History.

"The New Yorker" was founded by Harold Ross and his wife Jane Grant, a "New York Times" reporter, and debuted on February 21, 1925. Ross wanted to create a sophisticated humor magazine that would be different from perceivably "corny" humor publications such as "Judge", where he had worked, or the old "Life". Ross partnered with entrepreneur Raoul H. Fleischmann (who founded the General Baking Company) to establish the F-R Publishing Company. The magazine's first offices were at 25 West 45th Street in Manhattan. Ross edited the magazine until his death in 1951. During the early, occasionally precarious years of its existence, the magazine prided itself on its cosmopolitan sophistication. Ross famously declared in a 1925 prospectus for the magazine: "It has announced that it is not edited for the old lady in Dubuque."  Although the magazine never lost its touches of humor, it soon established itself as a pre-eminent forum for serious fiction, essays and journalism. Shortly after the end of World War II, John Hersey's essay "Hiroshima" filled an entire issue. In subsequent decades the magazine published short stories by many of the most respected writers of the twentieth and twenty-first centuries, including Ann Beattie, Sally Benson, Truman Capote, John Cheever, Roald Dahl, Mavis Gallant, Geoffrey Hellman, Ruth McKenney, John McNulty, Joseph Mitchell, Alice Munro, Haruki Murakami, Vladimir Nabokov, John O'Hara, Dorothy Parker, S.J. Perelman, Philip Roth, J. D. Salinger, Irwin Shaw, James Thurber, John Updike, Eudora Welty, Stephen King, and E. B. White. Publication of Shirley Jackson's "The Lottery" drew more mail than any other story in the magazine's history.  In its early decades, the magazine sometimes published two or even three short stories a week, but in recent years the pace has remained steady at one story per issue. While some styles and themes recur more often than others in its fiction, the stories are marked less by uniformity than by variety, and they have ranged from Updike's introspective domestic narratives to the surrealism of Donald Barthelme, and from parochial accounts of the lives of neurotic New Yorkers to stories set in a wide range of locations and eras and translated from many languages. Kurt Vonnegut said that "The New Yorker" has been an effective instrument for getting a large audience to appreciate modern literature. Vonnegut's 1974 interview with Joe David Bellamy and John Casey contained a discussion of "The New Yorker"s influence:  The non-fiction feature articles (which usually make up the bulk of the magazine's content) cover an eclectic array of topics. Recent subjects have included eccentric evangelist Creflo Dollar, the different ways in which humans perceive the passage of time, and Münchausen syndrome by proxy.  The magazine is notable for its editorial traditions. Under the rubric "Profiles", it publishes articles about notable people such as Ernest Hemingway, Henry R. Luce and Marlon Brando, Hollywood restaurateur Michael Romanoff, magician Ricky Jay and mathematicians David and Gregory Chudnovsky. Other enduring features have been "Goings on About Town", a listing of cultural and entertainment events in New York, and "The Talk of the Town", a miscellany of brief pieces—frequently humorous, whimsical or eccentric vignettes of life in New York—written in a breezily light style, or feuilleton, although in recent years the section often begins with a serious commentary. For many years, newspaper snippets containing amusing errors, unintended meanings or badly mixed metaphors ("Block That Metaphor") have been used as filler items, accompanied by a witty retort. There is no masthead listing the editors and staff. Despite some changes, the magazine has kept much of its traditional appearance over the decades in typography, layout, covers and artwork. The magazine was acquired by Advance Publications, the media company owned by Samuel Irving Newhouse Jr, in 1985, for $200 million when it was earning less than $6 million a year.  Ross was succeeded as editor by William Shawn (1951–87), followed by Robert Gottlieb (1987–92) and Tina Brown (1992–98). Among the important nonfiction authors who began writing for the magazine during Shawn's editorship were Dwight Macdonald, Kenneth Tynan, and Hannah Arendt; to a certain extent all three authors were controversial, Arendt the most obviously so (her "Eichmann in Jerusalem" reportage appeared in the magazine before it was published as a book), but in each case Shawn proved an active champion.  Brown's nearly six-year tenure attracted more controversy than Gottlieb's or even Shawn's, thanks to her high profile (Shawn, by contrast, had been an extremely shy, introverted figure) and the changes which she made to a magazine that had retained a similar look and feel for the previous half-century. She introduced color to the editorial pages (several years before "The New York Times") and photography, with less type on each page and a generally more modern layout. More substantively, she increased the coverage of current events and hot topics such as celebrities and business tycoons, and placed short pieces throughout "Goings on About Town", including a racy column about nightlife in Manhattan. A new letters-to-the-editor page and the addition of authors' bylines to their "Talk of the Town" pieces had the effect of making the magazine more personal. The current editor of "The New Yorker" is David Remnick, who succeeded Brown in July 1998.  Tom Wolfe wrote about the magazine: "The "New Yorker" style was one of leisurely meandering understatement, droll when in the humorous mode, tautological and litotical when in the serious mode, constantly amplified, qualified, adumbrated upon, nuanced and renuanced, until the magazine's pale-gray pages became High Baroque triumphs of the relative clause and appository modifier".  Joseph Rosenblum, reviewing Ben Yagoda's "About Town", a history of the magazine from 1925 to 1985, wrote, "..."The New Yorker" did create its own universe. As one longtime reader wrote to Yagoda, this was a place 'where Peter DeVries... was forever lifting a glass of Piesporter, where Niccolò Tucci (in a plum velvet dinner jacket) flirted in Italian with Muriel Spark, where Nabokov sipped tawny port from a prismatic goblet (while a Red Admirable perched on his pinky), and where John Updike tripped over the master's Swiss shoes, excusing himself charmingly.  As far back as the 1940s, the magazine's commitment to fact-checking was already well-known. However, the magazine played a role in a literary scandal and defamation lawsuit over two articles written by Janet Malcolm in the 1990s, who wrote about Sigmund Freud's legacy. Questions were raised about the magazine's fact-checking process. As of 2010, "The New Yorker" employs sixteen fact checkers. In July 2011, the magazine was sued for defamation in United States district court for an article written by David Grann on July 12, 2010, but the case was summarily dismissed. Today, the magazine is often identified as the leading publication for rigorous fact checking.  Since the late 1990s, "The New Yorker" has used the Internet to publish current and archived material, and maintains a website with some content from the current issue (plus exclusive web-only content). Subscribers have access to the full current issue online, as well as a complete archive of back issues viewable as they were originally printed. In addition, "The New Yorker"s cartoons are available for purchase online. A digital archive of back issues from 1925 to April 2008 (representing more than 4,000 issues and half a million pages) has also been issued on DVD-ROMs and on a small portable hard drive. More recently, an iPad version of the current issue of the magazine has been released.  In its issue dated November 1, 2004, the magazine endorsed a presidential candidate for the first time, choosing to endorse Democrat John Kerry over incumbent Republican George W. Bush. This was continued in 2008, when the magazine endorsed Barack Obama over John McCain, in 2012, when it endorsed Obama over Mitt Romney, and in 2016, when it endorsed Hillary Clinton over Donald Trump.

Influence.

"The New Yorker" influenced a number of similar magazines, including "The Brooklynite" (1926 to 1930), "The Chicagoan" (1926 to 1935), and Paris's "The Boulevardier" (1927 to 1932).

Cartoons.

