est un film japonais réalisé par Keisuke Kinoshita, sorti en 1947.

Synopsis
Sayoko Aihara élève son fils de quatre ans dans la grande demeure de sa belle-famille. Elle est la veuve du fils aîné de Naoya Yasaka, mort à la guerre. Alors que Yūji, le deuxième fils évoque sa volonté de se marier, Sayoko se remémore sa rencontre avec Shin'ichi, leur difficulté à faire accepter leur amour à un père de famille autoritaire, le départ à la guerre de Shin'ichi, leur mariage durant une permission d'une semaine et leur trop brève lune de miel.

Fiche technique
 Titre : Le Phénix
 Titre original :
 Réalisation : Keisuke Kinoshita
 Scénario : Keisuke Kinoshita et Yoshirō Kawazu
 Photographie :
 Musique :
 Montage : Yoshi Sugihara
 Société de production : Shōchiku
 Pays de production :
 Langue originale : japonais
 Format : noir et blanc — 1,33:1 — 35 mm — son mono
 Genre : drame
 Durée : 82 minutes (métrage : neuf bobines - )
 Date de sortie :
 Japon :

Distribution
 Kinuyo Tanaka : Sayoko Aihara
 Keiji Sada : Shin'ichi Yasaka
 Isamu Kosugi : Naoya Yasaka, son père
  : Moto Yasaka, sa mère
 Akira Yamanouchi : Yūji Yasaka, son frère
 Tamotsu Kawasaki : Hiroshi Aihara, le frère de Sayoko
 Reiko Minakami : leur tante
  : leur oncle Eizō
 Eiko Takamatsu : la domestique de la famille Aihara

Distinction
 Prix du film Mainichi de la meilleure actrice en 1948 pour  Kinuyo Tanaka (conjointement pour Le Mariage et L'Amour de l'actrice Sumako)

Notes et références

Liens externes

Film japonais sorti en 1947
Film dramatique japonais
Film japonais en noir et blanc
Film en japonais
Film de Shōchiku
Film réalisé par Keisuke Kinoshita

Le Phénix (film, 1947)


بلدية أ كابيلا ، هي إحدى بلديات مقاطعة لا كرونيا إحدى مقاطعات إسبانيا، والتي تقع في منطقة جليقية شمال غرب إسبانيا.

يبلغ عدد سكانها 1.534 نسمة وفقًا لإحصائية سنة (2002).

مراجع

بلديات قرجيطة

أ كابيلا (لا كرونيا)


Die Nacktschwanz-Kletterratte
(Tylomys nudicaudus) ist eine zu den Kletterratten gehörende Art der Neuweltmäuse. Sie bewohnt die Tropenwälder vom Süden Mexikos bis Nicaragua und ist nicht gefährdet.

Körperbau

Die Nacktschwanz-Kletterratte ist eine sehr große Neuweltmaus mit langem, nackten Schwanz, kurzen, breiten Pfoten und großen Ohren. Ihre Kopf-Rumpf-Länge beträgt 188 bis 266 Millimeter, die Schwanzlänge 195 bis 262 Millimeter, die Hinterfußlänge 39 bis 45 Millimeter und die Ohrlänge 24 bis 29 Millimeter. Das Körpergewicht wird mit 326 Gramm
oder durchschnittlich 280 Gramm angegeben.
Den Schwanz hält sie häufig lose aufgerollt.

Das Fell der Nacktschwanz-Kletterratte ist lang, dicht und wollig. Oberseits ist es grau, graubraun
oder rötlich-braun und verblasst zu den Körperseiten hin. Die Unterseite ist blass-rötlich-gelb
oder cremeweiß mit den Haaren weiß bis zur Basis.
Die Beine und die Pfoten sind braun bis rostbraun und manche Exemplare haben weiße Zehen. Die Leisten- und die Achselregion sind ebenfalls weiß.
Der nackte Schwanz ist glänzend und seine großen Schuppen bilden breite Ringe. Von der Wurzel bis etwa zur Mitte ist er ganz dunkel und dahinter bis zur Spitze ganz weiß. Die Ohrmuscheln sind schwärzlich und unbehaart und die Schnurrhaare sind dick und lang. Die Augen sind eher klein und ihr Tapetum lucidum ist hell und rötlich.

Von Tylomys tumbalensis und Tylomys bullaris ist die Nacktschwanz-Kletterratte nur durch Schädelmerkmale zu unterscheiden.
Anders als bei Tylomys tumbalensis misst die obere Backenzahnreihe weniger als 9,1 Millimeter. Die Paukenblasen sind im Gegensatz zu denen von Tylomys bullaris nicht merklich aufgebläht und weisen eine auffällige vordere Ausbuchtung auf.
Die Wirbelsäule besitzt 13 bis 15 Brustwirbel, sechs bis sieben Lendenwirbel und 32 bis 36 Schwanzwirbel.

Lebensraum und Lebensweise

Der Lebensraum der Nacktschwanz-Kletterratte sind alte immergrüne sowie halb-laubabwerfende Wälder und dichter Sekundärwuchs aus Kletterpflanzen, gewöhnlich in der Nähe von Felsen, Höhlen oder Felswände.

Die Nacktschwanz-Kletterratte ist nachtaktiv und halbbaumbewohnend, bewegt sich gewöhnlich langsam und bedächtig,
kann jedoch auf Ästen und Kletterpflanzen eine große Geschwindigkeit und Geschicklichkeit erreichen. Über ihre Ernährung ist wenig bekannt. Der Magen eines Exemplars aus Veracruz enthielt Pflanzenteile, die Flechten oder Rinde ähnelten. Gewöhnlich wird sie mit Bananen oder anderen Früchten in Fallen gelockt.

In Gefangenschaft beträgt die Tragzeit der Nacktschwanz-Kletterratte 36 bis 51 Tage und durchschnittlich 40 Tage. Je Wurf werden durchschnittlich 2,33 Jungtiere geboren. Die Geschlechtsreife wird mit 10 bis 20 Wochen erreicht. Ein Exemplar der Art lebte fünf Jahre und fünf Monate.
Zu den ausgestoßenen Lauten gehören ein katzenartiges Fauchen und ein schweineartiges Quieken.

Verbreitung und Bestand

Das Verbreitungsgebiet der Nacktschwanz-Kletterratte erstreckt sich vom Süden Mexikos über Belize, Guatemala, El Salvador und Honduras bis in den Süden Nicaraguas, wobei sie im Norden Yucatans fehlt. Sie kommt vom Tiefland bis in Höhen von 2300 Metern vor, ist jedoch selten.

Die Weltnaturschutzunion IUCN stufte die Nacktschwanz-Kletterratte 2008 als nicht gefährdet ein. Begründet wurde dies mit der weiten Verbreitung, den vermutlich großen Beständen, dem Vorkommen in mehreren Schutzgebieten, dem Fehlen bekannter Bedrohungen und der Unwahrscheinlichkeit einer raschen Bestandsabnahme. 1996 wurde die Art ebenfalls als nicht gefährdet eingestuft.

Systematik und Nomenklatur

Hall (1981) unterscheidet vier Unterarten der Nacktschwanz-Kletterratte:

 Tylomys nudicaudus villai Schaldach, 1966 in Guerrero und Oaxaca,
 Tylomys nudicaudus microdon Goodwin, 1955 in Oaxaca,
 Tylomys nudicaudus gymnurus Villa, 1941 in Puebla, Veracruz und Oaxaca sowie
 Tylomys nudicaudus nudicaudus (Peters, 1866) von Chiapas und Belize bis Nicaragua.

Tylomys bullaris und Tylomys tumbalensis könnten ebenfalls als Unterarten der Nacktschwanz-Kletterratte zuzuordnen sein.

Tylomys nudicaudus villai

Das Verbreitungsgebiet von Tylomys nudicaudus villai wird begrenzt durch Funde in Pedrera de Cajeles, 30 Kilometer südlich von Chilpancingo in Guerrero; in Cueva del Cañón del Zopilote, 13 Kilometer südlich der Puente Río Mezcala in Guerrero; elf Kilometer südlich von Chicahuaxtla in Oaxaca; 36,5 Kilometer nördlich von San Gabriel Mixtepec in Oaxaca; sowie acht Kilometer östlich von Río Grande in Oaxaca. Das Typusexemplar stammt vom Fundort bei San Gabriel Mixtepec aus einer Höhe von 1600 Metern und wurde 1966 von William J. Schaldach junior als Tylomys nudicaudus villai beschrieben.

Tylomys nudicaudus microdon

Das Verbreitungsgebiet von Tylomys nudicaudus microdon wird begrenzt durch Funde 6,5 Kilometer südlich vom Valle Nacional in Oaxaca sowie in La Gloria, zehn Kilometer südöstlich von Santa María Chimalapa in Oaxaca. Das Typusexemplar stammt aus einem Regenwald bei La Gloria aus einer Höhe von 760 Metern und wurde 1955 von George Gilbert Goodwin als Tylomys nudicaudus microdon beschrieben.

Tylomys nudicaudus gymnurus

Das Verbreitungsgebiet von Tylomys nudicaudus gymnurus wird begrenzt durch Funde zehn Kilometer westlich von Hueytamalco in Puebla; drei Kilometer nördlich von Presidio in Veracruz; acht Kilometer nordwestlich von Potrero in Veracruz; drei Kilometer östlich von San Andrés Tuxtla in Veracruz; 25 Kilometer südöstlich von Jesús Carranza in Veracruz; in Santiago Ixcuintepec in Oaxaca; sowie in Santiago Lachivía in Oaxaca.
Das Typusexemplar stammt aus Presidio, wurde 1941 von Bernardo Villa-Ramírez als eigenständige Art Tylomis gymnurus beschrieben und 1969 von Goodwin als Unterart der Nacktschwanz-Kletterratte zugeordnet.

Tylomys nudicaudus nudicaudus

Das Verbreitungsgebiet von Tylomys nudicaudus nudicaudus wird begrenzt durch Funde acht Kilometer nördlich von Berriozábal in Chiapas; in Tuxtla Gutiérrez in Chiapas; in Palenque in Chiapas; in La Primavera, etwa 16 Kilometer südwestlich von Cobán in Guatemala; in Silkgrass in Belize; in Chilata in El Salvador; sowie am Río Coco in Nicaragua. Das Typusexemplar stammt aus Guatemala, wurde 1866 von Wilhelm Peters als Hesperomys (Tylomys) nudicaudus beschrieben und 1897 von Édouard Louis Trouessart erstmals in der Gattung Tylomys geführt. Laut Goodwin liegt der Typusfundort vermutlich in La Primavera auf einer Höhe von 975 Metern.

Weblinks

Verwendete Literatur

Anmerkungen

Wühler

Nacktschwanz-Kletterratte


Un critic de artă este o persoană care este specializată în analiza, interpretarea și evaluarea artei. Comentariile critice și de analiză a operelor de artă sunt publicate în ziare, reviste, cărți, broșuri și cataloage de expoziție precum și pe site - uri web. Unii dintre criticii de arta de azi folosesc blog - uri de artă și alte platforme online pentru a se conecta cu un public mai larg în vederea extinderii dezbaterilor cu privire la artă.

Spre deosebire de istoria artei, nu există o pregătire instituționalizată pentru criticii de artă (cu doar câteva excepții); criticii de artă provin din medii diferite și ele pot sau nu pot avea studii universitare. Criticii de artă recunoscuți ca atare au o pasiune față de diferitele aspecte practice și teoretice ale artei și o cunoaștere aprofundată a istoriei artei. De obicei, criticii de artă vizionează expozițiile, galeriile sau muzeele și pot fi membri ai Asociației Internaționale a Criticilor de Artă, care are filiale naționale. Foarte rar criticii de artă și-au câștigat existența din articolele critice pe care le-au publicat.

Analizele criticilor de arta au potențialul de a lansa dezbateri publice pe teme legate de artă. Datorită acestui fapt, punctele de vedere ale criticilor de artă sunt publicate în cataloagele specifice sau ziare, aduc un plus la discursul public cu privire la artă și cultură. Colecționarii de artă  se bazează adesea pe sfatul criticilor ca o modalitate de a spori aprecierea lor din domeniul pe care îl vizionează. Multe opere de artă recunoscute astăzi ca fiind remarcabile, a unor artiști celebri, nu au fost recunoscute de către criticii de artă ai timpul lor, de multe ori pentru că arta lor a fost într-un stil care nu a fost înțeles. Pe de altă parte, unii critici au devenit notabili prin ajutorul acordat explicării și a promovării noilor mișcări artistice - exemple: Roger Fry cu mișcarea postimpresionistă sau Lawrence Alloway cu Pop Art-ul.

