Stanley Ho Hung-sun  (; 25 November 192126 May 2020) was a Hong Kong-Macau billionaire businessman. His original patrilineal surname was Bosman, which was later sinicized to 何 (Ho). He was the founder and chairman of SJM Holdings, which owns nineteen casinos in Macau including the Grand Lisboa.

Ho was nicknamed variously Godfather and King of Gambling, reflecting the government-granted monopoly he held on the Macau gambling industry for 40 years. His wealth was divided among his daughter, Pansy Ho ($5.3 billion) who owns MGM Macau, fourth wife Angela Leong ($4.1 billion) who is managing director of SJM Holdings, and son Lawrence Ho ($2.6 billion) who owns City of Dreams.

Ho was the founder and chairman of Shun Tak Holdings, through which he owned many  businesses including entertainment, tourism, shipping, real estate, banking, and air transport. It is estimated that his businesses employ almost one-fourth of the workforce of Macau. Apart from Hong Kong and Macau, he also invested in mainland China, Portugal, North Korea where he operated a casino, Vietnam, the Philippines, Mozambique, Indonesia and East Timor.

His opinions and statements on Hong Kong's real estate and commercial development had considerable sway on the market. In his later years, he had been involved in litigation with his sister, Winnie Ho, concerning the ownership of the Macau casino. Having suffered a stroke in July 2009, followed by a long period of recovery, Ho began steps in late 2010 to devolve his grip on his financial empire to his various wives and children. Ho died on 26 May 2020 at the Hong Kong Sanatorium & Hospital.

Early life
He was of Chinese, Dutch-Jewish and English ancestry. Ho was descended from his great-grandfather, Charles Henry Maurice Bosman (1839–1892), who was of Dutch Jewish ancestry, and his Chinese mistress, Sze Tai (施娣) a local Bao'an (present-day Shenzhen and Hong Kong) woman. His grandfather was Ho Fook (何福), brother of the merchant Sir Robert Ho Tung.  Ho was the ninth of thirteen children of Ho Sai-kwong (何世光).

Education
Ho studied at Queen's College, Hong Kong, at which he attended Class D - the lowest class level in the then Hong Kong Class System - owing to unsatisfactory academic results. However, he later received a scholarship to the University of Hong Kong. He became the first student from Class D to be granted a university scholarship. His university studies were cut short by the outbreak of World War II in 1942. Following the Japanese occupation of Hong Kong, Ho moved to Macau.

Career

Ho began clerical work at a Japanese-owned import-export firm in Macau. He made his first fortune smuggling luxury goods and food across the Chinese border from Macau during World War II. In 1943 he set up a kerosene company and established a construction company with his money.

Ho, along with partners including Hong Kong tycoon Henry Fok, Macau gambler Yip Hon and his brother-in-law Teddy Yip, bid for Macau franchises.  By bidding high and promising to promote tourism and to develop infrastructure, they won the public tender for Macau's gaming monopoly license in 1961, for US$410,000, of which US$51,000 was provided by Henry Fok.  defeating the long-time Macau casino barons, the Fu family, by MOP 17,000. In 1961 the company was renamed Sociedade de Turismo e Diversões de Macau, S.A.R.L. (STDM).

In late 1962, Ho opened the Estoril Hotel, Macau's first luxury casino resort.

In 1970, Ho opened the flagship Lisboa Casino Hotel. In the same year, Ho also set up Shun Tak Holdings Ltd, which was listed on the Stock Exchange of Hong Kong. Through a subsidiary, TurboJET, it owns one of the world's largest fleets of high-speed jetfoils, which ferry passengers between Hong Kong and Macau.

In the 1980s, Ho pioneered the practice of subcontracting private gambling rooms in his casinos to independent agents. The practice developed in response to Triads' practice of buying hydrofoil tickets to scalp to tourists. Ho's practice developed as an alternative, which would allow Triad agents direct access to his casinos instead via commissions on sales of casino chips to gamblers. This practice evolved into the VIP contractual system known as the junket trade.

Ho's investments in Macau were diverse. In 1989, after STDM took full control of the Macau Jockey Club, Ho became its chairman and chief executive officer.

Ho opened a casino in Pyongyang, North Korea, in 1995.

In 1998 Ho became the first living Macanese resident to have a local street named after him.  He also launched Asia's first football and basketball lottery, called SLOT.

Ho was named by the Canadian Government, citing the Manila Standard newspaper, as having a link to the Kung Lok Triad (Chinese mafia) and as being linked to "several illegal activities" during the period 1999–2002. Ho's alleged ties to Chinese organized crime have also been reported by the New Jersey Division of Gaming Enforcement, citing a U.S. Senate committee and several government agencies, when the state investigated his ties to American casino operator MGM Mirage.

Positions held

Business

 Chairman Emeritus without directorship, Shun Tak Holdings Limited (信德集團)
 Chairman, Seng Heng Bank Limited
 Director, Shun Tak Shipping Company, Limited
 Chairman, iAsia Technology Limited (亞洲網上交易科技有限公司)
 Chairman, the Chinese Recreation Club in Hong Kong (CRC)
 Founder of Sociedade de Turismo e Diversoes de Macau, SARL (STDM)
 Chairman, SJM Holdings Limited (澳門博彩控股有限公司) (retirement announced in April 2018)
 Ho also made many other investments, including in venture capital and foreign real estate (such as in Singapore and London).

Community

 President of Real Estate Developers Association of Hong Kong (香港地產建設商會)
 Chairman of the board of directors of the University of Hong Kong Foundation for Educational Development and Research (香港大學教研發展基金董事局)
 Member of the Court and Council of the University of Hong Kong (香港大學校董會)
 Member of the Court of the Hong Kong Polytechnic University
 Member of the board of trustees of the Better Hong Kong Foundation
 Member of the Council of the University of Macau (澳門大學)
 Founder of the Dr. Stanley Ho Medical Development Foundation (何鴻燊博士醫療拓展基金會)

Politics
In 1987, Portugal agreed to return Macau to China in 1999. Ho took part in the joint advisory committee. He was a Standing Committee member of the 9th National Committee of the Chinese People's Political Consultative Conference.

Also;
 Member of the Selection Committee for the first Government of the Hong Kong Special Administrative Region
 Member of the Consultative Committee for the Basic Law of the Hong Kong SAR

Family
Ho had 17 children born to four women. Ho referred to his children's mothers as his wives. Polygamy remained legal in Hong Kong until 1971.

In 1942, Ho married Clementina Ângela Leitão, from the prestigious Portuguese Leitão family (Chinese:黎登)– her grandfather was a lawyer and Macau's only notary public at the time. They had four children. Leitão was involved in a motor vehicle accident in 1973, and suffered partial memory loss as a result. In 1981, Ho's and Leitão's son Robert and daughter-in-law Suki Potier died in a car accident. Clementina Leitão Ho died in 2004 and was buried in the St. Michael the Archangel Cemetery (Portuguese: Cemitério São Miguel Arcanjo).

In the late 1950s, Ho met Lucina Azul Jean Ying née Laam King-ying (藍瓊纓) and began a relationship. This union was recognized in Macau and Hong Kong at that time due to legacy rulings from the Great Qing Legal Code of the Chinese Qing Dynasty.  The relationship resulted in five children including daughters Daisy Ho, to whom Ho ceded the chairmanship of SJM, and Pansy Ho, a 50 percent partner in MGM Macau; son Lawrence Ho, CEO of Melco Crown Entertainment Ltd, another Macau-based casino company; and Josie Ho (何超儀), a rock singer and award-winning actress. Lucina's family now resides in Canada.

Ho began a relationship with Ina Chan in 1985. This union is not legitimate by laws in either Hong Kong or Macau. Ho's wife Clementina Leitão needed constant nursing care following her car accident, and Ina Chan was one of the nurses brought in to look after Leitão. Ho and Chan have three children together; Laurinda Ho, Florinda Ho, and Orlando Ho.

In 1988, Ho met Angela Leong On-kei when she was his dance instructor. The couple had four children together: Sabrina Ho, Arnaldo Ho, Mario Ho and Alice Ho. Leong is now an incumbent member of the Legislative Assembly in Macau.

Personal life
Over the years, dancing was one of Ho's favourite hobbies and he achieved excellence in the tango, cha-cha-cha, and waltz.  He often danced for televised charity fundraisers and sponsored numerous dance performances in Hong Kong and Macau, including the Hong Kong Arts Festival and the Macau Arts Festival, promoting the art of dance. He also invited internationally renowned dancing groups, such as the National Ballet of China, to perform in Hong Kong and Macau. Ho was a patron of the Hong Kong Ballet, the International Dance Teachers Association and was a Fellow of the Royal Academy of Dance. One of a number of thoroughbred racehorses owned by Ho, Viva Pataca, named after the currency of Macau, won several top Hong Kong races in 2006 and 2007.

In late July 2009, Ho suffered a fall at his home that required brain surgery. For seven months Ho was confined to the Hong Kong Adventist Hospital and, later, the Hong Kong Sanatorium and Hospital, during which period he made only one public appearance, on 20 December 2009, when he travelled to Macau to meet Chinese president Hu Jintao on the occasion of the 10th anniversary of Macau's return to Chinese sovereignty. Ho was discharged from the Hong Kong Sanatorium and Hospital on 6 March 2010 and thereafter employed a wheelchair.

Philanthropy

Qing relics
In 2003, Ho donated a Qing dynasty bronze boar's head to China's Poly Art Museum, a state-run organisation that aims to develop, display, rescue and protect Chinese cultural relics.  The boar's head is part of a collection of twelve looted from the imperial Summer Palace in
Beijing in 1860 when it was sacked and burnt by the French and British armies. On 21 September 2007, Ho donated to the Chinese government a Qing dynasty bronze sculpture of a horse's head originally taken from the Old Summer Palace. Ho had reportedly just purchased it from a Taiwanese businessman for US$8.84 million.

Lanceford dispute
In late January 2011, a dispute erupted among his wives and children involving the transfer of ownership of his private holding company, Lanceford. On 27 December Lanceford allotted 9,998 new shares, representing 99.98 per cent of its enlarged share capital, to two British Virgin Islands companies:  Action Winner Holdings Ltd, wholly owned by third wife, Ina, holding 50.55 per cent and Ranillo Investments Ltd, equally held by each of Laam's five children, holding the balance. The allotment document filed with the Registrar of Companies was signed by Laam's daughter Daisy.

Ho issued proceedings in the High Court, naming its directors – 11 defendants, including his second and third wives, and children Pansy and Lawrence Ho, alleging the group "improperly and/or illegally" acted in changing the share structure.  The writ sought an injunction restraining the defendants from selling or disposing any of the 9,998 new shares in the company.  The two British Virgin Islands companies were also named in the writ. Ho said his intention from the outset was to divide his assets equally among his families and that the actions of the directors of Lanceford effectively eliminated this possibility, according to a statement issued by his lawyer Gordon Oldham.

Amidst confusion caused by conflicting statements from Ho and his wives and children about the state of the dispute, Ho, through Oldham – who had been allegedly sacked and rehired within the space of a few days – said he had been pressured to make public statements and sign legal documents without him being fully apprised of their contents.

Honours
In 1984, Ho was awarded an honorary doctorate of social sciences from the University of Macau in 1984. In the New Year Honours 1990, Ho was appointed Officer of the Order of the British Empire (O.B.E.) "for services to the community in Hong Kong" In 1995, The Government of Portugal appointed Ho to the Grã-Cruz da Ordem do Infante Dom Henrique (Great Cross of the Order of Prince Henrique), the highest honour for any civilian, for his contributions to society. In 1998, Dr. Stanley Ho Avenue in Macau was named, the first Chinese person to be so honoured in Macau during their lifetime. In 2001, he was among the first recipients to receive the Golden Lotus Medal of Honour from Macau.

In 2003 Ho received the Gold Bauhinia Star from the Chief Executive of Hong Kong, Tung Chee Hwa. In 2007, he received the Grand Lotus Medal of Honour from Macau. In 2008 Ho received the Medal for Business Entrepreneurialism from the city of Cascais and the street running adjacent to the Estoril Casino was renamed as Avenida Stanley Ho. It was the first road in Portugal to be named after a living Chinese citizen. In June 2009 he received the Visionary award at the G2E Asia conference, organised by the American Gaming Association; the award was delivered by Macau SAR Chief Executive Edmund Ho. In November 2010, Ho was awarded the Grand Bauhinia Medal.

Death
Ho was in poor health in his last years, and stayed in hospital after his health deteriorated following a stroke in 2009. On 25 May 2020, Ho was reported to be in a critical condition, and he died at the Hong Kong Sanatorium & Hospital on 26 May 2020, at around 1 pm local time. He was 98.

In popular culture
 It Could Happen Here - The Macau Tycoon : 1991 television film, portrayed by Jackie Lui Chung Yin.
 Casino Tycoon & Casino Tycoon 2 : 1992 films, the character Benny Ho, portrayed by Andy Lau.
 Chasing the Dragon II: Wild Wild Bunch : 2019 film, the character Stanford Ho, portrayed by Michael Wong.

