In genetics, chromosome translocation is a phenomenon that results in unusual rearrangement of chromosomes. This includes balanced and unbalanced translocation, with two main types: reciprocal, and Robertsonian translocation. Reciprocal translocation is a chromosome abnormality caused by exchange of parts between non-homologous chromosomes. Two detached fragments of two different chromosomes are switched. Robertsonian translocation occurs when two non-homologous chromosomes get attached, meaning that given two healthy pairs of chromosomes, one of each pair "sticks" and blends together homogeneously.

A gene fusion may be created when the translocation joins two otherwise-separated genes. It is detected on cytogenetics or a karyotype of affected cells.  Translocations can be balanced (in an even exchange of material with no genetic information extra or missing, and ideally full functionality) or unbalanced (where the exchange of chromosome material is unequal resulting in extra or missing genes).

Reciprocal translocations
Reciprocal translocations are usually an exchange of material between non-homologous chromosomes and occur in about 1 in 491 live births. Such translocations are usually harmless, as they do not result in a gain or loss of genetic material, though they may be detected in prenatal diagnosis. However, carriers of balanced reciprocal translocations may create gametes with unbalanced chromosome translocations during meiotic chromosomal segregation. This can lead to infertility, miscarriages or children with abnormalities. Genetic counseling and genetic testing are often offered to families that may carry a translocation. Most balanced translocation carriers are healthy and do not have any symptoms.

It is important to distinguish between chromosomal translocations that occur in germ cells, due to errors in meiosis (i.e. during gametogenesis), and those that occur in somatic cells, due to errors in mitosis. The former results in a chromosomal abnormality featured in all cells of the offspring, as in translocation carriers. Somatic translocations, on the other hand, result in abnormalities featured only in the affected cell and its progenitors, as in chronic myelogenous leukemia with the Philadelphia chromosome translocation.

Nonreciprocal translocation

Nonreciprocal translocation involves the one-way transfer of genes from one chromosome to another nonhomologous chromosome.

Robertsonian translocations
Robertsonian translocation is a type of translocation caused by breaks at or near the centromeres of two acrocentric chromosomes. The reciprocal exchange of parts gives rise to one large metacentric chromosome and one extremely small chromosome that may be lost from the organism with little effect because it contains few genes. The resulting karyotype in humans leaves only 45 chromosomes, since two chromosomes have fused together.   This has no direct effect on the phenotype, since the only genes on the short arms of acrocentrics are common to all of them and are present in variable copy number (nucleolar organiser genes).

Robertsonian translocations have been seen involving all combinations of acrocentric chromosomes. The most common translocation in humans involves chromosomes 13 and 14 and is seen in about 0.97 / 1000 newborns. Carriers of Robertsonian translocations are not associated with any phenotypic abnormalities, but there is a risk of unbalanced gametes that lead to miscarriages or abnormal offspring.  For example, carriers of Robertsonian translocations involving chromosome 21 have a higher risk of having a child with Down syndrome. This is known as a 'translocation Downs'. This is due to a mis-segregation (nondisjunction) during gametogenesis. The mother has a higher (10%) risk of transmission than the father (1%). Robertsonian translocations involving chromosome 14 also carry a slight risk of uniparental disomy 14 due to trisomy rescue.

Role in disease
Some human diseases caused by translocations are:
 Cancer: Several forms of cancer are caused by acquired translocations (as opposed to those present from conception); this has been described mainly in leukemia (acute myelogenous leukemia and chronic myelogenous leukemia). Translocations have also been described in solid malignancies such as Ewing's sarcoma.
 Infertility: One of the would-be parents carries a balanced translocation, where the parent is asymptomatic but conceived fetuses are not viable.
 Down syndrome is caused in a minority (5% or less) of cases by a Robertsonian translocation of the chromosome 21 long arm onto the long arm of chromosome 14.

Chromosomal translocations between the sex chromosomes can also result in a number of genetic conditions, such as
 XX male syndrome: caused by a translocation of the SRY gene from the Y to the X chromosome

By chromosome

Denotation
The International System for Human Cytogenetic Nomenclature (ISCN) is used to denote a translocation between chromosomes.  The designation t(A;B)(p1;q2) is used to denote a translocation between chromosome A and chromosome B. The information in the second set of parentheses, when given, gives the precise location within the chromosome for chromosomes A and B respectively—with p indicating the short arm of the chromosome, q indicating the long arm, and the numbers after p or q refers to regions, bands and sub-bands seen when staining the chromosome with a staining dye. See also the definition of a genetic locus.

The translocation is the mechanism that can cause a gene to move from one linkage group to another.

Examples of translocations on human chromosomes

History
In 1938, Karl Sax, at the Harvard University Biological Laboratories, published a paper entitled "Chromosome Aberrations Induced by X-rays", which demonstrated that radiation could induce major genetic changes by affecting chromosomal translocations. The paper is thought to mark the beginning of the field of radiation cytology, and led him to be called "the father of radiation cytology".

DNA double-strand break repair

The initiating event in the formation of a translocation is generally a double-strand break in chromosomal DNA.  A type of DNA repair that has a major role in generating chromosomal translocations is the non-homologous end joining pathway.  When this pathway functions appropriately it restores a DNA double-strand break by reconnecting the originally broken ends, but when it acts inappropriately it may join ends incorrectly resulting in genomic rearrangements including translocations.  In order for the illegitimate joining of broken ends to occur, the exchange partners DNAs need to be physically close to each other in the 3D genome.

See also
 Accipitridae
 Aneuploidy
 Chromosome abnormalities
 DbCRID
 Fusion gene
 Pseudodiploid
 Takifugu rubripes

References

External links

Chromosomal abnormalities
Cytogenetics
Modification of genetic information

Chromosomal translocation


Animale fantastice și unde le poți găsi (titlu original: Fantastic Beasts and Where to Find Them) este un film fantastic britanic din 2016 regizat de  David Yates și distribuit de Warner Bros. Pictures. Rolurile principale au fost interpretate de actorii Eddie Redmayne ca Newt Scamander, Katherine Waterston, Dan Fogler, Alison Sudol, Ezra Miller, Samantha Morton, Jon Voight, Carmen Ejogo și Colin Farrell.

Este un spin-off al seriei de filme Harry Potter, scenariul este scris de J. K. Rowling (debut scenaristic) pe baza cărtii sale omonime Fantastic Beasts and Where to Find Them.

Prezentare

În 1926, Newt Scamander sosește la New York cu barca, având o valiză misterioasă în care se află zeci de creaturi magice. După ce iese din port se întâlnește cu Mary Lou Barebone, care este membră a celui de-al Doilea Salem. Ea predică despre existența ființelor magice și despre modul în care acestea ar trebui vânate și doborâte. În timp ce Newt o ascultă pe Mary Lou, un Niffler scapă din valiza sa și se îndreaptă spre o bancă din apropiere. Newt o urmărește în timp ce aceasta provoacă haos peste tot în timp ce atrage un "Nu-Mag" (Încuiat sau Mageamiu) numit Jacob Kowalski.

Distribuție
 Eddie Redmayne - Newt Scamander.
 Katherine Waterston - Porpentina "Tina" Goldstein:
 Dan Fogler - Jacob Kowalski.
 Alison Sudol - Queenie Goldstein.
 Colin Farrell - Percival Graves:
 Carmen Ejogo - președinte al MACUSA Seraphina Picquery
 Samantha Morton - Mary Lou Barebone:
 Ezra Miller - Credence Barebone:
 Ron Perlman - Gnarlack
 Jon Voight - Henry Shaw, Sr.
 Josh Cowdery - Henry Shaw, Jr.:  senator american
 Ronan Raftery - Langdon Shaw
 Johnny Depp - Gellert Grindelwald]].
 Faith Wood-Blagrove - Modesty.
 Jenn Murray -  Chastity
 Sean Cronin - Criminal
 Gemma Chan
 Zoë Kravitz

Producție
Filmările au început la 17 august 2015 la Warner Bros. Studios, Leavesden. Câteva scene au fost turnate în Londra. După două luni, producția a fost mutată la St George's Hall din Liverpool, care a fost transformat în New York-ul anilor 1920. Cheltuielile de producție s-au ridicat la 180 milioane $.

Primire
Are legaturi apropiate cu Harry Potter

Note

Legături externe

Filme din 2016
Filme britanice
Filme în limba engleză
Filme regizate de David Yates
Filme 3D
Filme IMAX
Filme Warner Bros.
Filme americane
Filme fantastice din anii 2010
Filme Harry Potter
Filme de aventură americane
Filme de fantezie întunecată

Animale fantastice și unde le poți găsi


An Paspalidium distans in uska species han Liliopsida nga syahan ginhulagway ni Carl Bernhard von Trinius, ngan ginhatag han pagkayana nga asya nga ngaran ni Dorothy Kate Hughes. An Paspalidium distans in nahilalakip ha genus nga Paspalidium, ngan familia nga Poaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Mga sumpay ha gawas

Paspalidium

Paspalidium distans


Le Mans 24 Saat Yarışları (24 Heures du Mans), dünyanın en ünlü spor otomobil dayanıklılık yarışlarından biridir. Pist uzunluğu 13,469 km'dir. Üç tane kategorisi vardır: Spor Otomobil, Kamyon ve Motosiklet. Yarışan araçlar prototiptir. 1923'ten bu yana düzenlenmektedir. 1939'la 1949 yılları arasında II. Dünya Savaşı nedeniyle düzenlenmemiştir.1955'te kaza sonucu 83 ölü ve 120'den fazla yaralı olmuştur. Yıllık olarak Le Mans, Fransa yakınlarındaki Circuit de la Sarthe pistinin French Sarthe département bölümünde yapılır. Automobile Club de l'Ouest (A.C.O) tarafından düzenlenir.

Kazananlar
1923'teki ilk yarış 128 turu tamamlayan Chenard-Walcker tarafından kazanılmıştır.

Kaynakça
 Le Mans 1965 in Automobile Historique n°48 May 2005 (Fransızca)
 24 heures du Mans 1973 in Automobile Historique n°49 June/July 2005 (Fransızca)

Dış bağlantılar
 Le Mans resmi sitesi
 Le Mans 24 Saat
 Planetlemans
 Racing Sports Cars  — tarihi fotoğraflar ve bilgi

Fransa'da motor sporları

Le Mans 24 Saat


Idrætssvømning er en dansk undervisningsfilm fra 1941, der er instrueret af Theodor Christensen.

Handling
Instruktionsfilm, der gennemgår træningen til brystsvømning, crawl, holdkapssvømning, bjærgning, dykning og kunstsvømning.

Referencer

Eksterne henvisninger

Danske film fra 1941

Undervisningsfilm fra Danmark

Idrætssvømning


شبكة شارلوت 2: مغامرة ويبر الكبرى  هو فيلم 2003 مباشرة إلى الفيديو المتحركة، وتكملة لفيلم عام 1973 شبكة شارلوت. وأنتج من قبل باراماونت، يونيفرسال بيكتشرز (كما يرى الشعار على النشرات في جميع أنحاء العالم)، يونيفرسال ستوديوز الكرتون (كما يرى الشعار على النشرات الدولية)، ونيكلوديون، وزعته باراماونت الترفيه المنزلي في أمريكا الشمالية واستوديوهات يونيفرسال الرئيسية الترفيه في الخارج.

مؤامرة
الفيلم يفتح في فصل الربيع، أي بعد نحو عام شارلوت قد مات. شارلوت ثلاث بنات، نيللي، العنكبوت، والفرح، هي الآن في مراحل المراهقة، مع ويلبر بمثابة الرفيق ومعلمه.

خلال هذا الوقت، ويلبر قطيع يصادق كارديجان، حملا الوليد الذي بدا عليه باستمرار الحملان الأخرى، والأصغر سنا غنم له لأنه من الصوف الأسود. ويلبر كارديجان يأخذ تحت جناحه ويعرض له في المزرعة، وسبل الحياة الحيوانية، والأخطار المحدقة نبحث عنها.

ومع ذلك، بعد أسابيع قليلة فقط، زوكرمان تبيع كارديجان فجأة إلى مزارع آخر، لذلك ويلبر، جنبا إلى جنب مع بناته شارلوت وتيمبلتون الفأر، والمبينة لزيارة كارديجان وتأكد من انه على ما يرام.

في رحلة لزيارة كارديجان، ومع ذلك، ويلبر جائعا حتى انه يحصل على بعض العنب التي تجعل له نظرة الأرجواني. بعض من لحاء الأشجار والأراضي ويأتي على رأسه. هذا ما يجعله يبدو وكأنه الخنازير البرية. ضرب بالقرب من سيارة ثم يكشف عن أن اثنين من اللاعبين الآخرين الآن وقد شهدت الخنازير البرية. وهذا يجعل من الصعب على ويلبر لزيارة كارديجان.

