dernière personne enterrée dans l'ancien cimetière juif d'Oświęcim qui avait été restauré après la guerre.

Maison Kleuger

Après la mort de Shimson Kleuger, ses frères et sœurs, Moshe et Bronia, ont fait don de la maison au Centre juif d'Auschwitz, qui gère également la synagogue Oświęcim et le musée juif adjacent. La maison a été convertie en un café appelé Cafe Bergson à l'aide d'une campagne Kickstarter en 2014. L'AJC a effectué des travaux de rénovation et a transformé la maison en café du musée Cafe Bergson, ainsi qu'un espace éducatif et d'exposition. La porte d'entrée d'origine avec une marque de mezouza a été conservée et les éléments historiques du bâtiment à l'intérieur ont été exposés.

Au Café Bergson, des projets culturels et éducatifs sont organisés : les visiteurs découvrent le passé d'Oświęcim et des sujets contemporains tels que les droits de l'homme et l'environnement naturel. La Maison Kleuger est située au Pl. ks. J. Skarbka 5, 32-600 Oświęcim. Le café accueille également des événements culturels. Il est ouvert tous les jours de 11h à 19h.

Notes et références

Naissance en janvier 1925
Décès en mai 2000
Décès à 75 ans

Shimson Kleuger


Creștinismul ortodox este, din punct de vedere istoric, una dintre cele mai importante religii din Ungaria. Ortodoxia din Ungaria a fost, în principal, religia unor grupuri minoritare naționale și etnice din țară. La recensământul național din 2001 doar 15.928 de persoane s-au declarat creștini ortodocși (0,21% din populația cu o afiliere religioasă declarată și 0,15% din întreaga populație).

Teritoriul Ungariei a fost, din punct de vedere istoric, jurisdicția exclusivă a Bisericii Ortodoxe Sârbe, prin Eparhia de Buda, situată central în orașul Szentendre, unde se află Catedrala Adormirii Maicii Domnului (Catedrala Belgrad).

În prezent există și alte jurisdicții ale Bisericilor Ortodoxe naționale, care sunt active în Ungaria.

Biserica Ortodoxă Rusă are Eparhia Ungariei și Budapestei condusă de arhiepiscopul Marcu, al cărui sediu este în Budapesta. Eparhia Ungariei și Budapestei a Bisericii Ortodoxe Ruse are unsprezece parohii, cu opt preoți și un diacon.

Biserica Ortodoxă Română are Episcopia Ortodoxă Română din Ungaria, condusă de episcopul Siluan Mănuilă, al cărui sediu este la Gyula.

Biserica Ortodoxă Bulgară are două parohii în Ungaria, la Budapesta și Pécs, cu un singur preot. Ambele parohii se află sub autoritatea Eparhiei Ortodoxe Bulgare pentru Europa Centrală și de Vest.

Patriarhia Ecumenică de Constantinopol menține, de asemenea, o prezență în Ungaria. Exarhatul Maghiar face parte din Mitropolia Ortodoxă a Europei Centrale, cu sediul la Viena. Exarhatul Patriarhiei de Constantinopol are patru parohii în Ungaria.

Referințe

Legături

Legături externe
 Budapest and Hungarian Eparchy of the Russian Orthodox Church
 Romanian Orthodox Eparchy of Hungary
 Hungarian Exarchate

Ungaria

Ortodoxia în Ungaria


Aslanapa Kütahya ilinin bir ilçesidir.
Daha önceleri Merkez İlçeye bağlı Nahiye Merkezi iken Özal döneminde Şaphane ve Dumlupınar'la birlikte ilçeliğe hak kazanmıştır. İlin ve Türkiye'nin en küçük ilçe mekezlerinden biridir. Nüfusu 1.893'tür. İsmi üzerinde birçok görüş mevcuttur. Özellikle "apa" kelimesi oba kelimesinden gelir ve Aslan oba anlamında vb. rivayetler vardır.

