text:
The BT-42 was a Finnish assault gun, constructed during the Continuation War. It was constructed from captured Soviet BT-7 light tanks and British 4.5-inch howitzers (114 mm-calibre light howitzer, model 1908) from 1918, which had been donated during the Winter War. Only eighteen  vehicles were constructed.

Development and use
As the Second World War progressed, the Soviets were fielding better and better tanks. The Finnish Army, on the other hand, had to make do with a large number of captured tanks, which were for the most part lightly armored and armed.

The Finns decided to redesign the BT-7 Model 1937 tank. They constructed a new turret fitted with 76 K/02 gun sights and armed it with British-made 114.3 mm howitzers that had been supplied by the British during the Winter War (Q.F. 4,5 inch howitzer Mark II, also known as 114 Psv.H/18 in Finland). Eighteen BT-42 were built and these were pressed into service in 1943.

These converted vehicles quickly became very unpopular with their crews. The weaknesses could mainly be attributed to the new turret, which apart from giving the tank a high-profile also added significant weight to the vehicle, stressing the suspension and the engine.

The BT-42 was used for the first time in 1943, at the Svir River, where it was used against enemy pillboxes. The design worked reasonably well against soft targets but was completely unsuitable for anti-tank warfare.

To counter this, the Finns copied a German-designed HEAT round for the gun and it was initially thought that it would be effective against the sloped armour of the T-34. However, problems arose with the copied HEAT shells fuses, which apparently did not arm themselves correctly after firing, due to the different muzzle velocity and round spin rate of the 4.5-inch howitzer compared to the original German guns.

The BT-42s were used again during  the major Soviet offensive in 1944. They were deployed in the defence of Vyborg. In one encounter, a Finnish BT-42 hit a Soviet IS-2 18 times, failing even to immobilize the enemy vehicle, as this vehicle's fuses failed to work correctly. Eight of the 18 BT-42s in action made no significant contribution to the fighting. At the time Finnish armoured units were still composed mostly of older designs such as the Vickers 6-Ton, T-26  and T-28 tanks, and all of these suffered losses.

Emergency supplies of Panzer IV tanks and StuG III self-propelled assault guns from Germany made it possible for the Finns to replace their losses with more effective vehicles. The BT-42 was retired soon after the Vyborg battles, replaced in their role with German-made StuG IIIs. Finland also used captured T-34s, as well as receiving more of these vehicles from Germany's stock of captured enemy kits.

See also

BT-43 - another Finnish conversion of the BT-7 tank

Footnotes

External links
Specifications and operational use at www.jaegerplatoon.net
YouTube: BT-42 (English subtitles)

World War II military equipment of Finland
World War II assault guns
Tanks of Finland
Military vehicles introduced from 1940 to 1944


text:
Сен-Венса́н-сюр-Жабро́н () — муніципалітет у Франції, у регіоні Прованс — Альпи — Лазурний Берег, департамент Альпи Верхнього Провансу. Населення —  осіб (2011).

Муніципалітет розташований на відстані близько 590 км на південний схід від Парижа, 105 км на північ від Марселя, 45 км на захід від Дінь-ле-Бена.

Демографія

Розподіл населення за віком та статтю (2006):

Економіка

У 2010 році у муніципалітеті числилось 88 оподаткованих домогосподарств, у яких проживали 196,0 особи, медіана доходів виносила  євро на одного особоспоживача.

Галерея зображень

Посилання

 Сен-Венсан-сюр-Жаброн на сайті французького Національного інституту географії
 [ Розташування муніципалітету Сен-Венсан-сюр-Жаброн на мапі Франції та сусідні муніципалітети]

Див. також
 Список муніципалітетів департаменту Альпи Верхнього Провансу

Примітки

Муніципалітети департаменту Альпи Верхнього Провансу

redpajama_set_name: RedPajamaWikipedia


text:
Jade McSorley (born 16 February 1988) is a British model, most notable for placing third on the fifth series of Britain's Next Top Model.

Britain's Next Top Model
McSorley first garnered public attention by participating in the 2009 series of Britain's Next Top Model. She established herself as a front-runner in the show, and with the exception of the semi-finals and the first week of the finals, she was always put through to the next round as one of the top three performing girls. She won three in-show competitions, including two in the same week at the final 4 stage.

She became a fan favourite due to her consistently strong performances and likeable personality. After the second week, McSorley was never placed outside the second best photo, with the exception in eighth week when she was placed third. McSorley was last eliminated from the competition in third place and was never in the bottom 2 appearance. The judges stated that whilst they felt McSorley had progressed massively during the competition, they still felt that she wasn't ready to handle the modelling industry, and head judge Lisa Snowdon expressed doubts that McSorley would be able maintain her recovery from her disorder if she were to model full-time.

After Britain's Next Top Model
McSorley signed with the Models 1 agency in London, the second non-winning BNTM contestant to be signed with that agency.

It was announced in September 2009 that McSorley would front a makeover show through Living TV's upcoming online channel, starting 23 October 2009.

Since the completion of the show, McSorley has modelled for Urban Outfitters, asos.com, and luxury lingerie company Tallulah Love, showcasing their vintage collection which launched in Paris in January 2010.

In recent years, McSorley has modelled for a Swatch campaign with photographer Rankin. and was featured in a spread for Grazia Magazine. She was the model for House of Fraser's collection Label Lab, Sony Ericsson, Bank Clothing, MyWardrobe.com, and Urban Outfitters. She has been the face of British heritage brand Fred Perry for several seasons. She has also appeared in the pages of Vogue UK due to her distinctive personal style.

McSorley returned to the Top Model franchise when she walked in a fashion show for the live final of Britain's Next Top Model series 6. She is currently signed to Touché Models in Amsterdam and exclusive New York agency One Management, which has names such as Erin O'Connor, Helena Christensen, Bar Refaeli, and singer Cassie. In 2015, she signed with Premium Models in Paris.

See also
 List of Britain's Next Top Model contestants

References

External links
 Models 1 Portfolio

Living people
English female models
People from Middlesbrough
Britain & Ireland's Next Top Model contestants
1988 births


text:
Letsemeng (officieel Letsemeng Local Municipality) is een gemeente in het Zuid-Afrikaanse district Xhariep.
Letsemeng ligt in de provincie Vrijstaat en telt 38.628 inwoners.

Hoofdplaatsen
Het nationaal instituut voor de statistiek, Stats SA, deelt sinds de census 2011 deze gemeente in in 8 zogenaamde hoofdplaatsen (main place):

Jacobsdal • Koffiefontein • Letsemeng NU • Luckhoff • Oppermans • Petrusburg • Ratanang • Riet River.

Zie ook
Yes Media, The Local Government Handbook – South Africa, Letsemeng.

Gemeente in Vrijstaat
Gemeente in Zuid-Afrika


text:
Евгéний Васи́льевич Кожéвников (4 октября 1920, Сухой Овраг, Яранский уезд, Вятская губерния, Российская империя ― 8 июля 2001, Москва, Россия) ― советский военный деятель. В годы Великой Отечественной войны ― заместитель командира 1197 самоходного артиллерийского полка 59 армии на III Белорусском и Забайкальском фронте, капитан. Участник советско-японской войны ― командир отдельного полка. Доктор военных наук (1972), полковник. Член ВКП(б) с 1942 года.

Биография

Родился 4 октября 1920 года в дер. Сухой Овраг ныне Оршанского района Марий Эл в семье малоимущего середняка.

В 1938 году окончил Кузнецовское педагогическое училище Оршанского района Марийской АССР, работал учителем в сельской школе с. Табашино Оршанского района МАССР.

В декабре 1939 года призван в РККА. Участник Великой Отечественной войны: в 1941 году окончил Борисовское автомотоциклетное военное училище, адъютант штаба танкового батальона на Западном, Волховском и Ленинградском фронте, заместитель командира 1197 самоходного артиллерийского полка 59 армии на III Белорусском и Забайкальском фронте, гвардии капитан. В 1942 году принят в ВКП(б). Участник советско-японской войны: командир отдельного полка. Награждён орденами Красного Знамени (дважды), Отечественной войны I степени (дважды), Красной Звезды (дважды), медалями, в том числе «За отвагу» и «За боевые заслуги».

По окончании войны продолжил службу в армии, в 1953 году окончил Военную академию бронетанковых войск, в 1956 году ― адъюнктуру. Работал заместителем начальника кафедры Военной академии бронетанковых войск в звании полковника. В 1960 году стал кандидатом военных наук, в 1972 году ― доктором военных наук. Награждён орденом «За службу Родине в Вооружённых Силах СССР» III степени и медалями, в том числе польской медалью «Победы и Свободы».

Скончался 8 июля 2001 года в Москве.

Награды

 Орден Октябрьской Революции
 Орден Красного Знамени (19.07.1944, 14.03.1945)
 Орден Отечественной войны I степени (05.02.1944, 06.04.1985)
 Орден Красной Звезды (13.07.1944, 1944)
 Орден «За службу Родине в Вооружённых Силах СССР» III степени
 Медаль «За отвагу» (31.01.1943)
 Медаль «За боевые заслуги»
 Медаль «За оборону Москвы»
 Медаль «За оборону Ленинграда»
 Медаль «За взятие Кёнигсберга» (10.11.1945)
 Медаль «За победу над Германией в Великой Отечественной войне 1941—1945 гг.» (10.11.1945)
 Медаль «За победу над Японией»
 Медаль «Победы и Свободы» (10.10.1973)

Примечания

Литература

Выпускники Военной академии бронетанковых войск
Преподаватели Военной академии бронетанковых войск
Мотострелки Великой Отечественной войны
Командиры полков в Великой Отечественной войне
Участники битвы за Москву
Участники обороны Ленинграда
Участники штурма Кёнигсберга
Участники советско-японской войны (СССР)
Полковники (СССР)
Доктора военных наук
Члены ВКП(б)


text:
Ian Miller (n. 1991), cestista statunitense
Ian Miller (n. 1955), calciatore scozzese


text:
Osiedle Barbary – osiedle mieszkaniowe w mieście Jastrzębie-Zdrój, jedne z 21 jednostek pomocniczych miasta, położone w centrum miasta. Nazwane na cześć świętej Barbary, patronki górników.

Historia Osiedla
Teren obecnego osiedla został włączony w granice miasta w 1969 roku kosztem Jastrzębia Górnego. Osiedle wybudowane w latach 1972–1975 podczas masowej budowy blokowisk w Jastrzębiu-Zdroju w ramach projektu osiedla IV.

25 maja 2002 r. Uchwałą Rady Miasta Jastrzębie-Zdrój Nr XLII/1036/2002 utworzono na terenie miasta jednostkę pomocniczą (realizującą zadania publiczne) - Osiedle Barbary".

Obszar Osiedla Barbary stanowi powierzchnię 54,86 ha

Liczba zameldowanych mieszkańców: 8530 .

Usytuowanie
Osiedle graniczy:

 od północnego wschodu - z Osiedlem Jastrzębie Górne i Dolne (wzdłuż ul. Granicznej)
 od północnego zachodu - z Osiedlem Morcinka (wzdłuż al. Józefa Piłsudskiego)
 od zachodu - z Osiedlem Arki Bożka
 od południa - z Osiedlem Pionierów i Sołectwem Bzie (wzdłuż ul. Podhalańskiej i Cichej).

Składa się z ulic: Turystycznej, Szkolnej, Jasnej oraz częściowo Cichej, Granicznej i Podhalańskiej.

Infrastruktura
Na terenie osiedla znajduje się m.in.:

 Filia Urzędu Pocztowego Jastrzębie-Zdrój
 skatepark i pumtrack
 NZRL "Relmed"
 Zespół Szkół nr 1
 1 Liceum Ogólnokształcące
 Szkoła Podstawowa nr 12
 Szkoła Podstawowa nr 23
 Publiczne Przedszkole nr 15
 Publiczne Przedszkole nr 19
 Kościół pw. Matki Boskiej Częstochowskiej
 Kościół pw. Miłosierdzia Bożego.

