The Trachtenberg system is a system of rapid mental calculation. The system consists of a number of readily memorized operations that allow one to perform arithmetic computations very quickly. It was developed by the Russian engineer Jakow Trachtenberg in order to keep his mind occupied while being in a Nazi concentration camp.

The rest of this article presents some methods devised by Trachtenberg. Some of the algorithms Trachtenberg developed are ones for general multiplication, division and addition. Also, the Trachtenberg system includes some specialised methods for multiplying small numbers between 5 and 13 (but shown here is 2–12).

The section on addition demonstrates an effective method of checking calculations that can also be applied to multiplication.

General multiplication
The method for general multiplication is a method to achieve multiplications  with low space complexity, i.e. as few temporary results as possible to be kept in memory. This is achieved by noting that the final digit is completely determined by multiplying the last digit of the multiplicands. This is held as a temporary result. To find the next to last digit, we need everything that influences this digit: The temporary result, the last digit of  times the next-to-last digit of , as well as the next-to-last digit of  times the last digit of . This calculation is performed, and we have a temporary result that is correct in the final two digits.

In general, for each position  in the final result, we sum for all :

People can learn this algorithm and thus multiply four-digit numbers in their head – writing down only the final result. They would write it out starting with the rightmost digit and finishing with the leftmost.

Trachtenberg defined this algorithm with a kind of pairwise multiplication where two digits are multiplied by one digit, essentially only keeping the middle digit of the result. By performing the above algorithm with this pairwise multiplication, even fewer temporary results need to be held.

Example:

To find the first (rightmost) digit of the answer, start at the first digit of the multiplicand
The units digit of  is
The first digit of the answer is . The tens digit  is ignored.

To find the second digit of the answer, start at the second digit of the multiplicand:
The units digit of  plus the tens digit of  plus
The units digit of .
.
The second digit of the answer is  and carry  to the third digit.

To find the third digit of the answer, start at the third digit of the multiplicand:
The units digit of  plus the tens digit of  plus
The units digit of  plus the tens digit of  plus
The units digit of

The third digit of the answer is  and carry  to the next digit.

To find the fourth digit of the answer, start at the fourth digit of the multiplicand:
The units digit of  plus the tens digit of  plus
The units digit of  plus the tens digit of  plus
The units digit of  plus the tens digit of .
 carried from the third digit.
The fourth digit of the answer is  and carry  to the next digit.

Continue with the same method to obtain the remaining digits.

Trachtenberg called this the 2 Finger Method.  The calculations for finding the fourth digit from the example above are illustrated at right.  The arrow from the nine will always point to the digit of the multiplicand directly above the digit of the answer you wish to find, with the other arrows each pointing one digit to the right.  Each arrow head points to a UT Pair, or Product Pair.  The vertical arrow points to the product where we will get the Units digit, and the sloping arrow points to the product where we will get the Tens digits of the Product Pair.  If an arrow points to a space with no digit there is no calculation for that arrow.  As you solve for each digit you will move each of the arrows over the multiplicand one digit to the left until all of the arrows point to prefixed zeros.

Division in the Trachtenberg System is done much the same as in multiplication but with subtraction instead of addition.  Splitting the dividend into smaller Partial Dividends,  then dividing this Partial Dividend by only the left-most digit of the divisor will provide the answer one digit at a time.  As you solve each digit of the answer you then subtract Product Pairs (UT pairs) and also NT pairs (Number-Tens) from the Partial Dividend to find the next Partial Dividend.  The Product Pairs are found between the digits of the answer so far and the divisor. If a subtraction results in a negative number you have to back up one digit and reduce that digit of the answer by one. With enough practice this method can be done in your head.

General addition
A method of adding columns of numbers and accurately checking the result without repeating the first operation. An intermediate sum, in the form of two rows of digits, is produced. The answer is obtained by taking the sum of the intermediate results with an L-shaped algorithm. As a final step, the checking method that is advocated both removes the risk of repeating any original errors and identifies the precise column in which an error occurs all at once. It is based on check (or digit) sums, such as the nines-remainder method.

For the procedure to be effective, the different operations used in each stage must be kept distinct, otherwise there is a risk of interference.

Other multiplication algorithms

When performing any of these multiplication algorithms the following "steps" should be applied.

The answer must be found one digit at a time starting at the least significant digit and moving left.  The last calculation is on the leading zero of the multiplicand.

Each digit has a neighbor, i.e., the digit on its right.  The rightmost digit's neighbor is the trailing zero.

The 'halve' operation has a particular meaning to the Trachtenberg system.  It is intended to mean "half the digit, rounded down" but for speed reasons people following the Trachtenberg system are encouraged to make this halving process instantaneous.  So instead of thinking "half of seven is three and a half, so three" it's suggested that one thinks "seven, three".  This speeds up calculation considerably.  In this same way the tables for subtracting digits from 10 or 9 are to be memorized.

And whenever the rule calls for adding half of the neighbor, always add 5 if the current digit is odd.  This makes up for dropping 0.5 in the next digit's calculation.

Numbers and digits (base 10)
Digits and numbers are two different notions. The number T consists of n digits cn ... c1.

Multiplying by 2
Proof

Rule:

 Multiply each digit by 2 (with carrying).

Example: 8624 × 2

Working from left to right:
 8+8=16,
 6+6=12 (carry the 1),
 2+2=4
 4+4=8;
 8624 × 2 = 17248

Example: 76892 × 2

Working from left to right:
7+7=14
6+6=12
8+8=16
9+9=18
2+2=4;
76892 × 2 =153784

Multiplying by 3
Proof
Rule:
Subtract the rightmost digit from 10.
Subtract the remaining digits from 9.
Double the result.
Add half of the neighbor to the right, plus 5 if the digit is odd.
For the leading zero, subtract 2 from half of the neighbor.

Example:  492 × 3 = 1476

Working from right to left:
 (10 − 2) × 2 + Half of 0 (0) = 16. Write 6, carry 1.
 (9 − 9) × 2 + Half of 2 (1) + 5 (since 9 is odd) + 1 (carried) = 7. Write 7.
 (9 − 4) × 2 + Half of 9 (4) = 14. Write 4, carry 1.
 Half of 4 (2) − 2 + 1 (carried) = 1. Write 1.

Multiplying by 4
Proof

Rule:
Subtract the right-most digit from 10.
Subtract the remaining digits from 9.
Add half of the neighbor, plus 5 if the digit is odd.
For the leading 0, subtract 1 from half of the neighbor.

Example:  346 × 4 = 1384

Working from right to left:
 (10 − 6) + Half of 0 (0) = 4. Write 4.
 (9 − 4) + Half of 6 (3) = 8. Write 8.
 (9 − 3) + Half of 4 (2) + 5 (since 3 is odd) = 13. Write 3, carry 1.
 Half of 3 (1) − 1 + 1 (carried) = 1. Write 1.

Multiplying by 5
Proof
Rule:

 Take half of the neighbor, then, if the current digit is odd, add 5.

Example: 42×5=210
 Half of 2's neighbor, the trailing zero, is 0.
 Half of 4's neighbor is 1.
 Half of the leading zero's neighbor is 2.
 43×5 = 215
 Half of 3's neighbor is 0, plus 5 because 3 is odd, is 5.
 Half of 4's neighbor is 1.
 Half of the leading zero's neighbor is 2.
 93×5=465
 Half of 3's neighbor is 0, plus 5 because 3 is odd, is 5.
 Half of 9's neighbor is 1, plus 5 because 9 is odd, is 6.
 Half of the leading zero's neighbor is 4.

Multiplying by 6
Proof

Rule:
Add half of the neighbor to each digit. If the current digit is odd, add 5.

Example: 357 × 6 = 2142

Working right to left:

 7 has no neighbor, add 5 (since 7 is odd) = 12. Write 2, carry the 1.
 5 + half of 7 (3) + 5 (since the starting digit 5 is odd) + 1 (carried) = 14. Write 4, carry the 1.
 3 + half of 5 (2) + 5 (since 3 is odd) + 1 (carried) = 11.  Write 1, carry 1.
 0 + half of 3 (1) + 1 (carried) = 2.  Write 2.

Multiplying by 7
Proof
Rule:
Double each digit.
Add half of its neighbor to the right (dropping decimals, if any).  The neighbor of the units position is 0.
If the base-digit is even add 0 otherwise add 5.
Add in any carryover from the previous step.

Example: 693 × 7 = 4,851

Working from right to left:

 (3×2) + 0 + 5 + 0 = 11 = carryover 1, result 1.
 (9×2) + 1 + 5 + 1 = 25 = carryover 2, result 5.
 (6×2) + 4 + 0 + 2 = 18 = carryover 1, result 8.
 (0×2) + 3 + 0 + 1 = 4 = result 4.

Multiplying by 8
Proof

Rule:
Subtract right-most digit from 10.
Subtract the remaining digits from 9.
Double the result.
Add the neighbor.
For the leading zero, subtract 2 from the neighbor.

