超级玛利欧乐园3 坏利欧乐园

Gameplay.

"Wario Land" features gameplay markedly different from the previous two games in the "Super Mario Land" series. The game takes place on a route through several themed areas, which are split into several courses culminating in a boss fight. Wario is able to jump on or bump into enemies to knock them over. Enemies thus stunned can be picked up and thrown at other enemies. When in his grown form, Wario is also able to perform a shoulder charge, which is used to attack enemies, break through blocks and open hidden treasure chests.  There are additionally three unique helmets that Wario can obtain, with their own abilities. The Bull Helmet increases Wario's strength and doubles the length of his shoulder charge attack, allowing him to smash through blocks more easily. It also gives Wario the abilities to stick onto ceilings and perform a "butt stomp" into the ground which stuns nearby enemies and breaks through blocks underneath him. The Jet Helmet increases Wario's running speed and lets him fly in purely horizontal directions in the air, as well as to shoulder charge underwater. Finally, the Dragon Helmet lets Wario shoot long-ranged bursts of flames both on land and underwater, which destroy enemies and blocks on contact. This attack replaces his shoulder charge so long as he wears the Dragon Helmet. Players can also collect a Starman to gain temporary invincibility. If Wario takes damage from an opponent or obstacle, he will shrink, losing his shoulder charge move, and will remain small until he collects a clove of garlic, a helmet, or reaches the end of the level. If Wario is hit while small, or is hit by an instant kill obstacle, such as pits or lava, he will lose a life and all the coins he had collected in that level.  Unlike the "Mario" series, in which coins are typically used to earn extra lives, coins in this game are instead used as currency. They can be earned by collecting them, finding them in blocks, or shoulder charging enemies. If Wario has acquired 10 or more coins in a level, he can pull out a 10-coin piece, which he can throw at enemies, and pick up again if desired. They can also be spent to open level exits, or activate checkpoints. Extra lives are earned by collecting heart points, which are earned by defeating enemies or collecting Hearts, with an extra life earned for every 100 points. At the end of each level, the player can choose to either gamble the coins they have collected in the level in a game of chance, or spend them to try and earn heart points.  Certain levels contain a locked treasure room, each of which contains a unique treasure. To acquire the treasure the player must find the key in the level, carry it to the treasure room (Wario cannot use helmet abilities or the shoulder charge while carrying the key), break open the treasure chest, take the treasure, and finish the level. Upon finishing the game, each treasure the player has acquired is traded in for a set amount of coins. Even the least valuable treasure is worth roughly as much coins as the player would normally acquire over the entire game. The game's ending varies according to how many total coins the player has.

Plot.

After being ejected from Mario's castle in, Wario resolves to get his own castle, one even bigger and more impressive than Mario's. To fund this extravagant dream, he travels to Kitchen Island, where the Brown Sugar Pirates have hidden many treasures and coins, including a golden statue of Princess Peach, stolen from the Mushroom Kingdom. Wario intends to retrieve this statue and sell it back to Mario for the price of a castle. After exploring the island, stealing the pirates' treasures, and infiltrating their Syrup Castle, Wario confronts the leader of the pirates, a female buccaneer named Captain Syrup. She summons a genie to destroy Wario, but he defeats the genie and Syrup destroys the castle with a large bomb as she escapes. In doing so, the pirates' biggest treasure is revealed: the giant gold statue of Princess Peach. However, Mario appears in a helicopter, thanks Wario and takes the statue away in front of his eyes.  Still holding the genie's lamp, Wario summons the genie and wishes for a castle. The genie tells him that he requires money to grant his wish, and so Wario gives him all the coins the player has collected over the course of the game, plus trades in all the found treasures for more coins. Exactly how well the genie grants Wario's wish depends on the final amount of coins he is given: Wario can get (from best to worst outcome) a castle, a Chinese pagoda, a log cabin, a treehouse, or a tiny birdhouse. If the player collects all the treasures and has enough coins to reach the 99,999 limit, the genie will give Wario an entire planet with his face etched on its surface.

Release.

Originally released for the Game Boy on January 21, 1994 in Japan and in March 13-May 13 in North America and Europe, the game was later re-released on the Nintendo 3DS's eShop Virtual Console download service in Japan on December 14, 2011, Europe on February 16, 2012 and North America on July 26, 2012. The game can be downloaded along with its predecessors, "Super Mario Land" and "".

Reception.

Game Informers Ben Reeves called it the 13th best Game Boy game and called it the most successful spin-off from the "Mario" series. GamePro named it the best Game Boy game at the 1994 Consumer Electronics Show, praising the new power-ups and the multiple endings. In their later review, they deemed the game "faster, more challenging, and more fun than its hand-held predecessors." They particularly commented that the backgrounds were not as cluttered as in the previous games, making the action easier to follow, that the music was less obtrusive, and that the sprites were better detailed. The four reviewers of Electronic Gaming Monthly gave it a unanimous 7 out of 10, criticizing that the game is too easy but praising the new power-ups and strong graphics. Pocket Gamer awarded the Virtual Console re-release a 9 out of 10, insisting that "this is a Nintendo classic that you must play – especially if you never have before." Nintendo Life similarly awarded the game 9 out of 10, praising the game as being "some of the best platforming the Game Boy system has to offer."

Legacy.

"Wario Land", the sequel to "Super Mario Land 2: 6 Golden Coins", was designed to promote Wario to a starring role and expand the Mario universe. "Wario Land" spawned five popular sequels: "Virtual Boy Wario Land", "Wario Land II", "Wario Land 3", "Wario Land 4", and "". Other Wario titles have been released following the success of "Wario Land", including "Wario World", "", and the "WarioWare Inc." series.  Several "Mario" spin-off titles have referenced the original "Wario Land". In "Picross 2", Wario is depicted wearing his safari helmet that was introduced in this title. Similarly, Wario's Amiibo board map in "Mario Party 10" features his safari helmet as a background element. And finally, in "Mario Kart 7", Wario's bull transformation appears as a billboard on the Wario Shipyard racetrack. Additionally, the music track of this course is based on the main theme of "Wario Land".

Wario Land: Super Mario Land 3 is a platform game developed by Nintendo for the Game Boy in 1994. It is the first video game to feature Wario as both a playable character and the main character, as well as the first appearance of Captain Syrup and her Brown Sugar Pirates, recurring villains in the "Wario Land" series.

是1994年1月21日任天堂在Game Boy发售超级玛利欧乐园系列的第3部作品,亦是最后一部作品。这次主角换成在《超级玛利欧乐园2 六个金币》中担任最终BOSS的坏利欧担任主角,是开启坏利欧系列的第一部作品。


History.

Following a statement made at the Assembly of the Member States of the World Intellectual Property Organization (WIPO) in September 1998, the Director General of the National Algerian Institute for Industrial Property (INAPI) proposed on 7 April 1999 the institutionalisation of an international day for intellectual property, with the aim of  On 9 August 1999, the Chinese delegation to the WIPO proposed the adoption of the "World Intellectual Property Day"  In October 1999, the General Assembly of the World Intellectual Property Organization (WIPO) approved the idea of declaring a particular day as a World Intellectual Property Day.

Criticism.

Mike Masnick of "Techdirt" wrote that World Intellectual Property Day is intended "to promote ever greater protectionism and mercantilism in favor of copyright holders and patent holders, while ignoring any impact on the public of those things. It's a fairly disgusting distortion of the claimed intent of intellectual property." Zak Rogoff of the "Defective by Design" noted that this event is a "global but decidedly not grassroots event". This event has also been criticized by the activists from civil society organizations such as IP Justice and the Electronic Information for Libraries who consider it one-sided propaganda as the marketing materials associated with the event, provided by WIPO, "come across as unrepresentative of other views and events". Michael Geist, a law professor at the University of Ottawa, noted that "World Intellectual Property Day has become little more than a lobbyist day". Cushla Kapitzk from the Queensland University of Technology wrote that most of the WIPO's statements related to promotion of the World Intellectual Property Day are "either exaggerated or unsubstantiated"; noting that for example one of WIPO's claims used to promote this event, namely that "copyright helps bring music to our ears and art, films and literature before our eyes" is "tenuous at best, and lexical association of copyright with things recognised as having social and cultural value (‘art’, ‘film’ and ‘literature’) functions to legitimate its formulation and widespread application".  A number of grassroots-supported observances in opposition of prevalent IP laws celebrated by the World Intellectual Property Day exist, none of them supported by WIPO:

Themes.

Each year, a message or theme is associated with the event:

World Intellectual Property Day is observed annually on 26 April. The event was established by the World Intellectual Property Organization (WIPO) in 2000 to "raise awareness of how patents, copyright, trademarks and designs impact on daily life" and "to celebrate creativity, and the contribution made by creators and innovators to the development of societies across the globe". 26 April was chosen as the date for World Intellectual Property Day because it coincides with the date on which the Convention Establishing the World Intellectual Property Organization entered into force in 1970.

世界知识产权日是4月26日,2001年起每年一次。


Plot.

