Lauve Station (Lauve stasjon) er en tidligere jernbanestation på Vestfoldbanen, der ligger i byområdet Lauve/Viksjord i Larvik kommune i Norge. Stationen åbnede sammen med banen 7. december 1881. Til at begynde med hed den Tjødling, men den skiftede navn til Tjølling i april 1894, til Løve 1. december 1919 og endelig til Lauve 15. december 1933.

Stationen blev fjernstyret 27. oktober 1971, og 28. maj 1978 ophørte betjeningen med persontog, samtidig med at stationen blev gjort ubemandet. I dag er der krydsningsspor og et sidespor på stedet. Stationsbygningen, der er opført i gulmalet træ efter tegninger af Balthazar Lange, eksisterer stadig.

Litteratur

Eksterne henvisninger

Stationer på Vestfoldbanen
Jernbanestationer i Norge uden persontrafik
Etableret i 1881
Ophørt i 1978
Jernbanestationer i Vestfold

Lauve Station


er en fiktiv figur i Nintendo's Kirby videospilserien og er skabt af Masahiro Sakurai og udviklet af HAL Laboratory. Han optrådte første gang i videospillet fra 1993 Kirby 's Adventure som en navnløs karakter og forblev sådan, indtil spillet Kirby's Avalanche. Figuren dukker også op i flere Kirby-tegneserier fra 2001 og i Super Smash Bros.-serien.

Meta Knight er en mystisk, men ærefuld ridder; på denne baggrund har han haft en "ven eller fjende"-rolle i Kirby-serien, hvorfor videospilskritikere har diskuteret hans figur og tilhørsforhold. Figuren har overvejende fået en positiv modtagelse efter introduktionen; hans udvikling inden for serie fra en navnløs fjende til en af Kirbys vigtigste allierede og rivaler er blevet rost, og han er blevet beskrevet som en "cool" karakter af anmeldere.

I Kirby-videospil-serien
Meta Knight er en gådefuld og samtidig ærefuld sværdkæmper, der følger en ridderlige kode; dette kommer til udtryk, når han giver Kirby et sværd med til at kæmpe. Meta Knight sig selv besidder en hellig, det gyldne sværd kaldet . Han er altid set iført en sølvfarvet maske, men i tilfælde af, at han er afsløret, at han er identisk med Kirby, , omend med en mørk blå body og hvide øjne, der ser gule med sin maske på (og med sin maske ud i Kirby: Planet Robobot). Han også idræt en navy blå kappe kaldet , , som kan ændre i et par vinger og gør det muligt for ham at teleportere. Men disse vinger vises direkte knyttet til sin krop i Kirby ' s Tilbagevenden til Dream Land og Kirby: Planet Robobot. i første omgang en af Kirby 's fjender, og han har siden udviklet sig til Kirby' s rival, og er blevet beskrevet som en antihelt. Men han har fredelige hensigter, , som han vil ofte kæmpe sammen med eller hjælpe Kirby, når det er nødvendigt for deres overlevelse eller for den skyld. Denne holdning har ført til debat om hans tilhørsforhold , og har tjent ham etiketten "frenemy".

Meta Knight dukkede første gang op på NES spil Kirby ' s Adventure som en allieret af King Dedede , og boss Orange Ocean niveau, hvor han kæmper Kirby til at stoppe ham fra at tage et stykke af Stjernede Stangen og holde det ud af Mareridt's hænder. Han er den vigtigste antagonist til Hævn af Meta Knight tilstand i Kirby Super Star, , hvor han forsøger at overtage Dream Land for at afslutte indbyggere' dovne livsstil ved hjælp af sin underskrift luftskib, . Meta Knight er en spilbar figur i Meta Knightmare tilstand af Kirby: Mareridt i Drømme Land. I Kirby & the Amazing Mirror, Mørke Meta Knight—et onde, Spejl Verden modstykke af Meta Knight—splits Kirby i fire forskelligt farvede kopier af sig selv ved brud et spejl efter fældefangst Meta Knight i Spejlet Verden. Efter Kirby nederlag Mørke Meta Knight, Meta Knight selv hjælper Kirby besejre Mørke Sind, den sande vigtigste antagonist.

I Kirby: Knirke Trup, Meta Knight vises som en boss , der forsøger at holde brystet, som indeholder Mørk Tåge, ud af Kirby ' s hænder. I Kirby Super Star Ultra, han fremstår som en spilbar figur i Meta Knightmare Ultra - tilstand. Meta Knight vises også i Kirby ' s Tilbagevenden til Dream Land som en af de fire spilbare hovedpersoner, sammen med Kirby, King Dedede og Bandana Vralter Dee, og som en spilbar figur i multi-player mode. Efter ikke vises i Kirby: Triple Deluxe, Meta Knight gjort en aktiv vende tilbage til serien i Kirby: Planet Robobot. Ud over at tage del i spillets story mode, han er spilbar karakter af Meta Knightmare Returnerer tilstand.

Meta Knight vises også i flere spin-off spil i serien. Han gør korte optrædener i Kirby 's Pinball Land, og Kirby' s Lavine. I sidstnævnte, hans navn blev afsløret for første gang, , hvor han er den næstsidste udfordrer. Han er en oplåselige karakter i Kirby Air Ride og Kirby: Lærred Forbandelse. Meta Knight er en boss i Kirby ' s Epic Yarn og vises som en chef i to sub-spil i Kirby Masse Angreb. Selv om han er fraværende fra Kirby og Regnbuen Forbandelse's story mode, Meta Knight vises som et samlerobjekt figur. Spillet er også kompatibel med Meta Knight Amiibo, som Kirby kan bruge til en midlertidig stigning i angreb magt.

Andre optrædener
Meta Knight har lavet flere optrædener uden for Kirby video-spil-serier, herunder 1994-2006 manga Hoshi ingen Kirby: Dedede de Pupupu na Monogatari skrevet af Hirokazu Hikawa og udgivet af Shogakukan i CoroCoro Tegneserie. Han optræder også i den igangværende Enterbrain's Hoshi ingen Kirby: Kirby at Dedede ingen Pupupu Nikki manga skrevet af Noboru Matsuyama og offentliggjort i Famitsu DS+Wii (oprindeligt kaldet Famitsu DS+Terning+Forhånd), og i Asami Taniguchi manga Hoshi ingen Kirby: Moretsu Pupupuawā! offentliggjort i Bessatsu CoroCoro Tegneserie, hvor han er hovedpersonen.Han er også med i 2012 Yuki Kawakami manga af Shogakukan, Hoshi ingen Kirby: Pakke til at Daibaku Vis. I 2001-2003 animationsfilm Kirby: Lige Tilbage på Ya! han er en af de vigtigste tegn. I serien, han er den sidste overlevende medlem af Galaxy Soldat Hær, der består af "Star Krigere".

Meta Knight også vises i tre Super Smash Bros. - serien spil; i Nærkamp, han optræder i form af et trofæ, og i Super Smash BrosBrawl, han er en spilbar karakter. Men, Meta Knight blev fjernet fra professionel gaming konkurrencer i Usa og Canada på grund af at blive anset for at være for kraftig. Meta Knight tilbage som en spilbar figur i Super Smash Bros. til Nintendo 3DS og Wii U , efter spillet er direktør, Masahiro Sakurai, der er sikret nogle ændringer for at re-tilføje ham; blandt de ændringer, Meta Knight mistet sin evne til at glide, og hans uovertrufne angreb hastighed blev tonet ned.

Reception
IGN beskrevet Meta Knight som "en af de mest gådefulde tegn" i serien, navngivning ham til en af deres ti foretrukne sværd-svingende tegn i video-spil og tilføjer, at selv om han engang var "en ren skurk" i serien, "hans djævelsk cool udseende sæt ham ud fra resten." GamesRadar rangeret Meta Knight tolvte på sin listen over "Mest Misforståede "Skurke", siger, at han er "standard-godt-fyr folderol [...], bortset fra at Meta Ridder er altid den dårlige fyr", det sagde Meta Knight-versus-Kirby-kampe, der "[i]t er ligesom, hvis Batman tog en kamp med en sygeligt overvægtige lukke i, og du var meningen, at roden til de lukker." Det ham, der er anført på "Top 7 Usandsynlige Badasses i Spil" - liste, siger, "Tak til hans rugende, seriøs indstilling og hans overdådige smag i indførelse af kapper, Meta Knight har skabt en smuk illusion af noget utroligt truende, på trods af at være en sfærisk bundt af glæde." Han er den 18-bedste Nintendo karakter af hele tiden, i henhold til GameDaily; , der også har placeret ham til den tredje på deres liste af Nintendo tegn, som fortjener deres eget spil. Kompleks erklærede, at han udviklet sig fra "en navnløs skurk" i Kirby ' s Adventure i "Kirby' s rival", og anfører, at hans popularitet har overhalet den, King Dedede, placering Meta Knight ottende på sin liste over "25 Video Spil Tegn, Der Fortjener en Spin-off". på samme måde, han var placeret på sjette WhatCulture ' s liste over "10 Video Spil Tegn, Der Fortjener Deres Egen Spin-Off-Spil".

Hans optagelse i Super Smash Bros Brawl blev rost; han var opført blandt de spil top fem tegn af Bozon (andenplads), Peer (rangeret fjerde), og Richard George (rangeret som den første) fra IGN, med alle tre fremhæve hans angrebshastighed og Bozon siger, at han er "den bedste single-player Slagsmål." Jesse Schedeen fra det samme websted, som sagde, at "Meta Knight er et sandt kraftcenter af SSBB cast", og UGO Netværk kaldet Meta Knight "[t]han mest farlige sværd-svingende, hjelm-iført, følende ballon, du nogensinde vil møde." Også, WhatCulture rangerede ham som den sjette største tegn på beat 'em up spil, siger "han er en genial karakter færdigheder-klogt, selv om han kan være helt urimelige i grand ordningen af ting." Men balancen mellem de Brawl tegn blev nedsat, med Meta Knight "stående højt over resten."

Noter

Henvisninger

Spilfigurer

Meta Knight


كريستيان فريدريش هيبل Christian Friedrich Hebbel (ولد في 18 مارس 1813 في فيسلبورين في ديتمارشن - ومات في 13 ديسمبر 1863 في فيينا) هو شاعر وكاتب مسرحي ألماني.

حياته

ولد فريدريش هيبل في فيسلبورين وكان أبوه بناء، وكانت منطقة شمال ديتمارش خاضعة منذ عام 1559 للنفوذ الدانماركي، ولم تخضع للنفوذ البروسي إلا بعد موته بقليل.وحين تركت الأسرة منزلها بسبب ضمان مالي لم يدفعه الأب، بدأت الأسرة تعاني من وضع مالي صعب.

وبعد موت الأب في عام 1827 التحق هيبل بالعمل لدى الفوجت مور، تدرج لديه في العمل من صبي مراسلات حتى أصبح كاتبا، وكانت أحواله في تلك الفترة متواضعة. حتى أنه توجب عليه مشاركة مكانا للمبيت يحتل بئر سلم مع حوذي. وخلال السنوات السبع التي قضاها لدى الفوجت، كان بمقدور هيبل الذي كان محبا للقراءة، أن يقرأ ما شاء من الكتب من مكتبة الفوجت. وفي غرفة كتابته الرسمية كتب أولى قصائده التي نشر بعضها في مجلة Eiderstedter Boten.

وقد لفت إليه اهتمام أمالي شوب التي كانت تصدر مجلة Neue Pariser Modeblätter وكان هيبل ينشر فيها قصائده بالتتابع. وقد ساعدته ماديا وأحضرته إلى هامبورغ، حيث عمل في الاتحاد العلمي لسنة 1817 Wissenschaftlichen Verein von 1817. وفي هامبورغ تعرف على إليزه لينسنج، التي أحبها وساعدته هي بكل مالديها. وفي 18 مارس 1835 بدأ في كتابة مذكراته.

