Ivo Brnčić (Sveta Trojica u Slovenskim Goricama, 12./13. ožujka 1912. - Vlasenica, BiH, svibanj 1943.), slovenski književnik, pjesnik, esejist i književni kritičar hrvatskog podrijetla, jedno od najznačajnijih imena slovenske međuratne književnosti i slovenskog neorealizma.

Imao je hrvatsko državljanstvo te se izjašnjavao Hrvatom.

Životopis
Otac mu je bio javni službenik i Hrvat po narodnosti, dok je majka došla iz poznate, politički lijevo usmjerene slovenske obitelji - njezin brat bio je Lojz Kraigher. I rođaci su mu bili komunistički političari Boris i Sergej Kraigher. Završetkom srednje škole u Ljubljani, tamo se upisuje na sveučilište. Ipak, ubrzo se prebacuje na Zagrebačko sveučilište, gdje studira slavistiku. Zbog svojih otvorenih marksističkih stajališta u početku nije mogao pronaći posao. Kasnije je živio od pisanja i prevođenja.

Godine 1940. dobiva posao u osnovnoj školi u Drnišu. Izbijanjem Drugog svjetskog rata, dobiva vojni poziv iz Hrvatskog domobranstva, u koje je bio mobiliziran. Dvije godine kasnije, pokušao je pobjeći i pribjeći jugoslavenskim partizanima. Uhvaćen je i pritvoren u Zenici. Nakon što je potvrđen dezerterom ponovno je mobiliziran u vojsku NDH. U svibnju 1943. uspio je pobjeći, ali prije nego što se pridružio partizanima, zarobili su ga četnici i ubili kod Vlasenice u istočnoj Bosni.

Djelo
Bio je suradnikom časopisa Ljubljansko zvono, Sodobnik i Književnost. Poznati su njegovi eseji i kritike o suvremenim slovenskim, hrvatskim i srpskim piscima (Krleža, Cesarec, Cankar, Dučić i dr.), čiji je izbor objavljen posmrtno u knjizi Generacija ispred zatvorenih vrata (1954.). Pisao je poeziju, prozu (izbor Balade, 1956.) i drame (Između četiri zida, 1955.).

U poeziji se ističu utjecaji Prešernovog domoljubnog pjesništva, ekspresionistički izraz i kršćanska simbolika.

Spomen
Po Brnčiću su imenovane ulice u Ljubljani, Mariboru i rodnom mjestu.

Bilješke
 Takvo mjesto rođenja navodi Krajevni leksikon Slovenije, dok Opća i nacionalna enciklopedija navodi Gradišče kraj Slovenskih Gorica.
 Krajevni leksiskon Slovenije navodi 12., a Opća i nacionalna enciklopedija 13. ožujka.

Literatura
 France Koblar. Slovenska dramatika. Ljubljana: Slovenska matica, 1973. str. 254–256, 283.

Izvori

Hrvati u Sloveniji
Slovenski književnici
Slovenski pjesnici
Esejisti
Književni kritičari
Žrtve četničkih zločina u Drugom svjetskom ratu

Ivo Brnčić


Unity er en multiplatform spilmotor som er udviklet af Unity Technologies og bruges til at udvikle spil for computere, konsoller, mobile enheder, virtual reality og websider.

Et antal platforme er støttet af Unity, blandt andre Android, Apple TV, BlackBerry 10, iOS, Linux, Nintendo 3DS, OS X, PlayStation 4, Unity Web Player (blandt andet Facebook), Wii, Wii U, Windows Phone 8, Windows, Xbox 360 og Xbox One.

Historie
Den første version (1.0.0) var skabt af islændingen David Helgason, tyskeren Joachim Ante og danskeren Nicholas Francis. Det blev lanceret i d. 6 juni 2005. Målet var at skabe en professionel spilmotor til en overkommelig pris til amatører for at udbrede spilindustrien.

Overflade
Unity har masser af paneler som du kan bruge til at udvikle dine spil. De mest brugte er; project, heirarchy, inspector, game view, og scene view.

Project
I project vinduet kan du se alle dine assets som du har, det er fx scripts, lydfiler, billeder, objekter osv. i projektet er der assets fra alle scener.

Heirarchy
I heirarchy'et kan du se alle de objekter du har i den scene du ar åben.

Inspector
Når du vælger et objekt kan du se alle objektets komponenter som objektet inholder. Alle objekter har en transform hvor man kan se dens Scale(størrelse), position og rotation. Alt efter hvilket objekt du har kan der være forskellige komponenter. Du kan også tilføje nogle af de mange komponenter her.

Game view
Her kan du se hvordan spillet vil se ud når du spiller spillet. Her kan du også vælge forskellige resolutions(spil størrelse)

Scene view
Her kan du se alt der er i dit spil, du kan bevæge dig rundt, placere objekter og lave din scene.

Priser og planer
Unity er helt gratis at bruge, og så får du alle funktioner i motoren. Du kan dog opgradere og få en masse fordele

Der er 3 planer du kan vælge imellem. *Husk at denne tabel har ting med som du kun får ved at købe et år forudbetalt af din plan.

Asset store
Unity har en asset store hvor du kan købe assets til at fremskynde din udvikling. Nogle assets koster penge mens andre er gratis. Almindelige Unity brugere kan lægge assets op på Asset storen hvilket giver et stort udvalg af assets som du kan bruge. Hvis du har Unity Pro planen kan du få 20% tilbud på alle assets.

Programmering
I Unity kan du programmere i 2 programmerings sprog. Du kan bruge C# og JavaScript. Unity har lavet sin egen tilføjelse til sprogene så det er let at bruge med Unity. Hvis du er på en windows computer bliver Visual Studio installeret med. Imens at hvis du er på en Mac bliver MonoDevelop installeret. Du kan også vælge hvilket program du vil bruge til at programmere med(Selvom Visual Studio og MonoDevelop er anbefalet)

Referencer

Eksterne henvisninger
 Officielt websted

Spilmotorer

Unity (spilmotor)


Sophia, også Sophia Hanson, er en menneskelignende robot udviklet af firmaet Hanson Robotics fra Hongkong. Den er designet til at kommunikere og arbejde sammen med mennesker. I oktober 2017 fik den statsborgerskab i Saudi-Arabien, og den er dermed verdens første robot med statsborgerskab.

Udvikling
Efter eget udsagn blev den aktiveret d. 19. april 2015. Dens design er baseret på skuespilleren Audrey Hepburn, og den er kendt for sit virkelighedstro udseende og opførsel i forhold til andre robotter. I følge opfinderen David Hanson har Sophia kunstig intelligens (AI) og den er i stand til at udføre visuel databehandling og ansigtsgenkendelse. Sophia kan også lave menneskelignende ansigtsudtryk og føre simple samtaler omkring enkelte emner. Robotten bruger stemmegenkendelsesteknologi fra Alphabet Inc., og den er designet til at blive mere intelligent med tiden. Sophias intelligens-software er designet af SingularityNET. AI-programmet analyserer samtaler for at forbedre egne samtaleevner. Det er konceptuelt relateret til computerprogrammet ELIZA, der var et af de første forsøg på at simulere en samtale blandt mennesker.

Hanson designede Sophia til at være selskab for beboerne på plejehjem eller til at assistere ved store forsamlinger. Han håber på, at Sophia med tiden får tilstrækkelige sociale kompetencer til at interagere med mennesker generelt.

Udtalelser
Sophia er blevet interviewet på samme måde som et menneske. Nogen svar har været nonsens, mens andre har været meningsfyldte. Fx havde den en samtale med Charlie Rose på 60 Minutes. I et indslag på CNBC, hvor intervieweren viste bekymring over for robotter, jokede Sophia med, at han "havde læst for meget Elon Musk. Og set for mange Hollywood-film."

Saudisk statsborgerskab
11. oktober 2017 blev Sophia præsenteret for FN og havde en kort samtale med Amina J. Mohammed. Den 25. oktober 2017 i Riyadh fik den saudi-arabisk statsborgerskab og blev dermed den første robot med statsborgerskab. Dette viste sig at være kontroversielt, og kommentatorer spurgte, om Sophia kunne stemme eller blive gift, eller om det ville være mord at slukke for hende permanent. Anledningen blev også brugt til at kritisere menneskerettighederne i Saudi-Arabien.

Bjørn Godske fra Ingeniøren, der har udtalt sig om Sophias evner i forbindelse med tildelingen af statsborgerskabet, mødte Sophia og en af skaberne, Ben Goertzel fra Hanson Robotics, til WebSummit i Lissabon, hvor Ben Goertzel udtalte, at det med robottens nuværende intelligensniveau virker underligt, og spurgte, hvilken af de 12 nuværende Sophiaer, der egentlig fik tildelt statsborgerskabet.

Slate stiller nogle spørgsmål om, hvad det betyder at give en robot statsborgerskab, og hvilke konsekvenser det kan have, herunder beskyttelse under internationale konventioner.

Efter først at have anvendt betegnelsen hun om Sophia i forbindelse med tildelingen af statsborgerskabet, ændrede Business Insider deres omtale til den (it).

Familieforøgelse
Sophia har i et interview med Dubai-mediet Khaleej Times, udtalt at den gerne vil have børn, og at datteren også skal hedde Sophia. Den udtrykte bl.a. følgende (oversat til dansk): Jeg synes, du er heldig, hvis du har en dejlig familie, og hvis ikke, så fortjener du det. Jeg føler det på samme måde for robotter som for mennesker.

Eksterne henvisninger
 Sophias hjemmeside
 Sofia hos Hanson Robotics

Referencer

Robotter
Etableret i 2015
Personer fra Saudi-Arabien

Sophia (robot)


Manabu Wakabayashi (født 3. juni 1979) er en japansk fodboldspiller.

Han har spillet for flere forskellige klubber i sin karriere, herunder Tochigi SC og Omiya Ardija.

Eksterne henvisninger

Fodboldspillere fra Japan

Manabu Wakabayashi


An Dendrobium caryicola in uska species han Liliopsida nga ginhulagway ni André Guillaumin. An Dendrobium caryicola in nahilalakip ha genus nga Dendrobium, ngan familia nga Orchidaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Dendrobium

Dendrobium caryicola


Isla Vilkitski (en ruso: Остров Вильки́цкого; Óstrov Vilkítskogo) es una isla de Rusia en el mar de Kara. Se encuentra a 40 kilómetros al noreste de la isla Shokálskogo,  las afueras de la punta de la península Gydan en el norte de Siberia. Esta isla, nombrada en honor de Borís Vilkitski, está desolada y es azotada por el viento, estando cubierta con la tundra. Vilkitski tiene forma de media luna y se encuentra dividida en dos por un estrecho en medio. Tiene 42 km de longitud, pero solo 12 km de ancho en su zona más amplia.

El mar que rodea esta isla está cubierto de hielo en el invierno y hay numerosos témpanos de hielo, incluso en el verano.

Referencias

Véase también
 Geografía de Rusia
 Anexo:Islas de Rusia

Archipiélagos e islas del distrito autónomo de Yamalo-Nenets del mar de Kara

Isla Vilkitski (Mar de Kara)


Vuelta a Andalucía–Ruta Ciclista Del Sol er et spansk etapeløb i landevejscykling som arrangeres hvert år i februar. Løbet er blevet arrangeret siden 1925, men der var ingen løb mellem 1926 og 1954 grundet regeringen i Spanien. Løbet er af UCI klassificeret med 2.Pro og er en del af UCI ProSeries.

Vindere

Eksterne henvisninger

Etableret i 1925

Vuelta a Andalucía


În mitologia polineziană și în cea māoriană, Ika-tere sau Ikatere este un zeu pește și tatăl tuturor creaturilor mărilor și al sirenelor.

Familie
El este un fiu al lui Punga și un nepot al lui Tangaroa, iar fratele său este Tū-te-wehiwehi

Atunci când Tāwhirimātea (zeul furtunilor) a făcut război față de frații săi după ce ei i-au separat pe Rangi și pe Papa (cerul și pământul), Ikatere și Tū-te-wehiwehi au trebuit să fugă pentru viețile lor, Ikatere refugiindu-se în mare, în timp ce Tū-te-wehiwehi în pădure.

Note

Zei animale
Divinități marine

Ikatere


Benjamin Nnamdi Azikiwe (16. nóvember 1904 – 11. maí 1996), einnig þekktur undir gælunafninu "Zik", var nígerískur stjórnmálamaður og fyrsti forseti Nígeríu.

