Maral Yazarloo (Kelarabad, 18 de novembro de 1981) é uma estilista e motociclista iraniana, e foi a primeira mulher a fazer uma turnê mundial de motocicleta, solo e grávida, passando por todos os continentes. Durante a turnê, fez campanha a favor do direito das mulheres iranianas a obter carteira de motorista e andar de motocicletas no Irã. Foi classificada como uma das 100 mulheres mais inspiradoras do mundo, pela BBC 100 Women, no ano de 2018.

Biografia
Yazarloo nasceu em 18 de novembro de 1981 em  Kelarabad, no Irã. Se mudou para Pune, na Índia, em 2004 para fazer MBA no Wadia College. E fez PhD em marketing, na Universidade de Pune. Após o curso, passou a trabalhar como diretora de marketing do Grupo Panchshil Realty, uma das maiores corretoras de imóveis da índia. Desde criança, tinha interesse por moda, e resolveu fazer um curso de design no IED, em Milão. Em 2012 criou sua grife, chamada Maya e estreou em Paris. Em 2015, sua coleção desfilou na London Fashion Week. E já foram apresentadas em Roma e Dubai.

Comprou sua primeira moto, uma Harley Davidson Forty Eight de 1200 cilindradas, em 2010, durante uma viagem a trabalhou em Mumbai. Assim que voltou de viagem, se juntou ao Harley Owners Group e passou a participar dos passeios do grupo por todo o país. Durante este período, percebeu que tinha poucas mulheres realmente interessadas em pilotar motos na Índia. Yazarloo criou a Lady Riders of India, um clube para reunir mulheres motociclistas de grandes motos, onde formam um sistema de apoio entre elas.

Com o patrocínio do Grupo Panchshil, no dia em 15 de março de 2017, Yazarloo iniciou uma turnê mundial, a Ride to be One, que durou 526 dias, passando por todos os continentes. Percorreu 64 países e 110.000 quilômetros com sua moto BMW GS de 800 cilindradas. Teve como parceiro de turnê o ciclista de cross-country Pankaj Trivedi, que conheceu durante a India Bike Week. Trivedi precisou retornar à Índia, depois de 9 meses, devido a problemas de saúde. Como as mulheres iranianas são proibidas de andar de moto, Yazarloo aproveitou a Ride to be One para fazer campanha a favor das mulheres iranianas em obter carteiras de motorista e andar de moto, e conscientizar sobre violência praticada contra as mulheres. Durante a turnê, o namorado de Yazarloo, Alex Pattrick, a pediu em casamento. Ele viajou até o Peru e se casaram em Machu Picchu. Pattrick a acompanhou até a Bolívia, depois retornou para a Índia e Yazarloo seguiu viagem. Nos últimos 6 meses de turnê, viajou grávida de uma menina, a qual deram o nome de Nafas Elizabeth Pattrick.

Pessoas na lista BBC 100 Mulheres de 2018
Estilistas do Irão

Maral Yazarloo


අබ සරණ යනු ගවයින්ගේ උදරයේ පනුවන් ඉවත්කිරීම සඳහා කරණ කෙමකි.

ආශ්‍රිත
 අබ

කෙම්

අබ සරණ


Specii II (titlu original: Species II, alte denumiri Species II: Offspring sau Species II: Origins) este un film american SF de groază din 1998 regizat de Peter Medak. Rolurile principale au fost interpretate de actorii  Natasha Henstridge, Michael Madsen și Marg Helgenberger, toți aceștia reiau rolurile lor din primul film.

Prezentare

Distribuție
Natasha Henstridge - Eve
Michael Madsen - Press Lennox
Marg Helgenberger - Dr. Laura Baker
James Cromwell - U.S. Senator Judson Ross
Mykelti Williamson - Dennis Gamble
Richard Belzer - U.S. President
Justin Lazard - Patrick Ross
Sarah Wynter - Melissa
George Dzundza - Col. Carter Burgess Jr.
Myriam Cyr - Anne Sampas
Peter Boyle - Dr. Herman Cromwell
Nancy La Scala - Debutante sister Marcy
Raquel Gardner - Debutante sister Lucy
Kim Adams - Darlene
Nicholas Vota - Child in Ambulance: Patrick Ross' Child

Note

Legături externe

Vezi și
  Listă de filme produse de Metro-Goldwyn-Mayer
  Listă de filme cu extratereștri
  Listă de filme științifico-fantastice din anii 1990
  Listă de serii cu patru filme
  Listă de filme SF de groază

Filme din 1998
Filme americane
Filme în limba engleză
Filme regizate de Peter Medak
Filme MGM
Filme cu extratereștri
Filme SF de groază
Specii (serie de filme)
Filme thriller din anii 1990
Filme SF din anii 1990
Filme de groază din anii 1990
Marte în filme
Filme despre astronauți

Specii II


كلية الحاسبات والذكاء الاصطناعي بجامعة القاهرة، من الكليات الرائدة في دراسة الحاسبات والمعلومات في مصر والمنطقة، وقد جرى تطوير الكلية بإدخال العديد من الأساليب التعليمية والتقنية الحديثة، وتتميز الكلية بوجود العديد من التخصصات التكنولوجيا الدقيقة بها.

تاريخ الكلية
أنشئت كلية الحاسبات والمعلومات بجامعة القاهرة في عام 1996 بقرار من المجلس الأعلى للجامعات طبقاً للقرار الجمهوري بتأسيس كليات الحاسبات والمعلومات. ثم تغير اسم الكلية إلى «كلية الحاسبات والذكاء الاصطناعي».

موقع الكلية
تقع الكلية بجوار الحرم الجامعي لجامعة القاهرة في حي الدقي بمحافظة الجيزة.

العنوان البريدي:
5 ش د.أحمد زويل - الأورمان - الجيزة - الرقم البريدي: 12613

شروط الالتحاق بالكلية
 أن يكون الطالب حاصلاً على شهادة الثانوية العامة المصرية من الشعبة الهندسية (الرياضيات)، وسُمح بالتحاق طلاب شعبة علمي علوم منذ العام الجامعي 2020-2021، أو ما يعادلها من الشهادات الأجنبية.
 أن يكون الطالب حاصلاً علي الحد الأدني من الدرجات التي يحددها مكتب التنسيق بوزارة التعليم العالي للقبول بالكلية في ذات العام الدراسي.

أقسام الكلية
 علوم الحاسب.
 نظم المعلومات.
 تكنولوجيا المعلومات.
 بحوث العمليات ودعم إتخاذ القرار.
 الذكاء الاصطناعى

قسم علوم الحاسب

يختص قسم علوم الحاسب بدراسة الأساسية النظرية منها والعملية المتعلقة بالحوسبة كدراسة التكوين وطريقة العمل الأساسية لشرائح الحواسيب وطرق تحليل الخوارزميات. ومن مواده: الخوارزميات وتنظيم وعمارة الحاسب computer archecture والخوارزميات الجينية genetic algorithms ونظم المعرفة.

قسم نظم المعلومات

يختص قسم نظم المعلومات بدراسة التعامل مع بناء النظم وكيفية جمع المعطيات الأساسية لبناءها وأيضاً كيفية التعامل مع البيانات من ناحية التخزين والاسترجاع والتحليل ومن ضمن مواده: تحليل النظم وأساسيات نظم المعلومات والتنقيب عن البيانات data mining وتخزين البيانات data warehousing.

قسم تكنولوجيا المعلومات

يختص قسم تكنولوجيا المعلومات بتفاعل الحاسوب مع اشياء أخرى مثل تفاعل الحاسوب والحاسوب والذى ينتج عنه دراسة شبكات الحواسيب أو الحاسوب والطبيعة والذى ينتج عنه رؤية الحواسيب والتعرف على الأشكال الطبيعية والتحكم والتنظيم للآلات. ومن ضمن مواده: شبكات الحواسيب computer networks والأشارات والنظم signals and systems ورؤية الحاسب computer vision والتعرف على الأنماط pattern recognition ودراسة الآلات robotics.

قسم بحوث العمليات ودعم القرار

يختص قسم بحوث العمليات ودعم القرار بدراسة الأدوات التي تساعد وتمكن المؤسسات والأفراد متخذى القرار من الأحاطة بشكل أفضل للمعلومات في اتخاذ القرار وبالتالى يهتم ببناء ودراسة النماذج والمحاكاة للواقع مع دراسة بعض التطبيقات الواقعية ومن ضمن مواده: النماذج العشوائية stochastic models ونظرية المباريات game theory والأمثلية الرياضية mathematical optimization والنمذجة والمحاكاة modeling and simulation وأمثلية الشبكات network optimization.

قسم الذكاء الاصطناعي

نظام الدراسة بالكلية
 نظام الساعات المعتمدة هو ما يطبق في الكلية لنيل درجة البكالوريوس.
 لنيل درجة البكالوريوس من الكلية فلابد أن يجتاز الطالب كحد أدني وبنجاح 144 ساعة معتمدة أو طبقاً لما يقرره مجلس الكلية.
 تمنح الكلية درجة الماجستير ودرجة دكتوراة الفلسفة في عدة تخصصات مختلفة.
 تتبع الكلية النظم التعليمية المعمول بها في كبري الجامعات حول العالم.

النقابة المهنية
الكلية تنتمي الي نقابة العلميين ( نقابة المهن العلمية ) و المسمي الوظيفي في البطاقة الشخصية يكون مهندس برمجيات

الجمعية المصرية لمهندسي البرمجيات
 تأسست الجمعية المصرية لمهندسي البرمجيات في عام 2004 بهدف العمل علي تأسيس نقابة مهنية لخريجي كليات الحاسبات والمعلومات المصرية وكذلك لتقديم الخدمات والأنشطة للطلاب والخريجين.
 ساهمت كلية الحاسبات والمعلومات بجامعة القاهرة في تأسيس الجمعية المصرية لمهندسي البرمجيات في عام 2004 ويوجد بالكلية المقر الرئيسي للجمعية.
 يرأس مجلس إدارة الجمعية منذ تأسيسها وحتي الآن ا.د. معتز خورشيد وزير التعليم العالي والبحث العلمي.
 تعقد الجمعية المصرية لمهندسي البرمجيات ملتقى سنوي للتوظيف لخريجي كليات الحاسبات يضم كبرى شركات البرمجيات وتكنولوجيا المعلومات والاتصالات في مصر ويحضره وزراء التعليم العالي والاتصالات والتنمية الإدارية، وهو يعد أكبر ملتقي توظيفي في مصر للمتخصصين في صناعة البرمجيات وتكنولوجيا المعلومات.

مجلس إدارة الكلية
يتكون مجلس إدارة الكلية من:
 ا.د. إيمان علي ثروت إسماعيل عميد الكلية.
 ا.د. رضا عبد الوهاب أحمد وكيل الكلية لشؤون التعليم والطلاب.
 ا.د. محمود أحمد إسماعيل شومان وكيل الكلية لشؤون الدراسات العليا.
 ا.د. هشام نبية المهدى وكيل الكلية لخدمة المجتمع والبيئة.

وصلات خارجية

مراجع

تأسيسات سنة 1996 في مصر
حاسبات ومعلومات
كليات حاسبات ومعلومات في مصر
هيئات تعليمية أسست في 1996

كلية الحاسبات والذكاء الاصطناعي (جامعة القاهرة)


Caxton Hall est un bâtiment situé au coin de Caxton Street et Palmer Street, à Westminster, Londres. C'est un bâtiment classé Grade II principalement connu pour ses associations historiques. Il a accueilli de nombreux événements politiques et artistiques traditionnels et marginaux et, après la Seconde Guerre mondiale est le bureau d'enregistrement le plus populaire utilisé par la haute société et les célébrités qui demandaient un mariage civil.

Histoire de la structure
À la suite d'un concours de design organisé par les paroisses de St Margaret et St John, le projet choisi est une proposition de William Lee et FJ Smith dans un style François  orné utilisant de la brique rouge et du grès rose, avec des toits en ardoise. La première pierre est posée par la philanthrope, Angela Burdett-Coutts, le 29 mars 1882. L'installation, qui contient deux salles publiques connues sous le nom de Great et York Halls, est ouverte sous le nom de "Westminster Town Hall" en 1883.

