Phalloidin belongs to a class of toxins called phallotoxins, which are found in the death cap mushroom (Amanita phalloides). It is a rigid bicyclic heptapeptide that is lethal after a few days when injected into the bloodstream. The major symptom of phalloidin poisoning is acute hunger due to the destruction of liver cells. It functions by binding and stabilizing filamentous actin (F-actin) and effectively prevents the depolymerization of actin fibers. Due to its tight and selective binding to F-actin, derivatives of phalloidin containing fluorescent tags are used widely in microscopy to visualize F-actin in biomedical research.

Discovery and background
Phalloidin was one of the first cyclic peptides to be discovered. It was isolated from the death cap mushroom and crystallized by Feodor Lynen and Ulrich Wieland in 1937. Its structure is unusual in that it contains a cysteine-tryptophan linkage to form a bicyclic heptapeptide. This linkage had not been characterized before and makes the structure elucidation of phalloidin significantly more difficult. They determined the presence of the sulfur atom using UV spectroscopy and found that this ring structure had a slightly shifted wavelength. Raney nickel experiments confirmed the presence of sulfur in the tryptophan ring. The researchers found the desulfurized phalloidin was still circular, which demonstrated that the structure of phalloidin is normally bicyclic. Once linearized, the amino acid sequence of de-sulfurized phalloidin was elucidated through Edman degradation by Wieland and Schön in 1955.

Due to its high affinity for actin, scientists discovered its potential use as a staining reagent for effective visualization of actin in microscopy. Derivatives conjugated with fluorophores are sold widely. Because of its ability to selectively bind filamentous actin (F-actin) and not actin monomers (G-actin), fluorescently labeled phalloidin is more effective than antibodies against actin.

Synthesis

Biosynthesis
Phalloidin is a bicyclic heptapeptide containing an unusual cysteine-tryptophan linkage. The gene coding for synthesis of phalloidin is part of the MSDIN family in the Death Cap mushroom and codes for a 34 amino acid propeptide. A proline residue flanks the seven-residue region that will later become phalloidin. After translation, the peptide must be proteolyticly excised, cyclized, hydroxylated, Trp-Cys cross-linked to form tryptathionine, and epimerized to form a D-Thr. The order and exact biochemical mechanism for these steps is not yet fully understood. The current belief is that the necessary biosynthetic genes are clustered near the MSDIN genes.

The first post-translational modification of the 34-mer is proteolytic cleavage via a prolyl oligopeptidase (POP) to remove the 10-amino acid "leader" peptide. The POP then cyclizes the heptapeptide Ala-Trp-Leu-Ala-Thr-Cys-Pro by transpeptidation between amino acid 1 (Ala) and amino acid 7 (Pro). It is believed that the formation of tryptathionine through Trp-Cys cross-linking occurs next.

Chemical synthesis
Since phalloidin is exploited for its ability to bind and stabilize actin polymers but cells cannot readily uptake it, scientists have found phalloidin derivatives to be more useful in research. Essentially, it follows typical small peptide synthesis, using hydroxyl-proline. The major difficulty in synthesis is the formation of the tryptathionine bond (cysteine - tryptophan cross-linkage).

Below is the general synthetic mechanism carried out by Anderson et al. in 2005 for the solid phase synthesis of ala7-phalloidin, which differs at residue 7 from phalloidin as indicated below. THPP stands for tetrahydropyranyl polystyrene linker, which is used to connect the molecule with the solid support during synthesis. Note that the synthesis below is simply a general scheme to show the order of bond formation to connect the starting materials. Ala7-phalloidin as well as many other similar variants of phalloidin are useful to increase cell uptake relative to phalloidin and to attach a fluorophore to aid in the visualization of F-actin in microscopy.

The first total synthesis of phalloidin was achieved through a combination of solid phase and solution phase synthesis (Baosheng Liu and Jianheng Zhang, United States Patent, US 8,569,452 B2). The physical and chemical properties of the synthetic phalloidin are the same as the naturally occurring phalloidin.

Mechanism of action
Phalloidin binds F-actin, preventing its depolymerization and poisoning the cell. Phalloidin binds specifically at the interface between F-actin subunits, locking adjacent subunits together. Phalloidin, a bicyclic heptapeptide, binds to actin filaments much more tightly than to actin monomers, leading to a decrease in the rate constant for the dissociation of actin subunits from filament ends, which essentially stabilizes actin filaments through the prevention of filament depolymerization. Moreover, phalloidin is found to inhibit the ATP hydrolysis activity of F-actin. Thus, phalloidin traps actin monomers in a conformation distinct from G-actin and it stabilizes the structure of F-actin by greatly reducing the rate constant for monomer dissociation, an event associated with the trapping of ADP. Overall, phalloidin is found to react stoichiometrically with actin, strongly promote actin polymerization, and stabilize actin polymers.

Phalloidin functions differently at various concentrations in cells. When introduced into the cytoplasm at low concentrations, phalloidin recruits the less polymerized forms of cytoplasmic actin as well as filamin into stable "islands" of aggregated actin polymers, yet it does not interfere with stress fibers, i.e. thick bundles of microfilaments. Wehland et al. also notes that at higher concentrations, phalloidin induces cellular contraction.

Symptoms
Soon after its discovery, scientists injected phalloidin into mice and discovered its LD50 is 2 mg/kg via IP injection. When exposed to the minimum lethal dose, it took several days for these mice to die. The only apparent side effect of phalloidin poisoning is extreme hunger. This is because phalloidin is only taken up by the liver via bile salt membrane transport proteins. Once inside the liver, phalloidin binds F-actin, preventing its depolymerization. It takes time for this process to destroy the liver cells. The kidneys can also take up phalloidin, but not as effectively as the liver. Here, phalloidin causes nephrosis.

Use as an imaging tool

The properties of phalloidin make it a useful tool for investigating the distribution of F-actin in cells by labeling phalloidin with fluorescent analogs and using them to stain actin filaments for light microscopy. Fluorescent derivatives of phalloidin have turned out to be enormously useful in localizing actin filaments in living or fixed cells as well as for visualizing individual actin filaments in vitro. A high-resolution technique was developed to detect F-actin at the light and electron microscopic levels by using phalloidin conjugated to the fluorophore eosin which acts as the fluorescent tag. In this method known as fluorescence photo-oxidation, fluorescent molecules can be utilized to drive the oxidation of diaminobenzidine (DAB) to create a reaction product that can be rendered electron dense and detectable by electron microscopy. The amount of fluorescence visualized can be used as a quantitative measure of the amount of filamentous actin there is in cells if saturating quantities of fluorescent phalloidin are used. Consequently, immunofluorescence microscopy along with microinjection of phalloidin can be used to evaluate the direct and indirect functions of cytoplasmic actin in its different stages of polymer formation. Therefore, fluorescent phalloidin can be used as an important tool in the study of actin networks at high resolution.

Uses and limitations

Phalloidin is much smaller than an antibody that would typically be used to label cellular proteins for fluorescent microscopy which allows for much denser labeling of filamentous actin and much more detailed images can be acquired particularly at higher resolutions.

Unmodified phalloidins do not permeate cell membranes, making them less effective in experiments with living cells. Derivatives of phalloidin with greatly increased cell permeability have been synthesized.

Cells treated with phalloidins exhibit a number of toxic effects and frequently die. Furthermore, it is important to note that phalloidin-treated cells will have greater levels of actin associated with their plasma membranes, and the microinjection of phalloidin into living cells will change actin distribution as well as cell motility.

See also

Cytoskeleton

References

Mycotoxins found in Basidiomycota
Actin inhibitors
Tryptamines

de:Phallotoxin#Phalloidin

Phalloidin


La Loi visant à aider les personnes victimes d'infractions criminelles et à favoriser leur rétablissement (LAPVIC) est une loi québécoise qui est entrée en vigueur le 13 octobre 2021. Cette loi remplace la Loi sur l'indemnisation des victimes d'actes criminels (LIVAC, en vigueur depuis 1972) et la Loi sur l'aide aux victimes d'actes criminels (LAVAC, en vigueur depuis 1985). La loi vise à reconnaître les droits des personnes victimes d'une infraction criminelle et à répondre à leurs besoins en leur donnant droit à des services efficaces, justes et impartiaux et en leur accordant de l'aide financière. L'aide financière est octroyée par l'IVAC (Indemnisation des victimes d'actes criminels) qui relève de la Commission des normes, de l'équité, de la santé et de la sécurité du travail (CNESST).

Contexte d'adoption de la loi
En 2019, la ministre de la Justice du Québec, Sonia LeBel, a souhaité réformer entièrement l'organisme de l'IVAC à la suite de la parution d'un rapport spécial en 2016 du Protecteur du citoyen. Celui-ci indiquait : « À l'issue de son enquête, le Protecteur du citoyen identifie plusieurs lacunes dans l'administration du régime. Elles dénotent toutes des manquements à des obligations essentielles inscrites notamment à la Loi sur la justice administrative en matière de qualité, de célérité et d'accessibilité des services, ou aux principes découlant de l'esprit de la Loi sur l'indemnisation des victimes d'actes criminels, qui commande une interprétation large et libérale en raison de sa vocation sociale et réparatrice ».

Nouvelles mesures prévues par la loi
D'après un communiqué émis par le ministre de la Justice du Québec, Simon Jolin-Barrette, le 10 décembre 2020 lors du dépôt du projet de loi 84, la réforme prévoit :
 revoir la notion de victime en matière d'indemnisation;
 abolir la liste des infractions établie à la Loi et couvrir toutes les infractions contre les personnes, aux fins de l'indemnisation;
 rendre imprescriptibles les demandes d'indemnisation concernant les infractions commises en contexte de violence sexuelle, de violence subie pendant l'enfance et de violence conjugale;
 permettre l'admissibilité au régime d'indemnisation des personnes victimes d'une infraction à l'étranger;
 la mise en place d'une aide financière d'urgence pour les besoins de base, l'hébergement et le transport vers cet hébergement;
 des mesures concrètes dans le but d'être davantage à l'écoute des personnes victimes et de reconnaître leur rôle central dans le cadre du processus judiciaire;
 des mesures de protection accrues pour les personnes victimes, notamment lors des audiences;
 une meilleure collaboration entre les différents organismes communautaires du milieu;
 augmenter l'accès à l'aide psychologique pour les personnes victimes, notamment pour les parents d'enfants assassinés;
 permettre l'accès à une plus large gamme de professionnelles et professionnels, comme les travailleuses et travailleurs sociaux et les sexologues;
 offrir un soutien adapté aux personnes victimes jusqu'à leur rétablissement;
 assurer l'accès à de l'information claire et précise le plus rapidement possible;
 mettre en place un service d'information juridique à l'intention des personnes victimes.

Liens externes
Texte intégral de la loi
Loi visant à aider les personnes victimes d'infractions criminelles et à favoriser leur rétablissement (Justice Québec)
Accompagnement des personnes victimes (Québec.ca)

Notes et références

Loi québécoise


Frutos Feo Pérez (El Perdigón, Zamora, España, 1 de enero de 1972) es un exvelocista español que se especializó en los 100 metros.

Terminó séptimo en el relevo 4 x 100 metros en el Campeonato Mundial de 1997, junto con sus compañeros de equipo José Venancio, Jordi Mayoral y Carlos Berlanga con una marca de 38,60 segundos, récord nacional en la especialidad.

Su mejor marca personal es 10,20 segundos, lograda en julio de 1997 en Salamanca.

Referencias

Atletas de España
Atletas de la Asociación Atlética Moratalaz
Nacidos en El Perdigón
Deportistas de la provincia de Zamora

Frutos Feo


Dijital sanat veya sayısal sanat, genel anlamda üretilişinde bilgisayarın rol aldığı, fiziksel olmayan nesnelerin üretilmesiyle gerçekleşen sanat biçimine denir. Bu süreçte bilgisayar geleneksel anlamda bir yardımcı araçtan, vazgeçilmez bir ortak yaratıcı konumuna kadar uzanan tayfın herhangi bir yerinde bulunabillir. Sürecinde bilgisayarın sadece alışılageldik kullanımının rol aldığı işler genelde bu sınıflandırmaya alınmazlar. 1990'lardaki dijital devrim sonrası sayıları artan dijital ressamlar ve baskıcılar sanat çevreleri ve müzeleri tarafından fazla kabul görmeseler de internet sanatı ve yazılım sanatı gibi dallar sanat müzelerine girmiştir. Yeni medya sanatı da denmektedir.

Dijital tekniklerin sağladığı imkânların çeşitliliği, sanatçılara bunları araç, ortam veya konu olarak kullanabilme seçimi yaratmıştır. Dijital sanata temelde bu seçimler doğrultusunda bakabiliriz:

Dijital teknolojilerin araç olarak kullanılması
Üretimin bütünü veya bir kademesinde dijital teknolojiler kullanımı.

 Fotoğraf manipülasyonu, Photoshop ile rötuşlamak,
 Video montaj, post-prodüksiyon, video efekt yapmak,
 Ses manipülasyonu, DJ dijital miksaj teknikleri,
 Dijital baskı, yazıcı, plotter, vb ile yapılan üretimler,
 Web tasarımı için üretim teknikleri,
 Programlama, programlama dilleri.