Dumlupınar Üniversitesi Öğretim Üyelerinden ve arşiv belgelerine ulaşmamızda yardımlarını gördüğümüz, kıymetli arşiv araştırmacısı ve edebiyatçı Cevdet Dadaş'ın anlatımıyla Aslanapa isminin anlamı ve tarihî gelişimi şöyledir. En eski çağlardan beri dünyaya hakim olmayı bir gaye edinen Türkler inanç, kültür ve töreleri gereği büyüklerini Ata, Hoca, Baba, Aba ve Beğ gibi kelime ya da unvanlarla hep yüce tutmuşlardır. Bunlar arasında Arslan Baba, Korkut Ata ve Çoban Ata gibi hatıraları birer kutsal simalar halinde yaşayan isimler vardır. Bu isimler bir zamanlar kendilerine büyük manevi rütbeler verilmiş ve etkileri milletin ruhuna yansımış ve millî hafızaya işlenmiş destanî şahıslara ait isimlerdir.

Abi, büyük kardeş anlamına da gelen Apa'nın Arslan ile birlikte bir özel ismi belirtmek için kullanıldığı görülmektedir. Bütün bunlar halk arasında Aslanapa'nın ovada kurulduğu daha sonra Aslanın ovası yerine Aslanapa olduğu benzeri söylentilerin birer yakıştırmadan öteye gitmediğini göstermektedir.

İl merkezi Kütahya'ya 45 km uzaklıkta bulunan Aslanapa ilçesinde kahvehane dışında herhangi bir sosyal ortam bulunmamaktadır. Doğalgaz olmayan ilçede halen soba yakılmaktadır. 2019 yılında ilçeye saat kulesi ve küçük bir sağlık merkezi (ilçe hastanesi) yapılmıştır.

Nüfus
Aslanapa nüfus bakımından Kütahya'nın ve Türkiye'nin en küçük ilçelerinden biridir. Kasaba görünümünde olan Aslanapa sürekli göç vermektedir. İlçenin göç vermesinin en önemli nedeni işsizlik ve ilçede sanayinin olmamasından kaynaklanmaktadır. Günümüzde gençler çalışmak için Kütahya ve diğer büyük kentlere gitmektedir.

Ekonomi
Aslanapa ilçesinin ekonomisi tarım ve hayvancılığa dayanmaktadır. Bunun dışında ilçede herhangi bir sanayi kuruluşu bulunmamaktadır. İlçede kaz üreticiliği gelişmiştir.

Kaynakça

Dış bağlantılar
 Aslanapa Kaymakamlığı

Aslanapa


Johann Josef Auer (* 1666 in Sipplingen; † 4. Dezember 1739 in Jestetten) war ein deutscher Bildhauer und Holzschnitzer des Barock.

Leben

Johann Josef Auer wurde in Sipplingen am Bodensee geboren. Ab dem Jahr 1707 ist er in Jestetten nachweisbar, hier hat er am 26. April 1714 die Maria Sutter (* 27. Dezember 1666; † 5. Mai 1746) von Jestetten geheiratet. Sie hatten keine Nachkommen.

Johann Josef Auer war zur Zeit der entstehenden Barockkirchen in zahlreichen Kirchenbauten in seiner Umgebung tätig. Zahlreiche Werke konnten dem bisher wenig bekannten Künstler zugeschrieben werden.

