Crustaphytum, rod crvenih algi iz potporodice Melobesioideae, dio porodice Hapalidiaceae. Postoje dvije vrste, jedna uz atlantsku obalu Brazila (otkrivena 2020. godine), druga u Pacifiku, po čemu su vrste i imenovane

Rod i obje vrste taksonomski su priznati.

Vrste
 Crustaphytum atlanticum Jesionek, Bahia & Amado-Filho, 2020
 Crustaphytum pacificum L.-C.Liu & S.-M.Lin

Izvori

Hapalidiaceae

Crustaphytum


المساواة هي المبدأ العام للتعبير عن تعادل كميتين أو تعبيرين رياضيين.

علاقة التساوي هي أبسط نموذج لعلاقات أكثر عموما تسمى علاقات تكافىء. هذه العلاقات تتميز بكونها انعكاسية وتناظرية ومتعدية.

العلاقة مع علاقات التكافئ تساوي الشكل
انظر إلى علاقة تكافؤ وإلى تساوي الشكل

انظر أيضا
 علامة التساوي,
 المتراجحات.

مراجع

حسابيات ابتدائية
مصطلحات رياضياتية
منطق رياضي

تساوي (رياضيات)


Skollarætur (fræðiheiti: Hyoscyamus) eru ættkvísl jurta af náttskuggaætt upprunnin í Norður-Afríku og Evrasíu. Tegundirnar eru um 7 - 32, allar eitraðar.

Tegundir samkvæmt CatalogueOfLife

 Hyoscyamus afghanicus
 Hyoscyamus albus
 Hyoscyamus arachnoideus
 Hyoscyamus aureus
 Hyoscyamus bornmulleri
 Hyoscyamus boveanus
 Hyoscyamus cylindrocalyx
 Hyoscyamus desertorum
 Hyoscyamus flaccidus
 Hyoscyamus gallagheri
 Hyoscyamus grandiflorus
 Hyoscyamus insanus
 Hyoscyamus kopetdaghi
 Hyoscyamus kotschyanus
 Hyoscyamus kurdicus
 Hyoscyamus leucanthera
 Hyoscyamus longepedunculatus
 Hyoscyamus malekianus
 Hyoscyamus multicaulis
 Hyoscyamus muticus
 Hyoscyamus niger
 Hyoscyamus nutans
 Hyoscyamus orthocarpus
 Hyoscyamus pojarkovae
 Hyoscyamus pusillus
 Hyoscyamus reticulatus
 Hyoscyamus rosularis
 Hyoscyamus senecionis
 Hyoscyamus squarrosus
 Hyoscyamus tenuicaulis
 Hyoscyamus tibesticus
 Hyoscyamus turcomanicus

Tilvísanir

Náttskuggaætt
Lækningajurtir

Hyoscyamus


Mario Bokara je američki profesionalni hrvač hrvatskih korijena. Najpoznatiji je bio po nastupima u Impact Wrestlingu, a trenutno nastupa po raznim indy promocijama u SAD-u.

Profesionalna hrvačka karijera

Indy scena (2000. – danas)
Bokara se započeo baviti profesionalnim hrvanjem u kolovozu 2000. Upotrebljavajući kečersko ime Mo Sexton, Bokara se počeo hrvati u svim New Jersey indy promocijama kao što su Jersey Championship Wrestling, Jersey All Pro Wrestling, American Championship Entertainment i World Xtreme Wrestling.  ljeti 2005., Bokara je nastupao za za dva WWE-ova programa te odradio dva meča za Velocity i Sunday Night Heatu izgubivši od Simona Deana i  Roba Conwaya. Bokara je 2006. potpisao za jednu od WWE-ovih surađivačkih tvrtki Ohio Valley Wrestling u kojem je proveo punih pet mjeseci. U OVW Six Flags Summer Sizzler Series 2006., Bokara je nastupao kao Mo Sexton i udružio se s Codyjem Runnelsom, Kasyjem Jamesom, Roadkill i Chetom the Jetom pobijedivši Jacka Bulla, Pata Bucka, Rahim, Deucea i Domina. Godine 2010.-te u PPV-u tag-team meču Mercury Rising, Bokara, Bryan Danielson i Christopher Daniels su poraženi od Dana Maffa za American Championship Entertainment Heavyweight naslov. Godine 2012. Bokara je počeo nastupati u New Jersey's Pro Wrestling Syndicate kao Mo Sexton, ali je 2013. počeo nastupati sa svojim pravim imenom u svom novom gimnicku kao dodatak rezultatu njegovih hrvatskih korijena. U travnju 2014., Bokara je prvi put pobijedio PWS Heavyweight Championship porazivši Bonesawu and Kevina Matthewsa u "triple threat" meču. On je izgubio naslov u gradu Bonesawu u PPV-u PWS's Nightmare Before Christmas u prosincu 2014. Bokara je ponovno osvojio isti naslov u ožujku 2015. porazivši Fallaha Bahha. Dva mjeseca kasnije, on je izgubio naslov od Dana Maffa. Bokara je pobijedio 19. studenog Crowbara, Anthonyja Bowensa i Bulla Jamesa na Wrestlepro događaju. U dosta zabavnom meču u profesionalnoj hrvačkoj promociji Pro Wrestling Academy's Unsettled Differences, Bokara je pobijedio Kevina Matthewsa.

Impact Wrestling/Global Force Wrestling (2017. – 2018.)
Bokara je debitirao na Impact Wrestlingu 23. ožujka 2017. u epizodi Impact Wrestling, gdje se udružio s Fallah Bahh i Idris Abraham pa su izgubili od Mahabali Shera, Garza Jr. i Laredo Kid. 2. travnja 2017., stigla je obavijest da je Bokara službeno potpisao jednogodišnji ugovor s Impact Wrestlingom. 27. travnja na epizodi  Impact!, Bokara i Bahh izgubili su od Veterans of War (Mayweather and Wilcox). Bokara i Bahh bili su još jednom poraženi od Veterans of War u prvoj rundu za GFW Tag Team Championship naslove. U One Night Only: No Surrender 2017. Bokara je bio poražen od Dezmobda Xaviera. 31. kolovoza 2018. u epizodi Impacta!, Bokara i Bahh su poraženi od oVe.

Bokara je uspješno primio liječnički tretman za ozljede koje je zadobio u meču kojem je odradio 2. siječnja 2018. na području ACL-a i Mensicusa.

Profil Bokare je s web stranica Impacta Wrrstlinga 31. siječnja 2018. prebačen na popis njihovih bivših prohrvača koja je tako potrdila njegov odlazak iz tvrtke.

U profesionalnom hrvanju
Završni potezi
Cloverleaf
Croatian-Lock (Armbar)
Frog splash
Pojedinačni potezi
Croatian Suplex (German suplex)
Nadimci
"The Croatian Sensation"
"The Mug''
"The Renaissance Man"
 Ulazne pjesme
"Keep Away" od Godsmacka (Indy scena; 7. veljače, 2003. – 21. kolovoza 2005.)
"Even Flow" by Pearl Jam (Indy scena; 1. kolovoza, 2006. – 21. srpnja, 2013.)
" Dolazak Hrvata" by Thompson (indy scena; 20. rujna, 2013. – danas)
"Crash" od Dale Oliver (Impact Wrestling / GFW; 15. travnja, 2017. – 2. siječnja, 2018.)

Naslovi i ostale nagrade
American Championship Entertainment
ACE Heavyweight Championship (1 put)
ACE Tag Team Championship (1 put) – s Jayom Lethalom
Create A Pro Wrestling Academy
CAP Championship (1 put)
East Coast Pro Wrestling
ECPW Heavyweight Championship (1 put)
ECPW Television Championship (1 put)
ECPW Tag Team Championship (2 puta) – s Redom Hotom Russom
Monster Factory Pro Wrestling
MFPW Tag Team Championship (1 put, trenutno) – with Fallah Bahh
Pro Wrestling Syndicate
PWS Heavyweight Championship (2 puta)

Izvori

Hrvatski kečeri

Mario Bokara


وهو العلامة الخطاط الفقيه القاضي محمد أمين الواعظ وكان يلقب باسم (أبو يوسف الثاني) لسعةِ علمهِ وكثرة مؤلفاتهِ.

ولادته ونشأته
ولد في بغداد ونشأ فيها وتعلم القرآن وهو صغير وأخوه هو الشيخ مدرس الحضرة الكيلانية وواعظها عبد الفتاح الواعظ صاحب التصانيف والمؤلفات الرائعة في الفقه والوعظ، والذي توفي في طاعون بغداد في عام 1246هـ/1830م.

مع الخط العربي
وتخرج في فن الخط على الخطاط سفيان الوهبي وكان يجيد الخط بضروبه على قاعدة ياقوت المستعصمي،

وكان يخط الصكوك والإعلامات الشرعية، وكان ينسخ الكتب بقلم النسخ الرفيع وهو في خطهِ بلغ الروعة في الترتيب والتنسيق.

ولقد صار محمد أستاذاً في الخط وتخرج على يديهِ الكثير من الخطاطين البغداديين، ولعائلتهِ مجلس علمي معروف في بغداد في محلة باب الشيخ.

من آثاره الخطية
ومن آثاره الخطية مجموعته الكبرى وهي مدونة في كتاب الروض الأزهر، وكتاب (جمع الجوامع) مع حواشيه وتسع مجلدات لكتاب تفسير القرآن الكريم المسمى (روح المعاني)، وهو من تأليف العلامة محمود الألوسي.

ولهُ "رد على الطائفة المولوية القائلين بإباحة الغناء والضرب والناي والعود، والرقص مع المرد المسبلين للشعور على الخدود، وكان سلفي العقيدة لا يميل إلى التأويل، له إنكار تام على من خالف الشرع الشريف، محاربًا لأهل الأهواء والبدع" انظر: المسك الأذفر، محمود شكري الألوسي (1/ 236).

في سلك القضاء

اشتغل محمد أمين الواعظ قاضياً في قضاء بغداد، وكان نزيهاً عادلاً، وله حسن التصرف في مسائل القضاء.

وفاته
توفي الشيخ محمد أمين في بغداد عام 1273هـ/1856م، ودفن في تكية البكري.

مصادر

أشخاص من بغداد
خطاطون عراقيون
علماء دين سنة عراقيون
فقهاء عراقيون
قضاة عراقيون
كتاب وكاتبات عراقيون
وفيات 1273 هـ
وفيات 1856

محمد أمين الواعظ


1504 වසර (MDIV) යනු,  ජූලියානු දින දසුන ප්‍රකාර,  සඳුදා දිනයකින් ඇරඹෙන අධික අවුරුද්දක් (බැඳිය විසින් මුළු දින දසුන දක්වනු ඇත) විය.

1504


Olaylar

Doğumlar
 İmparator Temmu, Japonya'nın geleneksel veraset düzenine göre 40. imparatoru (ö. 686)

Ölümler
 Bağatur Sepi Kağan, Batı Göktürk Kağanı
 Reyhâne bint Zeyd, İslam peygamberi Muhammed'in eşi
 Ümmü Gülsüm bint Muhammed, İslâm peygamberi Muhammed'in kızı

631


Dror Elimelech Feiler (; born 31 August 1951) is an Israeli-born Swedish musician, artist and left-wing activist. He is married to the artist Gunilla Sköld-Feiler.

Early life and career
Feiler was born in Tel Aviv in 1951 to Eliezer and Pnina Feiler, and moved with his family to kibbutz Yad Hana in 1967. His father, Eliezer Feiler, was a left-wing activist. In 1978, he and others secretly met with a group of Palestine Liberation Organization representatives in Bucharest while it was still illegal. Eliezer Feiler was tried and eventually sentenced to six months of community service and a IL4,000 fine. The fine was paid, but the sentence was never served because, while the legal process was ongoing, the law had changed and it was no longer illegal to meet with members of the PLO. His mother, Pnina Feiler, born 1923, was among the founders of Yad Hana. She worked with mobile health centrals in Palestinian villages in the West Bank that have to travel far to get access to healthcare and other services until 2015, when she stopped due to her advanced age. Dror Feiler served as a paratrooper in the Israel Defense Forces.

Feiler left Israel in the early 70s to pursue his musical studies in Sweden, where he met his wife. Swedish law at that time did not recognize dual citizenship, and Feilor had to relinquish his Israeli citizenship in order to become a citizen of Sweden. He studied avant-garde music and its interpretation at the Fylkingen Institut for New Music from 1975 to 1977, musicology at Stockholm University from 1977 to 1978 and composition at the Music Academy of Stockholm from 1978 to 1983.

Feiler also plays saxophone in the jazz band Lokomotiv Konkret, and founded the Too Much Too Soon Orchestra. In January 2004 he and Gunilla Sköld-Feiler made international news with their art installation Snow White and The Madness of Truth, which referred to female suicide bomber Hanadi Jaradat, which was vandalised by the then Israeli ambassador to Sweden Zvi Mazel. The installation consisted of a long pool of water coloured blood red, upon which floated a small white boat named "Snövit" ("Snow White") carrying a portrait of Hanadi Jaradat. She had blown herself up in October 2003 in an attack on Maxim's restaurant in the northern Israeli city of Haifa, killing 21 people and injuring 51.

Feiler is now the chairman of the Swedish organization Jews for Israeli–Palestinian Peace (JIPF) and the European organization European Jews for a Just Peace (EJJP). He is also a member of the editorial board of the New Colombia News Agency (ANNCOL).

He runs the artspace TEGEN 2 in Stockholm together with Gunilla Sköld Feiler.

He is active as a composer of modern music, which includes composition music for symphonic orchestras, opera, chamber music and electro-acoustic music. In April 2008, the Bavarian Radio Symphony Orchestra dropped the world premiere of his composition Halat Hisar (State of Siege), after musicians complained that the music, which includes machine gun sounds, was so loud that it gave them ear problems and headaches.

On 31 May 2010 Feiler was aboard one of the ships involved in the Gaza flotilla raid and sustained some minor injuries to the face during the raid. For his participation in the raid, Feiler was banned from entering Israel for 10 years. In July 2010, he flew to Israel together with Swedish MP Mehmet Kaplan, who had also received a 10-year entry ban over his participation, planning to lodge a complaint with the Israel Police over the flotilla raid. They were refused entry at Ben Gurion Airport and deported. In 2011, Feiler was involved in the Freedom Flotilla II, and was among the 15 activists arrested by Israeli authorities aboard the boat Dignité. He was subsequently deported from Israel.

