Lee Strasberg (born Israel Strassberg; November 17, 1901 – February 17, 1982) was an American theatre director, actor and acting teacher. He co-founded, with theatre directors Harold Clurman and Cheryl Crawford, the Group Theatre in 1931, which was hailed as "America's first true theatrical collective". In 1951, he became director of the nonprofit Actors Studio in New York City, considered "the nation's most prestigious acting school," and, in 1966, was involved in the creation of Actors Studio West in Los Angeles.

Although other highly regarded teachers also developed versions of "The Method," Lee Strasberg is considered to be the "father of method acting in America," according to author Mel Gussow. From the 1920s until his death in 1982, "he revolutionized the art of acting by having a profound influence on performance in American theater and film." From his base in New York, Strasberg trained several generations of theatre and film notables, including Anne Bancroft, Dustin Hoffman, Montgomery Clift, James Dean, Marilyn Monroe, Jane Fonda, Julie Harris, Paul Newman, Ellen Burstyn, Al Pacino, Robert De Niro, Geraldine Page and Eli Wallach, and directors Andreas Voutsinas, Frank Perry, Elia Kazan and Michael Cimino.

By 1970, Strasberg had become less involved with the Actors Studio and, with his third wife, Anna, opened the Lee Strasberg Theatre & Film Institute with branches in New York City and in Hollywood, to continue teaching the 'system' of Konstantin Stanislavski, which he had interpreted and developed, particularly in light of the ideas of Yevgeny Vakhtangov, for contemporary actors.

As an actor, Strasberg is best known for his portrayal of the primary antagonist, the gangster Hyman Roth, alongside his former student Al Pacino in The Godfather Part II (1974), a role he took at Pacino's suggestion after Kazan turned down the role, and which earned him a nomination for the Academy Award for Best Supporting Actor. He also appeared in Going in Style (1979) and ... And Justice for All (1979).

Early years
Lee Strasberg was born Israel Strassberg in Budzanów in Austrian Poland (part of Austria-Hungary, now in Ukraine), to Jewish parents, Baruch Meyer Strassberg and his wife, Ida (born Chaia), née Diner, and was the youngest of three sons. His father immigrated to New York while his family remained in their home village with an uncle, a rabbinical teacher. His father, who worked as a presser in the garment industry, sent first for his eldest son and his daughter. Finally, enough money was saved to bring over his wife and his two remaining sons. In 1909 the family was reunited on Manhattan's Lower East Side, where they lived until the early 1920s. Young Strasberg took refuge in voracious reading and the companionship of his older brother, Zalmon, whose death in the 1918 influenza pandemic was so traumatic for the young Strasberg that, despite being a straight-A student, he dropped out of high school.

A relative introduced him to the theatre by giving him a small part in a Yiddish-language production being performed by the Progressive Drama Club. He later joined the Chrystie Street Settlement House's drama club. Philip Loeb, casting director of the Theater Guild, sensed that Strasberg could act, although he was not yet thinking of a full-time acting career and was still working as a shipping clerk and bookkeeper for a wig company. When he was 23 years old, he enrolled in the Clare Tree Major School of the Theater. He became a naturalized United States citizen on January 16, 1939, in New York City at the New York Southern District Court.

Encounter with Stanislavski
Kazan biographer Richard Schickel described Strasberg's first experiences with the art of acting:

Strasberg eventually left the Clare Tree Major School to study with students of Stanislavski — Maria Ouspenskaya and Richard Boleslawski — at the American Laboratory Theatre. In 1925, Strasberg had his first professional appearance in Processional, a play produced by the Theater Guild.

According to Schickel:

Acting director and teacher

Group Theater
He gained a reputation with the Theater Guild of New York and helped form the Group Theater in New York in 1931. There, he created a technique that became known as "The Method" or "Method Acting". His teaching style owed much to the Russian practitioner, Konstantin Stanislavski, whose book, An Actor Prepares (published in English in 1936), dealt with the psychology of acting. He began by directing, but his time was gradually taken up by the training of actors. Called "America's first true theatrical collective," the Group Theater immediately offered a few tuition-free scholarships for its three-year program to "promising students."

Publishers Weekly wrote, "The Group Theatre ... with its self-defined mission to reconnect theater to the world of ideas and actions, staged plays that confronted social and moral issues ... with members Harold Clurman, Lee Strasberg, Stella, and Luther Adler, Clifford Odets, Elia Kazan, and an ill-assorted band of idealistic actors living hand to mouth are seen welded in a collective of creativity that was also a tangle of jealousies, love affairs, and explosive feuds." Playwright Arthur Miller said, "the Group Theatre was unique and probably will never be repeated. For a while it was literally the voice of Depression America." Co-founder Harold Clurman, in describing what Strasberg brought to the Group Theater, wrote:

Strasberg, Kazan, Clurman, and others with the Group Theater spent the summer of 1936 at Pine Brook Country Club, located in the countryside of Nichols, Connecticut. They spent previous summers at various places in upstate New York and near Danbury, Connecticut.

Amid internecine tensions, Strasberg resigned as director of the Group Theatre in March 1937.

