Alice Candy, née le , à  dans la région de Canterbury, et morte le  à Christchurch, est une universitaire néo-zélandaise. Elle est maître de conférences en histoire au collège de Canterbury, de 1920 à 1948.

Biographie
Alice Candy naît en 1888 à Oxford, dans la région de Canterbury en Nouvelle-Zélande. Elle fréquente le lycée pour filles de Christchurch. Elle obtient une bourse d'études et s'inscrit en sciences politique et économique au Canterbury College.

Elle est diplômée en économie en 1910 et obtient une maîtrise ès arts avec distinction en science politique en 1911. Elle enseigne dans plusieurs écoles, dont la Chilton Saint James School à Lower Hutt.

Candy est nommée maître de conférences d'histoire au Canterbury Collège en , deuxième femme universitaire de l'université, après la biologiste .

Elle travaille avec l'historien , ils publient ensemble en 1927 A short history of the Canterbury College (University of New Zealand) with a register of graduates and associates of the college À l'époque, entre un quart et un tiers des étudiants étaient des femmes, et Candy joue un rôle actif dans leur prise en charge, étant directrice de Helen Connon Hall, une résidence universitaire réservée aux femmes.

Après sa retraite, elle siège au conseil de l'université.

Association néo-zélandaise des femmes diplômées d'université
Alice Candy est très active au sein des associations de femmes universitaires en Nouvelle-Zélande. Elle est membre fondateur de la Canterbury Women Graduates' Association, qui devient ensuite une branche locale de la New Zealand Federation of University Women. Elle est présidente de la section de Canterbury (1926–1927), vice-présidente de l'association nationale (1929), et déléguée de la fédération au National Council of Women of New Zealand (1926–1927 puis 1928–1929).

Elle meurt le  à Christchurch. Un bâtiment du campus porte son nom, et un portrait d'elle réalisé par W.A. Sutton est détenu par l'université. La Christchurch Art Gallery détient quelques croquis préparatoires pour le portrait.

Publications
 A short history of the Canterbury College (University of New Zealand) with a register of graduates and associates of the college, 1927.

Références

Voir aussi

Bibliographie

Liens externes

Historienne
Historien néo-zélandais du XXe siècle
Professeur à l'université de Canterbury
Universitaire néo-zélandais du XXe siècle
Étudiant de l'université de Canterbury
Naissance en juillet 1888
Naissance dans la région de Canterbury
Décès en mai 1977
Décès à Christchurch
Décès à 88 ans
Personnalité féminine néo-zélandaise

Alice Candy


Rochdale Association Football Club is a professional football club based in the town of Rochdale, Greater Manchester, England. The team currently compete in the National League, the fifth tier of the English league system. Nicknamed 'The Dale', they have played home matches at Spotland Stadium since 1920 and contested derby matches with Bury.

Founded in 1907, Rochdale entered the Lancashire Combination and after securing promotion out of Division Two in 1909–10 they won the Division One title in 1910–11 and 1911–12. They then switched to the Central League, before being invited into the Football League when the Third Division North was created in 1921. The club remained in the division for 47 years but were relegated out of the new nationwide Third Division in 1959. They reached the League Cup final in 1962 and secured promotion out of the Fourth Division in 1968–69. Relegated in 1974, Rochdale remained in the fourth tier for 36 seasons after unsuccessful play-off campaigns in 2002, 2008 and 2009. The club finally secured promotion in 2009–10 and following relegation in 2012 were  promoted to the third tier for a third time in 2013–14, but were relegated back to League Two in 2020–21. After 102 years as a Football League club, they were relegated to the National League at the end of the 2022–23 season.

History

Rochdale played 36 consecutive seasons in the Football League's bottom division from 1974 to 2010, the longest time any team has been in the bottom division of the League, with some even derisively calling it "the Rochdale Division". The club has the lowest average position of all the clubs which have existed continuously in the Football League since its expansion to four divisions in 1921–22 (76th) and since its expansion to 92 clubs in 1950–51 (79th). Additionally, the club holds the distinction of having played the most seasons in the English Football League without reaching the top two tiers (95 seasons as of 2022–23, when they were relegated to the National League).

The club reached the League Cup final in 1962. This was the first time a club from the bottom league division had reached the final of a major competition – where they lost to Norwich City.

During its history, the club has had three promotions and four relegations, with promotion coming in 1969 and 2010 and 2014 and relegation in 1959, 1974, 2012 and 2021. The 1959 relegation followed the 1958 restructuring which saw the combination of the two Third Division sections into the Third Division and Fourth Division. In the restructuring, Rochdale managed to secure a spot in the Third Division but was relegated at the end of the season to the now lowest Fourth Division.

1907–1999

Rochdale A.F.C. was formed in 1907. After World War I the Football League was expanded and the club unsuccessfully applied to join. In 1921 Rochdale was recommended to be included in the new Third Division North, and played their first League game at home against Accrington Stanley on 27 August 1921, winning 6–3. However, this first season ended with the club at the bottom of the League, having to reapply for membership.

The club reached the League Cup final in 1962 led by Tony Collins. This was the first time a club from the bottom league division had reached the final of a major competition – where they lost to Norwich City 4–0 on aggregate. Rochdale had beaten Southampton, Doncaster Rovers, Charlton Athletic, York City, and Blackburn Rovers on their route to the final.

The club's first promotion came in 1969, earned by a team largely assembled by manager Bob Stokoe, though it was Stokoe's assistant, Len Richley who steered Rochdale to promotion after Stokoe moved to Carlisle United. In the early stages of the 1969–70 season, Rochdale topped the Third Division table, sparking hopes of a second successive promotion. The team's form significantly declined around Christmas 1969, however, and a failure to halt the team's decline led to the dismissal of Richley. He was succeeded by Dick Conner, who stabilised the club's form and steered them to a 9th-place finish. The following three seasons saw the club finish in the lower reaches of the Third Division table, narrowly avoiding relegation each time. The board viewed merely surviving in the Third Division as unacceptable and replaced Conner with Walter Joyce for the 1973–74 season. This move failed to pay off, and Rochdale was relegated after a campaign in which they won only 2 of 46 league games.

The club finished bottom of the league in 1977–78 but was successful in their bid for re-election. Southport, which had finished one place above Rochdale, was demoted instead and replaced by Wigan Athletic. Rochdale finished bottom for a second time in 1979–80, but was again re-elected – by one vote over Altrincham. In 1989–90 the club reached the fifth round of the FA Cup for the first time but lost 1–0 to Crystal Palace.

Steve Parkin was appointed as manager in 1998, a period in which the success of the club improved significantly with the emergence of talented players such as Gary Jones, Clive Platt, Grant Holt and Kevin Townson.

21st century

2000–2010
Parkin left to take over at Barnsley in November 2001 with Rochdale second in the Third Division. This gained him little popularity with the fans, especially when he took Gary Jones with him. John Hollins was appointed as his successor and the club finished the season in 5th place, entering the promotion play-offs where they lost to Rushden & Diamonds in the semi-final.

The club reached the fifth round of the FA Cup again the following season, but lost 3–1 at Wolves. Hollins was replaced by Paul Simpson in 2002, and Alan Buckley, appointed and sacked as manager in 2003. Parkin then returned to the club as manager, until being sacked in December 2006.

Parkin's replacement, Keith Hill, who was initially appointed as caretaker manager, became arguably the club's most successful manager to date. Hill and his assistant manager David Flitcroft led Rochdale to a 5th-place finish in 2007–08, securing a play-off place. After beating Darlington 5–4 on penalties in the semi-final, Rochdale reached Wembley for the first time in their history. Despite taking the lead in the match, they lost the final 3–2 to Stockport County.

In the 2008–09 season, Rochdale reached the League Two playoffs for the second consecutive season, finishing 6th in the table on 70 points. Rochdale lost 2–1 on aggregate to Gillingham in the playoff semi-finals. Season 2009–10 ended a 41-year wait for promotion with a win over Northampton Town as Rochdale secured the third automatic promotion spot. Rochdale continued their progression under Keith Hill, now with the club for 3 years, with a secured spot in League One in 2010–11. In 2010–11 Rochdale finished 9th in league one with 68 points, equalling their highest league finish since 1969–70.

2010–2014

On 1 June 2011 manager Keith Hill joined Championship club Barnsley. Former Manchester City apprentice and youth coach Steve Eyre was confirmed as Hill's replacement on 12 June 2011. Eyre's spell at Spotland did not last long, as he was sacked after 27 competitive games in charge, the team having recorded just 4 league wins in this time. Eyre's last game was a 0–0 draw against Yeovil, in which Yeovil's keeper Rene Gilmartin played the second half with a dislocated finger. Director of youth Chris Beech was then appointed as caretaker manager. Under Beech's first game in charge, the team drew 1–1 with Preston North End with an equaliser from Daniel Bogdanović who scored on his debut. Beech's 5 games in charge ended with a 5–1 defeat by Stevenage and a 3–0 defeat to bottom of league Wycombe Wanderers.

On 24 January 2012, Accrington Stanley's John Coleman was confirmed manager as the successor to Steve Eyre and left his club where he had been for more than a decade. John Coleman's first match in charge was a 3–0 win at home over Bury in the local derby. However, on 21 April, Rochdale lost 2–1 to Chesterfield resulting in relegation from League One after two years in the league. John Coleman's and Jimmy Bell's contracts were terminated by Rochdale on 21 January 2013 following a poor run in form. In January 2013, Keith Hill, previously in charge of Rochdale from 2007 to 2011, was appointed as the new manager.

The 2013–14 season was much more successful for Rochdale, they were promoted to League One in third-place on 26 April 2014, after beating Cheltenham Town 2–0. One of the highlights of the season was reaching the fourth round of the FA Cup for the first time in eleven years after beating Championship side Leeds United 2–0.

Return to League One (2014–2021)
Playing at the club's highest level, the 2014–15 season was the club's most successful yet. Rochdale missed out on the playoffs by six points, eventually finishing in 8th place, their highest league placing. The club impressed in the FA Cup again, this time reaching the fourth round, losing out 4–1 to Premier League side Stoke City. The 2015–16 season saw Rochdale finish 10th in League One, whilst they finished 9th in 2016–17.

In 2017–18, Rochdale narrowly avoided relegation, finishing 20th in League One. Despite a poor domestic season, Rochdale reached the fifth round of the FA Cup where they met Premier League side Tottenham Hotspur at Spotland. Rochdale held Tottenham to a 2–2 draw, resulting in a replay at Wembley Stadium where Rochdale lost out 6–1. On 4 March 2019, Rochdale sacked manager Keith Hill after six years in charge: with Rochdale in 22nd place. Hill was replaced by Brian Barry-Murphy who led Rochdale to 16th place in the 2018–19 season. In the 2019–20 season, Rochdale reached the third round of the EFL Cup where they lost 5–3 on penalties at Old Trafford against Manchester United after holding the Red Devils to a 1–1 draw in normal time in front of 5,500 travelling supporters. Rochdale also reached the FA Cup third round where they managed a 1–1 home draw with Premier League side Newcastle United, before losing the replay 4–1 at St James' Park. However, the COVID-19 pandemic forced the cancellation of the season after 34 matches. Final league positions were decided on a points per game basis, with Rochdale finishing in 18th place.

League Two (2021–2023)
After finishing 21st, Rochdale were relegated from League One at the end of the 2020–21 season, and finished 18th in their first League Two campaign. The club started the 2022–23 season with five straight defeats, and sacked manager Robbie Stockdale in mid-August 2022; the side's first league win came in their 10th game, away at Colchester United, overseen by Jim Bentley who had been appointed manager on 29 August. Also in August 2022, Rochdale settled a High Court action regarding an attempted hostile takeover of the club by investors Morton House MGT in July 2021; in October 2022, Rochdale were given a six-point penalty, suspended for two years, for failing to comply with EFL regulations over the attempted takeover. On 8 November 2023 Ian Henderson became Rochdale's all-time leading goalscorer, scoring against Salford City in a 1–0 home win to surpass Reg Jenkins' long standing record of 129 goals. On 27 March 2023, Rochdale sacked manager Bentley; under him, the side had won just six out of 32 league games and were 10 points from safety with eight games remaining. Jimmy McNulty was appointed interim manager, later (12 May) taking on the role permanently. On 22 April 2023, a 1–0 defeat against Stockport County confirmed relegation to the National League after 102 years as a Football League club.

