The Cloggies, an Everyday Saga in the Life of Clog Dancing Folk, is a cartoon strip created by Bill Tidy. It ran in the satirical magazine Private Eye from 1967 to 1981, and later in The Listener from 1985 to 1986.

The strip served as a satire of northern English male culture and focused on a team of men who took part in what the group called Lancashire clog-dancing. This version of clog-dancing involved two teams dancing towards each other in formation, followed by each attempting to cripple their opponents with gracefully executed knee and foot moves.

The strip has been credited with popularizing the word "cloggies", a slang term for clog dancers.

History

Publication history
The Cloggies began as a single standalone cartoon published in the British satirical magazine Private Eye during 1967, which depicted a group in the midst of a morris dance as an army jeep tries to warn that they should remain still, as they were in a minefield. The cartoon was noticed by Private Eye co-founder Richard Ingrams, who believed that it could be expanded into a regular series. Tidy agreed and the strip ran in the magazine until 1981. It was later picked up by the weekly magazine The Listener, where it was published from 1985 to 1986.

The strip was published in two formats, one a single panel cartoon and the other made of multiple panels.

Three retrospective collections of the cartoons were published between 1969 and 1977, with titles The Cloggies (1969), The Cloggies Dance Again (1973) and The Cloggies Are Back (1977).

Influences
The strip was sub-titled an Everyday Saga in the Life of Clog Dancing Folk, which Tidy intended as a parody of the long-running BBC radio series, The Archers, which was subtitled an Everyday Story of Country Folk. The strip also lampooned contemporary British sports culture and introduced an entire sub-culture of fictitious dance leagues, a governing body for the sport of clog dancing, and a deeply arcane and complex scoring system.

Similarities with Brass
In 1983 Granada Television began televising Brass, a comedy drama that satirized working-class period dramas of the 1970s. Tidy was critical of the series, noting that it bore several similarities to his work, specifically The Cloggies. In an interview with the Liverpool Echo Tidy mentioned that he was not the first to see the similarities, as he had learned about them after reading a magazine article asking if he was going to pursue legal action.

Synopsis
The strip focused on a team of clogdancers made up of seven men, who were described as undisputed champions of their 'sport', usually inflicting severe clog dance-related injuries on their opponents before repairing to the nearest pub. The characters were portrayed as heavy and enthusiastic drinkers.

The team consisted of:
 Stan Postlethwaite (captain), later ennobled as Lord Stan of Blagdon
 Albert Postlethwaite (second boot, with his false teeth)
 Neville (third boot; trilby and glasses) (or Wilfrid, trilby, glasses and moustache)
 Arnold (fourth boot)
 Ted (fifth boot, with the grey socks)
 Wally (sixth boot, later deceased, replaced by Norman).
 Norman (bearded).

Other local residents included Reginald ('Reg') Thrumper, the "Blagdon Amateur Rapist" and the unnamed 'Blagdon Groper and Nuisance'.

Legacy

Stage musical
A stage musical based on the series, entitled The Cloggies, ran at the Theatr Clwyd in Mold, Wales. The production was given a limited run from 24 October until 12 November 1983. The Cloggies experienced several issues with special effects and sound during its opening performance, prompting complaints from the audience. The play was later described as a failure by the Evening Post in 1995.

Critical reception at the time was negative, with journalists criticizing the musical for its humor. A journalist for The Chester Chronicle panned the portrayals of the titular Cloggies while citing Stephen Nallon's impression of Margaret Thatcher as a highlight. The Liverpool Echo's Walter Huntley also reviewed the musical, criticizing it for its poor sound quality and humor.

Exhibitions
Strips from The Cloggies, along with several of Tidy's other works, were displayed at the Walker Art Gallery in Liverpool during 1986.

Other works
During the 1990s Tidy announced that there was interest in an animated series based on The Cloggies and that he had written a few scripts for an unnamed Yorkshire television station. No series was produced.

References

External links
Bill Tidy

1967 comics debuts
1986 comics endings
Comics characters introduced in 1967
Fictional dancers
Satirical comics
Humor comics
British comic strips
Comics set in the United Kingdom
Works about dance
Culture in Lancashire
British comics characters

The Cloggies


أم جميل هي أروى بنت حرب بن أمية بن عبد شمس زوجة أبي لهب بن عبد المطلب عم النبي محمد . عُرفت بتكريس حياتها لإيذاء النبي محمد وصرف الناس من حوله. ترعرعت في بيت قريشي كبير، وتزوجت من «عبد العزى بن عبد المطلب» المذكور في القرآن الكريم باسم (أبي لهب)، وهي أم ولديه "عتبة وعتيبة".

لم يذكر القرآن الكريم اسمها صريحا، ولكن أشار إليها في سورة المسد باسم (حمالة الحطب). لأنها كانت تأتي بأغصان الشوك، فتطرحها بالليل في طريق النبي محمد . غضبت عندما نزلت سورة المسد وازداد كرهها للنبي محمد  رغم أن ولديها عتبة وعتيبة تزوجا ابنتيه (أم كلثوم ورقية) اللتان تزوجهما عثمان بن عفان تباعا بعدهما.

قيل إن الوحي تأخر في النزول على النبي محمد  لفترة، فذهبت إليه متشفية وقالت له: «يا محمد، ما أرى شيطانك إلا قد قلاك!»، فنزل قوله تعالى في سورة الضحى:

وقد ذكر المفسرون في تفسير قول الله تعالى:  أنها تبرعت بعقد من ذهب في جيدها (عنقها) لأذية النبي محمد  فأبدلها الله جيدا من النار بدلا منه.

نسبها
 هي: أروى بنت حرب بن أمية بن عبد شمس بن عبد مناف بن قصي بن كلاب بن مرة بن كعب بن لؤي بن غالب بن فهر بن مالك بن النضر بن كنانة بن خزيمة بن مدركة بن إلياس بن مضر بن نزار بن معد بن عدنان. وهي أخت الصحابي أبو سفيان بن حرب.
 أمها هي: فاختة بنت عامر بن معتب الثقفية.

ذكرها في القرآن
ذكرها القرأن الكريم في سورة المسد بوصفها امرأة أبي لهب ولم يذكرها باسمها صراحة فقال عز وجل:  (سورة المسد، الآيتين 4-5).

وأخرج ابن جرير والبيهقي في الدلائل وابن عساكر عن ابن عباس في قوله: { وامرأته حمالة الحطب } قال: كانت تحمل الشوك فتطرحه على طريق النبي ليعقره وأصحابه.

وأخرج ابن أبي الدنيا في ذم الغيبة وابن جرير وابن المنذر وابن أبي حاتم عن : {وامرأته حمالة الحطب} قال: كانت تمشي بالنميمة {في جيدها حبل من مسد} من نار.

لكنه مخُتلف حول هذا مناسبة هذا الوحي، حيث أعلن ابن سعد وابن كثير أنها كانت في 613، عندما دعا الرسول قريش إلى جبل الصفا لينبههم لأول مرة بأن عليهم اتباع دعوته، وعندها قاطعه أبو لهب قائلا «تَبًّا لكَ سَائِرَ اليَومِ، ألِهذا جَمَعْتَنَا؟» فكان الوحي هو رد الرسول عليه.

وافترض ابن إسحاق انها نزلت في 616، حين ترك أبو لهب قبيلة بنو هاشم ورفض حماية الرسول، وقال أن أم جميل هي التي أُطلق عليها «حمالة الحطب»، لأنها كانت تجمع الأشواك وتلقيها على ثياب الرسول حيث كان يترك الملابس لتجف، إلا أن الرسول أعلن أن قريش لم تلجأ لهذا النوع من المضايقات بعد وفاة أبو طالب في عام 620. قدم ابن كثير النظرية البديلة بأن «حمالة الحطب» لا تشير إلى حدث قديم، وإنما تعبر عن مستقبل أم جميل حين تقوم طواعية بتزويد النار بالحطب لإبقائها مشتغلة لعقاب زوجها في الآخرة.

حسب روايات إسلامية، خرجت أم جميل ذات يوم غاضبة حتى وصلت إلى الرسول وكان جالساً مع أبي بكر عند الكعبة، وكان في يدها حجر أرادت أن تضربه به فذهب بصرها فلم تره وقالت لأبي بكر: أين صاحبك قد بلغني أنه يهجوني، والله لو وجدته لضربته بهذا الحجر، ثم انصرفت فقال أبو بكر: يا رسول الله أما رأتك؟ قال: لا، لقد أخذ الله بصرها عني، ثم رددت هذه الأبيات:

مذمما عصيناه، وأمره أبَيْنا، ودينه قَلَيْنا

فراحت تضغط على ولديها عتبة وعتيبة ليطلقا بنتي الرسول. ويذكر الزمخشري في تفسيره الكشاف بأن أم جميل قالت لولديها:

ثم عاد عتيبة إلى أبي لهب وأخبره ثم خرجوا إلى الشام فنزلوا منزلاً، فأشرف عليهم راهب من الدير وقال: إن هذه أرض مسبعة، فقال أبو لهب لأصحابه: أغيثونا يا معشر قريش هذه الليلة فإني أخاف على ابني عتيبة من دعوة محمد. فجمعوا جمالهم وأناخوها حولهم وأحدقوا بعتيبة، فجاء السبع يتشمم وجوههم حتى ضرب عتيبة فقتله.

مراجع

أهل البيت
تاريخ قريش
جاهليات
شاعرات عربيات
شخصيات ذكرت في القرآن
شعراء بالعربية في القرن 7
عرب في القرن 7
نساء القرن 7

أم جميل


Gohar Gasparian (în ; ) a fost o solistă de operă de origine armeană. Cunoscută ca "Privighetoarea armeană", este deținătoarea mai multor distincții primite de-a lungul carierei, printre care Premiul de stat al URSS, gradul al III-lea (1951), cât și titlurile de Erou al Muncii Socialiste (1984) și Artist al Poporului din URSS (1956).

