Trading Places is a 1983 American comedy film directed by John Landis, with a screenplay by Timothy Harris and Herschel Weingrod. Starring Dan Aykroyd, Eddie Murphy, Ralph Bellamy, Don Ameche, Denholm Elliott, and Jamie Lee Curtis, the film tells the story of an upper-class commodities broker (Aykroyd) and a poor street hustler (Murphy) whose lives cross when they are unwittingly made the subject of an elaborate bet to test how each man will perform when their life circumstances are swapped.

Harris conceived the outline for Trading Places in the early 1980s after  meeting two wealthy brothers who were engaged in an ongoing rivalry with each other. He and his writing partner Weingrod developed the idea as a project to star Richard Pryor and Gene Wilder. When they were unable to participate, Landis cast Aykroyd—with whom he had worked previously—and a young but increasingly popular Murphy in his second feature-film role. Landis also cast Curtis against the intent of the studio, Paramount Pictures; she was famous mainly for her roles in horror films, which were looked down upon at the time. Principal photography took place from December1982 to March1983, entirely on location in Philadelphia and New York City. Elmer Bernstein scored the film, using Wolfgang Amadeus Mozart's opera buffa The Marriage of Figaro as an underlying theme.

Trading Places was considered a box-office success on its release, earning over $90.4 million to become the fourth-highest-grossing film of 1983 in the United States and Canada, and $120.6million worldwide. It also received generally positive reviews, with critics praising both the central cast and the film's revival of the screwball comedy genre prevalent in the 1930s and 1940s while criticizing Trading Places for lacking the same moral message of the genre while promoting the accumulation of wealth. It received multiple award nominations including an Academy Award for Bernstein's score and won two BAFTA awards for Elliott and Curtis. The film also launched or revitalized the careers of its main cast, who each appeared in several other films throughout the 1980s. In particular, Murphy became one of the highest-paid and most sought after comedians in Hollywood.

In the years since its release, the film has been reassessed both positively and negatively. It has been praised as one of the greatest comedy films and Christmas films ever made, but retrospective assessments have criticized its use of racial jokes and language. In 2010, the film was referenced in Congressional testimony concerning the reform of the commodities trading market designed to prevent the insider trading demonstrated in Trading Places. In 1988, Bellamy and Ameche reprised their characters for Murphy's comedy film Coming to America.

Plot
Brothers Randolph and Mortimer Duke own a commodities brokerage firm, Duke & Duke Commodity Brokers, in Philadelphia, Pennsylvania. Holding opposing views on the issue of nature versus nurture, they make a wager and agree to conduct an experiment—switching the lives of two people on opposite sides of the social hierarchy and observing the results. They witness an encounter between their managing director—the well-mannered and educated Louis Winthorpe III, engaged to the Dukes' grandniece Penelope—and poor black street hustler Billy Ray Valentine; Valentine is arrested at Winthorpe's insistence after the latter assumes he is being robbed. The Dukes decide to use them for their experiment.

Winthorpe is framed as a thief, drug dealer and philanderer by Clarence Beeks, a man on the Dukes' payroll. He is fired from Duke & Duke, his bank accounts are frozen, he is denied entry to his Duke-owned home, and is vilified by Penelope and his friends. He is befriended by Ophelia, a prostitute who helps him in exchange for a financial reward once he is exonerated to secure her own retirement. The Dukes post bail for Valentine, install him in Winthorpe's former job, and grant him use of Winthorpe's home. Valentine becomes well versed in the business, using his street smarts to achieve success, and begins to act in a well-mannered way.

During the firm's Christmas party, Winthorpe plants drugs in Valentine's desk, attempting to frame him, and brandishes a gun to escape. Later, the Dukes discuss their experiment and settle their wager for $1. They plot to return Valentine to the streets, but have no intention of taking back Winthorpe. Valentine overhears the conversation and seeks out Winthorpe, who has attempted suicide by overdosing. Valentine, Ophelia, and Winthorpe's butler, Coleman, nurse him back to health and inform him of the experiment. Watching a television news broadcast, they learn that Beeks is transporting a secret United States Department of Agriculture (USDA) report on orange crop forecasts. Winthorpe and Valentine remember large payments made to Beeks by the Dukes. They realize they will obtain the report early to corner the market on frozen concentrated orange juice.

On New Year's Eve, the four board Beeks' train in disguise, intending to switch the original report with a forgery that predicts low orange crop yields. Beeks uncovers their scheme, and attempts to kill them, but is knocked unconscious by a gorilla being transported on the train. The four disguise Beeks with a gorilla costume and cage him with the real gorilla. The group deliver the forged report to the Dukes in Beeks' place. After sharing a kiss with Ophelia, Winthorpe travels to New York City with Valentine, carrying with them Coleman's and Ophelia's life savings to carry out their plan.

On the commodities trading floor, the Dukes commit their holdings to buying frozen concentrated orange juice futures contracts, legally committing themselves to buying the commodity at a later date. Other traders follow their lead, driving the price up; Valentine and Winthorpe short-sell juice futures contracts at the inflated price. Following the broadcast of the actual crop report and its prediction of a normal harvest, the price of juice futures plummets. Valentine and Winthorpe buy at the lower price from everyone except the Dukes, fulfilling the contracts they had short-sold earlier, turning an immense profit.

After the closing bell, Valentine and Winthorpe explain to the Dukes that they made a wager on whether they could get rich and make the Dukes poor at the same time, and Valentine collects $1 from Winthorpe. When the Dukes prove unable to supply the $394 million required to satisfy their margin call, the exchange manager orders their seats sold and their corporate and personal assets confiscated, effectively bankrupting them. Randolph collapses holding his chest and Mortimer shouts at the others, demanding the floor be reopened in a futile plea to recoup their losses. The now-wealthy Valentine, Winthorpe, Ophelia, and Coleman vacation on a luxurious tropical beach, while Beeks and the gorilla are loaded onto a ship bound for Africa.

Cast

 Dan Aykroyd as Louis Winthorpe III: a wealthy commodities director at Duke & Duke.
 Eddie Murphy as Billy Ray Valentine: a street beggar and con man.
 Ralph Bellamy as Randolph Duke: greedy co-owner of Duke & Duke, alongside his brother Mortimer.
 Don Ameche as Mortimer Duke: Randolph's equally greedy brother.
 Denholm Elliott as Coleman: Winthorpe's butler.
 Jamie Lee Curtis as Ophelia: a prostitute who helps Winthorpe.
 Kristin Holby as Penelope Witherspoon: the Dukes' grandniece and Winthorpe's fiancée.
 Paul Gleason as Clarence Beeks: a security expert covertly working for the Dukes.

As well as the main cast, Trading Places features Robert Curtis-Brown as Todd, Winthorpe's romantic rival for Penelope; Alfred Drake as the Securities Exchange manager; and Jim Belushi as Harvey, a party-goer on New Year's Eve. The film has numerous cameos, including singer Bo Diddley as a pawnbroker; Curtis' sister Kelly as Penelope's friend Muffy; the Muppets puppeteers Frank Oz and Richard Hunt as, respectively, a police officer and Wilson, the Dukes' broker on the trading floor; and Aykroyd's former Saturday Night Live colleagues, Tom Davis and Al Franken, as train baggage handlers.

Other minor roles include Ron Taylor as "Big Black Guy", American football player J. T. Turner as "Even Bigger Black Guy" who only says "Yeah!", and Giancarlo Esposito as a cellmate. Trading Places also features the final theatrically released performance of Avon Long who plays the Dukes' butler Ezra. The gorilla is portrayed by mime Don McLeod.

Production

Writing and development
In the early 1980s, writer Timothy Harris often played tennis against two wealthy, but frugal brothers who regularly engaged in a competitive rivalry and betting. Following one session, Harris returned home exasperated with the pair's conflict and concluded that they were "awful" people. The situation gave him the idea of two brothers betting over nature versus nurture in terms of human ability. Harris shared the idea with his writing partner Herschel Weingrod, who liked the concept. Harris also drew inspiration for the story from his own living situation; he lived in a rundown area near Fairfax Avenue in Los Angeles. He described the area in grim terms as crime-ridden, where everyone either had a gun pointed at them or had been raped.

Harris and Weingrod researched the commodities market for the script. They learned of financial market incidents, including Russian attempts to corner the wheat market and the Hunt brothers' efforts to corner the silver market on what became known as Silver Thursday. They thought trading orange juice and pork bellies would be funnier because the public would be unaware such mundane items were traded. Harris consulted with people in the commodities business to understand how the film's finale on the trading floor would work. The pair determined that the commodities market would make for an interesting setting for a film, as long as it was not about the financial market itself. They needed something to draw the audience in. It was decided to set the story in Philadelphia because of its connections to the founding of the United States, the American dream and idealism and the pursuit of happiness. This was tempered by introducing Billy Ray Valentine as a black man begging on the street. The pair knew that the method of Winthorpe's and Valentine's financial victory could be confusing, but hoped that audiences would be too invested in the characters' success to care about the details.

The script was sold to Paramount Pictures under the title Black and White. Then-Paramount executive Jeffrey Katzenberg offered the project to director John Landis. Landis disliked the working title, but favorably compared the script to older screwball comedies of the 1930s by directors like Frank Capra, Leo McCarey, and Preston Sturges, which often satirized social constructs and social classes, reflecting the cultural issues of their time. Landis wanted his film to reflect these concepts in the 1980s; he said the main updates were the addition of swearing and nudity. Landis admitted that it took him a while to understand how Trading Places finale worked.

Casting

Trading Places was developed with the intent to cast comedy duo Richard Pryor and Gene Wilder as Valentine and Louis Winthorpe III respectively. The pair were in high demand following the success of their comedy film Stir Crazy (1980). When Pryor was severely injured after setting fire to himself while freebasing cocaine, the decision was made to cast someone else. Paramount Pictures suggested Eddie Murphy. The studio was initially unhappy with Murphy's performance in his first film, the as-then-unreleased action-comedy 48 Hrs. (1982)—a film also conceived as a Pryor project. However, that film was well received by preview test audiences, leading the studio to reverse its opinion. Landis was unaware of Murphy, who had been gaining fame as a performer on Saturday Night Live. After watching Murphy's audition tapes, Landis was impressed enough to travel to New York City to meet with him. Murphy said that he was paid $350,000 for the role; it was reported that the figure was as high as $1million.