Uwagi

Przypisy

Dzielnice i osiedla Jastrzębia-Zdroju


text:
Mordecai (; also Mordechai; , IPA: ) is one of the main personalities in the Book of Esther in the Hebrew Bible. He is described as being the son of Jair, of the tribe of Benjamin. He was promoted to Vizier after Haman was killed.

Biblical account

Mordecai resided in Susa (Shushan or Shoushan), the metropolis of Persia (now Iran). He adopted his orphaned cousin (Esther 2:7), Hadassah (Esther), whom he brought up as if she were his own daughter. When "young virgins" were sought, she was taken into the presence of King Ahasuerus and was made queen in the place of the exiled queen Vashti. Subsequently, Mordecai discovered a plot of the king's chamberlains Bigthan and Teresh to assassinate the king. Because of Mordecai's vigilance, the plot was foiled.

Haman the Agagite had been raised to the highest position at court. In spite of the king's decree that all should prostrate themselves before Haman, Mordecai refused to do so. Haman, stung by Mordecai's refusal, resolved to kill not only Mordecai but all Jewish exiles throughout the Persian empire, and won the king's permission to carry out his plan. Mordecai communicated Haman's scheme to Queen Esther, who used her favor with the king to reverse the scheme, leading the king to authorize Jews to kill their enemies, which they did.

During all this, the king had happened to remember Mordecai's service in foiling the assassination plot and had asked Haman how a person who did a great service to the king should be honored. Haman answered, thinking the question was about him; and the king followed this advice, and honored Mordecai, and eventually made Mordecai his chief advisor. Haman was executed on gallows that he had set up for Mordecai.

The feast of Purim celebrates these reversals.

History

Book of Esther

Although the details of the setting are entirely plausible and the story may even have some basis in actual events, the book of Esther is a novella rather than history. Persian kings did not marry outside of seven Persian noble families, making it unlikely that there was a Jewish queen Esther, and in any case the historical Xerxes's queen was Amestris.

There is general agreement that the story was created to justify the Jewish appropriation of an originally non-Jewish feast. The festival which the book explains is purim, which is explained as meaning "lot", from the Babylonian word puru.  There are wide-ranging theories regarding the origin of Purim: one popular theory says festival has its origins in a historicized Babylonian myth or ritual in which Mordecai and Esther represent the Babylonian gods Marduk and Ishtar, others trace the ritual to the Persian New Year, and scholars have surveyed other theories in their works Some scholars have defended the story as real history, but the attempt to find a historical kernel to the narrative "is likely to be futile".

Name
The name "Mordecai" is of uncertain origin but is considered identical to the name Marduka or Marduku (), attested as the name of up to four Persian court officials in thirty texts (the Persepolis Administrative Archives) from the period of Xerxes I and his father Darius.

The Talmud (Menachot 64b and 65a) relates that his full name was "Mordechai Bilshan" (which occurs in Ezra 2:2 and Nehemiah 7:7, albeit likely as two separate names in sequence). Hoschander interpreted this as the Babylonian "Marduk Belshunu" (𒀭𒀫𒌓𒂗𒋗𒉡, dAMAR.UTU-EN-šu-nu, meaning "Marduk is their lord") "Mordecai" being thus a hypocorism.

In the King James Version of the deuterocanonical Greek additions to Esther, his name is spelled as Mardocheus, which may better preserve the original vowels, though the Masoretic Text versions of the Persian names in the Bible are known to be the most reliable.

Age

Esther 2:5-6 contains a short snippet of Mordecai's genealogical history, generally translated as, "Mordecai, the son of Jair, the son of Shimei, the son of Kish, who had been carried into exile from Jerusalem by Nebuchadnezzar king of Babylon, among those taken captive with Jeconiah king of Judah". The wording of the passage lends to two conclusions: either that Mordecai (the son of Jair, the son of Shimei, the son of Kish) was carried into exile by Nebuchadnezzar, or that his ancestor Kish was the one carried into exile.

The Pentecostal minister Finis Dake interprets the Bible verses Esther 2:5–6 to mean that Mordecai himself was exiled by Nebuchadnezzar. Biblical scholar Michael D. Coogan discusses this as an inaccuracy regarding Mordecai's age. If "who had been carried into exile" refers to Mordecai, he would have had to live over a century to have witnessed the events described in the Book of Esther (assuming the biblical Ahasuerus is indeed Xerxes I). However, the verse may be read as referring not to Mordecai's exile to Babylon, but to his great-grandfather Kish's exile — a reading which many accept.

Genealogy

The Targum Sheni gives his genealogy in more detail, as follows: "Mordecai, son of Jair, son of Shimei, son of Shemida, son of Ba'anah, son of Elah, son of Micah, son of Mephibosheth, son of Jonathan, son of Saul, son of Kish, son of Abiel, son of Zeror, son of Bechorath, son of Aphiah, son of Shecharim, son of Uzziah, son of Sason, son of Michael, son of Eliel, son of Amihud, son of Shephatiah, son of Penuel, son of Petakh, son of Melokh, son of Yerubaal, son of Yeruham, son of Hananiah, son of Zabdi, son of Elpa'al, son of Shimri, son of Zebadiah, son of Rimoth, son of Khashum, son of Shekhorah, son of Gazza, son of 'Uzza, son of Gera, son of Bela, son of Benjamin, son of Jacob the firstborn, whose name is called Israel." The same genealogy is inscribed on a massive metal tablet in the Tomb of Esther and Mordechai (pictured).

This traditional genealogy implicates Kish as the name of an ancient ancestor and not simply Mordecai's great-grandfather, meaning that Esther 2:5—6 was interpreted as Mordecai being the one who was exiled to Babylon. The chronological inconsistencies of this assumption are detailed above.

Prophet status
The Talmud lists Esther as a prophet. Nachman b. Yaakov suggests that Mordecai is the Biblical prophet Malachi, but this argument is rejected by the Talmud.

Mordecai's genealogy in the second chapter of the Book of Esther is given as a descendant of a Benjaminite named Kish. As "Kish" was also the name of the father of King Saul, another Benjaminite, the Talmud accords Mordecai the status of a descendant of the first King of Israel.

See also
 Marduk
 Persian Jews

Notes

References

Bibliography

External links

Jewish Encyclopedia: Mordecai in Esther and in Rabbinical literature
Modesty and Myrrh: Mordecai in Kabbalah

Hebrew Bible people
Book of Esther
Iranian Jews
Esther
Tribe of Benjamin


text:
Наступне було названо на честь  (; 1855—1910) — італійського математика:

 Теорема Кронекера — Капеллі
 Тотожність Капеллі

Див. також

 Капеллі

Капеллі


text:
The Junior League World Series Australia Region is one of six International regions that currently sends teams to the World Series in Taylor, Michigan. The region's participation in the JLWS dates back to 2016.

The process of becoming the Australia Region representative starts in March and April each year with state based tournaments.

Each state and territory (with the exclusion of Tasmania and the Northern Territory) have a set number of qualification berths for the National Championships those positions filled based on state tournament rankings.

Each year in late May / early June, 16 charter teams from around Australia play in the Junior League National Championships.

The entire tournament is held over five days, across two fields at the Diamond Sports Stadium in the Adelaide suburb of West Beach.  The complex is home to Baseball SA and the Adelaide Bite who play in the Australian Baseball League, junior teams able to use the same indoor hitting tunnels at the facility.

The 16 teams are divided into 4 pools of 4 teams each. After each team plays 3 pool games, the top 2 teams from each pool progress to the quarter finals, whilst the bottom 2 go into consolation seeding games. Every team plays one game, every day, for 5 consecutive days.

Games played on Diamond One (Bennett Field, where the Adelaide Bite play) are live streamed.

Australia Region states

Region champions
As of the 2022 Junior League World Series.

Results by state
As of the 2022 Junior League World Series.

See also
Little League World Series in Australia
Intermediate League World Series (Australia Region)
Senior League World Series (Australia Region)

References

Australia
Baseball competitions in Australia


text:
Themiste neimaniae är en stjärnmaskart som först beskrevs av Murina 1976.  Themiste neimaniae ingår i släktet Themiste och familjen Themistidae. Inga underarter finns listade i Catalogue of Life.

Källor

Stjärnmaskar
neimaniae


text:
Le porte-plume est un petit manche de bois, de métal, d'ivoire, de matières plastiques, ou de tout autre matériau, à l'extrémité de laquelle est insérée une plume, en général métallique, que l'on trempe dans l'encre pour écrire ou pour dessiner. La plume tient en place soit en force par la relative élasticité du métal, soit par un petit levier incorporé au porte-plume qui permet de la bloquer ou de la débloquer facilement.

Le porte-plume associé à la plume métallique a succédé à la plume d'oie utilisée traditionnellement en Occident pour l'écriture manuscrite. Il a été supplanté dans les années 1960 par le stylo-plume (à réservoir ou à cartouche), le stylo-bille, les feutres, etc. Le porte-plume associé à divers types de plumes métalliques reste irremplaçable dans l'exercice de la calligraphie classique.

Par leur variété de formes, de matières et de décoration, les porte-plumes anciens sont souvent aujourd'hui des objets de collection.

Voir aussi
 Musée Postes restantes

Matériel d'écriture
Stylo-plume


text:
В данном списке представлены самые длинные в мире моторные яхты. Некоторые из внесённых в список яхт ещё строятся.

Термин длина используется для обозначения размера частной моторной яхты. Термин водоизмещение используется для обозначения размеров судов. В настоящее время самой длинной яхтой, доступной для чартера, является яхта Azzam, которая ещё и является самой мощной яхтой в мире.

См. также
 Список самых больших парусных судов
 Список самых длинных судов по типу

Примечания

Комментарии

Источники

Ссылки
 «Top 100 largest yachts»,Boat International
 «The PMY 100 Largest Yachts 2011», Power & Motoryacht
 «The Largest Yachts in the World for Sale», Largest Yachts for Sale
 The Superyacht Owners Register is constantly updated
 Superyachts.com — 100 самых больших яхт
 — Top 500 largest yachts
 The Top 100 largest superyachts in the world (англ.)
 71М HAIDA 1929

Яхты
!
Сравнительные списки судов и кораблей


text:
Virginia Andreescu Haret (1894–1962) was a Romanian architect and is credited as the first woman to graduate with a degree in architecture in Romania. She is also the first woman to reach the rank of Romanian Architectural Inspector General.

Biography
Maria Virginia Andreescu was born on 21 June 1894 in Bucharest, Romania, and was the niece of the painter Ion Andreescu. Her mother died when she was nine years old and Andreescu took charge at that point for raising her three younger siblings. In 1912, she graduated from high school at the Liceul Mihai Viteazul (Lyceum Michael the Brave). She enrolled in the
Superior School of Architecture and was the first woman to graduate with a degree in architecture in 1919,  having earned the highest distinction award "very good". Simultaneously with her studies for a degree in architecture, Andreescu was attending the Academy of Fine Arts, studying under Ipolit Strâmbu. In 1920, Strâmbu organized a showing of 66 of Andreescu's works including drawings, sketches, and watercolors. They were well received and Historical Monuments Commission bought 28 of them for permanent display.

In 1922, she undertook a study trip of the architecture of the Kingdom of Serbs, Croats and Slovenes and returned with a report, which was published in Fine Arts. Using the money she had gotten from the sale of her works to the Monuments Commission, Andreescu then went to Italy to further her education in Rome.  She studied for a year and a half with Professor Gr. Bargelini, also working with archaeologists to understand traditional building methods. The Novecento Italiano movement, which was popular at that time, can be seen as an influence in her later works. After completing her studies in Rome, Andreescu returned to Romania in the second half of 1923 and began working at the Ministry of  Technical Education, where she worked until her retirement in 1947. In 1928 she married Spiru I. Haret, (1892-1970), nephew of the engineer and mathematician Spiru C. Haret. The couple had one child, Radu, who became an engineer.

Her most prolific period of building occurred between the World Wars. She built many projects including the Gheorghe Şincai High School (1924-1928), a wing of the Cantemir Vodă National College (1926-1929), the Govora Casino (1928-1929), as well as many private homes monuments and public and private buildings. Her style varies encompassing all of the Romanian architectural styles from classical to modern which were present in the early 20th century. Her own home was built in the Art Deco style, for which she seemed to have a personal preference. After having built some 40 buildings, she received the designation as Romanian Architectural Inspector General, the first woman to have served in this capacity. She represented her country at many conferences and Congresses, including the International Architecture Congresses, in Brussels, Moscow, Paris and Rome, and she received many awards for her designs. In addition to building, she wrote a history of architecture with Nicolae Ghica-Budești in four volumes, complete with watercolors.