Le bâtiment cesse d'être le siège du gouvernement local après la création de la ville élargie de Westminster en 1900. Il est rebaptisé Caxton Hall à cette époque pour commémorer l'imprimeur, William Caxton, qui a travaillé à l'aumônerie de Abbaye de Westminster.

Cependant, les salles ont continuent à être utilisées à diverses fins, notamment des réunions publiques et des concerts de musique. Un porche d'entrée central et un auvent sont ajoutés au milieu du , maintenant supprimés.

À partir de 1933, il est utilisé comme bureau d'enregistrement du centre de Londres et accueille de nombreux mariages de célébrités. Cette fonction disparait en 1979 et le bâtiment reste vide pendant des années, obtenant une place sur le registre des bâtiments à risque. Il est classé comme bâtiment d'intérêt architectural ou historique spécial le 15 mars 1984. Il est réaménagé en appartements et bureaux en 2006. La façade et l'ancien bureau d'enregistrement à l'avant du bâtiment faisant face à Caxton Street sont restaurés et conservés pour être convertis en appartements de luxe. L'arrière du bâtiment, contenant les halls, est démoli et un immeuble de bureaux circulaire, nommé Asticus Building, est construit sur le site.

Histoire de son utilisation sociale et politique
Le bâtiment est le lieu de la première conférence panafricaine en 1900.

L'Union sociale et politique des femmes (WSPU), qui fait partie du mouvement britannique des suffragettes, tient un "Parlement des femmes" à Caxton Hall au début de chaque session parlementaire à partir de 1907, suivi d'une procession vers les chambres du Parlement et d'une tentative (toujours un échec) de remettre une pétition au Premier ministre en personne. Le rôle central de Caxton Hall dans le mouvement militant pour le suffrage est désormais commémoré par une sculpture de volutes en bronze qui se dresse à proximité dans l'espace ouvert de Christchurch Gardens.

En 1910, l'occultiste Aleister Crowley met en scène ses Rites d'Eleusis à Caxton Hall. La série de performances se déroule sur six semaines et reçoit des critiques mitigées.

Le , Harry Pollitt, membre fondateur du Parti communiste de Grande-Bretagne, y épouse Marjorie Brewer. Leur témoin est Percy Glading qui est plus tard emprisonné pour avoir espionné pour l'.

Pendant la Seconde Guerre mondiale, il est utilisé par le ministère de l'Information comme lieu de conférences de presse tenues par Winston Churchill et ses ministres. Ce rôle de guerre est marqué par une plaque commémorative dévoilée en 1991.

En 1940, c'est le site de l'assassinat de Michael O'Dwyer, ancien lieutenant-gouverneur du Pendjab en Inde par le nationaliste indien Sardar Udham Singh, comme un acte de vengeance pour le Massacre d'Amritsar de 1919, parce que O'Dwyer est le responsable de la répression des protestations nationalistes. À la fin de son discours, Sardar Udham s'est dirigé vers O'Dwyer, a crié son nom formellement et l'a abattu.

C'est le lieu de la conférence de presse où le Manifeste Russell-Einstein est publié en 1955 en réponse à la menace de guerre nucléaire et de destruction de l'humanité.

Le , plus de  y assistent à la première réunion publique de la Homosexual Law Reform Society.

Le Front national britannique est formé lors d'une réunion à Caxton Hall, Westminster, le .

Il est également utilisé comme bureau d'enregistrement central de Londres pour les mariages d'octobre 1933 à 1978. Plusieurs personnes notables s'y sont mariées : Donald Campbell (deux mariages), Harrison Marks, Billy Butlin, Elizabeth Taylor, Diana Dors, Peter Sellers, Bernard Bresslaw, Roger Moore, Orson Welles, Joan Collins, Adam Faith, Barry Gibb et Ringo Starr. Le , le futur premier ministre Anthony Eden épouse Clarissa Spencer-Churchill, la nièce du premier ministre de l'époque, Winston Churchill.

Notes et références

Liens externes

Monument classé de Grade II dans la cité de Westminster

Caxton Hall


Charles Réné M'ba né le  à  Libreville est un haut cadre économique et financier, essayiste et homme politique Gabonais.

Expert comptable diplômé, il est haut cadre chez Elf, Total et Pricewhaterhousecoopers de 1983 à 2005.

Il occupe ensuite les fonctions de directeur des marchés publics du Gabon de 2005 à 2006 avant d'être Ministre Délégué auprès du Ministre de l'économie, des Finances, du Budget et de la Privatisation du Gabon de 2006 à 2009.

Il a été enfin sénateur du département du Woleu de  2008 à 2015.

Biographie

Enfance et études
Charles Réné M'ba est né le 4 mars 1954 à Libreville au Gabon. Son père a été fonctionnaire au service d'élevage à Owendo, à Tchibanga et enfin à Oyem.

Après des études primaires à l'école primaire Sainte Anne à Libreville, il arrive à la première place au concours d'entrée en  du Gabon en juin 1967. Il poursuit ses études secondaire au collège Bessieux de Libreville où il obtient son Baccalauréat série D en 1974. Il obtient une Maîtrise de Sciences Économiques à l'Université Rennes-I en 1980 puis un DESS d'Économie (Analyse de Projets) Mention AB, Lauréat, à Rennes 1 en 1982.

Charles M'ba est également titulaire d'un International Master Of Business Administration (IMBA) obtenu en 1984, d'un Diploma of Management Studies à l'EUA de San Francisco, d'un Certificate of Asian and Economic Studies à l'IMUA de Tokyo (Japon) et d'un Certificate of Advanced management program for Oil and Gas Industries Exécutives de Glendale University en Arizona. Il obtient un diplôme d'expert comptable en 1991.

Carrière professionnelle
Charles M'ba enseigne en 1983 l'économie à des classes de BTS chez Pigier à Rennes. L'année suivante, en 1984, il intègre Elf Aquitaine en tant qu'Ingénieur d'Études à la Direction Financière Exploration / Production à Paris.  De 1986 à 1987, il est Ingénieur Associations (Joint-Ventures) à la Division des Comptes d'Elf-Gabon. De 1987 à 1989, il est Ingénieur d'études au Département Budget – Comptabilité de la SNEA-P  à Paris.

Il quitte Elf en 1990 pour devenir Auditeur Sénior (Chef de Missions) chez PricewaterhouseCoopers Paris au Département Banques / Assurances. Il y reste jusqu'en 1993.

En 1994, Charles M'ba repart chez Elf où il est Auditeur à la Direction de l'Audit Groupe (DAG) - l'ancienne inspection générale - à Paris. De 1994 à 1996, il est chargé de Missions à la Direction de l'Audit Groupe (DAG) de 1996 à 1998 et Responsable Formation des Personnels Financiers Exploration / Production de 1998 à 1999.

De 2000 à 2004, Charles M'ba est Chargé de Missions auprès du Chef de Département Formation Exploration/Production  au sein du Groupe TotalFinaElf à Paris.

Appelé au Gabon par le président du Gabon  Omar Bongo, il est nommé en 2005 Directeur Général des Marchés Publics du Gabon  au sein du Ministère des Finances poste qu'il occupe jusqu'en 2006.

Charles M'ba a été président du conseil d'administration de l'Institut Africain d'Informatique (IAI)  de 2007 à 2010.

Parcours politique
Charles M'ba est nommé Ministre délégué auprès du Ministre de l'économie, des finances, du budget et de la privatisation du Gabon en 2007, poste qu'il occupera jusqu'à la mort d'Omar Bongo en 2009. Il conduit en 2007 la liste du Parti Démocratique Gabonais pour le canton Woleu, le plus grand département du Gabon (5 cantons, 275 village et 95 regroupements de villages) qu'il remporte avec 75 % d'élus.

En 2008, il est élu sénateurdu Département du Woleu et le restera jusqu'en 2015. En tant que Sénateur, il est membre de la Commission des Finances, de la Commission des Affaires Économiques et de la Commission de la Décentralisation. Il a aussi été membre de la Délégation Parlementaire gabonaise à l'ASSECCA (Sénats africains et arabes).

En tant que sénateur, il a également été membre de trois groupes d'amitiés. Il a été  Secrétaire – Trésorier du groupe sénatorial d'Amitié Gabon – Canada,  membre du Groupe sénatorial d'Amitié France-Gabon et du groupe sénatorial Gabon-Japon.

Passé à l'opposition, Charles M'ba est en 2016 lors des élections présidentielles au Gabon, l'un des soutien de Jean Ping qui obtient officiellement 41 % mais que de nombreuses sources donnent gagnant.

Prise de positions

Gouvernance d'Ali Bongo
À propos de la gouvernance d'Ali Bongo Charles M'ba a déclaré :
 .

Modification de la constitution du Gabon
Quant au changement constitutionnel Charles M'ba affirme :
 .

Charles M'ba est l'auteur de deux ouvrages tous deux paru en 2016 Gabon : la Passion du Pays et Mes Mots.

Décorations
Charles M'ba a été fait commandeur dans l'Ordre National du Mérite gabonais en 2006. En 2009, il a été élevé au grade de Grand Officier de l'Ordre National du Mérite gabonais par la Présidente du Gabon Rose-Francine Rogombé en 2009. En reconnaissance de sa contribution à la réhabilitation d'un millier d'étudiants camerounais en informatique et à sa contribution active à l'opération de vulgarisation et de démocratisation des Technologies de l'Information et de la Communication dénommée 100 mille femmes, Charles M'ba a été fait Officier dans l'Ordre de la Valeur par le président de la République du Cameroun Paul Biya en 2012.

Notes et références

Naissance en mars 1954

Charles M'ba


Oceanapia guaiteca est une espèce d'éponges de la famille des Phloeodictyidae.

Distribution
L'espèce est décrite des fjords des côtes chiliennes, dans l'Océan Pacifique.

Taxinomie
L'espèce Oceanapia guaiteca est décrite en 2013 par Eduardo Hajdu, Ruth Desqueyroux-Faúndez, Mariana De Souza Carvalho, Gisele Lôbo-Hajdu et Philippe Willenz.

Voir aussi

Bibliographie

Références biologiques

Notes et références

Phloeodictyidae
Espèce d'éponges (nom scientifique)

Oceanapia guaiteca


خوان دانييل فورلين  (مواليد 10 يناير 1988 في ريكونكويستا، سانتا في - الأرجنتين) لاعب كرة قدم أرجنتيني يلعب حاليا لصالح نادي الدرجة الأولى إسبانيول الإسباني منذ 2009 في مركز قلب الدفاع .

روابط خارجية

مراجع

لاعبو كرة قدم رجالية مغتربون في اليابان
لاعبو كرة قدم رجالية مغتربون في قطر
لاعبو كرة قدم رجالية مغتربون في المكسيك
أشخاص على قيد الحياة
أشخاص من مدينة ريكونكيستا (سانتا في)
رياضيون أرجنتينيون مغتربون في المكسيك
رياضيون أرجنتينيون مغتربون في اليابان
رياضيون أرجنتينيون مغتربون في إسبانيا
رياضيون أرجنتينيون مغتربون في قطر
رياضيون من محافظة سانتا
لاعبو الدوري الإسباني
لاعبو الدوري الإسباني الدرجة الثانية
لاعبو الدوري الإسباني الدرجة الثانية ب
لاعبو الدوري المكسيكي الممتاز
لاعبو إسبانيول
لاعبو بوكا جونيورز
لاعبو جوبيلا إيواتا
لاعبو دوري الدرجة الأولى الأرجنتيني
لاعبو دوري نجوم قطر
لاعبو ريال أوفييدو
لاعبو ريال مدريد كاستيا
لاعبو كرة قدم أرجنتينيون
لاعبو كرة قدم رجالية أرجنتينيون
لاعبو كرة قدم رجالية أرجنتينيون مغتربون
لاعبو كرة قدم رجالية مغتربون في إسبانيا
لاعبو كرة قدم مغتربون أرجنتينيون
لاعبو كرة قدم مغتربون في المكسيك
لاعبو كرة قدم مغتربون في اليابان
لاعبو كرة قدم مغتربون في إسبانيا
لاعبو كرة قدم مغتربون في قطر
لاعبو كرة قدم من محافظة سانتا
لاعبو كويريتارو
لاعبو لياجوستيرا
لاعبو مراكز متعددة كرة قدم رجالية
لاعبو منتخب الأرجنتين لكرة القدم
لاعبو نادي الريان
لاعبو وسط كرة قدم رجالية
مدافعو كرة قدم رجالية
مواليد 1408 هـ
مواليد 1988
مواليد في مدينة ريكونكيستا (سانتا في)

خوان فورلين


Fiction je osmi studijski album Dark Tranquillityja, švedskog sastava melodičnog death metala. Objavljen je 24. travnja 2007. Posljednji je album skupine s basistom Michaelom Nicklassonom, koji ju je napustio u kolovozu 2008. godine. Također je posljednji uradak grupe snimljen u Studiju Fredman.

