George Leslie Mackay 偕瑞理 or 馬偕 Má-kai  (21 March 1844 – 2 June 1901) was a Canadian Presbyterian missionary. He was the first Presbyterian missionary to northern Taiwan (then Formosa), serving with the Canadian Presbyterian Mission. Mackay is among the best known and most infuential Westerners to have lived in Taiwan.

Early life
George Leslie Mackay was born on March 21, 1844, the youngest of six children to a pioneering Scottish family in Embro, Zorra Township, Oxford County, Canada West (now Ontario), Canada. His family was part of the Zorra Pioneers, refugees from the Sutherland Clearances in northern Scotland, who arrived in Zorra in 1830. The Zorra pioneers were Evangelical Presbyterians, for whom their church, led by lay elders, was the centre of their collective life.

He received his theological training at Knox College in Toronto (1865-1867), Princeton Theological Seminary in the United States (1870), and New College, Edinburgh in Scotland, all Presbyterian institutions. In Mackay's days Princeton and Edinburgh were important centres of advocacy and training for foreign missions.

Mission to Taiwan

In 1871, Mackay became the first foreign missionary to be commissioned by the Canada Presbyterian Church (predecessor of both the Presbyterian Church in Canada and the United Church of Canada), arriving in Taiwan on December 29, 1871.

After consulting with Dr. James Laidlaw Maxwell Sr., a medical doctor serving as a Presbyterian Church of England missionary to southern Formosa (1865), Mackay arrived at Tamsui, northern Formosa in 1872, which remained his home until his death in 1901.  Starting with an itinerant dentistry practice amongst the lowland aborigines, he later established churches, schools and a hospital practicing Western biomedicine.

Mackay learned to speak vernacular Taiwanese fluently and married "Minnie" Tiu (), a native Taiwanese woman. The marriage produced three children:

 Mary "Tan" Mackay
 Bella "Koa" Mackay
 George William Mackay

Mackay was described by Rev. William Campbell, a contemporary missionary, as:

Accompanied by his students, who were to become pastors of the churches founded, Mackay itinerated all across northern Taiwan. They founded 60 churches. Churches planted in north Taiwan by Mackay later became part of the Northern Synod of the present Presbyterian Church in Taiwan.

Social impact of Mackay's mission

Revitalization Movements

Anthony Wallace developed the idea of  "revitalization movement" in his study of the Handsome Lake movement in the Seneca of New York, "to denote any conscious, organized effort by members of a society to construct a more satisfying culture. Since many revitalization movements are religious, the concept of revitalization becomes central to the analysis of the development of new religions".  He argued that "when the misery of poverty and degradation is combined with a hope of moral and material salvation, the resulting mixture is explosive." (1969:239).

What resulted when the Kavalan people (噶瑪蘭) heard Mackay's preaching 1880s was a revitalization movement combining the egalitarian and salvific ideas of Mackay's Presbyterianism and their own resistance to the land loss, cultural collapse and humiliating poverty brought by Chinese invasion of their homeland in the 19th century.

Destruction of Kavalan Society

In his monumental study Statecraft and Political Economy on the Taiwan Frontier 1600–1800. anthropologist John Shepherd traces the disaster that fell on the Kavalan in the 19th century:
The fate of the aboriginal Kuvalan of the I-lan plain on Taiwan's north-east coast provides a sharp contrast to the that of the plains aborigines on the western coastal plain. Government administration was not extended to the I-lan plain before the 19th century, and the Kuvalan were not taxpaying subjects of the Ch'ing, which therefore did not recognize Kuvalan title to unclaimed land. Han migration to the isolated I-lan plain in the early 19th century began suddenly and on a large scale. This the Kuvalan did not have the chance to adapt gradually to the consequences of Han settlement ... The Kuvalan were totally unprepared for the onslaught of Chinese settlers that saw the Han population of I-lan grow to nearly 40,000 by 1810. (Despite small attempts at regulation) ... it was too little too late, for the Kuvalan were unable to adapt to such rapid change. They lacked the sophistication and institutional position necessary to see their rights enforced against unscrupulous Han. Impoverished Kuvalan, who were poor farmers, alienated their lands for ready cash. By the end of the 19th century, the Kuvalan population had declined by approximately 70% and many were migrating to Hua-lien. (358f)

Indigenous historian Chan Su-chuan 詹素娟  ,describes the "extremely difficult situation" confronting the Kavalan in the 1880s:
"The period when Mackay entered Ilan was exactly the period in the late 19th century when traditional Kavalan society was facing shocks from an external power and was undergoing large scale forced emigration ... With the changes in their social and economic life, the traditional religion of the Kavalan people also underwent huge changes. Mackay observed that the faith of the Kavalan people was "at the present time a potpourri of Confucian morality, Buddhistic idolatry, and Tauistic demonolatry", which is to say the Taiwanese folk religion of that time. But Mackay also saw that the in fact the Kavalan people still "simultaneously" preserved their traditions "nature worship" and "relics of superstition".  Mackay wrote that the traditional religious life of the Kavalan "had no temple, idol or priest.

Mackay was angered at the plight of the Kavalan. He must have seen in their crisis a reflection of the collective memory of his own people, the Highland refugees from the Sutherland Clearances, who were burnt out of their cottages by officials clearing the land for sheep:

There were at one time thirty-six thriving villages in the Kap-tsu-lan  plain. The Chinese settlers came in, enterprising, aggressive, and not overly scrupulous, and little by little the weaker went to the wall.  The Pe-po-hoan were crowded out of the cultivated land, many of their villages were scattered, and they had to begin life again in the waste jungle. And, very often, when they had succeeded in reclaiming land to grow rice and vegetables enough to supply their meager wants, the greedy Chinese would appear again, and, either by winning their confidence or by engaging them in dispute, would gain a foothold and in the end rob them of their lands. Being unable to read and being ignorant of the law, they are almost entirely at the mercy of their enemies. It sometimes makes one's blood boil to see the iniquities practised upon these simple-minded creatures by Chinese officials, speculators and traders.

He was aware of the political context of Kavalan adoption of Chinese idols:

Originally the Pe-po-hoan were nature worshippers, like the savages in the mountains …. But all this was changed when they bowed their necks to the yoke of civilization. Their conquerors forced upon them not only the cue and their style of dress, but also the whole paraphernalia of Chinese idolatry. Whenever a tribe submits, the first thing is to shave the head in token of allegiance, and then temples, idols and tablets are introduced. …. Idolatry does not suit the average Pe-po-hoan, and it is only of necessity that he submits to even the formal observance of its rites and ceremonies. It is political rather than religious, and to the large majority it is meaningless, except as a reminder of their enslavement to an alien race"

 It is in this context that the rapid, mass conversion of almost one-half  of the Kavalan people in the early 1880s  can be understood. It was not a colonial fraud enforced upon devout practitioners of traditional Chinese folk religion, or destruction of indigenous people's traditional religion  but an indigenous revitalization movement - a collective symbolic act of resistance to the dispossession they suffered under the Chinese settlers. Mackay was clearly astounded by the response of the Kavalan to his evangelism, so different from the process of conversion in the rest of north Taiwan.

Idol burning

The removal of idols and ancestral tablets by new Christians in Taiwan was usually a discreet individual decision. A typical reference (among many in Mackay's diary) to people removing idols, is in a letter  of April 11, 1884: "An old Chinaman and his wife cleansed their house of idols last Saturday when I was in the country. These idols &c. are now with my large collection."

But in the Kavalan mission Mackay reports two instances of mass enthusiasm (another expression of a revitalization movement) expressed in communal removal and burning of Chinese household idols. The first is reported in letters of March 30 and June 5, 1883:

I am here about 4 days journey from Tamsui -on the east side of the Island with the Pacific dashing this shore. There are 36 villages of Pe-po-hoan (civilized aborigines) in this District. Fully one thousand (1000) have thrown away their idols and wish to be taught Christianity. ....  I dried my clothes before fires made of idolatrous paper, idols &c. I employed 3 men to carry other idols back to Tamsui . I never passed through such an experience.

The revitalization movement in the form of communal removal of Chinese idols proceeded even without the presence of Mackay, who was amazed at what he saw happening. In a letter addressed  "To the Presbyterian Church in Canada from Halifax to Manitoba" (June 5, 1883) he wrote:
I sent a telegram some time ago to say that 1000 were asking Christian instruction. I state below the mark now when I declare that upwards of 2000 (two thousand) have thrown idols away and wish to follow the Lord of Hosts. ....  In a village with upwards of 200 every soul wants to be Christian – every house cleansed of idols. Another village with nearly 300 not very far away came out as a body, men, women and children and already sing our sweet hymns long in the night.

Visit to Kavalan settlement in Hualien – September 1890
The second reference to communal idol burning is September 8–9, 1890, when Mackay, accompanied by Koa-kau and Tan-he travelled by boat to visit Kavalan people who had settled in Ka-le-oan (嘉禮宛)  north of Hualien City(花蓮港).  His letter to the Foreign Missionary Society (September 12) presents in detail the process of community decision making, the political symbolism of having idols, negotiating with the Chinese authorities for their consent to remove idols, and the celebratory nature of the burning, followed by a  ritual celebrating the new communitas.

Mackay letter to Wardrope Oct. 16th 1890:  About dark we entered Ka-le-oan (the Pin-po-hoan settlement I longed to visit for upwards of a dozen years). We found the cook  , who turned out Preacher, in a small grass covered bamboo dwelling which had been erected for him. As they had been sending letters and visiting for such a long time you have only to imagine the reception accorded us. ...  The room was soon packed and a large crowd stood in front of the door. Instead of continued preaching we tried to grasp the real state of affairs. Real good work was done by the Helper. Not a few had a clear idea of the Gospel message, while all were evidently wearied of idol worship. They seemed ripe for decisive action. Being told that the Military Mandarin declared that they must continue idolatry as being a token of subjection to China. I rode up to the encampment – had an interview and got a gracious reception. Whatever was said or done in the past, it was all right now. Soldiers began to praise our mission ..... There was only one opinion and the Official wished me "Peace". I galloped back and asked all who were for the True God to clean their houses of idols and take a decided stand. – A council was held at dark in an open space, it turned out to be a boisterous one. The chiefs were declaiming aloud in their native tongue. I stepped into their midst – and asked an explanation – asked if there was difference of opinion? An answer came quickly, the five villages were unanimous to a man. Every man, woman and child wished to worship One God the Creator of all. They were noisy because giving vent to their indignation for having served idols for so long.  – Another important transaction was executed – a temple for idols built by themselves at a cost of $2000 was handed over for chapel service the all retired and the tumult abated. The following was a joyous day; no one went to work – The Head men joined our party (after invitation) and ordered four boys to carry 8 baskets one on each end of a pole. Then we went from village to village and house to house until the idolatrous paraphernalia all were put into the baskets and carried to a yard near our Preaching room and temple.  – There was large Pile of mock money – idols – incense sticks, flags &c &c --- a great crowd assembled and several vied with each other in kindling it – many showed their contempt for the dirty, dusty, greasy old idols and all were jubilant over the work. ... Nearly five hundred idolaters cleaned their houses of idols in our presence.

