Alucinados é um filme brasileiro, do gênero suspense, de 2008 dirigido e escrito por Roberto Santucci. Produzido pela Panorama Filmes, o thriller acompanha a trajetória de Júlia pelas ruas do Rio de Janeiro após sofrer um sequestro-relâmpago dentro de seu carro. O filme é protagonizado por Mônica Martelli, Cláudio Gabriel e Sílvio Guindane.

Sinopse
Júlia (Mônica Martelli) é abordada por dois assaltantes, Sapeca (Sílvio Guindane) e Casé (Cláudio Gabriel), ao parar em um sinal de trânsito e sofre um sequestro-relâmpago. Presa dentro do carro blindado com janelas escuras de seu marido (Tarcísio Filho), ela pensa que os dois querem apenas dinheiro fácil para usar drogas, entretanto, aos poucos, Júlia percebe que intenção da dupla não é apenas isso.

Elenco

 Mônica Martelli como Júlia
 Cláudio Gabriel como Casé
 Sílvio Guindane como Sapeca
 Tarcísio Filho como Ronaldo
 Mouhamed Harfouch como Falcão
 Raphael Kindlovits como Antônio
 Bernardo Barreto como Maciel
 Júlia Spadaccini como moça no caixa eletrônico

Produção
Esse é o terceiro longa-metragem de ficção dirigido por Roberto Santucci. A produção é dos estúdios da Panorama Filmes. Por ser uma produção de baixo orçamento, não era possível que fossem fechadas as ruas que serviram de locação no Rio de Janeiro. Devido a esse fato, mais de 60% das cenas do filme foram rodadas em chroma key, no estúdio com fundo verde, inclusive as que se passam dentro do carro, em movimento ou não, as que se passam no Vidigal e no caixa eletrônico. Mais de 90% dos planos do filme contêm algum tipo de efeito especial.

Lançamento
O filme teve estreia mundial em 8 de março de 2008 sendo exibido no Los Angeles Brazilian Film Festival, nos Estados Unidos. Em 4 de junho de 2008 esteve no UCLA Screening Festival, também nos Estados Unidos. Estreou no Brasil em 8 de julho de 2008 no Festival Paulínia de Cinema. Apesar de ter sido produzido e lançado em festivais em 2008, o filme permaneceu inédito nos cinema por mais sete anos até ser sua estreia comercial em 30 de julho de 2015.

Recepção

Crítica dos especialistas
Apesar de ter sido premiados em diversos festivais, o filme não conseguiu o mesmo desempenho satisfatório entre os críticos de cinema. Em geral, o filme recebeu críticas mistas. Eduardo Kaneco, em sua crítica ao site Leitura Fílmica, avaliou o filme com uma nota 6 / 10 e disse: "Há muita tensão nas cenas dentro do carro, envolvendo os dois imprevisíveis bandidos e a vítima. Era a oportunidade de criar um clima claustrofóbico, que elevaria o nervosismo da situação. Porém, isso se perde, principalmente ao acompanhar a cena paralela do marido sendo convencido de que algo estranho se passa com o paradeiro de sua esposa."

Já o site Cineplayers avaliou o filme mais positivamente, escrevendo: "Um bom filme, tenso sem muita profundidade (apesar de ter essa intenção algumas vezes), mais vale por momentos de tensão e boas atuações. Os momentos de tensão entre os três no carro são muito bem executados isso por conta das atuações competentes. Mônica Martelli carismática consegue em uma atuação contida, transmitir todo o desespero da situação e em alguns momentos até demonstra frieza e sensatez de uma mulher forte."

Prêmios e indicações

Ligações externas

 Alucinados página no Filmes B
 Alucinados na Netflix

Filmes do Brasil de 2008
Filmes de suspense do Brasil
Filmes dirigidos por Roberto Santucci
Filmes gravados na cidade do Rio de Janeiro

Alucinados


Valérie Quennessen (3 de diciembre de 1957 - 19 de marzo de 1989) fue una actriz francesa especialmente conocida por su participación en la película Summer Lovers y Conan el bárbaro.

Biografía
Valérie Quennessen nació en Boulogne-Billancourt y dedicó parte de su niñez en seguir su sueño en convertirse en una acróbata. Rápidamente llegó al nivel de competencia y recibió un premio. En su adolescencia, había renunciado a la acrobacia y comenzó con clases de actuación, no por querer entrar al mundo de negocios, sino para ayudarla a vencer su ansiedad social.

Hizo su primera aparición en el cine en dos películas francesas, Le Petit Marcel y Le Plein de super. En 1979, tuvo un papel en la película estadounidense French Postcards, junto a Miles Chapin, Debra Winger y Mandy Patinkin. Siguió en Conan the Barbarian con Arnold Schwarzenegger.

Sería en su próxima película Summer Lovers, con Daryl Hannah y Peter Gallagher que fue el pico de su carrera.

Después de Summer Lovers, Valérie se retiró poco a poco de la actuación, eligiendo concentrarse en criar a su familia. Ella y François Manceaux tuvieron dos hijos.  En 1989, murió en un accidente de tránsito a los 31 años de edad.

Vida personal
Estuvo casada con François Manceaux con quien tuvo sus dos hijos, Elsa Manceaux y Antoine Manceaux  François tuvo un papel como actor de reparto junto a Válerie en la película Summer Lovers donde ambos actuaban de arqueólogos. Se dice que durante la filmación de esta película Valérie descubrió realmente varias piezas de arqueología en el yacimiento de Acrotiri cercano a la Playa Roja en Santorini.

Su hija Elsa es una artista plástica nacida en Francia en 1985 y radicada en la ciudad de México desde 2012, que ha expuesto sus trabajos en numerosas galerías de arte a nivel internacional. Elsa realizó sus estudios en la Gerrit Rietveld Academie en Ámsterdam y posteriormente asistió al programa de postgrado SOMA en México durante los años 2015 y 2016. Por su parte Antoine Manceaux el primogénito de los hijos de Valérie nacido también en Francia en 1982 se dedica a la producción y edición de cortos y videos.

Filmografía
 Le Petit Marcel (Jacques Fansten, 1976) como una telefonista.
 Le Plein de super (Alain Cavalier, 1976) como Marie.
 La nuova colonia (Anne Delbée, TV, 1978) como Mita.
 La Tortue sur le dos (Luc Béraud, 1978) como una Nietzsche estudiante.
 Brigade des mineurs: "Tête de rivière" (Guy Lessertisseur, TV, 1978) como Doris.
 On efface tout (Pascal Vidal, 1978).
 Martin et Léa (Alain Cavalier, 1979) como Cléo.
 French Postcards (Willard Huyck, 1979) como Toni.
 Les Uns et les Autres (Claude Lelouch, 1981)
 Les Uns et les Autres (TV, 1981)
 Pause-Café (Serge Leroy, TV, 1981) como una secretaria.
 Silas (Sigi Rothemund, TV, 1981) como Melinda, lavandera.
 Conan the Barbarian (John Milius, 1982) como Princesa Yasimina.
 Summer Lovers (Randal Kleiser, 1982) como Lina.
 We Cannes (François Manceaux, 1982) como Janine.
 La petite commission (Jean-Paul Salomé, 1984) como Sor Clarisse.
 Quartier sud (Mathias Ledoux, TV, 1984) como Rebecca.
 Mode in France (William Klein, TV, 1985) como un top model.
 Haute tension: "Eaux troubles" (Alain Bonnot, TV, 1989) como Judith.

Enlaces externos

Referencias

Actrices de París
Actrices judías
Actrices de cine de Francia
Acróbatas

Valérie Quennessen


El Sudamericano de Futsal Sub-20 2004 es la primera edición del campeonato continental de Sudamérica para jugadores Sub-20 de Fútbol sala. Se trata del primer torneo internacional juvenil para escuadras nacionales en este deporte.

El certamen se disputó del 14 al 20 de junio de 2004 en la ciudad brasileña de Fortaleza (estado de Ceará) en el Gimnasio Paulo Sarasate, al final el título fue para el local que doblegó en la final a Venezuela por 5-1, el podio lo completo  Uruguay que le ganó el tercer puesto a Paraguay por 5-2.

Equipos participantes

Primera fase

Grupo A

Grupo B

Fase final

Cuadro de desarrollo

Semifinales

Tercer lugar

Final

Tabla general

Enlaces externos
1st South American Under 20 Championship (CBFS 25th anniversary)

2004
Deporte en Brasil en 2004
Fútbol sala en 2004
Fútbol sala en Brasil
Competiciones deportivas americanas celebradas en Brasil
Deporte en Fortaleza (Ceará)

Sudamericano de Futsal Sub-20 2004


Kaláliuvit? (Er du grønlænder?) er en dokumentarfilm fra 1970 instrueret af Jørgen Roos efter manuskript af Viggo Clausen.

Handling
En skildring af grønlændernes hverdag og problemer i København. Instruktøren Jørgen Roos siger: Når folk i Grønland forestiller sig Danmark, tænker de på træer, velklædte mennesker, flotte huse og gader - og forlystelserne. Men de møder en hverdag, som ser ganske anderledes ud. Det at bo i København er noget andet end at sidde på solrige altaner og drikke kaffe dagen lang eller at gå i Tivoli og more sig.

Referencer

Eksterne henvisninger

Dokumentarfilm fra Danmark
Danske film fra 1970

Kaláliuvit? (Er du grønlænder?)


Patrick Bateman is a fictional character created by novelist Bret Easton Ellis. He is the villain protagonist and unreliable narrator of Ellis's 1991 novel American Psycho and is portrayed by Christian Bale in the 2000 film adaptation of the same name.

Bateman is a wealthy and materialistic yuppie and Wall Street investment banker who, supposedly, leads a secret life as a serial killer. He has also briefly appeared in other Ellis novels and their film and theatrical adaptations.

Biography and profile
Bateman, at the beginning of American Psycho, is a 27-year-old specialist in mergers and acquisitions at the fictional Wall Street investment firm of Pierce & Pierce (also Sherman McCoy's firm in The Bonfire of the Vanities) and lives at 55 West 81st Street, Upper West Side on the 11th floor of the American Gardens Building (where he is a neighbor of actor Tom Cruise). In his secret life, however, Bateman is a serial killer murdering a variety of people, including colleagues, the homeless, and prostitutes. His crimes—including rape, torture, necrophilia, and cannibalism—are graphically described in the novel.

Bateman was born on October 23, 1962, and comes from a wealthy family. His parents have a house on Long Island, and he mentions a summer house in Newport. His parents divorced sometime earlier, while his mother became sick and now resides at a sanatorium. His father, who first appeared in Ellis's preceding novel The Rules of Attraction, grew up on an estate in Connecticut, and now owns an apartment in the Carlyle Hotel in Manhattan.  He is assumed to be dead as he is mentioned only in the past tense during the novel. In Mary Harron's 2000 adaptation, however, it is mentioned that Bateman's father "practically owns" the company that Patrick Bateman works at, implying that Bateman's father is still alive. Bateman's younger brother Sean attends Camden College (and is a protagonist of Ellis's previous novel, The Rules of Attraction, in which Patrick Bateman was first introduced). Bateman attended prominent Phillips Exeter Academy for prep school. He graduated from Harvard College and Harvard Business School, and moved to New York City.

By the end of the novel, he believes he is about to be arrested for murdering a colleague named Paul Allen (Paul Owen in the novel) and leaves a message on his lawyer's answering machine confessing to his supposed crimes. When he runs into his lawyer at a party, however, the man mistakes him for somebody else and tells him that the message must have been a joke, as he had met with Allen only days earlier. Bateman realizes that the punishment and notoriety he desires will be forever out of his reach, and that he is trapped inside a meaningless existence: "This is not an exit".

Personality

As written by Ellis, Bateman is the ultimate stereotype of yuppie greed; wealthy, conceited, and addicted to sex, drugs, and conspicuous consumption. All of his friends look alike to him, to the point that he often confuses one for another; they often confuse him for other people as well. While Bateman delights in obsessively detailing virtually every single feature of his wealthy lifestyle, including designer clothes, workout routine, business cards, alcoholic drinks, elaborate high-end stereo and home theater sound system, he cannot recognise his own friends, work colleagues and acquaintances. He is engaged to an equally wealthy, shallow woman named Evelyn Williams and has a mistress on the side named Courtney Lawrence, the girlfriend of Luis Carruthers, a closeted homosexual whom Bateman despises, and has regular liaisons with prostitutes and women he encounters at clubs, many of whom end up being his victims. The one woman (and possibly the one person) in his life for whom he has anything approaching feelings is his secretary, Jean. He feels that she is the only person in his life who is not completely shallow, so he cannot bring himself to seduce or kill her. He casually acknowledges her as "Jean, my secretary who is in love with me" and introduces her in the narration as someone whom he "will probably end up married to someday".

