Wolf Alice é uma banda inglesa de rock alternativo de Londres. Foi formada em 2010 inicialmente como um duo da vocalista Ellie Rowsell e do guitarrista Joff Oddie, porém desde 2012 Wolf Alice conta com a participação do baixista Theo Ellis e do baterista Joel Amey.

Wolf Alice fez seu primeiro show no Highbury Garage, em dezembro de 2010 abrindo para a April in the Shade, depois que Ellie Rowsell e Joff Oddie conheceram a banda no Hope & Anchor em Islington. Eles lançaram o single de estreia "Fluffy" em fevereiro de 2013, e em seguida lançaram "Bros" em maio. Eles lançaram o EP de estreia Blush em outubro, e seu acompanhamento Creature Songs em maio de 2014. Em fevereiro de 2015 a banda lançou o single principal "Giant Peach" do álbum de estreia My Love Is Cool, o qual foi lançado em junho de 2015. O álbum incluiu o single de 2014 "Moaning Lisa Smile", que alcançou a nona posição no chart da Billboards Alternative Songs em agosto de 2015, e foi nomeado para o Grammy Award de 2016, na categoria Melhor Performance de Rock.

A banda lançou o segundo álbum de estúdio Visions of a Life em setembro de 2017. Ele estreou na segunda posição do UK Albums Chart, e recebeu aclamação universal dos críticos de música. Classificado como um dos melhores álbuns do ano por várias publicações, o álbum ganhou o Mercury Prize de 2018. A banda lançou seu terceiro álbum de estúdio Blue Weekend em junho de 2021.

História

2010–2016: Formação, EPs e My Love Is Cool
Wolf Alice foi formado em 2010 e começou como uma dupla acústica entre Ellie Rowsell e Joff Oddie. Seu nome veio do conto The Bloody Chamber de Angela Carter. Eventualmente decidindo adicionar elementos elétricos ao seu som, eles recrutaram a amiga de infância de Rowsell, Sadie Cleary, para tocar baixo e o amigo de Oddie, James DC, para ser o baterista. Eles lançaram um EP chamado Wolf Alice naquele ano, contendo três músicas: "Every Cloud", "Wednesday", e "Destroy Me".

Quando James DC quebrou o pulso em 2012, Joel Amey se juntou à banda como um baterista substituto temporário, mas depois se tornou um membro permanente. Nesse mesmo ano, Cleary saiu para se concentrar em seus estudos. Theo Ellis foi então recrutado como baixista no final de 2012. Eles lançaram a música "Leaving You" online no SoundCloud como um download gratuito e foi tocada ao vivo na BBC Radio 1 e apareceu na seção 'Radar' da NME. Depois que a música foi lançada, eles fizeram uma turnê com o Peace,  e gravaram uma sessão para o show de Huw Stephens' na Radio 1 em janeiro. Eles lançaram seu primeiro single físico da música Fluffy em fevereiro de 2013 com a gravadora Chess Club.

Wolf Alice lançou seu segundo single Bros em maio no Chess Club Records. Bros é uma das primeiras músicas que Rowsell escreveu, que a banda tocou em seus estágios iniciais, levando a uma turnê onde a banda foi apoiada por bandas como "Dressed Like Wolves" e Dead New Blood. Em outubro de 2013, Wolf Alice lançou seu primeiro EP oficial chamado Blush, que foi precedido pelo lançamento de "She".

Em dezembro de 2013, eles foram escolhidos como o artista mais "blogado" no Reino Unido naquele ano pela BBC Radio 6 Music. Em 2014, eles assinaram contrato com a Dirty Hit e lançaram seu segundo EP Creature Songs em maio. Em dezembro de 2014, a banda foi nomeada "Melhor Artista Revelação" no UK Festival Awards.

No final de fevereiro de 2015, Wolf Alice anunciou seu álbum de estreia My Love Is Cool, e lançou o primeiro single do álbum, Giant Peach. Em abril, eles lançaram uma versão reformulada do favorito dos fãs, "Bros", como o segundo single de seu álbum de estreia. Em 10 de junho, a banda compartilhou uma nova faixa, You're a Germ. My Love Is Cool foi lançado em 22 de junho, estreando na segunda posição do UK Albums Chart e recebendo críticas altamente positivas. Mais tarde naquele ano, eles lançaram You're a Germ and Freazy  como singles, bem como "Lisbon" em 2016. Mais tarde em 2016, eles foram uma das atrações da tour da banda The 1975 nos Estados Unidos. O cineasta Michael Winterbottom seguiu Wolf Alice durante a turnê de divulgação de My Love Is Cool. Ele filmou a banda e também inseriu dois atores entre eles, interpretando membros da equipe de estrada, com uma história de amor fictícia se desenvolvendo enquanto eles mudavam de show para show. O filme documentário/drama resultante, On the Road, foi lançado em outubro de 2016. De acordo com Deadspin, "No documentário, Winterbottom captura 16 shows diferentes e a vida cotidiana nos bastidores do ponto de vista de um novo membro de sua equipe."

2017–2020: Visions of a Life, Prêmio Mercury Prize

Em junho de 2017, Wolf Alice lançou o single primeiro Yuk Foo de seu segundo álbum de estúdio, Visions of a Life. Eles lançaram mais três singles, Don't Delete the Kisses, Beautifully Unconventional, and Heavenward, antes do lançamento de seu álbum em 28 de setembro. Em 2018, eles também lançaram Formidable Cool, Sadboy and Space & Time como singles do álbum.

A banda esteve em tour ao longo de 2018, participando das turnês de Foo Fighters na Concrete and Gold Tour e também do Queens of the Stone Age durante a Villains World Tour. Eles também participaram do show de Liam Gallagher durante o concerto Finsbury Park em 29 de junho de 2018. Em setembro de 2018, Visions of a Life ganhou o Mercury Prize de 2018.

2021–presente: Blue Weekend
Em 15 de fevereiro de 2021, o site da banda foi atualizado para mostrar um vídeo em loop de um olho, com o título The Last Man on Earth. Em 22 de fevereiro de 2021, a banda anunciou que seu single The Last Man on Earth seria lançado em 24 de fevereiro de 2021, e estrearia no programa da Annie Mac na BBC Radio 1. O lançamento do single foi seguido do anúncio do terceiro álbum de estúdio, Blue Weekend, o qual foi lançado em 4 de junho de 2021. O segundo single do álbum, Smile, wfoi lançado em 20 de abril de 2021.

Blue Weekend recebeu ampla aclamação da crítica e foi indicado para o Mercury Prize de 2021. No lançamento, a publicação musical The Forty-Five chamou o Blue Weekend de: "um idílio corajoso de sentimento: o som de uma banda se satisfazendo em vez de se provar, e preenchendo completamente o espaço que eles conquistaram ao longo do anos." Wolf Alice ganhou o Brit Award de 2022 na categoria de Group of The Year.

Estilo musical e influências
Enquanto o material inicial do grupo era uma mistura de pop e folk, eles se tornaram mais orientados para o rock depois que a seção rítmica se juntou. Geralmente, o estilo musical da banda tem sido descrito como rock alternativo, indie rock, shoegaze, dream pop, folk, grunge, pop, e eletrônico. Clash descreveu a banda como "a filha do folk e do grunge". O single Fluffy fez com que a banda fosse comparada a Elastica e Hole, enquanto o lado B do single, White Leather, fez com que fosse comparada a The xx. Kitty Empire, escrevendo no The Observer, descreveu seu som como "uma linha envolvente de indie rock desequilibrado". A banda descreve a própria música como "rocky pop". The Daily Telegraph  declara o álbum de estreia de Wolf Alice, My Love Is Cool, como "feral e sofisticado" na review.

Em entrevistas, a banda citou seu gosto por The Vines, the Beatles, Siouxsie and the Banshees, Blur e Courtney Love.

Integrantes

Formação atual
 Ellie Rowsell – vocalista, guitarrista, tecladista,  sintetizadores, pianista (2010–presente)
 Joff Oddie – guitarrista, violinista, sintetizadores, backing vocals (2010–presente)
 Theo Ellis – baixista, sintetizadores, backing vocals (2012–presente)
 Joel Amey – baterista, percussionista, sintetizadores, backing vocals (2012–presente)

Integrantes de apoio durante turnês
 Ryan Malcolm – tecladista, sintetizadores, pianista, percussionista, backing vocals (2021–presente)

Ex-integrantes
 Sadie Cleary – baixista(2010–2012)
 James DC – baterista(2010–2012)

Discografia

Álbuns de estúdio

My Love Is Cool (2015)
Visions of a Life (2017)
Blue Weekend (2021)

Prêmios e indicações

 UK Festival Awards

 iTunes Store

 Mercury Prize

 Brit Awards

 Global Awards

 Grammy Awards

 NME Awards

 Ivor Novello Award

 AIM Awards

 UK Music Video Awards

Ligações externas

Artistas da RCA Records
Bandas formadas em 2010
Quartetos musicais
Bandas de dream pop
Bandas de indie rock
Bandas da Inglaterra
Vencedores do Mercury Prize
Vencedores do Prêmio NME
Músicos vencedores dos Brit Awards

Wolf Alice


Euryderus grossus es una  especie de coleóptero adéfago de la familia Carabidae y el único miembro del género monotípico Euryderus. Habita en Canadá y Estados Unidos.

Referencias

Enlaces externos
 Euryderus en ION
 Nomenclator Zoologicus

Harpalina

Euryderus


IC 335 je lećasta galaktika u zviježđu Kemijske peći. Ova je galaksija dio klastera Kemijske peći.

Čini se da je IC 335 vrlo sličan NGC 4452, lećastoj galaksiji u zviježđu Djevice. Obje su galaksije rubne, što znači da su njihove karakteristike, poput spiralnih krakova, skrivene. Smatra se da su lećaste galaksije tip između spiralnih galaksija i eliptičnih galaksija, a poput eliptičnih galaksija imaju vrlo malo plina za stvaranje zvijezda. IC 335 je možda nekada bila spiralna galaksija, te se možda u prošlosti sudarala s galaksijom i na taj je način potrošila sav svoj plin.

1993
Galaksije u Kemijskoj peći

IC 335


Línea 200 puede referirse a:

 Línea 200 de colectivos de Buenos Aires.
 Línea 200 de autobuses de Madrid.
 Línea 200 de Adif conocida como Línea Madrid-Barcelona.
 Línea 200 del tranvía de Cuenca, Ecuador.

Línea 200


Nar şu anlamlara gelebilir:

Yiyecek
 Nar, Nargillerden, yaprakları karşılıklı, çiçekleri büyük, koyu kırmızı renkte, küçük bir ağaç ve onun meyvesi.

Yerleşim yeri
 Nar, Nevşehir'in bir mahallesi.

Medya
 Nar, bir Mercan Dede albümü.
 Nar, Ümit Ünal'ın 2001 yapımı filmi.

Nar (anlam ayrımı)


Skiffle este un gen muzical cu masive influențe muzicale din jazz, blues, folk și muzica folk americană, adesea folosind o combinație de instrumente muzicale manufacturate, realizate artizanal și chiar improvizate.

Originar ca termen, gen muzical și structură în primele decenii ale secolului al 20-lea în , skiffle-ul "renăscut" a devenit și redevenit extrem de popular în anii 1950, de data aceasta în , unde a fost asociat cu actele muzicale ale soliștilor vocali precum Lonnie Donegan, Ken Colyer și Chas McDevitt, și respectiv a unor formații așa cum fuseseră The Vipers Skiffle Group.

Practicarea genului skiffle a jucat un rol major în carierele ulterioare ale unor muzicieni de calibru, larg cunoscuți ulterior ca excelând în genurile jazz, pop, blues, folk și rock, așa cum au fost The Beatles și Rory Gallagher, fiind considerată a fi un factor esențial în cea de-"a doua renaștere muzicală britanică" (a se vedea și British folk revival și blues boom), dar și în crearea bazei primei Primei invazii muzicale britanice (First British Invasion) pe scena muzicală a Statelor Unite.

Origine și dezvoltare în Statele Unite (Anii 1920-1940)

Originile muzicii skiffle sunt, în general, considerate a fi obscure, dar este de asemenea crezut că se află în cultura muzicală afro-americană a anilor timpurii 1900. Se spune adesea că skiffle s-ar fi dezvoltat din jazzul din New Orleans, dar această abordare a fost diputată.

