

//-- //--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--

//-- 
//-- Table structure for table `accounting_paypal`
//-- 

CREATE TABLE `accounting_paypal` (
  `uid` bigint(20) NOT NULL auto_increment,
  `date` timestamp(14) NOT NULL,
  `item_name` varchar(130) NOT NULL default 'joi',
  `receiver_email` varchar(125) default NULL,
  `item_number` varchar(130) NOT NULL default '0',
  `quantity` smallint(6) NOT NULL default '0',
  `invoice` varchar(25) NOT NULL default '0',
  `custom` varchar(60) default NULL,
  `payment_status` set('Completed','Pending','Failed','Denied') NOT NULL default 'Failed',
  `pending_reason` set('echeck','intl','verify','address','upgrade','unilateral','other') NOT NULL default 'other',
  `payment_gross` float NOT NULL default '0',
  `payment_fee` float NOT NULL default '0',
  `payment_type` set('echeck','instant') NOT NULL default 'instant',
  `payment_date` varchar(50) NOT NULL default '0',
  `txn_id` varchar(20) NOT NULL default '0',
  `payer_email` varchar(125) default NULL,
  `payer_status` set('verified','unverified','intl_verified') NOT NULL default 'unverified',
  `txn_type` set('web_accept','cart','send_money','subscr_signup','subscr_cancel','subscr_failed','subscr_payment','subscr_eot') NOT NULL default 'subscr_payment',
  `first_name` varchar(35) default NULL,
  `last_name` varchar(60) default NULL,
  `address_city` varchar(60) default NULL,
  `address_street` varchar(60) default NULL,
  `address_state` varchar(60) default NULL,
  `address_zip` varchar(15) default NULL,
  `address_country` varchar(60) default NULL,
  `address_status` set('confirmed','unconfirmed') NOT NULL default 'unconfirmed',
  `subscr_date` varchar(50) NOT NULL default '0',
  `period1` varchar(20) NOT NULL default 'UNK',
  `period2` varchar(20) NOT NULL default 'UNK',
  `period3` varchar(20) NOT NULL default 'UNK',
  `amount1` float NOT NULL default '0',
  `amount2` float NOT NULL default '0',
  `amount3` float NOT NULL default '0',
  `recurring` tinyint(4) NOT NULL default '1',
  `reattempt` tinyint(4) NOT NULL default '0',
  `retry_at` varchar(50) default NULL,
  `recur_times` smallint(6) NOT NULL default '0',
  `username` varchar(25) default NULL,
  `password` varchar(20) default NULL,
  `subscr_id` varchar(20) default NULL,
  `entirepost` text,
  `paypal_verified` set('VERIFIED','INVALID') NOT NULL default 'INVALID',
  `verify_sign` varchar(125) default NULL,
  PRIMARY KEY  (`uid`),
  KEY `txn_type` (`txn_type`),
  KEY `payment_status` (`payment_status`),
  KEY `pending_reason` (`pending_reason`),
  KEY `payer_status` (`payer_status`),
  KEY `payment_type` (`payment_type`),
  KEY `retry_at` (`retry_at`),
  KEY `receiver_email` (`receiver_email`),
  KEY `date` (`date`)
) TYPE=MyISAM COMMENT='Recieve posts FROM paypal servers' AUTO_INCREMENT=1 ;

//-- 
//-- Dumping data for table `accounting_paypal`
//-- 


//-- //--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--

//-- 
//-- Table structure for table `artist`
//-- 

CREATE TABLE `artist` (
  `id` int(11) NOT NULL auto_increment,
  `firstname` varchar(50) NOT NULL default '',
  `lastname` varchar(50) NOT NULL default '',
  `profile` text NOT NULL,
  `image` varchar(50) NOT NULL default '',
  `gallery` int(11) NOT NULL default '0',
  `ndate` date NOT NULL default '0000-00-00',
  `active` tinyint(4) NOT NULL default '0',
  `title` varchar(10) NOT NULL default '',
  PRIMARY KEY  (`id`),
  FULLTEXT KEY `firstname` (`firstname`,`lastname`,`profile`)
) TYPE=MyISAM COMMENT='artists information' AUTO_INCREMENT=3 ;

//-- 
//-- Dumping data for table `artist`
//-- 

INSERT INTO `artist` VALUES (1, 'Paul', 'Barret', 'The English philosopher Bertrand Russell once said, “Men fear thought as they fear nothing else on earth, more than ruin, more even than death....\r\nThought looks into the pit of hell and is not afraid.” This is very true and these were the exact thoughts that came to mind during my discussion with an Iraqi intellectual about the Iraqi crisis. Crisis? More like a wildfire, the disintegration of a country and upheaval of its sects and clans – all in the single body that is Iraq. \r\nIf the prevalent mode of thought in Iraq was one that was accepting of criticism, unafraid of bans that could be imposed from any side, where everything could be subject to analysis, interpretation and different readings even if it were harsh upon the prevailing consciousness, political leaders would have been able to use the situation to their advantage as they do.\r\nDid the Iraqis rush into the democratic experience? Did they require more time to fully recover and make the transition from a brutal dictatorship, not only during the Baathist regime but even before that? This is the first democratic experience that Iraq has ever witnessed in its contemporary conscious history, and look at the results… turmoil between the sects, killing sprees, unidentified decapitated corpses, and last but not least, the declaration of the Sunni ‘Islamic Emirate’ in that sect’s region of Iraq. Is this what Iraq was waiting for? Let us step away from the ephemeral political complexities of the Iraqi crisis for a moment and ask: Are we, as people and societies, unequipped to practice democratic choice? \r\nAre there steps that should precede going to the election polls? These could be summarized as nurturing the would-be ‘voters’ to gain an understanding of the intellectual, moral and psychological aspects in life in order to apprehend the significance of elections and the meaning of a peaceful transition of power, as well as comprehending the philosophical basis on which this political practice is built.', 'image', 0, '2006-10-15', 1, 'Mr');
INSERT INTO `artist` VALUES (2, 'John', 'Edwards', 'String to be inserted at the end of the email header. \r\n\r\nThis is typically used to add extra headers (From, Cc, and Bcc). Multiple extra headers should be separated with a CRLF (\\r\\n). \r\n\r\nNote: When sending mail, the mail must contain a From header. This can be set with the additional_headers parameter, or a default can be set in php.ini. \r\n\r\nFailing to do this will result in an error message similar to Warning: mail(): "sendmail_from" not set in php.ini or custom "From:" header missing. The From header sets also Return-Path under Windows. \r\n\r\nNote: If messages are not received, try using a LF (\\n) only. Some poor quality Unix mail transfer agents replace LF by CRLF automatically (which leads to doubling CR if CRLF is used). This should be a last resort, as it does not comply with RFC 2822. \r\n\r\nadditional_parameters (optional)\r\nThe additional_parameters parameter can be used to pass an additional parameter to the program configured to use when sending mail using the sendmail_path configuration setting. For example, this can be used to set the envelope sender address when using sendmail with the -f sendmail option. \r\n\r\n', '', 0, '0000-00-00', 1, 'Mr');

//-- //--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--

//-- 
//-- Table structure for table `customer`
//-- 

CREATE TABLE `customer` (
  `id` int(10) unsigned NOT NULL auto_increment,
  `fname` varchar(50) NOT NULL default '',
  `lname` varchar(50) NOT NULL default '',
  `username` varchar(10) NOT NULL default '',
  `postcode` varchar(10) NOT NULL default '',
  `country` varchar(10) NOT NULL default '',
  `ipaddress` varchar(15) NOT NULL default '',
  `telno` varchar(20) NOT NULL default '',
  `password` varchar(100) NOT NULL default '',
  `newsletter` smallint(2) NOT NULL default '0',
  `nickname` varchar(20) default NULL,
  `address2` varchar(20) default NULL,
  PRIMARY KEY  (`id`),
  KEY `nickname` (`nickname`),
  KEY `password` (`password`)
) TYPE=MyISAM AUTO_INCREMENT=10 ;

//-- 
//-- Dumping data for table `customer`
//-- 


//-- //--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--

//-- 
//-- Table structure for table `forum_articles`
//-- 

CREATE TABLE `forum_articles` (
  `topicid` bigint(20) NOT NULL auto_increment,
  `msg` tinytext,
  `forumid` bigint(20) NOT NULL default '0',
  `user` bigint(20) NOT NULL default '0',
  `hide` tinyint(2) NOT NULL default '0',
  PRIMARY KEY  (`topicid`),
  KEY `forumid` (`forumid`,`user`,`hide`),
  FULLTEXT KEY `msg` (`msg`)
) TYPE=MyISAM AUTO_INCREMENT=1 ;

//-- 
//-- Dumping data for table `forum_articles`
//-- 


//-- //--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--

//-- 
//-- Table structure for table `forum_topics`
//-- 

CREATE TABLE `forum_topics` (
  `forumid` bigint(20) NOT NULL auto_increment,
  `headline` tinytext,
  `posts` int(4) NOT NULL default '0',
  `user` bigint(20) NOT NULL default '0',
  `hide` tinyint(2) NOT NULL default '0',
  PRIMARY KEY  (`forumid`),
  KEY `posts` (`posts`,`user`,`hide`)
) TYPE=MyISAM AUTO_INCREMENT=1 ;

//-- 
//-- Dumping data for table `forum_topics`
//-- 


//-- //--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--

//-- 
//-- Table structure for table `gallery`
//-- 

CREATE TABLE `gallery` (
  `id` int(11) NOT NULL auto_increment,
  `title` varchar(50) NOT NULL default '',
  `caption` varchar(250) NOT NULL default '',
  `folder` varchar(50) NOT NULL default '',
  `artist` int(11) NOT NULL default '0',
  `active` tinyint(4) NOT NULL default '0',
  `thumb` varchar(50) NOT NULL default '',
  PRIMARY KEY  (`id`)
) TYPE=MyISAM COMMENT='Galleris information' AUTO_INCREMENT=16 ;

//-- 
//-- Dumping data for table `gallery`
//-- 

INSERT INTO `gallery` VALUES (13, 'Boats', 'Torqay Boats', 'boats', 1, 1, '');
INSERT INTO `gallery` VALUES (14, 'House Garden', 'House and Gardens', 'house_garden', 1, 1, '');
INSERT INTO `gallery` VALUES (10, 'Ducks & Swans', 'Ducks & Swans', 'ducks__swans', 1, 1, '');
INSERT INTO `gallery` VALUES (12, 'Flowers', 'Natural Flowers', 'flowers', 1, 1, '');
INSERT INTO `gallery` VALUES (15, 'Blondes', 'Blonde in motion', 'blondes', 1, 1, '');

//-- //--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--

//-- 
//-- Table structure for table `guestbook`
//-- 

CREATE TABLE `guestbook` (
  `gid` int(11) NOT NULL default '0',
  `gname` varchar(100) NOT NULL default '',
  `gwww` varchar(100) NOT NULL default '',
  `gcoment` tinytext NOT NULL,
  `gactive` tinyint(4) NOT NULL default '0',
  `gdate` timestamp(14) NOT NULL,
  `gemail` varchar(50) NOT NULL default ''
) TYPE=MyISAM;

//-- 
//-- Dumping data for table `guestbook`
//-- 

INSERT INTO `guestbook` VALUES (0, 'Abdalla Elmahdi', 'adasdasdsa', 'sdfsdfsdsdfsdfsfgsfgstfgsdfsdfsd', 0, '20061213102546', 'aelmahdi@hhsaudi.com');
INSERT INTO `guestbook` VALUES (0, 'Abdalla Elmahdi', 'adasdasdsa', 'sdfsdfsdsdfsdfsfgsfgstfgsdfsdfsd', 0, '20061213102633', 'aelmahdi@hhsaudi.com');
INSERT INTO `guestbook` VALUES (0, 'Abdalla Elmahdi', 'adasdasdsa', 'sdfsdfsdsdfsdfsfgsfgstfgsdfsdfsd', 0, '20061213102744', 'aelmahdi@hhsaudi.com');

//-- //--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--

//-- 
//-- Table structure for table `homepage`
//-- 

CREATE TABLE `homepage` (
  `id` int(11) NOT NULL auto_increment,
  `synoposis` text NOT NULL,
  `panel` varchar(50) NOT NULL default '',
  `picture` int(11) NOT NULL default '0',
  PRIMARY KEY  (`id`)
) TYPE=MyISAM COMMENT='home page content' AUTO_INCREMENT=1 ;

//-- 
//-- Dumping data for table `homepage`
//-- 


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//-- 
//-- Table structure for table `hs_articles`
//-- 

CREATE TABLE `hs_articles` (
  `artid` bigint(20) NOT NULL auto_increment,
  `title` varchar(255) default NULL,
  `subtitle` varchar(255) default NULL,
  `body` longtext,
  `image` varchar(50) default NULL,
  `artdate` datetime default NULL,
  `cat` int(11) default NULL,
  `lang` tinyint(4) NOT NULL default '0',
  PRIMARY KEY  (`artid`),
  KEY `cat` (`cat`),
  FULLTEXT KEY `title` (`title`,`subtitle`,`body`)
) TYPE=MyISAM AUTO_INCREMENT=26 ;
//-- 
//-- Dumping data for table `hs_articles`
//-- 

