威尔弗雷德·鲁普莱希特·比昂

Military service.

Bion was born in Mathura, North-Western Provinces, India, and educated at Bishop's Stortford College in England. After the outbreak of the First World War, he served in the Tank Corps as a tank commander in France, and was awarded both the Distinguished Service Order (DSO) (on 18 February 1918, for his actions at the Battle of Cambrai), and the Croix de Chevalier of the Légion d'honneur. He first entered the war zone on 26 June 1917, and was promoted to temporary lieutenant on 10 June 1918, and to acting captain on 22 March 1918, when he took command of a tank section, he retained the rank when he became second-in-command of a tank company on 19 October 1918, and relinquished it on 7 January 1919. He was demobilised on 1 September 1921, and was granted the rank of captain. The full citation for his DSO reads:  "Bion's daughter, Parthenope...raises the question of just how (and how far) her father was shaped as an analyst by his wartime experiences...under[p]inning Bion's later concern with the coexistence of regressed or primitive proto-mental states alongside more sophisticated one".

Career.

After World War I, Bion studied history at The Queen's College, Oxford, earning a bachelor of arts degree in 1922, then studying medicine at University College London. Initially attracted to London by the "strange new subject called psychoanalysis", he met and was impressed by Wilfred Trotter, an outstanding brain surgeon who published the famous "Instincts of the Herd in Peace and War" in 1916, based on the horrors of the First World War. This was to prove an important influence on Bion's interest in group behavior. Having qualified in medicine by means of the Conjoint Diploma (MRCS England, LRCP London) in 1930 Bion spent seven years in psychotherapeutic training at the Tavistock Clinic, an experience he regarded, in retrospect, as having had some limitations. It did, however, bring him into fruitful contact with Samuel Beckett. He wanted to train in Psychoanalysis and in 1938 he began a training analysis with John Rickman, but this was brought to an end by the Second World War.  He was recommissioned in the Royal Army Medical Corps as a lieutenant on 1 April 1940, and worked in a number of military hospitals including Northfield Military Hospital (Hollymoor Hospital, Birmingham) where he initiated the first Northfield Experiment. These ideas on the psychoanalysis of groups were then taken up and developed by others such as S. H. Foulkes, Rickman, Bridger, Main and Patrick De Mare. The entire group at Tavistock had in fact been taken into the army, and were working on new methods of treatment for psychiatric casualties (those suffering post-traumatic stress, or "shell shock" as it was then known.) Out of this his pioneering work in group dynamics, associated with the "Tavistock group", Bion's papers describing his work of the 1940s were compiled much later and appeared together in 1961 in his influential book, "Experiences in Groups and other papers." It was less a guide for the therapy of individuals within or by the group, than an exploration of the processes set off by the complex experience of being in a group. The book quickly became a touchstone work for applications of group theory in a wide variety of fields.  During the war Bion's wife, Betty Jardine, gave birth to a daughter, but, she died soon afterwards in 1945. His daughter, Parthenope, became a psychoanalyst In Italy. She died, in a car crash in Italy in 1998.  Returning to the Tavistock Clinic Bion chaired the Planning Committee that reorganized the Tavistock into the new Tavistock Institute of Human Relations, alongside a new Tavistock Clinic which was part of the newly launched National Health Service. As his interest in psychoanalysis increased, he underwent training analysis, between 1946 and 1952, with Melanie Klein. He met his second wife, Francesca, at the Tavistock in 1951. He joined a research group of Klein's students (including Hanna Segal and Herbert Rosenfeld), who were developing Klein's theory of the paranoid-schizoid and the depressive positions, for use in the analysis of patients with psychotic disorders. He produced a series of highly original and influential papers (collected as ""Second Thoughts"", 1967) on the analysis of schizophrenia, and the specifically cognitive, perceptual, and identity problems of such patients. To this he added a valuable final section called Commentary, showing how some of his views on clinical and theoretical matters had changed.  Bion's theories, which were always based in the phenomena of the analytic encounter, revealed both correspondences and expansions of core ideas from both Sigmund Freud and Melanie Klein. At one point, he attempted to understand thoughts and thinking from an 'algebraic', 'geometric' and'mathematised' point of view, believing there to be too little precision in the existing vocabulary, a process culminating in "The Grid". Later he abandoned the complex, abstract applications of mathematics, and the Grid, and developed a more intuitive approach, epitomised in "Attention and Interpretation" (1970).  In 1968, Bion moved to Los Angeles, California, where he remained until 1977. During those years he mentored a number of psychoanalysts interested in Kleinian approaches, including James Gooch and other founding members of the Psychoanalytic Center of California]. Shortly before his death, he returned to Oxfordshire.  He left a reputation which has grown steadily both in Britain and internationally. Some commentators consider that his writings are often gnomic and irritating, but never fail to stimulate. He defies categorisation as a follower of Klein or of Freud. While Bion is most well known outside of the psychoanalytic community for his work on group dynamics, the psychoanalytic conversation that explores his work is mainly concerned with his theory of thinking, and his model of the development of a capacity for thought.

Group Experiments.

Bion performed a lot of group experiments when he was put in charge of the training wing of a military hospital. Besides observing the basic assumptions recurring in these groups, he also has observed some very interesting phenomena to which he believed may well apply to society.  Among his interesting findings was that in a group, the standards of social intercourse lacks intellectual content and critical judgement. This observation agrees with Gustave Le Bon's findings about groups to which he mentioned in his book "The Crowd".  Another interesting observation was that whatever a group member says or does in a group illuminates that member's view of the group and is an illumination of that member's personality. This phenomenon is what psychologists call "Projection".  If the contributions of the group and its members can be made anonymously then the foundations for a system of denial and evasion is established. This phenomenon is better known as "Deindividuation".  And perhaps one of the most important findings in his experiments was that whenever a group is formed, it always seeks a leader to follow. The group then searches for someone who has questionable attributes with his or her mental health. Initially, the group will search for someone who is paranoid schizophrenic or someone who is malignant hysteric. If the group is unable to find someone with those attributes, the group looks for someone with delinquent trends and a psychopathic personality. Otherwise, the group would just settle on the verbally facile high-grade defective.

Group dynamics—the "basic assumptions".

Wilfred Bion's observations about the role of group processes in group dynamics are set out in "Experiences in Groups and other papers," written in the 1940s but compiled and published in 1961, where he refers to recurrent emotional states of groups as 'basic assumptions'. Bion argues that in every group, two groups are actually present: the work group, and the basic assumption group. The work group is that aspect of group functioning which has to do with the primary task of the group—what the group has formed to accomplish; will 'keep the group anchored to a sophisticated and rational level of behaviour'. The basic assumption group describes the tacit underlying assumptions on which the behaviour of the group is based. Bion specifically identified three basic assumptions: dependency, fight-flight, and pairing. When a group adopts any one of these basic assumptions, it interferes with the task the group is attempting to accomplish. Bion believed that interpretation by the therapist of this aspect of group dynamics would, whilst being resisted, also result in potential insight regarding effective, co-operative group work.  In dependency, the essential aim of the group is to attain security through, and have its members protected by, one individual. The basic assumption in this group culture seems to be that an external object exists whose function it is to provide security for the immature individual. The group members behave passively, and act as though the leader, by contrast, is omnipotent and omniscient. For example, the leader may pose a question only to be greeted with docile silence, as though he or she had not spoken at all. The leader may be idealized into a kind of god who can take care of his or her children, and some especially ambitious leaders may be susceptible to this role. Resentment at being dependent may eventually lead the group members to "take down" the leader, and then search for a new leader to repeat the process.  In the basic assumption of fight-flight, the group behaves as though it has met to preserve itself at all costs, and that this can only be done by running away from someone or fighting someone or something. In fight, the group may be characterized by aggressiveness and hostility; in flight, the group may chit-chat, tell stories, arrive late or any other activities that serve to avoid addressing the task at hand. The leader for this sort of group is one who can mobilize the group for attack, or lead it in flight.  The final basic assumption group, pairing, exists on the assumption that the group has met for the purpose of reproduction—the basic assumption that two people can be met together for only one purpose, and that a sexual one'. Two people, regardless the sex of either, carry out the work of the group through their continued interaction. The remaining group members listen eagerly and attentively with a sense of relief and hopeful anticipation.  Bion considered that "the three basic-assumption groups seem each in turn to be aggregates of individuals sharing out between them the characteristics of one character in the Oedipal situation". Behind the Oedipal level, however, Bion postulated the existence of still more primitive, part-object phantasies; and 'the more disturbed the group, the more easily discernible are these primitive phantasies and mechanisms'. Such phantasies would prove the main focus of Bion's interest after his second analysis.

Bion on thinking.

"During the 1950s and 1960s, Bion transformed Melanie Klein's theories of infantile phantasy...into an epistemological "theory of thinking" of his own." Bion used as his starting point the phenomenology of the analytic hour, highlighting the two principles of "the emergence of truth and mental growth. The mind grows through exposure to truth." The foundation for both mental development and truth are, for Bion, emotional experience.  The evolution of emotional experience into the capacity for thought, and the potential derailment of this process, are the primary phenomena described in Bion's model. Through his hypothesized alpha and beta elements, Bion provides a language to help one think about what is occurring during the analytic hour. These tools are intended for use outside the hour in the clinician’s reflective process. To attempt to apply his models during the analytic session violates the basic principle whereby "Bion had advocated starting every session 'without memory, desire or understanding'—his antidote to those intrusive influences that otherwise threaten to distort the analytic process."

Alpha elements, beta elements, and alpha function.