Werke (Auswahl)

 1707: Klosterkirche Rheinau, Turmportal; Wappen und Schrifttafel in Sandstein
 1707–1711: Lottstetten, Pfarrkirche; Haupt- und Seitenaltäre
 1711–1713: Rheinau, Klosterkirche; Fintan- und Basiliusaltar
 1714: Bühl; zwei Posaunenengel
 1715: Dettighofen, St. Antoniuskapelle; Brustbildstatuen: Hl. Katharina, Hl. Agatha, Hl. Barbara und Hl. Elisabeth
 1715: Rheinau Klosterkirche; Taufstein (Holz)
 1716: Jestetten, Pfarrkirche; Rosenkranzaltar mit Statuen
 1718: Bühl Pfarrkirche; Notburgaaltar mit Notburgastatue, der Notburga von Bühl
 1719: Jestetten Pfarrkirche; Statuen Hl. Sebastian und Hl. Johannes
 1720 bis 1728: Klosterkirche Rheinau, Schnitzwerke
 1734 bis 1735: Diessenhofen, Klosterkirche St. Katharinental; Steinskulpturen an der Außenfassade: Einsiedlermadonna, Hl. Josef und Hl. Dominikus

Literatur
 Erich Danner: Leben und Werk des Bildhauers Johann Josef Auer (1666–1734). In: Landkreis Waldshut (Hrsg.): Heimat am Hochrhein. Band 18, 1993, ISBN 3-87799-104-1, S. 119–126.

Einzelnachweise

Bildhauer (Deutschland)
Bildhauer des Barock
Deutscher
Geboren 1666
Gestorben 1739
Mann

Johann Josef Auer


Witalij Jurijowytsch Sachartschenko (; * 20. Januar 1963 in Kostjantyniwka, Oblast Donezk) ist ein ukrainischer Politiker, er war seit dem 7. November 2011 Innenminister der Ukraine. Am 21. Februar 2014 entschied die Werchowna Rada, ihn von diesem Amt zu suspendieren.

Sachartschenko absolvierte in den 1980er Jahren eine Ausbildung zum Polizisten an der Hochschule des Innenministeriums der UdSSR. In der unabhängigen Ukraine erlangte er an der Nationalen Akademie des ukrainischen Innenministeriums einen Master-Abschluss und an der Universität Poltawa einen PhD in Public Administration.

Seit Mai 2008 war Sachartschenko Leiter der Steuerbehörde der Oblast Poltawa.  Am 25. Dezember 2010 wurde er zum Leiter der staatlichen Steuerverwaltung der Ukraine ernannt. Am 7. November 2011 ernannte ihn Präsident Wiktor Janukowytsch zum Innenminister der Ukraine in der Nachfolge von Anatolij Mohiljow.

Sachartschenko wurde für die umstrittenen Polizeieinsätze gegen Demonstranten in Kiew im Rahmen des Euromaidan verantwortlich gemacht, verschiedene ukrainische Politiker forderten Anfang 2014 seinen Rücktritt sowie eine Strafuntersuchung gegen ihn. Am 21. Februar 2014 beschloss das ukrainische Parlament die sofortige Suspendierung Sachartschenkos von seinem Amt. Am 22. Februar 2014 wurde Arsen Awakow vom Parlament zum geschäftsführenden Innenminister der Ukraine ernannt, er gehört der Partei Vaterland der ehemaligen Ministerpräsidentin Julija Tymoschenko an. Am 28. Februar 2014 wurden die Vermögenswerte einer Reihe von Gefolgsleuten des abgesetzten Präsidenten Janukowytsch in Österreich und in der Schweiz gesperrt, darunter auch die Konten von Sachartschenko. Sachartschenko hält sich seit Ende Februar 2014 in Russland auf und nahm im April gemeinsam mit Janukowytsch an einer Pressekonferenz in Rostow am Don teil.

Weblinks
 Biografie bei liga.net

Einzelnachweise

Politiker (21. Jahrhundert)
Innenminister (Ukraine)
Person auf einer EU-Sanktionsliste
Ukrainer
Geboren 1963
Mann

Witalij Sachartschenko


جوفمعويات  تضم هذه الشعبة أنواعاً هائلة من اللافقاريات تعيش في الماء العذب أو في مياه البحار وتتدرج من أشكال بسيطة إلى أنواع معقدة التركيب معظمها مستعمرات ذات هياكل جيرية صلبة مثل: ـ الشعاب المرجانية التي توجد على شواطئ البحار وشقائق النعمان الزاهية الألوان وقناديل البحر السابحة. وقد تم إلغاء هذا التصنيف واستبداله باللاسعات
وتنقسم إلى عدة طوائف منها:
 الهيدريات اللاسعة (الهيدرا).
 الفنجانيات اللاسعة (قناديل البحر).
 الشعاعيات اللاسعة (شقائق النعمان والشعاب المرجانية).

