سالفادور أرتيغاس (23 فبراير 1913 في برشلونة – )  لاعب ومدرب كرة قدم إسباني راحل كان يجيد اللعب في خط الدفاع .

لعب في أندية بوردو (1938-1939) لومان (1939-1944) رين (1944-1949) ريال سوسيداد (1949-1952) ومجددا رين (1952-1955) .

قام بتدريب أندية رين (1952-1955) ريال سوسيداد (1955-1960) بوردو (1960-1967) برشلونة (1967-1969) منتخب إسبانيا (1969) إلتشه (1970-1971) أتلتيك بيلباو (1971-1972) إشبيلية (1972-1973) .

يذكر بأن أرتيغاس كان طيارا في صفوف الجمهوريين أثناء الحرب الأهلية الإسبانية .

روابط خارجية

مراجع

لاعبو كرة قدم رجالية مغتربون في فرنسا
لاعبو كرة قدم رجالية إسبان
مدافعو كرة قدم رجالية
لاعبو الدوري الإسباني
لاعبو الدوري الفرنسي
لاعبو برشلونة
لاعبو بوردو
لاعبو ريال سوسيداد
لاعبو رين
لاعبو كرة قدم إسبان
لاعبو كرة قدم كتلونيون
لاعبو كرة قدم مغتربون في فرنسا
لاعبو كرة قدم من برشلونة
لاعبو لومان
لاعبو نادي ليفانتي
مدربو أتلتيك بيلباو
مدربو ريال سوسيداد
مدربو كرة قدم إسبان
مدربو منتخب إسبانيا لكرة القدم
مدربو نادي إشبيلية
مدربو نادي إلتشي
مدربو نادي برشلونة
مواليد 1913
مواليد في برشلونة
وفيات 1997
وفيات في بنيدورم
مدربو نادي بوردو

سالفادور أرتيغاس


An Eria bidupensis in uska species han Liliopsida nga syahan ginhulagway ni François Gagnepain, ngan ginhatag han pagkayana nga asya nga ngaran ni Gunnar Seidenfaden och Leonid Vladimirovich Averyanov. An Eria bidupensis in nahilalakip ha genus nga Eria, ngan familia nga Orchidaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Eria

Eria bidupensis


FreeBASIC, tamamen ücretsiz, açık kaynak, MS-QuickBASIC sözdizimi ile uyumlu sözdizimine sahip ve birçok yeni özelliği bünyesinde barındıran, çok platformlu bir 32-bit BASIC derleyicidir.

FreeBASIC bazı açılardan QuickBASIC'ten farklı olduğu hâlde, derleme sırasında -lang qb parametresini kullanarak QuickBASIC kodunu derlemeniz mümkün olabilmektedir. Ayrıca Quick  BASIC'ten farklı olarak GTK kütüphaneleri ile grafik kullanıcı arayüzü oluşturmak mümkündür.

Örnek Kod
Print "Merhaba dünya!"

sleep:end 'DOS penceresinin kod çalıştıktan sonra hemen kapanmasını engellemek içindir.

Dış bağlantılar

Özgür derleyiciler ve yorumlayıcılar
Nesne yönelimli programlama dilleri
Yordamsal programlama dilleri
DOS yazılımları
Windows yazılımları
Programlama dilleri
BASIC programlama dili ailesi
Linux programlama araçları

FreeBASIC


William Alexander Morgan (d. 19 Nisan 1928 - ö. 12 Mart 1961), Amerikalı Küba Devrimi'nin ilk yıllarında yer almış gerilla savaşçısıydı.

William Alexander Morgan, 19 Nisan 1928'de ABD'nin Ohio eyaletinin Cleveland şehrinde doğdu. Yaşamının başlangıcı ve ölümü hakkında çok fazla bilgi bulunmamaktadır. Dövüş sanatları ustası olduğu, iyi silah kullandığı ve CIA ajanı olduğu konusunda söylentiler vardır.

Morgan, 1958 yılında Küba'ya gitmiş, Batista hükûmetine karşı çıkmış ancak Fidel Castro'nın emrine girmemiştir. Santa Clara şehrinin etrafında etkin olan küçük bir kuvveti yöneterek Batista'nın askerleriyle çatışmıştır. Aynı zamanda devrimci olan Kübalı Olga adında bir kadınla tanışıp evlenmiştir. 1958 aralık ayında Che Guevara birliğiyle birlikte Santa Clara'ya geldikten sonra güçlerini birleştirdiler ve 31 Aralık'ta Santa Clara'yı ele geçirdiler. On iki saat sonra Batista, Küba'dan kaçar ve devrim kazanılır.

1959 Ağustos'unda Dominik Cumhuriyeti'nden düzenlenen bir darbe girişimine karışır ve Castro'yu bu girişimden haberdar ederek bastırılmasını sağlar. Bazıları tarafından La Coubre gemisinin patlamasını düzenlediği de söylenmektedir.

Castro hükûmeti içinde Amerikan karşıtlığının artması sonucunda Morgan, 17 Ekim 1960'ta tutuklanmıştır. Altı ay hapiste tutulduktan sonra ihanetten suçlu bulunmuş ve ölüm cezasına çarptırılmıştır. 12 Mart 1961'de infaz edilmiştir. İdam mangasının doğrudan Fidel Castro tarafından komuta edildiği iddia edilmektedir.

Notlar

1928 doğumlular
Cleveland, Ohio doğumlular
1961 yılında ölenler
Amerikalı devrimciler
Kübalı devrimciler
Kübalı antikomünistler
Kurşuna dizilerek idam edilmiş kişiler

William Alexander Morgan


Thessalos ist der Name mehrerer Gestalten der griechischen Mythologie:

Thessalos (Sohn des Iason), Sohn des Iason und der Medea, wurde König von Iolkos
Thessalos (Sohn des Herakles), Sohn des Herakles und der Chalkiope
Thessalos (Sohn des Haimon)
Thessalos (Sohn des Graikos), eponymer Gründer von Thessaloniki
Thessalos (Sohn des Aiatos), Sohn des Aiatos und der Polykleia

Thessalos (latinisiert auch Thessalus) ist ferner der Name mehrerer antiker Persönlichkeiten:

Thessalos (Tyrann), Sohn des Peisistratos, Bruder des Hippias und Hipparchos, gemeinsam mit diesen Tyrann von Athen, wurde 511/10 v. Chr. vertrieben
Thessalos (Sohn des Kimon), 415 v. Chr. Urheber der Anklage gegen den athenischen Politiker Alkibiades wegen Mysterienfrevels
Thessalos von Kos, Sohn des berühmten Arztes Hippokrates von Kos
Thessalos (Tragöde), trat u. a. bei der 324 v. Chr. von Alexander dem Großen veranstalteten Massenhochzeit von Susa auf
Thessalos von Tralleis, 1. Jahrhundert n. Chr., römischer Arzt kleinasiatischer Abstammung zur Zeit der Herrschaft des römischen Kaisers Nero

Thessalos


An Caladium lindenii in uska species han Liliopsida nga syahan ginhulagway ni Éduard-François André, ngan ginhatag han pagkayana nga asya nga ngaran ni Michael T. Madison. An Caladium lindenii in nahilalakip ha genus nga Caladium, ngan familia nga Araceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Mga sumpay ha gawas

Caladium

Caladium lindenii


වර්තමානයට පෙර කාලසීමාය අතීතය නම්වේ. අතීතය යන්න සාමාන්‍යයෙන් වර්තමානයට සහ අනාගතයට සාපේකෂව හඳුනාගැනේ.

ආශ්‍රිත ලිපි
 ඉතිහාසය

අතීතය

අතීතය


A pitch-accent language is a type of language that, when spoken, has certain syllables in words or morphemes that are prominent, as indicated by a distinct contrasting pitch (linguistic tone) rather than by loudness or length, as in some other languages like English. Pitch-accent also contrasts with fully tonal languages like Vietnamese, Thai and Standard Chinese, in which practically every syllable can have an independent tone. Some scholars have claimed that the term "pitch accent" is not coherently defined and that pitch-accent languages are just a sub-category of tonal languages in general.

Languages that have been described as pitch-accent languages include: most dialects of Serbo-Croatian, Slovene, Baltic languages, Ancient Greek, Vedic Sanskrit, Tlingit, Turkish, Japanese, Norwegian, Swedish (but not in Finland), Western Basque, Yaqui, certain dialects of Korean, Shanghainese, and Livonian.

Pitch-accent languages tend to fall into two categories: those with a single pitch-contour (for example, high, or highlow) on the accented syllable, such as Tokyo Japanese, Western Basque, or Persian; and those in which more than one pitch-contour can occur on the accented syllable, such as Punjabi, Swedish, or Serbo-Croatian. In this latter kind, the accented syllable is also often stressed another way.

Some of the languages considered pitch-accent languages, in addition to accented words, also have accentless words (e.g., Japanese and Western Basque); in others all major words are accented (e.g., Blackfoot and Barasana).

The term "pitch accent" is also used to denote a different feature, namely the use of pitch when speaking to give selective prominence (accent) to a syllable or mora within a phrase.

Characteristics of pitch-accent languages

Definitions
Scholars give various definitions of a pitch-accent language. A typical definition is as follows: "Pitch-accent systems [are] systems in which one syllable is more prominent than the other syllables in the same word, a prominence that is achieved by means of pitch" (Zanten and Dol (2010)). That is to say, in a pitch-accent language, in order to indicate how a word is pronounced it is necessary, as with a stress-accent language, to mark only one syllable in a word as accented, not specify the tone of every syllable. This feature of having only one prominent syllable in a word or morpheme is known as culminativity.

Another property suggested for pitch-accent languages to distinguish them from stress languages is that "Pitch accent languages must satisfy the criterion of having invariant tonal contours on accented syllables ... This is not so for pure stress languages, where the tonal contours of stressed syllables can vary freely" (Hayes (1995)). Although this is true of many pitch-accent languages, there are others, such as the Franconian dialects, in which the contours vary, for example between declarative and interrogative sentences.

According to another proposal, pitch-accent languages can only use F0 (i.e., pitch) to mark the accented syllable, whereas stress languages may also use duration and intensity (Beckman). However, other scholars disagree, and find that intensity and duration can also play a part in the accent of pitch-accent languages.

A feature considered characteristic of stress-accent languages is that a stress-accent is obligatory, that is, that every major word has to have an accent. This is not always true of pitch-accent languages, some of which, like Japanese and Northern Bizkaian Basque, have accentless words. But there are also some pitch-accent languages in which every word has an accent.

One feature shared between pitch-accent languages and stress-accent languages is demarcativeness: prominence peaks tend to occur at or near morpheme edges (word/stem initial, word/stem penult, word/stem final).

Often, however, the difference between a pitch-accent language, a stress-accent language, and tonal language is not clear. "It is, in fact, often not straightforward to decide whether a particular pitch system is best described as tonal or accentual. ... Since raised pitch, especially when it coincides with vowel length, makes a syllable perceptually more prominent, it can often require detailed phonetic and phonological analysis to disentangle whether pitch is playing a more stress-like or a more tone-like role in a particular language" (Downing).

Larry Hyman argues that tone is made up of a variety of different typological features, which can be mixed and matched with some independence from each other. Hyman claims that there can be no coherent definition of pitch-accent, as the term describes languages that have non-prototypical combinations of tone system properties (or both a tone system, usually still non-prototypical, and a stress system simultaneously). Since all pitch-accent languages can be analysed just as well in purely tonal terms, in Hyman's view, the term "pitch-accent" should be superseded by a wider understanding of what qualifies as a tone system - thus, all "pitch-accent" languages are tone languages, and there is simply more variety within tone systems than has historically been admitted.

Characteristics of the accent

High vs. low accent
When one particular tone is marked in a language in contrast to unmarked syllables, it is usual for it to be a high tone. There are, however, a few languages in which the marked tone is a low tone, for example the Dogrib language of northwestern Canada and certain Bantu languages of the Congo such as Ciluba and Ruund.

Disyllabic accents
One difference between a pitch accent and a stress accent is that it is not uncommon for a pitch accent to be realised over two syllables. Thus in Serbo-Croatian, the difference between a "rising" and a "falling" accent is observed only in the pitch of the syllable following the accent: the accent is said to be "rising" if the following syllable is as high as or higher than the accented syllable, but "falling" if it is lower (see Serbo-Croatian phonology#Pitch accent).

