Lester Keith Piggott (født 5. november 1935, død 29. maj 2022) var en tidligere engelsk professionel jockey. Med 4.493 sejre i sin karriere, herunder en rekord af ni sejre i verdens største galopløb, Epsom Derby, anses han som en af de bedste jockeyer gennem tiderne.

Lester Piggott var 1,73 cm høj, hvilket gav ham tilnavnet "The Long Fellow". Som følge af sin relativt høje statur for en jockey måtte han smide ca. 13-14 kg af sin idealvægt for at holde sig på de ca. 51 kg, som han vejede gennem det meste af sin aktive karriere. Han havde ry for at bruge pisk på hestene.

Lester Piggott blev meget kendt i sine aktive år og var med til at udbrede hestesporten i bredere kredse.

Karriere

Piggott begyndte at ride som jockey som 10-årig og vandt sit første løb, da han var 12 år. Han skabte sensation, da han i 1954 som 18-årig vandt verdens mest prestigefyldte galopderby, Epsom Derby på hesten Never Say Die; den yngste vinderjockey i løbets 174 årige historie. Han nåede at at vinde Epsom Derby yderligere otte gange (på Crepello (1957), St. Paddy (1960), Sir Ivor (1968), Nijinsky (1970), Roberto (1972), Empery (1976), The Minstrel (1977) og Teenoso (1983). De ni sejre i The Derby er rekord.

Udover sejre i The Derby har Piggott vundet de øvrige store klassiske engelske løb 2,000 Guineas (5 gange), 1,000 Guineas (2 gange), Epsom Oaks (6 gange) og St Leger (8 gange).

Piggotts præstationer i sadlen medførte, at han i 1975 blev hædret med Order of the British Empire.

Han trak sig tilbage som jockey i 1985 for i stedet af blive træner. Karrieren som træner var succesfuld og han opnåede 34 sejre. Karrieren som træner fik dog en brat afslutning, da han blev tiltalt for skattesvig og i 1987 idømt en straf på tre års fængsel. Han blev løsladt efter at have afsonet 366 dage af straffen. Han fik i den forbindelse frataget den tidligere tildelte Order of the British Empire.

Fængselsstraffen betød, at han måtte opgive trænerkarrieren, og i 1990 gjorde han comeback som jockey. I en alder af 54 stillede Piggott op i et af de mest prestigefyldte amerikanske løb The Breeders' Cup Mile i en alder af 54. Piggott vandt løbet. To år senere som 56-årig vandt han sit 30. store klassiske britiske løb, da han for femte gang vandt løbet 2,000 Guineas. Han trak sig definitivt tilbage i 1995, men stillede op til et enkelt løb i Melbourne i 2001.

Udover de store løb i England, deltog Piggott i adskillige løb over det meste af verden. Han vandt bl.a. de to største løb i det kontinentale Europa, det franske Prix de l'Arc de Triomphe ("the Arc") tre gange (1973, 1977 og 1978), og det tyske Deutsches Derby (1957, 1963 og 1967).

Lester Piggott har været jockey ved to løb i Danmark på Klampenborg Galopbane, begge gange ved Scandinavian Open Championship i 1977 og i 1978. Piggott vandt begge løb.

Noter

Hestevæddeløb
Personer tildelt Member of the Order of the British Empire

Lester Piggott


Mehmet Bakır, (d. 1957, Arapgir), Türk hekim ve akademisyen.

1975 yılında Hacettepe Üniversitesi bünyesinde eğitim veren Cumhuriyet Üniversitesi Tıp Fakültesinde eğitimine başladı ve 1983 yılında Cumhuriyet Üniversitesi, Tıp Fakültesi'nden mezun oldu. 1983-1985 yılları arasında Sivas Sağlık Müdürlüğüne bağlı Koyuncu ve Aydoğan Sağlık Ocakları ile Kızılay Kan Merkezinde görev yaptı. 1984-1989 yılları arasında aynı üniversite de İnfeksiyon Hastalıkları ve Klinik Mikrobiyoloji Anabilim Dalında ihtisasını yaptı. 1989-1990 yılları arasında Öğretim Görevlisi olarak çalışmaya başladı. 1990 yılında Yardımcı Doçent, 1992 yılında Doçent, 1998 yılında da Profesörlük unvanını aldı. 1989 yılından beri İnfeksiyon Hastalıkları ve Klinik Mikrobiyoloji Anabilim Dalı Başkanlığını yürütmektedir. 1996-2000 yılları arasında Sivas Sağlık Hizmetleri Meslek Yüksekokulu Müdürlüğü, 1997-2000 yılları arasında Vakıf Yönetim Kurulu Üyeliği ve Genel Sekreterliği görevlerinde bulunmuştur. Mikrobiyoloji, Klinik Mikrobiyoloji ve İnfeksiyon Hastalıkları, Ankara Mikrobiyoloji, AIDS Savaşım, Viral Hepatitle Savaşım ve Parazitoloji Dernekleri üyesidir. 2004 yılında Cumhuriyet Üniversitesi Rektörlüğü görevine atanmıştır. 2008 Yılında dönemin Cumhurbaşkanı tarafından yeniden atanmayarak rektörlüğü sona ermiştir.

Türk tıp akademisyenleri
1957 doğumlular
Sivas Cumhuriyet Üniversitesi rektörleri
Türk hekimler
İstanbul doğumlu hekimler
Yaşayan insanlar
Arapgir doğumlular

Mehmet Bakır


Biserica romano-catolică din Tămașda este un monument istoric din secolul al XIII-lea, una din cele mai reprezentative bazilici romanice de dinaintea marii invazii mongole din 1241 păstrate în Transilvania.

Turnul bisericii, rămas în picioare, este folosit drept coteț pentru păsări.

Biserica a fost menționată de canonicul Rogerius.

Note

Vezi și
 Romanicul în Transilvania

Galerie de imagini

Biserici din secolul al XIII-lea din România
Monumente istorice din județul Bihor
Biserici romano-catolice din România
Dieceza de Oradea Mare
Biserici din județul Bihor
Arhitectură romanică din România
Ruine din România

Biserica romano-catolică din Tămașda


Amatorul este un film românesc din 2006 regizat de Marian Crișan. Rolurile principale au fost interpretate de actorii Erwin Simsensohn, Iulia Marcov, Andreea Gramoșteanu.

Prezentare

Distribuție

Note

Legături externe

Vezi și
 2006 în film

Filme românești
Filme în limba română
Filme din 2006
Filme regizate de Marian Crișan

Amatorul (film din 2006)


El móvil puede referirse a:
 El móvil, película española de 1997.
 El móvil, relato del libro de Julio Cortázar Final del juego (1956).
 El móvil, novela corta de Javier Cercas (1987, reeditada en 2003).

El móvil


René-Primevère Lesson (20 March 1794 – 28 April 1849) was a French surgeon, naturalist, ornithologist, and herpetologist.

Biography
Lesson was born at Rochefort, and entered the Naval Medical School in Rochefort at the age of sixteen. He served in the French Navy during the Napoleonic Wars; in 1811 he was third surgeon on the frigate Saale, and in 1813 was second surgeon on the Regulus.

In 1816 Lesson changed his classification to pharmacist. He served on Duperrey's round-the-world voyage of La Coquille (1822–1825), of which he collected natural history specimens with his fellow surgeon Prosper Garnot and officer Dumont d'Urville. During his visits to the Moluccas and New Guinea, Lesson became the first naturalist to see birds of paradise in the wild.

On returning to Paris, he spent seven years preparing the section on vertebrates for the official account of the expedition: "Voyage autour du monde entrepris par ordre du Gouvernement sur la corvette La Coquille" (published from 1826 to 1839). During this time period, he also produced "Manuel d'Ornithologie" (1828), "Traité d'Ornithologie" (1831), "Centurie Zoologique" (1830–1832) and "Illustrations de Zoologie" (1832–35). Lesson also published several monographs on hummingbirds and one book on birds of paradise:
 Histoire naturelle des oiseaux-mouches. ouvrage orné de planches... (1829–1831).
 Histoire naturelle des Colibris suivie d'un supplement a l'histoire naturelle des oiseaux-mouches (1831–32).
 Les trochilidées ou les colibris et les oiseaux-mouches (1832).
 Histoire naturelle des oiseaux de paradis et des épimaques; ouvrage orné de planches, dessinées et gravées par les meilleurs artistes (1835).

In the field of herpetology he described many new species of amphibians and reptiles.

On 3 February 1827 he married the artist and scientific illustrator Clémence Dumont de Sainte-Croix. Dumont de Sainte-Croix along with her sister Zoë Dumont de Sainte-Croix illustrated plates in Lesson's publications.

From 1831, he served as a professor of pharmacy, and following a series of promotions, became the top-ranking naval pharmacist at Rochefort (1835). His experience as a ship's surgeon resulted in his two-volume "Manuel d'histoire naturelle medicale, et de pharmacographie" (1833), intended as a handbook for naval surgeons.

He became a corresponding member of the Académie de Médecine in 1828, later becoming a correspondent of the Académie des Sciences (1833). He received the Légion d'honneur in 1847.

In 1847, Lesson presented a division of human races based on simple color terms: White for Caucasians, Dusky for South Asians, Orange for Austronesians, Yellow for East Asians, Red for Indigenous Americans, and Black for Africans. This model achieved moderate use among ethnologists.

René Primevère Lesson is sometimes confused with his brother, Pierre Adolphe Lesson (1805-1888), who participated on the Astrolabe expedition (as the Coquille had been renamed) in 1826–29, under the command of Jules Dumont d'Urville.

Amphibian and reptile species described by Lesson
listed in the order they were described (only species still recognized are listed)

Litoria aurea (Lesson, 1826) as Rana aurea (green and golden bell frog)
Pleurodema thaul (Lesson, 1826) as Bufo thaul (Chile four-eyed frog)
Hylarana papua (Lesson, 1826) as Rana papua (Papua River frog)
Emoia cyanura (Lesson, 1826) as Scincus cyanurus (copper-tailed emo skink)
Lamprolepis smaragdina (Lesson, 1826) as Hinulia smaragdina (emerald tree skink)
Liolaemus chiliensis (Lesson, 1826) as Calotes chiliensis (Chilean tree lizard)
Ornithuroscincus noctua (Lesson, 1826) as Scincus noctua (moth skink)
Varanus douarrha (Lesson, 1830)
Emoia atrocostata (Lesson, 1830) as Scincus atrocostatus (mangrove skink)
Emoia cyanogaster (Lesson, 1830) as Scincus cyanogaster (green-bellied emo skink)
Enyalius brasiliensis (Lesson, 1830) as Lophurus brasiliensis (Brazilian fathead anole)
Gehyra oceanica (Lesson, 1830) as Gecko oceanicus (oceanic gecko)
Microlophus peruvianus (Lesson, 1830) as Stellio peruvianus (Peruvian coastal lizard)
Micropechis ikaheca (Lesson, 1830) as Coluber ikaheka (New Guinea small-eyed snake)
Naja kaouthia Lesson, 1831 (monocled cobra)
Crocodylus palustris Lesson, 1831 (mugger crocodile)
Euphlyctis hexadactylus (Lesson, 1834) as Rana hexadactyla (Indian bullfrog)
Draco bourouniensis Lesson, 1834 (Buru flying lizard)

Lesson and the idea that counting in New Zealand proceeded by elevens

On his return from his voyage on the Coquille in 1825, Lesson published a French translation of "Du Grand Océan, de ses îles et de ses côtes" written by the German botanist Adelbert von Chamisso. In the article, von Chamisso had claimed that the number system of New Zealand was based on twenty: "…de l'E. de la mer du Sud … c'est là qu'on trouve premierement le système arithmétique fondé sur un échelle de vingt, comme dans la Nouvelle-Zélande (2)..." […east of the South Sea … is where we first find the arithmetic system based on a scale of twenty, as in New Zealand (2)...]. Lesson inserted the footnote (2) to mark this claim as an error: "(2) Erreur. Le système arithmétique des Zélandais est undécimal, et les Anglais sont les premiers qui ont propagé cette fausse idée. (L.)" [(2) Error. The Zealander arithmetic system is undecimal, and the English are the first to propagate this misconception. (L).]" The term "undécimal" was possibly a printer's error that conjoined the phrase "un decimal," which would have correctly identified the New Zealand number system as decimal. Undecimal was interpreted to mean "counting by elevens," as a parallel construction to the term "duodecimal" for twelve-based counting. The mention of "the English" likely referred to Samuel Lee and Thomas Kendall, as their 1820 grammar of the New Zealand language had been von Chamisso's source.

Regardless of whether his 1825 use of "undécimal" originated as a printer's error or not, over the next several years, Lesson and his friend and shipmate Jules de Blosseville would deliberately embellish and attempt to establish as fact the idea that New Zealand had a base 11 number system. The idea was published in 1826 by the Italian geographer Adriano Balbi as the contents of a letter he received from Lesson, a missive that added an elevens-based numerical vocabulary (including terms meaning eleven squared and cubed) and details of its purported collection from New Zealand informants. It was again mentioned in 1826 by the Hungarian astronomer Franz Xaver von Zach, who reported it thirdhand as a letter written by Blosseville: "M. Nell de Bréanté écrit que, d'après les communications qu'il a reçues de M. de Blosseville, ... [en Nouvelle-Zélande], on a trouvé en usage un système de numération undécimal" [Mr. Nell de Bréauté writes that, according to the communications he has received from M. de Blosseville, ... [in New Zealand], a system of undecimal numbering was found in use]. Lesson was also likely to have authored an undated, anonymous essay found among and published with the papers of the Prussian linguist Wilhelm von Humboldt in 1839. The essay contains the most extensive detail of the known sources, mentioning Thomas Kendall by name and listing several North Island locations where the alleged informants were supposedly from, matters that would have been known to Lesson from his work and 1824 visit to that island.