Haret died on 6 May 1962 in Bucharest.

Works
 1923, Nicu Stănescu Villa, #43 Strada Paris
 1923, Dionisie Germani Villa, #45 Strada Paris
 1923-1927, Palace for the Tinerimea Română Society, #19 Strada Johann Guttenberg
 1924-1928, Gheorghe Șincai High School
 1924-1928 Apartment, #50-56 Strada Frumoasă
 1924, Gongopol Building, #40 Strada Icoanei
 192?, I. Catuniari Villa, #30 Strada Washington
 1925, Papiniu Villas, #54 and #56 Strada Roma
 1925, Dimitrie Cantemir High School, #117 Bulevardul Dacia
 1926, P.Leibovici Villa, #5 Intrarea Spătarului
 1926, Spiru Haret-Gold Villa, #8 Intrarea Spătarului
 1926, Locuinţe Ieftine Company Building, #1 Bulevardul Hristo Botev
 1926-1929, wing of Cantemir Vodă National College
 1927, Ziarul Universul Villa, #5 Strada Madrid
 1927-1934, Biserica Sfânta Treime Ghencea Church, jointly with Jean Pompilian
 1927, Anthropology Research Center for the Carol Davila Medical University, #8 Bulevardul Eroli Sanitari
 1928-1929, Govora Casino
 1928, Col. Cezar Goliel Villa, #16 Strada Dr. Mihail Obedenaru
 1928, Ianculescu (Rosetti) Villa, #1-3 Strada Povernei
 1928, Wine Warehouse and living quarters for Banca Viticolă, #17-21 Strada Petru Rareș
 1928, Augustin Opran Villa, #15 Strada Alexandru Philippide
 1929, Dr. Nicolae Gheorghe Lupu Villa, #41 Bulevardul Dacia
 1929, Seven Villas for the clerks of the Casa de Depuneri și Consemanațiuni, #2-10 Strada Theodor Burada
 1930, Steinberg Villa, #31 Strada Dr. Joseph Lister
 1930, Georgescu Villa, #41 Strada Dr. Louis Pasteur
 1930, Prof. Popsecu and Iosif Gavrea Villa, #6 & 6a Strada Mihail Obedenaru
 1931, Virginia and Spiru Haret Villa, #14 Bulevardul Lascăr Catargiu
 1932, Radu and Elena Perianu Villa, #18 Bulevardul Eroilor
 1933, Viorica and Gheorghe Rujinski Vila, #22 Strada Berzei
 1935, Nistor Villa, #17 Strada Dr. Anibal Theohari
 1935, Iuraşcu Villa, #24 Strada Emanoil Porumbaru
 1935, Panait Mazilu Villa, #76 Strada Popa Savu
 1936, Constantinescu Villa #11 Intrarea Bitolia
 1937, Dumitru Stoica Villa, #27 Strada Veronica Micle
 1942, Constanţa and Ioan G. Haret Villa, #7 Strada Jean Texier

References

Sources

1894 births
1962 deaths
20th-century Romanian architects
Romanian women architects
Architects from Bucharest


text:
Aimé Vassiaux (* 11. Juli 1890 in Cannes; † 16. Oktober 1967 ebenda) war ein französischer Autorennfahrer.

Karriere

Aimé Vassiaux startete 1925 in das 24-Stunden-Rennen von Le Mans. Er fuhr gemeinsam mit Giulio Foresti einen Werks-OM 665 Superba an die fünfte Stelle der Gesamtwertung.

Statistik

Le-Mans-Ergebnisse

Literatur
 R. M. Clarke: Le Mans. The Bentley & Alfa Years 1923–1939. Brocklands Books, Cobham 1999, ISBN 1-85520-465-7.

Weblinks

 Rennergebnisse bei Racing Sports Cars
 Informationen bei The Golden Era of Racing

Rennfahrer der 24 Stunden von Le Mans
Rennfahrer (Frankreich)
Franzose
Geboren 1890
Gestorben 1967
Mann
Grand-Prix-Fahrer vor 1950


text:
Louis Fine dit Lou Fine, né le  à New York et mort le , est un dessinateur de bande dessinée et illustrateur américain. Dessinateur de comic books de 1938 à 1944, il se consacre ensuite à la publicité (chez Johnston & Cushing), au comic strip et à l'illustration. À la fin de sa vie, il résidait à Lido Beach, riche quartier de Hempstead, sur Long Island.

Biographie

Prix et récompenses
 2005 : Temple de la renommée Will Eisner (choix du jury)

Notes et références

Annexes

Bibliographie
 .

Liens externes

Naissance en novembre 1914
Naissance à New York
Dessinateur américain de bande dessinée
Dessinateur de comic book
Encreur de bande dessinée
Membre du temple de la renommée Will Eisner
Décès en juillet 1971
Décès à 56 ans


text:
Greatest Hits is a greatest hits album by American rock band the Cars, released on October 25, 1985, by Elektra Records. "Tonight She Comes", a previously unreleased song, and a remix of "I'm Not the One" were issued as singles to support the album. It was a commercial success, going six-times platinum.

Track listing

Personnel
 Ric Ocasek – lead vocals, backing vocals on tracks 1, 6 and 10, rhythm guitar
 Benjamin Orr – bass, lead vocals on tracks 1, 6 and 10, backing vocals
 Greg Hawkes – keyboards, backing vocals
 Elliot Easton – lead guitar, backing vocals
 David Robinson – drums
 George Marino – mastering at Sterling Sound, NYC
 Steve Hoffman – remastering for DCC Compact Classics CD and LP reissues

Charts

Weekly charts

Year-end charts

Certifications

References

1985 greatest hits albums
Albums produced by Mike Shipley
Albums produced by Ric Ocasek
Albums produced by Robert John "Mutt" Lange
Albums produced by Roy Thomas Baker
The Cars compilation albums
Elektra Records compilation albums


text:
Матлалапа има више значења:

 Матлалапа (Тистла де Гереро), насеље у савезној држави Гереро у Мексику
 Матлалапа (Астла де Теразас), насеље у савезној држави Сан Луис Потоси у Мексику
 Матлалапа (Азакан), насеље у савезној држави Веракруз у Мексику
 Матлалапа (Сико), насеље у савезној држави Веракруз у Мексику


text:
La Coupe CECAFA des nations 1979 est la septième édition de la Coupe CECAFA des nations qui a eu lieu au Kenya du 3 au 17 novembre 1979. Les nations membres de la CECAFA (Confédération d'Afrique centrale et de l'Est) sont invitées à participer à la compétition.

C'est le Malawi, qui remporte la compétition en s'imposant en finale face au Kenya, pour la seconde année de suite.

Équipes participantes

  - Organisateur

Compétition

Premier tour

Groupe A

Groupe B

Il n'y a pas d'explication sur la position de deuxième de Zanzibar.

Tour final

Demi-finales

Match pour la troisième place

Finale

Sources et liens externes
  Feuilles de matchs et infos sur RSSSF

1979
Football au Kenya
Compétition de football au Kenya
1979 au Kenya
Football en 1979
Sport en novembre 1979


text:
Srimanta Sankardev (শ্ৰীমন্ত শংকৰদেৱ; , ; 1449–1568) was a 15th–16th century Assamese polymath; a saint-scholar, poet, playwright, dancer, actor, musician, artist social-religious reformer and a figure of importance in the cultural and religious history of Assam, India. He is widely credited with building on past cultural relics and devising new forms of music (Borgeet), theatrical performance (Ankia Naat, Bhaona), dance (Sattriya), literary language (Brajavali).  Besides, he has left an extensive literary oeuvre of trans-created scriptures (Bhagavat of Sankardev), poetry and theological works written in Sanskrit, Assamese and Brajavali.  The Bhagavatic religious movement he started, Ekasarana Dharma and also called Neo-Vaishnavite movement, influenced two medieval kingdoms – Koch and the Ahom kingdom – and the assembly of devotees he initiated evolved over time into monastic centers called Sattras, which continue to be important socio-religious institutions in Assam and to a lesser extent in North Bengal. Sankardev inspired the Bhakti movement in Assam just as Guru Nanak, Ramananda, Namdev, Kabir, Basava and Chaitanya Mahaprabhu inspired it elsewhere in the Indian subcontinent.

His literary and artistic contributions are living traditions in Assam today. The religion he preached is practised by a large population, and Sattras (monasteries) that he and his followers established continue to flourish and sustain his legacy.

Biography

After the death of Sankardev, Madhavdev incorporated narrations of his life in prayer services, a practice that was followed by his apostles, and in due course of time a large body of biographical literature arose. These are generally classed in two groups: early (those by Daityari Thakur, Bhusan Dwija, Ramananda Dwija and Vaikuntha Dwija) and late (Guruvarnana by Aniruddha Das, the more than one anonymous Katha-guru-carits, Bardowa-carit, Sankardev caritra from Barpeta, the Saru-svarga-khanda and Bar-svarga-khanda by Sarvabhauma). The authorship of the biography credited to Ramcaran Thakur, Daityari Thakur's father, is doubted and it is generally dated to the 17th-century and classed with the late biographies.

In general, all biographies consider Sankardev as an incarnation of Vishnu, including that by Daityari Thakur, the earliest.  The late biographies differ from the early group on the count that they ascribe supernatural feats to Sankardev, and describe miraculous events; and there is a tendency to read some events of the Bhagavata into his life.
The biographies are full of contradictions; even though the earlier ones are considered more accurate, not all they claim are true—Daityari Thakur's biography, the earliest one, claims Sankardev met with Chaitanya, which is now not accepted to be true.

Early life: Alipukhuri and Bordowa

Sankardev, then named Sankaravara, was born into the Shiromani (chief) Baro-Bhuyans family at Alipukhuri near Bordowa in present-day Nagaon district in c1449. Though some authors have expressed doubt that Sankardev could have lived that long, considering that he was of robust health 1449 is generally accepted. The Baro-Bhuyans were independent landlords in Assam, and Sankardev belonged to the Kayastha Hindu caste. His family-members, including parents Kusumvar Bhuyan and Satyasandhya Devi, were Saktas. Sankardev lost his father to smallpox when he was about 7 years old, and his mother died either soon after his birth, or soon after his father's death; and he was raised by his grandmother Khersuti.

He began attending Mahendra Kandali's tol or chatrasaal (school) at the age of 12 and soon wrote his first verses karatala-kamala.
The complete poem was written before he was taught the vowels except, of course, the first one, and is often cited as an example of the early flowering of his poetic genius.  He stayed at the tol during his teens, and studied grammar and Indian scriptures. He practised yoga (which he gave up later) and was physically very able, and according to legend, he could swim across the Brahmaputra while it was in spate.  It is generally believed that he wrote his first work, Harishchandra upakhyan, while at the tol. Mahendra Kandali changed his name to 'Sankardev' while he was at school.

Bhuyan shiromaniship
Sankardev soon mastered the major scriptures and thereafter left the tol in his late teens (c1465) to attend to his responsibilities as the Shiromani Bhuyan. He came to be known as the Dekagiri among his subjects and admirers. As Alipukhuri had become crowded, he moved his household from Alipukhuri to Bordowa. He married his first wife Suryavati when he was in his early 20s and a daughter, Manu, was born in about three years, but his wife died about nine months later.