Other results of Mackay's Kavalan Mission
Similar to other indigenous groups in northern Taiwan, the Kavalan has a patronymic name system, rather than surnames. When they came under Chinese rule they were assigned Chinese names and surnames. By the mid-1880s some Kavalan had adopted Mackay's Taiwanese surname "Kai" 偕  as their own.  This surname is still common among Kavalan people today.

In 1882 "Oxford College" (for men) was opened in Tamsui and a year later the Girls School. Soon both schools had Kavalan students. In 1884 John Jamieson reported in a letter to the Foreign Mission Committee (June 30, 1884) that "The girls have made excellent progress during their four months of study. Most of them can read the Colloquial language as well as write a fair hand.  ... Most of the students have left for their homes and Dr. Mackay will accompany the girls on their homeward journey. "

At the girls' school Kai Ah-hun was matron and instructor in traditional weaving and sewing. She was married to a Kavalan pastor. Her work was outstanding, so much so that Mackay brought an entire Kavalan bridal assemblage made by her to Canada in 1893. We know this because he had a photograph of her taken wearing the very clothes that are now in the Royal Ontario Museum.  The Kavalan bridal attire is the only complete set of Kavalan clothes in the world, rightfully considered a national treasure of Taiwan.

Among the ten Plains Indigenous groups (Ping-pu 平埔)  who occupied the entire western half of Taiwan, only the Kavalan have continued as an organized community, still using their own language, in their exilic home on the northern coast of Hualien County.  In the last decade a group of women weavers (the leader is surnamed Kai 偕) have been reviving traditional weaving. They hope to visit the Mackay Collection at the Royal Ontario Museum to study the textiles that came from Kai Ah-hun in 1893.

While the mission among the Kavalan was only one part of Mackay's 30-year life in Taiwan, it illustrates the unintended yet long lasting impact of Mackay's work, and helps explain why even after 150 years he is so celebrated in Taiwan's history.

In 1896, after the 1895 establishment of Japanese colonial rule in Taiwan, Mackay met with the Japanese Governor-General of Formosa, Maresuke Nogi. Some families in Taiwan today, particularly of lowland-aboriginal Kavalan ancestry, trace their surname '偕' ('Kai' or 'Kay') to their family's conversion to Christianity by Mackay.

In Canada Mackay was honoured during his two furloughs home by the Canadian Church. In 1880, Queen's College in Kingston, Ontario awarded him an honorary Doctor of Divinity, presented by Principal George Monro Grant and Chancellor Sandford Fleming. Before departing in 1881, he returned to Oxford County, where monies were raised to start Oxford College in Taiwan, which would be the basis for two later educational institutions, Aletheia University and Taiwan Seminary. A number of young people in the county were inspired to follow Mackay's example and entered into missionary service with a number of Christian denominations.

In June 1894, at the General Assembly meeting in St. John, New Brunswick, Mackay was elected Moderator of the Presbyterian Church in Canada, the highest elected position in the church. He spent the following Moderatoral year travelling across Canada, as well as writing From Far Formosa: the island, its people and missions, a missionary ethnography and memoir of his missionary experiences.

In 1894 he spoke out against the head tax imposed on Chinese immigrants to Canada. As moderator of the Presbyterian church, he broke precedent to speak in favor of a resolution opposing this tax, saying it was unjust and racist.

Although Mackay suffered from meningitis and malaria in his lifetime, he would die of throat cancer on 2 June 1901 in Tamsui. He was interred in Tamsui, Taiwan, in a small cemetery in the eastern corner of the Tamkang Middle School campus. His son was interred adjacent to him.

Legacy

In Taiwan's modern democratic period Mackay's life has been celebrated by advocates of a distinctive Taiwanese identity and historical understanding separate from colonial narratives brought by Japan and China. The system of phonetic romanisation he and his collaborators developed for writing Taiwan's Hokkien language is still in use.

Mackay's From Far Formosa is considered an important early missionary ethnography of Taiwan. It provides a valuable source document for understanding the culture and customs of the people of Taiwan during Mackay's lifetime.

As part of his teaching Mackay created a museum in his Tamsui home. Its collections of items from both Chinese and Indigenous cultures of Taiwan, and specimens of geology, flora and fauna was constantly replentished by donations from local people. Many items collected by Mackay are today housed at the Royal Ontario Museum (Ontario, Canada) and the Aletheia University Museum (Tamsui, Taiwan). James Rohrer, missionary historian, states that Mackay, "allowed himself to truly encounter and to be transformed by the people he sought to serve."

Community

Mackay's Oxford College (牛津學堂) is today known as Aletheia University. The major private Christian hospital in downtown Taipei is named Mackay Memorial Hospital, built in 1912 to replace the smaller Mackay Hospital he started in Tamsui in 1882. Many artefacts collected by Mackay today form part of the collections at the Royal Ontario Museum (Ontario, Canada) and Aletheia University (Tamsui, Taiwan).

Visual art and media

On 30 June 2004, a large bust statue of Mackay was dedicated outside the Oxford County offices in Woodstock, Ontario. The delegation from Taiwan in attendance included representatives from Aletheia University and the Presbyterian Church in Taiwan. The event was also attended by representatives of the Presbyterian Church in Canada, the United Church of Canada, local, regional, and national Canadian dignitaries, and a number of Mackay descendants from across North America. One of his grandchildren is Dr. John Ross Mackay.

In November 2006, a Canadian television documentary titled The Black Bearded Barbarian of Taiwan was aired. It was broadcast in both Mandarin and English on OMNI 2 as part of their Signature Series.

Performance art

Opera

Composer Gordon S.W. Chin and librettist Joyce Chiou set out in 2002 to create an opera whose subject was drawn from Taiwan's history. In 2008 Taiwan's government invested in the project: the world's first-ever Taiwanese grand opera, Mackay: The Black-Bearded Bible Man. Chin's opera drew inspiration from the events of the missionary's life and took more than five years to produce. Over a hundred singers and production crew were engaged for the project from Europe, Asia, and North America.

Mackay: The Black-Bearded Bible Man had its world premier on 27 November 2008 at Taiwan's National Theater and ran through 30 November. The large cast featured Thomas Meglioranza (baritone) as George Mackay, Chen Mei-Lin (soprano) as Mackay's wife Tiuⁿ Chhang-miâ, and Choi Seung-Jin (tenor) as Giâm Chheng-hoâ, Mackay's first disciple and follower in Taiwan. Chien Wen-Pin, a native of Taipei, conducted the National Symphony Orchestra (Taiwan). Lukas Hemleb directed the stage production.

Musical theatre

"Kai the Barbarian: the George Leslie Mackay Story", a musical theatre piece by William Butt, was performed March 21–31, 2018 at Thistle Theatre in Embro, Ontario, Canada. The stage director was Edward Daranyi and music director was Daniel Van Winden. Embro, hometown of the author, is located in Zorra Township where George Mackay was born and raised. Cast and crew consisted of local volunteers working alongside professionals from Stratford, Ontario.

See also
J. Ross Mackay (born 1915), his grandson
Thomas Barclay, English Presbyterian missionary to Taiwan
James Mellon Menzies, Canadian Presbyterian missionary to Qing China
Mackay Memorial Hospital
Mackay Medical College
Mackay Medicine, Nursing and Management College
Aletheia University

References

Published works

External links
The First Taiwanese Opera "Mackay: The Black Bearded Bible Man", in the website of National Theater and Concert Hall, Taipei
 Full text of The Black-Bearded Barbarian: the life of George Leslie Mackay of Formosa by Marian Keith, from Project Gutenberg
 "Reverend George Leslie Mackay, 1844-1901" from Ontario Heritage Trust
 Aletheia University official website
 "Aborigines Saved Yet Again: Settler Nationalism and Hero Narratives in a 2001 Exhibition of Taiwan Aboriginal Artefacts" by Mark Munsterhjelm, MA Thesis, Indigenous Governance Program, University of Victoria, Canada.
 "Tourism Oxford, (Oxford County, Ontario, Canada) Colourful Characters; Rev. George Leslie Mackay 1844-1901."
 "Biography at the Dictionary of Canadian Biography Online"
 "To Taiwan With The Gospel - George Leslie Mackay"

1844 births
1901 deaths
Princeton Theological Seminary alumni
Alumni of New College, Edinburgh
Deaths from esophageal cancer
Canadian Presbyterian ministers
Presbyterian missionaries in Taiwan
Canadian Presbyterian missionaries
Deaths from cancer in Taiwan
Canadian expatriates in Taiwan
People from Oxford County, Ontario

George Leslie Mackay


Froilán Tiberio Casas Ortiz (Chiquinquirá, 21 de maio de 1948) é um sacerdote colombiano e bispo de Neiva.

Froilán Tiberio Casas Ortiz foi ordenado sacerdote em 9 de dezembro de 1972. Trabalhou principalmente como conferencista no seminário arquidiocesano, e em 2011-2012 foi seu reitor. Ele também foi, entre outros, pároco de várias paróquias, capelão das Filhas da Caridade em Bucaramanga e vigário episcopal para os assuntos religiosos.

Papa Bento XVI nomeou-o Bispo de Neiva em 4 de fevereiro de 2012 e tomou posse em 21 de abril do mesmo ano. O núncio apostólico na Colômbia, Aldo Cavalli, concedeu-lhe a consagração episcopal em 24 de março do mesmo ano; Os co-consagrantes foram Luis Augusto Castro Quiroga IMC, Arcebispo de Tunja, e Edgar de Jesús García Gil, Bispo de Palmira.

Ver também

Bispos católicos da Colômbia

Froilán Tiberio Casas Ortíz


Los mitos andinos son un conjunto de relatos míticos localizado en el área de la cultura andina.

