معركة السوم  هي معركة بين القوات الألمانية وقوات الحلفاء في الحرب العالمية الأولى حدثت في الفترة 1 يوليو – 18 نوفمبر 1916 وانتهت بخسائر كبيرة للطرفين.

وقعت معركة السوم في فرنسا، على ضفتي النهر من نفس الاسم. وتألفت المعركة من هجوم شنته الجيوش البريطانية والفرنسية ضد الجيش الألماني، والذي منذ بداية غزو فرنسا في أغسطس 1914 قد احتل مساحات واسعة من هذا البلد. وكانت معركة السوم واحدة من أكبر المعارك في الحرب العالمية الأولى: بسبب القتال لوقت طويل وكان أواخر الخريف 1916 قد سجٌل أكثر من 1.5 مليون إصابة في كلا الطرفين المشاركين. ومن المعروف أن هذه المعركة واحدة من المعارك الأكثر دموية العسكرية التي سُجّلت على الإطلاق.

خطة للهجوم السوم تطورت من الحلفاء بعد عدة مناقشات إستراتيجية في شانتيلي، في ديسمبر كانون الأول عام 1915. اتفق ممثلوا التحالف برئاسة الجنرال جوزيف جوفر القائد العام للقوات المسلحة في الجيش الفرنسي، على هجوم منسق ضد القوى المركزية الألمانية في عام 1916 من قبل الفرنسيين، بمساهمة من الجيوش البريطانية الإيطالية والروسية. وكان هجوم السوم يتألف من قوات بريطانية فرنسية للقيام بهجوم عام، وكان يهدف إلى خلق شرخ في خطوط الألمان الذي يمكن أن يستغل بعد ذلك بتوجيه ضربة حاسمة. مع الهجوم الألماني على فردان على نهر ميوز في شباط / فبراير 1916، اضطر الحلفاء لتغيير خططهم. وكان الجيش البريطاني المبادر بالهجوم على السوم، مع مساهمة فرنسية كبيرة.

في اليوم الأول من المعركة في 1 يوليو 1916 عانى الجيش البريطاني أسوأ خسائر تكبدها في يوم واحد في تاريخه، مع ما يقرب من 60000 مصاب. تركيبة الجيش البريطاني في تلك المرحلة كانت تقوم على قوة المتطوعين مع كتائب تضم العديد من الرجال من مناطق محلية معينة، وهذه الخسائر لها تأثير عميق نفسيا وتاريخيا وأعطت المعركة إرث ثقافي دائم في بريطانيا ويظهر ذلك جليا في دومينيون نيوفنلند، بسبب العدد الكبير من المتطوعين الذين فقدوا من هاتين المنطقتين في اليوم الأول. شهدت معركة أيضا لأول استخدام للدبابات. سير المعركة كانت مصدراً لجدل تاريخي: ضباط كبار مثل الجنرال السير دوغلاس هيغ، وقائد قوة مشاة بريطانية ورولينسون هنري، قائد الجيش الرابع، قد تعرضوا لانتقادات بسبب تكبّد خسائر فادحة جدا، بينما فشل بتحقيق أهدافه الإقليمية. ويصور مؤرخون آخرون معركة السوم باكورة لهزيمة الجيش الألماني، وهذه المعركة تدرس في الجيش البريطاني بسبب ما فيها من الدروس التكتيكية والتشغيلية.

في نهاية المعركة، القوات البريطانية والفرنسية قد اخترقت 6 أميال (9.7 كم) داخل الأراضي المحتلة من قبل الألمان. وكان الجيش البريطاني على بعد ثلاثة أميال من بابوم وأيضا لم يتم استرداد لي ترانتسلوي أو أي مدينة أخرى فرنسية، وفشلت في الوصول إلى أهدافها المرادة منها مسبقا. وعلى الرغم أن الألمان لا يزالون يحكمون القبضة على أماكن إستراتيجية، لم تكن النظرة الإستراتيجية الألمانية مثل رؤية القيادة العليا البريطانية على أرض الواقع من البشوتي.

القوات الألمانية
كان الجيش الثاني الألماني يتشكل من 9 فِرق مشاة و 672 مدفعاً و 300 هاون و 114 طائرة. ويتخذ أوضاعه الدفاعية على جبهة طولها 40 كم تمتد من مدينة جوميكور في الشمال حتى مدينة سوايكور في الجنـوب ويحتل الهيئات المرتفعة المشرفة على مجرى نهر السوم الذي يخترق الجبهة عند مدينة فريز.

الدفاعات الألمانية
كانت الدفاعات الألمانية في السوم قوية (بسبب كلسية الأرض) فقد كانت دفاعات عميقة ومتصلة تسمح بسهولة تحرك الأسلحة في داخلها من موقع إلى آخر وكانت مجهزة بالعديد من مرابض نيران المدفعية وتحيط بها حقول الألغام للتأمين ضد تسلل العدو إليها وضد الهجوم عليها ليلاً من بعض عنـاصر الاستطلاع المعادية ليلاً. كما روعي عند إنشاء هذه المواقع مبادئ الإخفاء والتمويه فغُطيت مداخلها بفروع الأشجار وأوراقها وكانت الاستحكامات مكونة من طابقَين ومجهزة بغرف للاستراحة ومكاتب للضباط ومراكز للقيادة والسيطرة ودُشم للأسلحة وملاجئ للاتصالات اللاسلكية ومخازن للأسلحة والذخيرة والمعدات ومخازن لمواد الإعاشة المتوافرة بكميات كبيرة في هذه الاستحكامات.

قوات الحلفاء
كانت قوات الحلفاء تتشكل من 32 فِرقة مشاة و 6 فِرق فرسان و 2189 مدفعاً و 1160 هاون و 300 طائرة وتخضع لقيـادة المارشال "فوش وكانت تشكيلاتها مكونة من الجيش الرابع البريطاني الذي يتخذ أوضاعه الدفاعية في النسق الأول بقيادة الجنرال راولينسون ويحتل المنطقة الممتدة من شمال السوم وخط الجبهة الممتد جنوب جوميكور ويدخل في تشكيله الفيلق 8 والفيلق 10، والفيلق 3 والفيلق 15 والفيلق 13.
ويتخذ الجيش الخامس البريطاني أوضاعه الدفاعية في النسق الثاني خلف الجيش الرابع بقيادة الجنرال هوبرت جوف.
ويتخذ الجيش السادس الفرنسي أوضاعه الدفاعية في النسق الأول بقيادة الجنرال فايول ويحتل جزءاً من المنطقة الواقعة شمال السوم وخط الجبهة الممتد جنوبها ويدخل في تشكيله (الفيلق 20 والفيلق الأول مستعمرات والفيلق 35 مستعمرات). يتخذ الجيش العاشر الفرنسي أوضاعه الدفاعية في النسق الثاني خلف الجيش السادس بقيادة الجنرال ميشلر .

مصادر

فرنسا في 1916
أحداث نوفمبر 1916
الإمبراطورية الألمانية في الحرب العالمية الأولى
تاريخ المملكة المتحدة العسكري
تاريخ فرنسا العسكري
تاريخ كندا العسكري
حرب الأنفاق
حرب الخنادق في الحرب العالمية الأولى
معارك أستراليا في الحرب العالمية الأولى
معارك ألمانيا في الحرب العالمية الأولى
معارك البرتغال في الحرب العالمية الأولى
سوم
معارك المملكة المتحدة في الحرب العالمية الأولى
معارك جنوب إفريقيا في الحرب العالمية الأولى
معارك فرنسا في الحرب العالمية الأولى
معارك في أوت دو فرانس
معارك كندا في الحرب العالمية الأولى
معارك نيوزيلندا في الحرب العالمية الأولى
نزاعات في 1916

معركة السوم


Metastaz (Yunanca: metastasis,  μετά, meta "bir sonraki", στάσις, stasis, "yer değiştirme" anlamındadır), kanserli hücrelerin bulundukları doku dışında doğrudan ya da kan-lenf damarlarıyla başka bölgelere sıçramalarına verilen isimdir.

Kötü huylu tümörler yalnızca bulundukları doku ve organa zarar vermekle kalmaz, yakınlarındaki organ ve dokulara da yayılabilir ve zarar verebilirler. Ayrıca kanserli hücreler bulundukları bölgelerden kan ya da lenf damarları yoluyla bedenin başka bölgelerine taşınabilir, oraya yerleşebilir ve hızla yayılabilir.

Kanser başladığı doku ya da organdan bedenin bir başka bölümüne sıçradığında, burada da aynı tipte anormal hücreler gelişir ve ilk tümörle aynı adı taşımaya devam eder: Örneğin eğer akciğer kanseri beyine yayılım gösterdiyse buradaki hücreler esasta akciğer kanseri hücreleridir; beyinde oluşan tümör "beyin kanseri" değil "metastatik akciğer kanseri" olarak adlandırılır.

Kaynakça

Onkoloji

Metastaz


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Godine 21. stoljeća
2013.

Knjige u 2013.


نادي هايدوك كولا لكرة القدم (بالصربية:Фудбалски клуб Хајдук Родић МБ Кула) نادي كرة قدم صربي يلعب في دوري الدرجة الممتازة . تم تأسيس النادي في سنة 1912.

مراجع

أندية كرة قدم انحلت في 2013
أندية كرة قدم أسست في 1912
أندية كرة قدم أسست في 1925
أندية كرة قدم سابقة في صربيا
أندية كرة قدم في فويفودينا
انحلالات سنة 2013 في صربيا
تأسيسات سنة 1925 في صربيا

هايدوك كولا


Károly Schilberszky (Buda, 26 de novembro de 1863 — Budapeste, 10 de setembro de 1935) foi um botânico e micologista que se distinguiu no campo da fitopatologia.

Referências

Micologistas
Cientistas da Hungria

Károly Schilberszky


The Kingston Trio is an American folk and pop music group that helped launch the folk revival of the late 1950s to the late 1960s. The group started as a San Francisco Bay Area nightclub act with an original lineup of Dave Guard, Bob Shane, and Nick Reynolds. It rose to international popularity fueled by unprecedented sales of LP records and helped alter the direction of popular music in the U.S.

The Kingston Trio was one of the most prominent groups of the era's folk-pop boom, which they kick-started in 1958 with the release of the Trio's eponymous first album and its hit recording of "Tom Dooley", which became a number one hit and sold over three million copies as a single. The Trio released nineteen albums that made Billboards Top 100, fourteen of which ranked in the top 10, and five of which hit the number 1 spot. Four of the group's LPs charted among the 10 top-selling albums for five weeks in November and December 1959, a record unmatched for more than 50 years, and the group still ranks in the all-time lists of many of Billboards cumulative charts, including those for most weeks with a number 1 album, most total weeks charting an album, most number 1 albums, most consecutive number 1 albums, and most top ten albums.

In 1961, the Trio was described as "the most envied, the most imitated, and the most successful singing group, folk or otherwise, in all show business" and "the undisputed kings of the folksinging rage by every yardstick". The Trio's massive record sales in its early days made acoustic folk music commercially viable, paving the way for singer-songwriter, folk rock, and Americana artists who followed in their wake.

The Kingston Trio continues to tour as of 2023 with musicians who licensed the name and trademark in 2017.

Formation, 1954–1957
Dave Guard and Bob Shane had been friends since junior high school at the Punahou School in Honolulu, Hawaii, where both had learned to play ukulele in required music classes. They had developed an interest in and admiration for native Hawaiian slack key guitarists like Gabby Pahinui. While in Punahou's secondary school, Shane taught first himself and then Guard the rudiments of the six-string guitar, and the two began performing at parties and in school shows doing an eclectic mix of Tahitian, Hawaiian, and calypso songs.

After graduating from high school in 1952, Guard enrolled at Stanford University while Shane matriculated at nearby Menlo College. At Menlo, Shane became friends with Nick Reynolds, a native San Diegan with an extensive knowledge of folk and calypso songs—in part from his guitar-playing father, a career officer in the U.S. Navy. Reynolds was also able to create and sing tenor harmonies, a skill derived in part from family singalongs, and could play both guitar and bongo and conga drums. Shane and Reynolds performed at fraternity parties and luaus for a time, and eventually Shane introduced Reynolds to Guard. The three began performing at campus and neighborhood hangouts, sometimes as a trio but with an aggregation of friends that could swell its ranks to as many as six or seven, according to Reynolds. They usually billed themselves under the name of "Dave Guard and the Calypsonians". None of the three at that time had any serious aspirations to enter professional show business, however, and Shane returned to Hawaii following his graduation in late 1956 to work in the family sporting goods business.