Ángela, a university student in Madrid, is planning to write a thesis on audiovisual violence and the family. As she is sitting on a commuter train, it halts and passengers are told to evacuate. A man has committed suicide by jumping in front of the train. While being led out of the station, Ángela moves toward the tracks to see the man's remains. She is warded away at the last instant. At a thesis meeting, she asks her thesis director, Professor Figueroa, to help her find the most violent videos in the school's video library. After class, Ángela seeks out the help of a fellow student, Chema, who is known for his collection of violent and pornographic videos. While Ángela watches a violent film with Chema, Figueroa finds a tape hidden in the school's audiovisual archives. The next day, Ángela finds Figueroa dead of an apparent asthma attack in the university's viewing room. She takes the video tape from the player and leaves for class. A younger professor, Castro, takes over Figueroa's classes and the supervision of Ángela's thesis project. She goes to Chema's house to watch the film she stole. It is a snuff film, a film of a person being murdered. As they watch a woman being tortured, killed, and disemboweled, Chema realizes that she was Vanessa, a girl who attended their university and went missing two years ago. Chema is able to determine that the killer used a Sony XT-500 camera, based on the fact that it had a digital zoom feature, and that the film was shot in someone's garage.  While at the library working on her thesis, Ángela sees a handsome young man named Bosco using an XT-500 camera. When she leaves the library, he pursues and catches up to her. He notices that she has newspaper clippings about Vanessa's disappearance and states that he has information about Vanessa. Ángela pretends she is filming a report about Vanessa's disappearance and asks to interview Bosco about it. At the interview, he insists that Vanessa must have run away with a boyfriend because she sent a note to her family saying that she was in love. Ángela is willing to accept Bosco's innocence, but Chema tells her that Bosco is a psychopath. Once home, Ángela realizes that Bosco is inside her house waiting for her. Although she is initially frightened, Bosco charms her family and they invite him to stay for dinner. Once alone, Bosco attempts to seduce Ángela, but she resists his advances. At the school, Chema asks a security guard to see the security tape of the video library on the night of Figueroa's death. That night, Ángela has a dream that Bosco threatens her with a knife, performs oral sex on her while videotaping it, and then stabs her.  At a thesis meeting, Professor Castro asks Ángela what she knows about Figueroa's death. Ángela denies all knowledge, but Castro plays her a security tape of the viewing room, which shows Ángela finding Figueroa's dead body and taking the videotape. As Ángela is about to admit why she took the tape, Chema calls. Ángela answers the phone in a separate room and Chema tells her to leave Castro's office immediately, saying that Castro is involved in the snuff film. Castro listens in on the call and tries but fails to catch Ángela as she flees his office. Later that day, Bosco's girlfriend, Yolanda, confronts Ángela and explains that she, Vanessa, Bosco, and Chema, who was once a friend of Bosco, had gone to a series of director's workshops two years ago with Professor Castro. Yolanda states that she left when they made Vanessa take off her clothes for a short film, that Chema was obsessed with snuff films, and that she believes he killed Vanessa a week after the workshop ended. Later, Angela asks Chema whether he knew Bosco, and Chema admits that he did, but that he also left the workshop when things got out of hand. At night, Chema shows Ángela a hidden tunnel he discovered in the school's video library. In a room off the tunnel, they find shelves of video tapes like the one of Vanessa, indicating that many other women may have been murdered on camera. Suddenly the door to the tunnel closes and they are locked inside. Fearing they will be killed, Chema and Ángela walk further into the tunnel with only matches to light their way. They find an editing room where they fall asleep in each other's arms.  When Ángela wakes, the lights have come back on and Chema is gone. She walks through a doorway and is chloroformed. She awakens tied to a chair, facing Professor Castro, who is videotaping her. He tells that he only edited the snuff videos, but that he has to kill her and that her death will be painless and much quicker than Vanessa's. As Castro aims a gun at Ángela's head, Chema appears and wrestles with him. The gun goes off, killing Castro. Ángela and Chema escape. Once at her house, Ángela's father tells her that her sister, Sena, is at a party with Bosco. Terrified, Ángela hurries to the party. Once there, Sena refuses to leave with Ángela, insisting that Bosco is in love with her. In order to persuade her sister to leave, Ángela approaches Bosco and passionately kisses him. The next day, Ángela tells Chema they need to go to the police. Although first reluctant, Chema agrees but takes a shower before leaving. While Chema is in the bathroom, Angela finds an XT-500 camera among Chema's things. The tape inside the camera reveals footage taken of Ángela from outside her bedroom window. Convinced that Chema has been stalking her, Ángela flees. She goes back home to advise her sister to remain safe, then takes a taxi to Bosco's house. She is followed by a figure in a black rain coat.  At Bosco's house, Bosco and Ángela talk about their relationship. Suddenly, the lights go out and Bosco goes downstairs to check on the power. When Ángela follows him, she finds him lying on the floor. Chema has followed her to the house and knocked out Bosco, but Bosco revives and in the struggle that ensues, Bosco beats Chema to the ground. While Bosco goes to get rope to tie up Chema, Chema tells Ángela to look in Bosco's garage. As Bosco binds Chema, Ángela goes to the garage, which she recognizes from the snuff film of Vanessa. Bosco ties up Ángela and explains how he intends to torture and kill her. However, Ángela cuts her bonds with a knife, slashes Bosco, grabs his gun, and shoots him dead. Ángela visits a recovering Chema in the hospital. On the television in his room, an announcer states that the bodies of six women were found at Bosco's home. Ángela gives Chema a book inscribed with an invitation to have coffee with her and tells him she is going to abandon her thesis. As they leave, the announcer states that footage from a snuff film will be shown on air.

Critical response.

As a film made by a film student about film students, much of "Tesis" is metafilmic and comments on the Spanish film industry, Hollywood influence and the voyeuristic nature of the horror and snuff genres. Following the aesthetic of the American horror genre, Angela operates as the "Final Girl", or resourceful female protagonist that defies stereotypical feminine traits. Although "Tesis" fits the suspenseful mold of a Hollywood horror flick rather than its symbol-rich European counterpart, according to European film critic Marguerite la Caze, "Tesis" has a thesis: "human beings, no matter how well-meaning, are attracted to violence and death in all its forms".  "Tesis" has generated much critical analysis due to its study of the fascination of violence. Film critic Leora Lev discusses Angela's ethical rejection and simultaneous attraction to violent images as this film's primary conversation. Lev states that Angela's psychosexual conflict with both the snuff film and the murderer, Bosco, is emblematic of the culture that consumes violent films and reality television series.  On the film-critics aggregator Rotten Tomatoes, "Thesis" has a critical rating of 71% based on 7 reviews.

Tesis () is a 1996 Spanish thriller film. It is the feature debut of director Alejandro Amenábar and was written by Amenabar and Mateo Gil. The film was made while he was studying at the Complutense University in Madrid. The film won seven 1996 Goya Awards including the award for Best Film, Best Original Screenplay and Best Director. It stars Ana Torrent, Fele Martínez and Eduardo Noriega.

《死亡论文》()是亚历桑德罗·阿曼巴拍摄的第一部长片,由安娜·托伦特、费雷·马丁内兹和爱德华多·诺列加主演。 影片在评论界和商业上都获得了巨大的成功,标志着这位西班牙导演事业的开始。影片获得多个奖项,包括戈雅最佳电影奖、最佳原创剧本奖和最佳新人导演奖。


Variations.

Mainstream CHR.

Also known as CHR/pop or teen CHR. Plays pop, and dance, and sometimes urban, alternative, rock, and country crossover as well. Often referred as "top 40"; in terms of incorporating a variety of genres of music, CHR/pop is the successor to the original concept of top 40 radio which originated in the 1950s. Examples of CHR/pop stations in the United States, Brazil and the Philippines include WHTZ in New York City, KIIS-FM and KAMP-FM in Los Angeles, Jovem Pan And Jovem Pan FM in Brazil, KLUC in Las Vegas, KRBE in Houston, KXXM and KTFM in San Antonio, WIOQ in Philadelphia, WXKS-FM in Boston, WKSC-FM and WBBM-FM in Chicago, WFLZ in Tampa/St. Petersburg, WHYI in Miami, WNCI in Columbus, Ohio, WZPL in Indianapolis, KDWB in Minneapolis/St. Paul, and DWFO, DWTM and DWRT-FM in Manila, Philippines.

Adult CHR.

These stations typically are hybrids of the contemporary hit radio (CHR/pop) and hot AC formats. This format contains a strong focus on current chart, contemporary and recurrent hits as well as placing a minority of older, classic hits from the 2000s and early to mid 2010s onto the playlist. Adult CHR stations play pop-friendly rhythmic, dance and hip hop titles from artists such as Rihanna, Post Malone, Khalid, Lizzo, Black Eyed Peas, The Weeknd, Doja Cat and Blackbear alongside standard mainstream pop and pop rock fare.  Examples in the U.S. include WKRQ in Cincinnati, WWMX in Baltimore, WKFR-FM in Kalamazoo, WROK in Rockford, Illinois, WKCI in New Haven, WZYP in Huntsville, KBMX in Duluth, WMXZ in Charleston, Sirius XM Hits 1, WNDV in South Bend, WIXX in Green Bay, KLTG in Corpus Christi and KZZO in Sacramento. United Kingdom (UK) media regulator Ofcom states: "where a format requires a contemporary and chart music service, the main diet must be of modern music, reflecting the charts of today and recent months. Older, classic tracks would not be out of place, but only as spice to the main offering."  The adult CHR format is sometimes utilized by stations which are heritage Top 40/CHR outlets in their respective markets which have been in the format since the 1970s or 1980s or FM successors to former AM top 40s. "See also: Adult Top 40, a US Billboard chart."

Rhythmic CHR.

Also known as CHR/rhythmic, or CHR/urban. These stations focus on hip-hop and dance-pop. There are differences between CHR/rhythmic and the urban contemporary format; urban stations will often play R&B and soul songs that CHR/rhythmic stations will not, and CHR/rhythmic stations, despite playlists heavy with urban product, sometimes have white disc jockeys and will include EDM and rhythmic pop music that urban outlets will not play. KYLD in San Francisco, WQHT in New York, and KPWR in Los Angeles are among the most successful CHR/rhythmic stations in the U.S. and among the pioneers of the format.

Bilingual CHR.

Bilingual Spanish CHRs (such as WPOW in Miami, KHHM in Sacramento, California, KKPS and KBFM in Brownsville, Texas, WKAQ and WXYX in San Juan, Puerto Rico, KBHH in Fresno, California and WRUM-HD2 in Orlando, Florida) combine current and recent mainstream and rhythmic CHR hits with recent Latin pop hits, targeting young Latina listeners. Similarly, bilingual French CHRs (such as CKOI-FM in Montreal) are common in many Canadian markets, and combine anglophone and French pop hits.

CHR/dance.

Playing dance remixes of popular songs with perhaps some current hits from the dance charts. Pure dance-music radio stations (as opposed to CHR/rhythmic and rhythmic AC formats such as MOViN) are not very common but tend to have loyal audiences in the markets where they do exist. Examples include KDHT-FM in Denver, WPTY on Long Island, NY and KNHC in Seattle. "See also: Dance/Mix Show Airplay"

CHR/rock.

Stations with this format are similar in some ways to the adult CHR and mainstream CHR/pop formats, but also incorporate modern rock and modern AC titles in an upbeat presentation. Examples include KSXY in Santa Rosa, California and KKCK in Marshall, Minnesota.  An early version of rock-leaning CHR is Rock 40, which was popular in the late 1980s. This format, developed by Joint Communications who servicemarked the name in 1987, is a young-male-targeted hybrid of CHR and album-oriented rock (AOR) that combines the formatics of the former with the music mix of the latter. After a short period of successful ratings, the Rock 40 format began to decline because it was too similar to conventional AOR yet lacked appeal among CHR fans who desired less emphasis on rock. According to Lee Abrams, a pioneer of the AOR format, Rock 40 was "too wimpy for the real rockers and too hard for the mainstream people". Stations that previously broadcast the format include KEGL in Dallas, KQLZ (Pirate Radio) in Los Angeles, KRZR in Fresno, California, KXXR in Kansas City, and WMMS in Cleveland. Rock 40 stations eventually segued to CHR or an AOR spinoff format such as active rock or modern rock.

Other variations.

There are also ethnic variations, such as CHR/español (Latin pop), and CHR/Tejano (Tex-Mex and Tejano) which are commonly found in Arizona, Texas, California, and Mexico. In Greater China (People's Republic of China, Taiwan, and Hong Kong), there is also Mandopop and Cantopop which are the top 40 variants in that language.

Key contributors.

Todd Storz.