"The New Yorker" has featured cartoons (usually gag cartoons) since it began publication in 1925. The cartoon editor of "The New Yorker" for years was Lee Lorenz, who first began cartooning in 1956 and became a "New Yorker" contract contributor in 1958. After serving as the magazine's art editor from 1973 to 1993 (when he was replaced by Françoise Mouly), he continued in the position of cartoon editor until 1998. His book "The Art of the New Yorker: 1925–1995" (Knopf, 1995) was the first comprehensive survey of all aspects of the magazine's graphics. In 1998, Robert Mankoff took over as cartoon editor and edited at least 14 collections of "New Yorker" cartoons. In addition, Mankoff usually contributed a short article to each book, describing some aspect of the cartooning process or the methods used to select cartoons for the magazine. Mankoff left the magazine in 2017.  "The New Yorker"s stable of cartoonists has included many important talents in American humor, including Charles Addams, Peter Arno, Charles Barsotti, George Booth, Roz Chast, Tom Cheney, Sam Cobean, Leo Cullum, Richard Decker, Pia Guerra, J. B. Handelsman, Helen E. Hokinson, Ed Koren, Reginald Marsh, Mary Petty, George Price, Charles Saxon, David Snell, Otto Soglow, Saul Steinberg, William Steig, James Stevenson, Richard Taylor, James Thurber, Pete Holmes, Barney Tobey, and Gahan Wilson.  Many early "New Yorker" cartoonists did not caption their own cartoons. In his book "The Years with Ross", Thurber describes the newspaper's weekly art meeting, where cartoons submitted over the previous week would be brought up from the mail room to be gone over by Ross, the editorial department, and a number of staff writers. Cartoons often would be rejected or sent back to artists with requested amendments, while others would be accepted and captions written for them. Some artists hired their own writers; Helen Hokinson hired James Reid Parker in 1931. (Brendan Gill relates in his book "Here at The New Yorker" that at one point in the early 1940s, the quality of the artwork submitted to the magazine seemed to improve. It later was found out that the office boy (a teen-aged Truman Capote) had been acting as a volunteer art editor, dropping pieces he didn't like down the far edge of his desk.)  Several of the magazine's cartoons have climbed to a higher plateau of fame. One 1928 cartoon drawn by Carl Rose and captioned by E. B. White shows a mother telling her daughter, "It's broccoli, dear." The daughter responds, "I say it's spinach and I say the hell with it." The phrase "I say it's spinach" entered the vernacular (and three years later, the Broadway musical "Face the Music" included Irving Berlin's musical number entitled "I Say It's Spinach (And the Hell with It)"). The catchphrase "back to the drawing board" originated with the 1941 Peter Arno cartoon showing an engineer walking away from a crashed plane, saying, "Well, back to the old drawing board."  The most reprinted is Peter Steiner's 1993 drawing of two dogs at a computer, with one saying, "On the Internet, nobody knows you're a dog". According to Mankoff, Steiner and the magazine have split more than $100,000 in fees paid for the licensing and reprinting of this single cartoon, with more than half going to Steiner.  Over seven decades, many hardcover compilations of cartoons from "The New Yorker" have been published, and in 2004, Mankoff edited "The Complete Cartoons of The New Yorker", a 656-page collection with 2004 of the magazine's best cartoons published during 80 years, plus a double CD set with all 68,647 cartoons ever published in the magazine. This features a search function allowing readers to search for cartoons by a cartoonist's name or by year of publication. The newer group of cartoonists in recent years includes Pat Byrnes, Frank Cotham, Michael Crawford, Joe Dator, Drew Dernavich, J. C. Duffy, Carolita Johnson, Zachary Kanin, Farley Katz, Robert Leighton, Glen Le Lievre, Michael Maslin, Ariel Molvig, Paul Noth, Barbara Smaller, David Sipress, Mick Stevens, Julia Suits, Christopher Weyant, P. C. Vey, and Jack Ziegler. The notion that some "New Yorker" cartoons have punchlines so "non sequitur" that they are impossible to understand became a subplot in the "Seinfeld" episode "The Cartoon", as well as a playful jab in an episode of "The Simpsons", "The Sweetest Apu".  In April 2005, the magazine began using the last page of each issue for "The New Yorker Cartoon Caption Contest". Captionless cartoons by "The New Yorker"s regular cartoonists are printed each week. Captions are submitted by readers, and three are chosen as finalists. Readers then vote on the winner. Anyone age thirteen or older can enter or vote. Each contest winner receives a print of the cartoon (with the winning caption), signed by the artist who drew the cartoon.

Crosswords and Puzzles.

The New Yorker launched a crossword puzzle series in April 2018 with a weekday crossword published every Monday. Subsequently, it launched a second, weekend crossword that appears on Fridays and relaunched cryptic puzzles that were run in the magazine in the late 1990s. The puzzles are written by a rotating stable of seven constructors. The crosswords integrate cartoons into the puzzle playing experience. The Christmas 2019 issue featured a crossword puzzle by Patrick Berry that had cartoons as clues, and the answers were captions for the cartoons. In December 2019, Liz Maynes-Aminzade was named the first puzzles and games editor of The New Yorker.

Films.

"The New Yorker" has been the source of a number of movies. Both fiction and non-fiction pieces have been adapted for the big screen, including "Flash of Genius" (2008), based on a true account of the invention of the intermittent windshield wiper by John Seabrook; "Away From Her", adapted from Alice Munro's short story "The Bear Came over the Mountain", which debuted at the 2007 Sundance Film Festival; "The Namesake" (2007), similarly based on Jhumpa Lahiri's novel, which originated as a short story in the magazine; "The Bridge" (2006), based on Tad Friend's 2003 non-fiction piece "Jumpers"; "Brokeback Mountain" (2005), an adaptation of the short story by Annie Proulx that first appeared in the October 13, 1997, issue of "The New Yorker"; Jonathan Safran Foer's 2001 debut in "The New Yorker", which later came to theaters in Liev Schreiber's debut as both screenwriter and director, "Everything Is Illuminated" (2005); Michael Cunningham's" The Hours", which appeared in the pages of "The New Yorker" before becoming the film that garnered the 2002 Best Actress Academy Award for Nicole Kidman; "Adaptation" (2002), which Charlie Kaufman based on Susan Orlean's "The Orchid Thief", written for "The New Yorker"; Frank McCourt's "Angela's Ashes", which also appeared, in part, in "The New Yorker" in 1996 before its film adaptation was released in 1999; "The Addams Family" (1991) and its sequel, "Addams Family Values" (1993), both inspired by the work of famed "New Yorker" cartoonist Charles Addams; Brian De Palma's "Casualties of War" (1989), which began as a "New Yorker" article by Daniel Lang; "Boys Don't Cry" (1999), starring Hilary Swank, began as an article in the magazine, and "Iris" (2001), about the life of Iris Murdoch and John Bayley, the article written by John Bayley for "The New Yorker", before he completed his full memoir, the film starring Judi Dench and Jim Broadbent; "The Swimmer" (1968), starring Burt Lancaster, based on a John Cheever short story from "The New Yorker"; "In Cold Blood" (1967), the widely nominated adaptation of the 1965 non-fiction serial written for "The New Yorker" by Truman Capote; "Pal Joey" (1957), based on a series of stories by John O'Hara; "Mister 880" (1950), starring Edmund Gwenn, based on a story by longtime editor St. Clair McKelway; "The Secret Life of Walter Mitty" (1947), which began as a story by longtime "New Yorker" contributor James Thurber; and "Junior Miss" (1941) and "Meet Me in St. Louis" (1944), both adapted from Sally Benson's short stories.  The history of "The New Yorker" has also been portrayed in film: In "Mrs. Parker and the Vicious Circle", a film about the celebrated Algonquin Round Table starring Jennifer Jason Leigh as Dorothy Parker, Sam Robards portrays founding editor Harold Ross trying to drum up support for his fledgling publication. The magazine's former editor, William Shawn, is portrayed in "Capote" (2005), "Infamous" (2006) and "Hannah Arendt" (2012).  The 2015 documentary "Very Semi-Serious", produced by Redora Films, presents a behind-the-scenes look at the cartoons of "The New Yorker".

Style.

"The New Yorker"s signature display typeface, used for its nameplate and headlines and the masthead above "The Talk of the Town" section, is Irvin, named after its creator, the designer-illustrator Rea Irvin. The body text of all articles in "The New Yorker" is set in Adobe Caslon.  One uncommonly formal feature of the magazine's in-house style is the placement of diaeresis marks in words with repeating vowels—such as "reëlected", "preëminent", and "coöperate"—in which the two vowel letters indicate separate vowel sounds. The magazine also continues to use a few spellings that are otherwise little used in American English, such as "fuelled", "focussed", "venders", "teen-ager", "traveller", "marvellous", "carrousel", and "cannister".  The magazine also spells out the names of numerical amounts, such as "two million three hundred thousand dollars" instead of "$2.3 million", even for very large figures.

Readership.

Despite its title, "The New Yorker" is read nationwide, with 53 percent of its circulation in the top 10 U.S. metropolitan areas. According to Mediamark Research Inc., the average age of "The New Yorker" reader in 2009 was 47 (compared to 43 in 1980 and 46 in 1990). The average household income of "The New Yorker" readers in 2009 was $109,877 (the average income in 1980 was $62,788 and the average income in 1990 was $70,233).  According to Pew Research, 77 percent of "The New Yorker's" audience hold left-of-center political values, while 52 percent of those readers hold "consistently liberal" political values.

Eustace Tilley.

The magazine's first cover illustration, a dandy peering at a butterfly through a monocle, was drawn by Rea Irvin, the magazine's first art editor, based on an 1834 caricature of the then Count d'Orsay which appeared as an illustration in the 11th edition of the "Encyclopædia Britannica". The gentleman on the original cover, now referred to as "Eustace Tilley", is a character created by Corey Ford (1902–1969) for "The New Yorker". The hero of a series entitled "The Making of a Magazine", which began on the inside front cover of the August 8 issue that first summer, Tilley was a younger man than the figure on the original cover. His top hat was of a newer style, without the curved brim. He wore a morning coat and striped formal trousers. Ford borrowed Eustace Tilley's last name from an aunt—he had always found it vaguely humorous. "Eustace" was selected by Ford for euphony.  The character has become a kind of mascot for "The New Yorker", frequently appearing in its pages and on promotional materials. Traditionally, Rea Irvin's original Tilley cover illustration is used every year on the issue closest to the anniversary date of February 21, though on several occasions a newly drawn variation has been substituted.

Covers.

The magazine is well known for its illustrated and often topical covers.

"View of the World" cover.

