Die Schlacht von Coutras vom 20. Oktober 1587 war ein Gefecht zwischen den Katholiken unter Anne de Joyeuse und den Protestanten unter Heinrich von Navarra im Achten Hugenottenkrieg. Sie endete mit einem Sieg der Protestanten und dem Tod Joyeuses.

Vorgeschichte
Die Hugenottenkriege dauerten seit 1562 an. König Heinrich III., der seit 1574 regierte, hatte eine Politik des Ausgleichs verfolgt, die sich im Edikt von Beaulieu (1576) und dem Edikt von Poitiers (1577) äußerte. Mit dem Tod seines Bruders Franz († 1584) geriet Frankreich jedoch in eine Krise, da nach ihm der Hugenotte Heinrich von Navarra Thronerbe wurde. Die Heilige Liga von 1576, die 1577 eigentlich aufgelöst worden war, trat unter Führung des Herzogs von Guise wieder auf den Plan und brachte das Königreich gegen Heinrich III. auf, der sich nun isoliert sah.

Am 18. Juli 1585 erließ der König daraufhin ein Edikt, das alle vorhergehenden Edikte aufhob und u. a. auch den Protestantismus in Frankreich verbot. Die Protestanten wurden von der Macht verdrängt und auch Heinrich von Navarra verlor alle Funktionen und Ämter in Frankreich.

Das Edikt wurde von den Protestanten als Kriegserklärung angesehen. Heinrich von Navarra sah sich anfangs ohne Erfolg nach Unterstützung um. Erst eine Bulle des Papstes Sixtus V. bescherte ihm die benötigten Verbündeten: die Gallikaner und französischen Royalisten stellten sich hinter ihn, Henri I. de Montmorency, Herzog von Montmorency und Gouverneur des Languedoc und mit ihm die Toleranz fordernden sogenannten "Politiker", schließlich Dänemark und England. Die Unbeugsamkeit des Herzogs von Guise machte den Krieg unvermeidbar. Der Herzog von Joyeuse wurde mit einer Armee in den Süden geschickt, der Herzog von Mercœur fiel in Poitou ein und setzte den Prinzen Condé in La Rochelle fest.

Die Schlacht
Die gleich starken Armeen Heinrich von Navarras und des Herzogs von Joyeuse (je 5000 Infanteristen und 1800 Reiter) trafen am 20. Oktober 1587 bei Coutras an der Gironde aufeinander. Joyeuse ließ seine Kavallerie bereits von weitem angreifen, erreichte dadurch aber vor allem, dass die Pferde beim Kontakt mit dem Gegner bereits ermüdet waren und die Lanzenreiter ihren Zusammenhalt und damit jede Schlagkraft verloren hatten. Heinrich andererseits wandte eine neue Taktik an, indem er in der Frontlinie abwechselnd Musketier und Reiter aufstellte. Der leichten Kavallerie (Chevauleger) gelang es, die Kraft der königlichen Streitkräfte zu brechen und in die Flucht zu schlagen.

Der Herzog von Joyeuse war nicht nur geschlagen, sondern wurde auch gefangen genommen und durch einen Pistolenschuss getötet. Während Heinrich von Navarra 40 Soldaten verlor, starben auf der Gegenseite etwa 2000 Männer, darunter 300 Adlige.

Literatur
 Louis Maimbourg: Histoire de la Ligue. Sebastien Mabre-Cramoisy, Paris 1684, online.
 Pierre de Vaissière: Messieurs de Joyeuse (1560–1615). Portraits et documents inédits. Albin Michel, Paris 1926.
 Pierre Miquel: Les Guerres de religion. Fayard, Paris 1980, ISBN 2-213-00868-X, S. 342–344.
 Frédéric Chauviré: La charge de cavalerie, de Bayard à Seydlitz. In: Nouvelle histoire bataille (= Cahiers du Centre d'études d'histoire de la défense (CEHD). Nr. 23). Band 2. ADDIM, Paris 2004, ISBN 2-11-094729-2, S. 111., online.
 Frédéric Chauviré: Le problème de l'allure dans les charges de cavalerie du XVIe au XVIIIe siècle. In: Revue historique des armées. Nr. 249, 2007, , S. 16–27 online.

Schlacht der Hugenottenkriege
1587
Coutras
Französische Geschichte (16. Jahrhundert)

Schlacht von Coutras


A double album (or double record) is an audio album that spans two units of the primary medium in which it is sold, typically either records or compact disc. A double album is usually, though not always, released as such because the recording is longer than the capacity of the medium. Recording artists often think of double albums as being a single piece artistically; however, there are exceptions such as John Lennon's Some Time in New York City (which consisted of one studio record and one live album packaged together) and OutKast's Speakerboxxx/The Love Below (effectively two solo albums, one by each member of the duo).
Since the advent of the compact disc, albums are sometimes released with a bonus disc featuring additional material as a supplement to the main album, with live tracks, studio out-takes, cut songs, or older unreleased material. One innovation was the inclusion of a DVD of related material with a compact disc, such as video related to the album or DVD-Audio versions of the same recordings. Some such discs were also released on a two-sided format called DualDisc.

Depending on the media used, some releases were double albums in one format and single albums in another. For example, a gramophone record (vinyl LP) consisting of two discs of less than 80 minutes in total could be fit onto a single standard-length compact disc (CD). Other times, track order could vary between two different media by rearranging the tracks in one medium, or a more efficient use of space could be made; for example, reducing a double album in LP format to a single cassette tape.

The same principles apply to the triple album, which comprises three units. Packages with more units than three are often referred to as a box set.

History

1948 to the early 1970s: long-play records
The introduction of the long-play or LP record in 1948 allowed longer tracks or a greater number of tracks per record, with approximately 22 minutes of music per side, for a total of 44 minutes. Despite this, recordings of entire classical or operatic pieces were often too long for one LP disc, thus albums of two or more discs were made. As they were costly to make and sell, double albums and multi-record releases were largely limited to long works such as classical music and, later, to live recordings and compilations. One of the first live double albums, and one of the earliest double albums featuring non-classical music, was The Famous 1938 Carnegie Hall Jazz Concert by Benny Goodman, a concert recording released in 1950 on Columbia Records. Studio recordings of operas have been released as double, triple, quadruple and quintuple albums since the 1950s.

As record costs reduced over time and greater thought was given to the album as an artistic piece, double albums became more common. One of the first examples consisting of new studio recordings is 1956's Ella Fitzgerald Sings the Cole Porter Song Book. Bob Dylan's Blonde on Blonde, released on June 20, 1966, is widely considered to be one of the first double albums in popular music with complete original recordings by the artist. It was followed just a week later by the Mothers of Invention's debut album Freak Out!, which was released on June 27, 1966.

In the years following, original double albums from pop and rock artists became more common, and were often released at the height of the artists' careers. Notable examples include The Beatles' eponymous 1968 album, Elton John's Goodbye Yellow Brick Road from 1973, and Led Zeppelin's Physical Graffiti from 1975. Additionally, the rise of progressive rock at the time, which often involves complex and long tracks akin to classical music, and concept albums often made a second disc necessary. Notable examples include Yes's 4-track Tales From Topographic Oceans from 1973 and Genesis's The Lamb Lies Down on Broadway from 1974. The best-selling double album of all time is Pink Floyd's The Wall, from 1979 with over 30 million copies (60 million units) sold worldwide.

Late 1970s–1990s: compact cassette tapes and CDs
In the latter half of the 1970s, as technology advanced, the Philips corporation's compact cassette tape began to supersede LPs as the dominant pre-recorded music format. The tapes allowed for a much longer 30 to 45 minutes per side, for a total of 60 to 90 minutes total, doubling the length available for music storage. In 1982, Philips introduced the compact disc, with a continuous length of 74 minutes (later developed to have 80 minutes). Artists could put far more on one unit, rarely exceeding the runtime available on a cassette tape or CD, and double albums became uncommon. The extra space also allowed many earlier double albums to be reissued on a single disc: Blonde on Blonde, for instance, was reissued on a single cassette and a single CD.

Despite the greater length, there were some issues with the length and track order of albums, both reissues and new releases. The Beatles, originally released as a double LP, remained split across two units for both its cassette and CD reissues, with the tracks in a different order on the pair of cassettes to ensure equal tape length. Meanwhile, 1988's He's the DJ, I'm the Rapper by DJ Jazzy Jeff & The Fresh Prince was released on both vinyl and cassette. At 85 minutes, the vinyl record was released as a double album, making it the first double vinyl LP release by hip hop artists, while its single CD release was truncated by 13 minutes. Other albums originally issued as double LPs, such as Mike Oldfield's Incantations (1978), Chick Corea's My Spanish Heart (1976), Fleetwood Mac's Tusk (1979), and The Minutemen's Double Nickels on the Dime (1984) were likewise shortened for their 74-minute CD release, though both were later reissued in their entirety when 80-minute CDs were available.

While not as common since the advent of these formats, particularly for studio albums, double albums continued to be released, particularly for live recordings, classical music, soundtracks, compilations, reissues of double-LP albums that still exceeded the 80-minute CD limit, and a number of popular studio albums were released as double albums on these formats at this time, such as the Smashing Pumpkins' Mellon Collie and the Infinite Sadness (1995) and Michael Jackson's HIStory: Past, Present and Future, Book I (1995) which sold over 20 million copies (40 million units) worldwide. The following year, Tupac Shakur became the first rapper to sell a double album globally with All Eyez on Me, becoming his best selling album by the time he died in 1996.

Sequencing

With regard to records, most double album sets are organized by manual sequencing, where the order of sides played are laid much as they are on a single LP; Side one and two are organized back-to-back on the first disc, as are three and four on the second disc and so on. However, some releases up to the 1970s are optimized for automatic sequencing. On a double album, this would have had sides one and four on one disc and sides two and three on the other. This sequencing, used previously in multi-disc albums in the 78rpm era, let the listener play through the entire double album and only need to flip over the records once, compared to manual sequencing where the listener would have to change the side or record three times. The use of automatic sequencing gradually declined during the 1970s as automatic record changers fell out of favor. High quality manual turntables became more affordable and are often preferred because they cause less record wear.

After a company decided on manual or automatic sequence, production of that title generally stayed in the same configuration indefinitely. Notable examples of albums using automatic sequence include the 1968 Reprise Records release, Electric Ladyland, by The Jimi Hendrix Experience which was still sold in automatic sequence well into the late 1980s. Other common examples include Frampton Comes Alive! by Peter Frampton, Songs in the Key of Life by Stevie Wonder,  Tommy and Quadrophenia by The Who, and Bad Girls by Donna Summer.

Sesquialbum
There are only a few examples of a sesquialbum (i.e. one and a half records).

Johnny Winter released what would be the first three-sided rock album, Second Winter, on two 12-inch discs, with the flip side of the second disc being blank. A 1976 live concert recording by Keith Jarrett and his quartet, released as Eyes of the Heart by ECM Records in 1979, Joe Jackson's 1986 release Big World, and Pavement's Wowee Zowee are other examples of this.

In 1975, jazz artist Rahsaan Roland Kirk released The Case of the 3 Sided Dream in Audio Color which apparently had only three sides, but on closer inspection, there were a small number of grooves pressed on side four with a few short "hidden" conversation snippets; the CD reissue includes all of them.

In 1982, Todd Rundgren and his band released the self-titled album Utopia featuring one full LP of 10 songs, and a second 12-inch disc with five bonus tracks, the same lineup on each side.

The Monty Python album Matching Tie and Handkerchief was originally issued with two concentric grooves with different programs on the second side, but this was done for comedic rather than practical reasons. The 2019 vinyl issue of Monty Python Sings (again) comprises two discs, with the flip side of the second disc featuring exclusive Monty Python 50th Anniversary artwork.

The Stranglers, Elvis Costello and The Clash (amongst other 1970s/80s acts) would sometimes release early pressings of their albums with extra material on a 45 RPM single. The Sunlandic Twins by Of Montreal features a third side officially called a "bonus EP", essentially offering an alternate definition of an EP, a single  RPM side instead of a two-sided 45 RPM record.

The 1992 Julian Cope album Jehovahkill contained three sides, or "phases", with a laser-etched fourth side which was unplayable, which also occurred with Norwegian band Motorpsycho's vinyl releases of Motorpsycho presents The International Tussler Society and Heavy Metal Fruit, and Excepter's 2014 album Familiar (the third side, with only one track, being shorter).

Seattle band Alice in Chains released their first two EPs, Jar of Flies, and Sap on two vinyl discs in 1994, with three sides on vinyl, while the fourth side contained a laser etching of the Alice in Chains logo. The vinyl pressing of the My Chemical Romance album The Black Parade also has three sides worth of content, with side four being a laser etching of a portion of the limited edition album art.