Critici de artă

 Lawrence Alloway
 Guillaume Apollinaire
 Zacharie Astruc
 Albert Aurier
 Charles Baudelaire
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 Sister Wendy Beckett
 Clive Bell
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 Champfleury
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 T. J. Clark
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Referințe

Critici de artă
Ocupații în arte vizuale

Critic de artă


An Aridarum borneense in uska species han Liliopsida nga syahan ginhulagway ni Mitsuru Hotta, ngan ginhatag han pagkayana nga asya nga ngaran ni Josef Bogner och Alistair Hay. An Aridarum borneense in nahilalakip ha genus nga Aridarum, ngan familia nga Araceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Aridarum

Aridarum borneense


Tıpta Uzmanlık Eğitimi Giriş Sınavı ya da Tıpta Uzmanlık Sınavı (kısaca TUS), Türkiye'de tıp fakültesi mezunlarının uzmanlık eğitimi için gereken branş seçme sınavıdır. Sınava ayrıca veteriner, eczacılık, kimya, biyoloji veya tıbbi biyolojik bilimler fakültelerinden mezun olanlar da başvurabilir.

Her yıl Mart ve Eylül aylarında olmak üzere 2 kez yapılır. ÖSYM'nin Türkiye geneli için Ankara, İstanbul ve İzmir'de yapılan bir sınavdır. 2012 öncesinde TUS yalnızca Ankara'da yapılmaktaydı. 2022 itibarıyla sınav merkezi sayısı 14'e çıkarıldı. Yayınlanan son kılavuza göre artık TUS Adana, Ankara, Antalya, Bursa, Diyarbakır, Erzurum, İstanbul, İzmir, Kayseri, Konya, Malatya, Samsun, Trabzon, Van şehirlerinde de yapılacak.

Sınav, "tıbbî yabancı dil sınavı" ve "bilim sınavı" olmak üzere iki basamaktan oluşmaktadır. İlk basamak olan yabancı dil sınavının amacı, bilim sınavına girmeye hak kazanacak adayların belirlenmesidir. "Bilim sınavı" olarak adlandırılan ikinci basamak sınavın amacı ise, bu sınav sonucuna göre tıpta uzmanlık eğitimine kabul edilecek adayların belirlenmesi ve tercihlerine göre mevcut kontenjanlara yerleştirilmeleridir.

Yabancı Dil Sınavı
Bu sınavdan en az 50 puan alanlar ancak bilim sınavına girmeye hak kazanırlar. Sınavda 20 metin bulunmakta olup her metinle ilgili 5 tane soru bulunmaktadır. Toplam 100 sorudan oluşan bir sınavdır. Yabancı dil sınavında alınan puan, sınavda yapılan doğru sayısıdır. Yanlış sayısı net alınan puanı etkilememektedir, dolayısıyla sadece en az 50 doğru yanıt yeterlidir. Önceki iki yıl içinde yapılan yabancı dil sınavlarına katılıp bu sınavların en az birinde 50 ve üstü puan alanlar isteklerini bildirmeleri halinde yabancı dil sınavından muaf tutululurlar. Ayrıca 2009 yılında yayımlanan yeni yönetmeliğe göre ÜDS veya KPDS'den alınacak 50 puan da muafiyet sağlamaktadır.

1 Temmuz 2011 tarihinde yayınlanan Tıpta ve Diş Hekimliğinde Uzmanlık Eğitimi Yönetmeliğinde Değişiklik Yapılmasına Dair Yönetmelik uyarınca mesleki yabancı dil sınavı 2011-TUS sonbahar döneminde son kez uygulanmıştır.  Bu tarihten sonraki sınavlarda ise ÜDS veya KPDS puanı geçerli olacaktır. 2013 yılından itibaren de ÜDS KPDS vb. sınavlar kaldırılmış, yabancı dil seviye belirleme sınavı (YDS), YÖKDİL ve TIPDİL yapılacaktır. Bu sınavdan başarılı olan adaylar 5 yıl süreyle sınavdan muaf olacaklardır.

Bilim Sınavı
2009'da yapılan düzenlemeyle sınava sadece tıp fakültesi mezunları girebilmekteydi. Sınavda Temel Tıp Bilimleri Testi-1 (TTBT-1) ve Klinik Tıp Bilimleri Testi (KTBT) olmak üzere iki testten oluşmaktadır. Ancak açılan davanın sonuçlanması sonucu tekrar sınava tıp fakültesi dışı adaylar da girebilmektedir, ancak bu adaylara açılan kadro sayısı son derece azdır. Bu adaylar sınavda KTBT kitapçığı yerine TTBT-2 kitapçığı almaktalar. TTBT-1 anatomi, histoloji-embriyoloji, fizyoloji, tıbbi biyokimya, tıbbi mikrobiyoloji, tıbbi patoloji ve tıbbi farmakoloji gibi alanlara ilişkin sorulardan, KTBT ise dahiliye ve cerrahi gruplarına dahil alanlar ile pediatri ve kadın hastalıkları ve doğum gibi alanlara ilişkin sorulardan oluşmaktadır.

Tıp fakültesi mezunları için  Temel Tıp Bilimleri Testi'nde 100 soru, Klinik Tıp Bilimleri Testi'nde 100 soru toplam 200 soru bulunmaktadır. Sınav iki aşamalı yapılmakta sabah oturumunda Temel Tıp Bilimleri Testi yapılmaktadır. Süresi 135 dakikadır. Öğleden sonraki oturumda Klinik Tıp Bilimleri Testi yapılmakta ve bunun da süresi 135 dakikadır. Toplam sınav süresi 4,5 saattir.

Tıp fakültesi dışı mezunlar KTBT soruları yerine TTBT-2 sorularını cevaplamaktadırlar. Soru sayıları ve süreler aynıdır.

Adaylar tercihlerine göre tıp fakülteleri, Sağlık Bakanlığı'na bağlı eğitim ve araştırma hastaneleri veya Adli Tıp Kurumu'nda uzmanlık eğitimlerini alabilirler.

TUS Puan Hesaplama
Çoktan seçmeli sorulardan oluşan Bilim Sınavı cevap kâğıtları ÖSYM'de optik okuyucu ile okunarak, adayların iki testin her birindeki sorulara verdikleri doğru ve yanlış cevaplar ayrı ayrı toplanacak, doğru cevap sayısından yanlış cevap sayısının dörtte biri çıkarılarak ham puanlar elde edilecektir. Bu ham puanlar, her test için ayrı olmak üzere, ortalaması 50, standart sapması 10 olan standart puanlara dönüştürülecektir.  Standart puanlar kullanılarak,  tıp fakültesi mezunu adaylar için Ağırlıklı Klinik Tıp Bilimleri Puanı (K) ve Ağırlıklı Temel Tıp Bilimleri Puanı (T) olmak üzere iki ayrı puan hesaplanacaktır. Tıp fakültesi dışındaki fakültelerden mezun adaylar için ise yalnız T Puanı hesaplanacaktır.

Tıp fakültesi mezunu  adayların KTBT standart puanının 0.7 ile ve TTBT standart puanının 0.3 ile çarpılarak toplanmasıyla bu adayların K Puanları; TTBT-1 standart puanının 0.7 ile ve KTBT standart puanının 0.3 ile çarpılarak toplanmasıyla da T Puanları elde edilecektir. Tıp fakültesi dışındaki fakültelerden mezun olan adayların T Puanları ise bu adayların TTBT-1  standart puanının 0.7; TTBT-2 standart puanının 0.3 ile çarpılarak toplanmasıyla elde edilecektir.

Kaynakça

Dış bağlantılar
ÖSYM sitesi TUS sayfası

Kamu kurum içi sınavları
Yeterlilik sınavları
Türkiye'de sağlık
Türkiye'de eğitim
Ölçme, Seçme ve Yerleştirme Merkezi tarafından uygulanan sınavlar

Tıpta Uzmanlık Eğitimi Giriş Sınavı


සද්ධාතිස්ස රජ යනු ක්‍රි.පූ.137 - ක්‍රි.පූ.119 අතර කාලය තුල අනුරාධපුර රාජධානියේ, රජකම් කල  ශ්‍රේෂ්ඨ සිංහල රජ කෙනෙකි. එතුමා කාවන්තිස්ස රජුගේ පුතණුවන් සහ දුටුගැමුණු රජුගේ සොහොයුරා වෙයි.

සද්දාතිස්ස රජුට දාව දරුවෝ සිව් දෙනෙකි.
තුලත්ථන
ලංජතිස්ස (ලැමිණිතිස්)
ඛල්ලාඨනාග (අනුලා දේවි සමග විවාහ වී මහාචුලික නම් පුතෙක් සිටියහ.)
වළගම්බා (වට්ටගාමිණී අභය/වලගම් අබා)

බල්ලාඨනාග රජු මරා එවකට හමුදා ප්‍රදානියා වූ ඛම්මහරට්ටක (මහාරට්ටක) රජ විය. වලගම්භා ඔහුව මරා රජ වූයේ බු.ව 103 දීය. මෙතුමාට අනුලා දේවි සහ සෝමා දේවි නමින් බිසවන් 2ක් වූහ.

රජරට රාජධානිය
මෘදු යළියොමුවීම් වලට ලක්වූ විකිපීඩියා ප්‍රවර්ග

සද්ධාතිස්ස රජ


Implementarea și configurarea unui program software CRM, cunoscută și sub numele de Implementare CRM sau personalizare program CRM, reprezintă procesul prin care aplicația CRM achiziționată sau închiriată este pregătită pentru utilizare. Activitățile specifice implementării programelor CRM sunt: discuții de analiză în client și consultanții de implementare, import fișiere, configurare ecrane, stabilire câmpuri bază de date, training useri și testare. Sistemele software de afaceri de tip CRM au nevoie de această personalizare inițială pentru a funcționa corespunzător. Durata implementării CRM poate fi de la câteva ore la mai mulți ani, în funcție de complexitatea proiectului, fluxuri implementate și număr de utilizatori.

Principalii pași ai unei implementări CRM

Analiză de proiect de implementare CRM. În această fază de proiect CRM, furnizorul și beneficiarul realizează analiza specificațiilor și a cerințelor, în scopul identificării corecte a nevoilor clientului. Tot acum se întocmește și calendarul de proiect: datele următorilor pași ai implementării.
Configurarea programului CRM. Configurarea aplicației CRM implementate, conform specificațiilor din faza de analiză, configurări ecrane de lucru și câmpuri bază de date: acestea sunt principalele activități prestate în faza de configurare. Eventual, prestatorul serviciului de implementare poate aduce în programul CRM anumite date de test, pentru simulări realiste.
Testare funcționare. În această fază de proiect, beneficiarul testează și confirmă funcționarea corectă a configurărilor realizate și a cerințelor suplimentare.
Instruire și training utilizatori CRM. Obiectivul acestei faze de proiect îl constituie dobândirea deprinderilor de utilizare și de administrare a aplicației CRM.
Import date în sistemul CRM. Este vorba de importul final al tuturor bazelor de date și al tuturor informațiilor pe care beneficiarul dorește să le regăsească în aplicația CRM.
Finalizarea proiectului de implementare CRM. Furnizorul asigură, în această fază, tot suportul necesar utilizatorilor în perioada de început a utilizării programului. Acum se închid cu succes toate cerințele din analiză.

Proiectul de implementare CRM se organizează, de-obicei, conform principiilor internaționale de management de proiect, și se finalizează complet prin semnarea unui document de Acceptanță proiect, prin care beneficiarul confirmă corectitudinea implementării.

Note

Bibliografie

CRM at the Speed of Light, Fourth Edition: Social CRM 2.0 Strategies, Tools, and Techniques for Engaging Your Customers, de Paul Greenberg, Editura McGraw-Hill Osborne; Editia a IV-a, 2010
The CRM Handbook: A Business Guide to Customer Relationship Management, de Jill Dyché, Editura Addison-Wesley Professional; Ediția I, 2001

CRM

Implementare CRM


Preluk je automobilistička i motociklistička staza kod Opatije.

Na Preluku se 1940. održalo prvenstvo Italije,  a od 1946. motociklistička i automobilistička utrka koja je nosila više imena: Opatijska utrka, Okrug Preluk, Nagrada Jadrana, Velika nagrada Jadrana, Velika nagrada Jugoslavije.

Kapacitet ove staze prepoznat je i djelatnici iz Matulja, Opatije i Rijeke dali su joj novi izgled. Teren, građevine i natjecateljska staza postupno su poprimali obrise turističko-športskog centra koji je postao važni čimbenik razvitka auto-moto športa. Vremenom je postao međunarodnim poligonom za testiranje afirmativnih vozača i najpoznatijih tvornica motora u svijetu. Bodovala se za prvenstvo Hrvatske, cestovno prvenstvo FNRJ i svjetsko prvenstvo.

Automobilistička Velika nagrada Jadrana održavala se od 1946. do 1977. godine, kao i motociklistička utrka.

Utrke Svjetskog prvenstva

Vidi još
Automotodrom Grobnik

Izvori
http://www.formula1-dictionary.net/preluk.html
Povijest VN Jugoslavije, Racing Memory

Hrvatske motociklističke staze
Hrvatske automobilističke staze

Preluk


Novy Port (en ruso: Новый Порт) es una población del distrito autónomo de Yamalia-Nenetsia, en Rusia, situada concretamente en la desembocadura del río Obi y con una población de 1790 habs.

Junto con Dikson, es el principal puerto en el mar de Kara. Su economía se basa en la industria pesquera.

