Ten (Clouddead album)

Ten is the second album by American hip hop trio Clouddead. It was released on Mush Records and Big Dada in 2004.

At Metacritic, Ten received an average score of 74% based on 22 reviews, indicating „generally favorable reviews“.

Molloy Woodcraft of The Observer gave the album 4 stars out of 5, saying: „A mish-mash of odd found sounds, woozy synths and hip hop beats form a bed for a collective scattershot collage of musings on love, life and mortality“. Chris Dahlen of Pitchfork Media felt that „the strongest moments on Ten involve a sustain: sustained organ tones, long throbbing noises, stretches where the words trail off.“ Ed Howard of Stylus Magazine said: „Having allowed hip-hop to fall pretty much entirely by the wayside, the trio has instead embraced the full strength of their abstract poetry and glitchy, junky, rock-informed musical landscapes.“

In February 2004, „Dead Dogs Two“ was chosen by The Observer as their Song of the Month.

In 2015, Ten was chosen by Fact as one of the 100 Best Indie Hip-Hop Records of All Time.

Fylkesvei 385 (Akershus)

Fylkesvei 385 i Akershus går mellom Strømmen stadion og Stalsberg i Skedsmo.

Traséer: Stalsberg – Strømmen kirke (0,6 km), Sagdalen skole – Strømmen stadion (1,5 km).

Skedsmo

Strømsveien

Rælingsveien

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Créancier privilégié

Un créancier privilégié est appelé « privilégié » car il bénéficie d’une garantie, d’une sûreté, lui assurant une priorité de paiement en cas de difficulté du débiteur.

Les créanciers privilégiés ont droit, comme tout créancier, au paiement de leur créance à l’échéance. À défaut, ils disposent d’une priorité de paiement (privilège) sur les autres créanciers ; le terme de « créancier privilégié » s’oppose donc à celui de créanciers chirographaires.

Il existe cependant différents niveaux de « privilège », car tous les créanciers privilégiés ne bénéficient pas de la même priorité.

Les créanciers peuvent être privilégiés en vertu d’une sûreté réelle ou garantie réelle (nantissement, gage, hypothèque, etc.) qu’ils se sont fait consentir par leur débiteur. Cette garantie, comme tout droit réel, leur confère un droit de suite et un droit de préférence.

Les créanciers peuvent également être privilégiés lorsque la loi leur accorde un privilège : dans le cadre d’une procédure collective, les principaux créanciers privilégiés sont les salariés, le fisc, ou certains créanciers bien spécifiques tels que les bailleurs d’immeuble.

Aurora (airline)

Aurora (Russian: Аврора, Avrora) is a Russian Far East air carrier, subsidiary of Aeroflot. It is named after the Russian cruiser Aurora. As of August 2016, the carrier ranks among the top ten Russian biggest airlines in terms of carried passengers. Its head office is in Yuzhno-Sakhalinsk, Sakhalin.

Aurora was created by order of Russian Prime Minister Dmitry Medvedev. Aurora was named Taiga Airline for a short period of time. Aeroflot formed the carrier by amalgamating SAT Airlines and Vladivostok Avia, which served 42 and 15 destinations respectively, and had a combined fleet of 24 aircraft plus 11 helicopters. These two carriers were expected to cease operations in early 2014. The number of routes served was planned to grow from 30 to 128, including the main cities of the Russian Far East, such as Khabarovsk, Magadan, Vladivostok and Yuzhno-Sakhalinsk.

Aurora is 51%-owned by Aeroflot, with the regional government of Sakhalin holding the balance. An initial investment of RUB 430 million (USD 13.5 million) was provided by the parent company through a loan that should be repaid in 2017. The airline carried 1,125 million passengers in 2015, a 7.1% increase year-on-year (YOY). During the first half of 2016 Aurora carried 607,040 passengers, a 19.9% increase YOY.

Aurora started operations on 8 December 2013 (2013-12-08) serving the Khabarovsk–Krasnoyarsk route. As of April 2015, Aurora flies internationally from its three bases located in Khabarovsk, Yuzhno-Sakhalinsk and Vladivostok. The international network includes Beijing, Busan, Harbin, Hong Kong, Sapporo, Seoul, and Tokyo.

