Uygurlar (Uygur Arap yazısı: ; Uygur Kiril alfabesi: Уйғурлар; Uygur Latin yazısı: Uyghurlar; , ) veya Uygur Türkleri, Orta ile Doğu Asya'dan kaynaklanan ve kültürel olarak bu bölgelerle bağlı bir Türk azınlık etnik grubudur. Uygurlar Çin'in resmî olarak tanıdığı 55 etnik azınlıktan biridir. Çin'in kuzeybatısındaki Sincan Uygur Özerk Bölgesi, Uygurların memleketi olarak tanınır. Bununla birlikte, Çin Hükûmeti, Uygurları yalnızca çok kültürlü bir ulusa (Zhonghua minzu) ait olan bölgesel bir azınlık olarak tanır ve Uygurların yerli bir halk olduğu yönündeki kavramı reddetmektedir.

Uygurlar geleneksel olarak Tarım Havzası içerisindeki Taklamakan Çölü'nde bulunan vaha yerleşimlerinde yaşarlar. Bu bölge tarihî olarak Çin, Moğollar, Tibetliler ve farklı Türk devletleri dahil olmak üzere birçok farklı medeniyetin yönetimi altında olmuştur. Uygurlar 10. yüzyılda gitgide İslamlaşmaya başlamış ve 16. yüzyılda Uygurların çoğu İslam dinini artık benimsemiş durumdaydı. Bu zamandan beri İslam, Uygur kültürü ve kimliğinde önemli bir rol oynamıştır.

Sincan'daki Uygurların yaklaşık %70'inin hâlen Tarım Havzası'nda yaşadığı tahmin edilmektedir. Sincan Uygurlarının geri kalan kısmının çoğu ise tarihî Çungarya bölgesinde bulunan ve günümüz Sincan Uygur ÖB'nin başkenti olan Urumçi şehrinde yaşamaktadır. Çin sınırları içerisinde Sincan'ın dışındaki en büyük Uygur topluluğu Hunan Eyaleti'nin merkez kuzeyindeki 'nde bulunur (bkz: Changde Uygurları). Orta Asya ülkelerinde, bilhassa Kazakistan, Kırgızistan ve Özbekistan'da büyük Uygur diaspora toplulukları vardır; Dünya çapındaki birçok diğer ülkede de daha küçük Uygur diaspora topluluklarına rastlanabilir.
20. yüzyılın başlarından bu yana özellikle günümüz Çin sınırları içerisinde yaşayan Uygurlar, kendilerini dinî ve etnik bir çatışmanın merkezinde bulmuşlardır. Uygur halkı resmî olarak Çin Ulusu'nun bir parçası olarak sayılsa da, birçok Uygur fiilen "Doğu Türkistan" diye bir devletin kurulmasını amaçlayan bir bağımsızlık hareketini desteklemektedir. Bir milyondan fazla Uygurun 2015'ten beri Sincan yeniden eğitim kamplarında tutulduğu tahmin edilmiştir. Bu kamplar, Genel Sekreter Şi Cinping'in Hükûmeti altında kuruldu; kampların ana amacı ise ulusal ideolojiye uyum sağlamaktır. Çin'in Uygurlara yönelik muamelesini eleştirenler, Çin Hükûmeti'ni 21. yüzyılda Sincan'da bir Çinlileştirme politikasını yürütmekle suçlar ve bunu Uygurlara yönelik bir soykırım ya da etnosit olarak nitelendirirler.

Nüfus dağılımı

Çin sınırları içerisinde

Eyaletlerine göre Uygur nüfusu

2010 yılında yapılmış Çin Ulusal Nüfus Sayımı'na göre, Çin sınırları içerisinde toplam 10.071.394 Uygur vardır; Uygurlar böylece toplam Çin nüfusunun yaklaşık %0,76'ini oluşturur ve Çin'in en büyük beşinci etnik grubunu teşkil ederler.

Aşağıdaki tabloda gösterildiği gibi, Çin'deki Uygurların neredeyse tümü (%99'dan fazla) Çin'in kuzeybatısındaki Sincan Uygur Özerk Bölgesi'nde yaşar. Çin'in birçok diğer eyaletinde 1.000 kişiyi aşan Uygur nüfusları vardır. Ayrıca Nüfus Sayımı'nın yapıldığı sırada Çin Halk Kurtuluş Ordusu'nda aktif hizmette bulunan 2.048 Uygur vardı.

Sincan Uygur Özerk Bölgesi

2010 yılı Nüfus Sayımı verilerine göre Sincan Uygur Özerk Bölgesi'nde 10.001.302 Uygur vardır; yani Uygurlar, Sincan nüfusunun neredeyse %46'sını oluştururlar. Tarım Havzası içerisinde yer alan tarihî  bölgesi, hem tarih boyunca hem de günümüzde Uygurların en yüksek yoğunlukta yaşadığı bölgedir ve Sincan Uygurlarının yaklaşık %80'inin hâlen bu bölgede yaşadığı tahmin edilmektedir.

Sincan Uygurlarının geri kalan kısmı Kuzey Sincan'da (), yani tarihî Çungarya bölgesinde, yaşar. Buradaki Uygurlar azınlıktadır ve birçok yerleşimdeki çoğunluğunu Han Çinlileri oluşturur. 2010 yılı Nüfus Sayımı'na göre, Sincan Uygur ÖB başkenti Urumçi'de 387.878 Uygur var; yani Uygurlar, Urumçi nüfusunun %12,46'sını oluştururlar.

2002 yılında, Sincan'daki birçok şehrin üzerindeki yönetimi doğrudan üstleyen Sincan Üretim ve İnşaat Kolordusu üyelerinin %6,6'sını (165.000 kişi) Uygurların oluşturduğu tahmin edilmiştir.

Sincan Uygur ÖB haricindeki yerleşimler

Sincan Uygur Özerk Bölgesi haricinde Uygurların nüfusun büyük kısmını oluşturduğu  de vardır. Bunların hepsi, Güney Merkez Çin'deki Hunan Eyaleti'ndedir ve burada yaşayan Uygurlar Sincan Uygurlarından kültürel açıdan farklıdır (bkz: Changde Uygurları).

Çin sınırları haricinde

Genetik

Günümüz Uygurlarda büyük oranda genetik çeşitlilik mevcuttur. 2008 yılında Hotan İli'nde yürütülmüş bir araştırmada genetiği incelenen yerli Uygurlarda %60 Avrupa/Batı Asya ve %40 Doğu Asya/Sibirya genetik kalıtımının var olduğu bulunmuştur. İleri çalışmalar, Güney Sincan Uygurlarındaki Avrupa/Batı Asya genetik kalıtımının (%52) Kuzey Sincan Uygurlarınkinden (%47) daha fazla olduğunu bulmuştur. 2009 yılında daha geniş kapsamlı örnek verileriyle yapılmış bir çalışma, Uygurlardaki Doğu Asya genetiğinin %70 olup bunun Avrupa/Batı Asya genetik kalıtımının orantısından (%30) daha yüksek olduğunu bulmuştur.

2017 yılında Sincan'ın 14 farklı bölgesinden gelen toplam 951 Uygurun gen numuneleriyle yapılmış bir gen analizi, Tanrı Dağları'nın doğal bir bariyer oluşturduğunu ve bu bariyerin Sincan'ın güneybatısı ile kuzeydoğusundaki Uygur nüfusları arasında genetik farklılıklara sebep olduğunu buldu. Bu analiz, doğudan batıya doğru gidince genetik bileşenlerin değiştiğini belirtmektedir: Avrupa bileşenleri %25'ten %37'ye ve Güney Asya bileşenleri %12'den %20'ye yükselirken, Sibirya bileşenleri %17'den %15'e, Doğu Asya bileşenleri de %47'den %29'a düşer. Bu çalışma, yaklaşık 3.750 sene öncesindeki insanların yerleşim eğilimlerini saptar; bu, 4.000-2.000 sene öncesine dayanan ve Avrupa fiziksel özellikleri olan Tarım mumyaları ve 750 sene önce yer almış daha yeni bir yerleşim dalgasıyla örtüşmektedir. Bu analiz, Uygurların en çok diğer Orta Asya halklarına, bunun ardından da Doğu Asya ve Batı Avrasya halklarına benzediklerini ileri sürmektedir. Uygur nüfuslarında büyük oranda genetik çeşitlilik olsa da bu farklılıklar Uygurlar ile Uygur olmayanlar arasındaki farklılıklardan küçüktür.

Changde Uygurları

Hunan Eyaleti'ne bağlı 'nde ve Changde şehrinin diğer yerlerinde yaklaşık 5.000 Uygurun yaşadığı tahmin edilmektedir. Bunlar, "Hala Başı" isimli Turpanlı (o dönemde Karahoca Uygur Krallığı'na ait) bir Uygur önderinin ve kendisiyle Hunan'a beraber gelmiş askerlerin torunlarıdır. 14. yüzyılın ortasında Ming Hanedanı İmparatoru Zhu Yuanzhang, Hala Başı'nın önderliği altındaki Uygur ordusunu Hunan'a gönderip orduyu  bastırmaya emretti. Ming İmparatoru bu Uygurların Hunan'a yerleşmesine izin verdi ve bunlara "Jiǎn" (翦) soy ismini, Hala Başı'na ise "Ulusun Güneyindeki Asayişini Sağlayan Makamın Başkomutanı" () unvanını verdi.

1982 Nüfus Sayımı sırasında Hunan'da 4.000 Uygurun var olduğu kaydedildi. Hunan Uygurlarının 600 yıl öncesinden günümüze kadar şecereleri var. Şecere kayıtlarının tutulması, Hunan Uygurlarının benimsediği bir Han Çinli geleneğidir. Huiler de Ming İmparatoru tarafından isyan bastırmak için kullanıldı ve Hunan'daki Uygurlar ile Huilerin arasında evlilikler yer almıştır.

Sincan Uygurlarından farklı olarak, Hunan Uygurları Han Çinlilerin kültürüne büyük oranda asimile olmuş durumda; bu durum, Hunan Uygurlarının kendi dinî inançları ve uygulamalarına dair tutumlarında da yansıtılır. Han isimleri olan Hunan Uygurları anadil olarak Uygurca değil, Çince konuşurlar, bazı dinî bağlamlarda ise Arapça kullanırlar. Changde'deki Uygurların İslam'ı uygulayıp uygulamadığı konusunda bazı anlaşmazlıklar mevcuttur. Bazı akademisyenler, Hunan Uygurlarının Han Çinli kültürüne ve toplumuna asimile olduklarını ve artık İslam'ı uygulamadıklarını ve bir tek şecerelerine bakıldığı zaman Uygur soyundan oldukları anlaşıldığını ifade etmiştir. Çin haber kaynakları ise Hunan Uygurlarının Müslüman olduklarını bildirir. Diğer bir rapor da Hunan Uygurlarının pek dindar olmadıklarını ve domuz eti tükettiklerini belirtir. Yaşlı Uygurlar, özellikle de Changde camilerindeki yaşlılar bunu reddeder ve genç Uygurları İslami geleneklere geri çekmek isterler.

Kültür

Dil

Uygurca, Türk dil ailesinin Karluk koluna aittir. İsim benzerliğine rağmen çağdaş ("yeni") Uygurca, Sibirya Türk dillerine ait olan Eski Uygur Türkçesinden türemedi; diğer Karluk dilleri (ör. Özbekçe) gibi Çağataycadan türemiştir ve en çok bu dillerle karşılıklı anlaşılabilirlik göstermektedir.

Karluk Uygur Türkçesini yazmak için birçok farklı yazı sistemi kullanılmıştır. Uygur halkının İslam'a geçmesiyle Arap alfabesi kullanılmaya başladı; bu alfabenin tarihî yazı biçimi günümüzde "K̡ona Yezik̡" (yani "Eski Yazı") olarak anılır. 20. yüzyıl boyunca yer almış çeşitli siyasi değişikliklerden dolayı yazı sistemi birkaç kez reform edildi. Sovyetler Birliği, Kiril alfabesini temel olarak alıp 1937'de Uygur Kiril alfabesi'ni tasarladı; bu alfabe, günümüz Orta Asya'daki eski Sovyet cumhuriyetlerinde yaşayan Uygurlar tarafından kullanılmaya devam etmektedir. Kiril alfabesi bir süre Çin'deki Uygurlar tarafından da kullanıldı, fakat Çin-Sovyet ayrılığından sonra Çin, Kiril alfabesinin kullanımını reddetti ve 1959'da Çin'deki Uygurları, "" diye Latin bazlı yeni bir alfabe kullanmaya teşvik etti. 1982 yılında Uygur Arap yazısı tekrar Çin'deki Uygurların resmî yazı sistemi olarak uygulandı ve bu zamandan beri Uygurların çoğu tarafından en çok kullanılan yazı sistemi hâline gelmiştir.