First pilgrimage
It is possible that the death of his wife increased his already existing spiritual inclination and he left for a twelve-year-long pilgrimage, sometime after his daughter was married to Hari, a Bhuyan scion.  He handed over the maintenance of his household to his son-in-law Hari; the Bhuyan Shiromaniship to his grand uncles Jayanta and Madhav; and began his journey in 1481. He was accompanied by seventeen others including his friend and associate Ramaram and his teacher Mahendra Kandali. At this point of time, he was 32. The pilgrimage took him to Puri, Mathura, Dwaraka, Vrindavan, Gaya, Rameswaram, Ayodhya, Sitakunda and almost all the other major seats of the Vaishnavite religion in India.  He seem to have spent many years at Jagannath-kshetra at Puri, where he read and explained the Brahma Purana to the priests and lay people. At Badrikashram in 1488, he composed his first borgeet—mana meri ram charanahi lagu—in Brajavali. According to Katha Gurucharit, the first Borgeet was "Rama meri hridaya pankaje baise" and he composed it in 1481 at the very outset of the pilgrimage at a place called Rowmari. He returned home to Alipukhuri after 12 years (his family had moved back from Bordowa in his absence). During his pilgrimage, he became the part of a pan-Indian Bhakti movement and helped it blossom.

Shiromaniship refusal
On his return from his pilgrimage (c1493), Sankardev refused to take back the Shiromaniship, though on the insistence of his elders, he took responsibility of a hundred families (gomastha) but he soon handed over the responsibility to his son-in-law Hari. On his grandmother's insistence, he married Kalindi at the age of 54. Finally, he moved back to Bordowa and constructed a temple (devagriha) in c1498, possibly a thatched house, built on the original site of his father's house where he could meet with people, discuss religious matters and hold prayers, and preach. He wrote Bhakti pradipa and Rukmini harana. Soon after, he received a copy of the Bhagavata Purana from Jagadisa Mishra of Mithila, with Sridhara Swami's monistic commentary "Bhavartha-dipika".  Mishra recited and explained the entire Bhagavata in the presence of Sankardev and this event is considered momentous in the development of Ekasarana. Datyari, an early biographer of Sankardev writes: Sankardev listened with rapt attention to the exposition by Jagadish Mishra and realised that the Bhagavata was a scripture without parallel, a scripture that determined Krishna as the only God, naam as the real dharma, and aikantika-sarana and sat-sanga as the indispensable elements of the faith." He also began composing the Kirtana ghosha.

Cihna-yatra
After his exposure to the detailed Bhagavata Purana and Sridhara Swami's commentary Bhavartha-dipika, Sankardev produced a dance-drama called Cihna yatra, for which he painted the Sapta vaikuntha (seven heavens), guided the making of musical instruments and played the instruments himself. According to other biographers, Sankardev produced Maha-nata in the presence of Jagdish Mishra in the temple he had constructed at Alipukhuri.

According to Neog, this was the point when Sankardev decided to preach a new religion.  Some of the first to be initiated into this religion was the wife of Jayanta-dalai, a leper named Hariram (later Tulasiram), Ramaram his associate and Mahendra Kandali, his tol teacher. The 13 years at Alipukhuri was the period during which he reflected deeply on Vaishnavism and on the form that would best suit the spiritual and ethical needs of the people. Ananta Kandali, a profound scholar of Sanskrit, became his disciple during this time; he translated the later part of Canto X of the Bhagavata Purana after consulting Sankardev.

From Alipukhuri Sankardev moved back to Bordowa in 1509 and built a thaan. Some authors claim that this than had all the major features of a sattra (central kirtanghar, cari-hati etc.), whereas many others assert that these features did not exist during Sankardev's time. This than was abandoned and more than a hundred years later in the middle of the 17th-century, Sankardev's granddaughter-in-law, Kanaklata, established it again.

Literary works in the Baro-Bhuyan territories
 Non-Bhagavata group
 Harishcandra-Upakhyana
 Bhakti-pradip
 Kirtan-ghosa (Uresa-varnana)
 Non-Bhagavata mixed with Bhagavata elements, not influenced by Sridhara Swami
 Rukmini-harana-kavya
 Lyrics
 Borgeet
 Bhagavata tales, not from Book X
 Ajamilopakhyan (Book VI)
 Amrta-manthan (Book VIII)
 Kirtan-ghosa (Ajamilopakhyan, Prahlada-caritra, Harmohana,
 Sections ii–vi

Ahom kingdom

Gangmau
Biswa Singha, began his activities to remove the Bhuyans from power in the western part of the Brahmaputra valley in 1509.  Furthermore, the Bhuyans in the Bordowa area picked up a quarrel with their Kachari neighbours, and when attacked Sankardev advised the Bhuyans to move, which brought to an end the independence of this group of Bhuyans. Sankardev and his associates first crossed the Brahmaputra river in 1516–17 and settled first at Singari and finally at Routa; and when Viswa Singha advanced towards Routa, Sankardev moved to Gangmau in the Ahom kingdom in 1527. At Gangmau they stayed for five years where Sankardev's eldest son Ramananda was born. At Gangmau, he wrote the drama Patniprasad. In fact he lived alone at a place named Gajalasuti out of dissatisfaction with some relative. He penned the play there.

Dhuwahat
While at Gangmau, the Koch king Biswa Singha attacked the Ahoms. The Bhuyans fought for the Ahoms and the Koch king was defeated. Due to the unsettled situation at Gangmau Sankardev next moved to Dhuwahat, near Ahatguri in present-day Majuli, washed away by the Brahmaputra in 1913.  The Bhuyans were settled here by the Ahoms with land and estate, Hari, Sankardev's son-in-law became a Saikia, and his cousin Jagatananda, grandson of Jayanta received a title 'Ramarai'. At Dhuwahat, he met his spiritual successor Madhavdev. Madhavdev, a sakta, got into a religious altercation with his brother-in-law Ramadas who had recently converted to Vaishnavism.  Ramadas took him to Sankardev, who, after a long debate, convinced him of the power and the efficacy of Ekasarana.  The acquisition of Madhavdev, with his talent in poetry, singing and dedication to his new-found religion and guru, was a significant event in the Ekasarana history. At Dhuwahat he managed to attract a wider attention and popularity and he initiated many others into his religion.

The popularity of Ekasarana and the conversion of people alarmed the priestly Brahmins, who reacted with anger and hostility. Sankardev tried to diffuse their hostility—by meeting with them at the house of his relative Budha-Khan and asking his Brahmin antagonists to install a wooden idol of Jagannath, called Madan-Mohan, at his religious seat.  (Sankardev left this idol hanging on a tree when he took flight from Dhuwahat, and it was rescued years later by Vamshigopaldev and installed at Deberapar-sattra). The Brahmins finally complained to the Ahom king, Suhungmung (1497–1539), who summoned Sankardev to his court for a debate with them. Sankardev was able to convince the king that he was not a religious rebel and a threat to the social order, and the charges against him were dropped. The hostility, nevertheless, continued.

Flight from Dhuwahat
Though the positions of the Bhuyans in the Ahom kingdom began comfortably—with Sankardev's son-in-law, Hari, becoming a Paik officer and Ramrai, his cousin, becoming a royal official—the relationship gradually deteriorated.  After the death of Viswasingha, who was inimical to the Bhuyans, and the rise of Naranarayan (1540), the Koch-Bhuyan relationship improved somewhat. Sometime in the 1540s during the reign of Suklenmung (1539–1552) a royal officer visited the region for an elephant capturing expedition.  Hari did not make himself available and furthermore, an elephant escaped through a barrier managed by the Bhuyans.  The officer took grave offence in this dereliction of duty and arrested Hari as well as Madhavdev.  At Garhgaon, Hari was executed and Madhavdev interned for about a year. According to Daityari, taking advantage of the Koch advance against the Ahoms (1546–1547), Sankardev and his followers escaped from the Ahom kingdom as they fell behind the vanguard of the Koch army setting up their garrison in Narayanpur further to the east.

Literary works in the Ahom kingdom
 Arguments against those antagonistic to bhakti
 Kirtan-ghosa (Pasanda-mardana, Namaparadha)
 (Vipra)-patni-prasad (Ankia Naat)
 Tales from Krishna's early life
 Kirtan-ghosa (sisu-lila, rasa-krida, kamsavadha, gopi-uddhava-samvada, kujir vancha-purana, akrurar vancha-purana)
 Borgeets

Koch kingdom

Sunpora
Sankardev and his followers reached Kapalabari in Koch kingdom in later part of 1540 and put up there. But the water was very alkaline there. Several members including Madhavdev's mother Manorama died there. So after staying for some time at Kapalabari, Sankardev and his group moved to Sunpora in 1541. At Sunpora Sankardev initiated Bhavananda, a rich trader who had extensive business interest in the Garo Hills and Bhutan Hills besides Kamarupa. The trader, Narayana Das, settled at Janiya near Barpeta and took to agriculture. A man of the world otherwise, he soon flourished and became a provider to Sankardev and his devotees. He came to be known popularly as Thakur Ata.

Patbausi
After a great deal of moving, Sankardev settled at Patbausi near Barpeta in the Koch Kingdom and constructed a Kirtanghar (house of prayer). Some of the people he initiated here are Chakrapani Dwija and Sarvabhaum Bhattacharya, Brahmins; Govinda, a Garo; Jayaram, a Bhutia; Madhai, a Jaintia; Jatiram, an ascetic; and Murari, a Koch. Damodardev, a Brahmin, was initiated by Sankardev. Damodardev was entrusted by Sankardev to initiate Brahmin disciples. A Sattra was also constructed for him at Patbausi itself. Later Damodardev became the founder of the Brahma Sanghati sect of Sankardev's religion.

Among Sankardev's literary works, he completed his rendering of the Bhagavata Purana and wrote other independent works. He continued composing the Kirtan Ghosha, further translated the first canto of the Ramayana (Adi Kanda) and instructed Madhavdev to translate the last canto (Uttara Kanda), portions that were left undone by the 14th century poet Madhav Kandali. He wrote four plays: Rukmini harana, Parijata harana, Keligopala and Kalidamana. Another play written at Patbausi, Kansa Vadha, is lost. At Patbausi, he had lent his Bargeets numbering around 240 to Kamala Gayan. But unfortunately, Gayan's house was gutted and most of the borgeets were lost. Since that incident Sankardev stopped composing Bargeets. Of the 240, 34 remain today.

Second Pilgrimage
Sankardev once again left for a pilgrimage in 1550 with a large party of 117 disciples that included Madhavdev, Ramrai, Ramaram, Thakur Ata and others. Thakur Ata had to return after just one day's journey. Madhavdev had to take entire responsibility of logistics. He on the request of Sankardev's wife Kalindi urged him to return from Puri and not proceed to Vrindavana. Sankardev and the group returned to Patbausi within six months in 1551.

Koch capital and Bheladanga
On receiving repeated complaints that Sankardev was corrupting the minds of the people by spreading a new religion Nara Narayan, the Koch king, ordered Sankardev's arrest, and Sankardev went into hiding. Chilarai—the general of the Koch army, half-brother of the king and married to Kamalapriya the daughter of Sankardev's cousin Ramarai—then convinced the king to give Sankardev a hearing instead.

For the audience with Nara Narayan, as he moved up the steps to the court, Sankardev sang his Sanskrit totaka hymn, composed extempore, to Lord Krishna madhu daanava daarana deva varam

and as he sat down, he sang a borgeet, narayana kahe bhakati karu tera, playing on the name of the king. At the debate with the court pundits that followed, Sankardev was able to refute all allegations against him. The king declared him free and furthermore honored him with a seat close to the throne. Sankardev began to attend Naranarayana's court regularly, and received the freedom to propagate his teachings.

Chilarai was instrumental in keeping Sankardev safe and supporting his work.  Many of Sankardev's literary and dramatic works were completed in his domain with his patronage and protection. Sankardev acknowledged his appreciation in his play 'Ram Vijaya'.

Sankardev shuttled between Koch Behar the capital and Patbausi his seat. He was often hosted by Chilarai, and on his request agreed to have the images of the childhood days of krishna at Vrindavan woven on cloth.  He engaged the weavers of Tantikuchi, near Barpeta, to weave a forty-yard long tapestry panel. Sankaradeva provided the designs to be woven, chose the various colours of thread to be used, and supervised the weaving. It took about a year to complete and, deriving its name from its theme, came to be known as the Vrindavani vastra. It was presented to Chilarai and Naranarayan.  A section of this cloth is preserved now in the Victoria and Albert museum in London.

Chandsai, a Muslim tailor serving the Koch king became a disciple of Sankardev at Kochbehar. When Sankardev returned to Patbausi some time later, Chandsai too came with the saint. Sankardev frequented the capital for more than 20 years and enjoyed unstinted royal patronage for the first time.

