اليوم العالمي للتضامن مع الشعب الفلسطيني هو مناسبة تبنتها وتنظمها الأمم المتحدة، وتدور فعالياتها يوم 29 نوفمبر أو حواليه في مقر الأمم المتحدة في نيويورك كما في مكاتبها في جنيف وفيينا بناء على قرار الجمعية العامة رقم 32/40B في ديسمبر 1977، وهو احتفال رسمي في ذكرى صدور قرار الجمعية العامة رقم 181 (د-2)، في 29 نوفمبر 1947، الذي ينص على تقسيم فلسطين.

تنظم في هذه المناسبة نشاطات تذكارية خاصة من قبل شعبة حقوق الفلسطينيين التابعة للأمانة العامة للأمم المتحدة بالتشاور مع اللجنة المعنية بممارسة الحقوق غير القابلة للتصرف للشعب الفلسطيني.

المراجع

روابط خارجية

 نص قرار الجمعية العامة رقم 32/40B

أيام الأمم المتحدة
إسرائيل وفلسطين والأمم المتحدة
عمليات الأمم المتحدة في الشرق الأوسط
مناسبات ديسمبر
مناسبات نوفمبر

اليوم الدولي للتضامن مع الشعب الفلسطيني


Friedrich Gerhart († nach 1463) war ein deutscher Benediktiner und Verfasser theologischer Schriften.

Er wurde oft mit dem in den Schriften aus der Abtei St. Emmeram in Regensburg als ebenfalls als frater fridericus erscheinenden Verfasser mathematischer und astronomischer Texte identifiziert.
Aufgrund eines Vergleiches der Handschriften konnten diese jedoch dem gleichzeitig in St. Emmeram wirkenden Friedrich Amann zugeordnet werden.
Friedrich Gerhart ist der Verfasser der Handschriften Codex Latinus Monacensis 14131, 14140 und 14656, die heute in der Bayerischen Staatsbibliothek in München aufbewahrt werden.

Literatur

 Elisabeth Wunderle: Katalog der lateinischen Handschriften der Bayerischen Staatsbibliothek München. Ps. 2: Die Handschriften aus St. Emmeram in Regensburg. Bd. 1: Clm 14000 - 14130. Harrassowitz, Wiesbaden 1995, ISBN 3-447-03474-2, S. XIVf

Benediktiner
Autor
Römisch-katholischer Theologe (15. Jahrhundert)
Geboren im 14. oder 15. Jahrhundert
Gestorben im 15. Jahrhundert
Deutscher
Mann

Friedrich Gerhart


Giammalva est un nom propre italien qui peut faire référence à :

Patronyme

 Sammy Giammalva (1934-), joueur américain de tennis ;
 Sammy Giammalva Jr (1963-), joueur américain de tennis, fils de Sammy Giammalva ;
 Tony Giammalva (1958-), joueur américain de tennis, fils de Sammy Giammalva.

Patronyme italien

Giammalva


Le Championnat d'Oran de basket-ball, est une compétition de basket-ball organisée en département d'Oran Algérie française  par la Ligue d'Oran de basket-ball entre 1920 et 1962.

Histoire

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Notes et références

Afrique du Nord
Basket-ball en Afrique

Ligue d'Oran de basket-ball


Bir Hima ( arapski : بئر حما, transliteracija: Biʾr Ḥimā) je lokalitet raznih crteža na stijeni u provinciji Najran, na jugozapadu Saudijske Arabije, oko 200 kilometara sjeverno od grada Najran. Drevno paleolitsko i neolitsko nalazište, kompleks Bir Hima obuhvaća vremensko razdoblje 2500–1000 pr.Kr. Bir Hima sadrži brojne prolaze čiji se tip može pronaći u rasponu od Sjeverne Arabije do Jemena.

U srpnju 2021. godina lokalitet je stavljen na UNESCO -vu listu svjetske baštine.

Povijest

Drevna povijest ljudskog nastanjivanja ovog lokaliteta zaslužna je zbog divljeg života, vode i vapnenačkog terena. Stjenovita umjetnost Saudijske Arabije smatra se jednom od najbogatijih na svijetu, zajedno s drugim primjerima u Australiji, Indiji i Južnoj Africi. Područje je istražila ekspedicija Philby-Ryckmans-Lippen 1951. godine, a objavio E. Anati (1969–72). Tada je zabilježeno da su slike na stijenama utisnute u urez u formaciju pješčenjaka, te da datiraju 300-200. pr. Kr. Njegovo bogato naslijeđe kamenih petroglifa privuklo je pažnju Odjela za antikvitete Saudijske Arabije tek nakon 1976. godine kada su istražena načazišta poput Jubbe. Jedan od članova ekspedicije istražujući ovaj oblik umjetnosti pronašao je nalazište zapadno od drevnih bunara Bir Hima, gdje je zabilježio 250 slika. Bunari Bir Ḥimā bili su posljednje pojilište za karavane na putu prema sjeveru kroz pustinju i prvo na jugu na povratku iz pustinje.

Nalazi

Bir Hima, drevno paleolitsko i neolitsko nalazište, nalazi se sjeverno od Najrana, kategorizirano je kao donjopaleolitsko ili starovjekovsko nalazište. Osim petroglifa, ovdje su pronađeni i rezbareni alati korišteni za ovo umjetničko djelo (u obliku sjeckalice ili kamenčića) izrađeni od materijala kao što su kvarcit, andezit i kremen. Čini se da su slike ispisane broncom. Primijećeni petroglifi, koji su se prvotno pronašli pedesetih godina prošlog stoljeća, sastojali su se od bodeža i mačeva, lukova sa strelicama na vrhu poprečnih vrhova strijela, srpskih mačeva i palica. Ti su prikazi tumačeni kao simboli duhovnog animizma .

Bir Hima, samo je sjena onih pronađenih u regiji Jubba. Ovdje je identificirano 100 nalazišta. Na području Najrana zabilježeno je čak 6.400 ilustracija ljudi i životinja, koje uključuju više od 1.800 deva i 1.300 ljudskih prikaza. Na ovom važnom mjestu kamenih umjetnosti, osim prikaza ljudi, žirafa i drugih životinja, zabilježeni su i natpisi Dhu Nuwasa, himjarskog kralja koji je zauzeo Najran u šestom stoljeću. Na mjestu 217-44 iskopan je niz zglobova deva. Iako su njegove gravure vjerojatno puno ranije od onih na Hunters Palette, ratnik Bir Hima, naoružan lukom, gotovo je identičan ljudima na Hunters Paletteu.

Izvori

Petroglifi u Aziji
Svjetska baština u Saudijskoj Arabiji

Bir Hima


13014 Hasslacher este un asteroid din centura principală de asteroizi.

Descriere
13014 Hasslacher este un asteroid din centura principală de asteroizi. A fost descoperit pe  la Stația Anderson Mesa de Richard Binzel. Asteroidul prezintă o orbită caracterizată de o semiaxă mare de 3,15 ua, o excentricitate de 0,13 și o înclinație de 7,1° în raport cu ecliptica.

Vezi și
 Lista planetelor minore: 13001-14000
 Centura de asteroizi

Referințe

Obiecte astronomice descoperite în 1987
Centura de asteroizi

13014 Hasslacher


سي إيغل  هو صاروخ مضاد للسفن يطلق وينسى ويلاصق سطح البحر، والصاروخ من تصميم وإنتاج بي إيه إي ديناميكس (الآن إم بي دي إيه).

مستخدميه

انظر أيضاً
 بي-270 موسكيت
 بي-800 أونيكس

مراجع

أسلحة المملكة المتحدة
صواريخ موجهة مضادة للسفن
معدات عسكرية 1980-1989

سي إيغل


Uridine-5′-triphosphate (UTP) is a pyrimidine nucleoside triphosphate, consisting of the organic base uracil linked to the 1′ carbon of the ribose sugar, and esterified with tri-phosphoric acid at the 5′ position. Its main role is as substrate for the synthesis of RNA during transcription. UTP is the precursor for the production of CTP via CTP synthetase. UTP can be biosynthesized from UDP by Nucleoside Diphosphate Kinase after using the phosphate group from ATP. UDP + ATP ⇌ UTP + ADP; both UTP and ATP are energetically equal.

The homologue in DNA is thymidine triphosphate (TTP or dTTP). UTP also has a deoxyribose form (dUTP).

Role in metabolism
UTP also has the role of a source of energy or an activator of substrates in metabolic reactions, like that of ATP, but more specific. When UTP activates a substrate (like Glucose-1-phosphate), UDP-glucose is formed and inorganic phosphate is released.
UDP-glucose enters the synthesis of glycogen. UTP is used in the metabolism of galactose, where the activated form UDP-galactose is converted to UDP-glucose. UDP-glucuronate is used to conjugate bilirubin to a more water-soluble bilirubin diglucuronide. UTP is also used to activate amino sugars like Glucosamine-1-phosphate to UDP-glucosamine, and N-acetyl-glucosamine-1-phosphate to UDP-N-acetylglucosamine.

Role in receptor mediation
UTP also has roles in mediating responses by extracellular binding to the P2Y receptors of cells. UTP and its derivatives are still being investigated for their applications in human medicine.

See also
 CTP synthase

References

Nucleotides
Gene expression
Metabolism
Phosphate esters
Pyrimidinediones

Uridine triphosphate


Jumanji: Aventură în junglă (titlu original: Jumanji: Welcome to the Jungle) este un film american de acțiune, aventură și comedie din 2017 regizat de Jake Kasdan.. Rolurile principale au fost interpretate de actorii Karen Gillan, Dwayne Johnson, Kevin Hart, Jack Black, Nick Jonas, Laurie Calvert. Scenariul este scris de Chris McKenna pe baza unei cărți pentru copii din 1981 de Chris Van Allsburg.

Este al doilea film din franciza Jumanji bazat pe cartea lui Allsburg și servește ca sequel al filmului Jumanji din 1995. Filmul din 2017 este un omagiu adus actorului principal Robin Williams din filmul original.

Prezentare

În 1996, în Brantford, New Hampshire, adolescentul Alex Vreeke primește jocul de masă Jumanji, găsit de tatăl său pe o plajă. Când Alex îl refuză, jocul se transformă magic într-un cartuș ROM de jocuri video. Când începe să-l joace, Alex este teleportat în joc.

Douăzeci de ani mai târziu, în 2016, patru elevi din liceul Brantford se află în detenție împreună: Spencer Gilpin, care a fost prins scriind eseuri pentru fostul său prieten, Anthony "Fridge" Johnson (care este de asemenea în detenție pentru plagiat), în timp ce Bethany Walker și Martha Kaply, ambele pentru că au arătat lipsă de respect pentru profesorii lor în timpul orelor de curs. Bethany a vorbit la telefon în timpul orelor  și a refuzat să încheie conversația la cererea profesoarei de engleză, iar Martha a refuzat să facă o oră de educație fizică pentru că a considerat-o inutilă. Ei au fost ridiculizați pentru acțiunile lor și sunt puși de directorul școlii să facă curat la subsol.   În acest timp, cei patru găsesc Jumanji, un joc video de acțiune și de aventură multiplayer. Unul dintre personajele care pot fi jucate (avatare pentru joc video) este inaccesibil. Când Spencer apasă butonul Start, cei patru sunt teleportați în joc.

Cei patru ajung într-o junglă, fiecare având corpul avatarelor lor de joc. Spencer este un explorator dur, musculos numit Dr. Smolder Bravestone, Fridge este un  zoolog scund numit Franklin "Mouse" Finbar (pe care l-a ales interpretând greșit numele ca "Moose"), Martha este un expert în comando și în artele marțiale numit Ruby Roundhouse și Bethany este un cartograf masculin supraponderal, numit profesorul Sheldon "Shelly" Oberon. În curând, își dau seama că se află într-un joc video și fiecare are doar trei vieți. Dacă vor pierde toate cele trei vieți, vor muri cu adevărat. Fiecare dintre avatare are și abilități dar și puncte slabe.

