Japanische Malerei und Grafik wird nur ausnahmsweise unter eigens benannten Kunstepochen abgehandelt. Ab dem 15. Jahrhundert entstehen nach und nach verschiedene Schulen, die dann oft nebeneinander bis zum Ende des 19. Jahrhunderts existierten. Die politischen Epochen wie Heian-, Kamakura-, Muromachi- und Edo-Zeit helfen daher zwar bei der zeitlichen Einordnung, weniger jedoch bei der stilistischen.

Ab dem 18. Jahrhundert gibt es stilmäßige Überschneidungen zwischen den Schulen und Künstler, die sich nicht eindeutig einer Schule zuordnen lassen.

Fachbegriffe
Malereien und Drucke haben in Japan viele Stile und benutzen unterschiedliche Untergründe.
Eine bildliche Darstellung, mit den Kanji:  oder  geschrieben, wird mit der angehängten Lesung -e oder -ga angedeutet. Welches Zeichen man benutzt, hängt vom Stil des Bildes oder auch von seinem Untergrund ab. Bemalte Fächer erkennt man an der Form, so dass sich ein Zusatz erübrigt.

Je nach Form unterscheidet man zwischen (Maße: Höhe × Breite):
 kakemono, kakejiku (): Hängerollen, z. B. 175 cm × 65 cm
 nibuku tsui (), sanbuku tsui () bezeichnet eine Hängung von zwei bzw. kakemono nebeneinander.
 emaki (): Querrollen, ca. 40 cm hoch und bis zu 400 cm lang
 gajō () Albumblätter, z. B. 29 × 22 cm
 ehon (): bebilderte Bücher in verschiedenen Formaten

Die feste malerische Ausstattung eines Raumes nennt man zusammenfassend shōheki-ga (). Im Einzelnen sind dies:
 heki-ga (): Wandmalereien,
 Malerei auf den papierbespannten Schiebetüren zwischen Zimmern, den Shōji,
 fusuma-e (): Malerei auf den mit Papier beklebten Holz-Schiebetüren,
 sugito (): Malerei direkt auf die Holz-Schiebetüren,
 fusuma und sugito werden immer in Paaren oder als Viererkombination gefertigt. Man erkennt sie leicht an der an einer Seite mittig angebrachten Griffvertiefung.

Als beweglicher Schmuck dient der Stellschirm byōbu, dessen Bemalung byōbu-e genannt wird. In der Regel wird ein Paar angefertigt.

Bei bemalten oder mit Kalligraphie versehenen Fächern unterscheidet man:
 ōgi: faltbare Fächer und
 uchiwa: feststehende Fächer.

Beginn (8. Jahrhundert – 1333)

Frühe erhaltene Malereien findet man im Hōryū-ji, einem Tempel, der nach einem Brand bis etwa 710 wieder aufgebaut wurde. Die dortigen Wandgemälde zeigen die Götter noch ganz im Stil der Tang-Zeit (China). In der Heian-Zeit (784–1185) kommt mit dem esoterischen Buddhismus auch das Mandala in seinen zwei unterschiedlichen Ausprägungen Kongōkai (etwa "Diamantene Welt")-Mandala und Taizō (etwa "Mutterschoß")-Mandala nach Japan. Die buddhistische Malerei mit ihren Heiligenbildern ist nun stärker japanisch geprägt. Daneben entwickelt sich ein nationaler Stil der Geschichten erzählenden Bilder, das Yamato-e. Bekanntestes Beispiel ist das Genji-Monogatari aus dem 12. Jahrhundert – ein Sonderfall sind Bildrollen des Tempels Kōzanji bei Kyōto aus dem Ende der Heian-Zeit. Auf ihnen finden sich Schabernack treibende Affen, Frösche usw. Sie werden als ironisierende Betrachtung der Obrigkeit gedeutet.

Die Kamakura-Zeit (1185–1333) ist das Zeitalter der Bildrollen zur Geschichte von Tempeln und Schreinen, den engi, z. B. das Kitano Tenjin engi, das das Leben des Sugawara no Michizane (845–903) nachzeichnet. Ein Beispiel aus dem politischen Bereich ist das Heiji Monogatari, das auf Streitereien am Hofe verweist, die im Jahre Heiji 1 (1159) begannen.

