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Ramzes II. (različno transliteriran kot Rameses ali Ramses, tudi Ramzes Veliki), tretji faraon Devetnajste egipčanske  dinastije, ki je vladal od 1279 pr. n. št. do 1213 pr. n. št., * okoli  1303 pr. n. št., † 1213 pr. n. št.

Pogosto ga obravnavajo kot največjega, najslavnejšega in najmogočnejšega faraona egipčanskega imperija. Njegovi nasledniki in kasneje Egipčani, so ga klicali "Veliki prednik". Ramzes II. je vodil več vojaških odprav v Levant in ponovno potrdil egipčanski nadzor nad Kanaanom. Vodil je tudi odprave na jug v Nubijo. Nanje spominjajo napisi pri templjih Beit el-Wali in Gerf Huseinu.

Pri štirinajstih letih je bil imenovan za princa regenta in naslednika svojega očeta Setija I. Prestol je prevzel v poznih najstniških letih. Ocene starosti ob smrti se razlikujejo; 90 ali 91 je najbolj verjetna. Ramzes II. je v času svojega vladanja praznoval 14 sed festivalov (prvi je potekal po tridesetih letih vladavine, nato pa vsaka tri leta), več kot kateri koli drug faraon. Pokopan je bil v Dolini kraljev; njegovo mumijo so kasneje preselili v "kraljevo skrivališče", kjer je bila odkrita leta 1881 in je zdaj na ogled v Kairskem muzeju.

Zgodnje obdobje njegovega vladanja je bilo osredotočeno na gradnjo mest, templjev in spomenikov. Ustanovil je mesto Pi-Ramesses v delti Nila kot svoje novo glavno mesto in izhodišče za akcije v Siriji. V grških virih je znan tudi kot Ozymandias, v grščini del imena Ramzesovega prestola, Usermaatre Setepenre - "pravičnost Ra je močna - izberi Ra".

Pohodi in bitke
Zgodaj v svojem življenju se je Ramzes II. lotil številnih akcij, da bi vrnil prej odvzeta ozemlja iz nubijskih in hetitskih rok. Bil je odgovoren za zatrtje nekaterih nubijskih uporov in izvedbo akcije v Libiji. Čeprav Bitka pri Kadešu pogosto dominira v znanstvenem pogledu na vojaško hrabrost in moč Ramzesa II., pa je kljub temu zaslužen za več dokončnih zmag nad sovražniki Egipta. V času vladavine Ramzesa II. naj bi, po ocenah, egiptovska vojska štela približno 100.000 moških; mogočna sila, ki je bila uporabljena za krepitev egiptovskega vpliva.

Bitka proti Sherdenom, morskim piratom
V svojem drugem letu je Ramzes II. odločilno porazil Shardane ali Sherdene, morske pirate, ki so pustošili vzdolž egiptovske sredozemske obale in napadali tovorne ladje na morski poti v Egipt.  Ljudstvo Sherden je verjetno prišlo iz obale Jonije ali morda jugozahodne Anatolije. Ramzes je vojake in ladje namestil na strateških mestih na obali in potrpežljivo dopustil piratom napasti svoj plen in jih spretno polovil s presenečenjem v morski bitki in jih vse naenkrat prijel.  Stela iz Tanisa govori o njihovem prihodu "v svojih bojnih ladjah  sredi morja in nobena ni bila sposobna stati pred njimi". Pomorska bitka je morala biti nekje blizu ustja reke Nil, saj so videli kmalu zatem veliko Sherdenov v faraonovi telesni straži, prepoznani po njihovi rogati čeladi z žogo v sredini, okroglim ščitom in velikimi "Naue II" meči (bronastodobni meči), s katerimi so upodobljeni v napisih v bitki pri Kadešu.  V tej pomorski bitki, skupaj s Shardani, je faraon tudi porazil Lukka (L'kkw, morda kasneje Lyciane) in Šqrsšw (Shekelesh) ljudstva.

Prvi pohod nad Sirijo

Takoj po bitki pri Kadešu, je Ramzes II. začel pohod v Kanaan. Njegov prvi pohod se je zgodil v četrtem letu njegovega vladanja in je bil zabeležen s postavitvijo prve izmed spominskih stel Nahr el-Kalb, v bližini sodobnega Bejruta. Napis je skoraj popolnoma neberljiv zaradi preperevanja.

Dodatni podatki nam povedo, da se je bil prisiljen boriti s Kanaanskim princem, ki ga je  smrtno ranil egiptovski lokostrelec in katerega vojska je pozneje zbežala. Ramzes je pripeljal princa kot živega zapornika v Egipt. Ramzes je potem ropal poglavarje v njihovih deželah in se vsako leto vračal na njihov sedež v Riblah po davke. V četrtem letu svojega kraljevanja, je na pohodu v Siriji ujel hetitskega vazala kraljestva Amurru.

Drugi pohod nad Sirijo

Bitka pri Kadešu v njegovem petem letu vladanja je bila odločilna v bojih, ki jih je Ramzes vodil v Siriji, proti ponovno oživljenim hetitskim silan Mubatalija. Faraon si je želel zmage pri Kadešu in tako razširiti meje Egipta v Sirijo in pri tem posnemal svojega očeta Setija, ki je bil tu samo desetletje ali dva prej. Zgradil je tudi svoje novo glavno mesto Pi-Ramzes, kjer je zgradil delavnice za izdelavo orožja, vozov in ščitov. Nekatere so proizvedle 1.000 kosov orožja v tednu, približno 250 vozov v 2 tednih in 1000 ščitov v tednu in pol. Po teh pripravah je Ramzes premaknil napad v Levant, ki je pripadal bolj velikemu sovražniku kot kateri koli s katerim se je kdaj soočil: Hetitski imperij.

Sile Ramzesa so bile ujete v Hetitski zasedi in premoči pri Kadešu, ko so izvedli protinapad in porazili Hetite, katerih preživeli so pustili svoje vozove in preplavali reko Oront ter se vrnili nazaj na varno mestnega obzidja.

Tretji pohod nad Sirijo
Egipčanski vpliv je zdaj omejen na Kanaan medtem ko je Sirija padla v hetitske roke. Kanaanski princi, ki jih je egiptovska nezmožnosti uvesti svojo voljo navidezno spodbujala, so s spodbudo Hetitov začeli upore proti Egiptu. V sedmem letu kraljevanja se je Ramzes II. ponovno vrnil v Sirijo. Tokrat se je izkazal za veliko bolj uspešnega proti Hetitom. V tej akciji je razdelil svojo vojsko v dve sili. Eno je vodil njegov sin Amon-her-khepeshef in lovil bojevnike plemena Šhasu čez Negev v bližini Mrtvega morja in zajel kraljestvo Edom v gorah Seir. Nato je napadel kraljestvo Moab. Druga sila, ki jo je vodil Ramzes, je napadla Jeruzalem in antični Jeriho. Tudi on je nato vstopil v Moab, kjer je deloval njegov sin. Združena vojska je nato vkorakala v Hesbon, Damask, na Kumidi in na koncu ponovno zasedli Upi (področje okoli Damaska) in s tem ponovna vzpostavili nekdanji vpliv Egipta.

