Tirmini ist eine Landgemeinde im Departement Takeita in Niger.

Geographie
Tirmini liegt in der Sahelzone. Die Nachbargemeinden sind Falenko und Olléléwa im Norden, Dakoussa und Zinder im Osten, Droum und Ichirnawa im Süden sowie Garagoumsa und Ourafane im Westen. Bei den Siedlungen im Gemeindegebiet handelt es sich um 114 Dörfer, 134 Weiler und 9 Lager. Zusätzlich erhebt Tirmini Ansprüche auf das Dorf Damkarou und die Weiler Chacha Goua und Toumbagou im Arrondissement Zinder IV. Der Hauptort der Landgemeinde ist das Dorf Tirmini. Es liegt auf einer Höhe von .

Beim Dorf Babarkia erstreckt sich das 1275 Hektar große Waldschutzgebiet Forêt classée de Babarkia.

Geschichte
James Richardson berichtete von seiner Afrikareise in den Jahren 1850 und 1851 über "Termeni" als eine der großen Städte im Sultanat Zinder. Ende des 19. Jahrhunderts boten die Märkte von Tirmini und weiteren Dörfern in der Region dem in der Stadt Zinder ansässigen bedeutenden Händler Malan Yaroh jene Handwerksprodukte, Pelze, Tierhäute und Henna, die er für den Transsaharahandel benötigte. Malan Yaroh ließ Bauern und Handwerker aus Tirmini und anderen Dörfern auch direkt Waren für den Maghreb produzieren. Er versorgte sie mit Rohstoffen und erhielt daraus hergestellte Produkte wie verarbeitete Baumwolle, Korbwaren und Gerbereiprodukte.

Am 29. Juli 1899 besiegte die französische Mission Voulet-Chanoine in der Schlacht von Tirmini das mächtige Sultanat Zinder. Am 30. Juli 1899 konnte die Stadt Zinder kampflos eingenommen werden. Dies war eine wichtige Etappe auf dem Weg zur Gründung der französischen Nigerkolonie. In den 1920er Jahren galt die durch Tirmini führende und 1375 Kilometer lange Piste von Niamey nach N'Guigmi als einer der Hauptverkehrswege in der damaligen Kolonie. Sie war in der Trockenzeit bis Guidimouni und wieder ab Maïné-Soroa von Automobilen befahrbar.

Die Landgemeinde Tirmini ging 2002 im Zuge einer landesweiten Verwaltungsreform aus dem Kanton Tirmini hervor. Seit 2011 gehört die Landgemeinde nicht mehr zum Departement Mirriah, sondern zum neugegründeten Departement Takeita.

Bevölkerung
Bei der Volkszählung 2012 hatte die Landgemeinde 116.011 Einwohner, die in 18.030 Haushalten lebten. Bei der Volkszählung 2001 betrug die Einwohnerzahl 69.356 in 3166 Haushalten.

Im Hauptort lebten bei der Volkszählung 2012 3440 Einwohner in 556 Haushalten, bei der Volkszählung 2001 2524 in 430 Haushalten und bei der Volkszählung 1988 853 in 162 Haushalten.

In ethnischer Hinsicht ist die Gemeinde ein Siedlungsgebiet von Damagarawa, Fulbe, Iklan, Katsinawa und Azna. In Tirmini leben Angehörige der vor allem Agropastoralismus betreibenden Tuareg-Untergruppen Mikitan und Tafazarak sowie der auf Fernweidewirtschaft spezialisierten Fulbe-Untergruppen Oudah'en und Wodaabe.

Politik
Der Gemeinderat (conseil municipal) hat 25 gewählte Mitglieder. Mit den Kommunalwahlen 2020 sind die Sitze im Gemeinderat wie folgt verteilt: 11 PNDS-Tarayya, 7 RDR-Tchanji, 3 CPR-Inganci, 2 ARD-Adaltchi Mutunchi, 1 AMEN-AMIN und 1 RPD-Bazara.

Jeweils ein traditioneller Ortsvorsteher (chef traditionnel) steht an der Spitze von 103 Dörfern in der Gemeinde. Der chef traditionnel des Hauptorts, der dem Sultan von Zinder untergeordnet ist, trägt den Herrschertitel Barma.

Wirtschaft und Infrastruktur
Gesundheitszentren des Typs Centre de Santé Intégré (CSI) sind im Hauptort sowie in den Siedlungen In Yélwa, Maguirami, Maï Komboroua und Toudoun Aggoua vorhanden. Die Gesundheitszentren im Hauptort und in Maguirami verfügen jeweils über ein eigenes Labor und eine Entbindungsstation. Der CEG Tirmini ist eine allgemein bildende Schule der Sekundarstufe des Typs Collège d'Enseignement Général (CEG). Das Berufsausbildungszentrum Centre de Formation aux Métiers de Tirmini (CFM Tirmini) bietet Lehrgänge in Landwirtschaftsmechanik und familiärer Wirtschaft an.

An der asphaltierten Nationalstraße 1, der längsten Fernstraße Nigers, liegen der Gemeindehauptort sowie die Dörfer Baboul Haoussa und Toudoun Aggoua. Tirmini ist im Frühwarnsystem für Ernährungskrisen nur in einer mittleren Gefährdungsstufe verzeichnet, ist jedoch im Krisenfall – ähnlich der Nachbargemeinde Olléléwa – aufgrund seiner Anbindung an die Nationalstraße 1 ein wichtiger Ausgangspunkt von Hilfeverteilungsmaßnahmen.

Persönlichkeiten
 Ousmane Moutari (* 1952), Diplomat

Literatur

Einzelnachweise

Ort in Niger
Zinder (Region)
Ort in Afrika

Tirmini


බම්බලපිටිය යනු ශ්‍රී ලංකාවේ , කොළඹ මහ නගරයට අයත් උප නගරයකි. එය බටහිර දෙසින් ඉන්දියන් සාගරයටත්, නැගෙනහිරින් හැව්ලොක් නගරයටත් මායිම්ව පවතී.

19වන සියවසේ මුල් යුගයේදී මෙම ප්‍රදේශය සර්පයින්ගේන් ගහණ වූ කැලෑ රොදක් ලෙස පවතින්නට ඇතැයි සැලකේ.

ආශ්‍රිත

බාහිර සබැඳි
ඩීටේල්ඩ් මැප් ඔෆ් බම්බලපිටිය විසිනිටි ඇන්ඩ් ශ්‍රී ලංකා
අ වෝල්ක් ත්‍රො ද ස්ට්‍රීට්ස් ඔෆ් බම්බලපිටිය

ශ්‍රී ලංකාවේ බස්නාහිර පළාතේ ජනාකීර්ණ ප්‍රදේශ
ශ්‍රී ලංකාවේ නගර සහ ගම්මාන

බම්බලපිටිය


Amy Marie Madigan (n. 1 septembrie 1950, Chicago, Illinois)  este o actriță americană, producătoare de film și cântăreață. Ea a fost nominalizată la Premiul Oscar pentru cea mai bună actriță în rol secundar pentru rolul din filmul Twice in a Lifetime (1985). A mai apărut în filme ca Love Child (1982), Locuri în inimă (1984), Terenul de baseball (1989), Unchiul Buck (1989), Jumătatea întunecată (1993), Pollock (2000) sau  Dispărută fără urmă (2007). Madigan a câștigat  Premiul Globul de Aur pentru cea mai bună actriță într-un rol secundar într-o producție de televiziune și a fost nominalizată la Premiul Primetime Emmy pentru cea mai bună actriță principală în miniserie sau film TV pentru rolul Sarah Weddington din filmul TV din 1989 Roe vs. Wade.

Filmografie

Film

Televiziune

Teatru

Premii și nominalizări

Referințe și note

Legături externe

Nașteri în 1950
Actrițe americane

Amy Madigan


George Geoffrey Ward Clemenger fue un capellán de la Royal Navy, protagonista de los sucesos que condujeron a la crisis conocida como Cuestión Christie.

Biografía
George Geoffrey Ward Clemenger nació en 1828 en Irlanda.
Casó con Caroline Clemenger.

En 1853 se convirtió en capellán de la armada británica y sirvió en la campaña del Mar Báltico durante la Guerra de Crimea.

Como capellán del HMS Hawke se vio envuelto en un escándalo cuando el domingo 31 de octubre de 1858 el navío inició un prolongado cañoneo frente a la ciudad de Queenstown.
El 1 de diciembre se efectuó a bordo del HMS Nile una corte marcial que tenía por principal imputado al teniente 2° Edward Alfred Luckraft. Clemenger testificó que había visto a Luckraft servir el cañón, bebido y «aparentemente incapaz de cuidar de sí mismo».

Pasó luego a servir en la fragata de 51 cañones HMS Forte, buque insignia del contralmirante Richard Laird Warren en la costa sudoriental de Sudamérica, al mando del capitán Thomas Saumarez.

El 17 de junio de 1862, mientras se hallaba de franco, fue detenido brevemente en las afueras de Río de Janeiro por la policía brasileña junto al teniente John Eliot Pringle y a un guardiamarina del Forte, borrachos según las declaraciones policiales. El incidente fue uno de los principales detonantes de la llamada Cuestión Christie, grave conflicto que llevó a la ruptura de relaciones diplomáticas entre el Imperio de Brasil y Gran Bretaña.

Para el censo de 1881 residía en Alverstoke, Hampshire, Inglaterra.
En 1883 pasó a retiro y fue rector de su parroquia hasta 1903.

Falleció el 10 de julio de 1909 a los 82 años de edad.
Fue sepultado en St Andrew's Church, Alwalton, Cambridgeshire, Inglaterra.

Notas y referencias

Bibliografía
Foreign Office, British and foreign state papers, 1863-1864, Volumen LIV, William Ridgway, Londres, 1869
The Brazil correspondence in the cases of the Prince of Wales and officers of the Forte, William Ridgway, Londres, 1863

Enlaces externos
George G.W.Clemenger

Incidente del HMS Hawke

Oficiales de la Marina Real británica
Religiosos de Irlanda del siglo XIX
Pastores anglicanos de Inglaterra
Pastores anglicanos del siglo XIX

George Geoffrey Ward Clemenger


සමානුපාතික නියෝජන ඡන්ද ක්‍රමයේ නියෝජිතයන් තෝරගන්නා විධික්‍රමයකි.

හොඳ ලක්‍ෂණ

නරක ලක්‍ෂණ

මැතිවරණ මනාප ක්‍රමය


L'église Saint-Martin de Fontenay-Trésigny est une église paroissiale catholique située à Fontenay-Trésigny, commune française dans le département de Seine-et-Marne en région Île-de-France.

Bâtiment

Historique
Édifiée au , elle est inscrite au titre des monuments historiques par arrêté du inscription par arrêté du 18 juin 1991  et remplace l'abbaye de Chaâge qui avait été construite quatre-cents ans auparavant.

Cette église a été transformée à plusieurs reprises entre le  et le ; de ce fait, deux styles se côtoient, le roman et le gothique. Initialement, cette église était entourée par le cimetière et le chemin des Processionnaux.

Structure

Extérieur

L'entrée se fait sous le clocher-tour à quatre pans. Des gargouilles sont présentes à chaque angle. Il existe trois cloches, baptisées :
 Martine datant de 1723
 Pierrette-Marie-Louise datant de 1900
 Marguerite-Charlotte datant de 1900

Une tourelle à trois étages en briques se trouve à l'angle du transept sud. Une lanterne des morts, appelée un lanterneau, dont les trois faces ont été murées, se trouve à l'angle ouest de la façade. Cette lanterne signalait les morts se trouvant dans paroisse.

Jusqu'à coté, une porte seigneuriale permettait aux seigneurs d'accéder directement à la chapelle qui leur était assignée. Cette dernière a été murée de l'intérieur, seule reste la porte rouge à l'extérieur. Le meneau au dessus de cette porte a été massacré lors de la Révolution Française, il portait les armes des Tonnelier de Breteuil.

Intérieur

Nef et choeur

Toutes les boiseries datant des XVII et XVIII siècles, les stalles, les lambris, les murs et les poutres sont en chêne. La chaire, également en chêne, date de 1623 et est l'œuvre de Jean Philipeau. Le Grand Christ, don de l'abbé  Donon en 1910 est placé au banc des Marguilliers.

Des grilles séparent les chanoines et des fidèles. Au sol, se trouve la pierre tombale de l'Abbé Ménardeau. Les vitraux, datant du XIXème siècle représentent la Charité de Saint-Martin, l'ascension du Christ et l'Assomption de la Vierge.

Chapelle Saint-Joseph

Dans cette chapelle se trouve un triptyque répertoriant les soldats morts pour la France durant la Première Guerre Mondiale. Les vitraux représentent l'arche de Noé et la Tour de Babel. S'y trouvent également le tableau Baptême du Christ datant de 1844 d'Isidore Péan Du Pavillon et à droite de ce dernier, un tableau représentant la résurrection du Christ, datant du XVIème siècle et à droite, un tableau représentant Saint Marie-Madeleine datant du XVIIème, les deux de peintres inconnus.

Une porte, dissimulée dans les boiseries donne accès à la crypte où se trouvait le tombeau des seigneurs de Fontenay, la famille Le Tonnelier de Breteuil, le marquis de Trésigny, François le Tonnelier de Breteuil, sa femme Anne Calonne de Courtebonne et son frère, l'évêque de Rennes. A la révolution, ce tombeau fut saccagé, le plomb fut fondu pour la fabrication de munitions et le mausolée fut massacré. Les ossements furent inhumés dans le cimetière.

L'accès à la salle capitulaire est accessible à partir de la cette chapelle.

Chapelle de la Vierge

La statue de la Vierge à l'enfant de l'autel est constitué de deux éléments ne datant pas de la même époque, le corps est du XVIIIème tandis que la tête est un élément d'une autre statue datant du XVIème. Cassée au moment de la Révolution Française, les morceaux de différentes statues furent retrouvés dans le jardin du presbytère. La statue fut reconstituée avec les seuls morceaux retrouvés.

