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Gmina Szydłowo is a rural gmina (administrative district) in Mława County, Masovian Voivodeship, in east-central Poland. Its seat is the village of Szydłowo, which lies approximately 6 kilometres (3 mi) south-east of Mława and 102 km (63 mi) north-west of Warsaw.

The gmina covers an area of , and as of 2006 its total population is 4,559 (4,653 in 2013).

Villages
Gmina Szydłowo contains the villages and settlements of Budy Garlińskie, Dębsk, Garlino, Giednia, Kluszewo, Korzybie, Kozły-Janowo, Krzywonoś, Marianowo, Młodynin, Nieradowo, Nosarzewo Borowe, Nosarzewo Polne, Nowa Sławogóra, Nowa Wieś, Nowe Nosarzewo, Nowe Piegłowo, Pawłowo, Piegłowo-Kolonia, Piegłowo-Wieś, Stara Sławogóra, Stare Niemyje, Szydłówek, Szydłowo, Trzcianka, Trzcianka-Kolonia, Tyszki-Bregendy, Wola Dębska and Zalesie.

Neighbouring gminas
Gmina Szydłowo is bordered by the town of Mława and by the gminas of Dzierzgowo, Grudusk, Stupsk, Wieczfnia Kościelna and Wiśniewo.

References

Polish official population figures 2006

Szydlowo
Mława County


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Гербы городских округов

Гербы муниципальных районов

Гербы городских поселений

См.также
 Административно-территориальное деление Ульяновской области

Примечания

Ссылки
 УЛЬЯНОВСКАЯ ОБЛАСТЬ - ГЕРБЫ И ФЛАГИ
 Гербы городов Ульяновской области
 Ульяновская область

Гербы Ульяновской области
Ульяновская область
Ульяновская область

redpajama_set_name: RedPajamaWikipedia


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Ridgewell is een civil parish in het bestuurlijke gebied Braintree, in het Engelse graafschap Essex. De plaats telt 509 inwoners.

Civil parish in Essex


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The Nadeau River (in French: rivière Nadeau) is a tributary of the west bank of the Chaudière River which flows northward to empty onto the south bank of the St. Lawrence River. It flows in the administrative region of Chaudière-Appalaches, in Quebec, in Canada, in the Robert-Cliche Regional County Municipality (in the municipality of Saint-Séverin)
and La Nouvelle-Beauce Regional County Municipality (in the municipalities of Saint-Elzéar, of Sainte-Marie-de-Beauce, of Vallée-Jonction).

Geography

The main neighboring watersheds of the Nadeau River are:
 north side: Savoie River, Vallée River, Chaudière River;
 east side: Chaudière River;
 south side: Lessard River, Cliche River, rivière des Fermes, Cinq River;
 west side: Aulnaies stream, Beaurivage River, Fourchette River, Filkars River, Palmer East River.

The Nadeau river has its source in the northern part of the municipality of Saint-Séverin, at  north-west of the center of the village of Tring-Jonction, at  north-west of the center of the village of Saint-Séverin and at  west of the Chaudière River.

From its source, the Nadeau River flows over  divided into the following segments:
  north-east, in the municipality of Saint-Séverin, to a country road which delimits Saint-Séverin and Saint-Elzéar;
  northeasterly, to rang Saint-Olivier road;
  north-east, collecting the water from the Guay stream (coming from the north-west), to the chemin du rang Saint-Jacques;
  north-east, to a country road delimiting the municipalities of Saint-Elzéar and Sainte-Marie-de-Beauce;
  eastward, up to the limit of Vallée-Jonction;
  eastward, up to its confluence.

The Nadeau river empties on the west bank of the Chaudière River, in Vallée-Jonction. This confluence is located  downstream of the bridge in the village of Vallée-Jonction, at  upstream of the Sainte-Marie-de-Beauce and at  upstream from the confluence of the Savoie River.

Toponymy
The toponym Rivière Nadeau was formalized on December 5, 1968, at the Commission de toponymie du Québec.

See also
 List of rivers of Quebec

References

Rivers of Chaudière-Appalaches
Beauce-Centre Regional County Municipality
La Nouvelle-Beauce Regional County Municipality


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Biotroof (Oudgrieks: βίος, bíos "leven" en τροφή, trophḗ "voeding") zijn organismen, die groeien op levende planten of dieren. De planten en dieren moeten na infectie nog blijven leven. Biotrofe organismen zijn plantenparasieten, parasieten bij dieren en symbionten, zoals de mycorrhiza en de in de stikstofwortelknolletjes levende bacteriën (Rhizobium).

Zie ook
 Heterotroof
 Autotroof
 Mixotroof
 Chemotroof
 Necrotroof, planten sterven na infectie snel
 Microtroof, micro-organismen als voedsel
 Fytotroof, planten als voedsel
 Zoötroof, dieren als voedsel
 Parasitoïde

Fysiologie
Plantkunde


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Михаил Фёдорович Глазьев (27 октября 1923, село Нелжа, Тамбовская губерния — 28 ноября 1979, Воронежская область) — главный агроном колхоза имени Ф. Э. Дзержинского, Герой Социалистического Труда (1965).

Биография
Родился 27 октября 1923 года в селе Нелжа (ныне — Рамонского района Воронежской области). В 1938 году окончил школу-семилетку, поступил в Берёзовский сельскохозяйственный техникум.

В РККА с 1941 года. Участник Великой Отечественной войны. Демобилизован в 1945 году.

Продолжил учёбу в Берёзовском сельскохозяйственном техникуме, который окончил в 1946 году. В 1946—1950 — участковый агроном Лимановской машинно-тракторной станции. В 1950—1954 — председатель колхоза имени М. И. Калинина Панинского района.

В 1955 году заочно окончил Воронежский сельскохозяйственный институт.

С 1954 года — главный агроном колхоза имени Ф. Э. Дзержинского.

За успехи, достигнутые в повышении урожайности, увеличении производства и заготовок сахарной свёклы Глазьеву Михаилу Фёдоровичу Указом Президиума Верховного Совета СССР от 31 декабря 1965 года присвоено звание Героя Социалистического Труда с вручением ордена Ленина и золотой медали «Серп и Молот».

Умер 28 ноября 1979 года. Похоронен на кладбище в селе Красные Холмы  Воронежской области.

Заслуженный агроном РСФСР, . Награждён 2 орденами Ленина, 2 орденами Трудового Красного Знамени, медалями.

Бюст М. Ф. Глазьева установлен на Аллее Героев в посёлке Панино Воронежской области.

Примечания

Ссылки

Литература
 Золотые звёзды земли Воронежской: Сборник документов и материалов / Сост.: Э. С. Лыкова. — Воронеж: Центрально-Чернозёмное кн. изд-во, 1989.
 Литвинова Т. Н., Юрасов А. Н. Бозюков М. И. Воронежская энциклопедия / Гл. ред. М. Д. Карпачёв. — Воронеж: Центр духовного возрождения Чернозёмного края, 2008. — Т. 1. — 524 с.
 Гамов Н. С. Агроном Михаил Глазьев. — Воронеж, 1967.

Пехотинцы Великой Отечественной войны
Выпускники Воронежского аграрного университета
Председатели колхозов


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The Joker is a supervillain appearing in American comic books published by DC Comics. The character was created by Bill Finger, Bob Kane, and Jerry Robinson, and first appeared in the debut issue of the comic book Batman on April 25, 1940. Credit for the Joker's creation is disputed; Kane and Robinson claimed responsibility for the Joker's design while acknowledging Finger's writing contribution. Although the Joker was planned to be killed off during his initial appearance, he was spared by editorial intervention, allowing the character to endure as the archenemy of the superhero Batman.

In his comic book appearances, the Joker is portrayed as a criminal mastermind. Introduced as a psychopath with a warped, sadistic sense of humor, the character became a goofy prankster in the late 1950s in response to regulation by the Comics Code Authority, before returning to his darker roots during the early 1970s. As Batman's nemesis, the Joker has been part of the superhero's defining stories, including the murder of Jason Todd—the second Robin and Batman's ward—and the paralysis of one of Batman's allies, Barbara Gordon. The Joker has had various possible origin stories during his decades of appearances. The most common story involves him falling into a tank of chemical waste that bleaches his skin white and turns his hair green and lips bright red; the resulting disfigurement drives him insane. The antithesis of Batman in personality and appearance, the Joker is considered by critics to be his perfect adversary.

The Joker possesses no superhuman abilities, instead using his expertise in chemical engineering to develop poisonous or lethal concoctions and thematic weaponry, including razor-tipped playing cards, deadly joy buzzers, and acid-spraying lapel flowers. The Joker sometimes works with other Gotham City supervillains, such as the Penguin and Two-Face, and groups like the Injustice Gang and Injustice League, but these relationships often collapse due to the Joker's desire for unbridled chaos. The 1990s introduced a romantic interest for the Joker in his former psychiatrist, Harley Quinn, who became his criminal sidekick and girlfriend before finally escaping their abusive relationship. Although his primary obsession is Batman, the Joker has also fought other heroes, including Superman and Wonder Woman.

One of the most iconic characters in popular culture, the Joker has been listed among the greatest comic book villains and fictional characters ever created. The character's popularity has seen him appear on a variety of merchandise, such as clothing and collectible items, inspire real-world structures (such as theme park attractions), and be referenced in a number of media. The Joker has been adapted in live-action, animated, and video game incarnations, including the 1960s Batman television series played by Cesar Romero and in films by Jack Nicholson in Batman (1989), Heath Ledger in The Dark Knight (2008), Jared Leto in the DC Extended Universe (2016–present), and Joaquin Phoenix in Joker (2019–present); Ledger and Phoenix each earned an Academy Award for their portrayals. Mark Hamill and others have provided the character's voice in media ranging from animation to video games.

Creation and development

Concept

Bill Finger, Bob Kane, and Jerry Robinson are credited with creating the Joker, but their accounts of the character's conception differ, each providing his own version of events. Finger's, Kane's, and Robinson's versions acknowledge that Finger produced an image of actor Conrad Veidt in character as Gwynplaine (a man whose mouth is disfigured into a perpetual grin) in the 1928 film The Man Who Laughs as an inspiration for the Joker's appearance, and Robinson produced a sketch of a joker playing card.

Robinson stated that it was his 1940 card sketch that served as the character's concept, and Finger associated that image with Veidt in the film. Kane hired the 17-year-old Robinson as an assistant in 1939, after he saw Robinson in a white jacket decorated with his own illustrations. Beginning as a letterer and background inker, Robinson quickly became primary artist for the newly created Batman comic book series. In a 1975 interview in The Amazing World of DC Comics, Robinson said he wanted a supreme arch-villain who could test Batman, not a typical crime lord or gangster designed to be easily disposed of. He wanted an exotic, enduring character as an ongoing source of conflict for Batman (similar to the relationship between Sherlock Holmes and Professor Moriarty), designing a diabolically sinister, but clownish, villain. Robinson was intrigued by villains; he believed that some characters are made up of contradictions, leading to the Joker's sense of humor. He said that the name came first, followed by an image of a playing card from a deck he often had at hand: "I wanted somebody visually exciting. I wanted somebody that would make an indelible impression, would be bizarre, would be memorable like the Hunchback of Notre Dame or any other villains that had unique physical characters." He told Finger about his concept by telephone, later providing sketches of the character and images of what would become his iconic Joker playing-card design. Finger thought the concept was incomplete, providing the image of Veidt with a ghastly, permanent rictus grin.

