Mirrie Irma Jaffa (Solomon) Hill (født 1. december 1889 - død 1. maj 1986 i Sydney Australien) var en australsk komponist, pianist og lærer.

Hill studerede tidligt klaver. Hun studerede senere komposition hos bl.a. Alfred Hill, som hun senere blev gift med i 1921. Efter et stipendium studerede hun videre på NSW State Conservatorium of Music, hvor hun senere skulle blive lærer i komposition.

Hill har skrevet en symfoni, orkesterværker, klaverstykker, kammermusik etc.

Udvalgte værker

 Symfoni "Arnhem Land" (1954) - for orkester
 "3 Aboriginal danse" (1950) - for orkester
 Rapsodi (1914) - for klaver og orkester
 "De grønne baner i Kent" (1959) - for orkester

Kilde

 om Mirrie Hill på musicweb-international

Komponister fra Australien
Pianister fra Australien
Lærere

Mirrie Hill


KK Škrljevo je hrvatski košarkaški klub iz Škrljeva. Utakmice igra u Čavlima.

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KK Škrljevo


ستوق بغراخان (توفي عام 955 م)هو أحد حكام الإمبراطورية القراخانية، تولي الحكم في 934 م ووقد كانت هذه الإمبراطورية تقع في بلاد ماوراء النهر وقد كانت تضم أجزاء من تركستان الشرقية والغربية.

يعد من أوائل الأتراك الذين اعتنقوا الإسلام، وقد كان انتشار الإسلام حينها في تلك المناطق بطيئاً، ولكن عندما أسلم ستوق بغراخان في عام 323 هـ أسلمت 200,000 ألف عائلة في تلك المنطقة مما يعني قرابة المليون شخص وقام بجعل الإسلام الدين الرسمي للدولة.

قصة إسلامه

وفقًا لرواية منجم باشي، استنادًا إلى تقليد نشأ في نهاية المطاف من مبعوث القراخانيون في عام 1105 إلى البلاط العباسي، كان أول من اعتنق الإسلام تحت تأثير فقيه من بخارى. وفقًا لتذكرة بغرا خان (مخطوطة في جغتاي)، اعتنق ستوق الإسلام عندما كان في الثانية عشرة من عمره. درس الإسلام من قبل التاجر الساماني أبو النصر من بخارى. صادَق أبو النصر «أوغولتشاك خان» (خان كاشغر، عم ستوق وزوج والدته)، وحصل على تصريح خاص لبناء مسجد في بلدة أرتوكس خارج كاشغر. هنا كان ستوق يأتي غالبًا لمشاهدة وصول القوافل. عندما رأى ستوق نصر ومسلمين آخرين يؤدون صلاتهم اليومية، أصبح فضوليًا وتلقى تعاليمهم في الدين الإسلامي.
أبقى ستوق إيمانه سراً عن الملك، لكنه أقنع أصدقاءه بالتحول. ومع ذلك، عندما سمع الملك (أوغولتشاك خان) أن ستوق قد أسلم، طالب (بموجب نصيحة والدة ستوق) ستوق ببناء معبد لإظهار أنه لم يغير دينه. نصح أبونصر ستوق بأن يتظاهر ببناء معبد ولكن بنية بناء مسجد في قلبه. وبعد أن رأى الملك ستوق يبدأ في بناء الهيكل، أوقفه معتقداً أنه لم يغير دينه. بعد ذلك، حصل ستوق على فتوى تسمح له فعليًا بقتل الملك (زوج والدته أوغولتشاك خان)، وبعد ذلك غزا كاشغر.

مراجع

أتراك في القرن 10
أشخاص اعتنقوا الإسلام
أويغور
حكام ترك
وفيات 955

ستوق بغرا خان


Fun (estilizado como fun.) es una banda estadounidense con sede en Nueva York, fue formada por Nate Ruess, exintegrante de The Format. Después de la desintegración de 2008 de The Format, Ruess empezó a desarrollar su carrera en Nueva York. Formó entonces el grupo con Andrew Dost de Anathallo y Jack Antonoff de Steel Train. Fun. grabó su álbum debut Aim and Ignite en agosto de 2009 con el productor Steven McDonald y arreglista Roger Joseph Manning Jr., el ex teclista de Jellyfish.

El primer sencillo de Fun. fue «At Least I'm Not As Sad (As I Used To Be)», disponible de forma gratuita mediante la página de la banda. Además, Fun. creó su página de Facebook y llegó a 40.000 seguidores el 1 de diciembre. Su canción de Navidad «Believe In Me» también fue lanzada de forma gratuita.

En febrero de 2010, Fun. apoyó a Jack's Mannequin en su gira, gracias a Vedera obtuvo sus primeras apariciones en el Reino Unido en el mes marzo.

En abril de 2010, Fun. acompañó a Paramore en su gira. La banda se embarcó en una completa gira por Reino Unido en mayo.

En septiembre de 2011, Fun. anunció que apoyaría a Janelle Monáe en la gira The Campus Consciousness Tour....

La banda es conocida por sus éxitos "We Are Young" con Janelle Monáe y "Some Nights". "We Are Young" alcanzó el número 1 en los charts de EE.UU en el Billboard Hot 100 y Digital Songs respectivamente. También alcanzó el número uno en UK Singles Chart. "Some Nights" fue lanzado como segundo sencillo del álbum en junio del 2012, logrando alcanzar el número puesto 3 en Billboard Hot 100 convirtiéndose así en el segundo sencillo de Fun. en entrar en el Top 10 de este chart, también convirtiéndose en la segunda canción de la banda en alcanzar el disco de platino en los EE. UU.

El 5 de diciembre de 2012, Fun. fue nominada a seis Premios Grammy, de las seis nominaciones cuatro son las más importantes de los Grammy. Las nominaciones incluyen Mejor artista nuevo, Grabación del año, Canción del año y Mejor actuación pop vocal de grupo o dúo para We Are Young; Mejor álbum vocal pop y Álbum del año por Some Nights.

Historia
Fun. comenzó su primera gira norteamericana el 8 de noviembre de 2008, con Jack's Mannequin. El álbum debut fue lanzado el 25 de agosto de 2009. Al revisar el álbum, The Washington Post llamó a algunos de los arreglos «teatral, al igual que en el álbum debut de la banda Panic! at the Disco en el 2005».
Fun. y Relient K abrieron a Paramore en su Tour 2010.
El 4 de agosto de 2010, Fun. anunció que habían firmado con el sello Fueled by Ramen.
El 14 de agosto de 2010, se anunció a través del Club de Fanes Oficial de Paramore que Fun., sería la apertura de Paramore en su gira noviembre del Reino Unido.
En 2010 solo Fun., «Walking the Dog», fue utilizada para un anuncio de la página web de viajes Expedia.com.
Para celebrar en el Reino Unido, Paramore promocionó su nuevo sencillo "Walking The Dog ', Hassle Records regaló una descarga gratuita de una versión acústica de la pista.
El 12 de febrero de 2010, Nate Ruess anunció en un show en vivo en Washington D. C., que después de la gira actual de la banda regresará a casa para empezar a trabajar en un nuevo álbum.
El 27 de abril de 2011, un vídeo de la banda tocando una nueva canción titulada «Carry On» fue subido a YouTube.
El 17 de mayo de 2011, la banda lanzó «C'mon» con Panic! at the Disco, que fue a inicios del 2011 Vices & Virtues Tour.
El 14 de septiembre de 2011, la banda anunció que el primer sencillo de su próximo álbum se llamará «We Are Young», y contará con la participación de Janelle Monáe.
El 7 de noviembre de 2011, la banda anunció que su próximo álbum sería titulado Some Nights, este mismo se lanzó el 21 de febrero de 2012.
El 6 de diciembre de 2011, la canción de la banda «We Are Young» fue interpretada por la serie Glee en el episodio "Hold On to sixteen", después del final de las Seccionales en el auditorio del McKinley High. El sencillo de la versión de Glee alcanzó el # 1 en iTunes esa noche.
El 17 de marzo de 2012, la canción «We Are Young» junto a Janelle Monáe alcanzó el número uno en la lista Billboard y permaneció allí 6 semanas.
El 14 de mayo de 2012, la canción mencionada anteriormente marcó el final de la quinta temporada de la serie: Gossip Girl, en la parte en que la anónima bloguera del programa narra el futuro cercano de los principales protagonistas, Dan Humphrey, Serena van der Woodsen, Chuck Bass y Blair Waldorf.
El 3 de junio de 2012, Fun. abre los MTV Movie Awards 2012 con la canción «We Are Young» junto a Janelle Monáe.
El 24 de octubre de 2012, el video musical del tercer sencillo del álbum, "Carry On", fue lanzado.
El 3 de noviembre de 2012 Fun. interpretó las canciones "Some Nights" y "Carry On" en el episodio de Saturday Night Live con el invitado anfitrión Louis C.K..
El grupo interpretó "We Are Young" en los MTV Europe Music Awards 2012 el 11 de noviembre de 2012.

El 5 de diciembre fueron nominados a seis premios Premios Grammy.

El 10 de febrero del 2013 ganaron a "Mejor Canción del Año" con la canción We Are Young en los Premios Grammy y "Mejor Artista Nuevo".
El 26 de febrero estrenaron su nuevo vídeo de la canción "Why Am I The One". Este video es protagonizado por Nate Ruess, Jack Antonoff, Andrew Dost y Suitcase.

La banda anunció a sus fanes a través de su página web en 2015 que los integrantes del grupo se encontraban trabajando en proyectos individuales y que Fun. se tomaba entonces un descanso indefinido.

Discografías
Sencillos:
 2011: We Are Young
 2011: C'Mon (En colaboración con Panic! at the Disco)
 2014: Sight of the Sun

Álbumes de estudio:
 2009: Aim and Ignite 2012: Some Nights Premios y nominaciones

Fun. acumuló varios premios y nominaciones durante el 2012 y el 2013 debido al gran éxito que tuvo la canción «We Are Young» y su álbum Some Nights. Estas comprenden un total de 19 nominaciones y 5 premios. Entre sus más valiosos premios, están los que obtuvieron en los Grammy de 2013, entre ellos a la mejor canción del año (por «We Are Young») y mejor artista nuevo''.
Tuvieron una nominación al Mejor Video Pop en los MTV VMA 2013 pero fueron vencidos por Selena Gómez con su video Come & Get It , y fueron los críticos quienes dijeron que fue una victoria injusta ya que consideraban al video de Gómez muy simple a comparación al de Fun. .

Miembros

Miembros actuales

Antiguos miembros

Referencias

Enlaces externos

Ganadores del Premio Grammy
Tríos de música de Estados Unidos
Artistas de Fueled by Ramen
Artistas de Nettwerk Records
Grupos de música de Nueva York
Grupos de rock de Nueva York
Grupos de indie pop de Estados Unidos
Grupos de indie rock de Estados Unidos
Grupos de rock alternativo de Estados Unidos
Grupos de música formados en 2008
Grupos de música de los años 2000
Grupos de música de los años 2010
Intérpretes número uno de Los 40 Principales de España

Fun.


Kuća Jurić, građevina u Hvaru.

Povijest
Dvokatna uglovnica sagrađena je na hvarskoj Pjaci, prema gradskim vratima. Izvorno gotička kuća preoblikovana je u 17. stoljeću te su joj sačuvani gotički otvori prizemlja. U začelju kuće do gradskih zidina pružao se ograđeni perivoj. U 19. stoljeću otvoren je luminar u središnjoj osi glavnog pročelja.

Zaštita
Pod oznakom Z-5152 zavedena je kao nepokretno kulturno dobro - pojedinačno, pravna statusa zaštićena kulturnog dobra, klasificirano kao "profana graditeljska baština".

Izvori

Zaštićene stambene građevine u Splitsko-dalmatinskoj županiji
Građevine u Hvaru

Kuća Jurić u Hvaru


André Wilms (* 29. April 1947 in Straßburg; † 9. Februar 2022 in Paris) war ein französischer Schauspieler und Theaterregisseur.

Leben
Nach einer Berufsausbildung als Stuckateur erhielt er eine Anstellung als Bühnenmaschinist am Théatre Sorano in Toulouse. 1975 hatte er eine Audition bei Klaus Michael Grüber, der ihm in seiner umstrittenen und vieldiskutierten Bearbeitung von Goethes Faust (Faust Salpêtrière), die Grüber in Frankreich berühmt machte, eine Rolle gab. In der Folge stand er als Schauspieler in Inszenierungen deutscher und französischer Regisseure auf der Bühne. Ab Ende der 1980er Jahre war er als Theater- und Opernregisseur tätig und inszenierte u. a. Béla Bartóks Herzog Blaubarts Burg, Die Philosophie im Boudoir des Marquis de Sade, Die Kleinbürgerhochzeit von Bertolt Brecht oder die Die Bakchen des Euripides.

