Petar Bogdan zvani Peko (Donji Dolac, 30. ožujka 1915. — Zagreb, 31. prosinca 1996.), hrvatski pripadnik partizanskog pokreta. Nositelj čina general-potpukovnika JNA i naslova narodnog heroja.

Životopis
Rodio se je u Donjem Docu u radničkoj obitelji. U Sinju je išao u osnovnu školu. Bio je vanjski učenik na Franjevačkoj klasičnoj gimnaziji od prvog razreda koji je upisao 1926. do šestog razreda 16. siječnja 1933., kada je svojevoljno napustio gimnaziju.
1937. godine završio je školu pričuvnih časnika u Sarajevu. Po završetku školovanja otišao je studirati u Beograd te je upisao Pravni fakultet.

Pokretu otpora prišao 1941. godine. Zaposlio se je u Zagrebu nakon pada Jugoslavije kao poštanski službenik što mu je pružalo mogućnost izvođenja sabotaža. Kolovoza 1941. sudjelovao je na onesposobljavanju telefonskih i brzojavnih uređaja u Pošti u Zagrebu. Potkraj godine vratio se je u Sinj te povezao s rukovodstvom NOP-a. Siječnja 1942. ušao je u Dinarski partizanski odred. Srpnja 1942. postavljen je za obavještajnog časnika u 2. bataljonu Srednjodalmatinskog partizanskog odreda. Kad je osnovana 1. dalmatinska brigada bio je zapovjednik čete pa zamjenik zapovjednika bataljona. U KPJ se je učlanio u listopadu 1942. godine. Tijekom rata obnašao je dužnosti zamjenika zapovjednika bataljuna, brigade, korpusa te zapovjednika pozadinskih postrojba JNA. Ratovao je protiv ustaša, domobrana i Italijana kod Sinja, Duvna i Livna. Istakao se studenoga 1942. u borbama protiv Trećeg Reicha kod Jajca, nakon čega je postao zamjenik zapovjednika brigade. Odgovoran je za likvidaciju dvojice sinjskih franjevaca u Hercegovini kod Ravnog u rujna 1943. (fra Stanka Bradarića i fra Milana Lapića).
Koncem veljače 1943. godine postavljen je za zamjenika komandanta 4. dalmatinske brigade, koja je bojevala na području Široki Brijeg — Ljubuški — Vrgorac, na planini Čvrsnici. Po prelasku Neretve polovicom ožujka, brigada je nosila ranjenike do Nevesinja. U t.zv. 5. neprijateljskoj ofenzivi vraćen je u 1. dalmatinsku brigadu koja je vodila žestoke bitke za području sjevera Crne Gore i međurječju Pive, Tare i Sutjeske. Nakon proboja u bitci na Sutjesci s 3. bataljonom pošao je u Hercegovinu, gdje su ga odredili za zamjenika zapovjednika 10. hercegovačke brigade, s kojom je ratovao oko Nevesinja, Gacka, Trebinja i Bileća, sve do travnja 1944. godine kad je prešao na dužnost zamjenika zapovjednika 8. korpusa u Dalmaciji.

Smatra ga se odgovornim za mnoga masovna smaknuća zarobljenika u cetinskom kraju 1944. i inim drugim područjima (Hercegovina, početak 1945.) djelovanja postrojbâ Osmog dalmatinskog korpusa, čijim je tad bio zamjenikom zapovjednika. Bilo je to u vrijeme Mostarske operacije, kad je zapovijedao izmještenim zapovjednim mjestom. Ožujka 1945. godine zapovjednikom je pozadine 4. armije JA.

Zadnjih mjeseci rata potpukovnik JNA je na partizanskim insceniranim suđenjima zastupao "javne interese". U njegovoj je odluci bila sudbina okrivljenih. Bio je to pokretni Vojni sud VIII. korpusa, odnosno prijeki sud. Na suđenju dužnosnicima, održanome u Sokolskome domu u Sinju 8. studenoga 1944. godine tužitelj Petar Peko Bogdan tražio je najstrožu kaznu za skupinu u kojoj su bili domobranski pukovnik Jakob Potočnik (zapovjednik hrvatskih snaga u Sinju) te dužnostnici Mirko Bilobrk, Spasoje Travisi, Mirko Vujanović, Marija Mladina, Luka Labrović i sinjski kapelan fra Stanko Milanović Litre. Svi su strijeljani, a Potočnik je smaknut vješanjem. što je sud prihvatio, priziv nije bio moguć i osuđenici su strijeljani već 10. studenoga.
Slavio je Staljina.

Poslije rata obnašao razne dužnosti u Generalštabu JNA. Bio je pomoćnikom zapovjednika za pozadinu, zapovjednik graničnih postrojbi, načelnik Tehničkog središta JNA itd. Završio je vojnu akademiju JNA. Godine 1966. prestala mu je aktivna služba. Proglašen je narodnim herojem 27. rujna 1953. godine.

Alka
Marko Bilobrk je bio ustaški logornik i ratni alkarski vojvoda. Peko Bogdan je bio tužitelj u procesu protiv njega. Tražio je za nj smrtnu presudu. Nakon puča u Viteškom alkarskom društvu, postao je Peko Bogdan prvi partizanski alkarski vojvoda.

Alkarski je vojvoda postao nakon puča u Viteškom alkarskom društvu preko poslije rata osnovanog Narodnog alkarskog društva 1945. godine. () U isto to vrijeme gvardijan sinjskog franjevačkog samostana fra Bernardin Topić, koji je pomogao pri sigurnom smještaju alkarske opreme u samostanske prostorije, osuđen je na kaznu teškog prisilnog rada u partizanskom logoru Staroj Gradišci. Peko Bogdan je uveo veličanje i jugoslavenskog diktatora Josipa Broza Tita u Alku. Na mjestu alkarskog vojvode naslijedio ga je Vice Buljan 1957. godine.

Izvori

Životopisi, Sinj
Hrvatski generali
JNA
Partizanski zapovjednici

Petar Bogdan


Andros (în limba greacă Άνδρος) este o insulă din Grecia, cea mai nordică din Insulele Ciclade. Lungimea insulei este de 40 de km și lărgimea de 16 km. Teritoriul insulei este în principal muntos cu numeroase văi și pârâie.

Obiective turistice
Principalele atracții turistice de pe insulă sunt Muzeul arheologic din Andros și orașul Paleopolis, vechea capitală a insulei construită pe o coastă de deal, al cărui port este vizitat în fiecare an de mii de turiști.

Note

Insulele Greciei
Insule din Marea Egee
Diviziuni teritoriale ale Greciei

Andros (insulă)


භූගෝල විද්‍යාව තුළින් අනෙක් සියලු ම විෂයයන්ගේ වර්ධනය අධ්‍යයනය කරමින් ද පරිගණක තාක්ෂණයේ මහානිශංශ භුක්ති විඳිමින් ද සමස්ත විශ්වයේ යහ පැවැත්ම උ‍දෙසා නිර්මාණය වූ ආශ්චර්යමත් තාක්ෂණික මෙවලම භුගෝලීය තොරතුරු පද්ධතියයි

භූගෝල විද්‍යා තොරතුරු වර්ග දෙකකි.
 ස්ථානීය තොරතුරු
 විස්තරාත්මක තොරතුරු

භූගෝල විද්‍යා තොරතුරු පද්ධතියක මූලික කාර්ය 2 කි.

 භූමියෙහි තොරතුරු (අංග ලක්ෂණ) ඉදිරිපත් කිරීම (අනුදැක්වීම)
සිතියම්, චන්ද්‍රිකා ඡායාරූප සහ ගුවන් ඡායාරූපවලින් විශ්වයෙහි තොරතුරු රූපාකාරයෙන් අනුදැක්වීම සිදු කෙරේ.
මෙහිදී ස්ථානීය සම්බන්ධය (Spatial Reference) සහ නිවැරදි පරිමාණයකින් ඉදිරිපත් කිරීම ඉතා ම වැදගත් ය.

 තොරතුරු සම්බන්ධ කිරීම
සිතියමක සඳහන් වන අංග ලක්ෂණවලට අදාළ දත්ත අඩංගු කර දත්ත පද්ධතියක් නිර්මාණය කර සිතියම හා දත්ත පද්ධතිය අතර සම්බන්ධතාව ඇති කිරීම භූගෝල විද්‍යා තොරතුරු පද්ධතියෙන් සිදු වේ.

විශ්වයේ සිදුවන වෙනස්වීම් මුද්‍රිත සිතියමක දැක්විය නොහැක.
භූගෝල විද්‍යා තොරතුරු පද්ධතිය එම අපහසුතාවය ජයගෙන ඇත. දත්ත පද්ධතිය යාවත් කාලීන කිරීමෙන් සිතියම වෙනස් කර ගනී.

මූලාශ්‍ර

භූගෝල විද්‍යාව

භූගෝලීය තොරතුරු පද්ධති


Anders Høg Møller (født ?) er en dansk musiker, komponist og musiklærer. Han har som musiker bl.a. spillet på trombone i funkgruppen Blast i 1980'erne og var i samme periode kendt som en dygtig musikpædagog, hvis iltre og ambitiøse temperament, samt kunstneriske stræben til tider nåede loftet af flere kommunale musikskolers øvelokaler. Anders Høg Møllers hovedinstrument er nok trombonen, men han er også en habil rytmisk pianist og har i undervisningssammenhæng vist sig at kunne spille på flere andre instrumenter, bl.a. elbas. Har ligeledes undervist i brug af synthesizers. Anders Høg Møller er uddannet på Københavns Universitet.

Musikere fra Danmark

Anders Høg Møller


The Municipal Stadium of Braga () is an all-seater football stadium located in Braga, Portugal, and the current home  of Sporting Clube de Braga. It has a capacity of 30,286 spectators, making it the seventh largest football stadium in Portugal. The stadium was designed by Portuguese architect Eduardo Souto de Moura who was awarded the Pritzker Architecture Prize in part for this design.

Also known as A Pedreira (The Quarry), for being carved into the side of a mountain, the stadium was built in 2003 as a venue for the UEFA Euro 2004.

History

The project to build a stadium was developed in 2000 by architect Eduardo Souto Moura.  On 5 June, the program to build the new municipal stadium for the European championships in 2004 began, promoted by the municipal council of Braga. Between 2002 and 2003, the municipal stadium was built. The enormous rock moving process contributed heavily to the final €108.1 million cost, the third most expensive of the ten new stadia built for Euro 2004, after Estádio da Luz (capacity: 64,642) and Estádio do Dragão (capacity: 50,033) in Porto, and beating Estádio José Alvalade (capacity: 50,095). A football game between Sporting Braga and Celta Vigo inaugurated the opening of the stadium on 30 December 2003.

The stadium became a UEFA-approved site to host the UEFA Europa League final, as well as participation in the elite competition for Europe's top clubs, the UEFA Champions League. During the UEFA European Championship in 2004, it was the site of various matches including: the 13th game, between Group C teams Bulgaria and Denmark (18 June 2004) and the 23rd match between Group D teams Netherlands and Latvia (22 June 2004). This match marked the stadium's last event during the UEFA championship in 2004, even as in October of the same year, the public work along the Avenida do Estádio was concluded.

On 27 January 2005, a dispatch was opened by the president of the IPPAR to classify the stadium as a national patrimony. In the same year, Eduardo Souto Moura received the Secil Prize from Portuguese President Jorge Sampaio, for his work on the municipal stadium. It was followed six years later by the Pritzker Prize. In 2006 the stadium won the Chicago Athenaeum International Architecture Award for the best new global design. A Financial Times article on Britain's stadia referred to the municipal stadium as one of the four examples of "beautiful grounds", noting that: "There has been nothing in this country to match the architectural delight of Eduardo Souto de Moura's stadium for Braga in Portugal, a breathtaking arena carved into the side of a rock face on the site of a former quarry."

As the principal tenant, Sporting Braga paid monthly rent of  for the use of the stadium. In July 2007, Sporting Braga announced a three-year sponsorship deal with French insurance company AXA, which included a promotional change to the name of the municipal stadium by the club. Following this agreement, promoters and team officials began to refer to the municipal stadium of Braga as the Estádio AXA (AXA Stadium). However, the municipality (as landlord) clarified that the stadium had not been officially renamed, as this was a deal between its tenant and its partner. On 23 October 2009, the process to classify the stadium ran out, under terms of article 78 (decree 309/2009), but was prorogued on 23 October.

Architecture

The stadium is situated in an isolated, urban area on the north flank of Monte do Castro, in the sporting park of Dume. The stadium was carved from the Monte do Castro quarry that overlooked Braga; stands were constructed on either side of the pitch, while one of the goal backdrops was carved from the rock walls of the quarry. The opposite goal backdrop is dominated by the city sprawl. Each stand is covered with a canopy-style roof and connected by dozens of steel strings, a design inspired by ancient South American Incan bridges. Movement between stands is accomplished through a  plaza under the pitch.

Events
 The stadium plaza held the Minho Campus Party, a LAN party, in 2004.
 The Corrs performed at the stadium in 2004 on their Borrowed Heaven Tour.
 The outskirts of the stadium annually host the "Enterro da Gata", a university festival that celebrates the end of the school year with multiple concerts and festivities, organized by the University of Minho.

2004 European Championship

The stadium hosted two Euro 2004 group stage matches, Bulgaria vs. Denmark and Netherlands vs. Latvia.