INSERT INTO `hs_articles` VALUES (1, 'Woman', '', 'You won’t be able to do anything without me I told him.  But he laughed and didn’t believe me.   I had all I needed to win this battle.  I told him he’d be the loser, but he carried on laughing and didn’t believe me.  \r\nWe’d set up this advertising brochure in which we featured everything and anything, and, usually, what was of interest to all and sundry.  This was after we’d retired, although we’d retired unusually early.  Nevertheless, my husband said that the private sector didn’t guarantee a man his due and that we should profit from the time, the people and this new stage.  The office that we’d worked in was a subsidiary of a multinational corporation.  Fate, or events, was conspiring against the owners; they disagreed, disputed and split up.  My husband resigned before he was dismissed and I followed before the announcement of the office’s closure, and before my husband went off and got used to working on his own, without me.  We had an agreement that we would be husband and wife, partners and colleagues.  We ate together, went out together, came home together and worked for others together.  We were always in ‘publicity and advertising’.  I used to ask him why it was called ‘publicity and advertising’ and what the difference between the two words was.  He would recall the brief period in his life when he studied Latin and would explain the derivation of the word ‘publicity’ to me, going back to ‘publicise’, ‘publicist’ and ‘publish’ and ending up with ‘publican’ and ‘puberty’.  He would then go on to explain that publicity was really about attracting people’s attention, whereas advertising was about the product.  I often let him philosophise away like this, because I knew I was the only one to give him the chance.  He would expound upon the dimensions and depths of adverts we’d done for different types of stockings, silk or nylon, and the concept of limbs throughout the ages in connection with their complex relationship with high-heeled shoes.  Yet I couldn’t grasp the depths of this relationship, which he told me about using the pictures in the ads.  We chose, wrote, took photos and lied.  The last office in which we’d worked belonged to a food cannery, and the markings of the cans showed through onto the faces of beautiful girls.  We photographed them pouting, hair rippling, on stairways and balconies, and wrote in a few expressive words, of their happiness after meals of corn beef or tuna in oil or brine.  Yet when we sensed any disagreement, we rushed to the rescue. \r\n	\r\nAfterwards, my husband said he would set up his own independent office, and then realising his mistake said ‘our’ own office.  We would be the bosses and the workers, he said.  A simple little brochure that we’d be in charge of.  One issue could be an ‘advertorial’, another ‘display-ads’ and another an interview, which could be open or surreptitious advertising.  One time it could be for men, another for women, and another for children.  Before he said ‘and another for animals’ I said, ‘I’ll work for it but on my terms.’  He frowned. \r\n‘You’re imposing conditions on me when you said nothing to them, to the others?’  \r\n‘I know better now.’  \r\n‘I’m your husband.’\r\n‘Because you’re my husband.’\r\nBut he didn’t understand.  He sat in front of the television sullenly and refused to eat dinner with me. \r\nThe next day we were supposed to go the registry office to register the partnership agreement.  He signed it after I’d added a clause consisting of my one single condition for starting the brochure.  It stated: ‘Nothing about me will appear in the brochure without my consent.’  Once again he laughed. \r\n‘I thought your condition would be more important, ’ he said.  He hadn’t understood the extent of its significance, nor was he expecting the surprise I was concealing.  \r\n‘Stay at home for a week and relax, and you’ll find the brochure finished,’ he said.\r\n‘And the condition?’\r\n‘We won’t disagree,’ he said and looked at me as if to say ‘do you think the world revolves around you?’\r\nA week later he presented me with the brochure.  It was a collection of small ads for glass conservatories, garden tools and travel beds.  He found me turning over the pages. \r\n‘No, no, no,’ I said.\r\n‘What does no, no, no mean?  Is it a song?’\r\n‘The condition more like.  I do not consent to all this and the brochure can’t be published without my consent.’  He got angry.  \r\n‘And what connection does Your Royal Highness have with everything here in this brochure?  The radiant faces, the jaunty poses, the flowing hair?’  I shook my head.  \r\n‘A connection and a half and three-quarters.’  He screamed and hit himself on the head, but only softly. \r\n‘What, in the devil’s name, does Her Royal Highness have to do with all these pampered young things gazing happily and lovingly into the cameras, living out the dreams of young girls everywhere.  Look, look at this smile longing for the sheen of double-glazing and this shapeliness lounging in perfect relaxation on a deluxe model bed.  What does all this have to do with Her Highness, a middle-aged woman, a wife, retired, at home with her husband.’\r\n‘None of that matters.  What matters is the agreement, and my condition in the agreement is plain and clear.’  The moment I said this he threw the brochure at me and brandished his fist.  He leapt up and ran out, slamming the door in my face as if he were afraid I’d follow him.\r\nWhen he came back late that night I knew he’d gone to see his friend the lawyer and that they’d read over the agreement.  From his gentleness and sweet talk I knew also that he couldn’t do what he wanted.  \r\n‘Your name will be at the top of the staff list.’\r\n‘There’s only you and me.’\r\n‘Your name dearest, before mine.’\r\n‘You won’t be able to do anything without me, or without my consent.’\r\n‘That’s right.’\r\n‘And that’s what your friend the lawyer told you.  And the photographer who you work with couldn’t fix it for you either.’\r\n‘He tried and failed.  The result was miserable lifeless pictures.  Seas and moons.  We thought of using pictures of little girls but the lawyer said that they too would come under your condition because you could take a little girl to represent your childhood.’\r\n‘That’s right,’ I said, smiling for the first time since our quarrel.  He kept up his endearments and cajolery.  \r\n‘Then we thought of ads without any, I mean any of you, I mean without you, and there wasn’t a brochure left.  The problem?  We couldn’t write a single word.  The lawyer showed me the ways in which your condition could be construed.  According to him, a word could also be you because the condition includes the words ‘about me’ without any restriction; this could be taken to mean your name, your existence, your symbolism, in fact anything that relates to femininity in this existence.  I never expected you to have thought of all that.’ \r\n‘What makes you think I did?’\r\n‘Because the condition is meaningless without it.  The lawyer showed me it could include the brochure itself, its words, its full stops and its pages.’\r\n‘You won’t be able to do anything without me and I won’t be how you want me to be or for what you want me to be for.’\r\nHe didn’t laugh and sat thinking of a way out for the brochure, or how to win me over.  Meanwhile, I’d started to think how the brochure could be turned into a rallying call for the condition.  Yet I feared that I’d find no other way than having pictures of women splashed over all publications, which I’d vetoed in our very own brochure.  Then I thought: what if together we stipulated that we wouldn’t be turned into advertising?  Wouldn’t it be earth-shaking?  But I got annoyed when my husband said, ‘How I’ve changed since I retired.’ \r\n', '', '2003-09-12 00:00:00', 4, 1);
INSERT INTO `hs_articles` VALUES (16, 'ÇÑÌæÍÉ ÇáãíäÇÁ', '', 'åÇÏíÇ ÓÚíÏ ÊßÊÈ ÞÕÕÇò ãä Õãíã ÇáÍíÇÉ æÇáæÇÞÚ¡ ÝÖáÇò Úä ßæäåÇ ßÇÊÈÉ ÕÍÝíÉ æäÇÞÏÉ ÇÏÈíÉ¡ áåÇ Ýì ßá íæã ÃËÑ Ýì ßÈÑíÇÊ ÇáÕÍÝ ÇáãÛÑÈíÉ. æåÇ åì ÊäÔÑ ÈÇßæÑÉ ÇÚãÇáåÇ ÇáÞÕÕíÉ ÇáÊì ÊÔåÏ áåÇ ãäÐ ãä Çáíæã ÈÃäåÇ ÓÊËÑì ÇáÞÕÉ ÇáÚÑÈíÉ ÈÇáæÃä ÌÏíÏÉ ãÈÊßÑÉ¡ æÇáãØáÚ Úáì åÐå ÇáãÌãæÚÉ íÑì Çä ÇáÞÇÕÉ åÇÏíÇ ÓÚíÏ ßÇÊÈÉ ÈÇáÝØÑÉ¡ ÊåÑÈ ãä ÇáÊÕäÚ æÊÊÈÚ ÇáÇÓáæÈ ÇáæÇÖÍ æÇááÛÉ ÇáãÈÓØÉ¡ ÇãÇ ÇáÕæÑÉ ÝÊÌáæåÇ ßãÇ áæ Çäß ÊÑì ÕÇÍÈåÇ ÑÃì ÇáÚíä ÝÊÌÇáÓå æÊÍÏËå.\r\nÇäåÇ ÚÔÑ ÞÕÕ Ýì ÚÔÑ ÕæÑ ÇÞÑÃåÇ æäÍä Úáì ãËá ÇáíÞíä ÈÃäß ÓÊÚæÏ æÊÞÑÄåÇ ãÑÇÊ.\r\n\r\nÕÏÑÊ Úä ÇáãÄÓÓÉ ÇáÚÑÈíÉ ááÏÑÇÓÇÊ æÇáäÔÑ', 'urgoha.jpg', '2003-09-15 00:00:00', 4, 0);
INSERT INTO `hs_articles` VALUES (2, 'A Séance for Love', '', 'I’ve sat down to write this story about the séance.  It’s nearly eleven o’clock, and noontime is setting in with its melancholy that is different to that of sunset.  In my small office, in this big company, I cannot always sit down and write stories like these, which I love.  My work is administrative and demands concentration.  My time is filled with reports and paperwork.  My fingers move like energetic soldiers over the keys of the typewriter, and my days are so ordered and monotonous that I am compelled to escape in stories.  I’d like to tell you one of them now.\r\nThey are strange stories.  My beautiful, strange stories.  I tell them to my only friend Nagwa every day. Each time, she accuses me of having a horrible imagination and says that I’m trying to make up for the emptiness of my life.  I laugh, paying no attention, and tell her that all the stories that I write spring out of something.  I don’t know what it is, but I certainly feel happy, exhilarated: it’s as if I were laughing or crying, or feeling a delicious pain like the pain in my knee which stabs me late at night and gives me nightmares so that I doze off and then wake up in a panic. \r\nMy mother, before she died, told me that I had a vivid imagination, and that ‘a child is two-thirds his uncle’, or something of that sort.  My uncle was called Hassan.  We doted on him, and called him ‘Hassun’, or canary.  My uncle kept a canary in his beautiful house on Al-Mazraa Street in Beirut.  It woke him every morning with a special song, which my uncle named ‘Good Morning’.  Each day he would awake to the canary’s morning song and go to work after kissing his wife, who looked like the film star Nadia Lutfi.  My uncle had learnt about the ‘morning kiss’ from his boss and colleagues in Stockholm when, as a young man, he went there for a training course after graduating as a telecommunications engineer.  \r\nMy uncle ‘Hassun’ wrote beautiful stories for himself and he would read them to us.  They were all about love.  Pages and pages adorned with fine decorative script flowed like water, like the blueness of the sea.  With his papers unfurled about the place, words gushed from his lips, the large mole on the end of his chin laughed and my heart came alive.  When he came back from Stockholm he brought a huge, wonderful notebook with him.  Its covers could be locked with a small lock and key and he could hide his beautiful tales between them.  Only I amongst his nephews and nieces liked to listen to these tales.  I would cling to him for hours, like my grandfather’s cat Amber, as he read story after story in his beautiful voice.  The loveliest of these, which has lingered long in my memory, was the story of the canary and his beloved with one wing.  It was about a canary who lived with his owner - I think that this was my uncle although he always denied it.  The canary lived happily for many years until he suddenly became ill, and would neither eat nor sing.  When the canary was close to death his owner wept and begged him to live, telling him that he would give his life to save him.  The canary was revived and asked his owner to allow him to leave the cage once a day, for an hour.  His owner agreed.  The canary kept his promise and every day he would fly away for an hour and then return with a smile, singing sweetly.  One day he revealed his secret.  He told his owner that he was in love with a canary who lived in a cage far away.  She was unable to leave her cage because she only had one wing.  He went to meet her every day and then came back to his owner and told him about his tryst with the poor lonely lady canary.  \r\n‘How lovely you are,’ he would say to her.\r\n‘How I long for you,’ she would say to him.\r\n‘How tender your voice is.’\r\n‘How far you are from me.’\r\n‘How happy I am to be close to you.’\r\n‘If only I could fly with you.’\r\n‘What do you want me to give you?’\r\n‘Come here, stay with me.’\r\nYet he would return to his owner.  In the first few months he returned in order to keep to his promise, but later, he came to long for his return so that he could tell his owner what the lady canary had revealed to him; and so that he could yearn for her once more, and for always. \r\nMy uncle told me this story several times, reading it in his lovely voice with enthusiastic intonation.  Changing his voice for the dialogue, he tried to explain to me each time that this was a conversation between the canaries and I would get angry:  ‘I can tell, I can tell,’ I would scream, ‘I know, I know’.\r\n***\r\nI told Nagwa this story after finishing work.  I’d gone home and invited her to lunch.  We ate and then sat drinking tea.  I think that that must have been yesterday.  I’m now sitting once again and I remember that Nagwa asked me about the séance that I’d said I was going to write about in the office.  I had remembered after she left that in fact I hadn’t told her anything about the séance.  So I sat down a moment ago to think how I’m going to surprise her.  My desire to tell her what I’m going to write in the next few moments is greater than the desire to write itself.  I know exactly how she’ll look at me calmly, trying to hide her admiration and perhaps even her jealousy.  I know how she’ll dare to accuse me of using everything around me in stories, and how I’ll wear my voice out and bring tears to my eyes trying to make her see that a story is more beautiful than this world and how everything around me only has a meaning when I see it again, anew, on paper, and tell it to her in a story.  \r\nThis story is my other life.  My previous life; my time without old age; my family and my home.  My mother’s eyes, who doesn’t die, and my father’s voice, which I don’t stifle out of fear.  The story in which my uncle loved the canary and set him free so that he could love and be free; in which, with a laugh, he fought in the war, and planted an orchard on the ruins of his house; in which young girls and secret conversations leave and, like the spring, bring this story which becomes his boat and his river and carries him from the rapids to the valleys.  I’m going there now; I’m hanging the canary’s cage in my head and opening the door.  Prepare yourself Nagwa, I’m going to begin.\r\n***\r\nThe old house looked like a palace in the dark, its architecture reminiscent of its French inhabitants during the Mandate.  The garden was in ruins.  The olive, pomegranate and orange trees were barren and the bars of the iron gates were staved in.  They had now to go down the small driveway and open a stiff wooden door, whose sharp creak pierced the quiet darkness.  The elderly man, who was wearing a grey jilbab and white skullcap, turned around and asked them to enter quietly and carefully and to close the door.  They did as he asked and the door creaked sharply once more.  Then he reminded them to take their shoes off and upon this the fat woman looked at her friend.  The friend, who was taller with a fuller bust and more elegant and refined, smiled and took her dainty Italian shoes off.  The fat woman picked up her sandals and placed a podgy foot on the first of the narrow steps which came after the wooden door and lead to the salon.  A handsome young man was following the women, and he was suddenly embarrassed by the hole in his sock from which the big toe of his left foot was poking.  The elderly man was known as the Hajj, the fat woman was called Nafisa and her beautiful, slender friend was called Zaynab, or Madame Shaquri.  The handsome young man told the story that his name was Qadri and that a friend of his, who is darker, plumper and less good-looking, would be joining him at the séance, and that he will be called Fatah.  \r\n***\r\nNo doubt Nagwa will ask me about these people’s ages, and their occupations.  But I’ll ask her to save her breath, to remember their names and to sit and listen to what happened to them from the very first moments in which the séance began, in that old house hidden away in the thick undergrowth of a ruined garden in a quiet, forgotten quarter of Rabat.\r\n***\r\nThe silence was heavy, like the air on those stifling summer nights when the humidity descends surreptitiously and the breezes succumb.  The group seemed confused and it was up to the Hajj to do something to put an end to their confusion.  They were going up the last steps of the narrow stairway in growing darkness and the Hajj asked for matches.  Qadri hurried to search his pockets.  Zaynab was quicker and offered her gold lighter to the Hajj, asking politely if he might be able to use it instead of matches.   He said no.  She apologised and put the lighter back in her fine leather handbag.  They were now in the hall that lead into the salon and Zaynab looked about as if she were looking for a seat or awaiting permission to sit down.  After taking some matches from Fatah the Hajj lit two candles, which he had been carrying in the inside pocket of his jilbab and finally told them to sit down and that there was no need to move any further.  Realising it wasn’t necessary to sit on one of the large antique settees, Nafisa briskly pulled off one of the sheets with which they were covered, shook the dust off and spread it out on the floor.  The Hajj motioned to them to sit down.  Nafisa sat down with a composure that gave the impression to those about her that she knew what was what.  Zaynab sat next to her, folding her legs under her hips and adjusting her skirt, which had ridden up over her knees.  Qadri sat next to her cross-legged after taking off the sock with a hole in.  Fatah squatted.  The Hajj left the room, announcing that he would be back in a moment. \r\n***\r\nWhat is this house and why are these people there?  Nagwa will ask me this angrily and she’ll become increasingly scornful.  Nevertheless, I’ll be able to stop her, make her hold her breath and be dying to hear what happened next.  For me, what’s important is that Nagwa carries on listening to my story.  If she doesn’t listen, if she ridicules or protests, the story won’t be finished and will never be finished.   So, before she starts asking questions or mocks or accuses me, I’ll be quick to describe the room in which they are sitting before the Hajj comes back and the séance begins. \r\nIt’s a spacious square room with antique settees dotted about which, covered with the white dustsheets, resemble ghosts.  To the front of the room are some huge plants that, like statues, throw shadows on the walls, some of which are adorned with cheap pictures and masks.  In a corner, tables of varying sizes are stacked up.  Zaynab asked about the owners of the house.  Nafisa told her that its owner was an engineer who had been possessed by djinn several years ago.  