Biografie
Gohar Gasparian s-a născut la 14 decembrie 1924 (conform altor surse, 12 februarie 1922) în Cairo (conform altor surse, în satul Ibrahim Sharkiai). A studiat la Academia de Muzică din orașul natal, fiind instruită de profesorii italieni Eliz Feldman și Vincenzo Carro. Între 1940-1948 a fost solistă pentru postul național de radio al Egiptului. În 1948, a emigrat în Republica Sovietică Socialistă Armenească, odată cu mii de alți armeni din Orientul Mijlociu.

Din 1949 a devenit solistă la Teatrul Național Academic Armean de Operă și Balet "Aleksandr Spendiarian", interpretând rolurile principale în 23 de opere de-a lungul carierei sale. A participat la numeroase concerte, repertoriul său conținând peste 500 de melodii ale compozitorilor francezi, italieni și germani precum Johann Sebastian Bach, Wolfgang Amadeus Mozart sau Johann Strauss. A făcut turnee în multe orașe ale URSS și în străinătate: în Polonia, Ungaria, România, Anglia, Franța, Japonia, Statele Unite, Canada, Brazilia, Mexic și Turcia. În 1951, a fost soprana operei lui Haro Stepanjan, Eroina, primind unul dintre "Premiile muzicii lui Stalin" pentru interpretarea sa.

Gasparian a predat muzica la  din Erevan, mulți dintre studenții ei ajungând soliști de clasă mondială. Unul dintre elevii săi, tenorul Tigran Levonian, îi va deveni soț. În 1984 a fost numită cetățean de onoare al orașului Erevan. Gohar Gasparian a decedat la data de 16 mai 2007 în Erevan, fiind înmormântată în ..

Teatru

Filmografie
 1954 - Concert armenesc cinematografic, studioul "" din Erevan, regizori: L. Isahakian, G. Sarkisov (arii din opere armenești, Gohar Gasparian se numără printre cântăreți);:
 1954 - Secretul Lacului Muntelui, studioul "Armenfilm" din Erevan, regizor: A. Roe (film pentru copii, cântecul lui Karine este interpretat de Gohar Gasparian);
 1959 - Această seară festivă, Televiziunea Centrală Sovietică, regizori: Gherman Livanov, Fahri Mustafaev (musical);
 1963 - Gohar Gasparian cântă, studioul "Armenfilm" din Erevan, regizor: G. Melik-Avakian (filmul constă din 11 povestiri muzicale interpretate de Gohar Gasparian);
 1967 - Karine, studioul "Armenfilm" din Erevan, regizor: A. Manarian (comedie muzicală după opereta lui Tigran Cuhadjan Leblebici Horhor, cântecul lui Karine este interpretat de Gohar Gasparian);
 1974 - Goar, studioul "Armenfilm" din Erevan, regizor: M. Varjapetian (concert cinematografic la care participă Gohar Gasparian);
 1983 - Anush, studioul "Armenfilm" din Erevan, regizor: M. Varjapetian (film după opera cu același nume compusă de Armen Tigranian, rolul lui Anush este interpretat de actrița S. Spivakova, cântecul este interpretat de Gohar Gasparian);
 1988 - Arshak II, studioul "Armenfilm" din Erevan, regizor: T. Levonian (film după opera cu același nume compusă de Tigran Cuhadjan, cântecul Olympiei este interpretat de Gohar Gasparian).

Premii și titluri
 Erou al Muncii Socialiste - titlu primit la 11 decembrie 1984 "pentru servicii deosebite în dezvoltarea muzicii sovietice";
 Artist al Poporului din Republica Sovietică Socialistă Armenească - titlu primit la 26 septembrie 1954;
 Artist al Poporului din URSS - titlu primit la 27 iunie 1956;
 Premiul de stat al URSS, gradul al III-lea - premiu primit în 1951;
 Premiul de Stat al RSS Armenească - premiu primit la 1964;
 Ordinul Lenin - distincție primită la 11 decembrie 1984;
 Ordinul Prieteniei Popoarelor - distincție primită la 7 august 1981;
 Ordinul Mesrob Maștoț - distincție primită la 14 decembrie 1994;
 Cetățean de onoare al orașului Erevan - distincție primită în 1984..

Aprecieri critice

Note

Bibliografie
 Mica enciclopedie armeană, h. 1, pp. 616, Erevan, 1990
 Calendarul Raffi, Raffi Calendars Publisher, Teheran, Iran, 2008

Legături externe
 Articol despre Gohar Gasparian, site-ul "Eroii patriei" (rusă)
 Site-ul oficial al Conservatorului Komitas de stat din Erevan  (armeană și engleză)
 Articol dedicat lui Gohar Gasparian în Enciclopedia Armeană  (armeană)
 Gohar Gasparian a decedat, PanArmenian.net (engleză)
 Gohar Gasparian cântând în opera Anush, YouTube
 AV Production  (armeană)
 Classroom.am  (armeană)

Nașteri în 1924
Decese în 2004
Cântăreți de operă armeni
Soprane de operă

Gohar Gasparian


Małachowski-Palais steht für Schlösser in Polen
 Małachowski-Palais (Warschau)
 Małachowski-Palais (Nałęczow)
 Małachowski-Palais (Krakau)

Małachowski-Palais


رابطة مصر العروبة هي منظمة مصرية عاملة خارج الأراضي المصرية. تواجد التنظيم المسلح للرابطة بقوة في الثمانينات في لبنان وشارك بالتصدي للاجتياح الإسرائيلي والدفاع عن العاصمة اللبنانية بيروت حيث كان مقاتلو الرابطة موكلون بصورة أساسية بحراسة الشواطيء الشمالية لبيروت في منطقة عين المريسة والجامعة الأمريكية.

لم يقتصر نشاط الرابطة على الجانبين السياسي والعسكري بل كان هناك نشطاء في مجال الفن من الرابطة, أبرزهم عدلي فخري وزين العابدين فؤاد. ألف الفنانون بعض الأغاني في الحصار أبرزها: «على بوابات بيروت».

مصادر

أحزاب مصر
بيروت
صراع لبنان وإسرائيل

رابطة مصر العروبة


Joseph Calasanza von Arneth (født 12. august 1791 i Leopoldschlag, død 31. oktober 1863) var en østrigsk arkæolog og kunsthistoriker. Han var far til Alfred von Arneth.

Arneth blev 1811 tjenestemand og 1840 direktør vid mønt- og antikkabinettet i Wien samt indlagde sig udmærkede fortjenester ved ordnendet af dets samlinger. Han forfattede en række skrifter af arkæologiskt, numismatiskt, historiskt og kunsthistoriskt indhold.

Kilder

Arkæologer fra Østrig
Kunsthistorikere fra Østrig
Numismatikere
Museumsfolk fra Østrig
Faglitterære forfattere fra Østrig
Østrigere i 1800-tallet
Ugglan

Joseph von Arneth


In computer science, a generator is a routine that can be used to control the iteration behaviour of a loop. All generators are also iterators. A generator is very similar to a function that returns an array, in that a generator has parameters, can be called, and generates a sequence of values. However, instead of building an array containing all the values and returning them all at once, a generator yields the values one at a time, which requires less memory and allows the caller to get started processing the first few values immediately.  In short, a generator looks like a function but behaves like an iterator.

Generators can be implemented in terms of more expressive control flow constructs, such as coroutines or first-class continuations. Generators, also known as semicoroutines, are a special case of (and weaker than) coroutines, in that they always yield control back to the caller (when passing a value back), rather than specifying a coroutine to jump to; see comparison of coroutines with generators.

Uses

Generators are usually invoked inside loops.  The first time that a generator invocation is reached in a loop, an iterator object is created that encapsulates the state of the generator routine at its beginning, with arguments bound to the corresponding parameters.  The generator's body is then executed in the context of that iterator until a special yield action is encountered; at that time, the value provided with the yield action is used as the value of the invocation expression.  The next time the same generator invocation is reached in a subsequent iteration, the execution of the generator's body is resumed after the yield action, until yet another yield action is encountered.  In addition to the yield action, execution of the generator body can also be terminated by a finish action, at which time the innermost loop enclosing the generator invocation is terminated. In more complicated situations, a generator may be used manually outside of a loop to create an iterator, which can then be used in various ways.

Because generators compute their yielded values only on demand, they are useful for representing streams, such as sequences that would be expensive or impossible to compute at once. These include e.g. infinite sequences and live data streams.

When eager evaluation is desirable (primarily when the sequence is finite, as otherwise evaluation will never terminate), one can either convert to a list, or use a parallel construction that creates a list instead of a generator. For example, in Python a generator g can be evaluated to a list l via l = list(g), while in F# the sequence expression seq { ... } evaluates lazily (a generator or sequence) but [ ... ] evaluates eagerly (a list).

In the presence of generators, loop constructs of a language – such as for and while – can be reduced into a single loop ... end loop construct; all the usual loop constructs can then be comfortably simulated by using suitable generators in the right way. For example, a ranged loop like for x = 1 to 10 can be implemented as iteration through a generator, as in Python's for x in range(1, 10). Further, break can be implemented as sending finish to the generator and then using continue in the loop.

Timeline

Generators first appeared in CLU (1975), were a prominent feature in the string manipulation language Icon (1977) and are now available in Python (2001), C#, Ruby, PHP, ECMAScript (as of ES6/ES2015), and other languages.  In CLU and C#, generators are called iterators, and in Ruby, enumerators.

