Arielle Dombasle is an American-born French singer, actress and model. Her breakthrough roles were in Éric Rohmer's Pauline at the Beach and Alain Robbe-Grillet's The Blue Villa, she is best known to American audiences for her appearances on Miami Vice where she played Kelly in Season 2, episode 12. The episode was entitled "Definitely Miami", she was one of the main characters in the 1984 miniseries Lace. Since 1978 she has directed four movies, she was born Arielle Laure Maxime Sonnery in Norwich, the daughter of Jean-Louis Melchior Sonnery de Fromental, a silk manufacturer, Francion Garreau-Dombasle. She descends from French-American immigrants in Mexico under her grandfather's diplomatic tenure; the family's surname was created in 1912, when Dombasle's grandfather René Sonnery, an industrialist from Lyon, married Anne-Marie Berthon du Fromental. Arielle took the pseudonym Arielle Dombasle in memory of her mother who died at the age of 36, she was raised as a Roman Catholic. Dombasle and her brother Gilbert were raised in Mexico by their maternal grandparents after their mother's death in 1964.
She attended the Lycée Franco-Mexicain. She was raised at Château de Chaintré, the Sonnery family estate near Mâcon, Saône-et-Loire, her maternal grandfather, Maurice Garreau-Dombasle, was a close friend of and advisor to Charles de Gaulle and served as the French ambassador to Mexico. Her maternal grandmother was Man'ha Garreau-Dombasle, a writer and poet who translated Rabindranath Tagore's works into French and was a longtime friend of the science fiction writer Ray Bradbury, who dedicated his 1972 novel The Halloween Tree to her. Dombasle embarked on a career as an actress and singer after attending the Conservatoire International de Musique de Paris and further studies in Mexico. Dombasle has appeared in several Hollywood productions, but most of her acting work has been in French, unlike her albums which are in Spanish and English, she directed Les Pyramides Bleues, Chassé-croisé, Opium and Alien Crystal Palace. She once described her own looks as "a Crazy Horse dancing girl". In 2006, she released both albums Amor Amor and C'est si Bon in the USA.
In September 2006, she performed three nights in a row at the Supper Club in New York City in front of Michael Douglas, John Malkovich, Lauren Bacall, Salman Rushdie, Andrée Putman and Charlie Rose. The latter invited Arielle Dombasle to promote her albums on The Charlie Rose Show. Arielle Dombasle released several albums in France: Glamour à Mort!, Diva Latina, Arielle Dombasle by ERA and La Rivière Atlantique with French rocker Nicolas Ker. Dombasle joined Les Grosses Têtes, a French radio programme, in January 2016; that same year, Arielle Dombasle released Le Secret d'Arielle, within Mauboussin. The promotional campaign was created by the French artist Leonardo Marcos. Dombasle is the first contestant, confirmed for the eighth season of Danse avec les Stars. In 2018, along with Mareva Galanter, Inna Modja and Helena Noguerra, Arielle Dombasle recreated the French band Les Parisiennes. Dombasle is the third wife of writer Bernard-Henri Lévy, they married on June 1993 at Saint-Paul-de-Vence on the Côte d'Azur where they have a villa.