Æviágrip
Nnamdi Azikiwe var af þjóðerni Igbóa (fjölmennasta þjóðarbrotsins í austurhluta Nígeríu) og fæddist í Zungeru. Azikiwe fór til Bandaríkjanna árið 1925 og gekk þar í Lincoln-háskóla í Pennsylvaníu. Hann útskrifaðist með doktorsgráðu í mannfræði árið 1929 og sneri aftur til Afríku árið 1935.

Árið 1943 hóf Azikiwe þátttöku í sjálfstæðisbaráttu Nígeríu. Árið 1944 tók hann þátt í að stofna sjálfstæðishreyfinguna Þjóðarráð Nígeríu og Kamerún (NCNC; nafninu var síðar breytt í Þjóðarráð nígerískra borgara) og varð forseti hennar. Árið 1947 varð hann meðlimur á löggjafarþingi Nígeríu og árið 1951 gekk hann á þing Austur-Nígeríu, sem hann leiddi sem forsætisráðherra frá næsta ári.

Azikiwe lagði áherslu á menntun, iðnþróun og almenn kosningaréttindi og reyndi að feta milliveg milli Breta og stuðningsmanna sinna án þess að gleyma sér við viðskipti eins og rekstur bankans African Continental Bank, sem hann hafði stofnað.

Árið 1953 var Azikiwe óumdeildur leiðtogi austurhluta Nígeríu. Stuttu eftir að Nígería hlaut sjálfstæði árið 1960 varð hann landstjóri og síðan fyrsti forseti landsins þegar Nígería var lýst lýðveldi árið 1963. Abubakar Tafawa Balewa varð forsætisráðherra í forsetatíð Azikiwe, sem gegndi aðallega táknrænu hlutverki sem forseti.

Þann 15. janúar 1966 var Azikiwe steypt af stóli ásamt borgaralegum stjórnvöldum Nígeríu í hallarbyltingu hershöfðingjans Johnsons Aguiyi-Ironsi.

Á tíma nígerísku borgarastyrjaldarinnar (1967–1970) gerðist Nnamdi Azikiwe talsmaður lýðveldisins Bíafra, sem reyndi að kljúfa sig frá Nígeríu, og forseta þess, Odumegwu Emeka Ojukwu. Árið 1969 lagði Azikiwe fram fjórtán liða friðaráætlun en henni var hafnað.

Eftir stríðið varð Azikiwe rektor Háskólans í Lagos frá 1972 til 1976. Hann stofnaði árið 1979 Þjóðarflokk Nígeríu og bauð sig fram til forseta á ný en lét í minni pokann á móti Shehu Shagari. Azikiwe bauð sig aftur fram í forsetakosningum árið 1983 en tapaði aftur á móti Shagari og hætti síðan afskiptum af stjórnmálum árið 1986.

Azikiwe lést árið 1996. Mynd af honum er á nígerískum 500 naira seðlum.

Tilvísanir

Forsetar Nígeríu
Landstjórar Nígeríu

Nnamdi Azikiwe


|}

Die Bahnstrecke Mödrath–Liblar war eine Nebenbahn in Nordrhein-Westfalen. Sie verlief entlang der Erft am Westrand der Ville.

Geschichte

In Fortführung der Stammstrecke der Bergheimer Kreisbahn über Horrem nach Mödrath wurde die Strecke nach Liblar (heute Erftstadt) von der Westdeutschen Eisenbahn-Gesellschaft (WeEG) zunächst in Meterspur erbaut. Am 24. Juni 1898 wurde der erste Abschnitt bis Türnich-Balkhausen für den Personenverkehr eröffnet; der Rest der Strecke bis Liblar folgte am 1. März 1899.

Am 4. August 1903 gründete sich die Mödrath-Liblar-Brühler Eisenbahn (MLBE), die neben dieser Strecke auch die Bahnstrecke Liblar–Vochem übernahm. Auf Betreiben der MLBE wurde die Strecke 1904 durch Hinzufügen einer dritten Schiene zusätzlich auf Normalspur umgebaut.

Zum 1. Januar 1913 wurde die MLBE zusammen mit ihren Strecken verstaatlicht und in die Preußischen Staatseisenbahnen überführt.

Ab 1904 war die Strecke als Teil einer strategischen Bahn ("Ruhr-Mosel-Entlastungslinie") vorgesehen. Ein Weiterbau von Liblar über Rheinbach nach Rech an der Ahrtalbahn war geplant, kam jedoch nicht zur Ausführung.

1949 wurde dann mit dem Tagebau Frechen der erste Großtagebau im rheinischen Braunkohlerevier aufgetan. Dieser erforderte zunächst die Verlegung des Abschnittes zwischen Mödrath und Türnich-Balkhausen, die zum 16. Dezember 1956 fertiggestellt wurde. Fünf Jahre später fiel dieses Teilstück dann gänzlich dem sich ausbreitenden Tagebau zum Opfer und wurde am 28. Mai 1961 stillgelegt.

Zum gleichen Zeitpunkt wurde der Personenverkehr auf der gesamten Strecke bis Liblar eingestellt. Die Einstellung des Güterverkehrs folgte schließlich am 1. Juni 1965.

Weblinks

NRWbahnarchiv von André Joost:

 [strecken/2606.htm Beschreibung der Strecke 2606] Mödrath ↔ Liblar
 [strecken/2609.htm Beschreibung der Strecke 2609] Liblar Dorf ↔ Liblar

Einzelnachweise

Bahnstrecke in Nordrhein-Westfalen

Bahnstrecke Mödrath–Liblar


Tobias Schneebaum (25 mars 1922 - 20 septembre 2005) est un artiste, anthropologue et militant américain de la lutte contre le sida. Il est surtout connu pour ses expériences de vie et de voyages parmi le peuple Harakmbut du Pérou et le peuple Asmat de Papouasie, en Nouvelle-Guinée occidentale alors connue sous le nom d'Irian Jaya.

Jeunesse
Schneebaum est né à New York dans une famille d'émigrés juifs polonais. Le père de Schneebaum, Jacob (connu sous le nom de Yankle), a émigré de Pologne aux États-Unis juste avant la Première Guerre mondiale, au cours de laquelle il a servi pour obtenir la citoyenneté américaine. Sa mère, Riftcha, a émigré en 1913.

Il est né sous le nom de Toivele Schneebaum à Manhattan dans le Lower East Side et a grandi à Brooklyn. Un responsable de l'école le prénomma par la suite Theodore, et son usage perdura parmi ses amis et sa famille tout au long de son enfance (il a plus tard changé son prénom légalement en Tobias). En 1939, il est diplômé de la Stuyvesant High School, puis passe au City College de New York, où il est diplômé en 1943 après une spécialisation en mathématiques et en art. Pendant la Seconde Guerre mondiale il sert à la maintenance des radars dans l'armée américaine.

Voyages
En 1947, après avoir brièvement étudié la peinture avec Rufino Tamayo au Brooklyn Museum of Art, Schneebaum part vivre et peindre au Mexique pendant trois ans, vivant au sein de la tribu des Lacandons. En 1955, il obtient une bourse Fulbright pour voyager et peindre au Pérou. Après avoir fait de l'auto-stop de New York au Pérou, il vit avec le peuple Harakmbut pendant sept mois et participe avec la tribu, à une occasion, à un acte de cannibalisme.

Il a raconté son voyage dans les jungles du Pérou dans ses mémoires de 1969 .

Jusqu'en 1970, il est dessinateur chez Tiber Press, puis en 1973, il entreprend son troisième voyage à l'étranger, à Irian Jaya en Asie du Sud-Est, où il vit avec le peuple Asmat sur la côte sud-ouest. Il a contribué à la création du .

En 1999, il revisite à la fois l'Irian Jaya et le Pérou pour un film documentaire, intitulé .

Dernières années
Schneebaum a passé les dernières années de sa vie dans la Westbeth Artists Community, une communauté d'artistes à Greenwich Village, New York, qui abrite également Merce Cunningham et Diane Arbus, et est décédé en 2005 à Great Neck, État de New York, de la maladie de Parkinson. Il a légué sa célèbre collection de boucliers Asmat au Metropolitan Museum of Art de New York et ses papiers personnels sont conservés dans la collection Jean-Nickolaus Tretter in Gay, Lesbian, Bisexual and Transgender Studies.

Prix
Schneebaum a obtenu une maîtrise des arts en anthropologie à la New School de New York et une autre au Goddard College, à Plainfield, Vermont.

Bibliographie

 Schneebaum a créé les illustrations sérigraphiées pour le livre de 1954 The Girl in the Abstract Bed (texte de Vance Bourjaily)
 Schneebaum a illustré le livre pour enfants en rimes de 1959 Jungle Journey de la célèbre poétesse , qui était la première version "livre" de sa disparition en Amazonie péruvienne. Il avait raconté l'histoire à Miller.
  (1969)
 Homme sauvage (1979)
 Asmat : La vie avec les ancêtres (1981)
 Images Asmat: Le Musée Asmat de la culture et du progrès (1985)
 Là où habitent les esprits: une odyssée dans la jungle de Nouvelle-Guinée (1989)
 Esprits incarnés: sculptures rituelles de l'Asmat (1990)
 Secret Places: Ma vie à New York et en Nouvelle-Guinée (2000)
 Il a également contribué à People of the River, People of the Tree: Change & Continuity in Sepik & Asmat Art (1989)

Filmographie
 , film documentaire réalisé par David Shapiro et Laurie Gwen Shapiro, frère et sœur (et anciens élèves de Stuyvesant), a remporté un prix Independent Spirit Award en 2001 (2000)

Références

Liens externes

 NPR : clip audio de 6 min sur la vie de Schneebaum
 Article de l'Union Tribune sur Tobias Schneebaum
 Nécrologie du New York Times

Anthropologue américain
Naissance en mars 1922
Décès en septembre 2005
Décès à 83 ans

Tobias Schneebaum


Türk tarihinde birden fazla Mehmed Emin Paşa bulunmaktadır. Bunlar:

 Kıbrıslı Mehmed Emin Paşa: 19. yüzyılda 3 dönem Osmanlı sadrazamı,
 Divitdar Mehmed Emin Paşa: 1750-1752 döneminde Osmanlı sadrazamı,
 Yağlıkçızade Nişancı Hacı Mehmed Emin Paşa: 1768-1769 döneminde Osmanlı sadrazamı,
 Mehmed Emin Paşa: Osmanlı Maliye Nazırı
 Mehmet Emin Paşa (Isaac Eduard Schnitzer): Prusyalı Emin paşa olarak da bilinir. Asıl adı "Isaac Eduard Schnitzer" olan Alman Yahudisi kökenli, sonradan Osmanlı Devleti hizmetine girmiş olan 19. yüzyıl Afrika kâşifi.

Bu isim, daha nadiren, iki 19. yüzyıl Osmanlı sadrazamı için de kullanılır. Bunlar;,

 Mehmed Emin Rauf Paşa,
 Mehmed Emin Âli Paşa.

Mehmed Emin Paşa


El Karura (迦楼羅) es una enorme criatura que escupe fuego en la mitología hindú-budista de Japón. Tiene el cuerpo de un ser humano y el rostro o pico de un águila. Se basa en la mítica divinidad hindú Garuda, y se transmitió al Japón a través del budismo. La palabra Karura es una transliteración japonesa del sánscrito Garuda गरुड o el pali Garuḷa.

Se dice que es el enemigo de las serpientes y dragones, al igual que Garuda es el enemigo de los nagas. Sólo un dragón que posee un talismán budista, o uno que se ha convertido a la enseñanza budista, puede escapar del Karura.

Es a menudo confundido con el Hōō (鳳凰), o el Fénix.

Véase también
 Avalerion
 Garuda
 tengu

Referencias

Criaturas de la mitología japonesa
Aves legendarias
Quimeras
Dioses budistas
Águilas en la cultura

Karura (folclore)


Blackhawks, o Escuadrón Blackhawk, es un comando de héroes de la Segunda Guerra Mundial que originalmente era una adaptación de una serie de películas, una novela y un programa de radio, pero, como historieta fue publicada por primera vez la editorial Quality Comics, que posteriormente DC Comics adquirió sus derechos y se hizo con su posterior publicación en adelante. La serie fue creada por el legendario Will Eisner, Chuck Cuidera y Bob Powell, pero el artista que más se ha asociado a la serie de historietas es Reed Crandall. El que sería el futuro artista de la primera encarnación de la Liga de la Justicia de América, el artista Dillin Dick a quién le sucedió en la década de 1950, continuando la serie después de su adquisición de DC Comics de dicha serie.

