Joseph Rolando Benavidez (født 31 juli 1984 i San Antonio, Texas i USA) er en amerikansk MMA-udøver. Efter at have kæmpet på mindre stævner, mens han arbejdede med seriegrafi  i Las Cruces, New Mexico, sluttede han sig til Urijah Faber's Team Alpha Male i 2007. Siden da har han kæmpet i Dream og mere for nylig World Extreme Cagefighting. Han kæmper i øjeblikket som fluevægter i Ultimate Fighting Championship. Hans kampstil har draget sammenligninger til træningspartner og tidligere WEC fjervægtmester Urijah Faber. I september, 2018, er han #3 på den officielle UFC fluevægt-rangliste og rangeret #2 fluevægter i verden af Sherdog. Den 27. april 2010, erklærede borgmesteren og byrådet i Las Cruces, 27. aril, som Josef Benavidez Dag i Las Cruces.

Privatliv
Benavidez blev født i San Antonio, Texas i USA. Han er af mexicansk afstamning. Han gik på Las Cruces High School, hvor han begyndte at træne boksning. Men som 16-årig begyndte han at træne brydning. Joseph er gift med UFC-reporter Megan Olivi.

World Ekstreme Cagefighting
Benavidez  skrev kontrakt med amerikansk-baserede World Extreme Cagefighting i 2008. Den 3. december, 2008 kæmpede han mod Danny Martinez på WEC 37 og vandt ved enstemmig afgørelse.

Ultimate Fighting Championship
Den 28. otkober, 2010,  fusionerede World Extreme Cagefighting  med Ultimate Fighting Championship. Som en del af fusionen, blev alle WEC-kæmpere overført til UFC.

I sin UFC debut, mødte Benavidez  Ian Loveland den 19. ,arts, 2011 ved UFC 128. Han vandt kampen via enstemmig afgørelse.

Benavidez mødte Sergio Pettis den 9. juni, 2018 ved UFC 225. Han tabte en lige kamp via delt afgørelse.

Mesterskaber & resultater

Mixed martial arts

 Ultimate Fighting Championship
 Knockout of the Night (1 gang)
 Performance of the Night (1 gang)
 Verden Ekstrem Cagefighting
 Fight of the Night (1 gang)
 Submission of the Night (1 gang)
 Sherdog
 2010 All-Violence Second Team

Referencer

Eksterne henvisninger

MMA-udøvere fra USA

Joseph Benavidez


Die Harrach-Gruft zum Heiligen Kreuz (tschechisch Harrachovská hrobka sv. Kříže) befindet sich in Horní Branná, Okres Semily in Tschechien. Sie war bis 1945 Familiengrablege der Grafen Harrach zu Rohrau und Thannhausen auf Jilemnice/Starkenbach und wird heute als Trauer- und Konzerthalle genutzt.

Lage
Die Harrach-Gruft steht im Zentrum des Dorfes zwischen dem Schloss und der Kirche gegenüber dem Harrach-Spital an der Straße nach Jilemnice.

Bauwerk
Das außergewöhnliche eingeschossige und denkmalgeschützte Bauwerk besteht aus zwei übereinanderliegenden oktogonalen achsgleichen Prismen. Es weist Elemente der Neoromanik und orientalischer Bauten auf. Darunter befindet sich die mit schwarzem Marmor verkleidete Krypta mit den Särgen der Grafen Harrach zu Rohrau und Thannhausen, in der auf Tafeln in Goldschrift die Namen und Titel der Beigesetzten eingelassen wurden.

Geschichte
1840 ließ der Besitzer der Familienfideikommissherrschaft Jilemnice/Starkenbach, Franz Ernst Graf Harrach zu Rohrau und Thannhausen (1799–1884), gegenüber dem Spital den Grundstein für eine neue Familiengrablege legen. Nach 30-jähriger Bauzeit wurde die Gruft am 4. September 1870 geweiht. 1875 erfolgte die Umbettung der Särge aus der seit dem Ende des 17. Jahrhunderts als Grabkapelle genutzten Spitalkapelle St. Alois. 1884 erfolgte die Beisetzung des in Nizza verstorbenen Bauherren Franz Ernst Graf Harrach. Mit einem großen  Trauerzug an dem acht Fürsten und weitere Adlige aus dem Grafen- und Freiherrnstand sowie die Einwohnerschaft der gesamten Umgebung teilnahmen wurde sein Leichnam vom Schloss zur Gruft überführt.

Eine ebenso prunkvolle Trauerfeier erhielt 1909 Johann Nepomuk von Harrach, zu dieser reisten mit einem Sonderzug aus Prag der Prager Oberbürgermeister sowie weitere Persönlichkeiten des öffentlichen Lebens an.

Weblinks
 Harrachovská hrobka sv. Kříže
 Harrach-Gruft

Einzelnachweise

Mausoleum in Tschechien
Kulturdenkmal im Okres Semily
Bauwerk der Harrach
Sakralbau im Okres Semily
Erbaut in den 1870er Jahren
Bauwerk des Historismus in Tschechien
Oktogon
Heiliges Kreuz
Zentralbau in Tschechien
Grabbau in Europa

Harrach-Gruft zum Heiligen Kreuz


درغوث رئيس، أمير بحر عثماني تركي أو يوناني. كان أيضا باي الجزائر وجربة ، وبايلرباي البحر الأبيض المتوسط، وباي ثم باشا طرابلس. وُلد عام 1485م وتوفي في م.المعروف باسم «سيف الإسلام المسلول». امتدت القوة البحرية للدولة العثمانية تحت قيادته عبر شمال إفريقيا. معروف بحنكته العسكرية.

اسمه
اسمه في المصادر التركية طرغود، وفي المصادر العربية درغوث، وفي أخرى طرغول وفي التركية الحديثة تورغوت .

تاريخه
درغوث رئيس، هو أحد الفاتحين البحريين العثمانيين. ركب السفن منذ صباه، ودرب على الجهاد في البحر في الحوض الشرقي للبحر الأبيض المتوسط أولا، وارتقى درجات العمل البحري من نوتي حدث إلى نوتيّ ثم مدفعي ثم ربّان يقود سفينة واحدة ثم رئيس (أو رايس بالمصطلح المغربي) في البحر يقود مجموعة صغيرة من السفن الحربية الخفيفة السريعة المعدّة للهجومات الخاطفة على سفن العدو أو الغارات المدمّرة على السواحل.

وقدم كغيره من معاصريه مثل الأخوين المجاهدين عروج بربروس وخير الدين بربروس وسنان الازميري وصالح رايس إلى الحوض الغربي للبحر الأبيض المتوسط وقام بغارات في البحر الأدرياتيكي وغزا سواحل إيطاليا وصقلية، كما شارك مدة سنوات عدّة في الغزوات التي كان يشنّها خير الدين بربروس على سواحل إسبانيا لإنقاذ الأندلسيين المضطهدين ونقلهم إلى موانئ الجزائر وتونس، وعمل قائدا لقطعة من الأسطول النظامي العثماني (العمارة العثمانية) تحت إمرة خير الدين بربروس عندما عيّنه السلطان سليمان القانوني قبودان باشا أي قائدا أعلى للعمارة العثمانية، وعين قائدا أعلى للعمارة مدة سنتين فقط، وقلد في آخر حياته منصب باشا طرابلس الغرب.

معركة بروزة

معركة بروزة أو بريفيزا معركة وقعت في 4 جمادى الأولى 945 هـ الموافق 28 سبتمبر 1538 م في خليج أكتيوم الذي وقعت فيه معركة أكتيوم البحرية عام 31 ق.م. بالقرب من ميناء بريفيزا غربي اليونان، وانتصر فيها الأسطول العثماني على العصبة المقدسة (1538م) الصليبي الذي نظمه البابا بولس الثالث.

كانت معركة هائلة تحركت لها أوروبا استجابة لنداء البابا في روما، فتكونت حملة صليبية من أسطول مكون من أكثر من 600 قطعة بحرية. منها 302 سفينة حربية كبيرة تحمل نحو ستين ألف جندي من إسبانيا والنمسا والبندقية، ويقوده قائد بحري من أعظم قادة البحر في أوروبا هو أندريا دوريا من جنوة. أما القوات العثمانية فتكونت من 122 سفينة تحمل عشرين ألف جندي.

في عام 1539، قاد درغوث ريس 36 سفينة حربية، واستعاد كاستلنوفو من البندقية، الذين استعادوا المدينة من العثمانيين. أثناء القتال، أغرق سفينتين وأسر ثلاثة آخرين. في عام 1539، أثناء رسوه في كورفو، واجه 12 قادسًا من البندقية تحت قيادة فرانشيسكو باسكواليغو واستولى على القادس في قناة أنطونيو دا. رسى في وقت لاحق في جزيرة كريت وقاتل ضد قوات سلاح فرسان البندقية تحت قيادة أنطونيو كالبو.

حاكم جربة
في وقت لاحق عام 1539، عندما عين سليمان القانوني سنان باشا، والي جربة، قائدًا عامًا جديد لأسطول البحر الأحمر العثماني ومقره في السويس، عُين تورغوت ريس خلفًا له وأصبح والي جربة.

اشترك سنان باشا وتورغوت ريس في عدة حملات بحرية في البحر الأبيض المتوسط وخاصة على سواحل إيطاليا وشمال أفريقيا. لم يكن سنان باشا خبيرا في الأمور البحرية بقدر ما كان تورغوت ريس الذي كان أكثر شعبية بين أمراء البحر قادة البحرية، وهذا قد سبب تبايناً بينهماً.

في حادثة تمت بعد فتح طرابلس عام 1551م، ترك الأسطول العثماني بكامله سنان باشا على الشاطئ واتبع تورغوت ريس إلى البحر التيراني معلنين أنهم لن يقبلوا سوى تورغوت ريس قائدا لهم، إلا أن تورغوت ريس اعتبر هذا تمرداً وخيانة وأمرهم بالعودة.

انزعج السلطان سليمان القانوني من هذا الموقف ولكنه دعم تورغوت ريس نظرا لمواهبه البحرية، فأمر سنان باشا بقوله «نفذ أيا ما يقوله تورغوت».

معظم البحارة العثمانيين في ذلك الوقت كانوا يعتقدون أن تورغوت ريس أحق بمنصب سنان باشا.

بايلرباي الجزائر

سنجق بك طرابلس

بايلرباي المتوسط

باشا طرابلس

في مارس 1556، عُين تورغوت ريس باشا في طرابلس. هناك، عزز جدران القلعة المحيطة بالمدينة وبنى معقل البارود (دار البارود). كما عزز دفاعات الميناء وبنى قلعة تورغت (درغوث) بدلاً من قلعة San Pietro القديمة. في يوليو 1556 أبحر مرة أخرى وهبط في كيب سانتا ماريا في جزيرة لامبيدوسا، حيث استولى على سفينة بندقية التي كانت تنقل الذخيرة والأسلحة للدفاع عن مالطا. رسى لاحقًا في ليغوريا واستولى على برجيجي وسان لورينزو. في ديسمبر 1556 استولى على قفصة في تونس وأضافها إلى أراضيه.

في صيف عام 1557، غادر مضيق البوسفور بأسطول مكون من 60 سفينة، ووصل إلى خليج تارانتو، ورسى في كالابريا وهاجم كارياتي، واستولى على المدينة. رسى لاحقًا في موانئ بوليا.

اشتغل درغوث في أخريات حياته بالسهر على شؤون إيالة طرابلس وإعادة الاطمئنان إلى نفوس أهاليها دون إهمال الغزو في البحر. وأهمّ واقعة خاضها في تلك الفترة هي التي دمّر فيها كامل أسطول صقلية قرب جزر ليباري في سنة 968هـ / 1561م.

معركة جربة

منذ هزيمة معركة بروزة عام 1538 م ضد الأسطول العثماني بقيادة خير الدين بربروس والبعثة الخائبة على الجزائر التي قادها الإمبراطور شارل الخامس عام 1541 م، شعرت القوى البحرية الأوروبية الكبرى في البحر الأبيض المتوسط، وهي إسبانيا وجمهورية البندقية، بأنها مهددة بشكل متزايد من قبل العثمانيين والمجاهدين البحريين الشمال أفريقيين. وتفاقم هذا الخطر عندما استولى بيالي باشا على جزر البليار عام 1558 م وقام بمعية درغوث باشا بغارات على السواحل المتوسطية الإسبانية. قرر الملك الإسباني فيليب الثاني الرد على ذلك، فدعا البابا بولس الرابع وحلفاءه الأوروبيين لاستعادة مدينة طرابلس، التي كانت بحوزة فرسان القديس يوحنا حتى أغسطس 1551 م، عندما استولى عليها درغوث باشا، وهو الإنجاز الذي جعل السلطان العثماني سليمان القانوني يمنحه لقب باي طرابلس.

حُسمت معركة جربة في غضون ساعات، حيث كان حوالي نصف القوادس المسيحية قد قُبض عليها أو قد غرقت. يبلغ العدد الإجمالي للخسائر المسيحية 18.000 حسب أندرسون، في حين يبلغ هذا العدد حسب غيلمارتن نحو 9.000، حيث أن حوالي الثلثين منهم كانوا من المجدفين.

التجأ الجنود الناجون إلى الحصن، الذي كان قد اكتمل بناؤه قبل بضعة أيام. وسرعان ما تعرض هؤلاء لهجوم من قبل القوات المشتركة لبيالي باشا ودرغوث باشا (الذي كان قد انضم لبيالي باشا في اليوم الثالث)، غير أن ذلك لم يكن قبل أن يتمكن جيوفاني أندريا دوريا من الفرار في زورق صغير. بعد حصار دام ثلاثة أشهر، استسلمت الحامية، وحمل بيالي باشا، حسب المؤرخ بوسيو، حوالي 5.000 سجينًا إلى القسطنطينية، بمن فيهم القائد الإسباني ألفارو دي ساندي، الذي كان قد تولى قيادة القوات المسيحية بعد فرار دوريا. لا يمكن التعرف على ظروف الأيام الأخيرة للحامية المحاصَرة، ذلك أن جل المعلومات متناقضة. يروي أوجييه غيسلان دي بوسباك، السفير النمساوي إلى القسطنطينية، في كتابه رسائل تركية ، معترفًا بعدم جدوى المقاومة المسلحة، أن دي ساندي حاول الفرار في زورق صغير، ولكن سرعان ما تم القبض عليه. في روايات أخرى، كرواية بروديل، قاد دي ساندي محاولة فرار في ، غير أنه تم القبض عليه ومن معه. تم الإفراج عن دي ساندي بعد بضع سنوات، بفضل جهود وساطة دي بوسباك. حارب بعد ذلك دي ساندي ضد العثمانيين في حصار مالطة عام 1565 م.

