The Vagina Monologues is an episodic play written in 1996 by Eve Ensler which developed and premiered at HERE Arts Center, Off-Off-Broadway in New York and was followed by an Off-Broadway run in at  Westside Theatre.  The play explores consensual and nonconsensual sexual experiences, body image, genital mutilation, direct and indirect encounters with reproduction, vaginal care, menstrual periods, prostitution, and several other topics through the eyes of women with various ages, races, sexualities, and other differences.

Charles Isherwood of The New York Times called the play "probably the most important piece of political theater of the last decade."

In 2018, The New York Times stated "No recent hour of theater has had a greater impact worldwide" in an article "The Great Work Continues: The 25 Best American Plays Since 'Angels in America.

Ensler originally starred in both the HERE premiere and in the first off-Broadway production, which was produced by David Stone, Nina Essman, Dan Markley, The Araca Group, Willa Shalit and the West Side Theater.  When she left the play, it was recast with three celebrity monologists. The play has been staged internationally, and a television version featuring Ensler was produced by cable TV channel HBO. In 1998, Ensler and others, including Willa Shalit, a producer of the Westside Theatre production, launched V-Day, a global non-profit movement that has raised over  for groups working to end violence against women (including those who hold fluid identities that are subject to gender-based violence), through benefits of The Vagina Monologues.

In 2011, Ensler was awarded the Isabelle Stevenson Award at the 65th Tony Awards, which recognizes an individual from the theater community who has made a substantial contribution of volunteered time and effort on behalf of humanitarian, social service, or charitable organizations for her creation of the V-Day movement.

History

Eve Ensler wrote the first draft of the monologues in 1996 (there have been several revisions since) following interviews she conducted with 200 women about their views on sex, relationships, and violence against women. The interviews began as casual conversations with her friends, who then brought up anecdotes they themselves had been told by other friends; this began a continuing chain of referrals. In an interview with Women.com, Ensler said that her fascination with vaginas began because of "growing up in a violent society". "Women's empowerment is deeply connected to their sexuality." She also stated, "I'm obsessed with women being violated and raped, and with incest. All of these things are deeply connected to our vaginas."

Ensler wrote the piece to "celebrate the vagina". Ensler states that in 1998, the purpose of the piece changed from a celebration of vaginas and femininity to a movement to stop violence against women. This was the start of the V-Day movement which has continued strong every year since, has turned into a worldwide phenomenon, and a very successful non-profit organization.

The play opened at HERE Arts Center in New York City on October 3, 1996, with a limited run that was scheduled to end November 15 but was extended to December 31. The play gained popularity through sold-out performances, media coverage and word of mouth. "In 2001, V-Day sold out New York's Madison Square Garden with more than seventy actors performing. The evening raised $1 million raised for groups working to end violence against women and girls."

"After "The Vagina Monologues" debuted in 1996, it quickly became a hit. Soon, Eve Ensler's episodic play had graduated from off-off Broadway to Madison Square Garden to college stages the world over."

In 2004, an all-transgender performance of The Vagina Monologues was held for the first time. The performance was covered by the 2006 documentary Beautiful Daughters, which displays the hardships the all-transgender cast faced with the production.

The play was also adapted into a Marathi play called Yonichya Maneechya Gujagoshti by feminist writer-activist Vandana Khare in the year 2009.

Gabriela Youth, the one and only national democratic mass organization for young women in the Philippines also adapted the play into a Tagalog theatrical show called "Ang Usapang Puke" with its student members from the Polytechnic University of the Philippines in the year 2018.

Plot summary
The Vagina Monologues is made up of personal monologues read by a diverse group of women. Originally, Eve Ensler performed every monologue herself, with subsequent performances featuring three actresses, and more recent versions featuring a different actress for every role.  Each of the monologues deals with an aspect of the feminine experience, touching on matters such as sex, sex work, body image, love, rape, menstruation, female genital mutilation, masturbation, birth, orgasm, the common names for the vagina or simply as a physical aspect of the body.  A recurring theme throughout the piece is the vagina as a tool of female empowerment, and the ultimate embodiment of individuality.

Some monologues include:

 I Was Twelve, My Mother Slapped Me: a chorus describing many young women's and girls' first menstrual period.
 Hair, a piece in which a woman discusses how her husband had cheated on her because she had refused to shave her pubic hair, ultimately allowing her to see that it should not matter whether or not she chooses to shave, and that "hair is there for a reason".
 My Angry Vagina, in which a woman humorously rants about injustices wrought against the vagina, such as tampons, douches, and the tools used by OB/GYNs.
 My Vagina Was My Village, a monologue compiled from the testimonies of Bosnian women subjected to rape camps.
 The Little Coochie Snorcher That Could, in which a woman recalls memories of traumatic sexual experiences in her childhood and a self-described "positive healing" sexual experience in her adolescent years with an older woman. This particular skit has sparked outrage, numerous controversies and criticisms due to its content, among which the most famous is the Robert Swope controversy (see below). In the original version she is 13, but later versions changed her age to 16. It also originally included the line, "If it was rape, it was a good rape", which was removed from later versions.
 Reclaiming Cunt, a piece narrated by a woman who illustrates that the word "cunt" itself is an empowering word when reclaimed, despite its history of disconcerting connotations.
 The Woman Who Loved to Make Vaginas Happy, in which a sex worker for women discusses the intriguing details of her career and her love of giving women pleasure. In several performances it often comes at the end of the play, literally climaxing with a vocal demonstration of a "triple orgasm".
 Because He Liked to Look At It, in which a woman describes how she had thought her vagina was ugly and had been embarrassed to even think about it, but changed her mind because of a sexual experience with a man named Bob who liked to spend hours looking at it.
 I Was There in the Room, a monologue in which Eve Ensler describes the birth of her granddaughter in graphic detail and positive wonder.

Every year a new monologue is added to highlight another issue affecting women around the world. In 2003, for example, Ensler wrote a new monologue, called Under the Burqa, about the plight of women in Afghanistan under Taliban rule. In 2004, Ensler wrote one called They Beat the Girl Out of My Boy. . .Or So They Tried after interviewing a group of women whose gender differed from that assigned to them at birth. Every V-Day thousands of local benefit productions are staged to raise funds for local groups, shelters, and crisis centers working to end violence against women.

V-Day

V-Day is a non-profit 501(c)(3) organization that distributes funds to national and international grassroot organizations and programs that work to stop violence against girls and women. The Vagina Monologues is the cornerstone of the V-Day movement, whose participants stage benefit performances of the show and/or host other related events in their communities. Such events take place worldwide each year between 1 February and 30 April, many on college campuses as well. All performances must stick to the annual script that V-Day puts out specifically for the V-Day productions of The Vagina Monologues. The V-Day organization encourages the renditions to include as many diverse actors as possible. With a minimum of 5 actors required by V-Day, the organization also has no maximum limit on the number of actors that can be included in the productions and encourages inclusion of as many actors as possible. The performances generally benefit rape crisis centers and shelters for women, as well as similar resource centers for women and girls experiencing violence against them.

On 21 February 2004 Ms. Ensler in conjunction with Jane Fonda and Deep Stealth Productions produced and directed the first all-transgender performance of The Vagina Monologues, with readings by eighteen notable transgender women and including a new monologue documenting the experiences of transgender women. It debuted in connection with "LA V-DAY Until the Violence Stops" with monologues documenting the violence against transgender women. Since that debut, many university and college productions have included these three "Transgender Monologues". Beautiful Daughters (2006) is a documentary about the cast of the first performance by transgender women.

Support
An article in Signs by Christine M. Cooper begins by applauding The Vagina Monologues for benefit performances done within the first six years (1998–2004). These performances raised over $20 million, 85 percent of which was donated to grassroots organizations that fight against violence towards women.

Criticism

Criticism from feminists

The Vagina Monologues has been criticized by some within the feminist movement, including pro-sex feminists and individualist feminists. Sex-positive feminist Betty Dodson, author of several books about female sexuality, saw the play as having a narrow and restrictive view of sexuality. Dodson's main concern seemed to be the lack of the term "clitoris" throughout the play. She believes that the play sends a message that the vagina is the main sex organ, not the clitoris. There is also criticism of The Vagina Monologues about its conflation of vaginas with women, more specifically for the message of the play that women are their vaginas, as Susan E. Bell and Susan M. Reverby argue, "Generations of feminists have argued that we are more than our bodies, more than a vagina or 'the sex'. Yet, TVM re-inscribes women's politics in our bodies, indeed in our vaginas alone". The focus on women finding themselves through their vaginas, many say, seems more like a Second Wave consciousness-raising group rather than a ground-breaking, inter-sectional, Third Wave cornerstone.

Criticism for being anti-transgender
Because of the title and content of The Vagina Monologues being body-centric, American University chose to change their production of it to a new show including all-original pieces, giving the production the name of Breaking Ground Monologues. Although members of American University's Women's Initiative believe that the show was revolutionary in the 1990s, they concluded that equating having a vagina with being a woman is not an accurate display of womanhood in the 2010s, suggesting that The Vagina Monologues continues to perpetuate the gender binary and erase the identity of those who are genderqueer.

In 2015 a student organization at Mount Holyoke College canceled its annual performance of the play for being, in its opinion, insufficiently inclusive of transgender people. "At its core", Erin Murphy, the president of the school's theater group, said, "the show offers an extremely narrow perspective on what it means to be a woman. … Gender is a wide and varied experience, one that cannot simply be reduced to biological or anatomical distinctions, and many of us who have participated in the show have grown increasingly uncomfortable presenting material that is inherently reductionist and exclusive." The traditionally all-female college had begun admitting trans women the previous year, but the college denied that had anything to do with the decision to discontinue the annual performances of the play.

Criticism for being colonial

Kim Hall, a professor of philosophy at Appalachian State University, further criticizes the play, particularly the sections dealing with women in developing countries, for contributing to "colonialist conceptions of non-Western women," such as the piece "My Vagina Was My Village". Although she supports frank discussions about sex, Hall rescales many of the same critiques leveled by feminists of color at "White privilege" among second-wave feminists: "premature white feminist assumptions and celebrations of a global 'sisterhood.'"

In The Vagina Monologues, depictions of sexual violence are told through mostly non-white and non-US centered stories, as Srimati Basu states, "While a few of these forms of violence, such as sexual assault and denigration of genitalia, are depicted in U.S. locations, violence is the primary register through which 'the global' is evoked, the main lens for looking outside the United States. These global locations serve to signify the terror that is used to hold the laughter in balance, to validate the seriousness of the enterprise, while the 'vagina' pieces are more directly associated with pleasure and sexuality and set in the United States".

In 2013, Columbia University's V-Day decided to stage the play with a cast entirely of non-White women. That decision, too, was controversial.

Social conservative criticism

The play has also been criticized by social conservatives, such as the American Society for the Defense of Tradition, Family and Property (TFP) and the Network of Enlightened Women. The TFP denounced it as "a piece replete with sexual encounters, lust, graphic descriptions of masturbation and lesbian behavior", urging students and parents to protest. Following TFP and other protests, performances were cancelled at sixteen Catholic colleges. Saint Louis University made the decision not to endorse the 2007 production, claiming the yearly event was getting to be "redundant". The response of the university's student-led feminist organization was to continue the production at an off-campus location.

Robert Swope ('good rape') critique

In 2000, Robert Swope, a conservative contributor to a Georgetown University newspaper, The Hoya, wrote an article critical of the play. He suggested there was a contradiction between the promotion of rape awareness on V-Day and the monologue "The Little Coochie Snorcher That Could", in which an adult woman recalls that being given alcohol and statutorily raped at 13 by a 24-year-old woman was a positive, healing experience, ending the segment with the proclamation "It was a good rape."

Outcry from the play's supporters resulted in Swope being fired from the staff of The Hoya, before the piece was even run. Swope had previously criticized the play in an article he wrote entitled "Georgetown Women's Center: Indispensable Asset or Improper Expenditure?" His termination received critical editorial coverage in The Wall Street Journal, Salon, National Review, The Atlantic Monthly, The Washington Times, The Weekly Standard, and by Wendy McElroy of iFeminists.

College performances
Every year, the play is performed on hundreds of college campuses as part of V-Day's College campaign.

Inspired by The Vagina Monologues, many colleges have gone on to develop their own plays. Performances at colleges are always different, not always pre-written, and sometimes feature actors writing their own monologue. The Vagina Monologues also served as inspiration for Yoni Ki Baat, the "South Asian adaptation of The Vagina Monologues", and as loose inspiration for The Manic Monologues, "the mental-illness version of The Vagina Monologues."