Honours
Lessonia is a genus of large kelp native to the southern Pacific Ocean and named in René Lesson's honour, in 1825. Then Lessoniopsis (a brown algae)  in 1903 was also named.

Bibliography

By Lesson
 Manuel d'ornithologie, ou Description des genres et des principales espèces d'oiseaux, deux volumes, Roret, Paris, 1828.
 Histoire naturelle des oiseaux-mouches : ouvrage orné de planches dessinées et gravées par les meilleurs artistes, deux volumes, Arthus Bertrand, Paris, 1829.
 Histoire naturelle des colibris, suivie d'un supplément à l'histoire naturelle des oiseaux-mouches. Ouvrage orné de planches dessinées et gravées par les meilleurs artistes, et dédié à M. le baron Cuvier, Arthus Bertrand, Paris, 1830–1831.
 Centurie zoologique, ou, Choix d'animaux rares, nouveaux ou imparfaitement connus: enrichi de planches inédites, dessinées d'après nature par M. Prêtre, gravées et coloriées avec le plus grand soin, F.G. Levrault, Bruxelles, 1830–1832.
 Traité d'ornithologie, ou Tableau méthodique des ordres, sous-ordres, familles, tribus, genres, sous-genres et races d'oiseaux, Levrault, Paris, 1831.
 Illustrations de zoologie, ou, Recueil de figures d'animaux peintes d'après nature, Arthus Bertrand, Paris, 1831–1835.
 Manuel d'Histoire Naturelle Médicale, et de Pharmacographie, ou tábleau synoptique, méthodique et descriptif des produits que la médecine et les arts empruntent à l'histoire naturelle, Roret, Paris, 1833.
 Flore rochefortine, ou Description des plantes qui croissent spontanément ou qui sont naturalisées aux environs de la ville de Rochefort, [s.n.] Rochefort, 1835.
 Histoire naturelle générale et particulière des mammifères et des oiseaux découverts depuis la mort de Buffon, Pourrat Frères, Paris, 1834–1836.
 Prodrome d'une monographie des méduses, Rochefort, Paris, 1837
 Voyage autour du monde, entrepris par ordre du gouvernement sur la Corvette La Coquille, Pourrat frères, Paris, 1838–1839.
 Species des mammifères bimanes et quadrumanes, suivi d'un mémoire sur les Oryctéropes, J.-B. Baillière, Paris, 1840.
 Les trochilidées ou Les colibris et les oiseaux-mouches : suivis d'un index général, dans lequel sont décrites et classées méthodiquement toutes les races et espèces du genre trochilus,  Arthus Bertrand, Paris, 1840.
 Moeurs, instinct et singularités de la vie des Animaux Mammifères, Paulin, Paris, 1842.
 Fastes historiques. Archéologie, bibliographie, etc. du département de la Charente-Inférieure, coll. Gustav. Bord., Rochefort, 1842.
 Histoire naturelle des zoophytes. Acalèphes, deux volumes, Roret, Paris, 1843.
 Notice historique sur l'amiral Dumont d'Urville,... Mémoire envoyé au concours ouvert par l'Académie de Caen en 1844, H. Loustau, Rochefort, 1844.
 Description de mammifères et d'oiseaux récemment découverts; précédée d'un Tableau sur les races humaines, Lévêque, Paris, Veith, Carlsruhe, F. Bélisard, Pétersbourg, 1847.
 Nouveau manuel complet de l'éleveur d'oiseaux de volière et de cage ou Guide de l'oiselier : contenant la description des genres et des principales espèces d'oiseaux indigènes et exotiques, nouveau édition, Roret, Paris, 1867.

About Lesson

 Baillière, J.B. (1840). Species des mammifères bimanes et quadrumanes; suivi d'un mémoire sur les Oryctéropes, Paris.
 Duquy, Raymond (1995). René Primevère Lesson. Un voyage autour du monde. in Aventures scientifiques. Savants en Poitou-Charentes du XVIe au XXe siècle (DHOMBRES J., dir.), Les éditions de l'Actualité Poitou-Charentes (Poitiers) : 136–147.
 Lefèvre, M. A. (1850). Élogie historique de R.-P. Lesson. Rochefort, France: Henry Loustau.
 Rallet, Louis. (1953). Un naturaliste saintongeais: René-Primevère Lesson (1794–1849). Annales de La Société des Sciences Naturelles de la Charente-Maritime, vol. III, no. 8, pp. 77–131.

See also
 European and American voyages of scientific exploration
 :Category:Taxa named by René Lesson
 Alleged use of base-11 in cultural number systems

References

External links
 WorldCat Search (publications by Lesson)

1794 births
1849 deaths
French military personnel of the Napoleonic Wars
French military doctors
French Navy officers
French naturalists
French pharmacists
19th-century French physicians
French ornithologists
Recipients of the Legion of Honour
Ornithological writers
Naval surgeons
People from Rochefort, Charente-Maritime

René Lesson


Las Lajas es un municipio del departamento de Comayagua en la República de Honduras.

Toponimia
Las Lajas, su significado es de carácter geológico, por la textura de su terreno.

Límites

Tiene una extensión territorial de 95,08 km².

Clima
Las Lajas tiene un clima templado biestacional, con una estación seca que comprende aproximadamente el periodo de enero a mayo y el resto del año es lluvioso, observándose una intensa lluvia entre julio y octubre, convirtiéndose esta en un chubasco casi permanente mezclado con vientos fríos del norte que convierten el fin de año en una temporada bastante fría, con sus cerros totalmente coronados de neblina que impiden la actividad recolectora de café, pero hacen del lugar poseedor de un clima sumamente agradable.

Historia
Inicialmente Las Lajas pertenecían al municipio de Ojos de Agua

En 1902, fue fundado.

En 1964 se le da el título de Aldea.

En la década del 70-80, Las Lajas alcanza un desarrollo demográfico y económico muy notable, a tal grado que llegó a superar en diversos aspectos a la cabecera municipal, trayendo como consecuencia la mayor frecuencia de trámites administrativos, fiscales y legales. Ante esta situación, sus habitantes proclamaban se diera la categoría de municipio a Las Lajas.

En 1986 alcanzó la categoría de municipio. Al inicio se decía que Las Lajas no cumplía con todos los requisitos legales establecidos para convertirse en municipio. El 1 de septiembre de 1986, fecha de sesión ordinaria en que se tomaría tal determinación, los consejeros municipales y vecinos del casco urbano temerosos por la por las consecuencias de dicha determinación y celosos de sus intereses, dado que además se rumoraba de un traslado total de la cabecera municipal a Las Lajas, se tomaron las instalaciones del palacio municipal de Ojos de Agua, donde se encontraban reunidos los miembros edilicios, los que para poder salir de ese encierro tuvieron que firmar su renuncia de los cargos que desempeñaban. Esta situación fue aprovechada por las fuerzas vivas de Las Lajas para emprender la lucha para la creación del municipio. El 2 de septiembre del mismo año se organizó el comité pro creación del Municipio de Las Lajas.

Las Lajas se convierte en municipio durante el gobierno del José Simón Azcona, bajo decreto No 1015-86 del 24 de noviembre de 1986.

Población
Tiene una población proyectada de 16,039 habitantes para el año 2020.

Educación
 Pre Básica: cuenta con 7 jardines de niños y 5 Centros Comunitarios de Educación
 Básica: cuenta con 14 centros de educación primaria y 1 centro de Educación Básica, y 1 Escuela Bilingüe (Deo Iuvante Bilingual School)
 Media: cuenta con 2 centro de educación media presencial.(Instituto Polivalente "Angel Augusto Castillo") www.ipaaclajas.com y Liceo Deo Iuvante (Privado)

División Política
Aldeas: 9 (2013)

Caseríos: 41 (2013)

Referencias

Municipios de Comayagua

Las Lajas (Honduras)


Olaylar
 1859 - Fransız akrobat Charles Blondin, Niagara Şelalesi'ni ip üstünde geçti.
 1882 - Amerika Birleşik Devletleri'nin 20. Başkanı James Garfield'i öldüren Charles J. Guiteau, asılarak idam edildi.
 1905 - Albert Einstein, Hareketli Cisimlerin Elektrodinamiği isimli makalesini yayımlayarak özel görelilik kuramını ortaya atmış oldu.
 1908 - Tunguska olayı gerçekleşti.
 1912 - Saskatchewan'da meydana gelen kasırga, 28 kişinin ölümüne yol açtı.
 1918 - Göyçay Muharebesi gerçekleşti.
 1921 - Himaye-i Etfal Cemiyeti kuruldu.
 1924 - İstanbul posta dağıtıcıları, ücretlerini yetersiz bularak topluca istifa ettiler.
 1934 - Adolf Hitler'in rakipleri olan 85 üst düzey Sturmabteilung elemanını, Schutzstaffel subaylarına katlettirdiği Uzun Bıçaklar Gecesi harekâtı başladı.
 1934 - Demiryolu Elazığ'a ulaştı.
 1936 - Dünyada ilk kez İngiltere'de kadınlar renkli mayolarla denize girdiler.
 1936 - Tüm zamanların en çok satan romanlarından Rüzgâr Gibi Geçti yayımlandı.
 1936 - Etiyopya İmparatoru Haile Selassie, Mussolini'nin ülkesini işgal etmesi üzerine, Milletler Cemiyeti'nde bir konuşma yaparak yardım talebinde bulundu.
 1938 - ''Superman'', çizgi roman kahramanları arasına girdi.
 1939 - Hatay'ın Türkiye'ye katılması oy birliğiyle onaylandı.
 1941 - II. Dünya Savaşı: Barbarossa Harekâtı - Nazi Almanyası, Ukrayna'nın Lviv kentini aldı.
 1953 - Chevrolet'nin Corvette modeli, Michigan eyaletinin Flint şehrindeki tesislerde üretildi.
 1956 - İki Amerikan yolcu uçağı, Arizona'da Grand Canyon üzerinde havada çarpıştı: 128 kişi öldü.
 1960 - Belçika Kongosu, Belçika'dan bağımsızlığını kazandı.
 1965 - Samsunspor kuruldu.
 1967 - Yön dergisi yayımına son verdi.
 1969 - Türkiye Petrolleri Anonim Ortaklığı, Batman'ın Kuzey Magrip bölgesinde petrol buldu.
 1970 - Türkiye'de haşhaş ekimini sınırlayan kararname, Resmi Gazetede yayınlanarak yürürlüğe girdi.
 1971 - Rus uzay aracı Soyuz 11, hava depolarında meydana gelen arıza sebebiyle infilâk etti.
 1972 - Casusluk iddiasıyla yargılanan Nahit İmre idama mahkûm oldu.
 1973 - 117 yıldan beri rastlanmayan en uzun güneş tutulması, Türkiye saatiyle 14.00'te başladı.
 1974 - Sovyet balet Mikhail Baryshnikov, Bolşoy Balesi'yle birlikte bulunduğu Kanada'da iltica etti.
 1979 - Türkiye'de 12 Eylül 1980 Darbesi'ne Giden Süreç (1979- 12 Eylül 1980): Ankara'daki Milliyetçi Hareket Partisi Genel Merkezi ve hemen yakınındaki polis karakolu otomatik silahlarla tarandı. MHP lideri Alparslan Türkeş, "Türkiye'de akan her kanın, saldırıya uğrayan her yerin manevi faili Ecevit'tir." dedi.
 1985 - Kaçırıldıktan sonra Beyrut'ta 17 gün tutulan yolcu uçağındaki 39 Amerikalı rehine serbest bırakıldı.
 1990 - Doğu Almanya ile Batı Almanya, ekonomilerini birleştirme kararı aldı.
 1990 - Türkiye Yazarlar Sendikası, İstanbul'da 'Düşünceye Özgürlük' yürüyüşü düzenledi.
 1997 - Birleşik Krallık, Hong Kong'un idaresini Çin'e bıraktı.
 1997 - J. K. Rowling'in kaleme aldığı Harry Potter serisinin ilk kitabı basıldı.
 2002 - Brezilya, FIFA Dünya Kupası'nı kazandı.
 2005 - İspanya'da eşcinsel evlilik yasallaştı.
 2019 - ABD başkanı Donald Trump, Kuzey Kore'yi ziyaret eden ilk ABD Başkanı oldu.