Lisp

The final Common Lisp standard does not natively provide generators, yet various library implementations exist, such as SERIES documented in CLtL2 or pygen.

CLU

A yield statement is used to implement iterators over user-defined data abstractions.

string_chars = iter (s: string) yields (char);
  index: int := 1;
  limit: int := string$size (s);
  while index <= limit do
    yield (string$fetch(s, index));
    index := index + 1;
    end;
end string_chars;

for c: char in string_chars(s) do
   ...
end;

Icon

Every expression (including loops) is a generator. The language has many generators built-in and even implements some of the logic semantics using the generator mechanism (logical disjunction or "OR" is done this way).

Printing squares from 0 to 20 can be achieved using a co-routine by writing:
   local squares, j
   squares := create (seq(0) ^ 2)
   every j := |@squares do
      if j <= 20 then
         write(j)
      else
         break

However, most of the time custom generators are implemented with the "suspend" keyword which functions exactly like the "yield" keyword in CLU.

C

C does not have generator functions as a language construct, but, as they are a subset of coroutines, it is simple to implement them using any framework that implements stackful coroutines, such as libdill. On POSIX platforms, when the cost of context switching per iteration is not a concern, or full parallelism rather than merely concurrency is desired, a very simple generator function framework can be implemented using pthreads and pipes.

C++

It is possible to introduce generators into C++ using pre-processor macros. The resulting code might have aspects that are very different from native C++, but the generator syntax can be very uncluttered. The set of pre-processor macros defined in this source allow generators defined with the syntax as in the following example:

$generator(descent)
{
   int i;

   // place the constructor of our generator, e.g.
   // descent(int minv, int maxv) {...}

   // from $emit to $stop is a body of our generator:

   $emit(int) // will emit int values. Start of body of the generator.
      for (i = 10; i > 0; --i)
         $yield(i); // similar to yield in Python,
                    // returns next number in [1..10], reversed.
   $stop; // stop, end of sequence. End of body of the generator.
};

This can then be iterated using:

int main(int argc, char* argv[])
{
  descent gen;
  for (int n; gen(n);) // "get next" generator invocation
    printf("next number is %d\n", n);
  return 0;
}

Moreover, C++11 allows foreach loops to be applied to any class that provides the begin and end functions. It's then possible to write generator-like classes by defining both the iterable methods (begin and end) and the iterator methods (operator!=, operator++ and operator*) in the same class. For example, it is possible to write the following program:

#include <iostream>
int main()
{
    for (int i: range(10))
    {
        std::cout << i << std::endl;
    }
    return 0;
}

A basic range implementation would look like that:

class range
{
private:
    int last;
    int iter;

public:
    range(int end):
        last(end),
        iter(0)
    {}

    // Iterable functions
    const range& begin() const { return *this; }
    const range& end() const { return *this; }

    // Iterator functions
    bool operator!=(const range&) const { return iter < last; }
    void operator++() { ++iter; }
    int operator*() const { return iter; }
};

Perl

Perl does not natively provide generators, but support is provided by the Coro::Generator module which uses the Coro co-routine framework.  Example usage:

use strict;
use warnings;
# Enable generator { BLOCK } and yield
use Coro::Generator;
# Array reference to iterate over
my $chars = ['A'...'Z'];

# New generator which can be called like a coderef.
my $letters = generator {
    my $i = 0;
    for my $letter (@$chars) {
        # get next letter from $chars
        yield $letter;
    }
};

# Call the generator 15 times.
print $letters->(), "\n" for (0..15);

Raku

Example parallel to Icon uses Raku (formerly/aka Perl 6) Range class as one of several ways to achieve generators with the language.

Printing squares from 0 to 20 can be achieved by writing:
for (0 .. *).map(* ** 2) -> $i {
    last if $i > 20;
    say $i
}

However, most of the time custom generators are implemented with "gather" and "take" keywords in a lazy context.

Tcl

In Tcl 8.6, the generator mechanism is founded on named coroutines.

proc generator {body} {
    coroutine gen[incr ::disambiguator] apply {{script} {
        # Produce the result of [generator], the name of the generator
        yield [info coroutine]
        # Do the generation
        eval $script
        # Finish the loop of the caller using a 'break' exception
        return -code break
    }} $body
}

# Use a simple 'for' loop to do the actual generation
set count [generator {
    for {set i 10} {$i <= 20} {incr i} {
        yield $i
    }
}]

# Pull values from the generator until it is exhausted
while 1 {
    puts [$count]
}

Haskell

In Haskell, with its lazy evaluation model, every datum created with a non-strict data constructor is generated on demand. For example,
countFrom :: Integer -> [Integer]
countFrom n = n : countFrom (n + 1)

from10to20 :: [Integer]
from10to20 = takeWhile (<= 20) $ countFrom 10

primes :: [Integer]
primes = 2 : 3 : nextPrime 5
  where
    nextPrime n
        | notDivisible n = n : nextPrime (n + 2)
        | otherwise = nextPrime (n + 2)
    notDivisible n =
        all ((/= 0) . (rem n)) $ takeWhile ((<= n) . (^ 2)) $ tail primes
where (:) is a non-strict list constructor, cons, and $ is just a "called-with" operator, used for parenthesization. This uses the standard adaptor function,
takeWhile p [] = []
takeWhile p (x:xs) | p x = x : takeWhile p xs
                   | otherwise = []
which walks down the list and stops on the first element that doesn't satisfy the predicate. If the list has been walked before until that point, it is just a strict data structure, but if any part hadn't been walked through before, it will be generated on demand. List comprehensions can be freely used:
squaresUnder20 = takeWhile (<= 20) [x * x | x <- countFrom 10]
squaresForNumbersUnder20 = [x * x | x <- takeWhile (<= 20) $ countFrom 10]

Racket
Racket provides several related facilities for generators.  First, its for-loop forms work with sequences, which are a kind of a producer:
(for ([i (in-range 10 20)])
  (printf "i = ~s\n" i))
and these sequences are also first-class values:
(define 10-to-20 (in-range 10 20))
(for ([i 10-to-20])
  (printf "i = ~s\n" i))
Some sequences are implemented imperatively (with private state variables) and some are implemented as (possibly infinite) lazy lists.  Also, new struct definitions can have a property that specifies how they can be used as sequences.

But more directly, Racket comes with a generator library for a more traditional generator specification.  For example,
#lang racket
(require racket/generator)
(define (ints-from from)
  (generator ()
    (for ([i (in-naturals from)]) ; infinite sequence of integers from 0
      (yield i))))
(define g (ints-from 10))
(list (g) (g) (g)) ; -> '(10 11 12)
Note that the Racket core implements powerful continuation features, providing general (re-entrant) continuations that are composable, and also delimited continuations.  Using this, the generator library is implemented in Racket.

PHP
The community of PHP implemented generators in PHP 5.5. Details can be found in the original Request for Comments: Generators.

Infinite Fibonacci sequence:
function fibonacci(): \Generator
{
    $last = 0;
    $current = 1;
    yield 1;
    while (true) {
        $current = $last + $current;
        $last = $current - $last;
        yield $current;
    }
}

foreach (fibonacci() as $number) {
    echo $number, "\n";
}

Fibonacci sequence with limit:
function fibonacci(int $limit): generator
{
    yield $a = $b = $i = 1;

    while (++$i < $limit) {
        yield $a = ($b = $a + $b) - $a;
    }
}

foreach (fibonacci(10) as $number) {
    echo "$number\n";
}

Any function which contains a yield statement is automatically a generator function.

Ruby
Ruby supports generators (starting from version 1.9) in the form of the built-in Enumerator class.

# Generator from an Enumerator object
chars = Enumerator.new(['A', 'B', 'C', 'Z'])

4.times { puts chars.next }

# Generator from a block
count = Enumerator.new do |yielder|
  i = 0
  loop { yielder.yield i += 1 }
end

100.times { puts count.next }

Java
Java has had a standard interface for implementing iterators since its early days, and since Java 5, the "foreach" construction makes it easy to loop over objects that provide the java.lang.Iterable interface. (The Java collections framework and other collections frameworks, typically provide iterators for all collections.)

record Pair(int a, int b) {};

Iterable<Integer> myIterable = Stream.iterate(new Pair(1, 1), p -> new Pair(p.b, p.a + p.b))
        .limit(10)
        .map(p -> p.a)::iterator;

myIterable.forEach(System.out::println);

Or get an Iterator from the Java 8 super-interface BaseStream of Stream interface.
record Pair(int a, int b) {};

// Save the iterator of a stream that generates fib sequence
Iterator<Integer> myGenerator = Stream
        // Generates Fib sequence
        .iterate(new Pair(1, 1), p -> new Pair(p.b, p.a + p.b))
        .map(p -> p.a).iterator();

// Print the first 5 elements
for (int i = 0; i < 5; i++) {
    System.out.println(myGenerator.next());
}

System.out.println("done with first iteration");

// Print the next 5 elements
for (int i = 0; i < 5; i++) {
    System.out.println(myGenerator.next());
}

Output:
1
1
2
3
5
done with first iteration
8
13
21
34
55

C#
An example C# 2.0 generator (the yield is available since C# version 2.0):
Both of these examples utilize generics, but this is not required. yield keyword also helps in implementing custom stateful iterations over a collection as discussed in this discussion.