The Cardinal Newman Society has criticized the performance of the play on Catholic college campuses. In 2011 ten of the fourteen Catholic universities hosting the Monologues were Jesuit institutions. The Jesuit Tim Clancy, pastor and philosophy professor at Gonzaga University, explains why he supports VM performances on campus: "They are not arguments – they are stories … stories of pain and suffering, stories of shame, violation and impotence" that lead to discussions on "the extremes of the human condition", responding to the call of Pope Benedict for Jesuits in their work to explore "the boundaries resulting from an erroneous or superficial vision of God and man that stand between faith and human knowledge".

See also
 Yoni Ki Baat
 The Indiscreet Jewels
 The Manic Monologues

References

External links

 The Vagina Monologues at Random House

 China mainland premiere (March 2009)
 Official UK Page
 Video of Eve Ensler performing an excerpt from The Vagina Monologues. Presented February 2004 at the TED Conference in Monterey, CA. Duration: 21:11
 The Missing Vagina Monologue and Beyond. October 2000. Women's Health Edition-Sojourner, 2001. Journal of G&L Psychotherapy.  Mayer Rokitansky Kuster Hauser Syndrome(MRKH)
 Pamela Grossman (19 April 2000). Down the Vagina Trail. Salon.com
 Eve Ensler – Downstage Center interview at American Theatre Wing.org, October 2006
 "Eve Ensler on "good" bodies and bad politics - Mother Jones
 CNN-Time magazine series "America's Best" profiles Ensler. September 2001.
 The Vagina Monologues Text
 Eve Ensler on V-Day's 10th Anniversary on Democracy Now February 15, 2008

Criticism
 Camille Paglia on V-Day
 Christina Hoff Sommers on V-Day Meets P-Day
 An article by Harriet Lerner on the misuse of the word "vagina" in Ensler's work and the culture at large
 Applauding Rape at Georgetown

Television production
 The Vagina Monologues  at HBO.com

1996 plays
LGBT literature in the United States
Monologues
Nudity in theatre and dance
Plays by Eve Ensler
Vagina and vulva in art
1990s LGBT literature
Feminist plays
Obscenity controversies in literature
Race-related controversies in theatre
LGBT-related controversies in plays

The Vagina Monologues


La Tache est le titre de plusieurs films :

 La Tache, un film muet français réalisé par Maurice Le Forestier, sorti en 1914 ;
 La Tache (The Human Stain) est un film américain réalisé par Robert Benton, sorti en 2003 ;

La Tache (film)


Die Deane-Familie aus Galway ist eine jener 14 cambro-normannischen Familien, die zuerst von Oliver Cromwell als die Stämme von Galway () benannt wurden und über mehrere Jahrhunderte die Stadt Galway und das Umland im irischen County Galway beherrschten.

Der erste Deane, der sich in Galway ansiedelte, soll William Allen oder Den gewesen sein, der während der Regierungszeit Heinrichs VI. aus Bristol kam. Die frühesten Hinweise auf die Familie in Galway stammen von 1438, als Williame Deane Stadt-Propst war. Edmond Deane war von 1502 bis 1504 der 18. Bürgermeister der Stadt, während im Jahre 1562 ein William Allen, alias Deane, als Zollinspektor des Hafens diente.

Ein Kreisverkehr in Galway ist nach der Familie benannt.

Literatur
 Adrian Martyn: The Tribes of Galway:1124–1642, Galway, 2016. ISBN 978-0-9955025-0-5

Weblinks
 Geschichte Galways (englisch)
 Die Stämme (englisch)

Stämme von Galway
Individuelle Familie

Deane (Familie)


Diomede Guidalotti est un philologue et humaniste italien de la Renaissance.

Biographie
Né à Bologne vers 1480, Diomede Guidalotti fait ses études à l'université de cette ville, et y est reçu docteur en philosophie. Il enseigne ensuite la langue grecque, obtient une chaire de rhétorique et meurt vers 1505.

Œuvres

 Il tirocinio delle cose volgari, Bologne, 1504, in-4°, rare. On trouve dans ce recueil des sonnets, chansons, sestines, capitoli, et une espèce de pièces nommées strambotti et rispetti, qui sont dans la poésie italienne ce que sont les fantaisies en musique. Ce genre, qui a eu beaucoup de partisans dans le , n'en conserve plus depuis longtemps. Dans la Scelta di sonetti e canzoni de più eccellenti rimatori d'ogni secolo, Venise, 1739, on voit deux sonnets de Guidalotti, comparables aux meilleurs qui aient été publiés de son temps.
 Commentaria in Eclogas Calpurnii et Nemesiani, Bologne, 1504, in-fol. ; réimprimé avec les notes de Gerard Kempher sur Calpurnius dans les Poetæ latini rei venaticæ scriptores, Leyde, 1728, in-4°.

Bibliographie

Liens externes

Philologue italien

Diomede Guidalotti


Eudes Le Maire, también conocido como Chalo-Saint-Mars fue un personaje que vivió probablemente en el  y que supuestamente obtuvo del rey Felipe I una exención de impuestos para él y su descendencia por haber cumplido en Jerusalén un voto que hizo el rey de Francia.

Así a lo menos lo afirmaron sus descendientes, quienes, en apoyo de las pretensiones que tenían para que se les eximiera de toda suerte de gabelas, presentaron un documento, cuya autenticidad dejaba mucho que desear. De todos modos parece que algunos soberanos franceses, posteriores a Felipe VI, confirmaron la exención solicitada, extendiéndola a toda clase de impuestos, cosa tanto más de extrañar, cuanto la supuesta concesión de Felipe I se limitaba solo a determinadas franquicias y a declarar hereditaria la alcaldía en los descendientes de Eudes, que al extenderse el documento desempeñaba la de Chalo, cerca de Étampes. Tales descendientes se extendieron prodigiosamente por toda Francia y los que residían en París llegaron a constituirse en una especie de sindicato, apropiándose además un escudo de armas.

Adquirieron tal preponderancia que incluso se resistieron a que el rey examinara el origen de su privilegio, que tan oneroso resultaba para la nación. Tenían afiliados en las instituciones más elevadas del Estado y aunque el privilegio fue abolido en distintas ocasiones, renació diferentes veces, hasta quedar totalmente abolido en 1752.

Referencias

Personas de las cruzadas
Franceses del siglo XI

Eudes Le Maire


لورانس ليسيج  أكاديمي وناشط سياسي أمريكي وصاحب كتاب الثقافة الحرة. عمل أستاذاً للقانون في كلية الحقوق بجامعة ستانفورد كما أسس مركز ستانفورد للإنترنت والمجتمع. أعلن في ديسمبر من العام 2008 الانضمام إلى هيئة التدريس في كلية الحقوق في جامعة هارفارد. يعد ليسيج أحد أقوى عشر شخصيات مؤثرة في عالم الإنترنت.

الميلاد
ولد في 3 يونيو، 1961 في رابيد سيتي، ولاية ساوث داكوتا - الولايات المتحدة، وحصل على بكالوريوس الاقتصاد وبكارليوس في الإدارة من جامعة بنسلفانيا، كما حصل علي الماجستير في الفلسفة من جامعة كامبريدج في إنجلترا، ودكتوراة من كلية الحقوق بجامعة ييل.
وفي مايو / أيار 2005، تبين أن ليسيج قد تعرض للإيذاء الجنسي من قبل مدير المدرسة الأمريكية بويشوير، التي كان قد حضرها كمراهق. وصلت ليسيج إلى تسوية مع المدرسة في الماضي، تحت شروط سرية. وكشف عن تجاربه في سياق دفاعه عن ضحية طالب آخر، جون هاردويك، في المحكمة. وفي آب / أغسطس 2006، نجح في إقناع محكمة نيو جيرسي العليا بتقييد نطاق الحصانة بشكل جذري، الذي كان يحمي المنظمات غير الربحية التي فشلت في منع الاعتداء الجنسي من المسؤولية القانونية.

ليسيج متزوجة من بيتينا نيويفيند، وهو زميل من جامعة هارفارد الألمانية المولد. متزوجان في عام 1999. هو ونويفيند لديهم ثلاثة أطفال (ويليم، تيو، وتيس).

مواقفه
 لورانس ليسيج عضوٌ مؤسس في المجلس الإبداعي وعضو مجلس إدارة مركز البرمجيات الحرة وعضو مجلس إدارة سابق بمؤسسة الحدود الإلكترونية.
 عرف بأنه من دعاة تخفيض القيود القانونية المفروضة على حق المؤلف، والعلامات التجارية والبث الإذاعي، وخاصة في تطبيقات التكنولوجيا .
 أعلن في 2007 انه سيغير تركيز اهتمامه على حق المؤلف والمسائل ذات الصلة نحو التركيز علي الفساد السياسي.
 في فبراير 2008 تم إنشاء مجموعة على موقع فيس بوك لتشجيعه على ترشيح نفسه للكونغرس عن ولاية كاليفورنيا علي المقعد الشاغر بوفاة توم لانتوس إلا أنه اتخذ قرار عدم ترشيح نفسه لملء المقعد الشاغر بعد دراسة استكشافية للأمر ومع ذلك فقد أعلن في مؤتمر صحافي في مارس 2008 عن مشروعه لتغيير الكونغرس الأمريكي عبر إطلاق مشروع إنترنتي لتوفير الأدوات التكنولوجية التي تمكن الناخبين من اختيار ممثليهم ومسائلتهم والحد من تأثير المال على السياسة.

مراجع

وصلات خارجية

 الموقع الشخصي
 ستة كتب اقتصادية في التصفيات النهائية لجائزة فاينانشال تايمز

التقانة في المجتمع
أساتذة قانون أمريكيون
أساتذة قانون دستوري
ليسيج، لورانس
أشخاص من رابيد سيتي (داكوتا الجنوبية)
أشخاص من ويليامسبورت
أعضاء هيئة تدريس جامعة شيكاغو
أعضاء هيئة تدريس كلية ستانفورد للحقوق
أعضاء هيئة تدريس كلية هارفارد للحقوق
أمريكيون من أصل ألماني
حائزون على جائزة ويبي
خريجو كلية ترينيتي (كامبريج)
خريجو كلية وارتون لإدارة الأعمال
خريجو كلية ييل للحقوق
ديمقراطيون من ولاية ماساتشوستس
سياسيون أمريكيون في القرن 21
ليسيج، لورانس
كتاب سياسة أمريكيون
كتاب غير روائيين أمريكيون في القرن 21
محامون أمريكيون
محامون أمريكيون في القرن 20
محامون أمريكيون في القرن 21
مدونون أمريكيون
مدونون ومدونات أمريكيون
مرشحو الرئاسة الأمريكية لعام 2016
مشروع جنو
مواليد 1961
مواليد في رابيد سيتي
ناشطو الوصول إلى المعرفة
ناشطو حقوق النسخ
ناشطون ضد الانتهاكات الجنسية

لورانس ليسيج


Vilhjálmur Þórmundur "Villi" Vilhjálmsson (født 26. april 1946 i Reykjavík) er en islandsk advokat og politiker for Selvstændighedspartiet. Han var Reykjavíks borgmester 2006-07. Han har siddet i byrådet i Reykjavík siden 1982.

Vilhjálmur tog studentereksamen (stúdentspróf) fra Verslunarskóli Íslands 1968 og juridisk embedseksamen fra Háskóli Íslands 1974.

Noter

Borgmestre fra Island
Advokater fra Island
Personer fra Reykjavik

Vilhjálmur Þ. Vilhjálmsson


Allessia Claes (1981) é uma política belga e membro da Nova Aliança Flamenga.

Claes participou em eleições pela primeira vez nas eleições municipais de 2012 na sua cidade natal de Scherpenheuvel-Zichem, e conseguiu tornar-se vereadora da cidade. Ela foi líder do partido e candidata a presidente pelo N-VA nas eleições municipais de 2018 em Scherpenheuvel-Zichem. Então, tornou-se líder do partido para a facção do N-VA de cinco membros no conselho da cidade. Nessas eleições, ela também candidatou-se ao conselho provincial, ficando em 14.º lugar. Nas eleições regionais belgas de 2019, Claes foi eleita deputada flamenga pela lista do N-VA no círculo eleitoral de Brabante Flamengo com 10 260 votos. Ela também foi enviada para o Senado como senadora estadual.

Mulheres da Bélgica na política
Membros do Senado da Bélgica
Pessoas vivas
Nascidos em 1981
Naturais da Bélgica
Políticos do século XXI
!Mais Teoria da História na Wiki (Mulheres)

Allessia Claes


Projektion er en dansk kortfilm fra 1993 instrueret af Anja Franke efter eget manuskript.