 Doğumlar
 1470 - VIII. Charles, 1483 - 1498 arasında hüküm sürmüş olan Fransa kralı (ö. 1498)
 1688 - Ebu'l Hasan Ali, Hüseyni Hanedanının ve Tunus Beyliğinin ikinci beyidir (ö. 1756)
 1755 - Paul Barras, Fransız Devrimi sırasında Direktuvar rejiminin üyesi ve ana yönetici lideri (ö. 1829)
 1789 - Horace Vernet, Fransız ressam ve grafik sanatçısı (ö. 1863)
 1801 - Frédéric Bastiat, Fransız ekonomist ve teorisyen (ö. 1850)
 1817 - Henry Elliot, İngiliz diplomat (ö. 1907)
 1817 - Joseph Dalton Hooker, İngiliz botanikçi ve kâşiflerinden biridir (ö. 1911)
 1893 - Walter Ulbricht, Doğu Almanya Cumhuriyeti lideri (ö. 1973)
 1899 - Madge Bellamy, Amerikalı sinema ve tiyatro oyuncusu (ö. 1990)
 1903 - Dhuru Alhdimiri, Hint zoolog
 1906 - Anthony Mann, Amerikalı sinema yönetmeni ve oyuncu (ö. 1967)
 1911 - Czesław Miłosz, Polonyalı şair ve deneme yazarı (ö. 2004)
 1914 - Francisco da Costa Gomes, Portekizli asker ve devlet adamıdır (ö. 2001)
 1917 - Susan Hayward, Amerikalı oyuncu (ö. 1975)
 1917 - Lena Horne, Amerikalı bir şarkıcı, oyuncu, dansçı ve medeni haklar aktivisti (ö. 2010)
 1921 - Washington SyCip, Çin asıllı Filipinli-Amerikalı hesap uzmanı ve yöneticidir (ö. 2017)
 1925 - İbrahim Amini, İranlı siyasetçi ve din adamı (ö. 2020)
 1926 - Paul Berg, Amerikalı biyokimyacı ve Nobel Kimya Ödülü sahibi (ö. 2023)
 1927 - Shirley Fry, Amerikalı kadın tenis oyuncusu (ö. 2021)
 1927 - Mario Lanfranchi, İtalyan yapımcı, yönetmen, senarist, aktör ve koleksiyoncu (ö. 2022)
 1928 - Celal Aliyev, Azeri akademisyen, biyolog ve siyasetçi (ö. 2016)
 1928 - Orhan Boran, Türk sunucu ve oyuncu (ö. 2012)
 1930 - Tony Lip, Amerikalı oyuncu (ö. 2013)
 1933 - Tomislav Ivić, Hırvat futbolcu ve teknik direktör (ö. 2011)
 1933 - Orval Tessier, Kanadalı buz hokeyi oyuncusu ve antrenörüdür
 1936 - Assia Djebar, Cezayirli romancı, çevirmen ve film yapımcısı (ö. 2015)
 1936 - Dave Van Ronk, Amerikalı gitarist, şarkıcı, söz yazarı (ö. 2002)
 1938 - Allin Vlasenko, Sovyet-Ukraynalı orkestra şefi (ö. 2021)
 1941 - Otto Sander, Alman oyuncu (ö. 2013)
 1942 - Friedrich von Thun, Avusturyalı oyuncu
 1942 - Robert Ballard, Amerikalı deniz bilimci
 1942 - Şener Kökkaya, Türk tiyatro, sinema ve dizi oyuncusu ve yönetmen
 1943 - Bernard Kessedjian, Fransız diplomat (ö. 2007)
 1951 - André Hazes, Hollandalı şarkıcı ve oyuncu (ö. 2004)
 1954 - Pierre Charles, Dominikalı siyasetçi (ö. 2004)
 1954 - Serj Sarkisyan, Ermeni siyasetçi ve Ermenistan Devlet Başkanı
 1955 - Egils Levits, Letonyalı bir avukat, siyaset bilimci ve yargıç
 1956 - Volker Beck, Doğu Alman eski atlettir
 1959 - Brendan Perry, İngiliz şarkıcı, müzisyen, söz yazarı ve yapımcı
 1959 - Valeriy Sereda, Azeri sporcu
 1959 - Vincent D'Onofrio, Amerikalı oyuncu ve yapımcı
 1960 - Frank Masley, Amerikalı kızakçı
 1963 - Olha Brizhina, Ukrayna'yı temsil etmiş eski atlet
 1963 - Yngwie J. Malmsteen, İsveçli gitarist
 1965 - Mitch Richmond, Amerikalı eski profeyonel basketbolcu
 1965 - Muhammet Uzuner, Türk oyuncu ve yönetmen
 1966 - Alen Markaryan, Ermeni asıllı Türk amigo ve spor yazarı
 1966 - Mike Tyson, Amerikalı boksör
 1967 - Güler Duman, Türk Halk Müziği sanatçısı
 1968 - Phil Anselmo, Amerikalı şarkıcı, besteci ve yapımcı
 1968 - Rafael Moreno Valle Rosas, Meksikalı eski siyasetçi ve bürokrat (ö. 2018)
 1969 - Uta Rohländer, Alman atlet
 1970 - Antonio Chimenti, İtalyan futbolcu ve teknik direktör
 1973 - Arsen Hambardzumyan, Ermeni siyasetçi
 1973 - Devrim Saltoğlu, Türk oyuncu
 1973 - Frank Rost, Alman kaleci
 1973 - Levent Semerci, Türk film yönetmeni
 1973 - Şevket Çoruh, Türk oyuncu
 1974 - Orhan Baltacı, Türk şarkıcı (Doğuş adıyla tanınan)
 1975 - Ralf Schumacher, Alman Formula 1 pilotu
 1975 - Rami Shaban, İsveçli millî futbolcu
 1977 - Tathiana Garbin, İtalyan tenisçi
 1980 - Nourdin Boukhari, Fas ve Hollanda vatandaşı futbolcu
 1981 - Barbora Špotáková, Çek cirit atıcı
 1982 - Aylin Kontente, Türk oyuncu
 1982 - Büşra Pekin, Türk tiyatro ve dizi oyuncusu
 1982 - Lizzy Caplan, Amerikalı oyuncu
 1983 - Cheryl, İngiliz şarkıcı
 1983 - Ebru Polat, Türk şarkıcı
 1983 - Katarzyna Skowrońska, Polonyalı voleybolcu
 1985 - Cem Atan, Türk kökenli Avusturyalı oyuncu
 1985 - Cody Rhodes, Amerikalı güreşçi
 1985 - Michael Phelps, Amerikalı yüzücü
 1985 - Trevor Ariza, Amerikalı profesyonel basketbolcu
 1986 - Alicia Fox, Amerikalı profesyonel güreşçi ve model
 1986 - Fredy Guarín, Kolombiyalı futbolcudur
 1987 - Uraz Kaygılaroğlu, Türk oyuncu
 1989 - Asbel Kiprop, Kenyalı atlet
 1989 - Candide Öztürk, Türk basketbolcu
 1990 - Dario Lezcano, Paraguaylı millî futbolcu
 1990 - N, Jellyfish Entertainment altında çıkış yapmış oyuncu, şarkıcı ve sunucu
 1991 - Margaret, Polonyalı şarkıcı-söz yazarı ve stilist
 1994 - Gianni Rodríguez, Uruguaylı futbolcu
 1997 - Samed Karakoç, Türk futbolcu

 Ölümler
 350 - Nepotianus, Romalı isyancı (d. ?)
 1520 - II. Montezuma, 1502'den 1520'ye kadar Tenoktitlan'ı (Meksiko) yöneten Aztek kralı (d. 1466)
 1607 - Caesar Baronius, İtalyan Kardinal, kilise tarihçisi ve Katolik mezhep savunucusu (d. 1538)
 1649 - Simon Vouet, Fransız ressam ve dekoratör (d. 1590)
 1882 - Charles Julius Guiteau,' Amerikalı bir yazar ve avukat (d. 1841)
 1917 - Henry Vaughan, Amerikalı mimar (d. 1845)
 1919 - John Strutt Rayleigh, İngiliz fizikçi (d. 1842)
 1921 - Fedir Şçus, Mahnovşçina komutanı, Ukraynalı Anarko-Komünist devrimci (d. 1893)
 1926 - Lionel Royer, Fransız ressam (d. 1852)
 1934 - Fritz Gerlich, Alman gazeteci ve arşivci (d. 1883)
 1934 - Gregor Strasser, Nasyonal Sosyalist Alman İşçi Partisi (NSDAP)'nde politikacı (d. 1892)
 1934 - Karl Ernst, 1933 öncesinde Berlin'de SA lideri ve Gruppenführer (d. 1904)
 1934 - Kurt von Schleicher, Alman asker ve Weimar Cumhuriyeti'nin son Şansölyesi (d. 1882)
 1944 - Hambartsum Haçanyan, Ermeni sinema oyuncusu (d. 1894)
 1946 - Nikolay Morozov, Rus bilim insanı ve Yeni Kronoloji'nin kurucusu (d. 1854)
 1948 - Prens Sabahattin, Türk siyasetçi ve düşünür (d. 1879)
 1952 - Mauno Pekkala, Finlandiya Başbakanı (d. 1890)
 1953 - Vsevolod Pudovkin, Rus film yönetmeni (d. 1893)
 1963 - Alexander Rüstow, Alman filozof (d. 1885)
 1966 - Giuseppe Farina, İtalyan otomobil yarışçısı (d. 1906)
 1967 - Yavuz Abadan, Türk hukukçu (d. 1905)
 1971 - Georgi Dobrovolski, Sovyet kozmonot (d. 1928)
 1971 - Viktor Patsayev, Sovyet kozmonot (d. 1933)
 1971 - Vladislav Volkov, Sovyet kozmonot (d. 1935)
 1973 - Nancy Mitford, İngiliz roman ve biyografi yazarı, gazeteci (d. 1904)
 1984 - Lillian Hellman, Amerikalı oyun yazarı
 1995 - Georgiy Beregovoy, Sovyet kozmonot (d. 1921)
 1996 - Fuat Bayramoğlu, Türk diplomat, Dışişleri ve Cumhurbaşkanlığı Genel Sekreterlerinden (d. 1912)
 2001 - Chet Atkins, Amerikalı gitarist ve müzik yapımcısı (d. 1924)
 2001 - Joe Henderson, Amerikalı caz tenor saksafon sanatçısı (d. 1937)
 2004 - Hüseyin Baradan, Türk sinema oyuncusu (d. 1932)
 2004 - Rosalinde Hurley, İngiliz doktor, mikrobiyolog, patolog (d. 1929)
 2011 - Vasfi Uçaroğlu, Türk baterist ve orkestra şefi (d. 1928)
 2012 - İzak Şamir, İsrailli politikacı (d. 1915)
 2017 - Simone Veil, Fransız bakan ve siyasetçi (d. 1927)
 2018 - Billy Kinard, Amerikalı Amerikan futbolu oyuncusu ve antrenörü (d. 1933)
 2018 - Fuat Sezgin, Türk akademisyen (d. 1924)
 2019 - Borka Pavićević, Sırbistan drama yazarı, savaş karşıtı aktivist ve insan hakları aktivist (d. 1946)
 2019 - David Binder, Amerikalı savaş muhabiri ve gazeteci (d. 1931)
 2019 - David Koloane, Güney Afrikalı politik yazar ve sanatçı (d. 1938)
 2019 - Sebastián Alarcón, Şilili film yönetmeni ve senarist (d. 1949)
 2020 - Tim Brooks, Amerikalı profesyonel güreşçi (d. 1947)
 2020 - Dan Hicks, Amerikalı aktör (d. 1951)
 2020 - Aleksandr Kabanov, Sovyet-Rus sutopu oyuncusu ve antrenör (d. 1948)
 2020 - Alfred Kotey, Ganalı profesyonel boksör (d. 1968)
 2021 - Abass Bonfoh, Togolu siyaset adamı (d. 1948)
 2021 - Raj Kaushal, Hint film yapımcısı, yönetmeni ve dublör (d. 1971)
 2021 - Janet Moreau, Amerikalı Olimpiyat atleti (d. 1927)
 2021 - Barbara Murphy, İrlandalı nefrolog (d. 1964)
 2022 - Vladimir Zelenko, Ukraynalı-Amerikalı fizikçi, yazar (d. 1973)

Tatiller ve özel günler
Koruyucu Aile Günü (Türkiye)

Dünya Emekliler Günü

0630
30

30 Haziran


Antônio Carlos Gomes (11 Temmuz 1836, Campinas Brezilya - 16 Eylül 1896, Belém), Brezilyalı Romantik edebiyatın en meşhur klasik batı müziği bestecisi olarak biliniyor.

Gomes 1860 den itibaren Rio de Janeiro konservatorium de okudu. 1864 yılında İmperator II. Pedro emiri ile Milanoya eğitimini tamamlamak için Lauro Rossi'den faydalandı. 1866 yılında Milanao Konservatoriumda Kompositionlısanı pek iyi ile başardı.

Bundan sonra uzun yıllar İtalyada yaşadı. Çok sayıda Opera eserleri Avrupa operalarında ün aldılar. 1895 yılında Brezilyaya geri döndü ve Belém de Pará konservatuvarında başkan oldu. Tarihimizde en çok bilinen operası Il Guarany olmaktadır.

Eserleri
 Missa de São Sebastião, 1854
 Suspiro d'Alma, Modinha, 1857
 Alta Noite, 1859
 A noite do Castelo, Opera, 1861
 Joanna de Flandres, Opera, 1862
 Il Guarany, Opera, 1868-70
 Telégrafo Elétrico,Operett, 1871
 Fosca, Opera, 1872
 Salvator Rosa, Opera, 1873
 Maria Tudor Opera, 1874
 Saudação do Brasil, 1876
 Álbuns de Música de Câmera, 1882
 Conselhos, Modinha, 1884
 Lo Schiavo, Opera, 1888
 Condor, Opera, 1891
 Colombo, Oratorium, 1892

1836 doğumlular
1896 yılında ölenler
Brezilyalı besteciler
Romantik dönem bestecileri

bpy:কার্লোস গোমেস

Carlos Gomes


Cele două Poloneze Op. 40 care sunt Poloneza în La major, Op. 40, No. 1 (Poloneza Militară) și Poloneza în Do minor, Op. 40, No. 2 au fost compuse de Frédéric Chopin în 1838.

