Passion is a one-act musical, with music and lyrics by Stephen Sondheim and a book by James Lapine. The story was adapted from Ettore Scola's 1981 film Passione d'Amore, and its source material, Iginio Ugo Tarchetti's 1869 novel Fosca. Central themes include love, sex, obsession, illness, passion, beauty, power and manipulation. Passion is notable for being one of the few projects that Stephen Sondheim himself conceived, along with Sweeney Todd and Road Show.

Set in Risorgimento-era Italy, the plot concerns a young soldier and the changes in him brought about by the obsessive love of Fosca, his Colonel's homely, ailing cousin.

Background and history
The story originally came from a 19th-century novel by Iginio Ugo Tarchetti, an experimental Italian writer who was prominently associated with the Scapigliatura movement. His book Fosca was a fictionalized recounting of an affair he'd once had with an epileptic woman when he was a soldier.

Sondheim first came up with the idea of writing a musical when he saw the Italian film in 1983:

As Fosca started to speak and the camera cut back to her, I had my epiphany. I realized that the story was not about how she is going to fall in love with him, but about how he is going to fall in love with her . . . at the same time thinking, "They're never going to convince me of that, they're never going to pull that off," all the while knowing they would, that Scola wouldn't have taken on such a ripely melodramatic story unless he was convinced that he could make it plausible. By the end of the movie, the unwritten songs in my head were brimming and I was certain of two things. First, I wanted to make it into a musical, the problem being that it couldn't be a musical, not even in my nontraditional style, because the characters were so outsized. Second, I wanted James Lapine to write it; he was a romantic, he had a feel for different centuries and different cultures, and he was enthusiastically attracted to weirdness.

As it turned out, Lapine was already exploring the idea of adapting Muscle, a memoir by Sam Fussell, for the musical stage. Together, they came up with the idea of a pair of double-billing one acts. Lapine wrote a couple of scenes and Sondheim had just started working on the opening number when he began to feel that his musical style was unsuitable for Muscle. The piece was more contemporary and, in his opinion, required a score reflecting pop sensibilities. He called up Lapine and suggested that he find another songwriter, perhaps William Finn, and include it as a companion piece. Meanwhile, they continued to work on Passion and as the piece grew, they found that it was enough to fill out an entire evening of theatre. Muscle was eventually shelved.

Productions

Original Broadway production
After 52 previews, Passion opened on Broadway at the Plymouth Theatre on May 9, 1994, and closed on January 7, 1995. Directed by James Lapine, the cast starred Jere Shea as Giorgio, Donna Murphy as Fosca and Marin Mazzie as Clara. Scenic design was by Adrianne Lobel, costume design by Jane Greenwood, lighting design by Beverly Emmons, orchestrations by Jonathan Tunick, and music direction by Paul Gemignani. This production was filmed shortly after closing and televised on the Public Broadcasting Service series American Playhouse on September 8, 1996. (It was released on DVD in 2003 by Image Entertainment.)  The musical ran a total of 280 performances, making it the shortest-running musical ever to win the Tony Award for Best Musical.

The role of Fosca was originally offered to Patti LuPone, but she turned it down to star in Sunset Boulevard in the West End. LuPone was then famously fired from Sunset Boulevard in favor of Glenn Close, who would take the show to Broadway.

Original London production
The show opened in the West End, with significant musical and script revisions, at the Queen's Theatre in 1996. Directed by Jeremy Sams, the cast featured Michael Ball as Giorgio, Helen Hobson as Clara, and Maria Friedman as Fosca (Friedman had previously appeared in several Sondheim musicals in the UK). The production ran for 232 performances. A recording was later made of the show performed in concert, with nearly all of the original London cast recreating their roles and preserving the musical changes from the earlier production.

2010 London revival
A production at the Donmar Warehouse in London, as part of Stephen Sondheim's 80th birthday celebrations, opened on September 10, 2010, in previews, with the official opening September 21, running through November 27. It was directed by Jamie Lloyd, who was the Donmar associate director at the time, and the cast included Argentine actress Elena Roger, as well as Scarlett Strallen and David Thaxton.  This production won the Evening Standard Awards, Best Musical Award. David Thaxton won the Olivier Award for Best Actor in a Musical.

2011 premiere in Germany
Passion received its German-language premiere (translated by Roman Hinze) on January 28, 2011, at the Dresden State Operetta. Directed by Holger Hauer, the lead roles were filled by Marcus Günzel (Giorgio), Maike Switzer (Clara) and Vasiliki Roussi (Fosca). The choir and orchestra of the Dresden State Operetta performed under the musical direction of Peter Christian Feigel. A special feature of this production was its orchestral arrangement for a symphonic orchestra, including a great string ensemble, harpsichord and harp, with no electronic instruments being used and modifications to the musical score being made in cooperation with the composer. Passion ran at the Dresden State Operetta in the 2010–11 and 2011–12 seasons. The work was performed for the CD label "bobbymusic" from August 22 to 25, 2012 using the same performers. It is the first recording in German, and the first recording of the entire work with all of the musical numbers and spoken texts. Since December 2, 2013 the double CD has been on sale at the Dresden State Operetta (www.staatsoperette-dresden.de) as well as online (www.soundofmusic-shop.de or www.bobbymusic.de).

2013 Off-Broadway revival
The show was mounted by the East Village-based Classic Stage Company, starring Judy Kuhn as Fosca, Melissa Errico as Clara and Ryan Silverman as Giorgio. Known primarily for their stagings of classical plays, Passion was the first musical that the company had ever produced. The production was helmed by John Doyle and took a minimalist approach to the piece. Unlike other Doyle productions of Sondheim works, there were no instruments onstage. The run was extended through April 2013, and a two-disc cast recording was released on July 2 from PS Classics. Rebecca Luker, who played the role of Clara in the Kennedy Center's 2002 Sondheim Celebration production, replaced the ill Errico on this recording.

2016 Scandinavian premiere in Sweden
Passion received its Swedish-language premiere (translated by Ulricha Johnson) on September 17, 2016, at the Kulturhuset Spira. Directed by Victoria Brattström, the lead roles were portrayed by Kalle Malmberg (Giorgio), Mari Lerberg Fossum (Clara) and Annica Edstam (Fosca). The Jönköping Sinfonietta performed under the musical direction of Johan Siberg who also wrote the musical arrangements. The production had a second run at NorrlandsOperan in 2017.

Other productions
The musical made its regional premiere at New Line Theatre in St. Louis, MO in 1996, and was later part of the Sondheim Celebration at the Kennedy Center, running from July 19, 2002, through August 23, 2002, directed by Eric Schaeffer. Judy Kuhn and Michael Cerveris played Fosca and Giorgio, with Rebecca Luker as Clara.

The work was presented by the Minnesota Opera in February 2004, staged by Tim Albery and starring Patricia Racette as Fosca, William Burden as Giorgio and Evelyn Pollock as Clara.

In 2004 the show was performed in the Netherlands, and a Dutch-language recording was released—one of the few translations of a Sondheim score. This production had Vera Mann as Fosca, Stanley Burleson as Giorgio and Pia Douwes as Clara.

A semi-staged concert, starring Patti LuPone as Fosca, Michael Cerveris as Giorgio and Audra McDonald as Clara, was held at Lincoln Center in New York for three performances, March 30 – April 1, 2005. Directed by Lonny Price, this production was broadcast on the PBS television show Live from Lincoln Center on March 31, 2005. It won the Primetime Emmy Award for Outstanding Special Class Program. The score in this production preserved the musical revisions from the London version. This same cast had performed at the Ravinia Festival, Highland Park, Illinois, on August 22–23, 2003.

The show was done at Chicago Shakespeare Theater from October 2, 2007, to November 11, 2007, starring Ana Gasteyer as Fosca, Adam Brazier as Giorgio and Kathy Voytko as Clara.

The work was presented by Life Like Company at the Arts Centre Melbourne from November 5, 2014, to November 8, 2014, starring Theresa Borg as Fosca, Kane Alexander as Giorgio and Silvie Paladino as Clara.

The musical had its Italian premiere at the Cantiere Internazionale d'Arte of Montepulciano on July 12, 2019, directed by Keith Warner. The musical direction was by Roland Boer, and Janie Dee played Fosca.

A production was staged in 2018 at Signature Theatre directed by Matthew Gardiner and starring Claybourne Elder as Giorgio, Natascia Diaz as Fosca and Steffanie Leigh as Clara. It was Signature's second production of the work.

The show was set to open in Pasadena, CA on March 15, 2020, directed by Michael Michetti at Boston Court Pasadena, but was postponed, and later cancelled, due to COVID-19 closures.

In a production produced by Ruthie Henshall who also stars as Fosca, Passion opened at the Hope Mill Theatre in Manchester on May 5, 2022.

Casts

Synopsis
The musical is usually presented in one act. An intermission was added only for the London production.

Act I

In Milan in 1863, two lovers are at the height of ecstasy ("Happiness"). The handsome captain, Giorgio, breaks their reverie by telling Clara that he is being transferred to a provincial military outpost. In the next scene, Giorgio is in the mess hall at the army camp with Colonel Ricci, the unit's commanding officer, and Dr. Tambourri, its physician. He thinks longingly of Clara ("First Letter") and she thinks longingly of him ("Second Letter"). Giorgio's thoughts are interrupted by a bloodcurdling scream. The Colonel tells him not to worry; it's just Fosca, his sick cousin. Giorgio offers to lend her some of his books.

As he begins to adjust to the tedium of life at the outpost, the sensitive Giorgio feels increasingly out of place amongst the other men ("Third Letter"). He starts becoming friendly with the Doctor, who describes Fosca as having a nervous disorder. She frequently collapses into seizures, exposing her suffering and need for connection.

Fosca arrives after dinner to thank Giorgio for the books. When he suggests she keep a novel longer to meditate over it, she explains that she does not read to think or search for truth, but to live vicariously through the characters. She then goes off into a dark musing on her life ("I Read"). Giorgio awkwardly changes the subject, but when he observes a hearse pulling up, she is overtaken by a hysterical convulsion. Giorgio is stunned and appalled ("Transition").

The following afternoon, the Colonel, the Doctor, Giorgio and Fosca go for a walk together. As they stroll through a castle's neglected garden, Giorgio politely engages her in conversation while mentally narrating a letter to Clara. When Fosca confesses that she feels no hope in her life, he tells her that "the only happiness that we can be certain of is love." Fosca is hurt and embarrassed, but recognizes that Giorgio, like herself, is different from others, and asks for his friendship ("Garden Sequence").

Giorgio and Clara exchange letters about Fosca. Clara urges him to avoid her whenever possible. When Giorgio is preparing to take a five-day leave, Fosca shows up unexpectedly, dissolving into hysteria and begging him to return soon. Fosca is next seen reading, stone-faced, from a letter Giorgio has sent rejecting her feelings as he and Clara make love ("Trio").

Upon Giorgio's return, Fosca reproaches him. She demands to know about his affair and learns that Clara is married. In a sharp exchange, they agree to sever all ties. Weeks go by with no contact between them, but just as he is beginning to think that he is finally free of Fosca, he is informed by the Doctor that she is dying. His rejection of her love has exacerbated her illness. Giorgio, whose job as a soldier is to save lives, must go and visit her sickbed. He reluctantly agrees.

He enters Fosca's chamber, and she implores him to lie beside her while she sleeps. At daybreak, Fosca asks him for a favor before he leaves: "Write a letter for me." He complies, but the letter she imagines is a fantasy one from Giorgio to herself ("I Wish I Could Forget You"). She is seized by another convulsive attack, and he hastens from the room.

Act II

The soldiers gossip about Giorgio and Fosca while playing pool ("Soldiers' Gossip"). The Colonel thanks Giorgio for the kindness he has shown his cousin and explains her history. As a child, Fosca was doted on by her parents and once had illusions about her looks. When she was seventeen, the Colonel introduced her to an Austrian count named Ludovic. Fosca was taken with him, though she had her reservations. Once they were married, Ludovic took all of her family's money. Fosca eventually discovered that he had another wife and a child. When confronted, he smoothly admitted to his deception and vanished. It was then that Fosca first became ill. After her parents died, she went to live with the Colonel, who felt responsible for her circumstances ("Flashback").

Meanwhile, Clara has written Giorgio a letter ("Sunrise Letter") addressing her approaching age, in which she admits her fear of losing love when she is old and no longer beautiful. Giorgio makes his way to a desolate mountain and is in the midst of reading when Fosca appears. After Giorgio lashes out at her in anger ("Is This What You Call Love?"), she crumples and faints. He picks her up and carries her back in the rain.

The rain, the ordeal of getting Fosca back to camp and perhaps exposure to her contagious emotions have conspired to give Giorgio a fever. He falls into a slumber and dreams that Fosca is dragging him down into the grave ("Nightmare"). The Doctor sends him off to Milan on sick leave ("Forty Days"). As he boards the train, he is followed once again by Fosca. She apologizes for everything and promises to keep her distance for good. Giorgio pleads with her to give him up. She explains that this cannot happen. Her love is not a choice, it is who she is, and she would gladly die for him ("Loving You"). Giorgio is finally moved by the force of her emotions. He takes her back to the outpost ("Transition").