Muromachi-Zeit (1333–1573)
Nach der Wiederaufnahme der Beziehungen zu China macht sich neuer chinesischer Einfluss bemerkbar, die monochrome Tuschmalerei wird zum vornehmsten Ausdrucksmittel. Maler, deren Namen nun überliefert sind, wirkten oft in Klöstern, wie z. B. Shūbun (?–?), Sesshū (1420–1506), Sesson (1504–?). Am Ende der Epoche entsteht, begründet durch Kanō Masanobu (1434–1530), die Kanō-Schule und die auf Yamato-e zurückgreifende Tosa-Schule, deren erster wichtiger Vertreter Tosa Mitsunobu (?–1522) war.

Momoyama-Zeit (1573-frühe Edo-Zeit, ca. 1630)

Die Muromachi-Zeit endete mit der Vertreibung des letzten Shōgun aus dem Hause Ashikaga 1573 durch Oda Nobunaga. Als Momoyama-Zeit, auch Azuchi-Momoyama-Zeit wird nun eine Kunstepoche hervorgehoben. Sie hat ihren Namen von Nobunagas Burg Azuchi am Biwa-See und dem Momoyama bei Uji, dem Berg, auf dem sein Nachfolger Toyotomi Hideyoshi seine Burg hatte. Die Residenzen dieser neuen Herren wurden von den Meistern der Kanō-Schule ausgeschmückt, die neben Tuschmalerei nun auch eine farbenprächtige Malerei auf Goldgrund, den sogenannten Dekorativen Stil, entwickelten.

Namban-Kunst: In der Zeit um 1600 vermittelten die in Japan missionierenden Jesuiten europäische Kunst. Die Missionierung endete mit der Landesabschließung um 1640, aber einige Beispiele von Heiligenbildern und Stellschirmen dieser Kunst haben die Zeit überlebt. Zu dieser Richtung werden auch die Stellschirme mit Darstellungen der Portugiesen und Spanier in Nagasaki gezählt.

Momoyama-Genremalerei: Nachdem unter Tokugawa Ieyasu im Lande Ruhe eingetreten war, entwickelte sich innerhalb des erstarkten Bürgertums eine neue Kunst, naturbezogen und frei von den klassischen, China-orientierten Anspielungen: Genre-Bilder (, fūzoku-ga) genannt. Einige schöne Stellschirme unbekannter Künstler sind aus dieser Zeit erhalten geblieben. Ein bedeutender Maler dieser Zeit ist Tawaraya Sōtatsu, tätig um 1600, genaue Lebensdaten unbekannt, ursprünglich ein Hersteller bemalter Fächer, der verschiedene Nationalschätze und Wichtige Kulturgüter schuf.

Mittlere und späte Edo-Zeit (ca. 1630–1868)
In der Edo-Zeit entwickelte sich ein vermögendes Bürgertum, was zu einer Entwicklung neuer Stile führte, die sich teils am Yamato-e orientierten, die teils aber auch weiterhin Einflüsse von China und Europa aufnahmen.

Ukiyo-e: In den sich schnell entwickelnden Großstädten Edo und Ōsaka begannen die Bürger illustrierte Bücher zu lesen, es begann die Zeit der Ukiyo-e, Bilder der fließenden Welt. Erster Vertreter dieser Richtung war Hishikawa Moronobu (1618?–1694), heute listet man mehrere hundert Künstler auf, die der großen Nachfrage entsprechend dem Stil folgten. Bekannte Vertreter dieser Stilrichtung sind z. B. Suzuki Harunobu, Torii Kiyonaga, Kitagawa Utamaro, Tōshūsai Sharaku, Katsushika Hokusai und Utagawa Hiroshige.

Rimpa: Auf den bereits erwähnten Sōtatsu berief sich Ogata Kōrin (1658–1716), unter dessen Werken sich Nationalschätze befinden. Kōrin hatte keinen direkten Nachfolger, aber 100 Jahre später berief sich Sakai Hōitsu (1761–1828) auf ihn, dem dann Suzuki Kiitsu (1796–1858) als Schüler folgte. Diese Maler werden, zusammen mit Sōtatsu, zur Kōrin-Schule (jap. Rimpa) zusammengefasst.