Portugal National Team
The following national team matches were held in the stadium.

References

Notes

Sources

External links

 Braga stadium design page on WorldStadiums.com (with photographs)
 afaconsult: Engineering design firm of the Braga Municipal Stadium
 Stadium Guide Article

Estadio Municipal de Braga
Estadio Municipal de Braga
Sports venues in Braga District
Football venues in Portugal
Estadio Municipal de Braga
UEFA Euro 2004 stadiums
Sports venues completed in 2003
Estadio Municipal de Braga
Estdio Municipal de Braga
Estdio Municipal de Braga

Estádio Municipal de Braga


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

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

Notes et références

Voir aussi

Liens externes

Dème en Épire
Ancien dème en Grèce

Dème de Tymphée


Bakacak, Sakarya ilinin Hendek ilçesine bağlı bir mahalledir.

Coğrafya
Sakarya il merkezine 54 km, Hendek ilçesine 24 km uzaklıktadır.

Nüfus

Dış bağlantılar
 YerelNET

Hendek'in mahalleleri

Bakacak, Hendek


Fadel Karbon (født 10. december 1992) er en norsk fodboldspiller.

Referencer

Eksterne henvisninger

Fodboldspillere fra Norge

Fadel Karbon


ملعب مساعد الشنفا، هو الملعب الخاص بنادي التضامن الكويتي، وقد سمي الملعب باسم أحد مؤسسي النادي مساعد الشنفا، وقد ترأس النادي في فترة من الفترات, يتسع الملعب ل14000 متفرج.

روابط خارجية
معلومات الاستاد

المراجع

ملاعب كرة قدم في الكويت

ملعب مساعد الشنفا


Viktor Karlovich Knorre  (4 October 1840 – 25 August 1919) was a Russian astronomer of German ethnic origin. He worked in Nikolaev, Pulkovo and Berlin and is best known for having discovered 158 Koronis and three other minor planets. Knorre's father, Karl Friedrich Knorre, and grandfather, Ernst Friedrich Knorre, were also prominent astronomers. Recently, the main-belt asteroid 14339 Knorre was named in honor of the three generations of Knorre astronomers.

Biography and family background

Knorre was born into a three-generation astronomer family. His grandfather, Ernst Friedrich Knorre (1759–1810), had moved from Germany to Dorpat (now Tartu, Estonia) where he worked (1803–10) as Observator for the Dorpat observatory (opened in 1802) and professor of Mathematics at the University of Dorpat.
Victor Knorre's father, Karl Friedrich Knorre (1801–1883), set up and was director of the Nikolayev Astronomical Observatory starting in 1827.

Viktor was born the fifth of fifteen children in Nikolayev (now Mykolayiv, Ukraine). He moved to Berlin in 1862 to study astronomy with Wilhelm Julius Foerster. He worked at Pulkovo Observatory in 1867 as an astronomical calculator and then at Berlin Observatory, where his father moved circa 1871.

Astronomer

From 1873, he was observer at the Berlin Observatory. Knorre discovered four asteroids. He did not teach students at the University of Berlin; instead he gave introductions into the use of the telescopes of the Observatory. In 1892 he was appointed Professor of Astronomy. Knorre took an interest in the improvement of astronomical equipment, and published papers on an improved equatorial telescope mount, referred to as the "Knorre & Heele" mount.

Chess master

Knorre was also known as a strong chess player, playing among others against Adolf Anderssen, Gustav Neumann and Johannes Zukertort. He took part in several chess tournaments during the 1860s. According to the ChessMetrics site, He was ranked among top 50 players in the world at his peak.

In the Two Knights Defense the Knorre variation (ECO code C59) is named after him. It follows the main line of the Two Knights defense for the first ten moves, and is characterized by the moves 10. Ne5 Bd6 11. d4 Qc7 12. Bd2. The Knorre variation of the Open defense in the Ruy Lopez, characterized by the move 6. Nc3, is also named after Knorre.

References

External links
 M. Ebell: Obituary on Viktor Knorre, in: Astronomische Nachrichten, 1919, volume 209, p. 367 (in German)
 Biographical information on Viktor Knorre

1840 births
1919 deaths
Astronomers from the Russian Empire
19th-century German astronomers
Discoverers of asteroids

Russian chess players
Ukrainian chess players
German chess players
Chess theoreticians
19th-century chess players
Academic staff of the Humboldt University of Berlin

Viktor Knorre


John Stones () este un fotbalist englez. Joacă ca fundaș central la Manchester City din Premier League din Anglia.

Carieră

Barnsley
Stones a ajuns la prima echipă a lui Barnsley în decembrie din 2011. Și-a făcut debutul profesional în Campionat pe 17 martie din 2012 într-o înfrângere împotriva lui Reading cu 0-4, înlocuindul pe Scott Wiseman la 52 de minute. A marcat primul său gol în primul său meci ca titular cu Barnsley , într-un meci de Capital One Cup. La o săptămână după, a ieșit pentru prima dată ca titular în campionat cu o victorie cu 1-0 împotriva lui Middlesbrough.

Everton
Stones a semnat un contract de 5 ani și jumătate cu Everton pe 31 ianuarie 2013, costul transferului a fost de aproximativ de 4 milioane de euro. În prima jumătate de an, a fost rezervă abituală, fără să debuteze.
Pe 28 august din 2013 și-a făcut debutul oficial într-un meci împotriva lui Stevenage în Capital One Cup.
Pe 7 august 2014, semnează o prelungire de contract cu Everton până în 2019.
A marcat primul său gol în victoria împotriva lui Manchester City cu 3-0, pe 26 aprilie din 2015. În vara anului 2015, Stones a fost o țintă clară a lui Chelsea, care oferă până la 40 de milioane de euro pentru el, cu toate acestea, toate ofertele au fost respinse de Everton.

Manchester City
Pe 9 august din 2016 este făcut oficial transferul lui la Manchester City pentru următoarele 6 sezoane într-o tranzacție care ar fi de aproximativ 56 de milioane de euro, făcându-l lângă David Luiz unul din cei mai scumpi fundași din istorie.

Si-a făcut debutul oficial în tricoul lui Manchester City pe 13 august din 2016, în prima etapă din Premier League împotriva lui Sunderland, meciul s-a încheiat cu 2-1 în favoarea lui Manchester City.

Statistici carieră

Club

Referințe

Nașteri în 1994
Fotbaliști ai Barnsley FC
Fotbaliști ai Everton FC
Fotbaliști ai Manchester City FC
Fotbaliști ai Campionatului Mondial de Fotbal 2018

John Stones


Abdülhamit, erkek ismidir. Kelime anlamı: Hamîd`in Kulu demektir. Arapça kökenlidir.

Abdülhamit aşağıdaki anlamlara gelebilir:

Kişiler
 I. Abdülhamit, 27. Osmanlı padişahı;
 II. Abdülhamit, 34. Osmanlı padişahı;
 Abdulhamit Çintan, TBMM 1. Dönem'de Diyarbekir (Diyarbakır) milletvekili;
 Abdülhamid Lahuri, Babür İmparatorluğu'nda yaşamış ünlü tarihçi;

Diğer
 Abdülhamid (denizaltı)

Abdülhamit


Terry Pratchett, (d. 28 Nisan 1948; Beaconsfield, Buckinghamshire, İngiltere - ö. 12 Mart 2015), İngiliz fantastik komedi yazarı. Diskdünya serisi en ünlü kitaplarıdır.

Eserleri

Bromeliad Üçlemesi
 1988 - Truckers
 1990 - Diggers
 1990 - Wings

Johnny Maxwell Üçlemesi
 1992 - Only You Can Save Mankind
 1993 - Johnny and the Dead
 1996 - Johnny and the Bomb

Diğer çalışmaları

 1971 -  The Carpet People
 1976 - The Dark Side of the Sun
 1981 - Strata
 1989 - The Unadulterated Cat (Gray Jolliffe ile birlikte)
 1990 - Good Omens (Neil Gaiman ile birlikte)
 2008 - Nation

Dış bağlantılar
 Terry Pratchett okur kitaplari degerlendirmeleri

1948 doğumlular
Buckinghamshire doğumlular
İngiliz yazarlar
İngiliz ateistler
İngiliz gazeteciler
İngiliz bilimkurgu yazarları
İngiliz insan hakları aktivistleri
Ötanazi aktivistleri
Demans olan kişiler
Alzheimer hastalığı olan kişiler
2015 yılında ölenler
Ateist yazarlar
World Fantasy Award sahipleri

Terry Pratchett


"The Fall of the House of Usher" is a short story by American writer Edgar Allan Poe, first published in 1839 in Burton's Gentleman's Magazine, then included in the collection Tales of the Grotesque and Arabesque in 1840. The short story, a work of Gothic fiction, includes themes of madness, family, isolation, and metaphysical identities.

Plot
The story begins with the unnamed narrator arriving at the house of his friend, Roderick Usher, having received a letter from him in a distant part of the country, complaining of an illness and asking for his help. As he arrives, the narrator notices a thin crack extending from the roof, down the front of the house and into the adjacent tarn, or lake.

It is revealed that Roderick's sister, Madeline, is also ill and falls into cataleptic, deathlike trances. Roderick and Madeline are the only remaining members of the Usher family.

The narrator is impressed with Roderick's paintings and attempts to cheer him by reading with him and listening to his improvised musical compositions on the guitar. Roderick sings "The Haunted Palace", then tells the narrator that he believes the house he lives in to be alive, and that this sentience arises from the arrangement of the masonry and vegetation surrounding it. Further, Roderick believes that his fate is connected to the family mansion.

Roderick later informs the narrator that Madeline has died. Fearing that her body will be exhumed for medical study, Roderick insists that she be entombed for two weeks in the family tomb located in the house before being permanently buried. The narrator helps Roderick put Madeline's body in the tomb, whereupon the narrator realizes that Madeline and Roderick are twins. The narrator also notes that Madeline's body has rosy cheeks, which sometimes happens after death. Over the next week, both Roderick and the narrator find themselves increasingly agitated.

A storm begins, and Roderick comes to the narrator's bedroom (which is situated directly above the house's vault) in an almost hysterical state. Throwing the windows open to the storm, Roderick points out that the lake surrounding the house seems to glow in the dark, just as Roderick depicted in his paintings, but there is no lightning or other explainable source of the glow.

The narrator attempts to calm Roderick by reading aloud from a medieval romance entitled The Mad Trist, a novel involving a knight named Ethelred who breaks into a hermit's dwelling in an attempt to escape an approaching storm, only to find a palace of gold guarded by a dragon. Ethelred also finds a shining brass shield hanging on a wall. Upon the shield is inscribed:

Ethelred swings his mace at the dragon, which dies with a piercing shriek. When he attempts to take the shield from the wall, it falls to the floor with an unnerving clatter.

As the narrator reads of the knight's forcible entry into the dwelling, he and Roderick hear cracking and ripping sounds from somewhere in the house. When the dragon's death cries are described, a real shriek is heard, again within the house. As he relates the shield falling from off the wall, a hollow metallic reverberation can be heard throughout the house. At first, the narrator ignores the noises, but Roderick becomes increasingly hysterical. Roderick eventually declares that he has been hearing these sounds for days, and that they are being made by his sister, who was in fact alive when she was entombed.

The bedroom door is then blown open to reveal Madeline, bloodied from her arduous escape from the tomb. In a final fit of rage, she attacks her brother, scaring him to death as she herself expires. The narrator then runs from the house, and, as he does, he notices a flash of moonlight behind him. He turns back in time to see the moon shining through the suddenly widened crack in the house. As he watches, the House of Usher splits in two and the fragments sink away into the lake.

Character descriptions

Narrator
In "The Fall of the House of Usher", Poe's unnamed narrator is called to visit the House of Usher by Roderick Usher. As his "best and only friend," Roderick writes of his illness and asks that the narrator visit him. The narrator is persuaded by Roderick's desperation for companionship. Though sympathetic and helpful, the narrator is continually made to be an outsider, watching the narrative unfold without fully becoming a part of it. The narrator also exists as Roderick's audience as the men have not remained close. Roderick is convinced of his impending demise and the narrator is gradually drawn into this belief after being brought forth to witness the horrors and hauntings of the House of Usher.

From his arrival, the narrator notes the family's isolationist tendencies, as well as the cryptic and special connection between Madeline and Roderick, the final living members of the Usher family. Throughout the tale and her varying states of consciousness, Madeline completely ignores the narrator's presence. After Roderick Usher claims that Madeline has died, the narrator helps Usher entomb Madeline in an underground vault despite noticing Madeline's flushed, lifelike appearance.

During one sleepless night, the narrator reads aloud to Usher as eerie sounds are heard throughout the mansion. He witnesses Madeline's reemergence and the subsequent, simultaneous death of the twins. The narrator is the only character to escape the House of Usher, which he views as it cracks and sinks into the mountain lake.

Roderick Usher
Roderick Usher is the twin of Madeline Usher and one of the last living members of the Usher family. Roderick writes to the narrator, his boyhood friend, about an ongoing illness. When the narrator arrives, he is startled to see Roderick's eerie and off-putting appearance. He is described by the narrator as having:gray-white skin; eyes large and full of light; lips not bright in color, but of a beautiful shape; a well-shaped nose; hair of great softness — a face that was not easy to forget. And now the increase in this strangeness of his face had caused so great a change that I almost did not know him. The horrible white of his skin, and the strange light in his eyes, surprised me and even made me afraid. His hair had been allowed to grow, and in its softness, it did not fall around his face but seemed to lie upon the air. I could not, even with an effort, see in my friend the appearance of a simple human being.