Despite his affluence and high social status, Bateman is constantly plagued by unsettling feelings of anxiety and low self-esteem. He kills many of his victims because they make him feel inadequate, usually by having better taste than he does. He is hated by others as well—his friends mock him as the "boy next door"; his own lawyer refers to him as a "bloody ass-kisser... a brown-nosing goody-goody"; and he is often dismissed as "yuppie trash" by people outside his social circle.

Bateman often expresses doubts regarding his own sanity and he has periodic attacks of psychosis, during which he hallucinates. It is left open to reader interpretation whether Bateman actually commits the crimes he describes, or whether he is merely hallucinating them; he is, therefore, an unreliable narrator. In the climax of the story, Bateman calls his lawyer and leaves a lengthy, detailed message confessing all of his crimes. He later runs into his lawyer, who mistakes him for someone else and dismisses the confession as a joke, whilst also claiming to have had dinner with one of Bateman's victims after he had supposedly killed him, leaving the supposed reality of Bateman's acts open to audience interpretation.

Although Bateman often claims that he is devoid of emotion, he also describes experiencing moments of extreme rage, panic or grief—being on the "verge of tears"—often over trivial inconveniences such as remembering to return videotapes or trying to obtain dinner reservations. In the middle of dismembering a victim, he breaks down, sobbing that he "just wants to be loved". He takes psychotropics, like Xanax, to control these emotions. He publicly espouses a philosophy of tolerance, equality, and "traditional moral values" because he thinks it will make him more likable, but is in fact virulently racist, homophobic, and antisemitic. Bateman compensates for his anxiety through obsessive vanity and personal grooming, with unwavering attention to detail. He buys the most fashionable, expensive clothing and accessories possible (e.g., Salvatore Ferragamo, Alan Flusser and Valentino suits, Oliver Peoples glasses and Jean Paul Gaultier, Louis Vuitton, and Bottega Veneta leather goods) as a means of effecting some "control" over his otherwise chaotic life. Likewise, whilst often being confused about people's names and identities, he categorizes them by what they wear and how they look because they are more easily "understood" in terms of labels and stereotypes. Bateman's apartment also is firmly controlled in terms of look and taste, with the latest music, food, and art.

Bateman kills more or less indiscriminately, with no preferred type of victim, somewhat targeting any woman and man who gets in his way, and no consistent or preferred method of killing. Throughout the novel, he kills men, women, animals, and, in one instance, a child. Bateman murders women mostly for sadistic sexual pleasure, often during or just after sex. He kills men because they upset or annoy him or make him feel inferior. In the case of the child, Bateman wished to see if he would enjoy it but found it unsatisfactory since the child's death would not affect as many people as an adult would. Periodically, he matter-of-factly confesses his crimes to his friends, co-workers, and even complete strangers ("I like to dissect girls, did you know I'm utterly insane") just to see if they are actually listening to him. They either are not, or they think that he is joking.

Outside American Psycho
Bateman made his first appearance in Ellis's 1987 novel The Rules of Attraction (in which Sean, his brother, is the protagonist); no indication is given that he is a serial killer. Bateman also makes a short appearance in Ellis's 1998 novel Glamorama, with "strange stains" on the lapel of his Armani suit.

Bateman also appeared in the American Psycho 2000 e-mails, which were written as an advertisement campaign for the movie. Although they are often mistakenly credited to Ellis, they were actually written by one or more unnamed authors and approved by Ellis before being sent out. American Psycho 2000 served as a sort of "e-sequel" to the original novel. The e-mails take place in 2000, a little over a decade since the novel. Bateman is in psychotherapy with Dr M. He is also married to Jean, his former secretary. They have a son, Patrick Bateman Jr. (P.B.), who is eight years old. In the story, Bateman talks about therapy, trying to get a divorce from Jean, his renewed feelings about murder, and idolizing his son. In the end, it is revealed that the "real" Bateman, who "writes" the e-mails, is the owner of the company that produces the movie.

Bateman appeared in Ellis's 2005 novel Lunar Park, in which the fictionalized Bret Easton Ellis confesses that writing American Psycho felt like channeling the words of a violent spirit rather than writing anything himself. This ghost—Bateman—haunts Ellis's home. A character also comes to Ellis's Halloween party dressed as Patrick Bateman, and a copycat killer is seemingly patterning himself on Bateman. Toward the novel's end, Ellis writes the "last" Bateman story as a way of confronting and controlling the character, as well as the issues Ellis created Bateman as a means of countering. Bateman, for all intents and purposes, dies in a fire on a boat dock.

In the Showtime series Dexter, protagonist Dexter Morgan, himself a serial killer, uses the alias "Dr. Patrick Bateman" to acquire M-99 for the use of incapacitating his victims.

There is a recurring character in the video game Criminal Case named Christian Bateman (a combination of the names Christian Bale and Patrick Bateman) modeled after the character.

American metalcore band Ice Nine Kills released a single titled "Hip to Be Scared" based upon the film adaptation for their album The Silver Scream 2: Welcome to Horrorwood.

In film, on stage and screen
Though Christian Bale had been the first choice for the part by both Ellis and Harron, the role amused him after his agent told him that the role would be a "professional suicide". The producers also offered the part to the likes of Keanu Reeves, Edward Norton, and Brad Pitt. Leonardo DiCaprio was set to play the character, but Ellis (as explained in the American Psycho DVD) decided he would appear too young, especially immediately after Titanic. In addition, his managers thought the role was "too violent" and could potentially hurt his career. Bateman was also portrayed by Dechen Thurman, a brother of Uma Thurman, in the 2000 documentary This Is Not an Exit: The Fictional World of Bret Easton Ellis. Michael Kremko played Bateman in the standalone sequel American Psycho 2, in which the character is killed by a would-be victim. Aside from the character appearing in the film, the sequel has no other connection to the previous film and has been denounced by Ellis.

Scenes with the character were shot for the 2002 film adaptation of The Rules of Attraction. Ellis revealed in an interview that director Roger Avary asked Bale to reprise the role, but Bale turned down the offer, and Avary asked Ellis himself to portray Bateman. Ellis refused, stating that he "thought it was such a terrible and gimmicky idea", and Avary eventually shot the scenes with Casper Van Dien. The scenes, however, were ultimately cut from the final version of the film.

In a 2009 interview with Black Book, director Mary Harron said, "We talked about how Martian-like [the character] Patrick Bateman was, how he was looking at the world like somebody from another planet, watching what people did and trying to work out the right way to behave, and then one day [Christian] called me and he had been watching Tom Cruise on David Letterman, and he just had this very intense friendliness with nothing behind the eyes, and he was really taken with this energy."

Doctor Who star Matt Smith played the role in the 2013 stage musical version of the novel, with music and lyrics by Duncan Sheik and a book by Roberto Aguirre-Sacasa, at London's Almeida Theatre. In 2016, Benjamin Walker portrayed Bateman in a Broadway production of the musical, which ran from March 21 – June 5, 2016.

In the television series Riverdale, Kevin Keller (portrayed by Casey Cott) performs in a musical production of American Psycho as Bateman in the sixth season episode "Chapter One Hundred and Twelve: American Psychos".

Chronology
1980: Bateman graduates from Phillips Exeter Academy.
1984: Bateman graduates from Harvard University.
1985: Bateman has a short discussion with his estranged brother Sean about his future.
1986: Bateman graduates from Harvard Business School.
From the time of his graduation, through the end of American Psycho, Bateman works at Pierce & Pierce.
: Bateman shows up at Victor's club in Glamorama with "strange stains" on his suit.
2000: Bateman enters therapy with a Dr M. This appears in the American Psycho 2000 e-mails. In these emails, he is divorcing Jean, to whom he has been married for at least five years, and with whom he has a son. He has started his own brokerage firm and seems to be wealthier than he was in the original novel. His tastes are even more refined. His homicidal tendencies (or thoughts) seem to have cooled a little with the birth of his son and have mellowed as he has gotten older, but have not disappeared completely.
2003: Ellis kills off Patrick Bateman by writing an account of the serial killer being trapped in a pier fire. See Lunar Park.

References

American Psycho
Bret Easton Ellis characters
Characters in American novels of the 20th century
Fictional bankers
Fictional cannibals
Fictional characters with psychiatric disorders
Fictional cocaine users
Fictional criminals in films
Male film villains
Fictional Harvard University people
Fictional rapists
Fictional torturers
Fictional murderers of children
Fictional serial killers
Fictional nihilists
Narcissism in fiction
Fictional socialites
Fictional characters from Manhattan
Internet memes
Literary characters introduced in 1987
Male horror film villains
Male literary villains
Male characters in film
Male characters in literature

Patrick Bateman


An Phreatia listeri in uska species han Liliopsida nga ginhulagway ni Robert Allen Rolfe. An Phreatia listeri in nahilalakip ha genus nga Phreatia, ngan familia nga Orchidaceae.

Mabibilngan ini ha Christmas I.. Waray hini subspecies nga nakalista.

Mga kasarigan

Phreatia

Phreatia listeri


إسماعيلية رايح جاى فيلم مصري من بطولة محمد فؤاد، محمد هنيدي، حنان ترك. وإنتاج وتوزيع : أفلام النصر، أفلام حسن إبراهيم وشركاه وموسيقى تصويرية ليحيى الموجى.وسيناريو وحوار : أحمد البيه. إخراج : كريم ضياء الدين

أحداث الفيلم

الطالب الجاد الخجول (محمد فؤاد) المستقيم لكن شديد الفقر الذي انسدت كل الطرق أمامه وأمام أسرته، ويحلم أن يصبح مغنيا. وأخيرا يقدم نفسه لعزت أبو عوف (يظهر بشخصيته الحقيقية)، فينضم لفريقه الغنائي ويواصل مشوار النجاح. قصة الحب تولتها حنان ترك كزميلته في الفصل، أما الشر الذي يمثله خالد النبوي في دور الأخ الفهلوى لكن غير المحبوب نسبيا، هو الذي يصنع حبكة النهاية عندما يفرق بين أخيه وحبيبته قبل أن يعود لصوابه ويصلح ما أفسد. الوطنية تبدأ بالعنوان فهذه قصة أسرة مهاجرة من الإسماعيلية بعد حرب 1967، والنهاية أن يعود البطل للغناء فيها بعد عودة الحياة الطبيعية لها بعد 1973. الترابط الأسرى ومسحة التدين تشيعان في مواقف كثيرة لكن أغلبها يتركز في دور الأب الكهل الذي هزته محن الحياة ـ حمدى غيث. وتبقى الكوميديا وقد مثلها في حينها وبكل البراعة والإغراق والابتكار محمد هنيدى، في دور صديق الأخوين والذي يصبح مدير أعمال البطل المغني.

طاقم التمثيل

روابط خارجية

مراجع

أفلام مصرية إنتاج 1997
أفلام محمد هنيدي
أفلام حنان ترك
أفلام حمدي غيث
أفلام كريمة مختار
أفلام عزت أبو عوف
أفلام أحمد عقل

إسماعيلية رايح جاي (فيلم)


Takahiro Tanio (født 26. februar 1991) er en japansk tidligere professionel fodboldspiller.

Han har spillet for flere forskellige klubber i sin karriere, herunder Fujieda MYFC.

Eksterne henvisninger

Fodboldspillere fra Japan

Takahiro Tanio


Sladeniaceae, porodica od tri vrste drveća iz reda vrjesolike. Rod Ficalhoa raširen je u DR Kongu, Ugandi, Ruandi, Tanzaniji, Zambiji i Angoli, a sastoji se od jedne vrste Ficalhoa laurifolia, zimzelenog stabla koje naraste do 36 metara, krošnja mu je razgranata a kora gruba.

Drugi rod Sladenia raširen je po Kini, Tajlandu i Burmi, a sastoj ise od dvije vrste S. celastrifolia i S. integrifolia.

Rodovi
 Ficalhoa
 Sladenia

Izvori

Vrjesolike
Biljne porodice

Sladeniaceae


Le Lightning de Tampa Bay est une franchise de la Ligue nationale de hockey depuis l'expansion de la Ligue en 1992.
Cette page répertorie les équipes affiliées au Lightning depuis cette première saison.

