Rudolf Walter Wanderone (né Rudolf Walter Wanderon Jr.; January 19, 1913 – January 15, 1996), commonly known as Minnesota Fats, was a Swiss-American professional billiards player. Although he never won a major pool tournament as "Fats", he was at one time perhaps the most publicly recognized pool player in the United States—not only as a player, but also as an entertainer. Wanderone was inducted in 1984 into the Billiard Congress of America Hall of Fame for his decades-long public promotion of pool.

Wanderone began playing at a young age in New York City. As a teenager, he became a traveling pool hustler. Later, in his thirties, he moved to Du Quoin, Illinois, where he met and married his first wife, Evelyn. During World War II, he hustled servicemen in Norfolk, Virginia. With the end of the war, Wanderone returned to Illinois and entered semi-retirement.

Wanderone, who was sometimes known by the nickname "New York Fats" in his role as a pool player, adopted the name "Minnesota Fats" from the character of that name in the 1961 film The Hustler, claiming that the character, played by Jackie Gleason, was based upon him.

He parlayed the association with the film into his own book deals and television appearances, including a series of matches with rival Willie Mosconi. Later in life, Wanderone divorced Evelyn and moved to Nashville, Tennessee, where he married his second wife, Theresa, with whom he remained until his death.

Early life and career
Wanderone was born in New York City to Rudolf Walter Wanderon and his wife, Rose ( Rosa Burgin); both Swiss immigrants who married in New York. One of three siblings (he had two sisters), Rudolf Jr. was born in 1913, but sometimes hinted he was born earlier, even as early as 1900.

Known as "Rudy" to friends and family, Wanderone started playing pool as a child while living in Washington Heights, Manhattan. In 1923, he traveled with his father to Europe, where he received training from German balkline billiards champion Erich Hagenlocher. His first prominent match was in 1926, when he competed against former nine-ball champion "Cowboy" Weston; Wanderone won, handily. Wanderone left school in the eighth grade and became a traveling pool hustler, spending much of the 1920s playing at a pool hall called Cranfield's in New York City, where he received his first nickname after beating another hustler known as "Smart Henry". The intensity of their competition led Wanderone's friend Titanic Thompson to dub Wanderone "Double-Smart". By the mid-1930s, during the Great Depression, Wanderone had become a manager of a pool hall, owned by a friend, in Anacostia, southeast Washington, D.C. He had acquired more notoriety and nicknames, including "Triple-Smart Fats", "New York Fats", "Broadway Fats", and "Chicago Fats", attracting  from other hustlers, including the then-unknown Luther "Wimpy" Lassiter.

In 1941, Wanderone and friend Jimmy Castras  arrived in southern Illinois—a major hustling center on a fast track to televised tournament play—and settled in Du Quoin, Illinois, where he continued hustling. Eventually, he met Evelyn Inez Graff; they married two months to the day later, on May 7, 1941. Following their wedding, the Wanderones settled in Dowell, Illinois. In 1942, the couple moved to Norfolk, Virginia. Norfolk had become a key mustering point for American soldiers, as well as a shipbuilding center. The growing population led to an enormous interest in gambling; Wanderone, in partnership with fellow hustler Lassiter, quickly recognized the financial possibilities. Following World War II, however, the action soon "dried up", and the Wanderones returned to Little Egypt, Illinois. Throughout the 1950s, Wanderone was in semi-retirement, making only occasional hustling trips to New York City.

"Minnesota Fats"
In 1961, the film version of Walter Tevis's novel The Hustler was released. The film tells the story of a pool shark named "Fast Eddie" Felson and his quest to beat the greatest pool player in America, "Minnesota Fats". World Champion Willie Mosconi served as a technical advisor and trick shot stunt man for the film. Wanderone almost immediately dropped his "New York Fats" nickname, adopted the name "Minnesota Fats", and began spreading the story that the character was based on him. Tevis denied this for the rest of his life. However, Derek Kirunchyk examined the pages of Tevis' original manuscript and discovered that Tevis had changed the character's nickname from "New York" to "Minnesota" in one of the original manuscript pages, lending credence to Fats' claim that he was the inspiration for the character.

Wanderone's notoriety as "Minnesota Fats" led to a job as executive vice-president of billiard table manufacturer Rozel Industries, playing exhibition matches and giving demonstrations. Rozel, in 1965, published Fats' first book: Minnesota "Fats" Book of Billiards. On January 17, 1965, he appeared on the television game show What's My Line?, successfully stumping the panel.

In 1966, he wrote his autobiography, The Bank Shot, and Other Great Robberies, with Sports Illustrated journalist Tom Fox. His first television game show, Minnesota Fats Hustles the Pros, debuted in 1967, featuring "Fats" playing against other pro players.

In 1967 he completed and published an instructional paperback, Minnesota Fats on Pool, which was reprinted through 1976 in large-quantity editions, was then reissued as a hardcover in 1993, and remains to this day commonly available.

The next year, on January 24, 1968, Fats was a guest on The Joey Bishop Show. By 1970, Celebrity Billiards with Minnesota Fats, another short-lived television game show series, featured Fats playing against celebrity guests such as Sid Caesar.

In a feature film entitled The Player (produced in December 1970, in Baton Rouge, Louisiana), Fats played himself as "Minnesota Fats" and was featured prominently on the promotional poster. The screenplay was written and directed by Thomas DeMartini, also starred pool pro Jack Colavita, and had a limited release in 1971 by International Cinema. That same year Fats was a guest on both The Tonight Show Starring Johnny Carson (September 21, 1971), on which he hustled Carson out of US$1, and the British David Frost Show (October 13, 1971). His fame as "Fats" had already made it difficult for Fats to hustle effectively, so he relied more and more on exhibition games for income.

By 1979, Fats was well known enough to play himself as a celebrity guest star on a season 2 episode of the popular television detective drama Vega$ titled "the Usurper". The episode featured "Fats" and pro Jimmy Mataya playing one another in a game of pool. In 1980, while visiting a one-mile stretch of St. Louis, Fats had to double his order of autographed pictures after he was stopped thirty-seven times.  During this trip he was beaten by Michael Boulton 4 out of 10 times in games of pool.

Rivalry with Willie Mosconi
Fats enjoyed promoting a feud with world champion Mosconi over how to present pool—either as a rough-and-tumble gambling game (Fats) or as a genteel pastime and art form (Mosconi). Mosconi's widow, Flora, said of the rivalry, "My husband hated Minnesota Fats because he felt that [Wanderone] was always hurting the image of the game instead of helping it." Fats would state smugly, "I may have 'given away' a few games to deserving competitors, but I have never lost a real money game since I was old enough to spell 'Weeli Mesconi'." The two competed on Valentine's Day (February 14), 1978 in a televised match on ABC's Wide World of Sports. With almost 11 million viewers, the game was the second-highest-rated episode of the show for that year, behind only the Muhammad Ali vs. Leon Spinks rematch. The game was held at New York's Waldorf Astoria Hotel and was announced by Howard Cosell. Although Fats lost the game, he won the audience with his banter and with his joking manner. Mosconi, on the other hand, was reportedly perceived as cold.

"Fats" lost a number of rematches to Mosconi in the following years.  However, in the nationally broadcast Resorts International Shoot-Out of October 1984—Fats' last notable television appearance—he finally turned the tables on his rival. The event began with a trick shot competition among four players—Fats, Mosconi, Steve Mizerak, and Allen Hopkins.

Next, Hopkins and Fats played against Mosconi and Mizerak in doubles seven-ball, then nine-ball. Fats and Mosconi ultimately played a one-on-one game of seven-ball; Fats won the match. During the exhibition, a very quiet and genteel Mosconi blocked Fats' rough-and-tumble banter by wearing ear plugs; yet that failed to stop Fats from putting on a show for his fans. In an interview, Fats was asked about his strategy to defeat Mosconi and replied that he had thought to himself, "I'll make [the 7 ball] on the break and end it... then I'll help carry Willie out on a stretcher."

Later life
The Billiard Congress of America in 1984 inducted Fats into its Hall of Fame for "Meritorious Service" in recognition of his contributions to helping popularize the game of pool. In 1984, Fats abandoned his wife, Evelyn; they divorced a year later.

Fats moved into the Hermitage Hotel in downtown Nashville, Tennessee, in 1985, remaining there for several years. In 1992, while undergoing surgery for a knee injury, he survived a massive heart attack. In 1993, he met and married his second wife, Teresa Talley Bell. He lived in Bell's Nashville house until his death on January 15, 1996, four days shy of his 83rd birthday, although some sources, including The New York Times, erroneously gave the date of his death as January 18.

Fats had no known children. Singer Etta James said she believed that he was her biological father, having reportedly been told that by her mother as well as by others who knew her mother and whom James described as "people who were there and should know". However, there is no published evidence of such a relationship. James and Fats are only known to have met once, in 1987.

In her autobiography, Rage to Survive, James recounted their meeting, writing that Fats neither confirmed nor denied his paternity. According to James, he told her that he did not recall the details of his life at the time of her conception well enough to know whether he could have been the father.

The epitaph on his tombstone reads: "Beat every living creature on Earth. 'St. Peter, rack 'em up. —  Fats.

Personal character
Fats was known for ostentation, self-aggrandizement, tall tales, fast talk, and entertaining banter. He was even publicly recognized by famed boaster Muhammad Ali as better at boasting. His critical biographer, R.A. Dyer, documents that Fats completely fabricated a "here-by-fate" tale about a car wreck which brought the player to Little Egypt; it was a tale that Fats encouraged to be spread and further embellished in his autobiography to lend an air of the mystical to his public persona. He made false claims about beating Willie Mosconi so frequently that Mosconi filed a slander lawsuit, to little avail.

According to Dyer, Fats was notorious for nonstop chatter on subjects about which he knew little, or stories about himself. At the beginning of his first television match against Mosconi, Fats claimed: "I've never lost [a game] for money in my life; beat everyone that ever lived." Yet, as Dyer concedes, "Pool hustlers are, by nature, liars. And by this measure, Minnesota Fats was just a very, very good pool hustler."

Fats was a lover of animals and was reported to have had dozens of cats and dogs simultaneously, and to have devoted a lot of time to finding homes for strays. "I'm crazy about every living creature", he wrote in The Bank Shot. "It doesn't matter what it happens to be. I even love insects; in fact, I wouldn't swat a fly or a mosquito for a whole barrel of gold."

Remembered well for his turns of phrase and his puns, Fats once wrote, "If you happened to drive from Mobile to Dowell [Illinois] with a carload of pool hustlers, you would get bit so hard and so often that you would need a malaria vaccine and a new bankroll as well", a reference not only to the area's notorious mosquitos but also to the predatory nature of hustlers. Fats is remembered for saying on his way out a pool room door, "Boys, the only difference between me and everybody else is that everybody else drives around in a Volkswagen, and Minnesota Fats drives around in a Duesenberg." Fats would go virtually anywhere to help promote the game, and he was a crowd pleaser.

Fats owned various limousines throughout his career. He once toured the country in a colorful Lincoln limousine with his extended moniker painted along the side panels in translucent paint, changing colors as it moved with the reflections from the sun: "Minnesota Fats, King of Pool". His 1980 Cadillac Fleetwood limousine was later in the Nashville auto museum, until the facility closed.

Fats was notorious for his spontaneous wit. When he was named the "uncrowned king" of pool because he never got actively involved in tournament circles (owing to being too busy hustling), his reply: "You judge a king by the size of his wallet and his palace. You can leave the crown in the toilet."

See also

 Minnesota Fats: Pool Legend (a Sega Genesis and Sega Saturn video game featuring a virtual version of Fats)

References

Sources

1913 births
1996 deaths
Age controversies
American pool players
American people of Swiss descent
Television personalities from New York City
Trick shot artists
Sportspeople from New York City
People from Du Quoin, Illinois

Rudolf Wanderone


Robert Mylne (4 January 1733 – 5 May 1811) was a Scottish architect and civil engineer, particularly remembered for his design for Blackfriars Bridge in London. Born and raised in Edinburgh, he travelled to Europe as a young man, studying architecture in Rome under Piranesi. In 1758, he became the first Briton to win the triennial architecture competition at the Accademia di San Luca. This made his name known in London, and won him the rivalry of fellow Scot Robert Adam.

On his return to Britain, Mylne won the competition to design the new Blackfriars Bridge over the Thames in London, his design being chosen over those of established engineers, such as John Smeaton. He was appointed surveyor to the New River Company, which supplied drinking water to London, and Surveyor of the Fabric of St Paul's Cathedral, where he was responsible for maintaining the building designed by Sir Christopher Wren. Both positions he held for life. Mylne designed a number of country houses and city buildings, as well as bridges. As his career progressed, he concentrated more on engineering, writing reports on harbours and advising on canals, and appearing as an expert witness in lawsuits and trials.