Genesis' Three Sides Live, Kiss' Alive II, Donna Summer's Live and More, and the Moody Blues' Caught Live Plus 5 are examples of double albums with three sides of live recordings (i.e. one and a half albums) and one side of studio recordings.

The vinyl reissues of two albums by The Tragically Hip, Trouble at the Henhouse and Music @ Work, are on two discs, but the fourth side is blank. In the 2010s and 2020s, as more digital era albums from the 1990s and 2000s were issued on vinyl, often for the first time, blank sides became more common and often included etchings into the fourth side, such as the reissues of EART HL I NG by David Bowie (previously released on 1LP in 1997), Alice by Tom Waits and soundtrack albums such as The Crow and School of Rock.

Triple album
Among the first successful triple albums (or triple records) were Woodstock: Music from the Original Soundtrack and More, released August 15, 1970, and George Harrison's All Things Must Pass, released November 27, 1970. A triple album may be live, such as The Band's The Last Waltz (1978) and Led Zeppelin's How the West Was Won (2003); or a compilation of an artist's work, such as Stevie Wonder's retrospective anthology Looking Back. Yes's live album Yessongs was made a triple album owing to its inclusion of many of the band's longer compositions. With the longer time available on compact disc, many albums that spanned three vinyl discs are able to fit on two compact discs (an example being Nine Inch Nails' The Fragile).

Triple albums are released across genres, including punk with The Clash's Sandinista!; alternative rock with Pearl Jam's 11/6/00 – Seattle, Washington; and mainstream pop with Prince's Emancipation.

Frank Sinatra's Trilogy: Past Present Future was originally released as a three LP set in 1980. Compact disc pressings of the album combine the triple vinyl set onto two CDs, with "Past" and "Present" taking up the first disc.

The first triple hip-hop album was American Hunger by New York City rap artist MF Grimm which was released in 2006. It contains 20 songs on each disc.

American hip hop artist Lupe Fiasco's canceled third studio album release LupEND would have been a triple album, composed of discs titled "Everywhere", "Nowhere", and "Down Here". Joanna Newsom's 2010 album Have One on Me is a triple album; due to the unusual length of the songs, there are only six tracks on each disc.

Escalator over the Hill, Carla Bley's jazz opera (lyrics by Paul Haines), was originally released in 1971 as a triple album in a box which also contained a booklet with lyrics, photos and profiles of the musicians.

The Great Concert of Charles Mingus by Charles Mingus was recorded in 1964 and released in 1971.

The Weeknd's compilation album Trilogy was released as a triple album in 2012, comprising his critically acclaimed 2011 mixtapes House of Balloons, Echoes of Silence and Thursday.

The Knife's 2013 album Shaking the Habitual is spread across three LPs and two CDs, being an hour and forty minutes in length. (Although a single-disc edit exists omitting the 19 minute track, "Old Dreams Waiting To Be Realized").

Swallow the Sun's 2015 album Songs from the North I, II & III is divided into Gloom, Beauty and Despair. In total, each disc contains no more than 8 tracks and no less than 40 minutes.

In April 2021, Eric Church released a triple album set, Heart & Soul. Each album Heart, &, and Soul, was released separately, with & being a vinyl-exclusive release.

Christina Aguilera's Spanish-language ninth studio album, Aguilera (2022), was separated into three parts: La Fuerza, La Tormenta, and La Luz. Each part receive its own independent release as a separate project, before being included as separate discs in the album's digital version. Physical versions of the album include all the parts in one disc.

Box set

When albums exceed the triple album format they are generally referred to as box sets. Normally, albums consisting of four or more discs are compilations or live recordings, such as In a Word: Yes (1969–) and Chicago at Carnegie Hall, respectively.

Studio albums with more than three discs are very rare. Notable examples include:
 French singer Léo Ferré's four-disc studio concept album named L'Opéra du pauvre (1983)
 Composer and guitarist Frank Zappa proposed Läther as a four-disc studio/live album in 1977. The project got as far as test pressings at the time, and would only be released posthumously as a triple-CD (and vinyl box set for Japan only) in 1996.
 Pan Sonic with a four-disc studio album named Kesto (234.48:4) (2004)
 Esham released a four-disc box set in 2006, which was a re-release of his 1992 album Judgement Day.
 British singer-songwriter Chris Rea with his 11-disc set Blue Guitars (2006)
 Avant-garde guitarist Buckethead with his 13-disc set In Search of The (2007)
 Canadian country artist Brett Kissel will release the 4-album set The Compass Project (2023)

Simultaneous releases

Some performers have released two or more distinct but related albums simultaneously (or near-simultaneously) which could be seen together as a double album. Moby Grape's Wow/Grape Jam (released in 1968) is an early example. Others include:

 Guns N' Roses' Use Your Illusion I and II (1991) (In fact both of these were double albums in and of themselves)
 Donovan's A Gift from a Flower to a Garden (1967), one of rock's earliest box set releases, comprising two albums, Wear Your Love Like Heaven and For Little Ones.
 Frank Zappa's Joe's Garage, Acts I, II & III (1979) (Act I was released in September 1979, Act II & Act III were released as one double album in November of the same year, all three acts were later reissued as a triple album in 1987)
 Basement Jaxx's Planet 1, Planet 2 (2008) and Planet 3 (2009) (Recorded in same sessions but released months apart)
 Basement Jaxx's Scars and Zephyr (2009) (Recorded in same sessions but released months apart)
 Genesis' The Way We Walk, Volume One: The Shorts (1992) and The Way We Walk, Volume Two: The Longs (1993) (Recorded on their 1992 We Can't Dance Tour. Disc one features live versions of their hit singles; Disc two features live versions of their longer album pieces)
 Green Day's ¡Uno!, ¡Dos!, ¡Tré! trilogy (2012) (Recorded in same sessions but released months apart)
 Stone Sour's House of Gold & Bones – Part 1 (2012) and House of Gold & Bones – Part 2 (2013) (Recorded in same sessions but released months apart)
 Bruce Springsteen's Human Touch and Lucky Town (1992)
 System of a Down's Mezmerize and Hypnotize (2005) (Recorded in same sessions but released months apart)
 Justin Timberlake's The 20/20 Experience and The 20/20 Experience – 2 of 2 (2013) (Recorded in same sessions but released months apart)
 Tom Waits' Blood Money and Alice (2002)
 Bright Eyes' I'm Wide Awake, It's Morning and Digital Ash in a Digital Urn (2005)
 Metallica's Load and ReLoad (1996/1997) (Originally conceived as a double album, before being released separately)
 Mudvayne's The New Game (2008) and self-titled album (2009) (Originally conceived as a double album at one point prior to being released as separate albums years apart, though they were recorded at the same time)
 Nelly's Sweat and Suit (2004)
 Radiohead's Kid A and Amnesiac (2000/2001) (Recorded in same sessions and considered for release as a double album at one point)
Sabrina Carpenter's Singular: Act I and Singular: Act II (2018/2019) (Recorded in same sessions but released months apart)
 Archive's Controlling Crowds and Controlling Crowds Part IV were both released in 2009. The latter album serves as an expansion to the parts I–III, which the former album's tracks are divided into. A bundle containing both albums has also been sold.
 Coheed and Cambria's The Afterman: Ascension and The Afterman: Descension (2012/2013) (Recorded in same sessions but released months apart)
 Deerhunter's Microcastle and Weird Era Cont. (2008) (Weird Era Cont. was recorded in response to Microcastle being leaked online months in advance; the two albums were released as a double CD; Microcastle was also a separate releases)
 Death Grips' Niggas on the Moon (2014) and Jenny Death (2015) (Both were recorded in the same year but released simultaneously nine months after the release of Niggas on the Moon on their double album, The Powers That B)
 Future's Future and Hndrxx (2017) (Released one week apart)
 Hurd's The Best Collection I and II (1997) (Recorded in same sessions)
 Insane Clown Posse's Bizaar and Bizzar (2000)
 DJ Magic Mike's This Is How It Should Be Done and Bass: The Final Frontier (1993)
 maudlin of the Well's Bath and Leaving Your Body Map (2001) (Both albums were reissued together in a vinyl box set on Blood Music in 2012.)
 Opeth's Deliverance and Damnation (2002/2003) (Recorded in same sessions but released months apart)
 Periphery's Juggernaut: Alpha and Juggernaut: Omega (2015)
 Simple Minds' Sons and Fascination/Sister Feelings Call (1981) (Originally conceived two separate albums, before released as one)
 Both eponymous Red House Painters albums from 1993 (often named Rollercoaster and Bridge respectively) were initially created with the intent of releasing a double album, but were released separately about five months apart.
 Sixx:A.M.'s Prayers For The Damned, Vol. 1 and Prayers For The Blessed, Vol. 2 (Recorded in the same sessions but released months apart)
 Taylor Swift's folklore and evermore (Both written and recorded during the 2020 COVID-19 lockdown and released months apart)
 King Gizzard and the Lizard Wizard's K.G. and L.W. (2020/2021)
 Nine Inch Nails' Ghosts V: Together and Ghosts VI: Locusts (2020)
 Weezer's SZNZ project, consisting of four EPs: Spring, Summer, Autumn, and Winter, each released on the first day of the respective season (2022)

See also
 Double EP
 List of double albums
 List of triple albums

References

Album types
Audio storage

Double album


An Onychosepalum in uska genus han Liliopsida. An Onychosepalum in nahilalakip ha familia nga Restionaceae.

An kladograma hini sumala ha Catalogue of Life:

Mga kasarigan

Onychosepalum

Onychosepalum


John Willes ( c. 1721 - ) est un homme politique anglais.

Biographie

Il est le fils aîné de John Willes, juge en chef des plaids communs, et de son épouse Margaret Brewster. Edward Willes, juge à la Cour du banc du roi, est son frère cadet. Il fait ses études au Worcester College d'Oxford (1738) et étudie le droit à Lincoln's Inn (1734). Il hérite d'Astrop Park près de Banbury, de son père, en 1761.

Il est député pour Banbury de 1746 à 1754 et pour Aylesbury de 1754 à 1761.

Il meurt en 1784. En 1754, il épouse Frances, fille et héritière de Thomas Freke, un marchand de Bristol. Ils ont 1 fils et 3 filles.

Références

Étudiant de Worcester College
Décès en novembre 1784
Naissance en 1721

John Willes (1721-1784)


Cities: Skylines II é um jogo eletrônico de construção de cidades produzido pela Colossal Order e publicado pela Paradox Interactive. O jogo é uma sequência de Cities: Skylines e expande muitos dos fatores de simulação, como cidades simuladas, tamanhos populacionais, e IA de tráfego aprimorada com esquemas de gerenciamento. Foi lançado para Windows em 24 de outubro de 2023 e planejado para lançamento para PlayStation 5 e Xbox Series X/S em 2024.

O jogo possui uma área de construção de 441 blocos, em relação as 81 que eram disponíveis por meio de mods no jogo original. Os blocos também podem ser comprados em qualquer ordem.

Sequências de jogos eletrônicos
Jogos eletrônicos de construção de cidades

Cities: Skylines II


A nu se confunda cu apostolul Pavel, un influent misionar creștin, cu matematicianul Paul Erdős sau cu graficianul Paul Erdös!

Pál Erdős (cunoscut mai ales ca Pavel Apostol, n. 1919 la Arad – d. 1983 la Paris) a fost un filozof român de etnie ebraică, din familia matematicianului maghiar Paul Erdős.

Biografie
A fost comunist în ilegalitate, fiind marxist ca opțiune filozofică. În perioada stalinistă a făcut închisoare. Pavel Apostol a fost director la departamentul de filozofie marxistă de la Universitatea din Cluj. În 1951, a fost acuzat că este dușman de clasă, dușman al poporului, spion și agent străin. După eliberare a fost numit profesor de filozofie Universitatea Politehnică din București și revenit la ideologia comunistă.

A studiat filozofia la Universitatea Babeș-Bolyai și și-a luat doctoratul cu Lucian Blaga. S-a specializat la École des Hautes Études, unde a fost coleg cu François Mitterrand și la Berlin la Volkswagenstiftung.

A fost profesor la Universitatea din Cluj, unde și-a început cariera ca asistent al lui Dumitru Roșca.

A fost prieten cu Mircea Malița.

A fost președinte al Comitetului Național de Viitorologie. A adus contribuții în domeniul cercetării naturii dialectice marxiste în linia lui Mario Bunge. A îngrijit publicarea operelor lui Antonio Gramsci în România (1969).

Scrieri
 1957: Funcțiunea de cunoaștere a noțiunii;
 1958: Iluzia evadării: încercări critice asupra filozofiei burgheze contemporane;
 1969: Cibernetica: cunoaștere, acțiune; contribuții la metodologia acțiunii-cunoaștere;
 1969: E prea devreme sau e prea târziu să proiectăm omul anului 2000?
 1973: Mic dicționar filozofic;
 1974: Logica pe înțelesul tuturor;
 1975: Calitatea vieții și explorarea viitorului;
 1977: Viitorul.

