"Selling out", or "sold out" in the past tense, is a common expression for the compromising of a person's integrity, morality, authenticity, or principles by forgoing the long-term benefits of the collective or group in exchange for personal gain, such as money or power. In terms of music or art, selling out is associated with attempts to tailor material to a mainstream or commercial audience. For example, a musician who alters their material to encompass a wider audience, and in turn generates greater revenue, may be labeled by fans who pre-date the change as a "sellout". "Sellout" also refers to someone who gives up, or disregards someone or something for some other thing or person.

In sports
In sports franchises, a "sellout" is a person or group claiming to adhere to the ideology of putting the collective interests of the team, franchise or fans above their own individual accomplishments or financial gain, only to follow these claims up with actions contradicting them, such as an athlete or coach pledging to stay with a team until a specific goal is accomplished, but immediately deciding to leave the team for financial gain.

In politics
In political movements, a "sellout" is a person or group claiming to adhere to one ideology, only to follow these claims up with actions contradicting them, such as a revolutionary group claiming to fight for a particular cause, but failing to continue this upon obtaining power.

An example of political "selling out" is a political party who has formed a coalition with another party it had historically opposed, such as the Liberal Democrats' leader Nick Clegg's coalition with the Conservative Party after the 2010 general election in the United Kingdom, during which he reneged on his pledge to oppose any increase in student tuition fees.

In music and entertainment

Music

There are three distinct forms of "selling out" in terms of music. First, there is the use of the term "sell-out" to refer to those who sign for major labels or to those who license their music to companies for use in advertising that contradicts their apparent values. Secondly, the expression can refer to those who sacrifice their musical integrity through a change in their musical sound, sometimes due to pressure from major labels or in order to gain profit by making their music more appealing to a mainstream audience. The third form of selling out is simply to sell out a venue, which normally has nothing to do with a lapse of integrity.

Record labels and advertising

Since the time of big band radio shows, there has been an established relationship between musicians and commercialization. There had been some signs of resistance to this model as early as the 1960s, when gospel group The Blind Boys of Alabama refused to sign record deals to record secular music. It was not until the punk subculture in the 1970s that the notion that musicians should be completely independent of commercial influences began to increase in popularity. This partly manifested itself in the reluctance of bands to sign for major labels, as this would include taking part in activities that were seen as crass and overly commercial. This continued into the 1980s, when bands were scorned by fanzines for signing with major labels as the mainstream success this would bring was symptomatic of the general decay in culture. However, after a number of bands maintained the quality of their records after signing for a major label, by the end of the 1980s the focus on "selling out" shifted to advertising.

The attitude held by those who disliked the idea of "selling out" towards advertising was negative; comedian Bill Hicks claimed that any band who licensed their music for advertising was "off the artistic roll call forever", and Neil Young mocked the fact that songs became associated with brands on his 1988 album This Note's for You. However, although it was possible for fans to feel a sense of betrayal due to the relationship they developed with the song and artist, when artists did allow their music to be used for commercials others considered the advertised product to be more appealing. As CD sales fell and record companies became unwilling or unable to afford the push new bands needed to become established, sponsorship of bands by major companies began to be seen as more acceptable, with even minor record labels devoting time and money towards marketing deals with well-known brands.

By the 2010s, the use of licensing of artists in commercials had become an accepted part of the music industry, and even those who would previously have been considered part of the 1970s resistance to "selling out" have been used in advertising products, such as former Sex Pistols frontman John Lydon advertising Country Life butter and Iggy Pop endorsing car insurance. Consequently, it has been suggested that the acceptance of music in advertising is generational, as younger listeners are comfortable with the relationship to the point of indifference whilst those who have seen the industry evolve still reject it.

Musical integrity

Another definition of "selling out" refers to putting aside musical quality or original intentions in favor of commercial success, where a distinction is made for those who achieve success without changing their original sound. The difference between the two is often subjective. While artists may change their musical direction for commercial reasons, such as pressure from major labels who require songs to appeal to mass markets, a change in sound may also be part of a natural progression of creative maturity.

An example of artists being accused of "selling out" is the band Metallica, whose 1991 eponymous album has been considered the turning point in the band's musical direction; the band members were called the "poster boys for musical un-integrity" after many incorrectly thought that the band attempted to sue fans who were downloading their music through Napster. The album, known as The Black Album, saw critics and Bob Rock, the album's producer, acknowledge that there was a move away from the band's previous thrash metal sound. Rock claimed that the change stemmed from the band's desire to "make the leap to the big, big leagues", while some fans blamed Rock himself, going as far to eventually create an internet petition demanding the band cut their ties with him. However, other fans did not consider the change in sound to be significant enough to be considered "selling out," and others accepted the change as part of a natural evolution of the band's style. Ultimately The Black Album became the band's most commercially successful release, going 16× Platinum in the United States. The differing reaction by fans to the album demonstrates the difficulty in labelling an artist as a "sellout" objectively.

"Poseur" is a pejorative term, often used in the punk, heavy metal, hip hop, and goth subcultures, to describe a person who copies the dress, speech, and/or mannerisms of a group or subculture, generally for attaining acceptability within the group or for popularity among various other groups, yet who is deemed not to share or understand the values of the subculture.

While this perceived inauthenticity is viewed with scorn and contempt by members of the subculture, the definition of the term and to whom it should be applied is subjective. While the term is most associated with the 1970s- and 1980s-era punk and hardcore subculture, English use of the term originates in the late 19th century. A hardcore punk band that signed a lucrative contract with a major label would probably be labelled as poseurs.

Film and television
In film and television "selling out" refers to compromising the content of produced media, primarily for financial reasons; for example, introducing product placement.

Product placement, or embedded marketing, is the placement of brands or products in media in order to advertise, and has been in television from almost the very beginning, but has increased with introduction of devices such as DVRs which allow viewers, and therefore consumers, to fast-forward through adverts. It has been suggested that the idea that product placement is a form of selling out is Anglocentric, as American television shows such as American Idol and Celebrity Apprentice recorded over 500 examples of brand integration in 2011 according to Nielsen.

Comedy

Stand-up comedians occasionally face accusations of "selling out." Comedians who start out in comedy clubs might often use foul language and blue humor in their routines. A comic who alters their routine by "sugar-coating" their language and using less-offensive material to obtain mainstream success may be accused of "selling out."

George Carlin was accused of being a "sellout" for appearing in television commercials for MCI's 10-10-220. Carlin had previously spoken of his dislike for MCI's commercials in his 1996 album Back in Town. In his 1999 album You Are All Diseased, which contains rants against advertising and business, Carlin admits the dichotomy but makes no attempt to explain himself, stating, "You're just gonna have to figure that shit out on your own." In interviews, Carlin revealed he appeared in the advertisements to help pay off a large tax debt to the IRS.

Comedian/actress Janeane Garofalo has described herself as a "sellout" based on her participation with the TV show 24 playing Janis Gold. Garofalo initially turned down the role because of the way the show depicted torture scenes; however, she changed her mind later on, saying in an interview, "Being unemployed and being flattered that someone wanted to work with me outweighed my stance [on torture]." Garofalo admitted to "selling out" for losing weight in order to gain more acting work.

Criticism of the term
An artist may also be accused of "selling out" after changes in artistic direction.  This conclusion is often due to the perception that the reason for the artist changing artistic style or direction was simply potential material gain. This ignores other causes of artistic development, which may lead an artist in new directions from those that attracted their original fans.  Artists' improvements in musical skill or change in taste may also account for the change.

Other times, artists (including those with politically oriented messages) resent the term on the grounds that the perceived desire for material gain is simply a result of the band seeking to expand its message. To such artists, not going mainstream or signing to a bigger label to avoid "selling out" prevents them from addressing a wider audience, regardless of whether or not there is any real artistic change, and arbitrarily hampers the artists' course of mainstream success. Such an accusation, then, assumes that mainstream success must be against the artists' original intentions. For example, when questioned about signing to a major label, Rage Against the Machine answered "We're not interested in preaching to just the converted. It's great to play abandoned squats run by anarchists, but it's also great to be able to reach people with a revolutionary message, people from Granada Hills to Stuttgart." Similarly, when confronted with the accusation of "selling out" in 2001, Mike Dirnt of Green Day said:

"If there's a formula to selling out, I think every band in the world would be doing it. The fact that you write good songs and you sell too many of them, if everybody in the world knew how to do that they'd do it. It's not something we chose to do...The fact was we got to a point that we were so big that tons of people were showing up at punk-rock clubs, and some clubs were even getting shut down because too many were showing up. We had to make a decision: either break up or remove ourselves from that element. And I'll be damned if I was going to flip fucking burgers. I do what I do best. Selling out is compromising your musical intention and I don't even know how to do that."

See also
 Acting white
 Commercialism
 Don't fuck with the formula
 Jumping the shark
 Poseur
 Recuperation (sociology)
 Uncle Tom
 Los Vendidos

References

External links

 The Art of Selling Out: Compromising the Music
 The Balancing Act Between Art and Commerce (article about musicians "selling out")
 'Selling Out': The New Radicals and Natasha Bedingfield (article explaining why "selling out" can be confusing)
 Paul McCartney? Is That You?: What he's doing in that Fidelity ad (commentary)
 Tangled Up in Boobs: What's Bob Dylan doing in a Victoria's Secret ad? (commentary)
 Things with indie credibility (commentary)
 , also archived from the dead Baffler site. (Legendary producer Albini's take on "going major". Reprinted in Maximum RocknRoll #133 (June 1994) and later various websites.)

Cultural concepts
Music industry
Popular culture

ja:産業ロック

Selling out


Erik Durm (Pirmasens, Njemačka, 12. svibnja 1992.) je njemački nogometaš i povremeni nacionalni reprezentativac. Trenutno je član frankfurtskog Eintrachta dok je s Elfom osvojio svjetski naslov.

Karijera

Klupska karijera
Durmov nogometni razvoj započeo je u lokalnom SG Rieschweileru dok je u Saarbrückenu bio najbolji strijalac juniorskog prvenstva s 13 pogodaka. Nakon toga uslijedila je epizoda u Mainzu gdje je igrao za juniore i drugu momčad. Zbog dobrih igara, klub mu je ponudio profesionalni ugovor, međutim, Durm ga je odbio kako bi potpisao za Borussiju Dortmund. Ondje je kao i u Mainzu, najprije igrao za B sastav koji se natjecao u njemačkoj trećoj ligi.

Tijekom sezone 2013./14. uveden je u A tim te je za Borussiju debitirao u susretu protiv Augsburga gdje je kao ušao u igru kao zamjena Robertu Lewandowskom. Tijekom šestogodišnje karijere u dresu BVB-a, s klubom je osvojio jedan kup i dva Superkupa.

13. srpnja 2018. objavljeno je da igrač za nepoznati iznos odlazi u engleski Huddersfield Town. Nakon jedne sezone vratio se u domovinu gdje je potpisao četverogodišnji ugovor za Eintracht Frankfurt.

Reprezentativna karijera
Durm je igrao za njemačke U19, U20 i U21 reprezentacije prije nego što je ušao u seniorski sastav. Ondje je debitirao 2014. u prijateljskom susretu protiv Kameruna. Sljedeći dan njemački izbornik Löw ga je uveo na konačan popis reprezentativaca za Svjetsko prvenstvo u Brazilu. Na tom turniru je s nacionalnom selekcijom osvojio svjetski naslov.

Osvojeni trofeji

Klupski trofeji

Reprezentativni trofeji

Izvori

Vanjske poveznice
 Profil igrača na Transfermarkt.de
 Profil igrača na Fussballdaten.de

Njemački nogometaši
Nogometaši Mainza 05
Nogometaši Borussije Dortmund
Nogometaši Huddersfield Towna
Nogometaši Eintracht Frankfurta
Svjetski prvaci u nogometu
Aktivni nogometaši koje treba ažurirati

Erik Durm


Der König Kandaules (El rey Candaules) es una ópera en tres actos con música de Alexander von Zemlinsky sobre libreto del compositor basado en la pieza El rey Candaules de André Gide traducido por Franz Blei. El compositor acabó el libreto en 1935 pero la orquestación quedó inacabada. En el exilio en los Estados Unidos abandonó el proyecto ya que una escena erótica en el segundo acto hacía a la ópera condenable por la censura. Se estrenó el 6 de octubre de 1996 en la Staatsoper de Hamburgo bajo la dirección de Gerd Albrecht.

Es una ópera actualmente poco representada; en las estadísticas de Operabase aparece con sólo 6 representaciones en el período 2005-2010. En junio de 2016 se representó en Sevilla una producción del Teatro Massimo de Palermo que supuso el estreno de la ópera en España.

Personajes

Sinopsis
 Lidia, en la antigua Grecia.

