Fluorescence spectroscopy (also known as fluorimetry or spectrofluorometry) is a type of electromagnetic spectroscopy that analyzes fluorescence from a sample. It involves using a beam of light, usually ultraviolet light, that excites the electrons in molecules of certain compounds and causes them to emit light; typically, but not necessarily, visible light. A complementary technique is absorption spectroscopy. In the special case of single molecule fluorescence spectroscopy, intensity fluctuations from the emitted light are measured from either single fluorophores, or pairs of fluorophores.

Devices that measure fluorescence are called fluorometers.

Theory

Molecules have various states referred to as energy levels. Fluorescence spectroscopy is primarily concerned with electronic and vibrational states. Generally, the species being examined has a ground electronic state (a low energy state) of interest, and an excited electronic state of higher energy. Within each of these electronic states there are various vibrational states.

In fluorescence, the species is first excited, by absorbing a photon, from its ground electronic state to one of the various vibrational states in the excited electronic state. Collisions with other molecules cause the excited molecule to lose vibrational energy until it reaches the lowest vibrational state from the excited electronic state. This process is often visualized with a Jablonski diagram.

The molecule then drops down to one of the various vibrational levels of the ground electronic state again, emitting a photon in the process. As molecules may drop down into any of several vibrational levels in the ground state, the emitted photons will have different energies, and thus frequencies. Therefore, by analysing the different frequencies of light emitted in fluorescent spectroscopy, along with their relative intensities, the structure of the different vibrational levels can be determined.

For atomic species, the process is similar; however, since atomic species do not have vibrational energy levels, the emitted photons are often at the same wavelength as the incident radiation. This process of re-emitting the absorbed photon is "resonance fluorescence" and while it is characteristic of atomic fluorescence, is seen in molecular fluorescence as well.

In a typical fluorescence (emission)  measurement, the excitation wavelength is fixed and the detection wavelength varies, while in a fluorescence excitation measurement the detection wavelength is fixed and the excitation wavelength is varied across a region of interest. An emission map is measured by recording the emission spectra resulting from a range of excitation wavelengths and combining them all together. This is a three dimensional surface data set: emission intensity as a function of excitation and emission wavelengths, and is typically depicted as a contour map.

Instrumentation
Two general types of instruments exist: filter fluorometers that use filters to isolate the incident light and fluorescent light and spectrofluorometers that use  diffraction grating monochromators to isolate the incident light and fluorescent light.

Both types use the following scheme: the light from an excitation source passes through a filter or monochromator, and strikes the sample. A proportion of the incident light is absorbed by the sample, and some of the molecules in the sample fluoresce. The fluorescent light is emitted in all directions. Some of this fluorescent light passes through a second filter or monochromator and reaches a detector, which is usually placed at 90° to the incident light beam to minimize the risk of transmitted or reflected incident light reaching the detector.

Various light sources may be used as excitation sources, including lasers, LED, and lamps; xenon arcs and mercury-vapor lamps in particular. A laser only emits light of high irradiance at a very narrow wavelength interval, typically under 0.01 nm, which makes an excitation monochromator or filter unnecessary. The disadvantage of this method is that the wavelength of a laser cannot be changed by much. A mercury vapor lamp is a line lamp, meaning it emits light near peak wavelengths. By contrast, a xenon arc has a continuous emission spectrum with nearly constant intensity in the range from 300-800 nm and a sufficient irradiance for measurements down to just above 200 nm.

Filters and/or monochromators may be used in fluorimeters. A monochromator transmits light of an adjustable wavelength with an adjustable tolerance. The most common type of monochromator utilizes a diffraction grating, that is, collimated light illuminates a grating and exits with a different angle depending on the wavelength. The monochromator can then be adjusted to select which wavelengths to transmit. For allowing anisotropy measurements, the addition of two polarization filters is necessary: One after the excitation monochromator or filter, and one before the emission monochromator or filter.

As mentioned before, the fluorescence is most often measured at a 90° angle relative to the excitation light. This geometry is used instead of placing the sensor at the line of the excitation light at a 180° angle in order to avoid interference of the transmitted excitation light. No monochromator is perfect and it will transmit some stray light, that is, light with other wavelengths than the targeted. An ideal monochromator would only transmit light in the specified range and have a high wavelength-independent transmission. When measuring at a 90° angle, only the light scattered by the sample causes stray light. This results in a better signal-to-noise ratio, and lowers the detection limit by approximately a factor 10000, when compared to the 180° geometry. Furthermore, the fluorescence can also be measured from the front, which is often done for turbid or opaque samples
.

The detector can either be single-channeled or multichanneled. The single-channeled detector can only detect the intensity of one wavelength at a time, while the multichanneled one detects the intensity of all wavelengths simultaneously, making the emission monochromator or filter unnecessary.

The most versatile fluorimeters with dual monochromators and a continuous excitation light source can record both an excitation spectrum and a fluorescence spectrum. When measuring fluorescence spectra, the wavelength of the excitation light is kept constant, preferably at a wavelength of high absorption, and the emission monochromator scans the spectrum. For measuring excitation spectra, the wavelength passing through the emission filter or monochromator is kept constant and the excitation monochromator is scanning. The excitation spectrum generally is identical to the absorption spectrum as the fluorescence intensity is proportional to the absorption.

Analysis of data

At low concentrations the fluorescence intensity will generally be proportional to the concentration of the fluorophore.

Unlike in UV/visible spectroscopy, 'standard', device independent spectra are not easily attained. Several factors influence and distort the spectra, and corrections are necessary to attain 'true', i.e. machine-independent, spectra. The different types of distortions will here be classified as being either instrument- or sample-related. Firstly, the distortion arising from the instrument is discussed. As a start, the light source intensity and wavelength characteristics varies over time during each experiment and between each experiment. Furthermore, no lamp has a constant intensity at all wavelengths. To correct this, a beam splitter can be applied after the excitation monochromator or filter to direct a portion of the light to a reference detector.

Additionally, the transmission efficiency of monochromators and filters must be taken into account. These may also change over time. The transmission efficiency of the monochromator also varies depending on wavelength. This is the reason that an optional reference detector should be placed after the excitation monochromator or filter. The percentage of the fluorescence picked up by the detector is also dependent upon the system. Furthermore, the detector quantum efficiency, that is, the percentage of photons detected, varies between different detectors, with wavelength and with time, as the detector inevitably deteriorates.

Two other topics that must be considered include the optics used to direct the radiation and the means of holding or containing the sample material (called a cuvette or cell). For most UV, visible, and NIR measurements the use of precision quartz cuvettes is necessary. In both cases, it is important to select materials that have relatively little absorption in the wavelength range of interest. Quartz is ideal because it transmits from 200 nm-2500 nm; higher grade quartz can even transmit up to 3500 nm, whereas the absorption properties of other materials can mask the fluorescence from the sample.

Correction of all these instrumental factors for getting a 'standard' spectrum is a tedious process, which is only applied in practice when it is strictly necessary. This is the case when measuring the quantum yield or when finding the wavelength with the highest emission intensity for instance.

As mentioned earlier, distortions arise from the sample as well. Therefore, some aspects of the sample must be taken into account too. Firstly, photodecomposition may decrease the intensity of fluorescence over time. Scattering of light must also be taken into account. The most significant types of scattering in this context are Rayleigh and Raman scattering. Light scattered by Rayleigh scattering has the same wavelength as the incident light, whereas in Raman scattering the scattered light changes wavelength usually to longer wavelengths. Raman scattering is the result of a virtual electronic state induced by the excitation light. From this virtual state, the molecules may relax back to a vibrational level other than the vibrational ground state. In fluorescence spectra, it is always seen at a constant wavenumber difference relative to the excitation wavenumber e.g. the peak appears at a wavenumber 3600 cm−1  lower than the excitation light in water.

Other aspects to consider are the inner filter effects. These include reabsorption. Reabsorption happens because another molecule or part of a macromolecule absorbs at the wavelengths at which the fluorophore emits radiation. If this is the case, some or all of the photons emitted by the fluorophore may be absorbed again. Another inner filter effect occurs because of high concentrations of absorbing molecules, including the fluorophore. The result is that the intensity of the excitation light is not constant throughout the solution. Resultingly, only a small percentage of the excitation light reaches the fluorophores that are visible for the detection system. The inner filter effects change the spectrum and intensity of the emitted light and they must therefore be considered when analysing the emission spectrum of fluorescent light.

Tryptophan fluorescence
The fluorescence of a folded protein is a mixture of the fluorescence from individual aromatic residues. Most of the intrinsic fluorescence emissions of a folded protein are due to excitation of tryptophan residues, with some emissions due to tyrosine and phenylalanine; but disulfide bonds also have appreciable absorption in this wavelength range. Typically, tryptophan has a wavelength of maximum absorption of 280 nm and an emission peak that is solvatochromic, ranging from ca. 300 to 350 nm depending in the polarity of the local environment   Hence, protein fluorescence may be used as a diagnostic of the conformational state of a protein.  Furthermore, tryptophan fluorescence is strongly influenced by the proximity of other residues (i.e., nearby protonated groups such as Asp or Glu can cause quenching of Trp fluorescence). Also, energy transfer between tryptophan and the other fluorescent amino acids is possible, which would affect the analysis, especially in cases where the Förster acidic approach is taken.  In addition, tryptophan is a relatively rare amino acid; many proteins contain only one or a few tryptophan residues.  Therefore, tryptophan fluorescence can be a very sensitive measurement of the conformational state of individual tryptophan residues. The advantage compared to extrinsic probes is that the protein itself is not changed. The use of intrinsic fluorescence for the study of protein conformation is in practice limited to cases with few (or perhaps only one) tryptophan residues, since each experiences a different local environment, which gives rise to different emission spectra.

Tryptophan is an important intrinsic fluorescent  (amino acid), which can be used to estimate the nature of microenvironment of the tryptophan. When performing experiments with denaturants, surfactants or other amphiphilic molecules, the microenvironment of the tryptophan might change. For example, if a protein containing a single tryptophan in its 'hydrophobic' core is denatured with increasing temperature, a red-shifted emission spectrum will appear. This is due to the exposure of the tryptophan to an aqueous environment as opposed to a hydrophobic protein interior. In contrast, the addition of a surfactant to a protein which contains a tryptophan which is exposed to the aqueous solvent will cause a blue-shifted emission spectrum if the tryptophan is embedded in the surfactant vesicle or micelle. Proteins that lack tryptophan may be coupled to a fluorophore.

With fluorescence excitation at 295 nm, the tryptophan emission spectrum is dominant over the weaker tyrosine and phenylalanine fluorescence.

Applications
Fluorescence spectroscopy is used in, among others, biochemical, medical, and chemical research fields for analyzing organic compounds. There has also been a report of its use in differentiating malignant skin tumors from benign.

Atomic Fluorescence Spectroscopy (AFS) techniques are useful in other kinds of analysis/measurement of a compound present in air or water, or other media, such as CVAFS which is used for heavy metals detection, such as mercury.

Fluorescence can also be used to redirect photons, see fluorescent solar collector.

Additionally, Fluorescence spectroscopy can be adapted to the microscopic level using microfluorimetry

In analytical chemistry, fluorescence detectors are used with HPLC.

In the field of water research, fluorescence spectroscopy can be used to monitor water quality by detecting organic pollutants. Recent advances in computer science and machine learning have even enabled detection of bacterial contamination of water

See also
 Lanthanide probes
 Photoluminescence
 Laser-induced fluorescence

References

External links
 Fluorophores.org, the database of fluorescent dyes
 OpenFluor, Community tools supporting chemometric analysis of organic matter fluorescence
 Database of fluorescent minerals with pictures, activators and spectra (fluomin.org)

Fluorescence
Spectroscopy

Fluorescence spectroscopy


Nagrada Malačke – Sv. Dujam, hrvatsko automobilističko natjecanje. Održava se od 1998. godine na stazi kod prijevoja Malačke.