Mapas

Clima

Referencias

Localidades del distrito autónomo de Yamalia-Nenetsia
Mar de Kara

Novy Port


A abelha abutre, também conhecidas como abelha carniceira, são um pequeno grupo de três espécies de abelhas sem ferrão sul-americanas do gênero Trigona, que se alimentam de carne podre. As abelhas abutres produzem uma substância semelhante ao mel que não é derivada do néctar, mas sim de secreções ricas em proteínas das glândulas hipofaríngeas das abelhas. Essas secreções são provavelmente derivadas da dieta das abelhas, que consiste em carniça comida fora do ninho. Esse comportamento incomum só foi descoberto em 1982, quase dois séculos depois que as abelhas foram classificadas pela primeira vez.

Taxonomia
As três espécies deste grupo são:

 Trigona crassipes (Fabricius, 1793)
 Trigona necrophaga (Camargo & Roubik, 1991)
 Trigona hypogea (Silvestri, 1902)

Descrição
As abelhas abutres são de cor marrom-avermelhada, apresentando apenas alguns pelos mais claros no tórax e variam em comprimento de . Tal como acontece com muitos tipos de abelha sem ferrão, a abelha abutre tem mandíbulas fortes e poderosas, que usa para arrancar a carne. As abelhas abutres foram registradas como forrageadoras de mais de 75 espécies diferentes de animais.

Abelhas abutres-forrageiras entram em animais mortos através das órbitas oculares, coletando carne, que é consumida. Semelhante a como as abelhas processam o néctar com o objetivo de eventual regurgitação e armazenamento como mel, a carne que uma abelha forrageadora come é, ao retornar à colmeia, regurgitada e passada para uma abelha operária. A carne é consumida pela abelha e processada por seu intestino altamente ácido, especializado para ajudar a quebrar a carne, antes que a abelha regurgite uma substância semelhante ao mel de suas glândulas hipofaríngeas, a mesma glândula usada pelas abelhas para produzir geléia real. A substância é rica em proteínas. Ao contrário das abelhas melíferas, as abelhas abutres não produzem mel em excesso, produzindo apenas o necessário para sustentar a colmeia.

Ecologia e comportamento
As abelhas abutres, assim como as larvas, geralmente entram na carcaça pelos olhos. Eles então vasculham o interior, colhendo a carne adequada às suas necessidades. A abelha abutre saliva na carne podre e depois a consome, armazenando a carne em seu papo. Quando retorna à colméia, essa carne é regurgitada e processada por uma abelha operária, que então secreta novamente as proteínas resultantes como um produto comestível de glicose, resistente à decomposição, semelhante ao mel. Essas secreções ricas em proteínas são então colocadas em recipientes semelhantes a potes dentro da colméia até a hora de alimentar as abelhas imaturas. As secreções substituem o papel do pólen na dieta das abelhas, pois os abutres carecem de adaptações para carregar o pólen e os estoques de pólen estão ausentes de seus ninhos, embora também armazenem mel, que é de origem desconhecida. As larvas são alimentadas com a substância à base de carniça, enquanto as abelhas adultas consomem o mel.

O sabor dessa substância semelhante ao mel é descrito como intenso, defumado e salgado, ou exclusivamente doce.

Referências

Leitura adicional

 Camargo, JMF & Roubik, DW (1991). "Sistemática e bionomia dos necrófagos obrigatórios apóides: o grupo Trigona hypogea ". Biological Journal of the Linnean Society 44 (1): 13–39.
 "Abelhas abutres" comedoras de carne, tripas ácidas esportivas e um dente extra para morder carne. Em: SciTechDaily, 25 de novembro de 2021.

Trigona

Abelha abutre


Intervenção: É Proibido Morrer é um filme de drama policial brasileiro de 2021 dirigido por Caio Cobra a partir de um roteiro de Laura Malin, Rodrigo Pimentel e Gustavo de Almeida. Protagonizado por Marcos Palmeira e Bianca Comparato com participações de Babu Santana, Dandara Mariana e Zezé Motta.

Sinopse
Larissa (Bianca Comparato) e Douglas (Marcos Palmeira) são dois policiais que trabalham em Unidade de Polícia Pacificadora (UPP) em uma comunidade do Rio de Janeiro. Diariamente, eles arriscam suas vidas por acreditarem que eles podem fazer a diferença na realidade dos moradores da região através das propostas do projeto de pacificação.

Elenco

 Marcos Palmeira como Major Douglas
 Bianca Comparato como Larissa
 Babu Santana como Cabo Ivan Lôbo
 Dandara Mariana como Flávia
 Zezé Motta como Socorro
 Rainer Cadete como Caio
 Aline Borges como Marlene
 André Ramiro como Sapão
 Vítor Thiré como Fió
 Camilla Camargo como Luíza Bastos
 Castrinho como Joaquim
 Jorge Pontual como Souza Neto
 Cíntia Rosa como Rita
 Antônio Grassi como Juíz

Produção
Intervenção é um filme de Rodrigo Pimentel, mesmo criador de Tropa de Elite e Tropa de Elite 2, escrito em parceria com Laura Malin e Gustavo de Almeida, um ex-acessor da Polícia Militar que trabalhou em Unidade de Polícia Pacificadora (UPP) entre 2009 e 2015. Para escrever o filme, foram realizadas entrevistas com mais de 50 profissionais das UPPs para se ter mais informações de suas vivências no âmbito de trabalho.

Caio Cobra assina a direção do filme, que é produzido por Altino Pavan, Angelo Salvetti e Valerio Cosimo. O longa é um lançamento da produtora Media Bridge. Segundo Caio (diretor do filme), a inspiração para dirigir e idealizar o filme se deu a partir de casos reais do dia a dia das comunidades do Rio de Janeiro. As gravações ocorreram em 2019.

Escolha do elenco
Inicialmente, a cantora Anitta estava cotada para protagonizar o filme no papel da policial que luta pelo projeto de pacificação. O nome da personagem central se deu pelo fato do verdadeiro nome da cantora ser Larissa. Entretanto, por conflito de agenda de trabalho, ela não pôde gravar o filme. Bianca Comparato foi escolhida para substituir a Anitta.

O filme ainda conta com o consagrado ator Marcos Palmeira dividindo o protagonismo com Bianca no papel de um major. Babu Santana também integra o elenco do longa, que estreou após seu grande sucesso no Big Brother Brasil. A grande atriz Zezé Motta e o humorista Castrinho atuam em participações especiais. Camilla Camargo, filha do cantor Zezé di Camargo, também atua no filme.

Lançamento
O filme estreou no Festival do Rio durante a mostra Première Brasil em 2019. Em 27 de dezembro de 2021 chegou ao grande público sendo lançado diretamente na Netflix.

Recepção

Repercussão
Em sua semana de lançamento, Intervenção ganhou bastante notoriedade dentro da plataforma de streaming da Netflix, alcançando um posto no Top10 de conteúdos mais assistidos no Brasil.

Resposta dos críticos
Rodrigo Pereira, escrevendo para o website Plano Crítico, disse que "[...] Intervenção – É Proibido Morrer é um exemplar bastante interessante dentro do gênero policial, focando no fracasso da guerra às drogas e o quanto isso afeta e destrói a vida das pessoas de todos os lados, exceto daqueles que lucram com isso e, coincidentemente, não vivem essa realidade."

O jornalista e crítico de cinema Francisco Carbone, do website Cenas de Cinema, deu ao filme 1.5 estrela de 5 (), escrevendo que "com o elenco tentando e o diretor que não consegue injetar mais gás do que o roteiro permite, 'Intervenção' carece de uma base de segurança que nunca aparece, deixando uma produção à deriva. Seus momentos tensos são bem segurados pelo trabalho de Cobra, mas quando o filme depende das linhas que montam seu cerne narrativo, o trabalho emperra e revela suas fragilidades."

Ligações externas

Filmes do Brasil de 2021
Filmes de drama do Brasil
Filmes policiais do Brasil
Filmes gravados na cidade do Rio de Janeiro
Filmes em língua portuguesa
Filmes ambientados na cidade do Rio de Janeiro

Intervenção: É Proibido Morrer


Luisa Monti Sturani (Chieri,  – Turin, ), est une enseignante et écrivaine antifasciste italienne.

Biographie
Luisa (Luigia à l'état-civil) Monti Sturani fut écrivaine et enseignante de lettres dans les écoles supérieures. Bien que son vrai nom ait été Luigia, elle s'est toujours faite appeler Luisa. Elle est l'auteur de nombreux ouvrages qui racontent la résistance italienne en tant que témoin de l'opposition au régime fasciste. Ce fut une femme qui réussit à maintenir le difficile équilibre entre engagements familiaux et engagements politiques. Esprit libre, elle représenta le profil d'une conception extrêmement loyale de la ligne du Parti communiste italien (PCI) selon la ligne du centralisme démocratique mais également d'une vision du monde pleine d'ironie et d'autonomie. Fille de  et Camilla Dezzani, elle naquit un an après leur mariage. Surnommée Luisotta par son père, elle suivra ses traces et deviendra à son tour enseignante et écrivaine. Leo Pestelli, journaliste de La Stampa et professeur de grammaire italienne à l'Université de Turin, a publié dans La Stampa le  une critique du livre de Luisa Monti Sturani qui évoquait l'assassinat d'un partisan de quinze ans.

Le , elle épouse , peintre et céramiste, membre du mouvement futuriste depuis sa jeunesse. Mario Sturani fut résistant au sein de la III° Brigata Matteotti.

Entre fin des années 1960 et début des années 1970, elle fit un voyage en URSS et retira les droits d'auteur sur Fazzoletti Rossi (Foulards rouges), une œuvre traduite et publiée en russe. Les droits d'auteur en roubles ne pouvaient ni être encaissés ni ramenés en Occident. L'œuvre se trouve auprès de la Bibliothèque d'État de Russie Красные галстуки di Стурани Луиза - Edizione Detgiz, Moscou 1957. Elle se trouve dans le Catalogue Livres (publiés depuis 1831 à nos jours). Dans la section: Argument Mouvement de guérilla au cours de la seconde guerre mondiale 1939-1945.  - Italie (d.L.) - L'Italie dans la seconde guerre mondiale 1939-1945  (d.l.)
Il est possible de trouver le livre en russe auprès du Musli (Le Musée de l'École et du Livre pour l'Enfance est la principale émanation de la Fondation Tancredi de Barolo (Italie).
Luisa Monti Sturani est morte à Turin le  à l'âge de .

Publications

Œuvres
 Antologia della Resistenza: dalla marcia su Roma al 25 Aprile (2012) .
 I Partigiani del Ciar, illustrazioni di Marcello Peola, Paravia, 1965.
 Antologia della Resistenza (1951) Editore Centro del Libro Popolare .
 Fazzoletti rossi, Cultura Sociale, 1954. En 1957, il a été traduit en russe sous le titre Красные галстуки à la maison d'édition Detgiz.
 Storia vera, Edizioni A.N.P.I. 1953.
 Il nuovo mago sapere: sussidiario per la scuola elementare, Orizzonte, 1952.
 Ora è sempre resistenza, ANPI Torino, 1954.
 Elementi di latino e di analisi logica. Per la Scuola media Loecher 2003.

Œuvres en collaboration avec d'autres auteurs
 Luisa Monti Sturani e Enrico Sturani, Grammatica e vita, Loescher, 1999.
 Luisa Monti Sturani e Mario Sturani, L'elefante con le brache, Novecento, 1991.
 Luisa Monti Sturani e Enrico Sturani, La terra dell'uomo, Principato Editore, 1972.
 Luisa Monti Sturani e scrittori vari, Quando si combatteva per la libertà, Edizioni A.N.P.I., 1972, .
 Une vingtaine d'œuvres, principalement scolaire pour les écoles secondaires du premier degré, écrites par Luisa Monti Sturani, ont été données à la Fondation Tancredi de Barolo de Turin par son fils Enrico Sturani.
 Histoires de Luisa Sturani écrites et publiées par Il Pioniere dell'Unità en 1964 sont : Une écolière partisane et Le soulèvement populaire.
 De 1952 à 1954, Luisa Monti Sturani a écrit et publié cinquante nouvelles dans le magazine pour les jeunes. Pioniere.

Œuvre suivie
 Auteur: Augusto Monti, Lettere a Luisotta, Enaudi, 1982.

Émissions de radio sur Luisa Monti Sturani
 Alfredo Pasquali, Luisa Sturani. in Radio Città Fujiko, 23 mars 2018.

Études historiques
Le Centro Studi Piero Gobetti   https://www.centrogobetti.it/ a consacré à la mémoire de Luisa Monti Sturani deux fonds d'archives: "Augusto Monti e Luisa Sturani" et "Fondo Luisa Monti e Mario Sturani.