أقام درغوث باشا برجًا من الجماجم بلغ ارتفاعه 3 أمتار، عرف باسم برج الجماجم أو برج الرؤوس، تذكارًا للمعركة. دُمر هذا البرج عام 1848 بأمر من باي تونس، أحمد باي الأول، بناء على طلب من وزير الشؤون الخارجية الإسبانية، وبني مكانه برج من الحجر.

عمليات الإنزال والحصار في البحر المتوسط

حصار مالطا والوفاة

وفي سنة 973هـ / 1565م، قرر السلطان سليمان القانوني تنظيم حملة بحرية وبرّية ضخمة للقضاء على «فرسان يوحنا المقدسي» بمالطة، أولئك الرهبان الصليبييّن الذين طردهم من رودس في بداية عهده منذ أكثر من أربعين سنة فاستقروا في جزيرة مالطة واتّخذوها قاعدة لمواصلة مكافحة المسلمين برّا وبحرا بحماسة صليبية لم تُفتر.

أبحرت العمارة العثمانية في مائة وثمانين سفينة بقيادة بيالي باشا حاملة جيشا يتألّف من ثلاثين ألف جندي بقيادة مصطفى باشا. ونزل الجيش العثماني واحتلّ الجزيرة وحاصر قلاعها التي تحصن فيها فرسان مالطة. بدأ الحصار يوم 18 مايو وانتهى يوم 7 سبتمبر 1565م بانسحاب الجيش والأسطول العثمانيين دون أن يستطيعا اقتحام جميع الحصون التي تتركب منها القلعة.

التحق درغوث باشا بالجيش العثماني المحاصر لمالطة في أوائل شهر يونيو 1565م، قادما من طرابلس ومعه ثمانية وعشرون غرابا وثلاثة آلاف جندي. وعند وصوله لاحظ أنّ القائد الأعلى للجيش مصطفى باشا ارتكب هفوة كبيرة وهي عدم احتلاله للمرتفعات التي تحيط بالقلعة مع تركيز جهوده على أحد حصون القلعة وهو حصن سان إلمو ولم يكن في وسعه معالجة هفوة مصطفى باشا فتقدّم وأخذ على عاتقه تسيير حصار الحصن معتمدا، كعادته، اعتمادا كبيرا على المدفعية والجنود المتخصّصين في وضع الألغام. وشدّد محاصرة الحصن، وهيأ جنوده لاقتحامه وكان دائما في مقدمتهم، فأصابته شظية في رأسه. وحُمل جثمانه إلى طرابلس حيث دفن.

انظر أيضا

 قائمة أمراء البحر العثمانيين.
 لوحة موت درغوث

مراجع

الجزائر في القرن 16
إسبانيا في القرن 16
إيطاليا في القرن 16
تونس في القرن 16
مالطا في القرن 16
مدينة الجزائر في القرن 16
المعارك البحرية للحرب العثمانية - البندقية
أشخاص من بودروم
أفراد عسكريون عثمانيون في القرن 16
أميرالات عثمانيون
باشاوات
تاريخ الدولة العثمانية العسكري
تاريخ العثمانيين البحري
تاريخ فرنسا العسكري
تونس العثمانية
حرب بحرية
حكام طرابلس
سياسيو الدولة العثمانية
ضباط العسكرية العثمانية
عبيد عثمانيون
عبيد يونانيون في الدولة العثمانية
عثمانيون مسلمون سنة
عثمانيون من أصل يوناني
عسكريون عثمانيون قتلوا في عمليات قتالية
قادة عسكريون
قراصنة مفوضون
ليبيا في العهد العثماني
مواليد 1485
مواليد في بودروم
وفيات 1565
وفيات 972 هـ
وفيات في جزيرة مالطا
وفيات متعلقة بالحرب
ولاة عثمانيون

درغوث رئيس


Barbara Schöneberger (født 5. marts 1974) er en tysk skuespiller, sanger og TV-vært.

Schöneberger er det eneste barn af klarinetspiller Hans Schöneberger og hans kone Annemarie. Hun studerede sociologi, kunsthistorie og kommunikationsstudier i Augsburg. Hun bor i Berlin med sin anden mand Maximilian von Schierstädt og har en søn og en datter.

Referencer

Eksterne henvisninger

Singer-songwritere fra Tyskland
Personer fra München

Barbara Schöneberger


Saul Bellow (10 Haziran, 1915 – 5 Nisan, 2005), Kanada doğumlu Yahudi asıllı Amerikalı yazardır. Edebiyat alanında Nobel Ödülü'nü 1976 yılında ve Ulusal Sanat Madalya'sını 1988 yılında kazanmıştır .

Yalnızlığı, ruhsal şaşkınlığı ve insan bilincinin olanaklarını inceleyen romanları ile tanınır. Paris'te Guggenheim Fellowship'te iken, en çok bilinen The Adventures of Augie March romanının büyük kısmını yazmıştır.

Biyografi

Erken Dönem
Saul Bellow, ebeveynleri Lescha (kızlık soyadı Gordin) ve Abraham Bellows'un Rusya'nın Saint Petersburg kentinden göç etmelerinden iki yıl sonra, Quebec, Lachine'de Solomon Bellows olarak doğdu. Üç büyük kardeşi vardı - kız kardeşi Zelda (daha sonra Jane, 1907'de doğdu), Moishe kardeşler (daha sonra Maurice, 1908'de doğdu) ve Schmuel (daha sonra Samuel, 1911'de doğdu). Bellow'un ailesi Litvanyalı-Yahudiydi; babası Vilnius'ta doğdu. Bellow, Temmuz'da doğmuş olsa da doğum gününü Haziran'da kutladı (Yahudi cemaatinde, her zaman Gregoryen takvimiyle örtüşmeyen İbranice doğum tarihini kaydetmek gelenekseldi). Ailesinin göçüyle ilgili olarak Bellow şunları yazdı:

Geriye dönük bakış, ailem sayesinde bende güçlüydü. İkisi de düşüyorlar, düşüyorlar fikriyle doluydu. Onlar Saint Petersburg'da müreffeh kozmopolitlerdi. Annem, aile kulübesi, ayrıcalıklı hayatı ve şimdi tüm bunların nasıl gittiği hakkında konuşmayı asla bırakamadı. Mutfakta çalışıyordu. Yemek yapmak, yıkanmak, onarmak... Rusya'da hizmetçiler vardı... Ama aşağılayıcı durumunuzdan bir tür acı ironi yardımıyla her zaman geçiş yapabilirsiniz.

Eğitimi ve Kariyerin İlk Yılları
Körük Chicago Üniversitesi'ne girdi ancak daha sonra Northwestern Üniversitesi'ne transfer oldu. Başlangıçta edebiyat okumak istedi, ancak İngilizce bölümünün Yahudi karşıtı olduğunu hissetti. Bunun yerine antropoloji ve sosyolojiden onur derecesiyle mezun oldu. Bellow'un antropoloji araştırmasının onun edebi tarzı üzerinde bir etkisi olduğu ve antropolojik referansların onun eserlerini zenginleştirdiği öne sürülmüştür. [kaynak belirtilmeli] Bellow daha sonra Wisconsin Üniversitesi'nde yüksek lisans çalışması yaptı.

John Podhoretz, Bellow'un yakın arkadaşı Allan Bloom'u (bkz. Ravelstein) tanımlamasını başka bir deyişle, hem Bellow hem de Bloom'un "geri kalanımızın havayı soluduğu şekilde kitap ve fikirleri soluduklarını" söyledi.

1930'larda, Bellow, Richard Wright ve Nelson Algren gibi geleceğin Chicago edebi armatürlerini içeren Works Progress Administration Writer's Project'in Chicago şubesinin bir parçasıydı. Yazarların çoğu radikaldi: ABD Komünist Partisi üyesi olmasalar da davaya sempati duyuyorlardı. Bellow bir Troçkistti, ancak daha fazla sayıda Stalinist eğilimli yazar nedeniyle onların alaylarına maruz kalmak zorunda kaldı.

Bellow, 1941'de silahlı kuvvetlere katılmaya çalışırken bir çocukken yasadışı yollardan Amerika Birleşik Devletleri'ne göç ettiğini öğrendikten sonra ABD vatandaşı oldu.1943'te Maxim Lieber onun edebi temsilcisiydi.

Dünya Savaşı sırasında, Körük ticaret denizine katıldı ve hizmeti sırasında, savaş için askere alınmayı bekleyen genç bir Chicago adamı hakkında ilk romanı Dangling Man'i (1944) tamamladı.

1946'dan 1948'e kadar Bellow, Minnesota Üniversitesi'nde ders verdi. 1947 sonbaharında, The Victim adlı romanını tanıtmak için yaptığı bir turun ardından, Minneapolis'in Prospect Park semtinde, 58 Orlin Street SE adresindeki eski büyük bir eve taşındı.

1948'de Bellow, Paris'e taşınmasına izin veren bir Guggenheim Bursu ile ödüllendirildi ve burada Augie March'ın Maceraları'nı (1953) yazmaya başladı. Eleştirmenler, Bellow'un pikaresk romanı ile 17. yüzyılın büyük İspanyol klasiği Don Kişot arasındaki benzerliğe dikkat çekti. Kitap, Amerikan edebiyatının en ünlü açılış paragraflarından biri ile başlar ve zekası ve azmi ile yaşadığı için, bir dizi kariyer ve karşılaşma yoluyla başlık karakterini takip eder. Günlük ama felsefi bir tarzda yazılan Augie March'ın Maceraları, Bellow'un önemli bir yazar olarak ününü sağladı.

1958'de Bellow bir kez daha Minnesota Üniversitesi'nde ders verdi. Bu süre zarfında, o ve eşi Sasha, Minnesota Üniversitesi Psikoloji Profesörü Paul Meehl'den psikanaliz aldı.

1961 bahar döneminde Río Piedras'taki Porto Riko Üniversitesi'nde yaratıcı yazarlık dersleri verdi. Öğrencilerinden biri, Bellow tarafından kurgu yazmaya teşvik edilen William Kennedy'ydi.

Chicago'ya dönüş ve kariyer ortası
Bellow yıllarca New York'ta yaşadı, ancak 1962'de Chicago Üniversitesi Sosyal Düşünce Komitesi'nde profesör olarak Chicago'ya döndü. Komitenin amacı, profesörlerin yetenekli lisansüstü öğrencilerle çok disiplinli bir öğrenme yaklaşımı üzerinde yakın bir şekilde çalışmasını sağlamaktı. Bellow, yakın arkadaşı filozof Allan Bloom ile birlikte 30 yıldan fazla bir süre komitede ders verdi.
Bellow'un üçüncü karısı Susan Glassman ile Hyde Park mahallesine taşındığı Chicago'ya dönmesinin başka nedenleri de vardı. Bellow, Chicago'yu bayağı ama hayati buluyordu ve Amerika'yı New York'tan daha fazla temsil ediyordu. Eski lise arkadaşlarıyla ve toplumun geniş bir kesimiyle iletişim halinde kalabiliyordu. 1982 tarihli bir profilde, Bellow'un mahallesi şehir merkezinde yüksek suç bölgesi olarak tanımlandı ve Bellow, yazar gibi bir yerde yaşamak ve "silahına bağlı kalmak" zorunda olduğunu iddia etti.

Bellow, 1964 yılında Herzog adlı romanıyla en çok satanlar listesine girdi. Bellow, arkadaşlarına, bilim adamlarına ve ölülere mektuplar yazan, ancak onları asla göndermeyen orta yaşlı ve sorunlu bir üniversite profesörü hakkında bu beyinsel romanın ticari başarısına şaşırdı. Bellow, 1975 tarihli Humboldt's Gift adlı romanında zihinsel istikrarsızlığı ve bunun dehayla ilişkisini keşfetmesine geri döndü. Bellow, merhum arkadaşı ve rakibi olan parlak ama kendi kendini yok eden şair Delmore Schwartz'ı romanın baş karakteri Von Humboldt Fleisher için model olarak kullandı. Bellow, Chicago'daki bir çalışma grubuna katıldığı için kitapta bir tema olarak Rudolf Steiner'in manevi bilimi olan antroposofiyi de kullandı. 1969'da Amerikan Sanat ve Bilim Akademisi üyeliğine seçildi.

Nobel Ödülü ve Sonraki Kariyeri
Humboldt'un Armağanı'nın başarısıyla hareket eden Bellow, 1976'da Nobel Edebiyat Ödülü'nü kazandı. Bellow, İsveç'in Stockholm kentinde bir dinleyici kitlesine verdiği 70 dakikalık konuşmada yazarları medeniyetin fenerleri olmaya ve onu entelektüel uyuşukluktan uyandırmaya çağırdı.

Ertesi yıl, Ulusal Beşeri Bilimler Vakfı, ABD federal hükûmetinin beşeri bilimlerdeki en yüksek onuru olan Jefferson Dersi için Bellow'u seçti. Bellow'un konuşmasının başlığı "Yazar ve Ülkesi Birbirine Bakar."

Aralık 1981'den Mart 1982'ye kadar Bellow, Victoria Üniversitesi'nde (M.Ö.) Misafir Lansdowne Akademisyeniydi ve ayrıca Yazar-in-Residence unvanına da sahipti. 1998'de Amerikan Felsefe Derneği'ne seçildi.

Körük, yaşamı boyunca, çoğunlukla yılda iki kez ziyaret ettiği Avrupa'ya çok seyahat etti. Bellow, genç bir adamken Leon Troçki ile tanışmak için Mexico City'ye gitti, ancak gurbetçi Rus devrimci, buluşmalarından bir gün önce suikaste uğradı. Bellow'un sosyal bağlantıları geniş ve çeşitliydi. Hiç yazmadığı bir dergi profili için Robert F. Kennedy ile birlikte çalıştı ve yazar Ralph Ellison ile yakın arkadaştı. Pek çok arkadaşı gazeteci Sydney J. Harris ve şair John Berryman'ı içeriyordu.