In the 2010 Swedish general election, Feiler was a candidate for the Left Party () in Stockholm. He obtained 1,784 personal preference votes in Stockholm Municipality (4.51% of the Left Party votes, the second most voted candidate on the list after party chairman Lars Ohly) and 629 personal preference votes in Stockholm County (1.99% of the Left Party votes).

Feiler took part in Freedom Flotilla III, aboard the Swedish vessel Marianne. The ship was intercepted by the Israeli Navy on 29 June and Feiler was arrested.

Attempts to visit his mother

In 2013, Feiler appealed this ban in order to visit his ailing 90-year-old mother. His mother, then 90, had to fly to Sweden to meet up with her son, though subsequently, due to health problems, that option ceased to be available. She therefore repeatedly requested the Israeli Ministry for the Interior to lift his ban, without success. In 2018, after Swedish law dropped its ban on dual citizenship, Feiler asked for his citizenship to be restored on the basis of his right to make aliyah and be with his aging mother. No reply was forthcoming. In response to a petition by the family's attorney in December 2019, the director of the Population and Immigration Authority Prof. Shlomo Mor-Yosef in January 2020 conceded permission for a 2-week visit on condition he post a $28,910 bond. This condition was appealed and, in September, a judge extended his visa by a further 2 weeks, since, were he to visit, he would have to stay in quarantine for 14 days, given the COVID-19 crisis. That crisis had also affected Feiler's concert schedule, depriving him of adequate financial means to post the bond.

References

External links

1951 births
Jewish socialists
Jewish Swedish politicians
Living people
Israeli Jews
Israeli musicians
Israeli emigrants to Sweden
Swedish artists
Swedish Jews
Swedish communists
Musicians from Tel Aviv
Stockholm University alumni
Sound artists
Left Party (Sweden) politicians

Dror Feiler


James Monroe Gulley (May 10, 1939 – May 20, 2014) was a Republican member of the North Carolina General Assembly representing the state's 103rd House district, including constituents in Mecklenburg County. From Matthews, North Carolina, Gulley served seven terms in the state House.

He announced he would not run for reelection in 2010. His longtime friend and colleague on the Matthews Town Council, Bill Brawley, won a primary in May 2010 and is currently the State Representative for District 103.

Biography
Jim Gulley was a native of Mecklenburg County, North Carolina. He graduated from East Mecklenburg High School and Charlotte College (now University of North Carolina at Charlotte) with a degree in electrical engineering. He was married to his high school sweetheart, Suzanne Hargett. He had two children and four grandchildren. All of them live in North Carolina. He worked for 19 years with The National Cash Register Company where he received several years of training in computers during the infancy of personal computers. He owned and operated Carolina Computer Systems of Charlotte for approximately 22 years. Gulley was a member of First Baptist Church in Matthews, where he taught Sunday school for several years. He coached football for the Matthews Athletic Association and served on the board of directors of the Matthews Volunteer Fire Department. Rep. Gulley was an avid sportsman, enjoying hunting and fishing in his spare time.

Gulley was first elected to the Matthews Town Council in 1993 and served  terms prior to being elected to the State House of Representatives. He served on six committees, including Appropriations, Energy and Energy Efficiency, Public Utilities, Science and Technology, Ways & Means & Broadband Connectivity, and Wildlife Resources. Gulley was a Chair of the House Wildlife Resources Committee.

Jim Gulley died on May 20, 2014, after a long illness.

Electoral history

2008

2006

2004

2002

2000

References

External links
Jim Gulley's Project Vote Smart Page

|-

1939 births
2014 deaths
Businesspeople from Charlotte, North Carolina
Politicians from Charlotte, North Carolina
People from Matthews, North Carolina
University of North Carolina at Charlotte alumni
NCR Corporation people
20th-century American businesspeople
21st-century American businesspeople
20th-century American politicians
21st-century American politicians
Republican Party members of the North Carolina House of Representatives

Jim Gulley


Jerry Charles Dockham is a former Republican member of the North Carolina General Assembly, who represented the state's 80th House district, including constituents in Davidson County. Dockham served 11.5 full terms in the North Carolina House of Representatives. He is a former insurance professional for Nationwide from Denton, North Carolina.

Education
Rep. Dockham graduated from Denton High School in 1968. In 1972, Rep. Dockham, earned his Bachelor of Science Degree from Wake Forest University.

Personal life
Jerry is married to Louise S. Dockham, a teacher assistant at Denton Elementary School. Jerry and Louise have two sons. Both Jerry and Louise Dockham are natives of Denton and graduated from Denton High School together.

North Carolina House of Representatives
Jerry is consistently ranked in the top 10% of the 120 members of the North Carolina House of Representatives. In 1998, Rep. Dockham was chosen as Legislator of the Year by the N.C. Society of Anesthesiologists.

Dockham resigned his seat on July 1, 2013 after his appointment to the North Carolina Utilities Commission.

Electoral history

2012

2010

2008

2006

2004

2002

2000

References

External links

|-

|-

Living people
1950 births
People from Denton, North Carolina
Wake Forest University alumni
20th-century American politicians
21st-century American politicians
Republican Party members of the North Carolina House of Representatives

Jerry Dockham


Um Amor Incômodo, conhecido como Um estranho Amor em Portugal (título original: L'Amore Molesto) é o primeiro romance publicado pela escritora italiana Elena Ferrante. Foi publicado originalmente em 1992, mas foi lançado internacionalmente apenas em 2006, após o sucesso de crítica do romance seguinte de Ferrante, Dias de Abandono.

O livro foi nomeado para o prestigioso Prêmio Strega, e ganhou o Prêmio Procida-Isola di Arturo-Elsa Morante.

O livro foi adaptado para o cinema em 1995, tornando-se o longa-metragem L'Amore Molesto, dirigido por Mario Martone.

Trama
Delia volta para Nápoles, sua cidade natal, quando sua mãe morre em circunstâncias estranhas. Lá, ela passa a entender melhor sua relação com a mãe. A história é inteiramente narrada em primeira pessoa pela protagonista, forçada a voltar aos lugares de sua infância e a se chocar novamente com uma realidade da qual havia escapado.

A mãe de Delia, Amalia, era uma costureira pobre que foi encontrada morta em uma praia, presumivelmente afogada, vestindo apenas um sutiã de luxo. Delia não consegue entender como sua mãe foi parar ali e tenta reconstruir a vida de sua mãe passo a passo.

Logo Delia decide se dedicar à análise das figuras masculinas presentes na vida de Amalia: seu irmão (e tio de Delia) Filippo, um homem já idoso e fraco, de caráter expansivo e extrovertido; seu marido (e pai de Delia) de quem Amalia havia fugido mais de vinte anos antes, um homem violento e extremamente ciumento; finalmente Nicola Polledro, conhecido como Caserta, o velho encantador que, no último período, a vizinha, viúva De Riso, via entrar e sair da casa de Amália.

Delia, em seu doloroso processo de luto e reconstrução dos fatos, passa muito tempo com seu tio Filippo que, de forma confusa e pouco confiável, a ajuda a relembrar algumas das imposições cruéis e violência doméstica que Amália foi obrigada a suportar. sofrer. Delia decide se aprofundar ainda mais nessa busca compulsiva por detalhes da vida de sua mãe, que lhe parece apaixonante, intrincada e fascinante.

Para saber mais ela decide procurar Caserta, que parece querer brincar com ela por meio de sinais confusos, perseguições e aparições repentinas nas ruas de Nápoles. Para chegar até ele, a protagonista decide rastrear Antonio Polledro, seu amigo de infância e filho de Caserta, com quem vive um breve episódio sexual visando encarnar cada vez mais obsessivamente a figura de Amália e seu provável amor por Caserta.

Com a ajuda de Filippo, Delia lembra que foi ela quem contou ao pai sobre o possível caso de Amalia com Caserta, e chega a entender que ela, aos cinco anos, ficou confusa ao ver os dois adultos e foi assediada pelo pai de Caserta. Isso se conecta a seus sentimentos complexos por sua mãe, de medo, ciúme, curiosidade e repulsa sexual.

Esse e muitos outros são os segredos que emergem da feroz análise introspectiva que Delia passa ao longo da história e, graças a isso, torna-se possível para ela aceitar seus defeitos e elaborar de vez o amor-ódio que ele guardava para ela. amarrada à mãe como arame farpado.

Personagens principais

 Delia: a personagem principal e narradora
 Amalia: mãe de Delia, encontrada morta na praia no início da novela
 Filippo: o irmão de Amalia, que ajuda Delia a encontrar a verdade de sua vida
 Nicola Polledro (conhecido como Caserta): um homem envolvido no passado de Amalia
 Antonio Polledro: filho de Caserta, amigo de infância de Delia
 Pai de Delia: marido abusivo de Amalia
 De Riso: vizinha de Amália

Temas

Relações entre mulheres
Uma peculiaridade da autora é, de fato, apresentar com precisão e depois dissecar, o mais profundamente possível, mulheres presas em vidas difíceis ou situações no limite da sustentabilidade e resistência. Esse processo se repete na maioria das obras e histórias de Ferrante. A autora, de fato, em seus romances, apresenta mulheres de origens e características semelhantes, entrelaçando suas vidas com a história da cidade de Nápoles, no sul da Itália, com episódios de violência cravados em suas memórias, com uma linguagem dura da qual muitos tentam se libertar.

Cada protagonista feminina concebida por Elena Ferrante é forçada a enfrentar seu próprio passado e presente, seguindo um longo caminho de mudança e renascimento, possibilitado por uma forte autodisciplina. É justamente esse autocontrole que leva ao desfecho dos acontecimentos, em que os personagens principais chegam à plena consciência de si mesmos e à percepção da capacidade de enfrentar as turbulências de suas vidas.

Colapso psicológico
Um tema que Elena Ferrante estuda com atenção é o do colapso psicológico. Em particular, o que mais chama a atenção do autor é a luta interior que caracteriza a mente humana em sua tentativa de se defender da perda de todas as certezas e permanecer firmemente presa à realidade.

Ferrante define este tipo de luta como "batalhas com a morte", implicando a morte da alma e da liberdade psicológica feminina. Essa turbulência íntima também se manifesta nas ações dos personagens criados pelo autor, que se tornam fracos, pouco confiáveis e irracionais; a maioria dos eventos narrados gira em torno dessas dificuldades deles. Nos primeiros romances do autor, esse tema é muito evidente. A personagem de Delia e, paralelamente, a de sua mãe, Amália, são apresentadas em detalhes segundo essa interpretação.

Recepção
O livro foi bem recebido pela crítica, que elogiou sua visão psicológica da relação mãe/filha. O livro ganhou o Prêmio Procida-Isola di Arturo-Elsa Morante, e foi indicado ao Prêmio Strega.

David Lipsky, escrevendo para o The New York Times, disse: "No meio da minha segunda leitura de Um Amor Incômodo de Elena Ferrante - faltam 70 páginas na sórdida Nápoles - rasguei o livro ao meio. É a primeira vez que um romance me faz ficar físico, e foi o primeiro bom humor em que estive em semanas." ele elogiou o tema misterioso do livro "'Não esqueci nada', explica ela, reunindo evidências, 'mas Eu não queria lembrar'.", e "Ferrante é fascinada pelos momentos em que uma personalidade - como um fio esticado muito longe de sua fonte de energia - entra em curto e corrói."

Bibliografia

Em italiano:
L'Amore Molesto, 1992, Edizioni e/o, Roma, ISBN 978-88-66326403.

Reeditado como Cronache del mal d'amore, em um volume que incluía também os romances Os dias de abandono e A filha perdida. Cronache del mal d'amore. 2012, Edizioni e/o, Roma, ISBN 978-88-6632-192-7.

Em português:
No Brasil:

Um Amor Incômodo, traduzido por Marcello Lino. 2017, Intrínseca.

Em Portugal:

Um Estranho Amor

Adaptação para o cinema
O livro foi adaptado para o filme italiano de mesmo nome, lançado no Reino Unido como Nasty Love e nos Estados Unidos como Troubling love.

L'Amore Molesto ganhou 3 prêmios David di Donatello de Melhor Atriz, Melhor Diretor e Melhor Atriz Coadjuvante e foi indicado a 2 de Melhor Filme e Melhor Produtor. Também foi indicado à Palma de Ouro pelo Festival de Cinema de Cannes para o diretor Mario Martone.

Romances de 1992
Livros de Elena Ferrante

L'Amore Molesto


Eros: Yunan mitolojisinde aşk tanrısı
 Eros: adını Yunan mitolojisindeki aşk tanrısı "Eros"tan alan, "Yüce sevgi" ya da "arzulu aşk" anlamında kullanılan Yunanca kavram
 Eros: asteroit

Eros (anlam ayrımı)


Gomperz, Gompertz, Gumpertz, Gumperz, Gomperts or Gompers is a surname. Notable people with the surname include:
Aaron Solomon Gumperz (1723–1769), Jewish German scholar and physician
Benjamin Gompertz (1779–1865), British actuary, and mathematician
Gompertz function, named for Benjamin Gompertz
Don Gumpertz, sailor who circled the world on MV Westward in the 1970s
Henry Gompertz (18671930), English-born judge active in Hong Kong and the Federated Malay States.
Ian Gompertz (born 1975), English cricketer
John J. Gumperz, linguist
Julian Gumperz, German sociologist, communist activist, publicist and translator
Heinrich Gomperz (1873–1942), Austrian philosopher
Lewis Gompertz (c. 1783–1865), English inventor, writer and animal rights and veganism activist
Louis Gompertz (1886–1951), Anglo-Indian soldier and writer
Marcia Gumpertz, American statistician
Samuel W. Gompertz (1868–1952), American showman
Sydney G. Gumpertz (1879–1971), American soldier in World War I
Theodor Gomperz (1832–1912), Moravian-Austrian philologist
Will Gompertz (born 1964), British arts journalist
Samuel Gompers (1850-1924), US labour organizer and founder of the AFL
 Dr Rebecca Gomperts (born 1966), founder of Women on Waves.

See also
 Palais Gomperz, Vienna
 Simpson Gumpertz & Heger Inc.