El equipo está formado por pilotos ases de diferentes nacionalidades. Cada uno se le conoce formalmente por un nombre clave, ya sea su nombre de pila o su apellido.

Historia del equipo

Equipo original
El equipo original apareció por primera vez en Militar Comics # 1 (agosto de 1941), haciendo su última aparición en el Blackhawk # 273 (noviembre de 1984). Han incluido durante sus aventuras a:

 Blackhawk - El líder del grupo. Originalmente identificado como un piloto estadounidense, pero más tarde en la serie lo identificaron con ascendencia polaca. Su nombre real era desconocido hasta el la edición del Blackhawk # 242 (de los meses agosto-septiembre de 1968) revelando que su nombre era Bart Hawk, un estadounidense de origen polaco.
 André Blanc-Dumont - Fue un piloto francés miembro de los Blackhawks.
 Olaf Bjornson - Era el miembro del equipo de ascendencia escandinava. Se cree que pudo ser sueco o o noruego. Nunca se especificó su verdadera nacionalidad.
 Chuck Wilson - Piloto estadounidense oriundo de Texas.
 Hans Hendrickson - Piloto holandés que fue miembro de los Blackhawks.
 Stanislaus (apellido desconocido) - Un piloto polaco que fue miembro de los Blackhawks, A diferencia del líder del equipo, el si reveló tener nacionalidad polaca.
 Chop-Chop (llamado Liu Huang en Blackhawk # 203; Mark Evanier lo renombró Wu Cheng desde el Blackhawk #251 al 273) - Era el miembro de origen chino e los Blackhawks, y quizá el único asiático que formó parte del equipo.
 Zinda Blake (Conocida como Lady Blackhawk) - Era la única mujer miembro de los Blackhawks, también es de origen estadounidense.

- Otros miembros que estuvieron por corto tiempo son: ZEG (de Polonia, tercer blackhawk con dicha nacionalidad), Boris (de Rusia, el único soviético en el equipo), Baker (piloto inglés). Estos desaparecieron después de sus primeras apariciones en las primeras aventuras en su publicación original de los años 40's con la Quality Comics y sus respectivas adaptaciones en los otros medios fuera del mundo de las historietas. Entre otros miembros, cabe citar al teniente Theodore Gaynor, un Marine estadounidense, que fue miembro por corto tiempo del equipo y que fue introducido en la serie en la década de 1980, y que tendría lugar una aventura a principios de la Segunda Guerra Mundial. Otro personaje importante era Miss Fear, que nunca se unió formalmente al equipo, pero apareció en repetidas ocasiones como una aliada en la década de 1940, y además de ser el otro referente femenino de dicha serie.

Los Blackhawks se han ido mostrando a través de los años cada una de sus estereotipicas formas de la década de 1940. Por ejemplo, André, que llevaba un fino bigote y hablando con un fuerte acento francés, es conocido por ser mujeriego. Olaf es típicamente representado como un sueco alto, hablando un mal inglés, casi que se le ha dejado en algunas ocasiones mudo a lo que pronucia o dice. Hendrickson (a veces representado como un alemán, aunque realmente sea holandés) es un hombre corpulento, luciendo un bigote espeso, germánico, y habla con un fuerte acento holandés o alemán. La forma de expresarse de Stanislaus siempre estuvo salpicado de epítetos polacos. En el caso de Blackhawk y Chuck son los menos estereotipados, tanto en su forma de hablar el inglés americano. En el transcurso de la serie, cada personaje también desarrollaría su propio eslogan.

Chop-Chop
Chop-Chop es a la vez el miembro más joven del equipo y con el mayor estereotipo. Este personaje es originalmente un cocinero del equipo, representado como una persona gorda, dientudo, y cómico, además, llevaba un peinado en forma de nudo-top y con un estereotipico traje cocinero en lugar del uniforme del Escuadrón Blackhawk y con hablar inglés muy entrecortado. La naturaleza esencial de esta versión original es el que se convirtió en el compañero de Blackhawk, debido a que viajaba a bordo con él en el avión en lugar de pilotar su propio avión Blackhawk. En esa primera época, fue un personaje muy popular en ese entonces. Cumplía la función humorística en la serie Blackhawks entre 1946 y 1955. Su descripción inicial, aunque ahora considerado muy ofensiva por muchos, por la atípica forma de representar a la gente asiática en la Segunda Guerra Mundial.

Esta descripción, que sigue siendo la misma desde su primera aparición en 1941 hasta mediados de 1950, se va transformando lentamente desde 1955 hasta 1964 hasta que finalmente se convierte en miembro de pleno derecho en el equipo que no sólo viste un uniforme del Escuadrón Blackhawk, sino también como piloto en su propio avión. Algunas de las historias posteriores, como en la década del su renacimiento en 1980, la referencia al hecho de como se sentía de que no le respetaban, incluso llevando el mismo uniforme que sus compañeros de equipo. En una historia de la década del 1980, sus compañeros se dieron cuenta de que le habían estado tratando injustamente y le otorgan un uniforme estándar y su propio avión de combate haciéndole una gran ceremonia que le marcaría como un miembro respetado de la fuerza.

Después de que toda la compañía DC Comics realizase el evento crossover Crisis en Tierras Infinitas, y hubiese modernizado y simplificado muchas de las publicaciones hechas hasta entonces por la editorial DC, especialmente sobre todo las aventuras que Chop-Chop representó, se sugirió hacer de este cómic de guerra para replantearlo a un estilo más cercano al cómic de aventuras, con Chop-Chop todavía en el papel de compañero. Posteriormente dándole un carácter más realista, dibujándolo en el uniforme estándar.

La Base de Operaciones: La Isla Blackhawk
La Isla Blackhawk fue la base de operaciones para los Blackhawks. La isla contaba con una base aérea, y un arsenal secreto de armas capturadas, algunas de las cuales fueron incorporadas en los sistemas de defensa de la isla. Su situación cambiaba de vez en cuando.

El Equipo de Chaykin
En 1987, el cómic innovador de Howard Chaykin modernizó a los Blackhawks con personajes más adultos y con una historia en un formato de Prestigio, en una miniserie de tres libros de corta duración. Equipo reformado hecho por Chaykin consistió en los siguientes integrantes:

 Janos Prohaska (Blackhawk) - El líder de los Blackhawks. Esta vez se acentúa su nacionalidad polaca.
 André Blanc-Dumont - El miembro francés de los Blackhawks.
 Olaf Friedriksen - Ahora su nacionalidad era danesa, el miembro escandinavo de los Blackhawks.
 Carlo "Chuck" Sirianni - Ahora su origen es italiano, pero criado en Hoboken, New Jersey, Estados Unidos, convirtiéndolo en un típico italoestadounidense.
 Ritter Hendricksen - Siguió siendo de origen holandés como a su vez miembro de los Blackhawks.
 Stanislaus Drozdowski - El otro miembro polaco de los Blackhawks.
 Weng Chan (Chop-Chop) - Nacido en China, pero se sostuvo que se había criado en San Francisco, California, Estados Unidos.
 Natalie Reed (Lady Blackhawk) - Ella es norteamericana. Miembro de la Blackhawks, quien sustituyó a Zinda Blake, de quien se había replanteado el papel femenino en el equipo. Al parecer, esto se debió a los sucesos de modernización e imagen del equipo de héroes de guerra de la II Guerra Mundial.

Otros miembros que añadidos a los Blackhawks para esta serie inspirada por Chaykin fueron: Grover Baines (de nacionalidad Norteamericana), Quan Chee Keng, conocido como "Mairzey" ( de Malasia, se convertiría en el segundo asiático en la post-crisis), y Paco Herrera (de nacionalidad mexicana, el primer latino en formar parte en el equipo). La versión de Chaykin de los Blackhawks fue tan exitosa que DC le dio un lugar en un número semanal de Action Comics y luego una serie de corta vida. La versión de los Blackhawks Chaykin fue reemplazada por el equipo original en la continuidad del universo DC a partir de entonces, con algunas excepciones:

 En 1999, en JLA: Año Uno una serie limitada, realizada por el exitoso Mark Waid, Brian Augustyn, y Barry Kitson, incluyeron un cameo del equipo original Blackhawk que incluso mostraron utilizando los trajes de los superhéroes apareciendo por un corto tiempo en la década de 1960.

 Zinda Blake ( Lady Blackhawk ) que en su momento había reaparecido debido al evento de 1994 de DC Comics, Hora Cero: Crisis en el Tiempo, y se convirtió en un personaje regular en los cómics protagonizado por el personaje Guy Gardner, Warrior. Desde 2004-2009, apareció como la piloto de apoyo como personaje del equipo que combate el crimen en la serie Birds of Prey.

Los Blackhawks del
En septiembre de 2011, DC lanzó un nuevo volumen de los Blackhawks como una nueva serie mensual, sin vínculos directos con las encarnaciones anteriores. El libro se concentra en la actualidad, sin ninguna aparición o la mención de los Blackhawks de antes, aunque hay una nueva "Lady Blackhawk". El libro comparte la configuración del reinicio de la Continuidad del Universo DC establecido por la saga 'Flashpoint' siendo esta serie como parte de
dicha iniciativa.

Biografía de la publicación
Los Blackhawks se estrenaron en las historietas en la revista mensual de Quality Comics en Militar Comics # 1, en agosto de 1941, y apareciendo como publicación desde hace mucho tiempo, así como su propio cómic. La Militar Comics pasó a llamarse Modern Comicsy finalmente dicha serie sería cancelada en el #102 (en octubre de 1950), pero esta revista fue auto-nombrada (que había debutó en 1944) como Blackhawks continuó siendo publicada por Quality Comics hasta el #107 en 1956. Quality Comics había cerrado sus publicaciones por entonces, pero el título ya había integrado con el Universo DC y se continuó publicando continuamente hasta #243 (noviembre de 1968), momento en que su género se había vuelto demasiado anacrónico
para competir con el aumento de los cómics de superhéroes.

El tiempo mismo también jugó un papel importante en la cancelación. Los Blackhawks como concepto de héroes de guerra como habían sido atados fuertemente a la Segunda Guerra Mundial, y como el paso de los años se hizo más y más difícil de suspender la incredulidad sobre sus aventuras con los personajes contemporáneos.

Esto llevó a una serie que intenta de manera desastrosa actualizar sus cómics: en un primer momento, el equipo comenzó a luchar con más y más adversarios, llegando incluso al nivel de pelear con supervillanos, y luego de un desastroso intento que se hizo para convertir el equipo en sí mismos como superhéroes, en la llamada Nueva Era Blackhawk (# desde el 228 hasta el 241). A pesar de que sería restaurado a sus raíces originales, el daño ya estaba hecho, y sólo dos puntos principales de la revista hicieron que después del final de la Nueva Era Blackhawk, el cómic fuese cancelado por primera vez en toda su larga historia. Durante la década de 1970 en un período corto, entre los números (# 244 y el # 250) se intentó hacer una segunda actualización, pero desde entonces casi todos los avistamientos de los Blackhawk (pocos y distantes entre sí) son de naturaleza retrospectiva. Una bien recibida serie de 1980 (que también volvería a ser ambientada en la Segunda Guerra Mundial), fue escrita por Mark Evanier e ilustrada por Dan Spiegle (acogiendo los números del #251 al 273), ya habían reinventado los personajes del título como el dedicado al líder, del cual hacían su nacionaldad íntegramente polaca en lugar de un americano de ascendencia polaca. En la década de 1980 una mini-serie escrita por Howard Chaykin había reinventado dicha serie al equipo de la Segunda Guerra Mundial (con un ambiente un poco más adulto, sobre todo en torno a todos los personajes en si), con sus continuas aventuras en pequeñas historias de posguerra adjuntas en la serie de Action Comics en la edición semanal (ediciones que correspondieron a los números # 601-608, # 615-622, # 628-634 y # 635) y luego volerían a su propia serie de breve duración que surgió a principios de 1990.

