Guerrilla Girls is an anonymous group of feminist, female artists devoted to fighting sexism and racism within the art world. The group formed in New York City in 1985, born out of a picket against the Museum of Modern Art the previous year. The core of the group's work is bringing gender and racial inequality into focus within the greater arts community and society at large.  The Guerrilla Girls employ culture jamming in the form of posters, books, billboards, lectures, interviews, public appearances and internet interventions to expose disparities, discrimination, and corruption (the latter includes conflicts of interest within museums). They also often use humor in their work to make their serious messages engaging. The Guerrilla Girls are known for their "guerrilla" tactics, hence their name, such as hanging up posters or staging surprise exhibitions. To remain anonymous, members don gorilla masks. To permit individual identities in interviews, they use pseudonyms that refer to deceased female artists such as Frida Kahlo, Käthe Kollwitz, and Alice Neel, as well as writers and activists, such as Gertrude Stein and Harriet Tubman. According to GG1, identities are concealed because issues matter more than individual identities, "Mainly, we wanted the focus to be on the issues, not on our personalities or our own work."

History
During the height of the contemporary art movement in the late 20th century, many distinguished galleries lacked appropriate representation of female artists and curators. Museums were often privately funded by elites, predominately white males, meaning that museums were documenting power structures rather than art. Historically, the Metropolitan Museum of Art in New York, like other major museums, had an entirely male or a predominantly male board of directors. It had a paucity of female artists on display, while, at the same time, art featuring female nudes were plentiful. The Guerrilla Girls were formed in 1985 with the purpose of exposing gender disparities in the contemporary art world. Initially, it did not plan to be a permanent organization. Its first press release, dated May 6, addressed its "campaign throughout the next weeks and next season." Membership in the group has fluctuated over the years from a high of about 30 women to a handful of active members now According to Frida Kahlo, there have been a total of 65 members.

In the spring of 1985, seven women launched the Guerrilla Girls in response to the Museum of Modern Art's exhibition "An International Survey of Recent Painting and Sculpture" (1984), whose roster of 165 artists included only 13 women. Inaugurating MoMA's newly renovated and expanded building, this exhibition claimed to survey that era's most important painters and sculptors from 17 countries. The proportion of artists of color was even smaller (one account puts the number at eight), and none of them were women.

Comments attributed to the show's curator, Kynaston McShine highlight that era's explicit art world gender bias: "Kynaston McShine gave interviews saying that any artist who wasn't in the show should rethink  career." However, it has been suggested that these putative quotes stem from comments in an interview McShine gave to the New York Times before the exhibition opened: "I think that some people can benefit from not being in the show." He continued: "They will have to think about their work." In reaction to the low proportion of women in the exhibition and McShine's bias, the Women's Caucus for the Arts led a protest with pickets across the street from MoMA. Seven future members of the Guerrilla Girls participated in this protest, but when their pickets were ignored, some of the women began to seek what Frida Kahlo calls "a more media-savvy" method of reaching the public.

The MoMA protest's lack of success in 1984 led to strategy meetings, which resulted in the formation of the Guerrilla Girls. The initial founding members were all White. The Guerrilla Girls conveyed their messages by wheat-pasted posters in downtown Manhattan, particularly in the SoHo and East Village neighborhoods, which were home to both artists and the commercial galleries that served as their initial targets.

When asked about the masks, the girls answer "We were Guerrillas before we were Gorillas. From the beginning, the press wanted publicity photos. We needed a disguise. No one remembers, for sure, how we got our fur, but one story is that at an early meeting, an original girl, a bad speller, wrote 'Gorilla' instead of 'Guerrilla'. It was an enlightened mistake. It gave us our 'mask-ulinity'." In an interview with the magazine Interview the Guerrilla Girls were quoted, "Anonymous free speech is protected by the Constitution. You'd be surprised what comes out of your mouth when you wear a mask."

A year after its founding, the group expanded its focus to include racism in the art world, attracting artists of color. They also took on projects outside of New York, enabling them to address sexism and racism nationally and internationally. Though the art world has remained the group's main focus, the Guerrilla Girls' agenda has included sexism and racism in films, mass and popular culture, and politics. Tokenism also represents a major group concern.

Periodically, the Guerrilla Girls conducted "weenie" and "banana" counts, wherein members visited institutions like the Metropolitan Museum of Art and counted nudes, noting the ration of male-to-female subjects, as well as the ratio of male-to-female artists represented in the various collections. Data gathered from their survey in the Met in 1989 showed that women artists had produced less than 5% of the works in the Modern Art galleries, while 85% of the nudes were female.

Early organizing was based around meetings, during which members evaluated statistical data gathered regarding gender inequality within the New York City's art scene. The Guerrilla Girls also worked closely with artists, encouraging them to speak to those within the community to bridge the gender gap where they perceived it.

Since 1985, the Guerrilla Girls have worked for an increased awareness of sexism and greater accountability on the part of curators, art dealers, collectors, and critics. The group is credited, above all, with sparking dialogue, and bringing national and international attention to issues of sexism and racism within the arts.

Influences
Many feminist artists in the 1970s dared to imagine that female artists could produce authentically and radically different art, undoing the prevailing visual paradigm. The pioneering feminist critic, Lucy Lippard curated an all-women exhibition in 1974, effectively protesting what most deemed a deeply flawed approach, that of merely assimilating women into the prevailing art system. Shaped by the 1970s women's movement, the Guerrilla Girls resolved to devise new strategies. Most noticeably, they realized that 1970s-era tools such as pickets and marches proved ineffective, as evidenced by how easily MoMA could ignore 200 protestors from the Women's Caucus for Art. "We had to have a new image and a new kind of language to appeal to a younger generation of women", recalls one of the founding Guerrilla Girls, who goes by "Liubov Popova." The Guerrilla Girls sought an alternative approach, one that would defeat views of the 1970s Feminist movements as man-hating, anti-maternal, strident, and humorless: Versed in poststructuralist theories, they adopted 1970s initiatives, but with a different language and style. Earlier feminists tackled grim and unfunny issues such as sexual violence, inspiring the Guerrilla Girls to keep their spirits intact by approaching their work with wit and laughter, thus preventing a backlash.

Work: actions, posters and billboards

Art world

Throughout their existence, the Guerrilla Girls have gained the most attention for their bold protest art.
The Guerrilla Girls' projects (mostly posters at first) express observations, concerns, and ideals regarding numerous social topics. Their art has always been fact-driven, and informed by the group's unique approach to data collection, such as "weenie counts." To be more inclusive and to make their posters more eye-catching, the Guerrilla Girls tend to pair facts with humorous images – a form of word art. Although the Guerrilla Girls gained fame for wheat-pasting provocative campaign posters around New York City, the group has also enjoyed public commissions and indoor exhibitions.

In addition to posting posters around downtown Manhattan, they passed out thousands of small handbills based on their designs at various events. The first posters were mainly black and white fact sheets, highlighting inequalities between male and female artists with regard to a number of exhibitions, gallery representation, and pay. Their posters revealed how sexist the art world was in comparison to other industries and to national averages. For example, in 1985 they printed a poster showing that the salary gap in the art world between men and women was starker than the United States average, proclaiming "Women in America earn only 2/3 of what men do. Women artists earn only 1/3 of what men do." These early posters often targeted specific galleries and artists. Another 1985 poster listed the names of some of the most famous working artists, such as Bruce Nauman and Richard Serra. The poster asked "What do these artists have in common?" with the answer "They allow their work to be shown in galleries that show no more than 10% of women or none at all."

The group was also activists for equal representation of women in institutional art, and highlighted artist Louise Bourgeois in their "Advantages to Being a Women artist", poster in 1988 as one line read, "Knowing your career might not pick up till after you're 80." Their pieces are also notable for their use of combative statements such as "When racism and sexism are no longer fashionable, what will your art collection be worth?"

"Dearest Art Collector" (1986) is a 560x430 mm screen-print on paper. This is one of thirty posters published in a portfolio entitled "Guerrilla Girls Talk Back". This print is unusual in the portfolio in that it takes the form of an enlarged handwritten letter on baby pink paper. The extremely rounded cursive script crowned with a frowning flower exudes femininity, symbolizing the biting sarcasm for which the Guerrilla Girls were known. The Guerrilla Girls sent this poster to well-known art collectors across the United States, pointing out how few works they owned by women artists. This send-up of femininity is aimed at the expectation that, even when presenting a serious complaint, women should do so in a socially acceptable 'nice' way. "We know that you feel terrible about this" appeals to the feelings of the recipient. This piece was a commentary on how hard it is for female artists, and what lengths they must go through in order to be recognized and taken seriously. Women are constantly expected to perform a certain way and this print is the embodiment of how tumultuous it is for women all around the world to be recognized in the eyes of men with power. The group later transcribed it into other languages and sent it to collectors outside the U.S. A practical joke with serious implications, this poster is now (somewhat ironically) a collector's item.

The posters were rude; they named names and they printed statistics (and almost always cited the source of those statistics at the bottom, making them difficult to dismiss). They embarrassed people. In other words, they worked.

The Guerrilla Girls' first color poster, which remains the group's most iconic image, is the 1989 Metropolitan Museum poster, which used data from the group's first "weenie count". In response to the overwhelming number of female nudes counted in the modern art sections, the poster asks, sarcastically, "Do women have to be naked to get into the Met. Museum?". Next to the text is an image of Jean-Auguste-Dominique Ingres's painting Grande Odalisque (1814, Louvre Museum). The Guerrilla Girls placed a gorilla mask over the head of Ingres' nude, which is one of the most famous female nudes in Western art. The New York Public Art Fund had rejected the Guerrilla Girls' Metropolitan Museum poster for a billboard they had commissioned from the group. Rather than change the image, the group bought advertising space from the MTA, and the poster traversed lower Manhattan on New York City buses, until the MTA declined to renew their contract (evidently because they thought the fan handle looked phallic). In 2021, the Metropolitan Museum poster was donated to the Met, and in 2021-22, it was featured in the exhibition Prints: Revolution, Resistance, and Activism.

A 2005 Guerrilla Girl recount at the Met found that only 3% of the exhibited artists in the modern section were women, whereas  the nude females constituted 83% of the nudes in those galleries. The 2012 Guerrilla Girl poster reported 4% women artists, and a figure of 76% female nudes, reflecting a lower percentage of women artists and female nudes from 1985. A survey of other sections of the Metropolitan Museum gives different results. Art critic Christopher Allen states that proportionately more female artists and fewer nudes are in the 18th century section, and Mary Beard writes in her 2018 book, Civilisations: How Do We Look, that it took centuries in Greek antiquity until Praxiteles created the first female nude, Aphrodite of Knidos.

In 1990, the group designed a billboard featuring the Mona Lisa that was placed along the West Side Highway supported by the New York City Public Art Fund.  Stickers also became a popular calling cards representative of the group.

The Guerrilla Girls infiltrated the bathrooms of the newly opened Guggenheim Museum SoHo, placing stickers regarding female inequality on the walls. In 1998, Guerrilla Girls West protested at the San José Museum of Art, over low representation of women artists.

In addition to researching and exposing sexism in the art world, the Guerrilla Girls have received commissions from numerous organizations and institutions, such as The Nation (2001), Fundación Bilbao Arte (2002), Istanbul Modern (2006) and Witte de With Center for Contemporary Art (2007). They have also partnered with Amnesty International, contributing pieces to a show under the organization's "Protect the Human" initiative.

They were interviewed for the film !Women Art Revolution.

In 1987, the Guerrilla Girls published thirty posters in a portfolio entitled Guerrilla Girls Talk Back. One specifically, We Sell White Bread, was a poster made to gradually widen their focus, tackling issues of racial discrimination in the art world and also making more direct, politicized interventions. In 1987, the image on this poster was first seen as peel-off stickers on gallery windows and doors in New York. Its medium, screen print on paper, has the words "We Sell White Bread" and are stamped on a slice of white bread alongside a list of ingredients that includes the white male artists whose work is on display at the galleries. According to the poster, the galleries favored white, male artists, noting that the gallery "contains less than the minimum daily requirement of white women and non-whites".

