Diese Liste enthält in Parma geborene Persönlichkeiten sowie solche, die in Parma gewirkt haben, dabei jedoch andernorts geboren wurden. Die Liste erhebt keinen Anspruch auf Vollständigkeit.

In Parma geborene Persönlichkeiten

Bis 1600
 Clemens III. (1020/30–1100), Gegenpapst
 Johannes von Parma (1208–1289), Generalminister des Franziskanerordens
 Guglielmo de' Rossi (1260/1270–1340), Condottiere und Podestà
 Marsilio de' Rossi (1287–1337), Condottiere und Herr von Parma, Lucca, Cremona und Fidenza
 Rolando de' Rossi (≈1287–1345), Condottiere und Podestà
 Giacomo de' Rossi (?–≈1370), Adeliger
 Giacomo de' Rossi (≈1363–1418), Bischof von Verona, Luni und Erzbischof von Neapel
 Pier Maria I. de' Rossi (1374–1438), Adeliger
 Filippo Maria de' Rossi (1465–1529), Condottiere und Graf von Corniglio
 Bernardo de' Rossi (1468–1527), Bischof von Belluno und Treviso
 Giorgio Mainerio (1530/40–1582), Komponist
 Camillo Procaccini (1561–1629), Maler
 Odoardo Farnese (1573–1626), Kardinal
 Paolo Torello (1576–1630), Erzbischof von Rossano
 Giovanni Lanfranco (1582–1647), Maler
 Sisto Badalocchio (1585–1647), Maler
 Nicolaus Zucchius (1586–1670), Astronom und Physiker

1601 bis 1800
 Marco Marazzoli (um 1602–1662), Sänger, Harfenist und Komponist des Barocks
 Odoardo I. Farnese (1612–1646), Sohn des Herzogs Ranuccio I. Farnese von Parma
 Alessandro Farnese (1635–1689), Prinz von Parma und Piacenza
 Artemio Motta (1661–?), Komponist
 Alessandro Galli da Bibiena (1686–1748), Architekt, Szenograph und Theater-Ingenieur
 Mauro D'Alay (um 1687 – 1757), Violinist und Komponist
 Fortunato Chelleri (1690–1757), Kapellmeister und Komponist
 Elisabetta Farnese (1692–1766), Königin von Spanien
 Giuseppe Galli da Bibiena (1696–1757), Bühnenbildner, Architekt, Theateringenieur und Maler
 Francesca Cuzzoni (1696–1778), Sopranistin
 Antonio Galli da Bibiena (1697/1698–1774), Dekorationsmaler und Architekt
 Gaetano Casanova (1697–1733), mutmaßlicher Vater von Giacomo Girolamo Casanova
 Antonio Besozzi (1714–1781), Oboist und Komponist
 Barbara Campanini (1721–1799), Ballett-Tänzerin
 Francesco Giovanni Scutellari Ajani (1742–1826), Geistlicher
 Gian Francesco Fortunati (1746–1821), Komponist und Kapellmeister
 Ignazio Nasalli-Ratti (1750–1831), Kardinal und Diplomat
 Maria Luise von Bourbon-Parma (1751–1819), Mitglied des Hauses Bourbon-Parma
 Ferdinand (1751–1802), Infant von Spanien
 Caroline von Bourbon-Parma (1770–1804), Mitglied des Hauses Bourbon-Parma
 Ferdinando Paër (1771–1839), Komponist
 Luigi Rados (1773–1840), Kupferstecher und Maler
 Ferdinando Orlandi (1774–1848), Komponist
 Paolo Toschi (1788–1854), Kupferstecher
 Pietro Rovelli (1793–1838), Violinist und Komponist
 Macedonio Melloni (1798–1854), Physiker
 Antonio Rolla (1798–1837), Violinvirtuose und Komponist

1801 bis 1900
 Giulio Cesare Ferrarini (1807–1891), Dirigent, Geiger und Musikpädagoge
 Antonio Carlo Napoleone Gallenga (1810–1895), Schriftsteller, Irredentist, Abgeordneter und Publizist
 Callisto Guatelli (1819–1899), Dirigent, Musikpädagoge und Komponist am osmanischen Hof
 Wilhelm Albrecht von Montenuovo (1821–1895), altösterreichischer General
 Italo Campanini (1845–1896), Operntenor
 Attilio Catelli (1845–1877), Librettist
 Lodovico Giraud (1846–1882), Operntenor
 Alicia von Bourbon-Parma (1849–1935), Großherzogin von Toskana
 Italo Azzoni (1853–1935), Komponist, Pianist, Dirigent und Musikpädagoge
 Roberto Mantovani (1854–1933), Geowissenschaftler und Violinist
 Luigi Bianchi (1856–1928), Mathematiker
 Vittorio Bottego (1860–1897), Afrikaforscher
 Paolo Pizzetti (1860–1918), Geodät, Astronom und Geophysiker
 Ferruccio Cattelani (1867–1932), Komponist
 Arturo Toscanini (1867–1957), Dirigent
 Fiorello Giraud (1870–1928), Operntenor
 Ildebrando Pizzetti (1880–1968), Komponist
 Charles Ponzi (1882–1949), Schwindler und Betrüger
 Eduardo Fornarini (1887–1967), Musikpädagoge und Komponist
 Louis J. Camuti (1893–1981), US-amerikanischer Tierarzt
 Erberto Carboni (1899–1984), Gebrauchsgrafiker, Architekt, Illustrator, Bühnenbildner und Maler

1901 bis 1950
 Italo Clerici (1901–1956), Schauspieler
 Paolo Dezza (1901–1999), Kardinal
 Giola Gandini (1906–1941), Malerin
 Attilio Bertolucci (1911–2000), Lyriker, Literaturkritiker und Übersetzer
 Lino Ventura (1919–1987), italienisch-französischer Filmschauspieler
 Renato Dardozzi (1922–2003), Kanzler der Päpstlichen Akademie der Wissenschaften
 Antonio Marchi (1923–2003), Regisseur
 Sebastiano Timpanaro (1923–2000), Klassischer Philologe, Essayist, Literaturkritiker und Marxist
 Enrico Medioli (1925–2017), Drehbuchautor
 Umberto Masetti (1926–2006), Motorradrennfahrer
 Mario Lanfranchi (1927–2022), Opern- und Filmregisseur
 Lydia Alfonsi (1928–2022), Schauspielerin
 Aldo Gandini (1928–2007), Radrennfahrer
 Alberto Michelotti (1930–2022), Fußballschiedsrichter
 Mario Campanacci (1932–1999), Tumororthopäde in Bologna
 Alberto Bevilacqua (1934–2013), Schriftsteller, Drehbuchautor und Filmregisseur
 Gian Paolo Dallara (* 1936), Automobilkonstrukteur
 Franco Gandini (* 1936), Bahnradsportler
 Vittorio Adorni (1937–2022), Radrennfahrer und Präsident der Profi-Radrennfahrer-Vereinigung
 Bruno Mora (1937–1986), Fußballspieler
 Franco Maria Ricci (1937–2020), Designer und Verleger
 Bernardo Bertolucci (1941–2018), Filmregisseur
 Franco Bonvicini (1941–1995), Comiczeichner
 Francesco Barilli (* 1943), Filmschaffender
 Attilio Concari (* 1944), Modefotograf und Filmregisseur
 Enrico Catuzzi (1946–2006), Fußballspieler und -trainer
 Tamara Baroni (1947–2022), Fotomodell und Schauspielerin
 Giuseppe Bertolucci (1947–2012), Regisseur und Drehbuchautor

Ab 1951
 Marco Bertolini (* 1953), General des italienischen Heeres
 Frank Michael (* 1953), belgischer Sänger
 Gino Lori (* 1956), Radrennfahrer
 Roberto Bonati (* 1959), Jazzmusiker
 Beppe Sebaste (* 1959), Schriftsteller, Dichter, Übersetzer und Journalist
 Carlo Lucarelli (* 1960), Schriftsteller
 Stefano Canuti (* 1961), Fagottist und Musikpädagoge
 Aldo Costa (* 1961), Ingenieur
 Scialpi (* 1962), Sänger
 Paolo Nori (* 1963), Schriftsteller
 Stefano Pioli (* 1965), Fußballspieler und -trainer
 Michele Pertusi (* 1965), Opernsänger
 Paolo Schianchi (* 1966), Architekt und Designer
 Matteo Visioli (* 1966), römisch-katholischer Geistlicher und Kanonist
 Enrico Bronzi (* 1973), Cellist
 Alessandro Fattori (* 1973), Skirennläufer
 Matteo Sereni (* 1975), Fußballtorhüter
 Andrea Belicchi (* 1976), Automobilrennfahrer
 Paolo Mori (* 1977), Spieleautor
 Manuela Manetta (* 1983), Squashspielerin
 Michele Benedetti (* 1984), Wasserspringer
 Andrea Guatelli (* 1984), Fußballspieler
 Ugochukwu Ukah (* 1984), nigerianischer Fußballspieler
 Caterina Fanzini (* 1985), Volleyballspielerin
 Daniele Dessena (* 1987), Fußballspieler
 Pietro Gandolfi (* 1987), Autorennfahrer
 Gian Marco Ferrari (* 1992), Fußballspieler
 Alberto Cerri (* 1996), Fußballspieler
 Tobia Bocchi (* 1997), Leichtathlet

Bekannte Einwohner von Parma
 Basinio Basini (1425–1457), neulateinischer Dichter und Humanist
 Fabrizio Dentice (um 1530 – 1581), Lautenist und Komponist
 Maria Luisa von Spanien (1782–1824), Königin von Etrurien
 Valerio Varesi (* 1959), Journalist und Krimi-Schriftsteller

Siehe auch
 Liste der Herrscher von Parma
 Liste der Bischöfe von Parma
 FC Parma: Ehemalige Spieler und Trainer

Parma
Person (Parma)

Liste von Persönlichkeiten der Stadt Parma


Paidia rica, l'Écaille gris-souris, est un papillon nocturne de la famille des Erebidae. Il a été décrit par Christian Friedrich Freyer en 1858. On le trouve dans le sud et le centre de l'Europe.

Description
Son envergure est de 28 à 33 millimètres. L'aile antérieure gris souris à gris brunâtre clair, avec deux lignes transversales de points bruns, et un petit point discal.

La sous-espèce fuliginosa, de la Sierra Nevada (Espagne) est un peu plus foncée avec des dessins plus prononcés à l'aile antérieure.

La sous-espèce lusitanica du nord du Portugal, décrite par Patrice Leraut a les dessins noirs très accentués sur l'aile antérieure, le thorax est également plus foncé.

Biologie
La période de vol se situe de juin à août en une génération par an.

Les chenilles se nourrissent d'algues (notamment des espèces de Pleurococcus) et de lichens.

Sous-espèces

 Paidia rica rica
 Paidia rica fuliginosa Reisser, 1928
 Paidia rica lusitanica Leraut, 2006

Notes et références

Liens externes

Erebidae

Paidia rica


Les élections législatives croates de 2003 (en croate : Hrvatski parlamentarni izbori 2003) se tiennent le dimanche , afin d'élire les 151 députés de la  législature du Parlement pour un mandat de quatre ans.

Élections législatives en Croatie
Élection en Europe en 2003
2003 en Croatie
Politique en novembre 2003

Élections législatives croates de 2003


Hombori Tondo (en francés: Monts Hombori) es un macizo montañoso situado en una extensión del acantilado de Bandiagara, en la región de Mopti, en el país africano de Malí, cerca de la aldea de Hombori a unos 150 km de la ciudad de Douentza. Su punto culminante se encuentra a 1.155 metros, se llama Hombori Tondo y es el pico más alto de Malí.

Es un sitio arqueológico. Varias cuevas fueron habitadas hace 2000 años. La población actual de los montes Hombori es principalmente étnicamente de los Songhai y Dogon.

Véase también
 Geografía de Malí
 Geografía de África

Referencias

Enlaces externos
Información sobre las montañas y cuevas

Montañas de Malí
Cuevas de Malí
Puntos más altos de los países de África

Hombori Tondo


Insurecția națională slovacă (în , prescurtat SNP) este denumirea folosită pentru o revoltă militară a unei părți a armatei slovace împotriva ocupației Slovaciei de către Wehrmacht începând cu 29 august 1944, precum și împotriva regimului colaboraționist slovac al Partidului Popular Slovac sub conducerea lui Jozef Tiso.