Dijital teknolojilerin ortam olarak kullanılması
Üretilmesinden sunumuna kadar dijital teknolojileri kullanıp olanaklarının irdelenmesi:

 Yerleştirme (Enstalasyon)
 Dijital Performans
 Film, video ve animasyon
 Internet ve ağ sanatı
 Yazılım sanatı ('Software art')
 Sanal gerçeklik (VR), artırılmış gerçeklik (AR) ve genişletilmiş gerçeklik (XR)

Dijital teknolojilerle bağlantılı konuların kullanılması

En etkili şekilde dijital teknolojiler tarafından ifade edilebileceği düşünülen konuların kullanılması:

 Yapay Yaşam
 Sanal Gerçeklik
 Veritabanları ve veri görsellemesi
 Metin ve anlatı ortamları
 Oyunlar
 Aktivizm ve hacktivism
 Elektronik müzik

Dijital sanat eseri

Dijital sanat eseri, dijital olarak kaydedilmiş bir resim verisi, bir hiper-metin (hypertext), bir veritabanı veya bir program olabilir. Geleneksel sanat eserinin aksine, insan tarafından algılanan biçimiyle sanat objesi aynı şey değildir. Temel biçim, teknik bir ortam yoluyla insan tarafından görülür/duyulur/hissedilir hale getirilir. Bu "yeniden sunum"un biçimi sanat eseriyle değil, onu insana ileten teknik ortamla bağlantılıdır. Bu bakımdan dijital sanat ile gösteri sanatları arasında bir benzerlik vardır; bir tiyatro oyunu için yazılan senaryo ile salonda oynanan oyun arasındaki farklılığa benzer bir durum örnek olarak gösterilebilir.

Alt türler
 ASCII sanatı
 bilgisayar sanatı
 bilgisayar müziği
 çip sanat
 Dijital illüstrasyon
 Dijital görüntüleme
 Dijital edebiyat
 Dijital boyama
 Dijital Fotoğrafçılık
 Dijital şiir
 Dijital heykel
 Dijital mimari
 Dinamik Boyama
 Elektronik müzik
 Evrimsel sanat
 Fraktal sanat
 GIF sanatı
 interaktif sanat
 internet sanatı
 Hareket grafikleri
 kripto sanat (NFT)
 Müzik görselleştirme
 fotomanipülasyon
 Piksel sanatı
 Render
 Siber sanatlar
 Sistem sanatı
 Tradijital sanat
 üretken sanat
 üretken müzik
 yazılım sanatı

Kaynakça

 Paul, Christiane (2003): Digital Art: Thames & Hudson Ltd, London
 Manovich, Lev. (2001): The Language of New Media. Cambridge: The MIT Press.

Çağdaş sanat

Dijital sanat


Clayton Stoner (* 19. Februar 1985 in Port McNeill, British Columbia) ist ein ehemaliger kanadischer Eishockeyspieler. Der Verteidiger bestritt zwischen 2009 und 2016 über 300 Partien für die Minnesota Wild und die Anaheim Ducks in der National Hockey League. Zugleich kam er in etwa gleichem Umfang in der American Hockey League zum Einsatz.

Karriere
Clayton Stoner begann seine Karriere als Eishockeyspieler bei den Powell River Kings, für die er von 2000 bis 2002 in der British Columbia Hockey League aktiv war. Anschließend spielte er drei Jahre lang für die Tri-City Americans in der kanadischen Top-Juniorenliga Western Hockey League. In diesem Zeitraum wurde der Verteidiger im NHL Entry Draft 2004 in der dritten Runde als insgesamt 79. Spieler von den Minnesota Wild ausgewählt. Von 2005 bis 2010 lief er für Minnesotas Farmteam Houston Aeros in der American Hockey League auf. In der Saison 2009/10 gab er zudem sein Debüt in der National Hockey League für die Minnesota Wild, in deren NHL-Mannschaft er ab 2010 Stammspieler war.

Anfang Juli 2014 unterzeichnete Stoner einen Vierjahresvertrag bei den Anaheim Ducks. Im Juni 2017 wurde er im NHL Expansion Draft 2017 von den Vegas Golden Knights ausgewählt. Zusätzlich erhielt Vegas Shea Theodore von den Ducks, die damit andere Spieler ihres Kaders vor einer Wahl schützten. Anschließend bestritt Stoner verletzungsbedingt kein Spiel der Saison 2017/18, ehe sein auslaufender Vertrag im Sommer 2018 nicht verlängert wurde. In der Folge beendete er seine aktive Karriere und verblieb in der Organisation der Golden Knights, die ihn als Trainer in ihrem Nachwuchsprogramm anstellten.

Persönliches
Im Mai 2013 tötete Stoner während einer Jagdreise in British Columbia einen an Menschen gewöhnten und von den Ureinwohnern "Cheeky" genannten Grizzlybären. Stoner wurde im Januar 2016 zu einer Geldstrafe von 10.000 $ und drei Jahren Jagdverbot verurteilt. Die von ihm abgeschnittenen Trophäen (Kopf, Tatze und Fell) wurden rückgeführt und im August 2016 in einer traditionellen Zeremonie durch die Ureinwohner beigesetzt.

Erfolge und Auszeichnungen
 2005 WHL West Second All-Star Team

Karrierestatistik

Weblinks

Einzelnachweise

Eishockeyspieler (Tri-City Americans)
Eishockeyspieler (San Diego Gulls, AHL)
Eishockeyspieler (Anaheim Ducks)
Eishockeyspieler (Houston Aeros, AHL)
Eishockeyspieler (Minnesota Wild)
Eishockeyspieler (HC 05 Banská Bystrica)
Kanadier
Geboren 1985
Mann

Clayton Stoner


Bovenberg (en néerlandais : Bovenberg) est une rue bruxelloise de la commune de Woluwe-Saint-Pierre qui va de l'avenue Edmond Parmentier au boulevard de la Woluwe sur une longueur totale de 300 mètres.

Historique et description

Le nom vient de l'ancienne ferme et moulin de Boverbergh déjà en activité en 1288 et dont il reste quelques vestiges.

Situation et accès

Inventaire régional des biens remarquables

Voir aussi

Articles connexes
 Liste des rues de Woluwe-Saint-Pierre

Liens externes

 Commune de Woluwe-Saint-Pierre

Notes et références

 La Chanson des rues de Woluwe-Saint-Pierre de Jean Francis. Louis Musin Éditeur – Bruxelles 1975

Rue à Woluwe-Saint-Pierre

Bovenberg (Bruxelles)


Der Giessen ist eine kleine Halbinsel am Zürichsee und ein Quartier im Ortsteil Wädenswil der Stadt Wädenswil.

Lage
Das Quartier Giessen liegt an einer steilen Uferpassage direkt am See. Die vom Reidbach geformte Halbinsel ist durch die Gleise der Zürichseebahn vom Rest der Ortschaft abgeschnitten und nur über einen Bahnübergang und durch eine Fussgänger-Unterführung zu erreichen.

Geschichte

Erstmals erwähnt wurde der Ort 1468 im Steuerrodel als Mühle "underm Giessen". Im 19. Jahrhundert wurde der Giessen zum Standort diverser Industriebetriebe wie der Tuchfabrik Pfenninger und Teilen der Brauerei Wädenswil.

Die textile Heimarbeit brachte Wädenswil um 1811 den ersten industriellen Aufschwung. 1832 entstand die Tuchfabrik Pfenninger auf der Giessen-Halbinsel. Wädenswil profitierte von der Ablösung der Heimarbeit durch die  Fabrikarbeit von 1900 bis 1910. Der starke wirtschaftliche Aufschwung machte aus dem einstigen Bauerndorf eine Industriegemeinde. Wegen des Niedergangs der Textilindustrie musste die Tuchfabrik Pfenniger den Betrieb 1976 einstellen.

Gegen Ende des 20. Jahrhunderts wandelte sich der Ort zunehmend zum Wohnquartier. Östlich an der Grenze zu Richterswil entstand etwa die Siedlung Staubeweidli, westlich anstelle ausgedienter Industriegebäude der Brauerei die Überbauung Lagomio. Eine weitere Wohnüberbauung unter dem Namen Peninsula direkt auf der Halbinsel ist geplant.

Sehenswürdigkeiten

Die Giessenmühle aus dem 16. Jahrhundert zählt heute zu den ältesten Gebäuden Wädenswils. Die ehemalige Tuchfabrik Pfenninger mit ihrem Hochkamin sowie die ehemaligen Bierlagerstollen der Brauerei Wädenswil sind wichtige Zeugnisse der Industriearchitektur des 19. und frühen 20. Jahrhunderts. Die Textilfabrik Pfenninger wurde 1905 von Robert Maillart entworfen und gilt wegen der grossen Hallen, die dank neuer Statik möglich wurden, als wegweisender Industriebau.
Die vom See aus gut sichtbare neoklassizistische Villa von Albert Kölla gilt als Wahrzeichen der Halbinsel. Die Giessbach Ranch ist der einzige rund um die Uhr geöffnete Gastronomiebetrieb in Wädenswil.

Der Giessbachfall im Tobel des Reidbachs direkt oberhalb von Giessen ist einer der höchsten Wasserfälle der Region Zürichsee. Die Namen Giessbach und Giessen beziehen sich auf diesen Wasserfall, bedeutet doch das althochdeutsche Wort «giezo» fliessendes Wasser oder Wasserfall. Giessbach heisst der unterste Abschnitt des Reidbachs, vom Zinggeler-Weiher an der Einsiedlerstrasse an bis zur Mündung in den Zürichsee auf dem Giessenhorn (vgl. auch «Bäche in Wädenswil» von Peter Ziegler im Jahrbuch 2013 der Stadt Wädenswil).

Literatur
 Peter Ziegler: Aus der Geschichte der Siedlung Gießen in Wädenswil, Wädenswil 1960.
 Peter Ziegler: Wädenswil – Band I und II. Verlag Stutz & Co., Wädenswil 1982.
 Peter Ziegler: Aus der Geschichte der Rotfarb im Giessen, Giessbach und Giessen, Jahrbuch der Stadt Wädenswil 1994, Wädenswil 1994.

Weblinks

 NZZ vom 24. Februar 2010: Wohnen mit Industrie-Chic
 Tages-Anzeiger vom 24. Februar 2010: Luxus für Reiche und Seeweg für alle

Einzelnachweise

Ort im Kanton Zürich
Geographie (Wädenswil)

Giessen (Wädenswil)


O Espólio de Michael Jackson é uma entidade legal estabelecida após a morte do cantor norte-americano Michael Jackson com o propósito de administrar a propriedade de Jackson e supervisionar sua renda póstuma. O último testamento de Jackson foi arquivado pelo advogado John Branca no tribunal do condado de Los Angeles em 1.º de julho de 2009. Assinado em 7 de julho de 2002, o testamento nomeia Branca e o contador John McClain como testamenteiros; eles foram confirmados como tal por um juiz de Los Angeles em 6 de julho de 2009. Todos os ativos são dados ao (pré-existente) Michael Jackson Family Trust (alterado em 22 de março de 2002), cujos detalhes não foram tornados públicos. A Associated Press relata que, em 2007, Michael Jackson tinha um patrimônio líquido de 236,6 milhões de dólares: 567,6 milhões em ativos, que incluíam o Neverland Ranch e sua participação de 50% no catálogo da Sony/ATV Music Publishing, e dívidas de 331 milhões de dólares. A guarda de seus três filhos é dada a sua mãe, Katherine Jackson, ou se ela não puder ou não quiser, à cantora Diana Ross. O testamento de Jackson aloca 20% de sua fortuna, bem como 20% do dinheiro ganho após a morte para instituições de caridade não especificadas.

Em 2012, em uma tentativa de encerrar uma disputa familiar, o irmão de Michael Jackson, Jermaine, retirou sua assinatura em uma carta pública criticando os testamenteiros do espólio de Michael e os conselheiros de sua mãe, Katherine, sobre a legitimidade do testamento de seu irmão. T.J. Jackson, filho de Tito Jackson, recebeu a cotutela dos filhos de Michael Jackson após relatos falsos sobre o desaparecimento de Katherine Jackson. Relatos da mídia sugeriram que o acordo sobre o espólio de Michael Jackson poderia durar muitos anos. O valor da Sony/ATV Music Publishing é estimado por Ryan Schinman, chefe da Platinum Rye, em 1,5 bilhões de dólares. A estimativa de Shinman faz com que a participação de Michael na Sony/ATV valha 750 milhões de dólares, dos quais Michael teria uma renda anual de 80 milhões. Em setembro de 2016, foi concluída um acordo entre a Sony e o espólio de Michael Jackson, onde a Sony adquiriu a parte de Jackson na Sony/ATV 750 milhões de dólares.

Em 2016, o espólio de Michael Jackson rendeu 825milhões de dólares, a maior quantia anual de uma celebridade já registrada pela Forbes. Em julho de 2018, a Sony/ATV comprou a participação de 10% do espólio de Jackson na EMI por 287,5 milhões de dólares.

Ganhos
Em 2016, a Forbes estimou o lucro bruto anual do espólio de Michael Jackson em 825milhões de dólares, o maior já registrado para uma celebridade, principalmente devido à venda do catálogo Sony/ATV. Em 2018, o valor era de 400 milhões. Foi o oitavo ano desde sua morte que os ganhos anuais de Jackson foram relatados em mais de 100milhões de dólares, elevando assim o total pós-morte de Jackson para 2,4bilhões de dólares. Em 2020, a Forbes reconheceu Michael Jackson como a celebridade falecida que mais ganhou em todos os anos desde sua morte, com exceção do ano de 2012.