Club badge and colours

The club crest used by Rochdale AFC is a variant of the arms of the former County Borough of Rochdale. The coat of arms, based on those of the local and reputed Rochdale family with certain additions, was granted to the Borough by Herald's College in 1857. At its centre, a shield shows a sack of wool and a cotton plant, representing the local wool and cotton industries. Around the edge of the shield sit eight martlets (birds). These are taken from the Rochdale family coat of arms (mentioned above) and are widely used on heraldic devices. Above the shield and helm (in the position technically known as the "crest" in heraldry) more local industry representations are made by the inclusion of a fleece of wool (suspended by a band) and the iron centre of an old mill-stone (known as a mill-rind).

A motto below the shield reads Crede Signo. Roughly translated, this means "Believe in the sign". The blazon (official heraldic description) for the arms reads as follows: "Argent a woolpack encircled by two branches of the cotton tree flowered and conjoint proper; a bordure sable charged with eight martlets of the field; and for a crest on a wreath of the colours a mill-rind sable and above a fleece argent banded or."

When Rochdale Metropolitan Borough Council was formed in 1974, a new coat of arms was created and awarded for council use. Rochdale A.F.C., however, retained their variant of the old Rochdale County Borough arms.

Rochdale's current home colours are black and blue shirts, white shorts and blue and black hooped socks. Previously, Rochdale's usual colours were blue and white, introduced in 1949. Prior to this, Rochdale wore black and white stripes, which was influenced by the strong Newcastle United side of 1907 (the year Rochdale was formed), the stripe which they adopted for their centenary season in 2007.

This black and white kit was re-introduced in the 2007–08 season as the one-off centenary kit; the new Internazionale-influenced design which succeeded it was an amalgamation of the striped kit and the blue kit to herald the second century of Rochdale's existence. Between 2010 and 2012 Rochdale's shirts were predominantly blue with black pinstripes on the body and black sleeves.

Rochdale's away kit comprises white shirts with a purple stripe, purple shorts and purple and white hooped socks. Other historical away kits have included yellow, teal, green and red. Other kits have included white shirts with black shorts, white shirts with blue shorts and a blue shirt with white sleeves.

Kit manufacturers and shirt sponsors
Rochdale has had sponsored shirts since 1983. Former sponsors include Carcraft, MMC Estates, All-in-One Garden Centre, Smith Metals, Keytech, Freebets.co.uk, Cabrini and the Co-operative. On 28 May 2013, Crown Oil was unveiled as the club's new principal sponsor.

It was announced in June 2009 that the kit supplier for the next three seasons would be Carbrini.

From 2012 to 2015 Rochdale's kit was supplied by Fila.

On 25 April 2015, Rochdale revealed Erreà as their new supplier.

Stadium
Rochdale plays their home matches at Spotland Stadium, known locally as just Spotland, and currently named the Crown Oil Arena as part of a sponsorship deal by the Bury-based fuel company Crown Oil. The stadium was officially opened in 1920, and was used exclusively by Rochdale for the first 68 years of its existence. From 1988 to 2016 the ground was jointly owned by the football club, Rochdale Council and rugby league club Rochdale Hornets. In 2016 Rochdale A.F.C. bought the stadium shares they did not hold to own 100% of Spotland Stadium.

Apart from local football and rugby league, Spotland has also hosted minor nations' rugby league matches, British Amateur Rugby League Association matches, and also the National League Cup finals of 2003 and 2004. Spotland was a venue for the 2013 Rugby League World Cup, hosting a match between Fiji and Ireland - the first time that Rochdale had staged an event in any sporting World Cup. The event was almost sold out with almost 9,000 people attending. This was incorrectly claimed to be a new stadium record, but Rochdale had 24,231 for an FA Cup tie vs Notts County in December 1949 and three higher crowds for FA Cup and play-off games between 1990 and 2008 against Northampton Town, Coventry City and Darlington.

Today Spotland has a capacity of 10,249 in four stands: the Co-Operative Stand (or Main Stand), the Thwaites Beer Stand (the Sandy Lane End), the T.D.S Stand (Pearl Street end) and the Westrose Leisure Stand (the Willbutts Lane Stand). Three are fully seated; the Sandy Lane End is a small standing terrace behind one of the goals.

The Main Stand features a statue of a long-standing Rochdale fan, David Clough, situated where he watched matches as a season-ticket holder. He had helped the club raise funds and left £250,000 to the club in his will when he died in 2020. The statue was unveiled in September 2021.

Rivalries
Rochdale have a number of rivalries with both local and non-local clubs. The club's main rivals are Bury. Bury, after Oldham, were the closest Football League club to Rochdale, and the fixture was also known as the South Lancashire Derby. However, Bury's expulsion from the Football League during the 2019–20 season means that any meetings between the clubs are unlikely in the near future. Rochdale's other significant rivalries have been with Oldham Athletic, Halifax Town and Burnley.

Rochdale also have lesser rivalries with Stockport County, Wigan Athletic, Bolton Wanderers, Accrington Stanley and Bradford City

Players

Current squad

Out on loan

Former players

Club officials

Board of directors

Coaching and medical staff

Honours and achievements
League
 Third Division North (level 3)
 Runners-up: 1923–24, 1926–27

 Fourth Division / League Two (level 4)
 Promoted: 1968–69, 2009–10, 2013–14

 Lancashire Combination Division Two
 Promoted: 1909–10

Cup
 Football League Cup
 Runners-up: 1961–62

 Lancashire Cup
 Winners: 1948–49, 1970–71, 2004–05

Club records
 Record League victory – 8–1 vs. Chesterfield (18 December 1926)
 Fewest league wins in a season – 2 1973–74
 Most points gained in a season – 82 2009–10 Football League Two
 Highest home attendance – 24,231 vs. Notts County 1949–50
 Record league appearances – Gary Jones (464)
 Record league goalscorer – Ian Henderson (120)
 Most league goals in one season – Albert Whitehurst (44 in 1926–27)
 Highest transfer fee paid – £150,000 to Stoke City for Paul Connor, 2001
 Highest transfer fee received – £1,000,000 Wolverhampton Wanderers for Luke Matheson, 2020

See also
 List of Rochdale A.F.C. players

References

External links

1907 establishments in England
Association football clubs established in 1907
Football clubs in England
Football clubs in Rochdale
Lancashire Combination
Lancashire League (football)
The Central League
English Football League clubs
National League (English football) clubs
Football clubs in Lancashire

Rochdale A.F.C.


Margarita Mbywangi (née en 1962) est une femme politique paraguayenne et une dirigeante indigène Aché, qui est nommée en 2008 ministre des Affaires indigènes du Paraguay.

Parcours
Selon diverses sources d'information, à l'âge de quatre ans, elle est capturée dans la jungle près de la communauté Aché de Chupapou et est vendue plusieurs fois pour effectuer du travail forcé à des familles de propriétaires d'haciendas. Elle est envoyée à l'école, elle a donc appris à lire et à écrire et, en 2008, elle termine un diplôme d'études secondaires.

Le 18 août 2008, le président paraguayen Fernando Lugo nomme Margarita Mbywangi, membre du groupe indigène Aché de l'est du Paraguay, ministre des Affaires indigènes, la première personne indigène à occuper un tel poste au Paraguay.

Ses principaux objectifs se sont concentrés sur l'obtention de droits fonciers autochtones, la protection des terres forestières du Paraguay et l'amélioration de l'accès des peuples autochtones à l'eau potable, à la nourriture et aux soins de santé. Margarita est également une poète qualifiée et est citée par la BBC pour sa prise de position indiquant que .

La mère de trois enfants a promis de rencontrer ceux qui s'opposaient à sa nomination, et, afin d'apaiser leurs inquiétudes, elle a déclaré : .

Références

Ministre paraguayen
Naissance en 1962
Femme politique paraguayenne

Margarita Mbywangi


James Andrew Jones (n. 4 octombrie 1980) este un jucător profesionist american de baschet care evoluează pentru echipa Cleveland Cavaliers din National Basketball Association(NBA). În prezent este, de asemenea, secretar-trezorier la National Basketball Players Association.

Cleveland Cavaliers (2014–prezent)
La data de 5 august 2014, Jones a semnat cu Cleveland Cavaliers. Cleveland a câștigat campionatul Conferinței de Est și a avansat în finala NBA, confruntându-se cu Golden State Warriors. Cleveland Cavaliers a pierdut seria în șase meciuri.

La data de 25 iulie 2015, Jones a semnat din nou cu cei de la Cleveland Cavaliers. În 27 mai 2016, după ce echipa Cavaliers a eliminat-o pe Toronto Raptors în finala Conferinței de Est, Jones s-a alăturat lui LeBron James, Bill Russell, Bob Cousy, K. C. Jones, Sam Jones, Tom Heinsohn, Satch Sanders, și Frank Ramsey ca unicii jucători din istoria NBA-ului, care reușesc să ajungă în finala NBA șase ani consecutivi.

Referințe

Nașteri în 1980
Oameni în viață

James Jones (jucător de baschet)


La pop alternative est un genre musical dérivé de l'indie pop, apparu au milieu des années 1980.

Histoire
La pop alternative est un terme qui a vu le jour au milieu des années 1980 pour décrire la musique pop underground qui expérimente une gamme éclectique d'influences et d'arrangements musicalement difficiles. Selon la rubrique "pop/rock alternative" de AllMusic, la "pop de gauche" du genre n'a pas connu de succès grand public dans les années 1980.

Artistes de pop alternative
 Lorde
 Rykka
 BoyWithuke
 Neoni

Notes et références

Genre de pop
Musique alternative
Rock alternatif

Pop alternative


Das Val di Zoldo (ladinisch: Žoldo Aut) ist ein Tal in den Dolomiten. Das Tal liegt vollständig in der Provinz Belluno, 19 km südlich von Cortina d'Ampezzo.

Das Val di Zoldo verläuft ungefähr in nordwest-südöstlicher Richtung. Hauptfluss ist der Torrente Maè. Er fließt nach ca. 32 km dem Piave zu. Die Mündung befindet sich unmittelbar südlich des Ortskerns von Longarone.

Val di Zoldo ist Teil der internationalen Alpenvereinsinitiative Bergsteigerdörfer.

Gemeinden
Das Tal umfasst im Wesentlichen die gleichnamige Gemeinde Val di Zoldo. Daneben umfasst das Tal das Gebiet der Gemeinde Zoppè di Cadore und flussabwärts einen Teil der Gemeinde Longarone.

Geographie

Der Torrente Maè entspringt am Fuße der Civetta (), deren Massiv das Tal im Nordwesten begrenzt. Den nördlichen Abschluss bildet der Monte Pelmo (). Deren Massive sind die einzigen des Tales, die die 3000-Meter-Marke überschreiten.

Südlich an die Civetta schließt sich die Moiazza-Gruppe an, deren höchster Gipfel die  hohe Moiazza Sud ist. Südwestlich davon begrenzt die Schiara-Gruppe () das Val di Zoldo. Die gegenüberliegende nordöstliche und östliche Begrenzung des Tales wird nach dem Monte Pelmo von den kleineren Gipfeln Monte Pénna () und Monte Rite (), darauffolgend vor allem von der Bosconero-Gruppe gebildet, deren höchster Gipfel der Sasso di Bosconero () ist. Weitere Gipfel mit Höhen von mehr als 2000 Metern begrenzen das Tal.

Verkehr
Das Tal wird in voller Länge von der Strada provinciale 251 durchzogen. Nordwestlicher Scheitelpunkt des Tals ist der Staulanzapass, der das Val di Zoldo nach Norden begrenzt. In Richtung des nordwestlich gelegenen Valle del Boite besteht die Verbindung über den Passo Cibiana. Die Verbindung zum westlich gelegenen Tal des Cordevole wird durch den Passo Duran sichergestellt. In beiden Fällen ist die Straßenverbindung die Strada Provinciale 347, die das Tal somit ungefähr von Ost nach West kreuzt. In Forno di Zoldo benutzen die beiden genannten Provinzialstraßen dieselbe Trasse.

Sehenswürdigkeiten
 Messner Mountain Museen: Am Monte Rite hat Reinhold Messner eines von fünf Messner Mountain Museen in einem ehemaligen Fort errichtet.

Natur, Sport, Tourismus
 Nationalpark Belluneser Dolomiten: Teile des Tals um den Monte Zime de Prampér gehören zum Nationalpark Belluneser Dolomiten. Die Gegend wird sowohl von Sommer- wie von Winterurlaubern aufgesucht. Wintersportarten werden vor allem in der Civetta-Gruppe intensiv betrieben, vom östlich des Massivs gelegenen Zoldo Alto führen mehrere Seilbahnen in das Massiv. Bergsteiger und Trekker sind in den Sommermonaten häufig anzutreffen.
 Dolomiten-Höhenweg Nr. 1: Durch die Gruppe der Berge im Westen (Civetta, Moiazza, Schiara) führt der Dolomiten-Höhenweg Nr. 1, auch Klassischer Weg genannt.
 Weg der Gämsen: Die "gegenüberliegenden" Berge und Bergketten Monte Pelmo, Monte Rite und Bosconero werden vom Höhenweg Nr. 3, auch Dolomiten-Höhenweg 3 oder Weg der Gämsen genannt, durchzogen.