The new carrier’s first aircraft was an Airbus A319, wearing a new livery. In December 2015 (2015-12), the airline received the first of three Bombardier Q400 aircraft it has on order. Aurora aims to have a 40-aircraft fleet by 2018, nearly doubling its current size.

As of May 2016, Aurora operates the following aircraft:

Takayama Tatsuo

Takayama Tatsuo (高山辰雄) est un peintre de figures, paysages, fleurs, compositions murales, graveur et illustrateur traditionnel à tendance occidentale japonais du XXe siècle, né le à Ōita et mort le dans l’arrondissement de Setagaya à Tokyo.

En 1931, il entre à l’École des beaux-arts de Tokyo, dans la section peinture japonaise traditionnelle ou nihon-ga, et en sort diplômé en 1936. En 1944n il devient maître de conférence à l’Université féminine de Tokyo; en 1971, il est chargé de cours à l’École nationale des beaux-arts de Tokyo; l’année suivante, il est nommé membre de l’Académie des arts. À partir de 1975, il fait plusieurs séjours en Chine, voyage dans le Sud de la France et en Italie du Nord. Il reçoit la médaille de l’ordre du métier en 1979 et est nommé chevalier des Arts et des Lettres en 1982. À partir de 1934, il participe régulièrement au salon officiel, appelé Teiten de 1919 à 1935, nouveau salon Bunten de 1936 à 1946, Nitten de 1946 à 1958, date à laquelle il devient Nouveau Nitten jusqu’en 1968, puis Nitten réorganisé à partir de 1969, et se déroule toujours au Musée des Beaux-Arts de Tokyo. En dehors de ce salon officiel, Takayama participe à plusieurs expositions collectives de divers groupes artistiques japonais, de 1937 à 1990.

Personnellement, il expose ses œuvres à partir de 1957, essentiellement dans des galeries et grands magasins de Tokyo, mais aussi au grand magasin Tokiwa à Ōita en 1976 et 1981 :

Il expose pour la première fois à l’étranger, en 1995, à l’Espace des arts Mitsukishi-Étoile à Paris. En 1959, il obtient le très officiel Prix de l’Académie des beaux-arts du Japon.

Il commence, en 1939, par réaliser des illustrations pour des livres et jeux d’enfants, pour gagner sa vie. À la suite de la lecture d’une biographie sur Gauguin, il est très impressionné par cette personnalité et son art en subit l’influence: il produit alors des œuvres aux formes simplifiées traitées en aplats de couleur. Il s’intéresse ensuite au paysage, avant de s’orienter, en 1960, vers l’étude de la figure humaine, qui devient le thème principal de son œuvre. Il dessine au pastel les illustrations du roman Ryôsai Shii tel que je le vois, de Mori Atsushi. En 1984, il reçoit la commande de quarante-huit peintures pour le pavillon Okudono du temple bouddhiste Kongōbu-ji.
Takamaya offre, en 1987, des peintures murales pour le temple Nittai-ji du mont Kakuō à Nagoya, il peint également un paravent: La région d’Ōita aux quatre saisons, pour le pavillon Hômeiden du palais impérial à l’occasion des fêtes d’investiture du nouvel empereur.

S’il se veut peindre de la tradition, du nihon-ga, utilisant les pigments naturels et l’encre de Chine, il recherche toujours des directions nouvelles à son art et donne naissance à une sorte de nouveau nihon-ga, qui se rapproche de l’art occidental, surtout dans ses représentations de personnages noyés dans une sorte de halo brumeux.

Cine Rex

Cine Rex was a cinema located at De Keyserlei 15 in Antwerp, Belgium. It opened in 1935 and was designed by Leon Stynen, a Belgian architect, modeled after large American movie theatres.

On 16 December 1944 (the first day of the Ardennes Offensive), at 15.20, a V-2 rocket fired from Holland by the SS Werfer Battery 500 directly landed on the roof of the cinema during a showing of The Plainsman. There were approximately 1,100 people inside the cinema and the explosion killed 567 people including 296 Allied servicemen (194 further servicemen were injured) and 11 buildings in total destroyed. It took nearly a week to dig all the bodies out of the rubble. It was the single highest death total from a single rocket attack during the war. Following the attack all public performance venues were closed and the town council ordered that a maximum of 50 people were allowed to congregate in any one location.

The theatre was re-built in 1947 but closed in 1993 and was demolished in 1995.