Handling
En installation bestående af fem dele. En videoprojektor anbragt i rummets ene ende på en træhylde hængende ned fra loftet. På væggen er projiceret en videooptagelse, der viser en kvindelig model, dansende et forløb, der er redigeret i opbrudte enkeltsekvenser á 2 minutter og 50 sekunder. Sekvenserne optræder med minimal variation.

Referencer

Eksterne henvisninger

Kortfilm fra Danmark
Danske film fra 1993

Projektion (film)


තායිපේ, (,  වචනාර්ථයෙන් අදහස් වන්නේ "තායිවානයේ උතුර" යන්නයි) නිල වශයෙන් තායිපේ නගරය ලෙස හඳුන්වනු ලබන අතර (), තායිවානයේ අගනුවර හා විශේෂ මහ නගර සභාවක් වේ. තායිවානයේ උතුරු කෙළවරෙහි පිහිටා ඇත.

වර්ෂ 2009 වන විට 2,693,672ක ජනගණයක් වාර්ථා වී ඇති අතර නව තායිපේ හා කීලන්ග් වැනි ආසන්න නගර වල ජනගහණයද ඇතුළත්ව 6,900,273 පිරිසක් එහි ජීවත් වේ. එය ලෝකයේ 40 වැනි වැඩිම ජනාකීර්ණ නාගරික ප්‍රදේශය වේ.

තායිපේ යනු තායිවානයේ ඇති දේශපාලන, ආර්ථික, අධ්‍යාපන, හා සංස්කෘතික මධ්‍යස්ථානයක් වන අතර, චීන භාෂාව කතා කරන ලෝකයේ ප්‍රධාන කේන්ද්රස්ථාන අතරින් එකකි. තායිපේ නගරය ගෝලීය නගරයක් ලෙස සලකන අතර, ප්‍රධාන අධි-තාක්ෂණික කාර්මික ප්‍රදේශයකි. දුම්රිය මාර්ග, අධිවේගී දුම්රිය, මහාමාර්ග, ගුවන් තොටුපළ, හා බස් රථ මාර්ග ආදිය දිවයිනේ සියලු කොටස් සමග තායිපේ නගරය සම්බන්ධ කරනු ලබයි. නගර තුළ ගුවන් තොටුපලවල් දෙකක් පිහිටා ඇත. ඒවා නම් තායිපේ සෝන්ග්ශන් ගුවන් තොටුපල හා තායිවාන් ටඕයුආන් ගුවන් තොටුපලයි. තායිපේ 101, චියැං කායි-ෂෙක් අනුස්මරණ ශාලාව, ඩාලොන්ග්ඩොං බැඔආන් විහාරය, හසිං ටියාං කොං, මෙංග්ජියා ලෝන්ග්ශන් පන්සල, නැශනල් පැලස් කෞතුකාගාරය, ජනාධිපති කාර්යාල ගොඩනැගිල්ල, තායිපේ ගෙස්ට් හවුස්, සිමෙන්ඩිංග් ඇතුළු නගරය පුරා විසිරි රාත්‍රී වෙළෙඳපොළ ඇතුළත්ව විවිධ ලෝක ප්‍රකට වාස්තු විද්‍යා හෝ සංස්කෘතික ස්ථාන සඳහා නිවහනක් වී ඇත.

ඉතිහාසය
හන් චීන ජාතිකයන් සැලකිය යුතු ලෙස ආගමනය වීමට පෙර, තායිපේ ද්‍රෝණි ප්‍රදේශය ප්‍රධාන වශයෙන් කේටගලන් මුල් ආදිවාසීහු විසින් ජනාවාස වී පැවතුනි. හැන් සංක්‍රමණිකයන් සංඛ්‍යාව ක්‍රමයෙන් 18 වන සියවසෙහි මුල් බාගයේදී ඉහළ යන ලදී. මෙය සිදුවූයේ ක්විං රාජවංශ පාලනය යටතේ ප්‍රදේශයේ සංවර්ධනය කටයුතු කිරීම සඳහා රජය අවසර ලබා දීමෙන් පසුවයි. 1875 දී, දිවයිනේ උතුරු කොටස නව තායිපේ ප්‍රාන්තයට ඇතුළත් කරන ලදී.

1886 දී චීන ක්විං රාජවංශය විසින්, තායිවානය ෆුජියාන් පළාතෙන් වෙන් වූ විට තායිපේ නගරය තායිවාන් පළාතේ තාවකාලික අගනුවර බවට පත් කරන ලදී. 1894 දී තායිපේ නිල වශයෙන් පළාත් අගනගරය බවට පත් කරන ලද කරන ලදී.

ජපානය පළමු චීන-ජපන් යුද්ධයෙන් පසු ශිමොනොසේකි ගිවිසුම යටතේ 1895 දී තායිවානය අත්පත් කර ගත්තේය. පසුව තායිවානය ඉම්පීරියල් ජපානයේ යටත් විජිතයක් බවට පත්විය, එහි අගනුවර වූයේ තායිපේ නගරයයි. එහිදී තායිපේ නගරය තයිහොකූ ප්‍රාන්තය යටතේ පාලනය කරන ලදී. දියුණු මට්ටමේ දුම්රිය මාර්ග නිර්මාණය කිරීම සදහා තායිවානයේ ජපන් පාලකයන් උසස් නගර සැලසුම්කරණ වැඩ පිළිවෙලක් ආරම්භ කලේ ය. තායිපේ වැදගත් ස්ථාන හා සංස්කෘතික ආයතන ගණනාවක් මෙම කාලය සිට දිව එයි.

මුල් ජනාවාස
තායිපේ ද්‍රෝණි ප්‍රදේශය ලෙස හඳුන්වන ප්‍රදේශයේ දහඅටවන ශතවර්ෂයට පෙර කේටගලන් මුල් ආදිවාසීහු ජීවත් වුනි. 1709 දී ෆුජියාන් පළාතේ ක්විං රාජවංශය විසින් හන් චීන ජාතිකයන් ප්‍රධාන වශයෙන් තායිපේ ද්‍රෝණි ප්‍රදේශයේ පදිංචි කරන ලදී.

ජපන් නීති පද්ධතිය
පළමු චීන-ජපන් යුද්ධය පරාජය වීම නිසා චීනය ශිමොනොසේකි ගිවිසුමේ කොටසක් ලෙස 1895 දී ජපාන අධිරාජ්‍යා තායිවානයේ බලය අත්පත් කරගන්නා ලදී. එයට පසුව තායිපේ නගරය තයිහෝකු යන ජපන් නාමයෙන් හදුන්වන ලදී. පසුව එය අගනුවර ලෙස රඳවා ගනු ලැබූ අතර ජපාන යටත් විජිත රජයේ දේශපාලන මධ්‍යස්ථානය ලෙස ඉස්මතු විය. මෙම කාලය තුල ජපානය විසින් හදුන්වා දෙන ලද නීති පද්ධතියක් ක්‍රියාත්මක විය.

යුධ නීතිය හා නූතන ප්‍රජාතන්ත්‍රවාදය
1947 දී චියැං කායි-ෂෙක් යටතේ කේඑම්ටී ආණ්ඩුව තායිපේ අනුභූති සිදුවීම් ආරම්භ වීමත් සමග චියැං පක්ෂපාත හමුදා විසින් දේශීය ජනගහනය දිවයින පුරා මර්ධනය කිරීමට තුඩුදුන් පෙබරවාරි 28 සිද්ධියට අදාල ප්‍රතිඵලයක් ලෙස තායිවාන දිවයින පුරා යුධ නීතිය ප්‍රකාශ කෙරුනි. වසර දෙකකට පසු, 1949 දෙසැම්බර් 7 දින, චීනය විසින් චියැං සහ කුවෝමිංටාන්ග් හට චීන සිවිල් යුද්ධය පැවති කොමියුනිස්ට්වාදී අර්ධද්වීපයෙන් පලා යාමට බල කරන ලදි.

1990 තායිපේ දිස්ත්‍රික්ක 16 වත්මන් දිස්ත්රික්ක 12 බවට පත්කර තහවුරු කරන ලදී. ලී ටෙන්ග්-හුයිගේ ජනාධිපතිත්වය තුළ, නීති සම්පාදකයන් විසින් නියමිත මැතිවරණයක් හරහා ජනාධිපතිවරුන් තෝරාගැනීමට නීති සැකසීමත් සමග නූතන ප්‍රජාතන්ත්‍රවාදය ආරම්භ විය.

භූ ගෝලීය පිහිටුම
තායිපේ නගරයේ උතුරු තායිවානයේ තායිපේ ද්‍රෝණියේ පිහිටා ඇත. නගරය දකුණින් සින්ඩියාන් නදියෙන් හා බටහිරින් ටම්සුයි නදියෙන් මායිම් වී ඇත. කදු මුදුන් දෙකක් වන, සීසින් කන්ද සහ ඩාටුන් කන්ද නගරයේ ඊසාන දෙසින් පිහිටා ඇත.

දේශගුණික රටාව
තායිපේ නගරයට මෝසම්-බලපෑමක් ඇති තෙතමනය සහිත උපනිවර්තන දේශගුණික රටාවක් ඇත. (Köppen: Cfa). ග්‍රීස්ම කාලය දිගු කල් පවත්නා, උණුසුම් හා තෙතමනය සහිත, ඉඳ හිට අධික වැසි කුණාටු හා සුලිසුලං සමග වන අතර, ශීත කාලය සාමාන්‍යයෙන් කෙටි වන අතර තරමක් උණුසුම් හා සාමාන්‍යයෙන් ඉතා මීදුම සහිත වේ.

වායු ගෝලයේ ගුණාත්මකභාවය
ආසියාවේ අනෙක් නගර හා සසඳන විට, තායිපේ නගරයේ වායු තත්ත්ව කළමනාකරණය සඳහා "විශිෂ්ට" හැකියාවන් ඇත. එහි වැසි සහිත කාළගුණය, වෙරළ අසල ස්ථානය සහ දැඩි පාරිසරික නීති රෙගුලාසි අවම වශයෙන් අග්නිදිග ආසියාවේ කාර්මික අර්ධද්වීපයක් ලෙස චීනයේ නගර වලට සාපේක්ෂව සැලකිය යුතු සෞඛ්‍ය ගැටලුවක් බවට පත් වෙමින් පවතින වායු දූෂණය වළක්වා ඇත.

නගරයේ අලංකරණය

ආශ්‍රිත

බාහිර සබැඳි

 තායිපේ නගරාණ්ඩුවේ නිල වෙබ් අඩවිය
 තායිපේ නගර සභාව

ආසියාව
විකිපීඩියා ආසියානු මාසය 2015
තායිවානය
නගර
අගනගර

තායිපේ


Heart of Midlothian may refer to:

 Old Tolbooth, Edinburgh, a structure known as the "Heart of Midlothian"
 Heart of Midlothian (Royal Mile), a mosaic heart in the pavement of Edinburgh's Royal Mile at the former site of Old Tolbooth
 The Heart of Midlothian, an 1818 novel by Sir Walter Scott, the title referring to Old Tolbooth
 The Heart of Midlothian (film), a 1914 British silent film adaptation of Scott's novel
 A Woman's Triumph, a 1914 American silent film adaptation of Scott's novel
 Heart of Midlothian F.C., an Edinburgh association football club
 Heart of Midlothian F.C. Under-20s and Academy, an associated youth team and system
 Heart of Midlothian W.F.C., an associated women's football club

See also
 Heart of Lothian, a song by British neo-progressive rock band Marillion
 Midlothian (disambiguation)

Heart of Midlothian


The American Volunteer Groups were volunteer air units organized by the United States government to aid the Nationalist government of China against Japan in the Second Sino-Japanese War. The only unit to actually see combat was the 1st AVG, popularly known as the Flying Tigers.

To aid the Nationalist government of China and to put pressure on Japan, President Franklin Roosevelt in April 1941 authorized the creation of a clandestine "Special Air Unit" consisting of three combat groups equipped with American aircraft and staffed by aviators and technicians to be recruited from the U.S. Army, Navy and Marine Corps for service in China. The program was fleshed out in the winter of 1940–1941 by Claire Lee Chennault, then an air advisor to the Chinese Nationalist leader Chiang Kai-shek, and Lauchlin Currie, a young economist in the Roosevelt White House. They envisioned a small air corps of 500 combat aircraft, although in the end, the number was reduced to 200 fighters and 66 light bombers.