In Vedic Sanskrit, the ancient Indian grammarians described the accent as being a high pitch (udātta) followed by a falling tone (svarita) on the following syllable; but occasionally, when two syllables had merged, the high tone and the falling tone were combined on one syllable.

In Standard Swedish, the difference between accent 1 and accent 2 can only be heard in words of two or more syllables, since the tones take two syllables to be realised. In Värmland as well as Norrland accent 1 and 2 can be heard in monosyllabic words however. In the central Swedish dialect of Stockholm, accent 1 is an LHL contour and accent 2 is an HLHL contour, with the second peak in the second syllable.

In Welsh, in most words the accent is realised as a low tone on the penultimate syllable (which is also stressed) followed by a high tone on the final; but in some dialects this LH contour may take place entirely within the penultimate syllable.

Similarly in the Chichewa language of Malawi a tone on a final syllable often spreads backwards to the penultimate syllable, so that the word  is actually pronounced Chichēwā with two mid-tones, or Chichěwā, with a rising tone on the penultimate syllable. Sentence-finally it can become Chichěwà with a rising tone on the penultimate and a low tone on the final.

Peak delay
A phenomenon observed in a number of languages, both fully tonal ones and those with pitch-accent systems, is peak delay. In this, the high point (peak) of a high tone does not synchronise exactly with the syllable itself, but is reached at the beginning of the following syllable, giving the impression that the high tone has spread over two syllables. The Vedic Sanskrit accent described above has been interpreted as an example of peak delay.

One-mora accents
Conversely, a pitch accent in some languages can target just part of a syllable, if the syllable is bi-moraic. Thus in Luganda, in the word  "Baganda people" the accent is considered to occur on the first mora of the syllable ga(n), but in  "Buganda (region)" it occurs on the second half (with spreading back to the first half). In Ancient Greek, similarly, in the word  () "houses" the accent is on the first half of the syllable oi, but in  () "at home" on the second half. An alternative analysis is to see Luganda and Ancient Greek as belonging to the type of languages where there is a choice of different contours on an accented syllable.

High tone spread

Anticipation
In some pitch-accent languages, the high pitch of the accent can be anticipated in the preceding syllable or syllables, for example, Japanese  "head", Basque  "the friend's grandmother", Turkish  "you would not get angry", Belgrade Serbian  "pepper", Ancient Greek  "it demands".

Forwards spreading
Forwards spreading of a tone is also common in some languages. For example, in the Northern Ndebele language of Zimbabwe, the tonal accent on the prefix ú- spreads forward to all the syllables in the word except the last two:  "to laugh";  "to make one another laugh". Sometimes the sequence HHHH then becomes LLLH, so that in the related language Zulu, the equivalent of these words is  and  with an accent shifted to the antepenultimate syllable.

In Yaqui, the accent is signalled by an upstep before the accented syllable. The high pitch continues after the accent, declining slightly, until the next accented syllable. Thus it is the opposite of Japanese, where the accent is preceded by high pitch, and its position is signalled by a downstep after the accented syllable.

Plateau between accents
In other languages the high pitch of an accent, instead of dropping to a low on the following syllable, in some circumstances can continue in a plateau to the next accented syllable, as in Luganda  "it is in Buganda" (contrast  "it is in Bunyoro", in which Bunyóró is unaccented apart from automatic default tones).

Plateauing is also found in Chichewa, where in some circumstances a sequence of HLH can change to HHH. For example,  +  "with a bicycle" makes   with a plateau.

In Western Basque and Luganda, the default high tones automatically added to accentless words can spread in a continuous plateau through the phrase as far as the first accent, for example, in Basque  "John's friend's grandmother", Luganda  "people in the city".

Simple pitch-accent languages
According to the first two criteria above, the Tokyo dialect of Japanese is often considered a typical pitch-accent language, since the pronunciation of any word can be specified by marking just one syllable as accented, and in every word the accent is realised by a fall in pitch immediately after the accented syllable. In the examples below the accented syllable is marked in bold (the particle ga indicates that the word is subject):
 "pillow"
 "you"
 "head"
 "fish" (unaccented)

In Japanese there are also other high-toned syllables, which are added to the word automatically, but these do not count as accents, since they are not followed by a low syllable. As can be seen, some of the words in Japanese have no accent.

In Proto-Indo-European and its descendant, Vedic Sanskrit, the system is comparable to Tokyo Japanese and Cupeño in most respects, specifying pronunciation through inherently accented morphemes such as  and  (Vedic -rá- and -tá-) and inherently unaccented morphemes. The examples below demonstrate the formation of such words using morphemes:
 PIE  >  "shining" (Vedic r̥jrás)
 PIE  >  "heard (of), famous" (Vedic śrutás)

If there are multiple accented morphemes, the accent is determined by specific morphophonological principles. Below is a comparison of Vedic, Tokyo Japanese and Cupeño regarding accent placement:
 Vedic /gáv-ā́/ > gáv-ā "with the cow"
 Japanese /yón-dára/ > yón-dara "if (he) reads"
 Cupeño /ʔáyu-qá/ > ʔáyu-qa "(he) wants"

The Basque language has a system very similar to Japanese. In some Basque dialects, as in Tokyo Japanese, there are accented and unaccented words; in other dialects all major words have an accent. As with Japanese, the accent in Basque consists of a high pitch followed by a fall on the next syllable.

Turkish is another language often considered a pitch-accent language (see Turkish phonology#Word-accent). In some circumstances, for example in the second half of a compound, the accent can disappear.

Persian has also been called a pitch-accent language in recent studies, although the high tone of the accent is also accompanied by stress; and as with Turkish, in some circumstances the accent can be neutralised and disappear. Because the accent is both stressed and high-pitched, Persian can be considered intermediate between a pitch-accent language and a stress-accent language.

More complex pitch accents
In some simple pitch-accent languages, such as Ancient Greek, the accent on a long vowel or diphthong could be on either half of the vowel, making a contrast possible between a rising accent and a falling one; compare  () "at home" vs.  () "houses". Similarly in Luganda, in bimoraic syllables a contrast is possible between a level and falling accent:  "Buganda (region)", vs.  "Baganda (people)". However, such contrasts are not common or systematic in these languages.

In more complex types of pitch-accent languages, although there is still only one accent per word, there is a systematic contrast of more than one pitch-contour on the accented syllable, for example, H vs. HL in the Colombian language Barasana, accent 1 vs. accent 2 in Swedish and Norwegian, rising vs. falling tone in Serbo-Croatian, and a choice between level (neutral), rising, and falling in Punjabi.

Other languages deviate from a simple pitch accent in more complicated ways. For example, in describing the Osaka dialect of Japanese, it is necessary to specify not only which syllable of a word is accented, but also whether the initial syllable of the word is high or low.

In Luganda the accented syllable is usually followed immediately after the HL of the accent by an automatic default tone, slightly lower than the tone of the accent, e.g.,  "we are going"; however, there are some words such as  "they will see", where the automatic default tone does not follow the accent immediately but after an interval of two or three syllables. In such words it is therefore necessary to specify not only which syllable has the accent, but where the default tone begins.

Because of the number of ways languages can use tone some linguists, such as the tonal languages specialist Larry Hyman, argue that the category "pitch-accent language" can have no coherent definition, and that all such languages should simply be referred to as "tonal languages".

Languages

Proto-Indo-European

The theoretical proto-language Proto-Indo-European, the putative ancestor of most European, Iranian and North Indian languages, is usually reconstructed to have been a free pitch-accent system. ("Free" here refers to the position of the accent since its position was unpredictable by phonological rules and so could be on any syllable of a word, regardless of its structure.) From comparisons with the surviving Indo-European daughter languages, it is generally believed that the accented syllable was higher in pitch than the surrounding syllables. Among daughter languages, a pitch-accent system is found in Vedic Sanskrit, Ancient Greek, the Baltic languages and some South Slavic languages, although none of them preserves the original system intact.

Vedic Sanskrit

Vedic Sanskrit, the earliest form of the Indian language Sanskrit, is believed to have had a pitch accent that was very similar to that of ancestor language Proto-Indo-European. Most words had exactly one accented syllable, but there were some unaccented words, such as finite verbs of main clauses, non-initial vocatives, and certain pronouns and particles. Occasionally, a compound word occurred with two accents: ápa-bhartávai "to take away".

The ancient Indian grammarians describe the accented syllable as being "raised" (udātta), and it appears that it was followed in the following syllable by a downwards glide, which the grammarians refer to as "sounded" (svarita). In some cases, language change merged an accented syllable with a following svarita syllable, and the two were combined in a single syllable, known as "independent svarita".

The precise descriptions of ancient Indian grammarians imply that the udātta was characterised by rising pitch and the svarita by falling pitch. In the tradition represented by the Rigveda, a collection of hymns, the highest point of the accent appears not to have been reached until the beginning of the svarita syllable. In other words, it was an example of "peak delay" (see above).

In the later stages of Sanskrit, the pitch accent was lost and a stress accent remained. The stress in Sanskrit, however, was weaker than that in English and not free but predictable. The stress was heard on the penultimate syllable of the word if it was heavy, on the antepenultimate if the antepenultimate was heavy and the penultimate light, and otherwise on the pre-antepenultimate.

Ancient Greek

In Ancient Greek, one of the final three syllables of a word carried an accent. Each syllable contained one or two vocalic morae, but only one can be accented, and accented morae were pronounced at a higher pitch. In polytonic orthography, accented vowels were marked with the acute accent. Long vowels and diphthongs are thought to have been bimoraic and, if the accent falls on the first mora, were marked with the circumflex. Long vowels and diphthongs that were accented on the first mora had a high–low (falling) pitch contour and, if accented on the second mora, may have had a low–high (rising) pitch contour:

The Ancient Greek accent was melodic, as is suggested by descriptions by ancient grammarians but also by fragments of Greek music such as the Seikilos epitaph, in which most words are set to music that coincides with the accent. For example, the first syllable of the word  () is set to three notes rising in pitch, the middle syllable of  () is higher in pitch than the other two syllables, and the circumflex accent of  () has two notes, the first a third higher than the second.

In addition to the two accents mentioned above (the acute and the circumflex), Ancient Greek also had a grave accent. It was used only on the last syllable of words, as an alternative to an acute. The acute was used when the word was cited in isolation or came before a pause, such as a comma or a full stop, or an enclitic. Otherwise, a grave was written. The exact interpretation of the grave is disputed: it may have indicated that the accent was completely suppressed or that it was partly suppressed but not entirely absent.<ref>Probert, Philomen, (2003) A New Short Guide the Accentuation of Ancient Greek", p. 17.</ref>

By comparing the position of the Ancient Greek and Vedic Sanskrit accents, the accent of the ancestor language Proto-Indo-European can often be reconstructed. For example, in the declension of the word for "father" in these two languages, the position of the accent in some cases is identical:

In later stages of Greek, the accent changed from a pitch accent to a stress accent, but remained largely on the same syllable as in Ancient Greek. The change is thought to have taken place by the 4th century AD. Thus, the word  () ("man, person"), which is believed to have been pronounced in ancient times with the first syllable always higher than the other two, is now pronounced with the first syllable either higher or lower than the other two.

Baltic languages
Two languages of the Baltic branch of the Indo-European family survive today: Lithuanian and Latvian. (Another Baltic language, Old Prussian, died out in the 18th century.) Both languages have a tonal accent that is believed to derive from the ancestral Proto-Indo-European language.

Possible relationshipsbetween Baltic tones
       Baltic
        F  R
       / \/ \
      /  /\  \
     /  /  \  \
    /  /    F  \
   /  /     |\  \
  /  /      | \  \
 F  R       L  B  F
 Lith.      Latvian

 F – falling (acute)
 R – rising (circumflex)
 L – level
 B – broken
Baltic tones are often classified as either "acute" or "circumflex." However, these labels indicate a diachronic correspondence rather than a phonetic one. For example, the "acute" accent is falling in Lithuanian but a high level tone in Latvian and is presumed to have been rising in Old Prussian and Classical Greek. The "circumflex" is rising in Lithuanian but falling in Latvian, Prussian and Classical Greek.

In the tree diagram on the right, as adopted from Poljakov, names for (original) Baltic tones have been equated with those of modern Standard Lithuanian and the falling tone in Latvian is depicted as derived from a Baltic rising tone. According to some it was Lithuanian that "switched the places" of the Baltic tones. This might explain why most languages call a rising tone "acute" while in Baltic terminology a falling tone is "acute." Some controversy surrounds Poljakov's model, and it has been harshly criticized by Frederik Kortlandt. Kortlandt contends that broken tone in Latvian and Žemaitian is a reflex of a now disappeared glottal stop in Balto-Slavic not preserved in Aukštaitian (Standard Lithuanian) or Slavic languages and not a recent development of acute.