See also
 Economy of Macau
 Legal system of Macau
 List of graduates of University of Hong Kong
 List of billionaires
 Politics of Macau
 List of oldest fathers

References

External links

 Shun Tak Holdings Limited

1921 births
2020 deaths
Alumni of the University of Hong Kong
Hong Kong billionaires
Hong Kong Basic Law Consultative Committee members
Hong Kong casino industry businesspeople
Hong Kong chief executives
Hong Kong financial businesspeople
Hong Kong investors
Hong Kong people of Dutch-Jewish descent
Hong Kong philanthropists
Hong Kong racehorse owners and breeders
Hong Kong real estate businesspeople
Hong Kong shipping businesspeople
Macau billionaires
Macau businesspeople
Members of the Selection Committee of Hong Kong
Members of the Election Committee of Hong Kong, 1998–2000
Members of the Election Committee of Hong Kong, 2000–2005
Members of the Election Committee of Hong Kong, 2007–2012
Members of the Standing Committee of the 9th Chinese People's Political Consultative Conference
Members of the Standing Committee of the 10th Chinese People's Political Consultative Conference
Members of the Standing Committee of the 11th Chinese People's Political Consultative Conference
Officers of the Order of the British Empire
Alumni of Queen's College, Hong Kong
Recipients of the Grand Bauhinia Medal
Ho family
21st-century philanthropists

Stanley Ho


Howard Shu (* 28. November 1990) ist ein US-amerikanischer Badmintonspieler.

Karriere
Howard Shu gewann bei den Junioren-Badmintonpanamerikameisterschaften von 2006 bis 2008 in den Altersklassen U12 und U19 drei Medaillen. Bei der Carebaco-Meisterschaft siegte er 2011 im Herreneinzel. 2012 qualifizierte er sich mit seiner Nationalmannschaft für die Endrunde des Thomas Cups, schied dort jedoch in der Gruppenphase aus. Bei den nationalen Titelkämpfen gewann er 2010, 2011 und 2012 jeweils Bronze.

Referenzen

Badmintonspieler (Vereinigte Staaten)
Teilnehmer an den Panamerikanischen Spielen (Vereinigte Staaten)
US-Amerikaner
Geboren 1990
Mann
US-amerikanischer Meister (Badminton)
Teilnehmer der Olympischen Sommerspiele 2016
Olympiateilnehmer (Vereinigte Staaten)

Howard Shu


يوهانس بيدنورتز  هو عالم فيزيائي ألماني حصل على جائزة نوبل للفيزياء عام 1987 عن اكتشافه الموصلات الفائقة في درجات الحرارة العالية.

ولد يوهانس بيدنورتز في 16 مايو 1950 بمدين نويكيرش بمقاطعة وستفاليا بألمانيا. وبعد اتمام دراسته في جامعة مونستر بدأ ابحاث درجة الدكتوراه بكلية فيزياء المواد الصلبة في زيوريخ بسويسرا تحت اشراف بروفيسور كارل مولر. وكان كارل مولر استاذا في تلك الكلية بزيوريخ ويعمل في نفس الوقت لدي معامل إي بي إم. وانتقل بيدنورتز إلى أي بي إم، وبدأ عام 1983 مع مولر دراسة الخواص الكهربائية للسيراميك المكون من أكسيد الفلزات الانتقالية مثل أكسيد لانثانيوم باريوم نحاس LaBaCuO تحت درجة حرارة 35 كلفن . وبعد ذلك توصلا إلى المركب BSCCO وهو فائق التوصيل تحت 107 كيلفن ، فكانت هذه طفرة هائلة.

روابط خارجية

مراجع

أشخاص على قيد الحياة
أشخاص من شتاينفورت (قضاء)
أعضاء أجانب في الأكاديمية الوطنية الأمريكية للعلوم
ألمان نالوا جائزة نوبل
حائزون على جائزة نوبل في الفيزياء
خريجو المعهد الفدرالي للتكنولوجيا في زيوريخ
زملاء آي بي إم
علماء الفيزياء التجريبية
فيزيائيون ألمان
فيزيائيون ألمان في القرن 20
فيزيائيون ألمان في القرن 21
مواليد 1950
موظفو آي بي إم

يوهانس بيدنورتز


"Radio Free Europe" er en sang af det amerikanske alternative rockband R.E.M., der blev udgivet i 1981 som bandets første single. En genindspillet version, som udkom på debutalbummet Murmur i 1983 blev gruppens gennembrudshit.

Overblik
"Radio Free Europe" blev udgivet som R.E.M.'s debutsingle på det kortlivede uafhængige pladeselskab Hib-Tone i 1981. Sangen indeholder det "what were to become the trademark unintelligible lyrics which have distinguished R.E.M.'s work ever since." Singlen blev positivt modtaget af musikkritikerne, og succesen skaffede gruppen en pladekontrakt  med I.R.S. Records. R.E.M. genindspillede sangen til deres debutalbum Murmur i 1983. Genindspilningen for I.R.S. blev gruppens første single på hitlisterne, hvor den toppede som nummer 78 på Billboard Hot 100. Sangen er blevet listet som nummer 389 på Rolling Stones liste over The 500 Greatest Songs of All Time. I 2010 blev den tilføjet til Library of Congresss National Recording Registry for at etableret "mønsteret for senere indierock-udgivelser ved at bryde igennem i college radio." Sangen blev brugt i filmen The Party Animal fra 1984.

Genindspilning

R.E.M. skrev kontrakt med I.R.S. Records i 1982 og pladeselskabet bad R.E.M. om at genindspille "Radio Free Europe" i 1983 til deres debutalbum Murmur. Bandet indvilligede, fordi de havde følte, at de kunne forbedre den oprindelige version betydeligt ved at indspille den på ny.

Den genindspillede version af "Radio Free Europe" blev den første single fra Murmur. Det blev den første af gruppens singler, som nåede ind på hitlisterne, hvor den toppede som nummer 78 på Billboard singles chart og den var på listen i fem uger. Sangen nåede også nummer 25 på Billboard Top Tracks chart.

Hitlister

Spor
Alle sange er skrevet af Bill Berry, Peter Buck, Mike Mills og Michael Stipe medmindre andet er angivet.

Hib-Tone version
"Radio Free Europe" – 3:46
"Sitting Still" – 3:07

I.R.S. version
"Radio Free Europe" (edit) – 3:10
"There She Goes Again" (Lou Reed) – 2:49

Referencer

R.E.M. sange
Sange fra 1981

Radio Free Europe (sang)


Babina svila (babosvilka; lat. Armeria) je rod trajnica iz porodice Plumbaginaceae, dio je tribusa Staticeae, potporodica Limonioideae. Postoji 98 ili 99  vrsta.

Rod je raširen uglavnom po sjevernoj hemisferi (Euroazija i Sjeverna Amerika), ali i neke iznimke u čileanskim Andama i Ognjenoj zemlji. U Hrvatskoj su na popisu dvije vrste, sivkasta babosvilka (A. canescens; sa dvije podvrste) i primorska babosvilka (A. maritima)

Vrste

 Armeria alboi (Bernis) Nieto Fel.
 Armeria alliacea (Cav.) Hoffmanns. & Link
 Armeria alpina Willd.
 Armeria alpinifolia Pau & Font Quer
 Armeria arcuata Welw. ex Boiss. & Reut.
 Armeria arenaria (Pers.) F. Dietr.
 Armeria aspromontana Brullo, F. Scelsi & G. Spampinato
 Armeria atlantica Pomel
 Armeria beirana Franco
 Armeria belgenciensis Donad.
 Armeria berlengensis Daveau
 Armeria bigerrensis (Pau ex C. Vicioso & Beltrán) Rivas Mart.
 Armeria bourgaei Boiss. ex Merino
 Armeria brutia Brullo, Gangale & Uzunov
 Armeria bubanii G. H. M. Lawr.
 Armeria caballeroi (Bernis) Donad.
 Armeria caespitosa (Ortega) Boiss.
 Armeria canescens (Host) Boiss.
 Armeria cantabrica Boiss. & Reut. Willk.
 Armeria capitella Pau
 Armeria cariensis Boiss.
 Armeria castellana Boiss. & Reut. ex Leresche
 Armeria castrovalnerana Alejandre, Barredo & M. J. Escal.
 Armeria castroviejoi Nieto Fel.
 Armeria choulettiana Pomel
 Armeria ciliata (Lange) Nieto Fel.
 Armeria colorata Pau
 Armeria curvifolia Bertero
 Armeria denticulata (Bertol.) DC.
 Armeria duriaei Boiss.
 Armeria ebracteata Pomel
 Armeria eriophylla Willk.
 Armeria euscadiensis Donad. & Vivant
 Armeria filicaulis (Boiss.) Boiss.
 Armeria fontqueri Pau
 Armeria gaditana Boiss.
 Armeria garganica Arrigoni
 Armeria genesiana Nieto Fel.
 Armeria girardii (Bernis) Litard.
 Armeria godayana Font Quer
 Armeria grajoana Casim.-Sor. Solanas & Cabezudo
 Armeria helodes F. Martini & Poldini
 Armeria hirta Willd.
 Armeria hispalensis Pau
 Armeria humilis (Link) Schult.
 Armeria icarica Edmondson
 Armeria johnsenii Papan. & Kokkini
 Armeria langei Boiss.
 Armeria leonis Sennen
 Armeria leucocephala Salzm. ex W. D. J. Koch
 Armeria linkiana Nieto Fel.
 Armeria macrophylla Boiss. & Reut.
 Armeria macropoda Boiss.
 Armeria maderensis Lowe
 Armeria malacitana Nieto Fel.
 Armeria maritima (Mill.) Willd.
 Armeria masguindalii (Pau) Nieto Fel.
 Armeria mauritanica Wallr.
 Armeria merinoi (Bernis) Nieto Fel. & Silva Pando
 Armeria morisii Boiss.
 Armeria muelleri A. Huet
 Armeria multiceps Wallr.
 Armeria nebrodensis (Guss.) Boiss.
 Armeria neglecta Girard
 Armeria pauana (Bernis) Nieto Fel.
 Armeria pinifolia (Brot.) Hoffmanns. & Link
 Armeria pocutica Pawl.
 Armeria pseudarmeria (Murray) Mansf.
 Armeria pubigera (Desf.) Boiss.
 Armeria pubinervis Boiss.
 Armeria pungens (Brot.) Hoffmanns. & Link
 Armeria purpurea W. D. J. Koch
 Armeria quichiotis (Gonz. Albo) A. W. Hill
 Armeria rivasmartinezii Sard. Rosc. & Nieto Fel.
 Armeria rothmaleri Nieto Fel.
 Armeria rouyana Daveau
 Armeria rumelica Boiss.
 Armeria ruscinonensis Girard
 Armeria sampaioi (Bernis) Nieto Fel.
 Armeria sancta Janka
 Armeria sardoa Spreng.
 Armeria saviana Selvi
 Armeria seticeps Rchb.
 Armeria simplex Pomel
 Armeria soleirolii (Duby) Godr.
 Armeria spinulosa Boiss.
 Armeria splendens (Lag. & Rodr.) Webb
 Armeria sulcitana Arrigoni
 Armeria tingitana Boiss. & Reut.
 Armeria trachyphylla Lange
 Armeria transmontana (Samp.) G. H. M. Lawr.
 Armeria trianoi Nieto Fel.
 Armeria trojana Bokhari & Quézel
 Armeria undulata (Bory & Chaub.) Boiss.
 Armeria vandasii Hayek
 Armeria velutina Boiss. & Reut.
 Armeria villosa Girard
 Armeria welwitschii Boiss.
 Armeria × carnotana Blanco-Dios
 Armeria × cintrana Taul. Gomes
 Armeria × nieto-felineri Rivas Mart., T. E. Díaz & F. Fernández-González
 Armeria × pilariae Sánchez Gullón, Muñoz Rodr. & Polo Ávila
 Armeria × salmantica (Bernis) Nieto Fel.

Izvori

Vranjemilovke

Babina svila


Sadler's Wells Theatre is a London performing arts venue, located in Rosebery Avenue, Islington. The present-day theatre is the sixth on the site. Sadler's Wells grew out of a late 17th-century pleasure garden and was opened as a theatre building in the 1680s.

Lacking the requisite licence to perform straight drama, the house became known for dancing, performing animals, pantomime, and spectacular entertainments such as sea battles in a huge water tank on the stage. In the mid-19th century, when the law was changed to remove restrictions on staging drama, Sadler's Wells became celebrated for the seasons of plays by Shakespeare and others presented by Samuel Phelps between 1844 and 1862. From then until the early 20th century the theatre had mixed fortunes, eventually becoming abandoned and derelict.

The philanthropist and theatre owner Lilian Baylis bought and rebuilt the theatre in 1926. Together with Baylis's Old Vic, Sadler's Wells became home to dance, drama and opera companies that developed into the Royal Ballet, the National Theatre and English National Opera. From the 1930s to the 1980s the theatre was home to 21 London seasons by the D'Oyly Carte Opera Company; from the 1950s to the 1970s the English Opera Group, founded by Benjamin Britten, had its London base at Sadler's Wells; and between the 1950s and 1980s the Handel Opera Society staged productions there. Visiting dance troupes included the Alvin Ailey and Merce Cunningham companies, the Dance Theatre of Harlem, London Contemporary Dance Theatre and the Ballet Rambert.