Bion created a theory of thinking based on changing beta elements (unmetabolized psyche/soma/affective experience) into alpha elements (thoughts that can be thought by the thinker). Beta elements were seen as cognate to the underpinnings of the "basic assumptions" identified in his work with groups: "the fundamental anxieties that underlie the basic assumption group resistances were originally thought of as "proto-mental phenomena"...forerunners of Bion's later concept of beta-elements." They were equally conceptual developments from his work on projective identification—from the "minutely split 'particles'" Bion saw as expelled in pathological p.i. by the psychotic, who would then go on to "lodge them in the angry, so-called 'bizarre objects' by which he feels persecuted and controlled". For "these raw bits of experience he called beta-elements...to be actively handled and made use of by the mind they must, through what Bion calls alpha-functions, become alpha-elements".  β elements, α elements and α function are elements that Bion (1963) hypothesizes. He does not consider β-elements, α- elements, nor α function to actually exist. The terms are instead tools for thinking about what is being observed. They are elements whose qualities remain unsaturated, meaning we cannot know the full extent or scope of their meaning, so they are intended as tools for thought rather than real things to be accepted at face value (1962, p. 3).  Bion took for granted that the infant requires a mind to help it tolerate and organize experience. For Bion, thoughts exist prior to the development of an apparatus for thinking. The apparatus for thinking, the capacity to have thoughts "has to be called into existence to cope with thoughts" (1967, p. 111). Thoughts exist prior to their realization. Thinking, the capacity to think the thoughts which already exist, develops through another mind providing α-function (1962, p. 83)—through the "container" role of maternal reverie.  To learn from experience alpha-function must operate on the awareness of the emotional experience; alpha–elements are produced from the impressions of the experience; these are thus made storable and available for dream thoughts and for unconscious waking thinking... If there are only beta-elements, which cannot be made unconscious, there can be no repression, suppression, or learning. (Bion, 1962, p. 8)  α-function works upon undigested facts, impressions, and sensations, that cannot be mentalized—beta-elements. α-function digests β-elements, making them available for thought (1962, pp. 6–7).  Beta-elements are not amenable to use in dream thoughts but are suited for use in projective identification. They are influential in producing acting out. These are objects that can be evacuated or used for a kind of thinking that depends on manipulation of what are felt to be things in themselves as if to substitute such manipulations for words or ideas... Alpha-function transforms sense impressions into alpha-elements which resemble, and may in fact be identical with, the visual images with which we are familiar in dreams, namely, the elements that Freud regards as yielding their latent content when the analyst has interpreted them. Failure of alpha-function means the patient cannot dream and therefore cannot sleep. As alpha-function makes the sense impressions of the emotional experience available for conscious and dream—thought the patient who cannot dream cannot go to sleep and cannot wake up. (1962, pp. 6–7)

Knowledge, love and hate.

Successful application of alpha-function leads to "the capacity to tolerate the actual frustration involved in learning ("K") that [Bion] calls 'learning from experience'". The opposite of knowledge "K" was what Bion termed "−K": "the process that strips, denudes, and devalues persons, experiences, and ideas."  Both K and −K interact for Bion with Love and Hate, as links within the analytic relationship. "The complexities of the emotional link, whether Love or Hate or Knowledge [L, H, and K — the Bionic relational triad]" produce ever-changing "atmospheric" effects in the analytic situation. The patient's focus may wish to be "on Love and Hate (L and H) rather than the knowledge (K) that is properly at stake in psychoanalytic inquiry."  For Bion, "knowledge is not a thing we have, but a link between ourselves and what we know... K is being willing to know but not insisting on knowledge." By contrast, -K is "not just ignorance but the active avoidance of knowledge, or even the wish to destroy the capacity for it" — and "enacts what 'Attacks on Linking' identifies as hatred of emotion, hatred of reality, hatred of life itself."  Looking for the source of such hate (H), Bion notes in "Learning from Experience" that, "Inevitably one wonders at various points in the investigation why such a phenomenon as that represented by −K should exist.... I shall consider one factor only — Envy. By this term I mean the phenomenon described by Melanie Klein in "Envy and Gratitude"" (1962, p. 96).

Reversible perspective and −K.

"Reversible Perspective" was a term coined by Bion to illuminate "a peculiar and deadly form of analytic "impasse" which defends against psychic pain". It represents the clash of "two independently experienced views or phenomena whose meanings are incompatible". In Bion's own words, "Reversible perspective is evidence of pain; the patient reverses perspective so as to make a dynamic situation static."  As summarised by Etchegoyen, "Reversible perspective is an extreme case of rigidity of thought.... As Bion says, what is most characteristic in such cases is the manifest accord and the latent discord." In clinical contexts, what may happen is that the analyst's "interpretation is accepted, but the "premises have been rejected"... the actual specificity, the substance of the interpretation". Reversible perspective is an aspect of "the potential destruction and deformation of knowledge" — one of the attacks on linking of −K.

O: The ineffable.

As his thought continued to develop, Bion came to use "Negative Capability" and the suspension of Memory and Desire in his work as an analyst, in order to investigate psychic reality - which he regarded as essentially 'non-sensuous' (1970). Following his 1965 book Transformations he had an increasing interest in what he termed the domain of "O" — the unknowable, or ultimate Truth. "In aesthetics, Bion has been described as a neo-Kantian for whom reality, or the thing-in-itself (O), cannot be known, only be "be-ed" (1965). What can be known is said by Bion to be in the realm of K, impinging through its sensory channels. If the observer can desist from "irritably reaching for fact and reason", and suspend the normal operation of the faculties of memory and apperception, what Bion called transformations in knowledge can permit an 'evolution' where transformations in K touch on transformations in Being (O). Bion believed such moments to feel both ominous and turbulent, threatening a loss of anchorage in everyday 'narrative' security.  Bion would speak of "an intense catastrophic emotional explosion O," which could only be known through its aftereffects. Where before he had privileged the domain of knowledge (K), now he would speak as well of "resistance to the shift from transformations involving K (knowledge) to transformations involving O... resistance to the unknowable". Hence his injunctions to the analyst to eschew memory and desire, to "bring to bear a diminution of the 'light' — a penetrating beam of darkness; a reciprocal of the searchlight. If any object existed, however faint, it would show up very clearly". In stating this he was making connections to Freud, who in a letter to Lou Andreas Salome had referred to a mental counterpart of scotopic, "mole like vision", used to gain impressions of the Unconscious. He was also making links with the "apophatic" method used by contemplative thinkers such as St John of the Cross, a writer quoted many times by Bion. Bion was well aware that our perception and our attention often blind us to what genuinely and strikingly is new in every moment.

Reverie.

Bion's concept of maternal "reverie" as the capacity to sense (and make sense of) what is going on inside the infant has been an important element in post-Kleinian thought: "Reverie is an act of faith in unconscious process... essential to alpha-function'" It is considered the equivalent of Stern's attunement, or Winnicott's maternal preoccupation.  In therapy, the analyst's use of "reverie" is an important tool in his/her response to the patient's material: "It is this capacity for playing with a patient's images that Bion encouraged".

Late Bion.

"For the later Bion, the psychoanalytic encounter was itself a site of turbulence, 'a mental space for further ideas which may yet be developed'." In his unorthodox quest to maintain such "mental space", Bion "spent the final years of his long and distinguished professional life [writing] a futuristic trilogy in which he is answerable to no one but himself, "A Memoir of the Future"."  If we accept that "Bion introduced a new form of pedagogy in his writings...[via] the density and non-linearity of his prose", it comes perhaps to a peak here in what he himself termed "a fictitious account of psychoanalysis including an artificially constructed dream... science fiction". We may conclude at least that he achieved his stated goal therein: "To prevent someone who KNOWS from filling the empty space".

Wilfred Ruprecht Bion DSO (; 8 September 1897 – 8 November 1979) was an influential British psychoanalyst, who became president of the British Psychoanalytical Society from 1962 to 1965.

威尔弗雷德·鲁普莱希特·比昂(英语:Wilfred Ruprecht Bion,1897年-9月8日-1979年-11月8日),英国精神分析学家,群体动力学研究的先驱。曾经跟从梅兰妮·克莱因进行分析,曾经加入塔维斯托克小组。比昂1897年生于印度,八岁始至英国接受学校教育。第一次世界大战期间,他于法国服役,担任战车指挥官,并获颁卓越服务勋章以及荣誉勋位。


第20钢琴协奏曲 (莫扎特)

Background.

A few days after the first performance, the composer's father, Leopold, visiting in Vienna, wrote to his daughter Nannerl about her brother's recent success: "<nowiki>[I heard]</nowiki> an excellent new piano concerto by Wolfgang, on which the copyist was still at work when we got here, and your brother didn't even have time to play through the rondo because he had to oversee the copying operation."  It is written in the key of D minor. Other works by the composer in that key include the Fantasia K. 397 for piano, the Requiem, a Kyrie, a mass, the aria "Der Hölle Rache kocht in meinem Herzen" from the opera "The Magic Flute" and parts of the opera "Don Giovanni". It is the first of two piano concertos written in a minor key (No. 24 in C minor being the other).  The young Ludwig van Beethoven admired this concerto and kept it in his repertoire. Composers who wrote cadenzas for it include Beethoven (WoO 58), Charles-Valentin Alkan, Johannes Brahms (WoO 14), Johann Nepomuk Hummel, Ferruccio Busoni, and Clara Schumann. James Hewitt used the first movement in his Medeley Overture.  One of Mozart's favorite pianos that he played while he was living in Vienna had a pedal-board that was operated with the feet, like that of an organ. This piano that Mozart owned is on display at Mozart House in Salzburg, but currently it has no pedal-board. The fact that Mozart had a piano with a pedal-board is reported in a letter written by his father, Leopold, who visited his son while he lived in Vienna. Among Mozart's piano works, none are explicitly written with a part for a pedal-board. However, according to Leopold's report, at the first performance of Piano Concerto No. 20 in D Minor (K. 466), Mozart, who was the soloist and conductor, used his own piano, equipped with a pedal-board. Presumably the pedal-board was used to reinforce the left-hand part, or add lower notes than the standard keyboard could play. Because Mozart was also an expert on the organ, operating a pedal-board with his feet was no harder than using only his hands.

Movements.

The concerto is scored for solo piano, flute, two oboes, two bassoons, two horns, two trumpets, timpani and strings.  As is typical with concertos, it is in three movements:

I. Allegro.

The first movement starts off the concerto in the dark tonic key of D minor with the strings restlessly but quietly building up to a full "forte".  The theme is quickly taken up by the piano soloist and developed throughout the long movement. A slightly brighter mood exists in the second theme of F major (the relative major), but it never becomes jubilant. The timpani further heighten the tension in the coda before the cadenza. The movement ends on a quiet note.

II. Romanze.

The Romanze second movement, in the subdominant of D minor's relative key, (F major), B major, is a five-part rondo (ABACA) with a coda. The trumpets and timpani are not used in this movement. The beginning features a solo piano playing the flamboyant and charming main B major melody without accompaniment. This lyrical, passionate, tender and romantic melody paints a picture of peace and a sense of harmony between the piano and the orchestra and has also inspired its title 'Romanze'.  Halfway through, the piece moves on to the second episode (part C), where instead of the beautiful melody, a storm sets in. The new stormy material is turbulent, agitated and ominous theme, in the relative key of G minor, which greatly contrasts the peaceful mood at the starting of the movement. Though the storm section begins abruptly and without transition, after a transition back to the tonic key of B major, finally, we are greeted once again with the aforeheard melody which returns as the movement is nearing the end. The piece ends with an ascending arpeggio that is light and delicate, gradually until it becomes a faint whisper.