Trivia
Rund drei Viertel der etwa 3000 italienischen Gelatieri in Deutschland stammen aus dem Val di Zoldo und dem Val di Cadore. Dies liegt hauptsächlich an der um 1850 herrschenden Armut der dortigen Bevölkerung, die sich daraufhin auf die Speiseeisproduktion spezialisierte.

Weblinks

 Bergsteigerdorf Val di Zoldo

Einzelnachweise

Provinz Belluno
Dolomiten
Zoldo
Zoldo
Civettagruppe

Val di Zoldo


Radu Mareș () a fost un prozator și ziarist român.

Biografie
Radu Mareș s-a născut în 1941 în localitatea Frasin, județul Suceava. A urmat Liceul "Eudoxiu Hurmuzachi" din Rădăuți, iar în 1964 a absolvit Facultatea de Filologie din cadrul Universității Babeș-Bolyai din Cluj, oraș în care s-a stabilit în 1971. Între anii 1966–1970 a lucrat ca ziarist la publicația suceveană Zori noi (Crai Nou din 1989), fiind mai apoi redactor la Tribuna până în 1997 și director al editurii "Dacia" în perioada 1997–2001.

Bibliografie
 Anna sau pasărea paradisului (roman; 1972)
 Vine istoria (reportaje, în colaborare; 1972)
 Cel iubit (volum de proză; 1975)
 Caii sălbatici (roman; 1981)
 Pe cont propriu (jurnal; 1986)
 Anul trecut în Calabria (roman; 2002)
 Manual de sinucidere (eseu; 2003)
 Ecluza (roman; 2006)
 Când ne vom întoarce (roman; 2010)
 Deplasarea spre roșu (roman; 2012)
 Sindromul Robinson (volum de proză; 2014)

Premii literare și distincții
 1972: Premiul pentru debut al Uniunii Scriitorilor din România pentru romanul Anna sau pasărea paradisului
 1981: Premiul pentru roman al Filialei Cluj a Uniunii Scriitorilor din România pentru Caii sălbatici
 2002: Premiul pentru proză al Filialei Cluj a Uniunii Scriitorilor din România pentru Anul trecut în Calabria
 2006: Premiul "Cartea anului" al Filialei Cluj a Uniunii Scriitorilor din România pentru Ecluza
 2010: Marele premiu "Bucovina" al Societății Scriitorilor Bucovineni pentru romanul Când ne vom întoarce
 2012: Premiul "Ion Creangă" al Academiei Române pentru romanul Când ne vom întoarce
 2015: Premiul "Observator cultural" pentru proză pentru Sindromul Robinson

Note

Nașteri în 1941
Decese în 2016
Scriitori români
Prozatori români
Romancieri români
Eseiști români
Oameni din județul Suceava
Absolvenți ai Universității Babeș-Bolyai

Radu Mareș


Éleuthère Irénée du Pont de Nemours (París, 24 de junio de 1771 - Greenville, Delaware, 31 de octubre de 1834), químico franco-estadounidense.

Fue miembro de una familia de hugonotes, hijo del economista francés Pierre Samuel du Pont de Nemours. Estudió la fabricación de pólvora para cañones con Antoine Lavoisier. Durante la Revolución Francesa se distinguió porque en agosto de 1792 defendió a Luis XVI y María Antonieta contra los insurgentes. Posteriormente migró a los Estados Unidos, en donde fundó la empresa DuPont.

Referencias

Bibliografía

Enlaces externos
 Bio at the Du Pont company website
 The DuPont Company on the Brandywine (A digital exhibit produced by the Hagley Library that includes the influence of Eleuthere Irenee du Pont in the founding of the company)

Científicos de París
Franco-estadounidenses
Hugonotes
Personas de la Revolución francesa
Empresarios de Estados Unidos
Químicos de Francia del siglo XVIII
Químicos de Estados Unidos
Químicos de Francia del siglo XIX
Familia DuPont
Nacidos en París

Éleuthère Irénée du Pont de Nemours


Big Monster Aventura es el cuarto álbum de Dorso. Al igual que el álbum El Espanto Surge de la Tumba quisieron experimentar algo brutal y extremo.

Lista de temas
1. Big Monster Aventura
2. Godzilla
3. Cosmic Condoro
4. Panificator
5. Guerra Entre Monstruos de Distintos Planetas
6. Gran Chango
7. Mothra v/s Godzilla
8. Transformed in Cocodrile
9. Dinosaur Panorama
10. Husmeando bajo la Superficie
11. Gracias, oh! Seres de Cochayuyo
12. Samurai! We Fight!

Line-up
Rodrigo Cuadra – Voz, bajo y teclado
Álvaro Soms – Guitarra
Marcelo Naves – Batería

Álbumes de Chile de 1995

Big Monster Aventura


الغَزْلُ

في اللغة العربية
غَزَلَتِ الصُّوفَ أو القطن: فَتَلَتْهُ خُيُوطاً بِالْمِغْزَلِ.
(المَغْزِلُ): مكان الغَزْل. (ج) مَغَازِلُ.

المِغْزَلُ: ما يُغْزَل به الصوفُ والقطنُ ونحوُهما، يَدَوِيّاً أو آليّاً.

والمُغَيْزِل مُصغَّرةً حبلٌ دقيق

تعريف الغزل

الغزل هو حرفة قديمة قدم النسيج يتم فيها فتل الألياف الطبيعية أو الاصطناعية مع بعضها لتشكل خيطا، أو حبلا. وقديما ولعدة آلاف من السنين، غزلت الألياف باليد باستخدام أدوات بسيطة كالمغزل وفلكة المغزل وهي قطعة مستديرة من الخشب تُجعل في أعلى المغزل وتثبت الضِّارَةُ من فوقها وعود المغزل من تحتها ومن العِرْنَاسِ وهو قضيب أو شعبة من خشب ونحوه، تُجعل عليه سبائخ القطن والغزْل. وقد استخدم دولاب الغزل في نهايات العصور الوسطى فازداد الإنتاج، وتم الإنتاج الكمي فقط بعد القون الثامن عشر مع بدايات الثورة الصناعية.

خصائص الخيوط المغزولة تتفاوت بناء على المواد الخام المستخدمة، وطول الألياف، وتوازيها، وكمية الألياف المستخدمة، ودرجة الفتل.

الغاية من مرحلة الغزل:
إن الحصول على الخيط من آلات الغزل يعتبر المرحلة النهائية في العملية التكنولوجية التي تهدف إلى تحويل شعيرات البولي استر إلى خيوط.

الهدف من هذه المرحلة:
إن الهدف من مرحلة الغزل هو الحصول من المبروم أو شريط السحب إلى المنتج النهائي لقسم الغزل ألا وهو الخيط، الذي يتصف بصفات محددة (نمرة، قوة شد، انتظامية، عدد البرمات،...إلخ). يتلخص جوهر عملية الغزل في أن المبروم على آلة الغزل يتم سحبه وترفيعه حتى النمرة المطلوبة وبعدها يتم إعطاؤه برمات معينة لتكسبه المتانة اللازمة ويتحول بذلك إلى خيط يتم لفه على ماسورة، ثم يتم نقله إلى مرحلة لف الكون (الاسطوانات)، ثم فيما بعد إلى المراحل اللاحقة كالنسج أو الحياكة ثم الخياطة.

خصائص الخيط المغزول

المواد : يمكن للخيوط أن تغزل من تنوع كبير من المواد، تتضمن الألياف الطبيعية والألياف الاصطناعية.

البرم والزوي : زوَى الشيءَ أي منعهُ وجمعهُ وقبضهُ. وبَرَمَ الحبلَ: فتله من طرفين أو جعله طاقين.

والبرم هو الشكل الحلزوني لمكونات الخيط، أو عدد اللفات في وحدة الطول حول المحور لشعيرة أو لخيط أو لحبل. يعبر عنه بعدد البرمات في المتر الواحد أو البوصة الواحدة بالنسبة للخيوط، وبزاوية البرم أو الجدل بالنسبة للحبال. والخيوط تتميز باتجاه البرم: برم يمين (برم Z) وبرم شمال (برم S).
يمكن برم خيطين مع بعضهما لتشكل خيطا أثخن وتسمى هذه العملية بالزوي. والخيوط المغزولة يدويا تكون برم يمين، ثم يتم زويها مع بعض ببرم شمال.

طرق الزوي : يمكن أن تتألف الخيوط من زوي خيطين أو أكثر مبرومة مع بعضها. تعطي طرق الزوي خصائصا وأشكالا جميلة للخيوط.

تأثير البرم على خواص الخيوط والأقمشة المصنوعة منها
يمكن للخيوط أن تكون قليلة أو متوسطة أوعالية البرم. والبرم المعدوم يكون بحدود (1-4)برمة/بوصة، والبرم المنخفض يكون بحدود (6-12) برمة/بوصة، والبرم المتوسط يكون بحدود (20-25) برمة/بوصة، أما البرم العالي يكون بحدود (40-80) برمة/بوصة.

بازدياد البرم تصبح بنية الخيوط متراصة أكثر، مما ينقص من قياس الخيط (نمرة)، ويزيد من متانة الخيوط حتى حد معين (20 برمة/بوصة)، وبعدها لا تؤثر زيادة عدد البرمات على متانة الخيط، حتى الوصول إلى (40 برمة/بوصة) حيث تتناقص المتانة وتتحول إلى قوى قص تحطم الألياف. كما أن زيادة البرم تزيد من مقاومة الاهتراء. كما تؤدي زيادة البرم إلى نقصان امتصاصية الألياف، حيث تتناقص كمية المساحة الجانبية للألياف المتوفرة لامتصاص الماء، وتنقص كمية الماء المحتمل احتوئها بين الألياف، وتنقص سماحية القماش لمرور بخار الماء. كما تنقص العازلية الحرارية بسبب تقلص حجم الفراغات الهوائية الميتة بين الألياف التي تعمل كعازل حراري.

المواد المستخدمة في صناعة الغزل

تقسم المواد المستخدمة في صناعة الغزل حسب مصدر هذه المواد إلى:
 مواد طبيعية: وتقسم إلى:
 مواد نباتية:
 من الألياف المتعلقة ببذرة القطن، وتسمى ألياف القطن.
 لحائية: من ساق النبات، مثل الكتان والقنب والجوت.
 مواد حيوانية: صوف، حرير.
 مواد معدنية: أسبست، ذهب، نحاس.
 مواد تحويلية: وهي في الأصل مواد طبيعية قام الإنسان بتحويلها إلى شكل آخر باستخدام مواد كيميائية ومعالجات فيزيائية مثل الفيسكوز، الأسيتات.
 مواد اصطناعية: تنتج من المواد البترولية مثل بوليستر، النايلون، البولي إيثيلين.

أنواع آلات الغزل
حسب نوعية الخيط المنتج هناك نوعان من آلات الغزل الإنتاجية:
 آلات الغزل الحلقي: وهي الأكثر رواجًا، وخيوطها الأكثر استعمالًا، وقابلية السحب فيها عالية، حيث أنها تنتج خيوطاً من نمر مختلفة وخاصة الرفيعة منها، ويكون خيطها المنتج متيناً وذا قوة شد عالية.
 آلات غزل الطرف المفتوح: التي يتم فيها سحب شريط السحب وفتله في حجرة تتألف من جزء ثابت والآخر متحرك (روتر) يدور بسرعات عالية وتتعرض فيها الشعيرات إلى قوى أيروديناميكية، والخيوط الناتجة عن هذه الآلات نمرها غليظة وبرماتها قليلة، وهي تستخدم بشكل خاص لقماش الجينز.

معرض صور

مراجع

انظر أيضا
 مكرمية

تاريخ صناعة النسيج
غزل النسيج
هندسة النسيج

غزل (حرفة)


Estadio Municipal de Balaídos este un stadion de fotbal din Vigo, Spania. Este stadionul unde joacă meciurile acasă Celta de Vigo și are o capacitate de 29.000 de spectatori.