Équipes affiliées par saison

Références

Liste des équipes affiliées au Lightning de Tampa Bay


An Psychilis bifida in uska species han Liliopsida nga syahan ginhulagway ni Jean Baptiste Christophe Fusée Aublet, ngan ginhatag han pagkayana nga asya nga ngaran ni Ruben Primitivo Sauleda. An Psychilis bifida in nahilalakip ha genus nga Psychilis, ngan familia nga Orchidaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Mga sumpay ha gawas

Psychilis

Psychilis bifida


Carlos Arthur Nuzman (Rio de Janeiro, 17. ožujka 1942.) brazilski je odvjetnik, športski djelatnik i negdašnji odbojkaš, član Brazilske odbojkaške reprezentacije između 1962. i 1968. Bio je član reprezentacije koja je nasupila na Olimpijskim igrama 1964. u Tokiju, kada je odbojka uvrštena među olimpijske športove.

Nakon igračke karijere, 20 je godina (1975. – 1995.) vršio dužnost predsjednika Brazilskog odbojkaškog saveza (CBV-a). 1995. postaje predsjednikom Brazilskog olimpijskog odbora (COB-a) i član MOO-a te PASO-a.

Bio je vodeći čovjek u organizaciji, provedbi i održavanju Olimpijskih igara 2016. u Brazilu. 2007. uvršten je u Odbojkašku kuću slavnih u SAD-u.

Izvori

Brazilski športaši
Pravnici
Odbojkaši
OI 2016.

Carlos Arthur Nuzman


To Tell the Truth is an American television panel show in which four celebrity panelists are presented with three contestants (the "team of challengers", each an individual or pair) and must identify which is the "central character" whose unusual occupation or experience has been read aloud by the show's moderator/host. When the panelists question the contestants, the two impostors may lie whereas the "central character" must tell the truth. The setup adds the impostor element to the format of What's My Line? and I've Got a Secret.

The show was created by Bob Stewart and originally produced by Mark Goodson–Bill Todman Productions. It first aired on CBS from 1956 to 1968 with Bud Collyer as host. From 1969 to 1978, the show was revived in syndication, with Garry Moore as the first host. Former panelist and frequent guest host Joe Garagiola took over in 1977, following Moore's health issues. Garagiola hosted until the show's cancellation.

Robin Ward hosted a 1980–81 syndicated revival of the program, and a 1990–91 revival on NBC featured a succession of different hosts: Gordon Elliott, Lynn Swann and Alex Trebek. The show was revived again in syndication from 2000 to 2002 with John O'Hurley as host. The most recent version aired on ABC from 2016 to 2022 with Anthony Anderson as host.

Basic rules
Although there have been some variations in the rules over the years (including the addition of a secondary game in some versions), certain basic aspects have remained consistent throughout all versions of To Tell the Truth. Three challengers are introduced, all claiming to be the central character. The announcer typically asks the challengers, who stand side by side, "What is your name, please?" Each challenger then states, "My name is [central character's name]." The celebrity panelists then read along as the host reads aloud a signed affidavit about the central character.

The panelists are each given a period of time to question the challengers. Questions are directed to the challengers by number (designated "Number One," "Number Two" and "Number Three"), with the central character sworn to give truthful answers, and the impostors permitted to lie and pretend to be the central character.

After questioning is complete, each member of the panel votes on which of the challengers he or she believes to be the central character, either by writing the number on a card or holding up a card with the number of their choice, without consulting the other panelists. Any panelist who knows one of the challengers or has another unfair advantage is required to recuse or disqualify themselves, which, for scoring purposes, is counted as an incorrect vote. They would also sit out of the questioning.

Once the votes are in, the host asks, "Will the real [person's name] please stand up?" The central character then stands, often after some brief playful feinting and false starts among all three challengers. Occasionally, the central character would be asked to do something else related to his or her story instead of standing up. The two impostors then reveal their real names and their actual occupations. Prize money is awarded and divided among all three of the challengers, based on the number of incorrect votes received by the impostors.

History

1956–1968, CBS
To Tell the Truth was to have premiered on Tuesday, December 18, 1956, on CBS in primetime as Nothing But The Truth, but the program title was changed to To Tell the Truth the day before the show's debut. (There was one pilot episode titled "Nothing But The Truth"; both the planned and eventual titles derive from the standard English court oath "to tell the truth, the whole truth, and nothing but the truth.")

The series was recorded in New York City, initially at Studio 54, before moving to the Ed Sullivan Theater late in its run. The existence of an audience ticket for a taping indicates that the show originated in color at the CBS Broadcast Center in late 1966.

Bud Collyer was the show's host (Mike Wallace hosted the pilot); recurring panelists by the 1960s included Tom Poston, Peggy Cass, Orson Bean, and Kitty Carlisle. (Cass and Carlisle stayed on as panelists for most subsequent editions.) Earlier regular panelists included Johnny Carson, Polly Bergen, Jayne Meadows, Don Ameche, Hy Gardner, Dick Van Dyke, Faye Emerson, Hildy Parks, John Cameron Swayze, Betty White, and Ralph Bellamy. Bern Bennett, Collyer's announcer on Beat the Clock, was the inaugural announcer of To Tell the Truth in the 1950s. Upon Bennett's transfer to CBS's Los Angeles studios, Johnny Olson, who in time became the best-known of all Goodson–Todman Productions announcers, joined the show in 1960 and remained with the show until 1972.

On the pilot and the primetime run, three games were played per episode. For the pilot, a wrong vote from each of the four-member panel and one wrong vote derived from the majority vote of the audience (a total of five votes) paid $300, the total prize money divided among the three challengers. The studio audience also voted, with the majority vote counting equally with that of one by a celebrity panelist; thus, the maximum of five incorrect votes resulted in $1,500 divided among the challengers. If there was a tie for the highest vote from the audience, and for each panelist who was disqualified, a wrong vote was counted. There was no consolation prize for no wrong votes.

For the majority of the primetime run there was no audience vote, thus each wrong vote from the four-member panel paid $250, divided among the three challengers, for a possible $1,000 for a complete stump of four wrong answers. A consolation prize of $150 was awarded and divided among the three challengers if there were no wrong votes. For each panelist who was disqualified, a wrong vote was counted. A design element in the set for this series was a platform situated directly above and behind the emcee's desk. The contestants stood on this platform during their introduction, allowing the camera to pan directly down to the host. They then traveled down a curved staircase to the main stage level to play the game. Some subsequent versions would use a variation of the original set design; others did not and had all the action at floor level.

On Monday, June 18, 1962, a daytime five-day-per-week edition was introduced, running at 3 p.m. Eastern Time. The daytime show, also hosted by Collyer, featured a separate panel for its first three years, with actress Phyllis Newman as the only regular. The evening panel took over the afternoon show in 1965; in early 1968, Bert Convy replaced Poston in the first chair.

The daytime show was reduced to two games to accommodate a five-minute CBS news bulletin towards the half-hour mark. On the CBS daytime run, each wrong vote paid the three challengers $100 for a possible total of $400 divided among the three challengers for a "complete stump" of all four wrong votes. If all the votes were correct, the challengers split a consolation prize of $75. During the show's final year and a half, the studio audience also voted, with the majority vote counting equally with that of one of the celebrity panelists, thus a maximum of $500 divided among the challengers could be awarded for the maximum five incorrect votes. If there was a tie for the highest vote from the audience, and for each panelist who was disqualified, a wrong vote was counted. The audience vote was utilized on the nighttime show for its final six episodes (increasing the maximum possible payout to $1,250).

One CBS daytime episode featuring Dorothy Kilgallen, best known as a regular panelist on What's My Line?, was broadcast in the Eastern, Central, and Mountain time zones on Monday, November 8, 1965, as news of her sudden death was circulated by wire services. The breaking news story prompted CBS newscaster Douglas Edwards to announce her death immediately after the episode ended. She had videotaped the program six days earlier, according to the New York Herald Tribune. The newspaper added that Kilgallen and Arlene Francis both pretended to be Joan Crawford while sitting next to the real Crawford in a celebrity segment that the daytime series featured regularly starting in 1965. The episode was one of the large majority of To Tell the Truth daytime episodes that were destroyed because of the common practice of wiping videotape for reuse, prior to the development of less expensive technology. This was a different half-hour telecast from the 1962 primetime episode on which Kilgallen can be seen and heard as one of the panelists. Game Show Network repeated that episode decades later.

The primetime show ended on May 22, 1967, with the daytime show ending on September 6, 1968. The latter was replaced by the expansions of Search for Tomorrow and Guiding Light, the last two remaining 15-minute programs on daytime television, to 30 minutes apiece, in a scheduling shuffle with The Edge of Night, The Secret Storm, and Art Linkletter's House Party. Like the primetime version, the daytime show's popularity underwent a steady decline toward the end of its run, as it faced two popular daytime dramas on ABC and NBC, General Hospital and Another World, respectively.

Metropole Orchestra leader Dolf van der Linden composed the show's first theme, "Peter Pan", used from 1956 to 1961. From 1961 to 1967, the show switched to a Bob Cobert-penned theme with a beat similar to "Peter Pan", and then to a Score Productions tune during its final CBS daytime season.

Most episodes of the original nighttime run of the series were preserved on black-and-white kinescope, along with a few color videotape episodes. Only a handful of shows remain from the CBS daytime series' first three years because of the then-common practice of wiping videotapes and reusing them due to their high cost and tight storage space. Many daytime episodes (including some in color) from 1966 to 1968 exist, including the color finale.

Reruns of the black-and-white kinescopes have been shown on Buzzr and Game Show Network.

1969–1978, syndication
To Tell the Truth returned only a year later, in autumn of 1969, in first-run syndication. During the early years of its run, the syndicated Truth became a highly-rated component of stations' early-evening schedules after the Federal Communications Commission imposed the Prime Time Access Rule in 1971, opening up at least a half hour (a full hour, usually, on Eastern Time Zone stations) to fill with non-network fare between either the local or network evening newscast and the start of their networks' primetime schedules for the evening. Other stations found success running the program in place of a daytime network game or soap opera, or in the afternoon fringe time period between the end of network daytime programming at 4:30/3:30 Central and the evening newscasts.

Like the network editions that preceded it, the syndicated To Tell the Truth taped its episodes in New York for its entire run. Initially occupying the same studio space at the Ed Sullivan Theater that it had for the last few years of the network series, the show would eventually move operations to NBC's studios
at 30 Rockefeller Plaza in the early 1970s.

Each wrong vote in this version was worth $50 to the challengers; complete stumps of the entire panel won the challengers a total of $500. There were two games per episode, and there was often a live demonstration or video clip to illustrate the central character's story after many of the games.

The show was first released to local stations on September 8, 1969. A total of 1,715 episodes of this version were produced, with the series ending on September 7, 1978. Some markets that added the series after its initial 1969 release opted to carry the show for another season or two after 1978 in order to catch up on the episodes that had not aired in their viewing area.

To host the revival series, Goodson and Todman made a call to original host Bud Collyer; however, Collyer had been suffering from a series of health issues that led to his death on the day the 1969 series premiered, and he told them "I'm just not up to it." The next call they made was to Garry Moore, the former host of I've Got a Secret as well as the CBS variety series The Garry Moore Show. Moore had largely been away from television since his variety series was cancelled in 1964 (he left I've Got a Secret around the same time), but he decided the time was right to return and he accepted the offer to host the new series. Regular panelists included Orson Bean during the first year, Peggy Cass, Kitty Carlisle and Bill Cullen, who was also the designated substitute host whenever necessary. Many regulars from the original run appeared, including Tom Poston and Bert Convy. Semi-regulars during the 1968–73 time period included Gene Rayburn, Joe Garagiola, Tony Roberts and Nipsey Russell.

In late 1976, during the eighth season, Moore was diagnosed with esophageal cancer and left for the remainder of the season to deal with his illness. As he had done numerous times before, Bill Cullen became his replacement. As Cullen's time as host continued on, Mark Goodson noted how Cullen's serving as host, rather than as a panelist, hurt the chemistry he had shared with Cass and Carlisle. A decision was made to have Cullen return to the panel permanently and give semi-regular panelist Joe Garagiola the hosting position. Using a baseball term for "substitute," Garagiola stated that he was "pinch hitter" for Moore, who returned to the series for a farewell performance on the ninth-season premiere in 1977. Moore explained why he had left the program, then after presiding over one last game, announced his final retirement from television and handed the host position to Garagiola permanently. To Tell the Truth ended production at the end of the season.

Johnny Olson stayed with To Tell the Truth when it moved to syndication. He left in 1972, when he moved to Los Angeles to announce the Goodson-Todman revivals of The Price Is Right and I've Got a Secret. NBC staff announcer Bill Wendell succeeded Olson from 1972 to 1977, with Alan Kalter taking over during the final season. Don Pardo, also an NBC staff announcer, served as a backup to Wendell and Kalter.