III. Rondo, Allegro assai.

The final movement, a rondo, begins with the solo piano rippling upward in the home key before the full orchestra replies with a furious section. (This piano "rippling" is known as the Mannheim Rocket and is a string of eighth notes (D-F-A-D-F) followed by a quarter note (A). A second melody is touched upon by the piano where the mood is still dark but strangely restless. A contrasting cheerful melody in F major ushers in not soon after, introduced by the orchestra before the solo piano rounds off the lively theme. A series of sharp piano chords snaps the bright melody and then begin passages in D minor on solo piano again, taken up by full orchestra. Several modulations of the second theme (in A minor and G minor) follow. Thereafter follows the same format as above, with a momentary pause for introducing the customary cadenza.  After the cadenza, the mood clears considerably and the piece is now fully sunny in character, as we are now in the parallel key of D major, and the bright happy melody is taken up, this time by the oboes and then winds. The solo piano repeats the theme before a full orchestral passage develops the passage, thereby rounding up the concerto with a jubilant finish.

In other media.

The 1984 feature film "Amadeus" makes use of the first movement for a scene where Mozart is stumbling home after an evening with Emanuel Schikaneder during a night of composing the score of his opera "The Magic Flute", and prior to the unexpected arrival of his father, Leopold Mozart, in Vienna to stay with him.  The second movement (minus the more tumultuous C part of the rondo) plays in the final scene and during the end credits.  The first movement was played in the ballet scene in Series 1 Episode 8 of the television series "Mr. Robot". The first movement was also heard in American composer James Hewitt’s Medley Overture in D minor-major.

The Piano Concerto No. 20 in D minor, K. 466, was composed by Wolfgang Amadeus Mozart in 1785. The first performance took place at the Mehlgrube Casino in Vienna on 11 February 1785, with the composer as the soloist.

《D小调第20钢琴协奏曲》,作品号K. 466,是沃尔夫冈·阿马德乌斯·莫扎特的一部钢琴协奏曲,写于1785年。这部作品1785年2月11日在维也纳首演,由莫氏亲自演奏钢琴独奏部分。


Range.

The genus consists of small trees, shrubs and lianas, and is native to western Africa, Madagascar, southern and eastern Asia (China, Malaysia, Indonesia, and the Philippines), tropical Australia, the western Pacific Ocean islands, and New Caledonia. Most of the species are native to tropical and subtropical regions of east and southeast Asia. Five of the species extend well outside of this area. "Alangium platanifolium" extends from east Asia into Russia. "Alangium chinense" (sensu lato) extends from southeast Asia to Africa. "Alangium salviifolium" is the most widespread species, ranging from Africa to Australia, Fiji, and New Caledonia. "Alangium villosum" occurs from southeast Asia to Australia and the western Pacific Islands. "Alangium grisolleoides" is endemic to Madagascar and gives the genus a disjunct distribution.  "Alangium" species are used as food plants by the larvae of some Lepidoptera species in the Geometroidea-Drepanoidea assemblage including engrailed (Geometridae) and the subfamily Cyclidiinae (Drepanidae).

Etymology.

The name "Alangium" is a Latinization, derived from the Malayalam name "alangi", which, in Kerala, refers to "Alangium salviifolium". It was named in 1783 by Jean-Baptiste Lamarck in his "Encyclopédie Méthodique".

Paleontological record.

The wood, fruit, and pollen of "Alangium" are distinctive. Fossils of "Alangium" have been recognized from the early Eocene of England and the middle Eocene of western North America. In former times, "Alangium" was far more widespread than it is today.

Species.

"The Plant List" recognises 42 accepted species (including infraspecific names):

Characteristics.

Differences from the other genera in Cornaceae include articulated pedicels, subulate bracts, bitegmic seeds and the single-seeded fruit. The entire or lobed leaves are alternate. The bisexual (rarely unisexual) nectariferous flowers are arranged in axillary cymes. The flowers have 4-10 small sepals and 4-10 linear petals. There are 4–40 stamens distributed in a single cycle. The ovary is inferior and bilocular (sometimes unilocular). The fruit is drupe.  A detailed description of "Alangium" can be found at Flora of China (journal). Detailed botanical illustrations are available for several species.

Taxonomy.

In 2011, a phylogenetic analysis of DNA sequences showed that "Alangium" is sister to "Cornus". Since 1939, "Alangium" has been divided into four sections: Conostigma, Rhytidandra, Marlea, and Alangium. Some authors have raised Marlea and Rhytidandra to generic rank. The intergeneric classification of "Alangium" will require a few changes.

Traditional uses.

One species, "Alangium chinense" (), is considered one of the fifty fundamental herbs in traditional Chinese medicine.

Alangium is a small genus of flowering plants. The genus is included either in a broad view of the dogwood family Cornaceae, or as the sole member of its own family Alangiaceae. "Alangium" has about 40 species, but some of the species boundaries are not entirely clear. The type species for "Alangium" is "Alangium decapetalum", which is now treated as a subspecies of "Alangium salviifolium". All of the species are shrubs or small trees, except the liana "Alangium kwangsiense". "A. chinense, A. platanifolium", and "A. salviifolium" are known in cultivation.

八角枫属(学名:"Alangium"),根据传统分类法,是属于八角枫科(Alangiaceae)的乔木或灌木,根据APG II 分类法,它属于山茱萸科(Cornaceae)。八角枫属包括约40种,但部分分类存在争议,分布在非洲、中国、日本、东南亚和大洋洲,中国有8种,广泛分布于长江以南各省,少数种可北上到河北。


History.

While Osmanya gained reasonably wide acceptance in Somalia and quickly produced a considerable body of literature, it proved difficult to spread among the population mainly due to stiff competition from the long-established Arabic script as well as the emerging Somali Latin alphabet developed by a number of leading scholars of Somali, including Musa Haji Ismail Galal, B. W. Andrzejewski and Shire Jama Ahmed.  As nationalist sentiments grew and since the Somali language had long lost its ancient script, the adoption of a universally recognized writing script for the Somali language became an important point of discussion. After independence, little progress was made on the issue, as opinion was divided over whether the Arabic or Latin scripts should be used instead.  In October 1972, because of the Latin script's simplicity, its ability to cope with all of the sounds in the language, and the widespread existence of machines and typewriters designed for its use, made President Mohamed Siad Barre require it for writing Somali instead of the Arabic or Osmanya scripts. Barre's administration subsequently launched a massive literacy campaign designed to ensure its sole adoption, which led to a sharp decline in use of Osmanya.

Description.

The direction of reading and writing in Osmanya is from left to right. Letter names are based on the names of letters in Arabic, and the long vowels "uu" and "ii" are represented by the letters "waaw" and "yaa", respectively.

Unicode.

Osmanya script was added to the Unicode Standard in April 2003 with the release of version 4.0.  The Unicode block for Osmanya is U+10480–U+104AF:

The Osmanya script (; Osmanya: ), also known as Far Soomaali ("Somali writing") and, in Arabic, as al-kitābah al-ʿuthmānīyah, is a writing script created to transcribe the Somali language. It was invented between 1920 and 1922 by Osman Yusuf Kenadid, the son of Sultan Yusuf Ali Kenadid and brother of Sultan Ali Yusuf Kenadid of the Sultanate of Hobyo.

奥斯曼亚字母(索马里语:"";奥斯曼亚字母:)是用作记录索马里语的文字,在1920年至1922年期间由奥斯曼·尤瑟夫·肯纳迪发明。


Geography.

The source of the Tone River is at Mount Ōminakami () () in the Echigo Mountains, which straddle the border between Gunma and Niigata Prefectures in Jōshin'etsu Kōgen National Park. The Tone gathers tributaries and pours into the Pacific Ocean at Cape Inubō, Choshi in Chiba Prefecture.

Tributaries.

Major tributaries of the Tone River include the Agatsuma, Watarase, Kinu, Omoi, and the Kokai. The Edo River branches away from the river and flows into Tokyo Bay.

History.

The Tone River was once known for its uncontrollable nature, and its route changed whenever floods occurred. It is hard to trace its ancient route, but it originally flowed into Tokyo Bay along the route of the present-day Edo River, and tributaries like the Watarase and Kinu had independent river systems. For the sake of water transportation and flood control, extensive construction began in the 17th century during the Tokugawa shogunate, when the Kantō region became the political center of Japan. The course of the river was significantly changed, and the present route of the river was determined during the Meiji period, with the assistance of Dutch civil engineer Anthonie Rouwenhorst Mulder. Its vast watershed is thus largely artificial.  Two ships of the Imperial Japanese Navy were named after the river, one of World War I vintage and another from World War II, the lead ship of its class.

Fukushima Daiichi nuclear disaster.

As a result of the Fukushima Daiichi nuclear disaster radioactive cesium concentrations of 110 becquerels per kilogram were found in silver crucian carp fish caught in the Tone River in April 2012. The river is from the Fukushima Daiichi Plant. Six fishery cooperatives and 10 towns along the river were asked to stop all shipments of fish caught in the Tone.

Use.

The Tone River was an indispensable inland water link between the capitol at Edo, and later Tokyo, to the Pacific Ocean. It carried not only local products like soy sauce from Choshi, but also products from the Tōhoku region, in order to save time and to avoid risk in the open sea. With the advent of the railway in the 19th century major shipping on the Tone quickly declined, and inland ports such as Noda, Sekiyado, now part of Noda, Nagareyama, and Sawara, now part of Katori diminished in importance. Today the river has several dams that supply water for more than 30 million inhabitants of metropolitan Tokyo and large-scale industrial areas such as the Keiyō Industrial Zone.

Rafting and kayaking.

The Minakami onsen area in Gunma Prefecture is near the source for the Tone River and during the Spring snow melt period, April - June, the river provides consistent grade 4 rapids (on the International Scale of River Difficulty) over a stretch. The river provides some of the best white water rafting and kayaking in Japan. The snow melt swells the river to grade 4 in spring; in the summer it is a gentle grade 2. The Momijikyo section has 7 grade 3-4 rapids for and is long in total.

The is a river in the Kantō region of Japan. It is in length (the second longest in Japan after the Shinano) and has a drainage area of (the largest in Japan). It is nicknamed Bandō Tarō (); "Bandō" is an obsolete alias of the Kantō Region, and "Tarō" is a popular given name for an oldest son. It is regarded as one of the "Three Greatest Rivers" of Japan, the others being the Yoshino in Shikoku and the Chikugo in Kyūshū.