Note

Legături externe
 Ecaterina Țarălungă, Enciclopedia identității românești. Personalități, Editura Litera, 2011.

Nașteri în 1919
Decese în 1983
Filozofi români
Marxiști
Arădeni
Filozofi evrei
Evrei români
Români din secolul al XX-lea
Futurologi
Decese în Paris
Profesori universitari români

Pavel Apostol


Le SCh-36 (, de стальной шлем, stal'noï chlem, ) était un casque de combat en acier développé et utilisé par l'Armée rouge. Il a été conçu par Aleksandr A. Chvartz et a commencé sa production en 1936. Son large rebord avant et ses larges évasements au niveau des oreilles offraient une bonne protection au porteur. Le M35 allemand, introduit un an avant le SCh-36 russe, a servi de modèle pour le développement du SCh-36. Le SCh-36 était également équipé d'un crête sur le dessus, ce qui permettait la ventilation. Il y avait aussi des affirmations apocryphes selon lesquelles le crête était conçu pour dévier les coups de sabre.

Les premiers SCh-36 étaient fabriqués avec des doublures en cuir fragiles. En raison du manque de fiabilité de ces premiers modèles contenant des doublures en cuir, des variantes ultérieures ont été introduites avec des doublures en tissu. Des problèmes similaires ont également été rencontrés avec les premières jugulaires en cuir, de sorte que les jugulaires en cuir ont également été supprimées au profit des modèles en tissu. Tout au long de leur production, quatre tailles ont été produites : petite, moyenne, grande et très grande.

 la guerre d'Hiver finlandaise de 1939-1940, l'invasion de la Pologne en 1939, les invasions des États baltes et de la Bessarabie en 1940 et la Seconde Guerre mondiale, ou comme on l'appelle en Russie, la Grande Guerre Patriotique. Il a également été distribué aux soldats républicains de la Guerre Civile Espagnole en conjonction avec le soutien soviétique du gouvernement espagnol.

La production du SCh-36 a pris fin en 1941, et aujourd'hui, c'est un objet rare et cher pour ses collectionneurs.

Références

Voir aussi

Articles connexes

 SCh-40
 SCh-68

Casque de combat soviétique
Nouveauté en 1936

SCh-36


Vincenz Müller (født 5. november 1894, Aichach, Kongeriget Bayern, død 12. maj 1961) var en tysk militærofficer og general, der gjorde tjeneste i Det tyske kejserriges hær, Nazitysklands Wehrmacht og i DDR's Folkehær, hvor han også fungerede som politiker for blokpartiet NDPD og bl.a. indtog posten som vice-formand for DDR's parlament Volkskammer.

Tidlig karriere
Müller blev født i Kongeriget Bayern i en ikke-militær familie. Faderen var garver. Efter afslutningen af gymnasium gik han ind i Det tyske kejserriges hær, hvor han under 1. verdenskrig med rang af løjtnant i store dele af krigen var en del af Kejserrigets tropper i Det Osmanniske Rige Han blev hårdt såret i hovedet af en granatfragment under Slaget ved Gallipoli, hvorefter han blev overført til Bagdad og den persiske front. Under opholdet der pådrog han sig malaria og tyfus og blev herefter hjemsendt til Tyskland. I 1917 vendte han tilbage til Tyrkiet som taktikinstruktør for tyrkiske officerer.

Efter Tysklands nederlag og opløsningen af kejserrigets hær blev han en del af Weimarrepublikkens  Reichswehr , hvor han udfyldte en række stabsfunktioner og blev forfremmet til kaptajn.

Nazityskland
Efter udnævnelsen af Adolf Hitler som Rigskansler den 30. januar 1933 tjente Müller fra 1933 til 1935 som lederen af mobiliseringssystemet i generalstaben i den militære distriktkommando afdeling VII i München og fra 1935 til 1937 med samme opgave, men nu for den samlede generalstab. Efter deltagelse på Værnemagtsakademinet, gjorde Müller tjeneste fra 1938 til 1940 som 1. Officer ved Generalstaben i Kassel. I denne periode blev han forfremmet til oberst. I denne periode havde han nogle kontakter med konservative anti-nazistiske kræfter i Værnemagten gennem Erwin von Witzleben, men han deltog ikke aktivt i anslag mod Hitler.

Hvor Müllers politiske tilhørsforhold kan forekomme uklart, så viste han ubetinget villighed til at arbejde for nazisternes militære mål og for at fremme sin karriere indenfor Værnemagten. Som stabsofficer var han involveret i planlægningen af Operation Tannenbaum (den i 1940 opgivne invasion af Schweiz) og Operation Barbarossa (invasionen af Sovjetunionen. I 1943 var Müller blevet forfremmet til generalløjtnant og havde fået kommandoen over Værnemagtens 56. Infanteridivision, der var en del af Værnemagtens 4. armé. I 1944 fik Müller overdraget kommandoen over det tyske 12. armékorps.

Müller kom i begivenhedernes centrum i slutningen af juni 1944 i Hviderussiske SSR, da han og det 12. armékorps sammen med resterne af den 4. armé blev omringet øst for Minsk af sovjetiske styrker under USSR's strategiske offensiv, Operation Bagration. Müllers korps var sandsynligvis det mindst beskadigede blandt de omringede styrker, og den 3. juli fik han den samlede kommando over alle de omringede enheder af den 4. armé, omkring 100.000 tropper, der den 5. juli var mere end 100 km bag de sovjetiske linjer. Müller gav via radio udtryk for overbevisning om, at han kunne opnå et udbrud, og hans enheder sluttede sig til 18. panserdivision i et forsøg på udbrud, men han blev den 8. juli 1944 taget til fange af de sovjetiske tropper og det meste af den 4. armé knust.

Krigsfange i Sovjetunionen
Müller viste sig ved sin tilfangetagelse villig til at samarbejde med Sovjetunionen, og udstedte en ordre til sine tropper om at nedlægge våbene.

I sin tid som krigsfange ændrede Müller tilsyneladende politisk holdning og erklærede at være blevet anti-nazist. Få dage efter sin tilfangetagelse tilsluttede han sig Nationalkomitee Freies Deutschland (NFKD) og 'Bund Deutscher Offiziere', begge Sovjetledede anti-nazistiske tyske organisationer, hvis formål var at støtte Sovjetunionens kamp mod Nazityskland. Müller var blandt en gruppe af generaler, der blev tilfangetaget ved Operation Bagration (herunder også Edmund Hoffmeister og Rudolf Bamler), der blev blandt de fremtrædende medlemmer af NKFD. I modsætning til flere af sine kolleger erklærede Müller sig som overbevist kommunist. Müller og Bamler deltog begge i specialtræning i Krasnogorsk i slutningen af 1944, og menes at være blevet hvervet af den sovjetiske efterretningstjeneste for at spionere mod andre medlemmer af NKFD, herunder Friedrich Paulus.

DDR

Vincenz Müller blev i 1948 løsladt fra sovjetisk krigsfangenskab og blev medlem af det østtyske politiske parti National-Demokratische Partei Deutschlands (NDPD); et parti oprettet i den sovjetiske besættelseszone og støttet af SED med det formål at fungere som organisation for tidligere medlemmer af nazipartiet, officerer i Værnemagten, middelklassen og andre "politisk uafklarede personer". I perioden 1949 til 1952 var Müller partiets næstformand og han indtog tillige posten som næstformand i DDR's parlament Volkskammer. I denne periode anses han for at have fortsat som informant for DDR's Ministerium for Statssikkerhed, kendt som Stasi.

Efter 1952 genoptog Vincenz Müller sin militærkarriere og fik med rang af generalløjtnant overladt ansvaret for opbygningen af et militær i DDR, der ellers ved Potsdamkonferencen var aftalt at skulle var afrustet. Efter at have været chef i DDR's indenrigsministrium, hvor han havde stået for den succesfulde opbygning af det para-militære Volkspolizei (Folkepoliti), blev han i 1956 udnævnt til stabschef for den nyoprettede hær Nationale Volksarmee (Den Nationale Folkehær eller blot NVA), der i vidt omfang byggede på overtagelse af Folkepolitiets paramilitære enheder. Som stabschef for NVA blev han næstkommanderende for DDR's militær efter forsvarsminister Willi Stoph.

Müllers karriere i DDR er et af de signifikante eksempler på DDR's anvendelse af tidligere nazister og værnemagts-officerer (såkaldte Ehemaligen ("forhenværende")) i opbygningen af DDR's statsapparat og militær. Müller blev dog også kendt for at have været fortaler for at gøre DDR's folkehær uafhængig af Sovjetunionen og Den røde hær. Müller havde kontakter til sine tidligere officerkolleger i Vesten og deltog også i DDR's "hemmelige" drøftelser med Vesttysklands finansminister Fritz Schäffer om nedrustningsmulighederne mellem Øst- og Vesttyskland.

Müller trådte allerede i 1958 tilbage fra posten i NVA. Müllers loyalitet overfor DDR's regime blev betvivlet af bl.a. Stasi. Han blev indlagt på hospital i 1960 grundet helbredsproblemer og Müllers involvering i krigsforbrydelser under krigen begyndte at cirkulere, herunder massehenrettelser af jøder i Artemivsk i Donetsk Oblast og henrettelser af krigsfanger.

Han døde i 1961 under kontroversielle omstændigheder, da han faldt ud fra en balkon i det hus han boede. Rygter florede om, at han havde begået selvmord, da han så et køretøj fra politiet nærme sig det hus han boede i.

Efter Müllers død blev i 1963 udgivet en selvbiografi Ich fand das wahre Vaterland (Jeg fandt det sande fædreland) redigeret af Klaus Mammach, en historiker fra SED.

Ordener og dekorationer

 Jernkorset af 1914, 1. og 2. grad
 Såretmærket (1918) i sort
 Frederiksordenens Ridderkors af 2. grad med sværd
 Mecidi-ordenen, 5. grad med sværd (Osmanniske Rige)
 Liyakat Medaljen i sølv med sværd (Osmanniske Rige)
 Osmanniske Krigsmedalje (Tyrkisk: Harp Madalyası) (Osmanniske Rige)
 Jernkorset af 1939, 1. og 2. grad
 Tyske Kors i guld (26. januar 1942)
 Jernkorsets Ridderkors (7. april 1944)
 Fædrelandets Fortjenesteorden i guld (DDR)

Referencer

Noter

Bibliografi

 Lapp, Peter:
 General bei Hitler und Ulbricht. Vincenz Müller - Eine deutsche Karriere, Christoph Links Verlag, Berlin 2003,
 Ulbrichts Helfer. Wehrmachtsoffiziere im Dienste der DDR, Bernard & Graefe Verlag, 2000, .
 Ehlert, Hans & Wagner, Armin: Genosse General! Die Militärelite der DDR in biografischen Skizzen, Christoph Links Verlag, Berlin 2003, .
 Froh, Klaus, Wenzke, Rüdiger: Die Generale und Admirale der NVA. Ein biographisches Handbuch. 4. Auflage. Ch. Links Verlag, Berlin 2000, .
 Küsters, Hanns Jürgen: Wiedervereinigung durch Konföderation? Die informellen Unterredungen zwischen Bundesminister Fritz Schäffer, NVA-General Vincenz Müller und Sowjetbotschafter Georgij Maksimowitsch Puschkin 1955/56, in: Vierteljahrshefte für Zeitgeschichte Jg. 40 (1992) Heft 1, S. 107–153. online hier.

Personer fra Bayern
Tyskere i 1900-tallet
Generaler fra Tyskland
Politikere fra DDR
Tysklands militære personel i 1. verdenskrig
Tysklands militære personel i 2. verdenskrig
Modtagere af Jernkorset
Nazister fra Tyskland
Nazister der har begået selvmord

Vincenz Müller


Diego Armando Korol (Buenos Aires, Argentina, 31 de marzo de 1969) es un actor, periodista y conductor argentino.

Carrera
En 1982 comenzó su carrera artística junto a sus hermanos Adrián y Alejandro, formando un trío humorístico llamado Los Vergara, que se especializaba en plasmar su arte mediante graffiti en las paredes de la ciudad de Buenos Aires.
En 1986, participó como un estudiante en la película La noche de los lápices junto a Alejo García Pintos, Vita Escardó y Pablo Novak.

A partir de 1993, empezó a trabajar en Videomatch, donde además de hacer su papel de periodista deportivo, realizaba notas y sketches junto a otros humoristas.

En 2003, abandonó Videomatch y se reunió con sus hermanos Adrián y Alejandro para el programa La otra verdad por América TV. También condujo Deportados por TyC Sports. Sobre fines de ese año y principios de 2004, condujo Química, la fórmula perfecta, un programa de citas por Canal 9.

