Thomas Robinson () was an English Renaissance composer and music teacher, who flourished around 1600. He taught and wrote music for lute, cittern, orpharion, bandora, viol, and voice.

Biography
Very little is known about Robinson's life, but it is possible to draw conclusions from the dedicatory pages of his works. He and his father were in service of the Cecil family: Robinson's father worked for the 1st Earl of Salisbury, Robert Cecil, and Robinson was in the service of the 1st Earl of Exeter, Thomas Cecil, who was Robert Cecil's brother. The Cecil family fostered several artists in these days, amongst others William Byrd and Orlando Gibbons.

It was before 1589 that Robinson became Princess Anne's (1574–1619) and Queen Sophie's (1557–1631) private music teacher at Elsinore, Denmark. Princess Anne was the daughter of the King of Denmark, Frederick II (1559–1588). It is presumed that Robinson must have been in his twenties then, so that his birth can be dated back to around 1560.

The Court of Denmark, like other courts, employed many well-recognized musicians from Denmark and other countries, like England, France, Germany and the Netherlands. It is known that John Dowland – the most famous Renaissance lutenist nowadays – worked as a court lutenist in Denmark from 1598 to 1606. Besides Robinson's own mention of his employment there, no official record of it exists.

In 1603, Robinson published his first book, Medulla Musicke, of which no copy survived. It was even suggested (Ward JM, see "Literature"), that it was never published at all, although Robinson seems to be referring to it in the first pages of his second book: "." From: "The Schoole of Musicke", 1603

Also in 1603, Robinson brought out his second book, The Schoole of Musicke, a tutor for lute and other instruments. It displaced John Alford's book A Briefe and Easye Instruction from 1574 (an English translation of Adrian Le Roy's Briefve et facile instruction pour apprendre la tabulature) as the most important lute tutor in England from then on.

In 1609 Robinson's third book, New Citharen Lessons, was published. It was a cittern tutor for beginners and advanced learners.

Robinson's works for the most part consist of his own compositions. But there are also arrangements of other pieces of music, some of which are still rather popular: for instance "My Lord Willoughby's Welcome Home" (in: The Schoole of Musicke) or "Can she excuse my wrongs?" (in New Citharen Lessons) – both originally composed by John Dowland.

There is no further information available about Robinson's life after 1609.

Works

Medulla Musicke
Medulla Musicke (The Stationer's Company, London, 1603) was a music tutor now presumably lost. It is supposed to have included 40 canons on the then popular plainsong Miserere after arrangements by William Byrd and Alfonso Ferrabosco.

The Schoole of Musicke
The Schoole of Musicke, (Tho. Este, London, 1603), was a tutor for lute, bandora, orpharion, viol, and singing.

Contents
 The Queenes good Night (for two lutes)
 Twenty waies upon the bels (for two lutes)
 Row well you Marriners
 A Galliard
 A Galliard
 A Plaine Song for 2 lutes (for two lutes)
 Grisse his delight
 Passamezzo Galliard (for two lutes)
 A Fantasie for 2 lutes (for two lutes)
 A Toy for 2 lutes (for two lutes)
 A Galliard
 Merry Melancholie
 Robinson's Riddle
 Goe from my Window
 A Toy
 A Gigue
 An Almaigne
 An Almaigne
 A Toy
 A Toy
 Robin is to the greenwood gone
 A Toy
 The Queenes Gigue
 Ut re mi fa so la: 9 sundry ways
 My Lord Willobies Welcome Home
 Bell Vedere
 The Spanish Pavin
 A Gigue
 A Gigue
 Walking in a country town
 Bony sweet boy
 A Gigue
 Lantero
 Three parts in one upon a[n old]ground
 Sweet Jesu who shall lend me wings
 A Psalme
 O Lord of whom I do depend
 O Lord thou art my righteousness

Furthermore, The Schoole of Musicke contains eight short pieces, seven of them called "A Psalme" in the chapter "Rules to instruct you to sing".

New Citharen Lessons
New Citharen Lessons, (London, 1609), was a cittern tutor for beginners and advanced learners. It included 53 compositions, the first 47 for four-course cittern (tuned e' d' g b), pieces 48 to 53 for fourteen-course cittern (tuned e' d' g bb f d G F E D C BBb AA GG).

Contents
 My Lord Treasurer his Paven
 The Galliard to the Pavin before
 A Fantasie
 Wades Welfare
 Powles Carranta
 O Cupid looke about thee
 For two Citherens in the unison (A Jigge for two Citherens)
 A Ground
 Pipers Galiard
 A Psalme
 Philips Pavin
 A Galiard
 A Galiard: Can she excuse my wrongs
 A Galiard
 A Psalme
 Passamezzo Paven
 Oft I have forsworne her company
 Galliard to the Quadron Pavin
 An Almaine
 A French Toy
 Excuse me
 Robinson Idelsbie
 Shepard shoot home
 Ioan come kisse me now
 A Psalme
 Passamezzo Galiard
 The new Hunts up
 Souches March
 Whetelies wheat-sheafe
 O Hone
 An Almaine
 An Almaine
 Robinsons modicum
 An Almaine
 Farewell deare love
 Alexander Chezum his Curranta
 Robarts Request
 The Quadro Pavin
 For two Citharens
 What if a day
 Ah, alas, thou God of Gods
 Now Cupid looke about thee
 Pauuana Passamezzo
 Mr. North his Novell
 Fantasia
 Fantasia 2
 Fantasia 3
 Fantasia 4

Others
There are some further pieces and arrangements from Thomas Robinson in other manuscripts:
Spanish Pavan (in Add. MS 3056 (Cozens Lute Book), ca. 1595, Cambridge University Library) – a version in major
Hay (in Dd. 9.33, 1600, Cambridge University Library)
Pipers Galliard Jo Dowland. Tho. Robinson (in Ms. Dd. 4.23, Cambridge University Library)
Galliard T. R. (in Ms. Dd. 4.23, Cambridge University Library)
[The Hunt's Up] T: R. (in Ms. Dd. 4.23, Cambridge University Library)

Bibliography
 Lumsden, David (pub.) Thomas Robinson: The Schoole of Musicke. Paris, Editions du Centre National de la Recherche Scientifique, 1971,
 William Casey (pub.), Alfredo Colman (pub.), Thomas Robinson: New Citharen Lessons (1609), 1997 Baylor University Press, Waco, Texas,
 John M Ward, Sprightly and Cheerful Musick: Notes on the Cittern, Gittern & Guitar in 16th- & 17th-Century England in: The Lute Society Journal 21 (1979–81): 69–70
 G. Doc Rossi, Cittern Music of Thomas Robinson, 2007 Cetra Publishing, Michigan, USA. Contains New Citharen Lessons plus all known pieces in manuscripts. 2 volumes – Vol. I Tablature. Vol. II Commentary and transcriptions. Available in print and as eBook.

References

External links
Works from Thomas Robinson in tablature and MIDI – Dartmouth College, Hanover, N.H.
Compositions by Thomas Robinson in tablature and MIDI format to be freely downloaded from Dartmouth College (New Hampshire, USA)
Text extract from The Schoole of Musicke about hand positioning in lute playing
Music Collection in Cambridge Digital Library which contains early copies/examples of Robinson's compositions

English classical composers
Renaissance composers
English Baroque composers
1560s births
17th-century deaths
People of the Elizabethan era
16th-century English composers
17th-century English composers
17th-century classical composers
English male classical composers
Composers for lute

Thomas Robinson (composer)


الشرفة  وهي موضع العالي يُشرف على ما حوله، في المنازل هي منصة في المبنى تشرف على ماحولها، وفي المسارح حجرة خاصّة مرتفعة عن القاعة العامّة، فيها مقاعد للمشاهدين، غالباً تكون خاصّة بكبار الشخصيّات.