Example: 456 × 8 = 3648

Working from right to left:

 (10 − 6) × 2 + 0 = 8. Write 8.
 (9 − 5) × 2 + 6 = 14, Write 4, carry 1.
 (9 − 4) × 2 + 5 + 1 (carried) = 16. Write 6, carry 1.
 4 − 2 + 1 (carried) = 3. Write 3.

Multiplying by 9
Proof

Rule:
Subtract the right-most digit from 10.
Subtract the remaining digits from 9.
Add the neighbor to the sum
For the leading zero, subtract 1 from the neighbor.

For rules 9, 8, 4, and 3 only the first digit is subtracted from 10.  After that each digit is subtracted from nine instead.

Example: 2,130 × 9 = 19,170

Working from right to left:
 (10 − 0) + 0 = 10. Write 0, carry 1.
 (9 − 3) + 0 + 1 (carried) = 7. Write 7.
 (9 − 1) + 3 = 11.  Write 1, carry 1.
 (9 − 2) + 1 + 1 (carried) = 9.  Write 9.
 2 − 1 = 1. Write 1.

Multiplying by 10
Add 0 (zero) as the rightmost digit.

Proof

Multiplying by 11
Proof

Rule:
Add the digit to its neighbor. (By "neighbor" we mean the digit on the right.)

Example:
 (0 + 3) (3 + 4) (4 + 2) (2 + 5) (5 + 0)
 3      7      6      7      5

To illustrate:
 11=10+1

Thus,

Multiplying by 12
Proof

Rule: to multiply by 12:Starting from the rightmost digit, double each digit and add the neighbor. (The "neighbor" is the digit on the right.)

If the answer is greater than a single digit, simply carry over the extra digit (which will be a 1 or 2) to the next operation.
The remaining digit is one digit of the final result.

Example:

Determine neighbors in the multiplicand 0316:
 digit 6 has no right neighbor
 digit 1 has neighbor 6
 digit 3 has neighbor 1
 digit 0 (the prefixed zero) has neighbor 3

Multiplying by 13
Proof

Publications
 Rushan Ziatdinov, Sajid Musa. Rapid mental computation system as a tool for algorithmic thinking of elementary school students development. European Researcher 25(7): 1105–1110, 2012 .
 The Trachtenberg Speed System of Basic Mathematics by Jakow Trachtenberg, A. Cutler (Translator), R. McShane (Translator), was published by Doubleday and Company, Inc. Garden City, New York in 1960.

The book contains specific algebraic explanations for each of the above operations.

Most of the information in this article is from the original book.

The algorithms/operations for multiplication, etc., can be expressed in other more compact ways that the book does not specify, despite the chapter on algebraic description.

In popular culture
The 2017 American film Gifted revolves around a child prodigy who at the age of 7 impresses her teacher by doing calculations in her head using the Trachtenberg system.

Other systems
There are many other methods of calculation in mental mathematics. The list below shows a few other methods of calculating, though they may not be entirely mental.

Bharati Krishna Tirtha's book "Vedic Mathematics"
Mental abacus – As students become used to manipulating the abacus with their fingers, they are typically asked to do calculation by visualizing abacus in their head. Almost all proficient abacus users are adept at doing arithmetic mentally.
Chisanbop

Notes

References

Further reading
 Trachtenberg, J. (1960). The Trachtenberg Speed System of Basic Mathematics. Doubleday and Company, Inc., Garden City, NY, USA.
 Катлер Э., Мак-Шейн Р.Система быстрого счёта по Трахтенбергу, 1967 .
 Rushan Ziatdinov, Sajid Musa. "Rapid Mental Computation System as a Tool for Algorithmic Thinking of Elementary School Students Development", European Researcher 25(7): 1105–1110, 2012.

External links

Chandrashekhar, Kiran.
Gifted (2017 film), This film is more about the Trachtenberg system, with Mckenna Grace, a young artist who has learned this technique, playing the lead role.
Vedic Mathematics Academy

Arithmetic
Mental calculation

Trachtenberg system


National Napalm Syndicate ist eine finnische Speed- und Thrash-Metal-Band aus Pudasjärvi, die im Jahr 1986 unter dem Namen National Napalm Storm gegründet, 1991 aufgelöst und 2002 neu gegründet wurde. Sie zählt zu den ersten finnischen Vertretern des Genres.

Geschichte
Die Band wurde im Jahr 1986 gegründet. Anfangs spielte die Band Coverversionen von Metallicas Album Kill 'Em All und Exodus' Bonded by Blood, bis die Band sich entschloss eigene Lieder zu schreiben. Nach einigen Besetzungswechseln und die Veröffentlichung von einigen Demos, erreichte die Band einen Vertrag bei EMI, worüber die Band ihr Debütalbum National Napalm Syndicate im Jahr 1989 veröffentlichte. Die Band spielte viele Auftritte in Finnland, zusammen mit anderen Bands wie A.R.G. und Stone. Die Band trennte sich im Jahr 1991. Bassist Juha Vuorma wurde in dieser Zeit Coverdesigner und gestaltete Albumcover für Bands wie A.R.G., Autopsy, Whiplash und Unholy.

Im Jahr 2002 fand die Band wieder zusammen. Einzige Originalmitglieder waren die Gitarristen Markku Jokikokko und Jukka Kyro. Neue Mitglieder waren Schlagzeuger Jari Kaiponen, Bassist Tero Nevala und Sänger Ile Järvenpää. Jokikokko und Kyro begannen mit dem Schreiben von neuen Liedern, sodass in den Jahren 2003 und 2004 je ein Demo veröffentlicht wurde. Außerdem spielte die Band wieder erstmals Live-Auftritte. Im Februar und März 2005 ging die Band zusammen mit Sacred Crucifix und Maple Cross auf Tour durch Finnland. Im Mai begab sich die Band in das Hellgate Studio, um ein weiteres Album aufzunehmen. Danach spielte die Band auf dem Tuska Open Air Metal Festival und dem Jalometali. Außerdem hielt die Band eine Tour durch den Norden Finnlands mit Sethery und Sacred Crucifix. Danach beendete die Gruppe die Aufnahmen im Tonebox Studio mit Produzent Kari Vahakuopus und im Finnvox Studio. Das Album Resurrection of the Wicked erschien im Jahr 2006 über Poison Arrow Records in Finnland und über Trinity Records in Asien. In den Jahren 2006 und 2007 folgten diverse Auftritte in Finnland. 2007 erschien die Kompilation The Birth, Death and Resurrection über EMI. Darauf waren die ersten beiden Alben, bisher unveröffentlichtes Material, sowie einige Coverversionen enthalten. Im Sommer 2007 nahm die Band ein weiteres Album im Hellgate Studio auf, das im Jahr 2009 unter dem Namen Devolution of Species veröffentlicht wurde.

Stil
Die Band spielt klassischen, schnell gespielten Thrash Metal, der mit den Werken von anderen Bands wie Solitaire und The Scourger vergleichbar ist.

Diskografie
 Painful Ten Hours (Demo, 1987, Eigenveröffentlichung)
 Demo II 1988 (Demo, 1988, Eigenveröffentlichung)
 At the Time of the Fullmoon (Demo, 1988, Eigenveröffentlichung)
 Demo 1989 (Demo, 1989, Eigenveröffentlichung)
 National Napalm Syndicate (Album, 1989, EMI)
 Promo 2003 (Demo, 2003, Eigenveröffentlichung)
 Demo 2004 (Demo, 2004, Eigenveröffentlichung)
 Creatures from the North (Split mit Maple Cross und Sacred Crucifix, 2005, Verikauha Records)
 Resurrection of the Wicked (Album, 2006, Poison Arrow Records (Finnland), Trinity Records (Asien))
 Thrashing Relics Vol. 1 (Split mit Mengele, Morphosis und Lycantrophy, 2006, Bestial Burst Records)
 The Birth, Death and Resurrection (Kompilation, 2007, Poison Arrow Records)
 Devolution of Species (Album, 2009, Violent Journey Records)

Weblinks
 Myspace-Seite der Band

Einzelnachweise

Finnische Band
Speed-Metal-Band
Thrash-Metal-Band

National Napalm Syndicate


Three Imaginary Boys ist das Debütalbum der englischen Band The Cure. Es erschien im Mai 1979 bei Fiction Records. In den USA und in Australien wurde das Album unter dem Titel Boys Don't Cry veröffentlicht.

Geschichte
Das Album wurde im Herbst 1978 mit dem Produzenten Chris Parry aufgenommen. Ursprünglich sollte die vom Bassisten Michael Dempsey gesungene Jimi-Hendrix-Coverversion Foxy Lady, die bei einem Soundcheck entstand, sich nicht auf dem Album befinden. Das Label diktierte jedoch sowohl die Auswahl an Liedern als auch das Artwork; seitdem besteht der Sänger Robert Smith darauf, bei allen Projekten der Band die kreative Kontrolle zu behalten. Das Album besteht aus kurzen Songs, von denen nur wenige die Drei-Minuten-Marke überschreiten.