Utrka je brdska i međunarodnog karaktera. Organizira ju Splitski auto klub i boduje se za nekoliko nacionalnih prvenstava, kao što su FIA CEZ Prvenstvo povijesnih vozila, Prvenstvo Republike Hrvatske, Brdsko prvenstvo Hrvatske povijesnih automobila i Prvenstvo Regije Jug HAKS-a (Dalmacija) - II kategorije.

Izvori

Hrvatska automobilistička natjecanja

Nagrada Malačke – Sv. Dujam


Bahreyn Grand Prix, 4 Eylül 2004 tarihinden beri Sakhir'de düzenlenen bir Formula 1 yarışıdır.

Bahreyn Grand Prix, Ortadoğu'da düzenlenen ilk Formula 1 yarışıdır ve sponsoru da Gulf Air isimli havacılık şirketidir. Bahreyn'in bu başarısından sonra Mısır, Lübnan ve BAE de bir Formula 1 yarışı düzenlemek için çalışmalara başladı. Bu ülkelerin içinden BAE'nin çalışmaları sonuç verdi ve de FIA, 2009 yılının yarış takvimine Abu Dabi pistinin de alındığını söyledi.

Ayrıca FIA, bu yarışa En İyi Düzenlenen Grand Prix ödülünü verdi.

Tarihçe

2002 yılında Sakhir pistinin inşaatına başlandı. Proje başladığında sokak yarışçılarının engellenmesi ve geleceği olan bir proje olması nedeniyle halkın desteğini aldı. Yapımı tamamlandıktan sonra Bahreyn Uluslararası Pisti, bölgede Kuveyt Pisti'nin yerini aldı ve özellikle Bahreyn Körfezi bölgesinde düzenli drag yarışları, GT yarışları ve Formula 3 yarışlarının düzenlendiği bir motor sporları merkezi oldu. İlk yarış 2004 yılında yapıldı ve bu yarışı Alman pilot Michael Schumacher kazandı.

Özellikleri

Pistin en çok eleştirildiği noktalardan biri pist kenarlarının çok geniş olması, bu sebeple de yola tutunamayan sürücülerin cezalandılırmasını zorlaştırmasıdır. Ancak bu güvenliği artırmakla birlikte, antitez olarak da kum veya çakıl üzerinde fren yapmanın zorluğu da sunulabilir.

Bahreyn'de alkollü içeceklerin satışına izin verilmesine rağmen, İslami kurallar çerçevesinde podyuma çıkan sürücüler, başarılarını şampanya yerine alkolsüz bir gül suyu olan ve Waard adı verilen bir içecekle kutlarlar.

Kazananlar

Yıl bazında

Birden çok kazanan sürücüler

Birden çok kazanan markalar

Yarışın desteklenmesi

Formula BMW Asia, 2004 yılında Bahreyn'de de düzenlendi ve Hong Konglu sürücü Marchy Lee, yapılan iki yarışı da kazandı. Ama yarıştan sonra bazı sürücüler; bir sonraki yarış olan Malezya Grand Prix'ine geciktiler ve Malezya yarışına katılamadıkları için kalan yarışlardan ihraç edildiler. Bu sebeplerden ötürü Formula BMW Asia'nın bundan sonra Bahreyn'de yapılmamasına karar verildi.

Bahreyn Grand Prix


Barajul Waghur este un baraj construit în 1978 pe râul Waghur, un baraj de pământ de 13,6 m înălțime și 690 m lungime la coronament, realizând un lac de acumulare cu un volum de 1,22 miliarde mc.

Referințe

Legături externe
 Waghur River
Waghur River, Indian river

Waghur

Barajul Waghur


Marin Nițescu, cunoscut și ca M. Nițescu, (n. 25 august 1927, Perieți – d. 24 aprilie 1989, Perieți) a fost un critic literar român, cunoscut ca autor al pamfletului literar și politologic Sub zodia proletcultismului. Dialectica puterii (publicat postum) în care a denunțat caracterul totalitar al regimului comunist.

Biografie
S-a născut în jud. Olt ca fiu al lui Vasile Nițescu și al soției sale, Maria (n. Ghimiș). Provenea dintr-o familie modestă și a lucrat mai întâi ca ucenic la București și apoi educator-pedagog la Școală profesională "23 August" din București (1949-1950), urmând în paralel cursurile fără frecvență ale Liceului de băieți nr. 12, pe care le-a absolvit în 1951.În 1950 îi moare tatăl(portar la Uzinele 23 august) de T.B.C. pulmonar, boală pe care,în condițiile acelor ani,a contractat-o se pare în mare măsură,și îi va afecta ulterior curriculum vitae. A urmat apoi Facultatea de Limba și Literatura Română a Universității din București (1951-1955).

După absolvirea studiilor superioare a fost repartizat ca îndrumător cultural la Pitești (1955-1956), apoi a lucrat ca pedagog la o școală de muzică din București (1956-1957) și la Școala de Cinematografie de la Buftea (1957-1958), învățător suplinitor și profesor într-o suburbie a Bucureștilor (1958-1963) și îndrumător principal la Centrala Editurilor și Difuzării Cărții (1964-1969). Era un anticomunist convins, așa că timp de trei ani a fost șomer. A fost angajat apoi ca redactor la revista Viața Românească (1972-1984), de unde s-a pensionat pe caz de boală, fiind suferind de bronhopneumonie. S-a retras în satul natal Perieți, unde a murit la 24 aprilie 1989, cu puțin timp înainte de Revoluția din decembrie 1989.

Activitatea literară
A debutat în 1968 în revista Viața Românească cu articolul "Ambițiile criticii «cosmologice»", colaborând apoi la revistele România literară, Revista de filosofie, Familia, Convorbiri literare, Argeș, Luceafărul etc. Debutul editorial a avut loc în 1972 cu volumul de eseuri Între Scylla și Charybda, care a fost urmat de volumele Repere critice (1974), Poeți contemporani (1978) și Atitudini critice (1983). Confratele Cornel Regman îl descria ca un om încăpățânat și rigid, incapabil să facă diferențieri polemice subtile, în timp ce Alex. Ștefănescu îl considera un critic literar "sobru și aparent inofensiv".

Sub zodia proletcultismului
În ultimii ani ai vieții a elaborat un "eseu politologic" și un pamflet anticomunist în care a denunțat caracterul totalitar al regimului comunist. Textele au fost incluse într-un volum intitulat Sub zodia proletcultismului. Dialectica puterii, care a fost publicat postum de Editura Humanitas în 1995, la șase ani după moartea lui M. Nițescu. Autorul analiza întreaga perioadă comunistă, fără niciun fel de precauții, riscându-și libertatea. Societatea comunistă este considerată în acea carte "o societate artificială, impusă și menținută cu forța și care într-o singură săptămână de libertate s-ar destrăma ca o pânză de păianjen", impusă cu forța și nedemocratică. Sentințele lui Nițescu sunt radicale: "Niciodată nu a fost și nu este consultat în mod liber acest popor asupra marilor hotărâri care se iau și-l privesc, asupra legilor care se fac și-l privesc. Ilegalitatea perpetuă și conspirativitatea, acestea caracterizează partidul și raporturile dintre el și cetățeni. [..] Dezideratul întăririi continue a rolului său conducător, repetat fără încetare, nu vine din aceea că partidul ar împărți puterea cu vreo altă forță conducătoare, ci din pornirea patologică de a controla totul, din sentimentul paralizant pentru el că încă mai există ceva în sufletele, în gândurile și în viața oamenilor care îi scapă printre degete, care se sustrage controlului, care nu a fost încă adus sub control".

Nițescu dezvăluia subordonarea literaturii de către Partidul Comunist Român și îi denunța, de asemenea, pe un ton sever pe scriitorii care au colaborat cu sistemul comunist, citându-i drept complici pe Mihail Sadoveanu, Tudor Arghezi, George Călinescu, Zaharia Stancu, Mihai Beniuc, Geo Bogza, Eugen Jebeleanu, Leonte Răutu, Ion Vitner, Nicolae Moraru, Ov. S. Crohmălniceanu, Cornel Regman, Paul Georgescu, C. I. Gulian, Al. Piru, N. Tertulian, Dumitru Micu, Eugen Simion și Nicolae Manolescu și drept colaboraționiști pe Ion Agârbiceanu, Florența Albu, Ioan Alexandru, Paul Anghel, A. E. Baconsky, Cezar Baltag, Eugen Barbu, Ion Barbu, Lucian Blaga, Ana Blandiana, Savin Bratu, Matei Călinescu, Paul Cornea, S. Damian, Gabriel Dimisianu, Geo Dumitrescu, Petru Dumitriu, Mihai Gafița, Gheorghe Grigurcu, Vasile Nicolescu, Mihai Novicov, Ioanichie Olteanu, Miron Radu Paraschivescu, Adrian Păunescu, Perpessicius, Camil Petrescu, Al. Philippide, Marin Preda, Lucian Raicu, Mihail Ralea, Marin Sorescu, Tudor Vianu, Ion Vinea și alții. Chiar dacă o terapie de șoc era necesară, considera criticul Alex. Ștefănescu, furia distructivă a lui M. Nițescu dă naștere unor erori și chiar unor nedreptăți în prezentarea contribuției unor scriitori în literatura realist-socialistă a regimului. Critici literari ca Ion Vitner, Nicolae Moraru, Eugen Simion și Nicolae Manolescu sunt puși pe același nivel, deși contribuția lor a fost diferită, în timp ce valoarea criticii postbelice a lui George Călinescu este contestată până în punctul în care sunt negate orice fel de merite a seriei de articole "Cronicile optimistului".

Decesul
În luna aprilie anul 1989,Uniunea Scriitorilor din Republica Socialistă Română anunță cu durere că luni 24 aprilie 1989 a încetat din viață criticul literar MARIN NIȚESCU,născut la 25 august 1925,la Perieti(Slatina).După absolvirea Facultății de Filologie din București,limba și literatură română(1995),a lucrat că îndrumător cultural la Pitești(1955-1958),că referent la Centrală Cărții(1964-1969),apoi că redactor la revista Viață românească(1969-1984).După recenzia de debut(Gazeta literară,1964),MARIN NIȚESCU a colaborat constant cu articole de critică și cu eseuri la principalele periodice literare din țară.Cele mai importante dintre cronicile și articolele sale au apărut în volumeleːÎntre Scylla și Carybda.Delimitări critice(1971);Repere critice(1974),Poeți contemporani.Sinteze critice(1978).Atitudini critice(1983).Prin dispariția  distinsului critic literar MARIN NIȚESCU,literatură română suferă o grea pierdere.Înhumarea a avut loc joi 27 aprilie 1989,ora 13, la cimitirul din Peritei(Slatina).-(În ziarul România libera,28 aprilie 1989,p.4)

Opera
 Între Scylla și Charybda. Delimitări critice, București, 1972;
 Repere critice, București, 1974;
 Poeți contemporani. Sinteze critice, București, 1978;
 Atitudini critice, București, 1983;
 Sub zodia proletcultismului. Dialectica puterii, eseu politologic, București, 1995.