Uygurcanın dışında Çin'deki birçok Uygur Çince de bilmektedir. Eğitim sistemi kapsamında Standart Çince öğrenmenin yanı sıra bazı Uygurlar ayrıca kendi yaşadıkları bölgelere özgü Çince lehçeleri konuşurlar; örneğin, Sincan'da Beifanghua'nın  konuşulur. Changde Uygurları ise Çin kültürüne asimile olmalarından ötürü hiç Uygurca konuşmaz ve bunun yerine Beifanghua'nın  konuşurlar.

Din

Uygurlar tarih boyunca farklı dinî inançlar benimsemiştir. 8. yüzyıl Bögü Kağan zamanında Maniheizm, Uygur Kağanlığı'nın resmî dini oldu. Maniheizmin dışında Uygurlar tarihî olarak Budizm ve Nestûrî Hristiyanlığına da inanmıştır.

Günümüzdeki Uygurların çoğu, Hanefi mezhebine bağlı Sünni Müslümanlarıdır. Çin'de Uygurlar, Huilerden sonra çoğunluğu Müslümanlardan oluşan en büyük ikinci etnik grubu teşkil ederler.

Mutfak

Uygurlardaki yeme ve içme alışkanlıkları, Sincan bölgesinin tarihî İpek Yolu'nun merkezindeki konumu, Sincan'ın iklimsel ve coğrafî özellikleri ve Uygurlardaki İslamî dinî uygulamaları tarafından şekillendirilir. İpek Yolu'nun birçok farklı kültürün alışverişine olanak sağlamasıyla Uygur mutfağı, diğer Orta Asya, Güney Asya, Ortadoğu ve Doğu Asya mutfaklarında da var olan unsurlar içerir. Polu, lagman ve samsa gibi tipik Uygur yemekleri, bu tarihî kültür alışverişini yansıtır. Uygur mutfağının özellikle  gibi Orta Asya mutfaklarıyla paylaştığı benzerlikler pek belirgin; aynı zamanda Çin İslam mutfağı ile paylaştığı birçok ortak noktası mevcuttur.

Uygur mutfağındaki temel gıda maddeleri ekmek ( nan) ve erişte ( çöp) gibi unlu mamüller ( un tamaq) ve hayvan etidir (bilhassa koyun ve kuzu eti). Uygurlar, et içermeyen bir öğün yemeğin hem bolluğu hem de tadı açısından insanı yeterince tatmin edemediğini düşünürler. Buna rağmen, Sincan bölgesindeki kişisel et tüketiminin asıl oranı insanın geliri tarafından belirlenir, böylece de bir bireyin ait olduğu toplumsal sınıfın bir yansıması olarak algılanır; örneğin, kendi hanehalkında sadece az oranda tüketime hazır et bulundurmak bir bireyin sosyal statüsünü olumsuz şekilde etkiler. Bunun etkisi Uygurlardaki geleneksel misafirperverlik kültürüne kadar uzanır: Uygurlar misafirlere çay, nan, sangza ve meyve servisi yapmanın yanı sıra etli yemekler sunmaya da gayret ederler.

Et ile un ürünlerinin haricinde meyve de özellikle yaz mevsiminde Uygurlar tarafından pek çok tüketilir. Turfan Karızı gibi kehriz sistemleri, Sincan'ın kurak çöl ikliminde ürünlerin büyük oranlarda yetiştirilmesine olanak sağlamış ve Sincan'ın Çin'deki ana meyve üretici bölgelerinden biri olmasına yol vermiştir. Kumul'un kavunları (bkz: ), Turpan'ın çekirdeksiz üzümleri, Korla'nın armutları ve Gulca'nın elmaları pek meşhurdur.

Müzik

"Mukam" ( muqam), Uygurların geleneksel müzik tarzıdır. Mukam sistemi, Arap kültüründen kaynaklanan ve hem Avrasya hem de Kuzey Afrika çapında birçok farklı müzik tarzının doğumuna yol vermiş modlu  sisteminin temeli üzerinde Uygurlar tarafından geliştirilmiştir. İsimleri Dolan, Gulca, Kumul ve Turpan gibi Sincan çapındaki vaha şehirlerinden alınmış farklı yöresel mukam sistemleri mevcuttur. Bu mukam sistemlerinin en gelişmiş olanı "On İki Mukam" ( on ikki muqam)'dır; On İki Mukam'ın barındırdığı parçalar, Uygur milletinin sözlü halk destanını oluşturur. Amannisa Hanım (1526–1560), On İki Mukam'ı derlemiş ve sonuç itibarıyla bunun muhafaza edilmesini sağlamış şahıs olarak kabul edilir.

Kıyafet ve el işleri

Galeri

Ayrıca bakınız

 Dolanlar
 Uygur diasporası
 Uygurlar listesi

Dipnot

Kaynakça

Atıflar

Literatür

Uygurlar


Erbengrün ist ein Ortsteil von Langenwetzendorf im Landkreis Greiz in Thüringen.

Erbengrün liegt südlich von Langenwetzendorf an der Kreisstraße 206 im Thüringer Schiefergebirge.

Geschichte
Am 25. August 1444 wurde der Ort erstmals urkundlich erwähnt.
Seit 1994 ist Erbengrün in Langenwetzendorf eingemeindet. 130 Einwohner leben in dem Ortsteil.
Die Landwirtschaft spielte und spielt eine Rolle. Ein Wiedereinrichter bewirtschaftet die meisten Flächen.

Weblinks

Einzelnachweise

Ort im Landkreis Greiz
Geographie (Langenwetzendorf)
Ersterwähnung 1444
Ehemalige Gemeinde (Landkreis Greiz)
Gemeindeauflösung 1958

Erbengrün


Miron Oprean (n. 1876, Târnăvița – d. 1959) a fost un preot român, in toamna anului 1918 este ales președinte al Consiliului Național Român din sat și delegat la Marea Adunare Națională de la Alba Iulia din 1 decembrie 1918.

Note

Vezi și
Lista delegaților la Marea Adunare Națională de la Alba Iulia

Bibliografie
Gelu Neamțu, Mircea Vaida-Voevod, 1 decembrie 1918. Mărturii ale participanților. Ioachim Crăciun: Documente la un sfert de veac de la Marea Unire, Editura Academiei Române, București, 2005.

Lectură suplimentară
 Daniela Comșa, Eugenia Glodariu, Maria M. Jude, Clujenii și Marea Unire, Muzeul Național Transilvania, Cluj-Napoca, 1998
 Florea Marin, Medicii și Marea Unire, Editura Tipomur, Târgu Mureș, 1993
 Silviu Borș, Alexiu Tatu, Bogdan Andriescu, (coord.), Participanți din localități sibiene la Marea Adunare Națională de la Alba Iulia din 1 decembrie 1918, Editura Armanis, Sibiu, 2015

Legături externe
  Membrii de drept ai Marii Adunării Naționale de la Alba-Iulia din 1 decembrie 1918, lista publicată în "Gazeta Oficială", Sibiu, nr. 1, 1/14 decembrie 1918
  1 decembrie 1918, Marea Unire de la Alba Iulia. Mărturii, documente și semnificații

Vezi și
 Lista delegaților la Marea Adunare Națională de la Alba Iulia

Nașteri în 1867
Decese în 1959
Delegați la Marea Adunare Națională de la Alba Iulia

Miron Oprean


Nienwohld, Almanya'nın kuzeyinde Schleswig-Holstein eyaleti Stormarn iline bağlı bölge. 9,19 km² yüzölçümüne sahiptir. Nüfusu 1 Ocak 2006 itibarıyla 488 olarak tespit edilmiştir. Nüfus yoğunluğu ise 52 seviyesindedir. Belediye başkanlığı Doris Schulz tarafından yürütülmektedir.

Dış bağlantılar
 Resmi site

Stormarn iline bağlı yerleşim birimleri

Nienwohld


Le  un modèle d'automotrice électrique produit par le constructeur suisse Stadler Rail, faisant partie de la gamme Stadler FLIRT 3. C'est une automotrice bi-mode (électrique et thermique) pouvant être alimentée par caténaire via un pantographe ou grâce à des générateurs électriques Diesel embarqués.

Ces FLIRT bi-modes, initialement spécifiquement conçus par Stadler Rail pour la région autonome de la Vallée d'Aoste, ont été produits et commercialisés sous d'autres noms pour d'autres clients.

Histoire

Genèse du projet

La conception du FLIRT bi-mode par la société suisse Stadler Rail s'inscrit dans le cadre de l'appel d'offres de la région de la Vallée d'Aoste. Cette région désirait des trains de voyageurs capables de circuler à la fois sous caténaires, mais aussi sur les lignes non électrifiées grâce à des générateurs embarqués, afin de créer une liaison sans rupture de charge entre la gare d'Aoste et la gare de Turin-Porta-Nuova, évitant ainsi le transbordement de passagers à Ivrée ou Chivasso entre trains thermiques et électriques. La décision d'opter pour des trains bimodaux plutôt que pour l'électrification était principalement due aux difficultés considérables liées à l'électrification des nombreux tunnels de l'itinéraire, où il aurait fallu abaisser la plate-forme ferroviaire, ce qui, à certains endroits, aurait également nécessité la reconstruction des ponts adjacents aux tunnels, sur lesquels l'abaissement n'était pas possible ; ces travaux, qui auraient coûté très cher, auraient entraîné la fermeture prolongée de plusieurs tronçons de la ligne et, une fois achevés, n'auraient pas eu d'incidence sur les temps de parcours, puisque les limitations de vitesse et les exigences de franchissement typiques d'une ligne à voie unique seraient restées en vigueur, et que certains tronçons auraient été grevés par les caractéristiques typiques d'un chemin de fer de montagne (faibles rayons de courbure, absence de lignes droites permettant d'atteindre et de maintenir des vitesses élevées, tunnels de petite section dans lesquels l'air est comprimé par l'entrée du train). Tout chantier ultérieur de doublement de voie - partiel ou total - aurait alors facilement nécessité la reconstruction de l'électrification réalisée jusqu'alors.

Après deux appels d'offres sans succès de la Vallée d'Aoste, imputables en partie par la nécessité d'un produit très spécifique permettant difficilement aux constructeurs de réaliser des économies d'échelle afin de proposer un prix supportable pour la région, un appel d'offres a fini par être remporté en  par Stadler Rail pour une première tranche ferme de  et une deuxième tranche conditionnelle de 5 autres trains en option. La livraison des premiers trains était prévue pour le mois de .

En tant que nouveau modèle de train sur le territoire italien, le FLIRT bi-mode a nécessité une homologation par l'ANSF pour être autorisé à circuler sur le réseau ferré italien. Chaque unité doit donc recevoir la conformité ANSF au type de modèle autorisé, être inscrit au Registre National d'Enregistrement (RIN), afin de pouvoir enfin obtenir une autorisation de circulation de la part de RFI.

Construction et mise en service
Bien que la construction des cinq trains ait été achevée à temps (le premier train a été terminé en , le dernier en ), les procédures d'approbation par l'ANSF avec Italcertifer puis s'est avérée nettement plus longue que se sont avérées plus longues que prévu, notamment en raison de modifications de la réglementation par rapport à la date d'attribution de l'offre et du nouveau type de train bi-mode.

En , le BTR 813 a été engagé dans des essais de jour autonomes sur certaines lignes de Toscane.

L'autorisation de mise en service provisoire pour ce modèle de train, pour des circulations en unité simple, a été délivrée à la fin du mois de  suivie par la délivrance certificats de conformité au modèle autorisé pour chaque train spécifique.

En , la mise en service des premiers trains bi-modaux entre Aoste et Turin était prévue pour l'automne de la même année.

Le , le premier train a été livré au dépôt de Turin Smistamento, tracté par la locomotive FS E.632.016, où des essais ont commencé. Au cours du mois de , la rame BTR 813.004 a été circulé sans voyageurs dans la région de Turin. Un premier voyage test a eu lieu le  entre Turin et Aoste avec uniquement des techniciens de conduite et de maintenance à bord alors que la presse avait annoncé que des responsables de la région de la Vallée d'Aoste et de Trenitalia seraient également présents dans le train.