Dans cette chapelle se trouvent les vitraux les plus anciens de l'église. Un tableau de 1660, représentant l'Adoration des bergers est exposé.

Mobiliers classés au titre d'objet
 Fonts baptismaux datant de 1521 Des inscriptions en latin se trouvent sur les quatre faces. En pierre, ils se trouvent à l'entrée à droite.
 Adoration des bergers, tableau de Nicolas Baullery, datant de première moitié
 Madeleine repentante, tableau  d'après Charles Le Brun, datant du
  Crucifixion, tableau datant du
 Lambris du chœur, datant de 1689. Ils sont composés de panneaux moulurés entrecoupés de colonnes cannelées surmontées d'un chapiteau ionique. Ils se situent dans le chœur. Une inscription se trouve coté nord et est ornée de deux palmes
 Lambris de la nef et du transept sud, tribune, tambour de la porte occidentale et banc d'œuvre datant des  et
 Baptême du Christ, tableau d'Isidore Péan Du Pavillon, datant 1844. Ce tableau, commande royale, fut exposé au salon de 1844. L'église de Fontenay-Trésigny le reçu en cadeau en 1849.
 Cloche dite Martine, de Jacques Godiveau (fondeur de cloches) ; Godiveau Louis (fondeur de cloches) datant de 1725

A proximité
 Devant l'entrée de l'église se trouve un calvaire datant des   constitué d'un socle en pierre surmontée d'une croix.
 La fontaine Morin est construite au  siècle  se trouve devant l'église. Elle est inscrite monument historique depuis 1991.

Lieu de culte

Dédicace
L'église est dédiée à saint Martin.

Paroisse
L'église Saint-Martin fait partie du Pôle missionnaire de Mormant .

Notes et références

Voir aussi

Articles connexes
 Liste des monuments historiques de Seine-et-Marne

Liens externes

Fontenay-Trésigny, Martin
Monument historique inscrit en 1991
Fontenay-Trésigny, Martin

Église Saint-Martin de Fontenay-Trésigny


Aksiom matematičke indukcije je aksiom o matematičkoj (potpunoj, totalnoj) indukciji. Omogućava da iz izvjesnih svojstava podskupa zaključimo odnos dvaju skupova. Ovim aksiomom se mogućava i sredstvo je za prouučavati beskonačne skupove, za dokazivati poučke i za definiciju funkcija.

Aksiom glasi:

Neka je skup  podskup skupa prirodnih brojeva .

Pretpostavimo dva svojstva skupa :

Slijedi zaključak:

Primjeri
Možda najosnovniji primjer za metodu matematičke indukcije je suma konačno mnogo uzastopnih prirodnih brojeva. Želimo li dokazati tvrdnju, odnosno formulu  možemo postupiti ovako:

Dokazujemo da tvrdnja vrijedi za prvi broj u navedenom skupu, a to je "cijeli" skup , dakle u ovom slučaju za broj 1:  Time smo dokazali bazu indukcije.

Sada pretpostavljamo da tvrdnja vrijedi barem za jedan broj različit od 1 iz našeg skupa, neka je to m-ti broj iz skupa  Prema tome, pretpostavljamo da vrijedi  (*) Ovo se zove pretpostavka indukcije.

Nadodajmo  na obje strane jednakosti. Vidimo da tada tvrdnja tada vrijedi i za sljedeći broj,  Dakle, pretpostavljamo da je  Sada slijedi ključan korak u ovoj metodi. Prema prvoj pretpostavi lijevu stranu jednakosti (*) možemo napisati kao:  što daje  Time smo dokazali da ako tvrdnja vrijedi za  onda nužno vrijedi i za  Ovaj se dio naziva korakom indukcije.

Pokazali smo da tvrdnja vrijedi za 1. No, onda vrijedi i za 2, onda i za 3, itd. Time smo dokazali da tvrdnja vrijedi

Sada je jasan aksiom matematičke indukcije.

Izvori
Kurepa, Svetozar. Matematička analiza 1. Diferenciranje i integriranje. Zagreb: Školska knjiga, 1997.; str. 17-18

Matematika
Aksiomi

Aksiom matematičke indukcije


Redi Tlhabi (née Diréko en 1978) est une journaliste sud-africaine, productrice, autrice et ancienne présentatrice de radio.

Biographie
Redi Tlhabi est titulaire d'un diplôme universitaire en économie politique et en littérature anglaise. Elle fait une carrière de journaliste à la télévision et à la radio pour la South African Broadcasting Corporation et eTV.
Elle a présenté The Redi Tlhabi Show sur Radio 702 et à Kaya FM, en tant que présentatrice de nouvelles pour la South African Broadcasting Corporation puis eNCA.

Tlhabi épouse Brian Tlhabi, médecin, en 2010. Elle est mère de deux filles, Khumo Tlhabi et Neo Tlhabi, et la belle-mère du comédien Lesego Tlhabi.
En 2013, Tlhabi a remporté le prix Alan Paton pour son livre Endings and Beginnings. Le livre décrit la relation de Tlhabi avec un gangster notoire. Tlhabi affirme qu'elle a changé les noms des personnages, mais la mère d'un gangster du même nom affirme que les noms sont exacts et conteste certains faits du livre.

Publications

Distinctions
 2013 : prix Alan Paton  pour Endings and Beginnings.

Références

Liens externes

Journaliste de radio
Journaliste de télévision
Journaliste sud-africaine
Naissance en mai 1978

Redi Tlhabi


Rent-A-Center (Rent-A-Centre en Canadá) es la cadena de tiendas "rent to own" más grande del América del Norte. La empresa opera más de 3.000 tiendas en los Estados Unidos (incluyendo los 50 estados, el Distrito de Columbia, y Puerto Rico) y Canadá. Tiene su sede en Plano, Texas, EE. UU. Actualmente también tiene corporativo en Apodaca, Nuevo León, México, país donde operan 122 tiendas.

Notas

Enlaces externos
 Rent-A-Center Estados Unidos
 Rent-A-Center Estados Unidos (en inglés)
 RAC Canadá (en inglés)
 RAC (en español)

Empresas de Texas
Condado de Collin

Rent-A-Center


Onthophagus wigmungan é uma espécie de inseto do género Onthophagus, família Scarabaeidae, ordem Coleoptera.

Foi descrita cientificamente por Matthews em 1972.

Referências

Ligações externas

wigmungan
Coleópteros descritos em 1972

Onthophagus wigmungan


Le château de Lantilly est un château néo-classique situé à Lantilly (Côte-d'Or) en Bourgogne-Franche-Comté.

Localisation

Le château se situe à la limite est du village.

Historique

Le château actuel est construit en 1709 sur une base plus ancienne. En 1794, il se compose d'un grand corps de bâtiment de conception néo-classique ; à droite les granges et écuries ; à gauche un vaste potager ; en avant une cour précédée de deux bâtiments : les écuries et les remises. Aux deux extrémités des bâtiments qui précèdent la cour, deux tours carrées en mauvais état.

Les façades et les toitures sont inscrites aux monuments historiques par arrêté du 26 février 1968. Le parc du château par arrêté du 21 octobre 1994. L'ensemble des intérieurs est classé par arrêté du 10 mai 1995.

Architecture

Le château de Lantilly actuel se compose d'un corps de bâtiment orienté nord-sud sur un escarpement où il occupe la partie orientale d'un bâtiment plus ancien dont la tour nord, plus massive, pourrait en être un vestige.

Valorisation du patrimoine
Le château est entouré d'un beau parc à la française avec jardin d'agrément, serre, orangerie. Le parc à l'anglaise offre un panorama sur Alésia, et la vallée des Laumes. Des massifs d'ifs et de buis structurent les différentes zones du jardin : roseraie, jardin aromatique, jardin d'eau, prairie fleurie et un potager qui a reçu le label "jardin remarquable".

Notes et références

Annexes

Articles connexes
 Liste des châteaux de la Côte-d'Or
 Liste des monuments historiques de la Côte-d'Or

Liens externes

Lantilly
Lantilly
Monument historique dans la Côte-d'Or
Monument historique inscrit en 1968
Monument historique inscrit en 1994
Monument historique classé en 1995
Lantilly
Lantilly

Château de Lantilly (Côte-d'Or)


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Višeslav de Serbia (, ) fue Knez de los serbios entre 768 y 814 (el mismo periodo que Carlomagno). Unió a varias tribus serbias en un estado unificado.

 Biografía

Višeslav era el tataranieto del Arconte Desconocido, el líder de los serbios blancos que colonizó los Balcanes tras un acuerdo con el emperador bizantino Heraclio (610-641).

Gobernó los Županatos de Neretva, Tara, Piva, Lim, sus tierras ancestrales.

Višeslav unió varias provincias serbias (kneževine) y tribus de la Sclaviniae bizantina en el  en el Principado de Serbia (conocido anacrónicamente en las fuentes occidentales como Raška o Rascia). En 785, Constantino VI conquista la Sclaviniae de Macedonia ("Sclavenias penes Macedoniam"), situada al sur. Gobernó Serbia como príncipe (knez, arconte, ἄρχοντες)Serbs in European civilization, página 24: "Vojislav o Višeslav, que gobernó alrededor de 780... en tiempos de Carlomagno"

Le sucedió hijo Radoslav, que gobernó Serbia durante las revueltas de Ljudevit Posavski (819-822) contra los francos. Según los Annales regni Francorum, en 822, Ljudevit huyó desde su capital de Sisak a la corte serbia situada en algún lugar de  Bosnia occidental que controlaba una gran parte de Dalmacia ("Sorabos, quae natio magnam Dalmatiae partem obtinere dicitur").http://books.google.com/?id=Ki1icLbr_QQC

 Enlaces externos y referencias

 De Administrando Imperio de Constantino Porfirogénito, editado por Gy. Moravcsik y traducido por R. J. H. Jenkins, Dumbarton Oaks Center for Byzantine Studies, Washington D. C., 1993.
John B. Bury, History of the Eastern Empire from the Fall of Irene to the Accession of Basil: A.D. 802-867. ISBN 1605204218, 9781605204215. Google Books.
Fine, John Van Antwerp.The Early Medieval Balkans: A Critical Survey from the Sixth to the Late Twelfth Century. The University of Michigan Press, Michigan, 1991. ISBN 0472081497
Curta, Florin (2006). Southeastern Europe in the Middle Ages, 500-1250. Cambridge University Press. ISBN 978-0-521-89452-4
Ćorović, Vladimir, Istorija srpskog naroda, Libro I, Electronic Book, Antikvarneknjige,
Drugi Period, IV: Pokrštavanje Južnih SlovenaIstorija Srpskog Naroda, Srbi između Vizantije, Hrvatske i BugarskeThe Serbs, ISBN 0631204717, 9780631204718. Wiley-Blackwell, 2004, Google Books.
Tibor Živković, Portreti srpskih vladara (IX—XII), Belgrado, 2006 (ISBN 86-17-13754-1), p. 11
Forging Unity The South Slavs between East and West 550-1150''
Ferjančić, B. 1997, "Basile I et la restauration du pouvoir byzantin au IXème siècle", Zbornik radova Vizantološkog instituta, no. 36, pp. 9–30.
SANU - Posebna Izdanja - Vizantijski Izvori Za Istoriju Naroda Jugoslavije Tom 2, page 31: "...(Βοίσέσθλαβοζ) и од њега Радослав (Τοδόσθλαβος) и од њега Просигој (Προσηγόης)...
 Encyclopædia Britannica, 1954

Nobles de Serbia
Historia de Serbia
Serbios del siglo IX
Nobles del siglo VIII
Nobles del siglo IX

Višeslav de Serbia


Shogo Taniguchi (født 15. juli 1991) er en japansk fodboldspiller.

Japans fodboldlandshold

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Eksterne henvisninger

Fodboldspillere fra Japan
Deltagere ved verdensmesterskabet i fodbold 2022

Shogo Taniguchi


Ignacas Stasys Uždavinys (* 30. Juni 1935 in Kaunas; † 2. August 2023) war ein litauischer Mathematiker und Politiker.

Leben
Nach dem Abitur 1953 an der 1. Mittelschule Panevėžys absolvierte er  1958 das Studium der Mathematik an der Vilniaus universitetas. Danach bildete er sich weiter in Minsk und an der Universität Moskau. Von 1962 bis 1990 arbeitete er Laborant, Assistent, Leiter des Rechenzentrums und Hochschullehrer an der Universität Vilnius. Von 1992 bis 1996, von 1996 bis 2000 war er Mitglied des Seimas.

Ignacas Stasys Uždavinys war verheiratet und Vater von zwei Töchtern: Rasa und Sigita.

Weblinks
 . In: Lietuvos Respublikos Seimas 2001 (litauisch)

Anmerkungen

Mitglied des Ausschusses für nationale Sicherheit und Verteidigung (Litauen)
Hochschullehrer (Universität Vilnius)
Mitglied des Finanzausschusses (Litauen)
Absolvent der Universität Vilnius
Person (Kaunas)
Sowjetbürger
Litauer
Geboren 1935
Gestorben 2023
Mann

Ignacas Stasys Uždavinys


فوزنيسينسكايا  هي مدينة في مقاطعة كراسنودار كراي في روسيا.

يبلغ عدد سكانها حوالي 6880   نسمة.

مراجع

مدن كراسنودار كراي

فوزنيسينسكايا (كراسنودار)


James Michael Hyde Villiers est un acteur anglais, né le  et mort le . Il est reconnaissable pour sa voix de plomb et son articulation claire.

Il est un arrière-petit-fils du  comte de Clarendon.