She has Antonin-Balthazar Lévy and Justine Lévy, a novelist. She was married to Dr. Paul Albou, described by Vanity Fair as a "playboy society dentist, 32 years her senior."Dombasle is vegetarian. In 2016, she campaigned against abattoirs for PETA. "Paris m'a séduit" "Cantate 78" "Je te salue mari" "Nada más" "Amour symphonique" "Liberta" "Odysseus" "Rhum and Coca-Cola" "C'est si bon" "Où tu Veux" "Extraterrestre" "Hasta siempre" "Porque te vas" "Mambo 5" "Ave Maria" "Cold Song" "My Love for Evermore" "I'm Not Here Anymore" "Carthagena" "Point Blank" "Ah c'qu'on est bête" "Il fait trop beau pour travailler" 2000: Liberta 2002: Extase 2004: Amor Amor 2006: C'est Si Bon 2009: Glamour à Mort! 2011: Diva Latina 2013: Arielle Dombasle By Era 2015: French Kiss 2016: La Rivière Atlantique 2018: Les Parisiennes Official web site Arielle Dombasle on IMDb Arielle Dombasle at AllMovie Profile at Canal+
In music, an aria is a self-contained piece for one voice, with or without instrumental or orchestral accompaniment part of a larger work. The typical context for arias is opera, but vocal arias feature in oratorios and cantatas, sharing features of the operatic arias of their periods; the term was used to refer to any expressive melody but not always, performed by a singer. The term, which derives from the Greek ἀήρ and Latin aer first appeared in relation to music in the 14th century when it signified a manner or style of singing or playing. By the end of the 16th century, the term'aria' refers to an instrumental form. By the early 16th century it was in common use as meaning a simple setting of strophic poetry. In the context of staged works and concert works, arias evolved from simple melodies into structured forms. In such works, the sung and structured aria became differentiated from the more speech-like recitative – broadly, the latter tended to carry the story-line, the former carried more emotional freight and became an opportunity for singers to display their vocal talent.
The aria evolved in one of two forms. Binary form arias were in two sections. In the da capo aria the'B' episode would be in a different key – the dominant or relative major key. Other variants of these forms are found in the French operas of the late 17th century such as those of Jean-Baptiste Lully which dominated the period of the French baroque. In the Italian school of composers of the late 17th and early 18th century, the da capo form of aria came to be associated with the ritornello, a recurring instrumental episode, interspersed with the elements of the aria and provided, in early operas, the opportunity for dancing or entries of characters; this version of aria form with ritornelli became a dominant feature of European opera throughout the 18th century. It is thought by some writers to be the origin of the instrumental forms of concerto and sonata form; the ritornelli became essential to the structure of the aria – "while the words determine the character of a melody the ritornello instruments decided in what terms it shall be presented."
By the early 18th century, composers such as Alessandro Scarlatti had established the aria form, its da capo version with ritornelli, as the key element of opera seria. "It offered balance and continuity, yet gave scope for contrast. The regularity of its conventional features enabled deviations from the normal to be exploited with telling effect." In the early years of the century, arias in the Italian style began to take over in French opera, giving rise to the French genre of ariette in a simple ternary form. Types of operatic aria became known by a variety of terms according to their character – e.g.aria parlante, aria di bravura, aria buffa, so on. M. F. Robinson describes the standard aria in opera seria in the period 1720 to 1760 as follows: The first section began with an orchestral ritornello after which the singer entered and sang the words of the first stanza in their entirety. By the end of this first vocal paragraph the music, if it were in a major key as it was, had modulated to the dominant.
The orchestra played a second ritornello shorter than the first. The singer sang the same words through a second time; the music of this second paragraph was slightly more elaborate than that of the first. There were more repeats of words and more florid vocalisations; the key worked its way back to the tonic for the final vocal cadence after which the orchestra rounded the section off with a final ritornello. The nature and allocation of the arias to the different roles in opera seria was formalized. According to the playwright and librettist Carlo Goldoni, in his autobiography, The three principal personages of the drama ought to sing five arias each; the second actress and the second soprano can only have three, the inferior characters must be satisfied with a single aria each, or two at the most. The author of the words must take care, he must distribute with the same precaution the bravura arias, the arias of action, the inferior arias, the minuets and rondeaus. He must, above all things, avoid giving impassioned arias, bravura arias, or rondeaus, to inferior characters.