En todas partes del mundo, sobre todo en la antigüedad, el hombre ha construido mitos para explicar su génesis, la aparición de montañas, lagos, plantas y otras cosas. Todo ello es parte de la evolución humana en cada ámbito geográfico y en cada cultura. Concretamente así es en el radio de la cultura andina, cuyo trípode actual es el territorio que ocupan Ecuador, Perú y Bolivia.

Estos mitos han sobrevivido por la tradición oral, que sigue en el imaginario popular. Recopilaron los cronistas. Uno de los estudiosos es Felipe Guaman Poma Ayala. Francisco de Ávila recopila, en un proceso de extirpación de idolatrías, apoyado por emisarios nativos de Huarochirí. En un esfuerzo de la segunda mitad del , Arguedas e Izquierdo Ríos recogen mitos, leyendas y cuentos de los posesores de la cultura andina. Al respecto- entre tantos casos- se tiene:

Origen de los primeros hombres
Entre tantas versiones-legibles en los cronistas - esta es una de ellas, la realizada por el dios Viracocha; él creó el mundo que estaba en tanta oscuridad. Después, hizo surgir un género de gigantes disformes, remedó a los hombres en pinturas y esculturas. Los rectificó por su enormidad, hizo copias a su estatura; habiendo señalado un precepto que no cumplieron, por lo que los petrificó,  desaparecieron engullidos: o bien por el mar, o bien por la tierra.

La mayor sanción que les infligió fue una lluvia torrencial,  Unu Pachacuti, el agua que trastorna la tierra. Todo mojado, quedaron solo como huellas humanas bultos de piedra cerca del Cusco, en Pucara. Cada población relató la salvación de sus habitantes a su manera. En Tumipampa sobrevivieron dos cañaris, aupados a un cerro. Quedaron tres hombres, escogidos por el Hacedor, para servirle y auxiliaran a crear varias nuevas gentes.

La aparición de Wiracocha
Para el antiguo poblador peruano-época prehispánica- la génesis de la Tierra fue obra del Dios Kon Tiksi Wiraqocha, que significa Kon=flama
 Tiksi= fundamento y Wiraqucha (o wayra qucha)= viento sobre las espumas del lago. , de tez blanca y pequeña estatura, de ojos grandes, que hace cuatro milenios emergió de la nada y enseñó a los habitantes de las tierras andinas los valores éticos de la solidaridad, la reciprocidad, el desprendimiento, respeto a la naturaleza. Y, a cultivar la tierra, cuidando el agua y sus potencialidades. Alguna versión refiere que apareció de las aguas del lago Titicaca, compartido por Perú y Bolivia en la fecha, entre espumas y vientos agitados.

Dios Kon crea el desierto
Kon es un antiguo waka o dios andino, principalmente reverenciado en la costa. Su culto fue parte de la vida de lejanas culturas. Apareció del norte, creando, poblando y dando moldes civilizatorios. Después transformó a toscos y derrotados nativos en animales negros. No calzaba en su cuerpo etéreo el sistema óseo, pero si se desplazaba con prodigiosa rapidez. En eras muy remotas, se hizo presente, aplanando los montículos, cortando los valles sólo con la potencia de sus palabras. Llenó la tierra de pobladores humanos y les llenó de frutos sabrosos. Sin embargo, por negarle el culto debido, castigó a los hombres, retirando la lluvia y transformando los fecundos terrenos en estériles desiertos. Los peores de estos hombres castigados fueron desterrados al mundo antiguo donde se convirtieron en gigantes comehombres, los huajunes. Desde aquel entonces, no volvió a llover en la costa y dejó apenas pocos ríos, cuyas aguas retribuían el tesón humano de sobrevivir.

Naylamp llega por el mar
Navegando desde el Oeste, llegó un intrépido personaje, llamado Naylamp a las playas de Lambayeque. Lo acompañaba un gran séquito y una corte espléndida. Llevaban consigo la escultura de la deidad llamada Ñam Pallac. Étimo que dio origen al topónimo 'Lambayeque'. Por varios años realizaron avanzadas de conquista, extendiendo su dominio por amplios sectores de la costa de Lambayeque. Impulsaron el culto de Ñam Pallac,  le erigieron en su honor un santuario, en el sitio denominado Chot. En las fiestas que le dedicaban, tañían caracoles -a modo de trompetas- que derramaban polvos de esas conchas de mar, en calidad de sustancia sagrada. Un día menos pensado, Naylamp desapareció, abriendo sus alas remontó hacia lejanías insondables. Hasta en la actualidad esperan su retorno.

Gigantes en el llano costero
Muchos yacimientos arqueológicos  se hallan en la costa. Son las mansiones de unos aborígenes que construyeron sus poblaciones, edificaron sus mansiones. Y en una época difícil de precisar,  se produjeron lluvias torrenciales,  Unu Pachacuti, el agua que trastorna la tierra, que inundaron las poblaciones. Sus habitantes huyeron a las partes altas y algunos pudieron sobrevivir. Al retornar se encontraron con unos gigantes y se armó una guerra desigual, los aborígenes se escondieron en cuevas y así vivieron muchísimos años. Por fin, apareció por los aires montando un qoa o puma alado, un joven que con su waraka (honda gigante andina) de rayos hería mortalmente a los gigantes, y siguió venciendo, mientras guiaba a los aborígenes a armarse contra ellos y vencerlos con estrategia. Luego de la derrota de los gigantes, retornaron los antiguos pobladores a ocupar sus tierras de Chincha que usurparon aquellos colosos. Los gigantes fueron desterrados al mundo antiguo, donde se convirtieron en los temibles s´oqas, gigantes de fuego translucidos cuyos nervios parecen de roca y reemplazaron a sus huesos

Los titanes del Tiahuanaco
Era un pueblo en donde gobernaban los llamados titanes; gente grande y sabia. En aquel pueblo todo era enorme, es por eso que existen estatuas en sus calles llamados monolitos conmemorando la existencia de estos gigantes sabios que fueron destruidos por un enorme diluvio universal, ahora solo queda para evidenciar su existencia los ya mencionados monolitos.

Los Waris y los Andes
En el inicio de los tiempos, en el reino de los Waris, sólo fue humareda y vendaval. calmando su dinamismos estos elemento originaron la Tierra. Allí iniciaron su vida los Jatun Waris, dioses colosales de la dinámica natural. Cierto día soplaron fuerte perdón

Achkay
Es una bruja diosa, esposa de Kon, que se referencia a las sequías y aluviones. Es relacionada con la corriente de "El Niño" en el mar peruano, por muchos siglos, ha tenido influencia en el clima, y, por tanto, en la agricultura, por la extensión de sequías, escasez de agua o los aluviones.

Amarus
Son serpientes gigantes, a veces protectoras de la naturaleza, a veces castigando a los enemigos y quienes depredan los bienes con la furia de la naturaleza. Al morir, sus cuerpos forman las cordilleras y los grandes rios. La más conocida tiene cabeza de llama, comillos, espinas en el lomo, cola de pez y alas de cóndor, con colores dorados. Cabe notar que en los mitos prehispánicos andinos NO hay dragones y estos son reemplazados por los amarus

Los mundos
En los mitos andinos aparte del mundo actual, lugar de los hombres, existen el mundo de arriba, lugar de los dioses, Hatun pacha, y el mundo de abajo Hurin Pacha lugar de los antepasados protectores. Además existe el mundo antiguo, copia del moderno, donde moran los humanos y gigantes desterrados del pasado, y donde su destino se repite en el mundo actual. Según los mitos, los otros mundos a veces son visitados por heroes y sacerdotes poderosos sean bondadosos o malvados, y a veces pueden traer a los habitantes de los mismos al mundo actual.y existen portales a estos mundos, como el legendario portal de Végeta, cercano a la actual ciudad de Lima

Pariacaca
Pariacaca (en quechua: Pariaqaqa) fue, en la mitología de la sierra central peruana, el dios del agua y de las lluvias torrenciales. Nació de un pájaro y se convirtió luego en Kolash. El dios Pariacaca fue muy importante en la región centroandina, cuyo culto abarcó incluso a las zonas costeras.

Referencias

Bibliografía
 Arguedas, José Mª y Izquierdo Ríos, Francisco: Mitos y leyendas del Perú(s/f) ediciones la Dirección Artística y extensión cultural del Ministerio de Educación del Perú- Lima.
 Guaman Poma Ayala Nueva coronica y buen buen gobierno(1615) [1987]. Ediciones Biblioteca Ayacucho. Caracas.
 Dioses y hombres de Huarochirí-(2007) narración recogida por Francisco de Ávila ( Traducción de José Mª Arguedas)- Edición de la Universidad Antonio Ruiz de Montoya Jesuitas- Lima. ISBN 978-9972-9995-5-0.
 Espinar de la Torre, Óscar: Mitos del antiguo Perú (1994) Editorial San Marcos, Lima 3.ª edición.
 Valcárcel Luis E.  Historia del Perú antiguo (1978)  / a través de la fuente escrita. Editorial Juan Mejía Baca.Lima. 6 Tomos.
 Gonzalo Espino Relucé (compilador): Tradición Oral, cultura peruanas- una invitación al debate-82003) Fondo editorial de la Universidad Nacional Mayor de san Marcos. Lima ISBN 9972-46-239-0
 Escuela de Folklore Arguedas. Revista "Cuadernos Arguedianos", Lima (2009)
Mitos y Leyendas Peruanas recopiladas por Cesar Toro Montalvo, 3 tomos (1980)

Cultura andina

Mitos andinos


කැල්සියම් ක්ලෝරයිඩ්, CaCl2,කැල්සියම් සහ ක්ලෝරීන් වලින් සමන්විත ලවණයකි. එය සමාන්‍යයෙන් අයනික හේලයිඩයක් ලෙස හැසිරෙන අතර කාමර උෂ්ණත්වයෙදී ඝණයක් ලෙස පවති. එහි සමාන්‍ය යොදාගැනීම් ලෙස, ශීතකරණ තුළ බ්‍රයින් ද්‍රවණය ලෙස , මහාමාර්ග වල දූවිලි පාලනය සඳහා, විජලකාරකයක් ලෙස භාවිත කෙරේ. මෙහි ඇති ජලාකර්ෂක ගුණය නිසා, මෙම නීර්ජලීය කැල්සියම් ක්ලෝරයිඩ් තදින් ආවරනය කර, වාතය අතුලු නොවන සේ සකස් කරන ලද භාජන තුළ ගබඩ කර තබනු ලැබේ.