Pozadina

Album označava povratak nekoliko stvari. "Inside the Particle Storm" prva je pjesma od "Tongues" s albuma The Mind's I čiji je autor teksta Niklas Sundin. Na pjesmi "Misery's Crown" Mikael Stanne izvodi čiste vokale, što je prvi put od pjesme "In Sight" na ponovnom izdanju albuma Haven. Na pjesmi "The Mundane and the Magic" pojavila se Nell Sigland, pjevačica sastava Theatre of Tragedy – to je prvi put od albuma Projector da se na uratku Dark Tranqullityja pojavio gostujući glazbenik. Za pjesme "Misery's Crown" i  "Focus Shift" snimljeni su spotovi.

Recenzije

Fiction je dobio uglavnom pozitivne kritike. Album je nazvan "još jednim vrijednim dodatkom impresivnoj diskografiji Dark Tranquillityja". Također je napomenuto da je album po glazbenom stilu sličan albumu Character.

Popis pjesama

Osoblje

Dark Tranquillity

 Mikael Stanne – vokal
 Martin Henriksson – gitara
 Niklas Sundin – gitara, grafički dizajn, dizajn
 Michael Nicklasson – bas-gitara
 Martin Brändström – elektronika
 Anders Jivarp – bubnjevi

Dodatni glazbenici

 Nell Sigland – vokal (pjesma 10.)

Ostalo osoblje
 Tue Madsen – miks
 Marcus Bergman – fotografije
 Ola Johansson – fotografije
 Karim Hatoum – fotografije

Izvori

Albumi sastava Dark Tranquillity
Albumi iz 2007.

Fiction


Elyesa veya İlyas Bazna (28 Temmuz 1904, Priştine - 21 Aralık 1970, Münih), II. Dünya Savaşı'nda Nazi Almanyası hesabına çalışmış ve Cicero (Çiçero) kod adıyla tanınan Arnavut asıllı Türk casusudur.

Gençliği
Priştine'de dünyaya gelen Bazna, askeri akademiye devam ettikten sonra 16 yaşında Fransız Ordusuna yazılmıştır. Ancak hırsızlık yaparken yakalandığı için mahkûm edilmiş ve çalışma kampında üç yıl hapis cezası çekmiştir. Daha sonraki dönemde Fransa ve sonrasında Türkiye'de büyükelçiliklerde kapıcılık, şoförlük ve koruma görevlerinde bulunmuştur. O dönemde diplomatik çevrelerde en geçerli dil olan Fransızcayı ve diğer bazı dilleri çok iyi konuştuğu için bu türlü işlerde tutunabilmiştir.

Casusluk hayatı
İkinci Dünya Savaşı yıllarının Ankara'sından önce Yugoslavya Krallığı Büyükelçiliği'nde, daha sonra Almanya Büyükelçiliği'nde çalışmıştır. 1943 yılında Ankara'daki İngiliz Büyükelçisi Sir Hughe Knatchbull-Hugessen'in yanında uşak olarak çalışmaya başlamıştır. Bir elbise fırçası ve kamera onun temel araçlarıydı. Sir Hughe'un kıyafetleriyle ilgilendi, yemek ceketlerini fırçaladı ve pantolonlarını ütüledi. Burada, Büyükelçinin özel odalarına ve gizli kasasına kolay erişim sayesinde, fotoğrafladığı gizli askeri belgeleri Franz von Papen'in sefareti döneminde Ankara'daki Almanya Büyükelçiliği'ne satmıştır. Birkaç ay boyunca Almanlara, Churchill, Roosevelt ve Stalin arasında Müttefik saldırı planları hakkında telgraflar da dahil olmak üzere bir bilgi akışı sağladı.

Almanya Büyükelçiliği'nde ataşelik yapan Ludwig Moyzisch'e kendisi yaklaşarak 20.000 Sterlin karşılığı elindeki elli altı belgeyi satma önerisinde bulunmuştur. Kısa bir süre ücretli bir Alman ajanı haline gelmiş ve Alman istihbarat servislerince kendisine "Çiçero" kod adı verilmiştir. Müttefiklerce düzenlenen uluslararası toplantılar ve bazı bombardıman planları hakkında önemli bilgiler aktarmış olmakla birlikte, Normandiya Çıkarması'na ilişkin birçok istihbarat ulaştırmıştır. Bütün bu dönem boyunca Ankara'daki İngiliz istihbarat görevleri ise Bazna'nın İngilizce anlamadığını zannetmekte, kendisini casusluğundan şüphelenilmeyecek kadar "eğitimsiz" ve "aptal" olarak görmekteydi.

Bazna, 1944 yılında Alman Büyükelçiliği'nde görevli bir sekreterin Müttefikler safına iltica etmesi üzerine, ele geçmekten korkarak İngiliz Büyükelçisi'nin yanındaki görevinden ayrılmıştır. Hizmetleri için Nazi Almanyası istihbarat servisi Abwehr tarafından kendisine 300.000 Sterlin ödenmiştir. Fakat bu paralar, Almanların İngiliz ekonomisini çökertmek için bastıkları sahte Sterlinlerdendir. İlyas Bazna paraların sahte olduğunu ancak savaştan sonra öğrenebilmiş ve sahte para kullanmaktan hapis cezası almıştır. Savaşın bitiminden bir süre sonra Federal Almanya Hükûmeti'ne karşı tazminat davası açmış, çok uzun süren bir davadan sonra kendisine mütevazı bir ödeme yapılmıştır.

Savaşın ardından
Savaş sona erdikten sonra ABD'nin istihbarat teşkilatı Stratejik Hizmetler Ofisi (OSS), Ludwig Carl Moyzisch de dahil olmak üzere önemli Almanlarla görüşerek Cicero hakkında bir soruşturma yürüttü. Cicero'nun Almanlara ilettiği istihbarattan en dikkat çekici bilginin Hughe Knatchbull-Hugessen'in notlarından, özellikle de Türk hükûmetiyle diplomatik çabalara ilişkin olduğu varsayıldı. Diğer belgelerin çoğu, Amt VI'nın (Hauptamt Volksdeutsche Mittelstelle'nin 11 bölümünden biri) İngiliz bölümünün başkanı Ostuf Schuddekoft tarafından Almanlar için çok değerli olamayacak kadar eski olarak değerlendirildi.

Moyzisch, Müttefiklerle sıkı pazarlıklı bir görüşme yaptı ve Nürnberg davalarında tanık oldu, ardından söylentileri ele almak ve savaş sırasındaki rolünü açıklayan bir kitap yazdı. Hiçbir zaman savaş suçlarıyla suçlanmadı.

Knatchbull-Hugessen'in itibarı, özellikle daha önce anahtarlarını ve belge kutularını gözetimsiz bırakması konusunda uyarıldığı için, Cicero Olayından ciddi şekilde etkilenmiştir. 28 Ağustos 1945'te Knatchbull-Hugessen resmi bir kınama aldı.

Savaştan sonra bir ortakla birlikte bir otel inşa etmeye çalıştı, ancak sterlin banknotları İngiltere Bankası tarafından kontrol edildiğinde, çoğunlukla sahte oldukları anlaşıldı (bkz. Bernhard Operasyonu). Casus, banknotların "oldukları Türk ketenlerinin fiyatına bile değmediğini" belirtti. Bazna sahte para kullanmaktan bir süre hapis yattı.

Bazna, 1950'lerde ailesiyle birlikte İstanbul'un Aksaray semtinde bir apartman dairesinde yaşıyordu. Şan dersleri verdi, ikinci el araba satarak çalıştı ve gece bekçisi olarak çalıştı.

Kazandığı paranın çoğu, sahte parayla ödenen alacaklılara gitti. Aldığı sahte paranın geri ödenmesi için Batı Alman hükûmetiyle temasa geçti. Ödeme almak için birçok kez ve birçok yolu denemesine rağmen hiçbir zaman para alamadı.

1960 yılında Bazna, Almanya'ya taşındı ve Münih'te gece bekçisi olarak çalıştı.

Bazna, casusluk yaptığı yıllarda Franz Von Papen'in kendisine taktığı kod adının "Çiçero" olduğunu bilmiyordu. Hatta, kendisinin Çiçero olduğunu ancak 1950'de, Sefaret'te belgeleri teslim ettiği Moyzisch'in tüm yargılamaların ardından inzivaya çekildiği Tirol Alpleri'nde yazdığı anılarından ve yine 1950'de İngilizlerin artık bu casusluk olayını açıklamasıyla öğrenmiştir.

I was Cicero (Ben Çiçero'ydum) başlığı altında yayınladığı anılarından yüksek bir kazanç elde etmiştir. Kitabı 1951 yılında 5 Fingers (Beş Parmak) adı altında, Joseph L. Mankiewicz'in yönetmenliğinde sinemaya uyarlanmış, Bazna rolünü James Mason oynamıştır. 1962'de yayınlanan "I Was Cicero" adlı kitabında, "Alman Reich'ı tarafından fena halde aldatıldım" diye yazmıştı.

Ölümü
Elyesa Bazna, Münih'te 1970 yılında 66 yaşında, böbrek yetmezliği sebebiyle ölmüştür.

Popüler kültürde yeri
Serdar Akar'ın yönetmenliğinde ve Erdal Beşikçioğlu'nun başrolünde olduğu, Elyesa Bazna'nın hikâyesini anlatan Çiçero isimli sinema filmi 2019 yılının Ocak ayında vizyona girmiştir.

Ayrıca bakınız
Abwehr

Kaynakça

1904 doğumlular
Priştine doğumlular
Osmanlı Arnavutları
Alman casuslar
Münih'te ölenler
1970 yılında ölenler
II. Dünya Savaşı'nda Arnavutlar

Elyesa Bazna


Une ligne anatomique est une ligne conventionnelle tracée, souvent par imagination et pour des usages liés à la santé, sur la base de points et emplacements anatomiques. Elle peut ainsi guider certains gestes de nature thérapeutique à la manière d'un repérage. Une ligne anatomique suppose un compromis entre l'anatomie caractéristique d'une espèce donnée et la réalité physique d'un individu particulier.

Terminologia Anatomica
Les lignes de référence répertoriées dans Terminologia Anatomica sont :

Autres lignes anatomiques
La ligne de Malgaigne joint l'épine iliaque antéro-supérieure à l'épine du pubis. Elle correspond à la projection cutanée du ligament inguinal.

La ligne de Tuffier lie le sommet des deux crêtes iliaques et peut servir comme repère lors de la réalisation d'une rachianesthésie.

Références

Anatomie humaine

Ligne anatomique


El culturismo femenino o fisicoculturismo femenino es el componente femenino del culturismo competitivo. Comenzó a finales de los años 1970, cuando las mujeres comenzaron a tomar parte en las competiciones de culturismo.