Trupe muzicale improvizate, așa numitele jug bands, care interpretau mai ales muzică blues și jazz erau foarte adesea întâlnite în Sudul Statelor Unite în primele decade ale secolului al 20-lea. Toate utilizau instrumente improvizate așa cum erau cele cu coarde (washboardurile și washtub basurile,), dar și viori sau chitare făcute din cutii de țigări (cigar-box fiddles), de suflat, precum juguri, sau de vibrație precum fierestrăul muzical, dar și instrumente muzicale convenționale așa cum erau chitara acustică și banjo-ul.

Utilizarea termenului
Originea cuvântului englez skiffle este necunoscută. Oricum în dialectul din vestul Angliei, a face skiffle (în original, to make a skiffle) desemnează "a face praf orice" (a distruge total), fiind documentat încă din 1873.  În deceniile timpurii ale secolului al XX-lea, peste ocean, termenul skiffle era un cuvânt de jargon pentru o așa numită rent party, un eveniment social organizat pentru a colecta bani pentru a plăti închirierea unei case. A fost consemnat în Chicago, la începutul anilor 1920 și este posibil ca să fi fost adus ca parte a migrării lucrătorilor afro-americani către orașele industriale ale nordului și nord-vestului mijlociu al Statelor Unite.

Prima utilizare a termenului a fost documentată în 1925 în numele lui Jimmy O'Bryant și a trupei sale, The Chicago Skifflers. Cel mai adesea termenul skiffle a fost utilizat pentru a descrie înregistrări muzicale de country blues, printre care se numărau și "Hometown Skiffle" (1929) și "Skiffle Blues" (1946) de Dan Burley & his Skiffle Boys. A fost, de asemenea, utilizat de Ma Rainey (1886–1939) pentru a descrie portofoliul său muzical audiențelor rurale unde adesea concerta. Termul skiffle a dispărut de facto cam în același timp al victoriilor forțelor aliate în cel de-al doilea război (mijlocul anilor 1940).

Renașterea genului în Regatul Unit (anii 1950)
Skiffle a fost la timpul nașterii și "germinării" sale din America un gen relativ obscur și este perfect posibil să fi fost uitat dacă nu ar fi fost renașterea sa din Regatul Unit din anii 1950 și succesul masiv obținut de principalul său "promotor", Lonnie Donegan. Varianta britanică a skiffle-ului s-a dezvoltat pe scena jazzului britanic, care s-a îndepărtat de muzica swing, "cotind viguros" înspre trad jazz.

Referințe, note

Legături externe
 My 20-year love affair with the joy of skiffle — "Povestea mea de iubire de 20 de ani cu bucuria [de a cânta] skiffle"

Fads
Genuri muzicale universale
Muzică afro-americană
Subgenuri de muzică blues
Subgenuri de muzică folk
Subgenuri de muzică jazz

Skiffle


Les championnats de France de pétanque 2009 est une édition des championnats de France de pétanque.

Présentation
Cette compétition constitue la  du triplette sénior masculin, la  du doublette sénior masculin, la  du tête à tête sénior masculin, la  du triplette sénior féminin, la  du doublette sénior féminin, la  du doublette sénior mixte, la  du triplette junior, la  du triplette cadet, la  du triplette minime et la  du triplette vétéran. Elle se déroule à Caen (Calvados) du 27 au 28 juin 2009 pour le triplette sénior masculin ; à Aurillac (Cantal) du 11 au 12 juillet 2009 pour le doublette sénior masculin, le tête à tête sénior masculin et du 13 au 14 juillet 2009 pour le doublette sénior mixte ; à Beaucaire (Gard) du 29 au 30 août 2009 pour le triplette sénior féminin ; à Lons-le-Saunier (Jura) du 13 au 14 juin 2009 pour le doublette sénior féminin ; à Nevers (Nièvre) du 22 au 23 août 2009 pour le triplette junior, cadet et minime ; et à Moulins (Allier) du 12 au 13 septembre 2009 pour le triplette vétéran.

Résultats

Triplette sénior masculin

Doublette sénior masculin

Tête à tête sénior masculin

Triplette sénior féminin

Doublette sénior féminin

Doublette sénior mixte

Triplette junior

Triplette cadet

Triplette minime

Triplette vétéran

Palmarès

Notes et références

Notes

Références

Pétanque
Sport en France en juin 2009
Sport en France en juillet 2009
Sport en France en août 2009
Sport en France en septembre 2009
Événement sportif à Caen
Sport à Aurillac
Événement sportif dans le Gard
Lons-le-Saunier
Sport à Nevers
Moulins (Allier)

Championnats de France de pétanque 2009


Le Cri du cœur  es una película del año 1994.

Sinopsis
Moktar vive en África con su madre Safi. Nunca ha salido del pueblo. Su padre, que se fue a Francia hace tiempo, les pide que se unan a él. El niño deja su pueblo, a sus amigos y a su abuelo enfermo por un mundo extraño y hostil. Tiene dificultades en adaptarse. A menudo sufre pesadillas en las que aparece una hiena, símbolo de la muerte. Por suerte, conoce a Paulo, un marginado que le ayuda a aceptar el cambio y a dominar sus temores.

Premios
 Festival de Venecia 1994
 Festival de Cine de África, Asia y América Latina de Milano 1995

Referencias

Le Cri du cœur


Bulutsuzluk Senfoni, 2004 yılında Türk rock müziği grubu Bulutsuzluk Özlemi'nin büyük bir orkestrayla verdiği konserin kaydından oluşan konser albümüdür. Grup Harbiye Açıkhava Tiyatrosu'nda şef Orhan Şallıel yönetimindeki senfonik orkestra ile birlikte verdiği bu konserde 11 şarkı çalmıştır. Albüm, grubun ikinci canlı performans albümüdür ve 2008 yılında "DVD" formatında tekrar yayınlanmıştır.

Albümdeki şarkılar
 Tepedeki Çimenlik
 Özgürlük Emek İster
 Kaybolan Şehir
 Dede Baba Oğul
 Yine Düştük Yollara
 Acil Demokrasi
 Güneşimden Kaç
 Beynim Zonkluyor
 Seni Görmem Lâzım
 Yaşamaya Mecbursun
 Sözlerimi Geri Alamam

Grup üyeleri
 Nejat Yavaşoğulları - Vokal, Elektrik Gitar
 Sina Koloğlu - Klavye
 Utku Ünal - Davul
 Burak Güven - Bass
 Serdar Öztop - Elektrik Gitar
 Orhan Şallıel - Orkestra Şefi

Dış bağlantılar
 Bulutsuzluk Özlemi resmî sitesi

2004 albümleri
Alternatif rock albümleri
Bulutsuzluk Özlemi albümleri
Ada Müzik albümleri
Canlı albümler

Bulutsuzluk Senfoni


John Bankhead Magruder (1 de mayo de 1807-19 de febrero de 1871) fue un militar de carrera que sirvió en los ejércitos de tres países. Era oficial del Ejército de los Estados Unidos en la Intervención estadounidense en México, general confederado durante la Guerra de Secesión y general de la posguerra en el Ejército Imperial Mexicano. Conocido como el "Príncipe Juan" por sus amigos del ejército, Magruder fue más famoso por sus acciones al retrasar a las tropas federales durante la Campaña de la Península de 1862 a través de artimañas elaboradas que dieron al Maj. Gen. George B. McClellan la impresión de que los confederados tenían más fuerzas que en la realidad, y en defender exitosamente Galveston, Texas contra el Ejército y la Armada de la Unión a principios de 1863.

Primeros años y carrera
Magruder nació en Port Royal, Virginia. Primero asistió a la Universidad de Virginia, donde, como estudiante, tuvo la oportunidad de cenar con el ex Presidente Thomas Jefferson. Se graduó en la Academia Militar de los Estados Unidos en 1830, donde fue compañero de cuarto de William N. Pendleton. Le nombraron alférez en el regimiento de Infantería de los EE. UU. Se le destinó más tarde al 1.º Artillería de EE. UU.

Magruder sirvió en la Segunda Guerra Seminola en Florida, y luego a las órdenes de Winfield Scott en el Ejército de Ocupación en México. Fue nombrado Mayor con honores por "conducta valiente y meritoria" en la Batalla de Cerro Gordo, y teniente coronel por su valentía en el asalto de Chapultepec. Estuvo en servicio fronterizo en California y en el Fuerte Leavenworth en el Territorio de Kansas.

El Príncipe Juan era alto y llamativamente bien parecido. Hablaba con un balbuceo, excepto cuando cantaba el tenor, lo que hacía con frecuencia. Su avocación era componer canciones y conciertos de ensayo y producciones de teatro amateur, algo para aliviar el tedio del servicio de la guarnición en tiempos de paz. Esta tendencia teatral sería muy útil en la Guerra Civil.

Guerra Civil
Al comienzo de la Guerra Civil, Magruder fue destinado a la artillería de las fuerzas de guarnición de Washington, D.C.. Sin embargo, renunció al Ejército de los EE. UU. cuando su natal Virginia se secesionó, con lo cual le nombraron coronel en el Ejército de los Estados Confederados. Fue ascendido rápidamente a brigadier general (junio de 1861) y mayor general (octubre de 1861). Estuvo al mando del pequeño Ejército de la Península defendiendo Richmond contra la invasión del mayor general George B. McClellan a la Península de Virginia en la primera parte de la Campaña de la Península de la Unión en 1862. Este ejército independiente fue incorporado como división militar en el Ejército del Norte de Virginia el 12 de abril de 1862.

Durante la Batalla de Yorktown, Magruder burló completamente a McClellan en cuanto a su fuerza al marchar ostensiblemente un pequeño número de tropas más allá de la misma posición varias veces, haciéndolo parecer una fuerza más grande. Él movió su artillería alrededor con frecuencia y abundantemente utilizó municiones cuando las tropas de la Unión fueron avistadas, dando la impresión de una gran fuerza defensiva y agresiva. Este subterfugio causó las semanas de retraso innecesarias del Ejército del Potomac de McClellan y trajo elogios a Magruder de su superior, el Gen. Joseph E. Johnston. Sin embargo, Magruder se desempeñó pobremente y sin agresividad en las siguientes Batallas de los Siete Días. Algunos culpan el consumo pesado por su comportamiento errático, otros señalan el estrés implacable de su defensa de McClellan en Yorktown. En la Batalla de Malvern Hill, el último de los siete días, los guías locales lo llevaron a él y a sus hombres por mal camino, causando un considerable retraso en su llegada a la línea de batalla. Las órdenes del nuevo comandante Robert E. Lee de atacar, expedidas al principio del día, pero sin tiempo marcados en ellas, se recibieron después de que Magruder finalmente entró en la posición correcta algunas horas más tarde. Estaban equivocados como actualmente emitidas, el error se agravó cuando las nuevas órdenes de Lee llegaron el cual basado en errores de inteligencia reafirmó el ataque. La ejecución de Magruder de esas órdenes como si fueran actuales y precisas resultó en un asalto descoordinada que sufrió pérdidas considerables y no avanzó. Lee más tarde, cuando él, personalmente, inspeccionó el campo, pensó que ningún jefe en la escena debería haber ido adelante con un ataque. Cuando le preguntó a Magruder "¿Por qué atacaron?" Magruder respondió: "En obediencia a sus órdenes repetidas dos veces."

Lee reorganizó su ejército después de los siete días, reemplazando a aquellos que pensó que eran comandantes ineficaces y Magruder pronto fue reasignado al mando del Distrito de Texas, Nuevo México, y Arizona.

El 1 de enero de 1863, las fuerzas de Magruder ganaron la Batalla de Galveston, recapturando la ciudad y puerto para la Confederación. El Primer Congreso Confederado publicó sus agradecimientos especiales:

Desde agosto de 1864 hasta marzo de 1865, Magruder comandó al Departamento de Arkansas, pero luego volvió a comandar el Distrito de Texas, Nuevo México y Arizona en los últimos meses de la guerra hasta que toda la región del Trans-Mississippi fue entregada por el general Edmund Kirby Smith.

Carrera en la postguerra
Después de la guerra, Magruder huyó a México y entró al servicio del Emperador Maximiliano I de México como mayor general en el Ejército Imperial Mexicano. Sin embargo, en mayo de 1867, las fuerzas del emperador habían sucumbido a un asedio y el emperador había sido ejecutado. Magruder regresó a los Estados Unidos y se estableció en Houston, Texas, donde murió en 1871. Es enterrado en el Cementerio Episcopal en Galveston, la escena de su más grande éxito militar.