În perioada postbelică, mai multe entități politice au încercat să-și asume meritele pentru organizarea insurecției, în special comuniștii. Regimul stalinist din Cehoslovacia au prezentat insurecția ca fiind inițiată și condusă de forțele comuniste. Ultranaționaliștii slovaci, în schimb, au susținut că insurecția a fost un atac la adresa națiunii slovace, unul dintre obiectivele insurecției a fost desființare statul slovac și recrearea Cehoslovaciei, stat în care slovacii erau dominați de cehi. În realitate, multe facțiuni au participat la insurecție printre care Armata slovacă, rezistența democratică și partizanii comuniști.

Referințe

Răscoale în Europa
Istoria Slovaciei

Insurecția națională slovacă


Laura Slade Wiggins (* 8. August 1988 in Athens, Georgia) ist eine US-amerikanische Schauspielerin und Musikerin.

Leben
Im Alter von acht Jahren stand Wiggins für Theaterproduktionen in ihrer Heimatgemeinde Athens in Georgia auf der Bühne. 2006 debütierte sie im US-amerikanischen Fernsehen in der Fernsehproduktion Not Like Everyone Else. 2007 war sie in ihrer ersten Hauptrolle in der US-amerikanischen Produktion Girl, Positive an der Seite von Andrea Bowen und Jennie Garth zu sehen. In den folgenden Jahren hatte sie Gastauftritte in den US-Serien CSI: Den Tätern auf der Spur, Private Practice, Intelligence sowie Eleventh Hour – Einsatz in letzter Sekunde.

Von Januar 2011 bis April 2013 war Wiggins in Shameless, der US-Adaption der britischen Fernsehserie zu sehen, die beim US-amerikanischen Kabelsender Showtime ausgestrahlt wird. An der Seite von William H. Macy und Joan Cusack verkörpert sie darin die Rolle der Karen Jackson.

Neben der Schauspielerei widmet sich Wiggins auch der Musik. So spielt sie  Akustik- und Bassgitarre in ihrer Band Dawn Soir. Darüber hinaus veröffentlicht sie unter dem Pseudonym Clementine auch eigene Songs, wie etwa "For All I Care" im Jahr 2011.

Filmografie (Auswahl)
 2006: Not Like Everyone Else (Fernsehfilm)
 2007: Girl, Positive (Fernsehfilm)
 2008: Dance of the Dead
 2008: Eleventh Hour – Einsatz in letzter Sekunde (Fernsehserie, Episode 1x09)
 2010, 2014: CSI: Vegas (Fernsehserie, 2 Episoden)
 2011: Private Practice (Fernsehserie, Episode 4x18)
 2011–2013: Shameless (Fernsehserie, 30 Episoden)
 2012: The Finder (Fernsehserie, Episode 1x07)
 2013: Perception (Fernsehserie, Episode 2x04)
 2013: The Cheating Pact
 2013–2014: The Tomorrow People (Fernsehserie, 5 Episoden)
 2014: The Ganzfeld Possession (The Ganzfeld Haunting)
 2014: Hard Drive
 2014: Law & Order: Special Victims Unit (Fernsehserie, Episode 15x05)
 2014: Intelligence (Fernsehserie, Episode 10x01)
 2014: Meine Freundin Ana (Starving in Suburbia, Fernsehfilm)
 2017: Rings
 2017: Chicago P.D. (Fernsehserie, Episode 4x17)
 2017: Cradle Swapping (Fernsehfilm)
 2017: Jax in Love (Kurzfilm)
 2019: Nancy Drew and the Hidden Staircase
 2019: Boo (Kurzfilm)
 2019: Along Came the Devil 2
 2019: Stand!
 2020: InstaPsycho (Fernsehfilm)
 2020: The Trap Door at the Edge of the Universe

Weblinks

Einzelnachweise

Musiker (Vereinigte Staaten)
Filmschauspieler
US-Amerikaner
Geboren 1988
Frau

Laura Slade Wiggins


Hematite bezeichnet mehrere

Orte in den Vereinigten Staaten:
 Hematite (Missouri)
 Hematite (Tennessee)
 Hematite (Virginia)
 Hematite (Wisconsin), im Florence County
 Hematite Township, Michigan

Hematite


Kicelj je brdo i naselje unutar Grada Tuzle. Također je reguliran kao prirodna baština ruralnog dijela općine Tuzle. Pod zaštitom je države. Zaštićen je kao zaštićeni krajobraz.
Duž Kicelja pruža se ulica istog imena u pravcu sjever - jug. Okružuju ga Tušanj i Dragodol, Rovine, Kojšino, Borić, Slatina i Džafer mahala. Zapadno su rudnik soli a s istoka prema Boriću crpna postaja Kojšino i Institut GIT.

U prošlosti je do polovice 20. stoljeća top s Kicelja označavao vrijeme iftara. 2014. godine vraćena je tradicija i od tad top opet označava početak ramazana. Odlučeno je da će se tijekom mjeseca mubareka top premještati na više lokacije te će se oglasiti s naselja na brdima koja okružuju grad, tj. na Ilinčicu, Debelo Brdo i Borić.

S Kicelja se pruža lijep pogled prema ostatku grada, od zapadnog do istočnog dijela. Omiljeno je odredište posjetitlejima. Asfaltni put vodi do vrha. Zbog čestih posjeta i predivna pogleda javljaju se prijedlozi za izgradnju vidikovca.

Izvori

Vanjske poveznice
Facebook Tuzla - grad i ljudi: na brdu Kicelj zajednički iftar i druženje sa mladima Franjevačkog samostana u Tuzli, koji su donijeli hranu i piće. 11. svibnja 2019.

Tuzla
Zaštićena područja u BiH

Kicelj


Catedral o Iglesia de Nuestra Señora del Rosario podría referirse a:
 Catedral Nuestra Señora del Rosario de Azul, Azul, Argentina.
 Basílica Catedral de Nuestra Señora del Rosario, Rosario, Argentina.
 Catedral de Nuestra Señora del Rosario, Chittagong, Bangladés
 Catedral de Nuestra Señora del Rosario, Itabira, Brasil
 Catedral de Nuestra Señora del Rosario, Facatativá, Colombia
 Catedral de Nuestra Señora del Rosario de Girardota, Girardota, Colombia.
 Catedral Basílica Nuestra Señora del Rosario de Manizales, Manizales, Colombia.
 Catedral de Nuestra Señora del Rosario, Kisangani, República Democrática del Congo
 Catedral de Nuestra Señora del Rosario, Puyo, Ecuador
 Catedral de Nuestra Señora del Rosario, Duluth, Estados Unidos
 Catedral de Nuestra Señora del Rosario de San Bernardino, San Bernardino, Estados Unidos.
 Catedral Nuestra Señora del Rosario de Estelí, Estelí, Nicaragua.
 Catedral Nuestra Señora del Rosario de Bluefields, Bluefields, Nicaragua.
 Catedral de Nuestra Señora del Rosario (Tacna), Tacna, Perú.

Catedral de Nuestra Señora del Rosario


Der Satz von Löb ist ein Ergebnis der mathematischen Logik, das von Martin Löb 1955 bewiesen wurde. Er besagt, dass in einer Theorie T, die bestimmte einfache Eigenschaften erfüllt und die Beweisbarkeit in T repräsentieren kann, für jede Formel P die Aussage "wenn P beweisbar ist, dann P" nur dann beweisbar ist, wenn P beweisbar ist. Formal:

wenn , dann

wobei  bedeutet, dass die Formel P in T beweisbar ist. (#P ist der der Gödelnummer von P zugeordnete Term.) Die Voraussetzungen des Satzes sind in allen hinreichend mächtigen mathematischen Theorien wie der Peano-Arithmetik und der Zermelo-Fraenkel-Mengenlehre erfüllt.
Der Satz spielt eine wichtige Rolle in der Beweisbarkeitslogik.

Beweis

Voraussetzungen
Anstatt Beweisbarkeit in einer bestimmten Theorie zu betrachten, lässt sich der Satz von Löb ausgehend von wenigen abstrakten Eigenschaften von Beweisbarkeit zeigen. Ein Prädikat B heißt Beweisbarkeitsprädikat für eine Theorie T, wenn es für alle Formeln  folgende drei Bedingungen erfüllt:
 Wenn , dann

Es lässt sich zeigen, dass eine Standard-Repräsentation der Beweisbarkeit in einer Theorie wie der Peano-Arithmetik oder der Mengenlehre diese drei Anforderungen erfüllt und somit ein Beweisbarkeitsprädikat ist.

Sei nun T eine Theorie, die folgende Eigenschaften hat:
 T besitzt ein Beweisbarkeitsprädikat B.
 Diagonalisierung: In T hat jede Formel mit freier Variable einen Fixpunkt im folgenden Sinne: Ist  eine Formel mit freier Variable x, dann gibt es eine Formel , sodass gilt: , das heißt,  hat die intuitive Bedeutung "Ich habe die Eigenschaft ."

Beweis
Mit den angegebenen Voraussetzungen lässt sich der Satz von Löb wie folgt beweisen:

 Sei  eine Formel mit
 Durch Diagonalisierung erhält man aus der Formel  eine Formel  mit
 Wegen Axiom 1 ist
 Wegen Axiom 2 ist
 Aus 3 und 4 folgt:
 Wegen 2 und Axiom 2 ist:
 Aus 5 und 6 folgt:
 Wegen Axiom 3 gilt:
 Aus 7 und 8 folgt:
 Aus 1 und 9 folgt:
 Aus 2 und 10 folgt:
 Wegen Axiom 1 ist:
 Aus 10 und 12 folgt nun:

Anwendungen
 Ein Henkinsatz ist ein Satz, der seine eigene Beweisbarkeit ausdrückt. Der Satz von Löb zeigt, dass jeder Henkinsatz (insofern beweisbar ist, dass er ein solcher ist) beweisbar ist. Denn wenn  ein Henkinsatz ist, gilt , also nach dem Satz von Löb .
 P ist ein Wahrheitsprädikat, wenn für alle Formeln  gilt: . Es lässt sich leicht zeigen, dass P auch ein Beweisbarkeitsprädikat für T ist. Nach dem Satz von Löb gilt dann für alle Formeln :  und T ist inkonsistent. Also besitzt keine konsistente Theorie ein Wahrheitsprädikat.
 Der zweite gödelsche Unvollständigkeitssatz besagt, dass ein hinreichend starkes und konsistentes formales System die eigene Konsistenz nicht beweisen kann. Dies lässt sich wie folgt aus dem Satz von Löb folgern. Angenommen  beweist die eigene Konsistenz, d. h. . Dies ist äquivalent zu . Nach dem Satz von Löb ist somit  und  ist inkonsistent.

Literatur

Weblinks
 Satz von Löb bei PlanetMath
 The Cartoon Guide to Löb's Theorem, von Eliezer Yudkowsky

Einzelnachweise

Lob
Mathematische Logik

Satz von Löb


Ahmet Fatin Zorlu (20 Nisan 1910, İstanbul – 16 Eylül 1961, İmralı), Türk siyasetçi ve diplomattır. 1957-1960 yılları arasında Türkiye Cumhuriyeti Dışişleri Bakanı olarak görev aldı. Bundan önce ise 1954-55 yılları arasında Başbakan Yardımcılığı yaptı. 27 Mayıs Darbesi sonrası başlatılan Yassıada Yargılamaları sonrası Başbakan Adnan Menderes ve Maliye Bakanı Hasan Polatkan ile birlikte İmralı adasında idam edildi.

Yaşamı
Fatin Rüştü Zorlu'nun dedesi Rus İbrahim Paşa Osmanlı'ya sığınınca Yusufelili Zor Derebeyi Ali Paşa'nın kızıyla evlendirildi. Zorlu soyisminin kaynağı buradan gelmektedir. Fatin Rüştü Zorlu, II. Abdülhamid devri Mirlivası İbrahim Rüştü Bey ve Hatice Güzide Hanım'ın en küçük çocukları olarak 20 Nisan 1910 tarihinde İstanbul'da
dünyaya geldi. Demokrat Parti (DP) iktidarı döneminde başbakan yardımcılığı, devlet bakanlığı ve dışişleri bakanlığı yaptı, 27 Mayıs Darbesi'ni gerçekleştiren Millî Birlik Komitesi tarafından atanan yargıçlardan oluşan "Yüksek Adalet Divanı" tarafından idama mahkûm edildi.

