Nizami Ganjavi (; c. 1141–1209), Nizami Ganje'i, Nizami, or Nezāmi, whose formal name was Jamal ad-Dīn Abū Muḥammad Ilyās ibn-Yūsuf ibn-Zakkī, was a 12th-century Muslim poet. Nezāmi is considered the greatest romantic epic poet in Persian literature, who brought a colloquial and realistic style to the Persian epic.  His heritage is widely appreciated and shared by Afghanistan, Republic of Azerbaijan, Iran, the Kurdistan region and Tajikistan.

Life

Born of a  Persian family, his personal name was Ilyas and his chosen pen-name was Nezami (also spelled as Nizami and Neẓāmi).  He was born of an urban background in Ganja (Seljuq empire, now Republic of Azerbaijan) and is believed to have spent his whole life in South Caucasus. According to De Blois, Ganja was a city which at that time had predominantly an Iranian population. The Armenian historian Kirakos Gandzaketsi (c. 1200 – 1271) mentions that: "This city was densely populated with Iranians and a small number of Christians".
Because Nezami was not a court poet, he does not appear in the annals of the dynasties.  Tazkerehs, which are the compilations of literary memoirs that include maxims of the great poets along with biographical information and commentary of styles refer to him briefly.  Much of this material in these Tazkerehs are based on legends, anecdotes, and hearsays.  Consequently, few facts are known about Nezami's life, the only source being his own work, which does not provide much information on his personal life.

Parents
Nizami was orphaned early and was raised by his maternal uncle Khwaja Umar who took responsibility for him and afforded him an excellent education. His mother, named Ra'isa, was of Kurdish origin. His father, whose name was Yusuf is mentioned once by Nezami in his poetry.  In the same verse, Nezami mentions his grandfather's name as Zakki.  In part of the same verse, some have taken the word Mu'ayyad as a title for Zakki while others have interpreted it as the name of his great-grandfather.  Some sources have stated that his father might be possibly from Qom. Nezami is variously mentioned as a Persian and/or Iranian.

Family
Nizami was married three times.  His first wife was an enslaved Kipchak who was sent to him by Fakhr al-Din Bahramshah, the ruler of Darband, as part of a larger gift. According to Iraj Bashiri she became Nezami's "most beloved" wife. His only son Mohammad was from this wife. She died after "Khosrow and Shirin" was completed. Mohammad was seven at the time. Nezami mentions his son again in Layli and Majnun adding that now this son is 14 years old and "apple of my eyes". In "Haft Peykar" (Seven Beauties), he also mentions and advises his son about taking more responsibility as the father was growing more frail.

Some modern writers in the late 20th century have claimed that this wife was called Afaq. Vahid Dastgerdi seems to be the first writer to propose this name for Nezami's first wife, but Said Nafisi (at the same time) and a recent source have challenged this interpretation of the corresponding verse in Nizami's work and the assumption that Afaq was the real name of his wife and have taken the Afaq in that verse to simply mean "horizon" rather than a proper name. Strangely enough, Nezami's two other wives, too, died prematurely – the death of each coinciding with the completion of an epic, prompting the poet to say, "God, why is it that for every mathnavi I must sacrifice a wife!".

Education
Nezami was not a philosopher in the sense of Avicenna or an expositor of theoretical Sufism in the sense of Ibn 'Arabi.  However, he is regarded as a philosopher and gnostic who mastered various fields of Islamic thoughts which he synthesized in a way that brings to mind the traditions of later Hakims such as Qutb al-Din Shirazi.

Often referred to by the honorific Hakim ("the Sage"), Nezami is both a learned poet and master of a lyrical and sensuous style.  About Nezami's prodigious learning there is no doubt. Poets were expected to be well versed in many subjects; but Nezami seems to have been exceptionally so.  His poems show that not only he was fully acquainted with Arabic and Persian literatures and with oral and written popular and local traditions, but was also familiar with such diverse fields as mathematics, astronomy, astrology, alchemy, medicine, botany, Koranic exegesis, Islamic theory and law, Iranian myths and legends, history, ethics, philosophy and esoteric thought, music, and the visual arts.  His strong character, social sensibility, and knowledge of oral and written historical records, as well as his rich Persian cultural heritage unite pre-Islamic and Islamic Iran into the creation of a new standard of literary achievement.  Being a product of the Iranian culture of the time, he not only created a bridge between pre-Islamic and Islamic Iran, but also between Iran and the whole ancient world.

Influences and literary scene

The recent discovery and publication of the anthology titled Nozhat al-Majales contains Persian language quatrains from Nizami and 115 other poets from the northwestern Iran (Arrān, Šarvān, Azerbaijan; including 24 poets from Ganja alone) during the same era.  Unlike other parts of Persia,  where the poets mostly belonged to higher echelons of society such as scholars, bureaucrats, and secretaries, a good number of poets in the northwestern areas rose from among the common people with working-class backgrounds, and they frequently used colloquial expressions in their poetry.  Accordingly, the book demonstrates the social conditions at the time, reflecting the full spread of Persian language and the culture in the region, which is evidenced by the common use of spoken idioms in poems and the professions of many of the poets.  The influence of the northwestern Pahlavi language, for example, which had been the spoken dialect of the region, is clearly observed in the poems contained in this anthology.  However, at the same time, the Caucasus region was entertaining a unique mixture of ethnic cultures. Khaqani's mother was a Nestorian Christian, Mojir Baylqani's mother was an Armenian, and Nezami's mother was a Kurd. Their works reflect the cultural and linguistic diversity of the region.

By the end of the 10th century, Persian literature became widespread from the eastern Mediterranean to the banks of the Indus.  The earliest extant example of Persian poetry from the area is that of Qatran Tabrizi (1009–1072) who served in the courts of the Shaddadid and Rawadid dynasties.  Qatran Tabrizi, is credited with what some scholars in the last century have termed as the founder of the "Azerbaijan" or "Trans-Cacausian" school or "Tabriz School" or "Shirvan School" or "Arranian Style" of Persian poetry.  This school produced a distinctive style of poetry in Persian, which contrasted with "Khurasani" ("Eastern") style in its rhetorical sophistication, its innovative use of metaphor, its use of technical terminology and Christian imagery, the presence of Persian archaism while borrowing from Arabic vocabulary, as well as new concepts.  Other sources including the Encyclopaedia of Islam and traditional Iranian literary sources have used the term "'Iraqi" style for the Persian poetry of Nezami.

The Seljuqs took control of Ganja from the Shaddadids in 1075 and spread Persian literary westwards to their courts.  In the middle of the 12th century, the Seljuk Empire's control of the region weakened and their provincial governors, virtually autonomous local princes, further encouraged Persian culture, art and poetry in their courts. Persian culture characteristically flourished in this era, when political power was diffused and Persian remained the primary language, Persian civil servants and merchants were in great demand and rival dynasties continued to vie for the service of Persian poets.  This was especially true in Ganjeh, the Caucasian outpost town where Nizami lived.  Nezami was patronized by different rulers and dedicated his epics to various rival dynasties, including the Seljuqs, Eldiguzids (who maintained control of Ganja during most of the later 12th century), Shirvanshahs, the ruler of Ahar and Ahmadilis.  Although he enjoyed the patronage of various rulers and princes, he avoided the courts and is generally believed to have lived a secluded life. Since he was not a court poet, he does not appear in the annals of the dynasties, which list the names of events of the ruling families.

According to literary scholar Chelkowski, "it seems that Nezami's favorite pastime was reading Firdawsi's monumental epic Shahnameh (The book of Kings).  Nezami mentioned Ferdowsi as the Sage (Hakim) and Knower/Wise (daanaa) and the great master of discourse, "who has decorated words like new bride." Nezami advises the son of the Shirvanshah to read the Shah-nama and to remember the meaningful sayings of the wise.  Nezami used the Shahnameh as a source in his three epics of Haft Peykar, Khosrow and Shirin and Eskandar-Nameh.

The story of Vis and Ramin also had an immense influence on Nezami. Although Nezami takes the bases for most of his plots from Ferdowsi, but the basis for his rhetoric comes from Gorgani. This is especially noticeable in Khosrow and Shirin, which is of the same meter and imitates some scenes from Vis and Ramin. Nezami's concern with astrology also has a precedent in an elaborate astrological description of the night sky in Vis and Ramin. Nezami had a paramount influence on the romantic tradition, and Gorgani can be said to have initiated much of the distinctive rhetoric and poetic atmosphere of this tradition, with the absence of the Sufi influences, which are seen in Nezami's epic poetry.

The first monumental work of Nezami, the Makhzan al-Asrar is influenced by Sanai's Hadikat al-Hakika. Nezami acknowledges this, but considers his work to be superior. The main similarities between Sanai's poem and Nezami's are in its ethico-philosophical genre, although Nezami uses a different metre and organized the whole work in a different fashion. Khaqani Sherwani daring imagery, was to have a momentous influence on Nezami Ganjavi and through the latter on Persian poetry in general.