Saul Steinberg created 85 covers and 642 internal drawings and illustrations for the magazine. His most famous work is probably its March 29, 1976, cover, an illustration most often referred to as "View of the World from 9th Avenue", sometimes referred to as "A Parochial New Yorker's View of the World" or "A New Yorker's View of the World", which depicts a map of the world as seen by self-absorbed New Yorkers.  The illustration is split in two, with the bottom half of the image showing Manhattan's 9th Avenue, 10th Avenue, and the Hudson River (appropriately labeled), and the top half depicting the rest of the world. The rest of the United States is the size of the three New York City blocks and is drawn as a square, with a thin brown strip along the Hudson representing "Jersey", the names of five cities (Los Angeles; Washington, D.C.; Las Vegas; Kansas City; and Chicago) and three states (Texas, Utah, and Nebraska) scattered among a few rocks for the United States beyond New Jersey. The Pacific Ocean, perhaps half again as wide as the Hudson, separates the United States from three flattened land masses labeled China, Japan and Russia.  The illustration—humorously depicting New Yorkers' self-image of their place in the world, or perhaps outsiders' view of New Yorkers' self-image—inspired many similar works, including the poster for the 1984 film "Moscow on the Hudson"; that movie poster led to a lawsuit, "Steinberg v. Columbia Pictures Industries, Inc.", 663 F. Supp. 706 (S.D.N.Y. 1987), which held that Columbia Pictures violated the copyright that Steinberg held on his work.  The cover was later satirized by Barry Blitt for the cover of "The New Yorker" on October 6, 2008. The cover featured Sarah Palin looking out of her window seeing only Alaska, with Russia in the far background.  The March 21, 2009, cover of "The Economist", "How China sees the World", is also an homage to the original image, depicting the viewpoint from Beijing's Chang'an Avenue instead of Manhattan.

9/11.

Hired by Tina Brown in 1992, Art Spiegelman worked for "The New Yorker" for ten years but resigned a few months after the September 11 terrorist attacks. The cover created by Françoise Mouly and Spiegelman for the September 24, 2001, issue of "The New Yorker" received wide acclaim and was voted as being among the top ten magazine covers of the past 40 years by the American Society of Magazine Editors, which commented: At first glance, the cover appears to be totally black, but upon close examination it reveals the silhouettes of the World Trade Center towers in a slightly darker shade of black. In some situations, the ghost images become visible only when the magazine is tilted toward a light source. In September 2004, Spiegelman reprised the image on the cover of his book "In the Shadow of No Towers", in which he relates his experience of the Twin Towers attack and the psychological after-effects.

"New Yorkistan".

In the December 2001 issue, the magazine printed a cover by Maira Kalman and Rick Meyerowitz showing a map of New York in which various neighborhoods were labeled with humorous names reminiscent of Middle Eastern and Central Asian place names and referencing the neighborhood's real name or characteristics (e.g., "Fuhgeddabouditstan", "Botoxia"). The cover had some cultural resonance in the wake of September 11, and became a popular print and poster.

Controversial covers.

Crown Heights in 1993.

For the 1993 Valentine's Day issue, the magazine cover by Art Spiegelman depicted a black woman and a Hasidic Jewish man kissing, referencing the Crown Heights riot of 1991. The cover was criticized by both black and Jewish observers. Jack Salzman and Cornel West describe the reaction to the cover as the magazine's "first national controversy".

2008 Obama cover satire and controversy.

"The Politics of Fear", a cartoon by Barry Blitt featured on the cover of the July 21, 2008, issue, depicts then presumptive Democratic presidential nominee Barack Obama in the turban and salwar kameez typical of many Muslims, fist bumping with his wife, Michelle, portrayed with an Afro and wearing camouflage trousers with an assault rifle slung over her back. They are standing in the Oval Office, with a portrait of Osama Bin Laden hanging on the wall and an American flag burning in the fireplace in the background.  Many "New Yorker" readers saw the image as a lampoon of "The Politics of Fear", as was its title. Some of Obama's supporters as well as his presumptive Republican opponent, Sen. John McCain, accused the magazine of publishing an incendiary cartoon whose irony could be lost on some readers. However, editor David Remnick felt the image's obvious excesses rebuffed the concern that it could be misunderstood, even by those unfamiliar with the magazine. "The intent of the cover", he said, "is to satirize the vicious and racist attacks and rumors and misconceptions about the Obamas that have been floating around in the blogosphere and are reflected in public opinion polls. What we set out to do was to throw all these images together, which are all over the top and to shine a kind of harsh light on them, to satirize them."  In an interview on "Larry King Live" shortly after the magazine issue began circulating, Obama said, "Well, I know it was "The New Yorker"s attempt at satire... I don't think they were entirely successful with it". Obama also pointed to his own efforts to debunk the allegations portrayed in "The New Yorker" cover through a web site his campaign set up, stating that the allegations were "actually an insult against Muslim-Americans".  Later that week, "The Daily Show"s Jon Stewart continued "The New Yorker" cover's argument about Obama stereotypes with a piece showcasing a montage of clips containing such stereotypes culled from various legitimate news sources. The "New Yorker" Obama cover was later parodied by Stewart and Stephen Colbert on the October 3, 2008, cover of "Entertainment Weekly" magazine, with Stewart as Obama and Colbert as Michelle, photographed for the magazine in New York City on September 18.  "New Yorker" covers are not always related to the contents of the magazine or are only tangentially so. In this case, the article in the July 21, 2008, issue about Obama did not discuss the attacks and rumors but rather Obama's political career. The magazine later endorsed Obama for president.  This parody was most likely inspired by Fox News host E. D. Hill's paraphrasing of an anonymous internet comment in asking whether a gesture made by Obama and his wife Michelle was a "terrorist fist jab". Later, Hill's contract was not renewed.

2013 Bert and Ernie cover.

"The New Yorker" chose an image of Bert and Ernie by artist Jack Hunter, entitled "Moment of Joy", as the cover of their July 8, 2013, publication, which covers the Supreme Court decisions on the Defense of Marriage Act and California Proposition 8. The "Sesame Street" characters have long been rumored in popular culture and urban legend to be homosexual partners, though Sesame Workshop has repeatedly denied this, saying they are merely "puppets" and have no sexual orientation. Reaction was mixed. Online magazine "Slate" criticized the cover, which shows Ernie leaning on Bert's shoulder as they watch a television with the Supreme Court justices on the screen, saying "it's a terrible way to commemorate a major civil-rights victory for gay and lesbian couples." "The Huffington Post", meanwhile, said it was "one of [the magazine's] most awesome covers of all time".

The New Yorker is an American weekly magazine featuring journalism, commentary, criticism, essays, fiction, satire, cartoons, and poetry. Started as a weekly in 1925, the magazine is now published 47 times annually, with five of these issues covering two-week spans. Although its reviews and events listings often focus on the cultural life of New York City, "The New Yorker" has a wide audience outside New York and is read internationally. It is well known for its illustrated and often topical covers, its commentaries on popular culture and eccentric Americana, its attention to modern fiction by the inclusion of short stories and literary reviews, its rigorous fact checking and copy editing, its journalism on politics and social issues, and its single-panel cartoons sprinkled throughout each issue.

The New Yorker je americký časopis, který zveřejňuje reportáže, komentáře, kritiky, eseje, fikci, satiru, karikatury a poezii. Jeho vydavatelem je společnost Condé Nast Publications, což je divize impéria Advance Publications. Magazín založil novinář Harold Ross spolu se svou manželkou Jane Grant a první číslo vyšlo 21. února 1925. V roce 1985 časopis získal filantrop Samuel Newhouse a stal se součástí jeho impéria Advance Publications. Časopis vydal díla řady autorů, mezi něž patří například John Hersey, Haruki Murakami, Dorothy Parker, Vladimir Nabokov a Roald Dahl. Od roku 1998 je šéfredaktorem časopisu David Remnick.


Early life and education.

Jorge Semprún Maura was born in 1923 in Madrid. His mother was Susana Maura Gamazo, the youngest daughter of Antonio Maura, who served several times as prime minister of Spain. His father, José María Semprún Gurrea (1893–1966), was a liberal politician and served as a diplomat for the Republic of Spain during the Spanish Civil War.

Émigrés and World War II.