معرض صور

انظر أيضاً
 مشرفة
 روشن
 مصطبة

مراجع

أرضيات
عناصر معمارية
ملحقات الحدائق

شرفة (عمارة)


Manuel García Moia (Masaya, Nicaragua, 13 de junio de 1936 - Frederick, Estados Unidos, 10 de febrero de 2023) fue un pintor naïf nicaragüense.

Biografía
Inicialmente fue autodidacta y desde 1959 estudió con el maestro Rodrigo Peñalba.

Obra

Pinturas
Es conocido por sus pinturas del folclore, el humor y las fiestas tradicionales de Nicaragua de carácter primitivista.

Murales

 1980 en Managua, parque infantil "Luis Alfonso Velásquez Flores"
 1981 en Masaya, mercado de artesanías
 1981 en Dietzenbach, estado federado de Hesse Alemania
 1981 en Ingelheim am Rhein estado federado de Renania-Palatinado, Alemania
 1983 en Managua, supermercado Bello Horizonte
 1984 en Managua, restaurante La Marseillaise
 1985 en Berlín, Alemania Oriental, Skandinavische Straße 26 - Nicaragua-Wandbild "Monimbó 1978" es llamado "mural primitivista más grande del mundo": un mural de 12 × 30 m, donde escenifica la lucha de liberación de la comunidad indígena Monimbó
 1985 en Berlín, Alemania Oriental, escuela de Wilhelmsberg
 1987 en Copenhague, Dannebrogsgade 24, Dinamarca
 1991 en Miami, Florida, Estados Unidos

Exposiciones
Exhibiciones en Latinoamérica, Alemania Occidental, Francia, ex USSR. Murales en Copenhague (premiado), en Alemania Occidental, 1981 y Alemania Oriental, 1985. (World Encyclopedia of Native Art p.254).

Citas sobre el mural berlinés "Pueblo Nicaragüense – Monimbó 1978"

Premios
 1983: Primer Premio de Pintura Primitivista del Certamen Nacional
 1989: Primer Premio Internacional de Dinamarca

Véase también
 Arte naïf
 Revolución Sandinista

Referencias

Arte naïf
Autodidactas
Pintores de Nicaragua del siglo XX
Pintores de Nicaragua del siglo XXI

Manuel García Moia


Pistis Sophia () is a Gnostic text discovered in 1773, possibly written between the 3rd and 4th centuries AD. The existing manuscript, which some scholars place in the late 4th century, relates one Gnostic group's teachings of the transfigured Jesus to the assembled disciples, including his mother Mary, Mary Magdalene, and Martha. (In this context, "transfigured" refers to Jesus after his death and resurrection, not the event during his life where he spoke to appearances of Moses and Elijah on a mountain.)  In this text, the risen Jesus had spent eleven years speaking with his disciples, teaching them only the lower mysteries.  After eleven years, he receives his true garment and is able to reveal the higher mysteries revered by this group. The prized mysteries relate to complex cosmologies and knowledge necessary for the soul to reach the highest divine realms.

Much of the first two books of the manuscript are dedicated to outlining the myth of the fall and restoration of the figure known as Pistis Sophia, in particular giving detailed parallels between her prayers of repentance and particular Psalms and Odes of Solomon.

Although in many Gnostic texts and systems Sophia is a major female divinity, in Pistis Sophia she originates and dwells outside of the divine realm. Her fall and redemption parallel that found in versions of the Sophia myth such as that in the Apocryphon of John, but the actions all take place in the material aeons, and she can only be restored to her place in the thirteenth aeon, outside the Kingdom of Light.

The Askew Codex

Pístis Sophía has been preserved in a single Coptic language manuscript originally comprising 178 leaves of parchment, but currently consisting of 174 leaves. This "Askew Codex" was purchased by the British Museum (now British Library) in 1785 from collector Anthony Askew. The Greek title Pístis Sophía was assigned by Carl Gottfried Woide, based on a title at the beginning of Book 2, "The Second Book of the Pistis Sophia," which was added by a later hand.  Carl Schmidt suggests  "Books of the Saviour", based on a title found at the end of the same book.

The expression Pístis Sophía is obscure, and its English translations varied: "The Wisdom of Faith", "Faith Wisdom", "Wisdom in Faith", or "Faith in Wisdom". To some later Gnostics, Sophia was a divine syzygy of Christ, rather than simply a word meaning wisdom, and this context suggests the interpretation "The Faith of Sophia", or "The Loyalty of Sophia". Both the Berlin Codex and a papyrus codex at Nag Hammadi have an earlier, simpler Sophia wherein the transfigured Christ explains Pístis obscurely:

The work is divided into several parts, with scholarly debate as to the number of parts.  The most common view is that the work consists of four books, but some scholars have posited as many as five or six books.  Additionally, the codex contains two fragments in a later hand that are not directly connected to any of the main books.

Until the discovery of the Nag Hammadi library in 1945, the Askew Codex was one of three codices that contained almost all of the Gnostic writings that had survived the suppression of such literature both in East and West, the other two codices being the Bruce Codex and the Berlin Codex. Aside from these primary sources, everything written about gnosticism before the Nag Hammadi library became available is based on quotes, characterizations, and caricatures in the writings of the enemies of Gnosticism. The purpose of these heresiological writings was polemical, presenting gnostic teachings as absurd, bizarre, and self-serving, and as an aberrant heresy from a proto-orthodox and orthodox Christian standpoint.

Text

The work as a whole shows clear signs of having been compiled from multiple sources, with only the first two books following directly on each other.  Even within a single book, occasionally multiple, differing accounts of a single event or cosmological outline appear, suggesting the use and preservation of several sources.  Changes in terminology and cosmological description between books also shows that it is a compilation of texts that may have been written over a period of some time.

The bulk of the text (Books 1-3) is in the form of a dialogue between Jesus and the disciples, both male and female.  Mary Magdalene is the most featured disciple, who provides many questions and scriptural interpretations; John "the Virgin" is the second most prominent.  Other figures named as followers include Andrew, Bartholomew, James, John, Mary the mother of Jesus, Martha, Matthew, Peter, Philip, Salome, Simon the Canaanite, and Thomas.

First Book
The first book (Chapters 1-62) establishes that Jesus remained with the disciples for 11 years after the resurrection, teaching them only the lowest of the mysteries.  At a certain point, he ascends and traverses the aeons, defeating the wicked archons, before returning to speak with the disciples further.  It connects Jesus' actions to the effectiveness of astrologers in the world – it suggests he has reduced, but not eliminated, the effectiveness of astrological magic.  This leads into the introduction of the myth of Pistis Sophia's fall and restoration, which takes up the bulk of both the first and second book.  Pistis Sophia recites several prayers/repentances, and after each one a disciple interprets the repentance in light of one of the Psalms or Odes of Solomon.

Unlike other versions of the Gnostic myth, such as the Apocryphon of John, here Pistis Sophia is a being of the lower, material aeons.  She is not a high, divine being, and her restoration is not to the realms of light, but only back to her place in the thirteenth aeon.  This is significant in distinguishing the theology of this book from other Gnostic systems – it prioritizes its own, distinct cosmology and mythology above the Sophia myth, which to this author represents inferior, material struggles.

Second Book

This book makes up Chapters 63-101.  After the conclusion of the story of Pistis Sophia, the text turns to lengthy explanations of cosmology and the knowledge offered by the mysteries of this author's system.  The end of the book also suggests the close connection of this work with the Books of Jeu found in the Bruce Codex (Chapter 99).