Acto I
Gyges el pescador se presenta. Cuenta que tiene la misma edad que el rey Candaules: cuando eran niños ambos jugaban en la playa, pero hace mucho de eso y el destino los ha separado y el rey lo ha olvidado. Él vive en la pobreza de su pesca que vende al rey y su mujer es la cocinera del palacio. A continuación, se marcha y en el palacio real se prepara una fiesta. El rey se siente tan feliz de sus riquezas y de la belleza de su mujer Nyssia que decide que por primera vez se muestre en público sin estar cubierta por un velo. Se sirve el pescado y alguien encuentra un anillo dentro de un pez. El rey quiere que se presente el pescador ante la corte, que resulta ser Gyges. Éste está más desgraciado que nunca, pues acaba de incendiarse su choza y sólo le quedan dos cosas: su mujer (allí presente) y su pobreza. Uno de los cortesanos se burla diciendo que ella tampoco es sólo suya, que se acostó con ella la noche de antes. Gyges la mata allí mismo delante de todos. El rey queda fascinado por su desgracia en contraposición a las dichas que él posee y lo invita a su palacio.

Acto II
Candaules descubre fortuitamente que el anillo es mágico y tiene la propiedad de hacer invisible a quien se lo pone. Dispuesto a compartirlo todo, le da el anillo mágico a Gyges para que vea desnuda a su mujer Nyssia, pero él no muestra interés por ella. Llega Nyssia y empieza a desnudarse en la oscuridad. Candaules deja a Gyges en la alcoba y se marcha. Nyssia se acuesta con él pensando que es su marido. A la mañana siguiente le cuenta que siempre lo ha amado, pero que los besos que le dio anoche fueron los mejores. Candaules se siente consternado, pues sabe que no fue él quien pasó la noche con ella, y se marcha buscando a Gyges por el palacio.

Acto III
Gyges vuelve a la alcoba abrumado por su conciencia y le confiesa a Nyssia lo que pasó la noche anterior. Ella, sin embargo, se siente profundamente humillada y traicionada por su marido, de quien pensaba que la amaba y ordena a Gyges que mate a Candaules. El rey se presenta allí y Gyges lo mata. Nyssia lo corona como nuevo rey de Lidia y nuevo marido.

Referencias

Enlaces externos

Óperas de Alexander Zemlinsky
Óperas en alemán
Óperas de 1996
Óperas estrenadas en Hamburgo
Óperas inacabadas

Der König Kandaules


Habia es un género de aves de la familia de los cardinálidos, anteriormente clasificado dentro de los tráupidos.

Lista de especies
Según la clasificación del Congreso Ornitológico Internacional (versión 2.10, 20111) este género está conformado por cinco especies:
Habia rubica.
Habia fuscicauda.
Habia gutturalis.
Habia atrimaxillaris.
Habia cristata.

Enlaces externos

Géneros de aves

Habia


Vaidotas ist ein litauischer männlicher Vorname, abgekürzt Vaidas.

Namensträger

 Vaidotas Antanaitis (1928–2018),  Forstwissenschaftler, Forstminister, Botschafter
 Vaidotas Bacevičius (* 1975), Jurist und Politiker
 Vaidotas Verba (*  1966), Verwaltungsjurist und Diplomat
 Vaidotas Viliūnas (* 1956), Direktor von Kolleg Marijampolė

Zwischenname
 Leonas Vaidotas Ašmantas (* 1939), Wirtschaftsingenieur und Erfinder, Professor

Männlicher Vorname
Litauischer Vorname

Vaidotas (Vorname)


Bayt (İngilizce: byte), elektronik ve bilgisayar bilimlerinde genellikle 8 bitlik dizilim boyunca 1 veya 0 değerlerini bünyesine alan ve kaydedilen bilgilerin türünden bağımsız bir bellek ölçüm birimi. Bir bayt, Latin alfabesini baz alan 8-bitlik bir kodlamada herhangi bir harfi temsil eder.

 'Çoğu platformda' 8 bit = 1 bayt

Bitten sonraki ikinci en küçük sayısal bilgisayar birimidir. Bir Bayt, 0 ile 255 arasındaki değeri veya diğer anlamda 256 şalter durumunu temsil etmektedir. Yani 2 üssü 8'dir. Onluk düzende 167'nin ikilik düzende dizilimi şöyledir: 10100111.

 bit'in onluk sayı değeri 255 olup, 0 ile birlikte, 256 şalter durumunu gösterir. Eğer somut sonuç 2 üzeri 10'u geçiyorsa o zaman sayının sonundaki rakamlar silinip onun yerine kısaltmalar eklenir. Örneğin,

 1 Kilobayt = 1 KB = 103= 1.024 Bayt
 1 Megabayt = 1 MB = 106= 1.048.576 Bayt
 1 Gigabayt = 1 GB = 109= 1.073.741.824 Bayt
 1 Terabayt = 1 TB = 1012= 1.099.511.627.776 Bayt
 1 Petabayt = 1 PB = 1015 bayt
 1 Eksabayt = 1 EB = 1018 bayt
 1 Zettabayt = 1 ZB = 1021 bayt
 1 Yottabayt = 1 YB = 1024 bayt
Bit terimi ilk defa IBM çalışanları tarafından 1956'da ortaya atılmıştır. Aslında, doğrudan adreslenebilen belleğin 6 bitlik bir değeri tanımlayan en küçük birimi olarak tanımlanmıştır. Daha sonra, 1956'da, 6 bitten 8 bite geliştirilmiştir. Bite, bit ile karıştırılmaması için daha sonra Bayt'a çevrilmiştir.

Diğer bir kelime açıklamasına göre de, Byte, "by eight"in (Türkçede sekiz kez veya sekiz ile) kısaltılmış halidir.

Katları
Farklı ölçümler için kullanılan ön ekler genellikle diğer ölçümler ile aynı kullanıma sahiptir, fakat az da olsa farklılıklar vardır. Önceden ikilik sistemin katı olan 1,024 (210) ile çarpılarak kullanılırdı, uygun olanı onluk sistemin katı olan 1,000 (103) ile çarpmaktır Aşağıdaki tablo bu farklı kullanımları gösteriyor.

1998'de IEC daha sonraları ise IEEE yeni standart yayınladı:

Bilgisayar terimleri
Bilgisayar birimleri
Bilgisayar belleği

Bayt


Obična bogomoljka (latinski: Mantis religiosa) veliki je kukac iz porodice Mantidae i reda bogomoljki. Duljina mužjaka iznosi 6 – 7 cm, a ženki 7 – 9 cm, iako postoje jedinke s varijacijom nekoliko centimetara više ili manje od toga raspona. Ime bogomoljka potječe od karakterističnog položaja prvog para nogu koji se kod njih može primijetiti u mirovanju. Podsjeća na moljenje. I mužjaci i ženke imaju izduženo tijelo s dva para krila, a vrsta je poznata po seksualnom kanibalizmu. Obična bogomoljka najčešća je vrsta bogomoljke u Hrvatskoj i Europi.

Varijacija boja
Boja tijela obične bogomoljke varira od različitih nijansi žute, smeđe, zelene, a ponekad i crne, no općeprihvaćeno objašnjenje o uzroku i mehanizmu takve varijacije ne postoji ni nakon 100 godina istraživanja.

Alessandro Palma di Cesnola je 1904. primijetio da su zelene bogomoljke češće na svježoj zelenoj travi, dok smeđe jedinke više vole smeđu i suhu travu. Kada su jedinke puštene na lokacije koje nisu odgovarale njihovoj boji, grabežljivci poput ptica su ih gotovo sve ubili. Boja je evidentno temeljni dio njihove kamuflaže.

Rasprostranjenost

Obična bogomoljka nastanjuje Europu, Aziju, Afriku i Sjevernu Ameriku. Na potonjem kontinentu smatrana je uvedenom vrstom. U sjevernoj je Europi vrlo rijetka, no stabilne populacije u Njemačkoj postoje, a ima i indikacija da distribucija uključuje čak i Latviju i Estoniju.

Izvori

Vanjske poveznice

 Opažanja, iNaturalist
Bogomoljke

Obična bogomoljka


Pottuvil to Polikandy (en Tamoul : பொத்துவில்-பொலிகண்டி பேரணி) plus couramment désigné sous l'abréviation P2P est une marche de protestation qui s'est déroulée du 3 au 7 février 2021 organisé par le peuple Tamoul qui a réunis les membres des différentes communautés religieuses (chrétienne, musulmanes, hindouistes) ainsi que plusieurs politiciens tamouls, étudiants, membres de mouvements pour les droits civiques qui ont marché pendant une période de 4 jours de la ville de Pottuvil dans le district d'Ampara, province de l'Est, jusqu'au lieu de Polikandy dans la ville de Point Pedro dans le district de Jaffna, province du Nord. Ces deux lieux correspondent aux territoires du Tamil Eelam revendiqué par les Tamouls.

On estime à plus de 50 000 le nombre de personnes présentes.

À la suite d'une absence de mesures de la part de l'Etat sri lankais concernant les demandes des familles de disparues, les demandes de justices pour les civils tuées dans le cadre de la guerre d'indépendance du Tamil Eelam et plus largement dans le cadre de la guerre civile au Sri Lanka les manifestants ont voulus à travers un objectif commun attirer l'attention des nations de l'ONU sur diverses violations des droits de l'homme commises par le gouvernement sri-lankais à l'encontre des populations tamoule et musulmane.

Ces manifestations interviennent après que le Sri Lanka ai rejeté un rapport de la Haut-Commissaire des Nations unies aux droits de l'homme, Michelle Bachelet, appelant à une "action internationale pour garantir la justice pour les crimes internationaux" qui auraient été commis pendant les 26 ans de guerre civile. En effet selon les premières estimations prudentes de l'ONU, environ 100 000 personnes ont été tuées pendant la guerre civile. Un rapport ultérieur d'experts de l'ONU a indiqué que 40 000 civils de l'ethnie tamoule pourraient avoir été tués au cours des derniers mois de combat.

Une lettre synthétisant les revendications des manifestants de Pottuvil à Polikandy dans une lettre adressée aux Nations unies. a été adressé au Haut Commissaire des Nations unies aux droits de l'homme et au Conseil des droits de l'homme des Nations Unies (CDHNU), elles soulignent qu'ils participent à une marche pacifique de Pottuvil à Polikandi afin d'attirer l'attention sur les principaux problèmes auxquels est confrontée la communauté tamoule dans son pays. Parmi les problèmes soulignés dans la lettre figurent la poursuite de l'accaparement des terres et la colonisation cingalaise des zones traditionnellement tamoules, la militarisation continue et croissante des terres tamoules et le déni du droit de se souvenir de ceux qui ont donné leur vie dans la lutte des Tamouls pour le droit à l'autodétermination.

Plusieurs commémorations ont eu lieu durant la marche notamment à Nelliady, la ville natale du premier tigre noir des LTTE, le capitaine Miller. De plus à Nallur, les marcheurs se sont également arrêtés pour rendre hommage à un monument dédié au lieutenant-colonel Thileepan, un chef de l'aile politique des LTTE qui a jeûné jusqu'à la mort, dans le cadre d'une manifestation appelant le gouvernement indien à honorer les promesses faites au peuple tamoul. une minute de silence a aussi été observée en son honneur dans la ville.

Références

Politique au Sri Lanka
Mouvement protestataire
Tamouls
Tigres de libération de l'Îlam tamoul
Février 2021
2021 au Sri Lanka

Marche de protestation de Pottuvil à Polikandy


Ieronim Șerbu (pseudonimul lui Afon Herz Erick, ) a fost un prozator român.

Biografie
S-a născut într-o familie evreiască din Botoșani. Părinții lui erau Avram Moise Erick și soția sa, Frieda Ruhla (născută Sigal). A urmat Liceul "Gheorghe Lazăr" din capitala națională București. Din 1932 până în 1943 a frecventat cercul literar organizat în jurul revistei Sburătorul. A debutat ca scriitor în 1932 în revista lunară Discobolul, pe care a fondat-o împreună cu Dan Petrașincu și cu Horia Liman. A colaborat, de asemenea, la publicațiile Azi, Lumea, Viața Românească, Revista Fundațiilor Regale și Gazeta literară, folosind la început pseudonimul Aron Ciuntu.

Prima carte a lui Șerbu a fost volumul de povestiri Dincolo de tristețe, care a apărut în anul 1940. Au urmat alte două volume de povestiri: Oamenii visează pâine (1945) și Vițelul de aur (1949), precum și romanele Rădăcinile bucuriei (1954) și Podul amintirilor (1963). Interesanta lucrare memorialistică Vitrina cu amintiri a apărut postum în 1973. Articolele sale pe teme literare au fost adunate în volumul Itinerarii critice (1971). Proza timpurie a lui Șerbu era analitică; după al Doilea Război Mondial și instaurarea regimului comunist el a abordat teme sociale și etice în creațiile sale literare. În ciuda rescrierii textelor sub presiunea unor diferiți factori, Șerbu nu a reușit să creeze o operă literară unitară și reușită artistic.