وبفضل منحة دراسية انتقل إلى هايدلبرغ في عام 1836، حيث كان يحضر أحيانا محاضرات قانونية، وكان في نفس الوقت يعيش في فقر مدقع.وهناك تعرف على إميل روسو. وفي سبتمبر بدأ في رحلة على الأقدام عبر شتراسبورغ وشتوتغارت وتوبنجن حتى ميونخ، حيث أقام عند النجار أنتون شفارتس، وكان هذا النجار هو الشخصية الأصلية الذي صنع منها هيبل شخصية «النجار أنتون» في مسرحية ماريا ماجدالينا. وكان يحضر أيضا محاضرات يوزف جوريس أحد أتباع الحركة الديمقراطية.

وفي عام 1838 كان هيبل ما زال مقيما في ظروف فقر سيئة لدى النجار، لكنه أحب لمدة قصيرة ابنته يوزيفا Josepha التي كان يسميها بيبي Beppi. وبرغم ذلك فقد عاد في عام 1839 سيرا على الأقدام وبلا زاد لمدة أسبوع وحاملا كلبه العزيز لديه، من ميونخ إلى هامبورغ مرة أخرى، حيث رقد في الفراش بعد إصابته بالتهاب رئوي، واعتنت به إليزه لينسنج فوقف على قدميه مرة أخرى. وأنجب في العام التالي ابنه الأول ماكس (1840 - 1843).

وبداية من عام 1843 تغيرت حياة هيبل بشكل جذري، فقد بدأ من ناحية يعاني من روماتيزم المفاصل، ومن ناحية أخرى فقد فتحت أبواب العالم أمامه من خلال منحة دراسية لمدة سنتين من الملك الدانماركي كريستيان السابع. فسافر للمرة الأولى إلى باريس حيث تعرف على هاينريش هاينه وأرنولد روجه. وهناك ربطته الصداقة مع فيلكس بامبرج، وكان يعاني المشاكل مع إليزه التي حملت منه وكان يراسلها، وفي تلك الظروف بدأ كتابة مسرحيته التراجيدية ماريا ماجدالينا التي اتمها في ديسمبر 1843. ومات في أثناء ذلك في هامبورغ ابنه الأول ماكس.

وفي عام 1844 ولد له الابن الثاني إرنست (1844 - 1847) وزاد إلحاح إليزه بقوة على ضرورة الزواج، غير أن رفض هيبل للزواج كان في ازدياد. وخلال ذلك سافر إلى روما عبر ليون وأفينيون ومارسيليا.

وفي العام التالي زار نابولي ثم عاد في الخريف إلى روما، ثم سافر عبر أنكونا وتريست وجراتس حتى وصل أخيرا إلى فيينا. وقبل أن يعاود السفر أحاط به بعض المعجبين النمساويين وقرروا مساعدته وإخراجه من أزمته المالية الجديدة التي كان يعاني منها، فتحسنت حالته وقرر البقاء في فيينا وإلغاء فكرة السفر مجددا.

الإقامة في فيينا

وفي فيينا حيث عاش هيبل منذ ذلك الوقت حتى نهاية حياته، تزوج في عام 1846 من الممثلة كريستين إنغهاوس وأنجب منها ابنه إميل وابنته كريتسينه والتي كان يدعوها تيتي Titi (1847 - 1922). وقد أمن الزواج له حياة رغدة وآمنة ماليا، مما أتاح له أن يتفرغ كليا للإنتاج الأدبي. فكتب مسرحيات من بينها أجنس برناور وجيجس وخاتمه والنيبيلونجن. غير أن عمله الأكثر نجاحا حتى يومنا هذا فهو مسرحيته ماريا ماجدالينا التي كتبت في عام 1843. وفي فيينا حصل هيبل على التقدير من الشعب لأعماله الأدبية، وكان أول من منح جائزة شيلر حديثة الإنشاء آنذاك Schillerpreis.

وخلال حياته كلها كان هيبل ملتزما اجتماعيا وسياسيا. فقد كان من مؤيدي ثورة مارس 1848، لكنه اتخذ موقفا مؤيدا للملكية في موضوع إصلاحات الحكومة للمملكة. وفي عام 1849 ترشح (ولم ينجح) لعضوية الجمعية الوطنية في فرانكفورت، رغم أنه كان معارضا دائما للإصلاحات الديمقراطية الجذرية. وفي أعماله يصف التراكمات المأساوية للأحداث ويتخذ من المشاكل الاجتماعية في عصره موضوعا. وبكلمات واضحة فقد أعرض عن الإنتاج الأدبي لمعاصره أدالبرت شتيفتر، فلم ير فيه إلا قصائد رعوية فارغة المعنى.

كتب هيبل أيضا مقالات لصحف عديدة منها Wiener Zeitung وAugsburger Allgemeine Zeitung وIllustrirte Zeitung.

وحين اختطف الموت في عام 1854 إليزه لينزنج كتب هيبل فوق قبرها هذه الكلمات:
''تعصف الريح الضعيفة بأكليل الزهور، لكن تيجان الأشواك لا يعصف بها أقوى إعصار''.

"Blumenkränze verweht der leiseste Wind, Donnerkronen jedoch nicht der gewaltigste Sturm!"

مات فريدريش هيبل في الثالث عشر من ديسمبر 1863 في فيينا عن عمر يناهز الخمسين عاما. وكان يعاني بازدياد في عامه الأخير من الروماتيزم.

ودفن في مقبرة ماتسلاينسدورفر Matzleinsdorfer Friedhof في فيينا إلى جوار زوجته.

من أعماله
 يوديت 1840
 جينوفيفا 1841
 الماسة 1841
 ماريا ماجدالينا 1843
 أنا 1847
 مأساة في صقلية 1847
 يوليا والملك بيتر 1847
 هيرودس وماريامنه Herodes und Mariamne 1848
 أجنس برناور 1851
 صور من حياتي 1854
 جيجس وخاتمه 1854
 الأم والطفل 1857
 النيبيلونجن Die Nibelungen 1861
 ديميتريوس (مسرحية لم يتمها)
 الحب الصادق
 المذكرات

روابط خارجية

مراجع

أعضاء النيشان البافاري الماكسيميلياني للعلوم والفن
أشخاص من دوقية هولشتاين
أشخاص من فيسلبورين
خريجو جامعة هامبورغ
خريجو جامعة هايدلبرغ
شعراء ألمان
شعراء ألمان في القرن 19
شعراء الواقعية الشعرية
شعراء باللغة الألمانية
كتاب دراما ومسرح ألمان
كتاب دراما ومسرح ألمان في القرن 19
كتاب ذكور ألمان في القرن 19
كتاب وكاتبات ألمان
كتاب ومؤلفو الواقعية الشعرية
مواليد 1813
وفيات 1863

فريدريش هيبل


Natasha Lako (Korçë, 13. svibnja 1948.) albanska je pjesnikinja, romanopiskinja i scenaristica. Pripada prvoj generaciji spisateljica u Albaniji. U ožujku 1991. bila je jedna od rijetkih žena izabranih u albanski parlament kao članica Albanske demokratske stranke (PD).

Životopis
Rođena je 13. svibnja 1948. u gradu Korça na jugoistoku Albanije. Studirala je političke znanosti na Sveučilištu u Tirani, specijalizirala je novinarstvo . Tijekom komunističkog režima u Albaniji bila je jedna od rijetkih aktivnih spisateljica, uz Dianu Çuli i Helenu Kadare. Objavljivala je pjesme i kratke priče od malih nogu. Postala je poznata ranih 1970-ih svojim prvim zbornikom poezije Marsi brenda nesh . Njezini su se radovi pojavili u nekoliko albanskih i međunarodnih antologija . Osim toga, radila i kao scenarist te je radio u filmskom studiju "Shqipëria e Re" u Tirani.

Nakon završetka komunističkog jednostranačkog sustava, pridružila se Albanskoj demokratskoj stranci, koja je osnovana krajem 1990., i prijavila se za mjesto u parlamentu za Partia Demokratike na prvim pluralističkim izborima u ožujku 1991 . Nnjena stranka osvojila 75 mandata, a bila je 50. na listi. Tako je postala jedna od devet žena u albanskom parlamentu od 250 mjesta (Kuvendi i Shqipërisë). Mandat zamjenice držala je tijekom sljedećeg XIII. zakonodavno razdoblje; njezina je nasljednica bila Lindita Prifti.

Godine 1997. postala je prva ravnateljica Albanskog središnjeg državnog filmskog arhiva (alb. Arkivi qëndror shtetëror i filmit ) imenovan. Tu je radila do 2005. godine.

Lako, koja je također nekoliko godina živjela u Švedskoj, bila je fascinirana jezikom i djelom švedskog pjesnika Tomasa Tranströmera. Njega je osobno upoznala.. Godine 2002. i 2011. objavila je dvije knjige poezije Perandoria e barit i Qiell i lënë përgjysmë, prve prijevode njegove poezije na albanski.

Natasha Lako udana je za albanskog glumca i filmskog redatelja Mevlana Shanaja. Imaju dvoje djece.

Izbor radova

 Lirika

 1972.:Marsi brenda nesh ( Marš unutar nas )
 1979.:E para fjalë e botës ( Prva riječ na svijetu )
 1984.:Këmisha e pranverës ( Košulja proljeća )
 1986.:Yllësia e fjalëve
 1990.:Natyrë e qetë ( Tiha priroda )
 1995.:Thesi me pëllumba ( Vreća puna golubova )
 1998.:Këmbë dhe duar ( Stopala i ruke )
 2002.:Perandoria e barit (autor: Tomas Transtömer, prijevod sa švedskog)
 2005.:Lëkura e ujit: poezi të zgjedhura ( Vodena koža: Izabrane pjesme )
 2011.:Qiell i lënë përgjysmë ( Poluzavršeno nebo ; Autor:Tomas Tranströmer, prijevod sa švedskog)
 2016.:Kundërpërfytyrimi

 Proza

 1977.: Stinët e jetës ( Godišnja doba života )

 Scenariji

 1979.:Mësonjëtorja
 1979.:Partizani i vogël Velo ( Mali partizanski Velo )
 1980.:Plumba perandorit
 1982.:Rruga e lirisë ( Put slobode )
 1983.:Një emër mes njerëzve
 1984.:I paharruari ( Nezaboravljeni )
 1986.:Fond Fjalë pa ( Riječ bez kraja )
 1987.:Një vit i gjatë ( Duga godina )
 1989.:Muri i gjallë ( Živi zid )
 1990.:Fletë të bardha ( Bijelo lišće )
 2003.:Lule të kuqe, lule të zeza ( Crveno cvijeće, crno cvijeće )

Izvori

Vanjske poveznice

Životopisi, Albanija
Albanski političari
Scenaristi

Natasha Lako


නෙෆර්නෙෆරුආටන් ටැෂෙරිට් හෙවත් කනිෂ්ඨ නෙෆර්නෙෆරුආටන් (ක්‍රි.පූ. 14වන සියවස) යනුවේන හැඳින්වෙන්නේ පුරාතන ඊජිප්තුවේ දහඅටවන රාජවංශයේ විසූ කුමරියකි. ඇය පාරාවෝ අක්නාටන් සහ ඔහුගේ මහා රාජකීය බිරිඳ වූ නෙෆර්ටිටිගේ සිව්වන දියණිය වූවා ය.