The current theatre dates from 1998. It consists of two performance spaces: a 1,500-seat main auditorium and the Lilian Baylis Studio, with extensive rehearsal rooms and technical facilities also housed within the site. Sadler's Wells is now chiefly known as a dance venue. As well as hosting visiting companies, the theatre is also a producing house, with associated artists and companies who create original works for the theatre. Sadler's Wells maintains an additional base at the Peacock Theatre in the West End.

History

First theatre: c. 1683–1765
Details of the origins of Sadler's Wells are disputed. According to Dennis Arundell in his history of the theatre, its founder was called Dick Sadler. Many other sources, from the 18th century onwards, say the same, but others give Sadler the forename Thomas, and according to the Survey of London he was Edward. It is also uncertain when Sadler established his auditorium: many sources give the year as 1683; others give it as 1684 or 1685. According to Arundell, Sadler had already opened his "Musick-House" at an unspecified date before 1683; a history of the house published in 1847 confines itself to saying that the house was built at some time after the creation of the adjoining New River in 1614.

A well with water from a mineral spring was discovered on Sadler's land in Islington, near the boundary with Clerkenwell. After an eminent physician tested the water and praised its supposed health-giving properties, Sadler found two more wells nearby. Taking the waters was fashionable at the time – there were popular spas at Bath, Tunbridge and Epsom – and Sadler started marketing the water from his wells. Visitors to the Musick-House began to drink it, and many London physicians recommended their patients to do so. By the end of the summer of 1685 five or six hundred people frequented the Musick-House every morning for the water. Sadler laid out ornamental gardens and engaged entertainers to amuse his patrons: there were tumblers, rope-dancers and musicians. Sadler took as his business partner a violinist, Francis Forcer, who was both dancing-master and composer.

The initial popularity of Sadler's spa did not last long, and by 1691 it had ceased to be a fashionable resort. He sold two of his wells, and the original one dried up for a time; his entertainments became the main draw for those of the public still interested. There is no documentary proof, but Arundell conjectures that by 1697 Sadler had either died or retired; Forcer went into partnership with a glover, James Miles, and the wooden auditorium was renamed "Miles's Musick-House". Under their management the public could hear ballad singers and see jugglers, wrestlers, fighters, dancing dogs and, according to the theatre's 21st-century historian, "even a singing duck".

In the early years of the 18th century the reputation of the spa declined. The proprietors advertised for a new manager in 1700, but the decline continued. In 1711, after its fashionable clients had taken their trade elsewhere, Sadler's Wells was described in The Inquisitor as "a nursery of debauchery", and the place was frequented by many "unaccountable and disorderly" people. In 1712 a man called French was sentenced to death at the Old Bailey for killing a Mr Thwaits at Sadler's Wells.

Miles died in 1724, and under Forcer's son the auditorium was "entirely new modelled and made every way more commodious than heretofore for the better reception of company". Forcer junior sought to improve standards – according to one historian he "succeeded, to a great degree," in driving away "the mass of incomprehensible vagabonds" – but after his death in 1743 John Warren took over, and standards fell again, to the extent that the authorities closed the place. The lease was acquired by Thomas Rosoman and Peter Hough, who reopened Sadler's Wells in April  1746. According to Arundell they "thereby started twenty years' prosperity for the old wooden theatre". Rosoman substantially reconstructed the wooden building in 1748–49.

Rosoman engaged a regular resident company of actors, and the old Musick-House became a theatre. Rosoman introduced burlettas, at that time a genre new to England. According to the current laws, only the two patent companies were permitted to present non-musical dramas. Sadler's Wells and other theatres were obliged by the Minor Theatres Act (1751) to avoid spoken dialogue. To circumvent this rule, theatre managers had their actors speaking against a continuous background of instrumental music, so that it was passed off as a musical entertainment. In general the authorities did not enforce the letter of the law with particular rigour. The Tempest was performed there in 1764, but Arundell suggests it was not Shakespeare's original, but "Garrick's version of the Dryden-Shakespeare-Purcell work castrated into an opera".

In 1763 Rosoman engaged the dancers from the Theatre Royal, Drury Lane. This suited both theatres, as at that time Sadler's Wells customarily opened from late spring to early autumn and the patent theatres were open for the other half of the year. Arundell comments that this engagement added to the prestige of Sadler's Wells "and ultimately benefited the place enormously, for the new Ballet Master was Giuseppe Grimaldi". (Grimaldi's son, Joseph, later became one of Sadler's Wells's star attractions.) Rosoman prospered and in the summer of 1764 he announced that Sadler's Wells would be pulled down at the end of the season and rebuilt "in a most elegant manner".

Second theatre: 1765–1802

Rosoman was a builder by trade, and he had the wooden theatre replaced with a brick structure. The new building was completed in seven weeks, and cost £4,225; it opened in April 1765. The new house was well received: a London newspaper reported, "Sadler's Wells is now rebuilt and considerably enlarged; each of the entrances is decorated with an elegant iron gate and pallisades [with] a degree of splendor and magnificence ... that do equal honour to the taste and liberality of the Proprietor".

In 1771 Rosoman retired. He sold his three-quarter share in the theatre to Thomas King, a friend and Drury Lane colleague of Garrick. King took over the management from December 1771, and continued to offer entertainments of the traditional variety – tumblers, singers, acrobats and "Several surprising and pleasing Performances by Messrs Sigels, lately arrived from Paris". Although his own tastes favoured the dramatic, King catered for the tastes of his audiences, and in particular featured pantomimes, establishing the theatre as a rival to the Theatre Royal, Haymarket in that genre. His shows, with music by Charles Dibdin, included such pieces as Vineyard Revels, or, The Harlequin Bacchanal, and The Whim-Wham, or, Harlequin Captive. In 1781 Joseph Grimaldi made his debut, aged two, dancing with his sister.

In the 1790s Dibdin was stage manager as well as composer, with Grimaldi as comic star. The theatre was by now in need of renovation, not least because of concerns about safety. The proprietors, led by William Siddons, husband of Sarah Siddons, proposed "an Entire new inside" so that "the Building will be a stable one for fifty years to come".

Third theatre: 1802–1879

Sadler's Wells reopened in 1802 with an interior "entirely re-built at an immense Expence". In 1804 it acquired a new attraction, dubbed the Aqua-show. A huge water tank was installed under the stage for the production of aquatic spectacles. This tank and a second, above the stage to provide waterfall effects, were  supplied with water from the New River alongside the theatre. The historian Shirley S. Allen writes that such was the remarkable realism in the performance of sea stories that Sadler's Wells became for thirty years the home of the "nautical drama". Grimaldi, by the early 19th century established as "the unchallenged king of clowns", continued as the theatre's principal clown until 1820, while pursuing a parallel career at Drury Lane.

The law restricting non-musical drama to the two patent theatres was repealed by the Theatres Act 1843, and the following year serious drama came to Sadler's Wells. From 1844 to 1862 the actor Samuel Phelps managed and starred at the theatre. He intended to bring Shakespeare to the masses. Sadler's Wells at this stage had a largely local Islington audience, working class and relatively uneducated; economically the theatre had its advantages: a large capacity (2,500) and a low rent.

Phelps believed that the theatre should be a "place for justly representing the works of our great dramatic poets", particularly since the leading London theatres were not presenting "the real drama of England". His biographer J. P. Wearing writes:

Among the leading players in Phelps's company were Laura Addison, George Bennett, Fanny Cooper and Isabella Glyn; Phelps starred in roles from Hamlet to Falstaff. His productions purged Shakespeare's texts of 18th-century alterations and additions, and he presented the plays with attention to period detail and dramatic veracity. The theatre began to attract audiences from beyond Islington, including literary figures such as Charles Dickens and John Forster.

After Phelps's withdrawal in 1862 the theatre presented a variety of shows, but despite appearances by stars such as J. L. Toole, Hermann Vezin and the young Nellie Farren, they made little impact. A succession of managements tried unsuccessfully to make the theatre pay; in 1874 it closed, and there were plans to turn it into baths and washhouses. The building, by that time in a perilous state of repair, was used as a roller-skating rink and for lectures, boxing and wrestling, until in August 1878 Sidney Bateman, who had been running the Lyceum Theatre in the West End, bought the unexpired thirty-three year term of the lease of Sadler's Wells.

Fourth theatre: 1879–1915

Bateman commissioned C. J. Phipps to design a new interior for the theatre, which reopened in October 1879. Phipps remodelled the auditorium, with a stronger horseshoe profile for the front of the dress circle and the gallery above. These extended further toward the stage than the previous circle and gallery, increasing the theatre's capacity. The theatrical newspaper The Era reported, "The changes made are so remarkable that Sadler's Wells may now claim to be one of the largest and most conveniently-constructed London Theatres". By this time Islington was no longer an isolated village but an inner suburb of the capital, and The Era remarked, "no part of London can be reached with greater facility, as omnibuses, trams, &c, from various directions pass the Angel, not two hundred yards from Sadler's Wells."

Bateman hoped to restore the theatre's reputation as a classical playhouse, as in Phelps's time, but she died in 1881. The historian Philip Temple quotes an earlier writer's comment that despite Bateman's improvements, "in the 1880s the Saturday night gallery contained the most villainous, desperate, hatchet-faced assembly of ruffians to be found in all London". There were several attempts to convert the theatre into a music hall, but the authorities refused to license it.

The only major changes to Phipps's building was the addition by the architect Bertie Crewe of a new portico in 1894, aligned to the newly completed Rosebery Avenue. In the early years of the 20th century the theatre doubled as a cinema, showing films on Sundays, with live shows – described as "cowboy melodramas" – during the week, but it did not prosper. The drama critic of The Daily Chronicle wrote in February 1914, "Poor wounded old playhouse! Here it stands even now, shabby and disconsolate, its once familiar frontage half hidden with glaring posters".

With the support of leading theatre figures including Bernard Shaw, Arthur Wing Pinero and Seymour Hicks, a plan was put forward in 1914 for saving the building and turning it into "a people's theatre". The outbreak of the First World War led to the abandonment of the plan, and Sadler's Wells declined into dereliction. It closed in 1915 and did not reopen after the war.

Fifth theatre: 1931–1998

Since 1914 the theatre proprietor and philanthropist Lilian Baylis had run drama and opera companies at her south London theatre, the Old Vic, with cheap prices aimed at attracting a local, working-class audience. In 1925 she began a campaign to reopen the derelict Sadler's Wells on a similar basis. She raised the necessary funds and the new theatre was designed by F.G.M. Chancellor, who had succeeded Frank Matcham as senior partner of Matcham and Co..

The new theatre opened with a gala performance on 6 January 1931 of Shakespeare's Twelfth Night starring John Gielgud as Malvolio and Ralph Richardson as Toby Belch. Acquiring Sadler's Wells enabled Baylis to set up a dance company, something she had wished to do since 1926 when she engaged Ninette de Valois to improve the standard of dancing in operas and plays at the Old Vic. The three companies Baylis founded developed over the next three decades to become the Royal Ballet, the National Theatre and English National Opera.

For the first few years the opera, drama and ballet companies, known as the "Vic-Wells" companies, moved between the Old Vic and Sadler's Wells but by 1935 the established pattern was drama at the former and opera and ballet at the latter. In 1935 both the opera and ballet companies went on summer tours for the first time. In their absence the D'Oyly Carte Opera Company took the theatre for a season of Gilbert and Sullivan, the first of 21 such London seasons at Sadler's Wells, returning in every decade until the 1980s.

After Baylis died in 1937 the Vic-Wells Ballet was led by de Valois and the opera company was under the direction of Tyrone Guthrie. In the Second World War the government requisitioned Sadler's Wells as a refuge for those made homeless by air-raids. The two companies toured for the duration of the war. When the theatre reopened in 1945 the companies were briefly reunited there, but de Valois objected to Guthrie's treatment of her company as the junior partner, more valued for financial than for artistic reasons. She accepted an invitation from David Webster to base her main ballet company at the reopened Covent Garden, opening there in 1946, leaving Sadler's Wells with a small company known as the Sadler's Wells Theatre Ballet. The previous year the theatre had hosted the world premiere of Benjamin Britten's Peter Grimes and over the next twenty years the opera company gave British premieres of works by Verdi, Janáček, Stravinsky, Weill and others. Britten's ensemble the English Opera Group had London seasons at Sadler's Wells between 1954 and 1975. From 1959 to 1985 the theatre was the main venue for the annual seasons of the Handel Opera Society.

In the 1960s there were plans for a new opera house on the South Bank; Norman Tucker and his successor, Stephen Arlen, the directors of Sadler's Wells Opera, hoped to relocate the company there. The plans fell through when the government declined to contribute to the capital cost of the proposed building, but Arlen remained convinced that Sadler's Wells was too small for productions of large-scale works such as Wagner's Ring cycle, and in 1968 the company left Sadler's Wells and moved to the London Coliseum. Sadler's Wells turned to dance as its main focus. By the 1970s, the historian Sarah Crompton records, the dance programme of Sadler's Wells had diversified considerably. Among the companies appearing there were the Ballet Rambert and London Contemporary Dance Theatre, who both held residencies there, and visiting ensembles including those of Alvin Ailey and Merce Cunningham, Nederlands Dans Theater and the Dance Theatre of Harlem.