Opera
 Dincolo de tristețe, nuvele, Editura Librăriei Socec &Co. S.A., București, 1940 (ed. a II-a, cu o postfață de Șerban Cioculescu, Editura pentru literatură, București, 1969);
 Oamenii visează pâine, povestiri, Fundația Regele Mihai I, București, 1945;
 Vițelul de aur, nuvelă, Colecția "Contemporanul", București, 1949;
 Cuptorul nr. 3, București, 1950;
 Linia de foc, nuvelă, București, 1950;
 Erupția, nuvelă, București, 1951;
 Mama, Editura Tineretului, București, Colecția Tineretului sătesc 1951;
 Poveste de dragoste, Editura Tineretului, București, 1951;
 Rădăcinile bucuriei, roman, Editura Tineretului, București, 1954;
 Nunta în stepă, nuvelă, ESPLA, București, 1956;
 Izgonirea din rai, roman, ESPLA, București, 1956;
 Hoțul, nuvele, Editura Tineretului, București, 1957;
 Izgonirea din rai, nuvele, ESPLA, București, 1959 (ed. a II-a, Editura pentru literatură, București, 1965; ed. a III-a, Editura Tineretului, București, 1969);
 Podul amintirilor, roman, Editura Tineretului, București, 1963 (ed. a II-a, Editura Tineretului, București, 1967);
 Urmărirea, Editura Tineretului, București, 1966;
 Itinerarii critice: eseuri și cronici literare, eseuri, Editura Minerva, București, 1971;
 Vitrina cu amintiri, Editura Cartea Românească, București, 1973.

Note

Nașteri în 1911
Decese în 1972
Scriitori români evrei
Critici literari români
Nuveliști români
Romancieri români
Fondatori de reviste români
Botoșăneni
Scriitori cunoscuți sub pseudonimele folosite
Români cunoscuți sub pseudonimele folosite
Scriitori români din secolul al XX-lea

Ieronim Șerbu


Microsporum es un género de hongos causantes de la tiña de la cabeza, tiña corporis, (dermatofitosis) entre otras micosis. Es un hongo filamentoso queratinofílicos incluido en el grupo de los dermatofitos.

Microsporum forma tanto macroconidios como microconidias:

Las macroconidias hifas son hialinas, multiseptada, variable en forma, fusiforme, en forma de huso y obovadas, de entre 7 y 20 por 30 a 160 um de tamaño. Sus características de forma, tamaño y de la pared celular son características importantes para la identificación de especies.
Las microconidias son hialinas, unicelulares, piriforme o claviforme, de paredes lisas, de 2,5 a 3,5 por 4-7 um de tamaño y no para el diagnóstico de cualquier especie. La separación de este género de Trichophyton se basa esencialmente en la rugosidad de la pared celular macroconidial, aunque en la práctica a veces puede ser difícil de observar.

Hábitat

Mientras que el hábitat natural de algunas de las especies de Microsporum es el suelo (la especie geophilic), otras afectan principalmente a diversos animales (especies zoofílicas) o humanos (la especie antropofílicas). Algunas especies están aisladas de suelo y los animales (geophilic y zoofílicas). La mayoría de las especies de Microsporum están ampliamente distribuidos en el mundo mientras que otros han restringido la distribución geográfica.

Especies

Diecisiete especies de Microsporum se han descrito, sin embargo, los más significativos son:

M. ouinii
M. gallinae
M. ferrugineum
M. distortum
M. nanum
M. canis
M. gypseum
M. cookei
M. vanbreuseghemii

Fuente
https://web.archive.org/web/20110903092730/http://www.doctorfungus.org/thefungi/Microsporum_spp.php

Dermatofitosis

Microsporum


سوميدا  وتعني «حي سوميدا» هو أحد أحياء طوكيو ال 23.

جغرافيا
يقع حي سوميدا في الجزء الشمالي الشرقي من منطقة أحياء طوكيو، محاطاً بأحياء أخرى هي أراكاوا، كاتسوشيكا، إيدوغاوا، تايتو، تشوأو وكوتو. ويمر فيها نهري أداتشي، وأراكاوا.

معالم
 حديقة هونجو ماتسوزاكا-تشو: مكان إقامة كيرا يوشيناكا الذي قتل على يد السبعة وأربعون ساموراي.
 ريوغوكو كوكوغيكان : صالة السومو الوطنية.

تاريخ
أُسس الحي في 15 مارس  1947 بدمج حيين هما هونجو وموكوجيما.

أعلام
 يوشيهيرو تاكاياما
 يوي كانو
 هيسانوري تاكاهاشي
 يويداي لواما
 ساداهارو أو

مواقع خارجية
 الموقع الرسمي لمدينة سوميدا باللغة الإنكليزية

مراجع

أحياء طوكيو

سوميدا (طوكيو)

سوميدا (طوكيو)


Frederiksdal, Kastrup (dansk) eller Friedrichstal (tysk) er navnet på en lille landsby og gård i det nordlige Tyskland, beliggende i nærheden af Kværn og Stenbjergkirke i det østlige Angel (Sydslesvig).

I 1618 erhvervede hertug Hans den Yngre, som var søn af kong Christian 3., store landområder ved Flensborg Fjord i det østlige Angel, for at danne en konkurrencehavn mod Flensborg. Til dette formål lod han Nykirke by bygge. I området fandtes dengang også en lille gård og landsby med navn Kastrup. Kastrup var en lille mejerigård til Nybøl gods. I 1628 byggede hertug Filip af Lyksborg på stedet en gård med brede voldgrave og vindebro, som han opkaldte efter sin kone Sophie Hedwig Sophiegård. Men i 1750 lod hertug Frederik af Lyksborg bygningerne nedrive og byggede i stedet på samme sted et jagtslot, som han kaldte Frederiksdal. I 1900-tallet blev Frederiksdal Jagtslot flere gange ombygget og udvidet. Frem til 1850 fandtes der også en vandmølle. Jagtslottet fungerer i dag som cafe og restaurant. Kælderhvælvingerne fra den ældste bygning samt dele af slotsgravene er endnu bevaret.

I nærheden ligger landsbyerne Kalleby og Nykirke, herregården Filipsdal (Pinningsand) og den tidligere langdysse Pinninghøj.

Eksterne henvisninger
 Frederiksdal Jagtslot

Angel
Stenbjergkirke
Herregårde i Slesvig-Holsten

Frederiksdal (Sydslesvig)


A 23.ª entrega anual do Grammy Latino foi realizada em 17 de novembro de 2022, na Mandalay Bay Events Center, em Las Vegas, nos Estados Unidos, em homenagem aos melhores trabalhos da música latina lançados entre 1º de junho de 2021 a 31 de maio de 2022. As indicações foram anunciadas em 20 de setembro de 2022.

Em abril de 2022, o cantor e compositor mexicano Marco Antonio Solís foi nomeado Personalidade do Ano da Academia Latina da Gravação. Os cantores e músicos Rosario Flores, Myriam Hernández, Rita Lee, Amanda Miguel e Yordano devem receber o Prêmio de Excelência Musical, enquanto o cantor espanhol Manolo Díaz, o saxofonista cubano Paquito D'Rivera e o baixista mexicano Abraham Laboriel são os ganhadores deste ano do Prêmio de Curadores.

Vencedores e indicados
As indicações foram anunciadas em 20 de setembro de 2022.

 Indica o vencedor dentro de cada categoria.

Geral

Pop

Urbana

Rock

Alternativa

Tropical

Cantor-Compositor

Regional Mexicano

Instrumental

Tradicional

Jazz

Cristã

Língua Portuguesa

Infantil

Clássica

Arranjo

Projeto Gráfico

Produção

Vídeo Musical

2022
Grammy Latino
2022 em Nevada

Grammy Latino de 2022


Soldier Field is a multi-purpose stadium on the Near South Side of Chicago, Illinois, United States. Opened in 1924 and reconstructed in 2003, the stadium has served as the home of the Chicago Bears of the National Football League (NFL) since 1971, as well as Chicago Fire FC of Major League Soccer (MLS) from 1998 to 2005 and since 2020. The stadium has a football capacity of 61,500, making it the smallest stadium in the NFL. Soldier Field is also the oldest stadium in both the NFL and MLS.

The stadium's interior was rebuilt as part of a major renovation project in 2002, which modernized the facility but lowered its seating capacity, eventually causing it to be delisted as a National Historic Landmark in 2006. Soldier Field has served as the home venue for a number of other sports teams in its history, including the Chicago Cardinals of the NFL and University of Notre Dame football. It hosted the 1994 FIFA World Cup, the 1999 FIFA Women's World Cup, and multiple CONCACAF Gold Cup championships. In 1968, it hosted the inaugural World Games of the Special Olympics, as well as its second World Games in 1970. Other historic events have included large rallies with speeches, including by Amelia Earhart, Franklin D. Roosevelt, and Martin Luther King Jr..

History

On December 3, 1919, Chicago-based architectural firm Holabird & Roche was chosen to design the stadium, which broke ground on August 11, 1922. The stadium cost $13 million to construct (equivalent to $ million in ), a large sum for a sporting venue at that time (in comparison, the Los Angeles Memorial Coliseum had cost less than US$1 million in 1923 dollars). On October 9, 1924, the 53rd anniversary of the Great Chicago Fire, the stadium was officially dedicated as Municipal Grant Park Stadium, although it had hosted a few events before then, including a field day for Chicago police officers on September 6, and the stadium's first football game, between Louisville Male High School and Austin Community Academy High School, on October 4. On November 22, the stadium hosted its first college football game, in which Notre Dame defeated Northwestern University 13–6.

On November 11, 1925, the stadium's name was changed to Soldier Field, in dedication to U.S. soldiers who had died in combat during World War I. Its formal rededication as Soldier Field was held during the 29th annual playing of the Army–Navy Game on November 27, 1926. Several months earlier, in June 1926, the stadium hosted several events during the 28th International Eucharistic Congress.

The stadium's design is in the Neoclassical style, with Doric columns rising above the East and West entrances. In its earliest configuration, Soldier Field was capable of seating 74,280 spectators, and was in the shape of a U. Additional seating could be added along the interior field, upper promenades, and on the large, open field and terrace beyond the north endzone, bringing the seating capacity to over 100,000.

Chicago Bears move in

Before they moved into the stadium, the Chicago Bears had played select charity games at Soldier Field as early as , when they played their former crosstown rivals, the Chicago Cardinals. The Cardinals also used the stadium as their home field for their final season in the city in 1959.

In , the Bears moved into Soldier Field full-time, originally with a three-year commitment. The team previously played home games at Wrigley Field, the home stadium of the Chicago Cubs of Major League Baseball (MLB), but were forced to move to a larger venue due to post-AFL–NFL merger policies requiring that stadium capacities seat at least 50,000 spectators. The Bears had initially intended to build a stadium in Arlington Heights, but the property did not fit the league's specifications.

On September 19, 1971, the Bears played their first home game at Soldier Field, in which they defeated the Pittsburgh Steelers 17–15. In 1978, the Bears and the Chicago Park District agreed to a 20-year lease and renovation of the stadium; both parties pooled their resources for the renovation. The playing surface was AstroTurf from 1971 until 1987, and was replaced with natural grass in 1988. On February 27, 1987, Soldier Field was designated a National Historic Landmark.

Replacement talks
In 1989, Soldier Field's future was in jeopardy after a proposal was created for a "McDome", which was intended to be a domed stadium for the Bears, but was rejected by the Illinois Legislature in 1990. Because of this, Bears president Michael McCaskey considered relocation as a possible factor for a new stadium. The Bears had also purchased options in Hoffman Estates, Elk Grove Village and Aurora. In 1995, McCaskey announced that he and Northwest Indiana developers agreed to construction of an entertainment complex called "Planet Park", which would also include a new stadium. However, the plan was rejected by the Lake County Council, and in 1998, then-Chicago mayor Richard M. Daley proposed that the Bears share Comiskey Park with the Chicago White Sox.

Renovations
Beginning in 1978, the plank seating was replaced by individual seats with backs and armrests. In 1982, a new press box, as well as 60 skyboxes, were added to the stadium, boosting its capacity to 66,030. In 1988, 56 more skyboxes were added, increasing capacity to 66,946. Capacity was slightly increased to 66,950 in 1992. By 1994, however, capacity was slightly reduced to 66,944. During the renovation, seating capacity was reduced to 55,701 by building a grandstand in the open end of the U shape. This moved the field closer to both ends in order to move the fans closer to the field, at the expense of seating capacity. The front row 50-yard line seats were only  away from the sidelines, the shortest distance of all NFL stadiums until MetLife Stadium opened in 2010 with a distance of .