Public commissions

In 2005, the group exhibited large-format posters Welcome to the Feminist Biennale at the Venice Biennale (the first in 110 years to be overseen by women), scrutinizing 101 years of Biennale history in terms of diversity. Where Are the Women Artists of Venice? explored the fact that most works owned by Venice's historical museums are kept in storage.

Since 2005, the Guerrilla Girls have been invited to produce special projects for international institutions, sometimes for the very institutions, they have criticized. Offers that pose a dilemma are carefully considered, so as to avoid censure since one way to improve institutions is to criticize them from inside.

Their 2006 poster The Future for Turkish Women Artists as Revealed by the Guerrilla Girls, commissioned by İstanbul Modern, demonstrated that the status of women artists in Turkey was better than in the rest of Europe. In 2007, The Washington Post published their "Horror on the National Mall!", a one-page newspaper spread attacking the absence of diversity among tax-payer supported museums on the Mall in Washington, DC. During the 2007 ART-ATHINA, the Guerrilla Girls projected "Dear Art Collector" in Greek onto the entrance's façade. In 2015, they projected their "Dear Art Collector" animation onto a museum façade, taking on collectors who fail to pay employees a living wage. To commemorate the 20th Anniversary of the École Polytechnique massacre, the University of Quebec commissioned their Troubler Le Repos (Disturbing The Peace) poster, whose texts addressed anti-women hate speech since Ancient Greece to Rush Limbaugh.

In 2009, they launched I'm not a feminist, but If I were this is what I'd complain about ... , an interactive graffiti wall that enables women who don't see themselves as feminists the means to target gender issues with the hope that active participation will broaden their perspectives. In 2012, this traveled to Krakòw's Art Boom Festival.

In 2011, Columbia College Chicago's Glass Curtain Gallery and Institute for Women and Gender in the Arts and Media commissioned the first Guerrilla Girls survey of Chicago museums. The resulting banner entitled Chicago Museums [Guerrilla Girls to Museums: Time for Gender Reassignment!] critiqued gender disparity in the contemporary art collections of the Art Institute of Chicago and the Museum of Contemporary Art.

In 2012, an advertising truck towed Do women Have To Be Naked To Get into Boston Museums? around Boston. Invited by Yoko Ono to participate in the 2013 Meltdown Festival, the Guerrilla Girls updated their 2003 Estrogen Bomb poster, which had premiered in The Village Voice in 2003.

During Winter 2016, they participated in "Twin City Takeover", art exhibitions and art projects organized by a consortium of local art organizations sited around Minneapolis and St. Paul.

In 1996 Guerrilla Girls came out with Planet Pussy in Monkey Business issue #4 in November 1996. This was a work about feminism and was published by Sike Burmeister and Sabine Schmidt.

Film world

To protest the dearth of female directors, the Guerrilla Girls distributed stickers during the 2001 Sundance Film Festival. The Nation invited them to present Birth of Feminism, which they updated and presented in 2007 as a banner outside Witte de With Center for Contemporary Arts. Since 2002, Guerrilla Girls Inc. have designed and installed billboards during the Oscars that address white male dominance in the film industry, such as: "Anatomically Correct Oscars", "Even the Senate is More Progressive than Hollywood", "The Birth of Feminism", "Unchain the Women Directors".

During the 2015 Reykjavík Arts Festival, the Guerrilla Girls displayed National Film Quiz, a billboard criticizing the fact that 87% of national funding for films goes to men, despite women playing an important part of Iceland's public and private sectors. In light of 2016's #Oscarssowhite campaign, the Guerrilla Girls updated the above billboards, presenting them on downtown Minneapolis streets for "Twin City Takeover".

In 2023, the Guerrilla Girls were featured in the episode "Bodies of Knowledge of the American streaming series Art in the Twenty-First Century, season 11., in which they presented a new body of work.

Politics and social issues
Although the Guerrilla Girls' protest art directed at the art world remains their most well-known work, throughout their existence the group has periodically targeted politicians, specifically conservative Republicans. Those criticized have included George Bush, Newt Gingrich, and most recently Michele Bachmann. In 1991, the Artist and Homeless Collaborative invited them to work with homeless women to create posters in response to homelessness and the first Gulf War. Between 1992 and 1994, Guerrilla Girl posters addressed the 1992 presidential election, reproductive rights (done for the march on Washington in 1992), gay and lesbian rights, and the 1992 Los Angeles riots. During the 2012 election, they displayed their Even Michele Bachman believes. ...  on a billboard adjacent to a football stadium to advertise her plan to: ban same-sex marriages, require voter ID checks, and spend money implementing statewide voter IDs. Their 2013 posters discussed the Homeland Terror Alert system and Arnold Schwarzenegger's gubernatorial campaign.

In 2016, the Guerrilla Girls launched the "President Trump Announces New Commemorative Months" campaign in the form of stickers and posters, which they distributed during the Women's March on Washington in Los Angeles and New York City, as well as the J20 event at the Whitney Museum of Art and the Fire Fink protest at MoMA.

Work: publications and merchandise

To shed light on inequality in the art world, the Guerrilla Girls have published numerous books. In 1995, they published their first book, Confessions of the Guerrilla Girls, a compilation of 50 works plus a self-interview. In 1998, they published The Guerrilla Girls Bedside Companion to the History of Western Art, a consciousness-raising comic book that sold 82,000 copies, as it explores how art history's male domination constrained several female artists' careers. In 2003, they published Bitches, Bimbos and Ballbreakers, a down and dirty catalogue of "The Top Stereotypes from Cradle to Grave". Offering thumbnail histories for cultural clichés ranging from "Daddy's Girl", "the Girl Next Door", "the Bimbo/Dumb Blonde" to "the Bitch/Ballbreaker", each is given "trademark Guerrilla Girl treatment: pointed factoids and cool graphics".

Their 2004 book The Guerrilla Girl's Museum Activity Book (reissued in 2012) parodies children's museum activity books. Meant to teach children how to both appreciate and critique museums, this book provides activities that reveal the problematic aspects of museum culture and major museum collections. In 2009, they produced a history of hysteria, The Hysterical Herstory Of Hysteria And How It Was Cured From Ancient Times Until Now. MFC-Michèle Didier published it in 2016.

Presentations
An important part of Guerrilla Girls' outreach since 1985 has been presentations and workshops at colleges, universities, art organizations, and sometimes at museums. The presentations, known as "gigs", attract hundreds and sometimes thousands of attendees. In the gig, they play music, videos, show slides and talk about the history of their work, how it has evolved. In the end, the GGs interact with audience members. New work is always included and gig material changes all the time. They have done hundreds of these events and have traveled to nearly every state as well as Europe, South America, and Australia.

In recognition of their work, the Guerrilla Girls have been invited to give talks at world-renowned museums, including a presentation at the MoMA's 2007 "Feminist Futures" Symposium. They have also been invited to speak at art schools and universities across the globe and gave a 2010 commencement speech at the School of the Art Institute of Chicago.
To mark the 30th anniversary of the Guerrilla Girls, Matadero Madrid hosted "Guerrilla Girls: 1985-2015", an exhibition featuring most of the collective's production accompanied by a series of events including a talk/performance by Guerrilla Girl members Frida Kahlo and Käthe Kollwitz. The exhibition also showed the 1992 documentary "Guerrilla in Our Midst" by Amy Harrison.

Three Guerrilla Girls appeared on the Stephen Colbert show on January 14, 2016.

Exhibitions
Early solo exhibitions included: "The Night the Palladium Apologized" (1985), Palladium (New York City); "Guerrilla Girls Review the Whitney" (1987), Clocktower PS1; and "Guerrilla Girls" (1995), Printed Matter, Inc.

Career surveys include:
"Guerrilla Girls Talk Back: The First Five Years, A Retrospective: 1985-1990" (1991), the Falkirk Cultural Center, San Rafael, California
"Guerrilla Girls: 1985-2013", Azkuna Zentroa (2013).
"Guerrilla Girls: Retrospective" (2009), Millennium Court Arts Centre, UK *"Feminist Masked Avengers: 30 Early Guerrilla Girls' Posters" (2011) Mason Gross School of the Arts Galleries
"Guerrilla Girls" (2007), Hellenic American Union Galleries, Athens, GR
"Not Ready to Make Nice: The Guerrilla Girls in the Art World and Beyond" Columbia College Chicago (2012-2017) Traveled to Monserrat College of Art; Krannert Art Museum; Fairfield University; Georgia Museum of Art; DePauw University; North Michigan University: Stony Brook University: California State University: The Verge Center for the Arts: and Moore College for Art and Design.
"The Guerrilla Girls" (2002), Fundacíon Bilbao Arte, Bilbao, ES
"Guerrilla Girls: Takeover" (2021), Nasher Sculpture Center, Dallas, Texas.

On the heels of "Not Ready to Make Nice" were:
"The Male Graze: Guerilla Girls", 2021, Museum of London
"Art at the Center: Guerrilla Girls", 2016, Walker Art Center
"Front Room: Guerrilla Girls", 2016–2017, Baltimore Museum of Art
"Guerrilla Girls: Not Ready to Make Nice, 30 Years and Still Counting", 2015, Abrons Arts Center;
"Media Networks: Andy Warhol and the Guerrilla Girls", 2016, Tate Modern
 "Not Ready to Make Nice: Guerrilla Girls 1985-2016", 2016–2017, FRAC Lorraine.
"The Guerrilla Girls and La Barbe", 2016, Gallery mfc-micheledidier, Paris.
 "Guerrilla Girls" The Verge Center for the Arts, Sacramento, California (2017)

Controversies

Diversity
Despite having routinely challenged art institutions to display more artists of color, both members and critics want the Guerrilla Girls to be more diverse. Their art was believed to be exclusive to white feminism and they addressed by creating a series of activist artworks addressing a range of issues that women faced. "Zora Neale Hurston" recalls Guerrilla Girl membership as "mostly white" and largely mirroring the art world demographics that they critiqued. Despite sporting gorilla masks to downplay personal identity, some members attribute Guerrilla Girl interests to the fact that de facto leaders "Frida Kahlo" and "Käthe Kollwitz" are both white. ("Frida Kahlo" has also been criticized for her appropriation of a Latina artist's name.) The artist believed in the overt artistic expression by correlating beauty and pain, along with the rise of modernism. An art movement without generalization.

However, any precise information on the demographics of the Guerrilla Girls is impossible, for they have "staunchly, and problematically, resisted being surveyed as to the makeup of their own membership".

Several Guerrilla Girls who are people of color have faced numerous challenges. Despite the Guerrilla Girls' stance against tokenism, some artists of color abandoned Guerrilla Girl membership due to tokenism, silencing, disrespect, and whitewashing. As a woman of color, "Alma Thomas" describes having felt uncomfortable wearing the Guerrilla Girls' signature gorilla mask. "Thomas" recalls little effort being devoted to understanding the challenges of artists of color. "Their whiteness was such that they ... didn't understand that blacks were being put in a completely separate world in the art world, that black male artists and black female artists are completely separated, completely segregated to this day." Ultimately, this widespread antagonism led to many "artists of color [leaving] after a few meetings because they could sense the unspoken hierarchy in the group".

Second-wave feminism and essentialism
Emerging at the tail end of the second-wave feminist movement, the Guerrilla Girls navigated the differences between established and emerging feminist theory during the 1980s. "Alma Thomas" describes this grey-area that the Guerrilla Girls occupied as "universalist feminism", bordering on essentialism. Art historian Anna Chave considers the Guerrilla Girls' essentialism much more profound, leading the group to be "assailed by ... a rising generation of women wise in the ways of poststructuralist theory, for [their] putative naiveté and susceptibility to essentialism". Essentialist views are most clearly exhibited in two Guerrilla Girl books:The Guerrilla Girls Bedside Companion to the History of Western Art (1998) and the controversial Estrogen Bomb (2003–13) campaign. Regarding the former, "Alma Thomas" worried that The Guerrilla Girls Bedside Companion to the History of Western Art "was so embedded in that second-wave feminist and even pre-second-wave essentialism" that it fulfilled some assumption that all women artists are feminist artists.