Historia

Inicios
Las competiciones físicas para mujeres se iniciaron al menos en los 1960s, con competiciones como el Miss Physique y Miss Americana. Aun así, estas primeras competiciones de "culturismo" no eran más que competiciones de bikinis. El primer Campeonato Físico Nacional de Mujeres de EE. UU., promovido por Henry McGhee y celebrado en Canton, Ohio en 1978, es generalmente considerado como la primera verdadera competición de culturismo femenino, esto es, la primera competición donde las participantes eran juzgadas únicamente por su musculación (Todd, 1999).

Más competiciones comenzaron a aparecer en 1979. Algunas de estas fueron las siguientes:

El segundo U.S. Women's National Physique Championship, ganado por Kay Baxter, con Marilyn Schriner segunda y Cammie Lusko tercera.
El primer IFBB Women's World Body Building Championship, celebrado el 16 de junio, ganado por Lisa Lyon, seguida por Claudia Wilbourn, Stella Martínez, Stacey Bentley y Bette Brown.
La competición Best In The World, realizado en Warminster, PA el 18 de agosto, incluyendo 5000$ en premios, con 2,500$ para la primera plaza. Patsy Chapman fue la ganadora, seguida por April Nicotra, Bentley, Brown y Carla Dunlap. (Levin, 1980)
El Robby Robinson Classic, realizado en el Embassy Auditorium en Los Ángeles el 25 de agosto. Bentley acabó primera, también ganando el premio de mejores piernas y de mejor posado, seguida por Brown, Lusko y Georgia Miller. (Roark, 2005)

Aunque estos primeros eventos fueron calificados como competiciones de culturismo, las mujeres calzaban zapatos de tacón y no cerraban los puños al posar. Adicionalmente, no se les permitía usar las llamadas "tres poses de hombres": doble bíceps, cangrejo y apertura lateral. Las competiciones eran normalmente realizadas por promotores independientes; el deporte aún carecía de un consejo de administración. Esto cambiaría en 1980.

1980 - el inicio de la era moderna
El  National Physique Committee (NPC) realizó la primera competición femenina de los Nacionales en 1980. Desde su inicio, esta ha sido la competición de aficionados de más alto nivel en los EE. UU. Laura Combes ganó la competición inaugural.

El primer Campeonato Mundial de Parejas se celebró en Atlantic City el 8 de abril. La pareja ganadora fue Stacey Bentley y Chris Dickerson, con April Nicotra y Robby Robinson en segundo lugar. Bentley consiguió su tercera victoria consecutiva en la Invitacional de Frank Zane, el 28 de junio, por delante de Rachel McLish, Lynn Conkwright, Suzy Green, Patsy Chapman y Georgia Miller Fudge.

1980 fue también el año del primer Ms. Olympia (inicialmente conocido como el "Miss" Olympia), la competición más prestigiosa para los profesionales. Inicialmente, la competición fue promovida por George Snyder. Las competidoras tenían que mandar sus resúmenes y fotografías y eran seleccionadas directamente por Snyder, basándose en su potencial para ser modelos para la salud de la mujer media americana. La primera ganadora fue Rachel McLish, que también ganó el Campeonato USA de la NPC antes en ese mismo año. La competición fue un momento de cambio para el deporte del culturismo femenino. McLish resultó ser muy promocionable e inspiró a muchas futuras competidoras para que empezaran a entrenar y competir. Stacey Bentley terminó en quinta plaza, en lo que pasó a ser su última competición.

Los años 80
Rachel McLish se convirtió en la competidora más exitosa de los primeros 80. Perdió su corona del Ms. Olympia acabando segunda frente a Kike Elomaa en 1981, pero la volvió a ganar en 1982. Una nueva competición profesional importante, el Women's Pro World Championship, se celebró por primera vez en 1981 (ganada por Lynn Conkwright). Celebrado anualmente hasta 1989, esta fue la segunda competición más prestigiosa en su tiempo. McLish añadió este título a su colección en 1982. George Snyder perdió los derechos del Mr. Olympia en 1982, y después de esto, las concursantes no fueron elegidas personalmente, siendo calificadas para el ms. Olympia mediante la consecución de resultados en competiciones menores.

Según el deporte creció, el nivel de entrenamiento de las competidoras se incrementó (la mayoría de las competidoras en los primeros shows tenían muy poca experiencia en entrenamiento con pesas) y el deporte evolucionó lentamente hacia físicos más musculados. Esta tendencia comenzó a emerger en 1983. Sin McLish compitiendo en los grandes shows, Carla Dunlap consiguió tanto el título del Pro World como el Ms. Olympia. Dunlap poseía un físico mucho más muscular que McLish o Elomaa y aunque nunca repitió su éxito de 1983, seguiría siendo competitiva durante el resto de la década.

En 1984 una nueva fuerza emergió en el culturismo femenino. Cory Everson ganó el NPC Nationals, derrotando después a McLish en el Ms. Olympia. Con 1'75 m y 68 kilos, el físico de Everson creó un nuevo estándar. Ganaría seis Ms. Olympia consecutivos antes de retirarse invicta como profesional, siendo la única mujer que ha conseguido esto.

La competición Ms. International fue presentada en 1986, ganada en su primera edición por Erika Geisen. La competición no se celebró en 1987, pero volvió con fuerza en 1988. A partir de la desaparición del Pro World Championship después de 1989, el Ms. International ha sido la segunda competición en prestigio detrás del Ms. Olympia. El Ms. International de 1989 fue notorio por el hecho de que la ganadora original, Tonya Knight, fue más tarde descalificada por usar una sustituta para su análisis de drogas en el Ms. Olympia de 1988. Consecuentemente, la subcampeona Jackie Paisley recibió el título de 1989. Knight fue suspendida de las competiciones de la IFBB hasta el final de 1990 y fue forzada a devolver el dinero del premio del Ms. Olympia del 1988 y del Ms. International de 1989, un total de 12.000$ (Merritt, 2006).

La Federación Americana de Mujeres Culturistas fue también fundada durante ese período de tiempo, representando una creciente conciencia sobre las mujeres culturistas en América. Las ganadoras de las competiciones como Laurie Stark ayudaron a popularizar la federación.

Exposición al público en los 1980s
Durante este período, el culturismo femenino comenzó a conseguir exposición pública. La competidora profesional Anita Gandol causó revuelo al posar para Playboy en 1984, siendo suspendida durante un año por la IFBB.  La competidora holandesa Erika Mes posó desnuda para la edición belga de Playboy en septiembre de 1987, siendo también suspendida por un año (Flex, 2003).

Lori Bowen, ganadora del Campeonato Mundial Profesional de 1984, apareció en un anuncio ampliamente emitido de la cerveza Miller Lite  con Rodney Dangerfield. Además, las competidoras Lynn Conkwright (1982) y Carla Dunlap (1984) fueron incluidas en la competición Superstars de la ABC.

En 1985, una película llamada Pumping Iron II: The Women fue estrenada. Esta película documentaba la preparación de varias mujeres para el Campeonato de la Copa Mundial del Caesars Palace. Los competidores principales en la película fueron Kris Alexander, Lori Bowen, Lydia Cheng, Carla Dunlap, Bev Francis y Rachel mcLish. En aquel momento, Francis era en realidad levantadora de peso, aunque pronto hizo una transición exitosa al culturismo, convirtiéndose en una de las principales competidoras de finales de los 80 y primeros 90.

Durante muchos años en la mitad de los 80, hizo la cobertura de la NBC de la competición Ms. Olympia en su programa Sportsworld. Las grabaciones eran emitidas meses después de la competición y eran usadas normalmente como material secundario de relleno para programas que incluían eventos como boxeo. Típicamente las emisiones incluían solo a las mejores competidoras. Aun así, Cory Everson y algunas de las principales competidoras estaban recibiendo cobertura en la TV nacional.

Véase también
 Lista de culturistas femeninas
 Lista de competidoras de fitness femenino
 Estenolagnia
 Feminismo de las amazonas
 Strongwoman
 Bill Dobbins

Referencias
"Rewind: review of February issues from five, 10 and 15 years ago", Flex, febrero de 2003.
Levin, Dan, "Here She Is, Miss, Well, What?", Sports Illustrated, 17 de marzo de 1980.
Merritt, Greg, "15 Biggest Controversies and Shocking Moments in Bodybuilding History", Flex, febrero de 2006.
Roark, Joe, "Featuring 2005 Hall of Fame Inductee: Stacey Bentley", Flex, agosto de 2005.
Todd, Jan, "Bodybuilding", St. James Encyclopedia of Pop Culture, Gale Group, 1999.
Women's Physique Publication, publicado desde diciembre de 1976 a 1991 (también apareció con los nombres WASP y WSP).
Women's Physique World, publicado de dos a seis veces por año desde 1984.

Enlaces externos

Official Web de la Liga Profesional IFBB (en)
Sitio web oficial de National Physique Committee, Inc y The NPC News Magazine (en)
Sitio web oficial de la Federación de Culturismo Canadiense (en)

Culturismo femenino


Sofular, Samsun ilinin Vezirköprü ilçesine bağlı bir mahalledir.

Tarihçe
Mahalle, 1925 yılından beri aynı adı taşımaktadır. Daha önceleri Karaköy köyüne bağlı bir mahalle iken, 5 Haziran 1953'te köy statüsü kazandı. 2012 yılındaki yasa değişikliğinden sonra yeniden mahalle oldu.

Coğrafya
Samsun il merkezine 152 km, Vezirköprü ilçe merkezine 37 km uzaklıktadır.

Nüfus

Kaynakça

Vezirköprü'nün mahalleleri

Sofular, Vezirköprü


Meydan, Sinop ilinin Erfelek ilçesine bağlı bir köydür.

Tarihçe
Köyün adı, 1925 yılı kayıtlarında Türbe olarak geçmektedir.

Coğrafya
Köy, Sinop il merkezine 38 km, Erfelek ilçe merkezine 8 km uzaklıktadır. Köy yakınlarındaki Avuluk mevkiinde bir tümülüs, Kütüklük mevkiinde ise Gavur Tepe Höyüğü bulunur.

Nüfus

Kaynakça

Dış bağlantılar

Erfelek belde ve köyleri

Meydan, Erfelek


Der Rillenstein bei Spreckel liegt im Ackerland, etwa 500 m südöstlich des Ortes, 250 m südlich der Straße unter einer Hochspannungsleitung in Wetschen im Landkreis Diepholz in Niedersachsen.

Der Stein liegt am Rande eines großen ovalen Hügels von etwa 1,7 m Höhe und 45 m Durchmesser. Nach Jürgen Deichmüller handelt es sich wahrscheinlich um einen vorgeschichtlichen Hügel mit mittelsteinzeitlichem Siedlungshorizont. In dem großen rundlichen Findling befindet sich auf der Oberseite eine 13 cm tief eingehauene Rille von etwa 30 cm Länge.

Ähnliche Rillensteine sind in größerer Anzahl bekannt geworden, ohne dass in jedem Fall die Bedeutung der Steine archäologisch geklärt werden konnte. Bei einigen kann jedoch eine kultische Bedeutung als gesichert gelten (Opferstein von Melzingen). Detlef Schünemann zählt den Rillenstein bei Spreckel zu denjenigen, bei denen hinsichtlich des "Alters der Rinne" Vorbehalte bestehen.

Siehe auch
 Rillenstein von Borchel
 Rillenstein von Tarmstedt

Literatur
 Detlef Schünemann: Neues von Rillen- und Rinnensteinen. Versuch einer Gruppenbildung an hand exakter Profilvermessungen. In: Die Kunde. N. F., Band 43, 1992, S. 67–97.
 Willi Wegewitz: Rillen- und Rinnensteine: Wenig beachtete Denkmäler der Vorzeit. In: Archäologisches Korrespondenzblatt. Band 13, 1983, S. 355–358.

Einzelnachweise

Archäologischer Fundplatz in Niedersachsen
Wetschen
Spreckel

Rillenstein bei Spreckel


Flet, Tolkien'in Orta Dünyası'nda Lothlórienli elflerin üzerine yaşadıkları eve benzer yapılara verilen isimdir.