Zadnji pohod nad Sirijo

Ramzes je razširil svoje vojaške uspehe v osmem in devetem leta vladanja. Prečkal je reko Dog (Nahr al-Kalb) in se potisnil proti severu v Amurru. Njegova vojska je uspela v pohodu na sever v Dapur, kjer je postavil svoj kip. Egipčanski faraon se je tako znašel v severnem Amurru tudi mimo Kadeša v Tunip, kjer niso videli nobenega egiptovskega vojaka vsaj od časa Tutmozisa III., skoraj 120 let prej. Mesto je oblegal, preden ga je zavzel. Njegova zmaga pa se je izkazala za kratkotrajno. V letu devet je Ramzes postavil stelo pri Bet Sheanu. Potem, ko je utrdila svojo oblast nad Kanaanom, je Ramzes vodil svojo vojsko na sever. Večinoma neberljiva stela v bližini Bejruta, za katero se zdi, da jo je treba datirati v drugo kraljevo leto, je bila verjetno tam postavljena v desetem letu. Ozek pas ozemlja stisnjen med Amurrujem in Kadešem ni bil stabilen. Še isto leto so se vrnili Hetiti tako, da je Ramzes moral ponovno na pohod proti Dapurju. Šest Ramzesovih sinov je še vedno nosilo znake mladosti, ko so sodelovali v tej osvojitvi. Zavzel je mesta v Retenuju (staroegipčansko ime za Kanaan in Sirijo) in mestno državico Tunip v Naharinu, kasneje prikazan na stenah Ramesseuma.

Mirovna pogodba s Hetiti

Odstavljen hetitski kralj Mursili III. je pobegnil v Egipt, deželo sovražnika njegove države, po neuspehu ga je iz prestola izrinil njegov stric. Hattusili III. se je odzval z zahtevo, da Ramzes II. izroči svojega nečaka nazaj Hetitom.

Ta zahteva povzroči krizo v odnosih med Egiptom in Hetiti, ko Ramzes zanika vedenje o tem, kje je Mursili III. Imperija sta bila spet nevarno blizu vojne. Sčasoma, v enaindvajsetem letu svojega vladanja (1258 pr. n. št.), se je Ramzes odločil, da sklene pogodbo z novim Hetitskim kraljem Hattusili III., pri Kadešu končata konflikt. Dokument je prva znana mirovna pogodba v svetovni zgodovini.

Mirovna pogodba je bila zapisana v dveh različicah, ena v egiptovskih hieroglifih, druga v akadščini z uporabo klinopisa; obe različici sta ohranjeni. Takšna uporaba dveh jezikov je skupna mnogim nadaljnjim pogodbam. Ta pogodba se razlikuje od drugih po tem, da sta obe jezikovni različici drugače ubesedeni. Medtem ko je večina besedila identična, hetitska različica pravi, da so Egipčani prišli prosit za mir, egiptovska različica pa pravi obratno. Pogodba je bila dana Egipčanom v obliki srebrne plošče in ta verzija "žepne knjige" je bila prinešena nazaj v Egipt in vgrajena v tempelj Karnaku.

Pogodba je bila sklenjena med Ramzesom II. in Hattusilijem III. v 21. letu vladavine Ramzesa (okoli 1258 pr. n. št.). V 18. členu poziva k miru med Egiptom in Hetiti in nato nadaljuje, da njihovi bogovi tudi zahtevajo mir. Meje v tej pogodbi niso določene, vendar jih je mogoče razbrati iz drugih dokumentov. Anastasy A papirus opisuje Kanaan, v zadnjem delu vladavine Ramzesa II. in našteva imena feničanskih obalnih mest pod egiptovskim nadzorom. Pristaniško mesto Sumur, severno od Biblosa, se omenja kot najbolj severno mesto, ki pripada Egiptu, ker ima egiptovsko garnizijo.

Po sklenitvi mirovne pogodbe, v Kanaanu ni bilo dodatnih egiptovskih dejavnosti. Severna meja se zdi, da je bilo varna in mirna, tako da je bila vladavina faraona močna do smrti Ramzesa II. in upadanja dinastije.

Pohod nad Nubijo

Ramzes II. je zavzel tudi ozemlje južno od prvega katarakta v Nubiji. Ko je Ramzes vladal  približno 22 let, sta ga dva njegova sinova spremljala v vsaj eni od teh akcij. V času Ramzesa je bila Nubija kolonija že dvesto let, vendar njegova osvajanja so bila navedena kot dekoracija templjev Ramzesa II., zgrajenih v Beit el-Wali  (ki je bil predmet epigrafskega dela Oriental Institut med nubijsko reševalno kampanjo v 1960-tih), Gerf Husseinu in Kalabshi v severni Nubiji. Na južni steni templja Beit el-Wali je Ramzes II. upodobljen v bitki proti Nubijcem v bojnem vozu, medtem ko sta njegova dva mlada sinova, Amon-njen-khepsef in Khaemwaset, prikazana za njim, tudi v bojnih vozovih. Stena v enem od templjev pravi, da se je moral boriti v eni bitki brez pomoči svojih vojakov.

Pohod nad Libijo
V času vladavine Ramzesa II. so bili Egipčani očitno dejavni na 300 km vzdolž sredozemske obale, vsaj do Zawiyet Umm el-Rakham.  Čeprav natančni dogodki niso jasni, je določena stopnja političnega in vojaškega nadzora morala obstajati v regiji, da je omogočila gradnjo obalnih utrdb in trdnjav.

Ni podrobnih zapisov o velikih vojaških akcijah Ramzesa II. proti Libijcem, obstajajo samo splošne evidence njegovega osvajanja, ki se ne nanašajo na posebne dogodke. Možno je, da nekateri izmed zapisov, kot je Asuanska stela, kažejo na prisotnost Ramzesa  v libijskih akcijah. Morda je bil Seti I. tisti, ki je dosegel ta domnevni nadzor nad regijo in ki je nameraval vzpostaviti obrambni sistem, na podoben način, kakor je bil obnovljen tisti na vzhodu preko severnega Sinaja.

Sed festival

Po vladajočih 30 letih, se je Ramzes pridružil izbrani skupini, ki je vključevala le peščico najdlje živečih kraljev Egipta. Po tradiciji je v 30. letu svojega kraljevanja Ramzes praznoval jubilej, ki se je imenoval Sed festival ali "praznik repa". Ta egipčanski praznik je potrdil vladavino faraona. Kasneje je praznoval na tri leta. Praznovanje je bilo verjetno namenjeno pomladitvi moči in vzdržljivosti faraona, medtem ko je sedel na prestolu. Ime izhaja iz imena za egipčanskega boga volka, imenovan Wepwawet ali Sed. Na hrbtni strani faraonovega oblačila je bil v zgodnjih obdobjih egipčanske zgodovine pritrjen rep. Ta rep je bil lahko ostanek prejšnjega svečanega plašča, izdelanega iz popolne kože živali.

Gradbena dejavnost in spomeniki

Ramzes je gradil po Egiptu in Nubiji in njegove kartuše so na vidnem mestu tudi v stavbah, ki jih dejansko ni zgradil.  Obstajajo pripovedi v njegovo čast vklesani na kamnu, kipih, ostankih palač in templjev, predvsem v Ramesseumu v vzhodnih Tebah in templju Abu Simbel. Deželo je prekril s stavbami od Delte do Nubije na način, kot noben kralj pred njim. Prav tako je ustanovil novo glavno mesto v delti v času svojega vladanja imenovan Pi-Ramzes; prej je služil kot poletna palača v času vladavine Setija I..