Ōtsu-e: Das sind in der mittleren Edo-Zeit in der Gegend um Ōtsu am Biwa-See verkaufte Bilder mit buddhistischen, aber auch mit humoristischen Darstellungen in den Farben Gelb, Rot und Schwarz. In Ōtsu befindet sich der berühmte Mii-dera, außerdem kommen dort die Überlandstraßen Tōkaidō und Nakasendō zusammen.

Nanga: Mitte des 18. Jahrhunderts entstand eine Richtung, die sich an der chinesischen Gelehrtenmalerei orientierte. Die Künstler waren gebildete Amateure, die einen lockeren Stil pflegten. Für Bilder dieser Art hat sich in Japan die Bezeichnung Nanga – Bilder der (chinesischen) Süd-Schule – eingebürgert. Prominente Vertreter sind Yosa Buson (1716–1783), Ike (no) Taiga (1723–1776), Uragami Gyokudō (1745–1820), Tani Bunchō (1763–1840). Als letzter Vertreter des Nanga-Stils gilt Tomioka Tessai (1836–1924).

Nanpin-Schule: Vom Chinesen Shen Quan (jap. Shin Nanpin) bei einem Aufenthalt in Nagasaki 1731–33 vermittelt, entwickelte sich dort ein Stil von Blumen- und Tierbildern, der einen über China vermittelten europäischen Einfluss erkennen lässt. Sō Shiseki (1715–1786) und Kimura Kenkadō (1736–1802) gehören zu dieser Richtung.

Nagasaki-Holzschnitte: In Nagasaki entstanden auch Holzschnitte meist unbekannter Künstler, die das Leben und Treiben der Holländer und Chinesen zum Thema haben.

Maruyama-Shijō-Schule: Nachdem der Shōgun das Studium westlicher Bücher erlaubte, orientierten sich Künstler wie Maruyama Ōkyo (1730–1795) und Matsumura Gekkei (1752–1811), der auch als Goshun signierte, an der westlich-realistischen Darstellungsweise. Nach dem Sitz der Schulen in der Shijō-Straße in Kyōto ist diese Richtung benannt. Auch die Kishi-Schule mit Ganku als Begründer gehört zu dieser Richtung.

Ranga: Einige Maler übernahmen über Kontakte mit der holländischen Handelsstation in Nagasaki fast vollständig den europäischen Malstil der Zeit, malten mit Ölfarben, benutzten den Kupferstich. Bilder dieser Schule werden als Ranga bzw. als Yōfuga, Seiyōga bezeichnet. Ein früher Verfechter war Hiraga Gennai (1728–1779), wichtiger Vertreter ist Shiba Kōkan (1774–1818), auch Takahashi Yuichi (1828–1894) kann man noch dazu rechnen.

Meiji-Zeit (1868–1912)
Die Meiji-Restauration 1868 setzte eine Modernisierungswelle in Gang, die auch die Malerei erfasste. Während die alten Malschulen erloschen, kümmerte sich nun der Staat um die Ausbildung. Zunächst errichtete das Industrieministerium Kōbu-shō für die bildende Kunst, die man als Handwerk verstand, 1876 eine Kunstschule (Kōbu bijutsu gakkō). Man orientierte sich an der italienischen Kunst und berief den Maler Antonio Fontanesi (1818–1882), den Bildhauer Vincenzo Ragusa (1841–1927) und später den Architekten Cappelletti (1847–1887) an die Schule. Zu den bekannten Schülern von Fontanesi gehört Asai Chū (1856–1907). Im Januar 1883 wurde die Schule geschlossen, aber die Malerei im Westlichen Stil — Yōga – war etabliert. Eine Reihe von Japanern studierte im Ausland, vorzugsweise in Frankreich, wie z. B. Kuroda Seiki (1866–1924).