Landis wanted Dan Aykroyd to serve as Murphy's co-star. He had worked previously with Aykroyd on the musical comedy film The Blues Brothers (1980); the experience had been positive. Landis said, "he could easily play [Winthorpe] ... you tell him what you want, and he delivers. And I thought he'd be wonderful." Paramount Pictures was less enamored with Aykroyd; executives believed that he performed better as part of a duo, as he had working with John Belushi. They felt that Aykroyd working alone would be akin to Bud Abbott, half of Abbott and Costello, working without Lou Costello and Aykroyd's recent films had fared poorly at the box office. Aykroyd agreed to take a pay cut for the role.

The studio also objected to the casting of Jamie Lee Curtis. At the time she was seen as a "scream queen", primarily associated with low-quality B movies. Landis had worked previously with Curtis on the horror documentary Coming Soon, for which she had served as the host. She wanted to move away from horror films as she was conscious that the association would limit her future career prospects. She had turned down a role in the horror film Psycho II (1983) because of this. Her mother, Janet Leigh, had famously starred in Psycho (1960). Curtis had performed recently in the slasher film Halloween II (1981) as a favor to director John Carpenter and producer Debra Hill; she was paid $1million for that role, but received only $70,000 for Trading Places. When asked if she had researched her role as a prostitute, Curtis jokingly remarked: "I'd love to say I went out and turned a couple of tricks on 42nd Street, but I didn't." Curtis had long hair when she was cast; costume designer Deborah Nadoolman Landis suggested cutting her hair shorter for the film.

For the greedy Duke brothers, Ralph Bellamy was the first choice for Randolph. For Mortimer, Landis wanted to cast an actor famous in the 1930s or 1940s who was not associated with playing a villain. His first choice was Ray Milland, but the actor was unable to pass a physical test to qualify for insurance while filming. As the start date for filming loomed, Landis thought of Don Ameche. The casting director claimed that Ameche was dead. Landis was skeptical of this and contacted the Screen Actors Guild in an attempt to locate him. They confirmed that Ameche had no agent, and his royalty payments were being forwarded to his son in Arizona. Landis accepted this as evidence that Ameche was deceased. However, after hearing of Landis' search, one of the Paramount Studios' secretaries mentioned that they saw Ameche regularly on San Vicente Boulevard in Santa Monica, California. Landis called directory assistance to locate a "D. Ameche" in the area and made contact. Ameche had not featured in a film for over a decade; when asked why, he said that no one had offered him film work. The studio did not want to pay Ameche what Milland had been offered; as Ameche was financially independent and in no need of work, he refused to take the part until he received equal pay. Landis claimed that the studio reduced the film's budget, frustrated at Ameche's casting after a long absence from film work.

John Gielgud and Ronnie Barker were considered for the role of Winthorpe's butler, Coleman. Barker refused to act if it involved filming more than  from his home in the United Kingdom. G. Gordon Liddy, a central figure in the Watergate political scandal of the early 1970s, was offered the role of corrupt official Clarence Beeks. Liddy was interested in the offer until he learned that Beeks becomes the romantic partner of a gorilla. Paul Gleason took the role; his character reads a copy of Liddy's autobiography Will while riding the train. Don McLeod portrayed the gorilla; he had already become popular for his performances as a gorilla in American Tourister commercials, which led to film appearances.

Filming

Principal photography began on December13, 1982. The budget was estimated to be $15million. Filming took place on location in Philadelphia and New York City. Robert Paynter and Malcolm Campbell served, respectively, as the film's cinematographer and editor.

The script underwent minor changes throughout filming; some improvisation was also encouraged. Changes were normally discussed in advance, but on other occasions, ad-libbed dialogue was considered funny enough to keep. Examples of ad-libs retained in the film include Valentine comparing Randolph to Randy Jackson of The Jackson 5 and demonstrating his "quart of blood" technique in jail. Murphy liked Trading Places script; he felt it was unlike 48 Hrs., which he said had been saved by director Walter Hill. Even so, he changed many of his own lines because he said that a white writer writing for a black person would use stereotypical dialogue like "jive turkey" and "sucker", and he could write his lines to sound authentic. Weingrod said the studio objected to Murphy's line, "Who put their Kools out on my Persian rug?" They believed it was racist because the Kool cigarette brand was targeted mainly at African Americans; Murphy restored the line. Ophelia pretending to be a European exchange student to fool Beeks was also improvised; Curtis used a mix of German attire with a Swedish accent because she could not perform a German accent.

The first fifteen days of filming were spent in Philadelphia. Landis described the weather as freezing. While filming the scene where Randolph and Mortimer collect Valentine from jail, Landis was positioned in a towing truck that pulled the Rolls-Royce carrying Ameche, Bellamy and Murphy. Landis wore a thick parka to stay warm, and the actors had a space heater in their vehicle; Landis listened to their dialogue via radio. Describing the filming of the scene, Landis recalled a jovial discussion between Ameche, Bellamy, and Murphy: Bellamy said that Trading Places was his 99th film; Ameche said it was his 100th. Murphy informed Landis that "between the three of us we've made 201 films!" Filming locations in Philadelphia included townhouses in Center City that served as the Winthorpe home exterior, and the Philadelphia Mint (now the Community College of Philadelphia) which served as the police station's exterior. The exterior and lobby of the Wells Fargo Building serve as the respective exterior and lobby of Duke & Duke.

The Duke & Duke upstairs offices were filmed inside the upstairs of the Seventh Regiment Armory in New York. Murphy's character, pretending to be crippled, is introduced in Rittenhouse Square. The nearby Curtis Institute of Music, shown as the exterior of the Heritage Club, is seen adjacent to Rittenhouse Park in the film's opening. The interior was filmed at the then-abandoned New York Chamber of Commerce Building. Independence Hall is also featured. During filming in Philadelphia, Murphy was so popular that a police officer had to be stationed outside of his trailer to control the crowds.

Filming moved to New York City in January 1983; many of the interior scenes were filmed there. In late January, two holding cells on the 12th-floor of the New York Supreme Court building at 100 Centre Street were taken over for filming. Empty lockups in police administration buildings would normally be in use but because of the financial investment the production had made filming in the city, the mayor's office agreed to accommodate Landis' request; the studio paid for any expenses incurred. The New York Times reported that for years the Corrections Department had failed to deliver prisoners on time for trials and arraignments; despite this, they moved nearly 300 prisoners through the 12th-floor before 9a.m. on the day of filming.

The scene where Valentine and Winthorpe enact their plan against the Dukes was filmed at the COMEX commodity exchange located inside 4 World Trade Center. The lack of windows gave the appearance the floor was situated below ground, but it was actually on a high floor. The scene was scripted to take place at the Chicago Mercantile Exchange, but the filmmakers were unable to secure permission to film there. The scene was shot over approximately 3–4 hours a day over two days. It was scheduled to take place during a weekday, but Aykroyd's and Murphy's presence on the floor distracted the active traders and over $6billion of trading had to be halted; filming was rescheduled for a weekend. A majority of the people on screen are actual traders, along with some extras. Landis said the traders in the film were less physically rough with each other than they were during normal trading. Landis also performed some guerrilla filmmaking there for additional footage. Ameche was opposed to using foul language and often apologized in advance to his crewmates for what he was scripted to say; he only performed one take of his final scene where he shouts "fuck him" towards Randolph. The final scene shot was of the main characters celebrating on a beach; this was filmed on Saint Croix island in the United States Virgin Islands. Principal photography concluded on March1, 1983, after 78 days.

Music

Elmer Bernstein composed the score for Trading Places. He and Landis had collaborated previously on several films including The Blues Brothers and the horror-comedy An American Werewolf in London (1981). Landis conceived of the idea to use the opera buffa The Marriage of Figaro by Wolfgang Amadeus Mozart as the underlying theme for the score. He had used classical music in his previous films to represent the upper classes and felt that it would be fitting for the pompous elites of the financial industry. The Marriage of Figaro concerns the story of a servant who is wronged by his wealthy employer, Count Almaviva, and takes his revenge by unraveling the count's own machinations.

Bernstein created his own arrangements of the music to reflect the differing emotions of each scene. The overture of Marriage of Figaro plays over the film's opening. The score also includes arrangements of Pomp and Circumstance Marches by Edward Elgar, and Mozart's Symphony No. 41. Trading Places features songs including: "Do You Wanna Funk" by Sylvester and Patrick Cowley, "Jingle Bell Rock" by Brenda Lee, "The Loco-Motion" by Little Eva, and "Get a Job" by the Silhouettes.

Release

Context

The summer of 1983 (June–September) was predicted to surpass the previous year's record-breaking $1.4billion in theater tickets sold. The season featured expected hits such as the third installment in the Star Wars series, Return of the Jedi, Superman III, and the latest James Bond film Octopussy. Over 40 films were scheduled for release over the 16-week period. Studios had to strategize their releases to avoid damaging their own films' performances by pitting them against better-performing competition. Paramount Studios opted to release Trading Places at the start of summer, as those films expected to do well would benefit from being in theaters longer during this busy period. Comedy films were considered counterprogramming that attracted audiences who had already seen, or were not interested in, the major film releases that were mainly focused on science-fiction and superheroes. Trading Places was released between Return of the Jedi in May and Superman III in mid-June. While sequels were expected to do well having the advantage of a built-in audience, Trading Places was predicted to be successful based on its cast.

Box office
In the United States (U.S.) and Canada, Trading Places received a wide release on Wednesday, June 8, 1983, across 1,375 theaters. The film earned $1.7million leading into its opening weekend when it earned a further $7.3million—an average of $5,344 per theater. Trading Places finished as the number three film of the weekend behind Octopussy ($8.9million), also making its debut that weekend, and Return of the Jedi ($12million), which was in its third week of release. The film retained the number three position in its second weekend with a further gross of $7million, behind Return of the Jedi ($11.2million), and the debuting Superman III ($13.3million). In its third weekend, it fell to fifth place with $5.5million, behind the debuting science-fiction horror Twilight Zone: The Movie ($6.6million) and sex comedy Porky's II: The Next Day ($7million), Superman III ($9million), and Return of the Jedi ($11.1million).

While the film never claimed the number one box office ranking, it spent seventeen straight weeks among the top ten-highest-grossing films. By September, it was the fourth-highest-grossing film of the year with $80.6million, and by the end of its theatrical run, Trading Places earned an approximate box office gross of $90.4million.  It finished as the fourth-highest-grossing film of 1983, behind Paramount Studio's surprise hit, the romantic drama Flashdance ($90.46million), the comedy-drama Terms of Endearment ($108.4million), and Return of the Jedi ($309.2million). Estimates by industry experts suggest that as of 1997, the box office returns to the studio—minus the theaters' share—was $40.6million. Outside of the United States and Canada, Trading Places is estimated to have earned a further $30.2million, bringing its worldwide gross to $120.6million.