1st AVG (Flying Tigers)

The 1st American Volunteer Group were recruited starting on 15 April 1941, when an unpublished executive order was signed by President Roosevelt. One hundred Curtiss P-40Bs were obtained from Curtiss-Wright, by convincing the British Government to take a later more advanced batch of P-40s in exchange. The group assembled at RAF Mingaladon in Burma by November 1941 for training, where it was organized into three squadrons and established a headquarters. After the Japanese invasion of Burma, the AVG fought alongside the Royal Air Force in defense of Rangoon Under Chennault's command, the Flying Tigers became famous in the defense of Burma and China. It was disbanded and replaced by the United States Army Air Forces' (AAF) 23rd Fighter Group in July 1942, with only five of its pilots choosing to continue with the AAF.

2nd AVG

In the fall of 1941, the 2nd American Volunteer Group was equipped with 33 Lockheed Hudson (A-28) and 33 Douglas DB-7 (A-20) bombers originally built for Britain but acquired by the U.S. Army as part of the Lend-Lease program passed earlier in the year. The Central Aircraft Manufacturing Company, fronting for the Chinese and American governments, recruited 82 pilots and 359 ground crew from the U.S. Army in the fall of 1941 and an undetermined number, including one pilot, sailed for Asia aboard Bloemfontein of the Java-Pacific line. Other pilots reported to San Francisco and were scheduled to depart aboard the Lockheed Hudsons on 10 December. The Douglas DB-7s were to have gone by freighter to Africa, to be assembled and ferried to China but the 7 December 1941, attack on Pearl Harbor caused the program to be aborted. The vessels at sea were diverted to Australia, the aircraft were taken back into American service and most of the personnel rejoined the military, either in Australia or in the U.S.

3rd AVG
The 3rd AVG was to have been a fighter group like the 1st. Because the 2nd AVG had been recruited from the U.S. Army, recruiting for the 3rd was to have been limited to the U.S. Navy and Marine Corps, starting in the early months of 1942. These plans too were abandoned as a result of the U.S. entry into World War II.

See also
 Soviet Volunteer Group
 Korean-American Volunteer Group

References

Notes

Bibliography

 Armstrong, Alan. Preemptive Strike: The Secret Plan That Would Have Prevented the Attack on Pearl Harbor. Guilford, Delaware: Lyons Press, 2006. .
 Byrd, Martha. Chennault: Giving Wings to the Tiger (U of Alabama Press, 1987).
 Chennault, Clair Lee. Way of a Fighter: The Memoirs of Clair Lee Chennault (Putnam's Sons, 1949), primary source.
 Ford, Daniel. Flying Tigers: Claire Chennault and His American Volunteers, 1941–1942. Washington, DC: HarperCollins|Smithsonian Books, 2007. .
 Klinkowitz, Jerome. With the Tigers Over China, 1941-1942 (U Press of Kentucky, 2014), primary source.
 Leonard, Royal. I Flew for China: Chiang Kai-Shek's Personal Pilot New York: Doubleday, Doran, 1942.
 Li, Rong. "Wartime Storytelling and Mythmaking: Interpreting and Remembering the Flying Tigers in the United States, 1941–1945." Journal of American-East Asian Relations 27.4: 347–373. https://doi.org/10.1163/18765610-27040003
 Li, Xiaobing. China at War: An Encyclopedia (ABC-CLIO, 2012).
 Molesworth, Carl. Flying Tiger Ace: The story of Bill Reed, China's Shining Mark (Bloomsbury Publishing, 2020).
 Samson, Jack. Flying Tiger: The True Story of General Claire Chennault and the US 14th Air Force in China (Rowman & Littlefield, 2011).
 Schaller, Michael. The U.S. Crusade in China, 1938–1945. New York: Columbia University Press, 1979. .

External links
 Roster of the 2nd AVG
 Cables about recruiting the bomber group

Flying Tigers
Republic of China Air Force
Groups of the United States Army Air Forces
China–United States military relations

American Volunteer Group


Berlin Alexanderplatz er en vesttysk tv-serie af Rainer Werner Fassbinder fra 1980. Serien bygger på Alfred Döblins roman af samme navn.

Hovedrollen som Frans Biberkoff spilledes af Günter Lamprecht.

Eksterne henvisninger

Tv-serier fra Tyskland
Tv-serier fra 1980'erne

Berlin Alexanderplatz (tv-serie)


WXGA may refer to:

 Wide Extended Graphics Array, a computer graphics display resolution
 WXGA-TV, a television station in the U.S. state of Georgia

WXGA


المدرسة العليا لعلوم وتقنيات الصحة بصفاقس هي إحدى المؤسسات التعليمية التابعة لجامعة صفاقس، وهي تحت الإشراف المشترك بين وزارتي التعليم العالي والبحث العلمي والتكنولوجيا من جهة ووزارة الصحة العمومية من جهة ثانية. وطبقا لإحصائيات السنة الدراسية 2007-2008 يبلغ عدد طلبتها 625 طالبا من بينهم 526 طالبة.

مراجع

التعليم في تونس
تعليم عال
جامعة صفاقس
صفاقس
معاهد علمية


Pán Gēng (), personal name Zi Xun, was a Shang dynasty King of China. He is best known for having moved the capital of the Shang dynasty to its final location at Yīn.

Records
In the Records of the Grand Historian he was listed by Sima Qian as the nineteenth Shang king, succeeding his older brother Yang Jia. Oracle script inscriptions on bones unearthed at Yinxu alternatively identify him as the eighteenth Shang king. He ruled for about 28 years according to both the Bamboo Annals and the Records of the Grand Historian.

The Bamboo Annals provide a brief summary of the major known events of his rule, which are as follows. He was enthroned in the year of Bingyin () with Yan () as his capital. In the seventh year of his regime, the Ying vassal () came to Yan to pay homage to him. In the fourteenth year of his reign he moved his capital to Beimeng (), renaming it Yin (). In the fifteenth year of his reign he reviewed his army at the new capital, and in the nineteenth year of his reign he assigned his minister Fen () to Yayu ().

The Records of the Grand Historian provides a different account of the relocation of the capital. It states that Pán Gēng moved the capital from a location north of the Yellow River to Bo 亳, the capital of the Shang founder Tang, on the south side of the river. It further states that this move was initially opposed by the people of Yin, who were tired of being moved, but that they were eventually satisfied when the Tang system of government was adopted, and the move proved to be prosperous.

Upon his death, he was given the posthumous name Pán Gēng and was succeeded by his younger brother Xiao Xin.

In the Classic of History, there exists a chapter entitled "Pán Gēng", which tradition holds to have been a speech by this king; however, the language in it is so different from that of Pán Gēng's time that it is most likely not a product of his era.

Historical reference

Wang Anshi, in his response to Sima Guang's accusatory letter, cited the example of Pán Gēng's undaunted perseverance in pursuing his goal (movement of the capital) in the face of opposition of both government officials and the common people.

References

Shang dynasty kings
13th-century BC Chinese monarchs

Pan Geng


Thonke ist der Familienname folgender Personen:

 Irene Thonke (1916–2002), deutsche Malerin und Textilkünstlerin
 Wolfgang Thonke (1938–2019), deutscher Journalist, Offizier und Militärwissenschaftler

Thonke


Izbori za članove vijeća i predstavnike nacionalnih manjina 2003. godine bili su prvi manjinski izbori u Hrvatskoj i održani su 18. svibnja. Održavanje manjinskih izbora bilo je predviđeno novim Ustavnim zakonom o pravima nacionalnih manjina koji je stupio na snagu krajem 2002. godine. Izbori su održani širom zemlje u regionalnim (županije) i lokalnim (gradovi i općine) administrativnim jedinicama u kojima su manjine ispunile za to predviđene zakonske uvjete.

Izbori su početno najavljeni u svim jedinicama u kojima su manjine za to ispunile uvjete, konkretno u slučaju 471 vijeće u 17 županija, 38 gradova i 80 općina, ali su manjine predložile valjane liste samo za njih 220 što je dovelo do neodržavanja izbora za preko polovice predviđenih vijeća. Izbori su najavljeni i za 140 predstavnika ali su kandidati predloženi tek za njih 40. Organizacija GONG je prijavila 21 promatrača za praćenje postupka provođenja izbora.

Ukupno je 319.141 registriranih birača ispunjavalo uvjete za sudjelovanje u izborima na razini županija, 130.730 u gradovima i 88.085 u općinama. Izlaznost na izbore u županijama bila je 10,21%, u gradovima 10,48% i u općinama 22,13%

Vidi još
 Savjet za nacionalne manjine Republike Hrvatske

Izvori

Vanjske poveznice
 Izbori za članove vijeća i predstavnike nacionalnih manjina (18.05.2003.), Državno izborno povjerenstvo Republike Hrvatske
 Izbori za članove vijeća i predstavnike nacionalnih manjina, Ministarstvo pravosuđa i uprave Republike Hrvatske
 Registar vijeća, koordinacija vijeća i predstavnika nacionalnih manjina, Ministarstvo pravosuđa i uprave Republike Hrvatske

Izbori u Hrvatskoj
Nacionalne manjine


York County may refer to:

Places

Australia
York County, Western Australia
County of York (South Australia)

Canada
York County, New Brunswick
York County, Ontario

United Kingdom
Yorkshire, England
County of York, East Riding
County of York, North Riding
County of York, West Riding

United States
York County, Maine
York County, Massachusetts, a former county in what is now Maine
York County, Nebraska
York County, Pennsylvania
York County, South Carolina
York County, Virginia

Other
York County Community College, in Wells, Maine, United States
York County Hospital, a former hospital in York, England

See also
New York County

York County


Tomáš Hasilla (* 23. August 1990 in Brezno, Slowakei, Tschechische und Slowakische Föderative Republik) ist ein slowakischer Biathlet.

Karriere
Tomáš Hasilla vom Klub biatlonu Osrblie bestritt 2007 seine ersten internationalen Rennen im Europacup der Junioren. Erste internationale Meisterschaften wurden die Biathlon-Juniorenweltmeisterschaften 2008 in Ruhpolding, wo er 38. des Einzels, 39. des Sprints, 46. der Verfolgung und 15. mit der Staffel wurde. Es folgten die Juniorenrennen der Biathlon-Europameisterschaften 2008 in Nové Město na Moravě, bei denen der Slowake 55. des Einzels, 65. des Sprints und 15. des Staffelrennens wurde. Ein Jahr später trat er erneut in Canmore bei den Juniorenweltmeisterschaften an und belegte die Ränge 49 im Einzel, 24 im Sprint, 28 in der Verfolgung und wurde 13. mit der Staffel. Im weiteren Jahresverlauf startete Hasilla bei den Juniorenrennen der Sommerbiathlon-WM in Oberhof. Bei den Crosslauf-Rennen wurde er 30. des Sprints und 20. der Verfolgung, auf Rollski 16. des Sprints, 21. der Verfolgung und Siebter im Mixed-Staffelwettkampf. Es folgten 2010 die Juniorenweltmeisterschaften in Torsby, bei denen Hasilla Zehnter des Einzels und 14. des Sprints wurde und auch aufgrund einer schlechten Schießleistung mit sieben Fehlern auf den 42. Rang in der Verfolgung zurückfiel. Kurz darauf startete er erneut bei den Juniorenrennen der Biathlon-Europameisterschaften 2010 in Otepää und erreichte die Platzierungen 26 im Einzel, 29 im Sprint, 24 in der Verfolgung und zehn mit der Mixed-Staffel. Im Sommer gewann er einen Sprint und ein Verfolgungsrennen im IBU-Sommercup der Junioren. Danach startete der Slowene erneut bei den Weltmeisterschaften im Sommerbiathlon in Duszniki-Zdrój, bei denen Hasilla Zehnter des Sprints, 12. der Verfolgung und Mixed-Staffel-Fünfter wurde. Letzte Juniorensaison wurde 2010/11. Zunächst nahm Hasilla in Nové Město an seinen vierten Juniorenweltmeisterschaften teil und erreichte mit Platz 13 im Einzel, 17 im Sprint und 20 in der Verfolgung erneut gute Ergebnisse, erreichte mit der Staffel aber nur den 20. Platz. Die Junioren-Europameisterschaften in Ridnaun brachten die Ränge 16 im Einzel, 28 im Sprint, 23 im Verfolgungsrennen und zehn mit der Mixed-Staffel. Im Sommer nahm er zunächst erfolgreich an den Sommerbiathlon-Europameisterschaften 2011 in Martell teil und wurde Vierter im Sprint sowie hinter Iwan Morawskyj im Verfolgungsrennen und mit Paulína Fialková, Lucia Simová und Michal Kubaliak im Mixed-Staffelrennen Silbermedaillengewinner. Etwas weniger erfolgreich verliefen die Sommerbiathlon-Weltmeisterschaften 2011 in Nové Město, Hasilla wurde 24. des Sprints, 12. der Verfolgung und Siebter mit der Mixed-Staffel.