Bellow'un ilk birkaç romanının satışları mütevazı olsa da, Herzog ile bu durum tersine döndü. Bellow, insan etkileşiminin ve fikir alışverişinin tadını çıkararak yaşlılığına kadar öğretmeye devam etti. Yale Üniversitesi'nde, Minnesota Üniversitesi'nde, New York Üniversitesi'nde, Princeton Üniversitesi'nde, Porto Riko Üniversitesi'nde, Chicago Üniversitesi'nde, Bard Koleji'nde ve Boston Üniversitesi'nde ders verdi ve burada James Wood'la birlikte bir sınıfa ders verdi ("mütevazı bir şekilde devamsızlıkla" Günü Yakala'yı tartışmanın zamanı gelmişti). Bellow, Boston'daki randevusunu almak için 1993 yılında Chicago'dan Brookline, Massachusetts'e taşındı ve burada 5 Nisan 2005'te 89 yaşında öldü. Vermont, Brattleboro'daki Shir HeHarim Yahudi mezarlığına gömüldü.

Bellow, bol bol kitap okurken aynı zamanda keman çalıyor ve sporu takip ediyordu. Çalışmak onun için sabit bir şeydi, ancak zaman zaman romanlarında ağır ağır çalışarak yayın şirketini hayal kırıklığına uğrattı.

İlk çalışmaları ona 20. yüzyılın önemli bir romancısı olarak ün kazandırdı ve ölümüyle birlikte yaşayan en büyük romancılardan biri olarak kabul edildi. Tüm ödül kategorilerinde üç Ulusal Kitap Ödülü kazanan ilk yazardı. Arkadaşı ve himayesindeki Philip Roth onun hakkında "20. yüzyıl Amerikan edebiyatının omurgasını iki romancı-William Faulkner ve Saul Bellow sağladı. Onlar birlikte 20. yüzyılın Melville, Hawthorne ve Twain'i" dedi. James Wood, Bellow'un The New Republic'teki bir övgüsünde şunları yazdı:

Tüm modern nesirleri onunkine göre değerlendirdim. Kesinlikle haksızlık, çünkü hızlı ayaklıları -Updike'leri, DeLillo'ları, Roth'ları- tek ayaklı gibi gösteriyordu. Yine de başka ne yapabilirdim? Saul Bellow'un düzyazısını ergenlik çağımın sonlarında keşfettim ve bundan böyle ilişki, hakkında sessiz kalınamayacak bir aşk ilişkisi niteliğine sahipti. Geçen hafta boyunca, Bellow'un düzyazısı hakkında çok şey söylendi ve övgülerin çoğu -belki de ezici çoğunlukla erkekler tarafından yapıldığı için- sağlam olana yöneldi: Bellow'un yüksek ve alçak perdeleri karıştırdığını, jivey Yidiş ritimleri, büyük romanların büyük demokrasisi, dolandırıcılar ve sahtekarlar ve kurgunun parlak algısını yüksek sesle seslendiren entelektüeller. Bütün bunlar yeterince doğru; John Cheever, günlüklerinde, Bellow'un kurgusunun yanı sıra, hikâyelerinin sadece banliyö kıymıkları gibi göründüğünden yakındı. Ian McEwan, geçen hafta akıllıca bir şekilde, İngiliz yazar ve eleştirmenlerin Bellow'a, tam da şu anda İngiliz romanında bulunmayan Dickensvari bir genliği canlı tuttuğu için çekmiş olabileceğini öne sürdü. ... Ama kimse bu yazının güzelliğinden, müziğinden, yüksek lirizminden, dildeki sağlam ama lüks zevkinden bahsetmedi. ... [I]n doğrusu, ona hayattayken ne kadar teşekkür etsem azdır, şimdi de edemem.

Bibliyografya

Kurgu
 Dangling Man (1944)
 The Victim (1947)
 The Adventures of Augie March (1953)
 Seize the Day (1956)
 Henderson the Rain King (1959)
 Herzog (1964)
 Mosby's Memoirs (kısa hikâyeler ayrıca Collected Stories kitabında yer alır) (1968)
 Mr. Sammler's Planet (1970)
 Humboldt's Gift (1975), 1976 Pulitzer Ödülü'nü (kurgu dalında) kazandı.
 The Dean's December (1982)
 Him with His Foot in His Mouth (kısa hikâyeler ayrıca Collected Stories kitabında yer alır) (1984)
 More Die of Heartbreak(1987)
 A Theft (1989)
 The Bellarosa Connection (1989)
 Something to Remember Me By: Three Tales (A Theft ve The Bellarosa Connection hikâyeleri) (1991)
 The Actual (1997)
 Ravelstein (2000)
 Collected Stories (2001)

Denemeler
 To Jerusalem and Back (1976)
 It All Adds Up (1994)

Editörlüğü
 News from the Republic of Letters (1997'den itibaren)
 Editors (Yayımcı bilgisi)
 ANON
 The Noble Savage

Bellow
 Saul Bellow, Tony Tanner (1965) (ayrıca City of Words kitabını görünüz [1971])
 Saul Bellow, Malcolm Bradbury (1982)
 Saul Bellow: Modern Critical Views, Harold Bloom (Ed.) (1986)
 Handsome Is: Adventures with Saul Bellow, Harriet Wasserman (1997)
 Bellow: A Biography, James Atlas (2000)
 'Even Later' and 'The American Eagle' in Martin Amis, The War Against Cliché (2001). Sonraki denemesi Everyman's Library'nin Augie March basımında da bulunur.
 'Saul Bellow's comic style': James Wood, The Irresponsible Self (2004).(Çevrimiçi özet)

Müzik
 Sufjan Stevens'in 2006 albümü The Avalanche, "Saul Bellow" isimli bir şarkı içerir.

Dış bağlantılar
 İki konuşması ile nobel sitesi (birisi ses kaydı) & uzun biyografisi
 Eleştirinin notlarla açıklanmış bibliyografyası Saul Bellow Topluluğu tarafından
 JM Coetzee, erken romanlarında
 Bellow'un röportajı Paris Röportajı
 Saul Bellow 'bookweb', The Ledge

1915 doğumlular
2005 yılında ölenler
20. yüzyıl Amerikalı yazarları
21. yüzyıl Amerikalı yazarları
Nobel Edebiyat Ödülü sahipleri
Kurgu dalında Pulitzer Ödülü sahipleri
Yahudi asıllı Amerikalılar
Chicago Üniversitesinde öğrenim görenler
O. Henry Ödülü alan yazarlar
Kanada doğumlular
20. yüzyıl Amerikalı erkek yazarları
21. yüzyıl Amerikalı erkek yazarları
Pulitzer Ödülü alan yazarlar
Amerikalı erkek roman yazarları
Pulitzer Ödülü sahipleri
Amerikalı yazarlar
Amerikalı Nobel Ödülü sahipleri

Saul Bellow


Montorso Vicentino ist eine nordostitalienische Gemeinde (comune) mit  Einwohnern (Stand ) in der Provinz Vicenza in Venetien. Die Gemeinde liegt etwa 18 Kilometer westsüdwestlich von Vicenza im Valle del Chiampo und grenzt unmittelbar an die Provinz Verona. Im Nordosten der Gemeinde grenzt der Guà.

Geschichte
Zwischen 1200 und 1300 wird der Ort als Muntursium oder Montursio erwähnt.

Weblinks

Einzelnachweise

Ort in Venetien

Montorso Vicentino


متلازمة ستوكهولم  هي ظاهرة نفسية تصيب الفرد عندما يتعاطف أو يتعاون مع عدوه أو مَن أساء إليه بشكل من الأشكال، أو يُظهر بعض علامات الولاء له مثل أن يتعاطف المُختَطَف مع المُختَطِف. وتسمى أيضاً برابطة الأَسْر أو الخطف وقد اشتهرت في العام 1973 حيث تُظهر فيها الرهينة أو الأسيرة التعاطف والانسجام والمشاعر الإيجابية تجاه الخاطف أو الآسر، تصل لدرجة الدفاع عنه والتضامن معه. هذه المشاعر تعتبر بشكل عام غَيْرَ منطقية ولا عقلانية في ضوء الخطر والمجازفة اللتين تتحملهما الضحية، إذ أن الضحية تفهم بشكل خاطئ عدم الإساءة من قبل المعتدي إحساناً ورحمة. وقد سجلت ملفات الشرطة وجود متلازمة ستوكهولم لدى 8% من حالات الرهائن.

ويمكن اعتبار متلازمة ستوكهولم كنوع من الارتباط الذي له علاقة بالصدمة، ولا يتطلب بالضرورة وجود حالة خطف، فهو ترابط عاطفي قوي يتكون بين شخصين أحدهما يضايق ويعتدي ويهدد ويضرب ويخيف الآخر بشكل متقطع ومتناوب.

إحدى الفرضيات التي تفسر هذا السلوك، تفترض أن هذا الارتباط هو استجابة الفرد للصدمة وتحوله لضحية. فالتضامن مع المعتدي هو إحدى الطرق للدفاع عن الذات. فالضحية حين تؤمن بنفس أفكار وقيم المعتدِي فإن هذه الأفكار والتصرفات لن تعتبرها الضحية تهديدًا أو تخويفا. وقد يطلق على متلازمة ستوكهولم خطأً اسم متلازمة هلسنكي.

و أُطلق على هذه الحالة اسم «متلازمة ستوكهولم» نسبة إلى حادثة حدثت في ستوكهولم في السويد حيث سطا مجموعة من اللصوص على بنك كريديتبانكين Kreditbanken هناك في عام 1973، واتخذوا بعضاً من موظفي البنك رهائن لمدة ستة أيام، خلال تلك الفترة بدأ الرهائن يرتبطون عاطفياً مع الجناة، وقاموا بالدفاع عنهم بعد إطلاق سراحهم.

السمات العامة
لكل متلازمة أعراض وسلوكيات تميزها، ولعدم الاتفاق على قائمة متكاملة من الأعراض ؛ لاختلاف آراء الباحثين والمتخصصين، فإن بعض العلامات لا بد من تواجدها ضمن متلازمة ستوكهولم مثل:
 المشاعر الإيجابية تجاه المعتدي المتسلط
 المشاعر السلبية للضحية تجاه العائلة أو الأصدقاء أو من يحاول إنقاذهم أو الوقوف بجانبهم.
 دعم وتأييد سلوك وتفكير المعتدي
 المشاعر الإيجابية للمعتدي تجاه الضحية
 سلوكياتٌ مساندةٌ للمعتدي من قبل الضحية وأحياناً مساعدة المعتدي
 عدم القدرة على المشاركة في أي سلوك يساعد على تحرير الضحية أو فك ارتباطها.

التاريخ
تُسمّى هذه النظرية باسم مدينة ستوكهولم في السويد حيث وقع حادث سرقة بنك في آب ( أغسطس ) عام 1973، وخلال عملية السرقة احتجز المجرمون عدداً من موظفي البنك  كرهائنَ لمدة ستة أيام، خلال فترة التفاوض مع السلطات. وخلال هذه المدة أصبح الرهائن متعلقين عاطفياً بالخاطفين، رافضين مساعدة المسؤولين، بل قاموا بالدفاع عن الخاطفين بعد انتهاء الأزمة.

تسمية هذه الحالة كان من قِبل نيلز بيجيروت، المختص بعلم الجرائم والأمراض النفسية، حيث كان مستشاراً نفسياً للشرطة في وقت وقوع الحادث واشتهرت هذه التسمية عالميًا بعد هذه الحادثة. وفي الأصل عرفها وبينها فرانك أوكبيرغ الاختصاصي بعلم النفس، للمساعدة في التعامل مع حالات الرهائن.

أسباب

تفسير متلازمة ستوكهولم طبقاً لـعلم النفس التطوري يفسر التعاطف والارتباط مع الخاطف بأنه حل لمشكلة تعايش الضحية مع وضع تكون فيه مسلوبة الإرادة ومغلوبة على أمرها للحفاظ على حياتها وبقائها وهو معروف منذ أقدم العصور. فإحدى المشاكل التي كانت تواجه النساء في المجتمعات البدائية هي التعرض للخطف أو الأسر من قبل قبيلة أخرى، فخطف النساء واغتصابهن وقتل أطفالهن الصغار كان أمراً شائعاً وكانت المرأة  التي تقاوم في تلك المواقف تعرض حياتها للخطر. وخلال فترات طويلة من التاريخ كان خوض الحروب وأخذ السبايا أمراً طبيعياً وقد كانت السبية أو الأسيرة تتعايش وتندمج ضمن القبيلة التي أسرتها وتخلص لها. هذا النمط من الحياة ما زال معروفاً لدى بعض القبائل البُدائية، وكذلك لدى بعض الثدييات المتطورة.

وما زالت هناك أنواع من  العلاقات في الوقت الحاضر تحمل بعضَ السمات النفسية على الارتباط مع الخاطف أو الآسر مثل متلازمة الزوجة المتعرضة للضرب، والعلاقة خلال التدريبات العسكرية الأولية، وضمن الأخويات أو نوادي الرجال، وكذلك في بعض الممارسات الجنسية كالسادية والماسوشية أو الارتباط والعقاب.

نماذج
لا يوجد معيار عام متفق عليه لتشخيص هذه الحالة. لكن الأبحاث وجدت ترابطاً عاطفيا ًمع الخاطفين أو الآسرين في حالات مختلفة من العلاقات الاضطهادية مثل:
 الأطفال المعتدى عليهم
 النساء المعتدى عليهن
 ضحايا اغتصاب المحارم أو ذوي القربى
 سجناء المعتقلات.
ففي المانيا النازية في الثلاثينيات كان بعض اليهود ينادون بسقوط اليهود ومساندة سياسة هتلر.

وفي حالات الجرائم يشجع الضحية على هذا السلوك، فهو يزيد من فرص نجاة الضحايا. لكن المصابون به يكونون عادةً غير متعاونين أثناء عملية إنقاذهم أو التحقيق معهم.

