Bathylaco nigricans ist ein Tiefseefisch, der circumglobal in allen wärmeren Weltmeeren vorkommt.

Merkmale
Bathylaco nigricans wird maximal 34 cm lang und ist von schwarzer bis dunkelbrauner Farbe, wobei der Kopf, dessen Länge 24,5 bis 32,5 % der Standardlänge beträgt, teilweise noch dunkler ist. Der Kopf ist schuppenlos, im Querschnitt rund und endet in einer stumpfen Schnauze. Die gut entwickelten Augen befinden sich auf der vorderen Kopfhälfte über dem Oberkiefer. Ihr Durchmesser beträgt 3,8 bis 10 % der Standardlänge, das Verhältnis ändert sich mit dem Wachstum. Der horizontale Durchmesser ist etwas größer als der vertikale. Die vorderen Nasenöffnungen sind rund, die hinteren gebogen. Die Kiemendeckelknochen sind sehr dünn und weich. Bathylaco nigricans hat relativ große Cycloidschuppen. Die Rückenflosse beginnt kurz hinter der Körpermitte, die Afterflosse unter dem hinteren Teil der Rückenflosse. Bei beiden Flossen sind die ersten beiden Flossenstrahlen deutlich kürzer als die übrigen. Die Bauchflossen sitzen unter dem Vorderende der Rückenflosse, die kleinen Brustflossen setzen tief an, etwas vor einer gedachten vertikalen Linie am Ende des Kiemendeckels. Die Seitenlinie folgt weitgehend den seitlichen Mittellinien des Körpers. Das Skelett ist nur wenig verknöchert, was typisch für Tiefseefische ist. Eine Schwimmblase und Leuchtorgane fehlen.

 Flossenformel: Dorsale: 0/17–22; Anale: 0/11–12; Pectorale: 6–11; Ventrale: 6–9; Caudale: 10 + 9 Hauptflossenstrahlen.
 Schuppenformel: SL 45–48; QR 11–12.
 Wirbel: 41–42.
 Branchiostegalstrahlen: 9–10.
 Kiemenreusenstrahlen auf den ersten Kiemenbögen 11–17.
 Pylorusschläuche 6–12.

Lebensweise
Bathylaco nigricans lebt küstennah in den tropischen und subtropischen Regionen aller Weltmeere meso- und bathypelagisch in Tiefen von 450 bis 4400 Metern, meist zwischen 1750 und 2200 Metern. Wegen der gut entwickelten Augen, der großen Maulspalte, der zahlreichen zugespitzten Zähne und der kleinen Kiemenreusenstrahlen kann man davon ausgehen, dass Bathylaco nigricans ein schnell schwimmender Raubfisch ist. Wahrscheinlich ist Bathylaco nigricans ovipar, Hermaphroditismus wurde nicht festgestellt. Die Larven sind pelagisch.

Zu den Fressfeinden von Bathylaco nigricans zählt der Schwarze Degenfisch (Aphanopus carbo).

Literatur
 Jørgen G. Nielsen & Verner Larsen: Synopsis of the Bathylaconidae (Pisces, Isospondyli) with a new eastern Pacific species. Galathea Rept. 9: 221–238, pls. 13–15. PDF

Weblinks

Glattkopffische
Alepocephaliformes
Tiefseefisch

Bathylaco nigricans


The karambit or kerambit (as used in Indonesian), kurambik or karambiak (both from the Minangkabau language) is a small Indonesian curved knife resembling a claw from the Minangkabau people of West Sumatra. The karambit is one of the weapons commonly used in pencak silat and Indonesian martial arts.

Origin

The Karambit was originally an agricultural implement designed to rake roots, gather threshing and plant rice in most of island Southeast Asia. It's a smaller variant of the Southeast Asian sickles (Indonesiangarab and karit; Malaysian celurit, arit, or sabit; and Malaysian sabit). It still possesses many efficient uses for the modern laborer, allowing use of the blade for utility work, with the finger ring eliminating the need to put the knife down between operations, if use of the fingers to manipulate the object to be worked on is required (such as the action of cutting and opening a shipping box, or removing plastic wrap from shipments, in two very basic examples). The finger ring also provides an added degree of protection against dropping the knife during use, which is particularly essential in work environments that include heavy machinery, into which dropping a handheld, metal tool of any kind can cause massive damage to the equipment and those around it, especially if the tool is ejected at high velocity from rotating components. The karambit is believed to have originally been weaponized among the Minangkabau people of West Sumatra where, according to folklore, it was inspired by the claws of a tiger.  As it was weaponised, the blade became more curved to maximise cutting potential. Through Indonesia's trade network and close contact with neighbouring countries, the weaponization of the karambit was eventually dispersed through what are now Thailand, Cambodia, Laos, Myanmar and the Philippines.

European accounts tell that soldiers in Indonesia were armed with a kris at their waist or back and a spear in their hands, while the karambit was used as a last resort when the fighter's other weapons were lost in battle. The renowned Bugis warriors of Sulawesi were famous for their embrace of the karambit. Today it is one of the main weapons of silat and is commonly used in Indonesian martial arts as well.

Superficially, the karambit resembles the jambiyah, although there is no connection. The jambiyah was always designed as a weapon and serves as a status marker, often made by skilled artisans and jewelers using precious stones and metals, whereas the karambit was and still remains an unadorned farmer's implement and utility knife.

Technique

The karambit is held with the blade pointing downward from the bottom of the fist, usually curving forwards. While it is primarily used in a slashing or hooking motion, karambit with a finger ring are also used in a punching motion hitting the opponent with the finger ring. Some karambit are designed to be used in a hammering motion. This flexibility of striking methods is what makes it useful in self-defense situations. The finger guard makes it difficult to disarm and allows the knife to be maneuvered in the fingers without losing one's grip.

The short Indonesian karambit has found some favor in the West because such proponents allege the biomechanics of the weapon allow for more powerful cutting strokes and painful "ripping" wounds, and because its usability is hypothesized as more intuitive, but more difficult to master than a classic knife.

Variations

There are many regional variants of karambit. The length of the blade, for example, could vary from one village or blacksmith to another. Some have no finger guard and some feature two blades, one on each side of the handle. Traditional types include:
 Kuku Bima: Bhima's claw from West Java
 Kuku Hanuman: Hanuman's claw from West Java
 Kuku Macan: tiger's claw, endemic to Sumatra, Central Java and Madura
 Kerambit Sumbawa: larger, sturdier kerambit made specially for battle. From the Sumba Islands
 Kerambit Lombok: larger, sturdier kerambit made specially for battle. From Lombok
 Lawi Ayam: chicken's claw, created by the Minang community

Additionally, modern karambit may have spikes or spurs on the front or rear ricasso, which may be intended for gripping clothing or horse tack, tearing flesh or for injecting a poison, such as the upas.

Modern forms
The modern Western interpretation of the karambit is far removed from the original agricultural tool. They may have folding blades, are finished to a high standard, made from expensive materials as opposed to being rudimentary and makeshift and are generally larger to accommodate larger hands giving it pure shape.

See also

List of Indonesian inventions and discoveries
Bagh nakh
Mark I trench knife
Srbosjek

References

External links

Blade weapons
Weapons of Java
Weapons of Indonesia
Knives

Karambit


قلم الزهرة في علم النبات هو جزء من المتاع، عضو التأنيث في الزهرة. القلم عبارة عن أنبوب يصل الميسم بالمبيض.

أجزاء الزهرة

قلم الزهرة


An Masdevallia idae in uska species han Liliopsida nga ginhulagway ni Carlyle August Luer ngan M.Arias. An Masdevallia idae in nahilalakip ha genus nga Masdevallia, ngan familia nga Orchidaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Masdevallia

Masdevallia idae


Bei der PNMA-Familie handelt es sich um eine Proteinfamilie. Die Abkürzung "PNMA" steht für paraneoplastisches Antigen Ma.

Klassifikation

Eigenschaften
Die Funktion der PNMA-Proteine ist bis auf eine Ausnahme noch weitgehend unbekannt. PNMA4 (MOAP1) kann in Verbindung mit dem Protein Bax programmierten Zelltod (Apoptose) induzieren. Aufgrund der Homologien wird eine ähnliche Funktion auch den anderen Mitgliedern der Familie zugeschrieben. Einige paraneoplastische Syndrome sind mit Antikörpern assoziiert, die gegen bestimmte PNMA-Proteine gerichtet sind. Bei der Anti-Ma2-assoziierten Enzephalitis sind dies beispielsweise Antikörper gegen PNMA2.

Weiterführende Literatur
 M. Schüller, D. Jenne, R. Voltz: The human PNMA family: novel neuronal proteins implicated in paraneoplastic neurological disease. In: Journal of neuroimmunology. Band 169, Nummer 1–2, Dezember 2005, S. 172–176, . . PMID 16214224.

Einzelnachweise

Proteingruppe

PNMA-Familie


مسعود الخوند (1947-2006)، كاتب وباحث موسوعي لبناني من مواليد قضاء جزين جنوب لبنان، تلقى دروسه الابتدائية والمتوسطة والثانوية في بيروت قبل أن يلتحق بالجامعة اللبنانية ليتخصص في العلوم السياسية، ويحصل على شهادة الدكتوراه في العلاقات الدولية والفكر السياسي من جامعة باريس 1 - بانتيون سوربون (1977).

الحياة المهنية
ومنذ دراسته الجامعية بدأ في العمل السياسي فكان أحد أبرز أعلام الحركة الطلابية المساندة للقضية الفلسطينية في بيروت، كما ساهم في تأسيس حركة الوعي الطلابية التي شكلت معلما يساريا رئيسا في بيروت الستينيات.
بعد إنهاء الدراسة الجامعية، شق مسعود الخوند طريقه بسرعة في الحياة الثقافية اللبنانية والعربية وساهم كتابة وتحريرا في «موسوعة السياسة» الصادرة عن مركز الدراسات الفلسطينية كما عمل أستاذا جامعيا لأكثر من ثلاثين سنة داخل لبنان وخارجه.

مع بداية الحرب اللبنانية (1975)، دخل الخوند مجال الصحافة المكتوبة فكان كاتب مقالات مميز في عدد من الصحف اللبنانية والعربية. تفرغ الخوند للعمل الثقافي والتعليم الجامعي فأطلق باكورة أعماله «المعجم التاريخي للدول» عام 1982 الذي لاقى نجاحا كبيرا وضع مسعود الخوند في مصاف كبار المثقفين اللبنانيين في ذلك الوقت. مع اجتياح الجيش السوري عام 1990 للمناطق الشرقية في بيروت وجد الخوند نفسه ملاحقا من المخابرات السورية ما اضطره للهروب واللجوء إلى فرنسا لشهور عدة قبل أن يتلقى ضمانات سمحت له بالعودة إلى لبنان حيث عاش أعواما صعبة إثر تمنع معظم المؤسسات الأكاديمية والإعلامية عن التعامل معه نظرا لسقف خطابه المرتفع دائما بوجه الاحتلال السوري للبنان.

العام 1992 شهد ضربة مؤلمة في عائلة مسعود الخوند، إثر اختطاف شقيقه القائد الكتائبي الشهير بطرس خوند، فتنقل في عواصم القرار حاملا قضية شقيقه والاسرى اللبنانيين في السجون السورية.
العام 1994 شهد ولادة قمة أعمال مسعود الخوند، الموسوعة التاريخية الجغرافية، التي أصدرها منفردا على مدى أكثر من عشرة اعوام ونال على إثرها عشرات الجوائز وشهادات التقدير من أكثر من دولة عربية وغربية بالإضافة إلى مؤسسات ثقافية حول العالم.
يعرف الخوند بأسلوبه التحليلي الشيق وهو صاحب كلمة جميلة وعميقة، جعلته محط انظار الوسط الثقافي اللبناني والعربي وصنعت له مكانة مميزة داخله.

أهم المؤلفات
 «المعجم التاريخي للدول» (1983)
 «من آلام الازمة إلى آلام الحل» (1989)
 «الموسوعة التاريخية الجغرافية» بأجزائها العشرين. (1994-2005)
 «موسوعة الحرب اللبنانية» (2006)
 «الأقليات المسلمة في العالم» (2006)
بالإضافة إلى مئات المقالات والتحليلات والدراسات المنشورة في الصحف اللبنانية والعربية والدولية بينها منشورات خاصة بالأمم المتحدة. لقب بـ«كاتب المئة الف صفحة» نظرا لإنتاجه الغزير.
وافته المنية في الخامس عشر من حزيران 2006 إثر تعرضه لجلطة دماغية، كان يثابر قبلها على التحضير لعمل موسوعي جديد يؤرخ للسنوات الأخيرة من تاريخ لبنان. ارتبط عام 1982 بالسيدة ريموندا أبي نادر وانجبا أربعة أولاد هم هشام، هيثم، هنادي وهاني.