Sein erstes internationales Rennen bei den Männern bestritt Hasilla 2009 im Europacup. In Osrblie gewann er als 38. eines Sprints in seinem ersten Rennen sogleich die ersten Punkte. Erste internationale Meisterschaften wurden die Biathlon-Europameisterschaften 2012 in Osrblie. Hasilla wurde 34. des Einzels, 20. des Sprints und 17. der Verfolgung. Im Staffelrennen wurde er mit Martin Otčenáš, Norbert Gröne und Peter Kazár 12. National gewann er 2012 mit Silber im Massenstartrennen hinter Martin Otčenáš seine erste Medaille.

Während des Biathlon-Weltcup 2012/2013 wurde Hasilla zweimal im Rahmen der Staffel eingesetzt. Bei diesen beiden Staffelrennen erreichte die slowakische Mannschaft jeweils den siebten Rang und damit auch Weltcuppunkte.

In der Saison 2013/2014 erkämpfte Hasilla seine ersten Punkte in einem Individualweltcuprennen. Beim Einzelrennen in Annecy-Le Grand Bornand erreichte er den 32. Platz und damit neun Weltcuppunkte.

Statistiken

Weltcupstatistik

Olympische Winterspiele
Ergebnisse bei Olympischen Winterspielen:

Weblinks

Biathlet (Slowakei)
Olympiateilnehmer (Slowakei)
Teilnehmer der Olympischen Winterspiele 2014
Teilnehmer der Olympischen Winterspiele 2018
Tschechoslowake
Slowake
Geboren 1990
Mann

Tomáš Hasilla


كلمة أرسنال (Arsenal) قد يقصد بها ما يلي:

 ملعب آرسنال ملعب كرة قدم إنجليزي.
 نادي أرسنال، وهو نادي كرة قدم إنجليزي.
 أرسنال ساراندي - نادي كرة قدم من .
 أرسنال كييف - نادي كرة قدم من
 أرسنال تولا - نادي كرة قدم من
 أرسنال ماسيرو - نادي كرة قدم من
 أرسنال هيلسنكي - نادي كرة اليد من

صفحات توضيح أسماء أماكن

أرسنال (توضيح)


ගෝකන්න විහාරය ශ්‍රී ලංකාවේ නැගෙනහිර පළාතේ ත්‍රිකුණාමලය පිහිටි පුරාණ බෞද්ධ විහාරස්ථානයකි.

මහාවංශය, චූලවංශය වැනි පුරාණ මූලාශ්‍රයන්ට අනූව මහසෙන් රජ විසින් තුන්වන සියවසේදී ගෝකන්න විහාරය කරවා තිබේ.

ආශ්‍රිත

රජමහා විහාර
ත්‍රිකුණාමලය දිස්ත්‍රික්කයේ බෞද්ධ සිද්ධස්ථාන

ගෝකන්න විහාරය


فايكينغ 1 كانت أوّل مركبة فضائية أرسلت إلى المريخ كجزء من برنامجِ فايكينغ لوكالة الفضاء الأمريكية ناسا و سجل فايكينغ 1 المهمة الأطول على سطح المريخ والتي استغرقت 6 سنوات و116 يومِ (من الإنزال حتى إنهاء المهمّة) بحساب التوقيت على كوكب الأرض.

المهمة

بدأ المتتبّع بإرجاع صورِ عالمية من المريخِ قبل 5 أيام تقريباً من دخول المركبة إلى المدارِ.متتبّعِ الفايكينغ 1 أدخل إلى مدارِ المريخِ في التاسع عشر من شهر يونيو/حزيران عام 1976. كان تخطيط الإنزال أن يكون في الرابع من تموز عام 1976 في الذكرى المؤية الثانية لتأسيس الولايات المتحدة الأمريكية، لكن تصوير موقعِ الإنزال الأساسيِ أوضح بأنه كان قاسي جداً ولا يصلح كمكان لإنزال آمن. الموعد الآخر للإنزال تأجل حتى إيجاد موقع أكثر أماناً.كانت هذه هي المحاولة الأولى في الولايات المتحدة في الإنزال على سطح كوكب المريخ.

انظر أيضاً
 برنامج فايكينغ
 اكتشاف المريخ

وصلات خارجية
 برنامج الفايكينغ في ناسا (اكتشاف النظام الشمسي)

المصادر

 D. J. Mudgway. "Telecommunications and Data Acquisition Systems Support for the Viking 1975 Mission to Mars" NASA Jet Propulsion Laboratory.

الولايات المتحدة في 1975
فلوريدا في 1975
أحداث أغسطس 1975 في الولايات المتحدة
برنامج فايكينغ
رحلات الفضاء في 1975
مركبات فضائية أطلقت بواسطة صواريخ تيتان
مركبات فضائية أطلقت عام 1975
مسابر فضائية هابطة مهجورة
مهام إلى المريخ
المريخ في 1976

فايكينغ 1


Madhubala (born Mumtaz Jehan Begum Dehlavi; 14 February 1933 – 23 February 1969) was an Indian actress who worked in Hindi-language films. She ranked as one of the highest-paid entertainers in India in the post-independence era, that coincided with the rise of Indian cinema on global levels. In a career spanning more than 20 years, Madhubala was predominantly active for only a decade but had appeared in over 60 films by the time of her death in 1969.

Born and raised in Delhi, Madhubala relocated to Bombay (now Mumbai) with her family when she was 8 years old and shortly after appeared in minor roles in a number of films. She soon progressed to leading roles in the late 1940s, and earned success with the dramas Neel Kamal (1947) and Amar (1954), the horror film Mahal (1949), and the romantic films Badal (1951) and Tarana (1951). Following a brief setback, Madhubala rose to international prominence with her roles in the comedies Mr. & Mrs. '55 (1955), Chalti Ka Naam Gaadi (1958) and Half Ticket (1962), the crime films Howrah Bridge and Kala Pani (both 1958), and the musical Barsaat Ki Raat (1960).

Madhubala's portrayal of Anarkali in the historical epic drama Mughal-e-Azam (1960)the highest-grossing film in India at that point of timeearned her widespread critical acclaim and her only nomination for the Filmfare Award for Best Actress; her performance has since been described by critics as one of the finest in Indian cinematic history. She worked sporadically in film in the 1960s, making her final appearance in the drama Sharabi (1964). Additionally, she produced three films under her production house Madhubala Private Ltd., which was co-founded by her in 1953.

Despite maintaining strong privacy, Madhubala earned significant media coverage for performing actively in charity, and for her relationships with actor Dilip Kumar, which lasted seven years, and with actor-singer Kishore Kumar, whom she eventually married in 1960. From the beginning of her thirties, she suffered from recurring bouts of breathlessness and hemoptysis caused by a ventricular septal defect, ultimately leading to her death in 1969.

Childhood and early career

Madhubala was born as Mumtaz Jehan Begum Dehlavi in Delhi, British India, on 14 February 1933. She was the fifth of eleven children of Ataullah Khan and Aayesha Begum. At least four of Madhubala's siblings died as infants; her sisters who survived until adulthood were Kaneez Fatima (b. 1925), Altaf (b. 1930), Chanchal (b. 1934) and Zahida (b. 1949). Khan, who belonged to the Yusufzai tribe of Pashtuns from Peshawar valley, originating from Swabi District, North-West Frontier Province was an employee in Imperial Tobacco Company. Unknown to her family members, Madhubala was born with a ventricular septal defect, a congenital heart disorder which had no treatment at the time.

Madhubala spent most of her childhood in Delhi and grew up without any kind of health issues. Owing to the orthodox ideas of their Muslim father, neither Madhubala nor any of her sisters except Zahida attended school. Madhubala nevertheless learnt Urdu, Hindi as well as her native language, Pashto, under her father's guidance. An avid movie viewer since the beginning, she used to perform her favourite scenes in front of her mother and spend her time dancing and imitating film characters to entertain herself. In spite of her conservative upbringing, she aimed to become a film actorwhich her father strictly disapproved of.

Khan's decision changed in 1940 after he got fired from his job for misbehaving with a senior officer. Madhubala's mother feared ostracism if they allowed their young daughter to work in the entertainment industry, but Khan remained adamant. Soon Madhubala was employed at the All India Radio station to sing compositions of Khurshid Anwar. The seven-year-old continued working there for months, and became acquainted with Rai Bahadur Chunnilal, the general manager of the studio Bombay Talkies, situated in Bombay. Chunnilal took an immediate liking towards Madhubala, eventually suggesting Khan to visit Bombay for better employment opportunities.

Acting career

Early work and switch to adult roles (1942–1947)

In the summer of 1941, Khan, Madhubala and other family members relocated to Bombay and settled down in a cowshed present in the Malad suburbs of Bombay. Following an approval from the studio executives, Chunnilal signed Madhubala to a juvenile role in Bombay Talkies' production, Basant (1942), at a salary of 150. Released in July 1942, Basant became a major success commercially, but although Madhubala's work garnered appreciation, the studio dropped her contract as it did not require a child actor at that time. Disappointed, Khan had to once again return his family to Delhi. He subsequently found low-paid temporary jobs in the city, but continued to struggle financially.

In 1944, Bombay Talkies' head and former actress Devika Rani sent for Khan to summon Madhubala for role in Jwar Bhata (1944). Madhubala did not get the film but Khan now decided to settle permanently in Bombay seeing a prospect in films. The family again returned to their temporary residence in Malad and Khan and Madhubala began paying frequent visits to film studios throughout the city in search of work. Madhubala was soon signed to a three-year contract with Chandulal Shah's studio Ranjit Movietone, on a monthly payment of 300. Her income led to Khan shifting the family to a neighbouring rented house in Malad.

In April 1944, the rented house was destroyed in a dock explosion; Madhubala and her family survived only because they had gone to a local theatre. After shifting into her friend's house, Madhubala continued her film career, playing minor roles in five of Ranjit's films: Mumtaz Mahal (1944), Dhanna Bhagat (1945), Rajputani (1946), Phoolwari (1946) and Pujari (1946); she was credited as "Baby Mumtaz" in all of them. She faced numerous problems in these years; during the shoot of Phoolwari in 1945, Madhubala vomited blood, which forewarned her illness that was slowly taking root. In 1946, she had to borrow money from a film producer for the treatment of her pregnant mother. Eager to establish a foothold in the industry, in November 1946, Madhubala began shooting for two of Mohan Sinha's directorial ventures, Chittor Vijay and Mere Bhagwaan, which were supposed to be her introduction to the silver-screen in adult roles.

Madhubala's first project in a lead role was Sohrab Modi's Daulat, but it was shelved indefinitely (and would not be revived until the next year). Her debut as a leading lady came in Kidar Sharma's drama Neel Kamal, in which she starred opposite debutante Raj Kapoor and Begum Para. She was offered the film after Sharma's first choice, actress Kamla Chatterjee, died. Released in March 1947, Neel Kamal was popular with audience and garnered wide public recognition for Madhubala. She then reteamed with Kapoor in Chittor Vijay and Dil Ki Rani, both of which were released in 1947, and in Amar Prem, which came out the following year. These films were unsuccessful ventures that failed to propel her career ahead. During this period, she had to charge a relatively lesser amount than her usual fee to attract more offers. To secure her family financially, Madhubala quickly signed 24 films. Impressed by her work in Neel Kamal, in which Madhubala was credited as "Mumtaz", Devika Rani suggested her to take "Madhubala" as her professional name.

Rise to prominence and fluctuations (1948–1957)
Madhubala found her first critical and commercial success in the drama Lal Dupatta, which The Indian Express mentioned as a breakthrough for her. Baburao Patel described the film as "the first milestone of her maturity in screen acting." She received further positive reviews for her supporting parts in Parai Aag (1948), Paras and Singaar (both 1949). In 1949, Madhubala played a femme fatale in Kamal Amrohi's Mahalthe first horror film of Indian cinema. Several actresses including Suraiya were considered for the role but Amrohi insisted on casting Madhubala. Her character was that of Kamini, a servant girl in an ancient mansion, whose pretensions of an apparition lead to disastrous consequences. The film was produced on a modest budget due to financial constraints, with trade analysts predicting it to be a failure owing to its unconventional subject. Mahal was released in October 1949 and proved to be an immensely popular film among audience. In Beyond the Boundaries of Bollywood, Rachel Dwyer noted that Madhubala's ignorance among audience added to the mysterious nature of her character. The film, which would be Madhubala's first of many collaborations with actor and brother-in-law Ashok Kumar, emerged as the third biggest box-office success of the year, resulting in her signing a string of starring roles opposite the leading actors of the time.