To Tell the Truth used three distinctive sets throughout its nine-year syndicated run. The first, designed by Theodore Cooper and making heavy use of the psychedelic art styles popular in the period, was used for the first two seasons and the first four weeks of the third; those designs were muted somewhat with pastel shades on the second set used from that point through the first 30 weeks of the fourth season. The third—and longest-lived—set, which Cooper also designed, was a mostly-blue block motif with gold accents, and included a large on-stage representation of the show's new logo, which made use of stacking and interlocking letters, behind the panel. This set was used for the remainder of the run, and the logo would be reused on the future 1990 revival.

This version featured a lyrical, pop music-styled theme song written and composed by Score Productions chief Bob Israel and Truth producer Paul Alter, along with veteran theme composer Charles Fox; an instrumental, and orchestral, version would be used for the 1990 series.

The bulk of this version is intact. However, the current status of the first season is unknown, and is presumed to be lost to wiping. GSN has never rerun the first season of the show, and had always begun with the second season, in 1970. One episode from the first season exists in the UCLA Film and Television Archive. Buzzr began airing episodes from 1973 in October 2018.

On the October 5, 1973, episode, one of the challengers was Georg Olden, who disclosed that he was the graphic designer who created the "To Tell the Truth man" icon that was used during the 1956–1978 seasons.

1980–1981, syndication

On September 8, 1980, a new To Tell the Truth series premiered in syndication. The new series emanated once again from Rockefeller Plaza in New York, and Canadian TV personality Robin Ward served as the host, with Alan Kalter returning as announcer. A new theme and set were commissioned for this edition of Truth. Even though previous regulars Bill Cullen, Peggy Cass, and Kitty Carlisle made frequent appearances, there was no regular panel for this edition. The new Truth aired for one season in syndication, but it never recaptured the popularity of the original, and aired its final episode on June 12, 1981, with reruns airing until September 11, 1981.

Two games were played, and each wrong vote paid the challengers $100; $500 was paid if the entire panel had been fooled. No consolation prize was given if the entire panel correctly identified the subject.

After the second game, a new game called "One on One" was played with the four impostors from earlier. One fact had been purposely withheld from the panel about one of the impostors and it was up to the panelists to determine correctly to which of the impostors it applied. One at a time, each panelist would be given twenty seconds to question the impostor sitting directly across from him or her and would then say whether he or she believed the fact applied to that impostor. Wrong votes still paid $100, with $500 paid if the panel did not correctly determine to whom the fact pertained.

The 1980 edition of To Tell the Truth was a rarity in that it was still based in New York while nearly all television game show production had moved to California by this point. There was only one other game show in production during the run of this To Tell the Truth series that emanated from New York. The $50,000 Pyramid, which premiered at the midway point of the 1980-81 season, was the other; the series was taped at ABC's Studio TV-15, the former Elysee Theater, on West 58th Street. These two would be the last non-cable productions to tape regularly in New York until 1999 when Who Wants to Be a Millionaire? premiered on ABC.

1990–1991, NBC
To Tell the Truth returned to NBC for a run that lasted only eight months, from September 3, 1990 (Labor Day) to May 31, 1991. Unlike previous versions that originated from New York, the 1990 version was taped at NBC's The Burbank Studios in California. The show's theme music was an orchestral remix of the 1969–78 theme (minus the lyrics), and the show utilized the block-letter logo from 1973 to 1978. All episodes of this series exist and have aired on GSN in reruns.

Actor Richard Kline hosted two pilot episodes with Charlie O'Donnell as announcer; one of these was accidentally aired as the premiere episode in the Eastern and Central time zones. A Current Affair reporter Gordon Elliott hosted To Tell the Truth for its first eight weeks (September 3 to October 26, 1990) with Burton Richardson announcing (O'Donnell served as his substitute). A dispute with Elliott's former employers in Australia temporarily forced him off American television altogether; his replacement was then-frequent panelist Lynn Swann. Swann, the first African-American host of To Tell the Truth, hosted the show for the next 14 weeks (October 29, 1990 to February 1, 1991) until his job as a reporter for ABC Sports at the time forced him to leave. Alex Trebek was brought in as his replacement for the remainder of the run (February 4 to May 31, 1991), at the same time he was hosting Classic Concentration on NBC and Jeopardy! in syndication. Mark Goodson filled in for two episodes Trebek missed when his wife Jean went into labor during a taping with their son Matthew.

The celebrity panelists for To Tell the Truth during this period included several of the 1970s panel stalwarts, including Kitty Carlisle, who appeared on a majority of the shows, taking the fourth and most upstage seat. The first seat, furthest downstage, saw Ron Masak and Orson Bean alternate on the panel for 34 of the 39 weeks the series was on air. The chair next to that was occupied by rotating guests, although voice actress Dana Hill appeared in the seat most often. The third chair most often featured David Niven Jr. as a panelist, although Masak and Bean would also sit there if both were to appear on the same program. Polly Bergen and Peggy Cass, who began appearing on the original series, would appear from time to time, and other frequent panelists included Vicki Lawrence, Cindy Adams, and Betty White. The panelists were introduced in twos, with the male panelists escorting the female panelists down the set's main staircase, followed by the host. For one week, Monty Hall (who would later replace Bob Hilton as a permanent guest host on the 1990 version of Let's Make a Deal) sat in the first seat.

Two games were played with two sets of impostors. Any incorrect votes up to two paid $1,000. If three of the panelists had voted incorrectly, the players split $1,500. On the pilot, each incorrect vote earned $500. If the panel was fooled entirely, the players split $3,000.

After the second game, a new version of the "One on One" game from the 1980 series was played. A seventh civilian player was brought out with two stories, and a member of the studio audience was given an opportunity to win money by trying to figure out which of the two stories was true. Each panelist was given the opportunity to ask the contestant one question for each story, and after both stories had been presented the audience member chose which one he or she thought was the truth. After the choice was made, the contestant revealed the right answer and if the audience member came up with it, he or she won $500. If the contestant stumped the audience member, that player won $1,000.

Occasionally, celebrities whose faces were not well known would attempt to stump the audience during this part of the game. For example, Hank Ketcham, the creator of Dennis the Menace and a challenger on the original To Tell the Truth in May 1962, tried during the show's Christmas Day episode to convince an audience member that he was really the songwriter to "Rudolph the Red-Nosed Reindeer" (Johnny Marks had actually done this), but was unsuccessful in doing so.

2000–2002, syndication
The show then had a two-year run in syndication, starting in 2000, with John O'Hurley hosting, and Burton Richardson returning as the announcer. The series was again produced at NBC Studios in Burbank, California. Gary Stockdale supplied the music for this edition. In most markets, it was paired up with Family Feud, which was then hosted by Louie Anderson; O'Hurley would eventually join that program in 2006 and host it until 2010, when Steve Harvey took over.

Actor Meshach Taylor was the only regular to appear on every episode of this edition, while Paula Poundstone was a regular during the first season. Panelists appearing in at least six weeks of episodes included Brooke Burns, Dave Coulier, Brad Sherwood, Traci Bingham, Kim Coles, and Cindy Margolis. The show's website touted Coles and Burns as regulars for season two in place of Poundstone, though neither panelist was featured in every show that year. Kitty Carlisle appeared as a panelist for one episode in the first season, making her the only panelist to have appeared on all incarnations of this show to that point. It was Carlisle's final appearance in the franchise before her death in 2007.

This edition of To Tell the Truth brought back the audience vote that the original series had last used. Its vote was revealed after the panel had cast their votes, just before O'Hurley asked for the subject to identify himself or herself. Each incorrect vote paid $1,000, with a maximum of $5,000 available if the challengers managed to completely fool both the panel and the audience. (A tie in the audience vote or panel disqualification counted as a wrong vote, as they had in previous versions.) In the first several weeks of shows, a game that resulted in five incorrect votes was worth $10,000 for the challengers.

According to Steve Beverly's tvgameshows.net, this edition of Truth never received a rating higher than 1.8. It was cancelled on January 28, 2002, only 96 episodes into its second season. However, repeats continued to air through March 15, 2002. Episodes of this series have aired on GSN in reruns.

2016–2022, ABC
ABC ordered six episodes of the show, hosted by Anthony Anderson, which taped in July 2015 and began airing on ABC on June 14, 2016. Anderson is the second African-American host of the franchise; the first was Lynn Swann on the short-lived 1990 NBC daytime version.

Also appearing on the new series was Doris Day Bowman, Anderson's mother, presented as the "scorekeeper." In some cases, where a panelist knows the central character or one of the impostors, Bowman also plays on their behalf. When Anderson's family appeared on Celebrity Family Feud, the behavior of "Mama Doris" was so outrageous that the producers approached Anderson about having her on To Tell The Truth. The first season also included a house band, Cheche and His Band of Liars, and David Scott as an offstage announcer.

The 2016 version of the show departed from prior versions in a number of ways. Episodes lasted 60 minutes rather than 30 minutes. Most contestants introduce themselves solely by claiming the central character's story, rather than by name (e.g., "I was a Bond girl" rather than "My name is ..."); some panels have contestants of different genders. The questioning period is not split distinctly among the panelists, and Anderson and Bowman often participate in the questioning. Once in each episode, the two impostors from a single round participate in "Before You Go," a second round in which one is the central character and the other is again an impostor. Many episodes include a demonstration by one of the central characters. No mention is made of financial compensation for the impostors or the central characters, as the show presents itself mainly as a competition between the panelists.

Scoring
Panelists receive 10 points for correctly identifying the central character, or 20 points for the final round (1 and 2 points in earlier episodes).

At the end of the episode, the losing panelist is subjected to some sort of minor humiliation; if panelists are tied, Bowman chooses the loser. In season one, the losing panelist was subjected to "Tweet a Lie," in which Anderson posted an embarrassing tweet to that panelist's Twitter account. Losing contestants are given a "dummy" crown. Starting with the August 11, 2019, episode, panelists who earn a perfect score win the "Doris Award," a gold-colored bust of Bowman. To date, three panelists have won the Doris Award: Oliver Hudson, on September 22, 2019; Deon Cole, on June 25, 2020; and Michael Strahan, on August 6, 2020. (Bowman had to play one round on Strahan's behalf, as he knew the central characters.)

Panelists
The first season featured three regular panelists: Betty White, NeNe Leakes, and Jalen Rose; White has appeared on all three broadcast network versions of the show. In season two, the regular panelists were eliminated (as was the house band), although Rose still made occasional appearances.

To maintain social distancing during the COVID-19 pandemic, the sixth season reduced the number of panelists from four to three.

To date, four panelists have made ten or more appearances on the show: Sherri Shepherd (eleven), Nikki Glaser (ten), Joel McHale (ten), and Jalen Rose (ten, including six as a season one regular). Former host Alex Trebek was a panelist in a 2018 episode, making him the first host to appear on a subsequent version as a panelist.

Merchandise
A board game was released by Lowell in 1957.

During the run of the 2000 version, a single-player online game was offered by the short-lived website Uproar.com, and promoted by host John O'Hurley at the end of each episode.

A video slot machine game, based on the 1969 version, was released to American casinos nationwide by Bally Gaming Systems in 2002.

International versions

Notes

External links
 To Tell the Truth on the Web
 To Tell the Truth (CBS) all surviving episodes on YouTube

 To Tell the Truth at Pearson TV (archived)
 To Tell the Truth O'Hurley era site (archived)
 To Tell the Truth Anderson era site

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Alex Trebek

To Tell the Truth


İbn Fadlan (877 - 960), 10. yüzyılda yaşamış bir Arap din bilgini ve gezginidir.

Elçilik
Abbasi halifesi Muktedir'in 921'de İdil Ön Bulgarları hükümdarı Almış Han'a gönderdiği heyette yer aldı. Görevi, oradaki Müslüman bilginleri denetlemek, halifenin mektup ve armağanlarını sunmaktı. Önemli bir diplomat ve dikkatli bir gezgin olarak kabul edilen İbn Fadlan, bu yolculuğunu 'Rihla' (Seyahatname) ve (كتاب إلى ملك الصقالبة; Kitāb ilā Malik al-Saqāliba) adlı ünlü yapıtında anlatmıştır.