2002–03 renovation and landmark delisting

In 2001, the Chicago Park District, which owns the structure, faced substantial criticism when it announced plans to alter the stadium with a design by Benjamin T. Wood and Carlos Zapata of Wood + Zapata in Boston. The stadium grounds were reconfigured by local architecture firm Lohan Associate, led by architect Dirk Lohan, grandson of Ludwig Mies van der Rohe. The stadium's interior would be demolished and reconstructed while the exterior would be preserved in an example of facadism. A similar endeavor of constructing a new stadium within the confines of a historic stadium's exterior was done with Leipzig's Red Bull Arena, which similarly built a modern stadium while preserving the exterior of the original Zentralstadion. Fans and radio hosts, such as WSCR's Mike North, criticized the small seating capacity of the new venue, and others have criticized the Park District's lack of care to the field surface after the first seasonal freeze and a refusal to consider a new-generation artificial surface, leaving the Bears to play on dead grass.

On January 19, 2002, the night of the Bears' playoff loss to the Philadelphia Eagles, demolition began as tailgate fires still burned in trash cans in the parking lots. The removal of 24,000 stadium seats in 36 hours by Archer Seating Clearinghouse, a speed record never exceeded since, was the first step in building the new Soldier Field. Nostalgic Bears fans recalling the team's glory seasons (especially 1985), as well as some retired players, picked up their seats in the South parking lot. The foremen on the job were Grant Wedding, who installed the seats himself in 1979, and Mark Wretschko, an executive for the factory who made the new seats. As Soldier Field underwent renovation, the Bears spent the 2002 NFL season playing their home games at Memorial Stadium at the University of Illinois. On September 29, , the Bears played their first game at the renovated Soldier Field, in which they were defeated by the Green Bay Packers, 38–23. The total funding for the renovation cost $632 million; taxpayers were responsible for $432 million while the Chicago Bears and the NFL contributed $200 million.

Several writers and columnists attacked the Soldier Field renovation project as an aesthetic, political and financial nightmare. The project received mixed reviews within the architecture community, with criticism from civic and preservation groups. Prominent architect and native Chicagoan Stanley Tigerman called it "a fiasco. Chicago Tribune architecture critic Blair Kamin dubbed it the "Eyesore on the Lake Shore," while others called it "Monstrosity on the Midway" or "Mistake by the Lake". The renovation was described by some as if "a spaceship landed on the stadium". Lohan responded:

I would never say that Soldier Field is an architectural landmark. Nobody has copied it; nobody has learned from it. People like it for nostalgic reasons. They remember the games and parades and tractor pulls and veterans' affairs they've seen there over the years. I wouldn't do this if it were the Parthenon. But this isn't the Parthenon.

Proponents of the renovation argued it was direly needed because of aging and cramped facilities. The New York Times named the renovated Soldier Field one of the five best new buildings of 2003. Soldier Field was given an award in design excellence by the American Institute of Architects in 2004.

On September 23, 2004, as a result of the renovation, a 10-member federal advisory committee unanimously recommended that Soldier Field be delisted as a National Historic Landmark. The recommendation to delist was prepared by Carol Ahlgren, an architectural historian at the National Park Service's Midwest Regional Office in Omaha, Nebraska, who was quoted in Preservation Online stating, "if we had let this stand, I believe it would have lowered the standard of National Historic Landmarks throughout the country. ... If we want to keep the integrity of the program, let alone the landmarks, we really had no other recourse." The stadium lost the landmark designation on February 17, 2006.

Subsequent developments

In May 2012, Soldier Field became the first NFL stadium to achieve LEED status, a program intended to award environmentally sustainable buildings.

On July 9, 2019, the Chicago Fire of Major League Soccer (MLS) announced an agreement with the Village of Bridgeview to release the team from their lease with SeatGeek Stadium, where they had played since 2006. As a result, the Fire returned to Soldier Field for the 2020 MLS season.

On June 17, 2021, the Chicago Bears submitted a bid for the Arlington Park Racetrack property, making a move from Soldier Field to a new venue more possible. On September 29, the Bears and Churchill Downs Incorporated announced that they had reached an agreement for the property.

On September 5, 2022, the Kentucky bluegrass was replaced with Bermuda grass after poor field conditions were noted in an August 13 preseason game.

Public transportation
The closest Chicago 'L' station to Soldier Field is the Roosevelt station on the Orange, Green and Red lines. The Chicago Transit Authority also operates the #128 Soldier Field Express bus route to the stadium from Ogilvie Transportation Center and Union Station. There are also two Metra stations close by: the Museum Campus/11th Street station on the Metra Electric Line, which also is used by South Shore Line trains, and 18th Street, which is only served by the Metra Electric Line. Pace also provides access from the Northwest, West and Southwest suburbs to the stadium with four express routes from Schaumburg, Lombard, Bolingbrook, Burr Ridge, Palos Heights and Oak Lawn.

Events

American football

Single events

The stadium hosted its first football game on October 4, 1924, between Louisville Male High School and Chicago's Austin Community Academy High School; Louisville's team won 26–0.
Over 100,000 spectators attended the 1926 Army–Navy Game. It would decide the national championship, as Navy entered undefeated and Army had lost only to Notre Dame. The game lived up to its hype, and even though it ended in a 21–21 tie, Navy was awarded the national championship.
The all-time collegiate attendance record of 123,000+ was established November 26, 1927, as Notre Dame beat the USC Trojans 7–6.  Subsequently, in 2016, 150,000+ attended a game between the Virginia Tech Hokies and Tennessee Volunteers at Bristol Speedway.
Austin defeated Leo to win the 1937 Chicago Prep Bowl; another contender for the highest attendance ever (estimated at over 120,000 spectators). The Chicago Prep Bowl games are held at Soldier Field yearly on the day after Thanksgiving. The bowl game is older than the IHSA state championship tournament held since the 1960s.
The stadium was host to 41 College All-Star Games, an exhibition between the previous year's NFL champion (or, in its final years, Super Bowl champion) and a team of collegiate all-star players prior to their reporting to their new professional teams training camps. This game was discontinued after the 1976 NFL season. The final game in 1976 was halted in the third quarter when a torrential thunderstorm broke out and play was never resumed.
The University of Notre Dame has hosted two games at Soldier Field, as part of their Shamrock Series. The first was in 2012, against the University of Miami, with another, against the University of Wisconsin-Madison, following in 2021.

NFL playoffs
1985 NFC Divisional Playoff: New York Giants 0, Chicago Bears 21. The last home playoff game was in 1963, when the team played in Wrigley Field.
1985 NFC Championship Game: Los Angeles Rams 0, Chicago Bears 24. This was the first NFC Championship held here.
1986 NFC Divisional Playoff: Washington 27, Chicago Bears 13.
1987 NFC Divisional Playoff: Washington 21, Chicago 17.
1988 NFC Divisional Playoff: Philadelphia Eagles 12, Chicago Bears 20. This game is best remembered as the Fog Bowl, where a dense fog covered the stadium, reducing visibility to 15–20 yards.
1988 NFC Championship Game San Francisco 49ers 28, Bears 3. The 49ers would then go on to win Super Bowl XXIII.
1990 NFC Wild Card: New Orleans Saints 6, Chicago Bears 16.
1991 NFC Wild Card: Dallas Cowboys 17, Chicago Bears 13.
2001 NFC Divisional Playoff: Philadelphia Eagles 33, Chicago Bears 19.  This was also the last home game before the renovations took place in 2002.
2005 NFC Divisional Playoff: Carolina Panthers 29, Chicago Bears 21. First playoff game post-renovations.
2006 NFC Divisional Playoff: Seattle Seahawks 24, Chicago Bears 27 (OT).
2006 NFC Championship Game: New Orleans Saints 14, Bears 39. Granted the team their second trip to the Super Bowl (their first in 21 years), where they lost to the Colts 29-17 in a rainy Miami.
2010 NFC Divisional Playoff: Seattle Seahawks 24, Chicago Bears 35.
2010 NFC Championship Game: Green Bay Packers 21, Bears 14. The Bears were defeated by the eventual Super Bowl XLV champions.
2018 NFC Wild Card: Philadelphia Eagles 16, Chicago Bears 15. This game is known for its "Double Doink" field goal.

College football
Northern Illinois Huskies play select games at Soldier Field, all of which have featured them hosting a team from the Big Ten Conference. Northern Illinois University (NIU) is located in DeKalb,  to the west on Interstate 88.
On September 1, 2007, NIU faced the University of Iowa in the first Division I College Football game at Soldier Field since the 2002 renovations. The Hawkeyes defeated the Huskies 16–3.
On September 17, 2011, the Huskies returned to play the Wisconsin Badgers in a game that was called "Soldier Field Showdown II". The eventual Big Ten champion Badgers topped NIU 49–7.
On September 1, 2012, NIU hosted the Iowa Hawkeyes in a season opener that was called "Soldier Field Showdown III". The Hawkeyes narrowly defeated the Huskies 18–17.

Notre Dame Fighting Irish football used the stadium as home field for the 1929 season while Notre Dame Stadium was being constructed. The school has used Soldier Field for single games on occasion both prior to and since the 1929 season, and boasts an undefeated 10–0–2 record there. At Soldier Field, Notre Dame has played Northwestern four times, USC and Wisconsin twice, and Army, Drake, Great Lakes Naval Base, Navy, and Miami once each.

Ice hockey
On February 7, 2013, the stadium hosted a high school hockey game between St. Rita High School from the city's Southwest side and Fenwick High School from suburban Oak Park.

The Notre Dame Fighting Irish and Miami RedHawks played a doubleheader on February 17, 2013, with the Wisconsin Badgers and Minnesota Golden Gophers in the Hockey City Classic, the first outdoor hockey game in the history of the stadium. A Chicago Gay Hockey Association intra-squad game was held in affiliation with the Hockey City Classic.

On March 1, 2014, the Chicago Blackhawks played against the Pittsburgh Penguins as part of the NHL Stadium Series. The Blackhawks defeated the Penguins 5–1 before a sold-out crowd of 62,921. The team also held its 2015 Stanley Cup Championship celebration at the stadium instead of Grant Park, where other city championships have typically been held, due to recent rains.

On February 7, 2015, Soldier Field hosted another edition of the Hockey City Classic. The event had been delayed due to unusually warm weather () and complications with the quality of the ice. The 2015 edition of the Hockey City Classic featured a match between Miami University and Western Michigan, followed by a match between the Big Ten's Michigan and Michigan State On February 5, the organizers of the Hockey City Classic organized the Unite on the Ice event benefiting St. Jude Children's Research Hospital. The event was centered upon a celebrity hockey game with former NHL and AHL players, as well as a public free skate at Soldier Field. Participants in the celebrity game included Éric Dazé, Jamal Mayers and Gino Cavallini. Denis Savard was in attendance, serving as an honorary coach during the game. On February 15, 2015, Soldier Field hosted another Chicago Gay Hockey Association intra-league match in association with the Hockey City Classic.

Soccer

1994 FIFA World Cup

1999 FIFA Women's World Cup

CONCACAF Gold Cups

2007 CONCACAF Gold Cup

2009 CONCACAF Gold Cup

2011 CONCACAF Gold Cup

2013 CONCACAF Gold Cup

2015 CONCACAF Gold Cup

2019 CONCACAF Gold Cup

2023 CONCACAF Gold Cup

Copa América Centenario

Single events
Over 15,000 spectators attended the first leg of the 1928 National Challenge Cup (now known as the Lamar Hunt U.S. Open Cup) between soccer teams Bricklayers and Masons F.C. of Chicago and New York Nationals of New York City. The match ended in a 1–1 tie, and New York won the second leg 3–0 in New York City.
Numerous Men's and Women's National Team friendly matches.
Liverpool vs Olympiacos in the 2014 International Champions Cup with Liverpool winning 1–0.
Manchester United vs. Paris Saint-Germain in the 2015 International Champions Cup with PSG winning 2–0.
Bayern Munich vs. Milan in the 2016 International Champions Cup with the game resulting in a 3–3 draw and Milan winning the penalty shootout 5–3.
Site of the 2017 MLS All-Star Game, played on August 2, 2017, between Real Madrid and a group of all-stars representing Major League Soccer.
Manchester City vs. Borussia Dortmund in the 2018 International Champions Cup with Borussia Dortmund winning 1–0.
Venue for the 2019 CONCACAF Gold Cup Final, with Mexico defeating the United States 1–0.

Special Olympics
The first Special Olympics games were held at Soldier Field on July 20, 1968. The games involved over 1,000 people with intellectual disabilities from 26 U.S. states and Canada competing in track and field and swimming. In 1970, the second international games occurred, when Special Olympics returned to Soldier Field.