Rezeption

Chris True schrieb in seiner Rezension für den Allmusic Guide, das Album sei nicht nur ein sehr starkes Debütalbum, sondern beinahe ein Kuriosum. Es sei eines der poppigsten Alben von The Cure.

Der Rolling Stone bewertete das Album zwar nur mit 3,5 Punkten, führte es jedoch in der Liste 500 besten Alben aller Zeiten auf Platz 438.

Titelliste

Originalausgabe 1979
Die Stücke (außer Foxy Lady) wurden von Michael Dempsey / Robert Smith / Lol Tolhurst geschrieben.

 10:15 Saturday Night – 3:41
 Accuracy – 2:18
 Grinding Halt – 2:49
 Another Day – 3:44
 Object – 3:03
 Subway Song – 2:01
 Foxy Lady (Jimi Hendrix) – 2:29
 Meathook – 2:18
 So What – 2:37
 Fire In Cairo – 3:23
 It's Not You – 2:49
 Three Imaginary Boys – 3:17
 The Weedy Burton – 1:07 (Hidden track)

Quellen
 http://www.rollingstone.com/music/lists/500-greatest-albums-of-all-time-20120531
 http://www.allmusic.com/album/mw0000143449
 http://pitchfork.com/reviews/albums/1694-three-imaginary-boys-deluxe-edition/
 http://www.rollingstone.com/music/artists/the-cure/albumguide
 http://www.scaruffi.com/vol4/cure.html
 http://www.robertchristgau.com/get_artist.php?name=the+cure

Album (Punk)
Album 1979
The-Cure-Album

Three Imaginary Boys


ذا بروغريسف ، مجلة أمريكية يسارية التوجه تعنى بشؤون السياسة والثقافة. وهي في الإطار العام تدعو إلى السلام، وقد عارضت بقوة التدخلات العسكرية، مثل التدخل الأمريكي في العراق عام 2003. تخصص المجلة حصة واصة من تغطياتها لشؤون حقوق الإنسان والحريات العام والشؤون البيئية. عارضت المجلة انتشار واستخدام الأسلحة النووية منذ عام 1945.

تأسست المجلة في 9 كانون الثاني (يناير) 1909 تحت اسم لا فوليتيز ويكلي وتغير اسمها عام 1929 إلى ذا بروغريسيف، وكانت تسعى آنذاك لإبقاء أمريكا خارج الحرب العالمية الأولى. ودعت إلى العمل ضد البطالة خلال الكساد الكبير، وكان لها دور رائد في حركة الحقوق المدنية الأمريكية، فنشرت كتابات مارتن لوثر كينغ وجيمس بالدوين.

انظر أيضا
 بيزنيس 2.0

روابط خارجية

مراجع

التقدمية في الولايات المتحدة
مجلات أمريكية سياسية
مجلات أسست في 1909
مجلات شهرية أمريكية
وسائل الإعلام في ماديسون (مقاطعة دان)
مجلات نشرت في ويسكونسن

ذا بروغريسف


Den orbitale eller horisontale del af pandebenet (pars orbitalis) består af to tynde triangulære plader, de orbitaler plader, der danner øjenhulerne og er adskilt fra hinanden af et mellemrum, det ethomidale hak.

Referencer

Skelet

Orbitale del af pandebenet


Hervé Michel, né le 9 novembre 1963 à Carpentras dans le Vaucluse, est un écrivain, romancier, journaliste et aventurier français. Il est notamment auteur de romans policiers historiques, de romans à suspense et d'essais.

Biographie
Son père est auteur-compositeur et auteur dramatique. Durant son enfance puis son adolescence, il se passionne logiquement pour la lecture et l'écriture, mais aussi pour les sciences : la physique, la chimie ainsi que pour l'Histoire.

Il sera pilote de stock-car, dresseur de chiens d'intervention, videur de night-club, détective privé, photographe de mode, jusqu'à ce qu'il soit recruté, en 1993, comme correspondant de presse au Dauphiné Libéré. C'est là que débute réellement sa carrière littéraire.

Carrière
Dès lors, il ne cesse d'écrire d'innombrables articles, mais aussi des romans. Il devient photojournaliste et s'adonne même au grand reportage, à partir de 1999, lorsqu'il part au Pakistan pour écrire une série d'articles qui donneront lieu à un ouvrage intitulé : Mission Pakistan.

Passionné par les histoires de trésors et les mystères, il collaborera comme journaliste à plusieurs magazines spécialisés : Détection Passion, Richesses de l'Histoire… Durant plusieurs années il utilisera également ses connaissances pour rechercher lui-même des trésors un peu partout dans le monde, au Venezuela, notamment, mais plus particulièrement en France où il débusque les héritages perdus pour des particuliers. De ces aventures, il tirera un ouvrage intitulé : Chasseur de trésors, publié aux éditions City.

Hervé Michel a délaissé la recherche de trésors pour se consacrer uniquement l'écriture. À l'instar de ses héros d'enfance : Henry de Monfreid, Jack London, Lord Byron et Tintin, il se sert de son expérience de terrain pour alimenter ses nombreux romans.

En 2018, il signe un contrat avec les éditions City, pour une série de romans policiers historiques, intitulée : Crimes et complots sous l'Empire, dans laquelle, des policiers de l'époque napoléonienne enquêtent sur des crimes mystérieux. Chez le même éditeur, il publie également un ouvrage journalistique : Chasseur de trésors, un recueil d'histoires vécues.

En 2021, il signe chez l'éditeur Ex Aequo, un contrat pour un roman à suspense : le Secret du Bellérophon qui met en scène des enquêteurs spécialisés dans les enquêtes sous-marines.

En 2021, toujours, il crée une petite maison d'édition associative, pour éditer un magazine trimestriel : les Chroniques de L'Isle-sur-Sorgue, série de mini-romans policiers à la Belle Époque.

Il collabore également avec d'autres éditeurs et notamment avec un éditeur de guides de voyages : Les nouvelles éditions de l'université, qui éditent Le Petit Futé.

Œuvres

Romans
 Sur la piste des trésors perdus, Atramenta, « récit autobiographique », 2013
 Mission Pakistan, Atramenta, « récit d'aventures », 2013
 Toujours sur la piste des trésors perdus, Terres d'Aventures, « récit autobiographique », 2015
 La Vierge du Cap, Atramenta, « roman d'aventures », 2016
 Pierre qui coule, Autoédition, « nouvelle », 2016
 Les secrets des découvreurs de trésors, Atramenta, « enquête », 2017
 Guide de démarrage rapide de la plongée sous-marine, Autoédition, « guide pratique », 2017
 Le Regard du diable, City éditions, « policier historique », 2019.
 Chasseur de trésor, City éditions, « récit d'aventures », 2019.
 Le temps des assassins, Autoéditions, « nouvelles policières », 2019
 La Malédiction égyptienne, City éditions, « policier historique », 2020 (sélection du jury prix Napoléon )
 Le Trésor du marquis, éditions Légacy, « polar », 2021
 Le Secret du Bellérophon, éditions Ex Aequo, « roman à suspense, 2022

Podcasts
 L'écrivain mène l'enquête (série criminelle de la Belle Époque aux Années Folles)

Émissions de télévision / radio
 Parlons de livre, interview par la Chroniqueuse new yorkaise Judith Eya.
 La Matinale de Fun Radio (28/03/2022)
 Émission Je t'aime etc, avec Daphnée Bürki et Raphaël Mezrahi, France 2 (24/08/2020)
 IDFM Radio, 18/07/2020
 Entretien avec Willy Lefevre, 07/07/2020
 Ca vaut le détour, France Bleu, 18/02/2020
 Vocation, avec Luc Mondoloni, France 3 Corse, 04/02/2020
 Ca commence aujourd'hui, avec Faustine Bollaert, France 2, 11/09/2019
 Interview par Philippe Garcia, France Bleu Vaucluse, 17/06/2019
 Interview sur Radio Canada, 28 avril 2017, YouTube
 C'est plus que des vacances, France Télévision, 2017
 Sept à Huit, avec Harry Roselmack, 29/01/2012
 Reportages, TF1, 2010
 Grand Format, France 2, 28/08/2010
 Reporter, NT1, 2008

Presse
 En juillet 2020, Didier Vergne écrit dans la Provence, à propos de la sortie de la Malédiction égyptienne : Hervé Michel revient un an après le succès de son roman, Le Regard du diable.
 Le Mag Vaucluse 2019
 En 2019, Laure d'Arles écrit : Hervé Michel nous livre à travers ses romans des aventures palpitantes qui nous prennent dès les premières lignes et ne nous lâchent pas même après avoir terminé le roman.
 Revue de presse (sur le site officiel)
 En avril 2016, Jean-Pierre Paulais écrit dans la Provence : Hervé Michel, chasseur de trésors et écrivain publie La Vierge du Cap
 En 2016, Laurence Bühler écrit dans Le Dauphiné Libéré : Hervé Michel, découvreur de trésors et écrivain.
 2019, Le Parisien : Hervé Michel, chasseur de trésors, il faut être un rêveur !
 Le 23/11/2020 : Le Dauphiné Libéré publie : Hervé Michel, cet écrivain-aventurier qui nous fait voyager.
 En 2021, le magazine Marianne publie : Hervé Michel, un aventurier sur la piste des trésors de pirates.

