Performance history.

"Elektra" is one of the most frequently performed operas based on classical Greek mythology, with a performance lasting—like the composer's earlier "Salome"—around 100 minutes. "Elektra" received its UK premiere at the Royal Opera House, Covent Garden, in 1910 with Edyth Walker in the title role and Thomas Beecham conducting at the first- ever performance of a Strauss opera in the UK. The first United States performance of the opera in the original German was given by the Philadelphia Grand Opera Company at the Academy of Music on 29 October 1931, with Anne Roselle in the title role, Charlotte Boerner as Chrysothemis, Margarete Matzenauer as Klytaemnestra, Nelson Eddy as Orest, and Fritz Reiner conducting. The opera made its premiere at the Metropolitan Opera in New York on December 3, 1932, with Gertrude Kappel singing the title role and Artur Bodanzky conducting.

Synopsis.

Before the opera begins, Agamemnon has sacrificed Iphigenia on the ruse that she is to be married, and subsequently goes off to war against Troy. Iphigenia's mother Klytaemnestra has thus come to hate her husband. After his return, with the help of her paramour Aegisthus, she murders her husband and now is afraid that her crime will be avenged by her other children, Elektra, Chrysothemis, and their banished brother Orest. Elektra has managed to send her brother away while remaining behind to keep her father's memory alive, but all the while, suffering the scorn of her mother and the entire court.

The action.

"Wo bleibt Elektra?" ("Where is Elektra?").

Five servants try to wash the courtyard of the palace in Mycenae. While they do their work, they ask where can Elektra be, and she emerges from the shadows with a wild look on her face. The servants continue commenting how she came to be in that state and talk about how they taunt her only to receive insults from her. Only one servant shows sympathy for her, but she is taken away by the overseer to be flogged.

"Allein! Weh, ganz allein." ("Alone! Alas, all alone.").

Elektra comes back for her daily ritual in memory of her father, who upon his return from Troy was killed while bathing by Klytaemnestra and Aegisth and dragged out into the courtyard. Elektra now starts imagining the day when her father will be avenged and then of the ensuing celebration in which she will lead the triumphal dance.

"Elektra!".

Chrysothemis leaves the palace but, unlike Elektra, she is meek and accommodating, and has remained on good terms with Klytaemnestra and Aegisth; she enjoys the privileges that come with being a princess. She warns her sister that their mother plans to lock Elektra in a tower, but she is rebuffed.

"Ich kann nicht sitzen und ins Dunkel starren." ("I can not sit and stare into the darkness.").

Chrysothemis does not wish to go on living a half-death in her own house: she wants to leave, marry and raise children.

"Es geht ein Lärm los." ("What tumult is this?").

As loud sounds are heard inside, Elektra mocks her sister that it is her wedding party.

"Was willst du? Seht doch, dort!" ("What do you want? Behold, there!").

In reality, Klytaemnestra has yet again been awakened by her own nightmares of being killed by Orest. Chrysothemis begs Elektra to leave, wishing only to speak to her mother. Followed by her retinue, Klytaemnestra comes to make another sacrifice to appease the gods, but she stops at the sight of Elektra and wishes that she were not there to disturb her. She asks the gods for the reason for her burdens, but Elektra appeases her by telling her mother that she is a goddess herself.

"Ich will nichts Hören!" ("I will not listen!").

Despite the protests of the Trainbearer and Confidante, Klytaemnestra climbs down to talk to Elektra.

"Ich habe keine guten Nächte." ("I have no good nights.").

Klytaemnestra confides to her daughter that she has been suffering nightmares every night and that she still has not found the way to appease the gods. But, she claims, once that happens, she will be able to sleep again.

"Wenn Das rechte Blutopfer unterm Beile fällt." ("When the right blood under the hatchet flows.").

Elektra teases her mother with little pieces of information about the right victim that must be slain, but she changes the conversation to her brother and why he is not allowed back. To Elektra's horror, Klytaemnestra says that he has become mad and keeps company with animals. She responds that this is not true and that all the gold that her mother has sent was not being used to support her son but to have him killed.

"Was bluten muß? Dein eigenes Genick." ("Who must bleed? Your own throat.").

Then Elektra reveals who is to be the actual victim: it is Klytaemnestra herself. She goes on to describe how the gods must be appeased once and for all. She must be awakened and chased around the house just like an animal that is being hunted. Only when she wishes that all was over and after envying prisoners in their cells, she will come to realize that her prison is her own body. At that time, the axe with which she killed her husband and which will be handed to Orest by Elektra, will fall on her. Only then the dreams will stop.

"Lichter! Mehr Lichter" ("Lights! More lights!").

The Trainbearer and Confidante enter and whisper to her. Klytaemnestra laughs hysterically and, mocking Elektra, leaves. Elektra wonders what has made her mother laugh.

"Orest! Orest ist tot!" ("Orest! Orest is dead!").

Chrysothemis comes to tell her: two messengers have arrived with the news that Orest is dead, trampled by his own horses.

"Platz da! Wer lungert so vor einer Tür?" ("Give way! Who spies thus upon the threshold?").

As a young servant comes out of the house to fetch the master, he trips over Elektra and Chrysothemis.

"Nun muß es hier von uns geschehn." ("It is for us to act now.").

Elektra does not relent and a terrified Chrysothemis listens as her sister demands that she help her to avenge their father.

"Wie stark du bist." ("How strong you are.").

Elektra goes on to praise her sister and her beauty, promising that Elektra shall be her slave at her bridal chamber in exchange for the assistance in her task. Chrysothemis fights off her sister and flees. Elektra curses her.

"Nun denn, allein!" ("Well, alone!").

Determined to do it alone, she digs for the axe that killed her father, but is interrupted by a mysterious man who comes into the courtyard.

"Was willst du, fremder Mensch?" ("What do you want, stranger?").

She hears that he is expecting to be called from within the palace because he has a message for the lady of the house. He claims to be a friend of Orest, and says that he was with him at the time of his death.

"Wer bist denn du?" ("Who are you?").

Elektra grieves. The man first guesses that she must be a blood relative of Orest and Agamemnon, then, upon asking her name, discovers she is Elektra.

"Orest!".

Then, taken aback, she recognizes him: it is Orest who has come back in disguise. Elektra is initially ecstatic, but also ashamed of what she has become and how she has sacrificed her own royal state for the cause.

"Du wirst es tun? Allein? Du armes Kind?" ("You'll do it? Alone? Poor child?").

Orest's Tutor comes and interrupts the siblings; their task is dangerous and anything can jeopardize it. The Trainbearer and Confidante come out of the palace and lead Orest in.

"Ich habe ihm das Beil nicht geben können!" ("I could not give him the axe!").

A shriek is heard from within the palace, then a grim moan. Elektra smiles brightly, knowing that Orest has killed their mother.

"He! Lichter!" ("Torches there!").

Aegisth arrives. He is ecstatic to have heard that Orest is dead and wishes to speak with the messengers. Elektra happily ushers him inside the palace.

"Helft! Mörder!" ("Help! Murder!").

As Aegisth screams and calls for help, Elektra replies: "Agamemnon can hear you."

"Elektra! Schwester!" ("Elektra! Sister!").

Chrysothemis comes out of the palace stating that Orest is inside and that he has killed Klytaemnestra and Aegisth. A massacre has begun with Orest's followers killing those who supported Aegisth and the Queen.

"Ob ich nicht höre?" ("How can I not hear?").

Elektra is ecstatic and wants to lead the crowd to dance but at first cannot.

"Hörst du denn nicht." ("You do not hear because.").

Chrysothemis and Elektra praise their brother's feat.

"Schweig, und tanze." ("Be silent and dance.").

At last Elektra begins to dance. As she reaches the climax of her dance, she falls to the ground: Elektra is dead. Chrysothemis goes into the palace to be with her brother. Banging on the palace door, she calls for her brother. There is no answer.

Style and instrumentation.

Musically, "Elektra" deploys dissonance, chromaticism and extremely fluid tonality in a way which recalls but moves beyond the same composer's "Salome" of 1905, and thus "Elektra" represents Strauss's furthest advances in modernism, from which he later retreated. The bitonal or extended Elektra chord is a well known dissonance from the opera while harmonic parallelism is also a prominent modernist technique.  To support the overwhelming emotional content of the opera, Strauss uses an immense orchestra of about 110 players- one of the largest in opera- with the following instrumentation:  In addition to the massive orchestral forces and the large principal cast of singers, a full chorus is briefly used at the end of the opera from "Stimmen hinter der Scene" ("voices behind the scene") calling out the arrival of Orestes from within the Palace following the murder of Aegisth.