Referințe
Stadioane de fotbal din Spania

Balaídos


نموذج لامبدا-سي دي إم  أو نموذج لامبدا للمادة المظلمة الباردة CDM Cold Dark Matter هو نموذج في علم الفلك يحاول تفسير ظواهر عديدة للكون مثل تفسير إشعاع الخلفية الميكروني الكوني وتفسير الاتساع المستمر للكون.

يتفق نموذج Lambda-CDM Model مع ثلاثة أنواع من المشاهدات الفلكية، التي تعطي تفسيرا عن حالة الكون عند نشأته :
 قياس إشعاع الخلفية الكونية الميكروي وعدم تساويها،
 تعيين سرعة تمدد الكون وتغيرها عبر الزمن ؛ ويتم ذلك عن طريق مشاهدات المستعرات العظمى في مجرات بعيدة،
 تعيين نسب الهيدروجين في المادة الكونية الأولى، ومن بينها نسبة الديوتيريوم والهيليوم والليثيوم.
 والبيانات عن البنيات الفائقة في الكون.

نظرة عامة

تعتمد معظم النماذج الكونية الحديثة على المبدأ الكوني الذي ينص على أن موقعنا المشاهد من الكون ليس مميزًا أو غريبًا؛ يظهر الكون بصورة واحدة في كل الاتجاهات (توحد الخواص) ومن كل الأماكن (تجانس النظام).

يتضمن هذا النموذج توسعًا للفضاء المتري الموثق جيدًا في الانحياز نحو الأحمر لامتصاص طيفي بارز أو خطوط انبعاث في الضوء الصادر من المجرات البعيدة وفي تمدد الزمن في انحلال الضوء في منحنيات لمعان المستعر الأعظم. ويعزى كلا التأثيرين إلى تأثير دوبلر في الإشعاع الكهرومغناطيسي (مثل الضوء) أثناء انتقاله عبر الفضاء المتسع. على الرغم من أن هذا التمديد يزيد المسافة بين الأجسام التي لا تخضع لتأثير الجاذبية المشترك، إلا أنه لا يزيد من حجم الأجزاء (مثل المجرات) في الفضاء. كما يسمح للمجرات البعيدة بالابتعاد عن بعضها البعض بسرعات تقترب من سرعة الضوء؛ يكون التمدد المحلي أقل من سرعة الضوء، لكن محصلة التمدد عبر مسافات كبيرة يمكن أن تقترب من سرعة الضوء.

يمثل الحرف  (لامدا) الثابت الكوني، المرتبط حاليًا بطاقة الفراغ أو الطاقة المظلمة في الفضاء الفارغ الذي يستخدم لشرح التوسع المتسارع الحالي للفضاء مقابل تأثير الجاذبية. للثابت الكوني ضغط سلبي،  وهو ما يسهم في موتر الطاقة- الإجهاد الذي يتسبب في التوسع المتسارع وفقًا لنظرية النسبية العامة. يُقدر جزء كثافة الطاقة الكلية لكوننا (المسطح أو المسطح تقريبًا) الذي يمثل طاقة مظلمة ، بـ 0.669 ± 0.038 استنادًا إلى نتائج مسح الطاقة المظلمة لعام 2018 باستخدام مستعرات عظمى من النوع Ia، أو 0.6847 ± 0.0073 استنادًا إلى إصدار 2018 من بيانات مرصد بلانك الفضائي، أو أكثر من 68.3% (تقدير 2018) من كثافة الطاقة- الكتلة في الكون.

افتُرضت المادة المظلمة من أجل حساب التأثيرات الجاذبية التي لوحظت في البنيات واسعة النطاق للغاية (منحنيات الدوران «المسطحة» من المجرات؛ وعدسة الجاذبية للضوء التي تسببها مجموعات المجرات؛ والتجمع المعزز للمجموعات) وهذه التأثيرات الجذبوية لا يمكن حسابها بواسطة كمية من المواد المرئية من نجوم ومجرات وتجمعات غازية .

المادة المظلمة الباردة كما تُفترض حاليًا:

غير باريونيةتتكون من مادة غير البروتونات والنيترونات (والإلكترونات كذلك بالرغم من أن الإلكترونات ليست باريونات).باردةسرعتها أقل من سرعة الضوء بكثير في حقبة تساوي الإشعاع والمادة (ولهذا يُستبعد النيوترينو لكونه غير بريوني لكنه ليس باردًا).لا يمكن تبديدهالا يمكنها أن تبرد بإشعاع الفوتونات.غير قابلة للتصادمتتفاعل جسيمات المادة المظلمة مع بعضها ومع الجسيمات الأخرى من خلال الجاذبية فقط وربما من خلال القوة الضعيفة.تشكل المادة المظلمة حوالي 26.8% من كثافة طاقة الكتلة في الكون (تقديرات 2013). تشتمل النسبة المتبقية البالغة 4.8% (تقديرات عام 2013) على كل المواد العادية المرئية مثل الذرات والعناصر الكيميائية والغاز والبلازما، المواد التي تصنع منها كواكب مرئية ونجوم ومجرات. الغالبية العظمى من المادة العادية في الكون غير مرئية، لأن النجوم المرئية والغاز داخل المجرات والمجموعات تمثل أقل من 10 % من مساهمة المادة العادية في كثافة الطاقة- الكتلة في الكون.

كذلك، أيضًا، تشتمل كثافة الطاقة على جزء صغير جدًا (نحو 0.01%) في الإشعاع الخلفي الكوني الميكرويي، وليس أكثر من 0.5% في النيوتريونات المتبقية. على الرغم من صغر نسبتها حاليًا، كانت أكثر أهمية في الماضي البعيد، إذ هيمنت على المادة عند انزياح أحمر أكبر من 3200.

يشتمل النموذج على حدث منشئي منفرد، وهو الانفجار العظيم، الذي لم يكن انفجارًا لكن ظهورًا مفاجئًا لزمكان متوسع يحتوي على إشعاع في درجات حرارة حول 1015 كلفين. وأتبع هذا مباشرةً (خلال 10−29 ثانية) توسع أُسي للفضاء بتضاعف يبلغ 1027 أو أكثر، ما يعرف بالتضخم الكوني. ظل الكون ساخنًا (فوق 10000 كيلفن) لعدة مئات آلاف من السنين، المرحلة التي يمكن رصدها من خلال إشعاع الخلفية الكونية الميكروي، إشعاع منخفض الطاقة للغاية الآن (نحو 3 كيلفن) ينبعث من كل أنحاء السماء. سيناريو الانفجار العظيم مع التضخم الكوني والنموذج المعياري لفيزياء الجسيمات، هو النموذج الكوني الوحيد حاليًا المتسق مع التوسع المستمر الملحوظ للفضاء، التوسع المشاهد للعناصر الأخف في الكون (الهيدروجين والهيليوم والليثيوم)، والنسيج المكاني للتباينات الدقيقة في إشعاع الخلفية الكونية الميكروي. يعالج التضخم الكوني أيضًا مشكلة الأفق في إشعاع الخلفية الكونية الميكروي؛ بالفعل يبدو أن الكون أكبر من أفق الجزيئات الملحوظ.

يستخدم النموذج مترية فريدمان-لوميتر-روبرتسون-ووكر ومعادلات فريدمان ومعادلات الحالة الكونية لوصف الكون الملحوظ من بعد حقبة التضخم مباشرةً حتى الوقت الحالي والمستقبل.

التطور التاريخي
أكد اكتشاف إشعاع الخلفية الكونية الميكروي في عام 1964 تنبؤًا هامًا في علم كون الانفجار العظيم. من هذه اللحظة فصاعدًا، كان مقبولًا بشكل عام أن الكون بدأ في حالة ساخنة كثيفة وأخذت تتمدد بمرور الزمن. يعتمد معدل التمدد على أنواع المادة والطاقة الموجودة في الكون ويعتمد تحديدًا على ما إذا كانت الكثافة الكلية أكبر أو أقل مما يُسمى بالكثافة الحرجة.

أثناء السبعينيات من القرن الماضي، كان أغلب الاهتمام منصبًا على النماذج الباريونية فقط، لكن كانت هناك تحديات صعبة في شرح تكون المجرات، بالنظر إلى التباينات في إشعاع الخلفية الكونية الميكروي (الحدود القصوى لهذا الوقت). في أوائل الثمانينيات من القرن الماضي، كان من المعروف أن هذه المشكلة يمكن حلها إذا هيمنت مادة مظلمة باردة على الباريونات، وأعطت نظرية التضخم الكوني نماذج ذات كثافة حرجة.

أثناء الثمانينيات من القرن العشرين، ركز معظم الباحثين على المادة المظلمة الباردة بمادة تعطي الكثافة الحرجة، نحو 95% من المادة المظلمة الباردة و5% من الباريونات: نجحت هذه في تشكيل المجرات وتجمعات المجرات، لكن ظلت المشاكل كما هي؛ والجدير بالذكر أن هذا النموذج يتطلب ثابت هابل أقل مما تقدره المشاهدات، وأظهرت المشاهدات في الفترة ما بين 1988-1990 مزيدًا من تجمعات المجرات على نطاق واسع أكثر من المتوقع.

ازدادت حدة هذه الصعوبات باكتشاف التباين في الإشعاع الخلفي الميكرويي باستخدام مستكشف الخلفية الكونية عام 1992، وأُخذت بعين الاعتبار عدة نماذج معدلة من المادة المظلمة الباردة، بما فيها المادة المظلمة الباردة لامدا ومزيج المادة المظلمة الباردة والساخنة في منتصف التسعينيات. ثم أصبح نموذج المادة المظلمة الباردة لامدا النموذج البارز عقب ملاحظات التوسع المتسارع للكون في عام 1998 ودُعمت من خلال ملاحظات أخرى: قاست تجربة الخلفية الميكرويية بوميرانج في عام 2000 كثافة الطاقة- المادة الكلية بكونها تكاد تكون 100% من الكثافة الحرجة، بينما قاس مسح الانزياح الأحمر المجري 2dF كثافة المادة بأنها ما يقرب من 25% عام 2001؛ يدعم الفرق الكبير بين هاتين القيمتين وجود لامدا موجبة أو طاقة مظلمة.

انظر أيضًا
 تشكل وتطور المجرات
 مشروع إليوسترس
 جسيمات التفاعل الضعيف الضخمة

مراجع

طاقة مظلمة
أمثلة كونية
علم الكون الفيزيائي
فضاء كوني
مادة مظلمة
نمذجة علمية

نموذج لامبدا-سي دي إم


Žrtvovanje je religijski ritualni čin prinošenja žrtve božanskim ili demonskim silama, zajednički kod mnogih drevnih naroda i religija, da bi se ove umilostivile ili da bi im se zahvalilo na milosti.

Motiv za prinošenje žrtve je produžavanje, poticanje i ponovno uspostavljanje veze između ljudskog i božanskog. Često je svrha prinošenja žrtve dobivanje božje milosti ili ublažavanje božjeg gnjeva. Taj postupak je cijenjen u pojedinim kulturama i među pojedincima kao oblik služenja drugima i etički princip zaštite ugroženih.

Primitivni čovjek je vjerovao, da su bogovima drage ljudske žrtve. Zato su u najstarijoj ljudskoj prošlosti, kod pojedinih kultura prinošene, kao najvrjednije žrtve, najviše djeca, djevojke, mladenci, pa onda istaknute plemenske i vjerske starješine. Kako su ljudi sazrijevali u svom kulturno-civilizacijskom napretku, osviješteni i pametniji, prešli su na žrtve u robovima i ratnim zarobljenicima. Kasnije su se odricali "skupih" žrtava u ljudima, prinoseći životinje, biljke, razne predmete, da bi sa stvarnih objekata prešli na simbole, kao što su vino, kruh i sl. kod današnjeg čovjeka i njegovih religija.

Primarne žrtve i njihova podjela:

Krvne žrtve: ljudi, životinje, ptice

Beskrvne žrtve: plodovi, odjeća, novac, kruh, sol

Žrtve u piću: vino, rakija, mlijeko, ulje

Magijske

Ekspijatorne: kajanje, ispaštanje i sl.

Kršćanstvo
U kršćanstvu, Bog se utjelovio kao Isus, žrtvujući svog Sina kako bi postigao pomirenje Boga i čovječanstva, koje se odvojilo od Boga grijehom (koncept istočnog grijeha). Prema gledištu koje se istaknulo u zapadnoj teologiji od početka drugog tisućljeća, Božja je pravda zahtijevala pomirenje čovječanstva s Bogom, da se ljudska bića vrate na svoje mjesto u stvaranju i spase od prokletstva. Međutim, Bog je znao da ograničena ljudska bića ne mogu izvršiti dovoljno pomirenja, jer je uvreda čovječanstva prema Bogu bila beskonačna, pa je Bog stvorio savez s Abrahamom, koji je ispunio kada je poslao svog jedinog Sina da postane žrtva za raskinuti savez. Prema ovoj teologiji, žrtva je zamijenila nedovoljnu žrtvu životinja iz Starog saveza; Krist, "Jaganjac Božji" zamijenio je janjeće žrtvovanje po Mojsijevom zakonu.