By contrast, arias in opera buffa were specific in character to the nature of the character being portrayed. By in the century it was clear that these formats were becoming fossilized. Christoph Willibald Gluck thought that both opera buffa and opera seria had strayed too far from what opera should be, seemed unnatural; the jokes of opera buffa were
Mahjong is a tile-based game, developed in China during the Qing dynasty and has spread throughout the world since the early 20th century. It is played by four players; the game and its regional variants are played throughout Eastern and South Eastern Asia and have become popular in Western countries too. The game has been adapted into a widespread online entertainment. Similar to the Western card game rummy, Mahjong is a game of skill and calculation and involves a degree of chance; the game is played with a set of 144 tiles based on Chinese characters and symbols, although some regional variations may omit some tiles or add unique tiles. In most variations, each player begins by receiving 13 tiles. In turn players draw and discard tiles until they complete a legal hand using the 14th drawn tile to form 4 melds and a pair. A player can win with a small class of special hands. There are standard rules about how a piece is drawn, how a piece is robbed from another player, the use of simples and honors, the kinds of melds allowed, how to deal the tiles and the order of play.
Despite these similarities, there are many regional variations to the rules including rather different scoring systems, criteria for legal winning hands and private table rules which distinguish some variations as notably different styles of mahjong. In Chinese, the game was called 麻雀 —meaning sparrow—, still used in some southern dialects, it is said. It has been suggested that the name came from an evolution of an earlier card game called Ma-Tiao which mahjong is roughly adapted from. Most Mandarin-speaking Chinese now call the game 麻将. There are many varied versions of mahjong both in rules and tiles used. "Old Hong Kong Mahjong" uses the same basic features and rules as the majority of the different variations of the game. This form of Mahjong uses all of the tiles of the most available sets, includes no exotic complex rules, has a small set of scoring sets/hands with a simple scoring system. For these reasons Hong Kong mahjong is a suitable variation for the introduction of game rules and play and is the focus of this article.
Old Hong Kong Mahjong is played with a standard set of Mahjong tiles. Sets include counters, a marker to show who the dealer is and which round is being played; some sets include racks to hold the tiles if they are larger or smaller than standard tiles or have an odd shape. A set of Mahjong tiles has at least 136 tiles. Mahjong tiles are split into 3 categories: Suits and Bonuses. There are 3 suits of simples and in each suit the tiles are numbered from 1 to 9; the suits are bamboos and characters. There are 4 identical copies of each simples tile totaling 108 simples tiles; the bamboo suit is known as "sticks" or "bams" suit. The dots suit is known as the "wheels", "balls", or "coins" suit; the characters suit is known as the "cracks" or "numbers" suit since the top character is the Chinese number, the bottom character is the Chinese number "ten thousand". There are two different sets of Honors tiles: Dragons; the Winds are East, South and North. In Mahjong, East is the beginning; the Dragons are Red and White.
The white dragon has a blue or black frame on the face of the piece or in some sets is blank. These tiles have no numerical sequence like the simples. Like the simples, there are four identical copies of each Honors tile, for a total of 28 Honors tiles. There are two sets of Bonus tiles: Seasons; the flower and season tiles play a unique role in the mechanics of the game. When drawn, the Bonus tile is not added into a player's hand but are instead set aside and kept near the player's other tiles for scoring purposes should they win the hand, an extra tile is drawn in replacement of the Bonus tile. In addition, unlike the Simple and Honors tiles, there is only a single tile of each Bonus tile, so there are a total of four flower and four season tiles in the set; the tiles have a different artistic rendering of a specific type of season. It is not necessary to know the names or the Chinese characters of each bonus tile, only the number, as this is associated with a specific direction, the player receives bonus points when the Bonus tile matches the seat direction.