After the opera company moved out, Sadler's Wells hosted operatic productions by, among others, Cologne Opera (1969) and the Camden Festival (1972). In 1983 a new opera company was established, with its base at Sadler's Wells. With a four-year sponsorship from the National Westminster Bank, the New Sadler's Wells Opera company focused on operetta, sung in English, in London and on tour. The first season opened with Lehar's The Count of Luxembourg, followed by Gilbert and Sullivan's The Mikado and Kálmán's Countess Maritza. Later productions included Gilbert and Sullivan's H.M.S. Pinafore, Ruddigore and The Gondoliers, Offenbach's La belle Hélène, Lehár's The Merry Widow and  Noël Coward's Bitter Sweet. Most of these productions were commercially recorded and released on LP and CD. After the  sponsorship ended, costs outstripped income, and the opera company – though not the theatre – went into liquidation with heavy debts in 1989.

In 1994 a new chief executive, Ian Albery, led a campaign to transform Sadler's Wells into a purpose-built dance theatre. During the two-year rebuilding, Sadler's Wells moved temporarily to the Peacock Theatre in the West End, where it has maintained a presence ever since.

Sixth theatre: 1998–

The new theatre was designed by the Arts Team division of the architects RHWL. It opened in October 1998 with a design that incorporates the skeleton of the 1931 Chancellor theatre (which itself contained bricks from the Victorian structure). It has an expanded 15m² sprung stage, a 1,500-seat auditorium, three rehearsal studios and the smaller 200-seat Lilian Baylis studio theatre for the development and presentation of small-scale work. The current building retains the Grade II listing applied to the Matcham theatre in 1950.

The opening season included performances by Pina Bausch's Tanztheater Wuppertal, William Forsythe's Ballett Frankfurt, and Rambert Dance. Operatic productions at the new house have included seasons by the Royal Opera (1999), Welsh National Opera (1999 and 2001), Polish National Opera (2004), Glyndebourne Touring Opera (2007) and English Touring Opera (2010).

In 2004 a new director, Alistair Spalding, concluded that Sadler's Wells "had been at its best when it had had resident companies and new works being created within its walls". He announced:

In accordance with this policy Sadler's Wells  has appointed an increasing number of choreographers and other associate artists and has commissioned and produced new work. In 2004 Breakin' Convention joined Sadler's Wells, "representing the origins and evolution of hip hop culture through performance and education." The theatre now claims to create and share more new work than any other dance organisation in the world.

Notes, references and sources

Notes

References

Sources

  With four supplements, published 1966–1983.

1683 establishments in England
Ballet venues in the United Kingdom
Birmingham Royal Ballet
Contemporary dance
Dance in London
Dance venues in England
Grade II listed buildings in the London Borough of Islington
Grade II listed theatres
Music venues completed in 1998
Opera houses in England
Pleasure gardens in England
The Royal Ballet
Theatres completed in 1998
Theatres in the London Borough of Islington

Sadler's Wells Theatre


An Dieffenbachia humilis in uska species han Liliopsida nga ginhulagway ni Eduard Friedrich Poeppig. An Dieffenbachia humilis in nahilalakip ha genus nga Dieffenbachia, ngan familia nga Araceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Mga sumpay ha gawas

Dieffenbachia

Dieffenbachia humilis


Oratorij Sv. Josipa od Monte Royala (francuski: Oratoire Saint-Joseph du Mont-Royal) rimokatolička je bazilika smještena na sjevernoj padini brda Royal u Montrealu, u Kanadi.

Povijest
Godine 1904. brat André (Alfred Bessette) započeo je s gradnjom male kapelice pokraj brda kraj koledža Notre Dame. Ubrzo, postala je vrlo mala za mnogo hodočasnika. Uz njeno proširenje, 1917. godine, sagrađena je crkva, nazvana kripta, s kapacitetom za sjedenje 1000 ljudi. Godine 1924. počela je izgradnja bazilike; i potpuno je dovršena 1967. godine. Druga je crkva po veličini takve vrste na svijetu, iza Bazilike sv. Petra u Vatikanu i najveća je crkva u cijeloj Kanadi.

Štovanje
Bazilika je posvećena sv. Josipu, kojemu je brat André pripisao sva čuda, koja su se dogodila u ovom svetištu. Mnoga od njih bila su povezana s određenim čudesnim izlječenjem mnogih hodočasnika (oboljeli od paralize, slijepci, bolesni itd.) Relikvija u crkvenom muzeju sadrži srce brata Andrija. Baziliku pohode i brojni protestanti. Na izložbi u bazilici nalazi se zid prekriven slikama onih koji su se izliječili. Papa Ivan Pavao II. je 1982. godine prepoznao autentičnost čuda.

Svake godine Oratorij posjeti više od 2 milijuna posjetitelja. Nalazi se na broju 3800 ulice Queen Mary Road, u Côte-des-Neiges, gdje se nalazi i plava postaja podzemne željeznice.

Dana 19. listopada 2004., Oratorij je proslavio svoje stogodišnjicu. Zvona gotovo svih crkava u Montrealu zvonila su u 9 sati ujutro. Zatim su na Bazilici zazvonila sva zvona i počelo je slavlje.

Povezano
 Nacionalno svetište sv. Josipa

Vanjske poveznice
Mrežna mjesta
 Oratorij sv. Josipa, službeno mrežno mjesto
 Pogledajte svetišta posvećena sv. Josipu, Hrvatska katolička mreža, 27. travnja 2021.

Bazilike
Građevine u Kanadi
Katoličanstvo u Kanadi
Katoličke crkve
Sveti Josip

Oratorij sv. Josipa


Catalina de Rusia puede referirse a:

Personas
Catalina I de Rusia,  Zarina de Rusia.
Catalina II de Rusia "la Grande", Zarina de Rusia.
Catalina Pávlovna Románova, hija del Zar de Rusia y reina consorte de Württemberg.

Otros
Catalina de Rusia (The Rise of Catherine the Great, 1934), película estadounidense dirigida por Paul Czinner.

Catalina de Rusia


الطيور فيلم تشويق ورعب أمريكي من إخراج ألفريد هيتشكوك، وسيناريو إيفان هانتر وهو مبني على قصة «الطيور» لدافين دو مورييه. الفيلم يضم تيبى هيدرن وأيضا رود تايلور، وجيسيكا تاندي وسوزان بليشيت، وفيرونيكا كارترايت.

وصلات خارجية

المراجع

أفلام مبنية على قصص قصيرة بريطانية
أفلام الأرشيف الوطني الأمريكي السينمائي
أفلام أحداثها في منطقة خليج سان فرانسيسكو
أفلام أخرجها ألفريد هتشكوك
أفلام أمريكية
أفلام أمريكية في عقد 1960
أفلام إثارة رعب أمريكية
أفلام إثارة ورعب في عقد 1960
أفلام إنتاج 1963
أفلام باللغة الإنجليزية
أفلام باللغة الإنجليزية في عقد 1960
أفلام تشويق
أفلام تقع أحداثها في سان فرانسيسكو
أفلام رعب الطبيعية
أفلام رعب أمريكية
أفلام رعب إنتاج 1963
أفلام رعب طبيعية أمريكية
أفلام رعب عن طيور
أفلام مبنية على أعمال دافني دو موريه
أفلام مبنية على رواية خيالية قصيرة
أفلام مصورة في سان فرانسيسكو
أفلام مصورة في كاليفورنيا
أفلام مقتبسة من روايات رعب
أفلام من إنتاج ألفريد هتشكوك
أفلام يونيفرسال بيكتشرز
أفلام عن اجتماعيون

الطيور (فيلم)


Kanal Dnjepar—Bug (blr. Дняпроўска-Бугскі канал; rus. Днепровско-Бугский канал) kanalski je plovni put u Brestskoj oblasti u Bjelorusiji. Povezuje rijeku Pinu (lijevu pritoku Pripjata i dio bazena Dnjepra) s rijekom Muhavec (pritoka Buga i dio bazena Visle).

Kanal je građen u razdoblju od 1775. do 1783. godine. Ukupna dužina kanala je 244 km, od čega je 196 km na dionici od Bresta do Pinska. Tijekom izgradnje kanala kanalizirano je 74 km toka rijeke Pine i 64 km rijeke Muhavac, odnosno 58 km novosagrađene kanalske mreže.

Kanalom upravlja kompanija Dnjeparsko-buški vodeni put (Днепро-Бугский водный путь).

Kanal je krajem 19. i početkom 20. stoljeća imao veliki strateški značaj za Rusko Carstvo kao važan kopneni plovni put i glavna spona između Baltičkoga i Crnoga mora. Ovim kanalom je zahvaljujući tegljačima 1886. i 1890. iz Elblaga u Poljskoj prema Sevastopolju prebačeno pet brodova razarača težine od 89 do 164 tone (prvi brodovi te vrste u ruskoj crnomorskoj floti u to vrijeme).

Kanal je danas dio međunarodnoga prometnoga plovnoga puta E-40, poznatoga i kao vodeni put Dnjepar—Visla (Gdanjsk—Varšava—Brest—Pinsk—Mazir—Kijev—Herson).

Godine 2008. ovim kanalom prevezeno je ukupno 1,4 milijuna tona tereta.

Izvori

Brodski kanali
Promet Bjelorusije
Građevine u Bjelorusiji

Kanal Dnjepar—Bug


Le HMS Delfinen (en suédois : Dauphin) était le quatrième navire de la  de sous-marins de la marine royale suédoise.

Construction et carrière
Le navire a été commandé au chantier naval de Karlskronavarvet et sa quille a été posée en 1958. Le navire a été lancé le  et mis en service le .

Il a été désarmé le  et ferraillé à Gävle en 1993.

Galerie

Notes et références

Notes

Références

Bibliographie
 .
 .
 .

Liens externes
 .
 .
  : ruban porté sur le bachi par les matelots du HMS Delfinen de 1961 à 1989.

Voir aussi

Articles connexes
 Liste des sous-marins de la Suède

Sous-marin de la Marine royale suédoise
Sous-marin d'attaque conventionnel
Bateau lancé en 1961
Nom de bateau
Navire construit en Suède
Navire démoli en 1993

HMS Delfinen (1961)


David Jon Gilmour CBE (d. 6 Mart 1946, Cambridge), İngiliz psychedelic rock grubu Pink Floyd'un gitaristi ve solistidir. 1968 yılında kurucu üyelerden Syd Barrett'ın gruptan ayrılmasından kısa süre önce gruba katıldı. Pink Floyd, Gilmour ile birlikte kaydettiği The Dark Side of the Moon, Wish You Were Here, Animals ve The Wall adlı konsept albümleriyle uluslararası başarıyla ulaştı. 1985'te Roger Waters'ın gruptan ayrılmasının ardından Pink Floyd, Gilmour önderliğinde yoluna devam ederek üç stüdyo albümü daha çıkardı.

1962'de arkadaşlarıyla Jokers Wild isimli blues rock tarzı bir grup kurarak Paris'e gidip Avrupa turu yaptı. Fransızcası iyiydi ve müziğin yanı sıra Paris'te erkek model olarak çalıştı. 1967 yılında arkadaşı Syd Barrett'ın teklifi ile Pink Floyd'a katıldı. Grubun beş kişi olduğu kısa dönemde A Saucerful of Secrets isimli bir de albüm çıkardılar. Sadece beş ay Syd Barrett ile birlikte çaldıktan sonra Barrett rahatsızlığı nedeniyle gruptan ayrılmıştır. Barrett, Pink Floyd'un lideri konumda olması nedeniyle o ayrıldıktan sonra grup bocalamış, Gilmour grubun umudu olmuştur. Gilmour'un Pink Floyd'da seslendirdiği ilk şarkı Julia Dream'dir. Onun özgün gitar çalış tarzıyla Pink Floyd, dönemindeki diğer gruplardan ayrı bir yere sahip olmuştur. Syd Barrett gittikten sonra grup lidersiz devam etmiş; bu da bir süre sonra sorun çıkarmaya başlamıştır. Grubun bas gitaristi ve söz yazarı Roger Waters yazdığı politik sözleri ve yarattığı müzik ile grubun en yaratıcısı konumuna gelmiş, kendini grubun diğer üyelerinden daha yukarıda görmeye, hatta gruba direktifler vermeye başlamıştır. Yaşanan anlaşmazlıklar sonucu Waters grubu dağıttığını açıklamış, fakat Gilmour buna karşı çıkıp Waters'a dava açmış ve davayı kazanarak Pink Floyd adını Nick Mason ve Rick Wright ile devam ettirmiştir. Grubun lideri olmuştur.

Roger Waters'ın gruptan ayrılmasından sonra 1987'de yayınlanan A Momentary Lapse of Reason'da grup şarkı sözü yazma konusunda sıkıntıya düşmüş ve dışarıdan yardım almıştır. Bu albümden sonra 1994'te yayınlanan The Division Bell'de ise Gilmour'un müzikal  tarz ön plana çıkmış, albüm listelerde birinci sıraya yükselmiştir. Grup 2014'e kadar albüm çıkarmamıştır.