The Doctor warns Giorgio that he must stop seeing Fosca, that she threatens his mental and physical health. Giorgio requests to forgo his leave; he feels it his duty to stay and help her as much as he can. Back in Milan, Clara questions him jealously about Fosca. Giorgio asks Clara to leave her husband and start a new life with him, but as she has a child, she cannot.

During Christmas, Giorgio is told that he has been transferred back to military headquarters. Later on, he reads Clara's newest letter, in which she asks him to wait until her son is grown before planning a more serious commitment ("Farewell Letter"). Giorgio finds he no longer desires the carefully arranged, convenient affair that they shared ("Just Another Love Story").

Having discovered the letter Fosca dictated, the Colonel accuses Giorgio of leading her on and demands a duel. The Doctor attempts to mediate the two, but Giorgio insists on seeing her again. He realizes that he loves Fosca, for no one has ever truly loved him but her. That evening, he returns to Fosca's room, knowing that the physical act might very well kill her ("No One Has Ever Loved Me"). They embrace, their passion consummated at last.

The duel takes place the following morning behind the castle. Giorgio shoots at the Colonel and lets out a shrill howl eerily reminiscent of Fosca's earlier outbursts.

Months later, Giorgio is in a hospital, dazed, recovering from a nervous breakdown. He is told that Fosca died shortly after their night together; the Colonel recovered from the wound. Dreamlike, the other characters in the story reappear as Giorgio begins reading from Fosca's last letter. Gradually her voice joins his, and together they look back on their revelations ("Finale").

The company walks off, Fosca last, leaving Giorgio alone at his table.

Scenes and musical numbers
Note: No song titles appear in the program; titles below are from cast recordings.

Scene 1: Clara's bedroom in Milan
 Happiness – Clara and Giorgio
Scene 2: The dining quarters; Outdoors; The dining quarters
 First Letter ("Clara, I cried...") – Clara and Giorgio
 Second Letter ("Giorgio, I too have cried") – Clara and Giorgio
 Third Letter ("Clara, I'm in hell") – Clara, Giorgio and Soldiers
 Fourth Letter ("Yesterday I walked through the park...") – Clara
 I Read – Fosca
 Transition #1 ("How can I describe her?"/"The town – it is remote, isn't it?") – Giorgio/Soldiers
Scene 3: The castle garden
 Garden Sequence
 "All the while as we strolled..." – Giorgio, Clara
 "Love that fills every waking moment..." – Clara, Giorgio
 "To speak to me of love..." – Fosca
Scene 4: The dining quarters
 Three Days – Fosca
 Transition #2 ("All the time I watched from my room...") – Soldiers
Scene 5: The courtyard; Fosca's drawing room & Clara's bedroom
 Happiness – Trio (Fifth Letter) – Fosca, Giorgio, Clara
 Transition #3 ("I watched you from my window...") – Attendants
Scene 6: Fosca's Drawing Room; Doctor Tambourri's office
 Three weeks/"This is hell..." – Clara/Soldiers
Scene 7: Fosca's bedroom
 "God, you are so beautiful..." (Happiness) – Fosca
 I Wish I Could Forget You – Fosca, (Giorgio)
 Transition #4 ("How can I describe her? The wretchedness, the embarrassment.") – Soldiers
Scene 8: Billiard room; Outdoors; Flashback to Fosca's past
 Soldiers' Gossip #1 – Soldiers
Scene 9: Flashback to Fosca's past
 Flashback – Colonel Ricci, Fosca, Fosca's Mother, Fosca's Father, Ludovic, Mistress
Scene 10: The Mountainside, a distance from the outpost.
 Sunrise Letter – Clara and Giorgio
 Is This What You Call Love? – Giorgio
Scene 11: Parade ground; Giorgio's bedroom
 Soldiers' Gossip #2 – Soldiers
 Transition #5 – Nightmare ("Everywhere I turn...") – Group #1 and #2
Scene 12: A Train compartment to Milan; back at the Courtyard
 Transition #6 ("To feel a woman's touch...") – Major Rizolli
 Forty Days – Clara
 Loving You – Fosca
 Transition #7 ("How long were we apart") – Woman, Man
 Soldiers' Gossip #3 – Soldiers
Scene 13: Near the Milan Train Station
 "Giorgio, I didn't tell you in my letter" – Clara
Scene 14: A Christmas party at the dining quarters.
 La Pace Sulla Terra (Peace on Earth) – Lieutenant Torasso
 Farewell Letter – Clara
 Just Another Love Story (Happiness/Is This What You Call Love?) – Giorgio and Clara
Scene 15: Doctor Tambourri's office; Fosca's Bedroom
 No One Has Ever Loved Me (Extended) – Giorgio (to Dr. Tambourri) †
 No One Has Ever Loved Me – Giorgio (to Fosca)
 "All this happiness..." (Happiness – Reprise) – Fosca
Scene 16: An Open Field
 The Duel
Scene 17: A hospital
 Final Transition – Company
 Finale (Your Love Will Live In Me) – Giorgio, Fosca, Company
† Cut from the original Broadway production and then restored to 1996 London production.

Response and analysis
Passion was generally admired by critics for its ambition but savaged by theatregoers when it first opened. In particular, audiences were repelled by the characterization of Fosca. During previews, people would applaud whenever Fosca had a meltdown. In one performance, someone from the balcony yelled "Die, Fosca! Die!"

Stephen Sondheim believes that the musical is about how "the force of somebody's feelings for you can crack you open, and how it is the life force in a deadened world." In response to the hostility encountered during the early performances, he has said:

The story struck some audiences as ridiculous. They refused to believe that anyone, much less the handsome Giorgio, could come to love someone so manipulative and relentless, not to mention physically repellent, as Fosca. As the perennial banality would have it, they couldn't "identify" with the main characters. The violence of their reaction, however, strikes me as an example of "The lady doth protest too much." I think they may have identified with Giorgio and Fosca all too readily and uncomfortably. The idea of a love that's pure, that burns with D.H. Lawrence's gemlike flame, emanating from a source so gnarled and selfish, is hard to accept. Perhaps they were reacting to the realization that we are all Fosca, we are all Giorgio, we are all Clara.

In analyzing the musical, Michiko Kakutani of the New York Times wrote that Passion had "a lush, romantic score that mirrors the heightened, operatic nature of the story . . . Jonathan Tunick's orchestration plays an especially important role in lending the music a richness of texture and bringing out its sweeping melodic lines. The sets and lighting are warm and glowy and fervent, reminiscent of the colors of Italian frescoes and evocative of the story's intense, highly dramatic mood. Less a series of individual songs than a hypnotic net of music, the show's score traces the shifting, kaleidoscopic emotions of the characters, even as it draws the audience into the dreamlike world of their fevered passions."

Clive Barnes gave the musical a rave review: "Once in an extraordinary while, you sit in a theater and your body shivers with the sense and thrill of something so new, so unexpected, that it seems, for those fugitive moments, more like life than art. Passion is just plain wonderful — emotional and yes, passionate . . . Sondheim's music — his most expressive yet — glows and glowers, and Tunick has found the precise tonal colorations for its impressionistic moods and emotional overlays. From the start of his career, Sondheim has pushed the parameters of his art. Here is the breakthrough. Exultantly dramatic, this is the most thrilling piece of theater on Broadway."

The New York Times review of the original Broadway production described it as an "unalloyed love story . . . The score contains some insinuating melodies. You can hear madness in the ecstatic lilt." But ultimately, the reviewer felt that "the boldness of the enterprise never quite pays off. The musical leads an audience right up to the moment of transcendence but is unable in the end to provide the lift that would elevate the material above the disturbing."

In his review of the Off-Broadway revival, Ben Brantley wrote of it as "the most personal and internalized of Sondheim's works . . . Of all the directors who have staged Mr. Sondheim's musicals, no one cuts closer to their heart than John Doyle, a minimalist with a scalpel. When it was first staged, in 1994, this concentrated portrait of a romantic triangle seemed to take place at a chilly, analytic remove. In contrast Mr. Doyle's Passion comes across as a pulsing collective fever dream. And it reminds us that out of such dreams a startling clarity can emerge, almost painful in its acuteness . . . What follows is the gradual shift of Giorgio's affections from the seductive, radiant Clara to the demanding Fosca, who pursues him with an obsessiveness to rival the revenge fixation of Sweeney Todd. If this is, on the surface, a most improbable transition, it also feels inevitable here, as Giorgio arrives at the realization that 'love within reason is not love at all' . . . but I didn't stop to think that I was listening to songs. I was hearing thought. And at moments, I was hearing a distillation of pure emotion."

Awards and nominations

Original Broadway production

Original London production

2010 London revival

2013 Off-Broadway Revival

References

Original Broadway Cast Album booklet

External links

Passion, Stephen Sondheim Reference Guide
17 scenes, sondheimguide.com
castalbums.org
Passion, Music Theatre International
Passion – A musical by Stephen Sondheim and James Lapine
How Passion changed during its difficult previews, 1994 article from The Sondheim Review.

1994 musicals
Broadway musicals
Musicals based on films
Musicals based on novels
One-act musicals
Musicals by James Lapine
Musicals by Stephen Sondheim
Tony Award for Best Musical
Tony Award-winning musicals
Musicals set in Italy
Musicals set in the 1860s

Passion (musical)


An Carex van-heurckii in uska species han Liliopsida nga ginhulagway ni Johannes Müller Argoviensis. An Carex van-heurckii in nahilalakip ha genus nga Carex, ngan familia nga Cyperaceae.

Subspecies

Ini nga species ginbahin ha masunod nga subspecies:

 C. v. crassispiculata
 C. v. van-heurckii

Mga kasarigan

Carex

Carex van-heurckii


Le coup d'État de 1978 en Mauritanie est un coup d'État militaire sans effusion de sang survenu en Mauritanie le .

Déroulement
Le coup d'État, dirigé par le Chef d'état-major de l'armée, le colonel Moustapha Ould Mohamed Saleck, qui commandait un groupe d'officiers de l'armée nationale, a renversé le président Moktar Ould Daddah, qui dirigeait le pays depuis l'indépendance de la France en 1960. Le principal motif du coup d'État était la participation de Daddah à la guerre du Sahara occidental (à partir de 1975) et la ruine de l'économie mauritanienne qui en a résulté.

Après le coup d'État, Saleck avait assumé la présidence d'une junte militaire nouvellement formée, le Comité militaire pour le redressement national (CMRN) composé de 20 membres.

Des informations provenant de la capitale Nouakchott ont indiqué qu'aucune fusillade n'avait été entendue dans la ville et qu'aucune victime n'avait été annoncée. Le coup s'est donc fait sans violence.

Après une période d'emprisonnement, Ould Daddah a été autorisé à s'exiler en France en  et a été autorisé à retourner en Mauritanie le .

Notes et références

Juillet 1978
1978 en Mauritanie
1978
Coup d'État ou tentative de coup d'État au XXe siècle

Coup d'État de 1978 en Mauritanie


III Sides to Every Story es el tercer álbum de estudio del grupo estadounidense de hard rock Extreme, lanzado en 1992.

Listado de canciones

Posición en listas

Álbum

Sencillos

Créditos
 Pat Badger — Bajo y voz.
 Nuno Bettencourt — Productor, guitarra, piano, teclas, percusión, voces.
 Gary Cherone — Voz solista.
 Paul Geary — Batería y voz.
 Martin Luther King, Jr. — Voz
 John Kurlander — Ingeniero
 Michael Lavine — Fotografía
 Mike Morgan —	Organizador
 Carl Nappa — Asistente
 Bob St. John — Productor
 Steve Sigurdson — Violonchelo
 Liz Vap — Dirección artística

Véase también
 Extreme

Referencias

Enlaces externos
 Página web de Extreme

Álbumes de 1992

III Sides to Every Story


Ottoman Turkish (, ; ) was the standardized register of the Turkish language used by the citizens of the Ottoman Empire (14th to 20th centuries CE). It borrowed extensively, in all aspects, from Arabic and Persian, and its speakers used the Ottoman Turkish alphabet for written communication. During the peak of Ottoman power (), words of foreign origin in Turkish literature in the Ottoman Empire heavily outnumbered native Turkish words, with Arabic and Persian vocabulary accounting for up to 88% of the Ottoman vocabulary in some texts.

Consequently, Ottoman Turkish was largely unintelligible to the less-educated lower-class and to rural Turks, who continued to use  ("raw/vulgar Turkish"; compare Vulgar Latin and Demotic Greek), which used far fewer foreign loanwords and is the basis of the modern standard. The Tanzimât era (1839–1876) saw the application of the term "Ottoman" when referring to the language (  or  ); Modern Turkish uses the same terms when referring to the language of that era ( and ). More generically, the Turkish language was called   or   "Turkish".

Grammar

Cases
 Nominative and Indefinite accusative/objective: -∅, no suffix.   'the lake' 'a lake',   'soup',   'night';   'he/she brought a rabbit'.
 Genitive: suffix  .   'of the pasha';   'of the book'.
 Definite accusative: suffix  :    'he/she brought the rabbit'. The variant suffix  does not occur in Ottoman Turkish orthography (unlike in Modern Turkish), although it's pronounced with the vowel harmony. Thus,   'the lake' vs. Modern Turkish .
 Dative: suffix  :   'to the house'.
 Locative: suffix  :   'at school',   'in (the/a) cage',   'at a/the start',   'in town'. The variant suffix used in Modern Turkish () does not occur.
 Ablative: suffix  :   'from the man'.
 Instrumental: suffix or postposition  . Generally not counted as a grammatical case in modern grammars.