Following another box office hit in Dulari (1949), Madhubala played Ajit's love interest in K. Amarnath's social drama Beqasoor (1950). The feature received positive reviews and ranked among the year's top-grossing Bollywood productions. Also in 1950, she appeared in the comedy-drama Hanste Aansoo, which became the first Indian film to be awarded an Adult certification. The following year, Madhubala starred in the Amiya Chakravarty-directed action film Badal (1951), a remake of The Adventures of Robin Hood. Her portrayal of a princess who ignorantly falls in love with Prem Nath's character received mixed reviews; a critic praised her looks but advised her to "learn to speak her dialogue slowly, distinctly and effectively instead of rattling through her lines in a monotone." She subsequently played the titular part in M. Sadiq's romance Saiyan, which Roger Yue of The Singapore Free Press commented was played "to perfection". Both Badal and Saiyan proved to be major box-office successes. Madhubala then collaborated with actor Dilip Kumar twice in a row, on the 1951 comedy Tarana and the 1952 drama Sangdil. These films also performed well financially, popularizing the on and offscreen couple among wide audience. Baburao Patel's filmindia review of Tarana read, "Incidentally, Madhubala gives the best performance of her screen career in this picture. She seems to have discovered her soul at last in Dilip Kumar's company."

The period during the mid-1950s saw a drop in Madhubala's success, as most of her releases failed commercially, leading her to be labelled "box office poison". Madhubala was cast in the costume drama Shahehshah (1953) before Kamini Kaushal replaced her. In April 1953, Madhubala founded a production company called Madhubala Private Ltd. The following year, while shooting in Madras for S. S. Vasan's Bahut Din Huwe (1954), she suffered a major health setback due to her heart disease. She returned to Bombay after completing the film and took a short-term medical leave from work, which led to her replacement (by Nimmi) in Uran Khatola (1955). Madhubala later starred in another film of 1954Mehboob Khan's Amar, portraying a social worker involved in a love triangle along with Dilip Kumar and Nimmi. Madhubala improvised a scene from the film; it was unsuccessful at the box-office. Nevertheless, Rachit Gupta of Filmfare stated that Madhubala overshadowed her co-stars and "floored her role with a nuanced performance." Writing for Rediff.com in 2002, Dinesh Raheja described Amar as "arguably Madhubala's first truly mature performance" and particularly noted a dramatic scene featuring her with Dilip. Madhubala's next release was her own production venture, Naata (1955), in which she co-starred with her real-life sister Chanchal. The film met with a tepid response and lost a lot of money, leading Madhubala to sell her bungalow Kismet to compensate.

Undeterred by recent failures, Madhubala made a comeback in 1955 with Guru Dutt's comedy Mr. & Mrs. '55, which emerged as one of the year's highest-grossing films in India and her biggest success at that point of time. The film saw Madhubala playing Anita Verma, a naive heiress who is forced into a sham marriage with Dutt's character by her spinster aunt (Lalita Pawar). Harneet Singh of The Indian Express called Mr. & Mrs. '55 "a great ride" and acknowledged Madhubala's "impish charm and breezy comic timing" as one of its prime assests. A conflict broke out between Madhubala–Khan and director B. R. Chopra in mid-1956 over the location shoot of Naya Daur, in which Madhubala was cast to play the female protagonist. Citing her as uncooperative and unprofessional, Chopra replaced Madhubala with Vyjayanthimala and further sued the former for 30,000 in damages. The lawsuit continued for about eight months amidst public scrutiny before Chopra withdrew it after Naya Daur got released.

During the years 1956–57, Madhubala slightly reduced her workload due to the lawsuit and health issues. She and Nargis were approached by Guru Dutt to play either of the two female leads (an unfaithful girlfriend or a hooker with a heart of gold) in his production, Pyaasa (1957). However, unable to choose between the two leading roles, the actresses passed over the film to the newcomers Mala Sinha and Waheeda Rehman. Madhubala appeared in two period films in 1956, Raj Hath and Shirin Farhad, both critical and commercial successes. The following year, she portrayed a runaway heiress in Om Prakash's Gateway of India (1957), which critic Deepa Gahlot believed to be one of the finest performances of her career. Madhubala then starred in the drama Ek Saal (1957), which followed a terminally-ill ingenue (Madhubala) who falls in love with Ashok Kumar's character. The film proved popular with audience and became as a box office hit, thereby re-establishing Madhubala's stardom.

Resurgence, acclaim and final works (1958–1964)

Madhubala began the year 1958 with Raj Khosla's Kala Pani, in which she co-starred with Dev Anand and Nalini Jaywant, playing an intrepid journalist investigating a 15-year-old murder. She was then cast as Edna opposite Ashok Kumar in Howrah Bridge (1958), her first collaboration with director Shakti Samanta. Madhubala waived her fees to play the role of an Anglo-Indian cabaret dancer, which marked a departure from her previous portrayals of sophisticated characters. Both Howrah Bridge and Kala Pani begot positive reviews for her and became two of the year's top-grossing films. She followed this success with the box office hit Phagun (1958). In her final release of 1958, Madhubala portrayed a wealthy city woman involved in a love affair with Kishore Kumar in Satyen Bose's comedy Chalti Ka Naam Gaadione of the biggest money-making pictures of the 1950s. Dinesh Raheja of Rediff.com referred to the film as the "fifties jest-setter", adding that Madhubala "exudes oodles of charisma and her giggles are infectious." Writing for the same portral in 2012, columnist Rinki Roy mentioned Madhubala's character in Chalti Ka Naam Gaadi as "a top favourite": "Her breezy performance stands out as that rare example of an independent, urban woman. [...] For me, Madhubala is the face of the original celluloid diva."

Her second collaboration with Samanta, Insan Jaag Utha (1959), was a social drama film in which the protagonists work on the construction of a dam. A modest success, its critical reception has improved over years. Rachit Gupta of Filmfare and Roktim Rajpal of Deccan Herald have cited Madhubala's performance as Gauri, a village belle, as one of her finest works. Further in 1959, she received praise for playing dual roles in Kal Hamara Hai, also starring Bharat Bhushan. Khatija Akbar, the author of Madhubala: Her Life, Her Films (1997), called her turn as "a polished performance, particularly in the role of the misguided 'other' sister." The commercial success of Do Ustad (1959), which saw her reuniting with Raj Kapoor, was followed by the second film of Madhubala Private Ltd.—the comedy Mehlon Ke Khwab (1960). It fared poorly at the box office.

Journalist Dinesh Raheja described K. Asif's Mughal-e-Azam (1960) as the "crowning glory" of Madhubala's career. Co-starring Dilip Kumar and Prithviraj Kapoor, the film revolves on a 16th-century court dancer, Anarkali (Madhubala), and her affair with the Mughal prince Salim (Kumar). Since the mid-1940s, Asif had rejected numerous actresses for the part of Anarkali. Madhubala joined the cast in 1952 and received an advance payment of Rs. 1 lakhthe highest for any actor or actress until then. The filming period proved to be taxing. Her relationship with Kumar ended amidst shooting and there were reports of animosity between the actors. Madhubala was also troubled by the night schedules and complicated dance sequences, which she had been medically asked to avoid. She fell under the weight of iron chains, extinguished candles with her palm, starved herself for days to depict anguishness in particular scenes and had continuous water flung at her face and whole body painted. The principal photography for Mughal-e-Azam was finished in May 1959 and left her exhausted, both physically and mentally, to a point that she began considering a retirement.

Mughal-e-Azam was first of Madhubala's two films in colour; it had four reels shot in Technicolor. The film had the widest release of any Indian film up to that time, and patrons often queued all day for tickets. Released on 5 August 1960, it broke box office records in India and became the highest-grossing Indian film of all time, a distinction it would hold for 15 years. At the 1961 National Film Awards, Mughal-e-Azam won the National Film Award for Best Feature Film in Hindi and led the 8th Filmfare Awards ceremony with 11 nominations, including Best Actress for Madhubala. A reviewer for The Indian Express commented, "Scene after scene bears testimony to the outstanding gifts of Madhubala as a natural actress [...] The way she presents Anarkali's changing moods as she passes through the lightning vicissitudes in her life is superb."

The success of Mughal-e-Azam resulted in a string of offers in major roles, but Madhubala had to refuse them owing to her heart condition. She further withdrew from some productions that were already underway, including Bombai Ka Babu, Naughty Boy, Jahan Ara, Yeh Basti Ye Log, Suhana Geet and an untitled film with Kishore Sahu. She did, however, had few more releases, which were completed either by body doubles or by Madhubala herself. In late 1960, Madhubala was seen in Shakti Samanta's crime film Jaali Note, based on the theme of counterfeit money; it was successful financially. However, Karan Bali of Upperstall.com mentioned her role as "sketchy" and found the romance between her and Dev Anand's characters unconvincing. Madhubala's starring role in the musical Barsaat Ki Raat (1960) was better received. The feature was the year's second-highest-grossing film, trailing only Mughal-e-Azam. A critic for The Indian Express found her "enchanting", while Venkat Parsa of The Siasat Daily noted the rebellious nature of her character, Shabnam, who elopes with her lover (played by Bharat Bhushan) after her parents object to the relationship.

The back-to-back blockbuster successes of Mughal-e-Azam and Barsaat Ki Raat established Madhubala as the most successful leading lady of 1960. She subsequently discontinued her career and only preferred starring as love interests in a few films, including the comedies Jhumroo (1961), Boy Friend (1961) and Half Ticket (1962), and the dramas Passport (1961) and Sharabi (1964). Her all three 1961 releases were among the top-grossing productions of the year. Half Ticket, her last collaboration with husband Kishore Kumar was a critical and commercial success as well. Sukanya Verma called the film one of her most favourite comedies of all time, praising the "palpably fond chemistry" between Madhubala and Kishore. Also released in 1962 was Madhubala Private Ltd.'s third and last presentation, Pathan, which turned out to be a box office flop. Following a sabbatical of two years, she completed Sharabi in 1964; the film became her final release in her lifetime. Baburao Patel, writing for Mother India, praised Madhubala's performance for "reviv[ing] the old heartache". An editor for Rediff.com called Sharabi a "fitting finale to a luminous career, showing the actress at her most beautiful and her most effective, a heroine destined not to age in any of our eyes."

In 1971, one of Madhubala's incomplete works, Jwala, was released. Co-starring Sunil Dutt and Sohrab Modi, the film was mainly completed with the help of body doubles. It marked Madhubala's final screen role.

Personal life
Born in an orthodox family, Madhubala was deeply religious and practiced Islam since her childhood. After securing her family financially in the late 1940s, she rented a bungalow on Peddar Road in Bombay and named it "Arabian Villa". It became her permanent residence until death. She learnt driving at the age of 12 and by adulthood was an owner of five cars: Buick, Chevrolet, Station wagon, Hillman, and Town & Country (which was owned by only two people in India at that time, Maharaja of Gwalior and Madhubala). As a native speaker of three Hindustani languages, she began learning English in 1950 from former actress Sushila Rani Patel and grew fluent in the language in three months. She also kept eighteen Alsatian dogs as pets in Arabian Villa.

In mid-1950, Madhubala was diagnosed with an incurable ventricular septal defect in her heart during a medical checkup; the diagnosis was not made a public information as it could jeopardize her career.

Philanthropy
She performed actively in charity, which led editor Baburao Patel to call her the "queen of charity". In 1950, she donated 5,000 each to children suffering from polio myelitis and to the Jammu And Kashmir relief fund, and 50,000 for the refugees from East Bengal. Madhubala's donation sparked off a major controversy due to her religious beliefs and received wide coverage in the media at that time. Subsequently, she kept her charity work guarded and donated anonymously. In 1954, it was revealed that Madhubala had been regularly giving monthly bonuses to the lower staff of her studios. She also gifted a camera crane to the Film and Television Institute of India in 1962, which is operational even today.

Friendships
When she was a minor and in Delhi, Madhubala had a close friend named Latif, to whom she left a rose before her family relocated to Bombay. While working as a child artist in the mid-1940s, Madhubala befriended Baby Mahjabeen, another child actor of that time, who later grew up as actress Meena Kumari. Despite their professional rivalry, Madhubala shared a cordial relationship with Kumari as well as other female stars, such as Nargis, Nimmi, Begum Para, Geeta Bali, Nirupa Roy and Nadira. In 1951, following a major conflict with the press, Madhubala established a friendship with journalist B. K. Karanjia, who became one of the few people of his profession to be allowed inside Arabian Villa. Sarla Bhushan, the wife of Bharat Bhushan, with whom Madhubala had a special bond, died of labour complications in 1957, much to her distress. Madhubala was also close to three of her earliest directorsKidar Sharma, Mohan Sinha, and Kamal Amrohiand while there have been rumours regarding her being emotionally involved with them, her younger sister Madhur Bhushan has refuted such claims. On the sets of Mughal-e-Azam (1960), Madhubala often ate lunch with Zulfiqar Ali Bhutto, a Pakistani barrister who later served as the country's Prime Minister. He used to visit the sets especially for Madhubala, and according to Sushila Kumari was Madhubala's one-sided lover.

