Harvey Kurtzman (; October 3, 1924 – February 21, 1993) was an American cartoonist and editor. His best-known work includes writing and editing the parodic comic book Mad from 1952 until 1956, and writing the Little Annie Fanny strips in Playboy from 1962 until 1988. His work is noted for its satire and parody of popular culture, social critique, and attention to detail. Kurtzman's working method has been likened to that of an auteur, and he expected those who illustrated his stories to follow his layouts strictly.

Kurtzman began to work on the New Trend line of comic books at EC Comics in 1950. He wrote and edited the Two-Fisted Tales and Frontline Combat war comic books, where he also drew many of the carefully researched stories, before he created his most-remembered comic book, Mad, in 1952. Kurtzman scripted the stories and had them drawn by top EC cartoonists, most frequently Will Elder, Wally Wood, and Jack Davis; the early Mad was noted for its social critique and parodies of pop culture. The comic book switched to a magazine format in 1955, and Kurtzman left it in 1956 over a dispute with EC's owner William Gaines over financial control. Following his departure, he did a variety of cartooning work, including editing the short-lived Trump and the self-published Humbug. In 1959, he produced the first book-length work of original comics, the adult-oriented, satirical Jungle Book. He edited the low-budget Help! from 1960 to 1965, a humor magazine which featured work by future Monty Python member and film director Terry Gilliam and the earliest work of underground cartoonists such as Robert Crumb and Gilbert Shelton. He brought Help! to an end after the success of the risqué Playboy feature Little Annie Fanny began to take up his time. While Annie Fanny provided much of his income for the rest of his career, he continued to produce an eclectic body of work, including screenwriting the animated Mad Monster Party? in 1967 and directing, writing and designing several shorts for Sesame Street in 1969.

From 1973, Kurtzman taught cartooning at the School of Visual Arts in New York. His work gained greater recognition toward the end of his life, and he oversaw deluxe reprintings of much of his work. The Harvey Award was named in Kurtzman's honor in 1988. He was inducted into the Will Eisner Comic Book Hall of Fame in 1989, and his work earned five positions on The Comics Journals Top 100 Comics of the 20th Century.

Personal and professional history

Early life (1924–1942)
Harvey Kurtzman spoke little of his parents in interviews, and not much is known of their pre-American lives. David Kurtzman and Edith  Sherman grew up in Ukraine in Odesa, and were literate urbanites. They belonged to the city's large Jewish community, one that suffered generations of antisemitic oppression, and the city had fallen into economic hardship following the Russian Revolution. Shortly after World War I David emigrated to New York and Edith soon followed in what she called "a desperate journey" escaping the new Soviet Union. There the non-observant pair married in a civil ceremony. The first of their two sons, Zachary, was born April 8, 1923.

Harvey Kurtzman was born on October 3, 1924, in a tenement building on 428 East Ninety-Eighth Street in Brooklyn in New York City. David joined the Christian Science church, and when he suffered a bleeding ulcer he turned to prayer to cure it; he died from it on November 29, 1928, at age 36. The family was in such desperate financial straits that their mother placed the Kurtzman brothers in an orphanage for three months until she secured work as a milliner. Several months later, Edith remarried to Russian-Jewish immigrant Abraham Perkes, who worked in the printing industry as a brass engraver. The Kurtzman boys kept their surname, while their mother took that of Perkes. The couple had a son Daniel on February 17, 1931. In 1934, the family moved to the more upscale Bronx, where the family lived at 2166 Clinton Avenue.

Perkes was not wealthy, but managed to provide for his family during the Great Depression of the 1930s. He was a trade unionist, and the couple read the communist newspaper Daily Worker.  Perkes brought young Kurtzman to work, and encouraged him to help with design and drawing and to think of himself as a professional artist.

Though he was a shy boy his teachers recognized Kurtzman's intelligence in grade school and allowed him to skip a grade. He displayed artistic talent early and his sidewalk chalk drawings drew the attention of children and adults, who gathered around to watch him draw. He called these strips "Ikey and Mikey", inspired by Goldberg's comic strip Mike and Ike. His stepfather also had an interest in art and took the boys to museums. His mother encouraged his artistic development and enrolled him in art lessons; on Saturdays, he took the subway to Manhattan for formal art instruction. His parents had him attend the left-leaning Jewish Camp Kinderland, but he did not enjoy its dogmatic atmosphere. Though not ashamed of their Jewish heritage, neither of the Kurtzman brothers agreed to have a Bar Mitzvah.

Kurtzman fell in love with comic strips and the newly emerging comic books in the late 1930s. Unsatisfied with what he found in his parents' newspapers, he searched through garbage cans for the Sunday comics sections of his neighbors' newspapers. He admired a wide variety of strips, including Hamlin's Alley Oop, Caniff's Terry and the Pirates, Gould's Dick Tracy, Foster's Prince Valiant, Raymond's Flash Gordon, and Capp's Li'l Abner. He found Will Eisner's comic book The Spirit a "standard by which other comic books would be measured", and called Eisner "the greatest ... a virtuoso cartoonist of a kind who had never been seen before". Eisner's page layouts had considerable influence on Kurtzman's work.

At 14 Kurtzman won a cartooning contest for which he received a dollar and had his cartoon published in Tip Top Comics 36 (April 1939). Future collaborator Jack Davis had won the same contest a few issues earlier. After winning the annual John Wanamaker Art Contest, Kurtzman received a scholarship to attend high school at The High School of Music & Art. Future colleagues Will Elder, Al Feldstein, Al Jaffee, John Severin, and Charles Stern also attended the school. His ambitions were apparent even then; at a 2016 New York Comic Con panel, Jaffee recounted how a 15-year-old Kurtzman told his fellow students Jaffee and Elder "Someday I'm going to have a magazine, and I'm going to hire you guys." Kurtzman graduated at 16 in 1941 and went on to Cooper Union on a scholarship. Kurtzman left after a year to focus on making comic books.

Early career (1942–1949)

Kurtzman met Alfred Andriola in 1942, encouraged by a quote in Martin Sheridan's Classic Comics and their Creators where Andriola offered help to aspiring cartoonists. Kurtzman made an appointment, but Andriola's response to his work was discouraging—he told Kurtzman to give up on cartooning. Kurtzman called this meeting "one of the worst days of  life", though he ignored Andriola's advice and continued to peddle his portfolio.

Kurtzman continued to do odd jobs in 1942 until he got his first break in the comics industry at Louis Ferstadt's studio, which produced comics for Quality, Ace, Gilberton, and the Daily Worker. His first published work there was assisting on issue #5 (September 1942) of Gilberton's Classic Comics, which features an adaptation of Moby Dick. His first pencil job appeared in Four Favorites #8 (December 1942). He produced a large amount of undistinguished work in 1942 and 1943, which he later called "very crude, very ugly stuff", before he was drafted in 1943 for service in World War II.

Kurtzman trained for the infantry, but was never sent overseas. He was stationed in Louisiana, North Carolina, South Carolina, and Texas. He illustrated instruction manuals, posters, and flyers, and contributed cartoons to camp newspapers, and newsletters. While there, he was invited by publisher and cartoonist L. B. Cole to draw the "Black Venus" superheroine, packaged for publisher Rae Herman's Orbit Publications. In 1944, he did work for several local publications while stationed in North Carolina, and had several gag cartoons in Yank by the end of October 1945. The quantity of work allowed Kurtzman to hone his style, which became more refined and distinct.

After his discharge following the war, Kurtzman found competition fierce in the comics industry, as freelancing replaced the system of packaging shops. He applied to the newspaper PM, but his portfolio was rejected by cartoon editor Walt Kelly. After a series of short-lived assignments and partnerships, Kurtzman got together with former Music and Art alumni Will Elder and Charles Stern. They opened Charles William Harvey Studio in 1947, but had difficulty getting work. The three had little business sense. Kurtzman managed the bills. In their Broadway studio, which Kurtzman kept open until the end of 1951, they sublet space to cartoonists such as John Severin, Dave Berg, and René Goscinny.

Kurtzman had been doing crossword puzzles for publisher Martin Goodman since early in his career. A distant relative of Goodman's, Stan Lee, worked as an editor for Goodman's Timely Comics (a precursor to Marvel Comics). He offered Kurtzman work doing one-page fillers, work that paid little. Lee named the strip Hey Look!, and Kurtzman produced 150 episodes of it from 1946 until 1949.

At a Music and Art reunion in early 1946 Kurtzman met Adele Hasan, who was one of the staff members at Timely and was dating Will Elder. She fell for Kurtzman, confiding to Al Jaffee that he "was the kind of kind  like to marry". Later in the year, Timely ran a "Now You Can Be the Editor!" contest whose ballots Hasan was assigned to sort through. She was disappointed that readers did not enjoy Kurtzman's Hey Look! as much as she did. She "stuffed the ballot box" in Kurtzman's favor, which prompted an astonished Stan Lee to assign Kurtzman more work. Kurtzman was given the talking animal feature Pigtales at regular freelance rates, as well as miscellaneous other assignments. As Harvey stopped by the Timely offices more frequently, he and Adele would flirt, and eventually started dating. She left Timely for college that autumn, and corresponded frequently with Kurtzman; soon she dropped out of college and the two married that September.

In 1948 Kurtzman produced a Sunday comic strip, Silver Linings, which ran infrequently in the New York Herald Tribune between March and June. Lee had Hey Look! brought to an end in 1949 so Kurtzman could concentrate on longer features for Timely's family-oriented line. Kurtzman was assigned artwork duties for the Lee-scripted Rusty, an imitation of Chic Young's comic strip Blondie, but was disappointed with this type of work and began looking for other employment. He sold episodes of the one-pagers Egghead Doodle and Genius to Timely and Al Capp's Toby Press on a freelance basis. He also sold longer pieces to Toby, including episodes of his Western parody Pot Shot Pete, a short-lived series that hinted at the pop-culture satire Kurtzman was to become known for.

Kurtzman came across Charles Biro's Crime Does Not Pay, a comic book Kurtzman describes as reading with "the same excitement ... that  felt about the underground comic books of twenty years later". These stories presented a view of reality quite different from the escapist entertainment typical of comics of the day, and was to influence the war and social drama work Kurtzman was soon to do at EC Comics.

EC and Mad (1949–1956)

Kurtzman continued to shop his work around, and produced work for Ace/Periodical, Quality, Aviation Press, Timely, and the magazines Varsity and Parents. He did a number of children's books, four of which were collaborations with René Goscinny. He brought some samples of educational comics into the EC Comics offices—"EC" had originally stood for "Educational Comics" when it was run by Max Gaines, but his son Bill changed the company's focus and name to "Entertaining Comics" when he inherited the business. Gaines liked Kurtzman's Hey Look! samples but had no immediate use for his particular skills. Gaines directed Kurtzman to his brother, David, who gave him some low-paying work on Lucky Fights it Through, a two-fisted cowboy story with an educational health message about syphilis.

With the doors to EC open to him Kurtzman started getting regular work from the publisher in 1950. That spring, EC's "New Trend" line of horror, fantasy, and science fiction comics began, and Kurtzman contributed stories in these genres. His income doubled over the previous year's. In late 1950, he began writing and editing an adventure title, Two-Fisted Tales, which he proposed as a comic book in the vein of Roy Crane's popular comic strip, Captain Easy. The comic book differed in offering realistic stories in place of Crane's idealism, a degree of realism not yet seen in American comics. The war stories of Frontline Combat followed in mid-1951. The stories were not only about modern war, but also derived from deep in history, such as the Roman legions and Napoleonic campaigns. Kurtzman rejected the idealization of war that had swept the US since World War II. He spent hours in the New York Public Library in search of the detailed truth behind the stories he was writing, sometimes taking days or weeks to research a story. His research included interviewing and corresponding with GIs taking a ride aboard a rescue plane, and sending his assistant Jerry DeFuccio for a ride in a submarine to gather sound effects. (DeFuccio's first field report from this assignment was a 10-word telegram to Kurtzman reading "MANY BRAVE HEARTS ARE ASLEEP IN THE DEEP GLUB GLUB.") The stories gave a sympathetic look to both sides of a conflict, regardless of nationality or ethnicity. He sought to tell what he saw as the objective truth about war, deglamorizing it and showing its futility, though the stories were not explicitly anti-war.

Kurtzman was given a great deal of artistic freedom by Gaines, but was himself a strict taskmaster. He insisted that the artists who drew his stories not deviate from his layouts. The artists generally respected Kurtzman's wishes out of respect for his creative authority, but some, like Bernie Krigstein and Dan Barry, felt their own artistic autonomy impinged upon.

Those who worked for EC received payment based on output. Kurtzman's laborious working methods meant he was less prolific than fellow EC writer and editor Al Feldstein, and Kurtzman felt financially underappreciated for the amount of effort he poured into his work. He was financially burdened with a mortgage and a family. He also detested the horror content of the books Feldstein was producing, and which consistently outsold his own work. He believed these stories had the same sort of influence on children that the chauvinism of war comics which he believed he worked hard against in his own work. Remembering Kurtzman's humor work from the 1940s, Gaines proposed a humor magazine to increase Kurtzman's income, as he believed it would take far less time and effort to research. Mad debuted in August 1952, and Kurtzman scripted every story in the first twenty-three issues. The stories in Mad targeted what Kurtzman saw as fundamental untruths in the subjects parodied, inspired by the irreverent humor found in college humor magazines. They were developed in the same incremental way Kurtzman had developed for the war stories, and his layouts were followed faithfully by the artists who drew them—most frequently, Will Elder, Jack Davis and Wally Wood.