Liens externes
 Site officiel
 Bibliothèque Nationale de France

Notes et références

Naissance en novembre 1963
Naissance à Carpentras
Romancier français du XXIe siècle
Romancier français du XXe siècle

Hervé Michel


පුනරුදය () යන්නෙහි නැවත ඉපදීම යන අරුත ඇතතේය. මෙය පළමුව ඉතාලියෙන් ඇරඹි බටහිර යුරෝපය පුරා පැතිරිණි. මෙය පළමුව සංස්කෘතික ප්‍රවාහයක් ලෙස  14 වන ශතවර්ෂයේ දී ඇරඹිණි. මෙය පසුව සමාජ තලයේ වෙනස්කම් රැසක් ඇති කරන ලදි.

'පුනරුද මිනිසුන්' යන නාමය ලියනා‍ඩෝ ඩාවින්චි හා මයිකල් ආන්ජලෝ යන කලාකරුවන් විසින් පට  බැඳිනි. සංස්කෘතික පුනර්ජීවයේ කැපී පෙනෙන මං සලකුණු ලෙස නැවතත් දාර්ශනික මුලාශ්‍ර ඉගෙනීමට යෑම චිත්‍ර කලාව, අධ්‍යාපන පුනරැදය දැක්විය හැකිය. පසුව මෙය කලාකාමී පුනරුදයක සිට බුද්ධිමය පුනරුදයකට තාක්ෂණික විප්ලවයකට කෘෂිකර්මාන්තයේ දැවැන්ත පෙර උයනට හේතු විය. බොහෝ මිනිසුන් තම ඉඩම් හැර නග‍රයේ පදිංචි වුහ.

පුනරුදයේ උච්චතම අවස්ථාව උදාවුයේ 15 වන ශතවර්ෂයේ සිදු වූ සංසිද්ධියත් සමග ය. එනම් ඔටෝමාන් තුර්කිවරුන් විසින් කොන්ස්තන්තිනෝපලය බිඳ දැමීම හා විශ්වවිද්‍යාලය වසා දැමීම නිසා දහස් ගණන් ග්‍රීක  උගතුන් ඉතාලියට පලා ගියෝය. ඔවුන් ඒ සමග ම  විශාල වශයෙන් ග්‍රීක රෝම සාහිත්‍ය නීති පොත් ඉතාලියට ගෙන ගියහ.

මධ්‍යකාලීන චින්තනයට හා ක්‍රියාමාර්ගයන්ට දැඩි පහරක් පුනරුදය හේතුවෙන් එල්ල විණි. ඒ සමගම නව යුගය උදාවිණි.

සමස්තාවලෝකනය
පුනරුදය යනුවෙන් හැඳින්වෙන්නේ මුල් නූතන අවධියේ යුරෝපියානු ශාස්ත්‍රීය ජීවිතය කෙරෙහි අතිමහත් බලපෑමක් එල්ල කළ සංස්කෘතික ව්‍යාපාරයකි. ඉතාලියේ ඇරඹී 16වන සියවස වනවිට යුරෝපයේ සෙසු ප්‍රදේශ කරා ව්‍යාප්ත වුණු එහි ආභාෂය සාහිත්‍ය, දර්ශනය, කලාව, සංගීතය, දේශපාලනය, විද්‍යාව, ආගම සහ ඥාණ ගවේෂණයේ අනෙකුත් අංශයන් කෙරෙහි ද දක්නට ලැබුණි. පුනරුද සමයේ විද්‍යාර්ථීහු මානවවාදී ක්‍රමවේදය අධ්‍යයනය පිණිස වහල් කරගත් අතර කලාව තුළින් යථාර්ථවාදී දැක්මක් සහ මිනිස් හැඟීම් පිළිබඳ ගවේෂණයක් අපේක්ෂා කළහ.

කොන්ස්තන්තිනෝපලයේ බිඳවැටීම විසින් ග්‍රීක විද්‍යාර්ථීන් විශාල පිරිසක් අපරදිග කලාපයේ අප්‍රකට ව තිබූ මාහැඟි අත්පිටපත් ද සමග වෙනත් රටවලට සංක්‍රමණය වූ අතරතුර පොගියෝ බ්රැසියොලිනි වැනි පුනරුද සමයේ මානවවාදීන් යුරෝපයේ ආශ්‍රම පුස්තකාලයන්හි පෞරාණික ලතින් සාහිත්‍යයික, ඓතිහාසික සහ ආගමික රචනාවන් පිළිබඳ ව අධ්‍යයනය කළහ. සාහිථ්‍යමය සහ ඓතිහාසික ලේඛන සම්බන්ධයෙන් පුනරුද ශාස්ත්‍රඥයන්ගේ වූ නැඹුරුව; ස්වභාවික විද්‍යාව, දර්ශනය, සහ ගණිතය පිළිබඳ ව වූ ග්‍රීක සහ අරාබි කෘති දෙසට සිය අධ්‍යයනය යොමුකළ මධ්‍යකාලීන ශාස්ත්‍රඥයන්ගෙන් ඔවුන් ව දැඩි ලෙස වෙනස්වීමට බලපෑවේ ය.

නව ප්ලැතෝනික පුනර්ජීවනයේ දී  පුනරුද මානවවාදීන් ක්‍රිස්තියානිත්වය ප්‍රතික්ශේප නොකළ අතර ඉඳුරා ම ඊට පටහැනි ලෙස පුනරුදයේ උත්කෘෂ්ඨ කෘතීන් බොහොමයක් ම ඒ වෙනුවෙන් කැපවුණු සේම පල්ලිය ද බොහෝ පුනරුද කලාකෘතීන්ට අනුග්‍රහ දැක්වීය. එහෙත් සංස්කෘතික ජීවිතයේ බොහෝ අංශවල මෙන් ආගම කරා ද බුද්ධිමතුන් යොමු වූ ආකාරයේ සියුම් පෙරැළියක් දක්නට ලැබුණි. එමෙන් ම ග්‍රීක නව තෙස්තමේන්තුව ඇතුළු බොහෝ ග්‍රීක ක්‍රිස්තියානි කෘතීන් බයිසැන්තියමෙන් පෙරළා බටහිර යුරෝපයට රැගෙන ආ අතර පුරාතන අවධියෙන් පසු ප්‍රථම වරට අපරදිග විද්‍යාර්ථින්ට මුණගැසුණි. ග්‍රීක ක්‍රිස්තියානි කෘතීන් සමග ඇතිකරගත් මෙම නව සබඳතාවයත් වෙසෙසින් ම ලොරෙන්සෝ වල්ලා සහ ඉරාස්මස් යන මානවවාදීන් විසින් සැපයූ නව තෙස්තමේන්තුවේ ග්‍රීක මුල් කෘතිය වෙත වූ යළික නැඹුරුවත් ප්‍රොතෙස්තන්ත ප්‍රතිසංවිධානය සඳහා මග සැලසීමට උපකාරී විය.

නිකොලෝ පිසානෝගේ මූර්තීන් තුළත් මැසසියෝ විසින් මෙහෙයවන ලද පර්යාලෝකය සහ එළිය-අඳුර වඩාත් ස්වාභාවික ව දැක්වීමේ ක්‍රම ගවේෂණය කරමින් මානව ස්වරූපය වඩාත් යථාර්ථවාදී ව නිරූපණයට උත්සහ දැරූ ෆ්ලොරන්ටියානු සිත්තරුන් තුළත් සම්භාව්‍යත්වය කෙරෙහි මුල් ම කලාත්මක යොමුව ආදර්ශනය වී තිබුණි. දේශපාලන දාර්ශනිකයන්; වඩාත් ප්‍රචලිත නිදසුනක් වශයෙන් නිකොලායි මැකියාවේලි වැන්නන් දේශපාලනයේ සැබෑ ස්වභාවය එළිදක්වමින් ඒ තාර්කික ව අවබෝධ කිරීමට උත්සහ කළහ. තාර්කිකත්වයට එරෙහි චෝදනාවන් ඛණ්ඩනය කරමින් දර්ශනය, ස්වාභාවික චින්තනය, ලබ්ධිය සහ ඉන්ද්‍රජාලිකත්වය යන මාතෘකාවන් පිළිබඳ රචනා එකතුවක් වූ ජියොවානි පිකෝ ඩෙලා මිරැන්ඩොලාගේ ඩි හොමිනිස් ඩිග්නිටේට් ඉතාලියානු පුනරුද මානවවාදයට කළ විශිෂ්ඨ සම්මාදමක් විය. සම්භාව්‍ය ග්‍රීක සහ ලතින් භාෂාධ්‍යයනයට සීමා නොවුණු පුනරුද යුගයේ ගත්කතුවරුන්  පොදුජන ව්‍යවහාරයන් භාවිතයට ද යොමු වුණි. මුද්‍රණය සමග මේ අත්වැල් බැඳගැනීම විසින් ග්‍රන්ථ වෙසෙසින් ම බයිබලය බහුජනතාවට සමීප කෙරුණි.