In the wake of the military uprising led by General Franco in July 1936, the Semprún family moved to France, and then to The Hague where his father was a diplomat, representing the Republic of Spain in the Netherlands. After the Netherlands officially recognized the Franco government in the beginning of 1939, the family returned to France as refugees. Jorge Semprún enrolled there at the Lycée Henri IV and later the Sorbonne.  During the Nazi occupation of France, the young Semprún joined the "Francs-Tireurs et Partisans – Main-d'Œuvre Immigrée" (FTP-MOI), a Resistance organization made up mostly of immigrants. After joining the Spanish Communist Party in 1942 in France, Semprún was reassigned to the Francs-Tireurs et Partisans (FTP), the Communist armed Resistance. In 1943 he was arrested by the Gestapo and deported to Buchenwald concentration camp for his role in the Resistance. He deals with the experiences in two books: "Le grand voyage" (1963) treats the journey to Buchenwald, and "Quel beau dimanche!" (1980) his camp experiences.  In 1945 Semprún returned to France and became an active member of the exiled Communist Party of Spain (PCE). From 1953 to 1962, he was an important organizer of the PCE's clandestine activities in Spain, using the pseudonym of Federico Sánchez. He entered the party's executive committee in 1956. In 1964 he was expelled from the party because of "differences regarding the party line", and from then on he concentrated on his writing career.  Semprún wrote many novels, plays, and screenplays, for which he received several nominations, including an Academy Award in 1970, and awards, including the 1997 Jerusalem Prize. He was a screenwriter for two successive films by the Greek director Costa-Gavras, dealing with the theme of persecution by governments, "Z" (1969) and "The Confession" (1970). For his work on "Z", he was nominated for the Academy Award for Best Adapted Screenplay but did not win.  He was a member of the jury at the 1984 Cannes Film Festival. In 1988 he was appointed Minister of Culture in Felipe González's second government, despite being neither an elected MP nor a member of the Socialist Party (PSOE). He resigned the post three years later after publishing an article openly criticising the vice-president, Alfonso Guerra, and his brother Juan Guerra.  In 1996, Semprún became the first non-French author to be elected to the "Académie Goncourt", which awards an annual prize for literature written in French. In 2002, he was awarded the inaugural Ovid Prize in recognition of his entire body of work, which focuses on "tolerance and freedom of expression".  Jorge Semprún served as the honorary chairman of the Spanish branch of Action Against Hunger. He lived in Paris.

Marriage and family.

Semprún married the actress Loleh Bellon in 1949. Their son, Jaime Semprún (1947–2010), was also a writer. Later Semprún married the French film editor Colette Leloup in 1958. They had five children: Dominique Semprún, Ricardo Semprún, Lourdes Semprún, Juan Semprún and Pablo Semprún. He is the brother of the writer Carlos Semprún (1926-2009).

Style and themes.

Semprún wrote primarily in French and alludes to French authors as much as to Spanish ones. Most of his books are fictionalized accounts of his deportation to Buchenwald. His writing is non-linear and achronological. The narrative setting shifts back and forth in time, exploring the past and future in relation to key events. With each recounting, events take on different meanings. Semprún's works are self-reflexive. His narrators explore how events live on in memory and means of communicating the events of the concentration camp to readers who cannot fathom that experience. His more recent work in this vein also includes reflections on the meaning of Europe and of being European, as informed by this period of history, including how Buchenwald was reopened by Soviet forces as Special Camp No. 2 of the NKVD, and then largely razed and planted over by East Germany to hide the mass graves from this second dark episode.  Semprún's writing in Spanish deals with Spanish subject matter, and includes two volumes of memoirs: "Autobiografía de Federico Sánchez", about his clandestine work in and later exclusion from the Spanish Communist Party (1953–64), and "Federico Sánchez se despide de ustedes", which deals with his term of service as Minister of Culture in the second Socialist government of Felipe González (1988–91). A novel in Spanish, "Veinte años y un día", is set in 1956 and deals with recent history in Spain.

Selected works.

Semprún's first book, "Le grand voyage" ("The Long Voyage" in English; republished as "The Cattle Truck" in 2005 by Serif), was published in 1963 by Gallimard. It recounts Semprún's deportation and incarceration in Buchenwald in fictionalized form. A feature of the novel, and with Semprún's work in general, is its fractured chronology. The work recounts his train journey and arrival at the concentration camp. During the long trip, the narrator provides the reader with flashbacks to his experiences in the French Resistance and flash-forwards to life in the camp and after liberation. The novel won two literary prizes, the "Prix Formentor" and "Prix littéraire de la Résistance" ("Literary Prize of the Resistance").  In 1977, his "Autobiografía de Federico Sánchez" ("Autobiography of Federico Sánchez") won the Premio Planeta, the most highly remunerated literary prize in Spain. In spite of the pseudonymous title, the work is Semprún's least fictionalized volume of autobiography, recounting his life as a member of the central committee of the Spanish Communist Party (PCE), and his undercover activities in Spain between 1953 and 1964. The book shows a stark view of Communist organizations during the Cold War, and presents a very critical portrait of leading figures of the PCE, including Santiago Carrillo and Dolores Ibárruri.  "What a Beautiful Sunday" ("Quel beau dimanche!"), his novel of life in Buchenwald and after liberation was published by Grasset in 1980. It purports to tell what it was like to live one day, hour by hour, in the concentration camp, but like Semprún's other novels, the narrator recounts events that precede and follow that day. In part, Semprún was inspired by "A Day in the Life of Ivan Denisovich" by Aleksandr Solzhenitsyn, and the work contains a criticism of Stalinism as well as fascism.  "Literature or Life" was published by Gallimard in 1994. The French title, "L'Ecriture ou la vie", might be better translated as "Writing or Life". Semprún explores themes related to deportation, but the focus is on living with the memory of the experience and how to write about it. Semprún revisits scenes from previous works and gives rationales for his literary choices.

Jorge Semprún Maura (; 10 December 1923 – 7 June 2011) was a Spanish writer and politician who lived in France most of his life and wrote primarily in French. From 1953 to 1962, during the dictatorship of Francisco Franco, Semprún lived clandestinely in Spain working as an organizer for the exiled Communist Party of Spain, but was expelled from the party in 1964. After the death of Franco and change to a democratic government, he served as Minister of Culture in Spain's socialist government from 1988 to 1991. He was a screenwriter for two successive films by the Greek director Costa-Gavras, "Z" (1969) and "The Confession" (1970), which dealt with the theme of persecution by governments. For his work on the films "The War Is Over" (1966) and "Z" (1969) Semprún was nominated for the Academy Award. In 1996, he became the first non-French author elected to the "Académie Goncourt", which awards an annual literary prize.

Jorge Semprún (vlastním jménem "Jorge Semprún Maura", 10. prosince 1923, Madrid – 7. června 2011, Paříž) byl španělský exilový spisovatel, scenárista, posléze politik, píšící od svého odchodu do Francie převážně francouzsky, laureát několika literárních ocenění.


Career.

With Ninjas in Pyjamas, Freeze Began his LCS career beginning in the summer split of season 3. By the end of the split, the team finished the regular season in 5th place, making it to the playoffs, where they finished 6th overall. This, unfortunately, lead Ninjas in Pyjamas to be relegated to the challenger series, where Freeze would stay for all of season 4, before later leaving the disbanding NiP. Freeze was then picked up by the Copenhagen Wolves before beginning the season 5 spring split, where he and the team finished 6th. In the summer split of season 5, the Copenhagen Wolves were much less successful, finishing in last place, 10th, forcing them to be auto-relegated. And once Freeze's contract expired and he announced his free agency on November 1, 2015. He was picked up by North American team Renegades on January 6, where he is currently playing the season 6 spring split. Renagades finished 8th in the LCS, and Freeze left the team after the disappointing finish.  He joined H2k on May 8, 2016, ahead of the EU LCS Summer 2016 split, replacing FORG1VEN at AD Carry as the latter was conscripted into the Greek Army. However, FORG1VEN later had his military service commuted, and transferred to Origen.  On July 27, 2016 H2k announced that Freeze would step away from the roster due to persistent tendonitis. The team stated that FORG1VEN would take his place on the starting roster. Signed by Tempo Storm in December 2016.

Aleš Kněžínek, better known by his in-game name Freeze, is a Czech professional "League of Legends" player who is the AD Carry for MAD Lions. He has notably played for Renegades, H2k-Gaming, Copenhagen Wolves, and Ninjas in Pyjamas during his career. He was the first Czech national to play in the LCS.

Aleš Kněžínek, známý jako Freeze (* 6. června 1994 Brno), je český profesionální hráč počítačových her. V současnosti hraje hru League of Legends, ve které působí jako hráč role "AD carry". Je prvním Čechem, jenž se dostal do European League of Legends Championship Series (EU LCS).


Location.

Cannon Street is a terminal station, approached across the River Thames by the Cannon Street Railway Bridge. Its approach by rail is through a triangular connection to both and. It is one of eighteen stations in the country that are managed by Network Rail.  There were originally eight platforms; a refurbishment in the late 1990s removed the original platform 1. It has entrances on Cannon Street itself and Dowgate Hill. It is located near London Stone (to the north of the station).  London Buses routes 15, 17, 21, 35, 43, 47, 133, 141, 149, 344, 388, 521 and night routes N8, N11, N15, N21, N25, N26, N133, N199, N242, N550 and N551 serve the station.

History.

Original structure.