Honores
Una serie de características geográficas han sido nombradas en honor de John Magruder:
El fuerte Magruder, un bastión confederado durante la Batalla de Williamsburg.
Magruder en el Condado de York (Virginia), un pequeño pueblo cerca de Williamsburg. Durante la Segunda Guerra Mundial, alrededor de 1943, la Armada de los Estados Unidos trasladó a los residentes y el entero antiguo pueblo de Magruder pasó a formar parte de una gran reserva militar conocida como Camp Peary. A partir de 1951, la instalación ha sido designada para "Actividad de Formación Experimental de las Fuerzas Armadas", y extraoficialmente, es conocido como una instalación de la Agencia Central de Inteligencia (CIA) apodado "La Granja". El acceso estaba muy restringido a partir de 2005.
Magruder Boulevard (Ruta Estatal 134), un camino conector principal que corre a través de la ciudad independiente de Hampton y en el Condado de York.
Thomas Magruder, un personaje en el videojuego tematizado en el Viejo Oeste, GUN, es un exmayor de la Guerra Civil con el mismo apellido.

Notas

Referencias
 Cadorph, Paul D. Prince John Magruder: His Life and Campaigns. New York: John Wiley & Sons, 1996. ISBN 0-471-15941-7.
 Eicher, John H., y David J. Eicher. Civil War High Commands. Stanford, CA: Stanford University Press, 2001. ISBN 0-8047-3641-3.
 Foote, Shelby. The Civil War: A Narrative. Vol. 1, Fort Sumter to Perryville. New York: Random House, 1958. ISBN 0-394-49517-9.

Bibliografía adicional
 Latimer, Jon. Deception in War. London: John Murray, 2001. ISBN 0-7195-5605-8.
 Settles, Thomas M. John Bankhead Magruder: A Military Reappraisal. Baton Rouge: Louisiana State University Press, 2009. ISBN 978-0-8071-3391-0.

Fallecidos en Houston
Oficiales del Ejército de los Estados Unidos

John B. Magruder


Garrison Petawawa is located in Petawawa, Ontario. It is operated as an army base by the Canadian Army.

Garrison facts

The Garrison is located in the Ottawa Valley in Renfrew County,  northwest of Ottawa along the western bank of the Ottawa River. Its main gate is North of the town of Petawawa. The majority of the base territory is in the municipality of Laurentian Hills, with portions also in Petawawa and Deep River.

Approximate personnel numbers are as follows:

 Canadian Forces personnel: 5,328
 DND civilian employees: 936
 Canadian Forces dependents: 5,653

Approximately 6,000 people directly connected to the base live in local communities between Deep River and Pembroke.

The Garrison has an extensive infrastructure with 465 buildings and over 300 km2 of property comprising the Petawawa Training Area.

Fitness facilities

Dundonald Hall is the Garrison's main fitness facility and is located on Festubert Boulevard. It houses a 5,000 square metre field house containing a 200-metre indoor running track, a 25-metre swimming pool, a wading pool equipped with a winding water slide, and whirlpool and sauna facilities.

The complex houses a gymnasium, aerobic studio, teen room, preschool play rooms and meeting rooms. The "Rec Plex" is home to numerous clubs and societies on the base such as the Karate Club, Preschool Clubs and the Indoor Rock Climbing Club.

Recreation

The South Side Community Centre offers similar facilities and services to another area of the Petawawa community, including Recreation Service's and Military Family Resources Services.

During the summer, recreation options include golf on the base's 18-hole course, hiking local trails, beaches on local lakes and rivers, a full service marina for sail and power boating on the Ottawa River, or camping along the banks of the Ottawa River.

Winter recreation options include cross country ski trails, snowmobiling and ice fishing.

History
Founded in 1905 as the Petawawa Military Camp, or Camp Petawawa, the Garrison was created by the Department of Militia and Defence upon the purchase of  of mostly agricultural property from local residents.

The Garrison derives its name from the Petawawa River. The origin of the name PETAWAWA is lost in antiquity, but legend has it that it is an Algonquian Native-Aboriginal word pronounced PETWEWE. The translation is thought to mean, "Where one hears noise like this", referring to the sound of the fast water over the rocks in the river. In another legend it is said that the area was named after an indigenous woman who inhabited the banks of the Petawawa River and lived to the age of 115 years.

Early French explorers used a trail or route through this area. The Mattawa Trail, now called Mattawa Road still exists on parts of the base today. The site was originally a German immigrant settlement. German pioneers toiled to build a community out of the harsh and rugged terrain. Some of the topographical features in the training area still bear the names of these early settlers.

By 1904 the Department of Militia and Defence purchased 150 properties from these settlers totaling . The Royal Canadian Horse and Garrison Artillery were the first to train at Petawawa Military Camp during the summer of 1905. In 1906 the Royal Canadian Engineers constructed huts, stables and installed water and gas systems. In that same year "A" and "B" Batteries of the Royal Canadian Horse Artillery, commenced the first of many marches to Camp Petawawa for summer training from their permanent station in Kingston, Ontario.

By 1907 combined training and tactical exercises were conducted by various other units such as A and B Squadron, Royal Canadian Dragoons; A and B Batteries, Royal Canadian Horse Artillery; No. 2 Company, Royal Canadian Engineers; a battalion from The Royal Canadian Regiment; and detachments from the Medical and Ordnance Corps.

The first military aircraft flight in Canada took place at Petawawa. On 31 July 1909 under perfect weather conditions, J.A.D. McCurdy and F.W. Baldwin flew the "Silver Dart" at Camp Petawawa in the presence of military observers.

From December 1914 to May 1916, Petawawa was used as an internment camp for 750 German and Austrian prisoners of World War I. Most of these men were civilian internees, the majority of them Ukrainians and other Europeans who came to the Dominion from the Austro-Hungarian Empire, and so were categorized as "enemy aliens" at the outbreak of the war. At the same time Canada Car and Foundry Company had developed three inch shells and were being tested at the camp by Russian artillery. The prisoners, in effect forced labourers, were instrumental in helping clear roads and timber opening up an artillery range and so making these tests possible. From May 1916 to 1918, 10,767 Canadian troops were trained at Petawawa before being sent overseas.

The Garrison is also home to a marked grave of a member of the Chinese Labour Corps, Chou Ming Shan, whom died in transit in France in 1917 and buried at the base. Commonwealth War Graves Commission installed an official grave marker in 2019.

During World War II, three training centres (two artillery and one engineering) were established at Camp Petawawa. In September 1942, 12,515 troops were stationed on the base. The peak load was reached during 1943 when approximately 20,000 troops were undergoing training at one time. As in the previous war, Petawawa was the site of an internment camp. The camp's official designation was Internment Camp No.33; located at Centre Lake it held 645 civilian internees. There were 28 different nationalities, the majority being Italian and German people identified as enemy aliens.

In 1947, the training of militia and regular units of the Canadian Army resumed. The Royal Canadian Dragoons and 1st Battalion, The Royal Canadian Regiment were moved to Camp Petawawa in 1948. Upon being given the status of a permanent camp, it was officially designated "Camp Petawawa" in May 1951. During the next few years construction continued in order to accommodate more regular units, married quarters and schools for the soldiers' dependents. Units of the Special Force, such as 2 RCHA, 8th Hussars, PPCLI, and 1 RCR earmarked for service in Korea were concentrated at Petawawa before transferring to the United States for departure to the Korean Theatre. The 2nd Canadian Infantry Brigade Group was stationed to Petawawa upon return from Germany in 1959. This formation was redesignated 2 Combat Group in 1966.

The unification of the Canadian Forces resulted in Camp Petawawa being renamed Canadian Forces Base Petawawa (CFB Petawawa) on February 1, 1968. Under the CF, the base was allocated to Mobile Command.

On 1 April 1977, 2 Combat Group was disbanded. 2 Combat Group combined with the Canadian Airborne Regiment at CFB Petawawa to form the Special Service Force. The Special Service Force constituted a unique chapter in Canada's military history. It derived its name from the first Special Service Force, an historic formation of Americans and Canadians which pioneered special forces operations in a brief but immensely successful history during the second world war. The latter-day Special Service Force represented a compromise between the general purpose combat capabilities of a normal brigade and the strategic and tactical flexibility which derived from the lighter and more mobile capabilities of the Canadian Airborne Regiment. Units and soldiers of the Special Service Force served in operations both at home and around the world.

The Special Service Force was officially re-designated as 2 Canadian Mechanized Brigade Group by a Ministerial Order signed on 24 April 1995. This decision to re-organize and re-equip the formation was due to current emphasis in Canadian defence policy on general-purpose capabilities. With a smaller force structure, a smaller defence budget and more frequent operational taskings, it has become clear that general-purpose capabilities provide the best return on Canada's investment in defence. Accordingly, 2 Canadian Mechanized Brigade Group of Petawawa has been designed to be a mirror image of its two sister formations, 1 Canadian Mechanized Brigade Group, based in Edmonton, Alberta and 5 Canadian Mechanized Brigade Group, based in Valcartier, Quebec.

Barracks Building F-16 (constructed in 1953) was designated a Recognized Federal Heritage Building in 1995, due to its association with the efforts of the Canadian Armed Forces to meet Canada's post-World War II international commitments, and due to its modern classicist architecture common among federal buildings of the period.

Recent

Currently there are approximately 6,100 persons employed at Garrison Petawawa (5,100 of them military) who are included in the units of 2 CMBG, Garrison Petawawa and lodger units. Soldiers at Garrison Petawawa have been involved in many operations throughout the world including tours in Afghanistan and Bosnia.

In 2005, Garrison Petawawa celebrated its first 100 years of service. A number of events were planned in conjunction with units and the local communities to commemorate this special occasion.

In June 2013, the base name was changed to Garrison Petawawa.

In 2021, during the COVID-19 Pandemic, the base deployed medical military personnel to Cross Lake, to help organize a response to an outbreak in the Pimicikamak population.

Current operations

Garrison Petawawa is the home of the 4th Canadian Division Support Group and 2 Canadian Mechanized Brigade Group, which is made up of:

 2 Canadian Mechanized Brigade Group Headquarters & Signal Squadron
 2nd Regiment, Royal Canadian Horse Artillery
 The Royal Canadian Dragoons
 1st Battalion, The Royal Canadian Regiment
 3rd Battalion, The Royal Canadian Regiment
 2 Combat Engineer Regiment
 2 Service Battalion

427 Special Operations Aviation Squadron and 450 Tactical Helicopter Squadron are based here and operate their own helipads at Petawawa Heliport. They fly the Bell CH-146 Griffon and CH-147F Chinook, respectively. Also located at the base are the Canadian Special Operations Regiment and the Canadian Special Operations Training Centre.

The base motto is, in the eastern Anishinaabe language, endazhe kinamandowa chimaganishak (or fully vocalized as endazhi-gikinoo'amawindowaa zhimaaganishag). The literal English translation is "Training Ground of the Soldiers". The translation used on the base is "Training Ground of the Warriors".

Garrison Petawawa Museum and the Canadian Airborne Forces Museum

The Garrison Petawawa Museum and the Canadian Airborne Forces Museum feature uniforms, medals, patches, photographs and other Base and Airborne memorabilia.  It is open all week 11-4. The museum collects, preserves, and shows, documents, artifacts, photos which illustrate the military life of our base in the city of Petawawa in all aspects of life in peace and in war. The Garrison Petawawa Military Museums "are dedicated to the remembrance of our military past and recognition of the Canadian Armed Forces' service to humanity, through the education of our youth, the fostering of identity, and the nurturing of understanding, the promotion of spirit de corps and the preservation of our collective community heritage." Garrison Petawawa Military Museums are affiliated with CMA, CHIN, and Virtual Museum of Canada.

"INTO ACTION" (1988) by André Gauthier (sculptor) marks the 20th anniversary of the Canadian Airborne Regiment; the sculpture at the entrance to Garrison Petawawa's Airborne Forces Museum depicts a Canadian paratrooper in winter combat gear.

References

External links

 Garrison Petawawa Museum Collection

Petawawa
Buildings and structures in Renfrew County
World War II prisoner-of-war camps in Canada
World War II internment camps in Canada
1905 establishments in Ontario

Garrison Petawawa


Alaska kurdu veya Alaska malamutu, Alaska'ya özgü işçi köpek. Başlangıçta Alaska'nın kuzeybatısında yaşayan bir Eskimo halkı olan Mahlemut (Malamut) İnyupikleri tarafından kızak çekmekte kullanılan Alaska Malamutu, günümüzde özellikle çocuklara son derece sevecen davranışından ötürü evlerde de beslenmektdir. Güçlü bedenli ve geniş omuzlu bir köpektir. Boyu erkeklerde 71 cm'ye, ağırlığı 56 kg'a ulaşabilir. Kürkü, sert dış tüyler ve daha yumuşak iç tüylerden oluşur. Kuyruğu tüylü ve sırtına doğru kıvrıktır. Pençeleri geniştir ve karada kolayca koşmasını sağlayacak biçimde tüylerle kaplıdır. Kahverengi badem biçimi gözleri ve gri ya da siyah-beyaz kürküyle, kurdu andıran bir görünüşü vardır. Nadiren havlar. Oldukça zeki ve sadıktır, gerektiğinde ise çok iyi bir dövüşçüdür.