Anton Rubinstein a remarcat că Poloneza în La major este simbolul gloriei poloneze, în timp ce Poloneza în Do minor este simbolul tragediei poloneze.

Poloneza in La major, Op. 40, Nr. 1

Începutul se deschide în cheia La major și continuă într-un ritm tipic polonez. Cheia se transformă apoi în Re major în mijlocul polonezei pentru o secțiune trio, după care deschiderea piesei este repetată fără modificări. Piesa este aproape în întregime jucat forte sau gălăgios, ceea ce face o performanță bombastică.

În timpul Invaziei Germane a Poloniei din Septembrie 1939, la începutul celui de-al doilea război mondial, Polskie Radio a difuzat această piesă zilnic pentru un protest naționalist și a adunat poporul polonez.

Începutul piesei este folosit ca un semnal de interval pentru Polskie Radio.

Această piesă este interpretată în faimoasa scenă din filmul polonez Ashes and Diamonds la sfârșitul unei petreceri de noapte care sărbătorește sfârșitul celui de-al doilea război mondial.

În sezonul 3, episodul 2 din Rectify, creditele de închidere sunt arătate pe piesa Poloneza în La major după Teddy urmărește să o ucidă pe Tawny, soția lui înstrăinată.

Poloneza in Do minor, Op. 40, Nr. 2

Cea mai importantă temă principală a polonezei, cu cea mai mare și cea mai veselă din prima poloneză, prezintă un ritm uniform al corzilor pe mâna dreaptă, începând cu Do minor, si o melodie tristă jucată pe mâna stângă, cu linii ocazionale jucate pe mâna dreaptă. Este intercalată cu o temă mai senină, înainte de trecerea la secțiunea trio în La♭ major, care incorporează ritmuri tipice poloneze. Tema principală este repetată, dar în mare masură scurtată, cu o melodie dramatică adăugată pe mâna dreaptă.

În Sezonul 3 Episodul 20 din Futurama, Bender interpretează Poloneza în Do minor pe un pian în miniatură în timp ce plutește în spațiu.

Referințe

Compoziții de Frédéric Chopin

Poloneze, Op. 40


Mikhail Mikhailovich Bakhtin ( ;  ;  – 7 March 1975) was a Russian philosopher, literary critic and scholar who worked on literary theory, ethics, and the philosophy of language. His writings, on a variety of subjects, inspired scholars working in a number of different traditions (Marxism, semiotics, structuralism, religious criticism) and in disciplines as diverse as literary criticism, history, philosophy, sociology, anthropology and psychology. Although Bakhtin was active in the debates on aesthetics and literature that took place in the Soviet Union in the 1920s, his distinctive position did not become well known until he was rediscovered by Russian scholars in the 1960s.

Early life

Bakhtin was born in Oryol, Russia, to an old family of the nobility. His father was the manager of a bank and worked in several cities. For this reason Bakhtin spent his early childhood years in Oryol, in Vilnius, and then in Odessa, where in 1913 he joined the historical and philological faculty at the local university (the Odessa University). Katerina Clark and Michael Holquist write: "Odessa..., like Vilnius, was an appropriate setting for a chapter in the life of a man who was to become the philosopher of heteroglossia and carnival. The same sense of fun and irreverence that gave birth to Babel's Rabelaisian gangster or to the tricks and deceptions of Ostap Bender, the picaro created by Ilf and Petrov, left its mark on Bakhtin." He later transferred to Petrograd Imperial University to join his brother Nikolai. It is here that Bakhtin was greatly influenced by the classicist F. F. Zelinsky, whose works contain the beginnings of concepts elaborated by Bakhtin.

Career
Bakhtin completed his studies in 1918. He then moved to a small city in western Russia, Nevel (Pskov Oblast), where he worked as a schoolteacher for two years. It was at that time that the first "Bakhtin Circle" formed. The group consisted of intellectuals with varying interests, but all shared a love for the discussion of literary, religious, and political topics. Included in this group were Valentin Voloshinov and, eventually, P. N. Medvedev, who joined the group later in Vitebsk. Vitebsk was "a cultural centre of the region" the perfect place for Bakhtin "and other intellectuals [to organize] lectures, debates and concerts." German philosophy was the topic talked about most frequently and, from this point forward, Bakhtin considered himself more a philosopher than a literary scholar. It was in Nevel, also, that Bakhtin worked tirelessly on a large work concerning moral philosophy that was never published in its entirety. However, in 1919, a short section of this work was published and given the title "Art and Responsibility". This piece constitutes Bakhtin's first published work. Bakhtin relocated to Vitebsk in 1920. It was here, in 1921, that Bakhtin married Elena Aleksandrovna Okolovich. Later, in 1923, Bakhtin was diagnosed with osteomyelitis, a bone disease that ultimately led to amputation of a leg in 1938. This illness hampered his productivity and rendered him an invalid.

In 1924, Bakhtin moved to Leningrad, where he assumed a position at the Historical Institute and provided consulting services for the State Publishing House. It is at this time that Bakhtin decided to share his work with the public, but, just before "On the Question of the Methodology of Aesthetics in Written Works" was to be published, the journal in which it was to appear stopped publication. This work was eventually published 51 years later. Repression and misplacement of his manuscripts would plague Bakhtin throughout his career. In 1929, "Problems of Dostoevsky's Art", Bakhtin's first major work, was published. It is here that Bakhtin introduces the concept of dialogism. However, just as this book was introduced, on 8 December 1928, right before Voskresenie's 10th anniversary, Meyer, Bakhtin and a number of others associated with Voskresenie were apprehended by the Soviet secret police, the OGPU (Hirschkop 1999: p. 168).  The leaders received sentences of up to ten years in labor camps of Solovki, though after an appeal to consider the state of his health, Bakhtin's sentence was commuted to exile to Kazakhstan, where he and his wife spent six years in Kustanai (now Kostanay).  In 1936, they moved to Saransk (then in Mordovian ASSR, now the Republic of Mordovia), where Bakhtin taught at the Mordovian Pedagogical Institute.

During the six years he spent working as a book-keeper in the town of Kustanai, he wrote several important essays, including "Discourse in the Novel". In 1936, living in Saransk, he became an obscure figure in a provincial college, dropping out of view and teaching only occasionally. In 1937, Bakhtin moved to Kimry, a town located one hundred kilometers from Moscow. Here, he completed work on a book concerning the 18th-century German novel, which was subsequently accepted by the Sovetskii Pisatel' Publishing House. However, the only copy of the manuscript disappeared during the upheaval caused by the German invasion of 1941.

After the amputation of a leg in 1938, Bakhtin's health improved and he became more prolific. In 1940, and until the end of World War II, Bakhtin lived in Moscow, where he submitted a dissertation on François Rabelais to the Gorky Institute of World Literature to obtain a postgraduate title, although the dissertation could not be defended until the war ended. In 1946 and 1949, the defense of this dissertation divided the scholars of Moscow into two groups: those official opponents guiding the defense, who accepted the original and unorthodox manuscript, and those other professors who were against the manuscript's acceptance. The book's earthy, anarchic topic was the cause of many arguments that ceased only when the government intervened. Ultimately, Bakhtin was denied a higher doctoral degree (Doctor of Sciences) and granted a lesser degree (Candidate of Sciences, a research doctorate), by the State Accrediting Bureau. Later, Bakhtin was invited back to Saransk, where he took on the position of chair of the General Literature Department at the Mordovian Pedagogical Institute. When, in 1957, the Institute changed from a teachers' college to a university, Bakhtin became head of the Department of Russian and World Literature. In 1961, Bakhtin's deteriorating health forced him to retire, and in 1969, in search of medical attention, he moved back to Moscow, where he lived until his death in 1975.

Bakhtin's works and ideas gained popularity only after his death, and he endured difficult conditions for much of his professional life, a time in which information was often seen as dangerous and therefore was often hidden. As a result, the details provided now are often of uncertain accuracy. Also contributing to the imprecision of these details is the limited access to Russian archival information during Bakhtin's life. It was only after the archives became public that scholars realized that much of what they thought they knew about Bakhtin's life was false or skewed, largely by Bakhtin himself.

Works and ideas

Toward a Philosophy of the Act
Toward a Philosophy of the Act was first published in the USSR in 1986 with the title K filosofii postupka. The manuscript, written between 1919 and 1921, was found in bad condition with pages missing and sections of text that were illegible. Consequently, this philosophical essay appears today as a fragment of an unfinished work.Toward a Philosophy of the Act comprises only an introduction, of which the first few pages are missing, and part one of the full text. However, Bakhtin's intentions for the work were not altogether lost: he provided an outline in the introduction, in which he stated that the essay was to contain four parts. The first part of the essay provides an analysis of performed acts or deeds that comprise "the world actually experienced", as opposed to "the merely thinkable world." For the three subsequent and unfinished parts of Toward a Philosophy of the Act, Bakhtin states the topics he intended to discuss: the second part would have dealt with aesthetic activity and the ethics of artistic creation; the third with the ethics of politics; and the fourth with religion.

Toward a Philosophy of the Act reveals a Bakhtin in the process of developing his moral system by decentralizing the work of Kant, with a focus on ethics and aesthetics. It is here that Bakhtin lays out three claims regarding the acknowledgment of the uniqueness of one's participation in Being:
 I both actively and passively participate in Being.
 My uniqueness is given but it simultaneously exists only to the degree to which I actualize this uniqueness (in other words, it is in the performed act and deed that has yet to be achieved).
 Because I am actual and irreplaceable I must actualize my uniqueness.

Bakhtin further states: "It is in relation to the whole actual unity that my unique thought arises from my unique place in Being." Bakhtin deals with the concept of morality whereby he attributes the predominating legalistic notion of morality to human moral action. According to Bakhtin, the I cannot maintain neutrality toward moral and ethical demands which manifest themselves as one's voice of consciousness.

It is here also that Bakhtin introduces an "architectonic" or schematic model of the human psyche, consisting of three components: "I-for-myself", "I-for-the-other", and "other-for-me". The I-for-myself is an unreliable source of identity; Bakhtin argues that it is the I-for-the-other through which human beings develop a sense of identity. The I-for-the-other serves as an amalgamation of the way in which others view the subject. Conversely, other-for-me describes the way in which others incorporate the subject's perceptions of them into their own identities. Identity, as Bakhtin describes it here, does not belong merely to the individual. Instead, it is shared by all.

Problems of Dostoevsky's Poetics: polyphony and unfinalizability

During his time in Leningrad, Bakhtin shifted his view away from the philosophy characteristic of his early works and towards the notion of dialogue. It was at this time that he began his engagement with the work of Fyodor Dostoevsky. Problems of Dostoevsky's Poetics is considered to be Bakhtin's seminal work, a work in which he introduces a number of important concepts. The work was originally published in Russia as Problems of Dostoevsky's Creative Art (Russian: Проблемы Творчества Достоевского) in 1929, but was revised and extended in 1963 under the new title. It is the later work that is best known in the West.

The concept of unfinalizability is particularly important to Bakhtin's analysis of Dostoevsky's approach to character, although he frequently discussed it in other contexts. He summarises the general principle behind unfinalizability in Dostoevsky thus:Nothing conclusive has yet taken place in the world, the ultimate word of the world and about the world has not yet been spoken, the world is open and free, everything is still in the future and will always be in the future.Morson and Emerson (1990). p. 37 On the individual level, this means that a person can never be entirely externally defined: the ability to never be fully enclosed by others' objectifications is essential to subjective consciousness. Though external finalization (definition, description, causal or genetic explanation etc) is inevitable and even necessary, it can never be the whole truth, devoid of the living response. Bakhtin is critical of what he calls the monologic tradition in Western thought that seeks to finalize humanity, and individual humans, in this way. He argues that Dostoevsky always wrote in opposition to ways of thinking that turn human beings into objects (scientific, economic, social, psychological etc.) – conceptual frameworks that enclose people in an alien web of definition and causation, robbing them of freedom and responsibility: "He saw in it a degrading reification of a person's soul, a discounting of its freedom and its unfinalizability... Dostoevsky always represents a person on the threshold of a final decision, at a moment of crisis, at an unfinalizable, and unpredeterminable, turning point for their soul."

'Carnivalization' is a term used by Bakhtin to describe the techniques Dostoevsky uses to disarm this increasingly ubiquitous enemy and make true intersubjective dialogue possible. The "carnival sense of the world", a way of thinking and experiencing that Bakhtin identifies in ancient and medieval carnival traditions, has been transposed into a literary tradition that reaches its peak in Dostoevsky's novels. The concept suggests an ethos where normal hierarchies, social roles, proper behaviors and assumed truths are subverted in favor of the "joyful relativity" of free participation in the festival. According to Morson and Emerson, Bakhtin's carnival is "the apotheosis of unfinalizability". Carnival, through its temporary dissolution or reversal of conventions, generates the 'threshold' situations where disparate individuals come together and express themselves on an equal footing, without the oppressive constraints of social objectification: the usual preordained hierarchy of persons and values becomes an occasion for laughter, its absence an opportunity for creative interaction. In carnival, "opposites come together, look at one another, are reflected in one another, know and understand one another." Bakhtin sees carnivalization in this sense as a basic principle of Dostoevsky's art: love and hate, faith and atheism, loftiness and degradation, love of life and self-destruction, purity and vice, etc. "everything in his world lives on the very border of its opposite."