Aceștia se întâlnesc cu Nigel, un ghid NPC, de la care află că marele vânător al jocului, Russel Van Pelt, dorește să obțină o bijuterie, "Ochiul lui Jaguar", care îi permite să manipuleze animalele din Jumanji. Pentru a scăpa din joc, jucătorii trebuie să pună "Ochiul lui Jaguar" într-o statuie enormă în formă de jaguar și să strige "Jumanji". De-a lungul drumului, grupul începe să-și piardă vieți prin diferite mijloace atunci când completează nivelele jocului. Grupul începe să lucreze împreună pentru a obține un indiciu de la un șarpe, dar este înconjurat de oamenii lui Van Pelt. Ei sunt salvați de Alex, al cincilea jucător, al cărui avatar este un pilot denumit Jefferson "Seaplane" McDonough. Acesta trăiește într-un copac construit de fostul jucător Alan Parrish (protagonistul filmului original Jumanji), Alex află că se află în joc de douăzeci de ani, dar noii-veniți îi promit să-l ajute să se întoarcă acasă. Ei fac rost de un elicopter și zboară să caute statuia jaguarului pentru a returna bijuteria. La aterizare Alex își pierde ultima viață după ce un țânțar îl mușcă, dar Bethany efectuează un CPR la timp și transferă una din viețile sale lui Alex, salvându-l de la moarte.

Ajungând la statuie, jucătorii se confruntă cu forțele lui Van Pelt și cu animalele sale de pradă. Folosind resursele și munca în echipă, jucătorii distrag atenția răufăcătorilor în timp ce Spencer pune înapoi bijuteria pe statuie și strigă numele jocului. Jocul se termină, transformându-l pe Van Pelt în mai mulți șobolani, iar jucătorii cu ajutorul lui Nigel revin cum au fost în lumea reală, dar descoperă că Alex nu a venit înapoi odată cu ei. În drum spre casă, ei descoperă că gospodăria din Vreeke - care înainte era neglijată de tatăl lui Alex, "Bătrânul" Vreeke - a fost restaurată. Apare Alex ca adult; el s-a întors în 1996, iar istoria a fost schimbată. El este căsătorit acum și  pe fiica sa cea mai mare a numit-o după Bethany drept recunoștință pentru că i-a salvat viața.

Spencer și Fridge se împacă, Bethany devine o persoană mai bună și face planuri de a merge înapoi pentru o altă întâlnire aventuroasă, Martha începe să se întâlnească cu Spencer, iar adolescenții sunt acum prieteni după experiențele lor în joc. Cei patru aud zgomotele de tobă produse de jocul Jumanji, dar ei duc jocul în spatele școlii și-l distrug cu o minge de bowling pentru a împiedica pe oricine să joace din nou.

Distribuție

|-
| Dwayne Johnson || Dr. Smolder Bravestone || Avatarul lui Spencer
|-
| Jack Black || Professor Shelly Oberon || Avatarul lui Bethany
|-
| Kevin Hart || Franklin Finbar || Avatarul lui Fridge
|-
| Karen Gillan || Ruby Roundhouse || Avatarul lui Martha
|-
| Nick Jonas || Pilotul Seaplane McDonough || Avatarul lui Alex
|-
| Bobby Cannavale || Alex Vreeke ||
|-
| Alex Wolff || Spencer Gilpin ||
|-
| Madison Iseman || Bethany Walker ||
|-
| Morgan Turner || Martha Kaply ||
|-
| Ser'Darius Blain || Anthony "Fridge" Johnson ||
|}

Producție
Filmările au început la 19 septembrie 2016 în Honolulu, Hawaii și s-au încheiat la 8 decembrie 2016 în Atlanta, Georgia.. Cheltuielile de producție s-au ridicat la 90-110 milioane $.

Lansare și primire
A avut încasări de 666,2 milioane $.

Note

Legături externe
Site oficial – Sony Pictures

Filme din 2017
Filme americane
Filme în limba engleză
Filme regizate de Jake Kasdan
Filme SF de comedie
Filme SF din anii 2010
Filme Columbia Pictures
Filme de aventură americane
Filme fantastice din anii 2010
Jumanji

Jumanji: Aventură în junglă


My Soul Sings es el quinto álbum en vivo de la banda británica de rock Delirious?. Fuego grabado en septiembre de 2008 en Bogotá, Colombia y lanzado oficialmente el 16 de marzo de 2009 en el Reino Unido. El nombre para el DVD fue tomado de una canción de su último trabajo de estudio Kingdom of Comfort.

Lista de canciones

DVD
 "Rain Down"
 "God Is Smiling"
 "Bliss"
 "Love Will Find a Way"
 "All God's Children"
 "How Sweet the Name"
 "History Maker"
 "Break the Silence"
 "Deeper"
 "Majesty"
 "Paint the Town Red"
 "Kingdom of Comfort"
 "Stare the Monster Down"
 "My Soul Sings"

CD
 "Rain Down"
 "God Is Smiling"
 "God's Romance"
 "Hallelujah"
 "Bliss"
 "Love Will Find a Way"
 "All God's Children"
 "History Maker"
 "Break the Silence"
 "Deeper"
 "Majesty"
 "Kingdom of Comfort"
 "Stare the Monster Down"
 "My Soul Sings"

Referencias

Álbumes de 2009
Álbumes en inglés

My Soul Sings: Live from Bogota


Phocoena ist eine Gattung der Schweinswale (Phocoenidae), zu der vier der insgesamt sechs Arten der Familie gezählt werden.

Merkmale
Phocoena-Arten werden maximal 1,5 bis 2,30 Meter lang. Im Unterschied zu den nah verwandten Delfinen haben sie einen abgerundeten Kopf, sind schnabellos und besitzen keine konischen, sondern stift- oder spatelförmige Zähne. Ihre Rückenseite ist für gewöhnlich grau bis dunkelgrau, beim Burmeister-Schweinswal auch schwarz und beim Brillenschweinswal blauschwarz, die Bauchseite hell oder weißlich gefärbt. Der Übergang ist verschwommen oder scharf abgegrenzt (Burmeister-Schweinswal und Brillenschweinswal).

Vom Glattschweinswal (Neophocaena phocaenoides) unterscheiden sich die Phocoena-Arten u. a. durch den Besitz einer Finne, die oft innerhalb einer Art variabel geformt ist und dreieckig, sichelförmig oder groß und abgerundet sein kann.

Im Unterschied zum Weißflankenschweinswal (Phocoenoides dalli) besitzen die Phocoena-Arten, mit Ausnahme von alten Männchen des Burmeister-Schweinswals, keinen erhöhten Schwanzstiel.

Arten
 Brillenschweinswal (Phocoena dioptrica)
 Gewöhnlicher Schweinswal (Phocoena phocoena)
 Kalifornischer Schweinswal (Phocoena sinus)
 Burmeister-Schweinswal (Phocoena spinipinnis)

Verbreitung
Der Gewöhnliche Schweinswal bewohnt küstennahe gemäßigte Meere der Nordhalbkugel, der Brillenschweinswal lebt zirkumpolar in den Ozeanen der Südhalbkugel. Die Küsten des mittleren und südlichen Südamerika sind die Heimat des Burmeister-Schweinswals; der vom Aussterben bedrohte Kalifornische Schweinswal hat ein winziges Verbreitungsgebiet im Norden des Golf von Kalifornien.

Literatur
 Hadoram Shirihai: Meeressäuger. Alle 129 Arten weltweit. Illustriert von Brett Jarett. Franckh-Kosmos Verlags GmbH, Stuttgart 2008, ISBN 978-3-440-11277-9.

Weblinks

Schweinswale
Phocoenidae

Phocoena


Schloss Retzin ist ein Herrenhaus in dem zu Groß Pankow gehörenden Dorf Retzin.

Geschichte
Retzin gehörte zum Besitz der Familie Gans zu Putlitz. Eine Gutswirtschaft bestand hier ab dem 17. Jahrhundert. Das Gutshaus wurde unter Eduard Gans Edlen Herren zu Putlitz ab dem Jahr 1815 errichtet. 1879 gehörten zum Besitz Retzin laut dem erstmals amtlich publizierten Generaladressbuch der Rittergutsbesitzer 268 ha.
Von 1882 bis 1884 wurde es im Stil der italienischen Neorenaissance umgestaltet. Als Wohnsitz des Dichters Gustav Gans zu Putlitz wurde es auch für Theater- und Opernaufführungen genutzt; auf dem Dachboden war eine Bühne eingebaut. In einer der Scheunen, die zum Schloss gehörten, wurde 1852 der Rübezahl aufgeführt, zu dem Friedrich von Flotow die Musik komponiert hatte.
1856 beauftragte Gustav Gans zu Putlitz den Gartenarchitekten Eduard Neide mit der Verschönerung des Gutsparks.
 Die sogenannte "Große Eiche" in dem Landschaftspark, der das Schloss umgibt, wurde 1910 anlässlich der Hochzeit der Adrienne zu Putlitz mit Bernhard von Bülow geweiht und auch später noch im Bedarfsfall als Kirchenersatz genutzt. Letzter Gutsbesitzer auf Schloss Retzin war der Enkel des Gustav, Stephan Gans zu Putlitz (1885–1951), der auch nach der Bodenreform in der Region blieb.

Das denkmalgeschützte Schloss wurde 1992 von der Lebenshilfe angekauft und wird seit 1995 als Wohnheim für Menschen mit geistiger Behinderung genutzt.

Literatur
 Georg Dehio: Handbuch der deutschen Kunstdenkmäler. Neubearbeitung der Dehio-Vereinigung (Volker Himmelein, Gerd Weiss, Dieter Martin) und die Vereinigung der Landesdenkmalpfleger in der Bundesrepublik Deutschland, v. d. d.: Brandenburgisches Landesamt für Denkmalpflege und Archäologisches Landesmuseum. Brandenburg: Gerhard Vinken, 1. Auflage, Deutscher Kunstverlag, München/ Berlin 2002, S. 923. ISBN 3-422-03054-9.

Weblinks

 Die Prignitz (PDF; 1,9 MB), S. 34

Einzelnachweise

Parkanlage in Brandenburg
Schloss Retzin
Schloss Retzin
Herrenhaus im Landkreis Prignitz
Erbaut in den 1810er Jahren
Parkanlage in Europa

Schloss Retzin


Haworthia variegata es una especie de planta suculenta perteneciente a la familia Xanthorrhoeaceae. Es originaria de Sudáfrica.

Descripción
Es una planta suculenta perennifolia que alcanza un tamaño de 6 a 45 cm de altura. Se encuentra a una altitud de hasta 500 metros en Sudáfrica.

Taxonomía
Haworthia variegata fue descrita por  L.Bolus y publicado en Syn. Pl. Succ. 95, en el año 1812.
Variedades aceptadas
 Haworthia variegata var. hemicrypta M.B.Bayer
 Haworthia variegata var. modesta M.B.Bayer
 Haworthia variegata var. petrophila M.B.Bayer
Sinonimia
 Haworthia chloracantha var. variegata (L.Bolus) Halda
 Haworthia chloracantha subsp. variegata (L.Bolus) Halda

Referencias

Enlaces externos

variegata

Haworthia variegata


إيرباص أيه 330 طائرة نقل ركاب تجاري للمسافات المتوسطة، صممت من قبل الصانع الأوروبي إيرباص. تم تصنيعها بالتوازي مع مشروع طائرة الإيرباص إيه 340 ذات الأربعة محركات. وهي تسيطر على أسواق هذا الصنف من الطائرات الثنائية المحرك.
تشترك الإيرباص إيه 340 مع هذه الطائرة في الجسم والأجنحة، كما يشبه جسمها إلى حد كبير جسم الإيرباص إيه 300، كما أن قمرة القيادة تعد نسخة عن الموجودة بالإيرباص إيه 320.

تم تقديم الطائرة علانية للمرة الأولى في 31 مارس 1992. وهي متوفرة في 3 طرازات هي A330-200 ،A330-300 ،A330 MRTT.
في مايو 2006، تم طلب مجموع 574 A330 وتم تسليم 413 طائرة منها.
مواصفات الطائرة
طاقم القيادة :طيارين
الطول :58.80 متر
طول الاجنحة:60.30 متر
الارتفاع:17.40 متر
الوزن عند الإقلاع:230 طن
الركاب:253-293 راكب
السرعة القصوى:880 كم/ساعة
مدى التحليق:12500-10500 كم

الطلبيات والتسليمات

معرض صور

انظر أيضا
 لائحة مشغلي الإيرباص إيه 330

المراجع

إيرباص إيه 330
حوادث طائرات إيرباص إيه 330
طائرات إيرباص
طائرات خطوط جوية دولية 1990–1999
طائرات ذات أجنحة سفلية
طائرات نفاثة ثنائية المحركات
مركبات ظهرت في 1994

إيرباص إيه 330


Santa Rosa de Lima es un municipio de Guatemala. Pertenece al departamento de Santa Rosa, de la región sur-oriente del país.