İbn Fadlan, daha sonra Bulgar (Bolğar) şehrine gelince, Wisu (veya Isu şimdiki Perm Kray) bölgesine kısa bir gezi yapar, orada İdil Ön Bulgarları (Volga Ön Bulgarları) ile Komilerin (yerel bir Fin kabile) aralarında ticaret yaptıklarını izlemiştir. İbn Fadlan'ın Bağdat'a dönüş güzergahı belli değildir.<ref>M. Canard, İbn Fadlan, Enchlopdy of İslam.</ref>

 Eseri
 كتاب إلى ملك الصقالبة, Kitāb ilā Malik al-SaqālibaBu kitabında, Volga Ön Bulgarlar'nın ülkesi ve halkına ilişkin gözlemleri yanı sıra, yolculuğu sırasında gördüğü yerler ve halklarla ilgili önemli bilgiler de aktarmıştır. Bunlar arasında, Oğuzlar, Başkırtlar, Ön Bulgarlar ve Peçenekler ve Tatarlar da vardır. Maveraünnehir'de henüz devlet öncesi bir düzende yaşamakta olan Türklere (Oğuzlara) ilişkin gözlemler yapmıştır.

Bu gezi yazısı, Başkir Türkolog Ahmed Zeki Velidi Togan tarafından 1923 yılında İran'nın kuzeydoğusundaki Meşhed (Farsça: مشهد Mashhad) şehrinde bir kütüphanede eksik bir çeviri yazı olarak bulunmuştur.

İbn Fadlan'ın eseri 1975 yılında "İbn Fazlan Seyahatnamesi" adı ile Bedir Yayınevi tarafından basılmıştır

Bir Arap Televizyon yayımcısı İbn Fadlan Seyahatnamesi'ni dizi halinde The Roof of the World veya Saqf al-Alam (Arapça: سقف العالم) ismiyle 2007 yılında yayınlamıştır.

 İlgili Filmler
 '13. Savaşçı (İngilizce: The 13th Warrior)' (1999), Fragman (Michael Crichton'un Eaters of the Dead romanından.)

 Ayrıca bakınız
 İbn el-Fakih el-Hamadani
 Abu Dulaf Misar ibn Muhalhil

 Notlar

 Kaynakça
 Carl Brockelmann: Geschichte der arabischen Litteratur. Zweite den Supplementbänden angepasste Auflage. Brill, Leiden 1943. Band 1, sayfa 261
 Collection of Geographical Works by Ibn al-Faqih, Ibn Fadlan, Abu Dulaf Al-Khazraji, Fuat Sezgin, Frankfurt am Main, 1987
 M. Canard: Ibn Faḍlān. In: Encyclopedia of Islam. Leiden 2003. III:759a.
 A. Zeki Velidi Togan: Ibn Fadlan's Reisebericht. Abhandlungen für die Kunde des Morgenlandes. Band 24, Nr. 3, Leipzig 1939.

 Dış bağlantılar
 İbn Fadlan, Seyahatname
 James E. Montgomery: Ibn Faḍlān and the Rūsiyyah, In: Journal of Arabic and Islamic Studies'', 3 (2000).

10. yüzyılda ölenler
İdil Bulgarları
Arap bilginler
Orta Çağ'da Müslüman yazarlar
Asya kâşifleri

İbn Fadlan


Bugarska akademija znanosti (bugarski: Българска академия на науките, Balgarska akademiya na naukite, kraće i BAN) najviša je znanstvena ustanova i krovna znanstvena institucija u Bugarskoj. Sjedište Akademije nalazi se u Sofiji. Potpuno je neovisna u donošenju svojih odluka te primanju novih članova u redove akademika. Bugarska akademija znanosti kroz škole, znanstvene ustanove, medije, skupove, znanstvene i stručne radove promiče znanost i potiče njezin razvoj u Bugarskoj okupljajući sve znanstvenike na jednom mjestu. Izdaje rječnike, enciklopedije, knjige i svoj časopis preko vlastite izdavačke kuće.

Preteča Akademije bilo je Bugarsko književno društvo osnovano u rumunjskom gradu Brăili 26. rujna 1869. Sljedeće godine, društvo je počelo izdavati svoj vlastiti časopis »Periodičke novine«, a 1871. za prvog predsjednika izabran je prevoditelj Gavril Kratsevič. Zgrada Akademije izgrađena je 1892. godine prema nacrtima arhitekta Hermanna Mayera, a 1920. proširena je zbog nedostatka prostora. Društvo je ime u Bugarska akademija znanosti promijenilo 1911., a prvi predsjednik Akademije bio je Ivan Gešov. Rad Akademije financira se iz državnog proračuna, za što se godišnje izdvoji oko milijun eura.

Znanstvene grane

Akademije svoje znanstveno djelovanje ostvaruje i promiče u 9 znanstvenih grana:

 matematika,
 psihologija,
 kemija,
 biologija,
 zemljopis,
 inženjerstvo,
 humanističke znanosti
 društvene znanosti,
 povijest i pomoćne znanosti.

Akademija ima i vlastiti botanički vrt, studentski i znanstveni kampus te Kompleks znanstvenih ustanova u središtu glavnoga grada.

Bugarska akademija znanosti ima svoje ogranke u svim većim gradovima i mjestima te ima svoje predstavništvo u Narodnom sabranju (Bugarskom saboru).

Vanjske poveznice
 Službene stranice Bugarske akademije znanosti

Znanost i tehnologija u Bugarskoj
Sofija
Akademije znanosti i umjetnosti

Bugarska akademija znanosti


Lorenzo's Oil is a 1992 American drama film directed and co-written by George Miller. It is based on the true story of Augusto and Michaela Odone, parents who search for a cure for their son Lorenzo's adrenoleukodystrophy (ALD), leading to the development of Lorenzo's oil. The film was shot in Pittsburgh, Pennsylvania, primarily from September 1991 to February 1992. It had a limited release in North America on December 30, 1992, with a nationwide release two weeks later, on January 15, 1993. Though it was a box office disappointment, grossing $7.2 million against its $30 million budget, the film was generally well received by the critics and garnered two nominations at the 65th Academy Awards.

Plot

Lorenzo is a bright and vibrant young boy living in the Comoro Islands, as his father Augusto Odone works for the World Bank and is stationed there. However, after relocating with his parents to the United States, he begins to show signs of neurological problems (such as falling, loss of hearing, tantrums, etc.). The boy is diagnosed as having adrenoleukodystrophy (ALD), which is fatal within two years. Failing to find a doctor capable of treating their son's rare disease, Augusto and his wife, Michaela, set out on a mission to find a treatment to save their son. In their quest, the Odones clash with doctors, scientists and a support group that is skeptical that anything could be done about ALD, much less by laypeople. But they persist, setting up camp in medical libraries, reviewing animal experiments, enlisting the aid of Professor Gus Nikolais, badgering researchers, questioning top doctors all over the world and even organizing an international symposium about the disease.

Despite research dead-ends, the horror of watching their son's health decline and being surrounded by skeptics (including the coordinators of the support group they attend), they persist until they finally hit upon a possible therapy. The Odones sponsor an international meeting of scientists doing research on ALD, requiring two conditions ahead of time. First they insist that the meeting focus on potential treatments and second, they require that they be allowed to participate, despite being non-scientist laypeople. The pivotal scene in the movie portrays this meeting, in which the scientists are presenting their research. When Dr. William B. Rizzo mentions his studies in which the addition of oleic acid to cultured cells blocked accumulation of the factors which cause ALD, the Odones jump into the conversation, asking if this oil might help their son. Although the scientists play down their hope, pointing out that it would take years of work to produce the oil and test in clinical trials, the Odones seize the promise of this possible curative treatment. As the scene ends, Michaela Odone is shown beginning the effort to find someone able and willing to produce the same oil Dr. Rizzo gave to his cells. They contact over 100 firms around the world until they find an elderly British chemist, Don Suddaby, who is working for Croda International and is willing to take on the challenge of distilling the proper formula.

The Odones obtain a precious vial of the oil (actually containing two specific long chain fatty acids, isolated from rapeseed oil and olive oil) and add it to their son's diet. This treatment proves successful in normalizing the accumulation of the very long chain fatty acids (which had been causing their son's steady decline), as measured in blood levels. This treatment halts the progression of his disease and is dubbed "Lorenzo's Oil". This oil is soon found to be successful in preventing the progression of harm in other patients with ALD. Meanwhile, Lorenzo has a great deal of neurological damage, and the Odones are dismayed to see that the oil can reverse their son's symptoms only very, very slowly. The Odones realize that more rapid improvement of his son's severe condition will require treatments to repair the myelin sheath (a lipid insulator) around the nerves, and Augusto is shown taking on the new challenge of organizing biomedical efforts to heal myelin damage in patients.

Finally, Lorenzo, at the age of 14, shows definite improvement (swallowing for himself and answering "yes" or "no" questions by blinking) and it is revealed that he has regained his sight, can move his head from side to side, vocalize simple sounds and is learning to use a computer. The movie ends with scenes of ALD patients who were treated with Lorenzo's Oil earlier in the course of their disease. In these patients the devastating neurological degeneration from which Lorenzo suffered was able to be prevented.

Cast

Production
Principal photography for Lorenzo's Oil began on September 9, 1991 in the Pittsburgh suburb of Ben Avon, Pennsylvania and continued throughout the city and area.

Possibly to emphasize the "everyman" aspect of the plot (the notion that a cure could affect families and individuals anywhere), many smaller roles were played by inexperienced actors or non-actors with unusual physical features and mannerisms. For example, the poet James Merrill was noticed by a casting director at a New York public reading of his poetry. His rarefied speaking cadences were utilized in a symposium scene in which he played a questioning doctor.

Music
The film uses Allegri's Miserere, Edward Elgar's cello concerto, as well as Barber's Adagio for Strings and Mozart's Ave verum corpus K.618.

The opening song is "Kijana Mwana Mwali" (Swahili, "Song about a Young Lady"), sung by the Gonda Traditional Entertainers.

A 1960 recording of Maria Callas with the La Scala orchestra and chorus is heard singing selections from Bellini's Norma at several points.

The music for the Easter Midnight Mass scene is a Russian Orthodox Church hymn, "Bogoroditse Devo" (Rejoice, O Virgin) from "Three Choruses from 'Tsar Feodor Ioannovich'", taken from the album Sacred Songs of Russia by Gloriae Dei Cantores.

Other music include Barber's Agnus Dei and Mahler's Symphony No. 5.

The original music from the motion picture soundtrack was scored and composed by Stewart Copeland.

Reception

Critical response
Roger Ebert of the Chicago Sun Times gave the film four out of four stars and called it an "immensely moving and challenging movie", adding that "it was impossible not to get swept up in it." James Berardinelli of ReelViews gave it three out of four stars and claimed, "it was about the war for knowledge and the victory of hope through perseverance."

Review aggregation website Rotten Tomatoes retrospectively collected reviews from 40 critics to give the film a score of 93%, with an average rating of 7.10/10, . The website's consensus reads, "A harrowing tribute to the heroism of parental love, Lorenzo's Oil is kept from abject misery by George Miller's sensitive direction and outstanding performances from Nick Nolte and Susan Sarandon." On Metacritic, the film has a weighted average score of 80 out of 100, based on 21 critics, indicating "generally favorable reviews". Audiences polled by CinemaScore gave the film a grade of "A" on an A+ to F scale.

Medical response
Though the film seemed to accurately portray the events related to the boy's condition and his parents' efforts during the time period covered by the film, it was criticized for falsely painting a picture of a miracle cure. Subsequent research with Lorenzo's oil has not clearly proven its long-term effectiveness in treating ALD after its onset. However, it prevented the onset of ALD in two-thirds of the susceptible boys. The actual subject of the film, Lorenzo Odone, died of pneumonia in May 2008 at the age of 30, having lived two decades longer than originally predicted by doctors.

Hugo Moser, on whom the character of Professor Nikolais was based, called the film's portrayal of him "an abomination".

Box office
The film grossed $7,286,388 domestically with a budget of around $30 million.

Accolades

Also, the film is recognized by American Film Institute in these lists:
 2006: AFI's 100 Years...100 Cheers – Nominated

See also
  Voglia di vivere, a 1990 Italian television film depicting the same story.
  "Lorenzo", a song by Phil Collins, released on the 1996 album Dance into the Light, is based on a poem Michaela Odone wrote about Lorenzo.
 Extraordinary Measures, a 2010 film depicting the true story of another set of parents' struggle to find a cure for their children's rare disease.