Kane countered that Robinson's sketch was produced only after Finger had already shown the Gwynplaine image to Kane, and that it was only used as a card design belonging to the Joker in his early appearances. Finger said that he was also inspired by the Steeplechase Face, an image in Steeplechase Park at Coney Island that resembled a Joker's head, which he sketched and later shared with future editorial director Carmine Infantino. In a 1994 interview with journalist Frank Lovece, Kane stated his position:

Robinson credited himself, Finger, and Kane for the Joker's creation. He said he created the character as Batman's larger-than-life nemesis when extra stories were quickly needed for Batman #1, and he received credit for the story in a college course:

Finger provided his own account in 1966:

Although Kane adamantly refused to share credit for many of his characters, and refuted Robinson's claim for the rest of his life, many comic historians credit Robinson with the Joker's creation and Finger with the character's development. By 2011, Finger, Kane, and Robinson had died, leaving the story unresolved.

Golden Age

The Joker debuted in Batman #1 (April 1940) as the eponymous character's first villain, about a year after Batman's debut in Detective Comics #27 (May 1939). The Joker initially appeared as a remorseless serial killer and jewel thief, modeled after a joker playing card with a mirthless grin, who killed his victims with "Joker venom," a toxin that left their faces smiling grotesquely. The character was intended to be killed in his second appearance in Batman #1, after being stabbed in the heart. Finger wanted the Joker to die because of his concern that recurring villains would make Batman appear inept, but was overruled by then-editor Whitney Ellsworth; a hastily drawn panel, indicating that the Joker was still alive, was added to the comic. The Joker went on to appear in nine of Batmans first 12 issues.

The character's regular appearances quickly defined him as the archenemy of the Dynamic Duo, Batman and Robin; he killed dozens of people, and even derailed a train. By issue #13, Kane's work on the syndicated Batman newspaper strip left him little time for the comic book; artist Dick Sprang assumed his duties, and editor Jack Schiff collaborated with Finger on stories. Around the same time, DC Comics found it easier to market its stories to children without the more mature pulp elements that had originated many superhero comics. During this period, the first changes in the Joker began to appear, portraying him as a wacky but harmless prankster; in one story, the Joker kidnaps Robin and Batman pays the ransom by check, meaning that the Joker cannot cash it without being arrested. Comic book writer Mark Waid suggests that the 1942 story "The Joker Walks the Last Mile" was the beginning point for the character's transformation into a more goofy incarnation, a period that Grant Morrison considered to have lasted the following 30 years.

The 1942 cover of Detective Comics #69, known as "Double Guns" (with the Joker emerging from a genie's lamp, aiming two guns at Batman and Robin), is considered one of the greatest superhero comic covers of the Golden Age and is the only image from that era of the character using traditional guns. Robinson said that other contemporary villains used guns, and the creative team wanted the Joker—as Batman's adversary—to be more resourceful.

Silver Age
The Joker was one of the few popular villains continuing to appear regularly in Batman comics from the Golden Age into the Silver Age, as the series continued during the rise in popularity of mystery and romance comics. In 1951, Finger wrote an origin story for the Joker in Detective Comics #168, which introduced the characteristic of him formerly being the criminal Red Hood, and his disfigurement the result of a fall into a chemical vat.

By 1954, the Comics Code Authority had been established in response to increasing public disapproval of comic book content. The backlash was inspired by Frederic Wertham, who hypothesized that mass media (especially comic books) was responsible for the rise in juvenile delinquency, violence and homosexuality, particularly in young males. Parents forbade their children from reading comic books, and there were several mass burnings. The Comics Code banned gore, innuendo and excessive violence, stripping Batman of his menace and transforming the Joker into a goofy, thieving trickster without his original homicidal tendencies.

The character appeared less frequently after 1964, when Julius Schwartz (who disliked the Joker) became editor of the Batman comics. The character risked becoming an obscure figure of the preceding era until this goofy prankster version of the character was adapted into the 1966 television series Batman, in which he was played by Cesar Romero. The show's popularity compelled Schwartz to keep the comics in a similar vein. As the show's popularity waned, however, so did that of the Batman comics. After the TV series ended in 1969, the increase in public visibility had not stopped the comic's sales decline; editorial director Carmine Infantino resolved to turn things around, moving stories away from child-friendly adventures. The Silver Age introduced several of the Joker's defining character traits: lethal joy buzzers, acid-squirting flowers, trick guns, and goofy, elaborate crimes.

Bronze Age

In 1973, after a four-year disappearance, the Joker was revived (and revised) by writer Dennis O'Neil and artist Neal Adams. Beginning with Batman #251's "The Joker's Five-Way Revenge", the character returns to his roots as an impulsive, homicidal maniac who matches wits with Batman. This story began a trend in which the Joker was used, sparingly, as a central character. O'Neil said his idea was "simply to take it back to where it started. I went to the DC library and read some of the early stories. I tried to get a sense of what Kane and Finger were after." O'Neil's 1973 run introduced the idea of the Joker being legally insane, to explain why the character is sent to Arkham Asylum (introduced by O'Neil in 1974 as Arkham Hospital) instead of to prison. Adams modified the Joker's appearance, changing his more average figure by extending his jaw and making him taller and leaner.

DC Comics was a hotbed of experimentation during the 1970s, and in 1975 the character became the first villain to feature as the title character in a comic book series, The Joker. The series followed the character's interactions with other supervillains, and the first issue was written by O'Neil. Stories balanced between emphasizing the Joker's criminality and making him a likable protagonist whom readers could support. Although he murdered thugs and civilians, he never fought Batman; this made The Joker a series in which the character's villainy prevailed over rival villains, instead of a struggle between good and evil. Because the Comics Code Authority mandated punishment for villains, each issue ended with the Joker being apprehended, limiting the scope of each story. The series never found an audience, and The Joker was canceled after nine issues (despite a "next issue" advertisement for an appearance by the Justice League). The complete series became difficult to obtain over time, often commanding high prices from collectors. In 2013, DC Comics reissued the series as a trade paperback.

When Jenette Kahn became DC editor in 1976, she redeveloped the company's struggling titles; during her tenure, the Joker would become one of DC's most popular characters. While O'Neil and Adams' work was critically acclaimed, writer Steve Englehart and penciller Marshall Rogers's eight-issue run in Detective Comics #471–476 (August 1977–April 1978) defined the Joker for decades to come with stories emphasizing the character's insanity. In "The Laughing Fish", the Joker disfigures fish with a rictus grin resembling his own (expecting copyright protection), and is unable to understand that copyrighting a natural resource is legally impossible. Englehart's and Rogers' work on the series influenced the 1989 film Batman, and was adapted for 1992's Batman: The Animated Series. Rogers expanded on Adams' character design, drawing the Joker with a fedora and trench coat. Englehart outlined how he understood the character by saying that the Joker "was this very crazy, scary character. I really wanted to get back to the idea of Batman fighting insane murderers at 3 a.m. under the full moon, as the clouds scuttled by."

Modern Age
Years after the end of the 1966 television series, sales of Batman continued to fall and the title was nearly cancelled. Although the 1970s restored the Joker as Batman's insane, lethal archenemy, it was during the 1980s that the Batman series started to turn around and the Joker came into his own as part of the "Dark Age" of comics, with mature tales of death and destruction. The shift was criticized for moving away from tamer superheroes (and villains), but comic audiences were no longer primarily children. Several months after Crisis on Infinite Earths launched the era by killing off Silver Age icons such as the Flash and Supergirl and undoing decades of continuity, Frank Miller's The Dark Knight Returns (1986) re-imagined Batman as an older, retired hero and the Joker as a lipstick-wearing celebrity who cannot function without his foe. The late 1980s saw the Joker exert a significant impact on Batman and his supporting cast. In the 1988–89 story arc "A Death in the Family", the Joker murders Batman's sidekick (the second Robin, Jason Todd). Todd was unpopular with fans; rather than modify his character, DC opted to let them vote for his fate and a 72-vote plurality had the Joker beat Todd to death with a crowbar. This story altered the Batman universe: instead of killing anonymous bystanders, the Joker murdered a core character; this had a lasting effect on future stories. Written at the height of tensions between the United States and Iran, the story's conclusion had Iranian leader Ayatollah Ruhollah Khomeini appoint the Joker his country's ambassador to the United Nations (allowing him to temporarily escape justice).

Alan Moore and Brian Bolland's 1988 graphic novel The Killing Joke expands on the Joker's origins, describing the character as a failed comedian who adopts the identity of the Red Hood to support his pregnant wife. Unlike The Dark Knight Returns, The Killing Joke takes place in mainstream continuity. The novel is described by critics as one of the greatest Joker stories ever written, influencing later comic stories (including the forced retirement of then-Batgirl, Barbara Gordon, after she is paralyzed by the Joker) and films such as 1989's Batman and 2008's The Dark Knight. Grant Morrison's 1989 Arkham Asylum: A Serious House on Serious Earth explores the psychoses of Batman, the Joker and other rogues in the eponymous facility.

The 1992 animated series introduced the Joker's female sidekick: Harley Quinn, a psychiatrist who falls for—and ends up in an abusive relationship with—the Joker, becoming his supervillain accomplice. The character was popular, and was adapted into the comics as the Joker's romantic interest in 1999. In the same year, Alan Grant and Norm Breyfogle's comic book Anarky concluded with the revelation that the titular character was the Joker's son. Breyfogle conceived the idea as a means to expand on Anarky's characterization, but O'Neil (by then the editor for the Batman series of books) was opposed to it, and only allowed it to be written under protest, and with a promise that the revelation would eventually be revealed incorrect. However, the Anarky series was cancelled before the rebuttal could be published. The Joker's first major storyline in The New 52, DC Comics' 2011 reboot of story continuity, was 2012's "Death of the Family" by writer Scott Snyder and artist Greg Capullo. The story arc explores the symbiotic relationship between the Joker and Batman, and sees the villain shatter the trust between Batman and his adopted family. Capullo's Joker design replaced his traditional outfit with a utilitarian, messy, and disheveled appearance to convey that the character was on a mission; his face (surgically removed in 2011's Detective Comics (vol. 2) #1) was reattached with belts, wires, and hooks, and he was outfitted with mechanics overalls. The Joker's face was restored in Snyder's and Capullo's "Endgame" (2014), the concluding chapter to "Death of the Family".

The conclusion of the 2020 "Joker War" storyline by writer James Tynion IV and artist Jorge Jiménez sees the Joker leave Gotham after Batman chooses to let him die. This led to a second ongoing Joker series, beginning in March 2021 with Tynion writing and Guillem March providing art.

Character biography
The Joker has undergone many revisions since his 1940 debut. The most common interpretation of the character is that of a man who, while disguised as the criminal Red Hood, is pursued by Batman and falls into a vat of chemicals that bleaches his skin, colors his hair green and his lips red, and drives him insane. The reasons why the Joker was disguised as the Red Hood and his identity before his transformation have changed over time.