Note

Nașteri în 1927
Decese în 1989
Critici literari români

Marin Nițescu


{{Ficha de película
| título original = Resident Evil: Retribution
| imagen =
Resident_evil_retribution_logo.png
| tamaño imagen = 280px
| título = Resident Evil 5: La venganza (Hispanoamericana)Resident evil: Venganza (España)
| dirección = Paul W. S. Anderson
| producción = Paul W. S. AndersonJeremy BoltDon CarmodySamuel HadidaRobert Kulzer
| guion = Paul W. S. Anderson
| Formato = 16:9
| basada en = Resident Evil de Capcom
| música = Tomandandy
| fotografía = Glen MacPherson
| reparto = Milla JovovichSienna GuilloryMichelle RodriguezLi BingbingJohann UrbAryana EngineerKevin DurandBoris KodjoeShawn RobertsOded FehrColin SalmonMika NakashimaMegan Charpentier
| país =
| estreno = 2012
| duración = 95 minutos
| clasificación =  R   +16  +12  TE  B15  +14  +16  MA15+
| idioma = Inglés
| género = TerrorAcciónCiencia ficción
| distribución = Screen Gems
| productora = Constantin FilmDavis FilmsImpact Pictures
| presupuesto = $65.000.000
| recaudación = $240.159.255
| imdb = 1855325
| filmaffinity = 366271
| criterio_sucesión = Películas de Resident Evil
| precedida_por = Resident Evil: Afterlife
| sucedida_por = Resident Evil: The Final Chapter
}}

Resident Evil: Retribution (titulada: Resident Evil 5: La venganza ) es la quinta entrega de la serie de películas de terror, acción y ciencia ficción Resident Evil y secuela de Resident Evil: Afterlife. Paul W. S. Anderson la dirigió y escribió, mientras que él mismo junto a Jeremy Bolt, Don Carmody, Samuel Hadida y Robert Kulzer la produjeron. El reparto está formado por Milla Jovovich, Sienna Guillory, Michelle Rodríguez, Johann Urb, Li Bingbing, Shawn Roberts, Kevin Durand, Oded Fehr, Boris Kodjoe, Colin Salmon y Megan Charpentier. Está rodada en 3D igual que la anterior película. La película se rodó en distintos lugares del mundo como Toronto, Japón, Moscú y el Times Square de Nueva York.

Su estreno tuvo lugar el 13 de septiembre de 2012 a nivel internacional.

Argumento
Alice recuerda su trabajo para la Corporación Umbrella, la entidad comercial más grande y poderosa del mundo y en la que ella era jefa de seguridad en un centro de alta tecnología llamado La Colmena, un laboratorio secreto que desarrollaba experimentos en armamento viral. Sin embargo, hubo un accidente, un virus escapó y todo el mundo murió, aparentemente. La computadora que controlaba La Colmena, un avanzado sistema de inteligencia artificial denominado la Reina Roja, respondió a la amenaza de la epidemia de forma extremista: recurrió al homicidio y así intentó matar a todos los que estaban trabajando en La Corporación, estuvieran infectados o no. La epidemia se extendió como el fuego, primero a través de los Estados Unidos y luego en el resto del mundo. El Virus - T no solo revivía a los muertos, también los mutaba de formas terribles. Pese al apocalipsis que había creado, la Corporación Umbrella siguió experimentando con el letal virus. Alice se infectó pero el virus logró unirse a su nivel celular. Desarrolló poderes, se volvió diferente, poderosa e imparable mientras la humanidad se debilitaba. Hizo lo que pudo para llevar a los sobrevivientes a un lugar seguro pero los perseguían incansablemente. Entre ellos, su amiga Jill Valentine, a quien Umbrella sometió a un lavado de cerebro. Finalmente enfrentó al líder de la Corporación Umbrella, Albert Wesker, quien le arrebató sus poderes, pero aun así Alice logró sobrevivir. Al fin creyeron que había terminado, que habían sobrevivido al horror pero se equivocaron y Alice dice: «Un día comenzó la lucha por nuestras vidas». Los supervivientes, Alice Abernathy (Milla Jovovich), Claire Redfield (Ali Larter), Chris Redfield (Wentworth Miller) y K-Mart (Spencer Locke) se encuentran en el barco Arcadia, y los helicópteros V-22 Osprey de Umbrella se aproximan. Un helicóptero dispara dos misiles sobre el barco y muchos soldados descienden sobre la cubierta, mientras Alice dispara. Los soldados les disparan a los sobrevivientes, Jill Valentine (Sienna Guillory) desciende y dispara, Alice ataca  y un helicóptero hace lo mismo hacia Alice, ella saca sus rifles de monedas y dispara, matando al piloto de este helicóptero. Alice corre y salta del Arcadia y cae al mar.

En ese momento despierta en lo que parece ser su casa. Justo cuando su esposo, Todd (Oded Fehr), un clon de Carlos Olivera, aparece y le dice que no sonó el despertador y que su hija Becky sigue dormida, a lo que Alice le dice que la levantará para que vaya a la escuela. En la cocina están Alice, Todd y su hija Becky (Aryana Engineer), quien habla utilizando lenguaje de señas aunque puede hablar. Todd se mancha su camisa de café y va a cambiarse, pero en ese momento un zombi lo ataca y Todd le grita a Alice que proteja a Becky. Alice y Becky corren y más zombis aparecen y ellas se encierran en el cuarto de servicio. Alice tumba el techo, suben y toma un bate, disponiéndose a luchar, bajan y en ese momento un zombi la ataca. Ella se esconde en su cuarto con su hija, quien sale por el balcón. Alice golpea con el bate a los zombis que entran y salen de la casa. En ese momento se aprecia el caos afuera, en lo que parece ser Raccoon City. Enfrente de ellos se detiene un auto conducido por Rain Ocampo (Michelle Rodríguez), quien les pregunta qué es lo que les pasa y les dice que suban. Los zombis las persiguen y Alice le pregunta qué está pasando y Rain le dice que se lo diga ella y Alice le pregunta por qué hacen eso esas personas, pero Rain le dice que esas cosas ya no son personas. En la huida se estrellan contra un camión. Rain queda inconsciente pero Alice sale con su hija y Rain recobra la consciencia y Alice y Becky entran a una casa abandonada. En ese momento los zombis entran a la casa pero solo uno persigue a Alice. Alice y Becky se esconden en un armario y el zombi que las siguió saca tentáculos de la boca como Majini. Alice lo elimina y aparece su esposo infectado como Majini y la ataca.

La Alice original se despierta en el corazón de una de las más grandes instalaciones de la Corporación Umbrella. En ese momento, Jill le hace un interrogatorio diciendo: "¿Proyecto Alice, por qué traicionaste a Umbrella?" y Alice le pregunta por Chris y Claire y por los que estaban en el barco, pero esta no responde y un ruido le hace doler la cabeza a Alice. Cuando el ruido cesa, Jill se aparece nuevamente y le pregunta: "¿Proyecto Alice, para quién trabajas?". A lo que Alice responde "Jill ¡¿Por qué haces esto?!". Luego es atormentada otra vez por el mismo ruido una y otra vez, hasta que la computadora da aviso de un hackeo, por lo que Jill desaparece y todo se apaga. Alice logra escapar, la computadora se reactiva y Jill despierta y descubre que Alice ha escapado y ordena desplegar todos los equipos y barrer el corredor con la red láser. Alice escapa por el pasillo y llega a lo que parece ser la ciudad de Tokio.

Se escucha una voz cibernética que dice "atención... atención... secuencia Tokio iniciada". Sucede lo mismo que en ocurrió en la real Tokio en un film anterior, donde una chicacon look J-Pop ataca a un hombre, tras lo cual más zombis aparecen atacando la ciudad. Alice logra escapar y entra en un pasillo donde logra aniquilar a todos los zombis que se le venían detrás y la chica J-Pop se vuelve Majini y Alice le dispara en la cabeza. Logra salir y aparece en lo que pareciera ser la recepción de la compañía, donde el personal está muerto. En ese momento aparece un lote de armas; coge un cuchillo y más armas, pero cuando se dispone a escapar, Ada Wong (Li Bingbing) le apunta por detrás. Después de pelear un poco, Albert Wesker (Shawn Roberts) aparece en un monitor y le dice que ya no trabaja para Umbrella y que ahora está dispuesto a unir a los supervivientes en un solo grupo. Luego, Wesker le explica que las simulaciones fueron creadas para mostrar el efecto del virus y vendérselo a las grandes potencias. Así, la Corporación Umbrella creó una carrera armamentística, solo que esta vez fue biológica en vez de nuclear. Esas instalaciones eran anteriormente un búnker de submarinos utilizado por la URSS en los años 80 durante la Guerra Fría. Ada le dice a Alice que lo que vio anteriormente no era la ciudad de Tokio, sino una habitación gigante, que Umbrella creó por esos motivos. Ada también comenta que tienen otras simulaciones del mismo tipo y que para poder salir, tiene que pasar por algunas de ellas. Asimismo le dice que pronto tendrán ayuda. Wesker le dice que hasta ahora nadie ha salido de esas instalaciones y le explica que mandó un equipo para que entre ahí y la asista.

En ese momento, se ven dos camiones conduciendo por el hielo, en el cual están Leon S. Kennedy (Johann Urb), Luther West (Boris Kodjoe), Barry Burton (Kevin Durand), Sergei Vladimir (Robin Kasyanob) y Tony Rosato (Ofilio Portillo). Sergei mira con unos binoculares y dice que ahí están las ventilaciones de Umbrella y que parece abandonado y Leon le dice que eso quieren que piensen y que tienen dos horas para sacar a Alice y Ada, ya que después llegarán los refuerzos de Umbrella. Sergei ingresa al programa y Leon le dice que Ada le dio esos códigos de acceso y Sergei le pregunta si confía en ella y León le dice que introduzca los números y Sergei los escribe y Barry coloca unas bombas en las ventilaciones de la corporación con un detonador de dos horas. Sergei dice que entró y un ascensor de entrada aparece en la nieve y Barry dice que harán esto. Ada dice que ellos eliminarán las defensas de Umbrella, se reunirán con ellos y saldrán de ahí y le dice que un amigo suyo viene de nuevo con ellos: Luther West y Alice sorprendida le pregunta si sigue con vida. Leon, Luther, Barry, Tony y Sergei están en el ascensor y sincronizan relojes de 2 horas. Luther le pregunta a Leon porque no lo detonan de forma remota y León dice que bloquearían su señal y aunque no tengan éxito, el complejo debe ser destruido a toda costa. Luther pregunta si les lleva más de 2 horas y Barry le dice que puede aguantar la respiración. En ese momento, Wesker le dice a Alice que la agente Jill Valentine está en la simulación de Tokio y que tiene órdenes de capturarla y de matarla si es necesario. Alice le pregunta quién le dio esas órdenes, a lo que Wesker le dice que fue la Reina Roja, la misma inteligencia artificial que encontró en la colmena. La Reina Roja corta la señal de Wesker y le dice que todos morirán allí abajo y Alice le contesta, con una sonrisa burlona, "eso ya lo he oído antes" y se dispone a huir. Entre las simulaciones que Ada le dice a Alice que están en las instalaciones, se encuentra además de Tokio, la ciudad de Moscú y Nueva York. En la entrada del ascensor se reúnen varios soldados de Umbrella y del ascensor sale un platillo que dispara una ráfaga de balas y matan a los soldados y Leon, Barry, Luther, Sergei y Tony se levantan del suelo del ascensor y Sergei dice que el búnker de submarinos está adelante y Leon le dice a Barry que ellos guiarán y que se reunirán con Alice y Ada en 20 minutos. Barry mata a varios soldados y Luther ve los submarinos y dice que ese si es equipo y Sergei le dice que los submarinos nucleares son los más grandes que han hecho los soviéticos y que Umbrella los usaba para transportar armas biológicas en todo el mundo y la Reina Roja los detecta.

Luego Alice y Ada traspasan Nueva York, donde se encuentran dos grandes y rápidos Verdugos, pero logran eliminarlos después de una corta batalla y la Reina Roja dice que Sobrevivieron y la jefa de seguridad Valentine las interceptara. En la simulación de Moscú, la Reina Roja activa Las Plagas, por lo que aparecen zombis con metralletas y el equipo de Leon retrocede a un edificio y las Plagas le disparan al equipo.