පවුල
නෙෆර්නෙෆරුආටන් උපත ලැබූයේ ඇගේ පියාගේ රාජ්‍ය සමයේ 8වන සහ 9වන වර්ෂය අවටද  කාලයේ ය. ඇය මෙම රාජකීය යුව‍ලගේ හඳුනාගත් දියණියන් සයදෙනා අතුරින් සතරවැන්නිය විය. ඇයගේ උපත ඇගේ පියා විසින් පිහිටුවූ අගනුවර වූ අක්ටාටන්හි සිදුවන්නට ඇතැයි විශ්වාස කෙරේ. ඇගේ නාමය වන නෙෆර්නෙෆරුආටන් ("ආටන්ගේ රූමතියන් අතර රූමතිය" හෙවත් "ආටන්ගේ වඩාත් රූමත්ම තැනැත්තිය") යන්න නෙෆර්ටිටි විසින් 5වන වර්ෂයේ දී භාවිතා කළේ නමෙහි අනුකරණයක් බව නිසැක ය. ("ටා-ෂෙරිට්" යන්නෙහි සරල අරුත "ලාබාල තැනැත්තා" යන්නයි) ඇයට මෙරිටාටන්, මෙකෙටාටන්, සහ අන්ඛෙසෙන්පාටන් නැමැති වැඩිමහල් සොයුරියන් තිදෙනකු ද, නෙෆර්නෙෆරුරේ සහ සෙටෙපෙන්රේ නැමැති බාල සොයුරියන් දෙදෙනකු ද විය.

දිවිය

නෙෆර්නෙෆරුආටන් ටැෂෙරිට්ගේ පැරණිතම නිරූපණයක් අමර්ණහි රජුගේ මාලිගයේ බිතු සිතුවමක දක්නට ලැබේ. එහි ඇය ඇගේ සොයුරිය වූ නෙෆර්නෙෆරුරේ සමග කොට්ටයක අසුන්ගෙන සිටින අයුරු නිරූපිත ය. මෙම සිතුවම අක්නාටන්ගේ 9වන වර්ෂයට පමණ අයත් යැයි නිර්ණය කොට ඇත. මෙහි සෙටෙපෙන්රේ බිළිඳිය ඇතුළු පවුලේ සාමාජිකයන් සියලු දෙනාම නිරූපණය කර තිබේ.

නෙෆර්නෙෆර්ආටන් ටැෂෙරිට්ගේ රුව අමර්ණහි සොහොන්ගැබ් කිහිපයකම සහ ස්මාරකවල නිරූපණය කර තිබේ. මුලින් අමර්ණහි තිබී පසුව හීලියොපොලිස් වෙත ගෙනගිය ප්‍රතිමා පාදමක ආටන් සහ අක්නාටන් පිළිබඳ සඳහන් වන අතර, එහි පහළින් රාජකීය දියණියන් වූ අන්ඛෙසෙන්පාටන් සහ නෙෆර්නෙෆරුආටන් ටැෂෙරිට්ගේ නාමයන් ද දක්වා ඇත.

නෙෆර්නෙෆරුආටන්ගේ මිත්තනිය වූ ටියේ රැජිනගේ ප්‍රධාන ආරක්ෂකයා වූ හුයාගේ සොහොන්ගැබේ උතුරු බිත්තියේ උඩලිපතක පවුලේ දර්ශනයක නෙෆර්නෙෆරුආටන්ව නිරූපණය කර තිබේ. මෙම දර්ශ‍නයෙහි වම්පස අක්නාටන් සහ නෙෆර්ටිටි ඔවුන්ගේ වැඩිමහල් දියණියන් සිව්දෙනා සමග සිටිනු නිරූපිත ය. එහි දකුණුපස IIIවන අමෙන්හොටෙප්, ටියේ රැජින සහ බෙකෙටාටන් කුමරියගේ රූ දක්නට ලැබේ. IIවන මෙරිරේගේ සොහොන්ගැබේ ත්‍යාග ප්‍රදාන දර්ශනයෙහි, නෙෆර්නෙෆරුආටන් ටැෂෙරිට් සිය සොයුරියන් සිව්දෙනකු සමග සිටිනු (සෙටෙපෙන්රේගේ රුව පමණක් දක්නට නොලැබේ) නිරූපණය කර තිබේ.

අමර්ණහි රාජකීය මාලිග භාරව කටයුතු කළ IIවන මෙරිරේගේ සොහොන්ගැබේ 12වන වර්ෂයට අයත් රජමාලිග දර්ශනයක ද ඇගේ රුව දක්නට ලැබේ. අක්නාටන් සහ නෙෆර්ටිටි කුටියක් තුළ අසුන්ගෙන විදේශයන්ගෙන් පඬුරු පිළිගන්නා අයුරු නිරූපිත ය. රාජකීය යුවළගේ දියණියන් දෙමව්පියන්ට පසුපසින් සිටගෙන සිටිනු නිරූපිත ය. එහි පහළ ලේඛනයෙහි පළමුව නිරූපිත දියණිය නෙෆර්නෙෆරුආටන් ය. ඇය විසින් දරා සිටින භාණ්ඩය හඳුනාගත නොහැකි තරමට විනාශ වී ඇත. ඇගේ සොයුරියන් වන නෙෆර්නෙෆරුරේ සහ සෙටෙපෙන්රේ ඇයට පසුපසින් සිටගෙන සිටිති. නෙෆර්නෙෆරුරේ සිය අතෙහි සුරතල් ගැසෙල් මුවකු දරා සිටින අතර, සෙටෙපෙන්රේ එම සුරතල් සතා වෙත ළඟාවනු නිරූපිත ය.

පැනෙහෙසිගේ ත්‍යාග ප්‍රදාන දර්ශනයේ ද, නෙෆර්නෙෆරුආටන්ගේ රුව නිරූපණය කර තිබේ. එහි ඇය ගොඩනැගිලි කවුළුවක් අසල අක්නාටන් සහ නෙෆර්ටිටි සමග පැනෙහෙසි නැමැති ආටන්ගේ පළමු සේවකයාට ත්‍යාග ප්‍රදානය කරනු නිරූපිත ය. මෙම සොහොන්ගැබේම තවත් දර්ශනයක, නෙෆර්නෙෆරුආටන් සහ ඇගේ වැඩිමහල් සොයුරයන් තිදෙනා ආටන්ට මල් පුදන දෙමව්පියන්හට උපකාර කරනු නිරූපිත ය. මෙහි රාජකීය දියණියන් සිව්දෙනාම මල් කළඹවල් අතින් දරා සිටිනු නිරූපිත ය.

අමර්ණහි රාජකීය සොහොන්ගැබේ නෙෆර්නෙෆරුආටන් ටැෂෙරිට් සිය සොයුරයන් වන මෙරිටාටන් සහ අන්ඛෙසෙන්පාටන් සමග රජුගේ 14වන වර්ෂයේ දී මෙකෙටාටන්ගේ මරණය වෙනුවේන ශෝක වනු නිරූපිත ය. ඇගේ ලාබාල සොයුරියන් වන නෙෆර්නෙෆරුරේ සහ සෙටෙපෙන්රේ මෙම දර්ශනයෙහි දක්නට නැත.

අවසන් වර්ෂ සහ මරණය
නෙෆර්නෙෆරුආටන් ටැෂෙරිට් හට කුමක් සිදුවූයේ ද යන්න හඳුනාගෙන නැත. නමුත් ඇය ටූටන්ඛාමූන් සහ අන්ඛෙනේපාටන් සිහසුනට පත්වීමට පෙර මිය යන්නට ඇතැයි යෝජනා වී ඇත. අමර්ණහි රාජකීය සොහොන්ගැබේ  කුටියෙහි ඇතැම්විට ඇයගේ දේහය ද භූමදානය කෙරෙන්නට ඇත.

ඇතැම්විට අක්නාටන්ගේ සම-අනුරාජිනිය ඇය වන්නට ඇතැයි යෝජනා වී ඇත. ඇගේ නියම අනන්‍යතාව මතභේදයට ලක්ව ඇත. මෙම පාරාවෝවරියගේ නාමය සඳහා යෝජනා වී ඇති සෙසු තැනැත්තියන් නම් නෙෆර්ටිටි රැජින (ඇගේ මව) සහ ඇගේ වැඩිමහල් සොයුරිය වූ මෙරිටාටන් ය.

මූලාශ්‍ර

අමර්ණ යුගය
පුරාතන ඊජිප්තු කුමරියන්
ක්‍රි.පූ. 14වන සියවසේ කාන්තාවන්
අක්නාටන්
නෙෆර්ටිටි

නෙෆර්නෙෆරුආටන් ටැෂෙරිට්


In music and music theory, a polychord consists of two or more chords, one on top of the other. In shorthand they are written with the top chord above a line and the bottom chord below, for example F upon C: .

The use of polychords may suggest bitonality or polytonality. Harmonic parallelism may suggest bichords.

Examples may be found in Igor Stravinsky's Petrushka, p. 15, and Rite of Spring, "Dance of the Adolescents" (1921)  (see Petrushka chord).

In the polychords in the image above, the first might suggest a thirteenth chord, the second may suggest a D minor ninth chord with upper extensions, but the octave separation of the 3rd makes the suggestion of two independent triads a minor ninth apart even more likely, and the fourth is a split-third chord.

Extended chords contain more than one triad, and so can be regarded as a type of polychord:

For example G7119 (G–B–D–F–A–C) is formed from G major (G–B–D) and D major (D–F–A), or . (C ≡ D)

The Lydian augmented scale, "has a polychord sound built in," created by superimposing the Caug and the E () and/or Fdim () triads that exist in the scale, this being, "a very common practice for most bop and post-bop players [such as McCoy Tyner]."

Examples of extended chords include the Elektra chord.

When one or both of the chords in a polychord are not "chords" in some exclusive sense according to some preferred chord theory or other, polychords devolves into chordioid technique.

See also
 Secundal
 Tertian
 Quartal
 Upper structure
 Chordioid

References

Chords
Post-tonal music theory

Polychord


An Ischaemum bombaiense in uska species han Liliopsida nga ginhulagway ni Norman Loftus Bor. An Ischaemum bombaiense in nahilalakip ha genus nga Ischaemum, ngan familia nga Poaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Ischaemum

Ischaemum bombaiense


L'Interstate 75 au Michigan est un segment de l'Interstate 75, autoroute inter-États nord-sud majeure de l'Est des États-Unis. Sur un peu moins de  (), l'autoroute passe dans 6 États entre la Floride et le Michigan, reliant la ville de Miami au Canada à Sault Sainte-Marie en traversant, entre autres, Atlanta, Cincinnati et Détroit.Au Michigan, l'Interstate 75 connecte la plupart des grandes villes de l'État, notamment dans sa section au Sud-Est. Elle agit comme épine dorsale du réseau de transport routier de l'État, connectant avec l'ensemble des routes majeures du réseau, traversant entièrement dans un axe Nord-Sud l'agglomération de Détroit (et son centre-ville), et en traversant les villes de Flint et de Saginaw. Elle relie ces villes au Nord, soit à la partie boréale du Michigan continental (entre les lacs Michigan et Huron), et connecte à la péninsule supérieure du Michigan en passant sur le pont Mackinac. Encore plus au Nord, l'autoroute traverse la rivière Sainte-Marie à Sault Sainte-Marie, traversant la frontière canado-américaine et donnant accès à la route 17 d'Ontario et le Nord ontarien. À Détroit, le pont Ambassadeur, pilier des transports commerciaux entre le Canada et les États-Unis, rejoint directement l'Interstate 75, donnant facilement accès à Windsor et au Sud de l'Ontario.Au Michigan, l'Interstate 75 parcourt une distance de  (), soit la deuxième plus longue section intra-État de l'Interstate 75 après sa section en Floride. Elle est, par le fait même, la plus longue route continue sous un même numéro au Michigan, et est la seule autoroute à traverser l'entièreté de l'État du Nord au Sud .