Seit den 1970er-Jahren war Wilms regelmäßig im französischen Kino besetzt. Internationale Bekanntheit erlangte er 2011 mit dem preisgekrönten Film Le Havre von Aki Kaurismäki, in dem er die Hauptrolle eines schrulligen Schuhputzers verkörperte. Er erhielt für seine Darstellung eine Nominierung für den Europäischen Filmpreis. 1992 war er bereits mit ebendiesem Preis in der Kategorie Bester Nebendarsteller ausgezeichnet worden. Wilms arbeitete auch bei anderen Filmen mit dem finnischen Regisseur Kaurismäki zusammen. Gelegentlich wirkte Wilms auch an deutschsprachigen Filmproduktionen mit, darunter Flucht aus Pommern (1983), Hitlerjunge Salomon (1990) und Wie ich lernte, bei mir selbst Kind zu sein (2019).

Theater
Inszenierungen (Auswahl)
 1988: La Conférence des oiseaux, Kammeroper von Michaël Levinas; Festival International de Montpellier
 1990: Herzog Blaubarts Burg, Oper von Béla Bartók; Festival International de Montpellier
 1993: Le Château des Carpathes, Oper von Philippe Hersant; erste szenische Aufführung, Opéra de Montpellier
 1999: La Philosophie dans le boudoir von Marquis de Sade; München, Marstall
 1999:  Pulsion (Der Drang) von Franz Xaver Kroetz; Théâtre de la Colline, Paris
 2000: Die Kleinbürgerhochzeit von Bertolt Brecht; Cuvilliés-Theater München
 2001: Das Leben der Bohème von Henri Murger und Aki Kaurismaki; Stadttheater Frankfurt
 2001: Histoires de famille von Biljana Srbljanović; Théâtre national populaire – Villeurbanne, Théâtre national de la Colline
 2002: Die Bakchen von Euripides;  Comédie-Française
 2004: Die Zofen von Jean Genet; Stadttheater Frankfurt
 2006: Dreigroschenoper von Bertolt Brecht und Kurt Weill; mit dem Ensemble Modern, Stadttheater Frankfurt

Filmografie (Auswahl)
 1970: Der Übergang über den Ebro
 1975: Hauptlehrer Hofer
 1982: Flucht aus Pommern
 1988: Das Leben ist ein langer, ruhiger Fluß (La vie est un long fleuve tranquille)
 1988: Die Vorleserin (La lectrice)
 1988: Nächtliche Sehnsucht – Hemmungslos (Drôle d'endroit pour une rencontre)
 1989: Die Verlobung des Monsieur Hire (Monsieur Hire)
 1990: Aventure de Catherine C.
 1990: Hitlerjunge Salomon
 1990: Tante Danielle (Tatie Danielle)
 1992: Das Leben der Bohème (Boheemielämää)
 1992: Schuldlos schuldig (Coupable d'innocence ou Quand la raison dort)
 1994: Die Hölle (L'Enfer)
 1994: Die Leningrad Cowboys treffen Moses (Leningrad Cowboys Meet Moses)
 1997: Geheime Gefährten (Compagnons secrets)
 1999: Juha
 2000: Scardanelli
 2002: Ein Teil des Himmels (Une part du ciel)
 2003: Pakt der Druiden (Brocéliande)
 2004: La Confiance règne
 2009: Ricky – Wunder geschehen (Ricky)
 2009: Lehrjahre der Macht (L'école du pouvoir)
 2010: Spurlos (Sans laisser de traces)
 2011: Le Havre
 2011: Americano
 2014: Über-Ich und Du
 2014: Pause
 2014: Er liebt mich, er liebt mich nicht – Toujours l'amour (Tu veux ou tu veux pas)
 2016: Marie Curie
 2016: Ein Jude als Exempel (Un juif pour l'exemple)
 2017: Eine bretonische Liebe (Ôtez-moi d'un doute)
 2017: Hannah
 2019: Wie ich lernte, bei mir selbst Kind zu sein
 2019: Mémorable (Kurzfilm, Stimme im Original)
 2020: Das Salz der Tränen (Le sel des larmes)
 2021: Führerschein und nichts wie weg (La bonne conduite)
 2022: Maigret

Weblinks

Einzelnachweise

Filmschauspieler
Theaterregisseur
Träger des Europäischen Filmpreises
Franzose
Geboren 1947
Gestorben 2022
Mann

André Wilms


Pulitzer:

 Pulitzer Ödülü,

Kişiler
 Joseph Pulitzer (1847–1911),
 Joseph Pulitzer Jr. (1913–1993),
 Lilly Pulitzer (b. 1931),
 Ralph Pulitzer (1879–1939),
 Roxanne Pulitzer,

Soyadları

Pulitzer


The Shanghainese language, also known as the Shanghai dialect, or Hu language, is a variety of Wu Chinese spoken in the central districts of the City of Shanghai and its surrounding areas. It is classified as part of the Sino-Tibetan language family. Shanghainese, like the rest of the Wu language group, is mutually unintelligible with other varieties of Chinese, such as Mandarin.

Shanghainese belongs to a separate group of the Taihu Wu subgroup. With nearly 14 million speakers, Shanghainese is also the largest single form of Wu Chinese. Since the late 19th century it has served as the lingua franca of the entire Yangtze River Delta region, but in recent decades its status has declined relative to Mandarin, which most Shanghainese speakers can also speak.

Like other Wu varieties, Shanghainese is rich in vowels and consonants, with around twenty unique vowel qualities, twelve of which are phonemic. Similarly, Shanghainese also has voiced obstruent initials, which is rare outside of Wu and Xiang varieties. Shanghainese also has a low number of tones compared to other languages in Southern China and has a system of tone sandhi similar to Japanese pitch accent.

History

The speech of Shanghai had long been influenced by those spoken around Jiaxing, then Suzhou during the Qing Dynasty. Suzhounese literature, Chuanqi, Tanci, and folk songs all influenced early Shanghainese.

During the 1850s, the port of Shanghai was opened, and a large number of migrants entered the city. This led to many loanwords from both the West and the East, especially from Ningbonese, and like Cantonese in Hong Kong, English. In fact, "speakers of other Wu dialects traditionally treat the Shanghai vernacular somewhat contemptuously as a mixture of Suzhou and Ningbo dialects." This has led to Shanghainese becoming one of the fastest-developing languages of the Wu Chinese subgroup, undergoing rapid changes and quickly replacing Suzhounese as the prestige dialect of the Yangtze River Delta region. It underwent sustained growth that reached a peak in the 1930s during the Republican era, when migrants arrived in Shanghai and immersed themselves in the local tongue. Migrants from Shanghai also brought Shanghainese to many overseas Chinese communities. As of 2016, 83,400 people in Hong Kong are still able to speak Shanghainese. Shanghainese is sometimes viewed as a tool to discriminate against immigrants. Migrants who move from other Chinese cities to Shanghai have little ability to speak Shanghainese. Among the migrant people, some believe Shanghainese represents the superiority of native Shanghainese people. Some also believe that native residents intentionally speak Shanghainese in some places to discriminate against the immigrant population to transfer their anger to migrant workers, who take over their homeland and take advantage of housing, education, medical, and job resources.

After the People's Republic of China's government imposed and promoted Standard Chinese as the official language of all of China, Shanghainese has started its decline. During the Chinese economic reform of 1978, Shanghainese has once again took in a large number of migrants. Due to the prominence of Standard Mandarin, learning Shanghainese was no longer necessary for migrants. However, Shanghainese remained a vital part of the city's culture and retained its prestige status within the local population. In the 1990s, it was still common for local radio and television broadcasts to be in Shanghainese. For example, in 1995, the TV series Sinful Debt featured extensive Shanghainese dialogue; when it was broadcast outside Shanghai (mainly in adjacent Wu-speaking areas) Mandarin subtitles were added. The Shanghainese TV series Lao Niang Jiu (, "Old Uncle") was broadcast from 1995 to 2007 and was popular among Shanghainese residents. Shanghainese programming has since slowly declined amid regionalist-localist accusations. From 1992 onward, Shanghainese use was discouraged in schools, and many children native to Shanghai can no longer speak Shanghainese. In addition, Shanghai's emergence as a cosmopolitan global city consolidated the status of Mandarin as the standard language of business and services, at the expense of the local language.

Since 2005, movements have emerged to protect Shanghainese. At municipal legislative discussions in 2005, former Shanghai opera actress Ma Lili moved to "protect" the language, stating that she was one of the few remaining Shanghai opera actresses who still retained authentic classic Shanghainese pronunciation in their performances. Shanghai's former party boss Chen Liangyu, a native Shanghainese himself, reportedly supported her proposal. Shanghainese has been reintegrated into pre-kindergarten education, with education of native folk songs and rhymes, as well as a Shanghainese-only day on Fridays in the Modern Baby Kindergarten. Professor Qian Nairong, linguist and head of the Chinese Department at Shanghai University, is working on efforts to save the language. In response to criticism, Qian reminds people that Shanghainese was once fashionable, saying, "the popularization of Mandarin doesn't equal the ban of dialects. It doesn't make Mandarin a more civilized language either. Promoting dialects is not a narrow-minded localism, as it has been labeled by some netizens". Qian has also urged for Shanghainese to be taught in other sectors of education, due to kindergarten and university courses being insufficient.

During the 2010s, many achievements have been made to preserve Shanghainese. In 2011, Hu Baotan wrote Longtang (, "Longtang"), the first ever Shanghainese novel. In June 2012, a new television program airing in Shanghainese was created. In 2013, buses in Shanghai started using Shanghainese broadcasts. In 2017, Apple's iOS 11 introduced Siri in Shanghainese, being only the third Sinitic language to be supported, after Standard Mandarin and Cantonese. In 2018, the Japanese-Chinese animated anthology drama film Flavors of Youth had a section set in Shanghai, with significant Shanghainese dialogue. In January 2019, singer Lin Bao released the first Shanghainese pop record Shanghai Yao (, "Shanghai Ballad"). In December 2021, the Shanghainese-language romantic comedy movie Myth of Love () was released. Its box office revenue was ¥260 million, and response was generally positive.

Today, around half the population of Shanghai can converse in Shanghainese, and a further quarter can understand it. Though the number of speakers has been declining, a large number of people want to preserve it.

Status
Due to the large number of ethnic groups of China, efforts to establish a common language have been attempted many times. Therefore, the language issue has always been an important part of Beijing's rule. Other than the government language-management efforts, the rate of rural-to-urban migration in China has also accelerated the shift to Standard Chinese and the disappearance of native languages and dialects in the urban areas.

As more people moved into Shanghai, the economic center of China, Shanghainese has been threatened despite it originally being a strong topolect of Wu Chinese. According to the Shanghai Municipal Statistics Bureau, the population of Shanghai was estimated to be 24.28 million in 2019, of whom 14.5 million are permanent residents and 9.77 million are migrant residents. To have better communication with foreign residents and develop a top-level financial center among the world, the promotion of the official language, Standard Mandarin, became very important. Therefore, the Shanghai Municipal Government banned the use of Shanghainese in public places, schools, and work. Around half of the city's population is unaware of these policies.

A survey of students from the primary school in 2010 indicated that 52.3% of students believed Mandarin is easier than Shanghainese for communication, and 47.6% of the students choose to speak Mandarin because it is a mandatory language at school. Furthermore, 68.3% of the students are more willing to study Mandarin, but only 10.2% of the students are more willing to study Shanghainese. A survey in 2021 has shown that 15.22% of respondents under 18 would never use Shanghainese. The study also found that the percentage of people that would use Shanghainese with older family members has halved. The study also shows that around one third of people under the age of 30 can only understand Shanghainese, and 8.7% of respondents under 18 cannot even understand it. The number of people that are able to speak Shanghainese has also consistently decreased.

Much of the youth can no longer speak Shanghainese fluently because they had no chance to practice it at school. Also, they were unwilling to communicate with their parents in Shanghainese, which has accelerated its decline. The survey in 2010 indicated that 62.6% of primary school students use Mandarin as the first language at home, but only 17.3% of them use Shanghainese to communicate with their parents.

However, the same study from 2021 has shown that more than 90% of all age groups except 18-29 want to preserve Shanghainese. 87.06% of people have noted that the culture of Shanghai cannot live without its language, and around half of the respondents stated that a Shanghainese citizen should be able to speak Shanghainese. More than 85% of all participants also believe that they help Shanghainese revitalization, and it would be useful to announce station names in Shanghainese on buses.

Classification

Shanghainese macroscopically is spoken in Shanghai and parts of eastern Nantong, and constitutes the Shanghai subranch of the Northern Wu family of Wu Chinese. Some linguists group Shanghainese with nearby varieties, such as Huzhounese and Suzhounese, which has about 29%-30% lexical similarity with Standard Mandarin, into a branch known as Suhujia (), due to them sharing many phonological, lexical, and grammatical similarities. Newer varieties of Shanghainese, however, have been influenced by standard Chinese as well as Cantonese and other varieties, making the Shanghainese idiolects spoken by young people in the city different from that spoken by the older population. Also, the practice of inserting Mandarin into Shanghainese conversations is very common, at least for young people. Like most subdivisions of Chinese, it is easier for a local speaker to understand Mandarin than it is for a Mandarin speaker to understand the local language. It is also of note that Shanghainese, like other Northern Wu languages, is not mutually intelligible with Southern Wu languages like Taizhounese and Wenzhounese.