Galatasaray Lisesi'ni, Paris Politik Bilimler Enstitüsü'nü ve Cenevre Üniversitesi Hukuk Fakültesi'ni bitirdi. 30 Ağustos 1934 tarihinde Atatürk'ün de hazır bulunduğu nikâhla dönemin Dışişleri Bakanı Tevfik Rüştü Aras'ın kızı Emel Hanım'la evlendi ve 1936 yılında kızı Sevin doğdu. 1936 Montrö konferansına katıldı. Paris ve Kuybişef maslahatgüzarlığı, merkez şifre müdürlüğü yaptı. 1932'den başlayarak Dışişleri Bakanlığı'na bağlı çeşitli görevlerde bulunduktan sonra 1951'de Ekonomik İşbirliği Teşkilatı genel sekreteri oldu. 1952'de büyükelçiliğe yükselerek Kuzey Atlantik Antlaşması Teşkilatı'nda Türkiye daimi temsilciliğine getirildi. 1959 yılında Adnan Menderes'le beraber, Bilderberg toplantısına katıldı.

Siyasal yaşama atıldığı 1954'te, ardından 1957'de Demokrat Parti'den Çanakkale Milletvekili seçildi. Adnan Menderes hükûmetlerinde başbakan yardımcılığı, devlet bakanlığı ve dışişleri bakanlığında bulundu. 1957 yılında Kıbrıs Türkleri'ni EOKA terörüne karşı korumak için Türk Mukavemet Teşkilatı'nın kurulmasını sağladı. Dışişlerinde güttüğü politika NATO'ya bağlılığa dayanmakla birlikte, Türkiye'nin ekonomik büyümesi için Amerika'dan azami miktarda mali kaynak sağlamaya yönelikti. 1974'te Bülent Ecevit'in başbakanlığı döneminde TSK tarafından gerçekleştirilen Kıbrıs Harekâtı'nın hukuki dayanağı, Fatin Rüştü Zorlu'nun 11 Şubat 1959'da İsviçre'de Yunanistan ve Birleşik Krallık ile birlikte imzaladığı Zürih Antlaşması'ndaki Garantörlük hükmüdür.

İdamı
1960 yılında 27 Mayıs Darbesi'nden sonra diğer hükûmet üyeleri ve DP yöneticileriyle birlikte tutuklanarak, yeni oluşturulan "Yüksek Adalet Divanı" tarafından Yassıada'da yargılandı. Bu mahkeme 14 sanıkla birlikte Fatin Rüştü Zorlu'yu da idam cezasına çarptırdı. Cezası, Adnan Menderes ve Hasan Polatkan'ınki ile birlikte, askerî müdahaleyi gerçekleştiren MBK tarafından onaylandı. 16 Eylül 1961'de idam edilerek hayatına son verildi. İdama büyük bir metanetle gitmiştir. Yassıada komutanı Tarık Güryay'ın anılarında bu olaya şu şekilde yer vermiştir:

Zorlu, ölüme gerçekten zorlu bir metanetle gitti. O kadar ki, hatta mahut gömleğin üzerine giydirilişinden sonra, kendisine dini telkinde bulunan hocanın, Arapça kelimeleri telaffuzda düştüğü hataları düzeltti. Kollarını arkadan bağlarken, başsavcıya son bir ricada bulundu. Ellerinin önden bağlanmasını istedi. Fakat bunun kanunen imkânsızlığı kendisine anlatıldı. İdam sehpasına, öz dedesi Gazi Osman Paşa'nın adına yazılan marş eşliğinde gitmiştir. Beraberce sehpaya doğru yürüdük. Ne masaya ne de masa üzerindeki sandalyeye çıkarken yardım istedi. Hatta heyecandan eli titreyen cellâda: "Oğlum ne titreyip duruyorsun? İlmik senin değil, benim boynuma geçecek" dedi. Sonra adetâ kendisini uçsuz bucaksız bir boşluğa atar gibi: "Allah memleketi korusun, haydi Allahısmarladık!" dedikten sonra, ayaklarının altındaki sandalyeyi itmek işini de kimseye bırakmadı. Boyu uzun olduğu için, ayakları masaya basmıştı. Cellât masayı itti. Ona bu kadarcık da iş düşmüş bulunmasaydı, Zorlu sanki asılmış değil, intihar etmiş olacaktı.

Fatin Rüştü Zorlu idamından hemen önce ailesine yazdığı mektup şöyledir:

Cenazesi, ölümünden 29 yıl sonra, 17 Eylül 1990'da İmralı Adasındaki mezarından alınarak İstanbul'da yaptırılan Anıt Mezar'a nakledildi.

Aldığı ödül ve madalyalar
  Yükselen Güneş Nişanı Yüce Kordonu (1958)

Kaynakça

Dış bağlantılar

 Sayın Fatin Rüştü Zorlu'nun Özgeçmişi(1912 -1960) (MFA)

1910 doğumlular
1961 yılında ölenler
Türkiye Cumhuriyeti Devlet Bakanları
Galatasaray Lisesinde öğrenim görenler
Paris Üniversitesinde öğrenim görenler
Asılarak idam edilmiş kişiler
TBMM 10. dönem Çanakkale milletvekilleri
TBMM 11. dönem Çanakkale milletvekilleri
Demokrat Parti (1946) mensubu siyasetçiler
20. yüzyıl Türk siyasetçileri
Almanya Federal Cumhuriyeti Liyakat Nişanı sahipleri
İstanbul doğumlu siyasetçiler
İdam edilmiş Türkler
Türkiye tarafından idam edilmiş kişiler
İdam edilmiş siyasetçiler
İtibarı iade edilen kişiler
Topkapı Mezarlığı'na defnedilenler
Paris Siyasi Bilimler Akademisinde öğrenim görenler
Yükselen Güneş Nişanı sahipleri

Fatin Rüştü Zorlu


وجنات الرهبيني (28 أغسطس 1951 -)، ممثلة سعودية.

عن حياتها
ولدت ونشأت في مدينة جدة ويعود أصلها إلى مدينة المحلة الكبرى في مصر لكن جدها استقر في مكة، تعتبر من أوائل الممثلات السعوديات حيث بدأت في عام 1978 خلال مسلسل بعنوان «قناديل رمضان» مع الفنان أحمد قنديل. واستمرت بالعمل الفني خلال الأعمال الإذاعية والتلفزيونية. شاركت في السينما خلال فيلم «شعلة لا تنطفئ»، اشتهرت خلال سهرة تلفزيونية حملت عنوان «الإيدز» مع الفنان عبد الله السدحان وناصر القصبي وذلك عام 1985، ثم شاركت في مسلسل طاش ما طاش بموسمه السادس واشتهرت بشخصية «أم علي»، استمرت بالعمل الفني بعملها بالعديد من الأعمال الفنية مابين السعودية ودول الخليج.

أعمالها

المسلسلات
 1978: قناديل رمضان.
 1978: بائع الأكاذيب.
 1985: الإيذز.
 1997: إلى من يهمه الأمر.
 1998 - 2009: طاش ما طاش.
 2000: خلف خلاف.
 2001: عائلة خاصة جدأ.
 2001: إلى من يهمه الأمر.
 2001: قلوب من ورق.
 2001: حكاية على جدران الزمن.
 2002: وينك يا درب الغنيمة.
 2002: عائليات.
 2004: أبو العصافير.
 2005: عندما تغيب الحقيقة.
 2005: أخواني أخواتي.
 2006: ماكو فكة.
 2008: دار الزمن.
 2008: يا ناس يا هوه.
 2010: بيني وبينك - الجزء الرابع.
 2012: سكتم بكتم - الجزء الثالث.
 2012: حبر العيون.
 2012: طيش عيال - رسوم متحركة.
 2012: ألو مرحبا.
 2013: أبو الملايين.
 2016: حارة الشيخ.
 2017: سناب شاف.
 2019: سريع سريع.
 2020: مليار ريال.
 2020: بركات.
 2021: وش تبي بس ضيفة الحلقات
 2023: طاش العودة.
 2023: قرت عينك.

الأفلام
 شعلة لا تنطفئ.

روابط خارجية

المراجع

أشخاص على قيد الحياة
سعوديون من أصل مصري
ممثلات سعوديات
ممثلات تلفزيون سعوديات
مواليد 1370 هـ
مواليد 1951

وجنات الرهبيني


Ålandsrörelsen var den politiske bevægelse, som kæmpede for Ålands forening med Sverige. Bevægelsens ledende personer var Julius Sundblom og Carl Björkman.

Frem til Finske krig og Freden i Fredrikshamn i 1809 regnedes Åland ikke til Finland. Ud over de seks landskaber, som ansås at være dele af Finland, overdroges Åland, som frem til da var regnet som en del af Svealand og Östra Norrland, til Rusland. Frem til Finlands selvstændighed i 1917 ansås den svensktalende befolkning på Åland for at være "expatrierade sverigesvenskar".

Baggrund

Ålandsspørgsmålet opstod under 1. verdenskrigs afsluttende tid. Åland havde været demilitariseret og neutraliseret siden Krim-krigen (freden i Paris (1856)) for at undgå russisk hegemoni i Østersøen. Under 1. verdenskrig var, trods dette, russiske tropper blevet stationeret på øerne. Da Zarrusland efter Februarrevolutionen i 1917 begyndte at falde fra hinanden, udvikledes Ålandsrörelsen, som virkede for Ålands frigørelse fra Rusland og genforening med Sverige.

Den 20. august 1917 samledes repræsentanter fra alle Ålands landsognekommuner på Ålands folkhögskola i Finström på initiativ af Carl Björkman og Johannes Eriksson for en hemmelig forhandling. Julius Sundblom deltog i mødet som repræsentant for Mariehamns bystyre. På mødet besluttede man, at Åland skulle ansøge om genforening med Sverige. En deputation bestående af Julius Sundblom, Carl Björkman, Johannes Eriksson og Gösta Lindeman valgtes for at fremsætte mødets hemmelige beslutning til den svenske konge og regeringen.

Afrejsen blev dog forsinket, og deputationen ankom først den 27. januar 1918 til Stockholm. Med sig havde deputationen en underskriftindsamling til støtte for kravet om genforening med Sverige underskrevet af 7.097 ålændinge (modsvarende 96% af den myndige befolkning).

"Finland frit og Åland svensk"

Inden afrejsen til Sverige havde Julius Sundblom i december 1917 som redaktør för Tidningen Åland formulerat Ålandsrörelsens devise "Finland fritt och Åland svenskt". I begyndelsen framstår Julius Sundblom som den mest betænkelige ved ålændingenes ønske om en genforening med Sverige, men i takt med, at frygten for en forfinskning af øerne voksede sig stadig større, blev han overbevist om at indtræde i rørelsen og blev dens samlende person.

Den finske borgerkrig

Efter Finlands selvstændighed og den Finske borgerkrigs udbrud i slutningen af januar 1918 blev situationen på Åland kompliceret, da soldater fra den tidligere zarrussiske hær fortsat fandtes på øen. Soldaterne forventedes at være loyale med den røde side i borgerkrigen, mens ålændingene overvejende sympatiserede med den hvide side. Julius Sundblom blev tvunget til at gå under jorden og kunne ikke vende tilbage til Åland inden Valborgsaften samme år. Under krigen virkede medlemmer i Ålandsrörelsen for, at Sverige skulle besætte Åland og spredte (antagelig bevidst) oplysninger om, at soldaterne begik grove overgreb mod den ålandske civilbefolkning. Dette resulterede i den svenske Ålandsekspedition i 1918, som dog snart fandt, at oplysningerne var kraftigt overdrevne. I slutningen af februar udbrød imidlertid kampe mellem den hvide Nystadskåren og en rød garde understøttet af russiske soldater. Den svenske ekspedition formidlede mellem de stridende parter, og den 21. februar blev i Mariehamn indgået en fredsaftale. Ifølge aftalen skulle Åland rømmes af både de russiske og de finske tropper. Efter, at den hvide regering i Finland havde anmodet om hjælp fra Tyskland, ankom den 5. marts tyske tropper til Åland, hvorpå de svenske tropper begyndte at forlade Åland. De tyske soldater erstattedes i begyndelsen af september 1918 af regulære finske soldater, som forblev på Åland til slutningen af januar 1922.