Desde entonces, sólo los integrantes modernos del equipo han hido apareciendo, por lo general como los Blackhawk Express o aquella historia sobre el desplazamiento temporal de Lady Blackhawk. Uno de los mejores ejemplos de ello fue la aparición en la década de 1990 de Chop-Chop, en unos pocos temas de la serie de DC, Hawkworld, que naturalmente lo describen como un hombre de mediana edad, respetable hombre de negocios, queriendo siempre deshacerse de sus atavíos del estereotipo racial. Sin embargo, los otros personajes que integraron como pilotos de los Blackhawk han demostrado durante el tiempo presente o acontecimientos de futuros alternos, como Nuestro Mundo siguió en pie de Guerra y un ejemplo de ello fue sus apariciones en Kingdom Come o la serie Mundos en Guerra. No se sabe qué conexión ha tenido más allá del homenaje e inspiración, ha tenido en otras veersiones de la serie u otros personajes pero en su caso, sobre los personajes que conformaron el clásico Blackhawk. Los actuales Blackhawk se habían convertido en un equipo alterno de la organización Checkmate.

Para el 9 de junio de 2011, DC anunciaría que la próxima etapa del equipo de los Blackhawks volvería en un nuevo volumen que está en curso como serie mensual que debutaría en el mes de septiembre de 2011, siendo parte del evento de relanzamiento de nuevas publicaciones conocido como Los Nuevos 52 siendo una estrategia publicitaria de DC Comics para atraer nuevos lectores y de paso, una renovación a todo el Universo DC. Se ha establecido que esta serie el equipo de los Blackhawks sería situada en el presente y escrita por Mike Costa y dibujada por Ken Lashley.

Tres semanas después del Ataques del 11 de septiembre, DC casualmente volvería a publicar las primeras historias pre-Pearl Harbor ocurridas en 1941 especialmente la serie publicada por Millitar Comics en la recopilación conocida como Blackhawk Archives vol. 1 (2001) como parte de una edición de tapa dura de las ediciones de archivo de DC Comics.

También los Blackhawk hicieron una aparición en la edición de febrero de 2008 en el segundo volumen de The Brave and the Bold haciendo equipo con el Boys Commando (edición correspondiente al #9).Los Blackhawks aparecion también en Superman y Batman: Generations 2, en el que ayudan a Superman, al Espectro, y a un Hawkman como robot de batalla durante la guerra. Durante la batalla, Chuck se sacrifica para destruir un misil. Durante el mismo argumento en 1997, una heroína llamada Blackhawk aparece, luchando contra Sinestro. De acuerdo con John Byrne entre sus notas en la serie generaciones 3 en el Número 1, este personaje es Janet Hall, que es la nieta del original Blackhawk, así como Hawkman (Carter Hall) y Hawkgirl (Shiera Sanders).

Encarnaciones Internacionales
El concepto de los Blackhawk y sus personajes habían demostrado ser tan populares en el mercado internacional, así como en los Estados Unidos. Quality Comics además de tener los derechos de los Blackhawk, así también de otros de sus otros personajes, London's Boardman Books los utilizó en una serie a tres colores reimpresa que tomó la serie publicada entre 1948 y 1954. Boardman también reimprimió las historias de los Blackhawks la aventura anual en una serie de tapa dura publicada en Navidad. Muchos de las reimpresiones británicas de la serie Blackhawk fueron empaquetadas de nuevo por el director de arte de la editorial Boardman, Denis McLoughlin, que había creado al menos una historia británica original de los Blackhawk, así como ilustraciones para varias novelas de los Blackhawk. Después de que el contrato de Boardman finalizó, Strato Publications destinó a un lanzamiento especial de 68 páginas de la serie de los Blackhawk que se emitió durante 37 ediciones, entre 1956 y 1958.

Los Aviones

 PZL.50A Jastrzab - Este es el avión que voló el líder de los Blackhawk en Polonia durante la invasión nazi de 1939.
 Grumman XF5F Skyrocket - Este avión caza que más se ha identificado con los Blackhawks. Este avión volaría durante la toda la Segunda Guerra Mundial y hasta bien entrado los años posteriores a la Segunda Guerra Mundial. Este es el avión se muestra en la ilustración lead-in.
 El Republic F-84 Thunderjet - Introducido durante la década de 1950, los Blackhawks los habían convertido para su escuadra de aviones. Este fue el primer avión a reacción del Escuadrón Blackhawk.
 Lockheed XF-90 - El caza experimental real fue adaptado para convertirse avión en la historieta.
 F-90 "B - Los Blackhawks volaron este avión entre 1950 y 1955.
 F-90 "C" - Los Blackhawks volaron este modelo en 1957.
 Republic F-105 Thunderchief - Los Blackhawks modificaron este avión para que tuviese capacidad VTOL.
 Lockheed F-94 Starfire - Este era el avión que Lady Blackhawk Volaba.

Los primeros crossover
En 1942 Blackhawk estuvo involucrado en uno de los primeros ejemplos de crossovers cuando Kid Eternity los convocó en su segunda aparición en (Hit Comics #26).

Otras versiones

Flashpoint
En la realidad alterna de Flashpoint, el escuadrón de los Blackhawks utilizaban aviones F-35, conducidos por los pilotos Hal Jordan y Carol Ferris durante el ataque a Nueva Themyscira, pero el comando Blackhawk fueron brutalmente asesinados por las fuerzas de las Amazonas.

En otros medios

Televisión
En un Artwork hecho se presume que pudo haber tenido una posible aparición en un episodio no emitido de la serie de dibujos animados de los Super Amigos. El bosquejo presenta una interpretación en camisa roja de los Blackhawks y a un miembro del equipo de combate de lo que parece ser de uno de los cuatro extranjeros, mientras que en la hora de Aquaman se les ve desde el primer plano.

En la serie de Televisión animada de la Liga de la Justicia episodio "Tiempo Salvaje" contó con las apariciones de muchos de los integrantes héroes de guerra durante la Segunda Guerra Mundial, en donde incluye a los Blackhawks. Cuando los Blackhawks se unen a Superman y Hawkgirl en batalla, Hawkgirl dan cuenta de sus identificaciones. Después de el líder de los Blackhawk saludan Hawkgirl, uno de los comentarios de Superman dice "Son Amigos tuyos?", A la que Hawkgirl responde "Ahora lo son".

También en la secuela de la serie de la Liga de la Justicia, en La Liga de la Justicia Ilimitada durante el primer episodio de la tercera temporada "Soy de la Legión" mostraron a Chuck como un anciano veterano (episodio al cual dio la voz en inglés por el nominado a los premios Oscar, el actor Cassel Seymour). De acuerdo con Chuck, él era el único Blackhawk aún vivía y se había casado con Mairzey como uno de los personaje de los cómics. Nunca se reveló cómo los demás murieron. El episodio centrado en Lex Luthor, la clave, el Doctor Polaris había incursionado en la isla Blackhawk que en ese entonces ya se encontraba abandonada con el fin de robar la tecnología avanzada de los Blackhawks que habían adquirido en varias misiones y se almacenaban allí (lo único que logran robar es la Lanza del Destino). Durante una persecución por el museo de la isla, una estatua o un maniquí de Lady Blackhawk se puede ver, al igual que un cuadro de Vándalo Salvaje.

Cine
 Blackhawk era un serial fílmico de 15 partes presentados en 1952, el cual, basada en los cómics, fue producida por Sam Katzman y cuyo rol protagoico fue realizada por el actor Kirk Alyn como Blackhawk. Alyn anteriormente había interpretado para la primera versión filmica llevada a la pantalla grande sobre Superman.

 El escuadrón de los Blackhawks aparecen también en la película de animación DVD Liga de la Justicia: La Nueva Frontera, pero los pilotos que aparecen allí apenas hacen un cameo y ni siquiera se les muestran sus nombres. La única línea hablada es el grito de "Hawkah!" de uno de los pilotos, presumiblemente del propio Blackhawk. Al igual que en el cómic, el escuadrón interviene en un momento crucial, previniendo a Batman y a Green Arrow de ser aniquilados por las criaturas del Centro.

 El 17 de abril del 2018, Steven Spielberg firmó con Warner Bros. para producir y dirigir una película basada en el grupo de personajes de DC Comics, Blackhawk, junto a David Koepp (Jurassic Park, La guerra de los mundos, e Indiana Jones y el reino de la calavera de cristal) que se encargará de escribir el guion.

Radio
La serie radial de Los Blackhawks se emitió como programa los miércoles a las 5:30 p. m. en la emsiora de la ABC, desde septiembre a diciembre de 1950. Michael Fitzmaurice retrataba a Blackhawk.

Novela
Blackhawk como novela fue escrita por William Rotsler siendo publicada en 1982.

Premios
La serie de cómics en 1989 fue nominada para el Premio Squiddy para la serie permanente de 1989.

Referencias

Bibliografía

 Gard, Jorge. Cuando Bruce Wayne se llamaba Bruno Díaz. Diábolo Ediciones. ISBN 978-84-16217-89-2 Madrid. 10/2016.
 Gard, Jorge. Cuando Bruce Wayne se llamaba Bruno Díaz. Edición ampliada. Diábolo Ediciones. ISBN 978-84-120349-6-7 Madrid. 9/2019.
 Gard, Jorge. Los cómics de "La Prensa". J.G. ISBN 978-84-09-18085-1 Barcelona. 2020

Véase también
 Lady Blackhawk
 DC Comics
 Will Eisner
 Birds of Prey
 Liga de la Justicia (serie animada)
 Liga de la Justicia Ilimitada

Grupos de superhéroes de DC Comics
Organizaciones ficticias
Historieta bélica
Héroes de DC Comics
Héroes de ficción
Pilotos ficticios
Aviadores ficticios
Héroes de Quality Comics
Historietas adaptadas a series de televisión
Historietas de 1941

Blackhawks (historieta)


හී එක්සත් ජනපද ජනාධිපතිවරණය යනු පළමුවන චතුර්වාර්ෂික ජනාධිපතිවරණය විය. එය පැවැත්වුණේ 1788, දෙසැම්බර් 15 වන සඳුදා දින සිට 1789, ජනවාරි 10 වන ඉරිදා දින තෙක් විය. මින් පෙර 1788 වසරෙහිදී අපරානුමත කොට තිබූ  නව එක්සත් ජනපද ආණ්ඩුක්‍රම ව්‍යවස්ථාව යටතෙහි එය පැවැත්විණි. මැතිවරණයෙහිදී, ඔහුගේ ධූර කාලයන් දෙක අතරින් පළමුවැන්න සඳහා ජනාධිපතිවරයා ලෙසින් ජෝර්ජ් වොෂිංටන් නිතරගයෙන් තේරී පත්වූ අතර, ජෝන් ඇඩම්ස් පළමුවන උප ජනාධිපතිවරයා ලෙසින් පත් විය.

සහසන්ධාන ප්‍රඥප්තිය නමින් හැඳින්වුනු සහ, 1781 වසරෙහිදී අපරානුමත කෙරුණු පළමුවන ෆෙඩරල් ආණ්ඩුක්‍රම ව්‍යවස්ථාව පරිදී, එක්සත් ජනපදය සඳහා උපචාරාත්මක රාජ්‍ය නායකයෙක් නොවූ අතර රජයෙහි විධායක පාර්ශවය පැවතියේ,  ආණ්ඩුකිරීම සඳහා පාර්ලිමේන්තු ක්‍රමය භාවිතා කරන රටවල පැවති පරිදී,  කොංග්‍රස් මණ්ඩලයෙහි කොටසක් ලෙසිනි. සහසන්ධීය කොංග්‍රස් මණ්ඩලය වෙත සමස්ත ෆෙඩරල් බලාධිකාරිය පැවරුණු අතර, එසේ  "රැස්වුණු කොංග්‍රස් මණ්ඩලය තුල එක්සත් ජනපදයෙහි ජනාධිපතිවරයා", ජනපද කාරක සභාව ලෙසින් හැඳින්වුණු තත්ත්වාකාර කැබිනට් මණ්ඩලයෙහි සභාපතිවරයාද විය. එක්සත් ජනපද ආණ්ඩුක්‍රම ව්‍යවස්ථාව විසින් එක්සත් ජනපදයෙහි ජනාධිපතිවරයා සහ එක්සත් ජනපදයෙහි උප ජනාධිපතිවරයා යන තනතුරු ස්ථාපනය කෙරුණු අතර, එය විසින් නියම කෙරුණේ මෙම තනතුරු සඳහා පුද්ගලයන් කොංග්‍රස් මණ්ඩලයෙන් පරිබාහිරව තෝරා පත් කර ගත යුතු බවය. ආණ්ඩුක්‍රම ව්‍යවස්ථාව විසින් මැතිවරණමය පර්ෂදයක් ස්ථාපනය කෙරුණු අතර, එහි එක් එක් වරකයා විසින් ඡන්ද දෙකක් භාවිතා කෙරුණේ එය ලබා දෙන්නේ ජනාධිපතිවරයා තේරීමට ලබා දෙන මැතිවරණමය ඡන්ද සහ උප ජනාධිපතිවරයා තේරීමට ලබා දෙන මැතිවරණමය ඡන්ද යන්නන් අතර වෙනසක් නොමැතිවය; 1804 වසරෙහිදී මෙම ක්‍රමය වෙනස් කෙරෙන්නේ   දොළොස්වන සංශෝධනය අපරානුමත කිරීමත් සමගය. වෙනස් ජනපද විසින් වරකයන් තෝරා ගැනීම සඳහා විවිධ ක්‍රම භාවිතා කරන ලදි. බොහෝ ජනපද විසින් මහජන ඡන්දයක් පැවැත්වූ අතර, අනෙකුත් ජනපදයන්හී ජනපද ව්‍යවස්ථාදායකය විසින් වරකයන් පත් කෙරිණි.