Relationships and marriage
Madhubala's first relationship was with her Badal co-star Prem Nath, in early 1951. They broke-up under six months due to religious differences. Nath nevertheless remained close to Madhubala and her father Ataullah Khan for the rest of their lives. Also in 1951, Madhubala began a romance with actor Dilip Kumar, whom she had earlier met working on Jwar Bhata (1944). Their affair went on to receive wide media attention throughout the decade. It had a positive impact on Madhubala and her friends have recalled the following few years as the happiest of her life.

As their relationship progressed, Madhubala and Dilip got engaged but could not marry as Khan had some objections. Khan wanted Dilip to act in his production house's films, which the actor refused. Also, Dilip specified to Madhubala that if they were to marry, she will have to sever all ties with her family. She parted ways with him in 1957 amidst the court case over the production of Naya Daur (1957). Dilip testified against her and Khan in court, which left Madhubala devastated. In the meantime, Madhubala was proposed marriage by three of her co-stars: Bharat Bhushan, a widower, Pradeep Kumar and Kishore Kumar, both of whom had previously been married.

On the sets of Chalti Ka Naam Gaadi (1958), Madhubala rekindled a friendship with Kishore Kumar, her childhood playmate and her friend Ruma Guha Thakurta's ex-husband. Following a two-year-long courtship, Madhubala married Kishore in court on 16 October 1960. The union was kept from the industry and was not announced until the newlyweds held a reception some days later. Moreover, the couple were considered mismatch due to their contrasting personalities.

Health deterioration and final years

Soon after their marriage in 1960, Madhubala and Kishore Kumar traveled to London along with her doctor Rustom Jal Vakil, combining their honeymoon with the specialised treatment of Madhubala's heart disease, which was aggravating rapidly. In London, doctors refused to operate on her, fearing complications, and instead advised Madhubala to avoid any kind of stress and anxiety. She was dissuaded from having any children and given a life expectancy of two years.
Madhubala and Kishore subsequently returned to Bombay and she shifted to Kishore's home in Bandra. Her health continued declining and she now frequently quarrelled with her husband. Ashok Kumar (Kishore's elder brother) recalled that her sickness turned her into a "bad-tempered" person and she spent most of her time in her father's house. To escape the bitterness of her in-laws due to religious differences, Madhubala later moved into Kishore's newly bought flat at Quarter Deck in Bandra. However, Kishore stayed in the flat only for a short period and then left her alone with a nurse and a driver. Although he was bearing all her medical expenses, Madhubala felt abandoned and returned to her own house in less than two months of her marriage. For the rest of her life, he visited her occasionally, which Madhubala's sister Madhur Bhushan thought was possibly to "detach himself from her so that the final separation wouldn't hurt."
In late June 1966, Madhubala seemed to have partly recovered and decided to return to film again with J. K. Nanda's Chalaak, opposite Raj Kapoor, which was unfinished since she left the industry. Her comeback was welcomed by the media, but Madhubala immediately fainted as the shoot began; the film was thus never completed. She was subsequently hospitalized in the Breach Candy Hospital, where she met her former boyfriend Dilip Kumar and returned home after being discharged. To alleviate her insomnia, Madhubala used hypnotic on Ashok's suggestion, but it further exacerbated her problems.

Madhubala spent her final years bedridden and lost a lot of weight. Her particular fascination was Urdu poetry and she regularly watched her films (particularly Mughal-e-Azam) on a home projector. She grew very reclusive, meeting only Geeta Dutt and Waheeda Rehman from the film industry in those days. She had to undergo exchange transfusion almost every week. Her body began producing excess blood that would spill out of her nose and mouth; Vakil had to thus extract the blood to prevent complications, and an oxygen cylinder had to kept by her side as she often suffered from hypoxia. After the Chalaak incident, Madhubala turned her attention to film direction and began preparing for her directorial debut, titled Farz aur Ishq, in February 1969.

Death
By early 1969, Madhubala's health was in serious and major decline: she had just contracted jaundice and on urinalysis was diagnosed as having hematuria. Madhubala suffered a heart attack in the midnight of 22 February. After struggling for few hours amongst her family members and Kishore, she died at 9:30 a.m. of 23 February, only nine days after turning 36. Madhubala was buried at Juhu Muslim Cemetery in Santacruz, Bombay along with her personal diary. Her tomb was built with marbles and inscriptions include aayats from Quran and verse dedications.

Due to Madhubala's absence from the social scene for almost a decade, her death was perceived as unexpected and found wide coverage in the Indian press. The Indian Express recalled her as "the most sought-after Hindi film actress" of her times, while Filmfare characterized her as "a Cinderella whose clock had struck twelve too soon". A number of her co-workers including Premnath (who wrote a poem dedicated to her), B. K. Karanjia and Shakti Samanta expressed their grief over her premature death. Gossip columnist Gulshan Ewing commented in a personal farewell titled "The Passing of Anarkali", writing, "She loved life, she loved the world and she was often shocked to find that the world did not always love her back. [...] To her, all life was love, all love was life. That was Madhubalaloveliest of the shining stars."

In 2010, Madhubala's tomb along with those of other industry stalwarts was demolished to make way for newer graves. Her remains were placed at an unknown location.

Public image
Madhubala was one of the most celebrated film stars in India from the late 1940s to early 1960s. In 1951, James Burke photographed her for a feature in the American magazine Life, which described her as the biggest star in the Indian film industry at that time. Her fame reached beyond India as well: director Frank Capra offered her a break in Hollywood (which her father declined) and in August 1952, David Cort of Theatre Arts Magazine wrote of her as "the biggest star in the worldand she's not in the Beverley Hills." Cort estimated Madhubala's Indian and Pakistani fan base equal to the combined population of the contemporary United States and western Europe, and also reported her popularity in countries such as Myanmar, Indonesia, Malaysia and East Africa. Along with Nargis, she also had large fan following in Greece.

Dilip Kumar described Madhubala as "the only star for whom people thronged outside the gates." Her fame was acknowledged by Time magazine also, which went on to call her a "cash and curry star" in its January 1959 issue. In films, she was often billed before the leading man, and web portal Rediff.com mentioned her as a more powerful celebrity than her male contemporaries. For Mahal (1949), her first film under a major production company, Madhubala was paid a sum of 7,000. The film's success established her career as a leading lady, and she subsequently became one of the highest-paid Indian stars of the upcoming decade. In 1951, filmmaker and editor Aurbindo Mukhopadhyay reported that Madhubala charges 1.5 lakh per film. She received an unprecedented amount of 3 lakh for her decade-long work in Mughal-e-Azam (1960). Madhubala was placed seven times on Box Office India's list of top actresses from 1949 to 1951, and from 1958 to 1961.

Madhubala's beauty and physical attractiveness were widely acknowledged, and led the media to refer to her as "The Venus of Indian cinema" and "The Beauty with Tragedy". In 1951, Clare Mendonca of The Illustrated Weekly of India called her "the number one beauty of the Indian screen". Several of her co-workers cited her as the most beautiful woman they ever saw. Nirupa Roy said that "there never was and never will be anyone with her looks" while Nimmi (co-star in the 1954 film Amar) admitted passing a sleepless night after her first meeting with Madhubala. In 2011, Shammi Kapoor confessed to falling in love with her during the shoot of the 1953 film Rail Ka Dibba: "Even today ... I can swear that I have never seen a more beautiful woman. Add to that her sharp intellect, maturity, poise and sensitivity ... When I think of her even now, after six decades, my heart misses a beat. My God, what beauty, what presence." Due to her perceived appeal, Madhubala became one of the brand ambassadors of beauty products by Lux and Godrej. However, she stated that happiness matters more to her than physical beauty.

From the beginning of her career, Madhubala gained a reputation for avoiding parties and refusing interviews, leading her to be labeled recluse and arrogant. On an unusual instance in 1958, her father even wrote an apology letter to then-Prime Minister of India, Jawaharlal Nehru, for disallowing Madhubala to attend Nehru's private function where she was invited. Having been a part of the film industry since childhood, Madhubala saw the social scene as superficial and expressed her despise of "the kind of functions where only the current favourites are invited and where a decade or two hence I would not be invited." In a two decade-long career, Madhubala was seen at the premieres of only two filmsBahut Din Huwe (1954) and Insaniyat (1955)both for personal reasons. Her regular photographer, Ram Aurangbadakar complained that she "lacked warmth" and "was very detached", which is also reflected in Ashokamitran's statement describing her as an inarticulate and pitiful person. Gulshan Ewing, one of Madhubala's closest associates, however, differed and stated that her friend "was none of these." Nadira added that Madhubala "had not a strain of pettiness, of anything small. That girl did not know anything about hate," and Dev Anand recalled her as a "self-assured [and] cultured [person], very independent in her thinking and particular about her way of life and her position in the film industry."

Madhubala's refusal to grant interviews or to interact with the press drew in extreme reactions from its members. By early 1950, Khan had begun asserting in her film contracts that no journalists would be allowed to meet her without his permission. When shortly after Madhubala declined to entertain a set of visiting journalists on set, they started vilifying her and her family and further placed a bounty to behead and kill her. For self-protection, Madhubala was given the permission to carry a revolver and move around under armed protection by the state government, until Khan and other journalists ultimately made a settlement. Her relationship with the press remained bitter, nevertheless, and she was regularly pointed out by it for her religious beliefs and perceived arrogance. Another major controversy she faced during her career was the Naya Daur civil war fought against B. R. Chopra, which Bunny Reuben mentions in his memoir as "the most sensational court case ever to be fought in the annals of Indian cinema."

Regardless of all these dissensions, Madhubala was known in the media as a disciplined and professional performer, with Kidar Sharma (director of the 1947 film Neel Kamal) recalling her early days in the industry, "She worked like a machine, missed a meal, travelled daily in the over-crowded third-class compartments from Malad to Dadar and was never late or absent from work." Anand said in a 1958 interview, "When Madhubala is on the set, one often goes much ahead in the schedule." Except for the filming of Gateway of India (1957) and Mughal-e-Azam (1960), Khan never allowed Madhubala to work in nights. Despite medical precautions, she performed even exhausting scenes by herself, such as doing complicated dances, wearing iron chains twice of her body weight and getting wet in water.

Artistry and legacy

Acting style and reception
In a 22-year-long career, Madhubala acted in almost every film genre, ranging from romantic musicals to slapstick comedies, and crime thrillers to historical dramas. The author of Celebrities: A Comprehensive Biographical Thesaurus of Important Men and Women in India (1952), Jagdish Bhatia noted that Madhubala turned her disadvantages into advantage and despite her non-filmy background "rose to be one of the most talented female stars of the industry." Baburao Patel, writing for Filmindia, called her "easily our most talented, most versatile and best-looking artiste." A number of her directors including Sharma, Shakti Samanta and Raj Khosla spoke highly of her acting talents on different occasions. Ashok Kumar described her as the finest actress he ever worked with, while Dilip Kumar wrote in his autobiography that she was "a vivacious artiste ... so instantaneous in her responses that the scenes became riveting even when they were being filmed ... she was an artiste who could keep pace and meet the level of involvement demanded by the script."

Writing retrospectively for The New York Times, Aisha Khan characterised Madhubala's acting style as "natural" and "understated", noting that she often portrayed roles of "modern young women testing the limits of traditions". Film critic Sukanya Verma felt that actresses like Madhubala "should be applauded for doing more than just looking good and crying buckets." Madhubala was acknowledged in the media for her unconventional roles, such as a flirtatious cabaret dancer in Howrah Bridge (1958)which led Filmfare to compare her with Rita Hayworth and Ava Gardnera rebellious and independent woman in Chalti Ka Naam Gaadi (1958), and a fearless court dancer in Mughal-e-Azam (1960). Her roles in Amar (1954), Gateway of India (1957), and Barsaat Ki Raat (1960) have also been noted by modern-day critics for being offbeat and significantly different from the usual portrayals of female characters in Indian cinema. Madhubala has also been credited for introducing several modern styles, such as trousers (for females) and strapless dresses in Bollywood. Her distinctive wavy hairstyle was referred to as "the out-of-the-bed look" and further established her screen persona as a liberated and independent woman. David Cort summarized her as "the ideal of the free Indian woman or what India hopes the free Indian woman will be."