Ada y Alice llegan a la simulación de Raccoon City, totalmente destruida, y Ada dice que el equipo viene tarde y Alice detecta movimiento en una casa tras ella. Alice y Ada entran en la casa en la cual está el clon de Alice muerto y Ada le explica que en cada simulación mueren cientos de personas y las llenan solo con clones con ciertos sentimientos y recuerdos para que den una clara expresión a la amenaza del virus. Luego se escucha un ruido; Alice sube y encuentra a una policía zombi en el armario y Alice le dispara y Becky aparece y abraza a Alice pensando que Alice es su madre. En Moscú, las Plagas en motocicletas y en autos están atacando al equipo y les disparan una lanza granadas y Leon le dice a Sergei que se agota el tiempo y debe buscar una salida y Sergei le pide un segundo. En Raccoon City, Alice ve fotos de su clon, de Todd y de Becky y Ada le explica que Becky es solo un clon y le puede mostrar muchas de ellas en blanco. Alice, Becky y Ada salen de la casa y son encontrados por el equipo de Jill en el que se encuentra los clones malos de Carlos, One y Rain. El logo de Umbrella aparece en los ojos de Jill y Becky llama "papi" a Carlos pero Alice le dice que el no es su padre y aparece la Reina Roja que nuevamente le da órdenes de capturar si es posible y eliminar si es necesario. Rain carga su arma y Alice le dice que hay una niña ahí pero Rain le dice que ese es su problema no el de ellos y Alice le dice que es todo corazón y ve que no ha cambiado y Rain le dice que no la conoce. One les pide rendirse o sino morirán, a lo que Alice levanta los brazos y Ada comienza a disparar a todos. Alice elimina a algunos del equipo pero Ada le dice que debe irse. Le da unos lentes explicándole que eso la ayudará a salir, a lo que Rain dispara unos mini misiles. Ada logra ocultarse y sobrevivir. Alice y Becky corren y Alice ve que ha sido herida. Las Plagas disparan contra el equipo y aparece un zombi con motosierra y mata a Tony y el zombi se le acerca a Leon pero Luther mata al zombi y Sergei dice que lo tiene y que vayan por ahí. Alice y Becky escapan por el metro y Rain de la simulación de Raccoon aparece y Alice le apunta pero Becky le dice que ella las ayudó y Rain abraza a Alice y Becky y dice que pensó que era la única sobreviviente y pregunta donde están y porque todo está escrito en ruso y porque Alice está vestida así y Alice le pregunta si sabe usar un arma y Rain le dice que ella es opositora a las armas y Alice se le acerca y Rain le dice que marchó en contra del uso de armas y Alice le dice que se concentre y le pone la metralleta en la mano y le dice que es como una cámara: apunta y tira y hace que Rain dispare y se oye una explosión y Rain le pregunta que sucede y Alice le dice que trate de mantener segura a Becky y que volverá y Becky le dice a Alice que la ama y Rain le dice a Becky que deben buscar un refugio y Becky le dice a Rain que conoció a su hermana y Rain se confunde y Becky le dice que no es muy amable y Rain le dice que se oculten por ahí.

Leon, Luther, Barry y Sergei salen de un edificio de Moscú y Sergei lleva el plano que orienta la ruta que deben seguir pero un Uber Licker, agarra a Sergei y lo tira techo y el Licker le arranca la cabeza de un mordisco a Sergei. Alice aparece y lo lanza con un auto y Alice les pregunta si esperan invitación por escrito y Luther sonríe y Leon, Barry y Luther se suben y León pregunta por Ada y Alice le dice que cree que lo haya logrado y se disculpa con él pero León le pregunta si la vio morir, Alice dice que no y León dice que Ada siempre tiene un plan y comienza una persecución de donde Las Plagas le disparan al auto de Alice, por lo cual ellos comienzan a escapar por las calles de Moscú, corriendo también del Licker. Alice mete el auto en el metro y el metro se derrumba y entierra al Licker. Alice, Leon, Luther y Barry caminan por el metro y Alice dice que ya pueden salir y que ya volvió y Becky y Rain aparecen y Becky abraza a Alice y Rain pregunta de donde salieron ellos y Luther le pregunta a Alice quien es la niña y Becky se presenta con el y dice que Alice es su madre y Luther se sorprende y sonriendo mira a Alice y Alice le dice que es una larga historia. Leon dice que quedan 22 minutos y Luther dice que no pueden tomar el mismo camino y Barry dice que perdieron su mapa con Sergei pero Alice usa las gafas que Ada le dio y localiza el ascensor de salida así que corren hacia este. Alice le pregunta a Leon como trabaja con Wesker y Leon le dice que no trabaja con el pero que todo ha cambiado en la superficie y le dice que Wesker dijo que sabía de un arma, algo que les daría ventaja pero no sabe si debió arriesgar tanto por una persona y Alice le dice que quizás tenga razón. Alice, Luther, Leon, Becky, Rain y Barry llegan al ascensor pero la electricidad falla. Luther dice que alguien cortó el suministro eléctrico y Leon le pregunta si puede restablecerlo pero Luther le dice que no sin los códigos de acceso. Leon le dice que quedan 9 minutos y deben usar el Plan B y Luther pregunta cual Plan B y Leon le dice que por algo pusieron los explosivos y entonces aparece el mismo Licker, hiere a Barry y se lleva a Becky, Rain le dispara al Licker pero el Licker la golpea y la lanza contra una pared, lo que provoca que Rain se rompa el cuello. El Licker se lleva a Becky y Alice va con Luther quien esta junto al cuerpo de Rain a lo que Luther le dice que está muerta. Alice dice que irá por Becky pero León le dice que no ha perdido a tantos amigos para que ahora se vaya y Alice le dice que piensa volver. Leon le dice que no lo haga ya que ella es más importante que Becky pero Alice le dice que se equivoca y Luther le dice a Alice que irá con ella pero una bala hiere a Luther en el brazo y aparece Jill y su equipo Rain, Carlos, One y los soldados y Alice se va tras Becky mientras Luther, Leon y Barry siguen luchando. Leon dice que vayan al ascensor pero Barry dice que se vaya y que cuando el reloj llegue a cero ya debe estar en el ascensor y que alguien tiene que quedarse y además se está divirtiendo y le dice a Leon que se vaya. Alice encuentra a Becky en un capullo y el Licker aparece y Alice dispara un cable y asciende hacia el Licker y le dispara en la cabeza, matándolo aparentemente y Alice saca a Becky del capullo y saca unas granadas de un capullo donde esta un hombre muerto. Barry dispara y Jill grita que traigan ala prisionera y Rain con Ada aparece y Rain le dice a Barry que deje de dispara o la ejecuta. One le dice que baje sus armas o ella muere y Barry fuma y sale y One le dispara a Barry y Barry cae al suelo, pero coge la pistola al vuelo, se levanta, y consigue dispara y mata a One pero Carlos le dispara a Barry, matándolo. Alice y Becky encuentran una habitación con los clones y ven los clones de Alice y el Licker aparece y Alice pone una bomba y Becky le pregunta si ella es su madre y Alice le dice que ahora lo es y se sujetan de un cable y ascienden y la bomba explota, matando al Licker. Luego el detonador llega a cero con lo cual las instalaciones se destruyen. Jill consigue escapar con Rain y Ada, pero Carlos y los demás soldados de Umbrella mueren en la inundación, por lo cual solo escapan Leon, Luther, Alice, y Becky.

Mientras Leon maneja el vehículo alejándose de las instalaciones, les dice que se relajen porque la ayuda viene en camino. Luego el vehículo se vuelca y aparece un submarino con los únicos sobrevivientes Jill, Ada y Rain. Rain se inyecta Las Plagas y aturde a Ada, luego comienza a pelear contra Leon y Luther, mientras Jill y Alice están haciendo lo mismo a unos metros de distancia. Después de muchos minutos de arduos golpes entre sí, Alice le quita a Jill el dispositivo que la controlaba y Alice lanza el dispositivo en la nieve y el dispositivo corre hacia ella como un insecto pero Alice le dispara al dispositivo y lo destruye. Rain por haberse inyectado es más fuerte y las balas no le hacen daño. Golpea a Luther en las costillas, dándole un paro cardíaco provocándole la muerte. Jill le pasa a Alice una ametralladora y esta dispara. Rain, que dejó a Leon casi inconsciente, empieza a golpear a Alice. Uno de esos golpes fue bastante letal para ella, pero esta se da cuenta de que debajo suyo, en el agua helada bajo el hielo, los zombis de la simulación Moscú están nadando. Rain le dice a Alice que no le siga disparando, que no lograra matarla. Pero Alice le responde que no tiene que hacerlo y le dispara al suelo, haciendo que Rain caiga, los zombis la agarran, Rain intenta quitárselos de encima, pero sus esfuerzos son inútiles, Rain vuelve a salir a la superficie y le dice a Alice: "Voy a regresar por ti", sin embargo Alice en tono de ironía le responde diciendo: "Que tengas suerte" y los zombis arrastran a Rain a lo profundo poco a poco. Alice luego de eso se desmaya y Leon llega con Ada y un helicóptero aparece que los rescata del lugar, horas después Alice herida por los golpes de Rain se despierta junto a su hija y a Jill. Quien le dice a Alice "Me alegro de volver a verte" a lo que Alice responde "Me alegro de volver a verte a ti". Al otro lado del helicóptero se encuentran Leon y Ada, Leon le toca la pierna a Ada dando a entender que siente algo por ella, a lo que ella se sorprende y quita la mano de Leon.

Llegan a Washington, totalmente devastada por los zombis y demás armas biológicas. Alice se encuentra con Wesker en la Casa Blanca, que la convirtieron en un refugio de supervivientes de la Casa Blanca y militares del Ejército de los Estados Unidos, y rodeado de fuertes muros. Sin que Alice tuviera tiempo de negarse, Wesker le inyecta el virus-T de nuevo. Ella se enoja mucho por esto prometiendo matarlo. Él le dice que es posible, pero que tienen cosas que hacer primero. Alice, Wesker, Leon, Jill y Ada salen a la terraza y Wesker les dice: " La Reina Roja pretende destruir toda la vida sobre la Tierra, esto es lo que queda de nosotros de la humanidad. Por eso te necesitábamos el arma máxima. Esta es la última resistencia de la humanidad, el comienzo del final". La Casa Blanca está rodeada de miles de diferentes BOW's intentando penetrar el muro como Lickers, Kipepeos voladores, zombis. Toda la ciudad está incendiada y destruida y un avión de Umbrella que se estrella en el monumento a Washington y un Kipepeo pasa volando con la boca abierta.