Lothlórien engebesiz bir arazide bulunuyordu ve üzerinde hiçbir taştan yapı bulunmazdı. Bu sebeple kendi güvenlikleri için ağaçlara platformlar kurmaya başladılar. Bunlara flet ya da talan dendi. Bu fletler başlarda barınak ya da gözcü evi olarak kullanılıyordu. Zamanla fletlerin yararı anlaşılınca pek çok elf Cerin Amroth tepesinde ağaçların en üstlerine platformlar kurmaya başladılar. Lothlórien Hükümdarları'ndan Amroth, nehrin diğer yakasındaki Dol Guldur'u gözetebilmek için kendine bir flet yaptı, daha sonraları da tıpkı diğer elflerin yaptığı gibi bu flette yaşamaya başladı, flet onun evi oldu. Bu sebeple Lothlórienli elflere Galadhrim - Ağaç Halkı denmeye başlandı.

Dış bağlantılar
 kuyutorman.com
 lordoftherings.net

Orta Dünya cisimleri

Flet


The udon kiri (うどん切), soba kiri (そば切 or 蕎麦切り包丁), and kashi kiri are a group of specialized knives used in the Japanese kitchen to make udon and soba noodles respectively. The udon kiri is also sometimes called menkiri bocho (麺切り包丁), and is distinguished from the Soba and Kashi kiri knives by a blade that drops in to cover less than half of the length of the handle rather that reaching the end of the handle like the soba. The soba kiri is characterized by a long blade that spans down the full length of the handle whereas the blade of the Kashi kiri only curves to meet the top of the handle. To make soba or udon the dough is flattened and folded, and then cut with the menkiri bocho to produce long rectangular noodles. For this purpose the menkiri bocho has a straight and long cutting edge to cut the noodles straight to the board. The knife is usually heavy to aid in the cutting of the noodles, usually with a slight forward motion.

See also Japanese kitchen knives and the list of Japanese cooking utensils.

References

UDON-KIRI at mizunotanrenjo.jp

Japanese kitchen knives
Udon

Udon kiri


Türkiye'deki ilçeler
 Yeşilova - Burdur ili ilçesi
 Yeşilova, Tufanbeyli - Adana ili Tufanbeyli ilçesine bağlı mahalle
 Yeşilova, Çelikhan - Adıyaman ili Çelikhan ilçesine bağlı köy
 Yeşilova, Gölbaşı - Adıyaman ili Gölbaşı ilçesine bağlı köy
 Yeşilova, Adıyaman - Adıyaman ili merkez ilçesine bağlı köy
 Yeşilova, Eleşkirt - Ağrı ili Eleşkirt ilçesine bağlı köy
 Yeşilova, Etimesgut - Ankara ili Etimesgut ilçesine bağlı mahalle
 Yeşilova, Karesi - Balıkesir ili Karesi ilçesine bağlı mahalle
 Yeşilova, Mustafakemalpaşa - Bursa ili Mustafakemalpaşa ilçesine bağlı mahalle
 Yeşilova, Mecitözü - Çorum ili Mecitözü ilçesine bağlı köy
 Yeşilova, Sungurlu - Çorum ili Sungurlu ilçesine bağlı köy
 Yeşilova, Gölyaka - Düzce ili Gölyaka ilçesine bağlı köy
 Yeşilova, Maden - Elâzığ ili Maden ilçesine bağlı köy
 Yeşilova, Aziziye - Erzurum ili Aziziye ilçesine bağlı mahalle
 Yeşilova, Karayazı - Erzurum ili Karayazı ilçesine bağlı mahalle
 Yeşilova, Antakya - Hatay ili Antakya ilçesine bağlı mahalle
 Yeşilova, Araç - Kastamonu ili Araç ilçesine bağlı mahalle
 Yeşilova, Yeşilhisar - Kayseri ili Yeşilhisar ilçesine bağlı mahalle
 Yeşilova, Pehlivanköy - Kırklareli ili Pehlivanköy ilçesine bağlı köy
 Yeşilova, Gediz - Kütahya ili Gediz ilçesine bağlı köy
 Yeşilova, Salihli - Manisa ili Salihli ilçesine bağlı mahalle
 Yeşilova, Akdeniz - Mersin ili Akdeniz ilçesine bağlı mahalle
 Yeşilova, Ula - Muğla ili Ula ilçesine bağlı mahalle
 Yeşilova, Niğde - Niğde ili merkez ilçesine bağlı köy
 Yeşilova, Kaynarca - Sakarya ili Kaynarca ilçesine bağlı mahalle
 Yeşilova, Çarşamba - Samsun ili Çarşamba ilçesine bağlı mahalle
 Yeşilova, Ortahisar - Trabzon ili Ortahisar ilçesine bağlı mahalle

Diğer
 Bornova Yeşilovaspor - İzmir ili Bornova ilçesinde futbol takımı

Yeşilova (anlam ayrımı)


Os Lituanos foram uma tribo báltica oriental que habitava a parte sudeste do território moderno da Lituânia e a parte noroeste do território moderno da Bielorrússia na Idade Média - as regiões norte de Upper Ponemanje.

Etimologia

As opiniões dos pesquisadores sobre a origem do etnônimo "Lituânia" diferem. Em particular, sugere-se que está conectado com o nome do Rio Letauca (lituano: Lietauka), um afluente do Rio Vilia.

O nome "Lituânia" (Lituae) aparece pela primeira vez nos Anais de Quedlimburgo em um recorde para 1009. A Lituânia também é repetidamente mencionada no "Conto dos Anos Passados".

De acordo com o Dicionário de Vasmer, o termo "Lituânia" remonta ao antigo russo "lit'va". Segundo o autor, essa palavra foi emprestada do lituano "Lietuva" ("Lituânia").

Referências
Povos bálticos
História da Lituânia

Tribos lituanas


Yoshika Matsubara (født 19. august 1974) er en japansk fodboldspiller. Han var en del af den japanske trup ved Sommer-OL 1996.

Eksterne henvisninger

Fodboldspillere fra Japan
Fodboldtrænere fra Japan

Yoshika Matsubara


Heinrich Dorn (* vor 1869; † nach 29. November 1879) war ein Abgeordneter in der Abgeordnetenkammer der bayerischen Ständeversammlung (Vereinigte Liberale).

Dorn war Kaufmann und wohnte in Gräfenberg, Bezirksamt Forchheim. Er war Bürgermeister seines Ortes und vertrat für die Vereinigten Liberalen 1869 zunächst den oberfränkischen Stimmbezirk Forchheim während der 12. Wahlperiode (1869) in der bayerischen Kammer der Abgeordneten des 23. Landtages. Ab 1875 vertrat er bis zu seinem Ausscheiden den oberfränkischen Stimmbezirk Bayreuth während der 14. Wahlperiode (1875–1881) des 27. und 28. Landtages. Am 23. November 1879 stellte er aus gesundheitlichen Gründen einen Antrag auf Austritt aus der Abgeordnetenkammer, der am 29. November 1879 positiv beschieden wurde. Sein Mandat wurde in der Folge von Ernst Petzet wahrgenommen.

Weblinks

Einzelnachweise

Mitglied der Bayerischen Abgeordnetenkammer

Politiker (19. Jahrhundert)
Gräfenberg
Bürgermeister (Landkreis Forchheim)
Deutscher
Geboren im 19. Jahrhundert
Gestorben im 19. oder 20. Jahrhundert
Mann

Heinrich Dorn (Politiker)


Zenzile Miriam Makeba (4 March 1932 – 9 November 2008), nicknamed Mama Africa, was a South African singer, songwriter, actress, and civil rights activist. Associated with musical genres including Afropop, jazz, and world music, she was an advocate against apartheid and white-minority government in South Africa.

Born in Johannesburg to Swazi and Xhosa parents, Makeba was forced to find employment as a child after the death of her father. She had a brief and allegedly abusive first marriage at the age of 17, gave birth to her only child in 1950, and survived breast cancer. Her vocal talent had been recognized when she was a child, and she began singing professionally in the 1950s, with the Cuban Brothers, the Manhattan Brothers, and an all-woman group, the Skylarks, performing a mixture of jazz, traditional African melodies, and Western popular music. In 1959, Makeba had a brief role in the anti-apartheid film Come Back, Africa, which brought her international attention, and led to her performing in Venice, London, and New York City. In London, she met the American singer Harry Belafonte, who became a mentor and colleague. She moved to New York City, where she became immediately popular, and recorded her first solo album in 1960. Her attempt to return to South Africa that year for her mother's funeral was prevented by the country's government.

Makeba's career flourished in the United States, and she released several albums and songs, her most popular being "Pata Pata" (1967). Along with Belafonte, she received a Grammy Award for Best Folk Recording for their 1965 album An Evening with Belafonte/Makeba. She testified against the South African government at the United Nations and became involved in the civil rights movement. She married Stokely Carmichael, a leader of the Black Panther Party, in 1968, and consequently lost support among white Americans.  Her visa was revoked by the US government when she was traveling abroad, forcing her and Carmichael to relocate to Guinea. She continued to perform, mostly in African countries, including at several independence celebrations. She began to write and perform music more explicitly critical of apartheid; the 1977 song "Soweto Blues", written by her former husband Hugh Masekela, was about the Soweto uprising. After apartheid was dismantled in 1990, Makeba returned to South Africa. She continued recording and performing, including a 1991 album with Nina Simone and Dizzy Gillespie, and appeared in the 1992 film Sarafina!. She was named an FAO Goodwill Ambassador in 1999, and campaigned for humanitarian causes. She died of a heart attack during a 2008 concert in Italy.

Makeba was among the first African musicians to receive worldwide recognition. She brought African music to a Western audience, and popularized the world music and Afropop genres. Despite her cosmopolitan background, she was frequently viewed by Western audiences as an embodiment of Africa: she was also seen as a style icon in both South Africa and the West. Makeba made popular several songs critical of apartheid, and became a symbol of opposition to the system, particularly after her right to return was revoked. Upon her death, former South African President Nelson Mandela said that "her music inspired a powerful sense of hope in all of us."

Early years

Childhood and family
Zenzile Miriam Makeba was born on 4 March 1932 in the black township of Prospect, near Johannesburg, as the only child of her father and the sixth of her mother. Her Xhosa father, Caswell Makeba, was a teacher; he died when she was six years old. Her Swazi mother, Christina Makeba, was a domestic worker; she had previously separated from her first husband and met and married Caswell shortly afterwards. Makeba later said that before she was conceived, her mother had been warned that any future pregnancy could be fatal. Neither Miriam nor her mother seemed likely to survive after a difficult labour and delivery. Miriam's grandmother, who attended the birth, often muttered "uzenzile", a Xhosa word that means "you brought this on yourself", to Miriam's mother during her recovery, which inspired her to give her daughter the name "Zenzile".

When Makeba was eighteen days old, her mother was arrested and sentenced to a six-month prison term for selling umqombothi, a homemade beer brewed from malt and cornmeal. The family could not afford the small fine required to avoid a jail term, and Miriam spent the first six months of her life in jail. By the time of her mother's release from prison, Makeba's father, who had been having difficulty finding work as a teacher, had obtained a job as a clerk at the Shell Oil Company in Nelspruit (now Mbombela) and the family moved along with him accordingly. After her father's death she moved to the house of her maternal grandmother in Riverside Township outside of Pretoria, along with her siblings and cousins, while her mother worked for white families in Johannesburg to support the family.

As a child, Makeba sang in the choir of the Kilnerton Training Institute in Pretoria, an all-black Methodist primary school that she attended for eight years. Her talent for singing earned her praise at school. Makeba was baptised a Protestant, and sang in church choirs, in English, Xhosa, Sotho, and Zulu; she later said that she learned to sing in English before she could speak the language.

Makeba was influenced by her family's musical tastes; her mother played several traditional instruments, and her elder brother collected records, including those of Duke Ellington and Ella Fitzgerald, and taught Makeba songs. Her father played the piano and sang in a group called The Mississippi 12, and his musical inclination was later a factor in Makeba's family accepting what was seen as a risque choice of career.