Coordinates:

Samatha

Samatha (Pāli), (Sanskrit: शमथ, śamatha) is the Buddhist practice (bhāvanā) of the calming of the mind (citta) and its ‚formations‘ (saṅkhāra). This is done by practicing single-pointed meditation most commonly through mindfulness of breathing. Samatha is common to many Buddhist traditions, especially those that emphasize meditation.

The semantic field of shi and shama is „pacification“, „the slowing or cooling down“, „rest“. The semantic field of is „to abide or remain“ and this is cognate or equivalent with the final syllable of the Sanskrit, thā.

The Tibetan term for samatha is shyiné (Wylie: zhi-gnas). According to Jamgon Kongtrul, the terms refer to „peace“ and „pacification“ of the mind and the thoughts.

In the Pali canon, the Noble Eightfold Path can be summarized into three divisions, namely morality (śīla), concentration (samādhi) and wisdom (paññā). Mindfulness of breathing leads the practitioner into concentration (samādhi), the domain of experience wherein the senses are subdued and the mind abides in uninterrupted concentration upon the object (i.e., the breath), if not in meditative absorption (Dhyāna). It is the condition for insight (vipassanā) and subsequently the development of liberating wisdom (paññā). In Theravada-Buddhism morality (śīla) is understood to be a stable foundation upon which to attain samatha. Samatha and vipassanā form an integral part of the Noble Eightfold Path as described by the Buddha in his core teaching, the Four Noble Truths. The Fourth Noble Truth, „The Way to the End of Suffering“, encompassing sīla, samādhi and paññā, is very much a path inviting practitioners to live by sila, samadhi and paññā.

Samatha (calm) is considered to be developed by training the capacity of concentration (samadhi), which is the ability to rest the attention on a single object of perception. In terms of meditative practices samatha refers to techniques which assist in the calming of the mind. One of the principal techniques taught by the Buddha for this purpose is mindfulness of breathing (Pali: ānāpānasati). This practice is also used in order to concentrate the mind. As such, samatha meditation and concentration meditation are often considered synonymous. The goal is the establishing of mindfulness as used in conjunction with insight (P: vipassanā; S: vipaśyanā) practices, inquiry into the nature of the object, such as those encountered in the dzogchen tradition, resulting in wisdom (P: paññā, S: prajñā). Samatha is commonly practiced as a prelude to and in conjunction with wisdom practices.

Through the meditative development of calm abiding, one is able to suppress the obscuring five hindrances: sensual desire, ill-will, tiredness and sleepiness, excitement and depression, and doubt. With the suppression of these hindrances, the meditative development of insight yields liberating wisdom.

Some meditation practices such as contemplation of a kasina object favor the development of samatha, others such as contemplation of the aggregates are conducive to the development of vipassana, while others such as mindfulness of breathing are classically used for developing both mental qualities.

In the Theravada tradition there are forty objects of meditation. Mindfulness (sati) of breathing (ānāpāna: ānāpānasati; S. ānāpānasmṛti) is the most common samatha practice. Samatha can include other samādhi practices as well.

Theravada Buddhism describes the development of Samatha in terms of three successive mental images or ’signs‘ (nimitta) and five stages of joy (Pīti). Pīti is a feeling of joy, gladness or rapture arising from the abandonment of the five hindrances in favor of concentration on a single object. These stages are outlined by the Theravada exegete Buddhaghosa in his Visuddhimagga (also in Atthasālinī) and the earlier Upatissa (author of the Vimuttimagga).

Five stages of joy:

The three nimittas are the preparatory sign, the acquired sign and the counterpart sign. These are certain mental images, perceptions or sensations which indicate a further refinement of the state of meditative awareness.

Following the establishment of access concentration (upacāra-samādhi), one can enter the four jhanas, powerful states of joyful absorption in which the entire body is pervaded with Pīti.

In the Theravada-tradition various understandings of samatha exist.

In Sri Lanka samatha includes all the meditations directed at static objects.

In Burma, samatha comprises all concentration practices, aimed at calming the mind. In the last decade samatha in the Burmese tradition has been popularized in the west by Pa Auk Sayadaw. This tradition upholds the emphasis on samatha explicit in the commentarial tradition of the Visuddhimagga. Pa Auk Sayadaw presented this tradition through extensive retreats around the world until his retirement in 2012. In 2005, Tina Rasmussen and Stephen Snyder completed the entire detailed samatha path under Pa Auk Sayadaw’s direct supervision. They were subsequently the first Western lay people whom he authorized to teach.