Description du tracé

Ohio à Détroit
L'extrémité sud de l'Interstate 75 au Michigan se situe à la frontière avec l'État de l'Ohio, environ  () au Nord-Est de la ville de Toledo. L'I-75 débute sa route au Michigan en suivant de près les rives du lac Érié, à l'extrémité ouest du lac. L'I-75 est, dans ce corridor, une autoroute largement empruntée, lien principal vers Détroit en provenance de l'Est des États-Unis. Entre les miles 10 et 15, l'autoroute borde la ville de Monroe, puis possède une jonction avec l'Interstate 275 au mile 20, donnant accès aux banlieues oeust de Détroit. L'I-75, quant à elle, continue de suivre les rives du lac Érié, mais légèrement plus dans les terres pour les prochains  (). Dès l'approche du mile 25, le territoire devient sururbain, passant dans les banlieues lointaines de Rockwood et de Woodhaven. Beaucoup d'industries sont présentes sur le territoire également. Plusieurs banlieues sont traversées entre les miles 35 et 43, où l'I-75 adopte une orientation vers le Nord-Est. Plusieurs larges raffineries et industries portuaires et manufacturières sont présentes dans la partie sud de Détroit, entre les miles 43 et 47. L'I-75 devient une artère majeure de circulation pour l'agglomération de Détroit. Au mile 47, le pont Ambassadeur connecte la 75 à l'Ontario, à Windsor, et ultimement à l'autoroute 401 et Toronto. Dans cet échangeur complexe entre la 75, les rues locales et le pont, les voies principales de l'autoroute bifuruqent pour adopter une orientation vers le Nord-Ouest. Moins d'un mile () plus loin, un échangeur est présent avec l'Interstate 96 (vers l'Interstate 94 et Chicago), ce point étant le terminus est de la 96, tandis que l'Interstate 75 (aussi nommée Fisher Freeway se dirige vers le Nord-Est pour les 3 prochains miles (). Dans cette section, de multiples larges échangeurs autoroutiers permettent des connexions au centre-ville de Détroit (via la route 10 du Michigan et l'Interstate 375), ainsi qu'à tous les points bordant le centre-ville (Woodland Avenue, Gratiot Avenue et Grand River Avenue). Au Nord du centre-ville, à l'échangeur avec l'I-375, l'Interstate 75 tourne vers le Nord-Nord-Ouest en quittant le centre de Détroit.

Détroit à Flint
Désormais nommée la Chrysler Freeway, la 75 se dirige vers le Nord-Nord-Ouest en étant l'artère principale reliant le centre de Détroit à toutes les localités au Nord et Nord-Est de la ville. De nombreux échangeurs sont présents entre les miles 52 et 59, permettant une connexion directe avec l'Interstate 94 (vers Chicago ou Port Huron/Sarnia), Caniff Avenue, Hamtramck, Highland Park et la route 8 (Davidson Avenue). Au mile 59, à la jonction avec la 8 Mile Road, l'Interstate 75 quitte le territoire desservi par la ville de Détroit, et se dirige vers le Nord en traversant les banlieues du Nord. Entre les miles 59 et 81, le territoire est largement urbanisé, et plusieurs échangeurs sont à nouveau présent pour offrir une connexion au réseau local. De toutes les banlieues traversées, notons la traversée de Royal Oak, Madison Heights, Troy et Auburn Hills. Au mile 61, un échangeur est présent avec l'Interstate 696 (autoroute contournant Détroit par le Nord), et au mile 77, un échangeur avec la section autoroutière de la route 59 donne accès à Pontiac. Par la suite, jusqu'au mile 92, la 75 passe à l'Est et au Nord de la ville de Waterford. C'est dès lors qu'elle quitte la grande agglomération de Détroit.
En quittant le grand Détroit, l'I-75 se dirige vers le Nord-Ouest, vers la partie centrale du Michigan. L'autoroute passe près des villes de Holly et de Grand Blanc, puis entre dans l'agglomération de la ville de Flint. L'Interstate 75 n'entre pas dans les limites de Flint, l'entrée se faisant par l'Interstate 475, une autoroute auxiliaire de la 75 permettant l'accès au centre de Flint des deux directions. Au mile 111, la 75 branche vers le Nord-Ouest pour éviter Flint, tandis que la 475 se dirige vers le Nord pour desservir le centre-ville. L'I-75 passe tout de même à proximité de l'aéroport international Bishop de Flint, puis croise l'Interstate 69 au mile 121, autoroute principale est-ouest de la région, donnant accès à Lansing, capitale du Michigan, à l'Ouest, et à Port Huron et Sarnia (Ontario) à l'Est. Entre les miles 121 et 125, l'I-75 passe dans une section légèrement urbanisée entre Flint et Flushing, puis croise à nouveau la 475 au mile 125. En se dirigeant plein Nord, l'I-75 quitte l'agglomération de Flint.

Michigan central
Le territoire traversé par l'autoroute devient davantage forestier au Nord de Flint.  () au Nord de la jonction avec l'Interstate 475, l'I-75 atteint Bridgeport et Buena Vista, villes banlieues de Saginaw. Au mile 150, l'Interstate 675 permet un accès au centre de Saginaw, tandis que l'I-75 reste à l'écart de la ville, traverse la rivière Saginaw au mile 153, et recroise l'I-675 permettant une connexion vers Saginaw en direction sud.Au Nord de Saginaw, l'I-75 frôle les limites de la ville de Bay City, croise la U.S. Route 10 au mile 162 (donnant accès à Midland), puis continue sa route vers le Nord. Entre les miles 165 et 185, les voies sont situées à  () à l'Ouest des rives de la baie Saginaw, portion du lac Huron. Au mile 188, une jonction est possible avec la U.S. Route 23 et Standish. À partir de ce point, le territoire devient largement forestier et peu occupé, la 75 adoptant une orientation Nord-Ouest, vers les terres du Michigan central. Au mile 215, elle passe à l'Ouest de West Branch, tourne pour se diriger vers l'Ouest pendant  (), puis tourne à nouveau vers le Nord pour passer à l'Est des lacs Houghton et Higgings. Au mile 244, elle atteint la communauté de Roscommon, et au mile 249, elle possède un échangeur avec la U.S. Route 127 (vers Mount Pleasant. À partir de ce point, l'I-75 est la seule autoroute à desservir le Nord de l'État.La 75 poursuit son parcours vers le Nord, en traversant vallons et forêt dense, bordant les villages de Grayling (mile 254) et Gaylord (mile 282). À Gaylord, elle franchit le 45e parallèle nord. Pour les 30 prochains miles (), le territoire est peu occupé. L'I-75 borde plusieurs lacs de la partie extrême au Nord du Michigan continental, osit les lacs Burt, Mullet et Carp. L'autoroute passe à plusieurs miles à l'Ouest de Cheboygan, puis descend pour atteindre Mackinaw City, sur les rives du Lac Huron. Au mile 336, une importante jonction est présente avec la U.S. Route 31 (terminus nord de la route), donnant accès à Traverse City et au Nord-Ouest de l'État le long du lac Michigan, puis au mile 339, l'autoroute croise la U.S. Route 23 (terminus nord de la route) vers Cheboygan et Alpena. Juste au Nord de Mackinaw City, l'autoroute 75 franchit le détroit de Mackinac sur le pont Mackinac, un long pont à péage ne possédant pas les standards autoroutiers américains (pas de médien central et voies très étroites).

Péninsule supérieure

Après avoir traversé le détroit de Mackinac, l'I-75 entre dans la Péninsule supérieure du Michigan, partie terrestre la plus au Nord des États-Unis à l'Est du 87e méridien ouest, comprise entre les lacs Huron, Michigan et Supérieur. L'I-75 est la seule autoroute de la péninsule (à l'extrême est de celle-ci), tandis que le transport est-ouest se fait par la U.S. Route 2 et la route 28 du Michigan. Tout juste après le pont et le poste de péage, la U.S. Route 2 joint la 75 à Saint-Ignace. La 75 continue sa route vers le Nord en bordant les vies de la baie Saint-Martin (lac Huron), puis traverse la partie orientale de la péninsule entre les miles 359 et son terminus nord. Le territoire est largement innocupé et densément forestier. Au mile 378, l'autoroute passe près de l'aéroport international de Chippewa County, puis au mile 386, elle passe près de Dafter en croisant la route 28.  au Nord (), elle atteint la ville de Sault Sainte-Marie, possède une station de péage et le poste frontalier en direction sud, puis embarque sur le pont international de Sault-Sainte-Marie, un pont à une seule voie reliant les deux villes de Sault Sainte-Marie (Michigan/Ontario) en traversant la rivière Saint-Marie et la frontière entre le Canada et les États-Unis. Ce point représente le terminus nord de l'ensemble du tracé de l'Interstate 75, en provenance de Miami, en Floride.

Historique

Des sentiers amérindiens aux routes
Bien avant la construction d'autoroutes en Amérique, les premières voies de transport suivaient le tracé emprunté par les routes de colonisation amérindiennes, notamment le sentier Français-Indien entre Toledo et Détroit, le long du lac Érié, et le sentier Saginaw entre Détroit et Saginaw. Ce sentier suivait le tracé actuel de l'I-75, légèrement plus à l'Ouest. Le sentier Cheboygan, quant à lui, suivait le tracé actuel de l'autoroute entre West Branch et l'Ouest de Cheboygan, dans le Centre-Nord de l'État. Du côté de la péninsule supérieure, le sentier Mackinaw connectait Saint-Ignace à Sault Sainte-Marie. Au  siècle, le Michigan mis sous contrat plusieurs compagnies privées pour transformer et remplacer ces sentiers en route utilisable pour le transport plus efficace des biens et marchandises. Ces routes étaient majoritairement construites en bois, mais le gravier était également utilisé comme revêtement. Seuls quelques sentiers ont été convertis en route dès le début du  siècle. Le reste des tronçons de sentier non-convertis ont été achetés par l'État ou par les compagnies de chemin de fer au début des années 1900.
Le State Trunkline Highway System a été formé en 1913, et plusieurs sections du système ont été désignées comme emprise de l'actuelle Interstate 75. La division 1 reliait l'Ohio à Détroit, la division 2 reliait Détroit à Mackinaw City, tandis que la division 7 reliait Saint-Ignace à Sault Sainte-Marie. La numérotation des routes et leur signalisation débuta en 1919, en plus de leurs apparitions sur les cartes. Plusieurs routes empruntaient ainsi approximativement le parcours actuel de la 75, notamment les routes 10 (Ohio-Détroit-Standish et Cheboygan-Mackinaw City), 76 (Standish-Grayling), 14 (Grayling-Cheboygan) et 12 (Saint-Ignace–Sault Sainte-Marie) à l'Est du sentier Mackinaw original. Lorsque le système des routes numérotées des États-Unis apparut en 1926, la plupart de ces routes changèrent de juridiction et passèrent sous juridiction fédérale/nationale, notamment les U.S. Routes 10, 24 et 25 au Sud de Grayling. Entre Grayling et le détroit de Mackinac, la route fut désignée U.S. Route 27, tandis qu'entre Saint-Ignace et Sault Sainte-Marie, la route 14 devint une partie de la U.S. Route 2, mais une partie de la route changea à nouveau de numéro pour devenir la route 121 du Michigan en 1933, la U.S. Route 2 terminant à Saint-Ignace.