Njegov spominski tempelj Ramesseum, je bil šele začetek obsedenosti faraona s stavbo. Ko je bila zgrajena, je bila zgrajena kot nobena do tedaj. V tretjem letu svojega kraljevanja je Ramzes začel najbolj ambiciozen gradbeni projekta po piramidah, ki so bile zgrajene 1500 let prej. V Tebah so preoblikovali starodavne templje tako, da vsak od njih odraža čast Ramzesu kot simbol njegove domnevno božanske narave in moči. Ramzes se je odločil, da se ovekoveči v kamen in zato je ukazal spremembe metod, ki so jih uporabljali zidarji. Elegantne ampak plitve reliefe prejšnjih faraonov so zlahka preoblikovali, njihove podobe in besede so se zlahka zabrisale. Ramzes je vztrajal pri globokem reliefu v kamen, ki je bil  manj dovzeten za poznejše spremembe, pa tudi na bolj viden v egiptovskem soncu, kar odraža njegovo razmerje do boga sonca, Ra.

Ramzes je zgradil številne velike spomenike, vključno z arheološkim kompleksom Abu Simbel in pogrebnim templjem znanem kot Ramesseum, zgrajena da zagotovi, da bo njegova zapuščina preživela zob časa. Ramzes je uporabljal umetnost kot sredstvo propagande za svoje zmage nad tujci, ki so upodobljene na številnih tempeljskih reliefih. Ramzes II. je postavil tudi več ogromnih kipov sebe, kot kateri koli drug faraon. Prilastil si je tudi številne obstoječe kipe z zapisom svoje kartuše na njih.

Pi-Ramzes

Ramzes II. je preselil glavno mesto svojega kraljestva iz Teb v dolini Nila na novo lokacijo v vzhodni Delti. Njegovi razlogi so negotovi, čeprav je morda želel biti bližje svojim ozemljem v Kanaanu in Siriji. V novem mestu Pi-Ramesses (ali polno ime: Pi-Ramesses Aa-nakhtu, kar pomeni "Področje Ramzesa, velik v zmagi") so prevladovali ogromni templji in kraljeve velike stanovanjske palače, skupaj z lastnim živalskim vrtom. Za nekaj časa je bilo mesto napačno identificirano kot Tanis, zaradi kiparstva in drugega materiala iz Pi-Ramessesa, ki so ga tam našli, vendar je zdaj priznano, da so Ramzesove predmete v Tanis prinesli od drugod in realni Pi-Ramesses leži približno 30 km južno, v bližini današnje vasi Qantir.  Velikanske noge kipa Ramzesa je skoraj vse, kar je ostalo nad zemljo danes, ostalo je pokopan pod polji.

Ramesseum

Tempeljski kompleks Ramzesa II. zgrajen med Kurno (arab.: Qurna) in puščavo je bil znan kot Ramesseum od 19. stoletja. Grški zgodovinar Diodor Sicilski se je čudil velikanskemu templju, ki zdaj ni več kot nekaj ruševin.

Usmerjen severozahod in jugovzhod, je bil tempelj sam med dvema dvoriščema. Ogromen pilon je stal pred prvim dvoriščem, s kraljevo palačo na levi in velikanskim kipom kralja zadaj. Samo fragmenti osnove in torza so ostali od kipa faraona na prestolu iz sienita, 17 metrov visokega, ki tehta več kot 1000 ton. Prizori velikega faraona in njegove vojske slavijo zmago nad silami Hetitov, ki bežijo pred Kadešom so zastopani na pilonu. Ostanki drugega dvorišča vsebujejo del notranje fasade pilona in dela portika na desni strani. Prizori vojne in zatrjevanega poraza Hetitov pri Kadešu se ponavljajo na stenah. V zgornjem registru je praznik in čast faličnega boga Min, boga plodnosti. Na nasprotni strani dvorišča je ostalo še nekaj stebrov, ki kažejo prvotno veličino.

Vidni so razpršeni ostanki dveh kipov sedečega kralja, en iz roza granita, drugi v črni barvi granita, ki sta nekoč obdajala vhod v tempelj. Devetintrideset od oseminštiridesetih stebrov v veliki hipostilni dvorani (41x 31 m) še vedno stoji v osrednji vrsti. Ti so okrašeni z običajnimi prizori kralja pred različnimi bogovi.  Del stropa okrašen z zlatimi zvezdami na modri podlagi je tudi ohranjen. Ramzesovi otroci hodijo v procesiji na nekaj stenah levo. Svetišče je bilo sestavljena iz treh zaporednih sob, z osmimi stebri in tetrastilno celo. Del prve sobe, s stropom okrašenim z astralnimi scenami in nekaj ostankov drugih sob, je vse, kar je ostalo. Prostrana skladišča so bila zgrajena iz blatnih opek okoli templja. Sledovi šol za pismouke so bile najdene med ruševinami.

Tempelj Setija I., od katerega ni nič zdaj levo razen temeljev, je nekoč stal na desni strani hipostilne dvorane.

Abu Simbel

Leta 1255 pr. n. št. sta Ramzes II. in njegova kraljica Nefertari odpotovala v Nubijo, da bi slovesno odprla nov tempelj, velik Abu Simbel. To je ego vklesan v kamen; človek, ki je to zgradil, se ni namenil postati le največji faraon Egipta, temveč tudi eden od njegovih bogov.

Velik tempelj Ramzesa II. v Abu Simblu je bil odkrit leta 1813. Našel ga je švicarski orientalist in popotnik Johann Ludwig Burckhardt. Ogromen kup peska je skoraj v celoti pokrival fasado, njegovih ogromni kipi so zapirali vhod še nadaljnja štiri leta. Padovanski raziskovalec Giovanni Battista Belzoni je dosegel notranjost 4. avgusta 1817.

Drugi nubijski spomeniki
Kot templje v Abu Simblu, je Ramzes zapustil v Nubiji tudi druge spomenike. Njegove zgodnje akcije so prikazane na stenah Beit el-Wali (zdaj preseljen v Novo Kalabsho). Drugi templji, posvečeni Ramzesu so še Derr in Gerf Hussein (tudi preseljen v Novo Kalabsho).

Grobnica Nefertari

Grobnico najpomembnejše Ramzesove žene je odkril Ernesto Schiaparelli leta 1904. Čeprav je bila že v starih časih izropana, je grobnica Nefertari izjemno pomembna, saj njena veličastna poslikava velja za enega največjih dosežkov starodavne egiptovske umetnosti. Stopnice, vklesane v skalo omogočajo dostop do predsobe, ki je okrašena s slikami, ki temeljijo na poglavju 17 Knjige mrtvih. Ta astronomski strop predstavlja nebesa in je pobarvan v temno modri barvi, z nešteto zlatimi peterokrakimi zvezdami. Vzhodna stena predsobe je prekinjena z veliko odprtino, ki jo obdajata Oziris na levi in Anubis na desni; ta pa nas pripelje v stransko komoro, okrašeno s prizori darovanja;  sledi veža, v kateri slike prikazujejo Nefertari, kako se predstavlja bogovom, ki jo pozdravljajo. Na severni steni predsobe je stopnišče navzdol do pokopne komore, velike štirioglate sobe površine približno 90 kvadratnih metrov, s štirimi stebri, ki podpirajo v celoti okrašen astronomski strop. Prvotno je sarkofag kraljice iz rdečega granita ležal sredi te komore. V skladu z verskimi nauki tedanjega časa, je v tej dvorani, ki so jo Stari Egipčani imenovali zlata dvorano, potekala regeneracija pokojnika. Dekorativni piktogram sten v pokopni komori kaže navdihe iz poglavij 144 in 146 Knjige mrtvih: v levi polovici komore so odlomki iz poglavja 144 v zvezi z izhodi in vrata kraljestva Ozirisa, njihove skrbnike in čarobne formule, ki jih je moral izreči pokojnik, da bi prišel mimo vrat.