Surnames of Jewish origin

Gomperz


41049 Van Citters este un asteroid din centura principală de asteroizi.

Descriere
41049 Van Citters este un asteroid din centura principală de asteroizi. A fost descoperit pe  la Fountain Hills (Arizona) de Charles W. Juels. Asteroidul prezintă o orbită caracterizată de o semiaxă mare de 2,76 ua, o excentricitate de 0,25 și o înclinație de 14,5° în raport cu ecliptica.

Vezi și
 Lista planetelor minore: 41001-42000
 Centura de asteroizi

Referințe

Obiecte astronomice descoperite în 1999
Centura de asteroizi

41049 Van Citters


Willy Fleckhaus (1925-1983) fue un diseñador y director de arte alemán. Su carrera alcanzó su momento de mayor esplendor en su época de director de arte de la revista Twen, publicada por primera vez en 1959. Twen combinaba la fotografía erótica con artículos de actualidad; era en cierta medida, una versión europea, gráficamente más cuidada, del Playboy norteamericano. Durante los once años de publicación de la revista, Fleckhaus consolidó un estilo muy característico con cubiertas muy llamativas y un uso particular de la fotografía en la que predominban los primeros planos.

Fleckhaus concebía la página como un conjunto de grandes bloques jerarquizados donde la foto tenía el papel primordial incluso cuando esta no tenía excesiva calidad. La extrema simplicidad de sus composiciones proporcionaba un estilo reconocible pero capaz de adaptarse a las necesidades comunicativas de cada publicación. Hacia 1980 se convirtió en director de arte del Frankfurter Allgemeine Magazin, el suplemento del Frankfurter Allgemeine Zeitung, una publicación de contenido convencional a la que supo dar un aspecto nuevo con su consistente uso de la retícula y las masas de texto e imagen. Fue también una destacada diseñador editorial. Creó numerosas cubiertas para editoriales como Editorial Suhrkamp e Insel.

Fleckhaus puede ser considerado como el más importante heredero del Estilo Internacional en los años sesenta y setenta, si bien mostró una cierta simpatía por las nuevas corrientes de rechazo al diseño ortodoxo, fue evidente. Desarrolló un nuevo concepto de dirección artística en el que no puede olvidarse su origen como periodista. Del estilo internacional queda su preferencia por componer la página con tres o cuatro elementos de enorme simplicidad formal pero, ciertamente alejados del esteticismo de la escuela germano suiza.

En Nova, la revista británica, el estilo de Fleckhaus estaba más atemperado, con referencias a las cubiertas de Stanley Morison para Gollancz, las de Mardersteig para Albatros e incluso los Penguin Books de Jan Tschichold.

Fue profesor primero en Essen en 1974 y más tarde, en 1981, en Wuppertal.

'Bibliografía
 Koetzle, Michael y Wolff, Carsten M. Fleckhaus. Deutschlands Erster Art Director. Klinkhardt und Biermann. Berlín, 1997.
 Blackwell, Lewis Twentieth Century Type. Laurence King Publishing Londres, 1992.

Diseñadores gráficos de Alemania
Diseñadores de Alemania

Willy Fleckhaus


L'abbé Pierre d'Hesmivy D'Auribeau, né à Digne-les-Bains (Royaume de France) le  et mort à Paris le , est un littérateur français.

Biographie
Né à Digne-les-Bains en 1756, entra en 1772 dans la Congrégation de l'Oratoire ; il fut professeur d'éloquence au Mans en 1780, et le roi le nomma en 1782 chanoine et archidiacre de l'église de Digne ; il fut ensuite official et vicaire général du diocèse. La persécution le força de s'en éloigner en 1792. Réfugié à Rome, il fut accueilli avec une extrême bienveillance par madame Adélaïde, tante de Louis XVI, et, sous la direction du cardinal Gerdil, y consacra sa plume à la défense de l'autel et du trône. Banni de Rome en 1798 par l'armée française, sous peine de mort, il eut le bonheur de suivre Pie VI, qui lui accorda les diplômes les plus honorables. Conclaviste du cardinal Carafa en 1800, il retourna avec cette éminence, en qualité de son majordome, dans la capitale du monde chrétien, où il poursuivit ses travaux avec le même zèle. Pie VII le nomma en 1805 à un canonicat de la basilique de Sainte-Marie in via lata, première diaconie cardinalice. Après avoir été professeur de littérature française à la faculté des lettres dans l'Université de Pise, il revint en France, où il se consacra à des objets ecclésiastiques et littéraires. L'abbé d'Hesmivy d'Auribeau mourut à Paris le 31 décembre 1843. Il était membre de la société littéraire du Mans, de l'Académie d'Arcadie de Rome, sous le nom de Vatindo Cidonio, de celle de Val d'Arao-Pétrarque, etc.

Œuvres

 Éloge funèbre de S. M. Louis XVI, prononcé en latin par Léardi, en présence de Pie VI, traduit en français, Rome, 1794, in-4° et in-8° ; dédié à Mesdames de France ;
 Discours aux Romains sur les prodiges par lesquels le Seigneur a manifesté sa toute-puissance pour la défense et la gloire de son Église dans ces derniers temps, par Giuseppe Marotti, traduit du latin en français, Rome, 1794, in-8° avec notes ;
 Traduction de la première lettre pastorale latine du cardinal Maury, évêque de Montefiascone, etc., Viterbe, 1794, in-8° ;
 Mémoires pour servir à l'histoire de la persécution française, recueillis par les ordres de Pie VI, Rome, 1795, 2 vol. in-8° ; dédies à Sa Sainteté ;
 Bienfaits de Pie VI et de ses États envers les Français émigrés, Rome, 1796, in-8° ;
 Paris, rends tes comptes, Venise, 1799, in-8°, italien et français ;
 Témoignages authentiques contre le serment de haine à la royauté, Venise, 1799, in-8° ;
 Oraison funèbre de Pie VI, prononcée en latin par Brancadoro, en présence du sacré collège à Venise, traduite en français, et dédiée à S. M. Louis XVIII, suivie de Notes du traducteur fort intéressantes pour l'histoire de ce pontife, Venise, 1795, in-fol., in-8° et in-16 ; la même, traduite du français en italien, par l'abbé Palmario Canna, Rimini, 1800, in-8°, fig. ;
 Oraison funèbre du cardinal Gerdil, in-8°; dédiée aux Français, avec des notes très-étendues ;
 l'Antiquaire, ou le Guide des étrangers pour un cours d'antiquités romaines, traduit de l'italien, Rome, 1802, in-8° ;
 Description du monument de Canova à la mémoire de Marie Christine, archiduchesse d'Autriche, traduite de l'italien, Rome, 1802, in-12 ;
 Journées pittoresques des édifices antiques de Rome et de ses environs, par Angelo Uggeri, traduites de l'italien, Rome, 1804 et suiv., 5 vol. in-4° ;
 Journal sur les médailles antiques inédites, par Alessandro Visconti, traduit de l'italien, Rome, 1806, in-4°, et interrompu par les événements ultérieurs ;
 Discours académique sur les avantages de la langue française, avec des notes historiques et littéraires, prononcé en 1812 à l'Université de Pise, où M. d'Auribeau était alors professeur de littérature française, Pise, 1812, in-4° ;
 Extraits de quelques écrits de l'auteur des Mémoires pour servir à l'histoire de la persécution, Pise, 1814, 2 vol. in-8° ;
 Lettres sur les conclaves, Paris, 1823, in-8° ;
 Discours académiques et mélanges historiques sur Massillon, suivis d'un choix de réflexions des plus habiles écrivains sur l'éloquence sacrée, pour ceux qui se destinent à la chaire, Besançon et Paris, 1825, in-8° ( édition). Les Mélanges historiques sur Massillon furent imprimés pour la première fois à la suite d'un discours inédit de ce célèbre orateur sur le danger des mauvaises lectures, le tout faisant partie de l'édition compacte des Œuvres de Massillon publiée par Beaucé-Rusand. L'abbé Hesmivy retoucha son travail, y ajouta trois éloges de Massillon et le publia sous le titre ci-dessus.
 Inscriptions du nouveau et magnifique reliquaire de la sainte ampoule dans le trésor de l'église métropolitaine de Reims, suivies d'inscriptions pour les médailles du sacre et du couronnement de Charles X, roi de France, Paris, 1825, in-4° ;
 Histoire chalcographique des dix-sept années saintes du jubilé universel suivie du texte latin, etc., Paris, 1826, in-12 ;
 Lettre à M. le comte *** sur les épitaphes de LL. EE. MM. les cardinaux de Dausset et de la Luzerne, suivie d'une notice sur la Sorbonne et sur le cardinal de Richelieu, Paris, 1826,in-4°.

Bibliographie

Notes et références

Liens externes

Écrivain français du XIXe siècle
Naissance en février 1756
Naissance à Digne-les-Bains

Pierre d'Hesmivy D'Auribeau


العَقّار  هو أي مادة تعمل كبديل لأي وظيفة طبيعية في جسم الكائن الحي عندما تمتصها أعضاء الجسم. وهذا ما ورد في تقرير منظمة الصحة العالمية (عام 1969) الصادر عن لجنة خبراء الصحة العالمية لمكافحة إدمان المخدرات في التقرير السادس عشر (من سلسلة التقارير الفنية رقم 407)، جنيف. في الحقيقة، لا يوجد تعريف واحد دقيق لكلمة «عقار»؛ لأن هناك معاني مختلفة لتلك الكلمة في قانون مكافحة المخدرات وفي القوانين الحكومية وفي مجال الطب، وفي استخدام العامة لها.

وفي علم الأدوية، يُعرف موقع «ديكشينرى دوت كوم» أو «قاموس.كوم» الأمريكي العقار بأنه «أي مادة كيميائية تُستخدم في تشخيص المرض أو علاجه أو مداواته أو الوقاية منه أو تستخدم من ناحية أخرى لتحسين الصحة العقلية أو البدنية للفرد.» ويمكن وصف العقارات لتعاطيها لفترة زمنية محددة أو بشكل منتظم بالنسبة لعلاج الاضطرابات المزمنة.

تُعد العقاقير الترويحية بمثابة مواد كيميائية تؤثر على الجهاز العصبي المركزي، مثل المسكنات الأفيونية (وهي عقاقير تشبه في تأثيرها التأثير الذي يُحدثه المورفين المسكن للآلام وتحتوي على نسبة عالية منه) أو العقاقير المسببة للهلوسة. وتمتاز هذه العقاقير بتأثيرها الهائل على إدراك الفرد ووعيه وشخصيته وسلوكه.وقد تسبب بعض العقاقير الإدمان والاعتياد عليها.

وعادةً ما تتميز العقاقير عن المواد الكيمائية الحيوية داخلية المنشأ بأنها تأتي من خارج جسم الكائن الحي. على سبيل المثال، يعدّ الأنسولين بمثابة الهرمون الذي ينتجه الجسم، ويسمى بالهرمون لأنه يتم إفرازه عن طريق خلايا البنكرياس داخل الجسم، ولكن إذا تلقاه الجسم من الخارج فإنه يسمى بالدواء أو العقار.

وهناك العديد من المواد الطبيعية، مثل مشروبات البيرة والخمور وبعض أنواع المشروم، التي يمكن تصنيفها كغذاء وعلاج في الوقت نفسه، وعند تناولها تؤثر على أداء كل من العقل والجسد لوظائفهما الحيوية.

الدواء

الدواء أو العلاج هو أي عقار يُستعمل في معالجة أي عرض من أعراض مرض ما و/أو تحسين الحالة العلاجية للمريض أو يمكن استخدامه كدواء وقائي يستفيد منه الجسم فيما بعد ولكنه لا يعالج مرض أو عرض حالي أو مرض عاني منه الفرد من قبل.
إن عملية صرف الدواء غالبًا ما تتم مراقبتها من قِبل الحكومات (الحكومة) التي تقوم بتصنيف الأدوية بشكل عام إلى ثلاث فئات هي: أولاً، أدوية متاحة بدون وصفة وهي أدوية آمنة يمكن تداولها وبيعها في الصيدليات والأسواق دون قيود أو شروط محددة، وثانيًا، أدوية تصرف بيد صيدلي وهي التي يقوم الصيدلي بصرفها دون الحاجة إلى وصفة طبية «روشتة» محررة من الطبيب، وثالثًا، أدوية وصفات فقط أو ما يعرف بأدوية تحت الطاولة وهي التي يحظر صرفها مطلقًا إلا بموجب وصفة طبية صادرة من شخص يشتغل بمهنة الطب ومصرح له بمزاولتها، وعادة ما يكون الطبيب.

في المملكة المتحدة، تُعَرّف أدوية خلف الطاولة بأدوية الصيدلية التي يقتصر بيعها وتداولها على الصيدليات المسجلة فحسب، سواء كان ذلك من خلال الصيدلي أو تحت إشرافه، ويُسجل على هذه الأدوية الحرف P كتصنيف لها. تختلف الأدوية المُتاحة من دون وصفة من بلدٍ إلى آخر. تنتج شركات الأدوية العديد من الأدوية التي غالبًا ما تكون مسجلة ببراءة اختراع، وطبقًا لحقوق هذه البراءة فإنه يقتصر إنتاج هذه الأدوية على أصحاب هذه البراءة. أما الأدوية غير المسجلة ببراءة اختراع (أو التي انتهت مدة براءة الاختراع الخاصة بها وبذلك يُسمح بتصنيعها وإنتاجها في أماكن أخرى) فتسمى بالأدوية البديلة لأن شركات الأدوية الأخرى قد تصنعها دون أي قيود أو دون الحصول على ترخيص من صاحب براءة الاختراع.

يمكن إعطاء العقاقير الدوائية أو الترويحية بطرق عديدة منها ما يلي:
 عن طريق الفم، سواء كانت سائلة أو صلبة، ويتم امتصاصها من خلال المعدة.
 عن طريق استنشاقها كبخار (من خلال الرئتين).
 عن طريق الحقن كسائل في العضل أو الوريد أو البريتون أو المفاصل.
 عن طريق فتحة الشرج مثل اللبوس أو «التحاميل الشرجية» التي يتم امتصاصها عن طريق القولون.
 عن طريق المهبل مثل اللبوس الذي يتم وضعه عن طريق المهبل والذي يعالج في الأساس الأمراض التناسلية للمرأة.
 في شكل أقراص دواء يتم بلعها وتترك حتى تذوب وتنحل ببطء في المعدة.
 عن طريق الأنف أو باستخدام بخاخة الأنف.
يمكن إعطاء العديد من الأدوية بطرق عديدة.