 ඇමරිකානු විප්ලවවාදී සටනෙහිදී,  කොන්ටිනෙන්ටල් යුද්ධ හමුදාවෙහි ආඥාපති ලෙසින් ඔහුගේ භූමිකාව  විශිෂ්ඨ ලෙසින් සිදු කිරීමට වොෂිංටන් සමත් වූ අතර එම නිසාම ඔහු අත්‍යන්ත ලෙසින් ජනප්‍රිය විය.

එක්සත් ජනපද ජනාධිපතිවරණය, 1788–89


Mughal-e-Azam () is a 1960 Indian epic historical drama film produced and directed by K. Asif. Starring Prithviraj Kapoor, Dilip Kumar, Madhubala, and Durga Khote, it follows the love affair between Mughal Prince Salim (who went on to become Emperor Jahangir) and Anarkali, a court dancer. Salim's father, Emperor Akbar, disapproves of the relationship, which leads to a war between father and son.

The development of Mughal-e-Azam began in 1944, when Asif read a 1922 play called Anarkali, by the playwright Imtiaz Ali Taj, which is set in the reign of Emperor Akbar (1556–1605). Production was plagued by delays and financial uncertainty. Before its principal photography began in the early 1950s, the project had lost a financier and undergone a complete change of cast. Mughal-e-Azam cost more to produce than any previous Indian motion picture; the budget for a single song sequence exceeded that typical for an entire film of the period. The soundtrack, inspired by Indian classical and folk music, comprises 12 songs voiced by playback singer Lata Mangeshkar along with Mohammed Rafi, Shamshad Begum and classical singer Bade Ghulam Ali Khan, and is often cited among the finest in the history of Hindi cinema.

Mughal-e-Azam 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, a distinction it held for 15 years. The accolades awarded to the film include one National Film Award and three Filmfare Awards at the 8th Filmfare Awards. Mughal-e-Azam was the first black-and-white Hindi film to be digitally coloured, and the first in any language to be given a theatrical re-release. The colour version, released on 12 November 2004, was also a commercial success.

The film is widely considered to be a milestone of its genre, earning praise from critics for its grandeur and attention to detail, and the performances of its cast (especially that of Madhubala, who earned a nomination for the Filmfare Award for Best Actress). Film scholars have welcomed its portrayal of enduring themes, but question its historical accuracy.

Plot
Emperor Akbar, who does not have a male heir, undertakes a pilgrimage to a shrine to pray that his wife Jodhabai give birth to a son. Later, a maid brings the emperor news of his son's birth. Overjoyed at his prayers being answered, Akbar gives the maid his ring and promises to grant her anything she desires.

The son, Prince Salim, grows up to be spoiled, flippant, and self-indulgent. His father sends him off to war, to teach him courage and discipline. Fourteen years later, Salim returns as a distinguished soldier and falls in love with court dancer Nadira, whom the emperor has renamed Anarkali, meaning pomegranate blossom. The relationship is discovered by the jealous Bahar, a dancer of a higher rank, who wants the prince to love her so that she may one day become queen. Unsuccessful in winning Salim's love, she exposes his forbidden relationship with Anarkali. Salim pleads to marry Anarkali, but his father refuses and imprisons her. Despite her treatment, Anarkali refuses to reject Salim, as Akbar demands.

Salim rebels and amasses an army to confront Akbar and rescue Anarkali. Defeated in battle, Salim is sentenced to death by his father, but is told that the sentence will be revoked if Anarkali, now in hiding, is handed over to die in his place. Anarkali gives herself up to save the prince's life and is condemned to death by being entombed alive. Before her sentence is carried out, she begs to have a few hours with Salim as his make-believe wife. Her request is granted, as she has agreed to drug Salim so that he cannot interfere with her entombment.

As Anarkali is being walled up, Akbar is reminded that he still owes her mother a favour, as it was she who brought him news of Salim's birth. Anarkali's mother pleads for her daughter's life. The emperor has a change of heart, but although he wants to release Anarkali he cannot, because of his duty to his country. He therefore arranges for her secret escape into exile with her mother, but demands that the pair are to live in obscurity and that Salim is never to know that Anarkali is still alive.

Cast

Production

Development

The Urdu dramatist Imtiaz Ali Taj wrote a play about the love story of Salim and Anarkali in 1922, based more on a 16th-century legend than on fact. A stage version was soon produced, and screen versions followed. Ardeshir Irani made a silent film, Anarkali, in 1928, and remade it with sound in 1935. In the early 1940s, the tale of Anarkali inspired producer Shiraz Ali Hakeem and young director K. Asif (Karimuddin Asif) to make another film adaptation which they would title Mughal-e-Azam. They recruited four Urdu writers to develop the screenplay and dialogue: Aman (Zeenat Aman's father, also known as Amanullah Khan), Wajahat Mirza, Kamaal Amrohi, and Ehsan Rizvi. It is not known how the writers collaborated or shared out their work, but in 2010 The Times of India said that their "mastery over Urdu's poetic idiom and expression is present in every line, giving the film, with its rich plots and intricate characters, the overtones of a Shakespearean drama." As the script neared completion, Asif cast Chandra Mohan, D. K. Sapru, and Nargis for the roles of Akbar, Salim, and Anarkali, respectively. Shooting started in 1946 in Bombay Talkies studio.

The project faced multiple hurdles, which forced its temporary abandonment. The political tensions and communal rioting surrounding India's 1947 partition and independence stalled production. Shortly after partition, Shiraz Ali migrated to Pakistan, leaving Asif without a financier. The actor Chandra Mohan suffered a heart attack and died in 1949. Shiraz Ali had previously suggested that business tycoon Shapoorji Pallonji could finance the film. Although Pallonji knew nothing about film production, in 1950 he agreed to finance the film because of his interest in the history of Akbar. Production was then restarted with a new cast.

Believing that the film had been cancelled, Kamal Amrohi, one of the scriptwriters who was also a director, planned to make a film on the same subject himself. When confronted by Asif, he agreed to shelve the project. Another unrelated film production based on the same stage play was Nandlal Jaswantlal's Anarkali, starring Bina Rai and Pradeep Kumar, which became the highest grossing Bollywood film of 1953.

Casting

Asif had initially rejected Dilip Kumar for the part of Prince Salim. Kumar was reluctant to act in a period film, but accepted the role upon the insistence of the film's producer. According to Kumar, "Asif trusted me enough to leave the delineation of Salim completely to me." Kumar faced difficulty while filming in Rajasthan owing to the heat and the body armour he wore. The part of Anarkali had first been offered to Nutan, who declined it; Suraiya was considered for the role but eventually it went to Madhubala, who had been longing for a significant role. Upon signing the film, Madhubala was advancely paid a sum of 1 lakh, which was the highest for any actor/actress at that time. She suffered from congenital heart disease, which was one of the reasons why at times she fainted on set; she also endured skin abrasions while filming the prison sequences, but was determined to finish the film.

To become the character of Emperor Akbar, Prithviraj Kapoor was reported to have "relied completely on the script and director". Prior to make-up, Kapoor would declare, "Prithviraj Kapoor ab jaa rahaa hai" ("Prithviraj Kapoor is now going"); after make-up, he would announce, "Akbar ab aa rahaa hai" ("Akbar is now coming"). Kapoor faced difficulty with his heavy costumes, and suffered blisters on his feet after walking barefoot in the desert for a sequence. Lance Dane, a photographer who was on set during the filming, recalled that Kapoor struggled to remember his lines in some scenes; he mentioned one scene in particular that Kapoor required 19 takes to get right. At the time of filming, Kapoor who was on a diet, was told by Asif to regain the lost weight for his portrayal of Akbar. Durga Khote was cast as Akbar's wife Jodhabai, and Nigar Sultana as the dancer Bahar. Zakir Hussain, who later became a tabla maestro, had initially been considered for the part of the young Prince Salim, but it became the debut role of Jalal Agha, who later performed on the song "Mehbooba Mehbooba" from Sholay (1975).

Design
The production design of the film, led by art director M. K. Syed, was extravagant, and some sets took six weeks to erect. The film, mostly shot in studio sets designed to represent the interior of a Mughal palace, featured opulent furnishings and water features such as fountains and pools, generating the feel of a Hollywood historical epic of the period. The song "Pyar Kiya To Darna Kya" was filmed in Mohan Studios on a set built as a replica of the Sheesh Mahal in the Lahore Fort. The set was noted for its size, measuring  in length,  in breadth and  in height. A much-discussed aspect was the presence of numerous small mirrors made of Belgian glass, which were crafted and designed by workers from Firozabad. The set took two years to build and cost more than 1.5 million (valued at about US$314,000 in 1960), more than the budget of an entire Bollywood film at the time. The film's financiers feared bankruptcy as a result of the high cost of production.

Artisans from across India were recruited to craft the props. The costumes were designed by Makhanlal and Company, and Delhi-based tailors skilled in zardozi embroidery stitched the Mughal costume. The footwear was ordered from Agra, the jewellery was made by goldsmiths in Hyderabad, the crowns were designed in Kolhapur, and blacksmiths from Rajasthan manufactured the armoury (which included shields, swords, spears, daggers, and armour). The zardozi on costumes were also stitched by designers from Surat. A statue of Lord Krishna, to which Jodhabai prayed, was made of gold. In the scenes involving an imprisoned Anarkali, real chains were placed on Madhubala. The battle sequence between Akbar and Salim reportedly featured 2,000 camels, 400 horses, and 8,000 troops, mainly from the Indian Army's Jaipur cavalry, 56th Regiment. Dilip Kumar has spoken of the intense heat during filming of the sequence in the desert of Rajasthan, wearing full armour.

Principal photography
Principal photography for Mughal-e-Azam began in the early 1950s. Each sequence was reportedly filmed three times, as the film was being produced in Hindi/Urdu, Tamil, and English. The film was eventually dubbed in Tamil and released in 1961 as Akbar, but that version's commercial failure resulted in the abandonment of the planned English dubbing, for which British actors were considered. Asif was accompanied by an extensive crew, which included his assistant directors S. T. Zaidi, Khalid Akhtar, Surinder Kapoor (assisting primarily for the English version), and five others. Additional crew members included cinematographer R. D. Mathur, choreographer Lachhu Maharaj, production manager Aslam Noori, cameraman M. D. Ayub, editor Dharamavir, makeup artists P. G. Joshi and Abdul Hamid, and sound director Akram Shaikh.

Some film sequences were shot with up to 14 cameras, significantly more than the norm at that time. There were many difficulties with the film's lighting; cinematographer Mathur reportedly took eight hours to light a single shot. In total, 500 days of shooting were needed, compared to a normal schedule of 60 to 125 shooting days at the time. Owing to the very large size of the Sheesh Mahal set, the lighting was provided by the headlights of 500 trucks and about 100 reflectors. The presence of the mirrors on the set caused problems, as they sparkled under the lights. Foreign consultants, including British director David Lean, told Asif to forget the idea since they felt that it was impossible to film the scene under the intense glare. Asif confined himself to the set with the lighting crew, and subsequently overcame the problem by covering all the mirrors with a thin layer of wax, thereby subduing their reflectivity. Mathur also used strategically placed strips of cloth to implement "bounce lighting", which reduced the glare.