Actors Studio
In 1947, Elia Kazan, Robert Lewis, and Cheryl Crawford, also members of the Group Theatre, started the Actors Studio as a nonprofit workshop for professional and aspiring actors to concentrate on their craft away from the pressures of the commercial theatre. Strasberg assumed leadership of the studio in 1951 as its artistic director. "As a teacher and acting theorist, he revolutionized American actor training and engaged such remarkable performers as Kim Hunter, Marilyn Monroe, Julie Harris, Paul Newman, Geraldine Page, Ellen Burstyn, and Al Pacino." Since its inception, the Studio has been a nonprofit educational corporation chartered by the state of New York, and has been supported entirely by contributions and benefits. "We have here the possibility of creating a kind of theatre that would be a shining medal for our country," Strasberg said in 1959. UCLA acting teacher Robert Hethmon writes, "The Actors Studio is a refuge. Its privacy is guarded ferociously against the casual intruder, the seeker of curiousities, and the exploiter... The Studio helps actors to meet the enemy within... and contributes greatly to Strasberg's utterly pragmatic views on training the actor and solving his problems... [The Studio] is kept deliberately modest in its circumstances, its essence being the private room where Lee Strasberg and some talented actors can work."

Strasberg wrote, "At the studio, we do not sit around and feed each other's egos. People are shocked how severe we are on each other." Admission to the Actors Studio was usually by audition with more than a thousand actors auditioning each year and the directors usually conferring membership on only five or six. "The Studio was, and is sui generis," said Elia Kazan, proudly. Beginning in a small, private way, with a strictly off-limits-to-outsiders policy, the Studio quickly earned a high reputation in theatre circles. "It became the place to be, the forum where all the most promising and unconventional young actors were being cultivated by sharp young directors." Actors who have worked at the studio include Julie Harris, Paul Newman, Joanne Woodward, Geraldine Page, Maureen Stapleton, Anne Bancroft, Dustin Hoffman, Patricia Neal, Rod Steiger, Mildred Dunnock, Eva Marie Saint, Eli Wallach, Anne Jackson, Ben Gazzara, Sidney Poitier, Karl Malden, Gene Wilder, Shelley Winters, Dennis Hopper, and Sally Field.

The Emmy Award-winning author of Inside Inside, James Lipton, writes that the Actors Studio became "one of the most prestigious institutions in the world" as a result of its desire to set a higher "standard" in acting. The founders, including Strasberg, demanded total commitment and extreme talent from aspiring students. Jack Nicholson auditioned five times before he was accepted; Dustin Hoffman, six times; and Harvey Keitel, 11 times. After each rejection, a candidate had to wait as long as a year to try again. Martin Landau and Steve McQueen were the only two students admitted one year, out of 2000 candidates who auditioned.
 Al Pacino: "The Actors Studio meant so much to me in my life. Lee Strasberg hasn't been given the credit he deserves. Brando doesn't give Lee any credit... Next to Charlie Laughton (an acting teacher at HB Studio, and not to be confused with English actor Charles Laughton), it sort of launched me. It really did. That was a remarkable turning point in my life. It was directly responsible for getting me to quit all those jobs and just stay acting."
 Marlon Brando: Movie stars spawned by Strasberg's Actors Studio were of a new type that is often labeled the "rebel hero," wrote Pamela Wojcik. Historian Sam Staggs writes that "Marlon Brando was the hot, sleek engine on the Actors Studio express," and called him "[the] embodiment of method acting," but Brando was trained primarily by Stella Adler, a former member of the Group Theatre, who had a falling out with Strasberg over his interpretations of Stanislavsky's ideas." He based his acting technique on the method, once stating, "It made me a real actor. The idea is you learn to use everything that happened in your life and you learn to use it in creating the character you're working on. You learn how to dig into your unconscious and make use of every experience you've ever had."

In Brando's autobiography, Songs My Mother Taught Me, the actor claimed he learned nothing from Strasberg: "After I had some success, Lee Strasberg tried to take credit for teaching me how to act. He never taught me anything. He would have claimed credit for the sun and the moon if he believed he could get away with it. He tried to project himself as an acting oracle and guru. Some people worshiped him, and I never knew why. I sometimes went to the Actors Studio on Saturday mornings because Elia Kazan was teaching, and there were usually a lot of good-looking girls there, but Strasberg never taught me acting. Stella did—and later Kazan."
 James Dean: According to James Dean biographer W. Bast, "Proud of this accomplishment, Dean referred to the studio in a 1952 letter, when he was 21 years old, to his family as 'The greatest school of the theater. It houses great people like Marlon Brando, Julie Harris, Arthur Kennedy, Mildred Dunnock. ... Very few get into it. ... It's the best thing that can happen to an actor. I'm one of the youngest to belong.'"
 Marilyn Monroe: Film author Maurice Zolotow wrote: "Between The Seven Year Itch and Some Like It Hot only four years elapsed, but her world had changed. She had become one of the most celebrated personalities in the world. She had divorced Joe DiMaggio. She had married Arthur Miller. She had become a disciple of Lee Strasberg. She was seriously studying acting. She was reading good books."
 Tennessee Williams: Tennessee Williams' plays have been populated by graduates of the studio, where he felt, "studio actors had a more intense and honest style of acting." He wrote, "They act from the inside out. They communicate emotions they really feel. They give you a sense of life." Williams was a co-founder of the group and a key member of its playwright's wing; he later wrote A Streetcar Named Desire, Brando's greatest early role.
 Jane Fonda: Jane Fonda recalled that at the age of 5, her brother, actor Peter Fonda, and she acted out Western stories similar to those her father, Henry Fonda, played in the movies. She attended Vassar College and went to Paris for two years to study art. Upon returning, she met Lee Strasberg and the meeting changed the course of her life, Fonda saying, "I went to the Actors Studio and Lee Strasberg told me I had talent. Real talent. It was the first time that anyone, except my father—who had to say so—told me I was good. At anything. It was a turning point in my life. I went to bed thinking about acting. I woke up thinking about acting. It was like the roof had come off my life!"