Works

Nezami lived in an age of both political instability and intense intellectual activity, which his poems reflect; but little is known about his life, his relations with his patrons, or the precise dates of his works, as the many legends built up around the poet color the accounts of his later biographers. He dedicated his poems to various rulers of the region as was custom of that time for great poets, but avoided court life. Nezami was a master of the Masnavi style (double-rhymed verses).

The Khamsa or Panj Ganj
Nizami's main poetical work, for which he is best known, is a set of five long narrative poems known as the Khamsa (, 'Quintet or Quinary') or Panj Ganj (, 'Five Treasures'):
 Makhzan-ol-Asrâr (, 'The Treasury or Storehouse of Mysteries'), 1163 (some date it 1176)
 Khosrow o Shirin (, 'Khosrow and Shirin'), 1177–1180
 Leyli o Majnun (, 'Layla and Majnun'), 1192
 Eskandar-Nâmeh (, 'The Book of Alexander'), 1194 or 1196–1202
 Haft Peykar (, 'The Seven Beauties'), 1197

The first of these poems, Makhzan-ol-Asrâr, was influenced by Sanai's (d. 1131) monumental Garden of Truth. The four other poems are medieval romances. Khosrow and Shirin, Bahram-e Gur, and Alexander the Great, who all have episodes devoted to them in Ferdowsi's Shahnameh, appear again here at the center of three of four of Nezami's narrative poems. The adventure of the paired lovers, Layla and Majnun, is the subject of the second of his four romances, and derived from Arabic sources. In all these cases, Nezami reworked the material from his sources in a substantial way.

The Khamsa was a popular subject for lavish manuscripts illustrated with painted miniatures at the Persian and Mughal courts in later centuries. Examples include the Khamsa of Nizami (British Library, Or. 12208), created for the Mughal Emperor Akbar in the 1590s.

Makhzan-ol-Asrâr

The ethico-philosophical poems of about 2,250 Persian distichs was dedicated to Fakhr al-Din Bahramshah, the ruler of Erzinjan.  The story deals with such esoteric subjects as philosophy and theology. The story contains twenty discourses, each of them portraying an exemplary story on religious and ethical topics.  Each chapter concludes with apostrophe to the poet himself containing his pen name.  The content of the poems are indicated in the heading to each chapter and are written in a typical Homiletics style. The stories which discuss spiritual and practical concerns enjoin kingly justice, riddance of hypocrisy, warning of vanity of this world and the need to prepare for the after-life.  The general message of the discourse is that Nezami preaches the ideal way of life drawing attention to his reader of the supreme rank man among God's creatures and approaching of the end life and the necessity of man becoming aware of his spiritual destination.  In a few chapters he address the duties of a king, but as a whole he addresses himself to mankind in general rather than to his royal patrons. In the introduction, the poet provides an account of his solitary vigils, called Khalwat.  There is no indication that these were Sufi vigils, but they are used as a literary fantasy on the spiritually-inclined poet he wanted to be.  In highly rhetorical style, the aim he pursues is to transcend the limitation of secular literature of the courts.  With this work, Nezami joins the destination of Persian poetry, which had started with Sanai and was continued by others, in the first place by Attar.

Not a romantic epic, "The Treasury of Mysteries" was translated into English by Gholam H. Darab in 1945.  After this early work, Nezami turned towards narrative poetry.

Khosrow o Shirin

A story of pre-Islamic Persian origin which is found in the great epico-historical poems of Shahnameh and is based on a true story that was further romanticized by Persian poets. The story  chosen by Nizami, was commissioned and dedicated to the Seljuk Sultan Toghril II, the Atabek Muhammad ibn Eldiguz Jahan Pahlavan and his brother Qizil Arslan.  It contains about 6,500 distichs in length, the story depicts the love of Sasanian Khosrow II Parviz towards his Armenian princess Shirin. Khusrow and Shirin recounts the story of King Khosrow's courtship of Princess Shirin, and the vanquishing of his love-rival, Farhad.  The story has a complex structure with several genres exploited simultaneously; and contains many verbal exchanges and letters, all imbued with lyrical intensity.  Khosrow endures long journeys, physical and spiritual, before returning to Shirin, his true love. They are eventually married, but finally Khosrow is killed by his son and Shirin commits suicide over the body of her murdered husband. Pure and selfless love is represented here embodied in the figure of Farhad, secretly in love with Shirin, who falls victim to the king's ire and jealousy.

The influence of Vis o Ramin is visible as the poem imitates a major scene (that of the lovers arguing in the snow) from Vis o Rāmin, as well as being in the same meter (hazaj) as Gorgāni's poem.  Nezami's concern with astrology also has a precedent in an elaborate astrological description of the night sky in Vis o Rāmin.  In turn, Nezami's great work had a tremendous influence on later authors and many imitations of this work were made.  With complete artistic and structural unity, the epic of Khosrow o Shirin turned to be a turning point not only for Nizami but for all of Persian literature.

Leyli o Majnun
A story of Arabic origin which was later adapted and embellished by the Persians.  The poem of 4,600 distichs was dedicated, in 1192, to Abu al-Muzaffar Shirvanshah, who claimed descent from the Sasanian King, whose exploits are reflected in Nezami's "Seven Beauties" (Haft Paykar).  The poem is based on the popular Arab legend of ill-starred lovers: the poet Qays falls in love with his cousin Layla, but is prevented from marrying her by Layla's father.  Layla's father forbids contact with Qays, so that Qays becomes obsessed and starts singing of his love for Layla in public. The obsession becomes so severe that he sees and evaluates everything in terms of Layla; hence his sobriquet "the possessed" (Majnun).  Realizing that he cannot obtain union, even when other people intercede for him, he leaves society and roams naked in the desert among the beasts. However the image of Layla was so ingrained in him that he cannot eat or sleep. His only activity becomes composing poetry of longing for Layla.  Meanwhile, Layla is married against her will, but she guards her virginity by resisting the advances of her husband. In a secret meeting with Majnun, they meet, but have no physical contact. Rather, they recite poetry to each other from a distance. Layla's husband dies eventually, which removes the legal obstacles to a licit union. However Majnun is so focused on the ideal picture of Layla in his mind, that he fled into the desert again. Layla dies out of grief and is buried in her bridal dress. Hearing this news, Majun rushes to her grave, where he instantly dies. They are buried side by side and their grave becomes a site of pilgrimage. Someone dreams that in Paradise they are united and live as a king and queen.

Nezami composed his romance at the request of the Shirvanshah Akhsatan. Initially, he doubted that this simple story about the agony and pain of an Arab boy wandering in rough mountains and burning deserts would be a suitable subject for royal court poetry and his cultured audience.  It was his son who persuaded him to undertake the project, saying: "wherever tales of love are read, this will add spice to them". Nezami used many Arabic anecdotes in the story, but also adds a strong Persian flavor to the legend.

An important aspect of Layla and Majun is the poet's highly humanitarian approach. During the war by Nawfal in favor of Majnun, the latter is unhappy wishing the termination of the war. Majun gives away his horse and amours to save a gazelle and a stag.

Nezami gave a Persian character to the poem by adding several techniques borrowed from the Persian epic tradition, such as the portrayal of characters, the relationship between characters, description of time and setting, etc. Further, he adapted the different stories about Majnun to fit a well-crafted Persian romantic epic.

The Story of Layla and Majnun by Nizami, was edited and translated into English by Swiss scholar of Islamic culture Rudolf Gelpke and published in 1966. A comprehensive analysis in English containing partial translations of Nezami's romance Layla and Majnun examining key themes such as chastity, constancy and suffering through an analysis of the main characters was published by Ali Asghar Seyed-Gohrab.

Eskandar-Nâmeh

The Romance of Alexander the Great contains 10,500 distichs. There are differences of opinion on whether this or the Haft Paykar was Nezami's last epic.  The names of its dedicatees are uncertain, but the ruler of Ahar, Nosart al-Din Bishkin b. Mohammad has been mentioned. The story is based on Islamic myths developed about Alexander the Great, which derive from Qur'anic references to the Dhu'l-Qarnayn as well as from the Greek Alexander romance of Pseudo-Callisthenes. It consists of two books, Sharaf-Nama and Iqbal-nameh. The poem narrates the three stages in Alexander's life: first as the conqueror of the world; then as a seeker after knowledge, gaining enough wisdom to acknowledge his own ignorance; and finally as a prophet, traveling once again across the world, from west to east, and south to north to proclaim his monotheistic creed to the world at large.  The Sharaf-nama discusses the birth of Alexander, his succession to the throne of Rum (Greece), his wars against Africans who invaded Egypt, his conquest of Persia and his marriage to the daughter of Darius.  The episode also discusses Alexander's pilgrimage to Mecca, his stay in the Caucasus and his visit to Queen Nushaba of Barda' and her court of Amazons.  Alexander conquers India, China and the land of the Rus.  The Sharafnama concludes with Alexander's unsuccessful search for the water of immortal life.