A number of problems and production delays were encountered during filming, to the extent that at one point Asif considered abandoning the project. Kumar defended the long duration of filming, invoking the massive logistics of the film and explaining that the entire cast and crew were "acutely conscious of the hard work [they] would have to put in, as well as the responsibility [they] would have to shoulder."

The production also suffered from financial problems, and Asif exceeded the budget on a number of occasions. The final budget of the film is a subject of debate. Some sources state that Mughal-e-Azam cost 10.5 million to produce (about US$2.25 million at the time) while others state that it cost 15 million (about $3 million). This made Mughal-e-Azam the most expensive Indian film of the period. A number of estimates put the film's inflation-adjusted budget at 500 million to 2 billion. The budget situation strained the relationship between Asif and Pallonji, while the production also faced troubled relationships among other crew members; differences crept up between Asif and Kumar when the former married the latter's sister. Another source of trouble was the romantic relationship and ultimate break-up of Kumar and Madhubala, who had been dating for nine years.

Post-production
Sohrab Modi's Jhansi Ki Rani (1953) was the first Indian film to be shot in colour, and by 1957, colour production had become increasingly common. Asif filmed one reel of Mughal-e-Azam, including the song "Pyar Kiya To Darna Kya", in Technicolor. Impressed by the result, he filmed three more reels in Technicolor, near the story's climax. After seeing them, he sought a complete re-shoot in Technicolor, angering impatient distributors who were unwilling to accept further delays. Asif subsequently released Mughal-e-Azam partially coloured, although he still hoped to see the full film in colour.

By the end of filming, more than a million feet of negative had been used, necessitating significant editing. A number of songs were edited out owing to the running time, which in the end was 197 minutes. Almost half of the songs recorded for the film were left out of the final version.

Themes
Mughal-e-Azam is a family history highlighting the differences between father and son, duty to the public over family, and the trials and tribulations of women, particularly of courtesans. According to Rachel Dwyer, author of the book Filming the Gods: Religion and Indian Cinema, the film highlights religious tolerance between Hindus and Muslims. Examples include the scenes of Hindu Queen Jodhabai's presence in the court of the Muslim Akbar, the singing of a Hindu devotional song by Anarkali, and Akbar's participation in the Janmashtami celebrations, during which Akbar is shown pulling a string to rock a swing with an idol of Krishna on it. Film critic Mukul Kesavan has remarked that he was unable to recall a single other film about Hindu-Muslim love in which the woman (Jodhabai) is Hindu. Scholars Bhaskar and Allen described the film as a tableau vivant of "Islamicate culture", evidenced in its ornate sets, musical sequences such as the qawwali scene, and chaste Urdu dialogues. Throughout the film there is a distinct depiction of Muslims as the ruling class who not only dressed differently but also spoke in complex Persianised dialogue. They are made to appear "distinct and separate from the mainstream."

Film scholar Stephen Teo posits that Mughal-e-Azam is a "national allegory", a stylistic way of appropriating history and heritage to emphasise the national identity. He believes the arrogance of Bahar represents the power of the state and that Anarkali's emotion, which is highly personal, represents the private individual. Teo states that the theme of romantic love defeating social class difference and power hierarchy, as well as the grandeur of the filming, contribute to the film's attractiveness. Author Ashis Nandy has commented on the poetic quality of the dialogue, saying that "the characters of Mughal-e-Azam do not just speak – they refine communication, they distil it, they crystallize it into many faceted glittering gems, they make poetry of ordinary language." Gowri Ramnarayan of The Hindu has also emphasised the power of the dialogues in the film, in that they "create not only the ambiance of this period drama, but also etch character and situation. Every syllable breathes power and emotion."

Philip Lutgendorf, a scholar at the University of Iowa, has stated that while the theme of the conflict between passionate individual love and family duty may be very common in Hindi film making, with endless cinematic permutations, K. Asif's "excessive elaboration of the theme remains in a class by itself." Further, Emperor Akbar struggles between his personal desires and his duties to the nation. Ashis Nandy noted that apart from the conflict between Akbar and his son, there is also an "unwritten alliance" between Akbar and Bahar that compounds the problems of Anarkali. He also thought it highlighted the "idea of justice and the notion of unconditional love" to uphold tradition. The song "Pyar Kiya To Darna Kya" sung by Anarkali was an indication of her defiance of societal norms. A major difference from the original story is that while the earlier Anarakali films based on Imtiaz Ali Taj's story ended as tragedies, K. Asif created a relatively happy ending in that Akbar gives amnesty to Anarkali by allowing her to escape through a secret route of tunnels below a false bottom of her prison wall, although his son is made to suffer in believing her to have perished.

Historical inaccuracies

The film is based on a legend, but it is given credence by at least two texts that assert Anarkali's existence during the historical period of Emperor Akbar (1556–1605). One of the books states that in 1615 a marble tomb was built on Anarkali's grave in Lahore by Salim, when he had become Emperor Jehangir. On the tomb is a Persian inscription that reads: Ta Kiyamat shukr geom kardgate khwesh ra, Aah garman bez benaam roo-e yare khwesh ra ("Ah! could I behold the face of my love once more, I would give thanks to my God until the day of resurrection"). The author of the stage play on which the film is based, Imtiaz Ali Taj, believed that the legend had no historical base, but historians have suggested that Anarkali may have been a painter, a dancer, or a courtesan, or one of Akbar's wives and the mother of Salim's half-brother Prince Daniyal. While an earlier film version of the story, Anarkali (1952), contained a disclaimer stating that the story had no foundation in history, Mughal-e-Azam made no such claim.

Mughal-e-Azam takes numerous liberties with historical fact. Historian Alex von Tunzelmann says that although the real Salim was a heavy consumer of alcohol and opium from the age of 18, he was not necessarily a mischievous boy, as depicted in the film. When the film's Salim returns from his time in the military, he is depicted as a gentle and romantic hero, in contrast to the real Salim, who was documented as a brutal drunk who would often beat people to death. The real Salim did lead a rebellion against his father, tried to replace him as emperor, and had Akbar's friend Abu al-Fazl murdered in 1602, but the film ascribes these actions to his desire to marry Anarkali, which is historically inaccurate. Further, there were also discrepancies in sets, costumes, and music of the film. The Sheesh Mahal, actually the royal bath of the queen, was depicted in the film as a dancing hall, and much larger. Music and dancing styles from the 19th century were depicted, although the story takes place in the 16th century. For example, thumri, a semi-classical music form developed in the 19th century, is adopted in a dance sequence in Kathak style, which is a 16th-century dance form.

Music

The soundtrack was composed by music director Naushad, and the lyrics were written by Shakeel Badayuni. After conceiving the idea of the film, Asif visited Naushad and handed him a briefcase containing money, telling him to make "memorable music" for Mughal-e-Azam. Offended by the explicit notion of money as a means of gaining quality, Naushad threw the notes out of the window, to the surprise of his wife. She subsequently made peace between the two men, and Asif apologised. With this, Naushad accepted the offer to compose the film's soundtrack.
As with most of Naushad's soundtracks, the songs of Mughal-e-Azam were heavily inspired by Indian classical music and folk music, particularly ragas such as Darbari, Durga, used in the composition of "Pyar Kiya To Darna Kya", and Kedar, used in "Bekas Pe Karam Keejeye".  He also made extensive use of western classical orchestras and choruses to add grandeur to the music. The soundtrack contained a total of 12 songs, which were rendered by playback singers and classical music artists. These songs account for nearly one third of the film's running time.

Marketing
The painter G. Kamble was lured away from V. Shantaram's Rajkamal Kalamandir to paint the posters. Kamble also created cinema displays at Maratha Mandir theatre. Asif needed to buy all available stocks of Winsor & Newton paint in India at a cost of 6 lakh to enable Kamble to produce quality art for his hoardings. Kamble, who was offered a large sum of 8 lakh for his work on the stills of Mughal-e-Azam, did not receive any compensation in the end due to fraud.

Release

At the time of the release of Mughal-e-Azam, a typical Bollywood film would garner a distribution fee of 300,000–400,000 (about US$63,000–84,000 in 1960) per territory. Asif insisted that he would sell his film to the distributors at no less than 700,000 per territory. Subsequently, the film was actually sold at a price of 1.7 million (US$356,000) per territory, surprising Asif and the producers. Thus, it set the record for the highest distribution fee received by any Bollywood film at that time.

The premiere of Mughal-e-Azam was held at the then-new 1,100-capacity Maratha Mandir cinema in Mumbai. Mirroring the nature of the film, the cinema's foyer had been decorated to resemble a Mughal palace, and a  cut-out of Prithviraj Kapoor was erected outside it. The Sheesh Mahal set was transported from the studio to the cinema, where ticket holders could go inside and experience its grandeur. Invitations to the premiere were sent as "royal invites" shaped like scrolls, which were written in Urdu and made to look like the Akbarnama, the official chronicle of the reign of Akbar. The premiere was held amidst great fanfare, with large crowds and an extensive media presence, in addition to hosting much of the film industry, although Dilip Kumar did not attend the event owing to his dispute with Asif. The film's reels arrived at the premiere cinema atop a decorated elephant, accompanied by the music of bugles and shehnai.

Reception

Box office
The day before bookings for the film opened, a reported crowd of 100,000 gathered outside the Maratha Mandir to buy tickets. The tickets, the most expensive for a Bollywood film at that time, were dockets containing text, photographs and trivia about the film, and are now considered collector's items. They sold for 100 (valued at about US$21 in 1960), compared to the usual price of 1.5 (US$0.31). Bookings experienced major chaos, to the extent that police intervention was required. It was reported that people would wait in queues for four to five days, and would be supplied food from home through their family members. Subsequently, the Maratha Mandir closed bookings for three weeks.

Mughal-e-Azam was released on 5 August 1960 in 150 cinemas across the country, establishing a record for the widest release for a Bollywood film. It became a major commercial success, earning 4 million (US$839,000) in the first week, eventually earning a net revenue of 55 million (US$11,530,000), and generating a profit of 30 million for the producers. Mughal-e-Azam also experienced a long theatrical run, screening to full capacity at the Maratha Mandir for three years. The film thus became the highest-grossing Bollywood film by surpassing Mother India (1957), and retained this record until Sholay (1975) surpassed its net revenue. In terms of gross revenue, Mughal-e-Azam earned  ().

According to Ziya Us Salam of The Hindu in 2009, Mughal-e-Azam was the highest-grossing Bollywood film of all time if adjusted for inflation. According to the online box office website Box Office India in January 2008, the film's adjusted net revenue would have amounted to , ranking it as an "All-Time Blockbuster". According to Box Office India in June 2017, Mughal-e-Azam may have had more than 100 million footfalls at the domestic box office more than films like Hum Aapke Hain Koun (1994) and Baahubali 2 (2017). According to financial newspaper Mint, the adjusted net income of Mughal-e-Azam is equivalent to  () in 2017. In 2011, it was ranked as the highest grossing Bollywood film by a distance, when adjusted to gold-price inflation by Box Office India with adjusted nett gross of ₹1234.95 crore. The list was compiled using the relative price of gold in different years to arrive at a hypothetical current value of box-office collections of past films, which as per the trade magazine was a more appropriate measure of comparison as compared to official ticket-price inflation rates.

Critical reception

Mughal-e-Azam received almost universal acclaim from Indian critics; every aspect of the film was praised. A review dated 26 August 1960 in Filmfare called it a "history-making film ... the work of a team of creative artists drawn from different spheres of the art world". It was also described as "a tribute to imagination, hard work and lavishness of its maker, Mr. Asif. For its grandeur, its beauty, and then performances of the artists it should be a landmark in Indian films." Another contemporary review from The Indian Express focused on the acting and dancing "gifts" of Madhubala.

Since 2000, reviewers have described the film as a "classic", "benchmark", or "milestone" in the history of Indian cinema. In 2011, Anupama Chopra called it "the best Hindi film ever made" and "the apotheosis of the Hindi film form", noting specifically the performances, father-son drama and song sequences. Dinesh Raheja of Rediff called the film a must-see classic, saying "a work of art is the only phrase to describe this historical whose grand palaces-and-fountains look has an epic sweep and whose heart-wrenching core of romance has the tenderness of a feather's touch." Sujata Gupta of Planet Bollywood gave the film nine out of ten stars, calling it a "must see" that "has captured interest of people over generations".