利根川(),长约322公里,流域面积16,840平方公里,是日本国内第二长,流域面积最大的河流,长度仅次于信浓川。别名「坂东太郎」,坂东是关东的旧名,而太郎则是长子的意思。亦被称为日本三大河流之一,也是东京与首都圈的重要水源。


Description.

The variegated squirrel is a medium-sized squirrel; the head-and-body length is about with a tail of much the same length. It weighs about. The several subspecies differ in appearance and there is often a considerable variation between the appearances of individuals in the same population. The dorsal colouration varies between dark brown to yellowish grey. The neck tends to be darker than other parts and there is often a paler patch behind the ears. The underparts are usually some shade of cinnamon. The tail is long and densely bushy; in Mexico it is black, sometimes with white tips to the hairs giving it a frosted appearance. In Nicaragua and Costa Rica, some individuals have pale underparts and tails.

Distribution and habitat.

This squirrel is native to Central America, its range extending from Mexico southwards through Guatemala, Honduras, El Salvador, Nicaragua, Costa Rica and Panama. Habitats in which it occurs include both dry deciduous forest and evergreen forest, secondary growth, and plantations, and it can become a crop pest. It is mainly a lowland squirrel, ranging up to an altitude of, or somewhat higher in Costa Rica.

Ecology.

The species is diurnal and seldom descends to the ground; it spends the night in a nest it builds which is sometimes in a hole in a tree but more often is constructed of leaves and built in the fork of a branch close to the trunk. This squirrel is primarily a seed-eater, but also consumes fruits and some animal matter in the form of insects and nestlings. It tends to avoid hard shelled seeds but does consume acorns. Unlike some other squirrels in colder climates, it does not hoard food and therefore plays little part in the dispersal of seeds.

Status.

"S. variegatoides" has a wide range and is a common species. No particular threats have been identified and the population seems steady, so the International Union for Conservation of Nature has rated its conservation status as "least concern".

Bornavirus.

In 2015, a bornavirus now known as "variegated squirrel 1 bornavirus" (VSBV-1) was detected in some variegated squirrels kept as pets in eastern Germany. Three squirrel breeders who lived in this region and associated with each other, died over a two-year period from a progressive encephalitis caused by a novel virus. Research into the causes of their illness and deaths implicated the variegated squirrel as a carrier of the virus, with a genomic study identifying a new virus similar to mammalian 1 bornavirus in the liver, kidney and lung of one squirrel specimen. As a result of their investigations, the researchers concluded that in all three human fatalities, VSBV-1 was the likely causative agent. Further investigation in 2016 found more squirrels in western Germany carrying the disease. It is not clear whether the disease originated in Germany or whether the pathogen was introduced into the country through the importation of already-infected animals.

The variegated squirrel ("Sciurus variegatoides") is a tree squirrel in the genus "Sciurus" found in Costa Rica, El Salvador, Guatemala, Honduras, southern Mexico, Nicaragua, and Panama. Fifteen subspecies are recognised. It is a common squirrel and the International Union for Conservation of Nature has rated it a "least-concern species". Variegated squirrels kept as pets in Germany have been implicated in the transmission of a bornavirus to humans from which three people have died.

杂色松鼠(学名:"Sciurus variegatoides")是松鼠属的一种中型松鼠,生活在墨西哥以南的中美洲地区。


Plot.

Alex Fletcher (Hugh Grant) is a washed-up former pop star who is attempting to revive his dwindling career by hitching his name to the rising star of Cora Corman (Haley Bennett), a young megastar who has asked him to write a song titled "A Way Back Into Love". Alex is reluctant to compose again after two decades, but his caring but professional manager tells him that his career is doomed if he doesn't. During an unsuccessful attempt to compose the song in collaboration with a "very hip, very edgy" lyricist, Alex discovers that the woman who is temporarily watering his plants, Sophie Fisher (Drew Barrymore), has a gift for writing lyrics. Sophie, a former creative writing student reeling from a disastrous romance with her former English professor Sloan Cates (Campbell Scott) who "forgot" to mention he had a fiancée, initially refuses. Alex cajoles her into helping him by using a few quickly-chosen phrases she has given him as the basis for a song. Over the next few days, they grow closer while writing the words and music together, much to the delight of Sophie's older sister Rhonda (Kristen Johnston), who happens to be a huge fan of Alex.  Barely meeting the deadline Cora has set for the song's delivery, Alex and Sophie are thrilled when she accepts it; however, at a celebratory dinner with Alex's manager Chris (Brad Garrett) Sophie is mortified to encounter Sloan. She confronts him but finds herself tongue-tied in his presence, and Alex's own attempts to defend her result in a scuffle. Nursing their wounds back at Alex's apartment, Alex and Sophie fall into an unplanned romantic encounter.  Sophie is later horrified when she finds Cora plans to record a sexually confident interpretation of "A Way Back into Love," complete with an Indian vibe which she feels clashes with the insecurity expressed in the song's lyrics. She is determined to convince Cora to abandon the arrangement, but Alex vetoes her efforts for fear he will lose Cora's goodwill. In the ensuing argument, he admits Cora's version is awful but contends accepting it as the cost of doing business. Sophie leaves Alex when she gets upset by his willingness to demean his talent and his claim that Sloan was right about her personality.  Sophie, intending to start a new life in Florida, reluctantly attends the opening of Cora's new tour at Madison Square Garden, at which Alex and Cora will debut "Way Back Into Love". Upon hearing that Alex is singing a new song "written by Alex Fletcher", Sophie is upset to believe that Alex is stealing credit for her work; however, the song Alex sings is called "Don't Write Me Off", his plea for Sophie to give him another chance. A touched Sophie finds Alex backstage and he confesses to having successfully convinced Cora to drop the risqué version of "A Way Back into Love" in an attempt to win Sophie back. He and Cora perform the tune as he and Sophie intended it to be sung.  The end of the movie (an "homage" to VH1's "Pop-Up Video") reveals that the song becomes a hit for Cora and Alex, the film version of Sloan's novel flops with critics and moviegoers (destroying his career), PoP! reunites for their induction into the Rock and Roll Hall of Fame, after which their lead singer Colin Thompson (who left the band with some of Alex's songs to start a solo career) winds up having his hip replaced after years of dancing, and Alex and Sophie go on to become successful partners, both in songwriting and romance.

Reception.

Critical response.

"Music and Lyrics" received generally positive reviews from critics. On Rotten Tomatoes the film has a rating of 62%, based on 172 reviews, with an average rating of 6/10. The site's critical consensus reads, ""Music & Lyrics" is a light and pleasant romantic comedy that succeeds because of the considerable charm of its co-stars. The music segments featuring Hugh Grant are worth the price of admission." On Metacritic the film has score of 59 out of 100, based on 30 critics, indicating "mixed or average reviews".  A.O. Scott of "The New York Times" called the film "the type of modern Hollywood production that aspires to nothing more than the competent dispensing of mild amusement and easy emotion. The writer and director, Marc Lawrence... shows some imagination as he parodies the music-video styles of various eras, and he contrives a bit of novelty in making the movie's central couple creative partners as well as potential lovers... Mr. Grant is at his best when he allows a hard glint of caddish narcissism to peek through his easy flirtatiousness, something he did in "About a Boy" and "American Dreamz". There is not quite enough of that here, nor enough of the anarchic loopiness that Ms. Barrymore brought to roles opposite Adam Sandler in "The Wedding Singer" and "50 First Dates"."  Mick LaSalle of the "San Francisco Chronicle" observed, "Writer-director Marc Lawrence makes a talk-heavy variety of romantic comedy that not everyone likes - "Miss Congeniality", "Two Weeks Notice", "Forces of Nature" - but he does it well. Moreover, "Music and Lyrics" has virtues its predecessors lack. Scenes play out longer than in most films, and conversations have a chance to evolve. Also, because much of the film places the protagonists in rooms together, working for extended periods, there are an unusual number of two-person scenes, giving the actors the chance to show their charm, work off each other and develop the nuances of interaction... Lawrence's take on pop music success is exactly right, satiric without being absurdist, and therefore a prize worth the effort."  Todd McCarthy of "Variety" said "Sitcommy in structure and execution, this very mainstream romance... offers few surprises. But its pep, agreeable performances and appealing central conceit will profitably put this Warner Bros. Valentine's Day romantic comedy over with women and couples seeking a nice diversion... Writer-director Marc Lawrence... makes everything about three times more obvious than it needs to be; as a director, he needs to edit himself better as a writer... But there's energy here, and the actors feed on it."  Peter Bradshaw of "The Guardian" rated the film two out of five stars, calling it a "very moderate romcom" and adding, "Grant and Barrymore make a reasonable odd couple, and both have charm, but this never comes to life."  Philip French of "The Observer" said, "Grant has the occasional good line (or at least he makes a few of them seem funny), but the film limps along like someone trying to tap dance in flippers."

Box office.

The film opened on February 9, 2007 in the United Kingdom and Ireland and ranked #1 at the box office, grossing £1.93 million in its first weekend. It was released on 2,955 screens in the United States and Canada on February 14 and grossed $13,623,630 on its opening weekend, ranking #4 at the box office behind "Ghost Rider", "Bridge to Terabithia", and "Norbit". It eventually grossed $50,572,589 in the US and Canada and $95,323,833 in foreign markets for a total worldwide box office of $145,896,422.

Soundtrack.

The with several songs performed by Grant reached #5 on the "Billboard" Top Soundtracks Chart and #63 on the "Billboard" 200. Martin Fry of pop band ABC served as Grant's vocal coach for the movie. The album also reached #93 on the Australian Albums Chart.

DVD release.

Warner Home Video released the DVD in both anamorphic widescreen () and fullscreen versions in the US, Canada, and US territories on May 8, 2007. Both feature audio tracks and subtitles in English, Spanish, and French. Bonus features include deleted scenes, a gag reel, "Note for Note: The Making of Music and Lyrics", and the music video "PoP! Goes My Heart".

Music and Lyrics is a 2007 American romantic comedy film written and directed by Marc Lawrence. It focuses on the relationship that evolves between a former pop music idol (of the fictional band PoP!, which is inspired by Wham! and Duran Duran) and an aspiring writer as they struggle to compose a song for a reigning pop diva.

《K歌情人》(英语:Music and Lyrics),华纳兄弟推出的爱情喜剧电影,由休·格兰特、茱儿·芭莉摩主演,叙述一位过气的80年代流行巨星艾力斯·佛莱契,受到青春偶像柯拉的邀歌,佛莱契决定把握此重返乐坛的大好时机,却苦于写不出好歌词,直到帮他照顾花草的苏菲·费雪出现。两人除了创作动人好歌外,也谱出一段恋曲。


Biography.