ලක්ෂණ
කැල්සියම් ක්ලෝරය්ඩ් වල ද්‍රාව්‍යතාව නිසා එය කැල්සියම් අයන ප්‍රභවයක් ලෙස ක්‍රියා කරන අතර මෙම ගුණාංගය ද්‍රවණයකින් අයන විස්තපනය කිරීමෙදී ප්‍රයොජනයට ගනු ලැබේ. උදාහරණයක් ලෙස යම්කීසි අයන ද්‍රවණයක අඩංගු පොස්පෙට් අයන ඉවත් කර ගැනීම සඳහා කැල්සියම් ක්ලෝරය්ඩ් ද්‍රවණයක් භාවිත කෙරේ.

3 CaCl2 (aq) + 2 K3PO4 (aq) → Ca3(PO4)2 (s) + 6 KCl (aq)

ද්‍රව කැල්සියම් ක්ලෝරය්ඩ් විද්‍යුත් විච්ඡෙදනය කර කැල්සියම් ලෝහය සහ ක්ලෝරීන් වායුව ලබා ගනී.
CaCl2 (l) → Ca (s) + Cl2 (g)

කැල්සියම් ක්ලෝරය්ඩ් ද්‍රව වීමෙදී අධික එන්තල්පි වෙනසක් සිදුවේ.

මෙම නිර්ජලීය ලවණය ඉතා සීඝ්‍රයෙන් ද්‍රව බවට පත් වේ; එහි ඇති ස්ඵටික දැලිස මඟින් ජල අණු ආකර්ශයනය කර ගනිමින් ද්‍රව බවට පත් වේ.

පිලියෙළ කිරීම
කැල්සියම් ක්ලෝරයිඩ්, හුණු ගල් මඟින් සෘජුවම නිපදවා ගත හැකි අතර සොල්වේ ක්‍රමය මඟින් සෑදෙන අතුරුඵලයක් ලෙසද විශාල වශයෙන් නිපදවා ගනු ලැබේ. 2002 වසරේ දී උතුරු ඇමෙරිකව මෙම ලවණය ටොන් 1,687,000 ක ප්‍රමණයක් පරිහර්ණය කර ඇත බව වර්තා වේ.

ස්වභවික පැවැත්ම
කැල්සියම් ක්ලෝරයිඩ්, දුලබ , වාෂ්පශීලි සින්ජරයිට් (ඩයිහයිඩ්‍රේට) සහ ඇන්ටර්ක්ටිසය්ට් (හෙක්සාහයිඩ්‍රේට) යන ඛණිජ ලෙස ස්වභවිකව පවති. ක්ලෝරොකැල්සයිට් (පොටෑසියම් කැල්සියම් ක්ලෝර්යිඩ්,KCaCl3 ), කැල්සියම් ක්ලෝරය්ඩ් පවත්නා තවත් ස්වභවික ඛණිජයක් වන අතර එය ද ඉතා දුලබ ඛණිජ වර්ගයක් වේ.

ප්‍රයෝජන

විජලකාරකයක් ලෙස
වියලුම්  නල  නිරන්තරයෙන්ම කැල්සියම් ක්ලෝරය්ඩ් සමග අසුරනු ලැබේ. කෙල්ප් (පොහොර් සෑදීමට ගන්නා මුහුදු පැළෑටියකි) ශාකය කැල්සියම් ක්ලෝරය්ඩ් සමඟ වියළීම මඟින් සොඩියම් කාබනේට් නිපදවා ගනු ලැබේ. ඝණ කැල්සියම් ක්ලෝරය්ඩ් ද්‍රවණයට එක් කිරීම මඟින් ද්‍රාවනණයේ පවතින ජල අණු ඉවත් කර ගනු ලැබේ. FDA ආයතනය මඟින් නිර්ජලීය  CaCl2, වියළි තත්ව තහවුරු කර ගැනීම සඳහා ඇසුරුම් උපකරකයක් ලෙස අනුමත කර ඇත.

හිමාංක අවපතකයක් ලෙස

හිමාංකය පහත හෙලීම, CaCl2  මඟින් අයිස්/ හිම නිපදවීම වලක්වනු ලබන අතර මෙය මාහමාර්ග මතුපිට හිම පතනය වැළක්වලීම සඳහා යොද ගනු ලැබේ.CaCl2 හි ද්‍රාව්‍යතාව තාපදායක වන අතර එය සපෙක්ෂව ශාක හා පාංශු වලට හනි දායක් නොවේ. නමුත් වොෂින්ටන් ප්‍රාන්තය මෑතක දී කරන ලද පරීක්ෂණ වලින් අනාවරනය කරගෙන තිබෙන්නේ මෙය මහාමාර්ග අසල වැඩෙන සදාහරිත ශාක වලට අහිතකර ලෙස බලපාන බවයි. කැල්සියම් ක්ලෝරය්ඩ් සුදු පැහැති ගෝල අකරයට හැඩ ගැසී ඇති අතර එය පහළ උෂ්ණත්ව වලදී සෝඩියම් ක්ලෝරයිඩ් වලට වඩා ක්‍රියාකාරී වේ. කැල්සියම් ක්ලෝරය්ඩ් ද්‍රාවණ -520C(-620F) ඉතා අවම උෂ්ණත්ව වලදී පවා මිදීමක් සිදු නොවන අතර මෙය කෘෂිකර්මන්තයෙදී ප්‍රයෝජනවත් වේ.

කැල්සියම් අයන ප්‍රභවයක් ලෙස

කොන්ක්‍රීට් සංයුතියෙ ප්‍රධාන වශයෙන් කැල්සියම් සංයෝග අඩංගු වන අතර, පිහිනුම් තටාක වල  දෘඩත්වය ඉහල නැංවීමටත්, තටාකයේ කොන්ක්‍රීට් ඛාදනය අවම කර ගැනීම සඳහාත් කැල්සියම් ක්ලෝරය්ඩ් යොදා ගනු ලැබේ.සාගර මින්මැදුරු වල ජීවත් වන මොලුස්කාවන්, නිඩැරියවන් වැනි CaCO3 සැකිලි සහිත ජිවීන්ට අවශ්‍ය ජෛව සාධක ලබා දීම සඳහා කැල්සියම් ක්ලෝරය්ඩ් යොදා ගනු ලැබේ.මේ සඳහා කැල්සියම් හයිඩ්‍රොක්සයිඩ් හෝ වෙනත් කැල්සියම් ප්‍රතිකරකයක් යොදා ගත හැකි නමුත් වඩාත්ම වේගවත් ක්‍රමය වන්නේ CaCl2 ජලයට කෙලින්ම එක් කිරීමය. එමඟින් pH අගය මත කෙරෙන බලපෑම අවම වේ.

ආහාර
ආහාර වල අඩංගු ද්‍රව්‍යක් ලෙස CaCl2, අනුමත් කරන ලද, ආහාර ආකලන ද්‍රව්‍යක් ලෙස යුරෝපීය සංගමය මඟින් ලයිස්තු ගත කර තිබේ. ඇමරිකානු ආහාර සහ ඖෂධ අධිකාරිය මඟින් CaCl2 හී ආරක්ෂාකාරී බව තහවුරු කර ඇති අතර එක් පුද්ගලයෙකු දිනකට ලබා ගන්නා අහාර වල CaCl2 160-345 ක ප්‍රමාණයක් අන්තර්ගත් වන බව සොයා ගෙන තිබේ.

මෙය අහාර වල ඝන ස්වභාවය ආරක්ෂා කරන ද්‍රව්‍යක් ලෙස යොදා ගනු ලබන අතර ටින් කළ එළවළු වර්ග වල, සෝයා බෝංචි මඟින් සෝය බෝංචි ඝන කැටි නිපදවීමට  සහ එළවළු වර්ග, පලතුරු වර්ග වලින් සාදන වෙනත් ඝන තත්වයේ නිෂ්පාදනවල තත්වය ආරක්ෂා කර ගැනීම යොදා ගැනේ. බෝහෝ විට මෙම CaCl2, ක්‍රීඩා පාන වර්ග සහ වෙනත් පාන වර්ග, බෝතල් කරන ලද පානීය ජලය නිෂ්පාදනය සඳහා විද්‍යුත් විච්ඡෙද්‍යයක් ලෙස භාවිතා කෙරේ. අධික ලුණු රසයෙන් යුත් CaCl2, අච්චරු වර්ග රස ගැන්වීම සඳහා යොදා ගැනු ලැබේ.එමඟින්  අහාරයේ සෝඩියම් අන්තර්ගතයේ වෙනසක් ඇති නොකරමින් අවශ්‍ය රසය ලබා දේ. CaCl2 හී ඇති හිමාංක අවපතන ගුණය කැඩ්බරි චොකල්ට් නිෂ්පාදනයේ දී යොදා ගනු ලබන අතර එමඟින් කැරමල් ඝන් වීමෙ වේගය අඩු කරන බැවිනි. සමහර බීර වර්ග වලට CaCl2 යොදාගනිමින් අවශ්‍ය ඛණිජ සංයුතිය ලබා දේ.

ඖෂධ
හයිපොකැල්කේමියා රෝගය සුවපත් කිරීම සඳහා CaCl2 ශීර තුලට එන්නත් කිරීම සිදු කෙරේ.එමෙන්ම මැග්නීසියම් විෂානුහරණයට ද CaCl2 යොදා ගන්නා අතර එමඟින් හෘද විෂානුහරායද සිදුවේ. මෙය විද්‍යුත් හෘද ඉරූපකය මඟින් මැන ගත ඇකි වේ. CaCl2 යොදා ගැනීම මඟින් කැල්සියම් නල විෂ අවහිරතා , සංකූලතා යථාතත්වයට පත් කර ගත් හැකි අතරම එමඟින් කිරීටක හෘදයබාධ සෑදීම වළක්ව ගත හැකි වේ.

ද්‍රවමය CaCl2, ජාන පරිවහනය සඳහා මාධ්‍යක් වශයෙන් යොදා ගන්නා අතර එමඟින් සෛල පටල වල විනිවිද භාවය වැඩි කර DNA ආරොපන ලබ දේ. එවිට DNA අණු කොටස් වඩා පහසුවෙන් සෛල් තුලට ඇතුලු වේ.

කැල්සියම් ක්ලෝරයිඩ්


غيفي نوديا، من مواليد 2 يناير 1948، وتوفي في 7 أبريل 2005، لاعب كرة قدم سوفييتي سابق، ومدرب كرة قدم سوفييتي سابق.