Roderick Usher is a recluse. He is unwell both physically and mentally. In addition to his constant fear and trepidation, Madeline's catalepsy contributes to his decay as he is tormented by the sorrow of watching his sibling die. The narrator states: He admitted [that] much of the peculiar gloom which thus affected him could be traced [to] the evidently approaching dissolution [of] his sole companion. According to Terry W. Thompson, Roderick meticulously plans for Madeline's burial to prevent "resurrection men" from stealing his beloved sister's corpse for dissection, study, or experimentation as was common in the 18th and 19th centuries for medical schools and physicians in need of cadavers.

As his twin, the two share an incommunicable connection that critics conclude may be either incestuous or metaphysical, as two individuals in an extra-sensory relationship embodying a single entity. To that end, Roderick's deteriorating condition speeds his own torment and eventual death.

Like Madeline, Roderick is connected to the mansion, the titular House of Usher. He believes the mansion is sentient and responsible, in part, for his deteriorating mental health and melancholy. Despite this admission, Usher remains in the mansion and composes art containing the Usher mansion or similar haunted mansions. His mental health deteriorates faster as he begins to hear Madeline's attempts to escape the underground vault she was buried in, and he eventually meets his death out of fear in a manner similar to the House of Usher's cracking and sinking.

Madeline Usher
Madeline Usher is the twin sister of Roderick Usher. She is deathly ill and cataleptic. She appears near the narrator, but never acknowledges his presence. She returns to her bedroom where Roderick claims she has died. The narrator and Roderick place her in a tomb despite her flushed, lively appearance. In the tale's conclusion, Madeline escapes from the tomb and returns to Roderick, scaring him to death.

According to Poe's detective methodology in literature, Madeline Usher may be the physical embodiment of the supernatural and metaphysical worlds. Her limited presence is explained as a personification of Roderick's torment and fear. Madeline does not appear until she is summoned through her brother's fear, foreshadowed in the epigraph, with a quote from French poet Pierre-Jean de Béranger: "Son cœur est un luth suspendu; / Sitôt qu'on le touche il résonne", meaning "His heart is a tightened lute; as soon as one touches it, it echoes".

Publication history
"The Fall of the House of Usher" was first published in September 1839 in Burton's Gentleman's Magazine. It was revised slightly in 1840 for the collection Tales of the Grotesque and Arabesque. It contains Poe's poem "The Haunted Palace", which earlier was published separately in the April 1839 issue of Baltimore Museum.

In 1928, Éditions Narcisse, predecessor to the Black Sun Press, published a limited edition of 300 numbered copies with illustrations by Alastair.

Sources of inspiration

Poe's inspiration for the story may be based upon events of the Hezekiah Usher House, which was located on the Usher estate that is now a three-block area in downtown modern Boston, Massachusetts. Adjacent to Boston Common and bounded by Tremont Street to the northwest, Washington Street to the southeast, Avery Street to the south and Winter Street to the north, the house was constructed in 1684 and either torn down or relocated in 1830. Other sources indicate that a sailor and the young wife of the older owner were caught and entombed in their trysting spot by her husband. When the Usher House was torn down in 1830, two bodies were found embraced in a cavity in the cellar.

Another source of inspiration may be from an actual couple, Mr. and Mrs. Luke Usher, the friends and acting colleagues of his mother Eliza Poe. The couple took care of Eliza's three children (including Poe) during her time of illness and eventual death.

German writer E.T.A. Hoffmann, who was a role model and inspiration for Poe, published the story "" in 1819. There are many similarities between the two stories, including the physical breaking of a house, eerie sounds in the night, the story within a story and the house owner being called Roderich or Roderick. Because Poe was familiar with Hoffmann's works, he knew the story and drew from it using the elements for his own purposes.

Another German author, Heinrich Clauren's, 1812 story "", as translated into English by Joseph Hardman and published in Blackwood's Magazine in 1828 as "The Robber's Tower", may have served as an inspiration, according to Arno Schmidt and Thomas Hansen. As well as sharing common elements, such as a young woman with a fear of premature burial interred in a sepulcher directly beneath the protagonist's chamber, stringed instruments, and the living twin of the buried girl. Diane Hoeveler identifies textual evidence of Poe's use of the story, and concludes that the inclusion of Vigiliae Mortuorum secundum Chorum Ecclesiae Maguntinae (Vigils for the Dead according to the Use of the Church of Mainz) is drawn from the use of a similarly obscure book in "The Robber's Tower".

The theme of the crumbling, haunted castle is a key feature of Horace Walpole's Castle of Otranto (1764), which largely contributed in defining the Gothic genre.

Analysis

"The Fall of the House of Usher" is considered the best example of Poe's "totality", wherein every element and detail is related and relevant.

The presence of a capacious, disintegrating house symbolizing the destruction of the human body continues to be a characteristic element in Poe's later work.

"The Fall of the House of Usher" shows Poe's ability to create an emotional tone in his work, specifically emphasizing feelings of fear, impending doom, and guilt. These emotions center on Roderick Usher, who, like many Poe characters, suffers from an unnamed disease. Like the narrator in "The Tell-Tale Heart", this disease inflames Roderick's hyperactive senses. The illness manifests physically but is based in Roderick's mental or even moral state. He is sick, it is suggested, because he expects to be sick based on his family's history of illness and is, therefore, essentially a hypochondriac. Similarly, he buries his sister alive because he expects to bury her alive, creating his own self-fulfilling prophecy.

The House of Usher, itself doubly referring both to the actual structure and the family, plays a significant role in the story. It is the first "character" that the narrator introduces to the reader, presented with a humanized description: Its windows are described as "eye-like" twice in the first paragraph. The fissure that develops in its side is symbolic of the decay of the Usher family and the house "dies" along with the two Usher siblings. This connection was emphasized in Roderick's poem "The Haunted Palace", which seems to be a direct reference to the house that foreshadows doom.

L. Sprague de Camp in his Lovecraft: A Biography wrote that "[a]ccording to the late [Poe expert] Thomas O. Mabbott, H.P. Lovecraft, in 'Supernatural Horror', solved a problem in the interpretation of Poe" by arguing that "Roderick Usher, his sister Madeline, and the house all shared one common soul".

The plot of this tale has prompted many critics to analyze it as a description of the human psyche, comparing, for instance, the House to the unconscious, and its central crack to a split personality. An incestuous relationship between Roderick and Madeline never is explicitly stated, but seems implied by the attachment between the two siblings.

Opium, which Poe mentions several times in both his prose and poems, is mentioned twice in the tale. The gloomy sensation occasioned by the dreary landscape around the Usher mansion is compared by the narrator to the sickness caused by the withdrawal symptoms of an opiate-addict. The narrator also describes Roderick Usher's appearance as that of an "irreclaimable eater of opium."

While there are no direct statements supporting their conclusions, scholars have demonstrated the language deployed by Roderick to describe his sister as full of hints of the possible incestuous relationship between the twins. They argue that this perversion is the actual cause of the fall of the house as well as an end to the lineage of Ushers.

Allusions and references
 The opening epigraph quotes "Le Refus" (1831) by the French songwriter Pierre-Jean de Béranger, translated to English as "his heart is a suspended lute, as soon as it is touched, it resounds". Béranger's original text reads "Mon cœur" (my heart) and not "Son cœur" (his/her heart).
 The narrator describes one of Usher's musical compositions as a "singular perversion and amplification of the wild air of the last waltz of Von Weber". Poe here refers to a popular piano work of his time – which, though going by the title "Weber's Last Waltz" was actually composed by Carl Gottlieb Reissiger. A manuscript copy of the music was found among Weber's papers upon his death in 1826 and the work was mistakenly attributed to him.
 Usher's painting reminds the narrator of the Swiss-born British painter Henry Fuseli.

Usher's library is mentioned to have "formed no small portion of the mental existence of the invalid [Roderick Usher]". A list of titles is provided in the story, all of which are allusions to real-world works. Several notable examples include:

 The Belphegor of Machiavelli, a tale involving demonic possession.
 Emanuel Swedenborg's Heaven and Hell, a book about divine visions and the afterlife.
 Directorium Inquisitorum, a list of heretical forbidden works.
 "Civitas Solis", a short Utopian work about a theocratic society. The philosopher and poet Tommaso Campanella believed that the world has a spiritual nature.

Literary significance and criticism

Along with "The Tell-Tale Heart", "The Black Cat", and "The Cask of Amontillado", "The Fall of the House of Usher" is considered among Poe's more famous works of prose. As G.R. Thomson writes in his introduction to Great Short Works of Edgar Allan Poe, "the tale has long been hailed as a masterpiece of Gothic horror; it is also a masterpiece of dramatic irony and structural symbolism".

"The Fall of the House of Usher" has been criticized for being too formulaic, particularly in how Poe followed patterns established in his own works like "Morella" and "Ligeia", using stock characters in stock scenes and stock situations. Repetitive themes like an unidentifiable disease, madness, and resurrection are also criticized. Washington Irving explained to Poe in a letter dated November 6, 1839: "You have been too anxious to present your pictures vividly to the eye, or too distrustful of your effect, and had laid on too much colouring. It is erring on the best side – the side of luxuriance".

John McAleer maintained that Herman Melville's idea for "objectifying Ahab's flawed character" in Moby-Dick came from the "evocative force" of Poe's "The Fall of the House of Usher". In both Ahab and the house of Usher, the appearance of fundamental soundness is visibly flawed – by Ahab's livid scar, and by the fissure in the masonry of Usher.

In other media

In film and television
La Chute de la maison Usher is a 1928 silent French horror film directed by Jean Epstein starring Marguerite Gance, Jean Debucourt, and Charles Lamy.

A second silent film version, also released in 1928, was directed by James Sibley Watson and Melville Webber.

A devout fan of the works of Poe, American director Curtis Harrington tackled the story in his first and last films. Casting himself in dual roles as Roderick and Madeline Usher in both versions, Harrington shot his original 10-minute silent short on 8mm in 1942, and he shot a new 36 minute version simply titled Usher on 35mm in 2000 which he intended to utilize in a longer Poe anthology film that never came to fruition. Both versions were included on the 2013 DVD/Blu-ray release Curtis Harrington: The Short Film Collection.

In the Roger Corman film from 1960, released in the United States as House of Usher, Vincent Price starred as Roderick Usher, Myrna Fahey as Madeline and Mark Damon as Philip Winthrop, Madeline's fiancé. The film was Corman's first in a series of eight films inspired by the works of Edgar Allan Poe.

A television adaptation was produced by ATV for the ITV network in 1966 for the horror anthology series Mystery and Imagination.

In 1979, Italian state channel RAI loosely adapted the short story, together with other Poe's works, in the series I racconti fantastici di Edgar Allan Poe. It was directed by Daniele D'Anza, with Roderick Usher played by Philippe Leroy; music was composed by pop band Pooh.

Filmed in 1979 but not released until 1982, American television network NBC broadcast the story, directed by James L. Conway and starring Martin Landau, Robert Hays, Ray Walston and Charlene Tilton.

The 2006 film The House of Usher from Australian director Hayley Cloake, starring Austin Nichols as Roderick Usher, was an update of the tale set in the modern era with a love interest for Roderick in the form of the best friend of his deceased sister.

The Fall of the House of Usher (2015), narrated by Christopher Lee, is an animated short film which is part of Extraordinary Tales.

Intrepid Pictures created an eight-episode limited series titled The Fall of the House of Usher for Netflix that is based on the works of Edgar Allan Poe. Mike Flanagan and Michael Fimognari each directed four episodes and executive produced the series, which premiered in 2023.

In theater and music
From 1908 to 1917, French composer Claude Debussy worked on an opera titled La chute de la maison Usher.

"The Fall of the House of Usher" is a five-part instrumental suite on the 1976 album Tales of Mystery and Imagination by The Alan Parsons Project.

The Fall of the House of Usher is another operatic version, composed by Philip Glass in 1987 with a libretto by Arthur Yorinks, premiered at the American Repertory Theatre and the Kentucky Opera in 1988 and was revived at the Nashville Opera in 2009. The Long Beach Opera mounted a version of this work in February 2013 at the Warner Grand Theatre in San Pedro, Los Angeles.

The Fall of the House of Usher is an opera composed by Peter Hammill with a libretto by Chris Judge Smith released in 1991 on Some Bizzare Records; in 1999, Hammill revised his work and released it as The Fall of the House of Usher (Deconstructed & Rebuilt). This opera has never been performed live.

In 2002 Lance Tait wrote a one-act play The Fall of the House of Usher, based on Poe's tale. Laura Grace Pattillo wrote in The Edgar Allan Poe Review (2006), "[Tait's] play follows Poe's original story quite closely, using a female Chorus figure to help further the tale as the 'Friend' (as Tait names the narrator) alternates between monologue and conversation with Usher."

In 2008, a musical adaptation ("Usher") won the Best Musical award at the New York International Fringe Festival.

In literature
The 2022 novel What Moves the Dead, by American writer T. Kingfisher, is a retelling of "The Fall of the House of Usher".