Childhood and personal life.

Anno was born in Ube, Yamaguchi; he attended Wakō Kindergarten, Unoshima Municipal Elementary School, Fujiyama Municipal Junior High School, and Yamaguchi Prefectural Ube High School where he was noted for his interest in artwork and making short films for Japanese Cultural Festivals.  Anno is an agnostic and has stated that he has found Japanese spiritualism to be closest to his personal beliefs. Anno is also a vegetarian.

Early work.

Anno began his career while attending Osaka University of Arts as an animator for the anime series "The Super Dimension Fortress Macross" (1982–1983). Wrapped up in producing the DAICON III and IV Opening Animations with his fellow students, and also busy making self-financed films, Anno stopped paying his tuition, eventually getting expelled from Osaka University.  Anno did not gain recognition until the release of his work on Hayao Miyazaki's 1984 film "Nausicaä of the Valley of the Wind". Running short on animators, the film's production studio posted an ad in the famous Japanese animation magazine Animage, announcing that they were in desperate need of more animators. Anno, in his early twenties at the time, read the ad and headed down to the film's studio, where he met with Miyazaki and showed him some of his drawings. Impressed with his ability, Miyazaki hired him to draw some of the most complicated scenes near the end of the movie, and valued his work highly.  Anno went on to become one of the co-founders of Gainax in December 1984. He worked as an animation director for their first feature-length film, "" (1987), and ultimately became Gainax's premiere anime director, leading the majority of the studio's projects such as "Gunbuster" (1988) and "" (1990–1991). However, Anno fell into a four-year depression following "Nadia" — the series was handed down to him from NHK from an original concept by Hayao Miyazaki (of which "Castle in the Sky" is also partly based upon) and he was given little creative control.  In 1994, the minor planet 9081 Hideakianno was named after him by his old friend Akimasa Nakamura.

"Neon Genesis Evangelion".

Anno's next project was the anime television series (1995–1996).  Anno's history of clinical depression was the main source for many of the psychological elements of the series and its characters, as he wrote down on paper several of the trials and tribulations of his condition. During the show's production, Anno became disenchanted with the Japanese "otaku" lifestyle. For this and other reasons (although perhaps by design as well), "Evangelion"s plot became increasingly dark and psychological as the series progressed, despite being broadcast in a children's television timeslot. Anno felt that people should be exposed to the realities of life at as young an age as possible, and by the end of the series all attempts at traditional narrative logic were abandoned, with the final two episodes taking place within the main character's mind.  The show did not garner high ratings in Japan at its initial time slot, but after being moved to a later, more adult-oriented venue, it gained considerable popularity. Budgeting issues at Gainax also forced Anno to replace the planned ending of "Evangelion" with two episodes set in the main characters' minds. In 1997, Gainax launched a project to re-adapt "Evangelion"s scrapped ending into a feature-length film. Once again, budgeting issues left the film unfinished, and the completed 27 minutes of animation were included as the second act of "". In response, Anno received several letters both of encouragement and criticism, including death threats and letters of disappointment from fans who thought Anno had ruined the series for them. Eventually, the project culminated in "The End of Evangelion", a three-act film that served as a finale to "Neon Genesis Evangelion".  In September 1999, Anno appeared on the NHK TV-documentary "Welcome Back for an Extracurricular Lesson, Senpai!", answering some "Evangelion"-related questions, including the origin of the name "Evangelion", and teaching children about animation production.  On April 15, 2015, Anno spoke about his feelings regarding Asuka and Rei. He claimed: "The truth is, I have no emotional attachment to Rei at all. In the midst of making Eva, I suddenly realized that I had forgotten her. Her very existence. For example, in episode seven, I remembered and added one shot with Rei. I had no attachment to her at all. I think that was okay, because in episode eight, she didn't appear. Not even in a single shot."

Subsequent work.

After "Evangelion", Anno directed the 1998 anime series "Kareshi Kanojo no Jijō" ("Kare Kano" for short, also known in English as "His and Her Circumstances"), the first Gainax television series to be directly adapted from previously-written material. During the production of "Kare Kano", Anno became frustrated with the restrictions placed on the show by TV Tokyo after the Pokémon seizure incident and has not directed television anime since then.  The director has also made forays into live-action films, beginning with "Love & Pop" (1998), a cinéma vérité-style film about enjo kosai ("compensated dating", a form of teenage prostitution) in Japan, of which a major portion was shot on miniature digital cameras with constantly shifting aspect ratios. He won Best New Director Award at 1998 Yokohama Film Festival for the film. Asumi Miwa who played the lead role won Best New Talent award respectively. His second live-action film, "Shiki-Jitsu" (2000) (""Ritual Day"" or ""Ceremonial Day""), is the story of a burnt-out former animation director (played by popular indie director Shunji Iwai) who falls in love with a woman disconnected from reality. Though an experimental work like "Love & Pop", this film was shot using the more traditional aspect ratio and has a generally more polished presentation, eschewing the cinéma vérité grittiness of Anno's first live-action film. This movie earned him Best Artistic Contribution Award at Tokyo International Film Festival and very positive reviews.  Anno's third live-action film was "Cutie Honey", based on Go Nagai's 1973 manga and anime series. Released in the summer of 2004, this lighthearted fantasy/superhero film was a stark contrast to his earlier, more realist live-action works. Later in 2004, Anno supervised but did not direct the three-part OVA, "", instead directed by Hiroyuki Imaishi (part 1), Takamichi Itō (part 2), and Masayuki (part 3).  Also released in 2004 was the movie, in which Anno makes several acting cameos: as the student in the front row of the "Home Room!" skit sitting next to Hataru, in "Who's the Director?" as an animator who feels he is being overworked, and finally in "Singles Picnic" he is among the men awaiting females who never come.  On August 1, 2006, Hideaki Anno's official website was updated with job listings for key animators and production staff at a company he founded, Studio Khara. In September 2006, it is reported by the October edition of the Japanese animation magazine "Newtype". On September 9, 2006, GAINAX's official website confirmed that "Rebuild of Evangelion" was in the works. The first three movies would be an alternate retelling of the TV series (including many new scenes, settings, backgrounds, characters), and the fourth movie would be a completely new conclusion to the story. Kazuya Tsurumaki and Masayuki would direct the movies while Yoshiyuki Sadamoto would provide character designs and Ikuto Yamashita would provide mechanical designs. Shinji Higuchi would provide storyboards for the first movie. The first was launched in Summer 2007, and the second and third were planned to be launched in 2008, however, the second installment was released by itself on June 27, 2009. The third movie was to be released simultaneously with the fourth, instead, the third movie was released on November 17, 2012 and the release date for the fourth movie in Japan was announced to be June 27, 2020. On February 17, 2007, Anno published an official statement on the Japanese Yahoo Portal for the films regarding his personal involvement and goals in their production.  In October 2007, Hideaki Anno resigned from Gainax. In 2011 Anno co-produced the Koinobori Pictures movie "Kantoku Shikkaku" ("Failed Director"), directed by Katsuyuki Hirano featuring Yumika Hayashi.  In 2012, Anno was the curator of an exhibit entitled "Tokusatsu- Special Effects Museum-Craftsmanship of Showa and Heisei Eras Seen Through Miniatures", held at the Museum of Contemporary Art Tokyo, featuring actual props and suits from many of Japan's tokusatsu films and TV shows. Anno also produced a short live-action film for the exhibit, entitled "A Giant Warrior Descends on Tokyo", featuring the Giant Warrior-God from Studio Ghibli's animated film Nausicaä of the Valley of the Wind.  Anno has gone on to work with Hayao Miyazaki and Studio Ghibli on several short films which have been shown at the Ghibli Museum. He also voiced the main character Jiro Horikoshi in Miyazaki's 2013 feature film "The Wind Rises".  Anno designed the "" sci-fi anime television series opening sequence. In 2014, Anno and Studio Khara launched "Japan Animator Expo", a series of original net animations made by various directors.  In March 2015, it was announced that Anno would team up with close friend and Gainax cofounder Shinji Higuchi to write and codirect "Shin Godzilla", the 2016 reboot of Toho's "Godzilla" franchise.

Depictions.

Anno has appeared in manga twice, both created by personal acquaintances. His wife, Moyoko Anno, wrote "Insufficient Direction", a chronicle of their courtship and marriage and depicting Anno's "true face" as "the founder of the otaku cult". In 2007, a college-age version of him appeared alongside other Gainax founders Hiroyuki Yamaga, Takami Akai, and Toshio Okada in the Kazuhiko Shimamoto manga "Aoi Honō". Anno attended Osaka University of Arts with Shimamoto. "Aoi Honō" was adapted into a live action television drama in 2014, where Anno was played by actor Ken Yasuda. The 2014 animated series Shirobako has a walk-on appearance by a character named "Mitsuaki Kanno", who is an obvious caricature of Anno.

Anno's other directorial efforts include "Gunbuster" (1988), "" (1990), "Kare Kano" (1998), "Love & Pop" (1998), "Shiki-Jitsu" (2000), "Cutie Honey" (2004), "" (2004), "Rebuild of Evangelion" (2007–), and "Shin Godzilla" (2016).

庵野秀明(1960年-5月22日)是一位日本艺术家、动画师、动画创作者、导演、编剧、演员、制片人、设计师和株式会社khara代表董事社长。出身于山口县宇部市。山口县立宇部高等学校毕业,大阪艺术大学艺术系影像规划学科(现影像学科)退学。血型为A型。妻子是著名漫画家安野梦洋子。


History of the cathedral.

Romanesque building of the 11th century.

Burgos became a bishopric in 1075 by the king Alfonso VI of León and Castile "the Brave" on authority of Pope Gregory VII, giving it a canonical continuation with the episcopal tradition of the diocese of Oca, whose prelate was in 589 already recorded as a signatory to the Third Council of Toledo during the reign of the Visigoths.  The monarch dedicated the construction of a cathedral to the Virgin Mary. Its design is not known, but it is supposedly Romanesque and of the type of contemporary works (of the Abbey of Santo Domingo de Silos, of the Monastery of San Pedro de Arlanza of San Martín de Tours de Frómista or the Cathedral of Jaca). There is documentary evidence that the monarch donated the outdoor area of the royal palace that had belonged to his father Ferdinand I of León and a small church dedicated to Saint Mary that was under construction.  In 1096 the construction on this church was finished. But the church soon became too small for the needs of a city that was the symbolic capital of the kingdom, a powerful bishopric (the cathedral chapter had more than thirty canons already before 1200) and an increasingly dynamic business center. The decision to build a new cathedral was finally made in the 13th century. As was common at the time, the Romanesque building was destroyed (of which now only some sculptural elements remain), presumably during the second construction campaign of the new cathedral in the 1240s and the 1250s. And on this site, expanded through the demolition of neighboring houses, with donations by the Bishop Marino, rose a new Gothic cathedral.