Les autoroutes et les Turnpikes

En 1945, une autoroute à chaussées séparées fut construite entre la frontière avec l'Ohio et Erie. Après la Seconde Guerre mondiale, le ministère des transports du Michigan planifia le remplacement de plusieurs routes en autoroutes. Le tracé de l'Interstate 75 apparut dans les documents gouvernementaux en 1955. L'Autorité des Turnpike du Michigan vit le jour en 1951, proposant la construction d'une autoroute entièrement à péage (un Turnpike) entre Bridgeport et Rockwood. L'opposition était vive, notamment de la part des camionneurs et de la ville de Détroit, qui empêcha le Turnpike de passer sur le territoire de la ville en raison de contraintes d'espace. L'Autorité gagna en cours, et les droits étaient autorisés dès 1955 pour des autoroutes à péage entre Bridgeport et Rockwood, ainsi qu'entre Détroit et Chicago.
Le tracé proposé du Turnpike passait à l'Ouest de Détroit (le long de l'actuelle U.S. Route 24), chemin devant être emprunté par l'Interstate 75, tandis que l'actuelle route dans Détroit devait faire partie de l'Interstate 275. De plus, le tracé fut élargi pour le Michigan Turnpike, de Toledo en Ohio jusqu'à la hauteur du détroit de Mackinac. Cependant, plusieurs projets de l'Autorité furent annulés dans les années qui ont suivi, notamment en raison de la pression exercée par le gouvernement fédéral et le Federal Aid Highway Act de 1956. De cet acte, une autoroute sans péages traversant l'entièreté du Michigan du Nord au Sud était sur la table. À la suite d'années de survie, l'Autorité fut dissoute en 1962 par un vote éliminant l'acte de création de l'Autorité.

Ère des Interstates

Les premières sections de l'Interstate 75 à voir le jour ont été celles près de la frontière avec l'Ohio (1957) et le pont Mackinac et ses approches (1957). Le numéro 75 fut désigné pour l'autoroute en planification dès 1958. Dès cette année, une portion de l'autoroute entre Clio et Fenton ouvrit, tandis qu'en 1959, la Chrysler Freeway commença à être construite au Nord de Détroit. Les premiers panneaux de signalisation de la 75 furent installés entre l'Ohio et Détroit en 1959, après l'accord de la numérotation par le ministère de transports du Michigan, remplaçant la U.S. Route 24 dans le secteur de Monroe. En 1960, d'autres sections furent ouvertes, notamment de Indian River au pont Mackinac, de Saint-Ignace à Evergreen Shores, puis jusqu'à la route 123 en décembre de cette année. En 1961, l'autoroute fut construite par segments entre Saginaw et Kawkawlin, dans les environs de Grayling, et entre Kinross et Dafter dans la péninsule supérieure. L'autoroute empruntait un segment de la U.S. Route 27 entre Indian River et Grayling, une situation réglée en 1962. Dans la même année, le pont international à Sault Sainte-Marie fut ouvert. Plusieurs portions ont été ouvertes en 1963 à Détroit, en plus des dernières sections de la péninsule supérieure joignant les deux sections précédemment ouvertes. La section de l'autoroute dans le Nord de l'État fut nommée le magazine Parade la même année. Dans les prochaines années, la Chrysler Freeway fut construite par étapes jusqu'en 1969. En 1970, l'ensemble de l'autoroute était complété dans Détroit, et dans les années qui ont suivi, les sections manquantes entre Bay City et Grayling ont été construites, complétant l'ensemble du tracé de l'autoroute au Michigan. Quelques changements ont vu le jour depuis la finalisation de l'autoroute, notamment l'élargissement entre Flint et Bay City à 6 voies, la construction du pont de Zilwaukee et les coupures des U.S. Routes 2 et 10 le long du parcours de l'autoroute dans les années 1980. En 2017, la limite de vitesse fut augmentée de 70 mph (113 km/h) à 75 mph (121 km/h) entre Bay City, excepté la section sur le pont Mackinac.

Projet Gateway
Dès le 25 février 2008, l'Interstate 75 fut fermée dans les deux direections entre les miles 47 et 49 à Détroit, près des approches et des connexions au pont Ambassadeur. Un vaste projet de reconstruction des bretelles et des échangeurs I-75/pont Ambassadeur/I-94/I-96 prit place. Les détours étaient mis en place par les Interstates 94 et 275, en plus de plusieurs détours sur le réseau local. L'autoroute ouvrit à nouveau en 2009, avant la date d'ouverture prévue, et le projet prit fin en 2012.

Autoroutes auxiliaires
Au Michigan, l'Interstate 75 possède quatre autoroutes auxiliaires :
  L'Interstate 275 passe à l'Ouest du centre urbain de Détroit, près de l'aéroport international de Détroit/Wayne County et de Livonia.
  L'Interstate 375 est une courte autoroute connectrice qui permet de relier l'Interstate 75 directement au centre-ville de Détroit par l'Est.
  L'Interstate 475 est une autoroute connectrice reliant la 75 au centre-ville de Flint, dans les deux directions.
  L'Interstate 675 est une courte autoroute formant également une boucle, connectant l'Interstate 75 au centre de la ville de Saginaw.

Disposition des voies
Au Michigan, l'Interstate 75 est large autoroute dans la moitié sud de l'État. Entre la frontière avec l'Ohio et le mile 43 à Détroit, l'autoroute possède 6 voies (3-3), puis s'élargie à 8 voies jusqu'au mile 47, à l'échangeur avec le pont Ambassadeur. Entre les miles 47 et 51, en countournant le centre-ville, un réseau de voies directes et de voies connectrices sont présentes à travers les échangeurs, chacune possédant généralement 3 voies (3-3-3-3). Lorsque la 75 emprunte la Chrysler Freeway, elle devient une autoroute à 8 voies (4-4) en quittant le centre de Détroit par le Nord, et ce, jusqu'au mile 61, à l'échangeur avec l'Interstate 696, où elle devient brièvement une autoroute à 6 voies (3-3). Entre ce point et le mile 75 près de Troy, elle possède généralement 6 voies (3-3), mais est en construction pour être élargie à 8 voies (4-4). En contournant Pontiac par le Nord-Est, elle possède 8 voies (4-4), jusqu'au mile 82, où elle devient une autoroute à 6 voies (3-3). Elle maintient cette disposition pendant 27 miles (44 km), à la jonction avec l'Interstate 475, où elle possède par la suite 4 voies (2-2) jusqu'au mile 114. Entre ce point est la seconde jonction avec l'I-475, au Nord-Ouest de Flint, elle possède 6 voies (3-3), puis devient une large autoroute à 8 voies (4-4), à nouveau, pour 24 miles (38 km). Au mile 149, elle rétrécit à 6 voies (3-3) entre ce point et le mile 155, au Nord-Est de Saginaw, puis possède encore 8 voies (4-4) pous les 9 prochains miles (14 km). Au mile 164, au Nord-Ouest de Bay City, elle passe subitement à une autoroute typique à 4 voies (2-2), et ce, pour l'ensemble du reste de la traversée du Michigan, incluant le pont Mackinac. À Sault Sainte-Marie, en empruntant le pont international de Sault Sainte-Marie, elle a la particularité d'avoir seulement une seule voie par direction sur le pont, la seule instance d'une autoroute inter-États américaine ne possédant qu'une seule voie, mise à part une portion de l'Interstate 93 dans le Nord du New Hampshire.

Aires de service
Plusieurs aires de service (avec aire de repos et toilettes) sont présentes le long du parcours de l'Interstate 75 au Michigan.

 Au mile 12, au Sud de Monroe, en direction nord (centre d'information touristique) ;
 Au mile 95, au Nord-Ouest de Waterford, dans les deux directions ;
 Au mile 130, près de Clio, dans les deux directions ;
 Au mile 159, en direction sud, entre Saginaw et Bay City ;
 Au mile 176, en direction nord, au Nord-Ouest de Linwood ;
 Au mile 201, en direction sud, au Sud-Ouest de Alger ;
 Au mile 211, en direction nord, au Sud de West Branch ;
 Au mile 232, en direction sud, au Nord de Prudenville ;
 Au mile 253, en direction nord, au Sud de Grayling ;
 Au mile 263, en direction sud ;
 Au mile 277, en direction nord, au Sud de Gaylord ;
 Au mile 287, en direction sud, au Nord de Gaylord ;
 Au mile 317, en direction nord, au Nord de Topinabee ;
 Au mile 327, en direction sud ;
 Au mile 339, en direction nord (centre d'information touristique), avant le pont Mackinac ;
 Au mile 345, en direction sud (centre d'information touristique), avant le pont Mackinac ;
 Au mile 350, en direction sud, au Nord-Ouest de Saint-Ignace ; et
 Au mile 391, en direction nord, au Sud de Sault Sainte-Marie.

Architecture

Trois pont notables permettent à l'Interstate 75 de franchir l'ensemble du Michigan du Sud au Nord.Le premier pont important est situé à Saginaw, franchissant la rivière du même nom, aussi connu sous le nom du pont Zilwaukee. Le pont original, construit dans les années 1960, était un pont à bascule pour laisser passer les bateaux, résultant en plusieurs congestions monstres. Un nouveau pont fut approuvé pour être construit en 1974, la construction débutant en 1979. Une partie du pont en construction céda sous le poids d'équipements trop lourds en 1982. Le pont fut finalisé en 1988 au coût de  de $ USD, soit  de $ USD de plus qu'anticipé. Encore aujourd'hui, il s'agit du pont de béton par segments le plus large des États-Unis.Le pont Mackinac est une œuvre d'ingénierie permettant de relier le Michigan continental à la péninsule supérieure du Michigan. En 1923, un service de traversier permettait aux voitures de traverser le détroit de Mackinac pour rejoindre la péninsule supérieure. Une équipe fut formée en 1934 pour planifier la construction d'un lien fixe entre les deux rives. Le plan initial consistait à lier Cheboygan à Saint-Ignace en passant par plusieurs îles. Le gouvernement américain rejetta le projet. Une seconde idée de tracé émerga par la suite, soit un lien plus court entre Mackinaw City et Saint-Ignace, dont l'architecture serait inspirée du pont Tacoma Narrows. Cependant, l'effondrement de ce pont et la Seconde Guerre Mondiale ont repoussé tout projet de construction. En 1952, le projet réémerga. La construction débuta en 1954 et le pont ouvrit le  novembre 1957, avec des travaux supplémentaires jusqu'en 1958. Le pont comprend une section suspendue longue de  reliée par deux sections longues de . Le pont, d'une longueur de , était le plus long pont de ce genre à son ouverture. La longueur totale de la structure dépasse cependant  (en considérant les approches), avec deux tours hautes de , les voies de circulation étant situées à une hauteur de  au-dessus des eaux. La superstructure fut nommée projet d'ingénierie civil numéro 1 du siècle au Michigan, puis elle fut nommée monument d'ingénierie civil historique national en 2010.Le dernier pont majeur de l'I-75 est situé à Sault Sainte-Marie, à la frontière canado-américaine, soit le pont international. Les agences des gouvernements canadiens et américains ont formé une autorité commune pour construire le pont en 1935. La construction débuta 25 ans plus tard, en 1960. Le pont est long de  (), passant au-dessus de la rivière Saint-Marie et des canauxa navigables reliant les lacs Supérieur et Huron. L'approche canadienne est longue de , tandis que l'approche américaine est longue de . Le pont a été construit par la même firme que celle ayant construit le pont Mackinac. Le 31 octobre 1962, le pont ouvrit à la circulation, avec un coût total de construction s'élevant à  de $ USD.