La mise en service des deux premiers BTR 813 a lieu le  (trains  et ). Ils assurent neuf allers-retours quotidiens entre Aoste et Turin-Porta-Nuova. À partir du , trois BTR 813 sont en service sur la ligne Aoste-Turin.

En attendant la sortie de l'autorisation de mise en service pour la dernière rame () et la mise en service effective des , y compris en unité double pour les besoins des heures de pointe, il est prévu que les BTR 813 effectuent  quotidiens jusqu'au changement d'horaire suivant. L'autorisation de mise en service du dernier train est ensuite délivrée le .

Fin , le conseiller Bertschy annonce attendre l'autorisation d'exploitation des BTR 813 en unité double par la nouvelle agence de sécurité ANSFISA, qui devait être délivrée au début de l'année .

À partir de , il est prévu de maintenir le service des trains bi-modes heures creuses jusqu'au changement d'horaire du  en attendant l'autorisation d'utilisation en unité double. Cette situation s'est prolongée quelques semaines puisque l'autorisation finale de mise en service du BTR 813 en unité double a finalement été délivrée le .

Commandes supplémentaires
Fin , il est annoncé que  autres trains bi-modaux seront mis en service d'ici l'année . Néanmoins, en , il est annoncé sur le site du constructeur Hitachi Rail qu'un contrat pour  bi-modes Hitachi Blues a été signé avec la région de la Vallée d'Aoste. À la fin du mois de , l'opération est confirmée par Trenitalia ; il est également probable que ces trains ne puissent pas être utilisés avec les BTR 813 de Stadler en unité multiple.

En , l'achat de  via la tranche optionnelle du contrat de  est approuvé à travers les financements régionaux de la Vallée d'Aoste pour la période -. Le plus grand nombre de BTR 813 disponibles doit permettre de réaliser toutes les liaisons Regionale Veloce entre Turin et Aoste sans rupture de charge, et/ou de réaliser un plus grand nombre de trains en double composition.

Description

Généralités

Cette série de trains fait partie de la famille FLIRT 3 et est la première de la famille à être produite en version , résultant d'une intégration entre les modèles FLIRT  (alimentation électrique par caténaire) et  (alimentation électrique par génératrice thermique à base de moteur Diesel).

Ce train, réversible comme la plupart des rames automotrices, a une composition indéformable de  reliées entre elles par des bogies jacobs avec une traction répartie sur les bogies motorisés en tête et en queue. Les voitures d'extrémité sont chacune équipées d'une cabine de conduite. L'une des deux voitures centrales est plus courte et contient exclusivement les moteurs Diesel et alternateurs couplés. Cette voiture s'appelle le module  et dispose d'un couloir central qui peut être traversé pour assurer une continuité de circulation à travers le train pour les voyageurs.

Caractéristiques techniques

Comme tout engin Diesel, les BTR 813 ont la capacité de circuler sur toutes les lignes du réseau ferré italien à écartement standard, qu'elles soient électrifiées ou non. Cependant, par rapport à un engin diesel, ils ont l'avantage de pouvoir utiliser le mode de traction électrique sur les lignes électrifiées en  continu. Sur les lignes non électrifiées, deux moteurs Diesel de  chacun assurent la production d'électricité pour alimenter les moteurs électriques situés sur les bogies d'extrémité. Le train est conçu de manière à pouvoir y ajouter deux voitures à sa composition ainsi que deux moteurs Diesel supplémentaires afin d'augmenter sa capacité.

Les BTR 813 sont équipés des systèmes de sécurité SCMT (utilisé entre Turin et Ivrée) et SSC (utilisé entre Ivrée et Aoste).

Intérieur

L'aménagement intérieur des trains BTR 813 correspond à celui de la famille Stadler FLIRT. Ces rames peuvent accueillir jusqu'à  assises grâce à  et .

Les voitures sont équipées de planchers bas accessibles aux personnes à mobilité réduite ainsi que d'espaces destinés à l'accueil de ces personnes handicapées. On y trouve à la fois des sièges classiques et des strapontins dans les couloirs les plus étroits. Des espaces sont disponibles au-dessus des sièges afin d'y déposer d'éventuelles valises et autres sacs ou bagages. Les voitures voyageurs sont équipées d'une climatisation distincte des postes de conduite et éclairées à l'aide de diodes électroluminescentes. Au centre du train se situe une pièce d'eau avec un lavabo et des toilettes. Les portes s'ouvrent sur commande grâce à des boutons et sont équipées de comble-lacunes pour combler l'espace entre le train et le quai.

L'information pour les voyageurs est assurée dans le train par des écrans à cristaux liquides qui indiquent le numéro du train, la gare de destination et le prochain arrêt. Des annonces vocales sont également diffusées à bord au fil du trajet. En raison du bilinguisme présent dans la Vallée d'Aoste, tous les annonces et informations sont présentes en Italien comme en Français.

Extérieur
Extérieurement, des écrans affichent la gare de destination ainsi que la gare en cours de desserte. L'ensemble du train est équipé de caméras de vidéosurveillance.

La livrée est caractérisée par les couleurs de la région de la Vallée d'Aoste, à savoir le rouge avec une ligne noire sur le bas des voitures. Le rouge et le noir sont séparés par une bande dorée que l'on retrouve également sur les portes. La voiture  présente les armoiries de la région en Italien et en Français, toujours en raison du bilinguisme. À l'intérieur aussi, le rouge prévaut sur les sièges, le noir sur le sol et le doré pour les rayures qui indiquent. Le noir, le doré et le blanc sont également dominantes dans la charte graphique utilisée pour les annonces sur les écrans dans le train.

Service
Le BTR 813 est entré officiellement en service le . Depuis ce jour, des relations directes ont été établies entre les gares de Turin-Porta-Nuova et Aoste. En attendant le changement d'horaire suivant, seuls  étaient en service à la fois et assuraient 4 allers-retours quotidiens sur la ligne.

Avec l'entrée en vigueur le  de l'horaire d'hiver /, contrairement à ce qui était prévu, le BTR 813 utilisé pour les relations directes entre Turin et Aoste continue de changer de numérotation à Ivrée, où le temps d'arrêt en gare n'est pas encore réduit par rapport au trajet avec rupture de charge. De même, à Chivasso, le temps de rebroussement est censé être réduit de  à . Pour toutes ces raisons, le temps de trajet entre Turin et Aoste échoue à passer sous la barre des  dans un premier temps.

Avec l'entrée en vigueur le  de l'horaire d'hiver /, les réductions de temps de trajet susmentionnées sont appliquées, conduisant à un temps de trajet entre Turin et Aoste sous les  prévu pour les 20 liaisons quotidiennes effectuées par le BTR 813.

Notes et références

Voir aussi

Articles connexes

 Liste de matériel roulant ferroviaire italien
 Jazz (train)
 Hitachi Rock
 Stadler FLIRT

Lien externe

Véhicule hybride
Matériel roulant des FS
Automotrice d'Italie
Automotrice 3000 V
Stadler FLIRT

BTR 813


Europa Cup 1976-77 var den 12. udgave af Europa Cuppen i ishockey, arrangeret af International Ice Hockey Federation, og turneringen med deltagelse af 16 hold blev spillet i perioden fra efteråret 1976 til februar 1979.

Turneringen blev vundet af TJ Sokol Kladno fra Tjekkoslovakiet, som i finalen besejrede HK Spartak Moskva fra Sovjetunionen. Begge finalekampe endte 4-4, og derfor blev titlen afgjort i en straffeslagskonkurrence, som det tjekkoslovakiske hold vandt med 2-1. Det var fjerde gang, men første gang siden sæsonen 1967-68, at turneringen blev vundet af et tjekkoslovakisk hold, og det var første gang, at TJ Sokol Kladno vandt titlen.

Format og hold

De nationale mestre i sæsonen 1975-76 i IIHF's medlemslande i Europa kunne deltage i turneringen. Den blev afviklet som en cupturnering, hvor hvert opgør blev spillet over to kampe, idet holdene mødtes på både hjemme- og udebane. Opgørene blev afgjort i form at summen af resultaterne af de to kampe, og hvis stillingen var uafgjort, blev opgøret afgjort i straffeslagskonkurrence umiddelbart efter den anden kamp.

De sovjetiske, tjekkoslovakiske, finske og svenske deltagere var direkte kvalificeret til kvartfinalerne, mens de resterende 12 hold spillede om de sidste fire ledige pladser i kvartfinalerne.

Resultater

Første runde

Anden runde

I anden runde trådte DDR, Norge, Polen og Østrigs repræsentanter ind i turneringen.

Kvartfinaler

De sovjetiske, tjekkoslovakiske, finske og svenske deltagere trådte ind i turneringen i kvartfinalerne, som blev spillet fra januar til september 1977, og hvor holdene spillede om de fire pladser i semifinalerne.

Semifinaler

Finale

Finalekampene blev spillet i december 1978 og februar 1979.

Kilder / eksterne henvisninger
 Hockey Archives - Coupe d'Europe 1976/77
 КУБОК ЕВРОПЕЙСКИХ ЧЕМПИОНОВ - 1976-1977

Noter

1976-77
Ishockey i 1976
Ishockey i 1977
Ishockey i 1978
Ishockey i 1979

Europa Cup i ishockey 1976-77


A first baseman, abbreviated 1B, is the player on a baseball or softball team who fields the area nearest first base, the first of four bases a baserunner must touch in succession to score a run. The first baseman is responsible for the majority of plays made at that base. In the numbering system used to record defensive plays, the first baseman is assigned the number 3.

Also called first sacker or cornerman, the first baseman is ideally a tall player who throws left-handed and possesses good flexibility and quick reflexes. Flexibility is needed because the first baseman receives throws from the other infielders, the catcher and the pitcher after they have fielded ground balls. In order for the runner to be called out, the first baseman must be able to stretch towards the throw and catch it before the runner reaches first base. First base is often referred to as "the other hot corner"—the "hot corner" being third base—and therefore, like the third baseman, he must have quick reflexes to field the hardest hit balls down the foul line, mainly by left-handed pull hitters and right-handed hitters hitting to the opposite field.

Fielding

Good defensive first basemen, according to baseball writer and historian Bill James, are capable of playing off first base so that they can field ground balls hit to the fair side of first base. The first baseman then relies upon the pitcher to cover first base to receive the ball to complete the out. Indications of a good defensive first baseman include a large number of assists and a low number of throwing errors by other infielders.

In general
The nature of play at first base often requires first basemen to stay close to the bag to hold runners or to reach the bag before the batter. First basemen are not typically expected to have the range required of a third baseman, shortstop, second baseman or an outfielder. As a result, first base is not usually perceived to be as physically demanding as other positions. However, it can also be a very hard position to play; a large amount of concentration and timing is required. Though many play at first base their entire career, it is common for veteran players to be moved to first base to extend their careers or to accommodate other recently acquired players. Facing a possible trade or a considerable reduction in playing time, a player will usually opt to move to first base instead. Catchers and corner outfielders are often moved to first base due to deteriorating health or if their fielding abilities at their original position are detrimental to the team.

Position
Unlike the pitcher and catcher, who must start every play in a designated area (the pitcher must be on the pitcher's mound, with one foot in contact with the pitcher's rubber, and the catcher must be behind home plate in the catcher's box) the first baseman and the other fielders can vary their positioning in response to what they anticipate will be the actions of the batter and runner(s) once play begins.

When first base is not occupied by a baserunner, the first baseman usually stands behind first base and off the foul line. The distance he plays from the base and foul line is dependent on the current hitter and any runners on base. The exact position may also depend on the first baseman's experience, preference, and fielding ability. For a known right-handed pull hitter, the first baseman might position himself further towards the second baseman's normal fielding position. For a known left-handed pull hitter, the first baseman will position himself closer to the foul line to stop a ball hit down the line.

To protect against a bunt on the first base side of the infield, the first baseman will position himself in front of the base and move towards the hitter as the pitch is thrown. As soon as the pitcher commits to throwing towards home plate, the first baseman will charge towards the hitter to field the bunt. During these plays, it is the responsibility of the second baseman to cover first base.

With a base runner present at first base, the first baseman stands with his right foot touching the base to prepare for a pickoff attempt. Once the pitcher commits to throwing towards home plate, the first baseman comes off the bag in front of the runner and gets in a fielding position. If the bases are loaded, or if the runner on first base is not a base stealing threat, the first baseman will position himself behind the runner and appropriate for the current batter.