 Le Fondo Augusto Monti e Luisa Sturani recueille la correspondance antre père et fille pendant la période de détention de Augusto Monti, entre février 1934, année de son arrestation et condamnation à 5 ans de prison par un tribunal spécial fasciste, dans la prison romaine de Regina Coeli et ensuite dans le pénitencier de Civitavecchia, jusqu'à sa libération en février 1939.
 Le Fondo Luisa Monti e Mario Sturani recueille un matériel de travail relatif à la publication de deux articles de Luisa Monti Sturani: Antologia della Resistenza (Centro del libro popolare, Rome, 1951) et Fazzoletti Rossi (Ed. di Cultura sociale, Rome, 1954). On y trouve la correspondance avec Tommaso Fiore, Norberto Bobbio, Vittorio Foa, Camilla Ravera et d'autres encore. On y trouve le matériel de rédaction pour la publication du volume: Augusto Monti, Lettere a Luisotta, Einaudi, Torino 1977. Ce fonds complète celui relatif à l'activité militaire et politique du mari de Luisa Monti Sturani.
 La Fondation Tancredi di Barolo de Turin rassemble dans ses archives le musée des Enfants du Fondo Luisa Monti Sturani avec tous les livres pour le collège de Luisa Monti Sturani Monti.

Notes et références

Liens externes

Femme de lettres italienne
Naissance en août 1911
Naissance à Turin
Décès en juin 2002
Décès à Turin
Décès à 90 ans

Luisa Monti Sturani


الحرب الجوية هي استخدام الطائرات العسكرية وآلات الطيران الأخرى في ساحات المعركة والحرب. تُستخدَم قاذفات القنابل في الحرب الجوية لمهاجمة منشآت العدو ومراكز اجتماع قوافله ومواقعه الاستراتيجية، وتحارب الطائرات المقاتلة للسيطرة على المجال الجوي. تُستخدم كذلك طائرات الهجوم للدعم الجوي القريب ضد الأهداف البرية وتحلق أيضًا طائرات الطيران البحري بالقرب من البحر والأهداف البرية القريبة منه. توظَّف الطائرات الشراعية والمروحيات النفاثة وغيرها من الطائرات لحمل العساكر المظليين (القوات المجوقلة)، وتوظَّف طائرات ناقلة للوقود لتزويد الطائرات الأخرى به جوًا لإطالة مدة العملية أو مداها. إضافةً إلى ذلك، تُستَخدَم في الحرب الجوية طائرات نقل عسكرية لنقل البضائع والأفراد.
تاريخيًا، كانت الطائرات العسكرية تستخدم بالونات أخف من الهواء تحمل مراقبي المدفعية، وكانت أيضًا تستخدم سفنًا جوية أخف من الهواء لقصف المدن وأنواع مختلفة من طائرات الاستطلاع والمراقبة والإنذار المبكر التي تحمل المراقبين والكاميرات ومعدات الرادار. استُخدمت كذلك قاذفات الطوربيد لمهاجمة حمولات العدو وطائرات إنقاذ عسكرية جوية-بحرية لإنقاذ الطيارين الذين سقطوا. تستخدم الحرب الجوية الحديثة صواريخ ومركبات جوية آلية دون الحاجة إلى وجود بشري فيها. من المرجح أن  ترد القوات العسكرية البرية على النشاط الجوي للعدو باستخدام آليات الدفاع الجوي.

نبذة تاريخية
بدأ تاريخ الحرب الجوية في العصور القديمة باستخدام الطائرات الورقية الحاملة للبشر في الصين القديمة. تطور الأمر في القرن الثالث إلى استخدام المناطيد.

استُخدمت الطائرات في الحرب التي بدأت في عام 1911 للاستطلاع الجوي والقتال لإسقاط طائرات استطلاع العدو. استمرت الطائرات في أداء هذه الأدوار خلال الحرب العالمية الأولى التي بدأ فيها استخدام الطائرات والمناطيد لقصف المواقع الاستراتيجية.
زاد استخدام القصف الاستراتيجي خلال الحرب العالمية الثانية التي بدأ فيها استخدام القوات المحمولة جوًا بالإضافة إلى القذائف والذخائر الموجهة بدقة.

أصبحت الصواريخ الباليستية ذات أهمية أساسية خلال الحرب الباردة، إذ كانت مسلحة برؤوس حربية نووية. خزن كل من الولايات المتحدة الأمريكية والاتحاد السوفيتي هذه الصواريخ لردع بعضهم البعض عن استخدامها. استُخدِم أول قمر صناعي عسكري للاستطلاع في خمسينيات القرن الماضي، وتقدّم استخدام هذه التقنيات ليتحول إلى شبكات اتصالات ومعلومات عالمية تمنح المستخدمين العسكريين الموزعين في جميع أنحاء العالم معلومات استخباراتية من المدار.

الاستطلاع الجوي
الاستطلاع الجوي هو استطلاع لغرض عسكري أو استراتيجي يجري باستخدام طائرة استطلاع. قد تلبي هذه الطائرات مجموعة متنوعة من المتطلبات، بما في ذلك جمع الصور ومراقبة مناورات العدو وتحديد مواقع المدفعية.

المناورات الجوية القتالية
المناورات الجوية القتالية (المعروفة أيضًا باسم المعارك الجوية) هي فن تكتيكي يستخدم مناورات التحرك والالتفاف للوصول إلى موقع يمكن من خلاله شن هجوم على طائرة أخرى. تعتمد المعارك الجوية على استخدام مناورات دفاعية وهجومية أساسية للتفوق على الخصم الجوي.

القوات المحمولة جوًا
القوات المحمولة جوًا هي وحدات عسكرية عادةً ما تكون فرقًا خفيفة من المشاة، تُنقَل باستخدام الطائرات لتنزل إلى ساحة المعركة بواسطة المظلة. يمكن وضع هذه الفرق خلف خطوط العدو، وبذلك تملك القدرة على الانتشار في أي مكان تقريبًا دون سابق إنذار. تتحدد الفرق بعدد وحجم الطائرات الحاملة، لذا قد تظهر قوة ضخمة بشكل مفاجئ خلال دقائق عبر استخدام طائرات بسعة كافية. يشار لهذه العملية باسم الهبوط العمودي (اعتداء جوي).
تفتقر القوات المحمولة جوًا إلى الإمدادات والمعدات اللازمة للعمليات القتالية الطويلة، وبالتالي فهي أكثر ملاءمة لعمليات الرؤوس الجوية لا الاحتلال طويل الأجل. تتأثر العمليات المظلية بشكل خاص بالظروف الجوية السيئة. جلبت التطورات في تكنولوجيا طائرات الهليكوبتر منذ الحرب العالمية الثانية مرونة متزايدة في نطاق العمليات المحمولة جوًا، وحلت الهجمات الجوية محل العمليات المظلية واسعة النطاق بشكل كامل تقريبًا.

مراجع

حرب جوية
حرب حسب النوع
طيران عسكري

حرب جوية


Le parc de la culture et des loisirs Taras Chevtchenko  (en ), ou parc Chevtchenko, est un parc situé à Odessa, en Ukraine.

Le stade Tchornomorets, le  et la  s'y trouvent.

Il porte le nom du poète Taras Chevtchenko.

Odessa
Parc ou jardin public en Ukraine
Taras Chevtchenko

Parc Chevtchenko


An Trisetum serpentinum in uska species han Liliopsida nga ginhulagway ni Elizabeth Edgar ngan A.P.Druce. An Trisetum serpentinum in nahilalakip ha genus nga Trisetum, ngan familia nga Poaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Trisetum

Trisetum serpentinum


The Battle of Gross-Jägersdorf (30 August 1757) was a victory for the Russian force under Field Marshal Stepan Fyodorovich Apraksin over a smaller Prussian force commanded by Field Marshal Hans von Lehwaldt, during the Seven Years' War. This was the first battle in which Russia engaged during the Seven Years' War.

Despite the tactical success, supply problems made a successful advance further into East Prussia impractical.  Apraksin decided not to take Königsberg and ordered a withdrawal soon after the battle. Suspecting collusion between Apraksin and Chancellor Alexey Bestuzhev-Ryumin, who had opposed the invasion, Elizabeth of Russia removed Apraksin from command, ordered Bestuzhev-Ryumin to face trial for treason, and appointed William Fermor as the head of the army. Femor led the army back into East Prussia in the following year.

Seven Years' War

Although the Seven Years' War was a global conflict, it took a specific intensity in the European theater based on the recently concluded War of the Austrian Succession (1740–1748). The 1748 Treaty of Aix-la-Chapelle gave Frederick II of Prussia, known as Frederick the Great, the prosperous province of Silesia. Empress Maria Theresa of Austria had signed the treaty to gain time to rebuild her military forces and forge new alliances; she was intent upon regaining ascendancy in the Holy Roman Empire as well as the Silesian province.  In 1754, escalating tensions between Britain and France in North America offered  France an opportunity to break the British dominance of Atlantic trade. Seeing the opportunity to regain her lost territories and to limit Prussia's growing power, Austria put aside the old rivalry with France to form a new coalition. Faced with this turn of events, Britain aligned herself with the Kingdom of Prussia; this alliance drew in not only the British king's territories held in personal union, including Hanover, but also those of his relatives in the Electorate of Brunswick-Lüneburg and the Landgraviate of Hesse-Kassel. This series of political maneuvers became known as the Diplomatic Revolution.

At the outset of the war, Frederick had one of the finest armies in Europe: his troops—any company—could fire at least four volleys a minute, and some of them could fire five.  By the end of 1757, the course of the war had gone well for Prussia, and poorly for Austria.  Prussia had achieved spectacular victories at Rossbach and Leuthen and reconquered parts of Silesia that had fallen back to Austria. The Prussians then pressed south into Austrian Moravia. In April 1758, Prussia and Britain concluded the Anglo-Prussian Convention in which the British committed to pay Frederick an annual subsidy of £670,000. Britain also dispatched 7,000–9,000 troops  to reinforce Frederick's brother-in-law, the Duke Ferdinand of Brunswick-Wolfenbüttel's army. Ferdinand evicted the French from Hanover and Westphalia and re-captured the port of Emden in March 1758; he crossed the Rhine, causing general alarm in France. Despite Ferdinand's victory over the French at the Battle of Krefeld and the brief occupation of Düsseldorf, successful manoeuvres of the larger French forces required him to withdraw across the Rhine.

While Ferdinand and the British allies kept the French busy in the Rhineland, Prussia had to contend with Sweden, Russia, and Austria. There remained a possibility that Prussia could lose Silesia to Austria, Pomerania to Sweden, Magdeburg to Saxony, and East Prussia to Poland or Russia: an entirely nightmarish scenario. In particular, East Prussia was cut off from the rest of Prussia by  of Polish territory, and seemed  an easy target, but some Russian court officials—notably Chancellor Alexey Bestuzhev-Ryumin—opposed Russia's entry into what seemed like a largely western European dispute.  Bestuzhev-Ryumin did not trust the Prussians, but also had little liking for the French or the British. In this conflict, which grew out of the major realignment of European power diplomacy, it was difficult to determine if the enemy of an enemy was a friend.

Dispositions
The Russian field marshal Stepan Fyodorovich Apraksin commanded an army of approximately 55,000 men and crossed the Niemen.  They captured Memel, which became the army's base for an invasion of the rest of Prussia. Apraxin was cautious, however, and inexperienced in wartime measures. Instead of marching on Wehlau, as was expected, he ordered his forces to cross the Pregel River in safety, near the village of Gross-Jägersdorf. The position in East Prussia had stretched the Russian supply lines, and the troops were forced to forage. Foraging quickly degenerated into unruliness and turned into a scorched earth policy, a process that Frederick derided, thinking the Russians undisciplined troops; a disciplined army, the King reasoned, would make quick work of them. They moved on Königsberg, to try to take or at least invest the city.
Frederick sent his 70-year-old Field Marshal Hans von Lehwaldt, who commanded of forces in East Prussia, with 28,000 men; he supplied Lehwaldt with one hundred officers' patents to fill as he saw fit, expecting him to strengthen the army there. He also sent ambiguous orders to take on the Russians whenever his field marshal saw fit. Frederick had not given him specific instructions, just general ones to act when the moment seemed propitious.

Battle

The Russians started the day with a leisurely march, but the army was undisciplined and difficult to move in any concentrated, organized way. Seeing the opportunity, the Prussians attacked the milling and "unprepared mob" of Russian soldiers. Lehwaldt's cavalry attacked the northern and southern flanks of the Russian army, inflicting initial heavy losses. The Russians, entirely unprepared for an assault by an army half its size, degenerated into further confusion. Apraxin's inexperienced commanders tried to organize the infantry; General Pyotr Rumyantsev, who later became one of Russia's best generals, managed to rally the Russians in the center, as it recovered from the shock of the initial attack. General Vasily Lopukhin was bayoneted by the Prussians: some reports say he died in the arms of his comrades, others, that he died a few days later.

Initially, Lehwaldt's force retained some advantage in the battle. The fierce Prussian assault prevented the Russians from forming the traditional squares with which to repel cavalry, but they did not break and run. Furthermore, observers reported that the main force of Prussians advancing on the center fired volley upon volley with their usual ruthless efficiency. The Russian army recovered from the shock of the initial assault and counter-attacked. Initially mesmerized by the Prussian onslaught, the Russians recovered to shoot back; their return fire was not of the same efficiency, but it was nevertheless effective and the Prussian line eventually collapsed under it. Furthermore, the Kalmyk cavalry and the Don Cossacks, on the Prussian left, pretended to retreat so as to trap the attacking Prussians under heavy artillery fire. This was an effort by Apraksin to encircle the Prussians with his larger army, which Lehwaldt was able to avoid.