Reception

Critical response

Trading Places received generally positive reviews from critics. Reviewers compared it to the socially conscious comedies of the 1930s and 1940s, like My Man Godfrey (1936), Easy Living (1937), Christmas in July (1940), and Sullivan's Travels (1941) by directors like Preston Sturges, Frank Capra, and Gregory La Cava. Janet Maslin said that the "likable" film owed a debt to the screwball comedy genre. She continued, "Preston Sturges might have made a movie like Trading Places – if he'd had a little less inspiration and a lot more money." Gary Arnold said the film was too inconsistent to be compared to those older films. Vincent Canby said that the screwball style had been updated for the "existential hipness" of the 1980s, but the film lacked the same morality tale the genre often espoused that money is not important. Instead, the characters do not dismantle or expose the corruption of the financial system, they just take revenge on the Dukes, obtaining extreme wealth in the process. Even so, he concluded the film was one of the best American comedies released in a long time. Maslin agreed that the film was too enamored with the wealthy institutions it satirized to provide a true criticism of the system and its failings. She called it the American Dream in film form.

Dave Kehr said that though the film pays homage to screwball comedies, it stripped the concept of all but the "crudest audience-gratification moments" and avoided exploration of the genre's moral conflicts. In Varietys review, the reviewer concluded that the middle segment of the film lacked humor. People said that the ending was perfectly presented, but Arnold considered it to be confusing and reliant on the audience's knowledge that the "heroes" were being heroic to compensate for a lack of clarity in their actions. He continued that even as a farcical film, the events were too unbelievable. Roger Ebert said the ending was inventive for not involving a "manic chase". He appreciated that Trading Places did not rely on obvious racial plot points or employ sitcom tropes for the social-status swaps of Winthorpe and Valentine. He commended the focus on developing each character so that they were funny because of their individual quirks and personalities. He concluded that this required a deeper script than would normally be developed for a comedy.

The cast were all generally praised. Maslin called it a strange but well-cast film representing multiple Hollywood generations. Ebert said that what could have been stereotypical characters were elevated by the actors and the writing, adding that Murphy and Aykroyd made a "perfect" team. Canby said that Murphy demonstrated why he was the most successful comedian in the last decade. Several reviewers compared his role to that in 48 Hrs.; Arnold said that Trading Places was evidence that Murphy's successes were not a fluke, and that Murphy demonstrated an "exhilarating comic authority". Canby said that Trading Places gave Murphy an opportunity to demonstrate the range of his abilities in a "lithe, graceful, uproarious" performance.

Reviewers agreed that the film featured Aykroyd's best performance to date. People said that if audiences had given up on Aykroyd following the failures of Neighbors (1981) and Doctor Detroit (1983), his career was revitalized by Trading Places. Canby said that Aykroyd gave a more consistent performance than in his previous roles. He said that Aykroyd had demonstrated that his success was not dependent upon his partnership with John Belushi. Arnold said that Aykroyd worked best when he shared a central role with another star. Rita Kempley said that his relationship with Murphy was just as enjoyable as his one with Belushi.

Variety noted that the supporting cast in Bellamy, Ameche, Elliott and Curtis were essential to the film. Reviewers said that Curtis brought a deft comic ability to the role. Arnold called the role "stale" and "predictable" but felt Curtis offered an "infectious" humor that earns the audience's support. People said that she had a significant appeal, and Kempley called her both "curvaceous" and "vivacious". Canby said that in her first major non-horror role, Curtis performed with "marvelous good humor". Kehr criticized Landis for often turning his heroines into "busty bunnies", and said that he had treated Curtis the same way. Ebert called Bellamy and Ameche's casting a "masterstroke". Canby said the pair had well-written roles that were supported by their comic performances. He continued that Ameche was as funny in Trading Places as he was always meant to be.

People said that the film works because Landis demonstrated a "remarkable" restraint. Canby said Landis had shown that he could direct a precise comedy as well as special effects-laden fare. Arnold disagreed saying Landis' comedic timing was less precise than in his previous work and that he lacked the skill to handle the source material properly. People said that Harris and Weingrod had developed a well-written script, but Arnold said they had failed to update the screwball genre to tackle social contrasts in a similar way.

Accolades
At the 41st Golden Globe Awards in 1984, the film received two nominations: Best Musical or Comedy (losing to romantic drama Yentl) and Best Actor in a Musical or Comedy for Murphy who lost to Michael Caine's performance in the comedy drama Educating Rita. At the 56th Academy Awards, Bernstein was nominated for Best Original Score; he lost to Michel Legrand and Alan and Marilyn Bergman, who scored Yentl.

The 37th British Academy Film Awards named Elliott and Curtis the Best Supporting Actor and Best Supporting Actress, respectively. Harris and Weingrod were nominated for Best Original Screenplay; they lost to Paul D. Zimmerman for the 1982 black comedy The King of Comedy.

Post-release

Performance analysis and aftermath

As predicted, the 1983 summer film season broke the previous year's record with over $1.5billion worth of tickets sold. It was seen as a substantial increase in spite of increased ticket prices. Even so, the year was a mixture of unexpected successes and disappointments. Films like Superman III and the action comedies Smokey and the Bandit Part 3 and Stroker Ace had failed at the box office. The science fiction comedy The Man with Two Brains featuring an established star in Steve Martin had also underperformed. Conversely, Flashdance was an unexpected hit and the third highest-grossing film of the year, despite a negative critical reception. In September, The New York Times wrote that Trading Places was the only film of the fifteen top-grossing films that could be recommended without reservation. The film was well-received critically and considered a significant commercial success, along with Flashdance and Return of the Jedi. Then-production vice president of MGM/UA studio Peter Bart described it as a "gimmick" film that focused on a "high-concept" over story and characterization. Bart believed its success triggered a negative trend that resulted in him receiving numerous film pitches—often a mix of the high-concept nature of Trading Places with a Flashdance-inspired breakdancing or gym setting. Harris recalled people asking if the producer Aaron Russo or Katzenberg had created the idea and just paid him to write it. He said he knew it was a success because people were trying to take credit for it.

Trading Places is considered responsible for launching, changing, or re-launching the careers of many of its stars. Murphy's success was significant. He rose from a TV comedian to a superstar with two of the most successful films of the year. Industry experts voted him as the biggest box-office star after Clint Eastwood. No other African-American actor had achieved a comparable level of success before him. It was reported that Murphy earned up to $1million for Trading Places, but by his third film, Beverly Hills Cop (1984), he commanded a $3million salary. This was considered a top-tier salary reserved for the most popular movie stars.

Shortly after Trading Places release, Paramount Pictures signed Murphy to a $25million five-film exclusive contract—one of the biggest deals ever with an actor at the time. The studio also agreed to finance his Eddie Murphy Productions studio. Murphy was among several young stars who emerged that year, including Matthew Broderick, Tom Cruise, and Michael Keaton, who were all in their 20s. This reflected the fact that average audiences were aging and now in their late teens to late 20s, and led to a shift in focus away from making films targeted mainly at children. His rapid rise to fame led to Murphy leaving Saturday Night Live the following year; he said he had grown to dislike the job and felt he was resented for his success.

After a series of failures, Trading Places revitalized Aykroyd's career. Throughout the 1980s, he went on to star in the blockbuster phenomenon Ghostbusters (1984), Spies Like Us (1985) and Dragnet (1987). He earned an Academy Award nomination for his performance in the comedy-drama Driving Miss Daisy (1989). Trading Places is considered Curtis's breakout performance, allowing her to move into films outside the horror genre; actor John Cleese cast Curtis in the 1988 heist comedy A Fish Called Wanda specifically because of her performance in Trading Places. Curtis said Landis had "single-handedly changed the course of my life by giving me that part." After not having worked in film for more than a decade, Ameche followed Trading Places with the 1985 comedy-drama Cocoon, for which he won his first and only Academy Award for Best Supporting Actor.

Landis continued to work as a director but suffered setbacks following a lawsuit over the accidental deaths of several actors on a segment he directed for Twilight Zone: The Movie and a succession of moderately successful films. According to Murphy, he hired Landis to direct his 1988 comedy Coming to America to help support Landis's career. The pair had a falling out on the set of that film; even so, they collaborated again on Beverly Hills Cop III (1994). Harris and Weingrod were elevated to prominence as writers. They later sued Trading Places producer, Aaron Russo, for an agreed upon 0.5% of the producer profits share, estimated to be worth $150,000; the outcome of this lawsuit is unknown.

Home media
In the early 1980s, the VCR home video market was gaining popularity rapidly. In previous years, VHS sales were not a revenue source for studios, but by 1983 they could generate up to 13% of a film's total revenue; the North American cassette rights could generate $500,000 alone. Trading Places was released on VHS in May 1984, priced at $39.95. Paramount distributed its own cassettes and priced them significantly lower than the standard $80 price to promote home user VCR adoption. A successful film was expected to earn between $5million and $10million on the home video market. In the rental market, Trading Places was one of the more popular releases in May, alongside the action thriller Sudden Impact. Paramount signed an exclusive deal to show its movies, including Trading Places, on the Showtime TV network for approximately $500million; this was seen as an attempt by Paramount to damage the network monopoly held by HBO that the studio saw as financially unfavorable.

Trading Places was first released on DVD in October 2002. A Special Collector's Edition (also known as the "Looking Good, Feeling Good" edition) was released in 2007 on DVD, Blu-ray, and HD DVD. This edition included deleted scenes, details on the film's production, including discussions with the cast and crew, 1983 promotional interviews, and interviews with financial experts about the film. The film was also released in a pack that included Coming to America. To celebrate the film's 35th-anniversary in 2018, a special edition was released containing a Blu-ray and digital version of the film, and behind-the-scenes featurettes. A limited-edition release of Bernstein's score was made available in 2011. Only 2,000 copies were released  by La-La Land Records.

Analysis

Ending explained
Several publications have attempted to explain exactly how Valentine and Winthorpe make a large sum of money on the commodities market while simultaneously bankrupting the Dukes. The fake crop report created by Valentine and Winthorpe indicates to the Dukes that the orange crop will be poor, making the limited stock more valuable. The Dukes attempt to buy up as many Frozen Concentrated Orange Juice (FCOJ) futures contracts as possible to corner the market—effectively owning a substantial enough number of contracts that they are able to control the price of FCOJ. The other traders realize what the Dukes are doing and join in buying futures. This demand significantly inflates the price to $1.42 per pound—each future represents several pounds of FCOJ. Winthorpe and Valentine begin selling futures at this inflated price, believing it to be the peak price; the contracts will require them to supply FCOJ in April. Anticipating that the crop report will cause the value of FCOJ to rise far above $1.42, the other brokers purchase heavily from the pair.