Shanghainese as a branch of Northern Wu can be further subdivided. The details are as follows:

 Urban branch () – what "Shanghainese" tends to refer to. Occupies the city centre of Shanghai, generally on the west bank of the Huangpu River. This can also be further divided into Old, Middle, and New Periods, as well as an emerging Newest Period.

The following are often collectively known as Bendihua (, Shanghainese: , Wugniu: pen-di ghe-gho)

 Jiading branch () – spoken in the most of Jiading and Baoshan.
 Liantang branch () – spoken in the southwestern ends of Qingpu.
 Chongming branch () – spoken in the islands of Hengsha, Changxing and Chongming, as well as the eastern parts of Nantong.
 Songjiang branch () – spoken in all other parts of Shanghai, which can be further divided into the following:

 Pudong subbranch () – spoken in all parts of the east bank of the Huangpu River, taking up most of the Pudong district.

 Shanghai subbranch () – spoken in the rest of the peripheral areas of the city center, namely southern Jiading and Baoshan, as well as northern Minhang.

 Songjiang subbranch () – spoken in the rest of Shanghai. Named after the Songjiang district.

Phonology

Following conventions of Chinese syllable structure, Shanghainese syllables can be divided into initials and finals. The initial occupies the first part of the syllable. The final occupies the second part of the syllable and can be divided further into an optional medial and an obligatory rime (sometimes spelled rhyme). Tone is also a feature of the syllable in Shanghainese. Syllabic tone, which is typical to the other Sinitic languages, has largely become verbal tone in Shanghainese.

Initials
The following is a list of all initials in Middle Period Shanghainese, as well as the Wugniu romanisation and example characters.

Shanghainese has a set of tenuis, lenis and fortis plosives and affricates, as well as a set of voiceless and voiced fricatives. Alveolo-palatal initials are also present in Shanghainese.

Voiced stops are phonetically voiceless with slack voice phonation in stressed, word initial position. This phonation (often referred to as murmur) also occurs in zero onset syllables, syllables beginning with fricatives, and syllables beginning with sonorants. These consonants are true voiced in intervocalic position. Sonorants are also suggested to be glottalised in dark tones (i.e. tones 1, 5, 7).

Finals
Being a Wu language, Shanghainese has a large array of vowel sounds. The following is a list of all possible finals in Middle Period Shanghainese, as well as the Wugniu romanisation and example characters.

The transcriptions used above are broad and the following points are of note when pertaining to actual pronunciation:
  is enunciated with any part of the tongue, and is therefore in free variation as .
  is often rounded into .
 The  in  and  are often lowered to , whereas the  in  and  are often lowered to .
  is only pronounced as  after labials and alveolars. whereas it is  after glottal and alveolo-palatal initials.
 High vowels in front of  can undergo breaking.
  can be merged into , resulting in one fewer rime.
 Rimes with final  is often simply realised as a shortened vowel nucleus when it is not utterance-final.
 Lips are not significantly rounded in rounded vowels, and not significantly unrounded in unrounded ones.
  are similar in pronunciation, differing slightly in lip rounding and height ( respectively).  are also similar in pronunciation, differing slightly in vowel height ( respectively).
 Medial  is pronounced  before rounded vowels.

The Middle Chinese nasal rimes are all merged in Shanghainese. Middle Chinese  rimes have become glottal stops, .

Tones

Shanghainese has five phonetically distinguishable tones for single syllables said in isolation. These tones are illustrated below in tone numbers. In terms of Middle Chinese tone designations, the dark tone category has three tones (dark rising and dark departing tones have merged into one tone), while the light category has two tones (the light level, rising and departing tones have merged into one tone).

Numbers in this table are those used by the Wugniu romanisation scheme.

The conditioning factors which led to the yin–yang (light-dark) split still exist in Shanghainese, as they do in most other Wu lects: light tones are only found with voiced initials, namely , while the dark tones are only found with voiceless initials.

The checked tones are shorter, and describe those rimes which end in a glottal stop . That is, both the yin–yang distinction and the checked tones are allophonic (dependent on syllabic structure). With this analysis, Shanghainese has only a two-way phonemic tone contrast, falling vs rising, and then only in open syllables with voiceless initials. Therefore, many romanisations of Shanghainese opt to only mark the dark level tone, usually with a diacritic such as an acute accent or grave accent.

Tone sandhi

Tone sandhi is a process whereby adjacent tones undergo dramatic alteration in connected speech. Similar to other Northern Wu dialects, Shanghainese is characterized by two forms of tone sandhi: a word tone sandhi and a phrasal tone sandhi.

Word tone sandhi in Shanghainese can be described as left-prominent and is characterized by a dominance of the first syllable over the contour of the entire tone domain. As a result, the underlying tones of syllables other than the leftmost syllable, have no effect on the tone contour of the domain. The pattern is generally described as tone spreading (1, 5, 6, 7) or tone shifting (8, except for 4-syllable compounds, which can undergo spreading or shifting). The table below illustrates possible tone combinations.

As an example, in isolation, the two syllables of the word  (China) are pronounced with a dark level tone (tsón) and dark checked tone (koq):  and . However, when pronounced in combination, the dark level tone of  (tsón) spreads over the compound resulting in the following pattern . Similarly, the syllables in a common expression for  (zeq-sé-ti, "foolish") have the following underlying phonemic and tonal representations:  (zeq),  (sé), and  (ti). However, the syllables in combination exhibit the light checked shifting pattern where the first-syllable light checked tone shifts to the last syllable in the domain: .

Phrasal tone sandhi in Shanghainese can be described as right-prominent and is characterized by a right syllable retaining its underlying tone and a left syllable receiving a mid-level tone based on the underlying tone's register. The table below indicates possible left syllable tones in right-prominent compounds.

For instance, when combined,  (ma, , "to buy") and  (cieu, , "wine") become  ("to buy wine").

Sometimes meaning can change based on whether left-prominent or right-prominent sandhi is used. For example,  (tshau, , "to fry") and  (mi, , "noodle") when pronounced  (i.e., with left-prominent sandhi) means "fried noodles". When pronounced  (i.e., with right-prominent sandhi), it means "to fry noodles".

Nouns and adjectives attached to nouns tend to start right-prominent sandhi chains, whereas left-prominent chains are triggered by verbs and adverbs. Grammatical particles cannot start chains of their own, but instead can be realised as a null tone () or be part of another chain.

"I cannot find my red phone."

In the previous example sentence we see an adjective, noun and pronoun starting sandhi chains, the particles ,  and  being incorporated into other sandhi chains, and the particle  having a neutral tone.

Vocabulary
Note: Chinese characters for Shanghainese are not standardized and those chosen are those recommended in . IPA transcription is for the Middle Period of modern Shanghainese (), pronunciation of those between 20 and 60 years old.

Due to the large number of migrants into Shanghai, its lexicon is less noticeably Wu, though it still retains many defining features. However, many of these now lost features can be found in lects spoken in suburban Shanghai.

Its basic negator is  (veq), which according to some linguists, is sufficient ground to classify it as Wu.

Shanghainese also has a multitude of loan words from European languages, due to Shanghai's status as a major port in China. Most of these terms come from English, though there are some from other languages such as French. Some terms, such as , have even entered mainstream and other Sinitic languages, such as Sichuanese.

Common words and phrases
 For more terms, see Shanghainese Swadesh list on Wiktionary.

Literary and vernacular pronunciations

Like other Sinitic languages, Shanghainese exhibits a difference between expected vernacular pronunciations, and literary pronunciations taken from the Mandarinic lingua franca of the time, be it Nanjingnese, Hangzhounese, or Beijingnese.

These readings must be distinguished in vocabulary. Take for instance the following.

Some terms mix the two pronunciation types, such as  ("university"), where  is literary (da) and  is colloquial (ghoq).

Evolution
Qian Nairong identified four distinct stages of the evolution of Shanghainese. The following sections explore the changes per stage.

Stage 1
Stage 1 lasts from 1853 to 1899. Most sources in this period are written by western linguists.
 The  initial starts to merge with
 The loss of nasalization of xian and shan rimes ()
 The distinction between  and  codas disappears
 The merger of all checked rimes, including the allophonic
 Terms with light rising tone and a plosive or fricative initial merge with the light departing tone

Stage 2
Stage 2 lasts from 1900 to 1939. This period is often also known as Old Period.
 Bilabial fricatives become labiodental
 Palatalization of velars and
  and parts of  merged into
 Xian and shan rimes with closed openness () become
 Checked rimes  and  merge with ,  with
 All non-checked light tones merge
The following is a table of Old Period initials, as of the year 1915.

Stage 3
Stage 3 lasts from 1940 to 1969. This marks the start of the Middle Period and is often seen as the standard of Shanghainese.
 The breathy voice phonation type begins to be lost
 The  initials become more distinct
 "Sharp"  and "blunt"  initials merge in front of high vowels
 The finals of lei, lai and lan () merge
 The  final becomes an alternative pronunciation;  becomes dominant
  finals merge
  and  merge
  and  splits from  and
  merges into  and  merges into
 The dark rising and departing tones merge

Stage 4
Stage 4 lasts from 1970 to 1999. The end of this period coincides with the start of the New Period.
 A  initial develops based on whether Standard Mandarin has an affricate
 The yi initial () largely becomes
 Terms with  in Shanghainese become  if Standard Mandarin has it as
 Unsystematic devoicing of voiced initials
 Xian and shan diphthong finals become monophthongs
  largely disappears
  and  merge. They are also sometimes pronounced  and
  and  merge into ,  merges into
  merges into ,  merges into
 A new  initial where Standard Mandarin has
  gets pronounced
  and  merge

Vocabulary
There are some recorded differences between Old Period Shanghainese and those more contemporary. The following is a selection of several.

Grammar
Old Shanghainese grammar differs from Middle Period greatly in terms of word order and grammatical particles. Take the following sentences for example:

In terms of New Period grammar, the word order is sometimes changed to be more similar to Mandarin. Take for example the following sentences, which all mean "come over to my place and play when you have time!":

Newest Period
Due to the decline of Shanghainese, and the increasing userbase of Standard Mandarin, Shanghainese has entered an emerging "Newest Period". The exact phonology generally varies from person to person. The following is a non-exhaustive list of phonological changes seen in Newest Period Shanghainese, and are heavily proscribed.

Initials:
 Voicing is lost in historical rising and departing tone words:   → .
 The  and some  initials are merged into the null, especially when pronouncing Written Standard Chinese ():   → .
 The  initial is almost completely lost. They are distributed either to , such as , or , such as .
 Some words with  and  initials change to the , primarily in literary pronunciations:   → .
 The alveolo-palatal series  approach .
 The voiced initials merge with their unvoiced counterparts:   → .
 However,  gets merged into the null initial:   → .
Finals:
 Some words with the  final create a new :   → .
 Some words with the  final merge into the  final:   → .
 The  final splits into ,  and :   ≠   ≠  .
 Some words with the  final gets pronounced :   →
 The  final gets pronounced as .
 The  final gets pronounced as .
 The distinction between  and  sometimes gets blurred:   → ,   → .
 The  syllable merges into the  syllable:   =
 The  and  finals merge:   =
 The syllabic nasals,  and , are lost.
Tones:
 The two checked tones merge into the 55 contour.
 Some light departing words becoming dark rising:   → .
 4 or 5 syllable sandhi chains break into shorter 2 or 3 character chains.

Grammar
Like other Sinitic languages, Shanghainese is an isolating language that lacks marking for tense, person, case, number or gender. Similarly, there is no distinction for tense or person in verbs, with word order and particles generally expressing these grammatical characteristics. There are, however, three important derivational processes in Shanghainese. However, some analyses do suggest that one can analyse Shanghainese to have tenses.

Although formal inflection is very rare in all varieties of Chinese, there does exist in Shanghainese a morpho-phonological tone sandhi that Zhu (2006) identifies as a form of inflection since it forms new words out of pre-existing phrases. This type of inflection is a distinguishing characteristic of all Northern Wu dialects.