Verbs
The conjugation for the aorist tense is as follows:

Structure

Ottoman Turkish was highly influenced by Arabic and Persian. Arabic and Persian words in the language accounted for up to 88% of its vocabulary. As in most other Turkic and other foreign languages of Islamic communities, the Arabic borrowings were borrowed through Persian, not through direct exposure of Ottoman Turkish to Arabic, a fact that is evidenced by the typically Persian phonological mutation of the words of Arabic origin.

The conservation of archaic phonological features of the Arabic borrowings furthermore suggests that Arabic-incorporated Persian was absorbed into pre-Ottoman Turkic at an early stage, when the speakers were still located to the north-east of Persia, prior to the westward migration of the Islamic Turkic tribes. An additional argument for this is that Ottoman Turkish shares the Persian character of its Arabic borrowings with other Turkic languages that had even less interaction with Arabic, such as Tatar, Bashkir, and Uyghur. From the early ages of the Ottoman Empire, borrowings from Arabic and Persian were so abundant that original Turkish words were hard to find. In Ottoman, one may find whole passages in Arabic and Persian incorporated into the text. It was however not only extensive loaning of words, but along with them much of the grammatical systems of Persian and Arabic.

In a social and pragmatic sense, there were (at least) three variants of Ottoman Turkish:

  (Eloquent Turkish): the language of poetry and administration, Ottoman Turkish in its strict sense;
  (Middle Turkish): the language of higher classes and trade;
  (Rough Turkish): the language of lower classes.

A person would use each of the varieties above for different purposes, with the  variant being the most heavily suffused with Arabic and Persian words and  the least. For example, a scribe would use the Arabic  () to refer to honey when writing a document but would use the native Turkish word  when buying it.

History
Historically, Ottoman Turkish was transformed in three eras:

   (Old Ottoman Turkish): the version of Ottoman Turkish used until the 16th century. It was almost identical with the Turkish used by Seljuk empire and Anatolian beyliks and was often regarded as part of  (Old Anatolian Turkish).
  (Middle Ottoman Turkish) or  (Classical Ottoman Turkish): the language of poetry and administration from the 16th century until Tanzimat.
  (New Ottoman Turkish): the version shaped from the 1850s to the 20th century under the influence of journalism and Western-oriented literature.

Language reform

In 1928, following the fall of the Ottoman Empire after World War I and the establishment of the Republic of Turkey, widespread language reforms (a part in the greater framework of Atatürk's Reforms) instituted by Mustafa Kemal Atatürk saw the replacement of many Persian and Arabic origin loanwords in the language with their Turkish equivalents. One of the main supporters of the reform was the Turkish nationalist Ziya Gökalp. It also saw the replacement of the Perso-Arabic script with the extended Latin alphabet. The changes were meant to encourage the growth of a new variety of written Turkish that more closely reflected the spoken vernacular and to foster a new variety of spoken Turkish that reinforced Turkey's new national identity as being a post-Ottoman state.

See the list of replaced loanwords in Turkish for more examples of Ottoman Turkish words and their modern Turkish counterparts. Two examples of Arabic and two of Persian loanwords are found below.

Legacy
Historically speaking, Ottoman Turkish is the predecessor of modern Turkish. However, the standard Turkish of today is essentially  (Turkish of Turkey) as written in the Latin alphabet and with an abundance of neologisms added, which means there are now far fewer loan words from other languages, and Ottoman Turkish was not instantly transformed into the Turkish of today. At first, it was only the script that was changed, and while some households continued to use the Arabic system in private, most of the Turkish population was illiterate at the time, making the switch to the Latin alphabet much easier. Then, loan words were taken out, and new words fitting the growing amount of technology were introduced. Until the 1960s, Ottoman Turkish was at least partially intelligible with the Turkish of that day. One major difference between Ottoman Turkish and modern Turkish is the latter's abandonment of compound word formation according to Arabic and Persian grammar rules. The usage of such phrases still exists in modern Turkish but only to a very limited extent and usually in specialist contexts; for example, the Persian genitive construction  (which reads literally as "the preordaining of the divine" and translates as "divine dispensation" or "destiny") is used, as opposed to the normative modern Turkish construction,  (literally, "divine preordaining").

In 2014, Turkey's Education Council decided that Ottoman Turkish should be taught in Islamic high schools and as an elective in other schools, a decision backed by President Recep Tayyip Erdoğan, who said the language should be taught in schools so younger generations do not lose touch with their cultural heritage.

Writing system

Most Ottoman Turkish was written in the Ottoman Turkish alphabet (), a variant of the Perso-Arabic script. The Armenian, Greek and Rashi script of Hebrew were sometimes used by Armenians, Greeks and Jews. (See Karamanli Turkish, a dialect of Ottoman written in the Greek script; Armeno-Turkish alphabet)

Numbers

Transliterations

The transliteration system of the  has become a de facto standard in Oriental studies for the transliteration of Ottoman Turkish texts. Concerning transcription the New Redhouse, Karl Steuerwald and Ferit Develioğlu dictionaries have become standard. Another transliteration system is the Deutsche Morgenländische Gesellschaft (DMG), which provides a transliteration system for any Turkic language written in Arabic script. There are not many differences between the İA and the DMG transliteration systems.

See also

Old Anatolian Turkish language
Culture of the Ottoman Empire
List of Persian loanwords in Turkish

Notes

References

Further reading
 English
   Online copies: , ,
  Online copies from Google Books: , ,

 Lewis, Geoffrey. The Jarring Lecture 2002. "The Turkish Language Reform: A Catastrophic Success".
 Other languages
 Mehmet Hakkı Suçin. Qawâ'id al-Lugha al-Turkiyya li Ghair al-Natiqeen Biha (Turkish Grammar for Arabs; adapted from Mehmet Hengirmen's Yabancılara Türkçe Dilbilgisi), Engin Yayınevi, 2003).
 Mehmet Hakkı Suçin. Atatürk'ün Okuduğu Kitaplar: Endülüs Tarihi (Books That Atatürk Read: History of Andalucia; purification from the Ottoman Turkish, published by Anıtkabir Vakfı, 2001).

External links

Latin to Ottoman Turkish transliteration
Ottoman Text Archive Project
Ottoman Turkish Language: Resources – University of Michigan
Ottoman Turkish Language Texts
Ottoman-Turkish-English Open Dictionary
Ottoman<>Turkish Dictionary – University of Pamukkale You can use ? character instead of an unknown letter. It provides results from Arabic and Persian dictionaries, too.
Ottoman<>Turkish Dictionary – ihya.org

Languages of Tunisia
Turkic languages
Extinct languages of Europe
Extinct languages of Asia

Ottoman Turkish


Antonio Pérez Sánchez (1918- Valencia, 26 de febrero de 2012) fue en un empresario juguetero español, fundador de Industrias Geyper.

Biografía
Crea la marca Geyper en 1945. Durante más de tres décadas, su industria juguetera fue una de las más importantes de España. Su actividad empresarial comenzó a despuntar a mediados de la década de 1950, con la salida al mercado de un walkie talkie con la estética de Flash Gordon, aprovechando el éxito del serial Diego Valor.

Geyper
Avanzada la década de 1950, ideó juegos de construcciones (Cadako), y los conocidos como Juegos Reunidos Geyper, un juego de mesa, que incorporaba, en una única caja los pasatiempos más conocidos como parchís, la oca, damas, ruleta, etc.

Geyperman
Pero quizá el referente de su trayectoria fuese el Geyperman, comercializado en 1975, entretenimiento de los niños españoles de toda una generación. Se trataba de un muñeco ideado para varones, con porte atlético y diferentes vestimentas y complementos: guerrero, explorador, marinero...

La empresa Geyper cerró sus puertas a finales de la década de 1980. En 2000 la juguetera vasca Bizak adquirió los derechos de comercialización, de nuevo, de los Geyperman y de los Juegos Reunidos Geyper, por un periodo de tres años. En la actualidad y desde el año 2011 la empresa Hobbycrash fabrica bajo licencia ediciones para coleccionismo de las figuras Geyperman.

Geyperman fue el muñeco de acción de escala 1/6 (30 cm.) de venta entre los años 70 y finales de los 80. La casa Geyper lo fabricó bajo licencia de Hasbro (juguetera estadounidense), basado en GI Joe.
 G.I. (Government Issue): sintagma nominal que se refiere a cualquier cosa que tenga que ver con el ejército.
 Joe: apodo de los soldados estadounidenses en la Segunda Guerra Mundial.

GI Joe fue inicialmente un cómic para los soldados USA de la Segunda Guerra Mundial y, posteriormente, una serie de televisión, que terminó atrayendo a la compañía juguetera Hasbro, tras el éxito de la película «The Story of GI Joe».

Originalmente, con GI Joe se pretendía emular el éxito obtenido por Barbie entre las niñas de la época con un «soldado articulado» en 21 puntos.

El 2 de febrero de 1964 salieron al mercado las primeras cuatro figuras de acción, cada una representando una rama del ejército (infantería, marinero, infante de marina y piloto de la fuerza aérea).

La casa Geyper fabricó el Geyperman bajo licencia de Hasbro, al igual que sucedió en otros países, todos basados en el GI Joe.
 GI Joe, de Hasbro (Estados Unidos)
 Action Man, de Palitoy (Reino Unido)
 Geyperman, de Geyper (España)
El cuerpo de Geyperman fue una evolución del cuerpo de Action Man y de GI Joe. Hay tres tipos de cuerpos diferentes, que fueron la evolución hasta el definitivo. Las manos flexibles fueron un invento de Action Man (1973), que GI Joe adoptó para su mercado, con la montura diferente y finalmente adoptado por Geyperman. El pelo también fue un invento de Action Man (1970).

Geyper fabricó Geyperman, clasificándolos en varios grupos, dependiendo del tipo de uniforme y accesorio:
 Soldados del mundo
 Aventureros del mundo
 El Lejano Oeste

Referencias
 Muere el padre de Geyperman y el 'walkie-talkie' de juguete Diario El Mundo, 27 de febrero de 2012
 Muere Antonio Pérez Sánchez, fundador de los Juguetes Geyper La Vanguardia, 27 de febrero de 2012
 Antonio Pérez Sánchez, creador del geyperman. Diario El País, 27 de febrero de 2012
 Fallece Antonio Pérez Sánchez, padre de los Geyperman y los Juegos Reunidos. Diario ABC, 27 de febrero de 2012

Empresarios de la Comunidad Valenciana

Antonio Pérez Sánchez


Benincasa hispida, the wax gourd, also called ash gourd, white gourd, winter gourd, winter melon, tallow gourd, ash pumpkin, Chinese preserving melon is a vine grown for its very large fruit, eaten as a vegetable when mature. It is the only member of the genus Benincasa.

It is native to South and Southeast Asia. The wax gourd is widely grown throughout Asia, including Java and Japan, the places where it is thought to have originated.

One variety of the plant, called chi qua (Benincasa hispida var. chieh-qua), is commonly used in Asian cuisine.

Etymology
The name "winter melon" that is sometimes given to this plant is based on the Chinese name  (); however, the character  () can also mean "gourd" or "squash". It is likely that the name "melon" is given because this gourd is sometimes candied or made into a sweet tea.

The name "wax gourd" comes from the wax coating in the fruit's skin.

Description
The plant grows thick vines with coarse and hairy stems. It has large, rough leaves with a width between  long.

In early summer from June to September, golden yellow flowers form in the leaf axils.

Fruit
After they are fertilized, they bear spherical fruits 50–60 cm long by 10–25 cm wide; young fruits are covered with soft fuzzy hairs which eventually disappear and develop a waxy coating that gives it the fruit a long shelf life of up to a year.

The melon may grow as large as 80 cm in length. The fruit has thick flesh that is sweet, crisp and juicy; it has white or yellow seeds.

Cultivation
It is grown in well-drained loam and sandy soils in warm, mild climates, and will not tolerate frosts. It is grown in riverbeds or furrows, and needs constant irrigation during the growing season.

Uses

Culinary
The wax gourd can be stored for many months, much like winter squash. Ash gourds of the Indian subcontinent have a white coating with a rough texture (hence the name ash gourd). Southeast Asian varieties have a smooth waxy texture. It is one of the few vegetables available during winter in areas of deciduous vegetation. In India, the wax gourd is recognized for its medicinal properties in the Ayurvedic system of medicine. It also has significance in spiritual traditions of India and Yoga, where it is identified as a great source of prana.

In Cambodia, it is known as tralach (), and used in soup and stews in Cambodian cuisine. It is commonly used to make samlor tralach, which is winter gourd and pork soup, or stuffed pork in the gourd.

In Chinese cuisine, the gourds are used in stir fries or combined with pork or pork/beef bones to make winter gourd soup, often served in the scooped out gourd, carved by scraping off the waxy coating. It is also chopped and candied as wintermelon candy (dōng guā táng), commonly eaten at New Year festivals, or as filling for Sweetheart cake (lǎopó bǐng). It has also been used as the base filling in Chinese and Taiwanese mooncakes for the Moon Festival.