Tributação do espólio
Os administradores do espólio e o IRS estimaram partes do espólio de forma diferente. O espólio argumentou que seu valor total era de 5,1 milhões de dólares, enquanto o IRS inicialmente estimou o valor do espólio em mais de 500 milhões e depois o reduziu para 481,9 milhões. O IRS também propôs "um adicional de 197 milhões em multas, incluindo uma multa por erro de avaliação bruta". A maior parte da disputa estava relacionada ao valor da imagem de Michael Jackson; o espólio reivindicava um valor de pouco mais de 2 000 dólares; enquanto o IRS inicialmente o avaliou em mais de 434 milhões de dólares. Outras disputas giravam em torno do valor da participação de Michael em um truste que possui algumas canções dele e dos Beatles; o valor da parte de Michael nos direitos das gravações originais do Jackson 5; e os valores de várias ações, títulos e carros de propriedade de Jackson.

Em 2013, o espólio entrou com uma petição no United States Tax Court alegando que o IRS superestimou o valor dos ativos do espólio. Em 2021, o United States Tax Court emitiu uma decisão a favor do espólio, determinando que o valor total combinado do espólio era de 111,5 milhões de dólares e que o valor do nome e imagem de Jackson era de 4 milhões (não os 61 milhões pela testemunha especializada externa do IRS).

Direito das sucessões
Michael Jackson

Espólio de Michael Jackson


Gazipaşa, Türkiye'nin Akdeniz Bölgesi'deki Antalya ilinin en doğudaki  ilçesidir. İl merkezine uzaklığı 180 kilometredir. Batısında Alanya, kuzeyinde Sarıveliler, doğusunda Anamur ilçeleri ve güneyinde Akdeniz bulunmaktadır. Türkiye'nin güney sahillerinde bulunan Gazipaşa, 921 km²'lik bir alana sahiptir ve TÜİK nüfus verilerine göre 2022'de nüfusu 53.702 kişidir. Gazipaşa ilçesi idari olarak Antalya iline bağlıdır, Gazipaşa Belediyesi ve ilçesi de Antalya Büyükşehir Belediyesi sorumluluk alanına girmiştir. Gazipaşa şehir merkezine 3 kilometre mesafede bulunan Alanya Gazipaşa Havalimanı 2012 yılında faaliyete geçmiştir.

Tarih
Gazipaşa'nın bilinmeyen veya tahmin edilen tarihi, tarihi perspektif içerisinde oldukça derinlere uzanmaktadır. Ana hatlarıyla bu tarihsel serüveni MÖ 2000'lerde başlar. Hititlerin bir kolu olan Luviler yine Hititlerin Kizzuvatna (Çukurova bölgesi) ve Arzava (Antalya yöresi) ülkeleri diye adlandırdıkları bölgede yaşamışlardır. Gazipaşa'da bu bölge içinde kalması nedeniyle ilçenin tarihi yolculuğa Luvilerle - Hititlerle başlamış olması kuvvetle muhtemeldir. Nitekim Karatepe (Sivaslı) civarındaki harabaler içinde yer alan aslan kalıntıları bu bilgileri doğrular niteliktedir.

Gazipaşa'nın tarihsel yolculuğu içindeki önemli bir kilometre taşı da MÖ 628 yıllarıdır. Selinus adıyla tarihte iki kent mevcuttur. Sicilya'da Yunan Mağara - Hyblaia halkı tarafından bu tarihte bir site devleti olarak kurulan Selinus, diğeri Anadolu'nun güneyindeki Selinus. Kilikya Bölgesi'nde ve Hacımusa (Kestros) Çayı'nın iki yakasında kurulmuş liman kentidir. Kalesi ise şimdiki kale kalıntılarının bulunduğu yerde olup o zamanlar ada konumunda idi. Buradan başta Mısır olmak üzere, o günün ticaret merkezleri ile deniz ticareti yapılmakta idi.

Yunan yönetiminden MÖ 197'de Antiokhos dolayısıyla Roma egemenliğine geçen kente MS 1. yüzyılda Akdeniz kıyılarının doğu seferine çıkan Roma Kralı Trojan hastalanarak Selinus limanına gelmiş ve bir tüccarın evine konuk olmuş, daha sonra iyileşemeyerek burada ölmüştür. Yerine tahta geçecek olan Hadrianus, Selinus' a gelerek cenazeyi Roma'ya götürmüş, anısmada bir mezar yaptırmıştır. Bu nedenle de Selinus'un bir süre Traianapolis adıyla anıldığı Hıristiyanlık döneminde ise Seleukeia - Silifke Başpiskoposluğu'na bağlı Piskoposluk merkezi olduğu bilinmektedir. MÖ 1. yüzyılda başlayan Roma İmparatorluğu dönemi, bu devletin Anadolu sınırları içinde bulunan Gazipaşa'da 6. yüzyıla kadar devam etmiştir.

MS 6. yüzyıldan başlarak Güney Akdeniz Bizans İmparatorluğu'nun egemenliğine girmiş, 12. yüzyılın ilk yarısında Kilikya Ermeni Krallığı'na bağlanmış, dönemde Gazipaşa, Antalya ve Alanya ile birlikte Pamfilya'nın Türkleşmesi süreci içinde Selinus, Selçuklu Sultanı I. Alaaddin Keykubat'ın 1221 yılında Alanya'yı, 1225'e kadar da buradan itibaren belki de Toroslar'dan kaynaklanıp şehir merkezinden geçerek denize karışan beş büyük çayın zaman zaman sel baskınına neden olması dolayısıyla Selinti olarak anılmaya başlanmıştır. Ancak Selçukluların Alanya hariç fethi kısa sürmüş ve 1243'te II. Gıyaseddin'in Kösedağ Savaşı'nda İlhanlılar'a yenilmesinden yararlanan Ermeniler burayı yeniden ele geçirmiş ve 1275'te Karamanoğluların fethine kadar onların elinde kalmıştır. 1270'lerdeki Moğollar'ın Anadolu işgali sırasında Selinti, Anadolu Selçuklu Devleti'nin Konya ve bağlı bölgeleri sınırları içinde yer almaktaydı.

Anadolu beylikleri döneminde 1335 yılından itibaren Antalya ve civarı Teke Beyliği'nde kalırken Alanya, Selinti ve doğusu ile Kuzey yöreleri merkezi Konya olan Karamanoğulları hakimiyetine girmiştir.

Osmanlı Döneminde Fatih Sultan Mehmet'in Deniz Kuvvetleri Komutanı (Kaptan'ı Derya) Gedik Ahmet Paşa, 1470 yılında Alanya'yı, 1472 yılında ise Selinti, Anamur ve Silifke yöresini Karamanoğlu Beyliği'nden alınarak Osmanlı hakimiyetine dahil etmiştir. Ünlü gezgin Evliya Çelebi meşhur Seyahatname'sinin 126. sayfasında "18. yüzyıl'da Selinti kazası, İçel (Mersin) sınırları içerisinde Silifke Sancağı'na bağlı 26 köyü olan ve yıllık 80 akçe vergi veren bir kazadır. Deniz kenarında bakımlı cami ve evler ile yemyeşil dağlara sahiptir. Kıbrıs'a 70 mil uzaklıkta iskelesi vardır." demektedir.

Coğrafyası

Antalya'nın 180 km doğusunda 10 km uzunluğu, 7 km eninde Akdeniz kıyısında Gazipaşa Ovası üzerine kurulmuştur. Doğusunda Mersin ili Anamur İlçesi, kuzeydoğusunda Karaman ili Ermenek ilçesi kuzeyinde Sarıveliler ilçesi ve batısında ise Alanya ilçesiyle komşudur. Güney sınırları teşkil eden Akdeniz sahiline paralel bir şekilde yaklaşık 35 km içeride batıdan doğuya doğru uzanan Toroslarla çevrilidir. Yüzölçümü 921 km olup ilçe merkezi sahilden 3 km içeride yer almakta ise de yeni yerleşimler sahile kadar uzanmıştır.

İlçenin kıyı şeridi uzunluğu yaklaşık 50 km'dir. Denize girmek için çok uygun plajlara sahiptir. Kıyı şeridinin yarıya yakını kumsal olup diğer kısmı kayalıklardan oluşur fakat kayalıkların arasına gizlenmiş müthiş güzellikte koylar da denize girmek için ideal mekanlardır. İlçe merkezi ile deniz kıyısı arasında alçak tepeler yer almaktadır. Ovanın kuzeyinde dağlık plato bulunur. Nisan ve Mayıs aylarında ilçe de bir saat arayla hem kayak yapma hem de denize girme imkânı vardır.

Kuzeyindeki kütle olan Torosların batı kıyı sıradağlarının adı Akçal Dağları adıyla bilinir ve en yüksek tepesi "Deliktaş" noktası 2253 m'dir. Alçak kısımlar ise kıyı boyunca uzanan alüvyal bir ova meydana getirmektedir. Alüvyal ovadan yüksek dağlık sahaya geçiş nispeten dik yamaçlarla olmaktadır. Güneyde Selinus harabelerinin bulunduğu tepenin ön kısmında yalıyarlar vardır. Kıyıda bulunan tepenin iki tarafında plajlar uzanır. Plajlar ince kalker kumlardan meydana gelmiştir. Yalıyarlar kalkerlerden oluşup yer yer 50–100 m yüksekliğe kadar ulaşmaktadır.

Toprakları kıyıda kızıl kestane renkli olup bu topraklar sebze, narenciye ve muz tarımına uygundur. İçerilere doğru kızıl renkli (Terrarossa) topraklar olup bu topraklarda da tahıl tarımı yapılır. Dağlık kesimlerde de hayvancılık ağırlık kazanmaya başlar.

Nüfus

Ekonomi
Gazipaşa'da da ekonomik yaşam hava şartlarına bağlı olarak kuru tarım,küçük el sanatları ve ticaret, ormancılık ve hayvancılık ve sanayi
Ancak 1970'lerden itibaren başlayan sera ve seracılık faaliyetleri o günden bu güne artan ölçüde ilçenin ekonomik yaşamında en önemli gelir kaynağı olmuştur.

İlçede herhangi bir büyük sanayi kuruluşu mevcut olmamakla beraber orta ve küçük çaplı imalathaneler ve atölyeler mevcuttur.

İlçe ekonomisinde hakim olan sektör tarım sektörüdür. Tarımda da en büyük pay örtü altında yapılan turfanda sera sebzeciliği ve muzculuğa aittir. Son yıllarda örtü altında çilek yetiştiriciliği ve enginar yetiştiriciliği hızla artmaktadır. Ancak arazi yapısının genel olarak engebeli olması nedeniyle ilçe yüzölçümünün yalnızca % 18'i tarımsal faaliyet için kullanılabilmektedir.

Sebzecilikte halkın yönelimi seracılığa doğru olmuştur. Tarımla uğraşanların %80'i geçimi seracılıktan sağlamaktadır. İlçe merkezi ve Kahyalar mahallesi ile ilçedeki 41 köyün 36'sında seracılık yaygınlaşmıştır.

İlçede güzlük ve baharlık olmak üzere yılda iki sezon halinde seralarda sebze üretimi yapılmaktadır. Seralarda üretilen sebzelerin başlıcaları salatalık, domates, taze fasulye, patlıcan ve biberdir. Açık alanlarda ise taze fasulye, domates, biber, patlıcan ve enginar yetiştirilmektedir.

İlçede mevsim koşulları hayvancılık için son derece uygundur. Ancak orman köylerinde doğal yapının son derece sarp olması ve hayvancılık için uygun şartlar taşıyan ova kesimlerde tarımsal uğraş olarak seracılık ve muz yetiştirilmesinin tercih edilmesi nedeniyle hayvancılık yeterince gelişmemiştir. Ova kesimlerde aile işletmeciliği tarzında süt sığırcılığı yapılmaktadır. Orman köylerinde ise kıl keçisi yetiştiriciliği temel hayvancılık uğraşı olarak yapılmaktadır.

Balıkçılık ve ormancılık ilçenin diğer önemli gelir kaynaklarındandır. Ayrıca sahilde bulunan oyun parkı da ilçe turizmine büyük katkı sağlamaktadır

Turizm
Gazipaşa mevcut durumuyla daha ziyade tarım toplumu görünümünde ise de 13 Eylül 1989 tarih ve 20281 sayılı Resmî Gazetede yayımlanan Bakanlar Kurulu kararıyla turizm bölgesi ilan edilmesi nedeniyle ve ilerleyen yıllarda açılan havalimanı ulaşımı çok kolaylaştırmıştır. İlçede hızlı bir şekilde turizme yatırım yapılmaktadır. Yat limanı inşaatının tamamlanması ile ulaşım daha da kolay hale gelecektir. Halen 2 normal ticari otel, 3 adet turistik (biri apart ) otel, Gazipaşa Belediyesi Deniz Tesisleri İşletmesi'ne ait bungalovlar ve 1 adet tatil sitesiyle yatak kapasitesi 1000'e ulaşmış olup hızla otel ve motel inşaatları devam etmektedir.

İlçenin ören yerleri itibarıyla diğer yörelere göre oldukça zengin durumdadır. Ancak bunların tamamına yakının yol ve koruma hizmetleri yoktur veya yetersizdir.

Gazipaşa Akdeniz sahilinin Caretta Caretta türü deniz kaplumbağalarının yumurtalarını bıraktığı 17 merkezden biridir.

Yalan Dünya Mağarası başta olmak üzere tarihi kale ve şehir kalıntıları, tertemiz deniz ve kumsalları, bol yeşil ve oksijenli yaylaları, özetle bozulmamış doğasıyla turizm bakımından çok büyük bir potansiyele sahiptir.