طائفة الهيدريات

يعتبر حيوان الهيدرا من أكثر الجوفمعويات شيوعاً (يعتبر من الحيوانات الخنثى ثنائية الجنس)  ويكثر في مياه البرك العذبة ويمثل حيوان الهيدرا نموذجاً بسيطاً لتركيب الحيوان الجوفمعوي أسطوانى الجسم صغير.

يبلغ طوله 2-20 مم ويلتصق بالأعشاب المائية والأحجار بواسطة مادة لزجة تفرزها قاعدة الحيوان القرصية وتوجد فتحة الفم على قمة ارتفاع يعرف بالمخروط الفمى Ora Cone ويحيط بفتحة الفم عدد من اللوامس الطويلة يتراوح عددها من 6-8 لوامس.

يتركب جدار الجسم في حيوان الهيدرا من طبقتين هما الاكتودرم والإندودرم يوجد بينهما مادة جيلاتينية تعرف بالميزوجليا وتتكون طبقة الاكتودرم من أنواع الخلايا الآتية: ـ
خلايا طلائية عضلية ـ خلايا معوضة ـ خلايا حسية ـ خلايا عصبية ـ خلايا تناسلية – خلايا مخاطية ـ وخلايا لاسعة. أما الإندودرم فتتكون من خلايا غذائية عضلية.

طائفة الفنجانيات

تعرف طائفة الفنجانيات أيضاً بالكأسيات ومنها يكون الطور الميدوزى هو السائد أما الطور البوليبى إما يكون غائب أو يظهر في صورة مختزلة أثناء دورة الحياة أغلب الميدوزات بحرية ويمكن تمييزها عن ميدوزات الهيدريات بحجمها الكبير وبعدم وجود نقاب وميدوزة الأوريليا من قناديل البحر الشائعة (التي توجد في كل أرجاء العالم ببطء بواسطة انقباضات منتظمة للمظلة قرصية الشكل الجيلاتيني) وكثير ما يرى الإنسان مجموعات كبيرة منها تدفعها تيارات الماء إلى الشواطئ وقد تسبح القناديل ببطء بواسطة انقباضات العضلات …. وقناديل البحر خطيرة حيث إنها تفرز مواد لاسعة عن طريق الخلايا اللاسعة التي تحيط بجسم القنديل ومنها أحجام كبيرة قد تصل قطرها إلى أكثر من مترين وتنتمى أيضاً إلى الجوفمعويات المراجين الحجرية والشعاب المرجانية التي توجد بكثرة في البحر الأحمر والغردقة والمعروفة بألوانها الجميلة الزاهية.

طائفة الشعاعيات
 رتبة الألسيونات (ثمانية الأشعة) Alcyonaria or Octocorallia ومن امثلتها الألسونيوم Alcyonium أو «أصابع الرجل الميت»
 رتبة الزهريات (سداسية الأشعة) Zoantharia or Hexacorallia ومن امثلتها شقائق النعمان والمراجين الحجرية stony Corals

شقائق النعمان

تنتمى إلى شعبة الجوفمعويات وهي من الحيوانات الزهرية الملونة لها قرص فمي يحاط بلوامس عددها 6 أو مضاعفاتها (لذلك تعرف بسداسية الأشعة) وأيضاً لها قرص قاعدي تلتصق بواسطته بالأصداف والصخور والأخشاب أو أي جسم مغمور وألوانها زاهية تماما توجد في المياه الساحلية في كل أنحاء العالم خاصة في المياه الدافئة.