Grobnica KV5
Leta 1995 je profesor Kent Weeks, vodja Theban Mapping Project odkril grobnico KV5. Izkazalo se je, da bo največja grobnica v Dolini kraljev in je prvotno vsebovala mumificirane ostanke nekaj od kraljevih 52 sinov. Približno 150 hodnikov in grobnih komor so locirali v tej grobnici od leta 2006, lahko pa jih vsebuje več kot 200. Zato verjamejo, da so vsaj 4 Ramzesovi sinovi vključno Meryatum, Sety, Amun-her-khepeshef (prvorojeni sin) in "Kraljev principal sin njegovega telesa, Generalissimo Ramzes, utemeljen" (tj: pokojni) tam pokopani, kar sledi iz napisov, črepinj in kanopskih posod odkritih v grobnici.

Kolosalni kipi

Kolosalni kip Ramzesa II. je bil obnovljen in postavljen na Ramzesovem trgu v Kairu leta 1955. V avgustu 2006 so izvajalci preselili njegov 3200 let star kip iz trga, da bi ga obvarovali pred izpušnimi plini. Kip je bil prvotno vzet iz templja v Memfisu. Novo mesto bo našel v bližnji prihodnosti v Velikem egipčanskem muzeju.

Smrt in zapuščina
Ramzes II. je umrl v letu 1213 pred našim štetjem po 66. letih in dveh mesecih vladanja v svojem glavnem mestu Pi-Ramesse. V času njegove smrti pri starosti okoli 90 let, je Ramzes imel hude težave z zobmi, mučil ga je artritis in otrdelost arterij. V času njegovega vladanje je Egipt obogatel z osvajalnimi pohodi. Imel je veliko žena in otrok in zapustil veliko spomenikov po vsem Egiptu, še posebej za svojo ljubljeno prvo kraljico Nefertari. Njegov končni naslednik je bil njegov trinajsti sin, Merneptah. Še devet faraonov je prevzelo ime Ramzes v njegovo čast. Ramzes II. je postal legendarna osebnost, kar si je tako obupno želel, vendar to ni bilo dovolj, da bi zaščitil Egipt. Novi sovražniki so napadali imperij, ki je trpel tudi zaradi notranjih težav. Manj kot 150 let po tem, ko je umrl Ramzes, je egiptovski imperij padel in obdobje Novega Kraljestva se je končalo.

Mumija
Ramzes II. je bil prvotno pokopan v grobnici KV7 v Dolini kraljev, vendar pa so zaradi plenjenja, duhovniki kasneje prenesli truplo na novo območje, ponovno zavili in ga postavili v grobnico kraljice Inhapy. Dvainsedemdeset ur kasneje so jo spet preselili v grobnico velikega duhovnika Pinudjema II. Vse to je zabeleženo v hieroglifih na tkanini, ki pokriva telo.  Njegova mumija se danes nahaja v Egipčanskem muzeju v Kairu.

Mumija faraona razkriva orlovski nos in močno čeljust in meri v dolžino približno 1,7 m.

Leta 1974 so egiptologi obiskali njegovo grobnico in opazili, da se stanje mumije hitro slabša in jo poslali v Pariz na pregled.  Ramzesu II. je bil izdan egiptovski potni list, v katerem je bila navedena dejavnost kot "Kralj (pokojni)". Mumija je prispela na letališče Le Bourget zunaj Pariza in bila sprejeta z vsemi vojaškimi častmi kot se spodobi za kralja.

V Parizu so našli glivo, ki je napadla mumijo in jo uničili. Med preiskavo je bila izvedena znanstvena analiza, ki je pokazala bojne rane, stare zlome, artritis in slabo cirkulacijo.

Zaradi artritisa so verjeli, da je v zadnjih desetletjih svojega življenja hodil sključen. Nedavna študija je izključila ankilozirajoči spondilitis kot možen vzrok. Odkrita je bila pomembna luknja v čeljusti. Raziskovalci so opazili »absces na njegovih zobeh (ki) je bil dovolj resen, da je povzročil smrt po okužbi, čeprav to ni mogoče z gotovostjo določiti«. Gaston Maspero, ki je mumijo Ramzesa II. odvil piše, »na senceh obstaja nekaj redke dlake, na zatilju je dlaka precej debela, in tvori gladke, ravne kodre približno pet centimetrov v dolžino. Bela ob smrti in v življenju morda rdečkastorjav, je bil obarvan s svetlo rdečimi začimbami (kana), ki se je uporabljala za balzamiranje ... brki in brada so tanki ... Dlačice so bele, kot so tiste iz glave in obrvi ... koža je zemeljsko rjava, ... obraz mumije daje pravično idejo obraza živega kralja.«

Mikroskopski pregled korenin las je izkazal, da so bili kraljevi lasje sprva rdeči, kar kaže, da je prišel iz družine rdečelaske.  To je več kot samo kozmetični pomen. V starem Egiptu so ljudi z rdečimi lasmi povezovali z bogom Setom, ubijalcem Ozirisa in ime očeta Ramzesa II. je Seti I., pomeni "privrženec Seta."

Po vrnitvi mumije Ramzesa v Egipt, jo je obiskal predsednik Anvar Sadat in njegova žena.

Sklici

Bibliografija

  Translations and (in the 1999 volume below) notes on all contemporary royal inscriptions naming the king.

 Can. Assoc. Radiol. J. 2004 Oct;55(4):211–7, PMID 15362343
 The Epigraphic Survey, Reliefs and Inscriptions at Karnak III: The Bubastite Portal, Oriental  Institute Publications, vol. 74 (Chicago: University of Chicago Press, 1954

Druga literatura
 Hasel, Michael G. 1994. "Israel in the Merneptah Stela," Bulletin of the American Schools of Oriental Research 296., pp. 45–61.
 Hasel, Michael G. 1998. Domination and Resistance: Egyptian Military Activity in the Southern Levant, 1300–1185 BC. Probleme der Ägyptologie 11. Leiden: Brill Publishers. ISBN 90-04-10984-6
 Hasel, Michael G. 2003. "Merenptah's Inscription and Reliefs and the Origin of Israel" in Beth Alpert Nakhai ed. The Near East in the Southwest: Essays in Honor of William G. Dever, pp. 19–44. Annual of the American Schools of Oriental Research 58. Boston: American Schools of Oriental Research. ISBN 0-89757-065-0
 Hasel, Michael G. 2004. "The Structure of the Final Hymnic-Poetic Unit on the Merenptah Stela." Zeitschrift für die alttestamentliche Wissenschaft 116:75–81.
 James, T. G. H. 2000.  Ramzes II. New York: Friedman/Fairfax Publishers. A large-format volume by the former Keeper of Egyptian Antiquities at the British Museum, filled with colour illustrations of buildings, art, etc. related to Ramzes II

Zunanje povezave

 Egypt's Golden Empire: Ramzes II
 Ramzes II
 Usermaatresetepenre
 Ramzes II Usermaatre-setepenre (about 1279–1213 BC)
 Egyptian monuments: Temple of Ramzes II

 List of Ramzes II's family members and state officials
 Newly discovered temple
 Full titulary of Ramzes II including variants

Faraoni Devetnajste egipčanske dinastije
Rojeni leta 1300 pr. n. št.
Umrli leta 1213 pr. n. št.