Third Book
The third book (Chapters 102-135) is mostly concerned with presenting an ethical or lifestyle code for adherents of the text.  It outlines what is needed for right thought and right action, as well as actions that are not acceptable and their punishments.  It also discusses at length the dissemination of the mysteries, repentance, and when it is or is not permissible to grant the mysteries to others.  Finally, it discusses the formation of the human being, its components, and how they are connected.  Again the Books of Jeu are referenced (Chapter 134), with the stipulation that they contain mysteries that are necessary for all, including the righteous.

Fourth Book
Part one of this book (Chapters 136-143) deals with cosmological and astrological speculation, and ritual development.  It presents a myth of fallen archons of the aeons being imprisoned within the zodiacal sphere; outlines five realms of punishment (the Midst, mhte) and the types of sinners each holds; and gives specific configurations of the planets in the zodiac that allow souls to be released from each region.  Jesus also interprets the elements of his incarnation and their role in the world, and administers the "baptism of the first offering" to his disciples.

The second part of what is commonly thought of as the fourth book (chapters 144-148) appears after a lacuna in the text, and is probably part of a separate book.  Its cosmology is different to the preceding text, and it focuses entirely on the destiny of various types of souls and the punishments of sinners.  Some of the sins listed are duplicates from part one of book four, but list different punishments.

Cosmology
Cosmology is a primary focus of the Pistis Sophia – learning the structure of the universe and how to traverse it is considered key in these texts, and the cosmology is one of the most complex from any Gnostic text remaining today.  Summarizing the cosmology is further complicated because the structure is slightly different in each of its separate books, with certain realms added and removed.

Some scholars have suggested cosmologies encompassing the entirety of the codex; recently an outline has been made looking at the cosmology of each text individually.   A general overview could be seen as:
The Treasury of Light (the place of the right; separate regions in Books 1 & 2 only)
The Midst (mesos)
The thirteenth aeon (excluded in Book 3 and part two of Book 4)
The twelve aeons/heimarmene (separate regions in Books 1 & 2 only)
The first sphere (Books 1 & 2 only)
The firmament (Books 1 & 2 only)
Amente (Book 3 and part two of Book 4 only)
Chaos (Book 3 and part two of Book 4 only)
The Midst (mhte) (Books 3 & 4 only)
The Outer Darkness (Books 3 & 4 only)
Notably, the portion of Books 1 & 2 dealing with the myth of Pistis Sophia's fall and redemption use a different cosmology from the rest of those books.  The most controversial point in this alternate cosmological conception is reference to the thirteenth aeon, Pistis Sophia's home, as a place of "righteousness;" this view of the thirteenth aeon is absent from the rest of the text.

In Books 1-3, all the regions except for the punishment realms are also known as the Spaces of the First Mystery, and in Books 1 & 2, all the regions from the thirteenth aeon downward are considered the Outer Darkness.

Generally speaking, the aeonic realms represent the material universe, bounded by the stars and the zodiac.  The Midst is the space dividing this region from the upper realms, and is sometimes a waiting space for souls before being allowed to enter the light realms.  The goal of the soul is to ascend beyond the aeons and enter the upper realms of light.  This is achieved by receiving the mysteries offered by the group represented by these texts.

The mysteries are not explicitly listed in the text; an initiate would most likely have to prove him or herself worthy by living for some period according to the ethical guidelines provided in the texts before undergoing the baptisms and gaining access to the mysteries.  The Books of Jeu are noted as a source of the mysteries; it is probable that the texts found in the Bruce Codex are very similar, if not identical, with these texts.

Key figures

Pistis Sophia

The story of Pistis Sophia's fall and restoration (chapters 29-82) dominates much of Books 1 & 2.  She dwells in the thirteenth aeon, is tricked into leaving her aeon and descending into Chaos, has her light-power stolen, and is not allowed to return to her place until Jesus ascends through the aeons.  She recites many repentances and prayers, and is repeatedly persecuted by wicked archontic beings before being allowed to wait just outside of the thirteenth aeon for restoration.

It is noteworthy that she is not a divine being, as portrayed in other versions of the Gnostic myth such as the Apocryphon of John.  She is a being of the material aeons, and her restoration is only as far as the thirteenth material aeon.  The myth as a whole seems to have been adopted to address the beliefs of another Gnostic group, and to assert the superiority of this text's system: humans who receive the mysteries of this group can surpass Pistis Sophia and reach the divine realms of light.

Authades

Authades is the equivalent of Ialdabaoth/the demiurge in versions of the Sophia myth such as that found in the Apocryphon of John. Unlike Ialdabaoth, he is not created by the Sophia figure, and in fact he holds a slightly higher hierarchical position than Pistis Sophia.  His sin is wishing to rule all the material aeons, and he grows jealous when Pistis Sophia chooses to worship the light rather than continuing the ways of the aeons.  Authades appears only in the chapters dealing with the Sophia myth; elsewhere Sabaoth the Adamas is the representative of evil in these texts.

Jesus

Jesus serves as a teacher or instructor, teaching his disciples information about the divine world they will need to progress to a higher state of being, as well as knowledge of the cosmic realms, their inhabitants, and their functions.  He teaches the disciples baptismal rites, and instructs them to give these rites to all who show themselves worthy. He is closely tied to the highest divine being.  However, little significance is given to his earthly incarnation – the ritual bread and wine in the baptism is not associated with the Christian Eucharist, and the crucifixion and resurrection play little role.  Here, he only gains his true garment and teaches the disciples the higher mysteries eleven years after his resurrection – downplaying versions of Christianity claiming his earlier teachings as ultimate truth.

Jeu

This is the demiurge of these texts.  Jeu dwells in the Treasury of Light and organizes the cosmos.  He places the archons and the aeons in their proper places, and assigns powers to the planets, effectively offering a divine origin for astrology.  This is particularly noteworthy given the anti-cosmic nature of some other Gnostic groups.

He is sometimes referred to as the "Father of Jesus' Father."  Jeu is considered the father of the Great Sabaoth, the Good, who provides the soul to Jesus' earthly incarnation – thus Jeu is the father of Jesus' earthly father.  The divine Jesus' true father remains the highest, ineffable God.

Zorokothora Melchisedek

Often referred to simply as Melchisedek, this figure also dwells in the Treasury of Light or Place of the Right.  His primary role is overseeing transport of light from the lower realms to the higher light realms as it becomes purified.  His subordinates also deliver certain souls out of the punishment regions when believers on Earth pray for them.

The Great Sabaoth, the Good

As mentioned above, this figure provides a power or soul for Jesus' earthly incarnation, making him effectively Jesus' earthly father.  This role is most widely discussed through extensive interpretations of Psalm 85:10-11 in Chapters 62-63.

Sabaoth, the Adamas

This is the primary representative of evil or wickedness in the majority of the Pistis Sophia.  He is accused of inappropriate sexual conduct, begetting archons and other beings, and as a result he is imprisoned in the bounds of the zodiac, or the material universe.  For those human souls who did not receive the mysteries before death and are thus bound to be reincarnated in the world, he is also responsible for giving the "cup of forgetfulness," denying them the knowledge they had acquired from previous lives and punishments.

Editions of the Coptic text
  First edition in Coptic with a Latin translation. This work of Schwartze was published postum by Petermann.

 4th ed. Berlin 1981. German translation.
  German introduction and Coptic Text.

References

Citations

General bibliography

 Parts 1 and 2 of the complete scanned text available for download in PDF or DJVU formats, from the original Cambridge University Press edition, 1915.

  Text 1916; Translation and Notes 1920.
 Hurtak, James and D.E. Hurtak, Pistis Sophia Text and Commentary. Los Gatos: Academy for Future Science, 1999.

 1st edition (1896):   Masseiana (full text, HTML); Internet Archive (multiple formats).
 Revised 2nd edition (1921): Internet Sacred Text Archive, and with search function at the Gnostic Society Library (full text, HTML); Internet Archive (multiple formats).

  of:

Attribution
 . Download scanned book as DJVU  or PDF .