Motives and chords.

The characters in "Elektra" are characterized in the music through leitmotifs or chords including the Elektra chord. Klytaemnestra, in contrast to Agamemnon's clearly diatonic minor triad motif, is characterized by a bitonal six note collection most often represented as a pair of two minor chords a tritone apart, typically on B and F, rather than simultaneously.

Elektra, Op. 58, is a one-act opera by Richard Strauss, to a German-language libretto by Hugo von Hofmannsthal, which he adapted from his 1903 drama "Elektra". The opera was the first of many collaborations between Strauss and Hofmannsthal. It was first performed at the Königliches Opernhaus on 25 January 1909. It was dedicated to his friends Natalie and Willy Levin.

厄勒克特拉(德文:Elektra)为理查·斯特劳斯所作的单幕歌剧,德文剧本由霍夫曼斯塔尔(Hugo von Hofmannsthal)于1903年所作,而本剧于1909年1月25日在德累斯顿国家剧院首演。


Early life.

Tenniel was born in Bayswater, West London, to John Baptist Tenniel, a fencing and dancing master of Huguenot descent, and Eliza Maria Tenniel. Tenniel had five siblings; two brothers and three sisters. One sister, Mary, was later to marry Thomas Goodwin Green, owner of the pottery that produced Cornishware. Tenniel was a quiet and introverted person, both as a boy and as an adult. He was content to remain firmly out of the limelight and seemed unaffected by competition or change. His biographer Rodney Engen wrote that Tenniel's "life and career was that of the supreme gentlemanly outside, living on the edge of respectability."  In 1840, Tenniel, while practising fencing with his father, received a serious eye wound from his father's foil, which had accidentally lost its protective tip. Over the years, Tenniel gradually lost sight in his right eye; he never told his father of the severity of the wound, as he did not wish to upset his father further.  In spite of his tendency towards high art, Tenniel was already known and appreciated as a humorist and his early companionship with Charles Keene fostered and developed his talent for scholarly caricature.

Training.

Tenniel became a student of the Royal Academy of Arts in 1842 by probation – he was admitted because he had made enough copies of classical sculptures to fill the necessary admission portfolio. So it was here that Tenniel returned to his earlier independent education.  While Tenniel's more formal training at the Royal Academy and other institutions was beneficial in nurturing his artistic ambitions, it failed in Tenniel's mind because he disagreed with the school's teaching methods, and so set about educating himself for his career. Tenniel studied classical sculptures through painting. However, he was frustrated in this because he lacked instruction in drawing. Tenniel would draw the classical statues at London's Townley Gallery, copy illustrations from books of costumes and armour in the British Museum, and draw animals from the zoo in Regent's Park, as well as actors from London theatres, which he drew from the pits. These studies taught Tenniel to love detail, yet he became impatient in his work and was happiest when he could draw from memory. Though he was blessed with a photographic memory, it undermined his early formal training and restricted his artistic ambitions.  Another "formal" means of training was Tenniel's participation in an artists' group, free from the rules of the Academy that were stifling him. In the mid-1840s he joined the Artist's Society or Clipstone Street Life Academy, and it could be said that Tenniel first emerged as a satirical draughtsman.

Early career.

Tenniel's first book illustration was for Samuel Carter Hall's "The Book of British Ballads", in 1842. While engaged with his first book illustrations, various contests were taking place in London, as a way in which the government could combat the growing Germanic Nazarenes style and promote a truly national English school of art. Tenniel planned to enter the 1845 House of Lords competition amongst artists to win the opportunity to design the mural decoration of the new Palace of Westminster. Despite missing the deadline, he submitted a cartoon, "An Allegory of Justice", to a competition for designs for the mural decoration of the new Palace of Westminster. For this he received a £200 premium and a commission to paint a fresco in the Upper Waiting Hall (or Hall of Poets) in the House of Lords.

"Punch".

As the influential result of his position as the chief cartoon artist for "Punch", John Tenniel remained Britain's steadfast witness to sweeping changes in political and social reform through satirical, often radical, and at times vitriolic images of the world. At Christmas 1850 he was invited by Mark Lemon to fill the position of joint cartoonist (with John Leech) on "Punch", having been selected on the strength of recent illustrations to Aesop's "Fables". He contributed his first drawing in the initial letter appearing on p. 224, vol. xix. This was entitled "Lord Jack the Giant Killer" and showed Lord John Russell assailing Cardinal Wiseman.  In 1861, Tenniel was offered John Leech's position at "Punch", as political cartoonist, but Tenniel still maintained a sense of decorum and restraint in the heated social and political issues of the day.  His task was to follow the wilful choices of his "Punch" editors, who probably took their cue from "The Times" and would have felt the suggestions of political tensions from Parliament as well. Tenniel's work could be scathing in effect. The restlessness in the issues of working-class radicalism, labour, war, economy, and other national themes were the targets of "Punch", which in turn settled the nature of Tenniel's subjects. His cartoons of the 1860s popularised a portrait of the Irishman as a sub-human being, wanton in his appetites and resembling an orangutan in facial features and posture. Many of Tenniel's political cartoons expressed strong hostility to Irish Nationalism, with Fenians and Land leagues depicted as monstrous, ape-like brutes, while "Hibernia" – the personification of Ireland – was depicted as a beautiful, helpless girl threatened by such "monsters" and turning for protection to an "elder sister" in the shape of a powerful, armoured Britannia.  "An Unequal Match", his drawing published in "Punch" on 8 October 1881, depicted a police officer fighting a criminal with only a baton for protection, trying to put a point across to the public that policing methods needed to be changed.  When examined separately from the book illustrations he did over time, Tenniel's work at "Punch" alone, expressing decades of editorial viewpoints, often controversial and socially sensitive, was created to echo the voices of the British public. Tenniel drew 2,165 cartoons for "Punch", a liberal and politically active publication that mirrored the Victorian public's mood for liberal social changes; thus Tenniel, in his cartoons, represented for years the conscience of the British majority.  Tenniel contributed around 2,300 cartoons, innumerable minor drawings, many double-page cartoons for "Punch's Almanac" and other specials, and 250 designs for "Punch's Pocket-books". By 1866 he could "command ten to fifteen guineas for the reworking of a single "Punch" cartoon as a pencil sketch," alongside his "comfortable" "Punch" salary "of about £800 a year".

Alice.

Despite the thousands of political cartoons and hundreds of illustrative works attributed to him, much of Tenniel's fame stems from his illustrations for "Alice". Tenniel drew 92 drawings for Lewis Carroll's "Alice's Adventures in Wonderland" (London: Macmillan, 1865) and "Through the Looking-Glass and What Alice Found There" (London: Macmillan, 1871).  Lewis Carroll originally illustrated "Wonderland" himself, but his artistic abilities were limited. Engraver Orlando Jewitt, who had worked for Carroll in 1859 and reviewed Carroll's drawings for "Wonderland", suggested that he employ a professional. Carroll was a regular reader of "Punch" and therefore familiar with Tenniel, who in 1865 had long talks with Carroll before illustrating the first edition of "Alice's Adventures in Wonderland".  The first print run of 2,000 was sold in the United States, rather than England, because Tenniel objected to the print quality. A new edition was released in December 1865, carrying an 1866 date, and became an instant best-seller, increasing Tenniel's fame. His drawings for both books have become some of the most famous literary illustrations. After 1872, when the Carroll projects were finished, Tenniel largely abandoned literary illustration. Carroll did later approach Tenniel to undertake another project for him. To this Tenniel replied: Tenniel's illustrations for the "Alice" books were engraved onto blocks of deal wood by the Brothers Dalziel. These engravings were then used as masters for making the electrotype copies for the actual printing of the books. The original wood blocks are held in the collection of the Bodleian Library in Oxford. They are not usually on public display, but were exhibited in 2003.

Style.

Influence of German Nazarenes.

The style associated with the Nazarene movement of the 19th century influenced many later artists, including Tenniel. It can be characterised as "shaded outlines", where the lines on the side of figures or objects are given extra thickness or drawn double to suggest shading or volume. Furthermore, this style is extremely precise, with the artist making a hard clear outline for its figures, dignifying them and the compositions, while giving restraint in expression and paleness of tone. Though Tenniel's early illustrations in the Nazarene style were not well received, his encounter with the style pointed him in a good direction.

Eye for detail.