Students at Minneapolis College of Art and Design criticized their Estrogen Bomb poster campaign, describing it as insensitive towards transgender people since it ties the female gender to estrogen, the same sort of essentialist link the Guerrilla Girls aim to critique. Aside from essentialism, the Guerrilla Girls have also been critiqued for failing to integrate intersectionality into their work.

Internal disputes
Leading up to a highly publicized 2003 lawsuit, there was increasing animosity toward "Frida Kahlo" and "Käthe Kollwitz". Despite founding members' initial intention to create a non-hierarchal, equitable power structure, there was an increasing sense that two people were making "the final decisions no matter what you said". Several Guerrilla Girls felt that their second book, The Guerrilla Girls Bedside Companion to the History of Western Art, primarily represented the views of "Kahlo" and "Kollwitz". Some even felt that "Kahlo" and "Kollwitz" completely controlled the book, despite their having selected material created collectively by all Guerrilla Girls. There was even suspicion that these two not only claimed all the credit but took all of the profits. Some members condemned the book as "undemocratic and ... against the spirit of the [Guerrilla] Girls".

As the Guerilla Girls gained in popularity, tensions led to what the Girls later called the "banana split", as five members actually split from the collective. Soon after several members stepped aside to form Guerrilla Girls Broadband, "Kahlo" and "Kollwitz" moved to trademark the name "Guerrilla Girls, Inc." to distinguish their realm from those of Guerrilla Girls BroadBand and Guerrilla Girls On Tour! whose focus is discrimination in the theater world. Even though their former colleague "Gertrude Stein" was in the on-tour group, "Kahlo" and "Kollwitz" charged them with copyright and trademark infringement and unjust enrichment. Many members of the group felt especially betrayed that "Kahlo" and "Kollwitz" had launched their lawsuit under their real names, Jerilea Zempel and Erika Rothenberg.

This prompted negative reactions from both current and former Guerrilla Girls, who objected to "Kahlo" and "Kollwitz" claiming responsibility for having created the collective effort, as well as the flippancy with which they exchanged their anonymity for legal standing.

Judge Louis L. Stanton, who handled the case, rejected the "bizarre" suggestion that defendants sporting gorilla masks be allowed to testify in his courtroom. He also stated that "Mundane court procedures for adjudicating legal rights and the ownership of property require direct and cross-examination of real persons with real addresses and attributes."

In their 45-page complaint, "Kahlo" and "Kollwitz" described themselves as the group's "guiding forces", even though the Guerrilla Girls were "informally organized, [and] had no official hierarchy". Initially, they asked the court to stop Guerrilla Girls Broadband from calling themselves Guerrilla Girls and sought millions of dollars in damages. In 2006, they settled with the theatre group who agreed to go by Guerrilla Girls on Tour. As of 2013, three separate groups remained active, the GuerrillaGirlsBroadBand, Inc., Guerrilla Girls On Tour, Inc. (the Theatre Girls), and Guerrilla Girls, Inc. The Guerrilla Girls BroadBand focuses on the internet as its "natural habitat".

Selling out
Upon their 1985 debut, the Guerrilla Girls were "lauded by the very establishment they sought to undermine". They have since exhibited at Tate Modern, Venice Biennale, Centre Pompidou, and MoMA, which additionally grants them a broader audience for their concerns. Since then, this relationship has only intensified, as the Guerrilla Girls presented their exhibitions in museums and even allowed their works to be collected by hegemonic institutions. Although some have questioned the efficacy, if not hypocrisy, of the group's working within the system that they originally denigrated, few would challenge their decision to let the Getty Research Institute house their archives.

Members and names

Membership in the New York City group is exclusive, by invitation only, based on relationships with current and past members, and one's involvement in the contemporary art world. A mentoring program was formed within the group, pairing a new member with an experienced Guerrilla Girl to bring them into the fold. Due to the lack of formality, the group is comfortable with individuals outside of their base claiming to be Guerrilla Girls; Guerrilla Girl 1 stated in a 2007 interview: "It can only enhance us by having people of power who have been given credit for being a Girl, even if they were never a Girl." Men are not allowed to become Guerrilla Girls but may support the group by assisting in promotional activities.

Guerrilla Girls' names are pseudonyms generally based on dead female artists. Members go by names such as Käthe Kollwitz, Alma Thomas, Rosalba Carriera, Frida Kahlo, Alice Neel, Julia de Burgos, and Hannah Höch. Guerrilla Girls' "Carriera" is credited with the idea of using pseudonyms as a way to not forget female artists. Having read about Rosalba Carriera in a footnote of Letters on Cézanne by Rainer Maria Rilke, she decided to pay tribute to the little-known female artist with her name. This also helped to solve the problem of media interviews; the group was often interviewed by phone and would not give names, causing problems and confusion amongst the group and the media. Guerrilla Girl 1 joined in the late 1980s, taking on her name as a way to memorialize women in the art community who have fallen under the radar and did not make as notable as an impact as the names takes on by other members. For some members like "Zora Neale Hurston", or Emma Amos, identities have only been made public posthumously.

Gorilla symbolism

The idea to adopt the gorilla as the group's symbol stemmed from a spelling error. One of the first Guerrilla Girls accidentally spelled the group's name at a meeting as "gorilla". Despite the fact that the idea of using a gorilla as a group symbol might have been accidental, the choice is nevertheless pertinent to the group's overall message in several key ways.

To begin with, the gorilla in popular culture and media is often associated with King Kong, or other images of trapped and tamed apes. In the 2010 SAIC Commencement, the comparison between institutionalized artists and tamed apes was explicitly made:

 And last, but not least, be a great ape. In 1917, Franz Kafka wrote a short story titled "A Report to an Academy", in which an ape spoke about what it was like to be taken into captivity by a bunch of educated, intellectual types. The published story ends with the ape tamed and broken by the stultified academics. But in an earlier draft, Kafka tells a different story. The ape ends his report by instructing other apes NOT to allow themselves to be tamed. He says instead: break the bars of your cages, bite a hole through them, squeeze through an opening ... and ask yourself where do YOU want to go

The gorilla is also typically associated with masculinity. The Met Museum poster is in part shocking because of its juxtaposition of the eroticized female odalisque body, and the large, snarling gorilla head. The addition of the head detracts from the male gaze and changes the way in which viewers are able to look at or understand the highly sexualized image. Further, the addition of the gorilla questions and modifies stereotypical notions of female beauty within Western art and popular culture, another stated goal of the Guerrilla Girls.

Guerrilla Girls, who wear the masks of big, hairy, powerful jungle creatures whose beauty is hardly conventional ... believe all animals, large and small, are beautiful in their own way.

Though this goal has never been explicitly stated by the group, in the history of Western art, primates have often been associated with the visual arts, and with the figure of the artist. The idea of ars simia naturae ("art the ape of nature") maintains that the job of art is to "ape", or faithfully copy and represent nature. This was an idea first popularized by Renaissance thinker Giovanni Boccaccio who alleged that "the artist in imitating nature only follows Nature's own command".

Legacy

The group Ridykeulous overwrote the 1988 Gorilla Girls' poster The Advantages of Being a Woman Artist with their own messages in 2007.

Notable collections
Art Institute of Chicago, Chicago, Illinois
Center for the Study of Political Graphics, Culver City, California
Fales Library and Special Collections, New York University, New York City
Madison Museum of Contemporary Art, Madison, WI
Museum of Modern Art, New York City
Tate, United Kingdom
Walker Art Center, Minneapolis, Minnesota
Whitney Museum of American Art, New York City

Other notable exhibitions

Beyond the Streets, 2018, Los Angeles
Guerrilla Girls Review the Whitney, 1987, The Clocktower, New York City
Guerrilla Girls: Exposición Retrospectiva, 2013, Alhóndiga Bilbao, Bilbao, Spain
Guerrilla Girls: Not Ready to Make Nice, 30 Years and Still Counting, Abron Arts Center, New York City
Media Networks: Andy Warhol and the Guerrilla Girls, (display), 2016, Tate Modern, London, United Kingdom
Not Ready to Make Nice: Guerrilla Girls in the Artworld and Beyond, 2012–2017, Columbia College Chicago, Chicago Illinois (traveled to 10 additional venues around the US)
GUERRILLA GIRLS: GRÁFICA, 1985-2017, São Paulo Museum of Art, São Paulo, Brazil

See also
Feminist art criticism
Feminist art movement in the United States
Guerrilla Girls On Tour

References

Further reading
Boucher, Melanie. Guerrilla Girls: Disturbing the Peace. Montreal: Galerie de l'UQAM, 2010.
Brand, Peg. "Feminist Art Epistemologies: Understanding Feminist Art". Hypatia. 3 (2007): 166–89.
Guerilla Girls. Guerilla Girls: the art of behaving badly. San Francisco, California: Chronicle Books, 2020.
Guerrilla Girls.  Confessions of the Guerrilla Girls, with an Essay by Whitney Chadwick. New York City: HarperCollins, 1995.
Guerrilla Girls. Bitches, Bimbos, and Ballbreakers: The Guerrilla Girls' Illustrated Guide to Female Stereotypes. London: Penguin, 2003.
Guerrilla Girls. The Guerrilla Girls' Bedside Companion to the History of Western Art. London: Penguin, 1998.
Janson, HW. Apes and Ape-Lore in the Middle Ages and the Renaissance. London: Warburg Institute, University of London, 1952.
Page-Lieberman, Neysa (ed.). Not Ready to Make Nice: Guerrilla Girls in the Art World and Beyond, with essays by Joanna Gardner-Huggett, Neysa Page-Lieberman, Kymberly Pinder, and a foreword by Jane M. Saks, Columbia College Chicago, 2011, 2013, 2017.
Raidiza, Kristen. "An Interview with the Guerrilla Girls, Dyke Action Machine DAM!, and the Toxic Titties". NWSA Journal. 1 (2007): 39–48. . Accessed February 27, 2013.
Schechter, Joel. Satiric Impersonations: From Aristophanes to the Guerrilla Girls. Carbondale: Southern Illinois University Press, 1994.

External links

An interview with Guerrilla Girls using the names Frida Kahlo and Kathe Kollwitz conducted January 19 and March 9, 2008, by Judith Olch Richards, for the Archives of American Art
Guerilla Girls records, Getty Research Institute, Los Angeles. Accession No. 2008.M.14
Guerrilla Girls, Brooklyn Museum's Elizabeth A. Sackler Center for Feminist Art
Guerrilla Girls: "You have to question what you see" , video interview by Tate
The Feminist Future: Guerrilla Girls a video from a talk presented at the Museum of Modern Art

American contemporary artists
Feminist artists
Feminist theory
Political art
Organizations based in New York City
Culture of New York City
Culture jamming
Collective pseudonyms
20th-century American women artists
Political masks
Anonymous artists
Year of birth unknown
International artist groups and collectives
American artist groups and collectives
1985 establishments in New York City

Guerrilla Girls


Jolanda Neff (St. Gallen, 5 de janeiro de 1993) é uma ciclista suíça.

Ela foi a vencedora geral da Copa do Mundo de Mountain Bike da UCI em 2014 e 2015. No Campeonato Mundial da UCI de 2017 em Cairns, se tornou a campeã mundial de elite. Conquistou a medalha de ouro no cross-country nos Jogos Olímpicos de 2020 em Tóquio. Suas companheiras de equipe, Sina Frei e Linda Indergand ganharam as medalhas de prata e bronze, marcando o primeiro pódio suíço nas Olimpíadas desde 1936 e a primeira vez que uma nação ganhou todas as três medalhas em um evento de ciclismo desde 1904.