// Method that takes an iterable input (possibly an array)
// and returns all even numbers.
public static IEnumerable<int> GetEven(IEnumerable<int> numbers)
{
    foreach (int number in numbers)
    {
        if ((number % 2) == 0)
        {
            yield return number;
        }
    }
}

It is possible to use multiple yield return statements and they are applied in sequence on each iteration:
public class CityCollection : IEnumerable<string>
{
    public IEnumerator<string> GetEnumerator()
    {
        yield return "New York";
        yield return "Paris";
        yield return "London";
    }
}

XL
In XL, iterators are the basis of 'for' loops:

import IO = XL.UI.CONSOLE

iterator IntegerIterator (var out Counter : integer; Low, High : integer) written Counter in Low..High is
    Counter := Low
    while Counter <= High loop
        yield
        Counter += 1

// Note that I needs not be declared, because declared 'var out' in the iterator
// An implicit declaration of I as an integer is therefore made here
for I in 1..5 loop
    IO.WriteLn "I=", I

F#

F# provides generators via sequence expressions, since version 1.9.1. These can define a sequence (lazily evaluated, sequential access) via seq { ... }, a list (eagerly evaluated, sequential access) via [ ... ] or an array (eagerly evaluated, indexed access) via [| ... |] that contain code that generates values. For example,
seq { for b in 0 .. 25 do
          if b < 15 then
              yield b * b }
forms a sequence of squares of numbers from 0 to 14 by filtering out numbers from the range of numbers from 0 to 25.

Python

Generators were added to Python in version 2.2 in 2001. An example generator:

from typing import Iterator

def countfrom(n: int) -> Iterator[int]:
    while True:
        yield n
        n += 1

# Example use: printing out the integers from 10 to 20.
# Note that this iteration terminates normally, despite
# countfrom() being written as an infinite loop.

for i in countfrom(10):
    if i <= 20:
        print(i)
    else:
        break

# Another generator, which produces prime numbers indefinitely as needed.
import itertools

def primes() -> Iterator[int]:
    """Generate prime numbers indefinitely as needed."""
    yield 2
    n = 3
    p = []
    while True:
        # If dividing n by all the numbers in p, up to and including sqrt(n),
        # produces a non-zero remainder then n is prime.
        if all(n % f > 0 for f in itertools.takewhile(lambda f: f * f <= n, p)):
            yield n
            p.append(n)
        n += 2

In Python, a generator can be thought of as an iterator that contains a frozen stack frame. Whenever next() is called on the iterator, Python resumes the frozen frame, which executes normally until the next yield statement is reached. The generator's frame is then frozen again, and the yielded value is returned to the caller.

PEP 380 (implemented in Python 3.3) adds the yield from expression, allowing a generator to delegate part of its operations to another generator or iterable.

Generator expressions

Python has a syntax modeled on that of list comprehensions, called a generator expression that aids in the creation of generators.
The following extends the first example above by using a generator expression to compute squares from the countfrom generator function:
squares = (n * n for n in countfrom(2))

for j in squares:
    if j <= 20:
        print(j)
    else:
        break

ECMAScript

ECMAScript 6 (a.k.a. Harmony) introduced generator functions.

An infinite Fibonacci sequence can be written using a function generator:

function* fibonacci(limit) {
    let [prev, curr] = [0, 1];
    while (!limit || curr <= limit) {
        yield curr;
        [prev, curr] = [curr, prev + curr];
    }
}

// bounded by upper limit 10
for (const n of fibonacci(10)) {
    console.log(n);
}

// generator without an upper bound limit
for (const n of fibonacci()) {
    console.log(n);
    if (n > 10000) break;
}

// manually iterating
let fibGen = fibonacci();
console.log(fibGen.next().value); // 1
console.log(fibGen.next().value); // 1
console.log(fibGen.next().value); // 2
console.log(fibGen.next().value); // 3
console.log(fibGen.next().value); // 5
console.log(fibGen.next().value); // 8

// picks up from where you stopped
for (const n of fibGen) {
    console.log(n);
    if (n > 10000) break;
}

R

The iterators package can be used for this purpose.

library(iterators)

# Example ------------------
abc <- iter(c('a','b','c'))
nextElem(abc)

Smalltalk

Example in Pharo Smalltalk:

The Golden ratio generator below returns to each invocation 'goldenRatio next' a better approximation to the Golden Ratio.

goldenRatio := Generator on: [ :g | | x y z r |
	x := 0.
	y := 1.
	[
		z := x + y.
		r := (z / y) asFloat.
		x := y.
		y := z.
		g yield: r
	] repeat
].

goldenRatio next.

The expression below returns the next 10 approximations.

Character cr join: ((1 to: 10) collect: [ :dummy | ratio next ]).

See more in A hidden gem in Pharo: Generator.

See also
 List comprehension for another construct that generates a sequence of values
 Iterator for the concept of producing a list one element at a time
 Iteratee for an alternative
 Lazy evaluation for producing values when needed
 Corecursion for potentially infinite data by recursion instead of yield
 Coroutine for even more generalization from subroutine
 Continuation for generalization of control flow

Notes

References
 Stephan Murer, Stephen Omohundro, David Stoutamire and Clemens Szyperski: Iteration abstraction in Sather.  ACM Transactions on Programming Languages and Systems, 18(1):1-15 (1996)

Programming constructs
Articles with example Python (programming language) code
Articles with example Haskell code
Articles with example Ruby code
Articles with example C Sharp code
Articles with example Java code
Articles with example Perl code
Articles with example Tcl code
Articles with example Racket code
Iteration in programming
Articles with example R code

Generator (computer programming)


O fortificație bastionară (rar fortificație stelată) este o fortificație care a apărut în perioada în care tunurile care foloseau praf de pușcă au început să domine câmpurile de luptă. A apărut pentru prima dată în Italia la mijlocul secolului al XV-lea.

Origini

Predecesorii fortificațiilor bastionare au fost , plasate de obicei în locuri înalte, ca bătaia săgeților arcașilor să fie cât mai mare. Pentru cucerirea lor atacatorii trebuiau să spargă poarta sau să escaladeze zidurile cu scări și să copleșească apărătorii, lucruri foarte dificile. De aceea fortărețele aveau un rol foarte important în războaie.

Formele pasive circulare (incintă) a fortărețelor medievale au devenit vulnerabile la  al artileriei împotriva zidăriei. În plus, atacatorii ajunși la baza zidurilor puteau să le mineze lucrând în relativă siguranță, deoarece apărătorii nu-i puteau lovi de pe zidurile din vecinătate. Prin contrast, fortificațiile bastionare erau formate din structuri plate, cu mai multe bastioane, proiectate să se apere reciproc, și înconjurate de șanțuri inundabile. Pentru a contracara efectul ghiulelelor zidurile erau mai joase și mai groase. Pentru a compensa scăderea în înălțime șanțurile au fost adâncite, infanteria atacatoare fiind supusă focului de sus, inclusiv focului de anfiladă executat din bastioane. În exteriorul șanțului era prevăzut un glacis pentru deflectarea ghiulelelor trase spre baza bastioanelor și pentru încetinirea asaltului infanteriei. Pentru a proteja curtina de focul direct al artileriei s-au adăugat structuri înaintate: raveline, tenaille, fortificații cu coarne sau în formă de coroană, sau chiar forturi separate. Toate acestea erau din pământ, placat cu palisade sau zidărie din cărămizi pentru stabilizare, dar nu cu piatră, care se spărgea la impactul ghiulelelor, sfărâmăturile putând răni apărătorii.

Fortificațiile bastionare au fost dezvoltate în Italia spre sfârșitul secolului al XV-lea și începutul celui de al XVI-lea, în timpul Războaielor Italiene, deoarece armata franceză era echipată cu tunuri și bombarde care puteau distruge cu ușurință fortificațiile medievale. Michelangelo a conceput o fortificație bastionară pentru apărarea Florenței, ulterior acest sistem a fost perfecționat în secolul al XVI-lea de Baldassare Peruzzi și Vincenzo Scamozzi. Sistemul a diseminat în Europa în anii 1530–1540, fiind folosit pe larg timp de trei secole. Inginerii militari italieni au fost foarte solicitați în toată Europa pentru a construi astfel de fortificații. Arhitecții militari de la sfârșitul secolului al XVII-lea Menno van Coehoorn, și în special Vauban, în slujba lui Ludovic al XIV-lea au dus logica acestor fortificații la extrem. Fortificațiile bastionare au influențat forma orașelor din Renaștere, apărând conceptul de oraș ideal.

Taluzuri
În strategiile militare ale secolului al XV-lea, la apariția tunurilor de asalt răspunsul inginerilor militari a fost mascarea zidurilor prin taluzuri de pământ situate în fața șanțurilor, ca să nu poată fi lovite de focul direct, și acoperirea lor cu pământ, ca să nu poată fi distruse de  al mortierelor. Șanțurile erau necesare, deoarece prin scăderea înălțimii zidurilor acestea ar fi fost mai ușor de escaladat.

Unghiuri moarte

Forma rotundă, care nu oferea colțuri slabe și domina concepția fortificațiilor precedente, crea unghiuri moarte (v. figura) care erau ferite de focul apărătorilor, care nu putea fi dirijat de-a lungul unui zid curbat. Ca urmare, forma bastioanelor s-a schimbat din rotundă sau pătrată într-una de romb, care nu oferea adăpost atacatorilor. Șanțurile erau trasate cu îngrijire, ca să poată fi bătute de focul tunurilor de pe ziduri, tot fără să ofere adăpost atacatorilor.

Anfiladă
Următoarea schimbare a fost trecerea la defensiva activă în locul celei pasive. Dacă atacatorul reușea să cucerească șanțul și taluzul din fața lui și să instaleze pe taluz tunuri zidul devenea vulnerabil la asalt. Forma șanțurilor a fost optimizată pentru a se putea executa foc de anfiladă de-a lungul lor, iar tunurile care executau acest foc trebuiau să fie protejate. Aplicarea acestor idei se poate vedea în fortificații ca cea de la Sarzana, în nord-vestul Italiei.