وفي الوقت نفسه، شر الثعلب اسمه فارلي يأتي ويسرق دجاجة من الحظيرة، ويلقى باللوم على ويلبر. فارلي يأتي ويسرق كارديجان من الحظيرة، وخطط لتناول الطعام معه. ويلبر يجب الآن حفظ صديقه، ويفعل ذلك من خلال محاصرة له في «شبكة الخنازير». بناته شارلوت تدور كلمة «الثعلب» في بيت العنكبوت، والسرخس يصل في الوقت المناسب لانقاذ ويلبر. الثعلب، في حين لم تظهر، ويتم التخلص من الأرجح. بناته شارلوت يقرر البقاء مع كارديجان، وينتهي الفيلم ويلبر أن الطفل يجلس الأطفال في تيمبلتون. كان قد وعد بذلك في وقت سابق عندما كان تيمبلتون للحصول على ويلبر من بعض شجيرات العليق، الأمر الذي ساعد أيضا تجعله يبدو وكأنه خنزير بري.

مراجع

وصلات خارجية

أفلام باللغة الإنجليزية في عقد 2000
أفلام أمريكية
أفلام الطريق الأمريكية
أفلام إنتاج 2003
أفلام باراماونت بيكتشرز
أفلام باللغة الإنجليزية
أفلام تدور أحداثها في مزرعة
أفلام تضم شخصيات مؤنسة
أفلام خيال أمريكية للأطفال
أفلام دراما كوميدية إنتاج عقد 2000
أفلام درامية 2003
أفلام رسوم متحركة أطفال أمريكية
أفلام رسوم متحركة أطفال فانتازيا أمريكية
أفلام رسوم متحركة أطفال موسيقية أمريكية
أفلام رسوم متحركة أمريكية في عقد 2000
أفلام رسوم متحركة عن الثعالب
أفلام رسوم متحركة عن الصداقة
أفلام رسوم متحركة عن الموت
أفلام رسوم متحركة عن جرذان
أفلام رسوم متحركة في 2003
أفلام رسوم متحركة مبنية على روايات أمريكية
أفلام عن الخنازير
أفلام عن العناكب
أفلام فانتازيا مغامرات في عقد 2000
أفلام فانتازيا موسيقية أمريكية
أفلام فيديوهات مسجلة 2003
أفلام فيديوهات مسجلة متممة
أفلام كوميديا درامية 2003
أفلام متممة أمريكية
أفلام موسيقية درامية في عقد 2000
أفلام موسيقية في عقد 2000
رسوم متحركة

شبكة شارلوت 2: مغامرة ويبر الكبرى (فيلم)


Epileptiker? - En film om det at have epilepsi er en dansk dokumentarfilm fra 1992, der er instrueret af Lars Andersen.

Handling
Epilepsi er en samling af symptomer, der viser sig ved gentagne anfald udløst fra nerveceller i hjernen. 65.000 mennesker i Danmark har eller har haft epilepsi. Af disse kræver ca. 35.000 behandling. Ved medicinsk behandling gøres 75% anfaldsfrie. De sidste 25% har fortsat anfald. Epilepsi kræver speciallægebehandling. Hvert år opstår 1.500 nye tilfælde af epilepsi i Danmark. Filmen følger tre mennesker med epilepsi og skildrer deres liv og tanker.

Referencer

Eksterne henvisninger

Danske film fra 1992

Dokumentarfilm fra Danmark


The Beast Within este un film de groază britanic din 1982 regizat de Philippe Mora. Rolurile principale sunt interpretate de actorii Ronny Cox și Bibi Besch.

Prezentare

Distribuție
 Ronny Cox (Eli MacCleary)
 Bibi Besch (Caroline MacCleary)
 Paul Clemens (Michael MacCleary)
 Don Gordon (Judge Curwin)

Note

Filme din 1982
Filme în limba engleză
Filme americane

The Beast Within


An Eriocaulon selousii in uska species han Liliopsida nga ginhulagway ni Sylvia Mabel Phillips. An Eriocaulon selousii in nahilalakip ha genus nga Eriocaulon, ngan familia nga Eriocaulaceae. Ginklasipika han IUCN an species komo nangangarat-an. Waray hini subspecies nga nakalista.

Mga kasarigan

Eriocaulon

Eriocaulon selousii


The New Guard was an Australian fascist paramilitary organisation during the Great Depression. It was the largest and most successful fascist organisation in Australian history.

The New Guard, known for its violent agitation against Premier of New South Wales Jack Lang, was founded and led by Eric Campbell. At its peak, membership was estimated to be around 50,000. The group's membership was predominantly Anglo-protestant, monarchist and anti-communist.

The organisation attracted great publicity when member Captain Francis de Groot, on horseback and at Campbell's direction, upstaged Lang in cutting the ribbon at the opening ceremony of the Sydney Harbour Bridge in protest at the latter's anti-monarchist ideology.

After Lang's dismissal in 1932, the New Guard's membership declined rapidly. Campbell met with fascists and National Socialists such as Sir Oswald Mosley and Joachim von Ribbentrop and, in 1934, published his manifesto The New Road, signalling an ideological transition towards  Italian corporate statism. As the Centre Party, it unsuccessfully contested five seats at the 1935 New South Wales state election. The party failed to win a single seat, polling 0.60 per cent of the vote. Following the election, Campbell withdrew from public life. Both the party and the New Guard disbanded shortly afterwards.

History

Old Guard
In response to the election of Jack Lang as Premier of New South Wales, and rising pressure from trade unionists, counter-movements began to rise in opposition to the Labor Party. Among them was the Old Guard, a secret organisation purported to exist as early as 1917, which at the time of the Great Depression was administrated primarily by businessmen Roger Goldfinch and Robert Gillespie, among other anonymous committee members. The Old Guard was a coalition of imperial loyalists, devoted to the British Empire and ready to act preemptively to prevent a socialist revolution from taking place. At the height of its popularity the organisation enjoyed close ties with the NSW Police Force, Attorney-General's Department and the Department of Defence, and boasted 30,000 members comprising strongly of rural New South Welshmen and wealthy Protestant Anglo-Saxons.

Old-New Guard schism
Among the Old Guard's members was World War I veteran Eric Campbell, an army officer and former gunner with the First Australian Imperial Force. Campbell had been introduced to the Old Guard by John Scott, a fellow member of the board of Sydney insurance company Sun Insurance.

Over time, Campbell grew discontented with the Old Guard. The organisation was sworn to absolute secrecy of membership, and was divided into cells so that its leadership would be hard to identify. Campbell disagreed with this arrangement, asserting that the uncommunicative nature of its leadership to its members, mostly returned servicemen, was ill-fitting to their nature as soldiers. He believed that without clear authority and direction, the Old Guard would be unable to retain members. Unable to convince the committee to change its administrative strategy, he and John Scott left the Old Guard. A week after Campbell's resignation, he and others from the Old Guard agreed, in mid-February, to form a separate body which would be diametrically opposed to the Old Guard's secrecy and what they considered its inaction.

The New Guard was officially formed on 16 March 1931, built on a common ideological system of monarchism, classic liberalism and anti-communism. Campbell was voted Chief Commander. Within a few weeks its membership had swelled.

Anti-leftist action (1931-32)

The New Guard was a paramilitary group, its military capability was extremely limited and vastly overstated by its leadership.  It was amateurish, ineffectual and likened to the Keystone Cops.  During the initial growth of the movement, Campbell was able to attract many ex-soldiers and ex-commanders to the movement, with ex-military making up the majority of the group's membership, including the likes of early aviator Charles Kingsford Smith and North Sydney Mayor Hubert Primrose. As general commanding officer, Campbell organized it on military lines. He claimed that, in an 'emergency', it could maintain essential services including Bunnerong power house and the police attested to the Guard's efficiency. With a peak membership of over 50,000, the Guard rallied in public, broke up 'Communist' meetings, drilled, vilified the Labor Party and demanded the deportation of Communists. Campbell and his New Guard proceeded to secure connections and weapons so that, in the event of a statewide communist revolt in which the police had become ineffective, he could seize control of essential services and keep them operational. An attempt to clothe its members in uniforms failed, however, when the Guard could not go through with its order for lack of funds. Campbell's naïve offer to step in to break a seamen's strike in October 1931 was rebuffed by shipowners.

Violent clashes
Assisted by motorcar, the New Guard developed a strategy where they would regularly disrupt left-wing workers' meetings and New guard members spent much of the summer of 1932 driving around doing so. During December 1931, Captain Francis de Groot organised around 1,000 New Guardsmen to attack leftist meetings. On 11 December 1931, three policemen were injured in a fight between New Guardsmen and communists in Darlinghurst. On 13 February 1932, 700 New Guardsmen practised military drills in Belmore and a number of journalists who attempted to document the drills were assaulted. A few days later, 13 members of the New Guard were arrested after violently disrupting a political meeting in Coffs Harbour. Violent attacks on leftist meetings continued for weeks as part of a 'general mobilisation'.

De Groot had stated that he 'felt that, the best reply to force, was greater force' and by May 1932 Campbell had started inciting street brawls, and came close to staging a coup d'etat against the Lang government. Against this backdrop the state Labor party formed a number of militias including the Workers' Defence Army (WDA), the Labor Defence Corps (LDC) and Lang's supporters had formed the Australian Labor Army (ALA). Street fights between Lang's Labor Army and fascist paramilitary groups including Sir Thomas Blamey's Victorian-based "White Army, also known as the League of National Security, and the New Guard became increasingly common as the New Guard attempted to discredit the left by starting brawls or other breaches of the peace.

Though the New Guard sought to work as a supplement to the police in the event of a socialist revolution, they were oftentimes opposed under orders from the Lang government. As an exercise the New Guard attempted to measure the strength of the Sydney police force by organising many small unapproved street meetings across the city in an attempt to stretch their men thin. When forced to disperse by police each group of New Guardsmen would peacefully disperse and simply reform nearby. According to a contact Campbell had in the NSW Police Force, the police were reporting large street gatherings and were requesting reinforcements from all over the city.

Opening of the Sydney Harbour Bridge
On 19 March 1932, the New Guard interrupted the much-anticipated opening of the Sydney Harbour Bridge. The New Guard had wanted to have Sir Philip Game open the bridge on behalf of King George V, but Lang refused, stating that "I will open it myself, it'll be cheaper". The New Guard declared that Lang would not perform the ceremony, with Campbell calling Lang a 'tyrant and scoundrel' and declaring that Lang would never open the Harbour Bridge. Rumors began to circulate of a plot to kidnap Lang.

During the opening ceremony army officer and zone commander Francis de Groot upstaged Jack Lang by slashing the ceremonial ribbon with his sword. De Groot was supplied with a horse by fellow New Guardsmen Albert Reichard and he rode to the ceremony in his World War I 15th Hussars uniform, managing to slash the ribbon before Lang. De Groot was pulled from his horse and detained, later being fined £9 (equivalent to $859.99 in 2017). The Mayor of North Sydney, Hubert Primrose, an official participant at the opening ceremony, was also a member of the New Guard.

Assault on Jock Garden
On 6 May 1932, Trades and Labour Council secretary John (Jock) Garden, an influential member of Lang's inner circle, was assaulted by members a New Guard faction known as the Fascist Legion. Garden was assaulted at his home by eight hooded men in Ku Klux Klan-like gowns. The incident caused massive resignations from the New Guard.

Decline

1932 constitutional crisis

On 13 May of the same year, Lang was dismissed from his premiership. Along with an inner faction of the New Guard's involvement in orchestrating the bashing of Communist Party of Australia founder Jock Garden, the New Guard began to lose popularity as the organisation's purpose was perceived as having been fulfilled. The activities of militant splinter groups emerging from the New Guard, such as the Fascist Legion, also contributed to a rush of resignations which began even before Lang's dismissal.

By mid 1932, the New Guard was largely a spent force. With their main objective complete – the removal of Lang from office – the New Guard continued to lose members as it drifted into the mid 1930s. Even de Groot left the organisation in November 1932 to pursue collaboration with the Melbourne-based League of National Security by which the White Army was also known. It was during this time that Campbell began to outline more fully his political beliefs, producing a series of broadcasts in which he developed a "complete credo for a fascist State", most notably incorporating a "non-elective cabinet or commission, a corporative assembly, vocational franchise and a charter of liberty". He also stated his intentions to contest the next state election, a date for which had not yet been set.