References

External links

 Lorenzo's Oil at Oz Movies

1992 films
1990s English-language films
1992 drama films
Drama films based on actual events
Films directed by George Miller
Films produced by George Miller
Films scored by Stewart Copeland
Films set in the Comoros
Films set in Pittsburgh
Films shot in Pittsburgh
Medical-themed films
Universal Pictures films
Films produced by Doug Mitchell
Films with screenplays by George Miller
Films set in the 1980s
Films set in the 1990s
Films about mother–son relationships
Films about father–son relationships
American drama films
American films based on actual events
1990s American films
Films about disability

Lorenzo's Oil


Limbile balto-slave sunt o ramură a familiei de limbi indo-europene, cuprinzând limbile baltice și limbile slave. Cele două subdiviziuni prezintă unele caracteristici lingvistice distincte de cele ale altor limbi indo-europene, ceea ce indică o perioadă de dezvoltare comună.

Clasificare
 Limbi baltice
 Limba letonă
 Limba lituaniană
 Limba prusacă veche
 limba curoniană
 Limbi slave
 Limbi slave de est
 Limbi slave de vest
 Limbi slave de sud

Note

Limbi indo-europene

Limbi balto-slave


O Grande Prêmio da Grã-Bretanha de 2022 (formalmente denominado Formula 1 Lenovo British Grand Prix 2022) foi a décima etapa da temporada de  da Fórmula 1. Foi disputada em 3 de julho de 2022 no Circuito de Silverstone, em Silverstone, Reino Unido.

Resumo

Contexto

Qualificação

Q1

Q2

Q3

Corrida

Resultados

Treino classificatório

 Notas

Corrida

Curiosidades

 Primeira pole position e primeira vitória de Carlos Sainz.
 Primeira pole position de um piloto espanhol desde Fernando Alonso no GP da Alemanha de 2012.
 Primeira vitória de um piloto espanhol desde Fernando Alonso no GP da Espanha de 2013.
 Guanyu Zhou provocou um grave acidente na largada.
 Primeiro Q3 da carreira de Nicholas Latifi.
 A Williams está presente no Q3 desde o GP da Rússia de 2021.
 Primeiros pontos de Mick Schumacher.

Voltas na liderança

2022 DHL Fastest Pit Stop Award

Resultado

Classificação

 Tabela do DHL Fastest Pit Stop Award

Tabela do campeonato após a corrida
Somente as cinco primeiras posições estão incluídas nas tabelas.

 Tabela do campeonato de pilotos

 Tabela do campeonato de construtores

Ligações externas

Grã-Bretanha
Desporto no Reino Unido em 2022
2022
Eventos desportivos de julho de 2022

Grande Prêmio da Grã-Bretanha de 2022


Bradford Phillip Delson (1 Aralık 1977, Kaliforniya, ABD), Amerikalı müzisyen. Linkin Park grubunun gitaristi.

Yaşamı
Aguora, Kaliforniya'da büyüdü ve Mike Shinoda ile arkadaşlıkları orada başladı. Birlikte Aguora Lisesi'nde okudular ve 1996'da mezun oldular. Aynı yıl Xero grubunu kurdular. Dostlukları devam eden Brad ve Mike öğrenimlerine ayrı üniversitelerde devam ettiler. Brad UCLA'da öğrenim görürken oda arkadaşı Dave "Phoenix" Farrell ile tanıştı. O zamanlar yerel bir grupta basçı olarak görev alan Phoenix'i yeni adı Hybrid Theory olan gruplarına davet etti. 2000 yılında grubun ismi Linkin Park olarak değiştirilince Brad de bu grubun elektro gitaristi olarak görev almaya devam etti.

Kaynakça

1977 doğumlular
Amerikalı bas gitaristler
Yahudi asıllı Amerikalılar
Rock bas gitaristleri
Yaşayan insanlar
Alternatif metal müzisyenleri
Amerikalı erkek gitaristler
Türkçeleştirilmesi gereken sayfalar
Grammy Ödülü sahipleri

Brad Delson


Afrikansk skovand () er en andefugl, der lever i det vestlige og centrale Afrika.

Noter
 Avibase - the world bird database

Eksterne henvisninger

Fugle fra Centralafrika
Fugle fra Vestafrika
Svømmeænder

Afrikansk skovand


Novagalicia Banco fue la marca comercial con la que operaba NCG Banco hasta su sustitución por la marca Abanca el 27 de junio de 2014, tras su adquisición en diciembre de 2013 por el grupo bancario venezolano Banesco. Fue creada el 19 de octubre de 2011 y se implantó en Galicia, Asturias, la provincia de León y el mercado internacional. El mismo banco operó en el resto de España a través de su filial EVO Banco (inicialmente creado también como marca comercial), el cual fue vendido al fondo de inversión estadounidense Apollo Global Management. Tras la conclusión de la venta de EVO Banco en febrero de 2014, se abrieron oficinas con la marca Novagalicia Banco en otras ciudades españolas.

Historia

La fundación de esta marca comercial es la consecuencia de una serie de cambios en la estructura de su matriz. En 2010, las cajas de ahorros gallegas Caixa Galicia y Caixanova emprenden un proceso de fusión que tiene como resultado la cesión de todos los activos de las dos antiguas entidades a una nueva caja, la cual recibió el nombre de NovaCaixaGalicia. Todas las oficinas de las antiguas cajas pasaron a cambiar su logotipo y su marca comercial por el de la nueva resultante.

Sin embargo, tan solo un año después, en 2011 CaixaNovaGalicia decide, en consonancia con la reestructuración del sistema bancario en España, ceder todos sus activos, oficinas y cartera de clientes a una entidad bancaria de la cual la caja es la única propietaria, denominada NCG Banco, S. A. De esta forma, la caja sigue existiendo con el único propósito de mantener la obra social, pasando su anterior actividad al nuevo banco.

Acorde a este cambio, la entidad crea una nueva marca comercial para operar en toda España, Novagalicia Banco, volviendo a modificar la rotulación y comunicación externa de todas las oficinas en España de la entidad por los de la nueva marca.

La marca Novagalicia Banco nació el 19 de octubre de 2011 bajo el lema publicitario "Un nuevo banco con los clientes de toda la vida". Su imagen corporativa y logotipo constituyen una evolución gráfica de la imagen de Novacaixagalicia, entidad que dio origen al banco. Con el fin de recalcar sus orígenes, Novagalicia Banco recoge en su logotipo la paleta de colores azules que le vincula a la identidad gráfica y cultural de Galicia y una tipografía creada especialmente para el nuevo banco.

Esta marca se implantó en Galicia, Asturias y la provincia de León. Para operar en el resto del país, NCG Banco decidió crear una marca por separado, naciendo la denominación EVO Banco el 12 de marzo de 2012.

En abril de 2014, Banesco, vencedor de la subasta de NCG Banco a través de Banco Etcheverría, anunció que se suprimiría la marca Novagalicia Banco una vez que se materializara la adquisición de NCG Banco y se sustituiría por una nueva.

El 27 de junio de 2014, la marca comercial Novagalicia Banco fue sustituida por la marca Abanca.

Véase también
 Abanca

Referencias

Enlaces externos

ABANCA
Marcas comerciales

Novagalicia Banco


Souzou Enogu(想像えのぐ), es el último maxi sencillo lanzado por la banda de J-rock/Oshare kei, ya que con este lanzamiento Oyuugi Wagamama Dan x PaRADEiS cambia su nombre a Paradeis, demostrando a si el interés por sus fanes en el extranjero que siempre los llamaron así. también la banda tiene un cambio rotundo en su estética,  y también cambia su logotipo.
El maxi sencillo contiene 3 canciones inéditas y el tipo b contiene un live donde tocaron (01.Yamato nadeshiko02. Mrs.Tobyuura no dokuhai03. Pieromansu) :Pathos Logos, en esta canción Mashiro nos muestra las dos partes de su cerebro; Baaaan!! nos cuenta la lucha entre mashiro y su yo interno (Baaaan!! se traduciria como bang! que hace referencia al ruido de un revólver), en la canción mashiro habla de un ser interior que lo quiere destruir pero que es el en realidad.y por último Maigo.

Lista de canciones

 También Incluye un DVD con un comentario especial de Paradeis con preguntas y respuestas cuando compres más de 2 tipos del sencillo. (las preguntas son las que dejaron que sus fanes envíen en julio y agosto)
El contenido varía dependiendo de la tienda:
Like an Edisson
ZEAL LINK
little HEARTS
RISKY DRUG STORE
Jishu-ban Club
Brand X
CROSS CAT
closet child
Pure sound america
SKULL ROSE

Referencias

 Sitio oficial
 Sitio oficial

Enlaces externos
https://web.archive.org/web/20111012023841/http://www.paradeis.net/paradeis_website/jp/release.html
http://www.amazon.co.jp/albare-TYPE-%E3%81%8A%E9%81%8A%E6%88%AF%E3%82%8E%E3%81%8C%E9%AD%94%E3%80%85%E5%9B%A3%C3%97%E3%80%90PaRADEiS%E3%80%91/dp/B004HDDYEA/ref=ntt_mus_dp_dpt_7/375-7516270-2158608
http://www.amazon.co.jp/albare-TYPE-B-%E3%81%8A%E9%81%8A%E6%88%AF%E3%82%8E%E3%81%8C%E9%AD%94%E3%80%85%E5%9B%A3%C3%97%E3%80%90PaRADEiS%E3%80%91/dp/B004HDDYCM/ref=ntt_mus_dp_dpt_9/375-7516270-2158608
http://ameblo.jp/yuriisama/entry-11068361044.html

Álbumes de 2011
Álbumes de artistas Visual kei

Souzou enogu


{{Takso memeli
| ad = Hazar kaplanı
| resim = Panthera tigris virgata.jpg
| resim_bilgi = Tutsak edilmiş bir Hazar kaplanı Berlin hayvanat bahçesinde 1899'da
| statü = EX
| alem = Animalia
| şube = Chordata
| sınıf = Mammalia
| takım = Carnivora (Etçiller)
| alttakım = Feliformia (Kedimsiler)
| familya = Felidae (Kedigiller)
| altfamilya = Pantherinae (Büyük kediler)
| cins = Panthera
| tür = P. tigris (Kaplan)
| alttür = P. t. virgata
| üçlü_ad = Panthera tigris virgata
| üçlü_ad_yazar = (Illiger, 1815
| harita = Panthera tigris virgata dis.png
| harita_bilgi = Hazar kaplanının 1900 yılında dağılımı
| dış_bağlantılar =
}}Hazar kaplanı veya Turan kaplanı''' (Panthera tigris virgata), kedigiller (Felidae) familyasından soyu 1970'li yıllarda tükenen kaplan alt türüdür.

 Özellikleri

Hazar kaplanının, en yakın akrabası Sibirya kaplanıdır ve ondan biraz daha küçüktü, diğer tüm kaplanlardan daha büyüktü. Çizgileri çok düzgün, sık ve uzun, başında, ensesinde, sırtında ve kuyruk ucunda siyah, gövdenin geri kalanı ve uzuvlarda kahve/tarçın tonlarındaydı. Gövde ve boyun altı beyaz ve daha sarkık, kulakları kısa ve küçüktü. Kış postu daha soluk renk ve çizgileri daha az belirginken, yaz postu kahveden parlak kırmızıya çeşitlilik gösteriyordu. Çizgi altı kürk rengi, Sibirya kaplanına göre, gövdesi boyunca daha tutarlıydı. Boy ve ağırlıkları erkek bireylerde 270–295 cm ve 170–240 kg, dişilerdeyse 240–260 cm ve 85–135 kg kadardı.

 Yaşam şekli

Hazar kaplanları yalnız yaşayan hayvanlardı. Yaşam süreleri 10-15 yıl kadardı. Yalnızca çiftleşme zamanında bir araya gelirlerdi. Hazar kaplanları, sık çalılık yerlerde, orman açıklıklarında, nehir kenarlarında yaşarlar ve suya girip yüzebilirlerdi. Çiftleşme mevsiminde erkek ve dişi birlikte görülürdü. Erkek kaplan dişiden daha büyüktü. Genelde çiftleşme kış veya bahar döneminde gerçekleşir, yirmi-otuz gün kadar sürerdi. Yaklaşık olarak 100 günlük bir gebelik döneminden sonra dişi kaplanlar üç yavru doğururdu. Bu yavrular doğduğunda kördü ve on gün sonunda gözleri açılırdı. Yavrular yaşamlarının ilk sekiz haftasında anne sütüyle beslenirdi. Bu esnada baba hiçbir sorumluğu üzerine almazdı. On bir haftadan sonra yavrular avlanmaya başlardı. Yaban domuzu ve geyik türleri başlıca avı idi.