Sıkça karıştırıldıkları Husky türü ile arasında bazı farklar bulunmaktadır. Alaska Malamutu bir Husky'ye göre daha ağırdır. Kulakları birbirinden ayrıktır. Malamutlar kaslı yapıları nedeniyle bir kurda daha çok benzerler. Huskyler hafif yükleri hızlı bir şekilde çekerken, malamutlar daha büyük yükleri çekmek için kullanılırdı. Malamutların kuyrukları genelde havaya doğru kıvrıkken, huskylerin kuyrukları yere doğrudur.

2010 yılında resmi olarak Alaska eyalet köpeği seçilmiştir.

Kaynakça
https://www.theanimalfiles.com/breeds/breeds_dog/alaskan_malamute.html

Dış bağlantılar
 Alaska Malamutu Irk Bilgisi

Amerika Birleşik Devletleri menşeli köpek ırkları
Spitzler
İşçi köpekler
Köpek ırkları
Alaska'nın sembolleri

Alaska kurdu


Valtéřov () ist ein Ortsteil der Stadt Kraslice in Tschechien.

Geschichte
Viele Orte des Schönbacher Ländchens sind vom Kloster Waldsassen aus gegründet worden, die 1348 Rüdiger von Sparneck erwarb.

Nach dem Münchner Abkommen wurde der Ort dem Deutschen Reich zugeschlagen und gehörte bis 1945 zum Landkreis Graslitz.

Im Jahr 1976 wurde Valtéřov nach Kraslice eingemeindet.

Entwicklung der Einwohnerzahl

Literatur
 Karl Mädler: Zur Geschichte des Schönbacher Ländchens. In: Unser Egerland. Schriftenreihe für lebendige Heimatpflege. Bd. 25, Nr. 6/7, 1921, , S. 41–46.

Weblinks

Einzelnachweise

Ortsteil in Tschechien
Kraslice

Valtéřov (Kraslice)


František Borový (n. 31 ianuarie 1874, Praga – d. 20 martie 1936, Praga) a fost un editor ceh.

Biografie
S-a născut în familia moșierului František Borový (1844-1907) din orașul Jílové u Prahy. Tatăl său a fost din 1877 partener al profesorului Alfred Slavík (1847-1907) în compania editorială Slavík a Borový (1877-1883).

După ce a absolvit Gimnaziul Academic din Praga, a plecat să studieze medicina veterinară la Viena pentru a conduce în viitor ferma familiei. S-a întors acasă atunci când tatăl său s-a îmbolnăvit și nu și-a mai terminat studiile. Editura a fost preluată de fratele său, Josef, care a studiat electrotehnica la Universitatea Tehnică din Praga. Acesta a murit subit în anul 1898, iar autoritățile nu au permis preluarea concesiunii editurii de către tânărul František Borový. Activitatea editurii a fost întreruptă în perioada 1898-1912.

Pentru a obține iarăși concesiunea editurii, František s-a alăturat editurii Jan Otto,
unde a lucrat ca partener și contabil. În același timp a studiat economia politică și contabilitatea la Universitatea Tehnică din Praga. În anul 1912 a câștigat din nou concesiunea editurii și în anul următor a extins activitatea prin concesiunea unei librării. Compania a intrat ulterior în dificultăți economice și în anul 1928 a fost preluată de Jaroslav Stránský. Numele original al editurii a fost păstrat. František Borový a rămas director până în anul 1931, când a demisionat.

A fost căsătorit cu Františka Odlovou (1876-1932), cu care a fost o fiică pe nume Jaroslava (n. 1905). El a murit pe 20 martie 1936 și a fost înmormântat în Cimitirul Vinohrady din Praga (secțiunea 20, mormântul 162).

Program editorial
Sub conducerea lui František Borový, editura s-a bazat în principal pe publicarea operelor literare originale în limba cehă. A mai publicat, de asemenea, a publicat cărți de călătorie și literatură științifică. Într-o mai mică măsură a publicat traduceri. În 1932 Josef și Karel Čapek au renunțat la colaborare cu editura Aventinum și s-au mutat la editura lui František Borový.

Editura a publicat cărți scrise de Vratislav Hugo Brunner, Josef Čapek, František Kysela, František Muzika, Vlastimil Rada și František Tichý.

Reviste publicate (selecție)
 Červen (Stanislav Kostka Neumann) – din 1918; a publicat cărți în cadrul colecției Knižnici Června
 Jeviště (Jindřich Vodák)
 Kmen (František Xaver Šalda)
 Plán (Josef Hora)
 Přítomnost (Ferdinand Peroutka)
 Šibeničky (Eduard Bass)

Note de subsol

Note

Bibliografie

Legături externe

 Listă de lucrări în Catalogul Național al Republicii Cehe, al căror autor sau subiect este František Borový
 Soupis pražského obyvatelstva 1830-1910 (1920), Borový František *1874

Nașteri în 1874
Nașteri pe 31 ianuarie
Decese în 1936
Decese pe 20 martie
Editori cehi

František Borový


Live in Cuba es el primer DVD del supergrupo estadounidense de rock, Audioslave. Contiene material del concierto gratuito que la banda realizó el 6 de mayo de 2005 en la Tribuna Antiimperialista José Martí de la capital cubana para más de 70.000 personas. El recital en sí es considerado como un acontecimiento histórico, ya que es la primera vez en la historia de la isla que se le permite a una banda estadounidense de rock actuar en el país. Además, el mismo Tom Morello adelantó en la conferencia de prensa en La Habana que sería el concierto más largo que ofrecería Audioslave en su carrera, y así fue. Y claramente no se guardaron nada: tocaron temas de su disco debut homónimo, temas del segundo disco Out of Exile (que estaba por salir a la venta), y temas de sus dos respectivas bandas de los años 90, Soundgarden y Rage Against The Machine. Además sería la primera y última ocasión en que Audioslave tocaría en suelo latinoamericano.

La idea del concierto en Cuba vino de la propia banda, aunque llevarlo a cabo no fue tan fácil: afanosos papeleos les tomó a ellos y al personal que los acompañó, debido a la tirantez histórica de la relación diplomática entre ambos países, rigidez que se apuntaló durante la entonces administración Bush. Sin embargo el concierto fue todo un éxito, y hasta hoy se le considera un material de culto.

El DVD incluye el espectáculo y un documental de 37 minutos sobre la experiencia de los músicos en La Habana.

Lista de canciones
 "Set It Off"
 "Your Time Has Come"
 "Like a Stone"
 "Spoonman"*
 "The Worm"
 "Gasoline"
 "Heaven's Dead"*
 "Doesn't Remind Me"
 "Be Yourself"
 "Bulls on Parade" (Instrumental)
 "Sleep Now in the Fire"
 "Out of Exile"
 "Outshined"
 "Shadow on the Sun"*
 "Black Hole Sun" (Solo acústico de Cornell)*
 "I Am the Highway"
 "Show Me How to Live"
 "Cochise"
Nota: * temas exclusivos de la versión Deluxe

Deluxe Edition AOL Sessions audio CD
 "Be Yourself"
 "Loud Love"
 "Doesn't Remind Me"
 "Out of Exile"
 "Sleep Now in the Fire"

Videoálbumes de 2005
Audioslave
Álbumes en inglés

Live in Cuba


Aristolochia esoterica Pfeifer, 1966
 Aristolochia stahelii O.C.Schmidt, 1938

Aristolochia amara est une espèce de liane sub-endémique des Guyanes, appartenant à la famille des Aristolochiaceae.

Cette espèce était désignée sous le nom de Pareira jaune.

En Guyane, on désigne les Aristolochia sous le nom générique de liane amère (créole - NB : nom partagé avec Tinospora crispa), Ulu'ay, Uluwu'ay (Wayãpi), Bukuti (Palikur), Jarrinha, Urubu-caá (portugais), Luangu tetei (Aluku). Au Guyana, on les appelle Heart weed, Problem bush (Créole), Warakaba bina (Arawak), Akami (Carib), Murahaka (Warao).

Taxonomie
Aristolochia amara a été décrit à partir de matériel stérile (cf. holotype et isotype) et correspond certainement au nom correct d'une autre espèce décrite ultérieurement :
 Aristolochia bukuti Poncy 1989,
 A. stahelii O.C.Schmidt 1938 (hypothèse la plus probable au vu de la localisation des collectes d'Aublet),
 A. cremersii Poncy,
 A. daemoninoxia Masters.

Utilisations
Les racines et sarments sont très amers d'après Aublet.

En Guyane, les Aristolochia forestières sont réputées comme fébrifuge et antidiabétique chez les Créoles de la région de Saint-Georges de l'Oyapock. Les Wayãpi en font un remède contre la diarrhée. Les Palikur l'emploient pour soigner le mal de cœur, le mal de foie et pour soulager les effets de la fatigue.

Histoire naturelle
En 1775, le botaniste Aublet propose la diagnose suivante :

Notes et références

Voir aussi

Articles connexes
 Liste des plantes décrites par Fusée-Aublet

Liens externes

Aristolochiaceae
Espèce de Piperales (nom scientifique)
Plante décrite par Aublet

Aristolochia amara


بلدية سانتا في ديل بيينيديس (بالكاتالانية: Sant Fe del Penedès) هي إحدى بلديات مقاطعة برشلونة، والتي تقع في منطقة كاتالونيا، شرق إسبانيا.

يبلغ عدد سكانها 366 نسمة وفقاً لإحصائية سنة (2007).

مراجع

بلديات في مقاطعة برشلونة

سانتا في ديل باناديس


Kıbrıs Türk Hava Yolları (KTHY), (ingilizce: Cyprus Turkish Airlines), Kuzey Kıbrıs Türk Cumhuriyeti'nin ulusal havayolu şirketiydi. Başkent Lefkoşa'dan Türkiye, Birleşik Krallık ve Almanya'ya tarifeli/tarifesiz uçuşlar yapmaktaydı. İçinde bulunduğu ekonomik sebeplerden dolayı Türkiye Cumhuriyeti Sivil Havacılık Genel Müdürlüğü tarafından 21 Haziran 2010 itibarıyla tüm uçuş hakları ikinci bir karara kadar askıya alındı. Şirket 21 haziran 2010 yılında iflas etti.

Tarihçe ve Gelişim Aşamaları

4 Aralık 1974 tarihinde, Kıbrıs Türk Cemaat Meclisi Konsolide Fonu İnkişaf Sandığı ve Türk Hava Yolları Anonim Ortaklığı'nın eşit iştiraki ile KKTC Şirketler Yasası Fasıl 113 esasları çerçevesinde Lefkoşa'da bir Limited Şirket olarak kurulmuş ve 3 Şubat 1975'te faaliyete başlamıştır.

KTHY, T.C. Ulaştırma Bakanlığı Sivil Havacılık Dairesi tarafından, 1998 yılında, iç ve dış hatlarda tarifeli ve tarifesiz seferlerle yolcu ve yük taşımacılığı yapmak için, yetkilendirilmiştir. Konsolide Fonu İnkisaf Sandığı, %50'sinin sahibidir.

Merkezi Lefkoşa'da bulunan şirketin, Kuzey Kıbrıs Türk Cumhuriyeti dışında, Türkiye, Birleşik Krallık ve Almanya'da satış ofisleri ile temsilcilikleri bulunmaktadır. Merkez binası 2018'de alınan karara göre günümüzde Araç Kayıt ve Ruhsatlandırma Şubesi ile Ehliyet Tazeleme Birimi binası olarak kullanılmaktadır.