Usher's Passing, a 1984 novel by Robert R. McCammon, is a gothic fiction novel based on the "true" story of the Usher family. Poe makes an appearance in the flashback that starts the novel.

The Martian Chronicles, a 1950 collection of stories by Ray Bradbury, contains a novella called "Usher II," a homage to Poe.  Its main character, William Stendahl, builds a house based on the specifications from Poe's story to murder his enemies.

References

Further reading
 Rpt. in Short Story Criticism. Ed. Laurie Lanzen Harris and Sheila Fitzgerald. Vol. 1. Detroit: Gale, 1988. 403–05.

External links

  (audiobook)

 Full text as reprinted in The Works of the Late Edgar Allan Poe (1850)
 Full text at Bartleby.com
 "The Fall of the House of Usher" with annotated vocabulary at PoeStories.com
 Full text at American Literature
 Analysis by Martha Womack

1839 short stories
Gothic short stories
Short stories adapted into films
Short stories by Edgar Allan Poe
Works adapted into operas
Works originally published in Burton's Gentleman's Magazine

The Fall of the House of Usher


El colibrí de Cuvier, ala de sable verde, colibrí pechiescamado, colibrí pecho escamoso, colibrí pecho escamado, chupaflor pechiescamado o fandanguero pecho escamoso (Phaeochroa cuvierii, también Campylopterus cuvierii) es una especie de ave apodiforme de la familia Trochilidae, nativa de América Central y México.
Es la única especie del género monotípico Phaeochroa.

Distribucíón y hábitat

Su área de distribución incluye Belice, Colombia, Costa Rica, Guatemala, Honduras, México, Nicaragua y Panamá.  Habita el bosque húmedo tropical y subtropical de tierras bajas, bosque muy degradado y matorrales.

Subespecies

Se distinguen las siguientes subespecies reconocidas:
 Phaeochroa cuvierii berlepschi (Hellmayr, 1915)
 Phaeochroa cuvierii cuvierii (Delattre & Bourcier, 1846)
 Phaeochroa cuvierii furvescens (Wetmore, 1967)
 Phaeochroa cuvierii maculicauda (Griscom, 1932)
 Phaeochroa cuvierii roberti (Salvin, 1861)
 Phaeochroa cuvierii saturatior (Hartert, 1901)

Referencias

Enlaces externos

Trochilinae
Aves de América Central
Géneros monotípicos de aves
Taxones descritos por Adolphe Delattre
Taxones descritos por Jules Bourcier
Animales descritos en 1846

Phaeochroa cuvierii


13326 Ferri este un asteroid din centura principală de asteroizi.

Descriere
13326 Ferri este un asteroid din centura principală de asteroizi. A fost descoperit pe  la Stația Anderson Mesa în cadrul programului LONEOS. El prezintă o orbită caracterizată de o semiaxă mare de 3,14 ua, o excentricitate de 0,21 și o înclinație de 5,7° în raport cu ecliptica.

Vezi și
 Lista planetelor minore: 13001-14000
 Centura de asteroizi

Referințe

Obiecte astronomice descoperite în 1998
Centura de asteroizi

13326 Ferri


7369 Gavrilin este un asteroid care intersectează orbita planetei Marte.

Descriere
7369 Gavrilin este un asteroid care intersectează orbita planetei Marte. Asteroidul prezintă o orbită caracterizată de o semiaxă mare de 2,37 ua, o excentricitate de 0,32 și o înclinație de 21,8° în raport cu ecliptica.

Vezi și
 Lista planetelor minore: 7001-8000
 Centura de asteroizi

Referințe

Asteroizi binari
Asteroizi care intersectează orbita planetei Marte

7369 Gavrilin


Eye Guess was an American game show created by Bob Stewart and hosted by Bill Cullen, which aired on NBC from January 3, 1966, to September 26, 1969. The game combined a general knowledge quiz with a Concentration-style memory element, where the answers were shown to the players and their recall of their positions was tested.

This was the first game show by Bob Stewart Productions. Stewart, a former producer for Goodson-Todman Productions, created this series and packaged it with Filmways. Don Pardo announced for the first year, after which Jack Clark replaced him for the rest of the run.

The show used the Al Hirt tune "Sugar Lips" as its theme song.

Gameplay
Two contestants faced a nine-space game board, divided into three rows of three boxes. The outer boxes were numbered 1–8, and the center box contained the "Eye Guess" logo. At the beginning of the game, the answers hidden behind the outer boxes were revealed for six to nine seconds and then re-covered. Questions were asked by the host, and contestants were required to provide only the number behind which the answer was hidden. Points were awarded for a correct answer, and the contestant who responded correctly was asked a bonus question for additional points. If the bonus question was missed, that contestant's turn ended and the opponent was asked the next question.

A contestant could call for the "Eye Guess" space if they thought that the correct answer was not among the eight choices revealed at the start of the game. In such instances, the answer would be revealed only if it was correct for that question. Otherwise, a blank card would be revealed.

Questions in each round covered a wide range of topics and were assembled in such a way that choosing an incorrect number for a question could yield humorous results, which was the main appeal of this otherwise simple game.

Each game consisted of two rounds, with correct answers worth 10 points on the first round and 20 on the second. Although there were nine different answers per round, each round only featured eight questions, meaning one of the nine answers was not used (and never placed behind the "Eye Guess" space). A contestant who provided five consecutive correct answers won a bonus prize, usually a trip. Toward the end of the show's run, contestants who both missed four consecutive questions in the main game each received a series of at-home memory improvement books.

The first contestant to reach 100 points won the game and earned the right to play a bonus round. Later, the producers changed the rules, awarding a prize for each correct answer, with seven as the winning score.

Each episode was played to a set time limit, and once that limit was reached an audible signal was played. If a game was in progress when time was called, it would resume on the next show with any unrevealed answers shuffled into different positions. If time was called during the bonus round, the board was left as it was and the contestant resumed playing on the next show from where they had left off.

There were no returning champions. Each game featured two new contestants.

The game in progress during the final installment of the series did not finish in time. Since there could be no continuation of the game on the following Monday's broadcast, host Bill Cullen explained that the contestants would play the game to its conclusion after the show was over, and the appropriate prizes would be awarded.

Bonus round
The first bonus round was played from January 3–14, 1966. The contestant was shown eight pairs of celebrities (a man and woman). Cullen would read a name, and the contestant would be required to locate that celebrity's spouse on the board. Each correct answer awarded the contestant $25, and a new car was awarded if the board was cleared.

The second bonus round was used from January 17, 1966, to August 30, 1968. Behind seven of the numbers on the board were various prizes; behind the remaining number, a "Stop!" card. The contestant continued to call numbers and win prizes until finding the "Stop!" card. If the contestant revealed all seven prizes, the contestant won a new car, ostensibly hidden behind the "Eye Guess" logo. The contestant kept any prizes revealed prior to the end of the round. If the "Stop!" card was revealed on the first selection, the contestant was allowed to choose another number as a consolation prize.  In one 1967 episode, the prize card for the car was placed behind the #7 slot by mistake instead of the Eye Guess slot.  Unaware of this, the contestant called out number 7, revealing the prize card for the car.  Instead of restarting the bonus round and editing the tape (which might have preserved the episode for posterity), the episode aired with this mistake and the contestant was awarded every prize on the board, including the car.

This bonus round was featured in all four editions of the show's home game.

Initially, prizes consisted of cash up to $100 or merchandise. By November 10, 1967, all prizes became merchandise. At some point after November 10, 1967, a new prize called "Jack's Pot" (named after announcer Jack Clark) was introduced, consisting of a cash prize that was awarded only if it was revealed on the first selection. If this did not happen, its location was revealed right away. The value started at $100 and increased by $100 each day until won.

The third bonus round was used for the entire final year of the show's run, from September 2, 1968, to September 26, 1969. Hidden behind spaces 1–3 and 6–8 were five "Go" cards and one "Stop!" sign (spaces 4 and 5 were not used in this format). Prizes of increasing value were awarded after each "Go" card was found. The contestant could stop at any point but lost all the prizes accumulated if the "Stop!" card was revealed. If all five "Go" cards were revealed without finding the "Stop!" card, the contestant won a new car.

Attempted revivals

Punch Lines (1979)
A pilot was shot for a revival of Eye Guess and was pitched to local stations by syndicator Metromedia Producers Corporation for the 1980 season in December 1979. Called Punch Lines and also hosted by Bill Cullen, the premise of the game is that eight comedic performers held "punch lines" which would complete statements that the host would read to the two celebrity-contestant teams. As with Eye Guess, the object was to remember where the correct punch line was located. Similar to the likes of Match Game and Hollywood Squares, the humor came out of the comically mismatched answers and over-the-top line readings given by the performers. Some of the celebrities that were featured in the pilot were Joyce Bulifant, Fred Grandy and Edie McClurg.

While the show failed to sell in America, two years later, the show was sold in the U.K. for ITV and had a successful three-year run with Lennie Bennett as its host from January 3, 1981, until December 22, 1984. In addition, Bennett would later go on hosting the U.K. adaptation of another Bob Stewart-created game show Chain Reaction as Lucky Ladders running on the same network from March 21, 1988, until May 14, 1993.

Two years later, a pilot for an Australian adaptation of the show, hosted by Jeremy Kewley was shot for the Seven Network on August 20, 1986. However, like its American counterpart, the series failed to sell.

Eye Q (1988)
Another pilot was shot for a revival of Eye Guess at CBS Television City in August 1988. Called Eye Q and hosted by Henry Polic II, the premise of the game was slightly different. Two couples played against each other and instead of being shown the answers at the beginning of the game, they were revealed as the game went along. This made the game more like Concentration, as instead of simply recalling where an answer was based on what was shown at the beginning of the round the couples had to remember where the answer was once revealed. The winning couple won $500 and a chance to win up to $50,000 in a bingo-based bonus game. Sixteen numbers were randomly scrambled before the bonus game, and the result of the scramble was hidden behind the winning team. They had a choice of eight of the numbers, with the object being to form a vertical, horizontal, or diagonal line. Completing a line won the couple a cash jackpot, which on the pilot had reached $11,000. If the line was completed with the first four numbers the couple chose, they won $50,000.

Episode status
Virtually all of the series is believed to have been destroyed due to network practices of the era, with the videotapes wiped and re-used.

One episode distributed for broadcast on November 10, 1967, in color, and the first half of a 1968 episode (before the "Stop and Go" bonus format), in monochrome kinescope, exist, and can be seen or streamed online on some video websites. Game Show Network has aired the color episode.

References

External links

NBC original programming
1960s American comedy game shows
1966 American television series debuts
1969 American television series endings
English-language television shows
Television series by Bob Stewart Productions
Television series by Sony Pictures Television
Lost television shows
Television series by Filmways

Eye Guess


Ala 12 también llamada ala número 12, es una unidad militar con aviones de caza del Mando Aéreo de Combate (MACOM) del Ejército del Aire. Tiene sus instalaciones en la Base Aérea de Torrejón de Ardoz, a 23 kilómetros de Madrid. Es junto al ala 14, ala 15 y ala 46, una de las principales unidades aéreas de combate del Ejército del Aire, con experiencia en misiones internacionales desde finales del .

Historia

Ala 6 y el F-86
Tras los pactos de Madrid de 1953, el gobierno de Francisco Franco consigue apoyo y ayuda occidental durante la Guerra Fría a cambio de ofrecer la instalación de cuatro bases de Estados Unidos en el país. A 23 kilómetros de la capital, Madrid, tras cuatro años de trabajos desde la firma del acuerdo, entra en servicio el 1 de junio de 1957 la Base Aérea de Torrejón de Ardoz para el uso compartido con los estadounidenses.

En abril de 1958, se publica la creación del «escuadrón de caza número  61» que, dependiendo del Mando de la Defensa Aérea, comenzó a operar con el primer avión a reacción de combate en España, el North American F-86 Sabre serie F (denominación militar española «C-5», indicativo de radio militar Tenis).En total en el país se recibieron un total de más de dos centenares de F-86, la gran mayoría de segunda mano y procedentes de distintas unidades de la Fuerza Aérea de los Estados Unidos (USAF). Los últimos ocho aviones fueron instalados inicialmente en la Base Aérea de Getafe.

En mayo de 1959, el escuadrón se mueve de la base aérea de Getafe a Torrejón de Ardoz y un mes más tarde, el escuadrón cambia de nombre por  «Ala de caza número 6». Aquí es donde adopta el emblema la cara de un gato negro amenazante con el lema: «No le busques tres pies...» . Frase del refranero abreviada de la frase: «No le busques tres pies al gato», es decir, no agotar la paciencia de alguien porque se le puede llegar a enfadar o irritarle. Los F-86 del ala 12 estaban pintados con una banda blanca alrededor del morro del avión y el emblema del gato generalmente en la parte frontal derecha del fuselaje. El ala de caza llegó a contar con unos 25 F-86 y seis aviones de entrenamiento Lockheed T-33.

En 1965 pasa a llamarse «ala número 16» cuando el escuadrón con F-86 recibió 21 aviones Lockheed F-104 serie G alias Starfighter (den. mil. esp. «C-8»), un avión tipo interceptador. En Zaragoza, operando el mismo tipo de avión, el «Ala de caza número 2» pasó a llamarse «Ala número 12».