Lithuanian

Long segments in Lithuanian can take one of two accents: rising or falling. "Long segments" are defined as either long vowels, diphthongs or a sequence of a vowel followed by a sonorant if they are in a stressed position. Pitch can serve as the only distinguishing characteristic for minimal pairs that are otherwise orthographically identical, e.g., kar̃tų 'time:gen.pl' vs. kártų 'hang:irr.3' (rising and falling tone indicated by a tilde and an acute accent respectively.)

Latvian
In Latvian, long segments (the same criteria as in Lithuanian) can take on one of three pitches (intonācijas or more specifically zilbes intonācijas) either stiepta ("level"), lauzta ("broken") or krītoša ("falling") indicated by Latvian linguists with a tilde, circumflex or a grave accent respectively (in IPA, however, the tilde is replaced by a macron because the former is already reserved to denote nasalized vowels.) Some authors note that the level pitch is realized simply as "ultra long" (or overlong.) Endzelīns (1897) identifies "level diphthongs" as consisting of 3 moras not just two. Broken pitch is, in turn, a falling pitch with superadded glottalization. And, indeed, the similarity between the Latvian broken pitch and Danish stød has been described by several authors. At least in Danish phonology, stød (unlike Norwegian and Swedish pitch accents) is not considered a pitch accent distinction but, rather, variously described as either glottalization, laryngealization, creaky voice or vocal fry. Some authors point out that the so-called broken pitch is not a pitch accent but a pitch register distinction similar to the ngã register of Northern Vietnamese.

Outside of Central Vidzeme (Standard Latvian), the three-way system has been simplified, in Eastern Latvian (Latgale) only broken and falling pitches are distinguished. Speakers of Rīga Latvian and other more westward varieties differentiate only between level and broken pitches with the falling pitch being merged with the broken one. Thus the Standard Latvian "minimal triplet" or "minimal set" of  (hall),  (grass) and  (medicine) in Rīga Latvian would be reduced to "hall" (level pitch) and "grass" (broken pitch) and "medicine" would be pronounced with a broken pitch just like "grass." Speakers around Ērgļi tend to have just levelled pitch.

Livonian
The extinct Livonian language is a Finnic language rather than Baltic but was influenced by Latvian. In the late 19th century, Danish linguist Vilhelm Thomsen identified a characteristic in the speech of a Livonian sailor that to him seemed very similar to the Danish stød. The feature was later the subject of research by several Finno-Ugricists. Although the (Indo-European) Latvian and (Uralic) Livonian are phylogenetically unrelated (being from different language families) both have influenced each other heavily in terms of phonology. Whether Livonian acquired this feature from Latvian or vice versa is debated; however, owing to the fact that Livonian is the only Finno-Ugric language to have this feature, the majority of researchers believe it was a product of Latvian influence on Livonian and not the other way around. It is possible that "Livonian stød" would be classified as a pitch accent only by Latvian classification just like the identical Latvian lauztā intonācija, otherwise it would be considered a pitch register, glottalization or similar categories as discussed above.

The Livonian-Estonian-Latvian dictionary at www.murre.ut.ee uses an apostrophe after a vowel to indicate broken pitch, for example, Mi'nnõn u'm vajāg instead of just Minnõn um vajāg.

Norwegian and Swedish

Norwegian and Swedish are stress-accent languages, but in addition to the stress, two-syllable words with the stress on the first syllable in most dialects also have differences in tone. There are two kinds of tonal accent, referred to as the acute and grave accents, but they are also called accent 1 and accent 2 or tone 1 and tone 2. Over 150 two-syllable word pairs are differentiated only by their use of the accent. Tone 1 is used generally for words whose second syllable is the definite article and for words that were monosyllabic in Old Norse.

For example, in most Norwegian dialects, the word  (farmers) is pronounced with tone 1, while tone 2 is used when pronouncing  (beans or prayers). Differences in spelling occasionally let readers distinguish written words, but most minimal pairs are written alike. An example in Swedish is the word , which means "the duck" when using tone 1 and "the spirit" when using tone 2. In some dialects of Swedish, including those spoken in Finland, the distinction is absent. There are significant variations in the realization of pitch accent between dialects. Thus, in most of western and northern Norway (the so-called high-pitch dialects), accent 1 is falling, and accent 2 is rising in the first syllable and falling in the second syllable or somewhere around the syllable boundary.

The word accents give Norwegian and Swedish a "singing" quality that makes them easy to distinguish from other languages. In Danish (except for some southern dialects), the pitch accent of Swedish and Norwegian corresponds to the glottalization phenomenon known as stød.

 Franconian dialects

A pitch accent is found in the following Franconian languages or dialects: Limburgish, Ripuarian and Moselle Franconian (excluding Luxembourgish). They are sometimes collectively referred to as West Central German tonal languages.

In these dialects there is a distinction between two different tonal contours, known as "tonal accent 1" and "tonal accent 2". As with Lithuanian, the distinction is made only in stressed syllables and, for the most part, only when the syllable contains a long vowel or diphthong or vowel that is followed in the same syllable by a sonorant (r, l, m, n, ŋ). No distinction of tones is made in stressed syllables containing a short vowel only.Germanic tone accents: proceedings of the First International Workshop on Franconian Tone Accents, Leiden, 2003 Although the accentual system resembles that of Swedish, the two are thought to have arisen independently. Unlike Swedish, where the distinction in tones is not made in monosyllables (except for in northern and western dialects), in the Franconian dialects it very frequently occurs in monosyllables, e.g., (Ripuarian dialect) zɛɪ1 "sieve" vs. zɛɪ2 "she".

The tonal accents are referred to under a variety of names. Tonal accent 1 is called  ("thrusting tone") in Dutch or  in German, while tonal accent 2 is named  ("slurring tone") in Dutch and Schleifton in German, apparently referring to the double peak it has in areas such as Limburg.The corresponding terms for Franconian tone accents are as follows:
{| class=wikitable
! !! Accent 1 (T1) !! Accent 2 (T2)
|-
| e.g. ||zɛɪ1 'sieve' || zɛɪ2 'she'
|-
!rowspan=3|Germanterms
|Schärfung (+Schärfung) ||(−Schärfung)
|-
|geschärft (+geschärft)||ungeschärft (−geschärft)
|-
|Stoßton ||Schleifton
|-
!rowspan=2|Dutchterms
|stoottoon||sleeptoon
|-
|hoge toon||valtoon
|}
The Dutch terms hoge toon and valtoon are misnomers for Colognian.

The two accents have different realisations in different dialects. For example, in Cologne, accent 1 has a sharp fall near the beginning of the syllable, and accent 2 remains level for a while before falling. In Arzbach, near Koblenz, on the other hand, accent 1 rises slightly or remains level, while it is accent 2 that falls sharply, that is, more or less the reverse of the Cologne pattern. In Hasselt in Belgian Limburg, accent 1 rises then falls, and with accent 2 there is a fall and then a rise and another fall. The three types are known as Rule A, Rule B and Rule 0, respectively. Although traditionally accent 2 has been analysed as the marked variant, in certain Rule A areas (especially Cologne, where accent 2's realization is nigh-indistinguishable from an unpitched long vowel) accent 1 is thought of as the marked variant. Grammars of the Cologne dialect will treat the pitches as "ungeschärft" (accent 2) and "geschärft" (accent 1). Adam Wrede's influential dictionary of the Cologne dialect also treats accent 2 as indistinct; the above examples zɛɪ1 "sieve" and zɛɪ2 "she," "they" are transcribed (zeiː) and (zei) respectively. (The differing transcriptions of the vowel are due to the pronunciation being different in Cologne than the surrounding dialects)

It has recently been observed that in interrogative sentences, however, all three types have nearly identical intonations. In all dialects in accent 1, there is then a rise and then a fall. In accent 2, there is then a fall, a rise and then another fall.

Since the contour of the accent changes in different contexts, from declarative to interrogative, those dialects apparently contradict Hayes's proposed criterion for a pitch-accent language of the contour of a pitch-accent remaining stable in every context.

West South Slavic languages
The West South Slavic languages include Serbo-Croatian (Bosnian-Croatian-Montenegrin-Serbian) and Slovenian, spoken in the former Yugoslavia.

The late Proto-Slavic accentual system was based on a fundamental opposition of a short/long circumflex (falling) tone, and an acute (rising) tone, the position of the accent being free as was inherited from Proto-Balto-Slavic. Common Slavic accentual innovations significantly reworked the original system primarily with respect to the position of the accent (Dybo's law, Illič-Svityč's law, Meillet's law etc.), and further developments yielded some new accents, such as the so-called neoacute (Ivšić's law), or the new rising tone in Neoštokavian dialects (the so-called "Neoštokavian retraction").

As opposed to other Slavic dialect subgroups, West South Slavic dialects have largely retained the Proto-Slavic system of free and mobile tonal accent (including the dialect used for basis of Modern Standard Slovene and the Neoštokavian dialect used for the basis of standard varieties of Serbo-Croatian: Bosnian, Croatian and Serbian), though the discrepancy between the codified norm and actual speech may vary significantly.For example the accentual systems of the spoken dialects of the Croatian capital Zagreb and the city of Rijeka are stress-based and do not use distinctive vowel length or pitch accent.

Serbo-Croatian

The Neoštokavian dialect used for the basis of standard Bosnian, Croatian and Serbian distinguishes four types of pitch accents: short falling (ȅ), short rising (è), long falling (ȇ), and long rising (é). There are also unaccented vowels: long (ē) and short (e). The accent is said to be relatively free, as it can be manifested on any syllable except the last. The long accents are realized by pitch change within the long vowel; the short ones are realized by the pitch difference from the subsequent syllable.

Accent alternations are very frequent in inflectional paradigms by both types of accent and placement in the word (the so-called "mobile paradigms", which were present in the PIE itself but became much more widespread in Proto-Balto-Slavic). Different inflected forms of the same lexeme can exhibit all four accents: lònac 'pot' (nominative sg.), lónca (genitive sg.), lȏnci (nominative pl.), lȍnācā (genitive pl.).

Restrictions on the distribution of the accent depend on the position of the syllable but also on its quality, as not every kind of accent is manifested in every syllable.
 A falling tone generally occurs in monosyllabic words or the first syllable of a word (pȃs 'belt', rȏg 'horn'; bȁba 'old woman', lȃđa 'river ship'; kȕćica 'small house', Kȃrlovac). The only exception to this rule are the interjections, i.e., words uttered in the state of excitement (ahȁ, ohȏ)
 A rising tone generally occurs in any syllable of a word except the ultimate and never in monosyllabic words (vòda 'water', lúka 'harbour'; lìvada 'meadow', lúpānje 'slam'; siròta 'female orphan', počétak 'beginning'; crvotòčina 'wormhole', oslobođénje 'liberation').

Thus, monosyllables generally have falling tone, and polysyllabic words generally have falling or rising tone on the first syllable and rising in all the other syllables except the last. The tonal opposition rising vs. falling is generally possible only in the first accented syllable of polysyllabic words, but the opposition by length, long vs. short, is possible even in the nonaccented syllable and the post-accented syllable (but not in the preaccented position).

Proclitics (clitics that latch on to a following word), on the other hand, can "steal" a falling tone (but not a rising tone) from the following monosyllabic or disyllabic words (as seen in the examples /vîdiːm/→/ně‿vidiːm/, /ʒěliːm/→/ne‿ʒěliːm/). The stolen accent is always short and may end up being either falling or rising on the proclitic. That phenomenon is obligatory in Neoštokavian idiom and therefore in all three standard languages, but it is often lost in spoken dialects because of the influence of other dialects (such as in Zagreb because of the influence of Kajkavian dialect).

Slovenian
In Slovenian, there are two concurrent standard accentual systems: the older, tonal, with three "pitch accents", and the younger, dynamic (i.e., stress-based), with louder and longer syllables. The stress-based system was introduced because two thirds of Slovenia has lost its tonal accent. In practice, however, even the stress-based accentual system is just an abstract ideal, and speakers generally retain their own dialect even when they try to speak Standard Slovenian. For example, speakers of urban dialects in the west of Slovenia without distinctive length fail to introduce a quantitative opposition when they speak the standard language.