Mad did not have instant success, but found its audience by the fourth issue, which quickly sold out. The issue featured the Wood-drawn "Superduperman", a parody of Superman and Captain Marvel, including the copyright infringement lawsuit that National Periodicals (now DC Comics) had recently brought against Fawcett Comics. National, the owners of Superman's copyright, threatened to file another lawsuit over the parody. EC and National shared the same lawyer, who advised Gaines to quit publishing parodies. While Gaines was weighing this advice, Kurtzman discovered a legal precedent that backed Mads right to parody. Gaines hired the author of that precedent to write a brief substantiating EC's position, but the lawyer sided with National. Gaines consulted a third lawyer, who advised Gaines to ignore the threat and continue publishing parodies. National never filed suit. When Kurtzman parodied National's Batman character just four issues later, the spoof included six separate picket signs, posters and other notices proclaiming that "Batboy and Rubin" was a comedic imitation, e.g.: "Not a spittoon, not a cartoon, not a harpoon, but a LAMPOON!"

Parodying specific targets became a staple of Mad. Beginning April 1954, the bimonthly Mad went monthly after the cancelation of Frontline Combat, whose sales had flagged when the Korean War ended. Soon, large numbers of Mad imitators sprang up from other publishers, as well as from EC itself with the Feldstein-edited Panic. Kurtzman poured himself into Mad, putting as much effort into it as he had into his war books. This defeated the purpose of having an easy-to-produce third book, but with Frontline Combats cancelation, Kurtzman focused on Mad.

During the early 1950s, Kurtzman became one of the writers for Dan Barry's relaunched Flash Gordon daily comic strip. He scripted two sequences for the strip, with portions pencilled by Frank Frazetta. The strip soon became one of Mads targets in "Flesh Garden!", drawn by Wood, who had earlier assisted Barry on the Flash Gordon strip. In 1954, Kurtzman dreamed up a full-color, 100-page adaptation of Dickens' A Christmas Carol called Marley's Ghost, and proposed the project to Simon & Schuster and other publishers. The proposal included seven finished pages, as well as a page redone by Jack Davis in case publishers' rejections were due to Kurtzman's drawing style. The ambitious project did not find a willing publisher, as comics were still seen as too low-brow for such lavish treatment.

Since the 1940s, crime and horror comics had been drawing fire from those worried about a rise in juvenile delinquency. The Senate Subcommittee on Juvenile Delinquency brought pressure on such comic books in 1954, and EC, one of the major purveyors of such fare, found their wares being refused by their distributor. Gaines brought those titles to an end and tried to replace them with the New Direction line, but by autumn 1955 the only remaining EC title was Mad. Gaines had just allowed Kurtzman to change Mads format to a magazine in July, in order to keep him at EC after Kurtzman had received an offer of employment from Pageant magazine.

Kurtzman had long dreamed of joining the slick magazine publishing world, and had been trying to convince Gaines to publish Mad in a larger, more adult format. The August issue of Pageant featured an article "Now Comics Have Gone Mad", and Pageants publisher Alex Hillman offered Kurtzman a job. With the prospect of losing his lone editor and writer, Gaines gave in to Kurtzman's demands. The magazine-format twenty-fourth issue of Mad (July 1955) was more successful than anticipated, and had to be reprinted, an unusual occurrence in magazine publishing. The new presentation was ambitious, and included meticulously rendered advertisement parodies and text pieces by humorists such as Ernie Kovacs, Stan Freberg, and Steve Allen. It was around this time that Kurtzman introduced Mads gap-toothed mascot and his slogan, "What, me worry?", whom Feldstein later named Alfred E. Neuman.

Elsewhere, the one-time cartoonist Hugh Hefner had become a media mogul by the mid-1950s with his Playboy magazine. He had admired Kurtzman's Mad, and met Kurtzman in New York to express his appreciation. He told Kurtzman that if he were ever to leave Mad, a place would be waiting for him in the Hefner empire. With this promise to back him, Kurtzman demanded legal control of Mad from Gaines in the form of stocks. Reluctant to lose the editor of his sole remaining publication, Gaines offered a 10% share. As this would not give Kurtzman the control he wanted, Kurtzman countered with a demand for 51%. Gaines refused, and the two parted ways. Kurtzman contacted Hefner and Gaines hired Al Feldstein to edit Mad.

Trump, Humbug and Jungle Book (1957–1959)

Hefner employed Kurtzman from April 1956. The slick, full-color Trump appeared on newsstands in January 1957. Cartoonists who contributed to Trump included Mad regulars such as Elder, Wood, Davis, and Jaffee, as well as Russ Heath and newer artists such as Irving Geis, Arnold Roth, and R. O. Blechman. Writers Mel Brooks, Roger Price, Doodles Weaver, and Max Shulman also made contributions. The fifty-cent magazine was a luxurious, more risqué version of Mad, and sold well. Unfortunately, Hefner began to have financial problems, and canceled Trump after its second issue. The magazine had been a success in the market, but had already accrued $100,000 in expenses, about which Hefner quipped, "I gave Harvey Kurtzman an unlimited budget, and he exceeded it."

Hefner delivered the news in person to Kurtzman—in the hospital where his third child, Elizabeth, was being born. Adele said it was the only time she had seen her husband cry. Kurtzman later said that Trump was the closest he ever came to producing "the perfect humor magazine".

While the Trump artists were mulling over the situation in the Playboy offices, Roth approached with a bottle of scotch. By the time they left the office, the group had agreed to embark on a publishing venture of their own: Humbug. The publication was financed and run by the artists who created it, though none of the group had business experience. Only artist Jack Davis became an equal shareholder and the only salaried employee despite declining to financially back the project; his participation was considered vital to its success. The others would joke in years to come that Davis was the only one to make any money from Humbug.

With Kurtzman in the lead the reinvigorated, close-knit group set out to produce a classy publication in the vein of college humor magazines, but aimed at a general readership. Along with the pop-cultural satire that had been the staple of Mad and Trump, Humbug included more topical and political satire, mostly from writers other than Kurtzman. Hefner provided the group desirable office space at an inexpensive rate, out of guilt for canceling Trump so quickly.

Humbug ran into snags right away due to its small format, which made it difficult for consumers to find it on the newsstands. It also suffered distribution problems. For its last two issues, Humbug was printed in a standard magazine size, and the price was raised from fifteen cents to twenty-five. At the last minute, the page count of the eleventh issue was increased from thirty-two pages to forty-eight, reprinting material from Trump. This last issue included a self-deprecating message from Kurtzman which summarized the artists' careers and announced Humbugs farewell. The group followed divergent career paths following the breakup.

After the demise of Humbug, Kurtzman spent a few years as a freelance contributor to magazines such as Playboy, Esquire, Madison Avenue, The Saturday Evening Post, TV Guide, and Pageant. With Elliot Caplin he produced a poorly received comic strip, Kermit the Hermit, among other miscellaneous work. In 1958 Kurtzman proposed a strip to TV Guide parodying adult Western TV shows; its rejection particularly disappointed him.

In 1959, Ballantine Books was looking for something to replace its successful line of Mad mass-market paperback reprints after Gaines had taken it to another publisher. Ballantine had earlier published The Humbug Digest in the same format, though it fared poorly in the market. Kurtzman proposed a book of original material designed for the format, which Ian Ballantine, with reservations, accepted on faith out of respect for Kurtzman. Harvey Kurtzman's Jungle Book was the first mass-market paperback of original comics content in the United States, and to Kurtzman biographer Denis Kitchen was a precursor to the graphic novel. Whereas his Mad stories had been aimed at an adolescent audience, Kurtzman made Jungle Book for adults, which was unusual in American comics. Jungle Book sold poorly, but remained a favorite among its small number of devoted fans. If it had been a success, Kurtzman intended to continue with more books in the same vein.

Help! and Little Annie Fanny (1960–1965)
Kurtzman had "The Grasshopper and the Ant" printed in Esquire magazine in 1960. The strip was a social allegory of a hipster grasshopper and a hard-working ant with opposing worldviews, both of whom lose out in the end. It was a rarity for Kurtzman in that he created it in full color, rather in black-and-white lineart with color added afterward. Kurtzman once more proposed Marley's Ghost to a number of publishers in 1962, including The Saturday Evening Post, but again it was rejected.

In 1960, Harvey teamed up with publisher James Warren to co-publish Help!. Warren Publishing ran the business end, while co-ownership of the magazine allowed Kurtzman the control that he wanted, though its tight budget restricted that control. The magazine made frequent use of fumetti photographic comics, which sometimes starred celebrities such as Woody Allen and a pre-Monty Python John Cleese. The first issue was cover-dated August 1960. Gloria Steinem and Terry Gilliam were among those the magazine employed. By the end of its run, Help! had introduced a number of young cartoonists who were to play a major part in the  movement, including Robert Crumb, Jay Lynch, Gilbert Shelton, Spain Rodriguez, and Skip Williamson.

Help!s most famous story starred Kurtzman's character Goodman Beaver in "Goodman Goes Playboy" in the February 1962 issue. The story satirized Hefner and his lifestyle, while parodying Archie comics in a much more risqué way than the previous "Starchie" parody in Mad had. The Archie characters were drinking, partying skirt-chasers home from college. Archies publishers sued, and Warren agreed to settle out of court rather than risk an expensive lawsuit. The actual target of the strip had however been Hefner, who loved it; Kurtzman began working for Hefner again soon after.

Kurtzman approached Hefner in 1960 with the idea of a comic strip feature for Playboy that would star Goodman Beaver. Playboy ran a lot of cartoons, but a comic strip was something new to the magazine. After discussing ideas, Kurtzman's proposal was accepted under the condition that Goodman Beaver be transformed into a voluptuous female. Little Annie Fanny was Playboy first comic strip and the first multi-page comics feature in an American slick magazine. As his primary collaborator, Kurtzman had Will Elder provide the strip's labor-intensive, fully painted full-color final rendering. Little Annie Fanny began appearing in Playboy in 1962.

Kurtzman and Warren disagreed on Kurtzman's editorial decisions on Help!, and Kurtzman found himself unsatisfied with the partnership. Help!s sales were declining, and the magazine quietly came to an end with its twenty-sixth issue, cover-dated September 1965. This allowed Kurtzman and Elder to focus full-time on Little Annie Fanny. Hefner was a demanding editor and delivered critiques to Kurtzman that could reach twenty pages.

Later years (1965–1993)
Kurtzman participated in a number of film projects beginning in the late 1960s. He co-scripted the stop-motion animated film Mad Monster Party? (1967), a job he got through the recommendation of Jack Davis, who had been doing character designs for the film's production company Rankin/Bass. Kurtzman wrote, co-directed, and designed several short animated pieces for Sesame Street in 1969; he was particularly proud of the Phil Kimmelman-animated Boat, in which a left prosthetic-legged sea captain voiced by Hal Smith orders a series of increasingly larger numerals to load into a boat, eventually sinking it. In 1972, he appeared in a television advertisement for Scripto pens.

Kurtzman turned down a number of well-paying opportunities in the 1970s. In early 1972, Stan Lee offered Kurtzman a senior position at Marvel Comics, and proposed another Mad-like magazine; Kurtzman turned these opportunities down, as he felt unprepared to return to the comic book industry after being out of it for so long since leaving EC. Marvel launched Crazy Magazine without him in 1973. Michael C. Gross asked him to contribute to National Lampoon around this time. The magazine's staff revered Kurtzman and had published a parody of Mad in 1971 that included "Citizen Gaines", a piece critical of Gaines' handling of Mad and treatment of Kurtzman. Kurtzman turned the offer down, as he felt out of step with the younger cartoonists' approach. He turned down an offer from René Goscinny in 1973 to act as the US agent for the French comics magazine Pilote.

In 1973, New York's School of Visual Arts asked Kurtzman and Will Eisner to take teaching positions there in cartooning. Kurtzman had no earlier teaching experience and found the prospect daunting, but Eisner convinced him to take the job. Eisner's class was called "Sequential Art" and Kurtzman's was "Satirical Cartooning", which focused on single-panel gag cartooning. Kurtzman had a soft touch with his students, and was well respected and well liked. He frequently had professional cartoonists appear as guest lecturers. When the school refused to publish his students' work, Kurtzman had them published in an ad-supported, student-produced anthology that came to be called Kar-Tünz. Kar-Tünz ran for fifteen years.

Beginning in the late 1970s, Kurtzman's stature began to grow. His protégés such as Crumb, Spiegelman and Gilliam sang his praises, his reputation grew with the spread of comics fandom, and collector Glenn Bray published The Illustrated Harvey Kurtzman Index in 1976. He also found he had a following in Europe; his work appeared there for the first time in the French magazine Charlie Mensuel in October 1970, and in 1973 the European Academy of Comic Book Art awarded him its Lifetime Achievement Award for 1972. A series of reprint projects and one-shot efforts appeared in the 1970s and 1980s, including Kurtzman Komix, published in 1976 by Kitchen Sink Press. In his later years, Kurtzman continued to work on anthologies and various other projects, including editing two volumes of a YA original anthology series, Nuts, packaged by Byron Preiss and published by Bantam Books in 1985. He oversaw reprints of his work in deluxe editions from Russ Cochran, who did The Complete EC Library, and Kitchen Sink Press, who did collections of Goodman Beaver (1984), Hey Look! (1992), and others, and reprinted Harvey Kurtzman's Jungle Book (1988). Lengthy interviews were conducted with The Comics Journal and Squa Tront. The comics industry's Harvey Award was named in his honor in 1988. Kurtzman toured and gave speeches frequently to fans in the 1980s.