Alte schimbări

Fortificațiile au evoluat în forme complexe care au permis acoperirea de către bateriile defensive a unor zone largi. Artileria avansată apăra glacisul și împiedica apropierea artileriei atacatoare de zidurile de incintă. Pricipala apărare s-a mutat pe un val aflat în fața șanțului, platformele de tragere fiind susținute de existența unui drum acoperit (protejat) în spatele valului. În comparație cu fortificațiile medievale forturile au devenit mai mari, cu o , care trebuia întâi penetrată pentru a ataca zidurile de incintă. Fortificațiile exterioare erau bine apărate de focul din fortificațiile adiacente și erau deschise spre interior, atât pentru spațiu (necesar și pentru risipirea fumului generat de trageri), cât și pentru a nu oferi eventualului cuceritor o bază de atac.

Fortificațiile de acest tip au fost eficiente cât timp atacatorii dispuneau doar de tunuri și obuze cu explozibili lenți, ca praful de pușcă, când principalul efect era dat de impactul acestora. Apariția unor explozivi brizanți, care au mărit mult efectul obuzelor, au făcut ca forma geometrică a fortificațiilor să nu mai conteze prea mult. Totuși, a trebuit ceva timp ca aceste fortificații să fie abandonate.

Construcții

Eficiență
Prima bătălie majoră împotriva unei fortificații de acest tip a fost apărarea Pisei din 1500 împotriva forțelor aliate ale Florenței și Franței. Pisanii au construit în fața zidurilor medievale un taluz, care s-a dovedit rezistent la focul tunurilor și la încercările de escaladare.

Al doilea asediu a fost cel de la Padova din 1509. Un călugăr inginer, Fra Giocondo, luând ca exemplu apărarea venețiană a demolat zidurile medievale și le-a înlocuit cu un șanț mare care putea fi măturat de tirul în anfiladă al tunurilor amplasate în prelungirea segmentelor de șanț. După câteva asalturi nereușite și sângeroase, asediatorii francezi s-au retras.

Noul tip de fortificații a jucat un rol important pe coastele Mării Mediterane în luptele împotriva Imperiului Otoman, încetinindu-i expansiunea. Deși fortăreața din Rodos după asediul din 1480 a fost parțial întărită cu noul tip de fortificații, ea a fost totuși  după un lung asediu, deoarece apărătorii nu puteau primi ajutor. Pe de altă parte otomanii nu au reușit să cucerească ,  în bună parte datorită fortificațiilor.

Cavalerii Ospitalieri au construit în 1552 pe insula Malta două forturi, Fortul Sfântul Elmo și Fortul Sfântul Michael. Fortul Sfântul Elmo a jucat un rol esențial în , când a fost supus unui bombardament timp mai mult de o lună. Deși a căzut, a cauzat mari pierderi otomanilor și a dat răgaz forțelor din Sicilia să vină în ajutor.

După căderea Veneției în fața lui Napoleon, în 1797 Corfu a fost ocupată de armata republicană franceză. Deși fortificațiile existente aveau o oarecare valoare, coaliția ruso-otomană-engleză comandată de amiralul Feodor Ușakov, utilizând trupele trimise de Ali Pașa a recucerit Corfu în 1799 după un , când garnizoana comandată de generalul Louis François Jean Chabot, ducând lipsă de provizii și în urma pierderii poziției de pe insula Vido de la intrarea în port, s-a predat și i s-a permis să se întoarcă în Franța.

Perimare
În secolul al XIX-lea dezvoltarea muniției explozive și a unei artilerii mai puternice au condus la înlocuirea fortificațiilor bastionare cu , mai rezistente, sau, considerate ineficiente, au fost complet demolate pentru a face loc dezvoltării orașelor. În secolul al XX-lea apariția tancurilor și a forțelor aeriene a redus mult din eficiența fortificațiilor.

Note

Lectură suplimentară
  Olof af Hällström, Sveaborg – The island fortress off Helsinki, 2004, ISBN 978-952-91-7378-5
  Cristopher Duffy, Fire & Stone, The Science of Fortress Warfare 1660-1860, 1975, ISBN 978-0-7858-2109-0

Legături externe

Bastionar

Fortificație bastionară


This article lists the winners and nominees for the NAACP Image Award for Outstanding Song. The award was first given in 1972, before being retired until the 1996 ceremony. In 2017 the category was divided, honoring traditional and contemporary songs separately. Since its conception, Alicia Keys holds the record for most wins in this category with five.

Winners and nominees
Winners are listed first and highlighted in bold.

1970s

1990s

2000s

2010s

2020s

Multiple wins and nominations

Wins

 5 wins
 Alicia Keys
 3 wins
 Beyoncé

 2 wins
 Kirk Franklin
 Whitney Houston
 Kendrick Lamar
 R. Kelly

Nominations

 10 nominations
 Alicia Keys

 9 nominations
 Beyoncé

 5 nominations
 Kirk Franklin
 John Legend
 Bruno Mars
 Maxwell

 4 nominations
 India Arie
 Mary J. Blige

 3 nominations
 Erykah Badu
 Common
 Whitney Houston

 Kem
 Kendrick Lamar
 Jill Scott

 2 nominations
 Fantasia
 CeeLo Green
 Anthony Hamilton
 H.E.R.
 Lauryn Hill
 R. Kelly
 Lizzo
 MAJOR.
 Jazmine Sullivan
 Usher
 Kanye West
 Pharrell Williams

References

NAACP Image Awards
Song awards

NAACP Image Award for Outstanding Song


Der Goldene Ball ist eine seit 1998 vergebene Auszeichnung für ungarische Fußballspieler. Die Auszeichnung wird von der Website nb1.hu auf der Grundlage der Stimmen der Fußballjournalisten vergeben. Eine Stimme haben auch die Zuschauer. Die Rangliste wird am 6. Dezember des Jahres veröffentlicht. Die andere Auszeichnung für den besten ungarischen Fußballspieler ist die des Fußballer des Jahres.

Liste der Preisträger

Einzelnachweise

Fußball (Ungarn)
Ungarn
Erstverleihung 1998

Goldener Ball (Ungarn)


Eva Pflug (Leipzig,  - Grünwald, ) est une actrice et doubleuse allemande.

Biographie

Filmographie

Cinéma
 1950 : Le Conseil des dieux
 1959 : La Grenouille attaque Scotland Yard
 1960 : La Peau d'un espion
 1967 : Deux Billets pour Mexico
 1974 : Seul le vent connaît la réponse

Télévision
 1966 : Commando spatial - La Fantastique Aventure du vaisseau Orion

Notes et références

Voir aussi

Bibliographie

Liens externes

Naissance en juin 1929
Décès en août 2008
Actrice allemande de cinéma
Actrice allemande de télévision
Actrice allemande de doublage
Naissance à Leipzig
Décès à Grünwald
Décès à 79 ans

Eva Pflug


Općinska nogometna liga Daruvar je bila liga sedmog stupnja nogometnog prvenstva Jugoslavije u sezoni 1983./84.
Sudjelovalo je 8 klubova, a prvak je bio klub "Partizan" iz Velikih Bastaja.

Sustav natjecanja
8 klubova je igralo dvokružnu ligu (14 kola).

Ljestvica

 Daruvarski Brestovac – također iskazan kao Brestovac Daruvarski
 Mala Maslenjača – tada samostalno naselje, od 2001. dio naselja Maslenjača

Rezultatska križaljka

 Izvori:

Povezani članci
 Međuopćinska liga Daruvar – Grubišno Polje 1983./84.

Vanjske poveznice

Izvori

 library.foi.hr, Jednota : organ Svazu čechu a Slovaku v SR Horvatsku
  library.foi.hr, "Jednota", br. 24/1984 (2060), god. 39, izdano 9. lipnja 1984., str. 17 (18. kolo i ljestvica), preuzeto 21. siječnja 20

1983-84 2 ONL
Daruvar

Općinska nogometna liga Daruvar 1983./84.


José Maria da Silva Paranhos, primer y único vizconde de Rio Branco (Salvador, 16 de marzo de 1819 - Río de Janeiro, 1 de noviembre de 1880), fue un estadista, profesor, político, periodista y diplomático brasileño de tendencia monarquista. Junto con Honório Hermeto Carneiro Leão, marqués de Paraná, se lo considera el máximo estadista del Segundo Reinado (1831-1889).
Su hijo, conocido como el Barón de Río Branco, también tuvo una destacada actuación como diplomático.

Bibliografía
 CERQUEIRA, P. P. O visconde do Rio Branco. Salvador: Centro de Estudos Baianos, 1969.
 ENCICLOPÉDIA BARSA. Volume 13: Prêmio – Rosário. Rio de Janeiro: Encyclopaedia Britannica do Brasil, 1987
 GOLIN, Tau. A Fronteira. Porto Alegre: L&PM Editores
 SISSON, S.A. Galeria dos brasileiros ilustres. Brasília: Senado Federal, 1999
 VAINFAS, Ronaldo. Dicionário do Brasil Imperial. Rio de Janeiro: Objetiva, 2002
 VIANA Filho, L. A vida do barão do Rio Branco. Rio de Janeiro: José Olympio, 1959.