Once the real crop report is published indicating that the orange crop will be normal and there will be no shortage of FCOJ, the value of the futures plummets as the traders desperately attempt to sell their futures and limit their financial losses. Winthorpe and Valentine then buy back the futures from the traders—except for the Dukes' trader Wilson—at the lower price of 29 cents a pound. The difference is their profit. Effectively, they have sold FCOJ which they do not have at a high price and bought it back at a lower price, earning them a profit and eliminating the need to fulfil any contracts. Meanwhile, the Dukes have bought a significant number of FCOJ futures, around 100,000 contracts or 1.5million pounds of FCOJ and have been unable to sell any of them. When trading closes, they must meet the margin call—essentially a deposit—for holding the futures contracts. In addition to their basic financial loss from buying futures at up to $1.42 that are now worth only 29 cents, the margin call for holding the futures gives them a total loss of $394million, which they do not have, requiring the sale of all of their assets.

Thematic analysis

The central storyline of Trading Places—a member of society trading places with another whose socio-economic status stands in direct contrast to his own—has often been compared to the 1881 novel The Prince and the Pauper by Mark Twain. The novel follows the lives of a prince and a beggar who use their uncanny resemblance to each other to switch places temporarily; the prince takes on a life of poverty and misery while the pauper enjoys the lavish luxuries of royal life. The Prince and the Pauper is seen as a classic tale of American literature; Trading Places adds a twist by casting an African-American as the pauper raised up in status, playing on fears of black usurpation and appropriation. The film has also been compared to Twain's 1893 short story The Million Pound Bank Note, in which two brothers bet on the outcome of giving an impoverished person an unusable million-pound bank-note. The choice to use Mozart's opera buffa The Marriage of Figaro also adds meaning. The opera tells the tale of a servant, Figaro, who foils the plans of his wealthy employer to steal his fiancée. When Winthorpe is driven to work during the film's opening, he hums "Se vuol ballare", an aria from The Marriage of Figaro, in which Figaro declares he will overturn the systems in place. This foreshadows Winthorpe's eventual efforts to do the same to the Dukes.

The main theme of Trading Places is the consequences of wealth or the lack thereof. Both extremes are depicted by those living in opulent luxury and those trapped in a culture of poverty—a concept arguing that poor people adopt certain behaviors that keep them poor. Harris has described the story as a satire of greed and social conventions, but in the end, the good guys win by becoming extremely rich. Economic inequality is demonstrated by the wealthy who live in luxury. They are completely removed from those whose lives are affected by poverty. This is demonstrated by the Dukes' bet, showing their own sense of superiority over, and disregard for, the lives of those beneath them, even Winthorpe. Their only reward for the bet is personal pride. Author Carolyn Anderson noted that films often feature an "introduction" scene for characters elevated above their station, like Valentine, to help them understand the rules of their new world. Conversely, there is rarely a complementary scene for those subjected to downward mobility.

Vincent Canby said that although the film is an homage to social satire screwball comedies of the early 20th century, Trading Places is a symbol of its time. Where the earlier films espoused the benefits of things other than money, Trading Places is built around the value of money and those who aspire to have it. The heroes win by making lots of money; the villains are punished by becoming part of the impoverished. The heroes' reward is escaping to a tropical island, completely divorced from the poverty-stricken neighborhoods that had previously been their home. Money is demonstrably a solution to all of the problems raised in the film, and when it is taken away, it is shown that people quickly resort to a basic criminal nature. Stephen Schiff wrote that it can be seen as an example of supply-side economics, alongside films like the comedies Arthur (1981) and Risky Business (1983). While seemingly supporting left-leaning political concepts by arguing that given an equal platform a street-hustler like Valentine can perform Winthorpe's job equally well, Schiff argued that the film was still "unconsciously promoting Reaganism" where the accumulation of wealth is highly valued. Harris described one incident where a person told him they had obtained a career in finance because of Trading Places; Harris said that this was counter to the film's message.

David Budd said Trading Places defies expectations of racial stereotypes. Randolph's attempts to prove nurture wins over nature demonstrates that Valentine, given the same advantages as Winthorpe, is just as capable, and leaves behind the negative aspects of his former, unfair life. Even so, once the Dukes' bet is complete, Mortimer reveals his intent to return Valentine to poverty, saying, "Do you really believe I would have a nigger run our family business?"; Randolph concurs, "Neither would I". Budd concluded the film is a "message loudly asking for a reassessment of prejudice, and for level playing fields". Hernan Vera and Andrew Gordon argue racial stereotypes are enabled with the permission of the only black main character. As part of their revenge against the Dukes, Winthorpe disguises his identity by donning blackface makeup, an act enabled by Valentine who has helped loosen up this strait-laced character. Because Valentine allowed it, it makes the act acceptable. This requires Valentine to accept and support Winthorpe despite having numerous reasons to dislike him, including originally getting Valentine wrongly arrested and then later trying to frame Valentine to reclaim his old job. Even so, Valentine befriends Winthorpe and helps him get revenge on the Dukes, the old establishment characters who demonstrate explicit racism. The film requires Valentine to act "white", performing as is expected of him to survive in the Dukes' world.

Schiff argues that because the film identifies money as the most valuable entity, this in turn means that Ophelia is only valuable as a prostitute because she is financially intelligent. Hadley Freeman said Ophelia is an example of the Smurfette principle, a female character in an otherwise male ensemble cast who exists to be pretty and rescued by men. However, it is Ophelia who rescues Winthorpe, helping him to survive his new lowered-state. Neal Karlen said Ophelia becomes a real person after telling Louis: "All I've got going for me in this whole, big, wide world is this body, this face, and what I've got up here [referring to her brain]".

Trading Places also employs several conventions of its Christmas setting to highlight the individual loneliness of the main characters, in particular, Winthorpe. On Christmas Eve he humiliates himself in front of his former bosses, unwittingly losing his opportunity for his swap with Valentine to be undone by having become a criminal. While waiting outside a store, a dog urinates on him. He attempts suicide and only fails because the gun does not fire; then it begins to rain on him. The following day offers a Christmas redemption and a change of fortune as Winthorpe is integrated into the non-traditional family unit of Coleman, Ophelia and Valentine.

Legacy
Along with the impact their respective roles had on its stars' careers, Trading Places is considered one of the best comedy films ever made and part of the canon of American comedies. In a 1988 interview, Aykroyd said that he considered it among his "A-tier" films, along with Ghostbusters, Dragnet, The Blues Brothers, and Spies Like Us. Bellamy and Ameche reprised their Duke characters for Murphy's 1988 film Coming to America. Murphy portrays the affluent Prince Akeem who hands the now-homeless brothers a large sum of cash. Mortimer tells Randolph that it is enough to give them a new start. Of the two films, Murphy has said that while he "loves" Trading Places, he prefers Coming to America because it allowed him to portray multiple characters. The 2021 sequel Coming 2 America also references the Dukes, revealing they used Akeem's donation to rebuild their business.

In 2010, nearly 30 years after its release, the film was cited in the testimony of Commodity Futures Trading Commission chief Gary Gensler regarding new regulations on the financial markets. He said:We have recommended banning using misappropriated government information to trade in the commodity markets. In the movie Trading Places, starring Eddie Murphy, the Duke brothers intended to profit from trades in frozen concentrated orange juice futures contracts using an illicitly obtained and not yet public Department of Agriculture orange crop report. Characters played by Eddie Murphy and Dan Aykroyd intercept the misappropriated report and trade on it to profit and ruin the Duke brothers. The testimony was part of the Dodd–Frank Wall Street Reform and Consumer Protection Act designed to prevent insider trading on commodities markets, which had previously not been illegal. Section 746 of the reform act is referred to as the "Eddie Murphy rule". An anonymous seller sold off their portion of the royalties earned from the film for $140,000 in 2019. At the time, the share was generating an average of $10,000 per annum. A musical adaptation of Trading Places debuted at the Alliance Theater in Atlanta, Georgia, on June 4, 2022.

Critical reassessment
Trading Places is considered one of the best comedies of the 1980s and one of the best Christmas films. In 2015, the screenplay was listed as the joint thirty-third funniest on the WGA's 101 Funniest Screenplays list, tied with Ferris Bueller's Day Off (1986). In 2017, the BBC polled 253 critics (118 female, 135 male) from 52 countries on the funniest film made. Trading Places came seventy-fourth, behind The Nutty Professor (1963) and The Naked Gun: From the Files of Police Squad! (1988). Several publications have named it one of the best films of the 1980s, including: number eight by IFC; number 17 by MTV; number 37 by USA Today; and number 41 by Rotten Tomatoes. It has also been listed as one of the best comedy films ever by publications including: number 16 by Time Out; number 26 by Rotten Tomatoes; and number 48 by Empire.

Although the film's story takes place over several weeks leading up to and after Christmas, Trading Places is regarded as a Christmas film. In 2008, The Washington Post called it one of the most underrated Christmas films. The Atlantic described it as a less traditional Christmas film, but one whose themes remain relevant, particularly regarding the divide between the wealthy and poor. It has appeared on several lists of the best Christmas films, including: number 5 by Empire; number 12 by Entertainment Weekly; number 13 by Thrillist; number 23 by Time Out; number 24 by Rotten Tomatoes (based on overall critical scores); number 45 by Today; and unranked by Country Living and The Daily Telegraph. It has been a popular Christmas film on TV in Italy since its television debut in 1986, generally played on Christmas Eve.

Review aggregation website Rotten Tomatoes gives the film an approval rating of , based on  reviews, with an average rating of . The site's consensus states: "Featuring deft interplay between Eddie Murphy and Dan Aykroyd, Trading Places is an immensely appealing social satire". Metacritic gave the film a score of 69 out of 100, based on 10 critics, which indicates "generally favorable reviews".

In the years followings its release, some critics have praised the film while highlighting elements that they believe aged poorly, including racial language, the use of blackface, and the implied rape of Beeks by a gorilla. The film's use of the word "nigger", said during Mortimer's statement that he will never allow Valentine to run his family business, is sometimes censored in TV broadcasts. Todd Larkins Williams, director of the 2004 documentary The N-Word, said that it is a critical scene that should not be censored. He considered it dangerous to pretend a word never existed as in turn other negative events could also be ignored. GQ argued that its social commentary remained relevant in spite of these elements. In 2020, Trading Places was one of 16 films that had a disclaimer added by British broadcaster Sky UK. The disclaimer read, "This film has outdated attitudes, language, and cultural depictions which may cause offence today".