Kaynakça

Gazipaşa


Marcus Cocceius Nerva (d. 8 Kasım 30 (ya da 35) – ö. 27 Ocak 98). 96 - 98 arası Roma İmparatoru . Halefini, aile bağlarına göre değil kapasitesi ve potansiyeline göre seçen (evlatlık edinerek) ilk Roma İmparatoru'dur. Bu uygulama Beş İyi İmparator'u diğerlerinden ayıran bir çizgi olmuştur.

Hayatı

Çocukluğu ve Gençliği

Marcus Cocceius Nerva, Flavian Hanedanı'nın kurucusu Vespasian gibi, Roma'daki elitlerinden daha soylu olan İtalyan bir ailesin üyesidir. Nerva M.S. 8 Kasım 35'te Roma'nın 50 mil kuzeyindeki  Narni, Umbria'da doğdu.
Ailesinin üyeleri yüksek görevlerde bulunmuşlardı; büyük dedesi 36'da Konsüllük yapmış, dedesi de onun doğdu zamanlarda imparatorluk maiyetindeydi. Nerva Julio-Claudian Hanedanı ile amcası Octavius Laenas'ın  İmparator Tiberius'un torununun kızı Rubellia Bassaile evli olmasından dolayı  ilişki içindeydi.
Nerva, "Beş İyi İmparator" döneminin ilk imparatoru olup, İtalyan aileden İtaya da doğmuş son Roma İmparatorudur. 71'de Vespasian ve 90'da Domitian'la birlikte konsüllük yapmış olmasına rağmen alışılmış yöneticilik kariyerinden geçmedi.

İmparatorluğu
96'da Domitian suikastını takip eden terör içerisinde Nerva, 18 Eylül 96'da imparator seçildi. Fasti Ostienses (Ostian Takvimi), kayıtlarına göre  "Ekimin ilk gününden 14 gün önce; Domitian öldürüldü. Aynı gün Marcus Cocceius Nerva imparator ilan edildi." Cassius Dio'ya göre  Domitian'a karşı suikastçılara yakınlaştı çünkü o çok yaşlıydı ve çocuğu yoktu, bu bir çift güvenli el demekti. Bu aynı zamanda Domitian tehdidine karşı onun hayatını koruyacaktı.

Nerva İmparator olduktan sonra, yeni bir tavır belirledi: vatana ihanetten hapse atılanları serbest bıraktı, ileriye dönük vatana ihanet soruşturmalarını yasakladı, genel af ilan ederek Domitian'ın sürgüne gönderdiklerini affetti, el konulmuş mülklerini tamir ettirdi ve kanunlarıyla Roma Senatosunu kuşattı. Bunu belki de popüler kalabilmek için yaptı(aynı zamanda canlı), ama bu ona tam olarak yardımcı olmayacaktı. Domitian'ın ordu içinde hala önemli ölçüde desteği vardı ve Ekim 97'de Praetorian muhafızlarlar Palatine Hill'deki imparatorluk sarayını kuşattılar ve Nerva'yı esir aldılar. Nerva taleplerini ve Domitian'ın ölümünde parmağı olduğunu kabul etmeye, ayrıca rakip praetorianlara bir teşekkür konuşması yaptığını kabul etmeye zorlandı. Petronius ve  Parthenius, Domitian'ın ölümünden sorumlu tutuldular ve öldürüldüler. Nerva bu saldırıdan zarar görmemişti ancak tamir etmeye çalıştığı otoritesi zarar görmüştür. Doğal yollardan çocuğu yoktu, ancak hem halkın hem de askerlerin destekleyeceği birisini evlat edinme fikrini hayata geçirdi ve German sınırındaki orduların komutanı Trajan'ı evlat edindi. Nerva'ya karşı yapılan isyanın sorumlusu Praetorian muhafızlarların Prefect'i Casperius Aelianus Trajan tarafından idam edildi.

Epitome de Caesaribusun  kaydettiğine göre Nerva, ateş ve üşümeye bağlı olarak kısa bir süre sonra öldü; Jerome öldüğü yer olarak Roma'da  Sallust Bahçeleri'ni gösterir. Ölümünden kısa bir süre sonra tanrılaştırıldı ve külleri Augustus Mozolesi'ne yerleştirildi. Cenaze töreninin olduğu gün Güneş Tutulması vardı.

Küçük bir İmparatorluk Forumu'nun yapımından sorumluydu ve küçük forum  Augustus Forumu'nun hemen bitişiğinde duruyordu. Via dei Fori Imperiali (Modern Roma'da bir yol) üzerinden geçtiği için biraz hasar görmüştür. 1999 başlayan Arkeolojik kazılar günümüzde hala devam etmektedir.

Heykelleri
 Misenum'da sergilenen, orijinali Domitiana ait olan sonradan Nervanın başını yerleştirildiği bronz bir heykel vardır.
 İngiltere'de Gloucester şehrinin Southgate caddesinde Nerva'nın ayakları açık olarak at üzerinde bir heykeli vardır.
 İtalya,Narni'de Cocceio Nerva caddesinde bir Nerva heykeli vardır.

Kaynakça

 Wend, David, "Nerva (96-98 A.D.)", De Imperatorbus Romanis İngilizec

Dış bağlantılar
  "Nerva (96-98 A.D.) born in Narnia Town Italy ", De Imperatorbus Romanis  İngilizce

Notlar

35 doğumlular
98 yılında ölenler
1. yüzyıl Roma imparatorları
Augustus Mozolesi'nde defnedilenler

Nerva


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Rich Dad Poor Dad is a 1997 book written by Robert T. Kiyosaki and Sharon Lechter. It advocates the importance of financial literacy (financial education), financial independence and building wealth through investing in assets, real estate investing, starting and owning businesses, as well as increasing one's financial intelligence (financial IQ).

Rich Dad Poor Dad is written in the style of a set of parables, ostensibly based on Kiyosaki's life. The titular "rich dad" is his best friend's father who accumulated wealth due to entrepreneurship and savvy investing, while the "poor dad" is claimed to be Kiyosaki's own father who he says worked hard all his life but never obtained financial security.

The existence of Kiyosaki's "Rich Dad" remains unproven, and there is no documentation on Kiyosaki's alleged vast reserves of wealth earned before Rich Dad Poor Dad was published.

Summary
The story begins with the author as a young boy, observing the contrasting financial mindsets and behaviors of his two dads. His poor dad, who held a high position in education, emphasized the importance of academic success, job security, and living within one's means. On the other hand, his rich dad, a successful entrepreneur, believed in building assets, investing wisely, and acquiring financial knowledge.

Throughout the book, Kiyosaki shares anecdotes and conversations that he had with his rich dad, who guided him on various aspects of money, wealth creation, and financial independence. He learns valuable lessons about the difference between assets and liabilities, the power of financial education, and the importance of taking calculated risks.
Kiyosaki emphasizes the significance of acquiring assets that generate income, such as real estate and businesses, as opposed to liabilities that drain money, such as excessive consumer debt and unnecessary expenses. He introduces concepts like the cash flow quadrant, which categorizes individuals as employees, self-employed, business owners, or investors, highlighting the advantages and disadvantages of each quadrant.

The book also delves into the mindset and beliefs around money, discussing the importance of developing a positive relationship with wealth and overcoming limiting beliefs. Kiyosaki stresses the need for financial literacy and encourages readers to take control of their financial destinies by seeking out opportunities, learning from mistakes, and continuously educating themselves about money.

Reception

Praise and support
Rich Dad Poor Dad has sold over 32 million copies in more than 51 languages across more than 109 countries,  been on the New York Times bestsellers list for over six years, launched a series of books and related products; and received positive reviews from some critics. Actor Will Smith said he taught his son about financial independence by reading the book. PBS Public Television station KOCE aired a 55-minute presentation of Kiyosaki titled "A Guide to Wealth" in 2006, which essentially summarises his Rich Dad Poor Dad book. PBS also honored him with an excellence in education award in 2005. Donald Trump did a literary collaboration with Kiyosaki in 2006 called Why We Want You to Be Rich, Two Men One Message, and a second book called Midas Touch: Why Some Entrepreneurs Get Rich — And Why Most Don't in 2011.

American fashion entrepreneur and investor Daymond John has called the book one of his favorites.

Criticism
A competing financial self-help writer, John T. Reed, says, "Rich Dad, Poor Dad contains much wrong advice, much bad advice, and virtually no good advice." He also states, "Rich Dad, Poor Dad is one of the dumbest financial advice books I have ever read. It contains many factual errors and numerous extremely unlikely accounts of events that supposedly occurred."

Slate reviewer Rob Walker called the book full of nonsense, and said that Kiyosaki's claims were often vague, the narrative "fablelike", and that much of the book was "self-help boilerplate", noting the predictable common features of such books were present in Rich Dad, Poor Dad. He also criticizes Kiyosaki's conclusions about Americans, American culture, and Kiyosaki's methods.

Publishing success
The book was originally self-published in 1997 before being picked up commercially to become a New York Times bestseller. It has since sold over 32 million copies and become a household name. In his audio-book Choose to be Rich, Kiyosaki said that every publisher turned him down, and Barnes & Noble refused to stock the book initially. He places his focus upon talk shows and radio show appearances, of which The Oprah Winfrey Show had the biggest influence on book sales. In April 2017 a 20th Anniversary edition was published and in a preface to this 20th Anniversary edition Kiyosaki asserts that an estimated 40 million copies of the book had been sold globally.

References

Bibliography
Rich Dad Poor Dad: What the Rich Teach Their Kids About Money That the Poor and Middle Class Do Not!, by Robert Kiyosaki and Sharon Lechter.  Warner Business Books, 2000.

1997 non-fiction books
Biographies about businesspeople
Books about companies
Books by Robert Kiyosaki
Finance books
Personal finance
Personal finance education
Self-help books

Rich Dad Poor Dad


Fritz Imhoff, nom de scène de Friedrich Arnold Heinrich Jeschke (né le  à Vienne, mort le  dans la même ville) est un acteur, chanteur et humoriste autrichien.

Biographie
Friedrich Jeschke est le fils de Karl Jeschke (né en 1858), chef comptable à Vienne-Alsergrund, et de sa femme Ottilie (née en 1866), fille du conseiller de la légation hanovrienne Jean Georges Lumé de Luine. Son frère est le compositeur de chansons viennois Ernst Arnold. Il va à la Weiss Handelsschule à Vienne, puis suit un cours de chant d'un an auprès de Karl Streitmann. En 1911, il commence son premier engagement en tant que deuxième ténor d'opérette au théâtre de Troppau. Comme le metteur en scène ne croit pas en son talent et ne l'autorise qu'à jouer être figurant ou choriste, il démissionne et se forme à l'école d'opérette de Ludwig Gothov-Gruneke. Après un an de service militaire chez les uhlans, sous le nom de Fritz Imhoff, il fait ses débuts à Baden lors de la première de l'opérette Polenblut le  qui est un succès.

En 1916, il entre au théâtre municipal de Brno et en 1918 au théâtre d'été de Teplitce-Schönau. Sous la direction de Wilhelm Karczag, il travaille de 1919 à 1922 sur les scènes d'opérette combinées du Raimundtheater et du Theater an der Wien et apparaît en même temps comme humoriste au cabaret Die Hölle. De 1920 à 1928, il est le premier bouffon d'opérette au Johann Strauss-Theater. En 1928, il est engagé au Theater an der Wien, par la suite il se produit dans presque tous les théâtres de Vienne (à l'exception du Burgtheater et de l'Akademietheater), notamment au Volksoper, au Raimundtheater, à l'Opéra d'État, au Bürgertheater et au Theater in der Josefstadt, le Carltheater et le Stadttheater. De 1928 à 1929, il accompagne Hubert Marischka dans la revue Alles aus Liebe lors d'une tournée en Allemagne, aux Pays-Bas et en Suisse. À la dernière apogée du Theater an der Wien, il joue de 1928 à 1934 principalement des rôles comiques. Il a des rôles importants en tant que comédien à l'Opéra d'État dans Das Land des Lächelns avec Richard Tauber et au Stadttheater dans L'Auberge du Cheval-Blanc. Au Volksoper, il joue de 1934 à 1938, quand l'opérette Der gütige Antonius  de Jara Beneš devient un succès en raison de son engagement personnel. À partir de 1931, il apparaît également dans la revue Femina. Il fait des apparitions en Allemagne, Angleterre, France, Italie, Hollande, Suisse, URSS et Hongrie.

Imhoff joue dans 173 films à partir de 1933. Là, le comédien au personnage dodu incarne des personnages tantôt grincheux, tantôt cosy en tous genres, et il donne souvent des intermèdes vocaux. Il a plus de  apparitions sur scène, est apparu dans 40 pièces de théâtre et 215 émissions de radio.

De 1938 à 1944, Fritz Imhoff travaille au Raimundtheater à Vienne, de 1945 à 1948 en tant que directeur de l'établissement. À la Scala de Vienne, il joue dans la pièce folklorique antifasciste Der Bockerer avec un grand succès. Dans la période d'après-guerre, Imhoff est engagé à Vienne au Volkstheater, au Bürgerertheater, au Kammerspiele, au Simpl, au Colisée (Vienne-Alsergrund, Nußdorfer Straße 4), au Löwinger-Bühne, au Raimundtheater et au Theater in der Josefstadt. 1951-1959, il était le gros cousin de Jedermann au Festival de Salzbourg. De 1959 à 1961, il est membre permanent du Theaters in der Josefstadt.