ويمكن ملاحظة وجود بعض مميزات متلازمة ستوكهولم لدى ضحايا العنف في المواقف التالية:
 المشاعر الإيجابية للضحية كالحب والشفقة تجاه المعتدي المتحكم
 المشاعر السلبية للضحية كالبغض تجاه من يحاول تخليصها
 وجود سلوك مساند من قبل الضحية لمساعدة المعتدي
 عدم رغبة الضحية بالخلاص من المعتدي.

متلازمة ليما
هذه الحالة هي عكس متلازمة ستوكهولم، حيث يتعاطف الخاطف مع الرهائن.

وهناك عدة أسباب لظهور متلازمة ليما لدى الخاطف، ففي بعض الحالات  يكون هناك عدة أفراد مرتكبين للخطف، واحد منهم أو أكثر سيبدأ بالخلاف مع الآخرين حول ما يقومون به ويؤثر أحدهم على الآخر. كما قد يعيد الخاطف التفكير بالأمر أو يتعاطف مع الرهائن.

متلازمة ليما سُمّيت بعد حادثة خطف حدثت في السفارة اليابانية في ليما عاصمة البيرو، في 1996 حيث قامت مجموعة تابعة لحركة عسكرية باحتجاز المئات من الرهائن الذين كانوا يحضرون حفلة تقيمها السفارة اليابانية في مقر إقامة السفير. وخلال ساعات قليلة قام الخاطفون بإطلاق سراح معظم الرهائن ومن ضمنهم الشخصيات الهامة، بسبب التعاطف معهم.

حالات مشهورة
هناك حالات من متلازمة ستوكهولم اشتهرت في وسائل الاعلام منها:
 باتي هيرست: وتعتبر الأكثر شهرة بين حالات متلازمة ستوكهولم، وهي من عائلة ثرية معروفة اختطفت في 1974 لغرض أخذ فدية من أسرتها من قبل مجموعة تدعي بأهداف سياسية، وبعد شهرين من احتجازها والاعتداء عليها تطوعت بإرادتها لمساعدتهم في عملية سرقة واستمر احتجازها لمدة سنة انضمت خلالها للمجموعة واعتنقت أفكارهم وشاركت معهم في جرائم السرقة التي يقومون بها، بعد ذلك أُلقي القبض عليها وإدانتها وحُوكمت بـ 35 سنة في السجن في عام 1975. لكن الحكم خفف عنها وأُطلق سراحها في 1979 بعفو رئاسي من الرئيس كارتر. ويعتبر سلوكها نموذجا لمتلازمة ستوكهولم.
 رهائن حادثة بنك ستوكهولم: هؤلاء الرهائن تعاطفوا مع الخاطفين ولم تتمكن الشرطة من تحريرهم إلا بإطلاق غاز مسيل للدموع خلال القبو. وقد أثار تعاطفهم دهشة الجمهور المتابعين للقضية وأطلق اسم هذا السلوك على هؤلاء الرهائن.
 إليزابيث سمارت: اختطفت من غرفتها بعمر 14 سنة في 2002 من قبل شخص هددها بالسلاح، ثم اصطحبها للغابة حيث كانت زوجته بانتظاره. ثم تزوجها بمراسيم خاصة به وجعلها زوجة ثانية له. وخلال مدة 9 شهور بقيت محتجزة لديه حيث تنقلوا لعدة أماكن وكان يقوم بربطها على شجرة وتجويعها فترات طويلة واغتصابها. وبعد اكتشاف الشرطة و إلقاء القبض عليه قالت إليزابيث: إن الفرصة واتتها عدة مرات للهروب منه لكنها لم تستغلها.
 ماري ماكلروي: اختطفت في 1933 لمدة 34 ساعة من قبل 4 أشخاص حتى تم دفع فدية 30000$ لإطلاق سراحها. خلال مدة الاحتجاز عقدت ماري صداقة مع مختطفيها الذين ألقي القبض عليهم بعد ذلك والحكم عليهم بالسجن، مما سبب لها حالة شديدة من الاكتئاب والشعور بالذنب. وكانت تقوم بزيارة خاطفيها باستمرار في السجن. وبعد وفاة والديها انتحرت ماري في 1940.
 جيسي لي دوغارد: اختطفت هذه الضحية في 1993 وهي بعمر 11 سنة من قبل زوجين قاما باحتجازها لمدة 18 عاما في خيمة في حديقة منزلهم حيث اغتصبت وأنجبت ولدين خلال تلك الفترة. وخلال تحقيقات الشرطة كانت تنكر وجود أي مشكلة أو اعتداء وكانت تصف خاطفها بالإنسان العظيم. وحين تسائل الكثيرون عن سبب عدم هروبها، كان الجواب هو متلازمة ستوكهولم التي يؤمن علماء النفس بأنها وسيلة للبقاء.
 ناتاشا كامبوش: في عام 1998 اختطفت هذه الضحية وهي بعمر 10 سنوات أثناء ذهابها للمدرسة، من قبل عامل توصيل. ولم يعثر عليها إلا في 2006 حيث وجدت تركض هاربة من الخاطف، الذي انتحر بالاستلقاء على خط السكة الحديدية بعد ساعات من هروبها. وتعتبر قضيتها مثالاً يستخدمه المختصون على متلازمة ستوكهولم.
 شون هورنبيك: اختطف هذا الطفل بعمر 11 سنة في 2002 حين كان راكبا دراجته فلم يعد بعد ذلك لمنزله. كانت لدى هذا الطفل عدة فرص للهرب حينما كان محتجزا من قبل خاطفه لـ 4 سنوات لكنه لم يفعل حتى إنه كان لديه دخول على الإنترنت. اكتشفته الشرطة في بيت خاطفه وهو بعمر 15 ويعتبر من القضايا التي تتضح فيها متلازمة ستوكهولم.
 اسيرات كليفلاند: بعد أن أبلغت اماندا بيري الشرطة بوجودها بعد 10 سنوات من فقدانها في 2013 أصبحت القضية شغل وسائل الاعلام. فقد احتجزت اماندا مع ميشيل نايت وجينا دي جيسس، لعشر سنوات في منزل بضواحي كليفلاند، ويعتقد الأخصائيون أن إصابتهن بمتلازمة ستوكهولم هو سبب تأخرهن في الهروب من الخاطف.
 اليزابيث فريتزل: احتجزها والدها في قبو لمدة 24 سنة، خلال تلك المدة كان يعتدي عليها ويغتصبها فأنجبت 7 أطفال كانت تعيش مع 4 منهم في القبو وكان والدها وزوجته وبقية أولادها يعيشون في المنزل. وقد كانت بعمر 18 سنة حين حبسها والدها وأغلق عليها، وقد أُلقي القبض على الأب حين احتاجت لعناية طبية لأحد أطفالها. ولم يكن أحد من أطفالها الصغار قد رأى الشمس إلا حين حررتهم الشرطة. وبسبب طول فترة احتجازها والعلاقة القائمة مع والدها فقد استمر  تأثير متلازمة ستوكهولم عليها.
 كولين ستان: حبست هذه الضحية في صندوق بحجم التابوت  تحت سرير الخاطف وزوجته لمدة 7 سنوات  منذ 1977 إلى 1984 حيث كانت تقضي فيه 23 ساعة يوميا خلال فترة احتجازها من قبل الخاطف الذي استخدمها لغرض الاستعباد الجنسي. كان الخاطف يتلاعب بأفكارها ويعتدي عليها بمختلف الأشكال، بل وحتى يصطحبها في زيارة عائلتها دون كشف حقيقة ما يحدث لها. أما زوجته التي ساعدته في احتجاز ضحيته خلال تلك المدة  فهي التي أبلغت عنه الشرطة وتمت محاكمته. وتعتبر سيطرة هذا الخاطف على ضحيته بشكل كامل هو مثال على متلازمة ستوكهولم.

الدولة القمعية

وعلى صعيد المجتمع، يمكن ملاحظة هذا التأثير في الأنظمة القمعية، عندما لا تملك السلطة شرعيتها من أغلبية الشعب، فتصبح وسيلة الحكم القمعية ضاغطة على أفراد المجتمع، ولمدة طويلة، يطور خلالها الافراد علاقة خوف من النظام، فيصبح المجتمع ضحية النظام، ويدرك النظام هذه الحالة مع الوقت، حتى يتقن لعبة ابتزاز المجتمع. فيعتاد الشعب على القمع والذل لدرجه تجعله يخشى من التغيير حتى وإن كان للأفضل ويظل يدافع عن النظام القمعى ويذكر محاسنه القليله جدا دون الالتفات إلى مظاهر القمع والفساد الكثيرة.

انظر أيضا
 متلازمة ليما
 متلازمة ديوجين
 متلازمة ستندال
 نيلز بيجيروت

مراجع

احتجاز رهائن
العلاقات الشخصية
إساءة
سيطرة على العقل
علاقات بين الأشخاص
كلمات وجمل استحدثت في 1973
متلازمات نفسية
مفاهيم نفسية

متلازمة ستوكهولم


දොන් ස්ටීවන් සේනානායක (1884 ඔක්තෝබර් 20-1952 මාර්තු 22) නම් වූ ස්වාධීන ක්‍රියාකාරිකය, 1947 දී 1952 දක්වා ශ්‍රි ලංකාවේ ප්‍රථම අග්‍රාමාත්‍ය ධූරය දැරීය.

ගම්පහ මීරිගම බෝතලේ නම් ගම්මානයේ මුදලි දොන් ස්පාමර් සේනානායක හා දෝන කැතරිනා එලිසඛෙත් පෙරේරා ගුණසේකර සේනානායක මැතිණියට දාව උපන් ඔහු බෞද්ධ පරිසරයක හැදී වැඩුණ ද, පියාගේ කීම මත ඇන්ග්ලිකානු ක්‍රිස්තු පාසලක් වු ශාන්ත තෝමස් විද්‍යාලයට බැදී ක්‍රිස්තියානුවෙකු බවට පත්විය.  පසුව නැවත බුද්ධාගමට හැරවුණු ඔහු, අධ්‍යාපනයෙන් පසුව මිනින්දෝරු දෙපාර්තමේන්තුවට බැඳුණි. 1914 දී පළමු ලෝක සංග්‍රාමයත් සමඟ, 1915 දී සිංහල  මුස්ලිම් කෝලාහල සැකකරුවෙකු ලෙස ඔහුව අත්අඩංගුවට ගන්නා ලදි.

තම සහෝදරයා වූ එෆ්.ආර්. සේනානායක ගේ අඩිපාරේ යමින් 1926 කාලය වන විට ඔහු නිදහස් සටනේ පුරෝගාමියෙකු විය.  1931 දී ඔහුව කෘෂිකර්ම හා ඉඩම් ඇමති ලෙස පත්කරන ලදි. ඔහුගේ කෘෂිකර්ම ප්‍රතිපත්තිය ජනතා ප්‍රසාදයට ලක්විය. 1946 දී ඔහු එක්සත් ජාතික පක්ෂය පිහිටුවීය. 1947 මැතිවරණයෙන් ඔහු අගමැති ධූරයට පත්විය. තමාට ප්‍රදානය කළ නයිට් පදවිය නොපිළිගත්තද බ්‍රිතාන්‍ය සමඟ යහපත් සබඳතා පැවැත්වීය. ගල්ඔය ව්‍යාපෘතිය අරඹමින් ඔහු ඉමහත් ජනතා සේවයක් කළේය. නමුත් 1952 මාර්තු 22 දා හැට අට හැවිරිදි ඩී.එස්. සේනානායක ගාලූ මුවදොර පිටියේදී අසු පිටින් වැටී පසුව එම නිසාම මිය ගියේය.

සිංහලයන් සහ මුස්ලිම් ජනයා ඩී.එස්.සේනානායකට ඉතා ගරු කරන මුත් ඔහුගේ ප්‍රතිපත්ති ඇතැම් දෙමළ ජනයාගේ විරෝධයට හේතු විය.

ඩී.එස්. සේනානායක මහතාගේ බිරිඳ මොලී දුනුවිල මහත්මියගේත් පුතණුවන් දෙදෙනා ඩඩ්ලි සේනානායක හා රොබට් සේනානායකය.  ඩඩ්ලි සේනානායක මහතා 1952, 1960, 1965-1970 කාලයේ අගමැති ධූරය හෙබවීය. 1953 අගමැති වූ සර් ජෝන්  කොතලාවල ද ඔහුගේ ඥාතියෙකි. ඔහුගේ මුණුපුරෙක් වන රුක්මන් සේනානායක මහතා දැනටද පාර්ලිමේන්තුවේ එ.ජා.ප සභාපති ධූරය දරයි.

මෙයද බලන
 ශ්‍රී ලංකාවේ දේශපාලන පවුල්

මූලාශ්‍ර

ලංකික දේශපාලකයින්
චරිත කතා
1884 උපත්
1952 මරණ
ශ්‍රී ලංකාවේ අග්‍රාමාත්‍යවරු
ගල්කිස්ස ශාන්ත තෝමස් ආදි සිසුවෝ

ඩී.එස්. සේනානායක


Ralf Lehm (* 8. September 1948) ist ein deutscher Schauspieler.

Leben und Wirken
Ralf Lehm studierte von 1968 bis 1972 an der Hochschule für Film und Fernsehen der DDR. Engagements auf der Bühne hatte er unter anderem ab 1972 am Theater Stralsund, ab 1990 am Staatstheater Schwerin und ab 2000 am Theater Baden-Baden. Er arbeitete zudem als Regisseur in Stralsund, an der Fritz-Reuter-Bühne in Schwerin, in Bremen, in Neumünster und in Baden-Baden. Seit den 1970er-Jahren war er zudem in Film und Fernsehen zu sehen. Neben Fernsehspielen wie Optimistische Tragödie spielte er in vielen Produktionen der damaligen DDR mit, zu denen Der Staatsanwalt hat das Wort und Polizeiruf 110 gehören.

Ralf Lehm lebt in Stralsund.