Jeunesse
James né le  à Londres. C'est le fils d'Eric Hyde Villiers et de Joan Ankaret Talbot. Il fait ses études au  et à la Royal Academy of Dramatic Art. Il obtient son diplôme en 1953. James est issu d'un milieu bourgeois, il est petit-fils de Sir Francis Hyde Villiers et arrière-petit-fils de George Villiers. Sa mère descend du comte Talbot. Son ascendance aristocratique se reflète souvent dans les types de rôles qu'il joue, comme le roi Charles II dans la série de la BBC  (1969), le comte de Warwick dans  (1974) et sur scène en tant que  dans .

Par l'intermédiaire de son père, James est un parent de Thomas Hyde Villiers, Charles Pelham Villiers, Henry Montagu Villiers et de l'ancienne secrétaire d'État pour l'Irlande du Nord Theresa Villiers. Par l'intermédiaire de sa mère, il est apparenté de loin à Charles Chetwynd-Talbot.

Carrière
Villiers fait ses débuts au cinéma en 1958 en apparaissent dans de nombreux films britanniques au fil des ans, dont Les Damnés de Joseph Losey, tourné en 1961 et sorti en 1963, Confession à un cadavre (1965), Joseph Andrews (1977), Rien que pour vos yeux (1981), The Scarlet Pimpernel (1982), Aux sources du Nil (1990) et  (1998), ainsi que de nombreux autres projets. Il joue principalement des rôles d'hommes froids et quelque peu effacés.

Il interprété le rôle du colonel Hensman dans l'adaptation télévisée de  et se produit sur BBC Radio 4 en tant que voix de  dans . Il interprète plusieurs autres adaptations des histoires de Pelham Grenville Wodehouse, avec Michael Hordern et Richard Briers. Dans l'adaptation télévisée de 1978 de Le Club des cinq, Villiers interprète dans les deux parties du pilote dans lequel il joue l'antagoniste, un bureaucrate voyou connu uniquement sous le nom de Johnson.

Vie privée
Nicholas Whittaker, auteur de  et  ayant travaillé à la Belsize Tavern en 1979 et 1980 affirme se souvenir des visites de Villiers au pub en compagnie de l'acteur local Ronald Fraser. Après l'heure de fermeture, ils se retrouvait souvent dans le restaurant d'en face. Rupert Everett affirme également l'avoir rencontré dans un restaurant indien, quelque temps en 1985,  Ailleurs, Villiers est décrit comme un « gros buveur » qui participe à des concours de beuverie avec son ami Peter O'Toole.

Villiers s'est marié deux fois : en 1966 avec Patricia Donovan (divorcés en 1984) et en 1994 avec Lucy Jex, jusqu'à sa mort. Lui et sa première femme ont adopté un fils, Alan Michael Hyde Villiers (né Alan Donovan).

Décès
Villiers décède le  à Arundel (Sussex), d'un cancer.

Références

Liens externes

 Nécrologie dans The Independent
 thePeerage.com

Acteur anglais de télévision
Acteur anglais de théâtre
Acteur anglais de cinéma
Élève de la Royal Academy of Dramatic Art
Décès en janvier 1998
Naissance en septembre 1933
Décès dans le Sussex de l'Ouest
Naissance à Londres
Décès à 64 ans
Mort d'un cancer au Royaume-Uni

James Villiers


ශාක බෝකිරිමේදී පැන නඟින ගැටළු සහ සැලකිලිමත් වියයුතු කරුණු

වෙනස් ලක්‍ෂණ ඇති ශාක බිහිකිරීමේ නූතන  ක්‍රමවල ශාස්ත්‍රීය හෝ ජාන ඉංජිනේරු ආහාර භෝග වලට සම්බන්ධ ගැටළු කාරණා පවතී. ප්‍රධාන කාරණය වන්නේ බෝකිරීම පෝෂි අගය මත ඝෘණ බලපෑමක් එල්ල කරයිද, නැද්ද යන්නයි. ශාකයේ සමහර අංශවලට වැඩියෙන් පෝෂණය වීමෙන් අනිකුත් අංශ ආබාධිත විය හැකි බව විද්‍යාත්මක පෙන්වා දී ඇත. 1950 සිට 2004 දක්වා එළවළුවල පෝෂක විශ්ලේෂණ සැසඳීමේ අධ්‍යයනයකින් 2004 වසරේ දී ඇමරිකානු විද්‍යාල පෝෂණ සඟරාව වාර්තාවක් ඉදිරිපත් කරයි. එයින් කියා සිටින්නේ පෝෂක 13 සැලකිය යුතු තරම් අඩුවීමක් (ප්‍රෝටීන් - 6% හා රිබෝෆ්ලැවින් - 38%) ඇතිවන බවයි. කැල්සියම්, පොස්පරස්, යකඩ හා ඇස්කොබරික් අම්ලයේ අඩුවීම ද සොයාගන්නා ලදී. අධ්‍යයනය සිදුකල ඔස්ටින්හි "ජීව රසායන ටෙක්සාස් විශ්ව විද්‍යාලය" සඳහන් කරන්නේ 1950 හා 1999 කාලය තුළ වගාකල ප්‍රභේද වල සත්‍යය පෝෂක අඩුවීම ඒවායේ අස්වැන්න හා පෝෂණ ප්‍රමාණ වල හුවමාරුව මඟින් පැහැදිලිව තේරුම්කල හැකි බවයි.

ජානමය විකරණය කල ආහාර පිළිබඳ විවාද 1999 දී නූතන මාධ්‍යයන් අවදානම යන කාරණා හේතු කරගෙන වැඩිවූ අතර අදටත් එම ආහාර පිළිබඳ විවාද පවතී. මෙම විවාදයට විකරණය කල ආහාරවල පාරිසරික බලපෑම, ඒවායේ ආරක්ෂිතභාවය හා සැලකිය යුතු තුල්‍යතාවය වැනි කරුණු අන්තර්ගතය. මෙම කරුණු ශාක බෝකිරීමට අලුත් කාරණා නොවේ. වෙළඳ පලට පැමිණෙන නව භෝග වල ආරක්ෂාව හා ගොවීන්ගේ අවශ්‍යතා සහතික කරන නියාමක ක්‍රියාදාමයන් බොහෝ රටවලට ඇත. උදාහරණ ලෙස භෝග සහතික කිරීම, බීජ ක්‍රම, නියාමක අවසරදීම වැනි දෑය.

ශාක බෝකරන්නන්ගේ අයිතීන්ද ප්‍රධාන මතභේදාත්මක කාරණාවකි. බුද්ධිමය දේපල මත පදනම් වූ ජාතික හා අන්තර්ජාතික සම්මුති හරහා වාණිජමය භෝග බෝකරන්නන් තමන්ගේ ක්‍රියාදාමයන් ආරක්ෂා කිරීමටද, ආදායම් භාග (Royalty) එකතුකිරීමද, අද සිදුකරයි. විවේචකයන් කියා සිටින්නේ තාක්ෂණය හා ආර්ථික පීඩනය මුසු කිරීම මඟින් වාණිජ බෝකරන්නන් ජෛවවිවිධත්වය (biodiversity) අඩුකරන බව හා ගොවීන්ට ප්‍රාදේශීය මට්ටමෙන් බීජ වර්ධනය කිරීම හා විකිණීම සීමා කර ඇති බවයි. බෝකරන්නන්ගේ අයිතීන් ශක්තිමත් කිරීමේ උත්සාහ, එනම් උදාහරණ වශයෙන් භෝග ආරක්ෂාවේ කාලයන් වැඩිකිරීම වැනි දෑ දිගින් දිගටම සිදුවේ.

අලුත් ශාක බෝකිරීම හෝ වගාකිරීම සිදුකරන විට, එය පවත්වාගෙන යාම හා ව්‍යාප්ත කිරීම සිදුකල යුතුය. සමහර ශාක අලිංගික ක්‍රමවලින් ද, අනිත් ඒවා බීජ මඟින්ද ව්‍යාප්ත වේ. ශාක බෝකිරීමේ ප්‍රතිඵලවල ඵලදායිතාව පවත්වා ගෙනයාමට බීජ ව්‍යාප්ත ක්‍රමවලට බීජ ප්‍රභව හා නිෂ්පාදන ක්‍රියාපටිපාටි කෙරේ හොඳ පාලනයක් තිබිය යුතු වේ. බීජ මිශ්‍රවීම හා අනිකුත් ශාකවවලින් දුෂණය වීම වැලැක්වීමට බීජ හොඳින් වෙන්කිරීම සිදුකල යුතුය. ශාක අතර දුර තැබීමෙන් වෙන්කිරීම සාමාන්‍යයෙන් සිදුකරන අතර සමහර ශාක හරිතාගාර (Green house) හෝ කූඩු වල වගාකරයි. (FI මුහුම් (hybrids) බො‍හෝ විට කූඩු තුල වගාකරයි)

ශාක ගෘහස්ථකරණය (හීලෑ කිරීම)
සමහරක් තත්ව වල දී ශාක බෝ කිරීම කැලෑ ශාක ගෘහස්ථකරණයට මඟ පාදයි. ශාක ගෘහස්ථකරණය යනු කැලෑ ශාකවලට වඩා ආශා කරන ගති ලක්ෂණවලින් යුත් ශාක නිෂ්පාදනය සඳහා මනුෂ්‍යයන් විසින් සිදු කරනු ලබන කෘතීම තෝරා ගැනීමේ ක්‍රියාවලියකි. තවද එමඟින් ඔවුන්ගේ අඛණ්ඩ පැවැත්ම සඳහා කෘතීම (සාමාන්‍යයෙන් වැඩි දියුණු කරන ලද පරිසරයන් තුළ ඒවාට පැවතීමට හැකි වන සේ විදැහීම සිදු කරනු ලැබේ.) මෙම ක්‍රියාවලියේ ඉතිහාසය 9000-11000 වර්ෂ දක්වා අතීතයට දිව යයි. වර්තමාන වගා කිරීම්වල බොහෝමයක් බෝග පුරාතන කාලවල, එනම් වසර 5000කට පෙර අතීත ලෝකයේ හා වසර 3000කට පෙර නව ලෝකයේ සිදු කරන ලද ගෘහස්ථකරණවල ප්‍රතිඵල වේ. නියෝලිතික යුගයේ දී ගෘහස්ථකරණය අවම වශයෙන් වසර 1000ක් හා උපරිම වශයෙන් වසර 7000ක් ගන්නා ලදී. වර්තමානයේ අපගේ ප්‍රධාන ආහාර බෝග සියල්ලම සමන්විත වන්නේ ගෘහස්ථකරණය වූ ප්‍රභේදවලිනි.

තම මූලය හා තෝරා ගැනීම මූලිකවම සිතා මතා සිදුකරන මිනිස් ක්‍රියාකාරකම් නිසා සිදු වූ ශාකයක් කල්ටිජන් (cultigen) ලෙස හඳුන්වන අතර සාම්ප්‍රදායික ගොවිතැන්කරුවන්ගේ‍තෝරා ගැනීමේ පීඩනය නිසා කැලෑ ජනගහනයෙන් ඉවත් වූ ,වගා කරන බෝග වර්ගයක් ලෑන්ඩ් රේස් (landrace) ලෙස හඳුන්වනු ලැබේ. ස්වාභාවික බලවල හෝ ගෘහස්ථකරණයේ ප්‍රතිඵල වන ලෑන්ඩ් රේසර් ශාක (හෝ සතුන්) යනු විශේෂිත ප්‍රදේශයකට හෝ පරිසරයකට ගැලපෙන ශාකයි. ලෑන්ඩ් රේසර් වර්ගයට උදාහරණයක් වන්නේ සහල්ය. Oryza sativa උප විශේෂය indica දකුණු ආසියාවේ වගා කරන අතර  Oriza sitiva උපවිශේෂය Japonica චීනයෙහි වගා කරනු ලැබේ.

අපේක්ෂිත ලක්‍ෂණ සහිත ශාක බිහිකිරීම


بلدية فالات ، هي إحدى بلديات مقاطعة كاستيلون التي تقع في منطقة بلنسية، في شرق إسبانيا.

يبلغ عدد سكانها 69 نسمة وفقاً لإحصائية سنة (2006).

مراجع

أماكن مأهولة في كاستيون
بلديات كاستيلون

فالات


The Case of Charles Dexter Ward is a short horror novel (51,500 words) by American writer H. P. Lovecraft, written in early 1927, but not published during the author's lifetime.  Set in Lovecraft's hometown of Providence, Rhode Island, it was first published (in abridged form) in the May and July issues of Weird Tales in 1941;  the first complete publication was in Arkham House's Beyond the Wall of Sleep collection (1943). It is included in the Library of America volume of Lovecraft's work.

The novel, set in 1928, describes how Charles Dexter Ward becomes obsessed with his distant ancestor, Joseph Curwen, an alleged wizard with unsavory habits.  Ward physically resembles Curwen, and attempts to duplicate his ancestor's Qabalistic and alchemical feats. He eventually uses this knowledge to physically resurrect Curwen.  Ward's doctor, Marinus Bicknell Willett, investigates Ward's activities and is horrified by what he finds.

Plot summary

Charles Dexter Ward is a young man from a prominent Rhode Island family who has disappeared from a mental asylum. He had been incarcerated during a prolonged period of insanity, during which he exhibited minor and inexplicable physiological changes. His empty cell is found to be very dusty. The bulk of the story concerns the investigation conducted by the Wards' family doctor, Marinus Bicknell Willett, in an attempt to discover the reason for Ward's madness and physiological changes. Willett learns that Ward had spent the past several years attempting to discover the grave of his ill-reputed ancestor, Joseph Curwen.

The doctor slowly begins to reveal the truth behind the legends surrounding Curwen, an eighteenth-century shipping entrepreneur and alleged alchemist, who was in reality a necromancer and mass murderer. A raid on Curwen's farm was remarkable for the shouted incantations, lights, explosions, and some not-quite-human figures shot down by the raiders. The raiders swore any witnesses to strict secrecy about what they saw and heard.