Reparto
 Milla Jovovich como Alice: La rival más odiada de la Corporación Umbrella. Después de haber escapado de las instalaciones durante los inicios del brote mundial del virus-T, Alice ha decidido detener por sí misma a la corporación responsable del fin de la humanidad. Pero ahora es momento de hacerlo con ayuda de viejos amigos y enemigos.
 Sienna Guillory como Jill Valentine: Una exmiembro de S.T.A.R.S. que después de desaparecer tras el brote mundial del virus-T, reaparece ahora como una fuerza de autoridad en Umbrella. Milla Jovovich comentó vía Twitter que Jill será la principal antagonista de la película. Su integración como una agente de Umbrella bajo los efectos de control mental, así como también su apariencia, están basadas en el material del videojuego Resident Evil 5. Originalmente Sienna iba aparecer en Resident Evil: Extinction, pero la actriz no pudo incorporarse debido a su compromiso con el rodaje de Eragon.
 Michelle Rodríguez como Rain Ocampo: Forma parte de la lista de clones creados por la corporación Umbrella a partir del ADN de la fallecida Rain. Habrá una Rain "buena" que es una ciudadana de Raccoon City sin conocimiento de armas o pelea; y otra "mala" que es soldado de Umbrella y se inyecta el parásito las Plagas para aumentar su fuerza y resistencia. Esta última muere a manos de los miles de zombis que se encuentran debajo del agua.
 Kevin Durand como Barry Burton: Un superviviente del brote mundial del virus-T, forma parte del grupo de supervivientes dirigido por Leon S. Kennedy. Muere asesinado por los clones del equipo STARS.
 Shawn Roberts como Albert Wesker: El antiguo líder de la corporación Umbrella, que ahora forma parte de la resistencia humana, poniéndose en contra de la misma compañía que inició todo. Además, es quien dirige el plan de rescate de Alice y, también, quien le re-inyecta el virus-T, para que Alice recupere sus poderes.
 Johann Urb como Leon S. Kennedy: Es descrito como "el líder de la resistencia, que se une a Alice en su lucha contra la corporación Umbrella y la plaga de zombis."
 Li Bingbing como Ada Wong: Una exagente de la corporación, que se infiltra en las instalaciones de Siberia para rescatar a Alice bajo las órdenes de Albert Wesker. El personaje fue integrado a la película como una de las tantas peticiones de los fanáticos del videojuego. A pesar de la polémica relación romántica que existe entre este personaje y el de Leon en el material original, Li comentó que la relación entre ambos sería "sutil".
 Aryana Engineer como Becky Abernathy: Es la hija de una de las clones de Alice en la simulación de Raccoon City. Cuando se encuentra con la verdadera Alice, cree que es su madre, y se une a ella para escapar de las instalaciones. El director Paul W. Anderson ha declarado que lejos de convertir a Becky en la hija de Alice, las dos poseen una relación como la de Ripley y Newt de Aliens.
 Oded Fehr como Carlos Olivera/Todd: Un par de clones creados por Umbrella a partir del ADN del fallecido agente. Sobre su regreso, Fehr comentó: «Bueno, lo interesante es que en un sentido regreso, y en otro no es así. Esto es, porque regreso de dos maneras. Ya vieron a varias millas en la otra película. De manera, que puede haber más Carlos, más Ones y más Rains. Lo interesante es que regreso como dos sujetos en esta entrega. Hay uno dinámico en la relación con el personaje de Milla, y está el del otro lado. Está trabajando para Umbrella de nuevo. Por lo que la respuesta es doble. Es genial. Tengo que interpretar dos personajes. Es divertido. Dos lados opuestos». Muere en la inundación con todo el complejo subterráneo de Umbrella
 Boris Kodjoe como Luther West: Un exjugador de basquetball que sobrevivió al brote mundial del virus-T al refugiarse en una prisión de Los Ángeles. Luego de haberse separado de Alice, Chris y Claire, Luther se ha unido a la resistencia junto a Leon S. Kennedy. Muere durante la pelea con Rain Ocampo, la cual le asesina con un golpe en el pecho que le detiene el corazón.
 Colin Salmon como James "One" Shade: Un clon del fallecido agente, desarrollado gracias a la tecnología de Umbrella. Trabaja para Jill Valentine, y su misión es evitar que el Proyecto Alice logre escapar. Es asesinado por Barry Burton.
 Mika Nakashima como la chica J-Pop: Esta es la chica zombi en la secuencia de inicio en Tokio de la entrega anterior. Ahora, es una de las clones usadas para la simulación de la misma ciudad, dentro de las instalaciones
 Megan Charpentier como Reina roja: inteligencia artificial (IA).

Producción

Desarrollo
Paul W. S. Anderson regresa como escritor y director, Glen McPherson sirve como director de fotografía y Kevin Phipps como diseño de producción. Un elemento del cuarto videojuego, el parásito llamado "Las Plagas", estará presente en la película y permitirá a los no muertos "andar, en motocicletas, y disparar metralletas".

En el videojuego Resident Evil 5 los protagonistas utilizaban un Humvee, pero en este caso utilizarán un coche modelo Rolls-Royce Phantom.

Reparto

Los que regresan de entregas anteriores son: Milla Jovovich como Alice, Sienna Guillory como Jill Valentine y Boris Kodjoe como Luther West. Shawn Roberts (Albert Wesker) tendrá solo un cameo. Michelle Rodríguez que interpretó a Rain Ocampo y Colin Salmon, que interpretó a James "One" Shade en la primera película están de vuelta. Oded Fehr que interpretó a Carlos Olivera en la segunda y tercera película también regresa. Habrá dos "versiones" de Rain, One, y Carlos; una será "mala" y la otra será "buena".

Los personajes de la franquicia de videojuegos Ada Wong (interpretada por Li Bingbing), Leon S. Kennedy (Johann Urb) y Barry Burton (Kevin Durand) aparecerán en la película. Ali Larter (Claire Redfield), Wentworth Miller (Chris Redfield) y Spencer Locke (K-Mart) no regresarán: su ausencia se explica porque son capturados por Umbrella.

Filmación
El 10 de octubre de 2012 comenzó el rodaje en Toronto, Canadá. Algunas otras localizaciones fueron el Cinespacio Kipling de Toronto, Times Square en Nueva York, Tokio, y Plaza Roja en Moscú. Resident Evil: Retribution es la segunda película en ser filmada en 3D, la primera fue Resident Evil: Afterlife. Se usó el sistema de cámaras Red Epic, el productor Jeremy Bolt comentó que es 50% más pequeña que el de Sony F35 que fue utilizado en Resident Evil: Afterlife.

Tan solo un día luego de comenzar la filmación, exactamente el día martes 9 de octubre de 2012, se reportó un confuso incidente en la filmación de la película, resultando 16 heridos de baja consideración, entre los cuales 10 estuvieron hospitalizados. El ministerio mandó especialistas a investigar en terreno lo que pudo ser una falla en el cambio de una plataforma con ruedas, resultando en un agujero de 5 pies de altura por el cual habrían caído los extras personificados como zombis. Al parecer, la filmación de la película se detuvo y fue reanudada tiempo después. Los trabajadores tuvieron dificultades para determinar qué heridas eran ciertas puesto que las personas estaban disfrazadas de zombis con sangre falsa. Muchos de los actores heridos volvieron al rodaje tras recuperarse del accidente.

Las calles de la Plaza Roja se vaciaron por un día y la filmación se desarrolló en el subterráneo ruso por cinco horas. La mayoría de las calles se volvieron sets. Una escena de acción inspirada por el quinto videojuego donde los personajes conducen una Humvee mientras son perseguidos por zombis está presente, pero se cambió la Humvee por una Rolls Royce Phantom. La escena se filmó a finales de noviembre en Moscú.

Durand y Roberts terminaron sus escenas en la primera semana de diciembre y Li siguió filmando hasta el 14 del mismo mes. Una escena de Jill y Alice peleando en la que se involucraron alrededor de 200 movimientos, comenzó a filmarse el 14 de diciembre hasta el final de la producción.

El rodaje terminó el 23 de diciembre de 2012 en Canadá, justo donde inició, con un total de 55 días de filmación.

Secuela
El 16 de junio de 2014, Anderson le dijo a Collider que estaba en proceso de redacción de la última película, tentativamente titulada Resident Evil: The Final Chapter, este título fue confirmado por la misma Milla Jovovich a través de su página de Facebook el mes de diciembre de 2014, en enero de 2015 Jovovich publicó nuevamente un aviso confirmando que el estreno de la sexta y última entrega está previsto para el 2 de septiembre de 2016 dejando en claro que su filmación comenzara luego de recuperarse del repentino embarazo de su segunda hija.
El 15 de julio de 2015, Milla Jovovich, a través de su cuenta de Instagram hizo oficial las grabaciones de la sexta entrega de la saga donde ella es protagonista. El primer lugar de grabación será en Ciudad del Cabo, Sudáfrica.
A comienzos de agosto del 2015, Sony Pictures retrasó de nuevo la fecha de estreno; esta vez para el 27 de enero del 2017.

Promoción
El primer teaser de la película estuvo disponible en enero de 2012, presentando productos nuevos de Sony como el celular Xperia, la PlayStation Vita y la Tabla S antes de cambiar a un post-apocalíptico Washington D. C., con Alice parada en la azotea de la Casa Blanca.

El primer tráiler completo de la película, estrenó el 13 de junio de 2012, faltando tres meses exactos para el estreno. Fue lanzado tras una entrevista en vivo realizada a Milla Jovovich en Nueva York, donde revelaba datos importantes y respondía a preguntas de los fanes.

Milla Jovovich, Michelle Rodríguez, Oded Fehr, Boris Kodjoe, Mika Nakashima y Paul W. S. Anderson aparecieron en la Comic-Con de San Diego el viernes 13 de julio de 2012. Allí se llevó a cabo una discusión de la película, además de presentar avances y un nuevo tráiler nunca antes visto.

La banda sonora de la película se lanzó por iTunes el 10 de septiembre de 2012. Finalmente, la película fue estrenada en 3D y IMAX 3D, y por lo tanto en 2D el 13 de septiembre de 2012.

La salida del DVD y Blu-ray de esta película se programó para el 20 de diciembre de 2012, según hubo declarado Sony, y consignado en Daily Dead y en el Fanpage en español de Resident Evil: Retribution en Facebook

Banda sonora
En septiembre de 2012 salió el CD original con la banda sonora de la película. Inicialmente fue lanzado a través de iTunes. El score original, fue compuesto por Tomandandy. La siguiente lista, muestra los 19 temas usados para la quinta entrega de Resident Evil:

Referencias

Películas basadas en videojuegos
Películas distribuidas en formato Digital 3D
Películas rodadas en Nueva York
Películas rodadas en Tokio
Secuelas de películas
Películas de Resident Evil
Películas de ciencia ficción de Estados Unidos
Películas de ciencia ficción de Canadá
Películas de ciencia ficción de Alemania
Películas ambientadas en Moscú
Películas ambientadas en Tokio

Resident Evil: Retribution


Acoustical intelligence (ACOUSTINT, sometimes ACINT) is an intelligence gathering discipline that collects and processes acoustic phenomena.  It is a subdiscipline of MASINT (Measurement and Signature Intelligence).

This uses broadband and narrowband analysis of acquired acoustic signatures from surface ships and submarines, although it can also be used for low-flying aircraft such as helicopters.  Broadband analysis concerns the overall noise created by a platform, whereas narrowband analysis examines the spectra of the received energy at a more precise level.

Broadband analysis is useful for identifying any vessel at a long range, whereas narrowband analysis is generally more useful for identifying the category, type and ideally the individual vessel name.  The category might be for example differentiating between a commercial vessel and a warship; the type might be narrowing this down to an individual class and hence identifying nationality, and the individual name might identify the specific ship or submarine.

As a simple example, narrowband analysis might identify whether a subject of interest has single or multiple propeller shafts; how many blades per shaft and other salients that may help identify the platform.  This may include the fundamental or harmonic emissions based on the electric services used, the gearing between shaft and engine and also the combination of gear teeth used in the ratio(s).  For nuclear vessels, necessary pump frequencies can be detected.  It is possible for an expert to work out how many gears, teeth and ratios are used from engine right through to propeller; this can be used to identify a particular type.  Sometimes, there are machining faults - however small - introduced at the manufacturing stage.  This can help to identify individual platforms.

See also
 Acoustic cryptanalysis

References

Intelligence
Intelligence gathering disciplines

Acoustical intelligence


පුරාතන මිසරය (පුරාතන ඊජිප්තුව) යනු නයිල් ග‍ඟෙහි අග කොටස අවට කේන්ද්‍රගත ව පැවති, හා දැනට නූතන ඊජිප්තු රාජ්‍යය ලෙසින් පවතින, ඊසාන දිග අප්‍රිකාවෙහි, පුරාතන ශිෂ්ඨාචාරයකි.

මිසර සංස්කෘතිය

කලාව

වසර 3500 ක් පුරාවට මිසර කලා ශිල්පීන් සිය නිර්මාණ සඳහා යම් සම්ප්‍රදායක් මුල්කරගත් බව සඳහන් වේ. සැබවින්ම එම සම්ප්‍රදාය හා බැදුනු නෑ නීතිරීති පද්ධතියක් තිබිණි. නිර්මාණ සඳහා යොදාගන්නා රේඛා, හැඩතල හා වර්ණ අඛණ්ඩව විදේශීය බලපෑම් හෝ අන් කිසියම් හේතුවක් නිසාවත් නොවෙනස්ව පවත්වාගෙන ගොස් ඇත. මෙම නෑ නීතිරීති පද්ධතිය නිසාම එකල ඊජිප්තු කලා නිර්මාණ බොහෝ විට ආගමික හෝ දේශපාලනික අරමුණු උදෙසාම බිහිවී ඇත.