Referencias

Enlaces externos

 Biografía no sítio do Ministério da Fazenda do Brasil
 Perfil no sítio oficial da Academia Brasileira de Letras
 Relatório da Repartição dos Negócios Estrangeiros apresentado à Assembleia Geral Legislativa na 4.ª sessão da 9.ª legislatura pelo respectivo Ministro e Secretário de Estado José Maria da Silva Paranhos, em 14 de maio de 1856
 Relatório da Repartição dos Negócios Estrangeiros apresentado à Assembleia Geral Legislativa na 1.ª sessão da 10.ª legislatura, em 2 de maio de 1857

Nacidos en Salvador
Vizcondados de Brasil
Diplomáticos de Brasil
Monárquicos de Brasil
Ministros de Hacienda de Brasil
Ministros de Relaciones Exteriores de Brasil
Primeros ministros de Brasil
Patronos de la Academia Brasileña de Letras
Orden de la Cruz del Sur
Abolicionistas de Brasil
Caballeros de la Orden del Águila Blanca (Rusia)
Conservadores de Brasil

José Maria da Silva Paranhos


نب-كا-رع (بمعنى سيد «روح» رع) امن-م-حات الثاني هو الملك الثالث من ملوك الأسرة الثانية عشر، ووالده هو الملك سنوسرت الأول. وعلى الرغم من أن فترة حكمه أمتدت لتصل إلى 35 عاماً إلا أن عهده كان غامضاً فضلاً عن علاقاته العائلية. فيُقال أن فترة حكمه قد امتدت على الأقل لمدة 32 عام حيث أشرك أبنه الملك سنوسرت الثاني في الحكم خلال العام "32" من حكمه. وكان ذلك أوائل عام 1901 ق.م. ولا تُعرف متى كانت نهاية فترة حكمه بالضبط. ولم يكن كأبيه أو جده في النشاط الحربى أو المعمارى، فقد كانت الحالة الداخلية مطمئنة ويعمها الرخاء بفضل جهود من سبقوه. كما كانت له صلات صداقة ومودة بغيرة من أمراء سوريا وفلسطين وغيرهما. ويوجد مجموعة أبنية جنائزية لهذا الملك في دهشور، والمعبد الجنائزي كان مخربا بدرجة كبيرة وتوجد من بين أطلاله أحجار منقوشة من الحجر الجيري كان على بعضها اسم الملك أمن-م-حات الثاني  ومنها تأكدنا من نسبة الهرم إليه. وفي الجهة الغربية من الهرم، وداخل سوره الخارجي نجد مدفن زوجته ومدافن أربع من الأميرات.

اسماءه
تحلى ملك مصر بعدد من الأسماء (في العادة 5 أسماء) تضم اسم الولادة (الشخصي)، واسمه كملك على الوجهين البحري والقبلي، والاسم المنتسب للإلاه حورس (الصقر) الحاكم على الأرض، واسم التتويج الذي يعبر عن علاقة الملك بالآلهة. وفي التالي نقدم تلك الأسماء الخاصة بالملك امنمحعت (آمون في المقدمة)الثاني، وعلاقته بالآلهة آمون ورع ومعات وحورس.وفي العرض التالي تُقرأ الحروف من اليسار إلى اليمين، بعكس ما كان يكتب الكاتب المصري القديم، فقد كان يكتب عادة من اليمين إلى اليسار.

العائلة
لقد قدمت الإكتشافات الأثرية اسم والدة أمن-م-حات الثاني، حيث كان إسمها نفرو الثالثة، إلا أنها لم تقدم اسم والده. بيد أنه من الشائع إفتراض أبوية سلفه س-ن-وسرت الأول له. وربما كان البرهان على صحة هذا الإفتراض هو وجود توثيق قديم من مقبرة الحاكم أمنمحات الذي يحمل نفس إسمه المدفون في منطقة بني حسن. فهذا الحاكم الذي عاش تحت حكم الملك س-ن-وسرت الأول قد رافق «أميني ابن الملك» في حملة إلا بلاد النوبة، ويُعتقد أن هذا الأمير أميني لم يكن شخصاً آخر غير أمن-م-حات الثاني في شبابه.

إن هوية الأميرة زوجة الملك أمن-م-حات الثاني غير معروفة. فقد تم دفن العديد من نساء العائلة الملكية داخل مجمعه الهرمي إلا أن علاقتهم بالملك غير واضحة: فالأميرة كمي-نوب يجب أن يعود تاريخها إلى الأسرة الثالثة عشر، وربما «بنات الملك» الثلاثة اللاتي أسمائهن هي إيتا، وإيتا-ورت، وخنمت هن بنات أمن-م-حات، على الرغم من أن هذا الأمر ما زال يفتقر إلى وجود دليل حاسم يدل عليه. ومن المرجح أن يكون خليفته س-ن-وسرت الثاني هو إبنه، على الرغم من أن هذا الأمر لم يتم ذكره صراحةً على الإطلاق في أي مكان. والأطفال الآخرون كانوا هم الأمير أمن-م-حات-عنخ، والأميرة نفرت الثانية، والأميرة خنمت-نفر-حجت (من المرجح أنها نفس شخصية حنمت-نفر-حجت الأولى)؛ وأصبحتا هاتين السيدتين زوجات أخوهم المزعوم س-ن-وسرت الثاني.

فترة حكمه

الإرتقاء إلى العرش

كان يُعتقد في الماضي أن أمن-م-حات الثاني له فترة حكم مشتركة مع سلفه س-ن-وسرت الأول. وهذه الفرضية مبنية على لوحة بها تاريخ مزدوج ترجع إلى أحد المسئولين يُدعى وب-واوت. وتم العثور على هذه اللوحة في معبد بتاح في منف عاصمة مصر القديمة بالقرب من الفيوم، وهي موجودة الآن في المتحف الوطني للآثار بهولندا تحت رقم V4. فاللوحة تحمل العام الرابع والأربعين من حكم الملك س-ن-وسرت الأول والعام الثاني من حكم الملك أمن-م-حات الثاني. أما الآن فمن غير المرجح وجود مثل هذا الحكم المشترك، والمعنى المقصود من التاريخ المذكور على اللوحة هو الفترة الزمنية التي تحمَّل فيها وب-واوت المسئولية، وهذه الفترة إمتدت من العام الرابع والأربعين من حكم الملك س-ن-وسرت الأول إلى العام الثاني من حكم الملك أمن-م-حات الثاني.

رواية العهد
إن أهم سجل من سجلات الأعمال التي قام بها أمن-م-حات الثاني في بداية حكمه هي الموجودة على بقايا ما يطلق عليه حوليات أمن-م-حات الثاني والتي تم الكشف عنها في منف (تم إعادة إستخدامها خلال الأسرة التاسعة عشر). وهي تنص على سجلات التبرع إلى المعابد، وأحيانا على الأحداث السياسية. ومن بين الأحداث السياسية نجد ذكر لحملة عسكرية داخل قارة أسيا تم فيها تدمير مدينتين - لؤي ولاسي - ما يزال غير معروف موقعهما، ومجيئ حاملي الجزية من آسيا وبلاد كوش. كما تم التعرف على العديد من الحملات المخصصة للتنقيب عن المعادن تحت حكم الملك إمن-م-حات الثاني: على أقل تقدير ثلاثة حملات إلى سيناء، وحملة إلى وادي الجواسيس (العام 28) وحملة للبحث عن حجر الجمشت في وادي الهودي. ومن المعروف عنه أنه قد أمر بأعمال إنشائية في هليوبوليس (عين شمس)، وهيراكليوبوليس (أهناسيا)، ومنف، وشرق الدلتا، وإعادة بناء معبد مدمر في هرموبوليس (الأشمونين). كما توجد بعض الإشارات إلى عملية إنشاء «المعبد الأول» إلا أن ذلك الأمر ما يزال غامضاً. ونجد أن أشهر ما تم العثور عليه من آثار مرتبطة بالملك أمن-م-حات الثاني هو تمثال تانيس لأبو الهول الكبير (متحف اللوفر A23)، وهو تمثال قام العديد من الملوك المصريين بإغتصابه لأنفسهم فيما بعد. كما تم وضع إسمه على خزائن تحتوي على قطع فضية تم العثور عليها تحت معبد منتو بالطود: جدير بالذكر أن كثيراً من هذه القطع هي من صنع منطقة بحر إيجة، مما يدل على التواصل الموجود في الدولة الوسطى بين الحضارة المصرية والحضارات الأجنبية. والعديد من اللوحات الخاصة تحمل خراطيش الملك أمن-م-حات الثاني وأحياناً سنوات حكمه، إلا أنها لا تساهم كثيراً في أعطاء معلومات حول الأحداث التي تمت خلال فترة حكمه.

مسئولين البلاط الملكي
أن بعض أعضاء البلاط الملكي للملك أمن-م-حات الثاني معروفين. فسنوسرت كان هو الوزير الملكي في بداية حكمه، وتولى أميني هذا المنصب من بعده، وعلى الأرجح أن سا-إسي قد تولى نفس المنصب في وقت لاحق. وسا-إسي كان يتمتع بحياه مهنية رائعة، وقد سبق له أيضاً تولى منصبي أمين الخزانة والمدير السامي لممتلكات القصر الملكي قبل توليه الوزارة. وبالإضافة إلى سا-إسي فقد تولى آخرون منصب أمين الخزانة، يُعرف منهم رحو-ر-جر-سن ومري-كاو. وقد تم دفن «المشرف على البوابة» خنتي-خيتي-ور بالقرب من هرم الملك. وكان «المشرف على الحجرة» سنفرو وسن-إت-ف، والكاتب الملكي والأمير الوراثي (إري-بعت) سا-مونت من المسئولين الأخرين المعروفين. ومن أكبر المشرفين على القوات العسكرية نجد أحد الشخصيات التي تدعى أميني وترجع على الأرجح إلى فترة حكم الملك أمن-م-حات الثاني.