As Willett's investigations proceed, he finds that Charles had recovered Curwen's ashes, and through the use of magical formulae contained in documents found hidden in Curwen's home in Providence was able to call forth Curwen from his "essential saltes" and resurrect him. Willett also finds that Curwen, who resembles Charles enough to pass for him, murdered and replaced his modern descendant and resumed his evil activities. Although Curwen convinces onlookers that he is Charles, his anachronistic mindset and behavior lead authorities to certify him insane and imprison him in an asylum.

While Curwen is locked up, Willett's investigation leads him to a bungalow in Pawtuxet Village, which Ward had purchased while under the influence of Curwen. The house is on the site of the old farm which was Curwen's headquarters for his nefarious doings; beneath is a vast catacomb that the wizard had built as a lair during his previous lifetime. During a horrific journey through this labyrinth, in which Willett sees a deformed monster in a pit, he discovers the truth about Curwen's crimes and also the means of returning him to the grave. It is also revealed that Curwen has been engaged in a long-term conspiracy with certain other necromancers, associates from his previous life who have somehow escaped death, to resurrect and torture the world's wisest people to gain knowledge that will make them powerful and threaten the future of mankind.

While in Curwen's laboratory, Willett accidentally summons an ancient entity who is an enemy of Curwen and his fellow necromancers. The doctor faints, awakening much later in the bungalow. The entrance to the vaults has been sealed as if it had never existed, but Willett finds a note from the being written in Latin instructing him to kill Curwen and destroy his body. Willett confronts Curwen at the asylum and succeeds in reversing the resurrection spell, returning the sorcerer to dust. News reports reveal that Curwen's prime co-conspirators and their households have met brutal deaths, and their lairs have been destroyed.

Characters

Charles Dexter Ward
Ward is born in 1902; he is 26 in 1928, at the time the story takes place. Though considered one of Lovecraft's autobiographical characters, some details of the character seem to be based on William Lippitt Mauran, who lived in the Halsey house and, like Ward, was "wheeled...in a carriage" in front of it. Like the Wards, the Maurans also owned a farmhouse in Pawtuxet, Rhode Island.

Joseph Curwen
Ward's ancestor (great-great-great-grandfather) and dead ringer, a successful merchant, shipping magnate, slave trader, and highly accomplished sorcerer, born in what is now Danvers, Massachusetts, seven miles from Salem, on February 18, 1662. He flees to Providence from the Salem witch trials in 1692. He dies, at least temporarily, in 1771 in the course of a raid on his lair by a group of important Providence citizens (Abraham Whipple, John and Moses Brown and Esek Hopkins among them) who have got wind of only a few of his crimes. He is killed again, presumably for good, by Dr Willett using Curwen's own sorcery. Curwen perfects a method of reducing the effects of aging to an uncanny degree. He also has the ability to resurrect the dead from either the complete corpse or its "essential saltes" (derived from the ashes of said corpse), and converse with them. This ability is used to obtain privileged intelligence from long-defunct wise men. To this end his agents scour the graveyards and tombs of the world for the corpses of illustrious persons which are then smuggled back to Providence, where Curwen temporarily raises them to torture their secrets out of them. In this endeavour he is assisted by two fellow necromancers and Salem exiles; Jedediah/Simon Orne, alias Joseph Nadek, who lives in Prague, and Edward Hutchinson, who masquerades as Baron Ferenczy in Transylvania.

He is able to summon entities such as Yog-Sothoth to assist him in his magic. The ultimate goal of these men's activities, i.e. the nature or the use for the information extracted from the resurrected wise persons, is not completely specified and its interpretation is largely left to the reader. This ambiguity also affects, notably, the exact circumstances of Curwen's "first" death. It is evident he was betrayed and probably killed by the entity summoned in his defense during the siege to the hidden grounds of his farm, but the identity of this being, as well as its possible connection with Yog-Sothoth (whose name is mentioned in the incantations) is left open to speculation. It is significant, however, that the entity's irruption during the confrontation elicits "An unmistakable human shout or deep chorused scream", as well as "a yell of utter, ultimate fright and stark madness [that] wrenched from scores of human throats—a yell which came strong and clear despite the depth from which it must have burst", and that the participants of the raid are left with psychological sequels far beyond those expected in any episode of unconventional warfare.

Prior to his first death, Curwen finds a way to create a spell that would transcend time and inspire a descendant to become interested in him and his work and attempt to bring him back should he ever be slain. When later resurrected by Ward, Curwen initially goes in disguise as a bearded, spectacled "Dr. Allen" to avoid suspicion due to his close resemblance to Ward. The undead Curwen showed vampiristic tendencies as a side effect of his resurrection, thereby attacking local travelers and breaking into houses to drink the blood of the inhabitants. Curwen immediately made contact with Orne and Hutchinson, who have been alive and active all the while, and starts up his old plots once again. He soon murders Ward when he starts having doubts about what they are doing and assumes his identity. Curwen never hesitates to stoop to murder, torture or blackmail to achieve his ends; he also uses – and kills – vast numbers of living slaves as subjects for his experiments. He also feigns some degree of civic spirit and decency, both to his fellow citizens and to his wife, as part of a clever ruse—a social gambit aimed at producing an heir, as well as improving his public image to avoid forced displacement.

Marinus Bicknell Willett
An H. P. Lovecraft Encyclopedia compares Willett's character to other "valiant counterweight[s]" in Lovecraft such as Thomas Malone in "The Horror at Red Hook" (1925) and Henry Armitage in "The Dunwich Horror"; like Willett, Armitage "defeats the 'villains' by incantations, and he is susceptible to the same flaws—pomposity, arrogance, self-importance—that can be seen in Willett."

Inspiration

In August 1925, Lovecraft's Aunt Lillian sent him an anecdote about the house at 140 Prospect Street, built in 1801 by Colonel Thomas Lloyd Halsey in Providence, Rhode Island. Lovecraft wrote back, "So the Halsey house is haunted! Ugh! That's where Wild Tom Halsey kept live terrapins in the cellar—maybe it's their ghosts. Anyway, it's a magnificent old mansion, & a credit to a magnificent old town!" Lovecraft would make this house—renumbered as 100 Prospect—the basis for the Ward house. The following month, September 1925, Lovecraft read Providence in Colonial Times, by Gertrude Selwyn Kimball, a 1912 history that provided him the anecdotes about John Merritt and Dr. Checkley that he incorporated into his novel.

A possible literary model is Walter de la Mare's novel The Return (1910), which Lovecraft read in mid-1926. He describes it in his essay "Supernatural Horror in Literature" as a tale in which "We see the soul of a dead man reach out of its grave of two centuries and fasten itself on the flesh of the living."

The theme of a descendant who closely resembles a distant ancestor may come from Nathaniel Hawthorne's The House of the Seven Gables, which Lovecraft called "New England's greatest contribution to weird literature" in "Supernatural Horror in Literature".

Another proposed literary source is M. R. James' short story "Count Magnus", also praised in "Supernatural Horror in Literature", which suggests the resurrection of a sinister 17th century figure.

The germ of inspiration came from Lovecraft reading Cotton Mather and running across a quote from Borellus. Borellus is Petrus Borellus aka Dr Pierre Borel, a well-known French doctor and alchemist. The quote refers to old experiments of the alchemists in creating life/rebirth from death using essential salts.  The entire quote (which is actually a paraphrasing by Mather) is as follows:

Reception

Lovecraft himself was displeased with the novel, calling it a "cumbrous, creaking bit of self-conscious antiquarianism".  He made little effort to publish the work, leaving it to be published posthumously in Weird Tales by August Derleth and Donald Wandrei.

Writing in the New York Times, reviewer William Poster described Ward as "a good story in the New England witchcraft tradition, well seasoned with alchemy, vampirism, ancient documents and mummy-stealing". Horror historian Les Daniels called The Case of Charles Dexter Ward Lovecraft's "finest novel". E. F. Bleiler noted that the short novel, "despite its being strangely tired and routine, has interesting concepts and good moments". Baird Searles found that "HPL's great knowledge of New England history provides a convincing background" for the story. Douglas Robillard stated Lovecraft's negative assessment of The Case of Charles Dexter Ward was "too harsh; this is one of his finest works".

Cthulhu Mythos
The Case of Charles Dexter Ward contains the first mention of the Cthulhu Mythos entity Yog-Sothoth, who appears repeatedly as an element in an incantation. Joseph Curwen is the owner of a copy of the Necronomicon and there are hints of cult activities in a fishing village that refer obliquely to the events narrated in "The Festival". The story also contains references to the Dream Cycle: Dr. Willett notices the "Sign of Koth" chiselled above a doorway, and remembers his friend Randolph Carter drawing the sign and explaining its powers and meaning.

Brian Lumley expanded on the character of Baron Ferenczy, mentioned but never met in The Case of Charles Dexter Ward, in his Necroscope series, specifically Book IV: Deadspeak, where Janos Ferenczy uses the Yog-Sothoth formula to call forth whole bodies from ash remains, and to return them to that state.

When Dexter's mother hears chanting ("per adonai eloim, adonai jehova, adonai sabaoth, metraton on agla mathon, verbum pythonicum, mysterium salamandrae, conventus, antra gnomorum, daemonia coeli gad, almousin, gibor, jehosua, evam, zariatnatmik, veni, veni, veni."), the chanting is quoted (along with many other incantations in the story) from Eliphas Levi's Transcendental Magic, which translates the passage as "By Adonaï Eloïm, Adonaï Jehova, Adonai Sabaoth, Metraton On Agla Adonaï Mathon, the pythonic word, the mystery of the salamander, the assembly of sylphs, the grotto of gnomes, the demons of the heaven of Gad, Almousin, Gibor, Jehosua, Evam, Zariatnatmik, Come, Come, Come!" The incantation invokes several divine names, such as Adonai, Eloim, and Jehova, and references the Salamander, Sylphs, and Gnomes, which are the alchemical representatives of Fire, Air, and Earth respectively, as described by Paracelsus. The "mystery of the salamander" is also referenced in other short stories.

Adaptations

Film
 In 1963, Roger Corman filmed a loose adaptation of the story titled The Haunted Palace starring Vincent Price and Lon Chaney Jr. The film was advertised as "Edgar Allan Poe's The Haunted Palace," but it was not based on Poe's poem of the same title.
 In 1992, Dan O'Bannon filmed a more faithful adaptation, The Resurrected, starring John Terry and Chris Sarandon.

Games
 In 2001, DreamCatcher Interactive published a video game titled Necronomicon: The Dawning of Darkness developed by Wanadoo Edition. All the characters' names from the book were changed, as was the ending.
 Specialbit Studio produced a hidden object game titled Haunted Hotel: Charles Dexter Ward. It follows the broad strokes of the story, with the player controlling Charles Ward's sister, who attempts to investigate his pending transformation into Joseph Curwen.

Stage
 In 1980 Ken Campbell's Science Fiction Theatre of Liverpool staged an opera based on the novel, with music by Camilla Saunders.

Audio and music
 In 2013, The H. P. Lovecraft Historical Society produced a Dark Adventure Radio Theatre radio drama interpretation.
 In 2017, the Mechanisms released The Bifrost Incident, a concept album mixing elements of Lovecraft's work with Norse mythology. Yog-Sothoth appears at the climax, after the full incantation from The Case of Charles Dexter Ward is recited.
 In December 2018, BBC Radio broadcast an adaptation of the story as the first series in The Lovecraft Investigations, a modern-day true crime podcast set in Britain and the US. It was released in 10 episodes, and later aired on BBC Radio 4 as regular radio-broadcast episodes. The story was adapted and directed by Julian Simpson, and the cast included Samuel Barnett as Ward, with Barnaby Kay and Jana Carpenter as true crime podcasters investigating his story. The supporting cast included Alun Armstrong, Adam Godley, Nicola Walker, Steven Mackintosh, Mark Bazeley, Richard Cordery, Harry Kay, Penny Downie, Madeleine Potter, Phoebe Fox, Ben Crowe, Nathan Osgood, Susan Jameson, Samantha Dakin, Alex Lanipekun and Cherrelle Skeete. In 2019, a sequel was made adapting The Whisperer in Darkness followed in 2020 by an adaption of The Shadow over Innsmouth.

Comics
The novel was adapted by artist I.N.J. Culbard in 2012, in a comic book published by Self Made Hero under the novel's title, featuring a forward by comic book creator Jeff Lemire. The art in this rendition was described by one critic as "a brilliant job of communicating [a] vision of a rotting afterlife to... readers."

References

External links

 Scan of Lovecraft's handwritten manuscript for The Case of Charles Dexter Ward, from Brown University's collection
 The H. P. Lovecraft Archive includes additional information and photographs
 "Sources of Necromancy in Charles Dexter Ward", The Cthulhu Mythos: A Guide
 The Haunted Palace (1963) at Internet Movie Database
 The Resurrected (1992) at Internet Movie Database
 Electronic version at the Dagon Bytes library

1943 American novels
1943 fantasy novels
Fiction set in 1928
Novels set in the 1920s
American novels adapted into films
Cthulhu Mythos novels
Novels by H. P. Lovecraft
Novels published posthumously
Novels set in Providence, Rhode Island
Works originally published in Weird Tales
Weird fiction novels

The Case of Charles Dexter Ward


Selim Rauf Sarper, (d. 14 Haziran 1899, İstanbul - ö. 11 Ekim 1968, İstanbul), Türk diplomat ve siyasetçi.

Hayatı
Liseyi Almanya'da bitirdi. Berlin'de başladığı hukuk eğitimini Ankara Üniversitesi Hukuk Fakültesi'nde tamamladı. Cumhuriyetin ilk yıllarında Şark İstiklal Mahkemesi'nde zabıt kâtipliği dahil çeşitli görevlerde bulunduktan sonra, 1927 yılından itibaren Dışişleri Bakanlığı'na intisap etti.