The older accentual system is tonal and free (jágoda 'strawberry', malína 'raspberry', gospodár 'master, lord'). There are three kinds of accents: short falling (è), long falling (ȇ) and long rising (é). Non-final syllables always have long accents: rakîta 'crustacea', tetíva 'sinew'. The short falling accent is always in the final syllable: bràt 'brother'. Three-way opposition among accents can only then be present: deskà 'board' : blagọ̑  'goods, ware' : gospá 'lady'. Accent can be mobile throughout the inflectional paradigm: dȃr — darȗ, góra — gorẹ́ — goràm, bràt — bráta — o brȃtu, kráva — krȃv, vóda — vodọ̑ — na vọ̑do). The distinction is made between open -e- and -o- (either long or short) and closed -ẹ- and -ọ- (always long).

Basque
The Basque language of northeastern Spain and southwestern France has a number of different dialects and a number of accentual patterns. Only western varieties seem to have a tonal accent, and eastern varieties have a stress accent (the stress-accent dialects also differ one from another). According to an analysis first suggested by J.R. Hualde, Northern Bizkaian has most nouns accentless in their absolutive singular form, but they have a default high tone (shown by underlining below), which continues throughout the word except for the first syllable. These examples come from the Gernika (Guernica) dialect:Gerníké "Guernica"basóá "forest"patátíé "potato"guntsúrrúné "kidney"

There are, however, a few nouns (often borrowings) with a lexical accent. As in Japanese, the accent consists of a high tone, followed by a low one:Bílbo "Bilbao"apáriže "supper"

In addition, some suffixes (including all plural suffixes) are preaccenting and so cause an accent on the syllable before the suffix:ándrak "women"txakúrren "of dogs" (genitive plural)Gerníkétik "from Guernica"

Other suffixes do not cause any extra accent:txakúrrén "of the dog" (genitive singular)

When a preaccenting suffix is added to an already-accented word, only the first accent is retained:Bílbotik "from Bilbao"

The accent from Ondarroa is similar but the accent of the word, if any, always appears on the penultimate syllable:Bilbótik "from Bilbao" (Ondarroa pronunciation)

Intonation studies show that when an accentless word is spoken either in isolation or before a verb, it acquires an accent on its last syllable (or, in Ondarroa, on its penultimate syllable). However, that is an intonational accent, rather than a lexical accent:Lee, Chungmin; Gordon, Matthew, Büring, Daniel (eds) (2007) Topic and Focus: Cross-Linguistic Perspectives on Meaning and Intonation, p. 5.lagúná etorri da "the friend (laguna) has come"

When an accentless word in those dialects of Basque is followed by an accented word, the automatic high tones continue in a plateau as far as the accent:lagúnén ámúma ikusi dot "I have seen the friend's grandmother (amúma)"

That also applies if the accent is intonational. In the following sentence, all words are unaccented apart from the intonational accent before the verb:lagúnén álábíá etorri da "the friend's daughter has come"

When an accented word is focused, the pitch of the accented syllable is raised, but if the word is accentless, there is no rise in pitch on that word but only on the accented word. In the following phrase, only the word amúma "grandmother" is thus accented, whether the focus is on "John", "friend", or "grandmother", or none of these:Arregi, Karlos (2004). "Stress and Islands in Northern Bizkaian Basque".Jonén lágúnén ámúma "John's friend's grandmother"

Another pitch accent area in Basque is found in western Navarre, near the border with France in the towns of Goizueta and Leitza. There is a strong stress accent there on the second or the first syllable of every word, like with central dialects of Basque, but there is also a pitch contrast superimposed on the stress: mendik (rise-dip-rise) "the mountain" vs. mendik (rise-fall) "the mountains".

Turkish

Although the Turkish accent is traditionally referred to as "stress", recent studies have pointed out that the main correlate of lexical accent is actually pitch. In a word like sözcükle "with a word", the accented second syllable is thus higher than the other two but has less intensity (loudness).

Turkish word-accent is found especially in geographical names (İstanbul, Ankara, Yunanistan "Greece", Adana), foreign borrowings (salata "salad", lokanta "restaurant"), some proper names (Erdoğan, Kenedi), compound words (başkent "capital city"), some words referring to relatives (anne "mother"), and certain adverbs (şimdi "now", yalnız "only"). It is also caused by certain suffixes, some of which are "pre-accenting" and so cause an accent on the syllable preceding them, such as negative -me-/-ma-, question particle mi?, or copula -dir "it is" (gelmedi "he did not come", geldi mi? "did he come?", güzeldir "it is beautiful").Inkelas, Sharon; & Orgun, Cemil Orhan. (2003). "Turkish stress: A review". Phonology, 20 (1), 139-161.  The accented syllable is slightly higher in pitch than the following syllable. All other words, when pronounced in isolation, either have a slightly raised pitch on the final syllable or are pronounced with all the syllables level.

Turkish also has a phrase-accent and focus-accent. An accent on the first word of a phrase usually causes an accent in the following words or suffixes to be neutralised, e.g., çoban salatası "shepherd salad", Ankara'dan da "also from Ankara", telefon ettiler "they telephoned", with only one accent.

A controversy exists over whether Turkish has accentless words, like Japanese and Basque. Some scholars, such as Levi (2005) and Özçelik (2016), see the final raised pitch sometimes heard in words such as arkadaş ("friend") or geldi ("he came") as a mere phrasal tone or boundary tone. Others, such as Kabak (2016), prefer the traditional view that the final accent in such words is a kind of stress.

Persian

The accent of Persian words used to be always referred to as "stress" but is recognised as a pitch accent in recent works. Acoustic studies show that accented syllables have some of the characteristics of stressed syllables in stress-accent languages (slightly more intensity, more length, more open vowels), but that effect is much less than would normally be expected in stress-accent languages. The main difference is one of pitch, with a contour of (L)+H*.

Normally, the pitch falls again at the end of the syllable (if final) or on the next syllable.

Persian nouns and adjectives are always accented on the final syllable. Certain suffixes, such as the plural -ha, shift the accent to themselves:ketâb "book"ketâb-hâ "books"ketâb-i "bookish"

Other suffixes, such as possessives and the indefinite -i, are clitic and so are unaccented:ketâb-etun "your book"ketâb-i "a book"

In verbs, the personal endings in the past tense are clitic but are accented in the future tense:gereft-am "I took"gerefte-am "I have taken"xâham gereft "I will take"

When prefixes are added, the accent shifts to the first syllable:mi-gir-am "I'm taking"na-gereft-am "I did not take"be-gir-am "I should take"

In the vocative (xânom! "madam") and sometimes elsewhere, such as bale! "yes" or agar "if", the accent is also on the first syllable.

In compound verbs, the accent is on the first element:kâr kard-am "I worked"

However, in compound nouns, the accent is on the second element:ketâb-xâne "bookcase"

In the ezâfe construction, the first noun is optionally accented but generally loses its pitch:mardom-e Irân / mardom-e Irân "the people of Iran"

When a word is focussed, the pitch is raised, and the words that follow usually lose their accent:nâme-ye mâmân-am bud ru miz "it was my mom's letter that was on the table"

However, other researchers claim that the pitch of post-focus words is reduced but sometimes still audible.

Japanese

Standard Japanese and certain other varieties of Japanese are described as having a pitch accent, which differs significantly among dialects. In Standard Japanese, the "accent" may be characterized as a downstep rather than as pitch accent. The pitch of a word rises until it reaches a downstep and then drops abruptly. In a two-syllable word, a contrast thus occurs between high–low and low–high. Accentless words are also low–high, but the pitch of following enclitics differentiates them.

The Ōsaka accent (Kansai dialect) (marked red on the map to the right) differs from the Tokyo accent in that in some words, the first syllable of the word (always low in Tokyo Japanese unless accented) can be high. To give a full description of the accent of a word, therefore, it is necessary to specify not only the position of the accent (downstep) but also the height of the first syllable.

Korean
Standard (Seoul) Korean uses pitch only for prosody. However, several other dialects retain a Middle Korean pitch-accent system.

In the dialect of North Gyeongsang, in southeastern South Korea, any syllable and the initial two syllables may have a pitch accent in the form of a high tone. For example, in trisyllabic words, there are four possible tone patterns:

Shanghainese
The Shanghai dialect of Wu Chinese is marginally tonal, with characteristics of a pitch accent.

Not counting closed syllables (those with a final glottal stop), a monosyllabic Shanghainese may carry one of three tones: high, mid, low. The tones have a contour in isolation, but for the following purposes, it can be ignored. However, low tone always occurs after voiced consonants and only then. Thus, the only tonal distinction is after voiceless consonants and in vowel-initial syllables, and there is only a two-way distinction between high tone and mid tone.

In a polysyllabic word, the tone of the first syllable determines the tone of the entire word. If the first tone is high, the following syllables are mid. If it is mid or low, the second syllable is high, and any following syllables are mid. Thus, a mark for the high tone is all that is needed to note the tone in Shanghainese:

Bantu languages
The Bantu languages are a large group of some 550 languages, spread over most of south and central Africa. Proto-Bantu is believed to have had two tones: H and L.Hyman, L.M. (2017). "Bantu Tone Overview". UC Berkeley Phonetics and Phonology Lab Annual Report (2017) However, it does not appear to have had a pitch-accent system, as defined above, since words with such forms as HL, HH, LH, and LL were all found: *káda "charcoal", *cómbá "fish", *nyangá "horn" and *tope "mud". In other words, some words like *cómbá could have two high tones, and others had one tone or none.

However, in the course of time, processes such as Meeussen's Rule, by which sequences such as HHH became HLL, LHL, or LLH, tended to eliminate all but one tone in a word in many Bantu languages, making them more accent-like. Thus in Chichewa, the word for "fish" (nsómba) now has HL tones, exactly like the word for "charcoal" (khála).

Another process that makes for culminativity in some Bantu languages is the interaction between stress and tone. The penultimate syllable of a word is stressed in many Bantu languages, and some of them have a tendency for high tones to be on the penultimate. For example, in Chitumbuka, every phonological phrase is accented with a falling tone on the penultimate: ti-ku-phika sî:ma "we are cooking porridge". In other languages, such as Xhosa, the high tone is attracted to the antepenultimate although the penultimate being stressed.

Ciluba and Ruund, in the Democratic Republic of the Congo, are two Bantu languages that are interesting for their "tone reversal". Low tone is phonologically active in places that other languages of the same family have a high tone. Thus, in a word like *mukíla "tail", most other Bantu languages have a high tone on the second syllable, but Chiluba has mukìla and Ruund has mukìl, with a low-toned accent.

Luganda

Luganda, a language of Uganda, has some words with apparent tonal accents. They can be either high or falling (rising tones do not occur in Luganda). Falling tones are found on bimoraic syllables or word-finally:ensî "country"ekibúga "city"eddwâliro "hospital"

Some words, however, have two accents, which are joined in a plateau:Kámpálâ "Kampala"

Other words are accentless:ekitabo "book"

However, accentless words are not always without tones but usually receive a default tone on all syllables except the first one or the first mora:ekítábó "book"Bunyóró "Bunyoro" (name of region)

A double consonant at the beginning of a word counts as a mora. In such words, the first syllable also can have a default tone:Ttóró "Toro" (a region)

Default tones are also heard on the end of accented words if there is a gap of at least one mora after the accent (the default tones are lower in pitch than the preceding accent):amasérengétá "south"eddwâlíró "hospital"

The default tones are not always heard but disappear in certain contexts, such as if a noun is the subject of a sentence or used before a numeral:Mbarara kibúga "Mbarara is a city"ebitabo kkúmi "ten books"

In some contexts such as affirmative verb + location, or phrases with "of"), the high tone of an accent (or of a default tone) can continue in a plateau all the way until the next accented syllable:mu maséréngétá gá Úgáńda "in the south of Uganda"alí mú Búgáńda "he is in Buganda"

The situation with verbs is more complicated, however, since some of the verbal roots have their own inherent word-accent, but also, the prefixes added to the verb also often have an accent. Also, some tenses (such as negative tenses and relative clause tenses) add an accent on the final syllable.

When two or three accents come in a row in a verb,  H-H becomes H-L, and H-H-H becomes H-L-L. However, the default tones are not added on the syllables with deleted accents, which leads to forms like bálilabá (from *bá-lí-lába) "they will see". There, not one but two low-toned syllables follow the accent.

Another rule is that if two accents in the same verb are not next to each other, they form a plateau. Thus, the negative tense tágulâ "he does not buy" is pronounced 'tágúlâ, with a plateau.