En 2004, actuó en la premiada película argentina El abrazo partido, dirigida por Daniel Burman y protagonizada por Daniel Hendler. También participó de la comedia televisiva Los de la esquina junto a Georgina Barbarossa, Rodolfo Ranni, Víctor Laplace, Emilio Disi y Marita Ballesteros, por Canal 7.
Desde ese año hasta 2007, condujo Estilo K, programa humorístico deportivo de TyC Sports junto a Román Iucht, Bicho Gómez, Jorge Fossetti, Alejandra Fidalme y otros humoristas de Videomatch.

En 2005, condujo en TV (con Paula Marull) el programa de entretenimientos Blef, por Canal 13. En 2006, fue parte del elenco de la película 1 peso, 1 dólar y formó parte de El Show del Mundial por Telefe. En 2008, condujo Abran cancha en TyC Sports junto con Walter Nelson, pero debió dejar ese programa por motivos contractuales, siendo reemplazado por Diego Díaz, y ese año condujo Sin Codificar, programa humorístico que se emitía los domingos en Telefe junto a los humoristas Yayo Guridi, Pichu Straneo y Pachu Peña, programa que siguió al aire hasta 2019.

En 2009, fue invitado a participar del festejo de los 20 años de Showmatch, para lo que realizó varias participaciones.

En 2010 viajó a Sudáfrica, donde cubrió junto a Yayo Guridi el Mundial de Fútbol tanto para Sin Codificar de América TV como para El diario del Mundial, un ciclo de Telefe.

Desde 2013 forma parte también de DIRECTV Sports donde condujo Locos por el fútbol, Repechaje y actualmente DIRECTV Sports Gaming.

Televisión

Telefe

 Videomatch (1996-2002)
 Fugitivos (2000)
 El Show del Mundial (2006)
 Diario del Mundial (2010)
 PSC (2012-2019)
 Peligro Mundial (2014)
 Juguemos en el bosque (2017)

ElTrece

 Montaña rusa, otra vuelta (1996)
 Blef (2005)
 Showmatch (2009 y 2019)

América TV

 La Otra Verdad (2003)
 Recreo (2022-Presente)
 Mandá Play (2022)

TyC Sports

 Deportados (2003)
 Estilo K (2004-2007)
 Abran Cancha (2008)

ElNueve

 Química (2003-2004)
 Peligro: Sin codificar (2009-2011)

TVP

 Los de la Esquina (2004)

NET TV

 Peligro: Sin codificar (2020)
 Editando Tele (2021)

Comedy Central

 Idiotas por Accidente (2018-2019)

Radio
Metro 95.1
 Fútbol por Metro

Radio La Red
 Radiomatch
 Pum para arriba
 Los Vergara

Radio Rivadavia
 Ataquen

Radio 10
 Al ataque

Pop 101.5
 Al ataque
 Despierta corazón

Radio Continental
 Korol Esperanza

Premios

Véase también
 Videomatch
 Juguemos en el bosque
 Peligro sin codificar
 Editando tele

Referencias

Periodistas de Argentina
Showmatch
Sin codificar
Humoristas de Argentina
Judíos de Argentina
Porteños

Diego Korol


Hercegovačka nogometna zona  je bila liga četvrtog stupnja nogometnog prvenstva Jugoslavije u sezoni 1974./75.
Sudjelovalo je ukupno 18 klubova, a prvak je bila "Iskra" iz Stoca.

Ljestvica
{| class="wikitable"
!mj. !!klub !!ut. !!pob. !!ner. !!por. !!gol+ !!gol- !!bod
|- bgcolor="gold"
|1. ||Iskra Stolac ||32 ||28 ||1 ||3 ||120 ||20 ||57
|-
|2. |||Budućnost Duvno ||32 ||24 ||5 ||3 ||93 ||29 ||53
|-
|3. ||Mladost Lištica ||32 ||23 ||3 ||6 ||93 ||32 ||49
|-
|4. ||Troglav Livno ||32 ||20 ||4 ||8 ||68 ||27 ||44
|-
|5. ||Neretva Mostar ||32 ||17 ||4 ||11 ||125 ||40 ||38
|-
|6. ||GOŠK Gabela ||32 ||15 ||4 ||13 ||62 ||57 ||43
|-
|7. ||Hercegovac Bileća ||32 ||14 ||5 ||13 ||48 ||47 ||33
|-
|8. ||Sloga Guber ||32 ||13 ||1 ||18 ||64 ||82 ||27
|-
|9. ||Turbina Jablanica  ||29 ||12 ||1 ||16 ||60 ||77 ||25
|-
|10. ||Makljen Prozor ||31 ||10 ||7 ||14 ||37 ||54 ||25
|-
|11. ||Velež Nevesinje ||32 ||10 ||4 ||18 ||47 ||76 ||24
|-
|12. ||Zadrugar Jasenica ||30 ||8 ||6 ||16 ||54 ||72 ||22
|-
|13. ||Bokist Posušje ||31 ||9 ||4 ||18 ||35 ||65 ||22
|-
|14. ||Mladost Gacko ||32 ||6 ||9 ||17 ||35 ||17 ||21
|-
|15. ||Višići ||32 ||6 ||9 ||17 ||35 ||17 ||21
|-
|16. ||Bekija Grude ||31 ||9 ||6 ||16 ||51 ||86 ||19
|-
|17. ||Sloga Ljubuški ||32 ||8 ||4 ||20 ||27 ||95 ||18
|-
| ||Brotnjo Čitluk ||colspan="7" align="center"|<small> odustali
|}
 Duvno – tadašnji naziv za Tomislavgrad
 Lištica – tadašnji naziv za Široki Brijeg
 ljestvica bez rezultata nekoliko odigranih utakmica
 "Brotnjo" Čitluk'' – odustali uoči početka sezone

Rezultatska križaljka

 Izvori:

Povezani članci
 Republička liga BiH 1974./75.

Vanjske poveznice

Izvori

 Ešref Selimović, Mate Kelava: Povijest nogometa u Tomislavgradu : od Tomislava do Tomislava, Tomislavgrad, 2014.,   (Matica hrvatska)  (Naša ognjišta), str. 228-233
 nk-sirokibrijeg.com, Miljenko Karačić: Zlatne godine - Šest desetljeća nogometa u Širokom Brijegu, Široki Brijeg, 2008., str. 37-38, preuzeto 7. veljače 2020.

1974-75 Hercegovina
 2 Hercegovina
1974-75

Hercegovačka nogometna zona 1974./75.


When Billie Met Lisa é um curta-metragem de animação estadunidense baseado na série de televisão Os Simpsons, produzido pela Gracie Films e 20th Television Animation, estreando no serviço de streaming Disney+. É o sexto curta-metragem da franquia Os Simpsons e o quarto curta promocional produzido para o Disney+. Foi dirigido por David Silverman, como os curtas anteriores, e lançado em 22 de abril de 2022.

Enredo

Quando Lisa está praticando saxofone, irritando o resto da família, ela é descoberta pelos artistas Billie Eilish e Finneas enquanto procuram um lugar tranquilo. Billie então convida Lisa para seu estúdio para uma jam session especial. Eles gravam uma variação do The Simpsons Theme.

Lançamento

When Billie Met Lisa foi lançado no Disney+ em 22 de abril de 2022.

Elenco

 Nancy Cartwright é Bart Simpson e Maggie Simpson
 Yeardley Smith é Lisa Simpson
 Billie Eilish é si mesma
 Finneas O'Connell é si mesmo
 Chris Edgerly e Sunkrish Bala são os membros da banda

Produção

O produtor James L. Brooks teve a ideia de fazer um filme com Billie Eilish durante uma conversa com Al Jean. Eles trabalharam com o Disney+ para organizá-lo, pois já haviam colaborado com Eilish em Happier Than Ever: A Love Letter to Los Angeles.

Recepção

Rich Knight, do Cinema Blend, classificou When Billie Met Lisa em quarto lugar no top dos curtas dos Simpsons; elogiou o humor do curta-metragem e elogiou as referências à Billie Eilish e seu trabalho. Paul Bradshaw, do NME, achou agradável que o curta-metragem fornece piadas centradas em Eilish e O'Connell, elogiou o novo disco de The Simpsons Theme e elogiou os créditos finais por seu humor. Mike Celestino, do LaughingPlace.com, deu uma crítica positiva, escrevendo: "No geral, 'When Billie Met Lisa é uma diversão divertida que certamente encantará os fãs de Os Simpsons e de Eilish, embora algumas das piadas caiam plano aqui e ali, e como os outros curtas mencionados acima, passa muito rapidamente."

John Schwarz, do Bubbleblabber, deu a When Billie Met Lisa nota oito de dez, afirmando "algumas piadas sólidas antes do clímax fazem deste um delicioso lanche, embora eu espere que Billie volte no futuro, pois parece que o departamento de piadas teve um monte de diversão com ela que eu acho que pode ser mais completa em 22 minutos."

Stacey Henley, do TheGamer, elogiou o humor de When Billie Met Lisa em suas piadas, reconheceu as referências de Eilish e seu trabalho, mas afirmou que o curta-metragem deveria ter fornecido uma história completa e mais tempo de tela para Eilish e O'Connell. Jeremy Brown, do What'sOnDisneyPlus.com, deu ao curta duas de cinco estrelas, escrevendo: "Não tenho certeza de qual era o objetivo disso além de colocar Billie Eilish em um curta de Os Simpsons. É tudo tecnicamente bem feito . A animação é linda. A dublagem é maravilhosa. Objetivamente, não há nada de errado com isso, mas, subjetivamente, ainda não entendo por que precisava ser feito."

Os Simpsons
Curtas-metragens de animação
Curtas-metragens de 2022
Curtas-metragens em língua inglesa
Curtas-metragens da Disney
Curtas-metragens de Os Simpsons

When Billie Met Lisa


Martina-Gerlinde Aurich-Lang (zuerst Gerlinde-Martina Klepsch, dann bis 1979 G. Martina Aurich-Klepsch auch Auric-Klepsch danach G.Martina Aurich-Lang, * 1924 in Czernowitz, Rumänien) ist eine deutsche Bildhauerin, Zeichnerin und Graphikerin.

Leben
Von 1948 bis 1954 studierte sie an der Staatlichen Akademie der Bildenden Künste Stuttgart Bildhauerei bei Peter Otto Heim.

Bei einem Wettbewerb für die Gestaltung für die Heilbronner Ehrenhalle, bei dem 54 Vorschläge vorgelegt wurden, wurde ihre 1960 mit dem ersten Preis ausgezeichnet. Gelobt wurde der Eindruck, den das Werk hervorrief: "Sehr geordnete Dramatik, die an das schreckliche Erlebnis des Kriegsgeschehens erinnert. Apokalyptische Eindruckskraft". Der Entwurf zeigte eine helle, schlichte Halle mit einem Wandrelief; aus Bronze waren stilisierte Totenleiber über- und nebeneinandergelegt, um damit die Schrecken des Krieges zu zeigen. Oberbürgermeister Paul Meyle lehnte die Realisierung des preisgekrönten Entwurfs ab.

Ihre Arbeiten für die Ehrenhalle in Heilbronn und das dortige Arbeitsamt wurden preisgekrönt.

Gerlinde-Martina Klepsch lebt in Stuttgart.

Einzelnachweise

Literatur

 Dieter Brunner: Kunst am Bau im Heilbronn der 50er Jahre. In: Andreas Pfeiffer (Hrsg.): Heilbronn und die Kunst der 50er Jahre. Das Kunstgeschehen der 50er Jahre in Heilbronn. Situationen aus Alltag, Verkehr und Architektur im Heilbronn der 50er Jahre. (Heilbronner Museumskatalog, 43. Reihe Städtische Galerie). Harwalik, Reutlingen 1993, ISBN 3-921638-43-7, S. 90–105.

Deutscher
Bildhauer (Deutschland)
Geboren 1924
Frau

Gerlinde-Martina Klepsch


Las cuecas de Ángel Parra y Fernando Alegría es un álbum de estudio del cantautor chileno Ángel Parra en conjunto con el escritor Fernando Alegría. Fue lanzado originalmente en 1967 por el sello Arena, y corresponde al quinto álbum oficial de Ángel Parra.

Lista de canciones

Referencias

Enlaces externos
 Sitio web oficial

Álbumes de Chile de 1967
Álbumes de Ángel Parra
Álbumes de varios artistas
Álbumes de cueca chilena
Álbumes en español


Podemos (din limba spaniolă: Noi putem) este un partid politic populist de stânga din Spania.

Partidul s-a înființat în martie 2014, în urma protestelor împotriva austerității și corupției generate de "mișcarea 15-M". Președintele partidului este Pablo Iglesias, un profesor de științe politice din Madrid. Partidul este al doilea cel mai mare din Spania după numărul de membri, fiind depășit de Partidul Popular și al treilea cel mai mare după numărul de deputați din Congresul Deputaților, având 69 de parlamentari din 350, luându-se în calcul și partidele regionale aflate în coaliții electorale alături de Podemos.