In Vietnamese cuisine, it is called bí đao, and is usually used to make soup or stew. When cooked with pork short ribs, the resulting soup is traditionally thought to help produce more milk for breastfeeding mothers.

In the Philippines, it is candied (referred to plainly as kundol) and is used as a pastry filling for hopia. It is also an ingredient in some savory soups (sabaw) and stir-fries (guisado).

In Indian cuisine it is traditionally used to prepare a wide variety of dishes. In northern India it is used to prepare a candy called petha. In South Indian cuisine, it is traditionally used to make a variety of curries, including a stew made with a yogurt base. The juice of the raw ash gourd (Maipawl or Khar) is used by the Mizo community and indigenous Assamese ethnicities of North-East India as a natural remedy to treat mild to severe dysentery. In north India, particularly in the middle Himalayas, it is paired with pulses such as moong which, when crushed, along with winter gourd, make a dish locally called bori. When dried in sunlight it becomes somewhat hard and is used in curry dishes and eaten with rice or chapati. This practice is especially prevalent in the Himalayas due to the long shelf life of the resulting product.

In western Bihar as well as eastern Uttar Pradesh, it is called bhathua (भथुआ). In Sri Lanka, it is called puhul (පුහුල්) and alu puhul (අළු පුහුල්). In Andhra Pradesh, it is called Boodida Gummadikaya (బూడిద గుమ్మడికాయ) (Telugu). It is used to make stews, stir fries and vadialu. Vadialu are made by chopping the gourd in small pieces and mixing with ground urad beans and spices, then sun-drying. To eat, vadialu are deep fried in oil and eaten as an accompaniment to rice and sambar or lentil stews.

In Kerala, the plant is called Kumbalam (കുമ്പളം) and the fruit is called Kumbalanga (കുമ്പളങ്ങ) or Kooshmandam (കൂശ്മാണ്ടം). It is traditionally used to offer 'Guruthi' (ഗുരുതി) instead of 'Kuruti' (കുരുതി) among Malayali Brahmins. Thus, instead of offering someone's life in the pyre, an ash gourd is cut into two as a symbolic performance in lieu of human sacrifice.

In Karnataka, the ash gourd is known as Boodu Kumbalakaayi (ಬೂದು ಕುಂಬಳಕಾಯಿ) (Kannada) and Boldu Kumbda in Tulu, and is used to prepare dishes like Kodel (Sambhar), Ale bajji, Kashi Halwa and chutney.
It is widely used during Dasara and other festivities while performing pooje.

In Maharashtra, the ash gourd is known as Kohalaa in Marathi language, Kohala is used to prepare a sweet dish called Kohalyachi Vadee (Burfi), it is also used to preparing (Sambhar).

In Gujarat, it is called kolu (કોળુ).

In Bengal, it is called "ChaalKumro" (চালকুমড়ো ). There are various dished made with it, viz., ChalKumro'r Bora, Chalkumro ghonto, Chalkumror dudh curry,  with mung dal, etc.

In Odisha it is called (ପାଣି କଖାରୁ), it is used in various types of recipe all over Odisha. It is the main ingredient to prepare a very tasty candy like food (ବଡ଼ି) for curry or as a supplement mainly with watered rice.

In Nepal, where it is called Kubhindo, it is cooked as a vegetable when young, but the ripe gourds are usually made into preserves or crystallized candy known as "murabba" or "petha".

Occasionally, it is used to produce a fruit drink with a distinctive taste. It is usually sweetened with caramelized sugar. In Southeast Asia, the drink is marketed as wax gourd tea or wax gourd punch.

The shoots, tendrils, and leaves of the plant may also be eaten as greens.

The ash gourd is also used by Hindus as a sacrificial offering in lieu of animal sacrifice. The gourd is marked with vermillion and split in two with a sword.

2020 mystery seed mail
In summer of 2020, several states across the U.S. reported mysterious, unsolicited packages containing unknown and unidentified seeds of various kinds - the envelopes presented Chinese text in many cases.  At least one person planted one type of these seeds, which grew and was analyzed before state officials destroyed the plant. This proved to be Benincasa hispida.

Gallery

References

External links

Benincaseae
Flora of Nepal
Fruit vegetables
Medicinal plants
Melons

Filipino cuisine

Wax gourd


Webster's Corners est une communauté située dans la province de la Colombie-Britannique, dans le sud-ouest.

Liens externes

Notes et références

Municipalité en Colombie-Britannique

Webster's Corners


Entravision Communications Corporation is an American media company based in Santa Monica, California. Entravision primarily caters to the Spanish-speaking Hispanic community and owns television and radio stations and outdoor media, in several of the top Hispanic markets. It is the largest affiliate group of the Univision and UniMás television networks. Entravision also owns a small number of English-language television and radio stations.

History
On August 4, 2006, Entravision sold five of its radio stations in the Dallas–Fort Worth area to Liberman Broadcasting. On May 16, 2008, the company sold its outdoor media division, whose operations were primarily based in New York and Los Angeles, to Lamar Advertising Company.

In 2007, Entravision Communications Corporation acquired Spanish-language radio station WNUE-FM serving the Orlando, Florida, market from Mega Communications for an aggregate purchase price of approximately $24 million.

On 2018, Entravision acquired Barcelona based DSP Smadex.

In October 2020, the company announced the acquisition of a majority stake in Latin American digital media company Cisneros Interactive from Grupo Cisneros.

Business
The company owns multiple radio and television stations, and a sales and marketing business.

Radio

Television

Other holdings
 Entravision Solutions (50 percent) – National spot radio advertising representative specializing in Spanish-language stations; co-owned with Lotus Communications.

Formerly owned media properties
 New York City – El Diario La Prensa (now owned by ImpreMedia)
 Dallas/Fort Worth, Texas – KTCY 101.7 FM (Sold to Liberman Broadcasting)
 Dallas/Fort Worth, Texas – KRVA La Buena 1600 (Sold to Mortenson Broadcasting)
 Dallas/Fort Worth, Texas – KZMP Radio Saalam Namaste FM 104.9/AM 1540 (Sold to Liberman Broadcasting)
 Dallas/Fort Worth, Texas – KZZA Casa 106.7 FM (Sold to Liberman Broadcasting)
 San Jose, California – KBRG 100.3 FM "Radio Romántica" (Sold to Univision)
 San Jose, California – KLOK 1170 AM (Sold to Univision)
 Salinas, California - KCBA (sold to News-Press & Gazette Company)
 New York, New York – Vista Media Group, an outdoor advertising division (Sold to Lamar Advertising Company)
 Reno, Nevada – KNVV-LP (license cancelled by FCC May 23, 2014)
 Tampa, Florida – WVEA-LP (license cancelled by FCC April 22, 2015)
 Denver, Colorado – KDVT-LP (license cancelled by FCC September 13, 2017)
 Albuquerque, New Mexico – KTFA-LP (license cancelled by FCC January 17, 2018)
 Las Vegas, Nevada – KMCC (Sold to Ion Media Networks on April 3, 2020)
 Mesquite, etc., Nevada - KWWB-LP (license cancelled by FCC July 10, 2021)
 San Diego, California – KTCD-LP (license cancelled by FCC on August 9, 2021)
 Orlando, Florida - WNUE-FM (Sold to Radio Training Network on July 20, 2021)
 Houston, Texas - KGOL (Sold to FM Media Ventures on August 30, 2021)
 McAllen, Texas - XHRIO-TDT (license cancelled by IFT December 31, 2021)
 El Centro, California - KWST (Sold to El Sembrador Ministries on May 26, 2022)

References

Univision
Mass media companies established in 1996
Companies listed on the New York Stock Exchange
Radio broadcasting companies of the United States
Television broadcasting companies of the United States
Companies based in Santa Monica, California
Entravision Communications stations
2018 mergers and acquisitions

Entravision Communications


Der GSSP Pleistozän/Holozän ist ein stratigraphisches Referenzprofil, das die Grenze zwischen dem Pleistozän und dem Holozän festlegt. Im Gegensatz zu anderen GSSPs, die in marinen oder terrestrischen Sedimentabfolgen liegen, dient in diesem Fall der Eisbohrkern-2 des North Greenland Ice Core Project (NGRIP) als Referenzprofil. Die Grenze wurde auf 11700 Jahre vor dem Jahr 2000 (b2k) datiert. Der Bohrkern wird am Niels-Bohr-Institut für Astronomie, Physik und Geophysik der Universität Kopenhagen aufbewahrt.

Geschichte
Der GSSP Pleistozän/Holozän, auch GSSP Holozän, war 2004 von einer Arbeitsgruppe bestehend aus Mitgliedern der Subcommission on Quaternary Stratigraphy (SQS) und dem INTIMATE-Projekt (engl. Abkürzung für Integration of ice-core, marine and terrestrial records – Integration sedimentärer Aufzeichnungen in Eisbohrkernen, marinen und terrestrischen Abfolgen) vorgeschlagen worden. Dieser Vorschlag wurde 2008 von der International Union of Geological Sciences (IUGS) ratifiziert. Wissenschaftlich beschrieben wurde der GSSP zum ersten Mal von Mike Walker u. a. im Jahr 2009.

Beschreibung und Definition

Die NGRIP-Bohrung erfolgte zwischen 1996 und 2003 im nordgrönländischen Eisschild auf 75,10° nördlicher Breite und 42,3° westlicher Länge. Die Bohrung durchfuhr insgesamt 3085 Meter an Eis, bevor sie auf anstehendes Gestein traf. Datierungen ergaben, dass die beiden gezogenen Kerne die letzten 123000 Jahre BP dokumentieren und somit bis ins letzte Interglazial (Eemium) zurückreichen.

Die Basis des Holozäns befindet sich bei 1492,45 Bohrmetern im obersten Abschnittes des NGRIP2-Kerns und ist als diejenige Eislage definiert, ab der das Eis deutlichste Signale für eine Klimaerwärmung liefert. Dieses klimatische Ereignis markiert im ausgehenden Pleistozän das Ende der Jüngeren Dryas bzw. des Grönlandstadials 1.

Die Klimaerwärmung äußert sich durch folgende physiko-chemikalische Veränderungen im Grönlandeis:
 eine Zunahme schwerer Sauerstoffisotope (d. h. höhere δ18O-Werte)
 eine Zunahme schweren Wasserstoffs (δ D-Werte) bei gleichzeitigem Rückgang im Deuteriumüberschuss d
 niedrigere Staubkonzentration (im ppb-Bereich), erkennbar an der abfallenden elektrischen Leitfähigkeit
 signifikante Änderungen in den Verhältnissen der im Eis gelösten Stoffe, darunter ein Rückgang der Natriumkonzentration und folglich des Meersalzgehaltes
 eine Zunahme der Mächtigkeit der jährlichen Eisschichten.

Diese Änderungen spiegeln einen einschneidenden Umschwung im Muster der atmosphärischen Zirkulation wider, der zu Beginn des Holozäns mit einer Temperaturerhöhung um 10 °C im Arktisbereich einherging. Der beobachtete Rückgang im Deuteriumüberschuss von 2 bis 3 ‰ deutet paradoxerweise auf ein Absinken der Ozeantemperaturen um 2 bis 4 °C im Verdunstungsgebiet, der sich jedoch durch eine abrupte Nordwärtsverschiebung der Polarfront erklären lässt. Er dokumentiert die Verschiebung des eiszeitlichen Verdunstungsgebietes in mittleren Breiten des Atlantiks zu wesentlich kühleren nördlichen Breiten mit Einsetzen des Holozäns.

Absolute Datierung
Der GSSP Pleistozän/Holozän wurde auf 11700 Jahre vor dem Jahr 2000 datiert. Diese Datierung erfolgte auf indirektem Weg unter Zuhilfenahme einer dünnen Lage Vulkanasche, die in sämtlichen Eiskernen Grönlands vorkommt und deren Alter im Dye-3-Eiskern radiometrisch mit 8236 ± 47 Jahren b2k ermittelt wurde. Ausgehend von dieser Zeitmarke (im stratigraphischen Fachvokabular Datum genannt) wurde das Alter des GSSP schließlich durch einfaches Abzählen der im Schnitt 20 cm mächtigen jährlichen Eisschichten bestimmt.

Der GSSP wird zudem von zwei Vulkanaschelagen flankiert, der jüngeren Saksunarvatn-Tephra in 1409,83 Meter Tiefe und der älteren Vedde-Asche in 1506,14 Meter Tiefe. Die Saksunarvatn-Tephra lieferte ein Alter von 10347 Jahren b2k und die Vedde-Asche ein Alter von 12171 Jahren b2k. Die beiden Aschelagen sind über den gesamten Nordatlantikraum verbreitet und finden sich in marinen und terrestrischen Sedimenten wieder.