Affixation, generally (but not always) taking the form of suffixes, occurs rather frequently in Shanghainese, enough so that this feature contrasts even with other Wu varieties, although the line between suffix and particle is somewhat nebulous. Most affixation applies to adjectives. In the example below, the term  (deu-sy) can be used to change an adjective to a noun.
{|
|搿||||種||骯三||頭勢||勿||||談||了!
|-
|geq||-||tson||áon-sé||deu-sy||veq||-||de||leq
|-
|this||||CL||disgusting||deu-sy||NEG||||mention||P
|-
|colspan=9|Forget that disgusting thing!
|}

Words can be reduplicated in order to express various differences in meaning. Nouns, for example, can be reduplicated to express collective or diminutive forms; adjectives so as to intensify or emphasize the associated description; and verbs in order to soften the degree of action. Below is an example of noun reduplication resulting in semantic alteration.
{|
|走||||走
|-
|tseu||-||tseu
|-
|walk||||walk
|-
|colspan=3|take a walk
|}

Word compounding is also very common in Shanghainese, a fact observed as far back as Edkins (1868), and is the most productive method of creating new words. Many recent borrowings in Shanghainese originating from European languages are di- or polysyllabic.

Word order
Shanghainese adheres generally to SVO word order. The placement of objects in Wu dialects is somewhat variable, with Southern Wu varieties positioning the direct object before the indirect object, and Northern varieties (especially in the speech of younger people) favoring the indirect object before the direct object. Owing to Mandarin influence, Shanghainese usually follows the latter model.

Older speakers of Shanghainese tend to place adverbs after the verb, but younger people, again under heavy influence from Mandarin, favor pre-verbal placement of adverbs.

The third person singular pronoun  (yi) (he/she/it) or the derived phrase  (yi kaon) ("he says") can appear at the end of a sentence. This construction, which appears to be unique to Shanghainese, is commonly employed to project the speaker's differing expectation relative to the content of the phrase.
{|
|伊||伊講,||講||勿好。
|-
|yi||yi kaon||kaon||veq-hau
|-
|3s||he says||say||NEG-good
|-
|colspan=4|Unexpectedly, he says no.
|}

Nouns
Except for the limited derivational processes described above, Shanghainese nouns are isolating. There is no inflection for case or number, nor is there any overt gender marking. Although Shanghainese does lack overt grammatical number, the plural marker  (la), when suffixed to a human denoting noun, can indicate a collective meaning.
{|
|學生||||拉||個||書
|-
|ghoq-sán||-||la||gheq||sý
|-
|student||||PL||POSS||book
|-
|colspan=5|students' books
|}

There are no articles in Shanghainese, and thus, no marking for definiteness or indefiniteness of nouns. Certain determiners (a demonstrative pronoun or numeral classifier, for instance) can imply definite or indefinite qualities, as can word order. A noun absent any sort of determiner in the subject position is definite, whereas it is indefinite in the object position.

{|
|老太婆||出來||了。
|-
|lau-tha-bu||tseq-le||leq
|-
|old lady||come.out||P
|-
|colspan=3|The old lady is coming out.
|}
{|
|來||朋友||了。
|-
|le||ban-yieu||leq
|-
|come||friend||P
|-
|colspan=3|Here comes a friend.
|}

Classifiers
Shanghainese boasts numerous classifiers (also sometimes known as "counters" or "measure words"). Most classifiers in Shanghainese are used with nouns, although a small number are used with verbs. Some classifiers are based on standard measurements or containers. Classifiers can be paired with a preceding determiner (often a numeral) to form a compound that further specifies the meaning of the noun it modifies.
{|
|-
|搿||||隻||皮球
|-
|geq||-||tsaq||bi-jieu
|-
|this||||CL||ball
|-
|colspan=4|this ball
|}

Classifiers can be reduplicated to mean "all" or "every", as in:
{|
|-
|本||||本
|-
|pen||-||pen
|-
|colspan=3|(classifier for books)
|-
|colspan=3|every [book]
|}

Verbs
Shanghainese verbs are analytic and as such do not undergo any sort of conjugation to express tense or person. However, the language does have a richly developed aspect system, expressed using various particles. This system has been argued to be a tense system.

Aspect
Some disagreement exists as to how many formal aspect categories exist in Shanghainese, and a variety of different particles can express the same aspect, with individual usage often reflecting generational divisions. Some linguists identify as few as four or six, and others up to twelve specific aspects. Zhu (2006) identifies six relatively uncontroversial aspects in Shanghainese.

Progressive aspect expresses a continuous action. It is indicated by the particles  (laq),  (laq-laq) or  (laq-he), which occur pre-verbally.

{|
|伊||辣||做||功課||𠲎?
|-
|yi||laq||tsu||kón-khu||vaq
|-
|3s||PROG||do||homework||Q
|-
|colspan="5"|Is he doing his homework?
|}

The resultative aspect expresses the result of an action which was begun before a specifically referenced timeframe, and is also indicated by  (laq),  (laq-laq) or  (laq-he), except that these occur post-verbally.

{|
|本事||學||辣海||將來||派用場。
|-
|pen-sy||ghoq||laq-he||cián-le||pha-yon-zan
|-
|skill||learn||RES||future||take advantage
|-
|colspan="5"|Acquire the skill and take advantage of it later.
|}

Perfective aspect can be marked by  (leq),  (tsy),  (hau) or  (le).  is seen as dated and younger speakers often use , likely through lenition and Mandarin influence.
{|
|衣裳||買||來||了。
|-
|í-zaon||ma||le||leq
|-
|clothes||buy||PFV||PF
|-
|colspan="4"|The clothes have been bought.
|}

Zhu (2006) identifies a future aspect, indicated by the particle  (iau).

{|
|明朝||要||落雨||個。
|-
|min-tsáu||iau||loq-yu||gheq
|-
|tomorrow||FUT||rain||P
|-
|colspan=4|It's going to rain tomorrow.
|}

Qian (1997) identifies a separate immediate future aspect, marked post-verbally by  (khua).

{|
|電影||散場||快了。
|-
|di-in||se-zan||khua-leq
|-
|movie||finish||IMM.FUT P
|-
|colspan="3"|The movie is soon to finish.
|}

Experiential aspect expresses the completion of an action before a specifically referenced timeframe, marked post-verbally by the particle  (ku).

{|
|我||到||海裡||去||游泳||游過||五趟。
|-
|ngu||tau||he-li||chi||yeu-yon||yeu-ku||ng-thaon
|-
|1s||to||sea-inside||go||swim||swim-EXP||five-times
|-
|colspan="7"|I have swum the sea five times (so far).
|}

The durative aspect is marked post-verbally by  (gho-chi), and expresses a continuous action.

{|
|儂||就||讓||伊||做||下去||好了。
|-
|non||zhieu||gnian||yi||tsu||gho-chi||hau-leq
|-
|2s||even||let||3s||do||DUR||good-PF
|-
|colspan="7"|Please let him continue to do it.
|}

In some cases, it is possible to combine two aspect markers into a larger verb phrase.

{|
|-
|功課||做||好||快了。
|-
|kón-khu||tsu||hau||khua-leq
|-
|homework||do||PFV||IMM.FUT PF
|-
|colspan="4"|The homework will have been completed before long.
|}

Mood and Voice
There is no overt marking for mood in Shanghainese, and Zhu (2006) goes so far as to suggest that the concept of grammatical mood does not exist in the language. There are, however, several modal auxiliaries (many of which have multiple variants) that collectively express concepts of desire, conditionality, potentiality and ability.

{|
|-
| "can" ||  (nen) /  (nen-keu) /  (hau)
|-
| "be able" ||  (ue) /  (ue-teq)
|-
| "may" ||  (khu-i)
|-
| "would like" ||  (iau)
|-
| "should" ||  (ín-ké)
|-
| "willing to" ||  (zhin-gnioe) /  (gnioe-i)
|-
| "happy to" ||  (káu-shin)
|-
| "want to" ||  (shian) /  (hau)
|}

Shen (2016) argues for the existence of a type of passive voice in Shanghainese, governed by the particle  (peq). This construction is superficially similar to by-phrases in English, and only transitive verbs can occur in this form of passive.

{|
|餅乾||撥||人家||吃脫了。
|-
|pin-kóe||peq||gnin-ká||chiq-theq-leq
|-
|biscuit||by||someone||eat-PERFECT
|-
|colspan="4"|The biscuits were eaten by someone.
|}

Pronouns
Personal pronouns in Shanghainese do not distinguish gender or case. Owing to its isolating grammatical structure, Shanghainese is not a pro-drop language.

{| class="wikitable" style="text-align: center;"
|-
! || colspan="2" | Singular || Plural
|-
! rowspan="2" |1st person
| colspan="2" |我
|阿拉
|-
| colspan="2" |ngu||aq-laaq-laq
|-
! rowspan="2" |2nd person
|儂
|侬
|㑚
|-
| colspan="2" |non||na
|-
! rowspan="2" |3rd person
| colspan="2" |伊
|伊拉
|-
| colspan="2" |yi||yi-layi-laq
|}

There is some degree of flexibility concerning pronoun usage in Shanghainese. Older varieties of Shanghainese featured a different 1st person plural  (ngu-gni), whereas younger speakers tend to use  (aq-laq), which originates from Ningbonese. While Zhu (2006) asserts that there is no inclusive 1st person plural pronoun, Hashimoto (1971) disagrees, identifying  as being inclusive. There are generational and geographical distinctions in the usage of plural pronoun forms, as well as differences of pronunciation in the 1st person singular.

Reflexive pronouns are formed by the addition of the particle  (zy-ka), as in:

 {|
|伊||只好||怪||自家。
|-
|yi||tseq-hau||kua||zy-ka
|-
|he||can only||blame||self
|-
|colspan=4|He can only blame himself.
|}

Possessive pronouns are formed via the pronominal suffix  (gheq), for instance,  (ngu gheq). This pronunciation is a glottalised lenition of the expected pronunciation, ku.

Adjectives
Most basic Shanghainese adjectives are monosyllabic. Like other parts of speech, adjectives do not change to indicate number, gender or case. Adjectives can take semantic prefixes, which themselves can be reduplicated or repositioned as suffixes according to a complex system of derivation, in order to express degree of comparison or other changes in meaning. Thus:
 lan ("cold")
 pín-lan ("ice-cold"), where  means ice
 pín-pín-lan ("cold as ice")

Interrogatives
The particle  (vaq) is used to transform ordinary declarative statements into yes/no questions. This is the most common way of forming questions in Shanghainese.

{|
|儂||好||𠲎?
|-
|non||hau||vaq
|-
|2s||good||Q
|-
|colspan=3|How are you? ( "Are you good?")
|}

Negation
Nouns and verbs can be negated by the verb  (m-meq), "to not have", whereas   is the basic negator.
{|
|搿||勿是||檯子。
|-
|geq||veq-zy||de-tsy
|-
|this||NEG be||table
|-
|colspan=3|This is not a table.
|}

Writing

Chinese characters are often used to write Shanghainese. Though there is no formal standardisations, there are characters recommended for use, mostly based on dictionaries. However, Shanghainese is often informally written using Shanghainese or even Standard Mandarin near-homophones. For instance "lemon" (), written  in Standard Chinese, may be written  (person-door; Pinyin: , Wugniu: gnin-men) in Shanghainese; and "yellow" (, Wugniu: waon) may be written  (meaning king; Pinyin: , Wugniu: waon) rather than the standard character  for yellow.

Some of the time, nonstandard characters are used even when trying to use etymologically correct characters, due to compatibility (such as ) or pronunciation shift (such as ).

Correct orthography according to

Mandarin-influenced orthography

Romanization of Shanghainese was first developed by Protestant English and American Christian missionaries in the 19th century, including Joseph Edkins. Usage of this romanization system was mainly confined to translated Bibles for use by native Shanghainese, or English–Shanghainese dictionaries, some of which also contained characters, for foreign missionaries to learn Shanghainese. A system of phonetic symbols similar to Chinese characters called "New Phonetic Character" were also developed by in the 19th century by American missionary Tarleton Perry Crawford. Since the 21st century, online dictionaries such as the Wu MiniDict and Wugniu have introduced their own Romanization schemes. Nowadays, the MiniDict and Wugniu Romanizations are the most commonly used standardised ones.

Protestant missionaries in the 1800s created the Shanghainese Phonetic Symbols to write Shanghainese phonetically. The symbols are a syllabary similar to the Japanese kana system. The system has not been used and is only seen in a few historical books.

See also

Shanghainese people
Haipai
Wu Chinese
Suzhounese
Hangzhounese
Ningbonese
List of varieties of Chinese
Chinatown, Flushing

References

Citations

Sources
 Lance Eccles, Shanghai dialect: an introduction to speaking the contemporary language. Dunwoody Press, 1993. . 230 pp + cassette. (An introductory course in 29 units).
 Xiaonong Zhu, A Grammar of Shanghai Wu. LINCOM Studies in Asian Linguistics 66, LINCOM Europa, Munich, 2006. . 201+iv pp.

Further reading

 Pott, F. L. Hawks (Francis Lister Hawks), 1864–1947 | The ...

 "Shanghai steps up efforts to save local language" (Archive). CNN. March 31, 2011.