Chichewa

Chichewa, a language widely spoken in Malawi, is tonal but has accentual properties. Most Chichewa simple nouns have only one high tone, usually on one of the last three syllables. (See Chichewa tones.)chímanga "maize"chikóndi "love"chinangwá "cassava" (usually pronounced chinăngwā, with rising tone on the penultimate)

However, many number of nouns have no high tone but are accentless. Unlike the accentless words in Luganda, however, they do not acquire any default tones but are pronounced with all the syllables low:
chipatala "hospital"

A few nouns (often but not always compounds) have two high tones. If they are separated by only one syllable, they usually join in a plateau:
chizólówezí "habit"
bírímánkhwe "chameleon"

Most verbal roots in Chichewa are accentless. However, a few verbs also have lexical accents, but they are not inherited from Proto-Bantu. When there is an accent, it is always heard on the final -a of the verb:
thokozá-ni "give thanks (pl.)"

Some accents are added by prefixes and suffixes. For example, the infinitive prefix ku- is postaccenting, adding a tone on the following syllable, while the suffix -nso "again/also" is preaccenting:
fotokoza "explain" (toneless)
kufótokoza "to explain"
kufótokozánso "to explain again"

The verbal system is complicated by the fact that overlying the tones of the verb and suffixes is a series of tonal patterns that changes by tense. There are at least eight patterns for affirmative tenses and other different patterns for relative clause verbs and negative verbs.

For example, the present habitual tense has tones on the first and penultimate syllables, the recent past has a tone after the tense-marker -na-, the subjunctive has a tone on the final syllable and the potential is toneless. The tones apply, with minor variations, to all verbs, whether the stem is long or short:
ndímafotokóza "I (usually) explain"
ndinafótokoza "I explained (just now)"
ndifotokozé "I should explain"
ndingafotokoze "I could explain"

When a verb has a penultimate accent, most other tones tend to be suppressed. For example, in the negative future, both the tone of the future-tense marker, -dzá-, and the tone of the negative marker, sí- (both normally high), are neutralised:
sindidzafotokóza "I will not explain"

Those and other processes cause most verb tenses to have only one or two high tones, which are at the beginning, the penultimate or the final of the verb stem or at a prefix or sometimes even both. That gives the impression that the tones in the resultant words have a clearly-accentual quality.

English
Most dialects of English are classified as stress-accent languages. However, there are some dialects in which tone can play a part in the word accent.

Hong Kong English
Lexical words in Hong Kong English are assigned at least one H (high) tone. Disyllabic words may have the tone pattern H-o (clóckwise), H-H (sómetímes), o-H (creáte),  where "o" stands for tonelessness. Trisyllabic words receive any one of seven possible tone assignments H-H-H (kángároo), H-H-o (hándwríting), H-o-H (róundabóut), H-o-o (thréátening), o-H-H (abóut-túrn), o-H-o (esséntial), o-o-H (recomménd). Toneless syllables receive other pitch assignments depending on their positions: word-initial toneless syllables are M(id)-toned, utterance-final toneless syllables are Low, and word-medial toneless syllables vary across two major sub-dialects in the community surfacing as either H or M. Because lexical stipulation of Hong Kong English tones are {H, o} privative, one is easily misled into thinking of Hong Kong English as a pitch-accented language. It is, however, probably more accurate to think of Hong Kong English as a language with lexical tones.

South African English
In Broad South African English,  (phonetically ) is often deleted, such as in word-initial stressed syllables (as in house), but at least as often, it is pronounced even if it seems to be deleted. The vowel that follows  in the word-initial syllable often carries a low or low rising tone. In rapid speech, that can be the only trace of the deleted . Potentially minimal tonal pairs are thus created, like oh (neutral  or high falling ) vs. hoe (low  or low rising ).

Welsh English
A distinctive feature of Welsh English is the rising pitch on the last syllable of major words, imitating the rising pitch of word-final syllables in Welsh (see below). An important factor in the realisation of stress in both Welsh and Welsh English is the length of the post-stress consonant, which tends to be longer than the stressed vowel itself.

 Welsh
In Welsh a stress accent usually comes on the penultimate syllable (with a few exceptions accented on the final, such as the word Cymraeg "Welsh"), and is usually on a low pitch followed by a rising pitch. "In Welsh, the stressed syllable is associated with lower pitch than less stressed or unstressed syllables ... However, the post-stress syllable in Welsh is typically produced on a higher pitch." It is believed that this came about because late Brythonic (the ancestor of Welsh) had a penultimate accent that was pronounced with a high pitch. When the final vowels of words were lost, the high pitch remained on what was now the final syllable, but the stress moved to the new penultimate. Thus LHL changed to LH, with the stress on the low syllable.

Although it is usually said that the high pitch is in the final syllable of the word, an acoustic study of Anglesey Welsh found that in that dialect at least the peak of the tone was actually in the penultimate syllable, thus the last two syllables were L+H* L.

Yaqui
The Yaqui are a native American people living mostly in Mexico but also in Arizona. About 17,000 people are said to speak Yaqui, which is a Uto-Aztecan language.

Yaqui has a tonal accent in which the accent is on the first or the second mora of the word. A long vowel has two moras in Yaqui, and a short vowel or diphthong has one mora. After the accent, the high tone continues with a very slight decline until the end of the word.

About two thirds of words have an accent on the first mora, and all tones of the word are then high:kárí "house"hamút "woman"tééká "sky" (where ee represents a long vowel)teéká "lay down"

In some words with a long first vowel, the accent moves to the second syllable, and the vowel of the first syllable then becomes short:bákót "snake"bakóttá "snake (object of verb)"

In a certain kind of reduplication, the accent moves to the first mora, and the next consonant is then usually doubled. At the same time, since a long vowel cannot follow the accent, the vowel after the accent is also shortened:teéká "lay down"té'''ttéká "in the process of laying something down"

At the end of a phrase, the pitch drops, with a low boundary tone.

To an English-speaker, the first high tone in Yaqui "sounds very much like a stress". However, acoustic studies show that the amplitude of the accented syllable is not really greater than the other syllables in the word are.

See also
 Stress (linguistics)
 Tone (linguistics)

Notes

References

Further reading

Hyman, L.M. (2015) "Positional Prominence vs. Word Accent: Is there a difference?" UC Berkeley Phonology Lab Annual Report (2015)
van der Hulst, Harry (2011) "Pitch Accent systems", in: The Blackwell Companion to Phonology, Volume II: Suprasegmental and Prosodic Phonology

Tone (linguistics)

pt:Tonicidade

Pitch-accent language


Roy Park may refer to:

Roy H. Park (1910–1993), American media executive
Roy Park (sportsman) (1892–1947), Australian cricketer and Australian rules footballer

Roy Park


Esta é uma relação de pessoas notáveis que morreram durante o mês de março de 2023, listando nome, nacionalidade, ocupação e ano de nascimento.

03
Eventos de março de 2023

Mortes em março de 2023


Macbeth () tam adıyla Macbeth'in Trajedisi  (), William Shakespeare'in en kısası olmasının yanında en önemli trajedilerinden biridir. Tüm dünyadaki hem profesyonel hem de amatör tiyatrolar tarafından sıkça sahneye konulur.

Oyunun, bir kısmı Raphael Holinshed'in ve İskoç filozof Hector Boece'nin İskoç Kralı Mac Bethad (Macbeth) hakkında yazdıklarına dayanır. Macbeth'in hikâyesi, genellikle güç düşkünlüğü ve arkadaşlara ihanet konularında örnek bir hikâye olarak gösterilir.

Karakterler

 III. Duncan – İskoçya kralı
 III. Malcolm – Duncan'ın büyük oğlu
 III. Donald (Donalbain) – Duncan'ın küçük oğlu
 Macbeth – Kral Duncan'ın ordusunda bir general. Cawdor Baronu, Glamis Baronu, daha sonra İskoçya kralı
 Lady Macbeth – Macbeth'in karısı
 Banquo – Macbeth'in arkadaşı ve Kral Duncan'ın ordusunda bir general
 Fleance – Banquo'un oğlu
 Macduff – Fife Baronu
 Lady Macduff – Macduff'ın karısı
 Çocuk -  Macduff'ın oğlu
 Lennox – Bir İskoç lordu
 Ross – Bir İskoç lordu
 Angus – Bir İskoç lordu
 Mentieth – Bir İskoç lordu
 Caithness – Bir İskoç lordu
 Siward – Northumberland Dükü, İngiliz kuvvetlerinin generali
 Genç Siward – Siward'in oğlu
 Seyton – Bir hizmetkar ve bakıcı
 Hecate – Cadıların başı/Büyücülük Tanrıçası
 Üç Cadi Kadin
 Üç Katil
 Mesaj kuriyeri
 İngiliz Doktor
 İskoç Doktor

Konu

Oyun, şimşek ve gökgürültüleri arasında, Üç Cadı'nın bir sonraki buluşmalarının Macbeth'le olmasına karar vermeleriyle başlar. Bir sonraki sahnede, yaralı bir asker, İskoç Kralı Duncan'a, Macbeth (Glamis Baronu) ve Banquo'nun ayaklanan Macdonald tarafından yürütülen Norveç ve İrlanda güçlerini bozguna uğrattıklarını bildirir.

Macbeth ve Banquo, bir açıklıkta gezinirlerken, Üç Cadı onları bazı kehanetlerle karşılarlar. Her cadı Macbeth'i ayrı selâmlar: ilki, Glamis Baronu; ikincisi, Cawdor Baronu; sonuncusu da, Bir sonraki kral diye. Cadılar, aynı zamanda Banquo'nun bir kraliyet hanedanına babalık edeceğini bildirirler. İki adam bunlar hakkında düşünürlerken, Cadılar kaybolur. Kral'dan mesaj getiren ve başka bir baron olan Ross, o anda gelir ve Macbeth'in yeni rütbesinin Cawdor Baronluğu olduğunu bildirir. Böylece ilk kehanet yerine gelmiş olur. Diğer kehanetlerin de yerine geleceğine inanan Macbeth'te, kral olma hırsı oluşmaya başlar.

Macbeth, karısına yolladığı bir mektupta, Cadıların kehanetlerinden bahseder. Kral Duncan, Macbeth'in Inverness'deki şatosunda kalmak isteyince, Macbeth'in karısı Lady Macbeth, Duncan'ı öldürüp kocası için tahtı sağlamlaştırmak adına planlar yapar. Macbeth, kralı öldürmek konusundaki endişelerini dile getirse bile, Lady Macbeth onu ikna eder.

O gece, Macbeth Duncan'ı dramatik bir şekilde öldürür. Lady Macbeth, Duncan'ın öldürüldüğü kanlı bıçağı, kralın uyuyan uşaklarının üzerine koyarak, onları katil gibi göstermeye çalışır. Ertesi sabah, bir İskoç asilzade olan Lennox ve Fife Baronu Macduff şatoya gelirler. Kapıcı kapıyı açar ve Macbeth onları kralın odasına götürür. Burada Macduff, Duncan'ın cesedini bulur. Bunun arkasından Macbeth, sahte bir öfkeyle, daha masumluklarını kanıtlayamamış uşakları öldürür. Şüphe uyandırıcı olaydan kendi canlarının da  yanabileceğini sezen Duncan'ın çocuklarından Malcolm, İngiltere'ye; kardeşi Donalbain ise İrlanda'ya kaçar. Tahtın gerçek velihatlarının ani kaçışı, babalarının katilleri onlarmış gibi gösterir ve bundan yararlanan Macbeth, ölü kralın hısmı olduğundan, kendini yeni İskoç Kralı olarak ilan eder.

Başarısına rağmen Banquo'nun kralların atası olacağı fikrinden hoşnut olmayan Macbeth, onu kraliyet yemeğine çağırır ve onunla oğlu Fleance'ın gece ata bineceklerini öğrenir. Banquo ve Fleance'ı öldürmek için üç adam tutar. Bu adamlar Banquo'yu öldürmekte başarılı olsalar da Fleance'ı ellerinden kaçırırlar. Yemekte, Banquo'nun hayaleti ortaya çıkar ve Macbeth'in yerine oturur.

.
Bu normal olmayan hallerden rahatsız olan Macbeth, Cadılara tekrar gider. Cadılar, üç ruh çağırırlar ve bu ruhlar Macbeth'e Macduff'a dikkat etmesini, Macbeth'e kadın tarafından doğurulan hiç kimsenin zarar veremeyeceğini ve Büyük Birnam Ormanı'nın Dunsinane Tepesi'ne gelmediği sürece Macbeth'in kaybolmayacağını bildirirler. Bundan sonra, o sıralarda sürgünde olan Macduff'ın yokluğundan yararlanan Macbeth, Macduff'ın şatosundaki herkesi - Macduff'ın karısı ve çocukları da dahil - katleder.