Ciclistas olímpicos da Suíça
Campeões olímpicos da Suíça
Ciclistas nos Jogos Olímpicos de Verão de 2020
Medalhistas nos Jogos Olímpicos de Verão de 2020

Jolanda Neff


මෙම පිටුව ලෝකයේ හැති වැදගත් උද්භිද උද්‍යාන මෙම පිටුවේ ලැයිස්තු ගත කෙරේ.

ජපානය

ශ්‍රී ලංකාව

ආශ්‍රිත
 List of herbaria
 List of aquaria
 List of zoos
 List of tourist attractions worldwide

මූලාශ්‍ර

භාහිර සබැඳි
 Botanic Garden Conservation International's Garden Search Database

 List
Botanical gardens

උද්භිද උද්‍යාන ලැයිස්තුව


Carlos Filipe Ximenes Belo (født 3. februar 1948) er en romerskkatolsk biskop fra Østtimor. Sammen med José Ramos-Horta modtog han i 1996 Nobels fredspris for arbejdet med at bane vejen for "en retfærdig og fredelig løsning på konflikten i Østtimor".

Opvækst og uddannelse
Belo er søn af Domingos Vaz og Ermelinda Baptista Filipe og født i landsbyen Wailakama på nordkysten af Østtimor. Hans far, der var skolelærer, døde to år efter Belos fødsel, og Carlos Belo tilbragte en stor del af sin barndom på katolske skoler, inden han kom på præsteseminarium, hvorfra han fik eksamen i 1968. I perioden 1969-1981 (fraregnet perioder med praktisk træning som missionær 1974-76) tilbragte han i Portugal og Rom, hvor han studerede filosofi og teologi, indtil han blev præsteviet i 1980. Han blev undervejs i Europa salesianer.

Han vendte tilbage til Østtimor i juli 1981 og arbejdede først som lærer, dernæst som leder af det salesianske kollegium i Fatumaca.

Religiøst lederskab
Da Martinho da Costa Lopes i 1983 trak sig tilbage, blev Belo valgt som apostolisk administrator for bispedømmet i Dili, hvorved han blev leder af kirken i Østtimor med reference direkte til paven. 6. februar 1989 blev han udnævnt til biskop af Lorium.

Fader Belo var Vatikanets valg til nuntius i Jakarta på grund af hans tilsyneladende lydighed, men hans timoresiske fæller bifaldt ikke valget og mødte ikke op til udnævnelsen. Imidlertid protesterede han voldsomt, blot fem måneder efter udnævnelsen, ved en gudstjeneste i katedralen over den brutale Kraras-massakre i 1983 og fordømte de mange arrestationer foretaget af indoneserne. Kirken var den eneste institution, der havde mulighed for at kommunikere med omverdenen, og med denne viden begyndte den nye biskop at skrive breve og opbygge et net af oversøiske kontakter på trods af den isolation, som oppositionen mod det indonesiske styre var udsat for, og trods omverdenens mangel på interesse for begivenhederne.

I februar 1989 skrev Belo til den portugisiske præsident, paven og FN's generalsekretær og opfordrede til at få vedtaget en FN-resolution om Østtimors fremtid og for at bede om hjælp til befolkningen, som "var ved at dø som mennesker og som nation", men da brevet blev offentligt kendt i april, blev han endnu mere et mål for indoneserne. Den spændte situation blev værre, da biskop Belo opbyggede et fristed i sit hjem, som han også tidligere havde gjort, til unge mennesker, der var undsluppet fra Santa Cruz-massakren i 1991, og samtidig søgte at offentliggøre antallet af ofre fra massakren.

Biskop Belos arbejde for sine østtimoriske landsmænd i forsøget på at få skaffet en fredelig løsning og en forsoning blev internationalt anerkendt, da han i 1996 sammen med José Ramos-Horta modtog Nobels fredspris. Belo benyttede sig af prisen til at opnå samtale med den amerikanske præsident Bill Clinton og den sydafrikanske præsident Nelson Mandela.

Afgang som apostolisk administrator
I perioden efter Østtimors uafhængighed 20. maj 2002 viste det mangeårige pres og de store begivenheder sig i form af et skrantende helbred hos bisko Belo. Pave Johannes Paul 2. godkendte derpå hans afgang som apostolisk administrator i Dili 26. november 2002.

Efter sin afgang drog biskop Belo til Portugal for at få lægelig behandling. I begyndelsen på 2004 kom der flere opfordringer fra Østtimor til ham om at stille op som kandidat til præsidentvalget for nationen. Men i maj 2004 fortalte han til det portugisiske nationale tv-selskab, at han ikke ønskede sit navn på kandidatlisten, fordi "jeg har besluttet at overlade politik til politikerne". En måned senere var hans helbred forbedret så meget, at han meldte sig klar til nye opgaver for den katolske kirke. I samråd med Vatikanet blev han derpå missionær i Mozambique, hvor han i det salinesiske samfund der i landet.

Han bekendtgjorde, at han havde holdt møder med præfekten for Kongregationen for folkenes evangelisering, og derved havde besluttet sig for at missionere i Maputo-bispedømmet, og han påbegyndte dette arbejde i juli 2004.

Noter

Katolske biskopper
Personer fra Østtimor
Modtagere af Nobels fredspris

Carlos Filipe Ximenes Belo


An Oeceoclades in uska genus han Liliopsida. An Oeceoclades in nahilalakip ha familia nga Orchidaceae.

Ilarom nga taxa

 Oeceoclades alismatophylla
 Oeceoclades ambongensis
 Oeceoclades ambrensis
 Oeceoclades analamerensis
 Oeceoclades analavelensis
 Oeceoclades angustifolia
 Oeceoclades antsingyensis
 Oeceoclades atrovirens
 Oeceoclades aurea
 Oeceoclades bernetii
 Oeceoclades boinensis
 Oeceoclades calcarata
 Oeceoclades callmanderi
 Oeceoclades cordylinophylla
 Oeceoclades decaryana
 Oeceoclades flavescens
 Oeceoclades furcata
 Oeceoclades gracillima
 Oeceoclades hebdingiana
 Oeceoclades humbertii
 Oeceoclades lanceata
 Oeceoclades latifolia
 Oeceoclades lonchophylla
 Oeceoclades longibracteata
 Oeceoclades lubbersiana
 Oeceoclades maculata
 Oeceoclades pandurata
 Oeceoclades perrieri
 Oeceoclades petiolata
 Oeceoclades peyrotii
 Oeceoclades quadriloba
 Oeceoclades rauhii
 Oeceoclades saundersiana
 Oeceoclades sclerophylla
 Oeceoclades seychellarum
 Oeceoclades spathulifera
 Oeceoclades ugandae
 Oeceoclades zanzibarica

Mga kasarigan

Mga sumpay ha gawas

Oeceoclades

Oeceoclades


Zülfikar Ali Butto (Sindhî: ذوالفقار علي ڀٽو, Urduca: ذُوالفِقار علی بُھٹّو Ocak 1928 - 4 Nisan 1979), 1973'ten 1977'ye kadar Pakistan'ın dokuzuncu Başbakanı, 1971'den 1973'e kadar Pakistan'ın dördüncü Cumhurbaşkanı olarak görev yapan Pakistanlı bir avukat ve politikacı. Aynı zamanda Pakistan Halk Partisi'nin (PPP) kurucusudur. 1979'da idam edilinceye kadar partinin başkanlığını üstlenmiştir.

Sind eyaletinde doğan ve Kaliforniya Üniversitesi ve Oxford Üniversitesi'nde eğitim gören Butto, Başkan İskender Mirza'nın kabine üyelerinden biri olarak siyasete girmeden önce Lincoln's Inn'de avukatlık eğitimi aldı ve sırasında birkaç bakanlığa atandı. Sonradan yönetime el koyan general Muhammed Eyüb Han'ın 1958'den itibaren askeri yönetimi sırasında 1963'te Dışişleri Bakanı olarak atanan Butto, bakanlık yaptığı sırada II. Hindistan-Pakistan Savaşı meydana geldi. Eyüp Han'ın devrilmesinde sonra yapılan ve 1970'te Yahya Han'ın kazandığı genel seçimlere itiraz etti. Awami Ligi ülke çapındaki sandalyelerin çoğunluğunu kazanırken, Halk Partisi yalnızca Batı Pakistan'da sandalyelerin çoğunluğunu kazandı. İki parti yetki devri ve yeni bir anayasa konusunda anlaşamadı. Bangladeş Kurtuluş Savaşı'nı Hindistan'ın kazanması sonrası  Aralık 1971'de cumhurbaşkanlığını devraldı ve olağanüstü hal ilan edildi. Butto Pakistan'ı yeniden inşa etmeye başladığında, niyetinin "güveni yeniden inşa etmek ve gelecek için umudu yeniden inşa etmek" olduğunu belirtti.

Temmuz 1972'ye kadar Butto, Simla Anlaşması'nı imzaladıktan sonra 93.000 savaş esirini ve 5.000 metrekarelik toprağı Hindistan'dan geri aldı.

Çin ve Suudi Arabistan ile bağlarını güçlendirdi, Bangladeş'i tanıdı ve 1974'te Lahor'da ikinci İslam İşbirliği Teşkilatı'na ev sahipliği yaptı. 1973 yılında parlamento oybirliğiyle yeni bir anayasayı onayladı. Fazal Elahi Çaudhri'yi Cumhurbaşkanlığı makamına atadığı ve yeniden yetkilendirilen Başbakanlık makamına geçti. Ayrıca ülkenin nükleer programının başlatılmasında büyük bir rol oynadı. Bununla birlikte, Butto'nun Pakistan'ın yeni gelişen endüstrilerinin, sağlık hizmetlerinin ve eğitim kurumlarının çoğunu kamulaştırması ekonomik durgunlukla karşılandı. Belucistan'daki eyalet feodal hükûmetini dağıttıktan sonra kargaşa yaşandı, Butto 1973'te Belucistan'a bir ordu operasyonu emretti ve binlerce sivilin ölümüne neden oldu.  Mevcut karışıklığa rağmen, Halk Partisi 1977'de yapılan parlamento seçimlerinde rakibinin iki katı oy alarak kazandı seçimleri muhalefetin hile yapıldığı iddiasıyla şiddet ülke çapına yayıldı. Aynı yıl 5 Temmuz'da Butto, ordu komutanı Muhammed Ziyâ ül Hak tarafından askeri bir darbeyle devrildi ve 1979'da Pakistan Yüce Mahkemesi tarafından siyasi bir rakibin öldürülmesine izin verdiği gerekçesiyle tartışmalı bir şekilde yargılanıp idam edildi.

Butto, milliyetçiliği ve laik enternasyonalist gündemi nedeniyle övülen, ancak siyasi muhaliflerini sindirdiği ve insan hakları ihlalleri nedeniyle eleştirilen tartışmalı bir figür olmaya devam ediyor. Sıklıkla Pakistan'ın en büyük liderlerinden biri olarak kabul edilir Partisi, kızı Benazir Butto'nun iki kez Başbakan seçilmesiyle Pakistan'ın en büyükleri arasında yer alırken, damadı ve Benazir'in kocası Asıf Ali Zerdari de cumhurbaşkanı olarak görev yaptı.

Kaynakça

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1928 doğumlular
1979 yılında ölenler
Butto ailesi
Pakistan devlet başkanları
Pakistan başbakanları
Pakistanlı antikomünistler
Askerî darbe ile devrilen liderler
Suikast sonucu ölen Pakistanlılar
Pakistan dışişleri bakanları
Pakistan savunma bakanları
Yasama organı başkanları
Pakistan içişleri bakanları
İdam edilmiş başbakanlar
İdam edilmiş cumhurbaşkanları

Zülfikar Ali Butto


Wingdings is a series of dingbat fonts that render letters as a variety of symbols. They were originally developed in 1990 by Microsoft by combining glyphs from Lucida Icons, Arrows, and Stars licensed from Charles Bigelow and Kris Holmes. Certain versions of the font's copyright string include attribution to Type Solutions, Inc., the maker of a tool used to hint the font.