مراجع

أشخاص من جنوب لبنان
خريجو الجامعة اللبنانية
كتاب وكاتبات لبنانيون
موارنة لبنانيون
مواليد 1946
مواليد في جزين
وفيات 1427 هـ
وفيات 2006
وفيات بسبب أمراض قلبية وعائية

مسعود الخوند


James F. Steranko (; born November 5, 1938) is an American graphic artist, comic book writer/artist, comics historian, magician, publisher and film production illustrator.

His most famous comic book work was with the 1960s superspy feature "Nick Fury, Agent of S.H.I.E.L.D." in Marvel Comics' Strange Tales and in the subsequent eponymous series. Steranko earned lasting acclaim for his innovations in sequential art during the Silver Age of Comic Books, particularly his infusion of surrealism, pop art, and graphic design into the medium. His work has been published in many countries and his influence on the field has remained strong since his comics heyday. He went on to create book covers, become a comics historian who published a pioneering two-volume history of the birth and early years of comic books, and to create conceptual art and character designs for films including Raiders of the Lost Ark and Bram Stoker's Dracula.

He was inducted into the comic-book industry's Will Eisner Comic Book Hall of Fame in 2006.

Early life
Steranko was born in Reading, Pennsylvania. According to Steranko's authorized biography, his grandparents emigrated from Ukraine to settle in the anthracite coal-mining region of eastern Pennsylvania. Steranko's father, one of nine siblings, began working in the mines at age 10, and as an adult became a tinsmith. Steranko later said his father and uncles "would bootleg coal – they would go up into a mountain and open up a shaft." One of three children, all boys, Steranko spent his early childhood during the American Great Depression living in a three-room house with a tar-paper roof and outhouse toilet facilities. He slept on a couch in the nominal living room until he was more than 10 years old. Steranko's father and five uncles showed musical inclination, performing in a band that played on Reading radio in the 1930s, Steranko has said.

Steranko recalled beginning school at age 4. Later, "Because my father had tuberculosis (and I tested positive), I began third grade at what was called an 'open-window' school, a facility across the city that had a healthy program for kids with special problems. I was bused to school for four years, then dropped into standard junior high." There, being smaller and younger than his classmates, he found himself a target for bullies and young gang-members until he studied boxing and self-defense at the local YMCA and began to successfully fight back. His youngest brother was born when Steranko was 14, "severing even the minimal interaction between me and my parents."

Steranko had begun drawing while very young, opening and flattening envelopes from the mail to use as sketch paper. Despite his father's denigration of Steranko's artistic talent, and the boy's ambition to become an architect, Steranko paid for his art supplies by collecting discarded soda bottles for the bottle deposit and bundled old newspapers to sell to scrap-paper dealers. He studied the Sunday comic strip art of Milton Caniff, Alex Raymond, Hal Foster, and Chester Gould, as well as the characters of Walt Disney and Superman, provided in "boxes of comics" brought to him by an uncle. Radio programs, Saturday movie matinées and serials, and other popular culture also influenced him.

Steranko in 1978 described some influences and their impact on his creative philosophy:

Career

Illusionist and musician
By his account, Steranko learned stage magic using paraphernalia from his father's stage magician act, and in his teens spent several summers working with circuses and carnivals, working his way up to sideshow performer as a fire-eater and in acts involving a bed of nails and sleight-of-hand. At school, he competed on the gymnastics team, on the rings and parallel bars, and later took up boxing and, under swordmaster Dan Phillips in New York City, fencing. At 17, Steranko and another teenage boy were arrested for a string of burglaries and car thefts in Pennsylvania.

Up through his early 20s, Steranko performed as an illusionist, escape artist, close-up magician in nightclubs, and musician, having played in drum and bugle corps in his teens before forming his own bands during the early days of rock and roll. Steranko, whose first band, in 1956, was called The Lancers, did not perform under his own name, claiming he used pseudonyms to help protect himself from enemies. He also claims to have put the first go-go girls onstage. The seminal rock and roll group Bill Haley and his Comets was based in nearby Philadelphia and Steranko, who played a Jazzmaster guitar, often performed in the same local venues, sometimes on the same bill, and became friendly with Haley guitarist Frank Beecher, who became a musical influence. By the late 1960s, Steranko was a member of a New York City magicians' group, the Witchdoctor's Club.

Comics historian Mark Evanier notes that the influential comic-book creator Jack Kirby, who "based some of his characters ... on people in his life or in the news", was "inspired" to create the escape artist character Mister Miracle "by an earlier career of writer-artist Jim Steranko".

Early art career
During the day, Steranko made his living as an artist for a printing company in his hometown of Reading, designing and drawing pamphlets and flyers for local dance clubs and the like. He moved on after five years to join an advertising agency, where he designed ads and drew products ranging from "baby carriages to beer cans". Interested in writing and drawing for comic books, he visited DC Comics as a fan and was treated to a tour of the office by editor Julius Schwartz, who gave Steranko a copy of a script featuring the science-fiction adventurer Adam Strange. Steranko recalled in 2003, "It was the first full script I'd ever seen, complete with panel descriptions and dialogue. I learned a lot from it and eventually went on to create a few comics of my own."

He initially entered the comics industry in 1957, not long out of high school, working for a short time inking pencil art by Vince Colletta and Matt Baker in Colletta's New York City studio before returning to Reading. In 1966, he landed assignments at Harvey Comics under editor Joe Simon, who as one writer described was "trying to create a line of super heroes within a publishing company that had specialized in anthropomorphic animals." Here Steranko created and wrote the characters Spyman, Magicmaster and the Gladiator for the company's short-lived superhero line, Harvey Thriller. His first published comics art came in Spyman #1 (Sept. 1966), for which he wrote the 20-page story "The Birth of a Hero" and penciled the first page, which included a diagram of a robotic hand that was reprinted as an inset on artist George Tuska's cover.

Steranko also approached Marvel Comics in 1966. He met with editor Stan Lee, who had Steranko ink a two-page Jack Kirby sample of typical art for the superspy feature "Nick Fury Agent of S.H.I.E.L.D." Steranko self-published it in 1970 in the limited-edition "Steranko Portfolio One"; it appeared again 30 years later in slightly altered form in the 2000 trade-paperback collection Nick Fury, Agent of S.H.I.E.L.D. This led to Lee's assigning him the Nick Fury feature in Strange Tales, a "split book" that shared each issue with another feature. Future Marvel editor-in-chief Roy Thomas, then a staff writer, recalled,

Silver Age Steranko
Lee and Kirby had initiated the 12-page "Nick Fury, Agent of S.H.I.E.L.D." feature in Strange Tales #135 (Aug. 1965), with Kirby supplying such inventive and enduring gadgets and hardware as the Helicarrier – an airborne aircraft carrier – as well as LMDs (Life Model Decoys) and even automobile airbags. Marvel's all-purpose terrorist organization Hydra was introduced here as well.

Steranko began his stint on the feature by penciling and inking "finishes" over Kirby layouts in Strange Tales #151 (Dec. 1966), just as many fellow new Marvel artists did at the time. Two issues later, Steranko took over full penciling and also began drawing the every-other-issue "Nick Fury" cover art. Then, in a rarity for comics artists of the era, he took over the series' writing with #155 (April 1967), following Roy Thomas, who had succeeded Lee. In another break with custom, he himself, rather than a Marvel staff artist, had become the series' uncredited colorist by that issue.

"Nick Fury, Agent of S.H.I.E.L.D." soon became one of the creative zeniths of the Silver Age, and one of comics' most groundbreaking, innovative and acclaimed features.  Wrote Les Daniels, in his Comix: A History of Comic Books in America, "[E]ven the dullest of readers could sense that something new was happening. ... With each passing issue Steranko's efforts became more and more innovative. Entire pages would be devoted to photocollages of drawings [that] ignored panel boundaries and instead worked together on planes of depth. The first pages ... became incredible production numbers similar in design to the San Francisco rock concert poster of the period".

His peers took note of his experimentation. Writer-artist Larry Hama, in an introduction to Nick Fury collection, said Steranko "combined the figurative dynamism of Jack Kirby with modern design concepts", and recostumed Fury from suits and ties to "a form-fitting bodysuit with numerous zippers and pockets, like a Wally Wood spacesuit revamped by Pierre Cardin. The women were clad in form-fitting black leather a la Emma Peel in the Avengers TV show. The graphic influences of Peter Max, Op Art and Andy Warhol were embedded into the design of the pages – and the pages were designed as a whole, not just as a series of panels. All this, executed in a crisp, hard-edged style, seething with drama and anatomical tension."<ref>Hama, Larry, Introduction, {{cite book| title = Nick Fury, Agent of S.H.I.E.L.D.: Who Is Scorpio? | publisher = Marvel Enterprises | year = 2001|isbn = 0-7851-0766-5}}</ref>

Steranko introduced or popularized in comics such art movements of the day as psychedelia and op art, drawing specifically on the "aesthetic of [Salvador] Dalí," with inspiration from Richard M. Powers, ultimately synthesizing a style he termed "Zap Art." A.M. Viturtia notes Steranko drew on the James Bond novels, and claims that the influence went both ways: "Although Steranko was primarily influenced by spy movies, after Nick Fury came on the comics scene, the directors of those same movies began to borrow heavily from Steranko himself!" He absorbed, adapted and built upon the groundbreaking work of Jack Kirby, both in the use of photomontage (particularly for cityscapes), and in the use of full- and double-page-spreads. Indeed, in Strange Tales #167 (Jan. 1968), Steranko created comics' first four-page spread, upon which panorama he or editor Lee bombastically noted, "to get the full effect, of course, requires a second ish [copy of the issue] placed side-by-side, but we think you'll find it to be well worth the price to have the wildest action scene ever in the history of comics!" All the while, Steranko spun outlandishly action-filled plots of intrigue, barely sublimated sensuality, and a cool-jazz hi-fi hipness.

Writer Steven Ringgenberg assessed that

She and Steranko's other skintight leather-clad version of Bond girls pushed what was allowable under the Comics Code at the time. One example is a silent, one-page seduction sequence with the Countess in Nick Fury, Agent of S.H.I.E.L.D. #2, described by Robin Green in Rolling Stone:

When reprinted in Nick Fury, Agent of S.H.I.E.L.D.: Who Is Scorpio? (Marvel Enterprises, 2001; ), however, Steranko's original final panel was reinserted: In a black-and-white long shot with screentone shading, the couple is beginning to embrace, with Fury standing and the Countess on one knee, getting up. Another reprinting, in Marvel Masterworks: Nick Fury Agent of S.H.I.E.L.D. Volume 2 (Marvel Publishing, 2009; ), used the published final panel, although the appendix included the original art, showing the page as initially drawn. Each instance uses Steranko's original telephone panel, not the redrawn published version.

Fury's adventures continued in his own series, for which Steranko contributed four 20-page stories: "Who is Scorpio?" (issue #1); "So Shall Ye Reap ... Death" (#2), inspired by Shakespeare's The Tempest; "Dark Moon Rise, Hell Hound Kill" (#3), a Hound of the Baskervilles homage, replete with a Peter Cushing manqué; and the spy-fi sequel "What Ever Happened to Scorpio?" (#5). Yet after deadline pressures forced a fill-in "origin" story by another team in issue #4, Steranko produced merely a handful of additional covers, then dropped the book. Decades afterward, however, their images are among comics' best known, and homages to his art have abounded – from updates of classic covers with different heroes in place of Fury, to recreations of famous pages and layouts.

Steranko also had short runs on X-Men (#50–51, Nov.–Dec. 1968), for which he designed a new cover logo, and Captain America (#110–111, 113, Feb.–March, May 1969). Steranko introduced the Madame Hydra character in his brief Captain America run. With no new work immediately forthcoming, a "Marvel Bullpen Bulletins" fan page in spring 1969 announced that, "In case you've been wondering what happened to Jaunty Jim Steranko, ... [he] is working on a brand-new feature, which will shortly be spotlighted in Marvel Super-Heroes. And talk about a secret – he hasn't even told us what it is!" The referred-to project never appeared.

Steranko went on to write and draw a horror story that precipitated a breakup with Marvel. Though that seven-page tale, "At the Stroke of Midnight", published in Tower of Shadows #1 (Sept. 1969), would win a 1969 Alley Award, editor Lee, who had already rejected Steranko's cover for that issue, clashed with Steranko over panel design, dialog, and the story title, initially  "The Lurking Fear at Shadow House". According to Steranko at a 2006 panel and elsewhere, Lee disliked or did not understand the homage to horror author H. P. Lovecraft, and devised his own title for the story. After much conflict, Steranko either quit or was fired. Lee phoned him about a month later, after the two had cooled down.