They had come to him in this house and asked if they might stay, but he was afraid and refused, so they had no alternative but to drive him out.  Nafisa hurried to explain to Zaynab before the Hajj came back that she shouldn’t ask too many questions about the djinn.  This annoyed them and one of them might delight in getting so angry that he give her a slap.  Zaynab looked scared.  Nafisa laughed and explained that a djinn’s slap would be very soft since they also loved having fun, especially with pretty women.  Then, murmuring to herself, she added that with the exception of Sidi Hamou they were all nice and obliging, only Sidi Hamou was tricky.  Zaynab smiled wanly.  Nafisa said she knew the Hajj very well and that this wasn’t the first time she had taken part in a séance with him.  At this point the Hajj came back carrying a small cushion and sat down cross-legged between Nafisa and Zaynab.  Fatah sighed, while Qadri was trying hard to stop his crooked big toe curling in like a little snake. \r\nThe Hajj cleared his throat and everyone fell silent.  Then, between a whisper and a hiss, he began reciting a mixture of charms, numbers and spells.  Suddenly he screamed.  The women trembled, as did he, and the men looked at him, readied for action.  His face was hidden behind his hands, his body was swaying and his head hung over to one side as if he were going into a trance without the aid of drums or repetitive beats.  However, after a while, his voice rose up again, uttering chants and proverbs in a hiss which changed to a whisper and then to a gentle wavering and it was as if the masculinity of his voice had given way to something akin to the breaking voice of an adolescent boy.  Nafisa said that this séance would be with Al-Sharifa.  The Hajj, in a clear calm voice, asked for the niqab.  Nafisa reached over to the nearest settee and took hold of a piece of muslin, which had caught her attention when she had first arrived.  ‘Here you are Al-Sharifa,’ she said, handing it to him, and the Hajj draped the white muslin over his head as if to veil himself.  \r\n‘In God’s name, place your trust in Him,’ he said huskily, his voice having taking on the tones of Al-Sharifa. \r\nEveryone muttered in agreement.  Zaynab began to cry.  Nafisa touched her foot and told her to stop because tears would make the séance difficult.  The Hajj, in Al-Sharifa’s voice, told them that everyone here was held dear and that ‘they’ liked smiles and didn’t like distress.  They drew near when the atmosphere was good, and fled from a bad one.  If Zaynab was to get what she wanted she should stretch her hand out and state her request without fear or shyness.  Zaynab faltered.\r\n‘Speak, speak,’ Nafisa prompted her, ‘tell Al-Sharifa what you want.’ \r\nSo Zaynab spoke of her fears about the women who had snatched him away, the men who were putting holes in his pocket, and the scoundrels who were leading him into bad ways.  Qadri, who had been looking at her, hid his face behind his knees.  Zaynab said that she wanted the man and that without him she burned like a fire with no water to quench it.  She said that they were all after his heart and what was in his pockets and that he was always in the alleyway while she was on her own at home, forgotten.  Zaynab wept and gasped, her chest quivered, her arms flailed.  She folded her knees and straightened her skirt.  Her sorrows raged and her senses languished in the wreathes of incense that had begun to emit its fragrance and pervade like a faint torpor.  She wiped away her tears.  Her cheeks were flushed and the veins at the top of her thighs protruded.  The Hajj pulled her to him and hugged her. ‘Don’t be scared,’ he said gently in the husky voice, ‘say more.’\r\nEveryone was looking at Zaynab as the candles burned and melted.  Trembling, the Hajj, as Al-Sharifa, called out to the invisible presences and announced the request, rubbing Zaynab’s fingertips with his rough hand.  Weeping, her sweat flowing like the drips of melting wax on the candles, she begged that the man be rescued and that the fire be quenched.  Qadri hid his head in his hands and bent forward over his knees.  The Hajj shrieked and everyone trembled; he blew the candles out and darkness prevailed.  He pulled Zaynab towards him forcefully so her head ended up under the niqab and he put his arm around her. With her head nestled in his embrace, he could hear her whimpering and gasping.  \r\n‘My dear lady,’ he asked gravely, ‘do you have the necessary item?’  Nafisa opened Zaynab’s handbag, her hand trembling, and took out a plastic bag that was wrapped around a damp cloth.  She gave it to the Hajj shyly.  In the darkness, Qadri glared at the bag and tried to fix Zaynab with a sharp look but was unable.  The Hajj took it and tucked it between his knees.  ‘Please gentlemen,’ he said, ‘if you would be so kind, allow us some privacy.’  He indicated to the men that they should go to the adjoining room.  Fatah went quickly and Qadri followed slowly.  \r\n‘There my child,’ the Hajj whispered huskily, ‘cheer up, everything will be fine.  He’ll be as obedient as a donkey and as strong as a horse.  His desire will only be aroused when he’s with you and will only be satisfied by you.’  \r\nZaynab stopped crying and caught her breath.  The Hajj squeezed her arm and patted her on the chest.  Then he lifted the niqab and opened a small cloth pouch hanging on a cotton thread around his neck.  Smiling at Zaynab, he rubbed the cloth with powder and oils from the pouch and said that although she should be doing this, he would help her and would stand by her until her every wish was fulfilled.  \r\n‘Listen my good lady,’ he said, ‘and repeat after me.’\r\n‘Very well sidi,’ she replied. \r\nThe Hajj picked up some scissors and began to cut the damp cloth into pieces.  ‘This is for the dirra,’ he said with a grin, ‘I’ve brought it with me.  Now my lady, repeat after me:\r\n ‘So and so, son of so and so,\r\n  No sleep without her and no repose\r\n Your head by mine, your legs on my bed\r\n  Say ‘by God’ and say ‘by the Prophet’ \r\n  So and so, daughter of thing\r\n  Daughter of the Sultan of the Djinn  \r\n	  She says in this rhyme that \r\n  He will be mine, he will be mine’’ \r\nZaynab repeated what the Hajj said and asked him to write it down so she could memorise it.  He said he would and told her that she must burn the pieces of cloth at home while repeating the chant; then she should get another cloth.  He laughed and said that men were far too randy.   Zaynab smiled, Nafisa burst out laughing and in the other room Qadri decided he must do something.  ‘After the deed,’ said the Hajj, ‘when the man is asleep, take the cloth and mix in some rue.  Dry it out, add some liquorice and some thyme and then say: \r\n ‘I burn it with rue so he is true\r\n  I burn it with liquorice so I’m his only wish\r\n  I burn it with thyme so he is mine.’ \r\nZaynab took a folded wad of money out of her handbag, and placed it under the Hajj’s cushion.  He unfolded it and then grabbed her hand.  She tried to pull it away but he held onto it and dragged it up to the opening at the top of his jilbab.  As he rubbed her hand over the hair on his chest, Zaynab trembled, and so did Al-Sharifa.  \r\n***\r\nWill Nagwa get upset?  Will she be angry?  It’s as if I’m only telling her about bitterness and decay.  She likes birds, flowers, and love, as I do.  She listens to my stories time and time again, without tiring of them, especially if the man in them is noble, kind and tender.  She was with me that day.  We visited the Hajj for a reason I can’t reveal lest she be angry with me.  I told her that I’d accompany her for the sake of a story, and even though the séance was upsetting, when I saw Zaynab and Nafisa I realised that my story had begun and that the glances that Zaynab harboured for the handsome young man were a reason to find out what had happened before the séance. \r\n***\r\nI know the area where the old house is and what Zaynab wants.  Before she went to the séance with Nafisa, she had gone to the post office to call Qadri from a public telephone; she was unable to call him from home after her brother-in-laws had come home.  She asked Qadri to restrain himself during the séance that evening, and not to ask about the cloth.  She swore that her husband and she no longer shared a bed and that it was she who had broken with him, not he with her.  What she wanted from him now was not a reconciliation: rather, after ten years, she couldn’t finish her marriage as she had entered into it – with nothing.  The man owns the money and the property, and after all these years, she was entitled to more than what she had by way of jewellery and what she had kept aside from the housekeeping.  He should sign a piece of land over to her, or give her the marital home.  The Hajj will solve the problem she said.  He’ll keep him quiet and stop him going to the whores in the alleyway.  If he, Qadri, were understanding, if he wanted her, he would agree with her about all this.  Something in Qadri’s heart troubled him, yet it didn’t matter, it would pass.  Zaynab was better than most, a woman of means who was still young at heart and attractive.  He would live in her house and eat her food.   \r\nWhen the Hajj gave them permission to rejoin the séance Qadri came out of the other room.  Zaynab wouldn’t look at him and Qadri’s annoyance was obvious.  ‘And you, my honourable lady,’ the Hajj asked Nafisa with a smile, ‘are you still after that man?’  Nafisa lit the candles and sighed.  She asked what else she could do.  Life was tough and he was better than others.  He would at least feed her and put a roof over her head.  Others would use her and then cast her aside, like a dog.  She would end up going hungry and thirsty with her beloved telling her to get lost.  He was better than the others.  She asked the Hajj to help her by writing a charm for him.  ‘We can give something a try,’ said the Hajj laughing, ‘but is the noble lady still up to it?’\r\n‘Without a doubt,’ said Nafisa.\r\n***\r\nNagwa will be quiet and she’ll look miserable.  She’ll say that she expected me to tell her a love story, a story called ‘A Séance for Love’ in which I started telling her about my uncle, the canary, the bird’s love, the sparkle of secret conversations and the delicacy of revelations.  She’ll say she thought Zaynab would be a sorrowing lover, Nafisa a wronged sweetheart, Qadri wracked with longing and Fatah in search of a woman, beautiful as a gazelle, who had gone astray.  She’ll say that she thought the Hajj would sit with them through the night listening to their sighs and tears, their days of sorrows and yearning, and that he would dispense justice and wisdom.  But Nagwa, the story isn’t how you want it to be.  It is how it is.  \r\n***\r\nQadri was accompanying Zaynab, and Fatah had come with Qadri.  Fatah was hoping that the Hajj would now begin with him.  After inscribing an amulet for Nafisa and arranging for her to visit him the following Friday to tell him what happened, the Hajj turned to Fatah.  ‘Now Sidi,’ he said, I’m at your service.’\r\nFatah, who was from the far south, drew closer, his dark skin blushing.  He said he was possessed and suffered from fits.  He said that the Hajj must throw him to the ground and with the voice of Al-Sharifa or the powers of Al-Amira, drive the spirits from his body.  They had possessed him many years ago; they sent him into faints and ordered him about.  He would never get the better of them without the Hajj.  The Hajj invoked the name of God, moved the others away and told Fatah to lie down.  A long silence prevailed.  Zaynab and Qadri exchanged glances, agreeing that everything would be fine and for the best.  As for Nafisa, she wanted to help the Hajj to show everyone she knew how.  Fatah was thinking of the spirits.  They made him laugh and cry and told him not to go to work or to spit in his boss’ face.  His boss would beat him and his mother would take him back to the shop contrite, begging forgiveness.  He had attended the festival of Maulaya Abdullah several times, and visited the shrine of Sidi Al-Barnousi; his mother had taken him to healers and faqihs who burnt alum and frankincense around him, hung salt and radishes around his neck and put scissors under his pillow; she had hidden an amulet on which a faqih had written a charm in his wardrobe; he had been scrubbed with soap in the middle of the qasbah and had attended a séance with Layla Ayisha Qandisha.  Yet he continued to itch and weep and spit and take his trousers off in front of the house and pee in front of women.  After a while he calmed down a little, and his boss was amazed to see the speed at which he embroidered.  Within months he moved from winding silk thread to embroidering, and the kaftans emerging from his fingers began to gleam.  \r\nFatah produced ten thousand riyals and placed them at the Hajj’s feet.  ‘I’m depending on you,’ he said. \r\nBy now, the Hajj was calm and prepared.  He ordered the troublesome spirits out.  ‘I’ve told you, be on your way, get lost!’  There was a rattling in Fatah’s throat and foam emerged from between his lips.  Nafisa hid her face in her hands, parting her fingers so that she could watch the spectacle with delight.  Zaynab wept for herself and for Fatah.  Fatah moaned and kicked.  The Hajj wrestled with the spirits and tried to drive them out by force.  In Fatah’s weak and faltering voice, they told him that they wouldn’t leave, and that if they did they would go to the Hajj’s house.  ‘What are you going to do there?’ asked the Hajj defiantly, ‘have a cup of tea or coffee?’  He laughed and ordered them out once again.  Fatah flushed deeply and wailed.  Then he went pale and foamed at the mouth and the relief sent his arms and legs flying.  The Hajj restrained him and asked the others for help.  They came nearer.  Zaynab held onto his arm, the Hajj covered his mouth and Qadri held onto his feet.  Nafisa sat on his stomach, and the Hajj told her to go gently.  She adjusted her position and made do with pressing down on his ribcage with her knee.  Fatah became calm and his body went limp.  Then he started and vomited.  The Hajj promised him rest and told him he’d marry a beautiful woman.  ‘A gazelle by God, I swear, you’ll get nothing but a real beauty.’  \r\nEveryone sighed with relief and the Hajj looked at his watch and pulled out the wads of dirhams from under the cushion.  He quietly arranged them in his leather wallet, which was attached to the inside pocket of his jilbab with a pin.  ‘Well now,’ he said, after blowing his nose, ‘all that remains is for me to bid you farewell.’  Then, all of a sudden, he turned round to look at the wall and shrieked like a woman.  ‘No, no, no!  Shame, shame, shame on me.  How could I forget?  Damnation!  The woman told me I must give the bird to its owner and I forgot.  Damn, damn, damn.’  Everyone looked towards where the Hajj was pointing.  He stood up quickly.  There was a beautiful cage hanging from the wall over the window.  Inside it, in a corner, a small yellow bird lay on its front.  Its eyes were clouded over and its wings were weak.  The Hajj stretched out his fingers and tapped on the bars of the cage.  The bird flinched.  \r\nI too flinched, just now.  I stopped writing the story and put the paper aside.  I’ve remembered that Nagwa is coming in a while.  Shall I wait for her?  No, I shan’t.  I won’t finish the story either.  I’ve remembered.  Remembered the cage, the real cage; my uncle’s canary’s cage.  I’d seen it.  I saw it.  There.  There in that old house.  When the Hajj was the Hajj, that Hajj, the other one, not the Hajj in the story.  I’d seen it.  How could I forget?  The canary was inside.  My uncle’s canary.  My uncle’s canary, the very same one, was inside.  It was sad, its voice had vanished and its sight was weak.  I said on that day that I’d ask the Hajj if I could have it, I’d ask him if he’d sell it.  I thought I’d tell him how it looked like that canary, my uncle’s canary.  Then I forgot.  I was carried away by the séance and thinking about the story.  I forgot the canary, forgot my uncle, his book of stories and those days.  I’m going back now and I can see him.  It is that canary, with his gaze, his joy, his wings and his song.  Maybe my uncle came back and forbade him from flying away to see his one-winged beloved.  Maybe he went but couldn’t find her.  Maybe she’d left.  Maybe she’d died.  Maybe my uncle died.  But the canary isn’t dead.  I saw him alive with the Hajj and I saw him alive in the story.  He’s my uncle’s beautiful canary.  The Good Morning canary.  I want it, I want it.   \r\nI stretched my hand out towards the paper, the story, Nagwa, the Hajj, my uncle, my head.  Where’s the cage?  Where’s the canary?  Where’s the séance for love?  Love is with the canary, and the canary is in the cage, and the cage is in the old house, and the old house is in the ruined garden, and the ruined garden is in a distant quarter, and the distant quarter is in the old city, and the old city is behind the walls.  The walls are past the gates and the gates are secret, guarded by seven demons with seven ears of corn on their heads, and with seven cows in front of them.  Sprinkle the salt ladies and gentlemen, the séance for love is about to begin, the séance for… the séance for, for …', '', '2003-09-12 00:00:00', 4, 1);