Credit for the format is widely given to Todd Storz, who was the director of radio station KOWH-AM in Omaha, Nebraska in 1951. At that time typical AM radio programming consisted largely of full-service "block programming": pre-scheduled, sponsored programs of a wide variety, including radio dramas and variety shows. Local popular music hits, if they made it on the air at all, had to be worked in between these segments. Storz noted the great response certain songs got from the record-buying public and compared it to the way certain selections on jukeboxes were played over and over. He expanded his domain of radio stations, purchasing WTIX-AM in New Orleans, Louisiana, gradually converted his stations to an all-hits format, and pioneered the practice of surveying record stores to determine which singles were popular each week. Storz found that the more people heard a given song on the radio or from the jukebox, the more likely they were to buy a copy; a conclusion not obvious in the industry at the time. In 1952 he purchased what was then WLAF-AM in Lafayette, Indiana and constructed WAZY-AM/FM which is still the longest running top 40 FM station in existence to this day. In 1954, Storz purchased WHB-AM, a high-powered station in Kansas City, Missouri which could be heard throughout the Midwest and Great Plains, converted it to an all-hits format, and dubbed the result "top 40". Shortly thereafter WHB debuted the first "top 40 countdown", a reverse-order playing of the station's ranking of hit singles for that week. Within a few years, top 40 stations appeared all over the country to great success, spurred by the burgeoning popularity of rock and roll music, especially that of Elvis Presley. A 1950s employee at WHB, Ruth Meyer, went on to have tremendous success in the early to mid-60's as program director of New York's premiere top 40 station at that time, WMCA.  Storz Broadcasting Company consisted of six AM radio stations, all featuring top 40 in the sixties.

Gordon McLendon.

Although Todd Storz is regarded as the father of the top 100 format, Gordon McLendon of Dallas, Texas, is regarded as the person who took an idea and turned it into a mass media marketing success in combination with the development in that same city of PAMS jingles. McLendon's successful Mighty 1190 KLIF in Dallas, along with his two other Texas Triangle stations, 610 KILT (AM) Houston and 550 KTSA San Antonio, which went top 40 during the mid to late 1950s, soon became perhaps the most imitated radio stations in America. With careful attention to programming, McLendon presented his stations as packages to advertisers and listeners alike. It was the combination of top 40 and PAMS jingles which became the key to the success of the radio format itself. Not only were the same records played on different stations across America, but so were the same jingle music beds whose lyrics were resung repetitively for each station to create individual station identity. To this basic mix were added contests, games and disc jockey patter. Various groups (including Bartell Broadcasters) emphasized local variations on their top 40 stations.  Gordon McLendon would operate approximately a dozen and a half AM, FM and TV stations at various times, experimenting with formats other than top 40 (including beautiful music and all-news).

Rick Sklar.

In the early 1960s Rick Sklar also developed the top 40 format for radio station WABC in New York City which was then copied by stations in the eastern and mid-western United States such as WKBW and WLS.

Bill Drake.

Bill Drake built upon the foundation established by Storz and McLendon to create a variation called "Boss Radio". This format began in California in early 1961 at KSTN in Stockton, then expanded in 1962–63 to KYNO in Fresno, in 1964 to KGB in San Diego, and finally to KHJ in Los Angeles in May 1965; it was further adapted to stations across the western US. Boss Radio was later broadcast by American disc jockeys as a hybrid format on pirate radio station Swinging Radio England, broadcasting from onboard a ship anchored off the coast of southern England in international waters. At that time there were no commercial radio stations in the UK, and BBC radio offered only sporadic top 40 programming. Other noteworthy North American top 40 stations that used the Drake approach included KFRC in San Francisco; CKLW in Windsor, Ontario; WRKO in Boston; WHBQ in Memphis; WOLF in Syracuse, New York; and WOR-FM in New York City. Most listeners identified Boss Radio with less talk, shorter jingles and more music.

Mike Joseph and hot hits.

Mike Joseph's "hot hits" stations of the late 1970s and early 1980s attempted to revitalize the format by refocusing listeners' attention on current, active "box-office" music. Thus, hot hits stations played only current hit songs—no oldies unless they were on current chart albums—in a fast, furious and repetitive fashion, with fast-talking personalities and loud, pounding jingles. In 1977, WTIC-FM in Hartford, CT, dropped its long-running classical format for Joseph's format as "96 Tics" and immediately became one of the top radio stations in the market. The first Joseph station to use the term "hot hits" on the air was WFBL ("Fire 14", which played its top 14 hits in very tight rotation) in Syracuse, NY, in 1979. Then WCAU-FM in Philadelphia switched to hot hits as "98 Now" in the fall of 1981 and was instantly successful. Other major-market stations which adopted the hot hits format in the early 1980s included WBBM-FM Chicago, WHYT (now WDVD) Detroit, WMAR-FM (now WWMX) Baltimore, which we might add was not successful against market leader WBSB B104, KITS San Francisco, and WNVZ Norfolk.

Don Pierson.

Don Pierson took the formats of Gordon McLendon, boss radio and PAMS jingles to the UK in the form of Wonderful Radio London, (a pirate radio ship) and subsequently revolutionized the popular music format. On 14 August 1967 The Marine Offences Act was introduced in the UK and the pirate stations were shut down.  The British Broadcasting Corporation were chosen by the UK government to come up with a station to replace the pirates, and so in 1967 BBC Radio 1 started broadcasting, employing many of the DJ's from the pirate stations (Tony Blackburn, Kenny Everett and John Peel etc.) and obtaining re-sings of the PAMS jingles.  In fact it was Tony Blackburn who played the first pop record on Radio 1, The Move's "Flowers In The Rain".

Formats and radio stations.

Australia.

Sydney: Melbourne: Brisbane: Adelaide: Perth:

Contemporary hit radio (also known as CHR, contemporary hits, hit list, current hits, hit music, top 40, or pop radio) is a radio format that is common in the United States, Brazil, United Kingdom, Ireland, Canada, New Zealand, Australia, the Philippines, Indonesia, Malaysia, Singapore, China, Hong Kong, Taiwan, Japan, South Korea, Trinidad and Tobago, and South Africa, that focuses on playing current and recurrent popular music as determined by the top 40 music charts. There are several subcategories, dominantly focusing on rock, pop, or urban music. Used alone, "CHR" most often refers to the CHR-pop format. The term "contemporary hit radio" was coined in the early 1980s by "Radio & Records" magazine to designate top 40 stations which continued to play hits from all musical genres as pop music splintered into adult contemporary, urban contemporary and other formats.

当代流行音乐类型电台(同时还被称为CHR、当代流行音乐类型、流行表、当前流行音乐类型、流行音乐类型、40强或者流行电台)是一种在美国,巴西,英国、爱尔兰、加拿大、纽西兰、澳洲、菲律宾、新加坡和南非最常见的电台格式,主要是以40强音乐榜单来播放当前和非当前的流行音乐。该电台涉及许多子种类,特别专注于摇滚、流行和城市音乐。


History.

1967–1973: Founding.

Al Rayyan's history goes back to the mid-sixties when it was known as "Old Al Rayyan". Old Al Rayyan, though an amateur football team, competed in matches arranged throughout the whole country, not being limited to the city in which it was based. Their headquarters was in a two-bedroom house, and they played their matches on a football field in a school based in the New Rayyan area. The club relied on donations from the fans during this period.  In 1967, Al Rayyan began as a combination of two groups called " new Al Rayyan’sons and old al-Rayyan’son". In 1967, Al-Rayyan started its factory. From 1967 until now, Al-Rayyan has accomplished many trophies not only in soccer even in the rest of the games such as handball, basketball and volleyball. The people who contributed to build Al Rayyan knew that this team would not be a regular team, but it will also represent the culture of the city of Al Rayyan outside of Qatar. In 2008, the club established magazine called SOUT AL RAYYAN (The Voice of Al Rayyan) which is the first magazine that cares about Al Rayyan news, and it is the only team's magazine in Qatar.  They applied to be a member club of the Qatar Football Association, but were rejected with the QFA proposing that they merge with Al Nusoor, a local sports club also based in Al Rayyan. In 1967, after an announcement by the Al Rayyan Sports Committee that Old Al Rayyan would merge with Al Nusoor, Al Rayyan SC was officially founded. A new headquarters was established to accommodate increased size demands as a result of the merger. The first head coach of Al Rayyan was Ashour Salem, a Sudanese national, who, besides working as a local physical education coach, trained the first team and youth team. In the early years, the club branched out to other sports, notably basketball and handball. As a result of donations from the club supporters, Al Rayyan was able to establish their home grounds in Doha Stadium, the largest stadium in Qatar at that time.

1973–1988: Early history.

The club had success in the Qatar Stars League within the first decade of its formation, with the club participating in their first official season in 1972–73. In the 1974–75, after a mass brawl between the fans and players of Al Rayyan and Al Sadd, the QFA relegated Al Rayyan, who were in 2nd place at the time, to the second division. They won back promotion the following season and achieved their first league title 1976. In the 1977 season, the QFA annulled the results of Al Rayyan due to actions which took place in a match against Al Arabi. The perpetrator, who was an Al Arabi player by the name of Yassin Mustafa, was banned permanently from all league matches whereas the two clubs were warned.  In 1983, under the leadership of Mohammed Bin Hammam Al Abdulla, a new club headquarters and home stadium were constructed. They won the league with a negative goal difference in 1983–84, making them one of the only 6 teams in the world and the only Qatari team in history to achieve this feat.

1988–2000: Relegation and return to glory.

In the 1987–88 season, much to the surprise of critics and fans, they got relegated for the first time in league history. The relegation was preceded by a 0–1 loss to Al Sadd, as Hassan Jowhar scored a header goal which would prove to be the final nail in the coffin of Al Rayyan. They won back promotion to the premier league in their first season in the second division.  They would go on to win the league in 1990, the same season they were promoted back to the first division, beating out rivals Al Sadd. They won an additional league title in 1995.

2000–2013: League title drought.

They inaugurated their home ground, Ahmed bin Ali Stadium, in 2003 during the reign of Sheikh Mishaal Al Thani. The first match held on the grounds was the 2003 Emir Cup finals.  The club has not experienced much league success as of late, with the last successful league campaign being in 1994–95; however they finished 3rd in the 2010–11 season under Paulo Autuori. Nonetheless, they faced great success in the Emir's Cup and Heir Apparent Cup winning 8 cups in total in 14 years.

2014–: Return to Success.

In 2014–15 the club won the Qatargas League and returned to Qatar Stars League. On 28 November 2015 Al-Rayyan Broke the record of most consecutive league matches won to 11.  On March 5, 2016 after 21 years Al-Rayan won the league once again, and became the first ever team to win both leagues in 2 years.

Supporters.

They club is supported throughout the entire Gulf region, as well as other parts of the world due to their high-profile signings. In 2010 they had the highest attendance in the Qatar Stars League. The fan club won the QFA-sanctioned award of "Best fans" in the 2008/09 season, and shared the award with Al Sadd in the 2012/13 season.

Honours.

Qatar Stars League  Emir of Qatar Cup  Qatar Crown Prince Cup  Qatar Super Cup/Shiekh Jassem Cup

Stadium.

Ahmed bin Ali Stadium (), popularly known as the Al-Rayyan Stadium, is a multi-purpose stadium in Al-Rayyan, Qatar which serves as the home stadium for Al Rayyan's football section. It will be used as a venue for the 2022 FIFA World Cup.

Current squad.

"As of Qatar Stars League:"

Current technical staff.

Last update: August 2019.

Notable players.

"This list includes players whom have made significant contributions to their national team and to the club. At least 90 caps for the club or 100 caps for their national team is needed to be considered for inclusion."

Al-Rayyan in Asia.

They participated in the AFC Champions League in 2005, 2007, 2011, 2012 and 2013.