The Iqbal-nameh is a description of Alexander's personal growth into the ideal ruler on a model ultimately derived, through Islamic intermediaries, from Plato's Republic.  He has debates with Greek and Indian philosophers (c.f. with Garshaspnama) and a major portion of the text is devoted to the discourses he has with seven Greek sages. The poet then tells of Alexander's end and adds an account of the circumstances of the death of each of the seven sages. Nezami's image of Alexander is that of an Iranian knight.

An English translation of the Sharaf-Nama by Henry Wilberforce-Clarke was published in 1881 under the title Sikandar Nama e Bara and is available online.

Haft Peykar

A pre-Islamic story of Persian origin, it was dedicated to the ruler of Maragha, 'Ala' Al-Din korp Arslan. It is the story of Bahram V, the Sassanid king, who is born to Yazdegerd after twenty years of childlessness and supplication to Ahura Mazda for a child.  The Haft Peykar is a romanticized biography of the Sasanian Persian empire ruler Bahram Gur.  His adventurous life had already been treated by Ferdowsi in the Shahnama, to which fact Nezami alludes a number of times. In general, his method is to omit those episodes that the earlier poet had treated, or to touch on them only very briefly, and to concentrate on new material.  The poet starts by giving an account of the birth of Bahram Gur and his upbringing in the court of the Arab King No'man and his fabled palace Khwarnaq.  Bahram whose upbringing is entrusted to No'man becomes a formidable huntsman.  While wandering through the fabled palace, he discovers a locked room which contains a depiction of seven princesses; hence the name Haft Peykar (seven beauties).  Each of these princesses is from the seven different climes (traditional Zoroastrian-Islamic division of the Earth) and he falls in love with them.  His father Yazdegerd I passes away and Bahram returns to Persia to claim his throne from pretenders.  After some episodes he is recognized as King and rescues the Persians from a famine.  Once the country is stable, the King searches for the seven princesses and wins them as his brides.  His architect is ordered to construct seven domes for each of his new brides.  The architect tells him that each of the seven climes is ruled by one of the seven planets (classical planetary system of Zoroastrian-Islamic world) and advises him to assure good fortune by adorning each dome with the color that is associated with each clime and planet.  Bahram is skeptical but follows the advice of the architect.  The princesses take up residence in the splendid pavilions.  On each visit, the king visits the princesses on successive days of the week; on Saturday the Indian princess, who is governed by Saturn and so on.  The princesses names are Furak (Nurak), the daughter of the Rajah of India, as beautiful as the moon; Yaghma Naz, the daughter of the Khaqan of the Turks; Naz Pari, the daughter of the king of Khwarazm; Nasrin Nush, the daughter of the king of the Slavs; Azarbin (Azareyon), the daughter of the king of Morocco; Humay, the daughter of the Roman Caesar; and Diroste (wholesome), a beautiful Iranian princess from the House of Kay Ka'us.  Each princess relates to the king a story matching the mood of her respective color.  These seven beautifully constructed, highly sensuous stories occupy about half of the whole poem.  While the king is busy with the seven brides, his evil minister seizes power in the realm.  Bahram Gur discovers that the affairs of Persia are in disarray, the treasury is empty and the neighboring rulers are posed to invade.  He clears his mind first by going hunting.  After returning from hunt, he sees a suspended dog from a tree.  The owner of the dog, who was shepherd, tells the story of how his faithful watchdog had betrayed his flock to a she-wolf in return for sexual favors.  He starts investigating the corrupt minister and from the multitude of complaints, he selects seven who tell him the injustice they have suffered.  The minister is subsequently put to death and Bahram Gur restores justice and orders the seven pleasure-domes to be converted to fire temples for the pleasure of God. Bahram then goes hunting for the last time but mysteriously disappears.  As a pun on words, while trying to hunt the wild ass (gūr) he instead finds his tomb (gūr).

Ritter, in his introduction to the critical edition describes it as: "the best and most beautiful epic in New Persian poetry and at the same time [. . .] one of the most important poetical creations of the whole of oriental Indo-European literature". The Haft Peykar is considered the poet's masterpiece. Overall, Nezami illustrates the harmony of the universe, the affinity of the sacred and the profane, and the concordance of ancient and Islamic Iran.

The story was translated to English in 1924 by Charles Edward Wilson.  A newer English rendering based on more complete manuscripts was accomplished by Julie Scott Meysami in 1995.

The following lines present an excerpt (Original Persian):

Other poetry
Only a small corpus of his Persian lyric poetry, mainly qaṣīdahs ("odes") and ghazals ("lyrics") have survived. Ten of his quatrains have also been recorded in the anthology Nozhat al-Majales (which was compiled around 1250) by Jamal Khalil Shirvani along with 23 other poets from Ganja. A famous ghazal of Nezami talks about altruism as the path for reaching the ultimate spiritual goal:

Legacy

Nizami, whose works are all written in Persian, has a very high reputation in Iran, Afghanistan and Tajikistan, where Persian is the official language. His poetry is especially well known in Iran, and is also very popular in Azerbaijan, where his birthplace and mausoleum are located. He is known in other countries, especially in India and Pakistan .

Persian culture
The influence of Neẓāmi's work on the subsequent development of Persian literature has been enormous and the Khamseh became a pattern that was emulated in later Persian poetry (and also in other Islamic literatures).  The legacy of Nezami is widely felt in the Islamic world and his poetry has influenced the development of Persian, Arabic, Turkish, Kurdish and Urdu poetry amongst many other languages.
In the history of Persian miniature painting, the stories in Nezami's poems alongside those of Ferdowsi's Shahnama have been the most frequently illustrated literary works. According to the Encyclopædia Britannica, Nezami is "admired in Persian-speaking lands for his originality and clarity of style, though his love of language for its own sake and of philosophical and scientific learning makes his work difficult for the average reader."  Nezami composed his verses in Persian language and Western encyclopedias such as Encyclopedia of Islam, Encyclopædia Iranica, Encyclopædia Britannica and orientalists of many countries consider Nezami as a significant Persian poet and hail him as the greatest exponent of romantic epic poetry in Persian literature.
Amongst the many notable poets who have taken the Five Treasures of Nezami as their model may be mentioned Amir Khusro, Jalal Farahani, Khwaju Kermani, Mohammad Katebi Tarr-Shirini, Abdul Rahman Jami, Hatefi Jami, Vahshi Bafqi, Maktabi Shirazi, Ali-Shir Nava'i, Abdul Qader-e Bedel Dehlavi, Fuzûlî, Hashemi Kermani, Fayzi, Jamali and Ahmad Khani.  Not only poets, but also historians such as Rawandi were influenced by Nezami's poetry and used his poems as a source for rendering history.  Besides these, scores of poets have started their composition with the first line of the Makhzan al-Asrar.
According to Rudolf Gelpke, "Many later poets have imitated Nizami's work, even if they could not equal and certainly not surpass it; Persians, Turks, Indians, to name only the most important ones. The Persian scholar Hekmat has listed not less than forty Persian and thirteen Turkish versions of Layli and Majnun."
According to Vahid Dastgerdi, "If one would search all existing libraries, one would probably find more than 1000 versions of Layla and Majnun."
Jami in his Nafahatol Ons remarks that: "Although most of Nezami's work on the surface appear to be romance, in reality they are a mask for the essential truths and for the explanation of divine knowledge."
Jami in his Baharestan mentions that "Nezami's excellence is more manifest than the sun and has no need of description.  Hashemi of Kerman remarks: The empire of poetry obtained its law and order from Nezami's beautiful verses and To present words before Nezami's silent speech is a waste of time."

Ganjavi poems in the Indian subcontinent

Ganjavi's poems were very popular in the Indian subcontinent. Persian language and literature have had a great impact on the entire Indian subcontinent. Nizami Ganjavi has been imitated by many poets due to his unique style of speech and language of poetry. Poets who have imitated Ganjavi's woto include: Amir Khusro Delhi, Khwaju Kermani, Jami, Hatefi, Ghasemi, Vahshi Bafqi, 'Orfi Shirazi, Maktabi, Faizi, Ashraf Maraghi, Azar Bigdeli, Badriddin Hilali , Rumi Kermani, Maulana Navidi Shirazi and Salman Savaji.
Amir Khusro Dehlavi praises Ganjavi in his poems as a master of the art of praise.
Amir Khusro writes:
"The ruler of the kingdom of words, famed hero,
Scholar and poet, his goblet [glass] toasts.
In it – pure wine, it's drunkingly sweet,
Yet in goblet [glass] beside us – only muddy setting."
According to the book Persian Inscriptions on Indian Monuments in the Rashtrapati Bhavan in Ashoka Hall, the most important hall of the Indian Presidential Palace, Persian poems were written and decorated with paintings from Iran or Persia such as the Fateh Ali Shah, Shah Qajar and poems of Hafez, Khayyam and Nezami Ganjavi are painted on the ceiling and parts of the hall. A large oil painting illustration of Nezami Ganjavi and a large painting of a Persian lady on both sides of the Ashoka Hall of Rashtrapati Bhavan.
The Khamsa was a popular subject for lavish manuscripts with painted miniatures at the Persian and Mughal courts in later centuries. Examples include the Khamsa of Nizami (British Library, Or. 12208), created for the Mughal(Gurkanid) Emperor Akbar in the 1590s.