Con 47 km², se trata de uno de los municipios más pequeños del departamento, superando únicamente a los municipios de San Rafael Las Flores, Santa Cruz Naranjo y San Juan Tecuaco.

Este municipio celebra la fiesta titular el 30 de agosto de cada año en honor a su patrona santa Rosa de Lima.

Geografía física

Clima

Santa Rosa de Lima tiene clima tropical (Clasificación de Köppen: Aw).

Ubicación geográfica

El municipio se encuentra a una distancia de 28 kilómetros de la cabecera departamental de Cuilapa. Este municipio está situado en la parte norte de Santa Rosa siendo el límite tanto de la parte superior como de la parte occidental, estando al lado sur de la capital de Guatemala. Se encuentra localizado entre el norte de Nueva Santa Rosa y Santa Cruz Naranjo, al este de Fraijanes municipio del departamento de Guatemala, al oeste de Nueva Santa Rosa y al sur de San José Pinula y Fraijanes municipios del departamento de Guatemala.

Gobierno municipal

Los municipios se encuentran regulados en diversas leyes de la República, que establecen su forma de organización, lo relativo a la conformación de sus órganos administrativos, tributos destinados para los mismos; esta legislación se encuentra dispersa en diversos niveles.  Ahora bien, que exista legislación específica para los municipios no significa que a estos no les sean aplicables las normas contenidas en otros cuerpos normativos, pues aunque se trata de entidades autónomas, las mismas se encuentran sujetas, al igual que todas las entidades de tal naturaleza, a la legislación nacional.

Específicamente, las principales leyes que rigen a los municipios en Guatemala desde 1985 son:

El gobierno de los municipios de Guatemala está a cargo de un Concejo Municipal, de conformidad con el artículo 254 de la Constitución Política de la República de Guatemala, que establece que «el gobierno municipal será ejercido por un concejo municipal». A su vez, el código municipal —que tiene carácter de ley ordinaria y contiene disposiciones que se aplican a todos los municipios de Guatemala— establece en su artículo 9 que «el concejo municipal es el órgano colegiado superior de deliberación y de decisión de los asuntos municipales […] y tiene su sede en la circunscripción de la cabecera municipal». Por último, el artículo 33 del mencionado código establece que «[le] corresponde con exclusividad al concejo municipal el ejercicio del gobierno del municipio».

El concejo municipal se integra de conformidad con lo que establece la Constitución en su artículo 254, es decir «se integra con el alcalde, los síndicos y concejales, electos directamente por sufragio universal y secreto para un período de cuatro años, pudiendo ser reelectos». Al respecto, el código municipal en el artículo 9 establece «que se integra por el alcalde, los síndicos y los concejales, todos electos directa y popularmente en cada municipio de conformidad con la ley de la materia».

Historia

Época colonial

El municipio de Santa Rosa de Lima es uno de los más antiguos del departamento, con anterioridad era conocido como Valle de las Yeguas, toma su nombre actual en honor de la patrona de la población, la virgen de Santa Rosa de Lima.

En el año de 1692 el rey Carlos V de España inicia el trámite para expedir los títulos de propiedad del Valle de las Yeguas por medio de Real Cédula, a favor de los señores Simón Luciano, Isidro Miguel Damián González y Blas Thin de Bárcenas, fundadores de este lugar. En 1693, Antonio González Donis construyó un oratorio para venerar la imagen de la de Santa Rosa de Lima, traída de España por su esposa Dionisia Catalán.

En el año de 1774 por mandato de Real Cédula, con una arquitectura española, y la ayuda de la corona española se construyó el templo católico, en el mismo lugar donde se había construido el oratorio anterior, y en honor de la reina que patrocinó los viajes del descubridor Cristóbal Colón en 1492, se le llamó al municipio «Isabel de España».

La devoción a la imagen de la virgen de Santa Rosa de Lima, trajo a muchos mestizos españoles, forasteros que se quedaron a vivir en la región donde todo era próspero .

Fundación del departamento de Santa Rosa

La República de Guatemala fue fundada por el gobierno del presidente capitán general Rafael Carrera el 21 de marzo de 1847 para que el hasta entonces Estado de Guatemala pudiera realizar intercambios comerciales libremente con naciones extranjeras. El 25 de febrero de 1848 la región de Mita fue segregada del departamento de Chiquimula, convertida en departamento y dividida en tres distritos: Jutiapa, Santa Rosa y Jalapa.  Específicamente, el distrito de Santa Rosa incluyó a Santa Rosa como cabecera, Cuajiniquilapa, Chiquimulilla, Guazacapán, Taxisco, Pasaco,  Nancinta, Tecuaco, Sinacantán, Santa María Ixhuatán —llamada entonces «Isguatán»—, Sacualpa, La Leona, Jumaytepeque —llamado entonces simplemente «Jumay»— y Mataquescuintla.

En el año de 1876 fue construido un puente colgante para unir la población al caserío Los Bordos, en la actualidad Nueva Santa Rosa, en este mismo lugar, el puente colgante fue sustituido por el moderno puente de concreto Los Esclavos, construido en 1971 durante la administración del General Carlos Arana Osorio.

En el año de 1872 cuando era presidente de facto de la República el general Miguel García Granados, estalló una contra revolución en el oriente del país, la cual encabezaba el mariscal Antonio Solares y Tomás Melgar. El general Justo Rufino Barrios como comandante de García Granados y jefe militar del gobierno revolucionario, salió a combatir a los rebeldes a quienes logró derrotar precisamente en los barrancos de la aldea Cerro Gordo de este municipio. Cuenta la historia que el General Barrios durmió bajo la ceiba que adorna el parque de Santa Rosa de Lima. Asimismo se cree que su estancia en el poblado le pareció tan especial que poco tiempo después mandó a construir un monumento muy cerca de la ceiba, que le recordaba momentos de gloria militar.

En 1885 el general Barrios donó a Santa Rosa de Lima un reloj que fue instalado en la torre del edificio municipal, el que en la antigüedad fue palacio del intendente; este reloj es considerado como una joya histórica para la población pero no funciona por falta de mantenimiento.

En el año de 1895 por orden del presidente general José María Reyna Barrios fue trasladada la cabecera del departamento de Santa Rosa, hacia la Villa de Barberena y años más tarde se le otorgó a Cuajiniquilapa.

Segregación de Santa Cruz Naranjo

La aldea Santa Cruz Naranjo pertenecía al municipio de Santa Rosa hasta que por acuerdo gubernativo del gobierno del licenciado Manuel Estrada Cabrera del 2 de junio de 1910 fue elevada a categoría de municipio:

Terremoto de 1913

El día sábado 8 de marzo de 1913 un terremoto de magnitud 6.4 azotó al territorio de Santa Rosa, destruyendo a la cabecera departamental, Cuilapa y a otros poblados, incluyendo Santa Rosa de Lima. Tanto el terremoto inicial como las réplicas destruyeron muchas casas, escuelas e incluso la catedral y la prisión, con una considerable cantidad de víctimas mortales; similar destrucción sufrieron las localidades de Cerro Redondo, Llano Grande y El Zapote también sufrieron daños considerables.  También fueron dañados seriamente los poblados de Fraijanes, Pueblo Nuevo Viñas, Coatepeque y Jalpatagua. En el área del epicentro, el terremoto provocó derrumbes y bloqueo de caminos y carreteras, e incluso se reportó una larga grieta que se formó en el Cerro Los Esclavos.

Debido a la destrucción de Cuilapa, entre 1913 y 1920, Barberena se desempeñó como cabecera departamental, por acuerdo gubernativo del 10 de marzo de 1913, emitido por el presidente, licenciado Manuel Estrada Cabrera. En 1910 Manuel Urías y el alcalde Pablo Dávila Calelo habían presentado un reclamo para que les fuera devuelto la cabecera departamental, pero esto ya no se logró poruqe tras el terremoto el municipio fue afectado por una epidemia de fiebre amarilla y paludismo, hecho que obligó al gobierno del licenciado Manuel Estrada Cabrera a trasladar a las familias no contagiadas a un pequeño valle al otro lado del río Los Esclavos, en jurisdicción de Cuilapa. Muchas familias radicaron en aquella localidad, lo cual con el tiempo dio lugar a la creación de un nuevo municipio denominado Nueva Santa Rosa, separados entre ambos municipios por 1.5 km de distancia.

En 1925 regresaron algunos pobladores quienes empezaron una nueva vida en el pueblo devastado por los efectos del fenómeno y las epidemias.

Economía
El municipio produce y desarrolla su economía en base al comercio de sus cultivos y la artesanía de elaboración de muebles, artículos para el hogar, etc.

Agricultura
El municipio es uno de los municipios que más cosechan la caña de azúcar, así mismo elaboran azúcar siendo de gran proporción económico para el mismo lugar y el departamento. Naturalmente los terrenos son de alto porcentaje a la cosecha de semillas, frutas y verduras. Las semillas más cosechadas son:
 Maíz
 Frijol
 Café

Artesanía
Los principales productos que elaboran son cerámica, muebles de madera, cerámica, tejas y ladrillos.

Véase también

 Elecciones municipales de Guatemala de 2015
 Organización territorial de Guatemala

Notas y referencias

Referencias

Bibliografía

Municipios de Santa Rosa
Epónimos de Rosa de Lima

Santa Rosa de Lima (Santa Rosa)


Fulvio ist ein italienischer männlicher Vorname.

Herkunft und Bedeutung
Fulvio ist die italienische Form des römischen Gentilnamens Fulvius.

Namensträger
 Fulvio Accialini (* 1952), italienischer Filmschaffender und Filmautor
 Fulvio Astalli (1655–1721), italienischer Kardinal und Bischof
 Fulvio Ballabio (* 1954), italienischer Autorennfahrer und Automobilhersteller
 Fulvio Bernardini (1905–1984), italienischer Fußballspieler und -trainer
 Fulvio Caccia (* 1942), Schweizer Politiker (CVP)
 Fulvio Collovati (* 1957), italienischer Fußballspieler
 Fulvio Conti (* 1947), italienischer Manager
 Fulvio Fulgonio (1832–1904), italienischer Schriftsteller und Librettist
 Fulvio Lucisano (* 1928), italienischer Filmproduzent
 Fulvio Marcolin (* 1930), italienischer Filmregisseur
 Fulvio Martini (1923–2003), Admiral der italienischen Marine und von 1984 bis 1991 Chef des Nachrichtendienstes SISMI
 Fulvio Martusciello (* 1968), italienischer Politiker
 Fulvio Melia (* 1956), italienischer Astronom und Astrophysiker
 Fulvio Milani (1885–1945), italienischer Politiker
 Fulvio Orsini (1529–1600), italienischer Späthumanist, Altertumsforscher und Bibliothekar
 Fulvio Ottaviano (* 1957), italienischer Drehbuchautor und Filmregisseur
 Fulvio Pelli (* 1951), Schweizer Politiker (FDP. Die Liberalen)
 Fulvio Roiter (1926–2016), italienischer Fotograf
 Fulvio Scola (* 1982), italienischer Skilangläufer
 Fulvio Suvich (1887–1980), italienischer Politiker und Diplomat in der Zeit des Faschismus
 Fulvio Tessitore (* 1937), italienischer Philosoph, Historiker und Politiker
 Fulvio Tomizza (1935–1999), italienischer Schriftsteller
 Fulvio Valbusa (* 1969), italienischer Skilangläufer

Siehe auch
 Di Fulvio

Männlicher Vorname
Italienischer Personenname

Fulvio


Alex Dorow (* 7. Juni 1964 in München) ist ein deutscher Nachrichtenmoderator und Politiker (CSU). Er ist seit April 2012 Mitglied des Bayerischen Landtags.

Werdegang
Dorow wuchs in Schondorf am Ammersee auf. Nach dem Abitur 1983 am Gymnasium des Landheims Schondorf verpflichtete er sich als Zeitsoldat bei der Bundeswehr. Anschließend studierte er von 1985 bis 1991 Politikwissenschaften, alte, mittelalterliche, neuere und bayerische Geschichte in München. Studienaufenthalte führten ihn nach Italien.