End
He made arrangements with Madhavdev and Thakur Ata and gave them various instructions at Patbausi and left the place for the last time. He set up his home at Bheladonga in Kochbehar. During his stay at Kochbehar, Maharaja Naranarayana expressed his wish to be initiated. Sankardev was reluctant to convert a king and declined to do so. (According to one of the biographers Ramcharan Thakur) A painful boil; a visha phohara – had appeared in some part of his body and this led to the passing away of the Saint. Thus, in 1568, after leading a most eventful life dedicated to enlightening humanity; the Mahapurusha breathed his last – after four months of his last stay at Bheladonga– at the remarkable age of 120 years.

Literary works in the Koch kingdom
 Bhagavata tales, not from Book X
 Bali-chalana (Book VIII)
 Anadi-patana (Book III, Vamana-purana)
 Bhagavata tales from Books X, XI, XIII
 Kirtan-ghosa (Jarasandha yudha, Kalayavana badha, Mucukunda-stuti, Syamanta-haran, Naradar-krishna-darsan, Vipra-putra-anayana, Daivakir-putra-anayana, Veda-stuti, Lilamala, Rukminir-prem-kalah, Bhrigu-pariksha, srikrishnar-vaikuntha-prayana, Chaturvimsati-avatar-varnana, Tatparya)
 Gunamala
 Section i
 Renderings of Bhagavata Purana
 Bhagavata X (Adi)
 Bhagavata XI (with material from Books I and III)
 Bhagavata XII
 Bhagavata I
 Bhagavata II
 Bhagavata IX (lost)
 Kurukshetra (Book X, Uttarardha)
 Nimi-nava-siddha-samvada
 From Ramayana
 Ramayana, Uttara-kanda
 Lyrics
 Borgeets
 Totaya
 Bhatima
 Doctrinal treatise
 Bhakti-ratnakar
 Drama (Ankia Naat)
 Kali-daman
 Keli-gopal
 Rukmini-haran
 Parijat-haran
 Ram-vijay
 Visual Art
 Vrindavani vastra – parts of this work are preserved in London.

Ekasarana

Sankardev preached pure devotion (bhakti) to Krishna consisting primarily in the singing (kirtan) and listening to (sravan) of his deeds and activities. Ekasarana follows the dasya attitude (bhava) of worship in which the devotee considers himself to be a servant of God. In contrast to other Vaishnava schools, Radha is not worshiped along with Krishna.

The people who practice his religion are referred to variously as Mahapurushia, Sarania and Sankari.

Srimanta Sankardev started a system of initiation (Sarana) into his religion. He caused a huge social revolution by fighting against the caste discrimination prevailing at that time. He initiated people of all castes and religions, including Muslims. After initiation, the devotee is expected to adhere to the religious tenets of Ekasarana consisting in worship to one God, Krishna, and offering devotion to him, forsaking completely all forms of Vedic rites.

Though he himself married twice, had children and led the life of a householder, his disciple Madhavdev did not. Some of his followers today follow celibate life (kevaliya bhakat) in the Vaishnavite monasteries – the sattras.

Sankardev's famous debate with Madhavdev, who was a staunch sakta (devotee of Shakti) earlier, and Madhavdev's subsequent induction into Ekasarana, is often cited as the single most epoch-making event in the history of the neo-Vaishnavite movement in Assam. Madhavdev, an equally multi-talented person, became his most celebrated disciple.

Literary works
Sankardev produced a large body of work. Though there were others before him who wrote in the language of the common man – Madhav Kandali who translated the Ramayana into Assamese in the 14th century – This was the first ramayana to be written in a modern Indian language – Harivara Vipra and Hema Saraswati, it was Sankardev who opened the floodgates and inspired others like Madhavdev to carry on where he left off.

His language is lucid, his verses lilting, and he infused bhakti into everything he wrote. His magnum opus is his Kirtana-ghosha, a work so popular that even today it is found in many household in Assam. It contains narrative verses glorifying Krishna meant for community singing. It is a bhakti kayva par excellence, written in a lively and simple language, it has "stories and songs for amusement [for children], it delights the young with true poetic beauty and elderly people find here religious instruction and wisdom".

For most of his works, he used the Assamese language of the period so the lay person could read and understand them. But for dramatic effect in his songs and dramas he used Brajavali.

Other literary works include the rendering of eight books of the Bhagavata Purana including the Adi Dasama (Book X), Harishchandra-upakhyana (his first work), Bhakti-pradip, the Nimi-navasiddha-samvada (conversation between King Nimi and the nine Siddhas), Bhakti-ratnakara (Sanskrit verses, mostly from the Bhagavata, compiled into a book), Anadi-patana (having as its theme the creation of the universe and allied cosmological matters), Gunamala and many plays like Rukmini haran, Patni prasad, Keli gopal, Kurukshetra yatra and Srirama vijaya. There was thus a flowering of great Bhakti literature during his long life of 120 years.

Poetic works (kavya)
 Kirtana-ghosha
 Harischandra-upakhyana
 Rukmini-harana
 Parijat-haran
 Kaliya-daman
 Ram-vijay
 Ajamilopakhyana
 Bali-chalana
 Kurukshetra-yatra
 Gopi-uddhava-samvada
 Amrita-manthana
 Krishna-prayana-pandava-niryana
 Kamajaya

Bhakti Theory
 Bhakati-pradipa
 Anadi-patana
 Nimi-navasiddha-samvada
 Bhakti Ratnakara (in Sanskrit)
 Gunamala

Transliteration
 Bhagavata (Book VI, VIII, I, II, VII, X, XI, XII, IX, X(partial, XI(partial) & XII)
 Ramayana (Uttarakanda, supplemental to Madhav Kandali's Saptakanda Ramayana)
His translation of the Bhagavata is actually a transcreation, because he translates not just the words but the idiom and the physiognomy too. He has adapted the original text to the local land and people and most importantly for the purpose of bhakti. Portions of the original were left out or elaborated where appropriate. For example, he suppressed the portions that revile the lowers caste of sudra and kaivartas, and extols them elsewhere.

Drama (Ankia Nat)
 Cihna Yatra (lost)
 Patni-prasada
 Janma-jatra (lost)
 Kangsa-badha (lost)
 Parijata-harana
 Kali-damana
 Rukmini-harana
 Keli-gopala
 Srirama-vijaya

Sankardev was the fountainhead of the Ankiya naat, a form of one-act play. His Cihna Yatra is regarded as one of the first open-air theatrical performances in the world. Cihna yatra was probably a dance drama and no text of that show is available today. Innovations like the presence of a Sutradhara (narrator) on the stage, use of masks etc., were used later in the plays of Bertolt Brecht and other eminent playwrights.

These cultural traditions still form an integral part of the heritage of the Assamese people.

Songs
 Borgeet (composed 240, but only 34 exist now)
 Bhatima
 Deva bhatima – panegyrics to God
 Naat bhatima – for use in dramas
 Raja bhatima – panegyrics to king Nara Narayan

He is a musician; All his creations were orienting to the Vishanav religion and one set of them is called 'Holy Songs', which are known as 'Borgeet(Bargit or Bargeet)' till today in Assam.

The Borgeets (literally: great songs) are devotional songs, set to music and sung in various raga styles. These styles are slightly different from either the Hindustani or the Carnatic styles. The songs themselves are written in the 'Brajavali' language.

Dance
Sattriya dance, that Sankardev first conceived and developed and which was later preserved for centuries by the sattras, is now among the classical dance forms of India. Although certain devout Sankarite calls this form as Sankari dance

Visual Art
 Sapta vaikuntha – part of the Cihna yatra production, does not exist today.
 Vrindavani vastra – parts of this work are preserved in London.
The famous Vrindavani Vastra—the cloth of Vrindavan—a 120 x 60 cubits tapestry depicted the lilas of Lord Krishna at Vrindavan through richly woven and embroidered designs on silk. A specimen, believed to be a part of this work, is at the Association pour l'Etude et la Documentation des Textiles d'Asie collection at Paris (inv. no. 3222).
The vastra, commissioned by Koch king Naranarayana, was woven by 12 master weavers in Barpeta under the supervision of Sankardev over a period of six-month and completed towards the end of 1554. This textile art depicted the life and deeds of lord Krishna, who is worshipped in Eka Sarana Nama Dharma. The cloth was housed in the royal court of Kochbehar after the saint presented it to the king; but it disappeared at some point. It is believed that parts of this cloth made its way to Tibet and from there to its present place.

See also

 Sattra
 Borgeet
 Madhavdev
 Dihanaam
 Ankia Naat
Vrindavani vastra

Notes

References

 Vaishnav Santa Srimanta Sankaradeva – translation: Rajibaksha Rakshit. Kaziranga. The only Bengali book available in market on Sankaradeva

Further reading

External links

 atributetosankaradeva.org  – The Religion, philosophy, Literature, Art, Culture (and more) of Mahapurusha Srimanta Sankardev
 The Sattras of Assam – By BK Barua and HV Sreenivasa Murthy, pages from hindubooks.org

1449 births
1568 deaths
Ekasarana Dharma
Hindu revivalists
People from Nagaon district
Bhakti movement
Assamese-language poets
Assam dramatists and playwrights
Indian male songwriters
Poets from Assam
Kayastha
15th-century Indian musicians
16th-century Indian musicians
15th-century Indian poets
16th-century Indian poets
Indian male poets
Musicians from Assam
Indian Hindu saints
15th-century Indian dramatists and playwrights
16th-century Indian dramatists and playwrights
Dramatists and playwrights from Assam
Writers from Assam


text:
Dixit Dominus (latin för "Herren sade") kan syfta på:

 Dixit Dominus – psalm 110 (psalm 109 i Vulgata)
 Dixit Dominus (Händel) – en komposition av Georg Friedrich Händel
 Dixit Dominus (Vivaldi) – en komposition av Antonio Vivaldi
 Dixit Dominus (Pitoni) – en komposition av Giuseppe Ottavio Pitoni
 Dixit Dominus (Bolis) – en komposition av Sebastiano Bolis
Dixit Dominus (Martines) - en komposition av Marianna Martines
 Dixit Dominus (Mozart) – en del av Mozarts Vesperae de Dominica

Dixit
 Dixit (kortspel) – ett kortspel skapat av Jean-Louis Roubira


text:
Grace Ethel Cecile Rosalie Allen (26 de julio de 1895 – 27 de agosto de 1964), conocida como Gracie Allen, fue una actriz y humorista estadounidense.

Biografía

Primeros años
Nacida en San Francisco (California), sus padres eran George Allen y Margaret Darragh. Estudió en la Star of the Sea Convent School, y durante ese tiempo llegó a ser una bailarina de talento. Pronto empezó a interpretar bailes irlandeses con sus tres hermanas, haciéndose ellas llamar "The Four Colleens." En 1909 Allen se unió a su hermana Bessie para actuar en el vodevil. En una interpretación en 1922 Allen conoció a George Burns y ambos trabajaron juntos en una comedia. La pareja se casó el 7 de enero de 1926 en Cleveland (Ohio).

Fecha de nacimiento no aclarada
Según la fuente, Gracie Allen podría haber nacido el 26 de julio de 1895, 1897, 1902, o 1906. Los registros de la Ciudad y Condado de San Francisco resultaron destruidos en el terremoto de San Francisco de 1906. Su marido, George Burns, también afirmaba no conocer exactamente la edad de Allen, aunque consideraba más probable la de 1902, que aparece en su certificado de defunción. Sin embargo, la información más fiable es la del censo estadounidense, que afirma que nació en julio de 1895.

Dúo cómico
Burns y Allen empezaron a actuar formando un dúo cómico. El público reía más ante la actuación de Allen, por lo que de manera paulatina se desplazó el centro del interés cómico al personaje representado por ella. Ambos viajaron por el país actuando en locales de vodevil. Muchos de sus números se grabaron en cortos rodados mientras la pareja actuaba en el escenario.