Dans la soirée du , Fritz Imhoff meurt d'un cancer de la vésicule biliaire à la Rudolfinerhaus de Vienne. Sa tombe se trouve au cimetière central de Vienne.

Fritz Imhoff se marie à l'actrice Huberta Mojzis (1909-2002) en 1931. Le mariage est sans enfant. Ils vivent au Habig-Hof sur Wiedner Hauptstraße de 1945 jusqu'à sa mort ; une plaque à l'entrée le commémore. Le Fritz-Imhoff-Park dans l'arrondissement de Mariahilf porte son nom.

Le nom de scène « Imhoff » proviendrait du fait que le père de Friedrich Jeschke aurait dit : « Quoi ? Envie de jouer au théâtre ? Tu peux jouer dans la cour ! » (en allemand, ).

Filmographie

 1933 : Die Tochter des Regiments
 1934 : Die Töchter ihrer Exzellenz
 1934 :
 1934 : Parade de printemps
 1934 :
 1934 :  Nocturno
 1935 : Die Fahrt in die Jugend
 1935 : Vorstadtvariete
 1935 :
 1935 :
 1935 : Der Kosak und die Nachtigall
 1935 :
 1935 : Episode
 1935 : Ich liebe alle Frauen
 1935 : L'Auberge du Cheval Blanc
 1935 : Es flüstert die Liebe
 1935 : Die beiden Stoffl
 1936 : Le Postillon de Longjumeau
 1936 : Catherine
 1936 :
 1936 : Rendezvous in Wien
 1936 : Sa bonne étoile
 1936 : Die Puppenfee
 1936 :
 1936 : Wo die Lerche singt
 1936 : Romanze
 1936 :
 1937 : Millionenerbschaft
 1937 : Millionäre
 1937 :
 1937 : Musik für dich
 1938 : Roxy und das Wunderteam
 1938 : Rote Rosen – blaue Adria
 1938 : Kleines Bezirksgericht
 1939 : Hotel Sacher
 1939 : Liebe streng verboten
 1939 : Unsterblicher Walzer
 1939 : Les Rapaces
 1939 : Une mère
 1940 : Histoires viennoises
 1941 : Liebe ist zollfrei
 1941 : Dreimal Hochzeit
 1942 : Sang viennois
 1942 : Die heimliche Gräfin
 1942 : Aimé des dieux
 1943 : Zwei glückliche Menschen
 1943 : Rêve blanc
 1943 : Reisebekanntschaft
 1943 : Schwarz auf Weiß
 1944 : Schrammeln
 1945 : Wie ein Dieb in der Nacht
 1946 :
 1947 :
 1947 : Am Ende der Welt
 1947 :
 1948 : Ein Mann gehört ins Haus
 1948 :
 1948 :
 1948 :
 1948 : The Mozart Story
 1948 : Valse céleste
 1949 : Wiener Mädeln
 1949 :
 1950 :
 1950 : Jetzt schlägt's 13
 1950 : Cordula
 1950 :
 1951 :
 1951 : Le Vieux Pécheur
 1951 :
 1951 : La Guerre des valses
 1951 :
 1951 : Wenn eine Wienerin Walzer tanzt
 1951 : Tanz ins Glück
 1951 : Die Dubarry
 1952 : Das kann jedem passieren
 1952 :
 1952 :
 1952 : Vienne, premier avril an 2000
 1952 : L'Histoire passionnante d'une star
 1953 :
 1953 :
 1953 :
 1953 : Heute nacht passiert's
 1953 : Einmal keine Sorgen haben
 1953 :
 1953 :
 1953 :
 1953 :
 1953 :
 1954 : Große Star-Parade
 1954 :
 1955 : Trois Hommes dans la neige
 1955 : Mam'zelle Cri-Cri
 1955 :
 1955 : Le Chemin du paradis
 1956 : … und wer küßt mich?
 1956 : Das Liebesleben des schönen Franz
 1956 : La Fortune sourit aux vagabonds
 1956 : Meine Tante, deine Tante
 1957 :
 1957 : Wien, du Stadt meiner Träume
 1958 :
 1958 : Hallo, das ist die Liebe (TV)
 1958 : Jedermann (TV)
 1958 :
 1959 : Auf allen Straßen
 1959 : Der Furchtsame (TV)
 1960 : Les Guitares chantent la nuit
 1960 : Le Brave Soldat Chvéïk

Notes et références

Liens externes

Acteur autrichien de théâtre
Acteur autrichien de cinéma
Acteur autrichien du muet
Nom de scène
Chanteur d'opérette
Ténor autrichien
Humoriste autrichien
Naissance en janvier 1891
Naissance à Vienne (Autriche)
Décès en février 1961
Décès à 70 ans
Décès à Vienne (Autriche)
Mort d'un cancer de la vésicule biliaire
Mort d'un cancer en Autriche

Fritz Imhoff


Andrés Alcázar puede referirse a:
 Andrés Alcázar (ca. 1490-ca. 1585), médico español;
 Pedro Andrés del Alcázar (1752-1820), militar chileno de la Guerra de Independencia de Chile.

Andrés Alcázar


La V Cumbre Suramericana, fue la quinta cumbre en su tipo, fue celebrada en Cochabamba , Bolivia los días 8 y 9 de diciembre de 2006.

En la cumbre se acordó crear una Comisión de altos funcionarios con la misión de asegurar la implementación de las decisiones presidenciales, que funcionará desde el año entrante en Río de Janeiro con el apoyo de una secretaría pro tempore.

Los acuerdos a que se arribó tras dos días de debates fueron suscritos por los mandatarios de Bolivia, Brasil, Chile, Guayana, Paraguay, Perú, Uruguay y Venezuela, el vicepresidente de Argentina Daniel Scioli, el de Ecuador Carlos Serrano, la canciller de Colombia María Consuelo Araújo y el embajador de Surinam Robby Ramlakhan.

Naciones participantes
  Daniel Scioli
  Evo Morales
  Lula da Silva
  María Consuelo Araújo
  Michelle Bachelet
  Alfredo Palacio
  Bharrat Jagdeo
  Nicanor Duarte Frutos
  Alan García Pérez
  Robby Ramlakhan
  Tabaré Vázquez
  Hugo Chávez

V Cumbre Suramericana


تنبيب هي إحدى قرى ولاية قبلي وهي مقر لعمادة. وتحيط بها الواحة من جميع الجهات. اشتهرت تاريخيا بإنتاج الزيت والزيتون، إضافة إلى إنتاج التمور.

قرى ولاية قبلي

تنبيب (قبلي)


Isla Alimiahttp://mapcarta.com/12876320 (en griego: Αλιμιά; ) es el nombre de una isla de Grecia del archipiélago del Dodecaneso en el Mar Egeo en las coordenadas geográficas  a unos siete kilómetros al oeste de la isla de Rodas y seis kilómetros al este de Halki, que posee una superficie de 6,5 kilómetros cuadrados, un largo máximo de 5 kilómetros y un ancho de 4 kilómetros. Tiene una altitud máxima de 274 metros y se encuentra deshabitada. Administrativamente depende de la periferia del Egeo Meridional. En 1944, en plena Segunda Guerra Mundial sus habitantes fueron deportados.

Referencias

Véase también
 Geografía de Grecia
 Geografía de Europa

Enlaces externos
 Mapa de localización

Islas del archipiélago del Dodecaneso
Islas deshabitadas de Grecia

Alimia


Olaylar

Doğumlar
 Li Ban, Cheng Han imparatoru (ö. 334)
 Wen Jiao, Jin Hanedanlığı generali (ö. 329)

Ölümler

288


Choices er en dansk spillefilm fra 1970 med instruktion og manuskript af Paul Secon. Den engelsksprogede film er aldrig blevet udsendt.

Handling

Referencer

Eksterne henvisninger

Spillefilm fra Danmark
Danske film fra 1970

Choices


وليم لامب  عرف أيضاً بلقب فيسكونت ملبورن الثاني  سياسي بريطاني (15 مارس 1779-24 نوفمبر 1848). انتهت رئاسته حين أقاله الملك ويليام الرابع في عام 1834، وكان آخر رئيس وزراء بريطاني يُقال من قِبل ملك. أُعيد تعيينه بعد خمسة أشهر وعمل لست سنوات أخرى حتى عهد الملكة فكتوريا. اشتهر بتدريب الملكة على أساليب السياسة، وعمل سكرتيرًا خاصًا لها تقريبًا. خلص المؤرخون إلى أن ملبورن لم يحظَ بمرتبة عالية بين رؤساء الوزراء، إذ لم تحدث حروب خارجية عظمى أو قضايا داخلية تتطلب التدخل، وافتقر إلى إنجازات كبرى، ولم يعلن أي قواعد أساسية، وكان متورطًا في العديد من الفضائح السياسية في السنوات الأولى من عهد الملكة فيكتوريا.

أولى سنوات حياته
وُلد وليام لامب في لندن عام 1779 في عائلة يمينية أرستقراطية، وكان ابن فيكونت ملبورن الأول وإلزابيث، فيكونتس ملبورن (1751-1818). كان نسبه محط جدل، ونُسب إلى جورج ويندهام، إيرل إيغريمونت الثالث، نظرًا للشبه العظيم بينهما، وكان وليام زائرًا في منزله في بيتوورث حتى وفاته، إذ استُدعي ليجلس جانب فراش إيغريمونت في لحظاته الأخيرة. ذكر لامب رغم ذلك أن نسبه لإيغريمونت «محض كذبة».

تلقى تعليمه في كلية إيتون التابعة لكلية الثالوث في كامبريدج (قُبل عام 1796، وتخرج بدرجة الماجستير عام 1799)، والتحق بجامعة غلاسكو (1799-1801) بصفته تلميذًا مقيمًا لدى البروفيسور جون ميلر، إلى جانب شقيقه الأصغر، فريدريك. انتسب إلى جمعية لنكولن عام 1797، وانضم لنقابة المحامين عام 1804. على إثر الحروب النابليونية، عمل لامب في الوطن قبطانًا عسكريًا (1803) ورائدًا (1804) ضمن المشاة المتطوعين في هارتفوردشير.

خلف شقيقه الأكبر وريثًا للقب أبيه عام 1805، وتزوج الليدي كارولين بونسونبي، وهي أرستقراطية أنجلو-إيرلندية. انتُخب في العام التالي في مجلس عموم المملكة المتحدة ليمثل العضو البرلماني اليميني عن ليومنستر. انتقل في انتخابات عام 1806 إلى مقعد هادينغتون بورس، ونجح في انتخابات عام 1807 في تمثيل بورتارلينغتون (وبقي ممثلًا عنها حتى عام 1812).

التفتت الأنظار إلى لامب لأول مرة لأسباب كان يفضل تجنبها، إذ كانت زوجته على علاقة باللورد بايرون، وهي من صاغت الوصف الشهير لبايرون بأنه «مجنون وسيئ ومعرفته خطيرة». كانت الفضيحة الناتجة حديث الساعة في بريطانيا عام 1812. نشرت الليدي كارولين رواية قوطية بعنوان غلينارفون عام 1816، ورسمت الرواية صورة لزواجها وعلاقتها ببايرون بأسلوب شنيع، ما تسبب لوليام بإحراج أكبر، وأدت الرسوم الكاريكاتورية لشخصيات المجتمع البارزة إلى العديد من الأعداء ذوي السطوة. تصالح الزوجان في نهاية المطاف، رغم أنهما انفصلا عام 1825، وتأثر لامب بوفاتها في عام 1828 تأثرًا كبيرًا.

أولى سنواته في السياسة

عضو في البرلمان
في عام 1816، أعاد الغراندي اليميني، اللورد فيتسوليام، لامب إلى التمثيل عن بيتربورو. أخبر اللورد هولاند أنه ملتزم بالمبادئ اليمينية للثورة المجيدة ولكنه ليس مقتنعًا «بكومة من الإضافات والزيادات والحقائق والقصص الحديثة». وقف بالتالي ضد الإصلاح البرلماني وصوت لتعليق الأمر بالمثول أمام القضاء في عام 1817 حين كانت الفتنة مستشرية.

كانت السمة المميزة للامب هي إيجاد أرضية مشتركة. قبِلَ لامب، مع أنه يميني، تولى منصب السكرتير العام لإيرلندا (29 أبريل 1827) في ظل الحكومتين المحافظتين المعتدلتين لجورج كانينغ واللورد غوديريش. عقب وفاة والده عام 1828 وتحوله إلى فيكونت ملبورن الثاني لكيلمور في مقاطعة كافان، انتقل لامب إلى مجلس اللوردات. أمضى 25 عامًا في مجلس العموم بصفته عضوًا في البرلمان أغلب الأحيان، ولم يكن معروفًا سياسيًا.