1988 kam er als Reporter zum Bayerischen Fernsehen. 1990 absolvierte er eine Sprecherausbildung und war mit Sendestart des Informationskanals B5 aktuell im Mai 1991 im Sprecherteam. Von 1993 bis 2007 war er Redakteur im Studio des Rundschau-Magazins. Von Oktober 2007 an war er einer der Moderatoren der Nachrichtensendung Rundschau. Im November 2011 beendete er (wegen seines Einzugs in den Bayerischen Landtag, siehe unten) die Moderation der Rundschau im Bayerischen Fernsehen.

Seit 1983 ist Dorow Mitglied der CSU. Im Mai 2011 übernahm er den Vorsitz des CSU-Kreisverbandes Landsberg. Bei der Landtagswahl im September 2008 kandidierte er auf der oberbayerischen CSU-Wahlliste, rückte aber erst am 3. April 2012 für den ausgeschiedenen Georg Fahrenschon in den Bayerischen Landtag nach. Dort war er Mitglied im Petitionsausschuss, sowie Mitglied des Ausschusses für Arbeit und Soziales, Jugend, Familie und Integration.

Bei der Landtagswahl 2013 gewann er das Direktmandat vom Stimmkreis Landsberg am Lech, Fürstenfeldbruck-West, StKr. 119.
Seitdem ist er Mitglied im Ausschuss für Bundes- und Europaangelegenheiten sowie regionale Beziehungen und im Wissenschaftsausschuss. Der ehemalige Journalist wurde außerdem in den Medienrat entsendet.

Bei der Landtagswahl 2018 erhielt er mit 35,4 % das Direktmandat für den Stimmkreis Landsberg am Lech, Fürstenfeldbruck-West.

Privates
Alex Dorow ist verheiratet und Vater von fünf Kindern. Er ist römisch-katholischer Konfession.

Literatur

Weblinks

 Persönliche Website

Einzelnachweise

Journalist (Deutschland)
Politiker (21. Jahrhundert)
Landtagsabgeordneter (Bayern)
Person (Bayerischer Rundfunk)
CSU-Mitglied
Deutscher
Geboren 1964
Mann

Alex Dorow


Within the field of geology, Bowen's reaction series is the work of the Canadian petrologist Norman L. Bowen, who summarized, based on experiments and observations of natural rocks, the sequence of crystallization of common silicate minerals from typical basaltic magma undergoing fractional crystallization (i.e. crystallization wherein early-formed crystals are removed from the magma by crystal settling, leaving behind a liquid of slightly different composition). Bowen's reaction series is able to explain why certain types of minerals tend to be found together while others are almost never associated with one another. He experimented in the early 1900s with powdered rock material that was heated until it melted and then allowed to cool to a target temperature whereupon he observed the types of minerals that formed in the rocks produced. He repeated this process with progressively cooler temperatures and the results he obtained led him to formulate his reaction series which is still accepted today as the idealized progression of minerals produced by cooling basaltic magma that undergoes fractional crystallization. Based upon Bowen's work, one can infer from the minerals present in a rock the relative conditions under which the material had formed.

Description

The series is divided into two branches, the continuous (felsic minerals: feldspars) and the discontinuous (mafic minerals). The minerals at the top of the illustration (given aside) are first to crystallize and so the temperature gradient can be read to be from high to low with the high-temperature minerals being on the top and the low-temperature ones on the bottom. The branch on the right of the illustration is the continuous one (with continuous solid solutions of felsic minerals) and results in progressively sodium-rich plagioclase at lowering temperatures. In the discontinuous series mafic minerals such as olivine will first  crystallize at a higher temperature, as magma cools. However, if they are not precipitated (settled) out, the composition of the magma does not change and as the magma further cools the olivine will recrystallise as pyroxene.

Since the surface of the Earth is a low temperature environment compared to the zones of rock formation, the chart also reflects the relative stability of minerals, with the ones at bottom being most stable and the ones at top being quickest to weather, known as the Goldich dissolution series. This is because minerals are most stable in the temperature and pressure conditions closest to those under which they had formed.

References

External links
Bowen's Reaction Series

Igneous petrology
Volcanology

Bowen's reaction series


.gu Guam için internet ülke kodu üst seviye alan adıdır. (CcTLD)

Guam
gu

.gu


Histoire des Végétaux Recueillis dans les Isles Australes d'Afrique, (abreviado Hist. Vég. Isles Austral. Afriq.), es un libro con ilustraciones y descripciones botánicas que fue escrito por el eminente botánico francés; Louis Marie Aubert Du Petit-Thouars. Fue publicado en París  en el año 1805.

Referencias

Enlaces externos
en IPNI

Libros de botánica
Publicaciones científicas


උදය ගම්මන්පිල  ශ්‍රී ලංකාවේ ජාතිකවාදී දේශපාලඥයෙක්, තාක්ෂණධරයෙක් මෙන්ම නිර්මාංශි පරිසරවේදියෙකි.ව ෘත්තියෙන් පරිඝනක ඉංජිනේරුවෙක් මෙන්ම නීතිඥයෙක්ද වන ඔහු හිටපු බස්නාහිර පළාත් අමාත්‍යවරයෙකු මෙන්ම, බුද්ධ සාසන හා ආගමික කටයුතු පිලිබඳ හිටපු කැබිනට් ආමාත්‍යවරයෙක්ද වෙයි. 2015 අගෝස්තු 17 වන දින පැවති මහමැතිවරණයේදී කොලඹ දිස්ත්‍රික්කයෙන් මනාප ඡන්ද 198,818 ක් ලබා පාර්ලිමේන්තු මන්ත්‍රිවරයෙකු ලෙස තේරී පත්වු ඔහු පවිතුරු හෙළ උරුමය දේශපාලන පක්ෂයේ නායකයා ලෙසද කටයුතු කරයි.

මුල් අවධිය සහ අධ්‍යාපනය

උදය ගම්මන්පිල සිය ජන්ම ලාභය ලබන්නේ 1970 වර්ෂයේ පෙබරවාරි 6 වන දින නාවලපිටියේදීය.විදුහල්පතිවරුන් වූ තම දෙමාපියන්ගේ ගුරුහරුකම් සෙවණේ හැදුනු වැඩුනු ඔහු කුඩා කල සිටම අධ්‍යාපනයට හපන්කම් දැක්වීය. 5 වසර ශිෂ්‍යත්ව විභාගයෙන් ශ්‍රී ලංකාවෙන්ම තුන් වැනියා ලෙස සමත් වන උදය ප්‍රභාත් ගම්මන්පිල ශිෂ්‍යයා, කොලඹ ඩි.එස් සේනානායක විද්‍යාලය සිය ද්වීතීක අධ්‍යාපනය සඳහා තෝරා ගත්තේය.

1988 දී උසස් පෙල විභාගයෙන් ලංකාවේ පළමුවැන්නා ලෙස සමත් වුණු උදය ගම්මන්පිල මහතා ඔස්ට්‍රේලියානු ආණ්ඩුවෙන් ලබා දුන් ශිෂ්‍යත්වයක් දිනා මොනෑෂ් විශ්ව විද්‍යාලයේ පරිගණකවේදි උපාධිය හැදෑරීමට ඇතුළු විය.  1993 දී සිව්වන වසරේ අධ්‍යාපනය ලබන අතරේ විශ්ව විද්‍යාලයේ සහකාර කථිකාචාර්යවරයෙකු ලෙස  පත්වීමක්ද ඔහුට ලැබිණි.

1994 වසරේදී නැවත ශ්‍රි ලංකාවට පැමිණිමෙන් පසු , ඔස්ට්‍රේලියා – ලංකා සමූහ ව්‍යාපාරයේ ආධුනික කළමනාකරුවෙකු ලෙස සේවයට එක්වන ඔහු ඉන් වසර දෙකකට පසු එම ව්‍යාපාරයේ අධ්‍යක්ෂ සහ ප්‍රධාන විධායක නිළධාරි තනතුරට පත් විය.  ඒ අතරතුර නීතී විද්‍යාලයට ඇතුලත්ව නීතිය හදාරන උදය ගම්මන්පිල මහතා 2003 වසරේදී නීති විභාගය සමත්ව නීතිඥයෙකු ලෙස ද දිවුරුම් දෙන ලදී.

මුල්කාලීන දේශපාලන ජීවිතය
කොටි ත්‍රස්තවාදය පරාජය කළ යුතුය; පරාජය කළ හැකිය"  යන තේමාව යටතේ සිහළ උරුමය නමින් සිංහල දේශපාලන පක්ෂයක් ආරම්භ කළ අවස්ථාවේ ඔහු එහි සමාරම්බක සමාජිකයෙක් විය.  2001 වසරේදී එම පක්ෂයේ ප්‍රචාරක ලේකම් ධූරයට පත්වන උදය ගම්මන්පිල මහතා පසුව එහි  නියෝජ්‍ය ප්‍රධාන ලේකම් ධූරයට පත් විය.  2004 දී භික්ෂුන් වහන්සේලාගේ ආගමනයත් සමඟ  පක්ෂයේ නම  ජාතික හෙළ උරුමය ලෙස වෙනස් විමේන් පසුවද  එහි ආරම්භක පරිපාලන ලේකම්වරයා හා නීති උපදේශකවරයා  වූයේ උදය ගම්මන්පිල තරුණ නිතීවේදීයාය.

2007 වසරේදී ජනාධිපතිවරයා විසින් ඔහුව මධ්‍යම පරිසර අධිකාරියේ සභාපතිවරයා ලෙස පත් කරන ලදී. එම වසරේ අගෝස්තු මස ජනාධිපතිවරයා විසින් උතුරු-නැගෙනහිර අර්බූදයට විසඳුම් සෙවීමට පත් කළ සර්ව පාක්ෂික නියෝජිත කමිටුවේ සාමාජිකයෙකු ලෙස ද උදය ගම්මන්පිල මහතා කටයුතු කලේය.

2009 වර්ෂයේදී, බස්නාහිර පළාත් සභාවට තරග කිරීම සඳහා ඔහු මධ්‍යම පරිසර අධිකාරියේ සභාපති දූරයෙන් ඉල්ලා අස්විය. අනෙකුත් අපේක්ෂකයන් රජයේ නිලතල වල බලපරාක්‍රමයෙන් රජයේ සම්පත් යොදා ගනිමින්   මැතිවරණයට  තරඟ කරද්දි උදය ප්‍රභාත් ගම්මන්පිලයන් ස්වෙච්චාවෙන්ම සිය තනතුරෙන් ඉවත්වුයේ සියලු දේශපාලඥයන්ට ආදර්ශයක් වෙමිනි.
ඔහුගේ මැතිවරණ ව්‍යාපාරය පෝස්ටර්, පොලිතින් සහ රතිඤ්ඤා වලින් තොර සැබෑ  පරිසර හිතකාමි මැතිවරණ ව්‍යාපාරයක් වු අතර ජයග්‍රහණයෙන් පසු උදය ගම්මන්පිල මහතා බස්නාහිර පළාතේ කෘෂිකර්ම, වාර්මාර්ග, කර්මාන්ත සහ පරිසර ඇමති වරයා ලෙස දිව්රුම් දෙන ලදී.

දේශපාලන දිවියේ කඩයිම්

මධ්‍යම පරිසර අධිකාරියේ සභාපතිවරයා ලෙස
2007 වසරේදී මධ්‍යම පරිසර අධිකාරියේ සභාපතිවරයා ලෙස පත්වු උදය ගම්මන්පිල මහතාගේ මඟපෙන්විමෙන් ක්‍රියාවට නැංවුනු වැඩසටහන් අතර පිලිසරු කසල කළමනාකරන ව්‍යාපෘතිය සහ ප්ලාස්ටික් අපද්‍රව්‍ය භාවිතයෙන් ඉන්ධන නිපදවීමේ ව්‍යාපෘතිය ක්ෂේත්‍රයේ විද්වතුන්ගේ මෙන්ම ජනතාවගේද ප්‍රශංසාවට ලක්විය.