There is no relation between the bamboo suit of simple tiles. In traditional Chinese culture, the Four Gentlemen are the plum, orchid and chrysanthemum which are regarded as the representative plants of those seasons; the dealer is chosen by various means. For example, each player throws dice with the highest count taking the dealer position, second highest taking south etc. Or one player may shuffle them; each player randomly select one of these tiles and these tiles dictate their wind position. Each player sits down at their respective position at the table in positions of an inverted compass: East is dealer, the right of the dealer is South, across is West, the left is North; the order of play is traditi
Dimitris Poulikakos is a Greek actor and rock singer. He is the leader of the rock band Exadaktylos and a member of the band MGC. Dimitris Poulikakos participated in more than 60 movies 1972: Fonissa, I 1972: Aldevaran 1975: Kelli miden, To 1976: Happy Day 1976: Diadikasia 1977: Mia zoi se thymamai na fevgeis 1977: Arhontes 1978: Tembelides tis eforis koiladas, Oi 1981: Souvliste tous! Etsi tha paroume to kouradokastro 1981: Apenanti, Oi 1982: Arpa Colla 1982: Reporter, O 1982: Aima ton agalmaton, To 1983: O Drakoulas ton Exarheion 1983: Parexigisi, I 1983: Revanche 1984: Loufa kai parallagi 1984: To kanoun kathe mera 1985: Meteoro kai skia 1985: Kai pali oraioi eimaste 1986: Periptosi aftodikias 1986: Melissokomos, O 1987: Sweet Country with Jane Alexander, Randy Quaid) 1987: Made in Greece 1987: Tile-kannivaloi 1987: Terirem 1987: Patris, oikogeneia 1987: Paidia tis Helidonas, Ta 1987: Bios + politeia 1987:... kai dyo avga Tourkias 1988: Fakellos Polk ston aera, O 1989: Oi Aftheretoi 1989: Gamos sto Perithorio 1990: Erastes sti mihani tou hronou 1991: Meteoro vima tou pelargou, To with Marcello Mastroianni, Jeanne Moreau 1992: Donusa 1994: Gynaika pou epistrefei, I 1994: Spiti stin exohi, To 1995: Un bruit qui rend fou with Fred Ward, Arielle Dombasle 1995: Me ton Orfea ton Avgousto 1995: Tranzito 1995: Sapounopetra - To hrima sto laimo sas 1995: Ftero tis mygas, To 1998: Rodina akrogialia, Ta 1998: Medousa 1999: Thilyki etaireia 2000: Vitsia gynaikon 2000: Milo tis eridos, To 2000: Epohi ton asevon, I 2007: Erotika mathimata gia epanastatiki drasi 2008: Athina - Konstadinoupoli 1976: Metafore - ekdrome o Mitsos 1979: Crazy Love stou Zografou 2004: Adespota Skylia Rock stories 1984: Revans 1984: Zorba the Freak 1996: Paspartou 1998: Oulf!
2000: 11 Dimitris Poulikakos on IMDb
Chinese people are the various individuals or ethnic groups associated with China through ancestry, nationality, citizenship or other affiliation. Han Chinese, the largest ethnic group in China, at about 92% of the population, are referred to as "Chinese" or "ethnic Chinese" in English, however there are dozens of other related and unrelated ethnic groups in China. A number of ethnic groups within China, as well as people elsewhere with ancestry in the region, may be referred to as Chinese people. Han Chinese people, the largest ethnic group in China, are referred to as "Chinese" or "ethnic Chinese" in English; the ethnic Chinese form a majority or notable minority in other countries, may comprise as much as 19% of the global human population. Other ethnic groups in China include the related Hui people or "Chinese Muslims", the Zhuang, Manchu and Miao, who make up the five largest ethnic minorities in mainland China with populations exceeding 10 million. In addition, the Yi, Tujia and Mongols each number populations between six and nine million.
The People's Republic of China recognizes 56 distinct ethnic groups, many of whom live in the special administrative regions of the country. However, there exists several smaller ethnicities who are "unrecognized" or subsumed as part another ethnic group; the Republic of China recognizes 14 tribes of Taiwanese aborigines, who together with unrecognized tribes comprise about 2% of the country's population. During the Qing dynasty the term "Chinese people" was used by the Qing government to refer to all subjects of the empire, including Han and Mongols. Zhonghua minzu, the "Chinese nation", is a supra-ethnic concept which includes all 56 ethnic groups living in China that are recognized by the government of the People's Republic of China, it includes established ethnic groups who have lived within the borders of China since at least the Qing Dynasty. The term zhonghua minzu was used during the Republic of China from 1911–1949 to refer to a subset of five ethnic groups in China; the term zhongguo renmin, "Chinese people", was the government's preferred term during the life of Mao Zedong.