INSERT INTO `hs_articles` VALUES (3, 'She & He Who Writes', '', 'She Who Writes\r\n\r\nFor Sumer \r\n\r\n\r\nWhen\r\n\r\nShe moved closer to the mirror.  She smiled, frowned, put her hair up in a ponytail, let it go, made some braids and then undid them.  She put the hairbrush down, picked up a bottle of perfume and sprayed it about her neck.  She left the bathroom shortly after.  ‘When’s my birthday?’ she asked.\r\n \r\nMeasuring\r\n\r\n‘Where’s my brown shirt?’\r\n‘In my wardrobe.’\r\n‘Where’s my yellow jacket?’\r\n‘I’m wearing it.’\r\n‘Where are my socks?’\r\n‘They’re dirty.  I wore them for a few days.’\r\n‘Where’s my little mirror?’\r\n’In my bag.’\r\n‘Where’s my pen?’\r\n‘I’ll give it back to you … straight away …’\r\n‘Where’s my daughter?’\r\n\r\nTime.  She folded her arms over her chest, hugged herself and laughed.  Time drew apples on her cheeks.  ‘Let your hands go,’ I said.  She changed her shirt quickly and folded her arms over her chest again.  She was hiding time under a loose garment.\r\n\r\nNo Entry\r\n\r\nShe closed the door and disappeared inside.  I waited.  I knocked on the door and she announced she was busy.  I kept quiet, became impatient, went away and missed her.  I knocked on the door.  She opened it.  \r\n‘What are you doing?’ I asked.\r\n‘Nothing,’ she said.\r\nShe put up a barrier between my tongue and her eyes.  The next day she closed the door and disappeared inside.  I waited.  I went over to knock on the door: ‘DO NOT DISTURB’.   Her reply was hanging on a sign, written badly in red ink.\r\n\r\nLanguage\r\n\r\nA live coal in my throat and a flame on my tongue.  I shouted for ages.  She bit her nails and stayed as quiet as a mouse.  I punished her.  She didn’t protest and went away.  Then I saw her in a dark corner.  A beam of light from between the folds of the curtain adorned her hair.  Quiet as a mouse she sat and her fingertips said: ‘A tune, pain, anxiety.’  They jumped and swayed over the organ’s keyboard.  Voices talked tenderly to her quietness and to the dark.  A live coal in my throat and a flame on my tongue.  Her fingertips quenched me and I drew closer.  Will the tune apologise? \r\n\r\n\r\nShame\r\n\r\nShe giggled and winked at her friend: ‘Do you like breast?’\r\n‘I like thigh.’\r\n‘Shhh … shame on you!’\r\nTheir cooing spread around the room.  When I drew close they went quiet.  They finished the food in silence.  \r\n‘Do you like chicken Mum?’ she asked.\r\n\r\n \r\nHe Who Writes\r\n\r\nFor Haidar\r\n\r\n‘Pick me up,’ he said.  I picked him up.  He parted his legs, wrapped them round my side and pressed against my waist with all his body.  He kissed me and felt my upper arm: ‘Your arm’s fat’.  I put him down.  ‘Will you pick me up after you’ve listened to the news?’  I nodded.  He went quiet and played with a football in the corridor.  He opened the door to a friend who picked him up, but he got restless and slipped away.  After a while he came back.  ‘Pick me up,’ he said.\r\n‘No.’ \r\n‘I’ll drink tea with you.’ \r\nI scolded him and with this he disappeared for a while.  He came back carrying his gun. ‘What does enemy mean?’  he asked suddenly.\r\n\r\nEarly September 1983\r\n\r\nHe sat on my lap and clasped his hands around my neck.  \r\n‘When I grow up I’ll visit you.  Will you still be in this house?  How will I know that you’re here?’\r\n‘You’ll learn about maps and places.’\r\n‘I’m going to have a large house, like a palace, with a garden like a forest.  It’ll have four dogs guarding it, like the ones that guard policemen, and I’ll have a servant and a cook.’\r\n‘And your wife, your children?’\r\n‘No, I’m not going to get married so that I don’t hit my children and so that my wife doesn’t stay at home on her own.’\r\nHe was quiet for a while and then got down from my lap.  He raced about the small room, playing with the football.  He broke some crockery and I scolded him.  We ate dinner.  He drank a glass of milk and went to bed.  I pulled the covers over him and wondered what he dreamt about, and how.\r\n\r\nEarly September 1984\r\n\r\n‘Is it true what the teacher said about angels sitting on my shoulders?’ he asked.  \r\n‘It’s true.’  \r\nWe were finishing our daily walk in the quiet street.  He freed his fingers from my hand and raced about on the wide pavement.  He laughed, picked a wild flower from the edge of the park wall and turned towards me.  He ate a sweet from his little basket, started racing around again, rushed over to me and calmed down.  Soaring like a bird he got out of the way of a speeding bicycle that had invaded the pavement.  We went down an alleyway and he asked if he could give a dirham to the beggar.  He laughed and started racing around again, making his arms fly like a bird.  Then he rushed over to me and calmed down.  I was feeling tired and said, ‘Let’s go back’.  \r\nHe shrugged his shoulders and grumbled.\r\n‘Angels sit on my shoulders,’ he said suddenly, ‘but I’ve moved my hands a lot and they’ve fallen off.’ \r\n\r\nLate October 1985\r\n\r\nI closed the window and drew the curtains.  He heard me moving and came in from his room yawning.  ‘Are you awake?  Good morning.’  He crept towards me.\r\n‘It’s nearly time for school,’ I said.\r\n‘I’m just warming up a bit.’\r\nHe pressed his icy feet against my leg.\r\n‘Turn your face towards me,’ he whispered.\r\nI turned my face.  He asked me about the rings under my eyes and some blemishes on my skin.\r\n‘Why’ve you got those lines when you smile?’\r\n‘Because I’m old.’  \r\nHe looked at the ceiling.  A redness hovered on his cheeks.\r\n‘Mariam isn’t going to get old, we decided yesterday when we were coming home from school.  I told her not to tell Khalid what we’ve agreed.  Khalid says that she’s his girlfriend because she sits next to him in class, but he doesn’t know that we swap riddles, or that we can understand each other at a distance.  I tell her the riddle, she laughs because she doesn’t know it and I solve it for her.  Mariam isn’t going to get old.  Why did you decide to get old?’\r\n‘So that you became you.’\r\nHe snuggled up by my chest and I felt warmth flowing in his toes.\r\n‘It’s time for school,’ I said.\r\nHe buried his head under the covers and put his arms round my neck.\r\n‘I’ll just warm up a bit and then I’ll go to school.  Mariam will be waiting for me at the gate.’\r\n\r\nWinter 1986\r\n    \r\nThey cleared the streets and people gathered behind the iron railings.  The procession moved along and the spectre of the leader appeared awesome from behind the black glass.  He came out onto the balcony.  ‘When will the news finish so I can watch the cartoons?’ he asked.  The procession took him by surprise.  He stopped the engine of his wind-up tank and watched the spectacle.  ‘Do all leaders own beautiful big cars like that one?’\r\n‘Yes,’ I said.\r\nThe motorbikes whistled past, keeping their formation as they tilted with the curve of the road.\r\n‘Wow, they’re great.  Can everyone have a motorbike like that?’  \r\nThe leader smiled and waved at the people.  \r\n‘He’s waving at me,’ he shrieked.  ‘Wow, he’s great.  Why aren’t you like him?’\r\n‘I can’t be.’\r\n‘I want …,’ he said turning the knobs on his tank, ‘How can I be like him?’\r\n\r\nSummer 1986\r\n\r\n‘Where does this ocean go?’ he asked as he built sand mountain on the beach.\r\n‘To America.’\r\n‘I’m going to cross those waves and get to America.  I’ll go to Disneyland and play with all the games.  Why don’t they bring us games like the ones in Disneyland?  Why do they only show them in cartoons?  I’m going to become an engineer and build a steamship and go to America.  Will you come with me?  But you don’t like the sea.  When do you think I should go?’\r\n‘When you’re grown up and can build a steamship.’\r\n‘How will I be able to play in Disneyland if I’m a grown-up?  Are there games for grown-ups in America?’\r\n\r\n\r\n\r\n He took me by the hand and led me to the sitting room.\r\n‘Don’t worry,’ he said, ‘lean on me.  I’m strong and you’re still ill.’\r\n‘I’ll be better tomorrow,’ I said.  ‘I took the medicine, I wasn’t put off by its horrible taste.’\r\nHe lifted up his hand and stroked my back.  I bent down to kiss him.  We were still in the corridor.\r\n‘And even if you’re still ill,’ he said, ‘don’t worry, you can rely on me.  I’m strong.  I’ll bring you food and look after you.  Watch television now and keep an eye on me while I play so you forget that you’re ill.  Are you scared you’re going to die?’\r\nHe surprised me.  I hugged him.\r\n‘I’m not going to die until you’re grown up.’\r\n‘Don’t be scared.  Don’t worry.  Even when you die it won’t be like you’re dead.  I’ll still be me and I’ll always remember you.  You’re my mother aren’t you?’\r\n\r\n Morocco, late 1985 \r\n', '', '2003-09-12 00:00:00', 4, 1);
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ÇÏÚæ Çáì ÇáÇ äÒÏÍã ÌãíÚÇ Úáì ÇÈæÇÈ ÇáÓíÇÓÉ æÇÏÚæ ÇáÓíÇÓííä ÇáÇ íÍæáæäÇ Çáì ÇÈæÇÞ.ÇÏÚæ Çáì ÕÑÝ ÑæÇÊÈ ÝæÑíÉ æÇáì ÊØãíä Çãäí ÓÑíÚ æÇÏÚæ Çáì ÇÚáÇã íäÞá áäÇ ÍßÇíÇÊ ÇáÇÕÑÇÑ Úáì ÍíÇÉ íæãíÉ ÊÍÇæá Çä ÊäåÖ æÊÊÚÇÝì¡ ÝãÇ ÒÇá åäÇß ÇØÝÇá íáÚÈæä ßÑÉ ÇáÞÏã Ýí ÇáÔæÇÑÚ æãÇ ÒÇá åäÇß ÞÕÕ ÍÈ æÇãäíÇÊ Èíä ÔÈÇÈ æÈäÇÊ ÇáÍí æÍßÇíÇÊ ØãæÍ æÑÛÈÇÊ äÌÇÍ¡ æãÇ ÒÇáÊ åäÇß ÇãÑÃÉ ÊÚÏ Ýí ãØÈÎåÇ ÇáßÈÇÈ áÚÔÇÁ åÐå ÇááíáÉ æãÇ ÒÇá åäÇß ÑÌá íÑÏÏ ÇÈíÇÊÇ Çæ ãÞÇãÇÊ æíÊãäì äæãÉ ãäÚÔÉ Úáì ÇáÓØÍ. ãÇ ÒÇá ÕíÝ ÇáÚÑÇÞ æáíÇáíå íÞÊÑÈ ãä ÇÑæÚ áæÍÉ ááäÌæã¡æÓæÝ ÊÐåá ÇáÇãíÑßÇä åÐå ÇááæÍÉ æíßÊÔÝæä ÚæÇáã ÌÏíÏÉ æÇÕíáÉ ááÌãÇá. ÇÏÚæ Çáì ÇáÇ ääÓì Çä ÇáÚÑÇÞ áíÓ ÝÞØ ßÊáÉ ãä ÇáÝÓíÝÓÇÁ ÇáÚÑÞíÉ æÇáØÇÆÝíÉ æÇáÓíÇÓíÉ ¡Èá åæ ÇíÖÇ ÓíãÝæäíÉ ãä ÇáÍÖÇÑÉ ÇáãÔÈÚÉ ÈÇáÛäì æÇáÊäæÚ.\r\n Çä ÇíÌÇÈíÉ åÐå ÇáÈÏÇíÉ Ýí ÇáÚÑÇÞ Çáíæã åí ãÇ íßãá ÇáÚÈÇÑÉ ÝíãÇ ßÊÈå ÇÏæäíÓ ÐÇÊ íæã:\\"ÌÇÁ ÇáÚÕÝ ÇáÌãíá æáã íÃÊ ÇáÎÑÇÈ ÇáÌãíá\\"..Èá ÇÑÇå ÇÊì æãä äÞØÉ ÇáÕÝÑ Ýí ÇáÚÑÇÞ ÑÛã ÇáÚæÇÐá æÇáäÏÇÈíä. ', '', '2003-09-12 00:00:00', 3, 0);
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INSERT INTO `hs_articles` VALUES (9, 'áÍÙÉ...', '', 'ßÇä ÌãíáÇð Ðáß ÇáÕÈÇÍ. áÇ ÃÚäí Çä ÇáÕÈÇÍ ßÇä ÌãíáÇð¡ Èá Ðáß ÇáÑÌá ÇáÐí ßÇä íÍãá ÍÞíÈÉ ÕÛíÑÉ íÚáÞåÇ Ýí ßÊÝå. åÐå ÇáãáÇÍÙÉ áã ÊÚáäåÇ ÓíÏÉ ßÇäÊ áÇ ÊÚÑÝå¡ Èá ÇÚáäÊåÇ ÓíÏÉ ÃÎÑì ÊÑÇÝÞåÇ¡ ÇãÑÃÉ ßÇäÊ áåÇ ãÚå ÍßÇíÉ. áíÓÊ ÍßÇíÉ ÊãÇãÇð¡ Èá äÕÝ ÍßÇíÉ¡ Çæ áÚáåÇ ÑÈÚ ÍßÇíÉ¡ æãÚ Ðáß ÝÞÏ ÚÇÔÊ áåÇ æÈåÇ ÓÈÚÉ ÇÚæÇã.\r\nÕÍíÍ Çäå ÍÏË áåÇ ãÇ íÍÏË Ýí ÇáÃÝáÇã¡ Ãí ÇäåÇ ÊÒæÌÊ æÃäÌÈÊ¡ æÕÍíÍ Çäå ÍÏË áå ãÇ íÍÏË Ýí ÇáÃæåÇã¡ Ãí Çäå ÊÒæÌ ÇÈäÉ ãÏíÑå ÝÇãÊáÃÊ ÌíæÈå æÎáÊ ÇÚãÇÞå¡ ÛíÑ Çä áÍÙÉ ÈíäåãÇ åí ÇáÊí ßÇäÊ¡ æåí ÇáÊí ÚÇÏÊ.\r\nÑÃÊå ÌãíáÇð ßãÇ ßÇä ÞÈá ÓÈÚÉ ÇÚæÇã¡ æÑÂåÇ ãÔÑÞÉ¡ ßãÇ ÙáÊ Ýí ÎíÇáå ÏæãÇð. ÚäÏãÇ ÇáÊÝÊÊ Çáì ÇáÓíÏÉ ÇáÊí ÊÚÑÝåÇ æÇáÊí áÇ ÊÚÑÝå¡ ÞÇáÊ áåÇ: ÇäÙÑí Çáì Ðáß ÇáÑÌá ÇáÐí ÕÚÏ Çáì ÇáÍÇÝáÉ ÇáÇä¡ ÃáíÓ ÌãíáÇð¿\r\nÕæÈÊ ÇáÓíÏÉ ÇáÊí áÇ ÊÚÑÝ Ðáß ÇáÑÌá äÙÑÉ æÇÖÍÉ æÚÇÈÑÉ Ëã åãÓÊ: ãÇ ÃÛÑÈ ÐæÞß. ÊÍÊÇÌíä ÏæÑÉ ÊÏÑíÈíÉ áÊØæíÑå.\r\nÇáÓíÏÉ ÇáÊí áÇ ÊÚÑÝå¡ ÇäÌáíÒíÉ¡ ÞæíÉ¡ æÇÖÍÉ æÌãíáÉ¡ ÊÚÑÝ ãÇ ÊÑíÏ æÊÚíÔ áÍÙÇÊåÇ ßãÇ ÊÔÇÁ. åÐÇ íÚäí ÇäåÇ ÊÓÊÞÈá ãØáÞåÇ ææÇáÏ ÇÈäåÇ ÇÓÈæÚíÇð Ýí ÍÖæÑ ÑÌá ÊÚáä ÇäåÇ ÑÈãÇ ÓÊÊÒæÌå¡ æÚäÏãÇ ÊÊåãåÇ ÇáÓíÏÉ ÇáÊí ÊÑÇÝÞåÇ æÊÌÇæÑåÇ Ýí ÇáÈíÊ æÝí ãÞÚÏ ÇáÍÇÝáÉ¡ ÈÃäåÇ ÍÓíÉ æáÇ ÊÚÑÝ ãÚäì áÍÙÉ ÇáÛÑÇã ÇáÑæãÇäÓíÉ¡ ÝÇä ÇáÓíÏÉ ÇáÊí áÇ ÊÚÑÝ ÇáÑÌá ÇáÐí ÊÚÑÝå ÕÏíÞÊåÇ¡ ÊÖÍß æÊÚíÏ ãÇ ÊÞæáå ÏÇÆãÇð: åÐÇ íÚäí Çä ÇÑãí ÈæÞÊí ßáå Ýí ÓáÉ ÇáÃÒÈÇá.\r\nÇäåÇ áÍÙÉ¡ ÊåãÓ ÓíÏÊäÇ¡ ÈØáÉ åÐå ÇáÞÕÉ æÊáß ÇáÞÕÉ¡ æÞÏ ÊßÝí áÑãí ÇáÚãÑ ßáå Ýí Êáß ÇáÓáÉ. ãÇÐÇ íÚäí Çä ÇÊÒæÌ æÃäÌÈ æÃÊÑãá æÃÊÚÐÈ¿ ÃÊÔÈË ÈÇáÞäÇÚ æÇÎÊÝí ÏÇÎá äÕÝ ßÐÈÉ áã ÃÚÏ ÃÚÑÝ áæäåÇ áÃäåÇ ÇãÊÒÌÊ ÈÇáÃÕÝÑ æÇáÃÍãÑ æÇáÃÓæÏ.\r\nÊáß áÍÙÉ ÎÇÑÞÉ ßÇäÊ. ÌÈá ãä ÇáÒãä. ÍÇáÉ ÊßæãÊ Ëã ÇäÓÇÈÊ ßáÍä íåÑÈ æíÎÒä Ýí ÞáÈß ÏãÚÉ. áÍÙÉ ãä ÇáÍÈ ÞÇáÊ. æáßä Ãíä¿ æßíÝ¿\r\nÕÏãÊ ÇáÂä¡ ÝÞÏ ÑÃÊ ÓÊÇÑÇð ßËíÝÇð íäÓÏá ÏÇÎá ÚíäíåÇ. ÇÛãÖÊåãÇ ÝíãÇ ÇáÓíÏÉ ÇáÃÎÑì ÑÇÍÊ ÊÑÇÞÈ ÑßÇÈ ÇáÍÇÝáÉ æÇáÑÌá ÇáÌãíá æÍÞíÈÊå. ÊØáÚ åæ äÍæåÇ æÑÃì ÝíåÇ ÍÇÌÒÇð íãäÚå Úä ÓíÏÉ ÞáÈå ÇáÓÇÈÞÉ. ßÇäÊ ÚíäÇåÇ ÊÞÏãÇä áÍÙÉ ÃÎÑì. ÝßÑ: åá ÊÚÑÝäí¿ åá ÃÎÈÑÊåÇ¿\r\nÇáÓíÏÉ ÇáÊí ÊØÈÞ ÇáÂä Úáì áÍÙÊåÇ¡ áã ÊÎÈÑåÇ ÈÔíÁ¡ Èá ÈÏÊ æßÃäåÇ ÊÑì ÇáÑÌá ÇáÌãíá ááãÑÉ ÇáÃæáì. ÇáæÍÏÉ æÇáÍÑãÇä æÇáÎæÝ¡ ÊÚáã ÇáßÐÈ¡ åÐÇ ãÇ ÊÚÑÝå ÇáÓíÏÉ ÇáÊí áÇ ÊÚÑÝ ÇáÑÌá ÇáÌãíá. ÇãÇ ÓíÏÉ ÇáÞáÈ æÇáÃÔæÇÞ¡ Êáß ÇáÊí ÊæÌÊ äÝÓåÇ Ýí ÇáÃÛäíÇÊ æÇáÃãäíÇÊ¡ æÑÇÍÊ ÇáÂä ÊÓßÈ ÚØÑÇð Úáì áÍÙÉ ãÇÖíÉ¡ æÊÚíÏ ÇßÊÔÇÝ ãÇ æãÖ æãÇ ÞÏ íÈÊÚÏ æíÞÊÑÈ¡ ÙáÊ ÕÇãÊÉ¡ ÊÎÊÑÞ áãÓÉ ßÝ ÑÃÓåÇ¡ æÊÊÖæÚ ÇäÝÇÓ Ýí ãÍØÉ ÞØÇÑ ÚäÏ ÇÐäíåÇ. ÊÊÑÇÁì áåÇ ÇááÍÙÉ ÇáÎÇØÝÉ¡ Ýí åãÓÉ æÕãÊ Øæíá æÇÑÊÌÇÝÉ íÏ ÚäÏ ÙåÑ ãÞÚÏåÇ. ÊÊÑÇÁì áåÇ Ýí ÚÒÝ ÞíËÇÑÉ æÈÍÉ ãÛä ãÊÔÑÏ æÕæÊ íÊÑäã ÈãÞØÚ ÏÇÝÆ íåÑÈ ãä ÞÕíÏÉ ÊÑÊÚÔ ÍÈÇð¡ íÚÇæÏåÇ Íäíä ÌÇÑÝ ÝÊÊÔÈË ÈÍÈáí ÍÞíÈÊåÇ ÇáØÑííä. ÊÑì äÝÓåÇ ÊØÈÞ Úáì ÍÈá ÂÎÑ ßÇÏ ÇáÂä íÊÑÇÎì Úä ßÊÝå æÞÏ ÊÚáÞÊ Èå ÍÞíÈÉ ßÇäÊ ÇåÏÊåÇ áå ÐÇÊ áÍÙÉ.\r\n', '', '2003-09-14 00:00:00', 3, 0);
INSERT INTO `hs_articles` VALUES (10, 'äÕÑí ÔãÓ ÇáÏíä.. 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ÕÍíÍ Çä äÕÑí áíÓ ÕÇÍÈ ÇáÇáÍÇä¡ áßä «ÇáÊÐßíÑ» ÈÕæÊå æÇÏÇÆå ÇáãÊÝÑÏ íÓÊÍÞ åÐÇ¡ ßãÇ Çä ÊÍæíá ÈíÊå Çáì ãÊÍÝ ÕÛíÑ ÝßÑÉ ÇÊãäì Çä ÊÕÈÍ æÇÞÚÇ æÇä ÊÊÈäÇåÇ ãÄÓÓÉ ßÈÑì æÊßæä ÈÏÇíÉ áÊÍæíá ÈíæÊ ÇáßÊÇÈ æÇáÝäÇäíä ÇáÑÇÍáíä Çáì ÇãÇßä ÓíÇÍíÉ íãßä ÇÓÊËãÇÑåÇ¡ æááãËÇá ÝåäÇ Ýí ÈÑíØÇäíÇ Ýí ßá ãÏíäÉ ÊÞÑíÈÇ¡ ÊÌÏ ãßÇäÇ ÊÔíÑ Çáíå ÇáßÊíÈÇÊ ÇáÓíÇÍíÉ ÈÃäå ÇáÈíÊ ÇáÐí ÚÇÔ Ýíå Ðáß ÇáÝäÇä¡ ßÜ «Èáíß åÇæÓ» ÇáÐí ßÊÈ Ýíå ÊÔÇÑáÒ ÏíßäÒ ÑæÇíÉ ÏíÝíÏ ßæÈÑÝíáÏ æÞÏ ÊÍæá Çáì ãÊÍÝ Ýí ãÏíäÉ ÈÑÇíÊæä¡ Çæ ãäÒá ÇáÇÎæÇÊ ÈÑæäÊí Ýí ÈÑÇÏÝæÑÏ æãäÒá ÊæãÇÓ åÇÑÏí Ýí ÏæÑÔÓÊÑ¡ Èá Çä ßÇÊÈÉ áíÓÊ Ýí ÔåÑÉ åÄáÇÁ ÊÍæá ãäÒáåÇ Çáì ãÊÍÝ ÕÛíÑ íÓÊËãÑ ÓíÇÍíÇ ÈÚÏ Çä ÇØáÞ ÚáíåÇ ÇáßÊíÈ ÇáÓíÇÍí Ýí ãÏíäÉ ÛÑíÊ íÑãæË «ÇáÝÊÇÉ ÇáÊí ÇÍÈÊ ÇáÎíá» æåí ÇáßÇÊÈÉ ÂäÇ Óæíá ÇáÊí ÊÑßÊ ßÊÇÈÇ æÇÍÏÇ ÔåíÑÇ åæ Black Beauty.\r\nÇä ãÔÑæÚÇ ßåÐÇ íÊØáÈ ÇáßËíÑ ãä ÇáãÇá æÇáÌåÏ¡ áßäå ÞÏ íÊØáÈ ÞäÇÚÉ ÈÃä ÇáÝä ÇáÌãíá æÇáÇÕíá íÓÊÍÞ ÃáÇ ääÓÇå.\r\n*** áÞÏ æÌåÊ ÓÄÇáÇ ÈÓíØÇ Çáì ãÌãæÚÉ ãä ÇÕÏÞÇÆí ãä ßÊÇÈ æäÞÇÏ æãåÊãíä: åá ÊÐßÑæä äÕÑí ÔãÓ ÇáÏíä¿ æØáÈÊ ãäåã ÊÓÌíá ÇäØÈÇÚÇÊ Úäå¡ æáã Êßä ãÝÇÌÃÉ ãÇ ÞÏãæå áí¡ Èá ßÇä ÊÃßíÏÇ ãÇ áåÐÇ ÇáÝäÇä ÇáÚãáÇÞ ãä ÍÖæÑ¡ ÎÇÕÉ Ýí æÌÏÇä ãËÞÝíä ãä ãÎÊáÝ ÇáÈáÏÇä ÇáÚÑÈíÉ æáíÓ ãä ÈáÏ ÇáÝäÇä ÝÍÓÈ¡ ããÇ íÄßÏ Çä äÕÑí ÔãÓ ÇáÏíä åæ ÇÈä ÇáÒãä ÇáÌãíá æåÐå ÏÚæÉ áÇÍíÇÁ ÐßÑì Ðáß ÇáÒãä ÇáÌãíá¡ Òãä äÕÑí æÑÝÇÞå ãä ÇáÝäÇäíä ÇáßÈÇÑ ÇáÐíä åãÔæÇ áÃÓÈÇÈ ãÎÊáÝÉ.\r\n', 'nasri.jpg', '2003-09-14 00:00:00', 3, 0);
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ÃãÇ ÃÛäíÉ «Ãæá ÊÌíäí» ÇáÊÃáíÝ (ÃÍãÏ Èä ØÇåÑ) ÝßÃäåÇ ÊÑÏ Úáì Ìæ ÇáãÞÇã ÇáÚÑÇÞí ãØæÑÉ æãÌÏÏÉ ÈÇáäÛãÉ æÇáÂáÇÊ æÇáÊæÒíÚ æÕæÊ ÇáßæÑÓ ÇáåÇÏÆ æÇáÔÌí.\r\næáÞÏ ÃÚÇÏ ÚÈÏ ÇáÑÈ ÇÏÑíÓ Çáì ÇáßæÑÓ Ýí åÐÇ ÇáÔÑíØ ÏæÑå Çáãßãá æÇáãÓÇäÏ ááÇÛäíÉ¡ æßÇäÊ ÇÎÊíÇÑÇÊ ÐßíÉ¡ Ýí ãÚÙã ÇáÇÛäíÇÊ¡ áßæÑÓ ÇáÑÌÇá ÈÃÕæÇÊåã ÇáÝÎãÉ¡ Ãæ ßæÑÓ ÇáäÓÇÁ ÈÃÕæÇÊåä ÇáÑÞíÞÉ æßÇäÊ ßáåÇ ÊÖíÝ Çáì ÇáÃÏÇÁ ÞæÉ æÊãÇÓßÇ æÊÒíÏ ãä ÇÍÓÇÓ ãÓÊãÚåÇ æãä ãÊÚÊå.\r\næÊÈÞì ßáãÉ ÃÎíÑÉ¡ ÝÚÈÏ ÇáÑÈ ÇÏÑíÓ áã íÎÊÑ ÚÑÖ ÇáÚÖáÇÊ ÇáÔÚÑí æÇááÍäí¡ æÞÏ íãßä ÃáÇ Êßæä ßáãÇÊ ÇáÇÛÇäí ÇáÊí ÇÎÊÇÑåÇ Ü ãÚ ÇÓÊËäÇÁÇÊ ÞáíáÉ Ü ÅáÇ ßáãÇÊ ÈÓíØÉ æÚÇÏíÉ¡ ÊÞÏã ÇáÕæÑÉ ÇáÔÚÑíÉ ÇáÓÇÆÏÉ¡ ÇáÇ ÇäåÇ ÈÇáãæÓíÞì ÇÓÊØÇÚÊ Çä ÊÕá Çáì ÂÝÇÞ ÃÎÑì ÃÈÚÏ ãÏì ãä ãÚÇäíåÇ ÇáãÍÏÏÉ¡ ÚäÏãÇ ÊßÊÈ Ãæ ÊÞÑÃ¡ æåÐÇ ÇáãÏì åæ ËÑÇÄåÇ ÇáÌÏíÏ ÚäÏãÇ ÊÌÑÝåÇ ÇáãæÓíÞì Çáì ÓÑÚÉ ÃÎÑì æÇíÞÇÚ ÂÎÑ æäÛã íÍÊÝí ÈÇáÍÈ ÈÚãÞ æÃÕÇáÉ æÊÌÏíÏ.\r\næãÚ ßá åÐÇ ÇáÇÍÊÝÇÁ ÈÇáÍÈ æÇáãæÓíÞì ÅáÇ Çä ÚÈÏ ÇáÑÈ ÇÏÑíÓ áã íÍÊÝ ÈäÝÓå Ýí ÕæÑÉ ÛáÇÝ ÇáÔÑíØ¡ æßÇä íãßä Çä Êßæä ÇáÕæÑÉ ÃÝÖá æÃßËÑ ÊáÞÇÆíÉ.', 'abdelraab.jpg', '2003-09-14 00:00:00', 3, 0);
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Èá åæ íÚíÔ åÐÇ ÇáÊÇÑíÎ ÈÕÎÈ ßÈíÑ áíÚÈÑ Úäå æÚä ÊäÇÞÖÇÊå æÇäÝÚÇáÇÊå¡ æåæ áÇ íÎÌá ãä ÇÓÑÇÑå Èá íÄßÏåÇ æíÚÑÖåÇ æÞÏ íÏÇÝÚ ÚäåÇ ÇÍíÇäÇ¡ ßãÇ ÝÚá Ýí ÇÝáÇã «ÇÓßäÏÑíÉ ßãÇä æßãÇä» æ«ÍÏæÊÉ ãÕÑíÉ» æÛíÑåÇ¡ æáÃäå áÇ íÓÊØíÚ Çä íäÓì äÝÓå Ýåæ íÚÊÈÑåÇ ãÎÊÈÑÇ æãÕÝÇÉ ááÃæÖÇÚ ÇáÓíÇÓíÉ æÇáÇÌÊãÇÚíÉ æáåÐÇ¡ ÊÃÊí ÇÝáÇãå æßÃäåÇ ÍáÞÇÊ áÊÇÑíÎå ÇáÔÎÕí æÊÇÑíÎ ÇáãÑÍáÉ ÇáÚÑÈíÉ ÇáÍÏíËÉ Úáì ÇáÓæÇÁ.\r\nÑÈãÇ Ýí åÐÇ áÇ äÓÊØíÚ Çä äÖÚ åÐÇ ÇáßÊÇÈ Ýí ÎÇäÉ ÇáßÊÈ ÇáÓíäãÇÆíÉ ÇáäÞÏíÉ ÝÍÓÈ Çæ ÍÊì Ýí ÎÇäÉ ÇáßÊÈ ÇáÊí íãßä Çä Êßæä ÈíÈáæÛÑÇÝíÇ áÔÎÕíÉ ãÚÑæÝÉ¡ Èá åæ ßÊÇÈ ÚÇã¡ íãßä Çä íÝíÏ ÇáãÊÎÕÕ ßãÑÌÚ áÃÝáÇã ÔÇåíä æÊæÇÑíÎåÇ æÙÑæÝ ÇäÊÇÌåÇ¡ ßãÇ íãßä Çä íãÊÚ ÇáÞÇÑÆ ÇáÚÇÏí ÇáÐí íÍÈ Çä íÚÑÝ ÇßËÑ Úä ÇáÓíäãÇ ÈÔßá ÚÇã æíÞÑÃ Úä ÇáÇÝáÇã ÇáÊí ÊÑßÊ ÈÕãÉ æÇÖÍÉ Ýí ÊÇÑíÎ ÇáÓíäãÇ ÇáÚÑÈíÉ.\r\næÑÈãÇ Êßæä ãÂÎÐäÇ Úáì ÇáßÊÇÈ Çäå áã íÚä ÈßæÇáíÓ ÇáÚãá ÇáÇÎÑÇÌí áíæÓÝ ÔÇåíä¡ ÎÇÕÉ Çä ÔãíØ ÇÍÏ ÇáÞáÉ ÇáÐíä ÊÇÈÚæÇ åÐÇ ÇáãÎÑÌ æÛíÑå¡ æßÇä ÞÑíÈÇ ãä ÇáßæÇáíÓ æÎÝÇíÇ ÇáÇÚãÇá ÇáÓíäãÇÆíÉ æÙÑæÝ ÇäÊÇÌåÇ. æßÐáß ÇáÊäÈíå Çáì äÞÇØ ÇáÖÚÝ ÇáÝäíÉ Ýí ÈÚÖ ÇÝáÇã ÇáãÎÑÌ æãÇ íÞÇÈáåÇ ãä ÞæÉ Ýí ÞÏÑÊå Úáì ÊÍÑíß ÇáãÌÇãíÚ¡ æßÐáß ãÞÇÑäÇÊ Èíä ÇÝáÇãå æÈÚÖ ÒãáÇÆå ãä ãÌÇíáíå æÈÔßá ÚÇã íÈÏæ Çä ÇáßÇÊÈ ÝÖá Çä íÑæí ÏÑÇÓÉ ÇÏÈíÉ æÌãÇáíÉ æÊÇÑíÎíÉ áÑÍáÉ ÔÇåíä ÇáÕÚÈÉ æÇáæÚÑÉ¡ ÇßËÑ ãäåÇ ÏÑÇÓÉ ÓíäãÇÆíÉ ÊåÊã ÈÊÞäíÇÊ ÇáÚãá ÇáÓíäãÇÆí¡ æÞÏ ÇÌÇÈ æáíÏ Úáì ãáÇÍÙÊí ÚäÏãÇ ÇÚáäÊåÇ áå ÞÇÆáÇ¡ Çäå íÑì Ýí ÔÇåíä ÕæÑÉ ÇáãÄáÝ ÇáÓíäãÇÆí ÇáÐí íãáß áÛÊå ÇáÎÇÕÉ ÇáãÊßÇãáÉ¡ æÇáÊí íÚÈÑ ÚäåÇ ÈÇáÝßÑÉ æÇáãÔåÏ æÇáÔÎÕíÉ æÇáÓíäÇÑíæ¡ Ýåæ ãÄáÝ áãÚÙã ÇÚãÇáå. 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ÝÅÐÇ ßÇäÊ åÐå ÇáÇÓÇáíÈ ãÎÊáÝÉ ÊãÇãÇ Ýí ÇáÊÚÇãá ãÚ ÞÖíÉ æÇÍÏÉ¡ Ýãä ÇáãäØÞ ÇÐä Çä äÈÚÏ åÐÇ ÇáÊÚãíã ÇáÐí ÇáÝå ßËíÑæä ãäÇ æááÃÓÝ. æãä ÌÇäÈ ÂÎÑ¡ æÈÏáÇ ãä ÇÌÊÑÇÑ ãÇ äÚÑÝå ãÚ ãä äÚÑÝå ÃÑì Çä ãÎÇØÈÉ ÇáãÑÇÓá Çæ ÇáßÇÊÈ Çæ ÇáãÐíÚ æÇáÊÚáíÞ Úáì ÊÝÕíáÉ ãÚíäÉ æÇáÇÓÊãÑÇÑ æÇáãæÇÙÈÉ Úáì Ðáß íÑÓí ÚÇÏÉ¡ Çä áã Êßä ãÝíÏÉ Çæ ÍÓäÉ¡ Ýåí Ýí ÇÚÊÞÇÏí áíÓÊ ÓíÆÉ Úáì ÇáÇØáÇÞ¡ æáÚáäÇ ÊáãÓäÇ ÈÚÖ ÇíÌÇÈíÇÊåÇ ãä ÎáÇá ÝÇßÓÇÊ ßÇäÊ ÇáÞäÇÉ ÇáÇæáì Ýí ÇáÊáÝÒíæä ÇáÈÑíØÇäí ÊÞÏãåÇ Ýí äÔÑÉ ÇáÇÎÈÇÑ ÇáÕÈÇÍíÉ æãäåÇ ãä ãÔÇåÏíä æãÔÇåÏÇÊ ãä ÇáÚÑÈ.\r\nÜ ÇÚÊÞÏ Çäå Âä ÃæÇä ÊÞÈá ÝßÑÉ ÇáÊÌãÚÇÊ æÇáãÌãæÚÇÊ ÇáÊí ÊæÏ ããÇÑÓÉ ÇáÚãá ÇáÇäÓÇäí æÇáÎíÑí¡ ãä Ïæä Çä Êßæä ãÑÊÈØÉ ÈÌåÉ ÓíÇÓíÉ ãÚíäÉ Çæ ÍÒÈ. 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INSERT INTO `hs_articles` VALUES (19, 'åÇÏíÇ ÓÚíÏ', '', '<p align=left dir=ltr><a href=about.php?id=22>About Hadia Said</a></p>\r\n* ßÇÊÈÉ æÑæÇÆíÉ áÈäÇäíÉ\r\n* æáÏÊ Ýí ÈíÑæÊ æÏÑÓÊ ÝíåÇ\r\n*ÚãáÊ Ýí ÇáÕÍÇÝÉ ÇááÈäÇäíÉ ßãÊÏÑÈÉ ÃËäÇÁ ÏÑÇÓÊåÇ\r\n* ÇäÊÞáÊ ááÚíÔ ãÚ ÒæÌåÇ Ýí ÈÛÏÇÏ ÎáÇá ÇáÓÈÚíäÇÊ æÚãáÊ ãÚå Ýí ÇáÕÍÇÝÉ æÑÆÓÊ ÇÞÓÇãÇ  ãÎÊáÝÉ Ýí ãÌáì \\"ÃáÝ ÈÇÁ\\"\r\n* ÚÇÏÊ Çáì ÈíÑæÊ ÈÓÈÈ ÇáÃæÖÇÚ ÇáÓíÇÓíÉ ÇáÊí ÍÏËÊ Ýí ÇáÚÑÇÞ æÇáÊí ÇäåÊ ÝÊÑÉ ÇáÌÈåÉ ÇáæØäíÉ\r\n* ÚÇÔÊ ÝÊÑÉ ãä ÇáÍÑÈ ÇááÈäÇäíÉ Ýí ãØáÚ ÇáËãÇäíäÇÊ æÚãáÊ Ýí ÌÑíÏÉ \\"ÇáÓÝíÑ\\"\r\n* ÇäÊÞáÊ Çáì ÇáãÛÑÈ ÈÓÈÈ ÃæÖÇÚ ÇáÍÑÈ æÚãáÊ Ýí ÇáÕÍÇÝÉ Ýí Ãåã ÇáÕÍÝ æåí \\"ÌÑíÏÉ ÇáÚáã\\" æÌÑíÏÉ \\"ÇáÇÊÍÇÏ ÇáÇÔÊÑÇßí\\"\r\n* ßÊÈÊ ÇáÞÕÉ æÇáÑæÇíÉ æÓíäÇÑíæ ÇáÚãá ÇáÏÑÇãí ÇáÊáÝÒíæäí æÇáãÓáÓá ÇáÇÐÇÚí æÇáÝíáã ÇáÊÓÌíáí\r\n* ÚÑÝÊ Ýí ÃßËÑ ãä ÈáÏ ÚÑÈí ÈãÇÞáÇÊåÇ ÇáÇÓÈæÚíÉ æÞÕÕåÇ ÇáÞÕíÑÉ ÇáÊí ßÇäÊ ÊäÔÑåÇ Ýí ÇáÏæÑíÇÊ æÇáãÌáÇÊ ÇáËÞÇÝíÉ ÇáÚÑÈíÉ ÇáãÎÊáÝÉ\r\n* ÍÇÒÊ ÑæÇíÊåÇ ÇáÃæáì \\"ÈÓÊÇä ÃÓæÏ\\" Úáì ÌÇÆÒÉ ãÌáÉ \\"ÇáßÇÊÈÉ\\" ÇáÊí ßÇäÊ ÊÕÏÑ Ýí áäÏä ßãÇ ÍÇÒÊ ÈÚÖ ÇÚãÇáåÇ ÇáÊáÝÒíæäíÉ æÇáÊÓÌíáíÉ Úáì ÌæÇÆÒ ãÎÊáÝÉ\r\n *áåÇ ÚÏÏ ãä ÇáãÌãæÚÇÊ ÇáÞÕÕíÉ: ÃÑÌæÍÉ ÇáãíäÇÁ – íÇ áíá – ÑÍíá – äÓÇÁ ÎÇÑÌ ÇáäÕ – ÖÑÈÉ ÞãÑ\r\n* ßÊÈÊ ÈÊßáíÝ ãä ãäÙãÉ ÇáÚÝæ ÇáÏæáíÉ / ÏÇÑ ÇáäÔÑ ÚÑÈÇí¡ ÑæÇíÉ ÞÕíÑÉ Úä ÇáÇÊÝÇÞíÉ ÇáÏæáíÉ ÖÏ ÇáÊãííÒ ÖÏ ÇáãÑÃÉ ÈÚäæÇä \\"ÏÝÊÑ ÚÇÆÏÉ\\".\r\n *áåÇ ÇÈäÉ ææáÏ æÊÚíÔ Ýí áäÏä ãäÐ ÚÇã 1993 æÊÚãá Ýí ÇáÕÍÇÝÉ\r\n *ÊÚãá ÃíÖÇ ãÊØæÚÉ Ýí ÇáãÄÓÓÉ ÇáØÈíÉ áÑÚÇíÉ ÖÍÇíÇ ÇáÊÚÐíÈ æÞÏ ÃÞÇãÊ ÚÏÉ ÃãÓíÇÊ ËÞÇÝíÉ ÚÑÈíÉ áÕÇáÍ ÏÚã åÐå ÇáãÄÓÓÉ\r\n* ÖíÝÉ ÃÓÈæÚíÉ ÏÇÆãÉ Ýí ÇáÈÑäÇãÌ ÇáËÞÇÝí ÇáÃÓÈæÚí \\"ÃæÑÇÞ\\" ÇáÐí íÐÇÊ ãä ÇáÜ \\"Èí.Èí.Óí\\" ÍíË ÊÔÑÝ Úáì ãÓÇÈÞÉ áßÊÇÈÉ ÇáÞÕÉ ÇáÞÕíÑÉ æíÔÇÑß ÈåÇ ßÊÇÈ ÌÏÏ ÝÊÎÊÇÑ ÞÕÉ ßá ÃÓÈæÚ æÊÞÑÃåÇ æÊäÇÞÔåÇ\r\n *ÊÑÌãÊ ÈÚÖ ÞÕÕåÇ ÇáÞÕíÑÉ Çáì ÇáÝÑäÓíÉ æÇáÇäÌáíÒíÉ æÇáÃáãÇäíÉ\r\n *ÊÚãá þãÏíÑÉ ÊÍÑíÑ ãÌáÉ \\"ÓíÏÊí\\"  Ýí ÏÈí\r\n\r\n<div class=\\"intro\\" dir=\\''rtl\\'' align=\\"right\\">åÇÏíÇ ÓÚíÏ Ýí ÞÇãæÓ ÇáÓíÑÉ ÇáÐÇÊíÉ ÇáÚÇáãíÉ\r\n</div>\r\nÃÖíÝ ÅÓã ÇáÒãíáÉ ÇáßÇÊÈÉ åÇÏíÇ ÓÚíÏ Åáì ÇáÃÓãÇÁ ÇáÊí æÑÏÊ Ýí ÞÇãæÓ þý D I BýÇáÐí þíÕÏÑ Úä ÌÇãÚÉ ßÇãÈÑíÏÌ Ýí ÈÑíØÇäíÇ æåæ ÇáÞÇãæÓ ÇáÚÇáãí ááÓíÑÉ ÇáÐÇÊíÉý ýDictionary of international Biography ýþ æÐáß Ýí ØÈÚÊå ÇáËÇáËÉ þæÇáËáÇËíä ÇáÊí ÕÏÑÊ åÐÇ ÇáÚÇã 2007¡ æíÖã ÇáÞÇãæÓ ãáÎÕÇÊ ááÓíÑÉ ÇáÐÇÊíÉ þáÃßÇÏíãííä æßÊÇÈ æÈÇÍËíä Ýí ãÎÊáÝ ãÌÇáÇÊ ÇáÚáæã æÇáÂÏÇÈ æÇáËÞÇÝÉ æÇáÊÑÈíÉ¡ Íæá þÇáÚÇáã¡ æíÕÏÑ ÇáÞÇãæÓ ãÑßÒ ÇáÓíÑÉ ÇáÐÇÊíÉ ÇáÚÇáãíÉ Ýí ßÇãÈÑíÏÌ þI B Cþ æÇáÐí íÖã þÈÇÍËíä ãä ãÎÊáÝ ÇáÇÎÊÕÇÕÇÊ æÇáÌäÓíÇÊ  íÞæãæä ÈÊÞÏíã ÊÑÔíÍÇÊåã ááãÑßÒ ÓäæíÇ ¡ þÍíË íÊã ÏÑÇÓÊåÇ ÈÅÔÑÇÝ ãÏíÑ ÇáãÑßÒ ÇáÈÑæÝíÓæÑ äíßæáÇÓ. ÇÓ. áÇæ.þ\r\næÃÔÇÑ ãáÎÕ ÇáÓíÑÉ ÇáÐÇÊíÉ ááÒãíáÉ åÇÏíÇ ÓÚíÏ Åáì ÇÚãÇáåÇ ÇáÑæÇÆíÉ æÇáÞÕÕíÉ æãäåÇ þþ\\"ÈÓÊÇä ÃÓæÏ\\" æ\\"ÈÓÊÇä ÃÍãÑ\\"  æßÊÇÈåÇ ÓäæÇÊ ãÚ ÇáÎæÝ ÇáÚÑÇÞí æÑæÇíÊåÇ ÇáÃÎíÑÉ\\" þÃÑÊíÓÊ\\"¡ ßãÇ ÃÔÇÑ Åáì ÚãáåÇ ÇáÊØæÚí Ýí ÇáãÄÓÓÉ ÇáÕÍíÉ ÇáÈÑíØÇäíÉ áÑÚÇíÉ ÖÍÇíÇ þÇáÊÚÐíÈ æãÓÇåãÊåÇ áãÏÉ ËãÇäí ÓäæÇÊ Ýí ÊÞÏíã ÈÑäÇãÌ \\"ÃæÑÇÞ\\" áÇßÊÔÇÝ ÇáãæÇåÈ þÇáÌÏíÏÉ ãä ßÊÇÈ ÇáÞÕÉ ÇáÞÕíÑÉ Ýí ÇÐÇÚÉ Èí Èí Óí ÇáÚÑÈíÉ Ýí áäÏä¡ æßÐáß ÚãáåÇ þãÏíÑÉ ÊÍÑíÑ Ýí ãÌáÉ \\"ÓíÏÊí\\".þ\r\n\r\n\r\n', '', '2003-09-22 00:00:00', 6, 0);