Connexions internationales
L'Interstate 75 au Michigan possède deux connexions internationales directes avec le Canada. La première est la connexion au pont Ambassadeur, juste au Sud du centre-ville de Détroit, à la hauteur du mile 47. Le pont est directement accessible à partir de bretelles émergeant de l'Interstate 75 dans les deux directions. Du côté américain, un vaste poste de péage, en plus des douanes américaines, sont présentes. Du côté canadien, le pont connecte à la route 3 d'Ontario, au réseau local de Windsor, et, plus loin, à l'autoroute 401, principale autoroute est-ouest du Sud ontarien, donnant accès à l'ensemble du corridor urbain de Windsor-Québec, incluant Toronto, Ottawa et Montréal.Au terminus nord de l'autoroute, à Sault Sainte-Marie, le pont International relie à la ville du même nom en Ontario. Le poste de péage est situé du côté américain, tandis que du côté canadien, seul un accès au réseau local est possible. Après avoir traversé les rues de la ville, une connexion à la route 17 d'Ontario permet de rejoindre Thunder Bay ou Sudbury.

Liste des échangeurs

Liste des villes traversées

 Erie
 Luna Pier
 La Salle
 Monroe
 Newport
 Rockwood
 Flat Rock
 Woodhaven
 Taylor
 Southgate
 Allen Park
 Lincoln Park
 Melvindale
 Détroit
 Hamtramck
 Highland Park
 Hazel Park
 Madison Heights
 Troy
 Auburn Hills
 Lake Angelus
 Clarkston
 Holly
 Grand Blanc
 Flint
 Mount Morris
 Clio
 Birch Run
 Bridgeport
 Buena Vista
 Saginaw
 Bay City
 Kawkawlin
 Linwood
 Pinconning
 Standish
 Sterling
 Alger
 West Branch
 Roscommon
 Grayling
 Waters
 Otsego Lake
 Arbutus Beach
 Oak Grove
 Gaylord
 Vanderbilt
 Wolverine
 Indian River
 Topinabee
 Carp Lake
 Mackinaw City
 Saint-Ignace
 Rudyard
 Kinross
 Dafter
 Sault Sainte-Marie

Notes et références

Annexes

Bibliographie

75
Michigan
Route au Michigan
Détroit (Michigan)

Interstate 75 (Michigan)


6172 Prokofeana este un asteroid care intersectează orbita planetei Marte.

Descriere
6172 Prokofeana este un asteroid care intersectează orbita planetei Marte. Asteroidul prezintă o orbită caracterizată de o semiaxă mare de 2,57 ua, o excentricitate de 0,43 și o înclinație de 15,9° în raport cu ecliptica.

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 Lista planetelor minore: 6001-7000
 Centura de asteroizi

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Asteroizi care intersectează orbita planetei Marte

6172 Prokofeana


Washoe County er et county i den amerikanske delstat Nevada.

 Største by: Reno, Nevadas næststørste
 Indbyggertal: 421.407 (2010 folketælling), Nevadas næststørste

Counties i Nevada

Washoe County (Nevada)


Nouhad Wadie' Haddad (, ; born November 21, 1934), known as Fairuz (, ), is a Lebanese singer. She is considered by many as one of the leading vocalists and most famous singers in the history of the Arab world.  Fairuz is considered the musical icon of Lebanon and is popularly known as "the soul of Lebanon".

Fairuz began her musical career as a teenager at the national radio station in Lebanon in the late 1940s as a chorus member. Her first major hit, "Itab", was released in 1952 and made her an instant star in the Arab world. In the summer of 1957, Fairuz held her first live performance at the Baalbeck International Festival where she was awarded with the honor of "Cavalier", the highest medal for artistic achievement by Lebanese president Camille Chamoun. Fairuz's fame spread throughout the Arab world in the 1950s and 1960s, leading her to  perform outside of Lebanon in various Arab capitals, including Damascus, Amman, Cairo, Rabat, Algiers, and Tunis.

She has received multiple tokens of recognition and awards throughout her career including the Key to the Holy City awarded by the Jerusalem Cultural Committee, the Jordanian Medal of Honor presented by King Hussein of Jordan, the French Commandeur des Arts et des Lettres and the Chevalier de la Légion d'honneur, the Highest Artistic Distinction, awarded by Tunisian President Zine El Abidine Ben Ali. Throughout the years, she headlined at the most important venues in the world such as Albert Hall and Royal Festival Hall in London, Carnegie Hall, Lincoln Center and United Nations General Assembly Lobby in New York, the Olympia and Salle Pleyel in Paris, and the Odeon of Herodes Atticus in Athens.

In a career spanning over six decades, Fairuz has recorded nearly 1500 songs, released more than 80 albums, performed in 20 musicals and sold over 150 million records worldwide, making her one of the highest selling Middle-Eastern artists of all time, and one of the best-selling music artists in the world.

Early life

Nouhad Haddad was born on November 20, 1934, in Lebanon into a Syriac and Maronite Christian family. Her father was born in Mardin, Turkey. The family later moved into a home in a cobblestone alley called Zuqaq el Blatt in Beirut. Living in a single room of a typical Lebanese stone house facing Beirut's Eastern Orthodox Patriarchate school, they shared a kitchen with the neighbors. Her father, Wadīʿ was a Lebanese of the Syriac Orthodox faith, and worked as a typesetter in a print shop.

By the age of ten, Nouhad had become well-known at school for her unusual singing voice. She would sing regularly during school shows and on holidays. This brought her to the attention of Mohammed Flayfel, a well-known musician and a teacher at the Lebanese Conservatory, who happened to attend one of the school's shows in February 1950. Impressed by her voice and performance, he advised her to enroll in the conservatory, which she did. At first, Nouhad's conservative father was reluctant to send her to the conservatory. At the persuasion of his brother Nouhad's uncle, he eventually agreed to let her go on the condition that her brother accompany her.

Mohammed Flayfel took a close interest in Nouhad's talent. He started training her in control of intonation and poetic form, and in an audition, Nouhad was heard singing by Halim el Roumi, head of the Lebanese radio station established in 1938, one of the oldest stations in the Arab world. Roumi was impressed by her voice and noticed that it was flexible, allowing her to sing in both Arabic and Western modes. At Nouhad's request, El Roumi appointed her as a chorus singer at the radio station in Beirut, where she was paid twenty-one U.S dollars every month, which, adjusted for inflation, in 2020 would amount to one hundred ninety-five dollars. He also went on to compose several songs for her and chose for her the stage name Fairuz, which is the Arabic word for turquoise.

A short while later, Fairuz was introduced to the Rahbani brothers, Assi and Mansour, who also worked at the radio station as musicians. Their chemistry was instant, and soon after, Assi started to compose songs for Fairouz. One of these songs was "Itab" (the third song he composed for her), which was an immediate success in the Arab world. It established Fairuz as one of the most prominent Arab singers at that time.

Fairuz rose to fame during the golden era of Arabic music and is one of the last figures and contributors of that time alive today. Her voice represented the 20th century's Lebanese pop culture. Throughout her career, she has established a style of universality and relatability as she made music that tackled issues ranging from adolescence and love to political plight and patriotism, even "snappy Christmas carols", which made her work accessible to all. Fairuz is known for her particularly forlorn style of music, which is a fusion of western and Arab sounds. Her music is set apart by its melancholic and nostalgic humor, along with Fairuz's stoic image as well as yearning voice, that is almost prayer-like, often described by experts as airy, clear, and flexible, different from the common ornamentation style commonly found in Arab music.

Career

1950s: Establishment of a new star
Fairuz's first large-scale concert was in 1957, as part of the Baalbeck International Festival which took place under the patronage of Lebanese President Camille Chamoun. She performed in the Folkloric section of the festival representing "The Lebanese Nights". Fairuz was paid one Lebanese pound for that show, but she and the Rahbani brothers would become staples of the festival and featured most years until the civil war in Lebanon. The trio's performances at first were just small skits, but eventually they became full-blown musical operettas, and concerts followed for many years. Fairuz amassed more fame as she and other contemporaneous Arab artists were vocal about the Palestinian cause in their conflict with Israel and produced a number of militaristic and patriotically somber songs for them.

1960s–1970s: Breakthrough and critical acclaim

Fairuz and the Rahbani brothers started to garner more attention with their innovative ventures and went on to revolutionize the blueprint for Lebanese music. It started with incorporating western sounds into their music and eventually shaping the Lebanese style of music, since before the music had to fit into a certain mold. This mold was the dominant Egyptian style of music, in the Egyptian dialect that would typically have a duration of thirty minutes. The trio started working with their own prototype, which was shorter three-minute songs in the Lebanese dialect that would tell a story. This change was received as well as it was due to growing discontent for traditional and indigenous music. Beirut at this time was undergoing rapid modernization and cultural expansion. Some of those who lived in the city were not of Arab background, making it harder to relate to the musical forms of the time. So when Fairuz and the Rahbani brothers introduced a more modern yet still traditional form of music, they drew in mass appeal. This helped reshape the modern Lebanese identity especially in music and would go on to make significant contributions to the history of oriental music. These songs would also customarily included commentary and themes of local and regional socio-political and historical issues.[33] As the 1960s wore on, Fairuz became known as the "First Lady of Lebanese singing", as Halim Roumi dubbed her. During this period, the Rahbani brothers wrote and composed for her hundreds of famous songs, most of their operettas, and three motion pictures. In those productions, they also chose to abandon the popular improvisatory nature of Arab performances in favour of more well-rehearsed and produced ones.

In 1971, Fairuz's fame became international after her major North American tour, which was received with much excitement by the Arab-American and American communities and yielded positive reviews of the concerts. To date, Fairuz has performed in many countries around the globe, including Syria, Jordan, Iraq, Kuwait, United Arab Emirates, Qatar, Bahrain, Egypt, Tunisia, Algeria, Morocco, France, United Kingdom, Switzerland, Netherlands, Greece, Canada, United States, Mexico, Brazil, Argentina, Australia, Belgium, Italy, and her home country, Lebanon.

On September 22, 1972, Assi suffered a brain hemorrhage and was rushed to the hospital. Fans crowded outside the hospital, praying for him and lighting candles. After three surgeries, Assi's brain hemorrhage was halted. Ziad Rahbani, the eldest son of Fairuz and Assi, at age 17, gave his mother the music of one of his unreleased songs, "Akhadou el Helween" (that he had composed to be sung by Marwan Mahfouz in "Sahriyyi" Ziad's first play).  His uncle Mansour Rahbani re-wrote new lyrics for it to be called "Saalouni n'Nass" ("The People Asked Me") which talked about Fayrouz being on stage for the first time without Assi. Three months after suffering the hemorrhage, Assi attended the premiere performance of that musical, Al Mahatta, in Piccadilly Theatre on Hamra Street. Elias Rahbani, Assi's younger brother, took over the orchestration and musical arrangement for the performance.

In 1978, the trio toured Europe and the Persian Gulf nations, including a concert at the Paris Olympia. As a result of this busy schedule, Assi's medical and mental health began to deteriorate. Assi Rahbani eventually died in 1986, no longer married to Fairuz, but due to the influence his family and Fairuz had in Lebanon, the factions in Beirut had a cease-fire allowing the funeral procession to travel from the Muslim side of the city to where Assi would be buried on the Christian side. Fairuz then began to work  almost exclusively with Ziad Rahbani, her son on producing her music.

Amid the Lebanese Civil War, Fairuz's fame catapulted. Unlike many of her famous peers, she never left Lebanon to live abroad. She did not hold any concerts there with the exception of the stage performance of the operetta Petra, which was performed in both the western and eastern parts of the then-divided Beirut in 1978. The war lasted fifteen years (1975–1990), took 150,000 lives, and fostered a divided nation. This was the period where her role as a prominent Lebanese figure would be cemented. She and the Rahbani brothers would frequently express their dissent for the war in their music, and their refusal to take sides and non-partisan stances helped them appeal to all of Lebanon, which then allowed Fairuz to become a voice of reason and unification for the Lebanese people. This was especially important because the war itself was so multifaceted and involved many conflicting opinions between the state and different militias.  To the Lebanese, she became a lot more than just an entertainer. She became a representation of Lebanon, as well as stability in a time of insecurity and uncertainty.