පුරාණ ඊජිප්තු කලා ශිල්පීන් පිළිම ඇඹීමට පාෂාණ මෙන්ම දැව ද යොදා ගන්නා ලදි. ඔවුන් සතුව පැවතුනාවූ ඛනිජ ද්‍රව්‍යයන්ගේ වර්ණ සාදාගෙන ඇත. තවද ඊජිප්තු කලා ඉතිහාසය දෙස බලන කල ඔවුන් එකල සිය මිය ගිය ඥාතීන් උදෙසා නිර්මාණය කල සොහොන්කොත් වැදගත් තැනක් ගනී. දැවයෙන් හා මැටියෙන් නිමැවුනු මෙම සොහොන් කොත්වල ඔවුන් සිය එදිනෙදා ජීවිතය ගත කරන ආකාරය පෙන්වා ඇත. මින් ඔවුන් මියගිය වුන්ගේ මරණින් පසු ලෝකය ආරක්ෂා කිරීම අරමුණු කරගෙන ඇත.

එකල මිසරයේ කලාව සඳහා වූ දේශපාලනික බලපෑම අමර්නා (Aප්රබ්) යුගයේ බිහිවූ නිර්මාණවල මැනවින් ප්‍රදර්ශනය වේ. කෙසේ වෙතත්, මෙම යුගයෙන් පසු බිහිවූ නිර්මාණවල නැවතත් මුල් සම්ප්‍රදායන් වල තිබූ ගති ලක්ෂණ පිළිඹිබු වේ.

මෙයද බලන්න

පුරාතන මිසරය
African civilizations
Ancient history
ශිෂ්ටාචාර
Former empires of Africa
පුරාණ අප්‍රිකාවේ රාජ්‍ය

පුරාතන මිසරය


Svijet

Književna djela

Događaji

Osnivanja

Nagrade i priznanja

 Nobelova nagrada za književnost:

Rođenja

Smrti

 9. travnja – Safvet-beg Bašagić, bošnjački književnik, znanstvenik, prevoditelj i političar (* 1870.)

Hrvatska i u Hrvata

Književna djela

Događaji

Osnivanja

Nagrade i priznanja

Rođenja

Smrti

Izvori

Vanjske poveznice

Književnost u 1934.


A seguir estão listados eventos notáveis e lançamentos ocorridos em 2022 na música no Brasil.

Acontecimentos
 Durante os dias 25, 26 e 27 de março acontece no Autódromo de Interlagos em São Paulo a 9.ª edição brasileira do Festival Lollapalooza.

Mortes

23 de fevereiro: Paulinha Abelha
29 de março: Joel Psirico
24 de agosto: Marilene Galvão,

Ver também
2022 na televisão brasileira

Brasil

2022 na música brasileira


Tilesia baccata, ou margaridinha-de-fruta, é uma espécie do gênero Tilesia, da família Asteraceae.  É a única espécie dessa família que tem dispersão de sementes por pássaros nos neotrópicos, sendo polinizada por insetos.

Taxonomia
A espécie foi descrita em 1996 por John Francis Pruski.
São conhecidas as seguintes subspécies de Tilesia baccata (L.) Pruski:

 Tilesia baccata (L.) Pruski var. baccata

 Tilesia baccata (L.) Pruski var. discoidea
Os seguintes sinônimos já foram catalogados:
 Wulffia maculata  ( Ker Gawl. ) DC.
 Wulffia scandens  DC.
 Wulffia stenoglossa  (DC.) Huber
 Wulffia baccata  (L.) Kuntze

Forma de vida
É uma espécie terrícola e arbustiva.

Descrição
Arbusto escandente, às vezes com ramos decumbentes, ca. de de 1 a 4 metros de altura. Capítulos em dicásios ou em cimeiras simples ou paniculiformes, terminais, discóides ou radiados. Ela tem flores amarelas. Flores do disco de de 7 a 8 milímetros de comprimento; corola de de 4 a 5,5 milímetros  de comprimento (tubo com cerca de 1 milímetros de comprimento), lacínias pubescentes, amarela; anteras com cerca de 2,5 milímetros de comprimento, amarelas. Tem cipselas de 3–4 milímetros de comprimento, oblanceoloides ou obovoides, glabras, verdes, castanhas ou enegrecidas quando secas.

Distribuição
A espécie é encontrada em todos os estados do Brasil.
Em termos ecológicos, é encontrada nos  domínios fitogeográficos de Floresta Amazônica, Caatinga, Cerrado e Mata Atlântica, em regiões com vegetação de áreas antrópicas, caatinga, cerrado, floresta de terra firme, floresta estacional decidual, floresta ombrófila pluvial, mata de araucária e restinga.

Notas
Contém texto em CC-BY-SA 4.0 de Alves, M. Tilesia  in Flora e Funga do Brasil.

Ligações externas
 baccata 16347 no projeto Flora e Funga do Brasil

Tilesia
Espécies descritas em 1996
Plantas
Flora do Brasil

Tilesia baccata


Doina Anca Tudor, fostă Stăvăruș (n. ) este o fostă senatoare română aleasă în 2012. Din septembrie 2013 până în februarie 2015 a fost vicelider al grupului parlamentar al PNL din Senatul României. În cadrul activității sale parlamentare, Doina Anca Tudor a fost membru în grupurile parlamentare de prietenie cu Republica Turcia și Republica Franceză.

În luna februarie 2016 era urmărită penal pentru infracțiuni de corupție și plasată în arest la domiciliu. În 12 aprilie a fost trimisă în judecată, și o lună mai târziu a demisionat din Parlament. În septembrie 2020, Doina Tudor și soțul ei au fost achitați definitiv la Curtea de Apel București.

Doina Tudor a fost recrutată de Securitate în aprilie 1982, sub numele conspirativ de Alis.
Ea urma să-i "încadreze informativ" pe colegii de muncă și cetățenii străini care frecventau barul București, aflat lângă CC al PCR.

Note

Vezi și
 Legislatura 2012-2016 (Senat)

Legături externe
 Tudor Doina-Anca , Camera Deputaților

Nașteri în 1960
Senatori români 2012-2016
Politicieni români în viață
Parlamentari colaboratori ai Securității

Doina Tudor


Neviser Zaharcu (n. ) este o fostă deputată din legislatura 2012-2016, aleasă din partea Partidului Social Democrat.

Vezi și
 Legislatura 2012-2016 (Camera Deputaților)
 Parlamentul României

Legături externe
 Activitatea parlamentară

Deputați români 2012-2016
Politicieni români în viață

Neviser Zaharcu


Old Chinese, also called Archaic Chinese in older works, is the oldest attested stage of Chinese, and the ancestor of all modern varieties of Chinese. The earliest examples of Chinese are divinatory inscriptions on oracle bones from around 1250 BC, in the late Shang dynasty. Bronze inscriptions became plentiful during the following Zhou dynasty. The latter part of the Zhou period saw a flowering of literature, including classical works such as the Analects, the Mencius, and the Zuo zhuan. These works served as models for Literary Chinese (or Classical Chinese), which remained the written standard until the early twentieth century, thus preserving the vocabulary and grammar of late Old Chinese.

Old Chinese was written with several early forms of Chinese characters, including Oracle Bone, Bronze, and Seal scripts. Throughout the Old Chinese period, there was a close correspondence between a character and a monosyllabic and monomorphemic word. Although the script is not alphabetic, the majority of characters were created based on phonetic considerations. At first, words that were difficult to represent visually were written using a "borrowed" character for a similar-sounding word (rebus principle). Later on, to reduce ambiguity, new characters were created for these phonetic borrowings by appending a radical that conveys a broad semantic category, resulting in compound xingsheng (phono-semantic) characters (). For the earliest attested stage of Old Chinese of the late Shang dynasty, the phonetic information implicit in these xingsheng characters which are grouped into phonetic series, known as the xiesheng series, represents the only direct source of phonological data for reconstructing the language. The corpus of xingsheng characters was greatly expanded in the following Zhou dynasty. In addition, the rhymes of the earliest recorded poems, primarily those of the Shijing, provide an extensive source of phonological information with respect to syllable finals for the Central Plains dialects during the Western Zhou and Spring and Autumn periods. Similarly, the Chuci provides rhyme data for the dialect spoken in the Chu region during the Warring States period. These rhymes, together with clues from the phonetic components of xingsheng characters, allow most characters attested in Old Chinese to be assigned to one of 30 or 31 rhyme groups. For late Old Chinese of the Han period, the modern Southern Min dialects, the oldest layer of Sino-Vietnamese vocabulary, and a few early transliterations of foreign proper names, as well as names for non-native flora and fauna, also provide insights into language reconstruction.

Although many of the finer details remain unclear, most scholars agree that Old Chinese differed from Middle Chinese in lacking retroflex and palatal obstruents but having initial consonant clusters of some sort, and in having voiceless nasals and liquids. Most recent reconstructions also describe Old Chinese as a language without tones, but having consonant clusters at the end of the syllable, which developed into tone distinctions in Middle Chinese.

Most researchers trace the core vocabulary of Old Chinese to Sino-Tibetan, with much early borrowing from neighbouring languages.
During the Zhou period, the originally monosyllabic vocabulary was augmented with polysyllabic words formed by compounding and reduplication, although monosyllabic vocabulary was still predominant. Unlike Middle Chinese and the modern Chinese dialects, Old Chinese had a significant amount of derivational morphology. Several affixes have been identified, including ones for the verbification of nouns, conversion between transitive and intransitive verbs, and formation of causative verbs. Like modern Chinese, it appears to be uninflected, though a pronoun case and number system seems to have existed during the Shang and early Zhou but was already in the process of disappearing by the Classical period. Likewise, by the Classical period, most morphological derivations had become unproductive or vestigial, and grammatical relationships were primarily indicated using word order and grammatical particles.

Classification
Middle Chinese and its southern neighbours Kra–Dai, Hmong–Mien and the Vietic branch of Austroasiatic have similar tone systems, syllable structure, grammatical features and lack of inflection, but these are believed to be areal features spread by diffusion rather than indicating common descent.
The most widely accepted hypothesis is that Chinese belongs to the Sino-Tibetan language family, together with Burmese, Tibetan and many other languages spoken in the Himalayas and the Southeast Asian Massif.
The evidence consists of some hundreds of proposed cognate words, including such basic vocabulary as the following:

Although the relationship was first proposed in the early 19th century and is now broadly accepted, reconstruction of Sino-Tibetan is much less developed than that of families such as Indo-European or Austronesian.
Although Old Chinese is by far the earliest attested member of the family, its logographic script does not clearly indicate the pronunciation of words.
Other difficulties have included the great diversity of the languages, the lack of inflection in many of them, and the effects of language contact.
In addition, many of the smaller languages are poorly described because they are spoken in mountainous areas that are difficult to reach, including several sensitive border zones.

Initial consonants generally correspond regarding place and manner of articulation, but voicing and aspiration are much less regular, and prefixal elements vary widely between languages. Some researchers believe that both these phenomena reflect lost minor syllables. Proto-Tibeto-Burman as reconstructed by Benedict and Matisoff lacks an aspiration distinction on initial stops and affricates. Aspiration in Old Chinese often corresponds to pre-initial consonants in Tibetan and Lolo-Burmese, and is believed to be a Chinese innovation arising from earlier prefixes. Proto-Sino-Tibetan is reconstructed with a six-vowel system as in recent reconstructions of Old Chinese, with the Tibeto-Burman languages distinguished by the merger of the mid-central vowel  with . The other vowels are preserved by both, with some alternation between  and , and between  and .

History

The earliest known written records of the Chinese language were found at the Yinxu site near modern Anyang identified as the last capital of the Shang dynasty, and date from about 1250 BC. These are the oracle bones, short inscriptions carved on tortoise plastrons and ox scapulae for divinatory purposes, as well as a few brief bronze inscriptions. The language written is undoubtedly an early form of Chinese, but is difficult to interpret due to the limited subject matter and high proportion of proper names. Only half of the 4,000 characters used have been identified with certainty. Little is known about the grammar of this language, but it seems much less reliant on grammatical particles than Classical Chinese.