Teaching methods and philosophy
In describing his teaching philosophy, Strasberg wrote, "The two areas of discovery that were of primary importance in my work at the Actors Studio and in my private classes were improvisation and affective memory. It is finally by using these techniques that the actor can express the appropriate emotions demanded of the character." Strasberg demanded great discipline of his actors, as well as great depths of psychological truthfulness. He once explained his approach in this way:

According to film critic and author Mel Gussow, Strasberg required that an actor, when preparing for a role, delve not only into the character's life in the play but also, "Far more importantly, into the character's life before the curtain rises. In rehearsal, the character's prehistory, perhaps going back to childhood, is discussed and even acted out. The play became the climax of the character's existence."

Elia Kazan as student
In Elia Kazan's autobiography, the Academy Award–winning director wrote about his earliest memories of Strasberg as teacher:

Classroom settings
Kazan described the classes taught by Strasberg:

James Dean

In 1955 Strasberg student James Dean died in a car accident, at age 24. Strasberg, during a regular lecture shortly after this accident, discussed Dean. The following are excerpts from a transcription of his recorded lecture:

On Marilyn Monroe
In 1962, Marilyn Monroe died at age 36. At the time of her death, she was at the height of her career. In 1999, she was ranked the sixth-greatest female star of classic Hollywood cinema by the American Film Institute. Lee Strasberg gave the eulogy at her funeral.

Personal life
Lee Strasberg's first marriage was to Nora Krecaum from October 29, 1926, until her death three years later in 1929. In 1934, he married actress and drama coach Paula Miller (1909–1966) until her death from cancer in 1966. Lee and Paula were the parents of actress Susan Strasberg (1938–1999) and acting teacher John Strasberg (born 1941). His third wife was the former Anna Mizrahi (born April 16, 1939) and the mother of his two youngest children, Adam Lee Strasberg (born July 29, 1969) and David Lee Israel Strasberg (born January 30, 1971).

Death and commemoration

Lee Strasberg suffered a fatal heart attack and died on February 17, 1982, in New York City, aged 80. With him at the time of his death at the hospital were his third wife, Anna, and their two sons. He was interred at Westchester Hills Cemetery in Hastings-on-Hudson, New York. A day before his unexpected death, he was officially notified that he had been elected to the American Theater Hall of Fame. His last public appearance was on February 14, 1982, at Night of 100 Stars in the Radio City Music Hall, a benefit for the Actors Fund of America. Along with Al Pacino and Robert De Niro, he danced in the chorus line with The Rockettes.

Actress Ellen Burstyn recalled that evening:

In an 80th birthday interview, he said that he was looking forward to his next 20 years in the theater. According to friends, he was healthy until the day he died. "It was so unexpected," Al Pacino said. "What stood out was how youthful he was. He never seemed as old as his years. He was an inspiration." Actress Jane Fonda said after hearing of his death, "I'm not sure I even would have become an actress were it not for him. He will be missed, but he leaves behind a great legacy."

Legacy
"Whether directly influenced by Strasberg or not," wrote acting author Pamela Wojcik, "the new male stars all to some degree or other adapted method techniques to support their identification as rebels.... He recreates romance as a drama of male neuroticism and also invests his characterization 'with an unprecedented aura of verisimilitude.'" Acting teacher and author Alison Hodge explains, "Seemingly spontaneous, intuitive, brooding, 'private,' lit with potent vibrations from an inner life of conflict and contradiction, their work exemplified the style of heightened naturalism which (whether Brando agrees or not) Lee Strasberg devoted his life to exploring and promoting." Pamela Wojcik adds:

In 2012, Strasberg's family donated his library of personal papers to the Library of Congress. The papers include 240 boxes containing correspondence, rehearsal notes, photographs, theatrical drawings and posters, sketches of stage designs, and more.

Lee Strasberg, his wife Paula, his daughter Susan, and his son John, all appear as characters in Robert Brustein's 1998 play Nobody Dies on Friday, which one critic called a "scathing portrait of Strasberg," but one that "can by no means be dismissed as a simple act of character assassination." Brustein, a critic, director, and producer, had previously made public his dislike of the method as a philosophy of acting. The play was produced by Brustein's American Repertory Theater in Cambridge, Massachusetts, and was later presented in Singapore.

Strasberg is a character in Names, Mark Kemble's play about former Group Theatre members' struggles during the blacklist era.

In 2020, Google Arts & Culture, together with Giovanni Morassutti, an Italian actor who has deepened the study of The Method and long-time collaborator of John Strasberg, have created an online exhibition named Strasberg Legacy tracing the history of the realistic school of acting.