1980s: A new production team
After the artistic divorce between Fairouz and the Rahbani brothers in 1979, Fairuz carried on with her son, composer Ziad Rahbani, his friend the lyricist Joseph Harb, and composer Philemon Wahbi. Ziad Rahbani was a constant driving force in the evolution of Fairuz's music style, as he worked to break away from what his parents had previously established. The songs he went on to compose for Fairuz would stray from the nostalgic nationalism that showcased the folkloric style Fairuz and the Rahbani brothers were known for; instead, he and Fairuz would go on to delve into a more modern sound in the form of jazz and funk.

Fairuz made a second and final European Television appearance on French TV on October 13, 1988, in a show called Du côté de chez Fred. Fairuz, who had scheduled a concert at the POPB of Paris Bercy concert hall three days later on October 16, was the main guest of French TV presenter Frédéric Mitterrand. The program features footage of her rehearsals for her concert at Bercy in addition to the ceremony featuring then French Minister of Culture Jack Lang awarding Fairuz the medal of Commandeur des Arts et des Lettres. It also includes a video montage of her previous movies and concerts. In that show, Fairuz also sang the three songs "Ya hourrié", "Yara" and "Zaali tawwal".

Her first CD, The Very Best of Fairuz, was published in 1987 and contained the emblematic song "Aatini al Nay wa ghanni" (Give me the flute and sing), based on a poem in "The Procession" by Khalil Gibran. It was first sung at the end of the sixties.

1990s–present
In the 1990s, Fairuz produced six albums (two Philemon Wahbi tributes with unreleased tracks included, a Zaki Nassif album, three Ziad Rahbani albums, and a tribute album to Assi Rahbani orchestrated by Ziad) and held a number of large-scale concerts, most notably the historic concert held at Beirut's Martyr's Square in September 1994 to launch the rebirth of the downtown district that was ravaged by the civil war. She appeared at the Baalbeck International Festival in 1998 after 25 years of self-imposed absence where she performed the highlights of three very successful plays that were presented in the 1960s and 1970s.

In 1992, Madonna used some parts of Fairuz's songs in her album without permission; the singers settled the matter outside of court, but Madonna's album and single were prohibited in Lebanon.

She also performed a concert in Las Vegas at the MGM Grand Arena in 1999 which was attended by over 16,000 spectators, mostly Arabs. Ever since, Fairuz has held sold-out concerts at the Beiteddine International Festival (Lebanon) from 2000 to 2003, Kuwait (2001), Paris (2002), the United States (2003), Amman (2004), Montreal (2005), Dubai, Abu Dhabi, Baalbeck, BIEL (2006), Athens, Amman (2007) Damascus, and Bahrain (2008).

Her first album in the new millennium, Wala Keef, was released in 2002.

On January 28, 2008, Fairuz performed at the Damascus Opera House in an emotional return to the Syrian capital, where she played the lead role in the musical Sah el-Nom (Good Morning), after more than two decades of absence from the country, in one of a series of events highlighting UNESCO's designation of Damascus as the Capital of Arab Culture that year. Commenting on the event, the BBC wrote: "Every day the sun rises over Syria you hear one voice across the country – Fairuz, the legendary Lebanese singer and greatest living Arab diva". Syrian historian, Sami Moubayed, said that the Syrians were thrilled about the performance and that Fairuz reminded them of the "good old days". People from all ages attended the concert and the auditorium was packed with listeners. Fairuz said that she had never seen such an audience in her life. However, her decision to perform there drew criticism from Lebanese politicians who considered Syria to be a hostile nation.

Fairuz's new album entitled Eh... Fi Amal was released on October 7, 2010, produced by Fairuz productions and written entirely by her son Ziad Rahbani. Two concerts took place at BIEL Center in Beirut, Lebanon, on October 7 and 8.

Fairuz released her first album in seven years titled Bebalee on September 22, 2017. On June 21, 2017, her daughter Reema Rahbany released the first single from the album "Lameen". The song is a tribute for Fairouz's late husband Assi Rahbany and was released in commemoration of his anniversary. Lameen is inspired by the French song "Pour qui veille l'étoile" and was adapted into Arabic by Reema Rahbany.

On 1 September 2020, French president Emmanuel Macron visited Fairuz in her house during trip to Lebanon after the Beirut explosion.

Personal life
Fairuz married Assi Rahbani, one of the Rahbani brothers who helped shape her singing career, on January 23, 1955. Fairuz and Assi Rahbani had four children: Ziad (born 1956), a composer, playwright and pianist; Hali (born 1958, paralyzed since early childhood after meningitis); Layal (born 1960, died in 1988 of a stroke), also a composer; and Rima (born 1965), a photographer and film director. Fairouz was born to a Syriac Orthodox family. She is of the Greek Orthodox faith, having converted when she married Assi Rahbani. Very little is known about Fairuz's personal life and affairs, as she is described as having a hermetic nature and separates Nouhad from Fairuz.

Controversies

2008 Damascus concert
The 2008 concert in Damascus angered some of her fans and several Lebanese politicians who described Syria as "enemy territory in the grip of a brutal secret police force". Walid Jumblatt, leader of the Druze Progressive Socialist Party, accused Fairuz of "playing into the hands of Syrian intelligence services", while fellow party member Akram Chehayeb said that "those who love Lebanon do not sing for its jailers", in reference to the three-decades-long Syrian occupation of Lebanon. Even some Syrian opposition activists called on her to boycott the event as just three years prior Syria had been accused of carrying out a series of assassinations on the Lebanese. This came amid a political crisis in Lebanon between pro-and anti-Syria factions. As well as a renewed Syrian government crackdown on dissent that same day during which several people were arrested, including opposition figure Riad Seif and twelve other activists of the anti-government Damascus Declaration.

A poll conducted a week before the concert by NOW Lebanon, a Lebanese web portal sympathetic to the anti-Syria March 14 Alliance, showed that 67% of the respondents were opposed to Fairuz's appearance in Damascus, with one of the website's editorials saying that "this was not the moment for a musical love-in". Supporters of Fairuz counterclaimed that she has always been above politics. Fairuz refrained from commenting on the controversy. However, in a letter to the event's organizers, she said that the concert should be viewed from a cultural perspective, and wrote: "Damascus is not a cultural capital for this year only, but will remain a role model of art, culture and authenticity for the coming generations." She also told the head of the organizers that she felt it was a return to her second home. Syrian commentator Ayman Abdelnour said that Fairuz was performing to the Syrian people, not their rulers. Her brother-in-law and her former partner Mansour Rahbani also defended her decision to perform there, saying it was "a message of love and peace from Lebanon to Syria".

In 1969, Fairuz's songs were banned from radio stations in Lebanon for six months because she refused to sing at a private concert in honour of Algerian president Houari Boumedienne. The incident only served to increase her popularity. Fairuz said that while always willing to sing to the public and to various countries and regions, she would never sing to any individual.

Lawsuits
Since many of the Rahbanis' works were co-written by Assi's brother Mansour, in June 2010, a year after Mansour's death in January 2009, a Lebanese court banned Fairuz from singing material that involved his contributions. The issue began when Mansour's children filed a lawsuit against Fairuz when she was set to perform the song "Ya'ish Ya'ish" at the Casino du Liban. As a result, Fairuz could not perform such works without Mansour's children's permission. The court's decision led to protests around the world in response to what her fans perceived as an act of "silencing". Hundreds gathered in front of the National Museum of Beirut, led by a number of Arab artists, including Egyptian actress Ilham Chahine who flew to Lebanon in order to join the sit-in. "She is a great artistic personality who has entertained millions for decades. We cannot keep silent over this humiliating attitude to her and to art and artists in general. Fairouz to me is above all laws. She is like the mother whom, even when she errs, we are eager to forgive," Chahine added. Ian Black wrote on The Guardian: "Outrage over her silencing has been a reminder of the extraordinary loyalty she still inspires across the region". Other reactions included a protest concert in Egypt, and a "Shame!" headline displayed by Emirati newspaper Al-Ittihad.

Alleged political affiliations
Fairuz's son, Ziad Rahbani, sparked controversy in December 2013 during an interview with the Al-Ahed website when asked whether his mother shared his supportive stance on the political vision of Hassan Nasrallah, the leader of Hezbollah, a dominant but highly controversial political and military force in Lebanon. Ziad replied: "Fairuz is very fond of Sayyed Hassan [Nasrallah], although she will be displeased with me, as she was after my last television interview when I revealed some personal information and she quickly interrupted me". There were strong reactions to this statement, which went viral on social media, and the country's different media outlets did not deviate from their political stances when reacting to Ziad's words. Politicians and celebrities stepped in as well, some of whom objected to affiliating Fairuz to one side of Lebanon's political divide over another, including Druze leader Walid Jumblatt who said: "Fairuz is too great to be criticized, and at the same time too great to be classified as belonging to this or that political camp". "Let us keep her in her supreme position, and not push her to something she has nothing to do with," Jumblatt added. Ziad, who claims to speak on his mother's behalf "because she prefers to remain silent", responded to his critics by saying: "Apparently it isn't allowed in the age of strife for the princess of classy Arab art to voice love for the master of resistance". Nasrallah, commenting on the issue during a speech, stated: "An educated highly respected thinker and artist, who may be espoused different ideologies, might disagree with you on political matters, but personally have [a] fondness for you, because of your character, conduct, sacrifices and so on. If such a person were to say that he or she liked someone, then all hell would break loose".

Legacy and honors

Fairuz is the Arab world's most famous and most listened-to singer. For decades, almost all radio stations in the Arab world have been starting their morning broadcast with a Fairuz song, and her songs were continuously listened to during the war, as the people could expect to hear a patriotic melody of peace and love. The Guardian stated that "she sang the story of a Lebanon that never really existed" and "essentially helped build the identity of Lebanon, just 14 years after it became an independent country." Fairuz is held in high regard in Lebanese culture because, in a region divided by many conflicts and opinions, she acts as a symbol of unity.
In 1997, Billboard stated "even after five decades at the top, [Fairuz] remains the supreme Diva of Lebanon". In 1999, The New York Times described her as "a living icon without equal" and stated that her emergence as a singer paralleled Lebanon's transformation from a backwater to the vibrant financial and cultural heart of the Arab world.

In a 2008 article, BBC described her as "the legendary Lebanese singer and greatest living Arab diva". In an article about world music, The Independent stated, "All young female singers in this region seem to be clones of her" and that "she's such an important artist that you have to get to grips with her".

Fairuz was honored in many countries, such as Lebanon, Syria, Jordan, Palestine, Tunisia, the United States, Egypt, and France, in which François Mitterrand awarded her the Order of Arts and Letters in 1988 and Jacques Chirac first awarded her the Legion of Honour in 1998 (Chevalier).

Performances and persona
Fairuz has performed in many countries around the globe including Syria, Jordan, Iraq, Kuwait, United Arab Emirates, Qatar, Bahrain, Egypt, Tunisia, Algeria, Morocco, France, United Kingdom, Switzerland, Netherlands, Greece, Canada, United States, Mexico, Brazil, Argentina, Australia, Belgium, Italy, and her home country Lebanon.

During her performances, Fairuz is known to take on a very rigid and cold stance, due to her stage fright. She claims that the hierarchic nature of her performances is because she is singing as if she were praying.  She is also described as being incredibly reserved and modest in the way a mother would be, and embodies the Lebanese woman at home.