The character was introduced in Batman #1 (1940), in which he announces that he will kill three of Gotham's prominent citizens. Although the police protect his first announced victim, millionaire Henry Claridge, the Joker had poisoned him before making his announcement and Claridge dies with a ghastly grin on his face. Batman eventually defeats him, sending him to prison. The Joker commits crimes ranging from whimsical to brutal, for reasons that, in Batman's words, "make sense to him alone". Detective Comics #168 (1951) introduced the Joker's first origin story as the former Red Hood: a masked criminal who, during his final heist, vanished after leaping into a vat of chemicals to escape Batman. His resulting disfigurement drove him insane and led him to adopt the name "Joker", from the playing card figure he came to resemble. The Joker's Silver Age transformation into a figure of fun was established in 1952's "The Joker's Millions". In this story, the Joker is obsessed with maintaining his illusion of wealth and celebrity as a criminal folk hero, afraid to let Gotham's citizens know that he is penniless and was tricked out of his fortune. The 1970s redefined the character as a homicidal sociopath. "The Joker's Five-Way Revenge" has the Joker taking violent revenge on the former gang members who betrayed him, while "The Laughing Fish" portrays him chemically disfiguring fish so they will share his trademark grin, hoping to profit from a copyright, and killing bureaucrats who stand in his way.

Batman: The Killing Joke (1988) built on the Joker's 1951 origin story, portraying him as a failed comedian who participates in a robbery as the Red Hood to support his pregnant wife. Batman arrives to stop the robbery, provoking the terrified comedian into jumping into a vat of chemicals, which dyes his skin chalk-white, his hair green, and his lips bright red. His disfigurement, combined with the trauma of his wife's earlier accidental death, drives him insane, and results in the birth of the Joker. However, the Joker says that this story may not be true; he admits that he does not remember exactly what drove him insane, and says that he prefers his past to be "multiple choice". In this graphic novel, the Joker shoots and paralyzes Barbara Gordon, the former Batgirl, and tortures her father, Commissioner James Gordon, to prove that it only takes "one bad day" to drive a normal man insane. After Batman rescues Gordon and subdues the Joker, he offers to rehabilitate his old foe and end their rivalry. Although the Joker refuses, he shows his appreciation by sharing a joke with Batman. Following the character's maiming of Barbara, she became a more important character in the DC Universe: the Oracle, a data gatherer and superhero informant, who has her revenge in Birds of Prey by shattering the Joker's teeth and destroying his smile.

In the 1988 story "A Death in the Family", the Joker beats Jason Todd, the second Robin, with a crowbar and leaves him to die in an explosion. Todd's death haunts Batman, and for the first time he seriously considers killing the Joker. The Joker temporarily escapes justice when Ayatollah Ruhollah Khomeini appoints him the Iranian ambassador to the United Nations, giving him diplomatic immunity; however, when he tries to poison the U.N. membership, he is defeated by Batman and Superman.

In the 1999 "No Man's Land" storyline, the Joker murders Commissioner Gordon's second wife, Sarah, as she shields a group of infants. He taunts Gordon, who shoots him in the kneecap. The Joker, lamenting that he may never walk again, collapses with laughter when he realizes that the commissioner has avenged Barbara's paralysis.

The 2000s began with the crossover story "Emperor Joker", in which the Joker steals Mister Mxyzptlk's reality-altering power and remakes the universe in his image (torturing and killing Batman daily, before resurrecting him). When the supervillain then tries to destroy the universe, his reluctance to eliminate Batman makes him lose control, and Superman defeats him. Broken by his experience, Batman's experiences of death are transferred to Superman by the Spectre so he can heal mentally.  In Joker: Last Laugh (2001), the doctors at Arkham Asylum convince the character that he is dying in an attempt to rehabilitate him. Instead, the Joker (flanked by an army of "Jokerized" supervillains) launches a final crime spree. Believing that Robin (Tim Drake) has been killed in the chaos, Dick Grayson beats the Joker to death (although Batman revives his foe to keep Grayson from becoming a murderer), and the villain succeeds in making a member of the Bat-family break their rule against killing.

In "Under the Hood" (2005), a resurrected Todd tries to force Batman to avenge his death by killing the Joker. Batman refuses, arguing that if he allowed himself to kill the Joker, he would not be able to stop himself from killing other criminals. The Joker kills Alexander Luthor, Jr. in Infinite Crisis (2005) for excluding him from the Secret Society of Super Villains, which considers him too unpredictable for membership. In Morrison's "Batman and Son" (2006), a deranged police officer who impersonates Batman shoots the Joker in the face, scarring and disabling him. The supervillain returns in "The Clown at Midnight" (2007) as an enigmatic force who awakens and tries to kill Harley Quinn to prove to Batman that he has become more than human. In the 2008 story arc "Batman R.I.P." the Joker is recruited by the Black Glove to destroy Batman, but betrays the group, killing its members one by one. After Batman's apparent death in Final Crisis (2008), Grayson investigates a series of murders (which leads him to a disguised Joker). The Joker is arrested, and then-Robin Damian Wayne beats him with a crowbar, paralleling Todd's murder. When the Joker escapes, he attacks the Black Glove, burying its leader Simon Hurt alive after the supervillain considers him a failure as an opponent; the Joker is then defeated by the recently returned Batman.

In DC's The New 52, a 2011 relaunch of its titles following Flashpoint, the Joker has his own face cut off. He disappears for a year, returning to launch an attack on Batman's extended family in "Death of the Family" so he and Batman can be the best hero and villain they can be. At the end of the storyline, the Joker falls off a cliff into a dark abyss. The Joker returns in the 2014 storyline "Endgame" in which he brainwashes the Justice League into attacking Batman, believing he has betrayed their relationship. The story implies that the Joker is immortal—having existed for centuries in Gotham as a cause of tragedy after exposure to a substance the Joker terms "dionesium"—and is able to regenerate from mortal injuries. "Endgame" restores the Joker's face, and also reveals that he knows Batman's secret identity. The story ends with the apparent deaths of Batman and the Joker at each other's hands, though it is revealed that they were both resurrected in a life-restoring Lazarus Pit, without their memories.

During the "Darkseid War" (2015–2016) storyline, Batman uses Metron's Mobius Chair to find out the Joker's real name; the chair's answer leaves Batman in disbelief. In the DC Universe: Rebirth (2016) one-shot, Batman informs Hal Jordan that the chair told him there were three individual Jokers, not just one. This revelation was the basis for the miniseries Batman: Three Jokers (2020), written by Geoff Johns with art by Jason Fabok. Three Jokers reveals that the three Jokers, who work in tandem, include "The Criminal", a methodical mastermind based on the Golden Age Joker; "The Clown", a goofy prankster based on the Silver Age Joker; and "The Comedian", a psychopathic killer based on the Modern Age Joker. The Comedian orchestrates the deaths of the other two Jokers and reveals himself as the original. The miniseries ends with the revelation that Batman knows the Joker's true identity.

Origins

Although a number of backstories have been given, a definitive one has never been established for the Joker. An unreliable narrator, the character is uncertain of who he was before and how he became the Joker: "Sometimes I remember it one way, sometimes another ...if I'm going to have a past, I prefer it to be multiple choice!" A story about the Joker's origin appeared in Detective Comics #168 (February 1951), more than decade after the character's debut. Here, the character is a laboratory worker who becomes the Red Hood (a masked criminal) to steal $1 million and retire. He falls into a vat of chemical waste when his heist is thwarted by Batman, emerging with bleached white skin, red lips, green hair and a permanent grin.

This story was the basis for the most often-cited origin tale, Moore's one-shot The Killing Joke. The man who will become the Joker quits his job as a lab assistant in order to fulfill his dream of being a stand-up comedian, only to fail miserably. Desperate to support his pregnant wife, he agrees to help two criminals commit a robbery as the Red Hood. The heist goes awry; the comedian leaps into a chemical vat to escape Batman, surfacing disfigured. This, combined with the earlier accidental death of his wife and unborn child, drives the comedian insane, turning him into the Joker. This version has been cited in many stories, including Batman: The Man Who Laughs (in which Batman deduces that the Red Hood survived his fall and became the Joker), Batman #450 (in which the Joker dons the Red Hood to aid his recovery after the events in "A Death in the Family", but finds the experience too traumatic), Batman: Shadow of the Bat #38 (in which Joker's failed stand-up performance is shown), "Death of the Family", and Batman: Three Jokers (which asserts that it is the canon origin story). Other stories have expanded on this origin; "Pushback" suggests that the Joker's wife was murdered by a corrupt policeman working for the mobsters, and "Payback" gives the Joker's first name as "Jack". The ending of Batman: Three Jokers establishes that the Joker's wife did not actually die—rather, she fled to Alaska with the help of Gotham police and Batman because she feared her husband would be an abusive father; the police then told the Joker a story about her dying to protect her. The miniseries also reveals that Batman knows the Joker's identity, and has kept it secret in order to protect the criminal's wife and son.

However, the Joker's unreliable memory has allowed writers to develop other origins for the character. "Case Study", a Paul Dini-Alex Ross story, describes the Joker as a sadistic gangster who creates the Red Hood identity because he misses the thrill of committing robberies. He has his fateful first meeting with Batman, which results in his disfigurement. It is suggested that the Joker is sane, and researches his crimes to look like the work of a sick mind in order to avoid the death penalty. In Batman Confidential #7–12, the character, Jack, is a career criminal who is bored with his work. He encounters (and becomes obsessed with) Batman during a heist, embarking on a crime spree to attract the Caped Crusader's attention. After Jack injures Batman's girlfriend, Batman scars Jack's face with a permanent grin and betrays him to a group of mobsters, who torture him in a chemical plant. Jack escapes, but falls into an empty vat as gunfire punctures chemical tanks above him. The flood of chemicals (used in anti-psychotic medication) alters his appearance and completes his transformation. In The Brave and the Bold #31, the superhero Atom enters the Joker's mind and sees the criminal's former self - a violent sociopath who tortures animals, murders his own parents, and kills for fun while committing robberies. Snyder's "Zero Year" (2013) suggests that the pre-disfigured Joker was a criminal mastermind leading a gang of Red Hoods.

The Joker has claimed a number of origins, including being the child of an abusive father who broke his nose, and the long-lived jester of an Egyptian pharaoh. As Batman says: "Like any other comedian, he uses whatever material will work."

Alternative versions

A number of alternate universes in DC Comics publications allow writers to introduce variations on the Joker, in which the character's origins, behavior, and morality differ from the mainstream setting. The Dark Knight Returns depicts the final battle between an aged Batman and Joker; others portray the aftermath of the Joker's death at the hands of a number of characters, including Superman. Still others describe distant futures in which the Joker is a computer virus or a hero trying to defeat the era's tyrannical Batman. In some stories, the Joker is someone else entirely; Flashpoint portrays Batman's mother Martha Wayne becoming the Joker after being driven mad by her son's murder, and in Superman: Speeding Bullets, Lex Luthor becomes the Joker in a world where Superman is Batman.

Characterization
Renowned as Batman's greatest enemy, the Joker is known by a number of nicknames, including the Clown Prince of Crime, the Harlequin of Hate, the Ace of Knaves, and the Jester of Genocide. During the evolution of the DC Universe, interpretations and versions of the Joker have taken two main forms. The original, dominant image is that of a psychopath with genius-level intelligence and a warped, sadistic sense of humor. The other version, popular in comic books from the late 1940s to the 1960s and in the 1960s television series, is an eccentric, harmless prankster and thief. Like other long-lived characters, the Joker's character and cultural interpretations have changed with time; however, unlike other characters who may need to reconcile or ignore previous versions to make sense, more than any other comic book character, the Joker thrives on his mutable and irreconcilable identities. The Joker is typically seen in a purple suit with a long-tailed, padded-shoulder jacket, a string tie, gloves, striped pants and spats on pointed-toe shoes (sometimes with a wide-brimmed hat). This appearance is such a fundamental aspect of the character that when the 2004 animated series The Batman placed the Joker in a straitjacket, it quickly redesigned him in his familiar suit.