Gothic foundation and works in the 13th and 14th centuries.

The first stone of the new cathedral was laid on June 20, 1221 in the presence of the promoters of the cathedral: the king Ferdinand III of Castile "the Saint" and Bishop Maurice of Burgos, bishop of the Burgalese diocese since 1213. Pope Honorius III granted an indulgence to all contributors to the construction. Presumably, the first master builder was an anonymous French architect - although some researchers posit the name of the canon Johan de Champagne, cited in a document of 1227 -, most likely brought to Burgos by bishop Maurice himself, after his trip to France and Germany to arrange the marriage of the monarch with Elisabeth of Swabia. The bridal ceremony was held precisely in the old Romanesque cathedral.  The cathedral was located just at the point where the slope of the hill, presided over by the Castle of Burgos, begins to rise. The construction was initiated at the front and at the presbytery, where the founding bishop was buried. His remains were later transferred to the center of the chapter choir. By 1240 the so-called Master Enrique became the master-architect of the works. He would also be responsible for the construction of the Cathedral of León and was inspired definitely by the Cathedral of Reims, with whose facade the gable of the Cathedral of Burgos shows great similarities. The work progressed very quickly and in 1238, year of the death of the founder prelate, buried in the presbytary, the front and much of the transept and the naves were already almost completed. The consecration of the cathedral took place in 1260, although ecclesiastical services were already held from 1230.  The chapels of the aisles were completed between the second half of the 13th century and early 14th century and a new cloister was built. Master Enrique died in Burgos in 1277 and was succeeded by Master Juan Pérez. He was succeeded later by Aparicio Pérez, active in 1327, Pedro Sánchez de Molina and Martín Fernández, who died in 1396 and 1418 respectively.

Expansions and reforms in the 15th to 18th centuries.

In the 15th century the Colonia family, originally from Cologne, incorporated the open spires of the main facade (between 1442 and 1458), the dome over the transept and the Chapel of the Constables. In the 16th century, besides the modifications to several chapels, highlights the construction of a new dome by Juan de Vallejo ("fl. c." 1518-1569) and Felipe Vigarny, who replaced the original "cimborio" (a domed crossing tower) constructed by Juan de Colonia (sunk after a hurricane). This "cimborio" is a pinnacled, two-storey octagonal richly decorated lantern. In the 18th century the construction began of the magnificent Churrigueresque Chapel of Saint Thecla (finished in 1734) (on the site of the original parish church), the Chapel of the Relics and the Sacristy.  One of the most famous bishops of Burgos was the 15th-century scholar and historian Alphonsus a Sancta Maria.

Restorations of the 19th and 20th centuries.

Burgos Cathedral owes its many works of art of the 13th to 18th centuries, especially to the fact that during the 19th and 20th centuries  Outside the scope of the new cloister only was essential way reformed, after 1800, the chapel of the Santo Cristo or of Our Lady of the Remedies, located in the west of the old cloister. The renovation began with the transfer of the highly revered crucifix of the Holy Christ from the Convento de San Agustín to the chapel, thereafter, was called chapel of the Santo Cristo de Burgos. In the 1890s Vicente Lampérez y Romea, master architect of the cathedral from 1887, undertook an extensive restoration of this chapel, removing the plaster added of the walls and vaults and completely renovated the cover that gives the nave. also date from this restoration the neo-Gothic tracery windows, the blind arcades of the walls and most of the remaining architectural elements.  Between 1899 and 1911 Lampérez also restored the called New cloister, getting essentially recover its original shape. In the cloister it had overbuilt a third level with small Baroque windows that this architect did eliminate, and, incidentally, he opened the original windows of the cloister that had been almost closed. The installation of ornamental windows following models and old techniques, represented the end of the restoration. While the upper body of the cloister hardly experienced any change, the lower cloister was remarkably restored. The forms of its rib, apparently late Gothic, are due to Lampérez. Before the restoration, the lower cloister was divided into several compartments and generally in poor state of conservation. It is likely that during the restoration of the cloister was removed the stairwell that had subsequently been added, situated in the inner southwest corner of the same cloister. Subsequently, the connection between the two levels of the cloister only is established through a wooden staircase beneath the chapel of Saint Jerome.  The most recent restoration of the cathedral, by architect Marcos Rico Santamaría, has replaced the roof by a light steel framing. Regarding the rib star freely suspended in the center tower of the transept, it has laid a glass surface that achieves the complete enlightenment of the fabric of the rib. Regardless of such measures, there have been few the recent attempts to modify the architectural and sculptural substance of the cathedral. On August 12, 1994, a statue of Saint Lawrence came off from the final stretch of the north tower of the main facade, which made public the immediate need to resume the protection and conservation measures of the monument.  Finally, are noteworthy other contemporary interventions, without seeking any modification of the monument, have significantly contributed to the enhancement of the cathedral, as has been the elimination in the early 20th century of some buildings that had been attached to the temple, as the Archbishop's Palace.

Exterior building.

Facade of Saint Mary.

Descending the stairs to the Plaza de Santa María, one comes in front of the western facade of the cathedral, inspired by the facade of the cathedrals of Paris and Reims.  The Portal of Saint Mary consists of three pointed arches. The central portal is called the Royal Door, or the Door of Forgiveness.The lateral portals are dedicated to the Assumption and the Immaculate Conception. This portal was built in the 13th century and, with its iconography dedicated to the Virgin, it was considered the most important sculptural manifestation of Gothic art in Castile. The side portals were rebuilt, due to their serious deterioration, in 1663 by Juan de Pobes. In 1790 the central portal was rebuilt in Neoclassical style, with horizontal lintels and a triangular pediment. In the thympanums of the side portals reliefs were placed of the Conception and the Coronation, holding the hand of Juan de Pobes, and in the spandrels, two doubles side arches that shelter the respective statuettes. The second part of the facade was also erected in the 13th century. It contains in its middle a rosette of Cistercian inspiration, with tracery of a six-pointed star, or of Solomon's seal.  The third part show an elegant gallery marked by spires and several pinnacles, and consists of two large windows with mullions and tracery of three quadrilobed oculi. Under the eight arches that form the mullions of both arches are placed the statues of the first eight kings of Castile from Ferdinand I of León "the Magnus" to Ferdinand III of Castile "the Saint". Above it stands a thin rail-cresting of pointed arches with a statue of the Virgin and Child, accompanied by the inscription "Pulchra es et decora" ("Thou art fair and beautiful"), alluding to the Mother of Christ. This final addition was made in the mid-15th century by Juan de Colonia.  Above the side doors of the first part were raised two almost identical towers in the 13th century. They consist of three stories, with pilasters decorated with pinnacles and statues at their corners, and with decorated openings pointed on each side of each story: one flared with mullion and tracery with an oculus, covered with stained glasses, in the first; two are arranged in pairs without mullion and without tracery, in the second; and two other are arranged in pairs with mullion and tracery, in the third.  In the middle of the 15th century, Juan de Colonia raised on these towers open pyramidal needles or spires with an octagonal base. Their fine fretwork definitely shaped the silhouette of the Burgos cathedral. He originated from Cologne (as Johan von Köln). His design matches the project of the Cologne Cathedral, which at that time only existed in drawings that he could have seen. The spires of the Cologne cathedral were only added much later. The spires of the Burgos cathedral were raised with the financial contributions of the bishop Alonso de Cartagena and of his successor at headquarters, Luis de Acuña, whose coats of arms, along with the Castilian-Leonese monarchy, appear in the parapets that connect to the tops of the towers. In these parapets master Juan also had the inscription "pax vobis" and the sculpture of Christ showing the footsteps of his Passion, in one, and the inscription "ecce agnus dei" and a sculpture of Saint John the Baptist, in the other.  Two polygonal turrets mark the facade, decorated with lobed arches, with statues and pinnacles and topped in pyramidal spires amounting to the start of the spires. Inside are spiral staircases ascending to the clerestory and the vaults of the naves.

Facade and Door of the Sarmental.

Less known as Sacramental Door, this door, opened in the southern transept and looking out to the Plaza del Rey San Fernando, which is accessed saving a steep staircase, was built approximately 1230 and 1240. This is one of the best Classicism Gothic sculptural set of the 13th century in Spain. It is dedicated to the archaic theme of Christ in Majesty, but using an innovative plastic.  The central element and artistically most refined is the tympanum, whose execution is attributed to a French artist referred to as the Master of the Beau Dieu of Amiens. What is certain is the influence of the sculpture of the Cathedral of Amiens in the masterly Burgalese door. In this almost triangular space representing to seated Jesus as Pantocrator showing the Book of the Law and, surrounding him, the Four Evangelists, in its case double way represented: iconically, themselves bent over their desks writing the Gospels, and symbolically, by the Tetramorph. Below, separated by a lintel, appears a full Apostolate in a seated pose, attributed to another French artist known as the Master of the Sarmental. The tympanum is surrounded by three archivolts occupying the 24 elders of the Apocalypse, playing or tuning medieval musical instruments, several choirs of angels and an allegory of the Arts. This iconographic set had to be carved by local sculptors led by the French masters. The door is divided by a mullion in which it appears, covered by a canopy on which effigy the Lamb, which could also be carved by Master of the Sarmental) representing a bishop; is tradition identify the portrayed as D. Mauricio, although it may well be of D. Asterio or Saint Indaletius, first bishop of Almería, martyr and Christianizator of the province of Burgos. In the side jambs are carved six figures, after the rest of the portal, four of which represent Moses, Aaron, Saint Peter and Paul the Apostle; the other two are not easily identifiable.  Although the portal concentrates all the interest, it can not be ignored the rest of the gable, escorting robust buttresses topped with pinnacles. It's later work, of the late-13th century. Its two upper sections, structured along the lines of the central body of the facade of Saint Mary, are occupied by a rosette and on it a set of open gallery with three arches with soffits openwork with triple quatrefoil and supported by mullions against the looming one statuary interpreted as the Divine Liturgy, which Christ administers the Eucharist flanked by twelve angels cerifers and thurifers.  Currently, tourist visits access the Cathedral by the Door of the Sarmental.