Mylne was one of the founder members, with John Smeaton, of the Society of Civil Engineers, the first engineering society in the world, established in 1771. He was also a founder of the Architects' Club, another early professional body, and regularly socialised with the eminent doctors, philosophers and scientists of his day. Known for his quick temper and for his integrity, Mylne had a strong sense of duty, and could be stubborn when he knew he was right. This inflexibility made him unpopular with some, in an age when corruption was more widespread than today. He died aged 78 and was buried in St Paul's Cathedral: there is a memorial to him in the crypt.

Early life
Mylne was descended from a family of architects and builders, and was the great-grandson of mason and architect Robert Mylne (1633–1710), remembered particularly for his work as the King's Master Builder at Holyrood Palace in Edinburgh. The younger Robert was born in Edinburgh, the son of Thomas Mylne, Edinburgh City Surveyor, and Deacon of the Incorporation of St Mary's Chapel, the main guild of masons in Edinburgh. He was educated at the Royal High School from the ages of nine to fourteen, after which he was apprenticed to Daniel Wright, a wright, or carpenter, for six years. During this time he probably also learned stonemasonry from his father. He undertook work for the Duke of Atholl at Blair Castle in Perthshire, and was expected to take over the family business from his father.

Grand tour
In autumn 1754, Mylne set off for mainland Europe on the "Grand Tour", to join his brother William, who had been studying in Paris for a year. They travelled through France together, mostly on foot and by boat, visiting Avignon and Marseille, from where they sailed to Civitavecchia. Again travelling on foot, they arrived in Rome in January 1755, and took lodgings on the Via dei Condotti. They made contact with Andrew Lumisden, secretary to James Stuart, the "Old Pretender", and Abbé Peter Grant, the Scots agent in Rome. They also encountered Robert Adam, a fellow Scot also studying architecture. Adam was disdainful of the Mylnes' poor situation, but viewed Robert Mylne as a potential rival, noting that he "begins to draw extremely well". The Mylnes were continually short of funds, and had a joint allowance from their father of just £45 a year, compared to Adam's annual expenditure of around £800.

Mylne learned architectural and figure drawing, and studied the art of architectural ornament, under the direction of Giovanni Battista Piranesi. Piranesi, who had also taught Robert Adam, was a great influence on the young Mylne, and the two continued to correspond after the latter left Rome. Mylne studied the Ancient Roman system of aqueducts, and began to take on paid work as a tutor himself. A letter from the Duke of Atholl enquired when he would return to resume work at Blair, and offered Mylne the post of head carver, but he preferred to continue with his studies. In the spring of 1757, shortly after William had returned home, Mylne accompanied the diplomat Richard Phelps and antiquarian Matthew Nulty on a tour of Sicily. He produced sketches and measured drawings of the antiquities for a projected book, although this was never published.

In 1758, Mylne decided to enter the triennial architecture competition, known as the Concorso Clementino, at the Accademia di San Luca (St Luke's Academy), the subject being a design for a public gallery. He prepared two sets of drawings over seven months, apparently rejecting the first, and submitting the latter. This, the winning design, was heavily influenced by French neoclassical architecture, which helped it to stand out against the field of mostly baroque entries. On 6 September, all the entrants had to complete a prova, a drawing exercise under examination conditions, and on 18 September 1758, Mylne was awarded a silver medal, as the first Briton ever to win the competition. He was presented the award at a ceremony attended by twenty cardinals, as well as James Stuart, the Old Pretender, who was referred to in Rome as "King James III of England". The event was publicised by his family in Edinburgh and London, and he acquired the patronage of the Prince Altieri, who arranged for his election to the Academy.

Mylne left Rome in April 1759, travelling to Florence, where he was elected to the Academy of Art, then Venice, Brescia, and villas designed by Andrea Palladio. He then travelled through Germany to Rotterdam, arriving in London on 17 July 1759.

Blackfriars Bridge
Mylne intended to establish himself as an architect in London, and to begin preparing his notes and sketches of Sicily for publication. However, on his arrival, he heard of the proposal to build a third bridge over the River Thames at Blackfriars. The closing date for the design competition was set for 4 October, giving Mylne less than three months to complete his scheme, although in his favour, he apparently found a friend in John Paterson, secretary of the Bridge Committee, and a fellow Scot. 69 schemes were entered into the competition, which was soon reduced to a shortlist of 14, including designs by the established engineers John Smeaton and John Gwynn, and the architects Sir William Chambers and George Dance the Elder. Mylne's design stood out, however, as it was the only one to propose flatter, elliptical arches, rather than round ones. This departure, as yet untried in Britain, provoked a public debate, and brought Mylne under attack from Dr Samuel Johnson, a friend of John Gwynn, who suggested that elliptical arches would be too weak. In response Mylne published a pamphlet, under the name "Publicus", in which the pseudonymous author praises Mylne's design, while criticising those of his competitors.

On 22 February 1760, Mylne was finally declared the winner of the competition, and he was appointed surveyor to the new Blackfriars Bridge, with overall responsibility for design, construction and future maintenance of the structure, on a salary of £400 a year. The foundation stone was laid on 31 October, and on 1 October 1764 the first arch, the  wide centre arch, was completed. Mylne corresponded with Piranesi regarding the project, and the latter made an engraving, based on Mylne's reports, of the bridge under construction. Mylne introduced several technical innovations, including the use of removable wedges in the centring which supported the arches during construction, making it easier to dismantle. The foundations of the piers were on timber piles, levelled with an underwater saw, and the stonework was then built inside a huge caisson, a floating, submersible workspace,  by , and  high.

The bridge was opened to all traffic in November 1769. As surveyor, Mylne was also responsible for laying out the approach roads; Bridge Street (now New Bridge Street) from the north, and Surrey Street (now Blackfriars Road) from the south. The squares of Chatham Square and Albion Place were laid out at the north and south ends of the bridge, respectively, and Mylne also designed the obelisk, which still stands, at St George's Circus, in 1771. Although Mylne was briefly the target of satirical anti-Scots cartoons and pamphlets at the time of winning the competition, the completed bridge was universally well-received, and tolls repaid the £152,840 cost of building within a few years. Mylne received his final payment for the works, of £4,209, in 1776, and held the post of surveyor until his death, but the bridge had to be replaced in 1869, after the rebuilding of London Bridge in 1831 affected the flow of the river.

Architecture
Despite these early successes, Mylne never won the acclaim of his contemporaries Robert Adam (1728–1792) and William Chambers (1723–1796). Although he became a successful architect, he played only a minor role in the development of neoclassical architecture, which was led by Adam and Chambers. Mylne followed the French style of neoclassicism, rather than the "Adam style", and his work was also influenced by the post-Palladian buildings of English architect Isaac Ware (1704–1766). Mylne's influence on British architecture was limited, although the Irish architect Thomas Cooley (1740–1784) was Mylne's clerk at Blackfriars, and later produced designs which show the influence of Mylne's competition-winning Rome design.

Mylne designed a number of town houses and country houses, and a few public buildings. The first new country house was Cally, in Galloway, south-west Scotland, for James Murray of Broughton. Mylne had met Murray in Rome, and drew a set of plans while still there, although the house was built to a modified design. His largest country house was Tusmore, Oxfordshire, built in a Palladian style between 1766 and 1769 for William Fermor. Of his small town houses, the most successful is The Wick, in Richmond. Designed in 1775 for Lady St Aubyn, the house has oval dining and drawing rooms. From 1794 to 1797 Mylne built a house for himself, The Grove, at Great Amwell.

St Cecilia's Hall in Edinburgh was one of Mylne's first public buildings, built 1761–1763 for the Musical Society of Edinburgh. The oval, domed hall survives as part of Edinburgh University. Mylne's design for the City of London Lying-in Hospital, built 1770–1773, comprised a high central cupola flanked by pedimented blocks. Another public building, Stationers' Hall in London, was among his last architectural works, being refronted by him in 1800.

One or Mylne's earliest works for a private client was for Edward Southwell (1705–1755) whom he is reputed to have met in Rome when Southwell was on the Grand Tour and Mylne was there studying under Piranesi. Mylne's first work at Kings Weston House was in 1763 and involved designing and extensive new stables and kitchen garden complex which still remain. In the years following Mylne worked on extensively modernising Kings Weston House and replacing Sir John Vanbrugh's austere interiors. Here he created a suite of neo-classical rooms surrounding the remodelled Sallon which he filled with family portraits in refined carved architectural surrounds. His final work for Southwell was for a lodge house in 1768, the drawing for which he gave to his client.

In 1766, Mylne was appointed Surveyor to St Paul's Cathedral, completed by Sir Christopher Wren some 55 years earlier. Nominated by the Lord Mayor of London, his salary was £50 a year. In this capacity, Mylne was responsible for erecting a monument to Wren, whose only memorial at the time was in the basement. The existing Latin epitaph, Lector, si monumentum requiris, circumspice (reader, if you seek his monument, look around you), was re-used on a tablet mounted on the organ screen in 1810, although this was destroyed in the Blitz. He purchased over 200 of Wren's drawings, with his own money, and had them bound and presented to the cathedral, thus recording the building's history for posterity. On the death of Lord Nelson at Trafalgar in 1805, Mylne was partly responsible for the state funeral, building Nelson's sarcophagus in the Cathedral basement, although the design of the monument fell to James Wyatt of the Office of Works. Mylne, together with the manufacturer Matthew Boulton, arranged for a secret deposit of commemorative medals, of Boulton's making, to be placed inside the sarcophagus prior to Nelson's interment.

In November 1775 he was also appointed clerk of works at Greenwich Hospital, another Wren building, under the surveyor James Stuart. At Greenwich he cleared unsightly workshops from the grounds, and laid out a series of walkways. He was later accused by the Lieutenant Governor, Captain Baillie, of misusing funds and occupying space required by the hospital's pensioners. Mylne responded by accusing Baillie of corruption, and the ensuing enquiry vindicated Mylne and led to the dismissal of Baillie in 1778. A fire the following January destroyed the chapel, but Mylne and his superior, James Stuart, failed to work together to design and build a replacement. Mylne made frequent requests to Stuart for drawings, but Stuart, who was gaining a reputation for drunkenness and unreliability, accused Mylne again of corruption and insulting behaviour. A second investigation again found no evidence, but it was clear that Mylne and Stuart could not work together. Stuart was the established figure, so it was Mylne, as the junior partner, who was dismissed. Disgusted at the outcome, he had to be forced from his offices, and successfully sued for damages.

He served as surveyor to Canterbury Cathedral.

Engineering
From 1767 until his death, Mylne worked for the New River Company, whose head offices were adjacent to Blackfriars Bridge. He was initially hired as an assistant to the company surveyor Henry Mill, but took over on Mill's death in 1769. The company's offices burned down at Christmas of that year, offering Mylne the opportunity to design a replacement. Later, Mylne designed and erected a monument to Sir Hugh Myddelton, designer of the New River, at Great Amwell.

He was also involved in the development of the Eau Brink Cut, a new channel for the River Great Ouse in East Anglia. The project resulted in much litigation with his associate Sir Thomas Hyde Page.

Projects
Blackfriars Bridge (1761–1769)
Remodelling of Kings Weston House (1763)
Cally House, Kirkcudbright (1763)
St Cecilia's Hall, Cowgate, Edinburgh (1765), the oldest purpose-built concert hall in Scotland
Assembly Rooms, King Street, St James's, London (1765)
Various works at Welbeck Abbey, Nottinghamshire (1760s)
Wormleybury Manor, Hertfordshire (1767–1769)
The Hunterian Medical School, Great Windmill Street, London (1767); the building now forms part of the Lyric Theatre.
Tusmore House, Oxfordshire (1770)
Alterations to Goodnestone House, Kent (1770)
Addington Palace, near Croydon, south London (1773–1779)
Bryngwyn House, Powys, Wales (1774)
The Wick, Richmond, London (1775)
Inveraray village, and interior remodelling of Inveraray Castle, Scotland (1780s and 1790s)
Middle Bridge, Romsey, Hampshire (1783)
Gloucester and Sharpness Canal (1790s)
Clachan Bridge linking the island of Seil to the Scottish mainland (completed 1792)
Holy Trinity Church, Dartford (1792)
Hexham Bridge (1793)
Dearne & Dove Canal, South Yorkshire (1793–1804)
New frontage to Stationers' Hall, off Fleet Street, London (1800)
Works at Great Amwell, Hertfordshire, for the New River Company, London (until 1810)

Family
Robert had been intended as his father's successor, but his established position in London meant that his younger brother William took on the family business on Thomas Mylne's death in February 1763. William was commissioned to build Edinburgh's new North Bridge later in the decade, but the structure partially collapsed in 1769, killing five people. Robert was one of his brother's financial guarantors, and was involved in the subsequent problems for several years, until William, his architectural career over, fled to America in 1773. He returned two years later, at which time Robert obtained him a job running the Dublin Waterworks. On William's death in 1790, Robert had a plaque erected to his memory in St Catherine's Church, Dublin.