لعب مع منتخب الاتحاد السوفييتي لكرة القدم.

مسيرته الكروية
لعب غيفي نوديا خلال مسيرته الاحترافية مع 3 أندية في خمسة عشر موسمًا وسجل خلالها 93 هدفًا ضمن 315 مباراة. حيث فاز في موسم واحد بالكأس ولم يفز بأي دوري.

خاض غيفي نوديا مسيرته مع نادي توربيدو كوتيسي في عامي 1965-1967 ولمدة موسمين، مشاركًا في 36 مباراة سجل خلالها 9 أهداف. ثم انتقل إلى نادي دينامو تبليسي في موسم 1967 في المرة الأولى ليلعب معه تسعة مواسم ثم ما بين عامي 1979 و1980 لمدة موسم واحد، حيث شارك طوالها في 211 مباراة سجل خلالها 75 هدفًا. لينتقل بعدها إلى نادي لوكوموتيف موسكو في موسم 1976 واستمر معه طيلة ثلاثة مواسم، مشاركًا في 68 مباراة سجل خلالها 9 أهداف.

مراجع

روابط خارجية

لاعبو كرة قدم رجالية سوفيت
لاعبو كرة قدم من كوتايسي
لاعبو كرة قدم رجالية من جورجيا
مهاجمو كرة قدم رجالية
أشخاص من كوتايسي
رياضيون من كوتايسي
لاعبو الدوري السوفيتي الممتاز لكرة القدم
لاعبو بطولة أمم أوروبا 1968
لاعبو بطولة أمم أوروبا 1972
لاعبو توربيدو كوتيسي
لاعبو كأس العالم 1970
نوديا
لاعبو كرة قدم سوفيت
لاعبو لوكوموتيف موسكو
لاعبو منتخب الاتحاد السوفيتي لكرة القدم
لاعبو نادي دينامو تبليسي
مدربو توربيدو كوتيسي
مدربو كرة قدم جورجيون
مدربو كرة قدم سوفيت
مدربو كرة قدم مغتربون من جورجيا
مدربو نادي دينامو تبليسي
مدربو نادي ميتالورغي روستافي
نوديا
مواليد في كوتايسي
نوديا
وفيات في تبليسي

غيفي نوديا


O Brasileiro João de Souza é um filme brasileiro de 1944, escrito e dirigido por Bob Chust.

Foi o primeiro filme brasileiro com temática antinazista. Marcou também a estreia de Ziembinski no cinema brasileiro.

Elenco
O marinheiro João de Souza (Sandro Polloni) carrega o trauma da perda de seu pai em um afundamento de um navio brasileiro pela marinha alemã. Apesar de parecer ter um futuro promissor, João acaba brigando com alemães nazistas e é demitido, no mesmo momento em que abandona sua noiva Pretinha (Zezé Pimentel). Todavia, com a entrada do Brasil na guerra, João de Souza correrá atrás de sua dignidade e patriotismo.

Elenco
Sandro Polloni como João de Souza
Zezé Pimentel como Pretinha
Lu Marival como Olga Dicolesco
Ziembinski como Otto von Back
Graça Mello como Sílvio
Rosita Rocha como Luzia
Bob Chust como Mário
Oswaldo Loureiro como João de Souza (criança)
Milton Carneiro

Ligações externas

Filmes do Brasil de 1944
Filmes de comédia do Brasil
Filmes em preto e branco
Filmes de drama da década de 1940
Filmes em língua portuguesa

O Brasileiro João de Souza


Naturama war ein 1956 eingeführtes anamorphotisches Filmaufnahmeverfahren
für 35-mm-Breitwandfilme.

Hintergrund
Nach der Einführung von CinemaScope übernahmen die meisten großen Filmstudios dieses Breitwandformat für den 35-mm-Film. Es mussten jedoch Lizenzgebühren an 20th Century Fox bezahlt werden. Um diesen Kosten zu entgehen, wollte Republic Pictures ein eigenes Verfahren anwenden und entschloss sich auf das von Ernst Abbe in Frankreich entwickelte Cinépanoramic zurückzugreifen.

Man kaufte die Rechte für den Vertrieb von Cinépanoramic und passte das anamorphotische Linsensystem dem US-amerikanischen Markt an. Das Bild wurde zuerst in einem 2:1-Verhältnis gestaucht aufgenommen und dann im Kinosaal auf die 2,35:1 Filmbreite entzerrt aufgeführt. Der dafür nötige Anamorphot besaß eine zusätzliche Linse, die praktisch verzerrungsfreie Nahaufnahmen ermöglichte.

Republic Pictures nannte das System Naturama und wollte es auch an andere Filmstudios vermieten. Trotz der besseren Bildqualität gegenüber CinemaScope gab es kein Interesse am neuen Verfahren. Mit dem Ende von Republic Pictures endet auch Naturama in den USA.

Filme in Naturama
 1956: Der Teufel von Colorado (The Maverick Queen)
 1956: Duell am Apachenpaß (Thunder Over Arizona)
 1956: Geheimzentrale Lissabon (Lisbon)
 1956: Schach dem Mörder (Accused of Murder)
 1957: Durango Kid der Rächer (Duel at Apache Wells)
 1957: Affair in Reno
 1957: Ich ritt für Jesse James (Hell's Crossroads)
 1957: Spoilers of the Forest
 1957: The Lawless Eighties
 1957: Last Stagecoach West
 1957: Taming Sutton's Gal
 1957: Panama Sal
 1957: The Crooked Circle
 1957: Arizona-Express (Gunfire at Indian Gap)
 1958: The Notorious Mr. Monks
 1958: Juvenile Jungle
 1958: Young and Wild
 1958: Jede Kugel trifft (Man or Gun)
 1958: Rauschgift-Banditen (The Man Who Died Twice)
 1958: No Place to Land
 1959: Killer von Dakota (Plunderers of Painted Flats)

Weblinks
 CinemaScope auf dvdlog.de
 Naturama auf cinematographers.nl (englisch)
 Naturama auf in70mm.com (englisch)

Filmtechnik

Naturama (Scope-Verfahren)


Karen Parfitt Hughes (d. 27 Aralık 1956), Amerikan politikacı. ABD Başkanı George W. Bush'un ABD'nin Müslüman ülkelerde bozulan imajını düzeltmesi için görevlendirdiği ABD Dışişleri Bakanlığı'nın kamu diplomasisinden sorumlu büyükelçi seviyesindeki müsteşarı.

1956 yılında son Amerikan Panama Kanalı bölgesinin yöneticisi Harold Parfitt'in kızı olarak Paris'de dünyaya geldi. 1977 İyi bir dereceyle Teksas'da bulunan Protestan kilisesine bağlı Güney Metodist Üniversitesi'nden mezun oldu. 1984'e kadar televizyon muhabirliği yaptı, başkanlık seçimlerini takip etti. 1990'lardan beri ise George W. Bush ile çalışan Hughes, ilk önce Bush'un Teksas valiliği sırasında iletişim danışmanlığını sonra başkanlığı döneminde ise başkan danışmanlığı görevini yürüttü. 2002'de Beyaz Saray Irak Ekibi'ne dahil edildi. Bush'un parti kongresi ve 2004 başkanlık seçimleri sırasında aktif olarak görev yaptı. Amerikan basınında, "bugüne kadar Beyaz Saray'a hizmet eden en güçlü kadın", "Bush'un en gerekli akıl hocası" gibi haberlerle anıldı.

9 Eylül 2005'te ataması onaylandıktan sonra yemin ederek göreve başladı. 26 Eylül 2005'te başlayan Mısır gezisinden sonra aralarında Türkiye'nin de bulunduğu bir dizi Müslüman ülkeyi ziyaret etti. Ziyaret ettiği Müslüman ülkelerde genellikle ülkenin kadın ve çocukları ile bir araya gelmeye çalıştı. Allah'ın birliği, Irak İşgali'nin gerekliliği, kadının Müslüman toplumlarda yeri merkezli konuşmalar yaptı. Hâlen görevini sürdürüyor.

1956 doğumlular
20. yüzyıl Amerikalı siyasetçileri
21. yüzyıl Amerikalı siyasetçileri
Yaşayan insanlar
Amerikalı kadın siyasetçiler
Amerikalı siyasetçiler

Karen Hughes


ألساندرو فارنيزي  ثالث دوقات بارما وبياشينسا ورابع دوقات كاسترو (روما، 27 أغسطس 1545 ، 3 ديسمبر 1592)، كان واحدا من أعظم قادة القرن السادس عشر، في خدمة إسبانيا. ساعدت انتصاراته على تشكيل الجغرافية السياسية لأوروبا الحديثة. هو حفيد بيير لويجي فارنيزي ابن بابا بولس الثالث الذي يعتبر مؤسس دوقية بارما وبياتشنزا. هو متزوج من انفانتا ماريا من غيمارايش ابنة إدوارد دوق غيمارايش ابن مانويل الأول ملك البرتغال وانجبا 3 أبناء، وخلفه ابنه الوسط رانوتشيو فارنيزي الذي طالب بالعرش البرتغال.

معرض صور

روابط خارجية

مصادر

أشخاص في حروب فرنسا الدينية
أشخاص من روما
أفراد عسكريون من روما
إيطاليون في حرب الثمانين عاما
إيطاليون من أصل ألماني
إيطاليون من أصل إسباني
جنرالات إسبان
دوقات بارما
رومان كاثوليك إيطاليون
رومان كاثوليك في القرن 16
فارنيزي
فرسان الصوف الذهبي
محافظو الأراضي المنخفضة الهابسبورجية
مواليد 1545
مواليد في روما
نبلاء من روما
وفيات 1592
وفيات في أراس

ألساندرو فارنيزي


فرانك شابليفسكي Frank Schablewski (ولد في 20 مارس 1965 في هانوفر) هو شاعر وأديب ألماني.

حياته

درس فرانك شابليفسكي الفن التشكيلي والأدب في أكاديمية الفن في دوسلدورف، وكذلك الرقص في معاهد مختلفة في ألمانيا وسويسرا وفرنسا. وقد ألف القصائد والمقالات حول الفن، التي نشرت في المختارات والمجلات الأدبية. وكان أول أعمال شابليفسكي هو مجموعته الشعرية "Suessholzk?pfe" في عام 1998. وتصدر كتبه من دار نشر رامبو Rimbaud Verlag. وهو يقيم حاليا في دوسلدورف.