العقاقير الترويحية

إن العقاقير الترويحية عبارة عن أدوية لها تأثير نفسي وذهني يتم تناولها على سبيل التجربة للشعور بالمتعة أو الحصول على الأثر السار الذي يُحْدثه تعاطيها أو لتعزيز حالة مزاجية جيدة. هذا وتمنع القوانين الدولية استخدام العديد من العقاقير الترويحية المختلفة، ولكن إذا استُخدمت من الناحية العلاجية لتغيير الحالة النفسية والمزاجية للمريض، فإنه يتم فرض الرقابة عليها بشكل صارم. على الجانب الآخر، هناك العديد من المواد الترويحية الأخرى المسموح قانونًا بتداولها ويتم تعاطيها على نطاق واسع في الكثير من الدول. وعلى أقصى تقدير، يتم فرض قيود على استخدامها و/أو على شرائها في سن معينة فقط مثل الكحوليات والتبغ وبذرة الفوفل أو «التنبول» ومنتجات الكافيين.

استخدام العقاقير في العلاج الروحي والديني

لقد تم استخدام العقاقير أيضًا في العلاج الروحي والديني منذ فجر التاريخ. وبالنسبة للعقاقير التي تتميز بأن لها تأثيرًا على الجانب الروحي أو الديني للفرد فتسمى بالعقاقير الروحية. هذا وتعتمد بعض الديانات اعتمادًا كليًا على استخدام عقاقير معينة. وتعد الأدوية الروحية في معظم الأحوال من العقاقير المسببة للهلوسة، سواء كانت أدوية ذهانية أو أدوية مضادات الفعل الكوليني، ولكن البعض منها يعدّ من المنبهات أو «المنشطات» والبعض الآخر يعدّ من المسكنات.

استخدام العقاقير (من النباتات الطبيه) لعلاج الإدمان

مؤخرا ثبت ان العديد من النباتات الطبيه مثل الايبوجا الذي يحتوى على الايبوجايين (الايبوجين) وخليط من منقوع بعض النباتات في المكسيك يسمى الاياهوسكا ان يكون لها دور في علاج الإدمان ويتطلب المزيد من الدراسات والابحاث لتحقيق الاستخدام الأمن والفعال لهذه المواد حيث أن بعضها يصنف كمواد مهلوسه.

العقاقير الذكية

تعمل عقاقير Nootropics، المعروفة باسم العقاقير الذكية، على تحسين القدرات الإدراكية للإنسان.
ويُستخدم هذا النوع من العقاقير أيضًا في تحسين الذاكرة والتركيز والتفكير والحالة المزاجية والقدرة على التعلم إلى جانب العديد من الجوانب الأخرى.
وهناك أنواع من العقاقير الذكية تم البدء في استخدامها الآن لعلاج أمراض معينة، مثل اضطراب النشاط الحركي الزائد وقصور الانتباه ومرض باركنسون (أو ما يطلق عليه اسم «الشلل الرعاشي») ومرض الزهايمر.
كما أنها تُستخدم عادة لمساعدة المخ على استعادة وظائفه التي فقدها الفرد بسبب تقدمه في العمر.

اضرار العقاقير الذكية

الإكثار من استخدام «العقاقير الذكية» لتقوية الذكاء وإنقاص الوزن وتحسين المزاج وزيادة اللياقة البدينة استحث الخبراء للتحذير من أن هذه العقاقير غالبا ما تحتوي على مواد محظورة ضارة يمكن أن يكون لها مضاعفات جانبية خطيرة.

ويحذر الأطباء من أن عامل الضغط في حب المرء أن يكون شابا وجميلا ونحيفا ونشيطا يدفع جيلا كاملا دفعا إلى شراء عقاقير محظورة عبر الإنترنت معتقدا أنها ليست جيدة بما فيه الكفاية فيبحث عن المزيد.

لكن هذه المنتجات، كما يقول تقرير لخبراء بريطانيين، غالبا ما تحتوي على مواد محظورة وضارة أو تحتوي على عقاقير تجريبية ومغشوشة يمكن أن تسبب فرط الحساسية وتليف الكبد وتسمما زئبقيا وتلف المخ بل وحتى الوفاة.

والعقاقير مثل «ريتالين» الخاصة بما يعرف بقصور الانتباه وفرط الحركة تُشترى لتحسين التركيز بين الطلبة. والأشخاص الذين يستخدمون الأسرة الشمسية بدؤوا يجربون ما يُعرف بـ«ميلانوتان2»، وهو عقار محظور لسُمرة الجلد كان قيد التحقيق كدواء لكنه نٌبذ بسبب المضاعفات الجانبية.

وهناك بعض المنتجات تُسوق على أنها «عشبية» أو «طبيعية» لكن وُجد في الواقع أنها تحتوي على أدوية مرخصة، مثل المقويات الجنسية التي تحتوي على الفياغرا.

التعريف القانوني لمصطلح العقار

تقوم بعض الحكومات بوضع تعرف لمصطلح العقار من الناحية القانونية. على سبيل المثال، في الولايات المتحدة الأمريكية، يشتمل تعريف العقار الوارد في القانون الفيدرالي للغذاء والدواء ومواد التجميل على «المواد المقرر استخدامها في تشخيص أي مرض يصيب الإنسان أو الحيوان أو علاجه أو التخفيف من وطأته أو مداواته أو الوقاية منه» و«المواد التي لها تأثير على بنية جسم الإنسان أو الحيوان أو على أية وظيفة من وظائفه الحيوية (بخلاف الطعام).»  ووفقًا للتعريف الوارد في
، تُعَرِّف الولايات المتحدة الأمريكية بشكل منفصل كلاً من العقاقير المخدرة والعقاقير المُقَيّدة التي قد تشتمل على مواد غير الأدوية، وتستثني من ذلك منتجات التبغ والكافيين والمشروبات الكحولية.

الرقابة الحكومية على الدواء

في كندا، تحركت الحكومة للحد من تأثير شركات الأدوية على النظام الدوائي. فالتأثير الذي تحققه شركات الأدوية، التي تهدف إلى تحقيق الربح فحسب، في كل جانب من جوانب صناعة الدواء أصبح ملموسًا وطاغيًا إلى حد كبير، وهذا ما ورد في صحيفة الجمعية الطبية الأمريكية على لسان محررتها الدكتورة/ كاثرين دي أنجلوس.

دراسة أصل كلمة «العقار» وتاريخها

يعتقد البعض أن كلمة «العقار» اشتُقت من كلمة فرنسية قديمة هي "drogue"، وقد اشتُقت منها فيما بعد كلمة "droge-vate" التي ترجع إلى اللغة الألمانية وتعني «براميل حفظ النباتات الطبية عن طريق التجفيف».

انظر أيضًا

 بارون المخدرات
 غفل
 إعادة التأهيل من المخدرات
 دواء بيطري

مراجع

وصلات خارجية

 rid of drugs Drug Addiction Treatment : موقع ويب يشتمل على المراجع المفيدة ومزود بالعديد من التفاصيل والمعلومات التي تتعلق بالعقاقير وكيفية معالجة إدمان المخدرات. في حملة تحت شعار «قل لا للمخدرات» 4 مايو 2007.
 "The Cult of Pharmacology: How America Became the World's Most Troubled Drug Culture" : كتاب للمؤلف «ريتشارد دي جراندبر» في عام 2006 عن قسم الطباعة والنشر بجامعة ديوك.
 موقع الويب الألماني 'don't drug + drive' : يقدم معلومات حول تأثير تعاطي العقاقير الترويحية عند قيادة السيارات.

أدوية
ثقافة المخدرات
وفيات بسبب المخدرات

عقار (مادة كيميائية)


Țara celor cinci lacuri, în germană Fünfseenland, scris câteodată și Fünf-Seen-Land) ori denumită de asemenea Fünf-Seen-Platte este o regiune cu lacuri glaciare  de apă dulce (între ele cinci mari) în Bavaria superioară (Germania), situată în mediu 30 km la sud-vest de München.

Geografie

Cele 5 lacuri principale, datorită cărora regiunea a fost denumită, sunt:
 Ammersee
 Pilsensee
 Starnberger See
 Wörthsee
 Weßlinger See
Printre lacurile mici sunt cunoscute în special cele numite Osterseen care sunt compuse din 20 de ape mai mari și 15 foarte mici. Numele nu provine de la cuvântul Ostern (Paște), ci cel din limba germană antică ōstan, ce înseamnă "estic" sau "aflându-se în est". De asemenea este cunoscut Lacul Maising (Maisinger See).

Țara celor cinci Lacuri se află (cel puțin parțial) în: Districtul Bad Tölz-Wolfratshausen, Districtul Garmisch-Partenkirchen, Districtul München, Districtul Starnberg și  Districtul Weilheim-Schongau.

Aceste lacuri sunt situate în cavouri glaciale, create de ghețarii din epoca de glaciație din Alpi. În prezent, păduri de conifere și foioase se alternează cu pășuni și terenuri arabile în regiunea morenelor între lacuri. Cu pârtiile sale uneori abrupte și diferențele de altitudine față de lacuri precum zona înconjurătoare de mai mult de 100 m până la 200 m și mai mult (lanțul muntos de până la 833 m Berndorfer Buchet, Muntele mănăstirii Andechs), precum și câteva tăieturi adânci, uneori stâncoase (Pähler Schlucht (defileul de la Pähl), Kiental, valea pârâului Kien pe lângă Herrsching am Ammersee sau valea Maisinger Schlucht). Acest relief contribuie parțial la efectul unui peisaj montan.

Zona se poată ajunge ușor peste autostrăzile A95, A952 sau A96, cu trenuri DB venind din districtele învecinate sau din Augsburg precum cu trenuri urbane rapide (S-Bahn) din direcția München.

Activități recreative și cultură
 Pe lângă celor multe atracții turistice, zona este considerată o destinație de vacanță foarte populară, dar este, de asemenea, piață de desfacere pentru reuniuni și seminarii.
 Multe concerte și expoziții în comunele apartenente, distribuite de-a lungul anului
 Începând cu anul 2007, festivalul de film Fünf-Seen-Filmfestival are loc anual, în iulie și august, evenimentele fiind împărțite pe șase locații din țara celor cinci lacuri.

Galerie de imagini

Note

Bibliografie
 Franz X. Bogner: "Fünfseenland aus der Luft", Editura Bayerland-Verlag, Dachau 2011, ISBN 978-3-89251-425-1
 Thomas Schröder: "Oberbayerische Seen", Editura Michael Müller Verlag, Erlangen 2009, ISBN 978-3-89953-473-3

Legături externe
 Hartă detailată a regiunii
 Țara celor cinci lacuri pe Wikivoyage (în limba germană)

Europa de Vest
Regiunile Bavariei

Fünfseenland


Športski kuglački klub "Jedinstvo" (ŠKK "Jedinstvo"; Š.K.K. Jedinstvo; Jedinstvo Sisak; Jedinstvo) je ženski kuglački klub iz Siska, Sisačko-moslavačka županija, Republika Hrvatska.
U sezoni 2020./21. klub je član "2. hrvatske kuglačke lige za žene - Sjever".  U sezoni 2021./22. su po prvi puta u svojoj povijesti osvojili 2. hrvatsku kuglačku ligu za žene - Sjever, pobjedivši ŽKK Varaždin tri kola prije kraja.

O klubu
Klub je osnovan 20. ožujka 1956. godine kao Kuglački klub "Kotar" (kasnije "Kuglačko društvo "Kotar"). 13. travnja 1959. godine dolazi do promjene imena u Kuglačko društvo "Brezovica", koje tako djeluje do 1965. godine, kada ulazi u sastav Sportskog društva boćarskih udruženja "Jedinstvo". 1976. godine se kuglački klub osamostavljava i nastavlja djelovati kao kuglački klub "Jedinstvo", s muškom i ženskom sekcijom. "Jedinstvo" je redovito nastupalo u natjecanjima koje je organizirao "Kuglački podsavez Sisak" (kasnije "Općinski kuglački savez Sisak").
Osamostaljenjem Republike Hrvatske, 1991. godine, ženska ekipa "Jedinstva" je drugoligaš, ligaški nastupavši u odgovarajućim skupinama "1. B lige", te "2. hrvatske lige".

Uspjesi

Ekipno

nakon 1991.
 2. HKL - Sjever
 drugoplasirane: 2018./19.
 prvoplasirane: 2021./22.

do 1991.
 Prvenstvo Općinskog kuglačkog saveza Sisak
 drugoplasirane: 1983.

Pojedinačno (po disciplinama)

Pregled plasmana po sezonama

Poznate igračice

Unutarnje poveznice
 Športski kuglački klub Jedinstvo Sisak (muškarci)

Vanjske poveznice
 kuglanje.hr, Jedinstvo
 kuglanje.hr, Športski kuglački klub Jedinstvo - 810050
 kssmz.hr, KK "Jedinstvo", Sisak
 sportilus.com, ŠPORTSKI KUGLAČKI KLUB JEDINSTVO SISAK
 findglocal.com, Kuglački savez Sisačko-moslavačke županije

Izvori

 Miroslav Matovina: Leksikon sporta općine Sisak : 1845-1983. : organizacije - ljudi - događaji, Sisak, 1985., UDK: 796(497.13-2 Sisak)"1845/1983"(031.021.3), str. 142
 sisak.info, Turnir povodom 60 godina kuglačkog kluba Jedinstvo, objavljeno 16. prosinca 2016., pristupljeno 2. prosinca 2020.
 sportovi12.rssing.com, Turnir povodom 60 godina kuglačkog kluba Jedinstvo, objavljeno 16. prosinca 2016., pristupljeno 2. prosinca 2020.
 sisak-sk.blogspot.com, SPORT U SISKU, objavljeno 8. listopada 2007., pristupljeno 2. prosinca 2020.
 poslovna.hr, Š.K.K. JEDINSTVO SISAK
 fininfo.hr, Š.K.K."JEDINSTVO"SISAK
 bisnode.hr, ŠPORTSKI KUGLAČKI KLUB " JEDINSTVO " SISAK

Hrvatski ženski kuglački klubovi
Šport u Sisku
Jedinstvo

Športski kuglački klub Jedinstvo Sisak (žene)


El Liceo Carmela Carvajal de Prat es un establecimiento educativo chileno, ubicado en el Barrio Italia en el sector oriente de Santiago de Chile. Fundado en 1961, es un colegio público municipal administrado por la Ilustre Municipalidad de Providencia.