1933: Exploration into fascism
Campbell's memoirs state that due to the New Guard's opposition to party politics and unwillingness to align themselves with either side, they were often dubbed "fascists". Though the New Guard bore resemblance to the militant Blackshirts in Italy, its strong adherence to individualism found it disqualified it from this definition. Campbell was curious to learn about fascism from the source however, so in 1933 during an overseas business trip, he met with Sir Oswald Mosley and wife Lady Cynthia at their London home to discuss the matter. His experience was overall positive, and while unimpressed with the members of Mosley's British Union of Fascists, he was reminded of his own New Guardmen when he attended an Imperial Fascist League meeting.

With Mosley's recommendations he later progressed to Berlin where, unable to meet Chancellor of Germany Adolf Hitler, he was able to see Foreign Affairs Minister Joachim von Ribbentrop, as well as Alfred Rosenberg. In Rome he was likewise unable to see Mussolini, instead meeting with Secretary Achille Starace, though their mutual unintelligibility and failure to use French as a medium was no use. Nevertheless, Campbell's tour across the fascist powers of Europe left him deeply impressed with the ideology. However, on his return to Australia, Campbell's support for an "openly pro-fascist policy" was met with strong opposition from the Guard's "anti-fascist moderates". These attempts to establish the movement as what historian Keith Amos dubs "Australia's first fascist party" are thought to hastened the decline of the New Guard, with many previous members unhappy with the ideological progression that had taken place. One year later he would pen his manifesto The New Road which put forward his case for an Australian application of Italian corporate statism.

1935 state election

One idea expressed in Campbell's manifesto was that the emergence of a "centre party" in Australia was inevitable. While initially satisfied by the prospects of a United Australia Party-led purging of communism and other socialistic and anti-communist dogmas from the continent, Campbell had realised that the central tenets of the New Guard could not be fulfilled due to those politicians' ineffectiveness in bringing them about. Becoming fully dissatisfied with the politics that had, in his words, "degenerated into a number of sordid business undertakings", the New Guard entered into party politics.

The Centre Party was officially established in December 1933 at a meeting of over 1,000 people, with The Sydney Morning Herald reporting that 100 branches of the party would be established. The majority of the shrinking organisation endorsed its move into electoral politics, which was, according to Campbell, "necessitated by the failure of the UAP governments, at both federal and state levels, to accede to the New Guard's demands". Due to a lack of time needed to organise the campaign, the party did not contest the September 1934 federal election. An August 1934 meeting of the New Guard reaffirmed Campbell as leader, and resolved to "make itself felt in the next State elections".

At the May 1935 New South Wales state election, the Centre Party contested five out of the 90 Legislative Assembly districts, all in suburban Sydney, and polled 0.60 percent of the total vote. In two seats, Hornsby, contested by Fergus Munro, and Lane Cove, contested by Campbell, only the Centre Party and the United Australia Party fielded candidates, with the former polling over 15 percent of the vote in both seats. In the other seats it contested, the Centre Party candidates failed to poll more than 5 percent of the vote. The party's relatively high vote in Hornsby and Lane Cove is thought to have represented "merely the level of protest against [UAP Premier] Stevens" in the absence of other candidates.

In Arncliffe, the only seat that required a preference distribution, the majority (56.78%) of Centre Party preferences flowed to the United Australia candidate, Horace Harper, who was defeated by Labor's Joseph Cahill, a future premier. Enoch Jones, the candidate for Arncliffe, later served as a City of Rockdale councillor, and contested the seat of Rockdale for the Liberal Democrats at the 1944 state election. Additionally, Aubrey Murphy, the candidate in Concord, served on two occasions as mayor of the Blue Mountains City Council in the 1950s, and was named an MBE in the 1960 New Year Honours.

With the exception of occasional speaking engagements, Campbell himself largely withdrew from public life following the election, and spent most of the rest of his life in country New South Wales, where he was president of the Burrangong Shire Council in 1949 and 1950 (now part of Young Shire). Campbell's 1965 autobiographical account of his involvement in the New Guard, The Rallying Point, considered "confused", "highly unreliable" and a work of "historical fiction" by Moore in any event, does not mention the Centre Party at all. Later writers have suggested that the party's lack of success at the 1935 election represented "an electoral brick-wall", with the party overall a "failure" and Campbell's movement having "lost most of its drive".

Organisation
At its inception, the administrative structure of the New Guard consisted of an Organising Committee lead by a Chairman with powers to add more committee members by way of a unanimous vote. This committee would be tasked with the recruitment of members and their separation by localities across the Sydney and regional New South Wales areas. Following the meeting at Cahill's, the structure of the organisation was revised in an attempt to exercise "practical democracy". The power allotted to each position in the New Guard changed as the organisation was built.

The area of Greater Sydney would be broken down into four independent Zones: A Zone, consisting of the land north of Sydney Harbour; B Zone, covering the Eastern Suburbs as well as from the coastline down to Maroubra; C Zone, incorporating the Southern Suburbs down to and including the Sutherland Shire; and D Zone, including the Western Suburbs to the west of Parramatta. These Zones would be divided into Divisions and then subdivided into Localities. As part of Campbell's practical democratic solution, each Locality would operate as independent units where a few hundred New Guardsmen would select for themselves a Locality Commanders and Administrator to handle affairs, and each Locality would frequently meet at Locality Conventions to discuss and vote on matters. The Locality Commanders of each Division would select Divisional Commanders, and said Divisional Commanders would meet to pick the Zone Commander for their respective Zone. Divisional and Zone Commanders would only assume active command positions when more than one of their respective subdivisions were active in a particular objective, therefore making Localities especially independent in the operation of the New Guard.

The executive branch of the New Guard was the General Council, consisting of the leading Chief Commander and four Zone Commanders with equal voting power. The General Council was only to make decisions regarding major executive matters, and questions regarding routine and defensive emergencies would be directed to the Chief Commander, or Deputy Chief Commander if the former was absent. During the period of structural preparation the Chief Commander was to not interfere in the movement's formation, and only assume complete executive involvement once the Locality system was completely established. To put checks on the General Council's power, Campbell formed the Council of Action, consisting of the Chief Commander and Divisional Commanders; the Chief Commander would be deprived of a vote.

Intelligence on the New Guard's political rivals would be collected by the individual Localities and submitted to the Chief of the Intelligence Branch for collation. While being essential to the New Guard's functionality, it was sometimes inaccurate in its intelligence gathering. Flawed analysis of the political demographics of Sydney found that there were 252,473 Communists in ten Sydney electorates alone.

As Campbell allowed considerable independence for the Localities and permitted members to associate freely with any political party so long that the New Guard's central values were upheld, splinter groups such as the Fascist Legion (also known as the Pack of Cards) formed. Legion members wore Ku Klux Klan-style gowns and hoods at their own internal meetings in order to guarantee anonymity, adopting pseudonyms based on particular playing cards in a standard 52-card deck (excluding queens). Keeping with the theme of playing cards, the Fascist Legion's leader was led by "the Joker". Its membership was estimated at 49. Besides investigating disloyalty and laxity within the New Guard, they purportedly engaged in targeted operations such as the aforementioned attack on Jock Garden. They were reported to be planning kidnappings and police arm store raids. The activity of splinter groups such as the Fascist Legion contributed to the bleeding of members in the lead-up to Lang's dismissal by Sir Philip Game.

Membership

Standards for New Guard membership had prospective members picked irrespective of class, financial situation or party affiliations, so long as they were of good character. For maximal utility, the membership system was split into three groups:

A class - Members who were physically able, and could be employed for operations both within Localities and outside its boundaries if needed
B class - Members with technical qualifications, regardless of age, who could assist in the maintenance of essential services such as water, electricity and transport services, among others, in the event of a socialist revolution
C class - Members that due to their age or personality could only be trusted to handle operations within their own Locality

New Guardsmen of their own Locality were encouraged to participate during Locality Conventions to decide matters specific to their area. A member was not kept within the organisation against their will, as they could leave at any time for any reason. This was to ensure that the New Guard could preserve its democratic, voluntary elements established at its founding.

Estimates of the New Guard's membership count are contradictory. A report conducted by the NSW Police in September 1931 found 87,000 had sought membership and by December of the same year there were 39,000 card-carrying members – with 3,000 residing in the country centres of regional NSW. For practical reasons, Campbell's internal estimations of membership count focused on those that the New Guard could rely on in the event of a socialist revolution. In that he estimated the figure at 20,000. For propaganda reasons, New Guard membership was often publicly exaggerated, as when Campbell foreshadowed a procession of 100,000 men along Macquarie Street to present a petition to Sir Game.

Notable members
Hubert Primrose, former Mayor of North Sydney
Charles Kingsford Smith and Charles Ulm, early Australian aviators
Francis de Groot, interloper at opening of the Sydney Harbour Bridge
Tom Walsh, former trade unionist and husband of suffragette Adela Pankhurst
Herbert Lloyd, Major General of the Australian Army
Julian Howard Ashton, prominent journalist and writer

See also
Australian nationalism
Australia First Movement
Far-right politics in Australia
Loyalism
Opposition to trade unions

References

Further reading

1930s in Sydney
1931 establishments in Australia
Fascist organizations
Fascism in Australia
Organizations established in 1931
Monarchism in Australia

New Guard


لاعب كرة قدم من سورية. بدأ ممارسة كرة القدم في نادي تشرين السوري، ولعب لفئاته العمرية في مركز مدافع (كرة قدم)، وانتقل عام 2007 إلى نادي الاتحاد السوري.

مراجع

وصلات خارجية

لاعبو كرة قدم رجالية مغتربون في الصين
لاعبو كرة قدم رجالية مغتربون في لبنان
لاعبو كرة قدم رجالية سوريون
لاعبو كرة قدم رجالية سوريون مغتربون
لاعبو كرة قدم رجالية مغتربون في العراق
مدافعو كرة قدم رجالية
أشخاص على قيد الحياة
أشخاص من اللاذقية
رياضيون سوريون مغتربون في الصين
رياضيون سوريون مغتربون في العراق
رياضيون سوريون مغتربون في لبنان
لاعبو الدوري السوري
لاعبو دوري السوبر الصيني
لاعبو الدوري اللبناني لكرة القدم
لاعبو كأس آسيا 2011
لاعبو كرة قدم سوريون
لاعبو كرة قدم في دورة الألعاب الآسيوية 2006
لاعبو كرة قدم مغتربون سوريون
لاعبو كرة قدم مغتربون في الصين
لاعبو كرة قدم مغتربون في العراق
لاعبو كرة قدم مغتربون في لبنان
لاعبو منتخب سوريا لكرة القدم
لاعبو نادي الأنصار (لبنان)
لاعبو نادي أهلي حلب
لاعبو نادي تشرين
لاعبو نادي شنغهاي شينهوا
منافسون في الألعاب الآسيوية من سوريا
مواليد 1405 هـ
مواليد 1985
مواليد في اللاذقية

عبد القادر دكة


Zonguldakspor, Zonguldak merkezli eski futbol kulübü. 1942 yılında Kömürspor adıyla kurulmuş, 1966 yılında Türkiye 2. Futbol Ligi (günümüzdeki adı 1. Lig)'ne çıkınca Zonguldakspor, 2011'de ise Fenerspor adını almıştır. Kulübün renkleri kırmızı-laciverttir.

Tarihçe
1942 yılında Kömürspor adıyla kurulan kulüp 16 Temmuz 1966 tarihinde şehrin bir diğer kulübü olan Esnafspor ile birleşerek Zonguldakspor adını aldı. 1973-74 sezonunda 2. Lig Beyaz Grup'ta şampiyon olarak Kırmızı Grup şampiyonu Trabzonspor'la beraber 1. Lig'e çıktı. 14 yıl boyunca yer aldığı 1. Lig'de 1979-80 sezonunda en başarılı performansı sergileyerek üçüncü oldu. 1981-82 sezonundaki dördüncülükten sonra güçten düşmeye başlayan Zonguldakspor; 1987-1989 arası inişe geçti ve iki yıl içinde 1. Lig'den 3. Lig'e düştü. 1989'dan sonra, 2. Lig ve 3. Lig arası gidip gelen Zonguldakspor, 2005-06 sezonunda oynadığı 2. Lig B Kategorisi 4. Klasman Grubu'nu sonuncu bitirdi ve 3. Lig'e düştü. Türkiye liglerinin en erken golü Zonguldakspor'a aittir. 3. Lig 4. Grup'ta oynanan Körfez Belediyespor-Zonguldakspor maçının 6. saniyesinde Zonguldaksporlu genç futbolcu Haydar Özdemir, maçın başlama vuruşunun yapılmasıyla takım arkadaşının pasında topla buluştu. Haydar'ın kalecinin üstünden aşırttığı topun filelerle buluşması tam 6 saniye sürdü. Maçın 6. saniyesinde atılan gol Türk futbol tarihinin en erken atılan golü olarak kayıtlara geçerken, Haydar Özdemir de en erken golü atan futbolcu olarak kayıtlara geçti.