Al-Rayyan Sports Club is a Qatari professional sports club fielding teams in a number of sports such as football, futsal, basketball, volleyball, handball, athletics, table tennis and swimming. It is based at the Ahmed bin Ali Stadium in Omm Alafai in the city of Al Rayyan. The club was founded in 1967 after merging the old Rayyan team with "Nusoor Club". The official team colours are red and black. The team is nicknamed is 'The Lions' and also 'Al-Raheeb' which means "The Fierce".

赖扬体育俱乐部()是卡塔尔的一个职业体育俱乐部,成立于1967年。该俱乐部的足球、篮球、排球、手球、乒乓球、室内五人足球、田径和游泳方面,具有“防守队”的俗称。俱乐部座落在卡塔尔赖扬的阿赫迈德·本·阿里体育中心。


Biography.

Tanabe was born on February 3, 1885 in Tokyo to a household devoted to education. His father was principal at Kaisei Academy and was also a scholar of Confucius, whose teachings may have influenced Tanabe's philosophical and religious thought. Tanabe enrolled at Tokyo Imperial University, first as a natural sciences student before moving to literature and philosophy. After graduation, he worked as a lecturer at Tohoku University and taught English at Kaisei Academy.  On Kitarō Nishida's invitation, Tanabe accepted the position of associate professor at Kyoto University in 1919. He spent two years studying in Germany, at Berlin University and then the University of Freiburg from 1922 to 1924. At Freiburg, he studied under Edmund Husserl and was tutored by the young Martin Heidegger. The influence of these two philosophers stayed with Tanabe throughout his life, and much of his thought exhibits the assumptions and terminology of ontology.  After Nishida's retirement from teaching, Tanabe succeeded him. Though they began as friends, and shared several philosophical concepts such as Absolute Nothingness, Tanabe became increasingly critical of Nishida's philosophy. Many of Tanabe's writings after Nishida left the university obliquely attacked the latter's philosophy.  During the Japanese expansion and war effort, Tanabe worked with Nishida and others to maintain the right for free academic expression. Though he criticized the Nazi-inspired letter of Heidegger, Tanabe himself was caught up in the Japanese war effort, and his letters to students going off to war exhibit many of the same terms and ideology used by the reigning military powers. Even more damning are his essays written in defense of Japanese racial and state superiority, exploiting his theory of the Logic of Species to herald and abet the militaristic ideology.  During the war years, however, Tanabe wrote and published little, perhaps reflecting the moral turmoil that he attests to in his monumental post-war work, "Philosophy as Metanoetics". The work is framed as a confession of repentance (metanoia) for his support of the war effort. It purports to show a philosophical way to overcome philosophy itself, which suggests that traditional Western thought contained seeds of the ideological framework that led to World War II.  His activities, and the actions of Japan as a whole, haunted Tanabe for the rest of his life. In 1951, he writes:  He lived for another eleven years after writing these words, dying in 1962 in Kita-Karuizawa, Japan.

Thought.

As James Heisig and others note, Tanabe and other members of the Kyoto School accepted the Western philosophical tradition stemming from the Greeks. This tradition attempts to explain the meaning of human experience in rational terms. This sets them apart from other Eastern writers who, though thinking about what life means and how best to live a good life, spoke in religious terms.  Although the Kyoto School used Western philosophical terminology and rational exploration, they made these items serve the purpose of presenting a unique vision of reality from within their cultural heritage. Specifically, they could enrich a discussion of the ultimate nature of reality using the experience and thought of various forms of Buddhism like Zen and Pure Land, but embedded in an analysis that calls upon conceptual tools forged and honed in western philosophy by thinkers ranging from Plato to Descartes to Heidegger.  Tanabe's own contribution to this dialog between Eastern and Western philosophy ultimately sets him apart from the other members of the Kyoto School. His radical critique of philosophical reason and method, while stemming from Immanuel Kant and Søren Kierkegaard, which emerges in his work "Philosophy as Metanoetics", easily sets him as a major thinker with a unique position on perennial philosophical questions. Some commentators, for example, suggest that Tanabe's work in metanoetics is a forerunner of deconstruction.  Tanabe engaged with philosophers of Continental philosophy, especially Existentialism. His work is often a dialogue with philosophers like Kierkegaard, Friedrich Nietzsche, and Heidegger. Because of his engaging these thinkers, especially the first two, Tanabe's thought has been characterized as Existentialist, though Makoto Ozaki writes that Tanabe preferred the terms "existentialist philosophy of history", "historical existentialism", or "existential metaphysics of history". In his masterpiece, "Philosophy as Metanoetics", Tanabe characterized his work as "philosophy that is not a philosophy", foreshadowing various approaches to thinking by deconstructionists.  Like other Existentialists, Tanabe emphasizes the importance of philosophy as being meaning; that is, what humans think about and desire is finding a meaning to life and death. In company with the other members of the Kyoto School, Tanabe believed that the foremost problem facing humans in the modern world is the lack of meaning and its consequent Nihilism. Jean-Paul Sartre, following Kierkegaard in his "Concept of Anxiety", was keen to characterize this as Nothingness. Heidegger, as well, appropriated the notion of Nothingness in his later writings.  The Kyoto School philosophers believed that their contribution to this discussion of Nihilism centered on the Buddhist-inspired concept of nothingness, aligned with its correlate Sunyata. Tanabe and Nishida attempted to distinguish their philosophical use of this concept, however, by calling it Absolute Nothingness. This term differentiates it from the Buddhist religious concept of nothingness, as well as underlines the historical aspects of human existence that they believed Buddhism does not capture.  Tanabe disagreed with Nishida and Nishitani on the meaning of Absolute Nothingness, emphasizing the practical, historical aspect over what he termed the latter's intuitionism. By this, Tanabe hoped to emphasize the working of Nothingness in time, as opposed to an eternal Now. He also wished to center the human experience in action rather than contemplation, since he thought that action embodies a concern for ethics whereas contemplation ultimately disregards this, resulting in a form of Monism, after the mold of Plotinus and Georg Wilhelm Friedrich Hegel. That is, echoing Kierkegaard's undermining in "Philosophical Fragments" of systematic philosophy from Plato to Baruch Spinoza to Hegel, Tanabe questions whether there is an aboriginal condition of preexisting awareness that can or must be regained to attain enlightenment.  Tanabe's insistence on this point is not simply philosophical and instead points again to his insistence that the proper mode of human being is action, especially ethics. However, he is critical of the notion of a pre-existing condition of enlightenment because he accepts the Kantian notion of radical evil, wherein humans exhibit an ineluctable propensity to act against their own desires for the good and instead perpetrate evil.

Work.

Demonstration of Christianity.

Tanabe's "Demonstration of Christianity" presents religion as a cultural entity in tension with the existential meaning that religion plays in individual lives. Tanabe uses the terms genus to represent the universality of form that all entities strive for, contrasting them with the stable, though ossified form they can become as species as social systems.  Tanabe contraposes Christianity and Christ, represented here as the opposition between Paul and Jesus. Jesus, in Tanabe's terms, is a historical being who manifests the action of Absolute Nothingness, or God understood in non-theistic terms. God is beyond all conceptuality and human thinking, which can only occur in terms of self-identity, or Being. God becomes, as manifested in human actions, though God can never be reduced to being, or self-identity.  For Tanabe, humans have the potential to realize compassionate divinity, Nothingness, through continual death and resurrection, by way of seeing their nothingness. Tanabe believes that the Christian Incarnation narrative is important for explaining the nature of reality, since he believed Absolute Nothingness becoming human exemplifies the true nature of the divine, as well as exemplar to realization of human being in relationship to divinity. Jesus signifies this process in a most pure form, thereby setting an example for others to follow.  Ultimately, Tanabe chooses philosophy over religion, since the latter tends toward socialization and domestication of the original impulse of the religious action. Philosophy, understood as metanoetics, always remains open to questions and the possibility self-delusion in the form of radical evil. Therefore, Tanabe's statement is a philosophy of religion.

Bibliography.

Primary sources.

Tanabe Hajime, "Demonstration of Christianity", in "Introduction to the philosophy of Tanabe: According to the English translation of the seventh chapter of the demonstratio of Christianity", trans. Makoto Ozaki, Rodopi Bv Editions, 1990.  _____, "The Logic of the Species as Dialectics," trans. David Dilworth and Taira Sato, in "Monumenta Nipponica", Vol. 24, No. 3 (1969): 273–88.  _____, "Kant's Theory of Freedom," trans. Takeshi Morisato with Cody Staton in "An Essay on Kant’s Theory of Freedom from the Early Works of Tanabe Hajime" in "Comparative and Continental Philosophy", vol. 5 (2013): 150–156.  _____, "On the Universal," trans. Takeshi Morisato with Timothy Burns, in "Groundwork for the Metaphysics of Deductive Reasoning: The Relation of the Universal and the Particular in Early Works of Tanabe Hajime" in "Comparative and Continental Philosophy", vol. 5 (2013): 124–149.  _____, "Philosophy as Metanoetics," trans. Takeuchi Yoshinori, Valdo Viglielmo, and James W. Heisig, University of California Press, 1987.

Secondary sources.

Books and theses.

Adams, Robert William, "The feasibility of the philosophical in early Taishô Japan: Nishida Kitarô and Tanabe Hajime." PhD diss., University of Chicago, 1991.  Dilworth, David A. and Valdo H. Viglielmo (translators and editors); with Agustin Jacinto Zavala, "Sourcebook for modern Japanese philosophy : selected documents", Westport, Conn. : Greenwood Press, 1998.  Fredericks, James L., "Alterity in the thought of Tanabe Hajime and Karl Rahner." PhD diss., University of Chicago, 1988.  Heisig, James W., "Philosophers of Nothingness: An Essay on the Kyoto School", Nanzan Library of Asian Religion and Culture, University of Hawaii Press, 2002.  Ozaki, Makoto, "Individuum, Society, Humankind: The Triadic Logic of Species According to Hajime Tanabe" (Brill's Japanese Studies Library), Brill Academic Publishers (April 2001),,.  Pattison, George, "Agnosis: Theology in the Void", Palgrave Macmillan (February 1997),..  Unno, Taitetsu, and James W. Heisig (Editor), "The Religious Philosophy of Tanabe Hajime: The Metanoetic Imperative (Nanzan Studies in Religion and Culture)", Asian Humanities Press (June 1990),,.

Articles.

Cestari, Matteo, "Between Emptiness and Absolute Nothingness: Reflections on Negation in Nishida and Buddhism."  Ruiz, F. Perez, "Philosophy in Present-day Japan," in "Monumenta Nipponica" Vol. 24, No. 1/2 (1969), pp. 137–168.  Heisig, James W., "Tanabe's Logic of the Specific and the Critique of the Global Village," in "Eastern Buddhist", Autumn95, Vol. 28 Issue 2, p198.  Sakai, Naoki, "SUBJECT AND SUBSTRATUM : ON JAPANESE IMPERIAL NATIONALISM," in "Cultural Studies"; Jul2000, Vol. 14 Issue 3/4, p462-530 (AN 4052788)  Viglielmo, V. H., "An Introduction to Tanabe Hajime's Existence, Love, and Praxis" in "Wandel zwischen den Welten: Festschrift für Johannes Laube", (Peter Lang, 2003) pp. 781–797.  Waldenfels, Hans, "Absolute Nothingness. Preliminary Considerations on a Central Notion in the Philosophy of Nishida Kitaro and the Kyoto School," in "Monumenta Nipponica," Vol. 21, No. 3/4 (1966), 354–391.  Williams, David, "In defence of the Kyoto School: reflections on philosophy, the Pacific War and the making of a post-White world," in "Japan Forum", Sep2000, Vol. 12 Issue 2, 143-156.