Lehwaldt's force retired to its former camp and held its ground there.

Aftermath
The Prussians achieved a surprise attack, seized a number of positions from numerically superior forces and inflicted equivalent losses. As at Zorndorf, they proved to be effective against stronger forces in close-quarter fighting. On the other hand, the Russians, as a Saxon officer remarked, "had neither time nor opportunity to form a square, and yet they did extremely well", despite being taken completely by surprise. Lehwaldt lost between 4,600 and 5,000 casualties and Apraxin, approximately 5,400. Some sources estimate Russian losses as higher: perhaps half again as many casualties, so in the 7,000 range.

Although Lehwaldt withdrew his corps from the battle, and subsequently oversaw the Blockade of Stralsund.  The Russian success at Gross-Jägersdorf also encouraged Sweden to join the fight against Prussia.

Impact on Russian Army
In the aftermath, it was popularly expected in Russia that Apraksin would pursue the Prussian retreat and eventually overrun all of East Prussia; he was, after all, only  away from the Königsberg. Inexplicably, the general stopped his advance towards Königsberg and withdrew back into Russia. Historians offer several reasons: after hearing a false report that Empress Elizabeth of Russia had died; to support Peter III as heir to the throne; Apraxin marched on Königsberg but his troops, lacking in supplies, suffered considerable attrition; and, finally, an epidemic of smallpox, which hit the Russian army, especially the Kalmyks, and resulted in 8.5 times more deaths than all the battles fought in 1757.

Recent research suggests that the Russians were entirely unprepared for war beyond their western border and had not realistically evaluated their potential supply problems in East Prussia. Apraxin, at best a modest commander, had assessed supplies in the region and believed they were sufficient; he had not established specifically Russian supply depots in Polish–Lithuanian Commonwealth, which was neutral, but intended to rely on local supply. In 1757, the ongoing support of the 92,000 horses alone required more fodder than was available from any of the friendly territories in Livland, much less unfriendly East Prussia. Furthermore, the Russians had made no effort to expand their supply depots using the Baltic's seaports, which would have been the most obvious way to feed that number of troops at that distance. Finally, the efforts at the troops to requisition supplies were met by a localized guerilla uprising; farmers burnt their crops and destroyed their supplies rather than give to the Russians. Once the Russians reached Livland, observers noted exhausted troops hauling carts because their horses, living on a diet of oak leaves, dropped dead by the hundreds every day.

The Empress was so angry with Apraxin that she removed him from command, and launched an investigation into his actions. She put Alexey Bestuzhev-Ryumin, her chancellor and a friend of Apraxin, on trial for treason. Bestuzhev-Ryumin was later exiled to his estates. Elizabeth appointed William Fermor as the new Russian commander and the next year the invasion was started again. Fermor had an entirely different attitude towards supplying his troops, and developed an extensive network of local supply depots and sources outside of the Russian boundary. This, though, attracted aspersions from his political enemies in St. Petersburg, who claimed he was wasting the imperial treasury; however, Fermor was considerably more successful in 1758 than his predecessor had been in 1757.

Citations and notes

Notes

Citations

Reading
Anderson, Fred. Crucible of War: The Seven Years' War and the Fate of Empire in British North America, 1754–1766. Knopf Doubleday Publishing Group, 2007, .
Asprey, Robert. Frederick the Great: A Magnificent Enigma. Ticknor & Fields, 2007,
Bassett, Richard.  For God and Kaiser: The Imperial Austrian Army, 1619–1918. Yale University Press, 2015.
 Berenger, Jean.The Habsburg Empire 1700–1918. Routledge, 2014,
Black, Jeremy. Essay and Reflection: On the 'Old System' and the Diplomatic Revolution' of the Eighteenth Century. International History Review. (1990) 12:2 pp. 301–323
Blanning, Tim. Frederick the Great, King of Prussia. NY, Random House, 2016,
Bodart, Gaston.  Losses of Life in Modern Wars, Austria-Hungary. Clarendon Press, 1916.
Dull, Jonathan R. The French Navy and the Seven Years' War, U of Nebraska Press, 2007,
Duffy, Christopher. Frederick the Great: A Military Life. New York: Routledge, Chapman & Hall, 1985.
Horn, D. B. "The Diplomatic Revolution" in J.O. Lindsay, ed., The New Cambridge Modern History vol. 7, The Old Regime: 1713–63 (1957): pp 449–64
Jones, Archer. The Art of War in the Western World. University of Illinois Press, 2001,
Keep, John.Feeding the Troops: Russian Army Supply Policies during the Seven Years War. Canadian Slavonic Papers, Vol. 29, No. 1 (March 1987), pp. 24–44, pp. 29–31.
Krattli, Edward, "Battle of Gross-Jaegersdorf," in Timothy C. Dowling Russia at War: From the Mongol Conquest to Afghanistan, Chechnya, and Beyond, ABC-CLIO, 2014, . pp. 334–5.
Longman, Frederick William. Frederick the Great and the Seven Years' War. Longmans, Green, and Company, 1881.
Malleson, Col. G. B. Loudon: A Sketch Of The Military Life Of Gideon Ernest. Pickle Partners Publishing, 2016 (1872)
MacDonogh, Giles. Frederick the Great: A Life in Deed and Letters. St. Martin's Griffin, New York, 2001,
Oliphant, John. A/AS Level History for AQA Russia in the Age of Absolutism and Enlightenment, Cambridge University Press, 2016,
Redman, Herbert J. Frederick the Great and the Seven Years' War, 1756–1763. McFarland, 2014,
Ralli, Augustus. Guide to Carlisle. G. Allen & Unwin Limited, 1922
 Robitschek, Norbert.  Hochkirch: Eine Studie. Verlag von teufens, Wien 1905
Showalter, Dennis, Frederick the Great, a Military History. Frontline, 2012.
Scott, Hamish. The Birth of a Great Power System, 1740–1815, Routledge, 2014
Simms, Brendan. Europe: The Struggle for Supremacy, 1453–present. Basic Books, 2013,
Szabo, Franz J. The Seven Years War in Europe: 1756–1763. Routledge, 2013.
Wilson, Peter H., The Heart of Europe: A History of the Holy Roman Empire. Penguin, 2016,  pp. 478–479.
Zabecki, David. Germany at War. Germany at War: 400 Years of Military History (2014 2015). Vol. I−IV, ABC-CLIO,

External links

  Apraksin's report about the battle (with a map appended)
 1757-08-30 – Battle of Gross-Jägersdorf

Battle of Gross-Jagersdorf
Battles of the Seven Years' War
Battles involving Prussia
Battles involving Russia
East Prussia
1757 in Prussia
Battles of the Silesian Wars
History of Kaliningrad Oblast

Battle of Gross-Jägersdorf


Sir Peter Reginald Frederick Hall CBE (22 November 1930  11 September 2017) was an English theatre, opera and film director. His obituary in The Times declared him "the most important figure in British theatre for half a century" and on his death, a Royal National Theatre statement declared that Hall's "influence on the artistic life of Britain in the 20th century was unparalleled". In 2018, the Laurence Olivier Awards, recognizing achievements in London theatre, changed the award for Best Director to the Sir Peter Hall Award for Best Director.

In 1955, Hall introduced London audiences to the work of Samuel Beckett with the UK premiere of Waiting for Godot. Hall founded the Royal Shakespeare Company (1960–68) and went on to build an international reputation in theatre, opera, film and television. He was director of the National Theatre (1973–88) and artistic director of Glyndebourne Festival Opera (19841990). He formed the Peter Hall Company (19982011) and became founding director of the Rose Theatre Kingston in 2003. Throughout his career, he was a tenacious champion of public funding for the arts.

Early life and career
Peter Reginald Frederick Hall was born in Suffolk at Bury St Edmunds, the only son of Grace Florence (née Pamment) and Reginald Edward Arthur Hall. His father was a stationmaster and the family lived for some time at Great Shelford Station. He won a scholarship to The Perse School in Cambridge. Before taking up a further scholarship to read English at St. Catharine's College, Cambridge, Hall did his National Service in Germany at the RAF Headquarters for Education in Bückeburg. Whilst studying at Cambridge he produced and acted in a number of plays, directing five in his final year and a further three for The Marlowe Society Summer Festival. He served on the University Amateur Dramatic Club (ADC) committee before graduating in 1953. In the same year, Hall staged his first professional play, The Letter by W. Somerset Maugham, at The Theatre Royal Windsor. In 1954 and 1955, Hall was the director of the Oxford Playhouse where he directed several later prominent young actors including Ronnie Barker and Billie Whitelaw. Eileen Atkins and Maggie Smith were also part of the company as acting Assistants Stage Managers.

From 1955 to 1957, Hall ran the Arts Theatre in London where he directed the English-language premiere of Waiting for Godot in 1955. The production's success transformed his career overnight and attracted the attention, among others, of Tennessee Williams, for whom he would direct the London premieres of Camino Real (1957) and Cat on a Hot Tin Roof (1958), and Harold Pinter. Other productions at The Arts included the English language premiere of The Waltz of the Toreadors by Jean Anouilh.

Royal Shakespeare Company
Hall made his debut at the Shakespeare Memorial Theatre in Stratford-upon-Avon in 1956 with Love's Labour's Lost: his productions there in the 19571959 seasons included Cymbeline with Peggy Ashcroft as Imogen, Coriolanus with Laurence Olivier and A Midsummer Night's Dream with Charles Laughton. In 1960, aged 29, Hall succeeded Glen Byam Shaw as director of the theatre, expanded operations to be all-year, and founded the Royal Shakespeare Company (RSC) to realise his vision of a resident ensemble of actors, directors and designers producing both modern and classic texts, with a distinctive house style. The company not only played in Stratford but expanded into the Aldwych Theatre, its first London home.

Hall's many productions for the RSC included Hamlet (1965, with David Warner), The Government Inspector (1966, with Paul Scofield), the world premiere of Harold Pinter's The Homecoming (1965) and The Wars of the Roses (1963) adapted with John Barton from Shakespeare's history plays. The latter was described as "the greatest Shakespearian event in living memory which also laid down the doctrine of Shakespearian relevance to the modern world". Hall left the RSC in 1968 after almost ten years as its director.

At the National Theatre

Hall was appointed director of the National Theatre (NT) in 1973 and led the organisation for fifteen years until 1988. He supervised the move from the Old Vic to the new purpose-built complex on London's South Bank "in the face of wide-spread scepticism and violent union unrest, turning a potential catastrophe into the great success story it remains today." Frustrated by construction delays, Hall decided to move the company into the still-unfinished building and to open it theatre by theatre as each neared completion. Extracts from his production of Tamburlaine the Great with Albert Finney were performed out on the terraces, free to passers-by.

Hall directed thirty-three productions for the NT including the world premieres of Harold Pinter's No Man's Land (1975, with John Gielgud and Ralph Richardson) and Betrayal (1978), Peter Shaffer's Amadeus (1979, with Paul Scofield and Simon Callow), and the London and Broadway premieres of Alan Ayckbourn's Bedroom Farce. Other landmark productions included The Oresteia (in a version by Tony Harrison with music by Harrison Birtwistle, 1981) which became the first Greek play to be performed by a foreign company at the ancient theatre of Epidaurus, Animal Farm (in his own adaptation, 1984) and Antony and Cleopatra with Judi Dench and Anthony Hopkins (1987).

Hall returned to the NT for the last time in 2011 with a production of Twelfth Night mounted by the company to celebrate his eightieth birthday. His daughter, Rebecca Hall, played Viola alongside Simon Callow as Sir Toby Belch in the Cottesloe Theatre.

Later theatre career
Upon leaving the NT in 1988, Hall launched his own commercial company with productions in the West End and on Broadway of Tennessee Williams' Orpheus Descending (with Vanessa Redgrave) and The Merchant of Venice (with Dustin Hoffman). The Peter Hall Company went on to stage more than sixty plays in association with a number of producing partners including Bill Kenwright and Thelma Holt. In addition to an ensemble repertory season at the Old Vic (1997), the company enjoyed a long collaboration with the Theatre Royal, Bath where a series of summer festivals were staged from 20032011: many productions were subsequently performed on domestic and international tours and in the West End. The plays produced included Oscar Wilde's An Ideal Husband (1992), Pam Gems' Piaf (with Elaine Paige, 1993), Hamlet (with Stephen Dillane, 1994), Henrik Ibsen's The Master Builder (with Alan Bates, 1995), A Streetcar Named Desire (with Jessica Lange, 1996), Julian Barry's Lenny (with Eddie Izzard, 1999), As You Like It (with Rebecca Hall and Dan Stevens, 2003), Brian Clark's Whose Life is it Anyway? (with Kim Cattrall, 2005), the fiftieth anniversary production of Waiting for Godot, Coward's Hay Fever (with Judi Dench, 2006) and Shaw's Pygmalion (with Tim Pigott-Smith and Michelle Dockery, 2007). Hall's final productions for his company were Henry IV, Part 1 and Part 2 (2011), staged at the Theatre Royal Bath.