When waiting for a throw from another player, the first baseman stands with his off-glove foot touching the base, then stretches toward the throw. This stretch decreases the amount of time it takes the throw to get to first and encourages the umpire to call close plays in favor of the fielding team.  Veteran first basemen are known to pull off the bag early on close plays to convince the umpire that the ball reached his glove before the runner reached first base. The first baseman also has the responsibility of cutting off throws from any of the three outfield positions on their way to home plate. Though highly situational, the first baseman usually only receives throws from the center or right fielder.

Double play

The first baseman is usually at the end of a double play, though he can be at the beginning and end of a double play. Unusual double plays involving the first baseman include the 3–6–3, 3–4–3, 3–2–3, or a 3–6–1 double play. In a 3–6–3 or 3–4–3 double play, the first baseman fields the ball, throws to second, where the shortstop (6) or second baseman (4) catches the ball to make the first out and then throws back to the first baseman who reaches first base in time to tag first base before the batter reaches first base. For a 3–2–3 double play, the bases must be loaded for the force-out at home plate or the catcher must tag the runner coming from third base out. With a force-out at home plate, the first baseman fields the ball, throws to the catcher, the catcher steps on home plate for the first out, then he throws it back to the first baseman to complete the double play. The 3–2–3 double play with a tag out at home plate is usually not attempted because of the possibility of the catcher not being able to tag the runner and/or block the plate. If the runner at third base is known as a good or fast baserunner, the first basemen will make considerable effort to make sure the third base runner does not advance to home plate for a run by "looking" him back to third base. The primary goal of the first baseman in this instance is to ensure the runner does not advance and that the team records at least one out, especially in a close game. A 3–6–1 double play is almost like a 3–6–3 or a 3–4–3 double play, but the first baseman is usually playing deep in the infield. Here, the first baseman throws the ball to the shortstop covering second, but the pitcher then has the responsibility of covering first base to receive the throw from the shortstop.

A first baseman can theoretically also make an unassisted double play. There are two ways to achieve this. The first is by catching a line drive and returning to first base to tag the base before a baserunner can return. This is rare because the first baseman is usually slower than most baserunners who generally return to their bases on line drives near any fielder. The second is by getting an infield hit to the right when there is a runner on first, tagging the runner and returning to the first base in time to get the man running towards him.

Left-handed throwing first basemen

A left-handed throwing non-pitcher is often converted to or begins his career playing at first base. A left-handed throwing baseball player who is not particularly fast or has a weak arm (and therefore not well suited for playing in the outfield) will be relegated to playing first base. This is because the only other positions available to the player (catcher, third base, shortstop or second base) are overwhelmingly held by right-handed throwing players, who can make quicker throws to first base (or, in the case of catchers, third base).

The same advantages of being a right-handed throwing catcher, third basemen, shortstop or second basemen apply to the left-handed first baseman. These advantages surface in plays where the player is required to throw to another infielder after fielding a batted ball. In these instances, a right-hander will be required to turn more towards their target before throwing whereas a left-hander will usually already be positioned to make a throw. However, compared to the advantage for the right-handed throwing third baseman, shortstop, or second baseman, these advantages for the left-handed first baseman are minor because many balls hit to the first baseman are to his right, so that a right-handed first baseman fielding them backhanded does not need to turn after fielding a batted ball to throw it. In addition, a majority of plays only require the first baseman to receive a throw, not to field or throw himself. This is attributed to the overall majority of baseball players batting right-handed, and therefore, a majority of batted balls are hit to the left side of the infield and fielded by the third baseman or shortstop. Left-handed first basemen are also advantageous in attempting to pick off baserunners at first, as the left-hander can catch and tag in one motion, often doing both at the same time, while right-handed first baseman must sweep their glove across their body, costing them a crucial fraction of a second in applying the tag.

First-baseman's mitt

The first baseman's mitt is similar to a catcher's mitt in that it has extra padding and has no individual fingers. (In shape, it is closer to a mitten than a glove.) It is much larger than the other infielders' gloves; it is wide, very deep, and it is crescent-shaped at its edges, allowing the first-baseman to use the mitt like a scoop in catching errant throws from other players on the infield.

Since many throws to first base are made in great haste, the first baseman must be prepared to catch balls that are either high or low, as well as balls thrown quite a distance to either side, all while maintaining contact with the base (using one foot or the other). This requires a fair amount of agility and physical coordination. Among the most difficult plays a first baseman is normally required to make are the "short hop" and the "tag play", both of which are far easier to execute when the fielder is wearing the first-baseman's mitt rather than another type of glove.

Short hop

Every ground ball hit to an infielder becomes a race between the batter-runner and the team in the field; the fielder must catch the batted ball and throw it to first before the batter can reach the base. Consequently, part of the first baseman's job is to step toward the incoming ball and stretch his body so that his catching hand makes contact with it as soon as physically possible. Compared to catching the ball while standing passively on the base, this shaves a fraction of a second from the time the runner has to reach base. When it is thrown too low and bounces before reaching the first baseman, catching the ball is difficult, especially while he is in a "stretch position". A throw caught shortly after its bounce, that is, while the baseball's path, rebounding from the turf, is sharply upward, is called a "short hop". Since a ball that strikes the ground is always subject to the possibility of encountering a pebble or a rut or a spike-mark that sends it in a radically new direction, it is best that the first baseman catch the ball on the short hop by swiping or scooping the ball as close to the ground surface as possible. This technique also minimizes the amount of time required to make the putout.

Tag play
The second-most-difficult play for a first baseman is the "tag play". Whenever an infielder's throw is so far off the mark that the first baseman must abandon his base to catch it, the first baseman is left with only two options. To put the runner out, he must either lunge back to the base before the runner reaches it, or he must tag the runner before the runner reaches the base.  A tag involves touching the runner with the ball (or with the gloved hand holding the ball) before the runner reaches the base.  At first base, the typical tag play occurs when the infielder's throw is high and to the left of the first baseman, causing him to jump and stretch his long mitt to catch the ball before it sails into the dugout or the grandstand.  The tag is made, after the catch, by swiping the mitt downward, toward the in-coming runner's head or shoulder, often in one fluid motion that is integrated with the act of catching the ball. Performed properly, the tag play can be spectacular to see.

As a career move
First basemen are typically not the most talented defensive players on a major-league team. Someone who has the agility, throwing arm, and raw speed to play another fielding position usually plays somewhere other than first base. Great-hitting catchers may play some games at first base so that they can hit in some games without having to absorb the rigor of catching every game.

According to Bill James, aside from pitchers and catchers, the most difficult defensive position to play is shortstop, followed by second base, center field, third base, left or right field (depending upon the ballpark), and finally first base as the easiest position. Anyone who can play another position on the field can play first base.

Lou Gehrig is an example of a player who played first base because he was not as strong a fielder as hitter. At or near the ends of their careers, good hitters are often moved to first base as their speed and throwing arms deteriorate, a more talented position player was acquired, or their teams become concerned with the likelihood of injury. Such players include Hall of Famers George Brett, Paul Molitor, Mike Schmidt and Jim Thome (third basemen), Ernie Banks (shortstop), Rod Carew (second baseman), Al Kaline (right fielder), Mickey Mantle (center fielder), Johnny Bench and Mike Piazza (catchers), Stan Musial and Willie Stargell  (left fielders). Only rarely does a player begin his major-league career at first base and go elsewhere, as with Jackie Robinson, a natural second baseman who was played at first base in his rookie season so that he would avoid the risk of malicious slides at second base. Hank Greenberg, a natural first baseman for the Detroit Tigers, moved to left field in his 11th major league season (1940) after his team acquired Rudy York, another slugging first baseman who was ill-suited to play anywhere else.

Hall of Famers
Cap Anson
Jeff Bagwell
Jake Beckley
Jim Bottomley
Dan Brouthers
Orlando Cepeda
Frank Chance
Roger Connor
Jimmie Foxx
Lou Gehrig
Hank Greenberg
Gil Hodges
George Kelly
Harmon Killebrew
Buck Leonard
Willie McCovey
Fred McGriff
Johnny Mize
Eddie Murray
Tony Pérez
George Sisler
Mule Suttles
Ben Taylor
Bill Terry
Frank Thomas
Jim Thome

References

Baseball positions

First baseman


Les élections cantonales neuchâteloises de 2021 ont lieu le  afin de renouveler pour quatre ans les membres du Grand conseil et du Conseil d'État du canton Suisse de Neuchâtel.

Mode de scrutin

Grand Conseil
Il est composé de 100 députés, élus pour quatre ans selon le système de la représentation proportionnelle au sein des six districts du canton.

Conseil d'État

Chaque candidat, indépendamment de son parti, doit obtenir une majorité absolue de voix afin d'être élu. La majorité absolue consistant pour un candidat en la moitié du nombre des votants. Cela est rendu possible par le fait que chaque électeur dispose de maximum 5 voix (correspondant au nombre de membres du Conseil d'État). Si moins de 5 candidats obtiennent la majorité absolue des voix, un second est organisé où les candidats obtenant le plus de voix de préférence sont élus en fonction du nombre de sièges encore à remplir.

Résultats

Grand Conseil

Chaque électeur disposant de plusieurs voix, le total de ces dernières est largement supérieur au nombre de votants.

Conseil d'État

Notes et références

Notes

Références

2021 en Suisse
Politique dans le canton de Neuchâtel
Neuchâtel
Politique en avril 2021
Politique en mai 2021

Élections cantonales neuchâteloises de 2021


27277 Pattybrown este un asteroid din centura principală de asteroizi.

Descriere
27277 Pattybrown este un asteroid din centura principală de asteroizi. A fost descoperit pe  la Socorro, New Mexico, în cadrul proiectului LINEAR. Asteroidul prezintă o orbită caracterizată de o semiaxă mare de 2,23 ua, o excentricitate de 0,10 și o înclinație de 2,9° în raport cu ecliptica.

Vezi și
 Lista planetelor minore: 27001-28000
 Centura de asteroizi

Referințe

Obiecte astronomice descoperite în 2000
Centura de asteroizi

27277 Pattybrown


The drug combination fenfluramine/phentermine, usually called fen-phen, was an anti-obesity treatment in the early 1990s that utilized two anorectics. Fenfluramine was marketed by American Home Products (later known as Wyeth) as Pondimin, but was shown to cause potentially fatal pulmonary hypertension and heart valve problems, which eventually led to its withdrawal in 1997 and legal damages of over $13 billion. Phentermine was not shown to have harmful effects.

Fenfluramine acts as a serotonin releasing agent, phentermine as primarily a norepinephrine releasing agent. Phentermine also induces the release of serotonin and dopamine, although to a far lesser extent than it induces the release of norepinephrine.

History
Fenfluramine as a single drug was first introduced in the 1970s, but was not popular because it only temporarily reduced weight. A 1984 study found a weight loss of 7.5 kg on average in 24 weeks, as compared to 4.4 kg under placebo. It sold modestly until the 1990s, when it was combined with phentermine and heavily marketed.

Testing on children in New York City
The State Psychiatric Institute, associated with Columbia University, the Research Foundation of the City University of New York, and Mount Sinai Medical Center tested fenfluramine intravenously on more than 100 Black and Hispanic boys between the ages of 6 and 10, with delinquent older brothers, to test the theory that delinquent behavior could be predicted by serotonin levels. These studies were conducted before the drug was pulled from the market in September 1997. In 1998, CNN reported that these organizations were under "evaluation" by the Office for Protection from Research Risks, an arm of the National Institutes of Health. An article in Nature reports that these tests were published as a study in Archives of General Psychiatry in 1997 and that "The New York trial, funded largely by the Lowenstein Foundation, with some support from the National Institute of Mental Health, was halted in 1995, two years before the drug was withdrawn." In 199 the New York Times reported that the Mount Sinai School of Medicine and the Research Foundation of the City University of New York were officially faulted by Federal research-ethics officials for conducting these tests. The article reports that the yearlong investigation found no misconduct by New York State Psychiatric Institute for these tests. This article reports the number of children involved in the study as 150, and states that none were harmed.

Harm and litigation
A similar drug, aminorex, had caused severe lung damage and "provided reason to worry that similar drugs ... could increase the risk of a rare but often fatal lung disease, pulmonary hypertension." In 1994, Wyeth official Fred Wilson expressed concerns about fenfluramine's labeling containing only four cases of pulmonary hypertension when a total of 41 had been observed, but no action was taken until 1996. In 1995, Wyeth introduced dexfenfluramine (the dextro isomer, marketed as Redux), which it hoped would cause fewer adverse effects. However, the medical officer of the Food and Drug Administration (FDA), Leo Lutwak, insisted upon a black box warning of pulmonary hypertension risks. After Lutwak refused to approve the drug, the FDA management had James Milton Bilstad, FDA Senior Drug Evaluator, sign it and approved the drug with no black box warning for marketing in 1996. European regulators required a major warning of pulmonary hypertension risks.