Filmografie
 1970: Unterwegs zu Lenin
 1971: Optimistische Tragödie (TV)
 1975: Aus meiner Kindheit
 1981: Suturp – Eine Liebesgeschichte (TV)
 1984: Polizeiruf 110: Freunde (TV-Reihe)
 1985: Die Leute von Züderow (TV-Serie)
 1985: Johann Sebastian Bach (TV-Serie)
 1987: Künstler, König und Modell (TV)
 1988: Der Staatsanwalt hat das Wort: Rosi fehlt (TV-Reihe)
 1988: Zahn um Zahn – Die Praktiken des Dr. Wittkugel (TV-Serie)
 1989: Polizeiruf 110: Der Fund (TV-Reihe)
 1989: Tierparkgeschichten (TV-Serie)
 1990: Der Staatsanwalt hat das Wort: Blonder Tiger, schwarzer Tango (TV-Reihe)
 1990: Der Staatsanwalt hat das Wort: Hallo Partner (TV-Reihe)
 1990: Polizeiruf 110: Der Tod des Pelikan (TV-Reihe)
 1990: Die Sprungdeckeluhr
 1990: Drei Wohnungen (TV)
 1991: Der Staatsanwalt hat das Wort: Verliebt – verloren (TV-Reihe)
 1992: Das große Fest (TV)
 1994: Polizeiruf 110: Bullerjahn (TV-Reihe)

Weblinks

Filmschauspieler
Theaterschauspieler
Ensemblemitglied des Theaters Vorpommern
DDR-Bürger
Deutscher
Geboren 1948
Mann

Ralf Lehm


Sally Cecilia Hawkins (født 27. april 1976) er en engelsk skuespiller, kendt for Happy-Go-Lucky, Det Stærke Køn, Godzilla, Paddington og hendes hovedrolle i Guillermo del Toros The Shape of Water. Hun har modtaget to Oscar-nomineringer og vundet én Golden Globe-pris.

Karriere

2000-2007: Uddannelse og første roller
Hawkins er uddannet fra Royal Academy of Dramatic Art. I løbet af hendes studietid arbejdede hun som statist på George Lucas' Star Wars Episode I: Den Usynlige Fjende. Hun fik sin første filmrolle i Mike Leighs drama All or Nothing. De to gentoptog arbejdet på det Oscar-nominerede drama Vera Drakes Hemmelighed. Efterfølgende havde Hawkins roller i flere teater og tv-produktioner, heriblandt sketch-showet Little Britain. Hun arbejdede med Daniel Craig i Matthew Vaughns krimi-komedie Layer Cake og spillede overfor Ewan McGregor i Woody Allens Cassandra's Dream.

2008-2013: Internationalt gennembrud
I 2008 var hun aktuel i komedien Happy-Go-Lucky, som markerede hendes tredje kollaboration med Mike Leigh. For hendes præstation modtog en Golden Globe og Sølvbjørnen under Filmfestivalen i Berlin. Efterfølgende havde hun en håndfuld biroller i flere produktioner, heriblandt danske Lone Scherfigs An Education og dramaet Ørkenblomst, samt periode-dramaet Jane Eyre.

Hun spillede hovedrollen Rita O'Grady i det autentiske komedie-drama Det Stærke Køn, som solgte 79.572 biografbilletter i Danmark. Hun genoptog samarbejdet med Woody Allen på filmen Blue Jasmine overfor Cate Blanchett, Louis C.K. og Bobby Cannavale, som blev udgivet i danske biografer i august 2013.

2013-2019: Arbejde i større produktioner og Oscar-nomineringer.
I 2014 blev hun nomineret til Oscar for bedste kvindelige birolle for sin rolle i Woody Allen-filmen Blue Jasmine. Hun var senere på året aktuel med en birolle i hendes første Hollywood-produktion med Warner Bros' storfilm Godzilla overfor Ken Watanabe, som var en global biografsucces. Hun spillede Fru Brown i Paddington, overfor Hugh Bonneville, Nicole Kidman, Julie Walters og Jim Broadbent. Filmen var produceret af Harry Potter-bagmanden David Heyman og blev mødt med positive anmeldelser. Hun spillede hovedrollen i kortfilmen The Phone Call overfor Jim Broadbent som vandt en Oscar for Bedste Kortfilm, og fik ros for hendes arbejde i det biografiske drama Maudie.

Hun havde hovedrollen som den stumme rengøringsdame Elisa Esposito i Guillermo del Toros The Shape of Water overfor Octavia Spencer, Doug Jones og Michael Shannon. Hun modtog en Oscar nominering for Bedste Kvindelige Hovedrolle, mens filmen vandt prisen for Bedste Film.

2020
Hawkins har færdiggjort arbejdet på julefilmen A Boy Called Christmas overfor Maggie Smith og Jim Broadbent, produceret af Netflix og StudioCanal.

Filmografi

Referencer

Eksterne henvisninger

Skuespillere fra England
Manuskriptforfattere fra England
Briter i 1900-tallet
Briter i 2000-tallet
Oscar-nominerede skuespillere

Sally Hawkins


Firas Ben Larbi (), né le , est un footballeur international tunisien qui évolue en tant que milieu de terrain pour l'Ajman Club.

Biographie

Carrière en club
Firas Ben Larbi commence sa carrière senior à l'Avenir sportif de La Marsa et joue également pour le Club athlétique bizertin et l'Étoile sportive du Sahel en championnat de Tunisie.

Le 22 février 2020, il s'illustre en étant l'auteur d'un triplé dans le championnat de Tunisie, contre l'Étoile sportive de Métlaoui, permettant à son équipe de l'emporter 5-1.

En août 2020, il est prêté au Fujaïrah Sports Club évoluant en championnat des Émirats arabes unis, marquant lors de ses débuts en championnat lors d'une défaite (2-4) contre le Sharjah FC.

Équipe nationale
Avec l'équipe de Tunisie des moins de 17 ans, il participe à la Coupe d'Afrique des nations en 2013. Lors de cette compétition organisée au Maroc, il se met en évidence en marquant un but en demi-finale face au Nigeria. La Tunisie se classe troisième du tournoi, en battant le pays organisateur lors de la petite finale. Il dispute ensuite quelques mois plus tard la Coupe du monde des moins de 17 ans. Lors du mondial junior qui se déroule aux Émirats arabes unis, il prend part à trois matchs. Il marque un but lors de la première rencontre face au Venezuela. La Tunisie s'incline en huitièmes de finale face à l'Argentine.

En septembre 2019, il est appelé pour la première fois au sein de l'équipe senior, pour les qualifications du championnat d'Afrique des nations 2020, et dispute les deux matchs contre la Libye.

En fin d'année 2021, il participe à la Coupe arabe de la FIFA organisée au Qatar. Lors de ce tournoi, il joue cinq matchs et se met en évidence en étant l'auteur d'un doublé lors de la première rencontre face à la Mauritanie. La Tunisie atteint la finale de la compétition, en s'inclinant face à l'Algérie.

Buts en sélection

Palmarès

En équipe nationale
 Troisième de la Coupe d'Afrique des nations en 2013 avec l'équipe de Tunisie des moins de 17 ans
 Finaliste de la Coupe arabe des nations en 2021 avec l'équipe de Tunisie

En club
 Vice-champion de Tunisie en 2019 avec l'Étoile sportive du Sahel
 Finaliste de la Coupe de Tunisie en 2019 avec l'Étoile sportive du Sahel

Notes et références

Liens externes

Footballeur international tunisien
Joueur du Club athlétique bizertin
Joueur de l'Étoile sportive du Sahel
Joueur du Fujairah SC
Joueur d'Ajman Club
Naissance en mai 1996
Lieu de naissance inconnu

Firas Ben Larbi


Pokrajina Erzincan (tur.: Erzincan ili)  koja se nalazi u ıstočnjačkenom dijelu Turske.

Prostire se na površini od 11,974 km2 a u njoj živi 236.034 stanovnika (podaci iz 2018.) što iznosi oko 20 stanovnik po km2.

Glavni grad je Erzincan.

Okruzi

Pokrajina Erzincan je podijeljena na 9 okruga:

Galerija

Izvori

Vanjske poveznice

 Službena stranica pokrajine

Turske pokrajine

Erzincan (pokrajina)


Marcelo Andrés Martuciello es un futbolista uruguayo.

Clubes

Enlaces externos
 Ficha del futbolista en BDFA.com.ar

Futbolistas del Club Deportivo Maldonado
Futbolistas del Querétaro Fútbol Club
Futbolistas del Centro Atlético Fénix
Futbolistas del Tacuarembó Fútbol Club
Futbolistas del Comunicaciones Fútbol Club en los años 2000
Futbolistas del Club Sportivo Miramar Misiones
Futbolistas del Club Sporting Cristal en los años 2000
Futbolistas del Club Atlético Bella Vista

Marcelo Martuciello


(8307) Peltan es un asteroide que forma parte del cinturón de asteroides y fue descubierto por Jana Tichá el 5 de marzo de 1995 desde el Observatorio Kleť, cerca de České Budějovice, República Checa.

Designación y nombre
Peltan fue designado inicialmente como .
Más adelante, en 1999, se nombró en honor de la familia de la descubridora.

Características orbitales
Peltan está situado a una distancia media del Sol de 2,164 ua, pudiendo alejarse hasta 2,398 ua y acercarse hasta 1,93 ua. Tiene una excentricidad de 0,1082 y una inclinación orbital de 5,202 grados. Emplea 1163 días en completar una órbita alrededor del Sol. El movimiento de Peltan sobre el fondo estelar es de 0,3096 grados por día.

Características físicas
La magnitud absoluta de Peltan es 15.

Véase también
 Lista de asteroides del (8301) al (8400)
 Cuerpo menor del sistema solar

Referencias

Enlaces externos

Asteroides del cinturón principal
Objetos astronómicos descubiertos por Jana Tichá
Objetos astronómicos descubiertos desde el Observatorio Kleť
Objetos astronómicos descubiertos en 1995
Wikiproyecto:Asteroides/Artículos de asteroides

(8307) Peltan


«El rey tiburón» es una canción interpretada por el grupo de rock mexicano Maná, incluida originalmente en el séptimo álbum de estudio de la banda, Amar es combatir (2006). Fue lanzada en 2007 como el quinto y último sencillo del disco solamente en América Latina y en 2008 logró la primera posición en las listas de Chile.

Video musical
El video musical de la canción fue dirigido por Pablo Croce. En el vídeo se muestra a un hombre conduciendo por la carretera, llega a un hotel y se mete, cuando busca a alguien en la recepción se comienza a escuchar "el rey tiburón" en la radio. De la nada aparece un señor y le da las llaves de su cuarto. Al darse la vuelta está una mujer y él la sigue, Fher Olvera comienza a cantar. El hombre mientras camina a su habitación se topa con un hombre fumando, en otra habitación a un hombre en un piano, en la siguiente se encuentra Álex González rodeado de mujeres, después está Sergio Vallin. La mujer le enseña su habitación, mientras en otras tomas está Fher cantando. La siguiente escena muestra al grupo en una habitación tocando la canción junto a una pareja bailando, en las siguientes escenas se muestra a cada uno de los integrantes tocando su instrumento en distintas habitaciones junto a mujeres. Mientras tanto el hombre que acaba de llegar al hotel es llevado a otra habitación por la mujer y baila sensualmente con ella. De nuevo se muestran las escenas de los integrantes del grupo en cada habitación. Mientras la mujer baila sensualmente con el hombre aparece otra mujer y lo seduce también, escena del grupo tocando, el hombre es seducido por más mujeres. Se muestra a Fher cantando mientras que el hombre va por sus pertenencias y sale del lugar. Cuando pasa por las demás habitaciones ve a una mujer con un caballo blanco, se cierra la puerta, después va a la habitación de Alex y de nuevo se cierra la puerta. Toma del grupo del grupo tocando, al salir de las habitaciones ve a un hombre montado en un caballo, por lo que se regresa, después ve a una mujer doméstica y aun hombre con un Habano. Escena de la banda tocando y se cierran todas las puertas, mientras llega una paloma a la radio y se deja de escuchar la canción, se muestra como arriban en una camioneta dos chicos y de nuevo se enciende la radio con la canción.

Posiciones en listas

Curiosidades
La canción de El Rey Tiburón fue también el tema de apertura musical de la telenovela mexicana «Yo amo a Juan Querendón».

Referencias

Canciones de Maná
Sencillos de 2008
Canciones en español

El rey tiburón


Sound design is the art and practice of creating soundtracks for a variety of needs. It involves specifying, acquiring or creating auditory elements using audio production techniques and tools. It is employed in a variety of disciplines including filmmaking, television production, video game development, theatre, sound recording and reproduction, live performance, sound art, post-production, radio, new media and musical instrument development. Sound design commonly involves performing (see e.g. foley) and editing of previously composed or recorded audio, such as sound effects and dialogue for the purposes of the medium, but it can also involve creating sounds from scratch through synthesizers. A sound designer is one who practices sound design.

History

The use of sound to evoke emotion, reflect mood and underscore actions in plays and dances began in prehistoric times when it was used in religious practices for healing or recreation. In ancient Japan, theatrical events called kagura were performed in Shinto shrines with music and dance.

Plays were performed in medieval times in a form of theatre called Commedia dell'arte, which used music and sound effects to enhance performances. The use of music and sound in the Elizabethan Theatre followed, in which music and sound effects were produced off-stage using devices such as bells, whistles, and horns. Cues would be written in the script for music and sound effects to be played at the appropriate time.

Italian composer Luigi Russolo built mechanical sound-making devices, called "intonarumori," for futurist theatrical and music performances starting around 1913. These devices were meant to simulate natural and man-made sounds, such as trains or bombs. Russolo's treatise, The Art of Noises, is one of the earliest written documents on the use of abstract noise in the theatre. After his death, his intonarumori' were used in more conventional theatre performances to create realistic sound effects.

Recorded sound
Possibly the first use of recorded sound in the theatre was a phonograph playing a baby's cry in a London theatre in 1890. Sixteen years later, Herbert Beerbohm Tree used recordings in his London production of Stephen Phillips' tragedy NERO. The event is marked in the Theatre Magazine (1906) with two photographs; one showing a musician blowing a bugle into a large horn attached to a disc recorder, the other with an actor recording the agonizing shrieks and groans of the tortured martyrs. The article states: "these sounds are all realistically reproduced by the gramophone". As cited by Bertolt Brecht, there was a play about Rasputin written in (1927) by Alexej Tolstoi and directed by Erwin Piscator that included a recording of Lenin's voice. Whilst the term "sound designer" was not yet in use, some stage managers specialised as "effects men", creating and performing offstage sound effects using a mix of vocal mimicry, mechanical and electrical contraptions and gramophone records. A great deal of care and attention was paid to the construction and performance of these effects, both naturalistic and abstract. Over the course of the twentieth century the use of recorded sound effects began to replace live sound effects, though often it was the stage manager's duty to find the sound effects, and an electrician played the recordings during performances.