Kurtzman had reconciled with Gaines by the mid-1980s, and in collaboration with Elder, illustrated 19 pieces and covers for Mad from 1986 to 1989. Kurtzman brought Little Annie Fanny to an end in 1988, amid failing health, a poor relationship with Playboy cartoon editor Michelle Urry, and resentment over the discovery that he did not own the rights to the strip. Harvey Kurtzman's Strange Adventures assembled a wide cast of cartoonists in 1990 to illustrate stories from Kurtzman's layouts, though the book was not a success, nor was a revival of Two-Fisted Tales. He had long planned to write a comics history, but other work had taken priority. Towards the end of his life, he agreed to collaborate with comics historian Michael Barrier to complete From Aargh! to Zap! Harvey Kurtzman's Visual History of the Comics, which was published in 1991, though it was shorter than the more complete history Kurtzman had planned.

Kurtzman, who had suffered from Parkinson's disease and colon cancer in later life, died at Mount Vernon, New York on February 21, 1993, of complications from liver cancer, nine months after Bill Gaines' death. The New Yorker commissioned a commemorative cartoon by Will Elder and ran an elegy by writer Adam Gopnik. Cartoonist Jules Feiffer remarked at the time that cartooning had lost its Orson Welles.

Personal life
Kurtzman stood  and was of slight build. He had an unassuming demeanor; humorist Roger Price likened him to "a beagle who is too polite to mention that someone is standing on his tail". Rolf Malcolm described him as someone who smiles little and speaks slowly. Al Jaffee said he "was not an easy person to get too close to".

Kurtzman and wife Adele (née Hasan) were married in September 1948. They had three daughters and one son: Meredith, born July 28, 1950; Peter, born June 29, 1954; Elizabeth, born January 21, 1957; and Cornelia "Nellie", born April 15, 1969. (Meredith in 1970 went on to become one of the contributors to It Ain't Me, Babe, the first comic book produced entirely by women.)

Kurtzman's work allowed him to be at home with his children during the day, and he gave them much of his attention. As Peter had low-functioning autism, the Kurtzmans volunteered locally for work with special needs children, and in 1986 began an annual charity auction, raising money by selling the artwork of cartoonists for the Association for Mentally Ill Children of Westchester, which Adele continued to oversee following her husband's death.

Style and working method

According to Kurtzman, "Cartooning consists of the two elements, graphics and texts  ... Obviously it is to the advantage of the total product to have good text and good art and the more closely integrated the good text and good art are, the greater the opportunity is to create the capital-A Art." The stories he created and had others illustrate balance captions and dialogue, in contrast with, for example, Al Feldstein's EC stories, in which the artists had to compensate for the text which dominated the page.

In the war stories he drew himself he employed a drawing style that distorted figures in expressive ways more akin to modern art than the stylizations of contemporary superhero or talking animal comics. R. C. Harvey described this style as "abstract and telepathic" in stories that were realistic in the telling, but in which "his figures were exaggerated and contorted, demonstrations of posture as drama rather than reality as perceived". French comics historian Jacques Dutrey described Kurtzman's style as "movement and shapes, energy and aesthetics".

Many liken Kurtzman's working method to that of an auteur. In developing stories in this way Kurtzman aimed to reach a balance between text and graphics. He developed a way of creating stories incrementally, beginning with a paragraph-long treatment of the story. After deciding on a story and an ending which had impact, he laid out thumbnail sketches in miniature, with captions and dialogue. He proceeded to revise repeatedly on tracing paper, tacking one layer on top of another, as he worked out "what characters have to say". He prepared layouts on large pieces of vellum to pass on to the artists, with supplemental photographs and drawings, and personally led the artist through the story before the finished artwork was begun. According to Jack Davis, "When you'd pick up a story, Harvey would sit down with you and he ... acted it out, all the way through ... You felt like you'd lived the story."

Typically when working on Little Annie Fanny, after researching the background story, Kurtzman prepared a penciled layout on Bristol board a color guide for Elder on an  vellum overlay. He would then create a larger version of the page on vellum with a  image area, which he would create using colored markers, working his way up from lighter to darker colors as he tightened the composition. He then traced this onto another sheet of vellum, or more if still unsatisfied with the results. He would pass this on to Elder to render the final image following Kurtman's layouts exactly after having the image transferred to illustration board.

Kurtzman's layouts owed considerable debt to Will Eisner's work on The Spirit. He derived a chiaroscuro technique from Milt Caniff in his 1940s studio work.

Legacy
Along with cartoonists such as Will Eisner, Jack Kirby, and Carl Barks, Kurtzman is regularly cited as one of the defining creators of the Golden Age of American comic books. In 2003, The New York Times described Kurtzman as "one of the most important figures in postwar America" over Mads influence on popular culture. This was an upgrade from the Times obituary for Kurtzman in 1993, which said he had "helped found Mad Magazine." This prompted an angry response to the newspaper from Art Spiegelman, who complained that awarding Kurtzman partial credit for starting Mad was "like saying Michelangelo helped paint the Sistine Chapel just because some Pope owned the ceiling."

Kurtzman acted as mentor to a large number of cartoonists, such as Terry Gilliam, Robert Crumb, and Gilbert Shelton. Students of his at the School of Visual Arts included John Holmstrom, Batton Lash, and Drew Friedman. Kurtzman, and particularly his work on Mad, is the most frequently cited influence on the  movement—comics historian Mark Estren called Mad "the granddaddy of the underground ". In 1958, Robert Crumb and his older brother Charles self-published three issues of the Humbug-inspired fanzine Foo in 1958. The venture was not a financial success, and Crumb turned to producing comics to satisfy himself. In 1964 Kurtzman published his work in Help!.

Kurtzman's style of humor influenced countercultural comedians from the 1960s on, including the sketch comedy series Saturday Night Live, according to member Harry Shearer. Help! contributor Terry Gilliam, who went on to be a member of Monty Python, called Kurtzman "n many ways ... one of the godparents of Monty Python". In his 1985 film Brazil, Terry Gilliam gave Ian Holm's character the name "Kurtzmann". Underground cartoonist Robert Crumb asserted that one of Kurtzman's cover images for Humbug "changed [his] life" and that another Mad cover image "changed the way [he] saw the world forever!" On Kurtzman's influence Time editor Richard Corliss stated, "Almost all American satire today follows a formula that Harvey Kurtzman thought up."

While some, such as R. C. Harvey considered it a masterpiece, others such as Michael Dooley felt Little Annie Fanny was "known more for its lavish production values than its humor", or that it compromised Kurtzman's genius. A minority of underground cartoonists considered him a sell out for compromising his ideals by working for Playboy for twenty-six years. Many fans consider Help! to be Kurtzman's "last hurrah".

The Kirby Awards came to an end in 1987, and the Harvey Awards and Eisner Awards took its place. Named in Kurtzman's honor, the Harveys are administered by Fantagraphics Books, and nominees and winners are selected by comics professionals. Kurtzman was one of seven cartoonists featured in the traveling "Masters of American Comics" exhibition in 2005–2006.

To Comics Journal editor and Fantagraphics publisher Gary Groth, Kurtzman's style "achieves some sort of Platonic ideal of cartooning. Harvey was a master of composition, tone and visual rhythm, both within the panel and among the panels comprising the page. He was also able to convey fragments of genuine humanity through an impressionistic technique that was fluid and supple." Comics critic and historian R. C. Harvey conjectured that Kurtzman "may be the most influential American cartoonist since Walt Disney", and comics historian Don Markstein considered him "among the most influential cartoonists of the 20th century". In its list of 100 best English-language comics of the 20th century, The Comics Journal awarded Kurtzman five of the slots:

  Mad 1–, 1952–1956, Edited by Harvey Kurtzman
  The War Comics of Harvey Kurtzman, 1950–1955, Harvey Kurtzman and various
  Harvey Kurtzman's Jungle Book, 1959
  Hey Look!, 1946–1949, Harvey Kurtzman
  Goodman Beaver, 1962, Harvey Kurtzman & Will Elder

In 2012, Kurtzman's estate and Al Feldstein filed to reclaim the copyrights on their 1950s work at EC. The claim was based on changes to copyright laws made in 1976, in which copyrights sold could be reclaimed by the original independent creators at the time of copyright renewal. The basis of the Kurtzman and Feldstein claims was that they were not employees of EC, but subcontractors.

Comics collector Glenn Bray published The Illustrated Harvey Kurtzman Index in 1976, a complete guide to everything Kurtzman had published to that point. Howard Zimmerman adapted interviews with Kurtzman conducted by Zimmerman and Byron Preiss into a short autobiography in 1988 titled Harvey Kurtzman: My Life as a Cartoonist. Denis Kitchen and Paul Buhle produced a biography of Kurtzman in 2009 titled The Art of Harvey Kurtzman: The Mad Genius of Comics, with an introduction by comedian Harry Shearer. Bill Schelly spent three years to research and write another, longer one in 2015, titled Harvey Kurtzman: The Man Who Created MAD and Revolutionized Humor in America, with an introduction by Terry Gilliam.

In 2014, Dark Horse Comics via their Kitchen Sink Books imprint began reprinting deluxe, expanded editions of Kurtzman work in The Essential Kurtzman series, beginning with Harvey Kurtzman's Jungle Book, edited and designed by John Lind and including new essays on the work from Lind, Denis Kitchen, R.Crumb, Peter Poplaski, and an introduction by Gilbert Shelton. The work received two nominations (Best Reprint and Excellence in Publication) in the 2015 Harvey Awards. The second volume in the series Playboy's TRUMP, a collection of the 1950s satire magazine created by Kurtzman and Hugh Hefner, was published in 2016.

Notes

References

Works cited

Books

Journals and magazines

Newspapers

Web

Further reading

External links

 The Harvey Awards official website
 Help! magazine official site

1924 births
1993 deaths
20th-century American artists
20th-century American writers
American comic strip cartoonists
American comics artists
American erotic artists
American satirists
American magazine editors
United States Army personnel of World War II
American people of Ukrainian-Jewish descent
Autism activists
Bill Finger Award winners
Comic book company founders
Jewish American artists
Jewish American writers
Mad (magazine) cartoonists
American parodists
People from Brownsville, Brooklyn
Playboy cartoonists
School of Visual Arts faculty
Will Eisner Award Hall of Fame inductees
The High School of Music & Art alumni
EC Comics
People with Parkinson's disease
Deaths from liver cancer
Mad (magazine) people
United States Army soldiers
Deaths from cancer in New York (state)
Writers from Brooklyn
Artists from Brooklyn

Harvey Kurtzman


Haselund, Almanya'nın kuzeyinde Schleswig-Holstein eyaletinde, Nordfriesland iline bağlı yerleşim yeri. 12,79 km² yüzölçümüne sahiptir. Nüfusu, 31 Aralık 2015 itibarıyla yaklaşık 884 olarak tespit edilmiştir. Kilometrekare başına yaklaşık 69 kişilik bir nüfus yoğunluğuna sahiptir. Belediye Başkanlığı Jan Thormählen tarafından yürütülmektedir.

Dış bağlantılar
 http://www.haselund.de

Kaynakça

Nordfriesland iline bağlı yerleşim birimleri

Haselund


LOL: Se Rir, Já Era! é um reality show brasileiro produzido pela Formata e Amazon Studios. Transmitido pela Amazon Prime Video, o formato do programa é baseado no programa Last One Laughing (LOL), o qual já foi adaptado em diversos países. A primeira temporada estreou em 3 de dezembro de 2021 e foi apresentada por Tom Cavalcante e Clarice Falcão. A segunda temporada estreou em 2 de dezembro de 2022 e conta com Tom Cavalcante e Gkay na apresentação do programa.

Participaram da primeira temporada do programa Bruna Louise, Diogo Defante, Estevam Nabote, Flávia Reis, Igor Guimarães, Marlei Cevada, Nany People, Noemia Oliveira, Thiago Ventura e Yuri Marçal. Flávia Reis se consagrou a campeã da temporada.

Da 2ª Temporada estreou em 2 de dezembro de 2022 e entre os participantes estavam Brunna Braga,Carol Zoccoli, Eddy Junior, Fabio Rabin, Gigante Léo, Grace Gianoukas, Lindsay Paulino, Marianna Armellini, Mathy Lemos e Rafael Infante. Lindsay Paulino se consagrou o campeão da temporada.

Produção

Lançamento
A primeira temporada foi lançada em duas partes pela Amazon Prime Video a partir do dia 3 de dezembro de 2021, ocasião em que os três primeiros episódios foram lançados. A segunda parte, com os 3 últimos episódios, chega na plataforma em 10 de dezembro de 2021.

Desenvolvimento
Antes de iniciar as gravações, os participantes ficaram sete dias em quarentena em um hotel em decorrência dos protocolos de segurança contra COVID-19. As gravações ocorreram em um estúdio no Uruguai. Essa é a décima adaptação do formato Last one Laughing, que já foi produzido em países como Estados Unidos, Itália, México, Japão, Austrália e outros.