Zonguldakspor, 2007-08 sezonunda 3. Lig 4. Grup'ta verdiği amatör kümeye düşmeme mücadelesini malî sıkıntılar yüzünden kaybetti ve 1. Amatör Küme'ye düştü.

2010-11 sezonunda kurulan ve kısaca BAL diye tabir edilen Bölgesel Amatör Lig'de Kilimli Belediyespor ile birlikte Zonguldak ilini temsil etme hakkı kazanan Zonguldakspor; lider Eskişehir Demirspor ve Kilimli Belediyespor'un 1 puan gerisinde 3. sırada ve şampiyonluk iddiasıyla girdiği sezonun son haftasında Pursaklar Belediyespor ile kendi seyircisi önünde golsüz berabere kalınca BAL statüsü gereğince Zonguldak 1. Amatör Küme'de 2. olan Demir Madencilik Dilaverspor'la baraj maçı oynamak durumunda kaldı. Karşılaşma, 4-2 Zonguldakspor aleyhine bitince rakibi Bölgesel Amatör Lige yükselirken Zonguldakspor ise Türkiye'deki amatör futbolun 2. seviyesi olan il bazında mücadeleye yani Zonguldak 1. Amatör Küme'ye (6. seviyeye) düştü.

Bu olaydan sonra Zonguldakspor'un adının Fenerspor olarak değiştirildiği ve yukarıda belirtildiği gibi baraj maçını kazanarak Bölgesel Amatör Lig'e yükselen Demir Madencilik Dilaverspor'un da 2011-12 sezonunda "Zonguldak Kömürspor" adı altında mücadele edeceği açıklandı. Bu kararın aynı zamanda Zonguldakspor'u borçlardan kurtarmak için olduğu açıklandı. Fenerspor ismini alan Zonguldakspor 2011-2012 sezonundan bu yana faaliyet göstermemektedir.

Lig mücadeleleri

 Süper Lig: 14
1974-1988
 1. Lig: 16
1966-1974, 1988-1989, 1992-1999
 2. Lig: 10
1989-1992, 1999-2001, 2002-2006
 3. Lig: 5
2001-2002, 2006-2008
 Bölgesel Amatör Lig: 1
2010-2011
 Amatör Lig: 2
2008-2010

Başarıları
Süper Lig
Üçüncülük (1) : 1979-1980

Türkiye Kupası
Yarı final (1) : 1987-1988

1. Lig
Şampiyonluk (1) : 1973-1974

3. Lig
Şampiyonluk (2) : 1991-1992, 2001-2002

Ankara TSYD Kupası
Şampiyonluk (2) : 1978, 1979

Gençlik ve Spor Bakanlığı Kupası
Şampiyonluk (1) : 1974

Zonguldak Süper Amatör Ligi

Şampiyonluk (2) : 2008-2009, 2009-2010

Dış bağlantılar
 TFF Kulüp Bilgileri
 http://www.mackolik.com/Standings/Default.aspx?sId=17478

Kaynakça

1942'de kurulan futbol kulüpleri
1966'da kurulan futbol kulüpleri
Zonguldak'ta spor

Fenerspor


Kuyucak - Aydın ili ilçesi
 Kuyucak, Niksar - Tokat ili Niksar ilçesine bağlı belde
 Kuyucak, Adıyaman - Adıyaman ili merkez ilçesine bağlı köy
 Kuyucak, Sandıklı - Afyonkarahisar ili Sandıklı ilçesine bağlı köy
 Kuyucak, Beypazarı - Ankara ili Beypazarı ilçesine bağlı mahalle
 Kuyucak, Kalecik - Ankara ili Kalecik ilçesine bağlı mahalle
 Kuyucak, Burhaniye - Balıkesir ili Burhaniye ilçesine bağlı mahalle
 Kuyucak, Dodurga - Çorum ili Dodurga ilçesine bağlı köy
 Kuyucak, Mecitözü - Çorum ili Mecitözü ilçesine bağlı köy
 Kuyucak, Acıpayam - Denizli ili Acıpayam ilçesine bağlı mahalle
 Kuyucak, Odunpazarı - Eskişehir ili Odunpazarı ilçesine bağlı mahalle
 Kuyucak, Keçiborlu - Isparta ili Keçiborlu ilçesine bağlı köy
 Kuyucak, Kemalpaşa - İzmir ili Kemalpaşa ilçesine bağlı mahalle
 Kuyucak, Menderes - İzmir ili Menderes ilçesine bağlı mahalle
 Kuyucak, Altıntaş - Kütahya ili Altıntaş ilçesine bağlı köy
 Kuyucak, Kırkağaç - Manisa ili Kırkağaç ilçesine bağlı mahalle
 Kuyucak, Menteşe - Muğla ili Menteşe ilçesine bağlı mahalle
 Kuyucak, Ladik - Samsun ili Ladik ilçesine bağlı mahalle
 Kuyucak, Karaköprü - Şanlıurfa ili Karaköprü ilçesine bağlı mahalle
 Kuyucak, Reşadiye - Tokat ili Reşadiye ilçesine bağlı köy

Diğer
 Kuyucaklı Yusuf: Sabahattin Ali'nin 1937 tarihli romanı
 Kuyucaklı Yusuf (film): Feyzi Tuna'nın Sabahattin Ali'nin romanından 1985'te uyarladığı film

Kuyucak (anlam ayrımı)


Stanislav Ivanovici Hurenko  (30 mai, 1936 – 14 aprilie, 2013) a fost un politician sovietic ucrainean și membru al Partidului Comunist. Pe 22 iunie 1990 Mihail Gorbaciov l-a pus pe Gurenko în funcția de Prim-Secretar al Partidului Comunist al RSS Ucrainene pentru a-l inlocui pe Vladimir Ivașko. Și-a dat demisia pe 1 septembrie 1991 deoarece RSS Ucraineană a căzut și Ucraina a devenit independentă.

Gurenko a murit la 14 aprilie 2013, la vârstă de 76 ani din pricina cancerului.

Referințe

 Politicieni sovietici
 Nașteri în 1936
 Decese în 2013

Stanislav Hurenko


Alexander "Sandy" Morton (* 24. März 1945 in Glasgow) ist ein schottischer Schauspieler.

Karriere
Alexander Morton wurde am 24. März 1945 in Glasgow geboren. Nach dem Abschluss seiner Schullaufbahn besuchte er von 1965 bis 1968 die Central School of Speech and Drama in London und begann Vollberuflich als Schauspieler zu arbeiten.

Nationale Bekanntheit erreichte er vor allem durch sein Mitwirken in den TV-Serien Taggart, Second Sight, Between the Lines, Minder und Casualty, sowie durch seine Rollen in den Filmen Croupier, London to Brighton und Dramen wie The One That Got Away, Looking After Jo Jo, und The Man-Eating Wolves of Gysinge.

Dem Fernsehpublikum wurde er insbesondere durch die Rollen des Wildhüters Golly Mackenzie in der BBC-TV-Serie Monarch of the Glen (2000–2005) bekannt.  Zuvor hatte er zudem mehrere, regelmäßige Gastauftritte in den 1980ern und 1990ern als Andy Semple in der schottischen Seifenoper Take the High Road.

Bedeutende Theaterrollen, die von Morton gespielt wurden, waren unter anderem die in Scots gehaltenen Darbietungen von Macbeth in William Shakespeares Macbeth und die Rolle des R.P. McMurphy in One Flew Over the Cuckoo's Nest, bei denen beide Male Robert Carlyle Regie geführt hatte. Zusammen mit Carlyle hatte Morton auch die Raindog Theatre Company gegründet. Darüber hinaus arbeitete er regelmäßig mit den Theatergruppen 7:84 und Borderline zusammen und trat auch im Traverse Theatre, the Lyceum, the Bush, the Royal Court und als Pantomime im King's Theatre in Glasgow auf.

Mortons vierter Tätigkeitsbereich ist das Einsprechen von Hörspielen. So sprach er 2007 den Graf Dracula in der BBC radio Version von Dracula (Voyage of the Demeter, 2006) oder auch den Inspector Rebus in der ersten Adaptation von Ian Rankins Rebus-Reihe ein. Darüber hinaus sprach er auch Sprach-Memos für die Videospiele Heavenly Sword,  Witcher und Viking: Battle for Asgard.

2011 wurde Morton zudem erstmals für Spoken-Word-Passagen auf einem Musikalbum engagiert, dem Konzeptalbum Helvetios der Schweizer Folk-Metal-Band Eluveitie. Eluveitie-Frontmann Chrigel Glanzmann wurde auf Morton durch den Film Walhalla Rising aufmerksam, und legte seine Beweggründe zur Verpflichtung des Schauspielers gegenüber der Musik-Presse dar: "Die Idee des Textes [der von Morton gesprochen wird] ist es, dass ein alter Mann, der in seiner Jugend die Schrecken des Gallischen Krieges auf dem Schlachtfeld hautnah miterlebte, aber all die Kriegsjahre überlebte, an seinem Lebensabend zurückblickt… und erzählt." Er kommentierte die Aufnahmen zudem wie folgt:

Privatleben
Morton war dreimal verheiratet und hat zwei Kinder, Kerry (* 1970) und Jamie (* 1980). Seine erste Frau war die Schauspielerin Pam Scotcher.

Im Jahr 1972 war Alexander Morton Protagonist in einem Cartoon der Satire-Zeitschrift Punch.

Filmografie (Auswahl)
 1971: Jack rechnet ab (Get Carter)
 1980–1994: Take the High Road (Daily Soap)
 1986: Dramarama – Waiting for Elvis (1986)
 1988: Winners and Losers
 1990: Silent Scream
 1992–1994: Firm Friends (TV-Sitcom)
 1994: Jolly a Man for All Seasons
 1994: Crime Story
 1994: The Tales of Para Handy
 1996: Bad Boys
 1996: The One that Got Away
 1996: Nightlife
 1997: Looking After Jo Jo
 1997: Bombay Blue
 1997: Love Me Tender
 1998: Croupier – Das tödliche Spiel mit dem Glück (Croupier)
 1999–2000: Second Sight (TV-Serie)
 1999: Life Support
 2000–2005: Monarch of the Glen (TV-Serie)
 2003: Dead Simple
 2005: The Man-Eating Wolves of Gysinge
 2006, 2008: Casualty (TV-Serie, 2 Folgen)
 2006: London to Brighton
 2007: Kitchen
 2009: Walhalla Rising
 2010: Luther (TV-Serie, 1 Folge)
 2013: Mord auf Shetland (Shetland, TV-Serie, 2 Folgen)

Theaterrollen (Auswahl)

Hörspielbeiträge

Weblinks

 Alexander Morton - Radio appearances (englisch)

Einzelnachweise

Filmschauspieler
Theaterschauspieler
Schotte
Brite
Geboren 1945
Mann

Alexander Morton


23988 Maungakiekie este un asteroid din centura principală de asteroizi.

Descriere
23988 Maungakiekie este un asteroid din centura principală de asteroizi. A fost descoperit pe  la Auckland de Ian P. Griffin. Asteroidul prezintă o orbită caracterizată de o semiaxă mare de 2,86 ua, o excentricitate de 0,18 și o înclinație de 12,3° în raport cu ecliptica.

Vezi și
 Lista planetelor minore: 23001-24000
 Centura de asteroizi

Referințe

Obiecte astronomice descoperite în 1999
Centura de asteroizi

23988 Maungakiekie


Prem Nazir (born Abdul Khader; 7 April 1926 – 16 January 1989) was an Indian actor known as one of Malayalam cinema's definitive leading men of his generation. He is widely regarded as one of the most influential actors in the history of Indian cinema. A popular cultural icon of Kerala, Nazir is often referred to as Nithyaharitha Nayakan ("Evergreen Hero"). Nazir began his career as a stage actor and made his film debut with the 1952 film Marumakal. He took on the stage name Prem Nazir on the sets of his second film, Visappinte Vili (1952).

Nazir is noted for his performances in films such as Murappennu (1965), Udhyogastha (1967), Iruttinte Athmavu (1967), Kallichellamma (1969), Virunnukari (1969), Nadhi (1969), C.I.D. Nazir (1971), Anubhavangal Paalichakal (1971), Taxi Car (1972), Azhakulla Saleena (1973), Nellu (1974), Ariyappedatha Rahasyam (1981), Vida Parayum Munpe (1981), Padayottam (1982), and Dhwani (1988). Nazir won the Kerala State Film Award (Special Jury Award) for his role as Madhavan Kutty in Vida Parayum Munpe. The Government of India honoured him with the Padma Bhushan the third highest civilian honours respectively, for his contribution towards the arts. He died due to measles on 16 January 1989 at the age of 62.