Ala 12 y el F-4
El 25 de marzo de 1971 adquirió la denominación de «ala de caza número  12», tras la llegada de aviones de segunda mano de la USAF -algunos de los cuales había participado en la guerra de Vietnam- para sustituir al ya veterano avión Sabre. El ala pasaba a estar formada por dos escuadrones de aviones: el escuadrón 121 con aeronaves McDonnel Douglas F-4 «Phantom II»  serie C (den. mil. esp. «C-12») y el escuadrón 104 con F-104.

En 1972, recibió el segundo escuadrón de F-4 serie C para sustituir a los anteriores F-104 y, a finales de año, se completa la dotación material con la incorporación de un nuevo avión, el Boeing KC-97L, para poder hacer reabastecimiento en vuelo compatible con los F-86 del ala y así lograr experiencia en la operación para aumentar el alcance de los aviones de combate F-4.

Enn mayo de 1973, el ala quedó estructurada con tres escuadrones, los 121 y 122 con F-4C y el 123-K con KC-97L.

El 21 de mayo de 1972 realizarán su último vuelo en el desfile aéreo del Día de la Victoria los aviones F-104G, tras contabilizar un total de 18.000 horas de vuelo, sin un solo accidente grave.

A finales de 1976, tras más de mil horas de vuelo y cerca de un millón de litros de combustible reabastecidos en vuelo causó baja en el ala, el escuadrón 123-K con el KC-97L.

El 5 de junio de 1978, el municipio de Torrejón de Ardoz ofreció en un homenaje, el primer estandarte al ala 12, siendo madrina Sofía de Grecia y presidido por Juan Carlos I. En octubre, se incorpora al ala una escuadrilla de aviones F-4 de nuevo, pero esta vez una versión como avión de reconocimiento denominada RF-4C, integrándose estos en el escuadrón 122.

Programa FACA y el F-18
En enero de 1989, el Ejército del Aire sustituyó los anteriores F-4 del ala por un lote de ocho RF-4C (den. mil. esp.  «CR-12»), procedentes de la Guardia Nacional de los Estados Unidos. En marzo, gracias al programa FACA, el ala empezó a recibir un novedoso avión de combate desde la Base Aérea de Zaragoza, donde llegó inicialmente de Estados Unidos.

El avión McDonnell Douglas EF-18 Hornet (den. mil. esp.  «C-15»), llegaría en versiones monoplaza (un piloto) y biplaza (dos pilotos), con un total de 36 aviones a lo largo de tres años. Con esta incorporación, el ala 12 se componía de tres escuadrones: 121 y 122 con cazas F-18 y el escuadrón 123 de reconocimiento con los ocho RF-4. A finales de 1995, llegó el segundo lote de seis RF-4C modernizados, para completar la dotación de estos aviones.

Las misiones internacionales

A finales del , el ala 12 junto al ala 15, formó parte del destacamento Ícaro en la Base Aérea de Aviano en Italia, para las campañas militares en la antigua Yugoslavia. En 1995 intervino en la operación Fuerza Deliberada sobre Bosnia-Herzegovina y en 1999, en el bombardeo de la OTAN sobre Yugoslavia. Por estas acciones, gran parte del personal en el destacamento Ícaro recibió la Medalla Aérea, máxima condecoración española en tiempo de paz.

En octubre de 2002, el Ejército del Aire dio de baja los aviones RF-4C, así el ala disolvió el escuadrón 123 basado en estos aviones.

En noviembre de 2003, el ala 12 llegó a las 100.000 horas de vuelo del avión EF-18. Anteriormente con el Sabre se llegaron a las 50.000 horas, 17 000 del F-104 y 90 000 del Phantom. El 15 de octubre, el rey Juan Carlos I visitó el ala 12.

En 2004, los F-18 del ala 12 fueron los primeros en ser modernizados con un programa abreviado como MLU para actualizar equipos electrónicos y software, añadiendo nuevas características y equipos como nuevas pantallas digitales, o comunicaciones mejoradas.

A finales de 2006, la unidad superó una importante evaluación operativa realizada por la alianza OTAN, para comprobar el estado de respuesta de la unidad militar con éxito. En 2008, participó en el ejercicio Red Flag  de la Fuerza Aérea de los Estados Unidos en la Base de la Fuerza Aérea Nellis (Nevada) y por segunda vez tres años después, en Alaska.

En abril de 2008, el ala 12 celebró en un acto su 50 aniversario y fue autorizado a pintar uno de sus aviones (el C-15 número 34) con su emblema cubriendo toda la cola izquierda del avión.

En mayo de 2009, el ala participó durante la operación Cruz del Sur desarrollada en Sudáfrica, para probar la integración en el avión del misil Taurus en el F-18 modernizado. Dada las condiciones especiales de las pruebas, destacaron dos F-18 del ala más otros dos del Centro Logístico de Armamento y Experimentación (CLAEX) y participaron en unos ensayos de disparos en un polígono de tiro en el distrito municipal de Overberg.

El 17 de septiembre de 2010, Príncipe de Asturias realizó una visita al ala 12.

El ala 12 participó en la intervención militar en Libia de 2011 del 19 de marzo al 6 de julio, para colaborar en el cierre del espacio aéreo en Libia, movilizando un destacamento de personal y aviones desde la Base Aérea de Decimomannu, para así realizar desde allí misiones de patrulla aérea de combate, impidiendo vuelos de aeronaves no autorizadas y proporcionando seguridad a los aviones aliados durante la campaña militar.

El 28 de octubre de 2011, el ala recibió en un acto honorífico el «Guión de la Unidad», en un acto presidido por el Jefe de Estado Mayor del Ejército del Aire.

El 3 de noviembre de 2019, el ala 12 finalizó la misión con cinco aviones en misión de policía aérea del Báltico «Baltic Air Policing» de la OTAN para vigilar el espacio aéreo en Estonia, Letonia y Lituania en la frontera con Rusia.

En febrero de 2020 un avión del ala 12 intervino en el incidente del  vuelo AC837 de Air Canada en Madrid.

Características
El ala 12 está integrada por dos escuadrones: el 121, llamado Póker, y el 122, Tenis, ambos con aviones EF-18 serie M, cuentan principalmente con capacidad de realizar misiones de combate aéreo, ataque a objetivos terrestres  y misiones de reconocimiento aéreo táctico mediante FLIR y otros dispositivos. El ala 12 dispone de unas 600 personas.

Servicio de Alarma Programado
Dentro de la unidad, hay un avión en «Servicio de Alarma Programado». Está permanentemente operativo y preparado para misiones llamadas de policía aérea, como medio de control del espacio aéreo de España. Está con una tripulación permanentemente disponible listo para despegar en un tiempo muy breve, junto a otras unidades desplegadas en otras bases aéreas como el ala 14 en la Base Aérea de Los Llanos o el ala 46 en la Base Aérea de Gando.

Museo del ala 12
El ala 12 dispone de un museo de la unidad iniciativa del coronel José María Martínez Cortés en 2009. Recoge más de 50 años de su historia y tiene unos 970 m² con una exposición estática exterior en una plataforma y una interior en pabellón cubierto. Cuenta con varias aeronaves históricas del ala 12 conservadas, un avión RF-4C, un F-4 y un F-104.

Accidentes aéreos

El ala número 12 ha sufrido a lo largo de su historia diferentes accidentes aéreos. Entre ellos están los siguientes:

El 4 de mayo de 1984, un F-4 Phantom II del Ala 12 cayó en Peralejos (Teruel), los capitanes José Manuel Hernández Ferri y Gonzalo Gracia Ramos fallecieron.
El 28 de noviembre de 1991, un F-18 del Ala 12 cayó en el polígono de tiro de las Bardenas (Navarra), el piloto el teniente coronel Roberto Hurtado Pellejero, falleció.
El 2 de abril de 2009, un F-18 del ala 12 terminó estrellado en el suelo en el polígono de tiro de las Bardenas. En esta ocasión, el piloto activó el asiento eyectable y se salvó.
El 17 de octubre de 2017 un F-18 del ala 12, al poco de despegar, tuvo un accidente y terminó estrellado en el suelo. Murió el piloto teniente Fernando Pérez Serrano con 26 años, era el primero de la 65.ª promoción de oficiales y fue condecorado con la Cruz del Mérito Aeronáutico. En 2019, la Comisión de Investigación Técnica de Accidentes de Aeronaves Militares (CITAAM) presentó un informe técnico donde se informaba de una cadena de errores: en el interior del motor derecho se hallaron restos de una llave de acero olvidada por alguien, presencia de ruidos extraños al arrancar los dos motores o el intento de volver a recuperar la aeronave. Fue el tercer accidente aéreo del Ejército del Aire en seis meses.

Bibliografía

Referencias

Enlaces externos

Ejército del Aire. Detalle de unidad: ala 12

Unidades del Ejército del Aire de España
Torrejón de Ardoz
Unidades militares históricas de España
Organizaciones fundadas en 1957
Fuerzas armadas en Madrid

Ala 12


Arianne Phillips (* 26. April 1963 in New York City) ist eine US-amerikanische Kostümdesignerin.

Leben
Seit den 1990er-Jahren war sie als Kostümbildnerin an verschiedenen Kinoproduktionen beteiligt. Dazu gehörten Filme wie Tank Girl, Durchgeknallt oder One Hour Photo. Für ihre Arbeit an dem Johnny Cash Biopic Walk the Line erhielt sie 2006 ihre erste Oscar-Nominierung. Neben einer Nominierung für die Kostüme in dem Film A Single Man bei den BAFTA Awards erhielt Phillips 2012 ihre zweite Oscarnominierung für den Film W.E.

Arianne Philips ist ferner als Kostüm-Stylistin für Madonna tätig. Sie hat hier für die vergangenen vier Tourneen von Madonna die Kostüme entworfen. Auch für andere Popkünstler wie Justin Timberlake, Lenny Kravitz oder No Doubt war sie schon aktiv.

Filmografie
 1990: Bail Jumper
 1991: Ari & Sam
 1993: The Last Supper (Kurzfilm)
 1993: Angriff der 20-Meter-Frau (TV)
 1994: Die Krähe
 1995: Elisa
 1995: Tank Girl
 1996: Larry Flynt – Die nackte Wahrheit
 1997: Der lange Weg der Leidenschaft
 1997: Bloody Wedding – Die Braut muß warten
 1998: The Replacement Killers – Die Ersatzkiller
 1999: Mod Squad – Cops auf Zeit
 1999: Durchgeknallt
 2001: Hedwig and the Angry Inch
 2001: Star (BMW-Werbefilm)
 2002: One Hour Photo
 2002: Stürmische Liebe – Swept Away
 2003: Identität – Identity
 2005: Walk the Line
 2007: Todeszug nach Yuma
 2009: A Single Man
 2010: Knight and Day
 2011: W.E.
 2014: Kingsman: The Secret Service
 2016: Nocturnal Animals
 2017: Kingsman: The Golden Circle
 2019: Once Upon a Time in Hollywood

Auszeichnungen
Arianne Phillips wurde bisher zweimal für einen Oscar in der Kategorie bestes Kostüm nominiert. 2006 für Walk The Line, 2012 für W.E. sowie 2020 für Once Upon a Time in Hollywood. Für einen Costume Designers Guild Award wurde Phillips bisher achtmal nominiert, wobei sie 2012 mit der Auszeichnung Excellence in Costume Design for Film – Period für ihre Arbeit an dem Film W.E. geehrt wurde. Die weiteren Nominierungen waren für Once Upon a Time in Hollywood, Kingsman: The Golden Circle, Nocturnal Animals, Kingsman: The Secret Service, Todeszug nach Yuma, Walk The Line und Hedwig and the Angry Inch. Zudem war Phillips für die Kostüme in dem Film A Single Man von Tom Ford einen BAFTA-Award nominiert. 2020 erfolgte eine zweite Nominierung für diesen Preis für den Film Once Upon a Time in Hollywood.

Weblinks

Kostümbildner (Vereinigte Staaten)
US-Amerikaner
Geboren 1963
Frau

Arianne Phillips


Als Hethitische Gesetze (auch hethitische Rechtssätze oder hethitische Rechtssammlung) bezeichnet man eine Reihe von hethitischen Tontafelfragmenten, die bei den deutschen Ausgrabungen in Ḫattuša (heute Boğazkale), der Hauptstadt der Hethiter in der heutigen Türkei, gefunden wurden. Sie dienen der Keilschriftrechtsforschung als nahezu einzige Quelle für das Zivil- und Strafrecht im Hethiterreich. Die Texte sind seit ihrer Übersetzung 1922 durch Heinrich Zimmern und Johannes Friedrich, die nur ein Jahr nach ihrer Publikation in keilschriftlicher Autographie durch Bedřich Hrozný erfolgte, der im selben Jahr auch eine Übersetzung ins Französische publizierte, der rechtshistorischen Forschung zugänglich. Vonseiten der Rechtswissenschaft beschäftigten sich besonders Richard Haase und Viktor Korošek mit der Erforschung dieser Rechtssammlung.