Ålands län oprettes

Fra finsk side var man ikke rede til at imødekomme ålændingenes krav om forening med Sverige men ville beholde Åland ved at give øgruppen en vis grad af selvstyre inden for Finlands grænser. En uofficiel Ålands-kommité oprettedes for at finde en kompromisløsning i Ålandsspørgsmålet. Det første skridt blev at udskille Åland fra Åbo og Björneborgs län og dermed overføre en del af beslutningsretten til Åland og lægge grunden for et selvstyre. Den 13. juni 1918 besluttede Finlands senat at udskille Åland fra Åbo och Björneborgs län og dermed skabtes Ålands län. Hjalmar von Bondsdorff blev Ålands første landshövding og militærguvernør.

Konflikten med Finland

Efter at de svenske tropper havde forladt Åland, og Ålands län var blevet oprettet, var der atter en tvivl om, hvad der var den bedste løsning for Åland. I Sverige gjorde blandt andet søforsvarsministeren Erik Palmstierna sig til talsmand for, at Sverige skulle gribe militært ind for at få Finland til at afstå Åland. Efter et besøg hos Erik Palmstierna i Stockholm besluttede Julius Sundblom at oprette et ålandsk landsting for at repræsentere Åland. Landstinget oprettedes, og triumviratet Björkman – Eriksson – Sundblom blev sat i spidsen for Ålandsrörelsen og for det ålandske styre under et par årtier frem.

Landstinget var ulovligt, og Ålands landshövding Hjalmar von Bonsdorff udtalte trusler mod separatistlederne. Konflikten med von Bonsdorff handlede også om censur, idet Sundblom nægtede at lade de finske repræsentanter diktere hvad, der skulle trykkas i avisen. Også Finlands statsminister Rafael Erich kom till Åland for at tale med øboere, som ikke ville have selvstyre. I december 1918 krævede Sveriges regering, at en ålandsk folkeafstemning skulle afholdes, hvorved spørgsmålet om nationalt tilhørsforhold skulle afgøres. Den finske regering afvise kravet, efter som det finske standpunkt var, at Åland er en del af Finland. Den 30. december 1918 enedes Sverige, Finland og Tyskland om at fjerne forsvarsanlæggene fra den russiske tid.

Under andet halvår 1918 rejste en ålandsk delegation runt i Europa for at vække international opinion for Ålands tilslutning til Sverige. I januar 1919 rejste en tremandsdeputation bestående af Erikson, Sundblom og Johan Jansson til fredsforhandlingerne i Versailles for at fremlægge ålændingenes sag. Ved hjemkomsten til Åland i marts 1919 publicerede delegaterne et manifest, som støtter forening med Sverige. Det finske senat afviste den 11. juni 1919 Sveriges anmodning om en folkeafstemning. Den 19. juni svarede Sveriges regering - med henvisning til den nationale selvbestemmelsesret, at ålændingene selv skulle tillades at vælge. Det svenske standpunkt er, at spørgsmålet skulle afgøres i forbindelse med fredskonferencen i Versailles.

Konflikten med Finland optrappedes efterhånden Fra finsk side tilbød man ålændingene udvidet selvstyre inden for Finlands grænser ved selvstyreloven, som blev vedtaget i Finlands riksdag 1920. Det udvidede selvstyre blev kategorisk afvist af ålændingene. Den finske regeringens svar blev at udstede en arrestordre på Björkman, Eriksson og Sundblom, anklagede for højforræderi. Da Eriksson befandt sig i Stockholm, kunne kun Björkman og Sundblom arresteres. Efter fem uger i fængsel blev de tiltalte frigivne indtil videre, men dommen den 2, september blev fældende. Efter stærkt internationalt pres benådes de begge af regeringen i oktober, efter fem måneder i fængsel og fældende domme i Åbo hovrätt og i Högsta Domstolen (højesteret).

Folkeforbundet afgør Ålandsspørgsmålet

Den britiske regering opfordrede Folkeforbundet at behandle Ålandsspørgsmålet. En international juristkommission nåede frem til, at demilitariseringsaftalen fra 1856 fortsat gjaldt, og at Folkeforbundet var kompetent at afgøre spørgsmålet.

Løsningen på Ålandsspørgsmålet, som tillige kaldes Ålandsmodellen, var et kompromis, hvor ingen af de tre parter i konflikten, Finland, Sverige og Åland blev helt tilsidesatte. Den 24. maj 1921 tilkendte Folkeforbundets råd ved sit møde i Genève Finland suveræniteten over øerne, Sverige garanteredes at øerne skulle forblive demilitariserede, og Åland fik sit selvstyre. Finland måtte også garantere ålændingene at beholde deres svenske sprog og kultur. Sverige accepterede beslutningen under protest. Efter Folkeforbundets beslutning accepterede også ålændingene det selvstyre, som Finland havde tilbudt Åland, hvilket i praksis indebar afslutningen for Ålandsrörelsen og tanken om genforening med Sverige.

Den 9, juni 1922 sammentrådte Ålands landsting til sit første plenum. Dermed overtog landstinget lovgivnings- og forvaltningsretten på flere områder fra den finske stat og Ålands län. Ålændingene kaldte sin autonomi inden for Finland for Ålands selvstyrelse og den 9. juni blev der efter Ålands selvstyredag. Trods modgangen i Folkeforbundet var ålændingenes tillid til Julius Sundblom ubrudt, og ved de første landstingsvalg i maj 1922 fik oppositionen kun et mandat. Julius Sundblom valgtes til Ålands landstings formand, Johannes Eriksson blev viceformand og Carl Björkman blev Ålands første lantråd.

Noter

Litteratur

Eksterne henvisninger

Ålandsøerne
Finlands historie
Sveriges historie

Ålandsrörelsen


Rolf Johan Stommelen (Siegen, Njemačka, 11. srpnja 1943. – Riverside, Kalifornija, SAD, 24. travnja 1983.) je bivši njemački vozač automobilističkih utrka.

Njemački vozači Formule 1

Rolf Stommelen


Clericó es una adaptación del inglés Claret Cup. Claret Cup es un cóctel o ponche (dependiendo de la proporción de bebida alcohólica que uno quiera utilizar) que fue inmensamente popular entre los británicos durante los años 1800. Si bien fue decayendo en los países angloparlantes, su elaboración pervive como tradición en Argentina, Uruguay y Paraguay. Se trata de un bebida a base de vino tinto y frutas. Se elabora especialmente en los días de verano, sobre todo con motivo de las fiestas de fin de año (Navidad y Año Nuevo).

Historia
Claret era la forma en que los ingleses llamaban al vino clarete, un vino tinto ligero de Bordeaux. En las colonias británicas de la India, los marineros de la Compañía Británica de las Indias Orientales mezclaban clarete con hielo y frutas para refrescarse durante las jornadas calurosas. Luego llevaron esta receta a Inglaterra, país en el que llegó a gozar de una gran popularidad en el , convirtiéndose en el ponche preferido de las fiestas. Desde allí, la bebida fue introducida en Argentina y Uruguay por la inmigración británica y su nombre se adaptó a la grafía castellana como clericó, arraigándose como tradición. Cuando se prepara para ser servido en comunidad (por ejemplo, en familia), se elabora como ponche, es decir, se espera que este tenga un contenido de alcohol más bajo que el cóctel típico. Para su elaboración y presentación se utiliza una ponchera (punch bowl), un recipiente de boca grande que en Argentina es típicamente de cristal tallado y es común que las familias lo tengan en exhibición en el comedor formal durante el resto del año, rodeado de sus tazas de cristal a juego.

Claret Cup o clericó fue el precursor del cóctel Pimm's Cup, preparado con el licor a base de ginebra Pimm's No. 1. La gran popularidad que adquirió Pimm's Cup desplazó en el Reino Unido al Claret Cup. Pimm's se hizo muy popular en Gran Bretaña a partir de 1920 y se conoció internacionalmente a partir de la Segunda Guerra Mundial. Hoy en día, Pimm's Cup es el cóctel veraniego inglés por excelencia, se sirve en gran cantidad de hoteles alrededor del mundo y es el característico del Campeonato de tenis de Wimbledon, lugar donde se inauguró el primer Pimm's Bar en 1971. Actualmente, los supermercados de Gran Bretaña también venden bebidas más económicas que imitan a Pimm's No.1 para la gente que desea preparar este cóctel a menor valor. Es común que estas otras botellas busquen llamar la atención de los consumidores con etiquetas que muestran la Bandera del Reino Unido, o mencionando hasta dos veces que son británicas, exagerando su carácter nacionalista. También suelen indicar en letras grandes que son para preparar el típico "Summer Cup", una forma genérica de hacer alusión al cóctel Pimm's Cup.

Características
Dado que suele ser elaborado para las fiestas de fin de año en las que se reúne la familia, comúnmente es una clase de ponche (un poco menos de alcohol que el cóctel).

Se puede preparar empezando por una ensalada de frutas, por ejemplo con naranja, manzana, durazno y/o fresa, a la que luego se le agrega un poco de azúcar, se mezcla bien y se deja reposar para que las frutas segreguen su jugo. Después se vierte el vino tinto, tras el cual pueden agregarse una o varias otras bebidas alcohólicas en combinación (Bordeaux rosé, vino blanco, brandy, sidra y/o champagne, etc.), incluso se puede agregar agua carbonatada y hielo, y el clericó está listo. Generalmente se evita incluir sandía entre las frutas, con base en un mito urbano que sostiene que la combinación de vino con sandía tiene efectos letales. Ya a un nivel más popular, también es posible experimentar con bebidas carbonatadas como Fanta, Sprite, Coca Cola o Pepsi.

En inglés, una variante a base de vino blanco que no llevara ni un poco de vino tinto ya no sería referida como Claret Cup (dado que justamente ya no contendría claret, es decir, vino tinto), mencionándose simplemente como un white wine punch, es decir, un ponche de vino blanco. Sin embargo, la adaptación castellana "clericó" camufló su etimología, por lo que algunas personas podrían estar preparando un ponche de sidra o vino espumoso y aun así creer que se trata de una variante de clericó (cuando sólo se trata de una variante de ponche). El punto radica en que clericó no es un sinónimo de ponche, sino sólo un tipo de ponche (que lleva vino tinto). Por tanto, si no lleva vino tinto, no es Claret Cup o clericó.

En otros países

En España existe una bebida muy similar llamada sangría, si bien allí no se sirve desde punch bowls o poncheras, sino que se presenta en jarras de vidrio. Aun así, el registro más antiguo del origen de la sangría se remonta al año 1788, cuando el padre español Esteban Torres escribió en su diccionario del castellano que la sangría era una "bebida inventada por los ingleses que se toma mucho en las colonias inglesas y francesas de América".

Por su cercanía con Argentina, Paraguay también ha adoptado el clericó (y con ese mismo nombre), si bien allí lo tradicional es prepararlo en un kambuchi (cántaro de barro), aunque últimamente se acostumbra hacerlo en una jarra de vidrio, para luego servirlo en vaso y beberlo con una cuchara. Sobre finales de diciembre y en los primeros días del nuevo año, en varias regiones del país, es común ofrecer un poco de clericó a las personas que lleguen de visita a la casa o al establecimiento. Algunos atribuyen este hecho a la influencia jesuita en la región fusionado con las costumbres de los guaraníes mezclándolo con frutas para disfrazar la mala calidad de los vinos en la región.

En México, la proximidad con Estados Unidos ha hecho que se desarrolle el llamado ponche de frutas navideño, aunque en México los ingredientes se hierven, se le agrega algún aguardiente después de sacar la olla del fuego y se bebe muy caliente en jarritos individuales de barro. En su caso, el color sangre (de apariencia similar al vino tinto) está dado por el agua de Jamaica.

Entretenimiento
En la década de 1990, el argentino Gustavo Olivieri (conocido más tarde como Gustavo Clericó) fundó el grupo musical "Clericó con cola", aprovechando el juego de palabras con doble sentido, teniendo en cuenta que en Argentina "cola" puede designar tanto a la famosa bebida como a las nalgas. Este juego de palabras se veía reforzado por la foto de su cara apareciendo entre las piernas de una mujer parada de espaldas, la cual mostraba su parte trasera en ropa interior mientras él, de cara a la cámara, miraba justo hacia arriba (es decir, hacia la "cola"). Olivieri imitaba un acento caribeño al cantar, generalmente vestía de saco y sombrero, y había contratado a dos bailarinas para que bailaran detrás de él, siendo una de ellas Marixa Balli. Con su versión del tema "Te ves buena" (del excantante panameño El General) llegó a vender 30 mil discos en una semana y 800 mil en todo el mundo. Su éxito fue efímero, pero para Marixa Balli significó el comienzo de su carrera como bailarina.