පූර්ණ වශයෙන් පුනරුදය යනු පුරාණ මතීන් යළි කැඳවීමෙන් මෙන් ම නව චින්තාවන් ද තුළින් ඓහිකත්වය සහ ලෞකිකත්වය හඳුනාගැනීමට සහ වැඩිදියුණු කිරීමට බුද්ධිමතුන් විසින් ගත් ප්‍රයාමයක් වශයෙන් දැකිය හැකි ය.

ආශ්‍රිත ලිපි

 Index of Renaissance articles
 Outline of the Renaissance
 List of Renaissance figures
 List of Renaissance structures
 Roman Renaissance
 Venetian Renaissance

මූලාශ්‍ර

සවිස්තරාත්මක සටහන්

උපහරණ

භාහිර සබැඳි

 "The Renaissance" In Our Time, BBC Radio 4 discussion with Francis Ames-Lewis, Peter Burke and Evelyn Welch (June 8, 2000).
 Renaissance Style Guide

 Renaissance Philosophy entry in the Internet Encyclopedia of Philosophy

Interactive resources
 Florence: 3D Panoramas of Florentine Renaissance Sites(English/Italian)
 Interactive Glossary of Terms Relating to the Renaissance
 Multimedia Exploration of the Renaissance
 RSS News Feed: Get an entry from Leonardo's Journal delivered each day
 Virtual Journey to Renaissance Florence
 Exhibits Collection – Renaissance
Lectures and galleries
 Leonardo da Vinci, Gallery of Paintings and Drawings
 The Bagatti Valsecchi Museum
 Renaissance in the "History of Art"
 The Society for Renaissance Studies
 Inquiring Eye: European Renaissance Art

පුනරුදය
14th century in Europe
15th century in Europe
16th century in Europe
17th century in Europe
Christendom
Early modern period
Historical eras
History of Europe by period
Medieval philosophy
බටහිර සංස්කෘතිය
යුරෝපා ඉතිහාසය

පුනරුදය


Koji bend? je hrvatski glazbeni sastav iz Splita i Knina. Koji bend? je " open concept glazbeno-"  umjetnički kolektiv aktivan na polju hip hop glazbe, filma, performansa i konceptualnog kontinuiteta"

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Objavili su studijske albume Isusium (prvi i posljednji singl s albuma je I nie sta). DA koncept. S albuma su skinuli dosad (19. kolovoza 2020.) tri singla. Prvi singl je Rupa, objavljen 6. veljače 2020. i dr.
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Pyabélo Chaold Kouly est une écrivaine togolaise née en 1943 et morte en 1995. Elle est la scénariste de la première BD et pionnière de la littérature pour enfants au Togo.

Biographie
Pyabélo Chaold Kouly est née en 1943 au Togo à Pagouda. Elle décède en 1995. Elle a fréquenté le collège moderne de Sokodé au Togo. En 1961, elle obtient une bourse pour poursuivre ses études en option Laboratoire et Cytologie en Allemagne. Elle commence sa carrière dans un hôpital en Allemagne après six ans de formation.

Elle a occupé la place de vice-présidente dans l'association togolaise des gens de lettres.

Œuvre littéraire
Son premier roman est Souvenirs de douze années passées en République Fédérale d'Allemagne, édité en 1975 et réédité en 1978. Elle y aborde la discrimination raciale. Elle écrit par la suite plusieurs ouvrages dont Lettre d'une Togolaise à des Amis et connaissances en Allemagne, Le Missionnaire de Pessare Kouloum où elle traite de la perversion des croyances, Le Caneton Egaré où elle propose une éducation similaire à celle reçue par les anciens à l'endroit de la jeunesse contemporaine,  Enfants à la ferme de Lama-Tessi où elle évoque des souvenirs de la vie en campagne, Fala le Redoutable qui connaît un grand succès.  À travers ses œuvres Chaold Kouly Pyabélo traduit en concret et avec une imagination variée les inquiétudes immatérielles.

Chaold Kouly Pyabélo était préoccupée par l'éducation de la jeunesse. Elle était convaincue que le développement de la littérature pour enfants dépend des habitudes et des mentalités. Elle a œuvré et s'est investie pour la promotion de la littérature pour enfants au Togo. Lorsque les librairies trouvaient ses œuvres non commerciales, elle s'y investit toute seule et réussit à fait acheter ces œuvres par les parents pour leurs enfants et à les faire inscrire aux programmes par des écoles privées. Deux ans après sa mort, la littérature pour enfants devient une réalité au Togo.

Bandes dessinés
En 1970, Pyabélo Bernadette Chaold Kouly adapte un de ses romans, Le missionnaire de Pessaré Kouloum, sous forme de scénario de BD. Cette première BD togolaise est dessinée par Kouao Gogonata. Elle y décrit de façon humoristique les rapports d'un curé blanc avec les habitants d'une localité rurale du nord-est du pays. Cet ouvrage a été (auto)publié par La mission chrétienne en 1986. Elle publie par la suite un album pour enfants, Le caneton égaré et quelques autres publications. Elle ne renouvelle pas l'expérience.

Publications
 Souvenirs de douze années passées en République Fédérale d'Allemagne, 1975, 1978
 Lettre d'une Togolaise à des Amis et connaissances en Allemagne,Verlagsname nicht ermittelbar, 1978
 Le Missionnaire de Pessare Kouloum, Les Nouvelles Éditions Africaines, 1986
 Le Caneton Egaré, Les Nouvelles Éditions Africaines, 1986
 Enfants à la ferme de Lama-Tessi
 Fala le Redoutable, Les Nouvelles Éditions Africaines, 1986
 Boboutorou et le Hibou
 Récitations, Les Nouvelles Éditions Africaines du Togo, 1991
 Mon livret d'exercices de vocabulaire, Les Nouvelles Éditions Africaines du Togo, 1992
 Djidili et Wédé à la ferme de Lama-Tessi,1994

Notes et références

Liens externes

Naissance en 1943
Naissance au Togo français
Décès en 1995
Romancière togolaise du XXe siècle
Auteur togolais de littérature d'enfance et de jeunesse
Écrivain togolais francophone
Naissance dans la région de la Kara

Pyabélo Chaold Kouly


An Gorgonidium beckianum in uska species han Liliopsida nga ginhulagway ni Josef Bogner. An Gorgonidium beckianum in nahilalakip ha genus nga Gorgonidium, ngan familia nga Araceae.

Mabibilngan ini ha Bolivia. Waray hini subspecies nga nakalista.

Mga kasarigan

Gorgonidium

Gorgonidium beckianum


Lonchognathosaurus es un género extinto de pterosaurio pterodactiloide dsungariptérido de edad del Albiense del Cretácico Inferior hallado en la formación Lianmuqin de Xinjiang, en China.

El género fue nombrado en 2004 por Michael Maisch, Andreas Matzke y Sun Ge. La especie tipo es Lonchognathosaurus acutirostris. El nombre del género se deriva del griego lonchos, "lanza", gnathos, "mandíbula" y sauros, "lagarto", en referencia al hecho de que era un reptil con mandíbulas acabadas en punta. El nombre de la especie significa "hocico agudo" en latín.

Lonchognathosaurus está basado en el holotipo SGP 2001/19, hallado cerca de Urumqi en el sur de la Cuenca Junggar, consistente en la parte frontal de un cráneo y la mandíbula inferior que provienen de un individuo grande; la longitud estimada de su cráneo completo es de cerca de 400 milímetros. La punta de la mandíbula superior, compuesta del hueso premaxilar, era delgada y tenía una punta delgada. Los dientes de la mandíbula superior aparecen muy atrás de la punta, y están bastante espaciados, disminuyendo su tamaño desde el frente hacia la parte posterior; terminan en frente de las fosas nasales. Estos están situados en alvéolos que tienen un borde óseo bajo pero que por otra parte no se elevan de la mandíbula. Cada maxilar solo tiene ocho dientes, y el margen inferior de la mandíbula superior era derecha (a diferencia de otros pterosaurios en que esta es curvada). Poseía una cresta sagital, con surcos y un borde superior cóncavo.