Cannon Street station was built on a site where the Hanseatic merchants' steelyard had been based from the 10th century until 1598. The site was proposed in 1860 by the South Eastern Railway (SER) in response to its rival, the London, Chatham & Dover Railway (LC&DR), extending a line into the City of London as far north as Ludgate Hill. The SER had already made plans to extend its line towards, but decided that it should complement this with a terminus in the City.  In 1861, the company obtained an act for a station in Cannon Street, a short distance from Mansion House and the Bank of England. In addition to taking traffic from the LC&DR, the new station would provide a direct railway link between the City and the West End, over which a journey could be made in a fraction of the time taken travelling by road. The approach was a branch of the line to Charing Cross, west of London Bridge. Work started on the station and its approach in July 1863.  The station was opened on 1 September 1866 at a cost of £4 million (now £ million). The original building was designed by Sir John Hawkshaw and John Wolfe-Barry and was characterised by its two Christopher Wren-style towers, square and high, which faced on to the River Thames. The towers supported an iron train shed, long and crowned by a high single arch, almost semicircular, of glass and iron. The station is carried over Upper Thames Street on a brick viaduct, long and containing 27 million bricks. Below this viaduct exist the remains of a number of Roman buildings, which form a scheduled ancient monument. The bridge was open to pedestrians between 1872 and 1877; they paid a toll of 1⁄2d. The five-storey City Terminus Hotel, which fronted the station, was opened in May 1867. It was an Italianate style hotel and forecourt, designed by E. M. Barry, and it provided many of the station's passenger facilities, as well as an appropriate architectural frontispiece to the street. This arrangement was very similar to that put in place at Charing Cross. The hotel was not profitable, and was over £47,000 (now £) in debt by 1870. The City Terminus Hotel was renamed the Cannon Street Hotel in 1879. In July 1920, the hotel was the first meeting point of the Communist Party of Great Britain. Most of the hotel was closed in 1931, but the public rooms were kept open for meetings. The rest were converted into offices and renamed Southern House. The hotel is referred to in The Fire Sermon section of T. S. Eliot's "The Waste Land".  Upon its opening Cannon Street station was a stopping point for all services to and from Charing Cross, including boat trains to Continental Europe. A shuttle service between the two stations ran every 20 minutes and became a popular way of travelling between the City and the West End. However, the opening of the District Railway as far as Blackfriars caused traffic to decline, and its extension to Mansion House the following year reduced it further. The SER's route could not compete with the Underground, which was more direct and reliable, but suburban traffic to Cannon Street remained popular, and the bridge was widened to in the late 1880s, allowing ten tracks with sidings. The rebuilt bridge was opened on 13 February 1892. The signal boxes outside the station were upgraded the following year.  The London and Southwestern Railway (LSWR) became interested in using Cannon Street as a terminus, as it would allow a connection between Waterloo and the City.

War years.

Work on strengthening the bridge, by the addition of six new girders in between the existing ones, was completed in 1913.  Most Cannon Street train services ceased during World War I. Continental boat trains were stopped on 15 November 1914 and rerouted to Victoria. The station stopped being served by through services from Charing Cross on 31 December 1916, and was closed on Sundays. Services were reduced further on 1 May 1918, when it was closed after 3 p.m. on Saturdays and between 11 a.m. and 4 p.m. Mondays to Fridays. This allowed Cannon Street to be used as a goods depot for war supplies.  Between 5 and 28 June 1926, the station was closed to allow the Southern Railway to carry out various works, including the rebuilding of the platforms, relaying of the tracks and installation of a new system of electrical signalling – the four-aspect colour light scheme. The station was also renovated and the glass roof cleaned. The number of platforms was reduced from nine to eight, with five set aside for the new electric trains. The signal box spanning the width of the railway bridge was removed. In July 1939, Cannon Street was closed for a week following a fire in Borough Market which prevented any trains accessing it.  The station, which had been subject to structural neglect prior to World War II, suffered extensive bomb damage and was hit by several incendiary devices which damaged the roof. A high explosive also hit platform 8. The original glass roof had been removed before the war, in an attempt to save it; however, the factory in which the roof was stored was itself badly bombed, destroying the roof.

Redevelopment.

Following in 1948, the station was managed by the Southern Region of British Railways. The station's prime location coupled with the property boom of the 1950s and the need for British Rail to seek alternative revenue streams made war-damaged Cannon Street a key target for property developers. Steam trains stopped running from Cannon Street in 1959.  Various plans were mooted for the reconstruction of the station, from the installation of a new ticket hall and concourse under Southern House in 1955 as part of British Rail's Modernisation Plan to the construction of a car park estimated to cost £125,000 (now £) and even a helipad. In 1962, the British Transport Commission entered into an agreement with Town & Country Properties for the construction of a multi-storey office building above the station with of floor space. The cost of the development was £2.35 million (now £ million) and it was scheduled for completion by June 1965.  In preparation for redevelopment, the remains of the train shed roof had been demolished in 1958, and Barry's hotel (which had been used as offices since 1931) soon followed in 1960. The architect selected to design the new building was John Poulson who was good friends with Graham Tunbridge, a British Rail surveyor whom he had met during the war. Poulson took advantage of this friendship to win contracts for the redevelopment of various British Rail termini. He paid Tunbridge a weekly income of £25 and received in return building contracts, including the rebuilding of Waterloo and East Croydon stations. At his trial in 1974, Poulson admitted that, shortly before receiving the Cannon Street building contract, he had given Tunbridge a cheque for £200 and a suit worth £80. Poulson was later found guilty of corruption charges and given a seven-year concurrent sentence; Tunbridge received a 15-month suspended sentence and a £4,000 fine for his role in the affair.  All that now remains of the original station architecture are the twin yellow brick towers at the country-end and parts of the low flanking walls.

Modern era.

The station's twin brick towers were listed Grade II in 1972. In 1974, the station was closed for five weeks from 2 August to 9 September to enable alterations to be made to the track and the approaches to London Bridge to be resignalled. Traffic was diverted to London Bridge, Charing Cross and. On 4 March 1976, a Provisional Irish Republican Army (IRA) bomb of about 10 lb (4.5 kg) exploded on an empty commuter train leaving Cannon Street, injuring eight people on another train travelling alongside.  On 15 February 1984, it was reported in "The Times" that Cannon Street was to close. At the time, the station had been closed for weekends and evenings, and the publication of British Rail's new timetable for 1984–1985 revealed that it would lose all its direct off-peak services to the south-east. Services from Sevenoaks,,,,,,, Lewisham and Greenwich would instead terminate at except during peak hours. This was denied by British Rail (Southern)'s manager David Kirby, who pointed out that it had invested £10 million in redecking the railway bridge, and that passengers travelling from the south-east during off-peak hours would most likely be visiting the West End and not the City.  In 1986, the twin towers were restored in a project costing £242,000 (now £). The works revealed that the east tower still contained a large water tank which was used during the days of steam traction to replenish locomotives and to power the station's hydraulic systems. The brickwork was repaired, cleaned and repointed, and the weather vanes gilded to complement the dome of nearby St Paul's Cathedral. This work was one of the Railway Heritage Trust's first projects and coincided with an exhibition held in the station in August of the same year to mark its 150th anniversary. In the 1980s, there was another property boom and British Rail again began looking into further commercial uses of the Cannon Street landspace, including of office space. The air rights over the platforms to the rear of Poulson's office were sold to Speyhawk which appointed Bovis Construction to build a free-standing structure comprising two office blocks on a 6,000 tonne steel deck constructed over the station's eight platforms. The Cannons Club, a sports club, was founded beneath the station's arches around this time, and quickly became one of the most prestigious squash clubs in the country. InterCity, the high-speed arm of British Rail, subsequently sponsored the National Squash Championships and National Squash Challenge.  The larger office block, the "Atrium building", provides of office space on six floors and is linked to the smaller building, the "River building", via a glazed link raised through a central glazed atrium. The River building, which has two storeys, is built on the steel deck and contained within the station's two flank walls, which were rebuilt, providing of office space. This building projects slightly beyond the restored twin towers which form the riverside boundary to the development. The Atrium building was later let to the London International Financial Futures and Options Exchange (Liffe). The River building has a roof garden. The project cost around £500,000 and was laid to comply with planning restrictions which required the building to be low and flat to maintain the sight lines from St Paul's to Tower Bridge.  Planning permission was granted in March 2007 to replace the Poulson building, with a new air rights building designed by Foggo Associates. Hines, the US developer, led a £360 million project involving the demolition of Poulson's office block, replacing it with a mixed-use development containing more than of office space alongside of station retail space. The redevelopment was part of a larger regeneration programme undertaken by Network Rail to modernise and "unlock the commercial potential" of the main London termini; and were also redeveloped. Network Rail's director of commercial property said that the finished station would be "less congested and more accessible for passengers." Cannon Street won the award for "Major Station of the Year" at the 2013 National Rail Awards.  In January 2015, the station's opening hours were extended to 0500–0100 Monday to Sunday (prior to this, the station had been closed on Sundays and during the evenings), and several services which previously terminated at Charing Cross were diverted to Cannon Street as a result of Thameslink Programme works. Some of these services will revert to terminating at Charing Cross following the completion of the works, while services from the Greenwich line and from New Cross and St Johns will permanently run to Cannon Street due to the removal of the Spa Road Junction.

National Rail.

The station connects the south side of the City to south and south-east London via station. Some services run directly into Cannon Street from Kent and East Sussex, but only during rush hours. Occasionally during the weekends when track maintenance is in progress, the station serves as an intermediate station between London Bridge and. Either trains reverse at the station or rail passengers change trains here. From 1918 to 2015, the station was closed on Sundays; this changed with Southeastern's introduction of a new timetable from January 2015 which resulted in the station's opening hours being extended over the entire week, except when engineering works require its closure and services are diverted to Charing Cross.

Services.

The typical off-peak service from the station is:  During peak hours, there are also services to Hastings, Tunbridge Wells, Ore and to Ramsgate or Broadstairs via Chatham.