In September 1770, Robert married Mary Home, the daughter of an army surgeon, leading to a rift between Mylne and his sister, who disliked the Home family. The couple resided at the Water House, New River Head, and had nine children:

Maria (1772–1794)
Emilia (born 1773)
Harriet (born 1774)
Caroline (born 1775), married Colonel Duncan of the East India Company, 1797
Robert (1779–1798)
William Chadwell (1781–1863)
Thomas (1782, died aged six months)
Charlotte (born 1785)
Leonora (born 1788)

Mary Mylne died of a lung complaint in July 1797, shortly after the family had moved to Great Amwell. Robert designed a mausoleum for his wife and family, which still stands in the churchyard of St John the Baptist. Burials in the vault included his descendant, the antiquarian Rev Robert Scott Mylne FRSE (1854–1920).

Robert junior was initially intended for an architectural career, and was apprenticed to Henry Holland. However, this was unsuccessful, and Robert joined the army as an Ensign in 1797. Sailing for Gibraltar, his ship was captured, and he spent the following year in a French prison. Setting out again for Gibraltar after his return, he died on board ship in December 1798. It was therefore William's role to take over from his father, which he did, being appointed surveyor to the New River on his father's retirement in 1810.

References

Fleming, John (1968) Robert Adam and his Circle. London: John Murray.
Gifford, John, McWilliam, Colin, and Walker, David (1984) The Buildings of Scotland: Edinburgh. Yale University Press.
Richardson, A. E. (1955) Robert Mylne: Architect and Engineer 1733 to 1811. London: B. T. Batsford.
Summerson, John (1993) Architecture in Britain: 1530–1830 9th edition. Yale.
Ward, Robert (2007) The Man Who Buried Nelson: The Surprising Life of Robert Mylne. London: Tempus.
Papers relating to Mylne, including his correspondence, at Lambeth Palace Library

Further reading

Maudlin, D 'Robert Mylne, Thomas Telford and the architecture of improvement: the planned villages of the British Fisheries Society, 1786–1817', Urban History vol. 34 pt3 pp. 453–480 (2007)
Rock, Joe 'The Temple of Harmony – New Research on St Cecilia's Hall, Edinburgh', Architectural Heritage vol XX (2009) pp. 55–74.
Ward, Robert (2007) Robert Mylne, Matthew Boulton and the treasure in Nelson's tomb. Trafalgar Chronicle No. 17 (2007) 53–61.
Ward, Robert (2008) Robert Mylne, James 'Athenian' Stuart and the troubles at Greenwich Hospital 1775–82. Journal of the Greenwich Historical Society, vol. 3 no. 5, 226–245.

External links

History of St Cecilia's Hall, Edinburgh

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Robert Mylne (architect)


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Morro da Garça es un municipio brasileño del estado de Minas Gerais. De acuerdo con el Censo 2007 del Instituto Brasileño de Geografía y Estadística (IBGE), la ciudad posee 2887 habitantes con el 84,9% de la población alfabetizada.

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Giulio Alfieri (* 28. November 1879 in Neapel; † nach 1945) war ein italienischer Schauspieler, Karikaturist und Liedersänger.

Leben
Alfieri war als Karikaturist und Interpret leichten Liedgutes vor allem seiner Heimatregion aktiv; bereits 1894 hatte er fünfzehnjährig erste Bühnenerfahrungen gesammelt, als er an kleinen Theatern Neapels auftrat. Zwei Jahre später gehörte er zum Programm des dortigen "Salon Margherita", wo er mit Nicola Maldacea, teilweise auch Amelia Faraone in kleinen musikalischen Szenen spielte. Es folgten Engagements als Solointerpret oder mit Elena Brussa, bis er 1899 als "Opfer" den Duopartner von Peppino Villani gab.

In den nächsten Jahren entwickelte er sich bei zahlreichen Stationen und Auftritten weiter zum Satiriker, der alleine oder auch im Duett mit Lydia Roussier an Spielorten wie dem "Odeon" in Rom zu sehen war. Bis Mitte der 1930er Jahre bespielte er somit die Bühnen ganz Italiens; 1936 spielte er seine erste Filmrolle, der bis 1946 etliche, meist komische, folgten. Auch für das Radio arbeitete der 1,55 m große Alfieri; seltener als Synchronschauspieler. Nach dem Zweiten Weltkrieg verliert sich seine Spur.

Filmografie (Auswahl)
 1936: Lo smemorato
 1946: Daniele Cortis

Weblinks

Einzelnachweise

Filmschauspieler
Italiener
Geboren 1879
Gestorben im 20. Jahrhundert
Mann

Giulio Alfieri (Schauspieler)


Mark Frutkin, né en 1948 à Cleveland en Ohio, est un romancier, poète et essayiste canadien.

Biographie
Mark Frutkin détient un baccalauréat de l'Université Loyola de Chicago en plus d'avoir  étudié en Italie. Il enseigne ensuite la création littéraire à l'Université Carleton et aux universités d'Ottawa, du Nouveau-Brunswick et de Western Ontario. Il vit maintenant à Ottawa.

Frutkin publie plusieurs livres de fiction, de poésie ainsi qu'un essai en plus de signer plusieurs textes dans des revues canadiennes et étrangères. Son travail est connu au Canada, aux États-Unis, en Angleterre, en Hollande, en Inde, en Espagne, en Pologne, en Russie, en Corée du Sud ainsi qu'en Turquie.

Il fait paraitre plusieurs titres dont Atmospheres Apollinaire (Beach Holme Pub., 1998), Fabrizio's Return (Knopf Canada;a, 2006) traduit de l'anglais par Catherine Leroux sous le titre Le saint patron des merveilles (Alto, 2017) ainsi que A message for the emperor (Véhicule Press, 2012)

En poésie, il publie The Alchemy Of Clouds (Lane Editions, 1985), Acts Of Light (Cormorant Books, 1992), Iron Mountain (Dundurn Press, 2001) ainsi que Hermit Thrush (Quattro Books, 2016). Comme essayiste, il fait paraitre Colourless Green Ideas Sleep Furiously (Quattro Books, 2012).

En 1988, Mark Frutkin est finaliste au Prix du Gouverneur général, au Prix Trillium ainsi qu'au Prix du livre d'Ottawa-Carleton. En 2007, il est récipiendaire du Prix Trillium du meilleur livre en Ontario ainsi que du Prix Sunburst pour la littérature canadienne du fantastique. La même année, il est également finaliste du Prix du Commonwealth.

Œuvres

Fiction
En anglais
 Invading Tibet, Toronto, Random House of Canada, 1991, n.p.
 In The Time Of The Angry Queen, Toronto, Random House Canada, 1993, n.p.
 Opening passages, Wolfe Lake, M. Frutkin, cop, 1977, 25 p.
 The Growing dawn : documentary fiction, Montréal, Quadrant Editions, cop. 1983, 167 p.
 The Lion Of Venice, Toronto, Dundurn Press, 1997, 224 p.
 Atmospheres Apollinaire, Vancouver, Beach Holme Pub., 1998, 217 p.
 Slow lightning, Vancouver, Raincoast Books, 2001, 194 p.
 Fabrizio's Return, Toronto, Knopf Canada;a, 2006, 320 p.
 Erratic north : a Vietnam draft resister's life in the Canadian bush, Toronto, Dundurn Press, 2008, 236 p.
 Walking backwards : grand tours, minor visitations, miraculous journeys, Toronto, Dundurn Press, 2011, 218 p.
 A message for the emperor, Montréal, Véhicule Press, 2012, 188 p.
 The Rising Tide, Ontario, The Porcupine's Quill, 2018, n.p.
 Where Angels Come to Earth, Montreal, Longbridge Books, 2019, n.p.

En français
 Le Saint Patron des merveilles, traduit de l'anglais par Catherine Leroux, Québec, Alto, 2017, 393 p.

Poésie
En anglais
 The Alchemy Of Clouds, Fredericton, Lane Editions, 1985, 60 p.
 Acts Of Light, Ontario, Cormorant Books, 1992, n.p.
 Iron Mountain, Toronto, Dundurn Press, 2001, 112 p.
 Hermit Thrush, Toronto, Quattro Books, 2016, 76 p.

Essai
En anglais
 Colourless Green Ideas Sleep Furiously, Toronto, Quattro Books, 2012, 140 p.

Prix et honneurs
 1988 - Finaliste : Prix du Gouverneur général (pour Atmospheres Apollinaire)
 1988 - Finaliste : Prix Trillium (pour Atmospheres Apollinaire)
 1988 - Finaliste : Prix du livre d'Ottawa-Carleton (pour Atmospheres Apollinaire)
 2007 - Récipiendaire : Prix Trillium du meilleur livre en Ontario (pour Fabrizio's Return)
 2007 - Récipiendaire : Prix Sunburst pour la littérature canadienne du fantastique (pour Fabrizio's Return)
 2007 - Finaliste : Prix du Commonwealth (pour Fabrizio's Return)

Notes et références

Voir aussi

Articles connexes
Catherine Leroux

Liens externes

Écrivain canadien du XXe siècle
Écrivain canadien du XXIe siècle
Romancier canadien
Poète canadien du XXe siècle
Poète canadien du XXIe siècle
Essayiste canadien
Naissance à Cleveland
Naissance en 1948
Écrivain suivi par le projet Arts littéraires québécois

Mark Frutkin


Sergio Altesor, auch geführt als Sergio Altezor, (* 31. August 1951 in Montevideo) ist ein uruguayischer Künstler und Schriftsteller.

Leben
Altezor ging 1976 während der Zeit der zivil-militärischen Diktatur in Uruguay ins Exil nach Schweden. Erst 1995 kehrte er für sechs Jahre in sein Heimatland zurück, um anschließend wieder in seine schwedische Wahlheimat zu ziehen. Altezor schrieb für verschiedene Zeitschriften, darunter die El País-Beilage El País Cultural und die Zeitung Brecha. Er ist zudem als Künstler tätig. Seit seinem Erstlingswerk Rio testigo 1973 folgten diverse weitere Buch-Publikationen seinerseits. 1997 erhielt er den Premio Literario Municipal der Intendencia Municipal von Montevideo. Im Jahr 2000 erschien sein erster Roman mit dem Titel Río escondido. Im selben Jahr wurde er mit dem Premio Nacional de Literatura des Uruguayischen Kulturministeriums ausgezeichnet.

Veröffentlichungen
 Río testigo (1973)
 Trenes en la noche (1982)
 Archipiélago (1984)
 Diario de los últimos días del archipiélago (1995)
 Serpiente (1999)
 Río escondido (2000), Roman

Auszeichnungen
 1997: Premio Literario Municipal der Intendencia Municipal von Montevideo
 2000: Premio Nacional de Literatura des Uruguayischen Kulturministeriums

Literatur
 Nuevo Diccionario de la Cultura Uruguaya von Miguel Ángel Campodónico, Librería Linardi y Risso, 2003, S. 21

Weblinks
 Blog Sergio Altesors (spanisch) / (schwedisch), abgerufen am 3. März 2012

Einzelnachweise

Autor
Künstler (Uruguay)
Uruguayer
Geboren 1951
Mann

Sergio Altesor


Le dème d'Áno Pogóni, en  / Dímos Áno Pogóni, est un dème du district régional d'Ioánnina, en Épire, Grèce. Depuis 2010, il est fusionné au sein du dème de Pogóni.

Selon le recensement de 2011, la population du dème compte .

Notes et références

Voir aussi

Liens externes

Dème en Épire
Ancien dème en Grèce

Dème d'Áno Pogóni


Eleanor Ruth Clitheroe (born January 29, 1954) is a Canadian cleric and former businesswoman. She was president and CEO of Hydro One, a successor company to Ontario Hydro owned by the Province of Ontario.

Life and career
Born  in Montreal, Quebec in 1954, Clitheroe earned her LL.B. from the University of Western Ontario (UWO) in 1977. In 1978 she earned her LL.M. from McGill University, and earned her M.B.A. from UWO in 1980's. In 2005, she obtained a M.Div., from Wycliffe College. Clitheroe is a candidate for a Ph.D. in Theology at University of Toronto.

She articled at the Tory, Tory DesLauriers & Binnington law firm in Toronto, and worked for the Canadian Imperial Bank of Commerce. She was Ontario's deputy minister of finance under the New Democratic Party of Bob Rae from 1990 to 1993. She was then appointed a vice-president of Ontario Hydro. When it was reorganized into five companies, she was appointed president and CEO of Hydro One, from which she received over $2 million annual income and benefits in 2001. In 2002, she was named Business Woman of the Year by the National Post. Her tenure as CEO ended in the same year after scandal over money and management.

From 2000 until 2004, she was chancellor of the University of Western Ontario. In 2005, she was ordained a deacon in the Anglican Church of Canada, and later that year, ordained a priest. She has been the executive director of Prison Fellowship Canada, leaving the position in 2013, and Padre to the Governor General's Horse Guards. She has been pastor at St. Luke's Anglican Church in Smithville, Ontario since 2008 and was awarded The Queen Elizabeth Diamond Jubilee Medal.