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text:
import React, { memo, useRef, useState } from 'react';
import { FontAwesomeIcon } from '@fortawesome/react-fontawesome';
import {
    faBoxOpen,
    faCopy,
    faEllipsisH,
    faFileArchive,
    faFileCode,
    faFileDownload,
    faLevelUpAlt,
    faPencilAlt,
    faTrashAlt,
    IconDefinition,
} from '@fortawesome/free-solid-svg-icons';
import RenameFileModal from '@/components/server/files/RenameFileModal';
import { ServerContext } from '@/state/server';
import { join } from 'path';
import deleteFiles from '@/api/server/files/deleteFiles';
import SpinnerOverlay from '@/components/elements/SpinnerOverlay';
import copyFile from '@/api/server/files/copyFile';
import Can from '@/components/elements/Can';
import getFileDownloadUrl from '@/api/server/files/getFileDownloadUrl';
import useFlash from '@/plugins/useFlash';
import tw from 'twin.macro';
import { FileObject } from '@/api/server/files/loadDirectory';
import useFileManagerSwr from '@/plugins/useFileManagerSwr';
import DropdownMenu from '@/components/elements/DropdownMenu';
import styled from 'styled-components/macro';
import useEventListener from '@/plugins/useEventListener';
import compressFiles from '@/api/server/files/compressFiles';
import decompressFiles from '@/api/server/files/decompressFiles';
import isEqual from 'react-fast-compare';
import ChmodFileModal from '@/components/server/files/ChmodFileModal';
import { Dialog } from '@/components/elements/dialog';

type ModalType = 'rename' | 'move' | 'chmod';

const StyledRow = styled.div<{ $danger?: boolean }>`
    ${tw`p-2 flex items-center rounded`};
    ${(props) =>
        props.$danger ? tw`hover:bg-red-100 hover:text-red-700` : tw`hover:bg-neutral-100 hover:text-neutral-700`};
`;

interface RowProps extends React.HTMLAttributes<HTMLDivElement> {
    icon: IconDefinition;
    title: string;
    $danger?: boolean;
}

const Row = ({ icon, title, ...props }: RowProps) => (

);

const FileDropdownMenu = ({ file }: { file: FileObject }) => {
    const onClickRef = useRef<DropdownMenu>(null);
    const [showSpinner, setShowSpinner] = useState(false);
    const [modal, setModal] = useState<ModalType | null>(null);
    const [showConfirmation, setShowConfirmation] = useState(false);

    const uuid = ServerContext.useStoreState((state) => state.server.data!.uuid);
    const { mutate } = useFileManagerSwr();
    const { clearAndAddHttpError, clearFlashes } = useFlash();
    const directory = ServerContext.useStoreState((state) => state.files.directory);

    useEventListener(`pterodactyl:files:ctx:${file.key}`, (e: CustomEvent) => {
        if (onClickRef.current) {
            onClickRef.current.triggerMenu(e.detail);
        }
    });

    const doDeletion = () => {
        clearFlashes('files');

        // For UI speed, immediately remove the file from the listing before calling the deletion function.
        // If the delete actually fails, we'll fetch the current directory contents again automatically.
        mutate((files) => files.filter((f) => f.key !== file.key), false);

        deleteFiles(uuid, directory, [file.name]).catch((error) => {
            mutate();
            clearAndAddHttpError({ key: 'files', error });
        });
    };

    const doCopy = () => {
        setShowSpinner(true);
        clearFlashes('files');

        copyFile(uuid, join(directory, file.name))
            .then(() => mutate())
            .catch((error) => clearAndAddHttpError({ key: 'files', error }))
            .then(() => setShowSpinner(false));
    };

    const doDownload = () => {
        setShowSpinner(true);
        clearFlashes('files');

        getFileDownloadUrl(uuid, join(directory, file.name))
            .then((url) => {
                // @ts-expect-error this is valid
                window.location = url;
            })
            .catch((error) => clearAndAddHttpError({ key: 'files', error }))
            .then(() => setShowSpinner(false));
    };

    const doArchive = () => {
        setShowSpinner(true);
        clearFlashes('files');

        compressFiles(uuid, directory, [file.name])
            .then(() => mutate())
            .catch((error) => clearAndAddHttpError({ key: 'files', error }))
            .then(() => setShowSpinner(false));
    };

    const doUnarchive = () => {
        setShowSpinner(true);
        clearFlashes('files');

        decompressFiles(uuid, directory, file.name)
            .then(() => mutate())
            .catch((error) => clearAndAddHttpError({ key: 'files', error }))
            .then(() => setShowSpinner(false));
    };

    return (
        <>
            <Dialog.Confirm
                open={showConfirmation}
                onClose={() => setShowConfirmation(false)}
                title={`Delete ${file.isFile ? 'File' : 'Directory'}`}
                confirm={'Delete'}
                onConfirmed={doDeletion}
            >
                You will not be able to recover the contents of
                {file.name} once deleted.
            </Dialog.Confirm>
            <DropdownMenu
                ref={onClickRef}
                renderToggle={(onClick) => (
                    <div css={tw`px-4 py-2 hover:text-white`} onClick={onClick}>
                        <FontAwesomeIcon icon={faEllipsisH} />
                        {modal ? (
                            modal === 'chmod' ? (
                                <ChmodFileModal
                                    visible
                                    appear
                                    files={[{ file: file.name, mode: file.modeBits }]}
                                    onDismissed={() => setModal(null)}
                                />
                            ) : (
                                <RenameFileModal
                                    visible
                                    appear
                                    files={[file.name]}
                                    useMoveTerminology={modal === 'move'}
                                    onDismissed={() => setModal(null)}
                                />
                            )
                        ) : null}
                        <SpinnerOverlay visible={showSpinner} fixed size={'large'} />

                )}
            >
                <Can action={'file.update'}>
                    <Row onClick={() => setModal('rename')} icon={faPencilAlt} title={'Rename'} />
                    <Row onClick={() => setModal('move')} icon={faLevelUpAlt} title={'Move'} />
                    <Row onClick={() => setModal('chmod')} icon={faFileCode} title={'Permissions'} />
                </Can>
                {file.isFile && (
                    <Can action={'file.create'}>
                        <Row onClick={doCopy} icon={faCopy} title={'Copy'} />
                    </Can>
                )}
                {file.isArchiveType() ? (
                    <Can action={'file.create'}>
                        <Row onClick={doUnarchive} icon={faBoxOpen} title={'Unarchive'} />
                    </Can>
                ) : (
                    <Can action={'file.archive'}>
                        <Row onClick={doArchive} icon={faFileArchive} title={'Archive'} />
                    </Can>
                )}
                {file.isFile && <Row onClick={doDownload} icon={faFileDownload} title={'Download'} />}
                <Can action={'file.delete'}>
                    <Row onClick={() => setShowConfirmation(true)} icon={faTrashAlt} title={'Delete'} $danger />
                </Can>
            </DropdownMenu>
        </>
    );
};

export default memo(FileDropdownMenu, isEqual);

redpajama_set_name: RedPajamaGithub


3 Feb 2007 @ 11:56 by bi @218.186.11.2 : Rothbard vs. facts?
Hmm. Rothbard mentions the Saracens' soundness in "monetary matters", but later decides to conveniently forget that they existed, blames inflations on "Government" in general (as if the Saracens didn't have government!), and then outlines proposals which are free from fact. Huh?
Not having read everything he said, I can't say too much about it, but that sounds a little silly of course.
I can't say it would be a basic thing that government does. Rather, it represents that somebody wants to manipulate the value of money separately from the actual value of something like gold which is rather limited. For both good and for bad. It allows producing currency that corresponds in perceived value to what is there to purchase, without being limited to produce valuable metals at the same rate. And at the same time it allows banks to manufacture fake value out of nothing, and to profit from it. Which I think is the questionable part. If it were only just governments, it wouldn't be half bad. But, really, half of it is that it is a wealth building tool for banks, building profits for themselves out of nothing, while keeping everybody else endebted to them. Very clever.