 1974 - KTHY 4 Aralık 1974 tarihinde kurulmuştur.
 1975 - KTHY'nin ilk tarifeli uçuşu 3 Şubat 1975'te başlamıştır.
 1976 - DC-9, Boeing 727 ve Boeing 720 tipi uçaklar kiralanıp filoya katıldı.
 1976 - Girne satış ofisi açıldı.
 1977 - KTHY İstanbul, Türkiye'de bir Türk şirketi olarak kayıt edilmiştir.
 1981 - Tarifeli Londra seferleri başladı.
 1990 - İki tane Boeing 727-200 satın alındı.
 1991 - Yer hizmetleri için işçi ve uçuş hizmetleri için uçucu personel istihdam edildi.
 1992 - KTHY kendi ikram binasını hizmete sundu.
 1993 - Üçüncü Boeing 727-200 satın alındı.
 1995 - İlk Airbus A310 satın alındı.
 1996 - Dördüncü Boeing 727-200 satın alındı.
 1999 - İkinci Airbus A310 satın alındı.
 2000 - 2 adet Boeing 737-800 uçağı uzun vadeli olarak kiralandı ve filoya eklendi.
 2001 - Üçüncü Boeing 737-800 uçağı uzun vadeli olarak kiralandı ve filoya eklendi.
 2002 - Dört tane Boeing 727-200 teknik uçuş saatlerini doldurmuş olmasından dolayı satıldı.
 2004 - 3 tane Airbus A321 uzun süreli olarak kiralandı ve filoya eklendi.
 2004 - Caretta & Caretta adlı uçuş dergisi yeniden yayınlanmaya başladı.
 2005 - 9 Eylül tarihinde T. C. Özelleştirme İdaresi'ne ait %50 KTHY hisseleri KKTC'ye devredildi.
 2006 - Nisan; ISO 9001-2000 Kalite Yönetim Sistem belgesi alındı.
 2006 - 18 Haziran'da Gaziantep seferleri başladı.
 2006 - 2 Eylül'de Trabzon seferleri başladı.
 2006 - Eylül; Ercan'da DCS sistemi devreye girdi.
 2006 - Aralık; Türkiye Havalimanlarındaki Yer Hizmetleri üniteleri HAVAŞ'A devredildi.
 2007 - Nisan HAVAŞ ile ortaklık sonucu Cyprus Airport Services kuruldu.
 2007 - 21 Mayıs'ta Birmingham seferleri başladı.
 2008 - Dördüncü Boeing 737-800 satın alındı. Şubat 2009'da filoya eklenecek. 2009 yılının sonuna doğru Kıbrıs Türk Hava Yolları 8. uçağın filosunda olması bekleniyor. Aynı zamanda, uçaklara Business Class koltukları da eklenmiştir
 2009 - Turkuaz Airlines hava yollarından 1 Adet 320-232 kiralanarak filoya katıldı.
 2010 - 21 Haziran tarihinde Türk Sivil havacılığı uçuşlarını askıya aldı.2010 - Atlasjet firması ile %50-50 ortaklık antlaşması imzalandı.
2018 - Batmış bir durumda olan kuruluşun binası yapılan açık arttırmada Maliye Bakanlığı tarafından 3 milyon 678 bin sterline satın alınmıştı. Bina günümüzde Araç Kayıt ve Ruhsatlandırma Şubesi ile Ehliyet Tazeleme Birimi binası olarak kullanılmaktadır.

Kodları

 IATA Kodu: YK
 ICAO Kodu: KYV
 Çağrı Kodu: Air Kıbrıs

Filo

 4 tane Boeing 727-200s
 1 tane Boeing 737-800
 1 tane Airbus A300 (1996 yılında ağustostan eylüle kadar holiday air'dan kiralandı.
 1 tane Airbus A310-200
 1 tane Airbus A310-300
 2 tane Airbus A320-231
 2 tane Airbus A321-211s
 1 tane McDonnell Douglas MD-81
 1 tane McDonnell Douglas MD-82
 2 tane McDonnell Douglas MD-90-30s

Kaynakça

 KTHY Uçuşları Askıya Alındı

Kuzey Kıbrıs Türk Cumhuriyeti merkezli havayolu şirketleri
1974'te kurulan ulaşım şirketleri
Lefkoşa merkezli kuruluşlar

Kıbrıs Türk Hava Yolları


Wolgast er en by og kommune i det nordøstlige Tyskland, beliggende i Amt Am Peenestrom under Landkreis Vorpommern-Greifswald. Landkreis Vorpommern-Greifswald ligger i delstaten Mecklenburg-Vorpommern. Kommunen var indtil 1. januar 2005 en del af Amt Wolgast-Land.

Geografi
Wolgast er beliggende for den største del på vestbredden af Peenestrom, en udmundingsgren af floderne Oder og Peene, der adskiller øen Usedom fra fastlandet. Bydelen Mahlzow ligger øst for Peenestrom på øen, som er forbundet med fastlandet via to broer; Derfor kaldes byen også Tor zur Insel Usedom (Porten til øen Usedom) .

Omkring tre kilometer sydvest for byen, i nærheden af Ziesaberg, munder den fra vest kommende bæk Ziese ud i Peenestrom.

I kommunen ligger bydelen og landsbyerne:

Historie
Frem til 1100-tallet fandtes en slavisk boplads ved den nuværende by Wolgast. I 1100-tallet blev Wolgast, ligesom hele regionen Pommern, kristnet af missionæren Otto af Bamberg (1128).  På denne tid blev den første kirke (trækirke) bygget, hvor den nuværende St. Petrikirke ligger. I 1200-tallet blev bebyggelsen og byen Wolgast udviklet og fik sine stadsrettigheder i 1257. Mellem 1296 og 1625 var byen tidvis residens for hertugerne af Pommern-Wolgast.  I 1500-tallet blev den eksisterende borg ombygget til et slot, som blev opført i renæssancestil.

I Trediveårskrigen blev Wolgast indtaget og plyndret flere gange af skiftende krigsmagter. I 1628 blev byen indtaget af Wallensteins tropper, 1630 af svenskerne, 1637 af de kejserlige tropper og endnu en gang af svenskerne i året 1638. Efter Trediveårskrigen blev Wolgast svensk besiddelse. I den skånske krig 1675-79 blev byen indtaget den 10. november 1675 af Brandenburg, men vendte tilbage til Sverige efter freden i 1679

. I den store nordiske krig blev byen plyndret og afbrændt to gange af russiske tropper (i 1713 og 1715). Wolgast var en svensk by frem til 1815, da byen blev preussisk, ligesom hele den svenske provins Svensk Forpommern .

I slutningen af 1700-tallet var byens hovederhverv handel, og frem for alt eksport af korn og viktualievarer (levnedsmidler) til Stockholm.

I 1863 blev en sidebane anlagt fra Züssow til Wolgast, som gav Wolgast forbindelse til jernbanen mellem Stettin og Stralsund.

Wolgast efter 1945
Wolgast klarede sig uden større ødelæggelse under 2. verdenskrig. Byen blev overgivet uden kamp i anden verdenskrigs slutfase. I DDR-tiden blev Peeneværftet grundlagt. Værftet byggede militærskibe og havde 3.500 ansatte og byen blev udviklet til et støttepunkt for det østtyske søværn. Efter Østtysklands sammenbrud og Tysklands genforening restaureredes den historiske bykerne, ligesom de boligområder som er blevet bygget efter Anden Verdenskrig. Søværnet forlod byen efter genforeningen og på grund af arbejdsløshed og udflytning er byens befolkningstal aftaget.

Eksterne kilder og henvisninger

 Wolgasts websted
 Statistik

Byer i Mecklenburg-Vorpommern
Kommuner i Mecklenburg-Vorpommern
Amt Am Peenestrom
Byer i Kreis Vorpommern-Greifswald

Wolgast


Suicide by cop, also known as suicide by police or law-enforcement-assisted suicide, is a suicide method in which a suicidal individual deliberately behaves in a threatening manner, with intent to provoke a lethal response from a public safety or law enforcement officer to end their own life.

Overview
There are two broad categories of "suicide by cop". The first is when someone has committed a crime and is being pursued by the police and decides that they would rather die by suicide than be arrested. These people may not otherwise be suicidal but may simply decide that life is not worth living if they are incarcerated and thus will provoke police to kill them. The second version involves people who are already contemplating suicide and who decide to provoke law enforcement into killing them. These individuals may commit a crime with the specific intention of provoking a law enforcement response.

The idea of dying by suicide in this manner is based on trained procedures of law enforcement officers, specifically the policy on the use of deadly force. In jurisdictions where officials are readily capable of deadly force, often by being equipped with firearms, there are usually set circumstances where they will predictably use deadly force against a threat to themselves or others. This form of suicide functions by exploiting this trained reaction. The most common scenario is pointing a firearm at a police officer or an innocent person, which would be expected to provoke an officer to fire on them. Many variants exist: for example, attacking with a knife or other hand weapon, trying to run an officer or other person over with a car, or trying to trigger a real or presumed explosive device.

This concept hinges on the person's state of mind, and their desire to end their own life, which can be difficult to determine post-mortem. Some cases are obvious, such as pointing an unloaded or non-functioning gun, such as a toy gun, air gun, airsoft gun, or starter's pistol, at officers, or the presence of a suicide note. Some suspects brazenly announce their intention to die before they act; however, many cases can be more difficult to determine, as some suspects with the desire to die will actually fire live ammunition and even kill people before being killed themselves. Many law enforcement training programs have added sections to specifically address handling these situations if officers suspect that the subject is attempting to goad them into using lethal force.

History
Many modern cases that pre-date the formal recognition of the phenomenon have been identified or speculated by historians as matching the pattern now known as suicide by cop.  According to authors Mark Lindsay and David Lester, Houston McCoy, one of the two Austin Police Department officers who shot and killed Charles Whitman, the "Texas Tower Sniper", believed that Whitman could have shot him and fellow officer Ramiro Martinez, but "he was waiting for them, and wanted to be shot."  The 1976 death of Mal Evans, road manager, assistant, and a friend of the Beatles, who aimed an air gun at police and refused to put it down, was theorized as a possible example of this phenomenon. Some historians believe that Giuseppe Zangara, the man who killed Chicago mayor Anton Cermak in a possible attempt to assassinate then President-elect Franklin D. Roosevelt, might have been attempting suicide by police. In 2018, Alek Minassian, the perpetrator of the Toronto van attack, claimed to have attempted suicide by cop when apprehended by police after his attack, requesting to be killed and claiming he was armed with a gun, a declaration which was false.

Recognition and research

The phenomenon has been described in news accounts from 1981, and scientific journals since 1985.  The phrase has appeared in news headlines since at least 1987. It did not become common until the early 2000s. The phrase seems to have originated in the United States, but has also appeared in the UK, where a jury first determined someone died by suicide by cop in 2003.

Some of the first research into suicide by cop was completed by Sgt. Rick Parent of the Delta Police Department.  Parent's research of 843 police shootings determined that about 50% were victim-precipitated homicide.  Police defined victim-precipitated homicide as "an incident in which an individual bent on self-destruction, engages in life threatening and criminal behavior to force law enforcement officers to kill them."

The first formally labeled "Suicide by Cop" case in English legal history was a judgment made on May 9, 2003, by the Reverend Dr. William Dolman while serving as a London coroner between 1993 and 2007. It set a legal precedent and the judgment, as a cause of death, has been a part of English law since.

A 2009 study in the United States of the profiles of 268 people who died by suicide by cop found that
 95% were male and 5% were female
 the mean age was 35 for men
 41% of men were Caucasian, 26% Hispanic and 16% African American
 37% of men were single
 29% of men had children
 54% of men were unemployed
 29% of men did not have housing
 62% of men had confirmed or probable histories of mental health issues
 80% of men were armed – of these, 60% possessed firearms (of which 86% were loaded) and 26% possessed knives
 19% feigned or simulated weapon possession
 87% of individuals made suicidal communications prior to and/or during the incident
 36% were under the influence of alcohol.