Still in the Bay Area, Guard and Reynolds had organized themselves somewhat more formally into an entity named "The Kingston Quartet" with friends bassist Joe Gannon and vocalist Barbara Bogue, though as before the members were often joined in their performances by other friends. At one engagement at Redwood City's Cracked Pot beer garden, they met a young San Francisco publicist named Frank Werber, who had heard of them from a local entertainment reporter. Werber liked the group's raw energy but did not consider them refined enough to want to represent them as an agent or manager at that point, though he left his telephone number with Guard.

Some weeks later (and following a brief period in which Reynolds was temporarily replaced in the quartet by Don MacArthur), Guard and Reynolds invited Werber to a performance of the group at the Italian Village Restaurant in San Francisco, where Werber was so impressed by the group's progress that he agreed to manage them provided they replace Gannon, in whose professional potential Werber had no faith. Bogue left with Gannon, and Guard, Reynolds, and Werber invited Shane to rejoin the now more formally organized band. Shane, who had been performing part-time as a solo act at night in Honolulu, readily assented and returned to the mainland in early March 1957.

The four drew up a contract as equal partners in Werber's office in San Francisco, deciding on the name "Kingston Trio" because it evoked, through its association with Kingston, Jamaica, the calypso music popular at the time, and also on the uniform of three-quarter-length sleeved vertically striped shirts that the group hoped would help its target audience of college students to identify with them.

Era of peak success, 1957–61
Werber imposed a stern training regimen on Guard, Shane, and Reynolds, rehearsing them for six to eight hours a day for several months, sending them to prominent San Francisco vocal coach Judy Davis to help them learn to preserve their voices, and working on the group's carefully prepared but apparently spontaneous banter between songs. At the same time, the group was developing a varied and eclectic repertoire of calypso, folk, and foreign language songs, suggested by all three of the musicians though usually arranged by Guard with some harmonies created by Reynolds.

The first major break for the Kingston Trio came in late June 1957 when comedian Phyllis Diller canceled a week-long engagement at The Purple Onion club in San Francisco. When Werber persuaded the club's owner to give the untested Trio a chance, Guard sent out five hundred postcards to everyone that the three musicians knew in the Bay Area and Werber plastered the city with handbills announcing the engagement. When the crowds came, the Trio had been well prepared by months of work, and they achieved such local popularity that the initial week's engagement stretched to six months. Werber built upon this initial success, booking a national club tour in early 1958 for the Trio that included engagements at such prominent night spots as Mister Kelly's in Chicago, the Village Vanguard in New York, Storyville in Boston, and finally a return to San Francisco and its showcase nightclub, the hungry i, in June of that year.

At the same time, Werber was attempting to leverage the Trio's popularity as a club act into a recording contract. Both Dot Records and Liberty Records expressed some interest, but each proposed to record the Trio on 45 rpm (revolutions per minute) singles only, whereas Werber and the Trio members both felt that  rpm albums had more potential for the group's music. Through Jimmy Saphier, agent for Bob Hope who had seen and liked the group at The Purple Onion, Werber contacted Capitol Records, which dispatched prominent producer Voyle Gilmore to San Francisco to evaluate the Trio's commercial potential. On Gilmore's strong recommendation, Capitol signed the Kingston Trio to an exclusive seven-year deal.

The group's first album, Capitol T996 The Kingston Trio, was recorded over a three-day period in February 1958 and released in June that year, just as the Trio was beginning its engagement at the hungry i. Gilmore had made two important supervisory decisions as producer — first, to add the same kind of "bottom" to the Trio's sound that he had heard in live performance and consequently recruiting Purple Onion house bassist Buzz Wheeler to play on the album, and second to record the group's songs without the supporting orchestral accompaniment that was nearly universal (even for folk-styled records) at the time. The song selections on the first album reflected the repertoire that the musicians had been working on for two years—re-imagined traditional songs inspired by The Weavers like "Santy Anno" and "Bay of Mexico", calypso-flavored tunes such as "Banua" and "Sloop John B" that were reminiscent of the popular Harry Belafonte recordings of the time, and a mix of both foreign language and contemporary songwriter numbers, including Terry Gilkyson's "Fast Freight" and "Scotch and Soda", whose authorship remains unknown as of 2023.

The album sold moderately well—including on-site sales at the hungry i during the Kingston Trio's engagement there through the summer—but it was DJs Paul Colburn and Bill Terry at station KLUB in Salt Lake City whose enthusiasm for a single cut on the record spurred the next development in the group's history. Colburn began playing "Tom Dooley" extensively on his show, prompting a rush of album sales in the Salt Lake area by fans who wanted to listen to the song, as yet unavailable as a single record. Colburn called other DJs around the country urging them to do the same, and national response to the song was so strong that a reluctant Capitol Records finally released the tune as a 45rpm single on August 8, 1958; it reached the number 1 spot on the Billboard chart by late November, sold a million copies by Christmas, and was awarded a gold record on January 21, 1959. "Tom Dooley" also spurred the debut album to a number 1 position on the charts and helped the band earn a second gold record for the LP, which remained charted on Billboard's weekly reports for 195 weeks.

The success of the album and the single earned the Kingston Trio a Grammy Award for Best Country & Western Performance for "Tom Dooley" at the awards' inaugural ceremony in 1959. At the time, no folk music category existed. The next year, largely as a result of The Kingston Trio and "Tom Dooley", the National Academy of Recording Arts and Sciences instituted a folk category and the Trio won the first Grammy Award for Best Ethnic or Traditional Folk Recording for its second studio album At Large.

This was the beginning of a remarkable three-year run for the Trio in which its first five studio albums achieved number 1 chart status and were awarded gold records. By 1961, the group had sold more than eight million records, earning in excess of US$25 million for Capitol, roughly US$ million in  dollars. The Kingston Trio was responsible for 15 percent of Capitol's total sales when Capitol recorded many other popular artists, including Frank Sinatra and Nat "King" Cole. For five consecutive weeks in November and December 1959, four Kingston Trio albums ranked in the top ten of Billboards Top LPs chart, an accomplishment unmatched by any artist before or since. The Trio also charted several single records during this time, made numerous television appearances, and played upwards of 200 engagements per year.

Change and a second phase, 1961–67

By early 1961 a rift developed and deepened between Guard on one side and Shane and Reynolds on the other. Guard had been referred to in the press and on the albums' liner notes as the "acknowledged leader" of the group, a description never wholly endorsed by Shane and Reynolds, who felt themselves equal contributors to the group's repertoire and success. Guard wanted Shane and Reynolds to follow his lead and learn more of the technical aspects of music and to redirect the group's song selections, in part because of the withering criticism that the group had been getting from more traditional folk performers for the Trio's smoother and more commercial versions of folk songs and for the money-making copyrights that the Kingston group had secured for its arrangements of public domain songs. Shane and Reynolds felt that the formula for song selection and performance that they had painstakingly developed still served them well.

Furthermore, over $100,000 appeared to be missing from the Trio's publishing royalties, an accounting error eventually rectified, which created an additional irritant to both sides. Guard regarded it as inexcusable carelessness while to Shane and Reynolds it highlighted what they perceived as Guard's propensity to claim individual copyright for some of the group's songs, including "Tom Dooley" (though Guard eventually lost a suit over copyright for that number to Alan Lomax, Frank Warner, and Frank Proffitt) and "Scotch and Soda".

Following a meeting with attorneys on May 10, 1961, intended to resolve the dispute, Dave Guard resigned from the Kingston Trio, though pledging to fulfill group commitments through November of that year. Shane, Reynolds, and Werber bought out Guard's interest in the partnership for $300,000 to be paid over a number of years and moved to replace him immediately. The remaining Trio partners settled quickly on John Stewart, a 21-year-old member of the Cumberland Three, one of the many groups that sprang up hoping to imitate the Kingston Trio's success. Stewart was well-acquainted with Reynolds and Shane, having sold two songs to the Trio, and he was a proficient guitarist, banjoist, and singer. Stewart began rehearsing and recording with the group nearly immediately, commencing public appearances with the Trio in September 1961.

According to Shane, "We did nearly as well with John as we did with Dave." Six of the group's next seven albums between 1961 and 1963 continued to place in Billboard's Top Ten and several of the group's most successful singles, including "Where Have All the Flowers Gone?" and "Greenback Dollar", charted as well.

Beginning in 1964, however, the Kingston Trio's dominance in record sales and concert bookings began to wane, due partly to imitators in the pop-folk world and also to the rise of other commercial folk groups like Peter, Paul and Mary whose music had a decidedly more political bent than the Trio's. The British Invasion spearheaded by The Beatles, who were signed by EMI/Capitol just as the Trio's seven-year contract was running out, depressed sales of acoustic folk albums significantly, and Capitol did not make a serious effort to re-sign the group. According to critic Ken Barnes, the British Invasion played a significant role in curtailing the sales of the Trio's recordings.

Werber secured a generous signing bonus from Decca Records, and the last four albums of the Kingston Trio's first decade were released by that label. Without the production facilities of Capitol, however, and the expertise of Voyle Gilmore and engineer Pete Abbott, the Decca releases lacked the aural brilliance of the Capitol albums, and none of the four sold especially well.

By 1966, Reynolds had grown weary of touring and Stewart wanted to strike out on his own as a singer-songwriter, so the three musicians and Werber developed an exit strategy of playing as many dates as possible for a year with an endpoint determined to be a final two-week engagement at the hungry i in June 1967. The group followed this strategy successfully, and on June 17, 1967, the Kingston Trio ceased to be an actively performing band.

Hiatus and the New Kingston Trio, 1967–1976
Following the hungry i engagement, Reynolds moved to Port Orford, Oregon and pursued interests in ranching, business, and race cars for the next twenty years. Stewart commenced a long and distinguished career as a singer-songwriter, composing hit songs like "Daydream Believer" for The Monkees and "Runaway Train" for Rosanne Cash. He recorded more than 40 albums of his own, most notably the landmark California Bloodlines, and found chart success in the top forty with "Midnight Wind", "Lost Her in the Sun", and "Gold", the latter reaching number 5 in 1979.

Bob Shane decided to stay in entertainment, and he experimented with solo work. He recorded several singles, including a well-received but under-marketed version of the song "Honey" that later became a million-seller for Bobby Goldsboro, and with different configurations with other folk-oriented performers. Though finances were not an immediate concern—the Kingston Trio partners Werber, Shane and Reynolds still owned an office building, a restaurant, other commercial real estate, and a variety of other lucrative investments—Shane wanted to return to a group environment and in 1969 secured permission from his partners to use the mutually owned group name for another band, with Reynolds and Werber insisting only that Shane's group be musically as accomplished as its predecessors and that Shane prefix "new" to the band's title.

Shane agreed and organized two troupes under the name of "The New Kingston Trio". The first consisted of guitarist Pat Horine and banjoist Jim Connor in addition to Shane and lasted from 1969 to 1973, the second including guitarist Roger Gambill and banjoist Bill Zorn from 1973 until 1976. Shane tried to create a repertoire for these groups that included both the older and expected Kingston Trio standards like "Tom Dooley" and "M.T.A." but that would also feature more contemporary songs as well, including country and novelty tunes. The attempt did not meet with any significant success. The only full-length album released by either group was The World Needs a Melody in 1973 (though 25 years later FolkEra Records issued The Lost Masters 1969–1972, a compilation of previously unreleased tracks from the Shane-Horine-Connor years), and its sales were negligible. Though both troupes of the New Kingston Trio made a limited number of other recordings and several television appearances, neither generated very much interest from fans or the public at large.

The third phase, 1976–2017

In 1976, Bill Zorn left the New Kingston Trio to work as a solo performer and record producer in London. Shane and Gambill replaced him with George Grove, a professionally trained singer and instrumentalist from North Carolina who had been working in Nashville as a studio musician.