روابط خارجية

مراجع

أشخاص تلقوا تعليمهم في كلية إيتون
أشخاص متعلمون في كلية إيتون
أشخاص من العصر الفيكتوري
أعضاء برلمان المملكة المتحدة 1806–07
أعضاء برلمان المملكة المتحدة 1807–12
أعضاء برلمان المملكة المتحدة 1812–18
أعضاء برلمان المملكة المتحدة 1818–20
أعضاء برلمان المملكة المتحدة 1820–26
أعضاء برلمان المملكة المتحدة 1826–30
أعضاء برلمان المملكة المتحدة في هيرتفوردشاير
أعضاء مجلس الشورى البريطاني
خريجو كلية ترينيتي (كامبريج)
رؤساء مجلس اللوردات
رؤساء وزراء المملكة المتحدة
رؤساء وزراء المملكة المتحدة القرن 19
زملاء الجمعية الملكية
مدفونون في هيرتفوردشاير
ملكيون بريطانيون
مواليد 1779
مواليد في لندن
وفيات 1848
وفيات في هارتفوردشير

وليام لامب


Blonde Redhead is an American alternative rock  band composed of Kazu Makino (vocals, keys/rhythm guitar) and twin brothers Simone and Amedeo Pace (drums/keys and lead guitar/bass/keys/vocals, respectively) that formed in New York City in 1993. The band's earliest albums were noted for their noise rock influences, though their sound evolved by the early 2000s with the releases of Misery is a Butterfly (2004) and 23 (2007), which both incorporated elements of dream pop, shoegaze and other genres. They have released ten regular studio albums and have toured internationally.

Career
Amedeo and Simone Pace were born in Milan, Italy, and grew up in Montreal (Saint-Léonard), but later moved to Boston to study jazz. After earning Bachelor's degrees, they entered the New York City underground music scene. Blonde Redhead formed in New York in 1993 after Amedeo and Simone met Kazu Makino, an art student at the time, by chance at a local Italian restaurant. The band named themselves after a song on the 1981 EP A Taste of DNA by the no wave group DNA.

Blonde Redhead's self-titled debut album was released in 1995. Shortly afterwards, fourth member Maki Takahashi left the band and was replaced by her friend Toko Yasuda as bassist. Yasuda played on the band's second album La Mia Vita Violenta also released in 1995. Both records appeared on the New York label Smells Like. The band continued as a trio.

Their third album, Fake Can Be Just as Good, was released through Touch & Go in 1997. The band enlisted the help of Vern Rumsey of Unwound, who filled the role of guest bassist. Subsequent albums featured Skúli Sverrisson, who the twins knew from their time in Boston.

On their fourth album, In an Expression of the Inexpressible, Guy Picciotto of Fugazi was hired as producer. Picciotto also contributed in the construction to the song "Futurism vs. Passéism Part 2" as well as lending it his vocals to the 1998 release. In 2000 Picciotto also co-produced Melody of Certain Damaged Lemons with Ryan Hadlock, an album about the relationship between Makino and Amedeo Pace.

The four-year delay between Melody of Certain Damaged Lemons and Misery Is a Butterfly is attributed to Makino's recovery time after being trampled by a horse. Much of the visual and lyrical imagery of Misery Is a Butterfly is reflective of the accident, especially in the music video for "Equus." It was the last time Picciotto produced the band.

In 2006 Makino recorded vocals for the film Sisters. Alan Moulder mixed the trio's album 23 which was released on 4AD, in April 2007.

In mid-2008, they wrote and recorded the score of the documentary feature film The Dungeon Masters. The film premiered at the Toronto International Film Festival and was released on February 12, 2010; a soundtrack album was released in July 2010. In 2009, Blonde Redhead contributed to the AIDS benefit album Dark Was the Night produced by the Red Hot Organization.

In March 2010 the band included a demo version of the song "Not Getting There" on a 4AD sampler entitled Fragments From Work In Progress. Their eighth album, Penny Sparkle, was released in September 2010 through 4AD. The album was again mixed by Alan Moulder, and reached 79 in the Billboard 200 chart. For the subsequent tour the band added a key-board player. The band released a six-track remix EP in July 2011.

A year later, the band started the project for their next album but without the support of 4AD. Self-financed, the band embarked on a haphazard recording schedule with producer Drew Brown. Simone Pace noted about Brown's involvement that "he has so much experience and definitely dictated the direction of the record; the choices of instruments, concept and that it was minimal." He forced the band to use analogue instruments.

In April 2014 their song "For the Damaged Coda" was used in an episode of the first season of the cartoon Rick and Morty. The use of this song was again repeated in April 2017 in the third season. The use of the song became an important plot device regarding the character "Evil Morty" for the series. Around 2018 this song became an Internet meme expressing the sadness one feels at the worst moments of one's life.

The band released their ninth album, Barragán, on September 2, 2014, through Kobalt. It was preceded by the single "No More Honey" that appeared in June. It was followed by the second single, "Dripping," which included a video. The band also provided the soundtrack to the Danish film The Commentator.

In June 2016 it was announced that the band would release the box set Masculin Féminin on September 30 through The Numero Group. It contains 37 tracks, which cover the first two albums, associated singles, radio sessions and unreleased demos from the period. In 2017, the band released the EP 3 O'Clock, which comprises four songs and featured contributions from Eyvind Kang, Michael Leonhart, Sam Owens and Mauro Refosco, among others.

In September 2019, Kazu Makino released her first solo album, Adult Baby, which featured Ryuichi Sakamoto (on piano, field recordings, and "organic instruments"), Ian Chang and Greg Saunier (drums), and Mauro Refosco (percussion).

The band toured the US in 2022 on select dates supporting Tool. The following year, the band announced the release of their tenth album, Sit Down for Dinner, on September 29, 2023, through section1.

Members
Current members
 Kazu Makino – rhythm guitar, keyboards, vocals (1993–present)
 Amedeo Pace – lead guitar, bass, keyboards, vocals (1993–present)
 Simone Pace – drums, keyboards (1993–present)

Former members
 Maki Takahashi – bass (1993–1995)
 Toko Yasuda – bass (1995)

Timeline

Gallery

Discography

Albums

EPs

Singles

Other charted songs

Soundtracks

Compilations and Remix Albums

Notes

References

External links
 Blonde Redhead official website
 Blonde Redhead on 4AD Records

Interview with Submerge Magazine "The Changelings" November, 2010
Indie Pop Fever review of "Penny Sparkle"

1993 establishments in New York City
Musical groups established in 1995
Alternative rock groups from New York (state)
American experimental rock groups
American noise rock music groups
American dream pop musical groups
Indie rock musical groups from New York (state)
American shoegaze musical groups
Touch and Go Records artists
4AD artists
Sibling musical groups

Blonde Redhead


Everything Must Go is the fourth studio album by Welsh alternative rock band Manic Street Preachers. It was released on 20 May 1996, through Epic Records, and was the first record released by the band following the disappearance of lyricist and rhythm guitarist Richey Edwards.

Released at the height of Britpop in the mid-1990s, the album was a commercial and critical success, it reached its peak in the UK on separate occasions, debuting and peaking at number 2 in the UK Albums Chart and earned the band accolades in the 1997 Brit Awards. It represented a shift in the group's sound due to Edwards' departure. The album charted in mainland Europe, Asia and Australia, eventually selling over two million copies. Everything Must Go is frequently featured and voted highly in lists for one of the best albums of all time by many music publications such as NME and Q.

Production and content
Singer-songwriter James Dean Bradfield said that the sound of the drums was crucial on the album to set the tone. He was inspired by the works of several bands, "I loved records like Pornography by The Cure and Joy Division records and Wire records and Magazine records and [Siouxsie and the] Banshees records and Wah! records and Associates records where everything starts with the drums". Producer Mike Hedges was the person the group had in mind since The Holy Bible in part for his production role on Siouxsie and the Banshees' single "Swimming Horses" which Bradfield loved. The band stayed in France in Normandy to work at Hedges' own studio which contained a mixing desk coming from the Abbey Road Studios.

Music and lyrics
The working title of the album was Sounds in the Grass, named after a series of paintings by Jackson Pollock. Everything Must Go takes its name from a play by Patrick Jones, Nicky Wire's brother.

Everything Must Go represents a change of style for the band. Their previous album, The Holy Bible, had been a stark, disturbing album with a minimal amount of instrumentation, whilst this album embraces synths and strings with an anthemic rock style, has a more commercial feel and fits with the Britpop movement that was prevalent at the time. According to Wire, the concept of the album used as its sonic basis the productions of Phil Spector and his Wall of Sound.

The lyrical focus of the album is also shifted, due in part to Edwards' departure. Instead of introspective and autobiographical tracks such as "4st 7lb", Wire's predilection for historical and political themes dominates; however, five songs feature Edwards' lyrics – the last time his lyrics would feature in a Manics album until 2009's Journal for Plague Lovers. The album's lyrical themes would continue through their next record, This Is My Truth Tell Me Yours.

Subjects tackled on the album include the life of photographer Kevin Carter, in the song of the same name; Willem de Kooning in "Interiors"; and the maltreatment of animals in captivity in "Small Black Flowers That Grow in the Sky" (which is a quote from the film The Best Years of Our Lives). The latter track, with lyrics by Edwards, can also be interpreted as an exploration of his mental state before his disappearance; the line "Here chewing your tail is joy" for instance may be as much about Edwards's self-harm as it is the tormented self-injury of zoo animals.

Part of the rhythm guitar on "No Surface All Feeling" was recorded by Edwards before his disappearance, making it only the second time that Edwards' guitar-work was present on a Manic Street Preachers recorded track (the other instance being "La Tristesse Durera (Scream to a Sigh)" on Gold Against the Soul). Bradfield typically performs all the guitar parts for their recordings.

Songs

Due to Edwards' departure the tone of the lyrics and the subjects of the songs changed significantly. Wire stated about the aesthetic and the feel of the album, saying that: "With "Everything Must Go", in the way we talked about it, we were the most timid we'd ever been, because we were very nervous. It was strange because it was the most un-Manics we've been about in an album, and then it was the most successful.

Elvis Impersonator: Blackpool Pier and Enola/Alone
The opening song of the album, "Elvis Impersonator: Blackpool Pier", has been described by the band as a song that reflects the way that the UK accepts the American culture and worships it. In the 10th anniversary edition, Bradfield stated that the song suited the mood of the album and reminds him of when Wire and Edwards used to write lyrics together. Being Edwards' work, Bradfield denies that this song or any other written by Edwards and featured on the album is a tribute to Edwards; he just thought that the lyrics suited the album well. In the band's own words, "Enola/Alone" is both "uplifting" and "melancholic", and that's why people can "grab on" as Wire says. The lyrics are also inspired to some extent by Camera Lucida, a 1980 book on the philosophy of photography by Frenchman Roland Barthes.

Small Black Flowers That Grow in the Sky and The Girl Who Wanted to Be God
"Small Black Flowers That Grow in the Sky" is another lyric written by Edwards, this song is a favourite of the album's producer Mike Hedges, it was also described by Bradfield as the song where he wanted for the first time to sing the lyrics and take a deep breath. It has been made a parallel between the lyrics and Edwards's condition (see music and lyrics section). "The Girl Who Wanted to Be God" has a title which can be traced to a specific quote by American poet Sylvia Plath, it is the most anthemic and opened song in the album, featuring the most hopeful sound of the twelve tracks, according to the band.

Removables and Interiors (Song for Willem de Kooning)
Allegedly a one-take live studio recording that had very little time spent on it, "Removables" was another song whose lyrics were written by Edwards, it has once again a reference to his self-harm, like in the line "broken hands never ending". "Interiors" is a tribute to Willem de Kooning, a painter who suffered from Alzheimer's disease. It was inspired by a documentary on De Kooning's experience of suffering the condition, which apparently left him unable to remember what he had painted.

Further Away and No Surface All Feeling
"Further Away" was the band's moment of freedom, where Wire stated that this song could never have been written before in the early years, being described as "almost" a love song. It was released as a single only in Japan. The B-side, "Sepia", is a reference to the final scene of Butch Cassidy and the Sundance Kid, where the two main characters are shown in freeze frame, which then is colourised to sepia tone. As for "No Surface All Feeling" part of the guitar was recorded by Edwards, and Wire describes the lyrics as a tender end to the album, as the song reflects the pain of losing a friend.

Release

The album was released on 20 May 1996. It debuted on the UK Albums Chart at number 2 with sales of 60,000 copies. To date the album has achieved Triple Platinum status in the UK, making it their most successful chart album and spending 103 weeks in the Top 100, with the album still in the top five a year after its release. The International Federation of the Phonographic Industry awarded the album with a Platinum certification, for sales above one million copies. The album presented the band with a new generation of fans, charting in Europe, Asia and Australia. Since May 1996 Everything Must Go has shipped more than two million copies. Worldwide sales of their next album, This Is My Truth Tell Me Yours, were to be even higher.

Four singles were released from the album. "A Design for Life" reached number 2 on the UK Singles Chart, spending 3 weeks in the top 10 and a total of 14 weeks in the Top 100 being certified Silver in the UK, for sales above 200.000 copies. "Everything Must Go", the second single, peaked at number 5, enjoying 10 weeks in the UK Top 100. "Kevin Carter", the third single, peaked at number 9, spending 8 weeks in the UK Top 100, being the single from the album that spent the least weeks in the charts because the last single, "Australia", reached number 7 and despite tumbling to number 31 in the second sales week, managed to stay in the UK Singles Chart Top 100 for 9 weeks. All the singles thus charted in the UK Top 10, between 1996 and 1997. "Further Away" was released in October 1996, but only in Japan, replacing the UK single "Kevin Carter".

After the release of the album, in the following year the band performed a special gig at the Manchester Arena for more than 20,000 people. Bassist Nicky Wire said that was the moment he knew that the band had "made it". The recording was released as a VHS video on 29 September 1997, and has only been reissued on DVD in Japan. Everything Live was directed by Dick Carruthers. The first 12,000 copies came with five postcards featuring photographs of the band by their official photographer Mitch Ikeda.