Rugby union
On November 1, 2014, the stadium hosted its first international rugby union test match between the United States Eagles and New Zealand All Blacks as part of the 2014 end-of-year rugby union tests. Over half of the 61,500 tickets were sold within two days. The All Blacks beat the Eagles 74–6. The stadium hosted its second international rugby union match on September 5, 2015, with the United States hosting Australia as part of the 2015 Rugby World Cup warm-up matches shortly before both teams were due to travel to England for the 2015 Rugby World Cup. The Eagles were defeated 47–10. On November 5, 2016, Ireland beat New Zealand 40–29 at Soldier Field as part of the 2016 end-of-year rugby union internationals – the very first time Ireland had beaten the All Blacks in a test match in 111 years of play.

Concerts

Other events

June 21–23, 1926: the 28th International Eucharistic Congress held three days of outdoor day and evening events.
September 22, 1927: The Long Count Fight, the second heavyweight championship bout between Jack Dempsey and Gene Tunney, was held at Soldier Field.
June 24, 1932: a war show celebrating the bicentennial of George Washington's birth featured Amelia Earhart.
May 27, 1933: Soldier Field held the opening ceremonies of the Century of Progress World's Fair. Postmaster General and DNC-Chairman James Farley facilitated the opening ceremony.
October 28, 1944: U.S. President Franklin D. Roosevelt made an appearance at Soldier Field, which was the only Midwestern speaking appearance he made in his last re-election campaign. This appearance was attended by over 150,000 (with at least as many people attempting to attend who were unable to gain admission).
April 25, 1951: Douglas MacArthur, US General during World War II, addressed a crowd of 50,000 at Soldier Field in his first visit to the United States in 14 years.
July 21, 1956: Glenn "Fireball" Roberts won the only NASCAR Grand National race held at the stadium's short track, which ran across the old configuration. Three Convertible Division races were held at the stadium.
June 21, 1964: the Chicago Freedom Movement, led by Martin Luther King Jr., held a rally here. As many as 75,000 came to hear Reverend King, Reverend Theodore Hesburgh (president of the University of Notre Dame, Archbishop Arthur M. Brazier, and Minister Edgar Chandler, among others.
July 10, 1966: the Chicago Freedom Movement held a second rally here. As many as 60,000 people came to hear Dr. King, as well as Mahalia Jackson, Stevie Wonder and Peter, Paul and Mary.
The early-to-mid 1980s saw the US Hot Rod Association host Truck and Tractor Sled Pull Competitions and Monster Truck exhibitions here. The engines on some of the vehicles would echo through the skyscrapers in downtown Chicago as they made their pull. Damage to the stadium turf on a few of the event occasion's led USHRA to move events to the Rosemont Horizon (known today as Allstate Arena).
1974: The Chicago Fire of the World Football League (WFL) played here before folding in 1975.
October 13, 1983: David D. Meilahn made the first-ever commercial cell phone call on a Motorola DynaTAC from his Mercedes-Benz 380SL at Soldier Field. This is considered a major turning point in communications. The call was to Bob Barnett, the former president of Ameritech Mobile Communications, who then placed a call on a DynaTAC from a Chrysler convertible to the grandson of Alexander Graham Bell, who was in Germany.
The stadium was listed on the National Register of Historic Places beginning in 1984. Its National Historic Landmark status was removed in 2006.
In the summer of 2006, the stadium hosted the opening ceremony of the Gay Games.
In 2012, United States President Barack Obama held the 2012 Chicago summit, a summit of the North Atlantic Treaty Organization (NATO), at McCormick Place and Soldier Field.
When the field and nearby Shedd Aquarium had to close to visitors due to the COVID-19 pandemic, Soldier Field became the exercise grounds for the aquarium's penguins.

In popular culture
 In the Marvel Comics event Siege, Soldier Field is inadvertently destroyed mid-game by Thor's friend Volstagg when he is tricked into fighting the U-Foes through Loki and Norman Osborn's manipulations of events. The stadium is later seen being rebuilt by the heroes after Steve Rogers is appointed head of U.S. Security, following the aforementioned event.
 The 1977 documentary film Powers of Ten focuses on two people having a picnic on the east side of Soldier Field.
 The stadium appears in the 2006 Clint Eastwood–directed movie Flags of Our Fathers, when the survivors of the Iwo Jima flag-raising reenact it for a patriotic rally.
 The opening match of the 1994 World Cup at Soldier Field was one of the five events covered in the ESPN 30 for 30 documentary June 17, 1994.
 Soldier Field features (much changed) in August 4017a.d. in From The Highlands short story in David Weber's anthology collection Changer Of Worlds. It appears to have gone through multiple renovations, rebuilds and even having been built over, until nothing but the open space of the original remained.
 In the 13th episode of Chicago Fires fourth season, Soldier Field is featured on one of their calls for a terrorist hoax. The stadium appears again in the 21st episode of the fifth season as one of their calls for a high angle rescue. This stadium is featured again in the eighth season as members of firehouse 51 respond to help victims of a deadly infection. It is also featured and referenced in the fifteenth episode of season 9 as the preferred location for a medal ceremony for firefighter Randy McHolland (Mouch).
 In both the book and TV series Daisy Jones and the Six, the eponymous group plays their final concert at Soldier Field on July 11, 1977.

Gallery

See also
List of events at Soldier Field

Notes

References

Further reading

External links

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Sports venues in Chicago
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Boxing venues in Chicago
Buildings and structures on the National Register of Historic Places in Chicago
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Stadiums that have hosted a FIFA World Cup opening match

Soldier Field


Ioan Botezan (n. 17 august 1867, Blaj – d. 3 iunie 1929, Agârbiciu, Sibiu) a fost un preot român – unit și delegat la Marea Adunare Națională de la Alba Iulia din 1 decembrie 1918.

Date biografice
A urmat cursurile școlii primare, ale învățământului liceal și a absolvit Facultatea de Teologie din Blaj.
A fost internat, timp de 20 de luni, între anii 1916 – 1918, în Lakompak (Sopronul din Ungaria) pentru ținuta sa românească-nedesmințită.
A fost delegat din partea Protopopiatului Agnita, la Marea Adunare Națională de la Alba – Iulia din 1 decembrie 1918 la care s-a decretat unirea Transilvaniei cu România.
A murit după 35 de ani de păstorire.

Note

Bibliografie
Gelu Neamțu, Mircea Vaida-Voevod, 1 decembrie 1918. Mărturii ale participanților. Ioachim Crăciun: Documente la un sfert de veac de la Marea Unire, Editura Academiei Române, București, 2005.

Lectură suplimentară
 Daniela Comșa, Eugenia Glodariu, Maria M. Jude, Clujenii și Marea Unire, Muzeul Național Transilvania, Cluj-Napoca, 1998
 Florea Marin, Medicii și Marea Unire, Editura Tipomur, Târgu Mureș, 1993
 Silviu Borș, Alexiu Tatu, Bogdan Andriescu, (coord.), Participanți din localități sibiene la Marea Adunare Națională de la Alba Iulia din 1 decembrie 1918, Editura Armanis, Sibiu, 2015

Legături externe
  Membrii de drept ai Marii Adunării Naționale de la Alba-Iulia din 1 decembrie 1918, lista publicată în "Gazeta Oficială", Sibiu, nr. 1, 1/14 decembrie 1918
  1 decembrie 1918, Marea Unire de la Alba Iulia. Mărturii, documente și semnificații

Vezi și
 Lista delegaților la Marea Adunare Națională de la Alba Iulia

Nașteri în 1867
Decese în 1929
Delegați la Marea Adunare Națională de la Alba Iulia
Preoți greco-catolici români
Blăjeni

Ioan Botezan


Koštana, opera srpskog skladatelja Petra Konjovića. Predstavlja Konjovićev prijelaz s romantičkih prvijenaca na glazbenu dramu. Koštana ima realističnu i ekspresivnu deklamaciju, a orkestar je simfonijski razrađen. Praizvedena je u Zagrebu 1931. Triptihon, plesovi iz Koštane praizvedeni su u Zagrebu 1958. godine.
Operu je napisao na osnovi istoimenog djela Bore Stankovića. Opera je u šest slika. Glavni likovi u djelu su: Koštana (sopran), Mitke (bas), Hadži-Toma (bariton), Kata (alt), Arsa (bariton) i Stojan (tenor).

Koštana je nakon što je napisana 1931. godine i iste godine izvedena, prerađena još dva puta. Treća je inačica izvedena u Zagrebu 4. travnja 1948. godine pod upravom Milana Sachsa i nju se smatra konačnom. Prerada sadrži četvrtu sliku, koja produbljuje lik naslovne junakinje i predstavlja čitatelju njenu psihološku dramu. Završni prizor dobio je posljednju Koštaninu pjesmu - stilizaciju narodne melodije Crni goro koja afektivno naglašava tužnu sudbinu glavne junakinje. Muzikolozi ju smatraju pravim remek-djelom, Carmen među slavenskim djelima. Spoj je folklornog melosa i vokalnih dionica proisteklih fleksija govorne riječi koji je bio drugi izvora Konjovićeva glazbenog nadahnuća. Partitorom se provlače u gustim citatima vranjanskih narodnih pjesama, od kojih je nekolicina već u izvorniku Stankovićeve drame naslovljene kao "komad s pevanjem".

Izvori

Srbijanska scenska umjetnost
Opera

Koštana (opera)


Sheridan Frederick Terence Hamilton-Temple-Blackwood,  de Dufferin et Ava ( - ) est un mécène britannique des arts.

Enfance
Né dans une famille aristocratique anglo-irlandaise d'Ulster, il est le plus jeune enfant et fils unique du  de Dufferin et Ava et de sa femme, Maureen Guinness (fille de l'honorable Arthur Ernest Guinness, deuxième fils du  comte d'Iveagh). L'une de ses sœurs est la romancière Lady .

Nommé d'après son ancêtre dramaturge Richard Brinsley Sheridan, Lord Dufferin est connu sous le titre de courtoisie de son père comte d'Ava jusqu'à ce qu'il succède à son père au marquisat en 1945, alors qu'il n'a que six ans. Lorsqu'il a 12 ans, des administrateurs agissant en son nom vendent Clandeboye, son siège ancestral, à sa société immobilière pour 120 000 £ afin "de maintenir son rang dans la vie", comme les administrateurs l'auraient dit à l'époque.

Après avoir fréquenté l'externat Garth House à Bangor, dans le comté de Down, il va à Collège d'Eton. Après Eton, il fréquente la Christ Church d'Oxford. Passionné de tir et sportif, il joue au tennis de championnat au Queen's Club, mais c'est à Oxford qu'il développe une passion pour les arts.

Mécène des arts
Après Oxford, il rencontre et s'associe avec John Kasmin, et ouvre la Kasmin Gallery sur New Bond Street, Londres en 1963. Le Kasmin est une galerie radicale pour l'époque et montre de l'art abstrait et pop britannique et américain. La galerie est décrite comme . Parmi les artistes présentés par la galerie figuraient Frank Stella, Kenneth Noland, Jules Olitski, Anthony Caro et surtout David Hockney. La Kasmin Gallery ferme ses portes en 1972, et Kasmin continue à travailler en partenariat avec d'autres marchands londoniens jusque dans les années 1990.

Lord Dufferin est nommé administrateur de la Wallace Collection en 1973, et est également administrateur de la National Gallery de Londres et continue à soutenir les artistes britanniques contemporains émergents. Il aide également à la réalisation de films sur le pianiste Liberace et l'entrepreneur de Playboy Hugh Hefner, ainsi que le soutien du film controversé de 1976 Sebastiane, réalisé par le cinéaste britannique Derek Jarman. Il est également administrateur de la société Guinness, étant un arrière-petit-fils d'Edward Guinness,  comte d'Iveagh.

Vie privée
Bien qu'il soit homosexuel en 1964, Lord Dufferin épouse sa cousine Lindy Guinness. Leur mariage a lieu à l'Abbaye de Westminster avec 1 800 invités, dont la princesse Margaret et le comte de Snowdon. Lady Dufferin est également passionnée d'art et ensemble, ils sont au centre de la scène artistique branchée à la fin des années 1960 à Londres. Les fêtes dans leur maison de Holland Park .

Héritage
Lord Dufferin est décédé le 29 mai 1988 d'une maladie liée au sida, à l'âge de 49 ans. Comme il n'y a pas d'autres descendants vivants dans la lignée masculine directe du  marquis, le marquisat et les autres pairies créées pour le  marquis dans la pairie du Royaume-Uni disparaissent. La baronnie de Dufferin et Clandeboye, titre le plus ancien de la famille dans la pairie d'Irlande, passe à un parent éloigné.

Sa sœur épouse Robert Lowell en 1972 et ils nomment leur fils Sheridan d'après son oncle.

