text:
Operațiunea Mincemeat (Carne tocată) a fost o operațiune britanică de dezinformare de succes în timpul celui de-al Doilea Război Mondial. Operațiunea a convins înaltul comandament german că forțele aliate plănuiau să invadeze Grecia și Sardinia la mijlocul anului 1943, deși Sicilia era adevărata țintă. Ca urmare a unui "accident aviatic" fals, documente "top secret" cu detalii despre invazia aliată a Europei au fost găsite lângă un cadavru adus de valuri pe coasta Spaniei, îmbrăcat în uniforma unui ofițer britanic. Autorul operațiunii a fost locotenent-comandorul Marinei Regale Britanice Ewen Montagu.

Detaliile operațiunii au fost prezentate în cartea din 1953 The Man Who Wasn't There (în 1956, un film cu același nume a fost lansat pe baza cărții).

În ciuda statutului neutru al Spaniei, aceasta a fost controlată de agenții germani. Germanilor le-a luat două săptămâni să ajungă la conținutul valizei și, la scurt timp după aceea, fotografiile documentelor false se aflau pe biroul lui Hitler. Falsificarea a lăsat o impresie atât de puternică asupra lui Hitler, încât a respins opinia lui Mussolini, care a susținut că debarcarea aliaților va avea loc în Sicilia și a început să pregătească apărarea Greciei, Sardiniei și Corsica.

Erwin Rommel a fost trimis în Grecia pentru a organiza apărarea, o divizie de tancuri (1 Panzere) a fost trimisă în Grecia din Franța și încă două divizii de tancuri au primit ordin să se pregătească pentru plecarea din Uniunea Sovietică, de pe Frontul de Est, în ajunul luptelor decisive cu tancuri de la Kursk. La 9 iulie au început debarcările Aliaților în Sicilia. Cu toate acestea, comandamentul german a crezut încă două săptămâni după aceea că lovitura principală va fi dată în Grecia și a întârziat transferul de trupe în Sicilia, ratând momentul decisiv pentru a organiza o respingere.

Identitatea exactă

Operațiunea Mincemeat a implicat achiziționarea și îmbrăcarea unui cadavru uman ca "maior William Martin, R.M." și aruncarea lui în mare, lângă Huelva, Spania. Pe cadavru a fost atașată o servietă care conținea scrisori false care afirmă în mod fals că atacul aliaților va fi împotriva Sardiniei și Greciei și nu împotriva Siciliei, punctul real al invaziei. Când cadavrul a fost găsit, Serviciul de Informații spaniol a transmis copii ale documentelor Serviciului de Informații german, care le-a transmis Înaltului Comandament. Înșelătoria a fost atât de reușită, încât germanii încă mai credeau că Sardinia și Grecia erau obiectivele urmărite la câteva săptămâni după începerea debarcărilor în Sicilia.

Identitatea exactă a "omului care n-a existat niciodată" a fost centrul controverselor de la sfârșitul războiului. Pe de o parte, anumite relatări susțin că adevărata identitate a "Maiorului William Martin" era un alcoolic, fără adăpost deratizator, din Aberbargoed, Țara Galilor, Glyndwr Michael, care a murit de la o doză mică de otravă pentru șobolani. Cu toate acestea, în 2002, autorii John și Noreen Steele au publicat relatarea non-fictivă a The Secrets of HMS Dasher, despre un transportator de escortă care a explodat și s-a scufundat în Firth of Clyde în perioada în care a început Operațiunea Mincemeat. Soții Steele au susținut că trupul "maiorului Martin" era de fapt cel al marinarului John Melville, una dintre victimele de pe HMS Dasher. Mai mult, s-a raportat că acuratețea acestei afirmații a fost verificată de Royal Navy la sfârșitul lunii octombrie 2004 și a avut loc o slujbă comemorativă pentru Melville, în care a fost celebrat ca unul a cărui "memorie trăiește în filmul Omul care nu a fost niciodată... ne-am adunat astăzi aici pentru a ne aminti de John Melville ca un om care a fost cu siguranță." Există unele dovezi circumstanțiale care susțin, de asemenea, identitatea cadavrului folosit ca fiind al lui Melville.  De fapt, profesorul Denis Smyth, cercetător la Universitatea din Toronto, a contraargumentat că Glyndwr Michael a fost într-adevăr adevăratul "Maior Martin". Pentru a-și susține afirmațiile, Smyth a publicat conținutul unei note secrete și a unui raport oficial, ambele scrise de însuși Ewen Montagu, care confirmă povestea lui Glyndwr Michael.

Indiferent de identitatea maiorului Martin, scenariul lui Nigel Balchin a rămas la fel de aproape de adevăr pe cât a fost convenabil, totuși cu o anumită dramatizare. De exemplu, episodul spionului irlandez, O'Reilly, este o născocire completă. Serviciul de Securitate britanic controla rețeaua de spionaj germană din Marea Britanie cu sistemul său Double-Cross, deși acest fapt era încă secret în momentul filmărilor. Ewen Montagu s-a declarat mulțumit de incidentele fictive care, deși nu s-au întâmplat, s-ar fi putut întâmpla.

Note

Al Doilea Război Mondial
1943 în Europa

redpajama_set_name: RedPajamaWikipedia


text:
Askeran of Chatsjen (Armeens: Ասկերան, Askeran of Խաչեն, Khach'en;  Azerbeidzjaans: Əsgəran) is een gewest in de Nagorno-Karabach (Artsach), een gebied dat formeel behoort tot het grondgebied van Azerbeidzjan. De facto gedraagt Nagorno-Karabach, hoewel niet erkend door de internationale gemeenschap, zich als een onafhankelijke republiek, waarbij sprake is van Armeense invloed op het bestuur.

Het gewest is 1192,82 km² groot en is dunbevolkt met 18.100 inwoners (2015). De hoofdstad is het gelijknamige Askeran.
Het gewest is onderverdeeld in 42 gemeenten.

Het is een bergachtig gebied, met steile riviervalleien en kloven, begroeid met bomen en struiken. Aan de westkant van de provincie ligt het Karabach-gebergte, met toppen van 2500-2750 meter. Het klimaat is vrij droog met gemiddeld rond 560 mm neerslag per jaar.

De agrarische sector is de belangrijkste voor de economie: land- en tuinbouw, wijnbouw, granen en veeteelt. Ook zijn er bedrijven die agrarische producten verwerken. Op het gebied van de provincie bevinden zich een aantal historische en archeologische monumenten, net over de grens met Merdakert liggen de ruïnes van Tigranakert.

Gewest van Nagorno-Karabach


text:
Character Role Playing is a 1981 fantasy role-playing game supplement published by Ragnarok Enterprises.

Contents
Character Role Playing is a course in creatively role playing the most common fantasy character types.

Reception
Ronald Pehr reviewed Character Role Playing in The Space Gamer No. 49. Pehr commented that "Experienced role players don't need Character Role Playing, others won't buy it. Get it for new FRPG players (who don't yet worship the dice), if you can convince them to read and heed."

Reviews
Pegasus #8 (July/Aug., 1982)

References

Fantasy role-playing game supplements
Role-playing game supplements introduced in 1981


text:
Sutomo School is a group of private schools in Medan, Indonesia, managed by the Sutomo Education Foundation. This group currently consists of Sutomo 1 and Sutomo 2. Both schools feature education levels from kindergarten, elementary, middle, and high school, with the exception of a playgroup (pre-school), which is only available in Sutomo 1. Between the two schools, Sutomo 1 is more dominant and widely known.

Sutomo 1's playgroup, kindergarten, and elementary school buildings are located at Jalan Jambi, while the junior and senior high school buildings are located in Jalan Letkol Martinus Lubis. Sutomo 2 is located entirely in Pulo Brayan, in the western side of Medan.

More than 15 thousand students have enrolled in Sutomo School. Majority of the students are of Chinese descent (about 80%), while 40% of the teachers are of Chinese descent.

History

Sutomo School was formerly called Sutung School (蘇東; "East Sumatra") when it was established in 1926. On 25 February 1958, the name of the school was changed to Sutomo School in conjunction with the establishment of Sutomo Education Foundation by Soo Lean Toii, Oei Moh Toan, and Hadi Kusuma (Khoo Peng Huat). Initially, Sutomo School only provided education in elementary school through high school. Kindergarten and playgroup was introduced in 1964 and 1992, respectively.

Initially, all education activities were run at Jalan Letkol Martinus Lubis. In 1978, kindergarten and elementary school activities were moved to a new building at Jalan Jambi. In 1982, Sutomo 2 was built on Jalan Yos Sudarso, and the old Sutomo School building was renamed to Sutomo 1. Plans to move the school to Jalan Pancing in Medan Tembung could not be realized due to financial crisis that had struck Indonesia in the middle of the 1990s. In 2004, the foundation began constructing new Middle/High School buildings at Sutomo 1. In 2019, they finished the construction of 'Heritage' as a mini-museum.

Curriculum and education system

Ever since 1995/96, Sutomo implemented the "Plus Class" (superior class) system which aims to accommodate the most outstanding students, where the course materials progress more quickly and sometimes reaches more advanced levels than the regular classes. In 2001, the school has been granted permission by the Director-General of Education to open an accelerated class where the high school education can be completed within a period of 2 years instead of the usual three. However, this accelerated course was removed in 2015.

References

Buildings and structures in Medan
Educational institutions established in 1926
Schools in Indonesia
1926 establishments in the Dutch East Indies


text:
A Csillagporos emlékek (eredeti cím: Stardust Memories) 1980-as amerikai dramedy Woody Allen rendezésében. A főszerepekben Allen, Charlotte Rampling, Jessica Harper és Marie-Christine Barrault láthatóak. Sharon Stone is megjelenik egy kisebb szerepben, akinek ez volt az első szerepe. A film fekete-fehérben készült, amely Fellini 8½ című filmjének paródiája.

Allen szerint a projekt nem önéletrajzi film, és sajnálatát fejezte ki azok iránt, akik annak tartják, és a maga által készített legjobb filmek közé sorolja, olyan filmekkel együtt, mint a Kairó bíbor rózsája és a Match Point.

 Egy filmrendező, aki egy retrospektív kiállításon vesz részt, felidézi életét és szerelmeit: filmjeinek ihletőit.

Cselekmény

A neves filmrendező, Sandy Bates szakmai változáson van túl, pályája elején főként vígjátékokat rendezett, most pedig komolyabb filmeket szeretne készíteni, hogy az élet értelmét, leginkább a sajátjáét feltárhassa. A legtöbben végig harcolnak ellene, beleértve a moziba járó közönséget is, akik folyamatosan azt mondják neki, hogy szeretik a filmjeit, különösen a korábbi vígjátékokat, míg a stúdió vezetői megpróbálnak komikus elemeket beilleszteni a jelenleg készülő filmjébe.

Vonakodva beleegyezik, hogy részt vegyen egy hétvégi filmfesztiválon, ahol a filmjeit bemutatják. A rengeteg felkérés ellenére tovább tud gondolkodni az életéről, amikor a vetítés utáni kérdezz-felelek során válaszol a kérdésekre.

Külön reflektál a szerelmi életére is, amikor váratlanul felbukkan jelenlegi barátnője, a házasságban élő Isobel. Jack Abel nevű kolumbiai professzor barátjával, a fesztivál résztvevőjével elkezd beleszeretni Daisy-be, aki Dorrie-ra emlékezteti, egy korábbi neurotikus barátnőjére, akit ő minden bizonnyal a sajnálatos módon elszökött barátnőjének tart.

Szereplők

A film készítése
A forgatási helyszínek közé tartoznak:

Az MGM 2000-es DVD-kiadásának ismertetőjéből: "Az 1979 őszén forgatott Stardust Memories úgy tűnhet, mintha egy viktoriánus stílusú tengerparti szállodában játszódna, de valójában az Ocean Grove Great Auditoriumban és a New Jersey-i Metodista Episzkopális Konferencia Központban és Koncertteremben forgatták. A helyszínek nagy részét, beleértve a hálószobai jeleneteket is, egy üresen álló Sears Roebuck épületben vették fel, de a stáb egy régi vonatot is újjáépített a harlemi Filmways stúdióban. A vasúti kocsik mozgásának reprodukálása érdekében az egész vonatot emelőkre szerelték, és óvatosan ide-oda tologatták."