El género fue clasificado, después de realizarse un análisis cladístico, como un miembro de la familia Dsungaripteridae, como el taxón hermano de Dsungaripterus.

De acuerdo a Brian Andres Lonchognathosaurus es un sinónimo más moderno de Dsungaripterus weii. Por otra parte, David Hone afirmó en 2017 que este género no podía ser distinguido de Noripterus.

Véase también
 Anexo: géneros de pterosaurios

Referencias

Enlaces externos
Lonchognathosaurus en The Pterosauria (en inglés)

Pterosaurios de Asia
Pterosaurios del Cretácico Inferior
Pterodactyloidea

Lonchognathosaurus


Betty Missiego (eigentlich: Beatriz Teresa Missiego Campos; * 16. Januar 1945 in Lima, Peru) ist eine spanische Schlagersängerin peruanischer Herkunft.

In ihrem Heimatland Peru war Betty Missiego eine bekannte Fernseh-Moderatorin. Sie beschloss 1969 eine Gesangskarriere in Spanien zu starten. 1972 erhielt sie die doppelte Staatsbürgerschaft. In jenem Jahr vertrat sie Peru beim ersten OTI Festival in Madrid. Sie wurde ausgewählt, Spanien beim Eurovision Song Contest 1979 in Jerusalem zu vertreten. Mit dem Schlager Su canción, unterstützt von dem vierköpfigen Kinderchor Caramelos, erreichte sie den zweiten Platz.

Diskografie (Alben)

1971: La cita
1973: Vengo de allí
1976: Rosas y azahar
1975: La Infinita
1977: Ella es sensibilidad
1977: Betty Missiego
1979: Su canción
1979: La Cita
1980: Tan sólo una mujer
1980: Mi tierra
1980: Y serás mujer
1983: De mi para ti
1985: Lo mejor de Betty Missiego
1989: Yo quiero a un hombre andaluz
1991: Inolvidable
1993: De oro
1999: In black

Weblinks

Musiker (Spanien)
Schlagersänger
Interpret eines spanischen Beitrags beim Eurovision Song Contest
Spanier
Geboren 1945
Frau

Betty Missiego


هوارد ليزلي شور (بالإنكليزية Howard Leslie Shore) (مواليد 18 أكتوبر 1946) حائز على جوائز الأكاديمية للفنون السينمائية (الأوسكار) لأفضل موسيقى تصويرية، الغولدن غلوب والغرامي. هو فنان موسيقي تصويرية كندي واختصاصي أوركسترا و«محاكي موسيقي» conductor. اشتهر كونه مؤلف نوتات الموسيقى التصويرية لأفلام من قبيل اللعبة من بطولة مايكل دوغلاس العام 1997 وثلاثية سيد الخواتم للأعوام (2001، 2002، 2003)، صمت الحملان من بطولة أنتوني هوبكنز 1991. كما أنه مؤلف نوتات الموسيقى التصويرية معظم أفلام المخرج الكندي ديفد كروننبرغ. كما أنه مؤلف لأعمال أوبرالية مثل أوبرا «الذبابة» The Fly في 2008، الذي استوحي من فيلم كرونبرغ الذبابة عام 1986.
و من المقرر أن يقوم هاوارد شور بتأليف موسيقى فيلم الهوبيت المقرر إصدار أول أجزائه في دور العرض نهاية 2012

حياته وعمله
ولد لأسرة يهودية في تورنتو كندا، ودرس الموسيقى في كلية بيركلي للموسيقى في بوسطن. وهو متزوج من إليزابيث كوتنوار ولديه ابنة واحدة.
شور قدم الموسيقى التصويرية لعدد من الأفلام الشهيرة في هوليوود مثل صمت الحملان، مسز دوتفاير، فيلادلفيا، إد وود، سبعة، دوغمة، غرفة الذعر، المغادرون، الطيار والأخير منحه جائزة الغولدن غلوب. منذ فيلم الرعب الكندي «الاستيلاد» The Brood في 1979 تعاون بشكل وثيق مع المخرج الكندي ديفيد كورينبرغ كاتبا نوتات الموسيقى التصويرية لمعظم أفلامه عدا فيلم المنطقة الميتة في 1983 من عمل الملحن مايكل كامن. نوتاته الموسيقية لفيلم «ذا نيكد لنش» Naked Lunch شهدت تعاونه مع فنان موسيقى الجاز والمسرح الطليعي الشهير أورنيت كولمان الذي أبدى اعجابه بعمل شور.

أفلام حملت موسيقاه
 Scanners 1981
 Videodrome 1983
 After Hours 1985
 The Fly 1986
 Big 1988
 Dead Ringers 1988
 Naked Lunch 1991
 The Silence of the Lambs 1991
 Mrs. Doubtfire 1993
 Philadelphia 1993
 The Client 1994
 Ed Wood 1994
 Nobody's Fool 1994
 Moonlight and Valentino 1995
 Se7en 1995
 Crash 1996
 That Thing You Do! 1996
 The Game 1997
 Cop Land 1997
 Dogma 1999
 Analyze This 1999
 High Fidelity 2000
 The Cell 2000
 The Score 2001
 The Lord of the Rings: The Fellowship of the Ring 2001
 Gangs of New York 2002
 Panic Room 2002
 Spider 2002
 The Lord of the Rings: The Two Towers 2002
 The Lord of the Rings: The Return of the King 2003
 The Aviator 2004
 A History of Violence 2005
 The Departed 2006
 Soul of the Ultimate Nation (MMORPG) 2007
 The Last Mimzy 2007
 Eastern Promises 2007
 Hugo 2011

مراجع

وصلات خارجية
 الموقع الرسمي

 Howard Shore Interview at Tracksounds

أشخاص على قيد الحياة
حائزون على جائزة الأوسكار لأفضل موسيقى تصويرية
حائزون على جائزة غرامي
خريجو كلية باركلي للموسيقى
كتاب أغان فازوا بجائزة الأوسكار لأفضل أغنية أصلية
ملحنون كلاسيكيون ذكور كنديون
ملحنون كلاسيكيون كنديون
ملحنون كلاسيكيون معاصرون كنديون
ملحنون كلاسيكيون يهود
ملحنون كنديون في القرن 20
ملحنون كنديون في القرن 21
مواليد 1946
مواليد في تورونتو
موسيقيون ذكور كنديون في القرن 20
موسيقيون ذكور كنديون في القرن 21
موسيقيون من تورونتو
مؤلفو أوبرا كنديون
مؤلفو الأوبرا يهود
مؤلفو أوبرات
مؤلفو موسيقى أفلام
مؤلفو موسيقى أفلام كنديون
مؤلفون موسيقيون في القرن 21
مؤلفون موسيقيون في القرن ال20

هوارد شور


Hiroyuki Omata (født 1. september 1983) er en tidligere japansk fodboldspiller.

Han har spillet for flere forskellige klubber i sin karriere, herunder FC Tokyo, Omiya Ardija, Shonan Bellmare, Cerezo Osaka og Avispa Fukuoka.

Eksterne henvisninger

Fodboldspillere fra Japan

Hiroyuki Omata


Stella Richman (9 de noviembre de 1922 - 24 de mayo de 2002) fue una productora y actriz televisiva británica.

Biografía
Nacida en Londres, Inglaterra, como actriz tuvo un pequeño papel en el segundo episodio de la serie televisiva The Quatermass Experiment, en 1953. Richman fue editora de guiones de la compañía televisiva de Lew Grade Associated TeleVision en 1960. Según Frederic Raphael, "Richman demostró, gracias a su exigente eclecticismo, que la calidad no estaba reñida con la popularidad. Dado que no existían reglas sobre lo que gustaba al público, ella asumía que, si se le ofrecía el mejor trabajo posible, la audiencia repondería positivamente." En particular, Richman fue responsable de supervisar la serie de antología Love Story en su años iniciales.

Hacia 1964 pasó a Associated Rediffusion, siendo directora de series, y creando un género que el crítico Philip Purser bautizó como 'Our Story'. En la nueva London Weekend Television supervisó una serie televisiva titulada The Company of Five (1968), en la cual actuaba un grupo central de cinco intérpretes. En la serie se emitían trabajos de Leon Griffiths, Roy Minton, Alun Owen, Dennis Potter (Shaggy Dog), y Cecil Philip Taylor.

En 1970, como Directora de Programación de LWT, fue la primera mujer en ser nombrada miembro del consejo de un contratista de ITV. Conocida de muchos años de la actriz Jean Marsh, ella autorizó la serie Upstairs, Downstairs, siendo Marsh una de sus creadoras. Sin embargo, el período de Richman en LWT no fue largo, siendo, al parecer, despedida por Rupert Murdoch.

A causa de ello, Richman se hizo una profesional independiente, renovando una asociación con David Frost, siendo responsable de proyectos como Jennie, Lady Randolph Churchill (1974), protagonizado por Lee Remick. Para Thames Television supervisó el serial escrito por Trevor Griffiths Bill Brand (1976) y, para ATV, Clayhanger, una dramatización en 26 episodios del ciclo de novelas de Arnold Bennett.