The Joker is obsessed with Batman, the pair representing a yin-yang of opposing dark and light force; although it is the Joker who represents humor and color and Batman who dwells in the dark. No crime – including murder, theft, and terrorism – is beyond the Joker, and his exploits are theatrical performances that are funny to him alone. Spectacle is more important than success for the Joker, and if it is not spectacular it is boring. Although the Joker claims indifference to everything, he secretly craves Batman's attention and validation. The character was described as having killed over 2,000 people in The Joker: Devil's Advocate (1996). Despite this body count, he is always found not guilty by reason of insanity and sent to Arkham Asylum, avoiding the death penalty. Many of the Joker's acts attempt to force Batman to kill; to the Joker, the greatest victory would be to make Batman become like him. The Joker displays no instinct for self-preservation, and is willing to die to prove his point that anyone could become like him after "one bad day". The Joker is the "personification of the irrational," and represents "everything Batman [opposes]."

Personality

The Joker's main characteristic is his apparent insanity, although he is not described as having any particular psychological disorder. Like a psychopath, he lacks empathy, a conscience, and concern over right and wrong. In Arkham Asylum: A Serious House on Serious Earth, the Joker is described as capable of processing outside sensory information only by adapting to it. This enables him to create a new personality every day (depending on what would benefit him) and explains why, at different times, he is a mischievous clown or a psychopathic killer. In "The Clown at Midnight" (Batman #663 (April 2007)), the Joker enters a meditative state where he evaluates his previous selves to consciously create a new personality, effectively modifying himself for his needs.

The Killing Joke (in which the Joker is the unreliable narrator) explains the roots of his insanity as "one bad day": losing his wife and unborn child and being disfigured by chemicals, paralleling Batman's origin in the loss of his parents. He tries (and fails) to prove that anyone can become like him after one bad day by torturing Commissioner Gordon, physically and psychologically. Batman offers to rehabilitate his foe; the Joker apologetically declines, believing it too late for him to be saved. Other interpretations show that the Joker is fully aware of how his actions affect others and that his insanity as merely an act. Comics scholar Peter Coogan describes the Joker as trying to reshape reality to fit himself by imposing his face on his victims (and fish) in an attempt to make the world comprehensible by creating a twisted parody of himself. Englehart's "The Laughing Fish" demonstrates the character's illogical nature: trying to copyright fish that bear his face, and not understanding why threatening the copyright clerk cannot produce the desired result.

The Joker is alternatively depicted as sexual and asexual. In The Dark Knight Returns and Arkham Asylum: A Serious House on Serious Earth, the Joker is seductive toward Batman; it is uncertain if their relationship has homoerotic undertones or if the Joker is simply trying to manipulate his nemesis. Frank Miller interpreted the character as fixated on death and uninterested in sexual relationships, while Robinson believed that the Joker is capable of a romantic relationship. His relationship with Harley Quinn is abusively paradoxical; although the Joker keeps her at his side, he heedlessly harms her (for example, throwing her out a window without seeing if she survives). Harley loves him, but the Joker does not reciprocate her feelings, chiding her for distracting him from other plans.

Snyder's "Death of the Family" describes the Joker as in love with Batman, although not in a traditionally romantic way. The Joker believes that Batman has not killed him because he makes Batman better and he loves the villain for that. Batman comic book writer Peter Tomasi concurred, stating that the Joker's main goal is to make Batman the best that he can be. The Joker and Batman represent opposites: the extroverted Joker wears colorful clothing and embraces chaos, while the introverted, monochromatic Batman represents order and discipline. The Joker is often depicted as defining his existence through his conflict with Batman. In 1994's "Going Sane", the villain tries to lead a normal life after Batman's (apparent) death, only to become his old self again when Batman reappears; in "Emperor Joker", an apparently omnipotent Joker cannot destroy Batman without undoing himself. Since the Joker is simply "the Joker", he believes that Batman is "Batman" (with or without the costume) and has no interest in what is behind Batman's mask, ignoring opportunities to learn Batman's secret identity. Given the opportunity to kill Batman, the villain demurs; he believes that without their game, winning is pointless. The character has no desire for typical criminal goals like money or power; his criminality is designed only to continue his game with Batman.

The Joker is portrayed as having no fear; when fellow supervillain Scarecrow doses him with fear toxin in Knightfall (1993), the Joker merely laughs and says "Boo!" The villain has been temporarily rendered sane by several means, including telepathic manipulation by the Martian Manhunter and being resurrected in a Lazarus Pit (an experience typically inducing temporary insanity in the subject). At these moments, the Joker is depicted as expressing remorse for his crimes; however, during a medically induced period of partial sanity in Batman: Cacophony, he tells Batman, "I don't hate you 'cause I'm crazy. I'm crazy 'cause I hate you," and confirms that he will only stop killing when Batman is dead.

Skills and equipment

The Joker has no inherent superhuman abilities. He commits crimes with a variety of weaponized thematic props such as a deck of razor-tipped playing cards, rolling marbles, jack-in-the-boxes with unpleasant surprises and exploding cigars capable of leveling a building. The flower in his lapel sprays acid, and his hand often holds a lethal joy buzzer conducting a million volts of electricity, although both items were introduced in 1952 as harmless joke items. However, his chemical genius provides his most-notable weapon: Joker venom, a liquid or gaseous toxin that sends its targets into fits of uncontrollable laughter; higher doses can lead to paralysis, coma or death, leaving its victim with a ghoulish, pained rictus grin. The Joker has used venom since his debut; only he knows the formula, and is shown to be gifted enough to manufacture the toxin from ordinary household chemicals. Another version of the venom (used in Joker: Last Laugh) makes its victims resemble the Joker, susceptible to his orders. The villain is immune to venom and most poisons; in Batman #663 (April 2007), Morrison writes that being "an avid consumer of his own chemical experiments, the Joker's immunity to poison concoctions that might kill another man in an instant has been developed over years of dedicated abuse."

The character's arsenal is inspired by his nemesis' weaponry, such as batarangs. In "The Joker's Utility Belt" (1952), he mimicked Batman's utility belt with non-lethal items, such as Mexican jumping beans and sneezing powder. In 1942's "The Joker Follows Suit", the villain built his versions of the Batplane and Batmobile, the Jokergyro and Jokermobile (the latter with a large Joker face on its hood), and created a Joker-signal with which criminals could summon him for their heists. The Jokermobile lasted for several decades, evolving with the Batmobile. His technical genius is not limited by practicality, allowing him to hijack Gotham's television airwaves to issue threats, transform buildings into death traps, launch a gas attack on the city and rain poisoned glass shards on its citizens from an airship.

The Joker is portrayed as skilled in melee combat, from his initial appearances when he defeats Batman in a sword fight (nearly killing him), and others when he overwhelms Batman but declines to kill him. He is talented with firearms, although even his guns are theatrical; his long-barreled revolver often releases a flag reading "Bang", and a second trigger-pull launches the flag to skewer its target. Although formidable in combat, the Joker's chief asset is his mind.

Relationships

The Joker's unpredictable, homicidal nature makes him one of the most feared supervillains in the DC Universe; the Trickster says in the 1995 miniseries Underworld Unleashed, "When super-villains want to scare each other, they tell Joker stories." Gotham's villains also feel threatened by the character; depending on the circumstances, he is as likely to fight with his rivals for control of the city as he is to join them for an entertaining outcome. The Joker interacts with other supervillains who oppose Batman, whether he is on the streets or in Arkham Asylum. He has collaborated with criminals like the Penguin, the Riddler, and Two-Face, although these partnerships rarely end well due to the Joker's desire for unbridled chaos, and he uses his stature to lead others (such as Killer Croc and the Scarecrow). The Joker's greatest rival is the smartest man in the world, Lex Luthor. Although they have a friendly partnership in 1950's World's Finest Comics #88, later unions emphasized their mutual hostility and clashing egos.

Despite his tendency to kill subordinates on a whim, the Joker has no difficulty attracting henchmen with a seemingly infinite cash supply and intimidation; they are too afraid of their employer to refuse his demands that they wear red clown noses or laugh at his macabre jokes. Even with his unpredictability and lack of superhuman powers, the 2007 limited series Salvation Run sees hundreds of villains fall under his spell because they are more afraid of him than the alternative: Luthor. Batman #186 (1966) introduced the Joker's first sidekick: the one-shot character Gaggy Gagsworthy, who is short and dressed like a clown; the character was later resurrected as an enemy of his replacement, Harley Quinn. Introduced in the 1992 animated series, Quinn is the Joker's former Arkham psychiatrist who develops an obsessive infatuation with him and dons a red-and-black harlequin costume to join him as his sidekick and on-off girlfriend. They have a classic abusive relationship; even though the Joker constantly insults, hurts, and even tries to kill Harley, she always returns to him, convinced that he loves her. The Joker is sometimes shown to keep spotted hyenas as pets; this trait was introduced in the 1977 animated series The New Adventures of Batman. A 1976 issue of Batman Family introduced Duela Dent as the Joker's daughter, though her parentage claim was later proven to be false.

Although his chief obsession is Batman, the character has occasionally ventured outside Gotham City to fight Batman's superhero allies. In "To Laugh and Die in Metropolis" (1987) the character kidnaps Lois Lane, distracting Superman with a nuclear weapon. The story is notable for the Joker taking on a (relative) god and the ease with which Superman defeats him—it took only 17 pages. Asked why he came to Metropolis, the Joker replies simply: "Oh Superman, why not?" In 1995, the Joker fought his third major DC hero: Wonder Woman, who drew on the Greek god of trickery to temper the Joker's humor and shatter his confidence. The character has joined supervillain groups like the Injustice Gang and the Injustice League to take on superhero groups like the Justice League.

Literary analysis

Since the Bronze Age of Comics, the Joker has been interpreted as an archetypal trickster, displaying talents for cunning intelligence, social engineering, pranks, theatricality, and idiomatic humor. Like the trickster, the Joker alternates between malicious violence and clever, harmless whimsy. He is amoral and not driven by ethical considerations, but by a shameless and insatiable nature, and although his actions are condemned as evil, he is necessary for cultural robustness. The trickster employs amoral and immoral acts to destabilize the status quo and reveal cultural, political, and ethical hypocrisies that society attempts to ignore. However, the Joker differs in that his actions typically only benefit himself. The Joker possesses abnormal body imagery, reflecting an inversion of order. The trickster is simultaneously subhuman and superhuman, a being that indicates a lack of unity in body and mind. In Arkham Asylum: A Serious House on Serious Earth, the Joker serves as Batman's trickster guide through the hero's own psyche, testing him in various ways before ultimately offering to cede his rule of the Asylum to Batman.