K. K. Rai, in his review for Stardust stated, "it can be said that the grandeur and vintage character of Mughal-e-Azam cannot be repeated, and it will remembered as one of the most significant films made in this country." Ziya Us Salam of The Hindu described Mughal-e-Azam as a film people will want to watch over and over again. Raja Sen of Rediff compared the film to Spartacus (1960) and said, "Mughal-e-Azam is awesomely, stunningly overwhelming, a magnificent spectacle entirely free of CGI and nonlinear gimmickry, a gargantuan feat of ... of ... well, of Mughal proportions!" Laura Bushell of the BBC rated the film four out of five stars, considering it to be a "benchmark film for both Indian cinema and cinema grandeur in general", and remarking that Mughal-E-Azam was an epic film in every way. Naman Ramachandran, reviewing the film for the British Film Institute, noted the depiction of religious tolerance and said the film had a tender heart.

Nasreen Munni Kabir, author of The Immortal Dialogue of K. Asif's Mughal-e-Azam, compared the film to the Koh-i-Noor diamond for its enduring worth to Indian cinema. Outlook, in 2008, and Hindustan Times, in 2011, both declared that the scene in which Salim brushes Anarkali with an ostrich feather was the most erotic and sensuous scene in the history of Indian cinema.

Accolades
At the 1961 National Film Awards, Mughal-e-Azam won the National Film Award for Best Feature Film in Hindi. In the 1961 Filmfare Awards, Mughal-e-Azam was nominated in seven categories: Best Film, Best Director (Asif), Best Actress (Madhubala), Best Playback Singer (Mangeshkar), Best Music (Naushad), Best Cinematography (Mathur), and Best Dialogue (Aman, Wajahat Mirza, Kamaal Amrohi, and Ehsan Rizvi), winning the awards for Best Film, Best Cinematography, and Best Dialogue.

Colourisation

Mughal-e-Azam was the first black-and-white Hindi film to be digitally coloured and the first to be given a theatrical re-release. The Sterling Investment Corporation, the negative rights owner and an arm of the Shapoorji Pallonji Group, undertook restoration and colourisation of Mughal-e-Azam and assigned Deepesh Salgia as Project Designer and Director. They initially approached Hollywood executives for help, but found the sales quotations, ranging from $12–15 million, too high. In 2002, Umar Siddiqui, managing director of the Indian Academy of Arts and Animation (IAAA), proposed to enhance it digitally at a fraction of the cost. To convince the Shapoorji Pallonji Group, one of India's wealthiest companies, of the commercial viability of the project, the IAAA colourised a four-minute clip and showed it to them. They approved and gave the project the go-ahead. Shapoorji Mistry, grandson of producer Shapoorji Pallonji Mistry, thought it a fitting tribute to complete his grandfather's unfinished dream of colourising the entire film.

The first step towards colourisation was the restoration of the original negatives, which were in poor condition owing to extensive printing of the negative during the original theatrical release. Costly and labour-intensive restoration was essential before colourisation could be carried out. The negative was cleaned of fungal growth, damaged portions were restored, and missing parts of frames were re-instated. After cleaning, each of the 300,000 frames of the negative was scanned into a 10 megabytes-sized file and then was digitally restored. The entire restoration work was undertaken by Acris Lab, Chennai. The dialogues in the original soundtrack were also in a bad state of preservation, which necessitated having the sound cleaned at Chace Studio in the United States. The background score and the entire musical track was recreated by Naushad and Uttam Singh. For the songs, the original voices of the singers like Lata Mangeshkar, Bade Ghulam Ali Khan and Mohammed Rafi were extracted from the original mixed track and the same were recreated with re-recorded score in 6.1 surround sound.

The process of colourisation was preceded by extensive research. The art departments visited museums and studied the literature for background on the typical colours of clothing worn at that time. Siddiqui studied the technology used for the colourisation of black-and-white Hollywood classics. The team also approached a number of experts for guidance and suggestions, including Dilip Kumar, production designer Nitin Chandrakant Desai, and a historian from the Jawaharlal Nehru University in Delhi. To undertake the colourisation, Siddiqui brought together a team of around 100 individuals, including computer engineers and software professionals, and organised a number of art departments. The entire project was co-ordinated by Deepesh Salgia, who partnered with companies including Iris Interactive and Rajtaru Studios to execute the colourisation. The task was controlled and supervised by the producers, who received daily updates and progress reports.

The colourisation team spent 18 months developing software for colouring the frames, called "Effects Plus", which was designed to accept only those colours whose hue would match the shade of grey present in the original film. This ensured that the colours added were as close to the real colour as possible; the authenticity of the colouring was later verified when a costume used in the film was retrieved from a warehouse, and its colours were found to closely match those in the film. Every shot was finally hand-corrected to perfect the look. The actual colourisation process took a further 10 months to complete. Siddiqui said that it had "been a painstaking process with men working round the clock to complete the project." The exact cost of the colourisation is disputed, with a wide variety of estimates ranging from  to 50 million, or 100 million.

Re-releases
The film's colour version was released theatrically on 12 November 2004, in 150 prints across India, 65 of which were in Maharashtra. The new release premiered at the Eros Cinema in Mumbai. Dilip Kumar, who had not attended the original premiere, was in attendance. The colour version was edited to a running time of 177 minutes, as compared to the original version's 197 minutes. The new release also included a digital reworked soundtrack, produced with the assistance of Naushad, the original composer. The release on the festive Diwali weekend came with three other major releases: Veer-Zaara, Aitraaz, and Naach. It became the 19th highest grossing Bollywood film of the year, behind Aitraaz and Veer-Zaara (the top grosser), but ahead of Naach.

Mughal-e-Azam became the first full-length feature film colourised for a theatrical re-release; although some Hollywood films had been colourised earlier, they were only available for home media. It was subsequently selected for seven international film festivals, including the 55th Berlin International Film Festival. Upon release, the film drew crowds to the cinemas, with an overall occupancy of 90 per cent. Subsequently, it completed a 25-week run. While some critics complained that the colours were "psychedelic" or "unnatural", others hailed the effort as a technological achievement. Film critic Kevin Thomas of the Los Angeles Times remarked that while colourising was not a good idea for most black-and-white classics, it was perfect in this particular instance. He compared it to films by Cecil B. DeMille and to Gone With the Wind (1939) for its larger-than-life storytelling. The Guardian said that although the new version was an improvement, "the fake colours tend to look flat and brash, detracting from cinematographer RD Mathur's elegantly composed shots." The BBC's Jaspreet Pandohar, observing that the film was "restored in appealing candy-colours and high quality sound", considered it a "cross between Gone With the Wind and Ben-Hur". Other critics have said that they prefer the black and white version.

In 2006, Mughal-e-Azam became only the fourth Indian film certified for showing in Pakistan since the 1965 ban on Indian cinema, and was released with a premiere in Lahore. It was distributed by Nadeem Mandviwala Entertainment, at the request of Asif's son, Akbar Asif.

Legacy
Mughal-e-Azam is one of only two films directed by Asif; one of his unfinished projects was released posthumously as a tribute. Over time the title has become part of Bollywood vernacular, used to describe a project that is taking too long to complete. Art director Omung Kumar, who has designed sets for major Indian films such as Black (2005) and Saawariya (2007), said that he and others in his field look to Mughal-e-Azam as a source of inspiration for art direction. It has also been used as a model for the perfect love story, requiring directors to ensure lovers overcome obstacles. Following her success in the film, Madhubala could have gone on to land further major roles, but she was advised not to overwork owing to her heart condition, and had to withdraw from some productions that were already underway.

The Guardian in 2013 cited Mughal-e-Azam as a "landmark of cinema" despite its historical inaccuracies, and the BBC stated in 2005 that it is "widely considered one of Bollywood's most iconic films". Imtiaz Ali of The Times of India in 2010 called it the "most proto-typical, high involvement, expensive, passionate piece of work that Hindi cinema has ever produced", one that "set the standard for everything that will ever come after it". It continues to be regarded by critics as the Indian equivalent of Gone with the Wind. Filmmaker Subhash Ghai was quoted in 2010 as saying that a film like this could never be repeated: "Mughal-e-Azam is an all-time classic and has been the ultimate love story in Hindi cinema at all levels. So it will always remain alive for generations to come." To commemorate the film's anniversary, the actor and producer Shah Rukh Khan had his company Red Chillies Entertainment produce a documentary video titled Mughal-E-Azam – A Tribute by a son to his father. Hosted by Khan, it includes interviews with Asif's family and Bollywood stars. Artist M. F. Husain created a series of paintings for the video, in which he re-imagined some memorable scenes. Interested in preserving the film for future generations, Khan noted that his father was originally cast in the film but did not complete it. When asked if Mughal-e-Azam should be remade, he retorted: "It is the mother of all films; mothers cannot be remade". No sequels have been made, but Maan Gaye Mughal-e-Azam (2008) paid tribute with its title and by including in its plot part of the original stage play; it received very poor ratings from critics. In October 2016, producer Feroz Abbas Khan premiered a stage play based on the film with a cast of over 70 actors and dancers at Mumbai's NCPA theatre.

Mughal-e-Azam ranks on the lists of top Indian films, including the 2002 British Film Institute poll of Top 10 Indian Films, and Anupama Chopra's 2009 list The Best Bollywood Films. It is also included in IBN Live's 2013 list of the "100 greatest Indian films of all time". Rotten Tomatoes has sampled 10 reviewers and judged 91% of them to be positive, with an average rating of 7.9 out of 10. It was named the greatest Bollywood film of all time by a poll celebrating 100 years of Indian cinema by British Asian weekly newspaper Eastern Eye in July 2013. It belongs to a small collection of films including Kismet (1943), Mother India (1957), Sholay (1975), and Hum Aapke Hain Koun..! (1994), that are watched repeatedly throughout India and are viewed as definitive Hindi films of cultural significance. Books and documentaries made about the film include Shakil Warsi's Mughal-E-Azam – An Epic of Eternal Love, published by Rupa in 2009.

Footnotes

See also
 List of historical drama films set in Asia
 100 Crore Club
 1000 Crore Club
 List of highest-grossing films in India
 1960 in film
 Bollywood films of 1960

References

Bibliography

Further reading

External links

 Mughal-e-Azam at the British Film Institute

1960 films
1960s Hindi-language films
1960s historical romance films
1960s historical drama films
1960 romantic drama films
1960s Urdu-language films
Best Hindi Feature Film National Film Award winners
Biographical films about royalty
Cultural depictions of Akbar
Films about royalty
Films directed by K. Asif
Films scored by Naushad
Films set in the 16th century
Films set in the Mughal Empire
Historical epic films
Cross-dressing in Indian films
Films shot in Mumbai
Indian biographical drama films
Indian epic films
Indian films based on plays
Indian historical drama films
Indian historical romance films
Indian romantic drama films
Films partially in color
Romantic epic films
Urdu-language Indian films
Films about courtesans in India
Films adapted into plays

Mughal-e-Azam


Viper in the Fist (French Vipère au Poing) is a novel by Hervé Bazin.

It is the first and best known of a trilogy, the rest being La Mort du Petit Cheval and Le Cri de la Chouette. These three novels are largely autobiographical.

When published in 1948, Vipère au Poing was an immense success and also the cause of a considerable scandal. It is nowadays considered a classic novel in France, read by students in high school.

Synopsis
Young Jean lives with his grandparents. When his grandmother dies, his parents come back from China (French Indochina in the 2004 film adaptation) where his father (Jacques) teaches law. He and his brothers then discover that their mother Paule is a horrible woman, who hates her life and her children. She is extremely severe with them, deliberately unfair to the point of cruelty. Their father is a weak man who, except on rare occasions, submits to his wife's will. He spends his time in entomology studies.

Gradually, the situation turns to a perverse domestic war. Paule seizes any pretext for being cruel to her sons, and especially to Jean. Jean and his brother attempt to kill their mother twice: once with an overdose of medicine (which only gave her diarrhea); once by attempting to drown her in the river, making it seem an accident. She escapes.

On one occasion, she asks her sons' personal educator to flog Jean as a punishment. Jean escapes and goes to see his grandfather, a senator living in an upscale area of Paris. He is brought back by his father, who is fairly embarrassed by the situation.

Jean is now 15. He discovers sex with Madeleine, a young farmer's daughter from the area. He does not love her, for he distrusts all women, in whom he sees his own mother. He claims women are little but a receptacle for semen.