The same year, Shane secured from Werber and Reynolds the unencumbered rights to use the band's original name of the Kingston Trio without the appended "new" in exchange for relinquishing his interest in the still-profitable corporation, whose holdings included copyrights and licensing rights to many of the original Trio's songs. Since 1976, the various troupes owned by Shane have performed and recorded simply as the Kingston Trio.

The Shane-Gambill-Grove Kingston Trio existed from 1976 through 1985, when Gambill died unexpectedly from a heart attack on March 2 at the age of 42. The nine years of this configuration was to that point the longest period of time that any three musicians had worked together as the Kingston Trio, and the group released two albums of largely original material.

It was during this period as well that PBS producers JoAnne Young and Paul Surratt approached Shane and the other principals of the original group with the idea of arranging a reunion concert that would be taped and used as a fundraiser for the network. Agreement was reached, and on November 7, 1981, Dave Guard, Nick Reynolds, and John Stewart joined the Shane-Gambill-Grove Trio and guest performers Mary Travers of Peter, Paul and Mary, Tom Smothers of the Smothers Brothers, and Lindsey Buckingham of Fleetwood Mac at the Magic Mountain amusement park north of Los Angeles for a show billed as "The Kingston Trio and Friends Reunion." The different configurations of the Trio took turns performing sets of the group's best-known songs with all the artists joining onstage for a finale.

More than twenty years had passed since Dave Guard had left the group, but residual tension surfaced between Guard and Shane in a preview article in The Wall Street Journal that appeared in March 1982 in advance of the national broadcast of the taped show. Guard implicitly disparaged Shane's current group, and Shane asserted a distaste for performing again with Guard, who had spent the intervening decades living and performing in Australia, touring sporadically as a soloist, and writing about and teaching music. Despite the unpleasantness, Shane and Guard reconciled to a large degree (even to the point of planning a possible reunion tour) prior to Guard's death at age 56 from lymphoma nine years later in March 1991.

Following the 1985 death of Roger Gambill, Kingston Trio personnel changed several times, though Shane and Grove remained constants. Bob Haworth, a veteran folk performer who had worked as a member of The Brothers Four for many years, initially replaced Gambill from 1985 through 1988 and again from 1999 through 2005. In 1988, original member Nick Reynolds rejoined the band until his final retirement in 1999. When heart disease forced Bob Shane's retirement from touring in March 2004, he was replaced by former New Kingston Trio member Bill Zorn. A year later, following Haworth's departure, Grove and Zorn were joined by Rick Dougherty, who had performed for a time with Zorn as second-generation members of another popular folk group from the 1960s, The Limeliters.

Both the Grove–Zorn–Haworth and Grove–Zorn–Dougherty troupes of the Kingston Trio released original CDs and DVDs, and the latter configuration toured extensively for 12 years under the direction of original member Bob Shane. Capitol Records, Decca Records, Collector's Choice Music, and Folk Era Records have released and continue to release compilations of older albums as well as previously unreleased tapes of both studio and live recordings from the Kingston Trio's first ten years.

Trademark and roster changes, 2017 to the present
In October 2017, Grove, Zorn, and Dougherty were replaced as the Trio by new licensees Josh Reynolds (son of original Kingston Trio founder Nick Reynolds), Mike Marvin, a close childhood friend of the Reynolds family, Tim Gorelangton. In 2018, Josh Reynolds left the group and was replaced by Bob Haworth, who became a member of the band for the third time. At the end of 2018, Haworth left the group and was replaced by another former Limeliter, Don Marovich. Marovich resigned from the group in early 2022 and was replaced by Americana artist Buddy Woodward. George Grove and Rick Dougherty continue to perform folk music by joining veteran entertainer Jerry Siggins as the Folk Legacy Trio.

Folk music label
Initial criticism
Almost from its inception, the Kingston Trio found itself at odds with the traditional music community. Urban folk musicians of the time (to whom Bob Dylan referred in Rolling Stone as "the left-wing puritans that seemed to have a hold on the folk-music community") frequently associated folk music with leftist politics and were contemptuous of the Trio's deliberate political neutrality. Peter Dreier of Occidental College observed that "Purists often derided the Kingston Trio for watering down folk songs in order to make them commercially popular and for remaining on the political sidelines during the protest movements of the 1960s." A series of scathing articles appeared over several years in Sing Out! magazine, a publication that combined articles on traditional folk music with political activism. Its editor Irwin Silber referred to "the sallow slickness of the Kingston Trio" and in an article in the spring 1959 issue Ron Radosh said that the Trio brought "good folk music to the level of the worst in Tin Pan Alley music" and referred to its members as "prostitutes of the art who gain their status as folk artists because they use guitars and banjos". Following the Trio's performance at the premier Newport Folk Festival in 1959, folk music critic Mark Morris wrote:  "What connection these frenetic tinselly showmen have with a folk festival eludes me... except that it is mainly folk songs that they choose to vulgarize."

Frank Proffitt, the Appalachian musician whose version of "Tom Dooley" the Trio rearranged, watched their performance of his song on a television show and wrote in reaction, "They clowned and hipswung. Then they came out with 'This time tomorrow, reckon where I'll be/If it hadn't a' been for Grayson/I'd a been in Tennessee.' I began to feel sorty sick. Like I'd lost a loved one. Tears came to my eyes. I went out and bawled on the ridge." Proffitt had learned the song from his father and his grandmother, who had known Tom Dula and Laura Foster, the killer and the victim in the actual 1866 murder related in the song. Both Proffitt and fellow North Carolina musician Doc Watson sang the older version of the tune, which had "a lively mocking tempo... that retained some of the ghastliness and moral squalor of an actual murder", according to folk historian Robert Cantwell, who also notes that the Kingston Trio's version of the song omitted several verses from the traditional lyric. The slower, harmonized Trio version of the Dooley song and other traditional numbers struck Proffitt as a betrayal of "the strange mysterious workings which has made Tom Dooly [sic] live..." In 2006, folk traditionalist and influential banjo master Billy Faier remarked:  "I hear and see very little respect for the folk genre" in their music and described the Trio's repertoire as "a mishmash of twisted arrangements that not only obscure the true beauty of the folk songs from which they derive, but give them a meaning they never had."

However, Trio members never claimed to be folksingers and were never comfortable with the label. The liner notes for the group's first album featured a quotation from Dave Guard asserting that "We don't really consider ourselves folksingers in the accepted sense of the word..." Guard later told journalist Richard Hadlock in Down Beat magazine: "We are not students of folk music; the basic thing for us is honest and worthwhile songs that people can pick up and become involved in." Nick Reynolds added in the same article: "We don't collect old songs in the sense that the academic cats do... We get new tunes to look over every day. Each one of us has his ears open constantly to new material or old stuff that's good." Bob Shane remarked years later: "To call the Kingston Trio folksingers was kind of stupid in the first place. We never called ourselves folksingers... We did folk-oriented material, but we did it amid all kinds of other stuff. But they didn't know what to call us with our instruments, so Capitol Records called us folksingers and gave us credit for starting this whole boom."

21st-century perspectives
Over the years, the Kingston Trio expanded its song selection beyond the rearranged traditional numbers, calypso songs, and Broadway show tunes that had appeared on its first several albums. In an obituary for Nick Reynolds (d. October 1, 2008), Spencer Leigh wrote in Britain's Independent on Sunday:

Looking at their repertoire now, it is apparent that the Kingston Trio was far more adventurous than is generally supposed. They introduced "It Was A Very Good Year" in 1961, later a standard for Frank Sinatra, and they were one of the first to spot the potential of English language versions of Jacques Brel's songs by recording "Seasons in the Sun" in 1963. They encouraged young songwriters including Hoyt Axton ("Greenback Dollar"), Rod McKuen ("Ally Ally Oxen Free", "The World I Used to Know") and Billy Edd Wheeler ("Reverend Mr Black"). Best of all, in 1962 they introduced listeners to one of the most poignant songs ever written, the anti-war ballad "Where Have All The Flowers Gone?" by Pete Seeger, formerly with the Weavers.

Further, Peter Dreier points out that "the group deserves credit for helping to launch the folk boom that brought recognition to older folkies and radicals like Woody Guthrie and Pete Seeger, and for paving the way for newcomers like Joan Baez, Bob Dylan and Phil Ochs, who were well known for their progressive political views and topical songs. By the time these younger folk singers arrived on the scene, the political climate had changed enough to provide a wide audience for protest music." Additionally, writing in the British daily The Guardian, also in an obituary for Reynolds, Ken Hunt asserted that "[the Kingston Trio] helped to turn untold numbers of people on to folk music... [T]hey put the boom in folk boom... They were the greatest of the bands to emerge after the McCarthy-era blacklisting of folk musicians and breathed new air into the genre."

Influence
On folk and pop music
The Kingston Trio's influence on the development of American popular music has been considerable. According to music critic Bruce Eder writing for Allmusic.com:

In the history of popular music, there are a relative handful of performers who have redefined the content of the music at critical points in history—people whose music left the landscape, and definition of popular music, altered completely. The Kingston Trio were one such group, transforming folk music into a hot commodity and creating a demand—where none had existed before—for young men (sometimes with women) strumming acoustic guitars and banjos and singing folk songs and folk-like novelty songs in harmony. On a purely commercial level, from 1957 until 1963, the Kingston Trio were the most vital and popular folk group in the world, and folk music was sufficiently popular as to make that a significant statement. Equally important, the original trio—Dave Guard, Nick Reynolds, and Bob Shane—in tandem with other, similar early acts such as the Limeliters, spearheaded a boom in the popularity of folk music that suddenly made the latter important to millions of listeners who previously had ignored it.

Discussing his earliest musical influences in a 2001 Rolling Stone interview, Bob Dylan remembered:

There were other folk-music records, commercial folk-music records, like those by the Kingston Trio. I never really was an elitist. Personally, I liked the Kingston Trio. I could see the picture...the Kingston Trio were probably the best commercial group going, and they seemed to know what they were doing.

In his autobiography Chronicles, Dylan added: "I liked the Kingston Trio. Even though their style was polished and collegiate, I liked most of their stuff anyway."

In February 1982, Chicago Tribune writer Eric Zorn praised the Kingston Trio's impact on the popular music industry, claiming that "for almost five years, they overshadowed all other pop groups in America." He also noted that they "so changed the course of popular music that their impact is largely felt to this day."

Jac Holzman, co-founder of the originally folk-based Elektra Records, remarked that his formerly struggling company's new-found prosperity in the late 1950s resulted from "The Kingston Trio which has the ability to capture the interest of a large number of people who have never been conscious of folk music before. In this respect, the Kingston Trio has put us on the map."
Even some staunch traditionalists from both the urban and rural folk music communities had an affinity for the Kingstons' polished commercial versions of older songs. In her memoir And A Voice To Sing With, singer and activist Joan Baez recalled that "Traveling across the country with my mother and sisters, we heard the commercial songs of the budding folk boom for the first time, the Kingston Trio's 'Tom Dooley' and 'Scotch and Soda.' Before I turned into a snob and learned to look down upon all commercial folk music as bastardized and unholy, I loved the Kingston Trio. When I became one of the leading practitioners of 'pure folk,' I still loved them..." Arthel "Doc" Watson of North Carolina, one of the most respected and influential musicians performing traditional music, remarked, "I'll tell you who pointed all our noses in the right direction, even the traditional performers. They got us interested in trying to put the good stuff out there—the Kingston Trio. They got me interested in it!"

On musicians
Among the many other artists who cite the Kingston Trio as a formative influence in their musical careers are comedian, actor, and banjo player Steve Martin, Lindsey Buckingham of Fleetwood Mac, singer-songwriter Paul Simon, Timothy B. Schmit of The Eagles, pioneering folk-rock artist Gram Parsons, Stephen Stills and David Crosby of Crosby, Stills, and Nash, The Beach Boys' Al Jardine, Big Brother and the Holding Company founding member Peter Albin, Denny Doherty of The Mamas and the Papas, banjo master Tony Trischka, pop groups ABBA and The Bee Gees, Jefferson Airplane founding members Marty Balin and Paul Kantner, Buffalo Springfield founding member Richie Furay, Byrds co-founder Gene Clark, roots musician and master mandolin player David Grisman, singer-songwriters Tom Paxton,Harry Chapin, Jimmy Buffett,  Tim Buckley, Steve Goodman, Steve Gillette, Michael Smith (composer of "The Dutchman"), and Shawn Colvin, folk-rock group We Five co-founder Jerry Burgan, folk and rock musician Jerry Yester, rock photographer and Modern Folk Quartet musician Henry Diltz, and progressive jazz vocal group Manhattan Transfer.