Fogadtatás

A film vegyes kritikákat kapott. A Rotten Tomatoes oldalán 68%-on áll, és 6.7 pontot szerzett a tízből, 28 kritika alapján. Janet Maslin szerint "ez Allen legprovokatívabb műve, amelyik heves vitát válthat ki az emberekből". Roger Ebert két csillaggal értékelte a négyből, és csalódásnak nevezte. Gene Siskel két és fél csillaggal értékelte a négyből, kritikája szerint "nincs valami nagy cselekménye a filmnek". A Los Angeles Times kritikusa, Charles Champlin viszont pozitívan értékelte, "extrém viccesnek és extrém megragadónak" nevezte. A The New Yorker kritikusa, Pauline Kael szerint a film során "ugyanazt kapjuk; olyan, mintha egy körforgást néznénk. A Csillagporos emlékek nem tűnik filmnek, de még filmre vett esszének sem; ez semmi."

A The Daily Telegraph két kritikusa, Robbie Colin és Tim Robey a tizedik legjobb Allen-filmnek nevezték. Az IndieWire kritikusa, Sam Fragoso szintén Allen egyik legjobb filmjének nevezte. A Time Out magazin szavazásán a 16. legjobb Allen-filmnek választották.

2013-ban a The Guardian olvasói a nyolcadik legjobb Allen-filmnek választották meg.

Bevétel

A film 1980. szeptember 26-án nyitotta meg kapuit Észak-Amerikában, és nagyrészt rossz kritikákat kapott az értékelőktől. A nyitóhétvégén 29 moziban t (11 268 dollárt vetítésenként) hozott. A film a bemutató végére összesen t gyűjtött a 10 milliós költségvetésével szemben.

Fordítás

Jegyzetek

További információk

1980 filmjei
Amerikai filmdrámák
Amerikai romantikus filmek
Woody Allen-filmek


text:
John William Brown, född 28 december 1913 i Athens, Ohio, död 29 oktober 1993 i Medina, Ohio, var en amerikansk republikansk politiker. Han var den 58:e guvernören i delstaten Ohio 3 januari - 14 januari 1957. Han var viceguvernör i Ohio 1953-1957 och 1963-1975.

Brown var borgmästare i Medina 1950-1953. Han efterträdde 1953 George D. Nye som viceguvernör. Guvernör Frank J. Lausche avgick 1957 elva dagar innan mandatperiodens slut för att tillträda som ledamot av USA:s senat. Brown fick sköta guvernörsämbetet i elva dagar innan han efterträddes av C. William O'Neill.

Brown efterträdde 1963 John W. Donahey som viceguvernör. Han omvaldes 1966 och 1970. Han kandiderade 1974 ytterligare en gång till omval men förlorade mot demokraten Dick Celeste.

Brown var metodist. Hans grav finns på Spring Grove Cemetery i Medina, Ohio.

Externa länkar
 Biografi på National Governors Associations webbplats
 Ohio History Central
 The Ohio Channel
 Political Graveyard

Födda 1913
Avlidna 1993
Guvernörer i Ohio
Män


text:
Le Football Club Bischwiller est un club français de football fondé en 1907 et localisé à Bischwiller en Alsace. Le club évolue dans Ligue d'Alsace de football et a participé au Championnat de France amateur en 1956-1957. Il est notamment connu pour son passé prestigieux.

Histoire

Les débuts du club
La pratique du football à Bischwiller remonte à 1900. Les anciens du club local se réunissent en 1907 au Kaffee Bertrand et fondent le « Bischwiller Fussball-Club BFC ». Evoluant d'abord sur un terrain d'exercice de l'armée peu adapté à la pratique du football, le club n'obtient pas de la municipalité le droit de jouer à la Niedermatt. Ce terrain est finlamement acheté par des particuliers et loué au club. Le premier match joué au stade Langesand a lieu en 1907. C'est une défaite 2-4 contre la réserve d'Haguenau.

Résultats sportifs
Le FC Bischwiller remporte quatre fois le titre de champion d'Alsace en 1925, 1933, 1934 et 1956.

En 1925, le FCB est récompensé par le quotidien L'Auto qui le désigne « club champion régional le plus méritant ». Le quotidien sportif explique en choix en pointant le fait que l'ensemble de l'effectif de l'équipe fanion du FCB est formée au club.

Durant les années 1920 et 1930, le FCB fait régulièrement de bons parcours en Coupe de France de football. Lors de l'édition 1923-1924 le club atteint les seizièmes de finale après avoir éliminé le Club français à Paris par 3-2 au tour précédent. Il perd en seizième de finale contre le Racing Club de Roubaix 4-1 en match d'appui à Lille après un premier match nul 1-1 à Metz.

Dans l'entre-deux-guerres, le FC Bischwiller participe en outre à sept reprises aux trente-deuxièmes de finale de la Coupe de France. Le club s'incline ainsi en 1922 contre le Racing Club de France sur le score de 4-2 à Paris, puis en 1923 contre le Red Star par 5-1 à Paris. Le FCB perd également deux fois à ce stade de la compétition contre l'Union sportive suisse de Paris : en 1925 sur le score de 4-2 à Paris, et en 1928 après un premier match nul 1-1 disputé à Mulhouse et un match d'appui perdu 3-1 à Paris.

Identité

Logos

Joueurs et personnalités emblématiques

Entraîneurs

 1952-1956 : / Paco Mateo

Joueurs

L'international français Oscar Heisserer fait ses débuts au FC Bischwiller et participe aux deux titres de champion d'Alsace obtenus par le club dans les années 1930.

Lucien Muller, international, joueur au Réal Madrid et entraîneur notamment au Barça a également fait ses débuts à Bischwiller.

Notes et références

Liens externes

Bibliographie
coll., 100 ans de football en Alsace (tome 2), Strasbourg, LAFA, 2000, p. 128-132

Club de football fondé en 1907
Bischwiller
Club sportif dans le Bas-Rhin
Communauté d'agglomération de Haguenau


text:
Pulanesaura is an extinct genus of basal sauropod known from the Early Jurassic (late Hettangian to Sinemurian) Upper Elliot Formation of the Free State, South Africa. It contains a single species, Pulanesaura eocollum, known from partial remains of at least two subadult to adult individuals.

Discovery and naming

The remains of Pulanesaura were discovered in a small quarry in the farm Spion Kop 932 in the Senekal District of the Free State in 2004 by paleontologist Matthew Bonnan. The bones were excavated between 2004 and 2006, and studied by Blair McPhee as part of his dissertation since 2011. Pulanesaura was then described and named officially by Blair W. McPhee, Matthew F. Bonnan, Adam M. Yates, Johann Neveling and Jonah N. Choiniere in 2015 with the type species Pulanesaura eocollum. The generic name is derived from the Sesoth word for "rain-maker/bringer", Pulane, in reference to the heavy rain conditions under which the remains were collected, and the feminine form of the common dinosaur name suffix, saura, meaning "lizard" in Latin. The specific name is derived from Greek eo, meaning "dawn", and Latin collum, meaning "neck", in reference to Pulanesaura being a very basal sauropod not yet showing the most archetypal trait of more advanced sauropods - their very long necks. Pulanesaura was one of eighteen dinosaur taxa from 2015 to be described in open access or free-to-read journals.

Pulanesaura is known from partial remains of at least two subadult to adult individuals. The holotype, BP/1/6982, represents the front dorsal vertebra missing the tip of the neural spine. In addition the referred material consists of two isolated teeth, a middle cervical vertebra, five back vertebral arches, a single right dorsal rib, three tail vertebrae, a left clavicle, a distal right humerus, a left ulna, possibly the fourth right middle hand bone, three ischia, a left and a right shinbones, and two hindlimb first claws. The remains are considered to be conspecific with the holotype due to their close association (in an area of three to three and a half meters) in fine and stable sandstone, their consistent morphology, and the fact the same elements from different individuals show no conflict in traits. The remains were collected on the farm Spion Kop 932, in a quarry located just over a kilometer East-North East another dinosaur rich quarry in a higher stratigraphic position within the probably Sinemurian part of the upper Elliot Formation, that yielded the less advanced sauropodomorphs Aardonyx celestae and the much smaller Arcusaurus pereirabdalorum.

Phylogeny

Pulanesaura is a medium-sized transitional sauropodiform. A phylogenetic analysis resolved its position as either one of the least derived sauropods or as the sister taxon to Sauropoda, depending on the definition for Sauropoda used (node or stem based). The following cladogram is simplified after this analysis (members of bold taxa are not shown).

The following cladogram shows the position of Pulanesaura within Massopoda, according to Oliver W. M. Rauhut and colleagues, 2020:

Paleoecology

Pulanesaura'''s posture and skeletal build indicate that the animal was a low browser, unlike the prosauropods it shared its habitat with. Studies by Blair McPhee et al. indicate that Pulanesaura is thought to have coexisted with other sauropodomorphs found in the same formation due to niche partitioning. Its flexible neck would have further allowed it to feed without moving its body very often and expending valuable energy; a trait that later sauropods would take to extreme lengths. Studies of the Upper Elliot Formation suggest that the environment was a predominantly arid floodplain where vegetation was concentrated most heavily around the river channels that flowed through the area, further allowing the coexistence of Pulanesaura with other sauropodomorphs such as Aardonyx and Arcusaurus.

References

 Further reading
 Blair W. Mcphee &  Jonah N Choiniere (2017). The osteology of Pulanesaura eocollum: implications for the inclusivity of Sauropoda (Dinosauria). Zoological Journal of the Linnean Society'', zlx074 (advance online publication). doi: https://doi.org/10.1093/zoolinnean/zlx074 https://academic.oup.com/zoolinnean/article-abstract/doi/10.1093/zoolinnean/zlx074/4561573/The-osteology-of-Pulanesaura-eocollum-implications?redirectedFrom=fulltext

Sauropodomorphs
Hettangian life
Pliensbachian life
Sinemurian life
Early Jurassic dinosaurs of Africa
Jurassic South Africa
Fossils of South Africa
Fossil taxa described in 2015


text:
és un exfutbolista suís de la dècada de 1990.

Fou 23 cops internacional amb la selecció suïssa.

Pel que fa a clubs, defensà els colors de Grasshoppers, Cagliari Calcio, Tottenham Hotspur FC, Celtic FC, Watford FC i Créteil.

Palmarès
Grasshoppers
 Lliga suïssa de futbol: 1990-91, 1994-95, 1995-96]
 Copa suïssa de futbol: 1993-94

Tottenham
 Football League Cup: 1998-99

Celtic
 Scottish Premier League: 2000-01
 Scottish Cup: 2000-01
 Scottish League Cup: 2000-01

Referències

Futbolistes internacionals amb Suïssa de la dècada de 1990
Futbolistes internacionals amb Suïssa de la dècada de 2000
Persones d'Olten


text:
Spinus siemiradzkii е вид птица от семейство Чинкови (Fringillidae). Видът е световно застрашен, със статут Уязвим.

Разпространение
Видът е разпространен в Еквадор и Перу.

Източници

Spinus


text:
Телури́ти — солі телуристої кислоти Н2ТеО3.

У природі є рідкісними мінералами, наприклад, емонсит Fe2[TeO3]·2H2O.

Телурити — кристалічні речовини. Телурити лужних металів розчинні у воді. ГДК у воді 0,01 мг/м3.

Див. також
 Телурит
 Телур

Література

 Лазаренко Є. К., Винар О. М. Мінералогічний словник, К.: Наукова думка. — 1975. — 774 с.