Rather than the typical anarchist interpretation, others have analysed the character as a Marxist (opposite to Batman's capitalist), arguing that anarchism requires the rejection of all authority in favor of uncontrolled freedom. The Joker rejects most authority, but retains his own, using his actions to coerce and consolidate power in himself and convert the masses to his own way of thinking, while eliminating any that oppose him. In The Killing Joke, the Joker is an abused member of the underclass who is driven insane by failings of the social system. The Joker rejects material needs, and his first appearance in Batman #1 sees him perpetrate crimes against Gotham's wealthiest men and the judge who had sent him to prison. Batman is wealthy, yet the Joker is able to triumph through his own innovations.

Ryan Litsey described the Joker as an example of a "Nietzschean Superman," arguing that a fundamental aspect of Friedrich Nietzsche's Superman, the "will to power," is exemplified in all of the Joker's actions, providing a master morality to Batman's slave morality. The character's indomitable "will to power" means he is never discouraged by being caught or defeated and he is not restrained by guilt or remorse. Joker represents the master, who creates rules and defines them, who judges others without needing approval, and for whom something is good because it benefits him. He creates his own morality and is bound only by his own rules without aspiring to something higher than himself, unlike Batman, the slave, who makes a distinction between good and evil, and is bound to rules outside of himself (such as his avoidance of killing) in his quest for justice. The Joker has no defined origin story that requires him to question how he came to be, as like the Superman he does not regret or assess the past and only moves forward.

The Joker's controlling and abusive relationship with Harley Quinn has been analyzed as a means of the Joker reinforcing his own belief in his power in a world where he may be killed or neutralized by another villain or Batman. Joker mirrors his identity through Harley in her appearance, and even though he may ignore or act indifferent towards her, he continues to try to subject her to his control. When Harley successfully defeats Batman in Mad Love (1994), the Joker, emasculated by his own failure, severely injures her out of fear of what the other villains will think of him; however, while Harley recovers, the Joker sends her flowers, which she accepts, reasserting his control over her.

Harley's co-creator, Paul Dini, describes their relationship as Harley being someone who makes the Joker feel better about himself, and who can do the work that he does not want to do himself. In the 1999 one-shot comic Batman: Harley Quinn, the Joker decides to kill Harley, after admitting that he does care for her, that their relationship is romantic, and that these feelings prevent him from fulfilling his purpose. Removing the traditional male-female relationship, such as in the Batman: Thrillkiller storyline where the Joker (Bianca Steeplechase) is a female and involved in a lesbian relationship with Harley, their relationship lacks any aspects of violence or subjugation.

Cultural impact and legacy

The Joker is considered one of the most recognizable and iconic fictional characters in popular culture, one of the best comic villains, and one of the greatest villains of all time. The character was well-liked following his debut, appearing in nine out of the first 12 Batman issues, and remained one of Batman's most popular foes throughout his publication. The character is considered one of the four top comic book characters, alongside Batman, Superman, and Spider-Man. Indeed, when DC Comics released the original series of Greatest Stories Ever Told (1987–1988) featuring collections of stories about heroes like Batman and Superman, the Joker was the only villain included alongside them. The character has been the focus of ethical discussion on the desirability of Batman (who adheres to an unbreakable code forbidding killing) saving lives by murdering the Joker (a relentless dealer of death). These debates weigh the positive (stopping the Joker permanently) against its effect on Batman's character and the possibility that he might begin killing all criminals.

In 2006, the Joker was number one on Wizard magazine's "100 Greatest Villains of All Time." In 2008 Wizards list of "200 Greatest Comic Book Characters of All Time" placed the Joker fifth, and the character was eighth on Empires list of "50 Greatest Comic Book Characters" (the highest-ranked villain on both lists). In 2009, the Joker was second on IGNs list of "Top 100 Comic Book Villains," and in 2011, Wired named him "Comics' Greatest Supervillain." Complex, CollegeHumor, and WhatCulture named the Joker the greatest comic book villain of all time while IGN listed him the top DC Comics villain in 2013, and Newsarama as the greatest Batman villain.

The Joker's popularity (and his role as Batman's enemy) has involved the character in most Batman-related media, from television to video games. These adaptations of the character have been received positively on film, television, and in video games. As in the comics, the character's personality and appearance shift; he is campy, ferocious or unstable, depending on the author and the intended audience.

The character inspired theme-park roller coasters (The Joker's Jinx, The Joker in Mexico and California, and The Joker Chaos Coaster), and featured in story-based rides such as Justice League: Battle for Metropolis. The Joker is one of the few comic book supervillains to be represented on children's merchandise and toys, appearing on items including action figures, trading cards, board games, money boxes, pajamas, socks, and shoes. The Jokermobile was a popular toy; a Corgi die-cast metal replica was successful during the 1950s, and in the 1970s a Joker-styled, flower power-era Volkswagen microbus was manufactured by Mego.  In 2015, The Joker: A Serious Study of the Clown Prince of Crime became the first academic book to be published about a supervillain.

Since 2012–2013, the Joker has inspired a large number of internet memes, often focused on the character's portrayal in films (see below). According to Steven T. Wright of The Outline, the character "came to symbolize the archetype of the 'edgelord,' a vapid, self-styled provocateur who prides himself in his ability to 'trigger' those who hold progressive viewpoints." The phrase "We live in a society" is commonly associated with the Joker in memes; it garnered particular notoriety after a trailer for the film Zack Snyder's Justice League (2021) featured Joker saying the line.

In other media

The Joker has appeared in a variety of media, including television series, animated and live-action films. WorldCat (a catalog of libraries in 170 countries) records over 250 productions featuring the Joker as a subject, including films, books, and video games, and Batman films which feature the character are typically the most successful. The character's earliest on-screen adaptation was in the 1966 television series Batman and its film adaptation Batman, in which he was played as a cackling prankster by Cesar Romero (reflecting his contemporary comic counterpart). The Joker then appeared in the animated television series The Adventures of Batman (1968, voiced by Larry Storch), The New Adventures of Batman (1977, voiced by Lennie Weinrib) and The Super Powers Team: Galactic Guardians (1985, voiced by Frank Welker).

A darker version of the Joker named Jack Napier (played by Jack Nicholson) made his film debut in 1989's Batman, which earned over $400 million at the worldwide box office. The role was a defining performance in Nicholson's career and was considered to overshadow Batman's, with film critic Roger Ebert saying that the audience must sometimes remind themselves not to root for the Joker. Batmans success led to the 1992 television series, Batman: The Animated Series. Voiced by Mark Hamill, the Joker retained the darker tone of the comics in stories acceptable for young children. Hamill's Joker is considered a defining portrayal, and he voiced the character in spin-off films (1993's Batman: Mask of the Phantasm and 2000's Batman Beyond: Return of the Joker), video games (2001's Batman: Vengeance), related series (1996's Superman: The Animated Series, 2000's Static Shock and 2001's Justice League), action figures, toys and amusement-park voiceovers. A redesigned Joker, voiced by Kevin Michael Richardson, appeared in 2004's The Batman; Richardson was the first African-American to play the character.

After Christopher Nolan's successful 2005 Batman film reboot, Batman Begins, which ended with a teaser for the Joker's involvement in a sequel, the character appeared in 2008's The Dark Knight, played by Heath Ledger as an avatar of anarchy and chaos. While Batman Begins earned a worldwide total of $370 million; The Dark Knight earned over $1 billion and was the highest-grossing film of the year, setting several contemporary box-office records (including highest-grossing midnight opening, opening day and opening weekend). Ledger won a posthumous Academy Award for Best Supporting Actor for his performance, the first acting Oscar ever won for a superhero film. The Joker has featured in a number of animated projects, such as 2009's Batman: The Brave and the Bold (voiced by Jeff Bennett) and 2011's Young Justice (voiced by Brent Spiner). In comic book adaptations, the character has been voiced by John DiMaggio in 2010's Batman: Under the Red Hood and 2020's Batman: Death in the Family, and by Michael Emerson in 2012's two-parter The Dark Knight Returns.

The television series Gotham (2014–2019) explores the mythology of the Joker through twin brothers Jerome and Jeremiah Valeska, played by Cameron Monaghan. Jared Leto portrays the Joker in the DC Extended Universe, beginning with Suicide Squad (2016); Leto reprised the role in Zack Snyder's Justice League (2021). Zach Galifianakis voiced the character in The Lego Batman Movie (2017). The 2019 film Joker focuses on the origins of the Joker (named Arthur Fleck) as portrayed by Joaquin Phoenix. Although the film was controversial for its violence and portrayal of mental illness, Phoenix's performance received widespread acclaim. Like The Dark Knight before it, Joker grossed over $1billion at the box office, breaking contemporary financial records, and earned numerous awards including an Academy Award for Best Actor for Phoenix. Barry Keoghan makes a cameo appearance as the Joker in Matt Reeves' film The Batman (2022), where he is credited as "Unseen Arkham Prisoner".

The Joker has also been featured in video games. Hamill returned to voice the character in 2009's critically acclaimed Batman: Arkham Asylum, its equally praised 2011 sequel Batman: Arkham City and the multiplayer DC Universe Online. Hamill was replaced by Troy Baker for the 2013 prequel, Batman: Arkham Origins, and the Arkham series' animated  Batman: Assault on Arkham, while Hamill returned for the 2015 series finale, Batman: Arkham Knight. Richard Epcar has voiced the Joker in a series of fighting games including, Mortal Kombat vs. DC Universe (2008),  Injustice: Gods Among Us (2013), its sequel Injustice 2 (2017), and Mortal Kombat 11 (2019). The character also appeared in Lego Batman: The Videogame (2008), Lego Batman 2: DC Super Heroes (2012) and its animated adaptation, and Lego Batman 3: Beyond Gotham (2014) (the latter three voiced by Christopher Corey Smith), as well as Lego DC Super-Villains (2018), with the role reprised by Hamill. Anthony Ingruber voices the Joker in Batman: The Telltale Series (2016) and its sequel Batman: The Enemy Within (2017).

References

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Spike Video Game Award winners


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Кука́рка (Талиця, ) — річка в Росії, протікає територією Кіровської області (Фальонський район, Зуєвський район), ліва притока Святиці.

Річка починається за 3 км на південний захід від села Медвежена, на вододілі річок Святиця та Суна, на кордоні двох районів. Перші 2 км протікає на північний схід і слугує на цій ділянці природним кордоном районів. Потім вже на території Фальонського району повертає на схід з невеликим відхиленням на південний схід. Перед селом Октябрський річка повертає на північний схід. Впадає до Святиці навпроти села Святиця. Значні ділянки берега заліснені. Приймає декілька дрібних приток, найбільша з яких права Суха. Створено декілька ставків, найбільший з яких має площу 0,11 км².

Над річкою розташовано села Фальонського району Медвежена та Октябрський. В останньому збудовано автомобільний міст.

Примітки

Посилання

 Державний водний реєстр Росії

Річки Зуєвського району
Річки Фальонського району
Річки басейну Святиці (притока Чепци)


text:
Лондон после поноћи () амерички је изгубљени црно-бели неми хорор филм из 1927. године, од редитеља Тода Браунинга и продуцента Ирвинга Талберга, са Лоном Чејнијем, Марселин Деј, Конрад Наџел, Поли Моран и Клодом Кингом у главним улогама. Сценарио је написао Валдемар Јанг по причи Тода Браунинга, Хипнотичар.