Dış temsilciliklerde kâtiplik, başkatiplik yaptı. Bükreş büyükelçiliğinde müsteşar olarak görev yaptıktan sonra Ankara'da Basın ve Yayın Genel Müdürlüğü'ne tayin edildi. Moskova ve Roma'da büyükelçi;Birleşmiş Milletler nezdinde Türkiye daimi delegesi, NATO Konseyi Türkiye daimi temsilcisi, dışişleri bakanlığı genel sekreterliği görevlerinde bulundu.

27 Mayıs 1960'tan sonra kurucu meclis bakanlar kurulu üyesi ve Cemal Gürsel hükûmetlerinde dışişleri bakanı oldu. 1961 seçimlerinde Cumhuriyet Halk Partisi'nden İstanbul milletvekili seçilerek Türkiye Büyük Millet Meclisi'nde yer aldı. İsmet İnönü'nün koalisyon hükûmetinde de dışişleri bakanlığı görevini sürdürdü. 1965'te yeniden İstanbul milletvekili seçildi.

11 Ekim 1968'de vefat etti.

Kaynakça

1899 doğumlular
1968 yılında ölenler
TBMM 12. dönem İstanbul milletvekilleri
TBMM 13. dönem İstanbul milletvekilleri
İstanbul doğumlu siyasetçiler
TBMM 1961 Kurucu Meclis Bakanlar Kurulu temsilcisi
Cumhuriyet Halk Partisi Parti Meclisi üyeleri
Türkiye Dışişleri Bakanlığı müsteşarları
TBMM Dışişleri Komisyonu
Avrupa Konseyi Parlamenter Meclisi Türk Grubu
Edirnekapı Şehitliği'ne defnedilenler
Cumhuriyet Halk Partisi mensubu siyasetçiler
Türkiye'nin Gümülcine başkonsolosları
Türkiye Dışişleri Bakanı özel kalem müdürleri
İstanbul doğumlu diplomatlar

Selim Sarper


أولي كيير (بالدنماركية:Ole Kjær)، من مواليد 16 أغسطس 1954 ، لاعب كرة قدم دنماركي سابق.

لعب مع منتخب الدنمارك لكرة القدم.

مسيرته الكروية
لعب أولي كيير خلال مسيرته الاحترافية مع ناديين في تسعة عشر موسمًا ولم يسجل خلالها أي هدف ضمن 481 مباراة. حيث فاز في موسم واحد بالكأس وفي موسم واحد بالدوري.

خاض أولي كيير مسيرته مع نادي إيسبيرغ في موسم 1973 في المرة الأولى ليلعب معه ثلاثة عشر موسمًا ثم في عامي 1990-1992 ولمدة موسمين، مشاركًا طوالها في 386 مباراة ولم يسجل أي هدف. ثم انتقل إلى نادي نايستفيد في موسم 1986 ليلعب معه أربعة مواسم، حيث شارك في 95 مباراة ولم يسجل أي هدف أيضًا.

روابط خارجية

مراجع

لاعبو كرة قدم رجالية دنماركيون
لاعبو كرة قدم من إقليم سيد دنمارك
رياضيون من كولدنغ
حراس مرمى كرة قدم رجالية
أشخاص على قيد الحياة
أشخاص من كولدنغ
لاعبو بطولة أمم أوروبا 1984
لاعبو كرة قدم دنماركيون
لاعبو منتخب الدنمارك تحت 21 سنة لكرة القدم
لاعبو منتخب الدنمارك لكرة القدم
لاعبو نادي إيسبيرغ
لاعبو نادي نايستفيد
مواليد 1954
مواليد في كولدنغ

أولي كيير


No Need to Argue, The Cranberries'in ikinci albümü. Çıkış albümlerindeki Linger parçasını da aşarak gruba asıl ününü kazandıran albümdür. Albümün çıkış parçası Zombie'dir. Dünya çapında 16.7 milyon satarak ilk iki albümü en çok satan İrlandalı grup unvanını U2'nun elinden almıştır.

Şarkı listesi

 "Ode to My Family" – 4:30
 "I Can't Be With You" – 3:07
 "Twenty One" – 3:07
 "Zombie" – 5:06
 "Empty" – 3:26
 "Everything I Said" – 3:52
 "The Icicle Melts" – 2:54
 "Disappointment" – 4:14
 "Ridiculous Thoughts" – 4:31
 "Dreaming My Dreams" – 3:37
 "Yeat's Grave" – 2:59
 "Daffodil Lament" – 6:14
 "No Need to Argue" – 2:54

Dış bağlantılar
 The Cranberries Resmi Diskografisi

The Cranberries albümleri
Rock albümleri
1994 albümleri

No Need to Argue


جورج شاترتون هيل George Chatterton-Hill هو كاتب أيرلندي ومؤلف عدة كتب حول التطور وعلم الاجتماع. كتب في بداية القرن العشرين وأعاد اكتشاف أعمال جريجور ميندل، فخلق اضطرابا حول نظرية الانتقاء الطبيعي لداروين. تأثر هيل بكتابات هربرت سبينسر حول التطور والمجتمع، وبنيامين كيد في المجتمع والدين.

ويرى هيل استحالة الحرية الفردية، فالفرد سائر في إطار التوجه المجتمعي، ورأى الحرية الفردية ممكنة طالما لا تمس حرية الآخرين. وأن تضارب الحريات الفردية يؤدي في النهاية إلى ثورة، وبالتالي إلى انتصار لفئة ذات أفكار معينة على فئة أخرى ذات أفكار مضادة لها.

مراجع

علماء أيرلنديون
فلاسفة أيرلنديون
فلاسفة أيرلنديون في القرن 20
كتاب وكاتبات أيرلنديون في القرن 20
مواليد 1883
وفيات 1947

جورج شاترتون هيل


16 වැනි සියවස තෙක්ම වර්තමානයේ භාවිත වන බොහෝ ගණිතමය අංකනයන් සොයා ගෙන නොතිබුණි. එකල ගණිතයේදී අංකනයන් වෙනුවට වචන භාවිත වු අතර එය ඉතා අපහසු ක්‍රියාවලියක් වු බැවින් ගණිතමය සොයා ගැනීම් සීමා විය. 18 වැනි ශතවර්ෂයේ විසු ඉයුලර් වර්තමානයේ භාවිතා වන බොහෝ අංකන ක්‍රම හදුන්වා දෙන ලදී. වර්තමාන අංකන ක්‍රම හේතුවෙන් වෘත්තීය වශයෙන් ගණිතය අධ්‍යයනය කරන්නන් හට එය ඇතිමුත්  ආධුනිකයින් සදහා එය පසු බට කරවන සුළුය. වර්තමාන ගණිතමය අංකනයන් ඉතා සංක්ෂිප්ත වන අතර සංකේත කිහිපයකින් තොරතුරු විශාල ප්‍රමාණයක් දැක්විය හැකිය. සංගීතමය අංකනයන් සේම වර්තමාන ගණිතමය අංකනයන්ටද නිශ්චිත කාරක රීති පවතින අතර වෙනත් ක්‍රමයක් මගින් ලිවීමට අපහසු තොරතුරු කේත කොට දක්වයි.

ආධුනිකයන් හට ගණිතමය භාෂාවද අපහසු වේ. "හෝ" සහ "පමණි" වැනි වදන්වලට එදිනෙදා භාවිතයේදී මෙන් නොව වඩාත් නිශ්චිත අරුත් පවතී. තවද "විවෘත" සහ "ක්ෂේත්‍රය" වැනි වදන් සදහා විශේෂිත ගණිතමය අරුත් පැවතීමද ආධුනිකයින් සදහා පැටලිලි සහගත වේ. "ස්ථලක පරිණාමණය" සහ "අණුකල්‍ය" වැනි ශිල්පීය යෙදුම් ද ගණිතමය ප්‍රභාෂාවෙහි අඩංගු වේ. නමුත් විශේෂ අංකනයන් සහ ශිල්පීය භාෂාව සදහා විශේෂිත හේතුවක් පවතී. එනම් ගණිතයේදී එදිනෙදා ජීවිතයේදී මෙන් නොව වඩාත් නිශ්චය බවක් අවශ්‍ය වීමයි. මෙසේ භාෂාවේ සහ තර්කනයේ ඇති නිශ්චය බව අශිථිල බව ලෙස ගණිතඥයන් හදුන්වති.

අශිථිල බව මුලික වශයෙන් ගණිතමය සාධනයන්ට අදාළ වේ. ප්‍රමාණුරූප හේතු දැක්වීමක් මගින් ප්‍රත්‍යක්ෂව සිය ප්‍රමේයයන් නිර්මාණය කිරීමට ගණිතඥයන් කැමැත්තක් දක්වති.  ඒ ඔස්සේ ඔවුහු වැරදි ප්‍රතිභානයන් මත පදනම් වු වැරදි ප්‍රමේයයන් නිර්මාණය වැළක්වීමට උත්සාහ කරති. ගණිත ඉතිහාසයේ මේ ආකාර වැරදි ප්‍රමේයයන් ඉදිරිපත් වු අවස්ථා බොහෝය. ගණිතයෙහි දී අපේක්ෂා කෙරෙන අශීථීල බවෙහි මට්ටම කාලයත් සමග වෙනස්කම්වලට භාජනය වී ඇත. ග්‍රීකයින් සවිස්තරාත්මක තර්කනයක් බලාපොරොත්තු වු අතර නිවුටන්ගේ කාලයේ දී භාවිත වු ක්‍රමවේදයන් එතරම් අශිථිල ඒවා නොවීය. නිවුටන් විසින් භාවිතකළ අර්ථ දැක්වීම්වල සහජයෙන්ම අන්තර්ගත වු ගැටලු හේතුවෙන් පසුකාලීනව 19  වැනි සියවසේදී ඒවා සුක්ෂමව විශ්ලේෂණයකර විධිමත්ව සාධනය කරන ලදී. වර්තමානයේදී ගණිතඥයන් අතර පරිගණක ආධාරයෙන් සිදුකරන සාධනයන් පිළිබද විවිධ මත වාදයන් පවතී. පරිගණක ආශ්‍රිත විශාල ගණනය කිරීම් සත්‍යායනය අපහසු බැවින් එවන් සාධනයන් ප්‍රමාණවත් තරම් අශිථිල නොවිය හැකිය. සාම්ප්‍රදායික චින්තනයේදී ස්වයං ප්‍රත්‍යක්ෂක, සත්‍ය ප්‍රත්‍යක්ෂක ලෙස සැලකුණ නමුත් මෙම සංකල්පය ගැටලු සහගත වේ. විධිමත් මට්ටමේදී ප්‍රත්‍යක්ෂකයක් යනු ප්‍රත්‍යක්ෂක පද්ධතියක සියළු ව්‍යුත්පන්නක සමීකරණ ඇසුරෙන් සැලකූ විට පමණක් අභ්‍යන්තර අර්ථයක් පවතින සංකේත සමුහයකි. හිල්බට් ප්‍රකමණයේ අරමුණ වුයේ ශක්තිමත් සම්පුර්ණ ගණිතමය ප්‍රත්‍යක්ෂක පද්ධතියක් මත පිහිටු වීමයි. නමුත් ගොඩල්ගේ අසම්පුර්ණක ප්‍රමේයයට අනුව සියලු(ප්‍රමාණවත් තරම් ප්‍රබල) ප්‍රත්‍යක්ෂක පද්ධති සඳහා ඒවා මගින් නිර්ණය කල නොහැකි සමීකරණ පවතියි. එබැවින් ගණිතය පුර්ණව ප්‍රත්‍යක්ෂකරණය කළ නොහැකිය. කෙසේ නමුත් බොහෝ විට කිසියම් ප්‍රත්‍යක්ෂ කරණයක් යටතේ පවතින කුලක වාදයේ කොටසක් ලෙස ගණිතය (එහි විධිමත් අන්තර්ගතයක්) සැලකේ. සියලු ගණිතමය ප්‍රකාශ හා සාධන කුලක වාදය තුළ පවතින සමීකරණවලට ඇතුළත් කළ හැකි වීමෙන් මෙය වඩාත් පැහැදිලි වේ.

සටහන්

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ගණිතය

අංකනය භාෂාව සහ අශිථිල බව


Di padre in figlio est un film italien de Vittorio Gassman et Alessandro Gassmann, sorti en 1982.

Synopsis

Fiche technique
 Titre : Di padre in figlio
 Réalisation et scénario : Vittorio Gassman et Alessandro Gassmann
 Photographie : Blasco Giurato
 Pays d'origine : Italie
 Date de sortie : 1982

Distribution
 Vittorio Gassman
 Alessandro Gassmann
 Adolfo Celi
 Diletta D'Andrea
 Angela Goodwin
 Juliette Mayniel
 Gigi Proietti
 Paola Quattrini

 Luciano Lucignani

Liens externes

Film italien sorti en 1982
Film dramatique italien

Di padre in figlio


Walden Pond is a celebrated pond in Concord, Massachusetts, in the United States. A good example of a kettle hole, it was formed by retreating glaciers 10,000–12,000 years ago. The pond is protected as part of Walden Pond State Reservation, a  state park and recreation site managed by the Massachusetts Department of Conservation and Recreation. The reservation was designated a National Historic Landmark in 1962 for its association with the writer Henry David Thoreau (1817–1862), whose two years living in a cabin on its shore provided the foundation for his famous 1854 work, Walden; or, Life in the Woods. The National Historic Preservation Act of 1966 ensured federal support for the preservation of the pond.

Description
The Walden Pond Reservation is located south of Massachusetts Route 2 and (mostly) west of Massachusetts Route 126 in Concord and Lincoln, Massachusetts.  The Fitchburg Line of the MBTA Commuter Rail passes west of the pond; however, the nearest station is in Concord center, 1.4 miles northwest of the reservation.

The reservation is  in size, and its principal feature is Walden Pond, a  body of water.  A short way north of the pond the site of Thoreau's cabin is marked by a series of granite posts.  Portions of the pond's shore are beach, while other parts descend steeply to the water from trails that ring the pond.  There are three buildings at the main beach area at the southeastern shore of the pond.  The reservation's parking area is located across Route 126, and a ramped footpath descends from that roadway to the pond.