The classic stage look of The Beach Boys from the early to late 1960s, blue and white striped button-down shirts with either black or grey pants, was inspired by the Kingston Trio.

On the music business
The guitar manufacturer C.F. Martin & Company has attributed the dramatic rise in demand for its instruments in the early 1960s in large part to the Kingston Trio's use of the company's guitars, which are featured prominently and without compensation on nearly all of their album covers. A Martin company press release in 2007, announcing a fourth Kingston Trio commemorative model guitar, stated that

...The Kingston Trio changed everything about popular music—and the entire acoustic guitar industry along with it...
It was the rise of the Kingston Trio that really established Martin as "America's Guitar"...The Kingston Trio wasn't just a musical group. It was a phenomenon, as influential in its time as The Beatles would become in theirs.

Satirist Tom Lehrer has acknowledged the Trio's pioneering of college concerts, observing that before the Kingstons "there was no real concert circuit...The Kingston Trio started all that," and in Time magazine, critic Richard Corliss asserted, "In my youth, they changed pop music, and me with it."

Awards and honorsGrammy Awards1959 Best Country and Western Recording – "Tom Dooley"
1960 Best Ethnic or Traditional Folk Recording – At LargeGrammy Hall of Fame Award"Tom Dooley" 1998Grammy Lifetime Achievement AwardAwarded December 2010Vocal Group Hall of FameInducted in 2000Hit Parade Hall of Fame Inducted in 2008Library of Congress National Registry of Historically Significant Recordings"Tom Dooley" 2008Billboard Awards'''
Best New Singing Group 1958

==On Billboard's albums chart==
All rankings are from "American Album Chart Records 1955–2001"
Most Number 1 Albums: 5 for a Number 10 ranking
Most Weeks Charting a Number 1 Album: 46 for a Number 5 ranking
Most Weeks Charting an Album: 1,262 for a Number 10 ranking
Most Top Ten Albums: 14 for a Number 9 ranking
Most Consecutive Number 1 Albums: 4, tied for a Number 4 ranking
Most Consecutive Top 40 Albums: 17, tied for a Number 6 ranking
Most Total Weeks Albums Charted in One Year: 348 in 1961 for a Number 3 ranking; 284 in 1960 for a Number 6 ranking
Most Weeks Charting An Album by Decade, 1960–69: 1089 for a Number 4 ranking
Most Weeks With a Number 1 Album in a Calendar Year: 22 in 1960, tied for a Number 4 ranking; 18 in 1959, tied for a Number 7 ranking
Most Consecutive Weeks at Number 1 Chart Position: 15, tied for a Number 8 ranking

Discography and videography

See also
 The Trident, a restaurant in Sausalito, offshoot of Trident Productions, the trio's production company with Frank Werber.

References

Further reading
 Bush, William J. (2013) Greenback Dollar: The Incredible Rise of the Kingston Trio Scarecrow Press.
 Noble, Richard E. (2009) Number #1. Outskirts Press, Inc.
 Seeger, Pete. (2009) Where Have All the Flowers Gone? A Singalong Memoir. W.W. Norton and Co.
 Weissman, Dick. (2005) Which Side Are You On?  Continuum Press.
 Willens, Doris. (1988) Lonesome Traveler: The Life of Lee Hays''. W.W. Norton and Co.

External links
Nick Reynolds interviewed by Paul Magnussen (1987)
The Kingston Trio Official Website
The Kingston Trio Place – Comprehensive fan site including archived resources
Folk U.S.A. – Archived vintage Kingston Trio audio and video clips.
Digital Library Kingston Trio History and Nick Reynolds Interview (recorded 11.18.1967) for the Pop Chronicles.

American folk musical groups
Musical groups established in 1957
Musical groups disestablished in 1967
Musical groups from the San Francisco Bay Area
Musical trios from California
Grammy Award winners
Grammy Lifetime Achievement Award winners
Capitol Records artists
Decca Records artists
1957 establishments in California
1967 disestablishments in California

The Kingston Trio


8386 Vanvinckenroye este un asteroid din centura principală de asteroizi.

Descriere
8386 Vanvinckenroye este un asteroid din centura principală de asteroizi. A fost descoperit pe  la Caussols de Eric Walter Elst. El prezintă o orbită caracterizată de o semiaxă mare de 2,92 ua, o excentricitate de 0,05 și o înclinație de 1,6° în raport cu ecliptica.

Vezi și
 Lista planetelor minore: 8001-9000
 Centura de asteroizi

Referințe

Obiecte astronomice descoperite în 1993
Centura de asteroizi

8386 Vanvinckenroye


Sportklub Sturm Graz er austurrískt knattspyrnufélag félagið var stofnað árið 1911. Árið 2014 féll það úr leik í 2. umferð Evrópukeppni félagsliða eftir tap gegn Breiðabliki.

Þekktir leikmenn

Titlar
Austurríska Bundesligan: 3
1997–98, 1998–99, 2010–11
Austurríska Bikarkeppnin: 6
1995–96, 1996–97, 1998–99, 2009–10, 2017–18, 2022/23

Tengill
 Heimasíða félagsins

Austurrísk knattspyrnufélög
Graz
stofnað 1909

SK Sturm Graz


هذه قائمة الدول حسب إنتاج الحديد معتمدة على بيانات الماسح الجيولوجي الأمريكي. وتم تقدير تقديرات الإنتاج المنجمي بالنسبة للصين من خلال إحصائيات الخام غير المصقول (غير صالح للإستعمال) من قبل المكتب الوطني للإحصائيات بالصين، عوضاً عن الخام الصالح للإستخدام كما تم ذكره بالنسبة لباقي البلدان.

اللائحة

إنتاج الحديد الصب

هذه قائمة البلدان حسب إنتاج حديد الصب.

المراجع

انظر أيضا
 قائمة الدول حسب إنتاج الصلب

تعدين الحديد
قوائم الدول حسب إنتاج المعادن

قائمة الدول حسب إنتاج الحديد


Crypta Neapolitana (latinski za "napuljska kripta") je drevni rimski cestovni tunel u blizini Napulja, južna Italija. Izgrađen je 37. pr. Kr., a dugačak je preko 700 metara.

Tunel je povezivao Napulj s takozvanim Flegrejskim poljima i gradom Pozzuoli duž ceste poznate kao Via Domiziana.

Geografija
Istočni ulaz (s napuljske strane) nalazi se u parku Vergiliano u Piedigrotti ("u podnožju špilje"); zapadni kraj je u području koje se sada zove Fuorigrotta ( "izvan pećine").

Mjesto je također važno zbog prisutnosti takozvane Vergilijeve grobnice, kao i grobnice talijanskog pjesnika Giacoma Leopardija .

Povijest
Napulj i Pozzuoli bili su odvojeni velikom neprohodnom močvarom: prvu cestu između ta dva grada vjerojatno su izgradili Grci, a bila je uska i neizravna.

Prva rimska cesta koja je povezivala Neapolis i Flegrejska polja, via (Antiniana) per colles, izgrađena je početkom 1. stoljeća prije Krista i išla je najlakšim putem, ali je ipak bila duga, teška, krivudava i prolazila je kroz strma brda. Vodila je preko brda Vomera i vraćala se prema Fuorigrotti stigavši na modernu Via Terracina odakle je nastavljala do luka Puteoli i Cumae. Kako su Puteoli i povezana trgovina između dva grada rasli, staru je cestu trebalo poboljšati, pa je tunel skratio rutu i izbjegao nekoliko brda.

Tunel je prvi izgradio arhitekt Lucius Cocceius Auctus za Agripu tijekom građanskog rata između Oktavijana i Seksta Pompeja oko 37. pr. Kr. Nova cesta, nazvana via per cryptam, skretala je sjeverno na zapadnom kraju tunela, idući prema Via Leopardi i ponovno se spajala sa starom cestom, via Neapolis-Puteoli, na vrhu Via Terracina gdje je usputna stanica (tabernae) i susjedni kompleks termalnih lječilišta je iskopan.

Tunel je jedan od 4 cestovna tunela koje je u tom području izgradio Cocceius: drugi su Grotta di Seiano (Sejanov tunel) u Posillipu, Grotta di Cocceio od jezera Avernus do Cumae i Crypta Romana od Cumae do njegove luke, kao dio mreže vojnih infrastruktura uključujući izgradnju Portus Julius.

Akvadukt Aqua Augusta (Serino) izgrađen je kasnije paralelno s cestovnim tunelom.

Tunel se još uvijek koristio kao prometnica dok ga početkom 20. stoljeća nisu zamijenila dva moderna tunela, a pokazuje opsežnu restauraciju koju su izvršili arhitekti napuljske dinastije Bourbon. Tijekom Drugog svjetskog rata korištena je kao sklonište za bombe za stanovnike Bagnolija; rat i neka klizišta tijekom pedesetih vratili su ga u zapušteno stanje. Danas je obnovljena kao arheološko nalazište.

Prema srednjovjekovnoj legendi, tunel je sagradio pjesnik Vergilije u jednoj noći.

Izvori

Ulice u Napulju
Tuneli u Italiji
Pješački tuneli
Arheološki lokaliteti u Napulju

Crypta Napolitana


Lexploitation de l'or en Afrique du Sud date de la fin du , avec l'ouverture de la première mine en 1886. Elle se développe ensuite très fortement, le pays restant durant des années le premier producteur mondial d'or. En 1970, la production annuelle atteint . Par la suite, elle décline lentement ; dans les années 2000, elle est d'abord dépassée au niveau mondial par la Chine, puis au niveau continental par le Ghana et le Mali

C'est la région du Transvaal qui concentre la plus grande partie des réserves et des mines d'or du pays.

Histoire

Origine du gisement
Deux hypothèses géologiques sont privilégiées par les scientifiques pour expliquer l'origine et la richesse des gisements d'Afrique du Sud : le modèle « placerien » et le modèle « hydrothermique », ces deux modèles étant étudiés chacun depuis le début du . Le modèle placerien explique la présence d'or par la présence d'un lac ou d'une mer à l'emplacement actuel des gisements aurifères. L'eau aurait ruisselé depuis les pentes environnantes en entraînant les grains d'or, qui se seraient accumulés en conglomérat au-dessus de la roche-mère. Le modèle « hydrothermique » explique au contraire la présence d'or par des remontées de fluides hydrothermaux ayant entraîné l'or le long de failles vers la surface, mais ces fluides se seraient arrêtés sous les couches de basalte, conduisant à une accumulation dans les couches sédimentaires.

Découverte
La première découverte de l'or est faite en juin 1884 par , dans la ferme de Vogelstruisfontein. Elle est rapidement suivie, en septembre suivant, de la découverte du gisement de Confidence Reef par les frères Struben. Toutefois, ces découvertes, assez mineures, n'entraînent pas de ruée vers l'or. Le véritable démarrage de l'exploitation aurifère sud-africaine s'effectue quand  découvre de l'or dans la ferme de Langlaagte, située dans la région du Witwatersrand, en juillet 1886.

Dès le mois suivant le camp minier compte trois mille habitants ; le , neuf fermes sont déclarées exploitations minières publiques sous la direction informelle du colonel Ignatius Ferreira. C'est ce camp de mineurs qui devient la première agglomération formant ce qui devient par la suite Johannesbourg. Mais les expériences précédentes ont appris aux mineurs que la durée de vie des gisements est assez faible, et ils en tiennent compte dans l'aménagement du lieu, qui ne se veut que temporaire ; la plupart des bâtiments sont bâtis en fer et en bois. Malgré tout, la nouvelle agglomération devient la première ville d'Afrique du Sud en dix ans, dépassant Le Cap.

Industrialisation
Le  est créée la Witwatersrand Gold Mining Company, première grande entreprise minière sud-africaine. Les premières machines sont implantées le  ; dès la fin de la même année quatorze mines sont exploitées et 93 bocards sont utilisés à ces fins.

Apogée

En 1970, la production atteint son sommet, avec  extraites du sous-sol.