Between 1980 and 1988, Charlie Richmond, USITT's first Sound Design Commissioner, oversaw efforts of their Sound Design Commission to define the duties, responsibilities, standards and procedures expected of a theatre sound designer in North America. He summarized his conclusions in a document  which, although somewhat dated, provides a succinct record of what was then expected. It was subsequently provided to both the ADC and David Goodman at the Florida USA local when they were both planning to represent sound designers in the 1990s.

Digital technology

MIDI and digital audio technology have contributed to the evolution of sound production techniques in the 1980s and 1990s. Digital audio workstations (DAW) and a variety of digital signal processing algorithms applied in them allow more complicated soundtracks with more tracks as well as auditory effects to be realized. Features such as unlimited undo and sample-level editing allows fine control over the soundtracks.

In theatre sound, features of computerized theatre sound design systems have also been recognized as being essential for live show control systems at Walt Disney World and, as a result, Disney utilized systems of that type to control many facilities at their Disney-MGM Studios theme park, which opened in 1989. These features were incorporated into the MIDI Show Control (MSC) specification, an open communications protocol used to interact with diverse devices. The first show to fully utilize the MSC specification was the Magic Kingdom Parade at Walt Disney World's Magic Kingdom in September 1991.

The rise of interest in game audio has also brought more advanced interactive audio tools that are also accessible without a background in computer programming. Some of such software tools (termed "implementation tools" or "audio engines") feature a workflow that's similar to that in more conventional DAW programs and can also allow the sound production personnel to undertake some of the more creative interactive sound tasks (that are considered to be part of sound design for computer applications) that previously would have required a computer programmer. Interactive applications have also given rise to a plethora of techniques in "dynamic audio" which loosely means sound that's "parametrically" adjusted during the run-time of the program. This allows for a broader expression in sounds, more similar to that in films, because this way the sound designer can e.g. create footstep sounds that vary in a believable and non-repeating way and that also corresponds to what's seen in the picture. The digital audio workstation cannot directly "communicate" with game engines, because the game's events often occur in an unpredictable order, whereas traditional digital audio workstations as well as so called linear media (TV, film etc.) have everything occur in the same order every time the production is run. Especially, games have also brought in dynamic or adaptive mixing.

The World Wide Web has greatly enhanced the ability of sound designers to acquire source material quickly, easily and cheaply. Nowadays, a designer can preview and download crisper, more "believable" sounds as opposed to toiling through time- and budget-draining "shot-in-the-dark" searches through record stores, libraries and "the grapevine" for (often) inferior recordings. In addition, software innovation has enabled sound designers to take more of a DIY (or "do-it-yourself") approach. From the comfort of their home and at any hour, they can simply use a computer, speakers and headphones rather than renting (or buying) costly equipment or studio space and time for editing and mixing. This provides for faster creation and negotiation with the director.

Applications

Film

In motion picture production, a Sound Editor/Designer is a member of a film crew responsible for the entirety or some specific parts of a film's soundtrack. In the American film industry, the title Sound Designer is not controlled by any professional organization, unlike titles such as Director or Screenwriter.

The terms sound design and sound designer began to be used in the motion picture industry in 1969. At that time, The title of Sound Designer was first granted to Walter Murch by Francis Ford Coppola in recognition for Murch's contributions to the film The Rain People. The original meaning of the title Sound Designer, as established by Coppola and Murch, was "an individual ultimately responsible for all aspects of a film's audio track, from the dialogue and sound effects recording to the re-recording (mix) of the final track".  The term sound designer has replaced monikers like supervising sound editor or re-recording mixer for what was essentially the same position: the head designer of the final sound track. Editors and mixers like Murray Spivack (King Kong), George Groves (The Jazz Singer), James G. Stewart (Citizen Kane), and Carl Faulkner (Journey to the Center of the Earth) served in this capacity during Hollywood's studio era, and are generally considered to be sound designers by a different name.

The advantage of calling oneself a sound designer beginning in later decades was two-fold. It strategically allowed for a single person to work as both an editor and mixer on a film without running into issues pertaining to the jurisdictions of editors and mixers, as outlined by their respective unions. Additionally, it was a rhetorical move that legitimised the field of post-production sound at a time when studios were downsizing their sound departments, and when producers were routinely skimping on budgets and salaries for sound editors and mixers. In so doing, it allowed those who called themselves sound designers to compete for contract work and to negotiate higher salaries. The position of Sound Designer therefore emerged in a manner similar to that of Production Designer, which was created in the 1930s when William Cameron Menzies made revolutionary contributions to the craft of art direction in the making of Gone with the Wind.

The audio production team is a principal member of the production staff, with creative output comparable to that of the film editor and director of photography. Several factors have led to the promotion of audio production to this level, when previously it was considered subordinate to other parts of film:

 Cinema sound systems became capable of high-fidelity reproduction, particularly after the adoption of Dolby Stereo. Before stereo soundtracks, film sound was of such low fidelity that only the dialogue and occasional sound effects were practical. These sound systems were originally devised as gimmicks to increase theater attendance, but their widespread implementation created a content vacuum that had to be filled by competent professionals. Dolby's immersive Dolby Atmos format, introduced in 2012, provides the sound team with 128 tracks of audio that can be assigned to a 7.1.2 bed that utilizes two overhead channels, leaving 118 tracks for audio objects that can be positioned around the theater independent of the sound bed. Object positions are informed by metadata that places them based on X, Y, Z coordinates and the number of speakers available in the room. This immersive sound format expands creative opportunities for the use of sound beyond what was achievable with older 5.1 and 7.1 surround sound systems. The greater dynamic range of the new systems, coupled with the ability to produce sounds at the sides, behind, or above the audience, provided the audio post-production team new opportunities for creative expression in film sound.

 Some directors were interested in realizing the new potential of the medium. A new generation of filmmakers, the so-called "Easy Riders and Raging Bulls"—Martin Scorsese, Steven Spielberg, George Lucas, and others—were aware of the creative potential of sound and wanted to use it.
 Filmmakers were inspired by the popular music of the era. Concept albums of groups such as Pink Floyd and The Beatles suggested new modes of storytelling and creative techniques that could be adapted to motion pictures.
 New filmmakers made their early films outside the Hollywood establishment, away from the influence of film labor unions and the then rapidly dissipating studio system.

The contemporary title of sound designer can be compared with the more traditional title of supervising sound editor; many sound designers use both titles interchangeably. The role of supervising sound editor, or sound supervisor, developed in parallel with the role of sound designer. The demand for more sophisticated soundtracks was felt both inside and outside Hollywood, and the supervising sound editor became the head of the large sound department, with a staff of dozens of sound editors, that was required to realize a complete sound job with a fast turnaround.

Theatre

Sound design, as a distinct discipline, is one of the youngest fields in stagecraft, second only to the use of projection and other multimedia displays, although the ideas and techniques of sound design have been around almost since theatre started. Dan Dugan, working with three stereo tape decks routed to ten loudspeaker zones during the 1968–69 season of American Conservatory Theater (ACT) in San Francisco, was the first person to be called a sound designer.

A theatre sound designer is responsible for everything the audience hears in the performance space, including music, sound effects, sonic textures, and soundscapes. These elements are created by the sound designer, or sourced from other sound professionals, such as a composer in the case of music. Pre-recorded music must be licensed from a legal entity that represents the artist's work. This can be the artist themselves, a publisher, record label, performing rights organization or music licensing company. The theatre sound designer is also in charge of choosing and installing the sound system —speakers, sound desks, interfaces and convertors, playout/cueing software, microphones, radio mics, foldback, cables, computers, and outboard equipment like FX units and dynamics processors.

Modern audio technology has enabled theatre sound designers to produce flexible, complex, and inexpensive designs that can be easily integrated into live performance. The influence of film and television on playwriting is seeing plays being written increasingly with shorter scenes, which is difficult to achieve with scenery but easily conveyed with sound. The development of film sound design is giving writers and directors higher expectations and knowledge of sound design. Consequently, theatre sound design is widespread and accomplished sound designers commonly establish long-term collaborations with directors.

Musicals
Sound design for musicals often focuses on the design and implementation of a sound reinforcement system that will fulfill the needs of the production. If a sound system is already installed in the performance venue, it is the sound designer's job to tune the system for the best use for a particular production. Sound system tuning employs various methods including equalization, delay, volume, speaker and microphone placement, and in some cases, the addition of new equipment. In conjunction with the director and musical director, if any, the sound reinforcement designer determines the use and placement of microphones for actors and musicians. The sound reinforcement designer ensures that the performance can be heard and understood by everyone in the audience, regardless of the shape, size or acoustics of the venue, and that performers can hear everything needed to enable them to do their jobs. While sound design for a musical largely focuses on the artistic merits of sound reinforcement, many musicals, such as Into the Woods also require significant sound scores (see Sound Design for Plays). Sound Reinforcement Design was recognized by the American Theatre Wing's Tony Awards with the Tony Award for Best Sound Design of a Musical until the 2014-15 season, later reinstating in the 2017-18 season.

Plays
Sound design for plays often involves the selection of music and sounds (sound score) for a production based on intimate familiarity with the play, and the design, installation, calibration and utilization of the sound system that reproduces the sound score. The sound designer for a play and the production's director work together to decide the themes and emotions to be explored. Based on this, the sound designer for plays, in collaboration with the director and possibly the composer, decides upon the sounds that will be used to create the desired moods. In some productions, the sound designer might also be hired to compose music for the play. The sound designer and the director usually work together to "spot" the cues in the play (i.e., decide when and where sound will be used in the play). Some productions might use music only during scene changes, whilst others might use sound effects. Likewise, a scene might be underscored with music, sound effects or abstract sounds that exist somewhere between the two. Some sound designers are accomplished composers, writing and producing music for productions as well as designing sound. Many sound designs for plays also require significant sound reinforcement (see Sound Design for Musicals). Sound Design for plays was recognized by the American Theatre Wing's Tony Awards with the Tony Award for Best Sound Design of a Play until the 2014-15 season, later reinstating the award in the 2017-18 season.

Professional organizations
 Theatrical Sound Designers and Composers Association (TSDCA)
 The Association of Sound Designers is a trade association representing theatre sound designers in the UK.
 United Scenic Artists (USA) Local USA829, which is integrated within IATSE, represents theatrical sound designers in the United States.
 Theatrical Sound Designers in English Canada are represented by the Associated Designers of Canada (ADC), and in Québec by l'Association des professionnels des arts du Québec (APASQ).

Music
In the contemporary music business, especially in the production of rock music, ambient music, progressive rock, and similar genres, the record producer and recording engineer play important roles in the creation of the overall sound (or soundscape) of a recording, and less often, of a live performance. A record producer is responsible for extracting the best performance possible from the musicians and for making both musical and technical decisions about the instrumental timbres, arrangements, etc. On some, particularly more electronic music projects, artists and producers in more conventional genres have sometimes sourced additional help from artists often credited as "sound designers", to contribute specific auditory effects, ambiences etc. to the production. These people are usually more versed in e.g. electronic music composition and synthesizers than the other musicians on board.

In the application of electroacoustic techniques (e.g. binaural sound) and sound synthesis for contemporary music or film music, a sound designer (often also an electronic musician) sometimes refers to an artist who works alongside a composer to realize the more electronic aspects of a musical production. This is because sometimes there exists a difference in interests between composers and electronic musicians or sound designers. The latter specialises in electronic music techniques, such as sequencing and synthesizers, but the former is more experienced in writing music in a variety of genres. Since electronic music itself is quite broad in techniques and often separate from techniques applied in other genres, this kind of collaboration can be seen as natural and beneficial.

Notable examples of (recognized) sound design in music are the contributions of Michael Brook to the U2 album The Joshua Tree, George Massenburg to the Jennifer Warnes album Famous Blue Raincoat, Chris Thomas to the Pink Floyd album The Dark Side of the Moon, and Brian Eno to the Paul Simon album Surprise.

In 1974, Suzanne Ciani started her own production company, Ciani/Musica. Inc., which became the #1 sound design music house in New York.

Fashion
In fashion shows, the sound designer often works with the artistic director to create an atmosphere fitting the theme of a collection, commercial campaign or event.

Computer applications and other applications
Sound is widely used in a variety of human–computer interfaces, in computer games and video games. There are a few extra requirements for sound production for computer applications, including re-usability, interactivity and low memory and CPU usage. For example, most computational resources are usually devoted to graphics. Audio production should account for computational limits for sound playback with audio compression or voice allocating systems.

Sound design for video games requires proficient knowledge of audio recording and editing using a digital audio workstation, and an understanding of game audio integration using audio engine software, audio authoring tools, or middleware to integrate audio into the game engine. Audio middleware is a third-party toolset that sits between the game engine and the audio hardware.

Interactivity with computer sound can involve using a variety of playback systems or logic, using tools that allow the production of interactive sound (e.g. Max/MSP, Wwise). Implementation might require software or electrical engineering of the systems that modify sound or process user input. In interactive applications, a sound designer often collaborates with an engineer (e.g. a sound programmer) who's concerned with designing the playback systems and their efficiency.

Awards
Sound designers have been recognized by awards organizations for some time, and new awards have emerged more recently in response to advances in sound design technology and quality. The Motion Picture Sound Editors and the Academy of Motion Picture Arts and Sciences recognizes the finest or most aesthetic sound design for a film with the Golden Reel Awards for Sound Editing in the film, broadcast, and game industries, and the Academy Award for Best Sound respectively. In 2021, the 93rd Academy Awards merged Best Sound Editing and Best Sound Mixing into one general Best Sound category. In 2007, the Tony Award for Best Sound Design was created to honor the best sound design in American theatre on Broadway.

North American theatrical award organizations that recognize sound designers include these:
 Dora Mavor Moore Awards
 Drama Desk Awards
 Helen Hayes Awards
 Obie Awards
 Joseph Jefferson Awards

Major British award organizations include the Olivier Awards. The Tony Awards retired the awards for Sound Design as of the 2014-2015 season, then reinstated the categories in the 2017-18 season.