Membrii Parlamentului European din partea Podemos aparțin grupului Stângii Europene Unite-Stângii Verde Nordice (GUE-NGL), alături de alte partide politice de stânga, precum SYRIZA.

Partidul își propune să rezolve problemele generate de inegalitate, șomaj și criza datoriilor. Acesta a pledat pentru o renegociere a măsurilor de austeritate impuse Spaniei. De asemenea, una dintre cele mai importante politici ale partidului este instituirea unui venit minim de bază.
La alegerile parlamentare din decembrie 2015 partidul a obținut 21 % din voturi, ocupând 65 din cele 350 locuri ale Parlamentului și devenind al treilea partid din parlament. În mai 2016 Podemos a înființat o alianță electorală numită Podemos Unidos cu partidele Stânga Unită, Equo și alte câteva fracțiuni mici de stânga.

Referințe
Partide politice din Spania
Partide socialiste

Podemos


Tonight, Prison Break dizisinin yirminci bölümüdür. Bölümün senaryosunu Zack Estrin, yönetmenliğini ise Bobby Roth üstlenmiştir. Bölüm ilk kez 1 Mayıs, 2005 tarihinde Amerika'da gösterilmiştir. Türkiye'de 31 Ağustos, 2006 tarihinde CNBC-e kanalında ilk olarak gösterilmiştir.

Bölüm Özeti
Bellick açılan deliği bulmuştur. Durumu diğerlerine de bildirmek için kafasını kaldırdığından biri onun kafasına kürekle vurur. Saldıran kişi Westmoreland 'dır. Ani saldırıdan sonra Bellick kendini toparlar ve Westmoreland ile boğuşmaya başlar, tam ona vuracağı sırada Westmoreland metal bir termosla kafasına vurur. Boğuşma sırasında kırılan kahve kabından bir cam parçası Westmoreland'ın yaralanmasına neden olur. Westmoreland camı dışarı çıkartır ve hala yerde yatan Bellick'e bakar.

Avluda kaçışın birkaç gün sonra gerçekleşeceği konuşulmaktaydı. T-Bag köpeklerin kokularını almaması için bir şeyler yapmaları gerektiğini söyler. Kaçıştan önce kokularını muhakkak değiştirmeleri gerekmektedir. Michael hücrelerinin kokularını değiştirmeyi kabul eder. T-bag sirenler çaldığında ya kokunuzdan kurtulacaksınız ya da kokularını değiştirmelerini söyler. Plan yaparlarken Westmoreland kaçış odasından yaralı bir şekilde yanlarını gelir ve buradan hemen şimdi gitmeleri gerektiğini söyler.

Avluda kaçacak olanlar Westmoreland'a sorular sormaktadır. Westmoreland Bellick'i bağlayıp deliğin içine attığnı ve elinden geldiğince deliği sakladığını söyler. C-Note kısa bir süre sonra diğer gardiyanların Bellick'in yokluğunu fark edeceklerini söyler. Abruzzi, Bellick bulunana kadar burayı kapatacaklarını ön görür. Michael kaçışın bu gece gerçekleşeceğini söyler. Abruzzi uçağı ayarlayacak, C-Note ise mutfaktan oksijenli su bulacaktır. Kaçış saat 7'de başlayacak, sayıma kadar hepsi tek tek Michael'ın hücresinden geçecek.

Dışarıda Veronica Montana'daki malikane hakkında telefonda bilgi almaktadır. O bu yerin Steadman'nın mirasından kalan parayla lındığını öğrenir. Veronica Nick'e Montana'ya gitmek için çantasını hazırlamasını söyler, onlar bu yeri dışarıdan kontrol edebilecek.

Aşağıda delikte Bellick bağlı bir vaziyetteyken uyanır ve bulunduğu durumun farkına varır ve buna çok sinirlenir. Michael yemekhanede iki gardiyanın Bellick hakkında konuştuklarını duyar bu sırada T-Bag masalardan "Brüksel lahanası" toplamaktadır.

Michael, Sara'yı günlük kontrol için revirde beklemektedir, son bölümdeki kedi fare oyunundan sonra aralarında bir soğukluk oluşmuştur, Michael onunla konuşmayı dener. Sara anahtarları neden aldığını sorar, Michael'da ona durumu anlatmaya başlar. Ona Ağabeyini buradan çıkaracağını söyler, Sara'da ona daha fazla bir şey söylememesin bunları rapor etmesi gerktiğini söyler. Michael Sara'dan bir iyilik yapmasını ister o buna karşı gelir. Michael ise onun sadece bir hata yapıp kapıyı kilitlemeyi unutmasını söyler.Sara buna inanmaz hiçbir şey söylemeden sinirli bir halde odadan ayrılır.

Abruzzi adamlarından birini arar ve kaçışın bu gece olacağını söyler. Adam uçağın sadece üç kişilik olduğunu daha büyük bir uçak getirebileceğini söyler. Abzruzi'de uçağa binmek için herkesin bileti olmadığını ve sağ kalan üç kişinin bineceğini söyler.

Hapishane iş kollarının işi bittikten sonra soyunma odasında Michael herkesi iş kıyafetlerini normal hapishane kıyafetlerinin içine giymesini söyler. C-Note Tweener'ı işaret ederek susmasını söyler. Michael baklayı ağzından çıkartır ve Tweener'ında onlarla beraber geleceğini söyler. Hepsi buna karşı gelir fakat Michael kararlıdır. Hücrelerine giderken gardiyanlardan biri onları durdurur ve yerde gördüğü kanın kime ait olduğunu sorar. Aslında kan Westmoreland'dan gelmekteydi fakat o bunu henüz bilmiyordu, Michael cebindeki bıçakla (T-Bag'in Abruzzi'yi doğramaya giderken C-Note'un T-Bag'dan alıp Scofield'e verdiği bıçak) parmağını keser ve kanın kendisine ait olduğunu söyler. Michael Westmoreland'a iyi olup olmadığını sorar Westmoreland'da ona bu gece buradan çıkacak kadar iyi olduğunu söyler.

Pope'un  ofisinde, müdür bu geceki yıldönümü için çok heyecenalıydı. Michael Tac Mahal maketinin sonlandırıyordu, Pope her şey için ona teşekkür etti ve eğer yapabileceği bir şey olursa ondan istemesini söyledi.

Michael Lincoln'nün hücresine gider, Lincoln ona ailesi ile ilgili bilmediklerini anlatmaktadır, Michael hücrenin duvarlarını kontrol etmektedir. O, Lincoln'e bu gece gitmeleri gerektiğini söyler, Lincoln'de ona zincirlerini ve hücreyi gösterir. Lincoln Michael'a onsuz gitmelerini söylerken elektrikli sandalye gözünün önüne gelir.

Şikago'da bir barda Sara içkisini içeceği sırada TV haberlerinde babasının Başkan Yardımcısı adaylarından biri olduğunu öğrenir. Bunun içinde bir komplo olabileceğini düşünür,Dr. Tancredi içkisine dokunmadan bardan ayrılır.

T-Bag brüksel lahanalarını yatağının içine yaymaktadır. Abruzzi hücre arkadaşının şaşkın bakışları altında yatağına at pisliği serper. Westmoreland hücresinin duvarıan bir eşyler sürmektedir ve Tweener ise hala hiçbir şey yapmıyordur. Tweener'ın hücresi açılır ve içeri gardiyan girer, gardiyan onun hücre arkadaşının bu gece hücreye geleceğini söyler. Gardiyan Tweener'a bu sabah Bellick'i gördünmü diye sorar. O sırada Michael'i hücresinde görür ve Bellick'i gördüğünü inkâr eder. Bellick'i bir önceki gün gördüğünü ve içerdeyken günleri karıştırdığını söyler.

Michael'ın hücresinde. Sucre C-Note'dan aldığı oksijenli suyu tuvalete dökmektedir çünkü hapishane iş kollarında giydikleri kıyafetler mavidir, onlar psikiyatri koğuşuna girecekleri için kıyafetleri beyazlatmaları gerekmektedir.

İki gardiyan Pope'a Tac Mahal maketini taşımak için yardıma gelirler. Maketi kadırırken bir parçası kırılır. Pope bir an panikler ve Michael'ın hemen odasına getirilmesini söyler.

Kıyafetleri beyazlattıktan sonra Michael, Sucre'ye kıyafetleri kurutmasını söyler. Bu sırada gardiyan Michael'i götürmeye gelir. Kaçacak olanların hepsi Michael'ın nereye gittiğini merak etmektedir.

Bellick bağlardan kurtulmak için hala çaba göstermektedir, duvarda bir metal parçası olduğunu fark eder. Bu sırada gardiyanlar Bellick'in yokluğunu müdüre haber vermeyi kararlaştırırlar.

Sara babasını bir restoranta bulur ve ona verdiği Lincol'nün dosyasına bakım bakmadığını sorar. O cevap vermeyi reddeder, Sara sorusunda ısrar edince O'da buna gerek olmadığını söyler. Sara bu durama çok kırılır ve sinirlenip babasına, başkan yardımcılığı sözünü Lincoln'nün ölüm kararını imzaladıktan sonra mı yoksa önce mi aldığını sorar. Vali kendini savunmaya başalr ve "bağımlı ve hırsız" birisiyle bu durmu tartışmayacağını söyler.

Veronica Montana'ya uçmak için havalanına gitmeye hazırdır. Nick ona silahını doğrultur. Veronica çok şaşırır ve onu arkadaşı ve meşlektaşı olduğunu sandığını söyler, onun iplerinin kimin elinde olduğnu sorar. Veronica Nick'e gözlerine bakmasını ve korkak olduğunu söyler.

Pope Bellick'in ortadan kayboluşu ile ilgili bilgi almak için Bellick'in annesiyle telefonda görüşür.
Sonra ondan Bellick'in bu sabah Fox River'dan telefon ettiğini öğrenir ve Bellick'in arabasına bakmak için park yerine birilerini gönderir. Michael Pope içeri çağırana kadar ofisin dışında beklemektedir.

Pope Tac mahal modeline ne olduğunu Michael'a gösterirken Michael cebinden maketin bir parçasını çıkartır. Pope bunu neden aldığını sorduğunda Michael buraya tekrar gelmesi gerektiğini söyler. Pope peki neden der.Michael cebinden çıkarttığı bıçakla Pope'u tehdit eder. Ona bu gece kaçacağını ve kardeşinide beraberinde götüreceğini söyler.

Dış bağlantılar
 Sezon 1 Bölüm 20 - Fox

Büyük Kaçış bölümleri

Tonight (Büyük Kaçış bölümü)


Tabuaço Portekiz'de aynı adı taşıyan Tabuaço belediyesine bağlı olan, 11,16 km² yüzölçümüne sahip, 1.780 nüfuslu (2001) bir bucaktır (Portekizce: freguesia).

Tabuaço (bucak)


is a district located in Fukuoka Prefecture, Japan.

As of 2003, the district has an estimated population of 50,658 and a density of 255.01 persons per km2. The total area is 198.65 km2. Water wheels form one of the attractions of the district.

Towns and villages
Chikuzen
Tōhō

Mergers
On March 22, 2005 the former towns of Miwa and Yasu merged, becoming the town of Chikuzen.
On March 28, 2005 the former villages of Hōshuyama and Koishiwara merged, becoming the village of Tōhō.
On March 20, 2006 the former towns of Asakura and Haki merged with the city of Amagi to form the new city of Asakura.

Districts in Fukuoka Prefecture

Asakura District, Fukuoka


Frédéric III de Moers (parfois considéré comme Frédéric II dans la littérature) († 1417 ou 1418) était comte de Moers de 1373 jusqu'à sa mort. Grâce au mariage convenu en 1376 avec Walburge de Sarre Werden, des relations avec le comté de Sarre Werden ont été établies et, par conséquent, le comté de Sarre Werden revint à la maison de Moers en 1399.

Biographie
Frédéric était le fils du comte Thierry IV de Moers et de son épouse Elisabeth de Zuilen, héritière de Baër. Après la mort de son père en 1372, qui avait détenu le titre de comte pendant 17 ans à partir de 1356, il lui succéda en 1373 et régna pendant 45 ans.

Dès le début de son mandat, il obtient trois privilèges de l'empereur Charles IV en 1373, faire du village de Creyfeld (Krefeld) un bourg, puis tenir deux marchés annuels à Krefeld et un droit de frapper des pièces à  pour le chevalier Jean de Moers. Cependant, ce n'est qu'en 1405 qu'il a été fait usage du privilège de battre monnaie. Il a eu des démêlés répétés avec le comte de Clève, Adolphe († 1394) pour savoir si le comté de Moers était un fief de Clèves, comme il l'avait été auparavant.