Последња позната копија филма уништена је у пожару који је 1965. избио у складишту студија Метро-Голдвин-Мејер, па се филм од тада сматра изгубљеним, заједно са стотинама других филмова овог студија. Ипак, Лондон после поноћи је остао један од најгледанијих филмова свог времена иако је касније постао изгубљен. Филмски историчари Вилијам Еверсон и Дејвид Бредли, тврде да су видели филм почетком 1950-их, а у попису складишта студија МГМ наводи се да је снимак био чуван у седмом трезору.

Браунинг је 1935. направио звучни римејк под насловом Знак вампира, са Белом Лугосијем у главној улози. И Еверсон и Бредли тврде да је Лондон после поноћи слабије остварење од Знака вампира, као и да би публика била разочарана да данас буде поново откривен. Године 2002. Тарнер класик мувиз објавио је реконструисану верзију у којој је покушан приказ оригиналне радње коришћењем оригиналног сценарија и промотивних фотографија које су сачуване.

Радња

Једне ноћи, Роџер Балфор је пронађен мртав у својој кући у Лондону. Професор Едвард Берк, представник Скотланд јарда, констатује да је узрок смрти самоубиство, упркос противљењу Балфорових комшија и блиских пријатеља.

Пет година касније, Балфорове комшије посведочиле су чудној светлости која допире из његове виле, која је напуштена од његове смрти. Они примећују два створења налик вампирима, мушкарца са дугом косом, великим оштрим зубима и шеширом на глави, као и жену у дугој хаљини.

Улоге

|-
| Лон Чејни || професор Едвард К. Берк /  "Човек са шеширом"
|-
| Марселин Деј || Лусил Балфор
|-
| Клод Кинг || Роџер Балфор / "Странац"
|-
| Поли Моран || госпођа Смитсон
|-
| Конрад Наџел || Артур Хибс
|-
| Една Тиченор || Луна / "Девојка слепи миш"
|-
| Хенри Б. Волтхол || сер Џејмс Хамлин
|-
| Перси Вилијамс || Вилијамс
|-
| Енди Макленан || шкотски инспектор
|-
| Џулс Каулс || баштован
|-
| Алан Каван || трговац некретнинама
|}

Референце

Спољашње везе

 Лондон после поноћи на сајту -{lonchaney.org}-
  Гласине о томе да је пронађена копија филма на сајту -{Bloody Disgusting}-

Филмови 1927.
Неми филмови
Амерички хорор филмови
Психолошки хорор филмови
Амерички црно-бели филмови
Изгубљени филмови
Филмови студија Metro-Goldwyn-Mayer
Хорор филмови 1920-их


text:
Sağırlı is a village in the Bayat District, Afyonkarahisar Province, Turkey. Its population is 165 (2021).

References

Villages in Bayat District, Afyonkarahisar


text:
Dolph Sweet, nom de scène d'Adolphus Jean Sweet, né le  à New York (New York) et mort d'un cancer le  à Tarzana, en Californie (États-Unis), est un acteur américain.

Biographie

Filmographie
 1961 : Les Blouses blanches (The Young Doctors) : Policier en voiture
 1965 : The Trials of O'Brien  (série TV) : Lt. Garrison (épisodes inconnus)
 1966 : Big Boy (You're a Big Boy Now) : Patrolman Francis Graf
 1956 : The Edge of Night (série TV) : Harry Constable (épisodes inconnus, 1967-1968)
 1968 : A Lovely Way to Die : Haver
 1968 : Le Plongeon (The Swimmer) : Henry Biswanger
 1968 : La Vallée du bonheur (Finian's Rainbow) : Sheriff
 1969 : L'Homme perdu (The Lost Man) : Capitaine de police
 1970 : Le Cerveau d'acier (Colossus: The Forbin Project) : Missile Commander
 1970 : Escapade à New York (The Out of Towners) : Police Sgt Kavalefski
 1971 : The Telephone Book : Obscene Phone Caller Four
 1970 : Somerset (série TV) : Gerald Davis #2 (1971) (temporary substitute for Walter Matthews) (épisodes inconnus)
 1972 : Fear Is the Key : Jablonsky
 1972 : Between Time and Timbuktu (TV) : General
 1972 : Les flics ne dorment pas la nuit (The New Centurions) de Richard Fleischer : Sergeant Runyon
 1964 : Another World (série TV) : Police Chief Gil McGowan #2 (épisodes inconnus, 1972-1977)
 1973 : Sœurs de sang (Sisters) : Detective Kelly
 1973 : Flics et voyous (Cops and Robbers) : George
 1974 : Les Vagabonds du nouveau monde (The Migrants) (TV) : Sheriff
 1974 : Les Mains dans les poches (The Lord's of Flatbush) : Mr. Rosiello
 1974 : Amazing Grace : Mayor Scott
 1974 : Les Pirates du métro (The Taking of Pelham One Two Three) de Joseph Sargent : Capt. Costello (voix)
 1977 : The Bad News Bears in Breaking Training : Mr. Manning
 1977 : Billy: Portrait of a Street Kid (TV) : George
 1977 : A Killing Affair (TV) : Lt. Scotty Neilson
 1977 : Which Way Is Up? : The Boss
 1978 : King (feuilleton TV) : J. Edgar Hoover
 1978 : Death Moon (TV) : Lieutenant Russ Cort
 1978 : Le Merdier (Go Tell the Spartans) : Gen. Harnitz
 1978 : Le Ciel peut attendre (Heaven Can Wait) de Warren Beatty et Buck Henry : Head coach
 1979 : Studs Lonigan (feuilleton TV) : Father Gilhooley
 1979 : Les Seigneurs (The Wanderers) : Chubby Galasso
 1979 : Rendezvous Hotel (TV) : Harvey Greenwood
 1979 : Flesh and Blood (TV) : Thompson
 1979 : Marciano (TV) : Si Menchlemann
 1979 :  (TV) : Detective O'Brien
 1979 : Aunt Mary (TV) : Amos
 1980 : When the Whistle Blows (série TV) : Norm Jenkins (épisodes inconnus)
 1980 : Le Droit à la justice (Gideon's Trumpet) (TV) : Charlie
 1980 : Below the Belt : LeRoi
 1981 : The Acorn People (TV) : Donald Bradshaw
 1981 : The Two Lives of Carol Letner (TV) : Lieutenant Ron Vance
 1981 :  (TV) : Waldrop
 1981 : Les Rouges (Reds) : Big Bill Haywood

Liens externes

Acteur américain
Naissance en juillet 1920
Décès en mai 1985
Naissance à New York
Décès à Tarzana
Étudiant de l'université Columbia
Décès à 64 ans
Mort d'un cancer aux États-Unis


text:
Valeri Popenchenko (26 de agosto de 1937 – 15 de fevereiro de 1975) foi um boxeador soviético, campeão olímpico.

Carreira

Popenchenko começou o boxe em 1948 e, em 1959, conquistou seu primeiro título soviético. Ele conquistou a medalha de ouro nos Jogos Olímpicos de Verão de 1964 em Tóquio, após derrotar o alemão Emil Schulz na categoria peso médio e consagrar-se campeão. Aposentou-se em 1965 e recebeu a Ordem da Bandeira Vermelha do Trabalho.

Pugilistas olímpicos da União Soviética
Pugilistas nos Jogos Olímpicos de Verão de 1964
Campeões olímpicos da União Soviética
Medalhistas nos Jogos Olímpicos de Verão de 1964


text:
Connaught Motor Company Limites war ein britischer Hersteller von Automobilen.

Unternehmensgeschichte
Edward Timothy Bishop und Anthony Martindale gründeten am 29. Juni 2002 das Unternehmen in Kidderminster in der Grafschaft Worcestershire. Sie begannen 2005 mit der Produktion von Automobilen. Der Markenname lautet Connaught, in Anlehnung an Connaught Engineering. 2007 wurde ein Technologiezentrum in Llanelli in Wales eröffnet. Bishop und Martindale gaben am 28. März 2007 ihr Direktorenamt auf und wurden von Frederick William Austin Page-Roberts abgelöst. Ebenfalls zu Direktoren ernannt wurden Jonathan Mark Bevan sowie Geoffrey Leonard Matthews am 14. November 2007, Christopher James Withington am 26. Februar 2008 und Kevin Eric Eagling am 1. Juli 2009. Bevan und Eagling wurden am 12. Mai 2011 durch Timothy Bishop, Roy Irish und Anthony Martindale ersetzt. Am 1. März 2016 wurde das Unternehmen aufgelöst.

Bereits im ersten Jahr verkaufte das Unternehmen sechs Fahrzeuge.

Fahrzeuge
Als erstes Modell erschien der Type-D GT Syracuse. Ein V10-Motor mit 2000 cm³ Hubraum leistet mit Hilfe eines Kompressors 300 PS. Die Höchstgeschwindigkeit des viersitzigen Coupés ist mit 270 km/h angegeben.

Mit einem Hybridantrieb ist der Type-D h ausgestattet, der auf dem Type-D GT Syracuse basiert.

Literatur

Weblinks

  (englisch, abgerufen am 1. September 2015)

Einzelnachweise

Ehemaliger Pkw-Hersteller (England)
Ehemaliges Unternehmen (Worcestershire)
Organisation (Kidderminster)
Gegründet 2002
Aufgelöst 2016
Unternehmen (Wyre Forest District)


text:
La Serie A1 2000 del Campionato italiano di baseball è stata disputata da dieci squadre ed ha avuto una stagione regolare di 48 partite con 3 incontri settimanali, un'andata e un ritorno. Le prime 4 squadre della classifica dopo la stagione regolare si sono affrontate in due semifinale al meglio delle cinque partite. Le due vincitrici si sono affrontate nella finali scudetto sempre al meglio delle cinque partite, designando così la squadra campione d'Italia. Non c'è stata nessuna retrocessione in Serie A2.

Classifiche finali

Stagione regolare

Semifinali

Finali scudetto

Note

Voci correlate
Campionato italiano di baseball
Albo d'oro del campionato italiano di baseball
Italian Baseball League
Italian Baseball Series
Federazione Italiana Baseball Softball
Storia del baseball in Italia

Collegamenti esterni

Baseball nel 2000
Campionato italiano di baseball


text:
Christopher Michael Langan (n. 1952, San Francisco) este un autodidact american, ale cărui valori IQ au fost evaluate între 195 și 210.
După unele surse mass-media fiind considerat ca "cel mai deștept om din America", el a devenit cunoscut în 1999, în timp ce lucra pe Long Island.
Langan a dezvoltat propria sa "teorie a relației dintre minte și realitate", pe care el o numește "cognitiv-teoretic Model of the Universe (CTMU)".

Note

Nașteri în 1952
Autodidacți americani
Oameni cu coeficient IQ ridicat
Oameni în viață


text:
Мотызлейский сельсовет — сельское поселение в Вознесенском районе Нижегородской области.

Административный центр — село Мотызлей.

История
Статус и границы сельского поселения установлены Законом Нижегородской области от 15 июня 2004 года № 60-З «О наделении муниципальных образований - городов, рабочих посёлков и сельсоветов Нижегородской области статусом городского, сельского поселения».

Население

Состав сельского поселения

Примечания

Ссылки
 Сайт администрации сельсовета

Муниципальные образования Вознесенского района (Нижегородская область)
Сельские поселения Нижегородской области


text:
Эндрю Дэвид Драйвер (; , Олдем) — шотландский футболист, полузащитник.

Карьера

Клубная
В 2006 году Драйвер подписал контракт с шотландским клубом «Хартс», где он сыграл более 100 игр и забил 18 голов.