After the 1850s, Tenniel's style was modernised to incorporate more detail in backgrounds and in figures. The inclusion of background details corrected the previously weak Germanic staging of his illustrations. Tenniel's more precisely-designed illustrations depicted specific moments of time, locale and individual character instead of just generalised scenes.  In addition to a change in specificity of background, Tenniel developed a new interest in human types, expressions, and individualised representation, something that would carry over into his illustrations of Wonderland. Referred to by many as theatricality, this hallmark of Tenniel's style probably stemmed from his earlier interest in caricature. In Tenniel's first years on "Punch" he developed this caricaturist's interest in the uniqueness of persons and things, almost giving a human like personality to the objects in the environment. For example, a comparison of one of John Everett Millais's illustrations of a girl in a chair with Tenniel's illustration of Alice in a chair shows clearly that Millais's chair is just a prop, whereas Tenniel's chair possesses a menacing and towering presence.  Another change in style was his shaded lines. These transformed from mechanical horizontal lines to vigorously hand-drawn hatching that greatly intensified darker areas.

Grotesque.

Tenniel's "grotesque" was one reason why Lewis Carroll wanted Tenniel as his illustrator for the "Alice" books, in the sense of imparting a disturbing sense that the real world may have ceased to be reliable. Tenniel's style was characteristically grotesque through his dark, atmospheric compositions of exaggerated fantasy creatures carefully drawn in outline. Often the mechanism was to use animal heads on recognisable human bodies or vice versa, as Grandville had done in the Parisian satirical journal "Charivari". In Tenniel's illustrations, the grotesque is found also in mergers of beings and things, deformities in and violence to the human body (e. g. when Alice drinks the potion and grows huge), and a proclivity to deal with ordinary things of this world while presenting such phenomena. The most noticeably grotesque is Tenniel's famous Jabberwock drawing in "Alice".  The "Alice" illustrations combine fantasy and reality. Scholars such as Morris trace Tenniel's stylistic change to the late 1850s trend towards realism. For the grotesque to operate, "it is our world which has to be transformed and not some fantasy realm." The illustrations constantly but subtly remind us of the real world, as do some of Tenniel's scenes derived from a medieval town, the portico of a Georgian town, or the checked jacket on the White Rabbit. Additionally, Tenniel closely follows Carroll's text, so that the reader sees the similitude between the written text and the illustrations. These touches of realism help to convince readers that all these seemingly grotesque inhabitants of Wonderland are simply themselves, simply real, not just performing.

Image and text in "Alice".

One unusual aspect of the "Alice" books is the placing of Tenniel's illustrations on the pages. This physical relation of illustrations to text meshes them together. Carroll and Tenniel expressed this in various ways. One was bracketing: two relevant sentences would bracket an image as a way of imparting the moment that Tenniel was trying to illustrate. This bracketing of Tenniel's pictures with text adds to their "dramatic immediacy." However, other, less frequent illustrations work with the texts as captions.  Another link between illustration and text is the use of broader and narrower illustrations. Broader ones are meant to be centred on the page, narrower to be "let in" or run flush to the margin, alongside a narrow column of continuing text. Still, words run in parallel with the depiction of those things. For example, when Alice says, "Oh, my poor little feet!", it not only occurs at the foot of the page but is right next to her feet in the illustration. Some of these narrower illustrations are "L"-shaped, and of great importance as some of his most memorable work. The top or base of these illustrations runs the full width of the page, but the other end leaves room on one side for text.

Book illustrations.

A selected list:  Entirely by Tenniel  Tenniel's different collaborations:

Retirement and death.

An ultimate tribute came to an elderly Tenniel as he was knighted for public service in 1893 by Queen Victoria. It was the first such honour ever bestowed on an illustrator or cartoonist. His fellows saw his knighthood as gratitude for "raising what had been a fairly lowly profession to an unprecedented level of respectability". With his knighthood, Tenniel elevated the social status of the black-and-white illustrator, and sparked a new sense of recognition of his profession. When he retired in January 1901, Tenniel was honoured with a farewell banquet (on 12 June), at which AJ Balfour, then Leader of the House of Commons, presided.  Tenniel died on 25 February 1914, three days before his 94th birthday. He was buried in Kensal Green Cemetery in London.

Legacy.

The "Punch" historian M. H. Spielmann, who knew Tenniel, wrote that the political clout contained in his "Punch" cartoons was capable of "swaying parties and people, too". Two days after his death, "The Daily Graphic" recalled how Tenniel "had an influence on the political feeling of this time which is hardly measurable... While Tenniel was drawing them (his subjects), we always looked to the Punch cartoon to crystallize the national and international situation, and the popular feeling about it—and never looked in vain." This social influence resulted from the weekly publishing of his political cartoons over 50 years, whereby Tenniel's fame allowed for a want and need for his particular illustrative work, away from the newspaper. Tenniel became not only one of Victorian Britain's most published illustrators, but as a "Punch" cartoonist one of the "supreme social observers" of British society and an integral component of a powerful journalistic force. The "New-York Tribune" journalist George W. Smalley referred to John Tenniel in 1914 as "one of the greatest intellectual forces of his time, (who) understood social laws and political energies."  Public exhibitions of Sir John Tenniel's work were held in 1895 and 1900. Tenniel was also the author of one of the mosaics, "Leonardo da Vinci", in the South Court in the Victoria and Albert Museum. His stippled watercolour drawings appeared from time to time in the exhibitions of the Royal Institute of Painters in Water Colours, to which he had been elected in 1874.  Tenniel Close, a Bayswater street near his former studio, is named after him.

Sir John Tenniel (28 February 1820 – 25 February 1914) was an English illustrator, graphic humorist, and political cartoonist prominent in the second half of the 19th century. He was knighted for his artistic achievements in 1893. Tenniel is remembered especially as the principal political cartoonist for "Punch" magazine for over 50 years, and for his illustrations to Lewis Carroll's "Alice's Adventures in Wonderland" (1865) and "Through the Looking-Glass, and What Alice Found There" (1871).

约翰·坦尼尔(John Tenniel;1820年-2月28日-1914年-2月25日),英国插画家及社会活动家,因创作《爱丽丝梦游仙境》及其续集《爱丽丝镜中奇遇》的插图而出名。1893年,因其艺术成就,他被维多利亚女王封为爵士。


Early life.

Wyle, the middle of three children, was born in Hollywood, California, the son of Marjorie (née Speer), a registered orthopedic head nurse, and Stephen Wyle, an electrical engineer and entrepreneur. His father was Jewish (of Russian-Jewish descent), whereas his mother was Episcopalian, and he was raised "fairly nondenominationally", around both faiths. Wyle's parents divorced in the late 1970s, and his mother later married James C. Katz, a film restorationist with three children of his own from a previous marriage. Wyle's paternal grandparents, Edith and Frank Wyle, founded the Los Angeles Craft and Folk Art Museum, and his grandfather also founded Wyle Laboratories. Edith R. Wyle was an expressionist painter who also created "The Egg and The Eye", a café and shop in the Miracle Mile district of Los Angeles.  Wyle was educated at The Thacher School in Ojai, California, and graduated with the class of 1989. Wyle participated in a Theatre Arts program at Northwestern University after his junior year of high school and appeared in high school plays, even winning an award for a play he wrote. After graduation, he studied with acting teacher Larry Moss while living in a small apartment on Hollywood Boulevard.

Career.

"ER".

Wyle's big break came when he was given the pilot script for "ER" and was cast as medical student John Carter. He was the youngest member when he joined the cast. Wyle was the only major cast member of "ER" to have been with the show since its inception (1994) when he left after its eleventh season (2005). His performances on the show earned him Emmy Award nominations in each of its first five seasons. As part of an ensemble he was nominated several times for the Screen Actors Guild Award, he was recognized with three Golden Globe nominations as "Best Supporting Actor in a Series, Miniseries or Motion Picture Made for Television" and won the 2001 TV Guide Award for "Supporting Actor in a Drama Series". Wyle left the series at the end of the eleventh season, although he returned in guest appearances for a four-episode arc during the twelfth season. He stated that he left because he wanted to spend more time with his family and friends and to make room for the upcoming generation. However, in 2009, Wyle returned to "ER" during its fifteenth and final season for five episodes, including the series finale. According to the Guinness World Records 2005 Special 50th Anniversary Edition, Wyle became the holder of a "Highest paid TV drama actor per episode" record during the 2003–2004 tenth season, earning approximately $400,000 per episode. While on "ER", Wyle's estimated salary was $9 million a year. Wyle has also appeared in the most episodes of "ER", 254, four more than Laura Innes.

Film.