INSERT INTO `hs_articles` VALUES (20, 'íæãíÇÊ ÝÊì ãÛÑÈí Ýí ÇáãÔÑÞ', '', 'ãÇÐÇ íÝÚá ÇáÝÊì ÇáãÛÑÈí¡ ÇáÐí áã íßãá ÚÇãå ÇáËÇãä ÚÔÑ¡ æÞÏ æÕá Çáì ÇáÞÇåÑÉ Ýí ÕíÝ ÊÇÑíÎí ÕÇÎÈ¿ ßÇä Ðáß ÚÇã 1956¡ æÌãÇá ÚÈÏ ÇáäÇÕÑ íÚáä ÊÃãíã ÞäÇÉ ÇáÓæíÓ¡ æãÕÑ ÊÔåÏ ÇáÇÚÊÏÇÁ ÇáËáÇËí (ÇÓÑÇÆíá æÝÑäÓÇ æÇäÌáÊÑÇ) æÇáãÛÑÈ íÚáä ÇÓÊÞáÇáå. æ\\"ÍãÇÏ\\" Ðáß ÇáÑÌá ÇáÕÛíÑ ÇáÐí ÊÑß ãÏÇÑÓ ÇáãÛÑÈ ÇáæØäíÉ æÈÚËÉ ÏÑÇÓíÉ ÝÑäÓíÉ¡ íÑÍá Úáì ÙåÑ ÈÇÎÑÉ Çáì ãÕÑ¡ ãÊÑÌãÇ Íáãå ÈÇáÃÝáÇã æÇáÃÛÇäí æÇáÞÕÕ æÇáÑæÇíÇÊ¡ æÈÇÍËÇ Úä ÇäØáÇÞÉ ÞæíÉ æÍÞíÞíÉ áãÇ íÑíÏ Çä íÕÈÍå.\r\n\r\n\\"ÍãÇÏ\\" Ýí ÇáÝÕæá ÇáÃæáì ãä ÑæÇíÉ \\"ãËá ÕíÝ áä íÊßÑÑ\\" áãÍãÏ ÈÑÇÏÉ áíÓ åæ \\"ãÍãÏ\\" ÇáÐí íÓÝÑ Úä æÌå ÇáßÇÊÈ Ýí ÇáÝÕæá ÇáÃÎíÑÉ. Ýåæ Ýí ÇáÕÝÍÇÊ ÇáÜ130 ÇáÃæáì ÝÊì ãØæÞ ÈÇáÃÓÆáÉ¡ ÃÓÆáÉ ßÈíÑÉ æÕÛíÑÉ¡ ÃÓÆáÉ ÊäØáÞ ãä ãäÚØÝÇÊ ÐÇßÑÊå: áãÇÐÇ íÈÏÃ ãä ãÍØÉ ÈÇÈ ÇáÍÏíÏ ÍíË æÕá Çáì ÇáÞÇåÑÉ ÞÇÏãÇ ãä ÈÇÑíÓ¿ æáãÇÐÇ ÇÎÊÇÑ ÇáÞÇåÑÉ¡ æáã íÎÊÑ ÏãÔÞ áãÊÇÈÚÉ ÏÑÇÓÊå ÈÚÏ ÃÒãÉ ÇáÊÚáíã Ýí ÇáãÛÑÈ ÈÓÈÈ ÊÖííÞ ÇáÓáØÇÊ ÇáÝÑäÓíÉ Úáì ÇáÊÚáíã ÈÇááÛÉ ÇáÚÑÈíÉ¿ æáãÇÐÇ åæ ãÓßæä ÈÃÝáÇã ÚÈÏ ÇáæåÇÈ æÝÑíÏ ÇáÃØÑÔ æÃã ßáËæã¿\r\n\r\næßíÝ ÊÓááÊ Çáì äÝÓå ßÊÇÈÇÊ Øå ÍÓíä æÇáãäÝáæØí¿\r\n\r\n\\"ÍãÇÏ\\" åæ ÈØá ÇáíæãíÇÊ ÇáÊí ÊÊÈÚËÑ Ýí äÕ ãÝÊæÍ¡ íÍÇæá ÇáßÇÊÈ ßá áÍÙÉ¡ Çä íÄØÑå Ýí ÚäÇæíä¡ áßä ÏåÇáíÒ ÇáÐÇßÑÉ ÊÝáÊå ÏÇÆãÇ Ýí ãäÚØÝÇÊ æãäÚØÝÇÊ ÍÊì íÕÈÍ ÇáäÕ¡ ÏÇÆÑíÇ¡  íÈÏÃ ÏÇÆãÇ ãä ÍíË ÇäÊåì¡ æíÊßÑÑ ÏæÑÇäå Ýí ÇÊÓÇÚÇÊ ÊÊæÇÒì æáÇ ÊÊÔÇÈß áíÙá ÇáÞÇÑÆ ãáÇÍÞÇ ááÃíÇã ÇáÕÇÎÈÉ¡ æãÑÇÝÞÇ ÊÝÇÕíáåÇ ÇáÕÛíÑÉ ÇáÏÞíÞÉ¡ æÇáÊí ÊÔßá Ýí äåÇíÉ ÇáãØÇÝ¡ äÕÇ íÍÊÝí ÈÇáÐßÑì æÇáÐßÑíÇÊ¡ æáßä áíÓ ÈÇÓÊÑÌÇÚ æÍäíä íÓíá ÇáÏãÚÉ Çæ íÓÊÏÚí ÇáÔåÞÉ¡ Èá ÈÇÍíÇÁ Ðßí æÑÔíÞ áÊÝÇÕíá ããÊÚÉ æãÖÍßÉ¡ ÊÊæÇáì ãËá ÔÑíØ ßæãíÏí ÙÑíÝ æÑÇÞ¡ Ëã ÊåÏÃ áÊÊÓáá ÇáÍßãÉ æÇáÎÈÑÉ.\r\n\r\näÕ ÏÇÆÑí\r\n\r\nÑÛã Çä Ðáß ÇáÕíÝ¡ ßÇä áÇåÈÇð¡ æÞÏ ÃÕÈÍ ÊÇÑíÎÇð íÔíÑ Çáì ãÑÍáÉ ÕÇÎÈÉ ãä ÇáÊÇÑíÎ ÇáÚÑÈí¡ ÇáÇ Çä ÃíÇã \\"ÍãÇÏ\\" Ýíå ßÇäÊ ÊÍãá ÇáßËíÑ ãä ÇáÝßÇåÉ æÇáÈÑÇÁÉ æÇáØÑÇÆÝ. æÚßÓ ãÇ ÞÏ ÊÞÑÃ Ýí ÇáßËíÑ ãä ÇáÑæÇíÇÊ ÇáÊí ÊÊÍÏË Úä ÊÃãíã ÞäÇÉ ÇáÓæíÓ ÚÇã 1956 æÇáÇÚÊÏÇÁ ÇáËáÇËí ÇáÐí ÊáÇåÇ ÝÇä \\"ÍãÇÏ\\" æÝí Ùá Ðáß ÇáÕÎÈ æÇáÇÍÊÏÇã¡ ÇÎÊÇÑ ÇáÊæÞÝ ÚäÏ ÊÝÇÕíá ÇÎÑì. Çäå ÇáãÛÑÈí ÇáÐí íãÊáÆ ÍãÇÓÇð æÑÛÈÉ Ýí ÇáÊØæÚ¡ ãËá ßËíÑ ãä ÇáØáÈÉ ÇáÐíä ÊÍãÓæÇ ááÐæÏ Úä ÇáæØä ÇáÚÑÈí ÇáßÈíÑ¡ ÝÊØæÚæÇ æÊÏÑÈæÇ. æãÚåã æãÚ ÍãÇÏ íÚíÔ ÇáÞÇÑÆ ÊÝÇÕíá ÇáÔÈÇÈ ÇáÕÛÇÑ ÇáÐíä íãÇÑÓæä ÔÛÈåã æØÑÇÆÝåã ãÚ ãÏÑÈíåã¡ Ëã Ýí ÇáÍÈ æÇáÚáÇÞÇÊ æãíÒÇäíÇÊ ÇáØáÈÉ ÇáÔÍíÍÉ¡ ãäÐ Çä íÕá ÍãÇÏ Çáì ÇáÞÇåÑÉ¡ áíÈÏÃ ÑÍáÉ ÏÑÇÓÊå ÇáÌÏíÏÉ¡ æíáÊÍÞ ÈÇÍÏì ÇáãÏÇÑÓ áíÍÕá Úáì ÔåÇÏÉ ÇáÊæÌíåíÉ¡ Ëã íÕÈÍ ØÇáÈÇ Ýí ßáíÉ ÇáÂÏÇÈ. ÍãÇÏ íãÖí ÇÑÈÚ ÓäæÇÊ ãä ÇáÏÑÇÓÉ¡ äÚíÔåÇ ããÚå¡ áíÓ íæãÇð Èíæã¡ Èá Ýí ãÍØÇÊ ÊÊÏÇÎá Èíä ßá ÒíÇÑÉ áå Çáì ÇáÞÇåÑÉ. Çä ÇáÑæÇíÉ ÊÈÏÃ \\"ãä ÇáÐÇßÑÉ\\" æåí ÇáÐÇßÑÉ ÇáÊí ÞÏ áÇ ÊÓÊÑÌÚ ÇáÍÏË¡ Èá ÊÚæÏ Çáì ãÍØÉ ÇÎÑì ãä ÐßÑíÇÊåÇ ÇáãÇÖíÉ Úäå¡ åßÐÇ äÌÏ ÚæÏÊå áÃßËÑ ãä ãÑÉ Çáì ÞÇåÑÊå¡ Èíä ÇÚæÇã 1966 – ÈÚÏ ÚÔÑ ÓäæÇÊ ãä æÕæáå ÇáíåÇ – æ1975 æÓäæÇÊ ÃÎÑì Ýí ÇáÊÓÚíäÇÊ¡ æÕæáÇ Çáì ÇáÝÕá ÇáËÇäí ÇáÐí íÚáä Ýíå ÈØá ÇáÑæÇíÉ¡ Ãæ ÇáßÇÊÈ Çäå ÇÕÈÍ ÇÓÊÇÐÇð ÌÇãÚíÇð.\r\n\r\n	æåÇ åí ÇÑÈÚæä ÚÇãÇð ÞÏ ãÖÊ Úáì ÑÍáÉ ÇáæÕæá ÊÌíÁ áÊÄßÏ Ýí áÍÙÉ¡ Çä ÇáÛÕÉ åí ÇáÛÕÉ¡ æÇáÍäíä åæ ÇáÍäíä¡ æÇä ãÇ ãä ÔíÁ íÓÊØíÚ Çä íæÞÝ ÇáÒãä Çæ íßÑÑå¡ Çä \\"ÍãÇÏ\\" æÞÏ ÃÕÈÍ \\"ãÍãÏ\\" Ýí ÇáÝÕá ÇáÃÎíÑ ãä ÇáÑæÇíÉ¡ íÍÇæá Çä íÎÊÑÞ åÐÇ ÇáãÓÊÍíá¡ íÚæÏ Çáì ÇáÃãÇßä äÝÓåÇ ÇáÊí ÚÇÔåÇ æåæ ØÇáÈ¡ íÍÇæá ÇááÞÇÁ ÈÇáäÇÓ ÇáÐíä ÚÑÝåã æÃÍÈåã¡ ÈÇáäÓÇÁ ÇáØíÈÇÊ ÇááæÇÊí Óßä Ýí ÔÞÞåä¡ æÈÍÈíÈÇÊ ÇßÊÔÝ ãÚåä ÇáãÚÇäí ÇáÃæáì ááÛÑÇã. æÝí ßá åÐå ÇáÚæÏÉ æÇáÇÓÊÚÇÏÉ íßÑÑ ÇáßÇÊÈ ÇßÊÔÇÝå áÐáß \\"ÇáÕíÝ ÇáÐí áä íÊßÑÑ\\".\r\n\r\nÕíÝ ÍãÇÏ ÇáãÛÑÈí¡ ÇáÐí ÇÓÊØÇÚ Çä íÞÏã áÃæá ãÑÉ Ýí ÇáßÊÇÈÉ ÇáÚÑÈíÉ ÇáÍÏíËÉ¡ Ðáß ÇáÌÓÑ ÇáÍãíã Èíä ÇáãÔÑÞ æÇáãÛÑÈ æÇáÐí ÊÌÊãÚ ÝæÞå ÇáÐßÑíÇÊ æÇááÂåÇÊ æäÞÇØ ÇáÊæÇÕá æÇáÇáÊÍÇã¡ ÅÐ áíÓ åäÇß Úáì åÐÇ ÇáÌÓÑ ãÇ íÐßÑ ÈÇáãËá ÇáÔÚÈí ÇáØÑíÝ \\"ãÇ ÇáÐí íÌãÚ ÇáÔÇãÈí Úáì ÇáãÛÑÈíö¡ Èá Úáì ÇáÚßÓ¡ ÍíË íÄßÏ ÍãÇÏ ÈÚÖ ÇáÙæÇåÑ ÇáÇÌÊãÇÚíÉ ÇáÊí ÚÇíÔåÇ Èíä ÇáÞÇåÑÉ æÇáÑÈÇØ ¡ ßÙÇåÑÉ ÇáÚÒæÈÉ¡ æÇáÚÐÑíÉ æÇáÞÑÇÁÇÊ æÛíÑåÇ.\r\n\r\nÝä ÇáÇÚÊÑÇÝ\r\n\r\nÝí \\"ãËá ÕíÝ áä íÊßÑÑ\\" ÑÍáÉ ÔíÞÉ ÕÇÎÈÉ æÌãíáÉ¡ ÊæÇßÈ ÊÍæáÇÊ ÇáÝÊì ÇáÐí ÃÕÈÍ ÑÌáÇð¡ æíÈÏæ Çä ÇíÞÇÚ ÇáßÊÇÈÉ ßÇä ãäÓÌãÇð æãÊäÇÛãÇð ãÚ ÑÍáÉ ÇáÒãä¡ ÝåÇ åí ÇáÃÍÏÇË ØÑíÝÉ æÑÔíÞÉ æãÖÍßÉ æÓÇÎÑÉ æáÇÐÚÉ Ýí ÇáÝÕæá ÇáÃæáì¡ ÚäÏãÇ ßÇä ÍãÇÏ Ýí ÃæÌ ÇáÔÈÇÈ¡ Ëã åÇ åí ÊÊÈÇØÃ æÊÊÚÞá æÊÊÃãá Ýí ÇáÝÕæá ÇáÃÎíÑÉ¡ ÚäÏãÇ íÊÞÏã ãÍãÏ Ýí ÇáÓä¡ æåÇ åí æÓØ ßá åÐå ÇáÞäÇÚÇÊ ÇáÓíÇÓíÉ æÇáæØäíÉ æÇáÑÄíÉ Çáì ÇáÍíÇÉ ÊÒÏÇÏ ÚãÞÇð æÊÝåãÇð áÊÕá Çáì ÊÃãáÇÊ ãÊÏÝÞÉ ÈÇáÈÍË ÇáãÓÊÚÕí Úä ÚáÇÞÉ ÇáÍíÇÉ æÇáãæÊ¡ íÊæÌåÇ Ðáß ÇáÝÕá ãÇ ÞÈá ÇáÃÎíÑ \\"ÝÑÚæä Ýí ßÝä ãä ßÊÇä\\" Ííä íÑì ÇáßÇÊÈ ãæãíÇÁ ÑãÓíÓ ÇáËÇäí¡ æåí ÊÓÊÍÖÑ áå ÌäíäÇð ÛÖÇð áã íãßË Èíä ÇÍÖÇäå ÅáÇ äÕÝ ÓÇÚÉ¡ ÝÝí åÐÇ ÇáÝÕá ÊÒÇæÌ ãÄËÑ Èíä æÌå äÙäå ÛÇÝíÇð æÛÇÑÞÇð Ýí äæã åÇÏÆ ææÌå ØÝá íäÇã ãæÏÚÇð ÇáÍíÇÉ ÞÈá Çä íÚíÔåÇ.\r\n\r\nÚäÏãÇ äÛáÞ åÐÇ ÇáßÊÇÈ äÊÓÇÁá: åá ßÇäÊ ÑæÇíÉ \\"æÇÞÚíÉ\\"¿ åá ßÇä äÕÇð ãÝÊæÍÇð Èíä ÇáÑæÇíÉ æÇáíæãíÇÊ¿ åá ÇÓÊØÇÚÊ ÇáÊÝÇÕíá ÇáÕÛíÑÉ ÇáÊí ãáÃÊäÇ ÈåÌÉ æÇäÊÒÚÊ ãäÇ ÖÍßÇÊ ßËíÑÉ¡ ÎÇÕÉ æåí ÊÚßÓ ÑæÍ ÇáäßÊÉ ÇáãÕÑíÉ ÇáØÑíÝÉ – Ãä ääÔÆ ÈäíÉ ÑæÇÆíÉ ÞæíÉ ÈÔÎÕíÇÊåÇ ÇáÍÞíÞÉ (ÃÏÈÇÁ æÝäÇäæä¡ ÃÓÇÊÐÉ æäÓÇÁ). ãÍãÏ ÈÑÇÏÉ¡ æåæ ÇáÑæÇÆí æÇáäÇÞÏ¡ íÑÇåä Ýí ßÊÇÈå Úáì ÇÌÇÈÇÊ ÚÏÉ¡ æÇÚÊÞÏ Çäå ÓÇÓÊÎÏÇãå ÇáÖãíÑ ÇáÛÇÆÈ ÇáãÊßáã Ýí ÇáÌÒÁ ÇáÃÎíÑÉ \\"ãÍãÏ\\" ÊÚãÏ æÇÖÍ íÖÚ Ýíå ÏÚÇãÉ ÇÎÑì Ýí Ýä ÑæÇíÇÊ ÇáÇÚÊÑÇÝ ÈÇÞÊÍÇã æÌÑÃÉ. \r\n', '', '2003-09-22 00:00:00', 3, 0);
INSERT INTO `hs_articles` VALUES (21, 'ßÇÊÈ ÈÑíØÇäí íÊåã ÔÇÑáæÊ ÈÑæäÊí ÈÇáÞÊá ÚãÏÇ', '', '&#9679; ÔÇÑáæÊ ÈÑæäÊí ÞÇÊáÉ ÇÐä¿\r\näÚã. åí ÞÊáÊ ÔÞíÞÊåÇ Åãíáí¡ æÔÞíÞÊåÇ Âä æÔÞíÞåÇ ÈÑæäæíá. ËáÇË ÌÑÇÆã ÏÝÚÉ æÇÍÏÉ æÝí ÎáÇá ÇÔåÑ ÞáíáÉ. æáßä æáÃä \\"Úáì ÇáÙÇáã ÊÏæÑ ÇáÏæÇÆÑ\\" ßãÇ íÞÇá¡ ÞÊáÊ ÔÇÑáæÊ äÝÓåÇ ÈÚÏ ÍæÇáí ÓÈÚ ÓäæÇÊ æÈíÏ ãä ÓÇÚÏÊå Úáì ÞÊá ÇÔÞÇÆåÇ. Ãí ÈíÏ ÇáÑÃÓ ÇáãÏÈÑ áßá åÐå ÇáÌÑÇÆã: ÒæÌåÇ ãÓÇÚÏ ÇáÞÓ (ÑÇÚí ÇáÃÈÑÔíÉ)¡ ÂÑËÑ Èíá äíßæáæÓ¡ ÇáÐí áã íßä ÞÏ ãÖì Úáì ÒæÇÌ ÔÇÑáæÊ ãäå ÅáÇ äÍæ ËãÇäíÉ ÃÔåÑ.\r\n\r\n	ÌÑíãÉ ãËáËÉ¡ Ãæ ãÑÈÚÉ¡ ÊßÔÝ ÈÚÏ ÞÑä æäÕÝ ãä Òãä ÇÎæÇÊ ÈÑæäÊí ÇáÐí Ñæí ãËá ÇáÍßÇíÇÊ¡ æÚáì ÃßËÑ ãä ãÓÊæì æÕÚíÏ æÏÑÓ ßÇÊÌÇåÇÊ Ýí ÇáÃÏÈ¡ æÚÑÝÊ ÈØáÇÊå ßäÌæã ÎÇáÏÉ Ýí ÓãÇÁ ÇáÇäÊÇÌ ÇáÃÏÈí Ýí ÇáÚÇáã.\r\n\r\n	ãÆÇÊ ÇáßÊÈ ÇáäÞÏíÉ ØÑÍÊ Íæá ÇáÇÎæÇÊ ÈÑæäÊí¡ Ýãä ÇÊÌÇåÇÊ ÇáäÞÏ ÇáßáÇÓíßí¡ Çáì ÇáäÓæí¡ Çáì ÇáäÝÓí¡ Çáì ÇáÇáÓäí Çáì ÇáæÌæÏí… Çáì ÂÎÑå. ÊßÏÓÊ ÇáÑÝæÝ ÈÇáäÞÏ æÇáÊÍáíá æßÊÈ ÇáÓíÑÉ¡ ÍÊì ÇÕÈÍÊ ÞÑÇÁÉ ÑæÇíÇÊåä æÏæÇæíäåä íãßä Çä ÊÓÊÚÇÏ æãä ãÆÇÊ ÇáÒæÇíÇ¡ áÊáÈí ØáÈ ßá äÙÑíÉ. ÛíÑ Çä äÙÑíÇÊ ÇáÇÏÈ¡ Ýí ÂæÇÎÑ åÐÇ ÇáÞÑä ßãÇ íÈÏæ¡ áã ÊÚÏ ÈÑíÆÉ¡ Èá åí áÇ ÊåÏÃ ÇáÇ ÇÐÇ ÝÌÑÊ ÞäÈáÉ Çæ ÝÖíÍÉ¡ ÇäØáÇÞÇ ãä ÑÝÖ Ãæ ÊÔæíå¡¡ æáÚá åÐÇ ãÇ ÔÚÑÊ Èå æÇäÇ ÇÊæÞÚ ÕÏæÑ ßÊÇÈ ÌíãÓ Êæááí¡ ÞÑíÈÇ (íÕÏÑ Ýí ÃÛÓØÓ ÇáÞÇÏã) æÇáÐí íÐßÑ Ýíå¡ æÈÚÏ ÚÔÑ ÓäæÇÊ ãä ÇáÈÍË¡ ÈÃä ÔÇÑáæÊ ÈÑæäÊí¡ (1855 – 1816) ÇáÃÎÊ ÇáßÈÑì áÅãíáí (1848 – 1818) æÂä ÈÑæäÊí (1849 – 1820) æÈÑæäæíá ÈÑæäÊí (1848 – 1817) ÃÞÏãÊ ÊÍÊ ÔÚæÑ ØÇÛ ãä ÇáÛíÑÉ ÇáÃÏÈíÉ (ÎÇÕÉ ãä ÔÞíÞÊåÇ Çãíáí) æãä ÇáÌÔÚ ÇáãÇÏí (áÊÑË ßá ÍÞæÞ äÔÑ ÇäÊÇÌ ÃÎÊíåÇ) æãä ÇáÇÓÊÓáÇã áÚáÇÞÉ ÚÇØÝíÉ ãÌäæäÉ ÈÂÑËÑ äíßæáæÓ¡ Úáì ãÓÇÚÏÊå Ýí ÚãáíÇÊ ÇáÞÊá ÇáåÇÏÆÉ ÇáÊí ÊÎÝí ÚÕÝÇ ÏÇÎáíÇ ãÏãÑÇ¡ íÔÈå Úáì äÍæ ÈÚíÏ ÃÌæÇÁ ßÊÇÈÇÊ ÇáÇÎæÇÊ ÈÑæäÊí¡ æÇáÊí ÊÊÇÎì Ýí ÇÖÏÇÏ ÇáÍíÇÉ æÇáãæÊ¡ æÇáÞíã æËäÇÆíÇÊ ÇáÎíÑ æÇáÔÑ áÊÈÏæ ÇáÌÑíãÉ ááæåáÉ ÇáÇæáì¡ ãËá Êáß ÇáÈíæÊ æÇáÞÕæÑ ÇáÝßÊæÑíÉ ÇáÊí ÚÔä æÊäÞáä ÈíäåÇ¡ ææÓØ ÝÖÇÁ ÇÎÇÐ ãä ØÈíÚÉ íåÏÑ ÝíåÇ åæÇÁ ÛíÑ ãÑÆí æÊäÏáÚ ãä áåíÈ ãÏÇÝÆåÇ ÔÑÇÑÇÊ ãä ÌãÑ¡ áíÓ ÏÇÎá ÇáãÏÇÝÆ ÝÍÓÈ¡ Èá ÏÇÎá ÇáäÝæÓ.\r\n\r\n	ÇáãÄáÝ ÌíãÓ Êæááí James Tull ÈÇÍË Ýí ÇáÌÑíãÉ¡ æÓÈÞ Çä ÇãÖì ÓäæÇÊ ØæíáÉ Ýí ßÔÝ ÛãæÖ ÌÑÇÆã ÕÚÈÉ¡ íÚáä Ýí ßÊÇÈå¡ ÇáÐí ÓíÕÏÑ Úáì Ôßá ÑæÇíÉ¡ ÈÃä ÔÇÑáæÊ ÞÇÊáÉ. áßäå ßãÇ íÄßÏ¡ áÇ íäØáÞ ãä æåã Ãæ ÇÝÊÑÇÖ ÈÚíÏ¡ Çæ ÎíÇá ÌÇãÍ¡ ßãÇ ÇÝÊÑÖ ßÇÊÈ \\"ÔßÓÈíÑ ÚÇÔÞÇ\\"¡ ãËáÇ¡ Èá åæ ÊäÇæá æËíÞÉ ßÇä ÞÏ ÚËÑ ÚáíåÇ ÇáãÍÇãí ÊÔÇÑáÒ ßæÊÓ\r\nCharles Coutts æÊÚæÏ Çáì ãÇÑÊÇ ÈÑÇæä Martha Brown ÇÍÏì ÇáÎÇÏãÇÊ ÇááæÇÊí ßä íÚãáä Ýí ÇáÜ Poursomage¡ ãäÒá ÇáÞÓ ÇáÐí ßÇäÊ ÊÚíÔ Ýíå ÚÇÆáÉ ÈÑæäÊí Ýí åÇæÑË (Howarth).\r\n\r\n	ÇáæËíÞÉ¡ ßãÇ íÌÏåÇ ÇáãÄáÝ¡ ÈÅãßÇäåÇ Çä ÊÓÍÈ ÇÕÏÇÁ ÕÑÇÎ ãßÈæÊ¡ áã ÊÊÌÇæÒ ÍÏæÏ ÌÏÑÇä ãäÒá ÈÑæäÊí¡ æáÚá ÇáÎÇÏãÉ – ßãÇ ÇÊæÞÚ Çä íÌÏ ÇáãÄáÝ – ÙáÊ ÊÎÈÆ ØæíáÇ ÓÑÇ ÏÝíäÇ¡ ãä äæÚ Êáß ÇáÇÓÑÇÑ ÇáÊí íäÈÛí Çä ÊÊßæã ãÆÇÊ ÇáÊÝÇÕíá áÊÄáÝåÇ¡ Ýåá ÇßÊÔÝÊ ÇáÎÇÏãÉ ãËáÇ äÓÈÉ ÇáÓã ÇáÊí ßÇäÊ ÊÖÇÝ Çáì ØÚÇã Âä æÅãíáí ÇáãÑíÖÊíä¿ æÇáÊí Úáì ÇáÃÞá – ßãÇ íÑì ÇáãÄáÝ – Çä ÇÍÏÇåãÇ ßÇä áÇ ÈÏ æÇä ÊÊäÇæá ØÚÇãåÇ¡ ãä íÏ ÔÞíÞÊåÇ¿ ÓíÝÊÑÖ Êæááí ÍæÇÑÇÊ ãÊÎíáÉ¡ ÓæÇÁ Èíä ÇáÇÎæÇÊ Çæ ÑÈãÇ Èíäåã æÈíäå¡ æáßäå åæ ÇáÐí íÚÊÈÑ ÎÈíÑÇ Ýí ÇáÓãæã ÇáÊí ßÇäÊ ÊÓÊÚãá Ýí ÇáÞÑä ÇáÊÇÓÚ ÚÔÑ¡ íÓÊØíÚ Çä íÞäÚäÇ ÈÇä ãÇÏÉ ÇáÜAntimony åí äæÚ ãä ÇáãÚÏä ÇáËÞíá íÍÊæí Úáì ãÇÏÉ ÇáÜAMSenic æßÇä ÓãÇ ÔÇÆÚÇ Ýí Ðáß ÇáÚÕÑ¡ ÞÏ ÇÓÊÎÏãå ÇáÏßÊæÑ æíáíÇã ÈÑíÊÔÇÑÏ ÚÇã 1865 Ýí ÞÊá ÒæÌÊå ææÇáÏÊåÇ æÎÇÏãÊå. 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ÚÇáã ÔÇÑáæÊ ÕÇÑã¡ ÔÑÓ¡ ÌÇÝ¡ ÝíãÇ ÚÇáã Çãíáí¡ æÎÇÕÉ Ýí ÞÕÇÆÏåÇ \r\nNo Coward Soul æwritten in Aspin Castle ÝÖÇÁ ãÝÊæÍ¡ Úáì Ãáã æÍßãÉ æÚÒáÉ ËÑíÉ æÊÏÝÞ ãæÓíÞí íÍÝÑ Ýí ÇáÚÞá æÇáæÌÏÇä ãÚÇ. ÞÏ ÊÚÒÒ áÏí åÐÇ ÇáÇÞÊÑÇÈ æÇäÇ ÇÞÑÃ ßÊÇÈ Çãíáí ÈÑæäÊí “A Chainless Soul\\" ÝÞÏ äÈåäí ãÑÉ ÃÎÑì Çáì ÇáÇÎæÇÊ ÈÑæäÊí¡ æÇáì Ûäì æËÑÇÁ æÍßãÉ Çãíáí. ÛíÑ Çä ÇáãÏåÔ ÇíÖÇ Çä íÌÏ ÇÍÏäÇ Ýí åÐÇ ÇáßÊÇÈ äÝÓå ãÇ íÚÒÒ ÇÝÊÑÇÖ Çæ ÊæÞÚ Çæ ÇÊåÇã ÇáßÇÊÈ Êæááí Ýí ÑæÇíÊå ÇáãÞÈáÉ. åäÇß ÇÔÇÑÇÊ ÚÇÈÑÉ¡ áßäåÇ ÛÇãÖÉ Úä ãæÊ Çãíáí¡ æÊÝÇÕíá Úä ÎáÇÝÇÊåÇ ÇáãÊÊÇáíÉ ãÚ ÔÞíÞÊåÇ ÔÇÑáæÊ æÎÇÕÉ Ýí ÇíÇãåÇ ÇáÇÎíÑÉ. ÊÞæá ßÇËÑíä æÊÚÒÒÇÞæÇáåÇ ÈÑÓÇÆá ÔÇÑáæÊ Çáì ÕÏíÞÉ ÚãÑåÇ Çíáíä äæÓí ÇäåÇ ÇØáÚÊ ÐÇÊ íæã æÈÔßá ÓÑí Úáì ÞÕÇÆÏ Çãíáí¡ ÝÞÏ ÈÏÃÊ Çãíáí ÊÎÈÆ ÏÝÊÑåÇ¡ æÇäÊåÊ ÝÊÑÉ ÇáßÊÇÈ ÇáãÔÊÑß¡ Çæ ÌÑíÏÉ ÇáÍÇÆØ ÇáÊí ßä íßÊÈä ÈåÇ. åá ÈÏÃÊ ÔÇÑáæÊ ÊÛÇÑ ãä Çãíáí ãäÐ Çä æÞÚÊ ÚíäåÇ Úáì Êáß ÇáÞÕÇÆÏ ÇáãÊÝÌÑÉ æÚáì ÇáÔÚÑ ÇáÍÞíÞí¿\r\n\r\n	ÈÇáØÈÚ ÝÇä ßÇËÑíä ÝÑÇäß áã ÊØÑÍ ãËá åÐå ÇáÇÓÆáÉ¡ áßäåÇ æÚáì äÍæ ÛÑíÈ¡ ÊÈÏæ æßÃäåÇ ÞÏãÊ áßÊÇÈ Êæááí. ßäÊ ÇÚíÏ ÞÑÇÁÉ ßÊÇÈåÇ ãäØáÞÉ ãä Ðáß ÇáÓÄÇá ÇáÎÈíË æÇáÐí íãßäå Çä íØæÞß ÚäÏãÇ ÊÓãÚ ÔÇÆÚÉ ãÛÑÖÉ ÝÊÞæá ÑÛã ßá ÇáÇáÊÈÇÓÇÊ Çæ ÇãÇã ßá ÇáÊÑÏÏ: åá íÚÞá¿ æãä íÏÑí.. ÝÑÈãÇ..\r\n\r\nÇáæÇÞÚ æÇáÇÍÊãÇá\r\n\r\n	åÐÇ ÍÞÇ ãÇ íãßä Çä íÞÇá¡ æäÍä äÊÑß ÎíæØ ÇáÎíÇá ÊÓÍÈ äÝÓåÇ ãä æÞÇÆÚ: ÔÇÑáæÊ åí ÇáäÇÌíÉ ÇáæÍíÏÉ¡ ÝÇÐÇ ßÇä ãÇ ÇÕÇÈ ÔÞíÞåÇ æÔÞíÞíÊåÇ ãÑÖ ÇáÓá Çæ Íãì ÇáÈÑÏ Çæ ÇáÑÈæ¡ ßãÇ ÇÔíÚ¡ æßáåÇ ÇãÑÇÖ ãÚÏíÉ¡ ÝáãÇÐÇ áã ÊØáåÇ Ãí ÐÑÇÊ ãä ÇáÚÏæì¿ æÞÈá åÐÇ¡ åÐÇ ÇáíÃÓ ÇáÝÙíÚ ÇáÐí ÇÕÇÈåÇ ÈÚÏ ãæÊ Çãíáí¡ æÐáß ÇáÇäÛãÇÑ Ýí ÇáßÊÇÈÉ ÚäåÇ Ýí ßÊÇÈåÇ \\"ÊÔíÑáí\\" åá ßÇä åÇÌÓ ÇáäÏã¿ ÊÞæá ßÇËÑíä ÝÑÇäß: \\"ÔÇÑáæÊ ÚÇÔÊ ÝÊÑÉ ãÑÖ Çãíáí ÈÔßá ÔÈå ãÏãÑ¡ ÝÞÏ ßÇäÊ Çãíáí ÊÑÝÖ Çä ÊÈÇÏáåÇ ßáãÉ æßÇäÊ ÊÑÝÖ ÇáØÚÇã¡ æÇáÇåã ãä åÐÇ ÇäåÇ ÑÝÖÊ ÇáÚáÇÌ¡ æåãÓÊ ÐÇÊ íæã ÇäåÇ áÇ ÊÑíÏ ãÓÇÚÏÉ ÇÍÏ æÎÇÕÉ åÄáÇÁ \\"ÇáÃØÈÇÁ ÇáãÓãæãæä\\". æáÚá ãËá åÐå ÇáÚÈÇÑÇÊ ßÇäÊ ÊãÑ ÚÇÈÑÉ¡ ÇáÇ Çä ÇÓÊÚÇÏÊí ÞÑÇÁÊåÇ ÈÚÖ ÇÝÊÑÇÖ Çæ ÊÓÇÄá Êæááí íÌÚá áåÇ ÑåÈÉ ÎÇÕÉ. ÇäåÇ ÍÞÇ ÑåÈÉ ÇáÊÓÇÄá æÇáÊæÞÚ æÇáÔß¡ æßÃä ßÇËÑíä ÝÑÇäß åí ÇáÇÎÑì ÓÃáÊ ãÇ íÑíÏ Çä íÓÃáå Êæááí¡ æáßä Ïæä ÕÏãÉ Çæ ãÈÇÔÑÉ ÝÖÇÆÍíÉ. ßÇËÑíä ÞÇáÊ åÐÇ ÞÈá äÍæ ÊÓÚ ÓäæÇÊ æÑæÊ ÇáßËíÑ Úä ÎáÇÝÇÊ ÇáÇÎæÇÊ ÈÑæäÊí. ÇáÇ Çä ÇáÓÄÇá íÈÞì: ÇÐÇ ßÇäÊ ÔÇÑáæÊ ÞÏ ÞÊáÊ Çãíáí áÇäåÇ ÊÛÇÑ ãäåÇ æáÃäåÇ ÇÎÊáÝÊ ãÚåÇ ØæíáÇ¡ æÞÊáÊ ÔÞíÞåÇ ÈÑæäæíá Ãäå ßÇä ÝÖíÍÉ ÇÎÑì ÊäåÔ ÓãÚÊåä¡ ÝÊæÑØå ÈÇáãÎÏÑÇÊ æÇáÇÏãÇä¡ ÌÚá ãäå ÔÎÕíÉ ÚÇÞÉ¡ ÛíÑ ÂÈåÉ¡ æÝÔá Ýí ßá ÔíÁ¡ Ýí ÇáÚãá æÇáÊÌÇÑÉ æãÍÇæáÇÊ ÇáßÊÇÈÉ. æíÈÞì áå ÝÖá æÇÍÏ ßãÇ ÊÞæá ßÇËÑíä¡ æåæ Çäå åæ ÇáÐí ÇÞäÚ ÇÎæÇÊå ÈÃä ßÊÇÈÉ ÇáÑæÇíÉ ÇßËÑ ÍÙÇ Ýí ÇáÇäÊÔÇÑ ãä ÇáÔÚÑ¡ æãÚ Ðáß ÝÇÐÇ ßÇä ÈÑæäæíá íÓÊÍÞ ÇáãæÊ áíÑíÍ æíÓÊÑíÍ¡ ÝáãÇÐÇ ÊÞÊá ÔÇÑáæÊ Âä¿ æåí ãÓÇÚÏÊåÇ Çáíãäì¿ æåí ÇáãÊÝÞÉ ãÚåÇ Ýí ßá ÔíÁ¡ æåí ÇíÖÇ ÇáÊí áã ÊÍÞÞ ÔåÑÉ ÏÇæíÉ Ýí ßÊÇÈÊåÇ Çæ ÍÖæÑåÇ ãËá Çãíáí¿\r\n\r\nÇáÔåÑÉ æÇáËÑæÉ\r\n\r\n	ÇäØáÇÞ Êæááí íÃÊí ãä ÏæÇÝÚ ÇáÛíÑÉ æÇáÌÔÚ¡ ÝÂä ÓÊßæä ÇÍÏì æÑíËÇÊ ÍÞæÞ ÇáÇäÊÇÌ ÇáÊí ÈÏÃÊ ÊãØÑ Úáì ÈÑíÏ ãäÒá ÇáÇÎæÇÊ ÈÑæäÊí. ÝÐÇÊ íæã ÊáÞÊ ÔÇÑáæÊ ãÆÉ Ìäíå ßÇãáÉ¡ Úä äÇÔÑ ØÈÚ äÓÎÇ ãä \\"Ìíä ÇíÑ\\" æÏíæÇäåä Ýí ÇãíÑßÇ¡ æÇáãÆÉ Ìäíå Ýí Ðáß ÇáæÞÊ åí ËÑæÉ. æÔÇÑáæÊ¡ áíÓÊ ãËá Çãíáí¡ Ýåí ÊÓÚì ááäÒæá Çáì áäÏä æÇáÇáÊÞÇÁ ÈÇáÔÎÕíÇÊ æÒíÇÑÉ ÇáãÊÇÍÝ æÊßÑíÓ ÍÖæÑåÇ ÇáÇÏÈí ÇáÐí ÓíÛØí Úáì ÍÖæÑåÇ ÇáÇÌÊãÇÚí ÇáÔÇÍÈ. ÔÇÑáæÊ ØãæÍÇÊåÇ ßÈíÑÉ¡ áßä Çãíáí ÍßãÊåÇ ÇßÈÑ¡ Ýåí ÇáÊí ÇÓÊËãÑÊ áÝÊÑÉ ÇãæÇá ÚæÇÆÏ ÍÞæÞ ÈíÚ ÇáßÊÈ¡ æÇÞäÚÊ ÔÇÑáæÊ ÈÔÑÇÁ ÇÓåã Ýí ÔÑßÉ ÓßÉ ÇáÍÏíÏ ÇáÌÏíÏÉ¡ æåí ÇáÊí ßÇäÊ ÊäÙã ÇáÔÄæä ÇáãÇáíÉ. ßÇäÊ ÇßËÑ ÍäßÉ ææÇÞÚíÉ. ÊåæÑåÇ ÇáÔÚÑí ÏÇÎáí¡ æÊäÙíãåÇ Çáíæãí æÇÞÚí¡ ÈíäãÇ ÔÇÑáæÊ ÕÇÎÈÉ¡ ãÛÇáíÉ¡ ãåíãäÉ¡ ãÓíØÑÉ¡ æåÐÇ ãÇ ÇÚÊÑÝÊ Èå Ýí ÑÓÇÆáåÇ æãÇ ÊæÕáÊ Çáíå ßÇËÑíä Ýí ßÊÇÈåÇ ÇáÌãíá.\r\n\r\n	Ýí ÇáÃíÇã ÇáÃÎíÑÉ ãä ÍíÇÉ Çãíáí¡ Ãí Ýí ÔåÑ ÏíÓãÈÑ (ßÇäæä ÇáÇæá) æÈÚÏ æÝÇÉ ÔÞíÞåÇ ÈäÍæ ÔåÑíä (ÊæÝí Ýí 24 ÓÈÊãÈÑ (Ãíáæá) 1848) ßÇä ÃåÇáí ãÞÇØÚÉ åÇæÑË íÑæäåÇ ãä ÈÚíÏ¡ ÊÊãÔì ÇÍíÇäÇ ãäåßÉ ÈÑÝÞÉ ßáÈíåÇ¡ æãä ÈÚíÏ¡ ÞÑÈ ÇáßäíÓÉ ßÇä ÂÑËÑ äíßæáæÓ íáÞí äÙÑÇÊå ÇáíåÇ¡ æåæ ÇáÐí – ßãÇ ÊÞæá ßÇËÑíä ÝÑÇäß – Ýåæ ÇáÐí ÃÞÇã ÈÚÏ ÃíÇã ÞáíáÉ ( Ýí 19 ÏíÓãÈÑ 1848) ãÑÇÓã ÏÝäåÇ¡ áíÞÊÑÈ ãä ÊÇÑíÎ ÇáÇÎæÇÊ ÈÑæäÊí ÈÚÏ Ðáß ÈÔßá ÚÇÕÝ¡ íÔÈå ÍíÇÊåä æÑæÇíÇÊåä¡ ÝíÎÑ ÐÇÊ íæã Úáì ÞÏãí ÔÇÑáæÊ ØÇáÈÇ ãæÇÝÞÊåÇ Úáì ÇáÒæÇÌ ãäå¡ áßäåÇ ÊÖÚ ÇãÇãå ÔÑæØÇ ÛÑíÈÉ æåí: ÊæÞíÚå Úáì æËíÞÉ ÊÍÑãå ãä ÇáÊãÊÚ ÈäÕÝ ËÑæÊåÇ – ÍÓÈ ÊÞÇáíÏ ÇáÒæÇÌ Ýí ÈÑíØÇäíÇ – ßãÇ ÊÌÈÑå Úáì ÇáÚäÇíÉ ÈæÇáÏåÇ (ßÇä ÚãÑå 77 ÓäÉ) ÈÚÏ æÝÇÊåÇ æÚÏã ÇáÊÕÑÝ ÈßÇãá ËÑæÊåÇ ÇáÇ ÈÚÏ æÝÇÊå. ÇáÛÑíÈ ÇíÖÇ¡ Çä ÂÑËÑ Èíá äíßæáæÓ¡ ßãÇ íÐßÑ Êæááí æßÇËÑíä Úáì ÇáÓæÇÁ æÇÝÞ Úáì ÇáÔÑæØ ßãÇ íÈÏæ – ÍÓÈ åÐÇ ÇáÇÝÊÑÇÖ – ßÇäÊ Ýí ÇáæÞÊ ÇáãÍÏÏ¡ ÝÚäÏãÇ ÇÍÓ ÈÃä ßÇÆäÇ ÓíäÇÝÓå Úáì ÇáËÑæÉ – ÈÚÏ Çä ÇÚáäÊ áå ÔÇÑáæÊ ÈÃäåÇ ÍÇãá – ÊÑÇÌÚÊ ÚÇÝíÊåÇ ÝÌÃÉ æÒÇÏÊ ÍÇáÊåÇ ÓÄÇ æÊæÝíÊ ÈÚÏ ÓÈÚ ÓäæÇÊ Úáì æÝÇÉ ÔÞíÞåÇ æÔÞíÞÊíåÇ Âä æÇãíáí Ýí (31 ãÇÑÓ (ÂÐÇÑ) 1855).\r\n\r\n	åá æÞÚÊ Ýí åÐå ÇáÞÑÇÁÉ ÊÍÊ åÐÇ \\"ÇáßÊÇÈ ÇáãÓãæã\\"¿ æåá íãßääÇ ÍÞÇ ÑÝÖ Ãí ÇÍÊãÇá Ýí åÐÇ ÇáÒãä ÇáÐí ÊÎÊáØ Ýíå ßá ÇáÃæÑÇÞ Çáì ÏÑÌÉ ÇáÝæÖì æÇáÏåÔÉ æÇáÓÎÑíÉ ÇáãÑÉ¿ åá ÕÏãÊäÇ ÈÔÇÑáæÊ ÈÑæäÊí – ÇÐÇ ãÇ ËÈÊ ÇáÇÝÊÑÇÖ Çæ ÇáÔß – åæ ÌÒÁ ãä ÊÍØíã ÇáåÇáÇÊ ÇáÐí áÇ ÈÏ ãäå æáæ ßÇä ãÄÐíÇ¿ æÝÕá ÇáßÇÊÈ äÕå æãÍÇÓÈÊå ÈÚíÏÇ Úä ÊßÑíã ÇäÊÇÌå¿\r\n\r\n	ßá åÐÇ íãßä Çä íßæä ÈÇáÍÓÈÇä¡ ÇáÇ Çä äÝÍÉ ãä ÇáÃÓì ÊÚÕÝ Èí æÇäÇ ÇØæí ÇáÂä ßá åÐå ÇáßÊÈ¡ æÇÊæÞÚ ÕÏæÑ ßÊÇÈ Êæááí ÇáÐí ßÃäå íãÏ áÓÇäå ÓÇÝÑÇ Ýí æÌåäÇ ÞÇÆáÇ ÈÃä ÇáÍÞÇÆÞ ÇáÕÇÑÎÉ¡ ãËá ÍÞíÞÉ æÌæÏ ÇáÓã Ýí ãäÒá ÈÑæäÊí¡ áíÓ ÔíÆÇ ÛÑíÈÇ æÇä ÇÍÊãÇá ÊÞÏíãå ááÃÎ ÇáÓßíÑ æÇÍÊãÇáÇÊ ßÈíÑÉ¡ áíåÏÆå Ýí ËæÑÇÊ ÕíÇÍå æÛÖÈå ÚäÏãÇ íÝÊÞÏ ÇáßÍæá¡ ÝåÐÇ ÇáÓã æÇÓãå Laudanum¡ íÓÇÚÏ Úáì äæã ÇáÇØÝÇá¡ æåæ äæÚ ãä ÇáßÇÝæÑ ßÇä ÇáÃÎ íÊÚÇØÇå ÈÚÖ ÇáÇÍíÇä æåæ ÇáÐí íÊæÞÚ Çäå ÇÓÊÎÏã ÝíãÇ ÈÚÏ Ýí ÞÊá ÔÇÑáæÊ.\r\n\r\n	Óãæã Ãæ ÛíÑåÇ. ÃÞæá æäÍä äØæí åÐå ÇáßÊÈ ãÊÝÇÌÆíä Çæ ÍÒÇäì: ãÄßÏ Çä ÕæÑÉ Çãíáí ÈÑæäÊí¡ æÇáÊí ÇÒÏÏÊ ãíáÇ áåÇ ÈÚÏ ßá åÐå ÇáÞÑÇÁÇÊ ÊÙá Ýí ÇáÈÇá¡ ÎØæÇÊåÇ Úáì ÍæÇÝ ãÓÊäÞÚÇÊ åÇæÑË¡ æÈíä ÇáÊáÇá æÇáåÖÇÈ æÇáÚÔÈ ÇáÃÎÖÑ ÇáÑíÇä¡ ãÙáæãÉ Çæ ÞÊíáÉ¡ ÊÙá ÇÝÖá æÇÌãá æÇäÞì ãä ÕæÑÉ ÔÇÑáæÊ ÇáãÊÑÈÚÉ Úáì ÚÑÔ ÇáåíãäÉ æÇáÇäÇäíÉ¡ æÇÐÇ ãÇ ÕÍ ÇáÊæÞÚ ÝÇä ÇáÔÚÑ íËÈÊ ãÑÉ ÇÎÑì æÃÎÑì äÈÄÇÊå ÇáÑÇÆÚÉ æÇáÕÇÏãÉ¡ ÝåÇ åæ ÕæÊ Çãíáí íÊÑÏÏ ÇáÂä æßÃäåÇ ÊæÃã áÑæÍ \\"ÇãÑÆ ÇáÞíÓ\\" ÇÐ ÊÞæá: \\"ÇáíÞÙÉ ÛÏÇ æáßä ÇáÍáã åæ ÇááíáÉ\\".', '', '2003-09-22 00:00:00', 3, 0);
INSERT INTO `hs_articles` VALUES (22, 'Hadia Said', 'Writer and Novelist', '* Born and studies in Beirut\r\n* Started work as a trainee with the Lebanese press when she was still at university\r\n* Moved to Baghdad to be with her husband during the seventies and worked with the press there and headed different departments at “Alef Baa” magazine\r\n* Returned to Beirut when the political situation in Iraq finished the National Front\r\n* Lived through part of the Lebanese civil war in the early eighties and worked at “Al Safeer” Newspaper\r\n* Moved to Morocco because of the war in Lebanon and worked in the press in one of the most important newspaper “Al Alam” and “Communist Union” newspaper.\r\n* Wrote novels and stories and scenario for TV and Radio drama as well as the Documentaries.\r\n* Well known in most of the Arab countries through her weekly articles and short stories that appeared in magazines.\r\n* Her first novel, “Black Grove” took the prize of “Al Katiba” magazine and som e of her TV and documentary work got different prizes.\r\n* Published some short stories: The Port’s Swing – Ya Leil – Women outside the Script – Moon’s Troke.\r\n* Asked by the Amnesty International/Arabia Publishers, to write a short story about the International Agreement to stop all racism against women under the title “Book of Aida”.\r\n* She has a daughter and a son and lives now in London since 1993 working with Arab press.\r\n* She does voluntary work with the Medical Foundation for the Care of Victims of Torture and held many Arabic Cultural evenings to raise money for this foundation.\r\n* A permanent gust at the weekly cultural programme “Papers”, which broadcast from BBC where she supervises a competition for short stories written by new authors and reads and discuss one every week.\r\n* Some of her short stories translated to French, English German.\r\n* Well known critics such as Edward Al Kharrat, Ghaleb Halasa, Yumna Al Eid,Mohammed Barada,Abbas Baydoun and Bashir Al Qamary, wrote about her work.\r\n* Some of her work presented as a paper at a Moroccan University under the supervision of Dr. Rashida Ben Masoud.\r\n* A new book titled, “My life with the Iraqi Fear” about her experience during her time in Iraq, soon to be published by “Dar Al Saqi”.\r\n* She works at “Sayidaty” magazine as a member of the Editorial team and in charge of the Cultural \r\n* +6epartment.\r\n\r\n\r\n* Writer and Novelist\r\n* Born and studies in Beirut\r\n* Started work as a trainee with the Lebanese press when she was still at university\r\n* Moved to Baghdad to be with her husband during the seventies and worked with the press there and headed different departments at “Alef Baa” magazine\r\n* Returned to Beirut when the political situation in Iraq finished the National Front\r\n* Lived through part of the Lebanese civil war in the early eighties and worked at “Al Safeer” Newspaper\r\n* Moved to Morocco because of the war in Lebanon and worked in the press in one of the most important newspaper “Al Alam” and “Communist Union” newspaper.\r\n* Wrote novels and stories and scenario for TV and Radio drama as well as the Documentaries.\r\n* Well known in most of the Arab countries through her weekly articles and short stories that appeared in magazines.\r\n* Her first novel, “Black Grove” took the prize of “Al Katiba” magazine and som e of her TV and documentary work got different prizes.\r\n* Published some short stories: The Port’s Swing – Ya Leil – Women outside the Script – Moon’s Troke.\r\n* Asked by the Amnesty International/Arabia Publishers, to write a short story about the International Agreement to stop all racism against women under the title “Book of Aida”.\r\n* She has a daughter and a son and lives now in London since 1993 working with Arab press.\r\n* She does voluntary work with the Medical Foundation for the Care of Victims of Torture and held many Arabic Cultural evenings to raise money for this foundation.\r\n* A permanent gust at the weekly cultural programme “Papers”, which broadcast from BBC where she supervises a competition for short stories written by new authors and reads and discuss one every week.\r\n* Some of her short stories translated to French, English German.\r\n* Well known critics such as Edward Al Kharrat, Ghaleb Halasa, Yumna Al Eid,Mohammed Barada,Abbas Baydoun and Bashir Al Qamary, wrote about her work.\r\n* Some of her work presented as a paper at a Moroccan University under the supervision of Dr. Rashida Ben Masoud.\r\n* A new book titled, “My life with the Iraqi Fear” about her experience during her time in Iraq, soon to be published by “Dar Al Saqi”.\r\n* She works at “Sayidaty” magazine as a member of the Editorial team and in charge of the Cultural \r\n* +6epartment.', '', '2003-09-22 00:00:00', 6, 1);
INSERT INTO `hs_articles` VALUES (24, 'ÇÏÚæßã Çáíæã áãäÇÞÔÉ ÂÎÑ ßÊÇÈ ÞÑÃÊå:', '', '<span class=bodytext1>\r\n ÍÌÇÈ ßÇÔÝ.. ÑæÇíÉ ÌÏíÏÉ ááÒãíáÉ åÇÏíÇ ÓÚíÏ\r\n\r\nåßÐÇ ÞÏãÊ ãÌáÉ\\"ÓíÏÊí\\" ÑæÇíÊí ÇáÌÏíÏÉ:\r\nÕÏÑÊ ãÄÎÑÇ ÑæÇíÉ ÌÏíÏÉ ááÒãíáÉ åÇÏíÇ ÓÚíÏ¡ ÈÚäæÇä ( ÍÌÇÈ ßÇÔÝ) æÐáß Úä ÏÇÑ ÇáÓÇÞí Ýí ÈíÑæÊ¡ æÊÑæí ÇáÑæÇíÉ ÈÃÓáæÈ ãÔæÞ ÞÕÉ ÍíÇÉ 4 ÔÎÕíÇÊ ãä Ìíáíä ãÎÊáÝíä æåã: åÏíá ÓÇáã Úáí¡ ÇáÚÑÇÞíøÉ ÇáãõÓáãÉ¡ æíæÓÝ ÓÇãÇä ÇááÈäÇäí ÇáãÇÑæäí¡ ææáÏíåãÇ ÇáÔÇÈíä¡ ãÄäÓ ¡ ÇÈä åÏíá¡ æÓÇÑÉ¡ ÇÈäÉ íæÓÝ¡ æÊÊäÞá ÇÍÏÇË ÇáÑæÇíÉ Èíä áäÏä æÏÈí æÇáÚÑÇÞ æáÈäÇä¡ ãÓÊÚÑÖÉ ÇáÚáÇÞÇÊ ÇáãÊÔÇÈßÉ Èíä ÃÌíÇá ãÎÊáÝÉ æÇáÃãÇßä¡ æãäåÇ ÇáÚÑÇÞ æáÈäÇä æáäÏä æÏÈí¡  ÍíË íÚãá ÇáÅÚáÇãíæä æÔÑßÇÊ ÇáÅÚáÇä¡ æÊÚßÓ  ÃÌæÇÁ  ãä  ÇáãÏíäÉ ÇáÅÚáÇãíÉ Ýí ÏÈí æÇáÚÇãáíä ÝíåÇ¡ æÇáÝÖÇÆíÇÊ ÇáÐíä íÕÈÍ ÈÚÖ ÇáÅÚáÇãííä ÝíåÇ äÌæãÇ Ýí ÇáÑæÇíÉ.\r\næÊÞæá ÇáÒãíáÉ åÇÏíÇ ÅäåÇ ÊÞÏã ÑæÇíÊåÇ áßá Ãã ÊÚíÔ ÃÒãÉ ÊÔÏÏ ÇÈäåÇ¡Ãæ ÍíÑÊå Èíä ãÝÇåíã ÇáÍáÇá æÇáÍÑÇã¡ æáßá ÝÊÇÉ ÊÊÓÇÁá Íæá ÍÌÇÈåÇ Èíä ÇáÅíãÇä æÇáÇáÊÒÇã Çáíæãí æãÔÇÚÑ ÇáÔÚæÑ ÈÇáÃäÇÞÉ æÇáÌãÇá¡ æÊÖíÝ  Úä ãáÎÕ ÇáÑæÇíÉ ÈÃäå íÊäÇæá ÍíÇÉ  ÚÑÇÞíÉ ãÓáãÉ ÊÞÑøÑ ÇáÒæÇÌ ãä ãÇÑæäí áÈäÇäí Ýí áäÏä ÍíË íõÞíãÇä æíÚãáÇä.æÝí ÎÊÇã Çáíæã ÇáÐí ÇÊøÎÐÊ ÇáÞÑÇÑ¡ ÊÑÍá Åáì ÏÈí æÊÑÊÏí ÇáÍÌÇÈ.\r\nãÇ ÇáÃÓÈÇÈ ÇáÊí ÌÚáÊ Ðáß Çáíæã íõÎÊÊã ÈÊáß ÇáäåÇíÉ ÇáÏÑÇãÇÊíßíÉ¿ æãÇ ÇáÏæÇÝÚ ÇáßÇãäÉ æÑÇÁ ÐÇß ÇáåÑæÈ¿ æãÇ ÏæÑ ãÄäÓ ÇÈä åÏíá (20 ÚÇãÇð)¡ æÏæÑ ÓÇÑÉ¡ ÇÈäÉ íæÓÝ (19 ÚÇãÇð) Ýí Êáß ÇáÚáÇÞÉ ÇáãÊÐÈÐÈÉ Úáì ÕõÚÏ ÚÏøÉ¿ æÊÞæá ãÏíÑÉ ÊÍÑíÑ ÏÇÑ ÇáÓÇÞí ÑÇäíÉ ÇáãÚáã Åä \r\nÍæÇÏË ßËíÑÉ ÊÊÖãäåÇ ÇáÑæÇíÉ¡ æÊãæÌ ÊÏÇÚíÇÊõåÇ Èíä ÈÛÏÇÏ æáäÏä æÏÈí æáÈäÇä¡ ãÚÑøíÉð ÊÍæøáÇÊ ÇáÚÇáã ÇáÚÑÈí ãäÐ ÎãÓíäíøÇÊ ÇáÞÑä ÇáãäÕÑã Åáì Çáíæã¡ æßÇÔÝÉð ÇáÝÑæÞ Èíä Ìíáíä áßáø ãäåãÇ ÊØáøÚÇÊ æãÝÇåíã æÃÍáÇã æÎíÈÇÊ.\r\n\\"ÓíÏÊí\\" ÊåäìÁ ÇáÒãíáÉ åÇÏíÇ æÊÊãäì áÑæÇíÊåÇ ßá ÇáäÌÇÍ¡ ÚáãÇ ÈÃä ÑæÇíÊåÇ ÇáÃÎíÑÉ \\"ÇÑÊíÓÊ\\" ÕÏÑÊ ÚÇã  2006 Úä ÏÇÑ ÇáÓÇÞí¡ ÈÇáÅÖÇÝÉ Åáì ßÊÇÈåÇ ÓäæÇÊ ãÚ ÇáÎæÝ ÇáÚÑÇÞí¡ æÑæÇíÊåÇ ÈÓÊÇä ÃÓæÏ æÈÓÊÇä ÃÍãÑ.</span>\r\n', '', '2003-10-23 00:00:00', 9, 0);
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//-- 
//-- Table structure for table `hs_category`
//-- 