Le , son mariage est conclu avec Walburge de Sarre Werden, fille de  et de son épouse Klara von Vinstingen. Le mariage a été conclu à l'instigation du frère de Walburge, Frédéric III de la Sarre Werden. En tant qu'archevêque de Cologne, il voulait lier personnellement le comté de Moers à lui-même et réduire l'influence sur le Bas-Rhin du comte de Clèves, Adolphe, son ennemi juré. Lorsque son beau-frère  est décédé sans descendance en 1397, le fils aîné de Frédéric du même nom a hérité de son oncle maternel, l'archevêque de Cologne, Frédéric III de Sarre Werden, choisi pour lui succéder sur le comté de Sarrewerden, qu'il assuma en 1399. La moitié du comté était l'héritage de sa mère, la possession de l'autre moitié a été achetée de Hildegarde, la sœur de sa mère.

Le règne de Frédéric est survenu au moment où la famille était à son apogée, favorisée par l'alliance en cours avec son beau-frère, le riche et influent archevêque de Cologne. Après la mort de ce dernier en 1414, Frédéric put voir son propre fils Thierry être élu archevêque de Cologne.

Le , Frédéric établit une charte familiale par testament (disposition du père) afin d'éviter de futurs conflits entre ses fils. L'héritage de chaque fils a été défini. Frédéric, en tant qu'aîné, devait recevoir le comté de Moers et, le comté de Sarrewerden, qui était auparavant aussi dirigé par le père, devait être remis à son jeune frère Jean. La terre d'un fils décédé sans descendance masculine devait revenir au frère aîné dès le moment de sa mort. En aucun cas le comté de Moers ne devait être "reconnu ou reçu comme un fief par Clèves." Entre-temps, le deuxième fils Thierry avait été élu archevêque de Cologne en tant que successeur de son oncle, et les deux plus jeunes fils ont été orientés vers une carrière spirituelle et les évêchés; quant aux filles, elles devaient être mariées conformément à leur statut. Et ainsi, après la mort de Frédéric III (entre le  et le ), Frédéric IV a reçu le comté de Moers conformément à la volonté de son père et a remis le comté de Sarrewerden à son jeune frère Jean.

Mariage et descendance
De son mariage avec Walburge (également Walpurgis) de Sarre Werden, les enfants suivants sont nés après 1376:
les fils :
 Frédéric († 11 juillet 1448), qui a continué la lignée de Moers sous le nom de Frédéric IV (parfois considéré comme Frédéric III dans la littérature).
  († 2 juillet 1431), qui a fondé la branche Moers-Sarrewerden (en tant que Jean ).
 Thierry († 14 février 1463), archevêque de Cologne (en tant que Thierry II) et évêque de Paderborn (en tant que Thierry III)
  († 2 juin 1450), évêque de Munster et d'Osnabrück, sous le nom d'Henri II de Moers
 Waléran († 3 octobre 1456), évêque d'Utrecht et de Munster, en tant que Waléran de Moers
les filles :
 Anna, avant 1400 mariée au comte
 Elisabeth, mariée en 1403 avec Bernhard VI, seigneur de Lippe
 Walburgis, la fille cadette, mariée en 1406 à Jean III, seigneur de Heinsberg

Notes et références

Bibliographie
 Hermann Altgelt: Geschichte der Grafen und Herren von Moers. Bötticher, Düsseldorf 1845.
 Theodor Joseph Lacomblet: Urkundenbuch für die Geschichte des Niederrheins oder des Erzstifts Cöln, der Fürstenthümer Jülich und Berg, Geldern, Meurs, Cleve und Mark, und der Reichsstifte Elten, Essen und Werden. Vierter und letzter Band. Schaub'sche Buchhandlung, Düsseldorf 1858. Darin: Genealogie der Grafen von Mörs, p. XXII–XXV.
 Carl Hirschberg: Geschichte der Grafschaft Moers. Steiger, Moers 1904.
 Leopold Henrichs: Geschichte der Grafschaft Moers bis zum Jahre 1625. Kaltenmeier & Verhuven, Hüls-Crefeld 1914.
 Hans-Walter Herrmann: Geschichte der Grafschaft Saarwerden bis zum Jahre 1527. 2 Bände, Saarbrücken 1957–1962, zugleich Dissertation, Saarbrücken 1959.
 Otto Ottsen: Geschichte der Stadt Moers. tome 1, 1950. Nachdruck: Steiger, Moers 1977, .
 Margret Wensky (Hrsg.): Moers. Die Geschichte der Stadt von der Frühzeit bis zur Gegenwart. Tome 1. Böhlau, Köln, Weimar, Wien 2000, .

Ascendance

Voir aussi

Articles connexes
 Comté de Moers

Liens externes

Naissance en 1354
Décès en 1417

Frédéric III de Moers


Le méquinol, ou 4-méthoxyphénol, souvent abrégé MeHQ, est un composé chimique de formule . C'est un isomère du gaïacol, dérivé hydroxylé de l'anisole  correspondant au . Ce phénol est utilisé en dermatologie et en chimie organique. Il est produit à partir de   et de méthanol  par une réaction radicalaire.

Le méquinol est une substance active courante de médicaments topiques pour l'éclaircissement de la peau. Il est dans ce cas souvent mélangé à la trétinoïne, un rétinoïde topique. La forme galénique la plus répandue est une solution dans l'éthanol de 2 % de méquinol et 0,01 % de trétinoïne en masse. Elle peut être utilisée pour traiter le lentigo. Des dosages plus faibles ont été utilisés avec un laser en commutation-Q pour l'éclaircissement de la peau de patients atteints de vitiligo idiopathique disséminé.

Le 4-méthoxyphénol est utilisé en chimie organique comme inhibiteur de polymérisation, par exemple avec les acrylates ou les monomères de styrène.

Les travailleurs peuvent être exposés à ce composé par inhalation, absorption cutanée, ingestion ou contact oculaire. Le NIOSH a fixé la limite d'exposition quotidienne à  sur une journée de travail de .

Notes et références

Phénol
Éther de phénol

Méquinol


Yat or jat (Ѣ ѣ; italics: Ѣ ѣ) is  the thirty-second letter of the old Cyrillic alphabet.

There is also another version of yat, the iotated yat (majuscule: , minuscule: ), which is a Cyrillic character combining a decimal I and a yat. There was no numerical value for this letter and it was not in the Glagolitic alphabet. It was encoded in Unicode 5.1 at positions U+A652 and U+A653.

Usage
Yat represented a Common Slavic long vowel. It is generally believed to have represented the sound  or , which was a reflex of earlier Proto-Slavic * and *. That the sound represented by yat developed late in the history of Common Slavic is indicated by its role in the Slavic second palatalization of the Slavic velar consonants.

Significantly, from the earliest texts, there was considerable confusion between the yat and the Cyrillic Iotated A . One explanation is that the dialect of Thessaloniki (on which the Old Church Slavonic literary language was based), and other South Slavic dialects shifted from  to  independently from the Northern and Western branches. The confusion was also possibly aggravated by Cyrillic Little Yus  looking very similar to the older Glagolitic alphabet's yat . An extremely rare "iotated yat" form  also exists, documented only in Svyatoslav's Izbornik from 1073.

Standard reflexes

In various modern Slavic languages, yat has reflected into various vowels. For example, the old Slavic root bělъ | бѣлъ (white) became:

бел  in Standard Russian (dialectal ,  or even  in some regions)
біл  in Ukrainian and Rusyn
бел  in Belarusian
бял / бели  in Bulgarian (бел / бели in Western dialects)
бел  in Macedonian
beo / beli in the standard Serbian Ekavian variant of Serbo-Croatian (genitive bela / belog(a))
bil / bili in Ikavian Serbo-Croatian
 bijel / bijeli in the standard Bosnian, Croatian, Montenegrin and Serbian Ijekavian variants of Serbo-Croatian (genitive bijela / bijelog(a))
bel / beli in Slovenian
biel / biały in Polish
běl / bílý in Czech
biel / biely in Slovak.

Other reflexes
Other reflexes of yat exist; for example:
Proto-Slavic telěga / телѣга became taljige (таљиге; ѣ > i reflex) in Serbo-Croatian.
Proto-Slavic orěhъ / орѣхъ became orah (орах; ѣ > a reflex) in Serbo-Croatian.

Confusion with other letters
Due to these reflexes, yat no longer represented an independent phoneme but an already existing one, represented by another Cyrillic letter. As a result, children had to memorize by rote whether or not to write yat. Therefore, the letter was dropped in a series of orthographic reforms: in Serbian with the reform of Vuk Karadžić, in Ukrainian-Ruthenian with the reform of Panteleimon Kulish, later in Russian and Belarusian with the Bolshevik reform in 1918, and in Bulgarian and Carpathian dialects of Ruthenian language as late as 1945.

The letter is no longer used in the standard modern orthography of any of the Slavic languages written with the Cyrillic script, but survives in Ukrainian (Ruthenian) liturgical and church texts of Church Slavonic in Ruthenian (Ukrainian) edition and in some  written in the Russian recension of Church Slavonic. It has, since 1991, found some favor in advertising to deliberately invoke an archaic or "old-timey" style.

Bulgarian

In Bulgarian the different reflexes of the yat form the so-called yat border (ятова граница), running approximately from Nikopol on the Danube to Solun (Thessaloniki) on the Aegean Sea. West of that isogloss, old yat is always realized as  (analogous to the Ekavian Serbian dialects further west). East of it, the reflexes of yat prototypically alternate between  or  (in stressed syllables when not followed by a front vowel) and  (in all other cases). The division of the dialects of the Eastern South Slavic into western and eastern subgroup running along the yat border is the most important dividing isogloss there.

Some older Serbian scholars believed that the yat border divides the Serbian and Bulgarian languages. However, modern Serbian linguists such as Pavle Ivic have accepted that the main isoglosses bundle dividing Eastern and Western South Slavic runs from the mouth of the Timok river alongside Osogovo mountain and Sar Mountain. On the other hand, in Bulgaria the Timok-Osogovo-Sar isogloss is considered the eastern most border of the broader set of the transitional Torlakian dialects, described often as part of the Eastern South Slavic, (i.e. Bulgarian/Macedonian). Jouko Lindstedt has assumed that this isogloss may be used as the dividing line between Bulgarian and Macedonian.

In 1870 Marin Drinov, who played a decisive role in the standardization of the Bulgarian language, rejected the proposal of Parteniy Zografski and Kuzman Shapkarev for a mixed eastern and western Bulgarian/Macedonian foundation of the standard Bulgarian language. From the late 19th century until 1945, the standard Bulgarian orthography did not reflect this alternation and used the Cyrillic letter yat for both  and  in alternating roots. This was regarded as a way to maintain unity between Eastern and Western Bulgarians, as much of what was then, and is now, seen as Western Bulgarian dialects were in the Late Middle Ages partially under Serbian control. In 1945 the Yat-letter was removed from the Bulgarian alphabet and the spelling was changed to conform to the Eastern pronunciation. Some examples of the alternation in the standard language follow:

 мляко (milk) [n.]  → млекар (milkman); млечен (milky), etc.
 сядам (sit) [vb.] → седалка (seat); седалище (seat, e.g. of government), etc.
 свят (world) [n.] → световен (worldly); светски (secular), etc.

Russian

In Russian, written confusion between the yat and  appears in the earliest records; when exactly the distinction finally disappeared in speech is a topic of debate.  Some scholars, for example W. K. Matthews, have placed the merger of the two sounds at the earliest historical phases (the 11th century or earlier), attributing its use until 1918 to Church Slavonic influence. Within Russia itself, however, a consensus has found its way into university textbooks of historical grammar (e.g., V. V. Ivanov), that, taking all the dialects into account, the sounds remained predominantly distinct until the 18th century, at least under stress, and are distinct to this day in some localities.  Meanwhile, the yat in Ukrainian usually merged in sound with  (see below), and therefore has remained distinct from .

The story of the letter yat and its elimination from the Russian alphabet makes for an interesting footnote in Russian cultural history. See Reforms of Russian orthography for details. A full list of words that were written with the letter yat at the beginning of 20th century can be found in the Russian Wikipedia.

A few inflections and common words were distinguished in spelling by  /  (for example: ѣсть / есть  "to eat" / "(there) is"; лѣчу / лечу  "I heal" / "I fly"; синѣ́е / си́нее ,  "bluer" / "blue" (n.); вѣ́дѣніе / веде́ніе ,  "knowledge" / "leadership").

Its retention without discussion in the Petrine reform of the Russian alphabet of 1708 indicates that it then still marked a distinct sound in the Moscow koiné of the time. By the second half of the 18th century, however, the polymath Lomonosov (c. 1765) noted that the sound of  was scarcely distinguishable from that of the letter , and a century later (1878) the philologist Grot stated flatly in his standard Russian orthography (, , ) that in the common language there was no difference whatsoever between their pronunciations. However, dialectal studies have shown that, in certain regional dialects, a degree of oral distinction is retained even today in syllables once denoted with .