Examples

 In the Aramoana massacre, a spree shooting that occurred on 13 November 1990 in New Zealand, police shot the suspect dead as he came out of a house firing from the hip and screaming "Kill me!"
 On 5 May 2005, Peggy Jo Tallas, a bank robber, engaged in a shootout while armed with a toy pistol.
 In December 2008, 15-year-old Tyler Cassidy was shot and killed by three Victoria Police officers after he threatened them with two large knives and ordered them to shoot him.
 During March 2011, Chilean businessman and organized criminal Italo Nolli was shot and killed by police after shooting dead two investigative police detectives and hurting another five. He had previously stated to his wife and son that he believed dying in a police shootout would be "dignifying" and that he "would not return to prison".
 Myron May, a 31-year-old man believing he was a victim of government covert electronic harassment on the line of Cold War era MKUltra and COINTELPRO clandestine US government programs, died by suicide by cop on 20 November 2014 after recording his intentions on tape.
 On 4 January 2015, a 32-year-old San Francisco man, Matthew Hoffman, staged a standoff with police in the parking lot of an SFPD station. When he brandished the gun, two officers shot him a total of three times. He left a message for the officers on his cell phone, saying: "You did nothing wrong. You ended the life of a man who was too much of a coward to do it himself ... I provoked you. I threatened your life as well as the lives of those around me."
 In June 2015, 21-year-old Trepierre Hummons, a known gangster with a history of weapons violations, posted his intent to die by suicide by cop on Facebook on the same day that a sex offense had been reported against him. He called 9-1-1 and reported he had seen a man acting erratically with a gun. He then shot the responding officer multiple times, mortally wounding him. The next officer to arrive on the scene shot Hummons. Both Hummons and the wounded policeman later died in the hospital.
 Anton Lundin Pettersson, the perpetrator of the October 2015 Trollhättan school attack in Sweden, wrote a message to an online friend an hour before the attack, where he says that he expected to be dead within one or two hours, that he hated himself, and hoped that "those fucking cops aim straight, because I really don't want to survive the commotion." Pettersson had a history of mental illness, and a book about the attack with interviews of many people around him states that "during the period before the attack, he wavered between several options; to seek professional help, to kill himself 'normally' or to attack people around him to get killed."
 On 28 May 2017, a man in Mississippi suspected of murdering seven of his family members and a police officer told a journalist that by shooting towards police, "Suicide by cop was my intention. I ain't fit to live. Not after what I've done."
 On 15 September 2017, a 15-year-old Virginia boy, Ruben Urbina, called police and was shot twice after threatening an officer with a crowbar. After calling 911, he made threats of a bomb, hostages, knives and guns, none of which were real. "I called the police," "so they can kill me."

In literary fiction
In To Kill a Mockingbird, Tom Robinson, a despondent black man who is imprisoned for a rape he did not commit, is shot 17 times and killed while trying to escape from prison in front of the prison guards.

In The Outsiders, Dallas Winston, a juvenile delinquent, aims an unloaded handgun at police officers with the intent of them shooting him, he is shot dead.

See also
 Banzai charge
 Circumcellions
 Consensual homicide
 Lists of killings by law enforcement officers
 Police brutality
 Running amok
 Samaritans (charity)
 Suicide crisis
 Suicide intervention
 Suicide prevention

References

Further reading

External links
 Results of one study of the phenomenon
 Law enforcement suicide prevention resources
 FBI Law Enforcement Bulletin: February, 2005; Volume 74; Number 2
 An information portal with support resources for Law Enforcement officers

Assisted suicide methods

Suicide by cop


Alan Riou (Lannion, França, 2 de abril de 1997) é um ciclista profissional francês. Desde 2019 corre para a equipa profissional francês Arkéa Samsic de categoria UCI WorldTeam.

Palmarés
 2018
 1 etapa do Tour de l'Avenir

 2021
 Clássica de Loire-Atlantique

Resultados em Grandes Voltas

—: não participa
Ab.: abandono

Equipas
  Fortuneo-Oscaro (stagiaire) (08.2017-12.2017)
  Arkéa Samsic (2019-)

Referências

Ligações externas

Ciclistas da França

Alan Riou


Atletik ved sommer-OL 2020 bliver afholdt i perioden 31. juli – 9. august. Alle de traditionelle stadionkonkurrencer bliver afholdt på Tokyo Olympic Stadium, som er disse leges olympiske stadion. Dette stadion ligger centralt i Heritage zonen.

Konkurrencerne

Kapgangskonkurrencerne bliver ikke startet og sluttet på det olympiske stadion, som man ofte har set, men bliver derimod afviklet i den smukke Imperial Palace Garden. Maratonkonkurrencerne bliver både startet og sluttet på Tokyo Olympic Stadium, som det ofte er set. Men denne gang byder ruten på en kraftig stigning de sidste 3 kilometer. Selve maratonruten går gennem Tokyo by, og ruten er lagt på en sådan måde, at alle de ikoniske steder vil være indenfor tv-kameraernes rækkevidde.

Tidsplan
F = Formiddag, A = Aften

Medaljefordeling

Herrer

Damer

* Indikerer at atleten kun deltog i de indledende heats og modtog medaljer.

Mixed

* Angiver, at atleten kun konkurrerede i de indledende heats og modtog medaljer.

Medaljefordeling
Nøgle

Eksterne henvisninger
 https://tokyo2020.org/en/games/sport/olympic/athletics/
 https://www.iaaf.org/home

Referencer

Atletik under sommer-OL 2020


Dragan Roganović (nacido en 1978, en Belgrado, Serbia), más conocido por su nombre artístico Dirty South, es un DJ y productor serbio-australiano con sede en Melbourne, Australia.

En el año 2009 obtuvo su mejor posición en la encuesta anual realizada por la revista DJmag alcanzando el puesto 59, en el 2010 se colocó en la posición nº75 y en el 2011 siguió descendiendo en la lista ubicándose en el nº93. En 2012, ascendió en la lista ubicándose en la posición nº76.

Biografía
Nacido en Europa, pero criado en Australia desde que tenía 13 años, Dragan desarrolló su amor por la música desde pequeño. Primero mezclando con casetes (no tenía para comprarse unos platos), luego probando a hacer música con el ordenador, Dragan se centró en hacer mash-ups y bootlegs inspirado por grupos como Led Zeppelin o The Neptunes.

Producción
Dragan Roganovic alcanzó el éxito con "It's Too Late", una remezcla que el propio Dragan realizó para la banda de rock Evermore, y que tras publicarse en el sello australiano Vicious Vinyl, se convertiría en un éxito a nivel mundial llegando a licenciarse en 30 recopilatorios.
En 2005 y 2006, Dirty South fue nominado para el galardón reconocido por la Industria de la música de Australia, los premios ARIA, y en 2007 se llevó el premio a "Mejor Productor". Fue elegido por el célebre Pete Tong como uno de sus "Essential New Tunes". También ocupó el segundo lugar en la encuesta anual "InTheMix 50 DJ" en 2007.

Numerosos premios y nominaciones llegaron después, y su habilidad como remezclador sería solicitada por artistas como Depeche Mode, Mark Ronson, Tracey Thorn, Snoop Dogg, Roger Sanchez, Josh Wink, Tiësto, Chris Lake, Fedde Le Grand, Ferry Corsten o TV Rock.

En el 2007 muchas producciones y remezclas salen a la luz siendo "Minority" y "Let It Go", este último editado por el sello "Axtone Records", propiedad del productor sueco Axwell. Estas dos, son las que más atención captan.

Su remezcla de "Sorry" para el productor estadounidense Kaskade, fue nominada en el año 2008 a los Premios Grammy a Mejor Canción Remezclada.

En el 2008, Dirty South se une a Axwell para producir "Open Your Heart" y para realizar una versión del The End de los Doors. A lo largo de estos últimos años ha actuado por todo el mundo tanto en clubes como en los festivales más importantes del mundo. Su habilidad como selector también ha quedado plasmada en forma de recopilatorios para Vicious Vinyl (Clubwork, 2006 y Vicious Cuts, 2008), para el club australiano Onelove (Your Disco Will Eat You, 2007), para Ministry of Sound (Sessions 4, 2007), un directo para el sello británico CR2, y otro CD mix para Toolroom Knights.

En el 2010 se lanza también a la carrera empresarial, fundando su propio sello, al que ha llamado "Phazing". Y para estrenarlo, no tuvo mejor idea que lanzar un tema con el mismo nombre que el sello. Este sencillo se convirtió en uno de los himnos del 2010 en las pistas de baile. "Phazing Nights" es el nombre de sus eventos nocturnos, en el que convoca a sus artistas preferidos.

Además, vuelve a consagrarse en 2011 con su remezcla para la agrupación Diddy Dirty Money,
de la canción 'Coming Home', y cotidianas participaciones con Axwell que le valió una nueva nominación a los Premios Grammy, esta vez gracias a su remezcla en conjunto de "Sweet Disposition" para la banda australiana The Temper Trap. Esto, combinado a sus últimas producciones de su sello Phazing, 'Walking Alone', tomándose como melodía esencial para Swedish House Mafia en el show de Pete Tong, y sus trabajos junto a Thomas Gold, contando con Kate Elsworth como vocalista en los sencillos 'Alive' y 'Eyes Wide Open'. Colaboró en la producción en dos trabajos discográficos del británico Example. En 2011, contribuyó en la producción de la canción "Anything" incluida en el álbum Playing in the Shadows. Al año siguiente vuelve a producir para el rapero en su álbum lanzado en 2012, The Evolution of Man. En esta ocasión colaboró en "Say Nothing", primer sencillo de dicho álbum.

En marzo de 2013 lanzó su primer álbum larga duración titulado "Speed of Life" en el que incluye las participaciones de sus habituales vocalistas, Rubén Haze y Rudy Sandapa.

Discografía

Álbumes de estudio
 2013: Speed of Life
 2014: With You
 2018: XV
 2018: darko

Sencillos y EP
 2005: "Sleazy"
 2006: "Dirty South EP"
 It's Too Late (Vs. Evermore)
 Such A Freak (con Boogie Fresh)
 Get Down (con Dougie Rogers)
 Spank (con Boogie Fresh)

 2007: "Better Day" (con Paul Harris y Rudy)
 2007: Everybody Freakin''' (con MYNC Project)
 2007: "Let It Go" (con Rudy)
 2007: "Minority" 2008: "The End" 2008: "Open Your Heart" (con Axwell y Rudy)
 2008: "Shield" (con D. Ramírez)
 2008: "D10" 2009: "Alamo" 2009: "We Are" (con Rudy)
 2009: "Meich" (con Sebastian Ingrosso)
 2009: "How Soon Is Now" (con David Guetta, Sebastian Ingrosso, Julie McKnight)

 2010: "Stopover" (con Mark Knight)
 2010: "Phazing" (con Rudy)

 2011: "Alive" (con Thomas Gold y Kate Elsworth)
 2011: "Walking Alone" (con Those Usual Suspects de Erik Hecht)

 2012: "Eyes Wide Open" (con Thomas Gold de Kate Elsworth)
 2012: "City of Dreams" (con Alesso de Ruben Haze)
 2012: "Rift" (con Michael Brun)

 2013: "Halo" (con Deniz Koyu)
 2013: "Champions" 2014: "Unbreakable" (con Sam Martin)
 2014: "With You" (con FMLYBND)
 2014: "Freefallin" (Dirty South Remix) (con Gita Lake)

 2015: "Find A Way" (con Rudy)

 2016: "All of Us" (con ANIMA!)
 2016: "Just Dream" (con Rudy)
 2016: "Drift" 2017: "I Swear" (con ANIMA!)
 2017: "The First Time"'' (con Rudy)

Como productor discográfico

Remezclas

Referencias

Enlaces externos

 Biografía de Dirty South en TheDjList

Disc jockeys de música electrónica
Disc jockeys de Australia
Productores discográficos de Australia
Músicos de Serbia
Remixers
Nacidos en Belgrado

Dirty South (DJ)


Conform doctrinei de specialitate, complicitatea poate fi definită ca o formă de participație penală ce presupune înlesnirea ori ajutorarea materială ori morală a unei persoane, în săvârșirea unei infracțiuni.

Potrivit dispozițiilor articolului 48 alineatul 1 al Noului Cod Penal, este considerată complice "persoana care, cu intenție, înlesnește sau ajută în orice mod la săvârșirea unei fapte prevăzute de legea penală."  De asemenea,  alineatul 2 prevede că, este considerată complice și "persoana care promite, înainte sau în timpul săvârșirii faptei, că va tăinui bunurile provenite din aceasta sau că va favoriza pe făptuitor, chiar dacă după săvârșirea faptei promisiunea nu este îndeplinită."

Felurile complicității:
 Materială: ajutarea ori sprijinirea cu orice mijloace materiale ca autorul să săvârșească fapta (de exemplu, îi procură arma). Este necesar ca autorul să se folosească de acestea pentru ca fapta să fie considerată complictate materială.
 Morală: atunci când complicele sprijină decizia luată de autor de a comite fapta. În situatia în care complicele este persoana care l-a ajutat să ia decizia, nu va fi tras la răspundere pentru complicitate, ci pentru instigare.
Pedeapsa penală pentru săvârșirea săvârșirea infracțiunii este prevăzută în dispozițiile articolului 49 din Noul Cod Penal: "Coautorul, instigatorul și complicele la o infracțiune săvârșită cu intenție se sancționează cu pedeapsa prevăzută de lege pentru autor. La stabilirea pedepsei se ține seama de contribuția fiecăruia la săvârșirea infracțiunii, precum și de dispozițiile art. 74."