References

Notes

Citations

Works cited

External links

1980s satirical films
American business films
American Christmas films
American satirical films
American screwball comedy films
Blackface minstrel shows and films
1980s Christmas comedy films
Coming to America (film series)
Economics films
Fictional portrayals of the Philadelphia Police Department
Films directed by John Landis
Films scored by Elmer Bernstein
Films set in New York City
Films set around New Year
Films set in Philadelphia
Films shot in Philadelphia
Films shot in the United States Virgin Islands
Films with screenplays by Herschel Weingrod
Films with screenplays by Timothy Harris (writer)
Paramount Pictures films
Stock trading films
Wall Street films
1980s English-language films
1980s American films
1983 comedy films

Trading Places


Larissa Bertonasco (* 1972 in Heilbronn) ist eine deutsche Illustratorin.

Leben
Larissa Bertonasco, geboren 1972 in Heilbronn, studierte ein paar Semester Italienisch und Kunstgeschichte in Siena und Hamburg, anschließend Illustration an der Armgartstrasse, heute Hochschule für Angewandte Wissenschaften Hamburg, Department Design. Ihr Diplom machte sie 2003 mit dem Kochbuch "La nonna La cucina La vita",  welches zum Bestseller wurde und mittlerweile in der 14. Auflage und in mehreren Übersetzungen erschienen ist.
Seither arbeitet sie frei als Illustratorin für Magazine, Verlage und Werbung. Sie veranstaltet kulinarische Lesungen sowie Ausstellungen und ist seit 2004 Mitherausgeberin und Autorin des Zeichnerinnenmagazins Spring.
Sie macht Workshops und Kunst-Projekte mit Kindern und Jugendlichen, gibt Kurse und hält Vorträge für Studenten und Erwachsene.
Sie hat zwei Kinder und lebt zusammen mit dem Maler Ari Goldmann in Hamburg.

Werke
 Café Wunderbar (Hrsg.: Anne Buhrfeind). Hansisches Druck- und Verlags-Haus, Frankfurt am Main 2007. ISBN 978-3-938704-30-1
 Carmen (Text: Kristian Wachinger). Insel Verlag, Berlin 2014 (Insel-Bücherei 1399). ISBN 978-3-458-19399-9
La cucina dolce (Text: Carlo Bernasconi). Verlagshaus Jacoby & Stuart Berlin, 2012. ISBN 978-3-941787-91-9
La cucina mia!. Verlagshaus Jacoby & Stuart, Berlin 2012. ISBN 978-3-941787-74-2
La cucina verde (Text: Carlo Bernasconi) Verlagshaus Jacoby & Stuart, Berlin 2010. ISBN 978-3-941087-79-8
La nonna, la cucina, la vita Gerstenberg Verlag, Hildesheim 2005. ISBN 3-8067-2560-8
Mein Leben als Mensch (Text: Jan Weiler) Kindler, Reinbek 2009. ISBN 978-3-463-40571-1
Mein neues Leben als Mensch (Text: Jan Weiler). Kindler, Reinbek 2011. ISBN 978-3-463-40619-0
Mit Lebenslust und Leidenschaft (Hrsg.: Christina Callori di Vignale). Herder, Freiburg 2009. ISBN 978-3-451-30230-5
Spuren in der Polenta (Text: Lukas Hartmann). Bajazzo, Zürich 2007. ISBN 978-3-907588-84-0

Weblinks
 Homepage von Larissa Bertonasco
 Homepage des Magazins SPRING

Illustrator (Deutschland)
Deutscher
Geboren 1972
Frau

Larissa Bertonasco


Iunmin (también escrito como Yunmin, Iuenmin, Minuen) fue un chaty de la cuarta dinastía de Egipto, y al parecer era hijo del faraón Kefrén, aunque se desconoce el nombre de su madre. Alcanzó el cargo hacia el final de la dinastía, posiblemente durante el reinado de su hermano Micerinos.

Tumba

La tumba de Iunmin es la llamada G 8080 (= LG 92), ubicada en el Campo Central de la Necrópolis de Giza, y destaca de las tumbas vecinas debido a su enorme tamaño.

Tiene un gran porche, y en el dintel de la entrada figura su nombre y títulos, y también aparece el nombre de su esposa, Jamerernebti.

La tumba fue excavada en la roca en el acantilado occidental, mientras que la capilla y la fachada están hechas con piedra caliza. A la derecha del vestíbulo hay un paso a una pequeña antecámara que contiene dos puertas falsas sin inscripciones. Delante de éstas, hay dos huecos excavados (pozos) preparados para sacófagos (1547 y 1632).

También desde el vestíbulo se pasa al resto de la tumba y a la capilla exterior. A la izquierda de la capilla, un pasillo conduce a una serdab que posiblemente contuvo estatuas de madera, según indican los restos encontrados. En el suelo hay otro de otro pozo (1551) excavado.

En la capilla exterior hay una puerta que conduce a la interior. Ésta contiene dos pilares, y paso a otras dos cámaras: a la izquierda hay una con otro pozo excavado (1550), mientras que a la derecha hay una sala con una mesa de ofrendas. Detrás de los pilares hay otra pequeña cámara con otros dos pozos más (1549 y 1687).

Decoración
La sala de columnas contiene una escena que muestra a Iunmin y a Jamerenebty ante una mesa de ofrendas. Iunmin se autodenomina príncipe heredero, jefe de la justicia y chaty, el mayor de los cinco en el templo de Tot e Iunmin, hijo del faraón.

Pozos
1547 - se abre a una cámara funeraria que contiene un sarcófago de piedra caliza blanca que estaba vacío.
1632 - se abre a una cámara funeraria en la que hay un sarcófago excavado en el suelo y cubierto con una losa de piedra caliza. La cámara estaba vacía.
1550 - se abre a una cámara funeraria con un sarcófago excavado en el suelo. La tierra del pozo contenía huesos descompuestos.
1551 - se abre a una cámara de piedra labrada simple. No se encontró nada.
1549 - se abre en una cámara funeraria, tampoco se encontró nada.
1687 - se abre a una cámara de piedra labrada simple. Se encontraron restos de huesos humanos.

Referencias

Chatys de Egipto
Dinastía IV
Príncipes del Antiguo Egipto
Kefrén

Iunmin


Universitatea din Saarland (în ) este o universitate de cercetare modernă situată în Saarbrücken, capitala statului german Saarland. Ea a fost fondată în 1948 la Homburg, în cooperare cu Franța, și este organizată în șase facultăți care acoperă toate marile domenii ale științei. Universitatea este deosebit de cunoscută pentru cercetările sale în informatică, lingvistică computațională și știința materialelor, fiind plasată constant printre primele universități din Germania în aceste domenii. În 2007, universitatea a fost recunoscută ca un centru de excelență pentru informatică în Germania.

Grație personalului bilingv german și francez, Universitatea are un profil internațional, care a fost subliniat prin proclamarea sa ca "Universitate Europeană" în anul 1950 și prin stabilirea aici a Europa-Institut în 1951.

Nouă profesori au fost onorați cu cel mai înalt premiu de cercetare din Germania, premiul Gottfried Wilhelm Leibniz, în timp ce lucrau la Universitatea Saarland.

Istoric

Universitatea din Saarland, prima care a fost înființată după cel de-al Doilea Război Mondial, a fost fondată în noiembrie 1948, cu sprijinul guvernului francez și sub auspiciile Universității din Nancy.

La acel moment Saarland se afla în situația specială de a fi parțial autonom și legat de Franța printr-o uniune economică și monetară. Combinând tradițiile educaționale germane și franceze și folosind două limbi de instruire, universitatea a avut o perspectivă europeană chiar de la început. Înainte de înființarea universității, cursurile de formare pentru studenții la medicină de la Spitalul Universitar din Saarland, din Homburg, Saarland, au fost introduse în ianuarie 1946, iar "Centre Universitaire d'Etudes Supérieures de Hombourg" a fost stabilit pe 8 mai 1947 sub patronajul Universității din Nancy. Studenții anumitor discipline puteau obține diplome de la ambele universități.

Primul președinte al universității independente a fost din 1948 Jean Barriol. În același an, universitatea a introdus primele cursuri de drept, filozofie și limbi străine.

În 1990 a fost înființată Facultatea de Tehnologie. Universitatea realizează cercetări de top în domeniul tehnologiei informației.

Organizare și administrare
Universitatea este împărțită în șase facultăți:
 Facultatea de Științe Sociale și Afaceri
 Facultatea de Medicină
 Facultatea de Matematică și Informatică
 Facultatea de Științe Naturale și Tehnologie
 Facultatea de Științe Umaniste
 Facultatea de Drept

Persoane notabile

Câștigători ai Premiului Leibniz
 Joachim Weickert, procesarea digitală a imaginii (2010)
 Hans-Peter Seidel, Grafică digitală (2003)
 Manfred Pinkal, Lingvistică computațională (2000)
 Johannes Buchmann, Teoria informației (1993)
 Michael Veith, Chimie anorganică (1991)
 Herbert Gleiter, Știința materialelor (1989)
 Günter Hotz, Kurt Mehlhorn și Wolfgang Paul, informatică (1987)

Absolvenți
 Susanne Albers (născut în 1965), om de știință
 Peter Altmaier (născut în 1958), politician (CDU)
 Karl-Otto Apel (născut 1922), filosof
 Peter Bofinger (născut în 1954), economist
 Ralf Dahrendorf (1929-2009), politician
 Lars Feld (născut în 1966), economist
 Jürgen W. Falter (născut în 1944), politolog
 Winfried Hassemer (născut în 1940), om de știință
 Werner Jeanrond (născut în 1955), teolog
 Reinhard Klimmt (născut în 1942), politician (SPD)
 Annegret Kramp-Karrenbauer (n. 1962), politician (CDU)
 Christian Graf von Krockow (1927-2002), politolog și scriitor
 Daniel Elles, specialist în informatică
 Oskar Lafontaine (născut în 1943), politician (Linkspartei)
 Wilfried Loth (născut în 1948), istoric
 Werner Maihofer (1918-2009), avocat și om politic (FDP)
 Alfred Werner Maurer (născut în 1945), arhitect, arheolog, istoric de artă
 Bernhard Nebel (născut în 1956), om de știință
 August-Wilhelm Scheer (născut în 1941), om de știință și antreprenor
 Claus-Peter Schnorr (născut în 1943), om de știință
 Ottmar Schreiner (născut în 1942), politician (SPD)
 Christina Weiss (născut în 1953), jurnalist și politician
 Michael Wolffsohn (născut în 1947), Istoric

Referințe

Legături externe
  Saarland University Website

Saarland
Saarland

Universitatea din Saarland


تشاك تايلور أول-ستارز  أو اختصارا تشاكس "Chucks" هي أحذية قماشية ومطاطية تصنع من قبل شركة كونيفرس . تم أول إنتاج لهذه الأحذية في عام 1917 بهدف السيطرة على سوق أحذية كرة السلة. كانت هذه الأحذية عادية الشهرة حتى تم استخدامها من قبل لاعب كرة السلة تشاك تايلور كأحذيته المفضلة، حيث أعجب كثيراً بالتصميم، وبعدها أصبح أكبر مروج لهذه الأحذية. وبعد طرح العديد من التعديلات على التصميم، أخذ الحذاء اسم تشاك وتوقيعه على رقعة الحذاء.