Broadway credits
Note: All works are plays and the original productions, unless otherwise noted.
 Four Walls (1927) – actor
 The Vegetable (1929) – director
 Red Rust (1929) – actor
 Green Grow the Lilacs (1931) – actor
 The House of Connelly (1931) – codirector
 1931 (1931) – director
 Success Story (1932) – director
 Men in White (1933) – director
 Gentlewoman (1934) – director
 Gold Eagle Guy (1934) – director
 Paradise Lost (1935) – produced by Group Theatre
 Case of Clyde Griffiths (1936) – director, produced by Group Theatre
 Johnny Johnson (1936) – director, produced by Group Theatre
 Many Mansions (1937) – director
 Golden Boy (1937) – produced by Group Theatre
 Roosty (1938) – director
 Casey Jones (1938), produced by Group Theatre
 All the Living (1938) – director
 Dance Night (1938) – director
 Rocket exhibitionn (1938) – produced by Group Theatre
 The Gentle People (1939) – produced by Group Theatre
 Awake and Sing! (1939), revival – produced by Group Theatre
 Summer Night (1939) – director
 Night Music (1940) – produced by Group Theatre
 The Fifth Column (1940) – director
 Clash by Night (1941) – director
 A Kiss for Cinderella (1942), revival – director
 R.U.R. (Rossum's Universal Robots) (1942), revival – director
 Apology (1943) – producer and director
 South Pacific (1943, apparently no relation to the Broadway musical South Pacific) – director
 Skipper Next to God (1948) – director
 The Big Knife (1949) – director
 The Closing Door (1949) – director
 The Country Girl (1950) – co-producer
 Peer Gynt (1951), revival – director
 Strange Interlude (1963), revival – produced by The Actors Studio – Tony Award co-nomination for Best Producer of a Play
 Marathon '33 (1963) – production supervisor
 Three Sisters (1964), revival – director, produced by the Actors Studio

Film credits
 Parnell (1937) as Pat (uncredited)
 China Venture (1953) as Patterson
 The Godfather Part II (1974; nominated, Academy Award Best Actor in a Supporting Role) as Hyman Roth
 The Cassandra Crossing (1977) as Herman Kaplan
 The Last Tenant (1978, TV movie).
 ...And Justice for All. (1979) as Sam Kirkland
 Boardwalk (1979) as David Rosen
 Going in Style (1979) as Willie
 Skokie (1981, TV movie) as Morton Weisman

See also
 Ion Cojar
 Stanislavski's system
 Method acting
 Constantin Stanislavski
 Ivana Chubbuck
 Marilyn Monroe
 Michael Chekhov
 Notable alumni of the Lee Strasberg Theatre and Film Institute
 Sanford Meisner
 Stella Adler

References

External links

 The Lee Strasberg Theatre & Film Institute
 Strasberg video lectures

 John Strasberg Studios
 Audio Interview with Lee Strasberg on WGBH

1901 births
1982 deaths
Austro-Hungarian Jews
American people of Polish-Jewish descent
People from Ternopil Oblast
People from the Kingdom of Galicia and Lodomeria
Naturalized citizens of the United States
Jews from Galicia (Eastern Europe)
Emigrants from Austria-Hungary to the United States
Acting theorists
American male film actors
Method actors
American male stage actors
Drama teachers
Jewish theatre directors
Jewish American male actors
20th-century American male actors
Burials at Westchester Hills Cemetery
20th-century American Jews

Lee Strasberg


Krakau is a municipality in the district of Murau in Styria, Austria. It was created on 1 January 2015 when the municipalities of Krakaudorf, Krakauhintermühlen and Krakauschatten were merged.

Geography
Krakau lies on a high plateau in the south of the Schladming Tauern.

References

Cities and towns in Murau District

Krakau


نادي شباب التغيير  هو ناد يساري علماني في الجامعة اللبنانية الدولية في البقاع وصيدا وبيروت. تأسس النادي في فرع بيروت قبل أن يأخذ الاسم وينشأ في فرع البقاع نادي شباب التغيير (البقاع) في بداية العام الجامعي في تشرين الثاني 2007. وفي بداية العام الجامعي 2008-2009 انطلق نادي شباب التغيير في فرع صيدا.
من أبرز نشاطات النادي في البقاع:

 في ذكرى انتفاضة الحجارة 13-12-2007
 الحرب الاهلية اللبنانية 13-4-2008
 ذكرى انسحاب إسرائيل من البقاع الغربي (لقاء مع الأسير المحرر البطل أنور ياسين) 23-4-2008
 عيد العمال العالمي 30-4-2008
 تضامن مع الشعب الفلسطيني المحاصر وذكرى الانتفاضة الأولى 11-12-2008

هذه هي ابرز نشاطات النادي في البقاع حتى 11-12-2008

كما أطلق النادي في البقاع نشرته الشهرية التي تحتوي مواضيع عدة مختلفة منها: موضوع رئيسي، مشاكل الطلاب، إنترنت، علوم وتكنولوجيا، ثقافة وفكر، شعر وأدب، رياضة وغيرها.

وصلات خارجية
 موقع النادي

مجتمع لبناني

نادي شباب التغيير


جان بريور  هي حاكمة ولاية أريزونا الأمريكية. ولدت في مدينة هووليود في ولاية كاليفورنيا في 26 أيلول/سبتمبر من سنة 1944 توفي والدها عندما كانت في سن الحادية عشرة وتنتمي جان بريور إلى الحزب الجمهوري الأمريكي تولت جان بريور منصب حاكم ولاية أريزونا في 20 كانون الثاني/ يناير من سنة 2009.

مصادر

 الموقع الرسمي لحكومة ولاية أريزونا الأمريكية

أشخاص على قيد الحياة
أشخاص من غلانديل (أريزونا)
أشخاص من هاوثورن
أشخاص من هوليوود
أعضاء مجلس شيوخ ولاية أريزونا
أعضاء مجلس نواب ولاية أريزونا
أمريكيون من أصل إنجليزي
أمريكيون من أصل نرويجي
المرأة في سياسة أريزونا
جمهوريون من ولاية أريزونا
حاكمات ولايات في الولايات المتحدة
حكام ولايات أمريكية من الحزب الجمهوري
حكام ولاية أريزونا
سياسيون أمريكيون
سياسيون من لوس أنجلوس
قوميون أمريكيون بيض
كاتبات أمريكيات في القرن 21
كاتبات غير روائيات أمريكيات
كتاب سياسة أمريكيون
كتاب غير روائيين أمريكيون في القرن 21
كتاب من أريزونا
كتاب من لوس أنجلوس
كتاب وكاتبات أمريكيون في القرن 21
لوثريون أمريكيون
مشرعات في أريزونا
مواليد 1944
مواليد في هوليوود
ناشطات أمريكيات
ناشطون أمريكيون ضد الهجرة غير الشرعية
ناشطون من كاليفورنيا
وزير خارجية أريزونا
أعضاء الحزب الجمهوري في مجلس نواب ولاية أريزونا

جان بريور


Marcos Fernando Nang (født 16. marts 1969) er en tidligere brasiliansk fodboldspiller.