Euharistija se smatra žrtvom. Od najranijih početaka kršćanstvo je u Isusovoj muci i smrti gledalo žrtvu, koja se u euharistijskom slavlju ponavlja na nekrvan način tj: koja se ponovno uprisutnjuje. U poslanici Hebrejima stoji sljedeće "Imamo žrtvenik s kojega nemaju pravo jesti služitelji Šatora." U 2. stoljeću u Didahe stoji sljedeće: "Na dan Gospodnji se skupljajte, lomite kruh i iznosite hvalu, pošto ste prethodno priznali vaše prijestupe, kako bi vaša žrtva bila čista. Svako koji je u svađi s bratom svojim neka ne dođe prije no što se pomiri s bratom svojim, kako vaša žrtva ne bi bila oskvrnjena." Ovakvo gledanje na euharistiju se u katoličkoj tradiciji zadržalo kroz stoljeća kao službeni nauk, tako da Tridentski sabor iznosi sljedeće ako službeni nauk: "Ova žrtva je prava žrtva pomirna". Prema katoličkoj teologiji za vrijeme mise žrtvu prinosi sam Isus Krist, koji se služi osobom svećenika i zato svećenik namjesto Isusa izgovara riječi: "Ovo je moje tijelo" i "Ovo je moja krv".

Koncept samožrtvovanja i mučeništva središnji je dio kršćanstva. U rimokatolicizmu često se nalazi ideja o pridruživanju vlastitog života i patnje Kristovoj žrtvi na križu. Tako se može ponuditi nenamjerna patnja, poput bolesti, ili namjerno prihvatiti patnju u djelima pokore.

Izvori

Religija

Žrtvovanje


USS Darter (SS-576), a unique submarine based on the , but incorporating many improvements, was the second ship of the United States Navy to be named for the darter, a type of small American fresh-water fish.

The contract to build Darter was awarded to the Electric Boat Division of General Dynamics Corporation in Groton, Connecticut on 30 June 1954 and her keel was laid down on 10 November 1954. She was launched on 28 May 1956 sponsored by Mrs. G.L. Russell, and commissioned on 20 October 1956.

Designed under project SCB 116 with sophisticated acoustic, electronic and fire control gear, Darter was intended to serve as a new generation of post-war ASW submarines, similar to . Darter was used to experiment with numerous innovations including a three-man helmsman-planesman station using aircraft-style stick controls.

Service history

Upon commissioning Darter operated on various training exercises in the Atlantic, both locally from her homeport of Newport, Rhode Island, and on cruises to the West Indies, to Canada and Europe on NATO operations. Following an overhaul at Portsmouth Naval Shipyard she changed homeport to Charleston, South Carolina on 1 August 1959 and began training missions in support of the newly commissioned fleet ballistic missile submarines, providing anti-submarine warfare (ASW) services for surface units in the West Indies and off Key West, Florida, and serving as a platform for various Chief of Naval Operations (CNO) projects. In between these operations, Darter deployed to the Mediterranean for cruises in 1963 and 1967. She also received a major modernization overhaul at Charleston Naval Shipyard in 1965, receiving a  hull extension (the "plug", just forward of the engine room), new engines, new safety gear (SUBSAFE), better electronic gear (including the AN/BQG-4 Passive Underwater Fire Control Feasibility System (PUFFS) passive sonar with three shark-fin domes added topside) and other upgrades.

Shifting homeports again in 1971, she moved to San Diego, California, Darter made four Western Pacific (WestPac) deployments in support of 7th Fleet operations. While on one of these in 1978, the head valve failed to close while snorkeling, and the ship had to emergency surface among U.S. surface units participating in an ASW exercise. On 8 May 1979, Darter changed homeport again to Sasebo, Japan, where she operated as a forward-deployed submarine. She spent a decade there: conducting numerous joint operations with the Japanese, South Korean, Thai, Malaysian, British and Australian navies; special operations; and other operations and exercises throughout the Western Pacific. Darter served as a submarine platform for U.S. Navy SEALS, USMC Recon Marines and the U.S. Army Special Forces. She won a Battle Efficiency Award (Battle "E") in 1980 and again in 1982.

In mid-1982 she underwent an overhaul at the U.S. Naval Base Subic Bay. In September 1985, Darter was submerged when the submarine collided with the merchant ship (tanker) Kansas Getty and its anchor chain near Pusan, Korea. Darter suffered some damage and was repaired at Sasebo, Japan. Nobody was injured in the accident and the tanker was undamaged.

Darter was decommissioned in Pearl Harbor on 1 December 1989 after serving over 33 years in the US Navy. Her career was one of the longest for a US Navy submarine, during which Darter earned seven Battle "E" Awards and numerous departmental excellence awards.

She was struck from the Naval Vessel Register on 17 January 1990. On 7 January 1992, ex-Darter was sunk as a target by  off Pearl Harbor, Hawaii.

Call sign

Notes

References

 History of the USS Darter (SS 576)

External links

Submarines of the United States Navy
Cold War submarines of the United States
United States submarine accidents
Maritime incidents in 1978
Maritime incidents in 1985
Ships built in Groton, Connecticut
1956 ships
Ships sunk as targets
Maritime incidents in 1992
Shipwrecks of Hawaii

USS Darter (SS-576)


Like a Prayer is the fourth studio album by American singer-songwriter Madonna, released on March 21, 1989, by Sire Records. Madonna worked with Stephen Bray, Patrick Leonard, and Prince on the album, with her co-writing and co-producing all the songs. Her most introspective release at the time, Like a Prayer is a confessional record. Madonna described the album as a collection of songs about her mother, father, and bonds with her family. It was dedicated to Madonna's mother, who died when the singer was only five.

Like a Prayer is a pop album and incorporates elements of rock, R&B, gospel, and funk. Madonna drew from her Catholic upbringing, as seen on the album's title track, which was also released as its lead single. The lyrics deal with themes from Madonna's childhood and adolescence, such as the death of her mother in "Promise to Try", the importance of family in "Keep It Together", and her relationship with her father in "Oh Father", as well as encouraging female empowerment in "Express Yourself".

Like a Prayer received universal acclaim from music critics, who praised the songwriting and recognized Madonna's increased artistic merit. The album was featured in several musical reference books and best-of lists including [[Rolling Stone's 500 Greatest Albums of All Time|''Rolling Stones 500 Greatest Albums of All Time]], Colin Larkin's All Time Top 1000 Albums, 1001 Albums You Must Hear Before You Die and Spin Alternative Record Guide. Commercially, the album was an international success, reaching the top of the charts in 20 countries, and was certified quadruple platinum in the US by the Recording Industry Association of America (RIAA). Worldwide, it has sold over 15 million copies and is one of the best-selling albums by women. Six accompanying singles were released: the title track, "Express Yourself", "Cherish", "Oh Father", "Dear Jessie", and "Keep It Together". "Like a Prayer" became Madonna's seventh number-one hit on the US Billboard Hot 100, while "Express Yourself" and "Cherish" both peaked at number two, and "Keep It Together" became a top-10 hit.

With the singles' music videos, Madonna furthered her creativity and became known as a leading figure in the format. The music video for "Like a Prayer" was met with controversy worldwide over its use of religious imagery, including the appropriation of Catholic iconography such as stigmata and the burning crosses of the Ku Klux Klan, as well as a dream about making love to a Black saint, and a scene depicting an interracial murder by white supremacist groups. Family and Christian groups including the Vatican protested its broadcast and threatened to boycott Pepsi for having ties with Madonna. Eventually, Pepsi caved in to the protest and canceled the sponsorship, allowing Madonna to keep her $5 million paycheck in advance. Like a Prayer preceded Madonna's Blond Ambition World Tour, which she used to promote it. At the end of the 1980s, following the release of the album, Madonna was named artist of the decade by several publications.

 Background
1988 was a quiet year on the recording front for Madonna. Following the lack of critical and commercial success of her 1987 film Who's That Girl, she acted in the Broadway production Speed-the-Plow. However, unfavorable reviews once again caused discomfort for Madonna. Her marriage to actor Sean Penn ended and the couple filed for divorce in January 1989. Madonna had also turned 30, one year removed from the age at which her mother had died, and thus the singer experienced more emotional turmoil. She commented for the May 1989 issue of Interview that her Catholic upbringing struck a feeling of guilt in her all the time:
Because in Catholicism you are a born sinner and you're a sinner all your life. No matter how you try to get away from it, the sin is within you all the time. It was this fear that haunted me; it taunted and pained me every moment. My music was probably the only distraction I had.

Madonna came to the realisation that as she and her fans were growing up, it was time for her to move away from the teen appeal to wider audiences, and cash in on the longevity of the album market. Feeling the need to attempt something different, Madonna wanted the sound of her new album to indicate what could be popular in the music world. For lyrical ideas of the title track, she chose topics that until then had been personal meditations never shared with the general public. Madonna told SongTalk magazine "In the past I wrote a lot of songs that [revealed my inner self], but I felt they were too honest or too frightening or too scary and I decided not to record them." She decided to take a more adult, sophisticated approach; thoughtfully, she sifted through her personal journals and diaries, and began considering her options. She recalled, "What was it I wanted to say? I wanted the album and the song to speak to things on my mind. It was a complex time in my life." The singer had certain matters on her mind, including her troubled relationship with her husband Penn, her family, her lost mother, and even her belief in God.

 Development

Like a Prayer drew its title from Catholicism's influence on Madonna's early life, as well as her struggles with religion; "The theme of Catholicism runs rampant", she said. "It's me struggling with the mystery and magic that surrounds it. My own Catholicism is in constant upheaval." Recording sessions took place from September 1988 to January 1989. On January 27, 1989, a press release from The Albany Herald said the album would include "a number of hot dance tracks" but noted, "much of the material [...] is of a personal tone". The singer described it as a collection of songs "about my mother, my father, and bonds with my family. [...] It's taken a lot of guts to do this." She also said that Like a Prayer would be her "most different" work to date; "It was a real coming-of-age record for me emotionally, I had to do a lot of soul-searching, and I think it is a reflection of that [...] I didn't try to candy-coat anything or make it more palatable for mass consumption, I wrote what I felt." Madonna described Like a Prayer as a reflection of past musical influences, in contrast to current influences for her previous work.

Madonna chose to collaborate with Stephen Bray and Patrick Leonard, with whom she had collaborated on her previous studio album True Blue (1986) and the Who's That Girl soundtrack (1987). Both Bray and Leonard wanted to bring their unique style to the project, and they developed completely different music for the title track. Eventually, Madonna felt that the music presented to her by Leonard was more interesting, and she started to work with him. According to the singer, Leonard was also facing emotional turmoil; "I was working with Pat, who was also in a very dark state of mind, and we worked in a very isolated place in the Valley." On January 6, 1989, following a nullified divorce filing in late 1987 and several publicized fights, one of which led to a 60-day prison term, Madonna and Penn filed for divorce.  This incident inspired the song "Till Death Do Us Part". The rest of the songs were written within two weeks, with "Like a Prayer", "Cherish" and "Spanish Eyes" being penned in the first week. According to Leonard, "we wrote a song a day, and we didn't change them. And oftentimes the vocal that she did was the lead vocal, we didn't even change the lead vocal. That was it. She sang it. It was done."

Recording artist Prince played the guitar on three songs from Like a Prayer, "Like a Prayer", "Keep It Together", and "Act of Contrition", though he remained uncredited.  Prince and Madonna also worked together on the track "Love Song". The song was recorded at Prince's Studio on Paisley Park; "We were friends and talked about working together, so I went to Minneapolis to write some stuff with him, but the only thing I really dug was 'Love Song' [...] We ended up writing it long-distance, because I had to be in L.A. and he couldn't leave Minneapolis, and quite frankly I couldn't stand Minneapolis. When I went there, it was like 20 degrees below zero, and it was really desolate. I was miserable and I couldn't write or work under those circumstances", Madonna recalled.