Lady Macbeth, kocasıyla birlikte işlediği suçların vicdan azabından yıkılır ve oyundaki ünlü bir sahnede, uyurgezer haldeyken, ellerinden hayali kan izlerini çıkarmaya çalışır.

İngiltere'de, Malcolm ve Macduff, İskoçya'ya karşı bir istila planlarlar. Malcolm, Macduff ve İngiliz Siward ile birlikte Dunsinane Şatosu'na karşı bir saldırı başlatır. Birnam Ormanı'nda kamplarlarken, askerlere ağaçları kesip, onları kamuflajda kullanmaları konusunda bir talimat verilir; böylece Cadıların ikinci kehaneti de yerine gelmiş olur. Bu sırada, karısının öldüğünü öğrenen Macbeth (ki ölümünün sebebi açık değildir; ancak bazıları tarafından intihar ettiği düşünülmektedir), ünlü bir nihilist konuşma yapar.

Malcom'ın ordusu şatoya girdikten sonra, İngiliz Siward'ın oğlu, Macbeth tarafından öldürülür. Macbeth, daha sonra Macduff'la yüzleşir. Ancak Macbeth, bir kadın tarafından doğurulmuş herhangi biri tarafından öldürülemeyeceğini bildiği için bundan hiç endişelenmez. Bunu Macbeth'in ağzından duyan Macduff, "annemin rahminden / Vakitsiz koparıldım" (Yani, annesinin doğal doğumundan önce sezaryen ile doğmuş ve böylece aslında doğurulmamıştır.) diyerek, Macbeth'in, geç de olsa, Cadılar tarafından yanlış yöneltildiğinin farkına varmasını sağlar. Yine de dövüşmeye devam eden Macbeth'in, dövüşün sonunda, kafası Macduff tarafından kesilir ve böylece Cadıların son kehaneti de gerçekleşmiş olur.

Oyunun son perdesinde, Malcolm, gerçek hak sahibi olarak İskoç Kralı olarak taçlandırılır ve böylece İskoçya tekrar huzura kavuşur.

Cadıların Banquo hakkındaki kehanetinin ("Sen krallara baba olacaksın") Malcolm ile gerçekleşmesiyle gerçek hayatta bir bağlantı olup olmadığı tartışılsa da, halk, o dönemin kralı olan I. James'in, sözde Banquo'nun neslinden geldiğini varsayıyordu.

Film uyarlamaları

 Macbeth, John Emerson tarafından 1916'da çekilmiş film.
 Macbeth, Orson Welles'in hem çekip hem de Jeanette Nolan, Roddy McDowall ve Dan O'Herlihy ile birlikte oynadığı 1948 filmi.
 Joe Macbeth, 1955'te, oyunun kurgusunun Chicago'da bir çete savaşı olarak değiştirildiği kara film versyonu.
 Throne of Blood, Akira Kurosawa tarafından Feodal bir Japonya'ya göre kurgusunun değiştirildiği ve ünlü Çin-doğumlu Toshiro Mifune'u kadrosunda barındıran, 1957 filmi.
 Macbeth, Roman Polanski tarafından çekilen 1971 filmi.
 Macbeth, Philip Casson tarafından 1978'de yönetilmiş, kadrosunda Ian McKellen ve Judi Dench'i bulunduran tiyatro versiyonu.
 Men of Respect, kurgusunun, güncel İngilizce'yle New York'taki bir mafya güç savaşına göre uyarlandığı, 1991 versyonu.
 Macbeth, Jeremy Freeston ve Brian Blessed'in çektiği Jason Connery'nin Macbeth'i, Helen Baxendale'in de Lady Macbeth'i canlandırdığı 1997 versyonu.
 In the Flesh, Anonio Passolini ve Stuart Canterbury'nin 1998'de çekilen pornografik versyonu.
 Scotland, Pa., 1975'teki bir hamburger standında geçip kara mizahı kullanan, 2001 yılında çekilmiş bir bağımsız film.
 Maqbool, Mumbai yeraltı dünyasında geçen, 2004'te çekilmiş bir Hint versyonu.
 Macbeth, ABD'nin totaliteryen bir hükûmet tarafından yönetildiği alternatif bir dünyada geçen, bir 2005 bağımsız filmi.
 2005 yapımı "ShakespeaRe-Told": BBC televizyonunun hazırladığı 4 adet Shakespeare oyununun günümüzde geçen uyarlamalarından oluşan serinin 2.bölümü. Bu "Macbeth" uyarlamasında Joe Macbeth karısı ile ünlü bir şefin restaurantında çalışmaktadır.Ancak hırs Joe'yu ve karısını yavaş yavaş ele geçirirken restaurant da kana boyanır. Macbeth rolünde James Mcavoy yer almaktadır.
 Macbeth, Geoffrey Wright tarafından 2006'da çekilen uyarlamada, Avustralya'daki acımasız bir çete savaşına göre kurgu değiştirilmiş.
 Macbeth, Can Doğan tarafından 2008'de DVD formatında çekilen 99 dakikalık Türkçe uyarlamada, İstanbul'un çeşitli yerlerinde geçen bir mafya hesaplaşmasına göre kurgulanmıştır...
Macbeth, Justin Kurzel tarafından 2015'te çekilen uyarlamada, Macbeth'i Michael Fassbender, Lady Macbeth'i Marion Cotillard, Kral Duncan'ı David Thewlis, Macduff'ı Sean Harris, Banquo'yu Paddy Considine canlandırmıştır.

Türkçeye çeviriler

 Macbeth. Çev. Aytaç Balkaya. Mısır: Matbaa-i ictihad, 1909.
 Makbet. Çev. Mehmet Şükrü. İstanbul, 1931.
 Macbeth. Çev. Orhan Burian. 1946. İstanbul: Cumhuriyet Yayınları, 1999.
 Macbeth. Çev. Sabahattin Eyüboğlu. 1962. İstanbul: Remzi Kitabevi, 1967.
 Macbeth. Çev. Nazım Engin. İstanbul: Şehir Operası Yayınları, 1964.
 Macbeth. Çev. Bülent Bozkurt. İstanbul: Remzi Kitabevi, 2000.
 Macbeth. Çev. Can Doğan. İstanbul: Mitos - Boyut, 2007.
Macbeth. Çev. Nakip Can Kaçmaz. Afyonkarahisar: Dönüşüm Yayınları, 2019

Dış bağlantılar
  Wikisource'da Macbeth oyununun tam metni İngilizce.

Macbeth (oyun)


Mirabilis is a genus of plants in the family Nyctaginaceae known as the four-o'clocks or umbrellaworts. The best known species may be Mirabilis jalapa, the plant most commonly called four o'clock.

There are several dozen species in the genus, of herbaceous plants, mostly found in the Americas.  Some form tuberous roots that enable them to perennate through dry and cool seasons.  They have small, often fragrant, deep-throated flowers.

Although best known as ornamental plants, at least one species, mauka (M. expansa), is grown for food.

Selected species
Mirabilis albida (Walter) Heimerl
Mirabilis alipes (S.Watson) Pilz
Mirabilis coccinea (Torr.) Benth. & Hook.f.
Mirabilis elegans (Choisy) Heimerl
Mirabilis expansa (Ruiz & Pav.) Standl.
Mirabilis greenei S.Watson
Mirabilis himalaica (Edgew.) Heimerl
Mirabilis himalaica var. chinensis Heimerl
Mirabilis himalaica var. himalaica
Mirabilis jalapa L.
Mirabilis laevis (Benth.) Curran
Mirabilis laevis var. crassifolia (Choisy) Spellenb.
Mirabilis laevis var. laevis
Mirabilis laevis var. retrorsa (A.Heller) Jeps.
Mirabilis laevis var. villosa (Kellogg) Spellenb.
Mirabilis linearis (Pursh) Heimerl
Mirabilis linearis var. decipiens (Standl.) S.L.Welsh
Mirabilis linearis var. linearis
Mirabilis linearis var. subhispida (Heimerl) Spellenb.
Mirabilis longiflora L.
Mirabilis macfarlanei Constance & Rollins
Mirabilis multiflora (Torr.) A.Gray
Mirabilis nyctaginea (Michx.) MacMill.
Mirabilis oblongifolia
Mirabilis oxybaphoides (A.Gray) A.Gray
Mirabilis pumila
Mirabilis rotundifolia (Greene) Standl.
Mirabilis tenuiloba
Mirabilis viscosa Cav.

References

External links

Night-blooming plants
Caryophyllales genera
Taxa named by Carl Linnaeus

Mirabilis (plant)


An Leymus pacificus in uska species han Liliopsida nga syahan ginhulagway ni Gould, ngan ginhatag han pagkayana nga asya nga ngaran ni Douglas R. Dewey. An Leymus pacificus in nahilalakip ha genus nga Leymus, ngan familia nga Poaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Mga sumpay ha gawas

Leymus

Leymus pacificus


Thomas Colin Campbell (* 14. März 1934) ist ein US-amerikanischer Biochemiker, Ernährungsforscher und emeritierter Hochschulprofessor. Er ist Autor des Sachbuchs The China Study.

Biographie
T. Colin Campbell wuchs auf einem Milchbauernhof auf und studierte Veterinärmedizin an der Pennsylvania State University, welche er 1956 mit dem Bachelor of Science verließ. Anschließend studierte er jeweils ein Jahr lang an der University of Georgia sowie an der Cornell University, wo er im Jahr 1958 seinen Master of Science in Biochemie und Ernährungswissenschaften erhielt. 1961 promovierte Campbell zum Ph.D. in Ernährung, Biochemie und Mikrobiologie.

Er arbeitete zunächst als wissenschaftlicher Mitarbeiter am Massachusetts Institute of Technology und anschließend 10 Jahre lang am Virginia Polytechnic Institute and State University in der Abteilung für Biochemie und Ernährungswissenschaften. Im Jahre 1975 ging er wieder zurück an die Cornell University, wo er in der Abteilung für Ernährungswissenschaften arbeitete. In dieser Funktion war er auch als wissenschaftlicher Berater für das American Institute for Cancer Research tätig. Campbell gehörte mehreren Ausschüssen der National Academy of Sciences an und hat einen Lehrauftrag an der Chinese Academy of Preventive Medicine. Er ist zudem Mitglied im Beirat des Physicians Committee for Responsible Medicine (PCRM), einer 1985 in den USA gegründeten Organisation, die Tierversuche bekämpft und für vegane Ernährung wirbt.

Forschungsschwerpunkt
Campbell war wissenschaftlicher Leiter des so genannten China-Cornell-Oxford Project, einer im ländlichen China der 1970er und 1980er Jahre durchgeführten epidemiologischen Studie. Es wurden Daten über die Ernährung, die Umwelt, die Lebensweise und die Erkrankungen der Teilnehmer erhoben. Die Studie entstand in Zusammenarbeit der US-amerikanischen Cornell University und der britischen University of Oxford mit der chinesischen Chinese Academy of Preventive Medicine. Mit über 6500 Teilnehmern war die Studie eine der größten ihrer Art. Sie wurde von der New York Times als "Grand Prix der Epidemiologie" beschrieben.

Campbell interpretiert Ergebnisse aus diesem Studienprojekt dahingehend, dass eine Ernährung mit tierischen Produkten dem menschlichen Organismus  gesundheitlich schadet, die Wahrscheinlichkeit für das Auftreten von Krebs, Diabetes, Autoimmunkrankheiten, Herz-Kreislauf-Erkrankungen und weiterer deutlich steigert. 2004 veröffentlichte er hierzu unter dem Titel The China Study ein Sachbuch, in dem er als Konsequenz eine überwiegend vegane Ernährung sowie eine reduzierte Aufnahme von verarbeiteten Nahrungsmitteln und raffinierten Kohlenhydraten empfiehlt. Ein prominenter Fan dieses Buches ist Bill Clinton.

Dokumentarfilm
Im Jahre 2011 wurde ein 90-minütiger Dokumentarfilm mit dem Titel Forks Over Knives veröffentlicht, welcher sich mit der Forschungsarbeit von T. Colin Campbell sowie seinem Kollegen Caldwell Esselstyn beschäftigt. Der Film gibt einen Überblick über die China Study und weiterer Studien zum Thema pflanzlicher bzw. veganer Ernährung.