Déclin
En 2013, l'Afrique du Sud compte encore vingt-trois mines d'or ; le secteur aurifère représente encore à cette date un dixième des recettes de l'État sud-africain et 3% de son Produit intérieur brut. En septembre de cette année, une grève met à l'arrêt ces mines, qui font travailler d'ordinaire plusieurs dizaines de milliers de mineurs. En 2017, le pays ne tient plus que le septième rang mondial en termes de production d'or. Rien qu'entre 2015 et 2016, quarante mille emplois ont été perdus dans ce secteur. Le manque de rentabilité des filons est invoqué pour expliquer cette baisse, mais aussi l'accessibilité décroissante alors même que le cours de l'or est à la baisse au début des années 2010. Les matériels d'extraction sont anciens, certaines mines sont fermées pour non-respect des règles de sécurité ; enfin, les grèves continuent de paralyser le secteur.

Mines et techniques

Notes et références

Voir aussi

Articles connexes
 Industrie minière en Afrique du Sud
 Liste de mines en Afrique du Sud
 Chambre des mines d'Afrique du Sud

Bibliographie

Exploitation aurifère en Afrique du Sud


මොහෙන්ජෝදාරෝ     , එහි තේරුම 'මළ මිනිසුන්ගේ කන්ද' යන්නයි;       ) යනු පකිස්ථානයේ සින්ද් පළාතේ පිහිටි පුරාවිද්‍යාත්මක ස්ථානයකි. ක්‍රිස්තු පූර්ව 2500 දී පමණ ඉදිකරන ලද, එය පුරාණ ඉන්දු නිම්න ශිෂ්ටාචාරයේ විශාලතම ජනාවාස වූ අතර, පුරාණ ඊජිප්තුව, මෙසපොතේමියාව, මිනෝආන් ක්‍රීට් සහ නෝර්ටේ චිකෝ යන ශිෂ්ටාචාරවලට සමකාලීන වූ ලොව පැරණිතම ප්‍රධාන නගරවලින් එකකි. ඉන්දු නිම්න ශිෂ්ටාචාරය පරිහානියට පත් වීමත් සමඟ ක්‍රි.පූ. 19 වැනි සියවසේදී මොහෙන්ජොදාරෝ අත්හැර දමන ලද අතර 1920 ගණන් වනතුරු එම ස්ථානය නැවත සොයා ගැනීමට නොහැකි විය. 1980 දී යුනෙස්කෝ ලෝක උරුම අඩවියක් ලෙස නම් කරන ලද දකුණු ආසියාවේ එසේ නම් කරන ලද පළමු ස්ථානය වන නගරයේ ස්ථානයේ සැලකිය යුතු කැණීමක් සිදු කර ඇත.  මෙම වෙබ්  අඩවිය දැනට ඛාදනය සහ නුසුදුසු ප්‍රතිසංස්කරණය හේතුවෙන් තර්ජනයට ලක්ව ඇත.

මොහෙන්ජදාරෝ


جاكسون  هي إحدى مدن مقاطعة أمادور، كاليفورنيا. تم إعطاءها لقب مدينة في 5 ديسمبر، 1905.

التركيبة السكانية
حدّد مكتب تعداد الولايات المتحدة بيانات التركيبة السكانية لجاكسون في تعداد الولايات المتحدة. في ما يلي، التركيبة السكانية حسب تعدادي 2000 و2010.

تعداد عام 2000
بلغ عدد سكان جاكسون 3,989 نسمة بحسب تعداد عام 2000، وبلغ عدد الأسر 1,746 أسرة وعدد العائلات 1,024 عائلة مقيمة في المدينة. في حين سجلت الكثافة السكانية . وبلغ عدد الوحدات السكنية 1,859 وحدة بمتوسط كثافة قدره .
وتوزع التركيب العرقي للمدينة بنسبة 93.53% من البيض و0.50% من الأمريكيين الأفارقة و1.38% من الأمريكيين الأصليين و0.58% من الأمريكيين ذوي الأصول الآسيوية و0.08% من سكان جزر المحيط الهادئ و1.86% من الأعراق الأخرى و2.08% من عرقين مختلطين أو أكثر و6.47% من الهسبانيون أو اللاتينيون من أي عرق.

بلغ عدد الأسر 1,746 أسرة كانت نسبة 25.9% منها لديها أطفال تحت سن الثامنة عشر تعيش معهم، وبلغت نسبة الأزواج القاطنين مع بعضهم البعض 43.8% من أصل المجموع الكلي للأسر، ونسبة 12% من الأسر كان لديها معيلات من الإناث دون وجود شريك، بينما كانت نسبة 2.9% من الأسر لديها معيلون من الذكور دون وجود شريكة وكانت نسبة 41.4% من غير العائلات. تألفت نسبة 36.1% من أصل جميع الأسر من عدة أفراد يعيشون في نفس المنزل ونسبة 20% كانت تتألف من شخص يعيش بمفرده يبلغ من العمر 65 عاماً أو أكثر. وبلغ متوسط حجم الأسرة المعيشية 2.13، أما متوسط حجم العائلات فبلغ 2.74.

بلغ العمر الوسطي للسكان 46.6 عاماً. وكانت نسبة 19.7% من القاطنين تحت سن الثامنة عشر، وكانت نسبة 6.3% بين الثامنة عشر والرابعة والعشرين عاماً، ونسبة 21.1% كانت واقعةً في الفئة العمرية ما بين الخامسة والعشرين والرابعة والأربعين عاماً، ونسبة 22.5% كانت ما بين الخامسة والأربعين والرابعة والستين، ونسبة 23.6% كانت ضمن فئة الخامسة والستين عاماً فما فوق. يوجد لكل 100 أنثى 82.7 ذكر، ويوجد لكل 100 أنثى في الثامنة عشر من عمرها فما فوق 77.8 ذكر.

بلغ متوسط دخل الأسرة في المدينة 35,944 دولارًا، أما متوسط دخل العائلة فبلغ 45,887 دولارًا. وكان متوسط دخل الذكور 40,444 دولارًا مقابل 35,083 دولارًا للإناث. وسجل دخل الفرد الخاص بالمدينة 21,399 دولارًا. وكانت نسبة 4.1% من العائلات ونسبة 8.3% من السكان تحت خط الفقر، وكان من هؤلاء نسبة 8.9% تحت سن الثامنة عشر ونسبة 7% في الخامسة والستين من العمر وما فوق.

تعداد عام 2010
بلغ عدد سكان جاكسون 4,651 نسمة بحسب تعداد عام 2010، وبلغ عدد الأسر 2,065 أسرة وعدد العائلات 1,214 عائلة مقيمة في المدينة. في حين سجلت الكثافة السكانية . وبلغ عدد الوحدات السكنية 2,309 وحدة بمتوسط كثافة قدره .
وتوزع التركيب العرقي للمدينة بنسبة 87.94% من البيض و0.69% من الأمريكيين الأفارقة و2.02% من الأمريكيين الأصليين و1.29% من الأمريكيين ذوي الأصول الآسيوية و0.09% من سكان جزر المحيط الهادئ و3.98% من الأعراق الأخرى و4% من عرقين مختلطين أو أكثر و11.18% من الهسبانيون أو اللاتينيون من أي عرق.

بلغ عدد الأسر 2,065 أسرة كانت نسبة 26% منها لديها أطفال تحت سن الثامنة عشر تعيش معهم، وبلغت نسبة الأزواج القاطنين مع بعضهم البعض 39.8% من أصل المجموع الكلي للأسر، ونسبة 14.2% من الأسر كان لديها معيلات من الإناث دون وجود شريك، بينما كانت نسبة 4.7% من الأسر لديها معيلون من الذكور دون وجود شريكة وكانت نسبة 41.2% من غير العائلات. تألفت نسبة 36.2% من أصل جميع الأسر من عدة أفراد يعيشون في نفس المنزل ونسبة 21.2% كانت تتألف من شخص يعيش بمفرده يبلغ من العمر 65 عاماً أو أكثر. وبلغ متوسط حجم الأسرة المعيشية 2.14، أما متوسط حجم العائلات فبلغ 2.75.

بلغ العمر الوسطي للسكان 46.0 عاماً. وكانت نسبة 20.3% من القاطنين تحت سن الثامنة عشر، وكانت نسبة 6.6% بين الثامنة عشر والرابعة والعشرين عاماً، ونسبة 22.1% كانت واقعةً في الفئة العمرية ما بين الخامسة والعشرين والرابعة والأربعين عاماً، ونسبة 25.7% كانت ما بين الخامسة والأربعين والرابعة والستين، ونسبة 25.2% كانت ضمن فئة الخامسة والستين عاماً فما فوق. وتوزع التركيب الجنسي للسكان بنسبة 45.7% ذكور و54.3% إناث.

أعلام
 إرنست غالو
 جيم ماركيز
 جوزيف رافائيل
 روبرت غرانت أيتكن
 ارين دوغلاس

معرض صور

مراجع

أماكن مأهولة أسست في 1848
تأسيسات سنة 1848 في كاليفورنيا
مدن في مقاطعة أمادور (كاليفورنيا)
مدن كاليفورنيا
مقرات المقاطعات في كاليفورنيا

جاكسون (كاليفورنيا)


Sagala, Sakala (), or Sangala () was a city in ancient India, which was the predecessor of the modern city of Sialkot that is located in what is now Pakistan's northern Punjab province. The city was the capital of the Madra Kingdom and it was razed in 326 BC during the Indian campaign of Alexander the Great. In the 2nd century BC, Sagala was made capital of the Indo-Greek kingdom by Menander I. Menander embraced Buddhism after extensive debating with a Buddhist monk, as recorded in the Buddhist text Milinda Panha. Sagala became a major centre for Buddhism under his reign, and prospered as a major trading centre.

History
Sagala is likely the city of Sakala () mentioned in the Mahabharata, a Sanskrit epic of ancient India, as occupying a similar area as Greek accounts of Sagala. The city may have been inhabited by the Saka, or Scythians, from Central Asia who had migrated into the Subcontinent. The region was noted in the Mahabharata for the  "loose and Bacchanalian" women who lived in the woods there. The city was said to have been located in the Sakaladvipa region between the Chenab and Ravi rivers, now known as the Rechna Doab.

Indian campaign of Alexander the Great
The Anabasis of Alexander, written by the Roman-Greek historian Arrian, recorded that Alexander the Great captured ancient Sialkot, recorded as Sagala, from the Cathaeans, who had entrenched themselves there. The city had been home to 80,000 residents on the eve of Alexander's invasion, but was razed as a warning against any other nearby cities that might resist his invasion.
"The Cathaeans... had a strong city near which they proposed to make their stand, named Sagala. (...) The next day Alexander rested his troops, and on the third advanced on Sangala, where the Cathaeans and their neighbours who had joined them were drawn up in front of the city. (...) At this point too, Porus arrived, bringing with him the rest of the elephants and some five thousand of his troops. (...) Alexander returned to Sangala, razed the city to the ground, and annexed its territory". Arrian, Anabasis of Alexander, V.22-24

Shunga empire
Following his overthrowing of the Mauryan Empire, Pushyamitra Shunga established the Shunga Empire and expanded northwest as far as Sagala. According to the 2nd century Ashokavadana, the king persecuted Buddhists:
"Then King Pushyamitra equipped a fourfold army, and intending to destroy the Buddhist religion, he went to the Kukkutarama. (...) Pushyamitra therefore destroyed the sangharama, killed the monks there, and departed.
After some time, he arrived in Sakala, and proclaimed that he would give a hundred dinara reward to whoever brought him the head of a Buddhist monk" (Shramanas) Ashokavadana, 133, trans. John Strong.

Indo-Greek era
Sagala, renamed Euthydemia by the Greeks, was used as a capital by the Indo-Greek king Menander during his reign between 160 and 135 BC.

Under Menander's rule, the city greatly prospered as a major trading centre renowned for its silk. Literary accounts suggests the Greeks and the local population of cities like Sagala lived in relative harmony, with some of the Greeks converting to Buddhism and adopting local traditions. Menander embraced Buddhism in Sagala, after an extensive debating with the Buddhist monk Nagasena, as recorded in the Buddhist text Milinda Panha. the text offers an early description of the city's cityscape and status as a prosperous trade centre with numerous green spaces. Following his conversion, Sialkot developed as a major centre for Buddhist thought.