مراجع

الموضة في عقد 1910
الموضة في عقد 1920
الموضة في عقد 1950
الموضة في عقد 1960
الموضة في عقد 1970
الموضة في عقد 1980
الموضة في عقد 1990
الموضة في عقد 2000
الموضة في عقد 2010
الموضة في عقد 2020
أحذية رياضية
منتجات عرضت في 1917

تشاك تايلور أول-ستارز


تاجر الفضائح فيلم مصري تم إنتاجه عام 1953، إخراج حسن الإمام و بطولة هدى سلطان و يحيى شاهين و فريد شوقي.

تمثيل
 هدى سلطان
 يحيى شاهين
 فريد شوقي
 حسين رياض
 زينب صدقي
 هاجر حمدي

روابط خارجية

مراجع

أفلام فريد شوقي
أفلام حسين رياض
أفلام مصرية إنتاج 1953
أفلام حسن الإمام
أفلام هدى سلطان
أفلام يحيى شاهين
أفلام زينب صدقي
أفلام هاجر حمدي

تاجر الفضائح (فيلم)


"Pecadores en las manos de un Dios airado" es un sermón escrito por el teólogo calvinista estadounidense Jonathan Edwards, predicado el 8 de julio de 1741 en Enfield, Connecticut. Como otros sermones y escritos de Edwards, combina una vívida presentación del infierno con observaciones del mundo y citas de la Biblia. Se trata del sermón más famoso de Edwards, y a menudo es estudiado y analizado por teólogos e historiadores, proporcionando un ejemplo sobre la teología del "Gran Despertar" de entre 1730 - 1755.

Doctrina
"No existe nada que pueda salvar a los pecadores del infierno, sólo el deseo de Dios."

La mayor parte del texto del sermón consiste en diez "consideraciones":

 Dios puede enviar a los pecadores al infierno en cualquier momento, siempre que así lo disponga debido a la doctrina de la Depravación total.
 Los pecadores se merecen ir al infierno, pues han desechado la ley de Dios escrita en su corazón. Por lo tanto, la justicia divina no impide que Dios destruya a los pecadores en cualquier momento.
 Los pecadores, en "este" momento, sufren la condena de Dios en el infierno al ignorar una salvación tan grande.
 Los pecadores no deben creer que porque no se encuentren físicamente en el infierno que Dios (en cuyas manos se encuentran los pecadores) no se encuentra airado con ellos, de la misma forma que se encuentra airado con las criaturas miserables a las que está atormentando "ahora" en el infierno y que en este mismo momento sienten el dolor de su ira.
 En cualquier momento que Dios quiera, Satanás cae sobre los pecadores y los reclama como suyos.
 Si no fuera por la misericordia de Dios que retiene las almas de los pecadores, los príncipes del infierno reinarían en el presente y arrojarían a todos los pecadores al infierno.
 Aunque en un momento dado la muerte no parezca inminente, los pecadores no deberían sentirse seguros.
 Aunque es natural cuidarse o que otros cuiden de uno, los hombres no deberían sentirse a salvo de la ira de Dios.
 Todo lo que hagan los pecadores para salvarse de los castigos del infierno no servirá de nada si continúan rechazando a Cristo.
 Dios nunca ha prometido salvarnos del infierno, excepto a los que están contenidos en Cristo mediante la alianza de la Gracia.

Propósito
Una iglesia de Enfield, Connecticut, no había sido afectada por el Gran Despertar de Nueva Inglaterra. Jonathan Edwards fue invitado por el pastor de esa iglesia para que predicara. El objetivo de Edwards era presentar a los feligreses los horrores del infierno, el peligro del pecado y el terror de condenarse. Edwards describe la precaria posición de quienes no siguen la urgente llamada de Cristo para recibir el perdón.

"Pecadores en las manos de un Dios airado" es un sermón típico del Gran Despertar, enfatizando la creencia de que el infierno es un lugar real. Jonathan Edwards esperaba que la visión y mensaje de su sermón despertarse a su audiencia a la horrible realidad que les esperaba si continuaban sin Cristo. La idea subyacente es que Dios ha dado a la humanidad una oportunidad para rectificar sus pecados. Edwards dice que es la voluntad de Dios lo único que impide que los pecadores sean arrojados a las profundidades del infierno. Este acto ha proporcionado a la humanidad una oportunidad de corregir sus actos y regresar a Cristo.

Aplicación
En la parte final de "Pecadores en las manos de un Dios airado," Edwards demuestra su argumento teológico mediante la Biblia y la historia bíblica. La explicación es extensa, mencionando historias y ejemplos de toda la Biblia. El sermón finaliza con una última advertencia: Por lo tanto, que todos los que se encuentren fuera de Cristo, despierten ahora y huyan de la ira que está por llegar. Sin mencionarlo explícitamente, Edwards da una sensación indirecta de esperanza a quienes se encuentran en el presente fuera de Cristo. Sólo regresando a Cristo se puede evitar el terrible destino presentado por Edwards.

Efecto
Jonathan Edwards fue interrumpido muchas veces antes de finalizar el sermón por personas lamentándose, llorando y gritando "¿Qué debo hacer para salvarme?." El sermón de Edwards todavía continúa siendo uno de los principales ejemplos de los sermones del Gran Despertar y todavía se utiliza en estudios académicos y religiosos. Aunque ha recibido numerosas críticas, todavía continúa siendo leído actualmente, más de 270 años después.

Véase también
 calvinismo
 puritanos

Notas y citas

Fuentes primarias
 Jonathan Edwards, Sinners in the Hand of an Angry God

Fuentes secundarias
 Conforti Joseph A. Jonathan Edwards, Religious Tradition, & American Culture. Chapel Hill: University of North Carolina Press, 1995.
 Hart, D.G., Sean Michael Lucas, and Stephen J. Nichols. The Legacy of Jonathan Edwards. Grand Rapids, Mich.: Baker Academic, 2003.
 Kimnach, W.H., Maskell, C.J.D., and Minkema, K.P. Jonathan Edwards's Sinners in the Hands of an Angry God: A Casebook. New Haven, Conn.: Yale University Press, 2010.
 Marsden, George M. Jonathan Edwards: A Life. New Haven, Conn.: Yale University Press, 2003.

Enlaces externos

 Text of the sermon
 Online digital facsimile edition (pdf)
Mark Dever preaches "Sinners in the Hand of an Angry God" from Capitol Hill Baptist Church

Historia colonial de Estados Unidos
Historia de la teología cristiana
Historia del cristianismo en Estados Unidos
Textos cristianos del siglo XVIII
Infierno


(6822) Horálek, denumire internațională (6822) Horalek, este un asteroid din centura principală de asteroizi.

Descriere
6822 Horálek este un asteroid din centura principală de asteroizi. A fost descoperit pe  la Observatorul Kleť de Zdeňka Vávrová. Asteroidul prezintă o orbită caracterizată de o semiaxă mare de 2,59 ua, o excentricitate de 0,25 și o înclinație de 2,7° în raport cu ecliptica.

Vezi și
 Lista planetelor minore: 6001-7000
 Centura de asteroizi

Referințe

Obiecte astronomice descoperite în 1986
Centura de asteroizi

6822 Horálek


Enrique Bermúdez Varela (n. León, 11 de diciembre de 1932 - m. Managua, 16 de febrero de 1991) fue un militar y terrorista nicaragüense que fundó y lideró el principal grupo de la Contra, la Fuerza Democrática Nicaragüense (FDN, que en 1985 se cambió a Resistencia Nicaragüense, RN), opuesto al gobierno del Frente Sandinista de Liberación Nacional (FSLN) en la guerra civil que asoló al país entre 1980 y 1990. Se lo conoció por su nombre de guerra Comandante 3-80. Murió asesinado por desconocidos en la capital Managua.

Biografía
Bermúdez Varela nació en León, el 11 de diciembre de 1932, hijo de un ingeniero mecánico y de una empleada doméstica. Después de graduarse en la Academia Militar (en la que fue el cadete No. 3-80) en 1952 ingresó en el cuerpo de ingenieros de la Guardia Nacional (GN) en la que alcanzó el grado de coronel siendo Presidente de Nicaragua el general de división Anastasio Somoza Debayle y sirvió como agregado militar en la Embajada de Nicaragua en Estados Unidos hasta el triunfo de la Revolución Sandinista el 19 de julio de 1979.

Inmediatamente el coronel Bermúdez decidió armar a la oposición contra el nuevo gobierno (que lideraba la Junta de Gobierno de Reconstrucción Nacional, JGRN) siendo uno de los más influyentes líderes de la oposición armada a los sandinistas. Con Ricardo Lau fundó la Legión 15 de septiembre. En 1981 regresó a Tegucigalpa, Honduras, desde Miami, EE. UU. Se convirtió en comandante de la FDN.

Papel en la Guerra Fría
La guerra de la Contra el FSLN fue uno de los más contendentes y prominentes conflictos de la Guerra Fría, con el apoyo del Presidente de los Estados Unidos Ronald Reagan contra el Ejército Popular Sandinista (EPS) que era apoyado por la Unión Soviética, Cuba, la República Democrática Alemana y los países del Bloque del Este. Según la Doctrina Reagan América Central era un campo de batalla junto con otras regiones del mundo, por lo que el gobierno estadounidense proporcionó armas y asesoría a los contras instalados en Honduras.

Críticas
Hay críticas a Bermúdez como líder militar y político. Sus partidarios aseguran que daba estabilidad a las facciones rebeldes, pues la FDN estaba por encima de otros grupos de la Contra. Sus críticos dicen que cargaba la dirección estratégica para los campamentos de la FDN y que la Contra estaba compuesta por exmiembros de la GN aunque en esta había miles de campesinos. Finalmente trasladó el liderazgo político de la Contra a Miami.