From early in the Western Zhou period, around 1000 BC, the most important recovered texts are bronze inscriptions, many of considerable length. Even longer pre-Classical texts on a wide range of subjects have also been transmitted through the literary tradition. The oldest sections of the Book of Documents, the Classic of Poetry and the I Ching, also date from the early Zhou period, and closely resemble the bronze inscriptions in vocabulary, syntax, and style. A greater proportion of this more varied vocabulary has been identified than for the oracular period.

The four centuries preceding the unification of China in 221 BC (the later Spring and Autumn period and the Warring States period) constitute the Chinese classical period in the strict sense, although some authors also include the subsequent Qin and Han dynasties, thus encompassing the next four centuries of the early imperial period. There are many bronze inscriptions from this period, but they are vastly outweighed by a rich literature written in ink on bamboo and wooden slips and (toward the end of the period) silk and paper. Although these are perishable materials, and many books were destroyed in the burning of books and burying of scholars in the Qin dynasty, a significant number of texts were transmitted as copies, and a few of these survived to the present day as the received classics. Works from this period, including the Analects, the Mencius, the Tao Te Ching, the Commentary of Zuo, the Guoyu, and the early Han Records of the Grand Historian, have been admired as models of prose style by later generations.

During the Han dynasty, disyllabic words proliferated in the spoken language and gradually replaced the mainly monosyllabic vocabulary of the pre-Qin period, while grammatically, noun classifiers became a prominent feature of the language. While some of these innovations were reflected in the writings of Han dynasty authors (e.g., Sima Qian), later writers increasingly imitated earlier, pre-Qin literary models. As a result, the syntax and vocabulary of pre-Qin Classical Chinese was preserved in the form of Literary Chinese (wenyan), a written standard which served as a lingua franca for formal writing in China and neighboring Sinosphere countries until the late nineteenth and early twentieth centuries.

Script

Each character of the script represented a single Old Chinese word. Most scholars believe that these words were monosyllabic, though some have recently suggested that a minority of them had minor presyllables. The development of these characters follows the same three stages that characterized Egyptian hieroglyphs, Mesopotamian cuneiform script and the Maya script.

Some words could be represented by pictures (later stylized) such as   'sun',   'person' and   'tree, wood', by abstract symbols such as   'three' and   'up', or by composite symbols such as   'forest' (two trees).
About 1,000 of the oracle bone characters, nearly a quarter of the total, are of this type, though 300 of them have not yet been deciphered.
Though the pictographic origins of these characters are apparent, they have already undergone extensive simplification and conventionalization.
Evolved forms of most of these characters are still in common use today.

Next, words that could not be represented pictorially, such as abstract terms and grammatical particles, were signified by borrowing characters of pictorial origin representing similar-sounding words (the "rebus strategy"):
 The word  'tremble' was originally written with the character  for  'chestnut'.
 The pronoun and modal particle  was written with the character  originally representing  'winnowing basket'.
Sometimes the borrowed character would be modified slightly to distinguish it from the original, as with   'don't', a borrowing of   'mother'.
Later, phonetic loans were systematically disambiguated by the addition of semantic indicators, usually to the less common word:
 The word  'tremble' was later written with the character , formed by adding the symbol , a variant of   'heart'.
 The less common original word  'winnowing basket' came to be written with the compound , obtained by adding the symbol   'bamboo' to the character.
Such phono-semantic compound characters were already used extensively on the oracle bones, and the vast majority of characters created since then have been of this type.
In the Shuowen Jiezi, a dictionary compiled in the 2nd century, 82% of the 9,353 characters are classified as phono-semantic compounds.
In the light of the modern understanding of Old Chinese phonology, researchers now believe that most of the characters originally classified as semantic compounds also have a phonetic nature.

These developments were already present in the oracle bone script, possibly implying a significant period of development prior to the extant inscriptions.
This may have involved writing on perishable materials, as suggested by the appearance on oracle bones of the character   'records'.
The character is thought to depict bamboo or wooden strips tied together with leather thongs, a writing material known from later archaeological finds.

Development and simplification of the script continued during the pre-Classical and Classical periods, with characters becoming less pictorial and more linear and regular, with rounded strokes being replaced by sharp angles.
The language developed compound words, so that characters came to represent morphemes, though almost all morphemes could be used as independent words.
Hundreds of morphemes of two or more syllables also entered the language, and were written with one phono-semantic compound character per syllable.
During the Warring States period, writing became more widespread, with further simplification and variation, particularly in the eastern states.
The most conservative script prevailed in the western state of Qin, which would later impose its standard on the whole of China.

Phonology

Old Chinese phonology has been reconstructed using a variety of evidence, including the phonetic components of Chinese characters, rhyming practice in the Classic of Poetry and Middle Chinese reading pronunciations described in such works as the Qieyun, a rhyme dictionary published in 601 AD.
Although many details are still disputed, recent formulations are in substantial agreement on the core issues.
For example, the Old Chinese initial consonants recognized by Li Fang-Kuei and William Baxter are given below, with Baxter's (mostly tentative) additions given in parentheses:

Various initial clusters have been proposed, especially clusters of  with other consonants, but this area remains unsettled.

Bernhard Karlgren and many later scholars posited the medials ,  and the combination  to explain the retroflex and palatal obstruents of Middle Chinese, as well as many of its vowel contrasts.
 is generally accepted. However, although the distinction denoted by  is universally accepted, its realization as a palatal glide has been challenged on a number of grounds, and a variety of different realizations have been used in recent constructions.

Reconstructions since the 1980s usually propose six vowels:

Vowels could optionally be followed by the same codas as in Middle Chinese: a glide  or , a nasal ,  or , or a stop ,  or . Some scholars also allow for a labiovelar coda .
Most scholars now believe that Old Chinese lacked the tones found in later stages of the language, but had optional post-codas  and , which developed into the Middle Chinese rising and departing tones respectively.

Grammar

Little is known of the grammar of the language of the Oracular and pre-Classical periods, as the texts are often of a ritual or formulaic nature, and much of their vocabulary has not been deciphered. In contrast, the rich literature of the Warring States period has been extensively analysed. Having no inflection, Old Chinese was heavily reliant on word order, grammatical particles, and inherent word classes.

Word classes
Classifying Old Chinese words is not always straightforward, as words were not marked for function, word classes overlapped, and words of one class could sometimes be used in roles normally reserved for a different class. The task is more difficult with written texts than it would have been for speakers of Old Chinese, because the derivational morphology is often hidden by the writing system. For example, the verb  'to block' and the derived noun  'frontier' were both written with the same character .

Personal pronouns exhibit a wide variety of forms in Old Chinese texts, possibly due to dialectal variation.
There were two groups of first-person pronouns:
  ,  ,   and
   and

In the oracle bone inscriptions, the  pronouns were used by the king to refer to himself, and the  forms for the Shang people as a whole.
This distinction is largely absent in later texts, and the  forms disappeared during the classical period.
In the post-Han period,  came to be used as the general first-person pronoun.

Second-person pronouns included  ,  ,  ,  .
The forms  and  continued to be used interchangeably until their replacement by the northwestern variant  (modern Mandarin nǐ) in the Tang period.
However, in some Min dialects the second-person pronoun is derived from .

Case distinctions were particularly marked among third-person pronouns.
There was no third-person subject pronoun, but  , originally a distal demonstrative, came to be used as a third-person object pronoun in the classical period.
The possessive pronoun was originally  , replaced in the classical period by  .
In the post-Han period,  came to be used as the general third-person pronoun.
It survives in some Wu dialects, but has been replaced by a variety of forms elsewhere.

There were demonstrative and interrogative pronouns, but no indefinite pronouns with the meanings 'something' or 'nothing'.
The distributive pronouns were formed with a  suffix:
   'which one' from   'who'
   'each one' from   'all'
   'someone' from   'there is'
   'no-one' from   'there is no'

As in the modern language, localizers (compass directions, 'above', 'inside' and the like) could be placed after nouns to indicate relative positions.
They could also precede verbs to indicate the direction of the action. Nouns denoting times were another special class (time words); they usually preceded the subject to specify the time of an action. However the classifiers so characteristic of Modern Chinese only became common in the Han period and the subsequent Northern and Southern dynasties.

Old Chinese verbs, like their modern counterparts, did not show tense or aspect; these could be indicated with adverbs or particles if required. Verbs could be transitive or intransitive. As in the modern language, adjectives were a special kind of intransitive verb, and a few transitive verbs could also function as modal auxiliaries or as prepositions.

Adverbs described the scope of a statement or various temporal relationships. They included two families of negatives starting with  and , such as   and  . Modern northern varieties derive the usual negative from the first family, while southern varieties preserve the second. The language had no adverbs of degree until late in the Classical period.

Particles were function words serving a range of purposes. As in the modern language, there were sentence-final particles marking imperatives and yes/no questions. Other sentence-final particles expressed a range of connotations, the most important being  , expressing static factuality, and  , implying a change. Other particles included the subordination marker   and the nominalizing particles   (agent) and   (object).
Conjunctions could join nouns or clauses.

Sentence structure
As with English and modern Chinese, Old Chinese sentences can be analysed as a subject (a noun phrase, sometimes understood) followed by a predicate, which could be of either nominal or verbal type.

Before the Classical period, nominal predicates consisted of a copular particle   followed by a noun phrase:

The negated copula   is attested in oracle bone inscriptions, and later fused as  .
In the Classical period, nominal predicates were constructed with the sentence-final particle   instead of the copula , but  was retained as the negative form, with which  was optional:

The copular verb  () of Literary and Modern Chinese dates from the Han period.
In Old Chinese the word was a near demonstrative ('this').

As in Modern Chinese, but unlike most Tibeto-Burman languages, the basic word order in a verbal sentence was subject–verb–object:

Besides inversions for emphasis, there were two exceptions to this rule: a pronoun object of a negated sentence or an interrogative pronoun object would be placed before the verb:

An additional noun phrase could be placed before the subject to serve as the topic. As in the modern language, yes/no questions were formed by adding a sentence-final particle, and requests for information by substituting an interrogative pronoun for the requested element.

Modification
In general, Old Chinese modifiers preceded the words they modified. Thus relative clauses were placed before the noun, usually marked by the particle   (in a role similar to Modern Chinese de ):

A common instance of this construction was adjectival modification, since the Old Chinese adjective was a type of verb (as in the modern language), but  was usually omitted after monosyllabic adjectives.

Similarly, adverbial modifiers, including various forms of negation, usually occurred before the verb. As in the modern language, time adjuncts occurred either at the start of the sentence or before the verb, depending on their scope, while duration adjuncts were placed after the verb. Instrumental and place adjuncts were usually placed after the verb phrase. These later moved to a position before the verb, as in the modern language.

Vocabulary
The improved understanding of Old Chinese phonology has enabled the study of the origins of Chinese words (rather than the characters with which they are written).
Most researchers trace the core vocabulary to a Sino-Tibetan ancestor language, with much early borrowing from other neighbouring languages.
The traditional view was that Old Chinese was an isolating language, lacking both inflection and derivation, but it has become clear that words could be formed by derivational affixation, reduplication and compounding.
Most authors consider only monosyllabic roots, but Baxter and Laurent Sagart also propose disyllabic roots in which the first syllable is reduced, as in modern Khmer.

Loanwords
During the Old Chinese period, Chinese civilization expanded from a compact area around the lower Wei River and middle Yellow River eastwards across the North China Plain to Shandong and then south into the valley of the Yangtze. There are no records of the non-Chinese languages formerly spoken in those areas and subsequently displaced by the Chinese expansion.
However they are believed to have contributed to the vocabulary of Old Chinese, and may be the source of some of the many Chinese words whose origins are still unknown.