Han har spillet for flere forskellige klubber i sin karriere, herunder Shimizu S-Pulse.

Eksterne henvisninger

Fodboldspillere fra Brasilien

Marcos Fernando Nang


Menelaos Ludemis () a fost un scriitor și traducător grec, pe numele său adevărat Dimitrios (Takis) Valasiadis (numele de naștere Balasoglu). Pseudonimul literar și l-a ales după râul Ludia. Ca și comunist și reprezentant al realismului socialist, a fost persecutat mult timp după război și a petrecut mai mulți ani în exil în România. Cu toate acestea, el a fost o figură importantă în viața intelectuală din anii 1970 în Grecia și, la acel moment, unul dintre cei mai citiți autori din țară.

Biografie
Dimitrios Valasoglu a provenit dintr-o familie bogată pe coasta de est a Mării Marmara, părinții săi au fost Grigoris Valasoglu și Domna Tsouflidi și a avut patru surori. Familia sa a fost bogată, dar și-a pierdut toată averea prin relocarea forțată în Grecia, ca urmare a Tratatului de la Lausanne. Familia sa a venit ca refugiați din Yalova după genocidul grec, s-au mutat în Aegina, apoi în Edessa, iar în final în micul oraș Exaplatanos, unde s-au stabilit din 1923 până în 1932 când s-au mutat la Kozani. Ca elev, din cauza sărăciei familiei, a fost nevoit să-și câștige singur existența, așa că a lucrat ca băiat de bucătărie, lustragiu, cântăreț bisericesc, profesor în satele Almopia și, în final, ca maistru la lucrările de infrastructură ale râului Gallikos.

Debutul literar al lui Ludemis are loc la o vârstă fragedă, publicându-și colecțiile de poezie în revista Agrotiki Idea în 1927 și 1928, precum și poezii și povestiri scurte în revista Nea Estia din 1930, iar lucrările sunt semnate cu numele real, Takis Vasiliadis. Pseudonimul literar Ludemis l-a folosit mult mai târziu în 1936.

În clasa a X-a - clasa a patra a gimnaziului de șase ani de atunci - a fost dat afară din motive politice și a fost expulzat din toate gimnaziile din țară.

În 1938 a fost unul dintre cei trei care au împărțit Premiul de Stat pentru Proză. De asemeni, a fost răsplătit și cu premiul Menelaos Ludemis, care a fost creat în onoarea sa și se acordă anual celui mai bun prozator al anului anterior. Conform spuselor lui Vasilis Vasilikos, Ludemis a fost considerat "cel mai citit grec" după Nikos Kazantzakis.

În timpul ocupației germane a Greciei în cel de-al doilea război mondial, Ludemis a jucat un rol activ în mișcarea de rezistență națională. În timpul războiului civil (1946-1949) este arestat pentru opiniile sale de stânga, judecat pentru trădare și condamnat la moarte, condamnare ce nu a fost executată. În schimb este exilat în insulele din marea Egee. Cartea "Zile cețoase" publicată în 1958 este interzisă. Sub dictatura militară (1967-1974) emigrează la București și în 1967 îi este retrasă cetățenia greacă de către Giorgos Papadopulos.

În România își continuă opera sa literară, chiar și câțiva ani după schimbarea guvernului din 1974. În această perioadă face mai multe călătorii lungi, inclusiv în China și Vietnam. În 1976 își recapătă cetățenia greacă și se întoarce la Atena. Un an mai târziu, moare în urma unui infarct miocardic, iar corpul său este expus public pentru a fi omagiat.

Ludemis a scris în jur de 45 de romane, povești și poezii. În plus, a tradus în limba greacă numeroși autori români.

Lucrări traduse

Proză
"Cerul se înnoureazǎ", Editura de stat pentru literaturǎ și artǎ 1960, roman
"Orologiul lumiii bǎtea miezul nopții", Editura Tineretului 1961, roman
"Moara mutǎ", Editura Tineretului 1966, roman
"Spicele mânioase", Editura Tineretului 1969, roman
"Fiul pământului", Editura Albatros 1970, roman
"Vinul lașilor" (Sarcofag I), Editura pentru literaturǎ 1969, roman
"Eroii dorm neliniștiți" (Sarcofag II), Editura Eminescu 1970, roman
"Îngerul cu aripi de ghips" (Sarcofag III), Editura Eminescu 1971, roman
"Cetatea speranței" Editura Albatros 1973, roman
"Turbarea", Editura Cartea Româneascǎ 1975, roman

Literatură pentru copii
"Dedal", Editura Ion Creangǎ 1974 , povestiri scurte pentru copii
"Icar", Editura Ion Creangǎ 1977, povestiri scurte pentru copii
"Theseu", Editura Ion Creangǎ 1975, povestiri scurte pentru copii
"Heracles", Editura Ion Creangǎ 1982 , povestiri scurte pentru copii