Ancient Sialkot was recorded by Ptolemy in his 1st century CE work, Geography, in which he refers to the city as Euthymedia (Εύθυμέδεια).
 There is in the country of the Yonakas a great centre of trade, a city that is called Sâgala, situated in a delightful country well watered and hilly, abounding in parks and gardens and groves and lakes and tanks, a paradise of rivers and mountains and woods. Wise architects have laid it out, and its people know of no oppression, since all their enemies and adversaries have been put down. Brave is its defence, with many and various strong towers and ramparts, with superb gates and entrance archways; and with the royal citadel in its midst, white walled and deeply moated. Well laid out are its streets, squares, cross roads, and market places. Well displayed are the innumerable sorts of costly merchandise with which its shops are filled. It is richly adorned with hundreds of alms-halls of various kinds; and splendid with hundreds of thousands of magnificent mansions, which rise aloft like the mountain peaks of the Himalayas. Its streets are filled with elephants, horses, carriages, and foot-passengers, frequented by groups of handsome men and beautiful women, and crowded by men of all sorts and conditions, Brahmans, nobles, artificers, and servants. They resound with cries of welcome to the teachers of every creed, and the city is the resort of the leading men of each of the differing sects. Shops are there for the sale of Benares muslin, of Kotumbara stuffs, and of other cloths of various kinds; and sweet odours are exhaled from the bazaars, where all sorts of flowers and perfumes are tastefully set out. Jewels are there in plenty, such as men's hearts desire, and guilds of traders in all sorts of finery display their goods in the bazaars that face all quarters of the sky. So full is the city of money, and of gold and silver ware, of copper and stone ware, that it is a very mine of dazzling treasures. And there is laid up there much store of property and corn and things of value in warehouses-foods and drinks of every sort, syrups and sweetmeats of every kind. In wealth it rivals Uttara-kuru, and in glory it is as Âlakamandâ, the city of the gods. (The Questions of King Milinda, translated by T. W. Rhys Davids, 1890)

See also
 List of ancient Indian cities
 Shambhala
 Sialkot
 Madra Kingdom
 Shangri-La

References

Bactrian and Indian Hellenistic colonies
Sialkot
Ancient history of Pakistan
Former populated places in Pakistan
Razed cities
Ancient Indian cities
Former capital cities in India
Menander I

Sagala


إسطورة سبايرو: بداية جديدة لعبة فيديو تعتبر الجزء الثامن من سلسلة سبايرو و الجزء الأول من إسطورة سبايرو الثلاثية والتي تختلف عن سلسلة سبايرو الأصلية في القصة، أصدرت في 10 أكتوبر2006 على جهاز الأكس بوكسو على جهاز بلايستايشن 2 و الجيم بوي أدفانس.

انظر أيضًا
 سبايرو (سلسلة)

روابط خارجية

مراجع

ألعاب إكس بوكس
ألعاب إكس بوكس الأصلية
ألعاب بلاي ستيشن 2
ألعاب غيم بوي أدفانس
ألعاب حركة-مغامرات
ألعاب سبايرو
ألعاب سييرا إنترتينمنت
ألعاب فيديو 2006
ألعاب فيديو حول تغيير الحجم
ألعاب فيديو فردية
ألعاب فيديو مطورة في أستراليا
ألعاب فيديو مطورة في الولايات المتحدة
ألعاب منصات ثلاثية الأبعاد
ألعاب نينتندو دي أس
ألعاب نينتندو غيم كيوب
تغير الحجم في الأعمال الخيالية

إسطورة سبايرو: بداية جديدة


El Rubik 360 es un rompecabezas mecánico creado por el escultor y profesor de arquitectura Ernő Rubik, creador del cubo de Rubik. El objetivo de este rompecabezas es inclinar y girar la esfera para lograr que las seis bolitas de colores queden en la cápsula correspondiente a su color. Se estrenó mundialmente en agosto del año 2009.

Estructura

El Rubik 360 consta de tres esferas transparentes. La primera esfera (esfera interior) posee un orificio, el cual permite que las bolitas salgan de esta y lleguen a la siguiente esfera. La segunda esfera (esfera intermedia) está compuesta por dos orificios. Cada uno de estos orificios coincide con uno de los hemisferios de la esfera exterior. Ambas esferas tienen un peso que se contrapone a sus orificios. Estos pesos aseguran que la fuerza de gravedad permanezca sobre los ejes de rotación y que las bolitas actúen conforme a su fuerza. La última esfera (esfera exterior) consta de seis cápsulas de colores, tres en cada hemisferio de la esfera, y por dos perillas negras encargadas de encerrar las bolitas en las cápsulas.

El Rubik 360 posee una sola solución, aunque esto no implica que exista una única forma de resolverlo, sino que depende de cada persona el encontrar su forma de solución. Por este motivo el Rubik 360 se recomienda para personas mayores de 8 años, aunque esto no quiere decir que no pueda ser resuelto por un niño de menor edad.

Véase también
 Ernő Rubik
 Cubo de Rubik

Referencias

Inventos de Hungría
Rompecabezas
Cubo de Rubik

Rubik 360


Zlatoglavica (pečak, lat. Asphodeline), rod trajnica iz porodice čepljezovki raširen od Mediterana do Irana na Istok. Postoji 17 priznatih vrsta koje su po životnom obliku dvogodišnje bilje, gomoljasti geofiti i hemikriptofiti.

U Hrvatskoj rastu tri vrste, to su žuta (A. lutea), liburnijska (A. liburnica) i tauruska zlatoglavica (A. taurica)

Rod jer opisan 1830. godine

Vrste
 Asphodeline anatolica Tuzlaci
 Asphodeline baytopiae Tuzlaci
 Asphodeline brevicaulis (Bertol.) J.Gay ex Baker
 Asphodeline cilicica Tuzlaci
 Asphodeline damascena (Boiss.) Baker
 Asphodeline globifera J.Gay ex Baker
 Asphodeline liburnica (Scop.) Rchb.
 Asphodeline lutea (L.) Rchb.
 Asphodeline peshmeniana Tuzlaci
 Asphodeline prismatocarpa J.Gay ex Boiss.
 Asphodeline prolifera (M.Bieb.) Kunth
 Asphodeline recurva Post
 Asphodeline rigidifolia (Boiss. & Heldr.) Baker
 Asphodeline sertachiae Tuzlaci
 Asphodeline taurica (Pall. ex M.Bieb.) Endl.
 Asphodeline tenuior (Fisch. ex M.Bieb.) Ledeb.
 Asphodeline turcica Tuzlaci

Vanjske poveznice

Izvori

Asphodeloideae

Zlatoglavica


L'église Notre-Dame (parfois reprise comme chapelle Notre-Dame) est une église catholique située dans le village d'Évegnée faisant partie de la commune de Soumagne dans la province de Liège en Belgique. L'église bâtie en 1695 et le tilleul voisin sont classés au patrimoine culturel immobilier de la Région wallonne.

Localisation
L'église se trouve au centre du village d'Évegnée (Pays de Herve) le long de la rue du Village. Elle est entourée par un ancien cimetière ceint d'un mur duquel émerge un vieux tilleul.

Description

Église
Bâtie en moellons de grès houiller de la région harpés de pierre calcaire aux angles du bâtiment ainsi que pour les encadrements des différentes baies, l'église se compose d'une tour trapue avec contreforts latéraux, d'une seule nef comprenant deux travées et d'un chevet à pans coupés. La tour surmontée d'une toiture en ardoises à deux niveaux est précédée d'un porche hors-œuvre incluant la porte d'entrée sous un arc en plein cintre. La clé de voûte de cet arc cintré est gravé H.G.1695 alors qu'un texte placé au-dessus de la porte d'entrée précise : JE SUIS REBATTIE . DU TEMPS . DE  HENRY GRAILET MAMBOUR  L'AN.1695. Ce texte atteste donc que cette église remplace un édifice antérieur.

Tilleul
Se dressant à côté de l'église et à l'intérieur d'un virage de la rue du Village, ce vieux tilleul à grandes feuilles (Tilia platyphyllos) au tronc torturé est véritablement encastré dans le mur du cimetière, une partie de ses racines rentrant dans le sol à l'extérieur du mur (côté rue) et une autre partie à l'intérieur (côté cimetière). Il est entièrement creux. Les documents communaux indiquent un âge supérieur à 350 ans. Il serait donc antérieur à l'église actuelle.

Classement
L'édifice est repris depuis le  sur la liste du patrimoine immobilier classé de Soumagne et le vieux tilleul depuis le .

Références

Articles connexes
 Liste du patrimoine immobilier classé de Soumagne
 Fort d'Évegnée

Source et lien externe
Arbres monumentaux

Evegnee
Patrimoine classé à Soumagne
Église dédiée à Notre-Dame

Église Notre-Dame d'Évegnée


Dorothy Mary Crowfoot Hodgkin (Kairo, Egipat, 12. svibnja 1910. – Ilmington, Engleska, 29. srpnja 1994.) - engleska biokemičarka, dobitnica Nobelove nagrade za kemiju 1964. godine za određivanje strukture penicilina i vitamina B12.

Rodila se kao Dorothy Crowfoot u Kairu u Egiptu, gdje su njeni roditelji radili u Ministarstvu obrazovanja. Četiri brata njene majke poginuli su u Prvom svjetskom ratu pa je zbog toga podržavala utemeljenje Lige naroda.

Studirala je kemiju i kristalografiju na Sveučilištu u Oxfordu od 1928. do 1932. godine. Sljedeće dvije godine provodila je kristalografsko istraživanje sterola, peptida i aminokiselina u laboratoriju Cavendish u Cambridgeu. Zatim je ponovno radila na Sveučilištu u Oxfordu. Obranila je doktorat na Sveučilištu Cambridge pod nadzorom profesora Bernala 1937. godine. Postala je profesorica 1960. godine. Bila je članica Kraljevskog društva.

Koristeći rendgensku strukturnu analizu utvrdila je molekularnu strukturu kolesteril jodida (1943.), penicilina (1946.), kolesterola, vitamina B12 (1956.), cefalosporina i inzulina (1962.). Koristeći istu metodu, prva je otkrila 1961. godine, da je vitamin B12 organometalni spoj, jer sadrži izravnu kemijsku vezu između atoma kobalta i ugljika.

Godine 1964. dobila je Nobelovu nagradu za kemiju za rendgenska ispitivanja strukture biokemijski važnih tvari.

Napisala je udžbenik "Kristalografija i kristalno savršenstvo" (Oxford, 1963).

Zvala se Dorothy Crowfoot, sve do dvanaest godina nakon udaje za Thomasa Lionela Hodgkina, od kada se zvala Dorothy Crowfoot Hodgkin. Zbog pojednostavljivanja, najčešće se naziva Dorothy Hodgkin.

Izvori

Britanski kemičari
Dobitnici Nobelove nagrade za kemiju

Dorothy Hodgkin


Jodi Lynn Picoult (pronunciado en inglés /ˈdʒoʊdi piːˈkoʊ/), quien nació el 19 de mayo de 1966, es una autora estadounidense. Fue galardonada con el "New England Booksellers Award" de ficción en 2003. Picoult actualmente tiene 14 millones de copias de sus libros impresos en todo el mundo.

Primeros años y educación
Picoult nació en 1966 y creció en Nesconset en Long Island; su familia se trasladó a Nueva Hampshire cuando ella tenía 13 años de edad. Ha descrito a su familia como "judíos no practicantes." Picoult escribió su primera historia a los 5 años, titulada "The Lobster Which Misunderstood."

Estudió escritura en la Universidad de Princeton, graduando en 1987. Publicó dos cuentos en la revista Seventeen, mientras estaba todavía en la universidad. Inmediatamente después de graduarse, tuvo una gran variedad de puestos de trabajo, que van desde la edición de libros de texto hasta la enseñanza de inglés a estudiantes de octavo grado. Obtuvo una maestría en educación de la Universidad de Harvard.

Carrera
Picoult trabajó como escritora para una iteración de la serie Mujer Maravilla para DC Comics durante cuatro ediciones después de la salida de su colega escritor, Allan Heinberg, en 2007. Dos novelas de Picoult, Nineteen Minutes y Change of Heart, han obtenido el primer puesto en The New York Times Best Seller List.