Сполуки телуру
Солі
Телурити


text:
Anna Achmatowa (, właściwie Anna Andriejewna Gorienko (ros. ); ur. 23 czerwca 1889 w Odessie, zm. 5 marca 1966 w Domodiedowie) – jedna z najwybitniejszych rosyjskich poetek XX wieku, czołowa przedstawicielka modernizmu i akmeizmu. Nazywana duszą rosyjskiego Srebrnego Wieku, porównywana z Safoną i Mozartem.

Jej twórczość to zarówno refleksyjne, subtelne liryki, jak i uniwersalne, z genialną strukturą wewnętrzną poematy w rodzaju Requiem (1935–40), mistrzowskiej tragedii o terrorze stalinowskim. Pisała utwory różnorodne tematycznie, jak Czas i pamięć, Los artystki, czy Trauma lat życia i tworzenia w cieniu stalinizmu. Jest też autorką prac historycznych o Puszkinie oraz wspomnień o Aleksandrze Błoku i Amedeo Modiglianim. Z niewielkimi przerwami władze radzieckie ledwo ją tolerowały, przez długie okresy zakazywano publikowania jej poezji, a w 1946 roku stała się ofiarą bezpardonowej polityczno-ideowej nagonki ze strony partii, która doprowadziła do powtórnego zakazu publikacji i wystąpień publicznych. Po śmierci Stalina, wraz z nastaniem tzw. odwilży, stopniowo przywracana do życia publicznego i świadomości społeczeństwa ZSRR.

Życiorys

Młodość
Urodziła się w mieście Bolszoj Fontan pod Odessą, w rodzinie inżyniera kapitana drugiej rangi marynarki wojennej (wówczas już w stanie spoczynku). Od 1890 roku mieszkała w Carskim Siole. Uczęszczała tam do miejscowego Gimnazjum Maryjskiego. W 1905 roku, po rozwodzie rodziców zamieszkała z matką, Inną Erazmowną, z domu Stogową, na Krymie. Kontynuowała naukę w Gimnazjum Funduklejewskim w Kijowie, które ukończyła w 1907 roku. W tym samym roku podjęła studia na Wyższych Kursach Żeńskich w Kijowie, a w 1911 – studia w Petersburgu na Wyższych Kursach Historyczno-Literackich Rajewa.

Związki
Była trzykrotnie zamężna: z Nikołajem Gumilowem (1910–1918), Władimirem Szylejko (1918–1926) i historykiem sztuki Nikołajem Puninem (nieoficjalnie od 1922, oficjalnie 1926–1938). Z pierwszego małżeństwa miała syna, Lwa Nikołajewicza Gumilowa. Tajna informacja o poetce, sporządzona w Leningradzkim Zarządzie Ministerstwa Bezpieczeństwa Publicznego w 1946 roku, wspomina o profesorze anatomii Władimirze Gieorgijewiczu Garszynie, którego Achmatowa miała uważać za męża po odejściu od niej Punina. Biografie wymieniają też "zakochaną przyjaźń" z Nikołajem Władimirowiczem Niedobrowo (1913–1916).

Podróże w młodości
Po pierwszym zamążpójściu dwukrotnie odwiedziła Paryż, a w 1912 roku podróżowała po Włoszech. Z tego okresu datuje się jej znajomość z Amadeo Modiglianim.

Pierwszy okres radziecki
Po przewrocie bolszewickim (rewolucji październikowej) nie wyemigrowała z Rosji. Podzieliła los własnego narodu i niezależnych twórców w totalitarnym ustroju. Osobiście nie była więziona, ale dotknęło ją to poprzez taki los wielu jej bliskich: w 1921 rozstrzelano Nikołaja Gumilowa, aresztowano, kolejno zwalniano i osadzano w obozach jedynego syna i trzeciego męża (zmarłego ostatecznie w obozie), aresztowano na jej oczach Osipa Mandelsztama. W latach 1923–1940 nie ukazywały się praktycznie żadne jej publikacje. Dotkliwie przeżyła pierwsze (1935) aresztowania syna i męża (zwolniono ich po tygodniu), a potem drugie (1938) syna, skazanego wkrótce w pierwszej instancji na 10 lat obozu, a ostatecznie na lat 5.

W okresie od 1922 do 1940 roku praktycznie były zakazane jej poetyckie publikacje. Jako nieproletariacka poetka została w 1925 roku wykluczona z Leningradzkiego Oddziału Wszechrosyjskiego Związku Pisarzy. W tym okresie nadal tworzyła coraz głębsze i coraz bardziej przejmujące poezje, ale większość tych utworów zaginęła (każdego nowego wiersza uczyła się na pamięć, a jego rękopis paliła). Znalazła też nowe zainteresowanie – badanie twórczości Puszkina oraz architektury Petersburga. Sporadycznie wygłaszała na te tematy wykłady. Nieregularnie występowała też na wieczorach poetyckich. Dokonywała przekładów dzieł z zakresu sztuki.

Według wspomnień Kornieja Czukowskiego Achmatowa w tym okresie opowiadała mu o żądaniach redakcji Literatury Radzieckiej – nie ma być mistycyzmu, nie ma być pesymizmu, nie ma być polityki. Poetka podsumowała to tak: Została już tylko rozpusta.

Okres wojny
Po rozpoczęciu oblężenia Leningradu, nieoczekiwanie we wrześniu 1941 roku władze ewakuowały ją przez Moskwę, Czystopol, Kazań do Taszkentu. T. Klimowicz podaje, że podobno był to skutek osobistego rozkazu Stalina dotyczącego ulubionej poetki jego jedynej córki Swietłany Alliłujewej.

Do Leningradu – nazwała go wtedy strasznym duchem udającym jej miasto – wróciła latem 1944 roku. Zamieszkała jak poprzednio w mieszkaniu byłego męża Punina (ze względu na brak innego lokum pozostała tam po rozwodzie) w Fontannym Domie (były pałac Szeremietiewa). W 1945 roku odwiedził ją tam dwukrotnie znany angielski polityk i dziennikarz pochodzenia żydowskiego, emigrant z Rosji, sir Isaiah Berlin.

Drugi okres radziecki

Rozpoczęty w 1940 roku powrót utworów poetki na łamy czasopism i książek nie trwał długo. Po serii entuzjastycznie przyjętych wystąpień na wieczorach twórczych w 1946 roku Achmatowa została, wraz z satyrykiem Michaiłem Zoszczenką, brutalnie zaatakowana w związku z tzw. sprawą czasopism Leningrad i Zwiezda. W postanowieniu WPK(b) z 14 sierpnia została potępiona za pustą bezideową poezję, pesymizm, schyłkowość, salonowy burżuazyjno-arystokratyczny estetyzm, sztukę dla sztuki, i w całości szkodzenie sprawie wychowywania młodego pokolenia. Postanowienie zawierało jedenaście punktów radykalnej naprawy sytuacji w ww. czasopismach, łącznie z natychmiastowym wysłaniem do Leningradu Żdanowa – formalnie dla udzielenia wyjaśnień i wskazówek. Za jedno z wyjaśnień można przyjąć wypowiedziane przez niego wtedy dosadne określenie Achmatowej, projekcji na poetkę wspominanego dalej stwierdzenia krytyka B. Eichenbauma, jako na wpół jawnogrzesznicy, na wpół mniszki (полу-блудница, полу-монашка). W wyniku wspomnianego postanowienia oraz obecności Żdanowa ogólne zebranie leningradzkiej inteligencji twórczej posłusznie zaakceptowało ocenę Achmatowej. Wstrzymano w konsekwencji druk już przygotowanych dwóch tomów jej poezji oraz wykluczono ją ze Związku Pisarzy Radzieckich (ZPR). Zakazano też jej wystąpień publicznych, podobno ze względu na spontaniczne wstawanie publiczności na jej wejście. Prawdopodobnie z tymi faktami związane jest pytanie Stalina: Kto zorganizował wstawanie?. Pytanie to obecnie wygląda humorystycznie, zwłaszcza że znany jest materiał Leningradzkiego Zarządu Ministerstwa Bezpieczeństwa Publicznego, sporządzony w 1946 roku przez naczelnika Rodionowa. Wprost twierdzi on nie tylko o wielkiej popularności poetki za granicą, ale o olbrzymim autorytecie i popularności w kraju ze względu na twórczość i osobowość, także opinie, jak Kornieja Czukowskiego o tym, że jest spadkobierczynią Puszkina.

Wkrótce, w 1949 roku, kolejny raz aresztowano i skazano na 10 lat obozu Lwa Gumilowa, a także jej byłego męża Nikołaja Punina (oskarżonego o bycie adwokatem "reakcyjnej idei sztuki dla sztuki" po tym, gdy wieść o aresztowaniu 18 kolegów skomentował słowami Przeżyliśmy najazd Tatarów, przeżyjemy i to), którego zesłano do obozu Abiez koło Workuty, w którym zmarł cztery lata później. Wprawdzie w 1950 roku przywrócono Achmatowej członkostwo w ZPR, ale w 1952 roku wysiedlono ją z Fontannego Domu do innego mieszkania. Dopiero w 1955 roku otrzymuje z Funduszu Literackiego (Литфонд) daczę na osiedlu pisarzy Komarowo – będzie ją nazywała "Budka". W 1962 roku odwiedził ją tam Robert Frost.

Trzeci okres radziecki
W kolejnych latach stopniowo znikają z jej życia utrudnienia. Pojawiają się publikacje. W 1962 roku zostaje zgłoszona do Nagrody Nobla (ostatecznie nie otrzymała jej). Może też odbyć kilka podróży zagranicznych – do Włoch, na Sycylię w związku z otrzymaniem nagrody Taormina oraz do Anglii po tytuł doktora honoris causa Uniwersytetu Oksfordzkiego.

W tym okresie interesowała się, opiekowała i w miarę możliwości wspierała młodych poetów, takich jak Anatolij Najman czy Iosif Brodski.

Zmarła po czwartym zawale serca. Została pochowana z odprawieniem prawosławnych obrzędów pogrzebowych na cmentarzu w Komarowie, 44 km od Leningradu (obecnie Petersburg) w kierunku na Wyborg.

Charakterystyka dorobku

Początki twórczości i debiut
Rosyjska poezja zaistniała w jej dzieciństwie dzięki matce, która przekazywała jej wyuczone na pamięć wiersze Niekrasowa i Dierżawina. Pierwszy wiersz napisała w 1900 roku pod wpływem jej ówczesnych poetyckich idoli – Racina, Puszkina i Boratyńskiego. Ze względu na ojca, który zakazał stawiać tak szanowane nazwisko pod wierszami, zaczęła od 1910 roku podpisywać swoje utwory panieńskim nazwiskiem prababci ze strony matki Praskowii Fiedosiejewny Achmatowej (w małżeństwie Motowiłowej), pochodzącej ze szlacheckiego rodu Achmatowych i rodu tatarskich książąt Czagajewych. Jak wspominała później sama Achmatowa, ogólnie poziom wierszy sprzed 1910 roku był tak opłakany, że nawet bez pamięci zakochany w niej Gumilow nie miał odwagi ich chwalić. I dopiero, dalej według jej słów, przeczytanie korekty Cyprysowej szkatułki I. F. Annienskiego pozwoliło coś jej zrozumieć w poezji.

Debiutowała publicznie w 1907 roku wierszem Na jego ręce błyszczących pierścionków mnóstwo… (На руке его много блестящих колец…) podpisanym Anna G.  w nrze 2 w paryskim dwutygodniku Sirius wydawanym po rosyjsku przy udziale Gumilowa. Pierwsza publikacja w Rosji pod pseudonimem Achmatowa ukazała się w 1911 roku, był to wiersz Stary portret (Старый портрет) w nrze 3 Czasopisma powszechnego (Всеобщий журнал).