London Underground.

The London Underground station is sub-surface, situated immediately below the main line station. It is served by the District and Circle lines. Entrances are located on Cannon Street, Dowgate Hill, and on the main line concourse upstairs at the National Rail station, providing an interconnection for commuters. An out of station interchange with Bank station has been running since 2018.

History.

By 1876, the Metropolitan Railway (MR) and District Railway (DR) had constructed the majority of the Inner Circle (now the Circle line), reaching and respectively. The companies were in dispute over the completion of the route as the DR was struggling financially and the MR was concerned that completion would affect its revenues through increased competition from the DR in the City area. In 1874, city financiers who were keen to see the line completed established the Metropolitan Inner Circle Completion Railway (MICCR) to link Mansion House to Aldgate. Forced into action, the MR bought out the company, and it and the DR began construction of the final section of the Inner Circle in 1879.  On 6 October 1884, the final section of the Inner Circle was opened, along with Cannon Street station. Initially, the station was served by trains of both companies as part of the circular Inner Circle service, but various operational patterns have been used during the station's life. The Inner Circle service achieved a separate identity as the Circle line in 1949, although its trains were still provided by the District or Metropolitan lines.  A station here was part of the abandoned phase two expansion of the Fleet line (now Jubilee line). It had originally been planned in 1943, and was revived as a major transport plan in 1965. London Transport spent £10m (now £m) in 1972 safeguarding the route underneath Cannon Street and building reinforcements for laying a tube in the water-bearing ground around the station. The plan was abandoned in the early 1980s in favour of the current extension further south.  The Underground station underwent major reconstruction at the same time as the main line station, with the work being completed in 2012. From 14 December 2014, the station's opening hours changed significantly, with the station opening on Sundays and no longer closing early in the evenings. The station previously had restricted opening hours because it primarily served the local financial services sector, so there was low demand for services outside office hours. However, with the main line station's opening hours being extended due to the Thameslink Programme, the Underground station's opening hours were changed to accommodate the additional passengers.

References.

Notes Citations Sources

Cannon Street station, also known as London Cannon Street, is a central London railway terminus and connected London Underground station in Travelcard zone 1 located on Cannon Street in the City of London and managed by Network Rail. It is one of two London termini of the South Eastern main line, the other being, while the Underground station is on the Circle and District lines, between Monument and Mansion House. The station runs services by Southeastern, mostly catering for commuters in southeast London and Kent, with occasional services further into the latter.

Cannon Street je stanice metra v Londýně, otevřená 1. září 1866. Stanice se nachází u řeky Temže a železničního mostu Cannon Street. Nachází se na dvou linkách :


Definition.

A clinical pathway is a multidisciplinary management tool based on evidence-based practice for a specific group of patients with a predictable clinical course, in which the different tasks (interventions) by the professionals involved in the patient care are defined, optimized and sequenced either by hour (ED), day (acute care) or visit (homecare). Outcomes are tied to specific interventions.  The concept of clinical pathways may have different meanings to different stakeholders. Managed care organizations often view clinical pathways in a similar way as they view care plans, in which the care provided to a patient is definitive and deliberate. Clinical pathways can range in scope from simple medication utilization to a comprehensive treatment plan. Clinical pathways aim for greater standardization of treatment regimens and sequencing as well as improved outcomes, from both a quality of life and a clinical outcomes perspective.

History.

The clinical pathway concept appeared for the first time at the New England Medical Center (Boston, United States) in 1985, inspired by Karen Zander and Kathleen Bower. Clinical pathways appeared as a result of the adaptation of the documents used in industrial quality management, the standard operating procedures (SOPs), whose goals are:

Characteristics.

Clinical pathways (integrated care pathways) can be seen as an application of process management thinking to the improvement of patient healthcare. An aim is to re-center the focus on the patient's overall journey, rather than the contribution of each specialty or caring function independently. Instead, all are emphasised to be working together, in the same way as a cross-functional team.  More than just a guideline or a protocol, a care pathway is typically recorded in a single all-encompassing bedside document that will stand as an indicator of the care a patient is likely to be provided in the course of the pathway going forward; and ultimately as a single unified legal record of the care the patient has received, and the progress of their condition, as the pathway has been undertaken.  The pathway design tries to capture the foreseeable actions which will most commonly represent best practice for most patients most of the time, and include prompts for them at the appropriate time in the pathway document to ascertain whether they have been carried out, and whether results have been as expected. In this way results are recorded, and important questions and actions are not overlooked. However, pathways are typically not prescriptive; the patient's journey is an individual one, and an important part of the purpose of the pathway documents is to capture information on "variances", where due to circumstances or clinical judgment different actions have been taken, or different results unfolded. The combined variances for a sufficiently large population of patients are then analysed to identify important or systematic features, which can be used to improve the next iteration of the pathway.

Selection criteria.

The following signals may indicate that it may be useful to commit resources to establish and implement a clinical pathway for a particular condition:

A clinical pathway, also known as care pathway, integrated care pathway, critical pathway, or care map, is one of the main tools used to manage the quality in healthcare concerning the standardisation of care processes. It has been shown that their implementation reduces the variability in clinical practice and improves outcomes. Clinical pathways aim to promote organised and efficient patient care based on evidence-based medicine, and aim to optimise outcomes in settings such as acute care and home care. A single clinical pathway may refer to multiple clinical guidelines on several topics in a well specified context.

Klinický postup nebo někdy Zjednodušený klinický postup nebo Základní klinický postup je strukturovaný, multidisciplinární plán péče pro pacienta s daným klinickým onemocněním. Je konkrétnější než léčebné standardy, ze kterých vychází. Jeho účelem je převést doporučení obsažené standardech a v dalších doporučeních do praxe. Charakteristický je důraz na dobu, kdy mají být určité diagnostické či terapeutické výkony provedeny. Např. „jestliže je den D, udělej následující výkon; označ provedení ve schématu.“ Klinický postup je nástrojem k řízení kvality poskytované péče procesem standardizace péče. Její zavedení vedlo k snížení variability v klinické praxi, lepší kontrolovatelnosti postupů a zlepšila výsledky lékařské péče.


Reception.

Kevin Jones of "Exclaim!" wrote: "After years of playing it straight with her roots-y approach to standard jazz, blues and folk sounds, singer Cassandra Wilson has recently moved (rather measurably) left towards a more modern feel, her results garnering mixed reviews from her purist fan base. Her latest effort, Thunderbird, continues unapologetically in that same direction... Though as deep, rich and dreamy as ever, its natural sleepiness leaves you fighting disinterest, even on the most danceable tracks. With Thunderbird, youre left with the sense that, while one day in the right hands this voice will drop something truly special and far reaching, that day is still a few tweaks and stylistic shifts off." Tim Perlich of "NOW" commented: "There's as much truth as ever to the age-old record-biz axiom that jazz recordings don't sell, but Norah Jones and Diana Krall have proven that jazzy recordings do. The folks at Blue Note know this, so it makes sense that Cassandra Wilson's new Thunderbird isn't jazz but, rather, an attempt at making a contemporary-sounding bluesy roots album that people under the age of 40 might want to hear."  Martin Johnson of "Paste Magazine" stated: "...the recording’s broad, open sound is built around keyboards rather than small percussion instruments and gentle acoustic guitars. But the change in music hasn’t altered Wilson’s overall aesthetic; she’s still delving deeply into the roots of the Delta and celebrating its eclectic possibilities. The recording takes its name from the Native American legend about the animal that brought calm and growth to its haunts, and Wilson claims this spirit guided the collaboration... Many of her "Blue Skies" fans resented her "Blue Light..." material and the music that followed, deeming it a sell-out. But she eventually won over most doubters. And with "thunderbird", she’s poised to do it again."

Thunderbird is a studio album by American jazz singer Cassandra Wilson. The record was released on the Blue Note label on April 4, 2006.

Thunderbird je studiové album americké jazzové zpěvačky Cassandry Wilsonové. Vydala jej v roce 2006 společnost Blue Note Records a jeho producenty byli T-Bone Burnett a Keefus Ciancia. Oba na album rovněž přispěli autorsky a Ciancia na něm rovněž hrál na různé nástroje. Na desce se dále podíleli například Grégoire Maret, Jim Keltner a Marc Ribot. V žebříčku Billboard 200 časopisu "Billboard" se deska umístila na 184. příčce, v hitparádě nejlepších jazzových alb téhož periodika na druhé a mezi Top Heatseekers na desáté.


Career.

Club.

Vida.

Born in La Ceiba, Peralta began his career in 2008 with his hometown LINA club Vida.

Rangers.

In June 2013, Peralta agreed to join the Scottish club Rangers on a four–year deal, subject to receiving a work permit. He was eligible to play once Rangers' player registration embargo was lifted on 1 September 2013. Peralta scored his first goal for Rangers in a friendly against Dundee. Already crowned Scottish League One champions, his first competitive goal came against Stranraer on 26 April 2014, a 3–0 win at Ibrox which saw Rangers pass 100 points in the season.  On 21 January 2015, Rangers announced that Peralta's contract had been terminated by mutual consent. He went on trial with Kazakhstan's Shakhter Karagandy, but did not earn a contract.