Traduceri
"Moromete", Marin Preda, roman
"Și i-am condamnat pe toți la moarte", Titus Popovici, roman
"Dincolo de nisipuri", Fănuș Neagu, roman
"Floarea secerată", Eugen Jebeleanu, poezie
"Sentinela aerului", Virgil Teodorescu, poezie
"Un om în Agora", Dumitru Popescu, poezie

Note

Nașteri în 1912
Decese în 1977
Decese pe 22 ianuarie
Scriitori greci
Romancieri greci
Scriitori cunoscuți sub pseudonimele folosite
Oameni din Constantinopol

Menelaos Ludemis


Ahmet Sezai Karakoç (22 Ocak 1933 – 16 Kasım 2021) Türk şair, yazar, düşünür ve siyasetçi.

Hayatı
Babası Yasin Bey olup I. Dünya Savaşı'nda Kafkasya Cephesi'nde çarpışırken Ruslara esir düşmüştür. Babası orta halli bir tüccardı. Dedesi Hüseyin Bey de Plevne Savaşı'na katılmış, Gazi Osman Paşa'nın teşekkürünü kazanmıştır. Annesinin ismi ise Emine idi ve ev hanımıydı. Ahmet Sezai Karakoç İlkokul eğitimini 1938-1944 yılları arasında Ergani'de tamamladı. 1944 yılında sınavlara girip Maraş Ortaokulu'nda parasız yatılı olarak okumaya hak kazandı. 1947-1950 yılları arasında lise eğitimini yine parasız yatılı olarak Gaziantep Lisesi'nde tamamladı. Lise eğitimi boyunca Felsefe dersine ilgi duydu ve Felsefe okumaya karar verdi. Üniversite eğitimi için İstanbul'a geldi. Babası onun ilahiyat fakültesinden mezun olmasını istiyordu. İmkanları dahilinde eğitimine devam edebileceği yatılı tek bölüm Siyasal Bilgiler Fakültesi idi. Üniversite sınavlarına hazırlanırken kazanamama ihtimalini de göz önüne alarak her ihtimale karşı Felsefe bölümüne kayıt yaptırdı.

Ankara Üniversitesi Siyasal Bilgiler Fakültesini kazanarak başladığı yüksek öğrenimini 1955'te fakültenin Maliye Bölümünden mezuniyetle tamamladı. Altan Öymen'le aynı dönemdendi. Mecburi hizmet sebebiyle Maliye Bakanlığında Hazine Genel Müdürlüğü Dış Tediyeler Muvazenesi bölümüne atandı.

Daha sonra Maliye Müfettişliği sınavına girdi ve sınavı kazandı. 11 Ocak 1956'da müfettiş yardımcılığı görevine başladı. 1959 yılında İstanbul'da gelirler kontrolörü oldu. Bir ara Ankara'ya çağrılıp Yeğenbey Vergi Dairesi'nde görevlendirildiyse de kısa bir müddet sonra yine İstanbul'daki görevine döndü. Görevi icabı Anadolu'yu çok gezdi ve birçok il ve ilçeyi inceleme, tanıma fırsatı buldu. 1960-1961 yıllarında yedek subay olarak yaptığı askerlik görevinden sonra İstanbul'daki görevine kaldığı yerden devam etti. 1965'ten 1973'e kadar birçok kez istifa etti. 1973'ten bu yana da hiçbir resmi görev almadı.

Şairin nüfus kaydında doğum günü 22 Ocak olarak görülmekle beraber kendisi gerçek doğum gününün Mayıs ayı içerisinde olduğunu belirtmektedir.

İstanbul'da Diriliş Yayınları ve "Diriliş" dergisini kurdu. 1990 yılında "güller açan gül ağacı" amblemiyle Diriliş Partisini kurdu. Yedi yıl partinin genel başkanlığını yürüttü. Ancak bu parti 19 Mart 1997'de üst üste iki genel seçime girmediği için kapatıldı. 2006 yılında Kültür ve Turizm Bakanlığı Kültür ve Sanat Büyük Ödülü ile ödüllendirildi. Bakanlığa, ödülün para kısmının kültür sanat işlerine harcanmasını, diğer kısmınınsa posta ile bildirdiği adrese yollanmasını rica ettiği bir mektup yolladı. 2007 yılında Yüce Diriliş Partisini kurdu ve partinin genel başkanlık görevini yürütmüştür. 2007 yılının Nisan ayından ölümüne kadar her cumartesi akşamları, Yüce Diriliş Partisi İstanbul İl Başkanlığında değerlendirme konuşmaları yapmıştır. Bu konuşmalar partinin internet sitesinden canlı olarak yayınlanmıştır. Karakoç, 2011 yılında Cumhurbaşkanlığı Edebiyat Ödülü'ne layık görüldü fakat kendisine verilen plaket ve para ödülünü reddederek bu ödülü almaya gitmedi.

Ölümü

16 Kasım 2021'de yaşlılığa bağlı geçirdiği kalp krizi sebebiyle İstanbul'daki evinde öldü. 17 Kasım günü Şehzadebaşı Camisi'nde kılınan ikindi namazını müteakip aynı caminin haziresine defnedildi.