Hall directed extensively in the United States including the world premiere of John Guare's Four Baboons Adoring the Sun (Lincoln Center, 1992), three Shakespeare plays with Center Theater Group, Los Angeles (1999 and 2001) and John Barton's nine-hour epic Tantalus (2000), an RSC co-production with the Denver Center for the Performing Arts.

In 2003, Hall became the founding director of The Rose Theatre  a new venue to be constructed in Kingston upon Thames whose design was inspired by the Elizabethan original. He directed a number of productions there including Chekhov's Uncle Vanya, which opened the building in 2008, and A Midsummer Night's Dream (with Judi Dench as Titania, 2010). Hall was also appointed "Director Emeritus" of The Rose Kingston.

Opera
Peter Hall was also an internationally celebrated opera director. His first experience was in 1957, directing The Moon and Sixpence by John Gardner at Sadler's Wells. He was able to play the piano well enough to read opera scores. His first major project was Schoenberg's Moses und Aron at Covent Garden, which led on to further productions at that house.
Hall worked at many of the world's leading houses as well as Royal Opera House, including the Metropolitan Opera in New York, Houston Grand Opera, Los Angeles Opera, Lyric Opera of Chicago and the Bayreuth Festival where he, with conductor Georg Solti, directed Wagner's Ring Cycle (Der Ring des Nibelungen) in 1983 to honour the centenary of the composer's death. The production was played until 1986. Hall staged the world premieres of Michael Tippett's The Knot Garden (1970) and New Year (1989). He had a close relationship with the Glyndebourne Festival where he was artistic director from 1984 to 1990, directing more than twenty productions including the Mozart/Da Ponte operas. His production of Benjamin Britten's A Midsummer Night's Dream (1981) was revived nine times, most recently 35 years after its premiere, in August 2016. Hall also directed Albert Herring by Benjamin Britten, Cavalli's La Calisto, Monteverdi's Il ritorno d'Ulisse in patria and Gluck's Orfeo ed Euridice (all with Janet Baker); L'incoronazione di Poppea and Carmen – both with his then wife, Maria Ewing, with whom he also staged a celebrated Salome (The Royal Opera London and L.A. Opera) in 1986. Opera magazine noted Hall's characteristics as (in relation to La Cenerentola at Glyndebourne) "dignity and emotional veracity", recalling that "he would always insist that 'the singers, like actors, played off each other'".

Film and TV

Hall's films for cinema and TV include Akenfield (1974), a fictionalisation based on Ronald Blythe's oral history and filmed in Blythe's native Suffolk with a cast of local people. It was restored and relaunched in 2016 by the BFI. Hall's film She's Been Away was written by Stephen Poliakoff and starred Peggy Ashcroft and Geraldine James who both won awards for their performances at the Venice Film Festival. Hall also directed The Camomile Lawn and The Final Passage for Channel 4 television, as well as a number of his opera and stage productions. His only American studio movie, the 1995 erotic thriller Never Talk to Strangers, "proved to me that I have no aptitude whatever for surviving the Hollywood rat race," as Hall wrote in the updated edition of his memoir Making an Exhibition of Myself. For several years during the 1970s he presented the arts programme Aquarius for London Weekend Television. In 2005 he was the subject of a two-hour documentary for The South Bank Show, Peter Hall, Fifty Years in Theatre.

Acting
Hall began acting as a student at Cambridge University, where Dadie Rylands taught him to speak Shakespearean verse. He was also influenced in his understanding of Shakespeare by the literary critic and teacher F. R. Leavis. He subsequently acted in three German films in the 1970s: Der Fußgänger (The Pedestrian, directed by Maximilian Schell, 1973), Als Mutter streikte (When Mother Went on Strike, 1974) and Der letzte Schrei (The Last Word, 1974).

Books
His books on theatre include The Necessary Theatre (Nick Hern, 1999), Exposed by the Mask (Oberon, 2000) and Shakespeare's Advice to the Players (Oberon, 2003). The Peter Hall Diaries  the Story of a Dramatic Battle, edited by John Goodwin (Hamish Hamilton) were first published in 1983 and documented his struggle to establish the National Theatre on the South Bank. His autobiography, Making an Exhibition of Myself (Sinclair-Stevenson), was published in 1993.

Awards
Peter Hall was appointed a CBE in 1963 and knighted in 1977 for his services to the theatre. He was awarded the Chevalier de L'Ordre des Arts et des Lettres (1965), received the Hamburg University Shakespeare Prize (1967) and was elected Member of the Athens Academy for Services to Greek Drama (2004). His professional awards and nominations included two Tony Awards (The Homecoming and Amadeus) and four awards for lifetime achievement in the arts. In 2005 Hall was inducted into the American Theater Hall of Fame. He was Chancellor of Kingston University (20002013), held the Wortham Chair in Performing Arts at the University of Houston (19992002) and was awarded honorary doctorates from a number of universities including Cambridge, York, Liverpool, Bath and London.

Personal life

Hall was married four times. He had six children and nine grandchildren. His first wife was French actress Leslie Caron, with whom he had a son, Christopher (b. 1957), and a daughter, Jennifer (b. 1958). With his second wife, Jacqueline Taylor, he had a son, Edward (b. 1966), and a daughter, Lucy (b. 1969). Hall married American opera singer Maria Ewing in 1982 with whom he had one daughter, Rebecca (b. 1982). He was finally married to Nicki Frei; the couple had one daughter, Emma (b. 1992).

Hall worked with all his children: for the National Theatre, Jennifer played Miranda in The Tempest (1988); Rebecca, aged nine, played young Sophie in the Channel 4 adaptation of The Camomile Lawn, for The Peter Hall Company she played Vivie in Mrs Warren's Profession (2002), Rosalind in As You Like It (2003), Maria in Gallileo's Daughter (2004) and, for the NT, Viola in Twelfth Night (2011); Emma, aged two, played Joseph in Jacob (2004, TV Movie); for the Peter Hall Company, Lucy designed Hamlet (1994), Cuckoos (2003) and Whose Life is it Anyway? (2005); Christopher produced the Channel 4 television drama The Final Passage (1996); Edward co-directed the stage epic Tantalus (2000).

Hall was diagnosed with dementia in 2011 and retired from public life.

Hall was described by Guardian contributor Mark Lawson as a "committed atheist, from as early as his 20s", leading "to a punishing work rate in his hurry to get everything done".

Death and legacy
On 11 September 2017, Hall died from pneumonia at University College Hospital, London, surrounded by family. He was 86 years old.

His obituary in The Times declared him "the most important figure in British theatre for half a century" and a Royal National Theatre statement declared that Hall's "influence on the artistic life of Britain in the 20th century was unparalleled".

Many luminaries of British theatre paid tribute to Hall. Nicholas Hytner said: "Without him there would have been no Royal Shakespeare Company."<ref name="auto">"Sir Peter Hall, Royal Shakespeare Company founder, dies aged 86". Daily Telegraph', 12 September 2017.</ref> Trevor Nunn said: "Not only a thrilling director, he was the great impresario of the age." Richard Eyre called Hall the "godfather" of British theatre: "Peter created the template of the modern director – part-magus, part-impresario, part-politician, part celebrity." Impresario Cameron Mackintosh said: "It's thanks to Peter Hall that people like Trevor Nunn, Nicholas Hytner and Sam Mendes transformed musical theatre around the world." Theatre critic Michael Coveney said that he believed Hall's production of The Wars of the Roses "recast the [Shakespeare] history plays and put them at the centre of our culture".

Peter Brook said: "Peter was a man for all seasons – he could play any part that was needed". Elaine Paige said: "Peter Hall had absolute authority and, as a heavyweight of the theatre, real presence." Griff Rhys Jones said: "Peter was an absolute smoothie, the most charming and diplomatic man" and Samuel West said "Peter was an extraordinarily energetic, imaginative director – if you left him in the corner of a room he'd direct a play – but he was also a great campaigner. He never stopped arguing for the role of subsidised art in a civilised society and its ability to change people's lives."

In April 2018, the Society of London Theatre, which presents the annual Laurence Olivier Awards recognizing achievements in London theatre, changed the award for Best Director to the Sir Peter Hall Award for Best Director.

 Selected works
 Stage productions
Hall published a complete list of his productions in his autobiography:

 The Letter (W. Somerset Maugham, Theatre Royal Windsor) 1953
 Blood Wedding (Lorca, London debut, Arts Theatre) 1954
 The Impresario from Smyrna (Goldoni, Arts Theatre) 1954
 The Immoralist (Gide, Arts Theatre) 1954
 Listen to the Wind (Angela Jeans, music by Vivian Ellis, Arts Theatre) 1954
 The Lesson (Ionesco, Arts Theatre) 1955
 South (Julian Green, Arts Theatre) 1955
 Mourning Becomes Electra (O'Neill, Arts Theatre) 1955
 Waiting for Godot (Beckett, English-language world premiere, Arts Theatre) 1955
 The Burnt Flower-Bed (Ugo Betti, Arts Theatre) 1955
 Summertime (Ugo Betti, Arts Theatre) 1955
 The Waltz of the Toreadors (Jean Anouilh, English-language premiere, Arts Theatre) 1956
 Gigi (Colette, New Theatre) 1956
 Love's Labours Lost (Shakespeare, Stratford-on-Avon) 1956
 The Gates of Summer (John Whiting, New Theatre Oxford) 1956
 Camino Real (Tennessee Williams, Phoenix Theatre, London) 1957
 The Moon and Sixpence (John Gardner, opera debut, Sadlers Wells) 1957
 Cymbeline (Shakespeare, Stratford-on-Avon) 1957
 The Rope Dancers (Morton Wishengard, New York debut, Cort Theatre) 1957
 Cat on a Hot Tin Roof (Tennessee Williams, Comedy Theatre) 1958
 Twelfth Night (Shakespeare, Stratford-on-Avon) 1958
 Brouhaha (George Tabori, Aldwych) 1958
 Shadow of Heroes (Robert Ardrey, Piccadilly Theatre) 1958
 Madame de… (Anouilh, Arts Theatre) 1959
 Traveller Without Luggage (Anouilh, Arts Theatre) 1959
 A Midsummer Night's Dream (Shakespeare, Stratford-on-Avon) 1959
 Coriolanus (Shakespeare, Stratford-on-Avon) 1959
 The Wrong Side of the Park (John Mortimer, Cambridge Theatre) 1959
 The Two Gentlemen of Verona (Shakespeare, Royal Shakespeare Company) 1960
 Twelfth Night (Shakespeare, RSC) 1960
 Troilus and Cressida (Shakespeare, RSC) 1960
 Ondine (Giradoux, RSC, Aldwych) 1961
 Becket (Anouilh, RSC, Aldwych) 1961
 Romeo and Juliet (Shakespeare, RSC) 1961
 A Midsummer Night's Dream (Shakespeare, RSC) 1962
 The Collection (Pinter, RSC) 1962
 Troilus and Cressida (Shakespeare, RSC) 1962
 The Wars of the Roses (adapted with John Barton from Shakespeare's  Henry VI Parts 1, 2 and 3 and Richard III, RSC) 1963
 Edward IV (Shakespeare, RSC) 1963
 Richard II (Shakespeare, RSC) 1964
 Henry IV Parts 1 and 2 (Shakespeare, RSC) 1964
 Henry V (Shakespeare, RSC) 1964
 Eh? (Henry Livings, RSC, Aldwych) 1964
 The Homecoming (Pinter, world premiere, RSC) 1965
 Moses and Aaron (Schoenberg, UK premiere, Royal Opera House) 1965
 Hamlet (Shakespeare, RSC) 1965
 The Government Inspector (Gogol, RSC, Aldwych) 1966
 The Magic Flute (Mozart, Royal Opera House) 1966
 Staircase (Charles Wood, RSC, Aldwych) 1966
 Macbeth (Shakespeare, RSC) 1967
 A Delicate Balance (Edward Albee, RSC, Aldwych) 1969
 Dutch Uncle (Simon Gray, RSC, Aldwych) 1969
 Landscape and Silence (Pinter, world premieres, RSC, Aldwych) 1969
 The Knot Garden (Tippett, world premiere, Royal Opera House) 1970
 La Calisto (Cavalli, Glyndebourne debut, Glyndebourne Festival Opera) 1970
 The Battle of Shrivings (Shaffer, Lyric Theatre) 1970
 Eugene Onegin (Tchaikovsky, Royal Opera House) 1971
 Old Times (Harold Pinter, world premiere, RSC Aldwych) 1971
 Tristan und Isolde (Wagner, Royal Opera House) 1971
 All Over (Edward Albee, RSC, Aldwych) 1972
 Il Ritorno d'Ulisse (Monteverdi, Glyndebourne Festival Opera) 1972
 Via Galactica (lyrics by Christopher Gore, music by Galt MacDermot, New York) 1972
 Le Nozze di Figaro (Mozart, Glyndebourne Festival Opera) 1973
 The Tempest (Shakespeare, National Theatre) 1973
 John Gabriel Borkman (Ibsen, NT) 1974
 Happy Days (Beckett, NT) 1974
 No Man's Land (Pinter, world premiere, NT) 1975
 Hamlet (Shakespeare, official opening of the Lyttelton, NT) 1975
 Judgement (Barry Collins, NT) 1975
 Tamburlaine the Great (Christopher Marlowe, official opening of the Olivier, NT) 1976
 Bedroom Farce (Ayckbourn, also co-director, London and US premieres, NT and Broadway) 1977
 Don Giovanni (Mozart, Glyndebourne Festival Opera) 1977
 Volpone (Ben Jonson, NT) 1977
 The Country Wife (Wycherley, NT) 1977
 Cosi fan Tutte (Mozart, Glyndebourne Festival Opera) 1978
 The Cherry Orchard (Chekhov, NT) 1978
 Macbeth (Shakespeare, NT) 1978
 Betrayal (Pinter, world premiere, NT) 1978
 Fidelio (Beethoven, Glyndebourne Festival Opera) 1979
 Amadeus (Peter Shaffer, world premiere, NT) 1979
 Othello (Shakespeare, NT) 1980
 A Midsummer Night's Dream (Britten, Glyndebourne Festival Opera) 1981
 The Oresteia (Aeschylus, trans. Harrison, NT and Epidaurus) 1981
 Orfeo et Eurydice (Gluck, Glyndebourne Festival Opera) 1982
 The Importance of Being Earnest (Wilde, NT) 1982
 Macbeth (Verdi, Metropolitan Opera, New York) 1982
 Other Places (Pinter, world premiere, NT) 1982
 Der Ring des Nibelungen (Wagner, Bayreuth Festival Opera) 1983
 Jean Seberg (lyrics by Christopher Adler, book by Julian Barry, music by Marvin Hamlisch, NT) 1983
 Animal Farm (George Orwell, adapted by Hall, NT) 1984
 Coriolanus (Shakespeare, NT and Athens) 1984
 L'Incoronazione di Poppea (Monteverdi, Glyndebourne Festival Opera) 1984
 Yonadab (Shaffer, world premiere, NT) 1985
 Carmen (Bizet, Glyndebourne) 1985
 Albert Herring (Britten, Glyndebourne) 1985
 The Petition (Brian Clark, NT) 1986
 Simon Boccanegra (Verdi, Glyndebourne) 1986
 Salome (Strauss, LA Opera) 1986
 Coming in to Land (Poliakoff, world premiere, NT) 1986
 Antony and Cleopatra (Shakespeare, NT) 1987
 La Traviata (Verdi, Glyndebourne) 1987
 Entertaining Strangers (David Edgar, NT) 1987
 Cymbeline (Shakespeare, NT, Moscow and Epidaurus) 1988
 The Winter's Tale (Shakespeare, NT, Moscow and Epidaurus) 1988
 The Tempest (Shakespeare, NT, Moscow and Epidaurus) 1988
 Falstaff (Verdi, Glyndebourne) 1988
 Orpheus Descending (Tennessee Williams, Peter Hall Company, Haymarket and Broadway) 1988/9
 The Merchant of Venice (Shakespeare, PHCo, Phoenix Theatre and Broadway) 1989/90
 New Year (Tippett, world premiere, Houston Opera) 1989
 Le Nozze di Figaro (Mozart, Glyndebourne) 1989
 The Wild Duck (Ibsen, trans. Hall/Ewbank, PHCo, Phoenix Theatre) 1990
 Born Again  (after Ionesco's Rhinoceros, lyrics by Julian Barry, music by Jason Carr, PHCo/Chichester Festival Theatre) 1990
 The Homecoming (Pinter, PHCo Comedy Theatre) 1990
 Twelfth Night (Shakespeare, PHCo, Playhouse Theatre) 1991
 Tartuffe (Moliere, trans. Bolt, PHCo, Playhouse Theatre) 1991
 The Rose Tattoo (Tennessee Williams, PHCo, Playhouse Theatre) 1991
 Four Baboons Adoring the Sun (John Guare, world premiere, Lincoln Center) 1992
 Sienna Red (Poliakoff, PHCo, Liverpool Playhouse) 1992
 All's Well That Ends Well (Shakespeare, RSC, Swan) 1992
 The Gift of the Gorgon (Shaffer, world premiere, RSC, Barbican and Wyndham's Theatre) 1992
 An Ideal Husband (Wilde, PHCo/Bill Kenwright Ltd, Globe Theatre and Broadway) 1992
 The Magic Flute (Mozart, LA Opera) 1993
 Separate Tables (Rattigan, PHCo/BKL, Albery Theatre) 1993
 Lysistrata (Aristophanes, trans. Bolt, PHCo/BKL, Old Vic, Wyndham's and Epidaurus) 1993
 She Stoops to Conquer (Goldsmith, PHCo/BKL, Queen's Theatre) 1993
 Piaf (Pam Gems, PHCo/BKL, Piccadilly Theatre) 1993
 An Absolute Turkey (Feydeau, trans. Hall/Frei, PHCo/BKL, Thorndike Theatre) 1993
 On Approval (Lonsdale, PHCo/BKL, Playhouse Theatre) 1994
 Hamlet (Shakespeare, PHCo/BKL, Gielgud Theatre) 1994
 The Master Builder (Ibsen, trans. Hall/Ewbank, PHCo/BKL, Haymarket) 1995
 Julius Caesar (Shakespeare, RSC) 1995
 Mind Millie for Me (Feydeau, trans. Hall/Frei, PHCo/BKL, Haymarket) 1996
 The Oedipus Plays (Sophocles, trans. Bolt, NT, Athens and Epidaurus) 1996
 The School for Wives (Moliere, trans. Bolt, PHCo/BKL, Picadilly Theatre) 1996
 A Streetcar Named Desire (Tennessee Williams, PHCo/BKL, Haymarket) 1996
 Waste (Granville Barker, PHCo, Old Vic) 1997
 The Seagull (Chekhov, trans. Stoppard, PHCo, Old Vic) 1997
 Waiting for Godot (Beckett, PHCo, Old Vic) 1997
 King Lear (Shakespeare, PHCo, Old Vic) 1997
 Just the Three of Us (Simon Gray, PHCo/BKL, Theatre Royal, Windsor)
 The Misanthrope (Moliere, trans. Bolt, PHCo/BKL, Piccadilly Theatre) 1998
 Major Barbara (George Bernard Shaw, PHCo/BKL, Piccadilly) 1998
 Filumena (de Fillipo, PHCo/BKL, Piccadilly) 1998
 Amadeus (Shaffer, PHCo, Old Vic and Broadway) 1998/9
 Kafka's Dick (Alan Bennett, PHCo/BKL Piccadilly) 1998
 Measure for Measure (Shakespeare, Center Theater Group, Los Angeles) 1999
 A Midsummer Night's Dream (Shakespeare, Center Theater Group, LA) 1999
 Lenny (Julian Barry, PHCo, Queen's Theatre) 1999
 Cuckoos (Manfredi, trans. Teevan, PHCo, Gate Theatre) 2000
 Tantalus (John Barton, world premiere, RSC/Denver Center for the Performing Arts, Denver, UK tour and Barbican) 2000/1
 Romeo and Juliet (Shakespeare, Center Theater Group, LA) 2001
 Japes (Simon Gray, world premiere, PHCo, Haymarket) 2001
 Troilus and Cressida (Shakespeare, Theatre for a New Audience, off-Broadway) 2001
 Otello (Verdi, Glyndebourne and Lyric Opera, Chicago) 2001
 The Royal Family (Ferber, PHCo, Haymarket) 2001
 Lady Windermere's Fan (Wilde, PHCo, Haymarket) 2002
 The Bacchai (Euripides, trans. Teevan, NT and Epidaurus) 2002
 Albert Herring (Britten, Glyndebourne) 2002
 Mrs Warren's Profession (Shaw, PHCo, Strand Theatre) 2002
 Where There's a Will (Feydeau, trans. Frei, PHCo/Theatre Royal Bath) 2003
 Betrayal (Pinter, PHCo/Theatre Royal Bath, UK tour and West End) 2003
 Design for Living (Coward, PHCo/Theatre Royal Bath and UK tour) 2003
 As You Like It (Shakespeare, PHCo/Theatre Royal Bath, UK and US tour) 2003/4
 Le Nozze di Figaro (Mozart, Lyric Opera Chicago) 2003
 Happy Days (Beckett, PHCo/Theatre Royal Bath and Arts Theatre) 2003
 Man and Superman (Shaw, PHCo/Theatre Royal Bath) 2004
 Gallileo's Daughter (Timberlake Wertenbaker, world premiere, PHCo/Theatre Royal Bath) 2004
 The Dresser (Harwood, PHCo/Theatre Royal Bath, UK tour and West End) 2004
 Whose Life is it Anyway? (Brian Clark, PHCo/Sonia Friedman Productions, Duke of York's) 2005
 La Cenerentola  (Rossini, Glyndebourne) 2005
 Much Ado About Nothing (Shakespeare, PHCo/Theatre Royal Bath) 2005
 You Never Can Tell (Shaw, PHCo/Theatre Royal Bath and West End) 2005
 Waiting for Godot (Beckett, 50th anniversary production, PHCo/Theatre Royal Bath, UK tour and West End) 2005/6
 A Midsummer Marriage (Tippett, Lyric Opera Chicago) 2005
 The Importance of Being Earnest (Wilde, Los Angeles and New York) 2006
 Hay Fever (Coward, PHCo/Bill Kenwright Ltd, Haymarket) 2006
 Measure for Measure (Shakespeare, PHCo/Theatre Royal Bath) 2006
 Habeas Corpus (Alan Bennett, PHCo/Theatre Royal Bath and UK tour) 2006
 Amy's View (David Hare, PHCo/Theatre Royal Bath, UK tour and West End) 2006
 Old Times (Pinter, PHCo/Theatre Royal Bath and UK tour) 2007
 Little Nell (Simon Gray, world premiere, PHCo/Theatre Royal Bath) 2007
 Pygmalion (Shaw, PHCo/Theatre Royal Bath and Old Vic) 2007/8
 The Vortex (Coward, PHCo/BKL, Windsor, UK tour and West End) 2007/8
 Uncle Vanya (Chekhov, trans. Mulrine, English Touring Theatre, Rose Kingston and UK tour) 2008
 The Portrait of a Lady (Henry James, adapted by Frei, PHCo/Theatre Royal Bath and Rose Kingston) 2008
 A Doll's House (Ibsen, trans. Mulrine, PHCo/Theatre Royal Bath and Rose Kingston) 2008
 Love's Labours Lost (Shakespeare, Rose Kingston) 2008
 The Browning Version (Rattigan, PHCo/Theatre Royal Bath and UK tour) 2009
 The Apple Cart (Shaw, PHCo/Theatre Royal Bath) 2009
 A Midsummer Night's Dream (Shakespeare, PHCo, Rose Kingston) 2010
 Bedroom Farce (Ayckbourn, PHCo/BKL, Rose Kingston and West End) 2010
 The Rivals (Sheridan, PHCo/Theatre Royal Bath, UK tour and West End) 2010
 Twelfth Night (Shakespeare, NT) 2011
 Henry IV Parts 1 and 2 (Shakespeare, PHCo/Theatre Royal Bath) 2011

Film and television
Hall published a complete list of his films in his autobiography:

 Work Is a Four-Letter Word (1968)
 A Midsummer Night's Dream (1968)
 Three into Two Won't Go (1969)
 Perfect Friday (1970)
 The Homecoming (1973)
 Akenfield (1974)
 When Mother Went on Strike (1974)
 Aquarius TV (presenter: 1975–1976)
 She's Been Away (BBC Films, 1989: wins two awards at the Venice Film Festival)
 The Camomile Lawn (Channel 4 TV mini-series, 1992)
 Jacob (TV movie, 1994)
 Never Talk to Strangers (1995)
 The Final Passage (Channel 4 TV, 1996)

Books
 The Wars of the Roses (with John Barton: BBC Books) 1970
 John Gabriel Borkman (Ibsen, trans. with Inga-Stina Ewbank: Athlone Press) 1975
 Peter Hall's Diaries: the Story of a Dramatic Battle (ed. John Goodwin: Hamish Hamilton) 1983; reissued (Oberon Books) 2000
 Animal Farm (stage adaptation of George Orwell's novel: Heinemann Press/Methuen) 1986
 The Wild Duck (Henrik Ibsen, trans. with Inga-Stina Ewbank: Absolute Classics) 1990
 Making An Exhibition of Myself (autobiography: Sinclair-Stevenson Ltd) 1993; updated (Oberon Books) 2000
 An Absolute Turkey (Georges Feydeau, trans. with Nicki Frei: Oberon Books) 1994
 The Master Builder (Ibsen, trans. with Inga-Stina Ewbank) 1995
 The Necessary Theatre (Nick Hern Books) 1990
 Exposed by the Mask: Form and Language in Drama (Oberon Books) 2000
 Shakespeare's Advice to the Players'' (Oberon Books) 2003

References

Further reading

External links
 The Company: A Biographical Dictionary of the RSC: Online database
 Peter Hall at the British Film Institute

 Peter Hall video at Web of Stories
 Fathom biography
 Interview with Peter Hall, 5 November 1987 (about opera)
Parliament & the Sixties- Peter Hall- 1967 Theatre Censorship – UK Parliament Living Heritage

1930 births
2017 deaths
Alumni of St Catharine's College, Cambridge
British opera directors
Commanders of the Order of the British Empire
Drama Desk Award winners
English atheists
English film directors
English television directors
English theatre directors
Knights Bachelor
Laurence Olivier Award winners
Opera managers
People associated with Kingston University
People educated at The Perse School
People from Bury St Edmunds
Tony Award winners
People from Great Shelford
Deaths from pneumonia in England

Peter Hall (director)


Erkan Gürsoy (d. 1948, Burdur ), tekneyle dünyayı dolaşan 4. Türk denizcidir.