Hintergrund
Die Rechtsnatur dieser aus Anatolien stammenden Rechtssammlung ist wie bei den mesopotamischen Rechtssammlungen bis heute ungeklärt. Die von den Erstübersetzern eingeführte Bezeichnung "Gesetze" wurde bereits 1931 vom Münchener Juraprofessor Mariano San Nicolò und 1950 von seinem Leipziger Kollegen Paul Koschaker kritisiert. Ersterer schlug eine Interpretation als Rechtsbuch vor, zweiterer die einer Entscheidungssammlung eines Gerichtes. Koschakers Auffassung hat sich dabei in der rechtshistorischen Forschung insgesamt als verbreitetste Hypothese durchgesetzt.

Die Tafeln entstammen dem Archiv der Königsburg von Hattuša, an welcher auch das Königsgericht beheimatet war. Bereits Hrozný erkannte, dass die Fragmente zu zwei Tafeln zusammengefasst werden können, die von ihren antiken Schreibern entsprechend ihrer Anfangszeile "takku LÚ-aš" (wenn ein Mann) bzw. "takku GIŠGEŠTIN-aš" (Wenn ein Weinstock) genannt wurden. Ein ebenfalls in der Königsburg gefundenes Etikett bezieht sich auf eine dritte Tafel, die bislang nicht gefunden wurde. Innerhalb der Tafeln sind die Rechtssätze im Wesentlichen nach dem Gewicht des betroffenen Rechtsguts sortiert; vom Leben, über die körperliche Integrität hin zum Eigentum und zu Dienstpflichten:
 Tafel A (takku LÚ-aš): Tötungsdelikte (§§ 1–6), Körperverletzung (§§ 7–18), Menschenraub (§§ 19–21), Straffreiheit bei Tötung (§§ 37 f.), Dienstpflichten (§§ 29–42, 46–56), Haustiere (§§ 57–97), Diebstahl aus Gebäuden (§§ 93–97), Brandstiftung (§§ 98–100)
 Tafel B (takku GIŠGEŠTIN-aš): Landwirtschaft (§§ 101–113), Diebstahl allgemein (§§ 119–143), Löhne (§§ 150–161), Religionsstrafrecht (§§ 164–170), Preise (§§ 176–188), Sexualstrafrecht (§§ 189–200)

Zwei in Boğazkale gefundene Keilschriftenurkunden beinhalten in Fragmenten die Vorschriften für die Diener des Königs. Sie beinhalten im Wesentlichen, in sogenannten  Kolumnen, die Reinheitsvorschriften für den hethitischen König und schreiben die Verarbeitung von Tierleder aus eigener Herstellung vor. Von den fünf Kolumnen sind nur noch die zweite und die dritte in rekonstruierbaren Teilen vorhanden.

 Kolumne II: Sanktioniert Verfehlungen, insbesondere Verunreinigungen von Lebensmitteln und verlangt von den Küchenbediensteten eine monatliche Eidleistung vor dem König.
 Kolumne III: Sanktioniert Verfehlungen der Handwerker, Wasserträger und regelt den Bezug und das Verarbeiten von Rinds- und Ziegenleder sowie das Aufbereiten von Trinkwasser.

Wie in allen anderen altorientalischen Rechtssammlungen, wird auch in den hethitischen Gesetzen das Recht nicht vollständig normiert und abschließend geregelt. So sind gewisse Rechtsangelegenheiten, die das Erbrecht und das Schuldrecht betreffen, in der Gesetzessammlung ausgespart geblieben. Zum einen wird das auf den wahrscheinlichen Umstand zurückgeführt, dass die Legislative von der allgemeinen Bekanntheit der diesbezüglichen, geltenden Rechtslage ausgegangen ist. Zum anderen sollte vermutlich eine Gesetzeskonkurrenz mit örtlich, unterschiedlich geltenden Rechtsbräuchen vermieden werden.

Teile der Hethitischen Gesetze sind in verschiedenen Fassungen überliefert und verweisen zum Teil selbst auf eine ältere Rechtslage. Deshalb erlaubt der Text in Teilen ein Nachvollziehen der hethitischen Rechtsentwicklung. Insofern dokumentieren sie auch eine Rechtsentwicklung im hethitischen Reich, zu welcher Viktor Korošek eine generelle Entwicklung zu milderen Strafen feststellen konnte.

Siehe auch
 Todesstrafe bei den Hethitern

Literatur
 Richard Haase: Recht im Hethiterreich. In: Ulrich Manthe (Hrsg.): Rechtskulturen der Antike: Vom Alten Orient bis zum Römischen Reich. C.H. Beck, München 2003, S. 123–150.
 Viktor Korošek: Hethiter. In: Bertold Spuler (Hrsg.): Orientalisches Recht (= Handbuch der Orientalistik. 1. Abteilung, Ergänzungsband 3). Brill, Leiden 1964, S. 177–219.
 Einar von Schuler: Hethitische Rechtsbücher. Die hethitischen Gesetze. In: Otto Kaiser u. a. (Hrsg.): Texte aus der Umwelt des Alten Testaments. I: Rechtsbücher. Mohn, Gütersloh 1982, S. 96–125.
 Birgit Christiansen: "Früher Bienenstiche. Jetzt aber gibt er 6 Schekel Silber": Sanktionen und Sanktionsprinzipien in der Hethitischen Rechtssammlung. In: Zeitschrift für Altorientalische und Biblische Rechtsgeschichte. 21, 2015.

Einzelnachweise

Hethiter
Altorientalische Rechtsgeschichte
Historisches Dokument
Antike Rechtsquelle
2. Jahrtausend v. Chr.

Hethitische Gesetze


Nacht und Träume (Night and Dreams) is a lied for voice and piano by Franz Schubert, from a text by Matthäus von Collin, and published in 1825.  In Otto Erich Deutsch's catalogue of Schubert's works, it is D. 827.

The song, a meditation on night and dreams, is marked "Sehr langsam" (very slowly) and is in the key of B major (with a modulation to the flattened submediant, G major, in the middle). There is a single dynamic indication, "pianissimo" (very quietly), which does not change throughout the song. The piano plays broken chords in semiquavers for the song's duration in a manner similar to bar five (the bar in which the voice enters), for example:

A typical performance will last around three to four minutes.

A version in the Spaun family collection has the different tempo marking "Langsam, Sempre legato" (Slow, Always legato).

The original publication erroneously attributed the text to Friedrich Schiller.

"Nacht und Träume" is one of several Schubert songs that Max Reger arranged for voice and orchestra. The last seven bars of the original version feature in Samuel Beckett's television play of the same name (see Nacht und Träume (play)).

Song text
Heil'ge Nacht, du sinkest nieder;

Nieder wallen auch die Träume

Wie dein Mondlicht durch die Räume,

Durch der Menschen stille Brust.

Die belauschen sie mit Lust;

Rufen, wenn der Tag erwacht:

Kehre wieder, heil'ge Nacht!

Holde Träume, kehret wieder!

External links

Sheet music for Nacht und Träume
German text with  English and French translations
Musical adaptation of the Schubert Lied - free recording (mp3) and free score

Lieder composed by Franz Schubert
1820s songs

Nacht und Träume


Sivasspor veya sponsorluk anlaşması gereği EMS Yapı Sivasspor 9 Mayıs 1967 tarihinde Sivas'ta kuruldu. Süper Lig'de mücadele eden futbol takımı. Kulüp, futbol dışında e-Spor, masa tenisi, judo, bilardo, cirit ve briç branşlarında faaliyetini sürdürmektedir.

Tarihi

1967 Öncesi Tarihi

Resmi kayıtlara göre Sivasspor'un kuruluş yılı 9 Mayıs 1967 tarihidir. Oysa spor (Futbolun yanı sıra Atletizm, Binicilik, Atıcılık ve Voleybol) kulübü olarak Sivasspor, "Sivas'ın Bağdat Caddesi'nde, gençliğin bedeni gelişimine katkıda bulunmak..." amacıyla olmak üzere 14 Nisan 1932 tarihinde kurulmuştur. Aynı yıl Kâmil Matbaası'nda basılan Dış Tüzüğün önsözünde genel sekreter Fahri Şevki şöyle diyor:

İç Tüzükde ise kulübün kuruluş amacı şu şekilde açıklanıyor:

İç Tüzüğe göre kulübün iki türlü üyesi vardır: "sporla ve kulüp davranışı ile meşgul olan" faal üyeler ve "Kulübe medar-i fahr ü seref olan ve her suretle Kulübü himayelerine alan zevat-i saygıdeğerler"den oluşan hali üyeler. 26 maddelik Tüzükte; kurulların görevleri, toplantı şekilleri, gelir kaynakları, bunların nasıl ve nereden temin edileceği, gider kalemleri, harcamaların ne şekilde yapılacağı, kılık-kıyafet, kararlar, cezalar ve itirazlar ayrıntılı olarak hüküm altına alışmıştır. Mesela "Alamet-i Farika" başlığı altındaki madde şöyledir:

"Spor kıyafeti, yukarısı kulüp rengindeki (Kırmızı-Beyaz) forma veya fanila ve aşağısı beyaz kısa pantolondur. Her futbolcu sahaya çıkarken son derece temiz kıyafetle sahada bulunmak ve diğer gençlere her hususta bir intizam ve temizlik örneği olmak mecburiyetindedir..."

Sivasspor'un ilk sportif faaliyetleri hakkında fazlaca bilgi ve belge bulunmamaktadır. Ancak çalışmalarını Halkevi Topluluğu ile koordineli şekilde yürüttüğü ve bu çalışmaların, 2. Dünya Savaşı'nın ülkeyi içine sürüklediği belirsizlik ortamı içinde kesintiye uğradığı biliniyor. 1935 yılında Kulüp Başkanı Fahri, Üyeler ise; Reşat (Ergün), Baki, Şevki ve Bekir (Keçeli) Beyler'dir. Kulübün 38'i faal ve 84'ü hali olmak üzere 122 üyesi vardır. Türkiye İdman Federasyonu'na girmek için müracaatta bulunan kulüp, idari çalışmalarını Sivas Halkevi'ndeki özel dairesinde yürütmektedir.

Uzunca bir aradan sonra Sivas'ın adını taşıyacak bir kulübün yeniden oluşturulması yolundaki çalışmalar, 1950 yılında başlamış ve 27 Temmuz 1950 tarihinde Sivas Gençlik Kulübü resmen kurulmuştur. Adı fazlaca bilinmeyen bu kulüp daha sonraki yıllarda Yolspor ve Kızılırmakspor kulüplerinin katılımıyla 9 Mayıs 1967 de günümüzün Sivasspor'unu oluşturacaktır.

1967 Yılı Kuruluşu

1967 Mart ayında Nusret Akça, Hüseyin Yıldırım, Hüseyin Pala, Nurettin Tarıkahya, Yalçın Özden gibi isimler ilk olarak o günün Belediye Başkanı Ahmet Durakoğlu'na ve dönemin Valisi Vefik Kitapçıgil'e giderek durumu anlatırlar. Vali olaya çok sıcak yaklaşır ve kurulacak olan kulübün yalnızca sportif açıdan değerlendirilmemesi gerektiğini dile getirerek bu oluşumu şehrin kültürel, ekonomik ve sosyal hayatına da büyük bir hareketlilik getireceğini belirtir. Valinin dile getirdiği son derece olumlu sözlerini duyan kurul üyeleri sevinirler.

Sivasspor kurulacaktır. Hemen kuruluş hazırlığına başlanır. Çünkü 1967-68 sezonuna Sivasspor yetiştirilmelidir. Mayıs ayının ilk günlerinde hazırlıklar hemen hemen tamamlanmıştır.

Takımın renkleri konusuna da açıklık getirildikten sonra, 9 Mayıs 1967 tarihli gazeteler Sivasspor'un kurulduğunu yayınlamaya başlar. "Osman Paşa Caddesi, numara 1" Sivasspor'un kulüp binası olarak belediyeden 50 liralık sembolik bir ücret karşılığında kiralanır. Kulübün ilk telefon numarası da 2283'tür.

Sivasspor tarihinde ilk Yönetim Kurulunu oldukça zor görevler beklemektedir. Kollar sıvanarak büyük bir heyecanla işe başlanır. Bu kulübü kuranlar başlangıçta takımın doğrudan ikinci lige alınacağını düşünürler. Ama evdeki hesap çarşıya uymaz ve bu iş göründüğü kadar kolay olmayacaktır. Kulübün ikinci lige alınması isteminin iletilmesi için, Kulüp Başkanı Ahmet Durakoğlu, Genel Sekreter Nurettin Tarıkahya, Kulüp Amiri Hüseyin Yıldırım ve yönetim kurulu üyeleri Nusret Akça, Yalçın Özden (Tüccar) ve Hüseyin Pala'dan oluşan bir heyet Ankara'ya gider. Ankara'da başvuru yapılır. Bu başvuru sonrasında o günün Türkiye Futbol Federasyonu Başkanı Orhan Şeref Apak, bir kurulla incelemelerde bulunmak üzere Sivas'a gelir. Sivas dönüşü yazılan rapor hem Yönetim Kurulunu, hem de tüm Sivas'lı sporseverleri büyük bir hayal kırıklığına uğratır. Zira raporda tesis ve altyapı yetersizliğinden istemin yerine getirilemeyeceğinin belirtilir. Yönetim Kurulu kısa süreli bir şok yaşadıktan sonra harekete geçer. Bütün yollar denenecek ve Sivasspor mutlaka ikinci ligde oynayacaktır. Başta Vali Vefik Kitapçıgil olmak üzere şehrin ileri gelenleri Ankara üzerinde baskı oluşturur.