External links
 Early Christian Writings: Pistis Sophia

3rd-century books
4th-century books
1773 archaeological discoveries
Pistis

Pistis Sophia


An Dendrobium canaliculatum in uska species han Liliopsida nga ginhulagway ni Robert Brown. An Dendrobium canaliculatum in nahilalakip ha genus nga Dendrobium, ngan familia nga Orchidaceae.

Subspecies

Ini nga species ginbahin ha masunod nga subspecies:

 D. c. canaliculatum
 D. c. foelschei

Mga kasarigan

Mga sumpay ha gawas

Dendrobium

Dendrobium canaliculatum


El domingo 1 de marzo de 1970 hubo elecciones generales en Guatemala para elegir al nuevo presidente y vicepresidente de la república, así como a 51 diputados del Congreso.

Elecciones presidenciales
En las elecciones presidenciales del 1 de marzo de 1970 ninguno de los candidatos ganó más del 50% de los votos. Por consiguiente se realizó una votación en el Congreso de Guatemala, en la que fue elegido el coronel Carlos Manuel Arana Osorio como presidente de la República de Guatemala.

Resultados elecciones presidenciales del 1 de marzo de 1970

Elecciones legislativas
Resultados elecciones legislativas del 1 de marzo de 1970

Referencias

Guía del organismo legislativo República de Guatemala. Preparada por el Instituto Nacional de Administración para el Desarrollo, Gobierno de la República. 1968.
Villagrán Kramer, Francisco. Biografía política de Guatemala: años de guerra y años de paz. FLACSO-Guatemala, 2004.
Political handbook of the world 1970. New York, 1971.
Elections in the Americas A Data Handbook Volume 1. North America, Central America, and the Caribbean. Edited by Dieter Nohlen. 2005.

1970
Guatemala
Guatemala en 1970

Elecciones generales de Guatemala de 1970


පෝෂණය යනු ජීවීන් ශක්තිය සහ ද්‍රව්‍ය ලබා ගැනීමේ ක්‍රියාවලියයි. පෝෂණය සඳහා විවිධ ජීව විශේෂ විවිධ වූ ක්‍රම යොදා ගනු ලබයි. ජීවීන්ගේ පෝෂණ ක්‍රම ඔවුන්ගේ ශක්ති ප්‍රභවය සහ කාබන් ප්‍රභවය මත වර්ග කල හැක. කාබන් ප්‍රබවය මත ජීවීන්ගේ පෝෂණය ප්‍රධාන ආකාර දෙකකි.
ස්වයංපෝෂි පෝෂණ ක්‍රමය
විෂමපෝෂී පෝෂණ ක්‍රමය
කාබන් ප්‍රභවය ලෙස කාබන්ඩයොක්සයිඩ් (අකාබනික කාබන්) උපයෝගී කර ගන්නා ජීවීන් ස්වයංපෝෂින් ලෙස හඳුන්වයි.
කාබන් ප්‍රභවය ලෙස කාබනික කාබන් (කාබනික ද්‍රව්‍ය) උපයෝගී කර ගන්න ජීවීන් විෂම පෝෂීන් ලෙස හඳුන්වයි.
ස්වයංපෝෂී ජීවීන් කාබනික ආහාර සංස්ලේෂණය කරයි. මේ සඳහා ඔවුන්ට ශක්තිය අවැසි වේ. ඔවුන් ශක්තිය ලබාගන්නා ප්‍රභවය අනුව ස්වයංපෝෂී ජීවීන් නැවතත් කාණ්ඩ දෙකකට බෙදිය හැක. එනම්,
ප්‍රභා ස්වයංපෝෂී පෝෂණය
රසායනික ස්වයංපෝෂී පෝෂණය යනුවෙනි.
කාබනික ආහාර සංස්ලේෂණය කිරීමට සූර්ය ශක්තිය උපයෝගී කර ගන්නා ජීවීන් ප්‍රභා ස්වයංපෝෂීන් ලෙස හඳුන්වයි.
කාබනික ආහාර සංස්ලේෂණය කිරීමට රසායනික ද්‍රව්‍ය ඔක්සිකරණය කිරීම මගින් ශක්තිය ලබා ගන්නා ජීවීන් රසායනික ස්වයංපෝෂීන් ලෙස හඳුන්වයි.

කාබන් ප්‍රභවය ලෙස කාබනික ද්‍රව්‍ය (කාබනික කාබන්) උපයෝගී කර ගන්න ජීවීන් විෂම පෝෂීන් ලෙස හඳුන්වන බව ඉහත දක්වන ලදී. විෂම පෝෂී පෝෂණය ප්‍රධාන ආකාර 3කි. එනම්,
මෘතෝපජීවී පෝෂණය
සත්ත්ව සදෘෂ පෝෂණය සහ
සහජීවී පෝෂණය යනුවෙනි.

මෘතෝපජීවී පෝෂණය
මැරුණු ශාක සත්ත්ව කොටස් වල ඇති කාබනික ද්‍රව්‍ය මත පෝෂණය ලබන ජීවීන් මෘතොපජීවීන් ලෙස හඳුන්වයි. මොවුන් මැරුණු ශාක හා සත්ත්ව කොටස් වල ඇති කාබනික ද්‍රව්‍ය මතට බහිශ්සෛලීය එන්සයිම ශ්‍රාවය කර ඒවායේ ඇති සංකීර්ණ කාබනික ද්‍රව්‍ය සරල ද්‍රාව්‍ය තත්ත්වයට පත් කරයි. අනතුරුව ඒවා අවශෝෂණය කර භාවිතයට ගනු ලබයි. උදා: ඇතැම් බැක්ටීරියා, සියළුම දිලීර

සත්ත්ව සදෘෂ පෝෂණය
ආහාර මාර්ගයක් තුලට ආහාර අධිග්‍රහණය කරන ජීවීන් සත්ත්ව සදෘෂ පෝශීන් ලෙස හඳුන්වයි. සත්ත්ව සදෘෂ පෝෂණය අදියර 5කින් සමන්විත වේ. ඒවා නම්, අධිග්‍රහණය, ජීරණය, අවශෝෂණය, ස්වීකරණය සහ පහකිරීම යන ඒවායි. සත්ත්ව සදෘෂක පෝෂණය දක්වන ජීවීන් ක්ෂුද්‍ර භක්ෂක, තරල භක්ෂක හෝ මහා භක්ෂක පෝෂණයක් පෙන්වයි.
ක්ෂුද්‍ර භක්ෂක ජීවීන් ජලයේ අවලම්බනය වී ඇති ඉතා කුඩා අංශු අධිග්‍රහණය කරයි. උදා: Amoeba, මදුරු කීටයා
තරල භක්ෂක ජීවීන් ශාක හා සත්ත්වයන්ගේ තරල මත යැපේ. උදා: මදුරුවා, මකුළුවා, දුඹුරු කීදෑවා
මහා භක්ෂක පෝෂීන් විශාල ආහාරමය කොටස් අධිග්‍රහණය කරයි.
මහා භක්ෂක ජීවීන් ඔවුන් ලබා ගන්නා ආහාර වර්ගයට අනුව කොටස් 3 කට බෙදිය හැක. එනම්, ශාක භක්ෂක, මාංශ භක්ෂක සහ සර්ව භක්ෂක යනුවෙනි.

සහජීවී පෝෂණය

ඉතා සමීප ලෙස ජීවත් වන විශේෂ දෙකක් හෝ කිහිපයක් අතර දක්නට ඇති පාරිසරික සම්බන්ධතාවයකි.

ජීවීන්ගේ පෝෂණ ක්‍රම


Patrice Ndedi Penda, né le  à Banya-Bonkeng (Yabassi), est un écrivain et dramaturge camerounais.