බස්නාහිර පළාත් කෘෂිකර්ම, වාර්මාර්ග, කර්මාන්ත සහ පරිසර ආමත්‍යවරයා ලෙස

කෘෂිකාර්මික කටයුතු යාන්ත්‍රීකරණය කිරීම හරහා කෘෂි කර්මාන්තයේ ඵලදායීතාවය වැඩි කිරීම අරමුණු කරගත් ගොවිරිය අරුණ වැඩසටහන යටතේ රුපියල් මිලියන ගනනක් වටිනා   අත් ට්‍රැක්ටර් ඇතුලු ගොවි උපකරන ගෝවින්ට ලබාදීමට ඔහු කෘෂිකර්ම ඇමතිවරයා ලෙස කටයුතු කලේය.බස්නාහිර පළාත් කෘෂිකර්ම අමාත්‍යාංශය හරහා ජනතාවට උසස් ප්‍රමිතිගත සේවාවක් ලබාදෙන්නට ඔහු නායකත්වය ගත්තේය. එහි ප්‍රථිපලයක් ලෙස 2013 වසරේදී ශ‍්‍රී ලංකා ප‍්‍රමිති ආයතනය මගින් පිරිනැමෙන ISO 9001-2008 තත්ත්ව සහතිකයෙන් කෘෂිකර්ම, ගොවිජන සංවර්ධන, සුළු වාරිමාර්ග, කර්මාන්ත සහ පරිසර අමාත්‍යාංශය පිදුම් ලැබු අතර, ඒ එම ජාත්‍යන්තර තත්ත්ව සහතිකයෙන් පිදුම් ලද පළමු පළාත් අමාත්‍යාංශය මෙන්ම ආණ්ඩුවේ දෙවන අමාත්‍යාංශය ලෙස බස්නාහිර පළාත් කෘෂිකර්ම අමාත්‍යාංශය ඉතිහාසයට එක් කරමිනි

පාර්ලිමේන්තු මන්ත්‍රි වරයෙක් ලෙස

2015 පාර්ලිමේන්තු මැතිවරණයට එක්සත් ජනතා නිදහස් සන්ධානයෙන් තරග කළ උදය ගම්මන්පිල මහතා සිය පලමු පාර්ලිමේන්තු මැතිවරණයෙදීම මනාප ඡන්ද 198,818 ක් ලබාගෙන   සන්ධානයේ කොළඹ දිසාවේ දෙවැන්නා ලෙස පාර්ලිමේන්තුවට තේරී පත්වු අතර, එවකට පැවති රජය විසින් රණවිරුවන් හා සංඝයාවහන්සේලා සිරගත කිරීමට එරෙහිව මෙන්ම MCC වැනි ගිවිසුම් වලට එරෙහිව විපක්ෂය දියත් කල විරෝධතා ව්‍යාපාර රාශියකට ඔහු  සිය නායකත්වය ලබා දුන්නේය.

2014 මැතිවරණ ව්‍යාපාරය
2014 වසරේ ඔහුගේ  මැතිවරණ ව්‍යාපරය ජනතාවගේ සුවීශේෂි අවධානයට ලක්විය. ව්‍යාපාරිකයින්ගෙන් ආධාර ලබා ගෙන මැතිවරණ ව්‍යාපාරයක් කිරීමෙන් දේශපාලකයින් ව්‍යාපාරිකයින්ගේ රූකඩ බවට පත් වන බව ප්‍රකාශ කල ඔහු තම මැතිවරණ ව්‍යාපාරය සඳහා රුපියල් සීයකින් දායක වන මෙන් මහජනතාවගෙන් ඉල්ලා සිටියේය. මැතිවරණයෙන් පසු සිය ආදායම් වියදම් ගිණුම් මාධ්‍ය මගින් ප්‍රසිද්ධ කළ උදය ගම්මන්පිල මහතා ඊට අදාළ බැංකු ප්‍රකාශන, ලදුපත් වැනි සියළුම සාක්ෂි, ස්වයං විගණනයක් කළ හැකි අයුරින් ප්‍රසිද්ධ කලේය.

මහින්ද සුළඟ දේශපාලන ව්‍යාපාරය හා 2019 ජනාධිපතිවරණය
2015 ජනපතිවරණයෙන් මහින්ද රාජපක්ෂ මහතා පරාජයට පත් වීමෙන් පසු ඔහුව ඉදිරි පාර්ලිමේන්තු මැතිවරණයේ දී අගමැති අපේක්ෂකයා ලෙස ඉදිරිපත් කළ යුතු බවට උදය ගම්මන්පිල මහතා ප්‍රකාශ කලේය. දිනේෂ් ගුණවර්ධන, විමල් වීරවංශ සහ වාසුදේව නානායක්කාර යන මහත්වරු සමග එක්ව ඒ සඳහා මහින්ද සුලඟ දේශපාලන ව්‍යාපාරය ගොඩ නංවා රටපුරා රැස්වීම් මාලාවක් පැවැත්වීමටද ඔහු කටයුතු කලේය.

2019 ජනාධිපතිවරණ සටනේ ඉදිරිපෙල නායකයෙකු ලෙස ගෝඨාභය රාජපක්ෂ මහතාගේ ජයග්‍රහණය වෙනුවෙන් සිය දායකත්වය මුල සිටම ලබා දුන් උදය ගම්මන්පිල මහතා, ගෝඨාභය රාජපක්ෂ මහතා ක්‍රියාකාරි දේශපාලනයට රැගෙන ඒමටද මුල්වු අයෙක් ලෙස සැලකෙයි.

කතුවර උදය
පුවත්පත් වලට නිරතුරුව ලිපි සපයන ලේඛකයෙකුද වන උදය ගම්මන්පිල මහතා 2002 සිට ලංකාදීප පුවත්පතට සිංහල බසින් ප්‍රදීපය යන නමින් ද 2012 සිට සිලෝන් ටුඩේ පුවත්පතට ඉංග්‍රීසි බසින්  ගාඩ් පෝස්ට් යන නමින් ද සතිපතා තීරු ලිපි පලකරනු ලබයි. 2015 ජනවාරි 8වැනි දින බලයට පැමිණි ආණ්ඩුව වෙනස්කර ගෝඨාභය රාජපක්ෂ මහතා ජනාධිපති කරවීම දක්වා වූ තිරය පිටුපස කතාව අන්තර්ගත "මහින්ද සුළඟින් ගෝඨාභිෂේකය" කෘතිය ඔහු විසින් ලියා පලකරන ලද නවතම ග්‍රන්ථයයි.

මූලාශ්‍ර

භාහිර සබැඳි
 නිල ෆේස් බුක් පිටුව
 Gammanpila launches Mahinda Sulangin Gotabhishekayata
 ගෝඨාගේ ද්විත්ව පුරවැසිභාවය අත්හැරීමේ ලේඛනය ගම්මන්පිල ඇස් දෙකෙන්ම දැකලා

චරිත කතා
ශ්‍රී ලාංකිකයෝ
ශ්‍රී ලාංකික දේශපාලනඥයෝ
1970 උපත්
සිංහලයෝ
ශ්‍රී ලාංකික බෞද්ධයෝ
ඩි ඇස් සේනානායක විද්‍යාලයේ ආදි සිසුවෝ

උදය ගම්මන්පිල


Pyramide-Klokke (Campanula pyramidalis) er en af art af klokke-slægten, som er hjemmehørende i det sydøstlige Europa i Italien og det vestlige Balkan. Dens latisnke navn pyramidalis henviser til dens pyramide-lignende form.

Det er en kortvarig staude, som vokser til at blive op 1,5 m høj. Dens blade er brede og ovale på den nederste del af stænglen, hvorefter bladene længere oppe af stilken er slanke og lancet-formede. Blomsterhovedet er klokkeformet, blå og 3-4 cm i diameter. Blomsterne er hermafroditiske, og planten er selvbestøvende. Den kan vokse i mange forskellige jordtyper, og kan håndtere et bredt pH interval af jorden. Den foretrækker en solrig eller delvist skygget placering.

Pyramide-klokker er dyrket som en prydplante på grund af dens duftende blomster. Der er dertil blevet fremavlet flere forskellige sorter med blomster-farver fra hvid til mørkeblå.

Referencer

Haveplanter
Flerårige urter
Klokke-slægten

Pyramideklokke


Hogar es el tercer álbum de estudio del grupo mexicano Volován. Fue lanzado en mayo de 2009.

El reto de crear un nuevo álbum de estudio que pudiera superar las expectativas de sus dos anteriores producciones, fue el principal motor de Bruno, Gerardo y Chalo cuando arrancaron el proceso de composición, en el que ahora decidieron mantener involucrado a su productor. "Tenemos muchas cosas en común con Sebastián tanto en lo artístico como a nivel humano... la verdad nunca nos sedujo la idea de los Grammys, más bien el hecho de que es un súper productor", indica Chalo.

La grabación se llevó a cabo en los estudios Phantom Vox, propiedad del conocido compositor e intérprete Draco Rosa. "Fue algo muy fluido y eficiente", indica Gerardo haciendo referencia a la rapidez con la que se desarrolló esta etapa, y es que a diferencia de cómo habían trabajado en otros álbumes o proyectos, en esta ocasión les sorprendió terminar antes de lo planeado. De ahí continuaron con el subjetivo proceso de mezcla que Sebastián realizó en su estudio ya con Volován de vuelta en casa, pero trabajando de forma remota con ellos, llegando a un punto de reunión sónico que se terminó de establecer con la masterización, hecha en Nautilius Mastering de Milán, Italia por Antonio Baglio.

En esta colección de doce tracks, enmarcada por seguridad, evolución y madurez, y apropiadamente titulada Hogar el grupo no traiciona sus orígenes independientes, sino que honra su presente y crece artísticamente, manteniendo como hilo conductor las poderosas composiciones que los han colocado en un envidiable lugar en el mainstream. "El desarrollo que hemos logrado en este álbum es muy notorio, tanto en las letras como en el sonido", menciona Chalo. "Tiene una dualidad en su contenido, es una línea entre el rock y el pop, nostalgia y esperanza, está cargado de sentimientos, es un disco muy humano".

lista de canciones

 Hogar – 3:44
 Solo (Dos palabras) – 3:25
 Verano Sol – 2:57
 Nunca – 3:50
 Judas – 3:38
 Así Lo Es – 3:41
 Antrax – 2:54
 Perdón – 4:00
 Aire – 3:31
 Morir Por Ti – 3:25
 Astros – 3:11
 No Te Vayas De Mí – 3:25

Álbumes de rock
Álbumes de 2009

Hogar (álbum)


La Ford Indigo est un concept car développé par le constructeur automobile américain Ford pour le circuit du salon de l'auto de 1996 et conçu par le directeur du design et technique de Ford, Claude Lobo. Seuls deux exemplaires ont été construits, dont un seul était réellement fonctionnel. Il a fallu six mois à Ford entre les conceptions informatiques originales et la voiture d'exposition finie. Le concept fonctionnel appartient toujours à Ford. La voiture d'exposition non fonctionnelle a été vendue aux enchères.

Histoire
L'Indigo a été développée pour présenter les technologies des futures Indy car de Ford, y compris les nouveaux matériaux et les nouvelles techniques de construction ainsi que les améliorations du groupe motopropulseur et de l'aérodynamisme. Le châssis monocoque a été développé en collaboration avec Reynard Motorsport sous la forme d'un bac monobloc en matériau composite en fibre de carbone, auquel la suspension est directement attachée. La suspension était une copie directe, tant dans la conception que dans les matériaux, des différentes Indy car de Reynard, ne nécessitant que de légères modifications pour permettre une configuration deux places.

Caractéristiques et performances
L'Indigo fonctionnelle avait un moteur V12 DOHC à 48 soupapes de 6,0 L qui utilise les pistons, les anneaux, les tiges et le train de soupapes du moteur V6 Duratec de Ford que l'on trouve dans les Taurus et Mercury Sable. Le moteur n'a aucun rapport avec le V12 utilisé dans le concept GT90 dévoilé un an plus tôt (utilisant des pièces du moteur V8 Modular), bien que les deux aient la même cylindrée. Le moteur a une puissance de 441 ch (324 kW) à  et  de couple à . Ce moteur alimentera plus tard de nombreuses voitures fabriquées par Aston Martin, qui appartenait à Ford jusqu'en 2007. Le moteur était directement boulonné au châssis et c'est un élément porteur pour certains composants de la suspension, comme c'est le cas avec la plupart des Indy car. La boîte-pont est une unité à 6 vitesses avec un embrayage manuel et les changements de vitesses se font avec un bouton-poussoir monté sur le volant, développé par Reynard pour ses Indy car. Ford a affirmé que le moteur était si efficace qu'il devrait être capable de consommer 8,4 litres aux 100 km sur autoroute. Cinq de ces moteurs ont été construits par Cosworth sur commande de Ford et sont conservés par la société.