2014 yılına gelindiğinde 2008 yılında vefat eden Rick Wright için bir albüm yapmak isteyen David Gilmour, Nick Mason ile tekrar stüdyoya girip The Endless River isimli albümü çıkarmıştır. Bu albümde Division Bell albümünde yayınlanmayan parçalar kullanılmıştır. Bu albümden sonra Gilmour bir röportajında Pink Floyd'un tamamen bittiğini ve bir daha albüm çıkarmayacağını açıklamıştır.

Gilmour'un, David Gilmour, About Face, On An Island ve Rattle That Lock adında dört solo albümü bulunmaktadır. İlk prodüktörlüğünü 1973'te Unicorn adlı gruba yapmıştır. On An Island ve Rattle That Lock albümleri ise müzikal yaratıcılığının doruk noktasıdır.

Pink Floyd, gruptan ayrılan Waters ile yıllar sonra Temmuz 2005'te Londra 'da Hyde Park'ta Afrika'da yoksullukla mücadele için dünya genelinde 10 ülkede düzenlenen Live 8 konserinde birlikte sahneye çıkmıştır. Bu konser klasik dörtlünün (Waters, Wright, Gilmour, Mason) beraber çaldığı son konser olmuştur.

Gilmour deneyimli bir pilot ve havacılık tutkunudur. Bunun dışında model uçak ve enstrüman koleksiyonculuğu ile ilgilenir. Çift motorlu uçaklar, helikopterler, jetler için ehliyeti var. Bunun yanı sıra çok pahalı bir gitar arşivine sahip olan Gilmour Fender Stratocaster'in 0001 seri numaralı gitarına sahiptir.1986 yılında evlendiği Ginger Gilmour'dan 1990 yılında ayrıldı. 29 Temmuz 1994'te Polly Samson'la evlendi. Üçü eski eşinden olmak üzere 7 çocuk babasıdır.

Solo çalışmaları
 David Gilmour (1978)
 About Face (1984)
 On an Island (2006)
 Rattle That Lock (2015)

Yaşayan insanlar
1946 doğumlular
Cambridge doğumlular
İngiliz erkek şarkıcılar
İngiliz rock şarkıcıları
İngiliz söz yazarları
İngiliz gitaristler
Pink Floyd üyeleri
Ivor Novello Ödülü sahipleri
Britanya İmparatorluk Nişanı
İngiliz ateistler
21. yüzyıl İngiliz şarkıcıları

David Gilmour


Abgründe ist der Titel folgender Filme:

 Abgründe (1910), dänischer Film
 Abgründe (1911), deutscher Film
 Abgründe (1915), deutscher Film
 Abgründe (1947), britischer Kriminalfilm
 Abgründe (1967), deutscher Fernsehfilm
 Abgründe (1991), US-amerikanisches Filmdrama
 Abgründe, Cartoons von Martin Perscheid
 Tatort: Abgründe, österreichischer Fernsehfilm aus der Krimireihe Tatort (2014)

Siehe auch:
 Abgrund
 Polizeiruf 110: Abgründe

Abgründe


Rebrača (lat. Blechnum), veliki rod papratnica, dio je porodice slezeničevki ili rebračevki; rod je ponekad uključivan u samostalnu porodicu Blechnaceae, i ponekad u porodicu Aspleniaceae.

Od 230 vrsta, u rodu je danas preostalo 23, a ostale su izdvojene u druge rodove. To su uglavnom vazdazelene ili poluzimzelene trajnice raširene po neotropima i nešto u Južnoj Africi. Vlasasta rebrača, Struthiopteris spicant (Makino) Nakai, također je bila uključivana u ovaj rod kao Blechnum spicant, raširena je po cijeloj Europi a ima je i u Hrvatskoj.

Vrste

 Blechnum anthracinum R. C. Moran
 Blechnum appendiculatum Willd.
 Blechnum arcuatum J. Rémy ex Fée
 Blechnum areolatum V. A. O. Dittrich & Salino
 Blechnum asplenioides Sw.
 Blechnum auriculatum Cav.
 Blechnum australe L.
 Blechnum austrobrasilianum de la Sota
 Blechnum gracile Kaulf.
 Blechnum gracilipes (Rosenst.) M. Kessler & A. R. Sm.
 Blechnum guayanense A. Rojas
 Blechnum hastatum Kaulf.
 Blechnum heringeri Brade
 Blechnum laevigatum Cav.
 Blechnum lanceola Sw.
 Blechnum longipilosum V. A. O. Dittrich & Salino
 Blechnum ludificans Herter
 Blechnum malacothrix Maxon & Morton
 Blechnum meridense Klotzsch
 Blechnum occidentale L.
 Blechnum polypodioides Raddi
 Blechnum punctulatum Sw.
 Blechnum rivulorum V.A.O.Dittrich & Salino
 Blechnum tomentosum M. Kessler & A. R. Sm.
 Blechnum × caudatum Cav.
 Blechnum × confluens Schltdl. & Cham.
 Blechnum × falciculatum C. Presl
 Blechnum × leopoldense (Dutra) V. A. O. Dittrich & Salino
 Blechnum × pampasicum de la Sota & M. L. Durán

Izvori

Vanjske poveznice

Rebračevke

Rebrača


Amblysperma, monotipski rod glavočika iz tribusa Mutisieae, dio potporodice Mutisioideae. Sastoji se od vrste A. spathulata koja je izdvojena iz južnoameričkog roda Trichocline.

Australski je endem izZapadne Australije.

Sinonimi
 Amblysperma minor Keighery
 Amblysperma scapigera Benth.
 Celmisia spathulata A.Cunn. ex DC.
 Trichocline scapigera F.Muell.
 Trichocline spathulata (A.Cunn. ex DC.) J.H.Willis

Izvori

Mutisioideae

Amblysperma


Rarities is a compilation album by Swedish pop duo Roxette, released from 10 February 1995 by EMI exclusively in Southeast Asia and South America. The record is composed of previously released b-sides, demos, single mixes and remixes, as well as several songs from the duo's 1993 performance for MTV Unplugged. As of 2001, the compilation has sold in excess of a million copies worldwide.

Album information
The album was issued exclusively in Latin America and Southeast Asia, with its release in those territories timed to coincide with dates of the band's "Crash! Boom! Bang! Tour". "Vulnerable" concomitantly served as both lead single from Rarities, as well as the fifth and final single from previous studio album Crash! Boom! Bang! (1994). The record includes four previously released remixes, including two single mixes: "Fingertips '93" – originally from 1992's Tourism – and Chris Lord-Alge's US Single Remix of "Dressed for Success". In addition to these, a remix of "Fireworks" created by British alternative rock band Jesus Jones was also included, along with an "Electric Dance Remix" of "Spending My Time" by MC King Carli and Dr Renault (pseudonyms used by regular Roxette producer Clarence Öfwerman and engineer Anders Herrlin). These had all been previously released on their respective singles.

Rarities also contains two previously released b-sides: "The Voice" appeared as the b-side to their 1988 single "Dressed for Success", while "The Sweet Hello, The Sad Goodbye" was released as the b-side to their November 1991 single "Spending My Time". Earlier that year, in April, the song had been released as the lead single from Thomas Anders' (of Modern Talking fame) second solo album, Whispers. The song also appeared on the 1993 album Over My Heart, by American pop chanteuse Laura Branigan. The demo version of their 1993 single "Almost Unreal" appeared on the "Run To You" CD single in 1994 while another demo - the non-album track "One Is Such a Lonely Number" - had previously appeared as the b-side to "The Big L." in 1991. The album also includes three recordings – "Joyride", "The Look" and "Dangerous" – from the band's 9 January 1993 performance at the Stockholm Circus for MTV Unplugged. The rest of their MTV Unplugged set remained unreleased until a DVD of their entire performance was included in The Rox Box/Roxette 86–06 box set.

Track listing

Notes
 signifies a remixer.

Personnel
Credits adapted from the liner notes of Rarities.

Musicians
 Marie Fredriksson – lead vocals, tambourine , production
 Per Gessle – lead vocals, acoustic guitar, keyboards, programming, mixing, production , compiling
 Per "Pelle" Alsing – drums and percussion
 Vicki Benckert – backing vocals
 Christer Jansson – drums
 Anders Herrlin – acoustic bass, bass guitar, engineering, programming and remixing
 Jonas Isacsson – acoustic and electric guitars
 Jarl "Jalle" Lorensson – harmonica
 Clarence Öfwerman – grand piano, keyboards, programming, production, mixing and remixing
 Staffan Öfwerman – backing vocals and percussion
 Mats "MP" Persson – acoustic and electric guitars, keyboards, programming and engineering
 Per "Pelle" Sirén – electric guitars
 Alar Suurna – percussion , engineering and mixing
 Nicolas "Nicki" Wallin – drums

Technical
 Chris Lord-Alge – remixing
 Mike Edwards – remixing

Charts

Release history

References

External links

1995 compilation albums
Roxette compilation albums
B-side compilation albums
EMI Records compilation albums

Rarities (Roxette album)


An Puccinellia maritima in uska species han Liliopsida nga syahan ginhulagway ni William Hudson, ngan ginhatag han pagkayana nga asya nga ngaran ni Filippo Parlatore. An Puccinellia maritima in nahilalakip ha genus nga Puccinellia, ngan familia nga Poaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Mga sumpay ha gawas

Puccinellia

Puccinellia maritima


Ryan Roth (Kitchener, Ontario, ) es un ciclista canadiense.

Comenzó compitiendo en 1997 en ciclismo de montaña y luego ciclocrós para finalmente pasar al ciclismo en ruta donde ha ganado varias medallas del Campeonato Nacional de Canadá en las categorías sub-23

Debutó como profesional en 2002 en el equipo Sympatico-Jet Fuel Coffee donde estuvo 3 temporadas. En 2007 pasó al equipo Kelly Benefit Strategies-Medifast de Estados Unidos y al año siguiente volvió al competir por un equipo de su país, el Team R.A.C.E. Pro, que posteriormente pasó a llamarse SpiderTech powered by C10. El equipo desapareció a finales de 2012 y Roth fichó por el Champion System.

Palmarés
2008
 2.º en el Campeonato de Canadá Contrarreloj
 1 etapa del Rochester Omnium

2010
 1 etapa de la Vuelta a Cuba
 3.º en el Campeonato de Canadá Contrarreloj

2011
 Univest Grand Prix

2012
 Tro Bro Leon
 Campeonato de Canadá en Ruta

2014
 3.º en el Campeonato de Canadá Contrarreloj
 2.º en el Campeonato de Canadá en Ruta

2015
 2.º en el Campeonato de Canadá Contrarreloj
 3.º en el Campeonato de Canadá en Ruta

2016
 Winston Salem Cycling Classic
 Grand Prix Cycliste de Saguenay
 Campeonato de Canadá Contrarreloj
 Delta Road Race

2019
 1 etapa del Tour de Iskandar Johor

Equipos
 Sympatico-Jet Fuel Coffee (2002-2004)
 Team SpiderTech (2008-2012)
 Team R.A.C.E. Pro (2008)
 Planet Energy (2009)
 SpiderTech presented by Planet Energy (2010)
 SpiderTech powered by C10 (2011-2012)
 Champion System (2013)
 Silber Pro Cycling (2014-2018)
 X-Speed United (2019)

Enlaces externos

 Ficha y palmarés completo en sitiodeciclismo.net
 Ficha en el equipo SpiderTech

Ciclistas de Canadá

Ryan Roth


Agrilus decemnotatus é uma espécie de inseto do género Agrilus, família Buprestidae, ordem Coleoptera.

Foi descrita cientificamente por Chevrolat, 1838.

Referências

decemnotatus

Agrilus decemnotatus


Landon Liboiron (Jenner, Alberta, 5 de enero de 1992) es un actor canadiense, más conocido por haber interpretado a Declan en Degrassi y a Josh en Terra Nova.

Biografía
Landon Liboiron es de la pequeña comunidad agrícola de Jenner, Alberta, ubicada aproximadamente dos horas y media al sureste de Calgary, Canadá. Cuando estaba en noveno grado, había 21 estudiantes en total en toda su escuela. Su verdadera introducción en los escenarios llegó a través del Teatro de Missoula (Montana) para niños, que consta de dos adultos gira el oeste de Canadá y el noroeste de EE.UU. en un camión rojo. Durante su anual "semana en residencia", los adultos montan una producción con los niños locales como actores. La madre de Landon, una artista, conducía durante 14 horas para llevar a su hijo a Vancouver para aprender, estudiar y audicionar. Su padre, cuando no se encuentra en su granja trabaja como inspector de tuberías y apoya a su hijo. También tiene dos hermanos mayores, Lance y Blake quienes lo apoyan para cumplir sus sueños.

Filmografía
Antes de su gran salto a la fama gracias a la serie juvenil dramática de televisión canadiense Degrassi: The Next Generation, Liboiron participó en varias películas para la televisión.

En 2011 Landon Liboiron personificó a Josh Shannon en la serie de ciencia ficción Terra Nova, el hijo del personaje principal, personificado por Jason O'Mara, y su mujer, personificado por Shelley Conn.