In a contemporaneous interview, conducted November 14, 1969, Steranko reflected on the tiff:

Summing up this initial stint in comics, Steranko said in 1979,

Steranko returned briefly to Marvel, contributing a romance story ("My Heart Broke in Hollywood", Our Love Story  #5, Feb. 1970) and becoming the cover artist for 15 comics beginning with Doc Savage #2–3, Shanna the She-Devil #1–2, and Supernatural Thrillers #1–2 (each successively cover-dated Dec. 1972 and Feb. 1973), and ending with the reprint comic Nick Fury and his Agents of S.H.I.E.L.D. #2 (April 1973).

Publisher and paperback artist
In 1973, Steranko became founding editor of Marvel's official fan magazine, FOOM, which superseded the two previous official fan clubs, the Merry Marvel Marching Society and Marvelmania. Steranko served as editor and also produced the covers for the magazine's inaugural four issues before being succeeded editorially by Tony Isabella. He had previously been associated with Marvelmania, producing two of the club's 12 posters.

Steranko then branched into other areas of publishing, including most notably book-cover illustration. Lacking any experience as a painter, his decision to effectively quit comics in 1969 led him to "an artist friend who earned his living as a painter", from whom Steranko obtained an "hour-long lecture", and the suggestion that he work in acrylics rather than oils, for the sake of speed. From these inauspicious beginnings, he compiled a portfolio of half a dozen paintings ("two Westerns, two pin-up girls, two gothic horror and one sword-and-sorcery") and met with Lancer Books' art director Howard Winters, to whom he immediately sold his fantasy piece. This led to a career illustrating dozens of paperback covers, popularly including those of Pyramid Books' reissues of the 1930s pulp novels of The Shadow. When DC Comics gained the comic book publishing rights to The Shadow, they contacted Steranko to work on the new series but ultimately chose Dennis O'Neil and Michael Kaluta to produce the title instead.

Steranko also formed his own publishing company, Supergraphics, in 1969, and the following year worked with writer-entrepreneur Byron Preiss on an anti-drug comic book, The Block, distributed to elementary schools nationwide. In 1970 and 1972, Supergraphics published two tabloid-sized volumes entitled The Steranko History of Comics, a planned six-volume history of the American comics industry, though no subsequent volumes have appeared. Written by Steranko, with hundreds of black-and-white cover reproductions as well as a complete reprint of one The Spirit story by Will Eisner, it included some of the first and in some cases only interviews with numerous creators from the 1930s and 1940s Golden Age of Comic Books.

Supergraphics projects included the proposed Talon the Timeless, illustrations of which appeared in a portfolio published in witzend magazine #5, and a pinup girl calendar, "The Supergirls", consisting of 12 illustrations of sexy superheroines in costumes recalling such superheroes as Captain America and Green Lantern. Through Supergraphics he also published the magazine Comixscene, which premiered with a December 1972 cover date as a folded-tabloid periodical on stiff, non-glossy paper, reporting on the comics field. It evolved in stages into Mediascene (beginning with issue #7, Dec. 1973) and ultimately into Prevue (beginning with #41, Aug. 1980), a general-interest, standard format, popular culture magazine, running through 1994.Comixscene/Mediascene/Prevue (fan site). WebCitation archive.
Fantagraphics publisher Gary Groth recounts his time living with and working for Sterkano and Prevue in Reading, PA during a Cartoonist Kayfabe YouTube interview in May 2020.

Steranko wrote, drew, and produced the illustrated novel Chandler: Red Tide in 1976, for Byron Preiss Visual Publications / Pyramid Books. Aside from occasional covers and pinup illustrations, he has rarely worked in comics since, although he did illustrate a serialized comics adaptation of the Peter Hyams 1981 sci-fi thriller Outland for Heavy Metal magazine. His only major work for DC Comics appeared in Superman #400 (Oct. 1984), the 10-page story "The Exile at the Edge of Eternity," which he wrote, drew, colored and lettered. A 1997 attempt to negotiate Steranko's return to S.H.I.E.L.D. did not bear fruit. In 2008, he worked with Radical Comics, doing covers, character and logo designs for its Hercules: The Thracian Wars title and Ryder on the Storm. In 2012, he did poster art for RZG Comics and a variant cover for DC's Before Watchmen: Rorschach #1. Steranko drew the 1970s variant cover for Action Comics #1000 (June 2018).

Film and television work
For the film industry, Steranko has done sketches and preliminary paintings for movie posters, including for the 1977 Sinbad and the Eye of the Tiger and was a conceptual artist on Steven Spielberg's Raiders of the Lost Ark (1981), doing production designs for the film and designing the character of Indiana Jones. He also served in a similar capacity as "project conceptualist" on Francis Ford Coppola's Bram Stoker's Dracula (1992), and wrote the episode "The Ties That Bind" of the DC Comics animated TV series Justice League Unlimited.

In 2003, Steranko was interviewed by the History Channel for the documentary titled Comic Book Superheroes Unmasked.

He has "amassed an enormous portfolio of more than sixty projects (which he called the 'Theater of Concepts') designed to be seen in multimedia form".

Philanthropy
In a joint venture with Marvel Comics and Diamond Comic Distributors, Vanguard Productions in 2002 sponsored Steranko's "The Spirit of America" benefit print, created to fund an art scholarship "for victims of anti-American terrorism".

Awards and recognition
Steranko has won awards in fields as varied as magic, comics and graphic design. A partial list includes:

 In addition to himself being inducted into the Will Eisner Comic Book Hall of Fame in 2006, Steranko's series Nick Fury, Agent of S.H.I.E.L.D. was inducted into comic fandom's Alley Award Hall of Fame in 1969.
 Steranko won three 1968 Alley Awards, for Best Pencil Artist, Best Feature Story ("Today Earth Died", Strange Tales #168; first page depicted above), and Best Cover (Nick Fury, Agent of S.H.I.E.L.D. #6).
 The following year, he won 1969 Alley Awards for Best Feature Story ("At the Stroke of Midnight", Tower of Shadows #1) and Best Cover (Captain America  #113).
 1970 Shazam Award: Outstanding Achievement by an Individual: Jim Steranko (for The Steranko History of Comics)
 1975 Inkpot Award
 2003 Dragon Con's Julie Award
 2015 Harvey Award for Best Domestic Reprint Project for Nick Fury, Agent of S.H.I.E.L.D. Artist's Edition 2016 Steranko made a special appearance to honor the 2016 Inkwell Awards Ceremony at HeroesCon.

Exhibitions
Steranko's work has been exhibited internationally in more than 160 shows. Among others, his work has been shown in the following locations:
 The Louvre Museum, Paris, France (1967)
 The Winnipeg Art Gallery, Winnipeg, Manitoba, Canada (1978)
 The Sydney Opera House, New South Wales, Australia (January 1986)
 The Butler Institute of American Art, Youngstown, Ohio (2022)

Bibliography

Screenwriting
Television
 Justice League Unlimited (2005)

References

External links

 Steranko.com (placeholder page only) Accessed September 10, 2015
 Koening, Bill.  "Bill Koenig Remembers: 'Don't Yield, Back S.H.I.E.L.D.'", Her Majesty's Secret Servant (fan site), 2000. WebCitation archive.
 Meyer, Ken Jr. "1970 Jim Steranko Portfolio", "Ink Stains" 25 (column), ComicAttack.net, December 1, 2010. WebCitation archive.
 "Jim Steranko Interview", Comic Book Resources'', October 10, 2001. WebCitation archive (requires scrolldown).

 Jim Steranko at the Unofficial Handbook of Marvel Comics Creators

1938 births
20th-century American writers
20th-century American artists
American comics writers
American illustrators
American magazine publishers (people)
American magicians
American people of Ukrainian descent
Artists from Pennsylvania
Comics colorists
Escapologists
Inkpot Award winners
Living people
Marvel Comics people
Musicians from Reading, Pennsylvania
Role-playing game artists
Silver Age comics creators
Will Eisner Award Hall of Fame inductees
Writers from Reading, Pennsylvania

Jim Steranko


"Nødvendighedens politik" betegner en økonomisk reformpolitik der anses for at være "nødvendig".

Begrebet har været brugt om Helle Thorning-Schmidt-regeringens reformpolitik 2011–2015.
"Nødvendighedens politik" har dog også været brugt om den danske økonomiske politik før 2001.

Henvisninger

Danmarks finanspolitik

Nødvendighedens politik


La Unidad Tributaria es una medida que normaliza y mantiene actualizados, año tras año, los montos especificados en las leyes tributarias y reglamentos tributarios venezolanos, los cuales son expresados en proporcionalidad directa (incluso en fracción y/o porcentaje) al valor actual de dicha Unidad Tributaria. Nació de la necesidad de ahorro de recursos materiales y humanos en la publicación al día con la inflación presente en el país, producida por la devaluación de la moneda venezolana y cuyo hito histórico comenzó con el Viernes Negro en el gobierno de Luis Herrera Campíns.

Antes de la creación de la Unidad Tributaria todo aumento en los valores tributarios debía ser publicado en la Gaceta Oficial de Venezuela para que entrara en vigencia, ocasionando un gran trabajo (con el consecuente gasto de dinero en tinta y papel) de imprimir cada año de nuevo las mismas leyes y reglamentos pero con la única diferencia de sus valores modificados.

El 20 de diciembre de 2017 la Asamblea Nacional Constituyente, por medio de una Ley Constitucional, crea la Unidad Tributaria Sancionatoria y publicada el día 21 en la gaceta oficial N° 41305 que será utilizada para determinar el monto de las multas y sanciones pecuniarias cuya base de cálculo esté prevista en Unidades Tributarias, que ahora pasa a denominarse Unidad Tributaria Ordinaria y para ser derogada deberá ser emitida otra Ley Constitucional (igual rango legal).

El 11 de septiembre de 2018 el SENIAT, dentro de sus facultades legales, aumentó el valor de la Unidad Tributaria Ordinaria y Sancionatoria pero limitando su uso estrictamente a todo lo relacionado con ese ente, lo que ocasiona, de facto la existencia de la Unidad Tributaria Ordinaria Normal y la Unidad Tributaria Ordinaria SENIAT.

Usos cotidianos de la unidad tributaria
Bajo la Unidad Tributaria Ordinaria SENIAT:
 Están obligados a declarar y pagar el impuesto sobre la renta todas las personas naturales que en el ejercicio fiscal del año, percibieron un enriquecimiento superior a las 1.000 unidades tributarias (si son profesionales independientes, 1.500 unidades tributarias).

Con el tiempo la Unidad Tributaria Ordinaria Normal adquirió mayor uso no relacionado con la Administración Aduanera y Tributaria, como por ejemplo:
 La renta de Timbre fiscal.
 Multas y sanciones, cuyos montos a partir de febrero de 2018 están calculados con base en la Unidad Tributaria Sancionatoria.
 Como referencia para algunos beneficios laborales.
 Para el pago de dominio de nivel superior administrado por la CONATEL.
 Para fianzas de fiel cumplimiento, en el caso de los Proveedores de Servicios de Certificación Electrónica, públicos y privados, debidamente acreditados ante SUSCERTE.
 Como base para el cálculo de "Ley del Cestaticket Socialista para los Trabajadores y Trabajadoras".
 Costo de emisión del pasaporte venezolano ante Servicio Administrativo de Identificación, Migración y Extranjería: 12 unidades tributarias.

Notas

Historia legal
La Unidad Tributaria se creó el 27 de mayo de 1994 con el artículo 229 del Código Orgánico Tributario (en lo sucesivo COT), publicado en la Gaceta Oficial de la República de Venezuela número 4.727 Extraordinario, estableciéndose la unidad tributaria para ese entonces, a los efectos tributarios, en el monto de un mil bolívares (Bs. 1.000,00). Aquel monto es equivalente a un bolívar fuerte VEF (BsF. 1,00) debido al Decreto número 5.229, con Rango, Valor y Fuerza de Ley de Reconversión Monetaria, publicada en la Gaceta Oficial número 38.638 de fecha 6 de marzo de 2007 de donde se desprende la Resolución N.º 07-06-02 (21 de junio de 2007 y publicada en Gaceta Oficial) del Banco Central de Venezuela en su artículo 2 y el equivalente a Bs. S.  0,00001 según las normas de reconversión monetaria dictadas en 2018.