The Nationality law of the People's Republic of China regulates nationality within the PRC. A person obtains nationality either by birth when at least one parent is of Chinese nationality or by naturalization. All people holding nationality of the People's Republic of China are citizens of the Republic; the Resident Identity Card is the official form of identification for residents of the People's Republic of China. Within the People's Republic of China, a Hong Kong Special Administrative Region passport or Macao Special Administrative Region passport may be issued to permanent residents of Hong Kong or Macao, respectively; the Nationality law of the Republic of China regulates nationality within the Republic of China. A person obtains nationality either by naturalization. A person with at least one parent, a national of the Republic of China, or born in the ROC to stateless parents qualifies for nationality by birth; the National Identification Card is an identity document issued to people who have household registration in Taiwan.
The Resident Certificate is an identification card issued to residents of the Republic of China who do not hold a National Identification Card. The relationship between Taiwanese nationality and Chinese nationality is disputed. Overseas Chinese refers to people of Chinese ethnicity or national heritage who live outside the People's Republic of China or Taiwan as the result of the continuing diaspora. People with one or more Chinese ancestors may consider themselves overseas Chinese; such people vary in terms of cultural assimilation. In some areas throughout the world ethnic enclaves known as Chinatowns are home to populations of Chinese ancestry. In Southeast Asia, Chinese people call themselves 華人, distinguished from or the citizens of the People's Republic of China or the Republic of China; this is so in the Chinese communities of Southeast Asia. The term Zhongguoren has a more ideological aspect in its use. Chinese Ethnic Minorities The Ranking of Ethnic Chinese Population, Overseas Compatriot Affairs Commission, Republic of China, archived from the original on 23 November 2013, retrieved 2008-11-02
Alain Robbe-Grillet was a French writer and filmmaker. He was one of the figures most associated with the Nouveau Roman trend of the 1960s, along with Nathalie Sarraute, Michel Butor and Claude Simon. Alain Robbe-Grillet was elected a member of the Académie française on 25 March 2004, succeeding Maurice Rheims at seat No. 32. He was married to Catherine Robbe-Grillet. Alain Robbe-Grillet was born in Brest to a family of scientists, he was trained as an agricultural engineer. During the years 1943 and 1944, Robbe-Grillet participated in compulsory labor in Nuremberg, where he worked as a machinist; the initial few months were seen by Robbe-Grillet as something of a holiday, since, in between the rudimentary training he was given to operate the machinery, he had free time to go to the theatre and the opera. In 1945, Robbe-Grillet completed his diploma at the National Institute of Agronomy, his work as an agronomist took him to Martinique, French Guinea and Morocco. In 1960, he was a signatory to the Manifesto of the 121 in support of the Algerian struggle for independence.
He died in Caen after succumbing to heart problems. Robbe-Grillet's first published novel was The Erasers, issued by Les Éditions de Minuit in 1953. After that, he dedicated himself full-time to his new occupation, his early work was praised by eminent critics, such as Maurice Blanchot. Around the time of his second novel, he became a literary advisor for Les Éditions de Minuit and occupied this position from 1955 until 1985. After publishing four novels, in 1961, he worked with Alain Resnais, writing the script for Last Year at Marienbad, he subsequently wrote and directed his own films. In 1963, Robbe-Grillet published For a New Novel, a collection of previously-published theoretical writings concerning the novel. From 1966 to 1968, he was a member of the High Committee for the Expansion of French. In addition, Robbe-Grillet led the Centre for Sociology of Literature at the Université Libre de Bruxelles from 1980 to 1988. From 1971 to 1995, Robbe-Grillet was a professor at New York University, lecturing on his own novels.