1948 yılında Burdur'da doğmuştur. Dünya seyahatine 1991 yılında Kanada'nın Nanaimo Limanı'ndan başladı, Türkiye'ye uğrayıp bir süre Antalya'da kaldıktan sonra tekrar Kanada'ya dönerek yolculuğunu tamamladı.

Dünya seyahatini gerçekleştirdiği 16 metre boyundaki Barış adlı teknesini kendi yapmıştı. Yolculuğun 2 aylık bölümünde eşi ve 2 çocuğu kendisine eşlik etti.

Nanaimo kentinde yaşayan Gürsoy, bir İngilizle evlidir ve bir kızı bir de oğlu vardır. Kendi icadı olan Aldura botlarının imalatını yapmaktadır.

Erkan Gürsoy, 2 yıl 2 ay 2 gün süren seyahati sırasında şu rotayı takip etti:
 Kanada
 Hawaii
 Fiji
 Avustralya
 Hint Okyanusu
 Kızıldeniz
 Akdeniz
 Cebelitarık
 Panama Kanalı

Kaynakça

Dış bağlantılar
 Gürsoylar

1948 doğumlular
Burdur doğumlular
Türk denizciler
Türk gezginler
Yaşayan insanlar

Erkan Gürsoy


Hatuniye Medresesi Osmanlı Padişahı II. Bayezid'in annesi Gülbahar Hatun adına 1485 (h. 890) yılında yaptırdığı medresedir. Tokat şehrinin Meydan mahallesindeki Hatuniye Camii'nin yanında olup, günümüzde restore edilmiş vaziyette ziyarete açıktır. Sultaniye, Gülbahar, Meydan Medresesi isimleriyle de bilinir. Osmanlı Sultanı Murat Hüdavendigar'ın kızı, Karamanoğlu Alaaddin Bey'in karısı Nefise Sultan tarafından, 1382 yılında yaptırılmıştır, portalindeki kitbesine göre mimarı, Numan Bin Hoca Ahmet'tir.

Tokat'taki medreseler
II. Bayezid

Hatuniye Medresesi (Tokat)


بوبريح قرية بقبيلة بني زروال بها ضريح مولاي العربي الدرقاوي مؤسس , الزاوية الدرقاوية وضريح سيدي احمد بن يوسف بن ڭنون جد الشرفاء, الكنونيين بقبيلة بني مسارة.

وصلات داخلية
 المغرب
 الزاوية الدرقاوية
 زاية العلامة

روابط خارجية

مصادر

قرى المغرب
إقليم تاونات

بوبريح


Bohemund II (1107.–veljača 1130.), knez Antiohije od 1119. do 1130. godine. Sin Bohemunda I. i Konstance Francuske, dolazi iz Apulije u Antiohiju 1126. godine. Antiohija je bila pod upravom Baldvina II., kralja Jeruzalema od 1119. godine, kada je u bitci na Krvavom polju ubijen raniji knez Roger. Ubrzo nakon dolaska u Antiohiju, Bohemund je oženio Alisu, mlađu Baldvinovu kćer. Nakon što se pridružio Baldvinu u napadu na Damask (1129.), u Ciliciji je ubijen od strane muslimanske vojske. Lokalni emir dao je balzamirati njegovu glavu i poslao je kao dar kalifu. Naslijedio ga je Raymond od Poitiersa.

Izvori

Hauteville

Bohemund II.


EM i kortbanesvømning 2015 fandt sted fra den 2. til 6. december 2015 i Netanya i Israel. Stævnet blev afholdt i det nybyggede Wingate Institut. Komplekset har en olympisk svømmepool med 10 baner. Derudover er der en 8-bane 50 m pool og en 6-bane 25 m pool.

Mesterskabets svømmere blev hædret: Katinka Hosszú fra Ungarn og Gregorio Paltrinieri fra Italien. Hosszú vandt seks guldmedaljer og en sølv og slog to verdensrekorder samt en mesterskabsrekord, mens Paltrinieri vandt en guldmedalje i 1500 meter fri, hvor han slog verdensrekorden.

Ungarn vandt flest guld, dernæst kom Italien og Tyskland. Sverige endte på en delt 5. plads sammen med Polen. Danmark blev nummer 13 med 3 sølv og en bronzemedalje. Jeanette Ottesen vandt to sølv og en bronze og Viktor Bromer vandt en bronze for Danmark.

Medaljeoversigt

Deltagende lande
500 svømmere fra 48 nationer deltog ved konkurrencen. De eneste medlemmer af LEN, der ikke deltog var Gibraltar, Monaco, Montenegro og San Marino.

  (2)
  (2)
  (2)
  (19)
  (3)
  (13)
  (11)
  (3)
  (2)
  (9)
  (2)
  (27)
  (8)
  (16)
  (3)
  (22)
  (13)
  (2)
  (27)
  (12)
  (3)
  (27)
  (3)
  (2)
  (46) (Værtsland)
  (36)
  (2)
  (3)
  (1)
  (7)
  (6)
  (1)
  (2)
  (3)
  (13)
  (8)
  (8)
  (14)
  (5)
  (38)
  (7)
  (12)
  (10)
  (4)
  (7)
  (11)
  (18)
  (5)

Referencer

Eksterne links
 Officiel hjemmeside

2015
Sport i 2015

EM i kortbanesvømning 2015


Erki Nool () este un fost atlet și politician eston. A câștigat o medalie de aur de la Jocurile Olimpice din 2000, la proba de decatlon, o medalie de argint la Mondialele din 2001, care au avut loc la Edmonton, și o medalie de aur și una de argint la  Campionatele Europene din 1998, respectiv 2002.

Cariera
Nool este câștigător al medaliei de aur la decatlon la Jocurile Olimpice de vară din 2000 de la Sydney. Deși Nool nu s-a situat pe primul loc în nici una dintre cele zece probe, scorul său total a fost mai mare decât al celorlalți concurenți. Nool a câștigat titlul după ce un arbitru a decis să anuleze decizia unui alt arbitru de la proba de aruncare a discului, care anulase și ultima încercare a acestuia din cauza unui presupus pas. Validarea aruncării de 43,66 a stârnit proteste printre concurenții adverși. Nool a luat aurul înaintea cehului Roman Šebrle și a americanului Chris Huffins.

În septembrie 1997 a înființat prima școală privată de atletism din Estonia.

Începând cu anul 2005, Erki Nool a fost vice-președinte al Comisiei Sportivilor din cadrul Comitetelor Olimpice Europene (EOC) și, începând din 2007, membru al Comitetului de Dezvoltare al Asociației Europene de Atletism.

În 2006, Nool a participat ca celebritate în primul sezon de Tantsud tähtedega, varianta estonă a emisiunii Dancing with the Stars. Partenera sa de dans a fost Ave Vardja.

Pe 4 martie 2007, Nool a fost ales în Parlamentul Estonian, Riigikogu, reprezentând Uniunea Pro Patria și Res Publica.

Din 2008 este membru al Comitetului Executiv al Comitetului Olimpic Eston.

Referințe

Legături externe

Nașteri în 1970
Atleți la Jocurile Olimpice de vară din 1992
Atleți la Jocurile Olimpice de vară din 1996
Atleți la Jocurile Olimpice de vară din 2000
Atleți la Jocurile Olimpice de vară din 2004
Oameni în viață
Campioni olimpici la atletism
Decatloniști

Erki Nool


An Scirpus longii in uska species han Liliopsida nga ginhulagway ni Merritt Lyndon Fernald. An Scirpus longii in nahilalakip ha genus nga Scirpus, ngan familia nga Cyperaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Mga sumpay ha gawas

Scirpus

Scirpus longii


The Indo-Parthian Kingdom, also known as the Suren Kingdom, was a Parthian kingdom founded by the Gondopharid branch of the House of Suren, ruling from 19 to c. 226. At their zenith, they ruled an area covering parts of eastern Iran, various parts of Afghanistan and the northwest regions of the Indian subcontinent (most of modern Pakistan and parts of northwestern India).

The kingdom was founded in 19 when the Surenid governor of Drangiana (Sakastan) Gondophares declared independence from the Parthian Empire. He would later make expeditions into the west, conquering territory from the Indo-Scythians and Indo-Greeks, thus transforming his kingdom into an empire. The domains of the Indo-Parthians were greatly reduced following the invasions of the Kushans in the second half of the 1st. century. They managed to retain control of Sakastan, until its conquest by the Sasanian Empire in c. 224/5.

The Indo-Parthians are noted for the construction of the Buddhist monastery Takht-i-Bahi (UNESCO World Heritage Site).

Notes

References

 "Les Palettes du Gandhara", Henri-Paul Francfort, Diffusion de Boccard, Paris, 1979
 "Reports on the campaigns 1956–1958 in Swat (Pakistan)", Domenico Faccenna
 "Sculptures from the sacred site of Butkara I", Domenico Faccena

Sources

External links

 Coins of the Indo-Parthians
 History of Greco-India

Parthian Empire

10s establishments
220s disestablishments
1st-century BC establishments
States and territories established in the 1st century BC
States and territories disestablished in the 2nd century

ඉන්දු-පාර්තියානු රාජධානිය


Trickster Rabbit  (Jistu), Zec je figura prevaranta u mnogim jugoistočnim indijanskim plemenima (Cherokee, Creek, Alabama, Yuchi, Biloxi, Chickasaw, Choctaw, Mikasuki). Zec Prevarant općenito je bezbrižan lik koji se ne upušta u ozbiljna nedjela i pojavljuje se u mnogim pričama za djecu; međutim, poput većine prevaranata, sklon je duhovito neprimjerenom ponašanju, osobito proždrljivosti, nemaru i prenapuhanom egu. U folkloru nekih jugoistočnih plemena Zec je bio taj koji je ukrao vatru i donio je ljudima.

Domorodački nazivi: Jistu, Jisdu, Tsisdu, Chisdu, Tsistu; Cokfi, Chokfi, Chukfi; Cufe, Chufi; Tcetkana, Chetkana.

Izvori

Indijanska mitologija (prevaranti)
Cherokee mitologija
Muskogee
Alabama Indijanci
Uchean
Mikasuki
Biloxi
Chickasaw
Choctaw

Trickster Rabbit


كابل المجموعة السادسة أو كات 6 Cat6 Cable أحد عائلات كابلات الزوج الملتوي. غالبا ما يكون هذا النوع غير مغلف ويعتمد على ميزة الالتواء اللولبي لتقليل تأثير الضوضاء إلى أقل حد ممكن. يتميز عن المجموعات السابقة في إمكانية استخدامه عند معدلات نقل 10BASE-T / إيثرنت سريعة و1000BASE-T / 1000BASE-TX (غيغا بت إيثرنت) ولمسافات تصل إلى 100 متر. ويتميز هذا الكابل بأنه أفضل من كات5 وأفضل من كات5e.

طريقة الشبك

إنظر أيضا
 كابل مجموعة 5
 كابل

مراجع

إيثرنت
عتاد الشبكة

كابل مجموعة 6


Baudenkmäler nach Gemeindeteilen

Georgenberg

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Ketterschwang

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Obergermaringen

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Schwäbishofen

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Untergermaringen

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Ehemalige Baudenkmäler

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Siehe auch
 Liste der Bodendenkmäler in Germaringen

Anmerkungen

Literatur

Weblinks

 In dieser [ Kartenansicht] sind Baudenkmäler ohne Koordinaten mit einem roten bzw. orangen Marker dargestellt und können in der Karte gesetzt werden. Baudenkmäler ohne Bild sind mit einem blauen bzw. roten Marker gekennzeichnet, Baudenkmäler mit Bild mit einem grünen bzw. orangen Marker.

Germaringen
!

Liste der Baudenkmäler in Germaringen


Kvindernes 57 kg konkurrence i judo ved sommer-OL 2016 i Rio de Janeiro blev afholdt den 8. august 2016 på Carioca Arena 2.

57 kg (damer)
Kvindesport under OL

Judo under sommer-OL 2016 – 57 kg (damer)


1960 ile 1965 yılları arasında ABD ve Almanya gelişmiş bir ağır muharebe tankı geliştirmek için güç birliği yaptılar. Almanya'dan Porsche firması sayesinde bu proje hedeflenen seviyeye geldi. Daha sonrasında bu modelin üzerinde yapılan eklemeler ve gelişmeler sayesinde Leopar tankları ortaya çıktı.

Amerika Birleşik Devletleri tankları
Modern tanklar

MBT-70