Formato
No reality, 10 comediantes compartilharam um estúdio com 46 câmeras espalhadas por todo cenário. Os participantes se desafiam a todo instante em um tempo de 6 horas com o intuito de fazer seus colegas rirem. O último comediante a restar no jogo, sem ser eliminado por dar risada, recebe o prêmio de R$ 350 mil e o troféu LOL Brasil. Durante a competição, é permitido que o candidato utilize diversos estilos de comédia, como stand-up, improviso e personagens.

Resumo
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Participantes

1ª Temporada (2021)

2ª Temporada (2022)

Ligações externas

LOL: Se Rir, Já Era! (em português) no AdoroCinema

Programas de televisão do Brasil que estrearam em 2021
Programas de televisão em língua portuguesa
Reality shows do Brasil

LOL: Se Rir, Já Era!


Le gisement de fer de Simandou, au sud-est de la Guinée, est le plus grand gisement de fer au monde non encore exploité.

Histoire

Géologie
La chaîne de Simandou consiste en une séquence d'itabirites déformées, de phyllites et de quartzites du craton protérozoïque. Cette formation située en altitude a été lessivée d'une partie de sa silice ce qui a conduit à augmenter la teneur en fer des itabirites. Compte tenu des réserves importantes, la chaîne du Simandou constitue un des plus importants gisements de fer mondial non exploité.

Description
Le gisement a fait l'objet de plusieurs projets d'exploitation.

En mars 2022, les autorités pressent les futurs opérateurs de revoir les conditions du contrat d'exploitation du gisement.

Début juillet 2022, l'État guinéen ordonne l'arrêt de l'exploitation de ses mines par les entreprises en place, faute d'accord entre les différentes parties en ce qui concerne la participation de l'État guinéen au sein du consortium.

Fin juillet 2022, un accord est trouvé entre l'État guinéen et les deux entreprises chargées de l'exploitation, à savoir Rio Tinto Simfer et Winning Consortium Simandou. Ensemble, ces trois parties vont créer la co-entreprise Compagnie du TransGuineen (CTG). Conformément à l'accord-cadre signé le 25 mars 2022, cette co-entreprise a pour but de faire avancer les plans de co-développement des infrastructures ferroviaires et portuaires du projet de minerai de fer de Simandou. L'État guinéen a obtenu gain de cause dans ce combat où il estime depuis le début de l'exploitation que « les ressources minières de la Guinée appartiennent […] à l'ensemble de ses filles et fils. Par conséquent, rien ne se fera à leur détriment », d'après une déclaration de Djiba Diakité, président du comité stratégique du projet de Simandou et directeur de cabinet de la présidence guinéenne.

Le 22 décembre 2022, un accord-cadre est signe entre l'état et ses partenaires ce qui permet aux partenaires d'enclencher le processus de financement du projet estimé à environ 15 milliards de dollars.

L'évacuation et l'exportation du minerai de fer se fera par une nouvelle voie de chemin de fer, qui a reçu le nom de Transguinéen. Cette voie, construite spécialement à cet effet mais qui servira d'une manière plus générale pour le transport du fret et des personnes, se dirigera vers l'ouest pour aboutir au nouveau port de Morébaya, au sud-est de Conakry, après un trajet de .

Notes et références

Voir aussi

Articles connexes
Gisement de fer de Gogebic Range
Gisement de fer de Marquette
Gisement de bauxite des Darling Ranges

Liens externes

Mine en Guinée

Gisement de fer de Simandou


Netlik derinliği, odak derinliği veya Net Alan Derinliği (İngilizce: DOF, Depth of field, Almanca Schärfentiefe), fotoğrafı çekilen konunun ön ve arka kısmında kaldığı halde göze net gibi görünen alanı anlatan fotoğrafçılık terimidir.''

Objektif ya da mercek yardımı ile elde edilen görüntü, aslında sadece tek bir noktada nettir. Ancak, bulanıklık tekeri denilen, bir alan içinde kalan nesneler de aslında net olmadıkları halde göze netmiş gibi görünür. Bu alana netlik derinliği denir.

Bulanıklık tekeri yani netlik derinliği, kullanılan objektifin odak uzaklığına, çekim sırasında kullanılan ışık düzengeci aralığına (diyafram ayarına) ve fotoğrafı çekilen konunun fotoğraf makinesine olan uzaklığına bağlı olarak değişir. Başka bir deyişle belli sınırlar içinde ayarlanabilir.

Buna göre, objektif içinden geçen ışık artırıldığında (yani diyafram daha fazla açıldığında), uzun odaklı mercek (objektif) kullanıldığında ya da konuya yaklaşıldığında, netlik (odak) derinliği daralır. Yani net alan iyice kısalır. Bu işlemin tersi yapıldığında ise yani diyafram daraldığında (sayısal olarak 1/32, bazen 32 diye de ifade edilir), net alan derinliği iyice artar. Hatta bir noktadan sonra fotoğraf çizilmiş bir resim gibi her yeri net olur. Net alan derinliğinde çekilen nesnenin objektife yakınlığı ve objektifin açısı önemlidir. Geniş açılı bir lenste F/5,6 gibi bir diyafram değeri ile 2 m'ye netleme yapıldığında sonsuz net alan derinliği içerisindedir.

Alan derinliği ölçeği
Alan derinliği ölçeği, bazı fotoğraf makinelerinin objektif takılan kısmında yuvarlak bir halka üzerinde ya da sabit odaklı objektiflerde objektifin netleme yaptığı uzaklık ve seçilen belli bir diyafram değeri için alan derinliğinin ne kadar olduğunu gösteren ölçeklerdir.

Yeni üretilen, otomatik netleme yapabilen ve değişken odaklı (zoom) objektifli birçok fotoğraf makinesinde bu ölçek artık kullanılmamaktadır.

Geometrik optik
Fotoğrafçılık bilimi
Fotoğrafçılık teknikleri

Alan derinliği


Hever (på ældre dansk Hæfræ) var i middelalderen en ø i Utlande i det sydvestlige Sønderjylland. Øen blev blandt andet nævnt i Kong Valdemars Jordebog fra 1231. Sydvest for øen lå naboøen Holm (eller Udholm), adskilt af vandstrømmen Falsdyb. Senere blev te to øer forbundet. De udgjorde sammen Udholm eller Holmbo Herred.

I dag er Hever-området en del af halvøen Ejdersted. Største by på den tidligere ø var Vesterhever. Landsbyen Østerhever lå derimod på Heverens modsatte bred på Everskop.

Kort

Ejdersted
Danmarks historie
Øer i Tyskland
Tidligere øer

Hever (ø)


KSnapshot, KDE projesi kapsamında bir ekran görüntüsü yakalama uygulaması. 14 yıl boyunca KDE'de ekran yakalama aracı olarak kullanılmış olup Aralık 2015'te yerini Spectacle yazılımına devretmiştir. PNG, JPG gibi yaygın dosya biçimlerinde ekran görüntüsü almaya imkân verir.

Özellikleri
 Tam ekran, pencere, pencerenin bir bölümü ya da sınırlarını kendi belirleyeceğiniz bir dikdörtgen alanın (bölge) görüntüsünü yakalanabilir
 Gecikmeli görüntü yakalama (belli bir süre geçtikten sonra görüntü alabilme)
 Alınan görüntü "Birlikte Aç" düğmesini kullanarak doğrudan bir resim işleme programında açılabilir
 Görüntüyü kaydetmeden panoya kopyalayabilme

Dış bağlantılar
 KSnapshot El Kitabı
 Freecode sitesinde KSnapshot sayfası

Linux yazılımları
KDE
Ekran görüntüsü yazılımı

KSnapshot


Die Fischereiaufsicht ist eine hoheitliche Aufgabe einer Landwirtschaftsbehörde. Sie erstreckt sich sowohl auf Küstengewässer wie auf Binnengewässer. In vielen Ländern umfasst die Aufsicht die Einhaltung von Fangquoten für Fische, Krabben und Muscheln sowie die Einhaltung der Fischgründe, in denen gefischt wird. Standard der Aufsicht ist auch die Kontrolle der minimalen Maschenweite der Netze sowie die Bekämpfung der illegalen, nicht gemeldeten und ungeregelten Fischerei. Die Überwachung erfolgt mit Wasser- und/oder Luftfahrzeugen.

Europa
Auf EU-Ebene besteht seit 2005 die Europäische Fischereiaufsichtsagentur (EFCA) mit Sitz im spanischen Vigo.

Deutschland
In Deutschland ist die Fischereiaufsicht auf See (außerhalb der 12-Seemeilen-Zone) Aufgabe der Bundesanstalt für Landwirtschaft und Ernährung sowie innerhalb der 12-sm-Grenze der Landwirtschaftsbehörden der Anrainer-Bundesländer Niedersachsen, Schleswig-Holstein und Mecklenburg-Vorpommern. In Binnengewässern, auch denen des Bundes, sind die Bundesländer zuständig. Auf Bundesebene ist eine Vielzahl an Bundes- und Unionsrecht zu überwachen. Allein die deutsche Fischereiflotte bestand 2012 aus 1674 Fahrzeugen. Viele Fischereiaufsichtsbehörden der Bundesländer unterhalten eigene Flotten; das Land Mecklenburg-Vorpommern beispielsweise acht Boote sowie Kleinstboote für Bodden und Haffs.

Weblinks
 Kontrollinstrument der Gemeinsamen Fischereipolitik
 Organisation der Fischereiverwaltung Schleswig-Holsteins
 Sächsisches Landesamt für Umwelt, Landwirtschaft und Geologie, Referat 93: Staatliche Fischereiaufsicht

Einzelnachweise

Fischereiorganisation (Deutschland)
Fischereirecht (Deutschland)
Recht der Europäischen Union
Wirtschaftspolitik
Artenschutzorganisation
Landwirtschaftsbehörde
Küstenwache (Deutschland)

Fischereiaufsicht


Escherichia (Eşerikya okunur), enterobakteriler (Enterobacteriaceae) familyasında bir bakteri cinsidir. Bu cinsin en ünlü üyesi olan E. coli araştırmacılar tarafından çok ayrıntılı olarak incelenmiş bir model organizmadır. Escherichia türleri Gram-negatif, spor oluşturmayan, seçmeli anaerob, çubuk şekillidir. Çoğu sıcak kanlı hayvanın bağırsaklarında yaşar.

Escherichia cinsinin tanımlanmış ilk türü olan Escherichia coli, Theodor Escherich tarafından yeniden doğmuş bebeklerin dışkılarından izole edilmiştir (1885). Uzun yıllar bu türün zararsız bir bakteri olduğu düşünüldüyse de 1935'te bir bebek kreşindeki ishal salgınına bir E. coli suşunun neden olduğu gösterilmiştir.

Enterobakteri familyası 1937'de tanımlandığı zaman bu familyanın tip cinsi olarak Escherichia seçilmiştir.

Escherichia türleri
Çoğu Escherichia türü zararsız komensal bakteriler olmalarına karşın aralarında insan için hastalık oluşturucu (patojen) olanları da vardır. E. coli, Escherichia türlerinin neden olduğu hastalıkların en başlıca sorumlusudur, basit ishalden dizanteri benzeri vakalara kadar uzanan önemli bağırsak hastalıklarına neden olabilir. İdrar yolu hastalıklarının büyük çoğunluğu da E. coli tarafından meydan gelir. Ancak, bu cinsin diğer üyelerinin de insan hastalıklarında rol oynadıkları gösterilmiştir.
Escherichia cinsi içinde E. coli dışında türler (E. adecarboxylata, E. blattae, E. fergusonii, E. hermanii ve E. vulneris) biyokimyasal olarak tanımlanmışlardır ancak bunların dağılımları, biyolojileri ve birbirlerine olan yakınlıkları hakkında halen çok az şey bilinmemektedir.

Diğer enterobakterilerle ilişkisi
Eschrichia 'nın diğer cinslerden farklılığı DNA analizleri ile gösterilmiş, DNA dizin ilişkilerine dayanarak Escherichia ve Shigella cinslerinin birbirlerine çok yakın bir grup oluşturdukları, bu gruba en yakın enterobakteri grubunda ise Citrobacter, Enterobacter, Klebsiella ve Salmonella olduğu saptanmıştır.

Escherichia, Shigella 'dan farklı olarak laktoz fermantasyonu yapabilir ve lizin amino asidini dekarboksile edebilir. Genelde tüm Shigella türleri hastalık yapmasına karşın Escherichia coli 'nin yalnızca bazı serotipleri bağırsak enfeksiyonuna yol açar. Bu farklılıklara rağmen DNA analizleri iki organizmanın büyük bir benzerlik gösterdiğini bulunmuş, Escherichia ve dört Shigella türünün aslında tek bir tür oluşturacak kadar benzer oldukalri gösterilmiştir. Patojen olan ve olmayan bazı E. coli türleri arasındaki farklılık, bazı patojen E.coli türleri ile Shigella türleri arasındaki farklılıktan daha fazladır. Bu bulgulara rağmen Escherichia ve Shigella türleri, patojen olma potansiyellerindeki farklılıktan dolayı ayrı sınıflandırılmaya devam edilmektedir.