Makeba left school to support her family and first worked as a live-in nanny for a Greek family in the Johannesberg suburb of Waverley for three months. The mother stopped paying her and went to the police to accuse her of stealing, so Makeba fled back to her grandmother's home in Riverside. Around that time Makeba's mother began the process of becoming a sangoma or traditional healer, which required her to go back to her ancestral homeland in Eswatini (then Swaziland). Makeba stayed behind working as a launderer for expatriate workers to support her family.

In 1949, Makeba married James Kubay, a policeman in training, with whom she had her only child, Sibongile "Bongi" Makeba, in 1950. Makeba was then diagnosed with breast cancer, and her husband, who was said to have beaten her, left her shortly afterwards, after a two-year marriage. A decade later she overcame cervical cancer via a hysterectomy.

Early career
Makeba began her professional musical career with the Cuban Brothers, a South African all-male close harmony group, with whom she sang covers of popular American songs. Soon afterwards, at the age of 21, she joined a jazz group, the Manhattan Brothers, who sang a mixture of South African songs and pieces from popular African-American groups. Makeba was the only woman in the group. With the Manhattan Brothers she recorded her first hit, "Lakutshn, Ilanga", in 1953, and developed a national reputation as a musician. In 1956 she joined a new all-woman group, the Skylarks, singing a blend of jazz and traditional South African melodies. Formed by Gallotone Records, the group was also known as the Sunbeams. Makeba sang with the Skylarks when the Manhattan Brothers were travelling abroad; later, she also travelled with the Manhattan Brothers. In the Skylarks, Makeba sang alongside Rhodesian-born musician Dorothy Masuka, whose music Makeba had followed, along with that of Dolly Rathebe. Several of the Skylarks' pieces from this period became popular; the music historian Rob Allingham later described the group as "real trendsetters, with harmonisation that had never been heard before." Makeba received no royalties from her work with the Skylarks.

While performing with the Manhattan Brothers in 1955, Makeba met Nelson Mandela, then a young lawyer; he later remembered the meeting, and that he felt that the girl he met "was going to be someone." With the Manhattan Brothers, Makeba recorded "Lakutshona Ilanga", written by Mackay Davashe. The song's popularity prompted requests for an English version, and in 1956, Gallotone Records released "Lovely Lies", Makeba's first solo success and first recording in English. However, the Xhosa lyric about a man looking for his beloved in jails and hospitals was replaced with the unrelated and innocuous line "You tell such lovely lies with your two lovely eyes" in the English version. The piece became the first South African record to chart on the United States Billboard Top 100. In 1957, Makeba was featured on the cover of Drum magazine.

In 1959, Makeba sang the lead female role in the Broadway-inspired South African jazz opera King Kong; among those in the cast was the musician Hugh Masekela. The musical was performed to racially integrated audiences, raising her profile among white South Africans. Also in 1959, she had a short guest appearance in Come Back, Africa, an anti-apartheid film produced and directed by the American independent filmmaker Lionel Rogosin. Rogosin cast her after seeing her on stage in African Jazz and Variety show, on which Makeba was a performer for 18 months. The film blended elements of documentary and fiction and had to be filmed in secret as the government was expected to be hostile to it. Makeba appeared on stage, and sang two songs: her appearance lasted four minutes. The cameo made an enormous impression on viewers, and Rogosin organised a visa for her to attend the premiere of the film at the twenty-fourth Venice Film Festival in Italy, where the film won the prestigious Critics' Choice Award. Makeba's presence has been described as crucial to the film, as an emblem of cosmopolitan black identity that also connected with working-class black people due to the dialogue being in Zulu.

Makeba's role in Come Back, Africa brought her international recognition and she travelled to London and New York to perform. In London she met the American singer Harry Belafonte, who became her mentor, helping her with her first solo recordings. These included "Pata Pata", which would be released many years later, and a version of the traditional Xhosa song "Qongqothwane", which she had first performed with the Skylarks. Though "Pata Pata"—described by Musician magazine as a "groundbreaking Afropop gem"—became her most famous song, Makeba described it as "one of my most insignificant songs". While in England, she married Sonny Pillay, a South African ballad singer of Indian descent; they divorced within a few months.

Makeba then moved to New York, making her US music debut on 1 November 1959 on The Steve Allen Show in Los Angeles for a television audience of 60 million. Her New York debut at the Village Vanguard occurred soon after; she sang in Xhosa and Zulu, and performed a Yiddish folk song. Her audience at this concert included Miles Davis and Duke Ellington; her performance received strongly positive reviews from critics. She first came to popular and critical attention in jazz clubs, after which her reputation grew rapidly. Belafonte, who had helped Makeba with her move to the US, handled the logistics for her first performances. When she first moved to the US, Makeba lived in Greenwich Village, along with other musicians and actors. As was common in her profession, she experienced some financial insecurity, and worked as a babysitter for a period.

Exile

United States

Breakthrough

Soon after the Sharpeville massacre in 1960, Makeba learned that her mother had died. When she tried to return home for the funeral, she found that her South African passport had been cancelled. Two of Makeba's family members were killed in the massacre. The incident left her concerned about her family, many of whom were still in South Africa, including her daughter: the nine-year-old Bongi joined her mother in the US in August 1960. During her first few years in the US, Makeba had rarely sung explicitly political music, but her popularity had led to an increase in awareness of apartheid and the anti-apartheid movement. Following the Sharpeville killings, Makeba felt a responsibility to help, as she had been able to leave the country while others had not. From this point, she became an increasingly outspoken critic of apartheid and the white-minority government; before the massacre, she had taken care to avoid overtly political statements in South Africa.

Her musical career in the US continued to flourish. She signed a recording contract with  RCA Victor, and released Miriam Makeba, her first studio album, in 1960, backed by Belafonte's band. RCA Victor chose to buy out Makeba's contract with Gallotone Records, and despite the fact that Makeba was unable to perform in South Africa, Gallotone received US$45,000 in the deal, which meant that Makeba received no royalties for her debut album. The album included one of her most famous hits in the US, "Qongqothwane", which was known in English as "The Click Song" because Makeba's audiences could not pronounce the Xhosa name. Time magazine called her the "most exciting new singing talent to appear in many years", and Newsweek compared her voice to "the smoky tones and delicate phrasing" of Ella Fitzgerald and the "intimate warmth" of Frank Sinatra. The album was not commercially successful, and Makeba was briefly dropped from RCA Victor: she was re-signed soon after as the label recognised the commercial possibilities of the growing interest in African culture. Her South African identity had been downplayed during her first signing, but it was strongly emphasised the second time to take advantage of this interest. Makeba made several appearances on television, often in the company of Belafonte. In 1962, Makeba and Belafonte sang at the birthday party for US President John F. Kennedy at Madison Square Garden, but Makeba did not go to the party afterwards because she was ill. Kennedy nevertheless insisted on meeting her, so Belafonte sent a car to pick her up.

In 1964, Makeba released her second studio album for RCA Victor, The World of Miriam Makeba. An early example of world music, the album peaked at number eighty-six on the Billboard 200. Makeba's music had a cross-racial appeal in the US; white Americans were attracted to her image as an "exotic" African performer, and black Americans related their own experiences of racial segregation to Makeba's struggle against apartheid. Makeba found company among other African exiles and émigrés in New York, including Hugh Masekela, to whom she was married from 1963 to 1968. During their marriage, Makeba and Masekela were neighbours of the jazz musician Dizzy Gillespie in Englewood, New Jersey; they spent much of their time in Harlem. She also came to know actors Marlon Brando and Lauren Bacall, and musicians Louis Armstrong and Ray Charles. Fellow singer-activist Nina Simone became friendly with Makeba, as did actor Cicely Tyson; Makeba and Simone performed together at Carnegie Hall. Makeba was among black entertainers, activists, and intellectuals in New York at the time who believed that the civil rights movement and popular culture could reinforce each other, creating "a sense of intertwined political and cultural vibrancy"; other examples included Maya Angelou and Sidney Poitier. She later described her difficulty living with racial segregation, saying "There wasn't much difference in America; it was a country that had abolished slavery but there was apartheid in its own way."

Travel and activism

Makeba's music was also popular in Europe, and she travelled and performed there frequently. Acting on the advice of Belafonte, she added songs from Latin America, Europe, Israel, and elsewhere in Africa to her repertoire. She visited Kenya in 1962 in support of the country's independence from British colonial rule, and raised funds for its independence leader Jomo Kenyatta. Later that year she testified before the United Nations Special Committee against Apartheid about the effects of the system, asking for economic sanctions against South Africa's National Party government. She requested an arms embargo against South Africa, on the basis that weapons sold to the government would likely be used against black women and children. As a result, her music was banned in South Africa, and her South African citizenship and right to return were revoked. Makeba thus became stateless, but she was soon issued passports by Algeria, Guinea, Belgium and Ghana. Throughout her lifetime she held nine passports and was granted honorary citizenship in ten countries.

Soon after her testimony, Haile Selassie, the emperor of Ethiopia, invited her to sing at the inauguration of the Organisation of African Unity; she was the only performer asked to participate. As word spread about her ban from South Africa, she became a cause célèbre for Western liberals, and her presence in the civil rights movement linked it with the anti-apartheid struggle. In 1964 she was taught the song "Malaika" by a Kenyan student while backstage at a performance in San Francisco; the song later became a staple of her performances.

Throughout the 1960s, Makeba strengthened her involvement with a range of black-centred political movements, including the civil rights, anti-apartheid, Black Consciousness, and Black Power movements. She briefly met the Trinidadian-American activist Stokely Carmichael—the leader of the Student Nonviolent Coordinating Committee and a prominent figure in the Black Panther Party—after Belafonte invited him to one of Makeba's concerts; they met again in Conakry six years later. They entered a relationship, initially kept secret from all but their closest friends and family. Makeba participated in fundraising activities for various civil rights groups, including a benefit concert for the 1962 Southern Christian Leadership Conference that civil rights activist Martin Luther King Jr. referred to as the "event of the year". Following a concert and rally in Atlanta in support of King, Makeba and others were denied entrance to a restaurant as a result of Jim Crow laws, leading to a televised protest in front of the establishment. She also criticised King's Southern Christian Leadership Conference for its investment in South African companies, informing press that "Now my friend of long standing supports the country's persecution of my people and I must find a new idol". Her identity as an African woman in the civil rights movement helped create "an emerging liberal consensus" that extreme racial discrimination, whether domestically or internationally, was harmful. In 1964 she testified at the UN for a second time, quoting a song by Vanessa Redgrave in calling for quick action against the South African government.

On 15 March 1966, Makeba and Belafonte received the Grammy Award for Best Folk Recording for An Evening with Belafonte/Makeba. The album dealt with the political plight of black South Africans under apartheid, including several songs critical of the South African government, such as "Ndodemnyama we Verwoerd" ("Watch our Verwoerd", a reference to Hendrik Verwoerd, one of the architects of apartheid). It sold widely and raised Makeba's profile in the US; Belafonte and Makeba's concert tour following its release was often sold out, and the album has been described as the best they made together. Makeba's use of lyrics in Swahili, Xhosa, and Sotho led to her being seen as a representation of an "authentic" Africa by American audiences. In 1967, more than ten years after she first recorded the song, the single "Pata Pata" was released in the US on an album of the same title, and became a worldwide hit. During its recording, she and Belafonte had a disagreement, after which they stopped recording together.

Guinea

Makeba married Carmichael in March 1968; this caused her popularity in the US to decline markedly. Conservatives came to regard her as a militant and an extremist, an image that alienated much of her fanbase. Her performances were cancelled and her coverage in the press declined despite her efforts to portray her marriage as apolitical. White American audiences stopped supporting her, and the US government took an interest in her activities. The Central Intelligence Agency began following her, and placed hidden microphones in her apartment; the Federal Bureau of Investigation also placed her under surveillance. While she and her husband were travelling in the Bahamas, she was banned from returning to the US, and was refused a visa. As a result, the couple moved to Guinea, where Carmichael changed his name to Kwame Touré. Makeba did not return to the US until 1987.