Vida personal
Está casada con Tim Van Leer, a quien conoció en la universidad. Ellos y sus tres hijos, Sammy, Kyle, y Jake, y varios animales domésticos, viven en Hanover (condado de Grafton, Nuevo Hampshire).

Bibliografía
 Songs of the Humpback Whale (1992)
 Harvesting the Heart (1993)
 Picture Perfect (1995)
 Mercy (1996)
 The Pact (1998)
 Keeping Faith (1999)
 Plain Truth (2000)
 Salem Falls (2001)
 Perfect Match (2002)
 Second Glance (2003)
 My Sister's Keeper (2004)
 Vanishing Acts (2005)
 The Tenth Circle (2006)
 Nineteen Minutes (2007)
 Wonder Woman (vol. 3) #6-10 (fecha de cubierta: mayo - agosto de 2007)
 Wonder Woman: Love and Murder (2007) (volumen de tapa dura recogiendo Wonder Woman #6-10)
 Change of Heart (2008)
 Handle with Care (2009)
 House Rules (2010)
 Sing You Home (2011)
 Leaving Time (2014)

Premios
 Galardón New England Book en la categoría de ficción por toda su carrera (2003)
 Alex de la Young Adult Library Services Association
 Lifetime Achievement de la Romance Writers of América.

Referencias

Libros relacionados
 Jewish Chronicle, 27 de abril de 2007 p. 50: "The Jodi Picoult mystery"

Enlaces externos

 Sitio  oficial de Jodi Picoult

Historietistas de Estados Unidos
Mujeres historietistas
Novelistas de Estados Unidos
Alumnado de la Universidad de Harvard
Longislandeses
Alumnado de la Universidad de Princeton

Jodi Picoult


Hampton est une ville américaine située dans le Comté de Dakota, dans le Minnesota. Selon le recensement de 2020, sa population est de .

Liens externes

Ville au Minnesota
Comté de Dakota (Minnesota)

Hampton (Minnesota)


Louis « Pitou » Boudreault est un violoneux québécois originaire de Chicoutimi (Saguenay-Lac-Saint-Jean), principalement actif dans les années 1970.

Biographie

Enfance et débuts
Né en 1905 dans une famille d'origine modeste du quartier ouest de Chicoutimi appelé Le Bassin, Louis « Pitou » Boudreault s'initie au violon dès l'âge de 11 ans, notamment en apprenant le répertoire et en observant le jeu de son père, Didace Boudreault, et de son grand-oncle, Thomas Vaillancourt. La musique traditionnelle est omniprésente dans sa famille durant toute son enfance à travers les veillées de danse et de musique organisées chez ses parents.

Louis Boudreault n'aurait pas reçu d'enseignement directement de la part de son père. Cependant, dès l'âge de quinze ans, celui-ci l'invite à l'accompagner pour aller jouer lors de noces. Ils le feront ensemble durant cinq ans, après quoi le jeune Boudreault décide d'arrêter les noces en raison de l'épuisement à jouer durant des heures et de la poussière qu'il respirait dans les veillées. En parallèle, il se voit offrir gratuitement des leçons de violon classique par l'abbé Constantin, directeur de l'orchestre du Séminaire de Chicoutimi, qui le remarque en l'entendant jouer du répertoire religieux lors d'une célébration locale. Toutefois, la rigueur technique de l'abbé et son hostilité face à la musique traditionnelle amènent Boudreault à abandonner les cours, ce qu'il dira plus tard regretter.

Âge adulte et ralentissement de la pratique

S'il cesse de se produire dans les noces, Boudreault continue de jouer lors de veillées d'amis et en famille. Au cours des années 1920, il commence une carrière de menuisier, qu'il poursuivra jusqu'à sa retraite. Dans les années 1930, il se marie avec Émilie Laberge et s'installe dans son quartier natal pour élever ses enfants.

Sur le plan musical, Louis Boudreault est exposé à de nouvelles influences durant l'âge adulte. Parmi celles-ci, l'arrivée du phonographe, qui lui permet de découvrir le style et le répertoire de plusieurs violoneux de l'époque, et particulièrement de Bernard Morin et Joseph Allard. De plus, l'arrivée de nouvelles danses américaines et le goût des jeunes pour un répertoire plus moderne, comme le Charleston et ensuite le Rock'n'roll, l'amènent à ralentir sa pratique. À partir de là, il joue surtout du violon dans des contextes privés. Il se met aussi à la lutherie vers la fin des années 1950.

Découverte et carrière internationale
En 1971, il assiste à un concours de violoneux comme spectateur. Artistes invités, Philippe Bruneau et Gilles Losier l'encouragent à s'inscrire à la compétition, ce qu'il fait à contrecœur. Il termine avec le premier prix. Gilles Losier contacte alors le célèbre Festival folklorique Mariposa, en Ontario, où Boudreault se produira au moins six fois dans les années qui suivirent.

La découverte par le grand public du talent de Boudreault coïncide avec le mouvement du renouveau du Folk (Folk revival) au Québec. Il remarque alors l'intérêt de la jeune génération pour sa musique, notamment dans les cégeps et les universités, et devient rapidement l'un des musiciens traditionnels québécois les plus réputés. L'authenticité de son style contribue à le faire connaître au-delà des frontières québécoises, notamment à l'est du Canada et au nord-est des États-Unis. Durant les années 1970 et en plus de ses apparitions publiques, Boudreault enregistre un album pour la maison de disque Le Tamanoir dans le cadre de la série « Portrait du vieux Kébec » en plus de faire l'objet d'un documentaire du réalisateur André Gladu (Pitou Boudreault, violoneux).

Sa dernière tournée majeure se déroule aux États-Unis en 1977. Par la suite, l'engouement pour la musique traditionnelle au Québec diminue et l'intérêt pour sa musique s'amenuise. En même temps, Boudreault souffre de problèmes de santé qui l'empêchent de jouer autant qu'avant. Vers la fin de sa vie, il ne jouait plus en public. Il décède le 7 juillet 1988, à l'âge de 83 ans

Style et répertoire
Le style de Louis « Pitou » Boudreault se caractérise par l'usage d'accordages alternatifs et l'utilisation de cordes comme bourdons pour accompagner la mélodie. Les notes de ses mélodies sont souvent détachées les unes des autres par l'archet, leur donnant ainsi une sonorité staccato. Ses fioritures sont en général faites par l'archet, la mélodie est dont peu altérée. Il fait cependant de nombreuses variations quant à la forme ou la métrique de ses pièces.

Son répertoire est en grande partie hérité de sa famille, dont son père Didace Boudreault et son oncle, Thomas Vaillancourt, mais une partie significative provient aussi du violoneux Xavier Dallaire, originaire de Tadoussac. D'autres pièces sont des compositions personnelles ou encore proviennent d'enregistrements commerciaux de l'époque.

Le style et le répertoire de Louis « Pitou » Boudreault a notamment fait l'objet d'un mémoire de maîtrise par la violoneuse et chercheuse Lisa Ornstein.

Compositions et adaptations

 Reel du pont flottant
 Reel à mon gibard
 Reel d'Alexis le trotteur
 Reel de la pêche aux capelans
 Reel du capitaine du 22e
 La traverse du Saguenay
 Sans titre. Deuxième pièce d'un medley

Répertoire musical de Xavier Dallaire

 La galope du père Xavier Dallaire
 Air de reel, appelé aussi le Grizzly
 Galope des bergeronnes
 Brandy de Xavier Dallaire
 Set carré
 Reel à Cédulie

Répertoire musical familial

 Brandy des Vaillancourt
 Le grand triomphe
 La cardeuse
 Gigue à Philibert
 Reel à neuf
 Gigue à Médée, ou Gigue à Tommy
 Gigue à Célina
 Gigue à ma marraine Alfréda
 Reel de ma grand-mère Odile Boudreault
 La pêcheuse
 Cotillon américain
 Gigue à ma grand-mère Boudreault
 Le batteux, reel de mon père Didace Boudreault
 La petteuse, ou Le bobelo, ou Reel des enfants
 Casse-reel à mon père Didace Boudreault

Discographie

33 tours

 Portrait du Vieux Kébec, Saguenay-Lac-Saint-Jean - Louis « Pitou » Boudreault, violoneux, Le Tamanoir TAM-512, 1974
 Portrait du Vieux Kébec, Saguenay-Lac-Saint-Jean - Louis « Pitou » Boudreault, violoneux, Volume 2, Le Tamanoir OP-219-A YC, 1974
 Les Sets Carrés du Québec, Le Tamanoir TAM-27023
 Les Reels du Québec, Le Tamanoir TAM 27025, 1979
 Louis Boudreault : Old Time Fiddler from Chicoutimi, Quebec, Voyager VRLP-322-5, 1977
 Saguenay-Lac-Saint-Jean, région 02, Géographie sonore du Québec PAT 2000, 1982

Disques compacts

 Les Quadrilles, Sets Carrés, Le Tamanoir MTCD-1801-2, 1989
 Louis Boudreault, Musique traditionnelle du Québec, Le Tamanoir B01KAPFR7U, 1989
 Par ici la visite !, Société Radio-Canada SRCCD2411, 2014

Filmographie

 Pitou Boudreault, Violoneux. La série Le son des Français d'Amérique, réal. Michel Brault et André Gladu, 1975
 La veillée des veillées, réal. Bernard Gosselin
 Le reel du pendu, réal. André Gladu

Notes et références

Voir aussi

Articles connexes
 Musique traditionnelle
 Joseph Allard (violoniste)
 Liste de musiciens et ensembles de musique traditionnelle québécoise

Liens externes
 La veillée des veillées, sur le site de l'ONF
Pitou, violoneux du Québec, sur le site de l'Institut national de l'Audiovisuel (France)

Violoneux canadien
Naissance en juillet 1905
Décès en juillet 1988
Naissance à Chicoutimi

Louis Boudreault (violoneux)


An Melica stricta in uska species han Liliopsida nga ginhulagway ni Henry Nicholas Bolander. An Melica stricta in nahilalakip ha genus nga Melica, ngan familia nga Poaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Mga sumpay ha gawas

Melica

Melica stricta


Ihlamur (Tilia), Malvaceae (ebegümecigiller) familyasına bağlı, Kuzey Yarımküre'nin ılıman ve yarı tropik bölgelerinde yetişen ağaç cinsidir.

Morfolojik özellikleri
30'a yakın farklı türü bulunur ve boyları  yüksekliğe varır. Yaprakları kalp biçiminde, genel olarak asimetrik ve 'dir.

Çiçekleri hermafroditik yapıya sahip olduğundan hem dişi hem de erkeği böcekler tarafından polenlenebilir.

Odunları hafif, yumuşak, az parçalı, yoğunluğu 560 kg/m3 olduğundan kereste işlemleri için elverişlidir.

Ekolojik özellikleri
Serin, verimli, kireçli toprakları severler. Tabansuyu yüksek, bol humuslu kumlu topraklarda yetiştiği gibi az derin ve kireçli topraklarda da yetişir. Genellikle kayınların toprak isteklerinin andırırlar. Hızlı büyürler. Sürgün verme özellikleri vardır. Gölgeye dayanırlar.

Türkiye'de çoğunlukla Karadeniz, Ege, Marmara Bölgesi ve Antalya çevresinde yetişmekte olup ılıman iklimleri sevmektedir. Bu ağacın üretimi çoğunlukla tohum ile yapılmaktadır.

Tarihçe
Orta Avrupa'da eskiden birçok köyde ıhlamur vardı. Merkezde bulunur buluşma noktası olarak kullanılırdı. Ayrıca burada haber alış verişinde bulunulur, gelinler kendilerini gösterirlerdi. Mayıs başında dans festivalleri bu ağacın altında düzenlenirdi. Bunlarla beraber köy mahkemeleri genelde yine burada kurulurdu. Bu yüzden ıhlamur, mahkeme ağacı ya da mahkeme ıhlamuru olarak da bilinir. Germen ve Slav halklarında ıhlamur kutsal bir ağaçtır.

1000 yaşına kadar yaşayabilen ıhlamurlar görülmüştür. Türkiye'de de 500 yaşını geçmiş çok sayıda ıhlamur ağacı vardır.