Radio
A principios de la década de 1930, como otras muchas estrellas del vodevil de la época, Burns y Allen empezaron a actuar en la radio. Su show tuvo un éxito modesto, pues era originalmente continuación de sus números originales del vodevil. Burns decidió cambiar el formato del programa creando una comedia de situación en la que interpretaban a una pareja casada solucionando los problemas causados por la "ilógica lógica" de Allen, usualmente con la ayuda de los vecinos Harry y Blanche Morton y del locutor Bill Goodwin (más adelante sustituido por Harry von Zell en la serie televisiva de la pareja).

Televisión
Hacia 1948 Burns y Allen entraron a formar parte de la CBS.  Su buen amigo Jack Benny les convenció para integrarse en la cadena. El show radiofónico de Burns y Allen entró en la programación de la CBS, y un año más tarde apareció su programa de televisión, en el que siguieron con la fórmula usada por ellos en la radio. Allen se retiró en 1958, y Burns intentó continuar el programa sin ella, renombrándolo The George Burns Show, con el mismo elenco, pero sin su esposa. El nuevo programa duró apenas un año.

Cine
A principios de la década de 1930 Burns y Allen rodaron cortos, preservando varios de sus números clásicos de vodevil. También hicieron dos películas bajo la dirección de W.C. Fields (International House (1933) y Six of a Kind (1934)), y protagonizaron junto a Fred Astaire A Damsel in Distress, un musical con partitura original de George Gershwin, en la que se oía la canción "A Foggy Day". Fue el primer film de Astaire sin Ginger Rogers. Ésta fue la película de mayor fama interpretada por Gracie Allen.

Vida privada
En los años treinta Burns y Allen adoptaron dos niños, Sandra Jean y Ronald John, tras descubrir que no podían tener hijos. Ronnie acabó trabajando en el programa televisivo de sus padres interpretando al hijo de ambos. Sandy, por contraste, solo hizo alguna pequeña actuación ocasional en el show, abandonando la actuación para dedicarse a la enseñanza.

La razón de su retiro en 1958 fue su mala salud. Gracie Allen se vio aquejada de una enfermedad cardiaca y falleció a causa de un infarto agudo de miocardio en Hollywood, California, en 1964. Fue enterrada en el Cementerio Forest Lawn Memorial Park en Glendale (California). Su esposo la sobrevivió más de 30 años.

Filmografía
 Lambchops (1929) (corto)
 The Big Broadcast (1932) (primer largometraje)
 College Humor (1933)
 International House (1933)
 Many Happy Returns (1934) (primer papel protagonista)
 Six of a Kind (1934)
 We're Not Dressing (1934)
 Love in Bloom (1935)
 Here Comes Cookie (1936)
 A Damsel in Distress (1937)
 College Swing (1938)
 Honolulu (1939)
 The Gracie Allen Murder Case (1939) (sin Burns — un film de misterio del personaje de S.S. Van Dine "Philo Vance")
 Mr. and Mrs. North (1941) (segundo film de misterio sin Burns)
 Two Girls and a Sailor (1944) (última película)

Interpretaciones radiofónicas
 The Robert Burns Panatella Show: 1932 - 1933 CBS
 The White Owl Program: 1933 - 1934 CBS
 The Adventures of Gracie: 1934 - 1935 CBS
 The Campbell's Tomato Juice Program: 1935 - 1937 CBS
 The Grape Nuts Program: 1937 - 1938 NBC
 The Chesterfield Program: 1938 - 1939 CBS
 The Hinds Honey and Almond Cream Program: 1939 - 1940 CBS
 The Hormel Program: 1940 - 1941 NBC
 The Swan Soap Show: 1941 - 1945 NBC, CBS
 Maxwell House Coffee Time: 1945 - 1949 NBC
 The Amm-i-Dent Toothpaste Show: 1949 - 1950 CBS

Referencias

Bibliografía
 I Love Her, That's Why!: An autobiography por George Burns (1955, 2003) ISBN 0-7581-3841-5
 Gracie: A Love Story por George Burns (1989) ISBN 0-14-012656-2
 Say Goodnight, Gracie: The Story of George Burns and Gracie Allen por Cheryl Blythe y Susan Hackett (1986, 1989) ISBN 1-55958-019-4

Enlaces externos

 How to Become President por Gracie Allen
 Ficha en la NNDB

Nacidos en San Francisco
Fallecidos en Los Ángeles
Artistas de California
Actrices de California
Actrices de radioteatro de Estados Unidos
Actrices de Estados Unidos del siglo XX
Actrices de Estados Unidos
Cantantes de California
Paseo de la Fama de Hollywood
Católicos de Estados Unidos
Actores católicos
Intérpretes de Vodevil


text:
Eric Woolfson (18 de marzo de 1945 - 2 de diciembre de 2009) fue un compositor, músico, cantante y productor musical escocés nacido en Glasgow. Woolfson adquirió amplia notoriedad durante los años 70 y 80 del siglo XX como cofundador y compositor principal del grupo The Alan Parsons Project. Tras la disolución del grupo, comenzó una carrera como compositor de musicales y firmó cinco obras que han sido representadas ante más de un millón de espectadores en países como Alemania, Corea del Sur o Japón.

Durante su carrera musical, tanto en el grupo como en sus producciones en solitario, sobrepasó la cifra de 50 millones de discos vendidos. El 2 de diciembre de 2009, en la madrugada, Woolfson falleció a los 64 años de edad tras una larga lucha contra el cáncer.

Primeros años
Los primeros contactos de Woolfson con el mundo profesional de la música tuvieron lugar como pianista de acompañamiento, tras mudarse de Glasgow a Londres, donde conoció a Jimmy Page y John Paul Jones de Led Zeppelin. Woolfson compuso temas como Baby Make It Soon, interpretada por Chris Farlowe, a la postre el primer trabajo de producción de Mick Jagger. También compuso canciones para aristas como Marianne Faithfull, The Tremeloes o Marmalade. Durante los años 60 también colaboró con Andrew Lloyd Weber y entabló trato con Andrew Powell importante en su trayectoria posterior con The Alan Parsons Project ya que Powell realizó instrumentaciones y arreglos orquestales.

Como productor artístico obtuvo varios éxitos trabajando para bandas como The Equals, The Tremeloes, Dave Berry y Graham Gouldman (10cc). También realizó labores de management, con Carl Douglas, y produjo la emblemática y conocida canción de 1974 «Kung Fu Fighting».

The Alan Parsons Project
A partir de mitad de los años setenta y hasta prácticamente los años noventa Woolfson se vuelca de lleno en una nueva sociedad musical junto a Alan Parsons. Bajo el nombre The Alan Parsons Project Woolfson compone, junto a Parsons, 11 álbumes conceptuales que obtienen un importante reconocimiento y éxito comercial a pesar de no realizar giras ni conciertos. En aquel momento Woolfson adquirió el rol de mánager del grupo y Parsons, que era más conocido por haber trabajado con Pink Floyd o The Beatles, dio el nombre a la nueva formación.

La base del grupo descansaba sobre el tandem Woolfson-Parsons, a los que se incorporaban colaboradores como Andrew Powell y un buen número de experimentados cantantes y músicos de estudio sin una alineación fija y en búsqueda de la mejor calidad. Sus canciones, sencillas e impecablemente instrumentadas y producidas, con un sonido envolvente y grandioso, inspiraron el rock progresivo e incluso el trance actual.

Su primer trabajo fue Tales of Mystery and Imagination (1976), basado en relatos de Edgar Allan Poe y con la participación como narrador del cineasta Orson Welles. Woolfson y Parsons enfocan su música hacia un pop-rock conceptual donde todos y cada uno de sus posteriores discos siguen una misma causa o tema en común. Esta idea se atribuye por la participación en trabajos anteriores de Alan Parsons junto al músico Al Stewart (Time Passangers, The Year of the Cat) donde el rock conceptual acapara su atención, al igual que grupos como Pink Floyd o The Who. Alcanzó el puesto 38 en las listas de ventas y les propició la firma de un contrato discográfico con Arista Records con quienes publicaron sus discos posteriores.

I Robot (1977), su segundo trabajo, es un disco temático inspirado originalmente por la novela homónima de Isaac Asimov. Sin embargo, tras haber vendido sus derechos previamente, acabó derivando a una temática más general como la relación entre el ser humano y la inteligencia artificial. Incluye algunos conocidos temas como «I Wouldn't Want To Be Like You», «Breakdown» o la pieza instrumental que titula el disco «I Robot».

Pyramid (1978), su tercera obra, se centra en los misterios y maravillas del Egipto ancestral. Por aquella época el interés que despertaban las pirámides y el denominado "poder de las pirámides" estaba en auge. «Hyper-Gamma-Spaces», un tema instrumental en homenaje al hermano de Eric Woolfson, y «Shadow Of A Lonely Man», un homenaje a su padrastro, son algunas canciones destacables de este disco.

En Eve (1979) las canciones se enlazan temáticamente sobre la base del encanto y la magia de la mujer. Aunque originalmente se pensó en hacer un homenaje a grandes mujeres de la historia, finalmente se decidió mostrar la fuerza y problemas que las mujeres hallan en entornos dominados por los hombres. La canción instrumental «Lucifer», «Damned If I Do» y «If I Could Change Your Mind» tuvieron una aceptable acogida popular.

A medida que se van publicando estos discos la formación va paulatinamente incrementando sus ventas y popularidad. En medio de unas tensas negociaciones entre la discográfica, que programó fechas para los lanzamientos de Eve y del siguiente disco, y el grupo, deseoso de tomar un descanso de su trabajo de estudio, Woolfson y Parsons grabaron en una sesión de tres días un disco maldito: The Sicilian Defence. Se trata de una colección de canciones instrumentales a medio camino entre la improvisación y el esbozo de posibles temas. La discográfica rechazó el álbum, al que calificó de "incomprensible, inescuchable e impublicable", e incluso Parsons posteriormente se refirió a él como "The Sicilian Defence nunca fue publicado y nunca lo será si de mí depende. No lo he escuchado desde que lo terminamos. Espero que las cintas ya no existan". Finalmente en 2014, con motivo del lanzamiento de una caja que incluía todos los discos de la formación, el disco finalmente vio la luz.

Su quinta grabación, The Turn of a Friendly Card (1980), aborda temáticamente los juegos de azar o el riesgo personal que cada persona afronta ante los desafíos de la vida. Durante la época de preparación Woolfson vivía en Mónaco y el disco refleja el impacto personal que le generó la visita a un casino rodeado de cámaras y personal de vigilancia. Algunas de las canciones más recordadas de la trayectoria del grupo se hallan en este disco: «Snake Eyes», «Games People Play» y, especialmente, «Time».

En su sexto disco, Eye in the Sky (1982), Woolfson y Parsons alcanzan la cúspide de su influencia. Basado en una reflexión sobre las creencias personales (políticas, religiosas, o los propios sistemas de creencias), la vigilancia y la falta de privacidad en nuestras vidas, el disco es un álbum enteramente realizado con ideas sobrantes del disco anterior. Los temas instrumentales «Sirius» y «Mammagamma» y las canciones «You're Gonna Get Your Fingers Burned» y, especialmente, «Eye in the Sky», suponen la cúspide de la popularidad de The Alan Parsons Project.

Desde este momento, poco a poco, la influencia del grupo va disminuyendo y su estilo musical va evolucionando hacia el pop-rock y la música adulta contemporánea. Ammonia Avenue (1984), un disco enfocado sobre los pros y contras de aplicar la ciencia al progreso industrial, contiene el último gran éxito del grupo: «Don't Answer Me» (puesto 15 del Billboard Hot 100), cuyo videoclip, realizado en dibujos animados, fue nominado en la primera edición de premios convocado por el canal de televisión MTV.

Vulture Culture (1985), inspirado por el uróboros que simboliza el ciclo eterno de las cosas y el papel de la creación artística en un mundo dominado por la economía, originalmente iba a ser un disco doble con Ammonia Avenue pero, finalmente, se editó por separado. Durante esta época un estafador suplantó a Woolfson y le causó percances como, por ejemplo, hacer que el músico Al Di Meola, a quien Woolfson no conocía, acudiera a una inexistente sesión de grabación. Esta anécdota inspiró la canción «Somebody Out There». También hay otros temas, como «Days Are Numbers (The Traveller)» o «Let's Talk About Me», que obtuvieron amplia repercusión.