GSSP-Stellvertreter

Komplementär zum NGRIP-Bohrkernprofil wurden mehrere terrestrische und ein mariner Stellvertreter vorgeschlagen:
 Eifelmaare: Holzmaar und Meerfelder Maar in Deutschland:Die beiden 17 bis 18 Meter tiefen Maare zeichnen sich durch deutliche Warvenschichtung in ihrem Bodensediment aus. Bohrungen ergaben für den Übergang zum Holozän, der sich in beiden Seesedimenten durch markante sedimentologische und floristische Veränderungen in der Pollenzusammensetzung zu erkennen gibt, für das Holzmaar ein Alter von 11600 Warvenjahren BP und für das Meerfelder Maar 11590 Warvenjahre BP.
 Splan Pond (auch Basswood Road Lake) in Nordostkanada (New Brunswick)In dem 10,8 Meter tiefen See wurden mehrere, bis 6,5 Meter lange Bohrprofile gezogen, in denen sich die Pleistozän/Holozängrenze sehr deutlich erkennen lässt. Die Jüngere Dryas wird durch eine 55 bis 80 Zentimeter dicke, graue Tonlage repräsentiert, die an der Grenze zum Holozän abrupt in eine dunkelbraune Gyttja übergeht. Gleichzeitig erfolgt ein deutlicher Anstieg im organischen Kohlenstoffgehalt Corg von <5 auf über 30 %. Die Pollenzusammensetzung zeigt bei Gräsern einen Rückgang von 30 auf 15 %, gleichzeitig verzeichnen Baumpollen einen starken Anstieg (insbesondere das Taxon Picea, das von 7 auf 40 % anwächst). Die Diatomeen verzeichnen ebenfalls einen spürbaren Anstieg. Bei den Chironomiden lässt sich ein jäher Übergang von Kaltformen wie Heterotrissocladius zu Warmformen wie Dicrotendipes beobachten. Ein auf der Zusammensetzung der Chironomidentaxa beruhendes Temperaturmodell legt einen Temperaturanstieg von 10 °C nahe. Datierungen mit der Radiokohlenstoffmethode ergaben für die Grenze eine Zeitspanne von 11385 bis 11981 Jahren BP.
 Suigetsu-See in JapanDer 37 Meter tiefe, bei Tsuruga am Japanischen Meer gelegene See tektonischen Ursprungs enthält eine 73,5 Meter mächtige, lakustrine Sedimentfolge, deren oberste 40 Meter Jahreslagen aufweisen und die letzten 50.000 Jahre dokumentieren. Die Pleistozän/Holozängrenze wurde im SG3-Bohrkern in 13,91 Meter Tiefe angetroffen. Eine auf Pollendaten beruhende Temperaturrekonstruktion zeigt an der Grenze einen jähen Anstieg, begleitet von einem drastischen Rückgang des Fagus-Pollens von 40 auf 20 %. Die Grenze wurde mittels der Radiokohlenstoffmethode an Pflanzenresten auf 11552 ± 88 Kalenderjahre BP datiert.
 Lake Maratoto in NeuseelandLake Maratoto, 12,5 Kilometer südlich von Hamilton, gehört zu einer Gruppe von 30 kleineren Seen in der Waikato-Tiefebene, die vor rund 20000 Jahren durch Aggradation des Waikato River auf der Nordinsel Neuseelands entstand. Der See enthält eine vollständige Sedimentfolge, die bis ins letzte glaziale Maximum zurückreicht. Die Lage der Pleistozän/Holozängrenze kann mittels Tephro- und Pollenstratigraphie ermittelt werden. Sie befindet sich in unmittelbarer Nähe der andesitischen Konini-Tephra des Mount Egmont, die auf 11720 ± 220 Kalenderjahre BP datiert wurde.
 Cariaco-Becken nördlich von Venezuela Das südöstlich der Isla La Tortuga gelegene Cariaco-Becken ist aufgrund eingeschränkter Tiefenwasserzirkulation und hoher organischer Produktionsrate an der Oberfläche ab 300 Meter Wassertiefe anoxisch. Die Beckensedimente bauen sich aus warvenähnlichen, laminierten Wechsellagen auf, die den Wechsel von einer windreichen Trockenzeit mit küstennahem Auftrieb zu einer windfreien Regenzeit dokumentieren. Die Dicke der hellen Lagen kann hierbei stellvertretend für die Parameter organische Produktivität, Auftrieb und Passatwindstärke herangezogen werden. Es ergab sich, dass die registrierten Änderungen im Sediment des Cariaco-Beckens nahezu identisch mit den Parameteränderungen in den Eisbohrkernen Grönlands verliefen – der rasche, nur 6 Jahre benötigende Klimaumschwung an der Wende zum Holozän war somit in diesen beiden weit auseinander liegenden Regionen nahezu synchron erfolgt. Dies erklärt sich möglicherweise durch eine Koppelung der Passatwindstärke mit dem Nord-Süd-Temperaturgefälle im Nordatlantik. Der Klimaumschwung im Cariaco-Becken wurde im Bohrkern PL07-58PC auf 11578 ± 32 Kalenderjahre BP datiert.

Einzelnachweise

Chronostratigraphie
Quartär
Geographie (Grönland)

GSSP Pleistozän/Holozän


En antennetuner eller ATU (fra engelsk antenna tuning unit omtrent dansk "antennetilpasningsenhed") er en enhed, som kan kobles mellem en radiosender, radiotransceiver eller/og sjældnere radiomodtager - og transmissionslinjen, eller bedre mellem transmissionslinjen og radioantennen.

En antennetuner kaldes også: Antenna Matching Unit, Aerial Matching Unit (AMU), matchbox, transmatch, antenna coupler, Antenna Coupling Unit (ACU), Antenna System Tuning Unit (ASTU), Antenna System Correction & Tuning Unit (ASCTU).

Formål og placering
En antennetuners formål er impedanstilpasning af antennens impedans til radiosenderens ønskede belastningsmodstand. I langt de fleste tilfælde er transmissionslinjens karakteristiske impedans lig radiosenderens ønskede belastningsmodstand. Hvis antennetuneren sættes mellem radiosenderen og transmissionslinjen, vil mistilpasningen mellem transmissionslinjen og antennen skabe stående bølger i transmissionslinjen og resultatet er øget effekttab i denne og i radiosenderen. Derfor er det bedst at sætte antennetuneren mellem transmissionslinjen og antennen (udendørs).

Hvis transmissionslinjen var tabsfri og kan tåle de højere strømme og spændinger, ville det være lige meget hvor antennetuneren blev isat. Formålet med antennetuneren er, at forbedre tilpasningen mellem radio og transmissionslinjen og/eller radioantenne. Antennens virkningsgrad eller udstrålingsdiagram bliver ikke ændret (fx forbedret) af antennetuneren. Dog vil fraværet af en balun typisk kunne ændre udstrålingsdiagrammet til det værre. Men systemet bestående af radiosender, transmissionslinje og en utilpasset radioantenne, bliver forbedret af en antennetuner, da radiosenderens miljø kan blive optimal, hvilket betyder, at radiosenderen kan aflevere langt det meste af den ønskede sendeeffekt til radioantennen.

En kommunikationsradio og transmissionslinje har sædvanligvis en fast impedans (typisk 50 ohm), som gælder et stort spektre af frekvenser, men antenner har kun den bestemte ønskede impedans ved resonansfrekvensen og typisk helt andre impedanser ved andre frekvenser. En antennetuner kan omdanne impedansen sådan at kommunikationsradioen "oplever", at impedansen er rigtig for et større frekvensspektre, sådan at samme antenne kan benyttes for et større spektre af frekvenser. Antennetuneren skal typisk justeres hver gang frekvensen ændres noget.

Simpel bredbåndstilpasning
Radiofrekvens transformatorer og autotransformatorer bliver nogle gange indlejret i design af smalbåndsantennetunere og antennekabelforbindelser. Transformatorer har typisk kun lille effekt på en antennes eller en smalbåndssenders kredsløb, men de kan gøre at antennetuneren bedre kan tilpasse impedanser.

Baluner har typisk også kun lille effekt på antennens eller en smalbåndssenders kredsløb, men de kan gøre at antennetuneren kan omforme mellem balanceret og ubalanceret kabling når nødvendig. En balun (eller fraværet af denne) vil påvirke antennens virkningsgrad eller udstrålingsdiagram.

Antennetilpasningsmetoder, som anvender transformatorer, kan typisk dække flere oktaver af frekvenser. En kommerciel kortbølge balun kan fx dække 3,5–30 MHz - dvs næsten hele kortbølgebåndet.

Smalbåndstilpasning
"Smalbånd" metoderne beskrevet herefter favner kun et mindre frekvensinterval (for hver justering), i modsætning til bredbåndsmetoderne beskrevet ovenfor.

Tilpasning med L-netværk
Et elektrisk netværk bestående af input, output - og en serie reaktiv komponent mellem input og output - og en parallel reaktiv komponent over enten input og output - kaldes et "L"-netværk. De to reaktive komponenter udgøres af kondensatorer og spoler (to i alt). Dette kredsløb er vigtigt, da mange automatiske antennetunere anvender det.

Dette kaldes et "L"-netværk fordi de to reaktive komponenter former et "L" roteret og/eller spejlet.

Typer af L-netværk og deres brug

L-netværk kan have otte forskellige konfigurationer, seks af dem er vist her.

En generel regel (med nogle undtagelser) er at L-serieelementets enlige ende går til siden med den laveste impedans.

Denne generelle regel gælder kun for resistive belastninger, med kun lidt reaktans. I de tilfælde hvor belastningen er overvejende reaktiv, såsom en antenne tilført et signal med frekvenser langt fra enhver antenneresonans, kan en anden konfiguration være nødvendig.

Et (evt. roteret og/eller spejlet) L-LC-netværk (fire styk ialt) er det simpleste kredsløb, hvormed man kan tilpasse en belastning med reaktans og resistanstransformation. Desuden kan man analytisk beregne eller måle sig frem til den mest effektive L-LC-netværkskonfiguration. Derfor er et (evt. roteret og/eller spejlet) L-LC-netværk bedre egnet til automatiske (og manuelle) antennetunere, når anvendt med R (resistans), jX (fase eller reaktans) og G (ledningsevne) nul-visere.

En antennetuner baseret på L-LC-netværk er mest effektiv i langt de fleste tilfælde.

Tilpasning med transmissionslinje
En antennetuner kan udgøres af en serie (typisk balanceret) transmissionslinje længder mellem input og output - og en mængde firedobbelpolede omskiftere som skifter en given transmissionslinje længde ind eller ud af signalvejen. For en given signalfrekvens vil antennetuner kunne tilpasse en antennes impedans til fx 50 ohm. En separat balun anvendes til at omsætte fra fx 50 ohm ubalanceret - og 50 ohm balanceret.

Andre tilpasningsnetværk

Der findes mange andre (meget kendte) antennetuner tilpasningsnetværk som kan anvendes, men de fleste af dem har ikke analytiske eller entydige løsninger og er derfor ikke specielt egnet til automatiske antennetunere - og giver hermed mulighed for ineffektive (ikke-optimale) tilpasninger ved automatisk og manuel justering. Eksempler på andre tilpasningsnetværk: π-netværk, L-match, T-match, reciprok L-netværk, differentiel-T-match, "Ultimate"-Transmatch, SPC-Transmatch.

Som nævnt ovenfor er et (evt. roteret og/eller spejlet) L-LC-netværk bedre egnet til automatiske og manuelle antennetunere, når anvendt med R (resistans), jX (reaktans) og G (ledningsevne) nul-visere.

Avanceret engangsbredbåndstilpasning
Det kan lade sig gøre at måle en antennes impedans som funktion af frekvensen - og så designe en bredbåndsantennetuner som kobles til antennen. Dette system af antenne og bredbåndsantennetuner behøver ingen efterfølgende justering og systemet er hermed gjort bredbåndet. Via systemet kan man sende kanaler med stor båndbredde eller springe mellem mange frekvenser uden genjustering.

Kilder/referencer

Radioteknik

Antennetuner


El trepamusgos barbablanca andino (Pseudocolaptes boissonneautii), también denominado barbablanca rayada (en Ecuador), barba-blanca rayado (en Perú), corretroncos cuelliblanco (en Colombia) o cotí blanco (en Venezuela), es una especie de ave paseriforme de la familia Furnariidae. Es nativa del norte y noroeste de América del Sur.

Distribución y hábitat
Se distribuye desde las montañas costeras de Venezuela, hacia el sur a lo largo de los Andes de Colombia, Ecuador, Perú, hasta el centro de Bolivia.

Esta especie es considerada de poco común a localmente bastante común en su hábitat natural, las selvas húmedas montanas andinas y sus bordes, principalmente entre los 1800 y los 3100 m de altitud.

Descripción
Mide alrededor de 22 cm de longitud y pesa 48 g. Tiene una larga cola de color rojizo brillante. La cabeza tiene una corona de color ante rayadas de color marrón oscuro y una lista pálida en los ojos. Las mejillas lucen un penacho de plumas blancas de color ante. La garganta es blanca y las partes inferiores son de color marrón oliva con manchas difusas en el pecho. Ambos sexos son similares.

Comportamiento
Se presenta como un reproductor residente en los bosques de montaña húmeda con muchas epífitas. Coloca sus huevos blancos en un viejo nido recuperado de pájaro carpintero o en los hoyos de los árboles. Uno de los padres, probablemente la hembra, incuba el huevo blanco en un periodo de 29 días.

Sistemática

Descripción original
La especie P. boissonneautii fue descrita por primera vez por el naturalista francés Frédéric de Lafresnaye en 1840 bajo el nombre científico «Anabates boissonneautii»; la localidad tipo es: «Bogotá».