For the artwork, Madonna chose to work with photographer Herb Ritts. Initially, photos from the session with Ritts were also to be used for the lead single's packaging. When it came to the photoshoot, she decided to dye her blonde hair brown; she commented, "I love blonde hair, but it really does something different to you. I feel more grounded when I have dark hair. It's unexplainable. I also feel more Italian when my hair is dark." The cover art features a close-up of the singer's jean-clad midsection and bare midriff. The cover has been seen as a reference to Sticky Fingers (1971) by the Rolling Stones. The packaging for the first pressings of the CD, cassette, and LP were scented with patchouli oils to simulate church incense.  A publicist for Warner Bros. Records revealed this had been Madonna's idea; "She wanted to create a flavor of the 60's and the church. She wanted to create a sensual feeling you could hear and smell." Initial pressings also included an insert with safe sex guidelines and a warning about the dangers of AIDS, to which Madonna had lost friends. Its inclusion was decided after Warner Bros. had agreed to release an album by stand-up comedian Sam Kinison the year before, although he had stated that AIDS came from gay men involved in bestiality.  Madonna dedicated the album to "My mother, who taught me how to pray".

 Music and lyrics

Like a Prayer is a pop album, which incorporates elements of rock, R&B, gospel, and funk. According to Stephen Holden, Like a Prayer "teems with 60's and early 70's echoes – of the Beatles, Simon & Garfunkel, and Sly and the Family Stone – all pumped up with a brash, if occasionally klutzy, 80's sense of showmanship". The album is a confessional record; in Madonna's own words, the songs "intertwine her search for faith with her search for her mother".  Like a Prayer uses live instrumentation, in contrast to the sound of Madonna's previous albums. The opening track is "Like a Prayer", which was also the first song developed for Like a Prayer. Once Madonna had conceptualized the way she would interpose her ideas with the music, she wrote the song in about three hours. She described "Like a Prayer" as the song of a passionate young girl "so in love with God that it is almost as though He were the male figure in her life". It is a pop rock song with elements of gospel music. A choir provides background vocals that heighten the song's spiritual nature, and a rock guitar keeps the music dark and mysterious.

The second track, "Express Yourself", talks about rejecting material pleasures and only accepting the best for oneself; throughout the song, subtexts are employed. According to the singer, the track is a tribute to Sly and the Family Stone. The third track, "Love Song", is a duet with Prince. The song was co-written by Madonna and Prince and features the artist's "signature scratchy disco guitar break[ing] through Madonna's synths".
Originally titled "State of Matrimony", the song "Till Death Do Us Part" talks about the violent dissolution of Madonna's marriage. It was described as "an anxious jumpy ballad that describes a marriage wracked with drinking, violent quarrels and a possessive, self-hating husband". The next song, "Promise to Try", talks about the death of Madonna's mother. In one part of the song, she specifically asks: "Does she hear my voice in the night when I call?" Later, an adult seems to admonish a child with the lyrics, "Little girl, don't you forget her face/Don't let memory play games with your mind/She's a faded smile frozen in time."

The sixth track, and third single from Like a Prayer, is "Cherish". Built around the themes of love and relationship, with William Shakespeare's Romeo and Juliet being one of the major inspirations, the song includes a line from "Cherish" by the 1960s band the Association. The lyrics illustrate "Cherish" as a simple love song, where Madonna talks about devotion and having her lover by her side, whom she would never leave. Following "Cherish" is "Dear Jessie"; according to Rikky Rooksby, the song sounds more like a children's lullaby than a pop song. The lyrics encourage the little girl Jessie to use her imagination. The song summons up a psychedelic landscape, where pink elephants roam with dancing moons and mermaids. It references fairy-tale characters and creates an image of children playing with each other. The nexus of the album's eighth song, "Oh Father", talks about the presence of male authoritative figures in Madonna's life, most prominently her father Tony Ciccone. Madonna's insecurities about her childhood shows up in anxieties during her vocal performance. Author J. Randy Taraborrelli held that "Till Death Do Us Part", "Promise To Try", and "Oh Father" are songs where Madonna tries to "purge herself of certain personal demons".

The lyrics of "Keep It Together" talk about the realization of how important Madonna's family has been as a form of stability in her life. In an interview with Interview magazine, Madonna expressed that she did not feel close to anybody in her family when she was growing up, and competed with her siblings in school grades for her father's attention. "Spanish Eyes" is said to have "confronted the still-taboo issue of AIDS". Carol Benson and Allen Metz, authors of The Madonna Companion: Two Decades of Commentary, described the song as "a cross between Ben E. King's 'Spanish Harlem' and something by Billy Joel". The final song, "Act of Contrition", features Madonna reciting the Catholic prayer of the same name, before the vocals deteriorate into a monologue in which Madonna grows obstreperous over being denied a restaurant reservation.

 Release and promotion
The album was released on March 21, 1989 on LP, cassette, and compact disc. To promote the album, Warner Bros. Records spent over $2 million, their most expensive campaign for an album up that point.

Madonna performed an energetic version of "Express Yourself" during the 1989 MTV Video Music Awards. She started the performance by descending from a flight of stairs, wearing a pin-striped suit and a monocle. Later she removed the coat to reveal her bustier, and together with her backing singers Niki Haris and Donna De Lory, performed a dance routine called voguing. Ian Inglis, author of Performance and Popular Music: History, Place and Time, noted that the historical importance of Madonna's performance at the Video Music Awards was due to the televisual venue. Inglis explained that since Madonna's performance was striking primarily as a high-energy, provocatively choreographed, dance production number, it went on to highlight the 'TV' part of MTV, and in a way heralded her and the network as a cultural arbiter. In August 1989, in order to promote the release of Like a Prayer in Japan, Warner Music released a remix extended play titled Remixed Prayers, which included several remixes of "Like a Prayer" and "Express Yourself". It was released exclusively in Japan until July 1993, when the EP was released in Australia to celebrate Madonna's first visit to the country as part of her Girlie Show World Tour. The EP reached number 92 on the ARIA Albums Chart and was present on the chart for three weeks, and also charted at number 24 on the Oricon weekly albums chart, on which it charted for five weeks.

 Pepsi partnership
In January 1989, Pepsi-Cola announced that they had signed Madonna for US$5 million deal to feature the singer and "Like a Prayer" for a high-profile television commercial. The deal also included Pepsi sponsoring the then-upcoming Blond Ambition World Tour. Madonna wanted to use the commercial to launch the album and its lead single globally before its release — the first time something like this was being done in the music industry. Titled "Make a Wish", the two-minute commercial portrayed Madonna going back in time to her childhood memories. An estimated 250 million people around the world viewed the commercial.

The day after the Pepsi commercial premiered, Madonna released the actual music video for "Like a Prayer" on MTV. Religious groups worldwide, including the Vatican immediately protested the clip, saying that it contained blasphemous use of Christian imagery. They called for the national boycott of Pepsi and PepsiCo's subsidiaries, including fast food chains Kentucky Fried Chicken, Taco Bell, and Pizza Hut. Despite being taken aback by the protests, Pepsi initially wanted to continue airing the commercial, explaining the differences between their advertisement and Madonna's artistic opinions in the video. They ultimately gave in to the protests and cancelled the campaign, and were so eager to extricate themselves from the collaboration that Madonna was allowed to keep the US$5 million advance.

 Singles

The title track was released as the lead single from Like a Prayer on March 3, 1989. The song was acclaimed by critics, and was a commercial success. It became Madonna's seventh number-one single on the US Billboard Hot 100, and topped the singles charts in eighteen countries, including Australia, Canada, and the United Kingdom.

"Express Yourself" was released as the second single from the album on May 9, 1989. The song received positive reviews from critics, who applauded the gender equality message of the song and complimented the song for being a hymn to freedom and encouragement to women, as well as all oppressed minorities. Commercially, the song peaked at number two on the US Billboard Hot 100, and became Madonna's sixth number-one hit on the European Hot 100 Singles chart. It also reached the top of the singles charts in Canada and Switzerland, and the top five elsewhere.

"Cherish" was released as the third single on August 1, 1989. After its release, the song received positive feedback from reviewers, who were surprised by the change of content and the lighter image of Madonna's music, unlike her previous singles from Like a Prayer that incorporated themes such as religion and sexuality. On the US Billboard Hot 100, "Cherish" became Madonna's 16th consecutive top-five single, setting a record in the history of the chart. It was also a commercial success elsewhere, topping the singles chart in Canada, and reaching the top-10 of the charts in Australia, Belgium, Ireland, the UK and the combined European chart.   It also featured the B-side, "Supernatural", previously unreleased from the album sessions. Released on October 24, 1989 as the fourth single,

"Oh Father" received positive reviews from critics and authors, but commercially was less successful than Madonna's previous singles. In most of the countries where it was released, the song failed to attain top-ten positions, except in Finland, where it peaked at number six. It ended Madonna's string of 16 consecutive top-five singles in the US.

"Dear Jessie" was released as the fifth single from Like a Prayer on December 10, 1989. The release of "Dear Jessie" was limited to the UK, certain other European countries, Australia, and Japan. Upon its release, "Dear Jessie" received mixed reviews from critics, who complained about the overdone fantasy imagery of the song, but complimented its composition. The track was a moderate success commercially, reaching the top 10 in the UK and Ireland and the top-20 in Germany, Spain, and Switzerland.

"Keep It Together" was released on January 30, 1990, as the sixth and final single from Like a Prayer. The song received mixed reviews from critics, but was commercially successful, reaching a peak of number eight on the US Billboard Hot 100 and Canadian charts, while topping the dance chart in the US. In Australia, it reached number one along with Madonna's next release, "Vogue".

 Tour

Like a Prayer, alongside Madonna's following album I'm Breathless (1990), was promoted in her third concert tour, the Blond Ambition World Tour, which visited Asia, North America, and Europe. Originally planned as the "Like a Prayer World Tour", it consisted of 57 dates and was divided into five different sections; the first inspired by the 1927 German expressionist film Metropolis, the second by religious themes, the third by the film Dick Tracy (1990) and cabaret, the fourth by Art Deco, and the fifth was an encore. The show contained sexual themes and Catholic imagery, such as in the performances of "Like a Prayer" and "Oh Father", which were based in church-like surroundings with Madonna wearing a crucifix and her backup dancers dressed like priests and nuns. A lighter moment was the performance of "Cherish", which featured dancers dressed up as Mermen and Madonna playing the harp.

The concert was criticized for its sexual content and religious imagery; in Toronto, Canada, Madonna was threatened with arrest for obscenity, and Pope John Paul II later called for a boycott, with one of the three Italian dates being cancelled. Despite this, the tour was a critical success, winning "Most Creative Stage Production" at the 1990 Pollstar Concert Industry Awards.  Two different shows were recorded and released on video; Blond Ambition: Japan Tour 90, taped in Yokohama, Japan, on April 27, 1990, and Blond Ambition World Tour Live, taped in Nice, France, on August 5, 1990.

 Critical reception

Like a Prayer was met with universal acclaim from music critics. Stephen Thomas Erlewine, from AllMusic, said in retrospect that it was Madonna's "most explicit attempt at a major artistic statement", and that though she is trying to be "serious", the singer delivers a range of well-written pop songs, making the album her "best and most consistent". Annie Zaleski, from The A.V. Club, praised the album for its extensive discussion of parental issues, and described it as Madonna's first "truly substantial" record. In Rolling Stone, reviewer J. D. Considine wrote that Madonna's fame up to that point had been built more on "image than artistry", but that with Like a Prayer Madonna was asking, successfully, to be taken seriously; "Daring in its lyrics, ambitious in its sonics, this is far and away the most self-consciously serious album she's made. There are no punches pulled, anywhere". Considine concluded his review by hailing the album "as close to art as pop music gets ... proof not only that Madonna should be taken seriously as an artist but that hers is one of the most compelling voices of the Eighties".

Robert Christgau from The Village Voice lamented the "kiddie psychedelia" of "Dear Jessie", and was unmoved by "Promise to Try" and "Act of Contrition", but felt all the other songs were memorable, especially the "cocksucker's prayer" of "Like a Prayer" and the "thrilling", independence-themed "Oh Father" and "Express Yourself". Lloyd Bradley of Q said, "Musically it's varied, unexpected and far from instantly accessible; lyrically, it's moving, intelligent and candid." Edna Gundersen from USA Today described the album's songwriting as a "confessional feast", with the emphasis on Madonna's Catholic upbringing as the highlight. Songs are rife with religious overtones, spiritual and hymnal arrangements and a host of references to joy, faith, sin and power". NME critic David Quantick hailed Like a Prayer as "a brilliant, thoughtful, startling and joyful example of popular music".