Clitheroe filed a lawsuit against the utility for severance compensation and increased pension after specific legislation limiting benefits at Hydro One was passed by the Progressive Conservative government. This lawsuit and appeals were dismissed.

References

1954 births
Living people
Anglophone Quebec people
Businesspeople from Montreal
Businesspeople from Ontario
20th-century Canadian civil servants
Canadian Anglican priests
Lawyers in Ontario
Lawyers in Quebec
Chancellors of the University of Western Ontario
McGill University Faculty of Law alumni
University of Toronto alumni
University of Western Ontario alumni
Canadian women in business
Canadian women lawyers
20th-century Canadian women

Eleanor Clitheroe


DESY (acronim pentru Deutsches Elektronen-SYnchrotron) este un centru național de cercetare științifică fundamentală al Republicii Federale Germania, cu sedii în Hamburg și Zeuthen. Acoperă un spectru larg de cercetare interdisciplinară cu trei domenii principale: proiectarea, construcția și operarea de acceleratoare de particule, fizica energiilor înalte și fizica fotonilor.

Institute de fizică

DESY


Hacı Mustafa Efendi (Soyadı Kanunu'ndan sonra Hacı Mustafa Beynam), Osmanlı Meclis-i Mebûsanı'nda ve TBMM 1. Dönem'de Ankara milletvekilliği yapmış bir din adamıdır.

1866'da Ankara'nın Bala ilçesinde doğdu. Babası Hacı Halil Efendi'dir. İlk öğrenimini köyünde, orta öğrenimini de Bala'da tamamladı. Daha sonra Konya medreselerinde öğrenim görerek müderrislik icazeti aldı.

Öğrenimi sonrasında Ankara Kocabey Medresesi'nde müderris olarak göreve başladı. Bu görevde iken, II. Meşrutiyet'in ilanından (1908) sonra toplanan Osmanlı Mebusan Meclisi'ne 17 Mayıs 1908'de Ankara Milletvekili seçildi. Sonraki Dönemde yeniden milletvekili olarak yasama görevini 5 Ağustos 1912'de Meclisin feshine kadar sürdürdü. Milletvekilliği sona erince Ankara'ya müderrislik görevine döndü.

Milli Mücadele'ye Kuvâ-yi Milliyecilerin yanında olarak Müdafaa-i Hukuk Cemiyeti'nde çalıştı. TBMM 1. Dönemi için yapılan seçimde Ankara Milletvekili seçilerek 23 Nisan 1920'de Meclisin açılışında hazır bulundu. Mecliste İrşad, Şeriye ve Evkaf komisyonlarında görev aldı. Sakarya Savaşı sırasında Batı Cephesi'nde askerin moralini yüksek tutmaya memur edilen kurulda (İrşad Heyeti) görev yaptı. 20 Kasım 1922'de yeni seçilen Halife Abdülmecid Efendi'ye kutsal emanetleri teslim eden ve TBMM adına görevini kutlayan heyette yer aldı. Meclis kürsüsünden çeşitli konularda ikisi gizli oturumda 50 konuşma yaptı. Beş soru, iki gensoru önergesi ve bir kanun önerisi verdi. Milletvekilliği sona erince 1 Kasım 1923'te Ankara Darülhilafe Medresesi'ne müderris olarak atandı. Medreselerin kaldırılması üzerine 14 Eylül 1925'te Ankara Vaizliğine getirildi. 16 Aralık 1926'da Diyanet İşleri Başkanlığı Müşavere Heyeti Azası oldu. Bu görevde iken, 25 Ekim 1931'de öldü. Evli ve üç çocuk babası idi. Mecliste "Beynamlı Hacı Mustafa Efendi" olarak anılırdı ve "Beynam" soyadını almıştır.

Kaynakça
Diyanet İşleri Başkanlığı

TBMM 1. dönem Ankara milletvekilleri
1908-1912 Osmanlı Meclis-i Mebusanı Ankara üyeleri
1912 Nisan-Ağustos Osmanlı Meclis-i Mebusanı Ankara üyeleri
1866 doğumlular
1931 yılında ölenler
Ankara doğumlu siyasetçiler
20. yüzyılda Osmanlılar
Türk din adamları

Hacı Mustafa Beynamlı


Le Broussonetia kazinoki est une espèce d'arbuste de la famille des Moraceae, originaire d'Asie orientale (Chine, Corée, Japon) et dont les fibres végétales sous l'écorce servent à faire du papier.

Proche du mûrier à papier (Broussonetia papyrifera), B. kazinoki a servi en Chine, dès les premiers siècles à fabriquer du papier. B. kazinoki se distingue de B. papyrifera par sa plus petite taille et par ses inflorescences mâles sphériques alors que celles de B. papyrifera sont cylindriques (comme des chatons) et avec des inflorescences mâles et femelles portées par le même individu.

Une étude morphométrique des espèces de Broussonetia menée par des chercheurs coréens (2009), a montré que la plupart des individus connus comme des B. kazinoki, étaient en fait des hybrides entre B. kazinoki x B. papyrifera. Une étude plus récente sur la recirconscription des Broussonetia, menée par des chercheurs de Taipei, de Guilin et des Philippines, a remis en avant les deux espèces B. kaempferi et B. monoica, que Flora of China n'a pas adoptée.

Dans l'attente d'un consensus, nous nous en tiendrons à la description précise de Flora of China

Étymologies

Le nom de genre Broussonetia est  dédié au médecin, ichtyologue et  botaniste, Pierre Broussonet (1761, 1807), défenseur du système de nomenclature de Carl Linné et introducteur de pieds femelles de mûrier à papier de Chine à la fin du . En 1799, Charles Louis L'Héritier de Brutelle (1746-1800)  lui dédie, le genre Broussonetia de la  famille des Moraceae.

L'épithète spécifique kazinoki fut malencontreusement choisi par Siebold en 1830 pour dénommer la nouvelle espèce Broussonetia kazinoki (dans Verh. Batav. Genootsch 1830), en référence au nom vulgaire japonais kajino-ki que l'on sait actuellement désigner le Broussonetia papyrifera.

Synonymes

Selon Flora of China, les synonymes sont
 Broussonetia monoica Hance
 Broussonetia kazinoki var. ruyangensis P. H. Ling & X. W. Wei;

Terminologie

Le genre Broussonetia est difficile à circonscrire et a suscité des controverses entre botanistes. Les débats et révisions qui sont en cours ne font que souligner les difficultés d'associer les noms botaniques acceptés (par la communauté des botanistes, comme  The Plant List, Tropicos ou Flora of China, pas toujours d'accord entre eux d'ailleurs) avec des noms vulgaires dans les langues chinoise, japonaise et coréenne, ceci bien sûr durant les siècles passés pendant lesquels la notion d'espèce n'était pas connue mais aussi avec les noms vulgaires normalisés contemporains.

Les fibres de trois espèces de Broussonetia ont été utilisées en Asie orientale pour fabriquer du papier : 1) Broussonetia papyrifera (dioïque) 2) Broussonetia kazinoki (monoïque) 3) B. kazinoki × B. papyrifera, l'hybride des deux autres.
Nous retenons les noms vulgaires choisis par Flora of China, Yun et Kim et Kuo et al

En Chine, les arbres sauvages Broussonetia papyrifera et B. kazinoki et les papiers que l'on peut fabriquer avec les fibres de leur écorce sont si similaires que dans de nombreux cas, ils sont souvent confondus, par exemple, ils peuvent tous deux être désignés papier de baimian (白棉纸 baimianzhi) ou papier de cocon de vers à soie (蚕茧纸 canjian zhi) (Yi Xiaohui). À Taiwan, les noms vulgaires de B. papyrifera et B. kazinoki retenus sont respectivement 構樹 goushu  et 小構樹 xiaogoushu , signifiant bien leur similitude.

Pour de plus amples informations voir
.

Description

Broussonetia kazinoki est un arbuste de 2 à  de haut, monoïque c'est-à-dire dont les fleurs mâles et femelles sont distinctes mais portées par le même individu, à la différence du Broussonetia papyrifera qui est dioïque. Les rameaux étalés obliquement, sont pubescents quand ils sont jeunes et deviennent glabres en vieillissant.

Les feuilles, portées par un pétiole d'environ , possèdent un limbe ovale à oblique-ovale, simple ou 3-lobé, de  de long sur  de large, le dessous subglabre, et le dessus scabre, la base est plus ou moins arrondie à obliquement arrondie, le bord triangulaire denté en scie, et l'apex atténué à courtement acuminé.

Les inflorescences mâles sont globuleuses, de  de diamètre. Les inflorescences femelles sont aussi globuleuses, pubescentes. Les fleurs mâles comportent un calice à 3 ou 4 lobes (lobes triangulaires et pubescents dessous), les anthères elliptiques. Les fleurs femelles comportent un calice en forme de tuyau, denté apicalement, lobé ou entier et un style, papillé au milieu.

L'infrutescence est formée de carpelles soudés (syncarpes) de  de diamètre, avec des grappes étoilées de gros poils fortement barbelés. Les drupelettes sont verruquées comprimées et avec un exocarpe en forme de coquille.

La floraison a lieu en avril-mai, la fructification en mai-juin.

Les caractères distinctifs de B. papyrifera et B. kazinoki  sont selon Flora of China:

{| border="1" cellpadding="3" cellspacing="1" align="center"
|--align="center"
|colspan="7" bgcolor=#FFF8DC | Caractères distinctifs de B. papyrifera et B. kazinoki
|--align="center"
|Espèce ||  || Stipule || Pétiole || Limbe dessous|| Inflorescence mâle || Infrutescencesyncarpe
|--align="center"
| B. papyrifera || dioïque || 15-20 x 8-10 mm || 2,3 – 8 cm || densé. pubescent || 1,5 – 3 cm|| chaton
|--align="center"
|B. kazinoki|| monoïque || 3-5 x 0,5-1 cm || 0,8 – 1 cm || glabre ou légèr. pubes. || 0,8 – 1 cm || globuleux
|}

Chez P. kazinoki, tout est plus petit: la taille de l'arbre, la longueur du pétiole et de l'inflorescence mâle, ce qu'évoque bien le nom vulgaire taïwanais xiaogoushu . De plus les inflorescences mâles de B. kazinoki sont sphériques alors que celles de B. papyrifera sont cylindriques.

 Distribution et habitats
L'espèce est originaire de Chine, de Taiwan, de Corée et du Japon. En Chine, elle est répartie dans les provinces de l'Anhui, Fujian, Guangdong, Guangxi, Guizhou, Hainan, Henan, Hubei, Hunan, Jiangsu, Jiangxi, Sichuan, Yunnan, et Zhejiang.

Elle croît en lisières forestières, dans les montagnes basses et près des habitations

 Utilisations
Étant donné que dans les textes anciens B. kazinoki et B. papyrifera sont désignés par les mêmes termes (voir papier d'écorce de mûrier) et que les fragments de papiers dégagés dans les fouilles archéologiques ont un aspect similaire, nous renvoyons à l'article Broussonetia papyrifera pour l'histoire des utilisations de la présente espèce.

 Notes

 Références

 Liens internes Classification des papiers traditionnels chinoisEntrées de Wikipedia traitant de la fabrication du papier. Celles marquées de ** comportent des dessins à l'encre illustrant le processus de fabrication du papier.

 1. 麻纸类 papiers chanvroïdes   Fabrication de papier de ramie ; Lin cultivé#Les papiers fins ;
 2. 桑构皮纸类 Papier d'écorce de mûrier **, Broussonetia papyrifera ** = Broussonétia à papier = Mûrier à papier ; Broussonetia kazinoki
 3. 藤皮纸类 téngpízhǐ lèi : papier d'écorce de rotinoïde: Wisteria sinensis#Fabrication de papier; Pueraria montana, la Puéraire hirsute (ou le Kudzu, la vigne du Japon (homonyme Vitis coignetiae)
 4. 瑞香皮纸类 papier d'écorce de Thymelaeaceae : Edgeworthia ; Edgeworthia chrysantha = Buisson à papier ; Edgeworthia gardneri; Daphne odora ; Daphne papyracea; Wikstroemia canescens; Wikstroemia delavayi ; Wikstroemia lichiangensis ;  Papier Dongba ** ; Stellera chamaejasme ** 5. 竹纸类 zhú zhǐ lèi : papier de bambou ; Phyllostachys edulis
 6. 草类 caolei, papier de paille, Abaca=Musa textilis
 7. 混料纸类 Papier multifibre : Papier Xuan **' ; Pteroceltis tatarinowii = Santal bleu = syn.Ulmus cavaleriei''

Liens externes

Espèce d'Angiospermes (nom scientifique)
Moraceae
Plante à fibres

Broussonetia kazinoki


Édgar Ángel Vivar Villanueva (born 28 December 1948) is a Mexican actor and comedian. He is best known for his characters of Señor Barriga and his son Ñoño from El Chavo del Ocho, and El Botija from Los Caquitos and Chespirito.