Şiir hayatı-anlayışı
Karakoç, şiirle ilgili görüşlerini yazmaya başladığı dönemlerden itibaren şiir anlayışını da yazmıştır. Bu konudaki düşüncelerini "Edebiyat Yazıları" adını verdiği 3 kitapta toplayan Karakoç'un Türk şiirinde son derece özgün bir yeri vardır. Onun şiiri metafizik bir şiirdir. Türk şiiri geleneksel yapısı itibarıyla aslında metafizik bir şiirdir. Ancak bu özellik Tanzimat'tan sonra değişir. Sadece Abdülhak Hamit'te metafizik bir ürperti söz konusu olur. Onunla tekrar başlayan bu anlayış Cumhuriyet'in ilk yıllarında Necip Fazıl Kısakürek'te ve Ahmet Kutsi Tecer'de kendini gösterir. Bunlardan başka Yahya Kemal ve Asaf Halet Çelebi'de de metafizik anlayış görülür. Fakat bu metafizik unsurlar adı geçen hiçbir şairin şiir anlayışını açıklamaz, anlatmaz.

YTÜ Öğretim Görevlisi Yrd. Doç. Dr. Ali Yıldız'ın tespitiyle Türk şiirini metafizik bir esasa oturtan şair Sezai Karakoç'tur. Karakoç bunu modern şiirin diliyle yapmıştır. O, Batı edebiyatını da iyi incelemiş bir şairdir. Modern sanattaki soyutlamanın İslam anlayışına uygun olduğu düşüncesindedir ve şiirlerini bu yönde geliştirmiştir.

"Edebiyat Yazıları I" kitabındaki ilk yazı metafizik ile ilgilidir. Bu, hangi kavramlara önem verdiğini göstermesi bakımından önemlidir.

Karakoç geleneksel şiire de yaklaşır ancak dili farklıdır. O, modern şiirin diliyle şiirlerini yazmıştır. Poetikasını anlattığı ikinci yazı soyutlama ile ilgilidir. Nitekim modern sanat genel anlamda soyutlamaya dayanır. Ona göre şair, şiiri soyutlamada bırakırsa eksik bırakmış olur, tamamlanması için şairin tekrar somutlaştırması yani soyutlaştırdığı şeyi tekrar yeni bir bağlama oturtması gerekir. Bunu da Diriliş kavramına bağlar.

Dostu Cemal Süreya, ona, yarattığı mistik şiir tarzından ötürü "Sezo" diyordu ve onu, "Mehmet Akif ve Necip Fazıl karışımı şair" olarak tanımlıyordu.

Sezai Karakoç, şairin genel çizgilerini, "pergünt üçgeni" dediği üç ilkeyle anlatır. Peer Gynt, Norveçli yazar Henrik İbsen'in en ünlü oyunlarından biridir. Karakoç, Pergünt'ün, hayatında bu ilkeleri yaşadığını belirtir ve bu ilkeleri şiire tatbik eder:

 Şair, kendi kendisi olmalı: "Şairin kendi kendisi olabilmesinin biricik yolu, değişmek, başkalaşmaktır."
 ''Şair, kendine yetmeli: "Eserinin tohumunu ve geliştirecek iklimini, şairin kendi varlığından alması anlamına gelir yeterlilik ilkesi. Yâni fildişi kuleyi biz dışına çeviriyoruz; evren şaire bir fildişi kule olmalı; şafakta kaybettiği güvercinleri, şair, bir ikindide bulabilmeli."
 Şair, kendinden memnun olmalı'': "Eserin şairini sevinçle titretmesi demek bu. Şair, eserini sevmeli. Onu okşamalı, ama yaramazlıklarına da göz yummamalı. Beğenmediği davranışlarını gücendirmeden ona anlatmalı onu kendini düzeltmeye kandırmalı ve bunu da inandırmalı. Ona 'Beni andırıyor, ah, beni o' demeli." Memnunluk ilkesinin temeli, sevinçtir. Yaşama sevinci değil "yaşatma sevinci"dir.

Eserleri
Şiir
 Şiirler I (Monna Rosa)
 Şiirler II (Şahdamar-Körfez-Sesler)
 Şiirler III (Hızırla Kırk Saat)
 Şiirler IV (Taha'nın Kitabı, Gül Muştusu)
 Şiirler V (Zamana Adanmış Sözler)
 Şiirler VI (Ayinler/Çeşmeler)
 Şiirler VII (Leylâ ile Mecnun)
 Şiirler VIII (Ateş Dansı)
 Şiirler IX (Alınyazısı Saati)
 Gün Doğmadan (Toplu Şiirler)

Çeviri Şiir
 Batı Şiirlerinden
 İslâmın Şiir Anıtlarından

Deneme
 Edebiyat Yazıları I Medeniyetin Rüyası Rüyanın Medeniyeti Şiir
 Edebiyat Yazıları II Dişimizin Zarı...
 Edebiyat Yazıları III Eğik Ehramlar

Düşünce
 Ruhun Dirilişi
 Kıyamet Aşısı
 Çağ ve İlham I-II-III-IV
 İnsanlığın Dirilişi
 Diriliş Neslinin Âmentüsü
 Yitik Cennet
 Makamda
 İslâmın Dirilişi
 Gündönümü
 Diriliş Muştusu
 İslâm
 İslâm Toplumunun Ekonomik Strüktürü
 Düşünceler I-II
 Dirilişin Çevresinde
 Fizikötesi Açısından Ufuklar ve Daha Ötesi I-II-III
 Yapı Taşları ve Kaderimizin Çağrısı I-II
 Samanyolunda Ziyafet
 Unutuş ve Hatırlayış
 Varolma Savaşı
 Çağdaş Batı Düşüncesinden
 Çıkış Yolu I-II-III