 Dağılımı
Orta çağa kadar Mezopotamya, Ukrayna, Güney Rusya ve Moğolistan'da da bulunur ve yaşam alanı Sibirya kaplanı ile süreklilik arz ederken, 19. yüzyıla gelindiğinde en batıda Türkiye olmak üzere Kafkasya, İran, Afganistan ve Türkistan'ın sulak ve sazlık nehir boylarında parçalanmış bir nüfusa indirgendi.

 Türkiye'deki durumu
Türkiye'de Siirt, Şırnak, Uludere ve Çukurca (Hakkâri) taraflarında, Irak sınırındaki dağlarda ve vadilerde yakın zamanlara kadar bulunduğu anlaşılmaktadır. Son olarak Şubat 1970'te Şırnak'ın Uludere ilçesinde Şehit Şen isimli bir köylü tarafından 122 cm. gövde uzunluğunda bir erkek birey vurulmuştur. Bu kaplanın postu 3 yıl sonra 1973'te Güneydoğu Anadolu Bölgesi'nde bitki araştırmaları yapan İstanbul Üniversitesi Eczacılık Fakültesi öğretim üyesi Prof. Dr. Turhan Baytop (1920-2002) tarafından İstanbul'a getirilmiştir. Post, Ali Üstay Koleksiyonu'ndadır. Prof. Dr. Turhan Baytop bu bulgu ve derlemelerini 1974 yılında Münih'teki Säugetierkundliche Mitteilungen'' isimli akademik dergide yayımlamış ve makalesinde daha önceki yıllarda da Uludere ve Şırnak bölgelerinde 8 adet kaplanın vurulduğunu köylülerden duyduğunu yazmıştır. Bu tarihten sonra hiç görülmemiştir. Bununla birlikte bölgenin kırsalında yaşayanlar tarafından hala görüldüğü zamanlar ihbar edilmektedir. Kuzey İran'ın Türkiye sınırına yakın olan bir bölgesinde zoolog Paul Joslin tarafından 1974 yılında bulunan 17 cm genişliğindeki ayak izi göz önüne alınırsa bu ihbarların doğru olabileceği düşünülebilir.

Kaynakça

Kaplan
Azerbaycan'daki memeliler
Türkiye'deki memeliler
Türkiye'de yok olan hayvan türleri
Soyu tükenmiş etçiller
1958'de çevre
İnsan faaliyetleri nedeniyle nesli tükenen türler
1500'den sonra soyu tükenmiş memeliler
Carl Linnaeus tarafından adlandırılmış taksonlar

Hazar kaplanı


Die Canada Open 1992 im Badminton fanden vom 16. bis zum 20. September 1992 in Calgary statt. Das Preisgeld betrug 35.000 US-Dollar, was dem Turnier zu einem Zwei-Sterne-Status im Grand Prix verhalf.

Sieger und Platzierte

Weblinks
 http://tournamentsoftware.com/sport/tournament.aspx?id=7104A1D9-2D38-41C2-8045-E618B646E226

1992
World Badminton Grand Prix 1992
Badmintonwettbewerb in Calgary

Canadian Open 1992


ජුමොන්විල් ග්ලෙන් හි සටන ප්‍රංශ ඉන්දියානු යුද්ධයේ ආරම්භක සටන ලෙසින් සංකේතවත් වෙයි. එය 1754 මැයි 28 වැනිදා යටත්විජිත බ්‍රිතාන්‍ය හා ප්‍රංශ හමුදාව අතර (නූතන පෙන්සිල්වේනියා ප්‍රාන්තයේ) සිද්ධ වූවකි. ප්‍රංශ හමුදාවේ අණ දෙන නිලධාරියා වූයේ ජෝසෆ් කුලොන් ඩ ජුමොන්විල් නැමැත්තා ය. ජෝර්ජ් වොෂිංටන් හා වර්ජීනියා මිලීෂියා භටයන් හතළිස් දෙනෙක් සමඟ එකතු වූ ස්වදේශී ඉන්දියානු ගෝත්‍රික නායක ටැනචැරිසන් ඇතුළු පිරිස එහි යටත්විජිත බ්‍රිතාන්‍ය වෙනුවෙන් ජය ලබති.

එවක ලුතිනන් කර්නල්වරයෙකු වූ ජෝර්ජ් වොෂිංටන් යටතේ පැමිණි වර්ජීනියා මිලීෂීයා හමුදාව මේ පළාතේ මහා තණ පිට්ටනිය නමින් හැඳින් වූ ස්ථානයේ කඳවුරු බැඳ සිටියේය. බාග රජ්ජුරුවෝ යන නාමය දැරූ ටැනචැරිසන් නම් ස්වදේශී ඉන්දියානුවා තම ගෝත්‍රික කණ්ඩායමේ සහාය ජෝර්ජ් වොෂිංටන් ඇතුළු කණ්ඩායම වෙත ඉදිරිපත් කළේය. ඔහු කුඩා කාලයේ දී ඔහුගේ පියා ප්‍රංශ භටයන් අතින් මරුමුවට පත් වී යැයි සැලකේ. ඔහු පසු කාලයක දී කියන්නේ ප්‍රංශ භටයන් ඔහුගේ පියා තම්බා අනුභව කළා කියාය. ඉතිහාස වාර්තා වල ටැනචැරිසන් සඳහන් වෙන්නේ 1747 කාලයේ දී ය. ඔහු අයිරකුවා ස්වදේශී ඉන්දියානු කවුන්සිලය වෙතින් බ්‍රිතාන්‍ය්‍යන් හා ගණුදෙනු වලට වරම් ලැබූවෙකු යැයි සැලකේ.

ඔහායෝ ගඟ දිගේ පහළට ප්‍රංශ හමුදාව ඒම වැළැක්වීම සඳහා බලකොටු තනන්නට සූදානම් වන ජෝර්ජ්ට සුදුසු තැන් කියා දෙන්නේ ටැනචැරිසන් ය. ටැනචැරිසන් විසින් වසර දෙකක් තිස්සේ සුදුසු යැයි කියා තිබි දෙබළය වෙත වොෂිංටන් ළඟා වෙද්දී එතැන ප්‍රංශ අය විසින් ඩුකෙස්නි බලකොටුව ඉදිකර හමාර බව හේ දකියි. එහි දී ඉහළින් අණ එනතෙක් වොෂිංටන් ඇතුළු පිරිස මහා තණ පිට්ටනියේ නවාතැන් ගනිති. 1754 මාර්තු 27 වැනිදා ප්‍රංශ භටයන් එහි එන බව කියමින් ටැනචැරිසන් වොෂිංටන් වෙත පණිවුඩයක් එවයි. ඔවුන් පහර දෙන්නට පෙර ඔවුන්ට පහර දිය යුතු යැයි ටැනචැරිසන්ගේ උවදෙස විය.

ඔවුන්ට නොදැනෙන්නට ඔවුන්ගේ නැවතුම් ස්ථානයට කඩා පැන පහර දෙන වොෂිංටන් ඇතුළු පිරිස හැම පැත්තෙකින් ම වටලා දුන් හදිසි ප්‍රහාරය නිසා වෙඩි උණ්ඩ උරුහන්බානා සේ හැම අත ගිය බවත්, ඒ ශබ්දයේ යම් මනරම් බවක් තිබියා යැයි ද ජෝර්ජ් වොෂිංටන් ලියූ ලිපියක සඳහන් වෙයි. ඒ ජෝර්ජ් වොෂිංටන්ගේ මුල් ම සටන විය. සටනේ දී ප්‍රංශ සොල්දාදුවන් නව දෙනෙකු මිය ගියා යැයි ද, තුවාල ලැබූ ජුමොන්විල් ඇතුළු විසිඑක් දෙනෙකු සිරභාරයට ගත්තා යැයි ද සටහන් වෙයි. තුවාල ලබා සිටි ජුමොන්විල් වෙත වොෂිංටන් යුද්ධයේ යටත්වෙන කොන්දේසි කතාබහට ළං වෙනවාත් සමඟ එතැනට පැමිණි ටැනචැරිසන් විසින් ජුමොන්විල් මරා දමයි. ඔහුගේ හිසේ හිසකෙස් සහිත සම ගලවා මොළය අතට ගත් බව කියැවේ.

මූලාශ්‍ර

http://en.wikipedia.org/wiki/Battle_of_Jumonville_Glen

ජුමොන්විල් ග්ලෙන් හි සටන


Galeas per montes désigne (par une locution latine) l'entreprise de génie militaire, menée entre décembre 1438 et avril 1439 par la République de Venise, de déplacement d'une flotte composée de galères, de frégates et de divers bateaux de la mer Adriatique au lac de Garde, en remontant le fleuve Adige jusqu'à Rovereto, puis en transportant les navires par voie terrestre jusqu'à Torbole, les faisant enfin rejoindre la partie nord du lac. La partie la plus difficile de l'itinéraire est d'environ 20 km dans les montagnes, en passant le petit col de San Giovanni. Cette opération est mémorable et a un large écho dans toute l'Europe compte tenu de son caractère exceptionnel et des difficultés techniques et logistiques qu'elle a surmontées.

Contexte

La République de Venise, puissance de la Méditerranée, entame au  une phase d'expansion dans les Domini di Terraferma (expression italienne signifiant « Domaines de la Terre ferme ») vénitiens et lombards par des conquêtes militaires ou des ralliements spontanés, dont celui de Brescia, afin d'approvisionner la ville lagunaire en marchandises suffisantes et de sécuriser d'importantes routes commerciales. Dans le processus, un rapport de force politique instable se développe entre trois petits États du nord de l'Italie, le duché de Milan dirigé par la famille Visconti et les républiques de Florence et de Venise.

En 1423, lorsque Philippe Marie Visconti tourne son attention vers la Romagne, qui se trouve dans la sphère d'influence de la République de Florence, les Florentins appellent Venise à l'aide. Une phase guerrière de trente ans s'ensuit, interrompue à plusieurs reprises par des accords de paix de courte durée qui ne prennent fin qu'avec la paix de Lodi en 1454 entre la République de Venise et le duc de Milan et successeur de Philippe Marie Visconti, Francesco Sforza.

Dans ces guerres dites lombardes, Venise réussit à occuper Brescia (1426) et Bergame (1428) en Lombardie.

Brescia est assiégée en 1438 par le condottiere Niccolò Piccinino, à la solde du duché de Milan. Des affrontements entre Piccinino lui-même et le chef vénitien Gattamelata ont ainsi lieu autour de Brescia en septembre ; Gattamelata est mis en fuite avec 2000 fantassins et 600 cavaliers le long du Valle Sabbia, au nord de Brescia, pourchassés par Piccinino. La tentative du comte d'Arco, qui est allié aux Visconti, de bloquer sa route ultérieure via le Mincio échoue et après plusieurs escarmouches, il réussit à remonter jusqu'au lac de Garde, à traverser le fleuve Sarca et à remonter vers Nago, faisant ainsi face au col de San Giovanni, où il comprend qu'il y a la possibilité d'obtenir de l'aide pour Brescia. Les Vénitiens atteignent la vallée de l'Adige et enfin Venise tenue par Vérone.

Piccinino a désormais le contrôle de tout le secteur sud du lac jusqu'à Mantoue et il devient donc presque impossible pour l'armée vénitienne d'apporter de l'aide à la ville assiégée depuis le sud alors que les citoyens de Brescia continuent à résister aux assiégeants.

Les rives ouest et sud du lac de Garde sont aux mains des Visconti, tout comme Riva del Garda. Venise contrôle l'estuaire de la Sarca, Torbole et la rive est du lac, mais contrairement à Milan, elle n'a pas de flotte navale sur le lac. Le seul accès navigable, le Mincio, par lequel une flotte aurait pu atteindre le lac depuis l'Adriatique et via le Pô, est sous contrôle milanais, qui bloque également cet accès avec le Ponte Visconteo à Valeggio sul Mincio.

En novembre 1438, Gattamelata est nommé commandant suprême des troupes vénitiennes pour sa retraite réussie. Au même moment, le sénat de la ville réfléchit à la manière de venir en aide aux assiégés de Brescia. Le lac de Garde, qui assure une liaison directe avec Brescia via les vallées de Ledro, Chiese et Sabbia est considéré comme une voie appropriée pour acheminer des troupes et du ravitaillement.