Wyle was first seen in the Paul Bartel 1985 film "Lust in the Dust" (a western exploitation/parody which starred Tab Hunter, Lainie Kazan, and Divine) as an extra in the local gang running the small town of Chili Verde.  His later roles were a mini-series and featuring in the movie "Crooked Hearts" (1991) in 1990. In 1993 he appeared in another feature film, "There Goes My Baby". After appearing in several local plays in Los Angeles, he was cast in the box-office hit "A Few Good Men", in which he played a Marine jeep driver who testified in court. He also appeared in the feature "Swing Kids" as Emil Lutz, a leader in the Hitler Youth, and in the independent movie "The Myth of Fingerprints" with Roy Scheider, Blythe Danner, and Julianne Moore. Additionally, he starred as Lancelot opposite Sheryl Lee in the Television movie "Guinevere". Recently, Wyle starred in the original film "" with Sonya Walger, in its sequel "" opposite Gabrielle Anwar, and in the third part of the series "" alongside Stana Katic.  His latest work dealing with "The Librarian" is a series called "The Librarians". It focuses on 3 additional new librarians who are brought into the library at a time of cataclysmic events. In the beginning of the series, Noah Wyle was more of a co-star, versus his original role of the main character. Following seasons, he had more and more appearances. Until, with the latest season, he'supposedly' quit the job of The Librarian.  His other work has included a critically acclaimed turn as Steve Jobs in the Emmy-nominated "Pirates of Silicon Valley" (1999). Steve Jobs was so impressed with the performance that he invited Wyle to step on stage as him at the opening of his annual speech at the Apple convention. He has also appeared in several feature films, including "White Oleander" opposite Renée Zellweger, "Enough" opposite Jennifer Lopez, the independent feature "Donnie Darko", as the President's interpreter in the 2000 live-television production of "Fail Safe", and in the independent film "The Californians".

Stage.

Along with his film and television career, Wyle is also Artistic Producer of The Blank Theatre Company located in Hollywood, California. With the company, he has appeared on stage in the 1995 production of "The 24th Day" with Peter Berg, "The Why" (as part of the company's Young Playwrights Festival), and "Lobster Alice", opposite Nicholas Brendon, where he played the surrealist painter Salvador Dalí.  For his work as one of the producers of 2005 Los Angeles Production of Michael John LaChiusa's "The Wild Party", he won an NAACP Theatre Award.

"Falling Skies".

Wyle starred as the lead in TNT's sci-fi series "Falling Skies". Wyle plays Tom Mason, a former Boston University history professor who becomes the second-in-command of the 2nd Massachusetts Militia Regiment, a group of civilians and fighters fleeing post-apocalyptic Boston while fighting aliens who have wiped out 90% of humanity. The character was also the father of three boys, one of whom was captured by the aliens. Wyle's performance earned him BuddyTV's #91 position on its list of "TV's Sexiest Men of 2011".

Post-"Falling Skies".

In 2018, Wyle is announced that he will portrayed as Daniel Calder in the eight-part limited series "The Red Line". On April 22, 2020, Wyle confirmed that he will join the unknown role to replace Timothy Hutton for the reboot series "Leverage" to reunite with John Rogers and Dean Devlin since "The Librarians" and he would be also direct two of the 13 episodes.

Personal life.

Noah met his first wife, make-up artist Tracy Warbin, on the set of "The Myth of Fingerprints". They married in 2000 and have a son, Owen Strausser Speer Wyle (born November 9, 2002), and a daughter, Auden Wyle (born October 15, 2005). Wyle and Warbin separated in 2009 and divorced in 2010.  Wyle married Sara Wells in June 2014 in California. The couple met in 2011 during a production at The Blank Theatre Company. Their daughter Frances Harper Wyle was born on June 22, 2015.

Political advocacy and philanthropy.

Wyle opened the 1999 NY Macworld Expo keynote, initially posing as Apple Inc.'s Steve Jobs. It was a practical joke on the audience, engineered by Jobs and Wyle in light of the 1999 TNT film, "Pirates of Silicon Valley".  Wyle devotes much of his free time to the international non-profit organization Doctors of the World and to his work as a member of the Human Rights Watch Council. Wyle also serves as the voluntary artistic producer of the Blank Theatre Company in Hollywood, which stages an annual young playwrights festival and whose alumni include Ed Asner, Sarah Michelle Gellar, D. B. Sweeney, James Kerwin, Amber Benson, Megan Henning, Travis Schuldt, Warren Davis, Grant Show, and Nicholas Brendon. He also recently acquired Second Stage Theater (Los Angeles) in Hollywood, where the company has mounted numerous successful productions.  Wyle was the spokesperson for The Cover the Uninsured campaign in 2004, which had as Honorary Co-Chairs former Presidents Gerald Ford and Jimmy Carter. The Cover the Uninsured Week is annually held in the United States of America and focuses attention on the nearly 44 million Americans who go without health care coverage. The campaign includes several events among different communities, health and enrollment fairs, press conferences, and business seminars all over the U.S. Additionally, Wyle is a supporter of animal rights and a spokesman for the World Wildlife Fund, dedicated to protecting and conserving wildlife for future generations.  In 2009, Wyle became a spokesperson for the World Wide Fund for Nature (WWF), claiming that polar bears are "hanging on by a thread" and "may be extinct in our children's lifetime, due to the effects of climate change."  In 2012, Wyle supported the disability rights group ADAPT. On April 23, he was arrested during a protest on Capitol Hill to fight against Medicaid cuts for the elderly and people with disabilities.

Noah Strausser Speer Wyle (; born June 4, 1971) is an American film, television, and theatre actor. He is known for his roles as Dr. John Carter in "ER" for which he was nominated five times for the Primetime Emmy Award for Outstanding Supporting Actor in a Drama Series and three times for the Golden Globe Award for Best Supporting Actor – Series, Miniseries or Television Film and as Tom Mason in "Falling Skies". In his film work is he best known for playing Corporal Jeffrey Barnes in "A Few Good Men", Steve Jobs in the docudrama "Pirates of Silicon Valley" (1999), Dr. Kenneth Monnitoff in "Donnie Darko" (2001), and Flynn Carsen in "The Librarian" franchise.

诺亚·史超达·史达·怀勒(Noah Strausser Speer Wyle,IPA,1971年-6月4日)是一位美国电视、电影和剧场的演员,最受注目的演出是在电视剧《仁心仁术》中饰演John Carter (ER)医生,以及《天煞》中饰演Tom Mason (Falling Skies)。


Reign.

Struggle for the accession.

Hakor's accession and relationships with his predecessor Nepherites I were long debated. After Nepherites' death a dynastic struggle did seem to have occurred, and the throne was claimed by two or maybe three pretenders: Hakor, Psammuthes, and possibly a phantom figure called Muthis who was only mentioned in Eusebius' epitome of Manetho's "Aegyptiaca". As a result, Hakor was alternately considered Nepherites' legitimate successor or an unrelated usurper.  In 1986 John D. Ray suggested that Hakor was Nepherites' heir, who ruled undisturbed until his Year 2 when he was deposed by Psammuthes. After another year, Hakor managed to retake his legitimate throne by overthrowing the usurper, and continued to date his reign since his first coronation date, simply pretending that this gap never occurred. The third pretender, Muthis, could be inserted within this struggle, but his role – assuming that he really did exist – is unknown. Ray's hypothesis is accepted by other Egyptologists such as Alan B. Lloyd and Toby Wilkinson.  Shortly after his death, Hakor was called an usurper by the founder of the subsequent dynasty, Nectanebo I. However, it has been suggested that Hakor and Nectanebo might have been relatives in some way, possibly both related to Nepherites I but rivals to each other.

Activities in Egypt.

Once re-established, Hakor made considerable exertions to affirm his legitimacy, putting emphasis on his – real or fictional – descent from Nepherites. His building activity was remarkable and he also extensively restored many monuments of his royal predecessors.  In Karnak, Hakor finished the chapel for the sacred barque of Amun-Ra near the first pylon which was started by Psammuthes or possibly by Nepherites I; he also possibly began a temple complex in northern Saqqara which was later further developed under Nectanebo II. His building activity is well attested in various places in Upper Egypt (Luxor, Medinet Habu, El-Kab, El-Tod, Medamud, Elephantine), in the Temple of Hibis of Kharga Oasis, as well as other locations in Middle Egypt.

Foreign relations.