İnceleme
 Yunus Emre
 Mehmet Âkif
 Mevlânâ

Tiyatro
 Piyesler I
 Armağan

Hikâye
 Hikâyeler-I Meydan Ortaya Çıktığında
 Hikâyeler-II Portreler

Günlük yazılar
 Farklar
 Sütun
 Sûr
 Gün Saati
 Gür

Röportaj
 Tarihin Yol Ağzında
 Unutuş ve Hatırlayış
 Çıkış Yolu I
 Çıkış Yolu II
 Çıkış Yolu III

Belgesel
 Gün Doğmadan

Ödüller
 2011: Cumhurbaşkanlığı Kültür ve Sanat Büyük Ödülü

Kaynakça

1933 doğumlular
2021 yılında ölenler
Ankara Üniversitesi Siyasal Bilgiler Fakültesinde öğrenim görenler
Diyarbakır doğumlu siyasetçiler
Ergani doğumlular
İkinci Yeni şairleri
Türk İslamcılar
20. yüzyıl Türk şairleri
21. yüzyıl Türk şairleri
Şehzade Camii Haziresi'ne defnedilenler
Millî Gazete kişileri

Sezai Karakoç


Die Habichtshöfe sind zum Möckmühler Ortsteil Züttlingen im Landkreis Heilbronn im nördlichen Baden-Württemberg zählende Bauernhöfe.

Geschichte
Der ursprüngliche Habichtshof (auch nur Habicht) östlich von Züttlingen an der Grenze zum Harthäuser Wald wurde vom Züttlinger Grundherren Johann Friedrich von Ellrichshausen (1680–1723) errichtet. Im Hof befand sich zeitweilig ein Wirtshaus.

Literatur
+ Hof Habicht. In: Beschreibung des Oberamts Neckarsulm, 1881 (Wikisource)

Geographie (Möckmühl)
Ort im Landkreis Heilbronn

Habichtshöfe


قصف الإسكندرية أو ضرب الإسكندرية هو هجوم قام به الأسطول البريطاني المتمركز في البحر المتوسط علي مدينة الإسكندرية في العام 1882 بين 11-13 يوليو في إطار أحداث الثورة العرابية.

تكون الأسطول البريطاني من 15 سفينة حربية مدرعة (بالحديد) تابعة للبحرية الملكية تحت قيادة الأدميرال سير بوشامب سيمور. كان الأسطول قد أبحر في وقت سابق إلى ميناء الإسكندرية لدعم الخديوي توفيق باشا ابان الثورة الشعبية التي قادها أحمد عرابي ضد حكومته وعلاقاتها الوثيقة مع الممولين البريطانيين والفرنسيين. وكذلك انضم إليه أسطول فرنسي صغير في استعراض القوة. وفرت هذه الخطوة بعض الأمن للخديوي، الذي إنسحب بمجلسه إلى الميناء الذي أصبح تحت الحماية الآن، ولكنه عزز في الوقت ذاته من قوة العرابيين القوميين داخل الجيش وفي جميع الأنحاء مصر حيث التحم الشعب مع الجيش في مطالبه. يوم 11 يونيو، بدأت أعمال الشغب في الإسكندرية وصفت من قبل القوي الأوروبية انها مناهضة للمسيحيين .كان سبب الشغب هو قيام مكاري (مرافق لحمار نقل) من مالطة من رعايا بريطانيا بقتل أحد المصريين فاستغلت إنجلترا الفرصة لتأجيج الفتنة من خلال قناصل الدول في الإسكندرية، فشب نزاع بين الأهالي والرعايا الأجانب الذين نزحوا للإسكندرية ليصبحوا تحت رعاية وحماية الأسطولين وتطور إلى قتال سقط خلاله العشرات من الطرفين قتلى وجرحى.

في النهاية فر السكان الأوروبيون من المدينة وبدأ الجيش المصري الموالي لعرابي تحصين وتسليح الميناء. أرسلت بريطانيا إلى قائد حامية الإسكندرية إنذارًا في (24 شعبان 1299 هـ - 10 يوليو 1882 م) بوقف عمليات التحصين وتجديد القلاع، وإنزال المدافع الموجودة بها خلال 24 ساعة وإلا فسيتم ضرب الإسكندرية بالمدافع. ولما رفضت الحكومة المصرية هذه التهديدات، قام الأسطول البريطاني في اليوم التالي بقصف المدينة بالقنابل لمدة عشر ساعات ونصف دون مساعدة فرنسية. يختلف المؤرخون الغربيون حول ما إذا كان الأدميرال سيمور قد تعمد المبالغة في تقدير التهديد الذي شكلته البطاريات المصرية في الإسكندرية علي أسطوله من أجل دفع إدارة جلادستون المترددة لاتخاذ قرار القصف.

وحالما هاجم البريطانيون المدينة، شرعوا في التو في عملية غزو واسع النطاق لمصر لاستعادة سلطة الخديوي. وظلت مصر تحت الاحتلال البريطاني حتى عام 1956.

مؤلفات

 صدر كتاب عام 1934م بعنوان يوم 11 يوليو سنة 1882م من تأليف الأمير عمر طوسون يسرد فيه تفاصيل هذا القصف.

مراجع

مصر في 1882
أحداث يوليو 1882
الاحتلال الإنجليزي لمصر 1882
الإسكندرية في القرن 19
تاريخ الإسكندرية العسكري
تاريخ المملكة المتحدة العسكري في القرن 19
الثورة العرابية
معارك المملكة المتحدة البحرية
معارك مصر
نزاعات في 1882

قصف الإسكندرية