L'Indigo utilise des roues Fikse modulaires en trois parties (mesurant 17x11,5 pouces à l'avant et 18x12,5 pouces à l'arrière) enveloppées dans des larges pneus fournis par Goodyear. La direction est une unité assistée à pignon et crémaillère modifiée empruntée à la Taurus. Les freins sont de Brembo avec des rotors mesurant 335 mm à l'avant et 356 mm à l'arrière. L'Indigo accélère de 0 à 97 km/h en 4 secondes et elle pourrait atteindre une vitesse de pointe théorique de 290 km/h.

Conception et fonctionnalités
La carrosserie en fibre de carbone et en fibre de verre de la voiture a des portes de style ciseaux pour un accès facile dans la voiture, lampes à décharge à haute intensité montées sur les rétroviseurs, sièges baquets profonds en cuir, une chaîne stéréo haut de gamme, climatisation et un harnais de course à quatre points pour renforcer le caractère routier de la voiture. L'intérieur utilisait un écran LCD derrière le volant pour afficher les informations vitales de la voiture au conducteur. La conception basse de la voiture intègre un nez de requin avec un aileron avant attaché et un aileron arrière intégré dans la carrosserie pour un aérodynamisme amélioré. L'aileron avant abrite également les clignotants à LED tandis que l'aileron arrière abrite l'ensemble du feu arrière à tube néon. La voiture supprime les ailes avant et arrière avec de petites ailes couvrant les larges pneus exposés. La voiture d'exposition statique avait une visière pour protéger les occupants du vent tandis que le prototype fonctionnel a supprimé la visière.

Autres média
La voiture a été présentée dans le jeu de course d'arcade Need for Speed II sur PC/PlayStation en tant que voiture de catégorie B, dans Ford Racing 2, Ford Racing 3 et également dans le jeu Project Gotham Racing 3 sur Xbox 360 sous le nom de «Ford Super Car Concept».

Références

Indigo
Automobile des années 1990

Ford Indigo


Die Brauerei Felsenau AG wurde 1881 von Johann Gustav Hemmann gegründet. Die Brauerei wird heute von Bernard Fuhrer geführt. Die Bierbrauerei befindet sich im Felsenauquartier am nördlichen Stadtrand von Bern am Ufer der Aare und hat einen jährlichen Ausstoss von 20'000 Hektolitern.

Geschichte
Der Bierbrauer Johann Gustav Hemmann führte ab 1860 Brauereien in Würenlingen im Kanton Aargau und Zollikofen bei Bern. 1881 erwarb er die Liegenschaft in der Felsenau an der Aare, die bereits damals eine einfach eingerichtete Brauerei, eine Brennerei und eine Gerberei enthielt. Hemmann konzentrierte sich auf die Brauerei und führte die Brennerei und Gerberei nicht weiter. Sein Produkt nannte er "Hemme-Bier".

1955 wurde die Kollektivgesellschaft in eine Aktiengesellschaft umgewandelt. 1993 übernahmen mit Stefan Simon und Martin Thierstein Vertreter der fünften Generation die Unternehmensleitung. 2018 kaufte der Berner Bernard Fuhrer die Brauerei Felsenau.

Sortiment
 Bärner Müntschi, hell, trüb, Stammwürze 11,3 %, 4,8 Vol.-%
 Bärner Weizen Weizenbier, Stammwürze 12,8 %, 5,4 Vol.-%
 Bärner Junker, Spezial hell, Stammwürze 12,4 %, 5,2 Vol.-%
 Bärni Spezial Dunkel Spezial dunkel, Stammwürze 12,4 %, 5,2 Vol.-%
 Bärner Lager Lager, Stammwürze 11,3 %, 4,8 Vol.-%
 Bärner Bügel-Spez, Stammwürze 12,4 %, 5,2 Vol.-%
 Naturtüb, Zwickelbier hell, Stammwürze 11,3 %, 4,8 Vol.-%
 Bärner Frübi, Frühlingsbier, Stammwürze 10,9 %, 4,6 Vol.-%
 Bärner Fest Bock, Bockbier hell, Stammwürze 16,9 %, 6,9 Vol.-%
 Schümli alkoholfrei, Stammwürze 7,5 %, <0,5 Vol.-%
 SWAF (Scharfes Wasser aus der Felsenau) Bierschnaps, Destillat aus dunklem Bier mit 42 Volumenprozent Alkohol

Literatur
 Matthias Wiesmann: Bier und wir, Geschichte der Brauereien und des Bierkonsums in der Schweiz. Verlag hier + jetzt, Baden 2011, ISBN 978-3-03919-193-2.

Weblinks

 Website Brauerei Felsenau AG

Einzelnachweise

Felsenau
Produzierendes Unternehmen (Bern)
Gegründet 1881

Brauerei Felsenau


Milica Todorović (Kruševac, 13. listopada 1990.), srbijanska je turbo-folk i pop pjevačica.

Karijera
Milica se na estradi pojavila 2004. godine na audiciji za Zvezde Granda te u finalu na beogradskom Tašmajdanu pobjeđuje i time postaje najmlađa, te do 2019. godine jedina pobjednica toga natjecanja.

2005. godine objavljuje prve dvije pjesme "Reci ja" i "Uporedi me" koje postaju uspješnice i obilježavaju početak njezine karijere. Sljedeće godine sudjeluje na Grand festivalu s pjesmom "Zašto cura sedi sama" s kojom prolazi u finale.

Zatim započinje suradnju s Emirom Kusturicom koji ju angažira kao glavnu glumicu u punk operi "Dom za vešanje" u ulozi "Azre". Premijera predstave održana je u Parizu u operi Bastille.

Nakon glumačkih angažmana Milica se vraća glazbenoj karijeri te 2009. objavljuje prvi album " Pamtim ja ".

2011. godine objavljuje pjesmu "Sve je uzalud". Nakon nekoliko singlova 2013. u suradnji s Dušanom Bačićem objavljuje pjesmu "Tri čaše" koja postaje jedan od najvećih uspjeha u Milicinoj karijeri. U duetu s reperom Mc Yankoom izdaje "Moje zlato" koja među njezinim pjesmama ima najviše pregleda na YouTubeu.

Krajem 2014. godine sudjeluje na "4. Grandovom festivalu" s baladom " Konačna odluka " gdje osvaja 2. mjesto.

Niz uspješnih singlova nastavlja s pjesmom "Cure privode", a na ljeto 2017. izdaje duet s Eminom Jahović "Limunada".

Albumi
Do danas je Milica Todorović izdala jedan album pod nazivom "Pamtim ja", a koji je izdala Grand produkcija. Album, s 11 pjesama, objavljen je 2009. godine. Na albumu su sabrane sve pjesme koje je Milica objavila od 2005. do 2009. kao singlove (ukupno pet pjesama; 2, 8, 9, 10 i 11), te dodano još šest novih pjesama.

Popis pjesama s albuma "Pamtim ja"

 Haljinica
 Pamtim ja
 Ginem
 Milion mana
 Panika
 Zamandali
 Gade
 Uporedi me
 Zašto mala sedi sama
 SMS
 Reci ja

Singlovi

 Reci ja (2005.)
 Uporedi me (2005.)
 Zašto mala sedi sama (2006.)
 SMS (2008.)
 Pamtim ja (2009.)
 S bilo kim (2010.)
 Pogrešna (2011.)
 Samo me zagrli (2011.)
 Sve je uzalud (2011.)
 Zbog tebe (2012.)
 Samo me pogledaj (2012.)
 Nema nazad (2013.)
 Tri čaše (2013.)
 Moje zlato ft. Mc Yankoo (2014.)
 Konačna odluka (2014.)
 Cure privode (2016.)
Ljubi me budalo feat. Mc Yankoo (2017.)
 Limunada feat. Emina Jahović (2017.)
Show program (2018.)
Ista ja (2019.)
Avet feat. Mirza Selimovic (2019.)
Doza otrova (2019.)

Izvori

Srbijanski pjevači

Milica Todorović


The Javanese script (natively known as Aksara Jawa, Hanacaraka, Carakan, and Dentawyanjana) is one of Indonesia's traditional scripts developed on the island of Java. The script is primarily used to write the Javanese language, but in the course of its development has also been used to write several other regional languages such as Sundanese, Madurese, and Sasak; the lingua franca of the region, Malay; as well as the historical languages Kawi and Sanskrit. Javanese script was actively used by the Javanese people for writing day-to-day and literary texts from at least the mid-15th century CE until the mid-20th century CE, before its function was gradually supplanted by the Latin alphabet. Today the script is taught in DI Yogyakarta, Central Java, and the East Java Province as part of the local curriculum, but with very limited function in everyday use.

The Javanese script is an abugida writing system which consists of 20 to 33 basic letters, depending on the language being written. Like other Brahmic scripts, each letter (called an aksara) represents a syllable with the inherent vowel /a/ or /ɔ/ which can be changed with the placement of diacritics around the letter. Each letter has a conjunct form called pasangan, which nullifies the inherent vowel of the previous letter. Traditionally, the script is written without space between words (scriptio continua) but is interspersed with a group of decorative punctuation.

History
Javanese script is one of the Brahmi descendants in Indonesia in which its evolutionary history can be traced fairly well due to the numerous inscriptional evidences that permitted epigraphical studies. The oldest root of the Javanese script is Indian Brahmi script which evolves into Pallava script in Southern India and Southeast Asia between the 6th and 8th centuries. Pallava script, in turn, evolved into Kawi script which was actively used throughout Indonesia's Hindu-Buddhist period between the 8th and 15th centuries. In various parts of Indonesia, Kawi script would evolve into one of Indonesia's traditional scripts, among them, Javanese script. Modern Javanese script evolved over time from the late Kawi script between the 14th and 15th centuries, a period in which Java began to receive significant Islamic influence.

For at least 500 years, from the 15th until the mid 20th century, Javanese script was actively used by the Javanese people for writing day-to-day and literary texts with a wide range of a theme and content. Javanese script was used throughout the island at a time when there was no easy means of communication between remote areas and no impulse towards standardization. As a result, there is a huge variety in historical and local styles of Javanese writing throughout the ages. The ability of a person to read a bark-paper manuscript from the town of Demak, say, written around 1700, is no guarantee that the same person would also be able to make sense of a palm-leaf manuscript written at the same time only 50 miles away on the slopes of Mount Merapi. The great differences between regional styles almost makes it seem that the "Javanese script" is in fact a family of scripts. Javanese writing traditions are especially cultivated in the Kraton environment, but Javanese texts are known to be made and used by all layers of society. Javanese literature is almost always composed in metrical verses that are designed to be sung, thus Javanese texts are not only judged by their content and language but also by the merit of their melody and rhythm during recitation sessions. Javanese writing tradition also relied on periodic copying due to deterioration of writing materials in the tropical Javanese climate; as a result, many physical manuscripts that are available now are 18th or 19th century copies, though their contents can usually be traced to far older prototypes.

Media

Javanese script has been written with numerous media that have shifted over time. Kawi script, which is ancestral to Javanese script, is often found on stone inscriptions and copper plates. Everyday writing in Kawi was done in palm leaf form locally known as lontar, which are processed leaves of the tal palm (Borassus flabellifer). Each lontar leaf has the shape of a slim rectangle 2.8 to 4 cm in width and varied length between 20 and 80 cm. Each leaf can only accommodate around 4 lines of writing, which are incised in horizontal orientation with a small knife and then blackened with soot to increase readability. This media has a long history of attested use all over South and Southeast Asia.