text:
Drone Program Under Scrutiny As CIA Nominee Testifies
By Greg Myre
Published February 7, 2013 at 1:47 PM MST
John Brennan, President Obama's nominee to head the CIA, prepares to testify at his confirmation hearing before the Senate Intelligence Committee on Thursday.
Update at 5:35 pm ET. Brennan on drones:
As senators questioned John Brennan, the nominee to head the CIA, one of the recurring themes was the broader impact of the lethal drone strikes.
Susan Collins, a Republican from Maine, asked whether the Obama administration was killing terrorists who might otherwise be captured and interrogated.
Brennan insisted that it was always preferable to capture and question terrorists to gather intelligence, and he said lethal strikes were taken as a last resort.
"These actions are actually only taken to save lives and prevent attacks," he said.
Brennan was also asked if the drone attacks in places like Yemen and Pakistan were creating a backlash against the U.S. Civilians in those and other countries have been extremely critical.
However, he argued that al-Qaida was effectively holding many communities "hostage," and that residents welcomed U.S. actions to remove the "al-Qaida cancer."
Since the Sept. 11, 2001, attacks, the CIA and other intelligence agencies have heavily focused on terrorism threats, and the CIA has increasingly been involved in paramilitary actions.
Brennan, who served 25 years in the CIA, characterized this as an aberration from the agency's traditional emphasis on collecting and analyzing data. He said it would be important to assess whether too many CIA resources were being devoted to terrorism threats and not enough to larger strategic questions.
Several members of the Senate Intelligence Committee pressed Brennan on interrogation techniques, and he repeatedly made clear his opposition to waterboarding. He described it as "something that should have been banned long ago, something that should never have taken place in my view."
Here's our original post:
The Obama administration has made its drone program the signature feature of its counterterrorism efforts. But it's not a subject it likes to talk about.
However, the controversial drone program and one of its chief architects came under the spotlight Thursday as John Brennan went before the Senate Intelligence Committee for his confirmation hearing as director of the CIA.
During the Bush administration, fewer than 50 drone strikes were carried out. There have been more than 360 under Obama, according to the website The Long War Journal.
Brennan, who has been President Obama's adviser on counterterrorism, is expected to win Senate approval. But his role in the lethal drone program has drawn public criticism. As Brennan was reading his opening statement, he was interrupted repeatedly by protesters who shouted their opposition to U.S. drone strikes.
Sen. Dianne Feinstein, the California Democrat who chairs the committee, blamed the group Code Pink for the protests and ordered the hearing room cleared for several minutes.
When questioning began, Brennan was asked about the "enhanced interrogation techniques," including waterboarding, that took place after the Sept. 11, 2001, terrorist attacks.
"I was aware of the program ... but I had no oversight of it," said Brennan, who was at the CIA at the time. "I professed my personal objections to it, but I did not try to stop because it was something being done in a different part of the agency."
We will update with additional testimony.
NPR News John BrennanCentral Intelligence Agency (CIA)National SecurityDronesCongress
Greg Myre is a national security correspondent with a focus on the intelligence community, a position that follows his many years as a foreign correspondent covering conflicts around the globe.
See stories by Greg Myre
Obama's Pick For CIA Chief To Face Senate Scrutiny
Tom Gjelten
As Obama's chief counterterrorism adviser, John Brennan has been associated with some controversial policies, including the use of armed drones. It's unlikely his appointment as CIA director is in trouble, but he's likely to face questions on drones as well as the agency's interrogation policies.
Air Base In Saudi Arabia Is Latest Drone Secret To Be Revealed
The Obama administration wanted to keep the existence of the base secret. It has been used to target al-Qaida members in Yemen.
Cabinet Picks Show A Shift In How U.S. Wages War
The White House has emphasized that incoming Secretary of State John Kerry and Defense Secretary nominee Chuck Hagel — both Vietnam veterans — understand the full cost of war. President Obama says that makes them the right choice for their jobs, as the U.S. moves away from big wars to a targeted approach.
CIA Nominee Brennan Has Obama's 'Complete Trust'
President Obama has nominated his counterterrorism adviser, John Brennan, to lead the CIA. Brennan's work with the agency under George W. Bush has been controversial, and he's also drawn criticism for his lead role in the Obama administration's use of unmanned drones.

redpajama_set_name: RedPajamaCommonCrawl


New York, July 22, 2008 – As both kids and their parents have become increasingly interested in protecting the environment, eco-friendly products have begun to take hold among children ages 3 to 11. And, according to Kids and Tweens in the U.S., a new study from Packaged Facts, companies that produce and market products to this age group and their parents are starting to take notice.
Kids ages 3-11 in the U.S. have personal incomes totaling $19 billion, the study found, which is expected to reach $21 billion by 2012. Parental spending on food, clothing, personal care items, entertainment and reading materials reached $123 billion.
More than half of kids 6-8 encourage their parents to buy green products. Hispanic kids are far more likely than kids in other population segments to push their parents to buy green products. This underlying demographic characteristic may explain the fact that kids living in the Pacific region—which has a relatively large Latino population—have a higher likelihood of trying to get their parents to go green.
Packaged Facts' report, Kids and Tweens in the U.S., 9th Edition, analyzes in depth the broad and complex trends affecting children ages 3-11. The report provides a demographic profile of this age group, examines the social world of kids and tweens, and addresses kids and their relationship to technology, leisure and entertainment, media and shopping and spending. For further information visit: www.packagedfacts.com/Youth-1486842/.
Packaged Facts publishes market intelligence on a wide range of consumer industries, including consumer goods and retailing, foods and beverages, demographics, pet, and financial products. Packaged Facts also offers a full range of custom research services. For more information visit www.packagedfacts.com, or contact Jenn Tekin at 240-747-3015 or jtekin@marketresearch.com.