None of the characters were mapped to Unicode at the time; however, Unicode approved the addition of many symbols in the Wingdings and Webdings fonts in Unicode 7.0.

Wingdings

Wingdings is a TrueType dingbat font included in all versions of Microsoft Windows from version 3.1 until Windows Vista/Server 2008, and also in a number of application packages of that era.

The Wingdings trademark is owned by Microsoft, and the design and glyph order was awarded U.S. Design Patent D341848 in 1993. The patent expired in 2005. In many other countries, a Design Patent would be called a registered design. It is registration of a design to deter imitation, rather than a claim of a novel invention.

This font contains many largely recognized shapes and gestures as well as some recognized world symbols, such as the Star of David, the symbols of the zodiac, index or manicule signs, hand gestures, and obscure ampersands.

Character set

Wingdings 2

Wingdings 2 is a TrueType font distributed with a variety of Microsoft applications, including Microsoft Office up to version 2010. The font was developed in 1990 by Type Solutions, Inc. The current copyright holder is Microsoft Corporation. Among the features of Wingdings 2 are 16 forms of the index, Enclosed Alphanumerics from 0 to 10, multiple forms of ampersand and interrobang, several geometric shapes and an asterism.

Character set

Wingdings 3

Wingdings 3 is a TrueType dingbat font distributed with Microsoft Office (up to version 2010) and some other Microsoft products.

The font was originally developed in 1990 by Type Solutions, Inc. Currently, the copyright holder is Microsoft Corporation. Wingdings 3 consists almost entirely of arrow variations and includes many symbols for keytops as defined in ISO/IEC 9995-7.

Character set

Controversy

In 1992, only days after the release of Windows 3.1, it was discovered that "NYC" (New York City) in Wingdings was rendered as a skull and crossbones symbol, Star of David, and thumbs up gesture. This was often said to be an antisemitic message referencing New York's large Jewish community. Microsoft strongly denied this was intentional, and insisted that the final arrangement of the glyphs in the font was largely random. "NYC" in the later-released Webdings font was intentionally rendered as eye, heart, and city skyline, referring to the I Love New York logo.

After September 11, 2001, an email was circulated claiming that "Q33 NY", which it claims is the flight number of the first plane to hit the Twin Towers, in Wingdings would bring up a character sequence of a plane flying into two rectangular paper sheet icons which may be interpreted as skyscrapers, followed by the skull and crossbones symbol and the Star of David. This is a hoax; the flight numbers of the airplanes that hit the towers were AA11 and UA175; the tail numbers were N334AA and N612UA.

In popular culture
In the indie video game Undertale, a hidden character known as W.D. Gaster uses the Wingdings typeface to speak. In specific, Gaster uses it to speak during his Lab Entry #17, and on older versions of the Deltarune website.

See also
 Dingbat
 Zapf Dingbats
 Webdings
 Unicode symbols
 Zodiac symbols
 Emoji

References

Symbol typefaces
Typefaces and fonts introduced in 1990
Windows XP typefaces
 Typefaces designed by Charles Bigelow (type designer)
 Typefaces designed by Kris Holmes

Wingdings


Türkiye Halk İştirakiyun Fırkası (THİF), Kurtuluş Savaşı sırasında Anadolu'da komünist faaliyet yürüten bir partidir.

Salih Hacıoğlu genel sekreterliğindeki gizli Türkiye Bolşevik Komünist Partisi (TBKP) 7 Aralık 1920'de Ankara'da Halk Zümresi ve Yeşil Ordu Cemiyeti ile beraber çalışacağını bildirerek Türkiye Halk İştirakiyun Fırkası programını ve kuruluş bildirgesini yayınladı. Türkiye Komünist Partisinin (TKP) yasal örgütlenmesi olarak THİF böylece Türkiye'nin ilk yasal komünist partisi oldu. Yayın organı Emek olan parti, işçilere ve yoksul köylü sınıfına yönelik bir politik çalışma yapıyordu.  1920 yılı Aralık ayı sonlarında patlak veren  Çerkez Ethem Ayaklanması ardından hükûmet THİF'e yönelik baskıları arttırdı ve Salih Hacıoğlu dahil birçok parti mensubunu kapsayan tutuklamalara girişti. Bunun üzerine 2 Şubat 1921'de partinin Yeşil Ordu kökenli liderlerinden Nâzım Bey ve Şükrü Bey partinin kapatıldığını ilan ettiler.

29 Eylül 1921'de Sovyetler'in de etkisiyle TBMM'nin çıkardığı özel af sonucu THİF yöneticilerinin serbest kalmasının ardından, 18 Mart 1922'de Sovyet elçiliğinde düzenlenen Paris Komünü anma töreni sırasında Salih Hacıoğlu'nun Sovyet elçisi Aralov ve THİF Merkez Komitesinde de yer alan Komintern temsilcisi Golman ile yaptığı toplantıda THİF'in yeniden faaliyete geçmesine karar verildi. Mart ayı sonlarında hükûmete başvuru yapılarak THİF'in ikinci faaliyet dönemi başladı.

THİF 15 Ağustos 1922'de Ankara'da ilk kongresini topladı. Hükûmet başlangıçta THİF kongresinin yapılmasına izin vermekle birlikte, son anda yabancıların katılımını gerekçe göstererek toplantıyı yasakladı. Buna rağmen kongre 16/17 ve 25/26 Ağustos 1922'de iki oturum halinde Salih Hacıoğlu'nun divan başkanlığında yapıldı. Komintern temsilcisi Golman'ın desteğiyle Salih Hacıoğlu yine THİF Genel Sekreteri oldu ve 30 Ağustos zaferini takiben TBMM'de yapılan kutlama törenlerinde partiyi temsil etti.

Hükûmet izinsiz kongre yapması ve Komintern temsilcisinin kongresine katılması nedeniyle partiyi 12 Eylül 1922'de yeniden kapattı. Ağustos 1923'te yöneticileri de hapis cezasına çarptırıldı.

Bunun ardından TKP yeniden yasadışı olarak faaliyet göstermeye devam etti ve THİF 1. Kongresi daha sonra TKP'nin 2. Kongresi kabul edildi.

Ayrıca bakınız
 Osmanlı Sosyalist Fırkası
 Sosyal Demokrat Fırkası
Türkiye İşçi ve Çiftçi Sosyalist Fırkası
Türkiye Komünist Partisi
 Türkiye Sosyalist Fırkası
Türkiye Sosyalist Emekçi ve Köylü Partisi
Türkiye Birleşik Komünist Partisi

Türkiye'deki eski siyasi partiler
1920'de kurulan siyasi partiler
Türkiye'deki sosyalist partiler
Türkiye'deki komünist partiler
Osmanlı İmparatorluğu'ndaki siyasi partiler

Türkiye Halk İştirakiyyun Fırkası


Come Sunday est un film américain réalisé par Joshua Marston, sorti en 2018.

Synopsis
Carlton Pearson prêche que l'enfer n'existe pas et est excommunié par l'église.

Fiche technique
 Titre : Come Sunday
 Réalisation : Joshua Marston
 Scénario : Marcus Hinchey d'après le reportage radio de Russell Cobb et Alex Blumberg
 Musique : Tamar-kali
 Photographie : Peter Flinckenberg
 Montage : Malcolm Jamieson
 Production : Ira Glass, Julie Goldstein, Alissa Shipp et James D. Stern
 Société de production : Endgame Entertainment et This American Life
 Pays :
 Genre : Biopic et drame
 Durée : 106 minutes
 Dates de sortie :
Netflix :

Distribution
 Chiwetel Ejiofor  : Carlton Pearson
 Martin Sheen  : Oral Roberts
 Condola Rashād : Gina Pearson, la femme de Carlton
 Jason Segel : Henry
 Danny Glover  : Quincy Pearson, l'oncle emprisonné de Carlton
 Lakeith Stanfield : Reggie

Accueil
Le film a reçu un accueil favorable de la critique. Il obtient un score moyen de 65 % sur Metacritic.

Notes et références

Liens externes

Film américain sorti en 2018
Film biographique américain
Film dramatique américain
Film réalisé par Joshua Marston
Film distribué par Netflix
Film biographique sur une personnalité religieuse
Film sur le christianisme évangélique
Adaptation au cinéma

Come Sunday


Moštenica este o comună slovacă, aflată în districtul Banská Bystrica din regiunea Banská Bystrica. Localitatea se află la , se întinde pe o suprafață de  și în 2017 număra 235 de locuitori.

Istoric
Localitatea Moštenica este atestată documentar din 1340.

Note

Legături externe

Localități din Slovacia

Moštenica, Banská Bystrica


In analytical geometry , a transcendental curve is a curve that is not an algebraic curve. Here for a curve, C, what matters is the point set (typically in the plane) underlying C, not a given parametrisation. For example, the unit circle is an algebraic curve (pedantically, the real points of such a curve); the usual parametrisation by trigonometric functions may involve those transcendental functions, but certainly the unit circle is defined by a polynomial equation. (The same remark applies to elliptic curves and elliptic functions; and in fact to curves of genus > 1 and automorphic functions.)

The properties of algebraic curves, such as Bézout's theorem, give rise to criteria for showing curves actually are transcendental. For example an algebraic curve C either meets a given line L in a finite number of points, or possibly contains all of L. Thus a curve intersecting any line in an infinite number of points, while not containing it, must be transcendental. This applies not just to sinusoidal curves, therefore; but to large classes of curves showing oscillations.

The term is originally attributed to Leibniz.

Further examples
 Cycloid
 Trigonometric functions
 Logarithmic and exponential functions
 Archimedes' spiral
 Logarithmic spiral
 Catenary
 Tricomplex cosexponential

References

Curves

ru:Кривая#Трансцендентные кривые

Transcendental curve


Ultima privire (2015) este un roman fantasy, pentru tineret al scriitoarei Adina Speteanu. Este ultimul volum al seriei Dincolo de moarte, care prezintă lupta dintre două popoare de nemorți, strigoii și vampirii. Acțiunea continuă din locul în care a fost abandonată de cartea precedentă, Îngeri de gheață, și prezintă înfruntarea finală între strigoii conduși de Natalia și vampirii aflați sub influența nefastă a lui Dragoș.

Intriga

Dispariția lui Andrei lasă Garda într-o situație delicată, căreia membrii ei încearcă să-i facă față. Deși suferă, Natalia se străduiește să-și îndeplinească atribuțiile de lider și, mai ales, să-și protejeze familia atât de furia lui Dragoș, cât și de răzbunarea propriului popor, care află că sursa tuturor relelor o reprezintă bunica ei.

Regulile în Strygorra se schimbă sub influența lui Renard, care face tot ce îi stă în puteri pentru a submina autoritatea greu acceptată de mulți a Nataliei. Schimbările în cadrul Gărzii, despre care se spera să ajute la întărirea pozițiilor în fața vampirilor, creează adevărate breșe de securitate. Baltazar se dovedește a fi trădătorul îndelung căutat și este condamnat la distrugere. Spre surprinderea tuturor Natalia se opune pedepsei capitale, adâncind și mai mult conflictul cu propriul popor.

Din umbră, Dragoș coordonează acțiunile Lydei, iar confruntarea dintre strigoi și vampiri devine doar o chestiune de timp, în ciuda încercărilor celor dintâi de a proteja Strygorra. Sorții par a fi în favoarea vampirilor, a căror forță este superioară, dar ajutorul vine din partea foștilor Vampiri ai Întunericului, plecați într-un exil autoimpus după ce Dragoș l-a ucis pe liderul lor, luându-i locul.