Es un liceo de mujeres, que imparte la modalidad de educación general básica N.B.6 (7° y 8° años) y de educación media científico-humanista (1º a 4º años).

Es reconocido a nivel académico por los altos puntajes obtenidos en el Sistema de Medición de la Calidad de la Educación (SIMCE) y la Prueba de Selección Universitaria (PSU), estando dentro de los colegios mejor evaluados de Chile y entre los primeros lugares a nivel municipal. Cuenta con 12 cursos en educación básica y 32 cursos de educación media, totalizando un número cercano a las 1.800 alumnas.

Este colegio es considerado como uno de los «liceos tradicionales» de la capital chilena, tanto por su calidad como por su composición social transversal. Muchas de sus alumnas provienen de diversas comunas de la ciudad y no únicamente de Providencia. También ha jugado roles importantes a nivel político, participando fuertemente en diversas movilizaciones estudiantiles, como las de 2006 y de 2011.

Historia
El Liceo Carmela Carvajal de Prat fue creado el 5 de abril de 1961 bajo el nombre de Liceo de Niñas N° 13 de Providencia, con una matrícula de alrededor de 200 alumnas distribuidas en seis cursos de Humanidades. 18 años después, en 1979, el liceo se fusionó con la Escuela Media para Adultos Nº 2, convirtiéndose en el Liceo A-44 de Niñas.

El 20 de octubre de 1981, el liceo se traspasó a la Municipalidad de Providencia recibiendo el nombre de Liceo Carmela Carvajal de Prat, según el Decreto Nº 7311.

Según la Reforma Educacional del gobierno de Patricio Aylwin, el Liceo se vio obligado a pasar desde la doble jornada a la Jornada Escolar Completa, proceso que se llevó a cabo entre 1995 y 2005, condición que mantiene hasta hoy.

Referencias

Enlaces externos
 Página oficial del Liceo
 Ilustre Municipalidad de Providencia
 Centro de Padres y Apoderados del Colegio Carmela Carvajal

Escuelas de Santiago de Chile
Carmela Carvajal
Providencia (Chile)
Barrio Italia

Liceo Carmela Carvajal de Prat


Dieter Schué (* 16. Juli 1940 in Tilsit) ist ein deutscher Schriftsteller.

Leben
Schué verbrachte seine Kindheit in Aachen. Nach dem Abitur absolvierte er ein Germanistik-Studium in Fribourg, Hamburg und Freiburg, anschließend ein Volontariat bei einer Zeitung in Essen. Die folgenden Jahre arbeitete Schué zunächst als Internatserzieher in Carlsburg, Scheeßel, Marienau und auf der Ostfriesischen Insel Langeoog. Seit 1987 ist er als freischaffender Autor und Kolumnist tätig.

Er verfasst Reise-Essays, Erzählungen und Satiren. Einem breiten Leserkreis wurde er vor allem durch seine Jugendbücher aus dem Rowohlt-Verlag bekannt, in die er seine Erfahrungen als Erzieher einfließen ließ.

Werke (Auswahl)
1984: Verdammtes Herzklopfen, Reinbek: Rowohlt.
1985: Wie ich garantiert mein Taschengeld verdoppele, Hamburg: Kabel.
1986: Der Kinderprinz, Reinbek: Rowohlt.

Literatur
Literatur in Niedersachsen. Ein Handbuch, Literaturrat Niedersachsen e. V. (Hrsg.), Wallstein Verlag 2000, S. 65.

Autor
Kinder- und Jugendliteratur
Deutscher
Geboren 1940
Mann

Dieter Schué


بلدية بينيدا دي مار (بالكاتالانية: Pineda de Mar) هي إحدى بلديات مقاطعة برشلونة، والتي تقع في منطقة كاتالونيا، شرق إسبانيا.

يبلغ عدد سكانها 25.568 نسمة وفقاً لإحصائية سنة (2007).

أعلام

 فرانسيسكو بوسكتو

معرض صور

مراجع

بلديات في ماريسمى
بلديات في مقاطعة برشلونة
مدن ساحلية في إسبانيا

باينيدا دي مار (برشلونة)


Karagöz istavrit (Trachurus trachurus), Trachuridae familyasından bir istavrit türü.

Vücut yandan hafifçe yassı ve uzuncadır. Yan çizgi kuyruktan vücudun yarısına kadar düz olup, sonra yukarıya doğru eğik olarak devam eder. Renk sırtta grimsi açık kahverengi, yanlarda mavimsi gümüşi, karında ise beyazdır. Yan çizgi boyunca 69-79 arasında değişen kemiksi pul bulunur.

Yan çizginin üst kolunun daha uzun olması ile sarıkuyruk istavritten ayrılır. Yanal çizginin üzerinde bulunan ikinci bir çizgi kuyruğa doğru yanal çizginin üzerinden uzanır.

Carangidae
Carl Linnaeus tarafından adlandırılmış taksonlar
Marmara Denizi faunası

Karagöz istavrit


Federico de Castaños Martínez (Bilbao, Vizcaya, País Vasco, 12 de enero de 1959), conocido deportivamente como Fede Castaños, es un ex futbolista y entrenador español.

Trayectoria como entrenador

Fue entrenador del Burgos CF y del CD Mirandés durante varias temporadas, hasta que entró en el cuerpo técnico del Racing de Santander.

El 15 de abril de 2012 dirigió su primer partido en Primera División, sustituyendo interinamente a Álvaro Cervera en el banquillo del Racing frente al Villarreal Club de Fútbol.

En 2013 ocupa el puesto de segundo entrenador en el Real Racing Club de Santander, acompañado por Pablo Pinillos como técnico auxiliar.

En abril de 2014 firma con entrenador de la Arandina CF, que aspira al ascenso a la División de Bronce.

En junio de 2014 Firma como entrenador del Burgos CF que aspira a mantenerse en la categoría de Bronce. Fue cesado en enero de 2015

Referencias

Enlaces externos

 Ficha de Fede Castaños como entrenador en BDFutbol

Personas de Burgos
Futbolistas de Vizcaya
Futbolistas de la provincia de Burgos
Entrenadores de fútbol de Castilla y León
Entrenadores de fútbol del País Vasco
Futbolistas del Real Burgos Club de Fútbol
Futbolistas del Burgos Club de Fútbol (1936)
Futbolistas del Club de Fútbol Lorca Deportiva
Futbolistas del Club Deportivo Numancia
Futbolistas del Real Racing Club de Santander en los años 1980
Entrenadores del Burgos Club de Fútbol
Entrenadores del Club Deportivo Mirandés
Entrenadores del Real Racing Club de Santander
Nacidos en Bilbao

Fede Castaños


Die Liste der denkmalgeschützten Objekte im Okres Bratislava III enthält die 58 nach slowakischen Denkmalschutzvorschriften geschützten Objekte im Stadtbezirk Okres Bratislava III, der die Stadtteile Nové Mesto, Rača und Vajnory umfasst.

Denkmäler

Legende

Einzelnachweise

Weblinks

Bratislava III
!Denkmalgeschutzte Objekte


ويستلاند لينكس  هي مروحية بريطانية تم تصميمها وصناعتها من قبل ويستلاند هليكوبتر والتي أصبحت أغستاوستلاند. تستخدم المروحية للنقل أو الهجوم منها الأرضي أو البحري. تم تطوير المروحية من أجل تلبية احتياجات الجيش البريطاني وأيضا البحرية الملكية البريطانية في مهام مضادة للسفن والغواصات. تستطيع اللينكس حمل معدات وأسلحة متخصصة حسب متطلبات الدولة المستخدمة والمهام المطلوبة.

المتغيرات

نسخ التصدير

Lynx Mk.21

Lynx Mk.22
نسخة تصدير غير مبنية القوات البحرية المصرية.
Lynx Mk.23

Lynx Mk.24
نسخة تصدير غير مبنية للجيش العراقي.
Lynx Mk.25
البحرية الملكية الهولندية.
Lynx Mk.26
نسخة تصدير غير مبنية للجيش العراقي.
Lynx Mk.27
Lynx Mk.28
قطر.
Lynx Mk.64
سلاح جو جنوب أفريقيا.
Lynx Mk.80

Lynx Mk.81
SH-14D
Lynx Mk.82
نسخة تصدير غير مبنية للجيش المصري.
Lynx Mk.83
نسخة تصدير غير مبنية للجيش السعودي.
Lynx Mk 84
نسخة تصدير غير مبنية للجيش القطري.
Lynx Mk 85
نسخة تصدير غير مبنية للجيش الإماراتي.
Lynx Mk.86
سلاح الجو الملكي النرويجي.
Lynx Mk.87
Lynx Mk.88
سوبر لينكس Mk.88A
Lynx Mk.89
Lynx Mk.90
Lynx Mk.95
القوات البحرية البرتغالية.
سوبر لينكس Mk.99
بحرية جمهورية كوريا.
سوبر لينكس Mk.100
البحرية الملكية الماليزية. Six built.
سوبر لينكس Mk.110
سوبر لينكس 300 البحرية التايلاندية. أربعة أوامر شراء.
سوبر لينكس Mk.120
نسخة التصدير لسلاح الجو السلطاني العماني. 16 أربعة أمر شراء.
سوبر لينكس Mk.130
نسخة التصدير للقوات البحرية الجزائرية. أربعة أوامر شراء.

مصادر

وصلات خارجية
 السوبر لينكس 300 على موقع أغستاوستلاند
 ويستلاند لينكس على موقع ميلتري فاكتوري

طائرات مضادة للغواصات بريطانية 1970–1979
طائرات منافع عسكرية بريطانية 1970–1979
طائرات هجومية بريطانية 1970–1979
طائرات وستلاند
مروحيات بحث وإنقاذ
مروحيات ثنائية التوربينات
مروحيات عسكرية

ويستلاند لينكس


كيبا إينوزوكا  هو أحد شخصيات سلسلة المانغا والأنمي ناروتو، كيبا قوي وذكي ويتصل بكلبه بطريقة غريبة. عادة ما ينادو كيبا بـ:كيبي. لأنه يضع كلبا فوق رأسه وهو يحب الكلاب جدا وطعامه المفضل هو الرامن، ولكنه لا يعترف بهذا وهو يكره ناروتو كثيرا ويحب تاماكي.

حياته
عاش كيبا في بلدة كونوها، تربى على يد والدته (ناتسومي) وشقيقته الكبرى (هانا)، دخل الاكاديمية وكان جيدا في صفه وبعد تخرجه من الاكاديمية انضم إلى الفريق الثامن والمكون من كلاً من هيناتا هيوغا وشينو ومدربتهم كوريناي يوهي إضافة إلى صديقه المقرب كلبه اكامارو والذي يعد سلاحة في المعارك.

اختبار تشونين
في اختبار تشونين كان خصما لناروتو أوزوماكي ولقد كان قويا جدا في أول ظهور له، إلا انه خسر امام ناروتو وهذا ماجعله اقوى واقوى ولقد عهد بنفسه انه سيصبح اقوى ويهزم ناروتو فيما بعد، وبعد اختبار تشونين هرب ساسكي أوتشيها من القرية وكان في ذلك الوقت الهوكاجي الخامس هي تسونادي التي تعد أحد السانين الاسطورين

أوكلت تسونادي مهمة لشيكامارو نارا وطلبت منه ان تضم معك الجينين المميزين فقط وكان من ضمنهم كيبا وهو الخاص بالاستشعار بمساعدة نيجي هيوغا أيضا، وكان خصمهم في ذلك الوقت هم حراس اوروتشيمارو الاربعة (ساكون - تايويا - كيدومارو - جيروبو) وقد تقاتل كيبا ضد ساكون وقام بهزيمته لكن اتضح انها ليست النهاية وقام ساكون بالهجوم على كيبا ولكن حلفاء كونوها من ارض الرمل قامو بالإنقاذ وكان منقذ كيبا هو كانكورو وبعد ان فشلت المهمة في إعادة ساسكي، قررو التدرب ليصبحو اقوى وفعلا تدرب لمدة سنتين ونصف مع هيناتا وشينو وكانو اقوياء جدا.

عشيرته
ظهرت قوة عشيرة اينوزوكا عند دخول باين إلى اراضي كونوها وايضا في الحرب كان لكيبا دورا كبيرا في معرفة جواسيس زيتسو بفضل حاسته القوية.

مهامه وانجازاته

اشترك كيبا خلال احداث السلسلة في عدة مهمات منها استعادة ساسكي ومطاردة إيتاتشي واشترك أيضًا في حرب النينجا العظمى الرابعة تحت لواء الفرقة الخامسة «فرقة القتال الخاصة». تتميز شخصية كيبا بالثقة والتشوق إلى القتال حيث ينافس ناروتو على إتقان التقنيات وأيضًا القوة.

أهم أعماله
ايقاف ساكون من اعتراض طريق فريقه
التصدي لإستدعائات باين
ساعد في كشف نسخ زيتسو الطفيلية

تقنياته

يستعمل كيبا في قتاله اسلوب النينجا وهو (نينبو) وايضا يمكنه تحويل كلبه اكامارو إلى نسخة طبق الأصل منه. ومن طرق استخدامه لأكامارو كلاً من
جاتسوجا - رأس المخلب
سانتوريو جاتسوجا - رؤوس المخلب الثلاثة

وايضا يمكنه التحكم في حجم اكامارو عند الهجوم فأحيانا يكون ضخما وهذا بسبب تدفق التشاكرا في جسده وبسبب العقار الذي يتناوله اكامارو أيضا.

مصادر

شخصيات خيالية ظهرت في 2000

شخصيات ناروتو

كيبا إينوزوكا


Nelson Díaz Marmolejo (født 12. januar 1942, død 4. december 2018) var en uruguayansk tidligere fodboldspiller (forsvarer).

Díaz spillede i perioden 1964-1966 otte kampe for det uruguayanske landshold. Han var en del af landets trup til VM 1966 i England, omend han ikke kom på banen i nogen af landets kampe i turneringen.