Otra de las críticas es que fue una de las figuras que estuvo envuelto en el tráfico de cocaína y otras drogas. Gary Webb, experiodista del San Jose Mercury News, afirmó que Bermúdez y Norwin Meneses Cantarero estuvieron involucrados en eso por lo que Cantarero fue condenado a 10 años de cárcel por narcotráfico junto con Óscar Danilo Blandón. Webb se basó en los testimonios de Blandón y Meneses.

Relaciones con Estados Unidos
Bermúdez tenía la llave de líder militar tras la guerra. Tenía su contacto con la administración Reagan, Adolfo Calero, quien influía en el Congreso de Estados Unidos para votar la ayuda a la Contra, pero el sentimiento predominante en el Congreso era que la ayuda continua a los rebeldes era para establecer un gobierno no comunista en Nicaragua.

Autobiografía
En el verano de 1988 Bermúdez publicó en la revista Policy Review su autobiografía The Contras´ Valley Forge: How I View the Nicaraguan Crisis en la cual habla de su vida militar y la guerra civil. En el artículo criticó al gobierno que presidía Daniel Ortega por sus alianzas con el bloque comunista; también criticó la política de EE. UU., sobre todo a ciertos demócratas, como el Presidente de la Cámara de Representantes Jim Wright que apoyaba a los sandinistas. El artículo fue autorizado por su autor Michael Johns, que entrevistó a Bermúdez por varios días en Tegucigalpa en mayo y junio de 1988.

Asesinato

Tras la derrota de Ortega en las elecciones del 25 de febrero de 1990, que ganó Violeta Chamorro, regresó a Nicaragua asesinado la noche del 16 de febrero de 1991 en el parqueo del Hotel Intercontinental Managua, actual Hotel Crowne Plaza Managua, al salir del lugar donde veía un show. Fue sepultado en Miami. En 1994 su hija Claudia Bermúdez, dijo al The Miami Herald:"Muchas personas se beneficiaron del asesinato de mi padre. Los sandinistas, el gobierno Chamorro y los Estados Unidos. Mi padre murió con algo de información".Le sobreviven sus familiares que viven en Miami y su nombre de guerra sirvió para nombrar a un barrio managüense, el 3-80, formado por los desmovilizados de la Resistencia Nicaragüense.

Véase también
Contras
Ejército Popular Sandinista
Irán-Contra

Referencias

Enlaces externos

Personas de León (Nicaragua)
Militares de Nicaragua
Políticos de Nicaragua
Políticos de la Guerra Fría
Anticomunistas de Nicaragua
Militares asesinados de Nicaragua
Fallecidos en Managua

Enrique Bermúdez Varela


Heinz-Dieter Tschörtner () este un editor și publicist german.

Biografie
Tschörtner a crescut în Mulhouse și acolo și-a susținut examenul de bacalaureat. În 1953 s-a mutat împreună cu familia sa la Babelsberg. După terminarea studiilor a lucrat ca bibliotecar la Mulhouse, Erfurt și Halle, înainte de a fi angajat în 1959 ca redactor și corector la editura Volk und Welt din Berlin. Acolo, el a fost redactor al revistei editurii Der Bücherkarren și din 1962 al revistei cu tiraj mare< Roman-Zeitung. Ca editor a fost responsabil, printre altele, de publicarea unei ediții a operelor lui Werner Steinberg la Mitteldeutscher Verlag (Ausgewählte Werke, 1976-1988).

Începând cu anii 1960, Tschörtner a publicat numeroase selecții de lucrări, studii și bibliografii referitoare la Gerhart Hauptmann. A publicat o biografie a lui Hauptmann în 1995. Tschörtner a fost, de asemenea, o lungă perioadă (din 1952) trezorier al Gerhart-Hauptmann-Gesellschaft din Erkner și din 1999 a fost redactor al revistei bianuale Gerhart-Hauptmann-Blätter.

Tschörtner locuiește în Berlin-Lichtenberg. Soția sa, Ilse Tschörtner, a lucrat, de asemenea, ca lector și ca traducător al operei unor scriitori sovietici ca Viktor Astafiev, Daniil Harms, Veniamin Kaverin, Vladimir Solouchin și Tatiana Tolstaia. Fiica lui a fost regizoare de filme documentare Petra Tschörtner (1958-2012).

Lucrări (selecție)
 Friedrich von Schiller 1759–1805. Ein Verzeichnis zum Schillerjahr 1955. Kreisbibliothek Mühlhausen 1955.
 (Editor) Gerhart Hauptmann. Auswahl für die Jugend. Verlag Neues Leben, Berlin 1962.
 (Editor) Die Akte Max Kretzer. Aufbau-Verlag, Berlin und Weimar 1969 (= Aus dem Archiv der Deutschen Schillerstiftung Weimar 14).
 Gerhart-Hauptmann-Bibliographie. Deutsche Staatsbibliothek, Berlin 1971 (2. erweiterte Ausgabe 1976) (= Bibliographische Mitteilungen der Deutschen Staatsbibliothek 24).
 (Editor) Johannes Wüsten: Tannhäuser. Erzählungen und Geschichten. Verlag Volk und Welt, Berlin 1976.
 (Editor) Bernhard Kellermann: ^Eine Nachlese 1906–1951. Verlag Volk und Welt, Berlin 1979.
 (Editor) Johannes Wüsten: Die Verrätergasse. Stücke, Aufsätze, Gedichte, Autobiographisches, Briefe. Verlag Volk und Welt, Berlin 1980.
 (Editor) B. Traven: Aus dem Land des Frühlings. Auszüge, Aufsätze, Auskünfte. Verlag Volk und Welt, Berlin 1986.
 Ungeheures erhofft. Zu Gerhart Hauptmann – Werk und Wirkung. Buchverlag Der Morgen, Berlin 1986, ISBN 3-371-00002-8.
 (Editor) Gespräche und Interviews mit Gerhart Hauptmann (1894–1946). Erich Schmidt, Berlin 1994, ISBN 3-503-03088-3 (= Veröffentlichungen der Gerhart-Hauptmann-Gesellschaft 6).
 Gerhart Hauptmann. Ein Lebensbild. Stiftung Kulturwerk Schlesien, Würzburg 1995, ISBN 3-929817-01-2.
 Unaufhörlich bläst das Meer. Neue Hauptmann-Studien. Bergstadtverlag Korn, Würzburg 1996, ISBN 3-87057-190-X.
 Leonhard Franks Bücher in der DDR. Leonhard-Frank-Gesellschaft, Würzburg 1997, ISBN 3-932404-05-X (= Schriftenreihe der Leonhard-Frank-Gesellschaft 6).
 (Editor) Gerhart Hauptmann: Zur Charakteristik Jehovas. Glossen zum Alten Testament. Mit fünf Original-Lithographien und siebzehn Kohlezeichnungen von Hermann Naumann. Faber und Faber, Leipzig 1997, ISBN 3-932545-01-X (= Druck der Sisyphos-Presse 10).
 (Editor) Joseph Chapiro und Gerhart Hauptmann: Briefwechsel 1920–1936. Wallstein-Verlag, Göttingen 2006, ISBN 3-8353-0032-6.
 Proteus Hauptmann. Beiträge zu Werk und Wirkung. Thelem, Dresden 2009, ISBN 978-3-939888-47-5.

Note

Legături externe
 Mühlhausen: Heinz Dieter Tschörtner wurde 80 Jahre alt

Nașteri în 1932
Bibliotecari
Publiciști germani

Heinz Dieter Tschörtner


Les épreuves de ski de fond aux Jeux paralympiques d'hiver de 1976 se tiennent du 21 au  à la station alpine de Örnsköldsvik (Suède). Les épreuves sont réservés au handicap physique et aux déficients visuels.

Compétition
Les épreuves au programme sont la course individuelle sur courte et moyenne distance et une épreuve de relais à trois.

Pour chaque épreuve, il y a une course pour chaque catégorie de handicap
I - debout, amputation d'une seule jambe au-dessous du genou
II - debout, amputation d'une seule jambe au-dessus du genou
III - debout, amputation d'un bras
IV B - debout, amputation des deux bras
A - aveugle
B - malvoyant, moins de 10 % de vision fonctionnelle

Médaillés

Hommes

Femmes

Tableau des médailles

Notes et références

Liens externes

1976
Jeux paralympiques d'hiver de 1976
Ski en 1976

Ski de fond aux Jeux paralympiques de 1976


Stade Auguste Bonal Fransa'nın, Montbéliard şehrinde 2000 yılında çok amaçlı olarak inşa edilmiş bir stadyumdur.

FC Sochaux-Montbéliard takımının maçlarına ev sahipliği yapmaktadır. Çoğunlukla futbol müsabakalarının yapıldığı stadyum, 20.000 seyirci kapasitelidir.

Fransa'daki stadyumlar

Auguste Bonal Stadyumu


Las Asambleas del Partido Republicano de 2012 en Montana se hicieron el 5 de junio de 2012. Las Asambleas del Partido Republicano fueron unas Asambleas, con 26 delegados para elegir al candidato del partido Republicano para las elecciones presidenciales de Estados Unidos de 2012.  En el estado de Montana estaban en disputa 26 delegados.

Elecciones

Resultados

Véase también
 Primarias presidenciales del Partido Republicano de 2012

Referencias

Enlaces externos
 Resultados de Montana
 Destino 2012 en Univision (en español)
 Calendario de las Asambleas en Montana (en inglés)
 Asambleas y Asambleas en CNN (en inglés)
 Candidatos a las Asambleas (en inglés)

2012
Montana


Badagaon es una localidad de la India en el distrito de Tikamgarh, estado de Madhya Pradesh.

Geografía
Se encuentra a una altitud de 336  a 284 km de la capital estatal, Bhopal, en la zona horaria UTC +5:30.

Demografía
Según estimación 2010 contaba con una población de 8 143 habitantes.

Referencias

Enlaces externos

Localidades de Madhya Pradesh

Badagaon


شهد عقد 1870 نفس اتجاهات العقد السابق، حيث ارتقت الإمبراطوريات الجديدة والاستعمارية والعسكرية في أوروبا وآسيا. كانت الولايات المتحدة تتعافى من الحرب الأهلية. وتوحدت ألمانيا عام 1871 وبدأ عهد الرايخ الثاني. وحدثت إضرابات عمالية في جميع أنحاء العالم في الجزء الأخير من العقد، واستمرت حتى الحرب العالمية الأولى. ترك عصر إعادة الإعمار في الولايات المتحدة إرثا من المرارة والفصل الذي استمر حتى عقد 1960.