Luego de leer el COT de 1994 puede observarse que la Unidad Tributaria, se define como una medida de valor expresada en moneda de curso legal (actualmente, el Bolívar), creada por el COT y modificable anualmente por la Administración Tributaria (SENIAT). En la Gaceta Oficial número 37.305, publicada el 17 de octubre de 2001, el nuevo COT decretado por la Asamblea Nacional de la República Bolivariana de Venezuela establece en el Parágrafo Tercero de su artículo 3 que:"Por su carácter de determinación objetiva y de simple aplicación aritmética, la Administración Tributaria Nacional reajustará el valor de la Unidad Tributaria de acuerdo con lo dispuesto en este Código. En los casos de tributos que se liquiden por períodos anuales, la unidad tributaria aplicable será la que esté vigente durante por lo menos ciento ochenta y tres (183) días continuos del período respectivo. Para los tributos que se liquiden por períodos distintos al anual, la unidad tributaria aplicable será la que esté vigente para el inicio del período."Su objetivo principal es equiparar y actualizar a la realidad inflacionaria, los montos de las bases de imposición, exenciones y sanciones, entre otros. En este sentido, el artículo 121 contenido en la SECCIÓN PRIMERA "FACULTADES, ATRIBUCIONES Y FUNCIONES GENERALES" del CAPÍTULO I "FACULTADES, ATRIBUCIONES, FUNCIONES Y DEBERES DE LA ADMINISTRACIÓN TRIBUTARIA" del TÍTULO IV "DE LA ADMINISTRACIÓN TRIBUTARIA", señala que:"La Administración Tributaria tendrá las facultades, atribuciones y funciones que establezcan la Ley de la Administración Tributaria y demás leyes y reglamentos, y en especial:
(...Omissis...)
15.  Reajustar la unidad tributaria (U.T.) dentro de los quince (15) primeros días del mes de febrero de cada año, previa opinión favorable de la Comisión Permanente de Finanzas de la Asamblea Nacional, sobre la base de la variación producida en el Índice de Precios al Consumidor (IPC) en el Área Metropolitana de Caracas, del año inmediatamente anterior, publicado por el Banco Central de Venezuela. La opinión de la Comisión Permanente de Finanzas de la Asamblea Nacional, deberá ser emitida dentro de los quince (15) días continuos siguientes de solicitada."La Unidad Tributaria Sancionatoria fue aprobada por la Asamblea nacional Constituyente mediante Ley Constitucional y fue publicada en la Gaceta Oficial N°41.305 el 21 de diciembre de 2017.
 Está estrechamente relacionada con la Unidad Tributaria con la diferencia que se utilizará su valor para calcular los montos de sanciones y multas que están basadas en ella. Su valor será establecido en las mismas condiciones por el Ejecutivo Nacional: tendrá como referencia el Índice de Precios al Consumidor y será ajustada los primeros días del mes de febrero de cada año. Para diferenciar ambas en el artículo 3 se renombra como Unidad Tributaria Ordinaria a la creada en 1994. De manera tácita ambas Unidades tienen el mismo valor monetario en 2017 y a partir de febrero de 2018 sus valores debieron ser actualizados.

En la Gaceta Oficial N°41.479 del martes 11 de septiembre de 2018 el SENIAT marcó un hito legal al limitar el aumento de la Unidad Tributaria estrictamente a las operaciones y sanciones que utiliza la Administración Tributaria, negando a los demás organismos públicos la utilización del nuevo valor, quienes deberán seguir utilizando el valor inmediatamente anterior.

Evolución de la Unidad Tributaria Ordinaria

Cono monetario VEB

Vigente de 1897 hasta el 31 de diciembre de 2007.

Cono monetario VEF

Vigente del 1° de enero del 2008 hasta el 5 de diciembre del 2018, 1 000 VEB equivalen a 1 VEF.

Cono monetario VES

Vigente desde el 20 de agosto de 2018 al presente, 100 000 VEF equivalen a 1 VES.

Unidad Tributaria Ordinaria Normal

Unidad Tributaria Ordinaria SENIAT

Nueva Expresión Monetaria

Vigente desde el 1º de octubre de 2021 al presente, 1 000 000 VES equivalen a 1 Bs.

Notas

Evolución de la Unidad Tributaria Sancionatoria

Notas

Véase también
 Asamblea Nacional Constituyente de Venezuela de 2017
 Servicio Nacional Integrado de Administración Aduanera y Tributaria
 Banco Central de Venezuela
 Economía de Venezuela

Referencias

Enlaces externos

 "Hablemos de: Unidad Tributaria. Una fuente de distorsión sobre el sistema tributario venezolano", ponencia de la Federación de Colegios de Contadores Públicos de Venezuela en su canal oficial en YouTube .
 Página web del Banco Central de Venezuela.
 Página web del Servicio Nacional Integrado de Administración Aduanera y Tributaria (SENIAT)
 Código Orgánico Tributario vigente
 Ley de Timbre Fiscal publicado en línea por el Ministerio del Poder Popular para la Salud.
  Página web de la Superintendencia de Servicios de Certificación Electrónica
 Unidad Tributaria Sancionatoria ¿Una nueva UT?

Impuestos
Derecho tributario de Venezuela
Unidades de cuenta

Unidad Tributaria


نوال 84 هو الألبوم الأول للفنانة نوال الكويتية في مسيرتها الفنية. صدر عام 1984. احتوى الألبوم على خمسة أغاني جميعها من كلمات عبد اللطيف البناي وألحان راشد الخضر.

قائمة الأغاني
 «يوه يايوه»
 «أربع سنين»
 «سفر سفر»
 «عمري رحل»
 «قول أحبك»

مراجع

ألبومات 1984
ألبومات نوال الكويتية

نوال 84


Şevket Çoruh (d. 30 Haziran 1973, İstanbul), Türk tiyatro, sinema ve dizi oyuncusu.

2006 yılından 2022 yılına kadar Kanal D'de yayımlanan Arka Sokaklar adlı dizideki Komiser Mesut Güneri rolüyle tanındı. İstanbul'daki Baba Sahne'nin kurucusudur.

Yaşamı ve kariyeri
30 Haziran 1973 tarihinde İstanbul'da doğdu. Baba tarafından 93 Harbi sonunda Ardanuç'un Anaçlı köyünden İstanbul'a göç ederek günümüzde Ömerli Barajı suları altında kalan Muratlı köyüne yerleşmiş olan Artvinli bir ailenin tek çocuğudur. Anne tarafı ise Sapancalı olup Gürcü ve Laz kökenlidir. Annesi terzi, babası dolmuş şoförüdür.

İlk ve orta öğrenimini Üsküdar'da Taşmektep İlkokulunda tamamlayan Çoruh, 14 yaşından 24 yaşına kadar Maltepe'de yaşadı. Lise öğrenimini Ertuğrul Gazi Lisesinde tamamladı. Liseden mezun olduktan sonra Müjdat Gezen Sanat Merkezinde tiyatro eğitimi aldı.

1989 yılından beri çeşitli tiyatro oyunlarında rol aldı. Adını bir internet firmasının reklamında oynadığı "Kokoreççi" tiplemesiyle duyurdu. 1997 yılında Sinem Üretmen ile beraber 'Şaka Yaptık' adlı programı hazırlayıp sundu. Broadway geçmişinde sahnelenen en uzun tek kişilik oyun olarak rekorlar kitabına girmiş Caveman (Mağara Adamı) adlı komediyi Türkiye'de sahneledi.

2006 yılından 2022 yılına kadar Arka Sokaklar adlı dizide oynadı. Dizide Komiser Mesut Güneri rolüyle ve sinemada Eğreti Gelin, Usta filmleri ve İnşaat ile Çakallarla Dans gibi film serilerindeki oyunculuğu ile tanındı.

Çoruh, 3 Nisan 2017 tarihinde kendi maddi birikimlerini kullanarak İstanbul Kadıköy'de Baba Sahne adını verdiği tiyatroyu açtı. Tiyatronun açılışında Müjdat Gezen, Türk tiyatrosunda tulûatın simgesi sayılan ve kendisine Münir Özkul'un devrettiği İsmail Dümbüllü'nün fesini Çoruh'a devretti. 2017'de Baba Sahne'de sahnelenen "Bir Baba Hamlet adlı Hamlet uyarlamasında rol arkadaşı Murat Akkoyunlu ile birlikte Tiyatro Dergisi Emek ve Başarı Ödülleri 2018'de Komedi/Müzikal dalında En İyi Erkek Oyuncu Ödülü'ne değer görüldü; 22. Afife Jale Ödülleri'nde Haldun Dormen Özel Ödülü'nü aldı.

Oyuncu Rasim Öztekin, 27 Ağustos 2020 tarihinde yaptığı bir açıklamayla Dümbüllü'nün orta oyununu temsil eden kavuğunu Çoruh'a devredeceğini duyurmuş, 20 Eylül 2020 tarihinde İBB'nin organizatörlüğünde Harbiye Cemil Topuzlu Açık Hava Tiyatrosu'nda düzenlenen özel bir devir teslim töreniyle kavuğu Çoruh'a devretmiştir. Böylece Geleneksel Türk Tiyatrosu'nun bu iki simgesi yıllar sonra üçüncü kez tek bir kişide toplanmış oldu.

Özel yaşamı
1993 yılında oyuncu Günay Karacaoğlu ile evlendi. 2004 yılında boşandı ve 2018'de Özge Turna ile evlendi. İlk evliliğinden Gülenay, ikinci evliliğinden Turna adlı bir kızı vardır.

Filmografisi

Oynadığı diziler

Oynadığı filmler

Tiyatro oyunları

Ödülleri

Kaynakça

Türk erkek sinema oyuncuları
Türk erkek dizi oyuncuları
1973 doğumlular
Yaşayan insanlar
İstanbul doğumlu erkek oyuncular
Müjdat Gezen Sanat Merkezi'nde öğrenim görenler
Gürcü asıllı Türkler
Laz asıllı Türkler

Şevket Çoruh


Godišnji pokladni ophod mačkara mućkog kraja, nematerijalno zaštićeno kulturno dobro mućkog kraja.

Opis
Godišnji pokladni ophod mačkara mućkog kraja s područja Muća Gornjeg, Muća Donjeg, Neorića, Sutine, Zelova, Gizdavca, Ogorja Gornjeg i Ogorja Donjeg. Osebujan je zbog barjaka – stabla jablana visokog desetak metara, oguljene kore, koji mačkare nose u svojim ophodima. Pokladni običaji u selima mućkog kraja specifični su zbog uloge barjaka i njime povezanim običajima, unatoč promjenama i njihovu osuvremenjivanju. Sačuvali su stare elemente pokladnih običaja u skupini koja predstavlja svatove s likom dida i babe, dvjema pokladnim figurama uobičajenim od starina i poznatim i u drugim krajevima Hrvatske i kod nekih slavenskih naroda.

Zaštita
Pod oznakom Z-4844 zaveden je kao nematerijalno kulturno dobro, pravna statusa zaštićena kulturnog dobra, klasificirano kao "običaji, obredi i svečanosti".

Izvori

Zaštićeni običaji, obredi i svečanosti u Splitsko-dalmatinskoj županiji
Muć


CFMT-DT (channel 47) is a television station in Toronto, Ontario, Canada. It is one of two flagship stations of the Canadian multilingual network Omni Television. CFMT-DT is owned and operated by Rogers Sports & Media alongside sister Omni outlet CJMT-DT (channel 40) and Citytv flagship CITY-DT (channel 57). The stations share studios at 33 Dundas Street East on Yonge-Dundas Square in downtown Toronto, while CFMT-DT's transmitter is located atop the CN Tower.

The station was originally founded on September 3, 1979 by a consortium led by Dan Iannuzzi, Jerry Grafstein, Raymond Moriyama, Steve Stavro, Garth Drabinsky and Nat Taylor as CFMT-TV, branded on air as MTV (Multilingual Television) as Canada's first multicultural independent station and in 1980, CFMT became Canada's first television station to air 24 hours a day, seven days a week. The station has been owned by Rogers Communications since 1986, but later used CFMT as the basis and flagship station to expand its multicultural stations under the Omni brand beginning with the launch of CJMT-TV (Omni.2) in 2002 along with the rebranding of CFMT as Omni.1 and the rest of Canada in subsequent years. The two stations are distinguished by their service of different cultural groups; CFMT caters primarily on European (particularly Western and Eastern) and Latin American cultures while CJMT focuses on Asian cultures (including programming in South Asian and Chinese languages).

History

In December 1978, Dan Iannuzzi, founder of the Italian-language daily newspaper Corriere Canadese and future recipient of the Order of Canada, received a licence to operate a multilingual television station, defeating rival applicants Johnny Lombardi and Leon Kossar. His company, Multilingual Television (Toronto) Ltd., had been producing multilingual television programs since 1972. Iannuzzi initially owned 30% of the station, and other investors included Jerry Grafstein (who was also one of the major investors that helped launch CITY-TV in September 1972), Raymond Moriyama, Steve Stavro, Garth Drabinsky and Nat Taylor. The call letters CFMT were derived from "Canada's First Multilingual Television", as it was the first multicultural television station in Canada. English-language programming was limited to one-third of the station's broadcast hours, with French-language programming accounting for 7% and programming in about two dozen other languages providing the remaining 60%. The station was originally going to broadcast on UHF channel 45, but instead moved to channel 47 for technical reasons. The station first signed on the air on September 3, 1979, broadcasting 24 hours a day, seven days a week, as a multicultural independent station under the brand name MTV (for "Multilingual Television"); that branding was dropped in 1981 to avoid confusion with the upstart American MTV cable network. (The channel even broadcast a program called Video Singles, as of 1983.)