text:
Home > Culture
MOCA opens exhibition of 'Windows for Chinatown', workshop of hands-on engagement
2020-10-19 Xinhua Editor:Li Yan
A visitor walks out of MOCA Workshop in Lower Manhattan of New York City, the United States, Oct. 17, 2020. (Xinhua/Liu Yanan)
The New York City-based Museum of Chinese in America (MOCA) on Saturday launched its latest exhibition "Windows for Chinatown" and temporary space for MOCA Workshop.
The event aims to meet visitors' interests as the museum remains closed to the public, said Yue Ma, director for collections and research with MOCA.
MOCA has transformed its windows into exhibition spaces reflecting on Chinatown history, anti-Asian racism during the COVID-19 pandemic and recent uprisings for racial justice.
Windows for Chinatown "draws from MOCA's storied national archive of Chinese American history, in addition to highlighting new acquisition projects such as the OneWorld COVID-19 Collection," said MOCA.
Meanwhile, visitors could also visit MOCA Workshop, a replacement of its Collections and Research Center damaged in a fire in January at another site.
MOCA Workshop will not only house over 85,000 artifacts that document the Chinese experience in America but also serve as a publicly accessible research space that invites hands-on engagement with collections there, said MOCA.
Artists, researchers, students and others could participate in the research work at the workshop where artifacts will be preserved, restored and digitized, according to Ma.
"As many people care about the status of Collections and Research Center, MOCA Workshop would show the appearance of rescued artifacts from the fire," Ma told Xinhua.
Ma added that the vast majority of the rescued artifacts require restoration and assessment on how much it would cost is under way.
As many as 5 percent of the artifacts at MOCA Collections and Research Center have been completely destroyed in the fire, said Ma.
Beside a companion website, MOCA also plans to launch an educational campaign on social media as part of its 40th anniversary celebration.
Founded in 1980, MOCA is dedicated to preserving and presenting the history, culture and diverse experiences of people of Chinese descent in the United States.
APP | PC
Copyright©1999-2020 Chinanews.com All rights reserved.


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text:
Racing Cars ~ Grand Prix (1966)
There is no film quite like Grand Prix (1966). It is the quintessential racing movie and while it's not the best film out there we are very lucky to have it. Grand Prix was made during a golden era of race car driving, when Formula 1 was glamorous, safety in driving wasn't all that important, race car drivers were rock stars and racing teams were owned by individuals or car companies not corporations looking for another advertising opportunity.
Grand Prix (1966) was directed by John Frankenheimer and stars James Garner as Pete Aron. The cast also includes Eva Marie Saint, Antonio Sabato, Yves Montand, Brian Bedford, Toshiro Mifune and Jessica Walter. Originally, the studio wanted Steve McQueen for the principal role of Pete Aron and Frankenheimer wanted an unknown. McQueen had signed up for the role, however, he did not see eye-to-eye with producer Ed Lewis and during their meeting together McQueen decided to bail out on the movie. James Garner, who expressed a lot of interest in the role, got to play Pete Aron in the end, not knowing that his rival (McQueen saw him more as a rival than vice versa) had wanted to play the part. McQueen would have been amazing in this film, considering he was the quintessential sporting bad boy of the 1960s. Alas, it wasn't meant to be. James Garner proved he could drive the race cars well and I believe he did a decent job as Pete Aron.
Grand Prix was a way to showcase the different Grand Prix races of Europe and to celebrate Formula 1. But with any movie, there has to be a plot. The story, which anchors the movie and makes it more than just a lot of glamorous shots of races, follows 4 race car drivers. There is the American Pete Aron who is in trouble with his sponsor Ferrari when he crashes into his fellow team racer British Scott Stodard (Brian Bedford), whose life seems to be already in shambles even more so now with a serious injury. Aron finds a new sponsor in Japanese business man Izo Yamura (Toshiro Mifune) and also has sort of a fling with Stodard's estranged wife Pat (Jessica Walter). That affair made absolutely no sense to me, I think they could have just cut it right out. The third driver is the French Jean-Pierre Sarti (Yves Montand) who is at the end of his career and although married, falls in love with magazine journalist Louise Frederickson (Eva Marie Saint). The last driver is fun-loving Italian Nino Barlini (Antonio Sabato) who thinks he his immortal, fears nothing and has a lazy fling with a race car groupie. The love affair between Sarti/Montand and Frederickson/Saint was the only one that made sense and had some heart to it. The others seemed forced and a lazy way to add sex into a sports film. However, when you compare this film with Le Mans (1971) which has no plot and Winning (1969) which has a boring plot, Grand Prix's plot looks amazing!
All of the principle drivers, except for Brian Bedford, did their own racing. They were trained at a legendary racing school in England and James Garner proved to be the most talented in the bunch. To provide as much realism as possible, Frankenheimer shot everything on location, used real drivers and had actors do the driving. Stunt doubles and dummies were used for the dangerous crash scenes. The film follows each of the major Grand Prix races in Monte Carlo, France, Belgium, England, Netherlands and Italy. Frankenheimer basically takes us on a trip through Europe! Cameras were mounted on cars for POV and over-the-shoulder shots. There are some shots that are so realistic looking you almost feel like you are in the driver's seat. Race sequences were choreographed by the legendary designer Saul Bass who also did the title sequence and the different montages (splits of the screen with multiple images or the multiplication of a single image across the screen). The title sequence takes place in Monte Carlo and includes shots of the different race cars and drivers getting reading for the first Grand Prix race. Attention to detail is key in this film. Frankenheimer and his crew knew that in order to get cooperation from Formula 1 drivers and companies like Ferrari (their headquarters is featured in the film, it was no small feat to get access to it), they needed to respect the sport, to show it as truthfully as possible and to place close attention to details. In the first race in Monte Carlo at the beginning of the film, every single sound you hear is as accurate as possible. They even did a special recording of two drivers, who were familiar with the Monte Carlo track, in which they did all the gear changes for the race to match what it would sound like. All the races in the film are on the real Grand Prix tracks.
In James Garner's memoir, he devotes a chapter to racing and how preparing for and film Grand Prix developed his love for racing cars. Because he did all his own driving in the film, he was at risk for injury and he had an accident on set.
"Toward the end of the shoot, I did a fire stunt with butane bottles that I ignited with a switch in the cockpit on the final turn. When I crossed the finish line going about 120, I slammed on the brakes and threw another switch to put out the flames. But something went wrong and the car erupted in a giant fireball. I scrambled out of the cockpit as the crew blasted me in the face with fire extinguishers and smothered me in an asbestos blanket. I wasn't hurt, but it shook me up. The producer wasn't happy that I'd done the stunt and neither was Lloyd's of London. They canceled my policy, and for the rest of the picture I drove without insurance."
When I say there is no film quite like Grand Prix, it's because it was lucky we got Grand Prix in the first place considering all the obstacles Frankenheimer had to face in making this 3 hour racing epic! If you enjoy sports films as I do, watch Grand Prix! It's all about the ambience. The glamour, the racing, the sights and sounds. Saul Bass' design, Maurice Jarre's score and Frankenheimer's direction make the film a beauty to behold. Just don't pay attention to the plot and you'll enjoy it!
Labels: Film Reviews, Sports in Film
Artman2112 January 23, 2012 at 10:23 PM
sad as it is for me to say i have yet to see this film so i avoided reading your review in case of spoilers! i'm pretty sure its in my netflix queue tho so i'll have to remedy this problem soon! funny about McQueen because a few years later he made LeMans which was not all that great a movie but had some pretty amazing racing footage.
Raquelle January 24, 2012 at 9:20 AM
Paulie - Your comment is a bit disconcerting and it made me very sad when I read it. I try very hard not to include spoilers in my reviews. In fact, my reviews are written with people who haven't seen the film in mind. My review of Grand Prix has less spoilers than the actual trailer does. I don't give anything crucial away and I don't even talk about the ending. I try to make a point of indicating a spoiler if I do talk about one but usually I don't. I think the last time I talked about a whole film, spoilers included,w as when I wrote about Old San Francisco (1927). I separated the spoiler review into it's own post.
I also should have mentioned that this post is first of a three part series. Next up is Le Mans and following that is Winning. :-)
Let me just add that it was disconcerting and made me sad because I wonder if other people are avoiding my reviews because they think it has spoilers. :-(
Artman2112 January 26, 2012 at 11:50 AM
awww i didnt mean to make you sad Quelle :( after reading your comment i went back and read your post and will no longer worry about spoilers in your reviews :) i def need to see this tho, i think Frankenheimer made some of the best films of the 60's.
Raquelle January 31, 2012 at 11:59 AM
Paulie - I still <3 you. :-)
Artman2112 February 9, 2012 at 9:36 PM
awwww shucks *blush*
Dave Baxter March 3, 2013 at 2:34 PM
Whilst the storyline is a bit thin, the wealth of the film is in the historic scenes of many tracks not used today. The original Spa Francorchamps, Zandvoort, the Monza banked circuit are all featured in their glory as well as Monaco before the days when safety took over. The acting is decent, with a few love interests and driver rivalries going on, but the attention to detail on the cars, sounds, scenes are superb. Many of the scenes were shot only an hour before that actual real GP took place so the crowd was in place for the real event - F1 today would not allow this type on intrusive filming to happen. The mock races where then intercut with actual footage of those GP races, so some of what you are seeing is the actual 1966 GP races.
A great film, near documentary, where the real value lies in the historical shots of old tracks from a more amateur, glamorous time.
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Stop trying to memorize labels. There's a better way!
Did you know that there are over one hundred thousand new wines and new vintages that are released by the TTB (Alcohol and Tobacco Tax and Trade Bureau - ttb.gov ) each year?
Knowing this fact might make you rethink your strategy of memorize labels. Fortunately, there's a better way!
Wines labeled by made-up name.
Surprising facts about wine sweetness you don't want to miss!
This week, Madeline Puckette jumps into one of the most misunderstood topics in wine.
What is wine sweetness and where does it come from?
Most sweetness in wine comes from natural grape sugars leftover after the fermentation has stopped. Wine people refer to it as "residual sugar," or RS for short. Wines without sweetness are called "dry" wines.
Common knowledge is that sweetness is determined by the type of grape. However, in most cases, sweetness is actually controlled by the winemaker!
Unveil the mysteries of wine tannins. You'll never drink wine the same way again!
The term "tannins in wine" describes several classes of phenolic compounds. These include non-flavonoid phenolics and flavonoid phenolics (condensed tannins, catechins, anthocyanins).
In other words, the stuff that tastes bitter and astringent in wine is tannin!
Why do it wrong when you can do it right? Here are the basics to wine service, along with tips on how to store wine. Change the way you drink .
First things first, lets pop a bottle!
Chefs have an affliction for knives and somms have an "unhealthy" obsession for corkscrews. This is my Coutale - the world's most pragmatic corkscrew.