In 1996, a 30-year-old woman developed heart problems after a month of using fenfluramine/phentermine; when she died in February 1997, the Boston Herald devoted a front-page article to her. In August 1997 a paper in the New England Journal of Medicine (NEJM) from the Mayo Clinic discussed clinical findings in 24 people who had taken fen-phen. The authors noted that their findings suggested a possible correlation between mitral valve dysfunction and the use of these anorectic agents. The FDA alerted medical practitioners that it had received nine additional reports of the same type, and requested all health care professionals to report any such cases to the agency's MedWatch program, or to their respective pharmaceutical manufacturers. The FDA subsequently received over a hundred additional reports of valvular heart disease in people taking fen-phen, fenfluramine alone or dexfenfluramine alone. The FDA requested that the manufacturers of fenfluramine and dexfenfluramine stress the potential risk to the heart in the drugs' labeling and in package inserts. The FDA continued to receive reports in 1997 of valvular heart disease in people who had taken these drugs. This disease typically involves the aortic and mitral valves.

After reports of valvular heart disease and pulmonary hypertension, primarily in women who had been undergoing treatment with fen-phen or (dex)fenfluramine, the FDA requested its withdrawal from the market in September 1997. The action was based on findings from doctors who had evaluated people taking these two drugs with echocardiograms, a procedure that can test the functioning of heart valves. The findings indicated that approximately 30 percent of people who had taken the combination for up to 24 months had abnormal echocardiograms, even though they had no symptoms. This percentage of abnormal test results was much higher than would be expected from a sample of the population who had not been exposed to either fenfluramine or dexfenfluramine.  Follow-up studies showed that for people who took the combination for 3 months or less, the rate of heart valve complications was less than 3%.

Aftermath
Upon the release of the information regarding fen-phen's cardiac risks, the Association of Trial Lawyers of America formed a large trial lawyer group to seek damages from American Home Products, the distributor of fenfluramine and dexfenfluramine.

Fen-phen is no longer widely available. In April 2005, American Lawyer magazine ran a cover story on the wave of fen-phen litigation, reporting that more than 50,000 product liability lawsuits had been filed by alleged fen-phen victims. Total liability was estimated to be as high as $14 billion. Wyeth was still in negotiations with injured parties in February 2005, offering settlements of $5,000 to $200,000 to some of those who had sued, and stating they might offer more to those who were most seriously injured. One plaintiff's attorney said that "the payments [were] not going to be large enough to cover medical expenses." Thousands of injured persons rejected these offers. At the time, Wyeth announced it had set aside $21.1 billion (U.S.) to cover the cost of the lawsuits.

Possible uses

Obesity
In 1984, researchers at the University of Rochester Medical Center reported that they had performed a double-blind, controlled clinical trial comparing phentermine alone, fenfluramine alone, a combination of phentermine and fenfluramine, and placebo, for weight loss in humans. Weight loss in those receiving the fen-phen combination was significantly greater (8.4±1.1 kg) than in those receiving placebo (4.4±0.9 kg) and equivalent to that of those receiving fenfluramine (7.5±1.2 kg) or phentermine alone (10.0±1.2 kg). This amounts to an additional weight loss of 4±2 kg over the course of 24 weeks. Adverse effects were less frequent with the combination regimen than with the other active (non-placebo) treatments. The authors felt that combining fenfluramine and phentermine capitalized on their pharmacodynamic differences, resulting in equivalent weight loss, fewer adverse effects, and better appetite control.

Addiction remission
The term fen-phen was defined/termed/labeled in 1994 when Pietr Hitzig and Richard B. Rothman reported that this combination could presumptively remit alcohol and cocaine craving. The authors suggested that other combined dopamine and serotonin agonists or precursors might share this therapeutic potential. Subsequent experiments in rats supported these preliminary reports. In 2006 it was confirmed that the combination of phentermine and the serotonin precursor 5-hydroxytryptophan (5-HTP), in place of fenfluramine, significantly decreased alcohol withdrawal seizures in rats.

Intramural National Institutes of Health (NIH) double-blind protocols to demonstrate the efficacy of fen-phen in alcohol and cocaine addiction were designed, but never performed.

Adverse effects of serotonin
The findings on fen-phen, specifically fenfluramine, causing valvular heart disease and pulmonary hypertension prompted a renewed interest in the deleterious effects of systemic serotonin. It had already been known for decades that two of the major side-effects of the carcinoid syndrome, in which excessive serotonin is produced endogenously, are valvular disease and pulmonary hypertension. Several centers were able to note a relationship to an excessive activation of the serotonin receptor subtype 5-HT2B.

See also
 Semaglutide, another weight-loss drug that gained mass popularity

References

External links
Frontline: Dangerous prescriptions – Interview with Leo Lutwak, in which he discusses the side effects of fenfluramine (Pondimin), its successor dexfenfluramine (Redux), and the fen-phen combination.
U.S. FDA fen-phen information

Anorectics
Combination drugs
Withdrawn drugs

Fenfluramine/phentermine


is a 1974 Japanese kaiju film directed by Jun Fukuda, with special effects by Teruyoshi Nakano. Distributed by Toho and produced under their effects subsidiary Toho–Eizo, it is the 14th film of the Godzilla franchise, and features the fictional monster characters Godzilla, Anguirus, and King Caesar, along with the mecha character Mechagodzilla. The film stars Masaaki Daimon, Kazuya Aoyama, Gorō Mutsumi, and Akihiko Hirata, with Isao Zushi as Godzilla, Satoru Kuzumi as both Anguirus and King Caesar, and Kazunari Mori as Mechagodzilla. The film marks the first appearances of King Caesar and Mechagodzilla in the franchise.

Godzilla vs. Mechagodzilla was released theatrically in Japan on March 21, 1974. The film received a limited release in the United States in 1977 by Cinema Shares, under the title Godzilla vs. the Bionic Monster. It was then quickly re-released under the title Godzilla vs. the Cosmic Monster which was also the UK theatrical title. The film was followed up with a direct sequel in 1975 titled Terror of Mechagodzilla.

Plot
In Okinawa, an Azumi priestess has a vision of a city being destroyed by a giant monster. Meanwhile, Masahiko Shimizu discovers a type of metal not found on Earth while spelunking and takes it to Professor Miyajima for examination. An excavation led by Masahiko's brother Keisuke uncovers a chamber filled with ancient artifacts and a mural bearing an ominous prophecy: "When a black mountain appears above the clouds, a huge monster will arise and try to destroy the world; but when the red moon sets and the sun rises in the west, two monsters shall appear to save the people." Keisuke is joined by archaeologist Saeko Kaneshiro, who translates the prophecy and takes a statue bearing the likeness of Okinawa's guardian monster King Caesar to study. Two men stalk them, with one claiming to be a reporter while the other attempts to steal the statue, but fails and flees.

Following the appearance of a black cloud resembling a mountain, Godzilla emerges from Mount Fuji and begins a destructive rampage despite having become tolerant of humans within the past years. Godzilla's ally, Anguirus, confronts him, only to be nearly killed and forced to retreat. Keisuke arrives shortly after to check on Masahiko and Miyajima. Godzilla's rampage continues until the real Godzilla emerges to fight it, exposing it an imposter called Mechagodzilla, a massive robot armed with advanced weaponry made of the same strange metal, later revealed to be space titanium. Godzilla is severely wounded, but inflicts some damage on Mechagodzilla before both monsters retreat. Miyajima hypothesizes, based on Mechagodzilla's advanced technology and composition, that the robot is an alien superweapon.

Keisuke and Saeko take the statue back to the temple, but are confronted by the thief once again. During the fight, the skin on half of the stranger's face melts away, revealing an ape-like visage. The intruder attempts to kill Keisuke, but an unseen gunman kills him before Keisuke and Saeko catch a brief glimpse of the reporter. Concurrently, Godzilla arrives on Monster Island during a thunderstorm and is struck by lightning multiple times, reinvigorating himself.

Masahiko, Miyajima and his daughter Ikuko explore the cave where the space titanium was first found, but are captured by ape-like aliens from the Third Planet of the Black Hole, who plan to use Mechagodzilla to conquer Earth. Their leader, Kuronuma, forces Miyajima to repair the robot. While Saeko checks into a hotel and guards the statue, Keisuke leaves to meet Masahiko at the caves, only to encounter the reporter, who reveals himself as Nanbara, an Interpol agent who has been tracking the aliens. After Nanbara and Keisuke infiltrate the alien base and free the prisoners, Keisuke and Ikuko leave to pick up Saeko and the statue while Miyajima, Nanbara, and Masahiko stay behind, only to be recaptured by Kuronuma.

The next morning, a lunar eclipse results in a red moon and a mirage of the sun rising in the west. Seeing this, the team realizes they have to awaken King Caesar. They meet with the priestess and her grandfather and place the statue in the temple, revealing King Caesar's resting place. As Kuronuma dispatches Mechagodzilla, the priestess sings to awaken King Caesar and Godzilla appears shortly afterward. The two monsters join forces to fight Mechagodzilla. When the robot tries to escape, Godzilla uses his stored electricity to create an electromagnetic field to attract Mechagodzilla before tearing off its head; causing it to explode. While the mortified aliens are distracted, Nanbara and the others free themselves, kill their captors, and sabotage the base, fleeing as it explodes. With the enemy defeated, Godzilla heads out to sea and King Caesar returns to his resting place while the humans rejoice.

Cast

Release
  Godzilla vs. Mechagodzilla was released in Japan on March 21, 1974, where it was distributed by Toho. The film was followed up with a direct sequel in 1975 titled Terror of Mechagodzilla.

The film was released in the United States in March 1977. It was released by Cinema Shares in the United States under the title Godzilla vs. the Bionic Monster where the film was shown predominantly at Saturday "kiddie" matinees. The Cinema Shares theatrical version deleted four minutes of credits, profanity and blood-letting from the film. Universal Television threatened to sue Cinema Shares over the use of the name "Bionic" in the film's title, as they owned the rights to The Six Million Dollar Man and The Bionic Woman TV series. The film title was quickly changed to Godzilla vs. the Cosmic Monster, which was also used for the 1977 U.K. theatrical release.

Box office
The film made slightly more money than Godzilla vs. Megalon, but was still not making as big a box office profit as the other films in the Godzilla series had in the early 1960s. The 1974 Japanese release earned a distribution income (rentals) of . It also grossed  overseas, for a worldwide total of about  by 1980.

Home video
In 1988, New World Video restored the film on home video, using a complete and unedited print titled Godzilla vs. Mechagodzilla.
In 2004, TriStar released the film on DVD as Godzilla vs. Mechagodzilla, with both English and Japanese audio included. In 2019, both the Japanese version and export English version were included in a Blu-ray box set released by the Criterion Collection, which included all 15 films from the franchise's Shōwa era.

Reception
In a contemporary review in the Monthly Film Bulletin, Tony Rayns stated that at this point in the Godzilla series, there was no way the film "could have been anything other than formulary, but it could clearly have been much less shambling than it is." Rayns noted that Shinichi Sekizawa's story was "for once, quite ambitious" while noting that the film's "'mythic' elements are never coherent or impressive enough to match the array of alien technology, and the script seems to forget all about fulfilling its own prophecies as it hurries towards the regulation free-style wrestling climax."

From retrospective reviews, Stuart Galbraith IV discussed the film in his book on Japanese genre films. Galbraith described the film as a "complete mess", finding that the aliens in the film were a rip-off of Planet of the Apes and that the film had poor effects work and "equally poor direction of Jun Fukuda." Galbraith opined that the film was "an improvement over Godzilla vs. Megalon, but that's not saying much."  Among the positive attributes, Galbraith noted that Masaru Sato's score was interesting and series veterans Akihiko Hirata, Hiroshi Koizumi and Kenji Sahara "make welcome appearances." In Phil Hardy's book Science Fiction (1984), a review stated that "the final fight is suitably impressive although the tongue-in-cheek reference to Leone slows the action down too much."

On Rotten Tomatoes, an approval rating of 86% based on 7 reviews, with a rating average of 6.3/10."