В 2013 году «Хартс» передал игрока в американский клуб «Хьюстон Динамо» в аренду, который купил его в том же году.

Сборная
В 2009 году сыграл один матч за молодёжную сборную Англии, однако главный тогдашний главный тренер сборной Шотландии Крейг Левейн заявлял, что планирует вызвать футболиста в состав команды.

Статистика

Достижения
 «Харт оф Мидлотиан»
 Кубок Шотландии: 2012

Примечания

Ссылки

 Эндрю Драйвер намерен покинуть «Хартс»

Футболисты Англии
Футболисты Шотландии
Игроки сборной Англии по футболу (до 21 года)
Игроки ФК «Харт оф Мидлотиан»
Игроки ФК «Хьюстон Динамо»
Игроки ФК «Абердин»
Игроки ФК «Де Графсхап»


text:
Roman Wawrzyniec Zawiślański (ur. 1904, zm. 17 lipca 2000 w Warszawie) – sportowiec - łucznik, członek Polskiego Związku Łuczniczego, działacz sportowy i społeczny.

Będąc nastolatkiem brał udział w wojnie polsko-bolszewickiej. Podczas II wojny światowej należał do Szarych Szeregów. Większą część swojego życia należał do Związku Harcerstwa Polskiego, gdzie pełnił funkcję harcmistrza. Był współtwórcą polskiego sportu łuczniczego oraz Międzynarodowej Federacji Łuczniczej FITA. Jako działacz sportowy był trenerem licznej rzeszy polskich łuczników, organizował terenowe oddziały PZŁucz. Był niestrudzonym propagatorem sportu łuczniczego. W październiku każdego roku odbywa się w Żywcu Międzynarodowy Turniej o Złotą Ciupagę Góralską – memoriał Romana Zawiślańskiego. Roman Zawiślański był autorem książki "Łucznictwo dla wszystkich".

Pochowany na cmentarzu Bródnowskim w Warszawie (kwatera 37 I-1- 3).

Ordery i odznaczenia
 Srebrny Krzyż Zasługi (10 marca 1932)

Przypisy

Członkowie Szarych Szeregów
Harcmistrzowie
Odznaczeni Srebrnym Krzyżem Zasługi (II Rzeczpospolita)
Pochowani na cmentarzu Bródnowskim w Warszawie
Polscy łucznicy
Uczestnicy wojny polsko-bolszewickiej (strona polska)
Urodzeni w 1904
Zmarli w 2000


text:
Diceratotheca is een geslacht uit de acanthusfamilie (Acanthaceae). Het geslacht telt een soort die voorkomt in Thailand.

Soorten
 Diceratotheca bracteolata J.R.I.Wood & Scotland

Acanthusfamilie


text:
The spire of Notre-Dame de Paris was located above the cross-section of the cathedral's transept. Notre-Dame de Paris has had two timber spires, known as flèches. The first was built between 1220 and 1230. It eventually became so damaged that it was removed in the late 18th century. The second was put into place by the French architect Eugène Viollet-le-Duc in 1859, and destroyed in a major fire on 15 April 2019.

History

Chronology

The original spire
The original spire was built from 1220 to 1230. It was supported by an "ingenious" and "well designed" system of frames, according to an examination of its remains after it was taken down. All of the spire's weight rested on the four pillars of the transept. This spire also functioned as a bell tower. It was  from the floor of the Church to the point of the Spire.

In March 1606, the large cross at the top of the spire and the relics that were inside it fell due to wind and decay. The rest of the spire began to collapse due to the ravages of time in the middle of the 18th century, and it was taken down from 1786 to 1792.

The second spire

The cathedral remained without a spire for several decades until a restoration effort was begun by Jean-Baptiste Antoine Lassus. After Lassus's death in 1857, the project was taken over by Eugène Viollet-le-Duc. The new spire's design was inspired by that of the Orléans Cathedral (which was in turn modeled on the spire of the Amiens Cathedral). The wooden base of the structure was made by the carpenter Auguste Bellu (who had also worked on the Orléans Cathedral), and the lead covering was made by the Ateliers Monduit.

The spire was unveiled 18 August 1859. Its lead covering weighed some 250 tons. Its wooden structure was carved from oak from Champagne. The new spire reached a height of , which was  more than the original.

Statues of the Twelve Apostles, made in the style of the 13th century, surrounded the spire at its base. Each of the four sections of the roof had a row of three Apostles, standing one behind the other and staggered by height. In front of each group was another statue of a sign of the Tetramorph symbolizing the Four Evangelists: the bull for St. Luke, the lion for St. Mark, the eagle for St. John and the angel for St. Matthew. Each grouping faced one of the four cardinal directions. All of the statues look out over Paris except for St. Thomas, the patron saint of architects. He was looking towards the spire as if contemplating it. Viollet-le-Duc was the model for the statue of St. Thomas.
At the base of the central support beam of the spire, an iron plaque dedicated to the achievement of the workers was inscribed with the image of a compass and a try square. These were the symbols of the mason's guild and a subtle reference to God's role as Great Architect of the Universe in Catholic tradition. Because both Viollet-le-Duc and Bellu are both mentioned by name on the plaque, it has been theorized that they were Freemasons.

The rooster at the top of the spire weighed around . It contained three relics: a small piece of the crown of thorns, a relic of St. Denis, and a relic of St. Geneviève. The piece of the crown of thorns was put into the rooster by Viollet-le-Duc himself in 1860.

Destruction by fire

An operation to restore the spire began on 11 April 2019, as part of a larger restoration of the cathedral which would last ten years and cost an estimated 60 million euros. The sixteen statues were removed with an  tall crane and transported in pairs to a workshop to be restored. While one pair was being worked on the other fourteen statues would still be on display within the cathedral.

On 15 April 2019, around 6:50 pm, a fire began in the eaves of the cathedral. Rapidly the fire spread to the rest of the roof. The heat, estimated to be more than  made the lead coating melt into the wood of the spire, which did not prevent it from burning. The fire emitted toxic fumes so neighboring areas were evacuated.

The upper part of the spire collapsed around 7:45 pm. Its fall caused the destruction of part of the vaults of the nave. The collapse of the tower caused the destruction of the crossing of the transept.

The sixteen statues around the spire had been taken down four days earlier and sent off to be restored. They were not affected by the fire. However, the rooster at the top of the spire became detached during the fall. Thought to be lost, It was found damaged but mainly intact in the debris the following day. It was sent to join the statues at Socra, a French art conservation society for repair.

Future spire
On 17 April 2019 the French Prime Minister Édouard Philippe announced the launch of an international architecture competition to design a new spire. It is in part a competition to define the nature of the reconstruction effort and answer the question: Should the new spire be identical to the old, or a new design entirely?

The architect Jean Nouvel called for the faithful reconstruction of the original spire, saying that "it was an integral part of the Cathedral". In the following days, several architecture firms released new proposals for the Spire. Foster and Partners of London proposed a new roof and spire made of stainless steel and crystal, while the French architecture firm Godart + Roussel Architectes of Dijon proposed a structure made of glass panels and copper tiles.

Ultimately, however, it was decided that the spire's exterior will be reconstructed to match the 19th-century design by Viollet-le-Duc.

In popular culture

Cinema
 In the 1996 Disney animated film The Hunchback of Notre Dame, Quasimodo climbs the spire while singing "Out There". The film takes place in 1482, but the spire matches the appearance of the one built in the 19th century.

Video game
 Viollet-le-Duc's spire appeared in the 2014 action-adventure video game Assassin's Creed Unity, developed by Ubisoft Montréal. The depiction of the spire was very detailed and the player could even climb it. The game is set during the French Revolution so the presence of the 19th-century spire is an anachronism. This was done intentionally, because a  representation of the original spire, which at that time was damaged and being dismantled, would have been jarring for players.

References

Notre-Dame de Paris
Former buildings and structures in Paris
Collapsed buildings and structures
Towers in Paris


text:
Orpheline Olsen (Copenhague, 1846 - ) est une pianiste, musicologue et professeure de musique classique danoise.

Biographie

Orpheline Johanne Frederikke Wexschall est la fille du violoniste et professeur de violon, Frederick Thorkildsen Wexschall (1798-1845) et de sa deuxième épouse, la choriste Caroline Dam (1811-1848). Wexschall était le professeur de Niels Gade. Son père meurt avant sa naissance et sa mère deux ans plus tard. Elle est adoptée par Peder Schram, cousin de Wexschall et baryton. Son seul enfant est mort en 1848. Le , Orpheline épouse William Olsen, propriétaire de plusieurs moulins à huile. Il possède déjà le manoir Lille Grundet, qui devient leur nouvelle maison.

Orpheline prend des cours de piano avec Clara Schumann, ainsi qu'au Conservatoire de Copenhague. Elle joue également du hautbois. Après son mariage, elle déménage à Vejle dans le Jutland pour y poursuivre ses ambitions. Cependant, elle est loin de Copenhague, le centre musical du Danemark. Elle enseigne à Johanne Krarup-Hansen, Niels Johannes Nielsen du Jutland. Elle participe également à la carrière du chanteur Vilhelm Herold. En 1884, elle fonde la Vejle Music Association avec son mari et peut encore utiliser ses relations à Copenhague. Par exemple, il y a une performance connue d'Edvard Grieg au théâtre de Vejle le . William Olsen meurt en 1890. La famille royale vient alors en visite. Orpheline retourne à Copenhague en 1891 et participe en 1895 à l'exposition sur les femmes là-bas, dans le domaine de la musique.

Carl Nielsen lui dédie son Fem klaverstykker opus 3 (FS10). Peder Schram lui consacre en partie son Élégie pour violon et piano de 1881.

Références

Liens externes

Foto van het echtpaar

Naissance à Copenhague
Naissance en 1846
Pianiste classique danoise
Décès en novembre 1910
Décès à Copenhague


text:
Grad Karlovac är en stad i Kroatien.   Den ligger i länet Karlovacs län, i den centrala delen av landet,  km sydväst om huvudstaden Zagreb. Antalet invånare är .

Följande samhällen finns i Grad Karlovac:

 Karlovac
 Slunj
 Josipdol

Inlandsklimat råder i trakten. Årsmedeltemperaturen i trakten är  °C. Den varmaste månaden är juli, då medeltemperaturen är  °C, och den kallaste är december, med  °C. Genomsnittlig årsnederbörd är  millimeter. Den regnigaste månaden är september, med i genomsnitt  mm nederbörd, och den torraste är juni, med  mm nederbörd.

Källor

Indelningar i Karlovacs län


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В Республике Сербской 64 общины (муниципалитета), в том числе 57 собственно общин () и 7 городов или городских общин (): град Баня-Лука, град Биелина, град Добой, град Зворник, град Приедор, град Требине, град Источно-Сараево, последний из которых, в свою очередь, включает 6 общин (Источна-Илиджа, Источно-Ново-Сараево, Источни-Стари-Град, Трново, Пале, Соколац).

Они распределены согласно территориальному плану до 2015 года по 6 регионам.