Przed i bezpośrednio po 1917 r.
Achmatowa we wczesnym okresie twórczości oprócz walki o prawo naturalne, nie z łaski czy pobłażliwości, bycia przez kobietę twórcą (twórczynią) poezji, zajmowała się pogłębioną analizą psychologii wewnętrznej kobiety kochającej, a jednocześnie czy wbrew temu – osamotnionej, odepchniętej, zdradzonej. Wplatało się to w manifest akmeistów, twierdzących o powołaniu twórców do pokazywania realności ludzi i uczuć, osiąganiu szczytów i samospełnieniu się. Było to odejście zarówno od wizji dekadenckiej femme fatale, zaborczej i obojętnej w niszczeniu kochanka, jak i symbolistycznego obrazu bezcielesnej i lodowatej Pięknej Pani.

Według Michaiła Kuzmina poetka w tym czasie dzieliła się z czytelnikami umiejętnością pojmowania i miłowania rzeczy w ich metafizycznej więzi z przeżywanymi chwilami. Jak snopem światła wychwytywała związek jakiegoś przedmiotu – rękawiczki czy poświaty świec – z utworem, przedmiotu wydawałoby się odrzuconego i zepchniętego do niepamięci, ale dzięki temu przypomnieniu wywołującemu nagły, przemożny, i tym bardziej błogi ból.

Poruszanie przez Achmatową, kobietę, takich kwestii, chociaż w sposób subtelny i aluzyjny, było przyjmowane w jej czasach jako śmiała erotyka, a nie jako liryka miłosna, jak oceniano to 100 lat później. Jednocześnie jej utwory były przeniknięte duchem, jak eufemistycznie mówi się nadal, mistycyzmu, co oznaczało bez wątpienia związek z religią prawosławną, związek silny i obecny w życiu poetki do końca życia. Takie utwory – z obu obszarów, czy wręcz splecione ze sobą – można odszukać w tomikach Wieczór i Różaniec. Odbiór takich utworów był niejednoznaczny, dla wielu stanowił szok, zwłaszcza wspomniane splecenie.

Zdarzenia dziejowe, które nastąpiły wkrótce – wojna i rok 1917 – wywarły przemożny wpływ na jej twórczość. Jadwiga Szymak-Reiferowa zauważa, że w jej poezji pojawiają się i pozostają jako niekończące się refleksje motywy odmiany losu. Jednocześnie nie jest to odwrót do przeszłości i żal po wieku złotym. Poetka uwypukla moment przełomu, chce zatrzymać tę chwilę aby dojść do sedna, praprzyczyny tej nieoczekiwanej i bolesnej zmiany. Wtedy ujrzały światło dzienne zbiory Białe ptaki, Ziele przydrożne i Anno Domini MCMXXI. W tym ostatnim zbiorze można znaleźć takie wersy wiersza Myślałem, że też taka jestem (А, ты думал – я тоже такая,): Przysięgam ci na Eden archanielski, na ikonę cudowną przysięgam, i na naszych nocy upojne mroki (Но клянусь тебе ангельским садом, чудотворной иконой клянусь, и ночей наших пламенных чадом). Krytyka zauważyła to jako kontynuację splecenia mistyki i erotyki (w ówczesnym pojęciu). B. Eichenbaum w pracy "Anna Achmatowa" wydanej w 1923 r. w Petersburgu tak pisze o stworzonych przez nią bohaterkach: … paradoksalna swą dwuznacznością (lub właściwie stanowiąca oksymoron) postać – i jawnogrzesznicy pełnej burzliwych namiętności, i żebrzącej mniszki mogącej wymodlić u Boga odpuszczenie. Takie porównanie w życiu poetki pojawi się w zupełnie innych okolicznościach, w roku 1946.

Wtedy też pojawiały się opinie diametralnie inne. N. Osiński w artykule Pędy trawy (Побеги травы) opublikowanym w Prawdzie w lipcu 1922 roku ogłosił Achmatową, po śmierci A. Błoka, pierwszym poetą Rosji.

Przemilczanie
Niezmienna tematyka poezji Achmatowej wywoływała nie tylko podane oceny. W realiach Rosji radzieckiej istotniejsze stały się słowa Lwa Trockiego z artykułu opublikowanego w dzienniku "Prawda" 26 lipca 1923. Mowa jest w nim o tym, że [jeszcze] nikt od poetów nie domaga się konkretnych tematów, mogą [jeszcze] pisać o czym tylko chcą, ale w takim przypadku muszą wiedzieć, że nowa klasa budująca nowy świat nie da im prawa nazywać się nowymi poetami. W następnych latach nie było ważne, kto powiedział powyższe słowa – praktyka od nich nie odbiegała. Poezja Achmatowej przestała być publikowana, a ją samą usunięto z oddziału pisarzy. Później, nawet w wydawanych w latach 80. XX wieku zbiorach jej poezji w związku z tym zdarzały się twierdzenia, że w tym okresie poetka przeżywała kryzys twórczy, że zamilkła po śmierci Gumilowa. Wbrew temu poetka nadal tworzyła, część tych utworów znalazło się w opublikowanych w końcu tomach, ale sporo zaginęło podczas ewakuacji i przeprowadzek.

A wkrótce ta poetka liryczna, duch i geniusz Srebrnego Wieku dotknęła spraw diametralnie innych. W tym okresie powstało Requiem. Związane jest ono z dwukrotnymi aresztowaniami jej jedynego syna, grozą terroru, atmosferą wielogodzinnych, milczących kolejek przed leningradzkim więzieniem śledczym na ulicy Szpalernej. Przyjmowano tam paczki dla uwięzionych, a przyjęcie paczki było jedynym znakiem, że aresztowany żyje. Achmatowa znacznie później doda do utworu wprowadzenie: W czasie strasznych lat terroru Jeżowa siedemnaście miesięcy spędziłam w kolejkach przez więzieniami. […] stojąca za mną kobieta z sinymi ustami […] ocknęła się z charakterystycznego dla nas wszystkich odrętwienia i szepnęła mi do ucha (tam wszyscy mówili szeptem): Możecie to opisać? Ja powiedziałam: Mogę. Wtedy coś w rodzaju uśmiechu prześlizgnęło się po tym, co niegdyś było jej twarzą.

Pod sam koniec tego okresu ukazał się w 1940 r. mały tomik poezji. Nie był wydarzeniem – utwory z wielu lat nie były inne niż już znane.

W tym samym roku Achmatowa rozpoczęła wieloletnią pracę nad Poematem bez bohatera, przejmującym zapisem popaździernikowych losów Rosjan. W międzyczasie napisała wiersz Męstwo (Мужество), opublikowany w 1943 roku przez Prawdę.

Ocena znaczenia
Przytaczane już opinie współczesnych Achmatowej krytyków i artystów o wielkości jej utworów i miejscu jej samej w Panteonie rosyjskiej poezji, poza zaprzeczaniem z pozycji ideologicznych, nie są kwestionowane. Jewgienij Jewtuszenko w antologii poezji rosyjskiej (Строфы века. Антология русской поэзии. Минск-Москва, Полифакт, 1995) stawia ją obok Maryny Cwietajewej mówiąc, że pewnie nigdy nie da się określić, która z nich była największą poetką rosyjską.

Publikacje
 Wieczór (Вечер), 1912
 Różaniec (Четки), 1914
 Białe ptaki (Белая стая), 1917
 Ziele przydrożne (Подорожник), 1921
 Anno Domini MCMXXI, 1922
 Z sześciu ksiąg (Из шести книг), 1940
 Wiersze wybrane (Избранное), 1943
 Wiersze (Стихотворения), 1958
 Wiersze 1909–1960 (Стихотворения 1909–1960), 1961
 Requiem (Реквием), 1962 (utwór powstał w latach 1935–1940)
 Poemat bez bohatera (Поэма без героя), 1962 (utwór powstał w latach 1940–1962)
 Bieg czasu. Wiersze 1909–1965 (Бег времени. Стихотворения 1909–1965), 1965

W Polsce ukazało się kilka wyborów wierszy Anny Achmatowej, m.in. wydany w ostatnich latach życia poetki tomik  Poezje (PIW, Warszawa 1964) w opracowaniu i ze wstępem Seweryna Pollaka.

Przypisy

Bibliografia
 Анна Ахматова, Сочинения в двух томах, Москва, Художественная литература, 1987

 Witalij Szentalinski: Wskrzeszone słowo. Z archiwów literackich KGB. Czytelnik, Warszawa 1996.

Linki zewnętrzne
 Wymyśliłeś mnie

Ludzie urodzeni w Odessie
Pisarze rosyjskojęzyczni
Pisarze związani z Odessą
Pisarze związani z Petersburgiem
Pochowani na Cmentarzu Komarowskim w Petersburgu
Radzieccy poeci
Rosyjscy autorzy pamiętników i dzienników
Rosyjscy poeci XX wieku
Rosyjscy publicyści
Urodzeni w 1889
Zmarli w 1966


text:
Valentín Ferdinándovich Asmus (en ruso: Валенти́н Фердина́ндович А́смус) o Valentín Asmus (Kiev, 1894 – Moscú, 1975) fue un filósofo ucraniano que perteneció a un pequeño grupo que continuó con la tradición clásica de la filosofía europea tras la llegada del período comunista.
Fue un pensador independiente y un marxista heterodoxo, interesado en la historia de la filosofía y la estética.

Se graduó en Filosofía en la Universidad de Kiev en 1919 y se trasladó a Moscú en 1927.
Durante este período atacó las teorías de William James.
A mediados de la década de 1920 era un teórico del constructivismo epistemológico literario.

A través de su esposa Irina se hizo amigo de Borís Pasternak hacia 1931.
Su principal obra Marx y el historicismo burgués (1933) estuvo influida por György Lukács.
Hasta este momento era un oponente de la lógica formal, pero cambió de opinión y escribió un libro de texto al respecto. Se cuenta la anécdota de que Iósif Stalin lo convocó para que diera conferencias de lógica a los generales del Ejército Rojo.
Fue profesor en la Universidad Estatal de Moscú desde 1942 hasta 1972.
En la década de 1960 publicó una edición comentada de las obras de Platón con Alekséi Lósev (:en:Aleksei Losev). Fuera de la Unión Soviética, Valentín Asmus es conocido por sus contribuciones al estudio filosófico de Immanuel Kant.

Obras
 Диалектика Канта и Логика (Dialéctica y Lógica de Kant) (1924)
 Диалектика Канта (Dialéctica de Kant) (1930)
 Логика (Lógica) (1947)
 Учение логика о доказатељстве и опровержении (1954)
 Учение о непосредственном знании в истории философии нового времени (1955)
 Декарт (Descartes) (1956)

Referencias

Filósofos de Rusia del siglo XX
Filósofos de Ucrania
Rusos del siglo XX
Ucranianos del siglo XX
Nacidos en Kiev
Fallecidos en Moscú
Galardonados con la Orden de la Bandera Roja del Trabajo


text:
Outwood Academy Normanby (formerly Hillsview Academy) is a secondary school with academy status, located in the Teesville suburb of Middlesbrough, North Yorkshire, England. It has a mixed intake of boys and girls ages 11–18, with 600 pupils on roll .

The school is operated by Outwood Grange Academies Trust, and the current principal is Andrew Wappat.

History
The school was established as Hillsview Academy on 1 September 2014, through the merger of Eston Park and Gillbrook academies on the Gillbrook site. Although Gillbrook supported the merger, Eston Park opposed it with the proposal prompting parental protests. Both the predecessor schools had been rated as inadequate by Ofsted. Eston Park was placed in special measures on the 22 May 2013 and Gillbrook in serious weaknesses in December 2013. The two schools adopted a joint Governing Board who arranged the merger.

Both predecessor schools and the merged Hillsview Academy were operated by Academies Enterprise Trust (AET).

A 2017 Ofsted report found Hillsview Academy to be "inadequate", noting instances of racism, bullying, truancy and smoking. Hillsview Academy was placed into special measures and in May 2019 AET announced that the school would be transferred to a new sponsor organisation, Outwood Grange Academies Trust (OGAT).

In September 2019 the school was renamed Outwood Academy Normanby and control transferred to OGAT.

The Former sixth form building is due to become "Outwood Alternative Provision Eston" in September 2020.

Uniform
The school's uniform comprises a black school jacket (blazer), white shirt/blouse, black trousers/skirt and tie.