Referințe

Termeni juridici
Drept penal

Complicitate


El IV Campeonato Mundial de Halterofilia se celebró en París (Francia) entre el 1 y el 3 de octubre de 1903 bajo la organización de la Federación Internacional de Halterofilia (IWF) y la Federación Francesa de Halterofilia.

En el evento participaron 18 halterófilos de 5 federaciones nacionales afiliadas a la IWF.

Medallistas

Medallero

Enlaces externos
Base de datos sport24.ee .

1903
Deporte en 1903

Campeonato Mundial de Halterofilia de 1903


Odissi (), also referred to as Orissi in old literature, is a major ancient Indian classical dance that originated in the temples of Odisha – an eastern coastal state of India. Odissi, in its history, was performed predominantly by women, and expressed religious stories and spiritual ideas, particularly of Vaishnavism through songs written and composed according to the ragas & talas of Odissi music by ancient poets of the state. Odissi performances have also expressed ideas of other traditions such as those related to Hindu Gods Shiva and Surya, as well as Hindu Goddesses (Shaktism).

The theoretical foundations of Odissi trace to the ancient Sanskrit text Natya Shastra, its existence in antiquity evidenced by the dance poses in the sculptures of Kalingan temples, and archeological sites related to Hinduism, Buddhism and Jainism. It was suppressed under the British Rule. The suppression was protested by the Indians, followed by its revival, reconstruction and expansion since India gained independence from the colonial rule.

Odissi is traditionally a dance-drama genre of performance art, where the artist(s) and musicians play out a story, a spiritual message or devotional poem from the Hindu texts, using symbolic costumes, body movement, abhinaya (expressions) and mudras (gestures and sign language) set out in ancient Sanskrit literature. Classical Odia literature & the Gita Govinda set to traditional Odissi music are used for the abhinaya. Odissi is learnt and performed as a composite of basic dance motif called the Bhangas (symmetric body bends, stance). It involves lower (footwork), mid (torso) and upper (hand and head) body as three sources of perfecting expression and audience engagement with geometric symmetry and rhythmic musical resonance. An Odissi performance repertoire includes invocation, nritta (pure dance), nritya (expressive dance), natya (dance drama) and moksha (dance climax connoting salvation of the soul and spiritual release).

Traditional Odissi exists in two major styles, the first perfected by women and focussed on solemn, spiritual temple dance (maharis); the second perfected by boys dressed as girls (gotipuas) which diversified to include athletic and acrobatic moves, and were performed from festive occasions in temples to general folksy entertainment. Modern Odissi productions by Indian artists have presented a diverse range of experimental ideas, culture fusion, themes and plays.

Odissi was the only Indian dance form present in Michael Jackson's 1991 hit single Black or White.

History
The foundations of Odissi are found in Natya Shastra, the ancient Hindu Sanskrit text of performance arts. The basic dance units described in Natyashastra, all 108 of them, are identical to those in Odissi.Natya Shastra is attributed to the ancient scholar Bharata Muni, and its first complete compilation is dated to between 200 BCE and 200 CE, but estimates vary between 500 BCE and 500 CE. The most studied version of the Natya Shastra text consists of about 6000 verses structured into 36 chapters. The text, states Natalia Lidova, describes the theory of Tāṇḍava dance (Shiva), the theory of rasa, of bhāva, expression, gestures, acting techniques, basic steps, standing postures – all of which are part of Indian classical dances. Dance and performance arts, states this ancient text, are a form of expression of spiritual ideas, virtues and the essence of scriptures. The Natya Shastra refers to four pravrittis (methods of expressive delivery) in vogue – Avanti, Dakshinatya, Panchali and Odra-Magadhi ; of these, the Odra refers to Odisha.

More direct historical evidence of dance and music as an ancient performance art are found in archaeological sites such as caves and in temple carvings of Bhubaneswar, Konark and Puri. The Manchapuri cave in Udayagiri shows carvings of dance and musicians, and this has been dated to the time of Jain king Kharavela in the first or second century BCE. The Hathigumpha inscriptions, also dated to the same ruler, mention music and dance :

(he [the king]) versed in the science of the Gandharvas (i.e., music), entertains the capital with the exhibition of dapa, dancing, singing and instrumental music and by causing to be held festivities and assemblies (samajas)...

— Hathigumpha inscription, Line 5, ~ 2nd–1st century BCE

The classical music tradition of Odisha, known as Odissi music, also has ancient roots. Archeologists have reported the discovery of 20-key, carefully shaped polished basalt lithophone in Sankarjang, the highlands of Odisha, which is dated to about 1000 BCE.

Medieval era

The Hindu, Jain and Buddhist archaeological sites in Odisha state, particularly the Assia range of hills show inscriptions and carvings of dances that are dated to the 6th to 9th century CE. Important sites include the Ranigumpha in Udaygiri, and various caves and temples at Lalitgiri, Ratnagiri and Alatgiri sites. The Buddhist icons, for example, are depicted as dancing gods and goddesses, with Heruka, Vajravarahi, and Marichi in Odissi-like postures. Historical evidence, states Alexandra Carter, shows that Odissi Maharis (Hindu temple dancers) and dance halls architecture (nata-mandapa) were in vogue at least by the 9th century CE.

According to Kapila Vatsyayan, the Kalpasutra of Jainism, in its manuscripts discovered in Gujarat, includes classical Indian dance poses – such as the Samapada, the Tribhangi and the Chauka of Odissi. This, states Vatsyayan, suggests that Odissi was admired or at least well known in distant parts of India, far from Odisha in the medieval era, to be included in the margins of an important Jain text. However, the Jain manuscripts use the dance poses as decorative art in the margins and cover, but do not describe or discuss the dance. Hindu dance texts such as the Abhinaya Chandrika and Abhinaya Darpana provide a detailed description of the movements of the feet, hands, the standing postures, the movement and the dance repertoire. It includes illustrations of the karanas mentioned in Natya Shastra. Similarly, the illustrated Hindu text on temple architecture from Odisha, the Shilpa Prakasha, deals with Odia architecture and sculpture, and includes Odissi postures.

Actual sculptures that have survived into the modern era and panel reliefs in Odia temples, dated to be from the 10th to 14th century, show Odissi dance. This is evidenced in Jagannatha temple in Puri, as well as other temples of Vaishnavism, Shaivism, Shaktism and Vedic deities such as Surya (Sun) in Odisha. There are several sculptures of dancers and musicians in Konark Sun Temple and Brahmeswara Temple in Bhubaneswar.

The composition of the poetic texts by 8th century Shankaracharya and particularly of divine love inspired Gitagovinda by 12th century Jayadeva influenced the focus and growth of modern Odissi. Odissi was performed in the temples by the dancers called Maharis, who played out these spiritual poems and underlying religious plays, after training and perfecting their art of dance starting from an early age, and who were revered as auspicious to religious services.

Mughal and British period
After 12th-century, Odia temples, monasteries and nearby institutions such as the Puspagiri in eastern Indian subcontinent came under waves of attacks and ransacking by Muslim armies, a turmoil that impacted all arts and eroded the freedoms previously enjoyed by performance artists. The official records of Sultan Firuz Shah Tughlaq's invasion in Odisha (13601361 CE), for example, describe the destruction of the Jagannath temple as well as numerous other temples, defacing of dancing statues, and ruining of dance halls. This led to a broad decline in Odissi and other religious arts, but there were some benevolent rulers in this period who supported arts particularly through performances at courts. During the Sultanate and Mughal era of India, the temple dancers were moved to entertain the Sultan's family and courts. They became associated with concubinage to the nobility.

The Odissi dance likely expanded in the 17th century, states Alexandra Carter, under King Ramachandradeva's patronage. This expansion integrated martial arts (akhanda) and athletics into Odissi dance, by engaging boys and youth called Gotipuas, as a means to physically train the young for the military and to resist foreign invasions. According to Ragini Devi, historical evidence suggests that the Gotipuas tradition was known and nurtured in the 14th century, by Raja of Khordha.

During the British Raj, the officials of the colonial government ridiculed the temple traditions, while Christian missionaries launched a sustained attack on the moral outrage of sensuousness of Odissi and other Hindu temple dance arts. In 1872, a British civil servant named William Hunter watched a performance at the Jagannatha temple in Puri, then wrote, "Indecent ceremonies disgraced the ritual, and dancing girls with rolling eyes put the modest worshipper to the blush...", and then attacked them as idol-worshipping prostitutes who expressed their devotion with "airy gyrations".

Christian missionaries launched the "anti-dance movement" in 1892, to ban all such dance forms. The dancers were frequently stigmatized as prostitutes by Europeans during the colonial era. In 1910, the British colonial government in India banned temple dancing, and the dance artists were reduced to abject poverty from the lack of any financial support for performance arts, combined with stereotyping stigma.

Post-independence
The temple dance ban and the cultural discrimination during the colonial rule marshaled a movement by Hindus to question the stereotypes and to revive the regional arts of India, including Odissi. Due to these efforts, the classical Indian dances witnessed a period of renaissance and reconstruction, which gained momentum particularly after Indians gained their freedom from colonialism.

Odissi, along with several other major Indian dances gained recognition after efforts by many scholars and performers in the 1950s, particularly by Kavichandra Kalicharan Pattanayak, an Oriya poet, dramatist and researcher. Pattanayak is also credited with naming the dance form as "Odissi".

Repertoire

Odissi, in the classical and medieval period has been, a team dance founded on Hindu texts. This drama-dance involved women (Maharis) enacting a spiritual poem or a religious story either in the inner sanctum of a Hindu temple, or in the Natamandira attached to the temple. The Odissi performing Maharis combined pure dance with expression, to play out and communicate the underlying text through abhinaya (gestures). The performance art evolved to include another aspect, wherein teams of boys – dressed as girls – called Gotipuas expanded the Odissi repertoire, such as by adding acrobatics and athletic moves, and they performed both near the temples and open fairs for general folksy entertainment. In the Indian tradition, many of the accomplished gotipuas became the gurus (teachers) in their adulthood. Modern Odissi is a diversified performance art, men have joined the women, and its reconstruction since the 1950s have added new plays and aspects of other Indian dances.

Love is a universal theme and one of the paradigmatic values in Indian religions. This theme is expressed through sensuous love poems and metaphors of sexual union in Krishna-related literature, and as longing eros (Shringara) in its dance arts such as in Odissi, from the early times. Hinduism, states Judith Hanna, encourages the artist to "strive to suggest, reveal or re-create the infinite, divine self", and art is considered as "the supreme means of realizing the Universal Being". Physical intimacy is not something considered as a reason for shame, rather considered a form of celebration and worship, where the saint is the lover and the lover is the saint. This aspect of Odissi dancing has been subdued in the modern post-colonial reconstructions, states Alexandra Carter, and the emphasis has expanded to "expressions of personal artistic excellence as ritualized spiritual articulations".

The traditional Odissi repertoire, like all classical Indian dances, includes Nritta (pure dance, solo), Nritya (dance with emotions, solo) and Natya (dramatic dance, group). These three performance aspects of Odissi are described and illustrated in the foundational Hindu texts, particularly the Natya Shastra, Abhinaya Darpana and the 16th-century Abhinaya Chandrika by Maheshwara Mahapatra of Odisha.
The Nritta performance is abstract, fast and rhythmic aspect of the dance. The viewer is presented with pure movement in Nritta, wherein the emphasis is the beauty in motion, form, speed, range and pattern. This part of the repertoire has no interpretative aspect, no telling of story. It is a technical performance, and aims to engage the senses (prakriti) of the audience.
The Nritya is slower and expressive aspect of the dance that attempts to communicate feelings, storyline particularly with spiritual themes in Hindu dance traditions. In a nritya, the dance-acting expands to include silent expression of words through the sign language of gestures and body motion set to musical notes. This part of a repertoire is more than sensory enjoyment, it aims to engage the emotions and mind of the viewer.
The Natyam is a play, typically a team performance, but can be acted out by a solo performer where the dancer uses certain standardized body movements to indicate a new character in the underlying story. A Natya incorporates the elements of a Nritya.
The Mokshya is a climatic pure dance of Odissi, aiming to highlight the liberation of soul and serenity in the spiritual.

Odissi dance recitals are in Odia and Sanskrit language in the music strictly follows ragas & talas of the Odissi music tradition. The talas used in Odissi dance are Ekatali, Khemata, Rupaka, Tripata, Jhampa, Jati Tala, Adatali, Matha, Aditala, Sarimana, Kuduka and others.