Some reflexes of  have further evolved into , especially in inflected forms of words where  have become stressed, while the dictionary form has it unstressed. One such example is   "star" against   "stars". Some dictionaries used a yat with a diaeresis, , to denote this sound, in a similar fashion to the creation of the letter .

Calls for the elimination of yat from the Russian spelling began with Trediakovsky in the 18th century. A proposal for spelling reform from the Russian Academy of Science in 1911 included, among other matters, the systematic elimination of the yat, but was declined at the highest level. According to Lev Uspensky's popular linguistics book A Word On Words (Слово о словах), yat was "the monster-letter, the scarecrow-letter ... which was washed with the tears of countless generations of Russian schoolchildren". (This book was published in the Soviet period, and accordingly it expressed strong support towards the 1918 reform.) The schoolchildren had to memorize very long nonsense verses made up of words with :

The spelling reform was promulgated by the Provisional Government in the summer of 1917. However, it was not implemented under the prevailing conditions. After the Bolshevik Revolution, the new regime wanted to differentiate itself from the "hated past", and took up the Provisional Drafts, implementing them with some major deviations. Orthography thus became an issue of politics, and the letter yat, a primary symbol. Émigré Russians generally adhered to the old spelling until after World War II; long and impassioned essays were written in its defense, as by Ilyin in . Even in the Soviet Union, it is said that some printing shops continued to use the eliminated letters until their blocks of type were forcibly removed; certainly, the Academy of Sciences published its annals in the old orthography until approximately 1924, and the Russian Orthodox Church, when printing its calendar for 1922, for the first time in the new orthography, included a note that it was doing so because otherwise they would not have received the permission from the Soviet government. To the builders of the new regime, conversely, the new spelling visibly denoted the shining world of the future, and marked on paper the break with the old. The large-scale campaign for literacy in the early years of the Soviet government was, of course, conducted in accordance with the new norms.

According to critics of the Bolshevik reform, the choice of Ии as the only letter to represent that side and the removal of Іі defeated the purpose of 'simplifying' the language, as Ии occupies more space and, furthermore, is sometimes indistinguishable from Шш.

After the dissolution of the Soviet Union, as a tendency occasionally to mimic the past appeared in Russia, the old spelling became fashionable in some brand names and the like, as archaisms, specifically as "sensational spellings". For example, the name of the business newspaper Kommersant appears on its masthead with a word-final hard sign, which is superfluous in modern orthography: "Коммерсантъ".  Calls for the reintroduction of the old spelling were heard, though not taken seriously, as supporters of the yat described it as "that most Russian of letters", and the "white swan" (бѣлый лебедь) of Russian spelling.

Ukrainian

In Ukrainian, yat has traditionally represented  or . In modern Ukrainian orthography its reflexes are represented by  or . As Ukrainian philologist Volodymyr Hlushchenko notes that initially in proto-Ukrainian tongues yat used to represent  or  which around 13th century transitioned into . Yet, in some phonetic Ukrainian orthographies from the 19th century, it was used to represent both  or  as well as . This corresponds more with the Russian pronunciation of yat rather than actual word etymologies. Return to  or  pronunciation was initiated by the Pavlovsky "Grammar of the Little Russian dialect" (1818) according to Hryhoriy Pivtorak. While in the same "Grammar" Pavlovsky states that among Little Russians "yat" is pronounced as  (Ѣ произносится какъ Россїйское мягкое j. на пр: ні́жный, лі́то, слідъ, тінь, сі́но.). The modern Ukrainian letter  has the same phonetic function. Several Ukrainian orthographies with the different ways of using yat and without yat co-existed in the same time during the 19th century, and most of them were discarded before the 20th century. After the middle of the 19th century, orthographies without yat dominated in the Eastern part of Ukraine, and after the end of the 19th century they dominated in Galicia. However, in 1876–1905 the only Russian officially legalized orthography in the Eastern Ukraine was based on Russian phonetic system (with yat for ) and in the Western Ukraine (mostly in Carpathian Ruthenia) orthography with yat for  was used before 1945; in the rest of the western Ukraine (not subjected to the limitations made by the Russian Empire) the so-called "orthographic wars" ended up in receiving a uniformed phonetic system which replaced yat with either <ї> or <і> (it was used officially for Ukrainian language in the Austrian Empire).

'New yat' is a reflex of  (which merged with yat in Ukrainian) in closed syllables. New yat is not related to the Proto-Slavic yat, but it has frequently been represented by the same sign. Using yat instead of  in this position was a common after the 12th century.  With the later phonological evolution of Ukrainian, both yat and new yat evolved into  or . Some other sounds also evolved to the sound  so that some Ukrainian texts from between the 17th and 19th centuries used the same letter ( or yat) uniformly rather than variation between yat, new yat, , and reflex of  in closed syllables, but using yat to unify all i-sounded vowels was less common, and so 'new yat' usually means letter yat in the place of i-sounded  only. In some etymology-based orthography systems of the 19th century, yat was represented by  and new yat was replaced with  ( with circumflex). At this same time, the Ukrainian writing system replaced yat and new yat by  or .

Rusyn
In Rusyn, yat was used until 1945. In modern times, some Rusyn writers and poets try to reinstate it, but this initiative is not really popular among Rusyn intelligentsia.

Romanian
In the old Romanian Cyrillic alphabet, the yat, called eati, was used as the  diphthong. It disappeared when Romanian adopted the transitional alphabet, first in Wallachia, then in Moldavia.

Serbo-Croatian

The Old Serbo-Croatian yat phoneme is assumed to have a phonetic value articulatory between the vowels  and . In the Štokavian and Čakavian vowel systems, this phoneme lost a back vowel parallel; the tendency towards articulatory symmetry led to its merging with other phonemes.

On the other hand, most Kajkavian dialects did have a back vowel parallel (a reflex of *ǫ and *l̥), and both the front and back vowels were retained in most of these dialects' vowel system before merging with a reflex of a vocalized Yer (*ь). Thus the Kajkavian vowel system has a symmetry between front and back closed vocalic phonemes: */ẹ/ (< */ě/, */ь/) and */ọ/ (< */ǫ/, */l̥/).

Čakavian dialects utilized both possibilities of establishing symmetry of vowels by developing Ikavian and Ekavian reflexes, as well as "guarding the old yat" at northern borders (Buzet dialect). According to yat reflex Čakavian dialects are divided to Ikavian (mostly South Čakavian), Ekavian (North Čakavian) and mixed Ikavian-Ekavian (Middle Čakavian), in which mixed Ikavian-Ekavian reflex is conditioned by following phonemes according to the Jakubinskij's law (e.g. sled : sliditi < PSl. *slědъ : *slěditi; del : diliti < *dělъ : *děliti). Mixed Ikavian-Ekavian Čakavian dialects have been heavily influenced by analogy (influence of nominative form on oblique cases, infinitive on other verbal forms, word stem onto derivations etc.). The only exception among Čakavian dialects is Lastovo island and the village of Janjina, with Jekavian reflex of yat.

The most complex development of yat has occurred in Štokavian, namely Ijekavian Štokavian dialects which are used as a dialectal basis for modern standard Serbo-Croatian variants, and that makes the reflexes of yat one of the central issues of Serbo-Croatian orthoepy and orthography. In most Croatian Štokavian dialects yat has yielded diphthongal sequence of  in long and short syllables. The position of this diphthong is equally unstable as that of closed *, which has led to its dephonologization. Short diphthong has thus turned to diphonemic sequence , and long to disyllabic (triphonemic) , but that outcome is not the only one in Štokavian dialects, so the pronunciation of long yat in Neo-Štokavian dialects can be both monosyllabic (diphthongal or triphthongal) and disyllabic (triphonemic). However, that process has been completed in dialects which serve as a dialectal basis for the orthographical codification of Ijekavian Serbo-Croatian. In writing, the diphthong  is represented by the trigraph  – this particular inconsistency being a remnant of the late 19th century codification efforts, which planned to redesign common standard language for Croats and Serbs. This culminated in the Novi Sad agreement and "common" orthography and dictionary. Digraphic spelling of a diphthong as e.g. was used by some 19th-century Croat writers who promoted so-called "etymological orthography" – in fact morpho-phonemic orthography which was advocated by some Croatian philological schools of the time (Zagreb philological school), and which was even official during the brief period of the fascist Independent State of Croatia (1941–1945). In standard Croatian, although standard orthography is  for long yat, standard pronunciation is . Serbian has two standards: Ijekavian is  for long yat and Ekavian which uses  for short and  for long yat.

Standard Bosnian and Montenegrin use  for short and  for long yat.

Dephonologization of diphthongal yat reflex could also be caused by assimilation within diphthong  itself: if the first part of a diphthong assimilates secondary part, so-called secondary Ikavian reflex develops; and if the second part of a diphthong assimilates the first part secondary Ekavian reflex develops. Most Štokavian Ikavian dialects of Serbo-Croatian are exactly such – secondary Ikavian dialects, and from Ekavian dialects secondary are the Štokavian Ekavian dialects of Slavonian Podravina and most of Serbia. They have a common origin with Ijekavian Štokavian dialects in a sense of developing yat reflex as diphthongal reflex. Some dialects also "guard" older yat sound, and some reflexes are probably direct from yat.

Direct Ikavian, Ekavian and mixed reflexes of yat in Čakavian dialects are a much older phenomenon, which has some traces in written monuments and is estimated to have been completed in the 13th century. The practice of using old yat phoneme in Glagolitic and Bosnian Cyrillic writings in which Serbo-Croatian was written in the centuries that followed was a consequence of conservative scribe tradition. Croatian linguists also speak of two Štokavians, Western Štokavian (also called Šćakavian) which retained yat longer, and Eastern Štokavian which "lost" yat sooner, probably under (western) Bulgarian influences.
Areas which bordered Kajkavian dialects mostly retained yat, areas which bordered Čakavian dialects mostly had secondary Ikavisation, and areas which bordered (western) Bulgarian dialects mostly had secondary Ekavisation. "Core" areas remained Ijekavian, although western part of the "core" became monosyllabic for old long yat.

Reflexes of yat in Ijekavian dialects are from the very start dependent on syllable quantity. As it has already been said, standard Ijekavian Serbo-Croatian writes trigraph  at the place of old long yat, which is in standard pronunciation manifested disyllabically (within Croatian standard monosyllabic pronunciation), and writes  at the place of short yat. E.g. bijȇl < PSl. *bělъ, mlijéko < *mlěko < by liquid metathesis from *melkò, brijȇg < *brěgъ < by liquid metathesis from *bȇrgъ, but mjȅsto < *mě̀sto, vjȅra < *vě̀ra, mjȅra < *mě̀ra. There are however some limitations; in front of  and  (< word-final ) yat has a reflex of short . In scenarios when  is not substituted by , i.e. not word-finally (which is a common Štokavian isogloss), yat reflex is also different. E.g. grijati < *grějati, sijati < *sějati, bijaše < *bějaše; but htio : htjela < *htělъ : *htěla, letio : letjela (< *letělъ : *letěla). The standard language also allows some doublets to coexist, e.g. cȉo and cijȇl < *cě̑lъ, bȉo and bijȇl < *bě́lъ.

Short yat has reflexes of  and  behind  in consonant clusters, e.g. brȅgovi and brjȅgovi, grehòta and grjehòta, strèlica and strjèlica, etc.

If short syllable with yat in the word stem lengthens due to the phonetic or morphological conditions, reflex of  is preserved, e.g. djȅlo – djȇlā, nèdjelja – nȅdjēljā.

In modern standard Ijekavian Serbo-Croatian varieties syllables that carry yat reflexes are recognized by alternations in various inflected forms of the same word or in different words derived from the same stem. These alternating sequences ije/je, ije/e, ije/i, ije/Ø, je/i, je/ije, e/ije, e/je, i/ije are dependent on syllable quantity. Beside modern reflexes they also encompass apophonic alternations inherited from Proto-Slavic and Indo-European times, which were also conditioned by quantitative alternations of root syllable, e.g. ùmrijēti – ȕmrēm, lȉti – lijévati etc. These alternations also show the difference between the diphthongal syllables with Ijekavian reflex of yat and syllables with primary phonemic sequence of ije, which has nothing to do with yat and which never shows alternation in inflected forms, e.g. zmìje, nijèdan, òrijent etc.

Computing codes

See also
 Ѧ ѧ :Yus
 Ҍ ҍ : Cyrillic letter Semisoft sign
 Ә ә : Cyrillic schwa, used in Turkic languages and Kalmyk to transcribe the near-open front unrounded vowel (/æ/)
 Ӓ ӓ : Cyrillic letter A with diaeresis, used in Mari to transcribe the near-open front unrounded vowel (/æ/)
 Ě ě : Latin letter E with caron - a Czech and Sorbian letter

References

Further reading

History of the Bulgarian language

Yat


O sulco meckeliano (ou sulco de Meckel, fossa de Meckel, ou forame de Meckel, ou canal de Meckel) é uma abertura na superfície medial (interna) da mandíbula (mandíbula inferior) que expõe a cartilagem de Meckel.