Patojenik olmayan E. coli ile patojen olan Shigella flexneri 'nin genomları yalnızca birkaç noktada farklılık gösterirler. S. flexneri 'nin virülans genlerinin çoğu bir plazmidde yer alır. Salmonella enterica türünün de genomu E. coli 'ninkine çok benzer ama genomun içindeki iki "genetik ada" pek çok virülans geni bulundurur. Klasik biyokimyasal yöntmelerle tanımlanmış olan bu üç tür, günümüz genetik yöntemlerle aynı cins, hatta aynı türün üyeleri sayılabilecek kadar birbirlerine yakındırlar.

Kaynakça
 K. Bettelheim. The Genus Escherichia
 Rodney Welch. The Genus Escherichia

Notlar

Enterobakteriler
Bağırsak florası
Bakteri cinsleri
Proteobakteriler

Escherichia


Wilfred Moke () este un fotbalist congolezo-francez care joacă pe posturile de fundaș central și mijlocaș defensiv pentru .

Note

Legături externe

Nașteri în 1988
Mijlocași
Fotbaliști ai FC Rapid București
Fotbaliști ai FC Steaua București
Fotbaliști ai FC Voluntari
Francezi expatriați în România
Oameni în viață

Wilfred Moke


La Manga del Cura es un territorio ubicado en la provincia de Manabí perteneciente al cantón El Carmen.

Historia
Hasta el año 2015 fue considerada una zona no delimitada y por tanto no tenía pertenencia administrativa - política a ningún cantón o provincia del Ecuador y estuvo en disputa por las provincias limítrofes de Guayas, Manabí, Santo Domingo y Los Ríos.

Tras múltiples intentos de resolver dicho conflicto Guayas y Manabí persisitieron en el litigio, lo que desembocó en una consulta popular efectuada el 27 de septiembre de 2015, a través de la que por mayoría sus habitantes decidieron la adhesión del territorio a la provincia de Manabí.

Finalmente el 11 de abril de 2017 la Asamblea Nacional de Ecuador en la sesión 443 del Pleno y en segundo debate, aprobó el  Proyecto de Ley que fija el límite territorial entre las provincias de Guayas y Manabí en la zona denominada "Manga del Cura", con 93 votos a favor y 5 abstenciones. Dicha resolución se publicó en el Suplemento al Registro Oficial Nº 994 el 28 de abril de 2017.

Geografía y demografía

Ubicada al sureste del cantón El Carmen, comprende una extensión de aproximadamente 487 km² con alrededor de 24 000 habitantes.

Cuenta con más de 200 comunidades, siendo las más pobladas:

 El Paraíso (El Paraíso - La 14)
 Santa María
 Santa Teresa

Uno de los sitios turísticos más importantes del territorio es la Cascada del Salto del Armadillo, de 30 metros de altura.

Véase también
 Consulta popular en La Manga del Cura de 2015

Referencias

Geografía de Ecuador

La Manga del Cura


بنيامين بهادري مغني إيراني من فناني موسيقى البوب الإيرانية مواليد 9 سبتمبر عام 1982، البومة"85" حقق نجاح تجاري هائل داخل إيران وبين المغتربين في الخارج، له أيضا بعض الأغاني الدينية ولكنها حازت على نجاح أقل تجاريا ، اقام سلسلة من الحفلات الموسيقية الناجحة في عام 2008 في أمريكا الشمالية.

روابط خارجية

المصادر

أشخاص على قيد الحياة
أشخاص من تنكابن
إيرانيون
إيرانيون من أصل يهودي
كتاب أغان إيرانيون
مسلمون إيرانيون
مغنو بوب إيرانيون
مغنون إيرانيون
مغنون باللغة الفارسية
مغنون ذكور إيرانيون في القرن 21
مغنون وكتاب أغان إيرانيون
ممثلون إيرانيون في القرن 21
ممثلون من طهران
ممثلون وممثلات من طهران
مواليد 1402 هـ
مواليد 1982
مواليد في طهران
مغنون وكتاب أغان ذكور إيرانيون

بنيامين بهادري


This article contains a list of prime ministers of Saint Vincent and the Grenadines.

List of officeholders

Chief ministers of Saint Vincent (1960–1969)

Premiers of Saint Vincent (1969–1979)

Prime ministers of Saint Vincent and the Grenadines (1979–present)

References

See also
Governor-General of Saint Vincent and the Grenadines
Deputy Prime Minister of Saint Vincent and the Grenadines

Saint Vincent and the Grenadines, Prime Ministers
Politics of Saint Vincent and the Grenadines

Prime Minister
1979 establishments in Saint Vincent and the Grenadines
Prime ministers

List of prime ministers of Saint Vincent and the Grenadines


Charles "Chic" Brodie, (* 8. Mai 1944) ist ein schottischer Politiker und Mitglied der Scottish National Party (SNP).

Leben
Brodie besuchte die Morgan Academy in Dundee und erwarb anschließend Bachelorabschlüsse in Mathematik und Wirtschaftslehre von der Universität St Andrews. Danach war Brodie für verschiedene Wirtschaftsunternehmen tätig.

Politischer Werdegang
Brodie war zunächst Mitglied der Liberal Democrats. Für diese trat er mehrfach erfolglos bei Wahlen zum Britischen Unterhaus an; so in den Jahren 1992 im Wahlkreis Glasgow Garscadden, 1997 im Wahlkreis Perth und 2001 im Wahlkreis Greenock and Inverclyde. Auch zu den ersten Schottischen Parlamentswahlen im Jahre 1999 kandidierte er, konnte jedoch in seinem Wahlkreis Perth nur den vierthöchsten Stimmenanteil erringen und verpasste den Einzug in das Schottische Parlament deutlich.

Im Jahre 2002 verließ er die Liberal Democrats und schloss sich der Scottish National Party (SNP) an. Bei den Unterhauswahlen 2005 trat er erstmals für die SNP an, verpasste das Direktmandat seines Wahlkreises Ayr, Carrick and Cumnock deutlich. Ebenso verhielt es sich bei den Unterhauswahlen 2010 im selben Wahlkreis. Bei den Schottischen Parlamentswahlen 2011 verpasste Brodie knapp das Direktmandat des Wahlkreises Ayr hinter dem Liberaldemokraten John Scott. Da Brodie jedoch auch auf der Regionalwahlliste der SNP in der Wahlregion South Scotland gesetzt war, erhielt er eines der vier Listenmandate der SNP in dieser Wahlregion und zog erstmals in das Schottische Parlament ein.

Weblinks
 Informationen auf den Seiten des Schottischen Parlaments
 Informationen der SNP

Einzelnachweise

Abgeordneter im Schottischen Parlament
Mitglied der Scottish National Party
Mitglied der Scottish Liberal Democrats
Schotte
Brite
Mann
Geboren 1944
Politiker (20. Jahrhundert)
Politiker (21. Jahrhundert)

Chic Brodie (Politiker)


Daniel Muñoz de la Nava (* 29. Januar 1982 in Madrid) ist ein ehemaliger spanischer Tennisspieler.

Leben und Karriere
Muñoz de la Nava war vor allem auf der ATP Challenger Tour erfolgreich. Seinen ersten Titel im Einzel gewann er dort zwar erst 2011, zuvor sicherte er sich aber bereits 13 Titel im Doppel. Es kamen bis 2019 sieben weitere dazu. Bis auf einen Titel gewann der Spanier alle Titel auf Sand. Auf der ATP World Tour erzielte er 2012 sein bestes Ergebnis in Estoril, als er als Qualifikant bis ins Viertelfinale vordringen konnte. Dabei schlug er neben Javier Martí auch den gesetzten Italiener Flavio Cipolla. Im Doppel erreichte er zudem einmal in Hamburg ein Finale. Bei Grand-Slam-Turnieren gelang ihm 2012 bei den French Open erstmals die Qualifikation für das Hauptfeld. Er verlor jedoch sein Auftaktspiel gegen Marin Čilić glatt in drei Sätzen. Er kam bei mittlerweile fünf Teilnahmen nicht über die Auftaktrunde hinaus. 2019 gab er sein Karriereende bekannt.

Erfolge

Einzel

Turniersiege

Doppel

Turniersiege

Finalteilnahmen

Weblinks

Einzelnachweise

Tennisspieler (Spanien)
Spanier
Geboren 1982
Mann

Daniel Muñoz de la Nava


La Copa Aldao 1947 fue la decimooctava edición del torneo organizado por AFA y AUF. Se disputó con partidos de ida y vuelta. Enfrentó a River Plate, ganador del Campeonato de Primera División 1947; y Nacional, ganador del Campeonato de Primera División 1947.

Esta edición tuvo el tercer enfrentamiento entre ambos equipos, luego de las ediciones de 1941 y 1942. El partido de ida se disputó el 19 de noviembre de 1947 en el Estadio Centenario de Montevideo. El partido de vuelta se jugó el 23 de noviembre en el Estadio El Gasómetro de Buenos Aires. Con un resultado global de 7 a 4, River Plate obtuvo su quinto título en la competición, convirtiéndose en el máximo ganador en la historia del certamen.

Clubes clasificados
Clasificaron como campeones de 1947 en sus respectivas ligas.

El 19 de noviembre, River vence por 4:3 en el estadio Centenario, con tres goles de Ángel Labruna y uno de Alfredo Di Stéfano. Para Nacional marcaron Atilio García, Luis Ernesto Castro y Walter Gómez.

El partido de vuelta tuvo lugar, cuatro días más tarde, en el El Gasómetro. River volvió a imponerse, esta vez por 3:1. Los tres goles de River fueron convertidos por Hugo Reyes, mientras que Walter Gómez anotó el de Nacional.

Partidos
Encuentro de ida

Encuentro de vuelta

Enlaces externos
 RSSSF: Copa Dr. Ricardo C. Aldao
 El Feo Labruna: Copa Aldao 1947
 Historia y Fútbol: Campaña de River Plate en 1947

1947
Fútbol en 1947
Deporte en Argentina en 1947
Uruguay en 1947

Copa Aldao 1947


Ixanthus, monotipski biljni rod iz porodice sirištarki. jrdina vrsta I. viscosus, endem je na Kanarskim otocima Gran Canaria, Tenerife, La Gomera, Hierro i La Palma.

Sinonimi
 Exacum viscosum (Ait.) Sm.
 Gentiana viscosa Ait.
 Hippion viscosum (Ait.) Spreng.
 Pneumonanthe viscosa (Ait.) F. W. Schmidt
 Wildpretina viscosa (Ait.) Kuntze

Izvori

Sirištarke
Flora Kanarskih otoka

Ixanthus


Heikki Juhani Hietamies (* 1. Juli 1933 in Lappeenranta) ist ein finnischer Schriftsteller, Journalist, Moderator und Komiker.

Leben
Neben seiner Herausgeberschaft des finnischen Magazins Apu arbeitete Hietamies jahrelang als Journalist für unterschiedliche Zeitungen. Von 1977 bis 1989 moderierte er das von ihm mitbegründete jährliche Humppa-Festival in Lappeenranta. Seit Anfang der 1980er Jahre schrieb er auch Schelmenromane. Seinen größten Erfolg feierte er mit dem 1992 erschienenen und 2005 verfilmten autobiographischen Roman Äideistä parhain.

Von 1958 bis 1991 war er mit der Schriftstellerin Laila Hirvisaari verheiratet. Die gemeinsame Tochter Eve Hietamies ist ebenfalls Schriftstellerin.

Werke
Romane
 1982: Nämä kun ovat niitä totuusasioita
 1983: Se Salosaaren ensimmäinen laiva
 1984: Nikolai Tasihinin yleinen sauna
 1985: Sitä juhannusta ei tullut
 1986: Sotapoika
 1987: Sossu
 1989: Paha sauma
 1990: Kesäkeikka
 1991: Koiran yö
 1992: Äideistä parhain
 1994: Kalkkiviivat
 1997: Sydän toivoa täynnä
 1998: Tyynen kylä
 2000: Sormus
 2002: Naisten talvi
 2004: Sotatuomari
 2005: Soitellen sotaan
 2007: Eihän se niin ollut

Hörspiel
 1992: Juhannus 1972

Andere Werke
 1981: Everstin näköinen hevonen
 1984: Ratsaille rakuunat
 1989: Noutotarinoita
 1997: Kovaa maata -jatko-osa
 1999: Lindin Arvia
 1999: Minun kaupunkini
 2009: Iltaa, hyvät ihmiset

Filmografie
 1973: Suuri tangoparaati
 1993: Sotapoika (Fernsehserie, 12 Episoden)
 1994–1995: Kovaa maata (Fernsehserie, 12 Episoden)
 1996–1997: Sydän toivoa täynnä (Fernsehserie, 15 Episoden)
 1999: Tyynen kylä

Weblinks

Autor
Drehbuchautor
Literatur (21. Jahrhundert)
Literatur (Finnisch)
Journalist (Finnland)
Moderator
Komiker
Finne
Geboren 1933
Mann
Person (Lappeenranta)

Heikki Hietamies


The Iowa River is a tributary of the Mississippi River in the state of Iowa in the United States.  It is about  long and is open to small river craft to Iowa City, about  from its mouth. Its major tributary is the Cedar River.

Course
It rises in two branches, the West Branch and East Branch, both of which have their headwaters in Hancock County, each about  long and which join in Belmond.