Etimología
El nombre genérico masculino «Pseudocolaptes» deriva del griego «pseudos»: falso, otro, y «kolaptēs, kolaptō»: picador, que pica; significando «falso picador o falso carpintero»;  y el nombre de la especie «boissonneautii», conmemora al ornitólogo francés Auguste Boissonneau (1802-1883). Algunos autores, como Aves del Mundo (HBW) y Birdlife International consideran que la escrita correcta del nombre debería ser boissoneauii, y así lo adoptan.

Taxonomía
A veces fue considerada conespecífica con Pseudocolaptes lawrencii, incluyendo P. johnsoni. La subespecie auritus es más similar a P. lawrencii de lo que lo es con la nominal boissonneauii; son necesarios análisis vocales. La forma propuesta orientalis es un sinónimo de oberholseri, e intermedianus también podría no distinguirse. La forma propuesta pallidus (del noroeste de Perú) es inseparable de medianus.

Subespecies
Según la clasificación del Congreso Ornitológico Internacional (IOC) se reconocen ocho subespecies, con su correspondiente distribución geográfica:

 Pseudocolaptes boissonneautii meridae , 1917 – Serranía del Perijá y Andes del noroeste de Venezuela (Trujillo, Mérida, Táchira) y noreste de Colombia (Andes orientales al sur hasta Boyacá).
 Pseudocolaptes boissonneautii striaticeps , 1912 – cordillera de la Costa del norte de Venezuela (Yaracuy, y Carabobo al este hasta Miranda).
 Pseudocolaptes boissonneautii boissonneauii (, 1840) – Andes de Colombia (cordilleras occidental y central, y cordillera oriental al sur desde Cundinamarca).
 Pseudocolaptes boissonneautii oberholseri , 1919 – Andes de Ecuador (ambas pendientes).
 Pseudocolaptes boissonneautii intermedianus , 1923 – pendiente occidental de los Andes del noroeste de Perú (Piura, noroeste de Cajamarca).
 Pseudocolaptes boissonneautii medianus , 1919 – Andes peruanos del norte hacia el sur hasta el río Marañón (sur de Cajamarca, y Amazonas hacia el sur hasta San Martín).
 Pseudocolaptes boissonneautii auritus (, 1844) – pendiente oriental de los Andes del centro de Perú (La Libertad al sur hasta el norte de Puno).
 Pseudocolaptes boissonneautii carabayae , 1936 – pendiente oriental de los Andes desde el sur de Perú (sur de Puno) hacia el sur hasta el centro de Bolivia (al este hasta el oeste de Santa Cruz).

La clasificación Clements Checklist v.2018 también lista las subespecies orientalis y pallidus como válidas.

Referencias

   Birds of Venezuela. ISBN 0-7136-6418-5

Enlaces externos

 Videos, fotos y sonidos de  Pseudocolaptes boissonneauii en The Internet Bird Collection.
 Sonidos y mapa de distribución de Pseudocolaptes boissonneautii en xeno-canto.

boissonneautii
Taxones descritos por Frédéric de Lafresnaye
Animales descritos en 1840
Aves de América del Sur

Pseudocolaptes boissonneautii


Deseti križarski rat može značiti

 Aleksandrijski križarski rat (1365.)
hiperbolizirano, razne moderne vojne kampanje u Levantu i na Bliskom istoku
 Libanonski građanski rat
 rat protiv terorizma pod administracijom Georga W. Busha, (Deseti križarski rat (CounterPunch))

Deseti križarski rat


الموسوعة الطبية هي محاولة لتوثيق وجمع المعرفة طب. عن جودة الحياة العامة والجوانب المختلفة التي تؤثر عليها بوجه عام، وصحة الإنسان بوجه خاص .كما يشمل الموقع على الاساليب التي ينبغى على كل شخص اتباعها لكى يضمن تحقيق جودة حياته بالمستوى الذي ينشده ويرضى رغباته ومنها: اتباع أساليب التغذية السليمة، واللياقة، بالإضافة إلى الاساليب الوقائية المختلفة للحماية من مخاطر الامراض، وكيفية اعداد النشء على أسس ومفاهيم حديثة معنويا ونفسيا وجسديا .

اقرأ أيضا
أطلس البروتين البشري

أطلس جينوم السرطان

مراجع

معدات طبية
مواقع ويب صحية
موسوعات

موسوعات في الطب

موسوعة طبية


Hertugdømmet Bayern var en tysk stat, der eksisterede fra 1180 til 1623, da den blev omdannet til Kurfyrstendømmet Bayern. Hertugdømmet blev regeret af medlemmer af Huset Wittelsbach.

Delt i mindre hertugdømmer
I lange perioder var landet delt i en række mindre delhertugdømmer. De vigtigste var: Hertugdømmet Oberbayern, hertugdømmet Niederbayern, hertugdømmet Bayern-Landshut, hertugdømmet Straubing-Holland (omfattede området ved Straubing i det nuværende Bayern samt grevskaberne Holland, Seeland og Hennegau nær Nordsøen), hertugdømmet Bayern-Ingolstadt og hertugdømmet Bayern-München.

Tidligere baierske stammehertugdømmer
Stammehertugdømmet Baiern eksisterede i to perioder mellem år 550 og år 1180.

I perioder grænsede stammehertugdømmet op til Adriaterhavet, dvs., at hertugdømmet (udover det nuværende Bayern) også omfattede nutidens Østrig, dele af Slovenien og dele af Nordøst-Italien.

Den 17. september 1156 udstedte kejser Frederik Barbarossa Privilegium Minus, der gav Østrig selvstændighed i forhold til Baiern. Selvstændigheden opfattede dog kun en mindre del af nutidens Østrig.

I år 1180 mistede Henrik Løve stammehertugdømmerne Baiern og Sachsen, og Hertugdømmet Bayern opstod.

Kurfystendømme, kongerige og fristat
Bayern var kurfyrstendømme i 1623–1806 og kongerige i 1806–1818. I 1918–1920 blev landet omdannet til en fristat (dvs. en republik).

Regerende hertuger af Bayern
 Stephan 2. af Bayern, regerede sammen med sine brødre i 1347–1375
 Johan 2. af Bayern-München, regerede 1375–1397
 Ernst af Bayern-München, regerede 1397–1438
 Albrecht 3. af Bayern-München, regerede 1438–1460
 Albrecht 3. var far til Elisabeth af Bayern (1443-1484), gift med kurfyrste Ernst af Sachsen. De blev forældre til Christine af Sachsen, der giftede sig med kong Hans af Danmark, Norge og Sverige
 Albrecht 4. af Bayern-München, regerede Bayern-München i 1465–1505 og hele Bayern i 1505–1508
 Vilhelm 4. af Bayern, regerede i 1508–1550
 Albert 5. af Bayern, regerede i 1550–1579
 Vilhelm 5., hertug af Bayern, regerede i 1579–1597

Titulære hertuger af Bayern
I 1918 blev kong Ludwig 3. af Bayern fordrevet. Efter hans død i 1921 blev sønnen Rupprecht, kronprins af Bayern overhoved for Huset Wittelsbach. Efter kronprins Rupprechts død i 1955 har hans efterkommere (slægtens overhoveder) genoptaget titlen Hertug af Bayern.
 Albrecht, hertug af Bayern (på tysk: Albrecht Herzog von Bayern), tronprætendent i 1955–1996
 Franz, hertug af Bayern (på tysk: Franz Herzog von Bayern), tronprætendent fra 1996

Titulære hertuger i Bayern
Kort tid efter at Maximilian 1. Joseph af Bayern var blevet kurfyrste af Bayern i 1799 tildelte han sin søster og svoger titlerne hertuginde og hertug i Bayern. Disse titler bruges stadigt af slægtninge til den tidligere regerende familie.

Der er tale om rene ærestitler, og hertugerne i Bayern har aldrig regeret. Det dog sket flere gange, at prinsesser (titulære hertuginder i Bayern) har gift sig med statsoverhoveder og tronfølgere, fx kejserinde Elisabeth af Østrig-Ungarn, den belgiske dronning Elisabeth, den sidste bayerske kronprinsesse Marie Gabriele, hertuginde i Bayern og den nuværende liechtensteinske arveprinsesse Sophie.

Eksterne henvisninger
 Bayerns historie (Haus der Bayerischen Geschichte)

Bayerns historie
Tidligere tyske stater
Stater under Det tysk-romerske Rige
Den Bayerske Rigskreds
Etableret i 1180
Ophørt i 1623

Hertugdømmet Bayern


Aristoteles-universitetet i Thessaloniki(græsk: Αριστοτέλειο Πανεπιστήμιο Θεσσαλονίκης) er ét af to universiteter i Grækenlands næststørste by, Thessaloniki. Det har navn efter filosoffen Aristoteles, som blev født i Stageira, 55 km. øst for Thessaloniki. Med sine 40.000(2014) studerende er det landets næststørste.

Universitetet blev, som landets andet, grundlagt i 1925. Det optager 230.000 kvm. i byens centrum på et areal, som tidligere var jødisk kirkegård.

Uddannelser

Noter

Henvisninger

Universiteter i Grækenland
Uddannelse i Grækenland
Thessaloniki
Etableret i 1925


Andre Ngoulou (12. veljače 1994.) je rukometaš iz Demokratske Republike Kongo. Nastupa za francuski klub AC Boulogne-Billancourt i rukometnu reprezentaciju Demokratske Republike Kongo.

Natjecao se na Svjetskom prvenstvu u Egiptu 2021., gdje je reprezentacija DR Konga završila na 28. mjestu.

Izvori

Rukometaši iz Demokratske Republike Kongo

Andre Ngoulou


Osman Nuri Eralp (1876 - 1940, İstanbul), Türk bakteriolog ve veteriner hekimdir.

Tahsilini İstanbul'da Mekteb-i Tıbbiye-i Mülkiyeyi (Sivil tıp fakültesini) bitirdikten sonra Paris Sorbonne ve Institut Pasteur'de tamamlamıştır.

Osman Nuri Eralp bakteriyoloji ve viroloji üzerine önemli araştırmalar yapmış bir bilim insanıdır. Çalışmalarını özellikle: tüberküloz, tüberkülin, şarbon, sığır vebası, kolera, gonokok, frengi, sütte yaşayan ve sütle bulaşan bütün mikroorganizmalar ve diğer konular kapsamaktadir.

Türkiye'nin ilk bilim kurgu eseri olduğu tahmin edilen "Başka Dünyalarda Canlı Mahlükat Var mıdır?" adlı Osmanlıca yayınlanan kitabının günümüz Türkçesi ile basımı da bulunmaktadır.

1908 - 1921 seneleri arasında "Ilm-i Ensaç adı altında anabilim dalında İstanbul ve Ankara Üniversitelerinde Histoloji ve Embriyoloji dersleri vermiştir.

Dış bağlantılar
 Osman Nuri Eralp'in "Bakteriyoloji Dersleri" adlı kitabının veteriner hekimliği tarihi açısından değerlendirilmesi

Kaynakça

1876 doğumlular
1940 yılında ölenler
Türk tıp akademisyenleri
Türk mikrobiyologlar
Türk veteriner hekimler
Türk virologlar

Osman Nuri Eralp


سجن المطبق الذي بناه الخليفة أبو جعفر المنصور في العاصمة الجديدة بغداد مقر الخلافة العباسية في 146هـ.. كان شيئا جديدا في حياة المجتمع! لقد أقامه الخليفة فيما أقامه من المنشآت والدور والقصور التي استقدم لها المهندسين من كل مكان لتخطيط بغداد. ولقد أقام قصر الذهب، وأقام إلى جانبه مسجدا جميلا سمى «مسجد المنصور» أو «مسجد الإسلام»، وكان من أبدع ماشيد المسلمون من المساجد حسنا وزينة.

ورأى أبوجعفر أن تمام التخطيط للعاصمة الجديدة لايكون إلا «ببناء سجن» كبير حديث بين السورين سماه «المطبق» وأعده لخصومه السياسيين، والمغضوب عليهم من خاصته، وكبار دولته، فكان «المطبق» بذالك أول سجن حديث متحضر في الإسلام!

والحق أن الحاجة إلى سجن جديد متين قوي الأركان والجدران قامت في ذهن الخليفة المنصور من تجربة شهدها بنفسه في أوائل حكمه، وقبل تشييد «سجن المطبق».

فقد كان في «الهاشمية»-التي بناها «أبو العباس السفاح» سجن استغلت جماعة«الراوندية» أتباع أبي مسلم الخرساني -ضعف بنائه، فهاجموه، وأخرجوا المسجونين منه، واتجهوا جميعا نحو قصر أبي جعفر المنصور يريدون قتله!

ومن هنا وضع أبو جعفر في تخطيطه لبغداد التي بناها عاصمة للدولة الجديدة أن يكون السجن العتيد الشديد أحد المعالم المهمة في بنائها!

ولم تكد جدران «المطبق» تقوم، وقوائمه تشتد، حتى عمره الخلفاء منذأيام المنصور بالنزلاءالوافدين عليه بين حبس قصير، وسجن طويل!

فهذا الخليفة «المهدي بن المنصور» يسجن فيه القائد الكبير «عبد الكبير» من ولد زيد أخي عمر بن الخطاب لهزيمته أمام الروم، فيظل صاحبنا في «المطبق» حتى الموت وهو مصير تأخر به عن إعدامه عقب الهزيمة والمحاكمة!