In August 1980, the channel became the first in Canada to adopt a 24-hour, 7-day a week schedule, introducing The All-Night Show three weeks later.

In the past, CFMT-TV identified itself on air as "Channel 47/Cable 4" (reflecting both its over-the-air channel number and its cable channel in the Greater Toronto Area through Rogers Cable) and later as "CFMT International". On September 16, 2002, Rogers launched CJMT-TV (channel 40; which was branded as "OMNI.2") to provide additional multicultural programming, and rebranded CFMT as "OMNI.1". Programs airing on CFMT that were aimed at Asian and African communities were moved to CJMT, while CFMT kept programs aimed at European and Latin American groups.

On October 8, 2007, Rogers announced that the operations of the two Omni stations would relocate from 545 Lake Shore Boulevard West to 33 Dundas Street East. CFMT and CJMT integrated their operations into the building – sharing with Citytv flagship CITY-DT, which had moved into the facility the previous month – on October 19, 2009.

Programming
The station broadcasts multicultural programming targeting European and Latin American communities throughout Southern Ontario. Historically, among English-speaking television viewers in the region, CFMT was best known as home to various English-language syndicated talk shows and sitcom repeats, including The Simpsons, Friends and Family Guy, airing nightly as counterprogramming to local newscasts and first-run prime time series on owned-and-operated stations of the major networks.

Until around 1990, CFMT was the original Toronto home of Wheel of Fortune and Jeopardy!. At that time, both game shows moved to CTV flagship station CFTO-TV (channel 9) and remained on that station until 2004, when Wheel of Fortune moved to CJMT, then moved back to CFMT the following year; Barrie station CKVR-TV carried the show in 2006. Jeopardy! remained on CFTO-TV for a few years until 2008, when CBC Television acquired the Canadian television rights to the game shows, moving once again to CBC flagship station CBLT (channel 5) until 2012, when both programs moved to independent station CHCH-DT (channel 11) in Hamilton.

Newscasts
CFMT-DT presently broadcasts five hours of locally produced newscasts each week (with one hour each weekday). The station currently carries a local newscast aimed at Southern Ontario's Italian demographic. CFMT previously produced a Cantonese newscast; that program was moved to CJMT after that station launched on September 16, 2002. The station previously carried newsbreaks produced by sister radio station CFTR in the early 1990s.

Technical information

Subchannel

Analog-to-digital conversion
CFMT shut down its analogue signal, over UHF channel 47, on August 31, 2011, the official date on which full-power television stations in larger Canadian television markets transitioned from analogue to digital broadcasts under federal mandate. The station's digital signal relocated from its pre-transition UHF channel 64, which was among the high band UHF channels (52–69) that were removed from broadcasting use as a result of the transition, to UHF channel 47 for post-transition operations. Through the use of PSIP, digital television receivers display the station's virtual channel as its former UHF analogue channel 47. CFMT's digital repeaters in London and Ottawa also relocated to new channels for the same reason behind the relocation of the main signal; these repeaters would use their former UHF analogue channel numbers (69 and 60) as their virtual channel numbers.

Transmitters

References

External links

FMT-DT
FMT-DT
Television channels and stations established in 1979
1979 establishments in Ontario

CFMT-DT


Haemonchus est un genre de nématodes de la famille des Trichostrongylidae et dont la répartition est cosmopolite.

Systématique
Le genre Haemonchus a été créé en 1898 par le nématologiste américain Nathan Augustus Cobb (1859-1932).

Liste d'espèces
Selon  :
 Haemonchus bedfordi Le Roux, 1929
 Haemonchus contortus (Rudolphi, 1803)
 Haemonchus contortus × Haemonchus placei
 Haemonchus longistipes
 Haemonchus placei (Place, 1893)
 Haemonchus similis Travassos, 1914

Notes de références

Liens externes

Trichostrongylidae
Genre de nématodes (nom scientifique)

Haemonchus


Enea Silvio Benco (Trieste,  – Turriaco, ) est un écrivain, librettiste, journaliste et critique littéraire italien.

Biographie

Bien qu'il ait commencé très tôt ses études, atteint d'une grave maladie osseuse, il les a suspendues une première fois, puis les a abandonnées complètement en 1890, trois ans après la mort de son père, en raison des problèmes édonomiques de la famille. Forcé de gagner sa vie, il travaille comme journaliste, sous les pseudonymes de "Falco" et "Iago", dans le journal irrédentiste triestin , où il rencontre Italo Svevo et sa future épouse, l'écrivain Delia de Zuccoli, qu'il épouse en 1904 et avec qui il aura sa fille  l'année suivante.

En 1903, il rejoint le journal Il Piccolo où il peut évoluer professionnellement et mieux exprimer ses idées politiques pro-italiennes. En 1913, avec quelques journalistes du même journal et de l'Indépendant, il a été parmi les promoteurs de la fondation de l'Association de la presse italienne à Trieste, une initiative courageuse étant donné que la ville faisait partie de l'Empire austro-hongrois.

Avec l'entrée de l'Italie dans la Première Guerre mondiale, Il Piccolo est supprimé et Benco - comme d'autres journalistes - est généreusement embauché par le journal socialiste de Trieste Il Lavoratore, ce qui ne l'oblige pas à changer de ligne Benco, surveillé par la police autrichienne, a été envoyé en détention à Linz en 1916, où il est resté jusqu'à la fin de la guerre en 1918. Cette même année 1918, avec Giulio Cesàri, il fonde le journal italien de Trieste, La Nazione dont il a été le premier directeur. Il est resté en fonction jusqu'à l'avènement du fascisme en 1923.

Candidat à l'Académie d'Italie, sa nomination a été rejetée par Benito Mussolini : Benco n'était pas membre du parti fasciste. En 1932, cependant, pour ses mérites dans la défense du caractère italien de Trieste, l'Académie elle-même lui décerna le prix Mussolini de littérature.

En 1943, à la chute de la dictature, il revient collaborer avec Il Piccolo, succédant et remplaçant  mais, en septembre de la même année, à la suite de menaces des fascistes, il est contraint de se réfugier à Turriaco, une petite ville de la Vénétie julienne, où il est mort en 1949.

Ami de James Joyce, Benco a édité ses premiers articles, alors que Joyce travaillait comme professeur d'anglais à Trieste. D'ailleurs, en 1921, le premier en Italie, Benco a signalé dans un article le roman Ulysse de l'écrivain irlandais, l'une des œuvres les plus importantes de la littérature européenne du . Benco a écrit des essais sur Shakespeare, qu'il connaissait comme peu, sur Goethe, sur Tolstoï, Dostoïevski, Hugo, Wagner, Baudelaire, Poe, Ibsen, Maeterlinck, Chesterton , Kafka et autres. Il a laissé environ cinq mille écrits sur la politique, l'histoire, les coutumes, la critique théâtrale, la littérature, l'art, la musique. Un florilège de ces pages a été édité par U. Saba en 1922 sous le titre La corsa del tempo.

Œuvres

Livrets
 La falena. Leggenda in tre atti de Silvio Benco; musique de Antonio Smareglia, Trieste, Augusto Levi, 1897.
 Oceàna. Commedia fantastica de Silvio Benco; musique de Antonio Smareglia, Venise, Officine Grafiche C. Ferrari, 1901.
 Abisso. Dramma lirico in tre atti de Silvio Benco; musique de Antonio Smareglia, Trieste, Casa musicale Giuliana, 1913.
 Canossa. Scene per musica. Livret de Silvio Benco; musique de G. Francesco Malipiero. Rome, Armani & Stein, 1914.

Théâtre
L'uomo malato. Dramma in tre atti, 1916. Publié dans Silvio Benco, Teatro, édité par Paolo Quazzolo, Empoli, Ibiskos Editrice, 2006.
La bilancia.Commedia in due atti, 1916. Publié dans Silvio Benco, Teatro, édité par Paolo Quazzolo, Empoli, Ibiskos Editrice, 2006.

Essais et romans

 La fiamma fredda, Milan, Trèves, 1903.
 Il castello dei desideri, Milan, Trèves, 1906.
 Gli ultimi anni della dominazione austriaca a Trieste, Milan, Casa editrice Risorgimento, 1919. Comprend:
1. L'attesa
2. L'assedio
3. La liberazione
 Nell'atmosfera del sole, Milan, Caddeo, 1921.
 La corsa del tempo, Trieste, Susmel, 1922.
 Trieste, Florence, Nemi, 1932.
 Un secolo di vita del Lloyd triestino, 1836-1936, Trieste, Servizio stampa e propaganda del Lloyd triestino, 1936.
 Contemplazione del disordine, Udine, Del Bianco, 1946.
 Trieste e il suo diritto all'Italia, Bologne, Cappelli, 1952.
 Ricordi di Antonio Smareglia, Duino, Umana edizioni, 1968.

Depuis 2003, dans les  collections Opere di Silvio Benco et Archivio del '900, éditeur La Finestra editrice, sont apparues de nouvelles éditions de ses œuvres:
 La corsa del tempo, La Finestra editrice, Lavis 2003 .
 La morte dell'usignolo e gli altri libretti per Smareglia, La Finestra editrice, Lavis 2003 .
 Contemplazione del disordine, La Finestra editrice, Lavis 2004 .
 I romanzi : Il castello dei desideri, Nell'atmosfera del sole, La Finestra editrice, 2007 .
 Trieste, introduzione di Elvio Guagnini, La Finestra editrice, Lavis 2010 .

Traductions, préfaces et éditions
 Umberto Saba, Poesie, préface de Silvio Benco, Florence, Casa editrice italiana, 1911.
 Jacopo Cavalli, Storia di Trieste : dalle origini alla guerra di redenzione, appendice de Silvio Benco, Milan, Risorgimento, 1915.
 Riccardo Pitteri, Discorsi per la Lega Nazionale. Raccolti e pubblicati per cura del Consiglio centrale della Lega Nazionale commemorazione di Silvio Benco, Roma, Editori Alfieri & Lacroix, 1922.
 Johann Wolfgang von Goethe, La missione teatrale di Guglielmo Meister, traduction de Silvio Benco, Milan, A. Mondadori, 1932.
 Johann Wolfgang von Goethe, Le affinità elettive, édité par Silvio Benco, Milan, A. Mondadori, 1957.

Notes et références

Bibliographie

Liens externes

Écrivain italien du XXe siècle
Dramaturge italien du XXe siècle
Librettiste italien d'opéra
Traducteur italien du XIXe siècle
Traducteur italien du XXe siècle
Journaliste italien
Naissance en novembre 1874
Naissance à Trieste
Décès en mars 1949
Décès à 74 ans
Décès dans la province de Gorizia

Silvio Benco


Fenilefrin hidrokloridi tansiyonu yükseltmek veya gözbebeğini genişletmek için veya dekonjestan olarak kullanılan bir maddedir.

Ağızdan alınan ilaçlar veya nazal sprey şeklinde dekonjestan olarak kullanılır.

Dekonjestan olarak kullanılacağında koroner kalp hastalıkları, hipertansiyon (yüksek tansiyon) gibi sorunları olan veya beta bloker ilaçlar kullanan kişilerde kullanılmamalıdır.

%2,5lik göz damlası için

Kullanım Şekli
Vazokonstriksiyon ve pupil dilatasyonununda: Öncelikle bir damla anestezik damlatılarak, ortaya çıkabilecek ağrının önüne geçilir ve takiben her göze bir damla üst limbusa damlatılır. Üveit vakalarında sineşi varlığında veya sineşi oluşma ihtimalinde korneanın üzerine her göze birer damla damlatılır. Günde üç kezden fazla yapılmamalıdır. İntraoküler cerrahi öncesinde girişimden 30-60 dakika önce bir veya iki damla uygulanır.

Endikasyonları
Üveitlerde posterior sineşi oluşumunu önlemek veya geciktirmek amacıyla, oftalmik cerrahi girişimlerden önce veya post-operatif dönemlerinde, siklopleji olmaksızın refraksiyonda, fundoskopilerde vazokonstriktör dekonjestan ve midriyatik olarak ve diğer teşhis amaçlı girişimlerde midriyatik olarak kullanılır.