Ajutat de Vero, Armand evadează și încearcă să revină la Natalia - nu ca arma în care dorea să-l transforme Dragoș, ci în fostul ei prieten și confident. Între timp, odată cu revenirea lui Andrei, relația dintre Vero și Natalia - fosta și actuala iubită - devine tensionată, chiar dacă cea dintâi înțelege că a pierdut.

Conștientă că nu-i poate veni de hac lui Dragoș decât printr-un truc, Natalia își înscenează propria moarte. Vampirii atacă Strygorra, în timp ce Natalia reușește să-l confrunte pe Dragoș cu marea iubire a vieții lui - bunica ei. Evenimentele se precipită, dar cartea pe care a mizat protagonista se dovedește câștigătoare. Natalia se dovedește a fi Aleasa, aducând echilibrul între strigoi și vampiri. Întrebarea care rămâne la final este aceea dacă relația eu cu Andrei are un viitor.

Cuprins

 Prolog
 Începuturi
 Aparențe
 Întoarcerea

 Contraatac
 Prizonieri
 Înapoi
 Regrete

 Abuz
 Amândoi
 Regăsirea
 Epilog

Opinii critice

Jurnalul unei cititoare este de părere că răsturnările de situație și conjuncturile în care sunt puse personajele fac din acest volum unul care nu trebuie ratat. Mai mult, își exprimă speranța că seria nu se va încheia, totuși, aici. Gazeta SF apreciază cartea, în ciuda unor mici scăpări, afirmând că "firele importante se leagă, conflictele majore se rezolvă plauzibil, dar rămân și întrebări despre ce se va întâmpla mai departe cu unele planuri secundare, lăsându-i cititorului posibilitatea să viseze.".

Note

Legături externe

 Ultima privire pe site-ul editurii Tritonic

Romane din 2015
Cărți din 2015

Ultima privire


An Renanthera monachica in uska species han Liliopsida nga ginhulagway ni Oakes Ames. An Renanthera monachica in nahilalakip ha genus nga Renanthera, ngan familia nga Orchidaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Mga sumpay ha gawas

Renanthera

Renanthera monachica


Crkva Pohoda Blažene Djevice Marije u Zagrebu poznata i kao Sveta Marija Dolac je župna crkva nalazi se na adresi Dolac 2, crkva je zaštićeno kulturno dobro Republike Hrvatske.

Povijest crkve

Već 1272. godine u Zagrebu je postojala "Crkva Blažene Djevice Marije" podno Gradeca koja se vjerojatno nalazila na istom mjestu gdje je i današnja.

Moguće je da je ova crkva sagrađena nakon što je katedrala uništena tijekom Tatarske invazije (1242.),
kako bi se omogućila služba mise do izgradnje katedrale.
Godine 1315. vlasnici crkve su cisterciti koji su između 1307. i 1315. s otoka sv. Egidije na Savi došli u Zagreb.

Godine 1347. cisterciti su obnovili crkvu pored koje su imali i samostan, postojalo je i kupalište na vlastitu zemljištu.

Cisterciti su napustili Zagreb između 1496. i 1499. iz nepoznatih razloga, možda zbog straha od turskih provala.

Crkva postaje župna 1511. godine kada se u nju odobrenjem pape Julija II. prenose prava iz dotadašnje župne crkve sv. Emerika uz katedralu, uklonjene zbog izgradnje novih obrambenih zidina.

Današnji zvonik sagrađen je 1736-42., glavni oltar bio je posvećen pohodu Blažene Djevice Marije svetoj Elizabeti.

Stara crkva opisana 1736. godine temeljito je pregrađivana i proširena do 1750. godine, kada možemo
smjestiti dovršetak radova na crkvi.

Grobnice pod novom crkvom spominju se prvi puta u vizitama g. 1779. Mi ih međutim nalazimo u
maticama umrlih puno ranije. Jedna je od najstarijih godina u tim maticama u kojima se javljaju, g. 1757; kad je u jednoj od njih bio pokopan poznati ljubljanski kipar, inače Venecijanac, Franjo Robba.

Potres 1880. godine oštetio je sve zagrebačke crkve, posebno katedralu, no crkva na Dolcu ostala je u funkciji i služila je kao katedralna crkva u razdoblju od 1880. do 1885. godine.

I 140 godina poslije situacija se ponovila, u potresu 22. ožujka 2020. oštećene su sve crkve u središtu Zagreba.

Galerija

Izvori

Crkve sv. Marije
Katoličke crkve u Zagrebu

Župna crkva sv. Marije na Dolcu


Patronyme

 André Kana-Biyik (1965-), ancien footballeur camerounais ;
 Jean-Armel Kana-Biyik (1989-), footballeur franco-camerounais, son fils.

Kana-Biyik


Alain Houpert (né en 1957), homme politique français, sénateur.
 Louis Houpert, homme politique français, dont le nom a été nommé au groupe scolaire Louis Houpert du Wiesberg à Forbach.

Houpert


Yedisekiz Hasan Paşa (1831 - 23 Ocak 1905), Osmanlı paşası. Osmanlı ordusunda erlikten mareşalliğe kadar yükselebilen nadir isimlerdendir. Okuma-yazması zayıf olduğu ve imzası Arapça yedi (٧) ve sekiz (٨) rakamlarından oluştuğu için bu lakabı almıştır.

Hayatı

1831'de Çorum'un Kuşsaray köyünde doğdu. Askerliğine kadar demirci ustası olan babasının yanında çalışıp, askerlik vazifesiyle İstanbul'a geldi. Kırım Savaşı'na katılıp büyük yararlılıklar gösterdi. İstanbul'a dönüşünde çavuş oldu. Gözü pekliğiyle, daha çok Arnavut ve Çerkeslerin tekelinde olan muhafız alaylarında kendine yer edindi. Muhafız olarak katıldığı bir hac seferi sonrası içinde bulunduğu gemiyi batmaktan kurtarınca, Abdülmecit tarafından mülazımlık (teğmen) payesiyle ödüllendirildi.

Abdülaziz'in saltanatında Ağa payesiyle Beşiktaş karakol komutanı oldu. Ramazan ayında yemek yiyip, içki içenleri dövüp sonra Allah ıslah etsin! diye bıraktığı rivayet edilir. II. Abdülhamit'i devirmek için Çırağan baskınını gerçekleştiren Ali Suavi'yi bir sopayla kafasına vurarak öldüren Hasan Ağa'ya bu olaydan sonra paşalık (generallik) unvanı verildi. 93 Harbi'nde Kafkas cephesinde büyük yararlılıklar gösterdi.

Yedisekiz Hasan Paşa'nın adı son zamanlarda yakın Osmanlı tarihi bağlamında tartışmaya yol açmıştır. Okuma-yazma bilmediği için verildiğini iddia edenler olmakla birlikte çocukluğunda medrese eğitimi aldığı da iddia edilir. Ancak imzasını Arapça yedi ile sekiz rakamlarını yazıp bu sayıyı bir çizgiyle birleştirdiği doğrudur. Paşa, II. Abdülhamit'in en güvendiği ikinci adamı olması nedeniyle bu yakıştırmanın yapıldığı düşünülür.

Hasan Paşa 1905'te öldü. Geride meşhur namıyla beraber, memleketi Çorum'da, 1894 yılında yaptırttığı 27,5 metre yüksekliğindeki saat kulesi kalmıştır. Torunları bugün Başıbüyük soyadıyla Çorum ilinde yaşamaktadırlar.

İdari anlamda Çorum ve bölgesine etkisi günümüzde İskilip, Osmancık, Sungurlu gibi yerlerin Çorum Sancağına doğrudan bağlanmasını 1894 yılında sağlaması olmuştur.

Günümüz Kültürüne etkisi
Çırağan Baskını dizisinde Yedisekiz Hasan Paşa'yı Ahmet Mümtaz Taylan canlandırmıştır.

Galeri

Kaynakça

Dış bağlantılar
 Mehmet Barlas'ın bir yazısı
 Çorum Hasanpaşa Devlet Hastanesi Baştabipliği

Osmanlı mareşalleri
Çorum doğumlular
1831 doğumlular
1905 yılında ölenler
Osmanlı paşaları
İstanbul'da ölenler
Yahya Efendi Tekkesi Haziresi'ne defnedilenler

Yedi Sekiz Hasan Paşa


Eduardo Bustos Montoya (født 3. oktober 1976) er en tidligere argentinsk fodboldspiller.

Eksterne henvisninger

Fodboldspillere fra Argentina

Eduardo Bustos Montoya


Gheorghe Pop () este un senator român, ales în 2012.

Vezi și
 Legislatura 2012-2016 (Senat)
 Parlamentul României

Legături externe
 Activitatea parlamentară

Senatori români 2012-2016
Senatori români 2008-2012
Politicieni români în viață
Senatori români 2016-2020
Membri ai Partidului Social Democrat

Gheorghe Pop


O Rio Ligeiro é um curso de água do estado do Paraná. Sua nascente localiza-se no limite sul do município de Pato Branco com o município de Vitorino, atravessando o perímetro urbano de Pato Branco, tendo sua foz no Rio Vitorino.

Rio Ligeiro


تحويل وتقليم والإضاءة  وهي صيغة تستخدم في رسوميات الحاسوب. وكلمة التحويل تعني
تحويل إحداثيات نماذج ثلاثية الأبعاد إلى إحداثيات ثنائية الأبعاد. وتعني كلمة تقليم هي عرض الرسوميات التي تكون في مجال نظر المشاهد. وتعني كلمة الإضاءة هي حساب النقات المضيءة في الواقع افتراضي وحساب أثرها على النماذج المجاورة لعرض هذه الآثار على شاشة الحاسوب.

مراجع

تصيير ثلاثي الأبعاد

تحويل و تقليم والإضاءة


El Salvador millî futbol takımı, El Salvador'u uluslararası arenada temsil eden futbol takımıdır.

Tarihçe
İkinci Dünya Kupası katılımını İspanya'da düzenlenen 1982 FIFA Dünya Kupası'nda elde eden El Salvador, kötü bir rekora imza attı. İlk maçta Macaristan'a karşı dağılan El Salvador, 10'a 1 kaybederek Dünya Kupaları tarihinin en ağır yenilgisini aldı. Kalan maçlarda da Arjantin'e 2-0 ve Belçika'ya 1-0 yenilip elendi. Ancak, El Salvador'a 10 gol atan Macaristan da bu gruptan çıkamadı. 1982'de 10-1 kaybedilen Macar maçında tek golü kaydeden Luis Ramírez Zapata, El Salvador'un Dünya Kupası tarhindeki ilk ve tek golünü kaydeden futbolcu olarak tarihine geçti.

Turnuva tarihi
 Şampiyon   İkincilik   Üçüncülük   Dördüncülük

FIFA Dünya Kupası tarihi

CONCACAF Altın Kupa tarihi

Güncel kadro
Aşağıdaki 23 oyuncu, 15 Haziran ve 7 Temmuz tarihleri arasında gerçekleşecek olan 2019 CONCACAF Gold Cup'ta oynamak üzere seçildi.

Ayrıca bakınız
Futbol Savaşı

Kaynakça

El Salvador millî futbol takımı


Akıncılar, Kırklareli ilinin Vize ilçesine bağlı bir köydür.

Tarihçe
Köyün eski adı 1901 yılı kayıtlarında Tatarlı olarak geçmektedir.

Coğrafya
Köy, Kırklareli il merkezine 73 km, Vize ilçe merkezine 17 km uzaklıktadır. Köy, Vize'nin güneybatısında,  numaralı Vize-Lüleburgaz il yolu üzerindedir.

Nüfus

Kaynakça

Dış bağlantılar

Vize belde ve köyleri

Akıncılar, Vize


Vysoká este o comună slovacă, aflată în districtul Sabinov din regiunea Prešov. Localitatea se află la , se întinde pe o suprafață de  și în 2017 număra 127 de locuitori.

Istoric
Localitatea Vysoká este atestată documentar din 1278.