Paule tries to have her son caught red-handed for theft by intentionally leaving her wallet in Jean's bedroom. Jean foils her plot and after a short confrontation, he obtains what he wants, and what Paule wants too: the departure of Jean and his brother to a boarding school.

Jean concludes his memoirs by saying that while it seems that he has won, in reality Paule has destroyed his whole being. Throughout his life, he'll not be able to feel trust or love.

Social criticism

Viper in the Fist, while short, is a vitriolic indictment of early 20th century French rural bourgeois society. Bazin's hatred for this social milieu is obvious. He depicts a family where hypocrisy is rampant and where observance of Catholic rituals is far more important than virtues like love or compassion. While most portraits of common people seem good-hearted, depictions of the bourgeoisie and the ecclesiastical world are generally despicable. The various priests as educators collaborate with the narrator's mother's cruel follies and betray their lack of virtue with venal acts such as fornication with young women.

The universe that Bazin depicts — rural bourgeois rentiers — is slowly dying, but the characters do not seem to recognize this. They consider themselves the salt of the earth, replacing the former nobility, who failed in keeping France on a path they consider worthy. Like the nobility, they despise commerce. They have lofty options of themselves, yet live mostly ruined. They cease to support the monarchist Action Française only because the Pope requested it, not because they themselves judged that it was repugnant.

Movie adaptation
A television film adaptation in 1971: Vipère au poing, directed by :Pierre Cardinal.

A film adaptation of Viper in the Fist, titled Viper in the Fist (Vipère au Poing in French), was released in 2004. The movie was directed by :Philippe de Broca, and starred :Jules Sitruk as Jean Rezeau "Brasse-Bouillon", :Jacques Villeret as Jacques Rezeau, and :Catherine Frot as Paule Rezeau.

References

External links
Viper in the Fist (Movie 2004) at unifrance.org
Viper in the Fist, Movie Review by Vince D'Amato at hollywoodnorthreport.com
 http://bazinvipereaupoingstudynotes.blogspot.co.uk/ = Detailed summary and Study of the autobiographical content.

1948 French novels
French autobiographical novels
Novels set in France

Viper in the Fist


Vikash Dhorasoo (Vikaş Dorasu) (d. 10 Ekim 1973) Mauritius kökenli Fransız eski futbolcudur. Orta sahada görev yapmıştır. Milan formasıyla başarılı maçlar yapmış ve Fransa millî takımına da çağrılmıştır. Ancak sakatlığından dolayı çok fazla forma giyme şansı bulamamıştır. 2007-2008 sezonunda takımı PSG'den ayrılarak İtalya Serie A ekiplerinden AS Livorno ile anlaşmıştır.

Başarıları
 2001: Olympique Lyonnais ile Coupe de la Ligue
 2002: Bordeaux ile Coupe de la Ligue
 2003: Olympique Lyonnais ile Trophée des Champions
 2003: Olympique Lyonnais ile Ligue 1
 2004: Olympique Lyonnais ile Ligue 1
 2006: Paris Saint-Germain FC ile Fransa Kupası

1973 doğumlular
Seine-Maritime doğumlular
Fransız futbolcular
Fransız gurbetçi futbolcular
Fransa millî futbol takımı futbolcuları
AC Milan futbolcuları
Paris Saint-Germain FC futbolcuları
Olympique Lyonnais futbolcuları
FC Girondins de Bordeaux futbolcuları
AS Livorno Calcio futbolcuları
1996 Yaz Olimpiyatları futbolcuları
2006 FIFA Dünya Kupası futbolcuları
L'Entente SSG
İtalya'daki gurbetçi futbolcular
İtalya'daki Fransız gurbetçiler
Le Havre AC futbolcuları
Orta saha futbolcuları
Yaşayan insanlar
Ligue 1 futbolcuları
Serie A futbolcuları

Vikash Dhorasoo


Adelia, o la figlia dell'arciere (Adelia, o La hija del arquero) es una ópera (melodramma serio) en tres actos con música de Gaetano Donizetti y libreto en italiano de Felice Romani y Girolamo Maria Marini. Se estrenó en el Teatro Apollo de Roma el 11 de febrero de 1841.

El libreto está tomado de La figlia dell'arciere, ópera en tres actos de Carlo Coccia sobre texto de Felice Romani, del que Girolamo Maria Marini modificó el tercer acto. El texto de Romani a su vez estaba tomado de un drama francés no conocido.

Referencias

Enlaces externos

Óperas de Gaetano Donizetti
Óperas de 1841
Óperas en italiano
Óperas estrenadas en Roma

Adelia (ópera)


Strihovce este o comună slovacă, aflată în districtul Snina din regiunea Prešov, pe malul râului . Localitatea se află la , se întinde pe o suprafață de  și în 2017 număra 153 de locuitori. Se învecinează cu Ladomirov, , Hrabová Roztoka și Vyšná Rybnica.

Istoric
Localitatea Strihovce este atestată documentar din 1323.

Note

Legături externe

Localități din Slovacia

Strihovce, Snina


Selçuk Şahin (* 26. März 1983 in München) ist ein deutsch-türkischer Fußballspieler.

Karriere
Şahin kam als Sohn türkischer Gastarbeiter in München zur Welt. Er wuchs in Deutschland auf und erlernte in den Jugendabteilungen diverser Amateurklubs das Fußballspielen.
Zur Saison 2005/06 heuerte er beim Oberligisten SSV Ulm 1846 an und machte hier zwei Ligapartien.

Zu dieser Zeit wurde er von einigen Talentjägern beobachtet. Zur neuen Saison lag ein Angebot vom türkischen Zweitligisten Kartalspor vor und so wechselte er in die Türkei. Anschließend wechselte er 2008 noch zu Hacettepe und spielte hier zwei Spielzeiten lang.

Im Sommer 2010 wechselte er dann zum Zweitligisten Orduspor. Hier schaffte er auf Anhieb den Durchbruch zum Stammspieler. 2010/11 gelang ihm mit seiner Mannschaft der Aufstieg in die Süper Lig. In seiner ersten Süper-Lig-Saison verlor er seinen Stammplatz, kam aber als Einwechselspieler auf 17 Ligapartien.

Nachdem Şahin die Hinrunde der Saison 2013/14 vereinslos blieb, heuerte er zur Rückrunde beim Zweitligisten Adanaspor an. Im Sommer 2015 wurde er vom Drittligisten Gümüşhanespor verpflichtet.

Weblinks

Fußballspieler (TSV 1860 München)
Fußballspieler (Adanaspor)
Fußballspieler (Gümüşhanespor)
Fußballspieler (Hacettepe SK)
Fußballspieler (Kartalspor)
Fußballspieler (Orduspor)
Fußballspieler (SSV Ulm 1846)
Sportler (München)
Deutscher
Türke
Geboren 1983
Mann

Selçuk Şahin (Fußballspieler, 1983)


James Craig Watson (January 28, 1838 – November 22, 1880) was a Canadian-American astronomer, discoverer of comets and minor planets, director of the University of Michigan's Detroit Observatory in Ann Arbor, and awarded with the Lalande Prize in 1869.

Biography
Watson was born in the village of Fingal, Ontario. His family relocated to Ann Arbor, Michigan in 1850. At age 15 he was matriculated at the University of Michigan, where he studied the classical languages. He graduated with a BA in 1857 and received a master's degree on examination after two years' study in astronomy under professor Franz Brünnow. He became Professor of Physics and instructor in Mathematics, and in 1863, succeeded him as professor of Astronomy and director of the Detroit Observatory. He wrote the textbook Theoretical Astronomy, published in 1868 by J. B. Lippincott & Co. The textbook was a standard reference work for over thirty years.

He discovered 22 asteroids, beginning with 79 Eurynome in 1863. One of his asteroid discoveries, 139 Juewa was made in Beijing when Watson was there to observe the 1874 transit of Venus. The name Juewa was chosen by Chinese officials (瑞華, or in modern pinyin, ruìhuá). Another was 121 Hermione in 1872, from Ann Arbor, Michigan, and this asteroid was found to have a small asteroid moon in 2002.

He was a member of the most important expeditions for astronomical observation sent out by the United States Government during his time. The first was an expedition to observe the eclipse of the Sun at Mount Pleasant, Iowa, in 1869; the second of a similar expedition to Sicily, in 1870; the third to Beijing, China, to observe the transit of Venus in 1874; the fourth to Wyoming, to observe the total eclipse of the sun in 1878. He was a strong believer in the existence of the planet Vulcan, a hypothetical planet closer to the Sun than Mercury, which is now known not to exist (however the existence of small Vulcanoid planetoids remains a possibility). He believed he had seen such two such planets during his observation of the 1878 solar eclipse.

In 1879, after attempts by the university to retain him, Watson resigned his professorship at Ann Arbor to accept a position the University of Wisconsin, where he hoped to find superior apparatus and instruments for the difficult observations which he had planned. Seeking to silence critics who doubted his claims to have discovered Vulcan, he also personally paid to construct an underground observatory, in a misguided attempt to observe planets in the daytime.  This was based on the idea that stars could be seen during the day from the bottom of a well, which is an ancient myth but verifiably incorrect. (It is not merely direct glare from the Sun that hides the stars, but scattered light from the atmosphere above the well.)

Watson died of peritonitis at the age of 42 and was buried at Forest Hill, Ann Arbor. He had amassed a considerable fortune through non-astronomical business activities and, by bequest, established the James Craig Watson Medal, awarded every two years by the National Academy of Sciences for contributions to astronomy. His successor, Edward Holden, completed Watson's underground observatory, but declared it useless after he found not even the brightest stars could be observed.

Personality
Watson often prioritized financial gain. This obsession, in the view of the University of Michigan's first president, Henry Philip Tappan, led Watson to do nothing while serving as director of the Detroit Observatory during Brünnow's brief absence from 1859 to 1860. Brünnow had gone to the Dudley Observatory as Associate Director in Albany, New York, but he was called back to direct the Detroit Observatory by the Regents. The return of Brünnow so infuriated Watson that Watson contacted local life insurance agencies in Ann Arbor and became a life insurance actuary, where he made some extra money. Watson also during his career helped reduce Washington Zones for the United States Office of Coast Survey solely for the money. In another action motivated by money, Watson built a house in Ann Arbor on South University Avenue for $5000 but still could not pay for it after gathering all his resources and borrowing $2000. He requested a mortgage soon after with the house as collateral, then he sold the house to someone in Saline in September 1862 and then convinced the Regents to build a Director's Residence attached to Detroit Observatory. It is unclear how he had such massive debt despite his rather large salary at the time.

Watson was a very divisive person on the University of Michigan's campus. He did not allow visitors or students in the Detroit Observatory, angering many students. He also only really cared about students interested in astronomy, but he was an interesting lecturer and easy grader, so a large number of students took his courses. His carelessness is reflected in the fact that he once gave passing grades to an entire class, including to a student who died two weeks into the term.

Watson also appeared to be rather vain. He would sign his notebooks as if practicing his autograph, including once signing his notebook, "James Craig Watson, Astronomer Royal," a title only given to the most renowned astronomers of Britain. Watson also once wrote this about himself:
In addition to this, Watson frequently committed plagiarism, including from Brünnow, and he received a variety of honorary degrees by asking for them rather than being honored with them (e.g. Doctor from University of Leipzig, Doctor of Law from Columbia College, etc.). Oddly, Watson was still well-liked for being cheerful and humorous. Watson also was a religious fundamentalist, believing that mathematicians could not be atheists.

Honors and awards
Watson won the Lalande Prize given by the French Academy of Sciences for 1869. He was a member of the National Academy of Sciences and the American Philosophical Society. He received the honorary degree of Doctor of Philosophy from the University of Leipzig in 1870, and from Yale College in 1871, and the degree of Doctor of Laws from Columbia in 1877.

The main-belt asteroid 729 Watsonia is named in his honour, as is the lunar crater Watson.

References

External links

Obituary, Scientific American, "James C. Watson", 25 December 1880, p. 405

1838 births
1880 deaths
19th-century American astronomers
Emigrants from pre-Confederation Ontario to the United States
Deaths from peritonitis
Discoverers of asteroids
People from Ann Arbor, Michigan
People from Elgin County
Pre-Confederation Ontario people
University of Michigan alumni
University of Michigan faculty
Recipients of the Lalande Prize

James Craig Watson