Premios y nominaciones

Referencias

Enlaces externos

Actores de Alberta
Actores de televisión de Canadá
Actores masculinos de Canadá

Landon Liboiron


Zapoteca, biljni rod iz porodice Fabaceae, dio potporodice Caesalpinioideae. Postoji 18 priznatih vrsta raširenih po Srednjoj i Južnoj Americi. Trajnice i grmovi. Rod je dobio ime po istoimenim Indijancima Zapotec.

Vrste
 Zapoteca aculeata (Spruce ex Benth.) H.M.Hern.
 Zapoteca alinae H.M.Hern.
 Zapoteca amazonica (Benth.) H.M.Hern.
 Zapoteca andina H.M.Hern.
 Zapoteca balsasensis H.M.Hern.
 Zapoteca caracasana (Jacq.) H.M.Hern.
 Zapoteca costaricensis (Britton & Rose) H.M.Hern.
 Zapoteca cruzii H.M.Hern.
 Zapoteca filipes (Benth.) H.M.Hern.
 Zapoteca formosa (Kunth) H.M.Hern.
 Zapoteca gracilis (Griseb.) Bässler
 Zapoteca lambertiana (G.Don) H.M.Hern.
 Zapoteca media (M.Martens & Galeotti) H.M.Hern.
 Zapoteca microcephala (Britton & Killip) H.M.Hern.
 Zapoteca mollis (Standl.) H.M.Hern.
 Zapoteca nervosa (Urb.) H.M.Hern.
 Zapoteca portoricensis (Jacq.) H.M.Hern.
 Zapoteca quichoi H.M.Hern. & Hanan-Alipi
 Zapoteca ravenii H.M.Hern.
 Zapoteca scutellifera (Benth.) H.M.Hern.
 Zapoteca sousae H.M.Hern. & A.Campos
 Zapoteca tehuana H.M.Hern.
 Zapoteca tetragona (Willd.) H.M.Hern.

Izvori

Vanjske poveznice

Ingeae

Zapoteca (biljni rod)


Müezzin, camilerde ezan okuyan, sala getiren, namazlarda selam ve tesbih dualarını okuyan kişidir. Ezancı da denilir.
Müezzinlik makamı, İslam peygamberi Muhammed zamanından beri vardır. İlk müezzin Bilal-i Habeşi'dir. Müezzin olacak kişinin Kur'an okuyabilmesi ve güzel sesli olması genel olarak kabul edilir.

Müezzinler, Türk camilerinde, Türk Devleti tarafından devlet memuru kadrosu ile atansalar da, namaza başlamadan önce cemaatten bir kişi müezzin olabilir. Genelde küçük camilerde böyledir. Müezzin imamın olmadığı zaman imamete geçer.

Müezzin, ezan okurken kıbleye döner. İbadet sırasında, müezzin bazı camilerde bulunan, müezzin mahfili denilen özel bir platform üzerinde bulunur. Müezzin, namaz aralarındaki duaları buradan sesli bir şekilde okur. Güzel sesin önemli olduğu müezzinlik, zamanla sanatlaşmıştır. Ezanın makam ile okunması, müezzinlerin güzel sesli olmaları gerektiği düşünülmesi, müezzinliği sanat haline getirmiştir.

Kaynakça

Namaz

Müezzin


Lupta de pe muntele Cipchieș a fost o acțiune militară de nivel tactic desfășurată pe Frontul Român, în timpul campaniei din anul 1916 a participării României la Primul Război Mondial. Ea s-a desfășurat în perioada – și a avut ca rezultat victoria forțelor române – aflate în defensivă, în ea fiind angajate forțe române din Divizia 14 Infanterie și forțe ale Puterilor Centrale – aflate în ofensivă, din Divizia 72 Infanterie austro-ungară. Lupta în cauză a făcut parte din acțiunile militare care au avut loc în timpul Operației de apărare a trecătorilor Carpaților.

Mobilul acțiunii a fost reprezentat de încercarea trupelor austro-ungare de a prelua controlul vârfului Cipchieș din Munții Tarcăului – care domină dinspre sud valea Bicazului între confluențele acestuia cu Dămucul și Tarcăul, în încercarea de a întoarce apărarea trupelor române cu scopul de a intercepta calea de comunicație și de retragere a forțelor din Grupul Bicaz al Diviziei 14 Infanterie. Această misiune a fost încredințată unui detașament format din 3 batalioane de infanterie și o baterie de artilerie de munte, forțe puse sub comanda colonelului Samuel Sander.

Înfrângerea Detașamentului Sander a stopat acțiunea ofensivă a Corpului XXI Armată austro-ungar.

Contextul

Geografic
Vârful Cipchieș (1357 m altitudine) constituie limita nordică a înălțimilor maxime a Muntelui Lung, care constituie cumpăna apelor dintre Dămuc și Tarcău. Profilul transversal al Muntelui Lung este asimetric, cu versantul estic puternic înclinat și cu cel vestic prelung, cu pinteni care coboară treptat spre valea Dămucului. De sub vârful Cipchieș izvorăsc doi afluenți importanți, Ața – afluent al Tarcăului și Ivăneșul – afluent al Dămucului.

Tot din vârful Cipchieș, de unde orizontul este larg deschis spre nord și vest spre valea Bicazului, o potecă ce urmărește vârfurile Smida Floarei - Bâtca Prelucei - Măgura Tarcău și coboară pe Piciorul Runcului, duce după 5 1/2 - 6 1/2 ore de mers la Gura Tarcăului. Aceeași potecă ce coboară spre șaua dintre Cipchieș și Smida Floarei, duce de aici fie pe valea Ivăneșului spre confluența cu Dămucul și mai departe spre valea Bicazului, la Bicaz-Chei, fie spre valea Aței.

Militar

Ca urmare a bătăliilor de la Sibiu și de la Brașov de la sfârșitul lunii septembrie și respectiv începutul lunii octombrie, Armatele 1și 2 române au fost obligate să se retragă din Transilvania în Vechiul Regat, presate de Armata a 9-a germană. În acest context, în aripa dreaptă a dispozitivului român Armata de Nord a trebuit să se plieze manevrelor făcute de vecinii săi, având misiunea de a întârzia printr-o retragere treptată, Armata 1 austro-ungară. Odată cu finalizarea retragerii din Transilvania, Armata de Nord a ocupat crestele Munților Moldovei și trecătorile lor, la 1/14 octombrie aproape toate unitățile armatei fiind dispuse pe frontieră, în pozițiile fortificate construite înante de invazia Transilvaniei. În aripa dreaptă se afla la nord Divizia 14 Infanterie (comandată de către generalul Paraschiv Vasilescu), care rămăsese însă dincolo de frontieră ocupând regiunile Bistricioarei și Bicazului, precum și valea inferioară a Tarcăului. Divizia realiza la dreapta legătura cu aripa stângă a Armatei 9 Ruse (comandant Platon Alexeevici Lecițchi) și avea la stânga Divizia 7 Infanterie. La 6/18 octombrie 1916, întreaga Divizie a 14-a a fost atașată din punct de vedere operativ Armatei 9 Ruse.

Misiunea Armatei 1 austro-ungare a fost aceea de a asigura spatele trupelor germane, în ce privește posibilitatea unor atacuri venite dinspre nord-est. Cu acest scop, ea trebuia să ajungă să stăpânească în cel mai scurt timp posibil creasta principală a Carpaților, menținând legătura la dreapta cu trupele amice. În cadrul acestei armate, Corpul XXI Armată austro-ungar urma să înainteze spre văile superioare ale Bicazului și Bistricioarei, iar Corpul VI Armată austro-Ungar urma să se axeze spre valea Trotușului. Corpul XXI Armată austro-ungar (comandant Kasimir von Lütgendorf) a primit misiunea de a ataca cu cele două divizii ale sale (Divizia 37 Infanterie Honvéd și 72 Infanterie austro-ungară) pe văile Bistricioarei și respectiv pe cea a Bicazului.
Este de menționat că până la sosirea lui Lütgendorf de pe Frontul italian, cele două divizii din extremitatea nordică a Armatei 1 austro-ungare au fost reunite sub comanda generalului Johann Háber, formând astfel Grupul Háber. Deoarece comandamentul acestuia nu a dispus de ofițerii necesari pentru a controla în mod adecvat cele două divizii și acestea erau răsfirate pe un teritoriu întins, Corpul IX Armată austro-ungar (1916-1918) din Armata 7 austro-ungară (1916-1918) a preluat pentru un timp comanda unităților lui Háber, fiind atașat pentru temporar Armatei 1 austro-ungare.După ce comandamentul Corpului XXI Armată austro-ungar a preluat controlul în regiunea de nord, Corpul IX Armată austro-ungar s-a reîntors la Armata 7 austro-ungară.
La 29 septembrie/12 octombrie 1916 a început în aripa stângă a Armatei de Nord bătălia pentru trecătorile Moldovei, care s-a propagat ulterior pe toată lungimea frontierei muntoase, până la valea Dornei.

Preludiul
Regrupată în zona văilor Bistricioarei și Bicazului, începând cu 29 septembrie/12 octombrie Divizia 14 Infanterie avea poziționate în zonă sau în apropiere următoarele unități:
 Regimentul 67 Infanterie, retras pe valea Jidanului, călare pe valea Jidanului și valea Bicazului, între Telec și Cipchieș (1359 m).
 Regimentul 54 Infanterie la Neagra.

În data de 30 septembrie/13 octombrie, a rămas în zonă văii Bicazului pe poziții pentru defensivă Grupul Bicaz al Diviziei 14 Infanterie, aflat sub comanda generalului Claudian Ionescu, comandant la Brigăzii 27 Infanterie. Acesta se afla călare pe văile Jidanului și Bicazului și era constituit de Regimentele 54 și 67 Infanterie, împreună cu 2 divizioane de artilerie din Regimentele 24 și respectiv 27 Artilerie. Spre originea râului Ața se afla Batalionul 3 din Regimentul 54 Infanterie. În rezervă, la Hangu și Buhalnița se afla Regimentul 86 Infanterie.

În seara de 1/14 octombrie, Divizia 72 Infanterie austro-ungară avea dispus pe Ghilcoș Grupul Colonel Baatz. Divizia 72 Infanterie austro-ungară (aflată inițial sub comandanda lui Alexander Emil Bandian) a primit ordinul de a forța trecerea prin valea Bicazului, pentru a ajunge la confluența râurilor Bicaz și Bistrița. Atât în nord pe valea Bistricioarei cât și în sud pe cea a Bicazului, tentativele trupelor inamice de a se apropia de pozițiile românești fie au fost oprite de la distanță de tirurile precise ale artileriei, fie au fost respinse cu pierderi grele de către focurile infanteriei. Luptele duse au determinat comandamentul Corpului 21 Infanterie austro-ungar să aibă impresia că, un angajament frontal se va solda cu eșec, astfel că acesta a decis să încerce o învăluire prin aripa dreaptă a Diviziei 72 Infanterie austro-ungară, pe valea Dămucului. Pus sub comanda colonelului Sander, un detașament inamic a fost destinat acestui scop.

Format din Batalioanele 7/73 și 5/9 alături de Bateria 6/9 artilerie de munte, detașamentul austro-ungar aflat sub comanda locotenent-colonelului Samuel Sander, a fost dislocat din Munții Călimani spre Praid și de aici a mărșăluit spre Gheorgheni, în două zile. Fără a-și lăsa oamenii să se odihnească, Sander a ordonat urcarea în continuare spre Lacu Roșu. Epuizate, efective reduse drastic au ajuns acolo la ora 11 noaptea. A doua zi în timp ce soldații se odihneau, Sander împreună cu comandanții de batalioane, adunați la comandamentul Brigăzii 143 Infanterie austro-ungară, și-au primit ordinele de la comandantul interimar al Diviziei 72 Infanterie austro-ungară, colonelul Barwick. Acesta a alocat detașamentului, care urma să fie trimis spre Cipchieș, un batalion suplimentar, 5/97.

Înaintarea pe valea Bicazului a început la 4/17 octombrie, după-amiaza la ora 15,30. Drumul prin munți a epuizat oamenii în grade variabile, aceștia fiind expuși ploii, astfel că pe parcurs, coloana de atac s-a răsfirat de-a lungul drumurilor de acces. Deoarece militarii coloanei de atac nu s-au putut usca în mediul cu temperaturi apropiate de cele de îngheț, dat fiind că nu au fost lăsați să aprindă focuri pentru a nu-și deconspira prezența, situația acestora a devenit dificilă. Doar două treimi din efectiv a ajuns la poziția pe care Sander o alesese ca punct de pornire a atacului. De asemenea la 4/17 octombrie la Pichetul Bolovăniș, un detașament austro-ungar a fost surprins și distrus, lăsând și 2 ofițeri împreună cu 65 de soldați prizonieri.

Odată ajunși la obiectiv, la 5/18 octombrie o ceață groasă a împiedicat folosirea artileriei, iar aceasta împreună cu ninsoarea care a început să cadă la mijlocul zilei, l-au făcut pe Sander să amâne declanșarea atacului pentru a doua zi dimineață.