Stella Richman se casó en tres ocasiones. Su primer marido fue el actor Alec Clunes. Con el segundo, Victor Brusa, ella montó el Club White Elephant, un club de restauración que ella presidió entre 1960 y 1968.

Stella Richman falleció en Londres, Inglaterra, en 2002, a causa de un cáncer.

Referencias

Enlaces externos

Productores de televisión de Reino Unido
Actrices de televisión de Inglaterra
Nacidos en Londres
Fallecidos en Londres

Stella Richman


Fantasound was a  sound reproduction system developed by engineers of Walt Disney studios and RCA for Walt Disney's animated film Fantasia, the first commercial film released in stereo.

Origins
Walt Disney's cartoon character Mickey Mouse entered a decline in popularity in the mid-1930s. Disney devised a comeback appearance for Mickey in 1936 with The Sorcerer's Apprentice, a more elaborate edition of the animated Silly Symphonies series set to the music of The Sorcerer's Apprentice by Paul Dukas. Disney met conductor Leopold Stokowski in late 1937 at Chasen's, a noted Hollywood restaurant, and Stokowski agreed to conduct the piece at no cost. Stokowski was an enthusiast for new and improved methods of sound reproduction and had already participated in experimental stereophonic sound recordings in 1931 and 1932, and a live, long distance demonstration of multi-channel sound a year later.

Recording the Fantasia soundtrack, 1938–39

The Sorcerer's Apprentice
In January 1938, over 100 musicians assembled at Culver Studios in California for the recording of the nine-minute Dukas piece. The plan was to create a multi-track recording that allowed the separation of sound channels which would allow the dynamic balance of the music to be adjusted on reproduction. To increase reverberation, the stage was altered acoustically with five double plywood partitions that separated the sections of the orchestra, creating the world's first baffles. Although a satisfactory recording was made, in the days before widespread use of headphones and click tracks to control the speed, the musicians could not hear the other instruments clearly enough and this affected the tempo of the piece. Poor control over the separation of low frequency sounds presented a further problem on playback of the music.

As production costs for The Sorcerer's Apprentice surpassed $125,000, it became clear to Disney that it would not recoup costs as a short. In February 1938, he decided to expand the concept and start on a feature-length film consisting of several animated segments named The Concert Feature.

Academy of Music sessions
A year after recording The Sorcerer's Apprentice, Stokowski signed an 18-month contract with Disney to conduct the remaining pieces for Fantasia and the process began in earnest. Fascinated with the rich sound he heard from the playbacks at Culver Studios, Disney felt the conventional sound systems at the time sounded too tinny and inadequate for the experience he wanted Fantasia to be. "We know...that music emerging from one speaker behind the screen sounds thin, tinkly and strainy. We wanted to reproduce such beautiful masterpieces...so that audiences would feel as though they were standing at the podium with Stokowski", he said. The goal was to reproduce a full symphony orchestra with its normal volume range and acoustic output in the theatre. The set-up used for the recording of The Sorcerer's Apprentice was abandoned, and it was decided to record with the Philadelphia Orchestra, which Stokowski had directed from 1912 to 1938, at the Academy of Music concert hall in Philadelphia, the orchestra's home known for its good acoustics.

The recording for Fantasia began in April 1939 and lasted seven weeks. In the sessions, 33 microphones placed around the orchestra captured the music which was transferred onto eight optical recording machines located in the hall's basement. Several safety measures were enforced to prevent the risk of fire as the Academy was constructed of wood. A maximum of 18 rolls of raw nitrate film stock were allowed in the venue at any one time, with a film delivery truck parked outside the hall being converted into a storage unit for a sufficient quantity of film. Six of the channels recorded different sections of the orchestra which provided a "close-up" of the instruments – cellos and basses, violins, violas, brass, woodwinds and tympani – while the seventh channel recorded a mixture of the first six and the eighth captured the overall sound of the orchestra at a distance. A ninth channel provided the click-track function to help the animators time their drawings to the music.

Each microphone was channeled to a central switching panel, where an operator would read the score and mute those that were not in use to keep noise and leakage to a minimum. Engineers in the basement used headphones for sound mixing and cathode ray oscilloscopes for level indicators, while those who picked up the distant orchestra sound used horn monitoring. In the 42 days of sessions, over ninety miles of sound track were recorded. After being developed, the film was shipped to the Disney studios in Burbank, California where tone and other adjustments were made prior to mastering. The nine recorded sound tracks were then mixed into four – three for the music, voices and special effects and the fourth for control of the volume of the first three.

Development and testing, 1939–40

Pan pot and togad device
The average monaural sound systems around the time of the production of Fantasia had a number of disadvantages. Their limited range in volume was ineffective as symphonic music was impaired by excessive ground noise and amplitude distortion. Their single point source of sound, though suitable for dialogue and action at the centre of the screen, caused music and sound effects to suffer from acoustic phase distortion which is absent when sound originates from multiple sources. Led by William E. Garity, the chief audio engineer at the Disney studios, technicians developed a multi-channel reproduction system that was dubbed Fantasound, a process that was to be a desirable alternative sound system.

The first task was to create the illusion of sound "moving" across neighboring speakers. It was found that by placing two speakers roughly 20 feet apart it was possible to produce a "moving" sound, but the effect could not be achieved through simple volume control. The problem was solved with a three-circuit differential junction network named the "pan pot" (panoramic potentiometer), that allowed sound to progressively travel using constant fades with a left, center and right speaker configuration. The second issue was dynamic range, the difference in volume between the loudest and quietest sounds. The dynamic range of typical film soundtracks at the time was limited to a poor signal-to-noise ratio of about 40 dB. This was tackled by increasing the volume during loud passages and reducing it during quiet ones, to which the dynamic range would increase. A tone-operated gain adjusting device, or "Togad," was built that varied the volume of the replayed sound under the control of a tone of varying amplitude. This device was the predecessor of the automated mix-down systems found in modern recording studios.

Fantasound set-ups
Ten different Fantasound setups were built and tested during its development. As many as several hundred designs were detailed on paper, each with different equipment combinations. The first set-up that was constructed, the Mark I system, used a left, center and right speaker placed across the stage plus one in each corner at the back of the auditorium. It used two sound channels, one directed at the stage center (or "screen") speaker, while the second could travel around the remaining four across the room smoothly using a manually controlled four-circuit panpot. The following Mark II configuration used a third sound channel and three additional speakers, one placed on each side wall of the house and a third placed in the middle of the ceiling, all with a manual six-circuit panpot. By the time the Mark II system was devised, the control of the sound system was too complex for a single operator. To solve that difficulty, the Mark III system was developed to study the effects of a pilot tone-control track. The configuration was a single-channel Togad expander, controlled by either an oscillator or a tone track. The Mark IV system was identical to the eight-speaker, three-track Mark II system except that a Togad replaced manual control. It was installed at Disney's Hyperion studios in the summer of 1939 and was used for sound and music department research until Disney's relocation to Burbank in 1940. The equipment for this system required a floor space of about 35 feet by 4 feet and used nearly 400 vacuum tubes.

The Mark V system, the first installed at Burbank, was in operation for one day. Though the equipment operated correctly, the system failed because the personnel could not remember the correct configuration from one rehearsal to the next. The crew then developed the simpler Mark VI setup that consisted of three stage speakers, three program tracks and a three-tone control track. The first serious dubbing of Fantasia was attempted on this system. The Mark VII was the first to be manufactured by RCA that closely resembled the Mark VI, but included tone rectifier modifications. The Mark VIII system was a rearranged version of the Mark VII. A log-log tone rectifier designed by RCA replaced the linear tone rectifier used in the Mark VII. The second dubbing of Fantasia was done through this system. Following the installation of a stand-by channel, this equipment was installed in New York City for the film's premiere. Two further systems were developed after the film's opening. The arrangement of the Mark IX setup was changed and two sets of rear speakers were manually switched in to supplement or replace the left and right front speakers at several points in the film. In the Mark X, the switching and level changes in the rear speakers are done automatically using a thyratron and mechanical relay system operated by means of notches on the edge of the film. This was developed by Disney engineers C. A. Hisserich and Tickner. Disney became an early customer for the newly established Hewlett-Packard company when it ordered eight of its Model 200B oscillators to test the Fantasound systems.

The following table summarizes the different Fantasound setups, panning methods and speaker placement described before:

Fantasia roadshows with Fantasound, 1940–41

Fantasia debuted as a roadshow theatrical release under Walt Disney Productions at The Broadway Theatre in New York City on November 13, 1940. The film was shown in only 13 theatres, as the installation of equipment required for Fantasound at each venue was costly. Twelve of the thirteen theaters were legitimate theaters converted for the purpose, not movie theaters, due to the need to close the theater during installation of Fantasound. With these expenses and its large budget, Fantasia was unable to make a profit during its initial release.