Dans les années qui ont immédiatement précédé, et surtout après, la mort de son mari, Lady Dufferin développe de nouvelles initiatives à Clandeboye, et aujourd'hui le domaine a des associations avec un certain nombre d'organisations et de projets environnementaux, étant une maison pour les projets de biodiversité de Conservation Volunteers Northern Ireland., centre de formation et pépinière (dans l'ancien jardin clos). La branche nord-irlandaise du Woodland Trust est créée en 1998 en partenariat avec la Fondation Dufferin, et les jardins botaniques royaux de Kew développent une relation florissante avec Clandeboye depuis 2003. Lady Dufferin est également revenue dans le monde de l'art et expose dans des galeries à Londres et à New York sous le nom de Lindy Guinness. Elle est également l'inspiration derrière l'ouverture de la Ava Gallery à Clandeboye en 2004, qui expose des œuvres d'artistes nord-irlandais contemporains de premier plan et une exposition annuelle d'œuvres de musée d'un artiste majeur ou d'un groupe d'artistes.

Références

Liens externes

Personnalité nord-irlandaise du XXe siècle
Marquis de la pairie du Royaume-Uni
Décès en mai 1988
Naissance en juillet 1938
Étudiant de Christ Church (Oxford)
Élève du collège d'Eton
Décès à 49 ans

Sheridan Hamilton-Temple-Blackwood


La Ferrari Purosangue est un SUV coupé sportif du constructeur automobile italien Ferrari produit à partir de 2022.

Style: Centre de style Ferrari
sous la direction de Flavio Manzoni

Présentation
Le , le constructeur au cheval cabré dévoile une première image officielle de la face avant de son SUV Purosangue.

Le Purosangue est présenté officiellement le

Ferrari rejoint ses concurrents sur le marché très porteur des SUV très haut de gamme avec les sportifs Lamborghini Urus, Aston Martin DBX, Maserati Levante, Porsche Cayenne, Range Rover SVR ou luxueux Bentley Bentayga et Rolls-Royce Cullinan.

C'est le premier modèle avec quatre portes, quatre places et quatre roues motrices de la marque italienne.

Caractéristiques techniques
Le Ferrari Purosangue (nom de code F175) repose sur la plateforme technique de la Ferrari Roma, dont il s'inspire aussi pour son design extérieur.

Il dispose de portes arrière antagonistes à ouverture électrique (jusqu'à 79°), dénuées de poignée de porte, et elle conserve des montants centraux.

Motorisation
Le Purosangue est dotée d'un moteur thermique V12 de 6,5 litres de cylindrée à carter sec d'une puissance de  () à  et  de couple, repris de la Ferrari 812 Superfast.

Notes et références

Annexes

Articles connexes
 Ferrari 812 Superfast
 Ferrari GTC4 Lusso
 Lamborghini Urus
 Aston Martin DBX
 Maserati Levante
 Porsche Cayenne
 Bentley Bentayga
 Rolls-Royce Cullinan

Liens externes

Purosangue
Automobile des années 2020
SUV
Véhicule à transmission intégrale

Ferrari Purosangue


Hello, I Must Be Going: Groucho and His Friends is a 1978 biography of Groucho Marx by Charlotte Chandler. The biography was written towards the end of Groucho's life (and published after his death), and chronicles many interviews between Chandler and Groucho. When asked for an interview, Groucho declined, however he invited Charlotte to his house so he could tell her no in person. After several hours of conversation Groucho asked "Why aren't you writing?"  Anecdotes and stories of Groucho's life and career as a star of stage and screen are hilariously told by his contemporaries and lifelong friends. Stories from Groucho's life from the beginning of the 20th century conjure up a picture of great poverty and great wealth and give the reader an insight to the phenomenon that was the Marx Brothers and an understanding of their individual relationships with colleagues and friends, and with one another. In addition to the "old timers" there are interviews and comment from Woody Allen, Bill Cosby and Jack Nicholson to name but a few. The 1992 paperback edition features an introduction by Cosby.

References

1978 non-fiction books
American biographies
Biographies about actors
Marx Brothers
Doubleday (publisher) books

Hello, I Must Be Going (book)


Laurel Holloman (d. 23 Mayıs 1971, Kuzey Karolina) Amerikalı oyuncu. Angeldaki Justine ve The L Worddeki Tina karakterlerini canlandırmıştır.

Biyografi
İlk çıkışını 1995'te, The Incredibly True Adventure of Two Girls in Love ile yaptı.1997 yılında "The Myth of Fingerprints" ve "Boogie Nights" gibi filmlerde yardımcı rollerde de oynadı.

The Piven Theatre Workshop ve The British American Dramatic Academy'de oyunculuk dersleri aldı.

2002'de Paul Macherey ile evlendi. Çiftin, 2004'te Lola isminde bir kızı oldu.

Rol aldığı yapımlar
 The L Word (2004-2007) - Tina
 Without a Trace (2003) - Joan Wilson (2003)
 Angel (2001-2002) Justine Cooper
 Last Ball (2001) - Cathy
 The Rising Place (2001) - Emily Hodge
 Committed (2000) - Adelle
 Morning (2000) - Shelly
 Cherry (1999) - Evy Sweet
 Chapter Zero (1999) - Jane
 Loving Jezebel (1999) - Samantha
 Tumbleweeds (1999) - Laurie Pendleton
 Loser Love (1999) - Lily Delacroix
 Lush (1999) - Ashley 'Ash' Van Dyke
 Tide (1999) - Lilly
 Stamp and Deliver (1998)
 Boogie Nights (1997) - Sheryl Lynn
 The Myth of Fingerprints (1997) - Leigh
 Dying to Belong (1997) - Shannon
 Prefontaine (1997) - Elaine Finley
 The First to Go (1997) - Carrie
 Blossom Time (1996) - Francis Bodean
 Dalva (1996) - Karen
 The Price of Love (1995) - Roxanne
 The Incredibly True Adventure of Two Girls in Love (1995) - Randy Dean

İlginç bilgiler
 Laurel Holloman gerçekte de hamile olduğu için The L Word isimli dizinin 2.sezonunda Tina karakteri hamile oldu ve senaryo bu yönde yazıldı.
 Laurel Holloman bir erkekle evli olsa da biseksüel olduğunu sık sık dile getirir ve The L Word isimli dizide biseksüel olduğunu açıklayan ikinci oyuncudur.
 The L Word'ün 3. sezon 1. bölümünde Hollaman'ın kızı da görülmektedir.

Dış bağlantılar
 Imdb sayfası

1971 doğumlular
Amerikalı kadın sinema oyuncuları
Amerikalı kadın tiyatro oyuncuları
Amerikalı kadın dizi oyuncuları
Kuzey Karolina doğumlular
Yaşayan insanlar
Biseksüel kadınlar
En İyi Drama Dizisi Kadın Oyuncusu Satellite Ödülü sahipleri
Satellite Ödülü sahipleri

Laurel Holloman


Kotao iz Gundestrupa bogato je ukrašena srebrna posuda, za koju se smatra da datira između 200. pr. Kr. i 300. ili uže između 150. pr. Kr. i 1. pr. Kr. To ga svrstava u kasnolatensko razdoblje ili rano rimsko željezno doba. Kotao je najveći poznati primjer srebrnine iz europskog željeznog doba (promjer: 69 cm; visina: 42 cm). Nađen je u rastavljen, s ostalim dijelovima naslaganim u bazi, 1891. u tresetištu u blizini zaseoka Gundestrupa u župi Aars, na poluotoku Himmerlandu, u Danskoj (). Sada je najčešće izložen u Nacionalnom muzeju Danske u Kopenhagenu, s replikama u drugim muzejima; tijekom 2015./16. bio je u Velikoj Britaniji na putujućoj izložbi nazvanoj Kelti.

Kotao nije potpun, a sada se sastoji od zaobljenog dna u obliku čaše koji čini donji dio kotla, obično nazvan osnovnom pločom, iznad koje je pet unutarnjih ploča i sedam vanjskih; nedostajala bi osma vanjska ploča za okruživanje kotla, a preživjela su samo dva dijela zaobljenog oboda na vrhu kotla. Osnovna ploča uglavnom je glatka i ukrašena iznutra i izvana, osim ukrašenog okruglog medaljona u središtu unutrašnjosti. Sve su ostale ploče u velikoj mjeri ukrašene iskucavanjem, utisnute odozdo da istisnu srebro. Druge su se tehnike koristile za dodavanje detalja, a postoji i opsežna pozlata te poneka upotreba umetnutih komadića stakla za oči figura. Pronađeni su i drugi dijelovi okova. Ukupna težina je nešto ispod 9 kilograma.

Unatoč činjenici da je posuda pronađena u Danskoj, vjerojatno nije izrađena ni tamo ni u blizini; uključuje elemente galskog i tračkog podrijetla u izradi, metalurgiji i slikama. Tehnike i elementi stila ploča usko su povezani s drugim tračkim srebrom, dok se velik dio prikaza, posebno ljudskih figura, odnosi na Kelte, iako pokušaji bliskog povezivanja scena s keltskom mitologijom ostaju kontroverzni. Ostali aspekti ikonografije potječu s Bliskog istoka.

Izrazita gostoljubivost vjerojatno je bila obaveza za keltske elite, i premda su kotlovi bili važna stavka prestižne limarske obrade, obično su puno jednostavniji i manji od ovog. Ovo je izuzetno velik i složen objekt bez bliske paralele, osim velikog ulomka iz brončanog kotla koji je također pronađen u Danskoj, u mjestu Rynkeby. U tresetištima u Skandinaviji nađeni su brojni dobro očuvani predmeti kakvi su vjerojatno nekada bili uobičajeni, ali drugdje nisu učuvani. Znanstvenici su o njoj mnogo raspravljali i predstavlja fascinantno složenu demonstraciju mnogih unakrsnih struja u europskoj umjetnosti, kao i neobičan stupanj pripovijedanja za keltsku umjetnost, iako je malo vjerojatno da ćemo ikad u potpunosti razumjeti njezino izvorno značenje.

Otkriće

Kotao iz Gundestrupa otkrili su ljudi koji su vadili treset u malom tresetištu zvanom Rævemose (u blizini većeg močvara Borremose) 28. svibnja 1891. Danska vlada isplatila je veliku nagradu pronalazačima, koji su se nakon toga ogorčeno posvađali među sobom oko podjele novca. Paleobotanička ispitivanja tresetišta u vrijeme otkrića pokazala su da je zemlja bila suha kad je kotao dospio na tu lokaciju, a treset se postupno nataložio preko kotla. Način slaganja sugerira da se kotao pokušalo dobro skriti. Druga istraga o Rævemoseu poduzeta je 2002. godine, sa zaključkom da je tresetište moglo postojati kad je kotao zakopan.

Kotao je pronađen u rastavljenom stanju s pet dugih pravokutnih ploča, sedam kratkih ploča, jednom okruglom pločom (koja se obično naziva "osnovna ploča") i dva ulomka cijevi naslaganih unutar zakrivljene baze. Uz to postoji i komad željeza iz prstena koji je izvorno postavljen unutar srebrnih cijevi duž ruba kotla. Pretpostavlja se da nedostaje osma ploča jer je opseg sedam vanjskih ploča manji od opsega pet unutarnjih ploča.

Izrađen je skup replika u punoj veličini. Jedan se nalazi u Nacionalnom muzeju Irske u Dublinu, a nekoliko je u Francuskoj, uključujući Musée gallo-romain de Fourvière u Lyonu i Musée d'archéologie nationale u Saint-Germain-en-Layeu.

Rekonstrukcija
Budući da je kotao pronađen u komadima, moralo ga se rekonstruirati. Tradicionalni redoslijed ploča odredio je Sophus Müller, prvi od mnogih koji je analizirao kotao. On je način slaganja odredio na temelju položaja lema u tragovima koji se nalazi na rubu posude. U dva slučaja, znak probijanja koji prodire na unutarnju i vanjsku ploču također je pomagao uspostaviti redoslijed. U svom konačnom obliku, ploče su poredane na način da se ženski i muški prikazi izmjenjuju, pod pretpostavkom da je osma ploča koja nedostaje ženska. Međutim, svi se analitičari ne slažu s Müllerovom redoslijedom. Taylor je istaknuo da se, osim dva slučaja probijanja, redoslijed ne može odrediti iz poravnanja lema. Njegov je argument da ploče nisu izravno susjedne jedna drugoj, već su odvojene s razmakom od po 2 cm; stoga se ploče s ovim redoslijedom ne mogu sa sigurnošću čitati kao prava pripovijest, pretpostavljajući da je uopće u pitanju pripovijest. Međutim, Larsen (2005: 16, sl. 12) ukazuje, ne samo da je njegova studija potvrdila poredak unutarnjih ploča koje su ustanovili Muller, Klindt-Jensen i Olmsted, već redoslijed vanjskih ploča utvrđuje i zakovica rupe, poravnanja lema i tragovi struganja.