Guinea remained Makeba's home for the next 15 years. She and her husband became close to President Ahmed Sékou Touré and his wife, Andrée, as well as with Kwame Nkrumah, the deposed president of Ghana. Touré wanted to create a new style of African music, creating his own record label Syliphone for this purpose, and all musicians received a minimum wage if they practised for several hours every day. Makeba recorded for this label, and later stated that "I've never seen a country that did what Sékou Touré did for artists." After her rejection from the US she began to write music more directly critical of the US government's racial policies, recording and singing songs such as "Lumumba" in 1970 (referring to Patrice Lumumba, the assassinated Prime Minister of the Congo), and "Malcolm X" in 1974.

Makeba performed more frequently in African countries, and as countries became independent of European colonial powers, was invited to sing at independence ceremonies, including in Kenya, Angola, Zambia, Tanganyika (now part of Tanzania), and Mozambique. In September 1974 she performed alongside a multitude of well-known African and American musicians at the Zaire 74 festival in Kinshasa, Zaire (formerly the Congo). She also became a diplomat for Ghana, and was appointed Guinea's official delegate to the UN in 1975; that year, she addressed the United Nations General Assembly, where she advocated for South Africa's liberation from apartheid. Also in 1975, she visited Mozambique as part of a Guinean delegation to mark Mozambique's independence from Portugal. To celebrate the moment, Makeba commissioned the song "Aluta Continua" (The Struggle Continues) from her daughter Bongi and Bill Salter.

She continued to perform in Europe and Asia, along with her African concerts, but not in the US, where a de facto boycott was in effect. Her performances in Africa were immensely popular: she was described as the highlight of FESTAC 77, a Pan-African arts festival in Nigeria in 1977, and during a Liberian performance of "Pata Pata", the stadium proved so loud that she was unable to complete the song. "Pata Pata", like her other songs, had been banned in South Africa. Another song she sang frequently in this period was "Nkosi Sikelel' iAfrika", though she never recorded it. Makeba later stated that it was during this period that she accepted the label "Mama Africa": scholar Omotayo Jolaosho writes that the epithet, by which she came to be widely known, was first given her by her daughter Bongi in an interview.

In 1976, the South African government replaced English and native South African languages with Afrikaans as the medium of instruction for many subjects in black schools, setting off the Soweto uprising. Between 15,000 and 20,000 students took part; caught unprepared, the police opened fire on the protesting children, killing hundreds and injuring more than a thousand. Hugh Masekela wrote "Soweto Blues" in response to the massacre, and the song was performed by Makeba, becoming a staple of her live performances for many years. A review in the magazine Musician said that the song had "searingly righteous lyrics" about the uprising that "cut to the bone". She had separated from Carmichael in 1973; in 1978 they divorced and in 1981 she married Bageot Bah, an airline executive. Makeba's daughter Bongi, and her three children, lived with Makeba for a period. Bongi, who was a singer in her own right, often accompanied her mother on stage, and contributed to her reputation. However, the relationship between the two grew strained after the death of Bongi's youngest child.

Belgium

Makeba's daughter Bongi died in childbirth in 1985. Makeba was left responsible for her two surviving grandchildren, and decided to move out of Guinea, which had become less hospitable to her after Touré's death the previous year and the military coup that followed. She settled in the Woluwe-Saint-Lambert district of the Belgian capital Brussels. In the following year, Masekela introduced Makeba to Paul Simon, and a few months later she embarked on Simon's very successful Graceland Tour. The tour concluded with two concerts held in Harare, Zimbabwe, which were filmed in 1987 for release as Graceland: The African Concert. Makeba fractured her leg while on tour, but continued to perform from a wheelchair. Her involvement with Simon caused controversy: Graceland had been recorded in South Africa, breaking the cultural boycott of the country, and thus Makeba's participation in the tour was regarded as contravening the boycott (which Makeba herself endorsed). After touring the world with Simon, Warner Bros. Records signed Makeba and she released Sangoma ("Healer"), an album of healing chants named in honour of her sangoma mother.

In preparation for the Graceland tour, she worked with journalist James Hall to write an autobiography titled Makeba: My Story. The book contained descriptions of her experience with apartheid, and was also critical of the commodification and consumerism she experienced in the US. The book was translated into five languages. She took part in the Nelson Mandela 70th Birthday Tribute, a popular-music concert staged on 11 June 1988 at London's Wembley Stadium, and broadcast to an audience of 600 million across 67 countries. Political aspects of the concert were heavily censored in the US by the Fox television network. The use of music to raise awareness of apartheid paid off: a survey after the concert found that among people aged between 16 and 24, three-quarters knew of Mandela, and supported his release from prison.

Return to South Africa, final years and death

Following growing pressure from the anti-apartheid movement both domestically and internationally, in 1990 State President Frederik Willem de Klerk reversed the ban on the African National Congress and other anti-apartheid organisations, and announced that Mandela would shortly be released from prison. Mandela was released in February 1990. He persuaded Makeba to try to return to South Africa; she obtained a six-day visa after months of effort, and entered South Africa using her French passport on 10 June 1990. Her arrival was a considerable event, featuring meetings, interviews, and singing by Brenda Fassie.

Makeba, Gillespie, Simone, and Masekela recorded and released her studio album, Eyes on Tomorrow, in 1991. It combined jazz, R&B, pop, and traditional African music, and was a hit across Africa. Makeba and Gillespie then toured the world together to promote it. In November she made a guest appearance on a US sitcom, The Cosby Show. In April 1992, she performed two concerts in Johannesburg, her first in South Africa since her exile in 1960. In the same year she starred in the film Sarafina! which centred on students involved in the 1976 Soweto uprising. Makeba portrayed the title character's mother, Angelina, a role which The New York Times described as having been performed with "immense dignity".

On 16 October 1999, Makeba was named a Goodwill Ambassador of the Food and Agriculture Organization of the United Nations. In January 2000, her album, Homeland, produced by the New York City based record label Putumayo World Music, was nominated for a Grammy Award in the Best World Music Album category. She worked closely with Graça Machel-Mandela, the South African first lady, advocating for children suffering from HIV/AIDS, child soldiers, and the physically handicapped. She established the Makeba Centre for Girls, a home for orphans, described in an obituary as her most personal project. She also took part in the 2002 documentary Amandla!: A Revolution in Four-Part Harmony, which examined the struggles of black South Africans against apartheid through the music of the period. Makeba's second autobiography, Makeba: The Miriam Makeba Story, was published in 2004. In 2005 she announced that she would retire and began a farewell tour, but despite having osteoarthritis, continued to perform until her death. During this period, her grandchildren Nelson Lumumba Lee and Zenzi Lee, and her great-grandchild Lindelani, occasionally joined her performances.

On 9 November 2008, Makeba fell ill during a concert in Castel Volturno, near Caserta, Italy. The concert had been organised to support the writer Roberto Saviano in his stand against the Camorra, a criminal organisation active in the Campania region. She suffered a heart attack after singing her hit song "Pata Pata", and was taken to the Pineta Grande clinic, where doctors were unable to revive her.

Music and image

Musical style
The groups with which Makeba began her career performed mbube, a style of vocal harmony which drew on American jazz, ragtime, and Anglican church hymns, as well as indigenous styles of music. Johannesburg musician Dolly Rathebe was an early influence on Makeba's music, as were female jazz singers from the US. Historian David Coplan writes that the "African jazz" made popular by Makeba and others was "inherently hybridized" rather than derivative of any particular genre, blending as it did marabi and jazz, and was "Americanized African music, not Africanized American music". The music that she performed was described by British writer Robin Denselow as a "unique blend of rousing township styles and jazz-influenced balladry".

Makeba released more than 30 albums during her career. The dominant styles of these shifted over time, moving from African jazz to recordings influenced by Belafonte's "crooning" to music drawing from traditional South African musical forms. She has been associated with the genres of world music and Afropop. She also incorporated Latin American musical styles into her performances. Historian Ruth Feldstein described her music as "[crossing] the borders between what many people associated with avant-garde and 'quality' culture and the commercial mainstream"; the latter aspect often drew criticism. She was able to appeal to audiences from many political, racial, and national backgrounds.

She was known for having a dynamic vocal range, and was described as having an emotional awareness during her performances. She occasionally danced during her shows, and was described as having a sensuous presence on stage. She was able to vary her voice considerably: an obituary remarked that she "could soar like an opera singer, but she could also whisper, roar, hiss, growl and shout. She could sing while making the epiglottal clicks of the Xhosa language." She sang in English and several African languages, but never in Afrikaans, the language of the apartheid government in South Africa. She once stated "When Afrikaaners sing in my language, then I will sing theirs." English was seen as the language of political resistance by black South Africans due to the educational barriers they faced under apartheid; the Manhattan Brothers, with whom Makeba had sung in Sophiatown, had been prohibited from recording in English. Her songs in African languages have been described as reaffirming black pride.

Politics and perception
Makeba said that she did not perform political music, but music about her personal life in South Africa, which included describing the pain she felt living under apartheid. She once stated "people say I sing politics, but what I sing is not politics, it is the truth", an example of the mixing of personal and political issues for musicians living during apartheid. When she first entered the US, she avoided discussing apartheid explicitly, partly out of concern for her family still in South Africa. Nonetheless, she is known for using her voice to convey the political message of opposition to apartheid, performing widely and frequently for civil rights and anti-apartheid organisations. Even songs that did not carry an explicitly political message were seen as subversive, due to their being banned in South Africa. Makeba saw her music as a tool of activism, saying "In our struggle, songs are not simply entertainment for us. They are the way we communicate." She expressed her political views, and criticism of apartheid in particular, more frequently in later years; her exile, and the death of her daughter, have both been identified as making her more vocal.

Makeba's use of the clicks common in languages such as Xhosa and Zulu (as in "Qongqothwane", "The Click Song") was frequently remarked upon by Western audiences. It contributed to her popularity and her exotic image, which scholars have described as a kind of othering, exacerbated by the fact that Western audiences often could not understand her lyrics. Critics in the US described her as the "African tribeswoman" and as an "import from South Africa", often depicting her in condescending terms as a product of a more primitive society. In seeing her as an embodiment of Africa, Western audiences tended to ignore her cosmopolitan background. Conversely, she is also described as shaping Pan-African identity during the decline of colonialism. Commentators also frequently described her in terms of the prominent men she was associated with, despite her own prominence. During her early career in South Africa she had been seen as a sex symbol, an image that received considerably less attention in the US.

Makeba was described as a style icon, both in her home country and the US. She wore no makeup and refused to straighten her hair for shows, thus helping establish a style that came to be known internationally as the "Afro look". According to music scholar Tanisha Ford, her hairstyle represented a "liberated African beauty aesthetic". She was seen as a beauty icon by South African schoolgirls, who were compelled to shorten their hair by the apartheid government. Makeba stuck to wearing African jewellery; she disapproved of the skin-lighteners commonly used by South African women at the time, and refused to appear in advertisements for them. Her self-presentation has been characterised by scholars as a rejection of the predominantly white standards of beauty that women in the US were held to, which allowed Makeba to partially escape the sexualisation directed at women performers during this period. Nonetheless, the terms used to describe her in the US media have been identified by scholars as frequently used to "sexualize, infantalize, and animalize" people of African heritage.

Legacy

Musical influence

Makeba was among the most visible Africans in the US; as a result, she was often emblematic of the continent of Africa for Americans. Her music earned her the moniker "Mama Africa", and she was variously described as the "Empress of African Song", the "Queen of South African music", and Africa's "first superstar". Music scholar J. U. Jacobs said that Makeba's music had "both been shaped by and given shape to black South African and American music". The jazz musician Abbey Lincoln is among those identified as being influenced by Makeba. Makeba and Simone were among a group of artists who helped shape soul music. Longtime collaborator Belafonte called her "the most revolutionary new talent to appear in any medium in the last decade". Speaking after her death, Mandela called her "South Africa's first lady of song", and said that "her music inspired a powerful sense of hope in all of us."