وهذا «أبو جعفر المنصور» نفسه -يودع في سجن المطبق وزيره يقوب بن داوود «بتهمة ميله للعلويين، ويجيئ» المهدي بن المنصور خليفة بعد والده، فيخرجه من «المطبق» ويستوزره، ولكنه حين تأكد له انحرافه إلى العلويين زج به في السجن ثانية!

وهكذا كان «المطبق» يعج دائما برواده ونزلائه من كل لون من رجال الدولة، والحاشية الذين يغضب الخليفة عليهم، أما المجرمون العاديون من الشطار واللصوص، فكان لهم سجون أخرى غير «المطبق» وكان نزلاء "المطبق ما بين قواد، وأمراء، وعلماء وشعراء!

ومع مرور الزمن وتطور الحياة أصبح لكل دولة سجونها وسجانوها، تشرف عليها إدارة خاصة وتتولى شؤونها، وتختلف الحياة فيها باختلاف منزلة المسجونين ومكانتهم.وهناك هيئة دولية للدفاع عن حقوق الإنسان تشرف على السجون، وتلفت نظر الدولة إلى مايحدث من تجاوزات في معاملتهم!

المصادر
 سجن المطبق في العصر الوسيط
 السجون في بغداد

المطبق
المطبق

سجن المطبق


Sansar, sansargiller (Mustelidae) familyasından Martes cinsini oluşturan hepçil hayvanların ortak adıdır.

Özellikleri

Kediyi andıran uzun ve ince bir vücudu, uzun ve bol tüylü kuyruğu vardır. Boyları 40–50 cm, ağırlıkları 2 kg civarındadır. Boyunlarında beyaz renkte çatal şeklini andıran tüyler olan sansarlar, parlak koyu kahve rengindedir. Geceleri ava çıkar. Kemirme huylarından ötürü, çevreye zarar verebilir, Sıkıştırıldıklarında, tehlikeli olabilirler.

Beslenme

Gündüzleri uyuyup geceleri avlanan sansarlar, çift olarak avlanan hayvanlardır. Kemirgenler, sürüngenler, tavuklar, yumurta, meyve ve kuşlar temel besinleridir.

Yetim sansar yavrularının beslenmesinde; ne yiyeceğine karar vermek için hayvanın ağırlığı ölçülür ve kaç haftalık olduğuna bakılır. Hâlen süt içen bir yavru dönemindeyse; özel bir mama hazırlanır (1 yumurta, 10ml sıvı süt kremasıyla karıştırılır ve laktozsuz sütle 125ml'ye tamamlanır, kullanılacak kadar mama benmari usulü ısıtılır ve enjektör yardımıyla yedirilir. Mamada var olan laktozun tam sindirilmesi için ılıtılmış kefir verilir.) Sütten kesilmiş ise Hills a/d mama ve kefir birlikte verilir. Burun yapılarından dolayı sıvı mamayı kaptan yiyemezler, mamanın biraz katı veya krema yapısında olması gereklidir. Sıvı bir yiyecek verilecekse enjektörle içirilmelidir. Vitamin ve kalsiyum takviyesi yapılmalıdır.

Üreme

Çiftleşme dönemleri Haziran-Ağustos ayları arasında olup, Mart-Nisan arasında 2 ile 4 yavru yaparlar. Gebelik süreleri 8-9 ay kadardır. Yavrular ikinci yılın sonunda erginleşirler. Amerika sansarları ise üç ayda erginleşirler.

Türler

 Amerika sansarı (Martes americana)
 Sarı boyunlu sansar (Martes flavigula)
 Kır sansarı (Martes foina) Türkiye.
 Ağaç sansarı (Martes martes) Türkiye.
 Japon sansarı (Martes melampus)
 Balıkçı sansar (Martes pennanti)
 Samur (Martes zibellina)
 (Martes gwatkinsii)

Ayrıca bakınız
 Samur
 Kakım
 Gelincik

Dış bağlantılar

Sansar


David Barsamian (born 1945) is an Armenian-American radio broadcaster, writer, and the founder and director of Alternative Radio, a Boulder, Colorado-based syndicated weekly public affairs program heard on some 250 radio stations worldwide.

Barsamian started working in radio in 1978 at KGNU in Boulder, Colorado and then KRZA in Alamosa, Colorado.

Articles by (and interviews with) Barsamian have appeared regularly in The Progressive, The Sun and Z Magazine. Barsamian also lectures on U.S. foreign policy, corporate control, the media, and propaganda.

As a writer, Barsamian is best known for his series of interviews with Noam Chomsky, which have been published in book form and translated into many languages.

Deportation from India
On 23 September 2011, Barsamian was deported from India. After arriving on a flight at the Indira Gandhi International Airport he was refused entry and placed on a return flight. Barsamian attributes this to his reportage on human rights abuses in Jammu and Kashmir.

Bibliography

Filmography

See also
List of Armenian Americans

References

External links
About David Barsamian, with list of programs featuring him, at Alternative Radio's website
Alternative Radio (Australia) website
Statement of protest South Asia Citizens Web, Sep 28, 2011

American alternative journalists
American radio journalists
American people of Armenian descent
American anti-war activists
American anti–Iraq War activists
American male writers
Writers from Boulder, Colorado
1945 births
Living people

David Barsamian


Olaylar
 Kiev Knezliği kuruldu (dağılışı 1240).

Doğumlar

Ölümler
 16 Aralık - VIII. İoannes, papa
 tarihi bilinmeyen
 Eudokia İngerina, Bizans İmparatoriçesi (d. y. 840)
 García Íñiguez, ikinci Pamplona Kralı (d. y. 805)

882


Kemal Özay Gönlüm (5 Şubat 1940, Tercan, Erzincan - 1 Mart 2000, Ankara), Türk halk müziği sanatçısı.

Repertuvarı Ege Bölgesi ve özellikle de Denizli yöresi ile özdeşleşmiş ve mizahi unsurlara yer verdiği çalışmalarının ustalığı ve derinliği zamanla fark edilmeye başlanan Türk halk müziği'nin "üstad"ları arasında kabul edilir.

Yaşam öyküsü

5 Şubat 1940 tarihinde babasının askeri görevle bulunduğu Erzincan'ın Tercan ilçesinde doğmuştur. Babasının adı Ahmet, annesinin adı Zekiye'dir. Babası Denizli'nin Tavas ilçesi Kızılcabölük kasabasından, annesi Kütahya'dandır. Çocukluk yıllarını Denizli, Afyonkarahisar ve Kütahya'da geçirdi. İlkokulu Kütahya'da, ortaokul ve liseyi Denizli'de bitirdi. 1953 yılında başladığı Denizli Erkek Sanat Enstitüsü'nde farklı kişiliği ve müziğe yatkınlığı ile okulda sevilen biri oldu. 16 yaşında Türk türkülerinin en ünlü derleyicisi olan Muzaffer Sarısözen'le tanışması kariyerinde belirleyici oldu. Ankara Radyosu Yurttan Sesler programıyla sanat dünyasına adım attı. Belli bir süre Türkiye Cumhuriyeti Millî Eğitim Bakanlığı "Film Radyo Televizyon Merkezi"'nde çalıştı. 1966'da "yetişmiş saz sanatçısı" olarak Ankara Radyosu'nda çalışmaya başladı.

Özellikle Denizli yöresinin türkülerini, sesi ve sazı ile mikrofonlara taşıdı. Çalıp söylediği Ege türküleri kadar, taklit yeteneği, şovmenliği, fıkraları ve kullandığı Denizli şivesiyle folklora zenginlik kattı.

1960'larda sahneye de çıkan sanatçı, 1973'ten itibaren düzenli şekilde İzmir Enternasyonal Fuarı'nda sahne aldı. Başta Zeki Müren olmak üzere pek çok ünlüyle aynı sahneyi paylaştı. 1963'te İlkokul arkadaşı Kütahyalı  Ayten Hanım ile evlendi. Bir Yeşilçam filminde başrolde oynadı.TRT'de, tarıma ve çocuklara yönelik programlarda yer aldı. Kültür Bakanlığı Halk Müziği Geliştirme Merkezi (HAGEM) Repertuvar Kurulu üyeliği yaptı. Son televizyon programı TRT-1'deki "Türk Halk Müziği stekleri" oldu.

Radyo oyunlarında ve tiyatrolarında roller alan Özay Gönlüm, radyo ve TV'lerde yayınlanan Nineden Mektuplar tiplemesiyle çok sevildi. En sevilen türkülerinden biri olan "Çöz de Al Mustafa Ali" türküsünü, "Fişini de Al Mustafa Ali" diye de seslendirerek, halkı fiş (vergiye yönelik makbuz) toplamaya davet etmesiyle sosyal bilincini gösterdi.
Avrupa, Amerika Birleşik Devletleri, Avustralya, Çin ve Hindistan'da konserler veren Özay Gönlüm, başta Denizli ve Kütahya yöreleri gelmek üzere Denizli, Kütahya, Muğla, Aydın,  İzmir, Manisa, Balıkesir, Bursa, Afyon, Burdur, Isparta yörelerinden 3400'den fazla türkü derledi. Özellikle, "Denizli'nin Horozları" (Çil Horoz), "Çöz de Al Mustafa Ali", "Sultan Seccadesi", "Asmam Çardaktan", "Cemile'min Gezdiği Dağlar Meşeli", "Osmanım'ın Mendili", "Adım Adım Denizli'nin Yolları", "Şu Dağlar Tepe Tepe" gibi türküleriyle tanınıyordu.

Teatral yeteneği, yöresel icra tekniği, vokal yorumu ve yaren adını verdiği üçlü sazı ile Türk halk müziğinde bir ekol oluşturdu. Bağlamanın yanı sıra cura ve tambura tekniğine de çok önem vermiş, Ege yöresinde Ramazan Güngör'den Hamit Çine'ye kadar birçok curacı ile çalışmış, katıldığı programlarda her boydan cura çalmıştır. Yaren adlı enstrümanı ile cura, bağlama ve çöğürü bir araya getirdi.

Türküleriyle 34 yıldır beğeni toplayan Özay Gönlüm, 2 yıl akciğer rahatsızlığıyla yaşadı. Ankara Üniversitesi Tıp Fakültesi Göğüs Hastalıkları Kliniği'ne tedavi amacıyla yattı. Ancak hastalığa yenik düşerek 1 Mart 2000'de hayata gözlerini yumdu. Mezarı Cebeci Asri Mezarlığı'ndadır. Eşi Ayten Hanım'dan iki kızı vardır.

Eserleri
30 civarında 33'lük/45'lik, 30 kadar kaset ve 200 türkünün derleyicisi veya kaynak kişisi. Eski 45'likleri ve uzunçalarları birinci el piyasasında bulunmamaktadır. En güncel derleme, Kalan Müzik tarafından 2005 yılında piyasaya sürülmüş olan ve 2 CD, 2 kaset ve kitapçıklardan oluşan "Özay Gönlüm" koleksiyonudur. Ayrıca 2001 yılında Anadolu Müzik tarafından piyasaya sürülmüş "Yaren" isimli kasedini bulmak mümkündür.

En tanınmış türküleri arasında aşağıdakiler sayılabilir:
 Elif dedim be dedim
 Evlerinin önü bulgur kazanı (Adım adım Denizlinin yolları)
 Arabaya taş koydum
 Asmam çardaktan
 Denizli'nin horozları
 Derbent Deresi
 Ninenin mektubu, Çil Horoz
 Çöz de al Mıstıvali
 Cemilemin gezdiği dağlar meşeli
 Tepsi tepsi fındıklar
 Sobalarında kuru da meşe yanıyor
 Karahisar kalesi
 Hatçam çıkmış gül dalına
 Dağların başındayım
 Elindedir bağlama
 Gıcır gıcır gelir yarın kağnısı
 Manisayla Bergamanın arası
 Onikidir şu Burdur'un dermeni
 Hıkkıdık duttu beni
 Evren köy
 İki keklik
 Gımıldanıver
 Bağlamamın Dügümü

Notlar

1940 doğumlular
Tercan doğumlular
Türk halk müziği ses sanatçıları
Cebeci Asri Mezarlığı'na defnedilenler
Ankara'da ölenler
2000 yılında ölenler
Türk bağlamacılar
20. yüzyılda Türk erkek şarkıcılar
21. yüzyılda Türk erkek şarkıcılar

Özay Gönlüm


Edipcia Dubón é política nicaraguense e activista de direitos humanos. Ela é uma ex-deputada da Assembleia Nacional de Nicarágua, como membro do Movimento de Renovação Sandinista (MRS). Ela serviu cerca de cinco anos, desde as eleições gerais de 2011 até julho de 2016, quando foi uma das 26 deputadas expulsas da Assembleia. O incidente ocorreu nos meses anteriores às eleições gerais de Nicarágua . O Supremo Tribunal de Nicarágua afastou o líder da oposição do Partido Liberal Independente (PLI) Eduardo Montealegre e decretou que o ex-vice-presidente do partido Pedro Reyes Vallejos era o novo líder do PLI. Depois de os deputados da PLI e MRS, aliados, se recusaram a reconhecer Reyes, considerando-o um fantoche do presidente Daniel Ortega, o Conselho Supremo Eleitoral de Nicarágua ordenou que fossem removidos da Assembleia Nacional e autorizou Reyes a seleccionar os seus substitutos.