På klubplan spillede Díaz blandt andet for Montevideo-storklubben Peñarol, ligesom han havde et udlandsophold i Colombia hos både Atlético Junior og Millonarios.

Referencer

Eksterne henvisninger

Fodboldspillere fra Uruguay

Nelson Díaz


Control is the third studio album by American singer Janet Jackson, released on February 4, 1986, by A&M Records. Her collaborations with the songwriters and record producers Jimmy Jam and Terry Lewis resulted in an unconventional sound: a fusion of rhythm and blues, rap vocals, funk, disco, and synthesized percussion that established Jackson, Jam and Lewis as the leading innovators of contemporary R&B. The distinctive triplet swing beat utilized on the record is also considered to be a precursor to the new jack swing genre. The album became Jackson's commercial breakthrough and enabled her to transition into the popular music market, with Control becoming one of the foremost albums of the 1980s and contemporary music.

Containing autobiographical themes, a majority of the album's lyrics came as the result of a series of changes in her life: a recent annulment of her marriage to singer James DeBarge, severing her business affairs from her father and manager Joseph and the rest of the Jackson family, hiring the A&M executive John McClain as her new management, and her subsequent introduction to Jam and Lewis. The album has been praised by critics as both an artistic feat and as a personal testament of self-actualization. It has also been regarded as a template upon which numerous female artists have modeled their careers, particularly Black women.

Following its release, Control became Jackson's first album to top the Billboard 200 albums chart in the United States and five of its commercial singles—"What Have You Done for Me Lately", "Nasty", "Control", "When I Think of You", and "Let's Wait Awhile"—peaked within the top five of the Billboard Hot 100 singles chart, making Jackson the first female artist to have five top five hits from one album on the Billboard Hot 100 chart; "When I Think of You" became the singer's first number one hit. Control also set a record for the longest continuous run of charting singles on the Hot 100, at 65 consecutive weeks. Music videos created to promote the album's singles showcased her dancing ability and became a catalyst for MTV's evolving demographics. The album remained on the Billboard 200 chart for over two years. It has been certified five times platinum by the Recording Industry Association of America (RIAA) and has sold more than 10 million copies worldwide.

Control went on to receive several accolades, including a nomination for the Grammy Award for Album of the Year and winning Producer of the Year, Non-Classical for Jam and Lewis in 1987. It is listed by the National Association of Recording Merchandisers and the Rock and Roll Hall of Fame as one of the 200 Definitive Albums of All Time, in addition to being included in several publications "best of" album lists. In 2016, it was selected for exhibition in the National Museum of African American History and Culture (NMAAHC).

Background
Joseph Jackson, patriarch of the Jackson family of musicians, was known for managing the careers of all nine of his children – most notably, the successful career of The Jackson 5. After arranging a recording contract with A&M in 1982 for a then 16-year-old Janet, he oversaw the entire production of her debut album, Janet Jackson, and its follow-up, Dream Street (1984); the latter of which was written and produced by her brothers Marlon and Michael, and Jesse Johnson. Best known as a television actress, she was initially reluctant to begin a recording career. She said, "I was coming off of a TV show that I absolutely hated doing, Fame. I didn't want to do [the first record, Janet Jackson]. I wanted to go to college. But I did it for my father ..." and elaborated that she was often in conflict with her producers. Amidst her professional struggles, she rebelled against her family's wishes by marrying James DeBarge of the family recording group DeBarge in 1984. The Jacksons disapproved of the relationship, citing DeBarge's immaturity and substance abuse. Jackson left her husband in January 1985 and was granted an annulment later that year.

Jackson subsequently fired her father as her manager and employed John McClain, then A&M Records' senior vice president of artists and repertoire and general manager. Commenting on the decision, she stated, "I just wanted to get out of the house, get out from under my father, which was one of the most difficult things that I had to do, telling him that I didn't want to work with him again." Joseph Jackson resented John McClain for what he saw as an underhanded attempt to steal his daughter's career out from under him, stating, "I've worked hard for my family. The problem comes, though, when others come in behind you and try to steal them away. The wheels have already been set for Janet Jackson. Anyone who jumps on now will be getting a free ride." McClain responded by saying "I'm not trying to pimp Janet Jackson or steal her away from her father." He subsequently introduced her to the songwriting/production duo of James "Jimmy Jam" Harris III and Terry Lewis, former Prince associates and ex-members of The Time.

Composition and production
When Jam and Lewis agreed to produce Jackson's third studio album, they wanted to appeal primarily to the African American community, in addition to achieving crossover success on the pop music charts. Jam commented in an interview with Rolling Stone magazine, "We wanted to do an album that would be in every black home in America ... we were going for the black album of all time." Before their association with Jackson, Jam and Lewis had originally planned to record an album with tracks they wrote for Sharon Bryant, but she found their lyrics and sound to be too "rambunctious". The duo presented the same set of recordings to Jackson, who gave her input and took co-writing and co-production credits for the album's content. Jam and Lewis recalled that to collaborate with Jackson on the material, they spent the first week simply getting to know their new client. Lewis explained, "We got into her head. We saw what she was capable of, what she wanted to say, where she wanted to be, what she wanted to be. We put together some songs to fit her as we saw her, as she revealed herself to us. It was as simple as that."

For the song "What Have You Done for Me Lately", which was originally penned for one of Jam and Lewis's own records, the lyrics were rewritten to convey Jackson's feelings about her recent annulment from James DeBarge. The song was chosen as the lead single for Control, as Jam and Lewis felt it best represented Jackson's outlook on life. "Nasty", which in Jackson's opinion was the most innovative song on the album, was inspired by her experience with street harassment in Minneapolis by a group of men outside the hotel she resided at during the recording of Control. She recalled, "They were emotionally abusive. Sexually threatening. Instead of running to Jimmy or Terry for protection, I took a stand. I backed them down. That's how songs like 'Nasty' and 'What Have You Done for Me Lately' were born, out of a sense of self-defense." Jimmy Jam wrote and played the keyboard arrangement, with Jackson playing the accompaniment. Background vocals were sung by Jackson, Jam and Lewis. The distinctive triplet swing beat of the song was developed by Jam on an Ensoniq Mirage keyboard. "Let's Wait Awhile" was centered on safe sex and abstinence, a subject of significant social commentary at the time. Jam commented that it is common practice for songwriters to use current events as a means of inspiration for lyrics and that the AIDS pandemic had raised awareness about sexually transmitted diseases. He commented, "The theme of the song ('Let's Wait Awhile') was Janet's idea. She's not a preachy person. She's not telling people how to live their lives. All she's doing is offering an opinion."

Although Joseph Jackson initially demanded that his daughter's new album be recorded in Los Angeles so that he could keep an eye out for her, Jam and Lewis refused. They required the entire production of the album to be done at their own studio in Minneapolis, Minnesota, "far from the glitter and distractions of Hollywood and the interference of manager-fathers." Jam stated, "We required that they put her in our hands. We had to do it on our turf, with no bodyguards, no star trips and none of Joe Jackson's people hanging around making suggestions." Control was recorded at Flyte Tyme Studios, the site for Flyte Tyme Records, founded by Jimmy Jam and Terry Lewis in Minneapolis. "There's a little radiator I used to sit on when we did the Control album," Jackson recalled in 1993. John McClain served as the executive producer.

Jam and Lewis were the primary instrumentalists for the recording, including percussion, piano, drums, and also provided background vocals. Jackson accompanied Jam and Lewis on keyboard and took part in composing the arrangements. Stephen Holden of The New York Times observed the album was a prominent example of the developing relationship with musicians and modern technology, stating "... technology has altered the form, shape, scale and even the meaning of popular music ... The album wasn't created by a studio band, as were most pop-rock albums in the 1960s and '70s, but by the producers and the singer programming mechanized drum and keyboard textures." Jackson's father disapproved of the new material and image of Control, claiming it would never sell. In a cover story for Spin magazine titled "Damn It, Janet: The Battle for Control of Janet Jackson," Joseph was reported saying "[i]f Janet listens to me, she'll be as big as Michael." She and McClain disregarded his objections. Commenting on the final product, Jackson stated: "It's aggressive, cocky, very forward. It expresses exactly who I am and how I feel. I've taken control of my own life. This time I'm gonna do it my way."

Album cover
Fashion photographer and illustrator Tony Viramontes created the stylized cover for the new album and the singles "Nasty" and "Control". Jackson said of Viramontes, "He was very creative, and I believe one day his work will be iconic. He was such a joy to work with. I miss him." Author Dean Rhys Morgan in Bold, Beautiful and Damned: The World of Fashion Illustrator Tony Viramontes discusses how Jackson was "transformed from a former child star into an assured fashion forward figure with her trendsetting big hair and severe all black ensemble. Until this point, Jackson had been more a reflection than pioneer, more interpreter than innovator. This album was all about Janet and who she wanted to be." Alexander Fury wrote in The Independent, "the artwork created with Eighties illustrator Tony Viramontes for Control stands the test of time."

Release and promotion

Although A&M did not consider a full concert tour to promote Jackson's album, the label funded a three-week promotional tour across the United States in 13 cities following its release. In addition to the studio release, a remix album, Control: The Remixes, was released in select countries in November 1987. Jackson's lyrical expression has been noted as one of the key elements of the album's success. Author Dave Marsh in The Heart of Rock & Soul: The 1001 Greatest Singles Ever Made (1999) comments: "Certainly, Janet must have written her own lyrics, which went after men—in particular, not very well disguised stand-ins for her father and former husband—more venomously than another guy would have dared. Control, the resulting album, was one of the best-sellers of 1986–1987, producing five hit singles."

Jesus Garber, then-director of A&M's black music marketing and promotion, noted that in addition to crossover promotion from black to pop music charts, music video was utilized to launch Jackson into superstardom. Eric Henderson of Slant Magazine credits the release of Control as "the birth of Janet the music video star, as six of the nine tracks were turned into popular videos that all but announced her as queen of the production dance number." Henderson commented that Jackson's dancing ability, trained by a then-unknown Paula Abdul, only served to propel her into further stardom. Charlie Minor, then-senior vice president of promotion for A&M stated: "The images completed the image of Janet Jackson with the buyer ... They gave her a face, dance, action identity with the songs, and a visual image of her as a rock 'n' roll star." Jonathan Cohen of Billboard magazine commented "[Jackson's] accessible sound and spectacularly choreographed videos were irresistible to MTV, and helped the channel evolve from rock programming to a broader, beat-driven musical mix." The video for "Nasty" received three nominations for the fifth annual 1987 MTV Video Music Awards, winning Best Choreography for Paula Abdul.

Commercial performance

Control debuted at number 84 on the Billboard 200 on March 8, 1986, and at number 26 on the Top R&B/Black Albums on March 1, 1986. After twenty weeks, it topped the Billboard 200 and the Top R&B/Black Albums chart, selling 250,000 copies in a single week, a record for an album by a female artist. The Recording Industry Association of America (RIAA) first certified Control gold in April 1986, denoting 500,000 units shipped within the United States. Two months later, in June 1986, the album was RIAA certified platinum, denoting 1 million units shipped. Three years later, Control was RIAA certified fivefold platinum in October 1989. By 1990, Control had sold 5 million copies in the United States and as of December 2009, the album has sold 496,000 copies in the U.S. since 1991 according to Nielsen SoundScan, which does not count albums sold through clubs like the BMG Music, where she sold 883,000. Combined, it has sold over 6,379,000 copies in the U.S. Since its debut, Control has sold over 10 million copies worldwide.

The album's lead single, "What Have You Done for Me Lately", peaked at number four on the Billboard Hot 100 singles chart and at number one on the Hot Black Singles chart. The single was certified gold by the RIAA in November 1990. The song was compared favorably to similar recordings of female empowerment released by black women, such as "New Attitude" by Patti LaBelle, "Better Be Good to Me" by Tina Turner, and "Sisters Are Doin' It for Themselves" by Aretha Franklin. Oprah Winfrey commented: "What you're seeing in all the areas of arts and entertainment is black women internalizing the idea of black power and pride ... Black women started listening to their inner cues, rather than society or even the black community's idea of what they are supposed to be and can be." "Nasty", the album's second single, beat "What Have You Done for Me Lately" by one position, peaking at number three on the Hot 100 and at number one on the Hot Black Singles chart. It was certified gold in November 1990. Critic Jon Bream noted "the songwriters have slyly juxtaposed a nasty-sounding groove and the repetition of the word 'nasty' with a subtle antinasty message."

"When I Think of You" reached number one on the Hot 100, becoming Jackson's first single to top the chart, and was certified gold in November 1990. The album's fourth single and title track, "Control", reached its peak position at number five on the Hot 100 and at number one on the Hot Black Singles chart, later certified gold by the RIAA in November 1990. "Let's Wait Awhile" reached the number two position on the Hot 100 and number one on the Hot Black Singles chart. Clarence Page of the Chicago Tribune commented in a similar vein to "Nasty", the ballad "throw[s] cold water on the passions of young love 'before we go too far'." Unlike its predecessors, "The Pleasure Principle" did not reach within the top five of the Hot 100, instead peaking at number fourteen. It did, however, become Jackson's fifth number one single on the Hot Black Singles chart. Each of the album's singles excluding "Let's Wait Awhile" peaked within the top five of the Billboard Club Play Singles. "Funny How Time Flies (When You're Having Fun)" was not released as a commercial single in the United States. It peaked at number 59 on the UK Singles Chart.