See also
 Audio engineering
 Berberian Sound Studio
 Crash box
 Director of audiography
 List of sound designers
 Musique concrète
 IEZA Framework – a framework for conceptual game sound design

References

External links

 FilmSound.org: A Learning Space dedicated to the Art of Sound Design
 Kai's Theater Sound Hand Book
 Association of Sound Designers
 sounDesign: online publication about Sound Communication

Sound production
Film sound production
Stagecraft
Stage crew
Theatrical occupations
Theatrical sound production
Design

Sound design


An Carex vallis-rosetto in uska species han Liliopsida nga ginhulagway ni Karl Moritz Schumann. An Carex vallis-rosetto in nahilalakip ha genus nga Carex, ngan familia nga Cyperaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Carex

Carex vallis-rosetto


Seorsumuscardinus este un gen de hârciogi fosili de la începutul Miocenului din Europa. Este cunoscut din zona MN 4 (a se vedea MN zonificare) în Oberdorf, Austria; Karydia, Grecia; și Tägernaustrasse-Jona, Elveția, și din zona de MN 5 într-un singur sit la Affalterbach, Germania.   Înregistrările MN4 sunt plasate în specia S. alpinus și unica înregistrare MN 5 este clasificată ca specia S. bolligeri. Aceasta din urmă a fost plasată într-un gen separat, Heissigia, când a fost descrisă pentru prima dată în 2007, dar a fost reclasificată ca o a doua specie de Seorsumuscardinus în 2009.

Cele două specii de Seorsumuscardinus sunt recunoscute după dinții izolați, care arată că erau hârciogi cu dinți lați. Dinții sunt toți caracterizați de lungi creste transversale cuplate cu altele mai scurte. Una dintre aceste creste, anterotropidă, distinge cele două specii, ea fiind prezentă în molarii inferiori ai S. alpinus, dar nu în cei ai S. bolligeri. O altă creastă, centrolopha, ajunge la marginea externă a primului molar superior la S. bolligeri, dar nu și la S. alpinus. Seorsumuscardinus poate fi  asociat lui Muscardinus, genul actualului pârș de alun, care apare  aproximativ în același timp, și cu mai vechiul Glirudinus.

Taxonomie
În 1992, Thomas Bolliger a descris niște dinți de Seorsumuscardinus din localitatea elvețiană  Tägernaustrasse (MN 4; Miocenul timpuriu, vezi MN zonificare) ca un hârciog nedefinit (familie Gliridae), probabil, înrudit cu Eomuscardinus. Șase ani mai târziu, Hans de Bruijn a numit noul gen și specie Seorsumuscardinus alpinus pe baza materialului din Oberdorf, Austria (de asemenea MN 4) și a inclus fosile din Tägernaustrasse și de Karydia, Grecia (MN 4) în Seorsumuscardinus. În 2007, Jerome Prieto și Madeleine Böhme au numit Heissigia bolligeri ca un nou gen și specie din Affalterbach în Bavaria (MN 5, mai tânăr decât MN 4), dar nu au comparat noul gen cu Seorsumuscardinus. Doi ani mai târziu, Prieto a publicat o notă pentru a compara cele două și a concluzionat că acestea au fost referable la același gen, dar specii diferite. Astfel, genul Seorsumuscardinus include acum specia Seorsumuscardinus alpinus, MN 4 și S.bolligeri,          MN 5. Prieto a plasat provizoriu materialul  din Tägernaustrasse la S. alpinus. El a menționat, de asemenea, Pentaglis földváry, un nume dat unui singur molar superior din Miocenul mediu din Ungaria, care este acum pierdut. Deși specimenul prezintă unele asemănări cu Seorsumuscardinus, publicat ilustrațiile publicate sunt prea sărace pentru a confirma identitatea cu Pentaglis, și Prieto consideră că acest ultim nume este un neidentificabil nomen dubium.

Descriere

Numai dinții laterali ai Seorsumuscardinus sunt cunoscuți; aceștia includ cel de-al patrulea premolar și trei molari în maxilarul superior și în fălci (mandibula). Dinții sunt mijlocii pentru un hârciog și au o suprafață plată ocluzivă. S. bolligeri este puțin mai mare decât S. alpinus.

Partea superioară a dentiției
Cea de-al patrulea premolar superior (P4) are patru creste transversale principale; descrierea S. bolligeri menționează o creastă suplimentară, plasat central mici crest. De Bruijn interpretat patru principal vreme ca anteroloph, protoloph, metaloph, și posteroloph din față spre spate și a scris că aceste crestele nu sunt conectat pe părțile laterale ale dintelui. Prieto și Böhme rețineți că posteroloph este convexă pe marginea din spate a dintelui. În Muscardinus, numărul de creste pe P4 variază de la cinci în Muscardinus sansaniensis la două în M. pliocaenicus și de viață hazel alunarilor, dar protoloph și metaloph sunt întotdeauna legate în limbi (partea interioară) a dintelui. P4 este de două înrădăcinate în S. alpinus și trei înrădăcinate în S. bolligeri.

Gama
..În MN 4, Seorsumuscardinus a fost înregistrat la Oberdorf, Austria (siturile 3 și 4, în care s-au adunat dinți Seorsumuscardinus alpinus); Karydia, Grecia (S. alpinus); și Tägernaustrasse, Elveția (5 dinți; S. cf. alpinus). La Affalterbach, Germania, au fost găsiți 10 dinti de S. bolligeri .  În toate aceste localități, este parte a unui divers alunarilor faună. Pentru că distribuțiile celor două specii cunoscute sunt temporar distincte, Prieto a sugerat că genul poate fi util pentru biostratigrafie (utilizarea de fosile pentru a determina vârsta depozitelor). Seorsumuscardinus a avut loc în același timp cu mai vechi cunoscutul  Muscardinus

Referințe

Fosile
Fauna Miocenului
Mamifere dispărute

Seorsumuscardinus


Porsuk (Taxus), porsukgiller (Taxaceae) familyasından Taxus cinsinden ibreli ağaç türlerine verilen ad.

Türkiye'de Porsuk ağacının nesli tehlikede olup, tohumdan porsuk ağacı yetiştirme oldukça zordur. %20 başarı sağlayanlar bunu bilimsel makale olarak yayınlayabilmektedir, ancak çoğaltılması için henüz ideal bir yöntem bulunabilmiş değil. Porsuğun turuncu-kırmızı-yeşil renkli özgün meyvesi az etli olması ve ticari değer taşımamasına karşın oldukça tatlı olup, meyve içindeki çekirdeğinin çıkarılması şartıyla yenilebilmektedir. Bitkinin bütün diğer kısımları zehirlidir, hele hele meyve çekirdeği (tohumu) aşırı derecede zehirlidir, zira kuşların aksine insan midesi meyve çekirdeğini parçalayabilme yeteneğini haiz olup, çekirdeğin yenmesi halinde mide asidiyle birlikte parçalanan zehirli alkoloidler ölüme kadar varan zehirlenmelere neden olmaktadır. Çimlenme engeli, kuşların zehirsiz olan meyveyi yiyip,insanlar için zehirli olan tohumunu (meyve çekirdeğini) dışkılamasıyla ortadan kalkmaktadır.

Porsuk ağacı çiçekli bir bitkidir ve iki evciklidir. Yani erkek ve dişi organ farklı ağaçlarda bulunur. Porsuk ağacı savaşların kazanılmasına vesile olmuştur.

Porsuktan elde edilen ahşap oldukça esnek bir o kadar dayanıklıdır. Bu nedenle geleneksel yayların yapımında kullanılmıştır. Porsuk ağacı bitkisinden elde edilen taksol antikanserojen etkiye sahip bir maddedir ve günümüzde etkili olarak kanser tedavilerinde kullanılmaktadır. Eylül-Ekim den Aralık-Ocak aylarına kadar  meyveleri, sanki ağaçta yeni yılı karşılar gibi çok güzel görüntü oluştururlar.

Türkiye'de bulunan en yaşlı porsuk ağacı Zonguldak ilinde Alaplı ilçesi Kartepe'de 1200 metre yükseklikte bulunan; 4 bin 112 yıllık olduğu tespit edilen porsuk ağacıdır. Orman ve Su İşleri Bakanlığı Milli Parklar Genel Müdürlüğü tarafından koruma altına alınmıştır. Diğer en yaşlı porsuk ağaçları ise Türkiye'nin 105. tabiat anıtı olan Bölüklü Ormanlarında yer alan biri 1600 diğeri 1000 yaşındaki porsuk ağaçlarıdır. İstanbul'daki en ilginç örnek Eyüp Sultan Camii yakınındaki Cafer Paşa Medresesi avlusundaki ağaçtır.

Türler
 Yaygın porsuk (Taxus baccata) Türkiye.
 Pasifik porsuğu (Taxus brevifolia)
 Kanada porsuğu (Taxus canadensis)
 Çin porsuğu (Taxus chinensis)
 Japon porsuğu (Taxus cuspidata)
 Florida porsuğu (Taxus floridana)
 Meksika porsuğu (Taxus globosa)
 Sumatra porsuğu (Taxus sumatrana)
 Himalaya porsuğu (Taxus wallichiana)

Kaynakça

Taxus
Dioik bitkiler

Porsuk (bitki)


Penela  belediyesi, Portekiz'in Centro bölgesine bağlı Pinhal Interior Norte altbölgesinin belediyelerinden biridir.

Bucaklar
Belediyede 6 bucak (Por.: freguesia) yer almaktadır.

 Cumeeira
 Espinhal
 Podentes
 Rabaçal
 Santa Eufémia (Penela)
 São Miguel (Penela)

Pinhal Interior Norte belediyeleri

Penela


The Scottish Claymores were an American football team based in Scotland. The franchise played in the World League of American Football (later renamed NFL Europe) between 1995 and 2004, initially playing all home games at Murrayfield Stadium, Edinburgh and latterly sharing home games with Hampden Park, Glasgow. In ten seasons of NFL Europe play, the Claymores reached the World Bowl on two occasions, with victory in World Bowl '96 but defeat in World Bowl 2000. Their name derives from that of the Claymore, a double-edged sword historically used in Scottish clan warfare. One notable player was Gavin Hastings, a Scottish rugby international who was used as a place kicker in 1996.

The Claymores experienced several notable swings in fortune during their ten years. Their World Bowl-winning season of 1996 was the league's first worst-to-first turnaround: having finished 1995 with a 2–8 record and no wins at home, the 1996 Claymores went 7–3 in the regular season and won all their home games. Equally remarkable was the contrast between their first home games of the 2003 and 2004 seasons. In week 1 of the 2003 season, the Claymores defeated the Berlin Thunder 62–31 – the highest scoring game in NFL Europe history – but in 2004 their home opener was a 3–0 defeat at the hands of the Amsterdam Admirals, tying the record for the league's lowest-scoring game.

History
In 1992, the World League of American Football was put on hold by the NFL, with the intention of restructuring the league to become completely European-based. As a result, the three existing European teams in Barcelona, London and Frankfurt survived to be joined by three new teams, and in 1994 it was announced that Edinburgh had been awarded one of them (along with Amsterdam and Düsseldorf). The Claymores were assigned former Arena Football League coach Lary Kuharich to be their first head coach, but just days before their first game against Rhein, Kuharich was dismissed and replaced by former Boise State head coach Jim Criner.

1995 season

The Claymores' first roster included five players sent to the club from the NFL, including quarterbacks Matt Blundin from the Kansas City Chiefs and Lee Williamson from the Houston Oilers; as with all World League teams, it included seven "national" players, including wide-receiver Scott Couper. The Claymores played their first-ever game in Edinburgh on 9 April 1995, a 19–17 loss to the Rhein Fire (Coincidentally, the Claymores' three worst seasons (1995, 1998 and 2004: all 2–8) would all begin in the same way: with the Claymores falling to week 1 defeat on a missed field goal. In the other 7 seasons, the Claymores started 1–0). The team's first win came two weeks later, 20–14 over the Galaxy in Frankfurt. Six straight defeats followed however, including a 31–0 shutout to the Amsterdam Admirals and an overtime loss to the Fire, before winning the final game of the regular season 22–9 against British rivals the London Monarchs.

The Claymores finished bottom of the six-team division with its 2–8 record. Criner used four quarterbacks over the course of the season; Blundin, Williamson, Terry Karg and a brief outing for Jim Ballard. The team's offensive leader was Siran Stacy, who rushed for 785 yards and five touchdowns, and caught receptions totalling 324 yards. Allan DeGraffenreid also made 624 receiving yards and four touchdowns. Attendances were around the 10,000 mark to begin, but slumped as low as 6,800 for the final home game of the season.

1996 season

The Claymores made an aggressive marketing push for the 1996 campaign under new general manager Mike Keller, which even included bringing in former Scotland Rugby union captain Gavin Hastings as a placekicker. Criner's 1996 roster featured an increased number of signed NFL players. Quarterback Steve Matthews (like Blundin, contracted to the Chiefs) opened the season, but when returnee Jim Ballard showed greater consistency coming off the bench to replace an injured Matthews in week seven, Ballard would get  the nod for the remainder of the season. Starting 1996 where they had left off 1995, the Claymores opened with an overtime victory over the London Monarchs, followed up with home wins against the Barcelona Dragons (23–13) and the Amsterdam Admirals (21–14). Despite defeat away to Rhein the 3–1 start propelled the Claymores into a mid-season showdown with the unbeaten Frankfurt Galaxy on 11 May, where under WLAF rules the winner would advance to the World Bowl as hosts. A 20–0 win meant the championship game was coming to Edinburgh. The Claymores ran out the regular season with a 7–3 record to top the division. On 23 June, the Claymores again faced the Galaxy in World Bowl 96 at Murrayfield. The hosts rode three touchdown passes from Ballard to game MVP Yo Murphy and held off a late rally to win 32–27, thus completing the WLAF's first worst-to-first turnaround in front of a crowd of 38,982.