The Iowa then proceeds roughly in a southeast direction, passing through the city of Iowa Falls, through a scenic valley to Steamboat Rock, then through the cities of Eldora, Marshalltown, Tama, and Marengo, and through the Amana Colonies in Iowa County. In Johnson County, it becomes impounded by the Coralville Dam in the Coralville Reservoir, which turns southward to the spillway. The river runs generally south and passes through Iowa City and the University of Iowa campus. A lowhead dam at Burlington Street in Iowa City is the last dam before the river's confluence with the Mississippi. South of Iowa City, it is joined in Washington County by the English River, and then in Louisa County it is joined by the Cedar River to flow into the Mississippi.

Uses
The Iowa River is noted for recreational and commercial fishing. Game fish include largemouth and smallmouth bass, walleye, northern pike, channel and flathead catfish, crappie and other panfish. The Coralville Reservoir is commercially fished for carp and buffalo fish.

Pine Lake State Park is located on the Iowa River at Eldora.

Floods
The Iowa can flood, notably in the June 2008 Midwest floods, and the Great Flood of 1993. The Cedar and its tributaries, including the Shell Rock River, can contribute to flooding events.
It tore down the historical swinging bridge in Charles City, Iowa.

August 2022 jawbone discovery
On the afternoon of August 8, 2022, Marshall County Conservation staff discovered a jawbone from a prehistoric Native American of middle age or older in the Iowa River in Marshall County.

See also
Homer D. Calkins
List of rivers of Iowa

References

External links

Rivers of Iowa
Tributaries of the Mississippi River
Rivers of Hancock County, Iowa
Rivers of Iowa County, Iowa
Rivers of Johnson County, Iowa
Rivers of Hardin County, Iowa
Rivers of Marshall County, Iowa
Rivers of Tama County, Iowa
Mississippi River watershed

Iowa River


Hücre bölünmesi, tek hücreli canlıların çoğalması, çok hücreli canlıların büyümesi, erkek ve dişi eşey hücrelerinin meydana gelmesi için gerekli biyolojik olaydır. Bir hücrenin bölünebilmesi için belirli bir büyüklüğe ulaşması ve nükleik asitlere sahip olması gerekmektedir. Canlılar dünyasında,
 Amitoz (Amitozis)
 Mitoz (Mitozis)
 Mayoz (Meiosis)
olmak üzere üç farklı tip bölünme vardır. Tek hücreli canlılarda bölünme genellikle amitoz, çok hücrelilerde ise mitoz ve mayoz ile görülür.

Amitoz

Genellikle tek hücrelilerde görülen bu bölünme ile o türe ait birey sayısı artar. Amitoz bölünme yapan hücrelerin önce çekirdeği uzar, çekirdeğin uzamasıyla çekirdekçik de uzayıp boğumlanarak ikiye ayrılır. Bunu sitoplazma bölünmesi takip ederek, bir hücreden iki yeni yavru oluşacak şekilde bölünme gerçekleşir. Amitozda çekirdek zarı kaybolmaz, kromozomlar belirmez, sentriyoller ve iğ iplikleri oluşmaz.
Tek hücreliler dışında bazı özel hallerde yüksek yapılı organizma hücrelerinde de amitoz görülebilir. Bu durumda çoğu kez hücreler ölüme mahkûm olur, çünkü tekrar mitoz bölünme yapamazlar. Amitoz bölünme bu organizmalarda bazen açlık nedeniyle dejenere olan hücrelerde, bazı yaşlı kıkırdak hücrelerinde, ayrıca hızla çoğalan kuş embriyosunun blastoderm hücrelerinde görülebilir. Gametlerde genellikle amitoz bölünme görülmez.

Mitoz

Zigot oluştuktan sonra başlayan mitoz bölünme, organizma belli bir büyüklüğe erişinceye kadar çoğu soma hücresinde (ör sinir hücrelerinde bölünme yoktur) ve bazı hücrelerde (kemik iliği vb.) hayat boyu devam eder. Mitozda her hücrenin çekirdeğinde kromozomlar kendini eşler. Eşler, ana hücrenin bölünmesiyle oluşan iki yavru hücreye verilir. Böylece ana hücreye benzeyen, diploid sayıda (2n) kromozomlu iki yavru hücre meydana gelir.Yavru hücrelerin kromozomlarının 23 tanesi anneden 23 tanesi babadan gelir.Bu kromozomların 44 tanesi vücut özelliklerini diğer ikisi cinsiyeti gösterir. Mitoz da çekirdek bölünmesi karyokinez, sitoplazma bölünmesi sitokinez olarak tanımlanır. Karyokinez başlangıçta interfaz ve sonrasında gerçek bölünme evreleri olan profaz, metafaz, anafaz ve telofaz olarak görülür. Tek hücreli bir hücrede çoğalma (üreme), mitoz hücre bölünmesi ile sağlanır.

Mayoz

Eşeyli olarak çoğalan canlılarda zigotu oluşturacak gamet hücrelerinin yapılması (gametogenez) mayoz ile gerçekleşir.Üreme ana hücrelerinde kromozom sayısının yarıya inmesi olayı mayoz ile gerçekleşir.Sonuçta oluşan hücrelere üreme hücresi (gamet) denir. Mayoz bölünme I. ve II. mayoz bölünme şeklinde olup, bunların her biri aslında birbirini izleyen iki bölünmeden ibarettir. I.mayoz bölünme diploid kromozomlu ana hücreden kromozom sayıları yarı yarıya, yani haploid duruma inmiş (redüksiyon) iki yavru hücre meydana gelir. Fakat I. mayoz sonunda henüz kromozomdaki kromatidler tam olarak ayrılmamıştır. II. mayozda kromozomlar tam olarak uzunlamasına bölünür ve kromatidler ayrılarak yavru hücreler gider, böylece bölünme tamamlanmış olur. Mayoz bölünmedeki interfaz evresi (G1,S,G2) I.mayozun başında geçer, II. mayozda tekrarlanmaz. I. mayoz; profaz I, metafaz I, anafaz I, telofaz I evrelerinden sonra sitoplazma bölünmesi (sitokinez) gerçekleşir; II. mayoz; profaz II, metafaz II, anafaz II, telofaz II evrelerinden oluşur.

Dış bağlantılar
 How Cells Divide: Mitosis vs. Meiosis

Hücre bölünmesi


තැනක

සාහිත්‍යය හා අභිලේඛන මුලාශ්‍ර වලට අනුව පැවති මාවත් වර්ග

අගනගරය හා ප්‍රධාන වරායවල් සම්බන්ධ කළ මාර්ග
තැනක
අගනගරය හා පාදේශිය මධ්‍යස්තාන අතර පැවති  මාර්ග

පාලන ඵ්කක තුළ පැවති මාර්ග

ආගමික ස්ථාන සම්බන්ධ කළ මාර්ග

කුඩා මංමාවත්

අගනගරය හා ප්‍රධාන වරායවල් සම්බන්ධ කළ මාර්ග

අනුරාධපුරය - මහාතිත්‍ථ මාර්ගය

අනුරාධපුරය - ජම්බුකෝල පටිටන මාර්ගය

අනුරාධපුරය - ගෝකණ්ණ මාර්ගය

අනුරාධපුරය - උරැවල පට්ටන මාර්ගය

අනුරාධපුරය - පල්ලවවංක මාර්ගය

අනුරාධපුරය - මහාතිත්‍ථ මාර්ගය

මේය වයඹ ප්‍රදේශයේ පැවති ප්‍රධාන වරාය විය.මල්වතු ඔය දකුණු ඉවුර අසබඩ පිහිටි තම්බපණ්ණි නගරය හා සම්බන්ධව පැවති මාර්ගයයි.
මේය ක්‍රි.පු.5 වන සියවස සිටම පැවත ඇත.මහාතිත්‍ථ නැවි තොට සිංහල සාහිත්‍යය හා සෙල්ලිපි විවිධ නම්වලින් හදුන්වා ඇත,ඵ්වනම්,
මහාතොට,මහාවොටි,මහපුටු,මාවටු,මවතුතොට,මහපටන,මාතොට,මාතෝට්ටම් ආදියෙන්,
වළගම්බා රජු කළ (ක්‍රි.පු.89-77) බැමිණිතියා සාය දුර්භික්‍ෂය ඇති කළ ඉන්දියාවට ගිය භික්‍ෂුන් ආපසු ඵන ගමනේදි මේම වරායෙන් ගොඩබැස මේම මාර්ගයෙන් රට අභ්‍යන්තරයට පැමිණ තිබේ.තැනක

අනුරාධපුරය -  ජම්බුකෝළ පට්ටන මාර්ගය

ශ්‍රි ලංකාවේ උතුරු ප්‍රදේශයේ යාපනය අර්ධද්වීපයේ කන්කසන්ටුරයේ සිට බටහිරට වෙන්නට වු සම්බිල්තුරය පැරණි දඹකොලපටුන නොහොත් ජම්බුකෝළ පට්ටනය. උතුරු භාරතය සමග සම්භන්දතා පැවැත්වීමේදී අනුරාධපුර සිට මෙම ස්ථානය දක්වා වූ මාර්ගය ක්‍රි පු සියවස් වල ප්‍රදාන ස්ථානයක් හිමිකරගත් බව පෙනේ.දේවානම් පියතිස්ස රජු(ක්‍රි.පු.250-210) විසින් අශෝක අදිරාජ්‍යා වෙත යවූ දුත පිරිස් දෙක මෙම මාර්ගය ඔස්සේ යවා ඇත.එහිදී සංඝමිත්තා තෙරණිය විසින්  ශ්‍රි මහා බෝධීඅංකුරය වැඩම කොට ගෙන අනුරාධපුරයට ආවේ මේම මාර්ගයෙනි.ජම්බුකෝල පට්ටන සිට අනුරාධපුරයට දින 4 පමණ ගතවී ඇත. දේවානම් පියතිස්ස රජු අශෝක අදිරාජ්යාට යවන ලද ප්‍රථම දුත පිරිස දබකොලපටුනේ සිට සත් දිනක් සාගරයේ ගොස් තාම්මලිප්තියට ලගාවූ අතර ආපසු දින පුර පෑල විය එතැනින්ම  නැවු නැග දොළොස්වක් දින අනුරාධපුරයට ලගාවිය. පස්වන සියවසයේදී ෆාහියන් හිමි  තාම්මලිප්ති සිට ලංකාවට පැමිණ අනුරධප්‍රයට පැමිණීමේදීද  මෙම මාර්ගයම යොදාගෙන ඇත .

අනුරාධපුරය - ගෝකණ්ණ මාර්ගය

ශ්‍රි ලංකාවේ නැගෙනහිර පිහිටි වරාය වන මේය වර්තමානයේ ත්‍රිකුණාමල වරාය ලෙස හදුනාගෙන ඇත.ඵළාර රජු (ක්‍රි.පු.2 සියවස) සේනාව සමඟ පැමිණ ඇත්තේ මේම මාර්ගයෙනි.

අනුරාධපුරය - උරුවේල පට්ටන මාර්ගය

අනුරාධපුරය සිට බටහිරෙන් කළා ඔය මුවදොරින් මේය පිහිටා .අනුරාධපුර මහාථුපය ගොඩනැංව්ම සඳහා උරැවේල ජනපදයේ ධීවරයන් හට මහත්ඵල හා සදිසි මුතු ලැබුන බව දැන්විමට අනුරාධපුරයට (ක්‍රි.පු.161-137) පැමිණ ඇත්තේ මේම මාර්ගයෙනි.මේම වරාය හා ප්‍රධාන නගරය සම්බන්ධ කරමින් පැවති මාර්ග ජාලය අනුව අභ්‍යන්තර හා බාහිර වේළඳ කටයුතු කරගෙන යාමට තරම් විහිදුණු මාර්ග ජාලයක් පැවති බවට සඳහන් කළ හැකිය.

අගනගරය හා ප්‍රාදේශීය පාලන මධ්‍යස්ඨාන අතර පැවති මාර්ග

පුරාණ ශ්‍රි ලංකාවේ ප්‍රධාන ජනාවාස හතරක් විය,අනුරාධපුරය අගනගරය කරගත් උතුරු තැනනිතලා,රෝහණ ජනපදය,කැළණිය,මධ්‍යම කදුකරයේ මලය රට යන්නයි.

අනුරාධපුරය සිට රෝහණ ජනපදය තෙක් වු මාර්ගය

මේ පිළිබඳව මහාවංශයේ ප්‍රථම සිද්ධීය දේවානම්පියතිස්ස සොයුරුමහානාම සියදිවි රැකිම සඳහා රෝහණයට පලා යැමයි.

"උපරාජා තතෝ යෙව සදා බේල වාහනෝ-කේඛිතුං සතමත්තානං රෝහණාභිමුඛෝ අගා'''"

රෝහණ ජනපදය සිට අනුරාධපුරය තෙක් පැවති මාර්ගය පිළිඳව සද්ධර්මාලංකාරයෙදි සඳහන් වේ,එයට අනුව,මේම මාර්ගය පුඵල්ව හා ශක්තිමත්ව ඉදිකර තිබු බවට,"ගැල් කණු  සැටක් පිරවු කරත්ත සැටක් ගෙන යාමට ශක්තිමත්ව හා පුළුල්ව ඉදිකර තිබු බව"ට සඳහන්ය.