Olimpia.

Peralta later returned to his home country after signing for Olimpia.

International.

Peralta was the Honduran Under-20 captain. He helped his country qualify for the 2009 FIFA World Youth Championship, in Egypt, in which he played three games scoring against eventual third place team from Hungary. He also participated in the 2012 Summer Olympics, making his debut on 26 July in a 2–2 draw against Morocco at Hampden Park, Glasgow.  He made his senior debut for Honduras in a September 2011 friendly match against Paraguay and represented his country in seven FIFA World Cup qualification matches, as well as playing at the 2013 Copa Centroamericana. He missed Honduras' 2014 FIFA World Cup attempt due to injury. At the time of his death, he had appeared 26 times for his country.

Death.

Peralta died after being fatally shot outside a shopping mall in his hometown of La Ceiba on 10 December 2015, at the age of 26. He was hit by eighteen bullets, and police ruled out robbery as a motive.  Two days later, a minute of silence was observed at Ibrox before a Scottish Championship game between Rangers and Morton.

Arnold Fabián Peralta Sosa (29 March 1989 – 10 December 2015) was a Honduran footballer who played as a defensive midfielder.

Arnold Fabián Peralta Sosa (29. března 1989, La Ceiba, Honduras – 10. prosince 2015, La Ceiba) byl honduraský fotbalový záložník a reprezentant.


Birth and childhood.

Joan (or Joanna, as she is sometimes called) of Acre was born in the spring of 1272 in the Kingdom of Acre, Outremer, now in modern Israel, while her parents, Edward I and Eleanor of Castile, were on crusade. At the time of Joan's birth, her grandfather, Henry III, was still alive and thus her father was not yet king of England. Her parents departed from Acre shortly after her birth, traveling to Sicily and Spain before leaving Joan with Eleanor's mother, Joan, Countess of Ponthieu, in France. Joan lived for several years in France where she spent her time being educated by a bishop and "being thoroughly spoiled by an indulgent grandmother." Joan was free to play among the "vine clad hills and sunny vales" surrounding her grandmother's home, although she required "judicious surveillance."  As Joan was growing up with her grandmother, her father was back in England, already arranging marriages for his daughter. He hoped to gain both political power and more wealth with his daughter's marriage, so he conducted the arrangement in a very "business-like style". He finally found a man suitable to marry Joan (aged 5 at the time), Hartman, son of King Rudolph I of Germany. Edward then brought her home from France for the first time to meet him. As she had spent her entire life away from Edward and Eleanor, when she returned she "stood in no awe of her parents" and had a fairly distanced relationship with them.  Unfortunately for King Edward, his daughter's suitor died before he was able to meet or marry Joan. The news reported that Hartman had fallen through a patch of shallow ice while "amusing himself in skating" while a letter sent to the King himself stated that Hartman had set out on a boat to visit his father amidst a terrible fog and the boat had smashed into a rock, drowning him.

First marriage.

Edward arranged a second marriage almost immediately after the death of Hartman. Gilbert de Clare, Earl of Gloucester, who was almost 30 years older than Joan and newly divorced, was his first choice. The earl resigned his lands to Edward upon agreeing to get them back when he married Joan, as well as agreed on a dower of 2,000 silver marks. By the time all of these negotiations were finished, Joan was 12 years old. Gilbert de Clare became very enamored with Joan, and even though she had to marry him regardless of how she felt, he still tried to woo her. He bought her expensive gifts and clothing to try to win favor with her. The couple were married on 30 April 1290 at Westminster Abbey, and had four children together. They were:  Joan's first husband, Gilbert de Clare, died on 7 December 1295.

Secret second marriage.

Joan had been a widow for only a little over a year when she caught the eye of Ralph de Monthermer, a squire in Joan's father's household. Joan fell in love and convinced her father to have Monthermer knighted. It was unheard of in European royalty for a noble lady to even converse with a man who had not won or acquired importance in the household. However, Joan secretly married Ralph in January 1297. Joan's father was already planning another marriage for Joan to Amadeus V, Count of Savoy, to occur on 16 March 1297. Being already married, unbeknownst to her father, Joan was in a dangerous predicament.  Joan sent her four young children to their grandfather, in hopes that their sweetness would win Edward's favor, but her plan did not work. The king soon discovered his daughter's intentions, but not yet aware that she had already committed to them, he seized Joan's lands and continued to arrange her marriage to Amadeus of Savoy. Soon after the seizure of her lands, Joan told her father that she had married Ralph. The king was enraged and retaliated by immediately imprisoning Monthermer at Bristol Castle. The people of the land had differing opinions on Joan's predicament. It has been argued that the noblemen who were most upset were those who wanted her hand in marriage.  With regard to the matter, Joan famously said, "It is not considered ignominious, nor disgraceful, for a great earl to take a poor and mean woman to wife; neither, on the other hand, is it worthy of blame, or too difficult a thing for a countess to promote to honor a gallant youth." Coming at the time of a pregnancy which may have been obvious, Joan's statement seemed to soften Edward's attitude towards the situation. Her first child by Monthermer was born in October 1297; by the summer of 1297, when the marriage was revealed to the king, Joan's condition would certainly have been apparent, helping to convince Edward that he had no choice but to recognize his daughter's second marriage. Edward I eventually relented, for the sake of his daughter, and released Monthermer from imprisonment in August 1297. Monthermer paid homage on 2 August, was granted the titles of Earl of Gloucester and Earl of Hertford, and rose in the King's favour during Joan's lifetime.  Monthermer and Joan had four children:

Relationship with family.

Joan of Acre was the seventh of Edward I and Eleanor's fourteen children. Most of her elder siblings died before the age of seven, and many of her younger siblings died before adulthood. Those who survived to adulthood were Joan, her younger brother, Edward of Caernarfon (later Edward II), and four of her sisters: Eleanor, Margaret, Mary, and Elizabeth.  Joan, like her siblings, was raised outside her parents' household. She lived with her grandmother in Ponthieu for four years, and was then entrusted to the same caregivers who looked after her siblings. Edward I did not have a close relationship with most of his children while they were growing up, yet "he seemed fonder of his daughters than his sons."  However, Joan of Acre's independent nature caused numerous conflicts with her father. Her father disapproved of her leaving court after her marriage to the Earl of Gloucester, and in turn "seized seven robes that had been made for her". He also strongly disapproved of her second marriage to Ralph de Monthermer, a squire in her household, even to the point of attempting to force her to marry someone else. While Edward ultimately developed a cordial relationship with Monthermer, even granting him two earldoms, there appears to have been a notable difference in Edward's treatment of Joan as compared to the treatment of the rest of her siblings. For instance, her father famously paid messengers substantially when they brought news of the birth of grandchildren, but did not do this upon the birth of Joan's daughter.  Joan retained a fairly tight bond with her siblings. She and Monthermer both maintained a close relationship with her brother, Edward, which was maintained through letters. After Edward became estranged from his father and lost his royal seal, "Joan offered to lend him her seal".

Death.

Joan died on 23 April 1307, at the manor of Clare in Suffolk. The cause of her death remains unclear, though one popular theory is that she died during childbirth, a common cause of death at the time. While Joan's age in 1307 (about 35) and the chronology of her earlier pregnancies with Ralph de Monthermer suggest that this could well be the case, historians have not confirmed the cause of her death.  Less than four months after her death, Joan's father died. Joan's widower, Ralph de Monthermer, lost the title of Earl of Gloucester soon after the deaths of his wife and father-in-law. The earldom of Gloucester was given to Joan's son from her first marriage, Gilbert, who was its rightful holder. Monthermer continued to hold a nominal earldom in Scotland, which had been conferred on him by Edward I, until his death.  Joan's burial place has been the cause of some interest and debate. She is interred in the Augustinian priory at Clare, which had been founded by her first husband's ancestors and where many of them were also buried. Allegedly, in 1357, Joan's daughter, Elizabeth De Burgh, claimed to have "inspected her mother's body and found the corpse to be intact", which in the eyes of the Roman Catholic Church is an indication of sanctity. This claim was only recorded in a fifteenth-century chronicle, however, and its details are uncertain, especially the statement that her corpse was in such a state of preservation that "when her paps [breasts] were pressed with hands, they rose up again." Some sources further claim that miracles took place at Joan's tomb, but no cause for her beatification or canonization has ever been introduced.

Joan in fiction.

Joan of Acre makes an appearance in Virginia Henley's historical romance "Infamous". In the book, Joan, known as Joanna, is described as a promiscuous young princess, vain, shallow and spoiled. In the novel she is only given one daughter, when she historically had eight children. There is no evidence that supports this picture of Joan.  In "The Love Knot" by Vanessa Alexander, Joan of Acre is an important character. The author portrays a completely different view of the princess from the one in Henley's novel. "The Love Knot" tells the story of the love affair between Ralph de Monthermer and Joan of Acre through the discovery of a series of letters the two had written to each other.  Between historians and novelists, Joan has appeared in various texts as either an independent and spirited woman or a spoiled brat. In "Lives of the Princesses of England" by Mary Anne Everett Green, Joan is portrayed as a "giddy princess" and neglectful mother. Many have agreed to this characterization; however, some authors think there is little evidence to support the assumption that Joan of Acre was a neglectful or uncaring mother.