Jonathan Takiff from The Philadelphia Inquirer praised the album for being "serious and reflective, at times heavily laden with psychic trauma. You might consider Like a Prayer to be [Madonna]'s Misfits...or her hour in the confessional box". Sal Cinquemani, from Slant Magazine, described the album as "a collection of pop confections layered with live instrumentation, sophisticated arrangements, deeply felt lyrics, and a stronger, more assured vocal". The review concluded by declaring Like a Prayer as "one of the quintessential pop albums of all time". Barry Walters from the San Francisco Examiner praised the album's cohesiveness, and described it as Madonna "[crossing] the boundary between craft and inspiration." Walters later wrote in The New Rolling Stone Album Guide that Like a Prayer, with its more substantial songs that "covered topics such as spousal abuse and familial neglect", "effectively upped Madonna's ante as a serious artist".

Negative criticism came from Spin magazine. Reviewer Christian Logan wrote: "On Like a Prayer your relationship to Madonna changes from to song to song, and it makes you uncomfortable. It's like sitting on a table with a friend who's telling too much about herself to people she doesn't know." Joe Levy, from the same magazine, was also critical, writing that "there's not a lot of old Madonna, nothing of the generation of women who grew up in her wake: Regina, Debbie Gibson, and Taylor Dayne", but highlighted "Keep It Together" as "the only great dance song on the record".

 Commercial performance
In the US, Like a Prayer debuted at number 11 on the Billboard 200, on the issue dated April 8, 1989. It quickly rose to the top of the chart after three weeks, remaining there for six consecutive ones, thus becoming Madonna's longest-running number one album.  The album spent a total of 77 weeks on the chart. Like a Prayer also reached a peak of number 55 on Billboards R&B Albums list. It was eventually certified quadruple-platinum by the Recording Industry Association of America (RIAA) for shipments of four million units in the US. Like a Prayer has sold over 5,000,000 copies in the US, as of March 2015. In Canada, the album debuted at number two on the RPM Albums Chart on May 1, 1989. It was present for a total of 37 weeks on the chart, and was certified five times platinum by the Canadian Recording Industry Association (CRIA) for shipments of 500,000 copies in Canada. The album achieved commercial success in Latin America. It reached the number one in Argentina, and became one of the best-selling international albums in Brazil, with over 700,000 units sold as of 1993.

Throughout Europe, Like a Prayer also did well on the charts topping the European Top 100 Albums. It sold 5 million copies in the region as of May 1990, with 3 million of which being sold in its first four-month of release. In the United Kingdom, Like a Prayer debuted at number one on the UK Albums Chart, on April 1, 1989. It remained on this position for two weeks and spent a total of 73 weeks on the chart. The album was certified four-times platinum by the British Phonographic Industry (BPI) for shipments of 1.2 million copies in the UK. In France, the album debuted at number one on the French Albums Chart on April 9, 1989, staying there for two weeks, totaling 36 weeks on it. In July 1989, it was certified platinum by the Syndicat National de l'Édition Phonographique (SNEP) for shipments of 300,000 copies in France, and once again in 2001, for shipments of 600,000 copies. In the Netherlands, Like a Prayer entered the MegaCharts at number four during the week of April 4, 1990. It eventually reached the top position, staying a total of 32 weeks on the chart. In Germany, Like a Prayer topped the Media Control albums chart for one month, and was later certified three times gold by the Bundesverband Musikindustrie (BVMI) for having shipped over 750,000 copies in the country. In Italy, Like a Prayer debuted at number one on Musica e dischi charts, remaining there for seven consecutive ones. Set "Tipo" on "Album". Then, in the "Artista" field, search "Madonna". It sold over 800,000 copies in the country as of 2019. In Belgium, Like a Prayer ended as one of the Top 5 best-selling international albums of 1989.

The album was commercially successful in Asia-Pacific countries. In Japan, Like a Prayer reached number one on the Oricon Albums Chart and remained on the chart for 22 weeks. At the 1990 Japan Gold Disc Awards held by the Recording Industry Association of Japan (RIAJ), Madonna won three awards for Best Album of the Year – Pops Solo, Grand Prix Album of the Year, and Grand Prix Artist of the Year; the last two were given for the best-selling international album and the best-selling international artist of the year, respectively. The album also became her sixth platinum album in Hong Kong. In Malaysia, the album sold 23,000 units on its first day alone, and 60,000 copies in Singapore in three months, becoming one of WEA Singapore's all-time best-sellers. In Australia, Like a Prayer debuted and peaked at number four on April 2, 1989, and was certified quadruple-platinum by the Australian Recording Industry Association (ARIA) for shipments of 280,000 copies. In New Zealand, the album peaked at number two, and was certified double platinum by the Recorded Music NZ for shipments of 30,000 copies. Like a Prayer has sold over 15 million copies worldwide.

 Legacy
Entertainment Weeklys Nicholas Fonseca felt that Like a Prayer marked "an official turning point" of Madonna's career, which earned her "a long-awaited, substantive dose of critical acclaim". Mark Savage from BBC noted that the album's release "marks the moment when critics first begin to describe Madonna as an artist, rather than a mere pop singer". Glen Levy from Time stated: "Madonna has always been a keen student of pop-culture history, and her creative powers were probably at their peak in the late 1980s on the album Like a Prayer." Hadley Freeman from The Guardian opined that Like a Prayer shaped "how pop stars, pop music, music videos, love, sex and the 80s were and should be". LA Weeklys Art Tavana expressed that "Like a Prayer was the moment when Madonna went from being the voice of America's teenagers to the worldwide high priestess of pop". With the release of Like a Prayer, Madonna's impact culminated during the 1980s, and many publications named her the artist of the decade.

Taraborrelli wrote that Like a Prayer was a turning point's in Madonna's career; "Every important artist has at least one album in his or her career whose critical and commercial success becomes the artist's magic moment; for Madonna [...] Like a Prayer was. [Madonna] pushed onwards as an artist, using her creative wit to communicate on another level, musically." Kenneth G. Bielen, author of The Lyrics of Civility: Biblical Images and Popular Music Lyrics in American Culture, wrote that with the album, Madonna began to be seen as a serious artist; "Five years earlier, she was a dance-pop 'Boy-Toy'. With Like a Prayer, she proved she was an artist who could think with more than her body."

Thomas Harrison on the book Music of the 1980s, documented that Like a Prayer pushed boundaries by addressing "uncomfortable song topics". Jon Pareles, from The New York Times, said that " [Like a Prayer] defiantly grabbed Christian language and imagery". Similarly, Zaleski, for The A.V. Club, praised the album for "starting a conversation about religion—which remains one of the most incendiary topics a musician can address. [...] All of this pointed to Madonna establishing herself as a serious artist (emphasis on the "art") who had significant things to say".

According to Christopher Rosa from VH1, "Like a Prayer was the first pop album to evoke what female artists explore today: sexuality, religion, gender equality and independence. It was pioneering, and no woman in music has come close to doing something as groundbreaking." He believed that the album was her peak of cultural and musical influence, saying that "Madonna went from bubbly pop act to a serious artist who received her first bout of universal acclaim". Rosa also stated that Like a Prayer will be always more influential than the "iconic" albums of contemporary female artists, such as Blackout (2007), The Fame Monster (2009), and Beyoncé (2013). Singer Taylor Swift stated that with the album, Madonna made "the most incredible, bold, risky, decisions as far as pop music goes", calling the title track "legitimately one of the greatest pop songs of all time".

 Music videos

According to Douglas Kellner, Like a Prayer and its singles were particularly influential on the music video field. Madonna tried to experiment with different forms and styles with the videos and in the process, she constructed a new set of image and identity. The video for "Like a Prayer", which depicted Madonna as a witness to a murder of a white girl by white supremacists, Catholic symbols such as stigmata, Ku Klux Klan-style cross burning, and a dream about kissing a black saint, was extremely controversial and gained a great deal of attention. Pareles wrote that the video "set a media circus in motion, stirring up just those issues of sexuality and religiosity that Madonna wanted to bring up". The Vatican condemned the video, while critics observed sacrilege and heresy. Madonna commented, "Art should be controversial, and that's all there is to it." Taraborrelli wrote that the song and its video also served to enhance Madonna's reputation as "a shrewd businesswoman, someone who knows how to sell a concept". Stewart M. Hoover wrote that the music video pushed boundaries by "bringing traditional religious imagery into the popular music context". Similarly, Daniel Welsh from The Huffington Post wrote that the video "catapulted Madonna to the ranks of music video heavyweight, and proved to the world she really meant business".

The music video for "Express Yourself" was also noted by critics for its exploitation of female sexuality, and they came to the conclusion that Madonna's masculine image in the video was gender-bending; authors Santiago Fouz-Hernández and Freya Jarman-Ivens commented that "the video portrayed the deconstructive gender-bending approach associated with free play and self-reflexivity of images in postmodernism". Michelle Gibson and Deborah Townsend Meem, authors of Femme/Butch, commended the video for showing a shift in power between the sexes, declaring that "Madonna assertively claimed all possible gender space like Marlene Dietrich". The video for "Express Yourself" was the most expensive video at the time of its release. Author John Semonche explained in his book Censoring Sex that with her True Blue and Like a Prayer-era music videos, Madonna pushed the envelope of what could be shown on television, which resulted in increase of her popularity.

 Critic lists and accolades
In 2003, Rolling Stone magazine named Like a Prayer the 239th greatest album of all time, maintaining the rating in a 2012 revised list, before moving to number 331 in a 2020 edition. In 2005, a poll of 500,000 people by Channel 4 placed Like a Prayer at number eight on list of "The 100 Greatest Albums in Music History". In the same year, Like a Prayer was featured in the book 1001 Albums You Must Hear Before You Die. The following year, Q magazine placed the album at number 14 in its list of "40 Best Albums of the '80s". According to the 2006 list of "All-TIME 100 Albums" by Time magazine's critics, Like a Prayer is one of the 100 greatest and most influential musical compilations since 1954. Like a Prayer was featured in the book Spin Alternative Record Guide with a perfect score of 10/10 from reviewer Rob Sheffield, given to those records to be either "[a]n unimpeachable masterpiece or a flawed album of crucial historical significance". The album was placed at number 237 in the All Time Top 1000 Albums.

In 2012, Slant Magazine listed the album at number 20 on its list of "Best Albums of the 1980s", saying: "By the late '80s, Madonna was already one of the biggest pop stars of all time, but with Like a Prayer, she became one of the most important".  The album was also featured in the Rolling Stone "Women Who Rock" list made in 2012, at number 18. In 2019, The Independent named it one of the 40 best albums you have to listen before you die. In a 2020 review, Spin magazine named Like a Prayer the eighth best album of the last 35 years.

At the end of 1989, Like a Prayer was voted the 18th best record of the year in the Pazz & Jop, an annual poll of American critics published by The Village Voice, and was nominated for a Grammy Award for Best Engineered Album. Billboard retrospectively cited Like a Prayer as Madonna's best album in 2015.

 Track listing
All tracks written and produced by Madonna and Patrick Leonard, except where noted.Notes"Spanish Eyes" was re-titled "Pray for Spanish Eyes" on certain editions of the album.
In the album's notes "The powers that be" (Madonna and Leonard) are credited as the producers of "Act of Contrition".