See also
 Ponche
 Sangria (drink)
 :en:Claret cup (beverage)

Referencias

Enlaces externos
 El clericó según "Paraguay rembi'u" de Ana María Rivarola
 Sitio web El gran catador, «cómo hacer clericot.»
 Sitio web Tragos y copas, «clericó.»
 "Paraguayan Clericó" Delicious Fruit Cocktail https://guaranifusionkitchen.com/paraguayan-clerico/

Bebidas alcohólicas de Argentina
Bebidas alcohólicas de Paraguay
Bebidas alcohólicas de Uruguay
Cócteles con vino
Gastronomía navideña

Clericó


Coming Soon fue una banda de rock provenientes de Liepāja, Letonia. Hay cinco miembros de la banda: Uldis Kalns (voz, guitarra), Roberts Dinters (guitarra), Kristofers Knesis (teclados), Eriks Hanzovskis (batería) y Kristaps Leitis (bajo). su sencillo y hasta ahora el único conocido de la banda "Indians" obtuvo lugares en la Radio SWH y en el programa Priekšnams Top 10 el 2.º lugar en 3 semanas en el 2008.

Integrantes

Exintegrantes

 Uldis Kalns - vocales, guitarra
 Roberts Dinters - guitarra
 Kristofers Knesis - teclados
 Eriks Hanzovskis - batería
 Krstaps Leitis - bajo
 Karlis Peterlevics - bajo
 Janis Snipke - batería

Discografía

Álbumes de estudio

 2008: "Peleka Saule"

Sencillos

 "Indians"
 "Let Me Speak"
 "Ne"
 "Peleka Saule"

Enlaces externos

 Sitio Oficial
 Coming Soon en Facebook
 Coming Soon en MySpace
 Coming Soon en Draugiem.lv

Grupos de rock de Letonia
Grupos de hard rock de Letonia
Grupos de música electrónica de Letonia
Grupos de rock industrial de Letonia
Grupos de metal industrial de Letonia
Grupos de rock progresivo de Letonia
Grupos de música de los años 2000
Grupos de música formados en 2005
Grupos de música separados en 2009
Grupos de música formados en los años 2000

Coming Soon (banda de Letonia)


Rokas ist ein litauischer männlicher Vorname, abgeleitet von Rochus.

Namenstag ist in Litauen der 16. August.

Namensträger

 Rokas Baliukovas (* 1978), Politiker, Vizeminister der Energie
 Rokas Bernotas (*  1952), Diplomat und Politiker, Vizeminister
 Rokas Flick (1936–2023), Ökonom und Politiker, Vizeminister der Energie
 Rokas Jokubaitis (* 2000), Basketballspieler
 Rokas Masiulis (* 1969), Manager und Wirtschaftsprüfer, Politiker, Energieminister
 Rokas Suslavičius (* 1990), Biathlet
 Rokas Žilinskas (1972–2017), Journalist, Mitglied des Seimas

Weblinks
 Eintrag auf www.behindthename.com

Männlicher Vorname
Litauischer Vorname

Rokas


أونسيكلوبوديا  هو برنامج مجاني مفتوح المصدر وهو عبارة عن موسوعة ويكيبيديا صغيرة الحجم يمكن معاينتها على الأيبود.
النسخ المتاحة حتى الآن هي الإنجليزية و الألمانية و الإيطالية.

مراجع

وصلات خارجية

 موقع البرنامج

برمجيات أبل
ويكيبيديا

إنسيكلوبوديا


A chemical database is a database specifically designed to store chemical information. This information is about chemical and crystal structures, spectra, reactions and syntheses, and thermophysical data.

Types of chemical databases

Bioactivity database

Bioactivity databases correlate structures or other chemical information to bioactivity results taken from bioassays in literature, patents, and screening programs.

Chemical structures
Chemical structures are traditionally represented using lines indicating chemical bonds between atoms and drawn on paper (2D structural formulae). While these are ideal visual representations for the chemist, they are unsuitable for computational use and especially for search and storage. Small molecules (also called ligands in drug design applications), are usually represented using lists of atoms and their connections. Large molecules such as proteins are however more compactly represented using the sequences of their amino acid building blocks.
Large chemical databases for structures are expected to handle the storage and searching of information on millions of molecules taking terabytes of physical memory.

Literature database

Chemical literature databases correlate structures or other chemical information to relevant references such as academic papers or patents. This type of database includes STN, Scifinder, and Reaxys. Links to literature are also included in many databases that focus on chemical characterization.

Crystallographic database

Crystallographic databases store X-ray crystal structure data.  Common examples include Protein Data Bank and Cambridge Structural Database.

NMR spectra database

NMR spectra databases correlate chemical structure with NMR data.  These databases often include other characterization data such as FTIR and mass spectrometry.

Reactions database

Most chemical databases store information on stable molecules but in databases for reactions also intermediates and temporarily created unstable molecules are stored. Reaction databases contain information about products, educts, and reaction mechanisms.

Thermophysical database

Thermophysical data are information about
 phase equilibria including vapor–liquid equilibrium, solubility of gases in liquids, liquids in solids (SLE), heats of mixing, vaporization, and fusion.
 caloric data like heat capacity, heat of formation and combustion,
 transport properties like viscosity and thermal conductivity

Chemical structure representation

There are two principal techniques for representing chemical structures in digital databases

 As connection tables / adjacency matrices / lists with additional information on bond (edges) and atom attributes (nodes), such as:
MDL Molfile, PDB, CML
 As a linear string notation based on depth first or breadth first traversal, such as:
SMILES/SMARTS, SLN, WLN, InChI

These approaches have been refined to allow representation of stereochemical differences and charges as well as special kinds of bonding such as those seen in organo-metallic compounds.  The principal advantage of a computer representation is the possibility for increased storage and fast, flexible search.

Search

Substructure
Chemists can search databases using parts of structures, parts of their IUPAC names as well as based on constraints on properties. Chemical databases are particularly different from other general purpose databases in their support for sub-structure search. This kind of search is achieved by looking for subgraph isomorphism (sometimes also called a monomorphism) and is a widely studied application of Graph theory.  The algorithms for searching are computationally intensive, often of O (n3) or O (n4) time complexity (where n is the number of atoms involved). The intensive component of search is called atom-by-atom-searching (ABAS), in which a mapping of the search substructure atoms and bonds with the target molecule is sought. ABAS searching usually makes use of the Ullman algorithm or variations of it (i.e. SMSD ). Speedups are achieved by time amortization, that is, some of the time on search tasks are saved by using precomputed information. This pre-computation typically involves creation of bitstrings representing presence or absence of molecular fragments. By looking at the fragments present in a search structure it is possible to eliminate the need for ABAS comparison with target molecules that do not possess the fragments that are present in the search structure. This elimination is called screening (not to be confused with the screening procedures used in drug-discovery). The bit-strings used for these applications are also called structural-keys. The performance of such keys depends on the choice of the fragments used for constructing the keys and the probability of their presence in the database molecules. Another kind of key makes use of hash-codes based on fragments derived computationally. These are called 'fingerprints' although the term is sometimes used synonymously with structural-keys. The amount of memory needed to store these structural-keys and fingerprints can be reduced by 'folding', which is achieved by combining parts of the key using bitwise-operations and thereby reducing the overall length.

Conformation
Search by matching 3D conformation of molecules or by specifying spatial constraints is another feature that is particularly of use in drug design. Searches of this kind can be computationally very expensive. Many approximate methods have been proposed, for instance BCUTS, special function representations, moments of inertia, ray-tracing histograms, maximum distance histograms, shape multipoles to name a few.

Giga Search
Databases of synthesizable and virtual chemicals are getting larger each year, therefore the ability to efficiently mine them is critical for drug discovery projects. MolSoft's MolCart Giga Search (http://www.molsoft.com/giga-search.html) is the first ever method designed for substructure search of billions of chemicals.

Descriptors
All properties of molecules beyond their structure can be split up into either physico-chemical or pharmacological attributes also called descriptors. On top of that, there exist various artificial and more or less standardized naming systems for molecules that supply more or less ambiguous names and synonyms. The IUPAC name is usually a good choice for representing a molecule's structure in a both human-readable and unique string although it becomes unwieldy for larger molecules. Trivial names on the other hand abound with homonyms and synonyms and are therefore a bad choice as a defining database key. While physico-chemical descriptors like molecular weight, (partial) charge, solubility, etc. can mostly be computed directly based on the molecule's structure, pharmacological descriptors can be derived only indirectly using involved multivariate statistics or experimental (screening, bioassay) results. All of those descriptors can for reasons of computational effort be stored along with the molecule's representation and usually are.

Similarity

There is no single definition of molecular similarity, however the concept may be defined according to the application and is often described as an inverse of a measure of distance in descriptor space. Two molecules might be considered more similar for instance if their difference in molecular weights is lower than when compared with others. A variety of other measures could be combined to produce a multi-variate distance measure. Distance measures are often classified into Euclidean measures and non-Euclidean measures depending on whether the triangle inequality holds. Maximum Common Subgraph (MCS) based substructure search (similarity or distance measure) is also very common. MCS is also used for screening drug like compounds by hitting molecules, which share common subgraph (substructure).

Chemicals in the databases may be clustered into groups of 'similar' molecules based on similarities. Both hierarchical and non-hierarchical clustering approaches can be applied to chemical entities with multiple attributes. These attributes or molecular properties may either be determined empirically or computationally derived descriptors. One of the most popular clustering approaches is the Jarvis-Patrick algorithm .

In pharmacologically oriented chemical repositories, similarity is usually defined in terms of the biological effects of compounds (ADME/tox) that can in turn be semiautomatically inferred from similar combinations of physico-chemical descriptors using QSAR methods.

Registration systems
Databases systems for maintaining unique records on chemical compounds are termed as Registration systems. These are often used for chemical indexing, patent systems and industrial databases.

Registration systems usually enforce uniqueness of the chemical represented in the database through the use of unique representations. By applying rules of precedence for the generation of stringified notations, one can obtain unique/'canonical' string representations such as 'canonical SMILES'. Some registration systems such as the CAS system make use of algorithms to generate unique hash codes to achieve the same objective.

A key difference between a registration system and a simple chemical database is the ability to accurately represent that which is known, unknown, and partially known.  For example, a chemical database might store a molecule with stereochemistry unspecified, whereas a chemical registry system requires the registrar to specify whether the stereo configuration is unknown, a specific (known) mixture, or racemic.  Each of these would be considered a different record in a chemical registry system.

Registration systems also preprocess molecules to avoid considering trivial differences such as differences in halogen ions in chemicals.

An example is the Chemical Abstracts Service (CAS) registration system. See also CAS registry number.

List of Chemical Cartridges
 Accord
 Direct
 J Chem
 CambridgeSoft
 Bingo
 Pinpoint

List of Chemical Registration Systems
 ChemReg
 Register
 RegMol
 Compound-Registration
 Ensemble

Web-based

Tools

The computational representations are usually made transparent to chemists by graphical display of the data. Data entry is also simplified through the use of chemical structure editors. These editors internally convert the graphical data into computational representations.

There are also numerous algorithms for the interconversion of various formats of representation. An open-source utility for conversion is OpenBabel. These search and conversion algorithms are implemented either within the database system itself or as is now the trend is implemented as external components that fit into standard relational database systems. Both Oracle and PostgreSQL based systems make use of cartridge technology that allows user defined datatypes. These allow the user to make SQL queries with chemical search conditions (For example, a query to search for records having a phenyl ring in their structure represented as a SMILES string in a SMILESCOL column could be

 SELECT * FROM CHEMTABLE WHERE SMILESCOL.CONTAINS('c1ccccc1')

Algorithms for the conversion of IUPAC names to structure representations and vice versa are also used for extracting structural information from text. However, there are difficulties due to the existence of multiple dialects of IUPAC. Work is on to establish a unique IUPAC standard (See InChI).