1887, nach einer Pause von vier Jahren, wurde dann auf Drängen von Okakura Kakuzō und Ernest Fenollosa vom Kultusministerium die Kunstschule Tōkyō (Tōkyō bijutsu gakkō) gegründet, die bis 1949 bestand. Gründungsdirektor der Kunstschule wurde der Kulturpolitiker Hamao Arata (1849–1925), 1890 übernahm dann Okakura die Leitung. Okakura ging es um die Weiterführung der klassischen japanischen Malerei in modernisierter Form, die als Malerei im Japanischen Stil (Nihonga) gelehrt wurde. Beispielhaft ist Yokoyama Taikan (1868–1958). Eine eigenständige Nihonga-Linie etablierte sich in Kioto um Takeuchi Seihō (1864–1942) in Nachfolge der dortigen Maruyama-Shijō-Schule.

1896 wurde an der Schule eine Abteilung für Malerei im westlichen Stil, Yōga, eingerichtet. In den Jahren darauf kam es zu Spannungen zwischen beiden Stilrichtungen. 1898 trat Okakura schließlich zurück und gründete in Tokio eine private Kunstschule (Nihon Bijutsuin), wohin ihm die Nihonga-Maler folgten.

Das Kultusministerium organisierte ab 1907 jährliche Kunstausstellungen, Mombushō bijutsu tenrankai, abgekürzt Bunten mit den Abteilungen Malerei (sowohl Yōga, wie auch Nihonga) und Skulptur.

In der Holzschnittkunst kam es zu Veränderungen. Yamamoto Kanae (1892–1946) verzichtete unter Einfluss des westlichen Holzschnittes auf die traditionelle Arbeitsteilung, bei der der Künstler nur die Vorlage lieferte und die Realisierung als Druck professionellen Werkstätten überließ. Später folgten ihm weitere Künstler; die nun durchgehend selbst geschaffenen Werke werden Kreative Holzschnitte (Sōsaku-hanga) genannt. Beigetragen zu dieser Entwicklung hat die seit 1911 erscheinende Zeitschrift "Die Birke" (Shirakaba) beitrug. Deren Herausgeber-Kreis um Mushanokōji Saneatsu organisierte verschiedentlich Ausstellungen mit europäischer Kunst, wobei aus Kostengründen vorwiegend Graphik gezeigt wurde.

Taishō- und Shōwa-Zeit (1912–1989)
Malerei wurde weiterhin in den beiden Stilrichtungen Yōga und Nihonga nebeneinander gelehrt und praktiziert. Während Yōga Fauvismus und Expressionismus verarbeitete und sich auch inhaltlich auf die Gegenwart bezog, nahm Nihonga neben seiner Landschafts- und Historienmalerei nur langsam neue Themen auf und blieb auch bei der Festlegung auf Gouachemalerei.

Bei der Graphik kam eine weitere neue Linie dazu. Da das Interesse der Ausländer an gehaltvollen japanischen Holzschnitten nicht mehr aus den abnehmenden Altbeständen zu befriedigen war, kam der Kunsthändler Watanabe Shōzaburō (1885–1962) auf die Idee, in der Nachfolge des Ukiyo-e nun von lebenden Künstlern neue Bilder schöner Frauen der Gegenwart u. a. produzieren zu lassen. Der im Jahr 1915 hergestellten Holzschnitt Yuami (Im Bad) von Hashiguchi Goyō (1880–1921) war der Beginn des Neuen Holzschnitts, des Shin-hanga.

Mit der Gründung der Kaiserlichen Akademie der schönen Künste (Teikoku bijutsu-in) im Jahr 1919 übernahm diese vom Kultusministerium die Organisation der Staatlichen Ausstellung, die nun abgekürzt Teiten hieß.

1945 brachte Japan die militärische Niederlage. Im Unterschied zu Deutschland blieb das Staatsoberhaupt, der Tennō, im Amt. Auch das Parlament, zwar eingeschränkt durch die Vorgaben der Besatzungsmacht, blieb im Amt. Die Niederlage wurde als rein militärisch empfunden, zumal das Land auch nicht einem der Entnazifizierung entsprechenden Vorgang unterzogen wurde. Das muss man berücksichtigen, wenn man in Kunst-Museen (oder zumindest in deren Museumskatalogen) Bilder von Militärführern des Zweiten Weltkrieges begegnet. In den letzten Jahren hat man sich darüber hinaus entschlossen, in öffentlichen Museen auch den Krieg verherrlichende Bilder zu zeigen, um das hohle Pathos für alle deutlich zu machen.