Life and career
The son of engineer Ángel Vivar and Celia Villanueva Falconi, Vivar started his acting career in 1964 as a theater actor. He toured the United States with some of his plays. This gave him vast experience in the acting field. In 1970, Chespirito needed a robust person to play Señor Barriga ("Mr. Beliarge" in Spanish) as well as Ñoño in his upcoming Televisa production of El Chavo del Ocho, and Vivar was hired for the job.

Both shows became major international hits, allowing Vivar to become known beyond Mexico and to tour all over Latin America, Spain and the United States. He also made an attempt at becoming a telenovela actor, participating in his co-star Florinda Meza's production, Alguna vez Tendremos Alas.

His weight caused him serious heart-related issues after the half-hour Chespirito productions were over in 1980 (it is believed that his temporary absence from the show may have related to his weight; and was explained that his character, el Botija, had gone to a weight-loss clinic.) In 1992, he left the hour-long Chespirito program briefly for therapy at a weight-loss clinic. He lost a great amount of weight, which helped save his life. He kept touring the countries where Chespirito shows were kept on television as re-runs after the show was over.

In 2006, Vivar appeared in the film Bandidas as a bank manager. He also co-starred in a telenovela made in Argentina, Amarte Así, that became a major success in South America, Spain, and the US. He had a role in Guillermo del Toro's production of El Orfanato, filmed in Spain and released in October 2007. The same year, he voiced Auguste Gusteau in the Latin American version of Disney-Pixar's Ratatouille. He later voiced Dug in Up (2009).

In 2008, Vivar underwent gastric bypass surgery at a clinic in Colombia, and lost approximately 165 pounds. Following his surgery, he has become an advocate for healthy living, particularly for overcoming obesity.

Following his weight loss surgery, Vivar retired all of his Chespirito characters, stating that because of his weight loss, they were no longer appropriate. He would, however, reprise the voices of Señor Barriga and his son Ñoño for an episode of the animated adaptation of El Chavo, the only cast member from the original series to do so.

Filmography

Film

Television

References

1944 births
Chespirito actors
Living people
Male actors from Mexico City
Mexican male film actors
Mexican male stage actors
Mexican male television actors

Édgar Vivar


في الهندسة الرياضية، تنص مبرهنة نابليون  على أنه إذا تم إنشاء مثلثات متساوية الأضلاع على أضلاع أي مثلث نحو الخارج أو نحو الداخل، فإن مراكز هذه المثلثات تشكل مثلث متساوي الأضلاع. يسمى هذا المثلث بمثلث نابليون.

يعزى اكتشاف هذه المبرهنة إلى نابليون بونابرت (1769-1821). إلا أنها ربما ترجع إلى أعمال ويليام روثرفورد في أعماله عام 1825 أربع سنوات بعد موت الإمبراطور الفرنسي نابليون.

البراهين
انظر أيضا تحاك.
هناك العديد من البراهين لمبرهنة نابليون، منها ما يعتمد على الحساب المثلثي ومنها ما يستعمل مقاربة تعتمد على التماثل ومنها ما يستعمل الأعداد المركبة.

انظر أيضا
 مسألة نابليون

مراجع

وصلات خارجية

مبرهنات في الهندسة المستوية
نابليون
هندسة المثلث
مبرهنات حول المثلثات

مبرهنة نابليون


es una novela ligera japonesa de horror y suspense escrita e ilustrada por Yukito Ayatsuji, publicada el 29 de octubre de 2009 por Kadokawa Shoten. Una adaptación a manga comenzó su serialización en 2010 y finalizó dos años más tarde con un total de cuatro volúmenes, los cuales fueron ilustrados por Hiro Kiyohara y publicados por la editorial Kadokawa en su revista Young Ace.

Una adaptación a serie de anime producida por el estudio P.A. Works comenzó a transmitirse en Japón el 10 de enero de 2012. El 5 de junio de 2014, el creador de la obra, Yukito Ayatsuji, confirmó vía Twitter que comenzaría a trabajar en una secuela, cuya historia estaría ambientada en el año 2001 y comenzaría a publicarse entre septiembre y octubre de 2014.

Argumento
En 1972, un popular y carismático estudiante llamado Misaki Yomiyama perteneciente a la clase 3-3 de la escuela Yomiyama del Norte, murió repentinamente a mitad del año escolar. Devastados por la pérdida, sus compañeros y maestro actuaron como si Misaki todavía estuviese vivo e incluso reservaron un lugar para él en la ceremonia de graduación. Lo que fue aún más elocuente, fue que Misaki apareció en la fotografía de la graduación.

En la primavera de 1998, el estudiante de noveno año Kōichi Sakakibara se traslada de Tokio a Yomiyama, la ciudad natal de su fallecida madre, debido a que su padre ha ido a trabajar en una investigación a la India. Su traslado fue a la escuela  en la clase 3-3. A causa de un neumotórax, Kōichi tuvo que ser hospitalizado justo antes de comenzar las clases. Durante su hospitalización los representantes de la clase, Tomohiko Kazami y Yukari Sakuragi, le visitan y dan la bienvenida a la escuela, aunque de una manera muy sombría.

Kōichi finalmente es dado de alta y es capaz de asistir a clases, donde pronto trata de adaptarse a su nuevo ámbito escolar. Sin embargo, no puede dejar de notar el extraño comportamiento de sus compañeros. También descubre que Mei Misaki, una muchacha a la que conoció durante su estadía en el hospital, pertenece a su misma clase, pero el escritorio que utiliza se ve bastante viejo y diferente al del resto de la clase. Mei también siempre esta sola y nadie parece preocuparse por su presencia o tratar de hablar con ella. Inicialmente, Kōichi cree que es un caso de acoso escolar, pero pronto se da cuenta de que incluso los empleados y profesores de la escuela actúan de la misma manera. El ambiente algo aterrador en su nueva clase parece tener un oscuro secreto que ninguno de sus compañeros de clase quiere revelar y que podría estar relacionado con el "Misaki de 1972".

Personajes

Principales

Seiyu: Atsushi Abe, Greg Ayres (inglés), Javier Naldjián (español latino)
Es el protagonista masculino de la serie. Es un muchacho de quince años de edad que se trasladó de Tokio a la ciudad de Yomiyama y es colocado en la clase 3-3 de la escuela Yomiyama del Norte, sin embargo, fue hospitalizado debido a un neumotórax antes de que comenzara el año escolar. Kōichi se instala con sus abuelos maternos y su tía, Reiko, mientras su padre se encuentra fuera del país realizando investigaciones en la India. En la escuela traba amistad con Mei Misaki, una misteriosa compañera de clase, a pesar de las advertencias de los demás en contra hacerlo, y posteriormente trabaja con sus compañeros para descubrir la verdad detrás de la maldición de la clase 3-3.

Seiyu: Natsumi Takamori, Monica Rial (inglés), María Laura Cassani (español latino)
Es la protagonista femenina de la serie. Es una joven misteriosa e excéntrica que porta un parche en su ojo izquierdo. Kōichi la conoce por primera vez en el hospital de Yomiyama, cuando esta afirmó que estaba allí para entregar una muñeca a su "otra mitad" en el sótano. Más adelante, se dice que su otra mitad era su fallecida prima y posteriormente se revela que en realidad era su hermana gemela, Misaki Fujioka. En la escuela, Mei es completamente ignorada por sus compañeros de clase e incluso profesores. Cuando Kōichi intenta interactuar con ella, Mei le advierte que no lo haga, pero gradualmente se abre a este sobre su situación después de que Kōichi también comienza a ser ignorado por la clase. Mei le revela a Kōichi que su ojo izquierdo le fue extirpado cuando era pequeña debido a un tumor y que en su lugar ahora tiene un ojo de muñeca. También le dice que ese ojo tiene una habilidad especial, notando más adelante en la historia que es capaz de ver el "color de la muerte", es decir, identificar a las personas que están muertas y las que están cercanas a fallecer.

Familia Sakakibara

Voz por: Takurō Kitagawa, Christopher Ayres (inglés), Javier Gómez (español latino)
Es el padre de Kōichi, un profesor universitario que actualmente se encuentra trabajando en la India. Llama regularmente a su hijo para hablarle, pero no da muchos detalles sobre su origen familiar, optando por quejarse del calor del país. A menudo, la conexión telefónica se llena de estática y se corta justo cuando Yōsuke parece estar a punto de decir algo importante.

Voz por: Naoko Sakakibara (Reiko), Misayo Miyamaki (Mikami), Molly Searcy (inglés),, Mariana Martí (español latino)
Es la tía de Kōchi y hermana menor de Ritsuko. Reiko pasa el tiempo con Kōichi en casa de sus padres mientras su cuñado esta ausente. Al comienzo de la historia, le da consejos a su sobrino sobre Yomi del Norte a través de una serie de "reglas" que siempre debe respetar. Por lo general, regresa a casa agotada después del trabajo. Solía asistir a la clase 3-3 quince años atrás, exactamente cuando la madre de Kōichi murió.

Es la fallecida madre de Kōichi, esposa de Yōsuke y hermana mayor de Reiko. Murió al poco tiempo de dar a luz a su hijo. Ritsuko era una estudiante en la clase 3-3 de Yomiyama del Norte en 1972, siendo por lo tanto una de las compañeras de clase de Misaki Yomiyama. Más tarde, se revela que murió mientras Reiko asistía a la clase 3-3; y por lo tanto fue víctima de la maldición de ese año. Su nombre de soltera era .

Familia de Mei

Voz por: Hitomi Harada, Tiffany Grant (inglés), Constanza Faraggi (español latino)
Kirika se presenta inicialmente como la madre de Mei. Trabaja como artista y es propietaria de "Ojos azules vacíos para todos, en el crepúsculo de Yomi", una tienda de muñecas y museo. Kōichi posteriormente descubre que en realidad es la madre adoptiva de Mei, siendo en realidad su tía, pero ambas tienen una relación un tanto distante donde hablan entre sí como extrañas. Mei revela que su madre tuvo una niña muerta hace doce años, lo que dio origen a su obsesión con las muñecas. Esta afición ha llevado a ella y Mei a tratarse de esa manera fría y distante. Su verdadero nombre es .

Voz por: Hiromi Igarashi, María Laura Cassani (español latino)
Primeramente introducida como la "otra mitad" de Mei y más tarde como su prima, Misaki era la persona a la que Mei tenía intención de entregar una muñeca en el sótano del hospital de Yomiyama, donde se encontraba la capilla funeraria. En realidad, Misaki era la hermana gemela de Mei, quien fue criada separadamente después de su nacimiento, aunque ambas ocasionalmente se conocieron. Tiene una personalidad más alegre que Mei. La madre biológica de Misaki y Mei se llama Mitsuyo, quien es hermana gemela de Kirika. Misaki murió en el hospital de leucemia en abril, siendo la primera víctima conocida de la maldición de ese año.

Voz por: Sayuri Sadaoka, Vicki Barosh (inglés)
Es la recepcionista en la tienda de muñecas y museo. Siempre que ve a Kōichi, le ofrece una entrada a su museo con descuento para estudiantes. Mei más tarde revela que Amane es su abuela.

Estudiantes de la Clase 3-3

Voz por: Madoka Yonezawa, Micaela Oddera (español latino)
Es la estudiante a cargo de las contramedidas. Izumi idea y sostiene los medios para lidiar con la calamidad de la clase 3-3 de ese año. Reemplaza a su amiga Yukari como la representante de la clase femenina en junio y se resiente con Mei y Kōichi por romper la regla de la clase de no interactuar con la persona que "no existe", sintiendo que sus acciones han socavado las contramedidas y han causado las muertes dentro de la clase. En la novela, durante el viaje de verano, es perseguida por Mineko Numata y muere al caer de una galería y romperse el cuello.

Voz por: Tomoaki Maeno, Alan García (español latino)
Es un estudiante de la clase 3-3 quien traba amistad con Kōichi, a quien apodó Sakaki. Su aspecto es un poco más alto que otros chicos y alegre. Naoya es un amante de los deportes y dueño de una personalidad algo superficial. Fue a quien se le pidió que explicara la situación de la maldición a Kōichi, pero tuvo problemas para hacerlo.

Voz por: Kazutomi Yamamoto, Juan Balvín (español latino)
Es un estudiante de la clase 3-3 y miembro del club de arte. Mochizuki, junto con Teshigawara, ayudan a Kōichi a desentrañar la calamidad de la clase 3-3. Kōichi piensa que Mochizuki está enamorado de Mikami, la maestra asistente del salón de clases, debido a que a menudo pregunta acerca de su salud y su paradero

Voz por: Mitsuhiro Ichiki, Alan Kanaan (español latino)
Es uno de los delegados de clase y un estudiante de honor. También es amigo de la infancia de Teshigawara.