History
The writer, transcendentalist, and philosopher Henry David Thoreau lived on the northern shore of the pond for two years from the summer of 1845. Thoreau was inspired by former enslaved woman Zilpah White, who lived in a one-room house on the common land that bordered Walden Road and made a living spinning flax into linen fibers. White's ability to provide for herself at a time when few if any other Concord women lived alone was a singular accomplishment.

Thoreau's account of his experience at the pond was recorded in Walden; or, Life in the Woods, and made the pond famous. The land at that end was owned by Thoreau's friend and mentor, Ralph Waldo Emerson, who let Thoreau use it for his experiment. Thoreau's writing is credited with encouraging a respect for Nature. The Concord Museum contains the bed, chair, and desk from Thoreau's cabin.

During the winter he lived at Walden Pond a large group of men decamped from the train to cut ice there for sixteen days. In his journal, Thoreau philosophized upon the wintry sight of the ice harvesters: "The sweltering inhabitants of Charleston and New Orleans, of Madras and Bombay and Calcutta, drink at my well  The pure Walden water is mingled with the sacred water of the Ganges". It was well known at the time that ice shipped from Boston went to many ports, including India.

An amusement park with swings, concession stands and an event hall, located at the western end of the pond, burned down in 1902 and was never rebuilt.

Descendants of Emerson and other families deeded the land around the pond to the Commonwealth of Massachusetts in 1922. In 1961, the Middlesex County Commissioners, then managing the land, proposed leveling a significant portion of the preserve for a parking lot and other "improvements." An acre of woodland had been leveled for access to the public beach when the Commissioners were sued to stop the destruction of the existing environment. Judge David A Rose, sitting in the Massachusetts Superior Court, ruled that Walden's deed donating the property to the Commonwealth required preservation of the land and barred further development. The decision received national recognition, and Judge Rose received hundreds of letters from school children across the country thanking him for saving the land. Walden Pond became part of the state parks system in 1975. It is also among the national landmarks preserved by the National Historic Preservation Act of 1966.

In 1977, the Commonwealth of Massachusetts installed a porous pavement parking area at Walden Pond as a special technology transfer demonstration project, following methodology generated by the U.S. Environmental Protection Agency in 1972. The porous pavement still functions decades later, despite experiencing more freeze-thaw cycling than most other parts of the world.

Recording artist Don Henley initiated The Walden Woods Project in 1990 to prevent the area around Walden Pond from being developed. Through a joint effort of The Trust for Public Land, the Walden Woods Project, and the Commonwealth of Massachusetts, more than 85 acres of land were permanently protected, including Bear Garden Hill, where Thoreau took moonlit walks.  In 1995, The Trust for Public Land also assisted in the acquisition of a historic home, which would become the research center and library for the Thoreau Institute.

Legend

Formation, from "The Ponds" (Walden, 1854)
While living in Walden Woods for two years beginning in 1845, Henry David Thoreau contemplated Walden Pond's features. In "The Ponds" section of Walden, published in 1854, Thoreau extols the water's physical properties. He details its unparalleled water quality; its clarity, color, and temperature; its unique animal life (aquatic, bird, and mammal); its rock formations and bed; and especially, its mirror-like surface properties.

Thoreau contemplates the source of the pristine water body in the woods. He observes that it had no visible inlet or outlet, and considers the possibility of an unidentified spring at the bottom. Noting the kettle landform's ramparts and resilient shore, he concludes that a unique, natural geologic event formed the site, while recognizing local myths:

Some have been puzzled to tell how the shore became so regularly paved. My townsmen have all heard the tradition -- the oldest people tell me that they heard it in their youth -- that anciently the Indians were holding a pow-wow upon a hill here, which rose as high into the heavens as the pond now sinks deep into the earth, and they used much profanity, as the story goes, though this vice is one of which the Indians were never guilty, and while they were thus engaged the hill shook and suddenly sank, and only one old squaw, named Walden, escaped, and from her the pond was named. It has been conjectured that when the hill shook these stones rolled down its side and became the present shore. It is very certain, at any rate, that once there was no pond here, and now there is one; and this Indian fable does not in any respect conflict with the account of that ancient settler whom I have mentioned, who remembers so well when he first came here with his divining-rod, saw a thin vapor rising from the sward, and the hazel pointed steadily downward, and he concluded to dig a well here. As for the stones, many still think that they are hardly to be accounted for by the action of the waves on these hills; but I observe that the surrounding hills are remarkably full of the same kind of stones, so that they have been obliged to pile them up in walls on both sides of the railroad cut nearest the pond; and, moreover, there are most stones where the shore is most abrupt; so that, unfortunately, it is no longer a mystery to me. I detect the paver. If the name was not derived from that of some English locality -- Saffron Walden, for instance -- one might suppose that it was called originally Walled-in Pond.

Romanticism, from "The Ponds" (Walden, 1854)
Also in "The Ponds," Thoreau describes incorporeal experiences around the water, both experiences related to him by others and his own. Thoreau, who was well read and a transcendentalist, and therefore presumably intimately familiar with Romanticism, relates the stories in a way that could be argued to interpret or reveal the pond as the locale of the Grail Legend in the Americas. In the following passage, Walden Pond's vanishing treasure chest echoes the protagonist's fleeting encounter with the grail in Wolfram von Eschenbach's German romance Parzival, and the pond's canoe is reminiscent of the boat in A Fairy Tale. (Goethe, who was a Classicist, not a Romanticist, positively viewed Parzival.) Thoreau wrote:

Activities and amenities

In addition to being a popular swimming destination in the summer, Walden Pond State Reservation provides opportunities for boating, hiking, picnicking, and fishing. There is a replica of Thoreau's cabin available for viewing. The reservation is open year-round for day use, but does not allow camping overnight.

A new Walden Pond Visitor Center, designed by Maryann Thompson, opened in 2016.  The building uses no fossil fuel and has many other sustainable design features.

Influences
Walden Pond inspired the naming of the American film company Walden Media and is a frequent subject of professional and amateur photographers.

C-SPAN broadcast an episode of its American Writers series from the shores of Walden Pond in 2001.

Walden Pond appears in the video game Fallout 4 where Thoreau's cabin is preserved. The pond also serves as the backdrop for the game 'Walden, a game' where players assume the role of author Henry David Thoreau during his time living at the pond in the 1840s. The game was in development for more than ten years and is currently available on Mac, PC, and PS4.

Gallery

See also
List of National Historic Landmarks in Massachusetts
National Register of Historic Places listings in Concord, Massachusetts

References

Further reading
 Anderson, Charles R. The Magic Circle of Walden (1968).
 Hess, Scott. "Walden Pond as Thoreau's Landscape of Genius." Nineteenth-Century Literature 74.2 (2019): 224–250. online
 Lemire, Elise. 'Black Walden: Slavery and Its Aftermath in Concord, Massachusetts' (Penn Press, 2009; 2019 with new preface).
 Maynard, W. Barksdale. Walden Pond: A History (Oxford UP, 2004)
 Myerson, Joel, ed. Critical Essays on Thoreau's Walden (1988).
 Thorson, Robert M. Walden's Shore: Henry David Thoreau and Nineteenth-Century Science (2015).
 Thorson, Robert M. The Guide to Walden Pond: An Exploration of the History, Nature, Landscape, and Literature of One of America's Most Iconic Places (2018).

External links

Walden Pond State Reservation Department of Conservation and Recreation
Walden Pond State Reservation Map Department of Conservation and Recreation
Friends of Walden Pond Walden Woods Project
The Thoreau Society
MassWildlife Pond Map and Info

1922 establishments in Massachusetts
Bay Circuit Trail
Beaches of Massachusetts
Bodies of water of Middlesex County, Massachusetts
Henry David Thoreau
Ice trade
National Historic Landmarks in Massachusetts
National Register of Historic Places in Concord, Massachusetts
Parks in Middlesex County, Massachusetts
Ponds of Massachusetts
Protected areas established in 1922
Ralph Waldo Emerson
Tourist attractions in Concord, Massachusetts
State parks of Massachusetts

Walden Pond


An Maxillariella prolifera in uska species han Liliopsida nga syahan ginhulagway ni Olof Swartz, ngan ginhatag han pagkayana nga asya nga ngaran ni Mario Alberto Blanco och Germán Carnevali. An Maxillariella prolifera in nahilalakip ha genus nga Maxillariella, ngan familia nga Orchidaceae.

Mabibilngan ini ha Jamaica. Waray hini subspecies nga nakalista.

Mga kasarigan

Maxillariella

Maxillariella prolifera


thumb|පෝල් සෙසාන් (1892-1895, කෝර්ටෝල්ඩ් ආයතනය ) විසින් රචිත කාඩ් ප්ලේයර්ස්
thumb|සෙල්ලම් කිරීම යනු මිනිසුන් ඇතුළු බොහෝ විශේෂවල වැඩිහිටි තත්වයේ පවතින තරුණ ක්ෂීරපායින්ට විශේෂිත වූ ක්‍රියාකාරකමකි.

The game විනෝදාස්වාදය සඳහා ප්‍රගුණ කරන ලද මනුෂ්‍ය හෝ සත්ව ක්‍රියාකාරකමකි

ක්ෂීරපායීන්ට විශේෂිත වූ, මෙම මානසික හෝ ශාරීරික ක්‍රියාකාරකම විනෝදය හැර වෙනත් ක්ෂණික අත්‍යවශ්‍ය අවශ්‍යතාවලින් විචිත්‍රවත් බලශක්ති වියදමක් නිර්මාණය කරයි. එබැවින්, බොහෝ මිනිස් ක්‍රියාකාරකම් ක්‍රීඩා වලට උකහා ගත හැකි බව ජොහාන් හුයිංගා ප්‍රකාශ කරයි. නමුත් ක්‍රීඩාවේ නිර්වචනය සීමා කිරීම දුෂ්කර ය, එය දර්ශනය සඳහා උනන්දුවක් දක්වයි.

The list of games ලැයිස්තුගත කිරීම වඩාත් පහසු වේ. මේවා සාමාන්‍යයෙන් වර්ගය අනුව වර්ග කළ හැකි නමක් සහ රීති වලින් සංලක්ෂිත වේ.

අධ්‍යාපනය සහ මානව සංවර්ධනය පිළිබඳ විද්‍යාවන්, සංජානන විද්‍යාවන්, අධ්‍යාපන විද්‍යාව, ඉගෙනීමට සහ අධ්‍යාපනයට වැදගත් වන ළමා පරිචයක් ලෙස ක්‍රීඩාව පරීක්ෂා කරයි , එමඟින් එය මධ්‍යම හා දිගුකාලීනව ඵලදායි විය හැකිය. ක්‍රීඩාවේදී, තරුණ මිනිසා, අනෙකුත් විශේෂයන් මෙන්, ඔහුගේ වැඩිහිටි ජීවිතයේදී ඔහුට අවශ්‍ය අත්‍යවශ්‍ය ක්‍රියාවන් නොමැතිව සිදු කරයි.

කෙසේ වෙතත්, වැඩිහිටියා දිගටම ක්‍රීඩා කරන අතර, ඔහු හුදු විනෝදාස්වාදයක් ලෙස නොසිතන ක්‍රියාකාරකම් සඳහා ක්‍රීඩා සංකල්පය නිතර යෙදේ. ප්‍රශ්නය ඉදිරිපත් කරන්නේ මෙසේය. ඔයා මොන සෙල්ලමක්ද කරන්නේ ? ". මානව අන්තර්ක්‍රියා වල සමාජ විද්‍යාව සහ මනෝවිද්‍යාව, ක්‍රීඩාව වැනි නියාමනය කරන ලද ක්‍රීඩා සහ සම්මුතීන් අතර සම්බන්ධකම් එකක් සහ අනෙකක් තහවුරු කරයි, එය බොහෝ විට ව්‍යංගයෙන්, සමාජ ජීවිතය සහ ඒවා ක්‍රීඩා කරන පුද්ගලයින්ගේ හැඟීම් නියාමනය කරයි. ක්‍රීඩා සංකල්පයේ මෙම දිගුව ආර්ථික විද්‍යා ක්‍රීඩා න්‍යාය තුළ ලබා දෙයි.

Game


صقر قريش, مسرحية كويتية. عرضت في 18 مارس 1962، وهي من إخراج زكي طليمات ومن تأليف محمود تيمور. من بطولة عبد الحسين عبد الرضا ومريم الغضبان ومريم الصالح، وهي أول عمل فني فيه عناصر نسائية.

المراجع

مسرحيات عبد الحسين عبد الرضا
مسرحيات كويتية

صقر قريش (مسرحية)


Goodrow est un patronyme porté notamment par :

 Barclay Goodrow (1993-), joueur professionnel canadien de hockey sur glace ;
 Garry Goodrow (1933-2014), acteur et scénariste américain.

Goodrow


Generative music is a term popularized by Brian Eno to describe music that is ever-different and changing, and that is created by a system.

Historical background

In 1995 whilst working with SSEYO's Koan software (built by Tim Cole and Pete Cole who later evolved it to Noatikl then Wotja), Brian Eno used the term "generative music" to describe any music that is ever-different and changing, created by a system. The term has since gone on to be used to refer to a wide range of music, from entirely random music mixes created by multiple simultaneous CD playback, through to live rule-based computer composition.

Koan was SSEYO's first real-time music generation system, developed for the Windows platform. Work on Koan was started in 1990, and the software was first released to the public in 1994. In 1995 Brian Eno started working with SSEYO's Koan Pro software, work which led to the 1996 publication of his title 'Generative Music 1 with SSEYO Koan Software'.

Eno's early relationship with SSEYO Koan and Intermorphic co-founder Tim Cole was captured and published in his 1995 diary A Year with Swollen Appendices.