Metalurgija

Kotao iz Gundestrupa sastoji se gotovo u potpunosti od srebra, ali postoji i značajna količina zlata za pozlatu, kositra za lem i stakla za oči figura. Prema eksperimentalnim dokazima, materijali za posudu nisu dodavani istodobno, pa se kotao može smatrati djelom više obrtnika tijekom nekoliko stotina godina. Kvaliteta popravaka kotla, kojih je mnogo, inferiorna je od izvorne izrade.

Srebro nije bilo uobičajen materijal u keltskoj umjetnosti, a zasigurno ne na ovoj skali. Osim ponekad, za male komade nakita, zlato ili bronca bili su uobičajeniji za prestižne limarske radove. U vrijeme stvaranja kotla Gundestrup srebro se dobivalo kupelacijom ruda olova / srebra Uspoređujući koncentraciju izotopa olova sa srebrnjakom drugih kultura, sugerira se da srebro potječe iz više ležišta rude, uglavnom iz keltske sjeverne Francuske i zapadne Njemačke u predrimsko razdoblje. Studije izotopa olova također ukazuju da je srebro za proizvodnju ploča pripremljeno uzastopnim topljenjem ingota i/ili otpadnog srebra. Tri do šest različitih serija recikliranog srebra možda su korištene za izradu posude. Točnije, kružna "osnovna ploča" možda je nastala kao falera i obično se smatra da je bila postavljena na dnu posude kao kasniji dodatak, zalemljen za popravak rupe. Alternativna teorija je da ova falera u početku nije bila dio zdjele, već je činila dio ukrasa drvenog pokrivača.

Zlato se može razvrstati u dvije skupine na temelju čistoće i razdvojiti koncentracijom srebra i bakra. Manje čista pozlata, koja je gušća, može se smatrati kasnijim popravkom, jer tanji, čistiji uložak bolje prianja uz srebro. Prianjanje ukupnog zlata prilično je loše. Nedostatak žive iz analize zlata sugerira da se na kotlu Gundestrup nije koristila tehnika pozlaćivanja vatrom. Čini se da je pozlata umjesto toga napravljena mehaničkim sredstvima, što objašnjava funkciju usko postavljenih znakova probijanja na pozlaćenim područjima.

Za kalaj je provedeno ispitivanje izotopa olova slično onom koji se koristi na srebru. Svi uzorci lemljenja kositra podudarni su u sastavu olova i izotopa s ingotama iz Cornwalla u zapadnoj Britaniji. Lim koji se koristi za lemljenje ploča i zdjele, kao i za staklene oči, vrlo je jednolik u svojoj visokoj čistoći.

Protok sirovine

Tijek proizvodnog procesa sastojao se od nekoliko koraka koji su zahtijevali veliku količinu vještine. Serije srebra rastopljene su u loncima uz dodatak bakra za suptilniju leguru. Rastopljeno srebro izliveno je u ravne ingote i zakovano u srednje ploče. Za reljefne radove, srebrni lim je žaren kako bi se oblici mogli prebiti u visoki repoussé ; ti su grubi oblici zatim napunjeni smolom sa stražnje strane kako bi postali dovoljno čvrsti za daljnje detaljiranje udarcima. Smola je rastopljena, područja uzorka pozlaćena, a oči većih figura obložene staklom. Ploče su vjerojatno obrađivane u ravnom obliku, a kasnije su savijane u zavoje kako bi se lemile.

Znanstvenici se općenito slažu da je kotao Gundestrup djelo više kovača srebra. Koristeći skenirajuću elektronsku mikroskopiju, Benner Larson identificirao je 15 različitih udaraca koji su se koristili na pločama, svrstavajući se u tri različita seta alata. Nijedna pojedinačna ploča nema oznake iz više od jedne od ovih skupina, a to se uklapa s prethodnim pokušajima stilske atribucije koji identificiraju najmanje tri različita srebra. Višestruki obrtnici također bi objasnili vrlo promjenjivu čistoću i debljinu srebra.

Porijeklo

Tehnike obrade srebra koje se koriste u kotlu nepoznate su iz keltskog svijeta, ali su u skladu s poznatom tračkom tradicijom srebrnog lima. Prikazani prizori nisu izrazito trački, ali određeni elementi kompozicije, ukrasni motivi i ilustrirani predmeti (poput pertli na liku roga) identificiraju ga kao djelo Tračana.

Taylor i Bergquist pretpostavili su da je keltsko pleme poznato kao Skordisci naručilo kotao od domaćih tračkih kovača srebra. Prema klasičnim povjesničarima, Cimbri, teutonsko pleme, otišli su na jug iz područja donje Labe i napali Skordiske 118. pr. Kr. Nakon što su pretrpjeli nekoliko poraza od Rimljana, Cimbri su se povukli na sjever, ponijevši sa sobom ovaj kotao i nastanili se u Himmerlandu, gdje je i pronađena posuda.

Prema Olmstedu (2001.), umjetnički stil kotla Gundestrup je onaj koji se koristi u armoričkim kovanicama koji se datiraju od 75. do 55. godine pr. Kr., kao što je prikazano u kovanicama Coriosolita. Ovaj je umjetnički stil jedinstven za sjeverozapadnu Galiju i uglavnom je ograničen na regiju između Seine i Loire, regije u kojoj su, prema Cezaru, bogati pomorski Veneti imali dominantnu i hegemonističku ulogu. Slaže se s ovim područjem proizvodnje, određeno umjetničkim stilom, činjenica da su "izotopski sastavi olovnih ploča kotla [Gundestrup]" uglavnom uključivali "isto srebro koje se koristilo u sjevernoj Francuskoj za kovanice Coriosolite" (Larsen 2005: 35). Kotao Gundestrup ne samo da nas osvjetljava u vezi s ovim umjetničkim stilom vođenim novčićima, gdje su kovači većih metala bili i majstori kovanja novca, već kotao prikazuje i kulturne predmete, poput mačeva, oklopa i štitova, pronađene i proizvedeni u istom kulturnom području, potvrđujući slaganje između umjetničkog stila i analize metala. Ako su, kako Olmsted (2001) i Hachmann (1990) sugeriraju, Veneti također proizveli srebrne falere, pronađene na otoku Sark, kao i Helden phalera, tada postoji niz srebrnih predmeta tipa koji su tipa kotla iz Gundestrupa, porijeklom iz sjeverozapadne Francuske, a datiraju neposredno prije rimskog osvajanja.

Nielsen vjeruje da je pitanje podrijetla pogrešno i može donijeti zavaravajuće rezultate. Zbog raširene migracije brojnih etničkih skupina poput Kelta i teutonskih naroda te događaja poput rimske ekspanzije i kasnije romanizacije, vrlo je malo vjerojatno da je samo jedna etnička skupina bila odgovorna za razvoj kotla iz Gundestrupa. Umjesto toga, izradu i umjetnost kotla možemo smatrati proizvodom spajanja kultura, koje nadahnjuju i šire jedna drugu. Na kraju, Nielsen zaključuje, na temelju akceleratorskog datiranja uzoraka pčelinjeg voska pronađenog na stražnjoj strani ploča, da je posuda stvorena u rimskom željeznom dobu. Međutim, kao što ukazuje dodatak Nielsonovom članku (2005: 57), rezultati laboratorija Leibniz na istom pčelinjem vosku datirani su oko 400 godina ranije.

Ikonografija

Osnovna ploča
Ukrašeni medaljon na kružnoj osnovnoj ploči prikazuje bika. Iznad leđa bika nalazi se ženska figura koja mače; prikazana su i tri psa, jedan iznad glave bika, a drugi ispod kopita. Vjerojatno su sve ove brojke u borbi; čini se da je treći pas ispod bika i blizu njegovog repa mrtav, a na graviranju je samo slabo prikazan, a bik je možda srušen. Ispod bika je sklupčani bršljan iz klasične grčko-rimske umjetnosti. Rogovi bika nedostaju, ali kroz glavu postoji rupa tamo gdje su izvorno postavljeni; vjeruje se da su bili zlatni. Glava bika uzdiže se potpuno jasno od ploče, a medaljon se u tehničkom i umjetničkom smislu smatra najizvrsnijim dijelom kotla.

Vanjske ploče
Svaka od sedam vanjskih ploča centralno prikazuje poprsje. Ploče a, b, c i d prikazuju bradate muške figure, a preostale tri su ženske.

 Na ploči a, čovjek s bradom drži u svakoj ruci mnogo manji lik za ruku. Obojica sežu prema gore prema malom nerastu. Pod nogama likova (na ramenima većeg čovjeka) nalaze se pas s lijeve strane i krilati konj s desne strane.
 Lik na ploči b u svakoj ruci drži morskog konja ili zmaja.
 Na ploči c muška figura podiže prazne šake. Na njegovom desnom ramenu je čovjek u "boksačkom" položaju, a na lijevom ramenu poskočena figura s malim konjanikom ispod.
 Ploča d prikazuje bradati lik koji u svakoj ruci drži jelen uz stražnje četvrtine.
 Žensku figuru na ploči e okružuju dvije manje muške biste.
 Ženska figura u uzdignutoj desnoj ruci na ploči f drži pticu. Lijeva ruka joj je vodoravna, podupire muškarca i psa koji leže na leđima. S obje strane njezine glave nalaze se dvije ptice grabljivice. Njenu kosu plete mala žena s desne strane.
 Na ploči g ženski lik ima prekrižene ruke. Na njezinom desnom ramenu prikazan je prizor muškarca koji se bori s lavom. Na njezinom lijevom ramenu je lik koji skače sličan onom na tanjuru c.

Unutarnje ploče
Ploča A prikazuje mušku figuru s rogovima koja sjedi u središnjem položaju, često identificiranu kao Cernunnos. Olmsted (1979, 1994) vidi Cernunnosa kao galsku verziju irskog Cu Chulainna. U desnoj ruci Cernunnos drži Tork, a lijevom rukom hvata rogatu zmiju malo ispod glave. S lijeve strane je jelen s rogovima koji su vrlo slični ljudskom / božanskom liku. Oko mjesta događaja nalaze se druge pseće, mačje i goveđe životinje, neke ali ne sve okrenute prema čovjeku, kao i čovjek koji jaše na dupinu. Između rogova boga nalazi se nepoznati motiv, možda biljka ili drvo, ali najvjerojatnije samo standardni ukras pozadine.

Kao što Olmsted (1979) ukazuje, prizor u gornjem desnom dijelu ploče A, lav, dječak na dafinu i bik, mogu se protumačiti nakon podrijetla bikova irskog "Taina", koji preuzimaju slične životinjski oblici, koji se međusobno bore u svakom obliku, kao što je naznačeno u dva lava koji se bore u donjem desnom dijelu ploče A.

 Na ploči B, velika poprsje Torc nosi žena je pobočena dva kotača sa 6 špica, i nečim što se čini kao dva slona i dva grifona. Mačka ili gonič je ispod poprsja. Na sjeverozapadnom galskom novcu od 150-50. pr. Kr. Takvi kotači često označavaju kočije, pa se prizor mogao vidjeti kao božica u slonskoj bigi (Olmsted 1979; 2001: 125-126). Ploča B mogla bi se protumačiti nakon galske verzije početka irskog "Taina", gdje Medb kreće u potragu za Donnovim bikom nakon što je u svojoj kočiji zaokružila krug oko svoje vojske kako bi donijela sreću "Tainu".
 Veliko poprsje bradate figure koja se drži slomljenog kotača u središtu je ploče C. Manji, poskočeni lik s rogatom kacigom također drži rub kotača. Ispod figure u skoku nalazi se rogata zmija. Skupinu okružuju tri grifona okrenuta dolje lijevo, a gore dvije čudne životinje koje izgledaju poput hijena, okrenute desno. Žbice kotača izvedene su asimetrično, ali sudeći prema donjoj polovici, kotač je možda imao dvanaest žbica. Olmsted (1979) tumači ovu scenu kao galsku verziju događaja s Irskim Tainom gdje Cu Chulainn udara nogom u Morriganova rebra kad ga napadne kao jegulju, a zatim se suočava s Fergusom s njegovim slomljenim kotačićima.
 Ploča D prikazuje scenu ubijanja bikova, s istim sastavom ponovljenim tri puta preko ploče; jedino mjesto gdje se takvo ponavljanje pojavljuje na kotlu. Tri velika bika raspoređena su u redu, okrenuta udesno, a svakog od njih napada čovjek s mačem. Mačka i pas, koji trče ulijevo, pojavljuju se iznad i ispod svakog bika. Nakon Stowe verzije "Taina", Medbovi ljudi trče naprijed da ubiju Donnovog bika nakon njegove borbe s Medbovim "bijelorogim" bikom, kojeg on ubija.
 Na donjoj polovici ploče E, red ratnika koji nose koplja i štitove marširaju ulijevo, podižući straga ratnika bez štita, mača i kacige s grebenima. Iza njega su tri svirača karniksa. Ispred ove skupine pas skače, možda da ih zadrži. Iza psa, s lijeve strane scene, lik dvostruko veći od ostalih drži muškarca naopako, očito s lakoćom, a očito će ga uroniti u bačvu ili kotao. Na gornjoj polovini ratnici na konjima s grebenastim kacigama i kopljima odlaze jašući s desne strane, a s desne rožnata zmija, smještena iznad vrhova karneksa, koja ih možda i vodi. Dvije linije nalaze se ispod i iznad onoga što se čini kao drvo, još uvijek u listu, koje leži postrance. To se danas najčešće tumači kao prizor kada pali ratnici uranjaju u kotao da bi se preporodili u svoj sljedeći život ili zagrobni život. To se može usporediti u kasnijoj velškoj literaturi. Međutim, Olmsted (1979) scenu tumači kao galsku verziju epizode "Aided Fraich" "Taina" gdje Fraech i njegovi ljudi preskaču srušeno drvo, a zatim se Fraech hrva s ocem Cu Chulainnom i on ga utapa, dok njegovi čarobni puhači truba sviraju "glazbu spavanja" protiv Cu Chulainna. U epizodi "Aided Fraich" Fraechovo tijelo uplakanim banchuireom odvodi se u podzemlje da bi ga izliječile njegova teta i supruga Morrigan. Ovaj incident prikazan je na vanjskoj ploči f, koja je susjedna i suprotna ploči E.