Outside her home country Makeba was credited with bringing African music to a Western audience. She is credited, along with artists such as Youssou N'Dour, Salif Keita, Ali Farka Touré, Baaba Maal and Angélique Kidjo, with popularising the genre of world music. She disliked this label, however, believing it marginalized music from the "third world". Her work with Belafonte in the 1960s has been described as creating the genre of world music before the concept entered the popular imagination, and also as highlighting the diversity and cultural pluralism within African music. Within South Africa, Makeba has been described as influencing artists such as kwaito musician Thandiswa Mazwai and her band Bongo Maffin, whose track "De Makeba" was a modified version of Makeba's "Pata Pata", and one of several tribute recordings released after her return to South Africa. South African jazz musician Simphiwe Dana has been described as "the new Miriam Makeba". South African singer Lira has frequently been compared with Makeba, particularly for her performance of "Pata Pata" during the opening ceremony of the 2010 Football World Cup. A year later, Kidjo dedicated her concert in New York to Makeba, as a musician who had "paved the way for her success". In an obituary, scholar Lara Allen referred to Makeba as "arguably South Africa's most famous musical export".

Activism
Makeba was among the most visible people campaigning against the apartheid system in South Africa, and was responsible for popularising several anti-apartheid songs, including "Meadowlands" by Strike Vilakezi and "Ndodemnyama we Verwoerd" (Watch out, Verwoerd) by Vuyisile Mini. Due to her high profile, she became a spokesperson of sorts for Africans living under oppressive governments, and in particular for black South Africans living under apartheid. When the South African government prevented her from entering her home country, she became a symbol of "apartheid's cruelty", and she used her position as a celebrity by testifying against apartheid before the UN in 1962 and 1964. Many of her songs were banned within South Africa, leading to Makeba's records being distributed underground, and even her apolitical songs being seen as subversive. She thus became a symbol of resistance to the white-minority government both within and outside South Africa. In an interview in 2000, Masekela said that "there [was] nobody in Africa who made the world more aware of what was happening in South Africa than Miriam Makeba."

Makeba has also been associated with the movement against colonialism, with the civil rights and black power movements in the US, and with the Pan-African movement. She called for unity between black people of African descent across the world: "Africans who live everywhere should fight everywhere. The struggle is no different in South Africa, the streets of Chicago, Trinidad or Canada. The Black people are the victims of capitalism, racism and oppression, period". After marrying Carmichael she often appeared with him during his speeches; Carmichael later described her presence at these events as an asset, and Feldstein wrote that Makeba enhanced Carmichael's message that "black is beautiful". Along with performers such as Simone, Lena Horne, and Abbey Lincoln, she used her position as a prominent musician to advocate for civil rights. Their activism has been described as simultaneously calling attention to racial and gender disparities, and highlighting "that the liberation they desired could not separate race from sex". Makeba's critique of second-wave feminism as being the product of luxury led to observers being unwilling to call her a feminist. Scholar Ruth Feldstein stated that Makeba and others influenced both black feminism and second-wave feminism through their advocacy, and the historian Jacqueline Castledine referred to her as one of the "most steadfast voices for social justice".

Awards and recognition

Makeba's 1965 collaboration with Harry Belafonte won a Grammy Award, making her the first African recording artist to win this award. Makeba shared the 2001 Polar Music Prize with Sofia Gubaidulina. They received their prize from Carl XVI Gustaf, the King of Sweden, during a nationally televised ceremony at Berwaldhallen, Stockholm, on 27 May 2002. Rolling Stone placed her 53rd in its list of "The 200 Greatest Singers of All Time" in 2023.

Makeba won the Dag Hammarskjöld Peace Prize in 1986, and in 2001 was awarded the Otto Hahn Peace Medal in Gold by the United Nations Association of Germany (DGVN) in Berlin, "for outstanding services to peace and international understanding". She also received several honorary doctorates. In 2004, she was voted 38th in a poll ranking 100 Great South Africans.

From 25 to 27 September 2009, a tribute television show to Makeba, entitled Hommage à Miriam Makeba and curated by Beninoise singer-songwriter and activist Angélique Kidjo, was held at the Cirque d'hiver in Paris. The show was presented as Mama Africa: Celebrating Miriam Makeba at the Barbican in London on 21 November 2009. A documentary film titled Mama Africa, about Makeba's life, co-written and directed by Finnish director Mika Kaurismäki, was released in 2011. On 4 March 2013, and again on International Women's Day in 2017, Google honoured her with a Google Doodle on their homepage. In 2014 she was honoured (along with Nelson Mandela, Albertina Sisulu and Steve Biko) in the Belgian city of Ghent, which named a square after her, the "Miriam Makebaplein". Makeba was named 1967's "woman of the year" by Time magazine in 2020, as one of a list of 100 "women of the year" for the years 1920–2019.

In 2016 the French singer Jain released "Makeba", a tribute. Mama Africa, a musical about Makeba, was produced in South Africa by Niyi Coker. Originally titled Zenzi!, the musical premiered to a sold-out crowd in Cape Town on 26 May 2016. It was performed in the US in St. Louis, Missouri and at the Skirball Center for the Performing Arts in New York City between October and December 2016. The musical returned to South Africa in February 2017 for what would have been Makeba's 85th birthday. American-born African jazz singer Somi wrote a play about Makeba, Dreaming Zenzile, which premiered in 2021, and released a tribute album dedicated to her, Zenzile: The Reimagination of Miriam Makeba (2022).
In June 2023, "Makeba" received a resurgence in popularity due to the virality it achieved on TikTok.

Notable songs and albums

This is a list of albums and songs, including covers, by Miriam Makeba that have received significant mention in commentary about her or about the musical and political movements she participated in.

Albums
 Miriam Makeba (1960)
 The Many Voices of Miriam Makeba (1962)
 An Evening with Belafonte/Makeba (1965)
 Comme une symphonie d'amour (1979)
 The Queen of African Music (1987)
 Sangoma (1988)
 Welela (1989)
 Eyes on Tomorrow (1991)
 Homeland (2000)

Songs
 "Lakutshn, Ilanga/Lovely Lies" (1956)
 "Sophiatown is Gone"
 "The Click Song" / "Mbube" (1963)
 "Pata Pata" (1967)
 "Lumumba" (1970)
 "Malcolm X" (1974)
 "Soweto Blues" (1977)
 "Thula Sizwe/I Shall Be Released" (1991)
 "Malaika"

See also
 Culture of South Africa

Notes and references

Footnotes

Citations

Bibliography

Further reading

External links

 Miriam Makeba at National Public Radio

1932 births
2008 deaths
20th-century South African women singers
21st-century South African women singers
Anti-apartheid activists
FAO Goodwill ambassadors
Grammy Award winners
Heads Up International artists
Music in the movement against apartheid
Musicians who died on stage
Musicians from Johannesburg
South African actresses
South African exiles
South African expatriates in Belgium
South African expatriates in Guinea
South African expatriates in the United States
South African people of Swazi descent
South African Protestants
World music musicians
Strut Records artists
Wrasse Records artists
Xhosa people

Miriam Makeba


منتخب أوكرانيا لكرة القدم للسيدات يتكون من مجموعة مختارة من أفضل لاعبي كرة القدم الأوكرانية تحت رعاية اتحاد أوكرانيا لكرة القدم لم يتأهل إلى بطولة العالم للسيدات وتأهل إلى بطولة أمم أوروبا لكرة القدم للسيدات 2009 للمرة الأولى.

سجل منافسة

كأس العالم

سجل بطولة أمم أوروبا

بطولات دعائية
 Albena Cup: won in 2000 (1)

المراجع

كرة قدم نسائية في أوكرانيا
منتخب أوكرانيا الوطني لكرة القدم للنساء
منتخبات رياضية وطنية نسائية في أوكرانيا
منتخبات كرة قدم أوروبية للسيدات

منتخب أوكرانيا لكرة القدم للسيدات


Izohore (grč. ἴσος: jednak + χώρα: prostor, mjesto) su krivulje koje grafički predočuju odnos između tlaka i temperature nekoga plina ili tekućine, ako se obujam (volumen) sustava održava konstantnim.

Izohorni proces zbiva se pri stalnom obujmu (volumenu), dok se tlak mijenja razmjerno s temperaturom (izoprocesi).

Izolinije

Izolinije su linije ili crte na grafičkom prikazu koje spajaju točke jednakih ili pretpostavljeno jednakih iznosa neke mjerne veličine, na primjer tlaka (izobare), dubine vode (izobate), jakosti Zemljina magnetskoga polja (izodiname), rasvjete (izofote), magnetske deklinacije (izogone), slanosti mora i oceana (izohaline), relativne vlažnosti zraka (izohigre), količine oborina (izohijete), nadmorske visine (izohipse), obujma ili volumena (izohore), magnetske inklinacije (izokline), istodobnoga nastupa pojava (izokrone), elemenata Zemaljskoga magnetizma (izomagnetične linije), količine naoblake (izonefe), gustoće (izopikne), brzine strujanja (izotahe), temperature (izoterme), brzine vjetra (izovele). Prvu kartu s izolinijama, s izogonama, iscrtao je E. Halley 1701.

Teoretski Otto proces

Na dijagramu je prikazan idealni p -V dijagram Otto procesa. U točki 1 na dijagramu (klip u DMT) smjesa goriva i zraka se ubacuje u cilindar i tada počinje kompresija, gibanje klipa prema GMT. Smjesa se komprimira, raste joj tlak i temperatura, a smanjuje se obujam. Ovaj proces traje sve do GMT i točke 2 kada svjećica baca iskru i pali smjesu. Smjesa trenutno izgara povećavajući tlak i temperaturu u cilindru, pri konstantnom obujmu, sve do točke 3 kada je završilo izgaranje i kada klip započinje svoje gibanje ka DMT u procesu ekspanzije. Ekspanzija traje do točke 4 kada klip stiže u DMT. Tada nastupa ispuh, tlak i temperatura u cilindru padaju sve do točke 1. U točki 1 započinje izmjena medija koja traje od 1 preko 1' te natrag do 1, kada počinje novi ciklus.

Tijekom teoretskog procesa izgaranje i izmjena medija se dešava trenutačno u mrtvim točkama, a kompletan proces je zamišljen bez izmjene topline s okolinom, to jest adijabatski.

Kratki opis dijagrama
1 - Početak kompresije obujam jednak obujmu cilindra)
1 - 2 - Adijabatska kompresija
2 - Paljenje smjese svjećicom
2 - 3 - Izgaranje po izohori (obujam jednak obujmu kompresije)
3 - Kraj izgaranja, početak ekspanzije
3 - 4 - Adijabatska ekspanzija
4 - Kraj ekspanzije, početak ispuha
4 - 1 - Izohorni ispuh
1-1'-1- Izmjena medija u cilindru

Taktovi Otto ciklusa
1 - 2  -kompresija
2 - 4  -izgaranje i ekspanzija
4 - 1' -ispuh
1' - 1 -usis

Izvori

Termodinamika

Izohore


Biserica Sfântul Nicolae din Băltița este un monument istoric aflat pe teritoriul satului Băltița, comuna Mănești. În Repertoriul Arheologic Național, monumentul apare cu codul 134210.01.

Note

Monumente istorice din județul Prahova

Biserica Sfântul Nicolae din Băltița


Litopenaeus es un género de crustáceos de la familia Penaeidae, conformado por especies anteriormente incluidas en el género Penaeus. Cinco especies han sido incluidas en el nuevo género:
Litopenaeus occidentalis (Streets, 1871)
Litopenaeus schmitti (Burkenroad, 1936)
Litopenaeus setiferus (Linnaeus, 1767)
Litopenaeus stylirostris (Stimpson, 1871) (Penaeus stylirostris)
Litopenaeus vannamei (Boone, 1931)

Referencias

Penaeidae

Litopenaeus