الخلافة
لقد إشترك كلا من أمن-م-حات الثاني وخليفته س-ن-وسرت الثاني فترة حكم مشتركة قصيرة، وهي فترة الحكم الوحيدة التي لا جدال في صحتها خلال الدولة الوسطى بأكملها. فلوحة هابو الموجودة على جزيرة كنوسو (شمال شرق جزيرة أجيليكا) تنص بوضوح على أن هذين الملكين قد حكما معاً لفترة وجيزة، وأن العام الثالث من حكم س-ن-وسرت الثاني يعادل العام الخامس والثلاثين من حكم أمن-م-حات الثاني، وذلك على خلاف معظم المعالم الأثرية ذات التواريخ المزدوجة. كما أن العام الخامس والثلاثين المُشار إليه على لوحة هابو هو أيضاً اعلى تاريخ معروف لهذا الملك.

القبر

لقد إختار أمن-م-حاتل الثاني دهشور لتكون موقع بناء الهرم، وذلك على خلاف أبيه وجده الذي قاموا ببناء أهراماتهم في اللشت. ومنطقة دهشور تقع على مسافة خمسة أميال جنوبي سقارة وعلى مسافة عشرة أميال شمالي اللشت. وجدير بالذكر أن دهشور لم يتم إستخدامها كجبانة ملكية منذ زمن الملك سنفرو صاحب الهرم الأحمر (الأسرة الرابعة). وكان يطلق على هرم أمن-م-حات الثاني في الأصل اسم أمينو-سخم، إلا أنه يُعرف اليوم باسم الهرم الأبيض. وهذا الهرم محفوظ ومكتشف وهو في حالة رديئة، فهو حالياً ليس أكثر من كومة من ركام الحجر الجيري، وذلك هو السبب في تسميته بالهرم الأبيض. وكان قلب الهرم مبنيٍّا من الطوب اللبن الذي يغطيه كساء من الحجر الجيري وأحيط بردهة ذات أسوار، وأطلق عليه اسم خرب. وكان يطلق على المعبد الجنزي المجاور له اسم جفا-أمنمحات. وتم دفن العديد من الأشخاص داخل هذا المجمع الهرمي، الذين تم إعادة إكتشاف مقابرهم عن طريق عالم الآثار جاك دي مورغان في عام 1894/5: تم العثور على مقابر الأميرات الثلاثة المذكورين أعلاه (إيتا، وإيتا-ورت، وخنمت) لم يطالها يد العابثين، ومازالت تحتوي على مجوهراتهن الجميلة. كما تم أيضاً العثور على مقابر السيدة سات-حات-حور-مريت، وأمين الخزانة أمن-حتب، والملكة كمي-نوب؛ إلا أن المقبرتين الأخيرتين كانتا على النقيض من مقابر الأميرات الثلاثة، فقد تم نهبهما في العصور القديمة، وتم تأريخهما للأسرة الثالثة عشر التي ظهرت من بعدهما.

المراجع

وصلات خارجية
 Amenemhat (II) Nubkaure (1914-1879/76 BCE)
 Ancient-Egypt.org

فراعنة الأسرة المصرية الثانية عشر
وفيات 1895 ق م
وفيات القرن 19 ق م

أمنمحات الثاني


Miracle is a 2004 American sports film about the United States men's ice hockey team, led by head coach Herb Brooks, portrayed by Kurt Russell, who won the gold medal in the 1980 Winter Olympics. The American team's victory over the heavily favored Soviet professionals in the medal round was dubbed the "Miracle on Ice". Miracle was directed by Gavin O'Connor and written by Eric Guggenheim and Mike Rich. It was released on February 6, 2004, where it grossed $64.5 million on a $28 million budget and received positive reviews, with Russell's performance garnering the most praise from critics.

Plot
Herb Brooks, head ice hockey coach at the University of Minnesota, interviews with the United States Olympic Committee (USOC) for the national team coach's job, discussing his philosophy on how to beat the dominant Soviet team who have won the gold medal in the previous four Olympics, calling for changes to the practice schedule and strategy. The USOC is skeptical, but gives Brooks the job.

Brooks meets assistant coach Craig Patrick at the tryouts in Colorado Springs. Brooks selects a preliminary roster of 26, indifferent to the preferences of senior USOC hockey officials. USOC executive director Walter Bush believes Brooks has their best interests at heart, and reluctantly agrees to take the heat from the committee.

During the initial practice, tempers flare as forward Rob McClanahan and defenseman Jack O'Callahan get into a fight based on college rivalry. After the fight, Brooks tells all the players that they are to let go of old rivalries and start becoming a team. He has each player tell their name, hometown and which team they play for. As practices continue, Brooks uses unorthodox methods to reduce the roster to 20 players. The players themselves worry about being cut at any time, knowing that Brooks himself was the last player cut from the US squad that won the 1960 Olympic gold medal, so he will do anything to win.

During an exhibition game against Norway in Oslo that ends in a 3–3 tie, Brooks notices the players are not playing up to their potential. After the game, he orders them back on the ice for a bag skatea relentless double-skate from one end of the ice to the other, continuing the drill even after the rink manager cuts the power. Exhausted, forward and team captain Mike Eruzione re-introduces himself, but this time says what Brooks wanted them to say all along: that he plays for the United States. Pleased, Brooks finally allows the team to go home.

With their roster finalized, the Americans play the Soviets in an exhibition game at Madison Square Garden. The Soviets manhandle the young Americans, winning by a score of 10–3. During the game, O'Callahan suffers a knee injury that could keep him out of the entire Olympics and starting goaltender Jim Craig is told he may be benched in favor of backup Steve Janaszak. Brooks tells him that he hasn't been giving his very best, but decides to keep Craig as the starter for the Olympics.

As the 1980 Winter Olympics begin, the Americans trail Sweden 2–1 in the first game. Brooks fires up the team during intermission by throwing a table and accuses McClanahan, who suffered a relatively minor leg injury, of quitting. McClanahan plays injured, which inspires the team. Bill Baker scores a goal with only 27 seconds remaining in the third period for a dramatic 2–2 tie. They next earn a 7–3 win over heavily favored Czechoslovakia. As the Olympics continue, the team defeats minor opponents Norway, Romania, and West Germany to earn a spot in the medal round.

In the medal round, the Americans were overwhelming underdogs to the Soviets, who lost only a single Olympic game since 1964 and whose players were professionals, whereas the American players were amateurs. The Soviets had scored the first goal before O'Callahan, having healed enough from his injury, enters the game for the first time. He heavily checks Vladimir Krutov on a play that leads to a goal by Buzz Schneider. The Soviets score again to retake the lead. Soviet goalie Vladislav Tretiak stops a long shot by Dave Christian, but Mark Johnson gets the rebound and ties the game to end the period.

During the first intermission, Soviet coach Viktor Tikhonov replaces Tretiak with backup Vladimir Myshkin. In the second period, the Soviets score a goal to go up 3–2. Early in the third period, the Soviet team is penalized for slashing, and Johnson scores a power play goal just as the penalty is about to expire. With 10 minutes left, Eruzione puts them ahead 4–3. The Americans hold off the Soviets to win the game, completing one of the biggest upsets in sports history. Two days later, the team would go on to defeat Finland 4–2 to win the gold medal.

A closing narration from Brooks states that his proudest moment was watching the team being presented with their gold medals. Admiring the sacrifices all of them were willing to make, and the inspiration they provided to the people of the United States.

Cast

Production
Gavin O'Connor directed, and Mark Ciardi produced the movie. Both are drawn to inspirational stories, and they decided to take on the "Greatest Sports Moment of the 20th Century". They chose to focus on the determination and focus of coach Herb Brooks. O'Connor knew from the beginning that he wanted to cast Kurt Russell as Herb Brooks because he needed someone with an athletic background and a fiery passion for sports. The casting of the team consisted of real hockey players to give the film a raw and accurate feel. O'Connor figured it would be easier to teach hockey players to act than to teach actors to play hockey. On-ice tryouts were held in New York, Boston, Minneapolis, Los Angeles, Toronto, and Vancouver. Another tryout was held in Vancouver for the Soviet and European teams.

There are a total of 133 different hockey plays in the film. To accomplish this, the directors turned to ReelSports Solutions, who had helped with the producers on a previous movie, The Rookie. The ReelSports team referred to coach Herb Brooks for information on practices, plays, equipment, and uniform styles. Each fight and stunt scene was choreographed to ensure the actors' safety. Players went through a six-week training camp to relearn the game in older equipment.

All the locations of the real life hockey games are replicated by hockey arenas in British Columbia. The team tryouts, set in Colorado Springs, were filmed at the Queen's Park Arena in New Westminster. The team practices were filmed at the M.S.A. Arena in Abbotsford. The exhibition game in which the USA team lost to the USSR team at Madison Square Garden was filmed at the Pacific Coliseum, former home of the Vancouver Canucks. The Exhibition against Norway, the subsequent bag skate, and all Olympic game scenes were filmed at the PNE Agrodome.

Al Michaels re-recorded most of his television commentary for the film. However, the last 30 seconds of the USA-Soviet game, including "Do you believe in miracles?" used the original audio, as Michaels didn't feel he could re-create the call effectively.

Coach Brooks died in a car accident half a year before the movie was released. At the end, before the credits, it states, "This film is dedicated to the memory of Herb Brooks, who died shortly following principal photography. He never saw it. He lived it."

Music
"Mr. Boogie"
"You Can Suit Yourself" by Bobby Charles
"Time and Time Again"
"Don't Fear the Reaper" by Blue Öyster Cult
"Must of Got Lost" by The J. Geils Band
"Thunder Island" by Jay Ferguson
"Rockford Files Theme" by Mike Post
"Universal Logo"
"Nightly News Theme '82"
"White Christmas" by Louis Armstrong
"Rockin' Around the Christmas Tree" by Brenda Lee
"Star-Spangled Banner" by Lauren Hart
"Bugler's Dream" by John Williams and the Boston Pops Orchestra
"Dream On" by Aerosmith
"Brandenburg Concerto No. 4 in G, 1st movement – Allegro" by the Royal Philharmonic Orchestra

Release
Miracle was released with a rating of PG, meaning that Parental Guidance is suggested.