A 10th anniversary edition of the album was released on 6 November 2006. It included the original album, demos, B-sides, remixes, rehearsals and alternate takes of the album's songs, spread out over two CDs. An additional DVD, featuring music videos, live performances, TV appearances, a 45-minute documentary on the making of the album, and two films by Patrick Jones, completed the three-disc set. In the 10th anniversary edition the band itself claims that they are still fond of the record, and Wire goes further saying: "I think it's our best record, I am not afraid to say that."

The year of 2016 marked another anniversary for the album, being 20 years since its original release thus the band announced a special anniversary edition which was released on 20 May, the exact day that marked the anniversary of the album. It was made available a standard edition, with a double-CD featuring only the remastered album and the concert at the Nynex Arena and the deluxe edition which includes the full album remastered plus the B-sides, a heavyweight vinyl, the 1997 Nynex Arena concert fully restored on DVD, an exclusive new film about the making of the album, the official videos for the all singles and a 40-page booklet. The re-release was accompanied by a UK tour, which ended at the Liberty Stadium, Swansea.

On 18 June 2016 HMV, as part of their Vinyl Record Week, released 1,000 copies on blue vinyl. These were strictly limited to one per customer.

Packaging
The album and CD packaging was designed by Mark Farrow. The CD insert bears a quote from Jackson Pollock: "The pictures I contemplate painting would constitute a halfway state and attempt to point out the direction of the future – without arriving there completely". Inspiration for the album is credited to "Tower Colliery, Cynon Valley, South Wales".

Critical reception

Being the first album since the departure of Edwards, the band at the time was under pressure, but after the release of "A Design for Life", which was well received by critics and fans, Everything Must Go was the album that introduced the band to the mainstream public. All the singles were radio friendly and the album was a critical success.

Writing for Q magazine in June 1996, Tom Doyle felt that Everything Must Go had "little in common" with its predecessor, The Holy Bible, and saw the album as a return to, and improvement upon, the "epic pop-rock" sound of Gold Against the Soul. He noted the band's choice of producer, Mike Hedges, as a possible contributing factor to the overall change in sound, and drew parallels to the lyrics of Kurt Cobain and the "reverb-laden" music of Phil Spector. Nicholas Barber of The Independent described Everything Must Go as "the most immediate, assured and anthemic British hard rock album since Oasis's Definitely Maybe", noting that the record was more accessible when comparing it to the "crushingly heavy-going" sound of The Holy Bible, especially, he noted, for a band "who once would have spat at the breadhead, corporate-sell-out idea of a hummable ditty."

Vox magazine's Mark Sutherland saw Everything Must Go as the group's "most approachable" album, describing it as a "record so superb it might just make intelligence fashionable again", and surmising that the album "proves that, professionally, at least, the Manic Street Preachers don't miss Richey." Rolling Stone critic David Fricke called Everything Must Go the "most underrated album of the year", describing it as "a record of painstaking melodic craft and thundering execution, a proclamation of physical and emotional cleansing – up to a point."

In a retrospective review, Stephen Thomas Erlewine of AllMusic wrote: "Above all, Everything Must Go is a cathartic experience -- it is genuinely moving to hear the Manics offering hope without sinking to mawkish sentimentality or collapsing under the weight of their situation."
Reviewing the 10th anniversary edition, Dave Simpson of The Guardian said that the album "achieved the zenith of the Welshmen's original ambition: to conquer the mainstream with anger, art and soul." Writing for Sputnikmusic, Nick Butler concluded that "Everything Must Go is a stellar album, stuffed with great, anthemic songs, and it's a rewarding listening experience. It loses ground to The Holy Bible simply because it's not as unique, but if Everything Must Go is inferior, it's only slightly so."

Awards
The album was shortlisted for the Mercury Prize in 1996 but failed to win it; however, the album won the award for Best British Album and the Manic Street Preachers won Best British Group at the 1997 Brit Awards. In the NME Awards of 1996 Everything Must Go was named Album of the Year, and the Manic Street Preachers also won the award for Best Live Act and Best Single for "A Design for Life".

Legacy
The album remains a critical success, an important album in Manic Street Preachers' career, and a classic of the British music in the 1990s, being frequently listed amongst the greatest albums ever by British music publications.

In 1998, Q magazine readers voted it the 11th greatest album of all time, while in 2000 the same magazine placed it at number 39 in its list of the "100 Greatest British Albums Ever". The album also placed at number 16 in its list of the best albums released in the magazine's lifetime. The album is part of NME's collection of classic albums, and the same magazine placed the album in number 182 on their definitive list "500 Greatest Albums of All Time".

Kerrang! placed the album in number 24 on their list of "100 Best British Rock Albums Ever". The same magazine featured the album in number 22 on their list of "100 Albums You Must Hear Before You Die". The album was placed in number 41 on Melody Maker's list of "All Time Top 100 Albums". In 2016 the album was featured in the Absolute Radio's list of greatest albums of all time.

In the end-of-year critics' lists Everything Must Go was placed at number 2 by NME and Kerrang! while Q chose the album as one of the best of 1996. Melody Maker and Vox magazine placed the album at number 1 in their 1996's list.

The album and was featured in Robert Dimery's book 1001 Albums You Must Hear Before You Die.

Website Clash, before the release of the band's twelfth studio album Futurology, said the following about Everything Must Go: "Sympathetically guided by Mike Hedges and with an empathetic but not overbearing application of strings, Everything Must Go managed to combine the more accessible sound of their early years with the vivid imagery of their previous album. Somehow lumped into the latter stages of Britpop at the time, this record remains one of the decade's finest releases and is an essential listen."

In 2015 the band announced that they were going to celebrate the 20th anniversary of the album with their biggest headline show since 1999, at Liberty Stadium, Swansea on 28 May 2016. Special guests would include Super Furry Animals. The album would be performed in full. Before the final show in Swansea the band would tour the album with a series of UK dates: Liverpool, Echo Arena (13 May), Birmingham, Genting Arena (14 May), London, Royal Albert Hall (16–17 May), Leeds, First Direct Arena (20 May) and Glasgow, The SSE Hydro (21 May). In early 2016 the band announced European dates for the tour in Estonia, Finland, Sweden, Denmark, the Netherlands, Belgium and Germany.

Track listing

*All tracks recorded at Chateau de la Rouge Motte, except 12 (Big Noise Recorders) and 7 (Real World Studios).

20th Anniversary Edition DVD 1 (Live at the Nynex Arena 1997)

 "A Design for Life" (Stealth Sonic Orchestra remix)
 "Everything Must Go"
 "Enola/Alone"
 "Faster"
 "Kevin Carter"
 "La Tristessa (Scream to a Sigh)"
 "Removables"
 "Roses in the Hospital"
 "Elvis Impersonator: Blackpool Pier"
 "The Girl Who Wanted to Be God"
 "Motown Junk"
 "Motorcycle Emptiness"
 "No Surface All Feeling"
 "This Is Yesterday"
 "Small Black Flowers That Grow in the Sky"
 "Raindrops Keep Falling on My Head"
 "Yes"
 "Australia"
 "Stay Beautiful"
 "A Design for Life"
 "You Love Us"

20th Anniversary Edition DVD 2

 Documentary: Freed From Memories
 A Design for Life (Official Video)
 Everything Must Go (Official Video)
 Kevin Carter (Official Video)
 Australia (Official Video)

Personnel

 Manic Street Preachers
 James Dean Bradfield – lead vocals, lead and rhythm guitar and piano
 Sean Moore – drums, percussion, trumpet and backing vocals
 Nicky Wire – bass guitar and backing vocals
 Richey Edwards – rhythm guitar on "No Surface All Feeling"

Additional personnel
 John Green – Hammond organ and keyboards
 Martin Ditcham – percussion
 Julie Aliss – harp
 Gini Ball – violin
 Sally Herbert – violin
 Anne Stephenson – violin
 Chris Pitsillides – viola
 Clare Orsler – viola
 Martin Greene – string arrangements

Technical personnel
 Mike Hedges – production
 Ian Grimble – engineering, mixing
 Dave Eringa – production on "No Surface All Feeling", mixing on "Australia" and "No Surface All Feeling"
 Stephen Hague – original production on "The Girl That Wanted to be God"
 Spike Drake – engineering on "The Girl That Wanted to be God"
 Guy Massey – mixing assistant on "Australia"
 Chris Blair – mastering (Abbey Road Studios, London)
 Mark Farrow – cover design
 Rankin – photography
 Jackson Pollock – sleeve quote

Charts

Weekly charts

Year-end charts

Certifications

References

Sources

External links

Everything Must Go (10th anniversary edition) at YouTube (streamed copy where licensed)

Manic Street Preachers albums
1996 albums
Columbia Records albums
Brit Award for British Album of the Year
Albums produced by Mike Hedges

Everything Must Go (Manic Street Preachers album)


Samhengistilfinning (á ensku: "a Sense of Coherence", SOC) er hugtak úr salutogenesis kenningunni, mótuð af Aaron Antonovsky. Samkvæmt Antonovsky getur einstaklingur verið við góða heilsu ef hann getur fundið fyrir þátttöku í samhengi sem er skiljanlegt og þroskandi. Þetta þýðir að fólk getur talist við góða heilsu þó það sé til dæmis líkamlega veikt.

Samhengistilfinning samanstendur af þremur hlutum; upplifun fyrirbæra í sálarlífi jafnt sem ytri heimi (skiljanleiki), að þau úrræði sem þarf til þessara fyrirbæra séu til staðar (viðráðanleiki), sem og þátttaka í áskorunum lífsins (merkingargildi).

Samhengistilfinning


إيمانويلي بيلاردي  (مواليد 9 أكتوبر 1977 في إبولي - إيطاليا) لاعب كرة قدم إيطالي يلعب حاليا لصالح نادي الدرجة الأولى أودينيزي الإيطالي منذ 2008 في مركز حارس مرمى .

روابط خارجية

مراجع

أشخاص على قيد الحياة
أشخاص من إبولي
حراس مرمى كرة قدم رجالية
لاعبو الدوري الإيطالي
لاعبو الدوري الإيطالي الدرجة الثالثة
لاعبو الدوري الإيطالي الدرجة الثانية
لاعبو أودينيزي
لاعبو بسكارا 1936
لاعبو ريجينا
لاعبو كرة قدم إيطاليون
لاعبو كرة قدم إيطاليون مغتربون
لاعبو كرة قدم رجالية إيطاليون
لاعبو كرة قدم رجالية إيطاليون مغتربون
لاعبو كرة قدم رجالية مغتربون في الهند
لاعبو كرة قدم مغتربون في الهند
لاعبو كرة قدم من كامبانيا
لاعبو مودينا
لاعبو نابولي
لاعبو نادي تشيزينا
لاعبو نادي غروسيتو
لاعبو نادي كاتانزارو
لاعبو يوفنتوس
مواليد 1977

إيمانويلي بيلاردي


Jonathan Levinson Buffy The Vampire Slayer dizisindeki rol alan karakterlerden biridir.

Dizi Hakkında
Jonathan Levinson, Buffy ve arkadaşlarının da gittiği Sunnydale Lisesi'nde okuyordu. İlk olarak ikinci sezonda önemsiz bir karakter olarak ortaya çıkmıştır. Üçüncü sezonda önemsiz bir rol oynarken sezon sonlarına doğru önem kazanmıştır.
Dördüncü sezonda ise Jonathan, bir büyü sayesinde herkesin sevdiği ve her yeteneği olan biri olarak ünlü olmuştur. Ancak Buffy, lisedeki silik Jonathan'ın nasıl böyle mükemmel hale geldiğini anlar ve olayı çözer.
Jonathan bu olaydan sonra uzun bir süre gözükmez. Ancak altıncı sezonda Warren Meers ve Andrew Wells ile birlikte bir üçlü ekip kurarlar. Bu ekip çeşitli iblislerle ve planlarla, Buffy ve arkadaşlarının başını kötü duruma sokmaya çalışmışlardır. Sezon sonlarına doğru arkadaşı Andrew ile birlikte hapse girmiştir. Warren ise bu olay sonucu Buffy'den intikam için silahla onu vurur. Ama asıl vahşi kurşun Tara'ya gelir. Willow, Tara'nın ölümünden sonra çeşitli kara büyü kitaplarıyla Dark Willow haline gelir ve Warren'ın derisini yüzer. Bundan sonra Jonathan ve Andrew'un da peşine düşer.
Jonathan ve Andrew, Buffy ve arkadaşlarının korumasına girerler. Dark Willow durdurulduğunda, Jonathan ve Andrew kasabadan çoktan ayrılıp Meksika'ya kaçmışlardır.
Yedinci sezonda, Jonathan ve Andrew kasabaya gördükleri garip rüyalar sonucu kasabaya dönerler. Sunnydale Lisesi'nin altındaki Danzalthar Mührü'nü kazarak bulurlar. İlk Ucube ise Andrew'a Warren şeklinde gözükerek Jonathan'ı öldürmesini söylemektedir. Böylece Danzalthar Mührü açılacaktır. Jonathan bundan habersiz olarak gelir ve kısa bir süre sonra Andrew tarafından bıçaklanır. Ama kanı fazla çıkmadığı ve kuruduğu için mühür açılmaz. Sonraki bölümlerde İlk Ucube, Jonathan'ın kılığında ve flashbacklerde birkaç kez gözüktükten sonra bir daha görünmez.
Jonathan Levinson karakteri Danny Strong tarafından oynanmıştır.