 Personnel
Credits adapted from the album's liner notes. Musicians  Madonna – lead vocals, backing vocals, additional synthesizers
 Patrick Leonard – acoustic piano, Hammond B3 organ, clavinet, synthesizers
 Stephen Bray – synthesizers
 Jai Winding – synthesizers
 Geary Lanier – clavinet
 Prince – guitars, vocals
 Bruce Gaitsch – guitars, acoustic guitar
 Dann Huff – guitars
 Chester Kamen – guitars
 David Williams – guitars
 Marcos Loya – requinto guitar, backing vocals
 Randy Jackson – bass
 Guy Pratt – bass
 Jonathan Moffett – drums
 Jeff Porcaro – drums
 John Robinson – drums
 Luis Conte – percussion
 Paulinho da Costa – percussion
 Joe Porcaro – marimba
 Sandra Crouch – tambourine
 David Boruff – brass section
 Dick Hyde – brass section
 Chuck Findley – brass section, horn arrangements
 Steven Madaio – brass section
 Joe Mayer – French horn
 Richard Todd – French horn
 Larry Corbett – cello
 Bill Meyers – string arrangements and conductor
 Suzie Katayama – concertmaster
 The Andraé Crouch Choir – backing vocals
 Rose Banks – backing vocals
 Donna De Lory – backing vocals
 Lynne Fiddmont – backing vocals
 Niki Haris – backing vocals
 Marilyn Martin – backing vocals
 Ali Nadirah – backing vocals Production and design '''

 Madonna – producer
 Patrick Leonard – producer
 Stephen Bray – producer
 Prince – producer
 Bill Bottrell – sound engineer, mixing
 Heidi Hanschu – sound engineer
 Eddie Miller – sound engineer
 Stephen Shelton – sound engineer
 Michael Vail Blum – additional engineer
 Stacy Baird – assistant engineer
 Robert Salcedo – assistant engineer
 Joe Schiff – assistant engineer
 Bob Ludwig – mastering at Masterdisk (New York City, New York)
 John Good – drum technician
 Harry McCarthy – drum technician
 Ivy Skoff – production coordinator
 Herb Ritts – photography
 Jeri Heiden – art direction
 Margo Chase – logo design
 Freddy DeMann – management
 Melissa Crow – management
 Elisa Lane – management

Charts

Weekly charts

Year-end charts

Certifications and sales

See also

 List of best-selling albums by women
 List of best-selling albums in Brazil
 List of best-selling albums in Europe
 List of best-selling albums in Italy
 List of best-selling albums in Turkey
 List of Australian chart achievements and milestones
 List of Billboard 200 number-one albums of 1989
 List of UK Albums Chart number ones of the 1980s
 List of number-one hits of 1989 (Germany)

References

Bibliography

External links

 Library + Archives: Like a Prayer at the Rock and Roll Hall of Fame

1989 albums
Albums produced by Patrick Leonard
Albums produced by Stephen Bray
Albums produced by Prince (musician)
Albums produced by Madonna
Madonna albums
Sire Records albums
Warner Records albums
Albums recorded at United Western Recorders

Like a Prayer (album)


Jenny Erpenbeck () este o scriitoare contemporană de limbă germană din Germania și regizoare germană, deținătoare a premiului Independent Foreign Fiction.

Biografie
Născută în Berlinul de Est, Erpenbeck este fiica fizicianului, filosofului și scriitorului John Erpenbeck și a traducătoarei de limbă arabă Doris Kilias. Bunicii ei sunt autorii Fritz Erpenbeck și Hedda Zinner. În Berlin a urmat un liceu de înaltă societate, unde a absolvit în 1985. A urmat o practică de doi ani într-un atelier de legătorie cărți înainte de a lucra în cadrul mai multor teatre ca regizoare și supraveghetoare garderobă costume.

Din 1988 până în 1990, Erpenbeck a studiat teatrul la Universitatea Humboldt din Berlin. În 1990 și-a schimbat studiile ca Director de Teatru de Muzică (studiind alături de, printre alții, Ruth Berghaus, Heiner Müller și Peter Konwitschny) la conservatorul de muzică Hanns Eisler. După terminarea cu succes a studiilor sale în 1994 (cu o producție a operei lui Bela Bartók, Castelul Prințului Barbă-Albastră, în biserica ei parohială și în centrul artistic Tacheles, a petrecut ceva timp la început ca asistentă directoare la Opera din Graz, unde în 1997 a realizat propriile producții după operele lui Schoenberg, Erwartung, opera lui Bartók, Castelul Prințului Barbă-Albastră și o premieră mondială a piesei sale, Cats Have Seven Lives. În calitate de regizoare independentă, a coordonat în 1998 diferite case de operă din Germania și Austria, inclusiv L'Orfeo a lui Monteverdi în Aachen, Acis și Galatea la Opera de Stat din Berlin și Zaide a lui Wolfgang Amadeus Mozart din Nürnberg/Erlangen.

În anii 1990 Erpenbeck a început o carieră de scriitoare, în plus față de cea de regizoare. Ea este autoarea prozelor și pieselor de teatru: în 1999, History of the Old Child, debutul ei; în 2001, colecția ei de povești Trinkets; în 2004, nuvela Dictionary; și în februarie 2008, romanul Pădurea Klarei. În martie 2007 lui Erpenbeck i s-a oferit o rubrică, o dată la două săptămâni, de Nicole Krauss în cotidianul Frankfurter Allgemeine Zeitung. În 2015 traducerea în limba engleză a romanului său The End of Days (Alle Tage Abend) a câștigat premiul Independent Foreign Fiction.

Lucrările lui Erpenbeck au fost traduse în limbile daneză, engleză, franceză, greacă, ebraică, olandeză, suedeză, slovacă, spaniolă, maghiară, japoneză, coreeană, lituaniană, norvegiană, poloneză, română, arabă, estonă și finlandeză.

Erpenbeck locuiește în Berlin cu fiul ei, Franz, născut în 2002.

Opere

Ficțiune
 Geschichte vom alten Kind (1999)  (traducere în engleză de Susan Bernofsky: )
 Tand (2001)
 Wörterbuch (2004)  (traducere în engleză de Susan Bernofsky: )
 Heimsuchung (2008)  (traducere în engleză de Susan Bernofsky: )
 Dinge, die verschwinden (2009)
 Aller Tage Abend (2012)  (traducere în engleză de Susan Bernofsky: )
 Gehen, ging, gegangen (2015)  (traducere în engleză de Susan Bernofsky: )

Piese de teatru
 Katzen haben sieben Leben (Cats Have Seven Lives) (2000)
 Leibesübungen für eine Sünderin (Physical Exercises for a Sinner) (2003)

Traduceri în limba română
 Pădurea Klarei (Heimsuchung), traducător Andrei Anastasescu, Editura Humanitas, București, 2010,  - inclus și în proiectul Punți literare al Goethe-Institut Bukarest.
 Eu plec, tu pleci, el/ea pleacă (Gehen, ging, gegangen), traducător Andrei Anastasescu, Editura Black Button Books, București, 2021, ,

Distincții
 2001ː Premiul juriului la concursul Ingeborg Bachmann din Klagenfurt
 2001ː Mai multe rezidențe (locuința Ledig Rowohlt House în New York, Künstlerhaus Schloss Wiepersdorf)
 2004ː Premiul literar GEDOK
 2006ː Câștigătoarea bursei Island Writers on Sylt
 2008ː Solothurner Literaturpreis
 2008ː Premiul literar Heimito von Doderer
 2008ː Premiul literar Hertha-Koenig
 2009ː Premiul pentru North LiteraTour
 2010ː Premiul literar pentru Steel Foundation Eisenhüttenstadt
 2011ː Premiul Jewish Quarterly-Wingate, nominalizare pentru Pădurea Karlei
 2013ː Premiul Joseph Breitbach
 2014ː Premiul Hans Fallada
 2015ː Premiul Independent Foreign Fiction, câștigătoare pentru The End of Days (premiu împărțit cu traducătoarea Susan Bernofsky)
 2016ː Premiul literar internațional Dublin, selectată pentru The End of Days
 2016ː Premiul Thomas Mann
 2017ː Premiul Strega European
 2017ː Ordinul de Merit al Republicii Federale Germania

Note

Bibliografie
 Bartel, Heike și Elizabeth Boa (eds.) Pushing at Boundaries: Approaches to Contemporary German Women Writers from Karen Duve to Jenny Erpenbeck. Amsterdam: Rodopi, 2006. ISBN 978-90-420-2051-1
Wiebke, Eden. To Express with Words, was Always the Next, în No Fear of Big Emotions. Frankfurt am Main: Fischer-Taschenbuch-Verlag, 2003. ISBN 3-596-15474-X, pp. 13–32 (interviu Jenny Erpenbeck)

Vezi și
 Literatura germană

Legături externe

Nașteri în 1967
Scriitori germani din secolul al XX-lea
Oameni din Berlin
Scriitori germani din secolul al XXI-lea

Jenny Erpenbeck


The shell game (also known as thimblerig, three shells and a pea, the old army game) is often portrayed as a gambling game, but in reality, when a wager for money is made, it is almost always a confidence trick used to perpetrate fraud. In confidence trick slang, this swindle is referred to as a short-con because it is quick and easy to pull off. The shell game is related to the cups and balls conjuring trick, which is performed purely for entertainment purposes without any purported gambling element.

Play

In the shell game, three or more identical containers (which may be cups, shells, bottle caps, or anything else) are placed face-down on a surface. A small ball is placed beneath one of these containers so that it cannot be seen, and they are then shuffled by the operator in plain view. One or more players are invited to bet on which container holds the ball – typically, the operator offers to double the player's stake if they guess right. Where the game is played honestly, the operator can win if he shuffles the containers in a way which the player cannot follow.

In practice, however, the shell game is notorious for its use by confidence tricksters who will typically rig the game using sleight of hand to move or hide the ball during play and replace it as required. Fraudulent shell games are also known for the use of psychological tricks to convince potential players of the legitimacy of the game – for example, by using shills or by allowing a player to win a few times before beginning the scam.

History

The shell game dates back at least to Ancient Greece. It can be seen in several paintings of the European Middle Ages. Later, walnut shells were used, and today the use of bottle caps or matchboxes is common. The game has also been called "thimblerig" as it could be played using sewing thimbles. The first recorded use of the term "thimblerig" is in 1826.

The swindle became very popular throughout the nineteenth century, and games were often set up in or around traveling fairs. A thimblerig team (comprising operator and confederates) was depicted in William Powell Frith's 1858 painting, The Derby Day.  In Frith's 1888 My Autobiography and Reminiscences, the painter-turned-memoirist leaves an account of his encounter with a thimble-rig team (operator and accomplices):

Fear of jail and the need to find new "flats" (victims) kept these "sharps" (shell men or "operators") traveling from one town to the next, never staying in one place very long. One of the most infamous confidence men of the nineteenth century, Jefferson Randolph Smith, known as Soapy Smith, led organized gangs of shell men throughout the mid-western United States, and later in Alaska.

Today, the game is still being played for money in many major cities around the world, usually at locations with a high tourist concentration (for example: La Rambla in Barcelona, Gran Via in Madrid, Westminster Bridge in London, Kurfürstendamm in Berlin, Bahnhofsviertel in Frankfurt am Main and public spaces in Paris, Buenos Aires, Benidorm, New York City, Chicago,  and Los Angeles). The swindle is classified as a confidence trick game, and illegal to play for money in most countries.

The game also inspired a pricing game on the game show The Price Is Right, in which contestants attempt to win a larger prize by pricing smaller prizes to earn attempts at finding a ball hidden under one of four shells designed to resemble walnut shells.  While the ball is not shown during the game, and the host shuffles the shells before the start of the game, contestants can win by either winning all four attempts or winning enough attempts (via big "chips" to mark the shells), and picking the one that has the ball.  The shuffling is only allowed before the pricing part of the game begins, and once the first small prize is announced, no further shuffling is permitted.  Federal game show regulations are designed to ensure the game is legally a game that can be won.

See also
 Get-rich-quick scheme
 Three-card Monte
 Cups and balls routine

Bibliography
 Bishop, Glen, The Shellgame – For Tableside Tricksters, 2000
 Price, Paul, The Real Work: Essential Sleight Of Hand For Street Operators, 2001
 Whit Haydn and Chef Anton, Notes on Three-card Monte
 Perry, Richard Hull Elections

Notes

External links
  How do big city shell games work?. How Stuff Works

Confidence tricks
Gambling in ancient history

fr:Bonneteau#Variantes

Shell game


An Chrysopogon lawsonii in uska species han Liliopsida nga syahan ginhulagway ni Joseph Dalton Hooker, ngan ginhatag han pagkayana nga asya nga ngaran ni Jan Frederik Veldkamp. An Chrysopogon lawsonii in nahilalakip ha genus nga Chrysopogon, ngan familia nga Poaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Chrysopogon (Poaceae)

Chrysopogon lawsonii


Yerleşim
 Alagöz, Sandıklı - Afyonkarahisar ili Sandıklı ilçesine bağlı köy
 Alagöz, Ardahan - Ardahan ili merkez ilçesine bağlı köy
 Alagöz, Kiğı - Bingöl ili Kiğı ilçesine bağlı köy
 Alagöz, Hınıs - Erzurum ili Hınıs ilçesine bağlı mahalle
 Alagöz, Horasan - Erzurum ili Horasan ilçesine bağlı mahalle
 Alagöz, Karkamış - Gaziantep ili Karkamış ilçesine bağlı mahalle
 Alagöz, Kocasinan - Kayseri ili Kocasinan ilçesine bağlı mahalle
 Alagöz, Derik - Mardin ili Derik ilçesine bağlı mahalle
 Alagöz, Midyat - Mardin ili Midyat ilçesine bağlı mahalle
 Alagöz, Türkeli - Sinop ili Türkeli ilçesine bağlı köy

Kişiler
 Bahattin Alagöz, Türk siyasetçi

Diğer
 Alagöz Dağı
 Alagöz Karargâh Müzesi

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