1947 wurde die Kaiserliche Akademie wieder einmal umbenannt, sie heißt seitdem Japanische Akademie der Künste (Nihon geijutsu-in). Die Teiten' die seitdem Nitten heißt, wird seit 1983 von einer eigens dafür gegründeten privaten Trägervereinigung ausgerichtet.

1951 und 1955 konnte die japanische Kunst auf der Biennale von São Paulo Erfolge feiern. In den späteren Jahren folgten die Künstler immer mehr globalen Trends, so dass man heute eher von Kunst in Japan als von Japanischer Kunst sprechen muss. Im Zuge dieser Entwicklung sind immer weniger Künstler bereit, sich nach Yōga oder Nihonga klassifizieren zu lassen.

Wissenswertes
 Die in der Meiji-Zeit entstandene strikte Trennung der beiden Stilrichtungen Nihonga und Yōga ist ziemlich einmalig in der Kunstgeschichte: alle Verzeichnisse bildender Künstlern führen diese bis in die Gegenwart in zwei getrennten Abteilungen auf.
 Viele Künstlervereinigungen der Meiji-Zeit existieren bis heute und veranstalten jährlich ihre großen Ausstellungen. Heute sind sie offen für jede Stilrichtung.
 Verstorbenen Künstlern wird – bis in die Gegenwart – oft ein eigenes Museum gewidmet, meist an ihrem Wirkungsort.

Siehe auch
 Japanische Kunst
 Japanischer Farbholzschnitt
 Chinesische Malerei

Anmerkungen

Literatur
 Tsuji Nobuo (Hrsg.): Nihon bijutsu shi. (Japanische Kunstgeschichte). 3. erweiterte Auflage. Verlag Bijutsu Shuppan, 2004, ISBN 4-568-40065-1.
 Tsuji Nobuo (Hrsg.): Nihon bijutsu nenpyō. (Japanische Kunst - Zeittafel). Verlag Bijutsu Shuppan 2002, ISBN 4-568-40062-7.
 Akiyama, Terukazu: Japanese Painting. Verlag Skira/Rizzoli 1977, ISBN 0-8478-0132-2.
 Théo Lésoualc'h: Die Japanische Malerei. 25. Band der Reihe Weltgeschichte der Malerei. Editions Rencontre Lausanne 1968.
 S. Yamasaki: Chronological Table of Japanese Art. Verlag Geishinsha 1981.
 Aus der Serie "The Heibonsha Survey of Japanese Art" (30 Bände) 1970er Jahre:
 10. Painting in the Yamato Style, by Saburo lenaga
 12. Japanese Ink Painting: Shubun to Sesshu, by Ichimatsu Tanaka
 14. Momoyama Decorative Painting, by Tsuguyoshi Doi
 17. Momoyama Genre Painting, by Yuzo Yamane
 18. Edo Painting: Sotatsu and Korin, by Hiroshi Mizuo
 19. The Namban Art of Japan, by Yoshitomo Okamoto
 22. Traditional Woodblock Prints of Japan, by Seiichiro Takahashi
 23. Japanese Painting in the Literati Style, by Yoshiho Yonezawa and Chu Yoshizawa
 24. Modern Currents in Japanese Art, by Michiaki Kawakita Okamura

Japanische Malerei


35461 Mazzucato este un asteroid din centura principală de asteroizi.

Descriere
35461 Mazzucato este un asteroid din centura principală de asteroizi. A fost descoperit pe  la San Marcello Pistoiese de Luciano Tesi și Andrea Boattini. Asteroidul prezintă o orbită caracterizată de o semiaxă mare de 2,46 ua, o excentricitate de 0,10 și o înclinație de 5,4° în raport cu ecliptica.