Hakor apparently reprised Nepherites' foreign policy. In Aristophanes' comedy "Plutus", which was performed in 388 BCE, an alliance between the Athenians and the Egyptians is mentioned, though it was more likely intended to refer to the Athenian support for the rebellion of Evagoras I of Cyprus – himself allied with Hakor – against the Achaemenids. Theopompus also reported an alliance between Hakor and the Pisidians. The peace of Antalcidas between the Persians and Greeks (387 BCE) was a turning point: after that, Egypt and Cyprus remained the only opponents of Artaxerxes II as reported by Theopompus and Orosius. The following years are quite obscure, but it seems that the Persians first attacked Egypt in 385 BCE and, after three years of war, the Egyptians managed to defeat the invaders.  In 381 BCE Hakor sent aid, money and 50 triremes (apparently without crew, though) to Evagoras in order to contribute to his resistance against the Great King who, after the unsuccessful campaign in Egypt, was now focusing on Cyprus. However, when, in 380 BCE, Evagoras travelled to Egypt to beg for further aid, Hakor saw no need to continue supporting him and sent him back to Cyprus with merely some more money. Evagoras surrendered to Artaxerxes soon after, but Hakor promptly joined a short-lived alliance with Sparta and with Glos, son of the Egyptian admiral, Tamos, who was a supporter of the pretender Cyrus the Younger against Artaxerxes II. Hakor managed to get the Athenian general Chabrias into his service, but the Persian general Pharnabazus II lobbied Athens seeking for them to repatriate him.

Death and succession.

Hakor died in 379/8 BCE, leaving his throne to his son Nepherites II. However, the latter was able to keep it for just four months before being overthrown and replaced by an army general from Sebennytos, Nectanebo I.

Hakor or Hagar, also known by the hellenized forms Achoris or Hakoris, was an ancient Egyptian pharaoh of the 29th Dynasty. His reign marks the apex of this feeble and short-lived dynasty, having ruled for 13 years – more than half of its entire duration.

哈科尔(英语:Hakor)是埃及第二十九王朝的第三任法老,将普撒穆提斯推翻而得到皇位。为了巩固皇位,他在一些建筑上自称是尼斐利提斯一世的孙子以宣称自己王位的合法性。哈科尔在位时,波斯频频入侵。在雅典的帮助下他打败了波斯,维持了埃及的独立。他死后由他的儿子尼斐利提斯二世继承王位,惟尼斐利提斯不久就被内克塔内布一世推翻及杀死。


History.

Chubu Centrair serves the third largest metropolitan area in Japan, centered around the city of Nagoya. The region is a major manufacturing centre, with the headquarters and production facilities of Toyota Motor Corporation and production facilities for Mitsubishi Motors and Mitsubishi Aircraft Corporation.  With much lobbying by local business groups such as Toyota, especially for 24-hour cargo flights, construction started August 2000, with a budget of JPY¥768 billion (€5.5 billion, US$7.3 billion), but through efficient management nearly ¥100 billion was saved. Penta-Ocean Construction was a major contractor.  According to Japanese media sources, Kodo-kai, a Yakuza faction in the Yamaguchi-gumi group, earned an immense amount of money by being the sole supplier, via a front company called Samix, of dirt, rock, sand, and gravel for the airport construction project. Although several Samix executives were criminally indicted for racketeering, the prosecutions were later dropped. According to the sources, Kodo-kai had informants working within the Nagoya police who fed the organization inside information which allowed them to stay a step ahead of investigating authorities.  When Chubu Centrair opened on 17 February 2005, it took over almost all of the existing Nagoya Airport's (now Nagoya Airfield) commercial flights, and relieved Tokyo and Kansai areas of cargo shipments. As a replacement for Nagoya Airport, it also inherited its IATA airport code NGO. The airport opened in time to service the influx of visitors for Expo 2005, located near Nagoya. The airport is speculated to have some competition with Shizuoka Airport, which opened on 4 June 2009.

Route withdrawals.

There were several withdrawals from Chubu Centrair after the airport commenced its operation. American Airlines operated a route to Chicago for less than seven months in 2005, but said the service was "not as profitable as we had hoped". In 2008, after a few years of service from Chubu Centrair, several airlines cancelled certain flights and put others on hiatus, including Malaysia Airlines' suspension of flight to Kuala Lumpur, Jetstar ending its airport operation, Continental Airlines stopping its Honolulu flight and United Airlines' suspension of flights to San Francisco, citing low premium cabin demand. This flight also continued to Chicago until 2007. Emirates and Hong Kong Express Airways left the airport in 2009, although HK Express resumed service from September 2014. Japan Airlines also ended its flights to Paris in 2009 and Bangkok in 2020. Garuda Indonesia ended service from Denpasar in March 2012, but returned to Nagoya with the opening of direct flights from Jakarta in March 2019 but only lasted until March 2020. EVA Air left the airport in June 2012 (they have since planned to resume service from June 2019). TransAsia Airways subsidiary V Air withdrew from Centrair and ended operations in October 2016.  Nagoya continues to offer intercontinental flights through Delta Air Lines' services to Detroit and Honolulu, Lufthansa's service to Frankfurt and Finnair's service to Helsinki.

Aichi Sky Expo.

An exposition centre inside the airport island was opened on August 30, 2019. The exposition centre has 6 exhibition halls each being 10,000 m2. Events held at the venue include the 2019 edition of the Wired Music Festival on September 7 and 8.

Ongoing projects.

Three construction projects are ongoing to the southeast of the main terminal: "Flight of Dreams" to be completed in summer 2018 and a low-cost carrier terminal to be completed in early 2019.

Terminals.

The northern side of the terminal holds domestic flights, while the southern side holds international flights, each with dedicated ticket counters, security checkpoints and baggage carousels, and for international flights, immigration and customs facilities. Arrivals are processed on the second floor, and departures on the third. The lower level is used for maintenance, catering, and other ground operations, as well as for passenger buses to hardstands in the middle of the airport ramp. There are thirteen gates for domestic flights (including three bus gates), and fourteen for international flights (including three bus gates).

Ground transportation.

Train.

Central Japan International Airport Station, the train station for Centrair is located on the Meitetsu Airport Line operated by Nagoya Railroad (Meitetsu). The fastest "μSky Limited Express" service connects the airport to Meitetsu Nagoya Station in 28 minutes. All μSky Limited Express are operating at a max speed of 120 km/h by 2000 series trains, which have all seats designated and it is required to purchase an extra 360 yen "special limited express ticket". Meitetsu Nagoya Station is adjacent to JR Nagoya Station, allowing transfers to Shinkansen bullet trains bound for not only Tokyo and Osaka but also many major cities, as well as JR, Meitetsu, and Kintetsu local trains, and the Nagoya Municipal Subway.  There is a proposal for a JR line linking Centrair to Nagoya Station and the JR network through Taketoyo Line's Okkawa Station. However, there's no actual construction works have been implemented at the moment.  There's also a proposal for Aonami line linking Centrair to Nagoya Station by constructing a tunnel or bridge. Nagoya municipal government has acted the assessment of feasibility in 2019.

Bus.

Centrair Limousine provides direct bus service to and from central Nagoya, Sakae, and major hotels. It is operated by a private bus company in Mie Prefecture. High-speed buses to the neighboring prefectures for 3,000 yen to Kyoto via Mie Prefecture have been operating.

Ferry.

Three high-speed ferry services link Centrair to the west side of Ise Bay. One ferry connects to the passenger terminal in Tsu – a 40-minute trip. Another ferry links Matsusaka to Tokoname, taking 45 minutes.

Car.

A toll road links Centrair and the mainland.

Shopping.

Centrair features the 4th Floor Sky Town Shopping Center, accessible to the general public, with 61 shops and restaurants. organized into two "streets", Renga-dori and Chochin-yokocho. The Chochin-yokocho shops are individually themed to have an authentic Japanese look.

Other facilities.

] The Boeing Dreamlifter Operations Center is located on the airport's apron, to the south of the main terminal. This facility is used to store Japanese components of the Boeing 787 aircraft while awaiting airlift to the assembly facility in the US.

Centrair is classified as a first class airport and is the main international gateway for the Chubu ("central") region of Japan. The name is an abbreviation of Central Japan International Airport, an alternate translation used in the English name of the airport's operating company,. 10.2 million people used the airport in 2015, ranking 8th busiest in the nation, and 208,000 tons of cargo was moved in 2015.

] 中部国际机场(,英语:Chubu Centrair International Airport,),日文暱称「」(新特丽亚/CENTRAIR),是位于日本爱知县常滑市的国际机场,为名古屋及中部地方主要的联外机场,由日本政府指定的「」经营,同时被日本政府评定为据点机场。2005年2月17日正式启用,做为名古屋机场的后继者,其使用原名古屋机场的IATA机场代码「NGO」,而ICAO机场代码则为「RJGG」。


Etymology.