Although Robbe-Grillet was elected to the Académie française in 2004, in his eighties, he never was formally received by the Académie because of disputes regarding the Académie's reception procedures. Robbe-Grillet both refused to prepare and submit a welcome speech in advance, preferring to improvise his speech, as well as refusing to purchase and wear the Académie's famous green tails and sabre, which he considered outdated, his writing style has been described as "realist" or "phenomenological" or "a theory of pure surface". Methodical and repetitive descriptions of objects replace the psychology and interiority of the character; the reader must piece together the story and the emotional experience of jealousy, for example, in the repetition of descriptions, the attention to odd details, the breaks in repetitions, a method that resembles the experience of psychoanalysis in which the deeper unconscious meanings are contained in the flow and disruptions of free associations. Timelines and plots are fractured, the resulting novel resembles the literary equivalent of a cubist painting.
Yet his work is characterized by its ability to mean many things to many different people. Robbe-Grillet wrote his first novel A Regicide in 1949, but it was rejected by Gallimard, a major French publishing house, only published with minor corrections by his lifelong publisher Les Éditions de Minuit in 1978, his second novel, The Erasers, superficially resembles a detective novel, but it contains within it a deeper structure based on the tale of Oedipus. The detective is seeking the assassin in a murder that has not yet occurred, only to discover that it is his destiny to become that assassin, his next and most acclaimed novel is The Voyeur, first published in French in 1955 and translated into English in 1958 by Richard Howard. The Voyeur relates the story of Mathias, a traveling watch salesman who returns to the island of his youth with a desperate objective; as with many of his novels, The Voyeur revolves around an apparent murder: throughout the novel, Mathias unfolds a newspaper clipping about the details of a young girl's murder and the discovery of her body among the seaside rocks.
Mathias' relationship with a dead girl that hinted at in the story, is obliquely revealed in the course of the novel so that we are never sure if Mathias is a killer or a person who fantasizes about killing. The "actual murder," if such a thing exists, is absent from the text; the narration contains little dialogue, an ambiguous timeline of events. Indeed, the novel's opening line is indicative of the novel's tone: "It was as if no one had heard." The Voyeur was awarded the Prix des Critiques. Next, he wrote La Jalousie in 1957, one of his few novels to be set in a non-urban location, in this instance a banana plantation. In the first year of publication only 746 copies were sold, despite the popularity of The Voyeur. Over time, it was translated into English by Richard Howard. Robbe-Grillet himself argued that the novel was constructed along the lines of an absent third-person narrator. In Robbe-Grillet's account of the novel the absent narrator, a jealous husband, silently observes the interactions of his wife (referred to only as "
45th Berlin International Film Festival
The 45th annual Berlin International Film Festival was held from 9 to 22 February 1995. The Golden Bear was awarded to French film The Bait directed by Bertrand Tavernier; the retrospective dedicated to American actor Buster Keaton was shown at the festival. The following people were announced as being on the jury for the festival: Lia van Leer Georgi Djulgerov Siqin Gaowa Alfred Hirschmeier Christiane Hörbiger Vadim Yusov Dave Kehr Michael Kutza Pilar Miró Tsai Ming-liang The following films were in competition for the Golden Bear and Silver Bear awards: The following prizes were awarded by the Jury: Golden Bear: The Bait by Bertrand Tavernier Silver Bear - Special Jury Prize: Smoke, Harvey Keitel Silver Bear for Best Director: Richard Linklater for Before Sunrise Silver Bear for Best Actress: Josephine Siao for Xiatian De Xue Silver Bear for Best Actor: Paul Newman for Nobody's Fool Silver Bear for an outstanding single achievement: Hong fen Silver Bear: Pyesa dlya passazhira Honourable Mention: El callejón de los milagros by Jorge Fons Colpo di luna by Alberto Simone Sh'Chur by Shmuel Hasfari Blue Angel Award: Ti kniver i hjertet by Marius Holst Honorary Golden Bear: Alain Delon 45th Berlin International Film Festival 1995 1995 Berlin International Film Festival Berlin International Film Festival:1995 at Internet Movie Database