Kontrendikasyonları
Fenilefrin dar açılı glokom, tirotoksikozis, arteriyokslerozis, diabetes mellitus ve anevrizma durumlarında; hipertansiyon, taşikardi veya koroner kalp hastalıkları gibi risk faktörleri taşıyan hastalarda ve ilaca aşırı duyarlılığı olan kişilerde kontrendikedir. Korneal epitelyal bariyerin bozulmuş olduğu intraoküler operatif girişimlerde de uygulanmamalıdır.

Uyarılar
Fenilefrin %2'den daha yüksek konsantrasyondaki oftalmik çözeltilerinin irritasyona neden olabileceği gözönünde tutulmalıdır. Diğer bütün adrenerjik ilaçlar için olduğu gibi, fenilefrin, MAO inhibitörleri ile birlikte ve/veya MAO inhibitörlerinin uygulanmasından sonraki üç hafta içinde kullanılmamalıdır. Sıçan ve farelerde yapılan çalışmalar fenilefrinin karsinojenik etkisi olmadığını göstermiştir. Fenilefrinin fetüste zarar oluşturup oluşturmadığı veya üreme kapasitesine etkisinin olup olmadığı bilinmemektedir. Gebe kadınlara ancak açık bir biçimde gerekliliği saptanmış vakalara uygulanmalıdır. Anne sütüne geçtiği bilinmemektedir. Çoğu ilacın anne sütüne geçtiği göz önüne alınarak uygulama sırasında emzirenlerde gerekli dikkat gösterilmelidir.

Yan etkileri
Düşük doğum ağırlıklı prematüre yenidoğanlarda, bebeklerde ve idiyopatik ortostatik hipotansiyonu(tansiyon düşüklüğü) olan yaşlı vakalarda belirgin kan basıncı artışı bildirilmiştir. Oluşabilecek kardiyovasküler (kalp ile ilgili) yan etkiler genellikle yaşlı vakalarda ortaya çıkmakta ve kan basıncında belirgin artış, senkop (bayılma), miyokard enfarktüsü (kalp krizi), taşikardi (çarpınt), aritmi (ritim bozukluğu) ve fatal (ölümcül) sonuçlanabilen subaraknoid kanama (beyin kanaması) olarak bildirilmektedir. Seyrek olarak sistemik absorbsiyon sonucu; baş dönmesi, terleme, kalp atışında düzensizlik, gözlerin ışığa karşı aşırı duyarlılığı, göz sulanması görülebilir.

İlaç etkileşimleri
Fenilefrin, adrenerjik blokerlerin ve fenotiyazinlerin etkilerini azaltabilir. MAO inhibitörleri ve trisiklik antidepresanlarla birlikte kullanıldığında, fenilefrinin etkilerinde artış olabilir. Fenilefrinin beta bloker ilaçlarla aynı anda kullanılması akut hipertansiyona neden olabilir.

Dekonjestanlar
Alfa adrenerjik agonistler
Rinoloji
Uyarıcılar
Aminler
Fenoller
Vazokonstriktörler

Fenilefrin


Marriages est un groupe américain de post-Rock originaire de Los Angeles, Californie, fondé en 2011.

Biographie
Le groupe se forme en 2011 sous l'impulsion de Emma Ruth Rundle, au chant et à la guitare, et de Greg Burns, à la basse, tous les deux originaires du groupe post-rock instrumental Red Sparowes. Le duo est ensuite rejoint par le batteur Dave Clifford. En 2012, le trio sort Kitsune, leur premier EP sur le label Sargent House.

En 2013, Dave Clifford est remplacé par Andrew Clinco. Marriages enchaine les tournées d'abord avec Russian Circles et Deafheaven, puis Chelsea Wolfe aux Etats-Unis, avant de partir en Europe avec Wovenhand et de jouer au Roadburn Festival aux Pays-Bas. S'ensuit une légère pause pendant laquelle Emma Ruth Rundle sort son album solo Some Heavy Ocean. L'année 2014 est ainsi consacrée à l'écriture de leur premier opus.

En 2015, le groupe sort Salome, le premier album du groupe.

Lors d'une interview accordée au webzine Hornsup en 2017, Emma Ruth Rundle laisse entendre que Marriages pourrait éventuellement se relancer dans un futur proche. Pourtant en 2020, l'idée semble abandonnée. Les projets parallèles des différents membres du groupe sont trop prenants, Emma Ruth Rundle a sa carrière solo à gérer et Andrew Clinco est occupé avec son propre groupe Drab Majesty.

Membres

Membres actuels
 Emma Ruth Rundle : Chant, guitare (depuis 2011)
 Greg Burns : Basse (depuis 2011)
 Andrew Clinco : Batterie (depuis 2013)

Ancien membre

 Dave Clifford : Batterie (2011-2013)

Discographie

Album

 2015 : Salomé

EP

 2012 : Kitsuné

Notes et références

Liens externes
https://marriagesmusic.bandcamp.com/album/salome

Groupe américain de post-rock
Groupe musical formé en 2011
Groupe de rock de Los Angeles

Marriages


"1. općinska nogometna liga Koprivnica" za sezonu 1983./84. je bila liga šestog stupnja nogometnog prvenstva SFRJ.
Sudjelovalo je 9 klubova, a prvak je bilo "Borac" iz Imbriovca.

Ljestvica

Rezultatska križaljka

 Izvori:

Unutrašnje poveznice
 Međuopćinska nogometna Koprivnica 1983./84.
 2. općinska liga Koprivnica 1983./84.

Vanjske poveznice

Izvori

 library.foi.hr, "Glas Podravine"
 library.foi.hr, "Glas Podravine", br. 22, god. XXXIX, izdano 15. lipnja 1984., str. 11, preuzeto 10. srpnja 2019.

1983-84 1 OL Koprivnica
Koprivnica-1
1983-84 Koprivnica 1

1. općinska nogometna liga Koprivnica 1983./84.


Silahdar Süleyman Paşa (ö. Ekim 1715, Rodos) III. Ahmed saltanatında, 12 Kasım 1712 - 6 Nisan 1713 tarihleri arasında dört ay yirmi dört gün sadrazamlık yapmış Osmanlı devlet adamı.

Hayatı
Abaza asıllıdır. Darüssade ağası Yusuf Ağa'nın kölesi idi. Onun tarafından Saraya verildi ve Enderun'da eğitim gördü. III. Ahmet döneminde silahdar oldu. Ocak 1705'te vezirlik rütbesi verildi ve Halep Eyaleti valisi tayin olundu. Sonra sırasıyla Eğriboz muhafızlığı ve takiben Kıbrıs valisi görevlerine getirildi. Sonra İstanbul'a getirilerek Kubbealtı veziri yapıldı. Eylül 1709'da Nişancı olarak göreve başladı. 1710'da yeni tayin edilen sadrazamın taşradan İstanbul'a gelmesine kadar İstanbul'da sadaret kaymakamlığı yaptı.

Gürcü Ağa Yusuf Paşa'nın sadrazamlıktan azledilmesinden sonra 12 Kasım 1712'da sadrazam olarak görev verildi. Buna başlıca nedenler Silahdar Damat Ali Paşa'nın tavsiyesi ve sarayda Enderun'dan yetişmesi dolayısıyla padişah III. Ahmet ile uyuşması gelmekte idi.

Tam bu sırada Osmanlı devleti sınırına sığınmış olan ve Bender'de ikamet eden İsveç Kralı Demirbaş Şarl'in ülkesine dönmesi sorunu ortaya çıkmıştı. Ülkesine dönmek için Osmanlı devletinden isteklerinin hepsi yerine getirilmesine rağmen XII. Karl çeşitli diğer bahaneler çıkararak Osmanlı sınırlarından ayrılıp İsveç'e dönmekten kaçınmaktaydı. Sadrazam ise onun ülkesine dönmesini çok istemekteydi. Sadrazam Şeyhülislam ile görüştü. Bu istişareden sonra birlikte alınan karara göre eğer Osmanlı sınırlarından ayrılmamakta inat ederse İsveç Kralı Osmanlı sınırlarından içeri alınıp ülkenin sınırlarından uzak bir ülke ortasında bir mevkiye götürülüp orada ikamet etmesi sağlanacaktı. Kralın isteklerini tekrar öğrenmek ve ülke sınırlarından ayrılmazsa sadrazamın kararını uygulamak için ve Bender seraskerine emirler gönderildi. Gerçekten de İsveç Kralı ülkesine gitmemekte ısrar etti. Bunun üzerine sadrazamın emrini yerine getirmek için Kırım Hanı ve Bender Seraskeri zor kullanarak onu sınırdan içeri alıp muhafızlar altında Dimetoka'ya gönderdiler.

Fakat İsveç Kralı bir devlet misafiri olduğu için ona karşı gösterilen bu usulsüz ve düşmanca muamele büyük bir skandal yaratıp dedikodulara konu olup ve tenkitlere uğradı. Bunun devlete karşı olan halkın itimadını sarstığını anlayan padişah 6 Nisan 1713'te bir devlet misafirine layıksız muamele gösteren Sadrazamı, ona bu hususta danışman olan şeyhülislamı ve bu emri uygulayan Kırım Hanı'nı hep birlikte azletti. Yine Silahdar Damad Ali Paşa'nın tavsiyesini alan III. Ahmed, Hoca İbrahim Paşa'yı yeni sadrazam yaptı.

Sadrazamlıktan azlolduktan sonra Silahdar Süleyman Paşa III. Ahmed'in gözünden düşmedi. Hemen kaptan-ı deryalık görevi verildi. Fakat bu seferde devlet maliyesi ile başı derde girdi. Sadaret döneminde haslarından ve diğer kaynaklardan zulümle para elde ettiği ileri sürüldü. Kendisinden sefer iaşesi için 80 kese akçe istendi. Silahdar Süleyman Paşa bu kadar parayı bulamadığı için istenilen ödemeyi yapamadı. Bunun üzerine 8 ay Kaptan-ı deryalık yaptıktan sonra bu görevden de 18 Kasım 1713'te azledildi.

Bundan sonra İstanköy adasına sürgüne gönderildi. Ama adaya vardıktan hemen sonra affolundu ve Girit valisi olarak görev verildi. 4 Ekim 1714'te ise Rodos adası valiliğine nakli emri geldi.

Fakat Rodos adasına vardığında valilikten azledilip Rodos adasında sürgünde olarak ikamette kalma emri geldiğini öğrendi. Ekim 1715'te ise bir idam fermanıyla İstanbul'dan gelen bir cellad tarafından kafası kesilerek idam edildi ve kesilen kafası İstanbul'a gönderildi. Fındıklı Tarihi bu katline neden uygun görüldüğünün bilinmediğini yazmaktadır. Fakat diğer kaynaklar katlinde Silahdar Damat Ali Paşa'nın etkili olduğunu bildirirler.

Eserleri
İstanbul'da Divanyolu'nda bir muallimhanesi ile bir de hanı vardır.

Dış bağlantılar
 Tektaş, Nazim (2002), Sadrâzamlar Osmanlı'da İkinci Adam Saltanatı, İstanbul:Çatı Yayınevi (Google books:
 Danişmend, İsmail Hami, (1971) Osmanlı Devlet Erkânı, İstanbul: Türkiye Yayınevi,
 Buz, Ayhan (2009) " Osmanlı Sadrazamları", İstanbul: Neden Kitap, ISBN 978-975-254-278-5
 Mehmed Süreyya (hz.: Nuri Akbayar) (1996) Sicil-i Osmani. Istanbul:Tarih Vakfi Yurt Yayinlari ISBN 975-333-0383 C.5 say.1542

Osmanlı sadrazamları
1715 yılında ölenler
İdam edilmiş Osmanlılar
18. yüzyılda Osmanlılar
Başı kesilerek idam edilmiş kişiler
Kaptan-ı deryalar
Osmanlı Girit valileri
Doğum tarihi bilinmeyenler
Nişancılar

Silahdar Süleyman Paşa


Karabük Province () is a landlocked province in the northern part of Anatolia (northern central Turkey), located about  north of Ankara,  away from Zonguldak and  away from Kastamonu. Its area is 4,142 km2, and its population is 252,058 (2022). The main city is Karabük which is located about  south of the Black Sea coast.

Karabük Province is one of the newest provinces of Turkey. Established in 1995, it comprises Karabük, Eflani, Safranbolu and Yenice districts which were formerly part of Zonguldak Province and Eskipazar and Ovacık districts which were previously part of Çankırı Province.

Karabük is located on the highway between Bartın and Ankara, which was in ancient times an important route between Amasra on the coast and central Anatolia. The railway between Ankara and Zonguldak passes through Karabük.

Safranbolu, a historically important city, which is listed in the UNESCO World Heritage List, is located in Karabük Province.

Districts

Karabük province is divided into 6 districts (capital district in bold):
 Eflani
 Eskipazar
 Karabük
 Ovacık
 Safranbolu
 Yenice

History

Karabük received its name from its geography. Its name occurred from combine of Kara, black in English, and Bük, shrubbery in English.