Auszeichnung
2017 wurde Campbell mit dem Lifetime Achievement Award des American College of Lifestyle Medicine (ACLM) geehrt.

Literatur

Veröffentlichungen (Auswahl)
 (mit W. J. Milne): Principles of Objective Testing in Chemistry (The Principles of objective testing series). Heinemann Educational Publishers (1986). ISBN 0-435-64575-7.
 Diet, Life-Style, and Mortality in China: A Study of the Characteristics of 65 Chinese Counties. Oxford University Press (1990). ISBN 0-8014-2453-4.
 (mit anderen): Fish consumption, blood docosahexaenoic acid and chronic diseases in Chinese rural populations. In: Comp Biochem Physiol A Mol Integr Physiol. 2003 Sep;136(1):127-40. . PMID 14527635.
 (mit Thomas M. Campbell): The China Study: The Most Comprehensive Study of Nutrition Ever Conducted and the Startling Implications for Diet, Weight Loss and Long-Term Health. BenBella Books (2004). ISBN 1-932100-38-5.
 (mit Thomas M. Campbell): China Study: Die wissenschaftliche Begründung für eine vegane Ernährungsweise. Verlag Systemische Medizin (2011). ISBN 3-86401-001-2 (Übersetzerin: Maria Michalitsch).

Sekundärliteratur
 Michael Senoff: How To Reverse Aging And Disease With The Miracle Of Food!: An Interview With T. Colin Campbell (2011).

Einzelnachweise

Biochemiker
Ernährungswissenschaftler
Sachbuchautor (Medizin)
Sachbuchautor (Vegetarismus)
US-Amerikaner
Geboren 1934
Mann
Person (Veganismus)

T. Colin Campbell


Kolimer je naselje u općini Lopare, Republika Srpska, BiH.

Stanovništvo
Do rata se Kolimer cijeli nalazio u općini Tuzla.

Izvori

Naselja u Republici Srpskoj

Kolimer (Lopare, BiH)


Miroslav Josef Klose (Fæddur Mirosław Klose 9. júní 1978 í Opole, Póllandi) er þýskur knattspyrnuþjálfari og fyrrverandi knattspyrnumaður sem er aðstoðarþjálfari FC Bayern München.

Síðasta félagið hans til að spila var Lazio.

Á HM 2014 varð Klose sögulegur þegar hann með 16 mörk yfir þátttöku sína í HM varð markahæstur í sögu HM.

Hann er sonur Josef og Barböru Klose. Faðirinn lék fyrir knattspyrnufélög í bæði Póllandi og Frakklandi (fyrir AJ Auxerre). Móðirin lék í pólska landsliðinu í handbolta. Fjölskyldunni tókst að komast út úr kommúníska alþýðulýðveldinu Póllandi árið 1981 þegar þau fluttu til Frakklands. Árið 1987 fluttu þau til Kusel í Þýskalandi. Fjölskylda föðurins var þjóðernislega þýsk og þau gátu því fengið ríkisborgararétt sem Aussiedler vegna þýsk uppruna. Stuttu eftir að þeir settust að í Þýskalandi breyttu þau pólska eftirnafninu Klose aftur í Klose, eftirnafnið afi Erwin Klose. Miroslav á tvö börn: tvíburana Luan og Noah, fæddir í Þýskalandi 30. janúar 2005.

Klose þeytti frumraun sína í aðalliði FC Kaiserslautern árið 2000 og þótti fljótt vera hættulegur markaskorari. Hann lék frumraun sína í landsliðshópi Þjóðverja gegn Albaníu árið 2001. Þýskaland vann Albaníu 2-1 og Klose skoraði sigurmarkið.

Á heimsmeistarakeppninni 2002 skoraði hann fimm mörk fyrir Þýskaland, þar á meðal þrennu þegar Þýskaland vann 8-0 sigur á Sádi-Arabíu.

Í upphafsleiknum gegn Kosta Ríka á HM 2006 hafði hann ánægju af því að skora tvö af fjórum mörkunum sem Þýskaland skoraði á eigin afmælisdegi. Leiknum lauk með 4-2 sigri þjóðverja.

Tölfræði

Titlar og Verðlaun

Werder Bremen
 DFB-Ligapokal (1): 2006

Bayern München
 Bundesliga (2): 2008, 2010
 DFB-Pokal (2): 2008, 2010
 DFB-Ligapokal (1): 2007
 DFB-Supercup (1): 2010

Lazio
 Coppa Italia (1): 2013

Þýskaland
 HM 2014 (Gull)
 HM 2002 (Silfur)
 HM 2006, HM 2010(Brons)
 EM 2008: (Silfur)

Persónuleg Verðlaun
 Leikmaður ársins í þýskalandi 2006
 Markakóngur Þýsku Úrvalsdeildarinnar  : 2006
 Markakóngur HM 2006

Þýskir knattspyrnumenn

Miroslav Klose


Nemcovce este o comună slovacă, aflată în districtul Bardejov din regiunea Prešov. Localitatea se află la , se întinde pe o suprafață de  și în 2017 număra 249 de locuitori.

Istoric
Localitatea Nemcovce este atestată documentar din 1320.

Note

Legături externe

Localități din Slovacia

Nemcovce, Bardejov


Bonny Brook ist der Name folgender Orte in den Vereinigten Staaten:

 Bonny Brook (Alabama)
 Bonny Brook (Pennsylvania)

Bonny Brook


Family er et britisk rockband, som var aktivt fra slutningen af 1966 til oktober 1973, og igen, siden det i 2013 medvirkede i en række live-shows. Bandets stil er blevet karakteriseret som progressiv rock, fordi dets lyd ofte har udforsket andre genrer med elementer af folk, psychedelia, syre, jazz fusion og rock and roll. Bandet har opnået anerkendelse i Storbritannien både med albums koncertturneer og optrædener på festivaler.

Familiy havde indflydelse på Jethro Tull, og Ian Anderson har udtalt, at bandet var undervurderet. Både i sin vokale lyd og stil og sin dramatiske scene præsentation udøvede deres forsanger Roger Chapman en stærk tidlig indflydelse på Peter Gabriel. Bandets store udskiftninger i besætningen gennem den relativt korte første periode medførte en stor ændring i dets musikalske udtryk fra album til album. Family bliver blandt andet omtalt som et band, der uretfærdigt er gået i glemmebogen,. Sammenlignet med andre bands fra samme periode er det blevet omtalt som et "mærkværdigt band, der blev tiljublet af en lille, men højtråbende tilhængerskare". Det opnåede en pæn succes i Storbritannien og dele af Centraleuropa, men slog aldrig igennem i USA

Historie

Tidlig historie
Family blev dannet i 1966 i Leicester, England. Det udsprang delvis af The Farinas' medlemmer John "Charlie" Whitney, Tim Kirchin og Jim King. Ric Grech blev hyret i stedet for Kirchin på bas og Roger Chapman fulgte i løbet af 1966 efter som forsanger. Familys debut single "Scene Through The Eye of a Lens/Gypsy Woman" blev udgivet af Liberty Records i oktober 1967, men fik ingen succes. Trommeslageren Harry Ovenall blev kort efter udskiftet med Rob Townsend. Family skrev kontrakt med Reprise Records og dets debutalbum Music in a Doll's House blev indspillet i foråret 1968.. Det udkom i juli 1968 og nåede en plads som nr. 35 på salgslisterne i Storbritannien, hvilket især tilskrives den positive anmelderkritik. samt en stærk support fra BBC Radio 1's John Peel. Senere har det opnået en udbredt anerkendelse som et klassisk eksempel på psychedelic rock. Albummet har en original sound, som understregede Chapmans vokal med rødder i blues og R&B,. Denne blev understøttet af adskillige usædvanlige instrumenter for et rock band, hvor multi-instrumentalisterne Grech og King betjente saxofoner, violin, cello, and harmonica.

Sammen med Pink Floyd, Soft Machine, The Move og The Nice blev Family hurtigt en af de attraktive grupper på psychedelic/progressive "underground" scenerne. Deres livsstil har inspireret til en roman fra 1969 med titlen Groupie, skrevet af Jenny Fabian. I bogen optrådte Family under pseudonymet, 'Relation'. Efterfølgeren til det første album, Family Entertainment, nedtonede de psykedeliske eksperimenter. . Den opnåede en sjetteplads på UK Albums Chart, Med successen i Storbritannien i bagagen arrangerede bandet en turne i april 1969 i USA. Undervejs på denne forlod Grech uventet bandet for at tilslutte sig den nye supergruppe Blind Faith. Grech blev erstattet med John Weider, som havde turneret med Eric Burdon and The Animals. Turneen blev ramt af flere uheldige episoder. I Fillmore East, hvor Family optrådte sammen med Ten Years After og The Nice, mistede Chapman kontrollen over mikrofonstativet. Chapman valgte herefter at optræde med hænderne langs siden, men mistede stemmen ved slutningen af turneen. Familys ry i USA blev belastet heraf og de opnåede aldrig siden større opmærksomhed der.

Efter at være vendt tilbage til England optrådte bandet ved The Rolling Stones' Hyde Park koncert og senere på året ved Isle of Wight Festival. I slutningen af 1969 blev Jim King bedt om at forlade Family på grund af "utilladelig opførsel" og erstattet af multi-instrumentalist John "Poli" Palmer.

I begyndelsen af 1970 udgav Family deres 3. studiealbum, A Song for Me; produceret af bandet selv. Det blev deres højst placerede album i Sotrbritannien. hvor det nåede fjerdepladsen. Dette album var en blanding af hard rock og folk rock. Familys rekonstruerede besætning spillede live ved flere af de store festivals samme sommer, blandt andre Isle of Wight Festival for andet år i træk. Bandet optrådte i dokumentarfilmen Message to Love om sidstnævnte festival.

Familys næste album Anyway blev udgivet i slutningen af 1970. Det bestod af nyt materiale, hvoraf halvdelen var indspillet live i Fairfield Hall in Croydon, England, mens den anden halvdel blev indspillet i studiet. Dette album nåede en syvendeplads på den engelske salgsliste. I marts 1971 udkom et opsamlingsalbum, Old Songs New Songs, som bestod af nye versioner af kendte sange samt nogle sjældne numre. I juni forlod Weider Family til fordel for Stud. Han blev erstattet med Mogul Thrashs tidligere bassist John Wetton,

Ligesom Grech havde gjort i Familys originale besætning, var Wetton et supplement til Chapmans vokal, blandt andet på bandets højest placerede singleplade "In My Own Time/Seasons", som nåede fjerdepladsen og albummet Fearless fra oktober 1971. Albummet nåede hitlisterne både i Storbritannien og i USA. I 1972 udkom albummet Bandstand, som lænede sig op ad hard rock traditionen Fra dette stammer to singler "Burlesque", udgivet i efteråret 1972 og "My Friend the Sun", udgivet i foråret 1973.Samme år forlod først John Wetton bandet (og sluttede sig til King Crimson) og senere John "Poli" Palmer. De blev erstattet med bassisten Jim Cregan og keyboardispilleren Tony Ashton.
Denne version af Family udgav i 1973 It's Only a Movie, bandets sidste studiealbum. Dette blev fulgt af en turne, inden konstellationen opløstes i efteråret 1973.

Nyere historie
Den 2. Februar 2013 blev bandet genforenet i Shepherds Bush Empire, London. Her bestod det af Roger Chapman, Poli Palmer, Rob Townsend og Jim Cregan samt gæstemusikere fra Chapmans Band, Paul Hirsh, John Lingwood, Nick Payn, Gary Twigg og Geoff Whitehorn. Koncerten blev hurtigt udsolgt, hvorefter der blev programsat en ekstra koncert den følgende dag.  I 2014 - 2016 foretog Family hvert år nogle få optrædender, især på festivaller i England og Italien.