Carnivalization and its generic counterpart—Menippean satire—were not a part of the earlier book, but Bakhtin discusses them at great length in the chapter "Characteristics of Genre and Plot Composition in Dostoesky's Works" in the revised version. He traces the origins of Menippean satire back to ancient Greece, briefly describes a number of historical examples of the genre, and examines its essential characteristics. These characteristics include intensified comicality, freedom from established constraints, bold use of fantastic situations for the testing of truth, abrupt changes, inserted genres and multi-tonality, parodies, oxymorons, scandal scenes, inappropriate behaviour, and a sharp satirical focus on contemporary ideas and issues. Bakhtin credits Dostoevsky with revitalizing the genre and enhancing it with his own innovation in form and structure: the polyphonic novel.

According to Bakhtin, Dostoevsky was the creator of the polyphonic novel, and it was a fundamentally new genre that could not be analysed according to preconceived frameworks and schema that might be useful for other manifestations of the European novel. Dostoevsky does not describe characters and contrive plot within the context of a single authorial reality: rather his function as author is to illuminate the self-consciousness of the characters so that each participates on their own terms, in their own voice, according to their own ideas about themselves and the world. Bakhtin calls this multi-voiced reality "polyphony": "a plurality of independent and unmerged voices and consciousnesses, a genuine polyphony of fully valid voices..." Later he defines it as "the event of interaction between autonomous and internally unfinalized consciousnesses."

Rabelais and His World: carnival and grotesque

During World War II Bakhtin submitted a dissertation on the French Renaissance writer François Rabelais which was not defended until some years later. The controversial ideas discussed within the work caused much disagreement, and it was consequently decided that Bakhtin be denied his higher doctorate. Thus, due to its content, Rabelais and Folk Culture of the Middle Ages and Renaissance was not published until 1965, at which time it was given the title Rabelais and His World (Russian: Творчество Франсуа Рабле и народная культура средневековья и Ренессанса, Tvorčestvo Fransua Rable i narodnaja kul'tura srednevekov'ja i Renessansa).

In Rabelais and His World, a classic of Renaissance studies, Bakhtin concerns himself with the openness of Gargantua and Pantagruel; however, the book itself also serves as an example of such openness. Throughout the text, Bakhtin attempts two things: he seeks to recover sections of Gargantua and Pantagruel that, in the past, were either ignored or suppressed, and conducts an analysis of the Renaissance social system in order to discover the balance between language that was permitted and language that was not. It is by means of this analysis that Bakhtin pinpoints two important subtexts: the first is carnival (carnivalesque) which Bakhtin describes as a social institution, and the second is grotesque realism which is defined as a literary mode. Thus, in Rabelais and His World Bakhtin studies the interaction between the social and the literary, as well as the meaning of the body and the material bodily lower stratum.

In Rabelais and His World, Bakhtin intentionally refers to the distinction between official festivities and folk festivities. While official festivities aim to supply a legacy for authority, folk festivities have a critical centrifugal social function. Carnival, in this sense is categorized as a folk festivity by Bakhtin.

In his chapter on the history of laughter, Bakhtin advances the notion of its therapeutic and liberating force, arguing that "laughing truth ... degraded power".

The Dialogic Imagination: chronotope and heteroglossia

The Dialogic Imagination (first published as a whole in 1975) is a compilation of four essays concerning language and the novel: "Epic and Novel" (1941), "From the Prehistory of Novelistic Discourse" (1940), "Forms of Time and of the Chronotope in the Novel" (1937–1938), and "Discourse in the Novel" (1934–1935). It is through the essays contained within The Dialogic Imagination that Bakhtin introduces the concepts of heteroglossia, dialogism and chronotope, making a significant contribution to the realm of literary scholarship. Bakhtin explains the generation of meaning through the "primacy of context over text" (heteroglossia), the hybrid nature of language (polyglossia) and the relation between utterances (intertextuality). Heteroglossia is "the base condition governing the operation of meaning in any utterance." To make an utterance means to "appropriate the words of others and populate them with one's own intention." Bakhtin's deep insights on dialogicality represent a substantive shift from views on the nature of language and knowledge by major thinkers such as Ferdinand de Saussure and Immanuel Kant.

In "Epic and Novel", Bakhtin demonstrates the novel's distinct nature by contrasting it with the epic. By doing so, Bakhtin shows that the novel is well-suited to the post-industrial civilization in which we live because it flourishes on diversity. It is this same diversity that the epic attempts to eliminate from the world. According to Bakhtin, the novel as a genre is unique in that it is able to embrace, ingest, and devour other genres while still maintaining its status as a novel. Other genres, however, cannot emulate the novel without damaging their own distinct identity.

"From the Prehistory of Novelistic Discourse" is a less traditional essay in which Bakhtin reveals how various different texts from the past have ultimately come together to form the modern novel.

"Forms of Time and of the Chronotope in the Novel" introduces Bakhtin's concept of chronotope. This essay applies the concept in order to further demonstrate the distinctive quality of the novel. The word chronotope literally means "time space" (a concept he refers to that of Einstein) and is defined by Bakhtin as "the intrinsic connectedness of temporal and spatial relationships that are artistically expressed in literature." In writing, an author must create entire worlds and, in doing so, is forced to make use of the organizing categories of the real world in which the author lives. For this reason chronotope is a concept that engages reality.

The final essay, "Discourse in the Novel", is one of Bakhtin's most complete statements concerning his philosophy of language. It is here that Bakhtin provides a model for a history of discourse and introduces the concept of heteroglossia. The term heteroglossia refers to the qualities of a language that are extralinguistic, but common to all languages. These include qualities such as perspective, evaluation, and ideological positioning. In this way most languages are incapable of neutrality, for every word is inextricably bound to the context in which it exists.

Speech Genres and Other Late Essays
In Speech Genres and Other Late Essays Bakhtin moves away from the novel and concerns himself with the problems of method and the nature of culture. There are six essays that comprise this compilation: "Response to a Question from the Novy Mir Editorial Staff", "The Bildungsroman and Its Significance in the History of Realism", "The Problem of Speech Genres", "The Problem of the Text in Linguistics, Philology, and the Human Sciences: An Experiment in Philosophical Analysis", "From Notes Made in 1970–71", and "Toward a Methodology for the Human Sciences".

"Response to a Question from the Novy Mir Editorial Staff" is a transcript of comments made by Bakhtin to a reporter from a monthly journal called Novy Mir that was widely read by Soviet intellectuals. The transcript expresses Bakhtin's opinion of literary scholarship whereby he highlights some of its shortcomings and makes suggestions for improvement.

"The Bildungsroman and Its Significance in the History of Realism" is a fragment from one of Bakhtin's lost books. The publishing house to which Bakhtin had submitted the full manuscript was blown up during the German invasion and Bakhtin was in possession of only the prospectus. However, due to a shortage of paper, Bakhtin began using this remaining section to roll cigarettes. So only a portion of the opening section remains. This remaining section deals primarily with Goethe.

"The Problem of Speech Genres" deals with the difference between Saussurean linguistics and language as a living dialogue (translinguistics). In a relatively short space, this essay takes up a topic about which Bakhtin had planned to write a book, making the essay a rather dense and complex read. It is here that Bakhtin distinguishes between literary and everyday language. According to Bakhtin, genres exist not merely in language, but rather in communication. In dealing with genres, Bakhtin indicates that they have been studied only within the realm of rhetoric and literature, but each discipline draws largely on genres that exist outside both rhetoric and literature. These extraliterary genres have remained largely unexplored. Bakhtin makes the distinction between primary genres and secondary genres, whereby primary genres legislate those words, phrases, and expressions that are acceptable in everyday life, and secondary genres are characterized by various types of text such as legal, scientific, etc.

"The Problem of the Text in Linguistics, Philology, and the Human Sciences: An Experiment in Philosophical Analysis" is a compilation of the thoughts Bakhtin recorded in his notebooks. These notes focus mostly on the problems of the text, but various other sections of the paper discuss topics he has taken up elsewhere, such as speech genres, the status of the author, and the distinct nature of the human sciences. However, "The Problem of the Text" deals primarily with dialogue and the way in which a text relates to its context. Speakers, Bakhtin claims, shape an utterance according to three variables: the object of discourse, the immediate addressee, and a superaddressee. This is what Bakhtin describes as the tertiary nature of dialogue.

"From Notes Made in 1970–71" appears also as a collection of fragments extracted from notebooks Bakhtin kept during the years of 1970 and 1971. It is here that Bakhtin discusses interpretation and its endless possibilities. According to Bakhtin, humans have a habit of making narrow interpretations, but such limited interpretations only serve to weaken the richness of the past.

The final essay, "Toward a Methodology for the Human Sciences", originates from notes Bakhtin wrote during the mid-seventies and is the last piece of writing Bakhtin produced before he died. In this essay he makes a distinction between dialectic and dialogics and comments on the difference between the text and the aesthetic object. It is here also, that Bakhtin differentiates himself from the Formalists, who, he felt, underestimated the importance of content while oversimplifying change, and the Structuralists, who too rigidly adhered to the concept of "code."

Disputed texts
Some of the works which bear the names of Bakhtin's close friends V. N. Vološinov and P. N. Medvedev have been attributed to Bakhtin – particularly Marxism and Philosophy of Language and The Formal Method in Literary Scholarship. These claims originated in the early 1970s and received their earliest full articulation in English in Clark and Holquist's 1984 biography of Bakhtin. In the years since then, however, most scholars have come to agree that Vološinov and Medvedev ought to be considered the true authors of these works. Although Bakhtin undoubtedly influenced these scholars and may even have had a hand in composing the works attributed to them, it now seems clear that if it was necessary to attribute authorship of these works to one person, Vološinov and Medvedev respectively should receive credit.
Bakhtin had a difficult life and career, and few of his works were published in an authoritative form during his lifetime. As a result, there is substantial disagreement over matters that are normally taken for granted: in which discipline he worked (was he a philosopher or literary critic?), how to periodize his work, and even which texts he wrote (see below). He is known for a series of concepts that have been used and adapted in a number of disciplines: dialogism, the carnivalesque, the chronotope, heteroglossia and "outsidedness" (the English translation of a Russian term vnenakhodimost, sometimes rendered into English—from French rather than from Russian—as "exotopy"). Together these concepts outline a distinctive philosophy of language and culture that has at its center the claims that all discourse is in essence a dialogical exchange and that this endows all language with a particular ethical or ethico-political force.

Legacy

As a literary theorist, Bakhtin is associated with the Russian Formalists, and his work is compared with that of Juri Lotman; in 1963 Roman Jakobson mentioned him as one of the few intelligent critics of Formalism. During the 1920s, Bakhtin's work tended to focus on ethics and aesthetics in general. Early pieces such as Towards a Philosophy of the Act and Author and Hero in Aesthetic Activity are indebted to the philosophical trends of the time—particularly the Marburg school neo-Kantianism of Hermann Cohen, including Ernst Cassirer, Max Scheler and, to a lesser extent, Nicolai Hartmann. Bakhtin began to be discovered by scholars in 1963, but it was only after his death in 1975 that authors such as Julia Kristeva and Tzvetan Todorov brought Bakhtin to the attention of the Francophone world, and from there his popularity in the United States, the United Kingdom, and many other countries continued to grow. In the late 1980s, Bakhtin's work experienced a surge of popularity in the West.

Bakhtin's primary works include Toward a Philosophy of the Act, an unfinished portion of a philosophical essay; Problems of Dostoyevsky's Art, to which Bakhtin later added a chapter on the concept of carnival and published with the title Problems of Dostoyevsky's Poetics; Rabelais and His World, which explores the openness of the Rabelaisian novel; The Dialogic Imagination, whereby the four essays that comprise the work introduce the concepts of dialogism, heteroglossia, and chronotope; and Speech Genres and Other Late Essays, a collection of essays in which Bakhtin concerns himself with method and culture.

In the 1920s there was a "Bakhtin school" in Russia, in line with the discourse analysis of Ferdinand de Saussure and Roman Jakobson.

Influence
He is known today for his interest in a wide variety of subjects, ideas, vocabularies, and periods, as well as his use of authorial disguises, and for his influence (alongside György Lukács) on the growth of Western scholarship on the novel as a premiere literary genre. As a result of the breadth of topics with which he dealt, Bakhtin has influenced such Western schools of theory as Neo-Marxism, Structuralism, Social constructionism, and Semiotics. Bakhtin's works have also been useful in anthropology, especially theories of ritual.  However, his influence on such groups has, somewhat paradoxically, resulted in narrowing the scope of Bakhtin's work. According to Clark and Holquist, rarely do those who incorporate Bakhtin's ideas into theories of their own appreciate his work in its entirety.

While Bakhtin is traditionally seen as a literary critic, there can be no denying his impact on the realm of rhetorical theory. Among his many theories and ideas Bakhtin indicates that style is a developmental process, occurring within both the user of language and language itself. His work instills in the reader an awareness of tone and expression that arises from the careful formation of verbal phrasing. By means of his writing, Bakhtin has enriched the experience of verbal and written expression which ultimately aids the formal teaching of writing. Some even suggest that Bakhtin introduces a new meaning to rhetoric because of his tendency to reject the separation of language and ideology. According to Leslie Baxter, for Bakhtin, "all language use is riddled with multiple voices (to be understood more generally as discourses, ideologies, perspectives, or themes)" and thus "meaning-making in general can be understood as the interplay of those voices."