Although there are many tumuli and hill towns which give information of history of the region before the invention of writing, due to absence of scientific analysis, there is not sufficient information. However, as to archeological researches which were done around Eskipazar and Ovacık,  the earliest site in this region is Yazıboy, which is a village of Eskipazar nowadays.  Researches think that one of tumulus in this village reach today from b.c. 2500.

Gallery

See also
List of populated places in Karabük Province

References

External links

  Karabük governor's official website
  Karabük municipality's official website
  Karabük weather forecast information
 Karabük Guide
  Eflani News
  Karabük News Website

States and territories established in 1995
1995 establishments in Turkey

Karabük Province


Die Enttäuschung ist eine Berliner Jazzgruppe, die zunächst als Quartett entstand und um 2017 als Quintett arbeitete. Für das amerikanische Magazin Down Beat ist es "die beste Jazzcombo von heute".

Bandgeschichte
Das in den 1990er Jahren von Rudi Mahall, Joachim Dette, Uli Jenneßen und Axel Dörner gegründete Quartett veröffentlichte 1996 ein Debütalbum ausschließlich mit Kompositionen von Thelonious Monk. Es folgte eine Aufführung des Gesamtwerks von Thelonious Monk zusammen mit dem Pianisten Alexander von Schlippenbach, die 2005 als 3-CD-Edition bei Intakt Records veröffentlicht wurde (Monk's Casino).

In der Besetzung mit Mahall, Dörner, Jenneßen und Jan Roder (Bass) entstanden fünf Alben mit Eigenkompositionen der Bandmitglieder. 2013 erschien in gleicher Besetzung das Album Vier Halbe.

Michael Griener ersetzte 2017 Uli Jenneßen am Schlagzeug und durch den Einstieg des Posaunisten Christof Thewes wurde Die Enttäuschung zum Quintett. Seit 2021 arbeitet die Enttäuschung wieder (ohne Thewes) als Quartett.

Diskographie
 Die Enttäuschung (Two-Ninetenn Records, 1995)
 Die Enttäuschung 1 (Grob, rec. 1997, ed. 2002)
 V.A. Total Music Meeting 2001: Audiology - 11 Groups Live (A/L/L, 2002, enthält ein Stück der Enttäuschung von 2′45″)
 Alexander von Schlippenbach & Die Enttäuschung – Monk's Casino (Intakt, 2003/04)
 Die Enttäuschung (Crouton, 2004)
 Die Enttäuschung 4 (Intakt, 2006)
 Die Enttäuschung 5 (Intakt, 2009)
 Vier Halbe (Intakt, 2012)
 Lavaman (Intakt 2017)
 Die Enttäuschung & Alexander von Schlippenbach: Monk's Casino Live at AuTopsi Pohl (Two Nineteen Records, 2022)
 Music Minus One (Two Nineteen Records, 2023)
 Die komplette Enttäuschung (Two Nineteen Records, 2023)

Weblinks
 Webpräsenz
 Porträt, Jazzzeitung 7/2004
 Bandporträt, Jazzthetik 15. Dezember 2017

Einzelnachweise

Jazzband
Ensemble (Neue Improvisationsmusik)
Deutsche Band

Die Enttäuschung


An Cephalostemon angustatus in uska species han Liliopsida nga ginhulagway ni Gustaf Oskar Andersson Malme. An Cephalostemon angustatus in nahilalakip ha genus nga Cephalostemon, ngan familia nga Rapateaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Cephalostemon

Cephalostemon angustatus


An Axonopus deludens in uska species han Liliopsida nga ginhulagway ni Mary Agnes Chase. An Axonopus deludens in nahilalakip ha genus nga Axonopus, ngan familia nga Poaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Axonopus

Axonopus deludens


Vitus Jonassen Bering, još poznat kao Ivan Ivanovič Bering (kršten u Horsensu 5. kolovoza 1681., umro na Beringovom otoku 19. prosinca 1741.) bio je danski kartograf i istraživač u ruskoj službi. Poznat je kao voditelj Prve i Druge kamčatske ekspedicije. Tijekom tih ekspedicija istraživao je sjeveroistočnu azijsku i sjeverozapadnu sjevernoameričku obalu. Beringov prolaz, Beringovo more, Beringov otok, Beringov ledenjak i Beringija imenovani su u njegovu čast.

Životopis
Vitus Bering rođen je u Horsensu gdje je kršten u luteranskoj crkvi 5. kolovoza 1681. godine. S petnaest godina postao je mali od palube. Od 1696. do 1704. godine, Bering je plovio morima te je došao do Indije i Nizozemske Istočne Indije. U Amsterdamu završio je obuku mornarskog časnika. U Amsterdamu Bering se pridružio floti ruskog cara Petra Velikog kao potporučnik. Petar Veliki ga je 1724. godine postavio za zapovjednika Prve kamčatske ekspedicije. Ekspedicija je trebala istražiti je li sjeveroistok Azije povezan sa sjeverozapadom Sjevernom Amerikom. Rusko Carstvo tada je bilo zainterisirano za mogućnost osnivanja kolonija u Sjevernoj Americi te pronalaska morskog puta do Kine preko Sibira. Ruski pomorac Semjon Ivanovič Dežnjev otkrio je 1648. godine taj prolaz, no za rezultate njegovih putovanja javnost nije znala do 1736. godine, kada je nađen njegov izvještaj o ekspediciji.Semjon Ivanovič Dežnjev, Hrvatska enciklopedija, pristupljeno 6. rujna 2020. Dana 13. srpnja 1728. Bering je otplovio iz Kamčatke, a tijekom kolovoza uplovio je u Arktički ocean preko Beringovog prolaza. Loše vrijeme otežala su mu promatranja, stoga nije ni vidio sjevernoameričku obalu. Unatoč tomu, zaključio je da Sibir nije povezan sa Sjevernom Amerikom. Tijekom vladavine ruske carice Ane Ivanovne, Bering je pokušao pokrenuti drugu ekspediciju. Njegov plan pretvorio se u Drugu kamčatsku ekspediciju u kojoj je kartografirana većina sibirske arktičke obale. Dana 4. lipnja 1741. godine Bering je isplovio na brodu "Sveti Petar" (ruski: Святой Пётр), dok je Aleksej Iljič Čirkiov isplovio na brodu "Sveti Pavao" (ruski: Святой Павел). Kasnije je tijekom ekspedicije oluja razdvojila te brodove te je "Sveti Pavao" otkrio nekoliko Aleutskih otoka, dok je "Sveti Petar" 20. kolovoza ušao u Aljaski zaljev. Iz opreznosti da sigurno vrati svoj brod, uspio je izvidjeti samo jugozapadnu obalu, poluotok Aljasku i Aleutske otoke. Patio je od skorbuta, stoga nije mogao efektivno davati zapovijedi. Njegov brod doživio je brodolom tijekom početka studenog na obali Beringovog otoka u blizini Kamčatke. Nakon njegove smrti na otoku, nekoliko je preživjelih članova posade uspjelo doći do Sibira te su donijeli vijesti o izvrsnim mogućnostima trgovinom krzna na Aleutskim otocima i Aljaski.

Bilješke
  Svi su datumi navedeni prema Julijanskom kalendaru koji je tada bio korišten u Ruskom Carstvu.
  Rusko-danska ekspedicija iz 1991. godine koja je ekshumirala Beringove ostatke također je analizirala zube i kosti te je zaključila da Bering nije umro od skorbuta. Na temelju analiza napravljenih u Moskvi i Stellerovog originalnog izvješća, najvjerojatniji uzrok smrti bilo je zatajenje srca.

Izvori

Literatura

Vanjske poveznice

 Vitus Jonassen Bering, Hrvatska enciklopedija
 Vitus Jonassen Bering, Proleksis enciklopedija
 Djela Vitusa Beringa, Open Library
 Djela Vitusa Beringa ili djela o njemu u knjižnicama (WorldCat katalog)

Životopisi, Danska
Istraživači
Istraživači Sjeverne Amerike
Istraživači Azije
Istraživači Arktika
Istraživači pomorskih puteva

Vitus Jonassen Bering


Sör Timothy John Berners-Lee (d. 8 Haziran 1955, Londra), İngiliz mühendis ve bilgisayar bilimi profesörü. Daha çok World Wide Web'in mucidi olarak tanınmaktadır.

1989'da CERN laboratuvarlarında HTML işaretleme dilini geliştirerek Dünya Çapında Ağ (WWW) olarak da tanımlanan bilgi paylaşım sistemini kurmuştur. Aynı zamanda 1990 yılında ilk web tarayıcısı yazılımını geliştirmiştir. 1994 yılında ağ ile ilgili standartları dünya çapında belirleyecek açık bir kurum olan W3C'yi kurmuştur ve de başkanlığını yapmıştır. İnsanlık kültürüne katkılarından ötürü 2004 yılında kendisine kraliçe II. Elizabeth tarafından sör (sir) unvanı verilmiştir. Berners-Lee, şu anda Dünya Çapında Ağ Konsorsiyumu'nun (W3C) başkanı, MIT ve Oxford Üniversitesi'nde bilgisayar bilimi profesörüdür.

Hayatı
Berners-Lee 1955'te Londra'da doğmuştur. Mary Lee Woods ve Conway Berners-Lee'nin dört çocuğundan biridir. Ebeveynleri üretilmiş ilk ticari bilgisayar Ferranti Mark 1 üzerinde çalışmıştır. 1973-1976 yılları arasında Oxford The Queen's College'inde okumuştur ve fizikte birinci sınıf lisans diploması almıştır. Kolejdeyken, bir tamirhaneden aldığı eski bir televizyon setinden bir bilgisayar yapmıştır.

Kariyer
Mezun olduktan sonra Tim Berners-Lee, Dorset'taki telekomünikasyon şirketi Plessey'de mühendis olarak çalıştı. 1978'de Dorset'ta başka bir şirkette yazıcılar için bir tür yazılımın geliştirilmesine yardımcı oldu.

Haziran 1980'den Aralık 1980'e kadar CERN'de bir şirkette bağımsız yüklenici olarak çalıştı. Cenevre'de iken araştırmacıların aralarında bilgi paylaşımı ve güncellemelerini kolaylaştırma amacıyla hiper metin kavramına dayalı bir proje önerdi. Bunu sunmak için ENQUIRE adında WWW'nun da temellerini oluşturan bir prototip sistem yaptı.

1980'nin sonlarında Cenevre'den ayrıldıktan sonra Dorset'ta John Poole's Image Computer Systems şirketinde çalışmaya başladı. Şirketin teknik bölümünü üç yıl boyunca yönetti. "Gerçek zamanlı uzaktan yordam çağrısı" projesi üzerinde çalışması kendisine bilgisayar ağı hakkında tecrübeler kazandırdı. 1984'te CERN'e geri döndü.

1989'da CERN, Avrupa'nın en büyük internet düğümüne sahip olduğundan Tim Berners-Lee, hiper metine internet ile katılma fırsatı buldu. Tim Berners-Lee burada hiper metin fikrini TCP protokolü ve alan adı sistemi ile birleştirerek World Wide Web'in doğmasını sağladı. NextStep işletim sistemi için yaptığı ilk web tarayıcısı yazılımı için, daha önce yaptığı ENQUIRE'ye benzer bir sistem olan Word Wide Web'i kullanmıştır.

1994'te Berners-Lee, MIT'te Dünya Çapında Ağ Konsorsiyumu'nu kurmuştur. Burası web'in kalitesini iyileştirmek için standartlar ve öneriler sunan çeşitli şirketlerden oluşuyordu. Berners-Lee fikirlerini, hiçbir patent ve telif hakkı ödenmeden serbestçe kullanılabilir hale getirdi. Dünya Çapında Ağ Konsorsiyumu, standartlarının telifsiz teknolojiye dayanması gerektiğine karar verdi. Böylece herkes tarafından kolayca benimsenebilirdi.

Aralık 2004'te, anlamsal ağ üzerinde çalışmak üzere Southampton Üniversitesi'nde bilgisayar bilimleri alanında başkanlık yaptı.

Kaynakça

Dış bağlantılar

1955 doğumlular
İngiliz bilgisayar bilimcileri
Oxford Üniversitesinde öğrenim görenler
Massachusetts Teknoloji Enstitüsü öğretim üyeleri
İnternet kişileri
Dünya Çapında Ağ Birliği
Anlamsal Ağ
CERN kişileri
Yaşayan insanlar
Royal Society üyeleri

Tim Berners-Lee


كاريي (Καρυαί) هي مدينة في لاكونيا في مقاطعة كينتريكي إلادا في اليونان.

يبلغ عدد سكانها حوالي 1037 نسمة.