Vezi și
 Lista planetelor minore: 35001-36000
 Centura de asteroizi

Referințe

Familia  Vesta

Obiecte astronomice descoperite în 1998
Centura de asteroizi

35461 Mazzucato


Marthe Wandou, née à Kaélé, le 15 octobre 1963, est une avocate camerounaise, militante pour la paix et l'égalité des sexes, qui a reçu le Right Livelihood Award, considéré comme le prix Nobel alternatif.

Biographie
Wandou naît en 1963 à Kaélé, dans le Nord du Cameroun. Elle obtient un diplôme en droit privé de l'Université de Yaoundé et  un master en gestion de projet de l'Université catholique d'Afrique centrale. Elle étudie également les études de genre à l'Université d'Anvers.

Elle devient une référence au Cameroun et dans le bassin du Tchad dans la lutte contre les violences sexuelles et pour les droits des enfants et des femmes. En 1998, elle fonde l'organisation ALDEPA (Action locale pour le développement participatif et autogéré), qui a aidé, depuis, plus de , dont des victimes du groupe terroriste Boko Haram.

Dans sa lutte pour l'égalité des sexes et son militantisme pour la paix, elle adopte une approche holistique visant à mobiliser des communautés entières par le biais de l'éducation, de la prévention, du soutien psychosocial et de l'assistance juridique. Ainsi, notamment, ses équipes vont au contact des foyers familiaux, pères, mères, frères et maris pour les convainvre d'envoyer les jeunes femmes de ces foyers  à l'école, et de les y maintenir le plus longtemps possible. Cette scolarisation leur permet d'acquérir une base de connaissances, mais aussi de retarder les mariages et les grossesses précoces. L'organisation ADELPA prend en charge également des enfants de réfugiés. Elle milite aussi contre toute banalisation des viols.

En 2021, elle se voit décerner ce qui est considéré comme un prix Nobel alternatif, le Right Livelihood Award 2021.

Références

Liens externes

Naissance en octobre 1963
Naissance au Cameroun
Avocat camerounais du XXe siècle
Avocat camerounais du XXIe siècle
Personnalité féminine camerounaise
Militant camerounais
Lauréat du Right Livelihood Award
Étudiant de l'université de Yaoundé
Étudiant de l'université catholique d'Afrique centrale
Étudiant de l'université d'Anvers

Marthe Wandou


The Beale ciphers are a set of three ciphertexts, one of which allegedly states the location of a buried treasure of gold, silver and jewels estimated to be worth over US$43 million  Comprising three ciphertexts, the first (unsolved) text describes the location, the second (solved) ciphertext accounts the content of the treasure, and the third (unsolved) lists the names of the treasure's owners and their next of kin.

The story of the three ciphertexts originates from an 1885 pamphlet called The Beale Papers, detailing treasure being buried by a man named Thomas J. Beale in a secret location in Bedford County, Virginia, in about 1820. Beale entrusted a box containing the encrypted messages to a local innkeeper named Robert Morriss and then disappeared, never to be seen again. According to the story, the innkeeper opened the box 23 years later, and then decades after that gave the three encrypted ciphertexts to a friend before he died. The friend then spent the next twenty years of his life trying to decode the messages, and was able to solve only one of them, which gave details of the treasure buried and the general location of the treasure. The unnamed friend then published all three ciphertexts in a pamphlet which was advertised for sale in the 1880s.

Since the publication of the pamphlet, a number of attempts have been made to decode the two remaining ciphertexts and to locate the treasure, but all efforts have resulted in failure.

There are many arguments that the entire story is a hoax, including the 1980 article "A Dissenting Opinion" by cryptographer Jim Gillogly, and a 1982 scholarly analysis of the Beale Papers and their related story by Joe Nickell, using historical records that cast doubt on the existence of Thomas J. Beale. Nickell also presents linguistic evidence demonstrating that the documents could not have been written at the time alleged (words such as "stampeding", for instance, are of later vintage). His analysis of the writing style showed that Beale was almost certainly James B. Ward, whose 1885 pamphlet brought the Beale Papers to light. Nickell argues that the tale is thus a work of fiction; specifically, a "secret vault" allegory of the Freemasons; James B. Ward was a Mason himself.