The Thai Forest tradition deriving from Ajahn Mun and popularized by Ajahn Chah stresses the inseparability of samatha and vipassana, and the essential necessity of both practices.

The Buddha is said to have identified two paramount mental qualities that arise from wholesome meditative practice:

The Buddha is said to have extolled serenity and insight as conduits for attaining the unconditioned state of nibbana (Pāli; Skt.: Nirvana). For example, in the Kimsuka Tree Sutta (SN 35.245), the Buddha provides an elaborate metaphor in which serenity and insight are „the swift pair of messengers“ who deliver the message of nibbana via the noble eightfold path.

In the Four Ways to Arahantship Sutta (AN 4.170), Ven. Ānanda reports that people attain arahantship using calm abiding and insight in one of three ways:

In the Pāli canon, the Buddha never mentions independent samatha and vipassana meditation practices; instead, samatha and vipassana are two „qualities of mind“ to be developed through meditation. As Thanissaro Bhikkhu writes,

When [the Pāli suttas] depict the Buddha telling his disciples to go meditate, they never quote him as saying ‚go do vipassana,‘ but always ‚go do jhana.‘ And they never equate the word „vipassana“ with any mindfulness techniques. In the few instances where they do mention vipassana, they almost always pair it with samatha — not as two alternative methods, but as two qualities of mind that a person may ‚gain‘ or ‚be endowed with,‘ and that should be developed together.

Similarly, referencing MN 151, vv. 13-19, and AN IV, 125-27, Ajahn Brahm (who, like Bhikkhu Thanissaro, is of the Thai Forest Tradition) writes that

Some traditions speak of two types of meditation, insight meditation (vipassana) and calm meditation (samatha). In fact the two are indivisible facets of the same process. Calm is the peaceful happiness born of meditation; insight is the clear understanding born of the same meditation. Calm leads to insight and insight leads to calm.“

A number of Mahāyāna sūtras address śamatha, usually in conjunction with vipaśyanā.

One of the most prominent, the Cloud of Jewels Sutra (Ārya Ratnamegha Sutra, Tib. ‚phags-pa dkon-mchog sprin-gyi mdo) divides all forms of meditation into either śamatha or vipaśyanā, defining śamatha as „single-pointed consciousness“ and vipaśyanā as „seeing into the nature of things.“

The Sūtra Unlocking the Mysteries (Samdhinirmocana Sūtra), a yogācāra sūtra, is also often used as a source for teachings on śamatha. The Samādhirāja Sūtra is often cited as an important source for śamatha instructions by the Kagyu tradition, particularly via commentary by Gampopa, although scholar Andrew Skilton, who has studied the Samādhirāja Sūtra extensively, reports that the sūtra itself „contains no significant exposition of either meditational practices or states of mind.“

Śamatha furthers the right concentration aspect of the noble eightfold path. The successful result of śamatha is also sometimes characterized as meditative absorption (samādhi, ting nge ’dzin) and meditative equipoise (samāhita, mnyam-bzhag), and freedom from the five obstructions (āvaraṇa, sgrib-pa). It may also result in the siddhis of clairvoyance (abhijñā, mgon shes) and magical emanation (nirmāna, sprul pa).

According to Culadasa (2015), „Samatha has five characteristics: effortlessly stable attention (samādhi), powerful mindfulness (sati), joy (pīti), tranquility (passaddhi), and equanimity (upekkhā). The complete state of samatha results from working with stable attention (samādhi) and mindfulness (sati) until joy emerges. Joy then gradually matures into tranquility, and equanimity arises out of that tranquility. A mind in samatha is the ideal instrument for achieving Insight and Awakening“

In a formulation originating with Asaṅga (4th CE), śamatha practice is said to progress through nine „mental abidings“ or Nine stages of training the mind (S. navākārā cittasthiti, Tib. sems gnas dgu), leading to śamatha proper (the equivalent of „access concentration“ in the Theravāda system), and from there to a state of meditative concentration called the first dhyāna (Pāli: jhāna; Tib. bsam gtan) which is often said to be a state of tranquillity or bliss. An equivalent succession of stages is described in the Ten oxherding pictures of Zen. The Nine Mental Abidings as described by Kamalaśīla are:

The textual tradition of Tibetan Buddhism identifies five faults and eight antidotes within the practice of śamatha meditation. The five faults identify obstacles to meditation practice, and the eight antidotes are applied to overcome the five faults. This formulation originates with Maitreyanātha’s Madhyānta-vibhāga and is elaborated upon in further texts, such as the Stages of Meditation (Bhāvanākrama) by Kamalaśīla.