Nazir holds the Guinness World Records for playing opposite the same heroine in 130 films (with Sheela), and previously held the record for playing the lead role in a record 720 films. He also holds two other acting records; for acting opposite eighty heroines and for acting in lead roles in 30 films which were released in a single year (1973 and 1977).

Early life

Nazir was born in Chirayinkeezhu in the princely state of Travancore (now in  Thiruvananthapuram district of Kerala), to Akkode Shahul Hamid and Asuma Beevi on 7 April 1927 in a Rowther family. He had two brothers - Prem Nawas (Abdul Wahab) - and Ashraf and six sisters - Sulekha, Arifa, Aneesa, Umaiba, Sunaisa and Suhara. His mother died when he was very young, and his father remarried a woman of the same name. He completed his formal education from Kadinamkulam Lower Primary School, Sri Chithiravilasam School, Trivandrum, Sanatana Dharma College, Alappuzha, and St. Berchmans College, Changanassery. By the time he completed his education, he had become an experienced drama artist.

Career

Entry into cinema

Prem Nazir had his acting debut as Shylock in the play The Merchant of Venice (1951), when he was a student at SB College, Changanacherry. He won the best actor award for this role in the play directed by Sheppard. His first film was Marumakal (1952), directed by S. K. Chari and produced by Paul Kallungal. He was credited as Abdul Khader in this film. He got his career break with Visappinte Vili (1952), his second film, made for K&K Combines (Udaya Studio) by Telugu director Mohan Rao. It was on the set of this movie he was renamed to Prem Nazir by Thikkurussi Sukumaran Nair. Prem Nazir started his career when drama was the most popular visual medium and film making at its infancy. He began acting for the Excel Productions (Udaya Studio) and most of his films were for the Udaya and Merryland Studios.

1950s: Rise to stardom

With the arrival of Nazir, there was a new screen personality, a new debonair actor who could be a youth heart throb. Prem Nazir acquired the halo of a romantic hero and a loyal following. His tear-jerkers were very popular with female audiences and soon made him a darling of the masses. He became the first real star of Malayalam cinema. Another factor that assisted Prem Nazir's rise – as it had the rise of his contemporaries in other regional film industries – was the continuing reign of mythologicals and devotionals. Costumed musicals, filmed start-to-finish within the confines of a studio, contributed their own. All such films for a long period kept him before his fans, nourished his romantic image and provided him unlimited scope for rehearsing and refining his talent in playing diverse roles. Since the bulk of South Indian cinema was theatrical visually and aurally, Prem Nazir's stage background and his extraordinary command of Malayalam helped him win the hearts of his audience.

1960s, 1970s: Golden years

In the late 1950s, Nazir drew attention by playing movies with themes based on social and religious injustices in the society. From 1956 to 1976, Prem Nazir rode high at the crest of a tidal wave of popularity and also gave his best to Malayalam cinema. Nazir catapulted to the row of the finest actors of India with the film Iruttinte Athmavu (1967). Playing a demented youth – Velayadhan, Prem Nazir discovered his prowess as a dramatic actor of great intensity. Many critics have evaluated this role as his masterpiece, and as one of the finest onscreen performances ever. Written by M. T. Vasudevan Nair, the film provided Malayalam cinema with a new direction; that of the low-budget film. One could see a lot of the pre-occupations of the scenarist, who carried the touches of human relationships through all of his subsequent films whether as screenplay writer or director. In spite of its large number of studio shots and overall theatricality, the film was so culturally rich that many of the episodes would become archetypes for future Malayalam film makers dealing with family drama. It depicted the story of an imbecile (finely portrayed by Prem Nazir) in a joint family with remarkable sensitivity and seriousness of purpose.

During his peak time, Nazir gave life to many characters and enjoyed a wide popularity among all sects of the society. He acted in the first-ever investigative series in Malayalam cinema C.I.D. Nazir directed by P. Venu. He has played historical characters based on Vadakkan Pattukal. Aromalunni, Kannappanunni, Thacholi Ambu and Padayottam are some major films in this genre. Although the actor faced criticism for playing such roles as his physique was least suited for it, he still enjoyed a huge fan following among the audiences. He was well known for his roles as Hindu deities like Rama, Krishna and Ayyappa. In his movies, Nazir was well known for playing the eternal romantic hero and the good guy who would bash up the villains without remorse.

Even though Nazir could not regenerate after the mid-1970s, he maintained his superstardom till the beginning of the 1980s. In 1979, 39 of his films got released; a record. He also holds the record for having acted in the most leading roles – about 700 films (with 85 heroines; another record). Another record is for the most enduring screen team along with actress Sheela. They played opposite each other in 130 movies by 1975. Although Sheela is known as the lucky mascot of Prem Nazir, his movies with other heroines like Jayabharathi and Sharada were also big successes at box office. Prem Nazir pairing with comedian Adoor Bhasi was a sure-fire laugh riot. The void left by this duo is yet to be occupied. Nazir's association with playback singer K. J. Yesudas was perfect for the audience. Even today many consider the Nazir – Yesudas combination of song sequences remain the best ever on screen. He is quite popularly described as Nithyaharithanayakan (The Evergreen Hero), which does justice to the fact that he was acting as the hero in his elder years as well. Senior Malayalam cine actress Kaviyoor Ponnamma has revealed that Prem Nazir was a very good singer, and had training in Carnatic music.

1980s: Late career

By the beginning of the 1980s, Nazir himself moved into supporting roles. He mostly played supporting roles with Jayan, Sukumaran, Shankar and Soman. In 1980, he acted in Ariyappedatha Rahasyam directed by P. Venu along with Jayan. In 1981, he played a major supporting role in Mohan's Vida Parayum Munpe that earned him the Kerala State Special Jury Award. His most iconic role till date came in the form of Padayottam released in 1982. Based loosely on the evergreen classic, The Count of Monte Cristo by Alexandre Dumas, Nazir played the titular role of Thamban, a prince who is cheated by his so called dear ones and friends and made a slave in a vessel. How he returns and hunts down those who were responsible for wrecking his life forms the crux of the story. He played his last hero role in Vellarikka Pattanam (1985) along with Ratheesh. It is also reputed the Nazir missed the National award for best actor by just one vote for role. His second last film was Ayalvasi Oru Daridravasi(1986), where he starred with Mukesh, Shankar, Nedumudi Venu, Sukumari and Seema. His last completed film was A. T. Abu's Dhwani (1988), in which he co-starred with Jayaram. His last release was Priyadarshan's Kadathanadan Ambadi (1990), in which he co-starred with Mohanlal. In one of his last interviews, he had expressed a desire to direct a film with Mammootty and Mohanlal in the lead.

Popular film genres
Two popular film series initiated by Prem Nazir are the C.I.D series and the Vadakkanpattu series. The former is a group of investigative films by P. Venu in which Nazir played James Bond like protagonists. In most of these movies Nazir teamed with Adoor Bhasi, a famed comedy actor who would accompany Nazir characters in investigations. C.I.D. Nazir directed by P. Venu, has inspired numerous adaptations and similar series like for example popular CBI series with Mammootty in the lead and a satirical CID series of Mohanlal-Sreenivasan team. Other inspired films are C.I.D Unnikrishnan starring Jayaram and C.I.D Moosa with Dileep in the lead.

Another film series starring Nazir was a series of movies based on Vadakanpaattu which are part of the traditional folklore of Kerala. These are tales of martial warriors spread over generations through folk songs. Although the series may have been initiated by Sathyan's title role in Thacholi Othenan, the trend was continued long after his demise with Nazir in the lead, playing various other characters from Vadakkanpattu.

Personal life

Family
Prem Nazir was married to Habeeba Beevi and they have one son and three daughters. Laila, Rasiya – both older than Shanavas. The youngest daughter is Rita. Shanavas's wife Ayisha Beevi is the daughter of the eldest sister of Prem Nazir, Suleikha Beevi. Prem Nazir's son Shanavas acted in few films as well but could not succeed like his father. Third generation of Prem Nazir, Shanavas's son Shameer Khan, acted in a Malayalam film, Uppukandam Brothers Back in Action.

Prem Nazir's younger brother Prem Nawas (Abdul Wahab) also acted in a few films. Although he was the first in the family to begin acting in movies, he later began producing films – Agniputhri, Thulaavarsham, Poojakku Edukatha Pookkal, Neethi and Keni, to name a few. Prem Nawas's only son, Prem Kishore has also had a stint with the industry by acting in two Malayalam films – Vacation and Thaskaraputran. Prem Nawas has the distinction of acting in the first ever colour film made in Malayalam – Kandam Becha Kottu.

Philanthropic work
Nazir is said to be a humanitarian and its still an ongoing debate as to whether he was greater as an actor or as a humanitarian though majority are of the opinion that he was a greater person as a humanitarian. This fact can be established by the phrase many of the old film veterans exclaimed that there will never be another Prem Nazir. He was arguably the only actor who treated his colleagues, well wishers and family with the same manner. Nazir had helped thousands of people in his life time. It is said that he never cared about the gratitude or ingratitude factor but just was happy that he could help someone. In fact it was not until after his death that his relatives, friends and well wishers realised his generosity when they met its beneficiaries. He was one of the very few who strove to make his close friend, Jayan (Krishnan Nair) a superstar. When Jayan succumbed to his injuries following a fatal helicopter accident during the shoot of Kolilakkam, it was Nazir who singlehandedly financed a flight from Chennai to bring his mortal remains back to Trivandrum. He also was responsible for recommending and giving chances to his film colleagues. Its reputed that he had a sharp memory and could immediately recognize someone instantly. He along with veteran director M Sasikumar had helped many bankrupt producers who had pledged their assets to make films, regain their limelight. If any film he had acted failed to perform well he would immediately ask the producer to start the next film and that he would give his dates. Such was the generosity of Prem Nazir that his age had been truly termed as the golden age of Malayalam film where he elevated the film industry to another level by helping not only himself but everyone else in film industry attain growth. He donated an elephant in the Sarkara Devi Temple, Chirayinkil. Nazir also wrote a book on the film characters he played, Enne Thediyethiya Kathapatrangal. And his autobiographical book is Anubhvangal Oarmakal. Famous director and lyrist Sreekumaran Thampi wrote a book about his soulmate in the title Prem Nazir Enna Prema Ganam.

Death

It was during the late 1980s that Nazir, despite being a person with no political affiliations, campaigned rigorously for a running candidate in politics who happened to be a close friend of his. Due to his sincerity, dedication and tireless nature to help people in need, Nazir, who was a diabetic, failed to have proper food at times as he placed his mission much above his health. However all this took a toll on this and he became admitted to Vijaya hospital due to duodenal ulcer which happens due to irregularity of having food. During that stint many of his fans had come to see him and since it was impossible in those days to contain a large following, people just poured in to check the well being of their favorite actor. In that crowd it is said that there was a person who had measles and had freshly bathed which would increase the germs to spread. Nazir in his weak physique contracted it and this led his feeble condition to deteriorate further. Even though valiant attempts were made like trying to bring medicines from abroad to treat him, it all ended up in fiasco and the Nithya Haritha Nayakan died in the early hours of 16 January 1989, aged 62. His dead body was transported via aeroplane to Thiruvananthapuram, and via a special bus to his native land, where he was buried with full state honours.

Awards
Prem Nazir won his only Kerala State Film Award in 1981; He won Filmfare Special Award - South for numerous films in 1976 and he won a Special Jury Award for the supporting role he played in the film Vida Parayum Munbe. He was awarded the Padma Bhushan in 1983 by the President of India in recognition of distinguished services of a high order to the nation in his field (acting). The Prem Nazir Award was initiated in his memory, in 1992, for excellence in contributions to the Malayalam cinema Industry. He has also held the position of National Film Award jury in 1985.

Legacy and influence
Prem Nazir is known to be the most influential and trendsetting lead actor in Malayalam. He is known for his amazing longevity in that he was active during the peak years of other iconic Malayalam superstars like Sathyan and Jayan acting alongside them in 1960s and 1970s respectively. Nazir who began his movie career in the early 1950s, later acted alongside popular future stars like Shankar, Mammootty and Mohanlal by the 1980s. He was a mainstream superstar in Malayalam cinema for over 30 years from the late 1950s to late 1980s. He also has an unofficial recognition of playing a campus character while in his late fifties. Prem Nazir has the distinction of acting with the same heroine; Sheela, in over 100 films.