Stereotomy (1985), una reflexión sobre las presiones del mundo moderno, se refiere a la manera en que ciertos artistas, figuras mediáticas y personajes famosos son amoldados para cumplir con los requerimientos de la popularidad. Uno de sus temas instrumentales, «Where's The Walrus?», fue nominado a los Premios Grammy de 1987 en el apartado "mejor instrumental de rock".

Finalmente llega el décimo disco de The Alan Parsons Project y con el que finalizó su contrato con Arista Records: Gaudi (1987), inspirado en el arquitecto catalán Antonio Gaudí y el esplendor de su obra en La Sagrada Familia, título que define al principal tema del álbum y que lleva su mismo nombre. También la canción «Standing On Higher Ground» obtuvo cierta repercusión y constituye el último videoclip antes de la disolución del grupo.

Trayectoria en Solitario
Tras la edición de Gaudi Woolfson y Parsons comienzan a trabajar en un nuevo disco inspirado en la obra de Sigmund Freud titulado Freudiana. Sin embargo los caminos entre ambos artistas comienzan a mostrar diferencias creativas ya que Woolfson comienza a tener la visión de utilizar sus discos como base para la realización de musicales frente al sonido de rock estético más característico de Alan Parsons. Sin la participación de Parsons, Woolfson comenzó a asumir su rol de creador de obras y puestas en escena teatrales.

Freudiana sería el álbum número 11 de The Alan Parsons Project con un nuevo sello discográfico pero Brian Brolly, antiguo socio de Andrew Lloyd Webber, con quien creó musicales como Cats y The Phantom of the Opera, se transforma en el director artístico de la obra y convence a Woolfson para transformar Freudiana en un espectáculo teatral. Esta redefinición del concepto generó una agria disputa entre Parsons y Woolfson, y este último decidió firmar Freudiana como un álbum solista, el primero en su carrera, y no como un trabajo de The Alan Parsons Project, lo que supuso la disolución del grupo. Freudiana se estrenó en 1990 en el teatro Ann Der Wein de Viena (Austria) y previamente se publicó un disco doble con las composiciones del mismo. Aunque el musical obtuvo éxito, y se barajó que se representaría en otras ciudades, Brolly y Woolfson se enfrentaron por el control del proyecto. La disputa, de la que resultó perdedor Woolfson, se resolvió en los tribunales de justicia y las pérdidas le dejaron en bancarrota. Durante mucho tiempo fue prácticamente imposible la adquisición de este álbum, del que existen una versión Black grabada por el reparto original en alemán y una White grabada en estudio por músicos en inglés.

Su segundo musical, Gaudi (1995), basado nuevamente en la obra de Antonio Gaudí, se aleja completamente de la versión grabada con The Alan Parsons Project, pues la llevó a un concepto totalmente teatral, aunque sí incluye composiciones del disco grabado en 1987. Se estrenó en Aquisgrán (Alemania) y también pasó por teatros de Alsdorf (1995) y Colonia (1996), donde se construyó una sala específica con 1700 asientos para acoger las representaciones. Más de 500.000 personas acudieron a las funciones en los más de cinco años que permaneció en cartel.

Gambler (1997), su tercer musical, vuelve a abordar la temática del juego y el azar ya abordada en The Turn of a Friendly Card e incluye canciones como «Games People Play», «Time» o «Eye in the Sky». Su estreno mundial tuvo lugar en Mönchengladbach (Alemania) en 1996, donde se exhibió durante 18 meses. Se montaron funciones en Corea del Sur, donde obtuvo siete Premios Tony, y posteriormente se exhibió en Japón durante 2002 y 2005.

Su cuarto musical, Poe: More Tales of Mystery and Imagination (2003), es una continuación temática del primer disco de The Alan Parsons Project, también inspirado en relatos y textos de Edgar Allan Poe; pero el disco editado contiene sólo una parte de las canciones mostradas en escena. El estreno de este musical tuvo lugar en 2003 en los estudios Abbey Road. En 2009 se editó el disco musical Edgar Allan POE que sí contiene las 17 canciones del musical encabezado por Steve Balsamo protagonista de Jesucristo Superstar.

Dancing Shadows (2007), su quinto musical, se estrenó en Seúl y está basado en la obra Sanbul del escritor coreano Cham Bum-Suk. Antes de su fallecimiento en diciembre de 2009 Woolfson completó toda la música y las letras en inglés, ya que la obra se estrenó en coreano, y su familia decidió completar un CD de demostración de todas las canciones para promocionar el musical ante potenciales productores de teatro.

Entre los años 2007 y 2008 Woolfson, dentro del proyecto impulsado por las discográficas Sony y Universal para reeditar, remasterizar y publicar versiones ampliadas de la discografía de The Alan Parsons Project, descubrió la existencia de varios temas, completos o esbozados, que no se habían incluido en los discos. A raíz de esta labor vio la luz un disco titulado Eric Woolfson sings The Alan Parsons Project That Never Was (2009) integrado por una decena de canciones. Aunque también se incluyen composiciones de su etapa en solitario Woolfson indicó que su génesis ya estaba en su etapa anterior.

Como trabajo póstumo finalmente se editó Eric Woolfson's Somewhere in the Audience (2013), una compilación de canciones de todos los musicales de Woolfson a excepción de Freudiana: Gaudi, Gambler, Poe y Dancing Shadows.

Discografía

En Solitario
 1990 Freudiana (Edición Blanca, en inglés)
 1991 Freudiana (Edición Negra, en alemán con el reparto del musical estrenado en Viena)
 1995 Gaudi
 1996 Gambler
 2003 Poe: More Tales of Mystery and Imagination
 2007 Dancing Shadows
 2009 The Alan Parsons Project That Never Was
 2009 Edgar Allan POE: A Musical
 2013 Somewhere in the Audience (publicado el 18 de marzo de 2013, aniversario del nacimiento de Eric Woolfson)

Como Integrante de The Alan Parsons Project
 1976 Tales of Mystery and Imagination
 1977 I Robot
 1978 Pyramid
 1979 Eve
 1980 The Turn of a Friendly Card
 1982 Eye in the Sky
 1984 Ammonia Avenue
 1985 Vulture Culture
 1986 Stereotomy
 1987 Gaudi
 2014 The Sicilian Defence (grabado en 1979)

Bibliografía

Referencias

Enlaces externos
 Web oficial
 Web del musical Poe

Músicos de Escocia
The Alan Parsons Project
Compositores de Escocia
Fallecidos por cáncer de riñón
Nacidos en Glasgow
Judíos de Escocia
Fallecidos en Londres
Fallecidos por cáncer en Inglaterra
Pianistas de Escocia


text:
Мари Маллен () — ирландская актриса театра и кино.

Биография
Мари Маллен родилась в 1953 году в Ирландии. Замужем за актёром Шоном Макгинли, воспитывает двоих детей.

Является сооснователем «Druid Theatre Company» вместе с театральным режиссёром Гэрри Хайнсом и актёром Миком Лэлли.

В 1998 году Мари получила премию «Тони» в категории «Лучшая женская роль в пьесе» («The Beauty Queen of Leenane»), а также премию «Obie». С 2001 года играет в театре «Abbey Theatre».

Фильмография

Примечания

Ссылки


text:
Grażyna Brodzińska née Wayda (b. May 5, 1951 in Cracow) is a Polish soprano, opera and operetta singer, and musical actress, nicknamed The First Lady of Polish Operetta.

 Biography
Brodzińska was born on May 5, 1951, in Cracow, the daughter of director Edmund Wayda and opera singer Irena Brodzińska. In 1960s she graduated from Danuta Baduszkowa's Actors Studio in Gdynia.

Grażyna Brodzińska performed at Musical Theatre in Gdynia (1969–1976) and later at Musical Theatre in Szczecin, Warsaw Operetta and Roma Theatre in Warsaw. Since 2002 Brodzińska is an actress of Silesian Operetta in Gliwice.

 Discography
 2008 Sway – Kołysz mnie 2002 Śpiewaj, kochaj 1999 Najpiękniejsze kolędy 1998 Pardon Madame 1997 Jestem zakochana – 12 najpiękniejszych arii operetkowych''

References

External links

 Official website

1951 births
Living people
20th-century Polish actresses
Ballad musicians
Polish sopranos
Polish musical theatre actresses
Musicians from Kraków
Actresses from Kraków
Polish women singers


text:
Pablo Alfaro Armengot, né le  à Saragosse (Espagne), est un footballeur espagnol qui jouait au poste de défenseur central.

Biographie

Pablo Alfaro se forme dans les catégories inférieures du Real Saragosse. Il commence à jouer en équipe première lors de la saison 1989-1990. Ses bonnes performances attirent l'attention du FC Barcelone qui le recrute en 1992. Sous les ordres de l'entraîneur Johan Cruijff, il joue peu et dès 1993 il part jouer au Racing de Santander où il reste jusqu'en 1996.

Après une saison avec l'Atlético de Madrid (1996-1997), Alfaro est recruté par le CP Mérida où il reste jusqu'en 2000.

Alors que sa carrière semble sur le déclin, il reçoit à l'âge de 31 ans une offre du Séville FC qu'il accepte. C'est là qu'Alfaro passe ses meilleurs années. Il prend le contrôle de la défense et fait partie du meilleur Séville FC des derniers temps.

Après cinq années avec Séville, Alfaro retourne au Racing de Santander en 2005, club où il met un terme à sa carrière en 2007.

Il est licencié en médecine et commente les matchs du Séville FC à la télévision.

Style de jeu
Pablo Alfaro était connu pour son jeu agressif et viril .

Palmarès
  FC Barcelone
 Champion d'Espagne en 1993
 Vainqueur de la Supercoupe de l'UEFA en 1992
  Séville FC
 Vainqueur de la Coupe UEFA en 2006

Références

Liens externes

Naissance en avril 1969
Naissance à Saragosse
Footballeur espagnol
Joueur du Real Saragosse
Joueur du FC Barcelone
Joueur du Racing de Santander
Joueur de l'Atlético de Madrid
Joueur du Club Polideportivo Mérida
Joueur du Séville FC
Consultant sportif
Entraîneur espagnol de football
Entraîneur du Pontevedra CF
Entraîneur du Recreativo de Huelva
Entraîneur du CD Leganés
Entraîneur de la SD Huesca
Entraîneur du CD Mirandés


text:
Cerkáriová dermatitida je alergické kožní onemocnění savců (vč. člověka) vyvolané průnikem cerkárií ptačích motolic (Schistosomatidae) do kůže náhodného hostitele. Vznik makulopapulózní vyrážky je způsoben zánětlivou imunitní reakcí hostitele v okolí uhynulých těl parazitů. Nejvíce pacientů se cerkáriovou dermatitidou nakazí během koupání v přírodních nádržích, v nichž se vyskytují plži vylučující infekční larvální stadia ptačích motolic (cerkárie). Kvůli zvyšujícímu se počtu diagnostikovaných případů je toto onemocnění označováno jako "emerging infectious disease".

Původci onemocnění
Zástupci ptačích schistosom (čeleď Schistosomatidae) způsobující cerkáriovou dermatitidu se vyskytují ve vodách celého světa kromě Antarktidy. Jejich výskyt je podmíněn přítomností ptačích definitivních hostitelů a mezihostitelských plžů, vůči kterým jsou parazité úzce specializováni. Podle obývaného stanoviště rozdělujeme ptačí schistosomy na druhy sladkovodní (např. rody Trichobilharzia, Bilharziella, Dendritobilharzia) a mořské (např. rody Austrobilharzia, Ornithobilharzia).

Ve střední Evropě se na nejvíce počtech případů cerkáriové dermatitidy podílí ptačí motolice rodu Trichobilharzia (T. szidati, T. regenti, T. franki). Rody ptačích schistosom běžně se vyskytujících na území ČR představuje následující tabulka.