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

Edipcia Dubón


Sorba Thomas, né le  à Newham en Angleterre, est un footballeur international gallois qui évolue au poste d'ailier droit à Huddersfield Town.

Biographie

Carrière en club
Né à Newham en Angleterre, Sorba Thomas commence sa carrière à Boreham Wood.

Le , Sorba Thomas rejoint Huddersfield Town où il signe un contrat courant jusqu'en juin 2024. Il joue son premier match sous ses nouvelles couleurs le  contre le Wycombe Wanderers FC, en championnat. Il entre en jeu à la place d'Isaac Mbenza et son équipe s'incline par trois buts à deux.

Le , Thomas inscrit son premier but pour Huddersfield, lors de la réception du Reading FC, en championnat. Il participe ainsi à la large victoire de son équipe ce jour-là (4-0). Il est élu joueur du mois de l'EFL Championship en .

Par la suite, le , il inscrit son premier doublé en Championship lors de la réception de Blackpool, permettant à son équipe de s'imposer sur le score de 3-2.

Le , Sorba Thomas signe un nouveau contrat avec Huddersfield le liant au club jusqu'en juin 2026.

Le , Thomas est prêté à Blackburn Rovers, autre club de Championship, pour le reste de la saison.

En sélection
En , il est convoqué pour la première fois avec l'équipe nationale du Pays de Galles par le sélectionneur Rob Page. Le , il honore sa première sélection lors de ce rassemblement, à l'occasion d'un match face à la Tchéquie, lors des éliminatoires du mondial 2022. Il entre en jeu à la place de Nico Williams lors de cette rencontre où les deux équipes se neutralisent (2-2 score final).

Le , il est sélectionné par Rob Page pour participer à la Coupe du monde 2022.

Notes et références

Liens externes

Footballeur international gallois
Joueur du Boreham Wood FC
Joueur du Huddersfield Town AFC
Joueur du Blackburn Rovers FC
Naissance en janvier 1999
Naissance à Newham (borough londonien)

Sorba Thomas


Lilo Raymond (1922–2009) foi uma fotógrafa americana.

Raymond fugiu da Alemanha Nazi em 1938, estabelecendo-se em Nova York. Lá, ela teve aulas na Photo League. O seu trabalho está incluído nas colecções do Smithsonian American Art Museum, do Metropolitan Museum of Art e do Getty Museum, Los Angeles.

Fotógrafas dos Estados Unidos
Mortos em 2009
Nascidos em 1922

Lilo Raymond


Société Générale jedna je od glavnih francuskih banaka i jedna od najstarijih. To je jedan od tri stupa francuske ne-uzajamne bankarske industrije (koja se naziva i "Les Trois Vieilles") s LCL i BNP Paribas.

Grupa Société Générale broji 133.000 zaposlenika, pripadnika 137 nacionalnosti, prisutnih u 61 zemlji.

Izvori

Vanjske poveznice
 Société Générale

Francuske tvrtke
Banke

Société Générale


Bowling Green-massakren er en opdigtet hændelse omtalt af USA's præsident Donald Trumps rådgiver Kellyanne Conway. Kellyanne Conway refererede til denne "massakre" i et interview den 2. februar 2017, i programmet Hardball with Chris Matthews som en retfærdiggørelse af et indrejseforbud dekreteret af USA's præsident, Donald Trump. "Massakren" blev beskrevet af Kellyanne Conway som et angreb, der skete i USA og var udført af terrorister, som udgav sig for at være flygtninge. Kellyanne Conway sagde:

Jeg er sikker på, der var ret ringe dækning. Jeg tør vædde på, at det er sprit ny information for folk, at præsident Obama nedlagde et seks-måneders-forbud mod det irakiske flygtninge-program efter at to irakere kom her til landet, blev radikaliserede og at de var hjerne bag Bowling Green-massakren. Det, jeg mener, er, at de fleste mennesker ikke ved noget om det, fordi det ikke blev pressedækket.

Udtalelsen var een af flere fra Donald Trump og hans administration, der blev betegnet som såkaldt alternative fakta.

Efterspil
Dagen efter interviewet på MSNBC udtalte Kellyanne Conway, at hun havde udtrykt sig fejlagtigt, og at hun ville have brugt udtrykket "Bowling Green-terroristerne" i stedet for, men forholdt sig ikke til spørgsmålet om seks-måneders-forbuddet. .(Der må regnes for løgn, så længe der ikke er dokumentation eller påstand for/om det modsatte).

Hun henviste i sin forklaring til en hændelse, hvor to irakiske mænd var kommet til USA som flygtninge, og blev anholdt i Bowling Green, Kentucky, i 2011. De blev dømt for at støtte angreb på amerikanske soldater, mens de var i Irak. Desuden prøvede de at understøtte Al-Qaeda i Irak, efter de var kommet til USA.

Kellyanne Conways udtalelse om, at præsident Barack Obama "havde nedlagt et seks-måneders forbud mod Irak-flygtningeprogrammet", var også faktuelt forkert, som det blev anholdt af en række faktatjekkere.

Ingen irakerer har udført angreb med dødelig udgang siden invasionen af Irak i 2003.

Referencer

USA's politik
Bowling Green, Kentucky

Bowling Green-massakren


Sort delfin (Cephalorhynchus eutropia), også kaldet chilensk delfin, er en lille, sjælden delfin, der forekommer i kolde, lavvandede områder ud for Chiles kyst i Sydamerika. Den er tæt bygget ligesom de øvrige arter i slægten Cephalorhynchus. Halefinnen er karakteristisk stor og rund med konkav bagkant. Kroppen er mørkegrå med hvid bug og hvide læber. Den bliver efter døden hurtig sort, deraf navnet "sort delfin". Bestanden menes at være på nogle få tusind dyr.

Kilder

Delfiner

Sort delfin


Father of All Motherfuckers (znan i pod cenzuriranim nazivom Father of All...) trinaesti je studijski album američkog rock sastava Green Day. Album je objavljen 7. veljače 2020. godine, a objavila ga je diskografska kuća Reprise Records.

Kompozicija
Prema pjevaču Billieju Joeu Armstrongu album je "Nova! soul, motown, glam i manična uzbuđenost. Pankeri, frikovi i osvetnici!" Također je izjavio da su tekstovi o "životu I smrti zabave" kao i o "životu u kojem te boli kurac."

S duljinom od samo 26 minuta i 12 sekundi najkraći je album Green Daya, čime je nadmašio debitantski album 39/Smooth, koji traje 31 minutu i 13 sekundi.

Singlovi i promocija
Glavni singl s albuma, istoimena pjesma "Father of All...", objavljen je 10. rujna 2019. godine. Glazbeni spot za pjesmu objavljen je 19. rujna. "Fire, Ready, Aim" objavljena je 9. listopada kao tematska pjesma za National Hockey League i NBCSN-ov televizijski program Wednesday Night Hockey. NBCSN se također koristi pjesmom "Father of All..." dok prikazuje najbolje trenutke prijašnjih utakmica dvaju momčadi u vrijeme Wednesday Night Hockeyja.

Treći singl s albuma, "Oh Yeah!", objavljen je 16. siječnja 2020. godine s popratnim glazbenim spotom. Naziv i semplirani refren preuzeti su iz obrade pjesme "Do You Wanna Touch Me" koju izvodi Joan Jett, a koju izvorno izvodi Gary Glitter. Sastav je objavio kako će svu zaradu od singla donirati International Justice Missionu i Nacionalnoj mreži za žrtve silovanja, zlostavljanja i incesta.

Na isti dan kad je uradak objavljen na internetu objavljen je i glazbeni spot za pjesmu "Meet Me on the Roof", na kojoj je Gaten Matarazzo gostujući izvođač.

Radi promidžbe albuma skupina će u ožujku 2020. s grupama Fall Out Boy i Weezer krenuti na turneju Hella Mega Tour u ožujku 2020. godine.

Recenzije
Father of All Motherfuckers dobio je uglavnom pozitivne kritike. Na stranici Metacritic, na kojoj ocjene od 0 do 100 daju kritičari popularne glazbe, album od 19 kritika ima prosječnu ocjenu 70 od 100, što ukazuje na "uglavnom pozitivne kritike". Časopis Kerrang! albumu je dao četiri zvjezdice od njih pet i izjavio: "Father of All Motherfuckers još je samo jedan znak sastava koji je uvijek sve radio na svoj način, odbijajući raditi ono što se od njega očekuje. I stvarno je prilično dobro od početka do kraja". Christopher Weingarten iz časopisa Entertainment Weekly albumu je dao ocjenu -3 (C-) i komentirao: "Na svom vrhuncu [Father of All] mogao je biti plesna zabava koju trebamo, ali ne i ona koju želimo." Pozitivnu kritiku dao je i časopis Q, u kojem piše: "Po vlastitoj prirodi Father of All... neznatan je kad ga usporedimo s remek-djelom iz 2009. godine, 21st Century Breakdownom, ali gotovo je nemoguće izaći iz njegove rapidne vatre koja traje skoro pola sata bez osmijeha na licu."

Popis pjesama

Osoblje
Mike Dirnt – bas-gitara
Tre Cool – bubnjevi, udaraljke
Billie Joe Armstrong – vokali, gitara
Ostalo osoblje
Butch Walker – inženjer zvuka
Chris Dugan – inženjer zvuka

Izvori

Albumi Green Daya
Albumi iz 2020.

Father of All Motherfuckers


Den nordamerikanske bæver (Castor canadensis), også kaldet amerikansk bæver eller canadisk bæver, er en gnaver i familien bævere. Den er nært beslægtet med europæisk bæver, som den ligner både i levevis og udseende. Den
nordamerikanske bæver er Canadas nationaldyr, men bliver dog betragtet som skadedyr i nogle dele af Canada.

Udbredelse
Den nordamerikanske bæver er udbredt i hele Canada og USA, bortset fra den arktiske tundra, Florida og ørkenområderne i det sydvestlige USA. Den findes desuden i det nordlige Mexico.

I 1937 blev den indført til Finland, hvorfra den bredte sig til Karelen og Leningrad oblast. Den er også introduceret til det østligste Rusland, Kamtjatka og Sakhalin. I 1946 blev nordamerikanske bævere indført til øen Isla Grande i Ildlandet i Argentina og har siden bredt sig i området.

Beskrivelse
Den nordamerikanske bæver er den største gnaver i Nordamerika. Udvoksede individer vejer normalt fra 11 til 32 kg, hvor 20 kg er det typiske. Længden af hoved og krop er 74-90 cm, med halen yderligere 20-35 cm. Meget gamle individer kan undtagelsesvis veje mere end 40 kg eller endda op til 50 kg.

Forskel fra den europæiske bæver
Den nordamerikanske bæver ligner overfladisk den europæiske bæver, men der er flere forskelle imellem dem. Den nordamerikanske bæver er ofte lidt mindre, med et mindre, mere afrundet, hoved. Desuden er snuden kortere og bredere, og pelsens inderste lag af uldhår er tykkere, længere og mørkere. Halen er bredere og mere oval og skinnebenene er længere, hvilket giver den nordamerikanske bæver en højere grad af bevægelsesfrihed på to ben. Næsebenet er kortere og bredest midt på snuden, mens det er bredest i spidsen hos europæisk bæver. Næseborenes åbning er kvadratisk hos nordamerikansk bæver, men trekantet hos europæisk bæver. Nakkehullet (foramen magnum) i kraniet er trekantet hos nordamerikansk bæver, men afrundet hos den europæiske. Analkirtlerne hos den nordamerikanske bæver er mindre og tykvæggede med et lille indre volumen sammenlignet med den europæiske bæver. Endelig gælder det for den nordamerikanske bæver, at spidsen af dækhårene har en kortere hul medulla (inderste del af hårstrået). Pelsfarven er også forskellig. Generelt for den nordamerikanske bæver har 50% gulbrun pels, 25% rødbrun, 20% brun og 6% sortagtig. Hos den europæiske bæver er 66% gulbrun eller beige, 20% rødbrun, næsten 8% brun og kun 4% er sortagtig.

De to arter er ikke genetisk kompatible. Den nordamerikanske bæver har 40 kromosomer, mens europæisk bæver har 48. Der er i Rusland gjort forsøg på at krydse de to arter, men uden held. Derfor er det usandsynligt, at der vil forekomme hybridisering, hvor de to arter lever i samme område.

Levevis
Levevisen for den nordamerikanske bæver adskiller sig ikke væsentligt fra den europæiske bæver.

Billeder

Noter

Bævere

Nordamerikansk bæver


Aleksije I. Komnen (grč. Ἀλέξıος Κομνηνός, Aléksios Komnēnós) (Carigrad, 1048. – Carigrad, 15. kolovoza 1118.), bizantski car od 1081. do 1118. godine i utemeljitelj dinastije Komnena
 Aleksije Komnen Paleolog, grčki plemić i despot, poznat po tome što je bio praotac Paleologa
 Aleksije Komnen, sin Ivana II., bizantski princ iz dinastije Komnen; najstariji sin bizantskog cara Ivana II. Komnena i njegove supruge Irene
 Aleksije Komnen (guverner Drača) (oko 1077. – nakon 1108.), bizantski plemić i guverner Drača;

Aleksije Komnen (razdvojba)