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  `catname` varchar(50) default NULL,
  `mode` smallint(6) default '0',
  `catimage` varchar(20) NOT NULL default '',
  `catlogo` varchar(20) NOT NULL default '',
  `catbtn` varchar(20) NOT NULL default '',
  PRIMARY KEY  (`catid`,`catid`),
  UNIQUE KEY `catid_2` (`catid`)
) TYPE=MyISAM AUTO_INCREMENT=10 ;

//-- 
//-- Dumping data for table `hs_category`
//-- 

INSERT INTO `hs_category` VALUES (6, 'Úä ÇáßÇÊÈå', 0, '', '', '');
INSERT INTO `hs_category` VALUES (3, 'ãÞÇáÉ', 1, '', '', '');
INSERT INTO `hs_category` VALUES (4, 'ÞÕÉ', 0, '', '', '');
INSERT INTO `hs_category` VALUES (5, 'ÑæÇíÉ', 1, '', '', '');
INSERT INTO `hs_category` VALUES (7, 'ÇÎÈÇÑ', 0, '', '', '');
INSERT INTO `hs_category` VALUES (8, 'ááÇÊÕÇá', 0, '', '', '');
INSERT INTO `hs_category` VALUES (9, 'ÇáÕÝÍÉ ÇáÇæáì', 0, '', '', '');

//-- //--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--

//-- 
//-- Table structure for table `hs_guestbook`
//-- 

CREATE TABLE `hs_guestbook` (
  `id` bigint(20) NOT NULL auto_increment,
  `email` varchar(50) NOT NULL default '',
  `www` varchar(100) NOT NULL default '',
  `comment` tinytext NOT NULL,
  `name` varchar(50) NOT NULL default '',
  `status` tinyint(4) NOT NULL default '0',
  `ndate` datetime NOT NULL default '0000-00-00 00:00:00',
  PRIMARY KEY  (`id`)
) TYPE=MyISAM COMMENT='Hadia Saido Guestbook' AUTO_INCREMENT=3 ;