Facade and Door of the Coronería.

In the gable of the north transept, at the height of the calle Fernán González but at a level, several meters higher than the floor of the temple opens the Door of the Coronería, or Door of the Apostles, which from inside the Cathedral communicates with the nave through the Golden Staircase by Diego de Siloé. It is work done between 1250 and 1257 by local artists from the circle of master Enrique, sometimes called the master of the Coronería. Fully Gothic, part of the sculptural themes, however, prolong the Romanesque tradition. In addition, the environment of the door was renovated in the 18th century, in 1786, with a semicircular arch of large voussoirs and of the Baroque style, which replaced a Gothic mullion in which would be represented the figure of God the Father. Shortly undertake the remodeling, the Council decided to close this door by the excessive and annoying traffic of neighbors who descended into the lower part of the city with supplies and utensils. Thus ended another movement of people, this pious, since through the Coronería had access to the Cathedral the pilgrims that followed the Camino de Santiago. Below and above the jambs, and extending through the surrounding wall, forming friezes, blind respective series of ogival and trefoil pointed arches, that in the lower socket mounted on paired columns with vegetable capitals. This blind gallery of trefoils and columns underlies a complete Apostolate, consisting of statues in the round and almost life-size. Six are shown on each side, attached to the wall, and separated by the jambs.  The three archivolts are garrisoned by reliefs of seraphim on the inside, thurifer angels in the middle, and scenes of the resurrection of the deads on the outside. The tympanum, divided into two parts, representing the Last Judgment. On the lintel justly above the door appears a long scene in relief chaired by Archangel Michael with a scale weighing the souls; around him, to the left, a demon trying to unlevel in their favor the weight of the sins as well as those convicted who are driven to Hell, and, to the right, a little house with the open door representing the entrance to paradise, where are already nobles, a king, a queen, a monk with hood and a Franciscan friar, the blessed. This motif of psicostasis is an iconographic heritage of the Romanesque art. At the top of the tympanum appears another motif common to the Romanesque, the Deesis, with Christ enthroned as universal judge, with arms raised, showing the wounded of the side and flanked by the Virgin and St. John imploring mercy for souls of the poor. At the apex of the tympanum, on a cloud, and angels bearing the insignia of the Passion. The attempts at drama and grimacing expression that show various images of this facade away of the full French classicism and put in relation to a more naturalistic trend of clear Hispanic flavor.  It considers this facade akin to the Judgment of the western facade of the Cathedral of León and the iconographic theme of the cathedrals of Reims and Chartres, although its most obvious reference is the neighbor Door of the Sarmental, whose perfect balance, however, can not achieve.  The facade of the portal of the Coronería extends upwards with a large window of stepped triple bow and on it, needles by respectives marked spires, a gallery of three ogival arches, with mullions and tracery of three quadrilobulates circles. Attached to the mullions are twelve crowned statues alluding to the Castilian royalty and, attached to the spandrels of the arches, thurifer angels. Following seen on the facade of the Sarmental, the gable of the Coronería ends at the top with a handrail formed by arches.

Interior.

There are numerous architectural, sculptural and pictorial treasures inside. Highlights include:

The Cathedral of Saint Mary of Burgos () is a Catholic church dedicated to the Virgin Mary located in the historical center of the Spanish city of Burgos. Its official name is Santa Iglesia Catedral Basílica Metropolitana de Santa María de Burgos.

布尔戈斯主教座堂()是一座哥特式的罗马天主教布尔戈斯总教区主教座堂。位于西班牙北部城市布尔戈斯,供奉圣母,以规模 庞大和独特的建筑而闻名。


Clinical significance.

If lipid A, part of the lipopolysaccharide, enters the circulatory system it causes a toxic reaction by activating toll like receptor TLR 4. Lipid A is very pathogenic and not immunogenic. However, the polysaccharide component is very immunogenic, but not pathogenic, causing an aggressive response by the immune system. The sufferer will have a high temperature and respiration rate and a low blood pressure. This may lead to endotoxic shock, which may be fatal. The bacterial outer membrane is physiologically shed as the bounding membrane of outer membrane vesicles in cultures, as well as in animal tissues at the host-pathogen interface, implicated in translocation of gram-negative microbial biochemical signals to host or target cells.

Biogenesis.

The biogenesis of the outer membrane requires that the individual components are transported from the site of synthesis to their final destination outside the inner membrane by crossing both hydrophilic and hydrophobic compartments. The machinery and the energy source that drive this process are not yet fully understood. The lipid A-core moiety and the O-antigen repeat units are synthesized at the cytoplasmic face of the inner membrane and are separately exported via two independent transport systems, namely, the O-antigen transporter Wzx (RfbX) and the ATP binding cassette (ABC) transporter MsbA that flips the lipid A-core moiety from the inner leaflet to the outer leaflet of the inner membrane. O-antigen repeat units are then polymerised in the periplasm by the Wzy polymerase and ligated to the lipid A-core moiety by the WaaL ligase.  The LPS transport machinery is composed of LptA, LptB, LptC, LptD, LptE. This supported by the fact that depletion of any one of these proteins blocks the LPS assembly pathway and results in very similar outer membrane biogenesis defects. Moreover, the location of at least one of these five proteins in every cellular compartment suggests a model for how the LPS assembly pathway is organised and ordered in space.  LptC is required for the translocation of lipopolysaccharide (LPS) from the inner membrane to the outer membrane. LptE forms a complex with LptD, which is involved in the assembly of LPS in the outer leaflet of the outer membrane and is essential for envelope biogenesis.

The bacterial outer membrane is found in gram-negative bacteria. Its composition is distinct from that of the inner cytoplasmic cell membrane - among other things, the outer leaflet of the outer membrane of many gram-negative bacteria includes a complex lipopolysaccharide whose lipid portion acts as an endotoxin - and in some bacteria such as "E. coli" it is linked to the cell's peptidoglycan by Braun's lipoprotein.

细菌外膜是构成革兰氏阴性菌的结构之一。其组成与细胞膜截然不同,比如说,许多革兰氏阴性菌外膜的外小叶都含有脂质部分充当内毒素的脂多糖。此外,还有一些细菌比如大肠杆菌的外膜经由博朗脂蛋白与其肽聚糖相连。


Mission to the East.

King John II put him in charge of diverse private missions, and finally, to use his knowledge of different languages, ordered him and Afonso de Paiva to undertake a mission of exploration in the Near East and the adjoining regions of Asia and Africa, with the special assignment to learn where cinnamon and other spices could be found, as well as of discovering the land of legendary Prester John, by overland routes. Bartolomeu Dias, at the same time, went out to by sea find the Prester's country, as well as the termination of the African continent and the ocean route to India.  The expedition started at Santarém, on 7 May 1487. Covilhã and Paiva were provided with a letter of credence for all the countries of the world and with a map for navigating, taken from the map of the world and compiled by Bishop Diogo, and doctors Rodrigo and Moisés. The first two of these were prominent members of the commission which advised the Portuguese government to reject the proposals of Christopher Columbus. The explorers started from Santarém and travelled by Barcelona to Naples, where their bills of exchange were paid by the sons of Cosimo de' Medici; from there they went to Rhodes, where they stayed with two other Portuguese, and so to Alexandria and Cairo, where they posed as merchants.  In company with Arabs from Fez and Tlemcen, they now went by way of El-Tor to Suakin and Aden, where, as it was now the monsoon, they parted. Covilhã proceeded to India and Paiva to Ethiopia. They agreed to meet again in Cairo. Covilhã thus arrived at Cannanore and Calicut, from where he retraced his steps to Goa and Hormuz, the Red Sea and Cairo, making an excursion on his way down the East African coast to Sofala.  At Cairo he heard of Paiva's death, and met with two Portuguese Jews: Rabbi Abraham of Beja and José Sapateiro, a shoe-maker of Lamego who had been sent by King John with letters for Covilhã and Paiva. By Joseph of Lamego, Covilhã replied with an account of his Indian and African journeys, and of his observations on the cinnamon, black pepper and clove trade at Calicut, together with advice as to the ocean way to India. He recommended that the Portuguese should sail south along the coast of Africa and the seas of Guinea. The first objective in the eastern ocean, he added, was Madagascar; from this island one could reach Calicut.

Ethiopia.

With this information Joseph returned to Portugal, while Covilhã, with Abraham of Beja, again visited Aden and Hormuz. At the latter he left the rabbi; and himself came back to Jeddah, the port of the Arabian holy land, and penetrated (as he told Francisco Álvares many years later) even to Mecca and Medina. Finally, by Mount Sinai, El-Tor and the Red Sea, he reached Zeila, whence he struck inland to the court of Prester John (Ethiopia).  Here he was honorably received by the Emperor Eskender; lands and lordships were bestowed upon him, but Eskander refused to grant him permission to leave, and his successors evaded granting Covilhã permission. According to James Bruce, Covilhã maintained a correspondence with the king in Portugal, describing Ethiopia as "very populous, full of cities both powerful and rich".  In 1507, he was joined by João Gomes, a priest sent by Tristão da Cunha, who had reached Ethiopia by way of Socotra. When the Portuguese embassy under Rodrigo de Lima, which included Ethiopian ambassador Mateus and missionary Francisco Álvares, entered Ethiopia in 1520, Covilhã wept with joy at the sight of his fellow-countrymen. It was then forty years since he had left Portugal, and over thirty since he had been a prisoner of state in Ethiopia. Álvares, who professed to know him well, and to have heard the story of his life, both in confession and out of it, praises his power of vivid description as if things were present before him, and his extraordinary knowledge of all the spoken languages of Christians, Muslims and Gentiles. His services as an interpreter were valuable to Rodrigo de Lima's embassy. Covilhã was well treated, but was not allowed to leave the country until his death.

Pedro, or Pêro da Covilhã or (; c. 1460 – after 1526), sometimes written: Pero de Covilhăo, was a Portuguese diplomat and explorer.

佩罗·达·科维良(英语:Pedro or Pêro da Covilhã),(1460年-?),文艺复兴时期欧洲航海家。他受葡萄牙国王委派去发现肉桂产地,以及通往埃塞俄比亚的陆上通路。他航海到了印度,并向葡萄牙送回了报告,其中有瓦斯科·达·伽马采纳的最佳航海路线的建议。后来于1490年到达了埃塞俄比亚。虽然他得到当地国王的礼遇,但是,他在软禁中度过了余生。


History.