Göründüğü Bölümler
Sezon 2:Inca Mummy Girl, Reptile Boy, What's My Line? Part:2, Bad Eggs, Passion, Go Fish
Sezon 3:Dead Man's Party, Homecoming, The Wish, Earshot, The Prom, Graduation Day Part:2
Sezon 4:Superstar
Sezon 6:Flooded, Life Serial, Smashed, Gone, Dead Things, Normal Again, Entropy, Seeing Red, Villains, Two to Go, Grave
Sezon 7:Conversations with Dead People, Never Leave Me (İlk Ucube olarak), First Date (İlk Ucube olarak), Storyteller (Flashback ve rüyalarda)

Buffy karakterleri
Büyü kullanan Buffy evreni karakterleri

Jonathan Levinson


An Phelpsiella ptericaulis in uska species han Liliopsida nga ginhulagway ni Bassett Maguire. An Phelpsiella ptericaulis in nahilalakip ha genus nga Phelpsiella, ngan familia nga Rapateaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Phelpsiella

Phelpsiella ptericaulis


Raymond Jordan, dit Idiota, né au  et mort vers , est un religieux et écrivain français.

Biographie
Raymond Jordan entre très jeune au prieuré Saint-Nicolas de Campagnac, vers le milieu du , sous le prieur inconnu qui succéda à Michel de Cazaliers. Moine de l'ordre de Saint Augustin, prévôt de l'église d'Uzès, puis abbé de l'abbaye Notre-Dame-la-Blanche de Selles-sur-Cher et écrivain mystique, il rédige un manuscrit en latin publié sous le titre Idiotae contemplationes en 1519 à l'initiative du théologien Jacques Lefèvre d'Étaples, et traduit en français sous le titre Les contemplations de Marie, par Guillaume Briçonnet à Paris en 1522. Ce n'est que plus tard que son identité fut découverte par le jésuite lyonnais Théophile Raynaud (1583-1663) qui en donna deux éditions : à Lyon en 1632 et à Paris en 1654 sous le titre de Idiotæ Opera omnia.

Cet ouvrage sera une source d'inspiration pour Marguerite de Navarre à qui Briçonnet les a donné à lire, et le sera également pour l'Imitatio Christi un demi siècle plus tard, qui le fera tomber dans l'oubli.

Notes et références

Bibliographie
 Eugène Germer-Durand, Le prieuré et le pont de Saint-Nicolas de Campagnac, Nîmes, Hachette Livre et BnF, 1864, .

Liens externes

Moine catholique du XIVe siècle
Moine catholique français
Abbé français
Abbé du XIVe siècle
Augustin français
Écrivain français du XIVe siècle
Écrivain français de langue latine

Raymond Jordan


was a town located in Kibi District, Okayama Prefecture, Japan.

As of 2003, the town had an estimated population of 22,927 and a density of 520.12 persons per km². The total area was 44.08 km².

On August 1, 2005, Mabi, along with the town of Funao (from Asakuchi District), was merged into the expanded city of Kurashiki.

Mabi is famous for its historical ties to Kibi no Makibi, a Nara period noble and scholar credited with bringing the game of Go to Japan. Sites associated with Kibi no Makibi in Mabi include the Makibi Memorial Museum and Makibi Park.

Floods caused by heavy rains in southwestern Japan in the summer of 2018 killed at least 46 residents.

References

Dissolved municipalities of Okayama Prefecture
Kurashiki

Mabi, Okayama


Le terme « provinces » (en portugais : províncias) a été utilisé tout au long de l'histoire pour identifier les régions du Portugal continental. Les subdivisions juridiques actuelles du Portugal ne coïncident pas avec les provinces, mais plusieurs provinces, dans leurs versions des XIXe et XXe siècles, correspondent toujours à des catégories culturellement pertinentes et fortement auto-identifiantes. Ils incluent :
Alentejo
Algarve
Beira
Douro Litoral
Estrémadure
Minho
Ribatejo
Tras-os-Montes

Historique
Les premières provinces, instituées lors de l'occupation romaine de la péninsule ibérique, divisaient la péninsule en trois : Tarraconaise, Lusitanie et Bétique, établies par l'empereur romain Auguste entre 27 et 13 av. J.-C. L'empereur Dioclétien a réorganisé la Tarraconaise en trois provinces : Tarraconaise, Carthaginoise et Gallaecia. A cette époque, la Tarraconaise comprenait le nord du Portugal, la Gallaecia et les Asturies.

Ce qui allait devenir le Royaume de Portugal était lui-même une province du Royaume de León. Pendant la Reconquista, les royaumes ibériques ont établi un système administratif, basé sur les anciennes lignées wisigothiques, qui n'étaient elles-mêmes qu'un vestige des Romains. Les royaumes étaient divisés en provinces ou comtés, dirigés par des gouverneurs locaux (appelés comte, duc ou prince), qui subdivisaient également administrativement le territoire en parcelles plus petites, dirigées par des lieutenants. Le premier comté du Portugal, ou Portucale, était un fief du León, sous Alphonse III de León, auquel succéda au XIIe siècle le deuxième comté du Portugal, ouvrant la voie au royaume indépendant du Portugal.

Comarques

Après le XVe siècle, le nouveau royaume du Portugal est divisé en six grandes unités administratives, appelées comarques. Du nord au sud, ils étaient les suivants :
Comarque de Trás-os-Montes – délimitée à l'ouest par le fleuve Tâmega et au sud par le fleuve Douro ;
Comarque d'Entre-Douro-e-Minho – délimitée au sud par le fleuve Douro et à l'est par la rivière Tâmega ;
Comarque de Beira – initialement une bande étendue à l'intérieur du pays, entre le fleuve Douro et le Tage , au XVIe siècle, elle a été étendue à la côte, pour inclure les zones d'Estrémadure ;
Comarque d'Estrémadure – initialement une zone côtière, entre les fleuves Douro et Tage ; au XVIe siècle, la frontière nord était limitée au sud du fleuve Mondego, tandis que sa limite sud s'étendait vers le Tage, englobant la péninsule de Setúbal ;
Comarque d'Entre-Tejo-e-Odiana – délimitée au nord par le Tage et au sud par la Serra do Caldeirão ;
Royaume de l'Algarve – comprend la côte sud jusqu'à la Serra do Caldeirão.

La comarque d'Entre-Tejo-e-Odiana sera plus tard rebaptisée Comarca de l'Alentejo, tandis qu'à la fin du XVIe siècle, les comarques commenceront à être appelées províncias.

Chaque comarque était dirigée par un magistrat administratif et judiciaire, qui représentait le pouvoir royal dans chaque juridiction du pays. Ces magistrats étaient, initialement, appelés tenents, plus tard meirinhos-mores et enfin, corregedores.

Province
Vers le XVIIe siècle, les provinces ont été subdivisées en comarcas ou correições, avec leur propre corregedor (juges de droit). Pendant ce temps, en même temps que son rôle administratif a cessé, le Royaume a institué un système de governadores das armas, dont la juridiction a coïncidé avec les territoires provinciaux. Cette division entre les autorités militaires et civiques a été maintenue jusqu'aux réformes administratives de 1832.

Jusqu'à la fin du XVIIIe siècle, les territoires féodaux du clergé ou de la noblesse étaient appelés ouvidorias, dont la fonction était similaire à la comarque, mais qui étaient gouvernés et administrés par des régents féodaux nommés. En 1790, ces ouvidorias sont transformées en comarques, avec des corregedores nommés directement par la Couronne. En 1801, les provinces comprenaient les divisions administratives suivantes :

Province d'Entre-Douro-e-Minho : Valença, Viana, Braga, Barcelos, Guimarães, Porto, Penafiel ;
Province de Trás-os-Montes : Bragança, Miranda, Moncorvo, Vila Real ;
Province de Beira : Feira, Aveiro, Lamego, Trancoso, Pinhel, Guarda, Linhares, Viseu, Castelo Branco, Arganil, Coimbra, Leiria, Ourém, Cinco Vilas (Chão de Couce), Tomar ;
Province d'Estrémadure : Santarém, Alcobaça, Alenquer, Torres Vedras, Ribatejo (Vila Franca de Xira), Lisboa, Setúbal ;
Province d'Alentejo : Crato, Portalegre, Vila Viçosa, Avis, Elvas, Évora, Beja, Ourique ;
Royaume de l'Algarve : Lagos, Faro, Tavira ;

Parallèlement à ces comarcas (les régions administratives et judiciaires), les provinces ont commencé à être subdivisées en almoxarifados (districts fiscaux) et emprovedorias (districts sociaux), afin de gérer respectivement les importations/exportations et les finances, comme ainsi que les questions sanitaires et sociales. De même, en 1758, le Partido do Porto, une division militaire, sous la responsabilité du gouverneur militaire, est institué pour inclure des zones des provinces d'Entre-Douro-e-Minho et de Beira afin de relier ces provinces.

Préfectures
Après la Révolution libérale de 1820, les propositions de réforme du découpage administratif du pays sont nombreuses. Mais, en raison des contre-révolutions miguelistes, ces réformes ont été retardées. En 1832, le gouvernement libéral en exil aux Açores, a décrété l'établissement d'un nouveau système pour le Portugal, qui se rapprocherait des provinces déjà existantes du Portugal.

Par rapport à la période antérieure au XVIIe siècle, les provinces de 1832, ou prefeituras (préfectures), ont commencé à fonctionner comme des unités administratives, dirigées par un prefeito (préfet) qui était un représentant du gouvernement central.

Les huit préfectures (provinces) étaient les suivantes :
Préfecture du Minho – Ponte de Lima, Monção, Braga, Barcelos, Guimarães
Préfecture de Trás-os-Montes – Bragance, Chaves, Moncorvo, Vila Real
Préfecture du Douro – Porto, Penafiel, Feira, Aveiro
Préfecture de Beira Alta – Viseu, Lamego, Trancoso, Guarda
Préfecture de Beira Baixa – Coimbra, Castelo Branco, Seia, Tomar, Leiria
Préfecture d'Estrémadure – Santarém, Alenquer, Torres Vedras, Lisbonne
Préfecture de l'Alentejo – Setúbal, Portalegre, Elvas, Beja, Évora, Beja, Ourique
Préfecture de l'Algarve – Lagos, Faro, Tavira

Nouvelles Provinces

L'Estado Novo adopta, dès ses débuts, une politique de régionalisation du pays, qui fut inscrite dans la Constitution de 1933, créant de nouvelles provinces, au sein d'un organe exécutif, les juntas de provincia (junte provinciale) et d'un organe délibérant, les conselhos provinciais (conseils provinciaux).

Créées en 1936, les nouvelles provinces ne correspondaient pas aux comarques ou aux provinces traditionnelles. Les nouveaux territoires étaient basés sur des études faites par Amorim Girão, un géographe, qui a divisé le Portugal continental en 13 regiões naturais (régions naturelles). Les provinces étaient :

Algarve – qui comprenait la totalité du district de Faro ;
Alto Alentejo – y compris les districts d' Évora et de Portalegre (à l'exception de la municipalité de Ponte de Sor);
Baixo Alentejo – qui comprenait le district de Beja et la moitié sud du district de Setúbal ;
Beira Alta – les « régions naturelles » de Beira Alta et Beira Transmontana, qui comprenaient le district de Guarda (à l'exception de la municipalité de Vila Nova de Foz Côa), le district de Viseu (à l'exception des municipalités de Cinfães, Resende, Armamar, Lamego, São João da Pesqueira et Tabuaço), et les municipalités d'Oliveira do Hospital et Tábua (dans le district de Coimbra) ;
Beira Baixa – qui comprenait le district de Castelo Branco, la municipalité de Mação (dans le district de Santarém) et la municipalité de Pampilhosa da Serra (dans le district de Coimbra) ;
Beira Litoral – dans le sud contenant des parties de la province de Beira Baixa, y compris le district de Coimbra (à l'exception des municipalités de Pampilhosa da Serra, Oliveira do Hospital et Tábua), la moitié nord du district de Leiria, district d'Aveiro (à l'exception des municipalités d'Arouca, Castelo de Paiva, Espinho et Santa Maria da Feira) et la commune d'Ourém (district de Santarém) ;
Douro Litoral – y compris le district de Porto, les municipalités d'Arouca, Castelo de Paiva, Espinho et Santa Maria da Feira (dans le district d'Aveiro) et les municipalités de Cinfães et Resende (dans le district de Viseu) ;
Estremadura – District de Lisboa, qui comprenait la majeure partie de Lisbonne, à l'exception des municipalités d'Azambuja et de Vila Franca de Xira, la moitié nord du district de Setúbal et la moitié sud du district de Leiria ;
Minho – qui comprenait le district de Braga et le district de Viana do Castelo ;
Ribatejo – la majeure partie de la province appartient maintenant au district de Santarém ;
Trás-os-Montes e Alto Douro – les régions naturelles de Trás-os-Montes et Alto Douro, qui comprenaient le district de Vila Real, le district de Bragança, la municipalité de Vila Nova de Foz Côa (dans le district de Guarda) et les municipalités d'Armamar, Lamego, São João da Pesqueira et Tabuaço (dans le district de Viseu).

Provinces d'outre-mer

Au début du XXe siècle, le Portugal requalifia ses colonies d'outre-mer en « Provinces ultramarines » (províncias ultramarinas), officialisant la dénomination en 1951. Ces provinces étaient :
Açores
Angola
Cap-Vert
Guinée
Inde
Macao
Madère
Mozambique
Sao Tomé-et-Principe
Timor

Voir aussi
Géographie du Portugal
Subdivisions du Portugal

Références

Subdivision au Portugal

Provinces du Portugal