Discography

Fairuz possesses a large repertoire of songs, sources disagree on the exact number, but it is between fifteen hundred and three thousand.

Around 85 Fairuz CDs, types of vinyl and cassettes have been officially released so far. Most of the songs that are featured on these albums were composed by the Rahbani brothers. Also featured are songs by Philemon Wehbe, Ziad Rahbani, Zaki Nassif, Mohamed Abd El Wahab, Najib Hankash and Mohamed Mohsen.

Many of Fairuz's numerous unreleased works date back to the 1950s and 1960s and were composed by the Rahbani Brothers (certain unreleased songs, the oldest of all, are by Halim el Roumi). A Fairuz album composed by Egyptian musician Riad Al Sunbati (who has worked with Umm Kulthum) was produced in 1980 but is unlikely to be released. There are also fifteen unreleased songs composed by Philemon Wehbe and 24 unreleased songs composed by Ziad Rahbani in the 1980s.

Fairuz has also released a live album on Folkways Records in 1994, entitled Lebanon: The Baalbek Folk Festival.

Theatrical works
Musical plays or operettas were the cornerstone works of the Rahbani Trio, Fairuz, Assi and Mansour. The Rahbani Brothers produced 25 popular musical plays (20 with Fairuz) over more than 30 years. They were possibly the first to produce world-class Arabic musical theatre.

The musicals combined storyline, lyrics and dialogue, musical composition varying widely from Lebanese folkloric and rhythmic modes to classical, westernized, and oriental songs, orchestration, and the voice and acting of Fairuz. She played the lead roles alongside singers/actors Nasri Shamseddine, Wadih El Safi, Antoine Kerbaje, Elie Shouayri (Chouayri), Hoda (Fairuz's younger sister), William Haswani, Raja Badr, Siham Chammas (Shammas), Georgette Sayegh and many others.

The Rahbani plays expressed patriotism, unrequited love and nostalgia for village life, comedy, drama, philosophy, and contemporary politics. The songs performed by Fairuz as part of the plays have become immensely popular among the Lebanese and Arabs around the world.

The Fairuz-Rahbani collaboration produced the following musicals (in chronological order):
 Ayyam al Hassad (Days of Harvest – 1957)
 Al 'Urs fi l'Qarya (The Wedding in the Village – 1959)
 Al Ba'albakiya (The Girl from Baalbek) – 1961)
 Jisr el Amar] (Bridge of the Moon – 1962)
 Awdet el 'Askar (The Return of the Soldiers – 1962)
 Al Layl wal Qandil (The Night and the Lantern – 1963)
 Biyya'el Khawatem (Ring Salesman – 1964)
 Ayyam Fakhreddine (The Days of Fakhreddine – 1966)
 Hala wal Malik (Hala and the King – 1967)
 Ach Chakhs (The Person – 1968–1969)
 Jibal Al Sawwan (Sawwan Mountains – 1969)
 Ya'ich Ya'ich (Long Live, Long Live – 1970)
 Sah Ennawm (Did you sleep well? – 1970–1971 – 2006–2008)
 Nass min Wara'  (People Made out of Paper – 1971–1972)
 Natourit al Mafatih (The Guardian of the Keys – 1972)
 Al Mahatta (The Station – 1973)
 Loulou – 1974
 Mais el Reem (The Deer's Meadow – 1975)
 Petra – 1977–1978

Most of the musical plays were recorded and video-taped. Eighteen of them have been officially released on audio CD, two on DVD (Mais el Reem and Loulou). An unauthorized version of Petra and one such live version of Mais el Reem in black and white exist. Ayyam al Hassad (Days of Harvest) was never recorded and Al 'Urs fi l'Qarya (The Marriage in the Village) has not yet been released (yet an unofficial audio record is available).

Filmography

Cinema

Television
Lebanese Television has featured appearances by Fairuz in the following television programmes:
 Al Iswara (The Bracelet)
 Day'it El Aghani (Village of Songs)
 Layali As'Saad (Nights of Happiness)
 Al Quds fil Bal (Jerusalem in my Mind)
 Dafater El Layl (Night Memoirs)
 Maa Al Hikayat (With Stories)
 Sahret Hobb (Romantic Evening)
 Qasidat Hobb (A Love Poem), also presented as a musical show in Baalbeck in 1973

See also

 List of Lebanese people
 Rahbani brothers
 Ziad Rahbani
 Wadih El Safi
 Zahrat al-Mada'en

Notes

References

External links

 Fairuz songs' lyrics, with information on musicians/lyricists (Arabic)
 A Diva Brightens a Dark Time in Beirut (2006 article in The New York Times)

1934 births
Living people
Eastern Orthodox Christians from Lebanon
Lebanese people of Assyrian descent
Former Maronite Christians
Converts to Eastern Orthodoxy from Catholicism
Singers who perform in Classical Arabic
20th-century Lebanese women singers
EMI Records artists
EMI Classics and Virgin Classics artists
21st-century Lebanese women singers
Knights of the Legion of Honour
Recipients of the Order of Merit (Lebanon)
Recipients of the National Order of the Cedar
Virgin Records artists
Performers of Christian music in Arabic
Singers from Beirut

Fairuz


عمر بن هبيرة بن معاوية بن سكين الأمير أبو المثنى الفزاري هو أمير عراق العرب وعراق العجم وابنه يزيد بن عمر بن هبيرة المعروف بيزيد بن هبيرة، ولي إمارة البحر عند حصار القسطنطينية الثاني تحت قيادة مسلمة بن عبد الملك، ثم عينه الخليفة الأموي يزيد بن عبد الملك أميرا على العراق سنة 103 هجري، فلما ولى هشام بن عبد الملك دار الخلافة الإسلامية في دمشق عزله وولى خالد بن عبد الله القسري.

نسبه
هو أبو المثنى عمر بن هبيرة بن معاوية بن سكين بن خديج بن بغيض بن مالك بن سعد بن عدي بن فزارة بن ذبيان بن بغيض بن ريث بن غطفان بن سعد بن قيس عيلان ابن مضر بن نزار بن معد بن عدنان. وأم عمر بن هبيرة هي يسرة بنت حسان بن شريك بن نعيم بن ثعلبة العدوي بن عبد مناة.

بزوغ نجمة
ولد عمر بن هبيرة وترعرع في البادية بين أفراد قومه بنو فزارة، وكان مقداماً شارك في غزو الروم مع عمرو بن معاوية العقيلي، وكان برفقة الجيش الذي أعدّه الحجاج بن يوسف الثقفي لمحاربة مطرف
بن المغيرة بن شعبة الذي ثار على الحجاج سنة 77هـ، واستطاع ابن هبيرة أن يقتل مطرف، وأخذ رأسه إلى عدي بن زياد الإيادي وهو على الريّ، فأعطاه مالاً وسيرّه إلى الحجاج الذي أرسله إلى عبد الملك بن مروان والذي كافأه بإعطائه قرية «برزة» من قرى دمشق فعظم شأنه بالشام .

وفي سنة 97هـ غزا ابن هبيرة أرض الروم في عهد سليمان بن عبد الملك، وعندما انتقلت الخلافة إلى عمر بن عبد العزيز ولاّه الجزيرة الفراتية، وفي عام 102هـ توجه لغزو الروم من ناحية أرمينيا وحقق نصراً كبيراً، وعندما تسلم يزيد بن عبد الملك الخلافة كلّفه حيازة أموال بني المهلب بن ابي صفرة ، ثم ولاّه العراق وخراسان بدلاً من أخيه مسلمة بن عبد الملك، فعزل سعيد خذينة صهر مسلمة عن خراسان وولاها سعيد بن عمرو الحرشي سنة 103هـ .

ويذكر الطبري أن ابن هبيرة عزل سعيد الحرشي سنة 104هـ عن خراسان وولاها مسلم بن سعيد بن أسلم بن زرعة الكلابي؛ لعدم تقيد سعيد بأوامر ابن هبيرة واستخفافه به .
وكان ابن هبيرة أول من تشدد في أمر وزن السكة وخلّص الفضة وجوّد الدراهم واشتد في العيار فيه .

بعض اخباره
 دعا عمر بن هبيرة كلا من الحسن البصري وعامر بن شراحبيل المعروف بالشعبي وقال لهما: إن أمير المؤمنين قد استخلفه الله على عباده وأوجب طاعته على الناس. وقد ولاني ماترون من أمر العراق ثم زادني فولاني فارس. وهو يرسل إلي أحيانا كتبا يأمرني فيها بإنفاذ مالا أطمئن إلى عدالته. فهل تجدان لي في متابعتي إياه وإنفاذ أوامره مخرجا في الدين؟
فأجاب الشعبي: أنت مأمور، والتبعة على من أمرك. فالتفت عمر بن هبيرة إلى الحسن وقال: وماتقول أنت يا أباسعيد؟ فقال : يابن هبيره، خف الله في يزيد ولاتخف يزيد في الله، واعلم أن الله جلّ وعزّ يمنعك من يزيد، وأن يزيد لايمنعك من الله، يابن هبيره، إنه يوشك أن ينزل بك ملك غليظ شديد لايعصي الله ما أمره، فيزيلك عن سريرك هذا، وينقلك من سعة قصرك إلى ضيق قبرك حيث لاتجد هناك يزيد، وإنما تجد عملك الذي خالفت فيه رب يزيد.
يابن هبيره إنك إن تك مع الله وفي طاعته يكفك بائقة يزيد بن عبد الملك في الدنيا والأخرة.
وإن تك مع يزيد في معصية الله، فإن الله يكلك إلى يزيد. واعلم يابن هبيرة أنه لاطاعة لمخلوق في معصية الخالق عزوجل. فأخرج عطاؤهم وفضل الحسن بالعطاء.

عزله عن ولاية العراق
وعندما توفي الخليفة يزيد سنة 105هـ، وانتقلت الخلافة إلى هشام بن عبد الملك في دمشق بعث على العراق خالد بن عبد الله القسري، فدخل واسط، وقد تهيأ ابن هبيرة للجمعة، والمرآة في يده يسوي عمامته، إذ قيل: هذا خالد قد دخل، فقال: هكذا تقوم الساعة بغتةً، فأخذه خالد فقيده وألبسه عباءةً، فقال: بئس ما سننت على أهل العراق، أما تخاف أن تؤخذ بمثل هذا. ثم سجنه فتحيل غلمانه ونقبوا سربا أخرجوه منه فهرب واستجار بالأمير مسلمة بن عبد الملك ليشفع له عند الخليفة هشام بن عبد الملك، وعلى الرغم مما كان بينه وبين مسلمة بن عبد الملك فقد أجاره، وكلَّم الخليفة بشأنه وأخذ له الأمان منه .فأجاره ثم لم يلبث أن مات سنة 107 هـ تقريبا، وقد تولى العراقين أيضاً ولده يزيد بن عمر بن هبيرة.

وفاته
توفي عمر بن هبيرة الفزاري عام 107 هـ وله من العمر نيف وخمسون سنة على قول أغلب المؤرخين وعرف عن عمر بن هبيرة انه من الولاة الذين أخلصوا للبيت الأموي، إلى جانب جرأته ودهائه وشجاعته بقبول النصح والمشورة.

المراجع

مصادر ووصلات خارجية
 سير اعلام النبلاء
 الموسوعة العربية
 الموسوعة الشاملة
 انساب الاشراف للبلاذري

أمويون في الحروب الإسلامية البيزنطية
أمويون في القرن 8
أميرالات العصور الوسطى
بنو غطفان
جنرالات عرب
سجناء ومعتقلون في الدولة الأموية
صفحات تحتاج تصنيف سنة الولادة
عرب في القرن 7
عرب في القرن 8
قادة عسكريون أمويون
مواليد القرن 7
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