Soviet Union

In the early 1940s and to mark the 800th anniversary of Nizami Ganjavi, Azerbaijani composer Uzeyir Hajibeyov planned to write seven songs based on Nizami's poem about the Seven Beauties. However Hajibeyov wrote only two songs: Sensiz (Without You, 1941) and Sevgili Janan (Beloved, 1943). Another Azerbaijani composer Gara Garayev, composed Seven Beauties (ballet) in 1947–48 based on Nizami's eponymous poem that won an international acclaim. He also composed Leyli and Majnun (ballet) that premiered on 25 May 1969 at the Azerbaijan State Academic Opera and Ballet Theater in Baku and later was recorded as a film.
A minor planet, called 3770 Nizami, was discovered by Soviet astronomer Lyudmila Chernykh in 1974 and named after him. Further, the Museum of Azerbaijan literature in Baku is named after Nizami.

Azerbaijan

Nezami was depicted on the obverse of the Azerbaijani 500 manat banknote of 1993–2006. In 2008, coinciding with the 800th anniversary of his death, the National Bank of Azerbaijan minted a 100 manat gold commemorative coin dedicated to his memory.
The Nizami Museum of Literature is located in Baku, Republic of Azerbaijan. One of the Baku Metro stations is also named after Nizami Ganjavi. There is Institute of Literature named after Nizami and Cinema named after Nizami in Baku. One of the districts of Baku is called Nizami raion. The life of Nizami Ganjavi is shown in the Azerbaijani movie "Nizami" (1982), in which the leading role, role of Nizami Ganjavi, was played by Muslim Magomayev. The Nizami Mausoleum, built in honor of Nizami, stands just outside the city of Ganja in Azerbaijan. It is a tall cylindrical building, surrounded by gardens. To one side, there is a metal statue commemorating Nizami's epic poems. The mausoleum was originally built in 1947 in place of an old collapsed mausoleum and rebuilt in its present form when the Azerbaijani Republic regained its independence after the fall of the Soviet Union in 1991.

Monuments to Nezami are found in many cities of Republic of Azerbaijan and Iran, as well as in Moscow, St. Petersburg and Udmurtiya (Russia), Kyiv (Ukraine), Beijing (China), Tashkent (Uzbekistan), Marneuli (Georgia), Chişinău (Moldova), Rome (Italy).

2021 was declared as "Year of Nizami Ganjavi" in the country.

Japanese translation
"The Story of the Seven Queens (Haft Peykar)", translated into Japanese by Tsuneo Kuroyanagi, published by Heibonsha, July 1971. (Toyo Bunko 191)
"Khosrow and Shireen" , translated by Emiko Okada, published by Heibonsha, June 1977. (Toyo Bunko 310)
"Layla and Majunoon", translated by Emiko Okada, Heibonsha, February 1981. (Toyo Bunko 394)  ."

Western reception
German poet and writer Johann Wolfgang von Goethe wrote: "A gentle, highly gifted spirit, who, when Ferdowsi had completed the collected heroic traditions, chose for the material of his poems the sweetest encounters of the deepest love. Majnun and Layli, Khosrow and Shirin, lovers he presented; meant for one another by premonition, destiny, nature, habit, inclination, passion staunchly devoted to each other; but divided by mad ideas, stubbornness, chance, necessity, and force, then miraculously reunited, yet in the end again in one way or another torn apart and separated from each other."

With regards to the recitation of his poetry, Peter Chelkowski states: "The memorization and recitation of their literary heritage has alway beens vital to Iranians, whose attitude towards the power of the written and spoken word is reverential. Even today the national passion for poetry is constantly expressed over radio and television, in teahouses, in literary societies, in daily conversation, and in the Musha'areh, the poetry recitation contest. Nizami's work serves as a vehicle and a symbol of this tradition, for it unites universality with deep-rooted artistic endeavor, a sense of justice and passion for the arts and sciences with spirituallity and genuine piety. For richness and fineness of metaphor, accuracy, and profundity of psychological observation, and sheer virtuosity of storytelling, Nizami is unequalled".

Nezami's story of Layla and Majnun also provided the namesake for a hit single by Eric Clapton, also called "Layla". Recorded with the group Derek and the Dominos, the song was released on the 1970 album Layla and Other Assorted Love Songs. The album was influenced by Nezami and his poetry of unrequited love. The fifth song of the album, "I Am Yours", was based on a poem by Nezami, set to music by Clapton.

In 2004, there was a conference on Nezami organized at the University of Cambridge. The proceedings of this conference were published under the title Nizami: A Key to the Treasure of Hakim in 2011.

See also
Nizami Museum of Azerbaijani Literature

Ferdowsi
Khaqani
List of Persian poets and authors
Nozhat al-Majales
Persian literature
Asadi Tusi
Vis and Rāmin
Behrouz Servatian, noted Nizami researcher

Notes

References
Encyclopædia Iranica, "Khamsa", Domenico Parrello
E.G. Browne. Literary History of Persia. (Four volumes, 2,256 pages, and twenty-five years in the writing). 1998.
Biography of Nizami Dr. Julie S. Meisami of Oxford University
Jan Rypka, History of Iranian Literature. Reidel Publishing Company. 1968 .
Chopra, R M, Nizami Ganjavi (1141-1209): The Greatest Master of Persian Romantic Mesnavi, 2014, Sparrow Publication, Kolkata.
Christine van Ruymbeke. Science and Poetry in Medieval Persia: The Botany of Nizami's Khamsa . University of Cambridge Press, 2008.
Christine van Ruymbeke. "From culinary recipe to pharmacological secret for a successful wedding night: the scientific background of two images related to fruit in the Xamse of Nezâmi Ganjavi", Festschrift in honour of Professor J.T.P. de Bruijn, Persica, Annual of the Dutch-Iranian Society, (Leiden), 2002, pp. 127–136
C. A. (Charles Ambrose) Storey and Franço de Blois (2004), "Persian Literature – A Biobibliographical Survey: Volume V Poetry of the Pre-Mongol Period.", RoutledgeCurzon; 2nd revised edition (June 21, 2004).  .
K. Talattof & J.W. Clinton, The Poetry of Nizami Ganjavi: Knowledge, Love, and Rhetoric. –  New York, 2001
 Talattof, Kamran, Nizami's Unlikely Heroines: A Study of the Characterizations of Women in Classical Persian Literature.
[ J. S. Meisami(Translator) Haft Paykar: A Medieval Persian Romance., New York: Oxford University Press, 1995]
[ Johan Christoph Burgel & Christine van Ruyuymbeke, "Nizami: A Key to the Treasure of the Hakim ", Amsterdam University Press, 2011]
[ Peter J. Chelkowski, "Mirror of the Invisible World", New York: Metropolitan Museum of Art, 1975]

External links

Persian Literature in Translation The Packard Humanities Institute
Persian Literature in Translation The Packard Humanities Institute: Lailî and Majnûn
Persian Literature in Translation The Packard Humanities Institute: Haft Paikar: Translated from the Persian, with a Commentary, by C. E. Wilson, B.A. (Lond.)
Persian Literature in Translation The Packard Humanities Institute: Eskandar-Nama (The Book of Alexander) translated by  Henry Wilberforce-Clarke

Nizami, Jamal al-Din Ilyas. A biography by Prof. Iraj Bashiri, University of Minnesota.
Nezami's works in original Persian at RiRa, the Persian Digital Library
Nezami's works in original Persian at Ganjoor Persian Library
The Legend of Leyli and Majnun
Bio: Nezami Ganjavi

 University of Arizona Resources on Nezami Ganjavi

Viewpoints on Nezami's background
 Academician IM Diakonov, personal impressions of the anniversary of Nezami
 Article arguing for an Iranian background of Nezami from an Iranian writer titled:  "Politicization of the Background of Nizami Ganjavi: Attempted de-Iranization of a historical Iranian Figure by the USSR" by Ali DoostzadehPDF version  Another site
 Siavash Lornejad, Ali Doostzadeh "On the Modern Politicization of the Persian Poet Nezami Ganjavi", Edited by Victoria Arakelova, YEREVAN SERIES FOR ORIENTAL STUDIES (Editor of the Series Garnik Asatrian), Caucasian Centre for Iranian Studies, Yerevan, 2012.