In the 13th century, paper began to be used in the Malay archipelago. This introduction is related to spread of Islam in the region, due to the Islamic writing tradition that is supported by the use of paper and codex manuscript. As Java began to receive significant Islamic influence in the 15th century, coinciding with the period in which the Kawi script began to transition into the modern Javanese script, paper became widespread in Java while the use of lontar only persisted in a few places. There are two kinds of paper that are commonly used in Javanese manuscript: locally produced paper called daluang, and imported paper. Daluang (also spelled dluwang) is a paper made from the beaten bark of the saéh tree (Broussonetia papyrifera). Visually, daluang can be easily differentiated from regular paper by its distinctive brown tint and fibrous appearance. A well made daluang has a smooth surface and is quite durable against manuscript damage commonly associated with tropical climates, especially insect damage. Meanwhile, a coarse daluang has a bumpy surface and tends to break easily. Daluang is commonly used in manuscripts produced by Javanese Kratons (palaces) and pesantren (Islamic boarding schools) between the 16th to 17th centuries.

Most imported paper in Indonesian manuscripts came from Europe. In the beginning, only a few scribes were able to use European paper due to its high cost—paper made with using European methods of the time could only be imported in limited number. In colonial administration, the use of European paper had to be supplemented with Javanese daluang and imported Chinese paper until at least the 19th century. As paper supply increased due to growing imports from Europe, scribes in palaces and urban settlements gradually opted to use European paper as the primary media for writing, while daluang paper was increasingly associated with pesantren and rural manuscripts. Alongside the increase of European paper supply, attempts to create Javanese printing type began, spearheaded by several European figures. With the establishment of printing technology in 1825, materials in Javanese script could be mass-produced and became increasingly common in various aspect of pre-independence Javanese life, from letters, books, and newspapers, to magazines, and even advertisements and paper currency.

Usage

For at least 500 years, from the 15th century until the mid 20th century, Javanese script was used by all layers of Javanese society for writing day-to-day and literary texts with a wide range of theme and content. Due to the significant influence of oral tradition, reading in pre-independence Javanese society is usually a performance; Javanese literature texts are almost always composed in metrical verses that are designed to be recited, thus Javanese texts are not only judged by their content and language, but also by the merit of their melody and rhythm during recitation sessions. Javanese poets are not expected to create new stories and characters; instead the role of the poet is to rewrite and recompose existing stories into forms that are suitable to local taste and prevailing trends. As a result, Javanese literary works such as the Cerita Panji do not have a single authoritative version referenced by all others, instead, the Cerita Panji is a loose collection of numerous tales with various versions bound together by the common thread of the Panji character. Literature genres with the longest attested history are Sanskrit epics such as the Ramayana and the Mahabharata, which have been recomposed since the Kawi period and which introduced hundreds of characters familiar in Javanese wayang stories today, including Arjuna, Srikandi, Ghatotkacha and many others. Since the introduction of Islam, characters of Middle-Eastern provenance such as Amir Hamzah and the Prophet Joseph have also been frequent subjects of writing. There are also local characters, usually set in Java's semi-legendary past, such as Prince Panji, Damar Wulan, and Calon Arang.

When studies of Javanese language and literature began to attract European attention in the 19th century, an initiative to create a Javanese movable type began to take place in order to mass-produce and quickly disseminate Javanese literary materials. One of the earliest attempts to create a movable Javanese type was by Paul van Vlissingen. His typeface was first put in use in the Bataviasche Courant newspaper's October 1825 issue. While lauded as a considerable technical achievement, many at the time felt that Vlissingen's design was a coarse copy of the fine Javanese hand used in literary texts, and so this early attempt was further developed by numerous other people to varying degrees of success as the study of Javanese developed over the years. In 1838,  completed his typeface, known as Tuladha Jejeg, that was based on the hand of Surakartan scribes with some European typographical elements mixed in. Roorda's font garnered positive feedback and soon became the main choice to print any Javanese text. From then, reading materials in printed Javanese using Roorda's typeface became widespread among the Javanese populace and were widely used in materials other than literature. The establishment of print technology enabled a printing industry which, for the next century, produced various materials in printed Javanese, from administrative papers and school books, to mass media such as the  magazine which was entirely printed in Javanese in all of its article and columns. In the governmental context, one application of the Javanese script was the multilingual legal text on the Netherlands Indies gulden banknotes circulated by the Bank of Java.

Decline
As literacy and demand for reading materials increased in the beginning of the 20th century, Javanese publishers paradoxically began to decrease the amount of Javanese script publication due to a practical and economic consideration: printing any text in Javanese script at the time required twice the amount of paper compared to the same text rendered in the Latin alphabet, so that Javanese texts were more expensive and time-consuming to produce. In order to lower production costs and keep book prices affordable to the general populace, many publishers (such as the government-owned Balai Pustaka) gradually prioritized publication in the Latin alphabet. However, the Javanese population at the beginning of the 20th century maintained the use of Javanese script in various aspects of everyday life. It was, for example, considered more polite to write a letter using Javanese script, especially one addressed toward an elder or superior. Many publishers, including Balai Pustaka, continued to print books, newspapers, and magazines in Javanese script due to sufficient, albeit declining, demand. The use of Javanese script only started to drop significantly during the Japanese occupation of the Dutch East Indies beginning in 1942. Some writers attribute this sudden decline to prohibitions issued by the Japanese government banning the use of native script in the public sphere, though no documentary evidence of such a ban has yet been found. Nevertheless, the use of Javanese script did decline significantly during the Japanese occupation and it never recovered its previous widespread use in post-independence Indonesia.

Contemporary use
In contemporary usage, Javanese script is still taught as part of the local curriculum in Yogyakarta, Central Java, and the East Java Province. Several local newspapers and magazines have columns written in Javanese script, and the script can frequently be seen on public signage. However, many contemporary attempts to revive Javanese script are symbolic rather than functional; there are no longer, for example, periodicals like Kajawèn magazine that publish significant content in Javanese script. Most Javanese people today know the existence of the script and recognize a few letters, but it is rare to find someone who can read and write it meaningfully. Therefore, as recently as 2019, it is not uncommon to see Javanese script signage in public places with numerous misspellings and basic mistakes. Several hurdles in revitalizing the use of Javanese script includes information technology equipment that does not support correct rendering of the Javanese script, lack of governing bodies with sufficient competence to consult on its usage, and lack of typographical explorations that may intrigue contemporary viewers. Nevertheless, attempts to revive the script are still being conducted by several communities and public figures who encouraged the use of Javanese script in the public sphere, especially with digital devices.

Form

Letter
A basic letter in the Javanese script is called an aksara which represents a syllable. Javanese script contains around 45 letters, but not all of them are used equally. Over the course of its development, some letters became obsolete and some are only used in certain contexts. As such, it is common to divide the letters in several groups based on their function.

Wyanjana
The Aksara wyanjana (ꦲꦏ꧀ꦱꦫ ꦮꦾꦚ꧀ꦗꦤ) are consonant letters with an inherent vowel, either /a/ or /ɔ/. As a Brahmi derived script, the Javanese script originally had 33 wyanjana letters to write the 33 consonants that are used in Sanskrit and Kawi. Their forms are as follows:

Over the course of its development, the modern Javanese language no longer uses all letters in the Sanskrit-Kawi inventory. The modern Javanese script only uses 20 consonants and 20 basic letters known as aksara nglegéna (ꦲꦏ꧀ꦱꦫ ꦔ꧀ꦭꦼꦒꦺꦤ). Some of the remaining letters are repurposed as aksara murda (ꦲꦏ꧀ꦱꦫ ꦩꦸꦂꦢ) which are used for honorific purposes in writing respected names, be it legendary (for example Bima ꦨꦶꦩ) or real (for example Pakubuwana ꦦꦑꦸꦨꦸꦮꦟ). From the 20 nglegéna basic letters, only 9 have corresponding murda forms. Because of this, the use of murda is not identical to capitalization of proper names in Latin orthography; if the first syllable of a name does not have a murda form, the second syllable would use murda. If the second syllable also does not have a murda form, the third syllable would use murda, and so on. Highly respected names may be written completely in murda if possible, but in essence, the use of murda is optional and may be inconsistent in traditional texts. For example, the name Gani can be spelled as ꦒꦤꦶ (without murda), ꦓꦤꦶ (with murda on the first syllable), or ꦓꦟꦶ (with murda on all syllables) depending on the background and context of the writing. The remaining letters that are not classified as nglegéna or repurposed as murda are aksara mahaprana, letters that are used in Sanskrit and Kawi texts but obsolete in modern Javanese.

Swara
Aksara swara (ꦲꦏ꧀ꦱꦫ ꦱ꧀ꦮꦫ) are letters that represent pure vowels. Javanese script has 14 vowel letters inherited from the Sanskrit tradition. Their forms are as follows:

Similar to wyanjana letters, modern Javanese language no longer uses the whole inventory of swara letters, only short vowel letters are now commonly used and taught. In modern orthography, swara letters may be used to replace wyanjana ha ꦲ (which may have caused ambiguous readings between /ha/ or /a/) to disambiguate the pronunciation of unfamiliar terms and names.

Pa cerek ꦉ, pa cerek dirgha ꦉꦴ, nga lelet ꦊ, and nga lelet raswadi ꦋ are syllabic consonants that are primarily used in specific Sanskrit cases. When adapted to languages outside of Sanskrit, the function and pronunciation of these letters tend to vary. In modern Javanese language, only pa cerek and nga lelet are used; pa cerek is pronounced /rə/ while nga lelet is pronounced /lə/. Both letters are usually re-categorized into their own class called aksara gantèn in modern tables. These letters are mandatory shorthand that replace every combination of ra pepet (ꦫꦼ → ꦉ) and la pepet (ꦭꦼ → ꦊ).

Rékan
Aksara rékan (ꦲꦏ꧀ꦱꦫ ꦫꦺꦏꦤ꧀) are additional letters used to write foreign sounds. This type of letters were initially developed to write Arabic loanwords, later adapted to write Dutch loanwords, and in contemporary usage are also used to write Indonesian and English loanwords. Most rékan letters are formed by adding the cecak telu diacritic on the native letters that are considered closest-sounding to the foreign sound in question. For example, rékan letter fa ꦥ꦳ is formed by adding cecak telu over the wyanjana letter pa ꦥ. The combination of wyanjana letter and corresponding foreign sounds for each rékan may be different between sources. Some rékan letters are as follows:

Diacritics
Diacritics (sandhangan ꦱꦤ꧀ꦝꦔꦤ꧀) are dependent signs that are used to modify the inherent vowel of a letter. Similar to Javanese letters, Javanese diacritics may be divided into several groups based on their function.

Swara
Sandhangan swara (ꦱꦤ꧀ꦝꦁꦔꦤ꧀ꦱ꧀ꦮꦫ) are diacritics that are used to change the inherent /a/ into different vowels. Their forms are as follows:

Similar to swara letters, only short vowel diacritics are taught and used in contemporary Javanese, while long vowel diacritics are only used in Sanskrit and Kawi writing.

Panyigeging wanda
Sandhangan panyigeging wanda (ꦱꦤ꧀ꦝꦁꦔꦤ꧀ꦥꦚꦶꦒꦼꦒꦶꦁ ꦮꦤ꧀ꦢ) are diacritics used to write closed syllables. Their forms are as follows:

Wyanjana
Sandhangan wyanjana (ꦱꦤ꧀ꦝꦁꦔꦤ꧀ꦮꦾꦚ꧀ꦗꦤ) are diacritics that are used to write consonant cluster with semivowels that occur in a single syllable. Their forms are as follows:

Conjunct
The inherent vowel of each basic letter can be suppressed with the use of the virama, natively known as pangkon. However, the pangkon is not normally used in the middle of a word or sentence. For closed syllables in such positions, a conjunct form called pasangan (ꦥꦱꦔꦤ꧀) is used instead. Every basic letter has a pasangan counterpart, and if a pasangan is attached to a basic letter, the inherent vowel of the attached letter is nullified. Their forms are as follows:

Examples of pasangan use, using characters from the Unicode Standard for Javanese script (which is used in this article), are as follows:

Note that the pasangan of a letter can be produced by typing the pangkon followed by the letter in its aksara/basic form. This appeals to the idea that a pangkon mutes the vowel of previous letter, and that adding a pasangan is phonetically equivalent to first muting the vowel of the previous letter and then adding a new letter.