References

External links

Academies in Redcar and Cleveland
Secondary schools in Redcar and Cleveland
Academies Enterprise Trust
Educational institutions established in 2014
Normanby
2014 establishments in England


text:
Green River var ett grungeband från Seattle som var aktiva mellan 1984 och 1987. Även om bandet inte blev kommersiellt framgångsrika har deras musik och bandmedlemmarna spelat en stor roll för grungen och de band som senare under 1990-talet växte fram i Seattle.

Historia
Bandet bildades 1984 av Mark Arm (sång och gitarr), Steve Turner (gitarr), Alex Vincent (trummor) och Jeff Ament (bas). Strax efteråt blev gitarristen Stone Gossard medlem och Mark Arm började ägna sig enbart åt sången. I slutet av året påbörjade man arbetet med debut-EP:n Come on Down som blev färdigt tidigt 1985. Innan dess hade bandet fått byta gitarrist efter att Turner hade hoppat av på grund av att han inte gillade Ament och Gossards inflytande på bandet. Ny gitarrist blev Bruce Fairweather.

I mitten av 1985 gav sig bandet ut på sin första USA-turné för att promota skivan men skivsläppet försenades och turnén tappade lite av sitt syfte. Även om turnén inte var någon succé knöt bandet viktiga kontakter med andra uppkommande alternativa band runt om i USA, bland dem Sonic Youth. På hösten släpptes till slut Come on Down. Det sålde inte speciellt bra men räknas idag som den första grungeskivan.

I mars 1986 släpptes kompilationen Deep Six som var en samling låtar av Green River, Soundgarden, The Melvins, Malfunkshun, Skin Yard och U-Men. Skivan dokumenterar den tidiga grungen och är idag mycket populär. Green River fortsatte att turnera och började nu spela på lite större ställen i hemstaden Seattle i takt med att de blev mer och mer kända.

I juni påbörjades arbetet med bandets andra EP Dry As a Bone. Skivan försenades återigen och bandet hann med att släppa singeln "Together We'll Never"/"Ain't Nothing To Do" på ett annat skivbolag. Dry As a Bone släpptes i juli 1987, över ett år efter att det spelats in, på det legendariska Seattlebaserade skivbolaget Sub Pop. Släppet blev skivbolagets första som inte var en kompilation med olika artister. Skivan fick bra kritik i de lokala tidningarna och anses av många fans vara bandets bästa.

Nästan omedelbart efter att Dry As a Bone släpptes gick bandet återigen in i skivstudion, den här gången för att spela in bandets första fullängdsalbum Rehab Doll. Inspelningen gick dock inte smärtfritt med mycket stridigheter inom bandet. Bandets frontman Mark Arm tyckte att resten av bandet (speciellt Ament och Gossard) var för angelägna att få bandet upptäckt av ett stort skivbolag. Stridigheterna nådde sin kulmen efter en spelning i Los Angeles i oktober 1987. Enligt Arm hade Ament utan att fråga resten av bandet gett alla backstage-pass till representanter från stora skivbolag när Arm ville ge dem till vänner och bekanta. Efter att bara två av tio personer som Ament hade skrivit upp dök upp hoppade Arm av bandet. Man beslutade dock att man skulle göra färdigt Rehab Doll (som blev färdigt i januari 1988) men sedan slutet av oktober 1987 hade bandet i praktiken splittrats.

Efter splittringen
Efter att bandet splittrats bildade Gossard, Ament och Fairweather ett nytt band kallat Mother Love Bone tillsammans med förre Malfunkshunsångaren Andrew Wood. Bandet blev snabbt stora i Seattle men Wood avled av en överdos ett par dagar innan bandets debutskiva skulle släppas. Efter att ha medverkat på projektet Temple of the Dog bildade Ament och Gossard det idag mycket framgångsrika bandet Pearl Jam.

Mark Arm bildade 1988 tillsammans med Steve Turner, basisten Matt Lukin från the Melvins och trummisen Dan Peters bandet Mudhoney. Mudhoney blev även de stora på grungescenen i Seattle och släppte tre skivor på Sub Pop innan man skrev kontrakt med skivbolaget Reprise Records 1992. Bandet är fortfarande aktivt.

En återförening av Green River ägde rum den 30 november 1993 efter en Pearl Jam-konsert i Las Vegas. Mark Arm, Steve Turner, Stone Gossard, Jeff Ament och inlånade trummisen Chuck Treece framförde två låtar, "Swallow My Pride" och "Ain't Nothing To Do".

Arvet efter Green River
Green River hade begränsad framgång utanför Seattle men det de saknade i kommersiell framgång tar de igen när man undersöker vad som kom efter dem i Seattle under början av 90-talet. Green River sägs vara en av de första banden att spela grunge och bandets frontman Mark Arm sägs också ha myntat uttrycket.

Bandmedlemmar
Mark Arm — sång (1984–1987)
Jeff Ament — bas (1984–1987)
Alex Vincent — trummor (1984–1987)
Stone Gossard — gitarr (1984–1987)
Steve Turner — gitarr (1984–1985)
Bruce Fairweather — gitarr (1985–1987)

Diskografi

Album
1988 – Rehab Doll

EP och singlar
1985 – Come on Down
1986 – Together We'll Never/Ain't Nothing To Do
1987 – Dry As a Bone

Referenser

Fotnoter

Musik i Seattle
Amerikanska grungegrupper
Musikgrupper bildade 1984
Musikgrupper upplösta 1987


text:
San Rafael is a district of the Escazú canton, in the San José province of Costa Rica.

Geography
San Rafael has an area of  km² and an elevation of  metres.

Demographics

For the 2011 census, San Rafael had a population of  inhabitants.

Transportation

Road transportation
The district is covered by the following road routes:
 National Route 27
 National Route 105
 National Route 121
 National Route 167
 National Route 177
 National Route 310

References

Districts of San José Province
Populated places in San José Province


text:
Oriole Records was an American record label founded in 1921 by McCrory's stores.

The Oriole label first appeared in 1921, selling for 25 cents per disc record. Originally, Oriole records were pressed by the Cameo Record Company (generally not from Cameo material, however), but this arrangement lasted briefly. Most of the masters were leased from other labels, early on mostly Emerson. From around number 115, Orioles were pressed by Grey Gull and usually have unusual pairings of material, with one side being a hit popular tune and the other "standard" material, sometimes classical music. At number 250, Orioles began being pressed by the Plaza Music Company, which also pressed Banner Records, and whose issues were the original labels to be treated as "cheap" labels. Oriole and Banner, in common with Jewel Records, the Sears & Roebuck label Challenge Records, and a few others, often used a standard set of "noms du disque" on their labels, rather than the actual names of the artists who recorded the tracks they issued. Plaza-pressed Orioles used "control numbers" to disguise their matrix numbers; oddly enough, these were later to appear on the flagship Banner label. After Plaza was merged into the American Record Corporation, ARC matrix numbers replaced the control numbers.

During the 1930–32 period, ARC dropped a number of their labels; however, Oriole continued (due to the successful McCrory's contract), using the same number series (which eventually reached past 2000) as well as another series for country and race records. In August, 1935, all the low-priced labels owned by ARC began using a new, date-related numbering system, in which the last digit (originally the last two digits) of the year was followed by the number for the month and finally a two-digit serial number specific to that month's releases. Race and country music records started their serial numbering at 51, so a blues record released in February, 1936 would carry a number like 6-02-51.

As the Depression and the popularity of radio cut into record sales, most of the store labels were discontinued; another factor was that the younger record buyers looked for specific versions of their favorite tunes, so name artists like Glenn Miller and Benny Goodman made up the majority of discs sold. The last Oriole records seem to have been issued in January, 1937. All of the low-priced labels were dropped in April, 1938 and the American Record Corporation was acquired by the Columbia Broadcasting System later that year.

See also
 Conqueror Records: Sears store brand record label
 Embassy Records: UK Woolworth's store brand record label
 List of record labels

References

External links
 Oriole Records on the Internet Archive's Great 78 Project

American record labels
Record labels established in 1921
Record labels disestablished in 1938
McCrory Stores
Store brands
Jazz record labels


text:
Jak Martin (born 7 September 1988) is an English former first-class cricketer.

Martin was born at Kingston upon Thames in September 1988. He was educated at the Glyn School, before going up to Oxford Brookes University. While studying at Oxford Brookes, Martin played first-class cricket for Oxford UCCE and MCCU in 2009 and 2010, making six appearances. Martin scored 290 runs in his six matches, at an average of 32.22 and with a high score of 81, one of two half centuries he made.

After graduating from Oxford Brookes, Martin became a schoolteacher. He returned to his former school, where he is head of physical education and games.

Notes and references

External links

1988 births
Living people
People from Kingston upon Thames
People educated at Glyn School
Alumni of Oxford Brookes University
English cricketers
Oxford MCCU cricketers
Schoolteachers from Surrey


text:
Yacuíba è un comune (municipio in spagnolo) della Bolivia nella provincia di Gran Chaco (dipartimento di Tarija) con 138.414 abitanti (dato 2010).

Cantoni
Il comune è suddiviso in 3 cantoni:
Aguayrenda
Caiza
Yacuíba

Note

Comuni del dipartimento di Tarija
Valichi di confine tra l'Argentina e la Bolivia


text:
Carriera
Nel 1976 è terza ai campionati italiani Juniores su strada a Potenza; nello stesso anno ottiene la prima vittoria su strada a San Sisto di Villorba. Nel 1982 si aggiudica il Trofeo Alfredo Binda a Cittiglio e riceve la prima convocazione in Nazionale. Nel 1983, 1985 e 1986 è campionessa veneta su strada.

Nel 1991 a Pontremoli si aggiudica il titolo nazionale femminile su strada; nello stesso anno si classifica seconda al Giro di Sicilia e terza al Gran Premio della Liberazione a Crema. Nel biennio seguente si aggiudica due tappe al Giro di Sicilia, una nel 1992 e una nel 1993 (anno in cui conclude al quinto posto la corsa). Sempre nel 1993 è terza al Trofeo Binda, quarta al Trofeo Città di Schio e dodicesima al Giro d'Italia. Nel 1994, dopo il secondo posto al Trofeo Binda alle spalle di Fabiana Luperini, è terza ai campionati nazionali su strada a Montecatini Terme.

Dal 1996 al 1999 è sempre sul podio ai campionati italiani di ciclocross: terza nel 1996 e 1997, a Monte Prat e Fiuggi rispettivamente, e seconda nel 1998 e 1999, a Parabiago e Sirone rispettivamente. La stagione 1998 la vede anche imporsi per la seconda volta, a distanza di sette anni, ai campionati italiani in linea, a Lari, e piazzarsi terza in quelli a cronometro, svolti nella vicina Perignano; anche nel 1999 è su un podio tricolore, terza nella prova in linea su strada svolta a Monzambano, come anche nel 2000, terza a cronometro. Nel 1999 conclude anche terza al Giro della Toscana e al Giro del Friuli.

Dopo la fine della carriera professionistica, nel 2000, ha ripreso l'attività ciclistica dedicandosi al ciclocross Master e raggiungendo più volte il podio ai campionati mondiali di specialità (seconda nel 2010, terza nel 2011, seconda nel 2015 e nel 2016); nel 2019 è stata quindi campionessa europea di specialità della categoria Master +60 nella rassegna svoltasi a Silvelle di Trebaseleghe.

Palmarès
1982
Trofeo Alfredo Binda

1991
Campionati italiani, Prova in linea

1992
6ª tappa Giro di Sicilia

1993
5ª tappa Giro di Sicilia

1998
Campionati italiani, Prova in linea

Piazzamenti
Giro Donne
1993: 12ª
1994: 17ª
1995: 20ª
1996: 47ª
1998: 24ª
1999: 20ª
2000: ritirata

Note

Collegamenti esterni


text:
Halyna Petrosanyak (; born 1969) is a Ukrainian poet, writer and translator.