//-- 
//-- Dumping data for table `hs_guestbook`
//-- 

INSERT INTO `hs_guestbook` VALUES (1, '', '', 'ãÑÍÈÇ ãÈÑæß ÇáãæÞÚ ÇáÌÏíÏ  ', 'RANA', 1, '0000-00-00 00:00:00');

//-- //--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--

//-- 
//-- Table structure for table `issues`
//-- 

CREATE TABLE `issues` (
  `id` bigint(20) NOT NULL default '0',
  `issueno` int(11) NOT NULL default '0',
  `gdate` datetime NOT NULL default '0000-00-00 00:00:00',
  `hdate` datetime NOT NULL default '0000-00-00 00:00:00',
  PRIMARY KEY  (`id`),
  KEY `issueno` (`issueno`,`gdate`,`hdate`)
) TYPE=MyISAM COMMENT='issues related information';

//-- 
//-- Dumping data for table `issues`
//-- 


//-- //--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--

//-- 
//-- Table structure for table `paypal_cart_info`
//-- 

CREATE TABLE `paypal_cart_info` (
  `txnid` varchar(30) NOT NULL default '',
  `itemname` varchar(255) NOT NULL default '',
  `itemnumber` varchar(50) default NULL,
  `os0` varchar(20) default NULL,
  `on0` varchar(50) default NULL,
  `os1` varchar(20) default NULL,
  `on1` varchar(50) default NULL,
  `quantity` char(3) NOT NULL default '',
  `invoice` varchar(255) NOT NULL default '',
  `custom` varchar(255) NOT NULL default ''
) TYPE=MyISAM;

//-- 
//-- Dumping data for table `paypal_cart_info`
//-- 


//-- //--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--

//-- 
//-- Table structure for table `paypal_subscription_info`
//-- 

CREATE TABLE `paypal_subscription_info` (
  `subscr_id` varchar(255) NOT NULL default '',
  `sub_event` varchar(50) NOT NULL default '',
  `subscr_date` varchar(255) NOT NULL default '',
  `subscr_effective` varchar(255) NOT NULL default '',
  `period1` varchar(255) NOT NULL default '',
  `period2` varchar(255) NOT NULL default '',
  `period3` varchar(255) NOT NULL default '',
  `amount1` varchar(255) NOT NULL default '',
  `amount2` varchar(255) NOT NULL default '',
  `amount3` varchar(255) NOT NULL default '',
  `mc_amount1` varchar(255) NOT NULL default '',
  `mc_amount2` varchar(255) NOT NULL default '',
  `mc_amount3` varchar(255) NOT NULL default '',
  `recurring` varchar(255) NOT NULL default '',
  `reattempt` varchar(255) NOT NULL default '',
  `retry_at` varchar(255) NOT NULL default '',
  `recur_times` varchar(255) NOT NULL default '',
  `username` varchar(255) NOT NULL default '',
  `password` varchar(255) default NULL,
  `payment_txn_id` varchar(50) NOT NULL default '',
  `subscriber_emailaddress` varchar(255) NOT NULL default '',
  `datecreation` date NOT NULL default '0000-00-00'
) TYPE=MyISAM;

//-- 
//-- Dumping data for table `paypal_subscription_info`
//-- 


//-- //--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--

//-- 
//-- Table structure for table `photos`
//-- 

CREATE TABLE `photos` (
  `id` int(11) NOT NULL auto_increment,
  `caption` text NOT NULL,
  `gallery` int(11) NOT NULL default '0',
  `title` varchar(50) NOT NULL default '',
  `preview` varchar(50) NOT NULL default '',
  `library` varchar(250) NOT NULL default '',
  `price` int(11) NOT NULL default '0',
  `artist` int(11) NOT NULL default '0',
  PRIMARY KEY  (`id`),
  FULLTEXT KEY `caption` (`caption`)
) TYPE=MyISAM COMMENT='images mapping table' AUTO_INCREMENT=111 ;

//-- 
//-- Dumping data for table `photos`
//-- 

INSERT INTO `photos` VALUES (93, 'White Lily', 12, 'White Lily', '', '', 25, 0);
INSERT INTO `photos` VALUES (90, 'House Garden 2', 14, 'House Garden 2', '', '', 25, 0);
INSERT INTO `photos` VALUES (89, 'House Garden 1', 14, 'House Garden1', '', '', 25, 0);
INSERT INTO `photos` VALUES (86, 'Torquay Boats 1', 13, 'Torquay Boats 1', '', '', 25, 0);
INSERT INTO `photos` VALUES (107, 'Cute Ducklings ', 10, 'Cute Ducklings', '', '', 25, 0);
INSERT INTO `photos` VALUES (109, 'Debbie Duck ', 10, 'Debbie Duck', '', '', 25, 0);
INSERT INTO `photos` VALUES (110, 'White Swan', 10, 'White Swan', '', '', 25, 0);
INSERT INTO `photos` VALUES (108, 'Debbie Oy Eollie ', 10, 'Debbie Oy Eollie', '', '', 25, 0);
INSERT INTO `photos` VALUES (74, 'Cute Ducklings', 10, 'Cute Ducklings', '', '', 0, 0);
INSERT INTO `photos` VALUES (73, 'Maroon Spray', 12, 'Maroon Spray', '', '', 0, 0);
INSERT INTO `photos` VALUES (72, 'Orange Spread', 12, 'Orange Spread', '', '', 0, 0);
INSERT INTO `photos` VALUES (96, 'Orange MB 4', 12, 'Orange MB 4', '', '', 25, 0);
INSERT INTO `photos` VALUES (92, 'Yellow Spray', 12, 'Yellow Spray', '', '', 25, 0);
INSERT INTO `photos` VALUES (87, 'Torquay Boats 2', 13, 'Torquay Boats 2', '', '', 25, 0);
INSERT INTO `photos` VALUES (88, 'Torquay Boats 3', 13, 'Torquay Boats 3', '', '', 25, 0);
INSERT INTO `photos` VALUES (91, 'House Garden 3', 14, 'House Garden 3', '', '', 25, 0);
INSERT INTO `photos` VALUES (95, 'Orange MB 1', 12, 'Orange MB 1', '', '', 25, 0);
INSERT INTO `photos` VALUES (97, 'Red Something 2', 12, 'Red Something 2', '', '', 25, 0);
INSERT INTO `photos` VALUES (98, 'Red Something', 12, 'Red Something', '', '', 25, 0);
INSERT INTO `photos` VALUES (99, 'Sunny Flower 3', 12, 'Sunny Flower 3', '', '', 25, 0);
INSERT INTO `photos` VALUES (100, 'Blonde 1', 15, 'Blonde 1', '', '', 25, 0);
INSERT INTO `photos` VALUES (101, 'Blonde 2', 15, 'Blonde 2', '', '', 25, 0);
INSERT INTO `photos` VALUES (102, 'Heide in action', 15, 'Heide in action', '', '', 25, 0);
INSERT INTO `photos` VALUES (103, 'Heide in action 3', 15, 'Heide in action 3', '', '', 25, 0);
INSERT INTO `photos` VALUES (104, 'Heide in action 4', 15, 'Heide in action 4', '', '', 25, 0);
INSERT INTO `photos` VALUES (105, 'Anonymous Blode', 15, 'Anonymous Blode', '', '', 25, 0);
INSERT INTO `photos` VALUES (106, 'Duckling Daisies', 10, 'Duckling Daisies', '', '', 25, 0);

//-- //--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--

//-- 
//-- Table structure for table `sh_cat`
//-- 

CREATE TABLE `sh_cat` (
  `catid` int(11) NOT NULL auto_increment,
  `category` varchar(50) NOT NULL default '',
  `ord` tinyint(4) NOT NULL default '0',
  PRIMARY KEY  (`catid`)
) TYPE=MyISAM AUTO_INCREMENT=2 ;

//-- 
//-- Dumping data for table `sh_cat`
//-- 

INSERT INTO `sh_cat` VALUES (1, 'Gallery', 0);

//-- //--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--

//-- 
//-- Table structure for table `sh_guestbook`
//-- 

CREATE TABLE `sh_guestbook` (
  `gid` bigint(20) NOT NULL auto_increment,
  `name` varchar(200) default NULL,
  `email` varchar(50) default NULL,
  `url` varchar(50) default NULL,
  `msg` tinytext,
  `gord` int(11) NOT NULL default '1000',
  `gdate` timestamp(14) NOT NULL,
  `status` tinyint(4) default NULL,
  PRIMARY KEY  (`gid`),
  KEY `gord` (`gord`,`gdate`),
  KEY `status` (`status`)
) TYPE=MyISAM AUTO_INCREMENT=66 ;

//-- 
//-- Dumping data for table `sh_guestbook`
//-- 

INSERT INTO `sh_guestbook` VALUES (2, 'ÚÇÏá ßáÑ', 'adilcolour@yahoo.com', '', 'áÚáíÇÆß Ýí ÇáãÌÏ¡ÊÍíÇÊí\r\nßåÇãÉ Ýí ÅãÊÏÇÏ ãÓíÑÉ \r\næÓíÑÉ ÇáÃáÞ ÇáÔÝíÝ \r\nÝí ÈáÇÏí ..\r\næÊÍÇíÇ ÃÎÑíÇÊ ¡ÎÌáì\r\náãä æÞÝ ÎáÝ ÐÇ ÇáÌåÏ\r\náÃÌá ÍÓíä ÔÑíÝ ÇáÐí .. ÈíääÇ\r\næÕÈÇÍÇÊß äÏíÉ ¡ÍÓíä ÔÑíÝ\r\nÝí ÚáíÇÆß ÇáÈÚíÏ ..', 1000, '20070707140213', 1);
INSERT INTO `sh_guestbook` VALUES (3, 'adil osman', '', 'www.sudaneseonline.com', 'hussain shariffe was a great man. of diverse and accomplished talents. i llok forward to watching the films he realized in his rich lifetime. R.I.P, Rest In Peace shariffe.', 1000, '20070707155549', 1);
INSERT INTO `sh_guestbook` VALUES (7, 'Abdellatif Dirar', 'latif_amin2002@yahoo.com', '', 'Once in a while someone comes along, someone who just naturlly makes everyone feel a little happier, a little more alive to life. you have been that someone to me Hussain.', 1000, '20070708200152', 1);
INSERT INTO `sh_guestbook` VALUES (6, 'Mohamed Elfaki (Deraij)', 'zalingy@gmail.com', '', 'ÇáÊÍíÉ ááÞÇÆãä ÈÇãÑ åÐå ÇáãÓÇÍÉ ÇáåÇãÉ æ ÇáÖÑæÑíÉ áÊÎáíÏ ÑÇÍáäÇ ÇáßÈíÑ ÇáÇäÓÇä æÇáÝäÇä ÍÓíä ÔÑíÝ', 1000, '20070708192501', 1);
INSERT INTO `sh_guestbook` VALUES (8, 'Yasser Omer', 'yessory@hotmail.com', '', 'ÊæËíÞ Ìãíá áÂÎÑ ÇáäæøÇÑ ö ÇáÑøÇÍá  ÍÓíä ÔÑíÝ ßãÇ æÕÝå ÕÏíÞå ÇáÏÈáæãÇÓí ÇáÔÇÚÑ ÌãÇá ãÍãÏ ÇÈÑÇåíã ÔßÑÇ ááÞÇÆãíä Úáí ÇáãæÞÚ', 1000, '20070710150409', 1);
INSERT INTO `sh_guestbook` VALUES (9, 'Yasser Omer', 'yessory@hotmail.com', '', 'ÊæËíÞ Ìãíá áÂÎÑ ÇáäæøÇÑ ö ÇáÑøÇÍá  ÍÓíä ÔÑíÝ ßãÇ æÕÝå ÕÏíÞå ÇáÏÈáæãÇÓí ÇáÔÇÚÑ ÌãÇá ãÍãÏ ÇÈÑÇåíã ÔßÑÇ ááÞÇÆãíä Úáí ÇáãæÞÚ', 1000, '20070710150426', 0);
INSERT INTO `sh_guestbook` VALUES (10, 'Yasser Omer', 'yessory@hotmail.com', '', 'ÊæËíÞ Ìãíá áÂÎÑ ÇáäæøÇÑ ö ÇáÑøÇÍá  ÍÓíä ÔÑíÝ ßãÇ æÕÝå ÕÏíÞå ÇáÏÈáæãÇÓí ÇáÔÇÚÑ ÌãÇá ãÍãÏ ÇÈÑÇåíã ÔßÑÇ ááÞÇÆãíä Úáí ÇáãæÞÚ', 1000, '20070710150454', 0);
INSERT INTO `sh_guestbook` VALUES (11, 'Noon Mahgoub', 'aselmahdi@prodigy.net', '', 'To paint is something to feel good about it is another.The art and work of Hussain Shariff speak about his love and passion for what he did and left behaind to last for ever ', 1000, '20070710160233', 1);
INSERT INTO `sh_guestbook` VALUES (12, 'ÚãÇÏ ÚÈÏÇááå', 'emadabh@yahoo.com', '', 'ãÇ ÃÔÈÚÊäÇ .. áßä ãÖíÊ , ÝãÇ ÃÈÎáß .. Úáì ÃääÇ ÈÇÎÚæä Úáì ÃËÑß .\r\näã íÇ ÓíÏí .. ÝáÞÏ ÚÔÊ ÝÃÈÏÚÊ ÝÃãäÊ .. ÝäãÊ íÇ ÍÓíä .\r\nÇáãÌÏ áß  ', 1000, '20070711013125', 1);
INSERT INTO `sh_guestbook` VALUES (13, 'ØáÇá ÚÝíÝí', '', '', 'ÃÚÊÞÏ Ãä ÍÓíä ÔÑíÝ æÃÚãÇáå ãä Ãåã ÚáÇãÇÊ ÇáËÞÇÝÉ ÇáÓæÏÇäíÉ ÇáãÚÇÕÑÉ º\r\næÃäÇ ãæÞä ÈãÌíÁ Çáíæã ÇáÐí ÓíäÙÑ Åáíå áÂËÇÑ ÇáÃÓÊÇÐ ÍÓíä ÈãÇ ÊÓÊÍÞå ãä ãÌÏ æÅÌáÇá º\r\nÇáÊÍíÉ áÍÓíä ÔÑíÝ Ýí ãÞÇãå ÇáÌãíá º', 1000, '20070712114411', 1);
INSERT INTO `sh_guestbook` VALUES (14, 'Mustafa .M.Omer', 'mustafaomer@hotmail.com', '', ' Usataz Hussein was a great man who lived distinguished life no doubt. I met him twice with Talal Afifi and I still remember his wise words and warm voice.', 1000, '20070712130039', 1);
INSERT INTO `sh_guestbook` VALUES (15, 'Abuobaida Elmahi', 'abuhudah@yahoo.com', '', 'íÇ ÍÓíä íÇ ÔÑíÝ ßã äÍÊÇÌß Ýí ÏÑÈ ÃÍáÇãäÇ ÇáßÈíÑÉ ??', 1000, '20070713012931', 1);
INSERT INTO `sh_guestbook` VALUES (16, 'ØáÇá ÚÝíÝí', 'nuubia76@hotmail.com', '', 'ÔßÑ æÇÌÈ áåÈÉ ÝÑíÏ æÅíãÇä æäÕÑå æÚÇíÔå æãÇãæä ÍÓíä ÔÑíÝ æáÚÈÏÇááå ÇáãåÏí Úáì ÇáãËÇÈÑÉ æÇáÌåÏ æÇáÕÈÑ áíÎÑÌ ÚáíäÇ åÐÇ ÇáãæÞÚ º', 1000, '20070713035506', 1);
INSERT INTO `sh_guestbook` VALUES (19, 'faisal tajalsir', 'fandos@maktoob.com', 'fandos.maktoobblog.com', 'this the first time i see shariffe paintings...now i discover how big was the lose of this great colourist...I enjoyed every painting...they fileed me with love for life and revived my hope so inststantly i read ALFATIHA for his soul...and if...if only th', 1000, '20070717060748', 1);
INSERT INTO `sh_guestbook` VALUES (18, 'amel aziz farag', 'amelfarag@yahoo.com', '', 'uncle hussein was truly a light of distinctiveness; he had rare qualities we all wish on perfecting. his gentleness and sensitivity remain alive through his works and family. this website, among other efforts by his family, will keep his light alive and c', 1000, '20070716060637', 1);
INSERT INTO `sh_guestbook` VALUES (20, 'Haiba', 'haiba30@hotmail.com', '', 'you are here my friend,you will not be scatter or sleep,our friendship is made of being awake.\r\nthe waterwheel accepts water and turns and gives it away,that way stays in the garden.\r\nyou are here quivering with each moment like a drop of a mercury.', 1000, '20070717192430', 1);
INSERT INTO `sh_guestbook` VALUES (21, 'ãÇÒä ãÕØÝì', 'mazinmustafa@gmail.com', '', 'ÔßÑÇð áßá ãä Úãá Ýì åÐÇ ÇáãÔÑæÚ¡\r\náÊæËíÞ ÃÚãÇá ÝäÇä ÈÞÏÑ ÍÓíä ÔÑíÝ...\r\n\r\náßã ÅãÊäÇäí Úáì ãÇ äáÊ ãä åÐÇ ÇáãßÇä..................\r\n\r\nãÇÒä', 1000, '20070718112408', 1);
INSERT INTO `sh_guestbook` VALUES (63, 'Talal Afifi', 'nuubia76@yahoo.com', '', 'Ýí ÇáÓÇÈÚ ãä íæáíæ ÍÈÊäÇ ÇáÏäíÇ ÈÅäÓÇä äÇÏÑ .. ÃÖÇÝ ÅáíäÇ æÅáíåÇ ÇáßËíÑ º\r\nãÑÊ ËáÇË ÓäæÇÊ Úáì ÛíÇÈå ¡ áßä ÍÓíä ÔÑíÝ ¡ ÈÑÛã ÅÎÊÝÇÆå Úä ÇáÃäÙÇÑ ¡ ãÇ ÒÇá ÕÇÍÈ åÐÇ ÇáÍÖæÑ ÇáÓÇÍÑ ÇáãåÐÈ ÇáÌãíá Ýí ÍíÇÊäÇ º\r\n', 1000, '20080704215742', 1);
INSERT INTO `sh_guestbook` VALUES (62, 'Samah', 'samah_alarabi@hotmail.com', '', 'Thank you soo much for this site ..this unique site for this legend ..\r\nhe is symbolizing the meaning of Passion, aesthetics, dream ..the power of dream ..he raised my sencse .. .colors its all about colors ..', 1000, '20080603102649', 1);
INSERT INTO `sh_guestbook` VALUES (60, 'ãÃãæä ÃÍãÏ ãÍíí ÇáÏíä', 'mamoun.a@gmail.com', 'mamounahmed.com', 'ÚÈÑ ßá ÖÑæÈ ÇáÝä ÇáÊí ÇÑÊÇÏåÇ ÍÓíä¡ ÈÇÑÒ ãÔÊÑß:ÇáÑÄíÉ ÇáÇÈÏÇÚíÉ ááÍíÇÉ æÇáÇäÓÇä .\r\n\r\nÓíÑÉ ÚØÑÉ áÝäÇä áã ÊÓÚå ÇáÍíÇÉ.', 1000, '20080328071231', 1);
INSERT INTO `sh_guestbook` VALUES (61, 'Nada Mustafa Mohamed Ali', 'gender_justice@yahoo.com', '', 'Thank you for establishing this website!  We will never forget this remarkable artist and human being... \r\nMay he rest in peace', 1000, '20080411131255', 1);
INSERT INTO `sh_guestbook` VALUES (59, 'Osama Siddig', 'simsim30@hotmail.com', '', 'its a great website and efford..long live Hussein Sharief..\r\ni have a question ..how people can watch and have access to his movies and docomentries??i think the web managers should think about it..if they can uploaded in youtube or here in the web..or sa', 1000, '20080327031035', 1);
INSERT INTO `sh_guestbook` VALUES (58, 'Mustafa Sharif', 'mustafasharif@hotmail.com', '', 'ÃÏÚæ áß Çááå ÌäÉðð æÑÖæÇäÇ æÃÏÚæ áì æáÃåáß ÕÈÑÇðð æÓáæÇäÇ íÞæáæä ÚíÈ ÈßÇÁ ÇáÑÌá ÝæÇááå Þæáåã ÐæÑÇð æÈåÊÇäÇ áæ ÝÞÏæÇ ãÇÝÞÏÊ áÈßæÇ ßãÇÊÈßì ÇáÃÑÇãá ÇáÍÒÇäì Åä ÃäÊ áã ÃÈßíß Ýãä ÃÈß ÃÚÒ ãäß Ãæ ÃÞÑÈ ÅäÓÇäÇ ÝÅáì ÌäÇÊ ÇáÎáÏ íÇÚãì Åáì ÌæÇÑ ÑÈß Ýåæ ÇáÑÍãÇäÇ', 1000, '20080127063620', 1);
INSERT INTO `sh_guestbook` VALUES (56, 'test', 'dshds@sdh.com', 'askndffasn', 'jlsajdjsa', 1000, '20080122171850', 0);
INSERT INTO `sh_guestbook` VALUES (57, 'ÚÇÆÔÉ ÍÓíä ÔÑíÝ', 'oussie.1965@hotmail.com', '', 'ÓÇáÊ ÇáÏãæÚ\r\nÓÇáÊ ÇáÏãæÚ ßÇáÇäåÇÑ Ýí Çááíá ÇáßÆíÈ\r\næåÇ äÍä Ííä ÊÑßÊäÇ Ýí ÇáÙáÇã ÇáÑåíÈ\r\nÇáÇÍÒÇä ÊÃßá ãä ÏÇÎá ÞáæÈäÇ æÊãÒÞ æÊáÊæì áÍæãäÇ ÈäÇÑåÇ ÇááåíÈ\r\nËáÇËÉ ÇÚæÇã\r\nËáÇËÉ ÇÚæÇã ÞÏ ãÖÊ æãÇ ÐáäÇ äÔÊÇÞ áÇáÝÑíÏ ÇáÞÑíÈ\r\nÝäÓÃá Çááå áå ÇáÑÍãÉ æÇáãÛÝÑÉ ÝÇäå ÓãíÚ ã', 1000, '20080122182558', 1);
INSERT INTO `sh_guestbook` VALUES (55, 'ØáÇá ÚÝíÝí', '', '', 'ÊãÖí ÇáÃíÇã ÈÍáæåÇ æãÑåÇ ¡ ÚÇÏíÉ º\r\n\r\náßä ¡ áÇ íÒÇá Èí ÔæÞ ææÌÏ ááÅäÓÇä ÇáÛíÑ ÚÇÏí ¡ ÇáÝäÇä ÇáÖÇÝí .. ÍÓíä ÔÑíÝ', 1000, '20071122203051', 1);
INSERT INTO `sh_guestbook` VALUES (53, 'mfxstcri vtqpz', 'ymivq@mail.com', 'mfxstcri vtqpz', 'fjgthvl jegkqo jftz tajpvw ausr fnwk lynfzqsax', 1000, '20070901020101', 0);
INSERT INTO `sh_guestbook` VALUES (54, 'ajsdahn', 'dshds@sdh.com', 'jdoasjda', 'ojdsoajdoasjd', 1000, '20070905165327', 0);
INSERT INTO `sh_guestbook` VALUES (49, 'ajsdahn', 'dshds@sdh.com', '', 'dmasojmdsam asodjsakjd', 1000, '20070818091803', 0);
INSERT INTO `sh_guestbook` VALUES (50, 'akling', 'ztert@yahoo.com', 'http://www.ubeerers.edu/board/enter.html', 'salsa', 1000, '20070820092139', 0);
INSERT INTO `sh_guestbook` VALUES (51, 'akling', 'ztert@yahoo.com', 'http://www.ubeerers.edu/board/enter.html', 'salsa', 1000, '20070820092750', 0);
INSERT INTO `sh_guestbook` VALUES (52, 'akling', 'wejuke@yahoo.com', 'http://www.ubeerers.edu/board/enter.html', 'salsa', 1000, '20070820103207', 0);
INSERT INTO `sh_guestbook` VALUES (64, 'Abdalla', 'afs@EIMAITS.CO.UK', '', 'dhsa saaskdh asldjasljdas jdslajds lajd', 1000, '20081215143857', 0);
INSERT INTO `sh_guestbook` VALUES (65, 'Mhamed A. Elhillo', 'mohamed.elhillo@gmail.com', '', 'An outstanding web, he is a legend,one can feel his breath in his works. I pitty myself not knowing him well, although we met in life. Rest in peace.Alyk rahmatu Allh.', 1000, '20081225225948', 1);

//-- //--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--

//-- 
//-- Table structure for table `sh_images`
//-- 

CREATE TABLE `sh_images` (
  `imageid` bigint(20) NOT NULL auto_increment,
  `photo` varchar(50) NOT NULL default '',
  `caption` varchar(200) NOT NULL default '',
  `cat` int(11) NOT NULL default '0',
  `imageord` tinyint(100) NOT NULL default '0',
  `status` varchar(10) default NULL,
  `material` varchar(200) default NULL,
  `active` tinyint(4) NOT NULL default '1',
  `paintyear` varchar(10) default NULL,
  PRIMARY KEY  (`imageid`),
  KEY `imageord` (`imageord`),
  KEY `cat` (`cat`)
) TYPE=MyISAM AUTO_INCREMENT=192 ;