Note

Legături externe

Localități din Slovacia

Vysoká, Sabinov


Deux Excursions Botaniques (abreviado Deux Excurs. Bot.) es un libro con ilustraciones y descripciones botánicas que fue escrito conjuntamente por Emilio Levier y Louis François Jules Rodolphe Leresche bajo la guía de Pierre Edmond Boissier. Fue publicado en el año 1880 con el nombre de Deux Excursions Botaniques dans le nord de l'Espagne et le Portugal en 1878 et 1879.

Entre los estudios y descubrimientos de estos primeros exploradores botánicos de los Picos de Europa, destaca la catalogación de la Pimpinella siifolia Leresche.

Referencias

Enlaces externos
en IPNI

Libros de botánica
Publicaciones científicas

Deux Excursions Botaniques


2022 en Azerbaïdjan répertorie les évènements marquants de l'année 2022 en Azerbaïdjan.

L'année 2022 est l'Année de Chouchi.

Janvier

Février

Déclaration de Moscou sur la coopération alliée entre la Russie et l'Azerbaïdjan à l'occasion du  anniversaire de l'établissement des relations diplomatiques.

Mars

Avril

 22-

Ve Congrès des Azerbaïdjanais du monde

 22-

Coupe du monde de gymnastique rythmique de la Fédération Internationale de Gymnastique (FIG)

Mai

 12-14 mai

La 5e édition du Festival folklorique international « Khary bulbul »

 20-27 mai

Festival international de piano de Bakou

 26-29 mai

Festival international de l'aviation, de l'espace et de la technologie "Teknofest''

Juin

 1-4 juin

Semaine de l'énergie de Bakou

 2-4 juin

27e Forum de l'énergie de Bakou

 10-12 juin

Grand Prix d'Azerbaïdjan "Formule 1"

 16-18 juin

IXe Forum mondial de Bakou

Juillet

 14-15 juillet 2022

Journées de poésie Vagif (Choucha)

 18 juillet

La présidente de la Commission européenne Ursula von der Leyen s'est rendue en Azerbaïdjan et a rencontré Ilham Aliyev à Bakou

 19-25 juillet

1ère étape de réinstallation des habitants dans le village d'Agali, qui a été reconstruit sur la base du concept de "village intelligent" à Zangilan
 25-29 juillet

Festival d'été Sea Breeze

Août
9-18 août

 L'Azerbaïdjan a participé aux Jeux de la solidarité islamique 2021

Septembre
 12 septembre : l'Azerbaïdjan accuse l'Arménie de « provocations » et lance une attaque à la frontière entre les deux pays, théâtre d'un conflit depuis l'été 2021.
 15-16 septembre
Participation au sommet de l'Organisation de coopération de Shanghai

Octobre
2-11 octobre

Olympiade mondiale d'échecs de la jeunesse 2022 (Nakhitchevan)

 5-6 octobre

I Forum national d'urbanisme

 13 octobre

Participation au 6e Sommet de la Conférence sur l'interaction et les mesures de confiance en Asie

 19 octobre

Conférence internationale des médiateurs de Bakou

Exposition de la Chambre Islamique de Commerce et d'Industrie
 20 octobre 2022 - ouverture de l'aéroport international de Zangilan.

Novembre
1er novembre - Participation au 31 Sommet de la Ligue Arabe

11 novembre - Participation au IX Sommet de l'Organisation des États turcs

Décembre

 9 décembre - XX Congrès de l'Union des architectes d'Azerbaïdjan

Voir aussi

 2021 en Azerbaïdjan
 2023 en Azerbaïdjan

Notes et références

2022 en Azerbaïdjan
Azerbaïdjan

2022 en Azerbaïdjan


عدنان سيد عبد الصمد أحمد سيد زاهد (25 أبريل 1950 - )؛ نائب سابق في مجلس الأمة الكويتي، ولد عدنان عام 1950 ودرس العلوم السياسية وعمل في وزارة النفط قبل انتخابه عضوًا في الجمعية الوطنية عام 1981. في حين أن الأحزاب السياسية غير قانونية في الكويت، فإن عبد الصمد منتسب إلى التحالف الإسلامي الوطني، وهو حزب شيعي.

سيرته البرلمانية
شارك في انتخابات مجلس الأمة الكويتي 1981 في الدائرة الأولى، وحصل على المركز الأول برصيد 456 صوت وفاز بالانتخابات ، وشارك في انتخابات مجلس الأمة الكويتي 1985 في الدائرة الأولى، وحصل على المركز الثالث برصيد 446 صوت وخسر الانتخابات ، وشارك في انتخابات مجلس الأمة الكويتي 1992 في الدائرة الأولى، وحصل على المركز الأول برصيد 695 صوت وفاز بالانتخابات ، وشارك في انتخابات مجلس الأمة الكويتي 1996 في الدائرة الأولى، وحصل على المركز الثاني برصيد 547 صوت وفاز بالانتخابات ، وشارك في انتخابات مجلس الأمة الكويتي 1999 في الدائرة الأولى، وحصل على المركز الأول برصيد 695 صوت وفاز بالانتخابات ، وشارك في انتخابات مجلس الأمة الكويتي 2003 في الدائرة الأولى، وحصل على المركز الرابع برصيد 1152 وخسر الانتخابات ، وشارك في انتخابات مجلس الأمة الكويتي 2006 في الدائرة الثالثة عشر، وحصل على المركز الثاني برصيد 3776 وفاز بالانتخابات ، وشارك في انتخابات مجلس الأمة الكويتي 2008 في الدائرة الأولى، وحصل على المركز السابع برصيد 7155 صوت وفاز بالانتخابات.
وشارك في انتخابات مجلس الأمة الكويتي 2009 في الدائرة الأولى، وحصل على المركز التاسع برصيد 6,717 صوت وفاز بالانتخابات، شارك أيضًا في انتخابات مجلس الأمة الكويتي فبراير 2012 في الدائرة الأولى، وحصل على المركز الثامن برصيد 7,812 صوت، وشارك في انتخابات مجلس الأمة الكويتي ديسمبر 2012 في الدائرة الأولى، وحصل على المركز الثاني برصيد 4,947 صوت، وشارك في انتخابات مجلس الأمة الكويتي 2013 وحصل على المركز الأول برصيد 4,975 صوت، وشارك في انتخابات مجلس الأمة الكويتي 2016 وحصل على المركز الأول برصيد 4,287 صوت.

طرده من حركة العمل الشعبي
في 19 شباط/فبراير 2008، طردت كتلة العمل الشعبي عدنان عبد الصمد وزميله النائب الشيعي أحمد لاري لمشاركتهما في حفل تأبين القائد الأعلى لـ «حزب الله» الذي قُتل عماد مغنية. أصدرت حركة العمل الشعبي بيانًا يستنكر وبشدة مُشاركتهما في حفل التأبين حيثُ ذكروا بأن  ، وقال المُتحدث باسم حشد مسلم البراك بأن القرار كان  وأضاف بأن

أبرز مواقفه في مجلس الأمة

مجلس الأمة 2016

مجلس الأمة 2020
أصدر مركز اتجاهات للدراسات والبحوث، تقريرًا حول أداء عدنان عبد الصمد في مجلس الأمة 2020، ووصفته بأنهُ مؤيدًا لقرارات الحكومة ورئيس المجلس وضد الإرادة الشعبية، ولم يستخدم أداة الاستجواب بتاتًا.

مراجع

أشخاص على قيد الحياة
أعضاء مجلس الأمة الكويتي
أعضاء مجلس الأمة الكويتي 1981
أعضاء مجلس الأمة الكويتي 1992
أعضاء مجلس الأمة الكويتي 1996
أعضاء مجلس الأمة الكويتي 1999
أعضاء مجلس الأمة الكويتي 2006
أعضاء مجلس الأمة الكويتي 2008
أعضاء مجلس الأمة الكويتي 2009
أعضاء مجلس الأمة الكويتي 2013
أعضاء مجلس الأمة الكويتي 2016
أعضاء مجلس الأمة الكويتي ديسمبر 2012
أعضاء مجلس الأمة الكويتي فبراير 2012
سياسيو كتلة العمل الشعبي
شيعة كويتيون
كويتيون من أصل إيراني
مواليد 1950
نواب كويتيون شيعة
أعضاء مجلس الأمة الكويتي 2020

عدنان عبد الصمد


Dalmatinska nogometna liga – Sjeverna skupina  (također i kao Regionalna nogometna liga Zadar – Šibenik) je bila jedna od tri skupine Dalmatinske nogometne lige u sezoni 1984./85., četvrtoga ranga nogometnog prvenstva Jugoslavije.
Zbog promjene sustava natjecanja, ukinuta je tadašnja jedinstvena Dalmatinska liga, kao i međuopćinske lige na području Dalmacije.
Sudjelovalo je 14 klubova, a prvak je bio Omladinac iz Zadra.

Ljestvica

Rezultatska križaljka

 Izvori:

Povezani članci
 Dalmatinska nogometna liga – Južna skupina 1984./85.
 Dalmatinska nogometna liga – Splitska skupina 1984./85.
 Hrvatska nogometna liga – Jug 1984./85.
 Nogometna liga Zadar – Benkovac – Biograd 1984./85.

Izvori
 Sportske novosti, broj od 4. lipnja 1985., str. 13 (26. kolo i konačna ljestvica)

1984-85 Sjever
1984-85 Dalmacija - Sjever
Dalmacija

Dalmatinska nogometna liga – Sjeverna skupina 1984./85.


Wumpscut (stylised as :wumpscut: or simply :w:) is a gothic influenced electro-industrial music project from Germany. It was founded in May 1991 by Bavarian disc jockey Rudolf "Rudy" Ratzinger (born 3 June 1966).

History
Rudy Ratzinger is the creative force behind Wumpscut, occasionally employing the help of guest artists (such as Aleta Welling, P·A·L, Selene etc.), although such collaborations were minimal in scope. Ratzinger cites the influence of such bands as Leæther Strip as his reason for making the transfer from DJing to recording music: "I was a DJ for several years and was tired of offering the audience only alien stuff. The first Leæther Strip works were responsible for trying something on my own."

First works performed by Wumpscut dates back to the early 1990s when Rudy Ratzinger started to play music in Bavarian club houses and in Southern Germany. In a 1997 interview, Rudy Ratzinger reveals that "Pornography" and "War Combattery" were his first two songs in EBM, those two four-minute songs are to be found on Defcon, the first demo issued by Wumpscut in late 1991. Yet, only "Pornography" was picked for reappearance on Blutkind (although a remix of War Combattery surfaced on the Mesner Tracks re-release EP which was released before). According to Rudy, "War Combattery" was a great hit in club houses: "[It] was a very big success in the clubs in Southern Germany."

The release of the song "Soylent Green", which is named after the 1973 movie and also contains audio samples from the German dubbed version, first attracted attention to Wumpscut. Since its release in 1993, it has become a frequently played song at events and clubs in the goth and industrial subcultures, in Germany, UK and the United States. The 1997 album, Embryodead made an appearance at #20 on the CMJ RPM chart in the U.S.

Wumpscut produced elaborate box set releases including limited versions of CD or LP releases with additional and bonus material (bonus tracks, "liquid soylent" energy drinks, posters, pins, stickers, bags, flags, etc.). Wumpscut albums were reissued with variant artworks, remastering and track listings. Standalone merchandise such as baseball caps, coffee mugs and t-shirts were also made available for purchase.

Rudy Ratzinger has to date released seventeen studio albums plus a number of compilations: demos, compilation tracks, and remixes from deleted singles and EPs. The sixteenth Wumpscut album, Wüterich, was released on 25 March 2016 on the Metropolis label. He released a "best of" album titled Innerfire on 5 May 2017, while also announcing that Wumpscut would no longer be producing or making any new music on his Facebook and Twitter accounts.

On 5 November 2020, a new album entitled "Fledermavs 303" was announced with the release of a teaser track through the Wumpscut page on Bandcamp, presumably implying that Rudy has returned to producing music again.