Bakhtin and communication studies
Bakhtin has been called "the philosopher of human communication". Kim argues that Bakhtin's theories of dialogue and literary representation are potentially applicable to virtually all academic disciplines in the human sciences. According to White, Bakhtin's dialogism represents a methodological turn towards "the messy reality of communication, in all its many language forms." While Bakhtin's works focused primarily on text, interpersonal communication is also key, especially when the two are related in terms of culture. Kim states that "culture as Geertz and Bakhtin allude to can be generally transmitted through communication or reciprocal interaction such as a dialogue."

Communication and culture
According to Leslie Baxter, "Bakhtin's life work can be understood as a critique of the monologization of the human experience that he perceived in the dominant linguistic, literary, philosophical, and political theories of his time." He was "critical of efforts to reduce the unfinalizable, open, and multivocal process of meaning-making in determinate, closed, totalizing ways." For Baxter, Bakhtin's dialogism enables communication scholars to conceive of difference in new ways. The background of a subject must be taken into consideration when conducting research into their understanding of any text, since "a dialogic perspective argues that difference (of all kinds) is basic to the human experience." Culture and communication become inextricably linked, as one's understanding of a given utterance, text, or message, is contingent upon one's cultural background and experience.

Kim argues that "his ideas of art as a vehicle oriented towards interaction with its audience in order to express or communicate any sort of intention is reminiscent of Clifford Geertz's theories on culture."

Carnivalesque and communication
Sheckels contends that "what [... Bakhtin] terms the 'carnivalesque' is tied to the body and the public exhibition of its more private functions [...] it served also as a communication event [...] anti-authority communication events [...] can also be deemed 'carnivalesque'."  Essentially, the act of turning society around through communication, whether it be in the form of text, protest, or otherwise serves as a communicative form of carnival, according to Bakhtin. Steele furthers the idea of carnivalesque in communication as she argues that it is found in corporate communication. Steele states "that ritualized sales meetings, annual employee picnics, retirement roasts and similar corporate events fit the category of carnival." Carnival cannot help but be linked to communication and culture as Steele points out that "in addition to qualities of inversion, ambivalence, and excess, carnival's themes typically include a fascination with the body, particularly its little-glorified or 'lower strata' parts, and dichotomies between 'high' or 'low'." The high and low binary is particularly relevant in communication as certain verbiage is considered high, while slang is considered low. Moreover, much of popular communication including television shows, books, and movies fall into high and low brow categories. This is particularly prevalent in Bakhtin's native Russia, where postmodernist writers such as Boris Akunin have worked to change low brow communication forms (such as the mystery novel) into higher literary works of art by making constant references to one of Bakhtin's favorite subjects, Dostoyevsky.

Bibliography
Bakhtin, M.M. (1929) Problems of Dostoevsky's Art, (Russian) Leningrad: Priboj.
Bakhtin, M.M. (1963) Problems of Dostoevsky's Poetics, (Russian) Moscow: Khudozhestvennaja literatura.
Bakhtin, M.M. (1968) Rabelais and His World. Trans. Hélène Iswolsky. Cambridge, MA: MIT Press.
Bakhtin, M.M. (1975) Questions of Literature and Aesthetics, (Russian) Moscow: Progress.
Bakhtin, M.M. (1979) [The] Aesthetics of Verbal Art, (Russian) Moscow: Iskusstvo.
Bakhtin, M.M. (1981) The Dialogic Imagination: Four Essays by M.M. Bakhtin. Ed. Michael Holquist. Trans. Caryl Emerson and Michael Holquist. Austin and London: University of Texas Press.
Bakhtin, M.M. (1984) Problems of Dostoevsky's Poetics. Ed. and trans. Caryl Emerson. Minneapolis: University of Minnesota Press.
Bakhtin, M.M. (1986) Speech Genres and Other Late Essays. Trans. Vern W. McGee. Austin, Tx: University of Texas Press.
Bakhtin, M.M. (1990) Art and Answerability. Ed. Michael Holquist and Vadim Liapunov. Trans. Vadim Liapunov and Kenneth Brostrom. Austin: University of Texas Press [written 1919–1924, published 1974–1979]
Bakhtin, M.M. (1993) Toward a Philosophy of the Act. Ed. Vadim Liapunov and Michael Holquist. Trans. Vadim Liapunov. Austin: University of Texas Press.
Bakhtin, M.M. (1996–2012) Collected Writings, 6 vols., (Russian) Moscow: Russkie slovari.
Bakhtin, M.M., V.D. Duvakin, S.G. Bocharov (2002),  M.M. Bakhtin: Conversations with V.D. Duvakin (Russian), Soglasie.
Bakhtin, M.M. (2004) "Dialogic Origin and Dialogic Pedagogy of Grammar: Stylistics in Teaching Russian Language in Secondary School". Trans. Lydia Razran Stone. Journal of Russian and East European Psychology 42(6): 12–49.
Bakhtin, M.M. (2014) "Bakhtin on Shakespeare: Excerpt from 'Additions and Changes to Rabelais'''". Trans. Sergeiy Sandler. PMLA 129(3): 522–537.

 See also
Dialogue (Bakhtin)
Lev Vygotsky
Menippean satire
Pavel Medvedev

 References
 Citations

 Sources

 Boer, Roland (ed.), Bakhtin and Genre Theory in Biblical Studies. Atlanta/Leiden, Society of Biblical Literature/Brill, 2007.
 Bota, Cristian, and Jean-Paul Bronckart. Bakhtine démasqué: Histoire d'un menteur, d'une escroquerie et d'un délire collectif. Paris: Droz, 2011.
 Brandist, Craig. The Bakhtin Circle: Philosophy, Culture and Politics London, Sterling, Virginia: Pluto Press, 2002.
 Carner, Grant Calvin Sr (1995) "Confluence, Bakhtin, and Alejo Carpentier's Contextos in Selena and Anna Karenina" Doctoral Dissertation (Comparative Literature) University of California at Riverside.
 Clark, Katerina, and Michael Holquist. Mikhail Bakhtin. Cambridge: Harvard University Press, 1984.
 Emerson, Caryl, and Gary Saul Morson. "Mikhail Bakhtin." The Johns Hopkins Guide to Literary Theory and Criticism. Eds. Michael Groden, Martin Kreiswirth and Imre Szeman. Second Edition 2005. The Johns Hopkins University Press. 25 Jan. 2006 http://litguide.press.jhu.edu/cgibin/view.cgi?eid=22&query=Bakhtin.
 Farmer, Frank. "Introduction." Landmark Essays on Bakhtin, Rhetoric, and Writing. Ed. Frank Farmer. Mahwah: Hermagoras Press, 1998. xi–xxiii.
 Gratchev, Slav, and Mancing, Howard. "Mikhail Bakhtin's Heritage in Literature, Arts, and Philosophy." Lexington Books, 2018.
 Gratchev, Slav and Marinova, Margarita. "Mikhail Bakhtin: The Duvakin Interviews, 1973." Bucknell UP,2019.
 Green, Barbara. Mikhail Bakhtin and Biblical Scholarship: An Introduction. SBL Semeia Studies 38. Atlanta: SBL, 2000.
 Guilherme, Alexandre and Morgan, W. John, 'Mikhail M. Bakhtin (1895–1975)-dialogue as the dialogical imagination'. Chapter 2 in Philosophy, Dialogue, and Education: Nine modern European philosophers, Routledge, London and New York, pp. 24–38, .
 David Hayman Toward a Mechanics of Mode: Beyond Bakhtin Novel: A Forum on Fiction, Vol. 16, No. 2 (Winter, 1983), pp. 101–120
 Jane H. Hill The Refiguration of the Anthropology of Language (review of Problems of Dostoevsky's Poetics) Cultural Anthropology, Vol. 1, No. 1 (Feb., 1986), pp. 89–102
 Hirschkop, Ken. "Bakhtin in the sober light of day." Bakhtin and Cultural Theory. Eds. Ken Hirschkop and David Shepherd. Manchester and New York: Manchester University Press, 2001. 1–25.
 Hirschkop, Ken. Mikhail Bakhtin: An Aesthetic for Democracy. Oxford: Oxford University Press, 1999.
 Holquist, Michael. [1990] Dialogism: Bakhtin and His World, Second Edition. Routledge, 2002.
 Holquist, Michael. "Introduction." Speech Genres and Other Late Essays. By Mikhail Bakhtin. Eds. Caryl Emerson and Michael Holquist. Austin: University of Texas Press, 1986. ix–xxiii.
 Holquist, Michael. Introduction to Mikhail Bakhtin's The Dialogic Imagination: Four Essays. Austin and London: University of Texas Press, 1981. xv–xxxiv
 Holquist, M., & C. Emerson (1981). Glossary. In MM Bakhtin, The Dialogic Imagination: Four Essays by MM Bakhtin.
 İlim, Fırat. Bahtin: Diyaloji, Karnaval ve Politika, Ayrıntı Yayınları, İstanbul, 2017,
 Klancher, Jon. "Bakhtin's Rhetoric." Landmark Essays on Bakhtin, Rhetoric, and Writing. Ed. Frank Farmer. Mahwah: Hermagoras Press, 1998. 23–32.
 Liapunov, Vadim. Toward a Philosophy of the Act. By Mikhail Bakhtin. Austin: University of Texas Press, 1993.
 Lipset, David and Eric K. Silverman, "Dialogics of the Body: The Moral and the Grotesque in Two Sepik River Societies." Journal of Ritual Studies Vol. 19, No. 2, 2005, 17–52.
 Magee, Paul. 'Poetry as Extorreor Monolothe: Finnegans Wake on Bakhtin'. Cordite Poetry Review 41, 2013.
 Maranhão, Tullio (1990) The Interpretation of Dialogue University of Chicago Press
Meletinsky, Eleazar Moiseevich, The Poetics of Myth (Translated by Guy Lanoue and Alexandre Sadetsky) 2000 Routledge
Morson, Gary Saul, and Caryl Emerson. Mikhail Bakhtin: Creation of a Prosaics. Stanford University Press, 1990.
O'Callaghan, Patrick. Monologism and Dialogism in Private Law The Journal Jurisprudence, Vol. 7, 2010. 405–440.
Pechey, Graham. Mikhail Bakhtin: The Word in the World. London: Routledge, 2007.
Schuster, Charles I. "Mikhail Bakhtin as Rhetorical Theorist." Landmark Essays on Bakhtin, Rhetoric, and Writing. Ed. Frank Farmer. Mahwah: Hermagoras Press, 1998. 1–14.
Thorn, Judith. "The Lived Horizon of My Being: The Substantiation of the Self & the Discourse of Resistance in Rigoberta Menchu, Mm Bakhtin and Victor Montejo." University of Arizona Press. 1996.
 Townsend, Alex, Autonomous Voices: An Exploration of Polyphony in the Novels of Samuel Richardson, 2003, Oxford, Bern, Berlin, Bruxelles, Frankfurt/M., New York, Wien, 2003,  / US

Vice, Sue. Introducing Bakhtin. Manchester University Press, 1997
Voloshinov, V.N. Marxism and the Philosophy of Language. New York & London: Seminar Press. 1973
Young, Robert J.C., 'Back to Bakhtin', in Torn Halves: Political Conflict in Literary and Cultural Theory Manchester: Manchester University Press; New York, St Martin's Press, 1996
 Mayerfeld Bell, Michael and Gardiner, Michael. Bakhtin and the Human Sciences. No last words. London-Thousand Oaks-New Delhi: SAGE Publications. 1998.
Michael Gardiner Mikhail Bakhtin. SAGE Publications 2002 .
Maria Shevtsova, Dialogism in the Novel and Bakhtin's Theory of Culture New Literary History, Vol. 23, No. 3, History, Politics, and Culture (Summer, 1992), pp. 747–763.
 Stacy Burton Bakhtin, Temporality, and Modern Narrative: Writing "the Whole Triumphant Murderous Unstoppable Chute" Comparative Literature, Vol. 48, No. 1 (Winter, 1996), pp. 39–64.
 Vladislav Krasnov Solzhenitsyn and Dostoevsky A study in the Polyphonic Novel by Vladislav Krasnov University of Georgia Press
 Maja Soboleva: Die Philosophie Michail Bachtins. Von der existentiellen Ontologie zur dialogischen Vernunft. Georg Olms Verlag, Hildesheim 2009.
  Jean-Paul Bronckart, Cristian Bota:  Bakhtine démasqué : Histoire d'un menteur, d'une escroquerie et d'un délire collectif, Editeur : Droz,

 External links

The Bakhtin Circle, Internet Encyclopedia of Philosophy
The Bakhtin Centre (University of Sheffield)
A Bakhtin profile (James P. Zappen)
Bakhtin Timeline
"INTERNATIONAL MAN OF MYSTERY – The Battle over Mikhail Bakhtin" by Matt Steinglass in Lingua Franca (April 1998)
Philology in Runet. A special search through the M. M. Bakhtin's works.
Carnival, Carnivalesque and the Grotesque Body
Bakhtin and Religion: A Feeling for Faith
excerpts from Rabelais and his worldPage on Bakhtin with a photo
 Absurdist Monthly Review – The Writers Magazine of The New Absurdist Movement
 Polyphony of Brothers Karamazov'' likened to Bach fugue [Shockwave Player required]
 Description of Bakhtin's work and how it was "discovered" by Western scholars
 Languagehat blog on the veracity of the "smoking incident"

1895 births
1975 deaths
People from Oryol
People from Orlovsky Uyezd (Oryol Governorate)
20th-century Russian philosophers
20th-century philologists

Critical theorists
Literary theorists
Fyodor Dostoyevsky scholars
Philosophers of art
Philosophers of language
Rhetoricians
Russian literary critics
Russian philologists
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Soviet literary historians
Soviet male writers
Soviet philosophers

Mikhail Bakhtin


Bulgurcular, Tunceli ilinin Mazgirt ilçesine bağlı bir köydür.