To practice śamatha, one must select an object of observation (ālambana, dmigs-pa). Then one must overcome the five faults (ādīnava, nyes-dmigs):

The following eight antidodes (pratipakṣa, gnyen-po) or applications (abhisamskāra, ’du-byed pa) can be applied to overcome the five faults:

Six powers (bala, stobs) are also needed for śamatha:

Four modes of mental engagement (manaskāra, yid-la byed-pa) are said to be possible:

Śamatha is approached somewhat differently in the mahāmudrā tradition as practiced in the Kagyu lineage. As Traleg Kyabgon Rinpoche explains,

In the practice of Mahamudra tranquility meditation … we treat all thoughts as the same in order to gain sufficient distance and detachment from our current mental state, which will allow us to ease naturally into a state of tranquility without effort or contrivance […] In order for the mind to settle, we need to suspend the value judgments that we impose on our mental activities […] it is essential that we not try to create a state of tranquility but allow the mind to enter into tranquility naturally. This is an important notion in the Mahamudra tradition, that of nondoing. We do not do tranquility meditation, we allow tranquility to arise of its own accord, and it will do so only if we stop thinking of the meditative state as a thing that we need to do actively […] In a manner of speaking, catching yourself in the act of distraction is the true test of tranquility meditation, for what counts is not the ability to prevent thoughts or emotions from arising but the ability to catch ourselves in a particular mental or emotional state. This is the very essence of tranquility meditation [in the context of Mahāmudrā] […] The Mahamudra style of meditation does not encourage us toward the different levels of meditative concentration traditionally described in the exoteric meditation manuals […] From the Mahamudra point of view, we should not desire meditative equipoise nor have an aversion to discursive thoughts and conflicting emotions but view both of these states with equanimity. Again, the significant point is not whether meditative equipoise is present but whether we are able to maintain awareness of our mental states. If disturbing thoughts do arise, as they certainly will, we should simply recognize these thoughts and emotions as transient phenomena.

For the Kagyupa, in the context of mahāmudrā, śamatha by means of mindfulness of breathing is thought to be the ideal way for the meditator to transition into taking the mind itself as the object of meditation and generating vipaśyanā on that basis.

Quite similar is the approach to śamatha found in dzogchen semde (Sanskrit: mahāsandhi cittavarga). In the semde system, śamatha is the first of the four yogas (Tib. naljor, Wylie: rnal-’byor), the others being vipaśyanā (Wylie: lhag-mthong), nonduality (advaya, Tib. nyime,Wylie: gnyis-med), and spontaneous presence (anābogha or nirābogha, Tib. lhundrub, Wylie: lhun-grub). These parallel the four yogas of mahāmudrā.

In June 1996 Ajahn Amaro established Abhayagiri Monastery in Redwood Valley, California, where he was co-abbot with Ajahn Pasanno until July, 2010 Ajahn Amaro returned to Amaravati in July, 2010 and as a longtime student in the Thai Forest Theravādin tradition of Ajahn Chah, has also trained in the dzogchen semde śamatha approach under Tsoknyi Rinpoche. He found similarities in the approaches of the two traditions to śamatha.

Dzogchen Pönlop Rinpoche clearly charts the developmental relationship of the practices of śamatha and vipaśyanā:

The ways these two aspects of meditation are practised is that one begins with the practice of shamatha; on the basis of that, it becomes possible to practice vipashyana or lhagthong. Through one’s practice of vipashyana being based on and carried on in the midst of shamatha, one eventually ends up practicing a unification [yuganaddha] of shamatha and vipashyana. The unification leads to a very clear and direct experience of the nature of all things. This brings one very close to what is called the absolute truth.