Reception

Box office
Miracle grossed $19,377,577 on its opening weekend, February 8, on 2,605 screens. It closed with a worldwide gross of $64,445,708.

Critical response
On Rotten Tomatoes, Miracle has an approval rating of 81% based on 165 reviews, with an average rating of 7.01/10. The site's critical consensus reads: "Kurt Russell's performance guides this cliche-ridden tale into the realm of inspirational, nostalgic goodness." On Metacritic the film has a weighted average score of 68 out of 100, based on 36 critics, indicating "generally favorable reviews". Audiences polled by CinemaScore gave the film an average grade of "A" on an A+ to F scale.

Elvis Mitchell of The New York Times stated that the movie "does a yeoman's job of recycling the day-old dough that passes for its story." Kenneth Turan of the Los Angeles Times referred to the movie as "a classically well-made studio entertainment that, like The Rookie of a few years back, has the knack of being moving without shamelessly overdoing a sure thing." O'Callahan said in an interview that while the fight between him and McClanahan was fictional, the film accurately portrayed the "pretty intense" rivalry between Boston Terriers and Minnesota Gophers players, and was overall "pretty darn close" to actual events.

As of May 2023, Miracle was rated the number six sports movie of all time with a rating of 9.06 out of 10 at Sports In Movies, after maintaining the number one spot for several years.

Accolades
Miracle won the Best Sports Movie ESPY Award for 2004.

Year-end lists
In 2006, the American Film Institute nominated this film for AFI's 100 Years...100 Cheers. And In 2008, AFI nominated this film for its Top 10 Sports Films list.

See also
List of films about ice hockey
List of sports films
Miracle on Ice (1981 film)

References

External links

2000s sports drama films
2004 drama films
2004 films
American ice hockey films
American sports drama films
Biographical films about sportspeople
Cold War films
Cultural depictions of hockey players
2000s English-language films
Films about the 1980 Winter Olympics
Films directed by Gavin O'Connor
Films scored by Mark Isham
Films set in 1979
Films set in 1980
Films set in Minnesota
Films set in New York (state)
Films shot in Vancouver
Ice hockey at the 1980 Winter Olympics
Sports films based on actual events
Walt Disney Pictures films
Films set in Colorado
2000s American films

Miracle (2004 film)


Jupiter One este o formație americană indie rock din Brooklyn, New York, înființată în 2003. Albumul de debut poartă numele formației și a fost lansat în 2007 de casa de discuri Cordless Recordings, deținută de Warner Music Group. A fost urmat de Sunshower, lansat în 2009 de Rykodisc.

În media
Multe dintre piesele lor au fost folosite în jocurile video create de Electronic Arts . "Countdown" a fost folosit în Madden NFL 08, "Turn Up the Radio" în NHL 08, "Fire Away" în Burnout Paradise, și "Unglued", prezent în FIFA 08. Piesa "Platforma Moon" a fost folosită într-o reclamă pentru mașinile Mazda și în FIFA 09.

Discografie

Albume
 Jupiter One EP (2005)
 Magical Mountain and the Floating Hospital (2006)
 Jupiter One (2007)
 The Remix EP (2008)
 Sunshower (2009)

Note

Legături externe
 Site oficial

Formații muzicale fondate în 2003
Cvintete muzicale

Jupiter One


Die Wulsdorfer Schule, Sandbredenstraße 11, auch Alt-Wulsdorfer Schule genannt; wurde 1866 in Wulsdorf gebaut und ist das älteste erhaltene Schulgebäude in Bremerhaven.
Das Gebäude steht unter Bremer Denkmalschutz.

Geschichte

Im 19. Jahrhundert wurden in Wulsdorf die Kinder noch in der Küsterschule im Küsterhaus unterrichtet; damals noch mit einer Klassenstärke von 80 bis 90 Kindern. Seit 1852 bestand dort eine einklassige Schule, seit 1859/60 dann eine dreiklassige Schule: Eine Klasse musste jedoch in der damals rasch wachsenden Landgemeinde bereits ausgelagert werden.

1866 erfolgte der Neubau der vierklassigen Wulsdorfer Schule. Das zweigeschossige, ziegelsichtige und ländliche Bauwerk im Rundbogenstil des späten Klassizismus in der Zeit der Romantik hat zwei giebelständige Gebäudeflügel mit je zwei Klassen, die mit einem zwischenliegenden Treppenhaus und der Lehrerwohnung verbunden sind. Aufwendige Formsteine oder Mauerwerksverbände gestalten Fassade, Gesimse und Brüstungen und die mit einer Raute verzierten Giebel.

Mit dem Schulunterhaltungsgesetz in Preußen von 1908 übernimmt die politische Gemeinde die Schule von der Kirche. Um 1908 entsteht eine Schulerweiterung als Neubau einer vierklassigen Dorfschule nach Plänen des Architekten Müller. 1914 folgt wieder eine Erweiterung nach Plänen des Architekten Jon Knudsen. Die Turnhalle kam 1930 hinzu. 1950 wurden zwei Klassenräume im Obergeschoss der alten Schule ausgebaut. 1937 kam ein Schulpavillon hinzu und 1967 erfolgte ein Umbau des Dachgeschosses.

Literatur
 Altwulsdorfer Schule 1866-1991. Schrift zum 125-jährigen Jubiläum, Bremerhaven, Bremerhaven 1991
 150 Jahre Altwulsdorfer Schule. Festschrift zum Jubiläum 2016, Bremerhaven 2016

Weblinks

Einzelnachweise

Kulturdenkmal in Bremerhaven
Bildung in Bremerhaven
Schulgebäude in Bremerhaven
Klassizistisches Bauwerk in Bremerhaven
Wulsdorf
Bauwerk des Rundbogenstils in der Freien Hansestadt Bremen

Altwulsdorfer Schule


كونت مونتي كريستو  (بالفرنسية: Le Comte de Monte-Cristo) فيلم من إنتاج عام 2002 يستند إلى رواية تحمل نفس الاسم, من تأليف ألكسندر دوما. الفيلم من إخراج كيفن رينولدز ومن بطولة جيمس كافيزل بدور (إدموند دانتز) وداجمارا دومينزك بدور (ميرسيدس) وجاي بيرس بدور (فيرناند مونديجو). الفيلم حقق نجاحا كبيرا وبلغت عائداته 54 مليون دولار. ويحكي قصة البحار الفقير (إدموند دانتز) الذي يخطط للزواج من حبيبة الجميلة (ميرسيدس) ولا يعلم بأن صديقة الحميم (فيرناند مونديجو) يرغب أيضا في الزواج منهاوخطط بالتعاون مع صديقه فيلفورت (جيمس فرين) لتوريط إدموند بجريمة لم يقترفها. يسجن (إدموند) في سجن (شاتو ديف) لسنين عديدة يخطط فيها للانتقام ضد من خانه وبمساعده من صديقة بالسجن يهرب ويلتقي بمجموعة من القراصنة فيعثروا على كنز ليتحول (إدموند) من بحار فقير إلى كونت مونتي كريستو الغني وينتقم لنفسه.

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كونت مونتي كريستو (فيلم 2002)


Standish may refer to:

Places

England
 Standish, Greater Manchester, a village in the Metropolitan Borough of Wigan
 Standish Hall, a demolished estate and country house
 Standish-with-Langtree, a former urban district of Lancashire
 Standish, Gloucestershire

United States
 Standish, California
 Standish Hall (Standish, California), a historic building
 Standish, Maine, a town
 Standish (CDP), Maine, a village in the town
 Standish, Michigan
 Standish Township, Michigan
 Standish, Minneapolis, Minnesota, a neighborhood
 Standish, Missouri

People
 Standish (surname), a list of people and fictional characters with the name
 Standish baronets
 Standish family, 13th- to 20th-century Lords of the Manor in the Manchester, England, locality

Other uses
 Standish Group, an American IT consulting company
 USS Standish (1864), an iron-hulled screw tug

Standish


Gerald Walsh Kilmartin (* 7. Juli 1926 in Providence, Rhode Island; † 17. Juni 1970 ebenda) war ein US-amerikanischer Eishockeyspieler.

Karriere
Gerald Kilmartin besuchte das Bryant College, für dessen Eishockeymannschaft er parallel zu seinem Studium spielte. Anschließend spielte er neben seiner Nationalmannschaftskarriere im Amateur-Eishockey. Später war er als Geschäftsmann tätig. Am 15. Juni 1970 wurde er von einem Unbekannten angegriffen und erlag zwei Tage später seinen Verletzungen.

International
Für die USA nahm Kilmartin an den Olympischen Winterspielen 1952 in Oslo teil, bei denen er mit seiner Mannschaft die Silbermedaille gewann. Zudem stand er im Aufgebot seines Landes bei den Weltmeisterschaften 1947 und 1949. Bei der WM 1949 gewann er mit den USA die Bronzemedaille.

Erfolge und Auszeichnungen
 1949 Bronzemedaille bei der Weltmeisterschaft
 1952 Silbermedaille bei den Olympischen Winterspielen

Weblinks

Eishockeynationalspieler (Vereinigte Staaten)
Olympiateilnehmer (Vereinigte Staaten)
Teilnehmer der Olympischen Winterspiele 1952
US-Amerikaner
Geboren 1926
Gestorben 1970
Mann

Gerald Kilmartin