Tumačenje i paralele

Mnogo su godina neki znanstvenici slike kotla tumačili u smislu keltskog panteona i keltske mitologije kako je predstavljena u mnogo kasnijoj literaturi na keltskim jezicima s Britanskih otoka. Drugi potonja tumačenja gledaju s velikom sumnjom. Mnogo manje kontroverzne su jasne paralele između detalja likova i arheoloških pronalazaka keltskih artefakata iz željeznog doba.

Ostali detalji ikonografije očito potječu iz umjetnosti drevnog Bliskog Istoka, a postoje intrigantne paralele s drevnom Indijom i kasnijim hinduističkim božanstvima i njihovim pričama. Znanstvenici se većinom zadovoljavaju s time da prve vide kao motive posuđene isključivo zbog vizualne privlačnosti, ne prenoseći pritom ništa od izvornog značenja, ali unatoč udaljenosti neki su pokušali povezati potonje sa širim tradicijama koje su ostale od proto-indoeuropske religije.

Keltska arheologija
Među najspecifičnijim detaljima koji su očito keltski su skupina svirača karniksa. Ratni rog karniksa bio je poznat iz rimskih opisa Kelta u bici i Trajanovog stupa, a nekoliko dijelova poznato je iz arheologije, čiji se broj uvelike povećao nalazima u Tintignacu u Francuskoj 2004. godine. Diodor Siculus napisao je oko 60–30. pr. Kr. (Povijesti, 5,30):

"Trube su im opet neobične barbarske vrste; pušu u njih i proizvode oštar zvuk koji odgovara ratnom metežu"

Sljedeći detalj koji se lako uklapa s arheologijom jest tork kojeg je nosilo nekoliko figura, prilično čest keltski artefakt pronađen u zapadnoj Europi, najčešće u Francuskoj, iz razdoblja za koje se smatra da je izrađen kotao.

Ostali detalji s jasnijim keltskim vezama su dugi mačevi koje nose neke figure, te kacige s rogovima i rogovima ili pokrivačima za glavu i krijestom divlje svinje koje su na svojoj kacigi nosili neki ratnici. To se može povezati s keltskim artefaktima kao što su kaciga s krijestom grabljivca iz Rumunjske, kaciga Waterloo, kapa Torrs Pony i rogovi te razne životinjske figure, uključujući neraste, s nejasnom funkcijom. Štitnici, ostruge i konjska zaprega također se odnose na keltske primjere.

Lik s antlerima na ploči A uobičajeno je identificiran kao Cernunnos, koji je imenovan (jedini izvor za to ime) na Galo-rimskom stupu lađara iz 1. stoljeća, gdje je prikazan kao rogasta figura s torkovima koji vise s njegovih antlera. Možda ga je izgubljeni dio ispod poprsja pokazivao kako sjedi prekriženih nogu kao što je lik na kotlu. Inače postoje dokazi o rogatom bogu iz nekoliko kultura.

Za lik koji drži slomljeni kotač na ploči C više se smatra da je Taranis, sunčev ili gromoviti "bog kotača" kojeg je Lucian imenovao i predstavljen na brojnim slikama željeznog doba; postoje i mnogi kotači koji su izgleda bili amuleti.

Bliski Istok i Azija
Mnoge životinje prikazane na kotlu uključuju slonove, dupina, mačke nalik leopardu i razne fantastične životinje, kao i životinje raširene diljem Euroazije, poput zmija, goveda, jelena, veprova i ptica. Keltska umjetnost često uključuje životinje, ali ne često u fantastičnim oblicima s krilima i kombiniranim aspektima različitih životinja. Postoje iznimke od toga, neke kad su motivi jasno posuđeni, jer je dječak koji jaše dupina posuđen iz grčke umjetnosti, a drugi koji su izvorniji, poput rogove zmije s ovnovskom glavom koja se tri puta pojavi na kotlu. Trakijska umjetnost često prikazuje životinje, najčešće moćne i žestoke, od kojih su mnoge vrlo česte i na drevnom Bliskom Istoku, ili skitsku umjetnost euroazijske stepe, čiji su mobilni vlasnici osigurali put za vrlo brzi prijenos motiva i objekti između civilizacija Azije i Europe.

Dvije figure koje stoje u profilu uz veliku glavu na vanjskoj ploči F, svaka s pticom raširenih krila tik iznad glave, jasno nalikuju uobičajenom motivu u drevnoj asirskoj i perzijskoj umjetnosti, sve do duge odjeće koju nose. Ovdje je lik obično vladar, a krila pripadaju simboličnom prikazu božanstva koje ga štiti. Na ostalim pločama su prikazani grifoni posuđeni iz drevne grčke umjetnosti Bliskog Istoka. Na nekoliko vanjskih ploča velike glave, vjerojatno od božanstva, u središtu vanjskih ploča, imaju malo oružje i šake, bilo da hvataju životinju ili čovjeka u verziji uobičajenog motiva Gospodara životinja, ili ih drže prazne sa strane glave na način koji sugerira nadahnuće iz ovog motiva.

Keltska mitologija
Osim Cernunnosa i Taranisa, koji se gore spominju, nema konsenzusa u vezi s ostalim likovima, a mnogi znanstvenici odbijaju pokušaje da ih se veže uz likove poznate iz mnogo kasnijih i geografski udaljenih izvora. Neki su Kelti objasnili slonove prikazane na ploči B kao referencu na Hanibalov prijelaz preko Alpa.

Zbog dvoglavog vučjeg čudovišta koje napada dvije male figure palih ljudi na ploči b, mogu se povući paralele s velškim likom Manawydanom ili irskim Manannánom, bogom mora i Onog svijeta. Druga mogućnost je galska verzija Apolona, koji nije bio samo ratnik, već i povezan s izvorima i iscjeljivanjem.

Olmsted povezuje prizore kotla s onima iz Táin Bó Cuailngea, gdje je rogovi Cú Chulainn, bik osnovne ploče Donn Cuailnge, a ženka i dva muškarca ploče e Medb, Ailill i Fergus mac Róich. Olmsted se također igra s idejom da bi ženski lik uz bok dviju ptica na tanjuru f mogao biti Medb sa svojim kućnim ljubimcima ili Morrígan, irska božica rata koja se često mijenja u pticu strvinara.

I Olmsted i Taylor slažu se da bi ženski lik s ploče f mogla biti Rhiannon iz Mabinogiona. Rhiannon je poznata po svojim pticama, čije bi pjesme mogle "probuditi mrtve i uspavati žive". U ovoj bi se ulozi Rhiannon mogla smatrati božicom onostranog svijeta.

Taylor predstavlja pankulturniji pogled na slike kotla; zaključuje da božanstva i prizori prikazani na kotlu nisu svojstveni samo jednoj kulturi, već mnogim. Uspoređuje Rhiannon, za koju misli da je lik ploče f, s Haritijem, octom baktrijske mitologije. Uz to, ukazuje na sličnost između ženskog lika ploče B i hinduističke božice Lakshmi, čije prikaze često prate slonovi. Bogovi kotača također su međukulturni s božanstvima poput Taranisa i Vishnua, boga iz hinduizma.

Izvori

Literatura
Green, Miranda, Celtic Art, Reading the Messages, 1996, The Everyman Art Library,
Koch, John ed., "Gundestrup cauldron" in Celtic Culture: A Historical Encyclopedia, 2006, ABC-CLIO, , 9781851094400, google books
"Laings", Lloyd Laing and Jennifer Laing. Art of the Celts: From 700 BC to the Celtic Revival, 1992, Thames & Hudson (World of Art),
"Megaws" = Megaw, Ruth and Vincent, Celtic Art, 1989, Thames and Hudson,
"NMD" = "The Gundestrup Cauldron", National Museum of Denmark, web section, accessed on 1 February, 2016
Olmsted, Garrett (2001), "Celtic Art in Transition during the First Century BC", Archaeolingua: Volume 12: 2001: .
Sandars, Nancy K., Prehistoric Art in Europe, Penguin (Pelican, now Yale, History of Art), 1968 (nb 1st edn.)

Bibliografija
Kaul, Fleming (ed), Thracian Tales on the Gundestrup Cauldron, 1991, Najade Press, , 9789073835016
Garrett S. Olmsted, The Gods of the Celts and the Indo-Europeans, Inndbrucker Beitrage zur Kulterwissenschaft: Volume 92: 1994: , 9789073835016, 2019 revised version

Arheološki artefakti
Arheologija u Danskoj

Kotao iz Gundestrupa


Karasal gezegen (dünyasal gezegen, kayasal gezegen ya da yerbenzeri gezegen) terimi, yapısının büyük bölümü silikat kayalardan oluşmuş gezegenleri tanımlar. Karasal gezegenlerin tümü yaklaşık olarak aynı yapıya sahiptirler, merkezde çoğunlukla demir içeren metalik bir çekirdek ve bu çekirdeğin çevresini saran silikat yapılı bir manto bulunur. Ay da benzer bir yapıya sahiptir, fakat demir bir çekirdekten yoksundur.

Karasal gezegenlerin yüzeylerinde kanyonlar, kraterler, dağlar, ve volkanlar bulunabilir. Bu durum karasal gezegenleri; helyum, hidrojen ve suyun birbirinden farklı fazlarının karışımlarından oluşan, katı bir yüzeye sahip olmayan gaz devlerinden ve buz devlerinden ayıran önemli özelliklerden biridir.

Güneş Sistemi dört karasal gezegen barındırır. Bunlar: Merkür, Venüs, Dünya ve Mars'tır. Etkin bir hidrosfer taşıdığı bilinen tek gezegen, bir karasal gezegen olan Dünya'dır. 10 Ağustos 2005 tarihinde, uluslararası bir astronomlar topluluğu, Akrep takımyıldızı yöresinde, yaklaşık 21.000 ışık yılı uzaklıktaki bir yıldızın çevresinde dolaşan, OGLE-2005-BLG-390Lb olarak adlandırılan, Dünya kütlesinin 5.5 katı kütleye sahip soğuk bir karasal gezegenin izlerini görüntülemiştir. Gezegen ortaya çıkarılırken, şu an için en geçerli ve yeterlilikleri açısından eşsiz olan kütleçekimsel mikromercekleme adı verilen bir yöntem kullanılmıştır. Bu yöntem, kütlesi yaklaşık olarak Dünya kadar olan gezegenlerin keşfinin yolunu açmıştır. Keşfedilmiş en küçük Güneş dışı gezegen, 15 ışık yılı uzaktaki Gliese 876 adlı kırmızı cücenin çevresinde dolanan üç gezegenden biridir.

Kuramsal olarak, iki çeşit karasal gezegen vardır, çoğunlukla silikon bileşiklerinden oluşanlar (örn. Dünya), çoğunlukla karbon bileşiklerinden oluşanlar. Bunlar sırasıyla silikat gezegenler ve karbon gezegenler olarak adlandırılırlar.

Ayrıca bakınız
 Gaz devleri
 Buz devi

Kaynakça
 Found: one Earth-like planet Astronomers use gravity lensing to spot homely planets. Mark Peplow, News @ Nature.com, 25 Ocak 2006.
 Beaulieu J.P., et al. (2006) Nature, 439, 437-440.
 National Science Foundation basın bülteni "Closer to Home."
 A New Path to New Earths National Science Foundation internet yayını.
 Ogling Distant Stars National Science Foundation raporu
 PLANET Anasayfası.
 RoboNet Anasayfası.
 OGLE Anasayfası.
 MOA Anasayfası.

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