مراجع

أشخاص يحتمل أن يكونوا أحياء
كتاب وكاتبات ألمان
مواليد 1965
مواليد في هانوفر

فرانك شابليفسكي


John Rodrigues (Bombaim, Índia, 21 de agosto de 1967) é o atual Bispo em Poona.

João Rodrigues recebeu o Sacramento da Ordem em 18 de abril de 1998.

Em 15 de maio de 2013, o Papa Francisco o nomeou Bispo Titular de Deultum e Bispo Auxiliar de Bombaim. O arcebispo de Bombaim, Cardeal Oswald Gracias, doou a consagração episcopal a ele e ao bispo auxiliar Sávio Domingos Fernandes, que foi nomeado ao mesmo tempo, em 29 de junho de 2013. Os co-consagradores foram o Patriarca das Índias Orientais e Arcebispo da Arquidiocese de Goa e Damão, Filipe Neri António Sebastião do Rosário Ferrão, e o Bispo Auxiliar de Bombaim, Agnelo Rufino Gracias.

Ver também

Bispos católicos da Índia

John Rodrigues


Mylène Jeanne Gautier (; born 12 September 1961), known professionally as Mylène Farmer (), is a French singer, lyricist, writer, and entrepreneur. Having sold more than 30 million records worldwide, she is among the most successful recording artists of all time in France. She holds the record for the most number one hit singles in the French charts, with twenty-one to date – eight of which were consecutive.

Born in Pierrefonds, Quebec, Canada (a former city now part of the Montreal borough of Pierrefonds-Roxboro), to French parents, the family soon relocated to Chaville, near Paris, where Farmer pursued a career in modelling and acting. She later gained prominence as a recording artist with the release of her debut single "Maman a tort" in 1984. In 1988, she released her second studio album, Ainsi soit je..., which sold 1.5 million copies in France. The album spawned Farmer's first number one on the French singles chart, "Pourvu qu'elles soient douces". Her third studio album, L'autre..., sold two million copies, becoming Farmer's best-selling album to date. Its lead single, "Désenchantée", became Farmer's most successful single, and is often described as her signature song.

Departing from the synth-pop and Europop soundscape of her first albums, Farmer reinvented her musical style with the release of her fourth studio album, Anamorphosée, in 1995. Recorded in the United States, the album features more live instrumentation and shows rock and R&B-oriented influences. Her fifth studio album, Innamoramento, was released in 1999, featuring more electronic influences. In the second part of the 2000s, Farmer continued exploring a range of genres on her albums, namely acoustic pop music on Avant que l'ombre... and electronica on Point de suture.

In 2010, Farmer released her eighth studio album, Bleu noir. The album marked Farmer's return to the dark synth-pop and Europop production of her first albums. The lead single, "Oui mais... non", sold over 130,000 copies in France. In 2015, Farmer's tenth studio album, Interstellaires, debuted at number one in France; the album was preceded by the lead single "Stolen Car", a duet with Sting, which reached the number one position on the French singles chart in September 2015. Her eleventh studio album, Désobéissance, was released in 2018, debuting at number one and selling over 265.000 copies.

In addition to her music career, Farmer also worked as a lyricist for French singer Alizée, while also being responsible for her image and public appearances. Her debut single, "Moi... Lolita", co-written by Farmer, reached number one in several countries in Europe, and peaked at number nine on the UK Singles Chart in February 2002. Farmer made her film debut in 1994, starring in Giorgino, and in 2018, she starred in the English-language horror film Ghostland.

Throughout her career, Farmer has broken a number of records. She is the best-selling French singer since 1984, has a record number of diamond records, and she is the only artist to have obtained a diamond album in four consecutive decades. Selling over two million copies, her 2001 greatest hits album Les Mots is the highest-selling compilation album by a French recording artist.

Biography and career

1961–1983: early years and career beginnings
Having been born in Canada, her family relocated to France when Farmer was eight years old. When she first arrived in France, she took speech classes after her school declared her Québécois accent to be "improper". At the age of 17, Farmer discovered acting and undertook a three-year course at the Cours Florent, a drama school in Paris. Changing her name to Mylène Farmer as a tribute to her idol, 1930s Hollywood actress Frances Farmer, she began to earn a living as a model acting in several TV adverts, such as those for IKEA, Fiskars and Caisse d'Epargne. Farmer also appeared in a local stage production of Le père Noël est une ordure.

In 1984, Farmer met Laurent Boutonnat, a young film student, after answering a newspaper advert for an actress for a small film project he was working on. Farmer and Boutonnat became friends and forged a creative partnership, writing and producing the music. Boutonnat, whose ambition was to become a film director, became the creative force behind Farmer's videos. In 1984, Farmer recorded and released the song "Maman a tort", written by Boutonnat and Jérôme Dahan. The trio continued to work together on what would become Farmer's first studio album.

1984–1992: Cendres de lune, Ainsi soit je... and L'autre...
Farmer's debut studio album, Cendres de lune, was released in 1986. During the recording process, it was decided that Farmer would write lyrics and Boutonnat would write music and direct the music videos. "Libertine" was released as the lead single of the album, accompanied by a music video in the style of a short film, inspired by 19th century literature.

In 1988, Boutonnat and Farmer started work on her sophomore album, Ainsi soit je.... The album sold 1.5 million copies in France and spawned Farmer's first number one on the French singles chart, "Pourvu qu'elles soient douces". The album also features the songs "Sans contrefaçon" and the Juliette Gréco cover "Déshabillez-moi". Ainsi soit je... was the best-selling female album of the 1980s in France.

Following the positive response to small-scale concerts at the Palais de Sport, Farmer agreed to embark on a 50-date tour throughout francophone Europe in 1989. The tour saw Farmer play in arenas and featured dancers and outfits designed by French fashion designer Thierry Mugler. A live album documenting the tour was released at the end of that year, titled En Concert.

Farmer released the song "Désenchantée" in March 1991. An uptempo pop song, "Désenchantée" talks about a disillusioned generation. The song was preceded by a number of demonstrations in Paris, led by high-school students, who were "protest[ing] against overcrowded classrooms, inadequate security and too few teachers". The song ended up spending nine weeks atop the French singles chart, becoming Farmer's most successful single to date and her signature song. The song was also successful in Belgium, where it spent six weeks at number one, and it was a top ten hit in several European countries. Its accompanying music video, shot in Budapest, sees Farmer play a rebelling prisoner in a concentration camp.

Led by the success of "Désenchantée", L'autre... was released in April 1991. The album spent twenty consecutive weeks on top of the French album charts, becoming Farmer's best-selling studio album to date with two million copies sold. The album also charted in Switzerland, Sweden and Germany. To further promote the album, the singles "Regrets", "Je t'aime mélancolie" and "Beyond My Control" were released.

1992 saw the release of the remix compilation Dance Remixes. It was led by the single "Que mon cœur lâche", which deals with the topic of AIDS and sexual relations. It was accompanied by a video directed by Luc Besson, in which Farmer plays an angel sent down to earth by God to report on the changing ways people experience love.

1995–2000: Anamorphosée and Innamoramento
In 1994, Farmer starred in the film Giorgino, written and directed by Boutonnat. The film received mixed-to-negative reviews from critics and was a box-office bomb. Following this, Farmer relocated to Los Angeles.

While in the U.S., Farmer and Boutonnat started working on her fourth studio album, Anamorphosée. The album marked an artistic turn for Farmer, moving away from her early synth-pop music in favour of pop rock, R&B and new jack swing influences. The album was launched by "XXL", the music video of which was directed by Marcus Nispel and features Farmer strapped to the front of a moving train. To further promote the album, the singles "L'Instant X", "California", "Comme j'ai mal" and "Rêver" were released. The music video for "California" was directed by American filmmaker Abel Ferrara and features Farmer in a dual role. The album differs lyrically from Farmer's previous work: "Rêver" deals with the Holocaust and features a call for tolerance, "XXL" talks about universal love from a feminist perspective, and "L'Instant X" offers a humorous look at the end of the world.

In summer 1996, Farmer embarked on her second concert tour, during which she performed 21 shows in arenas around France, Belgium and Switzerland. Inspired by American concert tours, Farmer performed the majority of songs from Anamorphosée, songs from her previous studio albums, and a cover of "La Poupée qui fait non" with French singer Khaled. The corresponding live album, Live à Bercy, was released in May 1997.

Farmer released her fifth studio album Innamoramento in 1999. The album was preceded by "L'Âme-stram-gram", an uptempo techno song with a music video inspired by the film A Chinese Ghost Story. Both the single and the album reached the second position on the French charts. The music video for the second single, "Je te rends ton amour", sparked controversy because of its religious and transgressive imagery, and was censored by French TV channel M6. Consequently, the video was released on VHS, with the profits donated to French charity Sidaction to support HIV/AIDS research. Furthermore, the singles "Souviens-toi du jour", "Optimistique-moi" and "Innamoramento" were released in promotion of the album.

In late 1999, Farmer embarked on her third concert tour, the Mylenium Tour. The stage of the show featured aerial structures and a pharaonic statue at the centre of the stage. Farmer performed 42 shows in total, including three shows in Russia, her first concerts in a non-French-speaking country. The tour concluded in March 2000.

2000–2007: Alizée, Les mots and Avant que l'ombre...

In 2000, Farmer and Boutonnat started working on songs and video ideas they felt appropriate for a younger singer. They discovered Alizée Jacotey on the French television show Graines de stars. Farmer and Boutonnat wrote and produced Alizée's albums Gourmandises (2001) and Mes courants électriques (2003). In addition, Farmer was also responsible for Alizée's image and public appearances. Her debut single, "Moi... Lolita", written by Farmer, reached number one in several countries in Europe, and peaked at number nine on the UK Singles Chart in February 2002. It also went on to sell more than one million copies in France. In 2005, after two albums and a concert tour, Alizée amicably parted ways with the duo to work with different songwriters and producers.

In 2001, Farmer recorded "L'Histoire d'une fée, c'est..." for the animated film Rugrats in Paris: The Movie. At the end of the year, Universal released Farmer's first greatest hits collection: Les Mots. Les Mots was the best-selling album of 2001 and 2002, and remains the best-selling greatest hits album in France with more than 1.5 million copies sold. The album also featured new tracks, including the title track, a duet with British singer Seal, "C'est une belle journée" and "Pardonne-moi".