Lupta

În dimineața zilei de 6/19 octombrie, poziția română de pe Cipchieș ocupată de o singură companie din Regimentul 54 Infanterie a fost atacată de coloana austro-ungară, care avea un efectiv de 3 batalioane de infanterie și era dotată cu mitraliere și cu o baterie de tunuri. Pe la ora 11,30 după un asalt final în care austro-ungarii au folosit grenade de mână, poziția română a fost cucerită cu prețul a 6 morți și 22 de răniți din partea atacatorilor. În același timp, românii au lăsat pe câmpul de luptă 10 morți și 41 de prizonieri.

Sub comanda colonelului Sander, corpul principal al forței inamice s-a angajat pe urma românilor care se retrăgeau prin vale, spre următoarea culme. Inamicii au coborât spre pozițiile române de la Croiești, pe care le-au atacat în seara aceleiași zile, luminând câmpul de luptă cu proiectoare și rachete. Aflate în apărare sub comanda maiorului Rogobete, cele două companii ale sectorului au rezistat celor trei atacuri susținute de un batalion inamic, în timp ce restul coloanei austro-ungare și-a consolidat poziția întărind-o cu tranșee. Pe Cipchieș, Sander a păstrat o companie, artileria, precum și grupul său de comandă. Acțiunea de urmărire a fost oprită la căderea nopții.

Dat fiind că a apărut atât pericolul întoarcerii poziției trupelor române prin pătrunderea celor inamice, pe linia de comunicații și retragere a Grupului Bicaz, iar valea Tarcăului putea fi de asemenea ocupată astfel de inamic, Divizia 14 Infanterie a constituit un detașament destinat să contraatace, pentru a recuceri poziția reprezentată de culmea Cipchieș, care domina valea Bicazului. Celor două companii ale sectorului le-au fost astfel adăugate 3 batalioane de infanterie și o secție de artilerie din Regimentul 24 Artilerie, cu tunuri de calibrul 87 mm. Întreg detașamentul a fost pus sub comanda colonelului Anton Gherescu. La miezul nopții dintre zilele de 6/19-7/20 octombrie, Batalionul 1 (Batalionul 3 după o altă sursă) al Regimentului 86 Infanterie a pornit sub comanda ofițerului Efstatiade să urce spre Cipchieș, dinspre valea Aței. Coloana principală de contraatac a fost însă constituită de câte un batalion din Regimentele 27 și 54 Infanterie și a avansat dinspre est pe poteca Dealul Fundului – Smida Floarei – Cipchieș. Secția de artilerie destinată detașamentului a fost urcată cu boii pe Dealul Fundului.

Pe la orele 3,30-4 dimineața a zilei de 7/20 octombrie, Batalionul "Efstatiade" a căzut peste inamic venind dinspre Pichetul Ața. După o scurtă împotrivire, trupele austro-ungare au luat-o la fugă lăsând în mâinile atacatorilor două tunuri și trei mitraliere, precum și poziția de pe Cipchieș. În același timp maiorul Rogobete a atacat de la Croiești pe pantele muntelui, gonind batalionul pe care-l avea în față și luând prizonieri. Sander împreună cu restul corpului de comandă și-au petrecut restul nopții încercând să-și adune trupele și să le reorganizeze, astfel că până la urmă au reușit să adune pe un vârf din apropiere ce mai rămăsese din batalioanele 7/73 și 7/97, împreună cu alte câteva companii ale altui regiment.

Împotriva forțelor inferioare pe care le aveau în față trupele austro-ungare au revenit la contraatac, astfel că după două ore de rezistență Batalionul "Efstatiade" a cedat poziția și la ora 8 dimineața a început să se retragă, luând cu el prizonierii și aruncând pe coastele abrupte ale muntelui tunurile și mitralierele capturate. În momentul în care aproape întreg muntele fusese recucerit de inamic, peste acesta a năvălit coloana principală română de contraatac, susținută de artileria de pe Dealul Fundului. Atacând la baionetă, cele două batalioane românești au început o luptă corp la corp. Învălmășeala produsă a impus oprirea tragerilor de artilerie, pentru ca acestea să nu cadă peste trupele proprii. Pierzând teren, soldații austro-ungari au fost aruncați dincolo de creastă și au lăsat 614 prizonieri, dintre care cinci ofițeri. Pe teren au rămas 100 de morți și însuși colonelul Sander a fost grav rănit, dar a fost salvat de trupele proprii, retrase pe o altă poziție.

După două zile, noua poziție inamică a fost și ea luată cu asalt.

Epilogul
Depășirea pozițiilor ocupate de către Armata României în pasurile de nord s-a dovedit o misiune imposibilă pentru trupele austro-ungare, povestea Detașamentului Sander reprezentând o experiență tipică pentru luptele dure purtate în zonele Tulgheș și Bicaz. Totalul pierderilor austriece în urma luptelor a fost de 5 ofițeri și 276 de soldați din partea batalionului VII/73, 6 ofițeri și 525 de oameni din partea batalionului V/97, 22 de victime din partea Bateriei 6/9 de artilerie de munte, care și-a pierdut și cele două tunuri, precum și 90 de animale de tracțiune. Dimensiunea acestor pierderi a șocat comandamentul austriac.

Supraviețuitorii lor, cărora colonelul Barwik li s-a adresat cu titulatura de "eroii de pe Cipchieș", li s-a ordonat să se deplaseze la Gheorgheni. Aici unitățile au fost dizolvate și trupa a fost inclusă noului Regiment 107 Infanterie, pus sub comanda colonelului Adalbert Segner. Sander, la rândul său a fost numit ofițer instructor al Corpului XXI Armată austro-ungar. În această calitate, a asigurat transmiterea instrucțiunile de luptă companiilor din batalioanele de marș, provenite din hinterlandul austriac.

Înfrângerea Detașamentului Sander a stopat acțiunea ofensivă a Corpului XXI Austro-Ungar. Cu excepția unor trageri de artilerie și a unor acțiuni de patrule, nici un atac semnificativ nu a mai fost dat împotriva frontului Diviziei 14 Infanterie, care după o lună a fost înlocuită în zonă de trupele ruse.
În plan strategic, în timp ce trupele române se întăreau în poziții favorabile în munți de-a lungul întregii frontiere, până la sfârșitul lunii octombrie Înaltele Comandamente austro-ungar și german au realizat că nu va putea fi pusă în practică o trecere imediată peste Carpații Orientali. Neavând efectivele și suportul logistic necesare pentru a permite tuturor celor trei armate ale Puterilor Centrale să invadeze România concomitent și în plus, dat fiind că dacă ar fi atacat în Carpații Răsăriteni, trupele Armatei 1 austro-ungare ar fi ar fi avansat divergent în raport cu Armata 9 germană și cu trupele lui von Mackensen, Armata 1 astro-ungară a primit misiunea – conform lui Michael B. Barret "de neînvidiat", de a apăra Carpații Orientali și de a proteja spatele și flancul estic al Armatei 9 germane.

In memoriam
Spre amintirea luptelor duse de militarii Regimentului 86 Infanterie, la Gura Aței comandantul regimentului a ridicat o cruce comemorativă, serviciul religios derulat cu această ocazie fiind oficiat chiar de preotul unității, Mihai N. Cârlănescu.

În Poiana Șugău (Coordonate: N 46°42'58'' și E 25°55'30''), aflată la poalele muntelui Șugău în extremitatea de sud a satului Huisurez, au fost investigate arheologic în anul 2011 un număr de 6 morminte datând din perioada Primului Război Mondial, în care au fost înmormântați militari austro-ungari. Conform cercetătorilor, aceste morminte ar putea aparține unor soldați din coloana atacatoare condusă de către colonelul Sander. La începutul anilor 1980 ai secolului trecut, a existat la inițiativa preotului paroh local o tentativă inițială de deshumare a acestora. Această tentativă a avut ca scop atât mutarea rămășițelor din zona respectivă – puternic afectată la acel moment de o exploatare forestieră, cât și reînhumare conformă din punct de vedere religios a acestora în cimitirul satului, urmată de ridicarea unei troițe. Tentativa a fost însă prompt stopată de către organele de Miliție, care au dispus și supravegheat operațiunea de reînhumare, în același loc.

Prin subscripție publică, la câțiva ani după război a fost ridicat în centrul comunei Tarcău un monument al eroilor, înalt de 2 m.

Note
  La comanda Companiei 1 din Regimentul 54 Infanterie s-a aflat inginerul Nicolae Golescu, fiul lui Alexandru G. Golescu.

Referințe

Bibliografie
 Barrett, Michael B.; Preludiu la Blitzkrieg: campania austro-germană în România - 1916; Editura Militară; București; 2016; ISBN  978-973-32-1021-4
vezi pentru denumirile geografice și datele numerice corecte, eronat preluate în ediția în limba română, originalul:  Barrett, Michael B.; Prelude to Blitzkrieg: The 1916 Austro-German Campaign in Romania; Indiana University Press; USA; 2013; pp. 215-216, 396; accesat la 21 iulie 2019
 Brânduș, Costică & Grasu, Constantin; Munții Tarcău. Ghid turistic; Editura pentru Turism; București; 1987
 Dabija, Gheorghe; Armata Română în Răsboiul Mondial, Vol. II; Tipog. IG. Hertz; București; 1928-1936
  Flipo, J. (capitaine) & Vitez, Libor (major); Une opération de guerre de montagne (Carpathes 1916); Revue Militaire Française, 96' année nouvelle série, tome dix-neuvième, janvier-mars 1926; pp. 215-241
 Kirițescu, Constantin; Istoria războiului pentru întregirea României- Ediția a III-a, vol. I; Editura Științifică și Enciclopedică; București; 1989; ISBN 973-29-0048-2; pp. 399-400
 Pătrașcu, Gabriel-George; Acțiunile de luptă ale Armatei Române în anul 1916 reflectate prin comunicatele Marelui Cartier General român. ; Document – Buletinul Arhivelor Militare Române, Anul XIX, Nr. 4 (74)/2016; pp. 12-37
 Preoteasa, Constantin & Mihăilescu, Dan; Rezultatele cercetărilor arheologice preventive de la Huisurez - Poiana Șugău (com. Dămuc, jud. Neamț); Memoria Antiquitatis – Acta Musei Petrodavensis – Revista Muzeului de Istorie și Arheologie Piatra-Neamț, XXIX-XXX (2013-2014); Editura "Constantin Matasă"; Piatra Neamț; 2014; pp. 231-254
 Sîrbu, Xenia & Vlad, Teodora Maria & Bârgăoanu, Maria Diana; Tarcău în Civilizatia montană a județului Neamț văzută prin ochii tinerei generații; Piatra Neamț; 2016; ISBN 978-973-0-22877-9; p. 269
Lectură suplimentară
  József, Nagy; Az első világháború hadieseményei. A Békás-és Tölgyesi-szorosokban [Evenimente militare în Cheile Tulgheșului și Bicazului în timpul primului război mondial (1916-1917)]; Gyergyói Szemle Tudományos-Ismeretterjesztő Folyóirat, 1/2016; pp.4-49

Bătălii de pe frontul românesc în Primul Război Mondial

Lupta de pe muntele Cipchieș (1916)


Le cadre conceptuel Cynefin (/kəˈ nɛvɪn/)  est un cadre conceptuel d'aide à la décision. Créé en 1999 par Dave Snowden alors qu'il travaillait pour IBM Global Services, il a été décrit comme un « dispositif sensemaking ». Cynefin est un mot gallois qui signifie habitat ou plus précisément lieu de ses appartenances multiples.

Cynefin propose cinq contextes ou « domaines » de prise de décision — clair (qui s'appelait d'abord simple jusqu'en 2014, puis évident avant que le terme actuel soit choisi), compliqué, complexe, chaotique et confus — qui aident les managers à identifier comment ils perçoivent les situations et à faire sens de leur propre comportement et de celui des autres . Le cadre s'appuie sur la recherche en théorie des systèmes, théorie de la complexité, en théorie des réseaux et en théories de l'apprentissage.

Contexte

Terminologie
Le but du cadre conceptuel Cynefin est d'offrir aux décideurs un « sentiment d'appartenance » à partir duquel visualiser leurs perceptions. Cynefin est un mot gallois qui signifie habitat, repère, familier. Snowden utilise le terme pour désigner l'idée que nous avons tous des liens, par exemple des liens tribaux, religieux et géographiques, dont nous ne sommes peut-être pas conscients. Il a été comparé au mot te reo Māori tūrangawaewae, signifiant un endroit où se tenir, ou « le sol et le lieu qui est votre héritage et dont vous venez ».

Histoire
Snowden, alors chez IBM Global Services, a commencé à travailler sur un modèle Cynefin en 1999 pour aider à gérer le capital intellectuel de l'entreprise.   Il a continué à le développer en tant que directeur européen de l'Institut de Gestion des Connaissances d'IBM, et plus tard en tant que fondateur et directeur du Cynefin Centre for Organizational Complexity d'IBM, créé en 2002. Cynthia Kurtz, chercheuse chez IBM, et Snowden ont décrit le cadre conceptuel en détail l'année suivante dans un article intitulé « The new dynamics of strategy: Sense-making in a complex and filled world » (Les nouvelles dynamiques de la stratégie : Le sense-making dans un monde complexe et chargé), publié dans IBM Systems Journal.