Background
A pamphlet published in 1885, entitled The Beale Papers, is the source of this story. The treasure was said to have been obtained by an American named Thomas J. Beale in the early 1800s, from a mine to the north of Nuevo México (New Mexico), at that time in the Spanish province of Santa Fe de Nuevo México (an area that today would most likely be part of Colorado). According to the pamphlet, Beale was the leader of a group of 30 gentlemen adventurers from Virginia who stumbled upon the rich mine of gold and silver while hunting buffalo. They spent 18 months mining thousands of pounds of precious metals, which they then charged Beale with transporting to Virginia and burying in a secure location. After Beale made multiple trips to stock the hiding place, he then encrypted three messages: the location, a description of the treasure, and the names of its owners and their relatives. The treasure location is traditionally linked to Montvale in Bedford County, Virginia.

Beale placed the ciphertexts and some other papers in an iron box. In 1822 he entrusted the box to a Lynchburg innkeeper named Robert Morriss. Beale told Morriss not to open the box unless he or one of his men failed to return from their journey within 10 years. Sending a letter from St. Louis a few months later, Beale promised Morriss that a friend in St. Louis would mail the key to the cryptograms; however, it never arrived. It was not until 1845 that Morriss opened the box. Inside he found two plaintext letters from Beale, and several pages of ciphertext separated into Papers "1", "2", and "3". Morriss had no luck in solving the ciphers, and decades later left the box and its contents to an unnamed friend.

The friend, then using an edition of the United States Declaration of Independence as the key for a modified book cipher, successfully deciphered the second ciphertext which gave a description of the buried treasure. Unable to solve the other two ciphertexts, the friend ultimately made the letters and ciphertexts public in a pamphlet entitled The Beale Papers, which was published by yet another friend, James B. Ward, in 1885.

Ward is thus not "the friend". Ward himself is almost untraceable in local records, except that a man with that name owned the home in which a Sarah Morriss, identified as the spouse of Robert Morriss, died at age 77, in 1863. He also is recorded as becoming a Master Mason in 1863.

The images below, transcribed from the pamphlet, show the original line-breaks for easy comparison. In the second cryptogram, the original cipher errors are highlighted in red.

Deciphered message
The plaintext of paper number 2 reads:

I have deposited in the county of Bedford, about four miles from Buford's, in an excavation or vault, six feet below the surface of the ground, the following articles, belonging jointly to the parties whose names are given in number three, herewith:

The first deposit consisted of ten hundred and fourteen pounds of gold, and thirty-eight hundred and twelve pounds of silver, deposited Nov. eighteen nineteen. The second was made Dec. eighteen twenty-one, and consisted of nineteen hundred and seven pounds of gold, and twelve hundred and eighty-eight of silver; also jewels, obtained in St. Louis in exchange to save transportation, and valued at thirteen thousand dollars.

The above is securely packed in iron pots, with iron covers. The vault is roughly lined with stone, and the vessels rest on solid stone, and are covered with others. Paper number one describes the exact locality of the vault, so that no difficulty will be had in finding it.

The second cipher can be decrypted fairly easily using a modified copy of the United States Declaration of Independence, but some editing is necessary. To decrypt it, one finds the word corresponding to the number (e.g., the first number is 115, and the 115th word in the Declaration of Independence is "instituted"), and takes the first letter of that word (in the case of the example, "I").

Beale used a version of the United States Declaration of Independence slightly different from the original, and made mistakes in numbering it. To extract the hidden message, the following five modifications must be applied to the original text:
 after word 154 ("institute") and before word 157 ("laying") one word must be added. The pamphlet handles this by inserting "a" before "new government".
 after word 240 ("invariably") and before word 246 ("design") one word must be removed (probably "a"). The pamphlet's numbering has eleven words between the labels for 240 and 250.
 after word 466 ("houses") and before word 495 ("be") ten words must be removed (probably "He has refused for a long time after such dissolutions"). The pamphlet has two labels for 480.
 after word 630 ("eat") and before word 654 ("to") one word must be removed (probably "the"). The pamphlet's numbering has eleven words between the labels for 630 and 640.
 after word 677 ("foreign") and before word 819 ("valuable") one word must be removed (probably "their"). The pamphlet's numbering has eleven words between the labels for 670 and 680.