Voz por: Ai Nonaka, Noelia Culshaw (español latino)
Es la representante femenina de la clase 3-3. En mayo, cuando se entera de que su madre había muerto en un accidente automovilístico, termina cayendo por las escaleras y empalándose el cuello en el extremo afilado de su paraguas, siendo la tercera víctima de la maldición.

Voz por: Shou Takano, Damian Stavros (español latino)
Es un estudiante de la clase 3-3 que suele faltar a la escuela debido a su condición cardíaca débil. Su aspecto es delgado y un poco más pequeño que otros chicos. Por lo general, se le ve sentado en una baca durante la clase de deportes. En junio, sufrió un ataque al corazón que causó su muerte.

Voz por: Yoshino Nanjō
Es una estudiante de la clase 3-3; una joven bajita con gafas y dos trenzas lo que le da un aspecto erudito.

Voz por: (Ninguno)
Es una chica tímida y emocionalmente inestable por lo que a veces se le ve muy nerviosa.

Otros

Voz por: Hiroaki Hirata
Es el bibliotecario de la escuela Yomiyama del Norte. Chibiki era el profesor de la clase 3-3 en 1972, el año en que Misaki Yomiyama murió. Algunos años más tarde, renunció como profesor pero permaneció como bibliotecario, alegando que estaba huyendo de la maldición, pero, manteniéndose cerca de la culpa. Desde entonces, ha mantenido un registro de todos los fenómenos, difuntos y sus conexiones. Comparte sus hallazgos con Kouichi y Mei.

Voz por: Shinya Takahashi
Un exestudiante de Yomi del Norte de la clase 3-3 de 1983 y uno de los compañeros de Reiko. Durante un viaje de verano, accidentalmente mató a un compañero, descubriendo más tarde que las otras personas de la clase de repente no tenían recuerdos acerca de ese compañero. Se da cuenta de que en realidad había matado al muerto, haciendo este el único caso conocido del fenómeno que se detuvo a mitad de año. Grabó sus teorías y confesiones en un audiocassette y lo escondió en la escuela para que los futuros estudiantes lo encontraran. Después de la graduación, se trasladó a Tokio para continuar sus estudios. Se convirtió en un banquero, pero deja de fumar después de unos años, regresando a Yomiyama para ayudar con el negocio familiar. Es un cliente regular en Inoya Cafė, donde trabaja Tomoka Inose.

Media

Novela
Another comenzó como una novela escrita por Yukito Ayatsuji. Fue publicada originalmente en la revista literaria Jidai Kadokawa Shoten Yasai en períodos intermitentes entre agosto de 2006 y mayo de 2009. Un volumen compilatorio tankōbon fue publicado el 29 de octubre de 2009 y una edición de dos volúmenes bunkobon lo fue el 25 de septiembre de 2011. Un relanzamiento de la edición con ilustraciones del bunkobon por Noizi Ito fue lanzado bajo el sello Sneaker Bunko el 1 de marzo de 2012. El creador de la novela, Yukito Ayatsuji, anunció a través de su cuenta de Twitter que haría un spin-off de la historia original. También reveló que estaba previsto una continuación de la primera novela. Yen Press ha licenciado la novela en Estados Unidos.

Manga
Una adaptación a serie de manga ilustrada por Hiro Kiyohara fue publicada entre mayo de 2010 y enero de 2012 en la revista Ace Young de Kadokawa Shoten. Cuatro volúmenes en formato tankōbon fueron publicados entre octubre de 2010 y diciembre de 2011. Otra adaptación del manga llamada Another Zero salió a la venta en 2012, la cual explora parte del pasado de Reiko.

Lista de volúmenes

Anime
Una serie de anime producida por P.A. Works y dirigida por Tsutomu Mizushima, comenzó a transmitirse en Japón el 10 de enero de 2012. El guion fue escrito por Ryo Higaki, mientras que el jefe de animación fue Yuriko Ishii, quien basó el diseño de los personajes en el concepto original de Noizi Ito. La música fue producida por Kow Otani y el director de sonido fue Yoshikazu Iwanami. El anime consta de dos temas musicales; el tema de apertura es "Kyoumu Densen" (凶梦伝染) por la banda de Ali Project, mientras que el tema de cierre es "Anamnesis" por Annabel. Sentai Filmworks licenció la serie para su publicación en Estados Unidos. Un OVA se estrenó el 26 de mayo de 2012 junto con el volumen "0" del manga.

El anime fue licenciado en América Latina y estrenado con doblaje latino el 26 de febrero de 2020.

Lista de episodios

DVD y Blu-ray
En junio de 2013 la compañía de anime norteaméricana "Sentai Filmworks" anuncio la liberación de la serie en formato de DVD y Blu-ray para ser lanzada el 30 de julio del mismo año. Sin embargo en agosto de 2013 la MVM anuncio la cancelación del lanzamiento, la cual fue re-programada para ser liberada el 25 de noviembre de 2013.

Live action
Una adaptación a película de acción real dirigida por Takeshi Furusawa y producida por Kadokawa Pictures se estrenó en los cines japoneses el 4 de agosto de 2012. El tema musical es  interpretado por Miliyah Kato.

Referencias

Enlaces externos
 Sitio oficial de Kadokawa Shoten
 Another sitio oficial del anime
 Another Película sitio oficial

Novelas ligeras
Novelas de terror
Novelas en japonés
Anime de 2012
Anime y manga de horror
Crunchyroll
Seinen
OVA
Literatura de Japón del siglo XXI
Publicaciones de manga
Anime y manga escolar
Series de anime de Lantis
Novelas japonesas adaptadas al cine
Novelas ligeras escolares
Novelas ligeras psicológicas
Sentai Filmworks
Literatura sobre la muerte
Series de novelas japonesas
Series dobladas al español en Argentina
Anime y manga gore
Novelas ligeras de Japón
Animación realizada por P.A. Works

Another


An Microchilus nugax in uska species han Liliopsida nga ginhulagway ni Paul Ormerod. An Microchilus nugax in nahilalakip ha genus nga Microchilus, ngan familia nga Orchidaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Microchilus (Orchidaceae)

Microchilus nugax


The Difference er en dokumentarfilm instrueret af Gavin Charles Clarke efter manuskript af Gavin Charles Clarke, Daniel Ahrens og Lisa Askew.

Handling
The Difference' er et dokumentar/drama, som tager spørgsmål op, der har med det sydafrikanske apartheid-undervisningssystem at gøre, og er baseret på 'teater-i-undervisningssystem at gøre, og er baseret på 'teater-i-undervisning'-produktionen THE DOORS.

Referencer

Eksterne henvisninger

Danske film fra 1991

Dokumentarfilm fra Danmark

The Difference


Tambur, Türk müziğinde yaygın olarak kullanılan telli bir sazdır.

Tamburun kökeni, hangi tarihte ortaya çıktığı bilinmemektedir. Sümerce "pantur"dan geldiği hakkında bilgiler mevcuttur. Araplar, kelimenin "kuzunun kuyruğu" anlamına gelen "dumba-i bara"dan geldiğini söylerler. Sözcük, sonraları İran'da ve Orta Asya'da, daha çok bağlamaya benzeyen armudi gövdeli, uzun saplı çalgıların adı olarak kullanılmıştır. Özellikle Avrupalı gezginlerin (örn. Charles Fonton ve Toderini), sapındaki perde bağları dolayısıyla Türk müziğinin ses sistemini gözle görülür biçimde yansıttığını yazdıkları tambur, günümüzde yalnızca Türkiye'de kullanılan belki de tek çalgıdır. Sazı icra edenlere "tamburi" ismi verilir. Farabi, "horasan tamburu"ndan bahsetmektedir. Evliya Çelebi XVII. yüzyılda İstanbul'da 500 tamburi bulunduğunu ifade ediyor. Tarihte tambura; Farabi'de "Horasan tanburu", Maragali Abdulkadir'de "tanbur-ı Şirvaniyan" ile "tanbura-i Türki" adlarındaki çeşitleri ile değinilmiştir.

Bugün kullanılan tambur ise ilk kez Kantemiroğlu'nda görülmüştür. Dimitri Kantemir tarafından tambur, Türk müziği ses sistemini ifade maksadıyla kullanılmıştır. Uzun yıllar Türk müziğinde rağbet edilen bir saz olan tamburda virtüöziteyi getiren Tamburi Cemil Bey olmuştur. Geliştirdiği yeni icra şekli, tamburun klasik üslubuna alternatif olmuş ve yeni bir çığır açmıştır. Tamburi Cemil Bey, viyolonsel ve yaylı tamburu Türk müziğinde ilk kez kullanmıştır. Mesut Cemil'in tambur üslubu babasının izlerini taşımakla birlikte birçok yönden ondan farklılık gösterir. En uygun geçkilerle bezenmiş zengin bir melodik yapı, ustaca çalış Mesut Cemil'de de aynen vardır. Makamları tutumlu bir tavırla tanıtır, bastığı perdelerin tam hakkını vererek, aşırıya kaçmadan yaptığı zarif süslemeler ve kaydırmalar ve güzel geçkilerle çalışını zenginleştirmiştir. Tamburi Büyük Osman Bey, Tamburi İzak, Tamburi Cemil Bey, Kadı Fuat Efendi, Mesut Cemil, Refik Fersan, İzzettin Ökte, Ercüment Batanay, Necdet Yaşar, Özer Özel, Abdi Coşkun, tavır olarak örnek alınan tamburilerden bazılarıdır.

Tambur perdeleri
Perdeleri için, bağırsak (katkut) veya olta misinası kullanılır. Cemil Bey'in zamanında tambur 42 perdeliydi. Sonra Arel sistemi gereğince 48 perde bağlanmaya başlandı. Günümüzde ise transpozede kolaylık sağladığı iddiasıyla 65, hattâ daha fazla perdeli olabilmektedir.

Tambur, sapı oldukça uzun bir sazdır (ortalama 73–84 cm). Sapın üzerine bağlanan perdeler konusunda Tamburi Cemil Bey şunları söylemektedir:

Tambur mızrabı
Tamburun mızrabı kaplumbağa kabuğundan (bağa) elde edilir. Oldukça sert bir maddeden yapılan mızrabın uzunluğu icracının isteği üzerine 9.5-13.5 cm. arasında değişir. Esnemez bir çubuk olan mızrabın iki ucu da kullanılır. Ama iki uç, farklı tınılar elde edebilmek için birbirinden biraz farklı yapılır. Sağ elin baş, işaret ve orta parmakları ile tutulan mızrap, tellere geniş yüzüyle değil, diklemesine dar yüzüyle vurulur. Bu vuruş, çalgının tok ses vermesini sağlar. Mızrabı böyle tutulan başka çalgı yoktur.

Teller
Tamburda dördü sarı ve üçü de çelik olmak üzere yedi tel vardır. Bazen sekiz telli de olabilir. Günümüzde genellikle sekiz telli tamburlar yapılmaktadır.

Kaynakça

Telli çalgılar
Azerbaycan halk müziği çalgıları
İran halk müziği çalgıları
Türk halk müziği çalgıları
Tasavvuf müziği
Orta Asya müziği

Tambur


Sean Taro Ono Lennon (japanska: 小野 太郎, Hepburn: Ono Tarō, f. 9. október 1975) er bandarísk-breskur tónlistarmaður, lagahöfundur, framleiðandi, og hljóðfæraleikari. Hann er sonur John Lennon og Yoko Ono, og hálfbróðir Julian Lennon.Á ferlinum hefur hann verið meðlimur hljómsveitanna Cibo Matto, The Ghost of a Saber Tooth Tiger, The Claypool Lennon Delirium og í hljómsveit foreldra sinna, Plastic Ono Band. Hann hefur gefið út tvær breiðskífur: Into the Sun (1998) og Friendly Fire (2006).

Útgefið efni
 Into the Sun (1998)
 Half Horse, Half Musician (EP 1999)
 Friendly Fire (2006)

Tilvísanir

Tenglar

Bandarískir söngvarar
Bandarískir tónlistarmenn

Sean Lennon


شعشاع إحدى قرى مركز أشمون التابع لمحافظة المنوفية بجمهورية مصر العربية، ومن أعلامها عبد الفتاح الشعشاعي شيخ عموم المقارئ المصرية، وولده إبراهيم الشعشاعي.

السكان
بلغ عدد سكان شعشاع 8,288 نسمة، منهم 4235 رجل و4053 إمرأة، حسب الإحصاء الرسمي لعام 2006.

انظر أيضاً
قائمة قرى محافظة المنوفية

مصادر

قرى أشمون
الوحدة المحلية لقرية شطانوف (أشمون)

شعشاع


Osmanlı Amirali Piri Reis'in 1528'de çizdiği ikinci dünya haritasından günümüze kalan parça, büyük bir haritanın kuzeybatı köşesi olup, Orta Amerika'nın yeni keşfedilmiş kıyılarını, Florida'yı, Kanada'nın kuzeydoğu köşesini, ve Grönland'ı gösterir. Piri Reis in Kanuni Sultan Süleyman'a armağan ettiği haritanın bu parçası, Piri Reis'in 1513'te çizdiği ilk dünya haritasıyla beraber halen Topkapı Sarayı'nda bulunur.