Des documents indiquent que le  décembre 1438, le Sénat vénitien décide donc de s'appuyer sur la proposition formulée par Blasio de Arboribus, ou peut-être Niccolò Carcavilla, et par Niccolò Sorbolo, un officier de marine vénitien de Candie, aujourd'hui la Crète, qui prévoit de traverser le fleuve Adige, d'entrer dans son embouchure et de le remonter au sud de Rovereto jusqu'à Mori ,où la flotte serait mise à sec, puis transportée le long des routes alpines qui montent du Monte Baldo au lac de Loppio, pour passer le col de San Giovanni et descendre au port de Torbole en empruntant un chemin muletier pour rejoindre le lac de Garde. Le projet est placé sous la tutelle de Gattamelata.

Les faits

La flotte appareille en décembre de Venise, entre dans l'embouchure de l'Adige près de Sottomarina di Chioggia, remontant le fleuve jusqu'à Vérone qu'elle atteint le 3 janvier. La première galère est suivie par d'autres navires jusqu'en février. Dans le port fluvial de la ville, des flotteurs sont installés sur les bateaux pour réduire le tirant d'eau et continuer le voyage, car le fleuve est bas. Sous l'impulsion des défenseurs piégés à Brescia, qui manquent de tout, le Sénat ordonne la construction d'une galère supplémentaire à Vérone. La route continue à travers la cluse de Vérone jusqu'au village de Marco, situé juste au sud de Rovereto. La flotte arrive finalement à Mori entre février et mars.

Il n'y a pas de chiffres cohérents sur la taille de la flotte et le nombre exact de navires. Il devait y avoir plusieurs galères et un grand nombre de petits bateaux. Les informations varient entre un maximum de six galères et 25 bateaux et au moins deux grandes frégates, trois petites galères et 25 bateaux.

À ce stade, la flotte est tirée à terre au moyen de machines spécialement inventées ; puis, la route sur laquelle les bateaux seront remorqués, est nivelée avec l'aide de centaines de travailleurs, dont des excavateurs, des charpentiers, des menuisiers, des marins, des rameurs de navires et des agriculteurs de la région. À cette fin, deux mille bœufs réquisitionnés à proximité sont utilisés, qui sont répartis car jusqu'à 120 paires sont nécessaires pour les plus gros navires.

Alors que les plus petits bateaux sont chargés directement sur des charrettes et tirés par des attelages, des rondins sont disposés sur la route pour déplacer les galères. Le premier tronçon en légère montée vers le lac de Loppio mesure environ sept kilomètres avec 70 mètres de dénivelé. Une fois au lac, les galères et les barques sont remises à l'eau, des barques sont attelée aux galères et les tirent sur l'autre rive en contrebas du col de San Giovanni. La montée difficile et raide vers le col, en partie encastrée entre de gros rochers, dont certains doivent être renversés, se fait à l'aide de treuils et en hissant les voiles. De cette manière, il est possible de monter trois galères dans le col en deux jours. Au cours de l'ascension, les obstacles naturels sont nivelés, la végétation coupée et des maisons démolies, des ponts sont créés et des travaux d'infrastructure entrepris.

La descente abrupte du col vers Nago, et surtout Torbole, est encore plus difficile en raison de la tendance des navires à accélérer vers le bas et à heurter les rochers. Le seul passage est la petite vallée de Santa Lucia en dessous de Castel Penede, qui est la seule route de Nago à Torbole à l'époque. Il faut démolir les coins des maisons à Nago. On tente alors de retenir les navires au moyen de grosses cordes qui fixent leurs mâts à de gros rochers, régulant ainsi le glissement au moyen de quelques treuils. Pour ralentir encore la course, il est brillamment décidé de profiter de l'ora del Garda, un vent fort qui souffle du sud l'après-midi, déployant les voiles afin « d'alléger » le poids des navires. En mars 1439, trois mois après avoir quitté Venise et 18 jours après que la flotte eut atteint l'Adige près de Mori, les premiers bateaux sont mis à l'eau près de Torbole. Pendant le transport terrestre, les cavaliers patrouillent constamment dans la zone pour éviter d'être surpris par les raids ennemis.

L'opération complexe dure deux semaines et coûte à la République de Venise la somme considérable de 15 000 ducats, mais permet à la flotte vénitienne de mettre les voiles depuis les côtes de Torbole, non loin de Riva del Garda ; cet exploit devient célèbre dans toute l'Europe.

Epilogue

Grâce à la présence de la flotte vénitienne sur le lac, il devient possible d'apporter des vivres et des armes à Brescia ; cependant cette opération se heurte à l'opposition de la marine du duché de Milan. La flotte, si laborieusement tirée par les montagnes, est immédiatement engagée dans une première bataille au large de Riva del Garda, contrôlée par les Milanais, mais sans qu'une victoire soit acquise. Deux batailles navales ont lieu les 12 avril et 26 septembre 1439 au large de Maderno qui voient toutes deux la défaite de la flotte vénitienne ; la plupart des navires vénitiens sont perdus. En novembre, Piccinino réussit même à conquérir Vérone pendant quelques semaines, mais est bientôt expulsé par Gattamelata et Francesco Sforza.

Cependant, cette défaite ne conduit pas Venise à abandonner son plan initial. Plutôt que d'amener une deuxième flotte sur le lac et elle la construite directement à Torbole. Pour ce faire, le matériel, en partie préfabriqué, est ramené de l'Adige à Torbole à l'aide de 600 animaux de trait.

Ce n'est qu'en 1440 que la Sérénissime réussit à reprendre tout le lac de Garde qui est placé sous son contrôle et à libérer Brescia du long siège milanais. La bataille navale qui a lieu en avril est fondamentale, où la flotte vénitienne, commandée par Stefano Contarini, s'affronte avec la flotte milanaise au large du Ponale : cette fois Venise réussit à acquérir une victoire importante, écrasant la flotte milanaise au large de Riva del Garda, ce qui lui permet d'avoir la domination complète de eaux.

Postérité
La première description écrite de l'entreprise est celle de Marcus Antonius Coccius Sabellicus, quelque 40 ans après, qui s'est rendu sur place et a probablement aussi parlé à des témoins oculaires.

La dernière bataille navale victorieuse de Riva en avril 1440 est représentée plus d'un siècle plus tard par Le Tintoret sur le plafond de la Sala del Maggior Consiglio du palais des Doges à Venise.

Galeas per montes est présenté sous forme de musée dans le château Scaliger de Malcesine.

Dans la culture populaire
Une histoire Disney inspirée de ce fait historique, Paperin de la Ventura, a été publiée dans l'hebdomadaire Mickey Mouse en 1983.

Références

Bibliographie
 .
 .
 .
 , Storia di Venezia, Einaudi, Turin 1991 .
 F. Lupinacci, Un trasporto di navi dall'Adriatico al Lago di Garda.Extrait de la revue Rivista Marittima, Ministero della Difesa – Marina, Tipo-Litografia di Marisegrege, o. O. 1953.
 Paolo D. Malvinni, La magnifica intrapresa. Galeas per montes conducendo, Curcu & Genovese, Trento 2010 .
 Ferdinando Martinelli (Ed..), Saluti dal Garda. Conoscere Torbole e Nago, Tipografia Piave, Belluno o. J.
 Paolo Renier, Testimonianze sul trasporto delle navi da Venezia al Garda eseguito dai veneziani nel 1439, Venezia 1967.
 Barbara Schäfer, Die Bergfahrt einer Seemacht, Mare. Die Zeitschrift der Meere No. 62 Juni/Juli 2007 online consulté le 27 mars 2019.
 Fabio Romanoni, La guerra d'acqua dolce. Navi e conflitti medievali nell'Italia settentrionale, Clueb, Bologna 2023   consulté le 28 mars 2023.

Bataille navale impliquant la république de Venise
Histoire de Vérone
Histoire de Venise

Galeas per montes


El BMW F01 es la denominación interna del BMW Serie 7, que entró en producción en septiembre de 2008 reemplazando al modelo anterior, el BMW E65 (y BMW E66). El F01 comparte plataforma con el F02, una versión larga de la Serie 7 con 14 cm más de distancia entre sus ejes delantero y trasero.

Diseño

El F01 sigue la tendencia de sus predecesores. La parte delantera está claramente inspirada en el BMW CS Concept, pero con más sobriedad, puesto que ambos fueron diseñados por Karim Habib.

Plataforma compartida

La plataforma del F01/F02 también se comparte con otro modelo del grupo BMW, el Rolls-Royce conocido internamente como "RR4". Este vehículo, que ronda los 250.000 $ lo fabrica la planta de Rolls-Royce en Goodwood, Inglaterra.

Motorizaciones

Referencias

Enlaces externos
 Sitio web oficial
 BMW Serie 7
 Nuevo BMW serie 7. 2009.
 BMW 760i y 760Li
 Virtual tour BMW 7 series F02 interior

7
BMW Serie 7

BMW F01


Divizia 12 Infanterie a fost o mare unitate de nivel tactic care s-a constituit la 27 august 1916, prin mobilizarea unităților de rezervă din compunerea Comandamentului II Teritorial: Regimentul 44 Infanterie - (Pitești), Regimentul 68 Infanterie - (Găești), Regimentul 62 Infanterie - (Târgoviște), Regimentul 70 Infanterie - (Muscel), Regimentul 45 Infanterie - (Giurgiu), Regimentul 60 Infanterie - (Turnu Măgurele), Regimentul 46 Infanterie - (București), Regimentul 61 Infanterie - (Ilfov) și Regimentul 22 Artilerie.

Divizia  a făcut parte din organica Corpului II Armată. La intrarea în război, Divizia 12 Infanterie a fost comandată de generalul de brigadă Traian Găiseanu. Divizia a participat la acțiunile militare pe frontul românesc, pe toată perioada războiului, între 27 august 1916 - 11 noiembrie 1918.

Participarea la operații

Campania anului 1916

Campania anului 1917

Campania anului 1918

Ordinea de bătaie la mobilizare

Campania anului 1916

La declararea mobilizării, la 27 august 1916, Divizia 12 Infanterie a făcut parte din compunerea de luptă a  Armatei 1, alături de Corpul I Armată și Divizia 13 Infanterie. Armata 1 era comandată de generalul de divizie Ioan Culcer.Ordinea de bătaie a diviziei era următoarea:
Divizia 12 Infanterie
Brigada 23 Infanterie
Regimentul 44 Infanterie
Regimentul 68 Infanterie
Brigada 24 Infanterie
Regimentul 62 Infanterie
Regimentul 70 Infanterie

Reorganizări pe perioada războiului

În prima jumătate a anului 1917, Divizia 12 Infanterie s-a reorganizat în spatele frontului. Divizia a fost inclusă în compunerea de luptă a Corpului II Armată, alături de Divizia 1 Infanterie și Divizia 3 Infanterie. Corpul II Armată era comandat de generalul de brigadă Arthur Văitoianu, eșalonul ierarhic superior fiind Armata 2.Ordinea de bătaie a diviziei era următoarea:>
Divizia 12 Infanterie
Brigada 23 Infanterie
Regimentul 45/60 Infanterie
Regimentul 46/61 Infanterie
Brigada 24 Infanterie
Regimentul 44/68 Infanterie
Regimentul 62/70 Infanterie
Brigada 12 Artilerie
Regimentul 22 Artilerie
Regimentul 27 Obuziere
Compania divizionară de mitraliere
Divizionul de cavalerie
Batalionul 12 Pionieri

Comandanți
Pe perioada desfășurării Primului Război Mondial, Divizia 12 Infanterie a avut următorii comandanți:

Note

Bibliografie
 Falkenhayn, Erich von, Campania Armatei a 9-a împotriva românilor și a rușilor, Atelierele Grafice Socec & Co S.A., București, 1937
 Kirițescu, Constantin, Istoria războiului pentru întregirea României, Editura Științifică și Enciclopedică, București, 1989
 Ioanițiu Alexandru (Lt.-Colonel), Războiul României: 1916-1918,vol 1, Tipografia Geniului, București, 1929
  ***, România în războiul mondial 1916-1919, Documente, Anexe, Volumul 1, Monitorul Oficial și Imprimeriile Statului, București, 1934
 ***, Marele Cartier General al Armatei României. Documente 1916 – 1920, Editura Machiavelli, București, 1996
 ***, Istoria militară a poporului român, vol. V, Editura Militară, București, 1989
 ***, România în anii primului Război Mondial, Editura Militară, București, 1987
 ***, România în primul război mondial, Editura Militară, 1979

Vezi și
Participarea României la Primul Război Mondial
Ordinea de bătaie a Armatei României (1916)
Ordinea de bătaie a Armatei României (1917)
Bătălia de la Mărășești
Comandanți de mari unități ale Armatei României

Unități militare române din Primul Război Mondial

Divizia 12 Infanterie (1916-1918)