External links

Shanghainese audio lesson series: Audio lessons with accompanying dialogue and vocabulary study tools
Shanghai Dialect: Resources on Shanghai dialect including a Web site (in Japanese) that gives common phrases with sound files
Wu Association
IAPSD | International Association for Preservation of the Shanghainese Dialect
Recordings of Shanghainese are available through Kaipuleohone, including talking about entertainment and food, and words and sentences

Wu Chinese
Culture in Shanghai
Languages of China
Languages of Taiwan
Languages of Hong Kong
Languages of the United States
Languages of Canada
City colloquials

Shanghainese


Kayıt dışı ekonomi, devletten gizlenen, kayda geçirilmeyen/geçirilemeyen ve bu sebeple denetlenemeyen faaliyetler olarak tanımlanabilir. Enformel ekonomi, yasa dışı ekonomi, gayriresmî ekonomi, gizli ekonomi diye de adlandırılır. Genel olarak kayıt dışı ekonominin, mal ve hizmet üretimine konu olmasına karşılık ekonominin geleneksel ölçüm yöntemleriyle bütünüyle tespit edilemeyen ve GSMH hesaplamalarına yansımayan alanları kapsadığı kabul edilmektedir.

Kayıt dışı istihdam ise kayıt dışı ekonominin bir parçasıdır. ILO'nun 204 sayılı tavsiye kararına göre kayıt dışı ekonomideki kayıt dışı işler, kayıtlı ekonomideki kayıt dışı faaliyetler kayıt dışılık olarak nitelendirilmiştir. Kayıtlılık ve kayıt dışılık farklı ülkelerde farklı faaliyetleri kapsayabilmekte ve göstergeleri de farklı olabilmektedir. Çalışanların ilgili kurum ve kuruluşlara bildirilmemesi kayıt dışı istihdamın bir göstergesi kabul edilmekle beraber ev eksenli çalışan (yemek, temizlik, çocuk bakım) ancak ekonomik hayata katılmayan kişilerin varlığı, çalışma hayatında geride kalan dezavantajlı grupların (engelli, kadın vs) istihdamda yer bulamamaları kayıt dışı istihdamın göstergeleri olarak kabul edilebilmektedir.

Türk sosyal güvenlik sistemine göre kayıt dışı istihdam; çalışarak istihdama katılan kişilerin, çalışmalarının gün veya ücret olarak ilgili kamu kurum ve kuruluşlarına hiç bildirilmemesi ya da eksik bildirilmesi olarak tanımlanmaktadır. Kayıt dışı çalışanlar; Sosyal Güvenlik Kurumu'nun maddi olarak sağladığı haklardan faydalanamazlar veya olması gerekenden düşük miktarlarda yardım alırlar. Buna ek olarak kayıt dışı çalışanlar yıllık izin, kıdem tazminatı gibi çalışma hayatına ilişkin sağlanan diğer haklardan da faydalanamazlar. Diğer taraftan Türk sosyal güvenlik mevzuatına göre kayıt dışı işçi çalıştırdığı tespit edilen işverenlere 5510 sayılı Sosyal Sigortalar ve Genel Sağlık Sigortası Kanun'unun 102'inci maddesine göre idari para cezası uygulanmaktadır.

Kaynakça

Ekonomik sektörler

Kayıt dışı ekonomi


Rae-rae su trans-žene muškog i ženskog spola u tahićanskoj kulturi, suvremenoj distinkciji koja potječe iz 1960-ih od Māhū (što znači "u sredini"), koja je tradicionalnija socijalna kategorija rodno ograničenih ljudi Polinezije. Petea je omalovažavajući izraz za cis-mušku homoseksualnost (sugerirajući "muškarce koji seksualno žele jedni druge") koji se koristi u Francuskoj Polineziji, za razliku od tradicionalne socijalne kategorije moe aikāne koja se koristi na Havajima.

Iako se mahu smatra sastavnim dijelom maorske tradicije, povijesti i kulture, rae-rae su općenito manje prihvaćeni u tahitijskom društvu. Smatraju se modernijim ekvivalentom drag queen-a zapadnog svijeta i nose negativnu konotaciju u vezi sa siromaštvom i seksualnim radom. Rae-rae može vjerojatnije od mahua podvrgnuti operaciji promjene spola između muškaraca i žena ili drugim kozmetičkim operacijama. Uz to, identitet rae-rae ima bliže veze s homoseksualnošću, za razliku od mahua, koji se više poistovjećuju sa ženstvenošću i "slatkoćom" i mogu položiti zavjet čistoće. Neki na Rae-rae vide utjecaj sa zapada (tj Francuska) kultura, dok su koncept i povijest mahua čisto polinezijski i netaknuti zapadnim idealima. Rae-rae je također kontroverzan pojam na Tahitiju jer ga neki smatraju nespojivim s dvije polinezijske kulturne ideje: prvo, da je nečiji rodni identitet definiran prije i na taj način određuje nečiju spolnost; i drugo, taj je spol nepromijenjen tijekom cijelog života. Međutim, neki znanstvenici sugeriraju da su prigovori rae-raeu možda posljedica kršćanskog utjecaja i morala seksualne skromnosti.

Ideja trećeg roda ili trećeg spola uobičajena je u mnogim kulturama. Rae-Rae na Tahitiju je sličan Kathoey u Tajlandu, Kothi i Hijra u Indiji, Femminiello u Italiji, Muxe u Meksiku, a Travesti u Južnoj Americi.

Povijest
Priče prenošene Tahitijem sugeriraju da je u prošlosti bilo uobičajeno da obitelji s više djece odgajaju najstarijeg dječaka kao djevojčicu, kao Mahu. Mahu se puno više poštuje od rae-raea. Rae-rae je nastao kad su Francuzi došli u Polineziju 1960-ih.

Rae-rae u havajskoj kulturi
Na mahu i rae-rae se na Havajima gleda manje blagonaklono u odnosu na Tahiti zbog seksualno represivnije kulture. Umjesto da se pravi razlika između tradicionalnog, kulturnog rodnog identiteta i modernijeg seksualnog identiteta, oboje su više marginalizirani i izopćeni iz društva.

Izvori

LGBT

Rae-rae


Međuzonska nogometna liga Bosne i Hercegovine, također i kao Međuzonska liga Bosne, je bila liga trećeg stupnja nogometnog prvenstva Jugoslavije u sezoni 1961./62.  Sudjelovalo je 14 klubova, a prvak je bio "Rudar" iz Kaknja.

Ljestvica

 Hrasnica – danas dio naselja Sarajevo

Rezultatska križaljka

 Izvori:

Unutrašnje poveznice
 Zonska liga Mostar 1961./62.
 Zonska liga Zenica 1961./62.
 Međupodsavezna liga Banja Luka 1961./62.
 Međupodsavezna liga Brčko-Doboj-Tuzla 1961./62.

Vanjske poveznice

Izvori

 Godišnjak FSJ 1961-62, Beograd, 1962., ISSN: 0351-2894, str. 202
 Milan Ždrale: FK "Jedinstvo"-Brčko (1919 - 1989), Brčko, 1989. str. 69

1961-62 1
 1
1961-62 1 MZ

Međuzonska nogometna liga Bosne i Hercegovine 1961./62.


Yuji Tsukada (født 28. december 1957) er en tidligere japansk fodboldspiller og træner.

Han har spillet for flere forskellige klubber i sin karriere, herunder Kofu SC.

Han har tidligere trænet Ventforet Kofu og Cerezo Osaka.

Eksterne henvisninger

Fodboldspillere fra Japan
Fodboldtrænere fra Japan

Yuji Tsukada


Bjugn, Norveç'in Sør-Trøndelag eyâletine bağlı şehridir.

Bjugn 1853 yılında Ørland şehrinden kopmuştur. 1 Ocak 1964 tarihinde Jøssund, Stjørna ve Nes şehirleri de Bjugn'a dahil edilince şehrin sınırları kayda değer bir biçimde büyümüştür. Bu büyüme ile şehrin nüfusu 1.240'tan 4.490'a çıkmıştır.

Botngård ve Lysøysund'da Bjugn şehri sınırları içerisinde yer almaktadır. Botngård şehrin yönetim merkezidir. 2005 sayımlarına göre 384 km²'lik alana sahip olan Bjugn'un nüfusu 1.144'tür.

Norveç'teki şehirler

Bjugn


El Mikoyan-Gurevich MiG-8  fue una aeronave experimental soviética. Construida en madera, fue diseñada y construida en 1945, con el fin de probar la, para la entonces novedosa, configuración canard. El avión también contaba con un tren de aterrizaje de tres ruedas, usado por primera vez por la oficina de diseños experimentales (OKB). Fue modificado para probar gran variedad de configuraciones y usado posteriormente como avión de enlace en años siguientes por la OKB.

La aeronave fue apodada Utka ("pato"), a causa de la configuración "canard" que proviene de la palabra francesa para "pato".

Especificaciones

Referencias
 Gordon, Yefim and Komissarov, Dmitry. OKB Mikoyan: A History of the Design Bureau and its Aircraft. Hinckley, England: Midland Publishing, 2009 ISBN 1-85780-307-5
 Gunston, Bill. The Osprey Encyclopaedia of Russian Aircraft 1875–1995. London, Osprey, 1995 ISBN 1-85532-405-9

Aeronaves de Mikoyan
Aeronaves experimentales de la Unión Soviética de los años 1940

Mikoyan-Gurevich MiG-8


Alberto Orrego Luco (Valparaíso, Chile, 20 de abril de 1854-Chile, 2 de junio de 1931) fue un pintor paisajista y diplomático chileno. Fue cónsul de Chile en Venecia, Sevilla, Génova y  Roma. Participó y recibió mención honrosa en la llamada "exposición de mercado" organizada por Benjamín Vicuña Mackenna. Entre los miembros destacados de su familia se encuentran sus hermanos, el siquiatra Augusto Orrego Luco y el abogado y novelista Luis Orrego Luco, y su cuñado, el pintor Pedro Lira.
Su principal inclinación artística fueron los paisajes y las marinas, su obra ha sido comparada con la del artista francés Félix Ziem mientras que Antonio Romera aclara que el parecido es mayor con el del veneciano Francesco Guardi. Romera aclara que el pintor conserva un "resabios de romanticismo" y lo califica como un artista reflexivo y sereno. Por ello es muy difícil enmarcarlo únicamente en un estilo único, el mismo autor antes citado aclara que lo más correcto sería decir que Orrego Luco es un realista idealizante a la manera del pintor chileno Ramón Subercaseaux, pero señala que de todas maneras muchas de sus obras se acercan cromáticamente al movimiento impresionista.

Biografía

Alberto Orrego Luco perteneció a una familia de acomodados agricultores. Sus padres fueron Antonio Lucas Orrego Garmendia y Rosalía Luco León de la Barra. Los primeros años del pintor se desarrollan en Valparaíso donde estudia en el colegio inglés de Mathews y Linacre, más, por problemas económicos, se reubicó en el Instituto Nacional donde empezaron sus primeros años de pintura. Sus dotes para la misma fueron expuestos por primera vez en 1872 en la llamada "exhibición del mercado central" organizada por el intelectual Vicuña Mackenna. Aquí, a los 18 años de edad, demuestra sus habilidades artísticas ante un grupo de más de 10 000 personas, recibiendo mención honrosa al final del certamen.

Al año siguiente, en 1873, e incentivado por su madre, viaja hacia Europa junto a su hermana Elena Orrego Luco y su cuñado y amigo, el pintor Pedro Lira. Su viaje tenía una intención académica, deseaba estudiar medicina en la universidad de la Sorbonne, pero al llegar a Francia abandona la idea para dedicarse por completo a la pintura. Se ubicó en el barrio latino para después empezar a estudiar pintura en el taller de Alexandre Cabanel.

Siguió sus estudios pictóricos en la prestigiosa Académie Julian, en París, centro de estudios donde fue contemporáneo de artistas como Henri Matisse, Jean Dubuffet, y Marcel Duchamp. A pesar de que en sus inicios Luco se concentró en la escultura y la música, fue la pintura su elección final y durante este periodo el artista centro su creación en la corriente artística del realismo.

El gobierno de Chile, reconociendo sus logros en el extranjero, pasa a pagar sus pensión, esto le permite presentarse en el Salón de París de 1877. Aquí obtuvo la segunda medalla con su cuadro "La muerte de San Francisco". En 1883 se casa con la pintora italiana Carolina Rossi, mujer que conoció en Venecia en el año 1880.

Inicio de la carrera diplomática

Alberto Orrego Luco comienza paralelamente a su trabajo artístico la carrera diplomática en diferentes países europeos. Esto le permite dedicarse más tiempo a la pintura y, a la vez, establecer un contacto político que le dejó visitar Chile de manera frecuente. En 1888 es elegido como cónsul en Venecia, lugar donde se desarrolla su principal periodo artístico. Vivió en esta ciudad por casi diez años donde gustó de crear pinturas relacionadas con edificios y monumentos renacentistas.