1140s births
1209 deaths
Writers from Ganja, Azerbaijan
Iranian people of Kurdish descent
Wisdom literature
12th-century Persian-language writers
13th-century Persian-language poets
Poets from the Seljuk Empire
12th-century Iranian people
13th-century Iranian people
Poets of the Shirvanshahs

Nizami Ganjavi


La Coupe d'Asie féminine de hockey sur gazon 2022 sera la  édition de la Coupe d'Asie féminine de hockey sur gazon, le championnat international quadriennal féminin de hockey sur gazon d'Asie organisé par la Fédération asiatique de hockey. Il se tiendra du 21 au 28 janvier 2022 à Mascate, à Oman.

Le tournoi devait initialement se dérouler à Bangkok, en Thaïlande, mais le 29 décembre 2021, le tournoi a été déplacé à Mascate, à Oman.

L'Inde sont les championnes en titre. Les quatre meilleures équipes se qualifieront pour la Coupe du monde 2022.

Équipes qualifiées
Les huit équipes suivantes participeront au tournoi.

  (9)
  (10)
  (12)
  (14)
  (20)
  (29)
  (36)
  (37)

Compositions

Premier tour
Toutes les heures correspondent à l'Heure normale d'Oman (UTC+4).

Poule A

Source: FIH

En cas d'égalité de points de plusieurs équipes à l'issue des matchs de poule, les critères suivants sont appliqués dans l'ordre indiqué pour établir leur classement:
 Points de chaque équipe,
 Matchs gagnés,
 Différence de buts,
 Buts pour,
 Plus grand nombre de points obtenus dans les matchs de poule disputés entre les équipes concernées,
 Buts marqués en plein jeu.

Poule B

Source: FIH

En cas d'égalité de points de plusieurs équipes à l'issue des matchs de poule, les critères suivants sont appliqués dans l'ordre indiqué pour établir leur classement:
 Points de chaque équipe,
 Matchs gagnés,
 Différence de buts,
 Buts pour,
 Plus grand nombre de points obtenus dans les matchs de poule disputés entre les équipes concernées,
 Buts marqués en plein jeu.

Phase de classement

Demi-finales pour la cinquième place

Septième et huitième place

Cinquième et sixième place

Tour pour les médailles

Demi-finales

Troisième et quatrième place

Finale

Classement final

Voir aussi
 Coupe d'Asie masculine de hockey sur gazon 2022

Références

Coupe d'Asie féminine de hockey sur gazon
Hockey sur gazon en 2022
Événement sportif à Oman
Hockey sur gazon F
Mascate
2022 à Oman
Sport en janvier 2022


Dimitrie Rosetti a fost un politician român din secolul al XIX-lea, ministru al cultelor (după Gheorghe Cuciureanu) în guvernul condus de Anastasie Panu, la Iași, după Mica Unire, dar înainte de unirea administrativă a Principatelor Române.

Dimitrie
Guvernul Anastasie Panu
Miniștri cultelor ai României
Politicieni români
Politicieni români din secolul al XIX-lea
Români din secolul al XIX-lea

Dimitrie Rosetti


Dødens Skørt er en dansk oplysningsfilm fra 2013, der er instrueret af Astrid Ågot Nielsen og Giuliana Holm.

Handling
I El Salvador har skørtet en særlig betydning for de gamle indianske kvinder. De unge piger går i dag i bukser. Em gammel indiansk kvinde fortæller om hverdagen og tidligere regeringers forsøg på etnisk udrensning.

Referencer

Eksterne henvisninger

Dokumentarfilm fra Danmark
Oplysningsfilm fra Danmark
Danske film fra 2013

Dødens Skørt


Le référendum hongrois de 2022 a lieu le  afin de permettre à la population de se prononcer sur quatre questions portant sur l'éducation sexuelle des mineurs, notamment en matière d'homosexualité et de transidentité. Il est organisé le même jour que des élections législatives.

Les propositions obtiennent d'écrasantes majorités de votes contre, mais le caractère contraignant des réponses aux questions est invalidé, aucune n'ayant obtenue un total de votes valides supérieur au quorum de 50 % des inscrits.

Contexte

Le référendum intervient à la suite de tensions opposant le gouvernement du Fidesz mené par le Premier ministre Viktor Orbán à l'Union européenne. Cette dernière fait pression courant 2021 sur le gouvernement hongrois afin qu'il revienne sur l'adoption en avril d'une nouvelle législation interdisant l'utilisation de supports promouvant l'homosexualité et la transidentité en milieu scolaire.

Accusant l'Union européenne (UE) d'outrepasser ses pouvoirs, Viktor Orbán décide en juillet de soumettre à référendum plusieurs questions portant sur ces sujets. À l'origine d'une politique opposée aux droits LGBT, le Premier ministre se présente alors en , en opposition à une UE porteuse d'un . Le référendum lui même est présenté comme portant sur la  en réponse au , dans ce qui est perçu comme une tentative délibérée de lier les droits LGBT à la pédophilie, les amendements effectués en avril ayant déjà inclus ces mesures dans ce qui était à l'origine un projet de loi visant à lutter contre la maltraitance des enfants. Selon Amnesty international, cette nouvelle législation est dans la continuité d'un environnement hostile cultivé par Viktor Orbán depuis plus de dix ans, la précédente mesure discriminatoire envers les LGBT ayant été l'inscription en 2020 dans la constitution d'une définition de la parentalité selon laquelle .

Les positions  de Viktor Orbán sur ces questions lui valent des accusations d'homophobie et de transphobie ainsi que de vives critiques de la part de plusieurs gouvernements européens, le Premier ministre des Pays-Bas Mark Rutte allant jusqu'à affirmer que la Hongrie n'a  lors d'un sommet de l'UE en juin 2021, tandis que la présidente de la Commission européenne Ursula von der Leyen qualifie la nouvelle loi de . À cette occasion, 17 pays européens signent une déclaration commune dénonçant ces discriminations à l'encontre des LGBT. La ministre hongroise de la Justice Judit Varga rejette aussitôt ces accusations, invoquant le , sur lequel l'UE ne disposerait d'aucune compétence.

Cinq questions sont initialement présentes dans le projet de référendum, avant le rejet par la Cour suprême de l'une d'elles portant sur l'accessibilité sans restrictions des mineurs aux opérations de chirurgie de réattribution sexuelle. La cour juge en effet inconstitutionnelles les conséquences d'un éventuel vote positif à cette question, qui obligerait l'assemblée à voter une législation en ce sens, en contradiction avec la Loi fondamentale qui protège l'identité de genre à la naissance.

Le 9 novembre 2021, l'Assemblée nationale vote à une large majorité l'organisation d'un référendum sur ces questions. Après le rejet à l'unanimité par la Cour constitutionnelle hongroise d'un recours déposé par l'opposition, le Président de la République János Áder décide le 11 janvier 2022 de fixer le scrutin au  suivant, en même temps que les élections législatives.

Une dizaine de groupes de défense des droits LGBT et des droits de l'Homme en général  appellent les électeurs à rendre délibérément leur bulletins de votes invalides en cochant à la fois Oui et Non, de manière  que le nombre de votes valides n'atteigne pas le quorum de 50 % des inscrits.

Contenu

Quatre questions sont soumises au vote :
Approuvez vous l'enseignement de l'orientation sexuelle aux enfants mineurs dans les institutions scolaires sans le consentement parental ?
Approuvez vous la promotion des traitements de changement de sexe pour les mineurs ?
Approuvez vous la présentation sans restriction aux mineurs de contenu médiatique à caractère sexuel qui pourrait affecter leur développement ?
Approuvez vous la présentation aux mineurs de contenu médiatique portant sur le changement de sexe ?

Conditions de validité
Le référendum est légalement contraignant. Néanmoins, pour être valable, un résultat doit cumuler la validation de deux conditions : un total de voix favorables ayant atteint la majorité absolue des suffrages exprimés et un total de votes valides ayant atteint le quorum de 50 % des inscrits sur les listes électorales.

Participation

Résultats

Première question

Deuxième question

Troisième question

Quatrième question

Conséquences

Les quatre propositions reçoivent de large majorités en faveur du Non, oscillant entre 92 et 95 % des suffrages exprimés, mais aucune ne parvient à reccueillir suffisamment de votes valides pour atteindre le seuil de 50 % des inscrits, invalidant ainsi leur résultat.

Malgré un taux de participation de près de 65 %, une large part des bulletins totalisant en moyenne 20 % des inscrits s'avèrent en effet nuls, une grande partie des électeurs ayant suivi les appels à invalider délibérément leurs bulletins.

Notes et références

2022
Hongrie
2022 en Hongrie
Politique en avril 2022
Référendum portant sur les droits LGBT
LGBT en Hongrie
Éducation sexuelle

Référendum hongrois de 2022


Africa de Sud a participat la Jocurile Olimpice de vară din 2016 de la Rio de Janeiro în perioada 5 – 21 august 2016, cu o delegație de 137 de sportivi, care a concurat în 15 sporturi. După cele șase medalii obținute la Londra 2012, Comitetul național olimpic sud-african stabilise ca obiectiv obținerea a zece medalii. Cu un total exact de zece medalii, inclusiv două de aur, Africa de Sud s-a aflat pe locul 30 în clasamentul final.