Life
Halyna Petrosanyak was born in 1969 in a remote village in the Ukrainian Carpathians. She graduated in German and Russian studies from Vasyl Stefanyk Precarpathian National University.

Petrosanyak was among the authors linked to the group known as the Stanislav phenomenon. She debuted in 1996 with her poetry book Парк на схилі ("Park on the hill"). A poem from the publication was awarded with the Bu-Ba-Bu "Best Poem of the Year" award. Petrosanyak is also the laureate of Hubert-Burda-Preis für junge Lyrik (2007) and the Ivan Franko Prize (2010). Her works have appeared in various literary magazines and almanacs and have been translated into several languages, including English, German, Polish, Russian, Czech and Italian.

Petrosanyak works as a translator from Czech and German into Ukrainian. She has translated, among others, the autobiographies of Alexander Granach and Soma Morgenstern.

Publications

Poetry

 Парк на схилі ("Park on the hill"), 1996
 Світло окраїн ("Light of outskirts"), 2000
 Спокуса говорити, 2008
 Екзофонія ("Exophonium"), 2019

Other

 Політ на повітряній кулі, 2015 – essays and poetry
 Не заважай мені рятувати світ ("Don't hinder me to save the world"), 2019 – short stories

References

Ukrainian translators
Ukrainian women poets
21st-century Ukrainian women writers
1969 births
Living people


text:
André Pierre Sérot, född 24 juli 1896 i Xertigny i Frankrike, död 17 september 1948 i Jerusalem i Israel, var en fransk militär.

André Sérot tjänstgjorde under första världskriget från 1915 i franska armén och tilldelades franska krigskorset. Han blev pilot på ett spaningsflygplan 1917 och var efter kriget officer vid krigsskolan École Spéciale Militaire de Saint-Cyr, där han var flygofficer och senare underrättelseofficer.

I juni 1943 arresterades hans fru Betty Grünfelder (1898-1971) i Clermont-Ferrand i Frankrike av Gestapo och deporterades till koncentrationslägret Ravensbrück i Tyskland. Hon räddades därifrån 1945 av Folke Bernadottes räddningsprojekt, De vita bussarna. Serot mördades av judiska terrorister 1948.

Mordet
André Sérot, då överste i franska flygvapnet, tjänstgjorde vid FN:s övervakningsgrupper i Brittiska Palestinamandatet 1948. Han färdades med Folke Bernadotte i samma bil i den bilkonvoj, som överfölls av ett kommando ur den sionistiska gerillagruppen Lehi, även känd som Sternligan, i Jerusalem den 17 september 1948, och mördades därvid tillsammans med Folke Bernadotte av Lehi-medlemmen Yehoshua Cohen. Han mördades av misstag, eftersom han bytt plats med Bernadotte. Mördarna är kända men aldrig straffade.

Källor
Biografi på www.aassdn.org, läst 16 april 2012
Denna artikel bygger på artikeln om André Sérot på franskspråkiga Wikipedia.

Noter

Franska militärer under 1900-talet
Folke Bernadotte
Födda 1896
Avlidna 1948
Män


text:
La saison 2017-2018 du Championnat du Sri Lanka de football est la trente-troisième édition du championnat national de première division au Sri Lanka. Les dix-huit clubs engagés sont regroupés au sein d'une poule unique où ils s'affrontent une fois. En fin de saison, les deux derniers du classement sont relégués et remplacés par les deux meilleures formations de deuxième division.

C'est le Colombo Football Club, double tenant du titre, qui remporte à nouveau la compétition, après avoir terminé en tête du classement final, ne devançant Renown Sports Club qu'à la faveur d'une meilleure différence de buts. C'est le troisième titre de champion du Sri Lanka de l'histoire du club.

Les clubs participants

Compétition

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

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Matchs

Bilan de la saison

Notes et références

Voir aussi

Articles connexes
 Championnat du Sri Lanka de football

Liens externes
  Résultats complets sur RSSSF

Championnat du Sri Lanka de football
Sri Lanka
2017 au Sri Lanka
2018 au Sri Lanka


text:
Guy Protheroe is a British conductor, musical director, composer, arranger, lyricist, singer, writer and musicologist/forensic musicologist. He has been conductor and musical director of the contemporary music ensemble Spectrum and the English Chamber Choir throughout his career and has also worked extensively in commercial music with many leading artists, in particular Rick Wakeman, Vangelis and Eric Lévi. Apart from conducting he is also known as a singer in both classical and commercial music, has founded and directed a number of festivals and similar projects, spent a few years writing and editing for the BBC, and is a forensic musicologist (i.e. expert on legal matters of copyright, plagiarism, sampling etc.) in the UK.

Early Years – Education
He was born in Worcester in 1947 and began his musical education as a boy chorister at Canterbury Cathedral. Music scholarships followed to St Edward's School, Oxford and Magdalen College, Oxford, where he obtained an M.A. (Oxon) in music, and also sang as a Lay Clerk at New College. This was followed by postgraduate studies at Oxford in composition, and at the Guildhall School of Music and Drama, London in bassoon and singing (counter-tenor). He then embarked on his professional career in 1971.

Spectrum and the performance of contemporary music
Whilst still at the Guildhall, he formed, together with his partner (later wife) Ann Manly, Spectrum – a flexible instrumental ensemble devoted to the performance of contemporary music. The group's debut coincided with the establishment of the Arts Council Contemporary Music Network, a scheme designed to tour new music and provide opportunities for multiple performances of works which required rather more rehearsal than the standard classical repertoire; within months Spectrum had been engaged to perform one of the first network tours, with a programme which included William Walton's Façade recited by the then youthful mezzo-soprano Sarah Walker. Shortly afterwards, he achieved another 'first' when he conducted, as part of another Arts Council CMN tour, the opening concert of the first Huddersfield Festival of Contemporary Music, this time with the Philip Jones Brass Ensemble and the Australian pianist Roger Woodward, the programme including Xenakis' Eonta. The association with Xenakis, in particular, stemmed from Guy's time at Oxford when he worked as a student intern on the English Bach Festival (EBF) – founded and directed by the Greek musical entrepreneur Lina Lalandi. During this time (1967–70) Lalandi brought to Oxford not only Iannis Xenakis, but also Olivier Messiaen and Karlheinz Stockhausen  and she gave opportunities to several emerging musicians from Oxford, not only in contemporary performance, but also the rapidly expanding field of baroque and classical music performed on 'period' instruments. Among other early performances given by Spectrum was the British première of Xenakis's octet Anaktoria in the EBF's London season at St John's Smith Square in May 1971, and the ensemble's association with Xenakis and Lina Lalandi was to continue for the next thirty years. Spectrum toured Germany supported by the British Council in 1974, became regular visitors to the Middelburg New Music Festival in Holland from 1975, gave numerous performances in London including for the Society for the Promotion of New Music (SPNM) and the Park Lane Group (PLG) and began recording on a regular basis for BBC Radio 3, in particular the Music in Our Time series – including a series featuring American composers.

A particularly fruitful period for the ensemble came during the 1980s as a result of two collaborations: violinist Irvine Arditti became leader of the group (when strings were required) and brought with him his fellow players from the Arditti String Quartet, and the link with Middelburg introduced the American pianist and avid champion of new music, Yvar Mikhashoff, who in turn became an influential artistic adviser to the Almeida Festival in London. During this time, in addition to its regular work in London, Spectrum toured the East Coast of the US, giving concerts in New York, Hartford, Buffalo and Albany, and also made two award-winning recordings: Jonathan Harvey's Bhakti, the first release of the newly-established 'New Music Cassettes' label launched by SPNM in 1989 and a Sunday Times Pick of the Year, and a collection of Xenakis ensemble pieces for Wergo in 1990, which was awarded the Preis der Deutschen Schallplattenkritik.

At the recommendation of Iannis Xenakis, Guy Protheroe was appointed Guest Conductor to the Xenakis Ensemble in Holland for several years, working with many international composers including John Cage.

During the 1990s Spectrum ceased to promote or perform on a regular basis, due to a combination of circumstances: the Arditti String Quartet had risen to become one of the most acclaimed and busiest string quartets anywhere, leaving its players little time to do anything else; Yvar Mikhashoff succumbed to Aids and died in Buffalo in 1993; there was very little public funding dedicated to new music performance (and much of the music then being written was in new styles which turned out to be much more programmable in mainstream classical concerts), and in addition the Protheroes were increasingly in demand in the sphere of commercial music. However, in almost a full circle, Spectrum was brought together again in January 2000 to give the first professional performances in the newly-constructed Linbury Studio Theatre at the Royal Opera House, Covent Garden. The promoter was Lina Lalandi, and the work was Xenakis's Oresteia Suite, in a staged version by the French director Alain Germain. For this production the ensemble was extended to include a group of singers and actors and the performances received universally outstanding critical acclaim.

The English Chamber Choir (ECC)
The English Chamber Choir was formed by the conductor David Measham as a splinter group from the London Symphony Chorus and formally constituted in 1972. A few months later it was in need of a chorus master to deputise while the current post-holder was away from London. Guy Protheroe began working with the Choir and has continued ever since. When David Measham left for Australia, Guy was appointed conductor and musical director and together he and the Choir have enjoyed over four decades of music-making, in venues ranging from the Royal Albert Hall to village churches in France and Switzerland, singing music from over six centuries in numerous languages and recording not only classical albums and CDs but also taking part in many live and recorded commercial productions. It was in 1972 and '73 that the newly-formed Choir was invited to sing in the stage performances of the rock opera Tommy with The Who, and the 1973 shows at the Rainbow Theatre in Finsbury Park, London, were Guy's introduction to the commercial business of 'popular' music – an area in which he became immediately at home and frequently involved, alongside his more 'classical' engagements. Both Guy and the Choir took part in the live concert and recording of Rick Wakeman's Journey to the Centre of the Earth at the Royal Festival Hall in January 1974 and the Choir also took part in the 40th anniversary UK tour and a new recording of the work in an extended version in 2014, all conducted by Guy.

Over the years Guy has directed the ECC in hundreds of performances and projects in the UK and also in Belgium, Bulgaria, France, Greece and Switzerland. A few years after the ECC was founded a chamber orchestra, the English Players, was formed to accompany it in the choral/orchestral repertoire from the 17th century onwards, playing on period instruments as appropriate, both in the UK and Europe. Together the Choir and Players have performed works ranging from Monteverdi's Vespers of 1610, through Bach's Passions and the B minor Mass, Handel's Dixit Dominus and Messiah, Mozart's Requiem and C minor Mass, to Brahms Ein Deutsches Requiem and Elgar's The Dream of Gerontius. In May 2012 he conducted the Choir and Players in a very rare revival of the Portuguese composer Antonio Teixeira's Te Deum (1734) for 16 soloists, 5 choirs and orchestra at the Brighton Festival. The Choir's unaccompanied (a cappella) repertoire ranges from mediaeval times to today – highlights including Thomas Tallis's 40-part motet Spem in alium which it has performed by invitation of the Lord Mayor of London at the Mansion House, and many compositions inspired by the music of the Eastern Church (and in particular Byzantine chant) including Sir John Tavener, Ivan Moody and the Greek-Canadian composer Christos Hatzis. The Choir has sung publicly in the presence of HM The Queen and most members of the Royal Family and, at the personal invitation of HM The Queen, at Buckingham Palace and Windsor Castle.

Together Guy Protheroe and the ECC have a long list of recording credits which include The Byzantine Legacy (Sony Greece, 2000) EcleCtiCa (2008) and The Troparion of Kassiani (Naxos, 2011). [These titles are all available for download.] The Choir is also featured on many of the albums on which Guy Protheroe collaborated with Vangelis, Rick Wakeman, Eric Lévi and many others. (See discography for more details)

In recent years the ECC has enjoyed a successful association with the Belmont Ensemble and their conductor Peter G Dyson, taking part in many concerts at the Church of St Martin-in-the-Fields in Trafalgar Square, London.

Guy has also conducted with the Choir and Players a wide range of Jewish music, often in his own arrangements, in concerts and recordings, including contributing to the massive Milken Archive of American Jewish Music.