After a hiatus of four years, Farmer held a press conference in 2005, announcing her new album, Avant que l'ombre..., the single "Fuck Them All", as well as a special 13-night concert engagement at the Palais Omnisports de Paris-Bercy in January 2006. The residency in Bercy featured a complex set designed by Mark Fisher, including two stages, a mobile bridge to link the two stages and a water curtain used to project words and the singer's silhouette. A live album and a concert DVD, Avant que l'ombre... à Bercy, were released in December 2006.

Following this, Farmer and American electronic musician Moby worked on the French-language duet version of the singer's song "Slipping Away", with the French lyrics translated by Farmer herself. In 2007, Farmer recorded a song "Devant soi" for the soundtrack of the film Jacquou le Croquant, and worked as a voice actress in Luc Besson's animated feature Arthur and the Minimoys, lending her voice to Princess Selenia. Farmer would later reprise her role in the film's two sequels.

2008–2014: Point de suture, Bleu noir and Monkey Me
Farmer's seventh studio album, Point de Suture, was released on 25 August 2008, debuting at number one on the French album chart. Along with its lead single "Dégénération", the album features more electronic instrumentation and is predominately uptempo. Other singles released from the album include "Appelle mon numéro" and "C'est dans l'air", both of which charted at number one on the French singles chart.

Following the release of the album, Farmer embarked on her fifth concert tour entitled Mylène Farmer en tournée. The tour saw Farmer play in stadiums for the first time in her career, giving concerts at the Stade de France, Stade de Genève and King Baudouin Stadium, as well as a number of arenas in France and Russia. A live album, N°5 on Tour, was released on 7 December 2009, which was followed by a DVD of her Stade de France concerts.

Farmer recorded a duet with French Chanson singer Line Renaud entitled "C'est pas l'heure". In November 2010, Farmer recorded her vocals for a cover of "Never Tear Us Apart" with Ben Harper for Australian band INXS's album Original Sin.

2010 also saw the release of Farmer's eighth studio album, Bleu noir. Produced by RedOne, Moby and British alternative band Archive, it entered the French album chart at number one and remained at the top for three consecutive weeks. It was the 9th best-selling album in France in 2010, with more than 300,000 copies sold in only three weeks. "Oui mais... non", the album's lead single was released in October 2010 and went on to become the singer's most successful single since 2002. In promotion of the album, the singles "Bleu Noir" and "Lonely Lisa" were released.

Farmer's second greatest hits collection, titled 2001.2011, was released in late 2011, featuring all singles recorded after 2001's Les Mots, and a new single titled "Du temps".

In early 2012, Farmer said that she was recording a new album which was to be released late 2012. The lead single, "À l'ombre" had its radio premiere in October 2012, and the album, Monkey Me entered the French charts at number one in December 2012.In support of Bleu noir and Monkey Me, Farmer embarked on the Timeless 2013 concert tour, starting in September 2013. More than 500,000 people in total attended the tour, which visited arenas in France, Belgium, Switzerland, Belarus and Russia. The live album of the tour was released in December, with an eponymous film shot in widescreen during the shows in Lyon.

2015–2021: Interstellaires, Désobéissance and Histoires de
In 2015, Farmer collaborated with French photographer Sylvie Lancrenon on a coffee table book entitled Fragile. Featuring 90 photos of Farmer taken by Lancrenon, the imagery consists of intimate photographs of the singer covered in talc and clay, focusing on the juxtaposition of fragility and powerfulness.

In August 2015, a new site was launched, announcing new material from Farmer. The first single to be released was "Stolen Car", a duet with Sting, who originally recorded the song for his 2003 album Sacred Love. The single reached number one on the French and Belgian (Wallonia) singles chart and also marks Farmer's debut on top of Billboards Dance Club Songs chart. Its parent record, Interstellaires, was released on 6 November 2015, becoming Farmer's 12th number one album in France. Farmer collaborated with American producer Martin Kierszenbaum and French DJ The Avener on the album, which also features a cover of "I Want You to Want Me",  a song by American rock band Cheap Trick. To promote the album and Stolen Car in the U.S., the singer was interviewed on Late Night with Jimmy Fallon accompanied by Sting, and the two also performed a live rendition of the song.

In 2017, it was announced that Farmer had signed a new record deal with Sony Music Entertainment France. In January 2018, the single "Rolling Stone" was unveiled, making it her first release under her new label. It was followed up by a duet with American singer-songwriter LP, entitled "N'oublie pas". The song was co-written by LP, and the video, set in Iceland, marked the artistic return of Farmer's long-time collaborator, Laurent Boutonnat. Farmer's eleventh studio album, Désobéissance, was released in September 2018. The album was commercially and critically successful, topping the French album chart in its first week, and being described as Farmer's best album in 15 years.

To promote the albums Interstellaires and Désobéissance, Farmer began a nine-date concert residency titled Mylène Farmer 2019 at the Paris La Défense Arena in June 2019. A live album titled Live 2019 was released in October that year.

In 2020, Farmer and Boutonnat started working with upcoming French singer Julia. Her album Passe... comme tu sais was released on 19 June 2020, featuring songs penned by Farmer and produced by Boutonnat.

2020 also saw the premiere of Mylène Farmer - L'Ultime Création, a behind-the-scenes documentary about her 2019 residency concerts. In order to promote the documentary, and a subsequent greatest hits album entitled Histoires de, the new single "L'âme dans l'eau" was announced, along with a music video consisting of footage from the upcoming documentary. A collection of live and studio recordings between 1984 and 2020, Histoires de debuted at number two on the French charts on 4 December 2020.

In 2021, Mylène Farmer became a member of the jury at Cannes Film Festival.

 2022–present: Nevermore tour and L'emprise

The Nevermore 2023 tour was announced in July 2021 with a series of teasers on Farmer's official YouTube channel. It originally consisted of thirteen stadium concerts scheduled in France, Switzerland, and Belgium in June and July 2023. The tour was also planned to go to Russia in August or September 2023 but those plans were dropped in March 2022.

On 13 May 2022, Pascal Nègre, Farmer's manager, announced that she was working on a new studio album along with musicians Woodkid, AaRON, Moby and Archive. The first song from that album, "À tout jamais", was released as a single on 26 August with the music video being released on 12 September. In October, the album's name, "L'Emprise", was revealed via another set of teasers. The album was released on 25 November and reached the top of the album charts in France, Wallonia, and Switzerland. The album was also followed by three other singles: "Rayon Vert" (a duet with AaRon), "Rallumer Les Etoiles" (composed by Moby), and the title track "L'Emprise" (composed by Woodkid). "L'Emprise" is described as a return to the darker instrumentation of her earlier records which incorporates synth-pop, electropop, new wave and baroque pop influences. The instrumentation features predominately violins, synths and drums.

In December 2022, the English rock band Muse released a surprise, bilingual version of "Ghosts (How Can I Move On)" featuring Mylène Farmer singing in duet with Matthew Bellamy. The song received airtime in Great Britain, France, the United States, and other countries. It briefly topped the French singles chart shortly after its release.

The title track for "L'Emprise" was used as the soundtrack for the closing credits for the French language release of the film "Dungeons and Dragons: Honor Among Thieves". Farmer produced a music video for this song that included extracts from the film. The clip debuted at the French premiere of the film in March 2023.

Farmer contributed to Moby's "Resound NYC" album by reciting the introduction of Arthur Rimbaud's poem "Une saison en enfer" for the instrumental piece "Hyenas". The album was released 12 May 2023.

The Nevermore 2023 stadium tour started in Lille on 3 June. The concerts scheduled for the Stade de France on 30 June and 1 July were cancelled hours before the first one was to start due to the Nahel Merzouk riots. The performances were subsequently rescheduled for 27 and 28 September 2024. The lengthy delay was caused by the stadium not being available before then due to the 2024 Summer Olympic games and other events. A third show at the Stade de France on 1 October 2024 was also added to the tour schedule. It is expected that the rescheduled shows will feature the same decor, team members and setlist.

 Artistry
Farmer's influences include musicians, actors and literary figures. The singer adopted her stage name as an homage to Hollywood actress Frances Farmer, whose character always fascinated her. Other cinematic figures Farmer says she is inspired by include Greta Garbo, Michelle Pfeiffer, Steven Spielberg, and Andrei Tarkovsky. In addition, she has named Depeche Mode, Kate Bush and Jacques Brel as musical influences. In turn, Farmer's work has influenced a number of French recording artists, including Christine and the Queens, Damso and Gims.

 Lyrical influences
Farmer is known for her poetic songwriting, which often features philosophical ideas, symbolism, transgression, religious imagery, alliterations, double entendres and neologisms. Common topics of her lyrics include sex, death, religion and love. Farmer's literary influences include Charles Baudelaire, Edgar Allan Poe, Emily Dickinson, Pierre Reverdy, Stefan Zweig and Søren Kierkegaard.

 Musical style
Musically, Farmer is usually described as a pop and French pop artist; nevertheless, she is known for reinventing her style with every album cycle. All her albums between 1984 and 2008 were produced by her collaborator, Laurent Boutonnat. Her first albums, Cendres de lune, Ainsi soit je... and L'autre... feature dark synth-pop and new wave instrumentation. 1995 saw the release of Anamorphosée, which features more simplistic lyrics and pop rock-influenced music. Innamoramento and Avant que l'ombre... are often described as merging acoustic instruments with electronic beats. Farmer then experimented with electronica and club music on 2008's Point de suture. In 2010, Farmer released her first album without Laurent Boutonnat, Bleu noir, featuring songs produced by RedOne, Moby and British alternative band Archive. The album saw Farmer return to the darker synth-pop and Europop production of her debut album. For 2012's Monkey Me, Farmer collaborated with Boutonnat in the studio one more time. Interstellaires, the singer's tenth studio album shows influences of pop rock and adult contemporary styles, produced by French DJ The Avener and Martin Kierszenbaum. On Désobéissance, Farmer collaborated with French DJ Feder, American singer-songwriter LP and American producer Mike Del Rio, marking a return to electronic dance music.  For L'Emprise, Farmer collaborated with Woodkid to produce a "confidant, and very intimate" album which offers a mix of symphonic music, industrial rhythms, and electropop. Moby, AaRON, and Archive also contributed to the album.

 Public image
Farmer eschews being part of a cult of personality and prefers to be recognized for her work. She rarely grants interviews, has no official fan club, does not endorse any unofficial fan clubs, and has no public facing social media accounts.

In 1988, she was presented the Victoire de la musique award for female performer of the year, but refused to sing at the ceremony due to the behind the scenes infighting that she witnessed while rehearsing for the show. This was her only appearance at this award ceremony. Since then, she has only appeared at ceremonies for which awards are decided by the general public.