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Köyün eski ismi "Germisi" olup 1960 yılı nüfus sayımından itibaren Bulgurcular adıyla kayıtlarda yer almaktadır.

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Tunceli iline 45 km, Mazgirt ilçesine 12 km uzaklıktadır.

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NGC 7533 je lećasta galaktika u zviježđu Ribama.

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Mon (en hindi: मोन ज़िला) es un distrito de la India en el estado de Nagaland. Código ISO: IN.NL.MN.

Comprende una superficie de 1786 km².

El centro administrativo es la ciudad de Mon Town.

Demografía
Según censo 2011 contaba con una población total de 250671 habitantes, de los cuales 118609 eran mujeres y 132062 varones.

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Mon

Distrito de Mon


أناتوليكون (Ανατολικόν) هي مدينة ومقر كومونة بنفس الاسم في بلدية دلتا في مقاطعة سالونيك. يبلغ عدد سكانها الدائمين 2,589 نسمة (تعداد 2011). كومونة أناتوليكو هي مستوطنة منخفضة تبلغ مساحتها 22.803 كيلومتر مربع (2011).

تقع أناتوليكو على الضفة الشرقية لنهر فاردار وعلى بعد 25 كيلومترًا من سالونيك. كانت تسمى فالمادا أثناء العهد التركي،.

مراجع

أماكن مأهولة في سالونيك (وحدة إقليمية)
مدن اليونان

أناتوليكون (ثيسالونيكي)


El potoyunco magallánico (Pelecanoides magellani), también denominado yunco de ceja blanca y yunco de Magallanes, es una especie de ave procelariforme de la familia Pelecanoididae que vive alrededor de las costas del extremo meridional de Sudamérica.

Descripción

El potoyunco magallánico mide unos 20 cm centímetros de largo. Como los demás potoyuncos es un ave compacta con las partes superiores principalmente negras y partes ventrales blancas, de forma y tamaño similares al mérgulo atlántico, ave con la que no están emparentados pero con la que comparten características por convergencia adaptativa al nicho ecológico de pescadores buceadores. Es el miembro de su familia que se distingue con mayor facilidad en el mar, por ser el único que tiene bordes blancos en las plumas negras de la parte superior, lo que le da cierto aspecto jaspeado, y tener un patrón facial oscuro bien definido.

Distribución

Se encuentra en los océanos y costas alrededor de Argentina, Chile y las Malvinas.

Reproducción

Anidan colonialmente en islas, en las que muestran actividad nocturna. Cavan madrigueras en el suelo blando en las que suelen poner un único huevo blanco.

Referencias

Bibliografía

Enlaces externos

Foto en mangoverde.

Pelecanoididae
Aves de América del Sur
Taxones descritos por Gregory Macalister Mathews
Animales descritos en 1912

Pelecanoides magellani


Lo Recordings é uma gravadora fundada em 1995 por Jon Tye. Eles são conhecidos por seu forte estilo visual graças ao Non-Format, com quem eles trabalham de perto e ganharam um prêmio D&AD por vários de seus lançamentos.

Estilo musical
A Lo Recordings se especializa principalmente em música eletrônica de campo esquerdo com artistas como Grimes, Black Devil, Susumu Yokota, Fischerspooner entre muitos outros. Isso se reflete no lema da empresa que diz "Lo Recordings - Provedor de música esotérica de qualidade desde 1995".

Junto com a música eletrônica, a Lo Recordings também é conhecida por lançar vários outros gêneros. Isso é exemplificado por bandas como The Chap que tem três álbuns na Lo com um próximo esperado em meados de 2012.

Recentemente a Lo desenvolveu dois novos selos: Loaf, para novos artistas e Loeb, para vinis de 12". Há uma empresa irmã, Hub 100 Publishing ltd, e nos últimos anos desenvolveu uma marca de biblioteca de música de produção chamada, Lo Editions, em conjunto com a BMGZomba Production Music.

A Lo Recordings também administra a Lo & Behold, uma loja e Creative Space em Londres, apresentando uma seleção diversificada de exposições, instalações e eventos pontuais.

Artistas
A Lo Recordings trabalhou com muitos artistas e tem mais de 70 lançamentos distribuídos por três sub-selos. Estes incluem muitos álbuns completos e compilações. Alguns dos artistas associados à Lo Recordings são:

 The Adamski Kid
 Four Tet
 The Chap
 Susumu Yokota
 Black Devil
 Rothko
 Aphex Twin
 Thurston Moore
 Luke Vibert
 Jean-Jacques Perrey
 Cursor Miner
 Hairy Butter
 Mileece
 Tony F Wilson
 Red Snapper
 Grimes
 Zoon van snooK
 Astronauts
 Tom Furse

Ligações externas
 Site Oficial (em inglês)

 Myspace (em inglês)

Gravadoras do Reino Unido
Gravadoras fundadas em 1995
Gravadoras de música eletrônica

Lo Recordings


Otok morskih krava, također poznat kao Île Vache Marine, je okrugli otok površine 18 ha na atolu Veliki Chagos otočja Chagos u britanskom Indijskom oceanskom teritoriju.

Povijest
Ime je dobio po dugonzima kojih je nekoć bilo u izobilju na tom području, iako su u međuvremenu regionalno izumrli. Manji je od dva otoka u skupini otočja Eagle na zapadnoj strani atola i čini dio strogog prirodnog rezervata arhipelaga Chagos. BirdLife International ga je označio kao važno područje za ptice zbog njegove važnosti kao mjesta za razmnožavanje smeđih kljunača, kojih je 11 500 parova zabilježeno u istraživanju 2004. godine.

Cijelu obalu ovog otoka i dio unutrašnjosti može se istražiti putem Google Street Viewa.

Izvori

Prirodni rezervati
Otoci otočja Chagos

Otok morskih krava


Yortanlı Barajı İzmir'in Bergama ilçesi merkezinin 18 km. kuzeydoğusunda Yortanlı Deresi üzerinde yer alır. Yapımı tamamlanmış olmakla birlikte, baraj su toplama alanı içinde yer alan Allianoi antik kalıntılarının kurtarılabilmesi için süren polemikler nedeniyle devreye girmemiştir.

Toprak gövde dolgu tipi olan barajın gövde hacmi 2.400.000 m³, akarsu yatağından yüksekliği 53,00 m., normal su kotunda göl hacmi 67,25 hm³, normal su kotunda göl alanı 4,25 km²'dir. Baraj 7.356 hektarlık bir alana sulama hizmeti verecektir.

Tarihçe

1963 yılında Kınık Ovası'nın sulanması amaçlı ilk proje Devlet Su İşleri Genel Müdürlüğü tarafından Kuzey Ege Havzası Araştırma Raporu içinde Paşaköy Barajı olarak önerilmiştir. 1970 yılında D.S.İ.'nin yaptırdığı Bakırçay Havzası Master Plan Raporu içinde Yortanlı Barajı ve Çaltıkoru Barajı'nın bugünkü yerlerinde inşa edilmeleri ve Kınık Ovası'nın kanaletli bir şebeke ile sulanması öngörülmüştür. 1981 yılında Bakırçay Kınık Projesi Planlama Raporu başlığı altında tekrar detaylı olarak ele alınmış ve her iki barajın yapımı uygun bulunmuştur. Kesin projeler Yortanlı Barajı için 1985'te, Çaltıkoru Barajı için 1986'da, Kınık Ovası sulaması için ise 1988 yılında, D.S.İ. tarafından hazırlanmıştır. Bakırçay-Kınık Projesi 1986 yılında uygulama programına girmiştir. Yortanlı ve Çaltıkoru Barajı ile Kınık Sol Sahil Sulama inşaatlarına 1993 yılında başlanılmıştır.

Yortanlı Barajı'nın Önemi

Yortanlı barajı 17.107 hektarlık Kınık sulamasının %43'ü olan 7.356 hektar tarım arazisine yılda ortalama 37 milyon m³ sulama suyu verecektir. Yortanlı barajı akarsu tabanından itibaren 53 m yüksekliğinde toprak dolgu tipinde bir barajdır. Yortanlı barajı potansiyeli itibarıyla Bakırçay-Kınık Projesinin anahtar tesisi durumundadır. Yortanlı barajının bir bütün olarak fiziki gerçekleşme oranı  %95 dır. Hâlen devam eden baraj inşaatında, ana su tutucu yapı olan baraj gövdesinde toprak dolgu çalışmalarına devam edilmektedir. Çevirme tüneli ve dolusavak inşaatı tamamlanmıştır. Baraj gölü altında kalacak olan Bergama-İvrindi devlet yolunun güzergahında değişiklik yapılmış olup yeni yol inşaatı büyük ölçüde tamamlanmıştır.

Bakırçay-Kınık projesi sulama alanı içinde bulunan 5.600 çiftçi ailesinin sulama ile artan ürün verimi sonucu gelirleri artacaktır. Proje ile ayrıca 6.000 kişiye yeni iş olanağı sağlanacaktır. Kınık ilçesi kırsal nüfusu 2000 nüfus sayımına göre 18.973 kişi olup proje ile yaratılan yeni iş olanakları kırsal nüfusun %32'sine eşdeğerdir.

Bakırçay-Kınık projesinin 17.107 hektarlık sulama alanında yılda 52,5 milyon TL'lik net gelir artışı sağlanacaktır. Yortanlı barajı sulama alanında geçimini tarım yaparak sağlayan ortalama bir çiftçi ailesinin yıllık gelirinde normal gelirine ek olarak 8.600 TL'lik bir artış olacaktır.

Bakırçay-Kınık projesinin gerçekleşmesiyle sulama alanı içinde kalan tarımsal arazilerde pamuk üretiminin 26 bin ton'a, domates üretiminin 450 bin ton'a, hububatın 8 bin ton'a sebze üretiminin 107 bin ton'a ve patates üretiminin 29 bin ton'a ulaşması beklenmektedir.

Türkiye sanayi domatesi üretiminde ABD ve İtalya'dan sonra dünyada 3. sıradadır. Türkiye'de mevcut sanayi domatesi üretiminin %40 Kınık ovasındaki tarım alanlarında yapılmaktadır.

Allianoi (Paşaılıcası Kurtarma Çalışmaları)

Yortanlı barajının aks yerinde ve göl alanında varlığı bilinen ve bulunması olası eski eserlerin kurtarma kazıları yapılarak belgelenmeleri ve kurtarılmalarını sağlamak üzere, baraj inşaatı ihalesinin hemen sonrasında DSİ, Kültür Bakanlığı Anıtlar ve Müzeler Genel Müdürlüğü ile bir protokol imzalamıştır. 4 Mayıs 1994 tarihinde imzalanan protokola göre kurtarma kazıları için ilk ödenek derhal sağlanmış ve kazılara 17 Ekim 1994 tarihinde Bergama Müze Müdürlüğünce başlanılmıştır.

Yortanlı barajı inşaatının Türkiye yatırım programlarındaki parasal kısıtlamalar nedeniyle  ihtiyaç  duyulan  ödenek  miktarını  alamamasına  karşın, DSİ, Anıtlar  ve  Müzeler Genel Müdürlüğünce istenilen kurtarma kazısı ödeneklerini öncelikle ve hiçbir eksiltmeye gitmeksizin tümüyle karşılamıştır. Tarihi eserlere büyük değer veren ve kurtarılmalarını daima ön planda tutan Genel Müdürlüğümüz yaklaşımının bir sonucu olarak, Yortanlı barajı kurtarma kazılarına 1994 ile 2005 yılları arasındaki 12 yıllık dönemde 2007 yılı fiyatlarıyla toplam 3,17 milyon TL ödenek ayrılmış ve DSİ'ce Kültür Bakanlığı Anıtlar ve Müzeler Genel Müdürlüğüne aktarılmıştır. Bu miktar Yortanlı barajı inşaatı için devletçe verilen ödeneğin %10'dur. Ayrıca nakdi katkının dışında kazı çalışmaları sırasında ihtiyaç duyulan araç, gereç, makine, su pompası gibi çok çeşitli donanım Devlet Su İşleri tarafından sağlanmıştır. Paşaılıcası arkeolojik kazı alanının kış aylarında olası taşkınlara karşı korunması amacıyla da kazı alanına komşu Yortanlı Deresinde ıslah çalışmaları Devlet Su İşlerince gerçekleştirilmiştir. DSİ tarafından hazırlanan koruma projesi İzmir II Nolu Kültür ve Tabiat Varlıklarını Koruma Bölge Kurulu tarafından uygun görülmüştür. Bilim Kurulunun görüşünün bildirilmesini müteakip barajda su tutulma işlemlerine başlanacaktır.