ولشقائق النعمان بعض العلاقات التبادلية مع غيرها من الكائنات الحية حيث يعيش داخل أنسجتها طحالب «الزودانسلى» تستفيد شقائق النعمان من نواتج التمثيل الضوئى للطحالب كما يلتصق شقائق النعمان بالقواقع التي يحتلها السرطان الناسك.

الشعاب المرجانية

تتبع رتبة الحجريات وهي جوفمعويات تكون هياكل خارجية وبعض الأنواع تعيش منفردة، أما غالبيتها فتكون مستعمرات تعرف بالشعاب المرجانية التي تنتشر في بحار المناطق الاستوائية وشبه الاستوائية في العالم.

والبوليب يشبه في تركيبه بوليبات الأقحونات والهيكل جيرى تفرزه خلايا الأكتودرم في القرص القاعدى. ويأخذ الهيكل شكل القرص وله حافة دائرية مرتفعة قليلاً حول قاعدة البوليب. ويظهر في وسط القرص عويمد كلسى كما يمتد بشكل شعاعى حواجز ترتفع مع جدار قاعدة البوليب بين المساريقا المزدوجة الأصلية والثانوية الأخرى.

وهناك أنواع منفردة لها هيكل قرصى كما في Fungi أو الأنواع التي تكون مستعمرات فتختلف هياكلها تبعاً لطرق الانقسام التي تتبعها هذه المراجين. فهناك أنواع تتكاثر بالتبرعم وتتكون المستعمرة في شكل مسطح أفقى، وتسقط البراعم بجوار بعضها البعض وبذلك تكون الهياكل القرصية لأفراد المستعمرة بجوار بعضها أو تكون ملتصقة تماماً عند حوافها الخارجية.

وهناك أنواع تتكاثر بالانقسام الثنائى الطولى مثل Lobophylum فالبوليب كبير وينمو مكوناً طبقات متراصة من الهيكل تأخذ شكل الساق ثم تنقسم طولياً لتكون فردين وهما بدورهما يكونان هيكل وهكذا … تبدو المستعمرة في شكل شجرة متفرعة تفرعاً ثنائياً مركباً ويكون نمو المستعمرة في اتجاه رأسى.

هناك أنواع من المراجين الحجرية مثل المراجين المخية يكون انقسام البوليبات فيها غير كامل مما ينتج عنه ظهور الهياكل في شكل متعرج ومتصل ويأخذ شكل تجاعيد مخ الثدييات.

وتختلف الشعاب المرجانية باختلاف أماكن نموها وأشكالها المختلفة فهناك ثلاثة أنواع من الشعاب:-
 الشعاب الجافة (الحدثة) Fringing Reefs.
 الشعاب الحاجزية (السدودية) Barrier Reefs.
 الشعاب الاتولية (الحلقية) Atolls Reefs.

الشعاب الجافة تنمو موازية للشواطئ أي تكون ساحلية وهي لا تترك مسافة صالحة للملاحة وقد تظهر في شكل حلقى إذا ما نمت حول جزيرة في البحر.
أما الشعاب الحاجزة فهى ضخمة وتكون كتلاً كبيرة من المراجين الصخرية وتنمو بعيداً عن الشواطئ ومن أشهرها الحاجز المرجانى العظيم الممتد شمالى استرالى ويبلغ طوله الحقيقى حوالي 1200 ميل.

أما الشعاب الاتولية فتكون حلقة من الشعاب تحيط ببركة من الماء وهي منتشرة في جنوب المحيط الهادى.

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جوفمعويات


An Festuca pseudodalmatica in uska species han Liliopsida nga ginhulagway ni Vladimír Joseph Krajina. An Festuca pseudodalmatica in nahilalakip ha genus nga Festuca, ngan familia nga Poaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Mga sumpay ha gawas

Festuca

Festuca pseudodalmatica