පාළන ඒකක තුළ පැවති මාර්ග

රාජධාණියක් ඇතුළත කොට්ඨාස කිහිපයක් විය,මේවා දේශ,පදේශ,මණ්ඩල යා ජනපද ලෙස හදුනා ගනි.මේවා අගනගර හා සම්බන්ධ කිරිම මාර්ග නිසා සිදුවිය.රාජධානි ඇතුලත  සැම අතටම විහිදුණු මාර්ග පැවති බවට මංමාවත්,සන්ධි,දෙමං සන්ධි, සතර මං සන්ධි ගැන සඳහන් විමේන් පැහැදිළි වේ.විසුද්ධිමාර්ග සන්නසඅනුව,සිතුල්පව්වට යන ගමනේදි දෙමන් සන්ධියකට පැමිණි මඟියකුට මාර්ගය සොයා ගැනිමට නොහැකි වි තිබේ.

විථි

අනුරාධපුර උතුර සිට දකුණට හා නැගෙනහිර සිට බටහිරට විහිදුණු මාර්ග පද්ධතියක් පැවති බවට මහාවංශයෙන් හෙළි වේ.මේවා ගඩොල් අතුරා සකස් කර විථි යටින් ගලා බස්නා ජලප්‍රවාහන ක්‍රමයක් පැවත තිබේ.රාජ විථියසිදු කරන ලද කැණිම් වලට අනුව සොයා ගෙන ඇති පරිදි මේම විථියක් අඩි පනස් හතක් පළල් වු බව සොයා ගෙන ඇත.කුඹල් විථියමේහි ජිවත් වුයේ කුඹල් කුලයේ ජනතාවයි,වේඵසුමන යෝධයාපැන් ගැනිම සඳහා කළයක් ගෙන ඵ්මට මේමවිථියට පැමිණි බව මහාවංශය සඳහන් කරයි. මඟුල් විථියඅනුරාධපුර ඇතුල් නුවර පිහිටි විථියක් විය.

	බස්නාහිර විථියමේම ප්‍රදේශය තුළ දුටුගැමුණු රජ සිය කුමාරයාට මාළිඟයක් සාදවා දි තිබේමාවටු විථියකේවට්ට විථියථුපාරාමය අසල වැටි තිබු මාර්ගයයි.කුඩා මංමාවත්විශාළ වැව් හා ප්‍රධාන ඇළවල් වල වෑකණ්ඩි හා ඉවුරැ ඒවාට ආසන්නව පැවති ජනාවාස සම්බන්ධ කළ කුඩා මංමාවත්,අඩිපාරවල් ලෙස භාවිතයට ගෙන තිබේ.

මාර්ග වල ස්වරුපය

පැරණි ලක්දිව මාර්ග වල ස්වරුපය පැහැදිළිව දැක්විය නොහැකි වුවද,සෑම පාළකයකුම මංමාවත් ඉදිකිරිම හා අලුත් වැඩියා කිරිම කෙරෙහි සැලකිළිමත් වි තිබේ.ඉළනාග රජු'(ක්‍රි.ව.34-43)මහාථුපයට මාර්ගයක් ඉදිකළ බවත් දිඹුලාගල පර්‍වත ලිපියේ'' එන පාඨයකින් පැහැදිළි වේ.
'කැබලිගල් හස්වා මඟ වත්කොට''''

උපුටා ගැනිම්

ආරියපාල,ඇම්.බි,මධ්‍යකාලීන ලංකා සමාජය,ඇස් ගොඩගේ සහ සහෝදරයෝ

මුණසිංහ,ඉණ්ද්‍රාණි,ශ්‍රී ලංකාවේ මාර්ග ප්‍රවාහනය,ශ්‍රී දේවී ප්‍රකාශකයෝ

හිමි,සුමංගල,බටුවන්තුඩාවේ පණ්ඩිත සංස්කරණය,මහාවංශය,දීපානී ප්‍රකාශකයෝ

සුරවීර,ඒ.වී,රාජාවලිය සංස්කරණය,අධ්‍යාපන ප්‍රකාශන දේපාර්තමේන්තුව

ආශ්‍රිත ලිපි
 මහාවංශය

බාහිර යොමු

 අනුරාධපුරය

 බෝගොඩ පාලම

අනුරාධපුර යුගය

මුලාශ්‍ර

අනුරාධපුර යුගයේදී ලක්දිව මාර්ග


USS Forrest Sherman (DD-931) was the lead ship of her class of destroyer of the United States Navy. She was named for Admiral Forrest Sherman USN (1896–1951).

History
Forrest Sherman was laid down by the Bath Iron Works Corporation at Bath, Maine, on 27 October 1953, launched on 5 February 1955 by Mrs. Forrest P. Sherman, widow of Admiral Sherman, and commissioned on 9 November 1955.

After a year of initial training and fitting out, Forrest Sherman arrived at her home port, Naval Station Newport in Newport, Rhode Island, 15 January 1957. Two days later she sailed for Washington, D.C., where she was open for public visiting during the week of the second inauguration of President Dwight D. Eisenhower. From Newport, Forrest Sherman sailed on training and fleet exercises along the east coast and in the Caribbean, until the summer of 1957, when she took part in the midshipman cruise to South America and the International Naval Review in Hampton Roads on 12 June.

On 3 September 1957, Forrest Sherman sailed for NATO Operation Strikeback, screening a carrier striking group in exercises off Norway. She called at Plymouth, England, and Copenhagen, Denmark, before returning to Narragansett Bay on 22 October. In preparation for her first deployment to the Mediterranean, the destroyer took part in amphibious exercises off Puerto Rico in July 1958, and arrived at Gibraltar on 10 August. She patrolled the eastern Mediterranean through the rest of the month, then sailed to join the 7th Fleet in its operations off Taiwan in support of the threatened islands of Quemoy and Matsu. Sailing eastward to complete a cruise around the world, Forrest Sherman returned to Newport on 11 November.

During the summer of 1959, Forrest Sherman joined in Operation Inland Seas, the cruise of a task force into the Great Lakes in celebration of the opening of the St. Lawrence Seaway. She served as escort to the Royal Yacht HMY Britannia with President Dwight D. Eisenhower and Queen Elizabeth II embarked, then sailed on to entertain over 110,000 visitors at Great Lakes ports. Returning to Newport, Forrest Sherman took part in coastal exercises with the Atlantic Fleet, then underwent minor repairs and alterations in the Boston Naval Shipyard.

More training exercises began in 1960 for the destroyer, and on 21 March she sailed on a 7-month cruise to the Mediterranean and duty with the 6th Fleet. En route home in October, Forrest Sherman came to the aid of the Liberian freighter Allen Christensen who had a severely injured man on board. Taking off the patient in a motor whaleboat at night, Forrest Sherman sped him to Bermuda, site of the nearest hospital. The destroyer arrived at Newport on 15 October and some four weeks later entered the Boston Naval Shipyard for major overhaul, lasting into 1961.

Fate
Forrest Sherman was decommissioned on 5 November 1982, stricken from the Naval Vessel Register on 27 July 1990 and sold for scrap to the Fore River Shipyard and Iron Works at Quincy, Massachusetts, on 11 December 1992. When the company went bankrupt she was resold to N. R. Acquisition Incorporated of New York City by the Massachusetts Bankruptcy Court.

The ship was 'recovered' by the Navy and berthed in the Inactive Ship Facility at the former Philadelphia Naval Shipyard. She was eventually put on a list for donation for museum status. In 2006, Congress passed Pub.L. 109–163, the National Defense Authorization Act 2006, which authorized the transfer of Forrest Sherman to the USS Forrest Sherman DD-931 Foundation Inc, a group that planned on moving the ship to Indian River Inlet, Delaware to restore it as a museum.  These plans fell through and the ship was removed from donation hold in 2011. Volunteers from other museum ships were allowed to remove useful parts/equipment in June 2011.

The Forrest Sherman was finally sold for scrapping 15 December 2014, and was scrapped by the Defense Logistics Agency Disposition Services.

Awards
Navy Unit Citation
Navy Expeditionary Medal
National Defense Service Medal
Armed Forces Expeditionary Medal with star

References

Forrest Sherman-class destroyers
Cold War destroyers of the United States
1955 ships
Vietnam War destroyers of the United States
Ships built in Bath, Maine

USS Forrest Sherman (DD-931)


Audiența este un film românesc din 1979 regizat de George Cornea. Rolurile principale au fost interpretate de actorii Mircea Diaconu, Ilarion Ciobanu.

Prezentare

Distribuție

Producție
Filmările au avut loc în perioada . Cheltuielile de producție s-au ridicat la ___ lei.

Primire
Filmul a fost vizionat de _ de spectatori în cinematografele din România, după cum atestă o situație a numărului de spectatori înregistrat de filmele românești de la data premierei și până la data de 31 decembrie 2014 alcătuită de Centrul Național al Cinematografiei.

Note

Legături externe

Vezi și
 1979 în film

Filme din 1979
Filme românești
Filme  românești
Filme în limba română
Filme regizate de George Cornea
Filme Casa de Filme 5
Filme de comedie românești
Filme de comedie din anii 1970

Audiența (film)


සිංහල අකුරකි. පාලි වචන ලිවීම සඳහා යොදාගැනේ

ඇතුලත් වචන
බොජ්ඣංග

මජ්ඣිම
සජ්ඣායනා
ගිජ්ඣකූට
බුද්ධ ගජ්ඣය

ආශ්‍රිත ලිපි
 ජ

සිංහල අකුරුඣංකාරය
ඣං යන අනුකරණ නාදය; මිණි ගෙඩි, දිය ඇලි, භූමි කම ්පා ආදියේ අනුකරණ ශබ්දයක්'
ඣම්පනය
පැනීම; පිනුම; පිම්ම
ඣම්පා
සිවුපද විරිතක නාමය; දොඹ විරිත
ඣරුකා
රැහැයියා
ඣල්ලිකා
දැලි කුණු
ඣාට
ඉලපත; මුස්න
ඣානය
ධ්‍යානය
ඣානලාභී
ධ්‍යාන ලැබූ තැනැත්තා
ඣායී
ධ්‍යාන වඩන්නා; ධ්‍යානයට සමවන් තැනැත්තා

ඣ


Lattaque de la prison d'al-Sinaa, dans la ville de Hassaké, a eu lieu  le , pendant la guerre civile syrienne. Elle est menée par l'État islamique, qui vise à libérer plusieurs de ses combattants, détenus par les Forces démocratiques syriennes (FDS).

L'attaque est la plus importante menée en Syrie par l'État islamique contre les Forces démocratiques syriennes depuis la chute de Baghouz en 2019.

Contexte

Pendant la guerre civile syrienne, la ville de Hassaké est le théâtre de plusieurs combats opposant tour à tour les Kurdes des YPG, le régime syrien et l'État islamique. Depuis 2016, la ville est majoritairement sous le contrôle des Forces démocratiques syriennes, une alliance de groupes anti-djihadistes dominés par les YPG.

Depuis la chute de son dernier territoire lors de la bataille de Baghouz, les djihadistes de l'État islamique mènent une guérilla contre les Forces démocratiques syriennes (FDS). Le groupe est principalement implanté dans le gouvernorat de Deir ez-Zor, dans la région de Raqqa, le gouvernorat de Homs, et plusieurs autres provinces. Le groupe terroriste mène très régulièrement des attaques de type insurrectionnel contre les forces arabo-kurdes.

En réponse, les Forces démocratiques syriennes soutenues par les États-Unis mènent ponctuellement des opérations de contre-terrorisme contre les cellules de l'État islamique, mais le manque de moyens et de soutien parmi la population arabe, et surtout la menace grandissante de la Turquie et de ses mandataires syriens dans le nord de la Syrie empêche les FDS de s'engager efficacement contre l'État islamique.

En 2022, environ  de l'État islamique sont détenus par les Forces démocratiques syriennes dans une vingtaine de centres de détention répartis au nord de la Syrie. Environ  à  de ces prisonniers, dont  de , sont détenus dans la prison d'al-Sinaa, dans le quartier de Ghwayran, au sud de la ville d'Hassaké.

Forces en présence
Selon l'Observatoire syrien des droits de l'homme (OSDH), plus d'une centaine de djihadistes participent à l'assaut depuis l'extérieur. Les Forces démocratiques syriennes estiment quant à elles le nombre des assaillants à près de 200.

Les forces américaines disposent d'environ  dans une base située dans la région d'Hassaké.  Selon The Wall Street Journal, au moins 200 militaires américains sont engagés dans les combats, en soutien aux FDS, avec l'appui de blindés M2 Bradley et de forces aériennes.

Déroulement

20 janvier
L'attaque débute le  par l'attaque de deux camions piégés à l'entrée de la prison. Après la seconde explosion, plusieurs combattants de l'État islamique lancent ensuite un assaut contre la prison. Un premier groupe attaque les tours de la prison, un second un poste kurde à proximité de la prison et deux autres coupent les routes pour bloquer les renforts envoyés par les Forces démocratiques syriennes. Une émeute éclate ensuite à l'intérieur de la prison.

L'attaque déclenche une énorme émeute dans la prison. Les prisonniers réussissent à capturer l'armurerie, puis à lancer parallèlement aux forces djihadistes à l'extérieur, un assaut contre le personnel de la prison. Au moins 22 combattants des YPG sont pris en otage par les prisonniers. La prison tombe rapidement sous le contrôle des terroristes. Les assaillants profitent de la nuit pour consolider leurs positions et libérer leurs membres .

21 janvier
Les Forces démocratiques syriennes (FDS) annoncent également qu'elles ont réussi à retrouver et à arrêter 89 des prisonniers qui s'étaient évadés de la prison. L'électricité de plusieurs parties de la ville d'Hassaké a été coupée, probablement par l'État islamique pour des raisons stratégiques.