The scientific name "Primula" is a diminutive of the Latin "primus", "prime", alluding to the fact that this flower is among the first to appear in spring. The vernacular name has the same meaning: primrose derives from a late Latin form "prima rosa", consisting of "prima", "first" (feminine), and "rosa", "rose".  The Latin specific epithet "vulgaris" means "common", in the sense of "widespread".

Description.

"Primula vulgaris" is a perennial growing tall, with a basal rosette of leaves which are more-or-less evergreen in favoured habitats. It flowers in early spring in the northern hemisphere (February–April) on slopes and meadows.  The leaves are 5–25 cm long and 2–6 cm broad, often heavily wrinkled, with an irregularly crenate to dentate margin. The leaf blade is gradually attenuated towards the base and unevenly toothed. The single stem, extremely short, is hidden in the centre of the leaf rosette. The delicately scented flowers are 2–4 cm in diameter, borne singly on short slender stems.  The flowers are typically pale yellow, though white or pink forms are often seen in nature. The flowers are actinomorphic with a superior ovary which later forms a capsule opening by valves to release the small black seeds. The flowers are hermaphrodite but heterostylous; individual plants bear either "pin" flowers (longuistylous flower: with the capita of the style prominent) or "thrum" flowers (brevistylous flower: with the stamens prominent). Fertilisation can only take place between pin and thrum flowers. Pin-to-pin and thrum-to-thrum pollination is ineffective.

Distribution.

The native range of "P. vulgaris" encompasses western and southern Europe. In the north, the distribution area extends from central Norway near the Faroe Islands via the British Isles, Denmark, northern Germany, the Netherlands, Belgium and France to southern Portugal in the south and the tip of North Africa in Algeria. To the east, the range extends through the southern European peninsulas to the Crimea, Balkans, Syria, Turkey and Armenia.

Habitat.

In appropriate conditions, "P. vulgaris" can cover the ground in open woods and shaded hedgerows. It is found mainly by streams, under bushes, in orchards and clear, moist deciduous forests. Occasionally it also appears in meadows. In Central Europe plants thrive best on nutrient-rich, but lime-poor, humus-rich, loose and often stony loam soils in winter-mild situations. In more populated areas it has sometimes suffered from over-collection and theft so that few natural displays of primroses in abundance can now be found. However it is common on motorway verges and railway embankments where human intervention is restricted. To prevent excessive damage to the species, picking of primroses or the removal of primrose plants from the wild is illegal in many countries, e.g. the UK Wildlife and Countryside Act 1981 (Section 13, part 1b).

Ecology.

Most (90%) individuals are heterostylous, the minority monostylous. The flowers of the species are visited by a variety of insects, such as butterflies (Lepidoptera), Hymenoptera, beetles (Coleoptera) and Diptera. Which visitors pollinate plants is not fully established. However, good pollinators are said to be bumblebees and hairy flies of the genus "Bombylius". However, the most common visitors to the flowers are small beetles of the genus "Meligethes" – often there are up to 12 or more pollen-covered individuals in a single flower. The beetles also fly from flower to flower and, at least theoretically, are well suited as pollinators.  The seeds have an elaiosome and are spread by ants (myrmecochory).

Subspecies.

There are three subspecies:  The primrose is distinguished from other species of "Primula" by its pale yellow (in the nominate subspecies) flowers produced singly on long flower stalks which are covered in rather shaggy hairs. The flowers open flat rather than concave as in the case of "Primula veris", the cowslip.  A pink form is widely seen, growing amongst the much more common yellow forms; this may be a genetic variant rather than a garden escape. Occasional red forms are more likely to be naturalised from garden varieties.

Cultivation.

The wild primrose is a staple of cottage garden plantings, and is widely available as seeds or young plants. It grows best in moist but well-drained soil in light shade. It is increased by seed and division. The throat is usually coloured rich yellow.  Primrose breeding of named coloured varieties became popular in the nineteenth and early twentieth century. Numerous cultivars have been selected for garden planting, often derived from subsp. "sibthorpii" or hybrids between the subspecies; these and other garden hybrids are available in a wide range of colours, including white, yellow and red, or brown and red in all gradations as well as dark red, pink, purple, dark brown and dark blue, and with an extended flowering season.  The term "Polyanthus", or "Primula polyantha", refers to various tall-stemmed and multi-coloured strains of "P. vulgaris" × "P. veris" hybrids. Though perennial, they may be short-lived and are typically grown from seed or from young plants as biennials.  "P. vulgaris" and its subspecies "sibthorpii" have gained the Royal Horticultural Society's Award of Garden Merit.

Usage.

Both flowers and leaves are edible, the flavour ranging between mild lettuce and more bitter salad greens. The leaves can be cooked in soup but preferably with other plants because they are sometimes a little strong. The leaves can also be used for tea, and the young flowers can be made into primrose wine. In the past the whole plant and especially the root were considered to have analgesic, anti-spasmodic, diuretic and expectorant properties. It contains small amounts of saponins, and was given for colds.

Culture.

The primrose was Benjamin Disraeli's favourite flower; Primrose Day and the Primrose League were given their names in honour of this.  It was voted the county flower of Devon in 2002 following a poll by the wild flora conservation charity Plantlife.  Primroses also appear as a charge in heraldry, for example the coat of arms of the Earl of Rosebery.

Primula vulgaris, the common primrose, is a species of flowering plant in the family Primulaceae, native to western and southern Europe, northwest Africa, and parts of southwest Asia. The common name is primrose, or occasionally common primrose or English primrose to distinguish it from other "Primula" species also called primroses. None of these are closely related to the evening primroses (genus "Oenothera").

欧报春(),又名欧洲报春花、西洋樱草,是报春花属下的一种多年生草本植物,广泛分布于西欧、南欧、北非、西亚,也是一种常见的园艺植物。其种加词的意思就是“普通的”。


Founding.

The idea to start an athletic association began when the brothers Isidor and Paul Behrens were taking a walk through Hantverkargatan, in central Stockholm. They were walking pretty fast; and noticed that there were two other youngsters behind them who also walked quickly. The strangers tried to walk past the Behrens, so they had to speed up to keep the lead; but the strangers did the same. Finally all of them started to run in what now looked like an improvised competition. When Isidor and Paul were far away from the unknown youngsters, Isidor said that they should start an athletic association and compete with others.  So the brothers gathered their friends, who had strong athletic interest, and held a meeting at Behrens' on February 15, 1891, on Biblioteksgatan 8, in central Stockholm. Isidor introduced his idea to everyone, and they liked it. Since the boys agreed that every thinkable sport should be practiced, they decided that “Allmänna Idrottsklubben” (The General Sports Club) would be a suitable name. The name also had other meanings: AIK allowed anybody to become a member; and at this time many athletic clubs were limited (e.g. the military).

Media.

On 5 February 1995, AIK became the first non-American sports club to promote an Internet website.

Supporters.

During the 1980s and 1990s AIK's official supporter group Black Army raged havoc around the country, making headlines in national newspapers. As a result of Black Army's bad behaviour another supporter group was created in 2000, Allmänna Supporterklubben "(the General Supporters Club)", as an option to Black Army. In 2002 Allmänna Supporterklubben was renamed to the much more AIK related name "Smokinglirarna" "(roughly, "The Players", literally "the Black Tie Players")". In 2002 an ultras group was formed, Ultras Nord "(Ultras North)", and two years later, 2004, Sol Invictus was formed. Black Army, Smokinglirarna, Ultras Nord and Sol Invictus together with AIK-Tifo forms the so-called AIK-Alliansen "(the AIK Alliance)".  Crown princess Victoria's spouse Daniel Westling and princess Madeleine's former boyfriend Jonas Bergström both are ardent AIK fans. From time to time the royal family visits the club's home matches. His Swedish Majesty Carl XVI Gustaf is an honorary member of the club (in line with family tradition), although he has stated that he is a fan of Djurgårdens IF, allegedly.  Among Swedish politicians the former party chairman of the Swedish Social Democratic Party Mona Sahlin is an AIK supporter as well as former Minister for Justice Thomas Bodström.  The Wallenberg family are also closely attached with AIK as a club, being one of the major share holders.  The chant used by AIK is "Å vi é AIK" ("Oh we are AIK" pronounced with a Stockholm dialect).