Sequence
Traditional Odissi repertoire sequence starts with an invocation called Mangalacharana. A shloka (hymn) in praise of a God or Goddess is sung, such as to Jagannath (an avatar of Vishnu), the meaning of which is expressed through dance. Mangalacharana is followed by Pushpanjali (offering of flowers) and Bhumi Pranam (salutation to mother earth). The invocation also includes Trikhandi Pranam or the three-fold salutation – to the Devas (gods), to the Gurus (teachers) and to the Lokas or Rasikas (fellow dancers and audience).

The next sequential step in an Odissi performance is Batu, also known as Battu Nrutya or Sthayee Nrutya or Batuka Bhairava. It is a fast pace, pure dance (nritta) performed in the honor of Shiva. There is no song or recitation accompanying this part of the dance, just rhythmic music. This pure dance sequence in Odissi builds up to a Pallavi which is often slow, graceful & lyrical movements of the eyes, neck, torso & feet & slowly builds in a crescendo to climax in a fast tempo at the end.

The nritya follows next, and consists of Abhinaya, or an expressional dance which is an enactment of a song or poetry. The dancer(s) communicate the story in a sign language, using mudras (hand gestures), bhavas (enacting mood, emotions), eye and body movement. The dance is fluid, graceful and sensual. Abhinaya in Odissi is performed to verses recited in Sanskrit or Odia language. Most common are Abhinayas on Oriya songs or Sanskrit Ashthapadis or Sanskrit stutis like Dasavatar Stotram (depicting the ten incarnations of Lord Vishnu) or Ardhanari Stotram (half man, half woman form of the divine). Many regionally performed Abhinaya compositions are based on the Radha-Krishna theme. The Astapadis of the Radha-Krishna love poem Gita Govinda written by Jayadeva are usually performed in Odisha, as part of the dance repertoire.

The natya part, or dance drama, is next in sequence. Usually Hindu mythologies, epics and legendary dramas are chosen as themes.

A distinctive part of the Odissi tradition is the inclusion of Moksha (or Mokshya) finale in the performance sequence. This the concluding item of a recital. Moksha in Hindu traditions means "spiritual liberation". This dance movement traditionally attempts to convey a sense of spiritual release and soul liberation, soaring into the realm of pure aesthetics. Movement and pose merge in a fast pace pure dance climax.

Basic moves and mudras

The basic unit of Odissi are called bhangas. These are made up of eight belis, or body positions and movements, combined in many varieties.  Motion is uthas (rising or up), baithas (sitting or down) or sthankas (standing). The gaits or movement on the dance floor is called chaalis, with movement tempo linked to emotions according to the classical Sanskrit texts. Thus, for example, burhas or quick pace suggest excitement, while a slow confused pace suggests dejection. For aesthetics, movement is centered on a core, a point in space or floor, and each dancer has her imaginary square of space, with spins and expression held within it.   The foot movement or pada bhedas too have basic dance units, and Odissi has six of these, in contrast to four found in most classical Indian dances.

The three primary dance positions in Odissi are:
Chouka – the square position, with weight equally placed on the two legs in a squatting position, spine straight, arms raised up with elbows bent.
Abhanga – the body weight shifts to one foot, while the feet and knees are kept forward in a standing position, one hip extending sideways and torso deflected away from supporting leg.
Tribhanga – is an S-shaped three-fold bending of body, with torso deflecting in one direction while the head and hips deflecting in the opposite direction of torso. Further, the hands and legs frame the body into a composite of two squares (rectangle), providing an aesthetic frame of reference. This is described in the ancient Sanskrit texts, and forms of it are found in other Hindu dance arts, but tribhanga postures developed most in and are distinctive to Odissi, and they are found in historic Hindu temple reliefs.

Mudras or Hastas are hand gestures which are used to express the meaning of a given act. Like all classical dances of India, the aim of Odissi is in part to convey emotions, mood and inner feelings in the story by appropriate hand and facial gestures. There are 63 Hastas in modern Odissi dance, and these have the same names or structure as those in the pan-Indian Hindu texts, but most closely matching those in the Abhinaya Chandrika. These are subdivided into three, according to the traditional texts:
 Asamyukta Hasta – Single hand Mudras – 28 Prakar (gestures, for instance to communicate a salute, prayer, embrace, energy, bond, swing, carriage, shell, arrow, holding a thing, wheel, and so on.)
 Samyukta Hasta – Double hand Mudras – 24 Prakar (gestures, for instance to indicate a flag, flower, type of bird or animal, moon, action like grasping, and so on.)
 Nrutya Hasta – "Pure Dance" Mudras

The Mudra system is derived from the "Abhinaya Darpana" by Nandikeshavara and the ancient Natya Shastra of Bharata Muni.

Costumes

The Odissi dancers are colorfully dressed with makeup and jewellery. The saree worn by Odissi dancers are brightly coloured, and usually of local silk (Pattasari). It is worn with pleats, or may have a pleat tailor stitched in front, to allow maximum flexibility during the footwork. These sarees have traditional prints of Odisha with regional designs and embellishments, and may be the Sambalpuri saree and Bomkai saree.

The jewellery includes silver pieces, a metal favored in regional tradition. The hair is tied up, and typically drawn into an elaborate bun resembling a Hindu temple spire, and decorated with seenthi. The hairstyle may contain a moon shaped crest of white flowers, or a reed crown called mukoot with peacock feathers (symbolism for Lord Krishna). The dancers forehead is marked with tikka, and adorned with various jewelry such as the allaka (head piece on which the tikka hangs). The eyes are ringed with kajal (black eyeliner).

Ear covers called kapa or ear rings decorate the sides of the head, while necklace adorns the neck. The dancer wears a pair of armlets also called bahichudi or bajuband, on the upper arm. The wrist is covered with kankana (bangles). At the waist they wear an elaborate belt which ties down one end of the sari. The ankles are decorated with a leather piece on top of which are bells (ghungroo). The dancer's palms and soles may be painted with red coloured dye called the alta.

Modern Odissi male performers wear dhoti – a broadcloth tied around waist, pleated for movement, and tucked between legs; usually extends to knee or lower. Upper body is bare chested, and a long thin folded translucent sheet wrapping over one shoulder and usually tucked below a wide belt.

Music and instruments

Odissi dance is accompanied by the traditional classical music of the state of Odisha, Odissi music. The primary Odissi ragas are Kalyana, Nata, Shree Gowda, Baradi, Panchama, Dhanashri, Karnata, Bhairavee and Shokabaradi.

Odissi dance, states Ragini Devi, is a form of "visualized music", wherein the Ragas and Raginis, respectively the primary and secondary musical modes, are integrated by the musicians and interpreted through the dancer. Each note is a means, has a purpose and with a mood in classical Indian music, which Odissi accompanies to express sentiments in a song through Parija. This is true whether the performance is formal, or less formal as in Nartana and Natangi used during festive occasions and the folksy celebration of life.

Like most Indian dance forms, an Odissi troupe performs with the accompaniment of a musical ensemble. The mini-orchestra consists of a number of instruments, often varying slightly by region; the ubiquitous tanpura is used for a consistent, droning ambience throughout, with either the mardala (a barrel drum variant of the pakhawaj), tabla or mridangam for percussion. Melodic instruments range from the harmonium, bansuri (bamboo flute) or sarangi to the sitar and violin. Additionally, manjira (finger cymbals) or other small, percussive instruments may be used. At times, vocalists may be featured, usually singing simple, rhythmic phrases and melodies with dancing specifically choreographed to match.

Styles
The Odissi tradition existed in three schools: Mahari, Nartaki, and Gotipua:

 Maharis were Oriya devadasis or temple girls, their name deriving from Maha (great) and Nari (girl), or Mahri (chosen) particularly those at the temple of Jagganath at Puri. Early Maharis performed Nritta (pure dance) and Abhinaya (interpretation of poetry) dedicated to various Hindu gods and goddesses, as well as Puranic mythologies and Vedic legends. Later, Maharis especially performed dance sequences based on the lyrics of Jayadev's Gita Govinda. This style is more sensuous and closer to the classical Sanskrit texts on dance, music and performance arts.
 Gotipuas were boys dressed up as girls and taught the dance by the Maharis. This style included martial arts, athletics and acrobatics. Gotipuas danced to these compositions outside the temples and fairgrounds as folksy entertainment.
 Nartaki dance took place in the royal courts, where it was prevalent before the British period.

Schools, training and recognition

Odissi maestros and performers
Kelucharan Mohapatra,  Pankaj Charan Das, Deba Prasad Das and Raghunath Dutta were the four major gurus who revived Odissi in the late forties and early fifties. Sanjukta Panigrahi was a leading disciple of Kelucharan Mohapatra who popularized Odissi by performing in India and abroad. In the mid-sixties, three other disciples of Kelucharan Mohapatra, Kumkum Mohanty and Sonal Mansingh, were known for their performances in India and abroad. Some other notable disciples include, Debi Basu, Jhelum Paranjape, Shubhada Varadkar and Daksha Mashruwala. Laximipriya Mohapatra performed a piece of Odissi abhinaya in the Annapurna Theatre in Cuttack in 1948, a show upheld as the first classical Odissi dance performance after its contemporary revival. Guru Mayadhar Raut played a pivotal role in giving Odissi dance its classical status. He introduced Mudra Vinyoga in 1955 and Sancharibhava in the Odissi dance items, and portrayed Shringara Rasa in Gita Govinda Ashthapadis. His notable compositions include Pashyati Dishi Dishi and Priya Charu Shile, composed in 1961.

Schools

IIT Bhubaneswar
Odissi has been included in Indian Institute of Technology Bhubaneswar's BTech syllabus since 2015 as the first Indian national technical institute to introduce any classical dance in syllabus.

In Guinness World records
Guinness World Records has acknowledged the feat of the largest congregation of Odissi dancers in a single event. 555 Odissi dancers performed at the event hosted on 23 December 2011, in the Kalinga stadium, Bhubaneswar, Odisha. The dancers performed the Mangalacharan, Battu, Pallavi, Abhinay and Mokshya dance items from the Odissi repertoire.

More than 1000 Odissi dancers performed at the World Cultural Festival 12 March 2016. This is till date the largest congregation of Odissi dancers in a single event.

Odissi Centre at Oxford University

An Odissi dance centre has been opened from January 2016, at the University of Oxford. Known as Oxford Odissi Centre, it is an initiative of the Odissi dancer and choreographer Baisali Mohanty who is also a post-graduate scholar at the University of Oxford.

Beside holding regular Odissi dance classes at its institution, the Oxford Odissi Centre also conducts Odissi dance workshops at other academic institutions in the United Kingdom.

See also
Indian classical dance
Ghungroo
Odissi music
Gotipua

References

Bibliography
Odissi : What, Why and How… Evolution, Revival and Technique, by Madhumita Raut. Published by B. R. Rhythms, Delhi, 2007. .
Odissi Yaatra: The Journey of Guru Mayadhar Raut, by Aadya Kaktikar (ed. Madhumita Raut). Published by B. R. Rhythms, Delhi, 2010. .
Odissi Dance, by Dhirendranath Patnaik. Published by Odisha Sangeet Natak Akademi, 1971.
Odissi – The Dance Divine, by Ranjana Gauhar and Dushyant Parasher. Published by Niyogi Books, 2007. .
Odissi, Indian Classical Dance Art: Odisi Nritya, by Sunil Kothari, Avinash Pasricha. Marg Publications, 1990. .
Perspectives on Odissi Theatre, by Ramesh Prasad Panigrahi, Odisha Sangeet Natak Akademi. Published by Odisha Sangeet Natak Akademi, 1998.
Abhinaya-chandrika and Odissi dance, by Maheshwar Mahapatra, Alekha Chandra Sarangi, Sushama Kulshreshthaa, Maya Das. Published by Eastern Book Linkers, 2001. .
Rethinking Odissi, by Dinanath Pathy. Published by Harman Pub. House, 2007. .

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External links

Odissi solo performance: Nitisha Nanda, Arabhi Pallav, New Delhi 2013
Odissi group dance: Megh Pallavi, Vancouver 2014
Maryam Shakiba – Odissi Dance – Manglacharan Ganesh Vandana Pushkar 2014
Odissi links at the Open Directory
Odissi schools, Classical Indian Dance Portal
The annotated Odissi Dance Archive on Pad.ma
History of Odissi and Geeta Govinda JN Dhar, Orissa Review
Bharat Bhavan, a Kerala-based Department of Culture information website.

Arts of Odisha
Odia culture
Jayadeva
Classical dance genres of India
Hindu temple dance
Odissi exponents
Odissi music
Artforms based on Odissi music

Odissi