Nazir is generally considered the ultimate romantic hero in Malayalam cinema due to his handsomeness and ease of acting in romantic roles particularly in romantic song sequences. His song sequences combined with the lyrics of Vayalar, tunes of Devarajan and voice of K.J. Yesudas produced what is called the golden era of Malayalam film songs. Prem Nazir has also appeared in the highest number of dual roles (more than 40) in Indian films and perhaps in world cinema.

Filmography

Important roles

Films in which Nazir played dual roles

Prem Nazir holds the record of playing double roles in more than 40 films of his career. The first movie in which he had played a double role was the historical film, Kunjali Marakkar, directed by SS Rajan. The film won the National Film Award for Best Feature Film in Malayalam.

1 Kunjali Marakkar (1966) as Antonio/Narayanan Nair

2 Udhyogastha (1967)

3 Virunnukari (1969)

4 C.I.D. Nazir (1971)

5 Taxi Car (1972)

6 Thirichadi (1971) as Kuttappan/Venu

7 Rahasyam (1969) as Babu/K.K.Nair

8 Seemantha Puthran  (1978) as Surendran/Jayadevan

9 Makane Ninakku Vendi (1971) as Sam/Thomachan

10 Aromalunni (1974) as Kunjiraman/Aromalunni

11 Gandharvakshethram (1974) as Gandharvan/Velayudhan

12 Postmane Kananilla (1973) as Ramu/Aniyan

13 Football Champion (1976) as Vijayan/ Thakil Veerachami

14 Thenaruvi (1976) as Rajan/Mannaan.

15 Ragapournami (1978) as Vinayan/Ajayan

16 Thacholi Marumakan Chandu (1980) as Othenan/Kutty

17 Honeymoon (1974)

18 Mamangam (1980) as Marathandan/Kannan

19 Pathiravum Pakalvelichavum (1974)

20 Durga (1974) as Prof. Damodaran/Ramu

21 Kottaaram Vilkkaanundu (1975) as Murali

22 Picnic (1975) as Ravivarma/Rajagopal

23 Pichathikuttappan (1979)

24 Aaranyakaantam (1979) as Unnikrishnan/Duplicate Unni

25 Ariyappedatha Rahasyam (1981)

26 Kadamattathachan (1978) as Ravivarma/Kadamattathu Kathanar

27 Ajayanum Vijayanum (1978) as Ajayan/Vijayan

28 Paarijatham (1976)

29 Vanadevatha (1976) as Chandran/Suresh

30 Chennaaya Valarthiya Kutty (1976) as Sreeni/Maranchadi.

31 Kannappanunni (1981) as Durgadasan/Kannappanunni.

32 Kadathanaattu Maakkam (1978) as Nambeeshan/Kannan.

33 Kanalkattakal (1979) as Panikkar/Vijayan.

28 Aanappaachan (1978) as Paachan/Gopi.

29 Vijayanum Veeranum (1982) as Vijayan/Veeran.

30 Anthapuram (1981)

31 Sanchari (1981) as Sumesh/Suresh

32 Post Mortem (1982) as Vikariyachan/C.I.of Police.

33Marupacha (1982) as PremKumar, Premchandran

34 Ente Katha (1983) as Sreekumar/Sankar

35 Justice Raja (1983) as Justice Raja/Son of Raja.

36. Muhammadum musthafayum (1978) as Rajan/Babu

37. Rajurahim (1978) as Raju and Rahim

38. Mallanum Mathevanum

39. Anweshanam (1978) as Gopi/Venu

40. Adachangala (1978) as Ravi/Johnny

41. Ammini Ammavan (1977) as Anandhan/Suresh

Films in which Nazir played triple roles

 Ernakulam Junction (1971)
 Pushpanjali (1972)
 Amme Narayana (1984)

Other important films and characters

 Avakashi (1954)
 Murappennu (1965)
 Odeyil Ninnu (From the Gutter) – The 1966 film was based on the novel of the same name by P. Kesavadev.
 Iruttinte Athmavu (The Soul of Darkness) (1966) – Nazir played the mentally challenged Bhrantan Velayudhan in this film based on the classic novel by M. T. Vasudevan Nair.
 Nagarame Nandi [Thanks to the City] (1967)
 Nadhi (The River) (1969), Adimakal (1969), Kallichellamma (1969)
 Ningalenne Communistakki (You Made Me a Communist) – The 1970 film was based on the drama of the same name by Thoppil Bhasi.
 Thriveni (1970), Thurakkaatha Vaathil [The Door Never Opens] (1970)
 Anubhavangal Paalichakal (Experiences and Failures) (1971) – The story of persecutions and suffering of communists in the early days of modern Kerala. Nazir played one of the heroes alongside Sathyan.
 C.I.D. Nazir (1971) – A investigative series by P. Venu
 Vilakku Vangiya Veena (1971)
 Maaya (1972), Aaradi Manninte Janmi [The Landlord of 6 feet Earth] (1972)
 Pani Theeratha Veedu [The House never completes] (1973), Interview (1973)
 Achani (1973)
 Pathiravum Pakalvelichavum [Midnight & Daylight] (1974)
 Pravaham [Current] (1975)
 Seemantha Puthran [The First Son] (1976), Themmadi Velappan [Idiot Velappan] (1976), Amrithavaahini (1976)
 Vishukkani (1977), Randu Lokam (1977)
 Snehathinte Mukhangal [The Faces of Love] (1978)
 Asthamikkatha Pakalukal [The Days never Ends] (1981)
 Karipuranda Jeevithangal [500th Film Got Outstanding Performance Award] (1981)
 Vida Parayum Munpe (Before saying Goodbye) (1981) – Nazir received a special jury award for this film in the 1981 Kerala State Film Award.
 Padayottam (The Campaign) (1982) – Its story was inspired by Alexandre Dumas classic novel The Count of Monte Cristo and the treatment of the film was inspired by that of Ben-Hur.
 Ayalvasi Oru Daridravasi (Neighbour The Pauper!) (1986) – A comedy film by Priyadarshan, Nazir performed as a middle-aged father.
 Dhwani (The Sound) (1988) – This was his last completed film. The film was a hit due to several factors like the excellent performances by Prem Nazir, Jayaram, Shobhana, Suresh Gopi, Thilakan, and the everlasting music by maestro Naushad Ali.

References

External links

 Prem Nazeer at the MSI Movie Database
 Extensive reportage of Prem Nazir's death on Doordarshan (January 16, 1989)

Indian male film actors
Male actors from Thiruvananthapuram
1926 births
1989 deaths
Kerala State Film Award winners
Recipients of the Padma Bhushan in arts
Recipients of the Padma Shri in arts
Male actors in Malayalam cinema
20th-century Indian male actors

Prem Nazir


Ahu Türkpençe (d. 2 Ocak 1977, Samsun), Türk oyuncudur.

Hayatı ve kariyeri
Tiyatroya karşı büyük bir ilgi duyan, fakat on sekiz yaşına kadar tiyatro ile hiç uğraşmayan sanatçı, çok yakın bir arkadaşının yardımı ile Müjdat Gezen Sanat Merkezi'nin (MSM) elemelerine girdi.

Müjdat Gezen Sanat Merkezi'ne girdikten sonra Yıldız Teknik Üniversitesinde gördüğü fizik eğitimini dondurdu. MSM'ye girdiği ilk sene dışarıda çalışılmasına izin verilmiyordu. Diğer senelerde Yedi Numara ve Azad gibi televizyon dizilerinde oynadı. Bir İstanbul Masalı adlı diziyle herkes tarafından tanınan birisi hâline gelen oyuncu, Şöhret adlı diziyle başarısını devam ettirdi. Neredesin Firuze ile sinema dünyasıyla tanıştı.

2010 yılında Kaybedenler Kulübü'nde oynadı. Filmde sevişme sahnelerinin yoğun olması üzerine bu konuda "çıplaklığın dozunda olması gerektiğini" bu sayede sinemanın kalitesini artıracağını söyledi.

Ödülleri
 15. Afife Tiyatro Ödülleri: "Yılın En Başarılı Kadın Oyuncusu" - Sondan Sonra - Duru Tiyatro
 X. Lions Tiyatro Ödülleri: En iyi Kadın Oyuncu - Sondan Sonra

Tiyatro oyunları
 Sondan Sonra: Dennis Kelly - Duru Tiyatro
 İyi Ki Varsın: Onur Bayraktar
 Vişne Bahçesi: Anton Çehov - MSM Oyuncuları

Filmografisi

Filmleri
 Köksüz
 Kaybedenler Kulübü
 Denizden Gelen
 Dinle Neyden
 Hicran Sokağı
 Keloğlan Kara Prense Karşı
 Neredesin Firuze
 Dağ II
 Bekle Beni

Dizileri
 Mevlânâ Celâleddîn-i Rûmî (2023-)
 Börü 2039 (2021-2022) (Asena Tümer)
 Börü (2018) (Asena Tümer)
 Vicdan (2013) (Keriman)
 Ateşe Yürümek (2010) (Derya)
 Karamel (2008) (Zehra)
 Elveda Rumeli (2007) (Bihter Hemşire)
 Şöhret (2005-2007) (Gülşen Özer Işıl Türker)
 Bir İstanbul Masalı (2003-2005) (Esma Kozan Arhan)
 Azad (2002) Dilan
 Yedi Numara (2001) (Seher Menekşe)
 Güzel Günler (1998)

Dış bağlantılar
 SinemaTürk Sayfası

Kaynakça

1977 doğumlular
Samsun doğumlu oyuncular
Türk kadın dizi oyuncuları
Türk kadın sinema oyuncuları
Türk kadın tiyatro oyuncuları
Yaşayan insanlar
Müjdat Gezen Sanat Merkezi'nde öğrenim görenler

Ahu Türkpençe


Diese Episodenliste enthält alle Episoden der US-amerikanischen Fantasyserie Game of Thrones, sortiert nach der US-amerikanischen Erstausstrahlung. Zwischen 2011 und 2019 entstanden in acht Staffeln insgesamt 73 Episoden mit einer Länge von 50 bis 80 Minuten.

Übersicht
{| class="wikitable" style="text-align:center" width="75%"
|-
! rowspan="2"| Staffel
! rowspan="2"| Episodenanzahl
! rowspan="2"| Literaturbezug
! colspan="2"| Erstausstrahlung USA
! colspan="2"| Deutschsprachige Erstausstrahlung
|-
! Staffelpremiere
! Staffelfinale
! Staffelpremiere
! Staffelfinale
|-
| [[#Staffel 1|1]]
| 10
| A Game of Thrones
| 17. April 2011
| 19. Juni 2011
| 2. November 2011
| 4. Januar 2012
|-
| [[#Staffel 2|2]]
| 10
| A Clash of Kings
| 1. April 2012
| 3. Juni 2012
| 23. Mai 2012
| 26. Juli 2012
|-
| [[#Staffel 3|3]]
| 10
| rowspan="2"| A Storm of Swords
| 31. März 2013
| 9. Juni 2013
| 19. Mai 2013
| 21. Juli 2013
|-
| [[#Staffel 4|4]]
| 10
| 6. April 2014
| 15. Juni 2014
| 2. Juni 2014
| 4. August 2014
|-
| rowspan="2"| [[#Staffel 5|5]]
| rowspan="2"| 10
| A Feast for Crows
| rowspan="2"| 12. April 2015
| rowspan="2"| 14. Juni 2015
| rowspan="2"| 27. April 2015
| rowspan="2"| 29. Juni 2015
|-
| A Dance with Dragons
|-
| [[#Staffel 6|6]]
| 10
| rowspan="2" style="padding: 10px" | The Winds of Winter
| 24. April 2016
| 26. Juni 2016
| 25. April 2016
| 27. Juni 2016
|-
| rowspan="2"| [[#Staffel 7|7]]
| rowspan="2"| 7
| rowspan="2"| 16. Juli 2017
| rowspan="2"| 27. August 2017
| rowspan="2"| 17. Juli 2017
| rowspan="2"| 28. August 2017
|-
| rowspan="2" | A Dream of Spring
|-
| [[#Staffel 8|8]]
| 6
| 14. April 2019
| 19. Mai 2019
| 15. April 2019
| 20. Mai 2019
|}

Staffel 1

Die Erstausstrahlung der ersten Staffel war vom 17. April bis zum 19. Juni 2011 auf dem US-amerikanischen Kabelsender HBO zu sehen. Die deutschsprachige Erstausstrahlung sendete der deutsche Pay-TV-Sender TNT Serie vom 2. November 2011 bis zum 4. Januar 2012.