Participanți
Delegația sud-africană a cuprins 137 de sportivi: 80 de bărbați și 41 de femei (rezervele la fotbal, handbal, hochei pe iarbă și scrimă nu sunt incluse). Cel mai tânăr atlet din delegația a fost jucătoarea de fotbal Linda Motlhalo (18 ani), cel mai vechi a fost navigatorul Roger Beresford Hudson (38 de ani).

Medalii

Medaliați

Medalii după sport

Natație

Note

Referințe
 Africa de Sud la Jocurile Olimpice de vară din 2016  pe Rio2016.com

Africa de Sud la Jocurile Olimpice
Țări la Jocurile Olimpice de vară din 2016


Theuma velox est une espèce d'araignées aranéomorphes de la famille des Prodidomidae.

Distribution
Cette espèce est endémique du ǁKaras en Namibie. Elle se rencontre vers Kubub.

Description
La femelle syntype mesure .

Systématique et taxinomie
Cette espèce a été décrite par Purcell en 1908.

Publication originale
 Purcell, 1908 : « Araneae (I). Zoologische und anthropologische Ergebnisse einer Forschungsreise im westlichen und zentralen Südafrika. Erster Band: Systematik und Tiergeographie. Zweite Lieferung. » Denkschriften der Medizinisch-Naturwissenschaftlichen Gesellschaft zu Jena, ,  (texte intégral).

Liens externes

Notes et références

Prodidomidae
Espèce d'araignées (nom scientifique)
Faune endémique de Namibie

Theuma velox


انلايتنمينت  معنى الاسم "تنوير"، يعرف أحياناً بE، هو مدير نوافذ لنظام النوفذة س. يمكن استخدامه منفردًا أو مقترنًا ببيئة سطح مكتب مثل جنوم أو كدي. يستخدم تنوير في الأغلب كنظام بيئة سطح مكتب متكامل. توزيعة اي لايف تستخدم الواجهة كواجهة افتراضية لها.

تاريخ

أصدر كارستن هايتزلر  النسخة الأولى من تنوير بتاريخ 30 أكتوبر 1996.

ظل تنوير تحت التطوير لأكثر من عقد من الزمن، آخرر إصدار ثابت له هو E16 1.0.0.

النسخة 0.17, والتي يشار لها بE17 أو DR17، هي قيد التطوير منذ ديسمبر 2000, وهي إعادة كتابة من البداية لDR16 وقد صممت بحيث تكون بيئة متكاملة، ومبنية على مكتبة أساس تنوير (EFL).

المميزات

DR16

بعض مزاياه هي ما يلي:
 يسمح لك تنوير بامتلاك شبكة من مساحات العمل تسمى أسطح المكتب الافتراضية، يمكن الانتقال بينها بدفع مؤشر الفأرة تجاه حافة الشاشة حتى يبدو سطح المكتب كانه ينزلق ليظهر الآخر، أقصى مساحة للشبكة تقدر ب8 أسطح مكتب رأسية في 8 أفقية، ويمكنك أن تملك حتى 32 شبكة (كلٌ له خلفية مختلفة) مما يجعلهم إجمالس 2048 مساحة سطح مكتب. يمكن لمستخدم تفعيل خريطة لأسطح المكتب، إذا ما شعر أنه فُقد، وتسمى متصفح سطح المكتب.
 شريط السحب (dragbar) الخاص بسطح المكتب يسمح له بالانزلاق للخلف ليظهر سطح المكتب 'الذي بالأسفل'. يستخدم فريق العمل التنظير بصفحات ورق مرصوص فوق بعضه البعض، بحيث يمكنك زلق إحداها لترى ما تحتها.
 تجميع النوافذ، وهي القابلية لتقسيم النوافذ إلى مجموعات بحيث يمكن تحريك، تغيير حجم، إغلاق إلخ.. كل نوافذ المجموعة معاً.
 الأيقنة، وهي تصغير نافذة بحيث تأخذ شكل أيقونة (شعار البرنامج) وتوضع في صناديق الأيقونات (iconboxes) والتي يمكن تحريكها على الشاشة.
 القابلية لتغيير حدود النوافذ (أو إزالة الحدود وشريط العنوان تماماً).
 يمكن للمستخدم عمل اختصارات لوحة المفاتيح للحركات التي يحتاجها بكثرة مثل تكبير أو تصغير النوافذ، بدء البرامج، التحرك بين أسطح المكتب، وحتى تحريك مؤشر الفأرة، وبالتالي يمكن استخدام تنوير كاملاً بلوحة المفاتيح فقط. e16keyedit هو برنامج رسومي يسهل عمل اختصارات لوحة المفاتيح.
 النسخ الأحدث تضم التأثيرات التركيبية، مثل التلاشي والشفافية.

أحد أهداف مدير النوافذ تنوير أن يكون قابل للإعداد على قدر المستطاع، وحتى ذلك الحد، يضم تنوير حوارات تخصيص لإعدادات التركيز، حركة النوافذ، التحجيم، التجميع وإعدادات الأماكن، الصوتيات، أسطح المكتب المتعددة، خلفية سطح المكتب، متصفح سطح المكتب، نصائح الأدوات (tooltip) واعدادات رفع النوافذ التلقائي. ويضم أيضاً حوار للتأثيرات الخاصة، مثل تأثير تموج سطح المكتب.

نسخة 0.17

DR17 هو قيد التطوير، لكن المميزات الأساسية موجودة فيه بالفعل:
 القابلية لتغيير السمة بالكامل، سواء من القائمة أو من سطر أوامر تغيير السمة.
 مدير ملفات متضمن داخلياً
 الأيقونات على سطح المكتب
 شبكة أسطح المكتب الافتراضية
 تصميم مبني على وحدات يمكن تحميلها ديناميكياً، وتشمل الآتي:
 Pager، متصفح سطح مكتب للتحويل بين الأسطح
 iBar، لبدء البرامج
 iBox، يحتفظ بالنوافذ المأيقنة
 iTask NG، رصيف (dock) مثل الموجود في ماك أو أس إكس
 Clock، ساعة تناظرية (عقارب)
 Battery، ترصد حالة البطارية للحواسب المحمولة
 CPUFreq، يرصد سرعة المعالج
 Temperature، يرصد حرارة المجسات الداخلية
 رف (shelf) أو أكثر لوضع الأدوات (gadgets) على الشاشة
 خلفيات تفاعلية متحركة
 تظليل النوافذ، الأيقنة، تكبير ولصق النوافذ
 اختصارات لوحة مفاتيح قابلة للتعديل
 دعم التدويل
 تدعم كل معايير سطح المكتب، NetWM, ICCCM, فري دسكتوب.أورج.

المطورين

المطورين الأساسيين

 كارستن هايتزلر {إنج|Carsten Haitzler} قائد التطوير
 كيم وولدر {إنج|Kim Woelders} المحافظ على E16
 هشام ماردام بي {إنج|Hisham Mardam Bey}
 كريستوفر مايكل {إنج|Christopher Michael}

غير نشطين

 جوف هاريسون {إنج|Geoff Harrison}

مراجع

برمجيات 1997
برمجيات تسخدم رخصة بي إس دي
برمجيات يونكس
بيئات سطح مكتب حرة
فري دسكتوب.أورج
لينكس
مديرو نافذة إكس الحرة
برمجيات تستخدم ميزون

إنلايتنمينت


الألياف الدقيقة  : تشير إلى ألياف اصطناعية ولكنها بمقاس أقل من واحد دنييه. أكثر أنواع الألياف إنتاجاً كألياف دقيقة هي متعدد الإستر، والنايلون، ومشتقاتهما.

تستخدم الألياف الدقيقة في إنتاج أنواع النسيج المختلفة مثل: اللانسيج، القماش المنسوج أو المحاك.
تستخدم الألياف الدقيقة غالباً في الألبسة، والتنجيد، والمصافي أو المرشحات الصناعية والمواد المانعة (للغبار أو الزيت).

الاستخدامات

الملابس

تستخدم الألياف الدقيقة في تصنيع الملابس الرياضية، لأنها تصرف الرطوبة (العرق) من الجسم، وتشعر الرياضي بالبرودة والجفاف. والألياف الدقيقة مرنة جدا، مما يجعلها تحتل مكانا مرموقا في تصنيع الألبسة الداخلية النسائية، وخصوصا أنها تعطي ملمسا ناعما جدا. وتستخدم أقمشة الألياف الدقيقة في صناعة التنانير، والسترات. كما تستخدم في تصنيع أقمشة الجلد المدبوغ المزيف المسمى سويد "Suede" فهو أرخص من المنتجات الحيوانية، وسهل التنظيف والخياطة من الجلد المدبوغ الحقيقي.