See also
 Biological database
 Beilstein database and Dortmund Data Bank
 BindingDB
 ChEBI
 ChEMBL
 Chemisches Zentralblatt Structural Database
 ChemSpider
 Collaborative Drug Discovery
 Comparative Toxicogenomics Database
 Computational Chemistry List
 DrugBank
 List of chemical databases
 List of software for molecular mechanics modeling
 LOLI Database
 NMR spectra database
 PubChem
 SPRESI database
 Colocalization Benchmark Source

References

Computational chemistry

Cheminformatics

Chemical database


Ephraïm Inoni (Bakingili, 16 de agosto de 1947) é um político camaronês. Foi primeiro-ministro dos Camarões, entre 8 de dezembro de 2004 e 30 de junho de 2009, sendo indicado ao cargo pelo presidente Paul Biya e empossado do cargo no mesmo dia. Pertence ao partido Reunião Democrática do Povo de Camarões (RDPC).

Biografia

Anos inicias
Nascido na vila de Bakingili, próximo a Limbe, na região sudoeste, em 16 de agosto de 1947. Pertence ao grupo étnico Bakweri e é anglófono.

Início na política
Foi tesoureiro municipal de Duala, de 1981 a 1982, tesoureiro da embaixada dos Camarões nos Estados Unidos, de 1982 a 1984, e diretor de Balanço de Contas no ministério das Finanças, de 1984 a 1988. Mais tarde, foi nomeado ministro das Finanças, em 9 de abril de 1992, e depois secretário-geral adjunto da Presidência, em 27 de novembro de 1992, sendo esta a sua última posição, antes da nomeação como primeiro-ministro.

Campanha para o presidente Biya
Era membro do Comitê central do partido Reunião Democrática do Povo de Camarões (RDPC). Fez parte da equipe da campanha eleitoral do presidente Paul Biya nas eleições de 2004 e foi o presidente do Comitê de apoio da campanha nas províncias do sudoeste.

Demissão
Foi demitido de seu cargo como primeiro-ministro pelo presidente Biya, em 30 de junho de 2009, que nomeou outro anglófono, Philémon Yang, para substituí-lo. Foi a maior mudança no governo do país desde a sua nomeação como primeiro-ministro. O presidente Biya afirmou na rádio estatal que doze ministros foram demitidos (incluindo o primeiro-ministro e o ministro da Defesa), seis ingressaram e três mudaram de posição.

Acredita-se que a opinião pública negativa com o aumento dos preços dos alimentos e o alto nível de corrupção do governo em conjunto com as tentativas do presidente de aumentar o apoio para a próxima eleição presidencial levaram à demissão, enquanto o primeiro-ministro estava no meio das negociações de garantir 140 milhões de dólares em ajuda junto ao Fundo Monetário Internacional (FMI), embora não tenha sido dada uma explicação oficial para as trocas no governo.

Prisão
Suspeito de corrupção durante seu mandato, foi preso como parte da "Opération Épervier" — de combate a corrupção no país — em 16 de abril de 2012.

Ficou sob interrogatório a portas fechadas, por magistrados, como parte do processo judicial no caso popularmente conhecido em Camarões como o "Caso do Albatroz". Foi colocado em prisão preventiva pelo Supremo Tribunal de Mfoundi, em Iaundé.

Condenação
Em 2013, foi considerado culpado de conspiração no desvio de cerca de 31 milhões de dólares em um acordo, de 2001, para comprar um avião para o presidente Paul Biya e foi condenado a 20 anos de prisão pelo Tribunal Criminal Especial de Iaundé.

Primeiros-ministros dos Camarões

Ephraïm Inoni


Dawn of the Dead is a 2004 action horror film directed by Zack Snyder in his directorial debut, with a screenplay by James Gunn. A remake of George A. Romero's 1978 horror film of the same name, it stars an ensemble cast that includes Sarah Polley, Ving Rhames, Jake Weber, and Mekhi Phifer. Scott Reiniger, Tom Savini, and Ken Foree from the original film also make cameo appearances. Set in Milwaukee, the film follows a group of survivors who take refuge in an upscale suburban shopping mall during a zombie apocalypse.

Producers Eric Newman and Marc Abraham developed the film rather as a "re-envisioning" of the original Dawn of the Dead, aiming to reinvigorate the zombie genre for modern audiences. Newman and Abraham bought the rights from co-producer Richard P. Rubinstein (who produced the original), and hired Gunn to write the script, which adopted the original's basic premise but is oriented around the action genre. Intent on making the remake a straight horror, Snyder took over to direct with the goal of keeping every aspect of the production as grounded in reality as possible. Filming took place from June 9 to September 6 of 2003, on location in Toronto, Ontario, Canada where a now-defunct shopping mall that was slated for demolition was used. The special makeup effects for the film were created by David LeRoy Anderson, and the music was composed by Tyler Bates in his first collaboration with Snyder.

The film was released on March 19, 2004, by Universal Pictures; it topped the box office in its United States opening weekend, and ended its theatrical run grossing $102.3 million worldwide against a budget of $26 million. Reviews were generally favorable, citing improvements over the original in terms of acting, production values, and scares while finding it lacking in character development, excessively gory, and indifferent to Romero's preoccupation with consumerism. Retrospective reviews have called Dawn of the Dead Snyder's best film. A spiritual successor, Army of the Dead, was released on May 14, 2021.

Plot

After finishing a long shift as a nurse, Ana returns to her suburban neighborhood and her husband, Luis. Caught up in a scheduled date night, they miss an emergency news bulletin. The next morning, a neighborhood girl, Vivian,  enters their bedroom and kills Luis, who immediately reanimates as a zombie and attacks Ana. She flees in her car, crashes, and passes out. Upon waking, Ana joins police sergeant Kenneth Hall, electronics salesman Michael, petty criminal Andre and his pregnant wife, Luda. They break into a nearby mall and are attacked by a zombified security guard, who scratches Luda. Three living guards — C.J., Bart, and Terry — make them surrender their weapons in exchange for refuge. They split into groups to secure the mall. On the roof, they see another survivor, Andy, who is stranded in his gun store across the zombie-infested parking lot.

The next day, a delivery truck carrying more survivors enters the lot, pursued by zombies. C.J. and Bart wish to turn them away but are overruled and disarmed. The newcomers include Norma, Steve Marcus, Tucker, Monica, Glen, Frank and his daughter, Nicole. Another woman is too ill to walk; she is wheeled inside via wheelbarrow, only to die and reanimate. After she is killed, the group determines the disease is passed by bites. Andre leaves to see Luda, who has kept her scratch hidden from the group. They realize that Frank has been bitten and is a potential threat. After some debate, Frank elects to be isolated.  When he dies and turns, Kenneth shoots him.

Kenneth and Andy start a friendship by way of messages written on a whiteboard; romance also buds between Ana and Michael, and Nicole and Terry. When the power goes out, C.J., Bart, Michael and Kenneth go to the parking garage to activate the emergency generator; they find a friendly dog and worry about a breach. Zombies attack and kill Bart, forcing the others to douse the zombies in gas and set them ablaze. Meanwhile, Luda — tied up by Andre — gives birth and dies. She reanimates as Norma checks on the couple. When Norma kills the zombified Luda, Andre snaps; they exchange gunfire and both are killed. The others arrive to find a zombie baby, which they kill immediately. The group decides to fight their way to the local marina and travel on Steve's yacht to an island on Lake Michigan. They reinforce two shuttle buses from the parking garage for their escape.

To rescue Andy, the group straps supplies onto the dog, Chips, and lower him into the parking lot; the zombies have no interest in him. Chips enters Andy's store safely, but a zombie follows through the dog door. Nicole, fond of Chips, crashes the delivery truck into the gun store, where she is trapped by a zombified Andy. Kenneth, Michael, Tucker, Terry, and C.J. reach the gun store via the sewers, kill Andy, and rescue Nicole. They grab ammunition and go back to the mall; along the way, Tucker breaks his legs, and C.J. shoots him out of mercy. Once inside, they are unable to lock the door, forcing an evacuation via the buses.

While navigating through the city, Glen loses control of a chainsaw, accidentally killing himself and Monica; blood splatters on the windshield, causing their bus to crash. While C.J., Kenneth, and Terry look for survivors, Ana kills the zombified Steve and retrieves his boat keys. At the marina, C.J. sacrifices himself so the others can escape. Michael reveals a bite wound, killing himself as Ana, Kenneth, Nicole, Terry, and Chips flee on the yacht. Footage from a camcorder found on the boat shows Steve's escapades before the outbreak and concludes as the group runs out of supplies, arrives at an island, and is attacked by a swarm of zombies. The camcorder drops, leaving their fate unknown.

Cast

Additional members of the cast include stuntman Ermes Blarasin as the bloated woman, Natalie Brown as a CDC reporter, and dog actor Blu as Nicole's adopted pet dog Chips. Director Zack Snyder cameos as a soldier battling zombies at the United States Capitol during the film's title sequence, as do Scott Reiniger, Tom Savini, and Ken Foree (who were in the original film) as a general, sheriff, and televangelist, respectively.

Production

Development
Plans to remake 1978's Dawn of the Dead were conceived by producer Eric Newman, a fan of zombie films who cited the George A. Romero horror film as the best in this genre. With the remake, Newman and producer Marc Abraham wanted to reinvigorate the zombie genre for modern audiences as well as "make the old fans happy and make a lot of new fans". Newman and Abraham bought the rights to Dawn of the Dead from its producer and rights holder Richard P. Rubinstein, who was reluctant at first as he was "concerned that somewhere along the way a studio would sanitize Newman's vision for producing a version with 'attitude'", but that it was "Marc Abraham's long track record in keeping the creative integrity of the studio distributed films he has produced intact that gave me reason to say 'yes'". Newman hired James Gunn to write the script, and the studio  brought Gunn in despite not wanting to deliver them a signal idea for the film beforehand. Gunn, who had been a fan of the original since he was a young boy, had turned down the offer until he "kind of saw generally what [the film] could be".

The producers conceptualized the remake as more of a "re-envisioning" which would work in some references to the original but would primarily work on its own terms. Co-producer Eric Newman cited Invasion of the Body Snatchers (1978), The Thing (1982), and The Fly (1986) as influences on the remake, considering these to be "amazing updates" as well as "great movies that add to rather than diminish the original films". By way of respect to Romero's film, the producers cast the original's Tom Savini, Scott Reiniger, and Ken Foree in cameos; and incorporated visual references to Gaylen Ross and James A. Baffico.

In writing the script, Gunn retained the original's basic premise of a group of survivors taking refuge in a mall during the zombie apocalypse, but gave it a plot that was more action-oriented. To develop the plot, he declined to write a treatment in favor of a discovery writing method whereby he would devise hypothetical situations which would ultimately force the characters to evacuate the mall. He chose to leave the origin of the zombie outbreak ambiguous to encourage diverse viewpoints, scientific or otherwise, on how it really came about and reflect upon those accordingly. The script was given uncredited rewrites by Michael Tolkin and Scott Frank; co-producer Richard P. Rubinstein said Tolkin further developed the characters while Frank provided some of the bigger, upbeat action scenes. Gunn revealed he had received internet backlash over the film due to his past screenwriting credit on Scooby-Doo (2002), believing him to be unqualified for the job. However, film critic Harry Knowles, initially an opponent of the remake, read Gunn's script and gave it a positive response on his website Ain't It Cool News, which Gunn said helped eliminate doubts cast upon him by fans of the original.

Theme
With Dawn of the Dead, Gunn wanted to explore the human condition as well as tell a wholly different story about redemption. He elaborated on the redemptive theme of the film in an interview with IGN during a press junket for Scooby-Doo 2: Monsters Unleashed released that same year:

I think that in the end, Dawn of the Dead is about redemption because it's about a bunch of people who have lived certain lives, who have maybe not been the best people, and suddenly they have everything that they've used to define themselves: Their careers, their churches, their jobs, their families are stripped away. They're gone. They start at nothing and they have to become who they really are in the face of all that and some of the people are redeemed and end up becoming good people and some of them are not redeemed and they end up, you know, not redeemed. And that's what kind of drove me throughout the story, was it was a story about redemption. I also think that there's a lot about how people survive and what people turn to in the face of such tragedy. The tragedy in this case being flesh-eating zombies. And really it's a group coming together to work as a community who wouldn't otherwise work together. So there is that foundation of love, that basic message, within even Dawn of the Dead...