Le Centre Cynefin, un réseau de membres et de partenaires de l'industrie, du gouvernement et du milieu universitaire, a commencé à fonctionner indépendamment d'IBM en 2004. En 2007, Snowden et Mary E. Boone ont expliqué le cadre conceptuel Cynefin dans le Harvard Business Review. Leur article, « A Leader's Framework for Decision Making » (Le cadre décisionnel du leader), leur a valu le prix « Outstanding Practitioner-Oriented Publication in OB » du pôle Organizational Behavior de l'Academy of Management.

Domaines

Cynefin propose cinq contextes ou « domaines » décisionnels : clair, compliqué, complexe, chaotique et, au centre, confus.  Les noms des domaines ont changé au fil des années. Kurtz et Snowden (2003) les a appelées connu, connaissable, complexe et chaotique. Snowden et Boone (2007) a remplacé connu et connaissable par simple et compliqué. À partir de 2014, Snowden a utilisé évident à la place de simple, et utilise désormais le terme clair.

Les domaines offrent un « sentiment d'appartenance » à partir duquel analyser le comportement et prendre des décisions. Les domaines de droite, clair et compliqué, sont dits « ordonnés » : les liens de cause à effet sont connus ou peuvent être découverts. Les domaines de gauche, complexes et chaotiques, sont « non ordonnés » : les liens de cause à effet ne peuvent être déduits qu'avec le recul voire ne peuvent pas être déduits du tout.

Clair

Le domaine clair représente les « connus connus ». Cela signifie qu'il y a des règles en place (ou des meilleures pratiques), que la situation est stable et que la relation de cause à effet est claire : si l'on fait X, on peut s'attendre à Y. Le mode opératoire à adopter dans une telle situation est « sentir – catégoriser – réagir » : établir les faits (« sentir »), catégoriser, puis répondre en suivant la règle ou en appliquant les meilleures pratiques. Snowden et Boone (2007) prend l'exemple du traitement des remboursements de prêts. Un employé identifie le problème (par exemple, un emprunteur a payé moins que nécessaire), le catégorise (examine les documents de prêt) et répond (suit les conditions du prêt). Selon Thomas A. Stewart,
Il s'agit du domaine des structures juridiques, des procédures standard, des pratiques qui ont fait leurs preuves. Ne jouez jamais un tirage quinte ventral. Ne prêtez jamais à un client dont les mensualités dépassent 35 % du revenu brut. Ne terminez jamais la réunion sans demander la vente. Dans ce contexte, la prise de décision relève pleinement du domaine de la raison : trouvez la bonne règle et appliquez-la.
Snowden et Boone écrivent que les managers doivent se prémunir de forcer les situations vers ce domaine par une pensée simpliste, une « pensée entraînée » (une pensée trop habituée à la norme rendant aveugle aux nouvelles façons de penser), ou par la complaisance. Lorsque le succès engendre la complaisance (« toute meilleure pratique est, par définition, une pratique du passé »), il peut y avoir une rechute catastrophique dans le sens des aiguilles d'une montre vers le domaine chaotique. Ils recommandent aux dirigeants de proposer un canal de communication, si nécessaire anonyme, afin que les dissidents (par exemple, au sein de l'entreprise) puissent avertir de la complaisance.

Compliqué
Le domaine compliqué représente les « inconnus connus ». Exhiber la relation entre cause et effet nécessite une analyse ou une expertise ; il existe un éventail de bonnes réponses. Dans ce domaine, la recommandation est « sentir – analyser – réagir » : évaluer les faits, analyser et appliquer les bonnes pratiques opérationnelles appropriées. Selon Stewart : "Ici, il est possible d'arriver de façon rationnelle à une décision, mais cela nécessite un jugement et une expertise raffinés.... C'est le domaine des ingénieurs, des chirurgiens, des analystes du renseignement, des avocats et d'autres experts. L'intelligence artificielle s'en sort bien ici : Deep Blue joue aux échecs comme s'il s'agissait d'un problème compliqué, en examinant toutes les séquences de coups possibles."

Complexe
Le domaine complexe représente les « inconnus inconnus ». Les liens de cause à effet ne peuvent être déduits que de façon rétrospective et il n'y a pas de bonnes réponses. « Des modèles instructifs... peuvent émerger », écrivent Snowden et Boone, « si le leader mène des expériences dont l'échec est surmontable ». Cynefin évoque le mode opératoire « explorer – sentir – réagir ». Les cas difficiles en remboursement d'assurance sont un exemple. « Les cas difficiles... nécessitent des souscripteurs humains », écrit Stewart, « et les meilleurs font tous la même chose : sortir le fichier et étaler son contenu. » Stewart identifie les champs de bataille, les marchés, les écosystèmes et les cultures d'entreprise comme étant des systèmes complexes qui « résistent à une approche réductionniste, une approche qui consiste à démonter et à voir comment chaque pièce fonctionne, puisque ces actions mêmes changent la situation de manière imprévisible ».<refname="Stewart2002pp4-5" />

Chaotique
Dans le domaine chaotique, les notions de cause et d'effet sont fouillis.  Les événements dans ce domaine sont « trop déroutants pour attendre une réponse basée sur la connaissance », écrit Patrick Lambe. « L'action - toute action - est la première et la seule façon de réagir de manière appropriée. » Dans ce contexte, les managers doivent « agir – sentir – réagir » : ils agissent pour mettre de l'ordre ; ils essaient de sentir où réside de la stabilité; ils réagissent pour transformer le chaos en complexité. Snowden et Boone écrivent :Dans le domaine chaotique, la première tâche immédiat d'un leader n'est pas de comprendre la situation mais de stopper l'hémorragie. Un leader doit d'abord agir pour établir l'ordre, puis sentir où sont les zones de stabilité et d'instabilité, puis réagir en cherchant à transformer la situation chaotique en complexité, où l'identification des modèles émergents peut à la fois aider à prévenir les crises futures et à discerner de nouvelles opportunités. Il est impératif d'adopter une communication directe descendante avec la diffusion la plus large ; il n'y a tout simplement pas le temps de demander l'avis des autres.Les attentats du 11 septembre sont un exemple de situation chaotique. Stewart en propose d'autres : « le pompier dont les tripes le poussent à tourner à gauche ou le trader qui vend instinctivement quand les nouvelles sur l'action semblent trop belles pour être vraies ». Un responsable de crise a déclaré à propos de l'effondrement d'Enron : « Les gens avaient peur.... La prise de décision était paralysée.... Vous devez être rapide et décisif - faire des petits pas que vous savez réussiront, afin de pouvoir commencer à raconter une histoire qui a du sens. »<refname="Stewart2002pp4-5" />

Snowden et Boone donnent l'exemple du massacre de Brown's Chicken en 1993 à Palatine, dans l'Illinois - lorsque des voleurs ont assassiné sept employés du restaurant Brown's Chicken and Pasta - comme une situation dans laquelle la police locale a fait face à tous les domaines. Le chef adjoint de la police Walt Gasior a dû agir immédiatement pour endiguer les premières paniques (chaotique), tout en maintenant une continuité d'activité (simple), en faisant appel à des experts (compliqué) et en préservant la confiance de la communauté locale dans les semaines qui ont suivi l'incident (complexe).

Confusion
Le domaine sombre au centre est la confusion. Cela représente les situations où l'on ne sait pas lequel des autres domaines s'applique (ce domaine a également été connu sous le nom de désordonné dans les premières versions du cadre conceptuel). Par définition, il est difficile de voir quand ce domaine s'applique. « Ici, de multiples perspectives tentent de prendre le dessus, les chefs de faction se disputent et la cacophonie règne », écrivent Snowden et Boone. « Pour sortir de ce domaine, il faut décomposer la situation en ses parties constituantes et attribuer chacune d'entre elles à l'un des quatre autres domaines. Les dirigeants peuvent alors prendre des décisions et intervenir d'une manière qui correspond à chaque contexte. »

Se déplacer dans les domaines
En accumulant la connaissance, on se déplace dans le sens des aiguilles d'une montre du chaotique à travers le complexe le compliqué jusqu'au simple. De manière similaire, une « accumulation de biais », la complaisance ou le manque d'entretien peut provoquer une « chute catastrophique » : un mouvement dans le sens des aiguilles d'une montre du simple au chaotique, représenté par le pli que sépare ces deux domaines. Il peut y avoir un déplacement dans le sens inverse des aiguilles d'une montre lorsque des personnes meurent et que certaines connaissances sont oubliées, ou lorsque les nouvelles générations remettent en question les règles. Un déplacement dans le sens inverse des aiguilles d'une montre du chaotique au simple peut se produire lorsqu'un manque d'ordre entraîne une imposition soudaine de règles.

Mises en applications et réaction

Cynefin a été utilisé par les personnes d'IBM qui ont participé à son développement dans l'élaboration de politiques, le développement de produits, la création de marchés, la gestion de la chaîne logistique, la gestion de l'image de marque et les relations avec la clientèle. Ensuite Cynefin a été utilisé en dehors d'IBM notamment dans l'analyse de l'impact de la religion sur l'élaboration des politiques au sein de l'administration de George W. Bush, la gestion des urgences, la science des réseaux et l'armée, la gestion des risques de la chaîne alimentaire, le département de la Sécurité intérieure des États-Unis, le développement agile de logiciels, et le maintien de l'ordre lors du mouvement Occupy aux États-Unis.

Il a également été utilisé dans la recherche en médecine, notamment pour examiner la complexité des soins dans le National Health Service britannique, la nature des connaissances dans les structures de santé et la lutte contre le VIH/SIDA en Afrique du Sud. En 2017, la RAND Corporation a utilisé le cadre conceptuel Cynefin dans une discussion sur les théories et les modèles de prise de décision. La Commission européenne a publié un guide pratique pour utiliser Cynefin en tant que « guide pour naviguer à travers une crise ».

Parmi les critiques de Cynefin, on retrouve le fait que le cadre conceptuel est difficile et déroutant, qu'il a besoin de fondements plus rigoureux et qu'il propose trop peu de contextes différents. Une autre critique est que les termes comme connu, connaissable, sentir et catégoriser sont ambigus.

Le professeur Simon French reconnaît « la valeur du cadre conceptuel Cynefin dans la catégorisation des contextes décisionnels et l'identification de la manière de traiter de nombreuses incertitudes rencontrées lors d'une analyse » et, à ce titre, estime qu'il s'appuie sur des travaux précurseurs tels que Scientific Method: optimizing applied research decisions de Russell L. Ackoff, Inquiring Systems de C. West Churchman, Exploratory data analysis de John Tukey, Decision Methodology de Douglas John White et Tools for Thinking: Modeling in Management Science de Mike Pidd.

Notes et références

Notes

Références

Gestion des connaissances
IBM
Pages avec des traductions non relues

Cadre conceptuel Cynefin


Arthur George Onslow,  comte d'Onslow (-octobre 1870) est un pair britannique.

Biographie
Il est l'aîné des enfants de Thomas Onslow,  comte d'Onslow et de sa femme Arabella Mainwaring-Ellerker (morte en 1782).

Le 21 juillet 1818, il épouse Mary Fludyer, fille aînée de George Fludyer d'Ayston, comté de Rutland, écuyer et de Margaret Fane, fille du  comte de Westmoreland. Ils ont deux enfants :

 Mary Augusta (née le 4 juin 1819)
 Arthur George (16 juin 1820 - 2 août 1856, décédé avant son père), épouse le  août 1850 Katherine Anne Cust (née en 1822), fille de John Cust (1er comte Brownlow). Ils ont 3 filles.

La femme du  comte est décédée avant lui le  mars 1830. Son fils est mort sans descendance masculine. À la mort du comte, il est remplacé par son petit-neveu, William (né en 1853).

Il possède une importante collection napoléonienne et aurait, lors d'une visite au Louvre avec Paul Delaroche en 1848, commenté l'invraisemblance et la théâtralité du tableau de David Napoléon traversant les Alpes , qui avait récemment été réinstallé . Il charge Delaroche de produire une version plus précise mettant en scène Napoléon sur une mule, intitulée Bonaparte traversant les Alpes. Deux versions subsistent, une à Liverpool et une au Louvre .

Références

Liens externes

Naissance en octobre 1777
Naissance à Marylebone
Décès en octobre 1870
Décès à Marylebone
Comte de la pairie du Royaume-Uni
Comte d'Onslow

Arthur Onslow (3e comte d'Onslow)


රොබට් බෙන්ට් නොක්ස් DD LLD (උපත 25 සැප්තැම්බර් 1808, මරණය 23 ඔක්තොම්බර් 1893) යනු 1849 සිට 1886 දක්වා අයර්ලන්ත සභාවේ ඩවුන්, කොනර් සහ ඩ්‍රොමර් හි රදගුරුවරයා සහ, ඉන්පසු 1886 සිට එතුමාගේ මරණය දක්වා  ආර්මා හී අගරදගුරුවරයා සහ සමස්ත අයර්ලන්තයේ අග්‍රධරයා වූ තැනැත්තේය.

1808 දී වූ උපත්
1893 දී වූ මරණ
19 වන සියවසෙහි එංගලන්ත සභා අගරදගුරුවරු
අයර්ලන්ත ජාතික එංගලන්ත සභා සාමාජිකයෝ

රොබට් නොක්ස් (රදගුරුවරයා)