He has also appeared with the Choir many times on television shows with stars including Stephen Fry, Gordon Ramsey and Chris Moyles, and also on BBC Radio 2, 3 and 4 – with for several years a regular slot each year the Sunday before Christmas on Radio 4's Broadcasting House with Paddy O'Connell.

Commercial music
After beginning as chorus master for The Who's Tommy, Guy Protheroe has worked on films, television and radio commercials and in concerts with a wide variety of artists as conductor, musical director, arranger, composer and lyricist including John Anderson, Tangerine Dream, Black Sabbath, George Martin, Larry Adler, Barrington Pheloung, Dave Stewart, David Arnold, Roy Wood and Mark Almond. He had a long-standing relationship with Vangelis as musical director, arranger, lyricist and vocal soloist in many recordings and films, from the 1975 album Heaven and Hell to the Ridley Scott films Blade Runner and 1492: Conquest of Paradise. Concert venues with Vangelis include the Royal Albert Hall, the Royal Festival Hall, a Docklands concert in Rotterdam to an audience of nearly 300,000 and a concert on the Acropolis in Athens, both the latter with live television coverage. He was chorus master for the Vangelis title music for the 2002 World Cup, and in 2004 he recorded an album of Vangelis works with Giorgia Fumanti, a second album following in 2005. In 2012 the BBC commissioned from Guy a large-scale orchestration of the title music of Conquest of Paradise for Music Nation, performed in Glasgow in March 2012 by 300 singers and musicians as part of the 2012 Olympic celebrations.

Protheroe has also long been associated with Rick Wakeman, from the 1974 Journey to the Centre of the Earth and 1975 The Myths and Legends of King Arthur and the Knights of the Round Table (performed on ice in Wembley Arena) to the 1999 Return to the Centre of the Earth and The New Gospels, and the more recent albums The Wizard and the Forest of all Dreams (2002), Out There (2003) and the DVD Amazing Grace (2007). With his wife, Ann Manly, he has orchestrated all the works for an "unplugged" concert programme (Rick on concert grand piano, with symphony orchestra and chorus) first given in Bulgaria in 2008, and he has since conducted many further performances in London (Chelsea Festival), the Lugano Jazz Festival (Switzerland), Poland, Chile and Argentina, in Cheltenham Centaur and also in the Queen Elizabeth Hall, London. In May 2009 he conducted two large-scale open-air performances of a new and expanded, orchestrated version of The Six Wives of Henry VIII at Hampton Court Palace with Wakeman celebrating 500 years of the accession of Henry VIII, also released on DVD and CD. In September 2012, he conducted the recording of the new expanded version of Journey to the Centre of the Earth in Abbey Road Studios and also conducted the first live performance of this version, together with The Six Wives of Henry VIII, in Buenos Aires. (The new orchestrations of all these recent albums have also been undertaken by Guy Protheroe and Ann Manly.) Among other concerts and recordings, in April/May 2014 he conducted Journey on a 14-concert UK tour, with a further concert tour in October 2014 of Argentina and Brazil. In June 2016 he conducted with Wakeman a revival and expansion of King Arthur at the O2 Arena in London (and recorded it for CD in April 2015). For this he had to reconstruct all the original score by ear and, together with his wife Ann Manly, orchestrate an equal amount of new music. In 2018 he conducted recordings for a new album Piano Odyssey and also more P'n'O performances in Argentina, the Czech Republic and Ukraine. In June 2019 he conducted a private gala concert of the P'n'O programme in Moscow with the Russian Philharmonic Orchestra and Chorus (in one of Moscow's palatial railway stations), and in July at the Royal Festival Hall in London two nights of Journey to the Centre of the Earth, for Wakeman's 70th birthday celebrations (and 45 years on from when he was chorus master for the first performances of Journey in the RFH in 1974). Post Covid pandemic, in February 2022 he conducted another P'n'O concert with Rick in Györ, Hungary.

Protheroe was lyricist, arranger, musical director, and vocal soloist on Eric Lévi's score to the French smash-hit comedy film Les Visiteurs (1993) and also on the album Era (1996) with over 6 million sales in mainland Europe and South America. (Protheroe is also the male vocal soloist, double-tracked, lyricist and conductor on the track Ameno from Era.) The more recent Era 2, Era 3: The Mass and Era 4: Reborn have all reached high chart positions internationally;  Era 5: Classics was released in November 2009; Era 6: Classics 2 in October 2010; and Era 7: 7 Seconds in 2017. Another Era album was released in 2013 entitled Arielle Dombasle By Era. The project to date has sold nearly 15 million albums. All were recorded in Abbey Road Studios and Air Studios in London, and also in Paris. In June 2012 he conducted two large-scale concerts of Era in Moscow and also was guest conductor in an Era concert in Menorca, and further performances took place in December 2013 in the Kremlin, Moscow and St Petersburg. In September 2017 he was a special guest at an Era concert in Bergen, Norway, which featured a chorus of 150 singers. In March 2022 he recorded new tracks in Abbey Road Studios for the 10th album in the Era series. Also he re-recorded his solos for the track Ameno in Era 1 (1976). After hundreds of remixes and covers of this track over the intervening years, at the beginning of 2022 the track appeared in a Nigerian remix entitled Ameno Amapiano on TikTok, with 10 billion views: the biggest ever on TikTok. More remixes are still appearing.

In recent years, Protheroe has been chorus master for many feature films, including Titus, Bless The Child, The Count of Monte Cristo, Reign of Fire, Gangs of New York, Johnny English, Sky Captain and the World of Tomorrow, The SpongeBob Squarepants Movie, and for the Spielberg/Hanks television series Band of Brothers. In January 2016 he conducted music for Les Visiteurs 3: La Révolution in Prague with the Czech National Symphony Orchestra and Chorus. In March 2016 he returned to Prague to conduct the City of Prague Philharmonic Orchestra in arrangements he wrote for the UK band Penguin Café. In March 2017 he was chorus master for the 50th Anniversary Concert of Procol Harum at the Royal Festival Hall; the following day he conducted a re-recording of Black Sabbath's Supertzar – he conducted the original recording with Black Sabbath in February 1975 (for the album Sabotage). He has also recently been chorus master for "live music to screen" performances in the Royal Albert Hall, including  of Gladiator in 2016, in 2017 six performances of Harry Potter and the Philosopher's Stone, Michael Giacchino at 50 and Beauty and the Beast; and in 2018 Harry Potter 2 and 3, Close Encounters of the Third Kind, Gladiator again and also A Hollywood Christmas. In December 2021 he chorus-mastered another live music to screen event in the RAH: The Muppet Christmas Carol, and in October 2022 he will be chorus-mastering in the RAH Harry Potter and the Half Blood Prince. He has composed, arranged and conducted music for many commercials, and in spring 2014 he was featured on screen in the Three Mobile 0800 Singing Dictionary TV adverts shown on all commercial channels filmed in Wookey Hole Caves, directing a chorus of 80 professional singers in bizarre verbal definitions. He has also conducted choruses for Arsenal Football Club, for a television commercial and also for a Club electronic Christmas card, directing from the corner flag!

The Greek and Eastern Mediterranean Connection
In addition to Xenakis, Lina Lalandi had also introduced Guy and Ann to the work of the Greek Byzantine Choir, under its director Lycourgos Angelopoulos. As it happens, one of their tutors at Oxford had been the Viennese musicologist Egon Wellesz who, at that time, was the foremost scholar to transcribe and document early Byzantine chant (i.e. the chant preserved in the Orthodox church, as opposed to the various strands like Gregorian chant which were developed in the Roman Catholic church in Western Europe). And it was a chance connection following a Rick Wakeman recording that introduced to Guy working closely with Vangelis. So by the mid 1980s he was involved with music stemming from Greece that was both ancient and modern. And around this time other composers, notably John Tavener in England and Christos Hatzis in Canada, were beginning to write music inspired by the Byzantine tradition. This led to a close association with the performance of music from the Eastern Mediterranean, not only from Greece itself but also from the Jewish tradition and that of the Magreb. Guy Protheroe has not only conducted, performed and recorded music from all these traditions, but also instigated and directed a number of festivals and concert series in London (see Project Direction below) and participated in a European Union project 'Medimuses' which set out to document the performing traditions of the Magreb in partnership with several partner organisations, including Écume (Échanges Culturels en Mediterranée) in Marseilles, for whom he also conducted Purcell's opera Dido and Aeneas in Tunis (ancient Carthage) with cast and musicians all drawn from around the Mediterranean, the first opera to have been produced in Tunisia for 85 years. He has collaborated with Cappella Romana, the US vocal ensemble based in Portland, Oregon and Seattle directed by Alexander Lingas, which also pioneers contemporary works related to the Byzantine tradition. In September 2010 he conducted the opening concerts of its season in Portland and Seattle, and members of CR have joined with the English Chamber Choir for recordings and performances in London, notably at the 21st International Congress of Byzantine Studies held at King's College London in 2006.

Guest conducting
Guy Protheroe has conducted in many countries in Europe, Russia, the US and South America in concerts, broadcasts and recordings with orchestras, choruses and ensembles including such diverse groups as the Xenakis Ensemble in Holland (for several years as Guest Conductor), Academy of Ancient Music, Royal Philharmonic Orchestra, Ulster Orchestra, Orion Orchestra, Orchestra Europa, City of Santiago Symphony Orchestra and Chorus (Chile), Colours Symphony Orchestra and Chorus (Chile), Rosario Chamber Orchestra and Chorus (Argentina), Orchestra and Chorus of the Teatro Colón (Buenos Aires), Buenos Aires Symphony Orchestra and Chorus, Ensamble Coral (Buenos Aires), Symphony Orchestra and Chorus of the National University of San Juan (Argentina), Orquestra Unisinos Anchieta and Coral Porto Alegre (Brazil), Orchestra e Coro della Svizzera Italiana (Orchestra and Chorus of Italian Switzerland), Czech National Symphony Orchestra, City of Prague Philharmonic Orchestra, Kühn Choir (Prague), Moravian Philharmonic Orchestra with Zerotin Academic Choir (Olomoucs) and the Chorus of Brno National Opera, Symphony Orchestra of Płock and Vox Juventutis (Poland), Symphony Orchestra and Chorus (drawn from several professional groups) in Kiev (Ukraine), Györ Philharmonic Orchestra (Hungary) and the Budapest Festival Chorus, The Academic Big Concert Orchestra of Y. Silantiev (Moscow), Grand Choir: Masters of Choral Singing (Moscow), Moscow City Orchestra – Russian Philharmonic, Victor Popov Academy of Choral Art (Moscow), Academic Choir of the Saint-Petersburg State Electrotechnical University (LETI), Ensemble Écume (Marseille), BBC Singers, Royal Choral Society, Chelsea Opera Group, Academic Choir of the Saint-Petersburg State Electrotechnical University (LETI), Greek State Opera Chorus, Band of the Royal Engineers and most of the Guards Bands. International classical engagements include conducting Purcell's Dido and Aeneas in Tunis (Carthage) in 2002 for a European Union-supported project with cast and musicians all drawn from around the Mediterranean, the first opera to have been produced in Tunisia for 85 years. In September 2010 he conducted the opening concerts of the season with the US early-music choir Cappella Romana in a programme of 15th/16th century English music) in Portland, Oregon and Seattle, Washington, and in November 2018 he conducted with Cappella Romana two Centenary of the Armistice concerts, again in Portland and Seattle.