Kullanımı
Kokulu çiçeklerinden dolayı gölge ağacı olarak yetiştirilir. Çiçekleri kurutularak çay olarak tüketilmektedir. Çiçek verdiği dönemlerde, güneşli bir zamanda çiçeklerinin toplanması, çiçeklenmesini artırır. Doğramacılıkta kıymetli olan beyaz ve hafif bir odun verir. Hava kurusu ağırlığı 0,40 gr/cm³'tür. Ihlamur kabuğundaki lifler ip ve kaba dokumalarda kullanılır. Arıcılıkta da önemli bir nektar kaynağıdır. Çiçekleri çay olarak içilir. Çiçek durumları tıbbi olarak kullanılır. Ihlamur çiçeği yatıştırıcı, idrar verici ve balgam söktürücü olarak çay halinde kullanılır. Ihlamur çiçeği banyosunun da yatıştırıcı bir özelliği vardır. Oymacılık ve mobilyacılıkta, oyuncak sanayinde, müzik aletleri yapımında, kâğıt ve kibrit üretiminde kullanılırlar.Tıbbi olarak T.rubra , T.platyphyllos , T.cordata  türleri kullanılır.

Taksonomi
 Gümüş ıhlamur(Tilia tomentosa)
 Küçük yapraklı ıhlamur (Tilia cordata)
 Büyük yapraklı ıhlamur(Tilia platyphyllos)
 Tilia dasystyla
 Tilia americana
 Tilia amurensis, talkımlar 3–5 cm, yaprak ayasının ucu genellikle loplu değildir Kısır veya körleşmiş stamenler bulunur, meyve yumurtamsı.Çin, Kore ve Rusya
Tilia begoniifolia
Tilia callidonta
Tilia chinensis, yaprak kenarı dişli 1,5 mm az, yan damarlar 7-9 çiftli; meyve yumurtamsı-küre; talkımlar 1-3 çiçekli; taç yapraklar 8–9 mm. Çin
Tilia chingiana, yaprak geniş yumurtamsı; yaprak alt yüzündeki damar birleşimleri tüylü. Çin
Tilia endochrysea, meyve dış kabuğu kayış gibi, kuruduğunda açılır.
Tilia henryana, yaprak yarı dairesel; yaprak kenarı dişli 3–5 mm; yapraklar ve dallar sarı yıldız keçemsi tüylü; brakteler 7-10 × 1-1,3 cm. Çin
Tilia insularis
Tilia japonica, yaprak dairemsi; kuruduğunda kahverengi; meyve yumurtamsı; çanak yaprakların alt yüze seyrek yıldız tüylü; çiçek sapı 5–8 mm; brakteler 3,5-6 cmm. Çin ve Japonya
Tilia jiaodongensis, yumurtalık tüysüz; talkımlar (20-)40-100 çiçekli; İkinci derece brakteli. Çin
Tilia kiusiana
Tilia kueichouensis
Tilia likiangensis, yaprak sapı yıldız tüylü; yaprak kenarı küçük testere dişli; dallar tüysüz; brakteler 6–9 cm.Çin
Tilia mandshurica
Tilia maximowicziana
Tilia membranacea, yaprak yarı zarımsı; yaprak alt yüzü tüysüz veya damar birleşim yerleri tüylü. Çin
Tilia miqueliana, talkımlar 3-12 çiçekli; yaprak tabanı simetrik yürek biçiminde. Çin ve Japonya
Tilia mongolica, talkımlar 5-8 cmm; yaprak ucu genellikle üç loplu; taç yaprağımsı kısır ve körleşmiş stamenler bulunur; meyve ters yumurtamsı. Çin
Tilia nasczokinii
Tilia nobilis
Tilia oliveri
Tilia paucicostata, yaprak yumurtamsı veya yumurtamsı-üçgen biçiminde; kuruduğunda yeşilimsi; meyve ters yumurtamsı; çanak yaprakların alt yüzü tüysüz; çiçek sapı 10–15 mm; brakteler 5-8,5 cm. Çin
Tilia sabetii
Tilia stellatopilosa
Tilia taishanensis
Tilia tuan, yaprak kenarı tam veya yaprak ucuna yakın kısmı az dişli; dallar tüylü; brakteler 12–16 cm; talkımlar 3-22 çiçekli; yaprak tabanı genellikle eğik. Çin

Melezler
 Tilia × moltkei (Tilia americana × T. petiolaris)
 Tilia × europaea (T. cordata × T. platyphyllos)
 Tilia × flavescens (T. americana × T. cordata)
 Tilia × euchlora (T. cordata × T. dasystyla)
 Tilia × petiolaris (T. tomentosa × T. ?)

Galeri

Dış bağlantılar

Kaynakça
Genel
Yaltırık, F., 1992. Dendoloji II, Angiospermae (Kapalıtohumlular), 256s, İstanbul
https://global.britannica.com/plant/linden-plant, Ana britancica ıhlamur maddesi
http://www.efloras.org/florataxon.aspx?flora_id=2&taxon_id=133008 , Çin florası (Flora of China)
http://www.efloras.org/florataxon.aspx?flora_id=1&taxon_id=133008 , Kuzey Amerika florası (Flora of North America)

Özel

Ağaçlar
Yunancadan Türkçeye geçen sözcükler
Carl Linnaeus tarafından adlandırılmış taksonlar
Orman Ağaçları

Ihlamur


Aebtissinwisch er en by og en kommune i det nordlige Tyskland, beliggende i Amt Wilstermarsch i den sydvestlige del af Kreis Steinburg. Kreis Steinburg ligger i den sydvestlige del af delstaten Slesvig-Holsten.

Geografi
Kommunen ligger i den nordvestlige del af Kreis Steinburg, og grænser til Kreis Dithmarschen der ligger mod vest, på den anden side af Kielerkanalen. Vandløbet Wilsterau løber gennem kommunen.

Eksterne kilder/henvisninger

 Kommunens side på amtets websted
 Statistikamt Nord – Bevölkerung der Gemeinden in Schleswig-Holstein 4. Quartal 2014 (XLSX-Data) (Fortschreibung auf Basis des Zensus 2011)

Byer i Slesvig-Holsten
Byer i Kreis Steinburg

Aebtissinwisch


Charles Erskine peut faire référence à :

  (1650–1689), noble écossais
 Charles Erskine, Lord Tinwald (1680–1763), juge écossais, Lord Advocate, MP de Dumfriesshire 1722–41 et de Tain Burghs 1734–42
 Charles Erskine, son fils, avocat écossais, MP d'Ayr Burghs
 Charles Erskine (1739–1811), diplomate papal italo-écossais et cardinal
 Sir Charles Erskine, 1er Baronet d'Alva (1643–1690), homme politique écossais
 Charles Erskine, marin américain et auteur de Twenty Years Before the Mast, Boston, 1890.

Charles Erskine


An Restio festuciformis in uska species han Liliopsida nga ginhulagway ni Christian Gottfried Daniel Nees von Esenbeck ngan Maxwell Tylden Masters. An Restio festuciformis in nahilalakip ha genus nga Restio, ngan familia nga Restionaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Restio

Restio festuciformis


Love and Other Demons (El amor y otros demonios) es una ópera en dos actos con música de Péter Eötvös y libreto del autor húngaro Kornél Hamvai. Se estrenó el 10 de agosto de 2008 en el Festival de Glyndebourne. El libreto se basa en la novela Del amor y otros demonios (1994) de Gabriel García Márquez. La ópera es el resultado de un encargo de Glyndebourne y la BBC; se retransmitió plenamente en BBC Radio 3 el sábado, 11 de octubre de 2008.

En las estadísticas de Operabase aparece con seis representaciones en el período 2005-2010, siendo la más representada de Péter Eötvös.

Personajes

En Glyndebourne, la representación duró 3 horas y 50 minutos, incluyendo un intervalo de 1 hora y 20 minutos. La puesta en escena es una coproducción con el Teatro de Ballet y Ópera Nacional de Lituania.

Referencias

Enlaces externos

Página web de Glyndebourne – amplios antecedentes
Schott Music – Antecedentes y vídeos

Óperas de Peter Eötvös
Óperas en varios idiomas
Óperas de 2008
Composiciones de música clásica de Hungría
Música de Hungría del siglo XXI
Óperas estrenadas en Glyndebourne

Love and Other Demons


The People's Justice Party (PJP) was a political party in the United Kingdom from 1998 to 2006. It began in 1998 growing out of a protest movement Justice for Kashmir, which first gave rise to the Justice Party and then the People's Justice Party.

The PJP was centered in Birmingham, where it took City Council seats from the long-dominant Labour Party, drawing its support from Birmingham's Kashmiri population; there were some 90,000 residents of Azad Kashmiri descent in Birmingham in this period.

History
The Party originated in a Free Riaz and Quayyam Campaign to obtain the release of two Kashmiri militants (Mohammed Riaz and Quayyam Raja) belonging to the Jammu and Kashmir Liberation Front. The two were imprisoned in 1984 for their role in the kidnapping and killing of Indian diplomat Ravindra Mhatre in Birmingham. The group was renamed Justice for Kashmir, then renamed People's Justice Party.

On 18 November 2001, the PJP worked with Stop the War Coalition and the loosely organized Islamic Network UK to turn out a large crowd for a rally opposing military response to the 11 September attacks. Success peaked in the 2001 United Kingdom general election, when PJP garnered 13% of the votes in the neighborhoods of Small Heath and Sparkbrook, and held 5 seats on the Birmingham city council.

In July 2002 the PJP suffered a heavy setback when a leading member, Khalid Mahmood (no relationship to MP for Perry Barr, Khalid Mahmood,) left to join the Labour Party. In 2003 the PJP ran as a "single-issue" party demanding that the British government pressure India in support of Muslims in Kashmir.

The party platform was based on an appeal for votes on two fronts: local and international. It promised single-sex schools, changes to housing grants, and improved street lighting beside commitments to campaign for self-determination for Kashmir, the formation of a Palestinian state.

In 2002 the PJP City Council member Mohammed Nazam was accused of taking part in a rowdy demonstration in which eggs were thrown at the visiting Pakistani High Commissioner.

In the wake of the 7 July 2005 London bombings, PJP treasurer Asrar Ahmad complained to the press that "Muslim people" were being blamed for the attacks without "proof."

The PJP was also active in the anti-war activity at the time of the American-led campaign against the Taliban regime in Afghanistan.

The PJP in the Birmingham City Council was led by Shaukat Ali Khan. Ali Khan had earlier been a member of the Labour Party, as had other PJP members. These ex-Labour members formed PJP in response to what they felt was a failure by the Labour government in the UK to deal adequately with ongoing Indian and Pakistani tensions concerning Kashmir, and what they perceived as a failure to improve the lives of the Kashmiri population in Birmingham.

Some people criticised the party for being focused on only one ethnic group to the exclusion of others, although the PJP itself admitted that at least half their votes come from the Birmingham Kashmiri population, it claimed to be a secular organisation.

The PJP lost all of its seats in the 2004 Birmingham City Council election, but following the finding of postal vote fraud in Aston and Bordesley Green, by-elections were held in both the wards in July 2005 with the PJP seeing two of its three candidates—Shaukat Ali Khan and Mohammed Saeed—elected in Bordesley Green.

The party was dissolved in March 2006, with many of its members, including both Councillors, joining the Liberal Democrats. The PJP group leader Shaukat Ali Khan said talks about disbanding the party began when members worked closely with the Liberal Democrats to expose New Labour's postal vote fraud in Aston and Bordesley Green.

The founder members were Allah Ditta, Raja Skintaj and Rajasab Ali of Azad Kashmir.

The idea of a new party that appealed to the foreign policy concerns of Muslim voters was replicated by the Respect Party, founded in 2004.

See also
 Azad Kashmiri diaspora
 Kashmir conflict

References

External links
Council Lib Dems joined by PJP pair News announcing the disbanding of the People's Justice Party and its joining the Liberal Democrats; 13 March 2006

Islamic organisations based in the United Kingdom
Political parties established in 1998
Political parties disestablished in 2006
Defunct political parties in the United Kingdom
Pakistani diaspora in the United Kingdom
1998 establishments in the United Kingdom
2006 disestablishments in the United Kingdom

People's Justice Party (UK)