See also

 List of Japanese films of 1974
 List of science fiction films of the 1970s

References

Bibliography

External links

 Godzilla on the web (Japan)

1974 films
1970s Japanese-language films
1970s fantasy films
1970s science fiction films
Alien invasions in films
Films about extraterrestrial life
Films scored by Masaru Sato
Films directed by Jun Fukuda
Films produced by Tomoyuki Tanaka
Films set in Okinawa Prefecture
Films set in Shizuoka Prefecture
Films set in Tokyo
Giant monster films
Godzilla films
Japanese science fiction films
Japanese sequel films
Kaiju films
1970s monster movies
Natural horror films
Toho films
Mecha films
Films with screenplays by Shinichi Sekizawa
Apes in popular culture
1970s Japanese films
Films about princesses

Godzilla vs. Mechagodzilla


Doxygen ( ) is a documentation generator and static analysis tool for software source trees. When used as a documentation generator, Doxygen extracts information from specially-formatted comments within the code. When used for analysis, Doxygen uses its parse tree to generate diagrams and charts of the code structure. Doxygen can cross reference documentation and code, so that the reader of a document can easily refer to the actual code.

Doxygen is free software, released under the terms of the GNU General Public License version2 (GPLv2).

Design

Like Javadoc, Doxygen extracts documentation from source file comments. In addition to the Javadoc syntax, Doxygen supports the documentation tags used in the Qt toolkit and can generate output in HyperText Markup Language (HTML) as well as in Microsoft Compiled HTML Help (CHM), Rich Text Format (RTF), Portable Document Format (PDF), LaTeX, PostScript or man pages.

Uses

Programming languages supported by Doxygen include C, C++, C#, D, Fortran, IDL, Java, Objective-C, Perl, PHP, Python, and VHDL. Other languages can be supported with additional code.

Doxygen runs on most Unix-like systems, macOS, and Windows.

The first version of Doxygen borrowed code from an early version of DOC++, developed by Roland Wunderling and Malte Zöckler at Zuse Institute Berlin. Later, the Doxygen code was rewritten by Dimitri van Heesch.

Doxygen has built-in support to generate inheritance diagrams for C++ classes. For more advanced diagrams and graphs, Doxygen can use the "dot" tool from Graphviz.

Example code

The generic syntax of documentation comments is to start a comment with an extra asterisk after the leading comment delimiter '/*':

/**
<A short one line description>

<Longer description>
<May span multiple lines or paragraphs as needed>

@param  Description of method's or function's input parameter
@param  ...
@return Description of the return value
*/

Many programmers like to mark the start of each line with space-asterisk-space, as follows, but that is not necessary.

/**
 * <A short one line description>
 *
 * <Longer description>
 * <May span multiple lines or paragraphs as needed>
 *
 * @param  Description of method's or function's input parameter
 * @param  ...
 * @return Description of the return value
 */

Many programmers avoid using C-style comments and instead use C++ style single line comments. Doxygen accepts comments with additional slash as Doxygen comments.
/// <A short one line description>
///
/// <Longer description>
/// <May span multiple lines or paragraphs as needed>
///
/// @param  Description of method's or function's input parameter
/// @param  ...
/// @return Description of the return value

The following illustrates how a C++ source file can be documented.

/**
 * @file
 * @author  John Doe <firstname.lastname@example.com>
 * @version 1.0
 *
 * @section LICENSE
 *
 * This program is free software; you can redistribute it and/or
 * modify it under the terms of the GNU General Public License as
 * published by the Free Software Foundation; either version 2 of
 * the License, or (at your option) any later version.
 *
 * This program is distributed in the hope that it will be useful, but
 * WITHOUT ANY WARRANTY; without even the implied warranty of
 * MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE. See the GNU
 * General Public License for more details at
 * https://www.gnu.org/copyleft/gpl.html
 *
 * @section DESCRIPTION
 *
 * The time class represents a moment of time.
 */

class Time {

    public:

       /**
        * Constructor that sets the time to a given value.
        *
        * @param timemillis is a number of milliseconds
        *        passed since Jan 1, 1970.
        */
       Time (int timemillis) {
           // the code
       }

       /**
        * Get the current time.
        *
        * @return A time object set to the current time.
        */
       static Time now () {
           // the code
       }
};

An alternative approach for documenting parameters is shown below. It will produce the same documentation.

       /**
        * Constructor that sets the time to a given value.
        */
       Time (int timemillis ///< Number of milliseconds passed since Jan 1, 1970.>
            )
       {
           // the code
       }

Richer markup is also possible.  For instance, add equations using LaTeX commands:

/**
 *
 * An inline equation @f$ e^{\pi i}+1 = 0 @f$
 *
 * A displayed equation: @f[ e^{\pi i}+1 = 0 @f]
 *
 */

Doxygen source and development

The Doxygen sources are currently hosted at GitHub, where the main developer, Dimitri van Heesch, contributes under the user name "doxygen". Doxygen is written in C++, and consists of around 300,000 source lines of code. For lexical analysis, the standard tool Lex (or its replacement Flex) is run via approximately 35,000 lines of lex script. The parsing tool Yacc (or its replacement Bison) is also used, but only for minor tasks; the bulk of language parsing is done by native C++ code. The build process is based on CMake and also involves some Python scripts.

See also

 Comparison of documentation generators
 API Writer
 Static program analysis

References

External links

Code navigation tools
Cross-platform software
Free computer programming tools
Free documentation generators
Free software programmed in C++
Online help
Software that uses Qt

Doxygen


Layou (Sveti Vincent i Grenadini), grad u državi Sveti Vincent i Grenadini
 Layou (rijeka), rijeka u Dominici
 Layou (selo u Dominici), selo u Dominici, na ušću istoimene rijeke

Layou


Sóley Stefánsdóttir (* 20. Oktober 1987 in Hafnarfjörður, Island) ist eine Independent-Musikerin und Komponistin aus Reykjavík, Island. Sie ist auch unter dem Künstlernamen Sóley bekannt. Sóley ist auch Mitglied der isländischen Gruppe Seabear.

Biografie

Sóley Stefánsdóttir ist eine ausgebildete Komponistin und leidenschaftliche Klavierspielerin. Ihre Ausbildung erfolgte an der Kunstakademie Islands in Reykjavík.

Etwa 2007 wurde sie Mitglied der von Sindri Már Sigfússon gegründeten Band Seabear. In diesem Musikprojekt spielt sie Gitarre und Keyboard. Das Plattenlabel Morr Music, das Seabear unter Vertrag genommen hatte, wurde auf Sóley aufmerksam und ermutigte sie dazu, Solostücke zu schreiben und einzuspielen. Im Jahr 2010 veröffentlichte sie ihre Debüt-EP Theater Island bei Sound of a Handshake, einem Sublabel für Singles und EPs von Morr Music. Im Herbst 2011 folgte ihr erstes Album We sink bei Morr Music. Der Longplayer wurde gut aufgenommen und überwiegend positiv bewertet. Anschließend ging sie zusammen mit Sindri Már Sigfússon als Sin Fang auf Tour durch Deutschland, Österreich und die Schweiz.

Diskografie

Alben
(Quelle:)
 2011: We Sink (Morr Music)
 2015: Ask the Deep (Morr Music)
 2017: Endless Summer (Morr Music)
 2020: Harmóník I & II (SMIT Records)
 2021: Mother Melancholia (Lovitt Records)

EPs
(Quelle:)
 2010: Theater Island (Sound of a Handshake)
 2014: Krómantík (Morr Music)
 2015: Don't Ever Listen (Morr Music)
 2017: Harmóník (SMIT Records)
 2020: Harmóník II (SMIT Records)
 2020: Seasick songs (verlorene EP von 2007)

Singles
 2012: Pretty Face (Morr Music)
 2017: Used and Confused (mit Sin Fang & Örvar Smárason, Morr Music)

Weblinks

 Sóley bei Morr Music
 [ Sóley] bei Allmusic
 Sóley bei Bandcamp

Einzelnachweise

Musiker (Island)
Isländer
Geboren 1987
Frau

Sóley


An Eragrostis astrepta in uska species han Liliopsida nga ginhulagway ni Sylvia Mabel Phillips. An Eragrostis astrepta in nahilalakip ha genus nga Eragrostis, ngan familia nga Poaceae.

Mabibilngan ini ha Ethiopia. Waray hini subspecies nga nakalista.

Mga kasarigan

Eragrostis

Eragrostis astrepta


An Peristylus novoebudarum in uska species han Liliopsida nga ginhulagway ni Ferdinand von Mueller. An Peristylus novoebudarum in nahilalakip ha genus nga Peristylus, ngan familia nga Orchidaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Peristylus

Peristylus novoebudarum


An Festuca gigantea in uska species han Liliopsida nga syahan ginhulagway ni Carl von Linné, ngan ginhatag han pagkayana nga asya nga ngaran ni Dominique Villars. An Festuca gigantea in nahilalakip ha genus nga Festuca, ngan familia nga Poaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Mga sumpay ha gawas

Festuca

Festuca gigantea


John Murray Forbes (February 23, 1813 – October 12, 1898) was an American railroad magnate, merchant, philanthropist and abolitionist. He was president of both the Michigan Central railroad and the Chicago, Burlington and Quincy Railroad in the 1850s. He kept doing business with Russell & Company.

Early life
Forbes was born on February 23, 1813, in Bordeaux, France.  His father, Ralph Bennett Forbes, was a member of the Forbes family, descended from Scottish immigrants who attempted unsuccessfully to start a trade from Bordeaux. His mother, Margaret Perkins, was a member of the Boston Brahmin Perkins family merchant dynasty involved in the China trade.  Among his siblings, his older brother was Robert Bennet Forbes, sea captain and China merchant.

His paternal uncle was John Murray Forbes, lawyer and diplomat, and his maternal uncle was merchant Thomas Handasyd Perkins.  Among his cousins was the botanist Francis Blackwell Forbes.

In 1814, his parents moved back to the Captain Robert Bennet Forbes House in Milton, Massachusetts.  Forbes attended school at Phillips Academy in Andover, Massachusetts, then at Round Hill School in Northampton, Massachusetts, from 1823 to 1828.

Career
Forbes was one of three brothers sent by their uncle to Canton, China, and achieved some financial success during a short time spent trading opium in Canton. However, unlike his brother Robert, who devoted himself to the China trade, Forbes returned to Boston and became an early railroad investor and landowner.

As with Jay Gould and E. H. Harriman, Forbes was an important figure in the building of America's railroad system. From March 28, 1846, through 1855, he was president of Michigan Central Railroad, and he was a director and president of the Chicago, Burlington and Quincy Railroad, he helped with the growth of the American Middle West.  In addition, he founded J.M. Forbes & Co., an investment firm in Boston in 1838.

In 1860, he was an elector for Abraham Lincoln. He served as the Chairman of the Republican National Committee during the administration of President Abraham Lincoln. Staunchly pro-Union, he is given credit for founding the New England Loyal Publication Society in early 1863 (Smith 1948).  After the Civil War, Forbes was elected as a 3rd Class (honorary) Companion of the Military Order of the Loyal Legion of the United States.

Forbes was a delegate to the Republican conventions of 1876, 1880 and 1884, he eventually became displeased with the Republican party and worked successfully to get Democrat Grover Cleveland elected president.

Philanthropy
He supplied money and weapons to New Englanders to fight slavery in Kansas and in 1859 entertained John Brown.

Forbes's many philanthropic activities included the re-establishment of Milton Academy, a preparatory school south of Boston, Massachusetts in 1884.

Personal life

Forbes married Sarah Swain Hathaway (1813–1900). They resided in Milton, Massachusetts, and summered on Naushon Island in Dukes County, Massachusetts. They had two sons and four daughters:

 Ellen Randolph Forbes (1838–1860).
 Alice Hathaway Forbes (1838–1917), who married Edward Montague Cary (1828–1888) in 1875.
 William Hathaway Forbes (1840–1897), who married Edith Emerson (1841–1929), the daughter of poet Ralph Waldo Emerson. William became the first president of the American Telephone and Telegraph Company and father of William Cameron Forbes.
 Mary Hathaway Forbes (1844–1916), who married Henry Sturgis Russell (1838–1905) in 1863.
 John Malcolm Forbes (1847–1904), the yachtsman and horseman who married Sarah Coffin Jones (1852–1891) in 1873.
 Sarah Forbes (1853–1917), who married William Hastings Hughes (1833–1909) in 1887.

Forbes died of pneumonia on October 12, 1898, in Milton, Massachusetts.

Descendants
His cousin Francis Blackwell Forbes (1839–1908) is the great-grandfather of 2004 U.S. Democratic presidential candidate John Forbes Kerry. His 4x great-grandson is Jonathan Meath, a renowned Emmy award-winning television producer.