Biographie
Pratrice Ndedi Penda est né en 1945 à Banya-Bonkeng, dans la région du Littoral au Cameroun.

Il fait ses études primaires au CEBEC de Deïdo et entame son cursus secondaire au lycée Joss à Douala.

Il poursuit ses études à Paris, où il obtient son baccalauréat. Il s'inscrit à la faculté des lettres et sciences humaines à l'université Paris-Nanterre, où il étudie la philosophie et la psychologie. Il se spécialise ensuite à l'École supérieure des transports de Paris.

En 1975, il rentre au Cameroun et entame une vie professionnelle, en occupant un poste de chef de service du contrôle du fret maritime au Conseil national des chargeurs du Cameroun (CNCC) et écrit de nombreuses œuvres.

Publications
Patrice Ndedi Penda est l'auteur des œuvres suivantes.

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Notes et références

Bibliographie
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Annexes

Articles connexes
 Rêve américain
 Nsah Mala
 Marie Julie Nguetse
 Imbolo Mbue

Liens externes

Écrivain camerounais
Étudiant de l'université Paris-Nanterre
Naissance en mars 1945
Naissance au Cameroun français

Patrice Ndedi Penda


Yeşilköy, Samsun ilinin Bafra ilçesine bağlı bir mahalledir.

Tarihçe
Mahallenin önceki adı Tekfur olarak bilinmektedir. Daha sonra üç farklı mahallenin birleştirilmesi ile Uluağaç mahallesine bağlanmıştır. Yetmişli yıllarda ise Yeşilköy adı ile Muhtarlık olmuştur. Mahallenin nüfus yapısı Trabzon ve Rize'den gelen göçlerle oluşmuştur.

Coğrafya
Samsun iline 60 km, Bafra ilçesine 12 km uzaklıktadır.

Nüfus

Bafra'nın mahalleleri

Yeşilköy, Bafra


An Xanthosoma plowmanii in uska species han Liliopsida nga ginhulagway ni Josef Bogner. An Xanthosoma plowmanii in nahilalakip ha genus nga Xanthosoma, ngan familia nga Araceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Xanthosoma

Xanthosoma plowmanii


مسرحية غوتس فون برليشنغن إحدى المسرحيات الناجحة التي كتبها يوهان فولفغانغ فون غوته  عام 1773 م عن الشخصية الأسطورية غوتس فون برليشنغن حيث استوحى غوته من حياة هذه الشخصية الأسطورية مادة مسرحيته الدرامية التي حملت نفس الاسم، تتحدث المسرحية عن الصراع بين الفرسان المتمسكين بروح القانون الطبيعي من جهة والأرستقراطية الحاكمة المتمسكة بنصوص القانون الروماني من جهة أخرى. وتدور أحداث المسرحية في خمسة مشاهد فصلية درامية يتطرق فيها غوته عن هذا الصراع والمعارك التي رافقته من خلال شخصية غوتس وشخصية الراهب المتمرد مارتين وشخصية الفتى جورج.

غوتس فون برليشنجن
غوتفريد فون بيرليشنغن  اختصارا غوتس : شخصية أسطورية قيل بأنه عاش من عام 1480 م إلى عام 1562 م في جنوب ألمانيا، كان يستخدم يدا حديدية كبديل عن اليد التي فقدها في إحدى المعارك.

تاريخ الأحداث والمكان
تدور أحداث المسرحية في بدايات  في منطقة فرانكونيا التاريخية  في ولاية بافاريا الحالية  في مقاطعة فورتمبيرغ التاريخية القديمة ، ألمانيا.

المشاهد
رسم غوته في مسرحيته هذه الصراع بين الفرسان المتمسكين بروح القانون الطبيعي والأرستقراطية الحاكمة المتمسكة بنصوص القانون الروماني. وتفجر هذا الصراع وتحول إلى معركة دموية عندما ألقي القبض على أحد أعوان غوتس، فحوصرت قلعة جوتس وألقي القبض عليه بعد خيانة أحد أعوانه له، لكن غوتس لم يبق في السجن لمدة طويلة، إذ استطاع سيكينغن الإفراج عنه. وبعد ذلك بوقت قصير ثار الفلاحون على الظلم النازل بهم، فانتخبوه قائدا لحركتهم. إلا أن الحظ لم يحالفه في هذه المرة أيضا، إذ ألقي القبض عليه وأودع السجن حتى حان أجله. ولعب الراهب المتمرد مارتين والفتى جورج أدوارا رئيسية في هذه المسرحية، فهما الشخصيتان اللتان
تعاضدان غوتس دونما قيد أو شرط.

مصادر

 نص المسرحية على ويكي مصدر الألماني
 تقديم أدبي عن شخصية غوتس وعصره
 ملاحظات فرانس بفروس على أعمال غوته
 مسرحية غوته "غوتس فون بيرليشنغن تقديم رامبيرغ

مراجع وهوامش

قراءات إضافية

 جوتس فون برليشنجن، يوهان فولفغانغ فون غوته، ترجمة مصطفى ماهر، القاهرة، 1975.
 جيتس فون برليشنجن، يوهان فولفغانغ فون غوته، ترجمة وتقديم عبد الرحمن بدوي، من المسرح العالمي 117، الكويت: وزارة الإعلام، 1979.

انظر أيضاً

مسرحيات 1773
مسرحيات ألمانية
مسرحيات تقع أحداثها في ألمانيا
مسرحيات يوهان فولفغانغ فون غوته

غوتس فون برليشينغن (غوته)


Vom Ende einer Geschichte ist ein 2011 erschienener Roman des englischen Schriftstellers Julian Barnes. Im englischen Original lautet der Titel The Sense of an Ending. Für den Roman wurde Barnes 2011 mit dem renommierten britischen Literaturpreis Man Booker Prize ausgezeichnet. 2015 wählten 82 internationale Literaturkritiker und -wissenschaftler The Sense of an Ending zu einem der 100 bedeutendsten britischen Romane.

Inhalt
Geschönte Erinnerungen, die es uns erlauben, besser mit der eigenen Vergangenheit zu leben, und die Frage nach der persönlichen Verantwortlichkeit sind die beiden Hauptthemen, die diesen Roman durchziehen. Sie beschäftigen den Ich-Erzähler Anthony ("Tony") Webster, als er im Alter eine Bilanz seines Lebens zieht.
Der Roman ist in zwei Teile unterteilt.

Teil 1
Im ersten Teil schildert Tony Webster rückblickend Ereignisse in seiner Jugend. In der Schule bildet er zunächst mit zwei anderen Jungen, Alex und Colin, eine Clique, die sich darin gefällt, herablassend auf die Welt der Erwachsenen zu schauen und mit Phrasen auf weltanschauliche Fragen der Lehrer zu reagieren. So gibt Tony auf die Frage seines Geschichtslehrers, was Geschichte sei, die Antwort: "Geschichte ist die Summe der Lügen der Sieger" (S. 24), woraufhin der Lehrer zu bedenken gibt, Geschichte sei auch immer die Selbsttäuschung der Besiegten. Zu dieser Clique stößt der hochbegabte Adrian Finn, der, früh gereift, weil seine Mutter die Familie verlassen hat, nachdenklicher an viele Fragen herangeht. Als der Lehrer nach den Ursachen für den Ersten Weltkrieg fragt, entwirft Adrian eine Verantwortungskette: "Mir scheint, es gibt – gab – da eine Kette individueller Verantwortung … aber die Kette ist nicht so lang, dass jeder einfach die Schuld auf den anderen schieben kann" (S. 19). Nach dem Schulabschluss, dem die Schüler entgegenfiebern, weil sie ungeduldig darauf warten, dass ihr Leben endlich beginnt, nimmt Adrian mit Hilfe eines Stipendiums ein Studium in Cambridge auf, während Tony in Bristol Geschichte studiert. Bald hat er eine Freundin, Veronica, die sich jedoch als sehr anspruchsvoll und zickig erweist und ihn vor allem sexuell auf Distanz hält. Zum Alptraum wird für ihn ein Wochenende bei ihrer – wie er meint – sozial überlegenen Familie, bei dem er sich von Veronica, ihrem grobschlächtigen Vater und ihrem vermeintlich arroganten Bruder von oben herab behandelt fühlt. Sein Stolz ist verletzt. Nur die Mutter begegnet ihm freundlich und ermahnt ihn sogar, sich von Veronica nichts gefallen zu lassen. Kurz darauf stellt er das Mädchen seinen Schulfreunden vor, so dass sie Adrian kennenlernt. Nach einiger Zeit beschließt er jedoch, sich von Veronica zu trennen.