Ayrıca bakınız
 Türkiye'deki barajlar listesi

Kaynakça

Dış bağlantılar

İzmir ilindeki barajlar
Bergama'daki yapılar
2012'de tamamlanan altyapı

Yortanlı Barajı


Akademija složnih (talijanski: Accademia dei Concordi) bilo je književno društvo osnovano u Dubrovniku u prvoj polovici 16. stoljeća. Akademiju je osnovao Sabo Bobaljević Mišetić u Palači Sponzi po ugledu na talijanska književna društva, a članovi su joj bili i neki važniji dubrovački pisci. Od 1599. do 1604. godine djelovala je pri isusovačkom Rimskom kolegiju Academia linguae Illyricae, kojoj je glavni cilj bio učenje hrvatskoga jezika.

Izvori

Vidi još
 Sabo Bobaljević Mišetić
 Julija Bunić
 Nada Bunić
 Mara Gundulić Gučetić
 Cvijeta Zuzorić

Akademije znanosti i umjetnosti
Akademija složnih

Akademija složnih


Murkovića mlin je stari mlin vodenica na rijeci Novčici u gradu Gospiću, jedna od najstarijih građevina i simbol grada.

Ne zna se starost Murkovića mlina. Bio je u funkciji do 1945. godine kada su ga partizanske vlasti zatvorile. Razlog zatvaranja bila je izmišljotina da vlasnici mlina, ugledna obitelj Murković, nije plaćala porez. Mlin je ponovno proradio 1947. godine i radio do 1988. godine, kada je zadnji mlinar otišao u mirovinu.

Na rijeci Novčici, koja prolazi kroz središte Gospića, gradili su se mlinovi vodenice, od kojih je jedino preživio Murkovića mlin, a još početkom 20. stoljeća na rijeci su građena i javna kupališta. Malo po malo takav značaj Novčice je nestajao, kupališta su se gasila, Murkovića mlin u samom središtu Gospića prestao je raditi, a obala rijeke je postala gotovo nepristupačna. U posljednje vrijeme postoje inicijative za povećanje značaja rijeke Novčice.

Područje oko Murkovića mlina pripada u najstariji dio grada Gospića. U samoj blizini mlina nalazi se kuća obitelji Verzona stara oko 500 godina. Bila je tu do prije nekoliko godina i ledara, nevelik objekt od klesanog kamena sa svoltanim stropom. Tu su početkom prošlog stoljeća vrijedni Ličani čuvali do ljeta velike količine leda kojega bi nasjekli na Novčici.

Preko Novčice sagrađen je novi most, s kojega se pruža pogled na Murkovića mlin i gospićku katedralu, koja se nalazi u blizini.

Izvori

Građevine u Gospiću
Lika

Murkovića mlin


Arditi je švedski martial industrial glazbeni sastav čija glazba također sadrži elemente neoklasične, eksperimentalne i dark ambient glazbe. Godine 2002. osnovali su ga Henry Möller (član glazbenih sastava Puissance i Leidungr) i Marten Björkman (član black metal-sastava Algaion i Octinomos). Prvi su Arditijevi uradci objavljeni 1997. godine, no zbog toga što su članovi radili i na drugim projektima, grupa nije bila aktivna sve do 2002. godine. Arditi je ime dobio po istoimenim talijanskim posebnim vojnim postrojbama iz Prvoga svjetskoga rata.

Arditi je surađivao sa švedskim black metal-sastavom Marduk na pjesmama "1651", "Deathmarch" i "Warschau III: Necropolis".

Diskografija

Albumi

EP-ovi

Suradnje

Demoalbumi

Kompilacije

Izvori

Vanjske poveznice
 Službena web stranica
 Arditi na Blogspotu
 Arditi na Discogsu
 Arditi na Encyclopaediji Metallumu
 Arditi na Facebooku
 Arditi na Instagramu
 Arditi na Last.fm-u
 Arditi na Myspaceu
 Arditi na Youtubeu
 Michele Viali. Arditi: Elogio della guerra., Darkroom Magazine, 11. ožujka 2009.

Švedski glazbeni sastavi
Martial industrial sastavi

Arditi (glazbeni sastav)


Flying Colors ist eine Progressive-Rock-Supergroup, bestehend aus Casey McPherson (Alpha Rev), Steve Morse (Dixie Dregs, Deep Purple, Kansas), Neal Morse (Spock's Beard, Transatlantic), Dave LaRue (Dixie Dregs, Planet X) und Mike Portnoy (Ex-Dream Theater, Transatlantic, Liquid Tension Experiment, OSI, Adrenaline Mob, The Winery Dogs).

Geschichte
Im Jahr 2008 stellte der Produzent Bill Evans eine Liste der Personen zusammen, mit denen er seine Idee von Flying Colors verwirklichen wollte: Mike Portnoy, Steve Morse, Dave LaRue, Neal Morse und Produzent Peter Collins, der bereits mit Rush, Bon Jovi, Elton John und Jewel Kilcher zusammengearbeitet hatte. Nachdem die vier Musiker und Peter Collins zugesagt hatten, machten sich die beiden Produzenten auf die Suche nach einem Sänger, der die unterschiedlichen Musikstile der Band vereinen konnte. Evans und Collins waren bereits eine Liste von über 100 verschiedenen Sängern durchgegangen, als Portnoy Casey McPherson vorschlug.

Nach fast einem Jahr Planung wurde das erste mit dem Bandnamen betitelte Album innerhalb von neun Tagen im Januar 2011 fertiggestellt. Im November 2011 wurde das Album von Michael Brauer, der bereits mit den Rolling Stones, Bob Dylan und Coldplay zusammengearbeitet hatte, abgemischt. Flying Colors wurde am 26. März 2012 veröffentlicht. Der Bandname stammt von Peter Collins. Er sagte zu den Musikern: "Gentlemen, you passed with flying colors." ("Leute, ihr habt mit Bravour bestanden.").

Pressemeinungen
Tony Conley von Rock Guitar Daily nannte das erste Album "ein erstaunliches Album, das eine enorme Zahl von Musikstilen abdeckt" und "eines der besten Debutalben einer Band, das sie jemals gehört haben".

Das Magazin Rock & Roll Circus bewertete das Album mit zehn von zehn Punkten, in der Rezension wurde das Album folgend beschrieben: "Besser als Flying Colors mit ihrem Debüt kann man es nicht machen. Flying Colors demonstrieren die hohe Kunst, wie ein Schmelztiegel weit mehr als Durchschnittsware hervorbringen kann. … Ein absoluter Pflichtkauf für jeden Hörer anspruchsvoller Rockmusik und alle Metaller, die gerne über den Tellerrand schauen und ihren Idolen beim Zaubern zuhören wollen."

Das Drummer Magazine wählte das Debüt zum Album des Monats, auch von Rock Gig bekam es sehr gute Bewertungen. MusicRadar nannte das Album "wirklich hervorragend", das Guitar & Bass Magazine beschrieb es als "ein unglaubliches Album".

Matt Collar von Allmusic schrieb in seiner Rezension: "… Flying Colors delivers a batch of experimental and progressive rock that still makes room for melodic pop elements." ("… Flying Colors liefern eine Menge an Experimental- und Progressive Rock ab, die trotzdem noch Raum für melodische Popelemente lassen.")

Diskografie

Alben

Videoalben

Galerie

Quellen

Weblinks
 Offizielle Website

Progressive-Rock-Band
US-amerikanische Band

Flying Colors


La Plazuela ist eine Ortschaft im Departamento La Paz im südamerikanischen Anden-Staat Bolivien.

Lage im Nahraum
La Plazuela ist viertgrößte Ortschaft im Landkreis (bolivianisch: Municipio) Irupana in der Provinz Sud Yungas. Die Ortschaft liegt auf einer Höhe von  in einem linken, nördlichen Seitental des Río de la Paz, einem Zufluss zum Río Beni.

Geographie
La Plazuela liegt in den bolivianischen Yungas am Ostabhang des Hochgebirgsrückens der Cordillera Real. Das Klima ist ein typisches Tageszeitenklima, bei dem die mittlere Schwankung der Tagestemperaturen deutlicher ausfällt als die jahreszeitlichen Schwankungen.

Die mittlere Durchschnittstemperatur der Region liegt bei 21 °C, (siehe Klimadiagramm Chulumani), die mittleren Monatswerte schwanken nur unwesentlich zwischen 18 °C im Juli und 22 °C im Dezember. Der Jahresniederschlag beträgt etwa 1150 mm, die Monatsniederschläge liegen zwischen etwa 20 mm in den Monaten Juni und Juli und mehr als 150 mm von Dezember bis Februar.

Verkehrsnetz
La Plazuela liegt in einer Entfernung von 175 Straßenkilometern östlich von La Paz, der Hauptstadt des gleichnamigen Departamentos.

Von La Paz führt die asphaltierte Fernstraße Ruta 3 in nordöstlicher Richtung 60 Kilometer bis Unduavi, von dort zweigt die unbefestigte Ruta 25 in südöstlicher Richtung ab und führt über Chulumani, Ocobaya und Irupana in das Tal des Río de la Paz, wo sie nach 115 Kilometern La Plazuela erreicht. Von dort führt sie weiter über die Ortschaften Cajuata, Inquisivi und Independencia (Ayopaya) nach Vinto, wo sie auf die Ruta 4 nach Cochabamba trifft.

Bevölkerung
Die Einwohnerzahl von La Plazuela ist in den vergangenen beiden Jahrzehnten um etwa ein Fünftel zurückgegangen:

Die Region weist einen hohen Anteil von indigener Aymara-Bevölkerung auf, im Municipio Irupana sprechen 56,4 Prozent der Bevölkerung die Aymara-Sprache.

Einzelnachweise

Weblinks
 Reliefkarte der Region Inquisivi 1:250.000 (PDF; 7,67 MB)
 Municipio Irupana - Detailkarte und Bevölkerungsdaten (PDF; 687 kB) (spanisch)
 Municipio Irupana - Übersichtskarten Nr. 21102
 Departamento La Paz - Sozialdaten der Municipios (PDF; 11,63 MB) (spanisch)

La Plazuela


Antonio Maria Giovinazzi (Martina Franca, Italija, 14. prosinca 1993.) je talijanski vozač Formule 1 za momčad Alfa Romeo. Godine 2012. osvojio je naslov u prvenstvu Formula Pilota China, a viceprvak je bio 2013. u Britanskoj Formuli 3, 2015. u Europskoj Formuli 3 i 2016. u GP seriji.

Početak utrkivanja

Karting

Giovinazzi je započeo svoju karijeru u kartingu 2000. Prve naslove osvaja 2006. u prvenstvima 36° Torneo Industrie - Minikart, Euro Trophy by 60 Mini i Italian National Trophy 60 cc. Godine 2008. osvaja dvije titule viceprvaka, u Copa Campeones Trophy KF3 prvenstvu iza prvaka Raffaelea Marciella i u 38° Torneo Industrie - KF3 prvenstvu iza prvaka Daniila Kvjata. Sljedeće 2009. osvaja dva 3. mjesta u European Championship Qualification Central Region - KF2 i 20° Trofeo Andrea Margutti - KF2 kategoriji. Naslov prvaka u WSK Master Series - KF2 prvenstvu osvojio je 2010. i 2011.

Formula Pilota China

Iako se 2012. još natjecao u kartingu, u prvenstvu CIK-FIA World Karting Championship KF1, Giovinazzi je iste godine debitirao u jednosjedu, u prvenstvu Formula Pilota China. Vozio je bolid Tatuus FA010 za momčad Eurasia Motorsport. Sezona koja je počela 16. lipnja na stazi Shanghai, a završila 8. prosinca na Sepangu, sadržavala je šest runda, gdje su se na svakoj rundi vozile tri utrke. Na prvoj rundi, Giovinazzi je upisao dva postolja, a isti rezultat postiže na drugoj rundi koja se vozila na stazi Ordos. Ista staza bila je domaćin i treće runde, a Talijan je upravo ovdje upisao prve dvije pobjede u sezoni. Nakon što je na stazi Guangdong osvojio još jedno postolje, na petoj rundi na Sepangu, u tri utrke upisuje isto toliko pobjeda. Na posljednjoj šestoj rundi, također na Sepangu, ostvaruje posljednju šestu pobjedu, te s 229 bodova osvaja naslov prvaka ispred Dana Wellsa.

Iste godine nastupao je i Formuli Abarth za momčad BVM, na posljednje tri utrke završne osme runde na Monzi. Ostvario je dvije pobjede, te jedno drugo mjesto, no pošto je nastupao kao gostujući vozač, nije mogao osvajati bodove.

Formula 3

Britanska Formula 3

Europska Formula 3

Deutsche Tourenwagen Masters

Utrke izdržljivosti

Asian Le Mans Series

European Le Mans Series

FIA World Endurance Championship – LMP2

24 sata Le Mansa

GP2 Series

Prema Racing (2016.)

Formula 1
Pred kraj 2016. postao je test vozač Ferrarija, a 2017. debitirao je u Formuli 1 na Velikoj nagradi Australije, za momčad Sauber, kao zamjena za ozlijeđenog Pascala Wehrleina. Giovinazzi je tako postao prvi talijanski vozač koji je nastupio na utrci Formule 1 još od Jarna Trullija i Vitantonija Liuzzija na Velikoj nagradi Brazila 2011.

Sauber (2017.)

2017.

Alfa Romeo (2019. − 2021.)

2019.

2020.

2021.

Rezultati u Formuli 1

Izvori

Vanjske poveznice
Antonio Giovinazzi.com - Official website
Antonio Giovinazzi - Driver Database
Antonio Giovinazzi - Stats F1

Talijanski vozači Formule 1

Antonio Giovinazzi