Yönetimde bulunan Nusret Akça ve Hüseyin Yıldırım gibi aynı zamanda siyasi partilerin İl Teşkilatında görevliler aracılığıyla baskı siyasi bir boyut kazanır. Spor Bakanı Kamil Ocak'la görüşülür. Sivas milletvekili Rıfat Öçten dönemin Başbakanı Süleyman Demirel'den yardım ister. Bu isteğin içinde üstü kapalı bir tehdit de vardır. "Ya Sivasspor'u ikinci lige alırsınız; ya da Sivas'tan oy almayı unutursunuz." Bu istek yankı bulmakta gecikmez. Aynı günlerde Futbol Federasyonu bir de Şekerspor olayı ile uğraşmaktadır. Birinci ligden düşürülen Şekerspor, idare mahkemesine açtığı davayı kazanmış ve mahkeme kararı ile 1967-68 sezonunda birinci ligde oynama hakkını elde etmiştir. Bu karar ikinci lig beyaz grupta Şekerspor'a ayrılan yeri boş bırakmıştır. Bu kadar olumsuzluk içinde şans ibresi Sivasspor'dan yana dönmüştür. Demirel'in talimatına zamanın federasyon başkanı Orhan Şeref Apak daha fazla direnemez ve Sivasspor 1967-68 sezonunda Türkiye ikinci ligi beyaz gruptaki takımlar arasında yerini alır.

1. Lig Dönemi
2004-2005 yılında 1. Lig'de şampiyon olmuştur.

Süper Lig Dönemi

2005 yılına kadar 1. Ligde oynayan Sivasspor 2004-2005 sezonunda Süper Lig'e çıktı. İlk iki sezonunda ligi 8. ve 7. sırada bitirdi. 2007-08 sezonunda ise büyük bir başarı göstererek şampiyonluğu kıl payı kaçırdı ve o sezonu averajla Beşiktaş ve Fenerbahçe'nin gerisinde 4. bitirdi ve UEFA Intertoto Kupası'nda Türkiye'yi temsil etme hakkı kazandı. 2008-09 sezonunda ise bir önceki sezonda sergilediği grafiği devam ettirdi ve ligi şampiyon Beşiktaş'ın 5 puan arkasında 66 puanla ikinci bitirdi ve 2009-2010 sezonunda UEFA Şampiyonlar Ligi elemelerine katılmaya hak kazandı. Bu başarı ile Türkiye'yi UEFA Şampiyonlar Ligi'nde temsil eden 5. Türk takımı oldu. Diğer iki sezon sezonu küme düşme tehlikesi geçiren Sivasspor ligi 15. sırada tamamladı. 2013-14 sezonu öncesi futbol tarihinin en önemli oyuncularından Roberto Carlos teknik direktörlük görevine getirildi. Bu sezon başarılı bir dönem geçiren takım ligi dört büyüklerin ardından 5. sırada tamamladı. Bu sonuçla UEFA Avrupa Ligi'ne katılma hakkı kazanmasına rağmen UEFA'dan gelen men cezası ile Avrupa Kupalarına katılamadı. 2014-15 sezonunda kötü bir yıl geçiren takım ligi 15. sırada tamamlasa da Türkiye Kupasında yarı final oynama başarısı gösterdi. Bu yarı final maçı Sivasspor'un Türkiye Kupasındaki 3. yarı final maçı oldu. 2015-16 sezonunda 11 yıl aralıksız yer aldığı Süper Lig sezonunu 17. tamamlayarak 1. Lig'e düştü. 2016-17 sezonunda 1. Lig'i şampiyon olarak tamamlayarak tekrar Süper Lig'e yükseldi.

2020-21 sezonuna Rıza Çalımbay yönetiminde başlayan Sivasspor, ligde oynanan 40 maç sonunda 16 galibiyet 17 beraberlik ve 7 mağlubiyetle 65 puan toplayarak ligi 5. tamamladı ve 2021-22 UEFA Avrupa Konferans Ligi'ne ikinci eleme turundan katılmaya hak kazandı. 2020-21 Türkiye Kupası'nda ise çeyrek finalde Antalyaspor'a 1-0 kaybederek kupadan elendi. 2020-21 Avrupa Kupası macerasına Avrupa Ligi grup aşamasından başlayan Sivasspor, I Grubunda, Villarreal, Makkabi Tel Aviv ve Karabağ ile oynadığı 6 maç sonucunda elde ettiği 2 galibiyetle 6 puan topladı ve grubu üçüncü sırada tamamlayarak Avrupa Kupası mücadelesini tamamlamış oldu.

2021-2022 sezonunda 26 Mayıs 2022'de final maçında Kayserispor'u 3-2 yenerek Türkiye Kupası'nı kazanmıştır.

26 Temmuz 2023 tarihinde yeni isim sponsoru EMS Yapı ile Süper lig 2023-24 Sezon sonu kadar sözleşme imzaladı yeni ismi EMS Yapı Sivasspor oldu.

Pilot Takım
İstanbul ekibi Anadolu Üsküdar ile pilot takımı anlaşması vardır. İstanbul ekibinde birçok kiralık oyuncusu bulunmaktadır.

Arma ve Renkler
Armada bulunan 3 yıldız, kurucu kulüpler olan Yolspor, Kızılırmak ve  Sivas Gençlik 'i temsil etmektedir. Sivas'ın S harfi  ile Spor'un S 'si iç içe geçmiş bir şekilde yer almaktadır. Ayrıca armadaki renkler kulübün renkleri olan Kırmızı - Beyaz renklerini temsil etmektedir. Renkler hem Türk Bayrağı'ndan esinlenerek hem de kar ve kandan esinlenerek kullanılmıştır.

İsim Sponsorluğu
19 Ocak 2015 tarihinde kulüpten yapılan açıklamayla Medicana Sağlık Grubunun Sivasspor'a isim sponsoru olduğu bildirildi. O günden sonra takımın ismi Süper Lig ve Türkiye Kupası maçlarında Medicana Sivasspor olarak adlandırılmıştır. Anlaşma 2014-15 sezonunun ikinci yarısında ve 2015-16 sezonu için geçerli olmuştur.

Güncel kadro

Teknik Kadro

Yönetim Kurulu

Sivasspor Kurumsal

Sivasspor Store
Sivasspor'un orijinal ve lisanslı forma, atkı, kaşkol, bere, swetshirt, ceket, gömlek, süs eşyaları gibi birçok değişik ürünlerinin satışı şehir meydanındaki ve Sivas PrimeMall AVM'deki Sivasspor Store'larda yapılmaktadır. Ayrıca Sivasspor'un bazı orijinal ve lisanslı ürünleri E-Yiğido internet mağazasında satışı gerçekleşmektedir.

Sivasspor Dergisi
Sivasspor'un yoğunluğu futbol takımı hakkında bilgi vermek, başkanın duyurularını yayımlamak için hazırlanan dergidir. Dergi sadece 2015 yılında 6 sayı çıkarılmıştır.

Taraftar
Sivasspor tribünlerinde 3 taraftar grubu bulunmaktadır. Bu grupların isimleri "Çılgınlar 58", "Yiğido Gençlik" ve "Yiğidolar Grubu"dur. Taraftarların en ünlü sloganı Beyaz Kırmızı Anadolu Yıldızı'dır. Taraftarlar her maçın 58. dakikasında telefon flash'ları ile birlikte tribünlerinde tezahürat yaparlar.

İstatistikler ve Rekorlar

Rekabetler

Sivasspor'un kurulduğu günden bu yana Kayserispor ile bir rekabet hâlindedir. İki kulüp arasındaki ilk maç tarihe 1967 Kayseri stadyum faciası olarak geçmiştir. Bu olaydan sonra iki takım 5 yıl süreyle aynı ligde yer alması yasaklanmıştır. Bu rekabet hâlâ devam etmektedir.

Formalar
Sivasspor'un formalarını 2008-09 sezonuna kadar Diadora, bu sezondan beri ise Adidas üretmektedir. Formalar, genelde çubuklu, kırmızı ve beyaz olmaktadır. Ayrıca 2009-10 ve 2012-13 sezonunda mavi, 2011-12 sezonunda siyah, 2014-15 sezonunda ise sarı formalar da üretilmiştir.

Üretici ve Sponsorlar

Not: 2010-11 sezonunun son maçı olan Fenerbahçe maçında Göğüs Reklamı'nda Kuzan Grup reklamı yer alıyordu.

Klasik Formalar

Sezonlara Göre İç Saha Forması

Sezonlara Göre Deplasman Forması

Alternatif Formalar

Kulüp Tesisleri

Stadyum
Kulüp kuruluş tarihi olan 9 Mayıs 1967'den, Eylül 1984 tarihine kadar maçlarını Sivas Şehir Stadyumunda oynamıştır. 7 Ekim 1984 günü Akçaabat Sebatspor maçı ile 4 Eylül Stadyumu'na geçiş yapılır. Buradaki ilk maçta Akçaabat Sebatspor'a 3-0 hükmen yenik sayılmıştır. Bu maçtan sonra Stadyum tadilat ve bakım süreçleri geçirerek zaman içerisinde kapasitesi artırılmıştır. Bu stadyumdaki son maç 19 Mayıs 2016 tarihinde Fenerbahçe ile 2-2 beraberlik ile sonuçlanmıştır. Şu anda kullanmakta olduğu Yeni Dört Eylül Stadyumu'na ise ilk kez 21 Ağustos 2016 tarihinde 1. Lig 2. hafta maçında Mersin İdman Yurdu'nu 6-0 mağlup etmiştir. Stadyumdaki ilk golü Burhan Eşer atmıştır.

Lütfullah Bilgin Tesisleri
Sivasspor Vali Lütfullah Bilgin Tesisleri 96.500 metre kare arazi üzerine kurulmuş olan tesisler 2011 yılında yapımı tamamlanmıştır. Vali Lütfullah Bilgin Tesisleri Türkiye'nin en modern ve en büyük tesislerinden biridir. Tesislerin içerisinde A Takım binası, idari bina, 3 doğal çim ve 2 sentetik çim antrenman sahası, 1 basketbol ve voleybol sahası, 1 kapalı spor kompleksi, 1 restaurant, 1 saha bakım binası,  200 araçlık genel otopark, at çiftliği, açık ve kapalı at binim alanları bulunmaktadır.

Avrupa Kupaları Maçları

Ayrıca bakınız

 Türk takımlarının Avrupa kupaları tarihi

Geçmiş Yılların Puan Durumu

Not: Tablo son 10 sezonu göstermektedir. Ayrıntılar ve geçmiş sezonlar için Ana Maddeye bakınız.

Lig mücadeleleri
 Süper Lig: 18 Sezon

2005-2016, 2017-
 1. Lig: 25 Sezon

1967-1983, 1984-1986, 1999-2005, 2016-2017
 3. Lig: 13 Sezon

1986-1999
 Amatör Lig: 1 Sezon

1983-1984

Başarıları

Ulusal

 Süper Lig
 İkinci (1): 2008-09
 Türkiye Kupası
 Şampiyon (1): 2022
 Yarı final (4): 2009, 2013, 2015, 2023
 Türkiye Süper Kupası
 Finalist (1): 2022
 1. Lig
 Şampiyon (2): 2004-05, 2016-17
 İkinci (2): 1971-72, 1972-73

Uluslararası

 UEFA Intertoto Kupası
 İkinci (1): 2008

Özel

 Cumhuriyet Kupası
 Şampiyon (10): 2001, 2002, 2004, 2005, 2008, 2011, 2015, 2017, 2018, 2019
 İkinci (4): 2010, 2012, 2013, 2014

Kaynakça

Dış bağlantılar

Türkiye'deki futbol kulüpleri
Sivas'taki spor kulüpleri
Sivas'ta spor

Sivasspor


Joseph Zen Ze-kiun, S.D.B. (en chino tradicional: 陈日君, en pinyin: Chén Rìjūn; Shanghái, 13 de enero de 1932) es un cardenal y obispo católico chino.

Biografía
Fue ordenado sacerdote en Turín el 11 de febrero de 1961.

Episcopado

Obispo Coadjutor de Hong Kong
El 13 de septiembre de 1996, el Santo Padre Juan Pablo II lo nombró Obispo Coadjutor de la Diócesis de Hong Kong.

Es consagrado obispo el 9 de diciembre, por el Cardenal John Baptist Wu Cheng-chung, Obispo de Hong Kong.

Obispo de Hong Kong
El 23 de septiembre de 2002, se convirtió en el XII Obispo de la Diócesis de Hong Kong.

En 2008, el papa le confió las meditaciones del Vía Crucis, ese mismo año condenó, en nombre de la diócesis de Hong Kong, la represión china de los manifestantes tibetanos. Tras la reforma litúrgica es uno de los cardenales que celebraba la misa tridentina.

Obispo Emérito de Hong Kong
El 15 de abril de 2009 fue sucedido por el Obispo Coadjutor, Mons. John Tong Hon.

Cardenalato
El papa Benedicto XVI lo creó cardenal en el consistorio del 24 de marzo de 2006.

Él fue miembro de la Congregación para el Culto Divino y la Disciplina de los Sacramentos, la Congregación para la Evangelización de los Pueblos, el XI Consejo Ordinario de la Secretaría General del Sínodo de los Obispos y del Consejo Especial para Asia de la Secretaría General del Sínodo de los Obispos.