//-- 
//-- Dumping data for table `sh_images`
//-- 

INSERT INTO `sh_images` VALUES (94, 'studio_cairo.jpg', 'Hussein Shariffe in his Cairo Studio', 2, 0, NULL, NULL, 1, NULL);
INSERT INTO `sh_images` VALUES (5, 'atmoor.jpg', 'Atmoor', 1, 0, NULL, NULL, 1, NULL);
INSERT INTO `sh_images` VALUES (6, 'greenman.jpg', 'Greenman', 1, 0, NULL, NULL, 1, NULL);
INSERT INTO `sh_images` VALUES (7, 'greetingstotherainmaker.jpg', 'Greetings To The Rainmaker', 1, 0, NULL, NULL, 1, NULL);
INSERT INTO `sh_images` VALUES (8, 'jupiterchronicles.jpg', 'Jupiter Chronicles', 1, 0, NULL, NULL, 1, NULL);
INSERT INTO `sh_images` VALUES (9, 'ledatheswans.jpg', 'Leda and The Swans', 1, 0, NULL, NULL, 1, NULL);
INSERT INTO `sh_images` VALUES (10, 'rimbaudinAfrica.jpg', 'Rimbaudin Africa', 1, 0, NULL, NULL, 1, NULL);
INSERT INTO `sh_images` VALUES (11, 'thecloudsareflowering.jpg', 'The Clouds Are Flowering', 1, 0, NULL, NULL, 1, NULL);
INSERT INTO `sh_images` VALUES (19, 'untitled(92).jpg', 'Untitled', 1, 0, NULL, NULL, 1, NULL);
INSERT INTO `sh_images` VALUES (13, 'untitled(43).jpg', 'Untitled', 1, 0, NULL, NULL, 1, NULL);
INSERT INTO `sh_images` VALUES (14, 'untitled(80).jpg', 'Untitled', 1, 0, NULL, NULL, 1, NULL);
INSERT INTO `sh_images` VALUES (15, 'untitled(81).jpg', 'Untitled', 1, 0, NULL, NULL, 1, NULL);
INSERT INTO `sh_images` VALUES (16, 'untitled(90).jpg', 'Untitled', 1, 0, NULL, NULL, 1, NULL);
INSERT INTO `sh_images` VALUES (17, 'untitled-10.jpg', 'Untitled', 1, 0, NULL, NULL, 1, NULL);
INSERT INTO `sh_images` VALUES (18, 'untitled.jpg', 'Untitled', 1, 0, NULL, NULL, 1, NULL);
INSERT INTO `sh_images` VALUES (95, 'studio_cairo.jpg', 'Hussein Shariffe in his Cairo Studio', 2, 0, NULL, NULL, 1, NULL);
INSERT INTO `sh_images` VALUES (93, 'writingsinthewall_cairo.jpg', 'Writings in the wall Cairo Flat', 2, 0, NULL, NULL, 1, NULL);
INSERT INTO `sh_images` VALUES (92, 'throwingoffire.jpg', 'Filming throwing of fire', 2, 0, NULL, NULL, 1, NULL);
INSERT INTO `sh_images` VALUES (91, 'sudanstudio.jpg', 'Hussein Shariffe Sudan Studio', 2, 0, NULL, NULL, 1, NULL);
INSERT INTO `sh_images` VALUES (90, 'suakin7.jpg', 'Filming Dislocation of Amber', 2, 0, NULL, NULL, 1, NULL);
INSERT INTO `sh_images` VALUES (89, 'suakin6.jpg', 'Filming Dislocation of Amber', 2, 0, NULL, NULL, 1, NULL);
INSERT INTO `sh_images` VALUES (88, 'suakin5.jpg', 'Filming Dislocation of Amber', 2, 0, NULL, NULL, 1, NULL);
INSERT INTO `sh_images` VALUES (87, 'suakin4.jpg', 'Filming Dislocation of Amber', 2, 0, NULL, NULL, 1, NULL);
INSERT INTO `sh_images` VALUES (86, 'suakin3.jpg', 'Filming Dislocation of Amber', 2, 0, NULL, NULL, 1, NULL);
INSERT INTO `sh_images` VALUES (85, 'suakin2.jpg', 'Filming Dislocation of Amber', 2, 0, NULL, NULL, 1, NULL);
INSERT INTO `sh_images` VALUES (84, 'suakin1.jpg', 'Filming Dislocation of Amber', 2, 0, NULL, NULL, 1, NULL);
INSERT INTO `sh_images` VALUES (83, 'studioincairo.jpg', 'Hussein Shariffe Studio in Cairo', 2, 0, NULL, NULL, 1, NULL);
INSERT INTO `sh_images` VALUES (82, 'preparation-for-filming-sua.jpg', 'Preparation for filming Dislocation of Amber', 2, 0, NULL, NULL, 1, NULL);
INSERT INTO `sh_images` VALUES (81, 'picturesincairoflat.jpg', 'Pictures in Cairo flat', 2, 0, NULL, NULL, 1, NULL);
INSERT INTO `sh_images` VALUES (80, 'rdan-gallery2.jpg', 'Jordan gallery', 2, 0, NULL, NULL, 1, NULL);
INSERT INTO `sh_images` VALUES (79, 'notthewatersofthemoon2.jpg', 'Hussein Shariffe Filming not the waters of the moon', 2, 0, NULL, NULL, 1, NULL);
INSERT INTO `sh_images` VALUES (78, 'notthewatersofthemoon.jpg', 'Hussein Shariffe Filming not the waters of the moon', 2, 0, NULL, NULL, 1, NULL);
INSERT INTO `sh_images` VALUES (77, 'jordan-gallery1.jpg', 'Jordan-gallery', 2, 0, NULL, NULL, 1, NULL);
INSERT INTO `sh_images` VALUES (76, 'husseinwithvenetianasra.jpg', 'Hussein Shariffe with Venetia and Nasra', 2, 0, NULL, NULL, 1, NULL);
INSERT INTO `sh_images` VALUES (75, 'husseinshariffeportrait.jpg', 'Hussein Shariffe Portrait', 2, 0, NULL, NULL, 1, NULL);
INSERT INTO `sh_images` VALUES (74, 'hussein-shariffe-in-ministr.jpg', 'Hussein Shariffe in ministry of Culture', 2, 0, NULL, NULL, 1, NULL);
INSERT INTO `sh_images` VALUES (73, 'hs-in-gallery.jpg', 'Hussein Shariffe in gallery', 2, 0, NULL, NULL, 1, NULL);
INSERT INTO `sh_images` VALUES (72, 'film-alharam.jpg', 'Hussein Shariffe Filming Dust & Rubies in Alharam', 2, 0, NULL, NULL, 1, NULL);
INSERT INTO `sh_images` VALUES (71, 'father-directing-dust-rubie.jpg', 'Hussein Shariffe directing-Dust & Rubie', 2, 0, NULL, NULL, 1, NULL);
INSERT INTO `sh_images` VALUES (70, 'dustrubies-crew.jpg', 'Dust & Rubies Crew', 2, 0, NULL, NULL, 1, NULL);
INSERT INTO `sh_images` VALUES (69, 'drmamounHussein.jpg', 'Dr Mamoun Hussein', 2, 0, NULL, NULL, 1, NULL);
INSERT INTO `sh_images` VALUES (68, 'cairoflat3showingbookcase.jpg', 'Hussein Shariffe Cairo flat bookcase', 2, 0, NULL, NULL, 1, NULL);
INSERT INTO `sh_images` VALUES (67, 'cairoflat2.jpg', 'Hussein Shariffe Cairo flat2', 2, 0, NULL, NULL, 1, NULL);
INSERT INTO `sh_images` VALUES (66, 'cairoflat.jpg', 'Hussein Shariffe Cairo flat', 2, 0, NULL, NULL, 1, NULL);
INSERT INTO `sh_images` VALUES (96, '002paint.jpg', 'A Little Night Music', 1, 0, 'signed', 'oil on canvas', 1, '1999');
INSERT INTO `sh_images` VALUES (97, '003paint.jpg', 'Head & Torso', 1, 0, 'signed', 'oil on canvas', 1, '2001');
INSERT INTO `sh_images` VALUES (98, '004paint.jpg', 'Inner Space', 1, 0, 'Hussein si', 'oil on canvas', 1, '1999');
INSERT INTO `sh_images` VALUES (99, '005paint.jpg', 'Master of the blue sultanate', 1, 0, 'unsigned', 'oil on board', 1, '1998');
INSERT INTO `sh_images` VALUES (100, '006paint.jpg', 'Renegade Moons', 1, 0, 'unsigned', 'oil on canvas', 1, '1996');
INSERT INTO `sh_images` VALUES (101, '007paint.jpg', 'Sun people', 1, 0, 'unsigned', 'oil on canvas', 1, '');
INSERT INTO `sh_images` VALUES (102, '008paint.jpg', 'the house of the winds', 1, 0, 'unsigned', '', 1, '');
INSERT INTO `sh_images` VALUES (103, '009paint.jpg', 'The king & Queen of the river', 1, 0, 'unsigned', 'oil on board', 1, '1960');
INSERT INTO `sh_images` VALUES (104, '010paint.jpg', 'The three heads of atiyaat alabanody', 1, 0, 'unsigned', 'oil on canvas', 1, '2001');
INSERT INTO `sh_images` VALUES (105, '011paint.jpg', 'Untitled', 1, 0, 'unsigned', 'oil on board', 1, '1997');
INSERT INTO `sh_images` VALUES (106, '012paint.jpg', 'Untitled', 1, 0, 'unsigned', 'oil on board', 1, '');
INSERT INTO `sh_images` VALUES (107, '013paint.jpg', 'Untitled', 1, 0, 'unsigned', 'oil on canvas', 1, '');
INSERT INTO `sh_images` VALUES (108, '014paint.jpg', 'Untitled', 1, 0, 'unsigned', 'oil on canvas', 1, '');
INSERT INTO `sh_images` VALUES (109, '015paint.jpg', 'Untitled', 1, 0, 'unsigned', 'oil on canvas', 1, '1997');
INSERT INTO `sh_images` VALUES (110, '016paint.jpg', 'Untitled', 1, 0, 'unsigned', 'oil on canvas', 1, '2001');
INSERT INTO `sh_images` VALUES (111, '017paint.jpg', 'Untitled', 1, 0, 'unsigned', 'oil on canvas', 1, '1997');
INSERT INTO `sh_images` VALUES (112, '018paint.jpg', 'Untitled', 1, 0, 'unsigned', 'oil on canvas', 1, '');
INSERT INTO `sh_images` VALUES (113, '019paint.jpg', 'Untitled', 1, 0, 'unsigned', 'oil on canvas', 1, '');
INSERT INTO `sh_images` VALUES (114, '020paint.jpg', 'Untitled', 1, 0, 'unsigned', 'oil on canvas', 1, '');
INSERT INTO `sh_images` VALUES (115, '021paint.jpg', 'Untitled', 1, 0, 'unsigned', 'oil on canvas', 1, '');
INSERT INTO `sh_images` VALUES (116, '022paint.jpg', 'Untitled', 1, 0, 'unsigned', 'oil on canvas', 1, '');
INSERT INTO `sh_images` VALUES (117, '023paint.jpg', 'Untitled', 1, 0, 'unsigned', 'oil on cardboard', 1, '');
INSERT INTO `sh_images` VALUES (118, '024paint.jpg', 'Untitled', 1, 0, 'signed', '', 1, '1996-97');
INSERT INTO `sh_images` VALUES (119, '025paint.jpg', 'Untitled', 1, 0, 'unsigned', 'oil on board', 1, '');
INSERT INTO `sh_images` VALUES (120, '026paint.jpg', 'Untitled', 1, 0, 'unsigned', 'oil on board', 1, '');
INSERT INTO `sh_images` VALUES (121, '027paint.jpg', 'Untitled', 1, 0, 'unsigned', 'oil on board', 1, '1988');
INSERT INTO `sh_images` VALUES (122, '028paint.jpg', 'Untitled', 1, 0, 'unsigned', 'oil on board', 1, '2002');
INSERT INTO `sh_images` VALUES (123, '029paint.jpg', 'Untitled', 1, 0, 'unsigned', 'oil on board', 1, '');
INSERT INTO `sh_images` VALUES (124, '030paint.jpg', 'Untitled', 1, 0, 'unsigned', 'oil on canvas', 1, '');
INSERT INTO `sh_images` VALUES (125, '031paint.jpg', 'Untitled', 1, 0, 'unsigned', 'oil on canvas', 1, '');
INSERT INTO `sh_images` VALUES (126, '032paint.jpg', 'Untitled', 1, 0, 'unsigned', 'oil on canvas', 1, '');
INSERT INTO `sh_images` VALUES (127, '033paint.jpg', 'Untitled', 1, 0, 'unsigned', 'oil on canvas', 1, '');
INSERT INTO `sh_images` VALUES (128, '034paint.jpg', 'Untitled', 1, 0, 'unsigned', 'oil on canvas', 1, '');
INSERT INTO `sh_images` VALUES (129, '035paint.jpg', 'Untitled', 1, 0, 'unsigned', 'oil on canvas', 1, '');
INSERT INTO `sh_images` VALUES (130, '036paint.jpg', 'Untitled', 1, 0, 'unsigned', 'oil on canvas', 1, '');
INSERT INTO `sh_images` VALUES (131, '037paint.jpg', 'Untitled', 1, 0, 'unsigned', 'oil on canvas', 1, '');
INSERT INTO `sh_images` VALUES (132, '038paint.jpg', 'Untitled', 1, 0, 'unsigned', 'oil on canvas', 1, '');
INSERT INTO `sh_images` VALUES (133, '039paint.jpg', 'Untitled', 1, 0, 'unsigned', 'oil on canvas', 1, '');
INSERT INTO `sh_images` VALUES (134, '040paint.jpg', 'Untitled', 1, 0, 'unsigned', 'oil on canvas', 1, '');
INSERT INTO `sh_images` VALUES (135, '041paint.jpg', 'Untitled', 1, 0, 'unsigned', 'oil on canvas', 1, '');
INSERT INTO `sh_images` VALUES (136, '042paint.jpg', 'Untitled', 1, 0, 'unsigned', 'oil on canvas', 1, '');
INSERT INTO `sh_images` VALUES (137, '043paint.jpg', 'Untitled', 1, 0, 'unsigned', 'oil on canvas', 1, '');
INSERT INTO `sh_images` VALUES (138, '044paint.jpg', 'Untitled', 1, 0, 'unsigned', 'oil on canvas', 1, '');
INSERT INTO `sh_images` VALUES (139, '045paint.jpg', 'Untitled', 1, 0, 'unsigned', 'oil on canvas', 1, '');
INSERT INTO `sh_images` VALUES (140, '046paint.jpg', 'Untitled', 1, 0, 'unsigned', 'oil on canvas', 1, '');
INSERT INTO `sh_images` VALUES (141, '047paint.jpg', 'Untitled', 1, 0, 'unsigned', 'oil on canvas', 1, '');
INSERT INTO `sh_images` VALUES (142, '048paint.jpg', 'Untitled', 1, 0, 'unsigned', 'oil on canvas', 1, '');
INSERT INTO `sh_images` VALUES (143, '049paint.jpg', 'Untitled', 1, 0, 'unsigned', 'oil on canvas', 1, '');
INSERT INTO `sh_images` VALUES (144, '050paint.jpg', 'Untitled', 1, 0, 'unsigned', 'oil on canvas', 1, '');
INSERT INTO `sh_images` VALUES (145, '051paint.jpg', 'Untitled', 1, 0, 'unsigned', 'oil on canvas', 1, '');
INSERT INTO `sh_images` VALUES (146, '052paint.jpg', 'Untitled', 1, 0, 'unsigned', 'oil on canvas', 1, '');
INSERT INTO `sh_images` VALUES (147, '053paint.jpg', 'Untitled', 1, 0, 'unsigned', 'oil on canvas', 1, '');
INSERT INTO `sh_images` VALUES (148, '054paint.jpg', 'Untitled', 1, 0, 'unsigned', 'oil on canvas', 1, '');
INSERT INTO `sh_images` VALUES (149, '055paint.jpg', 'Untitled', 1, 0, 'unsigned', 'oil on canvas', 1, '');
INSERT INTO `sh_images` VALUES (150, '056paint.jpg', 'Untitled', 1, 0, 'unsigned', 'oil on canvas', 1, '');
INSERT INTO `sh_images` VALUES (151, '057paint.jpg', 'Untitled', 1, 0, 'unsigned', 'oil on canvas', 1, '');
INSERT INTO `sh_images` VALUES (152, '058paint.jpg', 'Untitled', 1, 0, 'unsigned', 'oil on canvas', 1, '');
INSERT INTO `sh_images` VALUES (153, '059paint.jpg', 'Untitled', 1, 0, 'unsigned', 'oil on canvas', 1, '');
INSERT INTO `sh_images` VALUES (154, '060paint.jpg', 'Untitled', 1, 0, 'unsigned', 'oil on canvas', 1, '');
INSERT INTO `sh_images` VALUES (155, '061paint.jpg', 'Untitled', 1, 0, 'unsigned', 'oil on canvas', 1, '');
INSERT INTO `sh_images` VALUES (156, '062paint.jpg', 'Untitled', 1, 0, 'unsigned', 'oil on canvas', 1, '');
INSERT INTO `sh_images` VALUES (157, '063paint.jpg', 'Untitled', 1, 0, 'unsigned', 'oil on canvas', 1, '1981');
INSERT INTO `sh_images` VALUES (158, '064paint.jpg', 'Untitled', 1, 0, 'unsigned', 'Oil on Canvas', 1, '1974');
INSERT INTO `sh_images` VALUES (159, '065paint.jpg', 'Untitled', 1, 0, 'unsigned', 'oil on canvas', 1, '1986');
INSERT INTO `sh_images` VALUES (160, '066paint.jpg', 'Untitled', 1, 0, 'unsigned', 'oil on canvas', 1, '1990');
INSERT INTO `sh_images` VALUES (161, '067paint.jpg', 'Untitled', 1, 0, 'unsigned', 'oil on canvas', 1, '1991');
INSERT INTO `sh_images` VALUES (162, '068paint.jpg', 'Untitled', 1, 0, 'unsigned', 'oil on canvas', 1, '1991');
INSERT INTO `sh_images` VALUES (163, '069paint.jpg', 'Untitled', 1, 0, 'unsigned', 'oil on canvas', 1, '1991');
INSERT INTO `sh_images` VALUES (164, '070paint.jpg', 'Untitled', 1, 0, 'unsigned', 'oil on canvas', 1, '1993');
INSERT INTO `sh_images` VALUES (165, '071paint.jpg', 'Untitled', 1, 0, 'unsigned', 'oil on canvas', 1, '1996');
INSERT INTO `sh_images` VALUES (166, '072paint.jpg', 'Untitled', 1, 0, 'unsigned', 'oil on canvas', 1, '1996-2003');
INSERT INTO `sh_images` VALUES (167, '073paint.jpg', 'Untitled', 1, 0, 'unsigned', 'oil on canvas', 1, '1996');
INSERT INTO `sh_images` VALUES (168, '074paint.jpg', 'Untitled', 1, 0, 'unsigned', 'oil on canvas', 1, '1997');
INSERT INTO `sh_images` VALUES (169, '075paint.jpg', 'Untitled', 1, 0, 'unsigned', 'oil on canvas', 1, '1997');
INSERT INTO `sh_images` VALUES (170, '076paint.jpg', 'Untitled', 1, 0, 'unsigned', 'oil on canvas', 1, '1997');
INSERT INTO `sh_images` VALUES (171, '077paint.jpg', 'Untitled', 1, 0, 'unsigned', 'oil on canvas', 1, '1997');
INSERT INTO `sh_images` VALUES (172, '078paint.jpg', 'Untitled', 1, 0, 'unsigned', 'oil on canvas', 1, '1998');
INSERT INTO `sh_images` VALUES (173, '079paint.jpg', 'Untitled', 1, 0, 'unsigned', 'oil on canvas', 1, '2001');
INSERT INTO `sh_images` VALUES (174, '080paint.jpg', 'Untitled', 1, 0, 'unsigned', 'oil on canvas', 1, '2001-2003');
INSERT INTO `sh_images` VALUES (175, '081paint.jpg', 'Untitled', 1, 0, 'unsigned', 'oil on canvas', 1, '2001');
INSERT INTO `sh_images` VALUES (176, '082paint.jpg', 'Untitled', 1, 0, 'unsigned', 'oil on canvas', 1, '2003');
INSERT INTO `sh_images` VALUES (177, '083paint.jpg', 'Untitled', 1, 0, 'unsigned', 'oil on canvas', 1, '2003');
INSERT INTO `sh_images` VALUES (178, '084paint.jpg', 'Untitled', 1, 0, 'unsigned', 'oil on canvas', 1, '2003');
INSERT INTO `sh_images` VALUES (179, '085paint.jpg', 'Untitled', 1, 0, 'unsigned', 'oil on canvas', 1, '');
INSERT INTO `sh_images` VALUES (180, '086paint.jpg', 'Untitled', 1, 0, 'unsigned', 'oil on canvas', 1, '');
INSERT INTO `sh_images` VALUES (181, '087paint.jpg', 'Untitled', 1, 0, 'unsigned', 'oil on cardboard', 1, '');
INSERT INTO `sh_images` VALUES (182, '088paint.jpg', 'Untitled', 1, 0, 'unsigned', 'oil on cardboard', 1, '');
INSERT INTO `sh_images` VALUES (183, '089paint.jpg', 'Untitled', 1, 0, 'unsigned', 'oil on cardboard', 1, '');
INSERT INTO `sh_images` VALUES (184, '090paint.jpg', 'Untitled', 1, 0, 'unsigned', 'oil on cardboard', 1, '');
INSERT INTO `sh_images` VALUES (185, '091paint.jpg', 'Untitled', 1, 0, 'unsigned', 'oil on cardboard', 1, '');
INSERT INTO `sh_images` VALUES (186, '092paint.jpg', 'Untitled', 1, 0, 'unsigned', 'oil on cardboard', 1, '');
INSERT INTO `sh_images` VALUES (187, '093paint.jpg', 'Untitled', 1, 0, 'unsigned', 'oil on cardboard', 1, '');
INSERT INTO `sh_images` VALUES (188, '094paint.jpg', 'Untitled', 1, 0, 'unsigned', 'oil on cardboard', 1, '1996');
INSERT INTO `sh_images` VALUES (189, '095paint.jpg', 'Untitled', 1, 0, 'unsigned', 'oil on cardboard', 1, '1996-97');
INSERT INTO `sh_images` VALUES (190, '096paint.jpg', 'Untitled', 1, 0, 'unsigned', 'oil on cardboard', 1, '1996');
INSERT INTO `sh_images` VALUES (191, '097paint.jpg', 'Untitled', 1, 0, 'unsigned', 'oil on cardboard', 1, '');

//-- //--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--

//-- 
//-- Table structure for table `teches`
//-- 

CREATE TABLE `teches` (
  `t_id` int(11) NOT NULL auto_increment,
  `t_title` varchar(100) NOT NULL default '',
  `t_writer` varchar(100) NOT NULL default '',
  `t_text` text NOT NULL,
  `t_active` int(11) NOT NULL default '0',
  `t_cat` int(11) NOT NULL default '0',
  `t_date` datetime NOT NULL default '0000-00-00 00:00:00',
  PRIMARY KEY  (`t_id`)
) TYPE=MyISAM COMMENT='hold techniques' AUTO_INCREMENT=3 ;

//-- 
//-- Dumping data for table `teches`
//-- 

INSERT INTO `teches` VALUES (1, 'How to Shoot Impromptu Street Portraits', '1', 'Sometimes you’re stuck in a photography rut, craving new subjects, new faces.\r\nAn easy solution is down on the sidewalk below you, at the turn of a corner, in any neighborhood in any city.\r\n\r\nJust follow these simple steps!\r\n\r\nSelect a neighborhood. (The more unfamiliar the better!) \r\nFind a photo partner to accompany you on your mission. \r\nBring: camera, lenses, notebook, pen, paper, masking tape, a seasonally appropriate form of barter (candy canes, candy hearts, candy corn, etc.) \r\nRun to nearest drug store and buy brightly colored poster board. We chose yellow, but grab whatever is in stock. It’s usually about $1 per sheet. Buy 2, one to make a sign and one as a back drop. Or, get creative, and set up multiple back drops. \r\nSetup on a busy block or corner and act like a car salesman would. Chat with all who pass by–the young, the old, the serious, the jovial. (Tips: Just strike up a conversation! Where are they from? Where are they going? How do they feel? Where did they get that hat? Do they like candy canes?) \r\nAsk each subject to stand in front of the posterboard at a pose of their choice. Meanwhile, take down their name and email address as well as any idiosyncratic facts. \r\nShoot until you run out of candy or the sun goes down. \r\nThe result? A series of great and varied portraits from the street, many great conversations, and a number of new friends. Try it out!', 1, 0, '2006-12-12 00:00:00');
INSERT INTO `teches` VALUES (2, 'How to Shoot Great Photographs with a Film or Digital Camera', '1', 'For serious amateur photographers who already shoot perfectly focused, accurately exposed images but want to be more creative with a camera, here’s the book to consult. More than seventy techniques, both popular and less-familiar approaches, are covered in detail, including advanced exposure, bounced flash and candlelight, infrared, multiple images, soft-focus effects, unusual vantage points, zooming, and other carefully chosen ways to enhance photographs. The A-Z format make sit easy for readers to find a specific technique, and each one is explained in jargon-free language. Top Tips for each technique help readers achieve superb results, even on the first attempt. \r\n', 1, 0, '2006-12-12 00:00:00');

//-- //--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--

//-- 
//-- Table structure for table `users`
//-- 

CREATE TABLE `users` (
  `uid` bigint(20) NOT NULL auto_increment,
  `username` varchar(30) NOT NULL default '',
  `password` varchar(30) NOT NULL default '',
  `created` timestamp(14) NOT NULL,
  `paid` enum('N','Y') NOT NULL default 'N',
  PRIMARY KEY  (`uid`),
  UNIQUE KEY `username` (`username`)
) TYPE=MyISAM COMMENT='Store user paid y/n information' AUTO_INCREMENT=1 ;

//-- 
//-- Dumping data for table `users`
//-- 


//-- //--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--//--

//-- 
//-- Table structure for table `userstemp`
//-- 

CREATE TABLE `userstemp` (
  `uid` bigint(20) NOT NULL auto_increment,
  `username` varchar(30) NOT NULL default '',
  `password` varchar(30) NOT NULL default '',
  `created` timestamp(14) NOT NULL,
  `paid` enum('N','Y') NOT NULL default 'N',
  PRIMARY KEY  (`uid`),
  UNIQUE KEY `username` (`username`)
) TYPE=MyISAM COMMENT='Store user paid y/n information' AUTO_INCREMENT=1 ;

//-- 
//-- Dumping data for table `userstemp`
//--