Madhubala had the shortest career among her contemporaries, but by the time she quit acting, she had already successfully featured in over 70 films. Her screen time in leading roles was always equal to her male co-starswhich has otherwise been a rarityand she has also been credited for being one of the earliest personalities who, in the era of mass communication, took the position of Indian cinema to global standards. Moreover, with Bahut Din Huwe (1954), Madhubala became the first Hindi actress to have a career in south Indian cinema. Jerry Pinto has cited Madhubala as one of the earliest Bollywood actresses who created a distinct sex symbol by "merg[ing]" "the vamp and the virgin", and publications including Rediff.com and Hindustan Times mentioned her among the topmost sex symbols of Bollywood. A 2011 poll conducted by Rediff.com saw Madhubala receiving the third highest number of votes among "the hottest women who've ever scorched our screens"; the portal's writer commented, "In the end, I guess, it's about beauty. And there weren't many who could match up to the ethereal Madhubala."

Although Madhubala appeared in almost all film genres during her career, her most notable films included comedies. She gained recognition for her comic timing after her performance in Mr. & Mrs. '55 (1955), which Iqbal Masud of India Today call "a marvellous piece of sexy-comic acting." However, despite her success and fame, she neither received any acting award nor critical acclaim. Several critics have stated that her perceived beauty was an impediment to her craft to be taken seriously. Madhubala wished to play more dramatic and author-backed roles, but was often discouraged. According to Dilip Kumar, audience "missed out on a lot of her other attributes." Biographer Sushila Kumari said that "people were so mesmerised by her beauty that they never cared for the actress", and Shammi Kapoor thought of her as "a highly underrated actress in spite of performing consistently well in her films."

Madhubala's talents were first acknowledged after the release of Mughal-e-Azam (1960), but it turned out to be one of her final films. Her dramatic portrayal of Anarkaliranked amongst Bollywood's finest female performances by Upperstall.com and by Filmfare in generalestablished her as an enduring figure in Indian cinema. One of the romantic scenes from the film, in which Dilip Kumar brushes Madhubala's face with a plume, was declared the most erotic scene in Bollywood's history by Outlook in 2008, and by Hindustan Times in 2011. Her critical reception improved in the 21st century, with Khatija Akbar noting that Madhubala's "brand of acting had an underplayed and spontaneous quality. Anyone looking for heavy histrionics and laboured 'acting' missed the point". In 1999, M. L. Dhawan of The Tribune stated that Madhubala "could communicate more with her delicately raised eyebrows than most performers could with a raised voice" and "knew the knack of conveying her character's inner-most feelings." Priya Ramani of Mint added: "You only had to slip her into a wet sari, ask her to lean invitingly into the camera or hand her co-star a feather, and you could comfortably forecast that the cinematic sigh would resonate for at least a hundred years."

In recent years, Madhubala's legacy has maintained fans of all different ages, both younger and older. She is recognized even by those who are unfamiliar with vintage cinema and has dozens of fan sites dedicated to her on the social media. Modern magazines continue to publish stories on her personal life and career, often promoting her name heavily on the covers to attract sales. Her legacy has extended to fashion also: she has been acknowledged as the creator of many iconic fashion styles, such as wavy hairstyle and strapless dresses, which are widely followed by many celebrities. In accordance with her enduring popularity, News 18 wrote, "the cult of Madhubala is a difficult thing to match up to." Several modern-day celebrities, including Aamir Khan, Hrithik Roshan, Shah Rukh Khan, Madhuri Dixit, Rishi Kapoor and Naseeruddin Shah rank Madhubala among their favorite artistes of Indian cinema. Research analyst Rohit Sharma has studied narratives about Madhubala and surmised the reason behind her continued relevancy among new generation:

On the occasion of her eighty-fifth birthday, Nivedita Mishra of Hindustan Times described Madhubala as "by far, the most iconic silver screen goddess India has produced." In the decades following her death, she has emerged as one of the most celebrated personalities in the Indian cinematic field, and her reputation has endured. Also in polls and surveys, she is described as one of India's finest and most beautiful actresses of all-time. Khatija Akbar, Mohan Deep and Sushila Kumari have also written books about her.

Tributes and honours
 Mandoubala, a Greek song dedicated to Madhubala, was performed at the closing ceremony of the 2004 Athens Olympics.
 Digitally-colorized versions of two of Madhubala's filmsMughal-e-Azam (in 2004) and Half Ticket (in 2012)have been released theatrically.

 In March 2008, Indian Post issued a commemorative postage stamp featuring Madhubala, that was launched by her surviving family members and co-stars; the only other Indian actress that was honoured in this manner was Nargis, at that point of time.
 In 2010, Filmfare included Madhubala's performance as Anarkali in Mughal-e-Azam in its list of Bollywood's "80 Iconic Performances".
 Her introduction scene in Mughal-e-Azam was included by Sukanya Verma in Rediff.com's list of "20 scenes that took our breath away". The film itself has been considered one of the greatest films ever made in polls by British Film Institute and News18.
 In August 2017, the New Delhi center of Madame Tussauds unveiled a statue of Madhubala inspired by her look in the film as a tribute to her.
 In 2018, The New York Times published a belated obituary for Madhubala, comparing her life to that of Marilyn Monroe.
 On 14 February 2019, her 86th birth anniversary, search engine Google commemorated her with a doodle; Google commented: "While her breathtaking appearance earned comparisons to Venus, Madhubala was a gifted actor with an understated style well suited for comedies, dramas, and romantic roles alike. [...] Appearing in over 70 films over the course of a tragically brief career, Madhubalawho would have turned 86 todaywas called "The Biggest Star in the World" in 1952 by Theatre Arts Magazine."

In film
Madhubala has served as the inspiration behind the characters of actresses Soha Ali Khan, Kangana Ranaut and Deepika Padukone in Khoya Khoya Chand (2007), Once Upon a Time in Mumbaai (2010), and Bajirao Mastani (2015), respectively.

In July 2018, Madhubala's sister Madhur Bhushan, announced that she was planning to make a biopic on her sister. Bhushan wants Kareena Kapoor to play Madhubala, but as of 2018, the project remains in its initial stages. In November 2019, filmmaker Imtiaz Ali was considering a biopic of Madhubala, but later dropped the idea after her family denied permission. Actresses including Kriti Sanon, Kangana Ranaut, Kiara Advani, and Janhvi Kapoor, and Yami Gautam have expressed their wish to play Madhubala in a biopic.

Popular culture references
The 1950 film Madhubala was named after the actress as a tribute to her stardom.
In the 1958 film Chalti Ka Naam Gaadi, Manmohan (Kishore Kumar), on seeing Renu (Madhubala) in his garage, excitedly says, "Hum samjha koi bhoot-woot hoga" ("Oh I thought it was a ghost"). The dialogue was a reference to Madhubala's portrayal of a ghostly woman in Mahal (1949).
Actress Nishi parodied Madhubala in the 1960 film Parakh.
In the 1970s, Greek singer Stelios Kazantzidis produced the song "Mandoubala" as a tribute to Madhubala.
In the 1990 film Jeevan Ek Sanghursh, the characters of Madhuri Dixit and Anil Kapoor imitated a dance sequence featuring Madhubala and Kishore Kumar from Chalti Ka Naam Gaadi (1958).
Madhuri Dixit parodied Madhubala in the 1990 film Kishen Kanhaiya.
In the opening credits of the 1995 film Rangeela, a tribute to the Hindi film industry, each name is accompanied with an image of a vintage film star, including Madhubala, Dev Anand and Amitabh Bachchan.
Madhubala's Anarkali look has inspired Madhuri Dixit in Lajja (2001) and Mallika Sherawat in Maan Gaye Mughal-e-Azam (2008).
Priyanka Chopra parodied Madhubala, Meena Kumari and Nargis in the 2007 film Salaam-e-Ishq.
In 2017, actress Mouni Roy dressed herself as Madhubala's Anarkali for a dance performance.

Works and accolades

Madhubala appeared in 72 films between 1942 and 1964, including Basant (1942), Neel Kamal (1947), Mahal (1949), Badal (1951), Tarana (1951), Amar (1954), Mr. & Mrs. '55 (1955), Kala Pani (1958), Howrah Bridge (1958), Chalti Ka Naam Gaadi (1958), Mughal-e-Azam (1960), Barsaat Ki Raat (1960), Half Ticket (1962) and Sharabi (1964). Her seventy-third and last film was the posthumously released Jwala (1971). She was credited as a producer in Naata (1955), Mehlon Ke Khwab (1960) and Pathan (1962). For her work in Mughal-e-Azam, Madhubala was nominated for Filmfare Award for Best Actress; it was the only nomination she ever received.

Footnotes

Bibliography

References

Further reading

External links

1933 births
1969 deaths
Indian film actresses
Actresses in Hindi cinema
Actresses from Delhi
Pashtun actresses
 Indian Muslims
Indian people of Pashtun descent
20th-century Indian actresses
People with congenital heart defects

Madhubala


Hexacyrtis, monotipski biljni rod iz porodice mrazovčevki, smješten u tribus Colchiceae. Jedina vrsta H. dickiana je kritično ugrožena a raste jedino ju južnoafričkoj provinciji Northern Cape i susjednoj Namibiji, točnije od Swakopmunda do Alexander Baya.

Trajnica; geofit.

Izvori

Mrazovčevke

Hexacyrtis


රජීව ජයවීර (ඉංග්‍රීසි: Rajeewa Jayaweera) යනු  මාධ්‍යවේදි කොළම්බු ටෙලිග්‍රාෆ් විය.

ජීවන සටහන්

ප්‍රවීන තානාපති නිලධාරියකු ලෙස සැලකෙන ස්ටැන්ලි ජයවීර, රජීවගේ පියාණන්ය. රජීව ප්‍රකට සිවිල් සේවකයකු, පරිපාලන නිලධාරියකු, තානාපතිවරයකු. ලේඛකයකු සහ ප්‍රජා දේශකයකු වූ නෙවිල් ජයවීරගේ ඥාති පුත්‍රයාය.

රජීව ජයවීර කොළඹ නාලන්දා විද්‍යාලයයේ ආදි සිසුවෙකි.

ආශ්‍රිත
 නිදහස් චතුරශ්‍රය අසල මියගිය පුද්ගලයා හඳුනා ගනී: දිවි නසා ගැනීමක්දැයි සැකයක්..

 කොළඹ නාලන්දා විද්‍යාලයයේ ආදි සිසු මාධ්‍යවේදීන්

 රජීව ජයවීර

 දිවි නසා ගත් බව කියූ රජීව ජයවීරගේ අබිරහස් මරණය

 රජීව ජයවීරගේ මරණය සියදිවි නසා ගැනීමක්

 නිදහස් චතුරස්‍රයේ මියගොස් සිටියේ මිහින් ලංකා එයාබස් වංචාව හෙළිකළ රජීව ජයවීර

 නිදහස් චතුරශ්‍රයේ දී වෙඩි තබාගත් බවකී 'රජීවගේ නිවසේත් ' වෙඩි ප්‍රහාරයක් -සියලු විස්තර මෙන්න

චරිත කතා
ශ්‍රී ලාංකිකයෝ
ශ්‍රී ලාංකික බෞද්ධයෝ
ලාංකික සිංහලයෝ
ආදි නාලන්දියයෝ

රජීව ජයවීර


Die Formel-750-Saison 1976 war die dritte in der Geschichte der Formel-750-Meisterschaft und wurde von der FIM als Preis der FIM veranstaltet.

Bei neun Veranstaltungen wurden 17 Rennen ausgetragen.

Punkteverteilung

In die Wertung kamen die fünf besten erzielten Resultate. Wurden bei einer Veranstaltung mehrere Läufe ausgetragen, so ergaben sich die Punkte aus der Addition der Zeiten beider Läufe.

Wissenswertes
 Das Rennen in Venezuela wurde nach einer Entscheidung der FIM nicht in die Wertung mit einbezogen, da es einen Fehler bei der Zeitnahme gab.

Rennergebnisse

Fahrerwertung

(Punkte in Klammern inklusive Streichresultate)

Konstrukteurswertung

(Die Konstrukteurswertung ist nicht offiziell, es wurde kein Herstellertitel vergeben.)

Verweise

Literatur

Weblinks
 Detaillierte Statistiken zur Saison 1976 bei racingmemo.free.fr (französisch)

Motorsportsaison 1976
1976

Formel-750-Saison 1976