Online links.

Bracken, Joseph, "Absolute Nothingness and The Divine Matrix"  Buri, Fritz, "Hajime Tanabe, Philosophy of repentance and Dialectic of Death," in "The Buddha-Christ as the Lord of the True Self: The Religious Philosophy of the Kyoto School", trns. by Harold H. Oliver, Mercer University Press, 1997, pp. 65–94. [via Google Books]  Driscoll, Mark, "Apoco-elliptic Thought in Modern Japanese Philosophy"  Hajime, Tanabe, "Jitsuzon to ai to jissen (Existence, Love, and Praxis) [1947]", (from vol. 9, Complete Works of Tanabe Hajime), Tokyo, Chikuma Shobô, 1963. A partial translation by V. H. Viglielmo, for which the Preface, Chapter One, and translator's introductory essay are published in “An Introduction to Tanabe Hajime’s Existence, Love, and Praxis." in "Wandel zwischen den Welten: Festschrift für Johannes Laube," Peter Lang, 2003.  Mierzejewska, Anna, "The Buddhist Inspiration of The Concept of Faith in The Philosophy of Hajime Tanabe," in SILVA IAPONICARUM, FASC. VI・第六号, WINTER ・冬 2005, pp. 18–37.  Odin, Steve, "Hajime Tanabe," in "The Social Self in Zen and American Pragmatism", pp. 114–117.  Ozaki, Makoto, "On Tanabe's Logic of Species," in "ΠΑΔΕΙΑ: Comparative Philosophy".  Takahane, Yosuke, "Absolute Nothingness and Metanoetics,".  Wattles, Jeffrey, "Dialectic and Religious Experience in Tanabe Hajime's Philosophy as Metanoetics"  ———. Philosophy and Spiritual Experience: The case of a Japanese Shin Buddhist  Yata, Ryosho. "An Examination of the Historical Development of the Concept of Two Aspects of Deep Belief, Part 1".

Tanabe was a founding member of what has become known in the West as the Kyoto School, alongside notable philosophers Kitaro Nishida and Keiji Nishitani. While the latter philosophers have received recognition in Western academia, Tanabe's writing has received less notice. Philosophers of this School received opprobrium for their perceived active role in the Japanese militarist regime. However, their participation in resistance to the political environment has been documented widely by James Heisig. Tanabe especially has fallen under scrutiny for his political activities, though scholarship provides some mitigation of the harsher stigmata surrounding his career.

田边元(1885年-2月3日-1962年-4月29日),生于东京,为日本京都学派第一代的哲学家。早期在东京大学读自然科学,1908年转入哲学系,从学于井上哲次郎、柯贝尔等人,1913年于东北大学担任讲师,于自然科学科讲授哲学。1918年他受聘至京都大学,与西田几多郎逐渐形成京都学派。1922年至24年,田边元以文部省在外研究员的身份,赴德跟随胡塞尔学习现象学,后转向青年海德格尔。1942年至45年,因战争停止一切文笔活动。1945年退官隐居于群马县长野原町北轻井泽大学村。1951年获颁日本文化勋章,同年妻子千代辞世。1961年脑软化症并发,入院群马大学中尾内科,1962辞世。


Description.

Size variation within this genus is extreme, ranging from the very small "B. schneideri", which grows to a maximum of and is perhaps the world's smallest viperid, to the very large "B. gabonica", which can attain a length of over and is the heaviest viper in the world.  All have a wide, triangular head with a rounded snout, distinct from the neck, and covered in small, keeled, imbricate scales. The canthus is also distinct. A number of species have enlarged rostral or supraorbital scales that resemble horns. Their eyes are relatively small. They have large nostrils that are directed outwards and/or upwards. Up to six rows of small scales separate the rostral and nasal scales. All species have a well-developed supranasal sac. The fronts of the maxillary bones are very short, supporting only one pair of recurved fangs.  These snakes are moderately to extremely stout. Their bodies are covered with keeled scales that are imbricate (overlapping) with apical pits. At midbody, the dorsal scales number 21–46. Laterally, the dorsal scales may be slightly oblique. The ventral scales, which number 112–153, are large, rounded and sometimes have slight lateral keels. Their tails are short. The anal scale is single. The paired subcaudal scales number 16-37 and are sometimes keeled laterally.

Geographic range.

Puff adders are found in Africa and the southern Arabian Peninsula.

Behavior.

"Bitis" species are known for their behavior of inflating and deflating their bodies in loud hissing or puffing threat displays. They are terrestrial ambush predators, and appear sluggish, but can strike with amazing speed. In contrast to the pitvipers of the subfamily Crotalinae, "Bitis" species appear to lack heat-sensitive organs and showed no differences in their behavior in laboratory tests towards warm and cool objects that mimicked prey.

Reproduction.

All members are viviparous and some give birth to large numbers of offspring.

Venom.

All members of this genus are dangerous – some extremely so. At least six different polyvalent antivenoms are available. Five are produced by Aventis Pasteur (France), Pasteur Merieux (France) and SAIMR (South Africa). All of these specifically protect against "B. arietans" and four also cover "B. gabonica". At least one protects specifically against bites from "B. nasicornis": India Antiserum Africa Polyvalent. In the past, such antivenoms have been used to treat bites from other "Bitis" species, but with mixed results.

Species.

"*) Not including the nominate subspecies."<br> ") Type species.

Taxonomy.

Other species may be encountered in literature, such as:  Lenk et al. (1999) used molecular data (immunological distances and mitochondrial DNA sequences) to estimate the phylogenetic relationships among species of "Bitis". They identified four major monophyletic groups for which they created four subgenera:  For now, this division is of little consequence as far as the nomenclature is concerned. However, the definition of subgenera within a genus is often the sign of an impending split. Therefore, those interested in these snakes would do well to familiarize themselves with these new subgenera.

Bitis is a genus of venomous vipers found in Africa and the southern Arabian Peninsula. It includes the largest and the smallest vipers in the world. Members are known for their characteristic threat displays that involve inflating and deflating their bodies while hissing and puffing loudly. The type species for this genus is "B. arietans", which is also the most widely distributed viper in Africa. Currently, 15 species are recognized.

咝蝰属(学名:"Bitis"),又称膨蝰属,是蛇亚目蝰蛇科蝰亚科下的一个有毒蛇属,主要分布于非洲及阿拉伯半岛南部。咝蝰属成员中同时有世界上最巨型和最细小的蝰蛇,牠们被称为「膨蝰」的原因,是因为所有咝蝰在遇到危机时,会不断重复地将身体膨胀、收缩,并配合发出响亮的嘶嘶声,产生威吓敌人的效果。咝蝰属的模式种是广泛地分布在非洲全土的鼓腹咝蝰("B. arietans")。目前共有14个种已被确认。


Amateur career.

Zou Shiming competed in his first amateur boxing competition at the 2004 Asian Amateur Boxing Championships and won silver, losing in the final to Noman Karim but qualifying for the 2004 Summer Olympics. At the 2004 Summer Olympics, he won his first match by beating Rau'shee Warren in the round of 32. He lost to eventual champion Yan Bartelemí in the semi-finals and ended up winning bronze. Zou won the 2005 World Amateur Boxing Championships by beating Pál Bedák in the final, becoming the first ever Chinese boxer to win the tournament. At the 2006 Asian Games, Zou won gold by beating Suban Pannon 21-1 in the final match. He repeated his triumph from 2005 at the 2007 World Amateur Boxing Championships, beating David Ayrapetyan early in the tournament and Harry Tanamor in the final; however, Zou had to settle for silver at the 2007 Asian Amateur Boxing Championships, losing in the final against Pürevdorjiin Serdamba.  At the 2008 Summer Olympics, Zou won China's 50th gold medal of the tournament by winning the final of the light flyweight event, winning China's first ever gold medal in Olympic boxing. During the final, Serdamba, his opponent from the final of the 2007 Asian Amateur Boxing Championships, was forced to retire due to a shoulder injury. After Serdamba was not able to continue, Zou burst into tears in compassion for his fellow boxer's injury. Zou did not compete in the 2009 World Amateur Boxing Championships, but he came back to win gold at the 2010 Asian Games. He also won his third straight gold at the 2011 World Amateur Boxing Championships. Zou won gold again at the 2012 Summer Olympics by beating Kaeo Pongprayoon 13-10, but several critics regarded his victory as controversial.  After the 2012 Summer Olympics, Zou decided to make the switch from amateur boxing to professional boxing.

Olympic Games results.

Beijing - 2008  London - 2012

World Amateur Championships results.

2003  2005  2007  2011

Asian Games results.

2006  2010

Professional career.

Early fights.

After winning gold at the 2012 Summer Olympics, Zou decided to turn professional. On 23 January 2013, he signed a contract with boxing promotion company Top Rank and was subsequently trained by Freddie Roach. Zou debuted on 6 April 2013, beating Eleazar Valenzuela by unanimous decision. Zou's professional debut generated an estimated 300 million viewers in China. After a win over Jesus Ortega, Zou fought on the undercard of Manny Pacquiao vs. Brandon Rios on 23 November 2013, beating Juan Tozcano. He recorded his first knockout win of his professional career on 22 February 2014, beating Yokthong Kokietgym in the seventh round.

World title pursuit.

Zou vs. de la Rosa.

On 19 July 2014, Zou beat Luis de la Rosa by unanimous decision with scores of 97-93, 99-91 & 99-91 at the Cotai Arena in Macau, to win his first ever professional title, the WBO International flyweight title. The fight was on the undercard of the world super-bantamweight championship fight between Guillermo Rigondeaux and Sod Kokietgym.

Zou vs. Ruenroeng.

After retaining the title against Prasitsak Phaprom on the undercard of Manny Pacquiao vs. Chris Algieri, Zou fought IBF flyweight champion Amnat Ruenroeng at the Cotai Arena in Macau on March 7, 2015. This marked the seventh straight fight Zou would fight at the venue since turning professional. Like Zou, Ruenroeng also fought at the Olympics, and lost to Zou at the 2010 Asian Games. Ruenroeng shattered Zou's dreams of becoming world champion and gifted him his first professional loss when he scored a unanimous decision win after 12 rounds and retained his title in the process. Roenroeng won the bout comfortably with all three judges scoring it (116-111 x3), despite being controversially knocked down in round 2 as he lost his balance. Each time Zou tried to get on the inside, Ruenroeng used his jab and counterpunch to keep control of the fight. Following the loss, Zou was ranked #7 by the IBF and WBO and #9 by the WBC.

WBO flyweight champion.

Zou vs. Phaprom II.