Jerry Norman and Mei Tsu-lin have identified early Austroasiatic loanwords in Old Chinese, possibly from the peoples of the lower Yangtze basin known to ancient Chinese as the Yue. For example, the early Chinese name  ( ) for the Yangtze was later extended to a general word for 'river' in south China.
Norman and Mei suggest that the word is cognate with Vietnamese  (from *krong) and Mon kruŋ 'river'.

Haudricourt and Strecker have proposed a number of borrowings from the Hmong–Mien languages. These include terms related to rice cultivation, which began in the middle Yangtze valley:
  ( ) 'rice seedling' from proto-Hmong–Mien
  ( ) 'unhulled rice' from proto-Hmong–Mien A
Other words are believed to have been borrowed from languages to the south of the Chinese area, but it is not clear which was the original source, e.g.
  ( ) 'elephant' can be compared with Mon coiŋ, proto-Tai  and Burmese chaŋ.
  ( ) 'chicken' versus proto-Tai , proto-Hmong–Mien  and proto-Viet–Muong *r-ka.

In ancient times, the Tarim Basin was occupied by speakers of Indo-European Tocharian languages, the source of  ( ) 'honey', from proto-Tocharian *ḿət(ə) (where *ḿ is palatalized; cf. Tocharian B mit), cognate with English .
The northern neighbours of Chinese contributed such words as  ( ) 'calf' – compare Mongolian tuɣul and Manchu tuqšan.

Affixation
Chinese philologists have long noted words with related meanings and similar pronunciations, sometimes written using the same character.
Henri Maspero attributed some of these alternations to consonant clusters resulting from derivational affixes.
Subsequent work has identified several such affixes, some of which appear to have cognates in other Sino-Tibetan languages.

A common case is "derivation by tone change", in which words in the departing tone appear to be derived from words in other tones.
If Haudricourt's theory of the origin of the departing tone is accepted, these tonal derivations can be interpreted as the result of a derivational suffix .
As Tibetan has a similar suffix, it may be inherited from Sino-Tibetan.
Examples include:
  ( ) 'to exhaust' and  ( ) 'exhausted, consumed, ash'
  ( ) 'to tie' and  ( ) 'hair-knot'
  ( ) 'to bring in' and  <  ( ) 'inside'
  ( ) 'to weave' and  ( ) 'silk cloth' (compare Written Tibetan 'thag 'to weave' and thags 'woven, cloth')
Another alternation involves transitive verbs with an unvoiced initial and passive or stative verbs with a voiced initial:
  ( ) 'to see' and  ( ) 'to appear'
  ( ) 'to mix' and  ( ) 'mixed, confused'
  ( ) 'to stretch' and  ( ) 'long'
Some scholars hold that the transitive verbs with voiceless initials are basic and the voiced initials reflect a de-transitivizing nasal prefix.
Others suggest that the transitive verbs were derived by the addition of a causative prefix  to a stative verb, causing devoicing of the following voiced initial.
Both postulated prefixes have parallels in other Sino-Tibetan languages, in some of which they are still productive.
Several other affixes have been proposed.

Reduplication and compounding
Old Chinese morphemes were originally monosyllabic, but during the Western Zhou period many new disyllabic words entered the language.
By the classical period, 25–30% of the lexicon was polysyllabic, though monosyllabic words occurred more frequently and made up 80–90% of the text. Many disyllabic, monomorphemic words, particularly names of insects, birds and plants, and expressive adjectives and adverbs, were formed by varieties of reduplication ( /):
 full reduplication (  'repeated words'), in which the syllable is repeated, as in  ( ) 'tall and grand' and  ( ) 'happy and at ease'.
 rhyming semi-reduplication (  'repeated rhymes'), in which only the final is repeated, as in  ( ) 'elegant, beautiful' and  ( ) 'oriole'. The initial of the second syllable is often  or .
 alliterative semi-reduplication (  'paired initials'), in which the initial is repeated, as in  ( ) 'irregular, uneven' and  ( ) 'mandarin duck'.
 vowel alternation, especially of  and , as in  ( ) 'busy' and  ( ) 'carefree and happy'. Alternation between  and  also occurred, as in  ( ) 'rushing (of wind or water)' and  ( ) 'cricket'.

Other disyllabic morphemes include the famous  ( ) 'butterfly' from the Zhuangzi.
More words, especially nouns, were formed by compounding, including:
 qualification of one noun by another (placed in front), as in  ( ) 'quince' (literally 'tree-melon'), and  ( ) 'noon' (literally 'middle-day').
 verb–object compounds, as in  ( ) 'master of the household' (literally 'manage-horse'), and  ( ) 'scribe' (literally 'make-writing').
However the components of compounds were not bound morphemes: they could still be used separately.

A number of bimorphemic syllables appeared in the Classical period, resulting from the fusion of words with following unstressed particles or pronouns.
Thus the negatives   and   are viewed as fusions of the negators   and   respectively with a third-person pronoun  .

Notes

References

Citations

Works cited

  (English translation of Wénzìxué Gàiyào , Shangwu, 1988.)

Further reading

External links

  (review of )

  (review of )
  (review of )
Recent Advances in Old Chinese Historical Phonology

Subject–verb–object languages
Languages attested from the 13th century BC

Old Chinese


Gözleri Tamamen Kapalı (Eyes Wide Shut), Arthur Schnitzler'in Rüya Romanı eserinden uyarlanan ve yönetmenliğini Stanley Kubrick'in yaptığı 1999 yapımı bir Hollywood filmidir. Film Stanley Kubrick'in son filmi olma özelliğini taşır.

Konusu

Avusturyalı yazar ve oyun yazarı Arthur Schnitzler'in romanından uyarlanan aşk, ilişkiler, sadakat ve cinsellik konulu psikolojik gerilim filminde; doktor Bill Hartford (Tom Cruise), eşinin (Nicole Kidman) o güne dek gizlediği cinsel arzularını öğrenince, hayatında şüphe, korku ve cinsel keşiflerle dolu yeni bir sayfa açılır. Piyanist bir arkadaşı vasıtası ile katıldığı bir parti; uzun ve macera dolu bir gecede yaşanan kâbus dolu saatler anlatılmaktadır.

Film 2,5 saat olmasına rağmen yönetmenin ustaca çizdiği kompozisyon sayesinde, evliliği, sadakati, hayatını ve cinselliği sürükleyici bir şekilde anlatarak seyircinin sorgulamasını sağlıyor.

Oyuncu kadrosu

Film hakkında notlar
 Bu film yönetmen Stanley Kubrick'in son filmiydi. Söylendiğine göre filmin son kurgulanmış şeklini Warner Bros'a sunduktan dört gün sonra ölmüştü.
 Film Sigmund Freud'un takipçilerinden Avusturyalı Arthur Schnitzler'in "Traumnovelle" adlı romanından uyarlandı. Cinsellik ve psikanalizin iç içe geçtiği erotik bir yolculuk, korkutucu bir rüya analizi olan bu film macera filmi kalıplarına uyuyor.
 Victor Ziegler rolünde izlediğimiz Sydney Pollack'ı daha çok yönettiği filmlerden tanıyoruz (Out of Africa, Tootsie, Akbaba'nın Üç Günü, The Way We Were). Prodüktör ve aktör olarak da sayısız filmi var.

Kaynakça

Dış bağlantılar

Stanley Kubrick'in yönettiği filmler
Film ödülü sahipleri
Pinewood Studios filmleri
Warner Bros. filmleri
Stanley Kubrick'in yapımcısı olduğu filmler
Amerika Birleşik Devletleri dramatik gerilim filmleri
Amerika Birleşik Devletleri gizem filmleri
Birleşik Krallık dramatik gerilim filmleri
Birleşik Krallık gizem filmleri
1990'larda erotik dram filmleri
1990'larda İngilizce filmler
1999 çıkışlı dramatik filmler
Uyarlama filmler

Gözleri Tamamen Kapalı


Cabaj-Čápor este o comună slovacă, aflată în districtul Nitra din regiunea Nitra. Localitatea se află la , se întinde pe o suprafață de  și în 2015 număra 4.118 locuitori.

Istoric
Localitatea Cabaj-Čápor este atestată documentar din 1113.

Note

Legături externe

Localități din Slovacia

Cabaj-Čápor


Eine Anti-Computer-Taktik ist eine besondere Spielweise bei verschiedenen Spielen, die von menschlichen Spielern verwendet wird, um Computergegner zu schlagen. Solche Taktiken gibt es insbesondere bei Spielen wie Schach oder Arimaa. Dabei versucht der menschliche Spieler, bekannte Schwächen eines Computergegners auszunutzen, indem Züge gewählt werden, die im Allgemeinen suboptimal, jedoch von dem jeweiligen Programm nur schwer zu widerlegen sind.

Im Schach
Im Schach gibt es mehrere Taktiken, die auch auf Meisterebene gegen Computer eingesetzt wurden und werden.

Ein Beispiel für den Gebrauch von Anti-Computer-Taktiken ist Brains in Bahrain, ein Acht-Partien-Match zwischen dem Großmeister und damaligen Weltmeister Wladimir Kramnik und dem Programm Deep Fritz 7, das im Oktober 2002 stattfand. Das Match endete 4:4, mit zwei gewonnenen Partien auf jeder Seite und vier Remis.

Ungewöhnliche Eröffnung
Im Jahr 1997 spielte Garri Kasparow einen Anti-Computer-Zug zu Beginn einer Partie, um seinen Gegner Deep Blue aus dessen Eröffnungsbuch herauszuzwingen: Kasparow wählte die sehr seltene Mieses-Eröffnung, da er darauf spekulierte, dass der Rechner in seinem Eröffnungsbuch hierzu keine hinreichende Widerlegung finden und aus eigener Kraft nur schlecht spielen würde. Kasparow spielte ähnliche Anti-Computer-Eröffnungen auch in anderen Partien des Matches, jedoch zahlte sich die Taktik nicht aus.

Positionelles Spiel
Beim positionellen Spiel legt der menschliche Spieler Wert auf eine langfristige Strategie, um sich langfristig einen Vorteil zu erarbeiten, den der Rechner nicht vorhersehen kann, da er jenseits dessen Suchhorizontes liegt. Anstatt das Spiel dynamisch und aggressiv voranzutreiben, spielt der menschliche Spieler zurückhaltender und versucht, die Stellung vorsichtig zu seinen Gunsten zu entwickeln. Dies erschwert dem Rechner das Ausspielen seiner Stärken, da er, sofern er an die Grenzen seines Suchhorizontes gerät, die Drohungen, die sein menschlicher Gegner aufgebaut hat, nicht mehr wahrnimmt.

Doppelfianchetto
Das Doppelfianchetto kann als Anti-Computer-Taktik verwendet werden, da es die Stellung geschlossen hält und so dem Rechner das Ausspielen seiner Stärken erschwert. Es ist eine Form des positionellen Spiels.

Fünfzig-Züge-Regel
Im Jahr 2008 zeigte Hikaru Nakamura, dass das Spitzenschachprogramm Rybka sich weigert, eine Partie gemäß der 50-Züge-Regel remis zu machen, wenn es gerade einen starken Materialvorteil hat. Dies kann ein menschlicher Spieler im Rahmen einer dreiminütigen Blitzpartie als Anti-Computer-Taktik ausnutzen.

Anti-Computer-Schachpartien
 Garry Kasparow vs. Deep Blue (Computer). Auf: ChessGames.com. IBM Man-Machine, New York USA (1997).
 Garry Kasparow vs. X3D Fritz (Computer). Auf: ChessGames.com. Man-Machine World Chess Championship (2003).
 Rybka (Computer) vs. Hikaru Nakamura. Auf: ChessGames.com. ICC blitz 3 0 (2008).

Weblinks
 Anticomputer Chess.

Einzelnachweise

Computerschach

Anti-Computer-Taktik


An Paphiopedilum delenatii in uska species han Liliopsida nga ginhulagway ni André Guillaumin. An Paphiopedilum delenatii in nahilalakip ha genus nga Paphiopedilum, ngan familia nga Orchidaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Mga sumpay ha gawas

Paphiopedilum

Paphiopedilum delenatii