مراجع

عقد 1870


Silva adını taşıyan Portekiz'de yerleşim birimleri:
 Silva (Barcelos) – Barcelos belediyesinde bucak.
 Silva (Miranda do Douro) – Miranda do Douro belediyesinde bucak.
 Silva (Valença) – Valença belediyesinde bucak.
Soyadı
 Silva (soyadı) –  Portekizce soyadı

Silva


Jean Ier de Toulouse-Lautrec (1569 - 1611) est vicomte de Lautrec, de l'année de sa naissance à sa mort. Il est aussi baron de Montfa, seigneur de Labruguière et de La Montarche.

Biographie
Jean de Toulouse-Lautrec est le fils de Pons de Toulouse-Lautrec et de Rose d'Aure, et donc le petit-fils du vicomte Jean-François de Toulouse-Lautrec. Néanmoins, son père meurt l'année même de sa naissance, suivit bientôt par son grand-père. L'héritage est alors partagé entre lui et son oncle Pierre VII de Toulouse-Lautrec (1551 - ?). En plus de ce partage avec son oncle, la vicomté de Lautrec est largement divisée entre de nombreux seigneurs.

Jean de Toulouse-Lautrec, catholique, ne participe que peu aux guerres de Religion, qui pourtant agitent la région : Lautrec est ainsi prise à de maintes reprises par l'un ou l'autre des partis. Il est toutefois fait mention de lui quelques fois, sous le nom de vicomte de Montfa : en 1591, il promet ainsi d'ouvrir les portes de Lautrec au capitaine protestant Jacques de Lucques (gouverneur de Vielmur). Il le trahit finalement, en faisant venir les puissants chefs catholiques qu'étaient le duc de Joyeuse et le baron d'Ambres.

Jean de Toulouse-Lautrec épouse Renée de Nadal en 1595, mais meurt sans enfants, ce qui laisse son oncle héritier.

Membre de la famille de Toulouse-Lautrec, il est aussi l'ancêtre du peintre Henri de Toulouse-Lautrec.

Notes et références

Article connexe

 Liste des vicomtes de Lautrec

Références

Naissance en 1497
Décès en 1569
Vicomte français du XVIe siècle

Jean Ier de Toulouse-Lautrec


La ruée vers l'or de la côte ouest sur l'île du Sud, en Nouvelle-Zélande, a duré de 1864 à 1867.

Description

La région de l'île du Sud, en Nouvelle-Zélande, jusque-là peu fréquentée par les Européens, a attiré en 1864, de nombreux prospecteurs, notamment sur les rives du fleuve Taramakau, où  deux Maoris, Ihaia Tainui et Haimona Taukau avaient trouvé de l'or. De 1865 à 1866, la ruée vers l'or s'organisa autour de Charleston et le long du fleuve Grey.

La ruée vers l'or
Les mineurs ont été attirés par l'or dans le centre d'Otago (), une région située au sud-est de l'île du Sud, grande d'environ . Ce qui fut également le cas pour l'État fédéré australien de Victoria, situé au Sud-Est de l'île principale de l'Australie. À l'époque victorienne, la ruée vers l'or attira environ  sur la côte ouest, dont beaucoup dans la région de Hokitika. qui était en 1866 la colonie la plus peuplée de Nouvelle-Zélande avec  plus de  et elle comptait plus de cent pubs.

L'expédition d'Edward Dobson

En 1864, le Conseil provincial de Canterbury à Christchurch a mandaté l'ingénieur provincial, , pour examiner chacun des passages possibles vers la côte ouest en partant des bassins versants des rivières Waimakariri, Taramakau et Hurunui. Après avoir étudié les différentes topographies, il déclara que le  col de montagne d'Arthur's Pass, dans le district de Selwyn, découvert par son fils Arthur, était de loin l'endroit le plus approprié pour accéder aux champs aurifères . Le gouvernement provincial a décidé qu'une route devait être construite entre Christchurch et Hokitika sur Arthur's Pass, une distance de  (), et Edward Dobson a été chargé de mener le projet. La route a été ouverte le .

Déclin

En 1867, la ruée vers l'or s'est estompée, bien que l'exploitation du métal se soit poursuivie sur la côte durant quelques années. Les principales villes de la côte ouest  (à une époque la plus grande ville de la côte) et Charlestown, rebaptisée plus tard Charleston), s'étaient  établies. Elles ont toutes deux tombées en déclin lorsque les mineurs sont partis alors que la côte était la deuxième région aurifère la plus riche de Nouvelle-Zélande après Otago.

Dans la culture populaire
Le roman d' Eleanor Catton, The Luminaries, qui a remporté le , se déroule à Hokitika pendant la ruée vers l'or de la côte ouest. Ce cadre a été en partie inspiré par le roman classique pour enfants néo-zélandais d'Elsie Locke, The Runaway Settlers, qui présente également la ruée vers l'or .

Ce cadre a été en partie inspiré par le roman classique pour enfants néo-zélandais d'Elsie Locke  The Runaway Settlers , qui présente également la ruée vers l'or.

Notes et références

Liens externes

   L'or de la côte ouest, Encyclopédie de Nonnvelle-Zélande.
   Découvertes d'or à Wakamarina et sur la côte ouest, Encyclopédie de Nonnvelle-Zélande.
  Geologie des filons d'or de  Reefton  (journal de 1908).
  La fièvre de l'or, Encyclopédie de Nonnvelle-Zélande.
  Champs aurifères de la côte ouest, Encyclopédie de Nonnvelle-Zélande..

Histoire de la Nouvelle-Zélande
!Nouvelle-Zélande
XIXe siècle

Ruée vers l'or en Nouvelle-Zélande sur la côte de l'île du Sud


Arslantaş, Samsun ilinin Ladik ilçesine bağlı bir mahalledir.

Tarihçe
Mahalle, Gürcistan göçmeni Gürcüler tarafından kurulmuştur.

Coğrafya
Samsun iline 74 km, Ladik ilçesine 7 km uzaklıktadır.

Nüfus

Ladik'in mahalleleri

Arslantaş, Ladik


دفوريتشينسك  هي مدينة في مقاطعة سفيردلوفسك أوبلاست في روسيا.

يبلغ عدد سكانها حوالي 5079 نسمة.

مراجع

مدن مقاطعة سفردلوفسك

دفوريتشينسك


طوكيو يوشون  هو سباق خيل ياباني محلي من الدرجة الأولى للخيول ذات الثلاثة أعوام على مسافة 2400 متر، يعقد السباق في حلبة سباق طوكيو في فوتشو، طوكيو في أواخر مايو أو أوائل شهر يونيو.

بدأ طوكيو يوشون للمرة الأولى عام 1932.

سباقات الخيل في اليابان
سباقات خيل

طوكيو يوشون


Bijeli bun (Lat. Scopolia), maleni biljni rod iz porodice krumpirovki (pomoćnica; Solanaceae). Pripadaju mu tri vrste trajnica iz Europe, Rusije, Kavkaza i Japana. Rod je ime dobio u čast talijanskog liječnika i prirodoslovca Giovannija Antonija Scopole.

Kranjski bijeli bun je otrovan, ali je i ljekovita biljka. Alkaloid skopolamin koji se nalazi u njemu koristio se nekada kao serum istine. Osim njega biljka sadržava i hiosciamin. Svi dijelovi biljke su otrovni i njegova upotreba može izazvati suhoću usta i ždrijela, ubrzan puls, širenje zjenica, gubitak svijesti, gušenje i smrt.

U Hrvatskoj raste na Velebitu i u Gorskom kotaru.

Vrste
 Scopolia carniolica Jacq.
 Scopolia caucasica Kolesn. ex Kreyer
 Scopolia japonica Maxim.

Vanjske poveznice

Izvori

Hyoscyameae
Otrovne biljke

Bijeli bun


E. A. Wilhelm Steffens (* 22. August 1883 in Braunschweig; † 3. April 1970 in Münster) war ein deutscher Lehrer, Historiker und Politiker (DVP).

Leben
Wilhelm Steffens wurde als Sohn eines Kammervirtuosen geboren. Nach dem Abitur am Gymnasium in Braunschweig studierte er Geschichte, Germanistik und Philosophie an der Georg-August-Universität Göttingen. Er promovierte 1906 zum Dr. phil. (Dissertation: Hardenberg und die ständische Opposition 1810/1811) und bestand 1907 das Staatsexamen. Im Anschluss trat er in den Schuldienst ein und war zunächst als Lehrer an den Gymnasien in Frankfurt (Oder) und Brandenburg an der Havel tätig. 1910 bekam er eine Stellung als Oberlehrer in Berlin-Wilmersdorf. Von 1914 bis 1918 nahm er als Soldat am Ersten Weltkrieg teil.

1918 wurde Steffens als Direktor an das Städtische Lyzeum von Bartenstein berufen. Er wechselte 1924 als Oberstudiendirektor an die Winrich von Kniprode-Schule (Staatliches Gymnasium und Aufbauschule) in Marienburg und erhielt 1933 eine Stellung als Gymnasialdirektor in Münster. Während der Zeit der Weimarer Republik war Steffens Mitglied der Deutschen Volkspartei (DVP), für die er von 1921 bis 1932 als Abgeordneter dem Preußischen Landtag angehörte. Daneben betätigte er sich als Historiker mit dem Schwerpunkt für westfälische Landesgeschichte. Er war seit 1934 Mitglied der Historischen Kommission für Westfalen und wurde 1963 deren Ehrenmitglied.

Ehrungen
 Ehrendoktor der Philosophischen Fakultät der Westfälischen Wilhelms-Universität Münster (Dr. phil. h. c.)
 Bundesverdienstkreuz

Literatur
 Herrmann A. L. Degener: Wer ist's?, Band 9/1928, Leipzig 1928, S. 1508

Weblinks
 Dr. Wilhelm Steffens, Biographische Angaben auf den Seiten der Historischen Kommission für Westfalen
 Wilhelm Steffens beim Projekt Westfälische Geschichte

Mitglied des Preußischen Landtags (Freistaat Preußen)
DVP-Mitglied
Träger des Bundesverdienstkreuzes
Wikipedia:Träger des Bundesverdienstkreuzes (Ausprägung ungeklärt)
Person im Ersten Weltkrieg (Deutsches Reich)
Deutscher
Geboren 1883
Gestorben 1970
Mann
Mitglied der Historischen Kommission für Westfalen

Wilhelm Steffens