After Zou beat Brazilian boxer Natan Santana Coutinho by technical knockout to win back the WBO International flyweight title, and retained the title at Madison Square Garden in New York City against contender Jozsef Ajtai, he was ranked as the classified contender for the vacant WBO world title vacated by Juan Francisco Estrada, who decided to move up to super flyweight.  On November 5, 2016, in a rematch from November 2014, Zou defeated Prasitsak Phaprom (39-1-2, 24 KOs) via a unanimous decision to win the vacant WBO flyweight title on the Vargas-Pacquiao undercard at the Thomas & Mack Center in Las Vegas. Zou consistently landed quick and effective combinations from the opening bell and used his footwork to avoid punches. A knockdown was recorded in round 2 after Phaprom's gloves touched the canvas after being hit with a hard right. The three judges at ringside scored the fight 120-107, 120-107 and 119-108 all in favour of Zou.

Zou vs. Kimura.

On June 27, 2017 it was announced that Zou would make a voluntary defence of his WBO title against Japanese underdog and WBO #7 Sho Kimura (14-1-2, 7 KOs) on July 28 at the Oriental Sports Center in Shanghai, China. Zou parted ways with promoter Top Rank and decided to promote the fight himself. He decided not to train with his hall of fame trainer Freddie Roach. In a shocking upset, Kimura, who was behind on two scorecards at the start of round 11, knocked Zou out to win the WBO flyweight title. Two judges had the fight 96-94, 97-93 for Zou, whilst the third judge had it 96-94 for Kimura. Zou used his movement throughout the fight which had Kimura chasing him trying to land shots. He landed a right hook then followed by a combination. Zou dropped to the ground after a flurry of punches. He failed to get up, but referee didn't count him out, calling off the fight.

Personal life.

Zou graduated with a master's degree from the Shanghai University of Sport. He has been married to Ran Yingying since 2011 and they have two sons.

Zou Shiming (; born 18 May 1981) is a Chinese professional boxer who held the WBO flyweight title from 2016 to 2017. As an amateur, Zou is China's most successful boxer of all time. In the light-flyweight division, he won three consecutive Olympic medals (bronze in 2004 and gold in 2008 and 2012), as well as three World Amateur Boxing Championships gold medals in 2005, 2007 and 2011. In 2018, he has been hired by East China Normal University as a teacher.

邹市明(1981年-5月18日),出生于贵州遵义,中国最成功的拳击手,曾获得两枚奥运金牌,2013年转入职业拳坛。


History.

The Angora is said to have originated in Ankara (historically known as "Angora)", in present-day Turkey, and is known to have been brought to France in 1723. The Angora rabbit became a popular pet of the French royalty in the mid-18th century, and Angoras spread to other parts of Europe by the end of that century. In the United States garments made of Angora rabbit wool has been popular ever since they first arrived in the early 20th century. But only during World War II did domestic production expand to meet the demand of more than 120,000 pounds a year. This valuable, soft silky fiber aroused much interest, and quickly people became enamored with the production process.  The author of Domestic Rabbits & Their Histories: Breeds of the World, Bob D. Whitman, suggests that the Angora breed could date back ten centuries: "it has been written that the indigenous Trelicians, which were small and frail people, first bred the Angora rabbit in the southern Carpathian mountains around the 6th century." This information has not been substantiated and Whitman himself acknowledges that "we will never know for sure".

Angora rabbit wool.

Angoras are bred mainly for their wool, which is silky and soft. At only 14–16 microns in diameter, it is similar to cashmere in fineness and softness to touch. A healthy adult Angora's wool will grow approximately per month. Regular grooming is necessary to prevent the fiber from matting and felting on the rabbit, which causes discomfort that can lead to pain and even infection. Angora wool is harvested (plucked or shorn) every three to four months throughout the year. The coat needs to be monitored after 6 months of re-growth, as it may tend to "die" and easily mat.  Angora wool may be gathered periodically by hand-plucking the hairs within the coat that are being naturally shed. A full harvesting is done by shearing the coat with clippers or small scissors, often while the rabbit sits atop a groomer's turntable. Shearing typically starts at the head, moving across the shoulders to the tail. The rabbit is then flipped, and the underside sheared from tail to chin. Between and of wool may be harvested from a Giant Angora.

Health.

Wool block.

Because of the length and abundance of their hair, Angora rabbits are particularly susceptible to "wool block", a potentially lethal blockage of the digestive tract. All rabbits ingest some of their wool when they groom themselves, but their digestive system is not able to pass that foreign matter. The length of Angora hairs compounds the risk of impaction, which can lead to death. Clipping or plucking an Angora's wool every 90–120 days is necessary to prevent wool block.

Wool mites.

"Cheyletiella parasitovorax" is a skin parasite commonly found in Angora rabbits. Signs of infestation are flaky skin patches and fur loss. Wool mites reduce fiber yields and the resulting skin flakes are detrimental to the fiber quality. Wool mites may be treated with ivermectin or with carbaryl powder.

Angora rabbit breeds.

The iconic long coat of the Angora is the result of a rabbit gene referred to as l (i.e., lowercase "L"). This "Angora gene" is present in all Angora breeds. It has also sometimes been utilized in the development of other rabbit breeds or other breeds' new varieties. "Dwarf Wooly" breeds including American Fuzzy Lop, Lion Head and Jersey Woolie are now recognized in the U.S. by ARBA. Belgium and France have their own Dwarf Wooly breeds. There is also a rare Mini English Angora breed in New Zealand.

English Angora.

Prior to 1939, there was one breed of "Angora Wooler". In 1939 ARBA reclassified "Angora Wooler" into "English Type" and "French Type". In 1944 ARBA officially separated Angora rabbits into two breeds: English Angora and French Angora.  Rabbits of the Angora breed are adorned with "fur", growths of wool on the ears and the entire face except above the nose, and front feet, along with their thick body, and wool. They are gentle in nature, but they are not recommended for those who do not groom their animals. Their wool is very dense and needs to be groomed twice a week.  This is the smallest Angora rabbit of the four ARBA-recognized breeds. This breed is more common as a pet because of the facial features that give it a puppy dog or teddy bear look. If the texture of the wool is correct, the maintenance is relatively easy; if the texture of the rabbit is cottony, it requires a great deal of maintenance. Beginning spinners may find the wool challenging.  The English Angora can be bred to have broken colors—i.e., white with black spots—but this is not accepted by ARBA standards, and would lead to a disqualification when showing the rabbit. When showing an English Angora rabbit, the toenails should also be only one color, the ears could be folded over at the tips, and the furnishings on the face may cover their eyes. The English Angora is the only one of the Angora breeds that has hair covering its eyes.  This breed has a dense undercoat. If the texture is correct, it requires less maintenance than other Angora breeds. Small ear tufts are allowed, but not usually preferred by breeders. ARBA recognizes the same colors as with English Angora, plus broken. They are shown at ARBA shows using the types "white" and "colored" (broken being a colored). As with other ARBA shown rabbits, toenails should also be only one color.

French Angora.

The French Angora is one of the large Angora breeds at 7.5 to 10 lbs, with a commercial body type. It differs from the English, Giant and German Angora in that it possesses a clean (hairless) face and front feet, with only minor tufting on the rear legs. The color of a French Angora is determined by the color of its head, feet and tail (all the same color). This variety of angora fibre has smooth silky texture. Beginning spinners may find Angora wool a challenge. Desirable characteristics of the fibre include its texture, warmth, light weight, and pure white color. It is used for sweaters, mittens, baby clothes and millinery.

German Angora.

Though common, the German Angora is not currently recognized by ARBA. The International Association of German Angora Rabbit Breeders (IAGARB) maintains a breed standard for the German Angora.

Giant Angora.

The Giant Angora is the largest of the ARBA-recognized Angora breeds. It was originally developed to be an efficient commercial producer that could be sustained on 16–18% protein pellets plus hay, and live in the standard sized, all-wire cages.  Because ARBA wouldn't allow German Angoras to be shown (their body type was considered too similar to other Angora breeds), Louise Walsh of Taunton, Massachusetts created a new breed. She used German Angoras, French Lops, and Flemish Giants to develop a completely different "commercial" body type. ARBA officially recognized the Giant Angora in 1988. Its coat includes three types of wool: soft under wool, awn fluff, and awn hair.  The awn type wool exists only in the Giant and German Angora breeds. The Giant Angora has furnishings on the face and ears. Many people confuse the German with the Giant Angora, but it is their body type that differs.  The only color variety ARBA currently recognizes for the Giant Angora is the Ruby-eyed White (REW), a color that indicates the genetic absence of pigment ("albino"). The Giant Angora produces more wool than the French, Satin or English Angoras. The Giant Angora is the only 6-class animal in the Angora breed. It is to have a commercial-type body with a very dense coat of wool. The head will be oval in appearance that is broad across the forehead and slightly narrower at the muzzle. The Giant Angora will have forehead tufts (head trimmings) and cheek furnishings. The head trimmings are to be noticeable, however, does are not as heavy in trimmings as the bucks. The ears should be lightly fringed and well tasseled. The Giant Angora is also the only breed of angora that is only shown as a ruby-eyed white. A Black color variety of the Giant Angora is in development, but has not been sanctioned by ARBA.  The Giant Angora coat contains three fiber types for its texture. The underwool is to be the most dominant over the other two types of hair. It should be medium fine, soft, delicately waved and have a gentle shine. Beginning spinners may find Angora wool a challenge.  The Awn Fluff has a guard hair tip and is a stronger, wavy wool. The Awn Fluff is found between the Underwool and Awn Hair. The Awn Hair, also known as guard hair, is the third type of fiber. The Awn Hair is a straight, strong hair that protrudes above the wool and must be present and evident.  The classification of the Giant Angora is different than the other three breeds due to the fact it is a 6-class animal. The junior buck and junior doe must be under 6 months of age and have a minimum weight of 4 3⁄4 pounds. The intermediate buck and intermediate doe are 6–8 months of age. The senior buck and senior doe are 8 months of age or over. The senior buck must weigh at least 9 1⁄2 pounds. The senior doe must weigh at least 10 pounds.  In judging the Giant Angoras the majority of the points are based on the wool, which includes density, texture, and length. The points for "general type" include the body type, head, ears, eyes, feet, legs, and tail.  Like many other "giant" breeds of rabbits, the Giant Angora grows slowly. A doe usually takes more than a year to reach full maturity (size and weight). A buck can take up to 1.5 years to fully mature (size and weight).  The Satin Angora was developed in the late 1970s by Mrs. Meyer of Holland Landing, Ontario, Canada, who crossed French Angoras with rabbits of the Satin breed. In addition to the sheen (for which the Satin is known), true red and copper pigments emerged in the new rabbits. In all "satinized" coats, the hair shaft has a semi-transparent outer shell that reflects light, resulting in deep color, high luster, and an extremely soft and silky texture to the hairs.

Satin Angora.

The Satin Angora (like the French Angora) has no furnishings on the face, ears, or feet. The Satin does not produce as much wool as other Angora breeds, but this trait is being improved upon through selective breeding. While more difficult to keep groomed than the Giant or French Angora, the Satin is less difficult than the English Angora. Because of the soft texture of the wool and the lower guard-hair count in the coat, matting occurs more readily. Daily combing therefore could be recommended.  Satin Angora wool is said to be stronger for spinning than other Angora varieties, but because of its slipperiness, it can be more difficult to spin.