مراجع

أقمشة تقنية
ألياف اصطناعية
منتجات مستدامة
نسيج

ليف دقيق


Gürsökü, Sinop ilinin Gerze ilçesine bağlı bir köydür.

Tarihçe
Köyün adı, 1928 yılı kayıtlarında Gürsekü olarak geçmektedir.

Coğrafya
Köy, Sinop il merkezine 53 km, Gerze ilçe merkezine 18 km uzaklıktadır.

Nüfus

Kaynakça

Dış bağlantılar

Gerze belde ve köyleri

Gürsökü, Gerze


Watts Station ist eine 1904 erbaute Eisenbahnstation in Watts, einem Stadtviertel von Los Angeles in Kalifornien. Das Bauwerk war eines der ersten Gebäude in Watts und diente lange Jahre als Haupthaltepunkt für den Red Car der Pacific Electric Railway zwischen Los Angeles und Long Beach. Es war das einzige Bauwerk, das intakt blieb, als beim Watts-Aufruhr die Geschäfte an der 103rd Street niedergebrannt wurden. Das nicht angetastete Bauwerk im mittleren Teil der dann auch Charcoal Alley getauften Straße wurde die Bahnstation zu einem Symbol der Kontinuität, der Hoffnung und der Erneuerung für das Stadtviertel. Es wurde inzwischen zu einem Historic-Cultural Monument erklärt und am 15. März 1974 als Baudenkmal in das National Register of Historic Places aufgenommen.

Bau und Betrieb als Station für die Red Cars

Watts wurde auf dem Gelände des alten Rancho La Tajuata erbaut. 1902 versuchte die Watts-Familie, nach der das Stadtviertel später seinen Namen erhielt, die Erschließung des Gebietes zu beschleunigen, indem sie der Pacific Electric Railway ein zehn Acre großes Grundstück überschrieb, auf dem 1904 Watts Station erbaut wurde. Die Bahnstation wurde mehr als 50 Jahre als Haupthaltestelle für den Betrieb der "Red Cars" zwischen Los Angeles und Long Beach genutzt. Das Stationsgebäude ist ein einstöckiges Fachwerkbauwerk aus Holz, dessen Grundfläche von 2200 Quadratfuß in drei Räume unterteilt ist. Die Station war eines der ersten Bauwerk, die in Watts errichtet wurden und ist eine der wenigen erhaltenen Bauwerken aus den Anfangsjahren des Stadtviertels. Das Bauwerk diente später als Vorbild für Bahnstationen, die in La Habra, Covina und Glendora gebaut wurden.

Die Eröffnung der Station zog neue Bewohner an, sodass das wachsende Stadtviertel den Namen Watts Station trug. Das Bauwerk blieb eine Bahnstation der Pacific Electric depot, bis in den 1950er Jahren der Betrieb der Red Cars eingestellt wurde.

Lebhafte Geschichte
Von Beginn an hatte die Bahnstation eine lebhafte Geschichte.  Zu den Zwischenfällen, die sich hier ereigneten, gehörten:
 1904, kurz nach der Eröffnung der Bahnstation, wurde eine Frau getötet, als sie ihren kleinen Sohn zu retten versuchte, der auf den Gleisen herumlief. Die Frau war die erste Person, die bei Watts Station durch einen Zug getötet wurde, und die Los Angeles Times erklärte sie zu einer Heldin, die sich "auf die Gleise stürzte", ihren Sohn packte und aus dem Weg des herannahenden Zuges warf. Die Zeitung wies darauf hin, dass vor allem Kinder mexikanischstämmiger Familien, die in der Umgebung von Watts Station lebten, gefährdet waren und viele dieser Kinder, die die Gefahr noch nicht einschätzen konnten, an den Gleisen der Bahnstrecke spielten.
 Im Dezember 1904 trat eine 40-jährige unverheiratete Frau absichtlich vor den herannahenden Schnellzug nach Long Beach. Die Los Angeles Times berichtete, dass die Leiche der Frau kaum noch als Überreste eines Menschen erkennbar waren, als diese unter dem Zug hervorgeholt wurde.
 Im Juli 1905 wurde ein Angestellter der Bahngesellschaft praktisch auf der Stelle getötet, als er nach dem Ausstieg aus einem Zug beim Überqueren des südwärts führenden Gleises von einem Triebwagen erfasst wurde. Sechs Monate später wurde ein anderer Bahnarbeiter an Watts Station durch einen Zug getötet, und im Dezember 1906 wurde ein Lokführer zwischen zwei Waggons eingeklemmt und tödlich verletzt.
 Im Januar 1906 kam es zu einer Schießerei, als eine Frau, die gerade in Scheidung von ihrem Ehemann lebte, einen Revolver zog und auf ihren Noch-Ehemann schoss, als dieser auf ein "Red Car" wartete. Der Mann ergriff die Waffe. Seine Frau besorgte sich eine andere Waffe, kehrte zur Bahnstation zurück, feuerte zwei weitere Schüsse auf den Mann ab, die ihr Ziel verfehlten, doch durch ein stehendes Red Car gingen und dessen Passagier verschreckten.

Symbol der Hoffnung an der Charcoal Alley

Als im August 1965 der Watts-Aufruhr zur Zerstörung der Gebäude auf beiden Seiten der 103rd Street – der Hauptdurchgangsstraße in Watts – führten, war Watts Station im Zentrum des Abschnittes der Straße zwischen Compton und Wilmington Avenue, der aufgrund der starken Zerstörungen unter dem Namen "Charcoal Alley" (dt. in etwa: "Straße der Holzkohle") bekannt wurde. Ein Augenzeuge berichtete: "Beide Seiten der 103rd Street sind nun abgebrannt. Die Durchgangsstraße war ein Meer der Flammen, das eine so unerträgliche Hitze ausstrahlte, daß ich glaubte, meine Haut würde versengt werden."  Nach einer anderen Schilderung der Unruhen entlang der "Charcoal Alley" wurden die Bauten an der Straße bis auf die Grundmauern niedergebrannt. Inmitten der Trümmer und der umfassenden Zerstörung im Verlauf der Straße, so berichtete die Los Angeles Times, dass die Bahnstation das einzige Bauwerk war, das intakt blieb, während die Geschäfte entlang der Straße in Flammen aufgingen. Dass die alte aus Holz gebaute Bahnstation die Unruhen überstand, sei es infolge beabsichtigter Verschonung oder durch Zufall, führte dazu, dass das Bauwerk zum "Symbol der Kontinuität, der Hoffnung und der Erneuerung" für die Bewohner des Viertels wurde.

Ausweisung als Denkmal und Rekonstruktion
Vier Monate nach den Unruhen wurde das Bauwerk von der Los Angeles Cultural Heritage Commission zu einem Historic-Cultural Monument (HCM #36) erklärt. 1974 wurde Watts Station in das National Register of Historic Places aufgenommen. In den 1980er Jahren, nachdem die Bahnstation bereits viele Jahre vakant war, stellte die Community Redevelopment Agency 700.000 US-Dollar zur Verfügung, um das ursprüngliche Aussehen des Bauwerks wiederherzustellen. Die Station wurde ab 1989 als Kundendienstbüro des Los Angeles Department of Water and Power und als kleines Museum der Geschichte des Stadtviertels wiedergenutzt.

1990 wurde durch die Blue Line die Bedienung des Eisenbahnverkehrs zwischen Los Angeles und Long Beach entlang der alten Strecke der Pacific Electric wieder aufgenommen. Dabei dient die alte Bahnstation nicht der Abfertigung von Fahrgästen der Blue Line, doch die Züge halten an einer neuen Bahnstation direkt daneben, der Station 103rd Street/Watts Towers. Mit der Wiederaufnahme des Eisenbahnverkehrs durch die Blue Line sind jedoch auch die Übel zurückgekehrt, die während des Betriebes der Red Cars an der Tagesordnung waren. Von 1990 bis zum Juni 2007 wurden 87 Autofahrer und Fußgänger an den Bahnübergängen der Blue Line getötet; sie ist eine der unfallträchtigsten Eisenbahnstrecken in den Vereinigten Staaten.

Siehe auch
 Liste der Einträge im National Register of Historic Places in Los Angeles
 Watts-Unruhen

Weblinks

Einzelnachweise

Denkmal im National Register of Historic Places (Kalifornien)
Erbaut in den 1900er Jahren
Bahnhof in Kalifornien
Ehemaliger Bahnhof in den Vereinigten Staaten
Verkehrsbauwerk in Los Angeles
Bahnhof in Nordamerika
Kultur (Los Angeles)
Watts (Los Angeles)
Los Angeles Historic-Cultural Monument

Watts Station


Tasmanya kaplanı ya da Tasmanya kurdu (Thylacinus cynocephalus), 20. yüzyılda soyu tükenen Avustralya'ya özgü büyük bir etçil keselidir. Avustralya'nın Avrupalılar tarafından iskanından sonra soyu tükenen birçok türden sadece biri olmasına rağmen en büyüğü ve en ünlüsüdür.