Critical reception

Upon its release, the album received universal acclaim from critics. Rolling Stone's Rob Hoerburger commented that the "sharp-tongued" Janet Jackson is "more concerned with identity than with playlists", as Control declares she is no longer the Jacksons' baby sister. Hoerburger expressed the view that tracks such as "Nasty" and "What Have You Done for Me Lately" erased the former "pop-ingénue image" of Jackson's first two albums, and that "Control is a better album than Diana Ross has made in five years and puts Janet in a position similar to the young Donna Summer's—unwilling to accept novelty status and taking her own steps to rise above it." Steven Ivory of Billboard expressed "[v]ocally, Jackson is more aggressive than ever. Indeed, her exhibition of sass and funkiness is certainly more provocative" in comparison to her previous work. NME wrote: "Jackson has gone a long way in shaking off the experience of being a shadow Jackson child. She is an artist in her own right." Newsweek stated "[i]n an era of big-voiced pop-soul divas ... her current hit album, is taut, funky, hard as nails, an alternative to the sentimental balladry and opulent arrangements of Patti LaBelle and Whitney Houston." In The Village Voice, Robert Christgau "scoffed at Janet's claims of autonomy", but applauded Jam & Lewis's beats as "their deepest ever" while finding Jackson's contribution entertaining enough. Los Angeles Times critic Connie Johnson wrote: "Though still a teen-ager, this singer's stance is remarkably nervy and mature. She has a snotty sort of assurance that permeates several cuts, plus the musical muscle to back it up." Jon Pareles of The New York Times notes Control takes obvious influence from Prince, describing "[t]he album's pacing, its clipped vocal lines—even the spoken introduction that starts things off" as pure Minneapolis sound; he adds "[b]ut where the Prince style is usually connected with heavy-breathing come-ons, Miss Jackson is cheerfully standoffish."

For the 29th Annual Grammy Awards, Control received four nominations: Album of the Year, Best R&B Song for "What Have You Done for Me Lately", Best Female R&B Vocal Performance and Non-Classical Producer of the Year for Jimmy Jam and Terry Lewis. Jam and Lewis won Producer of the Year. The album earned a record-breaking twelve nominations from the American Music Awards, winning four. Jackson also won three Soul Train Music Awards and six Billboard Music Awards.

Later reviews continue to find the album favorable. Eric Henderson of Slant Magazine expressed that the misconception that Control is Jackson's debut album only confirmed the "quintessential statement on personal and artistic self-actualization" that it set out to accomplish. Henderson claimed critics who judged Jackson harshly for her thin voice "somehow missed the explosive 'gimme a beat' vocal pyrotechnics she unleashes all over "Nasty" ... Or that they completely dismissed how perfect her tremulous hesitance fits into the abstinence anthem "Let's Wait Awhile." However, Henderson also commented that the "Jam-Lewis formula wasn't completely infallible" as "You Can Be Mine" and "Funny How Time Flies (When You're Having Fun)", were two of the album's least impressive misfires. While William Ruhlmann of AllMusic commented Jackson "came across as an aggressive, independent woman", he asserts the album's true value is the production talents of Jimmy Jam and Terry Lewis. In The New Rolling Stone Album Guide (2004), Laura Sinagra said that on Control, "Jam and Lewis perfected their melodic, full-blown funk attack", while Jackson "filled each track with a breathy believability" with vocal performances that ranged from yearning to seductive.  In 2020, Rolling Stone ranked Control number 111 on the reboot of its list of 'The 500 Greatest Albums of All Time'.

Accolades

Legacy

Control is widely considered to be the breakthrough in Jackson's career, establishing her independence and dominance in the realm of popular music. In The Sex Revolts: Gender, Rebellion, and Rock'n'roll (1996) author Simon Reynolds wrote that "Janet Jackson became a superstar with the immaculately designed soft-core feminism of Control." Jet magazine commented that although the Jackson family's musical legacy had given her an opportunity to tap into an international audience, Control was the turning point at which "her career took off and she became a bona fide superstar. Control showcased Janet as a person who was firmly and finally in control of her own life." Dennis Hunt of the Los Angeles Times wrote: "Previously, she had recorded two unsophisticated, kiddie soul albums. If you listened carefully to that kid stuff, there was a grown-up singer there somewhere struggling to get out. [Jimmy Jam and Terry Lewis] liberated the real Janet Jackson."

Lyrically, Jackson's album is said to exhibit a "politically driven feminist" message, as stated by Lilly Goren in You've Come A Long Way, Baby: Women, Politics, and Popular Culture (2009). Musically, according to Rickey Vincent, author of Funk: The Music, The People, and The Rhythm of The One (1996), Jam and Lewis's collaboration with her is said to be one of the high points of the 1980s, as they redefined dance music by mixing a youthful sound with industrial-strength beats. As documented by musicologist Richard J. Ripani, author of The New Blue Music: Changes in Rhythm & Blues, 1950–1999 (2006), Control is regarded as one of the most influential albums in the history of rhythm and blues and the first album to bridge the gap between R&B and rap music. Its success in both the mainstream R&B and pop music charts "led to the incorporation of many of the stylistic traits of rap over the next few years, and Janet Jackson was to continue to be one of the leaders in that development." Furthermore, the album's second single "Nasty" has been credited with influencing the new jack swing genre, pioneered by Teddy Riley. Laura Sinagra in The New Rolling Stone Album Guide wrote that the album impacted popular music with a "blockbuster momentum all its own", while Eric Henderson of Slant Magazine noted Control "was every bit the hit machine that her brother's Thriller was." Additionally, Control made Billboard Hot 100 history having the longest continuous run on the Hot 100 with singles from one album at 65 consecutive weeks, breaking her brother Michael's record by one week; Thriller by comparison charted singles for 64 consecutive weeks. Steve Morse of The Boston Globe commented: "All things considered, 1986 was a stellar year for the black female vocalist—the best, in fact, since the disco era of a decade back ... Black music crossed over to the pop charts in dramatic fashion, with Whitney Houston, Patti LaBelle and Janet Jackson each having No. 1 albums."

In addition to stepping out of the Jackson family shadow, Control established Jackson as one of the preeminent female artists of popular music, rivaling fellow pop star Madonna, as critics began to acknowledge their influence on the record industry and younger artists. Continuum Encyclopedia of Popular Music of the World Volume 8: Genres: North America (2012) documents that both women redefined house music, repackaging it "as part of a global metropolitan pop aesthetic." With regard to marketing singles, Paul Grein of Billboard reported: "10 or 20 years ago you would have had two singles from an album at the most. Now we're in an era where Madonna is on her fifth single from the album True Blue and Janet Jackson is on her sixth from the LP Control." Jackson subsequently became the first female artist to produce six top 40 hits on the Billboard Hot 100 from a single album. Los Angeles Times writer Paul Grein wrote a segment titled "The influence of Madonna and Janet Jackson", reporting Debbie Gibson's manager Doug Breitbart claimed "Madonna has brought back a really strong, melodic component to pop music", while Teen Beat editor Maggie Murphy remarked "Janet Jackson may have started this more than anyone else." Anthony DeCurtis, author of Present Tense: Rock & Roll and Culture (1992) wrote that "Madonna and Janet Jackson have produced videos that explore the female gaze," and described Jackson's music video for "Nasty" as feminist theory on film that deconstructs the objectification of women. Laura Sinagra documented that within two years of the release of Control, "a new crop of female singers (such as Paula Abdul and Karyn White) were charged with imitating Janet." Anthony DeCurtis of Rolling Stone remarked: "Control—with its quintuple-platinum sales and string of hit singles—established" a then-twenty-year-old Jackson "as one of the most popular recording artists in the world." The Guardian described the album's release as one of the 50 key events in the history of R&B and hip hop.

Upon the 30th anniversary of the album's release, Julian Kimble of Billboard magazine wrote: "In hindsight, Control is both evolutionary and revolutionary. As Jackson's first album to land atop the Billboard 200, it marked professional and personal breakthroughs. Distancing herself from the immense Jackson family shadow, she created one of the most influential projects across contemporary R&B and pop music. And not only was Jackson's maiden voyage with producers Jimmy Jam and Terry Lewis at the forefront of R&B, pop and hip-hop's intersection, it birthed a novel sound in the process." Morgan Y. Evans for PopMatters wrote: "Janet Jackson's Control is worth reconsidering as, perhaps boldly, one of the top three or four pop records of the '80s...It is unquestionably the most coherent and powerful full album statement from any female solo pop artist during much of the '80s, some of Kate Bush's more eccentric triumphs that decade notwithstanding." Kyle Anderson of Entertainment Weekly commented: "The videos from Control were all over MTV, and Janet established herself as an instantly dominant pop figure talked about in the same sentences as Madonna and her older brother Michael." MTV's Meaghan Garvey asserted "it's hard to overstate the significance of Control, whether in terms of the pop landscape, the evolution of the music video as a vessel for promotion and expression, or Top 40 feminist anthems." She also argued "it's important to note that Control's self-actualization anthems were expressions of black female pride. Control spawned a whopping six videos—great ones, at that—which played an immeasurable role in the shift toward visible black pop." Gerrick D. Kennedy of Los Angeles Times wrote that Jackson's continued influence is evident in the careers of Rihanna, Beyoncé, Ciara, FKA Twigs and Tinashe in that "all of them take cues from Jackson's blueprint. And all that began with Control." In 2016, a cassette of Control was added to the "Musical Crossroads" exhibition of the National Museum of African American History and Culture (NMAAHC).

 Track listing Notes'''
  signifies a co-producer

 Personnel

 Janet Jackson – vocals, background vocals, keyboards, bells
 Melanie Andrews – background vocals
 Troy Anthony – saxophone
 Jerome Benton – vocals
 Spencer Bernard – synthesizer, guitar
 Geoff Bouchieiz – guitar
 Mark Cardenas – synthesizer
 Roger Dumas – drums, programming
 Jimmy Jam – synthesizer, percussion, piano, drums, vocals, background vocals
 Jellybean Johnson – guitar, vocals
 Lisa Keith – background vocals
 Terry Lewis – percussion, vocals, background vocals
 John McClain – executive producer
 Monte Moir – synthesizer, guitar, drums
 Nicholas Raths – acoustic and 12-string guitar
 Gwendolyn Traylor – background vocals
 Hami Wave – background vocals

 Charts

 Weekly charts

 Year-end charts

 All-time chart

 Certifications

 See also
 List of best-selling albums by women

 Notes

 References

 External links
Control Video Page at janetjackson.com

 Further reading

Cornwell, Jane. Janet Jackson''. Carlton Books, 2002.

1986 albums
A&M Records albums
Albums produced by Jimmy Jam and Terry Lewis
Janet Jackson albums

Control (Janet Jackson album)


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أتلانتك بيرد 1  هو قمر صناعي للاتصالات السلكية واللاسلكية ويتبع المشغل يوتلسات، وموقعه هو°12.5 غربا. يبث هذا القمر قنوات التلفزة والراديو إضافة إلى معطيات رقمية أخرى. ويستعمل للإرساليات المهنية.
صنع من طرف ألينا سبازيو على منصة إيتالسات، يتكون من 24 إرسالا في الحزمة كو، ويمتد في أوروبا، وشمال أفريقيا، الشرق الأوسط، وأمريكا الشمالية وأمريكا الجنوبية.

أطلق القمر في 28 يوليو 2002 في الساعة 22:45 بالتوقيت العالمي، 00:45 بتوقيت باريس، كما أطلق معه قمر الأرصاد الجوية "MSG1" عن طريق صاروخ من طراز آريان 5 (الرحلة 155) من قبل القاعدة الفرنسية للإطلاق كورو، وبلغ وزنه عند الإطلاق 2700 كجم، وقدرت مدة عمره بـ 15 عاما.

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أتلانتك بيرد 1


පලමුවන ලෝක යුද්ධයෙහි සයිනායි සහ පලස්තීන මෙහෙයුම තුලදී ජෝර්දාන නිම්නය අධිවාසය  අරඹමින් ජෙරුසලෙමට නැගෙනහිර දෙසින් 1918 පෙබරවාරි 19 සහ 21 දින අතරතුර ජෙරිකෝව අල්ලාගැනීම  සිදුවිය. බටහිරින් බෙත්ලෙහෙම–නාබ්ලූස් මාර්ගය, නැගෙනහිරින්  ජොර්දාන් නදිය, සහ උතුරින් ජෙරුසෙලෙම සිට මළ මුහුද දක්වා වූ රේඛාවකින් මායිම්වූ ප්‍රදේශයක සටන් සිදුවිය. මෙහිදී   බ්‍රිතාන්‍ය අධිරාජ්‍යය බලකායයක් විසින්  ඕටමන් බලස්ථාන ආක්‍රමණය කිරීමත් සමගම ඔවුන්  ජෙරිකෝව වෙතද, අත්‍යන්තයෙහිදී ජෝර්දාන් නදිය ඔබ්බටද පසුබස්වන ලදි.

ගාසා–බියර්ශීබා යුධ පෙරමුණෙහි සිට ජෙරුසලෙම අල්ලාගැනීම දක්වා ඉදිරි ගමනෙන් පසුව 1917 දෙසැම්බර් මාසයෙහිදී ශීත කාලයෙහි වර්ෂාව ඇරඹීමත් සමගම යුද්ධ මෙහෙයුම්හි අවසානයක් දක්නට ලැබිණි. සටන් මෙහෙයුමිහී මෙම උපසමය වෙතින් අල්ලා ගත් භූමි ප්‍රදේශයන්හී ආරක්ෂාව සහ පහසුකම් තහවුරුකිරීමට අවස්ථාවක් සැපයිණි. සූවස් ඇළ ප්‍රදේශයෙහි  මෝස්කර් සහ කන්තාරා ප්‍රදේශ වල පිහිටි ප්‍රධාන කඳවුරු වල සිට දළ වශයෙන් කිලෝමීටර් 240ක් පමණ දුරින් පිහිටි ඉදිරි-පෙරමුණු  සේනාංක වෙත සන්නිවේදන පෙරමුණු ඔස්සේ අවශ්‍ය පමණට සැපයුම් ගෙන ඒමෙහි මහත් අවශ්‍යතාවයක්ද විය.