Allmänna Idrottsklubben (English: "the public sports club"), usually referred to as just AIK, is a professional sports club from Stockholm, Sweden. Founded in 1891, at the downtown address of Biblioteksgatan 8 in the district of Norrmalm, the club is the largest in Scandinavia. The club's achievements include Swedish championship titles in a slew of sports: football, ice hockey, bandy, handball, floorball, bowling, badminton, athletics and many other sports as well as Wimbledon championships and French Open in tennis (through Sven Davidson, Lennart Bergelin and Ulf Schmidt).

AIK体育会(,简称AIK),是瑞典最大的体育会,也是瑞典历史最悠久的体育会之一。体育会1891年于斯德哥尔摩成立,现时的会址位于索尔纳市。AIK除了曾夺得足球、曲棍球、冰球、手球、福乐球、保龄球、羽毛球、体操的瑞典锦标外,还有温布顿网球锦标。


Description.

The Murinae are native to Africa, Europe, Asia, and Australia. They are the only terrestrial placental mammals, other than bats and the dingo native to Australia. They have also been introduced to all continents except Antarctica, and are serious pest animals. This is particularly true in island communities where they have contributed to the endangerment and extinction of many native animals.  Two prominent murine human commensals have become vital laboratory animals. The brown rat and house mouse are both used as medical subjects.  The murines have a distinctive molar pattern that involves three rows of cusps instead of two, the primitive pattern seen most frequently in muroid rodents.

Fossils.

The first known appearance of the Murinae in the fossil record is about 14 million years ago with the fossil genus "Antemus". "Antemus" is thought to derive directly from "Potwarmus", which has a more primitive tooth pattern. Likewise, two genera, "Progonomys" and "Karnimata", are thought to derive directly from "Antemus". "Progonomys" is thought to be the ancestor of "Mus" and relatives, while "Karnimata" is thought to lead to "Rattus" and relatives. All of these fossils are found in the well-preserved and easily dated Siwalik fossil beds of Pakistan. The transition from "Potwarmus" to "Antemus" to "Progonomys" and "Karnimata" is considered an excellent example of anagenic evolution.

Taxonomy.

Most of the Murinae have been poorly studied. Some genera have been grouped, such as the hydromyine water rats, conilurine or pseudomyine Australian mice, or the phloeomyine Southeast Asian forms. No tribal level taxonomy has been attempted for the complete subfamily. It appears as if genera from Southeast Asian islands and Australia may be early offshoots compared to mainland forms. The vlei rats in the genera "Otomys" and "Parotomys" are often placed in a separate subfamily, Otomyinae, but have been shown to be closely related to African murines in spite of their uniqueness.  Three genera, "Uranomys", "Lophuromys", and "Acomys", were once considered to be murines, but were found to be more closely related to gerbils through molecular phylogenetics. They have been assigned a new subfamily status, Deomyinae.  Molecular phylogenetic studies of Murinae include Lecompte, et al. (2008), which analyzes African murine species based on the mitochondrial cytochrome b gene and two nuclear gene fragments. Lecompte, et al. (2008) estimates that African murines colonized Africa from Asia approximately 11 million years ago during the Miocene.  The following phylogeny of 16 Murinae genera, based on molecular phylogenetic analysis of the Interphotoreceptor Retinoid Binding Protein (IRBP) gene, is from Jansa & Weksler (2004: 264).

Distribution.

The following is a list of Murinae genus divisions ordered by the continents that they are endemic to. Most of the diversity is located in Southeast Asia and Australasia.

List of species.

As of 2005, the Murinae contained 129 genera in 584 species. Musser and Carleton (2005) divided the Murinae into 29 genus divisions. They treated the Otomyinae as a separate subfamily, but all molecular analyses conducted to date have supported their inclusion in the Murinae as relatives of African genera. In a recent expedition in the Philippines, seven more "Apomys" mice were added and the genus was proposed to split into two subgenera - "Apomys" and "Megapomys", based on morphological and cytochrome b DNA sequences.  SUBFAMILY MURINAE - Old World rats and mice

The Old World rats and mice, part of the subfamily Murinae in the family Muridae, comprise at least 519 species. Members of this subfamily are called murines. This subfamily is larger than all mammal families except the Cricetidae and Muridae, and is larger than all mammal orders except the bats and the remainder of the rodents.

鼠亚科(学名:)是鼠科之下五个亚科之一,分布于非洲和欧洲、亚洲以及大洋洲(例如:新几内亚大鼠属,"Anisomys")的大、小鼠,包含至少519个物种、超过100个属。这庞大的物种数量甚至比一些其他哺乳动物的科还要大,只有仓鼠科及鼠科能与之匹敌;本亚科甚至只比蝙蝠及啮齿目余下的分类单元为小,其他哺乳动物的目都没有鼠亚科之物种数量庞大。


National Semiconductor Geode.

Geode GXm.

Cyrix MediaGXm clone. Returns "CyrixInstead" on CPUID.

Geode GX1.

National Semiconductor/AMD SC1100 is based on the Cyrix GX1 core and the CS5530 support chip.

Geode GX2.

Announced by National Semiconductor Corporation October, 2001 at Microprocessor Forum. First demonstration at COMPUTEX Taiwan, June, 2002.

Geode SCxx00 Series.

Developed by National Tel Aviv (NSTA) based on IP from Longmont and other sources.  Applications:

AMD Geode.

In 2002, AMD introduced the Geode GX series, which was a re-branding of the National Semiconductor GX2. This was quickly followed by the Geode LX, running up to 667 MHz. LX brought many improvements, such as higher speed DDR, a re-designed instruction pipe, and a more powerful display controller. The upgrade from the CS5535 I/O Companion to the CS5536 brought higher speed USB.  Geode GX and LX processors are typically found in devices such as thin clients and industrial control systems. However, they have come under competitive pressure from VIA on the x86 side, and ARM processors from various vendors taking much of the low-end business.  Because of the relative performance, albeit higher PPW, of the GX and LX core design, AMD introduced the Geode NX, which is an embedded version of the Athlon processor, K7. Geode NX uses the Thoroughbred core and is quite similar to the Athlon XP-M that use this core. The Geode NX includes 256 KB of level 2 cache, and runs fanless at up to 1 GHz in the NX1500@6 W version. The NX2001 part runs at 1.8 GHz, the NX1750 part runs at 1.4 GHz, and the NX1250 runs at 667 MHz.  The Geode NX, with its strong FPU, is particularly suited for embedded devices with graphical performance requirements, such as information kiosks and casino gaming machines, such as video slots.  However, it was reported that the specific design team for Geode processors in Longmont, Colorado, has been closed, and 75 employees are being relocated to the new development facility in Fort Collins, Colorado. It is expected that the Geode line of processors will be updated less frequently due to the closure of the Geode design center.  In 2009, comments by AMD indicated that there are no plans for any future micro architecture upgrades to the processor and that there will be no successor; however, the processors will still be available with the planned availability of the Geode LX extending through 2015. In 2016 AMD updated the product roadmap announcing extension of last time buy and shipment for the LX series to 2019. In early 2018 hardware manufacturer congatec announced an agreement with AMD for a further extension of availability of congatec's Geode based platforms.

Geode LX.

Features:  Specification:  Applications:

Geode NX.

Features:

Geode NX 2001.

In 2007, there was a "Geode NX 2001" model on sale, which in fact was a relabelled Athlon XP 2200+ Thoroughbred. The processors, with part numbers AANXA2001FKC3G or ANXA2001FKC3D, their specifications are 1.8 GHz clock speed, and 1.65 volt core operating voltage. The power consumption is 62.8 Watt. There are no official references to this processor except officials explaining that the batch of CPUs were "being shipped to specific customers", though it is clear it has no relation with the other Geode NX CPUs other than sharing the same CPU socket (Socket A).

Geode was a series of x86-compatible system-on-a-chip microprocessors and I/O companions produced by AMD, targeted at the embedded computing market.

AMD GeodeTM 处理器是AMD公司针对低功耗应用所设计的x86处理器,其频率从400MHz到1GHz不等。主要应用于各种终端机、精简型终端机(Thin client)和移动数码设备(如PDA)。


Early life.

Although Psalmanazar intentionally obscured many details of his early life, it is believed that he was born in southern France, perhaps in Languedoc or Provence, to Catholic parents, some time between 1679 and 1684. His birth name is unknown. According to his posthumously published autobiography, he was educated in a Franciscan school and then a Jesuit academy. In both these institutions he claimed to have been celebrated by his teachers for what he called "my uncommon genius for languages". Indeed, by his own account Psalmanazar was something of a child prodigy. He claims that he attained fluency in Latin by the age of seven or eight, and excelled in competition with children twice his age. Later encounters with a sophistic philosophy tutor made him disenchanted with academicism, however, and he discontinued his education around the time he was fifteen or sixteen.