Meditations from other religious traditions may also be recognized as samatha meditation, that differ in the focus of concentration. In this sense, samatha is not a strictly Buddhist meditation. Samatha in its single-pointed focus and concentration of mind is cognate with the sixth „limb“ of aṣṭanga yoga‘, rāja yoga which is concentration (dhāraṇā). For further discussion, see the Yoga Sūtras of Patañjali.

iHOP (Datenbank)

iHOP (information Hyperlinked Over Proteins) ist eine frei zugängliche Literatursuchmaschine, die in Abstracts von Pubmed-Artikeln vorkommende Gen- und Proteinbezeichnungen als Hyperlinks verwendet und somit die Suche nach thematisch miteinander verwandten biowissenschaftlichen Artikeln erleichtert. Vor allem wird eine einfache und schnelle Suche nach Interaktionspartnern von Genprodukten beziehungsweise nach Artikeln, die entsprechende Interaktionen beschreiben, ermöglicht. Des Weiteren findet sich eine sorgfältig recherchierte Aufzählung von Synonymen für Gennamen.

Im Gegensatz zu konventionellen Suchmaschinen, die eine Liste von Ergebnissen liefern, strebt iHOP danach, zusammenhängende Inhalte zu verlinken (wie es beispielsweise bei Wikipedia der Fall ist). In den biomedizinischen Wissenschaften – mit dem Zugangsportal Pubmed – bieten sich dafür als natürliche Informationseinheiten Gene bzw. Genprodukte (also Proteine) an. Pubmed lässt sich somit als ein Netzwerk von Genen betrachten, der mit Hyperlinks versehen und ähnlich wie das Internet gehandhabt werden kann. Der Zusammenhang zwischen den Artikeln wird dabei über in einzelnen Abstract-Sätzen vorkommende Genbezeichnungen hergestellt.

Einmal monatlich werden Genbezeichnungen (aus Datenbanken wie UniProt und LocusLink) sowie Abstracts von Pubmed-Artikeln importiert. Die Abstracts werden maschinell nach Gensynonymen und MeSH-Begriffen (Medical Subject Headings) durchsucht (Wörterbuch-basierte Suche). Für jedes Gen und jedes Abstract wird eine Quellseite erstellt, die in Sätze gegliederten Originaltext enthält, wobei Gensynonyme, MeSH-Begriffe und assoziierte Verben hervorgehoben sind. Genseiten enthalten zusätzliche Informationen (wie z.B. über homologe Gene). Bei Useranfrage werden die entsprechenden Quellseiten als HTML-Seiten präsentiert.

Bei der Suche nach einem Gen bzw. Genprodukt (also Protein; zwischen Gen und Protein wird nicht unterschieden) gelten diejenigen aus Abstracts entnommenen Sätze als Treffer, in der die Bezeichnung für das gesuchte Gen in Verbindung mit einem MeSH-Begriff oder mit einer weiteren Genbezeichnung vorkommt (was eine Interaktion der beiden Genprodukte nahelegt). Ein wesentliches Feature sind dabei die zahlreichen aus verschiedenen Datenbanken zusammengetragenen Synonymbezeichnungen für ein Gen. Der entsprechende MeSH-Begriff kann für eine google- oder Pubmed-Suche verwendet werden. Das in Verbindung mit dem ersten Gen erwähnte zweite Gen führt dagegen als Hyperlink auf eine eigene Seite, auf der wiederum die Information für dieses Gen zusammengetragen ist (also der Zusammenhang zu entsprechenden MeSH-Begriffen beziehungsweise weiteren Genen; dabei werden die Interaktionen mit dem Gen, über den man auf die entsprechende Seite gelangt ist, an erster Stelle angeführt). Diese Möglichkeit, Genbezeichnungen als Hyperlinks zu verwenden, ist die ursprüngliche Idee und die eigentliche Stärke von iHOP; es verschafft somit einen schnellen Überblick über zueinander in Beziehung stehende Genprodukte. Die entsprechenden Auszüge aus Abstracts können gespeichert und die Verbindungen zwischen den Genprodukten graphisch dargestellt werden.

NCBI-BLAST | CDART | CDD | Ensembl | Entrez Gene | Flybase | Flymine | Genome-Browser | GeneCard | GFP-cDNA | Google Scholar | GoPubMed | Harvester42 | H-InvDB | HomoloGene | iHOP | IPI | MGI | Mitocheck | OMIM | PolyMeta | PSORT | RGD | Unigene | UniProt | SMART | SOSUI | SOURCE | RZPD | STRING | TAIR | Wikiprofessional | ZFIN |

Natan Zach

Natan Zach (als Harry Seitelbach geboren 13. Dezember 1930 in Berlin) ist ein israelischer Lyriker.