Legacy
In the September 1899 issue of Atlantic magazine, Edward Waldo Emerson (Ralph Waldo Emerson's son), published Forbes' biography. The Emerson and Forbes families were close as Forbes' son, William, married Ralph's daughter, Edith Emerson.  In Letters and Social Aims, Ralph Waldo Emerson wrote of Forbes:

"Never was such force, good meaning, good sense, good action, combined with such domestic lovely behavior, such modesty and persistent preference for others. Wherever he moved he was the benefactor... How little this man suspects, with his sympathy for men and his respect for lettered and scientific people, that he is not likely, in any company, to meet a man superior to himself," and "I think this is a good country that can bear such a creature as he."

The small community of Forbes, Missouri, is named for him.

References

External links

 Dictionary of Unitarian & Universalist Biography: John Murray Forbes
 Old Plank Road Trail history and development. Retrieved October 2, 2013.

1813 births
1898 deaths
People from Milton, Massachusetts
People from Dukes County, Massachusetts
Phillips Academy alumni
Businesspeople from Boston
19th-century American railroad executives
Chicago, Burlington and Quincy Railroad people
Massachusetts Republicans
Massachusetts Democrats
American philanthropists
Founders of American schools and colleges
American abolitionists
American Unitarians
American expatriates in France
American expatriates in China
John Murray
People from Bordeaux

John Murray Forbes


Jehan ist ein kleiner Einschlagkrater auf der Mondvorderseite nordwestlich des Kraters Natasha.

Die namentliche Bezeichnung geht auf eine ursprünglich inoffizielle Bezeichnung auf Blatt 39C2/S1 der Topophotomap-Kartenserie der NASA zurück, die von der IAU 1976 übernommen wurde.

Weblinks

 Jehan auf The-Moon Wiki

Einzelnachweise

Einschlagkrater (Mond)

Jehan (Mondkrater)


La Grande Chapelle es una agrupación española, de vocación europea, que interpretan música vocal e instrumental de música sacra antigua. Su nombre fue tomado de la capilla musical de la Casa de Borgoña, en la que participaron músicos como Nicolas Gombert, Philippe Rogier y Mateo Romero. Los componentes de La Grande Chapelle proceden de distintos países europeos.

Historia
Este ensamble musical se enfoca en la música sacra, este género ha disminuido su uso dada la sustitución de este por música popular en las iglesias. Además, aún hay obras que no han sido descubiertas, las cuales se encuentran en las iglesias. Varios grupos se encargan de la búsqueda y la divulgación de estas obras, La grande Chapelle es uno de ellos.

Algunos compositores de diversos países europeos, y el fundador Ángel Recasens fundaron esta asociación musical en 2005. Esta diversidad de músicos permitió la unión de diferentes escuelas y técnicas musicales.

El objetivo principal de La Grande Chapelle es recuperar el patrimonio musical perdido a través del tiempo. Este legado abarca desde el  hasta los inicios del . Otro objetivo de la asociación es la interpretación de repertorios antiguos, de tal manera que puedan ser transmitidos al público a través de festivales musicales, tales como el Festival Internacional Cervantino. En este interpretaron un repertorio dedicado al cuarto centenario de la muerte del compositor Tomás Luis de Victoria (1548-1611), en el cual incluyeron la misa Salve Regina (1592), así como piezas dedicadas a la Virgen María.

Actuaciones y repertorio
La Grande Chapelle ha participado en los festivales principales de España y fuera de ella, tales como los de Picardie, Haut-Jura, Música Sacra Maastricht, OsterKlang-Festival y la temporada de La Cité de la musique en París. El grupo musical ha tocado en Bélgica, Francia, Hungría, México, Canadá, Japón y China.

Su repertorio contiene antífonas y motetes, además del salmo Nisi dominus, el Magnificat primi toni, la Missa pro Defunctis de Mateo Romero, Música para el Corpus de Joan Pau Pujol y la misa O Gloriosa Virginum de Antonio Rodríguez de Hita.

Discografía
El director Albert Recasens promovió la creación del propio sello discográfico de La Grande Chapelle, Lauda, en 2005 junto con su padre.

Esta compañía musical ha realizado grabaciones enfocadas a la exploración de la relación existente entre la música y la literatura del Siglo de Oro. Estas grabaciones han sido reconocidas con premios musicales como el Orphée d'Or. Por otra parte, fue nombrada el sello del año durante los Prelude Classical Music Awards de 2007 en Holanda.

Referencias

Grupos de música antigua de España
Grupos de música renacentista

La Grande Chapelle


Ken Norris, né Kenneth Wayne Norris à New York en , est un écrivain, poète et professeur.

Biographie

Ken Norris est un professeur émérite d'anglais de l'Université d'État de New York à Stony Brook. Il y enseigne la création littéraire, la littérature canadienne, la poésie américaine contemporaine et la poésie canadienne du 20e siècle.

Ken Norris obtient un baccalauréat ès arts de l'Université de Stony Brook en 1972 et une maîtrise ès arts de l'Université Concordia en 1975. Sa maîtrise portait sur F. Scott Fitzgerald. C'est un voyage d'une semaine et la poésie de Leonard Cohen qui l'amène à s'établir dans la métropole québécoise.

Il poursuit des études doctorales sur la littérature canadienne à l'Université McGill. Sa thèse porte sur le rôle du magazine dans le développement du modernisme et du post-modernisme dans la poésie canadienne. Il travaille alors en collaboration avec le professeur Louis Dudek.

Au début des années 70, il commence à collaborer avec l'artiste en arts visuel Jill Smith, avec laquelle il écrit des poèmes en réponse à son art. Ils publient ensemble Vegetables chez Vehicule Press en 1975. Il devient membre de l'équipe éditoriale de cette maison d'édition en 1975 et l'un des directeurs en 1977.

C'est lorsqu'il émigre au Canada au début des années 70 qu'il devient membre du groupe montréalais Vehicule poets. Ce mouvement regroupe, incluant Norris, les poètes Artie Gold, Stephen Morrissey, John McAuley, Tom Konyves, Endre Farkas et Claudia Lapp.

Norris fonde, durant cette même période, CrossCountry magazine avec Jim Mele, en plus de créer la maison d'édition CrossCountry Press. Le magazine paraît de 1975 à 1983 et présente autant de la poésie canadienne qu'américaine. La maison d'édition a quant à elle produit 23 livres dont certains ouvrages de Norris: Report on the Second Half of the Twentieth Century en 1977, Under The Skin en 1978 et Autokinesis en 1980.  Ken Norris a édité plusieurs anthologies de poésies et de critiques, dont The insecurity of Art en 1982 en collaboration avec Peter Van Toorn.

En 1982, dans son essai The Beginnings of Canadian Modernism, Norris suggère que les petits magazines sont devenus «le terreau» de l'influence du modernisme dans la littérature canadienne.

DansTo sleep, to love, paru en 1982, Norris explore l'intimité à travers des poèmes rythmés par la quotidienneté.

Ken Norris effectue une résidence d'écrivain à l'Université McGill entre 1983 et 1984 et devient citoyen canadien l'année suivante. C'est en 1985 qu'il quitte Montréal pour débuter une carrière de professeur de littérature canadienne à l'Université du Maine.

Il contribue au journal . Il a enseigné à l'Université Concordia, au collège Dawson et à la Western university au cours de sa carrière.

Hôtel Montréal, traduit de l'anglais par le poète québécois Pierre Dessureaux et paru chez le Noroît, présente des poèmes publiés par Talonbooks en 2001.

Œuvres

Poésie

 Vegetables, en collaboration avec Jill Smith, Montréal,1975
 Under the skin, Montréal, CrossCountry Press, 1976, 23 p.
 Montréal: english poetry of the seventies, en collaboration avec André Farkas, Montréal, Véhicule Press, 1977
 Proverbsi, en collaboration avec Tom Konyves, Montreal, Asylum Pub., 1977, 15 p.
 The perfect accident, Montréal, Vehicule press, 1978, 72 p.
 Eight odes, avec des illustrations de Nancy Smith, Sainte Anne de Bellevue, Muses' Co., 1982, 32 p.
 To sleep, to love, Montréal, Guernica Editions, 1982, 63 p.
 Whirlwinds, Montréal, Guernica, [1984], 1983, 92 p.
 The better part of heaven: Pacific writings, Toronto: Coach House Press, 1984, 135 p.
 Islands, Kingston (Ont.), Quarry Press, 1986, 123 p.
 In the spirit of the times, Ste-Anne de Bellevue, Muses' Co., 1986, 41 p.
 Report on the second half of the twentieth century: books 1-4, Montréal, Guernica,1988, 95 p.
 Alphabet of desire, Toronto, ECW Press, cop. 1991, 70 p.
In the house of No, introduction by Louis Dudek, Kingston (Ont.), Quarry Press, 1991,90 p.
 Report on the second half of the twentieth century : books 8-11, Dorion, Muses' Co., cop. 1992, 112 p.
 Full sun: selected poems, édité avec une introduction de Bruce Whiteman, Dorion, The Muses' Company,1993, 129 p.
Vehicule days: an unorthodox history of Montreal's Vehicule Poets, Montréal, NuAge Editions, 1993, 190 p.
 The book of false return, Montreal : Dept. of Rare Books and Special Collections, McGill University Libraries, 1994, 21 p.
 The music, Toronto, ECW Press, 1995, 104 p.
 Odes, Coach House Books, 1997,
 Limbo road, Burnaby (B.C.), Talonbooks, 1998, 159 p.
 La route des limbes,  traduction de Pierre Des Ruisseaux, Trois-Rivières, Écrits des Forges, 2003, 242 p
 Report on the second half of the 20th century : books 12-15, Winnipeg, The Muses' Co., 2000, 95 p.
 Songs For Isabella, above/ground press, 2000
 Hotel Montreal: new and selected poems, Vancouver, Talonbooks, 2001, 150 p.
 Hôtel Montréal, traduit de l'anglais par Pierre DesRuisseaux, Montréal, Éditions du Noroît, 2005, 133 p.
 The way life should be, Toronto, Wolsak and Wynn, 2002, 87 p.
 Fifty, Vancouver, Talonbooks, 2003, 95 p.
 Dominican moon, Vancouver, Talonbooks, 2005, 143 p.
 Going Home, Vancouver, Talonbooks, 2007, 192 p.
 Report on the 2nd half of the twentieth century: books 16-22, Winnipeg, J. Gordon Shillingford Pub., 2005, 240 p.
 Asian Skies, Vancouver, Talonbooks, 2010, 128 p.,
 Floating up to zero, Vancouver, Talonbooks, 2011, 127 p.
 The weight, Toronto, Buffalo, Lancaster (U.K.), Guernica, 2015, 95 p.
 South China sea: a poet's autobiography, Toronto; Chicago; Buffalo, Lancaster (U.K.), Guernica Editions, 2021, 181 p.

Essais

 Canadian poetry I, en collaboration avec Marianne Stenbaek-Lafon, Montréal, McGill University, 1978, 57 p.
 A Special Montreal and Quebec issue, Winnipeg, Territories Pub, 1978, 56 p.
 The Insecurity of art: essays on poetics, Montréal, Véhicule Press, 1982, 159 p.
 The Little magazine in Canada, 1925-80: its role in the development of modernism and post-modernism in Canadian poetry Toronto, ECW Press, 1984, 203 p.
 A new world: essays on poetry and poetics, Montreal, Empyreal Press, 1994, 63 p.

Références

Voir aussi

Articles connexes

 Université du Maine
 Littérature canadienne
 Université McGill
 The Vehicule Poets
 Leonard Cohen

Liens externes

 Thèse de doctorat de Ken Norris à l'Université McGill: The role of the little magazine in the development of modernism and post-modernism in Canadian poetry
 Essai The beginnings of Canadian Modernism
 Fiche de l'auteur aux éditions Talonbooks
 Fiche de l'auteur aux éditions Guernica
 Fiche de l'auteur aux éditions New star books
 Fiche de l'auteur aux éditions Coach house books
 Bibliographie de l'œuvre de Ken Norris
 Fiche de l'auteur aux éditions du Noroît
Fiche de l'auteur aux Écrits des Forges
Fiche de l'auteur aux éditions J. Gordon Shillingford

Poète américain du XXe siècle
Essayiste québécois
Naissance à New York
Naissance en 1951
Étudiant de l'Université McGill
Culture anglo-montréalaise
Poète québécois
Anglo-Québécois
Étudiant de l'Université Concordia
Professeur à l'université d'État de New York à Stony Brook
Professeur à l'université du Maine (États-Unis)
Professeur au collège Dawson
Écrivain suivi par le projet Arts littéraires québécois

Ken Norris


El omnicidio (del latín omnis, "todo" y -caedere, "matar") es la muerte de todo, de toda vida: el fin de la biosfera y la extinción de la humanidad.