Primer periodo artístico

Su estilo no puso énfasis en ninguna de las tendencias que en ese momento imperaron en la época, pero, independiente de eso, mejoró las características de su pintura usando parte de estas nuevas técnicas e ideas. Tal es el caso del deseo de pintar al aire, acto desarrollado básicamente por los impresionistas y que el pintor ocupó frecuentemente. Sus capacidades para el bosquejo humano se demuestran es sus autorretratos y retratos de su esposa, más se dedica preferentemente al tema paisajista donde prima fundamentalmente la línea horizontal.

Orrego Luco, tenía además el gusto por pintar lugares urbanos, contrario a muchos de sus compañeros artistas que prefirieron entornos agrestes de gusto romántico. El pintor no se esforzaba por intentar mostrar la agitación y movimiento de los edificios que pintaba, más bien estos adquieren un aire calmado y solitario que va en contraste al bullicio y la agitación que estos generalmente producían. Detalles de este particular estilo de pintura se pueden observar en los cuadros Santa María de la Salute (1882) o Atardecer en el río Sena (1889). La calma y la mesura, tanto en los colores como la del conjunto en general, predomina ampliamente en estas pinturas.

En el cuadro Nocturno veneciano se puede ver como Orrego Luco crea un cuadro utilizando gamas cromática basadas en tonos grises y azules. Este tipo de paisajes eran de común realización en la antigua época veneciana y eran característicos de la Italia renacentista. La herencia de los maestro italianos no se pierde completamente, si bien el estilo que Orrego Luco ocupa en el lienzo tiende más al impresionismo, el pintor se esfuerza por mantener intacto la esencia de Venecia mediante el uso lugares emblema y retratos de la vida cotidiana. Puede destacarse del cuadro la perspectiva que logra el pintor usando los edificios venecianos.

Contacto con Chile, segundo periodo artístico

Volvió durante un breve periodo a Chile en 1890 para después regresar a Europa como cónsul de Sevilla en 1892. En este periodo español, el pintor altera su paleta de colores la cual se vuelve más brillante y difusa. Sus obras comienzan a marcar el movimiento gracias a pinceladas alborotadas agregando por primera vez flores y frutas dentro sus cuadros. Durante el tiempo que vivió en España se admiró de la pintura de Diego Velázquez en especial del lienzo Las hilanderas.

Aunque Orrego Luco no participaba en los certámenes artísticos por considerarlos no objetivos y con intereses creados, por intermedio de su madre, algunas de sus pinturas llegaron a participar en Chile. Estos cuadros ganaron importantes premios en Santiago, donde las pinturas ganadoras, El Gran Canal y Una puesta de sol en el Adriático, fueron ambas compradas por el Museo de Bellas Artes y las conservan hasta el día de hoy.

Al poco tiempo después el artista volvió a Chile con sus hijos y paso a instalarse durante un tiempo cerca de Constitución, en el sector conocido como la Isla del Maule. Se trasladaría luego a Santiago, donde conoció al empresario Manuel Ossa, quien lo contrató para pintar los avances de una estación ferroviaria que por esos años era de gran importancia para Chile. Durante este periodo el pintor se acerca nuevamente a la realidad chilena del .

Laguna del parque Cousiño es uno de sus cuadros más destacados realizados en Chile. La imagen retrata una dama de la época junto a un niño frente a la Laguna Cousiño, el actual parque O'Higgins, donde destaca del cuadro la perfección estética en el manejo de los ropajes del dueto. En el lienzo, de características francesas, se observa el espectro generado en la laguna por los árboles contiguos y el dominio de colores claros en el fondo de la imagen donde además, se pueden asimilar ramas de distintos tamaños y texturas que simultáneamente se reflejan en la laguna. La tónica de esta pintura esta en relación con la nueva tendencia francesa conocida como pleinairismo donde los pintores buscaban retratar paisajes al aire libre en vez de en sus estudios cerrados, tendencia que Luco adhirió en su estadía en Europa.

Hablaron en sus tiempos importantes personajes chilenos sobre el pintor. Decía el escritor Pedro Balmaceda Toro, que:

Ricardo Richon-Brunet comenta de sus cuadros que:

En tanto el diplomático chileno, Carlos Morla Lynch, expresó sobre el artista:

En el año 1897 el gobierno de Chile le ofrece ser cónsul general de Italia y Suiza con sede en la ciudad de Génova. Luco había aceptado Italia como su segunda patria y accede alegre la propuesta, sin embargo los múltiples acuerdos diplomáticos que en ese entonces se gestaban entre los dos países producto del salitre, acortaron su tiempo libre para pintar, afectando negativamente su estado emocional.

Tercer periodo artístico y regreso a Italia

Su estadía en Italia no fue tan productiva como la última vez, pero dentro de los avances que registro se puede destacar que en su pintura apareció por primera vez la nieve. Años más tarde, en 1916, fue reubicado en la ciudad de Roma. En estos tiempos se comenzaron a sentir los estragos de la primera Gran Guerra y aunque el pintor desistió al principio de abandonar Italia, la enfermedad contraída por su mujer lo obligó a desistir de decisión escogiendo volver a Chile para cuidarla mejor y lejos del conflicto. Aunque importantes médicos colaboraron en su recuperación, su mujer fallece al poco tiempo de regresar a Chile.

Según los historiadores de arte, la muerte de su esposa, sumada a la prematura muerte de una de sus hijas, detona en el pintor con profundo dolor. La situación lo sumió en una profunda depresión que lo mantuvo alejado de todo contacto y lo convirtió en una persona cada vez más huraña. Sus obras dejaron de tener la pulcritud de antaño y comenzaron a reflejar un evidente abandono, esto se manifiesta en figuras transfiguradas y depresivas.

El 2 de junio de 1931 a la edad de 77 años Alberto Orrego Luco muere en su hogar en calma y en paz, para luego ser enterrado en la tumba familiar junto a su madre y su esposa.

Artísticamente sus contemporáneos calificaron a Orrego Luco como un "artista mesurado, reflexivo, con una vasta cultura plástica cuya principal inclinación fueron las marinas y paisajes". Los premios que logra obtener en Europa y los reconocimientos a su pintura le permitieron seguir su vocación artística, donde el pintor acostumbraba dibujar mucho antes de comenzar a pintar y se esmeraba elaborando el color, elemento que se hace notar en los tenues cambios de luz que existen entre un objeto y otro dentro de sus cuadros. Tenía Orrego Luco una intención academicista marcada por la escuela italiana, a pesar de eso llegó a exhibir junto a pintores impresionistas.

Legado

Dentro de lo más destacable de su trabajo está el cromatismo, donde su obra posee gran abundancia de colores claros y serenos, además del detallismo en pequeños objetos de carácter decorativo y la elegancia de los retratados. Se destacaron entre sus trabajos sus paisajes de Andalucía, Venecia y Chile. Su trayectoria como artista tiene una profunda influencia en el paisajismo chileno a pesar de que la mayor parte de su vida la desarrollo en Europa. Uno de sus más destacables habilidades era su capacidad para entrar en diferentes estilos, Luco incursionó a lo largo de su vida en el romanticismo, el realismo, el naturalismo y el impresionismo, aunque la mayor parte su obra se ve marcada por la escuela veneciana. Como diplomático, fue cónsul General en Venecia, Génova, Roma y Sevilla. Participó y recibió premios en la "Exposición del Mercado Central" y desarrolló un papel importante como educador para distintos artistas chilenos.

El historiador de arte chileno Ricardo Bindis asegura de Luco que:

Aunque una gran parte de su vida en la desarrollo en Europa, su participación en salones chilenos se mantiene constante por los cuadros que enviaba periódicamente a los salones oficiales chilenos. Sus obras se exhiben en los museos más importantes de Chile siendo el Museo Nacional de Bellas Artes el poseedor de la mayor cantidad de obras del pintor. El banco de Chile, la Casa del arte en Concepción y el Museo Municipal de Viña del Mar, también almacenan algunas de sus lienzos.

Distinciones y premios

 1869 Mención Honrosa en Pintura, Exposición Nacional de Artes e Industrias, Santiago, Chile.
 1872: Mención Honrosa en Pintura, Exposición Nacional de Artes e Industrias, Santiago, Chile.
 1879: Segunda Medalla en Salón de París, Francia.
 1891: Medalla de Primera Clase en Pintura en Salón Oficial, Santiago, Chile.
 1891: Premio Paisaje en el Certamen Edwards, Salón Oficial, Santiago, Chile.
 1891: Premio de Honor en el Certamen Edwards, Salón Oficial, Santiago, Chile.
 1901: Medalla de Tercera Clase en la Exposición Internacional de Buffalo, Estados Unidos.

Galería

Bibliografía

Véase también
 Pedro Lira
 Luis Orrego Luco
 Museo Nacional de Bellas Artes (Chile)

Referencias

Enlaces externos

 https://web.archive.org/web/20160304000942/http://www.portaldearte.cl/autores/orrego1.htm
 https://web.archive.org/web/20130112010327/http://www.portaldearte.cl/calendario/fasciculo/1982/1.htm
 http://www.geni.com/people/Alberto-Orrego-Luco/6000000011603580899

Nacidos en Valparaíso
Pintores de Chile del siglo XIX
Pintores de Chile del siglo XX
Paisajistas de Chile
Alumnado de la Escuela de Bellas Artes de Chile
Familia Orrego

Alberto Orrego


Nabu, Asur ve Babil hikmet-irfan ve yazı tanrısı. Babilliler tarafından, Marduk'un oğlu ve Ea'nın torunu olarak tapılırdı. Nabu'nun eşi Taşmetum'du.

Aslen, Nabu Amoritler tarafından Mezopotamya'ya getirilmiş bir batı Semitik putuydu.

Nabu'ya Anbay veya Nebo (Tanrılar elçisi) ismiyle Güney Arapları da tapınmışlardır.

Nabu'nun kökeni ve gelişimi

Nabu, Amoritler tarafından Mezopotamya'ya getirilmiş bir batı Semitik tanrıdır. Amoritler, MÖ 2. binyılda Mezopotamya'yı işgal eden ve Babil İmparatorluğu'nu kuran bir halktı. Nabu, Amoritlerin ana tanrılarından biriydi ve yazı ve bilgelik tanrısı olarak tapınılıyordu.

Nabu, Babil İmparatorluğu'nun yükselişi ile birlikte giderek daha önemli bir hale geldi. Babilli krallar, Nabu'yu koruyucu tanrıları olarak görüyorlardı ve Nabu'ya adanmış tapınaklar ve festivaller inşa ettiler. Nabu, Mezopotamya'nın en önemli tanrılarından biri haline geldi ve Asur İmparatorluğu'nun da önemli bir tanrısı oldu.

Nabu'nun rolleri ve görevleri

Nabu, Mezopotamya'da yazı ve bilgeliğin tanrısıydı. Yazının ve bilgeliğin koruyucusuydu ve insanlara bilgi ve anlayış vereceğine inanılıyordu. Nabu, ayrıca kaderin yazdığı tabletleri tutan tanrı olarak da kabul edilirdi.

Nabu'nun diğer rolleri arasında şunlar yer alır:

Babil'in koruyucu tanrısı
Hukukun ve adaletin tanrısı
Ticaretin ve hazinenin tanrısı
Eğitimin ve öğretimin tanrısı
Nabu'nun sembolleri

Nabu'nun sembolleri arasında bir tablet, bir kalem ve bir asa bulunur. Tablet, Nabu'nun yazı ve bilgeliğin tanrısı olduğunu temsil eder. Kalem, Nabu'nun insanların düşünce ve fikirlerini şekillendirdiğini temsil eder. Asa, Nabu'nun gücünü ve otoritesini temsil eder.

Nabu'nun kült merkezi

Nabu'nun kült merkezi Borsippa kentiydi. Borsippa, Babil'in yaklaşık 10 kilometre güneybatısında yer alan bir kentti. Borsippa'da Nabu'ya adanmış büyük bir tapınak kompleksi vardı. Bu tapınak kompleksi, Mezopotamya'daki en önemli dini merkezlerden biriydi.

Nabu'nun başka yerlerdeki önemi

Nabu, Mezopotamya dışında da tapınılan bir tanrıydı. Yunanlılar, Nabu'yu Apollon ile özdeşleştirmişlerdir. Nabu, ayrıca Orta ve Kuzey Suriye'de de tapınılan bir tanrıydı.

Nabu'nun kültürel önemi

Nabu, Mezopotamya'da önemli bir kültürel figür olarak kabul edilir. Nabu'ya adanmış tapınaklar ve festivaller, Mezopotamya'nın kültürel ve dini yaşamının önemli bir parçasıydı. Nabu, Mezopotamya'da yazı ve bilgeliğin gelişiminde önemli bir rol oynamıştır.

Kaynakça;

"Nabu". The Gods of Mesopotamia. The British Museum. Web. 15 Temmuz 2023.
"Nabu". Ancient Mesopotamian Gods and Goddesses. The Oriental Institute. University of Chicago. Web. 15 Temmuz 2023.