Schließlich erreicht ihn ein Brief von Adrian und Veronica, in dem sie ihm mitteilen, dass sie nun zusammen sind. Nachdem Tony erst mit einer Karte kurz und kühl auf diese Nachricht reagiert, schickt er den beiden schließlich einen Brief, in dem er sie übel beschimpft. Unter anderem verweist er Adrian an Veronicas Mutter, weil die ihn schon vor Veronica gewarnt habe. Den Inhalt dieses Briefes, dessen Wortlaut man erst im zweiten Teil des Romans erfährt, verdrängt Tony. In seiner Erinnerung "erklärte ich ihm (sc. Adrian) recht genau, was ich von ihren gemeinsamen moralischen Skrupeln hielt" (S. 55). Nach Abschluss seines Studiums verbringt er eine Zeitlang in den USA und erfährt bei seiner Heimkehr, dass Adrian sich umgebracht hat. In seinem Abschiedsbrief äußert Adrian die Auffassung, das Leben sei ein Geschenk, das man auch zurückgeben könne, und dann "sei es seine moralische Pflicht, den Konsequenzen dieser Entscheidung gemäß zu handeln" (S. 62). Tony heiratet in der Folge Margaret, eine ruhige, unaufgeregte Ehe schließt sich an, die jedoch geschieden wird. Tonys ereignisarmes Leben bis zur Pensionierung wird in extremem Zeitraffer auf zwei Seiten geschildert.

Teil 2
Im zweiten Teil holen ihn die geschilderten Ereignisse der Vergangenheit ein. Meisterlich gelingt es Barnes, alle wichtigen Elemente aus dem ersten Teil wieder aufzunehmen, die alten Wahrnehmungen Tonys durch neue Fakten subtil in Frage zu stellen und dem Leser die Fragwürdigkeit aller Erinnerungen einschließlich der eigenen vor Augen zu führen. Ein Brief erreicht Tony, in dem ihm mitgeteilt wird, dass Veronicas Mutter gestorben ist und ihm 500 Pfund sowie Adrians Tagebuch hinterlassen hat. Das Tagebuch befindet sich jedoch im Besitz Veronicas, die ihm davon gezielt nur eine Fotokopie einer Seite aushändigt, auf der wieder die Verantwortungskette hinterfragt und eine merkwürdige Gleichung aufgemacht wird, die anscheinend ein Beziehungsgeflecht zwischen Tony, Adrian, Veronica, ihrer Mutter und einem rätselhaften b darstellt. Die Seite endet mit dem offenen Satz: "Zum Beispiel, wenn Tony …" (S. 110). Auch spielt Veronica ihm den Wortlaut des üblen Briefes zu, über den Tony ehrlich entsetzt ist. Die Vergangenheit holt ihn ein wie die Gezeitenwelle des Severn, ein Naturphänomen, das er mit Freunden beobachtet hat. Dabei flutet das Wasser des Flusses entgegen seinem natürlichen Lauf wieder das Flussbett hinauf. Dieses Bild stellt ein Leitmotiv des Romans dar. Tony empfindet tiefe Reue und wünscht sich, diese in Schuld zurückverwandeln zu können, um so Vergebung zu finden, was sich natürlich als unmöglich erweist.

Schließlich bringt Veronica ihn mit einer Gruppe Behinderter zusammen. Einer von ihnen, so findet Tony mühsam heraus, ist Adrians Sohn und – wie sich später herausstellt – jedoch nicht mit Veronica, sondern mit Veronicas Mutter gezeugt, er ist das rätselhafte b (= Baby) aus der Gleichung. Tony erinnert sich an die Worte des Lehrers über Geschichte als Selbsttäuschung der Besiegten und erkennt: "Ich betrachtete die Verantwortungskette. Ich sah meinen Anfangsbuchstaben darin. Ich erinnerte mich, dass ich Adrian in meinem hässlichen Brief aufgefordert hatte, Veronicas Mutter zu befragen. Ich ließ die Worte noch einmal abspulen, die mich bis in alle Zeiten verfolgen würden. Genau wie Adrians unvollendeter Satz 'Zum Beispiel, wenn Tony …' (S. 181)." Diesen Satz vervollständigt Tony für sich mit "… nicht Tony gewesen wäre" (S. 110).

Literarische Bezüge
Mit dem englischen Titel The Sense of an Ending des Romans hat Barnes den Titel einer Studie des Literaturwissenschaftlers Frank Kermode aufgegriffen, der in einer gleichnamigen Studie 1967 untersuchte, wie Menschen apokalyptisches Geschehen verarbeiten und Schriftsteller die Erschütterungen ihrer Zeit deuten. Peripetien, die tragischen Wendepunkte, sind bei Kermode ein zentraler Begriff. Die Peripetie ist auch fester Bestandteil klassischer Tragödien. In Julian Barnes' Roman, der im Aufbau an eine antike Tragödie erinnert, bildet der Brief der Anwältin, der Tony von seinem Erbe in Kenntnis setzt, die Peripetie, die seinem Leben eine Wendung gibt und es von diesem Moment an auf die Katastrophe zusteuern lässt. Ähnlich wie in Sophokles' analytischem Drama "König Ödipus" ist das Unheil im zweiten Teil schon geschehen und muss nur noch aufgeklärt werden, wobei gerade die eigenen Nachforschungen den Protagonisten immer weiter in die Tragödie treiben.

Veronica liest bei einem Treffen mit Tony (S. 141) in einer Novelle von Stefan Zweig. Der Titel wird allerdings nicht genannt. Diese Lektüre hat Julian Barnes nicht willkürlich gewählt. Auch die Protagonisten Stefan Zweigs werden in der Regel auf tragische Weise an der Realisierung ihres Glücks gehindert und resignieren.

Kritik
Die Kritik bewertete das Buch zumeist positiv. Die FAZ nennt den Roman, der hier auf Grund seines Umfangs von 182 Seiten als Novelle bezeichnet wird, am 3. Dezember 2011 "eines der herausragenden Werke dieser Saison" und attestiert Barnes: "Die Novelle ,Vom Ende einer Geschichte' zeigt seine ganze Meisterschaft". Christopher Schmidt beeindruckte gemäß seiner Besprechung in der Süddeutschen Zeitung vom 24. Dezember 2011 die "erzählerische Ökonomie, die Fügung der Motive und die moralische Tiefe". Die Zeit spricht von einem eleganten Roman, "stilistisch vollendet-schmal, konzentriert, nachdenklich", und die NZZ lobte in ihrer Rezension vom 27. Dezember 2011: "Adrians Tod: Das ist das Herzstück dieses luziden Romans – den zu lesen sich … nur schon deshalb lohnt, weil sein Antiheld uns in so vielem verteufelt nahe ist."