Numerals
The Javanese script has its own numerals (angka ꦲꦁꦏ) that behave similarly to Arabic numerals. However, most Javanese numerals has the exact same glyph as several basic letters, for example the numeral 1 ꧑ and wyanjana letter ga ꦒ, or the numeral 8 ꧘ and murda letter pa ꦦ. To avoid confusion, numerals that are used in the middle of sentences must be enclosed within pada pangkat or pada lingsa punctuations. For example, tanggal 17 Juni (the date 17 June) is written ꦠꦁꦒꦭ꧀꧇꧑꧗꧇ꦗꦸꦤꦶ or ꦠꦁꦒꦭ꧀꧈꧑꧗꧈ꦗꦸꦤꦶ. Enclosing punctuation may be ignored if their use as numerals is understood by context, for example as page numbers in the corner of pages. Their forms are as follows:

Punctuation
Traditional Javanese texts are written with no spaces between words (scriptio continua) with several punctuation marks called pada (ꦥꦢ). Their form are as follows:

In contemporary teaching, the most frequently used punctuations are pada adeg-adeg, pada lingsa, and pada lungsi, which are used to open paragraphs (similar to pillcrow), separating sentences (similar to comma), and ending sentences (similar to full stop). Pada adeg and pada pisélèh may be used to indicate insertion in the middle of sentences similar to parenthesis or quotation marks, while pada pangkat has a similar function to the colon. Pada rangkap is sometimes used as an iteration mark for reduplicated words (for example kata-kata ꦏꦠꦏꦠ → kata2 ꦏꦠꧏ).

Several punctuation marks do not have Latin equivalents and are often decorative in nature with numerous variant shapes, for example the rerenggan which is sometimes used to enclose titles. In epistolary usage, several punctuations are used in the beginning of letters and may also be used to indicate the social status of the letter writer; from the lowest pada andhap, to middle pada madya, and the highest pada luhur. Pada guru is sometimes used as a neutral option without social connotation, while pada pancak is used to end a letter. However this is a generalized function. In practice, similar to rerenggan these epistolary punctuation marks are often decorative and optional with various shape used in different regions and by different scribes.

When errors occurred during manuscript copying, several Kraton scribes used special correction marks instead of crossing out the erroneous parts: tirta tumétès normally found in Yogyakarta manuscripts, and isèn-isèn found in Surakarta manuscripts. These correction marks are directly applied following the erroneous part before the scribe continued writing. For example, if a scribe wanted to write pada luhur ꦥꦢꦭꦸꦲꦸꦂ but accidentally wrote pada hu ꦥꦢꦲꦸ before realizing the mistake, this word may be corrected into pada hu···luhur ꦥꦢꦲꦸ꧞꧞꧞ꦭꦸꦲꦸꦂ or ꦥꦢꦲꦸ꧟꧟꧟ꦭꦸꦲꦸꦂ.

Pepadan
Other than the regular punctuation, one of Javanese texts' distinctive characteristics is pepadan (), a series of highly ornate verse marks. Several of their form are as follows:

The series of punctuation marks that forms pepadan have numerous names in traditional texts. Behrend (1996) divides pepadan into two general groups: the minor pada which consist of a single mark, and the major pada which are composed of several marks. Minor pada are used to indicate divisions of poetic stanzas, which usually came up every 32 or 48 syllables depending on the poetic metre. Major pada are used to demarcate a change of canto (which includes a change of the metre, rhythm, and mood of the recitation) occurring every 5 to 10 pages, though this may vary considerably depending on the structure of the text. Javanese guides often list three kinds of major pada: purwa pada  which is used in the beginning of the first canto, madya pada  which is used in between different cantos, and wasana pada  which is used in the end of the final canto. But due to the large variety of shapes between manuscripts, these three punctuations are essentially treated as a single punctuation in most Javanese manuscripts.

Pepadan is one of the most prominent elements in a typical Javanese manuscript and are almost always written with high artistic skills, including calligraphy, coloring, and even gilding. In luxurious royal manuscripts, the shape of the pepadan may even contain visual puns that gave clues to the readers regarding the canto of the text; a pepadan with wings or bird figure resembling a crow (called dhandhang in Javanese) indicates the dhandhanggula metre, while pepadan with elements of a goldfish indicates the maskumambang metre (literally "gold floating on water"). One of the scribal centers with the most elaborate and ornate pepadan is the scriptorium of Pakualaman in Yogyakarta.

Order
Modern Javanese script is commonly arranged in the Hanacaraka sequence, named for the first five letters in the sequence. In this sequence, the 20 consonant letters that are used in the modern Javanese language formed a perfect pangram that is often linked to the myth of Aji Saka. This sequence has been used by pre-independence Javanese people from at least the 15th century when the island of Java started to receive significant Islamic influence. There are numerous interpretations on the supposed philosophical and esoteric qualities of the hanacaraka sequence.

The hanacaraka sequence is not the only collation scheme that is used to arrange the Javanese script. For Sanskrit and Kawi orthography that requires 33 basic letters, the Javanese script can be arranged phonologically by its place of articulation in accordance to the Sanskrit principle established by Pāṇini. This sequence, sometimes called the Kaganga sequence based on its first four letters, is a standard sequence used by other Brahmi descendant scripts such as Devanagari, Tamil, Thai, and Khmer.

Sample texts
Below is an excerpt of  printed in 1871 with modern Javanese language and spelling.

Below is an excerpt of Kakawin Rāmāyaṇa printed in 1900 using Kawi language and spelling.

Comparison with Balinese
The closest relative to the Javanese script is the Balinese script. As direct descendants of the Kawi script, Javanese and Balinese still retain many similarities in terms of basic glyph shape for each letter. One noticeable difference between both scripts is in their orthography; Modern Balinese orthography is more conservative in nature than Modern Javanese counterpart.
 Modern Balinese orthography retains Sanskrit and Kawi conventions that are no longer used in modern Javanese. For example, the word désa (village) is written in Modern Javanese orthography as . According to Balinese orthography, this may be deemed as coarse or incorrect because désa is a Sanskrit loanword (, deśa) that should have been spelled according to its original spelling: déśa /, using sa murda instead of sa nglegéna. The Balinese language does not differentiate between the pronunciation of sa nglegéna and sa murda, but the original Sanskrit or Kawi spelling is retained whenever possible. One of the reason for this spelling practice is to differentiate homophones in writing, such as between the word pada (, earth/ground), pāda (, foot), and padha (, same), as well as asta (, is), astha (, bone), and aṣṭa (, eight).
 Modern Javanese orthography use aksara murda () which are used for honorific purposes in writing respected names, while Modern Balinese orthography does not have a such rule.

Glyph comparison between the two scripts can be seen below:

Usage in another language

Sundanese Cacarakan
 is one of Sundanese language writing system, which means "similar to Carakan". It was officially used from 16 to 20 centuries. However, there are several places which use . There are several orthographic difference to modern Javanese orthography:
 Vowel [ɨ] <eu> is written as ꦼꦴ or ◌ꦼꦵ (paneuleung) in  (there is no a such vowel in Javanese).
 Free vowel in  is written with  (Javanese: ) instead of aspirated ha. For example, a is written as ꦄ in , instead of ꦲ in .
 Free vowel of [i] is written as ꦄꦶ in . However, it is possible to write it as ꦆ as in .
 Consonant [ɲ] <ny> is written as ꦤꦾ for free standing ngalagena, while ꧀ꦚ as diacritic pasangan. Carakan ꦚ is not used in Cacarakan.
Similar to Balinese wianjana, Cacarakan ngalagena or wianjana consists of 18 letters instead of 20 letters in Carakan nglegena or wianjana. The two letters are ꦝ <ḍa> and ꦛ <ṭa>. For more details in seeing these differences, below is shown a table of the Sundanese Cacarakan and Javanese Carakan Ngalagena or Consonant Letters.

From the table it can be seen that the letter /dha/ in Carakan (Javanese) is used to represent the sound "da" in Cacarakan (Sundanese). Whereas for produces the sound "nya", Cacarakan (Sundanese) uses a series of letters /a/ plus a pengkal (Carakan). Sundanese Cacarakan uses the same letter pairs as Carakan, with the same writing rules. It's just different at times giving sandhangan (Carakan) or rarangkén (Cacarakan) used modified rules to produce Sundanese vowel sounds.

In the Cacarakan swara/sora script the letter /i/ is written with a series of letters /a/ added with wulu (Carakan) or panghulu (Cacarakan). In the Javanese Carakan alphabet no special vowels are used for the sound /e/ (pepet), while in Cacarakan the letters /e/ pepet are written independently in a series the letter /a/ is added with pepet (Cacarakan) or pamepet (Cacarakan). Another vowel that appears is to describe the sound [ö] or the letter / eu / that quite dominant used in Sundanese. The letter /eu/ is written with a series of letters / a / added by tarung (Carakan) and pepet (Carakan) or simply called paneuleung in the term Sundanese Cacarakan.

Madurese Carakan
In Madurese language, Javanese script is called Carakan Madhurâ or Carakan Jhâbân (script derived from Javanese). If in Javanese language each character can represent the sound /a /or /ɔ /, then in Madurese language it represents the sound /a /or /ɤ /. The carakan Madhurâ form itself consists of aksara ghâjâng (aksara nglegena), aksara rajâ or murdâ (aksara murda),  aksara sowara or swara (aksara swara), and aksara rèka'an (aksara rékan). There is also pangangghuy (sandhangan) which consists of pangangguy aksara (sandhangan swara), pangangghuy panyèghek (sandhangan panyigeging wanda), and pangangghuy panambâ (sandhangan wyanjana).

Comparison with Javanese

Broadly speaking, there is no significant difference with the Javanese. However, in the Madurese language there is no difference in the use of aspirate and tanaspirate consonants.

Aksara rèka'an in Madurese language as taught in schools has only five characters, while in Madoereesche Spraakkunst and Sorat tjarakan Madurah there are seven and nine respectively:

Another difference is the use of wignyan which in Javanese functions as the -h suffix, while in Madurese it becomes the - as shown in the following table:

Unicode

Javanese script was added to the Unicode Standard in October, 2009 with the release of version 5.2.

The Unicode block for Javanese is U+A980–U+A9DF. There are 91 code points for Javanese script: 53 letters, 19 punctuation marks, 10 numbers, and 9 vowels:

Gallery

See also
 Javanese language
 Javanese literature
 Tuladha Jejeg

Notes

References

Bibliography

Orthographical guides
  Also known as Wewaton Sriwedari and Paugeran Sriwedari.

Sanskrit and Kawi

Sundanese

External links

Digital collection
 British Library manuscript collection
 National Library of Indonesia manuscript collection
 Yayasan Sastra Lestari manuscript collection
 Widyapustaka references collection

Digitized manuscripts
 A debt written on a piece of lontar (1708) British Library collection no. Sloane MS 1403E
 Babad Mataram and Babad ing Sangkala (1738) koleksi British Library no. MSS Jav 36
 A Malay-Javanese-Maduran language word list from early 19th century, British Library collection no. MSS Malay A 3
 An assortment of documents from the Kraton of Yogyakarta (1786–1812) British Library collection no. Add Ms 12341
 Papakem Pawukon from Bupati Sepuh Demak of Bogor (1814) British Library collection no. Or 15932
 Wejangan Hamengkubuwana I (1812) British Library collection no. Add MS 12337
 Raffles Paper - vol III (1816) a collection of Letters received by Raffles from the rules of the Malay archipelago, British Library collection no. Add MS 45273
 Serat Jaya Lengkara Wulang (1803) British Library collection no. MSS Jav 24
 Serat Selarasa (1804) British Library collection no. MSS Jav 28
 Usana Bali  (1870) a Javanese copy of a Balinese lontar of the same title, National Library of Indonesia collection no. CS 152

 Dongèng-dongèng Pieuntengen (1867) a collection of Sundanese tales written in the Javanese script compiled by Muhammad Musa

Others
 Unicode proposal for the Javanese script
 Unicode documentation for the behavior of KERET diacritic
 Unicode documentation for the behavior of CAKRA diacritic
 Unicode documentation for the behavior of PENGKAL diacritic
 Unicode documentation for the behavior of TOLONG diacritic
 British Library Asian-African Studies blog, Javanese topic
 Javanese script transliterator by Benny Lin
Hana - Javanese Script Transliterator by Dan
 Download Javanese fonts in Tuladha Jejeg , Aksara di Nusantara, or Google Noto

Brahmic scripts
Javanese language
Indonesian scripts
Scripts with ISO 15924 four-letter codes

Javanese script