Kaynakça

Mezopotamya mitolojisi
Su tanrıları
Hikmet tanrıları
Sanat tanrıları
Bilgi tanrıları
Mezopotamya tanrıları
Yazı sistemi mucitleri
Merkür ilahları
Kâtipler

Nabu


Em 5 de março de 2022, durante uma partida de futebol da Liga MX entre o Querétaro FC e Atlas FC, um tumulto eclodiu entre os torcedores que assistiram à partida no Estádio Corregidora, no México. Vídeos postados nas redes sociais mostraram grupos de homens espancando, chutando, chicoteando, arrastando e despindo as vítimas.

De acordo com a declaração inicial da agência de proteção civil do estado de Querétaro, pelo menos 22 homens ficaram feridos. Este número foi atualizado para 26 na manhã seguinte. Reivindicações de morte entre torcedores atacados durante o motim são contestadas. Embora nenhuma morte tenha sido oficialmente confirmada, algumas mortes foram relatadas por fãs do Atlas. David Medrano Félix, jornalista da TV Azteca, anunciou originalmente que houve 17 mortes, mas depois retirou sua reportagem.

Antecedentes
Os conflitos entre Querétaro FC e Atlas FC datam de 2007, quando Atlas relegou Querétaro da liga Primera División de México em casa, no Estadio Jalisco, durante o torneio Clausura 2007. Durante esse jogo, havia mais torcedores do Querétaro do que torcedores do Atlas. Três anos depois, quando o Querétaro estava de volta à liga Primera División, e durante a temporada 2009-10 da Primera División mexicana, os torcedores do Atlas superaram os torcedores do Querétaro em casa, no Estadio Corregidora, e os confrontos foram relatados nas arquibancadas. Desde então, os conflitos entre os grupos de torcedores de ambas as equipes e as partidas entre as equipes têm sido vistas como potencialmente problemáticas.

Revoltas
Querétaro estava jogando uma partida contra o campeão da Liga MX Apertura 2021, Atlas, com início às 17:00 CST (UTC−6). Julio Furch marcou um gol para Atlas aos 28 minutos, que permaneceu para o restante da partida. O confronto entre os torcedores de ambos os clubes começou aos 57 minutos, quando o jogo parou aos 63 minutos, quando os torcedores correram para o campo para evitar a briga dos torcedores. Aos 102 minutos, os árbitros declararam a partida suspensa.

O conflito
Em 5 de março de 2022, o Querétaro FC, da Liga MX, recebeu o Atlas FC em La Corregidora para a 9ª rodada do torneio Clausura 2022. Aos 63 minutos, brigas entre torcedores de ambas as equipes eclodiram nas arquibancadas do estádio. A partida foi interrompida imediatamente e os jogadores das equipes retornaram aos seus respectivos vestiários. Os escassos elementos de segurança do estádio não conseguiram controlar a situação e abriram as saídas do estádio para permitir que os espectadores escapassem da violência, que se alastrara ao relvado.

Devido aos acontecimentos em desenvolvimento no estádio, a partida foi suspensa pelo árbitro principal, com o placar em Querétaro 0 - 1 Atlas. O presidente da Liga MX, Mikel Arriola, afirmou que "os responsáveis pela falta de segurança no estádio serão punidos de forma exemplar". A liga anunciou que o restante do segundo tempo da partida seria disputado em uma data futura.

Pós-ocorrência

Reações
Tanto o Atlas como a Querétaro emitiram declarações nas redes sociais condenando os motins e apelando às autoridades para que responsabilizem os instigadores.

O incidente foi noticiado pelos meios de comunicação social no México. O governador do estado de Querétaro, Mauricio Kuri González, condenou a violência e deu instruções para "aplicar a lei com todas as suas consequências." O presidente da Liga MX, Mikel Arriola, declarou que a violência era "inaceitável" e que os responsáveis pelos tumultos seriam "punidos exemplarmente". Arriola deslocou-se então a Querétaro no dia seguinte para visitar os torcedores feridos.

Em 7 de março de 2022, o governador ainda não tinha conseguido prender ninguém, apesar de ter provas fotográficas dos responsáveis. Também não conseguiu apresentar provas de que não tinha havido mortes. No dia seguinte ao motim, a CONCACAF e a FIFA fizeram declarações condenando os atos de violência e apelando às autoridades para que as responsabilizem e para que a CONCACAF preste todo o apoio possível à Federação Mexicana de Futebol e à Liga MX.

Em 7 de março de 2022, o Presidente do México, Andrés Manuel López Obrador, anunciou durante uma conferência que não responsabilizaria o governador do estado pelo motim, embora não tenha tolerado os tumultos. O treinador do Querétaro F.C., Hernán Cristante, afirmou que os seus jogadores também receberam ameaças de morte na sequência dos tumultos.

Em 8 de março de 2022, o C.D. Guadalajara anunciou, através do seu sítio Web e das redes sociais, que o clube iria proibir a presença de barras tanto do Guadalajara como do América no seu próximo clássico de 12 de março.

Em 9 de março de 2022, Arriola declarou que os tumultos poderiam ter afetado o papel do México como co-anfitrião da Copa do Mundo de 2026, afirmando que esse papel teria sido posto em causa se não tivesse havido uma resposta à violência.

Consequências
Em resposta ao acontecimento, a Liga MX anunciou que todos os jogos realizados no domingo, dia seguinte, seriam adiados e remarcados a pedido do sindicato dos jogadores, Asociación Mexicana de Futbolistas. O comité disciplinar da liga, bem como o da Federação Mexicana de Futebol, iniciaram uma investigação sobre os tumultos. A Liga MX Femenil, a sua congénere feminina, também anunciou que os jogos realizados a 6 de março seriam adiados e remarcados.

A liga confirmou que o jogo entre o Querétaro e o Atlas seria remarcado para uma data posterior, onde se jogaria o tempo restante do jogo, conforme exigido pelos regulamentos de competição da liga. Além disso, a Liga de Expansión MX, a liga de segundo nível do sistema da liga mexicana de futebol, também anunciou que todos os jogos agendados entre 8 e 13 de março de 2022 seriam disputados à porta fechada. Pelo menos cinco funcionários, que incluíam funcionários da polícia e da defesa civil, bem como três pessoas envolvidas no planeamento e preparação, foram suspensos após o tumultuo.

Em 8 de março de 2022, a Liga MX proibiu os torcedores de assistirem aos jogos do Querétaro em casa durante um ano, exigindo que todos os jogos em casa fossem disputados com portões fechados, proibiu as barras do Querétaro durante três anos e proibiu também os proprietários do clube, Manuel Velarde, Gabriel Solares, Alfonso Solloa, Javier Solloa e Greg Taylor, de realizarem atividades relacionadas com a liga durante cinco anos. Também exigiu que o clube fosse transferido para um novo proprietário, onde será transferido para seus proprietários originais, o Grupo Caliente, que também possui o Club Tijuana e deve vender o Querétaro até o final do ano. Se o Grupo Caliente não conseguir vender o clube, a liga assumirá a propriedade do clube. Além disso, a liga decidiu que o jogo foi vencido pelo Atlas, com o placar de 0 a 3, depois de o Atlas ter marcado 0 a 1 antes de o jogo ser abandonado. Também multou os atuais proprietários em MX$1,5 milhões (US$70.450), ordenou que as equipes juvenis e femininas do clube jogassem com portões fechados e proibiu os bares afiliados ao Atlas de assistirem aos jogos em casa durante um período máximo de seis meses.

A liga anunciou também que serão implementadas novas medidas de segurança e proteção para as equipes na temporada 2022-23, incluindo o reconhecimento facial e a identificação dos torcedores, que devem registar e identificar os membros dos grupos de torcidas de uma equipe, enquanto os menores passarão a ser proibidos de estar nas seções dos grupos de torcedores. A lei também proibiu a segurança privada nos estádios e exige que a polícia estadual, local e municipal comprove a segurança em todos os jogos. A Liga MX também não desfiliará o Querétaro da liga para evitar qualquer interferência com o resto da temporada do Clausura de 202.

Em 8 de março, foram detidos 14 suspeitos, todos do sexo masculino, relacionados com os atos de violência. Dois deles foram libertados pouco depois por falta de provas.

Ver também
 Violência no futebol

México
Violência no futebol
Atlas Fútbol Club
Querétaro Fútbol Club
2022 no futebol
Querétaro (cidade)
Desastres em estádios

Tragédia no Estádio da Corregidora


La justice à Wallis-et-Futuna, collectivité d'outre-mer française, relève de deux systèmes : la justice coutumière et la justice française. Jusqu'aux années 1990, 98 % des Wallisiens ont uniquement recours à la justice coutumière. Elle est réservée au délits et aux conflits fonciers, car les crimes, plus rares, sont jugés par le Tribunal de première instance de Nouméa ou la Cour d'appel de Nouméa. Un procureur de la république est présent à Wallis pour traiter les affaires relevant du droit commun, il exerce dans le Tribunal de première instance de Mata-Utu. Beaucoup de Wallisiens et de Futuniens considèrent la justice pénale française comme réservée aux papalagi (Européens, métropolitains). Les Wallisiens et Futuniens de Nouvelle-Calédonie ont également recours à cette justice coutumière pour régler des litiges au sein de la communauté. Ces deux univers juridiques sont très différents, tant dans leur conception, le système culturel qui les sous-tend, que dans leurs objectifs et leurs pratiques. Après s'être longtemps ignorés, ils entrent de plus en plus en confrontation depuis les années 1990, ce qui a occasionné plusieurs crises politiques. C'est d'ailleurs à cette même période que le territoire s'équipe en manière carcérale avec la création de la Maison d'arrêt de Mata-Utu qui sert pour les crimes et délits commis par des Wallisiens et des Futuniens.

Histoire

La justice coutumière a été codifiée par le missionnaire Pierre Bataillon, qui fait rédiger en 1870 le Code de Wallis (). Ce code liste un ensemble de préceptes moraux et d'actes interdits par la morale catholique et les sanctions associées. Le mariage est réglementé, et il est également interdit de vendre des terres à des étrangers. Il est aussi notifié que les chefs de district d'Uvea auront un rôle de président de tribunal coutumier. En 1933, sous le protectorat de Wallis-et-Futuna, un décret de l'administration française instaure une justice de paix à laquelle les Wallisiens et les Futuniens peuvent être soumis dans des affaires impliquant des citoyens français. Leur statut d'« indigènes » les laisse cependant en majorité sous l'autorité des rois et chefs coutumiers. Le statut de 1961 du territoire octroie la nationalité française aux habitants, mais reconnaît l'existence de deux systèmes judiciaires et la population reste sous un statut de droit particulier : . La loi de 1961 introduit un changement majeur : désormais, les affaires relevant du pénal sont soumises au droit français. Le droit coutumier se trouve donc limité, mais il conserve la gestion des affaires foncières.

L'anthropologue Sophie Chave-Dartoen note que les législateurs du statut de 1961 l'envisageaient comme une première étape avant une homogénéisation juridique . Cependant, cela n'a pas eu lieu et les deux systèmes coexistent, montrant pour cette anthropologue que .

En 1978, un arrêté du Haut‑commissaire de la République tente d'organiser la justice coutumière en créant une juridiction de droit local, mais cette institution n'a eu aucune existence concrète.

Statuts

Les habitants nés à Wallis-et-Futuna relèvent d'un statut propre, appelé statut personnel en droit français. Il n'y a pas de registre d'état civil, mais les registres de baptême tenus par l'Église catholique font foi. Il n'y a pas non plus de communes, mais des villages dirigés par des chefs de village. Les Wallisiens et Futuniens de Nouvelle-Calédonie et ceux de la diaspora installées en métropole ou ailleurs et qui ne sont pas nés à Wallis-et-Futuna ne relèvent pas de ce statut coutumier, mais du droit commun. Il est possible aux personnes nées à Wallis-et-Futuna de demander le statut de droit commun français, ce que très peu font (par exemple, des enfants issus d'un couple mixte wallisien-métropolitain).

Cette dualité de statut (coutumier / droit commun) existe également en Nouvelle-Calédonie.

Organisation de la justice coutumière
La justice coutumière s'exerce à plusieurs niveaux : le village, le district (à Wallis), et enfin le royaume. Le roi est l'autorité judiciaire suprême et sa présence est requise pour les affaires les plus graves comme les meurtres. Lorsqu'un procès coutumier doit avoir lieu, un tribunal est organisé dans le  (la maison du conseil).  . Il est notamment requis d'apporter aux chefs une racine de kava. Les parties de l'accusé ainsi que celui de la victime s'expriment le long du procès. Un homme est désigné par les chefs coutumiers, à Wallis le , pour diriger les débats. Il donne son avis sur le conflit, mais les juges sont les chefs coutumiers, qui prennent la décision finale.