Theory
There are four primary perspectives on generative music (Wooller, R. et al., 2005) (reproduced with permission):

Linguistic/structural
Music composed from analytic theories that are so explicit as to be able to generate structurally coherent material (Loy and Abbott 1985; Cope 1991).  This perspective has its roots in the generative grammars of language (Chomsky 1956) and music (Lerdahl and Jackendoff 1983), which generate material with a recursive tree structure.

Interactive/behavioural
Music generated by a system component that has no discernible musical inputs. That is, "not transformational" (Rowe 1991; Lippe 1997:34; Winkler 1998). The Wotja software by Intermorphic, and the Koan software by SSEYO used by Brian Eno to create Generative Music 1, are both examples of this approach.

Creative/procedural
Music generated by processes that are designed and/or initiated by the composer.  Steve Reich's It's Gonna Rain and Terry Riley's In C are examples of this (Eno 1996).

Biological/emergent
Non-deterministic music (Biles 2002), or music that cannot be repeated, for example, ordinary wind chimes (Dorin 2001).  This perspective comes from the broader generative art movement.  This revolves around the idea that music, or sounds may be "generated" by a musician "farming" parameters within an ecology, such that the ecology will perpetually produce different variation based on the parameters and algorithms used. An example of this technique is Joseph Nechvatal's Viral symphOny: a collaborative electronic noise music symphony created between the years 2006 and 2008 using custom artificial life software based on a viral model.

Other notes
 Brian Eno, who coined the term generative music, has used generative techniques on many of his works, starting with Discreet Music (1975) up to and including (according to Sound on Sound Oct 2005) Another Day on Earth.  His works, lectures, and interviews on the subject have done much to promote generative music in the avant-garde music community. Eno used SSEYO's Koan generative music system (created by Pete Cole and Tim Cole of Intermorphic), to create his hybrid album Generative Music 1 (published by SSEYO and Opal Arts in April 1996), which is probably his first public use of the term generative music.
 Lerdahl and Jackendoff's publication described a generative grammar for homophonic tonal music, based partially on a Schenkerian model.  While originally intended for analysis, significant research into automation of this process in software is being carried out by Keiji Hirata and others.
 In It's Gonna Rain, an early work by contemporary composer Steve Reich, overlapping tape loops of the spoken phrase "it's gonna rain" are played at slightly different speeds, generating different patterns through phasing.
 A limited form of generative music was attempted successfully by members of the UK electronic music act Unit Delta Plus; Delia Derbyshire, Brian Hodgson and Peter Zinovieff, in 1968. However, its use would only be popularized later on.

See also

Footnotes

References
Artística de Valencia, After The Net, 5 – 29 June 2008, Valencia, Spain: catalogue: Observatori 2008: After The Future, p. 80
Biles, A. 2002a. GenJam in Transition: from Genetic Jammer to Generative Jammer. In International Conference on Generative Art, Milan, Italy.
Chomsky, N. 1956. Three models for the description of language. IRE Transcripts on Information Theory, 2: 113-124.
Collins, N. 2008. The analysis of generative music programs. Organised Sound, 13(3): 237–248.
Cope, D. 1991. Computers and musical style. Madison, Wis.: A-R Editions.
Dorin, A. 2001. Generative processes and the electronic arts. Organised Sound, 6 (1): 47-53.
Eno, B. 1996. Generative Music. http://www.inmotionmagazine.com/eno1.html (accessed 26 February 2009).
Essl, K. 2002. Generative Music. http://www.essl.at/bibliogr/generative-music.html (accessed 22 Mar 2010).
García, A. et al. 2010. Music Composition Based on Linguistic Approach. 9th Mexican International Conference on Artificial Intelligence, MICAI 2010, Pachuca, Mexico. pp. 117–128.
Intermorphic Limited History of Noatikl, Koan and SSEYO (accessed 26 February 2009).
Lerdahl, F. and R. Jackendoff. 1982. A generative theory of tonal music. Cambridge, Mass: MIT Press.
Lippe, C. 1997. Music for piano and computer: A description. Information Processing Society of Japa SIG Notes, 97 (122): 33-38.
Loy, G. and C. Abbott. 1985. Programming languages for computer music synthesis, performance and composition. ACM Computing Surveys, 17 (2): 235-265.
Nierhaus, G. Algorithmic Composition - Paradigms of Automated Music Generation. Springer 2009.
Rowe, R. 1991. Machine Learning and Composing: Making Sense of Music with Cooperating Real-Time Agents. Thesis from Media Lab. Mass.: MIT.
Winkler, T. 1998. Composing Interactive Music. Cambridge, Massachusetts: MIT Press.
Wooller, R., Brown, A. R, et al. A framework for comparing algorithmic music systems. In: Symposium on Generative Arts Practice (GAP). 2005. University of Technology Sydney.

Computer music software

Generative music


Pinheiro Novo, Portekiz'de Vinhais belediyesine bağlı olan, 32,92 km2 yüzölçümüne sahip, 106 nüfuslu (2011) bir bucaktır (Portekizce: freguesia).

Vinhais'in bucakları

Pinheiro Novo


Another Side of Bob Dylan is the fourth studio album by American singer and songwriter Bob Dylan, released on August 8, 1964, by Columbia Records.

The album deviates from the more socially conscious style which Dylan had developed with his previous LP, The Times They Are A-Changin'. The change prompted criticism from some influential figures in the folk community – Sing Out! editor Irwin Silber complained that Dylan had "somehow lost touch with people" and was caught up in "the paraphernalia of fame".

Despite the album's thematic shift, Dylan performed the entirety of Another Side of Bob Dylan as he had previous records – solo. In addition to his usual acoustic guitar and harmonica, Dylan provides piano on one track, "Black Crow Blues." Another Side of Bob Dylan reached No. 43 in the United States (although it eventually went gold), and peaked at No. 8 on the UK charts in 1965.

A high-definition 5.1 surround sound edition of the album was released on SACD by Columbia in 2003.

Writing
Throughout 1963, Dylan worked on a novel and a play. A number of publishers were interested in signing Dylan to a contract, and at one point, City Lights (a small but prestigious company specializing in poetry) was strongly considered. However, as Dylan worked on his book at a casual pace, his manager, Albert Grossman, decided to make a deal with a major publisher.

Macmillan's senior editor, Bob Markel, said, "We gave [Dylan] an advance for an untitled book of writings … The publisher was taking a risk on a young, untested potential phenomenon." When Markel met with Dylan for the first time, "there was no book at the time … The material at that point was hazy, sketchy. The poetry editor called it 'inaccessible.' The symbolism was not easily understood, but on the other hand it was earthy, filled with obscure but marvelous imagery … I felt it had a lot of value and was very different from Dylan's output till then. [But] it was not a book."

It would be years before Dylan finished his book, but the free form poetry experiments that came from it eventually influenced his songwriting. The most notable example came in a six-line coda to a poem responding to President John F. Kennedy's assassination (which took place on November 22, 1963):

the colors of Friday were dull / as cathedral bells were gently burnin / strikin for the gentle / strikin for the kind / strikin for the crippled ones / an strikin for the blind

This refrain would soon appear in a very important composition, "Chimes of Freedom", and, as biographer Clinton Heylin writes, "with this sad refrain, Dylan would pass from topical troubadour to poet of the road."

In February 1964, Dylan embarked on a 20-day trip across the United States. Riding in a station wagon with a few friends (Paul Clayton, Victor Maymudes, and Pete Karman), Dylan began the trip in New York, taking numerous detours through many states before ending the trip in California. (At one point, Dylan reportedly paid a visit to poet Carl Sandburg.) "We talked to people in bars, miners," Dylan would later say. "Talking to people – that's where it's at, man."

According to Heylin, "the primary motivation for this trip was to find enough inspiration to step beyond the folk-song form, if not in the bars, or from the miners, then by peering deep into himself." Dylan spent much time in the back of the station wagon, working on songs and possibly poetry on a typewriter. It was during this trip that Dylan composed "Chimes of Freedom", finishing it in time to premiere at a Denver concert on the 15th. "Mr. Tambourine Man" was also composed during this trip.

It was also during this trip that the Beatles arrived in America. Their first visit to the United States remains a touchstone in American culture. Maymudes recalled how Dylan "nearly jumped out the car" when "I Wanna Hold Your Hand" came on the radio and his comments: "Did you hear that?..that was fuckin' great! Oh man.." and how Dylan seemed lost in thought replaying the record over in his head. Dylan, however, had already been following the Beatles since 1963. There have been different accounts regarding Dylan's attitude towards the Beatles at this time, but it's known that Suze Rotolo and Al Aronowitz immediately took to them and championed their music to Dylan. Aronowitz later claimed that Dylan dismissed them as "bubblegum", but in an interview in 1971, Dylan recalls being impressed by their music. "We were driving through Colorado, we had the radio on, and eight of the Top 10 songs were Beatles songs … 'I Wanna Hold Your Hand,' all those early ones. They were doing things nobody was doing. Their chords were outrageous, just outrageous, and their harmonies made it all valid … I knew they were pointing the direction of where music had to go."

In January, while the Beatles were in France, George Harrison bought the French release of The Freewheelin' Bob Dylan, titled En Roue Libre, which they played repeatedly, impressed by the lyrics and "just the attitude!".  As the Beatles began to influence Dylan and vice versa, Dylan's personal life was undergoing a number of significant changes. When Dylan returned to New York in March, he rented an electric guitar. He continued his romance with folksinger Joan Baez, though their stage appearances together began to dwindle. Dylan's girlfriend Suze Rotolo apparently had had enough of the affair. Soon after Dylan returned to New York, the two had an argument. At the time, Suze was staying with her sister Carla, and when Carla intervened, Dylan began screaming at Carla. Carla ordered Dylan to leave, but he refused to go. Carla Rotolo pushed Dylan, and he pushed her back. The two of them were soon practically fighting. Friends were called and Dylan had to be forcibly removed, effectively ending his relationship with Suze Rotolo. In a 1966 interview, Dylan admitted that after their relationship ended, "I got very, very strung out for a while. I mean, really, very strung out."

One account of Dylan's first experience with psychedelics places it in April 1964; producer Paul Rothchild told Bob Spitz that he was present when Dylan took his first hit of LSD. By February 1964, Dylan was already telling his friends that "Rimbaud's where it's at. That's the kind of stuff means something. That's the kind of writing I'm gonna do." A nineteenth-century French poet, Rimbaud once wrote to his mentor Georges Izambard that "the poet makes himself a seer by a long, prodigious and rational disordering of the senses … He reaches [for] the unknown and even if, crazed, he ends up by losing the understanding of his visions, at least he has seen them." (Dated May 1871) Dylan's early experimentation with hallucinogens has often been connected with the dramatic development his songwriting would soon take, but Dylan himself has denied any connection.

Dylan later left for Europe, completing a few performances in England before traveling to Paris where he was introduced to a German model, Christa Paffgen, who went by the name of Nico. After treating Dylan to a meal at her flat, Nico accompanied Dylan across Europe, a trip that passed through Germany before ending in Vouliagmeni, a small village outside of Athens, Greece. Dylan stayed at Vouliagmeni for more than a week, finishing many of the songs that would appear on his fourth and upcoming album. Nine songs of these would be recorded upon his return to New York: "All I Really Want to Do", "Spanish Harlem Incident", "To Ramona", "I Shall Be Free No. 10", "Ballad in Plain D", "It Ain't Me, Babe", "Mama, You Been on My Mind", "Denise Denise", and "Black Crow Blues". Dylan also completed another song called "I'll Keep It With Mine", which, according to Nico, was "about me and my little baby". Dylan gave the song to Nico, who would eventually record it for her own album, Chelsea Girl, released in 1967.

Recording
With Dylan's commercial profile on the rise, Columbia was now urging Dylan to release a steady stream of recordings. Upon Dylan's return to New York, studio time was quickly scheduled, with Tom Wilson back as producer.

The first (and only) recording session was held June 9 at Columbia's Studio A, located at 799 Seventh Avenue in New York City. According to Heylin, "while polishing off a couple of bottles of Beaujolais," Dylan recorded 14 original compositions, in a single three-hour session between 7pm and 10pm that night, 11 of which were chosen for the final album. The three that were ultimately rejected were "Denise Denise," "Mr. Tambourine Man," and "Mama, You Been on My Mind."

Nat Hentoff's article on Dylan for The New Yorker, published in late October 1964, includes remarkable descriptions of the June 9 session. Hentoff describes in considerable detail the atmosphere in the CBS recording studio and Dylan's own asides and banter with his friends in the studio, with the session's producers, and Hentoff himself.

Ramblin' Jack Elliott was present during part of this session, and Dylan asked him to perform on "Mr. Tambourine Man." "He invited me to sing on it with him," recalls Elliott, "but I didn't know the words 'cept for the chorus, so I just harmonized with him on the chorus." Only one complete take was recorded, with Dylan stumbling on some of the lyrics. Though the recording was ultimately rejected, Dylan would return to the song for his next album.

By the time Dylan recorded what was ultimately the master take of "My Back Pages," it was 1:30 in the morning. Master takes were selected, and after some minor editing, a final album was soon sequenced.

Songs and themes
As Dylan told Nat Hentoff in The New Yorker, "there aren't any finger-pointin' songs" on Another Side of Bob Dylan, which was a significant step in a new direction. Music critic Tim Riley writes, "As a set, the songs constitute a decisive act of noncommitment to issue-bound protest, to tradition-bound folk music and the possessive bonds of its audience [...] The love songs open up into indeterminate statements about the emotional orbits lovers take, and the topical themes pass over artificial moral boundaries and leap into wide-ranging social observation."

"The compassion that laces all the complaints in 'All I Really Want to Do' and 'It Ain't Me, Babe' is round with idealism and humor," writes Riley. "That [both songs] work off a pure Jimmie Rodgers yodel only makes their ties to wide-open American optimism that much more enticing (even though they are both essentially reluctant good-byes)."