The Angora rabbit (), which is one of the oldest types of domestic rabbit, is bred for the long fibers of its coat, known as "Angora wool", that are gathered by shearing, combing, or plucking. Because rabbits do not possess the same allergy-causing qualities as many other animals, their wool is an important alternative. There are at least 11 distinct breeds of Angora rabbit, four of which are currently recognized by the American Rabbit Breeders Association (ARBA): English Angora, French Angora, Giant Angora, and Satin Angora. Others include: German Angora, Chinese Angora, Finnish Angora, Japanese Angora, Korean Angora, Russian Angora, St. Lucian Angora, and Swiss Angora.

安哥拉兔(英语:Angora rabbit;),长毛兔的一种,源于土耳其的安卡拉(英语:Ankara)省,安卡拉旧时西方称为安哥拉(英语:Angora),1930年应土耳其邮政法的要求改称土耳其语名“安卡拉”。因其毛细长,有点像及安哥拉猫,故名为安哥拉兔。


Background.

Yuan Zhen was born in 779, around the time of Emperor Dezong's ascension to the throne. He was a 10th-generation descendant of Tuoba Shiyijian, the grandfather of Northern Wei's founder Emperor Daowu, who was posthumously honored Emperor Zhaocheng after Northern Wei's founding. Yuan Zhen's male ancestor line was renamed Yuan, from Tuoba, when Emperor Xiaowen changed Xianbei names to Han names in 496. Subsequently, ancestors of Yuan Zhen's served as officials of Sui Dynasty and Tang Dynasty. His grandfather Yuan Fei () served as a county secretary general, while his father Yuan Kuan () served as a low-level official at the ministry of justice, as well as secretary to an imperial prince.  Yuan Kuan died when Yuan Zhen was seven, and Yuan Zhen was raised by his mother Lady Zheng, who was considered an intelligent woman. As the household was poor, she did not send Yuan Zhen to school, but taught him to read and write herself. It was said that Yuan became capable of writing at age eight, and at age 14 passed the imperial examination for understanding two Confucian classics. At age 23, he was made a copyeditor at the Palace Library.

During Emperor Xianzong's reign.

In 806, when Yuan Zhen was 27, during the reign of Emperor Dezong's grandson Emperor Xianzong, Yuan underwent a special imperial examination before Emperor Xianzong dealing with strategic thinking, and when the list of 18 examinees who passed the examination was announced, Yuan was ranked first — in a group that included such individuals as Bai Juyi, Dugu Yu (), Xiao Mian, and Shen Chuanshi (). As a result, Yuan was made "You Shiyi" (), a junior advisor at the legislative bureau of government ().  Yuan had an outspoken personality, and after being put into an advisorial post, he started submitting suggestions to Emperor Xianzong. In particular, because the officials Wang Shuwen and Wang Pi, who dominated the court of Emperor Xianzong's father Emperor Shunzong — who had previously served as Emperor Shunzong's staff members while Emperor Shunzong was crown prince — were at that time denounced as frivolous and power-hungry, Yuan submitted an essay detailing what he saw as qualifications that the crown prince's and other imperial princes' staff members should have, and Emperor Xianzong was impressed upon reading it. Yuan further submitted proposals involving the defense of the northwestern borders with Tufan and Huigu. Emperor Xianzong, in response, summoned him and requested opinions on strategies to take there. As a result, though, the ruling officials at the time were jealous of Yuan, and they had him sent out of the capital Chang'an to serve as the sheriff of Henan County (), one of the two counties making up the eastern capital Luoyang. Yuan subsequently left governmental service for some time while observing a mourning period after his mother's death. Once the mourning period was over, he was recalled to governmental service, to serve as "Jiancha Yushi" (), a mid-level imperial censor.  In 809, Yuan was on a mission to Dongchuan Circuit (東川, headquartered in modern Mianyang, Sichuan), when he submitted accusations that the deceased former military governor ("Jiedushi") of Dongchuan, Yan Li (), had collected taxes illegally and improperly seized the property of 88 households. As a result, the seven prefectural prefects who served under Yan were all punished. However, among the ruling officials, there were those who had deep friendships with Yan, and as a result of this incident, Yuan was sent out of the capital to serve at the Luoyang branch of the office of the imperial censors. While at Luoyang, he continued to pursue various officials for misconduct, including the caning of a county magistrate by the governor of Zhexi Circuit (浙西, headquartered in modern Zhenjiang, Jiangsu), Han Gao (), leading to the magistrate's death, and the improper use of imperial messenger posts by the military governor of Wuning Circuit (武寧, headquartered in modern Xuzhou, Jiangsu), Wang Shao (), to host the casket of the recently deceased eunuch monitor of the Wuning army. Meanwhile, when the mayor of Henan Municipality (i.e., the Luoyang region, not only the two counties), Fang Shi (), was accused of improper conduct, Yuan issued an order suspending Fang from office pending investigations. However, after investigations, Fang was only punished by being stripped of one month of salary, and Yuan was recalled to Chang'an. While stopping at the imperial messenger post at Fushui (敷水, in modern Weinan, Shaanxi), Yuan got into a dispute with an imperial eunuch messenger — variously reported as either Liu Shiyuan () (by the "Old Book of Tang") or Qiu Shiliang (by the "New Book of Tang"), in which the eunuch, as a result of the dispute, hit Yuan's face and injured him — Emperor Xianzong ruled that Yuan had overstepped his authorities as censor and demoted him to serve as the logistics officer at Jiangling Municipality (江陵, in modern Jingzhou, Hubei), despite defenses submitted on his behalf by Li Jiang, Cui Qun, and Bai.  While at Jiangling, Yuan wrote many poems, and his style and Bai's were both popular and referred by the populace as "Yuanhe Style" () — "Yuanhe" being Emperor Xianzong's era name. The eunuch monitor of Jingnan Circuit (荊南, headquartered at Jiangling), Cui Tanjun (), was impressed by Yuan's talents and did not treat him as a subordinate, but rather with great respect; he also often collected Yuan's poems and recited them. Meanwhile, sometime thereafter, Yuan was made the military advisor to the prefect of Tong Prefecture (通州, in modern Nantong, Jiangsu), while Bai was made the military governor of Jiang Prefecture (江州, in modern Nanchang, Jiangxi). Despite the distance between the two, they often wrote poems to each other, which often ran 30 to 50 lines, sometimes up to 100 lines. The people of the Yangtze River region became impressed by their poems and often read and studied them. Many of Yuan's poems showed his sadness at being exiled from the capital.  In 819, by which time Yuan was serving as the secretary general of Guo Prefecture (虢州, in modern Sanmenxia, Henan), he was recalled to Chang'an to serve as "Shanbu Yuanwailang" (), a low-level official at the ministry of rites (禮部, "Libu"). Then-chancellor Linghu Chu, himself a talented writer, had long been impressed by Yuan's literary abilities, requested that he submit his writings to Linghu. Yuan did so, and the writings impressed LInghu greatly, comparing him to the Liu Song Dynasty poets Bao Zhao () and Xie Lingyun. Meanwhile, Emperor Xianzong's son and crown prince Li Heng, who had heard his concubines recite Yuan's poetry and referring to Yuan as "Savant Yuan" (), was impressed.

During Emperor Muzong's and Emperor Jingzong's reigns.

In 820, by which time Li Heng was emperor (as Emperor Muzong), Cui Tanjun was recalled to Chang'an, and he offered to Emperor Muzong, as a gift, a collection of over 100 poems by Yuan Zhen. Emperor Muzong was pleased, and asked Cui where Yuan was at that point, and Cui replied that Yuan was serving in an office lacking authority. That same day, Emperor Muzong promoted Yuan to be "Cibu Langzhong" (), a supervisorial official at the ministry of rites, and further put him in charge of drafting edicts for Emperor Muzong. However, because this was an irregular promotion, Yuan was looked down by his colleagues. On one occasion, when many imperial officials were gathering to eat melons, there were flies which gathered on the melons. Wu Ruheng () waved his fan to chase away the flies, and made the double entendre, "Where did you come from? Why did you come here?" This caused many of Wu's colleagues to be shocked and lose composure, but Wu did not. Nevertheless, Yuan's poetry continued to become increasingly popular at Chang'an, such that the people were rushing to learn it. Soon thereafter, Yuan was made chief imperial scholar (翰林承旨學士, "Hanlin Xueshi") as well as "Zhongshu Sheren" (), a mid-level official at the legislative bureau. Because of the friendship that Yuan had with Cui, the other eunuchs were also trying to become friendly with Yuan, particularly the one of the directors of palace communications ("Shumishi"), Wei Hongjian ().  In 821, Yuan was involved in an incident that was considered one of the precipitating incidents of the coming Niu-Li Factional Struggles. At that time, both Yuan and imperial scholar Li Deyu were involved in power struggles with Yuan's fellow "Zhongshu Sheren" Li Zongmin. Meanwhile, Li Zongmin's junior colleague at the legislative bureau, Yang Rushi () and the deputy minister of rites (禮部侍郎, "Libu Shilang") Qian Hui () were in charge of overseeing the imperial examinations. The military governor Duan Wenchang (a former chancellor) and the imperial scholar Li Shen both made secret pleas to Qian for certain examinees. However, when the results were announced, the examinees that Duan and Li Shen recommended were not given passing results, while among those passing the examinations were Zheng Lang, the brother of the examination bureau (門下省, "Menxia Sheng") official Zheng Tan; Pei Zhuan () the son of the military governor Pei Du (also a former chancellor); Li Zongmin's son-in-law Su Chao (); and Yang Rushi's brother Yang Yinshi (). This thus brought a popular uproar, and Duan submitted a report accusing Yang Rushi and Qian of being unfair. When Emperor Muzong requested opinions from the imperial scholars, Li Deyu, Yuan, and Li Shen all agreed with Duan's opinion. Emperor Muzong thus ordered Li Zongmin's colleague Wang Qi () to conduct a re-examination, while demoting Qian, Li Zongmin, and Yang Rushi to be prefectural prefects and deposing 10 of the examinees selected by Qian and Yang Rushi. This was said to be the start of some 40 years of struggles between Li Deyu and his associates (known as the Li Faction) and Li Zongmin and his associates (known as the Niu Faction, named after Li Zongmin's ally Niu Sengru).  Meanwhile, Pei Du was leading a campaign against rebel generals Zhu Kerong and Wang Tingcou north of the Yellow River. It was said that, while Yuan had no resentment toward Pei personally, he wanted to be chancellor and was fearful that if Pei were victorious, Pei would be recalled and would again dominate the court, and therefore Yuan, as well as his ally Wei Hongjian, were interfering with requests that Pei was making of Emperor Muzong during the campaign. Pei, incensed, submitted a harshly worded accusation against Yuan and Wei. Emperor Muzong was displeased with Pei's accusations, but as Pei was a prominent statesman, placated Pei by demoting Wei to be the director of the imperial armory and Yuan to be the deputy minister of public works (工部侍郎, "Gongbu Shilang"), relieving Yuan of his position as imperial scholar. However, it was said that Emperor Muzong continued to trust Yuan greatly, despite removing him from his imperial scholar post. Indeed, soon thereafter, after the campaign ended (when the imperial government capitulated to Zhu and Wang by making them military governors), Yuan was made a chancellor with the title "Tong Zhongshu Menxia Pingzhangshi" (). (It was said that the capitulation was advocated by Yuan, who wanted to relieve Pei of his military command.)  Meanwhile, during the campaign against Zhu and Wang, Wang had put Niu Yuanyi (), a general loyal to the imperial government, under siege at Shen Prefecture (深州, in modern Hengshui, Hebei). Yu Fang (), an advisor to an imperial prince, who wanted to submit an extraordinary suggestion to gain a promotion, suggested to Yuan that Yu's friends Wang Zhao () and Yu Youming () be sent to Wang Tingcou's Chengde Circuit (成德, headquartered in modern Shijiazhuang, Hebei) to try to persuade Wang Tingcou's officers to lift the siege on Shen Prefecture. Yuan accepted the idea, and, as part of the plan, gave Wang Zhao and Yuan Youming some 20 commission certificates to give them to Wang Tingcou's officers. A man named Li Shang () heard of the plan, but misinterpreted this as a plot by Yuan and Yu Fang to assassinate Pei. He reported this to Pei, but Pei took no action. He then reported it to the Left Shence Army (). After Emperor Muzong received report of this, he had Han Gao investigate the matter. After the investigation was complete, it was concluded that there was no evidence that Yuan intended to assassinate Pei, but as a result, both Pei (who by this point had returned to Chang'an and was again serving as chancellor) and Yuan were relieved of their chancellor posts, less than four months after Yuan was made chancellor. Yuan was sent out of the capital to serve as the prefect of Tong Prefecture (同州, in modern Weinan). When a number of advisorial officials subsequently submitted objections that Yuan's punishment was too light, Emperor Muzong stripped Yuan of one of his ceremonial posts as the director of Changchun Palace (長春宮, in Tong Prefecture). While the investigations were still ongoing, the mayor of Jingzhao Municipality (京兆, i.e., the Chang'an region), Liu Zungu (), was putting Yuan's house under constant guard. When Yuan complained about this, Emperor Muzong punished Liu.  After Yuan served for two years at Tong Prefecture, he was made the governor (觀察使, "Guanchashi") of Zhedong Circuit (浙東, headquartered in modern Shaoxing, Zhejiang) as well as the prefect of its capital prefecture Yue Prefecture (). Yuan retained a staff that was also talented in literature, and they took tours of the picturesque locations of the circuit three or four times per month. They also often wrote poems. His deputy Dou Gong (), in particular, became a famed poet himself, and they often wrote poems to each other. Meanwhile, while at Zhedong, Yuan also became known for being corrupt and gathering wealth. He served there for eight years, including the entire brief reign of Emperor Muzong's son Emperor Jingzong.