Siran Stacy was again influential in offense, with a nearly identical haul to his previous season's; 780 rushing yards and 317 receiving yards, for nine touchdowns. Sean LaChapelle was a thousand-yard receiver but forced out of the World Bowl with a groin injury, while Yo Murphy managed five touchdowns on the season. On defense, safety George Coghill picked five interceptions, one returned for a touchdown. Coghill also forced a Galaxy fumble from the opening kickoff in the World Bowl, with all-round special teams player Markus Thomas returning the spilled ball for a touchdown; he also led the team in tackles, and caught one pass on offense. Safety James Fuller shared Coghill's total of five interceptions, while defensive tackle Jerold Jeffcoat – brother of the Dallas Cowboys' Jim – had five sacks on the season.

1997 season
Scotland's 1997 season opened with a 16–3 victory in Amsterdam, followed up by back-to-back defeats and closing out the first half of the season 3–2. Two more straight wins improved World Bowl prospects, but a narrow 10–9 defeat to the Monarchs in the penultimate week left the Claymores needing a victory in Barcelona against the Dragons – however, they were trounced 46–18 and finished the season 5–5, surrendering the second World Bowl spot to Barcelona in the process.

Quarterback time was shared between the San Francisco 49ers' Dave Barr and the Miami Dolphins' Spence Fischer (who doubled as occasional punter). However, they managed just four touchdown passes combined while throwing 10 interceptions and sharing 31 sacks. Siran Stacy completed another 785-yard rushing season with four touchdowns; Yo Murphy was the leading receiver with 559 yards and two touchdowns; only he, Scott Couper and Allan DeGraffenreid completed touchdown passes on the season. George Coghill again led the defense in tackles.

1998 season
A much-changed 1998 roster saw World Bowl-winning quarterback Jim Ballard back in Scotland after missing 1997; however, two of the team's offensive leaders from the previous year, Siran Stacy, and Yo Murphy, did not return. Jim Criner led his team into the opening game in Barcelona, where kicker Gary Parker missed what would have been a game-winning field goal from 31 yards, the Claymores losing out 19-18. Three more defeats followed in Amsterdam (26-3), at home to the Fire (20-10) and at the now-England Monarchs (14-10), with the first win of the season only coming in Week 5, 30-10 over the Dragons. Their 1-4 start made World Bowl qualification very unlikely; their week 6 defeat to the Fire (perfect to this point in the season) sealed their fate. The side slumped to bottom of the division, finishing 2-8.

The new-lock backs and receivers failed to match previous seasons' yardage figures; leading rusher Carey Bender made 441 yards, while Chris Miller topped the receiving statistics with 34 receptions for 527 yards. In total the Claymores managed just twelve offensive touchdowns in ten games, punting the ball 53 times.

Off the field, it was a troubled season for Scotland in the now rebranded NFL Europe League, where leaked information that a third German team was to be founded to add to the already successful Fire and Galaxy sparked concerns the Claymores may be closed down: eventually however, it would be the England Monarchs who would be replaced by the Berlin Thunder, ending the Battle of Britain rivalry series tied at 4-4. It was also during the 1998 season the Claymores played at Hampden Park in Glasgow for the first time, a week 8 loss to the Galaxy (originally, the Glasgow game was scheduled to be the week 10 visit of the Amsterdam Admirals at Firhill Stadium).

Four home games played in Edinburgh and one in Glasgow.

1999 season
For 1999, Scotland were allocated Carolina Panthers quarterback Dameyune Craig, who opened the season with a narrow 21-20 win over the Rhein Fire, rushing for the winning touchdown himself late in the fourth quarter. The Claymores then hammered the league's newest team, the Berlin Thunder, 48-14, Shon Bell catching two touchdown passes from tight-end. An overtime loss to Frankfurt followed; but by the time Scotland had returned to Frankfurt in Week 6, winning with a reverse of the 42-35 scoreline that the Galaxy had earned in Week 3, Scotland were 4-2 and in contention to reach World Bowl VII. However, the team then collapsed to four consecutive defeats, two of them back-to-back against Amsterdam, and finished ahead of only Berlin in the final standings.

The side's leading rusher in 1999 was Jesse Haynes, with quarterback Craig contributing 50 rushing attempts and 3 touchdowns. Haynes totalled eleven touchdowns, seven rushing and four receiving. Yo Murphy returned to the Claymores with four touchdown catches (and an 89-yard kickoff return for a touchdown) but the leading wide receiver was Donald Sellers, who totalled 931 receiving yards for seven touchdowns.

Although the Claymores finished the 1999 season with a losing record, there would still be a historical moment: Craig would throw for 611 yards in the road victory in Frankfurt, a record passing total in professional American football. The helmet and number 2 jersey Craig wore that night are on display in the Pro Football Hall of Fame in Canton, Ohio.

Three home games played in  Edinburgh and two in Glasgow.

2000 season

The 2000 Claymores were fronted primarily by Kevin Daft; a 32-year-old Siran Stacy was on the roster for 2000 but had very little playing time. Like previous seasons, the Claymores opened positively with opening wins against Amsterdam and in Frankfurt. A 42-3 demolition of the Berlin Thunder sent the Claymores to 3-1, but with World Bowl qualification in the balance, the Claymores strung together three big late-season wins; with defeat over the Fire at Hampden on 10 June secured a World Bowl finale between those teams. Scotland led 7-3 when Aaron Stecker went over with a 36-yard first-quarter rush, exchanging field-goals for a 10-6 halftime lead. Pepe Pearson scored the second half's only touchdown for the Fire, leaving Rob Hart to attempt a game-tying field goal with eight seconds left; it sailed left, and Scotland lost World Bowl VIII in what turned out to be Criner's last game as head coach as he would depart for the XFL

2000 was much more successful offensively for Scotland; Aaron Stecker, an allocation from the Tampa Bay Buccaneers, was the first Scotland running back to near Stacy's early-season figures with 774 rushing yards, 276 receiving yards and 11 total touchdowns. Sellers again led Scotland in receiving yards (353, 5 touchdowns). Scott Couper caught three touchdown passes; in total, the Claymores outscored their opponents by 37 touchdowns to 18. Three Claymores shared a season-leading total of seven sacks; Antonio Dingle, Michael Mason and Jabbar Threats.

Three home games played in  Edinburgh and two in Glasgow.

2001 season
For 2001 – the first season under Criner's replacement, Gene Dahlquist and the first home campaign that would be played entirely in Glasgow – the new Scotland quarterback was the Dallas Cowboys' Clint Stoerner; however offensive leaders of 2000 like Stecker failed to return. Close games were the nature of Scotland's early season, trading wins for losses over the opening six games, never by a margin of more than ten points. With the Claymores at 3-3 as the season entered its crucial period in June, the 2001 Claymores lost three games on the bounce as their predecessors had won them. A consolation victory against the Fire completed another losing season, the third in five years, 4-and-6.

Stoerner completed around 55% of passes on the season and threw 10 touchdowns, compared to Daft's previous-season tally of 24. His primary target was tight-end James Whalen, a fellow Cowboys recruit, while Dante Hall provided five touchdown catches; the only other Claymores to catch a touchdown pass were Scott Couper and Gerald Williams. Anothony Gray led the Claymores in rushing at 445 yards and half of the franchise's four rushing touchdowns on the year.

2002 season
Another year, another quarterback for Scotland; their fifth starter in five years was the Detroit Lions' Scott Driesbach. His season opened well with a 45-17 demolition of Barcelona; Driesbach's first play in a Claymores uniform was a touchdown pass to Scott McCready. The win was the only victory of Scotland's first four games, as they slumped to defeats of less than a touchdown to Rhein and Frankfurt (twice). Scotland did not contest a game decided by less than ten points throughout the season's remainder; three straight wins took them back to a promising 4-3, but back-to-back defeats against the Berlin Thunder ended World Bowl hopes. Victory in Barcelona – for the first time ever – ended a .500 season.

Driesbach completed just 95 passes all season, and was replaced with James Brown; totalling just 1518 offensive yards were top receivers McCready and Dondre Gilliam. Scotland's rushing game was a one-man show, with #29 Herbert Goodman making 873 yards and every one of Scotland's six rushing touchdowns. To sixteen offensive touchdowns were added three interception returns, including a 69-yarder by James Rooths. Rob Hart was a perfect 10-10 in field goals, sharing kicking time with Scottish-born kicker Lawrence Tynes.

Four home games played in Glasgow and one in Edinburgh.

2003 season
For 2003, Craig Nall was recruited from the Green Bay Packers to play at quarterback; Scott McCready was one of few players to return for a second Claymores season. An NFL Europe scoring record came with Scotland's opening 62-31 defeat of the World Bowl champion Thunder. There were four rushing touchdowns for Ken Simonton and a TD catch on return from "retirement" for Scott Couper. Over the next five games, Scotland added just one victory however, and were all but out of World Bowl contention by mid-May Shutting out the Rhein Fire 33-0 rekindled hopes, and strong victories over Barcelona and Amsterdam twice brought around a 6-4 conclusion, matching the season's best; however, they were denied a spot in World Bowl XI on the tie-breaker of net results with the Frankfurt Galaxy and Rhein Fire, which was increasingly unfortunate as the World Bowl was to be staged at Hampden Park.

Ken Simonton resprised Herbert Goodman's rushing role, totalling just two yards (and two touchdowns) less than Goodman's tally. Maurice Hicks received 74 handoffs as well, scoring four rushing touchdowns, including a 93-yarder. Through the air, Nall's best receivers were Edell Shepherd (518 yards, 4 touchdowns) and John Minardi (470 yards, 5 touchdowns). Ten Claymores caught touchdown passes on the season. TJ Bingham took seven sacks on defense.

Dahlquist was fired after the 2003 season, and after the Barcelona Dragons became the second NFL Europe team to be relocated to Germany (becoming the Cologne Centurions) their head coach Jack Bicknell stepped into the vacancy. In his single season in charge, the Claymores finished 2-8.

2004 season
2004 opened very poorly for Scotland, with four consecutive losses to open up the season. Only a 13–12 win over the Rhein Fire prevented a first-half shut-out. The same 1–4 record was posted for the second half of the season, completing a 2–8 season for the third time (equal worst in the team's history) and failure to qualify for World Bowl XII.

Closure
On 21 October 2004, NFL Europe announced that the Scottish Claymores would be discontinued in favour of a franchise in a more competitive German market. While Scotland's attendance average over their 10-season history of 11,306 was comparable to some Scottish Premier League clubs, teams in Germany were able to consistently bring in more support. Scotland were ultimately replaced by the Hamburg Sea Devils on 24 November for the 2005 NFL Europe season. Despite closing, the Scottish Claymores identity is being  maintained to induct players to their Hall of Fame, and as a means for promoting amateur American football in Scotland. The team played a total of 26 regular season home games in Edinburgh and 24 regular season home games in Glasgow.
One World Bowl was played in Edinburgh and one in Glasgow.

Season-by-season

Head coaches

Hall of Fame
The Scottish Claymores Hall of Fame inducted new members every year from 1999 to 2006, except 2005.
1999:  Siran Stacy,  George Coghill
2000:  Sean LaChapelle,  Mark Sander
2001:  Jim Ballard,  Purvis Hunt,  Jim Criner (head coach)
2002:  Dameyune Craig,  Yo Murphy
2003:  Marco Rivera,  Aaron Stecker
2004:  Joe Andruzzi,  James Fuller,  Dante Hall,  Duane Hawthorne,  Paul McCallum,  Barry Sims,  Barry Stokes and non-playing staff including the fans in general
2006:  Scott Couper,  Robert Flickinger,  Rob Hart,  Craig Nall,  Scott McCready,  Chris Ward,  Steve Livingstone (general manager)

References

Defunct American football teams in Scotland
NFL Europe (WLAF) teams
Sports clubs and teams in Edinburgh
Sports clubs and teams in Glasgow
American football teams established in 1995
American football teams disestablished in 2004
1995 establishments in Scotland
2004 disestablishments in Scotland

Scottish Claymores


Onthophagus rufiobscurior é uma espécie de inseto do género Onthophagus, família Scarabaeidae, ordem Coleoptera.

Foi descrita cientificamente por Ochi, Kon & Tsubaki em 2009.

Referências

Ligações externas

rufiobscurior
Coleópteros descritos em 2009

Onthophagus rufiobscurior


Büyükörence, Tunceli ilinin Çemişgezek ilçesine bağlı bir köydür.

Tarihçe
Geçmişte Örence-i Kebir (Büyük Örence) ve Örence-i Sagir (Küçük Örence) olmak üzere iki ayrı köyden oluşurken, 1951 yılında Örence-i Sagir köy tüzel kişiliğinin kaldırılarak mahalle statüsüne düşürülmesiyle günümüz köyü meydana gelmiştir. Köyün adı, 1955 yılı nüfus sayımında Büyükörence olarak görülmektedir.

Coğrafya
Tunceli iline 130 km, Çemişgezek ilçesine 7 km uzaklıktadır.

Nüfus

Kaynakça

Dış bağlantılar

Çemişgezek belde ve köyleri

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Papa Ibra Tall, né en  à Tivaouane et mort , est un artiste peintre sénégalais.

Biographie
Papa Ibra Tall naît en 1935 à Tivaouane.

Il est formé à l'École spéciale d'architecture de Paris et suit des études en pédagogie comparée pour l'enseignement de l'Art à Sèvres dont il ressort diplômé en 1959.

Il est considéré comme un artiste de talent et un pionnier des arts plastiques. Mort le  à l'âge de 80 ans, il inhumé le lendemain dans sa ville natale.

Références

Liens externes

Naissance en 1935
Naissance à Tivaouane
Naissance en Afrique-Occidentale française
Artiste sénégalais
Peintre sénégalais
Décès en juillet 2015
Décès à 80 ans

Papa Ibra Tall


(Mileniul al VIII-lea î.Hr. - Mileniul al VII-lea î.Hr. - Mileniul al VI-lea î.Hr. - alte secole și milenii)

Al șaptelea mileniu î.e.n. a durat din anul 7000 î.e.n. până în anul 6001 î.e.n.

Evenimente

Mileniul al VII-lea î.Hr.


An Pitcairnia crinita in uska species han Liliopsida nga ginhulagway ni Edmundo Pereira ngan Gustavo Martinelli. An Pitcairnia crinita in nahilalakip ha genus nga Pitcairnia, ngan familia nga Bromeliaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Pitcairnia

Pitcairnia crinita