Список муниципалитетов (общин и городских общин) с данными о численности населения и численности населения их административных центров по переписям 1991 и 2013 годов:

Карта

Примечания

Литература


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Alexei Borissowitsch Sawaruchin (; * 30. Oktober 1980 in Tscheljabinsk, Russische SFSR) ist ein ehemaliger russischer Eishockeyspieler, der unter anderem für den HK Traktor Tscheljabinsk, HK Sibir Nowosibirsk, HK Spartak Moskau und Awtomobilist Jekaterinburg in der Kontinentalen Hockey-Liga aktiv war. Seit 2016 gehört er dem Trainerstab des Juniorenteam von Traktor Tscheljabinsk an.

Karriere
Alexei Sawaruchin begann seine Karriere als Eishockeyspieler in der Nachwuchsabteilung des HK Metschel Tscheljabinsk, für dessen zweite Mannschaft er in der Saison 1998/99 in der drittklassigen Perwaja Liga aktiv war. Anschließend wechselte er zum Stadtnachbarn HK Traktor Tscheljabinsk, für den er nach einem Jahr bei dessen zweiter Mannschaft von 2000 bis 2006 in der Wysschaja Liga, der zweiten russischen Spielklasse, auf dem Eis stand. In der Saison 2005/06 gelang dem Angreifer mit dem HK Traktor als Zweitligameister der Aufstieg in die Superliga. In der höchsten russischen Eishockeyliga spielte er zwei Jahre lang für den HK Traktor, ehe der Klub zur Saison 2008/09 in die neu gegründete Kontinentale Hockey-Liga aufgenommen wurde. In der KHL erzielte er in ihrer Premierenspielzeit in 59 Spielen 24 Scorerpunkte, davon zehn Tore.

Während der Saison 2009/10 wechselte Sawaruchin mehrfach den Verein. Zunächst begann er die Spielzeit beim HK Spartak Moskau, anschließend wurde er von Neftechimik Nischnekamsk verpflichtet, ehe er die Saison bei seinem Ex-Klub HK Traktor Tscheljabinsk beendete.

Zur Saison 2010/11 unterschrieb der Russe einen Vertrag beim HK Sibir Nowosibirsk, ehe er im September 2011 aus diesem entlassen wurde. Danach absolvierte er vier Spiele für den HK Metschel Tscheljabinsk, ehe er vom HK Spartak Moskau verpflichtet wurde. Für Spartak kam er in der Folge in 48 KHL-Partien zum Einsatz.

Ab Juni 2012 stand Sawaruchin bei Awtomobilist Jekaterinburg unter Vertrag, ehe dieser im November des gleichen Jahres aufgelöst wurde.

Erfolge und Auszeichnungen
 2006 Meister der Wysschaja Liga und Aufstieg in die Superliga mit dem HK Traktor Tscheljabinsk

Karrierestatistik

Weblinks

Eishockeyspieler (HK Traktor Tscheljabinsk)
Geboren 1980
Mann
Russe
Sowjetbürger
Eishockeyspieler (HK Spartak Moskau)
Eishockeyspieler (Neftechimik Nischnekamsk)
Eishockeyspieler (HK Sibir Nowosibirsk)
Eishockeyspieler (Awtomobilist Jekaterinburg)
Eishockeytrainer (Russland)


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Eistvere es una localidad del municipio de Järva, en el condado de Järva, Estonia. Tiene una población estimada, en 2020, de .

Está ubicada al este del condado, cerca del nacimiento del río Pärnu y de la frontera con los condados de Harju y Lääne-Viru.

Referencias

Enlaces externos

Localidades de Estonia
Condado de Järva


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Of the many unconformities (gaps) observed in geological strata, the term Great Unconformity is frequently applied to either the unconformity observed by James Hutton in 1787 at Siccar Point in Scotland, or that observed by John Wesley Powell in the Grand Canyon in 1869. Both instances are exceptional examples of where the contacts between sedimentary strata and either sedimentary or crystalline strata of greatly different ages, origins, and structure represent periods of geologic time sufficiently long to raise great mountains and then erode them away.

Background
Unconformities tend to reflect long-term changes in the pattern of the accumulation of sedimentary or igneous strata in low-lying areas (often ocean basins, such as the Gulf of Mexico or the North Sea, but also Bangladesh and much of Brazil), then being uplifted and eroded (such as the ongoing Himalayan orogeny, the older Laramide orogeny of the Rocky Mountains, or much older Appalachian (Alleghanian) and Ouachita orogenies), then subsequently subsiding, eventually to be buried under younger sediments. The intervening periods of tectonic uplift are generally periods of mountain building, often due to the collision of tectonic plates. The "great" unconformities of regional or continental scale (in both geography and chronology) are associated with either global changes in eustatic sea level or the supercontinent cycle, the periodic merger of all the continents into one approximately every 500 million years.

Hutton's Unconformity
Hutton's Unconformity at Siccar Point, in county of Berwickshire on the east coast of Scotland, is an angular unconformity that consists of gently dipping, reddish, Upper Devonian and Lower Carboniferous breccias, sandstones, and conglomerates of the Old Red Sandstone overlying deeply eroded, near-vertical, greyish, Silurian (Llandovery) greywackes and shales. The Llandovery greywackes and graptolite-bearing shales of the Gala Group were deposited by turbidity currents in a deep sea environment about 425 million years ago. The overlying Devonian strata were deposited by rivers and streams about 345 million years ago. Thus, this unconformity reflects a gap of about 80 million years during which deep sea sediments were lithified, folded, and uplifted; later deeply eroded and weathered subaerially; and finally buried by river and stream sediments.

Exposures of the unconformity at Siccar Point, provided James Hutton, accompanied by John Playfair and Sir James Hall, the clearest example of an unconformable relationship between two sets of sedimentary strata that involved a complex geological history. The clear truncation of near-vertical Silurian sedimentary strata by well-bedded conglomerates and sandstones belonging to the Upper Old Red Sandstone allowed Hutton to demonstrate the existence of significant breaks in the geological record, in this case a break separating strata that were then called alpine schistus and secondary strata. This and other unconformities provided evidence for Hutton's ideas about the recycling of geological materials and for unconformities representing very large time periods. He argued that these concepts pointed to the great antiquity of the Earth and the vastness of the geological time-scale.

Powell's Unconformity, Grand Canyon

The Great Unconformity of Powell in the Grand Canyon is a regional unconformity that separates the Tonto Group from the underlying, faulted and tilted sedimentary rocks of the Grand Canyon Supergroup and vertically foliated metamorphic and igneous rocks of the Vishnu Basement Rocks. The unconformity between the Tonto Group and the Vishnu Basement Rocks is a nonconformity. The break between the Tonto Group and the Grand Canyon Supergroup is an angular unconformity.

Powell's Great Unconformity is part of a continent-wide unconformity that extends across Laurentia, the ancient core of North America. It was first recognized twelve years before Powell's expedition by John Newberry in New Mexico, during the Ives expedition of 1857–1858. However, the disruption of the American Civil War kept Newberry's work from becoming widely known. This Great Unconformity marks the progressive submergence of this landmass by a shallow cratonic sea and its burial by shallow marine sediments of the Cambrian-Early Ordovician Sauk sequence. The submergence of Laurentia ended a lengthy period of widespread continental denudation that exhumed and deeply eroded Precambrian rocks and exposed them to extensive physical and chemical weathering at the Earth's surface. As a result, Powell's Great Unconformity is unusual in its geographic extent and its stratigraphic significance.

The length of time represented by Powell's Great Unconformity varies along its length. Within the Grand Canyon, the Great Unconformity represents a period of about 175 million years between the Tonto Group and the youngest subdivision, the Sixtymile Formation, of the Grand Canyon Supergroup. At the base of the Grand Canyon Supergroup, where it truncates the Bass Formation, the period of time represented by this angular unconformity increases to about 725 million years. Where the Tonto Group overlies the Vishnu Basement Rocks, the Great Unconformity represents a period as much as 1.2 to 1.6 billion years. (See also geological timescale.)

Frenchman Mountain, Nevada
A prominent exposure of Powell's Great Unconformity occurs in Frenchman Mountain in Nevada. Frenchman Mountain exposes a sequence of Phanerozoic strata equivalent to those found in the Grand Canyon. At the base of this sequence, the Great Unconformity, with the Tapeats Sandstone of the Tonto Group overlying the Vishnu Basement Rocks, is well exposed in a manner that is atypical and scientifically significant in its combination of extent and accessibility. This exposure is frequently illustrated in popular and educational publications, and is often part of geological fieldtrips. There is a gap of about 1.2 billion years where 550 million year old strata of the Tapeats Sandstone rests on 1.7 billion (1700 million) year old Vishnu Basement Rocks.

As a widespread phenomenon
The term "Great Unconformity" has also been used to refer to the anomalous concentration of unconformities, including basement nonconformities, below the base of the Cambrian. Charles Walcott was among the first to note this phenomenon, remarking in 1910:

A potential link has been proposed between such sub-Cambrian unconformities and glacial erosion during the Neoproterozoic Snowball Earth glaciations. Alternatively, it has been proposed that multiple smaller events, such as the formation and breakup of Rodinia, created many unconformities worldwide. Evidence indicates that the Pikes Peak unconformity was formed before the Snowball Earth glaciations.

Possible causes of the Great Unconformity
There is currently no widely accepted explanation for the Great Unconformity among geoscientists. There are theories that have been proposed; it is widely accepted that there was a combination of more than one event which may have caused such an extensive phenomenon. One example is a large glaciation event which took place during the Neoproterozoic, starting around 720 million years ago. This is also when a significant glaciation event known as 'Snowball Earth' occurred. Snowball Earth covered almost the entire planet with ice. The areas that underwent glaciation were approximately those where the Great Unconformity is located today. When glaciers move, they drag and erode sediment away from the underlying rock. This would explain how a large section of rock was taken away from widespread areas around the same time.

See also
 Geology of the Grand Canyon area (with time scale)
 List of orogenies
 Orogeny (mountain building)

References

External links
 Hutton's Unconformity
 Anonymous (2003) Siccar Point Field Excursion Preview. School of GeoSciences, University of Edinburgh, Edinburgh, Scotland. last accessed September 22, 2013.
 Moore, R (2009) Siccar Point. Reports of the National Center for Science Education. 29(1):26. last accessed September 22, 2013.
 Rowan, C (2011) The making of an angular unconformity: Hutton's unconformity at Siccar Point. Highly Allochthonous. last accessed September 22, 2013.

 Powell's Unconformity

 Abbott, W (2001) Revisiting the Grand Canyon – Through the Eyes of Seismic Sequence Stratigraphy. AAPG Datapages / Search and Discovery, American Association of Petroleum Geologist, Tulsa, Oklahoma. last accessed September 22, 2013.
 Brandriss, M. (2004) Angular unconformity between Proterozoic and Cambrian rocks, Grand Canyon, Arizona. GeoDIL, A Geoscience Digital Image Library, University of North Dakota, Grand Forks, North Dakota. last accessed September 22, 2013.
 Share, J. (2102a) The Great Unconformity of the Grand Canyon and the Late Proterozoic-Cambrian Time Interval: Part I – Defining It. last accessed September 22, 2013.
 Share, J. (2102a) The Great Unconformity and the Late Proterozoic-Cambrian Time Interval: Part II – The Rifting of Rodinia and the "Snowball Earth" Glaciations That Followed. last accessed September 22, 2013.

 The Unconformity in Wyoming

Rock formations of Arizona
Rock formations of Nevada
Rock formations of Scotland
Geology of Arizona
Geology of Nevada
Geology of Scotland
Unconformities