Medlemmer
Nuværende medlemmer
 Roger Chapman – vocals, harmonica, tenor saxophone, percussion (1966–1973, 2013–nu)
 Rob Townsend – drums, percussion (1967–1973, 2013–nu)
 John "Poli" Palmer – keyboards, flute, vibraphone, synthesisers (1969–1972, 2013–nu)
 Jim Cregan – bas, guitars (1972–1973, 2013–nu)

Tidligere medlemmer
 John "Charlie" Whitney – guitars, sitar, keyboards (1966–1973)
 Jim King – saxofoner, harmonika, piano, vocals (1966–1969)
 Ric Grech – bass, violin, cello, vocals (1966–1969)
 Harry Ovenall – drums, percussion (1966–1967)
 John Weider – bass, guitar, violin (1969–1971)
 John Wetton – bass, guitar, vocals (1971–1972)
 Tony Ashton – keyboards, accordion, mellotron, vocals (1972–1973)

Gæstemusikere
 Dave Mason – mellotron (on Music in a Doll's House)
 Nicky Hopkins – piano (on Family Entertainment)
 George Bruno – organ (on A Song for Me)
 Linda Lewis – backing vocals (on Bandstand)
 Peter Hope-Evans – harmonica (on It's Only a Movie)
 Geoff Whitehorn – guitar (2013)
 John Lingwood – drums, percussion (2013)
 Gary Twigg – bass (2013)
 Paul Hirsh – keyboards (2013)
 Nick Payn – sax, harmonica (2013)

Studiealbums
 Music in a Doll's House (UK & US Reprise, 1968)
 Family Entertainment (UK & US Reprise, 1969)
 A Song for Me (UK & US Reprise, 1970)
 Anyway (UK Reprise & US United Artists, 1970)
 Fearless (UK Reprise & US United Artists, 1971)
 Bandstand (UK Reprise & US United Artists, 1972)
 It's Only a Movie (UK Raft & US United Artists, 1973)

Referencer

Eksterne henvisninger

 Family  på MusicBrainz
 Family  på Rate Your Music
 45rpm.org.uk  – a Family biography
 A Family Affair  – reviews of Family albums
 Zeitgeist  – reviews of Family albums
 [ Family] på Allmusic

References

Musikgrupper fra 1967
Rockgrupper fra Storbritannien

Family (band)


Aldine is an adjective pertaining to Renaissance printer Aldus Manutius, including the renowned publications and typography of the Aldine Press he founded in 1494.

Aldine may also refer to:
Aldine, Indiana, an unincorporated community in Starke County
Aldine, New Jersey, an unincorporated community in Salem County
Aldine, Texas, a census-designated place in unincorporated Harris County, adjacent to Houston
Aldine Independent School District, serving portions of Harris County and Houston, Texas
Aldine Edition of the British Poets, a series reprinting classic works, first begun in 1830
 The Aldine, a monthly American art journal published in New York from 1868 to 1879
Aldine roman, alternate name for the typeface Bembo
Ruth Aldine, alter ego of X-Men mutant Blindfold, a character in Marvel comics

Aldine


التوت المر هي رواية اجتماعيّة من النّوع الواقعي ذات طابع اجتماعيّ للأديب التّونسي المعاصر محمد العروسي المطوي أصدرت عام 1967. تروي القصة صراع ثلّة من الشّباب الوطني ضدّ ما كرّسه المستعمر من آفة تعاطي التكروري والمتاجرة به. لاقت الرواية نجاحا كبيرا، حيث تم اختيارها ضمن أفضل مائة عربية، كما تمت ترجمتها إلى لغات أخرى من بينها الإسبانية في سنة 2006.

الموضوع
بناء الأحداث بناء سرديّ يتدرّج من الهدوء إلى التأزّم فالانفراج. يقدّم السّارد صورة عن قرية هادئة تعاني من الفقر. وقد شكّلت عائلتا الشّيخ مفتاح والحاج علي نموذجين للفئات الّتي تقطنها. إحداهما حلّت بالقرية مهاجرة هربا من ويلات الحرب في ليبيا. والأخرى تملك بستانا وتعدّ من أصيلي القرية. ويتحوّل السياق عندما يتعاطي عبد الّله حشيشة التكروري دون علم منه ويظهر تأثيرها الشّديد فيه.

وتبدأ مساعي (جمعيّة إنقاذ الشّباب) للقضاء على حشيشة التكروري ومنع تعاطيها وبيعها سرّا أو علنا، فيتم عمل قائمة بالمنازل التي تزرع النّبتة سرّا، والاتفاق على تحديد موعد جماعيّ يلتزم فيه أعضاء الجمعيّة بالقضاء على هذه النبتة حيثما كانت في ليلة واحدة. ويجري حرق دكّان أحمد العائب أكبر تاجر مخدرات بالمنطقة. وتسعى الجمعية لنشر الوعي وتعميمه بحفظ القصيدة الّتي قالتها إحدى عجائز القرية في التكروري وجعلها تغنّى وتعمّم. ويتزوج عبد الّله من عائشة الفتاة الكسيحة، فتغادر الأمّ للمنزل احتجاجا على ابنها الّذي تمرّد على سلطتها وتزوّج ممّن رفضتها زوجة لابنها الوحيد. وفي الختام تضع عائشة مولودها الأوّل، وتحدث المعجزة بانطلاق رجليها من إسارهما، فيستقيم جسمها بعد أن كانت كسيحة. ويفرح عبد الّله بذلك ويخرج مسرعا ليزفّ البشرى لأمه، وليطلب منها العفو والغفران، لكنه يسقط متعثّرا.

يؤطّر السارد الأحداث تاريخيا. فهو يجذر الأحداث في فترة الاستعمار الفرنسي لتونس، وبالذّات مع بداية انتشار الوعي بضرورة المقاومة وتكتل الجهود ضدّ المستعمر.
أمّا بالنّسبة إلى ديمومة الأحداث في القصّة، فقد استغرقت فترة يمكن أن تضبط منذ أن قدمت عائلة الشيخ مفتاح إلى القرية إلى زواج عبد الّله بعائشة ثمّ إنجابها لبكرها، وهي مدّة يمكن أن تحدّد بسنة أو سنة وبعض الأشهر. تدور أحداث الرواية في إحدى قرى الجنوب التّونسي، ويمكن أن نتبيّن ملامح هذه القرية انطلاقا من الأوصاف المنسوبة لها مثل واحة وبساتين.

الشخصيات
 عبد الله: وهو شابّ متوسّط الثّقافة غير أنّه يجسّد نموذجا للشاب المدرك لما حوله، الواعي بواقعه، و بمخطّطات المستعمر، وهو يعي أيضا أنّ المقاومة هي السّبيل الوحيد للتحرّر من الظّلم والاضطهاد والعبوديّة وأنّ ذلك لا يمكن أن يتحقّق إلاّ بتكتّل الجهود. يعمل مساعدا في دكّان وقد تميّز بتفانيه في العمل وحبّه للجميع وحسن معاشرته. أحبّ عائشة من أوّل نظرة. وقرّر أن يضحّي ليسعدها. كوّن مع ثلّة من الشّباب الواعي «جمعيّة إنقاذ الشّباب» وعملوا يدا واحدة على القضاء على حشيشة التكروري ومنع تعاطيها والتوعية بمضارّها.
 جمعيّة إنقاذ الشّباب: وهم محمود ومختار وإبراهيم، فقد تكتّلت جهودهم جميعا لتطهير القرية من مضارّ التكروري.
 فاطمة: ساعدت عبد الله ليطوّر علاقته بعائشة.
 الأمّ: حالت دون البطل وعائشة، رغم حبّها الكبير لابنها. فقد هجرت المنزل عندما قرّر أن يتزوّج بمن رفضتها.
 العائلات: عائلة الشّيخ مفتاح السّيّد الحمروني، وعائلة عبد اللّه.
 الشيخ مفتاح: مهاجر ليبي حل بالقرية لديه بنتان عائشة و مبروكة توفيت زوجته في سن صغير .

القضايا
تتناول الرواية العديد من القضايا مثل التعاطف والتقدير والاحترام والحبّ لعائشة فالزواج، وعلاقة العمل وعرقلة (الأمّ). كما يتناول القضايا الاجتماعيّة من معاناة الفقر والبؤس والشقاء من أجل لقمة العيش، فعائلة الشيخ مفتاح تمثّل نموذجا لذلك في القصّة، فهم ممّن شرّدتهم الحرب فعانوا الويلات بحثا عن الأمن والاستقرار، وتمثل عائشة نموذجا بشريّا مجسّما للبؤس الإنساني لمعاناتها الشّلل بسبب غياب المال، ومعاناتها اليتم بسبب موت الأمّ. كما تتناول تعاطي التكروري هروبا من الواقع البائس.

انظر أيضاً
 أفضل مئة رواية عربية

مراجع

أفضل مائة رواية عربية
روايات تونسية

التوت المر


Vlado Vukoje (Sečanj, 21. srpnja 1952.) hrvatski je rukometaš, nekadašnji reprezentativac i rukometni trener.

Rezultati
Kvarner
 Druga savezna liga Jugoslavije:
 prvak (1): 1974./75.

Celje
Kup Jugoslavije
finalist (2): 1978., 1980.
Prva B liga/Druga liga
prvak (3): 1979./80., 1980./81., 1982./83.

Zamet
Druga savezna liga Jugoslavije
doprvak (1): 1983./84.

Bayer Dormagen
2. Bundesliga
Winner (1): 1986./87.
Runner-up (1): 1985./86.

Düsseldorf
2. Bundesliga
plasman u višu ligu (1): 1990./91.

Pojedinačno
Reinickendorfer Füchse najbolji strijelac sezone 1984./85. sa 155 postignutih pogodaka

Izvori

Hrvatski rukometaši
Hrvatski rukometni treneri

Vlado Vukoje


Les Chloropediaceae sont une famille d'algues de l'embranchement des Ochrophyta  de la classe des Xanthophyceae et de l'ordre des  Mischococcales.

Étymologie
Le nom vient du genre type Chloropedia, composé de chloro-, vert, et du grec , « pied ; gouvernail ».

Taxonomie

Description

Liste des genres
Selon  :
 Chloropedia Pascher, 1930  genre type

Notes et références

Notes

Références

Références biologiques

Xanthophyceae
Famille d'algues (nom scientifique)

Chloropediaceae


As competições de combinado nórdico nos Jogos Olímpicos de Inverno de 2022 foram realizadas no Centro Nacional de Salto de Esqui e no Centro Nacional de Cross-Country, ambos localizados em Zhangjiakou, Hebei, entre 9 e 17 de fevereiro. Um total de três eventos estiveram em disputa, apenas para homens.

Programação
A seguir está a programação da competição para os três eventos da modalidade.

Horário local (UTC+8).

Qualificação
Um total de 55 vagas estavam disponíveis para os esquiadores competirem nos jogos. Um máximo de cinco puderam ser inscritos por qualquer Comitê Olímpico Nacional, desde que tivessem marcado pontos em um evento da Copa do Mundo ou copa continental durante o período de qualificação entre 1 de julho de 2020 e 16 de janeiro de 2022. O país anfitrião (China) pode inscrever um competidor em cada competição, incluindo o revezamento, desde que os atletas estivessem na lista de alocação. Após o top 50, se não houver dez nações com atletas suficientes para formar uma equipe, as nações com três atletas qualificados receberam uma vaga adicional. Se ainda assim o máximo não for alcançado, os CONs com melhores classificados ainda não representados seriam escolhidos

Medalhistas

Quadro de medalhas

Ligações externas

Combinado nórdico nos Jogos Olímpicos

Combinado nórdico nos Jogos Olímpicos de Inverno de 2022


La saison 2020-2021 du Championnat de Gambie de football est la cinquante-troisième édition de la GFA League First Division, le championnat national de première division en Gambie. Les quatorze équipes engagées sont regroupées au sein d'une poule unique où elles affrontent deux fois leurs adversaires, à domicile et à l'extérieur. En fin de saison, les deux derniers du classement sont relégués et remplacés par les deux meilleurs clubs de deuxième division.

Déroulement de la saison
La précédente saison est arrêté à cause de la pandémie de Covid-19 en mai 2021. Comme il n'y a pas eu de promotion ni de relégation, ce sont les mêmes équipes qui disputent ce championnat. La date de reprise est repoussée en janvier 2021.

Participants

Compétition

Classement
Le classement est établi sur le barème de points suivant : victoire à 3 points, match nul à 1, défaite à 0.

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Bilan de la saison

Voir aussi

Références

Articles connexes
 Championnat de Gambie de football

Lien externe
  Résultats complets sur le site RSSSF

2020-2021
Gambie M1
2020 en Gambie
2021 en Gambie

Championnat de Gambie de football 2020-2021


An Dendrobium thyrsiflorum in uska species han Liliopsida nga ginhulagway ni Heinrich Gustav Reichenbach ngan Éduard-François André. An Dendrobium thyrsiflorum in nahilalakip ha genus nga Dendrobium, ngan familia nga Orchidaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Mga sumpay ha gawas

Dendrobium

Dendrobium thyrsiflorum