Singing
While a music scholar at Magdalen College, Oxford, Guy Protheroe also sang as a counter-tenor (alto) Lay Clerk at New College, Oxford, where he took over from one of the best-known counter-tenors of his generation, James Bowman. On moving to London he sang with a number of prominent freelance choirs including the Monteverdi Choir under John Eliot Gardiner and the Schütz Choir with Roger Norrington, and was a member of the Choir of St Bride's Church, Fleet Street. After a few years, he switched to singing baritone and from 1993 to April 2015 was a member of the Chapel Choir of the Royal Hospital, Chelsea (home of the Chelsea Pensioners), taking over his position from the leading baritone Roderick Williams. His voice is however probably best known from tracks on the French international hit Era albums, notably Ameno (in which he is featured double-tracked, and is singing his own lyrics). This track has been used internationally in many different media and is especially familiar to many millions throughout Europe and South America, and uses range from television commercials to computer games, and even wrestling and martial arts. Cover versions include a highly successful recording by the Red Army Choir of Russia. Guy's voice has also featured as that of a monk singing chant on the film soundtracks of 1492: Conquest of Paradise, Les Visiteurs and Nostradamus – which has led to him being described as 'the monk without the tonsure'.

Project Direction
Guy Protheroe has directed and originated a number of artistic projects and series, reflecting his diverse interests in the arts as a whole. These range from anniversary celebrations in words and music of literary figures such as T.S. Eliot, W.B. Yeats and Gerard Manley Hopkins to a retrospective at the Almeida Festival of the Italian avant-garde composer Sylvano Bussotti. He has long been involved in Greek music and culture. He was Artistic Director of the 1989 Greek Festival in London – a large-scale celebration of Greek culture past and present involving music, poetry, film and architecture in 50 events, based at London's South Bank Centre – and in 1990 a shorter festival devoted to Byzantine music. He also co-directed the Byzantine Festival in London held in March 1998, which presented all aspects of Byzantine culture, from literature and music to health care and cookery. The Festival included a major concert at St Paul's Cathedral in the presence of the Prince of Wales, the Syrian Patriarch of Antioch and the Greek Patriarch of Alexandria (the first time the heads of these Churches in schism from each other had met for over 1,500 years) and Archbishops from several countries. The Byzantine Festival also presented events in Plovdiv, Bulgaria in June 1999 as part of Greece's contribution to European Cultural Month there, and in April 2000 at the Megaron Concert Halls in Athens. Another major Byzantine Festival was presented in London in March 2004, including another Royal Concert in St Paul's Cathedral in which Guy Protheroe conducted the world première of Christos Hatzis's Troparion of Kassiani. He was, for the Byzantine Festival, on the Steering Committee of MediMuses, a three-year international project run from Greece and funded by the European Commission researching and promoting the history and performance of the modal music (maqam) of the Eastern and South Mediterranean. In this connection in February 2005 he hosted a unique international seminar on The Mediterranean Voice in London with many leading performers and recording artists from the Middle East and North Africa, and a major concert of ensembles from Beirut and Thessaloniki. In August 2006 he was music adviser to the 21st International Congress of Byzantine Studies (held in London and attended by over 1,000 Byzantine scholars), directing and conducting concerts and recordings.

Writing and speaking
Guy Protheroe has contributed to many journals and books, including The Listener, Musical Times, Music and Musicians, Tempo, Viking/Penguin Opera Guide, British Music Now, The Artist, The Expert, The Lawyer, Cambridge Papers in Modern Greek, to the European Broadcasting Union and festivals worldwide. He has appeared as a guest lecturer at a number of leading universities, including Cambridge, London, Cardiff and St Andrew's, and for other professional organisations, has been interviewed on many radio and television programmes, and has been guest dinner speaker for institutions including Lincoln's Inn.

In 1974 Guy Protheroe was recruited by the BBC as a scriptwriter for Radio 3. From 1977 to 1985 he was Music Presentation Editor, then Music Information Editor, for the BBC with editorial responsibility for the BBC's written and spoken information concerning classical music and musicology, and commissioning editor for BBC printed material relating to classical music. He was also BBC representative to conferences of the European Broadcasting Union, the US Music Personnel (public radio) and the US Concert Music Broadcasters (commercial radio).

Forensic musicology
Since appearing as expert witness in the Vangelis Chariots of Fire High Court case in 1987, Protheroe has been constantly engaged as a musicologist by international recording artists and composers, record companies, music publishers, music production companies, advertising agencies, collection societies and legal firms. He is consulted on matters of copyright in music and lyrics (plagiarism, breach of contract, libel, claims of co-authorship and unlicensed reproduction and adaptation, copyright in arrangements) and also of copyright in sound recordings (piracy, electronic adaptation and sampling etc.). He has been consulted on around 1,000 claims of plagiarism and other copyright matters and over 3,000 investigations of piracy and sampling, the latter mainly for the IFPI (International Federation of the Phonographic Industry). He has provided opinions on many aspects of copyright, such as definition of "classical music" to the Performing Right Society and definition of "segue" in broadcasts to Phonographic Performance Limited. His High Court appearances include as expert in the Spandau Ballet case (1999), as expert for The Sunday Times in the libel case over the authorship of The James Bond Theme (2001), and in the Young At Heart case (co-authorship arising from the input of a session player, 2002). In October 2002 he was the first Single Joint Expert in music in the Malmstedt/Roxette case. In 1999 he provided evidence in the Macarena case regarding "substantiality" in a sample – the only sampling case yet to reach the UK courts and which resulted in a settlement. In 2004 he appeared as expert in Lionel Sawkins -v- Hyperion Records (a landmark case concerning when copyright arises in editions of historical music); in Mark Taylor -v- Rive Droite Music (when is a musical work complete); and in the Patents County Court in Locksley Brown -v- Mcasso Music Production Ltd (originality in rap lyrics). In 2008 he was Single Joint Expert in the Busted case, and also in 2008 was engaged by ITV Productions as Consultant Musicologist to the new karaoke game-show Who Dares, Sings!. In autumn 2011 he provided evidence for Lady Gaga in the successful injunction against Mind Candy's Lady Goo Goo (infringement of trade mark). He has given expert opinions to a variety of parties involved in most of the major copyright cases in the last 35 years, and has also provided opinions regarding "sonic trade marks" in a number of international cases. He has been dubbed by Capital Radio "the rock music trouble-shooter who sorts out the musicians from the thieves", has been featured on Radio 4's Law In Action regarding his expertise, has lectured at several universities and colleges and has authored a number of published articles. In July 2015 he was a panel member at a Music Copyright Roundtable run jointly by the Law School of the University of Birmingham and the University of Illinois. In October 2016 he was featured in an article on forensic musicology in the New York Times, and is author of a major chapter on his experience as a forensic musicologist and expert witness in court for a forthcoming international publication on music copyright.

Professional Memberships etc.
Guy Protheroe is a member of the Academy of Experts, BASCA (the British Academy of Composers, Songwriters and Authors), PRS (Performing Right Society), MCPS (Mechanical Copyright Protection Society), PPL (Phonographic Performance Limited), SACEM (Société des Auteurs, Compositeurs et Éditeurs de Musique, France), SDRM (Société pour l'Administration du Droit de Reproduction Mécanique des Auteurs, Compositeurs et Éditeurs, France) and the Musicians' Union. He is a member of the Advisory Committee of the Park Lane Group.

Family and personal interests
Guy Protheroe is married to Ann Manly, whom he met at Oxford, who is a musician, singer, arranger, writer and manager. He has two children: Lucy and Jonathan (Jonny), both of whom work in media. Lucy is general manager of the music group Penguin Café, and Jonny works in the EMEA Market Insights team at Google.

Guy and Ann live in Hampstead, London, in Provence, France, and in Lindos, Rhodes, Greece. Their enthusiasms include Arsenal Football Club – for whom Guy was featured on television conducting a chorus for the ESPN Premiership coverage of Arsenal matches, and also conducting a chorus on the pitch for the Arsenal Football Club electronic Christmas Card in 2012.

References

Year of birth missing (living people)
Living people
British male conductors (music)
Place of birth missing (living people)
21st-century British conductors (music)
21st-century British male musicians
Lay Clerks of New College, Oxford


text:
Geografia
 Nagel – comune tedesco situato nel land della Baviera

Matematica
 Punto di Nagel – le rette che uniscono ciascun vertice di un triangolo con il punto di contatto tra il lato opposto e il corrispondente cerchio ex-inscritto passano per uno stesso punto , detto punto di Nagel

Persone
 Alberto Nagel (1965) – banchiere e manager italiano
 August Nagel (1882-1943) – progettista e imprenditore tedesco
 Cathy Nagel (1951) – ex sciatrice alpina statunitense
 Conrad Nagel (1897-1970) – attore cinematografico e attore televisivo statunitense
 Dolf van der Nagel (1889-1949) – calciatore olandese
 Gerd Nagel (1957) – ex altista tedesco
 Heike Hustede-Nagel (1946) – ex nuotatrice tedesca occidentale
 Jerry Nagel (1928-1999) – cestista statunitense
 Judy Nagel (1951) – ex sciatrice alpina statunitense
 Morné Nagel (1978) – velocista sudafricano
 Patrick Nagel (1945-1984) – artista, illustratore e grafico statunitense
 Sidney R. Nagel (1948) – fisico statunitense
 Steven Nagel  (1946-2014) – astronauta statunitense
 Thomas Nagel (1937) – filosofo statunitense
 Willibald Nagel (1870-1911) – fisiologo tedesco


text:
Krzysztof Władysław Czarnecki (Trzcianka; 25 de Outubro de 1957 — ) é um político da Polónia. Ele foi eleito para a Sejm em 25 de Setembro de 2005 com 3406 votos em 38 no distrito de Piła, candidato pelas listas do partido Prawo i Sprawiedliwość.

Ver também
Membros da Sejm 2005-2009

Ligações externas
 Krzysztof Czarnecki - site do parlamento

Membros da Sejm 2005-2007
Membros da Sejm 2019-2023
Políticos do Prawo i Sprawiedliwość


text:
Sothmann ist der Familienname folgender Personen:

 Bärbel Sothmann (* 1939), deutsche Politikerin (CDU)
 Karl Sothmann (1895–1993), deutscher Pädagoge und Bildungspolitiker
 Ludwig Sothmann (* 1940), deutscher Natur- und Umweltschützer


text:
La 10 km di marcia si è tenuta il 24 agosto con partenza fissata alle 10:25. Sono partite 42 atlete.

Classifica

Campionati del mondo di atletica leggera 1991
Marcia ai campionati del mondo di atletica leggera


text:
Tammaritu II va ser rei d'Elam. Era fill de Tammaritu I i va succeir en el tron a Humbannikaix II.

Després d'un atac contra l'Imperi Assiri per part del rei d'Elam Humbannikaix II l'any 652 aC, que va fracassar totalment, Tammaritu I va pujar al tron per un cop d'estat. Va continuar la política d'Humbannikaix II de donar suport al rei de Babilònia Xamaix-xuma-ukin, contra el rei assiri Assurbanipal. En una batalla, un dels seus generals, Indabibi, va canviar de bàndol i Tammaritu va escapar a Nínive el 650 o el 649. Així va començar el breu govern d'Indabibi sobre Elam.

El 648, Indabibi va ser assassinat i Humban-haltaix III el va substituir. Els assiris van tornar a envair Elam i van instal·lar Tammaritu II com a rei d'Elam probablement el 647 aC. El rei d'Assíria va deposar i va exiliar Tammaritu quan es va queixar pel saqueig assiri d'Elam.

Referències

Reis d'Elam


text:
Calamus warburgii är en enhjärtbladig växtart som beskrevs av Karl Moritz Schumann. Calamus warburgii ingår i släktet Calamus och familjen Arecaceae. Inga underarter finns listade i Catalogue of Life.

Källor

warburgii


text:
Prevosto di Vaucouleurs (Lorena), François Barrois, attivo nella seconda metà del Cinquecento, è autore di un trattato interamente dedicato alla descrizione del compasso che porta il suo nome, specificamente messo a punto per operazioni topografiche: La Fabrique et ... la pratique du Compas Barrois ... (Parigi, 1598). Un compasso "tipo Barrois" è conservato al Museo Galileo di Firenze.

Collegamenti esterni

Scheda sul compasso "tipo Barrois" sul sito del Museo Galileo.
La Fabrique et la pratique du Compas Barrois , versione digitale su Google Books.

GLAM/Museo Galileo