Joan of Acre (April 1272 – 23 April 1307) was an English princess, a daughter of King Edward I of England and Queen Eleanor of Castile. The name "Acre" derives from her birthplace in the Holy Land while her parents were on a crusade.

Johana Anglická nebo také Johana z Akkonu (duben 1271/1272 Akkon– 23. dubna 1307, hrad Clare) byla hraběnka z Hertfordu a Gloucesteru z dynastie Plantagenetů. Byla dcerou krále Eduarda I. a královny Eleonory Kastilské. Jméno "Akko" získala podle svého rodiště ve Svaté zemi, narodila se totiž v době, kdy její rodiče byli na křížové výpravě.


New Testament.

The passage mentioning Anna is as follows: From these three verses in Luke, the following is known of Anna:  Luke describes Anna as "very old". Many Bibles and older commentaries state that she was 84 years old.  The Greek text states καὶ αὐτὴ χήρα ὡς ἐτῶν ὀγδοηκοντατεσσάρων, generally translated as "she was a widow of eighty four years". The passage is ambiguous: it could mean that she was 84 years old, or that she had been a widow for 84 years. Some scholars consider the latter to be the more likely option. On this option, she could not have married younger than about age 14, and so she would have been at least 14 + 7 + 84 = 105 years old.

Church traditions and veneration.

The Catholic Church and Eastern Orthodox Church commemorate Anna as a saint, Anna the Prophetess. The Eastern Orthodox Church considers Anna and Simeon the God-Receiver as the last prophets of Old Testament and observes their feast on February 3/February 16 as the synaxis (afterfeast) following the Presentation of Christ, which Orthodox tradition calls "The Meeting of Our Lord and God and Savior, Jesus Christ". Along with Simeon, the prophetess Anna is commemorated on February 3 in the Byzantine rite of the Catholic Church.  Also her figure is drawn in the icons of the Presentation of Christ, together with the Holy Child and the Virgin Mary, Joseph and Simeon the God-Receiver. Orthodox tradition considers that Christ met his people, Israel, in the persons of those two, Simeon and Anna.

Anna (, ) or Anna the Prophetess is a woman mentioned in the Gospel of Luke. According to that Gospel, she was an elderly woman of the Tribe of Asher who prophesied about Jesus at the Temple of Jerusalem. She appears in during the presentation of Jesus at the Temple.

Svatá Anna prorokyně je žena zmíněná v Evangeliu podle Lukáše. Podlo tohoto evangelia byla starší židovskou ženou, která prorokovala o Ježíši v Chrámu v Jeruzalémě. Objevuje se v při Uvedení Páně do chrámu.


Location.

On Islington High Street, the station provides access to several nearby Off West End or Fringe theatre venues including the Old Red Lion Theatre, Sadler's Wells Theatre, the King's Head Theatre and the Almeida Theatre. It is the nearest station to City University's main campus, Chapel Market, and the antiques market and dealers of Camden Passage. Between Angel and Old Street is the disused City Road station.

History.

Angel station was originally built by the City & South London Railway (C&SLR), and opened on 17 November 1901 as the northern terminus of a new extension from Moorgate. The station building was designed by Sydney Smith and was on the corner of City Road and Torrens Street. On 12 May 1907, the C&SLR opened a further extension from Angel to Euston and Angel became a through station.  As with many of the C&SLR's stations, it was originally built with a single central island platform serving two tracks in a single tunnel – an arrangement still seen at Clapham North and Clapham Common. Access to the platforms from street level was via three Euston Anderson electric lifts before the rebuilding of the station. When the C&SLR line was closed for tunnel reconstruction in the early 1920s to accommodate larger trains, the station façade was reclad with tiling and the lifts were replaced by new ones from Otis.

Station rebuilding.

For years since its opening, the station regularly suffered from overcrowding and had a very narrow island platform (barely in width), which constituted a major safety issue and caused justified fear among passengers. Consequently, the station was comprehensively rebuilt in the early 1990s. A new section of tunnel was excavated for a new northbound platform, and the southbound platform was rebuilt to completely occupy the original 30-foot tunnel, leaving it wider than most deep-level platforms on the system. The lifts and the ground-level building were closed and a new station entrance around the corner in Islington High Street was opened on 10 August 1992, along with the new northbound platform; the enlarged southbound platform opened on 17 September 1992. Because of the distance between the new entrance and the platforms, and their depth, two flights of escalators were required, aligned approximately at a right angle.

The station today.

The station's ticket hall has a sculpture of an Angel by Kevin Boys.

Escalators.

Angel is one of fourteen stations to have only escalator access to the platforms. With a vertical rise of and a length of, the escalators at Angel station are the longest on the Underground, and the second longest in the United Kingdom (after one at Heathrow Terminal 5).

Station improvements.

The station was refurbished during 2007. Additional CCTV cameras and Help Points were installed, bringing the total to 77 cameras in the station and nine Help Points, the latter upgraded with new induction loops to better aid hearing-impaired passengers. In addition, new communications equipment was introduced and damaged signs were replaced with new ones.

Former siding.

When Angel was first opened, a long dead-end siding was provided for train stabling, converging from the left onto the northbound line just south of the station. This was retained over the years but eventually it was closed on 23 January 1959 (along with the signal box at the south end of the platform) to simplify through running. The siding lay derelict and unused until the rebuilding scheme. Part of the siding was used as the northbound diversion tunnel, which branched off the existing northbound line, cut through into the end of the siding and continued along it until it branched off left to the new northbound platform.

Services and connections.

Train frequencies vary throughout the day, but generally operate every 3–6 minutes between 06:03 and 00:25 in both directions.  London Bus routes 4, 19, 30, 38, 43, 56, 73, 153, 205, 214, 274, 341, 394 and 476, and night routes N19, N38, N41, N73 and N205 serve the station.

Future proposals.

Angel is a proposed station on the Crossrail 2 (Chelsea-Hackney line) project, providing an interchange between Crossrail 2 and the Northern Line. Depending on the route constructed, it would be between King's Cross St. Pancras and Dalston Junction or Hackney Central. It was officially safeguarded as part of the route in 2007, although there had been proposals for a route for some time previously and safeguarding had been in place since 1991.

In media.

The station's escalators and the southbound platform were featured in the Bollywood hit film "Dilwale Dulhania Le Jayenge".  The station (prior to rebuilding) was the subject of a 1989 edition of the "40 Minutes" BBC documentary series titled 'Heart of the Angel'.

Angel is a London Underground station in the Angel area of the London Borough of Islington. It is on the Bank branch of the Northern line, between Old Street and King's Cross St. Pancras stations, in Travelcard Zone 1. The station was originally built by the City & South London Railway (C&SLR) and opened on 17 November 1901. The station served as a terminus until the line was extended to Euston on 12 May 1907.

Angel je jednou ze stanic londýnského metra nacházející se ve čtvrti Angel v londýnské městské části Islington v obvodu Camden. Stanici obsluhuje jedna linka, a to Northern Line. Nachází se v tarifní zóně 1 ("Travelcard Zone 1").


Biography.

Flavio Canto was born in Oxford, England, where his father had a doctorate in nuclear physics. At two years old he came to Brazil and started Judo at fourteen. Despite starting Judo at a relatively advanced age, he was still able to compete at the national level in only five years. He married actress and presenter Fiorella Mattheis in 2013, divorcing in 2014.

Judo career.

Flávio Canto was selected in national team for the first time in 1995 when he won the bronze medal at the Pan American Games in Mar del Plata. In 1996 he got the 7th place at the Olympics in Atlanta and in 1999 was silver medalist in the Pan American Games in Winnipeg (Canada). He missed Sydney Olympic games qualification in 2000. He was Panam Games champion in 2003 in Santo Domingo. In 2004, in Athens, he eventually got the bronze olympic medal. World Ranking Leader U81kg in 2010 he retired from competition in 2012.

Instituto Reação social project.

In 2003 Flávio Canto created Instituto Reação, a non-governmental organization that promotes human development and social inclusion through sports and education, promoting judo from the sport initiation to a level of high performance. Instituto Reação works in low-income communities in Rio de Janeiro including Rocinha, Pequena Cruzada, Cidade de Deus and Tubiacanga. The Institute serves about 1,000 children and young people between 4 and 25 years old and has played a prominent role in competitions, including having helped train the current Olympic and world junior judo champion, Rafaela Silva Lopes.

Flávio Vianna de Ulhôa Canto (born April 16, 1975 in Oxford, England) is a Brazilian judoka who competed in Men's 81 kg Judo. He won the bronze medal at the 2004 Summer Olympics. He is founder and president of the Instituto Reação, and also presenter of the TV shows "Corujão do Esporte" on TV Globo and "Sensei" on SportTV.

Flávio Vianna de Ulhôa Canto, (* 16. dubna 1975 v Oxfordu, Spojené království) je brazilský zápasník – judista, majitel bronzové olympijské medaile z roku 2004.