Founded as the Zionist Organization (; "HaHistadrut HaTsionit"), or ZO, in 1897 at the First Zionist Congress, held from August 29 to August 31 in Basel, Switzerland. The ZO's newspaper "Die Welt" was founded in the same year. It changed its name to "World Zionist Organization" in January 1960.  The ZO served as an umbrella organization for the Zionist movement, whose objective was the creation of a Jewish homeland in Eretz Yisrael – at that time under the Ottoman Empire and following the First World War, the British Mandate of Palestine. When the State of Israel was declared 51 years later on May 14, 1948, many of its new administrative institutions were already in place, having evolved during the regular Zionist Congresses of the previous decades. Some of these institutions remain to this day.  The finances of the WZO were conducted by the Jewish Colonial Trust (founded in 1899), and acquisition of land was conducted by the Jewish National Fund (founded in 1901).Keren Hayesod (founded 1920) funded Zionist and Yishuv activities prior to the creation of the state of Israel through enterprises such as the "Palestine Electric Company", the "Palestine Potash Company" and the "Anglo-Palestine Bank". Membership in the ZO was open to all Jews, and the right to vote for delegates to the congresses was secured by the purchase of the Zionist Shekel. Delegations from all around the world, and from many different political backgrounds and religious traditions, took part in each Congress; delegations/parties were mainly grouped by ideology, rather than by geography.  In 1960 the ZO changed its name to the World Zionist Organization and adopted a new constitution under which individuals are ineligible for membership, which is reserved for organizations.

Chairmen.

In 2009, Natan Sharansky was elected head of the Jewish Agency and Avraham Duvdevani was elected Chairman of the WZO at the 36th Zionist Congress on 15 June 2010.

World Zionist Congress.

The World Zionist Congress established by Theodor Herzl, is the supreme organ of the World Zionist Organization and its legislative authority. It elects the officers and decides on the policies of the WZO and the Jewish Agency. The first World Zionist Congress was held in Basel, Switzerland in 1897.

Jerusalem Program.

The platform of the WZO is the Jerusalem Program. The Zionist Council, meeting in Jerusalem in June 2004, adopted this text as the latest version.  "Zionism, the national liberation movement of the Jewish people, brought about the establishment of the State of Israel, and views a Jewish, Zionist, democratic and secure State of Israel to be the expression of the common responsibility of the Jewish people for its continuity and future.  The foundations of Zionism are:

Projects and initiatives.

The World Zionist Organization is made up of several departments. The Department of Diaspora Affairs aims to build bridges between Jews everywhere and strengthen Zionist identity among young Jews  The Department of Aliyah Promotion aims to motivate and assist Jews in the process of immigration to Israel, awaken an interest in learning Hebrew and strengthen ties between the Jewish Diaspora and the State of Israel.  The Department of Activities in Israel and Countering Antisemitism seeks to strengthen Jewish Zionist identity among Israelis and combat antisemitism.  The Department of Education works to bolster Jewish-Zionist identity and the connection to the State of Israel and the Diaspora through the Hebrew language and educational content in the formal and informal education systems in Israel and the Diaspora.

Herzl Award.

Since 2004, Department for Zionist Activities of the World Zionist Organization bestows the annual Herzl Award for recognition of exceptional volunteer efforts on behalf of Israel and the Zionist cause.

Controversies.

A document brought before Israel's Supreme Court in 2009 showed that private Palestinian land was taken and given to Israeli settlers by the World Zionist Organization. The land in question had been ruled off-limits by Israel. The World Zionist Organization had been acting as an agent of the government in assigning land to Jewish settlers in the Israeli-occupied territories. The Israeli government, to avoid responsibilities under international law, used the World Zionist Organization to settle its citizens in the territory occupied in 1967. The document concerns several homes in the Israeli settlement of Ofra, approximately 15 miles north of Jerusalem in the West Bank. The Israeli Justice Ministry confirmed that the land in question was owned by Palestinians and that the nine houses in question had been ordered demolished. Dror Etkes of Yesh Din said "It's an international organization that is, simply put, stealing land."

The World Zionist Organization (; "HaHistadrut HaTzionit Ha'Olamit"), or WZO, is a non-governmental organization that promotes Zionism. It was founded as the Zionist Organization (ZO; 1897–1960) at the initiative of Theodor Herzl at the First Zionist Congress, which took place in August 1897 in Basel, Switzerland. When it was founded, the goals of the Zionist movement were stated in a resolution that came of that Congress and came to be known as the Basel Program.

世界犹太复国主义组织或世界锡安主义组织(,"HaHistadrut HaTzionit Ha'Olamit" (或WZO )),是一个促进犹太复国主义的非政府组织,是西奥多·赫兹尔在1897年在瑞士巴塞尔举行的第一次世界犹太复国主义大会倡议下成立的,该倡议被称为巴塞尔计划 。


History.

The construction of the Federal District Metro began in 1992, and its first sections started operating in 1999, but because of a backlog of work, the metro was not opened at its originally-scheduled date and time (21 April 1994 at 17:00). Work was finally finished in the beginning of 2001, and commercial service began on 24 September of that year.  During the first months, the metro operated only from 10:00 to 16:00 over only of the network of total of. Five more stations were opened in 2008: 108 South, Guariroba, Downtown Ceilândia, North Ceilândia and Ceilândia.  102 South and 112 South stations opened in 2009; Guará station opened in 2010.

Operations.

It operates from 06:00 to 23:30 Mondays to Saturdays, from 07:00 to 19:00 on Sundays. The metro's commercial speed is. The track gauge is and powered by a third rail. Its stations are equipped with stairs and lifts.

Tickets and fares.

The access to Metrô-DF is controlled by electronic entry and exit barriers. To travel on the metro, tickets are unitary, for a single trip, or by a magnetic card, which is inserted into the ticket barriers. The card can be recharged.

Lines.

The Green and Orange Lines both begin at the Central station, under the Pilot Plan Bus Station in the centre of Brasília and run parallel up until the Águas Claras station. The Orange Line goes south to Samambaia. The Green Line follows to Ceilândia. The metro runs underground in Brasília (exception at Asa Sul station) and through the Central Sector of Taguatinga, at Praça do Relógio station. Elsewhere, it runs on the surface.

Technical.

The supervision and control of the operation, which includes the subsystems of traffic, energy, and telecommunications, are run by the Operational Control Center (OCC), considered the brains of the Metro-DF. The control is fully computerized. Qualified professionals constantly monitor all train movements.  All is done with the help of sensors installed along the tracks and an optical fiber communication system. The system allows reception and transmission of information between the OCC and the other components of the metro system, such as trains, stations and substations. The center receives real-time information on route speeds, time spent at stations, passenger flow, and energy supply routes.  The electricity used by the Metro-DF is supplied by Companhia Energética de Brasília (CEB), directly from Furnas. It arrives at 13,800 V alternating current and is transformed by power rectifier substations along the lines of Metro-DF.  The rectifier substations distribute 13,800 V for passenger stations, which is stepped down to 380/220 V to feed the equipment. The trains' traction systems are fed by 750 V. The electric current is sent to the third rail and is collected by shoes located on the sides of trains, providing power to their motors.  Any movement of trains on the lines and yards, signaling systems, and auxiliary energy distribution function is under the command of the Operational Control Center (OCC). In exceptional situations, the OCC, in touch with teams of technicians and agents in metro stations and courts, uses this system to convey the necessary steps to determine alternative routes for trains.

Rolling stock.

Its increasing use indicated the need to expand the original fleet of 20 four–car Alstom Metropolis trainsets. To deal with the increasing demand, 12 new four–car trainsets were purchased from Alstom, with the first arriving in the Federal District in June 2010, leading to a fleet of 32 trains in total.  All trains go through a period of engagement and dynamic tests, where all components of traction, braking, signaling and communication will be assessed. Therefore, it takes 30 days for effective operation of new cars. The new fleet incorporates a number of advanced technologies including a modern drive system, which reduces the technical flaws of trains and reduce the waiting time at stations. Before the Alstom trains were put into operation, the Federal District Metro carried about 160,000 passengers per day.  With the new Alstom Metropolis trainsets in operation, the Federal District Metro's headways can be reduced from four and a half minutes to three minutes, and its capacity will nearly double to 300,000 passengers per day., all 12 of the new trainsets had been delivered and were in service. The Federal District Metro invested a total of R$ 325 million for the purchase of the new trains, modernizing the aging fleet, and purchasing spare parts. R$260 million was financed by BNDES, with the remainder being paid by the federal government.

Expansion plans.

In 2009, the originally-planned first stage of the new transport system in the Federal District was inaugurated. A metre gauge light rail line was planned to depart from rail Terminal South and cut over Estrada Parque Polícia Militar road and travel south to 502 Nouth, a distance of. It is one of three sections provided for in an online project to integrate a set of measures developed by the Government of the Federal District to revitalize the W3. The complete light rail line route would link rail Terminal North to the Brasília International Airport ().  This original Terminal South stretch was planned to be ready for the 2014 FIFA World Cup. Work on this first phase started in 2009, under the Company's management of the Federal District Metro. However, work on the line was suspended in April 2011 because of a fraudulent billing process, and the line was not ready for the 2014 FIFA World Cup, but it is still included in longer-term planning.  The line is planned to use mild electrical energy, which contributes to reducing greenhouse gas emissions and noise sounds. For most of the line, electricity will come from poles and wires along the track. In the area between 502 South and 502 North, the energy will be collected through a third rail, as required by the Institute of Historical and Artistic Heritage (Iphan). The route, along W3 Sul, is one of the busiest of the city is 60,000 cars per day and 800 buses. About 150 bus routes run through the W3 South, and the light rail line was planned to carry between 15,000 and 18,000 passengers per hour in both directions.  Taking the example of the Metro system, the Metropolitan Company of the Federal District expects at least 30% of motorists leave their cars at home and start using the new line rail line. A new impetus in the local market will be a consequence of changes in the way of urban W3.  The more recent priority for the line rail line project was a planned, 7-station section including the section between rail Terminal South and the Brasília International Airport. The section was budgeted at R$276.9 million. The light rail line project was restarted, with the bidding process on the section from 2013.

The Federal District Metro (Portuguese: "Metrô do Distrito Federal", commonly called "Metrô DF") is the rapid transit system of the Federal District, in Brazil. It is operated by "Companhia do Metropolitano do Distrito Federal" and was opened in 2001. Currently, Federal District's Metro has 24 stations on two lines, and it runs for.

巴西利亚地铁()是一个位于巴西首都巴西利亚的地铁系统,于1992年动工。原计划1999年竣工,因工程拖延,2001年初才完工。