El 13 de enero de 2012 cumplió ochenta años, convirtiéndose en cardenal no elector y perdiendo el derecho a participar en los cónclaves futuros.

En 2016, expresó su inquietud por la posibilidad de que el gobierno comunista chino y la Santa Sede pudieran alcanzar un acuerdo que podría suponer una traición a los cristianos y secundar una iglesia falsa en aquel país.

Arresto
El 11 de mayo del 2022, fue arrestado por las autoridades chinas, pero fue puesto en libertad el mismo día.

Referencias

Enlaces externos

Personas de Shanghái
Obispos de China
Obispos de Hong Kong
Cardenales de China
Cardenales salesianos
Cardenales creados por Benedicto XVI
Chinos del siglo XX
Obispos católicos del siglo XX
Obispos católicos del siglo XXI
Obispos salesianos
Cardenales creados en el siglo XXI

Joseph Zen Ze-kiun


O Gabinete Secreto (em italiano: Gabinetto Segreto) ou Museu Secreto em Nápoles se refere à coleção romana do século I de arte erótica encontrada em Pompeia e Herculano, agora realizada em galerias separadas no Museu Arqueológico Nacional de Nápoles, o antigo Museo Borbonico. O termo "gabinete" é usado em referência ao "gabinete de curiosidades" – ou seja, qualquer coleção bem preservada de objetos para adimirar e estudar.

Reaberto, fechado, reaberto novamente e depois fechado novamente por quase 100 anos, a sala secreta foi brevemente acessível novamente no final da década de 1960, antes de ser finalmente reaberta em 2000. Desde 2005, a coleção tem estado mantida em uma sala separada no Museu Arqueológico Nacional de Nápoles.

Embora a escavação de Pompeia tenha sido inicialmente um projeto do Iluminismo, uma vez que os artefatos foram classificados através de um novo método de taxonomia, aqueles considerados obscenos e inadequados para o público em geral foram denominados pornografia e em 1821 foram trancados em um Museu Secreto. A porta foi emparedada em 1849. Em toda a antiga Pompeia e Herculano, foram encontrados afrescos eróticos, representações do deus Priapo, símbolos e inscrições sexualmente explícitas e utensílios domésticos, como lâmpadas de óleo fálicas. A antiga compreensão romana da sexualidade via o material explícito de forma muito diferente da maioria das culturas atuais. As ideias sobre obscenidade se desenvolveram do século XVIII até os dias atuais em um conceito moderno de pornografia.

Em Pompeia, armários de metal trancados eram construídos sobre afrescos eróticos, que podiam ser exibidos, por uma taxa adicional, para cavalheiros, mas não para damas. Este peep show ainda estava em operação em Pompeia na década de 1960. O gabinete só era acessível para "pessoas de idade madura e moral respeitada", o que na prática significava apenas homens instruídos.

O catálogo do museu secreto também era uma forma de censura, pois gravuras e textos descritivos minimizavam o conteúdo da sala.

Galeria

Ver também

 Arte erótica em Pompeia e Herculano
 História das representações eróticas
 História da sexualidade humana
 Homossexualidade na Grécia Antiga
 Homossexualidade na Roma Antiga
 Sexualidade na Roma Antiga

Leitura adicional

  (traduzida da edição original italiana de 1975).

Coleções do Museu Arqueológico Nacional de Nápoles
Museus de arqueologia da Itália
Museus de Nápoles
Museus eróticos
Sexualidade
Censura
Sexualidade da Roma Antiga

Gabinete Secreto (Nápoles)


Als Inada-Bedingungen bezeichnet man in der neoklassischen Produktions- und Wachstumstheorie mehrere Bedingungen, die üblicherweise an die verwendeten Produktionsfunktionen gestellt werden. Die Bezeichnung geht auf einen Artikel des japanischen Ökonomen Ken-Ichi Inada aus dem Jahr 1963 zurück, in dem er diese explizit für ein Wachstumsmodell formuliert.

Die Bezeichnung "Inada-Bedingungen" wird dabei in der Literatur unscharf verwendet; der überwiegende Teil der Autoren beschränkt sich auf die untenstehenden Anforderungen, andere rechnen den Inada-Bedingungen darüber hinaus auch andere klassischerweise vorausgesetzte (und eben auch von Inada übernommene) Bedingungen zu, wie beispielsweise die Annahme abnehmender Grenzproduktivität (siehe auch der nachfolgende Abschnitt).

Erläuterung

Sei  eine Produktionsfunktion, wobei  für den Kapitaleinsatz und  für den Arbeitseinsatz steht. Dann besagen die Inada-Bedingungen (im engeren Sinne), dass das Grenzprodukt eines jeden Produktionsfaktors gegen unendlich konvergiert, wenn man nur den jeweiligen Faktoreinsatz gegen null streben lässt; lässt man den jeweiligen Faktoreinsatz hingegen gegen unendlich streben, so konvergiert das Grenzprodukt des Faktors gegen null. Formell gilt also

beziehungsweise

.

Eine typische, für technische Zwecke hilfreiche Lesart dieser Bedingungen ist zum Beispiel, dass bei gegebener Technologie in einer Volkswirtschaft der Output  nicht beliebig gesteigert werden kann, indem der Arbeitseinsatz immer weiter erhöht wird.

Im weiteren Sinne bezeichnen die Inada-Bedingungen die folgenden 6 Eigenschaften in Anlehnung an die Formulierung von Hirofumi Uzawa: für eine Funktion  gilt

der Wert der Funktion  an der Stelle 0 ist 0:
die Funktion ist zweimal stetig differenzierbar,
die Funktion ist streng monoton steigend in : ,
die zweite Ableitung der Funktion ist negativ in  (demnach handelt es sich um eine konkave Funktion): ,
der Grenzwert der ersten Ableitung ist positiv unendlich für  gegen 0: ,
und der Grenzwert der ersten Ableitung ist null für  gegen unendlich: .

Implikationen
Unterstellt man, wie dies typischerweise für Produktionsfunktionen angenommen wird, dass beide Inputfaktoren eine positive aber abnehmende Grenzproduktivität aufweisen, dass also gilt:

beziehungsweise

,

und dass die Produktionsfunktion über konstante Skalenerträge verfügt (= homogen vom Grade eins ist):

,

dann folgt aus den obigen Inada-Bedingungen überdies, dass jeder eingesetzte Faktor essenziell (auch: wesentlich) ist. Damit ist gemeint, dass eine Volkswirtschaft in einem Zustand, in dem es entweder kein Kapital oder keine Arbeit gibt, keinerlei Output generieren kann. Formell:

.

Genügt eine Produktionsfunktion den Inada-Bedingungen, sind daher Randlösungen ausgeschlossen, bei denen ein Faktoreinsatz im Gewinnmaximum verschwindet oder unbeschränkt wächst.

Es wurde vermutet, dass die Inada-Bedingungen implizieren, dass die Produktionsfunktion asymptotisch vom Cobb-Douglas-Typ sein muss, da sie davon ausgingen, dass alle Funktionen die asymptotisch eine Substitutionselastizität von eins aufweisen zur Klasse der Cobb-Douglas-Funktionen gehören. Es zeigte sich allerdings jedoch, dass die Inada-Bedingungen implizieren, dass für diese Eigenschaft die Produktionsfunktion nicht notwendigerweise vom Cobb-Douglas-Typ sein muss.

Literatur
 Rolf Färe und Daniel Primont: Inada Conditions and the Law of Diminishing Returns. In: International Journal of Business and Economics. 1, Nr. 1, 2002, S. 1–8 (kostenfrei online; PDF; 166 kB).
 Ken-Ichi Inada: On a Two-Sector Model of Economic Growth: Comments and a Generalization. In: The Review of Economic Studies. 30, Nr. 2, 1963, S. 119–127 ().

Anmerkungen

Makroökonomie
Wachstumstheorie

Inada-Bedingungen


صموئيل شيبارد روجرز الثالث  (5 نوفمبر 1943 - 27 يوليو 2017)، المعروف مهنيًا باسم سام شيبارد هو ممثل وكاتب مسرحي وكاتب سيناريو ومخرج أمريكي، امتدت مهنته نصف قرن. فاز بعشر جوائز أوبي للكتابة والإخراج، وهو الكاتب والمخرج الأكثر فوزًا بهذه الجائزة. كتب 44 مسرحية بالإضافة إلى العديد من كتب القصص القصيرة والمقالات والمذكرات. حصل شيبارد على جائزة بوليتزر للدراما في عام 1979 عن مسرحيته «الطفل المدفون» ورُشح لجائزة الأوسكار لأفضل ممثل مساعد عن تصويره لشخصية الطيار تشاك ييغر في فيلم «الرجال الحقيقيون» 1983. حصل على جائزة بين/مؤسسة لورا بيلز الدولية للمسرح (the PEN/Laura Pels Theater Award)، لأفضل كاتب مسرحي أمريكي رئيسي في عام 2009. ووصفت مجلة نيويورك شيبارد بأنه «أعظم كاتب مسرحي أمريكي في جيله».

تشتهر مسرحيات سام بالكوميديا السوداء وعناصرها الشاعرية والسريالية وشخصياتها الخيالية التي تعيش في ضواحي المجتمع الأمريكي. تطور أسلوبه من عبثية أعماله المبكرة خارج برودواي إلى واقعية مسرحياته اللاحقة مثل «الطفل المدفون» و«لعنة فئة الجوع».

حياته المبكرة
وُلد سام في 5 نوفمبر 1943، في فورت شيريدان، إلينوي. سُمي صموئيل شيبارد روجرز الثالث تيمنًا بوالده، صموئيل شيبارد روجرز الابن، الذي كان يُنادى باسم ستيف روجرز. كان صموئيل شيبارد روجرز الابن (1917–1984)، مدرسًا ومزارعًا، كما خدم في القوات الجوية لجيش الولايات المتحدة فكان طيارًا قاذفًا للقنابل خلال الحرب العالمية الثانية. ووصف سام والده بأنه «رجل سكير، مدمن على الكحول». أما والدته، جين إلين (اسمها قبل الزواج: شوك 1917-1994)، فكانت معلمة من شيكاغو.

عمل سام في مزرعة لتربية المواشي في سن المراهقة. وبعد تخرجه من مدرسة دوارتي الثانوية في دوارتي، كاليفورنيا في عام 1961، درس سام تربية الحيوانات لفترة وجيزة في كلية سان أنطونيو القريبة منه. وفي أثناء وجوده في الكلية، انبهر سام بصموئيل بيكيت والجاز ومذهب التعبيرية التجريدية. ترك الكلية لاحقًا للانضمام لمجموعة ذخيرة فنية مسرحية، تُدعى بيشاب كامباني.

سيرته المهنية

الكتابة
وجد سام عملاً (نادل في الملهى الليلي فيلاج غيت) عند وصوله إلى مدينة نيويورك، وانخرط في عام 1962 في المشهد المسرحي خارج برودواي عن طريق رالف كوك، رئيس النادلين في فيلاج غيت. ثم استخدم ستيف روجرز اسم سام شيبارد ليكون اسمه المهني. على الرغم من أن مسرحياته  كانت ستقام في نهاية المطاف في العديد من الأماكن خارج برودواي، كان سام على اتصال وثيق مع مسرح كوك المسمى مسرح جنيسس، الذي يقع في كنيسة سانت مارك في البوري في حي إيست فيليج.

أنتج نادي لا ماما التجريبي للمسرح (La MaMa Experimental Theatre Club) في عام 1965، العديد من مسرحيات سام أحادية المشهد، مثل مسرحية الكلب ومسرحية الكرسي الهزاز. كانت هذه أول الإنتاجات العديدة لأعمال سام في نادي لا ماما التجريبي خلال الستينيات والسبعينيات والثمانينيات. ثم أخرج توم أوورغان في عام 1967، مسرحية سام المسماة ميلودراما إلى جانب مسرحية تايمز سكوير لليونارد ميلفي ومسرحية فوتز لروشيل أوينز المُنتجة عن طريق نادي لا ماما. أخرج جيف بليكنير في عام 1969 مسرحية سام الخيالية العلمية المسماة اليد الخفية لنادي لا ماما أيضًا.

مراجع

مواقع خارجية

أعضاء الأكاديمية الأمريكية للفنون والآداب
جيسيكا لانج
حائزون على جائزة بوليتزر
حائزون على زمالة غوغنهايم
زملاء الأكاديمية الأمريكية للفنون والعلوم
كتاب أمريكيون في القرن 20
كتاب دراما ومسرح أمريكيون
كتاب دراما ومسرح أمريكيون في القرن 20
كتاب سيناريو أمريكيون
كتاب سيناريو من إلينوي
كتاب قصة قصيرة ذكور أمريكيون
كتاب ما بعد الحداثة
كتاب وكاتبات أمريكيون في القرن 21
مسرح العبث
ممثلو أفلام أمريكيون
ممثلو أفلام غرب أمريكي
ممثلو مسرح أمريكيون
ممثلون أمريكيون في القرن 20
ممثلون أمريكيون في القرن 21
ممثلون من ولاية إلينوي
مواليد 1943
وفيات بسبب مرض العصبون الحركي
وفيات مرتبطة بالمرض في كنتاكي

سام شيبارد