Die herausragenden literarischen Qualitäten des Romans überzeugten im Oktober 2011 auch die Booker-Prize-Jury unter dem Vorsitz von Stella Rimington, welche Barnes im Oktober 2011 mit dem Man Booker Prize auszeichnete. Sie lobte den Roman in ihrer Laudatio als "fast archetypisches Buch", das "zur Menschheit des 21. Jahrhunderts" spreche.

Verfilmung
Die BBC produzierte zusammen mit den Produktionsfirmen FilmNation Entertainment und Origin Pictures eine Verfilmung des Romans, die am 2. Januar 2017 auf dem Palm Springs International Film Festival ihre Premiere feierte. Ritesh Batra führte die Regie, das Drehbuch stammt von Nick Payne. Die Dreharbeiten mit unter anderem Jim Broadbent als Tony und Charlotte Rampling als Veronica fanden von September bis Oktober 2015 in London und Bristol statt. Der Kinostart in den USA war am 10. März 2017 und am 14. April 2017 im Vereinigten Königreich. Darüber hinaus lief der Film in acht anderen europäischen Ländern sowie in Australien, Indien, Südafrika und Singapur. Am 14. Juni 2018 erscheint der Film dann auch in den deutschen Kinos. Die Website Rotten Tomatoes sammelte für den Film insgesamt 74 % positive Kritiken mit einer durchschnittlichen Bewertung von 6,3 von 10 Punkten.

Susanne Ostwald schrieb in der Neuen Zürcher Zeitung, die Verfilmung zeige, "wo die Crux bei Literaturadaptionen liegt". Plastischere Ausarbeitungen der Frauenfiguren würden die zentrale Erzählsituation schwächen, was sich "besonders am harmonieseligen Ende" zeige. Während der Roman mit dem beunruhigenden Satz "There is great unrest" endet, lasse die filmische Adaption "gerade keinen Sinn für das Ende erkennen".

Ausgaben
 The Sense of an Ending. Jonathan Cape, London 2011, ISBN 978-0-224-09415-3.
 Vom Ende einer Geschichte. Aus dem Englischen von Gertraude Krueger. Kiepenheuer & Witsch, Köln 2011, ISBN 978-3-462-04433-1.

Rezensionen

In der englischsprachigen Presse
 Anita Brookner: The Sense of an Ending by Julian Barnes: Review – in: The Telegraph, 25. Juli 2012.
 Michael Wood: Stupidly English – in: London Review of Books, 22. September 2011.
 Michiko Kakutani: Life in Smoke and Mirrors – in The New York Times, 17. Oktober 2011.
 Geoff Dyer: Julian Barnes and the Diminishing of the English Novel – in The New York Times Book Review, 18. Dezember 2011 (in der Druckversion unter dem Titel Playing the Averages erschienen).
 William Deresiewicz:  – in The New Republic, 22. Februar 2012.

In der deutschsprachigen Presse
 Wolfgang Höbel: Schmachnovelle – in: Der Spiegel, 28. November 2011.
 Gerrit Bartels: Die Unruhe des Alters – in: Der Tagesspiegel, 28. November 2011.
 Alexander Kluy: Das Flüchtige gefühlsarmer Tage – in: Der Standard, 2. Dezember 2011.
 Felicitas von Lovenberg: Warum nur können die Engländer nicht ernsthaft ernst sein? – in: Frankfurter Allgemeine Zeitung, 3. Dezember 2011.
 Wieland Freund: Wie war's wirklich? – in: Die Welt, 3. Dezember 2011.
 Susanne Mayer: Was war oder was gewesen sein könnte – in: Die Zeit, 12. Dezember 2011.
 Angela Schader: Wenn der Severn rückwärtsfliesst – in: Neue Zürcher Zeitung, 27. Dezember 2011.
 Wie wir unser Leben per Erinnerung so zurechtbiegen, dass alles einigermaßen nett aussieht und vor allem wir selbst nie als Bösewicht dastehen. Buchbeschreibung 1. Platz der ORF-Bestenliste Jänner 2012

Weblinks
 The Sense of an Ending – Vorstellung auf der offiziellen Website von Julian Barnes
 Vom Ende einer Geschichte – Vorstellung im Verlagsprogramm von Kiepenheuer & Witsch.
 Videoessay und Gespräch mit dem Literaturkritiker Denis Scheck aus der Fernsehsendung Kulturzeit (3sat) vom 16. Dezember 2011.
 Radischs Lesetipp: "Vom Ende einer Geschichte" – Videorezension von Iris Radisch auf Zeit Online, 25. Januar 2012.

Einzelnachweise

Literarisches Werk
Literatur (21. Jahrhundert)
Literatur (Englisch)
Literatur (Vereinigtes Königreich)
Roman, Epik
Julian Barnes

Vom Ende einer Geschichte


Praskovia Sergeevna Uvarova (, născută Șerbatova (Щербатова), ) a fost o arheologă rusă.

Viața
S-a căsătorit în 1859 cu contele  (1818-1885), președinte al Societății de Arheologie din Moscova. La moartea soțului ei, în 1885, ea i-a succedat în calitate de președinte al Societății de Arheologie și a prezidat zece congrese arheologice pentru toată Rusia.

Uvarova l-a urmat pe soțul ei în expedițiile de studiu. A realizat mari săpături arheologice, mai ales în Caucaz, și,  la inițiativa ei, s-au publicat mai multe volume despre vechiul Caucaz, multe dintre ele cu propriile sale contribuții, printre care Materialy po archeologii Kavkaza. În 1916, a fost sărbătorită de 30 dintre cei mai distinși arheologi din Rusia contemporană.

În timpul Revoluției Ruse din 1917, colecțiile ei și proprietățile i-au fost confiscate. A emigrat în Iugoslavia, unde a trăit modest.

Note

Bibliografie
 Уварова П. С. Былое. Давно прошедшие счастливые дни / Государственный Исторический музей. — М.: ГИМ, 2005. — 368 с. — (Труды Государственного Исторического музея). — 1 000 экз. — . (в пер.)

Legături externe

 Catalogul colecției de antichități Contele Alexei Sergeevich Uvarov, lucrări ale contelui Alexei Sergeevich Uvarov.
 Note despre Praskovia Uvarova pe site-ul archnadzor.ru

Nașteri în 1840
Decese în 1924
Oameni de știință ruși din secolul al XIX-lea
Membri de onoare ai Academiei de Științe din Sankt Petersburg
Arheologi ruși

Praskovia Uvarova


Nil Burak, Nil Burak'ın ilk albümüdür.

Parçalar

 Canıma Değsin - söz: Ülkü Aker / düzenleme: Norayr Demirci
 Bir Eski Şarkı - söz: Ülkü Aker / düzenleme: Norayr Demirci
 Ben Anlamam - söz: Ülkü Aker / düzenleme: Norayr Demirci
 Danış Kalbine - söz: Ülkü Aker / müzik: Selçuk Sun / düzenleme: Norayr Demirci
 Tatlı Tatlı - söz-müzik: Tuğrul Dağcı / düzenleme: Atilla Özdemiroğlu
 Olmaz Olmaz Deme - söz: Ülkü Aker / müzik: Selmi Andak / düzenleme: Norayr Demirci
 Sus - söz-müzik-düzenleme: Şanar Yurdatapan
 Seni İyi Tanırım - söz: Ülkü Aker / düzenleme: Norayr Demirci
 Nereden Aklına Esti  - söz: Ülkü Aker / düzenleme: Norayr Demirci
 Birisine Birisine - söz: Ülkü Aker / düzenleme: Norayr Demirci

Nil Burak albümleri
1977 albümleri
Pop albümleri

Nil Burak (albüm)


Grid Legends (stylisé GRID Legends) est un jeu vidéo de course développé par Codemasters et édité par Electronic Arts. Il s'agit du cinquième titre de la franchise Grid.