ජෙනරාල් එඩ්මන්ඩ් ඇලන්බිගේ මුල්  උපාය මාර්ගික සැලසුම් වෙතින් අරමුණු ගත්තේ ඔහුගේ  විවෘත දකුණු පැත්ත ආරක්ෂා කිරීම වෙතය. බටහිර දිශාවෙන් මධ්‍යධරණි මුහුද උපයෝගී කර ගනිමින් ආරක්ෂා සහිත වූ වම් පැත්ත මෙන් නොව, අවශ්‍ය තරමට විශාල බල සේනාවක් උපයෝගී කරගනිමින් නැගෙනහිර දිශාවෙන් පහර එල්ල කලොත් ඔහුගේ දකුණු පැත්ත බල බිඳීමකට ගොදුරු වනු ඇති බව ඔහුට නතු විය. එබැවින් ඔහුගේ අරමුණ වූයේ ජෙරුසලෙමට නැගෙනහිරින් මළ මුහුද දක්වාවූ ප්‍රදේශය අල්ලා ගැනීමෙන් ඔහුගේ දකුණු පැත්ත වඩාත් ආරක්ෂා සහිත කරලීමයි. මෙම ප්‍රදේශයෙහි  හෙල් මත ඕටමන් සේණාංක කඳවුරු ලා සිටි අතර, බ්‍රිතාන්‍ය පාබළ හමුදාව, ඕස්ට්‍රේලියානු සැහැල්ලු අශ්වාරෝහක හමුදාව සහ නවසීලන්ත ආරෝහණ රයිෆල් සේණාංකය විසින් ඒවා වෙත පහර දෙන ලදි. පාබල හමුදාව විසින් ජෙරුසෙලෙම ජෙරිකෝ ප්‍රධාන මාර්ගයෙහි ටෙලට් එඩ් ඩම් අල්ලා ගන්නා ලද අතර සැහැල්ලු අශ්වරෝහක සහ ආරෝහණ රයිෆල් සේණාංක විසින් ජෙරිකෝව සහ දකුණු දිශාවට පිහිටි ජෝර්දාන් නදියට සහ මළ මුහුදට මායිම්වූ ප්‍රදේශය අල්ලා ගන්නා ලදි.

පසුබිම

බියර්ශීබා වෙතින් ඉදිරියට යුද්ධ මෙහෙයුම් දෙසැම්බරයෙහිදී නැවතුණි. ඇලන්බි විසින් දෙසැම්බර් 14 දිනදී යුද්ධ කැබිනට් මණ්ඩලය වෙත වාර්තා කලේ ජෙරුසෙලෙම ආරක්ෂා සහිතව නතු කර ගැනීමෙන් පසුව අවම වශයෙන් මාස දෙකක කාලයක් තුලදී වර්ෂා සමය විසින් තවදුරටත් යුද්ධ මෙහෙයුම් සිදු කිරීම නතර වන බවයි. මෙම කාල සීමාවෙහිදී, අවැසිදේ සම්පාදනය බිඳවැටීමක් නිසා ඊජිප්තියානු කාර්යසාධක බලකාය අබලි බවට පත්ව සිටිම නිසාවෙන්  ගාසා වෙතින් දකුණු දෙසට රාජකීය ඔටු බලකාය සේණාංකය  සමගින් ඇන්සැක් සහ  ඕස්ට්‍රේලියානු ආරෝහණ බලකායයන් යැවීමට ඇලන්බි හට බල කෙරුනේ ඔවුන්ගේ සන්නිවේදන පෙරමුණ කෙටි කර ගැනීම සඳහාය. ඔහු විසින් ලියන ලද්දේ: " සහතික වශයෙන්ම මට ඔවුන්ට ආහාර සැපයීමට නොහැකිය. මෙම අවස්ථාවෙහිදී පවා දෙසතියක තද වැස්සක් විසින් අප නියත සාගතයක් වෙත ගෙන යනු ඇත." ජනවාරි 1 දිනදී, 5වන ආරෝහණ බලකාය හා ඉන් පසුව   4වන සැහැල්ලු අශ්වාරෝහක සේණාංකයෙහි  ක්ෂේත්‍ර ගිලන් රථය, විසින් වර්ෂාව හා ජලගැල්ම හරහා යළි ගමන ගාසා වෙතින් දකුණු දෙසට වූ ඩියර් අල් බලා වෙත ගමන් ඇරඹුවේ ඕස්ට්‍රේලියානු ආරෝහණ සේනාංකයෙහි ආපසු ගමන අරඹමිනි. ඇන්සැක් ආරෝහණ සේණාංකය එතරම් දුරක් පසුපසට ගමන් නොකල අතර,  1වන සහ බොහෝවිට 2වන සැහැල්ලු අශ්වාරෝහක සේණාංක  එෂ්ඩඩ් දක්වා පසුපසට ගමන් කල අතර නවසීලන්ත ආරෝහණ රයිෆල් සේණාංකය ජාෆා වෙතින් නුදුරු අයුන් කාරා අසබඩ ( රිෂොන් ලෙසියොන් ලෙසින්ද හැඳින්වෙන) වෙත තාවකාලික කඳවුරු ලන ලදි.

ජනවාරි 25 දින ඇලන්බි ලියා තැබුවේ : "මාගේ දකුණු පැත්ත දිගු කර ගනිමින්, ජෙරිකෝ සහ මළ මුහුදින් උතුරු පෙදෙස එක් කර ගැනීමට මට අවශ්‍යය." මෙම ඉදිරි මෙහෙයුම විසින් ඔහුගේ දකුණු පස වෙත තිබුණු දැඩි තර්ජනය ඉවත් කරන ලද්දේ සියළු සතුරු සේනාංක ජෝර්දාන් නදියෙන් ඔබ්බට පළවා හැර ජෝර්දාන් නදිය හරහා තරණය කිරීම් ආරක්ෂා සහිත කිරීම මගිනි. මළ මුහුදට බටහිර දෙසින් රට තුලට ආක්‍රමණ වැලැක්වීම සහ හෙජර්ස් දුම්රිය මාර්ගය වෙත ක්‍රියාන්විත ඇරඹීම සඳහා පටු ඇරඹුම් ස්ථානයක් ස්ථාපනය කිරීමද එය විසින් සිදු කෙරිණි.

ප්‍රංශය වෙතින් කිසිම සේනාංකයක් ඊජිප්තියානු  කාර්යසාධක බලකාය වෙත ප‍්‍රතිනියුක්තිය නොකල යුතු බවට යුද්ධ කාර්යාලයෙහි  හවුල් සටහන අංක 12 වෙත ප්‍රංශ යෝග්‍යතාවයක් පිලිබඳව  ඇලන්බි හා සමග සම්මන්ත්‍රණ කිරීමට රාජකීය යුද්ධ කැබිනට් මණඩලයෙහි සාමාජිකයෙක් වූ ජෙනරාල් ජෑන් ක්‍රිස්ටියන් ස්මට්ස් එවන ලදි. පෙබරවාරියෙහිදී ස්මට්ස් ලන්ඩනය වෙත යළි ගමන් කරන අතරතුර, ජෝර්දාන් නදිය තරණය කිරීම සහ හෙජර්ස් දුම්රිය මාර්ගය අල්ලා ගැනීම සහ ඉදිරි ආරක්ෂක වලල්ල නැගෙනහිර දිශාවට පුළුල් කිරීම පිළිබඳ ඔහුගේ යෝජනාව ගැන පළමු පියවර ලෙසින් ජෙරිකෝව සාර්ථක ලෙසින් අල්ලාගැනීම සිදුකෙරුණි.

පූර්විකාව

ජුදයානු කඳු වලට නැගෙනහිර දිශාවෙන් වූ රට විසින් ජෝර්දාන් නිම්නය හමුවන විට එය දකින්නේ පර්වත වැටි සහ  ගැඹුරු පටු නිම්න සමූහයකි. සියළුම වාඩි භූ සැදුම් දිවෙන්නේ බටහිර සිට නැගෙනහිර දිසාවට වන අතර; සමහරවිට උස් බෑවුම් වැටිද හමුවන අතර, සෑම දිශාවකින්ම එන බෙදුම් කොටස් එකිනෙකට හමුවන අතර, එය විසින් වැටි බෙදී හෙල් තැනෙමින් තරණය කිරීම නොහැකි තරමට දුෂ්කර කරයි. බොහෝ මං පෙත් වැටෙන්නේ පටු ගිරිකඳුරු තට්ටු ඔස්සේ වන බැවින් ඉදිරි ගමන සිදු කල යුතු වන්නේ තනි පේළියට වෙයි.

සටහන්
අධෝසටහන්

උපහරණ

 1918 වසරෙහිදී වූ ගැටුම්
බ්‍රිතාන්‍ය පරිපාලනය යටතේවූ පලස්තීනය තුල 1918 වසර
 1918 පෙබරවාරියෙහිදී වූ සිදුවීම්
 සයිනායි සහ පලස්තීන මෙහෙයුමෙහි සටන්
ඕස්ට්‍රේලියාව සම්බන්ධිත පළමුවන ලෝක යුද්ධ සටන්
නවසීලන්තය සම්බන්ධිත පළමුවන ලෝක යුද්ධ සටන්
එක්සත් රාජධානිය සම්බන්ධිත පළමුවන ලෝක යුද්ධ සටන්
ඕටමන් අධිරාජ්‍යය සම්බන්ධිත පළමුවන ලෝක යුද්ධ සටන්
ජර්මනිය සම්බන්ධිත පළමුවන ලෝක යුද්ධ සටන්

ජෙරිකෝව අල්ලාගැනීම


Adriaen (Arjan) Block (c. 1567 – buried April 27, 1627) was a Dutch private trader, privateer, and ship's captain who is best known for exploring the coastal and river valley areas between present-day New Jersey and Massachusetts during four voyages from 1611 to 1614, following the 1609 expedition by Henry Hudson. He is noted for possibly having named Block Island, Rhode Island, and establishing early trade with the Native Americans, and for the 1614 map of his last voyage on which many features of the mid-Atlantic region appear for the first time, and on which the term New Netherland is first applied to the region. He is credited with being the first European to enter Long Island Sound and the Connecticut River, and to determine that Manhattan and Long Island are islands.

Early life
Though spending much of his time at sea, Block called Amsterdam his home. There, on October 26, 1603, he married Neeltje Hendricks van Gelder, with whom he would have five children between 1607 and 1615. In 1606 they moved into a house called De Twee Bontecraijen ("The Two Hooded Crows") on Amsterdam's Oude Waal street, where they would live the rest of their lives.

In the 1590s, Block already was active in the shipping trade, transporting wood from Northern Europe to deforested Spain. He is for example mentioned delivering Norwegian timber in April 1596 in Bilbao. From there he headed for Ribadeo to buy goods for Cádiz. In April 1601, he was part of a convoy of ships leaving Amsterdam for the Dutch East Indies, at that time probably as far as the Moluccas, returning home in 1603.

In the spring of 1604, after delivering goods in Liguria, Block sailed on to Cyprus buying cargo (rice, cotton, nuts, etc.) he hoped to sell in Venice. This trade fell through, and he headed home to Amsterdam. Passing Lisbon, he came upon a Lübeck-based ship returning from a trip to Brazil. He had written permission from Dutch authorities to capture enemy ships, which he put to use as a privateer, taking the ship and its load to Amsterdam. Though the ship and some of its goods were returned to its owners, Block made a lot of money, with which he probably bought the house on the Oude Waal.

Block's new world expeditions

Early voyages (1611–1612)
Following Hudson's contact with the Native Americans in the Hudson Valley in 1609, the Dutch merchants in Amsterdam had deemed the area worth exploring as a potential source of trade for beaver pelts, which were a lucrative market in Europe at the time.

Cornelis Rijser successfully returned in the St. Pieter in 1611, and Block and his fellow captain Hendrick Christiaensen returned the next year in 1612, bringing back furs and two sons of a native sachem in the Fortuyn and another ship outfitted by a group of Lutheran merchants. It took about ten weeks to sail to New Netherland, sometimes longer. The prospect of successful fur trade prompted the States General, the governing body of the Dutch Republic, to issue a statement on March 27, 1614, stipulating that the discoverers of new countries, harbors, and passages would be given an exclusive patent good for four voyages undertaken within three years to the territories discovered if the applicant should submit a detailed report within 14 days after his return.

The 1614 expedition

In 1613, Block made a fourth voyage to the lower Hudson in the Tyger accompanied by several other ships especially equipped for trading. While moored along southern Manhattan, the Tyger was accidentally destroyed by fire. Over the winter, he and his men, with help from the Lenape (La-Na-Pae), built the  ship 16-ton Onrust (Dutch for "Restless").

In this later ship, he explored the East River and was the first known European to navigate the Hellegat (now called Hell Gate) and to enter Long Island Sound. Traveling along the Sound, he entered the Housatonic River (which he named "River of Red Hills") and the Connecticut River, which he explored at least as far as the site of present-day Hartford, today's capital of the state of Connecticut, some sixty miles up the river. Leaving Long Island Sound, he charted Block Island, which is named for him and Narragansett Bay, where he possibly named "Roode Eylandt" after the red (Dutch rood) color of its soil. On Cape Cod, he rendezvoused with one of the other ships of the expedition and left the Onrust behind before returning to Europe.

Life in the colony
Block's exploration would lead to the eventual colonization of Connecticut.  The life was hard, as it was settled in the winter as a result of the Connecticut River turning to ice. Block sailed upstream and established the Dutch base that later became Hartford.

He is credited with naming Fishers Island (Vischer's Island) after a shipmate.  Though it lies physically closer to Connecticut than New York, the island is a part of Long Island's Suffolk County.

New Netherland company
Upon returning, Block compiled a map of his voyage together with known information of the time. The Block map was the first to apply the name "New Netherland" to the area between English Virginia and French Canada, as well as the first to show Long Island as an island.

On October 11, 1614, Block, Christiaensen, and a group of twelve other merchants presented to the States General a petition to receive exclusive trading privileges for the area. Their company, the newly formed New Netherland Company, was granted exclusive rights for three years to trade between the 40th parallel north and the 45th parallel north.

After his return to Amsterdam in July 1614, he would not return to the New World again. In 1615, Block was Commissary-General of three men-of-war and eleven whaleships sent to Spitsbergen by the Noordsche Compagnie. He remained sailing until his death in 1627. He was buried in Amsterdam's Oude Kerk in a grave next to his wife.

Legacy
A multimillion-dollar redevelopment on the Connecticut River in Hartford, Connecticut is named "Adriaen's Landing" after Block.
Adriaen Block has a middle school in Flushing, Queens (NYC) named after him, as is Block Island, off the southern coast of Rhode Island.

References

External links

 Long Island History
 The First Dutch Settlers
 Univ. of Massachusetts Biography
 Dutch Place Names
 Ships Known to Have Left Netherlands for the New World
 Five Boroughs History: The Coming of the Dutch
 Historic New Amsterdam

17th-century Dutch explorers
1560s births
1627 deaths
Burials at the Oude Kerk, Amsterdam
Dutch explorers of North America
Explorers of the United States
Long Island Sound
Businesspeople from Amsterdam
People from New Netherland
Early modern Netherlandish cartography

Adriaen Block