Pre-production

Zack Snyder chose to direct the remake as his first feature film because it gave the television commercial director "a reason to care about every shot". Not wanting his version inevitably compared to George A. Romero's, he concurred with the producers on reimagining the latter film as opposed to doing it as a "remake", which, in his view, would have entailed re-shooting Romero's script. For that matter, he aimed to make his film a straight horror that was "as serious as a heart attack" and keep every aspect of its production as grounded in reality as possible. His approach included previsualizing the film with storyboards and introducing the concept of running zombies, which he said was his "fresh, new way" of giving it a sense of verisimilitude and rendering zombies as if they were real threats, especially when they attack in hordes. Gunn supported this concept, believing that the danger presented by running zombies would increase the stakes much higher than it would with lumbering zombies like those in the original. Snyder would also maintain Gunn's decision not to reveal the origin of the zombie outbreak, believing it was "obvious that in this fallen society, you wouldn't know where the whole plague started".

Set design
In searching for a suitable upscale mall location for the film, production designer Andrew Neskoromny looked for existing malls that were scheduled for demolition. His search yielded no results until he found the now-defunct Thornhill Square shopping mall in Toronto, Ontario, Canada, which measured approximately . Dubbed the "Crossroads Mall", the crew completely redid the mall over an eight-week period, adding an expensive water feature near the entrance, 14 stores, parking structures, and warehouse areas. Since Snyder wanted the stores palpable in terms of design and stood not merely as storefronts, Neskoromny's team accordingly built them as actual retail stores complete with merchandise. These stores were given fake names, since only two major retail brands agreed to be featured in the film.

Makeup effects
The special makeup effects for the film were created by David LeRoy Anderson, with assistance from his actress wife Heather Langenkamp. Prior to accepting the job from Universal Studios' then-executive James D. Brubaker, Anderson had been in a two-year hiatus from working as a makeup effects artist to operate his company DLA Silverwear. Anderson completed his test makeups for the film over a four-week period, and then he and his team traveled to the Toronto set and set up their makeup effects lab next to the mall.

Since the filmmakers had decided that the zombies in the film would become more decomposed over time, Anderson accordingly researched on the appearance of decay following human death, looking through several medical books, war footages, and crime scene photographs showing graphic images of trauma victims in order to properly depict this appearance; he broke down the look of decomposition into three stages:

The first stage looks like someone who was just in the ER – pale, with lots of fresh blood. The second stage has moist wounds but the skin is beginning to break down. There is a lot of discoloration and mottling, mostly blues and greens. The third stage is the most intense, with the skeletal form coming through. The wounds are dried-up, the skin is sloughing off and colors are oily blacks.

Headshot effects were achieved through various methods, such as bullet hit squibs that were covered in prosthetic scalps and attached to the back of the actor's head to be detonated. Concerned about the risk thereof, Anderson developed an alternative method in which his team would attach wires to the scalps and yank them with a remote-controlled "air ratchet system", lending a similar gruesome effect as with the squibs sans potential harm.

Filming and post-production

Principal photography
Filming began on June 9, 2003, on location in various parts of Toronto, Ontario, Canada. Hundreds of zombie extras had to be constantly available for the entire shoot. To handle the volume of willing extras, Anderson and his team built a large "factory" where painted extras would stay put until they are spoken for by either the main or second unit film crew. They built various makeup rooms for the artists to work in: one consisted of camper trailers where they would apply detailed prosthetic makeups to extras playing "hero zombies", a special type of zombie; and the other consisted of tents where they would produce painted masks for extras playing background zombies. Extras playing foreground zombies were painted with plain palette makeups in Anderson's mall lab. The makeup artists were given his concept images to work on as references. According to Anderson and Heather Langenkamp, the most extras they ever had in a given day sat between 200 and 400, with a total of 3,000 makeups completed when filming ended on September 6, 2003.

Visual effects and title sequence

The visual effects for the film were provided by Canadian VFX studio Mr. X Inc., with its president Dennis Berardi serving as the film's co-VFX supervisor.

The production shot scenes for which Snyder wanted as many as 4,000 live-action zombies, which Berardi created rather as a combination of practical zombies and CG zombies which he built as 3D models with Autodesk Maya. One such scene involved tens of thousands of zombies at the mall's parking lot, which was shot with motion-control passes whose green screen elements of 200 extras, combined with the CG zombies, were later composited to create a "digital crowd simulation that looks realistic".

Kyle Cooper designed the title sequence for the film, using real human blood.

Music

The score for Dawn of the Dead was composed by Tyler Bates, his first for a horror film. Bates became involved with the film after he was recommended to it by its music supervisor, G. Marq Roswell, who learned he made little money from his work on Mario Van Peebles's film Baadasssss! (2003), on which Roswell also served as music supervisor. The studio was not convinced with hiring Bates because they felt he was not an established composer at the time, but director Zack Snyder insisted on him, and he was ultimately hired.

In scoring the film, Bates avoided taking cues from the original's music by the band Goblin, finding its style to be incompatible with what Snyder had filmed. Bates's score combines elements of electronic music and 20th-century orchestra, which was influenced by the works of composers adept at creating dissonance, such as Béla Bartók and Krzysztof Penderecki. Bates employed these musical choices with the intention of making the audience "very, very uncomfortable".

Milan Records released Bates's score in physical format for the first time on October 23, 2012, a week after the record label released it digitally via iTunes Store and Amazon Music. The album comprises 31 tracks, all of which were composed by Bates. Bates's work on Dawn of the Dead also marked the beginning of a frequent collaboration between him and Snyder; he would later compose for the director on 300 (2006), Watchmen (2009), and Sucker Punch (2011).

Release

Box office

Dawn of the Dead was marketed with its 10-minute opening sequence that was broadcast on cable television four nights before its theatrical release. Released on March 19, 2004, the film grossed $26.7 million in its United States opening weekend, claiming the No. 1 spot The Passion of the Christ formerly held for three consecutive weekends. Dawn of the Dead ended its theatrical run grossing $102.3 million worldwide (against a budget of $26 million), with a gross of $59 million in the United States and Canada and $43.3 million in other territories. Variety reported, "Some 63% of Dawn [audiences] were under age 25, with 57% of patrons male. Hispanic moviegoers comprised 21% of its supporters and African-Americans 14%."

The release of Dawn of the Dead in the U.S. nearly coincided with that of Shaun of the Dead, another zombie film distributed by Universal Pictures. In a February 2004 Variety report, a spokesman at Universal revealed that the studio had greenlit Shaun of the Dead "with the condition that Dawn of the Dead would be released here in the U.S. first" in order to avoid this conflict.

Dawn of the Dead was screened out of competition at the 2004 Cannes Film Festival.

Home media
Universal Pictures Home Entertainment released Dawn of the Dead on DVD, Blu-ray, and digital with director Zack Snyder's unrated director's cut of the film, which Snyder described as longer, gorier, and more character-driven than the theatrical version. Bonus features found on the DVD and Blu-ray are Snyder and co-producer Eric Newman's audio commentary; the featurettes Attack of the Living Dead, Raising the Dead, Drawing the Dead, Splitting Headaches, Surviving the Dawn, and Andy's Lost Tape; deleted scenes with optional commentary with Snyder and Newman; and the film's theatrical trailer.

On Halloween of 2017, Shout! Factory's horror sub-label Scream Factory released a two-disc collector's edition Blu-ray of Dawn of the Dead, which contains the film's theatrical version and the director's cut. The Blu-ray, which is said to have been "derived from the digital intermediate archival negative", contains bonus features found in previous releases in addition to new and exclusive ones featuring interviews with actors Ty Burrell and Jake Weber, screenwriter James Gunn, and makeup effects artists David LeRoy Anderson and Heather Langenkamp. A 4K Ultra HD collector's edition Blu-ray from Scream Factory with extras ported over from the label's previous release was released on January 31, 2023.

Reception

Theatrical

Dawn of the Dead garnered strong reviews upon its release, with critics praising it as a worthy remake of the original as well as a decent entry in the zombie genre. Lisa Schwarzbaum praised Zack Snyder's direction in a "killer feature debut", and Roger Ebert gave it a positive review and said that anyone paying to see it is guaranteed to get their money's worth. Abundant praise was also given to the film's opening sequence; an otherwise negative review from The Hollywood Reporter called it "pulse-poundingly good". While some said the film exuded better acting, production values, and scares than the original, others felt its horror was not on par with that of the latter film. Another criticism was the lack of dark humor of the original, although many found the scene in which a couple of male characters shoot zombified celebrity look-alikes with a sniper rifle to be funny, among other jokes; The Hollywood Reporter cited it as some of the film's "moments of inspired audacity".

Despite the general praise, some critics felt the film had downplayed key elements of its predecessor. Ebert and Variety argued that whereas George A. Romero had exploited the shopping mall location to satirize consumer culture and a range of sociopolitical issues, Snyder had used it merely as a convenient setting for his characters. The Hollywood Reporter and Chicago Tribune complained that the film was content to indulge in bloody zombie killings at the expense of any nuance that was once present in the original, leaving the audience rather numbed and "less mercifully handled, even at the end-credits". In contrast, Manohla Dargis opined that Romero's consumerist metaphor has lost its significance in the years since the original's release, "with the politics of consumption now an established academic field and shopping now considered a statement of identity", and attributed the film's appeal not to its bloody violence "but [to] the filmmakers' commitment to genre fundamentals". IGN praised the film's tonal shift, calling it a "calculated risk that paid off".

While Schwarzbaum and Dargis complimented James Gunn's script as "sharp" and propulsive, respectively, others took issue with what they believed to be a lack of plot and character developments. The Chicago Tribune thought the characters were clichéd and about as dumb as the undead, though sympathized with the "tragic" dilemma faced by Mekhi Phifer's character. Conversely, James Berardinelli said that although there were moments in which the characters did show a lack of common sense, "it's inevitable that most of them end up as one-dimensional throw-aways whose sole purpose is to increase the body count", and that "not many people go to a horror film looking for character development and drama". Likewise, Ebert was personally not on board with the characters' "risky" plan to escape from the mall in lieu of awaiting the zombies' natural death, though remarked that "taking chances makes for good action scenes". Both Ebert and Berardinelli found the subplots of the Phifer and Ving Rhames characters to be "touching", with the latter critic saying that these were "handled with a deft hand".

Among the cast, which was praised as "superlative" and "respectable", Sarah Polley garnered the most attention from critics such as Schwarzbaum and the Chicago Tribune: she was described as a "perfect against-type heroine" with a "nice anxious stare". IGN was dismayed that least attention was given to Phifer's "naturally charismatic presence" with such a large cast, though felt that Rhames was effective as Polley's "quietly authoritative foil" and praised Jake Weber's performance in a "thankless role".

  Audiences polled by CinemaScore gave the film an average grade of "B" on an A+ to F scale.

Retrospective
In 2005, George A. Romero spoke briefly of how dissatisfied he was with Dawn of the Dead during an interview with actor Simon Pegg for Time Out. Romero said that although the remake could pass for a good action film, he felt it was aimless and "more of a video game" for that matter, as well as maintained that he was "not terrified of things running at me".

Numerous publications have named Dawn of the Dead as Zack Snyder's best film. Revisiting the film on its 15th anniversary in 2019, Joe Lipsett wrote the following verdict for Bloody Disgusting:

Fifteen years later, Dawn of the Dead completely holds up. The film's flaws are mostly at the character level, though having a dumb zombie baby and a few undeveloped red shirts in the mix is hardly a deal breaker. The action – particularly the opening scene and the propane explosion climax – in addition to the fantastic special effects makeup, the brief flirtation with found footage, and the reverence for its source text while introducing something new makes 2004's Dawn of the Dead one of the best remakes on the market.

Likewise, Dawn of the Dead has appeared on several lists of the top zombie films, including number 3 by Rolling Stone (2012), number 12 by Empire (2020), by Collider (2021), and number 17 by IndieWire (2022); as well as the best horror films of the decade, including number 3 by Dread Central (2010), number 8 by Bloody Disgusting (2009), number 52 by IGN, and number 55 by Rolling Stone (2020). The film made review-aggregation website Rotten Tomatoes's lists of "The 20 Scariest Opening Scenes in Horror Movie History" (at number 6), "The 25 Best Horror Movie Remakes" (at number 9), "The 30 Essential Zombie Movies" (at number 13), and "18 Memorable Horror Remakes".