On 2 April 2021, a new album entitled "Fledermavs 303" was released.

Record labels
Ratzinger started his own record label, Beton Kopf Media, in 1995, used exclusively to release Wumpscut material to the European market. In 1996, he started the label Mental Ulcer Forges which lapsed in the early 2000s, then relaunched in 2006. The label released albums by the following bands: Remyl, Noisex, B-Ton-K, Yendri and F/A/V. Rudy also managed the label Fleisskoma with Karl Kimmerl (B-Ton-K), which has released work by the electronic band Press to Transmit.

Live performance
Despite the project's popularity in the electro-industrial genre, Wumpscut is a studio-only project and never tours.  When asked for his reason behind this decision, Rudy commented: "I cannot come up to my self-set level."

Discography

See also

 List of electro-industrial bands

References

External links
 List of releases
 Wumpscut at Myspace

Electro-industrial music groups
German industrial music groups
German electronic music groups
Musical groups established in 1991
Metropolis Records artists
1991 establishments in Germany

Wumpscut


Nobody passes perfectly er en film instrueret af Saskia Bischoff Bisp.

Handling
»Nobody Passes Perfectly« er en subtil, humoristisk og indsigtsfuld film om at turde forandre sig, grundlæggende og afgørende. I smukke filmiske tableauer inviterer debuterende instruktør Saskia Bisp publikum til steder, hvor kønnet ikke er en fastsat og låst størrelse, der dikteres af biologien, men derimod en meget personlig del af en selv, som kan udfordres, undersøges og ændres. Mød Tomka, som er midt i en radikal forvandling fra kvinde til mand. Han lever i et meget kærligt og intimt forhold med sin lesbiske kæreste Lotte, og sammen prøver de at forestille sig, hvad forandringen vil betyde for dem. Og mød Erik, som engang var en heteroseksuel kvinde, og som endelig har valgt et liv som mand.

Referencer

Eksterne henvisninger

Danske film fra 2009

Dokumentarfilm fra Danmark
LGBT-relaterede film fra Danmark

Nobody passes perfectly


Speranza er en eksperimentalfilm fra 1991 instrueret af Torben Skjødt Jensen efter manuskript af Anette Abildgaard, Anders Koppel.

Handling
Den unge greve Malte Moritz havner sammen med sin huslærer Hoffmann og sin negertjener Rustan på slaveskibet Speranza. Om bord på dette skib, 'Håb', oplever de en rejse ind i frygten og døden. Baseret på en roman af den svenske forfatter Sven Delblanc.

Referencer

Eksterne henvisninger

Eksperimentalfilm fra Danmark
Danske film fra 1991

Speranza


Toplu taşımacılık veya kamu taşımacılığı, kişisel araç kullanılmadan yapılan yolculuklar için kullanılan tüm ulaşım sistemlerine verilen genel addır. Bazı özel insanlar için ücretsiz toplu taşıma hizmeti mevcuttur. Özel ulaşım ve paylaşımlı ulaşımdan farklı, tipik olarak bir tarifeye göre yönetilen, belirlenmiş güzergahlarda işletilen ve her yolculuk için ilan edilen bir ücret vardır. Bu taşıma sisteminde birden fazla yolcu taşınmakla, enerji tasarrufu yapılır. Toplu taşımacılık, şehir içi ve şehirlerarası olabilir. Toplu taşımacılık, genel olarak tren, otobüs, tramvay, troleybüs, metro için kullanılsa da, havayolları, feribotlar ve dolmuşları da kapsamakta, halkın bir yerden başka bir yere ulaşımını sağlamayı amaçlamaktadır. Personel ve öğrenci taşımacılığı da Türkiye'de toplu taşımacılığa özel sektörün katkılarının bir göstergesidir.

İnsanlar toplu taşıma araçlarını daha çok kullanmalıdır, çünkü şu anda etkisini gösteren küresel ısınmanın nedenlerinden biri de araçlardan çıkan egzoz dumanlarıdır. Toplu taşıma araçlarında daha çok insan taşındığı için kişi başına egzoz gazı üretimi azalacak ve egzoz gazı kaynaklı kirliliğin azalması sağlanacaktır.
Toplu taşım araçları kullanımları esnasında uyulması gereken kurallar, yukarıda da belirtildiği gibi küresel ısınma faktörünü azaltacak, kişi başına düşen egzoz emisyonunu minimum seviye ye indirecektir. 21. yüzyılda sürdürülebilir ulaşımın yaygın olması amaçlanmaktadır.

Duraklarda toplu taşıma araçlarına  binmek ve inmek.  Toplu taşım araçlarının durması için hazırlandığından dolayı diğer araçlar toplu taşım aracını beklemek zorunda kalmaz.Trafik akışı devam eder.
Duraklara gelmeden önce inmeye hazır bir şekilde arka kapıda bekliyor olmak.Aracın yolcuyu beklemesi durumunu ortadan kaldırır.
Bozuk para ya da elektronik bileti araca binerken hazır bulundurmak. Şoförün size ayıracağı zamanı minimuma indirir.
Araca binildiğinde  oturmak için boş yer yok ise aracın en arkasına gitmek diğer yolcuların da binmelerini kolaylaştırır. Araç duraklarda, yolcuların araca binmesi için vakit kaybetmemiş olur.
Diğer yolcuların duyabilecekleri ya da rahatsız olabilecekleri şekilde sohbet etmek, müzik dinlemek ya da telefonda konuşmak da çevreye vermiş olduğumuz rahatsızlıklar arasındadır. Tepkilere yol açabilir ve araç sürücüsünün araç içi güvenliği sağlama ihtiyacı duyurabilir. Böyle durumlarda sürücü kendisini araç içini kontrol etme durumunda hissedecek ve sürüş hassasiyetini kaybedecektir.
Toplu taşıma araçlarının temiz tutulması da toplu taşıma araçları kullanım kültürümüzün göstergesidir.
Araçta yaşlılara, engellilere ve hamile bayanlara yer vermek kültür düzeyimizin göstergesidir. Bu yolcuların oturtulmuş olması araç içi koridorunun daha seri bir şekilde akışını sağlıyacaktır. Yolcuların iniş ve binişlerinde bu hareketlilik önem kazanacaktır.
Toplu taşım araçlarında camların ve araç kapılarının  açık olması da yakıt tüketimini artıracaktır.

Kaynakça

Ayrıca bakınız
 Toplu taşıma otobüs servisi
 Şehirlerarası otobüs servisi
 Demiryolu ulaşımı

Sürdürülebilir ulaşım

Toplu ulaşım


Shogaolul, mai precis (6)-shogaol, este un compus prezent în ghimbir, având structură chimică similară cu cea a gingerolului.

Esteri
Fenoli
Cetone
Arome

Shogaol


An Tillandsia biflora in uska species han Liliopsida nga ginhulagway ni Hipólito Ruiz López ngan Pav.. An Tillandsia biflora in nahilalakip ha genus nga Tillandsia, ngan familia nga Bromeliaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Mga sumpay ha gawas

Tillandsia

Tillandsia biflora


2020 par pays en Amérique — 2021 par pays en Amérique — 2022 par pays en Amérique — 2023 par pays en Amérique — 2024 par pays en Amérique

Cette page concerne des événements qui se sont produits durant l'année 2022 du calendrier grégorien aux États-Unis.

Événements

Janvier
 x

Février
 13 février : les Rams de Los Angeles gagnent le Super Bowl LVI.

Mars

Avril
 7 avril : la juriste et magistrate Ketanji Brown Jackson est nommée juge à la Cour suprême des États-Unis, devenant la première femme noire à siéger dans cette institution.
 12 avril : attaque dans le métro de New York .

Mai
 14 mai : une fusillade perpétrée par un suprémaciste blanc fait dix morts dans un magasin de Buffalo, dans l'État de New York.
 24 mai : une fusillade a lieu à Uvalde au Texas ; le suspect, un jeune homme, provoque la mort de 21 personnes, dont 19 enfants.

Juin
  : fusillade de la Warren Clinic à Tulsa (Oklahoma).
 4 juin : une fusillade  fait trois morts dans une rue de Philadelphie.
 8 juin : ouverture du  Sommet des Amériques à Los Angeles.
 24 juin : la Cour suprême abroge l'arrêt Roe v. Wade et supprime le droit fédéral à l'avortement aux États-Unis.
 27 juin : les corps de 53 migrants déjà morts ou décédés peu après sont découverts dans la remorque surchauffée d'un camion à San Antonio.

Juillet
 4 juillet : fusillade  à Highland Park (Illinois).
 22 juillet : en Californie, un violent incendie nommé « Oak Fire » brûle plus de  dans le comté de Mariposa et le parc national de Yosemite.
 28 juillet : au Kentucky, des inondations font au moins 25 morts.

Août
 8 août : le FBI effectue un raid à Mar-a-Lago, la résidence de Donald Trump.
 12 août : Salman Rushdie, auteur des Versets sataniques, est grièvement blessé par une attaque au couteau dans l'État de New York.
 19 août : El Shafee Elsheikh, membre de la cellule de l'État islamique et des "Beatles", est condamné à huit peines d'emprisonnement à perpétuité par un tribunal de district des États-Unis pour son rôle dans l'enlèvement et la mort des otages James Foley, Steven Sotloff, Peter Kassig et Kayla Mueller.

Septembre
 28 septembre : l'ouragan Ian frappe la Floride.

Octobre
 x

Novembre
 8 novembre : élections de mi-mandat, notamment les  élections sénatoriales et les élections à la Chambre des représentants.
 12 novembre : collision aérienne du salon aéronautique de Dallas.
 16 novembre : lancement d'Artemis I à Cap Canaveral en Floride.
 19 novembre : fusillade à Colorado Springs (Colorado).
 27 novembre : sur l'île d'Hawaï, le Mauna Loa entre en éruption pour la première fois depuis 1984.

Décembre
 6 décembre : second tour des élections sénatoriales en Géorgie (États-Unis).
 22 au 27 décembre : une tempête hivernale frappe une grande partie du pays, avec des températures glaciales et de fortes chutes de neige, faisant près de 50 morts.

Naissance en 2022

Décès en 2022

Notes et références

Voir aussi

Articles connexes

Articles sur l'année 2022 aux États-Unis
 Pandémie de Covid-19 aux États-Unis

L'année sportive 2022 aux États-Unis
 Saison NBA 2021-2022
 Saison NBA 2022-2023
 Playoffs NBA 2022
 Finales NBA 2022
 Draft 2022 de la NBA
 Championnat NCAA de basket-ball 2022
 Super Bowl LVI
 Draft 2022 de la NFL
 Championnat NCAA de football américain 2022
 Major League Soccer 2022
 Championnat des États-Unis féminin de soccer 2022
 Gold Cup 2022
 Campeones Cup 2022
 Saison 2022 de la Major League Rugby
 500 miles d'Indianapolis 2022
 NASCAR Cup Series 2022
 IndyCar Series 2022
 Grand Prix automobile des États-Unis 2022
 24 Heures de Daytona 2022
 Grand Prix moto des Amériques 2022
 US Open de tennis 2022
 Tournoi de tennis d'Indian Wells (ATP 2022)
 Tournoi de tennis d'Indian Wells (WTA 2022)
 Tournoi de tennis de Miami (ATP 2022)
 Tournoi de tennis de Miami (WTA 2022)

L'année 2022 dans le reste du monde
 L'année 2022 dans le monde
 2022 par pays en Amérique, 2022 au Canada, 2022 au Québec, 2022 aux États-Unis
 2022 en Europe, 2022 dans l'Union européenne, 2022 en Belgique, 2022 en France, 2022 en Suisse
 2022 en Afrique • 2022 par pays en Asie • 2021 par pays en Océanie
 2022 aux Nations unies
 Décès en 2022

Liens externes

Chronologie des États-Unis au XXIe siècle

Etats-Unis

2022 aux États-Unis