Harry Seitelbachs Vater stammte aus einer wohlhabenden deutschen jüdischen Familie, seine Mutter war eine italienische Katholikin, sie mussten 1936 aus Deutschland emigrieren. Die Familie gelangte über Frankreich und Mailand nach Haifa in das britische Protektorat Palästina, wo der Vater alsbald verstarb. Zach wurde 1948 Soldat der Israelischen Armee im Palästinakrieg und diente noch zwei weitere Jahre als Offizier.

Zach lernte Ivrit. Er spricht sieben Sprachen und kommentiert das lakonisch: Wer sieben Sprachen spricht, ist kein Genie, sondern ein Flüchtling. Er studierte in Jerusalem bei Martin Buber, Ernst Simon und Hugo Bergmann an der Hebräischen Universität und wurde 1952 Kopf der Gruppe junger Literaten „Likrat“, in der auch Jehuda Amichai, Gershon Sheked und Benjamin Harshav wirkten. 1955 veröffentlichte er seine erste Gedichtsammlung Shirim Rishonim (Erste Lieder). Zach forderte 1959 eine Abkehr vom pathetischen Stil der bis dahin von Nathan Alterman dominierten Lyrik in Israel.

Zwischen 1960 und 1967 lehrte Zach Literatur an verschiedenen Institutionen in Tel Aviv und Haifa. Mit Emil Habibi gründete er eine jüdisch-arabische Dichtergruppe und übersetzte 1967 zusammen mit dem palästinensischen Dichter Rashid Hussein (1936–1977) arabische Volkslieder. Von 1968 bis 1979 lebte er in England und wurde zum PhD an der University of Essex promoviert. Zurück in Israel wurde er zum Professor an die Universität Haifa berufen. Im Kulturleben engagierte er sich im Beirat des Ohel-Theaters und des Cameri-Theaters.

Mit Werken von Else Lasker-Schüler, Paul Celan, Bertolt Brecht und Max Frisch übersetzte Zach moderne deutsche Poetik und Dramatik ins Hebräische. Er übersetzte auch Allen Ginsberg aus dem Englischen.

Zachs Lyrik wurde in mehr als zwanzig Sprachen übersetzt. Viele seiner Gedichte wurden vertont und sind so in die israelische Alltagskultur eingegangen. Chaya Czernowin vertonte 2012 seinen Text Rega echad, sheket bevakasha zu einer Chormusik.

Olympisches Fußballturnier 1980/Kuwait

Dieser Artikel behandelt die Kuwaitische Fußballolympiaauswahl während der Olympischen Sommerspiele 1980.

In der Asiatischen Zone ermittelte die Gruppe 1 ihren Teilnehmer für die Olympischen Sommerspiele 1980 in einem Turnier im irakischen Bagdad. Dabei belegte Kuwait in der Abschlusstabelle den zweiten Platz auf Grund des schlechteren Torverhältnisses gegenüber dem Gastgeber Irak. Im anschließenden Finale besiegte man den Irak und qualifizierte sich für die Olympischen Sommerspiele 1980 in Moskau,

Turnier in Bagdad

Abschlusstabelle

Spielergebnisse

Finale

Qualifiziert für die nächste Kontinentale Runde     Qualifiziert für die Olympischen Spiele 1980

In der Vorrunde ging es nach einem Sieg gegen Nigeria und einem Unentschieden gegen Kolumbien im letzten Spiel gegen die Tschechoslowakei um den ersten Platz in der Gruppe, den sich die Tschechoslowakei mit einem Unentschieden auf Grund des besseren Torverhältnisses sicherte. Als Zweiter qualifizierte man sich für das Viertelfinale, wo man nach einer Niederlage gegen den Gastgeber Sowjetunion aus dem Turnier ausschied.

Neue Fußballwoche (fuwo). Sportverlag Berlin 1979-1981, ISSN .

Europa: DDR | Finnland | Jugoslawien | Sowjetunion | Spanien | Tschechoslowakei

Afrika: Algerien | Nigeria | Sambia | Asien: Irak | Kuwait | Syrien | Nord- und Mittelamerika: Costa Rica | Kuba | Südamerika: Kolumbien | Venezuela

Qualifikation zur Olympiade 1980