Ceylan derisine 8 renkli olarak çizilmiş haritanın parçası 69 x 70 cm ebatlarındadır. Bu harita da birinci harita gibi portolan tarzında, dört büyük, iki de küçük pusula gülü çizilerek yapılmıştır. Kenar notlarından biri bu haritanın Piri Reis tarafından yapıldığını belirtir. Diğer kenar notları çeşitli açıklayıcı bilgiler içerir.

Grönland'ın güneyinde görünen, Kanada'daki Newfoundland, "Terra Nova", Labrador da "Baccalao" isimleri ile gösterilir ve buraların Portekizliler tarafından keşfedildiği yazılıdır. Terra Nova 1500'de Portekizli Gaspar Corte-Real, Labrador da 1501'de kardeşi Miguel Corte-Real tarafından keşfedilmişlerdir. Orta Amerika hizasında bir notta karadan giderek okyanusa ulasmayı amaçlayan bir kaşiften söz edilir. Bu muhtemelen 1513'de karadan Büyük Okyanus'a ulaşan Portekizli Vasco Núñez de Balboa'dır.

Piri Reis'in ikinci dünya haritasında adalar ve kıyılar son keşiflere dayalı olarak çizilidir. Birinci haritasında Porto Riko'da gösterilen San Juan Batisto, bu haritada Florida'da gösterilmiştir. Kristof Kolomb'un hatalı haritasından etkilenmiş olan birinci haritasının aksine, bunda Bahama, Antiller, Haiti ve Küba oldukça doğru çizilmişlerdir. 1517 ve 1519'da keşfedilmiş olan Yukatan ve Honduras yarım adaları da mevcutturlar. Küba "Isla di vana" diye adlandırılmıştır. İlk haritada olmayan Yengeç Dönencesi bu haritada (enlemi biraz hatalı olarak) çizilmiştir. Piri Reis bunu "Günuzadısı" olarak adlandırıp yanına "Bu hat gün gayet uzadığı yere işarettir" yazmıştır.

Piri Reis bu haritasında keşfedilmeyen yerleri beyaz bırakarak, kenar notlarında bunları bilinmediği için çizmediğini belirtir. İlk haritasından daha büyük ölçekli ve gelişkin olan ikincisi, teknik olarak döneminin en ileri örneğidir.

Kaynakça
 The Oldest Map of America Drawn by Piri Reis
 The Map of America by Piri Reis

Haritalar
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Pîrî Reis

Pîrî Reis Haritası (1528)


Os Normas Nacionais da República Popular da China (), codificados como , Norma GB, são os padrões emitidos pela Administração de Padronização da China sob a autorização do Artigo 10 da Lei de Padronização da República Popular da China.

De acordo com o Artigo 2, os padrões nacionais são divididos em padrões nacionais obrigatórios e padrões nacionais recomendados. Os padrões nacionais obrigatórios têm o prefixo "GB". Os padrões nacionais recomendados têm o prefixo "  ". Documentos técnicos de orientação são prefixados com "GB/Z", mas não fazem parte legalmente do sistema padrão nacional.

Padrões nacionais obrigatórios são a base para os testes de produtos pelos quais os produtos devem passar durante a certificação do Certificado Compulsório da China (CCC ou 3C). Se não houver um padrão nacional obrigatório correspondente, o CCC não é necessário.

Lista
Uma lista não exaustiva de Normas Nacionais da República Popular da China é apresentada a seguir, acompanhada de normas internacionais semelhantes da ISO, marcadas como idênticas (IDT), equivalentes (EQV) ou não equivalentes (NEQ). Cópias dos padrões (escritos em chinês simplificado) podem ser obtidas na loja virtual da SPC.

Mudanças são feitas com frequência dentro do sistema regulatório dos Chineses GB Standards. Novos padrões são lançados, padrões existentes são alterados ou atualizados.

Ver também

Referências

Ligações externas

Certificação de produtos
Marcas de certificação
!Artigos com texto em chinês

Norma GB


Kritična svijest, savjest ili   na portugalskom jeziku, popularni je obrazovni i društveni koncept koji je razvio brazilski pedagog i teoretičar obrazovanja Paulo Freire, utemeljen na post-marksističkoj kritičkoj teoriji. Kritička svijest usredotočena je na postizanje dubinskog razumijevanja svijeta, dopuštajući percepciju i izlaganje društvenih i političkih kontradikcija. Kritička svijest također uključuje poduzimanje akcija protiv tlačiteljskih elemenata u životu koji su osvijetljeni tim razumijevanjem.

Kovanica
Engleski izraz "conscientization" je prijevod portugalskog pojma  , što se također prevodi kao " podizanje svijesti " i "kritička svijest". Taj je izraz popularizirao brazilski pedagog, aktivist i teoretičar Paulo Freire u svom radu Pedagogija obespravljenih iz 1970. godine. Freire je podučavao siromašne i nepismene članove brazilskog društva da čitaju u vrijeme kada je pismenost bila uvjet za pravo glasa, a diktatori su vladali mnogim južnoameričkim zemljama. Pojam izvorno potječe od novčića Frantza Fanona francuskog izraza, , u svojoj knjizi Black Skins, White Masks iz 1952. godine.

Pregled
Paulo Freire definira kritičku svijest kao sposobnost "intervenirati u stvarnost kako bi je promijenio". Kritička svijest prolazi kroz identifikaciju "generativnih tema", koje Freire identificira kao "ikoničke prikaze koji imaju snažan emocionalni utjecaj u svakodnevnom životu učenika." Na taj način individualna svijest pomaže okončati " kulturu tišine " u kojoj društveno obespravljeni internaliziraju negativne predodžbe o sebi, stvorene i propagirane od strane tlačitelja u situacijama krajnjeg siromaštva. Oslobađanje učenika od ove mimikrije moćnog i bratoubilačkog nasilja koje iz toga proizlazi, glavni je cilj kritičke svijesti. Kritička svijest je temeljni aspekt Freireovog koncepta popularnog obrazovanja.

Arlene Goldbard, autorica na temu kulturnog razvoja zajednice, smatra da je koncept savjesti temelj kulturnog razvoja zajednice. Iz glosara knjige Goldbard iz 2006. godine <i id="mwKA">Nova kreativna zajednica.</i> : "Svijest je proces u tijeku kojim se učenik kreće prema kritičkoj svijesti. Ovaj proces je srce oslobađajućeg obrazovanja. Ona se razlikuje od "podizanja svijesti" u tome što potonje može uključivati prijenos unaprijed odabranog znanja. Savjesnost znači upustiti se u praksu u kojoj čovjek odražava i poduzima akcije na svojoj društvenoj stvarnosti kako bi probio prevladavajuće mitologije i dosegao nove razine svijesti - posebice, svijest o ugnjetavanju, biti "objekt" volje drugih a ne sebe - određivanje "subjekta". Proces svjesnosti uključuje identificiranje proturječja u iskustvu kroz dijalog i uključivanje u proces mijenjanja svijeta.

Povijest primjene
Stari Grci su najprije identificirali bit kritičke svijesti kada su filozofi ohrabrili svoje učenike da razviju "impuls i spremnost da se povuku od čovječanstva i prirode ... [i] da bi ih učinili objektima misli i kritike, te da traže njihovo značenje. i značaj. Freire u svojim knjigama Pedagogija potlačenih i Obrazovanju za kritičku svijest objašnjava kritičku svijest kao sociopolitički edukativni alat koji uključuje učenike u propitivanje prirode njihove povijesne i društvene situacije, koju je Freire nazvao "čitanjem svijeta" ". Cilj kritičke svijesti, prema Freireu, trebao bi djelovati kao subjekt u stvaranju demokratskog društva. U obrazovanju Freire podrazumijeva međugeneracijsku jednakost među učenicima i nastavnicima u kojoj oba uče, i jedno i drugo, i odražavaju i oba sudjeluju u stvaranju značenja. Koristeći tu ideju i opisujući postojeće metode podučavanja kao što su homogenizacija i standardizacija u fazi zaključavanja, predlažu se alternativni pristupi, kao što je Sudburyjev model demokratskih obrazovnih škola, alternativni pristup u kojem se djeca, uživajući u osobnoj slobodi, potiču na osobnu odgovornost za svoje postupke., učiti vlastitim tempom umjesto da slijede prethodno nametnuti kronološki utemeljeni kurikulum. U sličnom obliku učenici uče sve predmete, tehnike i vještine u tim školama. Osoblje je manji akter, "učitelj" je savjetnik i pomaže samo kada ga se pita. Sudburyjev model demokratskih obrazovnih škola tvrdi da se vrijednosti, socijalna pravda, kritička svijest, međugeneracijska jednakost i uključena politička svijest moraju naučiti kroz iskustvo, kako je Aristotel rekao: "Za stvari koje za moramo naučiti prije nego što ih možemo učiniti, učimo ih radeći ih. "

Preuzimajući Freireovu definiciju kritičke svijesti, Joe L. Kincheloe proširio je definiciju koncepta u svom radu na postformalizmu. U Kincheloeovoj formulaciji postformalizam povezuje spoznaju s kritičkim teorijskim pitanjima moći i socijalne pravde. U tom kontekstu Kincheloe konstruira kritičku teoriju spoznaje koja istražuje pitanja značenja, emancipacije naspram ideološkog natpisa, te posebnu usmjerenost na društveno-političku konstrukciju sebe. Imajući to u vidu, Kincheloeova postformalna kritička svijest uključuje pitanja svrhe, pitanja ljudskog dostojanstva, slobode, autoriteta, rekonceptualiziranih pojmova razuma, intelektualne kvalitete i društvene odgovornosti. Postformalna kritička svijest potiče razgovor između kritičke pedagogije i širokog raspona društvenih, kulturnih, političkih, ekonomskih, psiholoških i filozofskih interesa. Kincheloe koristi ovaj "multilogički razgovor" kako bi oblikovao nove načine samosvijesti, učinkovitije oblike društvenog, političkog i pedagoškog djelovanja, i elastični model evolutivne kritičke svijesti (Kincheloe i Steinberg, 1993; Kincheloe, 1999; Kincheloe, 2006).

Freireov razvoj kritičke svijesti proširen je u nekoliko akademskih disciplina i uobičajenih primjena. Suradnja u javnoj zdravstvenoj zajednici usmjerena je na prevenciju HIV-a za žene, ulogu kritičke svijesti u obrazovanju odraslih i učinak pritiska vršnjaka na pušače cigareta političke svijesti.

Vidi također

 Obrazovanje odraslih
 Pismenost odraslih
 Klasna svijest
 Kritička pedagogija
 Politika identiteta
 Psihologija oslobođenja
 Popularno obrazovanje
 Praksa
 Praxisova intervencija
 Podučavanje za socijalnu pravdu

Izvori

Daljnje čitanje

 Paulo Freire

 "Educacao como pratica da liberdade, Paz e Terra" (Rio de Janeiro, Brazil) (1967) prijevod Myre Bergman Ramos objavljen kao "Obrazovanje i praksa slobode" u obrazovanju za kritičku svijest, Seabury, 1973.
 "Proširenje o komunikaciji?", Institut za reformu poljoprivrede (Santiago) (1969) prijevod Louise Bigwood i Margaret Marshall objavljen kao "produžetak ili komunikacija", u obrazovanju za kritičku svijest, Seabury, 1973.
 "Obrazovanje za kritičku svijest" (uključuje "Obrazovanje kao praksa slobode" i "Proširenje ili komunikacija"), Seabury, 1973., objavljeno u Engleskoj kao Zadruga za izdavaštvo, praksa slobode, pisci i čitatelji, 1976.

 Thomas, P. i J. Kincheloe "Čitanje, pisanje i razmišljanje: postformalne osnove". Rotterdam, Sense Publishers, 2006.
 Kincheloe, J. i S. Steinberg "Pokusni opis postformalnog razmišljanja: kritičko sučeljavanje s kognitivnom teorijom". Harvardski obrazovni pregled, 63.2 (jesen 1993.), str.   296-320.
 Kincheloe, J. "Trouble Ahead, Trohind Behind: Utemeljenje post-formalne kritike obrazovne psihologije", u J. Kincheloe, S. Steinberg, i P. Hinchey, "Postformal Reader: spoznaja i obrazovanje. NY: Falmer, 1999.
 Kirylo, James D. Paulo Freire: Čovjek iz Recifea. New York: Peter Lang, 2011.

Pedagogija

Kritička svijest


ألبير خريش (ولد في 8 سبتمبر 1937، عين إبل وفيها بدأ دروسه الأولى التي ما لبث أن تابعها في مدارس مختلفة وفقا لإقامة عائلته في عدد من القرى والبلدات اللبنانية التي كان يصادف فيها عمل والده الدركي في قوى الأمن الداخلي.ولكن القسم الأكبر من المرحلتين التكميلية والثانوية أمضاه في المعهد البطريركي في غزير – كسروان وفي مدرسة سيدة الجمهور للآباء اليسوعيين.