L'OSDH rapporte que les affrontements se poursuivent entre l'État islamique et les FDS pour le contrôle de la prison et de ses environs.

Dans la soirée du , des avions de la coalition internationale tirent des fusées éclairantes au-dessus d'Hassaké tandis que de violents affrontements se déroulent autour de la prison de Ghuwayran et des quartiers de Ghuwayran et d'Al-Zouhour, contrôlés par l'État islamique. Les combattants de l'État islamique qui contrôlent la prison auraient également pris plusieurs otages. Les avions de la coalition ciblent également le bâtiment de l'université d'économie, situé à côté de la prison.

Le soir du , les FDS affirment avoir repris une centaine de détenus évadés.

22 janvier
Les combats se poursuivent pendant la nuit jusqu'à l'aube. Les Forces démocratiques syriennes (FDS) sont soutenues par des hélicoptères de la coalition internationale. Les combats sont très intenses, plusieurs combattants kurdes sont tués. Les FDS quadrillent la ville, ce qui leur permet d'arrêter . Plusieurs civils sont également arrêtés par les forces arabo-kurdes.

Des vidéos sur le terrain montrent la présence de plusieurs soldats des forces spéciales américaines déployées pour suppléer les Forces démocratiques syriennes qui ont du mal à avancer face aux djihadistes de l'État islamique. Une vidéo est publiée par l'État islamique montrant une centaine de prisonniers et de djihadistes leur prêtant allégeance et jurant de combattre jusqu'à la mort.

23 et 24 janvier
Au matin du , environ  sont encore retranchés dans une aile au nord de la prison selon un porte-parole des Forces démocratiques syriennes (FDS). D'autres occupent plusieurs bâtiments dans le quartier d'al-Zouhour, près de la prison.

L'État islamique revendique la libération de  et diffuse des vidéos montrant l'attaque de la prison et une vingtaine de combattants des FDS pris en otage.

Les SDF font appel à des chars T-62 dans la bataille. Tout au long de la journée, les forces démocratiques syriennes appellent à la reddition des combattants djihadistes par haut-parleurs.

Les combats baissent en intensité le soir du  et le lendemain, les combattants des FDS consolident leurs positions autour de la prison. Des dizaines de djihadistes se rendent. Les FDS revendiquent par la suite la reddition de  après un raid contre un immeuble du centre pénitentiaire. D'autres hommes de l'État islamique sont cependant toujours retranchés à l'intérieur d'une partie de la prison et menacent d'exécuter la cinquantaine d'otages qu'ils détiennent. Un autre groupe de djihadistes est encerclé dans l'immeuble d'une ancienne faculté, située non loin de la prison.

Les forces arabo-kurdes ont du mal à avancer face à l'État islamique. Les forces américaines doivent effectuer des dizaines de bombardements sur les positions djihadistes pour que les forces démocratiques syriennes puissent avancer.

L'armée américaine déploie également des soldats et des véhicules blindés sur place. Selon plusieurs sources sécuritaires, des dizaines de militaires et plusieurs chars Bradley soutiendraient l'offensive des FDS pour reprendre la prison d'Al Sinaa, encore sous le contrôle de l'État islamique.

25 janvier
Le , des négociations s'ouvrent entre les Forces démocratiques syriennes (FDS) et les derniers djihadistes de l'État islamique retranchés dans la prison qui réclament leur évacuation vers le désert de la Badiya contre la libération des otages. Cependant les combats reprennent en fin de journée. Les FDS coupent l'accès des détenus à l'eau et à la nourriture, afin de les pousser à se rendre.

26 janvier
Le , les Forces démocratiques syriennes (FDS) annoncent la reprise de la prison d'al-Sinaa, mettant fin à des combats qui ont duré six jours. Selon les forces kurdes, l'État islamique aurait libéré tous les membres du personnel pénitentiaire, avant que les FDS ne reprennent la prison dans l'après-midi.

Les combats et le siège de la prison se sont déroulés dans une quasi-panne médiatique. Presque aucune information n'était donnée en dehors des déclarations officielles des forces démocratiques syriennes, accusées de ne pas divulguer la totalité de leurs pertes et des évènements.

Aucune information n'a été révélée sur le fait que les Forces démocratiques syriennes ont accédé ou non aux demandes des djihadistes de l'État islamique d'être exfiltrés vers la Badiyah en échange des prisonniers capturés lors des cinq jours de combats.

La prison a été très fortement endommagée par les bombardements aériens de la coalition internationale. Les Forces démocratiques syriennes auront un énorme défi à remplir pour reloger les centaines de prisonniers de l'État islamique.

27 janvier
À la surprise des Forces démocratiques syriennes qui se sont empressées de revendiquer le contrôle total de la prison, entre  armés sont découverts lors du ratissage de la prison dans la matinée du . De nouveaux combats éclatent, faisant au moins douze tués du côté des hommes de l'État islamique, selon l'OSDH.

En début d'après-midi, l'État islamique a revendiqué deux nouvelles attaques dans les environs de la prison d'Al-Sinaa, dont une visant des journalistes.

28 janvier
Plusieurs dizaines de combattants de l'État islamique tiennent toujours les dortoirs nord de la prison pour la deuxième journée consécutive. Les forces démocratiques syriennes engagent des négociations avec les derniers combattants retranchés. Les forces kurdes affirment qu'elles n'accepteront des derniers djihadistes que la reddition.

Des avions de guerre américains bombardent à plusieurs reprises la prison selon des sources locales. Malgré quelques escarmouches, les forces démocratiques syriennes ne lancent pas d'offensive contre les derniers combattants retranchés car de nombreux soldats kurdes sont toujours portés disparus. Les FDS craignent que les djihadistes en retiennent certains en otage.

29 janvier
Dans la soirée du , l'État islamique revendique mener des attaques contre une patrouille américaine, supplée par des soldats des forces démocratiques syriennes dans le quartier de Ghouiran. Malgré les nombreuses affirmations des FDS, le quartier n'est toujours pas sécurisé et des djihadistes y sont retranchés, revendiquant ponctuellement des attaques contre les forces américano-kurdes.

Concernant la prison, les djihadistes contrôleraient toujours les dortoirs nord. Les forces démocratiques syriennes refusent d'y lancer un assaut.

Un assaut serait très probablement meurtrier pour les deux camps. L'aviation américaine ne peut soutenir l'assaut car les positions djihadistes sont hors d'atteinte. De plus, les sous-sols seraient très bien fortifiés. Des négociations sont en cours entre les derniers combattants retranchés et les forces arabo-kurdes.

30-31 janvier
Les Forces démocratiques syriennes reprennent le contrôle de la prison au bout de 10 jours de résistance acharnée des prisonniers de l'État islamique. Les FDS avec l'aide des forces armées américaines et britanniques réussissent à sécuriser la prison ainsi que les quartiers environnants.

Les forces kurdes n'ont pas voulu donner plus de précisions quant à la capture des dortoirs nord qui étaient encore sous le contrôle des djihadistes, ni sur le nombre de prisonniers qui ont réussi à s'enfuir.

Le , les FDS annoncent que la prison d'al-Sinaa est entièrement sous leur contrôle.

Suites
Quelques accrochages continuent d'avoir lieu dans les jours qui suivent. Ainsi, deux djihadistes sont tués le  dans le quartier de Ghwayran. La plupart des habitants des quartiers de Ghwayran et d'Al-Zouhour commencent cependant à regagner leurs foyers.

Nombre d'évadés
L'Observatoire syrien des droits de l'homme déclare le  que des centaines de détenus de l' État islamique ont réussi à s'échapper d'al-Sinaa, dont deux haut commandants. Selon l'Observatoire, de nombreux membres de l'État islamique qui se sont échappés de la prison ont fui vers la Turquie, vers les régions tenues par l'Armée nationale syrienne ou encore dans les territoires tenus par les Forces démocratiques syriennes.

Bilan humain
Selon l'Observatoire syrien des droits de l'homme (OSDH), à la date du  le bilan des combats et d'au moins , dont 156 gardiens et combattants des FDS, quatre civils, trois collaborateurs des forces d'auto-défense et , dont 140 tués par les frappes de la coalition. L'OSDH indique cependant que le bilan réel pourrait être plus élevé. D'après l'OSDH, des dizaines de gardiens et d'employés ont été décapités et leurs corps brûlés par les djihadistes. Les FDS déplorent également au moins 120 blessés à la date du .

Les Forces démocratiques syriennes annoncent quant à elles le  que plus de 120 de leurs combattants et gardes de la prison ont été tués, ainsi que 374 combattants de l'État islamique.

Quant à l'État islamique, le groupe revendique la mort de  gardiens et miliciens des forces démocratiques syriennes, dont plusieurs commandants ainsi que le directeur de la prison d'Al-Sinaa. Le groupe accuse également les forces démocratiques syriennes de sous-évaluer et de cacher leurs pertes .

Selon l'ONG Save the Children, plusieurs enfants détenus dans la prison trouvent la mort pendant les combats. L'UNICEF dénonce à cette occasion la détention d'enfants, alors qu'. Début , des experts indépendants de l'ONU indiquent que sur les 700 enfants détenus dans la prison d'al-Sinaa au moment de l'attaque, une centaine sont depuis portés disparus.

Selon les Forces démocratiques syriennes, à la date du  plus de  membres de l'État islamique, détenus ou infiltrés, se sont rendus. D'après l'OSDH, le nombre des détenus qui sont parvenus à s'enfuir n'est pas connu. L'État islamique revendique pour sa part la libération de plusieurs centaines de détenus.

Selon le Bureau de la coordination des affaires humanitaires de l'ONU, à la date du , les combats ont également provoqué la fuite de plus de .

Dans un rapport publié en , l'institut Crisis Group indique que l'assaut de l'État islamique a causé la mort de plus de 200 miliciens des FDS d'après les déclarations d'un commandant de Qamichli, ainsi que de 65 gardiens.

Revendication
Dans son bulletin hebdomadaire, l'État islamique affirme qu'un grand nombre de prisonniers ont été libérés lors de l'attaque et que des cellules de l'État islamique ont exfiltré un nombre important vers des zones sécurisées. Le bulletin d'information ne donne aucune précision sur le nombre de prisonniers qu'ils ont réussi à extraire.

Selon l'État islamique toujours, tous les prisonniers des forces démocratiques syriennes ont été libérés a la suite de négociations. Les forces arabo-kurdes auraient en effet accédé à toutes les demandes de l'État islamique, mais le groupe déclare que ses dirigeants veulent garder tous les détails secrets pour l'instant.

Selon des journalistes comme Wassim Nasr, les négociations se porteraient sur l'exfiltration des djihadistes vers la Badiyah. L'État islamique n'a communiqué ni chiffre ni détail sur la portée des négociations.

Concernant l'attaque, le groupe terroriste affirme que seul un commando de 14 hommes, dont deux kamikazes ont attaqué la prison et que le reste des combats a été déclenché par les prisonniers à la suite de la prise de l'armurerie de la prison.

Le groupe islamiste affirme que la cible initiale était la prison, mais qu'en réaction a l'effondrement des forces démocratiques syriennes, le groupe a décidé de continuer le combat pour affaiblir les effectifs et le moral des forces kurdes. Les combats ont également eu pour but de permettre a l'État islamique d'avoir plus de temps pour mettre les evadés en lieu sûr, l'État islamique affirme que de nombreux djihadistes libérés sont en sécurité.

Le groupe terroriste a également attaqué plus de seize positions et points de contrôle des forces démocratiques syriennes dans la province de Raqqa et Deir Ezzor, tuant une dizaine de miliciens kurdes, dans le but de saturer la sécurité des forces arabo-kurdes, et pour les empêcher d'envoyer des renforts vers la ville de Hassaké.

Vidéographie

Reportages photographiques
 Nicolas Delesalle, Syrie : au cœur des combats contre les mutins de Daech, Paris Match, 12 février 2022.

Notes et références

Bataille de la guerre civile syrienne
Bataille de 2022
2022 en Syrie
Janvier 2022
Bataille impliquant l'État islamique
Explosion en 2022

Attaque de la prison d'al-Sinaa


මොල්ලිගොඩ  ඉපැරණි සලාගම(හිංග)  පරපුරක් වූ සුසෙව්හේවගේ පරපුරට අයත් වූ පානදුර නල්ලූරුව ගමේ පිහිටි ඉංග්‍රීසි යුගයෙ මුල් සමයට අයත් වූ වලව්වකි. දොන් ඩික්සන් නැමති මහ නොතෝරිස් රාළහාමි විසින් ඉදිකරවන ලද දෙමහල් වලව්වකි. නල්ලූරුව මහ වලව්ව ලෙසින් ව්‍යවහාර කළ මෙම සුවිශාල නිවාසය 1999 වසරේදී පමණ කඩා වැටී විනාශ විය.

ඩික්සන් විලා වලව්ව


La douzième saison de la série télévisée d'animation Bob's Burgers est diffusée aux États-Unis entre le  et le 22 mai 2022 sur la Fox.

En France, les épisodes 1 à 9 sont disponibles depuis le 19 janvier 2022 sur la plateforme Disney+, les épisodes 10 à 22 sont eux disponible depuis le 13 juillet 2022 sur la même plateforme.

Épisodes

Notes et références

12

Saison 12 de Bob's Burgers