In November 1991, Laurent Berger, a disturbed man who had been stalking Farmer, entered the Polydor Records headquarters in Paris and held employees at gunpoint demanding to talk to her. After not being granted the singer's address, the man killed the receptionist with a gunshot. It is said that the incident contributed to Farmer's absence in the media.

Farmer is regarded as a gay icon. Her status has been attributed to her lyrics, which often feature references to homosexual love and sexuality, and her tomboy image early in her career. She publicly accepted her position as a gay icon in 2008 by saying "We've been following each other for many years, that's important to me. I also think that I share with the gay public, as with other audiences, the feeling of being "different", a feeling that causes difficulty to live in this world."

In January 2015, following the Île-de-France attacks, Farmer declared her support for the Je suis Charlie movement. In March 2020, Farmer's management shared her drawing in support of doctors and nurses working in French hospitals amidst the COVID-19 pandemic, and another unpublished drawing of hers was later auctioned to support the purchase of protective equipment for caregivers.

Personal life
Farmer does not discuss her private life in interviews or on social media. When not on stage, she prefers to stay out of the public eye.

Farmer met American actor, singer and guitarist Jeff Dahlgren on the set of their 1994 movie Giorgino. Following the commercial failure of the film, the couple relocated to Los Angeles. Dahlgren played the guitar on the singer's 1990s albums Anamorphosée and Innamoramento, and accompanied her on stage during her Mylenium Tour. The couple ended their relationship in 1999.

In 2002, Farmer began a relationship with French director and producer . The couple met while creating the animated music video for Farmer's single "C'est une belle journée". Di Sabatino also directed the music video for "L'amour n'est rien..." in 2006 and "Appelle mon numéro" in 2008.

 Filmography

 Film

 Web

 Discography

 Cendres de Lune (1986)
 Ainsi soit je... (1988)
 L'autre... (1991)
 Anamorphosée (1995)
 Innamoramento (1999)
 Avant que l'ombre... (2005)
 Point de suture (2008)
 Bleu noir (2010)
 Monkey Me (2012)
 Interstellaires (2015)
 Désobéissance (2018)
 L'Emprise (2022)

ToursConcert toursMylène Farmer en concert (1989)
Tour 1996 (1996)
Mylenium Tour (1999–2000)
Mylène Farmer en tournée (2009)
Timeless  (2013)
Nevermore (2023-2024)Concert residencies'''
Avant que l'ombre... à Bercy (2006)
Mylène Farmer 2019 (2019)

 Awards and nominations

 Bibliography
 Lisa-Loup et le Conteur (2003) – Mylène Farmer – Anne Carrière Ed. –  – A tale written and illustrated by Mylène Farmer
 Avant que l'ombre à Bercy – Paris 2006 (2006) – Mylène Farmer – Anne Carrière Ed. –
 Fragile (2015) – Mylène Farmer  – Anne Carrière Ed.  –  – Photos by Sylvie Lancrenon

Further reading
 Mylène Farmer (1989) – Patrick Milo – Albin Michel Ed.
 Mylène Farmer, Ainsi soit-elle (1990) – Philippe Seguy – Taillandier Ed.
 L'album photo Mylène Farmer (1991) – Geda Ed.
 Mystérieuse Sylphide (2000) – David Marguet – Idoles de la Pop Ed.
 Picture Book Mylène Farmer (2001) – Collectif – Omega Ed.
 Mylène Farmer de A à Z (2002) – Florence Rajon – MusicBook Ed.
 La part d'ombre (2003) – Caroline Bee, Antoine Bioy & Benjamin Thiry – Archipel Ed.
 Au Cœur du Mythe (2003) – Jean-Claude Perrier – Bartillat Ed.
 L'Ange Rouge (2003) – Béatrice Nouveau – Michel Lafon Ed.
 Le Mystère Mylène Farmer (2003) – Mathias Goudeau – Prélude & Fugue Ed.
 L'ange blessé (2004) – Caroline Bee – Librio Musique Ed.
 Mylène Farmer, de chair et de sang (2004) – Annie et Bernard Reval – France Empire Ed.
 Mylène Farmer (2004) – Bernard Violet – Fayard Ed.
 Mylène Farmer (2005) – Fabien Lecœuvre – VadeRetro Ed.
 Mylène Farmer & Vous : Le Référentiel (2005) – Maxime Lemen – Ter Prod Ed.
 Les Années Sygma (2005) – Sylvain Sennefelder & Maxime Lemen – Tear Prod Ed.
 Le Dictionnaire des Chansons de Mylène Farmer (2006) – Benoît Cachin – Tournon Ed.
 Fou de Mylène Farmer, deux années à l'attendre (2006) – Christophe-Ange Papini – K&BEd
 Belle de Scène (2006) – Julien Wagner – K&BEd
 Dans la peau de Mylène Farmer (2006) – Line Grégory – Michel Lafon Ed.
 Mylène Farmer Influences (2006) – Benoît Cachin – Tournon Ed.
 Mylène Farmer Phénoménale (2006) – Erwan Chuberre – City Ed.
 Mylène Farmer, le culte (2007) – Sophie Khairallah – Why Not Ed.
 Le Référentiel Mylène Farmer 2008 (2007) – Renan Cornetto – K&BEd
 L'intégrale Mylène Farmer (2007) – Erwan Chuberre – City Ed.
 Mylène Farmer, la collection – L'ultime référentiel (2007) – Why Not Ed.
 Sainte Mylène, Priez pour Moi ! (2007) – Erwan Chuberre – City Ed.
 Mais où est encore passée Mylène Farmer ? (2008) – Bioy/Beuh/Tudor – K&BEd
 Amylène analgésique (2008) – Arno Mothra – Komakino Ed.
 Mylène Farmer : la libertine (2008) – Thierry Wolf – La Lagune Ed.
 Mylène (2008) – Hugues Royer – Flammarion Ed.
 Mylène Farmer : des mots sur nos désirs (2009) – Erwan Chuberre – City Ed.
 Mylène Farmer : La culture de l'inaccessibilité (2010) – Julien Rigal Premium ed
 Mylène Farmer: une grande astronaute (2014) – Yannik Provost – Edilivre Ed. –
 Son nom est Mylène Farmer (French version) (2019) - Wil Pilanon – Independently published -
 Her name is Mylène Farmer'' (English version) (2019) - Wil Pilanon - Independently published –

See also
 List of artists who reached number one on the French Singles Chart

References

External links

 Mylène Farmer on Universal Music's website (French)
 Mylène.net unofficial site (French)
 mylenefarmer.be unofficial site (English)
Mylène Farmer  on Discogs

1961 births
Living people
French children's writers
French women children's writers
French dance musicians
French women singer-songwriters
French singer-songwriters
French women in electronic music
People from Pierrefonds-Roxboro
Singers from Montreal
Writers from Montreal
French Quebecers
People from Ville-d'Avray
Cours Florent alumni
French people of Breton descent
French women pop singers
French rock singers

Mylène Farmer


عمر سحنون (18 أغسطس 1955 في غويروما - ) في بوردو)  لاعب كرة قدم فرنسي الجنسية جزائري المولد راحل كان يجيد اللعب في خط الدفاع كما كان يجيد اللعب في خط الوسط .

لعب سحنون في أندية بوفيه (1967-1972) نانت (1972-1979) بوردو (1979-1980) .

ساهم سحنون في تتويج نادي نانت ببطولة دوري الدرجة الأولى موسم 1976/1977 وببطولة كأس فرنسا موسم 1978/1979 .

شارك سحنون مع منتخب فرنسا في 6 مباريات دولية في الفترة من 1977 إلى 1978 . تم استبعاده من المشاركة في بطولة كأس العالم لكرة القدم 1978 التي أقيمت في الأرجنتين بسبب مشاكل في القلب .

أثناء قيامه بالتدريبات مع زملائه في النادي سقط سحنون على الأرض بعدما فاجئته أزمة حادة وتوفي على إثرها فورا .

ابنه نيكولاس سحنون يلعب حاليا في خط وسط نادي الدرجة الأولى مونبيلييه الفرنسي .

روابط خارجية

مراجع

لاعبو كرة قدم رجالية فرنسيون
لاعبو وسط كرة قدم رجالية
أشخاص من ولاية البويرة
جزائريون مهاجرون في فرنسا
فائزون بميداليات فضية في الألعاب المتوسطية لفرنسا
فائزون بميداليات في الألعاب المتوسطية في كرة القدم
فرنسيون متجنسون
لاعبو الدوري الفرنسي
لاعبو بوردو
لاعبو بوفيه
لاعبو كرة قدم فرنسيون
لاعبو كرة قدم لقوا حتفهم أثناء اللعب
لاعبو منتخب فرنسا لكرة القدم
لاعبو نانت
منافسون في ألعاب البحر الأبيض المتوسط 1975
مواليد 1374 هـ
مواليد 1955
مواليد في قرومة
وفيات 1400 هـ
وفيات 1980
وفيات الرياضة في فرنسا
وفيات بسبب نوبة قلبية
وفيات في بوردو

عمر سحنون


خلية تحليل الكهريائي هي عبارة عن جهاز يقوم بتحليل الماء الي عنصريه وهما الأكسجين والهيدروجين حيث يتم تخزين الاوكسجين والهيدروجين في خزانات كل علي حدة لحين الحاجة لاستخدامه.

تتركب الخلية من قطبين أحدهما يتصل بالطرف السالب والاخر بالطرف الموجب وكما لاحظنا يستخدم التيار المستمر وليس التيار المتردد مع مثل هذه الخلايا وأفضل أنواع المياه المستخدمة هي مياه البحر نظرا لوجود نسبة عالية من الملوحة إذا هذه الخلية تستطيع تحويل مياه البحر إلى طاقة سوف تحل محل الوقود الاحفوري وهو النفط ومثل هذه الخلايا إذا ما زودت بالتيار الكهربي وماء البحر لن تتوقف عن تزويدنا بالغازات وهنالك عنصر يتبقي ويتراكم داخل الخلية وهو الماء الثقيل والكل يعرف أهمية الماء الثقيل مع ملاحظة اننا باستطاعتنا تركيب الألواح الشمسية ومراوح الرياح واستغلال التيار الكهربائي المتولد منهما لتشغيل مثل هذه الخلايا.

مراجع

انظر أيضا
 خلية جلفانية
 خلية وقود
 خلية ثانوية
محفز كهربائي

كيمياء كهربائية

خلية تحليل كهربائي