Diğer kıtalardaki kurtlar ve kaplanlar (kaplan ve kurt plasentalı memelilerdir ve keseli thylacine ile akraba değillerdir) gibi thylacine de doruk yırtıcı idi ve hem boyutu hem de genel biçimi adını aldığı kuzey yarı-küreli yırtıcılara benzemekteydi.

Tasmanya kaplanının yaşayan en yakın akrabasının, Tasmanya canavarı veya numbat olduğu sanılıyor. Tasmanya kaplanı, her iki cinsinin de kese taşıdığı bilinen, iki keseli memeli türünden biriydi. (Diğeri, yüzen keseli.) Erkek tasmanya kaplanı, üreme organlarını kapatan ve koruyucu bir kılıf gibi davranan bir keseye sahipti.

Kaynakça

Thylacinidae
Kaplan
Yeni Gine'deki memeliler
Soyu tükenmiş keseliler
Nesli tükenen Avustralya memelileri
İnsan faaliyetleri nedeniyle nesli tükenen türler
1500'den sonra soyu tükenmiş memeliler
Süper yırtıcılar
Yırtıcı keseliler
Holosen devri soy tükenmeleri
Avustralya keselileri

Tasmanya kaplanı


Maëva Frossard, ou Maëva Czajczynski durant son mariage, plus connue sous le pseudonyme Mava Chou (également typographié MavaChou), est une influenceuse franco-suisse, née le  et morte le  à Pallegney (Vosges).

Sa mort, à l'âge de 32 ans, provoque de nombreuses réactions dans les médias et sur les réseaux sociaux, en raison du harcèlement moral et du cyberharcèlement qu'elle subissait depuis des années. Au moment de sa mort en , Mava Chou compte  sur YouTube,  sur Instagram et  sur Facebook.

Biographie

Enfance et débuts
Originaire de Genève, Maëva Frossard naît le .

Mariée à Adrien Czajczynski, qu'elle rencontre à l'âge de , elle a quatre enfants avec lui, auxquels s'ajoute un cinquième qu'elle perd à cinq mois de grossesse. À ce sujet, elle se présente elle-même comme étant  : . Le couple vit longtemps dans une maison à Batilly, en Meurthe-et-Moselle, et y crée une entreprise de marketing et d'information.

Carrière
Influenceuse sur plusieurs réseaux sociaux à partir de 2015, et présente sur YouTube dès 2013, elle dépasse notamment les  en 2018 sur sa chaîne YouTube, dans un premier temps intitulée Mavachou, une maman sans tabou. Elle connaît également une popularité grâce à son passage en 2018 dans l'émission On a échangé nos mamans sur TFX, où elle se présente comme une mère . Son succès s'explique notamment par son franc-parler et son humour.

En 2018, après avoir eu connaissance du manque de moyens dans un orphelinat ukrainien, elle et son mari créent Pour un petit sourire, une association caritative aidant les orphelinats. En 2019, des internautes les accusent abusivement d'avoir détourné de l'argent récolté au profit de l'association.

En , elle et son mari divorcent, mais continuent de vivre dans la même résidence, avec leurs enfants, jusqu'au début de l'année 2020. En , elle s'installe dans les Vosges avec un nouveau conjoint alors que les relations se tendent avec son ex-mari, entre autres pour la garde des enfants. En , elle annonce qu'elle a déposé plusieurs plaintes pour usurpation d'identité, cyberharcèlement et propos pornographiques exprimés sur Twitter à propos d'elle-même et de sa fille aînée. En , Le Parisien publie un reportage sur la  dont elle et sa famille sont les victimes. Parmi les faits de harcèlement dont sa famille est la cible, figurent des appels anonymes à l'école de ses enfants et l'espionnage de son domicile par des internautes, dont une photographie de son garage et d'un véhicule postée sur Internet  Adrien Czajczynski, son ex conjoint, l'accuse également de maltraitance envers leurs enfants.Mava Chou prend alors du recul vis-à-vis des réseaux sociaux.

Mort
Elle décède le , peu après avoir eu . Son décès est annoncé sur sa page Facebook par une amie qui  concernant les circonstances. La cause  n'est pas immédiatement dévoilée.

Son décès provoque de nombreuses réactions concernant le harcèlement dans les médias et sur les réseaux sociaux. L'avocat de Maëva Frossard, Stéphane Giuranna, révèle que cinq plaintes ont été déposées à ce sujet par elle et son conjoint depuis , contre son ex-mari et contre X. La dernière plainte, pour harcèlement moral et provocation au suicide, part le jour même de sa mort. Aucune des plaintes précédentes n'a abouti. En réclamant une réaction des autorités, Stéphane Giuranna estime que sa mort , car, selon lui, . L'influenceur Jeremstar explique pour sa part que Mava Chou était régulièrement  depuis 2015, soulignant qu'. En réaction, une autre influenceuse, Emma CakeCup, partage certains messages qu'elle a également reçus, accompagnés de la phrase .

Adrien Czajczynski s'exprime publiquement quatre jours après sa mort, dénonçant lui aussi les harcèlements, dont il dit avoir également été victime, et réfute toute accusation à son encontre.

Après sa mort, une enquête est ouverte par le parquet d'Épinal pour . Le , sur demande de la famille de Mava Chou, l'émission Sept à huit, sur TF1, diffuse un reportage incluant une interview d'elle tournée le . Son témoignage et celui de son compagnon, Romain, expliquent que la situation qu'elle vivait l'avait poussée à pratiquer l'automutilation sur ses avant-bras et à faire plusieurs tentatives de suicide, pour la première fois durant l'automne 2020 puis à deux autres reprises au printemps et en été en 2021.

Notes et références

Liens externes

 Chaîne Mava Chou sur YouTube

Personnalité liée à Internet
Vlogueuse
Personnalité féminine suisse
Victime du cyberharcèlement
Pseudonyme
Personnalité liée au département de Meurthe-et-Moselle
Naissance en décembre 1989
Naissance en Suisse
Décès en décembre 2021
Décès à 32 ans
Décès dans le département des Vosges
Suicide par moyen indéterminé en France

Mava Chou


Die 29. Czech International 2000 im Badminton fanden vom 28. September bis zum 1. Oktober 2000 in Nymburk statt.

Sieger und Platzierte

Weblinks
 http://www.tournamentsoftware.com/sport/tournament.aspx?id=BEDB8501-BEEA-46D4-A4CD-520FB60CD56C

2000
Badminton 2000
EBU Circuit 2000/01
Okres Nymburk

Czech International 2000


Duha Suresi (Arapça: سورة الضحى), Kur'an'ın 93. suresidir. Sure, 11 ayetten oluşur.

Mekke döneminde inmiştir. Sure, ismini ilk ayetinde geçen ve ''kuşluk vakti'' anlamına gelen ''duhâ'' kelimesinden almıştır. Sure, Güneş'in yükselişini sembolize eden kuşluk vaktine edilen yeminle başlar.

Konusu
Rivayete göre Peygamber Muhammed Mekke'deyken, Fecr Suresi'nden sonra ayetlerin inişi bir müddet durmuş, bunun üzerine Mekkeli paganlar da ''Rabbi onu terk etti'' diye onunla alay etmeye başlamışlardır. Muhammed de bu süreçte Allah'ın ona darıldığını düşünmüştür. Bu surenin inişiyle birlikte bu sessizlik sona ermiş ve ayetlerin inişi, Muhammed'in ölümüne kadar düzenli devam etmiştir.

Surenin ilk iki ayetinde, sırasıyla kuşluk ve gece vakitlerine yemin edilir. Üçüncü ayetinde, Mekkeli paganların ona söylediği gibi Rabbinin onu terk etmediği ve Muhammed'in düşündüğü gibi Rabbinin ona darılmadığı belirtilir. Surenin sonraki ayetlerinde Peygamber'in hususiyetlerinden olan yetim oluşu, yolunu kaybetmiş oluşu ve fakir oluşu ele alınmış ve kendisi teselli edilmiştir.

Surenin meali
1:  Kuşluk vaktine andolsun,

2:  Karanlığı çöktüğü vakit geceye andolsun ki,

3:  Rabbin seni terk etmedi, sana darılmadı da.

4:  Muhakkak ki ahiret, senin için dünyadan daha hayırlıdır.

5:  Şüphesiz, Rabbin sana verecek ve sen de hoşnut olacaksın.

6:  Seni yetim bulup da barındırmadı mı?

7:  Seni yolunu kaybetmiş olarak bulup da yola iletmedi mi?

8:  Seni ihtiyaç içinde bulup da zengin etmedi mi?

9:  Öyleyse sakın yetimi ezme!

10:  Sakın isteyeni azarlama!

11:  Rabbinin nimetine gelince; işte onu anlat.

Kaynakça

Sureler

Duha Suresi