Mamíferos eutérios modernos (que incluem mamíferos placentários) não possuem um sulco meckeliano.

Anatomia
Esqueleto

Sulco meckeliano


Barry C. Barish ()  un fizician american, expert în fizica undelor gravitaționale. Este laureat al Premiului Nobel pentru Fizică 2017, împreună cu Rainer Weiss și Kip S. Thorne, "pentru contribuții decisive la detectorul LIGO și observarea undelor gravitaționale".

Note

Nașteri în 1936
Fizicieni americani din secolul al XX-lea
Laureați ai Premiului Nobel pentru Fizică
Laureați evrei ai Premiului Nobel
Nașteri pe 27 ianuarie
Fizicieni americani din secolul al XXI-lea
Savanți evrei americani
Membri străini ai Royal Society
Oameni de știință din statul California
Americani în viață
Membri străini ai Academiei Ruse de Științe

Barry C. Barish


Anatol Dumitraș (n. 14 noiembrie 1955, Larga, URSS – d. 14 iunie 2016, București, România) a fost un interpret moldovean de muzică ușoară.

Biografie
Anatol Dumitras s-a născut pe 14 noiembrie 1955, în comuna Larga din raionul Briceni, Uniunea Sovietică.

Și-a făcut studiile la Școala tehnica nr. 1 de la Cernăuți.

Își începe cariera muzicală în anul 1982 în calitate de solist al formației "Bucuria". În 1983 a cântat în formația "Legenda".

Pe parcursul anilor 1986-1989, 1993 a fost solist al formației "Plai".

Începând cu anul 1993 Anatol Dumitraș este solist ale Filarmonicii Naționale "Serghei Lunchevici". Din anul 1989 și până în anul 1991 a fost solist și conducător artistic al formației "Olymp", apoi în anii 1991-1994 - solist și conducator artistic al formației "Alai". Are multe înregistrări la Radiodifuziunea și Televiziunea Națională de la Chișinău.

În anul 1995 i s-a conferit titlul onorific Maestru în Artă al Republicii Moldova, iar în 2012 titlul onorific de Artist al Poporului.

În decembrie 2012 a avut loc ultimul concert a lui Anatol Dumitraș la Palatul Național "Nicolae Sulac", cu ocazia aniversării a 30 de ani pe scenă.

Spre sfârșitul lunii iulie 2015 în presă s-a scris că artistul ar fi grav bolnav. Informațiile s-au adeverit, Dumitraș a fost internat la o clinică din București, alături de el fiind soția.

La 20 august 2015 la Filarmonica Națională "Serghei Lunchevici" s-a organizat un concert unde au cîntat interpreți ca Ion Suruceanu, Natalia Barbu, Anișoara Puică, Zinaida Julea și alții. Banii adunați din bilete au fost donați lui Anatolie Dumitraș.

Anatol Dumitraș s-a stins din viață în dimineața zilei de 14 iunie 2016 la București, la vârsta de 60 de ani, răpus de cancer. A fost înmormântat la Cimitirul Central din Chișinău cu ropote de aplauze. În cele peste trei decenii de activitate scenică, Anatol Dumitraș a lansat cinci albume și a susținut concerte în 57 de țări.

Piesele care l-au consacrat

 Prima dragoste
Libertate (interpretă Angela Bucico)
Flori de liliac (interpretă Ana Barbu)
Dulce-i vinul
 Polițist
 Roata vieții
 Ploaia despărțirii
 Mîndra mea
 Mercedes
 O inima nu mă lăsa

Discografie
 Sus paharul (2000)
 Ultima seară (2003)
 Azi la masa mare (2005)
 Anii mei, destinul meu (2007)
 Roata vieții (2008)

Note

Nașteri în 1955
Decese în 2016
Cântăreți moldoveni
Decese cauzate de cancer
Oameni din raionul Briceni
Înmormântări în Cimitirul Central din Chișinău

Anatol Dumitraș


Andrew C. Brock (born April 9, 1974) served as a Republican member of the North Carolina General Assembly, representing the state's thirty-fourth Senate district from 2003 to 2017.  During his tenure he represented Yadkin, Davie, Iredell, and Rowan counties. He also served as the Republican deputy whip in the Senate.

Education and early career
Brock is a lifelong resident of Davie County and a graduate of Davie County High School. His grandfather, Burr Brock Sr., served in the North Carolina House of Representatives and Senate.

Brock graduated from Western Carolina University, where he majored in economics and political science. Brock was a member of the governing board of the University of North Carolina Association of Student Governments.

After college, Brock worked for the Conference on Poverty to promote welfare reform in North Carolina. He also worked on the re-election campaign of Senator Lauch Faircloth and as campaign manager for Bill Cobey's campaign for chairman of the North Carolina Republican Party. Brock later worked for the Republican Party of North Carolina, as campaign manager for Congressman Walter Jones, and for Citizens for a Sound Economy.

State Senate
Brock was elected to the North Carolina Senate in the fall of 2002. He acted as the deputy Republican whip. Brock was at times the chairman of the Finance Committee, Natural and Economic Resources Appropriations Committee, Agriculture/ Environment/ Natural Resources Committee, General Government, Health & Human Services Committee, and Joint Information Technology Oversight Committee. Brock served as vice-chairman of the Redistricting committee. He also served as a member of the Joint Governmental Operations Committee, the Finance Committee, the Senate Rules Committee, Appropriations/Base Budget Committee, Program Evaluation Committee, the Emergency Response and Preparedness Committee, Joint Education Oversight Committee, Judiciary, and the Ways and Means Committee.

He resigned in 2017 to accept a position on the Board of Review for the state Division of Employment Security.

Run for Congress
On February 22, 2016, Brock announced that he would run for the United States House of Representatives in the newly reconfigured 13th congressional district. Incumbent George Holding had previously announced that he would run in the 2nd district rather than stand for reelection in the 13th.

Brock lost the June 2016 Republican primary to Ted Budd.

Run for Clerk of Court
Brock ran for the Davie County Clerk of Court in late 2021 and early 2022. He lost by around 200 votes to Jason Lawrence in the spring of 2022.

Personal life
Brock is married to Andrea Gentry of the Pino Community in Davie County, and together they have two daughters and one son, Scarlett Hope, Stella Faith, and Turner Ward.

Electoral history

Electoral History of Andrew C. Brock, current North Carolina Senator for the 34th State Senate district covering Rowan and Davie Counties.

References

External links

1974 births
Living people
People from Mocksville, North Carolina
Republican Party North Carolina state senators
21st-century American politicians
American United Methodists
Western Carolina University alumni

Andrew C. Brock


Pfalzgrevinde Maria Francisca af Sulzbach (tysk: Maria Franziska, Pfalzgräfin von Sulzbach) (født 15. juni 1724, død 15. november 1794), var en pfalzgrevinde, der gennem sit ægteskab blev hertuginde af Zweibrücken-Birkenfeld. Hun tilhørte Huset Wittelsbach.

Forfædre
Maria Franziska var datter af arveprins Joseph Karl af Pfalz-Sulzbach og sønnedatter af Theodor Eustach, pfalzgreve af Pfalz-Sulzbach samt oldedatter af bl.a. Christian August, pfalzgreve af Pfalz-Sulzbach og kurfyrste Filip Vilhelm af Pfalz.

Efterkommere
Maria Franziska var gift med Frederik Michael af Zweibrücken-Birkenfeld. De blev forældre til bl.a. Maximilian 1. Joseph af Bayern og svigerforældre til bl.a. Karoline af Baden (Bayerns første dronning).

De blev farfar og farmor til bl.a.:
 Ludvig 1. af Bayern
 Augusta af Bayern (mor til Josefine af Sverige og Norge)
 Ludovika Wilhelmine, hertuginde i Bayern (gift med Max Joseph, hertug i Bayern)
 Elisabeth Ludovika af Bayern (gift med Frederik Wilhelm 4. af Preussen)
 Karoline Auguste af Bayern (gift med kronprins Vilhelm af Württemberg og senere med kejser Frans af Tysk-romerske rige og Østrig)
 Amalie Auguste af Bayern (gift med Johan 1. af Sachsen)
 Maria Anna af Bayern (gift med Frederik August 2. af Sachsen)
 Sophie af Bayern (gift med Franz Karl af Østrig og mor til Franz Joseph 1. af Østrig-Ungarn)

De blev morfar og mormor til Pius August, hertug i Bayern

Kilder

Litteratur
Oskar Klausner: Die Familienzweige der pfälzischen Wittelsbacher. Die ersten Wittelsbacher, die Kurlinie, die Seitenlinien. Editorial Schimper, Heidelberg 1995.
Karl Weich: Mannheim - das neue Jerusalem. Die Jesuiten in Mannheim 1720–1773. Palatium-Editorial, Mannheim 1997, s. 142, 151.

Eksterne henvisninger

 thePeerage.com

Wittelsbachske pfalzgrever ved Rhinen

Maria Franziska af Pfalz-Sulzbach


Le Carrier Air Wing Ten (CVW-10) étaient deux escadres aériennes embarquées sur deux porte-avions distincts de l'US Navy qui fonctionnèrent essentiellement pendant la guerre froide et la guerre du Vietnam.
 Le premier CVW-10 était à l'origine connu sous le nom de CVG-10 et a été créé en 1950 , avant d'être supprimé en novembre 1969.
 Le deuxième et beaucoup plus court a été créé en 1986, mais en raison des budgets après une croisière de bilan, il a été supprimé en 1988 avec tous ses escadrons.

Historique

Premières années (1950-1964)
Le Carrier Air Group 10 a été créé le , mais n'a pas vu de déploiement avant 1952 à bord de l'. Bien que le CVG-10 n'ait pas participé à la guerre de Corée, il a tout de même effectué neuf déploiement, y compris à bord du premier super porte-avions de l'US Navy, l' pendant la crise de 1958 au Liban avant son transfert sur le petit  à la mi-1959. Dans le cadre du programme de changement de nom à l'échelle de la Marine, le CVG-10 est devenu Carrier Air Wing Ten le 20 décembre 1963. Pendant ce temps, le groupe aérien était toujours en déploiement sur l' et rentra de la Méditerranée à sa base sous le nouveau nom.

Vietnam et fin du premier CVW-10 (1965-1969)
Le CVW-10 a effectué un autre déploiement sur Shangri-La en 1965 ainsi qu'un déploiement mineur à bord de l' au début de 1966 avant d'être déployé en avril dans le golfe du Tonkin à bord d'Intrepid à nouveau pour prendre part à la guerre du Vietnam. Après être parti en novembre de cette année-là, le CVW-10 est retourné au Vietnam deux fois de plus en 1967 et 1968 avant de revenir en février 1969. Il est mis hors service le .

Premier Carrier Air Wing Ten ( Vietnam : 1968 à 1969)

Deuxième CVW-10 (1986-1988)

Dans le cadre du plan de Ronald Reagan visant à construire une marine de 600 navires, CVW-13 et CVW-10 ont été rétablis dans les années 1980 (CVW-13 a pris le ancien code de queue de CVW-10 qui était AK ). À l'origine, le  pilotant le F/A-18A Hornet devait rejoindre le CVW-10 en tant qu'escadron VFA (Strike Fighter).  et VFA-195 changeraient cependant de place au Naval Air Station Fallon (NAS Fallon). Le VFA-161 a ensuite été retiré du CVW-5 et ne reviendrait pas au Japon après la fin de la formation de transition sur Hornet et serait placé en statut inactif rejoignant CVW-10 tandis que VFA-195 se rendait au Naval Air Facility Atsugi (NAF Atusgi) pour rejoindre CVW-5.

Après ne pas avoir été déployé avec l' comme prévu en 1986, le CVW-10 s'est déployé à bord de l' du 24 juillet au 5 août 1987 dans le Pacifique Est. Après cela, en raison du réchauffement des relations entre l'Union soviétique et les États-Unis ainsi que des coupes budgétaires, CVW-10 a été mis hors service pour la dernière fois le . Tous les escadrons de CVW-10 ont également été mis hors service, y compris le VS-35, qui sera rétabli pour la quatrième fois dans les années 1990 sous un nouveau surnom.

Dernier Carrier Air Wing Ten (1988)

Voir aussi

Notes et références

Liens internes
 Carrier Air Wing
 Histoire de l'United States Navy

Carrier Air Wing de l'United States Navy
Aéronautique navale
Unité ou formation militaire dissoute en 1969

Carrier Air Wing Ten


Fælden er en dansk kortfilm fra 2013, der er instrueret af Iben Ravn.

Handling

Eksterne henvisninger

Danske film fra 2013

Kortfilm fra Danmark

Fælden