شهاداته الجامعية وأعماله
في سنة 1960 سافر إلى إيطاليا والتحق بكلية مار يوحنا الدمشقي في الجامعة الاوربانية في روما والمعروفة أيضا باسم جامعة نشر الايمان. وفيها نال اجازتين في الفلسفة واللاهوت، ورقّي إلى الدرجة الكهنوتية في بلدته عين إبل في صيف 1965 على يد عمه المطران [انطونيوس خريش] الذي أصبح فيما بعد بطريركا وكاردينالا. أكمل شهاداته العليا في روما حائزا على الدكتورة في اللاهوت سنة 1967 بدرجة ممتازة جدا. بعدها عاد إلى لبنان حيث عمل مدة ثماني سنوات في مدينة صور وجوارها على خدمة الرعايا الفقيرة في البص والواسطة. وعيّنه مطرانه امينا عاما للآبرشية ومرشدا لجمعية مزارعي الحمضيات في الجنوب ومحاضرا في مركز التعليم المسيحي في صيدا.ثم استدعي سنة 1977 إلى روما للعمل في إحدى الدوائر الفاتيكانية معاونا للكاردينال انطونيو ساموراي رئيس المجمع المقدس.وفي الوقت نفسه عيّن خادما لرعية الحي الأفريقي في العاصمة الإيطالية حيث اهتم بالحركات الشبيبية واسس فرقة روما ال6 1 الكشفية.إلى ذلك انصرف إلى اعداد اطروحة في القانون الكنسي ونال شهادة الدكتورة بدرجة مشرف جدا.بعدها عاد مرة أخرى إلى لبنان وشغل مهمة أمين سر لعمه البطريرك ومديرا روحيا للمعهد الإكليريكي في عزير معتنيا بتنشئة الكهنة الموارنة الشباب في بلدة غزير – كسروان على روح التجدد والإصلاح الذين نادى بهما المجمع الفاتيكاني الثاني ومقرراته الصادرة بين 1963 و1965.كما عيّن قاضيا في المحكمة الكنسية المارونية وانتسب إلى الكادر التعليمي في الجامعة اللبنانية كاستاذ في مادتي القانون الدولي والحريات العامة.

حبّه للسلام والحرية وخلفية استشهاده

كل هذه المهام والصفات العلمية والأدبية والروحية التي كان يتمتع بها جعلته محبوبا من الجميع ومسموع الكلمة وموفور الكرامة في مختلف الاوساط التي كان يتعامل معها.ولكن جرأته وحرية تفكيره التي كانت تذكيها المواد التعليمية الحساسة التي كان يلقيها على الطلاب، مثل موضوع الحريات العامة، جعلته، في ظل الاجواء التي كان يسيطر فيها بعض الاحزاب المسيحية في بيروت وجبل لبنان، جعلته موضع تساؤل لدى البعض المتضرر من بينها لجهة ازدياد تأثير الكاهن الماروني الشاب على الشبيبة الطلابية، وتجاوبها مع دعوته إليها للخروج من أجواء الحرب والقاء السلاح والتوجه نحو بناء المجتمع اللبناني الديمقراطي، مما لم يكن يخدم مصلحة المستفيدين من وقف الحرب.وكانت الكنيسة اللبنانية آنذاك، وعلى رأسها بطريرك انطاكية وسائر المشرق، من جهة، والكنيسة الجامعة وعلى رأسها البابا يوجنا بولس الثاني، من جهة أخرى، متفقتين على هذا التوجه السلمي والروحي الذي ينسجم بحق مع دعوة لبنان التاريخية لا بكونه بلدا جغرافيا وحسب بل بكونه كما بات مأثورا «وطن رسالة». وقد عبّرت عن هذا المبدأ الرسائل الراعوية العديدة التي كانت تصدر عن السلطتين في تلك الفترة وبخاصة منها رسالة البابا إلى اللبنانيين بتاريخ أول ايار مايو 1984 حيث ناشد فيها صراحة الشبيبة اللبنانية والقيادات السياسية وجوب التخلي عن السلاح والانصراف إلى بناء الذات والوطن. كان المنسنيور البير على رأس المتحمسين لهذا النهج في «حركة العمل الراعوي الجامعي» بالتعاون مع نخبة من الكهنة والاساتذة الجامعيين. في تلك الاجواءلم يتورع بعض عناصر الميليشيات المسيحية من توجيه تهديداتهم إلى المنسنيور البير خريش ما لم يوقف تعليمه وإرشاده في واجب التخلي عن العنف في العلاقات بين المواطنين، وفي واجب تغليب منطق السلام والمحبة على أي منطق آخر.إلا أنه تابع رسالته بكل شجاعة غير آبه بالموت، مؤكدا ما كان قد كتبه في وصيته ومتوقعا احتمال الاستشهاد في سبيل ما كان يعتقده حقا لخير كنيسته ووطنه. وعبّر عن هذا الأمر لأصدقائه في أحاديثه كما في مراسلاته العديدة معهم.

كتاب من بيروت إلى روما
قد جمعت هذه المراسلات بالفعل في كتاب «من بيروت إلى روما» طبع في اللغة الإيطالية بعد موته عام 1988

وفاته
قتل بصورة إجرامية وشبه مكشوفة. وذلك بعد أن اخذه ليلا من منزله القائم في المنطقة المجاورة للصرح البطريركي الماروني في بكركي ورمي بالرصاص في كافة أنحاء جسمه وترك مدة اسبوع في الخلاء في المنطقة عينها قرب دير انطونيوس في شنانعير، دون تمكين وحدات قوى الأمن والجيش اللبناني العثور على جثته.ووري الثرى في بلدته عين إبل في 4 ايار مايو بعدما نقل جثمانه في طائرة هليكوبتر عائدة للقوات الدولية من بكركي إلى الناقورة وأقيمت له جنازة مهيبة ومؤثرة في اجواء من الرعب المحلي والإقليمي.وبقيت قضيته مقصاة عن القضاء على الرغم من الوعود التي كان البطريرك والاساقفة الموارنة قد قطعوها على انفسهم لمطالبة الجهات المختصة بملاحقة الجناة ومعاقبتهم.وقد حالت دون ذلك مع الايام اجواء الخوف وفقدان الحرية غير الملائمة للمطالبة.ولكن حالما زالت هذه الاجواءمع زوال أسبابها بعد عام 2005 اندفعت ابنة شقيقه المحامية مي إلى إعادة تحريك الدعوى أمام القضاء اللبناني، ما أدى في شهر اذار من العام 2009 الحالي إلى تعيين قاض تحقيق لمتابعة هذا الملف الذي كان مهددا كغيره من الملفات القضائية بالضياع بسبب تغييب العدالة في لبنان.جاء في صفحة غلاف الكتاب بالإيطالية ما يلي:
Le ore e il tempo di una guerra civile, le ore di un prete: dalla cor-rispondenza che mons. Alberto Khoraiche intrattiene da Beirut con un gruppo di amici romani scout emerge la tragedia e l'anima del Libano. Alberto Khoraiche è nipote del patriarca maronita: scrive da un punto di osservazione particolarmente significative per comprendere dall'interno la società e l'anima cristiana del Libano. Muore ucciso da sconosciuti, dopo essere prelevato di notte dalla sua casa.
Eliminato per i rimproveri pubblici che il sa-cerdote muove allé milizie falangiste di parte cristiana?
Un'ipotesi fondata, che dà al carteggio il valore di una documentazione di prima mano sui problemi interni al Libano. Nella corrispondenza con gli amici romani, la spontaneità dello scritto, la freschezza della cronaca, il singolare contributo alla crescita spirituale, morale e civica di un gruppo scout. Un libro testimonianza con un'appendice storica per capire i fatti del Libano. " (a cura di Benedetta Lupi

وصية المنسيور خريش قبل استشهاده
جاء فيها: «في حال موتي، أقدم حياتي ذبيحة لفداء لبنان، وليقظة كنيستنا المارونية من سباتها الروحي، كي تنفتح على العالم أجمع، وتعمّ رسالتها محيطنا وعالمنا العربي. كل ما أملك من منقول وغير منقول أعطيه لأبي وإخوتي، وهم أفقر مني. لا أريد في حفلة جنازتي سوى كاهن قريتي الخوري ايلي بركات. لا أريد أن يحضر جنازتي أي مطران.. أطلب المغفرة من الجميع، كما وأني أطلب صلاة الجميع. الله محبة.. وإليه أمضي فأتابع المحبة التي قادت حياتي إلى الآن.»

أساتذة الجامعة اللبنانية
أشخاص من جنوب لبنان
رجال دين مسيحيون لبنانيون
موارنة
موارنة لبنانيون
مواليد 1937

ألبير خريش


(surnommée ) est une chanson de rock psychédélique écrite par Jimi Hendrix et enregistrée par The Jimi Hendrix Experience parue en face B du single  en 1967. Présente également dans la compilation britannique , elle apparait dans l'album posthume  en 1997 dans une version remixée.

Enregistrement
Les premières démos de  sont enregistrées par l' aux Houston Studios à Los Angeles en Californie, entre le 28 et le . Le groupe se concentre ensuite jusqu'au  sur l'enregistrement de  aux studios Mayfair à New York.

La piste de base de  est enregistrée le , et mixée le lendemain. On y entend «  », un groupe de personnes non identifiées parmi lesquelles figurerait Frank Zappa, qui accompagne aux chœurs, aux sifflets et autres sons.

La chanson est le premier enregistrement publié par Hendrix à présenter le son wah-wah caractéristique par la suite de son jeu.

À propos de la chanson
À sa sortie, la chanson, considérée comme une blague avec beaucoup de guitares pour remplir la face B, est peu commentée. Dans les années suivantes, on a suggéré que la chanson fasse référence aux drogues psychédéliques : les initiales de la chanson, , évoquent deux substances récurrentes dans la musique psychédélique.

… est comparé à  et , qui évoquent les thèmes du  des Beatles.

Sortie
La chanson parait en face B du single , sorti au Royaume-Uni et dans certaines parties de l'Europe le . Le single se classe dix-huitième au Royaume-Uni.

La chanson est ensuite publiée à l'international (sauf en Amérique du Nord) dans la compilation  sortie en , et à titre posthume dans les albums  en 1974 (seulement en Europe) et  en 1997, moment de la sortie officielle de la chanson en Amérique du Nord.

Références

Bibliographie

Liens externes

Chanson interprétée par The Jimi Hendrix Experience
Chanson de 1967
Single musical sorti en 1967

The Stars That Play with Laughing Sam's Dice


Marija Terezija (El Escorial, Španjolska, 10. rujna 1638. -  Dvorac Versailles, Versailles, Francuska, 30. srpnja 1683.) bila je rođenjem infanta od Španjolske i Portugala (do 1640.), austrijska nadvojvotkinja kao pripadnica španjolske grane Habsburgovaca, te udajom za Luja XIV. kraljica Francuske od 1660. do svoje smrti. Luj XIV. nikada nije htio oženiti svoju sestričnu Mariju Tereziju, ali je morao na nagovor svoje majke, Ane Austrijske da bi se okončao dugi rat između dvaju zemalja. Kraljica je s Lujem imala mnogo djece i bila je ugledna osoba na dvoru, ali nije nikada dobila kraljevu ljubav i privrženost. Često je živjela u sjeni Lujevih mnogih ljubavnica. Marija Terezija je zadnjim dijelom srpnja 1683. naglo oboljela, a njezin suprug Luj XIV. naredio je da se u njenim odajama uvijek za svaki slučaj drže posmrtni sakramenti. Umrla je 30. srpnja iste godine, a po njenoj smrti njezin suprug, kralj je izrekao: "Ovo je prva žalost koju mi je ikad pružala."

Izvori

  Ovaj članak sadrži tekst iz publikacije u javnom vlasništvu: Chisholm, Hugh, ed. (1911.) "Marie Thérèse". Encyclopædia Britannica. 17 (jedanaesto izdanje). Cambridge University Press. str. 715.

Francuski vladari

Marija Terezija Španjolska


Belén Carmona (Santa Coloma de Gramanet, España), es una escritora, periodista y guionista

Vida
Escritora, guionista, periodista y docente. Belén ha trabajado para Amnistía Internacional promoviendo la implicación de las artes en la defensa de los derechos humanos. Ha colaborado con la International Yehudi Menuhin Foundation.
Ha participado como coguionista en la adaptación cinematográfica de La Estrella.

Obras

Novelas

 Cesárea (1998)
 Mirlo Blanco (2004)
 La Estrella (2011)

Guiones

  La Estrella, Alberto Aranda y Belén Carmona. (2011)

Referencias

Enlaces externos
 Página oficial de Belén Carmona en español
 Blog de Belén Carmona en español

Escritoras de España
Escritores en español del siglo XXI
Españolas del siglo XXI

Belén Carmona