In a June 2018 article for The Hollywood Reporter, Richard Newby opined that Dawn of the Dead helped revitalize the zombie genre along with 28 Days Later at a time when the United States "was ripe for the re-emergence of zombie movies" following the September 11 attacks, which he believes to have contributed to Americans' "increased fear of biological weapons, fervent mass militarization and the burrowing question of who exactly are the people we call our neighbors". Likewise, author Stephen King, in the forenote of the 2010 edition of his book Danse Macabre, saw what he believed to be Snyder's subtext conveying the horrors induced by terrorist attacks, drawing parallels between the zombie apocalypse and a post-9/11 America. King described Dawn of the Dead as "genius perfected" in terms of its standing in the zombie genre.  South Park creators Trey Parker and Matt Stone and South Korean filmmaker Yeon Sang-ho consider themselves to be fans of the film, and cited it as an influence upon their works "Night of the Living Homeless" and the Train to Busan series, respectively.

Accolades

Spiritual successor

On March 25, 2007, Variety announced that Warner Bros. Pictures would produce a new zombie film from a screenplay written by Joby Harold, based on an original idea conceived by Snyder. In a statement, Snyder said that he wanted the film to feel similar to Dawn of the Dead and 300 and that it would center around a father in Las Vegas "who tries to save his daughter from imminent death in a zombie-infested world". At the time, Wesley Coller was attached to executive produce, with Snyder and his wife Deborah Snyder producing through Cruel & Unusual Films (now known as The Stone Quarry). Snyder got the idea during Dawn of the Deads production and wanted to explore a new evolution of the zombies. The film is not a sequel to Dawn of the Dead but rather a spiritual successor. Snyder realized that he needed a new origin story to develop the plot and create a new incarnation of the living dead. He titled the project Army of the Dead as a tribute to the works of George A. Romero. After languishing for several years in development hell, the distribution rights to the film were acquired by Netflix in 2019, and Snyder began shooting that same year.

Army of the Dead had a week-long limited theatrical release starting May 14 prior to its wider Netflix release on May 21, 2021.

See also
 List of American films of 2004
 List of zombie films
 Night of the Living Dead (1990 film): a remake of Romero's 1968 film of the same name

Notes

References

Cited works

External links

2004 films
2004 action films
2004 directorial debut films
2004 horror films
2000s action horror films
2000s American films
2000s English-language films
American zombie films
American action horror films
American remakes of Italian films
Apocalyptic films
Films directed by Zack Snyder
Films produced by Marc Abraham
Films scored by Tyler Bates
Films set in 2004
Films set in Milwaukee
Films set in shopping malls
Films shot in Toronto
Films with screenplays by James Gunn
Horror film remakes
Living Dead films
Remakes of American films
Universal Pictures films

Dawn of the Dead (2004 film)


المصرف العقاري العراقي هو مصرف عراقي حكومي، تأسس في بغداد عام 1948م، يُقرض المواطنين قروضاً عقارية وقروضاً لشراء سيارات.

أنواع قروض المصرف العقاري الاسكانية
 قرض بناء وحدة سكنية
 قرض إضافة بناء
 قرض شراء شقة من المجمعات الاستثمارية

فروع البنك
للمصرف عدد من الفروع في بغداد والمحافظات.

المراجع

اقتصاد العراق
بنوك العراق
بنوك أسست في 1948
تأسيسات سنة 1948 في العراق
شركات مقرها في بغداد
منظمات مقرها في بغداد

المصرف العقاري العراقي


El soterillo picudo (Ramphocaenus melanurus) es una especie de ave paseriforme perteneciente a la familia Polioptilidae. Anteriormente se consideraba la única especie del género Ramphocaenus, hasta que se escindió el soterillo parloteador (Ramphocaenus sticturus). Es nativo del Neotrópico, donde se encuentra distribuido desde el sur de México hasta el sureste de Brasil y norte de Bolivia.

Nombre común
Se le denomina soterillo picudo (en Costa Rica y México), saltón picudo, curruca picuda (en Colombia), soterillo picolargo (en Ecuador), monjita piquilargo (en Honduras) o cazajején picudo (en Nicaragua),

Distribución y hábitat
Se distribuye desde el este y extremo suroeste de México, por ambas pendientes (del Golfo y caribeña y del Pacífico) de América Central, por Belice, Guatemala, Honduras, El Salvador, Nicaragua, Costa Rica, Panamá, y por América del Sur en Colombia, Venezuela, Trinidad y Tobago, Guyana, Surinam, Guayana francesa, Ecuador, Perú, hasta el norte de Bolivia y Brasil (hasta el sur de la Amazonia y una población aislada en el este atlántico).

Esta especie es considerada bastante común y ampliamente diseminada, en su hábitat natural, el sotobosque de selvas húmedas y bosques caducifolios, hasta los 1500 m de altitud.

Descripción
Mide entre 12 y 13 cm de longitud y pesa entre 8 y 11 g. Presenta la corona y la parte de atrás del cuello de color marrón oliva ocráceo, el dorso y las alas oliva grisáceo. La cola es parda negruzca, con 3 o 4 pares de timoneras laterales con la punta blanca. Los lados de la cabeza y el cuello son de color canela brillante, y la garganta es blanca con rayas negras. El pecho es amarillento que se hace casi blanco en el centro del abdomen. El iris es café pálido. El pico es largo y delgado con forma de gancho en la punta.

La subespecie R. m. trinitatis del oriente de Colombia, Venezuela y Trinidad presenta las partes inferiores más pálidas y los flancos y los lados de la cabeza color ante.

Comportamiento
Vive entre lianas y el follaje denso que recubre los árboles en los estratos bajo, medio y alto de los bosques. Anda solitario o en pares, a veces en bandadas mixtas y frecuentemente junto a Terenura maculata. Acostumbra menear su larga cola erguida en ángulos de hasta 90 grados.

Alimentación
Se alimenta de insectos y arañas pequeñas que encuentra entre la vegetación densa.

Reproducción
Se reproducen de abril a junio. Construye un nido de fibras vegetales en forma de taza profunda entre la vegetación densa y baja, a una altura de 15 a 33 cm del suelo. La hembra pone dos huevos blancos con manchas castañas rojizas, que son incubados por ambos padres durante 16 a 17 días. Los polluelos se hacen independientes después de otros 11 a 12 días.

Vocalización
Su canto es un muy distintivo y límpido trinado musical, a menudo precedido por unas pocas notas «cht». Al oeste de los Andes tiende a ser marcadamente más rápido y a elevarse en tono.

Sistemática

Descripción original
La especie R. melanurus y el género Ramphocaenus fueron descritos por primera vez por el naturalista francés Louis Jean Pierre Vieillot en 1819 bajo el mismo nombre científico; su localidad tipo es: «vecindad de Río de Janeiro, Brasil».

Etimología
El nombre genérico masculino «Ramphocaenus» se compone de las palabras del griego «ramphos»: 'pico', y «kainos»: 'extraño, diferente'; y el nombre de la especie «melanurus», proviene del griego «melanouros» que significa 'de cola negra'.

Taxonomía
Las subespecies rufiventris y griseodorsalis eran, hasta 1931, consideradas como especies separadas y pueden merecer la restauración de tal rango. Las entonces subespecies sticturus/obscurus comparten diferencias morfológicas (puntos blancos en las rectrices externas) y aparentemente también diferentes vocalizaciones, y parecen ocurrir en simpatría o cerca, (pero no sintópicas) con las subespecies amazonum y badius. La taxonomía de esta especie precisa de revisión. Los límites de distribución de las subespecies norteñas y de albiventris son inciertos; los detalles abajo descritos son tentativos.

Con base en los estudios de filogenia molecular de Smith et al (2018), se propuso la separación del grupo de subespecies rufiventris (de Centroamérica y noroeste de Sudamérica) y del grupo sticturus/obscurus (del oeste de la cuenca amazónica). El Comité de Clasificación de Sudamérica en la Propuesta N° 790, aprobó la separación de sticturus pero no así la de rufiventris, debido a la insuficiencia de datos, a pesar de reconocer la probable validad de la separación.

Subespecies
Según las clasificaciones del Congreso Ornitológico Internacional (IOC) y Clements Checklist/eBird v.2019, se reconocen doce o trece subespecies, divididas en dos grupos politípicos, con su correspondiente distribución geográfica:

 Grupo politípico rufiventris:
 Ramphocaenus melanurus rufiventris (, 1838) - tierras bajas del sur de México (centro sur de Veracruz, norte de Oaxaca, norte y sur de Chiapas), norte y sur de Guatemala, oeste de Belice, norte de Honduras y  El Salvador al sur hasta el centro de Panamá, e intermitentemente hasta e suroeste de Ecuador.
 Ramphocaenus melanurus ardeleo , 1941 - sureste de México (Península de Yucatán al sur hasta el suroeste de Campeche y Quintana Roo).
 Ramphocaenus melanurus panamensis , 1991 - centro y este de Panamá (incluyendo la Península de Azuero); posiblemente extendiéndose al norte hasta Costa Rica.
 Ramphocaenus melanurus sanctaemarthae , 1862 - costa caribeña del norte de Colombia y noroeste de Venezuela.
 Ramphocaenus melanurus griseodorsalis , 1912 - oeste de Colombia (oeste de Caldas al sur hasta el centro sur de Valle).

 Grupo politípico melanurus:
  Ramphocaenus melanurus pallidus , 1913 - norte de Colombia (valle del Río Zulia) y norte de Venezuela (Falcón al este hasta Miranda).
  Ramphocaenus melanurus trinitatis , 1839 - oeste y noreste de Venezuela (oeste de Apure al este hasta Sucre), este de Colombia (oeste de Meta, oeste de Putumayo) y noroeste de Brasil (Río Amajaú); Trinidad.
 Ramphocaenus melanurus albiventris , 1883 - este de Venezuela (este de Bolívar) al este hasta Surinam y la Guayana francesa, al sur hasta el centro norte de Brasil (centro de Pará).
 Ramphocaenus melanurus duidae , 1937 - sur de Venezuela, este de Colombia y este de Ecuador.
 Ramphocaenus melanurus badius , 1937 - sureste de Ecuador y este del Perú (centro de Amazonas).
 Ramphocaenus melanurus amazonum , 1907 - este del Perú (orilla este del alto Río Ucayali) hasta el centro norte de Brasil (oeste de Pará).
 Ramphocaenus melanurus austerus , 1937 - costa norte de Brasil (este de Pará, norte de Maranhão).
 Ramphocaenus melanurus melanurus , 1819 - costa este de Brasil desde Paraíba al sur hasta Santa Catarina.

La subespecie panamensis no es reconocida por Clements Checklist/eBird.

Referencias

Enlaces externos
 Videos, fotos y sonidos de Ramphocaenus melanurus en eBird.
 Sonidos y mapa de distribución de Ramphocaenus melanurus en xeno-canto.
 Fotos y sonidos de Ramphocaenus melanurus en Wikiaves.

melanurus
Aves del Neotrópico
Aves de América Central
Aves de América del Sur
Animales descritos en 1819
Taxones descritos por Louis Pierre Vieillot

Ramphocaenus melanurus


Pseudohyparpalus, es un  género de coleópteros adéfagos perteneciente a la familia Carabidae.

Especies
Comprende las siguientes especies:

 Pseudohyparpalus angustipennis (Putzeys In Chaudoir, 1876)
 Pseudohyparpalus audens (Peringuey, 1899)
 Pseudohyparpalus basilewskyi Lecordier, 1978
 Pseudohyparpalus bulirschi Facchini, 2004
 Pseudohyparpalus burgeoni Basilewsky, 1949
 Pseudohyparpalus casperi (Kuntzen, 1919)
 Pseudohyparpalus diastictus (Alluaud, 1926)
 Pseudohyparpalus elegans Clarke, 1981
 Pseudohyparpalus elongatus (Jeannel, 1948)
 Pseudohyparpalus fimbriatus Clarke, 1981
 Pseudohyparpalus hova (Alluaud, 1918)
 Pseudohyparpalus kolbei (Kuntzen, 1919)
 Pseudohyparpalus luluensis (Burgeon, 1936)
 Pseudohyparpalus metabolus (Alluaud, 1926)
 Pseudohyparpalus mossoensis Basilewsky, 1956
 Pseudohyparpalus nindae (Burgeon, 1937)
 Pseudohyparpalus nyassicus Clarke, 1981
 Pseudohyparpalus puncticollis (Boheman, 1848)
 Pseudohyparpalus quadratus Clarke, 1981
 Pseudohyparpalus rectangularis Clarke, 1981

Referencias

Enlaces externos
 ION
 Nomenclator Zoologicus

Harpalina

Pseudohyparpalus