During Emperor Wenzong's reign.

In 829, by which time Emperor Jingzong's brother Emperor Wenzong was emperor, Yuan Zhen was recalled to Chang'an to serve as "Shangshu Zuo Cheng" (), one of the secretaries general of the executive bureau (尚書省, "Shangshu Sheng"). He tried to reorganize the bureau, and he expelled seven officials under him who had poor reputations. However, as Yuan himself was not known for exemplary ethics, he did not receive much support from other officials. When the chancellor Wang Bo died in 830, Yuan tried to use his connections to again become chancellor, but was unable to do so. Instead, he was sent out to Wuchang Circuit (武昌, headquartered in modern Wuhan, Hubei) to serve as its military governor and the prefect of its capital prefecture E Prefecture (). He became ill suddenly in fall 831 and died within a day of falling ill. He was given posthumous honors. As his son Yuan Daohu () was then only two years old, his funeral was hosted by his cousin Yuan Ji (). He left a collection of 100 volumes of poems, draft edicts, commemorative texts, and essays. He also compiled a 300-volume work collecting ancient and contemporary legal rulings.

Poetry.

As an official, Yuan Zhen pursued his poetic activities under during Emperor Muzong's and Emperor Jingzong's reigns, both his own taking an active interest in the works of other poets.  Yuan Zhen was part of the New Yuefu Movement, which involved poets interested in reviving some of the aspects of the yuefu style folk ballad verse popular during the Han Dynasty, with an interest in poetry as a form of political and societal critique. The group includes Bai Juyi (considered to be their leader), Zhang Ji, and Wang Jian.  Yuan Zhen had four of his poems selected for inclusion in the famous poetry anthology "Three Hundred Tang Poems". These were translated by Witter Bynner with the following titles:  The three "Elegies" are laments for his wife who died young.

Prose.

The "Biography of Ying-ying" is one of the most widely read and adapted "chuanqi", or short stories in the classical language. It has been translated by James Hightower ("Yüan Chen and 'The Story of YIng-ying'" HJAS 33 (1973): 90-123), Arthur Waley (available in the "Anthology of Chinese Literature" by Cyril Birch, vol. I. (). An online translation by Patrick Moran includes the Chinese text. here.

Yuan Zhen (; 779 – September 2, 831), courtesy name Weizhi (), was a Chinese poet and politician of the middle Tang Dynasty. In prose literature, Yuan Zhen is particularly known for his work "Yingying's Biography", which has often been adapted for other treatments, including operatic and musical ones. In poetry, he is remembered for the inclusion of some of his poems by popular anthologies, his verses on exotic topics (such as the former Liangzhou), and for being part of the group of "New Yuefu" poets, which often used poetry as a form of expression and protest, but one potentially subtle enough to avoid the likely repercussions of more direct criticism. The poetic circle in which Yuan Zhen was involved included Bai Juyi, among others. Politically Yuan Zhen was briefly chancellor, during the reign of Emperor Muzong.

元稹(779年-831年),字微之,河南府河南县(今河南省洛阳市)人,拓跋什翼犍第八子彭城王拓跋力真的后代,隋朝兵部尚书、益州总管长史、平昌郡公元岩六世孙。父元宽,母郑氏。早年和白居易共同提倡“新乐府”。世人常把他和白居易并称“元白”,两人的诗风,是为元白体。


Early and family life.

Arto Paasilinna was born on 20 April 1942 in the Alakylä part of the municipality of Kittilä, in Lapland, Finland. His parents were Väinö Paasilinna (1902–1950, born Gullstén, changed his surname in 1934 after a family conflict) and Hilda-Maria Paasilinna (1908–1983, born Niva). The Paasilinnas had seven children, five sons and two daughters, including the writer Erno Paasilinna; the writer, MEP and TV personality Reino Paasilinna; the painter Sirpa Paasilinna-Schlagenwarth; and the writer Mauri Paasilinna.  Paasilinna studied at the General and Elementary School Line at the Lapland Folk Academy.

Career.

Paasilinna initially worked as a journalist at "Nuoren Voiman Liitto", "Nuori Voima-lehti" and various newspapers as writer and editor. At the weekly magazine "Apu", he was an editor (1968–1970) and later a columnist (1975–1988).  In 1975, at the age of 33, Paasilinna found journalism growing "more superficial and meaningless" and desired a change; that summer, he sold his boat to fund the writing of "The Year of the Hare". The book was an immediate success and from 1975 on Paasilinna became an independent writer able to support himself with his novels, signed to Finnish publisher WSOY since 1977. He still wrote journalism articles and was a columnist on Finnish radio.  In 2000, Paasilinna was included in the 6th edition of literary critic Pekka Tarkka's dictionary "Suomalaisia nykykirjailijoita" ("Finnish Literary Authors", 1st ed. 1967).  In 2002, for Paasilinna's 60th anniversary, journalist Eino Leino published a biography of Paasilinna called "Lentojätkä. Arto Paasilinnan elämä"" ("The Flight Dude"). The same year Paasilinna published his own autobiography called "Yhdeksän unelmaa" ("Nine Night's Dream"). , Paasilinna had published about 12 non-fiction books and 35 novels, with almost one novel each year from 1972 to 2009 (except 1973, 1978, 2002): as his publishers say, "The annual Paasilinna is as much an element of the Finnish autumn as falling birch leaves." He is "constantly being translated into new languages", and 18 of his books have been translated overall into at least 27 languages: the translations beyond neighboring Scandinavian countries include: 17 into Italian, 16 into German, 11 into French, 9 into Slovenian, 6 into Dutch, 5 into Spanish, 4 into Korean, and 2 into English, Ukrainian and Catalan. Described as "The brightest star in the Finnish translated-literature firmament" by Finnish newspaper "Helsingin Sanomat", his success is claimed as having been "instrumental in generating the current level of interest in books from Finland" by his publisher WSOY.  Paasilinna's books reflect quite common Finnish life, usually from a middle-aged male perspective, and in rural Finland. Fast-paced, light and humorous in style, many of these narratives can be described as picaresque adventure stories with often a satirical angle towards modern life. Certain of his stories have been described as modern fables, such as "The Year of the Hare", which sets an ex-journalist's quest for authentic life and values in the Finnish backwoods against the emptiness and meaninglessness of modern consumer society. Vatanen, the hero of this novel, takes an injured young hare with him on his quest, nursing the animal back to health, while his own dissatisfaction with his former urban lifestyle becomes ever more evident.  His 1974 novel "Paratiisisaaren Vangit" appears as "Prisonniers du Paradis". This book is the humorous story of a UN charter that crashes on a deserted Pacific island. The passengers are lumberjacks and other forestry workers, midwives and nurses. As with "The Year of the Hare" (in French, "Le lièvre de Vatanen"), the narrator is a journalist. The multinational castaways (Finnish, Swedish, Norwegian and English) give Paasilinna ample opportunity to poke fun at issues of language domination and national stereotypes. The castaways set up a cashless society in which the only remuneration comes in the form of a cup of alcohol distilled in their jungle café in exchange for work for the collectivity. There is also a family planning clinic offering free IUDs. Soon, they find that they are not alone on the island and come up with a plan to get help.  Two of his novels, "Lentävä kirvesmies" and "Rovasti Huuskosen petomainen miespalvelija" were adapted to graphic novels by Hannu Lukkarinen.

Bibliography.

In Finnish.

Titles in quotes are indicative for untranslated books.  his 36 novels are:  His other books include:

Filmography.

Many books have been adapted into movies (some dubbed into English), including:

Personal life.

In 2008 and 2009, while still living in Espoo, Paasilinna was featured in Finnish tabloids for his incoherent behaviour, including reckless driving.  In October 2009, Paasilinna was rushed to a hospital due to a stroke. In April 2010, he was moved to a convalescent home for recovery, and his son named as his treasurer. Paasilinna died on 15 October 2018 in a nursing home in Espoo.

Arto Tapio Paasilinna (20 April 1942 – 15 October 2018) was a Finnish writer, being a former journalist turned comic novelist. One of Finland's most successful novelists, he won a broad readership outside of Finland in a way few other Finnish authors have before. Translated into 27 languages, over seven million copies of his books have been sold worldwide, and he has been claimed as "instrumental in generating the current level of interest in books from Finland".

阿托·塔皮奥·帕西林纳(,1942年-4月20日-2018年-10月15日),出生于基蒂莱,芬兰作家,做过记者后转型为幽默小说家。他是芬兰最成功的小说家之一,在国外也赢得了广泛的读者群,其著作被翻译成27种语言,并于芬兰和国际文坛上得过不少奖项,其中包括1989年法国的Prix Littéraire Air Inter,与1994年的Giuseppe Acerbi文学奖。