المراجع

مدن اليونان
أماكن مأهولة في لاكونيا

كاريي (لاكونيا)


Apellès, dont le nom est probablement macédonien, était un Philoi du roi Philippe V. Il fut nommé par Antigone III Doson pour faire partie du conseil de tutelle de Philippe V. Plutarque l'a qualifié d'aulique (en grec ancien : αὐλικός ou aulikós).

Biographie
Au printemps 184 av. J.-C., après la deuxième guerre macédonienne, Philippe V fut contraint par le Sénat romain de faire partir ses garnisons stationnées à Ainos et Maronée. Le roi de Macédoine se retire des deux cités mais ordonne le massacre des habitants de Maronée. Philippe V a consulté Apellès et Philoklès, un autre Ami de Philippe V, pour savoir la conduite à tenir face aux Romains qui l'accusaient d'avoir commis ce massacre. Celui-ci exerce une influence néfaste sur le roi ainsi que sur d'autres Philoi en s'alliant à Léontios et Mégaléas dans le but d'évincer Alexandros de la maison royale et Taurion des affaires péloponnésiennes afin de prendre leur place. Apellès est à l'origine de nombreux conflits au sein des proches membres de l'entourage du roi. À la suite de ses mauvais comportements Philippe V l'exclut du conseil et n'est plus autorisé à approcher l'entourage du roi. Cependant, il garde un accès libre aux réceptions et aux honneurs.

Notes et références

Bibliographie

 Sylvie Le Bohec, « Les Philoi des Rois Antigonides », dans Revue des Études Grecques, tome 98, fascicule 465-466, Janvier-juin 1985. pp. 93-124, (https://doi.org/10.3406/reg.1985.1410)
 Polybe, Histoires, traduction par Félix Bouchot, http://remacle.org/bloodwolf/historiens/polybe/index.htm [archive]

Personnalité grecque du IIe siècle av. J.-C.
Antigonides

Apellès


Livredder er en dansk kortfilm fra 1967 instrueret af Allan de Waal efter eget manuskript.

Handling
En sensommer-gæst lader en livredder redde mere end hendes fysiske liv.

Medvirkende
 Marianne Walther
 Claus Nissen

Referencer

Eksterne henvisninger

Kortfilm fra Danmark
Danske film fra 1967

Livredder (film)


The Adventures of Willy Beamish is a graphic adventure game developed by Dynamix and published in 1991 by Sierra On-Line. The player takes on the role of nine-year-old Willy Beamish in a game that somewhat parodies the adventure genre. The game pioneered the use of in-game graphics drawn to resemble classic hand-drawn cartoon animation. It was initially released for MS-DOS and the Amiga and was ported to the Sega CD in 1993. CD versions of the game complemented the in-game text with speech, and included a few other cosmetic changes. A sequel was reportedly planned starring Willy Beamish as a late teenager, but the project was canceled.

The game was re-released by Activision on March 2, 2017 on GOG.com with support for Microsoft Windows bundled with DOSBox.

Plot

Nine-year-old Willy Beamish is introduced as a brat archetype of the late 1980s, being the middle child in a typical upper middle class American family. Willy is passionate about science fiction, hanging out with his gang in their tree house and playing video games, being highly skilled with his Nintari console (a portmanteau of Nintendo and Atari). His existence is not entirely idyllic, though, as he is periodically tormented by a number of people. These include various staff members at school, a vicious teenaged school bully name Spider, and his two sisters Brianna and Tiffany, respectively a preschool prodigy and an angsty teenager. Their parents Gordon and Sheila are portrayed respectively as a middle-aged career pursuer and a glamorous soccer mom. They both love Willy, but are at their wits end with his mischief, and are seriously considering enrolling him in military school. Willy is occasionally visited by his grandfather's ghost, who serves as his conscience. His adventures take place over the first few days of summer vacation, in the fictional American town of Frumpton.

Willy Beamish is sent to detention on the last day of school after his pet frog Horny disrupted the final school assembly by dislodging the principal's toupee. After either evading detention or waiting it out, Willy returns home to his family. As they all gather for dinner, Willy's father Gordon, who was due a promotion at work, shocks the entire family by announcing his unexpected layoff. To cut on family expenses, Willy is denied the entry fee to the video game championship he was training for. Also, his access to the Nintari console is revoked due to a "C" grade tainting an otherwise satisfactory report card, which Willy has failed to hide from his parents. Willy leverages his elder sister Tiffany's weaknesses to get back the Nintari key she was given custody of and resume training.

The next day, Willy learns that Tootsweet, the local producer of artificial sweetener, is sponsoring a frog jump contest with a prize in cash and decides to enlist Horny. At the same time, Gordon applies for a job as head of public relations at Tootsweet. Both are unaware that Tootsweet CEO Leona Humpford is conspiring with union leader Louis Stoole to send Frumpton plumbers on strike, thus leading the town to a sewer system crisis for Leona to profit from, while using the new head of PR as a scapegoat. Willy starts training Horny for the frog jump contest. Later that day, he is left in the care of a babysitter named Alicia who transforms into a vampire bat: Willy manages to dispose of the creature by using a Vacuum Cleaner, only to wake up to the realization that it was a nightmare.

Willy travels by ferry to the other side of town to register his frog for the contest. On the ferry, he befriends a family of Japanese tourists. After completing the registration, Willy is ambushed by a local street gang and runs away. He stumbles again upon the Japanese tourists, who reveal themselves as ninjas and come to his aid by attacking the street thugs. Meanwhile, Gordon has obtained the job at Tootsweet: by this time, however, the plumbers' strike has caused the sewer system to overflow, polluting Frumpton's water.

At the frog jump contest, Horny places first or second, either way earning Willy enough money to participate in the Nintari championship. However all the frogs, including Horny, are captured by order of Leona, who plans to eat them in a frog legs dish. Inside Tootsweet's headquarters, Willy overhears an argument between Gordon and Leona over the sewer crisis. After evading security, Willy sneaks inside Leona's mansion, rescues the frogs, and foils Chef Childish's plan for cooking frog legs. There, he learns that Leona and Louis are planning to eliminate Gordon after he has publicly unveiled their scheme and announced his resignation. Willy is captured, but the frogs team up to help him escape. He then infiltrates the sludge processing plant and, after overcoming Leona's henchmen, rescues his father and defeats Leona and Louis by flushing them down the sewage drain. The game ends with Willy being celebrated as a local hero and claiming victory in the Nintari championship.

Gameplay
Many of the challenges that Willy faces are typical choices that a nine-year-old boy must make: whether to push his little sister on the swingset (and how high to push her), whether to mow the lawn, whether to wash his dad's car, and whether to take his dog for a walk or feeds him. Making unwise choices can produce negative consequences of various sorts. For instance, if Willy does not wash his father's car, he does not receive his allowance, and cannot buy an item that he will need later in the game. In addition, Willy has a score system called the Trouble-O-meter, a thermometer with "Good Boy" at the bottom and "Cadet School" at the top. Actions that annoy Willy's parents will cause the meter to go up one level, and really infuriating them will cause it to go up more. If the mercury reaches "Cadet School", that is where Willy goes, and the game is over.

Ports
The Sega CD edition of the game has slow loading times and slightly washed out colors. In an effort to make up for the slow loading time, the game has a feature where the player can select the "Start" button and manipulate a set of twirling black and white balls, known in the manual as "Laser Balls". A glitch in some editions of the game caused the game to freeze up during certain scenes.

That edition includes a minigame on Willy's Nintari system in his bedroom (in the IBM PC compatible version, playing the Nintari just plays a cutscene of a video game). The minigame, known as Super Space K'Noidtrix, combines elements of Space Invaders, Tetris and Arkanoid.

The "talkie" CD versions of the game, besides adding voice actors, extend the game's introduction and replaced the still character portraits with animated versions. The voice actor who plays Willy Beamish is Michael Zibelman. Additionally, while the floppy PC version offered the option of MT-32 sound and music, the CD version eliminates that option, leaving only Soundblaster and Pro Audio Spectrum as sound options. Certain retail boxes of the game included a mail-in form for a free Willy Beamish-themed wristwatch.

Reception

The Adventures of Willy Beamish was a commercial hit. Craig Ritchie of Retro Gamer called it "one of Dynamix's most popular titles of the era". It sold over 80,000 copies in the United States by early 1992.

Charles Ardai wrote in Computer Gaming World in 1993 that the CD-ROM version of Willy Beamish was disappointing compared to the corresponding version of Space Quest IV, with poor voice acting that was, he stated, "insulting to children and inconsiderate of adults, whose skin it will make crawl". Ardai also disliked the game's tone of "smirking, adolescent sexiness" as incongruent with a small child as the hero. He concluded "This is a game best played with the voices turned off. Given that it is a CD-ROM game, that's saying a mouthful". In 1994 the magazine said of the CD version that "the acting adds little to the game, and it is fair to say that some of the voices are miscast".

References

External links

1991 video games
Adventure games
Amiga games
DOS games
Games commercially released with DOSBox
Classic Mac OS games
Sega CD games
School-themed video games
Sierra Entertainment games
Video games about children
Video games set in the United States
Works about vacationing
Dynamix games
Single-player video games
Video games developed in the United States

The Adventures of Willy Beamish


Will Wright (d. 20 Ocak 1960, Atlanta, Georgia) ABD vatandaşı olan bir bilgisayar oyunu tasarımcısı. Kendisi oyun geliştiren Maxis şirketinin kurucularından biridir. En çok bilinen çalışmaları arasında SimCity, The Sims ve Spore yer almaktadır. SimCity oyununu neredeyse tek başına tasarlamıştır. Tanınmasına The Sims serisi yol açmıştır. Daha sonra 2008'de çıkardığı Spore ile oyun dünyasına adını altın harflerle yazdırmıştır. Spore çıktığı ilk hafta 406.000 kopya satmıştı. Bir konuşmasında oyun geliştiriciliği sektörüne girişini genç iken oynadığı PanzerBlitz gibi stratejik masa oyunlarından dolayı olduğunu söylemiştir. Birçok oyun geliştiricisi onun oyunlarını EA oyunlarından daha farklı bir stratejik yapısı olduğundan söz etmişlerdir.

Geçmiş

Georgia Institute of Technology'nin mühendislik bölümünden mezun olmuştur. Daha önce Electronic Arts'da da çalışmıştır.

2002 yılında AIAS Hall of Fame ödülüne layık görülmüştür.

Oyunları:

 Raid on Bungeling Bay (1984)
 SimCity (1989)
 SimEarth (1990)
 SimAnt (1991)
 SimLife (1992)
 SimCity 2000 (1993)
 SimCopter (1996)
 The Sims (2000)
 The Sims Online (2002)
 Spore Creature Creator (2008)
 Spore (2008)
 Proxi (TBA)

1960 doğumlular
Amerikalı ateistler
Maxis
Kızılderili asıllı Amerikalılar
Fransız asıllı Amerikalılar
İtalyan asıllı Amerikalılar
İngiliz asıllı Amerikalılar
Amerikalı erkek seslendirme sanatçıları
20. yüzyıl Amerikalı iş insanları
21. yüzyıl Amerikalı iş insanları
20. yüzyıl Amerikalı mühendisleri
21. yüzyıl Amerikalı mühendisleri
Georgia doğumlular
Electronic Arts
Yaşayan insanlar
BAFTA Los Angeles Britanya Ödülleri sahipleri
BAFTA Ödülü sahipleri

Will Wright


Friedrich Rückward (* 10. Juni 1872 in Labiau, Ostpreußen; † 8. Februar 1933 in Berlin) war ein deutscher Chorleiter und Bratschist.

Leben und Wirken
Nach dem Studium an der Musikhochschule in Berlin, wo er Schüler von Joseph Joachim war, wirkte er zunächst vorwiegend als Bratschist. Als solcher war er zeitweise Mitglied des Karl Klingler- sowie des Carl-Halir-Streichquartetts. 1904 gründete er den Brahmsverein in Berlin, wo er zuerst als Chordirigent auftrat und sich besonders der vernachlässigten Werke der klassischen Literatur annahm. 1910 übernahm er den Vorsitz (als Dirigent) der Berliner Mozartgemeinde in Nachfolge von deren Gründer Heinrich Rudolf Genée und gab ab 1912 auch deren "Mitteilungen" (bis 1925) heraus. Er trug den Titel Königlicher Musikdirektor.

Seine letzte Ruhestätte fand er auf dem Südwestkirchhof Stahnsdorf.

Literatur

 Paul Frank: Kurzgefasstes Tonkünstler-Lexikon, 12. Aufl., Leipzig 1926
 Hermann Abert: Illustriertes Musik-Lexikon, Stuttgart 1927
 Hugo Riemann: Musiklexikon, 11. Aufl., Berlin 1929

Chorleiter
Bratschist
Deutscher
Geboren 1872
Gestorben 1933
Mann

Friedrich Rückward