Fantasound never expanded beyond the initial roadshow engagements in New York, Los Angeles (where the automatic Mark X system was used), Boston, Philadelphia, Chicago, Detroit, San Francisco, Baltimore, Washington, Minneapolis, Buffalo, Pittsburgh and Cleveland. Eight of the roadshow engagements used the Mark IX systems.

End of roadshows and development, 1941
Garity and RCA's Watson Jones ended the roadshows in 1941, and later gave these reasons:

 The amount of equipment required and the time necessary to make the installation.
 Because of the time element, attractive theaters were not available to Disney, as the first-class houses in the various communities had established policies and the installation of the equipment would generally require keeping the theater "dark" for a few days.
 The advent of wartime conditions precluded the possibility of developing mobile units that would have lessened installation time and costs.
 The variation in the regulations throughout the country, both as to operating personnel and local ordinances, materially affected the operating and installation costs.
 Limited space in many projection rooms was a major problem.

In April 1941, RKO Radio Pictures acquired the distribution rights of Fantasia and replaced the Fantasound soundtrack with a mono soundtrack. The film got a wide release in 1942 as a double feature with Valley of the Sun with its duration cut to 80 minutes. All but one of the Fantasound systems were dismantled and contributed to the war effort.

On February 26, 1942, an Academy Honorary Award was given to Disney, Garity, Hawkins and RCA for their "outstanding contribution to the advancement of the use of sound in motion pictures through the production of Fantasia".

Legacy
Fantasound marked the first use of the click track, overdubbing of orchestral parts, and simultaneous multi-track recording. Almost a fifth of the film's budget was spent on musical recording techniques.

Fantasia was re-released multiple times, with the full-length version making a return to theaters in 1946. Stereo sound was not restored until its 1956 release when it was also presented in SuperScope, an anamorphic widescreen format similar to CinemaScope. To create the stereo soundtrack the original tracks were transferred across telephone lines from the optical Fantasound equipment to the new magnetic recording equipment. These were housed in separate buildings and could not be brought together. This wire transfer resulted in some loss of treble response, but the copies retained the original dynamic range.

For Fantasias 1982 issue, the original recordings were abandoned altogether and a completely new soundtrack was recorded using digital stereo technology in Dolby Stereo, conducted by Irwin Kostal, who later composed the score for Mickey's Christmas Carol (1983).

The original soundtrack returned when Fantasound was also recreated in Dolby Stereo for the film's 1990 theatrical release. Disney audio engineer Terry Porter spent six months restoring the Stokowski soundtrack. He used remastering technology to remove some 3,000 pops from the four-track magnetic copy from 1955, with tools also used on phasing, hiss and distortion. "I proposed to management that we could piece the soundtrack together...in a way that re-created the impact of the original roadshow. When we play it back...it exactly simulates the way their equipment played in the theaters...back then." The result, named "Fantasound 90," was only set up in two theaters, one each in New York City and Los Angeles. The six-channel surround print that Porter created was also used as the basis for the master soundtrack of the film's DVD release on November 14, 2000.

For Walt Disney Pictures' 2016 film version of The Jungle Book, director Jon Favreau and composer John Debney sought to recreate the Fantasound experience Disney had in mind. When mixing the soundtrack in Dolby Atmos, as Favreau said, "we isolated instruments when we could. And in the sound mix, we created a Fantasound mix. If you see the film in Atmos, you will feel that there are instruments that move around the theater." A mention for Fantasound appears in the film's closing credits.

Personnel
The following is a list of persons who were acknowledged by Garity and Hawkins in a 1941 article for their "suggestions and assistance in the development of Fantasound":

C. O. Slyfield
W. C. Lamb, Jr.
Charles A. Hisserich
H. M. Tremaine
P. J. Holmes
Melville Poche
H. J. Steck
E. A. Freitas

Further reading
Fantasound (1941)
Experiences in Road-Showing Walt Disney's Fantasia (1942)
The Future of Fantasound (1942)

References

Sources

Fantasia (franchise)
Disney technology
Film sound production
Surround sound

Fantasound


Yosuke Kobayashi (født 6. maj 1983) er en tidligere japansk fodboldspiller.

Han har spillet for flere forskellige klubber i sin karriere, herunder Urawa Reds og Roasso Kumamoto.

Eksterne henvisninger

Fodboldspillere fra Japan

Yosuke Kobayashi


Miralay (), Osmanlı Devleti'nin son dönemi ve Cumhuriyet'in ilk yıllarında kullanılan mirliva ile kaymakam rütbeleri arasında olan ve günümüz rütbelerinden albaya denk bir askerî rütbedir.

Ancak miralay rütbesi de 26 Kasım 1934 tarihli 2590 sayılı Lâkap ve Unvanların Kaldırılması Hakkındaki Kanun'un üçüncü maddesi gereğince iptal edilmiştir.

Rütbe
1909-1920

Ayrıca bakınız
 Osmanlı İmparatorluğu'nun askerî rütbeleri

Kaynakça

Osmanlı Ordusu rütbeleri

Miralay


Malčice este o comună slovacă, aflată în districtul Michalovce din regiunea Košice. Localitatea se află la , se întinde pe o suprafață de  și în 2017 număra 1.505 locuitori.

Istoric
Localitatea Malčice este atestată documentar din 1213.

Note

Legături externe

Localități din Slovacia

Malčice


Borís Borísovich Taschí (Odessa, Ucrania, 26 de julio de 1993) es un futbolista ucraniano que juega de centrocampista en el F. C. Erzgebirge Aue de la 3. Liga.

El 29 de noviembre de 2015 hizo su debut en la Bundesliga con el VfB Stuttgart en un encuentro contra el Borussia Dortmund.

Selección nacional

Ha sido internacional con la selección de fútbol sub-20 de Ucrania.

Clubes

Referencias

Enlaces externos

Futbolistas de Ucrania
Futbolistas del Football Club Chornomorets Odessa
Futbolistas del FC Dinamo Moscú
Futbolistas del FC Hoverla Uzhhorod
Futbolistas del VfB Stuttgart en los años 2010
Futbolistas del VfB Stuttgart II
Futbolistas del Football Club Zbrojovka Brno
Futbolistas del MSV Duisburgo en los años 2010
Futbolistas del St. Pauli en los años 2010
Futbolistas del St. Pauli en los años 2020
Futbolistas del Football Club Pohang Steelers
Futbolistas del Erzgebirge Aue en los años 2020
Deportistas de Odesa
Nacidos en Odesa

Borís Taschí


The 2S5 Giatsint-S () is a Soviet/Russian 152 mm self-propelled gun. "2S5" is its GRAU designation. It has nuclear, biological, and chemical protection. The 2S5 is capable of engaging targets at longer ranges and at a higher rate of fire than the more widely produced 2S3 Akatsiya 152 mm self-propelled gun, and is capable of firing nuclear projectiles.

Production history

Production of the 2S5 Giatsint-S (Hyacinth) started in 1976 along with the towed version the 2A36 Giatsint-B. It uses a chassis modified from the SA-4 Krug surface-to-air missile system with good cross-country mobility and  is powered by a V-59 diesel engine which develops 520 hp. Giatsint-S can carry 30 152 mm rounds with a range of 28 kilometers, or 33-40 kilometers for rocket-assisted projectiles. In addition to high explosives, the gun can also fire HEAT, cluster, smoke and nuclear projectiles. Deploying to fire the gun takes 3 minutes, and it can sustain a rate of fire of 5 to 6 rounds per minute. Most of the crew, with the exception of the gunner, deploys outside of the vehicle while firing. It is usually accompanied by an ammunition carrier with an additional 30 rounds of ammunition.

The 2S5 was introduced into service in 1978, replacing the 130mm M46 field gun battalions in Soviet artillery brigades at the Army and Front level, and has also been known as the M1981 by the United States. Production ceased in 1991.

Operational history
The 2S5 was first used in combat by the Soviet Union in Soviet–Afghan War. Later, Russian forces used it in the First Chechen War and Second Chechen War.

The 2S5 has been employed by the Ukrainian Army and Russian Army in the war in Donbas.

Operators

Current operators
 120
 13
 80

Army: 399 units (+500 in storage)
Navy: 170 units (+some in storage)
At least 2 Ukrainian Giatsint-S were captured by Russian forces during the Russian Invasion of Ukraine.
 22-25, as of January 2022. At least six Giatsint-S were captured by Ukrainian forces from Russian forces during the Russian Invasion of Ukraine

Former operators

 Finnish Army: known as 152 TELAK 91. 18 units.

See also

2A36 Giatsint-B
List of AFVs
List of artillery.

References

External links
 2S5 Giatsint-S description at the website of its manufacturer – scroll down the page

Self-propelled artillery of the Soviet Union
152 mm artillery
Military vehicles introduced in the 1970s

2S5 Giatsint-S