Career as an impostor.

Continental Europe.

In order to travel safely and affordably in France, Psalmanazar decided to pretend to be an Irish pilgrim on his way to Rome. After learning English, forging a passport, and stealing a pilgrim's cloak and staff from the reliquary of a local church he set off, but he soon found that many people he met were familiar with Ireland and were able to discern that he was a fraud. Deciding that a more exotic disguise was needed, Psalmanazar drew upon the missionary reports about East Asia that he had heard of from his Jesuit tutors and decided to impersonate a Japanese convert. At some point he further embellished this new persona by pretending to be a "Japanese " and exhibiting an array of appropriately bizarre customs, such as eating raw meat spiced with cardamom and sleeping while sitting upright in a chair.  Having failed to reach Rome, Psalmanazar travelled through various German principalities between 1700 and 1702. In the latter year he appeared in the Netherlands, where he served as an occasional mercenary and soldier. By this time he had shifted his supposed homeland from Japan to the even more remote Formosa (Taiwan), and had developed more elaborate customs, such as following a foreign calendar, worshipping the Sun and the Moon with complex propitiatory rites of his own invention, and even speaking an invented language.  In late 1702 Psalmanazar met the Scottish priest Alexander Innes, who was the chaplain of a Scottish army unit. Afterwards Innes claimed that he had converted the heathen to Christianity and christened him George Psalmanazar (after the Assyrian king Shalmaneser V, who is referenced in the Bible). In 1703 they left via Rotterdam for London, where they planned to meet Anglican clergymen.

England.

When they reached London news of the exotic foreigner with bizarre habits spread quickly and Psalmanazar achieved a high level of fame. His appeal not only derived from his exotic ways, which tapped into a growing domestic interest in travel narratives describing faraway locales, but also played upon the prevailing anti-Catholic and anti-Jesuit religious sentiment of early 18th century Britain. Central to his narrative was his claim to have been abducted from Formosa by malevolent Jesuits and taken to France, where he had steadfastly refused to become a Catholic. Psalmanazar declared himself to be a reformed heathen who now practised Anglicanism. He became a favourite of the Bishop of London and other esteemed members of London society.  Building upon this growing interest in his life, in 1704 Psalmanazar published a book, "An Historical and Geographical Description of Formosa, an Island subject to the Emperor of Japan", which purported to be a detailed description of Formosan customs, geography and political economy, but which was in fact a complete invention. The "facts" contained in the book are an amalgam of other travel reports, especially influenced by accounts of the Aztec and Inca civilisations in the New World, and by embellished descriptions of Japan. Thomas More's "Utopia" may also have served as an inspiration. Some of his claims about Japanese religion seem to also be derived from a misinterpretation of the Chinese idea of three teachings, as he claims that there were three different forms of "idolatry" practiced in Japan.  According to Psalmanazar, Formosa was a prosperous country with a capital city called Xternetsa. Men walked naked except for a gold or silver plate to cover their genitals. Their main food was a serpent that they hunted with branches. Formosans were polygamous and husbands had a right to eat their wives for infidelity. They executed murderers by hanging them upside down and shooting them full of arrows. Every year they sacrificed the hearts of 18,000 young boys to gods, and their priests ate the bodies. They used horses and camels for transport, and dwelled underground in circular houses.

Pseudo-lexicographer.

Psalmanazar's book also described the Formosan language, an early example of a constructed language. His efforts in this regard were so convincing that German grammarians included samples of his so-called "Formosan alphabet" in books about language well into the 19th century, even after his larger imposture had been exposed. Here is his "translation" of the Lord's Prayer: Amy Pornio dan chin Ornio vicy, Gnayjorhe sai Lory, Eyfodere sai Bagalin, jorhe sai domion apo chin Ornio, kay chin Badi eyen, Amy khatsada nadakchion toye ant nadayi, kay Radonaye ant amy Sochin, apo ant radonern amy Sochiakhin, bagne ant kau chin malaboski, ali abinaye ant tuen Broskacy, kens sai vie Bagalin, kay Fary, kay Barhaniaan chinania sendabey. Amien. Psalmanazar's book was an unqualified success. It went through two English editions, and French and German editions followed. After its publication Psalmanazar was invited to lecture on Formosan culture and language before several learned societies, and it was even proposed that he be summoned to lecture at the University of Oxford. In the most famous of these engagements he spoke before the Royal Society, where he was challenged by Edmond Halley.  Psalmanazar was frequently challenged by sceptics, but for the most part he managed to deflect criticism of his core claims. He explained, for instance, that his pale skin was due to the fact that the upper classes of Formosa lived underground. Jesuits who had actually worked as missionaries in Formosa were not believed, probably because of anti-Jesuit prejudice.

Later life.

Chaplain and theological essayist.

Innes eventually went to Portugal as chaplain general to the British forces. By then, however, he had developed an opium addiction and had become involved in several misguided business ventures, including a failed effort to market decorated fans purported to be from Formosa. Psalmanazar's claims became increasingly less credible as time went on and knowledge of Formosa from other sources began to contradict his claims. His energetic defence of his imposture began to slacken and in 1706 he confessed, first to friends and then to the general public. By then London society had largely grown tired of the "Formosan craze".  In the following years Psalmanazar worked for a time as a clerk in an army regiment until some clergymen gave him money to study theology. Psalmanazar then participated in the literary milieu of Grub Street, writing pamphlets, editing books and undertaking other low-paid and unglamorous tasks. He learned Hebrew, co-authored Samuel Palmer's "A General History of Printing" (1732), and contributed a number of articles to the "Universal History". He even contributed to "A Complete System of Geography" and wrote about the real conditions in Formosa, pointedly criticising the hoax he himself had perpetrated. He appears to have become increasingly religious and disowned his youthful impostures. This newfound religiosity culminated in his anonymous publication of a book of theological essays in 1753.

Friend of Samuel Johnson and others.

Although this last phase of Psalmanazar's life brought him far less fame than his earlier career as a fraud, it resulted in some remarkable historical coincidences. Perhaps the most famous of these is the elderly Psalmanazar's unlikely friendship with the young Samuel Johnson, who was also a Grub Street hack. In later years Johnson recalled that Psalmanazar had been well-known in his neighbourhood as an eccentric but saintly figure, "whereof he was so well known and esteemed, that scarce any person, even children, passed him without showing him signs of respect".  Psalmanazar also interacted with a number of other important English literary figures of his age. In the early months of 1741 he appears to have sent the novelist Samuel Richardson an unsolicited bundle of forty handwritten pages in which he attempted to continue the plotline of Richardson’s immensely popular epistolary novel "Pamela". Richardson called Psalmanazar's attempted sequel "ridiculous and improbable". In "A Modest Proposal" Jonathan Swift ridicules Psalmanazar in passing, sardonically citing "the famous Salamanaazor, a Native of the island of Formosa, who came from thence to London, above twenty Years ago," as an eminent proponent of cannibalism. A novel by Tobias Smollett refers mockingly to "Psalmanazar, who, after having drudged half a century in the literary mill in all the simplicity and abstinence of an Asiatic, subsists on the charity of a few booksellers, just sufficient to keep him from the parish".

Death and memoirs.

In old age Psalmanazar lived on an annual pension of £30, paid by an admirer. In his last years he wrote his "Memoirs of ** **, Commonly Known by the Name of George Psalmanazar; a Reputed Native of Formosa". The book, which was published posthumously, withholds his real birth name, which is still unknown, but contains a wealth of detail about his early life and the development of his impostures.

George Psalmanazar (c. 1679 – 3 May 1763) was a Frenchman who claimed to be the first native of Formosa (today Taiwan) to visit Europe. For some years he convinced many in Britain, but he was later revealed to be an impostor and proved fake. He subsequently became a theological essayist, and a friend and acquaintance of Samuel Johnson and other noted figures in 18th-century literary London.

乔治·撒玛纳札(;1679年-1763年-5月3日)是一位声称自己为福尔摩沙(今台湾)原住民的法国人。他在英国出版了一部名为《福尔摩沙历史与地理的描述》的民族志,内容概述了关于福尔摩沙的历史、地理、文化、语言字母等,一时惊动欧洲上层社交圈,并翻译成多国语言刊行,但在几年之后便被揭穿是一本伪书。之后,他成为一位神学散文家,并与塞缪尔·詹森及多名英国18世纪著名文学家成为朋友及熟人。