Le jeu est sorti sur Microsoft Windows, PlayStation 4, PlayStation 5, Xbox One et Xbox Series X/S en février 2022. Le jeu était offert pour les abonnés du PlayStation Plus du mois de mai 2023.

Système de jeu
Grid Legends propose plus de 130 pistes de course, allant de circuits réels comme Brands Hatch et Indianapolis Motor Speedway à des circuits urbains dans diverses villes telles que San Francisco, Paris, Londres et Moscou. En comptant ceux des contenus additionnels, plus d'une centaine de véhicules sont présents dans le jeu, répartis en différentes catégories comme des voitures de tourisme, des prototypes d'endurance, des monoplaces, des camions, des voitures de drift, etc. Compléter le mode Carrière et Histoire nécessite de passer d'une catégorie à une autre et oblige le joueur à adapter son style de pilotage à la discipline.

Chaque course comporte un objectif principal à atteindre pour continuer sa progression : cela peut être simplement de gagner la course, de ne pas terminer en deçà d'une certaine position, de terminer devant un pilote précis, etc. Les performances en course débloquent des crédits qui peuvent ensuite être utilisés pour acheter de nouveaux véhicules, les améliorer ou faire progresser son équipe ou améliorer les capacités de son équipier.

Grid Legends introduit la notion d'Ennemi juré en course : si le joueur percute un adversaire, celui-ci peut devenir un Ennemi juré et se montrera plus agressif dans ses attaques ou ses manœuvres défensives. Le joueur peut également être sanctionné s'il sort des limites de la piste ou percute trop agressivement un concurrent.

L'un des grands changements dans ce nouveau Grid est son mode scénarisé appelé Drive to Glory.Directement inspiré de la série documentaire Formula 1 : Pilotes de leur destin de Netflix, il narre l'histoire sous forme d'interviews des protagonistes. Codemasters avait précédemment choisi de le faire dans F1 2021, nommé Braking Point. Dans Grid Legends, le mode est confirmé comme étant beaucoup plus axé sur la narration. Un certain nombre d'acteurs professionnels, dont Ncuti Gatwa, connu pour la série télévisée Sex Education, doublent différents personnages du jeu.

Sur le plan visuel, le développeur Becky Crossdale a déclaré que la technologie de réalité étendue utilisée est la même que celle dans la série dérivée de Star Wars The Mandalorian.

Contenu de jeu

Circuits

Voitures
Le jeu de base compte 71 voitures, et plus de 120 avec celles comprises dans les contenus téléchargeables et les mises à jour.

Elles sont réparties en neuf catégories, elles-mêmes divisées en sous-catégories. La catégorie comprend le "style" des voitures (Touring, Prototype, Monoplace, GT, Electric...), la sous-catégorie étant déterminée par la performance des véhicules.

Une partie des voitures peuvent être achetées avec les crédits qui sont gagnés après les courses, tandis que certaines ne sont débloquées qu'après avoir rempli un objectif précis ou remporté un championnat.

Contenu scénarisé

En route pour la gloire
Le mode Histoire de base du jeu est centré sur la vie de l'écurie Seneca Racing et sa lutte contre Ravenwest Motorsport qui domine la compétition depuis plusieurs saisons.

Le Pilote 22 est embauché pour prêter main-forte à la star de l'équipe, Yume Tanaka, dans sa bataille pour ravir le titre à Nathan McKane.

Mais Yume Tanaka est grièvement blessée à la suite d'un accident en course, et tous les espoirs de titre reposent désormais sur le nouveau pilote.

Valentin's Classic Car-Nage
Ce mode de jeu s'inspire de Destruction Derby sorti à l'époque sur PlayStation. Le joueur y incarne le personnage de Valentin Manzi dans une série de courses urbaines où le but sera de détruire les voitures de ses adversaires.

Cinq nouveaux véhicules ont été ajoutés ainsi que quatre nouveaux tracés à retrouver dans la zone portuaire de Yokahama et la ville de La Havane.

Esprit d'endurance
Ce nouveau contenu est centré sur les personnages de Yume Tanaka et Lara Carvalho et leur rivalité qui est développée à travers huit nouvelles courses.

Esprit d'endurance introduit les épreuves Multi-Class Endurance où des voitures de catégories différentes se retrouvent sur un même circuit, trois nouvelles courses dans le mode Carrière, des itinéraires inédits sur les circuits existants, le circuit du Fuji International Speedway.

Le nouveau contenu inclut également quatre nouvelles voitures : la Mazda Autozam AZ-1 Mazdaspeed, la Bentley Continental GT3, la Bentley Speed 8 et la BMW V12 LMR. Du contenu cosmétique supplémentaire est également ajouté.

L'élévation de Ravenwest
Troisième contenu supplémentaire, L'élévation de Ravenwest (Rise of Ravenwest) s'intéresse à l'histoire de l'écurie rivale de Seneca ainsi qu'à ses personnages-clés, à savoir Donnie et Nathan McKane.

La naissance et la montée en puissance de l'équipe est narrée à travers 11 nouvelles courses et des interviews des protagonistes. L'élevation de Ravenwest voit le retour du circuit de Miami (présent dans les deux premiers Grid) redessiné, l'apparition de nouvelles voitures dont les muscle cars comme les Ford Mustang 1967 Fastback, Chevrolet 1967 Corvette C2, Chrysler 1971 Plymouth GTX et la voiture de rallye BMW 320 Turbo Group 5. Dix nouveaux succès sont également à débloquer, ainsi que de nouveaux contenus cosmétiques.

Winter Bash
Ce mode de jeu est centré sur le personnage de Ajeet Singh, mécanicien en chef de l'équipe Seneca, et met l'accent sur les courses en environnement enneigés et sur des pistes verglacées.

Winter Bash comporte huit nouvelles courses, des épreuves de drift, des modifications des circuits existants et trois nouvelles voitures : la SRT Viper GTS-R Drift Tuned, la BMW 2002 TII Race Car et la Bugatti Bolide. Le nouveau contenu comprend également des évènements de carrière sponsorisés inédits, des icônes, des livrées ou encore des bannières personnalisables.

Développement
Grid Legends a été annoncé lors de l'EA Play Live 2021. Il s'agit du cinquième jeu vidéo de la série Grid développé par Codemasters et du premier opus édité par Electronic Arts.

En plus de sortir sur les plateformes Microsoft Windows, PlayStation 4 et Xbox One, le jeu devrait également arriver sur la neuvième génération de consoles de jeux vidéo PlayStation 5 et Xbox Series X/S pour la première fois de la franchise.

Le jeu est sorti le 25 février 2022.

Accueil
Grid Legends reçoit globalement des critiques positives.

Le site Jeuxvideo.com lui attribue la note de 15/20 et souligne la grande quantité et variété de courses, de tracés et de voitures proposés. En revanche, le testeur pointe le manque de profondeur du mode Histoire même si son concept est apprécié.

Gamekult est plus mitigé avec la note de 6/10.

Gameblog lui attribue la même note, soulignant le contenu très conséquent (circuits, voitures, etc) et une prise en main facile et instinctive. En revanche le scénario du mode Histoire est jugé décevant avec des personnages très clichés et le manque d'impact des événements en course sur la narration.

Références

Liens externes

Jeu PlayStation 4
Jeu PlayStation 5
Jeu Xbox Series
Jeu Xbox One
Jeu Windows
Jeu vidéo se déroulant au Royaume-Uni
Jeu vidéo se déroulant à San Francisco
Jeu vidéo se déroulant en Russie
Jeu vidéo se déroulant en France
Jeu vidéo développé au Royaume-Uni
Jeu vidéo de course
Jeu Electronic Arts
Jeu Codemasters
Jeu vidéo sorti en 2022

Grid Legends