Staffel 2

Die Erstausstrahlung der zweiten Staffel war vom 1. April bis zum 3. Juni 2012 auf dem US-amerikanischen Kabelsender HBO zu sehen. Die deutschsprachige Erstausstrahlung sendete der Pay-TV-Sender Sky Atlantic HD vom 23. Mai bis zum 26. Juli 2012.

Staffel 3

Die Erstausstrahlung der dritten Staffel war vom 31. März bis zum 9. Juni 2013 auf dem US-amerikanischen Kabelsender HBO zu sehen. Die deutschsprachige Erstausstrahlung sendete Sky Atlantic HD vom 19. Mai bis 21. Juli 2013.

Staffel 4

Die Erstausstrahlung der vierten Staffel war vom 6. April bis zum 15. Juni 2014 auf dem US-amerikanischen Kabelsender HBO zu sehen. Die deutschsprachige Erstausstrahlung sendete der Pay-TV-Sender Sky Atlantic HD vom 2. Juni bis zum 4. August 2014.

Staffel 5

Die Erstausstrahlung der fünften Staffel war vom 12. April bis zum 14. Juni 2015 auf dem US-amerikanischen Kabelsender HBO zu sehen. Die deutschsprachige Erstausstrahlung sendete der Pay-TV-Sender Sky Atlantic HD vom 27. April bis zum 29. Juni 2015.

Staffel 6

Die Erstausstrahlung der sechsten Staffel war vom 24. April bis zum 26. Juni 2016 auf dem US-amerikanischen Kabelsender HBO zu sehen. Die deutschsprachige Erstausstrahlung sendete der Pay-TV-Sender Sky Atlantic HD vom 25. April bis zum 27. Juni 2016.

Staffel 7

Im April 2016 verlängerte HBO die Serie um eine siebte Staffel. Die Ausstrahlung in den Vereinigten Staaten lief vom 16. Juli bis 27. August 2017 bei HBO und startete in Deutschland zeitgleich, aufgrund der Zeitverschiebung jedoch erst am 17. Juli 2017 bei Sky Atlantic HD. Die siebte Staffel hatte nur sieben Episoden.

Staffel 8

Die sechsteilige finale Staffel wurde vom 14. April 2019 bis zum 19. Mai 2019 in den USA und vom 15. April 2019 bis zum 20. Mai 2019 auf Deutsch ausgestrahlt.

Zuschauerzahlen

Weblinks

Einzelnachweise

Episodenliste
!Episodenliste

Game of Thrones/Episodenliste


A religião mexica, ou religião asteca, originou-se dos astecas indígenas da região central do México . Como outras religiões mesoamericanas, também tem práticas como o sacrifício humano em conexão com muitos festivais religiosos que estão no calendário asteca. Esta religião politeísta tem muitos deuses e deusas; os astecas costumavam incorporar divindades que foram emprestadas de outras regiões geográficas e povos em suas próprias práticas religiosas.

A cosmologia da religião asteca divide o mundo em treze céus e nove camadas terrenas ou submundos. O primeiro céu se sobrepõe à primeira camada terrestre, de modo que o céu e as camadas terrestres se encontram na superfície da Terra. Cada nível está associado a um conjunto específico de divindades e objetos astronômicos. As entidades celestes mais importantes na religião asteca são o Sol, a Lua e o planeta Vênus (ambos como "estrela da manhã" e "estrela da noite"). Os astecas eram popularmente chamados de "povo do sol".

Muitas divindades principais dos astecas são adoradas no mundo contemporâneo ou atual. Essas divindades são conhecidas por nomes como Tlaloc, Quetzalcoatl e Tezcatlipoca, que são veneradas por diferentes nomes em múltiplas culturas e foram ao longo da história da Mesoamérica. Para os astecas, as divindades de particular importância são o deus da chuva Tlaloc; Huitzilopochtli, patrono da tribo mexica; Quetzalcoatl, a serpente emplumada e deus do vento e da aprendizagem; e Tezcatlipoca, o astuto e evasivo deus do destino e da fortuna também ligado à guerra e feitiçaria. Tlaloc e Huitzilopochtli eram adorados em santuários no topo da maior pirâmide (Templo Mayor) na capital asteca Tenochtitlan. Um terceiro monumento na praça em frente ao Templo Mayor foi dedicado ao deus do vento, Ehecatl, que era um aspecto ou forma de Quetzalcoatl.

Teotl
O conceito de teotl é central para os astecas. O termo é frequentemente traduzido como "deus", mas pode conter aspectos mais abstratos da divindade ou energia sobrenatural, semelhante ao conceito polinésio de Mana.

A natureza dos teotl é um elemento chave na compreensão da queda do império asteca. Parece que o governante asteca da época, Moctezuma II e os astecas, em geral, se referiam a Cortés e aos conquistadores como "teotl ". Acredita-se amplamente que isso significa que eles acreditavam que eles eram deuses, mas uma melhor compreensão de teotl pode sugerir que eles eram apenas vistos como "misteriosos" ou "inexplicáveis".

Panteão
Os astecas costumavam adotar deuses de diferentes culturas e permitir que eles fossem adorados como parte de seu panteão. Por exemplo, o deus da fertilidade, Xipe Totec, era originalmente um deus do Yopi (o nome Nahuatl do povo Tlapanec), mas tornou-se parte integrante do sistema de crenças asteca. Além disso, às vezes deuses estrangeiros seriam identificados com um deus já existente. Outras divindades, como Tezcatlipoca e Quetzalcoatl, tinham raízes em civilizações anteriores da Mesoamérica e eram adoradas por muitas culturas sob nomes diferentes.

Os muitos deuses dos astecas podem ser agrupados em complexos relacionados a diferentes temas. Alguns eram associados a aspectos da natureza, como Tlaloc e Quetzalcoatl, e outros deuses eram associados a ofícios específicos. Refletindo a complexidade do ritual na sociedade asteca, havia divindades relacionadas ao pulque, uma bebida alcoólica sagrada, mas também divindades de embriaguez, excesso, diversão e jogos. Muitos deuses tinham vários aspectos com nomes diferentes, onde cada nome destacava uma função ou característica específica do deus. Ocasionalmente, dois deuses distintos se fundiam em um e, muitas vezes, divindades se transformavam uma na outra dentro de uma única história. As imagens astecas às vezes combinavam atributos de várias divindades.

O pesquisador HB Nicholson (1971) classificou os deuses em três grupos de acordo com seu significado conceitual na religião mesoamericana geral. O primeiro grupo ele chamou de "criatividade celestial - grupo de paternalismo divino". O segundo: os deuses mãe-terra, os deuses pulque e Xipe Totec. O terceiro grupo, o grupo de Guerra-Sacrifício-Alimentação Sanguinária, continha deuses como Ometochtli, Huitzilopochtli, Mictlantecuhtli e Mixcoatl . Uma classificação mais específica baseada nos atributos funcionais das divindades é a seguinte:

Deuses culturais

 Tezcatlipoca : significa "espelho esfumaçado", um deus xamã Pan-mesoamericano, poder universal onipotente
 Quetzalcoatl : que significa "serpente emplumada", um deus pan-mesoamericano da vida, o vento e a estrela da manhã
 Tlaloc : um deus Pan-mesoamericano da tempestade, água e trovão.
 Mixcoatl : que significa "serpente das nuvens", o deus tribal de muitos povos náuatles, como os Tlaxcaltecas, deus da guerra, sacrifício e caça.
 Huitzilopochtli : que significa "beija-flor canhoto", o deus patrono do Mexicas da cidade de Tenochtitlán, o sol.

Deuses da natureza

 Metztli : a lua
 Tlaltecuhtli : significa "senhor da terra", deusa da Terra
 Chalchiuhtlicue : que significa "jade sua saia", deusa das molas
 Centzon Huitznahua : significa "os 400 sulistas", deuses das estrelas
 Ehecatl : o vento, muitas vezes confundido com Quetzalcoatl e chamado "Quetzalcoatl-Ehecatl"

Deuses da criação

 Ōmeteōtl / Tōnacātēcuhtli : deuses criadores
 Huehuetéotl / Xiuhtecuhtli : significa "velho deus" e "senhor turquesa", deus da origem, tempo, fogo e velhice
 Coatlicue / Toci / Teteoinnan / Tonantzin : deusas progenitoras

Deuses do pulque e do excesso

 Tlazolteotl : deusa da sujeira, culpa e da limpeza
 Tepoztecatl : deus do pulque adorado em Tepoztlan
 Xochiquetzal : deusa do prazer, indulgência e sexo
 Mayahuel : deusa do pulque e do agave
 O Ahuiateteo :
 Macuiltochtli
 Macuilxochitl
 Macuil Cuetzpalin
 Macuilcozcacuauhtli
 Macuil Malinalli
 Centzon Totochtin : significa "os 400 coelhos", deus da intoxicação
 Ometochtli : que significa "dois coelhos", líder do Centzon Totochtin, deus da fertilidade e intoxicação

Deuses do milho e da fertilidade

 Xipe Totec : que significa "nosso senhor esfolado", deus da fertilidade associado à primavera, deus patrono dos ourives
 Centeotl : deus do milho
 Chicomecoatl : deusa da agricultura
 Xilonen : deuses do milho tenro
 Xochipilli : significa "príncipe das flores", deus da felicidade, flores, prazer e fertilidade

Deuses da morte e do submundo

 Mictlantecuhtli : senhor do submundo
 Mictlancihuatl : rainha do submundo
 Xolotl : significa "o animal", senhor da estrela da noite

Deuses do comércio

 Yacatecuhtli : significa "senhor do nariz", deus dos mercadores
 Patecatl : deus dos médicos e da medicina

Religião e sociedade
A religião fazia parte de todos os níveis da sociedade asteca. À nível de Estado, a religião era controlada pelos Tlatoani e pelos sumos sacerdotes que governavam os principais templos no recinto cerimonial da capital asteca de Tenochtitlan. Este nível envolvia os grandes festivais mensais e uma série de rituais específicos centrados em torno da dinastia governante e tentavam estabilizar os sistemas político e cósmico. Esses rituais eram os que envolviam um sacrifício de humanos. Um desses rituais era a festa de Huey Tozoztli, quando o próprio governante podia subir o Monte Tlaloc e se entregar em autossacrifício para pedir as chuvas. Em toda a sociedade, cada nível tinha seus próprios rituais e divindades e desempenhava seu papel nos rituais maiores da comunidade. Por exemplo, a classe dos mercadores pochtecas estava envolvida na festa Tlaxochimaco, onde a divindade mercante seria celebrada e escravos comprados em mercados específicos de escravos por comerciantes de longa distância seriam sacrificados. Na festa de Ochpaniztli todos os plebeus participaram varrendo as ruas. Depois, eles também realizaram banhos rituais. O ritual mais espetacular era a cerimônia do Novo Fogo, que acontecia a cada 52 anos e envolvia todos os cidadãos do reino asteca. Durante isso, os plebeus destruíam utensílios domésticos, apagavam todos os fogos e recebiam novo fogo da fogueira no topo do Monte Huixachtlan, acesa no peito de uma pessoa sacrificada pelos sumos sacerdotes.

Sacerdotes e templos
Na língua náuatle, a palavra para sacerdote era tlamacazqui, que significa "doador de coisas" - a principal responsabilidade do sacerdócio era garantir que os deuses recebessem o que lhes era devido na forma de oferendas, cerimônias e sacrifícios.

O Tlatoani de Tenochtitlan era o chefe do culto de Huitzilopochtli e da religião estatal do império asteca. Ele tinha deveres sacerdotais especiais em diferentes rituais em nível estadual.

No entanto, a organização religiosa asteca não estava inteiramente sob sua autoridade. Bernardino de Sahagún e Duran descrevem os pares de sumos sacerdotes (quetzalcoatlus) que estavam encarregados dos principais centros de peregrinação (Cholula e Tenochtitlan) como gozando de imenso respeito de todos os níveis da sociedade asteca e um nível de autoridade que transcendeu parcialmente as fronteiras nacionais. Sob esses chefes religiosos havia muitos níveis de sacerdotes, sacerdotisas, noviças, freiras e monges (alguns em tempo parcial) que dirigiam os cultos dos vários deuses e deusas. Sahagún relata que os sacerdotes tinham um treinamento muito rigoroso e tinham que viver vidas muito austeras e éticas, envolvendo vigílias prolongadas, jejuns e penitências. Por exemplo, eles muitas vezes tiveram que se sangrar e realizar automortificações prescritas na preparação para ritos de sacrifício.