Životní cyklus ptačích motolic z čeledi Schistosomatidae zahrnuje stejně jako u lidských schistosom dva hostitele, jsou jimi plicnatí plži (mezihostitelé) a ptáci (definitivní hostitelé). V definitivním hostiteli dochází k pohlavnímu rozmnožování dospělých jedinců, kteří produkují vajíčka. Z nich se líhnou první larvální stádia tzv. miracidia, penetrující mezihostitelské plže. Po asexuálním namnožení parazita uvnitř těchto plžů dochází k uvolnění dalších larválních stádií – cerkárií. Cerkárie ve vodě aktivně vyhledávají vhodné definitivní hostitele, do nichž posléze pronikají. Při penetraci pokožky hostitele cerkárie navíc odhazují své ocásky, čímž se mění na poslední subadultní stádia tzv. schistosomula. Ta migrují tělem definitivního hostitele na místo své definitivní lokalizace, kde dospívají a pohlavně se množí. Podle finální lokalizace můžeme rozlišit ptačí schistosomy viscerální, které dospívají v cévách vnitřních orgánů (např. Trichobilharzia szidati obsazuje cévy v blízkosti střev), a schistosomy nazální (např. Trichobilharzia regenti obsazující nosní sliznici).

Savci, včetně člověka, představují v životním cyklu ptačích motolic tzv. náhodné hostitele, ve kterých parazité nedokáží dokončit svůj vývoj, jelikož jsou zlikvidováni imunitním systémem hostitele, a to z velké většiny již při penetraci pokožky nebo následně při případné migraci organismem. Záměna definitivního ptačího hostitele za náhodného savčího hostitele je způsobena podobným složením mastných kyselin a dalších chemických látek (cholesterol, ceramidy apod.) na pokožce teplokrevných obratlovců (ptáků a savců).

Epidemiologie a rozšíření
První případy cerkáriové dermatitidy byly popsány již ve 20. letech 20. století. K současnému nárůstu diagnostikovaných případů přispívá největší měrou kromě rozšiřujícího se povědomí o ptačích schistosomách také celosvětové oteplování a eutrofizace vodních nádrží. Uvolňování cerkárií z mezihostitelských plžů je totiž vysoce citlivé na vnější teplotu (ideálně 17–25 °C). Na druhé straně obohacování půdy o dusík a fosfor zapříčiňuje zkvalitnění životaschopnosti plžů, a tedy i přítomných larválních stádií parazita. I přes to jsou celkové záznamy dokumentující výskyt cerkáriové dermatitidy výrazně podhodnoceny, neboť při primárních infekcích může být průběh onemocnění téměř bezpříznakový či při mírných projevech lehce zaměnitelný s hmyzím kousnutím.

Ptačí motolice způsobující cerkáriovou dermatitidu se nachází ve sladkých i slaných vodách po celém světě. V Evropě pochází nejvíce záznamů o výskytu cerkáriové dermatitidy z území České republiky, Rakouska, Německa, Francie, Norska či Islandu, což však nevylučuje výskyt případů i v jiných zemích.

V České republice jsou původci cerkáriové dermatitidy nacházeni především ve stojatých vodách, přičemž nejvíce případů je popisováno z přírodních koupališť. V posledních letech byla cerkáriová dermatitida zaznamenána a potvrzena na koupacích plochách v Příbrami , Sokolově , Plzni , Zákupech , Karlových Varech, Brušperku, Říčanech, Vrchlabí či Jetřichovicích. Státní zdravotní ústav doporučuje označit jakost vody s výskytem cerkárií působících dermatitidu jako zhoršenou (stupeň 3) nebo nevhodnou ke koupání (stupeň 4).

Klinické příznaky, diagnostika a terapie

Cerkáriová dermatitida se projevuje jako vyrážka reprezentovaná nejprve růžovými, asi 2 mm v průměru velkými makulami, později papulami. Ty se vytvářejí v místě penetrace cerkárií (i pod oblečením) běžně do 2. dne po infekci a následně po 2–3 týdnech mizí. Klasickým projevem je nepříjemné svědění způsobující v některých případech i nespavost. U citlivějších jedinců se dále můžeme setkat s horečnatými stavy, zduřením lymfatických uzlin, edémy apod. Intenzita a rychlost nástupu obranné je reakce je kromě citlivosti jednotlivce podmíněna i množstvím penetrujících cerkárií a hlavně předešlým setkáním s cerkáriemi, kdy při primárních infekcích se žádné symptomy objevit nemusí.

Diagnostika cerkáriové dermatitidy je problematická. Kožní projevy vyvolané cerkáriemi se podobají projevům bakteriální dermatitidy, kontaktní dermatitidy, hmyzího kousnutí nebo požahání medúzami nebo jinými žahavci. Cerkárie v kůži lze prokázat biopsií papul do 48 hodin od infekce. Cerkáriovou dermatitidu také může indikovat zvýšený počet eosinofilních granulocytů (především u opakovaně exponovaných osob), hladiny imunoglobulinů E (IgE) však zvýšené být nemusejí. Léčba cerkáriové dermatitidy je pouze symptomatická (nikoliv kauzální) a spočívá ve zmírnění intenzity svědění a vyrážky. V mírných případech lze využít například hořčičný olej, v těžších případech lze použít systémová antihistaminika (hydroxyzin), případně kortikosteroidy (hydrokortizon).

Prevence

V současnosti nejsou dostupná žádná univerzální preventivní opatření, která by výskyt cerkáriové dermatitidy spolehlivě regulovala, vždy je třeba přihlížet k podmínkám dané vodní nádrže.

Možností, jak na lokalitě eliminovat riziko cerkáriové dermatitidy, je několik:
 Cílení na definitivní hostitele s dospělými červy:
 lovení a zastrašování vodního ptactva
 zákaz krmení vodního ptactva
 ošetření infikovaných vodních ptáků antihelmintiky (např. praziquantel).
 Cílení na mezihostitele s larválními stádii:
 mechanická likvidace plžů
 využití moluscidů
 manuální odlov plžů
 vysazení predátorů plžů
 vysazení antagonistických motolic.
 Cílení na miracidia a cerkárie:
 vysazení predátorů cerkárií a miracidií (např. někteří kroužkovci),
 vysazení konkurenčních druhů plžů, v nichž se paraziti nevyvíjejí.
 Osobní preventivní opatření:
 vyhnutí se mělkým vodám s výskytem plžů
 omezení koupání v ranních hodinách (závisí na dynamice vylučování cerkárií)
 aplikace ochranných krémů proti cerkáriím (krémy na bázi niklosamidu).

Odkazy

Reference

Související články
Trichobilharzia

Trichobilharzia regenti

Trichobilharzia szidati

Externí odkazy

 http://www.helminthology.cz/
 http://www.cdc.gov/parasites/swimmersitch/biology.html

Nemoci kůže
Zoonózy
Parazitární onemocnění
Záněty
Motolice


text:
Meran steht für:
 eine Stadt in Südtirol, siehe Meran
 einen Ortsteil der italienischen Gemeinde Montjovet im Aostatal
 eine Apfelsorte, siehe Meran (Apfel)
 Meran (Adelsgeschlecht)

Meran oder Merán ist der Name oder Familienname folgender Personen:
 Franz von Meran (1839–1891), österreichischer Adliger, Sohn von Erzherzog Johann
 Johannes Gobertus Meran (* 1961), römisch-katholischer Theologe und Mediziner
 Marcel Meran (†), französischer Segler
 Niklaus von Meran (1440–1493), Schweizer Großkaufmann, Kleinrat, Vogt und Tagsatzungsgesandter
 Philipp Meran (1926–2021), österreichischer Museumsdirektor und Schriftsteller
 Rafael Merán (* 1987), dominikanischer Bahn- und Straßenradrennfahrer
 Rudolf von Meran (1872–1959), österreichischer Statthalter, Enkel von Erzherzog Johann

Siehe auch:

 Mairan
 Meran 2000
 Meraner Hilfspost


text:
Wall of Voodoo était un groupe de rock américain formé à Los Angeles en 1977 et séparé en 1988.

Ils réaliseront le plus grand album de New-wave du début des années 1980 'call of the west' sorti en .

Composition
 Stan Ridgway (né en 1954) : Chant, harmonica, claviers.
 Joe Nanini : Percussions, batterie, voix.
 Chas T. Gray : Synthétiseur, basse, chœurs.
 Marc Moreland : Guitares 6 et 12 cordes.

Discographie

Albums studio
 1980 : Wall of Voodoo (EP)
 1981 : Dark Continent
 1982 : Call of the West
 1985 : Seven days in Sammytown
 1987 : Happy Planet

Album live
 1989 : The Ugly Americans in Australia

Compilations
 1984 : Granma's House
 1991 : The Index Masters (premier EP + titres live)
 2011 : Lost Weekend: The Best of Wall of Voodoo (The I.R.S. Years)

Singles
 1982 : "Ring of Fire" (remix)
 1982 : "On Interstate 15"
 1983 : "Mexican Radio"
 1983 : "Call of the West"
 1983 : "There's Nothing on This Side"
 1984 : "Big City"
 1985 : "Far Side of Crazy"
 1987 : "Do It Again"
 1987 : "Elvis Bought Dora a Cadillac"

Liens externes
 Le site officiel du groupe
 Le site de Stan Ridgway

Groupe américain de new wave
Groupe musical de Los Angeles
Groupe musical américain des années 1980
Groupe musical formé en 1977
Artiste d'I.R.S. Records


text:
Phormion () war ein athenischer Geschäftsmann des 4. Jahrhunderts v. Chr.

Phormion war zunächst Sklave des Pasion, eines bedeutenden Bankiers in Athen. Nach seiner Freilassung arbeitete er als dessen Gehilfe weiter bei ihm. Als Pasion 370 v. Chr. starb, heiratete Phormion gemäß dem Testament seines früheren Herrn Pasions Witwe. Außerdem wurde er durch Pacht Nachfolger des Bankiergeschäftes, obwohl Pasion mit Apollodoros einen leiblichen Sohn hatte.

Da Apollodoros zum Zeitpunkt des Todes seines Vaters schon volljährig war, kam es zu erheblichen erbschaftsrechtlichen Problemen, die sich über 20 Jahre hinzogen und die Gerichte beschäftigten. Einige der vor Gericht gehaltenen Reden wurden überliefert und sind heute wichtige Quellen für die Wirtschafts- und Geschäftswelt des antiken Athen.

Quellen

 Demosthenes or. 36

Bankier
Grieche (Antike)
Geboren im 5. Jahrhundert v. Chr.
Gestorben im 4. Jahrhundert v. Chr.
Mann


text:
L'etimologia del termine isobaro deriva dalle parole del greco antico: ἴσος ìsos (uguale) e βαρύς barýs (pesante), cioè "ugualmente pesante"; il termine fu suggerito originariamente da A. W. Stewart nel 1918.

In fisica nucleare, infatti, vengono definiti isobari i nuclidi che presentano, a differenza degli isotopi, lo stesso numero di nucleoni nel loro nucleo e che hanno quindi lo stesso numero di massa (A) ma un diverso numero atomico (Z); in altre parole, due nuclei atomici appartenenti a elementi chimici distinti, ma costituiti dallo stesso numero complessivo di nucleoni, e aventi quindi approssimativamente la stessa massa atomica. Essi avranno quindi massa molto simile (il che giustifica il nome isobaro) pur avendo un comportamento chimico sicuramente diverso (numero atomico differente). Ad esempio, il trizio (3H) e l'elio-3 sono nuclidi tra loro isobari; così, anche il 14C e il 14N, come pure il 54Cr e il 54Fe.

Gli isobari sono coinvolti nei processi radioattivi in ogni tipo di decadimento beta di un nucleo atomico: decadimento β–, β+ e cattura elettronica (ε); in queste trasformazioni un neutrone diviene un protone, o vice versa, e le altre particelle emesse o assorbite dal nucleo sono leptoni (elettroni e neutrini) e quindi il numero di massa, prima e dopo la trasformazione, resta inalterato.

Esistono vari numeri di massa per i quali nessun isobaro risulta stabile, i primi due esempi sono per A = 5 (decadimento a elio-4 più un protone o un neutrone) e A = 8 (decadimento in 2 particelle alfa).

Note

Bibliografia

Voci correlate
Isotopo
Isotono
Isodiafero
Isomeria nucleare
Decadimento beta

Collegamenti esterni

Chimica nucleare
Fisica nucleare