"Black Crow Blues" is a traditional 12-bar blues arrangement with original lyrics.

"'Spanish Harlem Incident' is a new romance that pretends to be short and sweet," writes Riley, "but it's an example of how Dylan begins using uncommon word couplings to evoke the mysteries of intimacy … her 'rattling drums' play off his 'restless palms'; her 'pearly eyes' and 'flashing diamond teeth' off his 'pale face.'"

"Chimes of Freedom" can be traced to "Lay Down Your Weary Tune", an outtake from The Times They Are A-Changin'. "Its sense of the power of nature...closely mirrors 'Lay Down Your Weary Tune,'" writes Clinton Heylin. "Unashamedly apocalyptic … the composition of 'Chimes of Freedom' represented a leap in form that permitted even more intensely poetic songs to burst forth."

Along with the later track "Motorpsycho Nitemare", the lyrics on "I Shall Be Free No. 10" has been referred to as "surrealistic talking blues".

Described by Heylin as "the most realized song on Another Side", "To Ramona" is one of the most celebrated songs on the album. A soft, tender waltz, Riley writes that the song "extends the romance from ideals of emotional honesty out into issues of conditioned conformity ('From fixtures and forces and friends / That you gotta be just like them') … in 'Spanish Harlem Incident,' [Dylan's] using flattery as a front for the singer's own weak self-image; in 'To Ramona,' he's trying to save his lover from herself if only because he knows he may soon need the same comfort he's giving her."

"Motorpsycho Nitemare", based in part on Alfred Hitchcock's movie Psycho, satirizes both the rise of the American '60s counter-culture as well as the mainstream's paranoid reactions to it.

Riley describes "My Back Pages" as "a thorough X-ray of Dylan's former social proselytizing … Dylan renounces his former over-serious messianic perch, and disowns false insights." ("I was so much older then / I'm younger than that now.")

Described by Riley as "the unalloyed sting of a romantic perfidy", "I Don't Believe You (She Acts Like We Never Have Met)" would be dramatically rearranged for a full-electric rock band during Dylan's famous 1966 tour with The Hawks.

According to Heylin, "Ballad in Plain D" takes its melody and refrain ("my friends say unto me …") from the Scottish folk song, "I Once Loved A Lass (The False Bride)". "The song graphically details the night of his breakup with Suze," writes Heylin. "Dylan's portrayal of Carla as the 'parasite sister' remains a cruel and inaccurate portrait of a woman who had started out as one of [Dylan's] biggest fans, and changed only as she came to see the degrees of emotional blackmail he subjected her younger sister to." Asked in 1985 if there were any songs he regretted writing, Dylan singled out "Ballad in Plain D", saying "I look back at that particular one and say … maybe I could have left that alone."

"It Ain't Me, Babe" also reworks the same "Scarborough Fair" arrangement that was written into Dylan's earlier compositions, "Girl from the North Country" and "Boots of Spanish Leather". Johnny Cash would record his own hit version of this song soon after Another Side of Bob Dylan was released, while The Turtles' version would chart even higher.

Four songs from Another Side of Bob Dylan were eventually recorded by The Byrds: "Chimes of Freedom", "My Back Pages", "Spanish Harlem Incident", and "All I Really Want to Do". In addition, they were introduced to their breakthrough hit single "Mr. Tambourine Man" through a copy of Dylan's unreleased recording from the June 9, 1964, album session. All received their share of critical acclaim.

Reception

As Another Side of Bob Dylan was prepared for release, Dylan premiered his new songs at the Newport Folk Festival in July 1964. The festival also marked Dylan's first meeting with Johnny Cash; Dylan was already an admirer of Cash's music, and vice versa. The two spent a night jamming together in Joan Baez's room at the Viking Motor Inn. According to Cash, "we were so happy to [finally] meet each other that we were jumping on the beds like kids." The next day, Cash performed Dylan's "Don't Think Twice, It's All Right" as part of his set, telling the audience that "we've been doing it on our shows all over the country, trying to tell the folks about Bob, that we think he's the best songwriter of the age since Pete Seeger...Sure do."

Though the audience at Newport seemed to enjoy Dylan's new material, the folk press did not. Irwin Silber of Sing Out and David Horowitz criticized Dylan's direction and accused Dylan of succumbing to the pressures/temptations of fame. In an open letter to Dylan published in the November issue of Sing Out, Silber wrote "your new songs seem to be all inner-directed now, inner-probing, self-conscious" and, based on what he saw at Newport, "that some of the paraphernalia of fame [was] getting in your way." Horowitz called the songs an "unqualified failure of taste and self-critical awareness."

The album was a step back commercially, failing to make the Top 40, indicating that record consumers may have had a problem as well.

Dylan soon defended his work, writing that "the songs are insanely honest, not meanin t twist any heads an written only for the reason that i myself me alone wanted and needed t write them." (sic)

Dylan conceded in 1978 that the album title was not to his liking. "I thought it was just too corny," he said, "I just felt trouble coming when they titled it that." However, it's worth noting that the original manuscripts to the album make two references to the eventual album title: an early draft of "I Shall Be Free No. 10" has the line "You're on another side" while the only line occupying one final page says "there is no other side of bob dylan."

Legacy

Years later, mixed reactions over Another Side of Bob Dylan remained but not for the same reasons. Critics later viewed it as a 'transitional' album. Clinton Heylin claimed that "Dylan was simply too close to the experiences he was drawing upon to translate them into art. He was also still experimenting with the imagery found on 'Chimes of Freedom' and 'Mr. Tambourine Man.' 'My Back Pages,' the least successful example of the new style, was replete with bizarre compound images ('corpse evangelists,' 'confusion boats,' etc.)." Salon.com critic Bill Wyman dismissed it as "a lesser, 'relationship' album", but conceded that "Chimes of Freedom" was a "lovely hymn to the 'countless confused, accused, misused, strung-out ones an' worse'."

However, Tim Riley called it "a bridge between folkie rhetoric (albeit superior) and his troika of electric rants...a rock album without electric guitars, a folk archetype that punches through the hardy, plainspoken mold. Built on repeated riffs and coaxed by the controlled anxiety of Dylan's voice, the songs work off one another with intellectually charged élan. It's a transition album with a mind of its own." It was voted number 133 in Colin Larkin's All Time Top 1000 Albums 3rd Edition (2000).

Outtakes

A complete take of "Mama, You Been On My Mind" was recorded for the album, but for reasons unknown, it was rejected. Described by Tim Riley as "the echo of a left-behind affair that rebounds off a couple of self-aware curves ('I am not askin' you to say words like 'yes' or 'no,' / … I'm just breathin' to myself, pretendin' not that I don't know)", the song was soon covered by Joan Baez, as well as Judy Collins, who had a considerable amount of commercial success with it. Dylan's version would not see release until The Bootleg Series Volumes 1–3 (Rare & Unreleased) 1961–1991 in 1991. However, Dylan would periodically perform the song in concert, occasionally with Baez as his duet partner. Rod Stewart would later cover the song for his critically acclaimed album, Never a Dull Moment, and a version by Jeff Buckley appears as an out-take on the 2004 reissue of Grace. Johnny Cash covered the song on his album Orange Blossom Special. It was covered by Linda Ronstadt on her 1969 album Hand Sown ... Home Grown with altered lyrics as "Baby, You've Been On My Mind".

Though "Mr. Tambourine Man" would be re-recorded for Dylan's next album, Sony released the complete take recorded for Another Side of Bob Dylan on The Bootleg Series Vol. 7: No Direction Home: The Soundtrack in 2005. Unlike the familiar version recorded for Bringing It All Back Home, this early version has a harmonica intro as well as Ramblin' Jack Elliott singing harmony vocals on the chorus. It was an acetate copy of this version of the song that found its way to the newly formed Byrds in late 1964, leading to their breakthrough electrified recording of the song.

Dylan also recorded two additional songs that did not make the album. The first is "Denise Denise", a song which uses the same music as "Black Crow Blues" but with different lyrics. The second is "California", which again uses "Black Crow Blues"' music as the basic structure of the song. A small section of the "California" lyrics were reused in "Outlaw Blues", a song that appeared on Dylan's next album, Bringing It All Back Home. Both outtakes are circulating.

Track listing

Personnel
Bob Dylan – vocals, acoustic guitar, piano, harmonica
Tom Wilson – production

Charts

Certifications

References

1964 albums
Albums produced by Tom Wilson (record producer)
Bob Dylan albums
Columbia Records albums
Albums recorded at CBS 30th Street Studio

Another Side of Bob Dylan


زويد: في علم النبات، زويد هي الخلايا التناسلية (أو الأمشاج) التي تمتلك سوطاً واحدا أو أكثر من سوط، وتكون قادرة على الحركة المستقلة.

مراجع

أوليات
سوطيات
سوطيات متغايرة

زويد


Anilidi (anil[in] + -id) su organski kemijski spojevi koji nastaju kada se jedan vodikov atom iz –NH2 skupine anilina zamijeni ostatkom organske kiseline, pri čemu se izdvaja voda. Tako na primjer reakcijom octene kiseline i anilina nastaje acetanilid, C6H5NHCOCH3. Anilidi se upotrebljavaju za pripravu lijekova i sredstava za zaštitu bilja.

Acetanilid

Acetanilid (acet- + anilid), C6H5NHCOCH3, je bijela kristalna tvar. Nastaje reakcijom octene kiseline s anilinom. Služio je u medicini kao antipiretik (sredstvo za snižavanje povišene tjelesne temperature) i analgetik (antifebrin), a danas je zamijenjen manje otrovnim analgeticima. Upotrebljava se u sintezi drugih lijekova i bojila.

Izvori

Vanjske poveznice

Funkcionalne skupine

Anilidi


Un proces izotermic sau transformare izotermică este o transformare a unui sistem termodinamic în care temperatura rămâne constantă: . Aceasta se întâmplă de obicei atunci când un sistem este în contact cu un rezervor termic exterior (baie de căldură), iar schimbarea în sistem va avea loc destul de încet pentru a permite sistemului menținerea la temperatura rezervorului prin schimbul de căldură.

În schimb, un proces adiabatic este acela în care un sistem nu schimbă căldură cu mediul . Cu alte cuvinte, într-un proces izotermic, valoarea  și prin urmare schimbarea energiei interne  (numai pentru un gaz ideal), dar , în timp ce într-un proces adiabatic,  dar .

Se poate reprezenta în coordonate Clapeyron prin hiperbole echilatere denumite izoterme. Izotermele situate mai departe de originea axelor de coordonate corespund unor temperaturi mai mari.

Este descris, pentru cazul gazului ideal, de legea Boyle-Mariotte. Abaterile observate pentru gazele reale cresc simultan cu presiunea gazului.

Note

Bibliografie
 Bazil Popa (coord.), Manualul inginerului termotehnician, vol. 1, București: Editura Tehnică, 1986
 Ioan Vlădea, Tratat de termodinamică tehnică și transmiterea căldurii, București: Editura Didactică și Pedagogică, 1974
 Elena Dragomirescu, Liviu Enache, Biofizică, Editura Didactică și Pedagogică, București, 1993

Procese termodinamice
Termodinamică atmosferică

Proces izotermic


El bobito punteado, coludo, tol o buco bobito (Hypnelus ruficollis) es una especie de ave galbuliforme de la familia de los bucónidos que se encuentra en Colombia y Venezuela.

Hábitat
Es bastante común en el bosque seco y en matorrales secos, por debajo de los 1.200 m de altitud.

Descripción
Mide 22 cm de longitud y pesa 50 g. Es un ave rechoncha con cabeza grande, cola larga y un grueso pico negro enganchado en la punta. La cara es blanca con ojos grandes; el iris es amarillo. Las partes superiores son de color marrón, con manchas blanquecinas y las puntas de las alas blancas. Las partes inferiores varían considerablemente, según la subespecie.

Las subespecies que se encuentran al este de los Andes tiene sólo una banda en el pecho, la garganta rojiza rufa y las partes inferiores blancas o color ante. Las dos subespecies occidentales, H. r. bicinctus y H. r.  stoicus, tienen la garganta de color canela a blanquecino, las partes inferiores color de ante y dos bandas color marrón oscuro en el pecho, y algunos expertos consideran este grupo como una especie separada, el buco bicinto o buco de dos bandas (Hypnelus bicinctus Gould, 1837), sin embargo, ambos grupos se han cruzado en el lago de Maracaibo.

Llama con una serie larga de notas woduk, frecuentemente interpretadas sincrónicamente por un par de aves.

Alimentación
Es insectívoro, también caza lagartijas y otros animales pequeños.

Reproducción
Excava un nido en forma de madriguera, en una colonia de termitas arbóreas y la hembra pone tres huevos blancos.

Referencias

Enlaces externos

Bucconidae
Aves de América del Sur
Taxones descritos por Johann Georg Wagler
Animales descritos en 1829

Hypnelus ruficollis


Invocation, op. 5, est une œuvre de la compositrice Mel Bonis, datant de 1887.

Composition
Mel Bonis compose son Invocation pour voix seule avec accompagnement de piano en 1887. Le texte est celui d'Édouard Guinand. L'œuvre n'est publiée qu'à titre posthume par les éditions Armiane en 2001, puis en 2014.

Analyse
Le style musical est plutôt léger, tout comme le suggèrent les thématiques de son texte.

Réception

Discographie
 Ombres - Compositrices de La Belle Époque, Laetitia Grimaldi (soprano), Ammiel Bushakevitz (Piano), SKU 5000488, janvier 2022

Références

Sources

Liens externes

Œuvre de Mel Bonis
Mélodie française
Œuvre réalisée en 1887

Invocation de Bonis


Cimitirul Noratus (în armeană: Նորատուսի գերեզմանատուն) este un cimitir medieval din satul Noratus, Armenia. Acesta conține peste 800 de hacikare.

Referințe

Cimitire
Cioturi Armenia

Cimitirul Noratus din Armenia