Pretende ser un concepto más amplio que términos como genocidio, democidio, masacre o asesinato masivo, ya que abarca todo lo que vive: seres humanos, animales, plantas, bacterias...

Se asocia generalmente con el uso de las armas nucleares y la contaminación por radiactividad.

Un posible omnicidio sería una guerra nuclear mundial, en la que los organismos vivos del planeta muriesen, unos por efecto de las explosiones y otros, por intoxicaciones radiactivas y por el invierno nuclear.

Notas

Véase también
 Homicidio
 Genocidio
 Democidio
 Masacre
 Asesinato masivo

Homicidios

Omnicidio


Mastberg und Innersteaue ist ein Naturschutzgebiet in der niedersächsischen Stadt Hildesheim.

Das Naturschutzgebiet mit dem Kennzeichen NSG HA 134 ist 37 Hektar groß. Es ist vollständig Bestandteil des FFH-Gebietes "Haseder Busch, Giesener Berge, Gallberg, Finkenberg". Im Norden grenzt es direkt an das Naturschutzgebiet "Haseder Busch", im Westen an das Naturschutzgebiet "Lange Dreisch und Osterberg".

Das Naturschutzgebiet liegt im Norden der Stadt Hildesheim westlich des am Stichkanal Hildesheim gelegenen Hildesheimer Gewerbegebietes Hafen. Es stellt einen Abschnitt der Innersteaue am Fuße des Mastbergs und den Mastberg unter Schutz.

In der Flussaue sind östlich der Innerste Grünlandflächen zu finden, die aufgrund hoher Grundwasserstände relativ extensiv als Feuchtwiesen genutzt werden. Der Flusslauf wird von naturnahen Auwaldresten begleitet. Im Norden befindet sich ein Altarm. Ferner sind Flutmulden, Flutrasen, Hochstaudenfluren und Seggen- und Röhrichtgesellschaften zu finden.

Der Mastberg, der aus Gesteinen des Keupers besteht, wird von einem Eichen-Hainbuchenwald bedeckt, der aus einer ehemaligen Mittelwald- und Waldweidennutzung hervorgegangen ist.

Am Westrand des Waldes befindet sich ein Bestand von Schneitelhainbuchen. Zum Erhalt des kulturhistorischen Wirtschaftswaldes wird die frühere Mittelwald- und Schneitelnutzung heute durch Pflegemaßnahmen der Niedersächsischen Landesforsten ersetzt.

Im Norden des Schutzgebietes befinden sich bronze- und eisenzeitliche Hügelgräber.

Das Gebiet steht seit dem 31. Januar 2008 unter Naturschutz. Es ersetzt das zum 26. Januar 1989 ausgewiesene Naturschutzgebiet "Innersteaue unter dem Mastberg". Zuständige untere Naturschutzbehörde ist die Stadt Hildesheim.

Naturerlebnisgebiet Kleeblatt
Das Naturschutzgebiet ist Teil des Naturerlebnisgebietes Kleeblatt, das sich im Norden Hildesheims und Teilen der Gemeinde Giesen zwischen Osterberg und Innerste erstreckt. Es umfasst die Naturschutzgebiete "Haseder Busch", "Mastberg und Innersteaue", "Lange Dreisch und Osterberg" und "Giesener Teiche" und die Giesener Berge und ist in vier Themenbereiche unterteilt: "Wasserwelt" (Naturschutzgebiet "Haseder Busch"), "Weidewald" (Naturschutzgebiet "Mastberg und Innersteaue"), "Offene Weide" (Naturschutzgebiet "Lange Dreisch und Osterberg") und "Erdzeitreise" (Naturschutzgebiet Giesener Teiche und Giesener Berge).

Weblinks

 Naturerlebnisgebiet Kleeblatt (PDF; 14,2 MB), Broschüre der Stadt Hildesheim

Naturschutzgebiet im Landkreis Hildesheim
Schutzgebiet (Umwelt- und Naturschutz) in Europa
Geographie (Hildesheim)

Mastberg und Innersteaue


Rayburn may refer to:

People

Places

United States

Municipalities
 Rayburn, Alabama
 Rayburn, Georgia
 Rayburn, Texas
 Rayburn, West Virginia
 Rayburn Township, Pennsylvania

Structures
 Rayburn House Office Building, a Congressional building

Arts, entertainment, and media
Rayburn House, the fictional beachside inn owned by the Rayburn family on the Netflix series Bloodline

Brands
 Rayburn range, a stove cooker from AGA

See also
 Raeburn
 Deanna Raybourn

Rayburn


Max Švabinský (n. 17 septembrie 1873, Kroměříž - d. 10 februarie 1962, Praga) a fost un pictor, desenator și grafician ceh, profesor la Academia de Arte Grafice din Praga. Švabinský este considerat a fi unul dintre cei mai importanți artiști din istoria picturii cehe și a realizat o operă semnificativă în prima jumătate a secolului al XX-lea. El a fost oarecum neobișnuit printre artiștii moderniști prin faptul că activitatea sa a fost acceptată de către regimul comunist; aceasta s-a datorat, cel puțin în parte faptului că personalitatea sa artistică s-a format înainte de 1900, înainte de apariția cubismului.

El este membru fondator al Galeriei Hollar (SČUG Hollar), membru al cercului artistic Mánes (1902-1949), al Hagenbund (Viena) și al Societății Naționale de Arte Frumoase din Paris, curator al Moderní galerie din Praga. El a fost Doctor Honoris Causa al Universității Masaryk din Brno, profesor (și de opt ori rector) al Academiei de Arte Frumoase din Praga, profesor emerit pe viață al Școlii de Arte Aplicate din Praga, cavaler al Legiunii de onoare, decorat cu Ordinul Republicii, membru corespondent al Real Academia de Bellas Artes de San Fernando din Madrid și laureat al Premiului guvernului italian pentru colecția sa de acvaforte.

Biografie

Max Švabinský s-a născut pe 17 septembrie 1873 în orașul Kroměříž. Tatăl său l-a abandonat, iar mama sa a trebuit să-l crească singură. A studiat pictura și artele grafice între 1891 și 1898 la Academia de Arte Frumoase din Praga. Încă din timpul studiilor, a fost considerat un pictor talentat și a fost însărcinat cu realizarea de portrete al unor scriitori și oameni de știință pentru sărbătorirea aniversării împăratului Franz Joseph I al Austriei. Anul 1899 l-a petrecut la Paris unde s-a inspirat din noile tendițe artistice.

Împreună cu Jan Preisler, Antonín Slavíček și Miloš Jiránek, a fost unul dintre fondatorii artei cehe moderne. Încă de timpuriu, Švabinský a arătat tendințe artistice orientate spre stilurile din acea perioadă precum realismul, simbolismul și Art Nouveau. Unele dintre cele mai importante lucrări ale sale au fost portrete sau picturi dedicate familiilor.

În 1910 s-a căsătorit cu Ela Vejrychová, a cărei figură a fost reprezentată în mai multe portrete ale lui Max Švabinský. Cei doi soți au locuit adesea cu familia Vejrych la Kozlov, lângă Česká Třebová. Acolo el a fost inspirat de peisajul pitoresc. Aceasta este perioada în care a pictat unele dintre operele sale cele mai cunoscute. În Kozlov, la începutul secolului, el s-a ocupat sistematic de arta grafică, mai ales gravură și Mezzotinto. În anul 1911 cumnatul său s-a căsătorit cu Anna Procházková, care era fiica unui muncitor dintr-o oțelărie și, de aceea, familia nu a acceptat-o. Cu toate acestea, Max s-a îndrăgostit de ea și din 1914 au devenit iubiți. După mai multe peripeții s-au căsătorit în 1930.

Datorită calității superioare a artei sale grafice, a fost numit profesor la Academia din Praga în 1910 și în același an a finalizat picturile murale pentru Casa Municipală din Praga. În cadrul Sonatei Paradisiace din 1917, el și-a extins gama sa cu gravuri în lemn, timp în care activitatea sa grafică a început să depășească pictura. În anii 1930, el a avut șansa de a lucra în arta monumentală. După ce a realizat mozaicurile pentru Monumentul Național de pe Dealul Žižkov, el a pictat trei vitralii din Catedrala Sf. Vitus din Praga. În același timp, și cu aceeași calități grafice, Švabinský a fost capabil să proiecteze un timbru în miniatură. La prima ședință de guvern din 1945, el a fost distins cu titlul de "Artist Național".

Max Švabinský a murit pe 10 februarie 1962. Cabana din Kozlov (lângă Česká Třebová, Boemia de Est, Republica Cehă), unde a locuit Max Švabinský, a fost recent renovată, iar acum este deschisă pentru vizitatori. Interiorul arată la fel ca acum 100 de ani și multe dintre fotografiile lui Švabinský sunt expuse acolo. Turul poate fi efectuat atât în limba cehă, cât și în engleză.

În 2012 a fost publicată cartea Světla paměti pe care a scris-o Zuzana Švabinská, fiica adoptivă a lui Max Švabinský.

Opera
Švabinský a fost format de Maxmilián Pirner. El a devenit faimos pentru măiestria tuturor tehnicilor grafice: ulei pe pânză, litografie, mozaic, acuarelă, gravură, pastel, cărbune, creion, gravură cu dalta sau mezzotinto (invenție a lui Ludwig von Siegen), vitraliu (în special pentru Catedrala Sf. Vitus din Praga), drypoint, linogravură etc.

În ceea ce privește genurile, Švabinský a realizat picturi de toate felurile: portret, peisaj, ilustrații, picturi erotice, afișe, gravuri, desene animate tapiserii, timbre și bancnote.

Printre cele mai celebre picturi ale Švabinský se numără
 Peisaj sărac [Chudý kraj], 1900, ulei pe pânză, 179 x 246 cm
 Comuniunea sufletelor [Splynutí Duší], 1896, ulei pe pânză, 65,5 x 45,5 cm
 Portret în roz [Růžový portrét], 1898, ulei pe pânză, 152 x 135 cm
 Portret rotund [Kulatý portrét], 1897, ulei pe pânză, Ø 105,5 cm
 Camelia [Kamélie], 1903, tehnici mixte, 1220 × 607 mm

Note

Bibliografie
 Jana Orlíková, Max Švabinský Ráj a mýtus -
 Ludvík Páleníček, Švabinského český slavín, SPN, 1973, 14-099-73
 Zuzana Švabinská, Světla Paměti -
 Hana Volavková, Max Švabinský, Odeon, 1977, 01-508-82

Legături externe
 Radio Prague - Svabinsky
 Česká Třebová city
 Paintings by Švabinský

Nașteri în 1873
Decese în 1962
Pictori cehi

Max Švabinský


Lilly Kolts Be'Soer é uma activista dos direitos das mulheres de Papua-Nova Guiné.

Biografia
Be'Soer nasceu e cresceu na actual província de Jiwaka, nas terras altas de Papua-Nova Guiné. Ela fundou a Voice for Change, uma organização não governamental focada em acabar com a violência contra mulheres e meninas. Be'Soer é membro do Grupo Consultivo da Sociedade Civil das Nações Unidas para Mulheres da Ásia-Pacífico e do Comité Provincial de Orçamento e Planeamento de Jiwaka, Presidente do Grupo de Apoio à Violência Familiar no Distrito de Whagi do Sul, Província de Jiwaka e membro da Rede de Mulheres do Pacífico Contra a Violência Contra a Mulher. Be'Soer também estabeleceu um comité para tratar da violência relacionada à bruxaria e feitiçaria e é a Secretária-Geral da Rede Regional de Defensores dos Direitos Humanos das Mulheres das Terras Altas das Nações Unidas. Be'Soeré também a directora da Iniciativa de Desenvolvimento da Mulher Rural na Papua-Nova Guiné.

Be'Soer também ajudou a facilitar a mediação em conflitos tribais e guerras. Em janeiro de 2012 coordenou um acordo de paz na província de Jiwaka entre clãs da tribo Kondika que estavam em guerra desde 2009. O acordo incluiu o re-assentamento de cerca de 500 famílias deslocadas.

Reconhecimento
Em 2010 Be'Soer recebeu o prémio Pacific Human Rights Defenders.

Pessoas vivas
!Mais Teoria da História na Wiki (Wikiconcurso de edição)

Lilly Be'Soer