text:
A janky endless runner space game.

Play it [here](https://puremunky.github.io/ForeverSpace/).

## Controls
* E - Up
* D - Down
* Space - Shoot


Syed M. Ahmed, MD, MPH, DrPH, associate provost and senior associate dean for community engagement, has been invited by the National Academy of Medicine, in partnership with the Robert Wood Johnson Foundation, to serve on an influential steering committee charged with exploring ways to assess community engagement in the shaping and implementation of health policies and procedures. This prestigious honor recognizes Dr. Ahmed's nationally recognized expertise in community engagement and measurement.
The multi-stakeholder steering committee will be made up of national leaders, reflecting diverse backgrounds and perspectives, to provide an overall vision, ensure timely progress, and coordinate efforts for a collaborative project which seeks to review existing measures for examining community engagement with health care program and policy decision-makers at the health system, local, state, and national levels. The committee will establish a process for identifying an indicator or set of indicators that can be used to measure community engagement in a wide range of settings. The aim is for measures to help assess and advance the responsiveness of public and private programs to community needs and enhance meaningful engagement with diverse audiences as part of the policymaking and program development processes.
Apart from this honor, MCW remains one of only four medical schools in the nation to have received the prestigious Carnegie Community Engagement Classification in recognition of outstanding practices to engage our community in meaningful and impactful ways.


Coinciding with the publication of the 2017 First Quarter Report of the Cobas Selección fund, comprising 90% international equities and 10% Iberian equities, below follows the main characteristics of the portfolio.
We began investing the fund in equities on 1 January and throughout that month we gradually completed the portfolio until it is now what could be said is the target portfolio.
At the close of the quarter, 92.7% of the fund was invested and comprised 53 stocks, including 8 Iberian stocks representing 5.7% of the total.
This is a decrease on the 62 that we mentioned in our presentation letter, given that as the quarter progressed we increased the degree of confidence in some significant stocks, allowing us to focus the portfolio on those. The 10 most important stocks now represent 46% of the portfolio. The ongoing objective is to improve it daily, by reducing or eliminating the least attractive positions and increasing the most interesting.
The geographic distribution has surprised even ourselves, due to the greater exposure outside of Europe than that anticipated: 21.4% in the United States and 21.7% in Asia. Except for a minor position in Brazil, less than 2%, the remainder is centred in Europe.
It should be pointed out however, that the majority of the investments in the United States are global companies that are coincidentally listed there, but without being greatly exposed to that economy. In Asia, 8 of the 9 companies in the portfolio have a strong cash position, some even above their market capitalisation. The presence of Mingkun Chan in Shanghai makes it possible to adequately monitor these positions.
As indicated in the welcome letter, the portfolio has some very attractive characteristics: ROCE of 30%, PER of 8.4x and a revaluation potential of 70%. In the last five years, and with the exception of some commodities in 2015, it has not been possible to form a portfolio with such a similar combination of quality and potential.
As can be seen in the graphs, against a backdrop in which the group of our classic stocks have had joint revaluation of 50% over the last three years, with a market that has increased 19%, the group of 5 main stocks in our portfolio today has depreciated by more than 50% in the last three years, some of which have even lost 80% of their quoted market price.
In other words, we have changed stocks with a relative behaviour among them of 100%, investing in stocks that have suffered significant losses at a time when the most important markets are at historic highs.
Evidently, we think that the market has exaggerated the change in prices in our companies, as it often does, thus the valuations in no way have been reduced in proportions similar to the falls in their quoted market prices.
– Those we already know: BMW Pref, Hyundai Pref, Samsung Pref, Dassault Aviation, Cir/Cofide, Danieli, Next, Sol, Tesco, Casino, Ralph Lauren, Exor, LG Household Pref and Amore Pacific Group Pref. In Spain and Portugal we have Corporación Alba, Semapa, Nos, EDP, Elecnor, Navigator, Sonae, Viscofán.
– Those in commodities: ICL, Teekay Corp, TNK, Phosagro, Polymetal, Randgold, Euronav, DHT, TIL, BW Offshore, SLC Agricola.
– New companies: Aryzta, TGP, GS Home Shopping, Hyundai Home Shopping, Dynagas, Gaslog, Pico Far East, Daiwa Industries, Fukushima Industries, Babcock International, Beni Stabili, Bolloré, EVN, G III, Howden Joinery, Iliad, Maire Technimont, OVS, Schaeffler, Travis Perkins.
Over time we will give you more details regarding the characteristics of the main stocks, of which we expect to have very significant revaluations.


text:
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