Les sanctions habituelles consistent à payer des amendes aux chefs, cela peut être payé avec de l'argent, des vivres, ou des travaux d'intérêt collectif. Cependant, le but de la justice coutumière n'est pas tellement de punir les coupables ou d'apporter une réparation : elle cherche avant tout à rétablir l'harmonie et restaurer la paix sociale. La procédure de demande de pardon () est l'aboutissement le plus courant d'une procédure judiciaire coutumière : . Ce pardon coutumier est obligatoire en cas de meurtre.

La religion catholique est imbriquée avec la coutume, ce qui explique notamment que dans la conception wallisienne, la justice divine est l'étape ultime, au dessus de la justice rendue par les rois coutumiers.

Contradictions de la justice coutumière et crises
Dans la justice coutumière, il n'y a aucune séparation des pouvoirs, puisque les chefs coutumiers exercent à la fois le pouvoir exécutif et le pouvoir judiciaire et que la justice est uniquement orale, ne s'appuyant pas sur des règles écrites. Dans les années 1990, période d'intenses mutations sociales et économiques, les chefs coutumiers sont de plus en plus critiqués par la population, accusés d'abuser de leur position pour s'enrichir. Pour la première fois, des Wallisiens assignent des chefs en justice selon le système français. La justice coutumière empiète souvent sur la justice française : lors des conflits autour de la terre, en particulier, s'il y a des violences commises, l'affaire passe dans le droit commun. Cependant, les chefs coutumiers cherchent à régler l'affaire dans son ensemble, pour rétablir l'harmonie sociale, en traitant à la fois le volet foncier et pénal. .

Affaire Make Pilioko

En 1998, Make Pilioko, une femme  de haut rang, élue à l'assemblée territoriale et proche du roi Tomaski Kulimoetoke, est accusée de détournement de fonds. Les ministres du Lavelua font pression auprès de la procureure pour que l'affaire ne soit pas instruite. Jugée par le tribunal de Nouméa, Make Pilioko est condamnée à deux ans de prison dont six mois ferme. Cependant, elle refuse de se rendre au tribunal et se réfugie au palais royal. Les gendarmes wallisiens chargés de l'arrêter n'osent provoquer le roi et n'entrent pas dans le palais. Cette affaire divise l'île, les uns (comme le sénateur Robert Laufoaulu) défendant le Lavelua, les autres (comme le député Victor Brial ou le premier ministre coutumier () Mika Hoatau) estimant au contraire que la justice française doit s'appliquer et qu'il ne faut pas . À la suite de cette prise de position, le Lavelua destitue le  le .

L'affaire prend un tournant national : Make Pilioko fait une demande d'amnistie auprès du président de la République française Jacques Chirac. Ce dernier, ne souhaitant pas entrer en conflit avec le Lavelua, prononce alors une amnistie générale après sa réélection en 2002. Make Pilioko recouvre ses droits civiques et se présente à nouveau aux élections territoriales sans obtenir de siège.

À la suite de la publication d'articles dénonçant cette affaire par l'hebdomadaire local , le Lavelua ordonne en mars 2002 la fermeture du journal et les autorités coutumières confisquent le matériel informatique des journalistes.

L'anthropologue et historienne Françoise Douaire-Marsaudon souligne la nouveauté dans cette affaire : la procédure de plainte a été déposée par les collègues de Make Pilioko, appartenant à l'élite wallisienne, alors que jusqu'ici ce type de litiges serait d'abord passé par les chefs coutumiers. Cela va à l'encontre des règles communément admises par la population et démontre une véritable défiance envers la justice coutumière. À l'inverse, le choix de l'accusée de se soustraire aux autorités françaises en se réfugiant chez le roi affirme supériorité de la coutume sur la loi républicaine. Cette position est partagée par un certain nombre de Wallisiens, qui estiment que l'accusée est en réalité victime d'acharnement judiciaire, alors qu'elle venait en aide au roi âgé, . Ce soutien financier apporté par Make Pilioko serait d'autant plus légitime, selon ses partisans, que l'indemnité versée par l'État français au roi est très faible par rapport aux salaires des expatriés métropolitains. Enfin,  et il paraissait nécessaire pour la population d'avoir recours à la justice coutumière.

Crise coutumière wallisienne

Cette situation se répète en 2001, lorsqu'un des petits-fils du roi se réfugie au palais royal après avoir été accusé de viol, et en 2005 quand un autre petit-fils, accusé d'homicide à la suite d'un accident de la route, échappe aux gendarmes en allant trouver refuge au palais. Ce dernier épisode divise profondément la société wallisienne entre partisans du roi (« royalistes ») et « rénovateurs », favorables à sa démission. Cette crise coutumière wallisienne qui éclate dure de nombreuses années et ressurgit après la mort du roi Tomasi Kulimoetoke.

Analyse du conflit entre les deux systèmes
Le premier président de la cour d'appel de Nouméa, Olivier Aimot, voit dans cette évolution historique un . Cependant, pour Françoise Douaire-Marsaudon, il ne faut pas interpréter la situation comme un conflit entre tradition et modernité, ou une victoire d'un système sur l'autre. Au contraire, la population wallisienne est devenue de plus en plus au courant du fonctionnement du double système juridique, pouvant alors . Douaire-Marsaudon y voit une .

Notes et références

Bibliographie

Notes

Références

Voir aussi

 Histoire de Wallis-et-Futuna
 Politique à Wallis-et-Futuna
 Rois coutumiers de Wallis-et-Futuna
 Crise coutumière wallisienne
 Cour d'appel de Nouméa
 Régimes législatifs français

Justice en France
Politique à Wallis-et-Futuna
Histoire de Wallis-et-Futuna

Justice à Wallis-et-Futuna


Tour of Oman 2016 var den 7. udgave af cykelløbet Tour of Oman. Den første etape startede tirsdag 16. februar 2016 fra Muscat og var 145,5 km til Al Bustan. Løbet blev afsluttet seks etaper senere i Muttrah 21. februar 2016. Løbet var del af UCI Asia Tour 2016. Den samlede vinder af løbet blev Vincenzo Nibali.

Hold og ryttere

Danske ryttere
Jakob Fuglsang kørte for
Michael Mørkøv kørte for
Søren Kragh Andersen kørte for
Rasmus Guldhammer kørte for
Alexander Kamp kørte for
Michael Reihs kørte for

Etaperne

Trøjernes fordeling gennem løbet

Resultater

Eksterne henvisninger

UCI Asia Tour 2016
2016

Tour of Oman 2016


Hærchefen er den øverste militære leder for Hæren. Den nuværende hærchef er generalmajor .

Historie
Fra Enevældens indførelse i 1660 til omkring 1800, havde monarkken fuld kontrol over militæret. I krigstid kunne kommandoen delegeres til udvalgte generaler. Der blev derfor, lejlighedsvis, oprettet generalkommandoer i Norge og Hertugdømmerne. Under den Skånske Krig og Den Store Nordiske Krig der var i alt 19 overgeneraler, da kommandørerne tjente efter kongens glæde.

I begyndelsen af Englandskrigene etablerede kronprins Frederik generalkommandoer i hele Danmark. Oprindeligt havde de begrænset magt og det var planlagt at de skulle opløses efter krigen, men det blev besluttet at beholde dem. Efter kroningen af Christian 8. blev generalkommandoernes autoritet udvidet til at have reel kontrol over hæren i deres distrikter. Dette resulterede i problemer med den overordnede kommandostruktur, eftersom at feltkommandørerne og cheferne af generalkommandoerne reelt havde den samme autoritet. Dette problem kom frem under 1. Slesvigske Krig og udnævnelsen af Hans Hedemann som kommandør for felthæren (Nørrejyske Armékorps). Da Hedemann ikke havde nogen kontrol inden for generalkommandodistrikterne, var der ofte konflikter mellem ham og cheferne af disse. Den 27. marts 1849 blev Christoph von Krogh (som tidligere havde erstattet Hedemann), udnævnt til øverstbefalende for "hele den aktive Hær og over Befæstningerne og Batterierne i Jylland, paa Als og paa Fyn samt over de paa samme Steder for Hæren oprettede Magasiner og Depoter". Derudover blev det bestemt, at "den aktive Armé i alle Henseender skulde være uafhængig af Generalkommandoerne, hvilke [...] skulde assistere den, naar den enten helt eller delvist var i Generalkommandodistriktet". Dermed sikrede man at der ikke længere ville være nogen konflikt mellem overkommandoen og generalkommandoerne, der var dog stadigvæk ikke nogen samlet chef for hæren i fredstid.

Fra 1855 var der tre generalkommandoer; 1. Generalkommando ansvarlig for Sjælland og de omkringliggende øer, 2. Generalkommando for Nørrejylland, Fyn og Slesvig og 3. Generalkommando for Holstein og Lauenburg. Efter tabet af hertugdømmerne i 2. Slesvigske Krig, blev 3. Generalkommando opløst og 2. Generalkommandos areal reduceret. I Forsvarsforliget 1905, blev det besluttet at chefen for 1. Generalkommando ville fungere som overgeneral i tilfælde af krig.

Med Forsvarsforliget 1922 blev hæren underlagt store nedskæringer. Som et resultat blev 1. og 2. Generalkommando slået sammen for at skabe Generalkommandoen og derved skabte den første samlede chef i fredstid.

Med oprettelsen af Forsvarsstaben og Forsvarschefen blev Generalkommandoen erstattet af Hærkommandoen. I 1976, blev Hærkommandoen underlagt Forsvarskommandoen og skiftede navn til Hærstaben. I 1982, blev titlen som hærchef ændret til Hærens inspektør. Efter Forsvarskommissionen af 1988 blev det besluttet, at Hærstaben og stillinger som inspektør ville blive fjernet og derefter oprette Hærens Operative Kommando. Efter Forsvarsforliget 2013-2017 blev Hærens Operative Kommando opløst og reorganiseret til Hærstaben. Som en del af Forsvarsforliget 2018-2023 blev dette navn ændret til Hærkommandoen.

Liste over chefer

Overgeneral
1. Slesvigske Krig

2. Slesvigske Krig

Første verdenskrig

Chef for Generalkommandoen

Chef for Hærkommandoen

Chef for Hærstaben

Chef for Hærens Operative Kommando

Chef for Hærstaben

Chef for Hærkommandoen

Noter

Referencer
Citationer

Bibliografi

Hærchef

Hærchef (Danmark)


Zagkwitz ist ein weilerartiger Ortsteil der Stadt Schmölln im Landkreis Altenburger Land in Thüringen.

Lage
Östlich am Weiler führt die Bundesstraße 7 vorüber. Die Lage zur südlich verlaufenden Bundesautobahn 4 ist günstig.

Geschichte
Das Dörfchen wurde erstmals 1336 urkundlich erwähnt. Zagwitz gehörte zum wettinischen Amt Altenburg, welches ab dem 16. Jahrhundert aufgrund mehrerer Teilungen im Lauf seines Bestehens unter der Hoheit folgender Ernestinischer Herzogtümer stand: Herzogtum Sachsen (1554 bis 1572), Herzogtum Sachsen-Weimar (1572 bis 1603), Herzogtum Sachsen-Altenburg (1603 bis 1672), Herzogtum Sachsen-Gotha-Altenburg (1672 bis 1826). Bei der Neuordnung der Ernestinischen Herzogtümer im Jahr 1826 kam der Ort wiederum zum Herzogtum Sachsen-Altenburg.
Nach der Verwaltungsreform im Herzogtum gehörte Zagwitz bezüglich der Verwaltung zum Ostkreis (bis 1900) bzw. zum Landratsamt Ronneburg (ab 1900). Das Dorf gehörte ab 1918 zum Freistaat Sachsen-Altenburg, der 1920 im Land Thüringen aufging. 1922 kam es zum Landkreis Altenburg.

Am 1. Januar 1950 wurde der Weiler nach Untschen eingemeindet, welches samt Ortsteilen wiederum am 1. Januar 1974 nach Nöbdenitz eingemeindet wurde. Bei der zweiten Kreisreform in der DDR wurden 1952 die bestehenden Länder aufgelöst und die Landkreise neu zugeschnitten. Somit kam Zagkwitz als Ortsteil der Gemeinde Untschen bzw. Nöbdenitz mit dem Kreis Schmölln an den Bezirk Leipzig; jener gehörte seit 1990 als Landkreis Schmölln zu Thüringen und ging bei der thüringischen Kreisreform 1994 im Landkreis Altenburger Land auf.

Am 1. Januar 2019 wurde die Gemeinde Nöbdenitz nach Schmölln eingemeindet, seitdem ist Zagkwitz ein Ortsteil von Schmölln.

Weblinks

Einzelnachweise

Geographie (Schmölln)
Ort im Landkreis Altenburger Land
Ersterwähnung 1336
Ehemalige Gemeinde (Landkreis Altenburger Land)

Zagkwitz