Além disso, Sahagún refere-se a classes de especialistas religiosos não afiliados ao sacerdócio estabelecido. Isso incluía curandeiros errantes, magos negros e outros ocultistas (dos quais os astecas identificaram muitos tipos, a maioria dos quais temiam) e eremitas. Finalmente, as ordens militares, profissões (por exemplo, comerciantes pochteca e alas calpulli) operavam cada uma seu próprio santuário dedicada ao seu deus específico. Os chefes desses santuários, embora não fossem especialistas religiosos em tempo integral, tinham alguns deveres rituais e morais. Duran também descreve os membros de santuários como tendo a responsabilidade de arrecadar bens suficientes para sediar as festivais de sua divindade padroeira específica. Isso incluía obter e treinar anualmente um escravo ou cativo adequado para representar e morrer como a imagem de sua divindade naquele festival.

Os templos astecas eram basicamente montes sacrificiais: Estruturas piramidais sólidas preenchidas por terras especiais, sacrifícios, tesouros e outras oferendas. Tais pirâmides eram usualmente soterradas por uma nova pirâmide a cada 52 anos.

Em frente a cada grande templo havia uma grande praça. Esta às vezes continha importantes plataformas rituais, como a "pedra da águia", onde algumas vítimas eram mortas. As praças eram onde a maior parte dos fiéis se reunia para assistir aos ritos e danças realizados, para participar das canções e sacrifícios (o público muitas vezes se sangrava durante os ritos) e para participar de qualquer comida do festival. A nobreza sentava-se em assentos em camadas sob toldos ao entorno da praça, e alguns realizavam parte das cerimônias no templo.

A reconstrução contínua permitiu que Tlatoani e outros dignitários celebrassem suas conquistas dedicando novas esculturas, monumentos e outras reformas aos templos. Para festivais, degraus e níveis do templo também eram enfeitados com flores, faixas e outras decorações. Cada pirâmide tinha um topo plano para acomodar dançarinos e sacerdotes realizando ritos. Perto dos degraus do templo geralmente havia uma laje de sacrifício e braseiros.

A casa do templo (calli) em si era relativamente pequena, embora as mais importantes tivessem tetos internos altos e ornamentados. Para manter a santidade dos deuses, essas casas do templo foram mantidas bastante escuras e misteriosas - uma característica que foi aprimorada ainda mais por ter seus interiores rodopiando com a fumaça do copal (que significa incenso) e a queima de oferendas. Cortes e Diaz descrevem esses santuários como contendo imagens sagradas e relíquias dos deuses, muitas vezes enfeitadas com joias, mas envoltas em roupas rituais e outros véus e escondidas atrás de cortinas penduradas com penas e sinos. Flores e oferendas (incluindo uma grande quantidade de sangue) geralmente cobriam grande parte dos pisos e paredes próximas a essas imagens. Cada imagem ficava em um pedestal e ocupava seu próprio santuário. Os templos maiores também apresentavam câmaras subsidiárias que acomodavam divindades menores.

No centro cerimonial de Tenochtitlan, o templo mais importante era o Templo Mayor, que era uma pirâmide dupla com dois templos no topo. Um foi dedicado a Huitzilopochtli; este templo foi chamado Coatepec (que significa "montanha da serpente"), e o outro templo foi dedicado a Tlaloc. Abaixo dos Tlatoani estavam os sumos sacerdotes desses dois templos, ambos chamados pelo título Quetzalcoatl — o sumo sacerdote de Huitzilopochtli era Quetzalcoatl Totec Tlamacazqui e o sumo sacerdote de Tlaloc era Quetzalcoatl Tlaloc Tlamacazqui. Outros templos importantes estavam localizados nas quatro divisões da cidade. Um exemplo foi o templo chamado Yopico em Moyotlan que foi dedicado a Xipe Totec . Além disso, todos os calpulli tinham templos especiais dedicados aos deuses padroeiros dos calpulli. Os padres eram educados no Calmecac se fossem de famílias nobres e no Telpochcalli se fossem plebeus.

Cosmologia e ritual

O mundo asteca consistia em três partes principais: o mundo terrestre em que os humanos viviam (incluindo Tamoanchan, a origem mítica dos seres humanos), um submundo que pertencia aos mortos (chamado Mictlan, "lugar da morte") e o plano superior no céu. A terra e o submundo estavam abertos para os humanos entrarem, enquanto o plano superior no céu era impenetrável para os humanos. A existência foi concebida como abrangendo os dois mundos em um ciclo de nascimento, vida, morte e renascimento. Assim, como se acreditava que o sol habitava o submundo à noite para renascer de manhã e os grãos de milho eram enterrados para depois brotar novamente, a existência humana e divina também era vista como sendo cíclica. Os mundos superior e inferior foram pensados para serem em camadas. Mictlan tinha nove camadas que eram habitadas por diferentes divindades e seres míticos. O céu tinha treze camadas, a mais alta das quais se chamava Omeyocan ("lugar da dualidade") e servia como residência do deus dual progenitor Ometeotl . A camada mais baixa do céu era um lugar verdejante com água abundante chamado Tlalocan ("o lugar de Tlaloc").

Após a morte, a alma do asteca ia para um dos três lugares: o sol, Mictlan ou Tlalocan. Almas de guerreiros caídos e mulheres que morriam no parto se transformavam em beija-flores que seguiam o sol em sua jornada pelo céu. Almas de pessoas que morreram por causas menos gloriosas iriam para Mictlan. Aqueles que se afogaram iriam para Tlalocan.

Na cosmologia asteca, como na Mesoamérica em geral, características geográficas como cavernas e montanhas tinham valor simbólico como locais de cruzamento entre os mundos superior e inferior. As direções cardeais também estavam simbolicamente ligadas ao esquema religioso do mundo; cada direção estava associada a cores e deuses específicos.

Para os astecas, a morte era instrumental na perpetuação da criação, e deuses e humanos tinham a responsabilidade de se sacrificar para permitir que a vida continuasse. Essa visão de mundo é melhor descrita no mito dos cinco sóis registrado no Codex Chimalpopoca, que relata como Quetzalcoatl roubou os ossos da geração anterior no submundo e como mais tarde os deuses criaram quatro mundos sucessivos ou "sóis" para seus súditos viverem. em, todos os quais foram destruídos. Então, por um ato de auto-sacrifício, um dos deuses, Nanahuatzin ("o espinhento"), fez nascer um quinto e último sol onde os primeiros humanos, feitos de massa de milho, puderam viver graças ao seu sacrifício. Os seres humanos foram responsáveis pelo renascimento contínuo do sol. O sacrifício de sangue em várias formas foi realizado. Tanto humanos quanto animais foram sacrificados, dependendo do deus a ser aplacado e da cerimônia que estava sendo realizada, e os sacerdotes de alguns deuses às vezes eram obrigados a fornecer seu próprio sangue através da automutilação.

Os rituais de sacrifício entre os astecas, e na Mesoamérica em geral, devem ser vistos no contexto da cosmologia religiosa: o sacrifício e a morte eram necessários para a continuidade da existência do mundo. Da mesma forma, cada parte da vida tinha uma ou mais divindades associadas a ela e estas tinham que pagar suas dívidas para alcançar o sucesso. Os deuses eram pagos com oferendas sacrificiais de comida, flores, efígies e aves. Mas quanto maior o esforço exigido do deus, maior deveria ser o sacrifício. O sangue alimentou os deuses e impediu que o sol caísse. Para alguns dos ritos mais importantes, um sacerdote oferecia seu próprio sangue cortando suas orelhas, braços, língua, coxas, peito, genitais, ou oferecia uma vida humana ou a vida de um deus. As pessoas que foram sacrificadas vieram de muitos segmentos da sociedade e podem ter sido cativos de guerra, escravos ou membros da sociedade asteca; o sacrifício também pode ter sido homem ou mulher, adulto ou criança, nobre ou plebeu.

Representação de divindade
Um aspecto importante do ritual asteca era a personificação de divindades.  Sacerdotes ou indivíduos especialmente eleitos seriam vestidos para alcançar a semelhança de uma divindade específica.  Uma pessoa com o honroso papel de personificar um deus era chamada ixiptla tli e era venerada como uma manifestação física real do deus até o fim inevitável, quando a semelhança do deus tinha que ser morta como o sacrifício final sob grandes circunstâncias e festividades .

Reconstituição do mito
Tal como acontece com a personificação de deuses, o ritual asteca era muitas vezes uma reencenação de um evento mítico que ao mesmo tempo servia para lembrar os astecas de sua religião, mas também servia para perpetuar o mundo repetindo os eventos importantes da criação.

Mitologia
A principal divindade da religião mexica era o deus sol e deus da guerra, Huitzilopochtli. Ele ordenou aos mexicas que fundassem uma cidade no local onde eles veriam uma águia devorando um animal (nem todas as crônicas concordam sobre o que a águia estava devorando, diz-se que era um pássaro precioso, e embora o padre Duran diga que era uma cobra, isso não é mencionado em nenhuma fonte pré-hispânica), enquanto empoleirada em um  palma com frutos. Segundo a lenda, Huitzilopochtli teve que matar seu sobrinho, Cópil, e jogar seu coração no lago. Mas, como Cópil era seu parente, Huitzilopochtli decidiu homenageá-lo e fez crescer um cacto sobre o coração de Cópil, que se tornou um lugar sagrado.

Diz a lenda que este é o local em que os mexicas construíram sua capital de Tenochtitlan . Tenochtitlan foi construída em uma ilha no meio do Lago Texcoco, onde está localizada a atual Cidade do México. Esta visão lendária está retratada no Brasão de Armas do México .

De acordo com sua própria história, quando os mexicas chegaram ao vale de Anahuac ao redor do lago Texcoco, eles foram considerados pelos outros grupos como os menos civilizados de todos. Os mexicas decidiram aprender e tiraram tudo o que puderam de outros povos, especialmente dos antigos toltecas (que parecem ter confundido parcialmente com a civilização mais antiga de Teotihuacan). Para os mexicas, os toltecas foram os criadores de toda a cultura; toltecayotl era sinônimo de cultura. As lendas mexicas identificam os toltecas e o culto de Quetzalcoatl com a mítica cidade de Tula, que eles também identificaram com a mais antiga Teotihuacan.

No processo, eles adotaram a maior parte do panteão tolteca/nahua, mas também fizeram mudanças significativas em sua religião. À medida que os mexicas subiram no poder, eles adotaram os deuses nahuas em status igual ao seu. Por exemplo, Tlaloc era o deus da chuva de todos os povos de língua Nahuatl. Eles colocaram seu deus local Huitzilopochtli no mesmo nível do antigo deus Nahua e também substituíram o deus Nahua Sun pelo seu próprio. Assim, Tlaloc/Huitzilopochtli representa a dualidade da água e do fogo, como evidenciado pelas pirâmides gêmeas descobertas na Cidade do México no final da década de 1970, e nos lembra os ideais guerreiros dos astecas: o glifo asteca da guerra é a água queimando.

Sacrifício humano

O sacrifício humano era praticado em grande escala em todo o império asteca, embora os números exatos fossem desconhecidos. Em Tenochtitlán, a principal cidade asteca, "entre 10.000 e 80.400 pessoas" foram sacrificadas ao longo de quatro dias para a dedicação da Grande Pirâmide em 1487, segundo Ross Hassig. As escavações das oferendas no templo principal forneceram algumas informações sobre o processo, mas as dezenas de restos escavados estão muito aquém dos milhares de sacrifícios registrados por testemunhas oculares e outros relatos históricos. Por milênios, a prática do sacrifício humano foi difundida nas culturas mesoamericana e sul-americana . Foi um tema na religião olmeca, que prosperou entre 1200 aC e 400 aC e entre os maias. O sacrifício humano era um ritual muito complexo. Cada sacrifício tinha que ser meticulosamente planejado, desde o tipo de vítima até a cerimônia específica necessária para o deus. As vítimas sacrificiais eram geralmente guerreiros, mas às vezes escravos, dependendo do deus e do ritual necessário. Quanto mais alto o posto do guerreiro, melhor ele é visto como um sacrifício. As vítimas então assumiriam a persona do deus pelo qual ele deveria ser sacrificado, seriam também alojadas, alimentadas e vestidas de acordo. Esse processo pode durar até um ano. Quando o dia do sacrifício chegasse, as vítimas participariam das cerimônias específicas do deus. Essas cerimônias eram usadas para esgotar a vítima para que ela não lutasse durante a cerimônia. Então cinco sacerdotes, conhecidos como Tlenamacac, realizavam o sacrifício geralmente no topo de uma pirâmide. A vítima seria colocada sobre a mesa, segurada e, posteriormente, ter seu coração arrancado.

Referências

Politeísmo
Religião no México
Mitologias e religiões mesoamericanas
Mitologia asteca

Religião mexica