Furthermore:
 Words 78 and 79 ("self-evident"), shown hyphenated, are counted as 2 words.
 The first letter of word 95 ("inalienable") is always used as a "u" ("unalienable").
 Words 509 and 510 of the modified text ("mean time") are counted as two words, despite being shown as one word.
 The first letter of the 811th word of the modified text ("fundamentally") is always used by Beale as a "y".
 The first letter of the 1005th word of the modified text ("have") is always used by Beale as an "x".

Finally, in the decoded text there are six errors, probably due to wrong transcription of the original paper:
 ... 84, 57, 540, 217, 115, 71, 29, 84 (should be 85), 63, ... consistcd ("consisted").
 ... 53 (should be 54), 20, 125, 371, 38, 36, 10, 52, ... rhousand ("thousand").
 ... 2, 108 (should be 10, 8), 220, 106, 353, ... itron ("in iron").
 ... 440 (should be 40), 370, 643, 466, ... uith ("with").
 ... 14, 73, 84 (should be 85), ... thc ("the").
 ... 807, 81, 96 (should be 95), 405, 41, ... varlt ("vault").

Additional Declaration differences affect paper number 1: word 210 of the modified text ("more") is shown as "now"; words 919 and 920 of the modified text ("fellow citizens") are shown hyphenated (also affects paper number 3); two extra words ("made" and "the") are shown in modified text positions 1058 and 1188; a word is removed ("of") after modified text position 1125. The other slight changes probably have no consequences.

Many versions of the Declaration of Independence have been printed, with various adjustments to paragraphing, word inclusion, word changing, spelling, capitalization, and punctuation.

The lack of clear images of the original ciphers, combined with the large quantity of numerals, has led to numerals being misprinted or omitted in many sources.

The Beale Papers text, on pages 20 to 21, gives an alleged translation of the second ciphertext, but it has nine differences from the actual one. The differences are shown here as {alleged decipherment | actual decipherment}:
I have deposited, in the county of Bedford, about four miles from Buford's, in an excavation or vault, six feet below the surface of the ground, the following articles, belonging jointly to the parties whose names are given in number {"3," | three} herewith:
The first deposit consisted of {one thousand | ten hundred} and fourteen pounds of gold, and {three thousand | thirty-} eight hundred and twelve pounds of silver, deposited {November, 1819 | Nov. eighteen nineteen}. The second was made {December, 1821 | Dec. eighteen twenty-one}, and consisted of nineteen hundred and seven pounds of gold, and twelve hundred and eighty-eight {pounds | } of silver; also jewels, obtained in St. Louis in exchange {for silver | } to save transportation, and valued at {$13,000 | thirteen thousand dollars}.
The above is securely packed in iron pots, with iron covers. The vault is roughly lined with stone, and the vessels rest on solid stone, and are covered with others. Paper number {"1" | one} describes the exact locality of the vault, so that no difficulty will be had in finding it.

Value
The treasure's total weight is about 3 tons as described in inventory of the second cryptogram. This includes approximately 35,052 troy oz gold, 61,200 troy oz silver (worth about US$42 m and US$1 m, respectively, in January 2017) and jewels worth around US$220,000 in 2017.

Authenticity
There has been considerable debate over whether the remaining two ciphertexts are real or hoaxes. An early researcher, Carl Hammer of Sperry UNIVAC, used supercomputers of the late 1960s to analyze the ciphers and found that while the ciphers were poorly encoded, the two undeciphered ones did not show the patterns one would expect of randomly chosen numbers and probably encoded an intelligible text. Other questions remain about the authenticity of the pamphlet's account. In the words of one researcher "To me, the pamphlet story has all the earmarks of a fake . . . [There was] no evidence save the word of the unknown author of the pamphlet that he ever had the papers."

The pamphlet's background story has several implausibilities, and is based almost entirely on circumstantial evidence and hearsay.
 Later cryptographers have claimed that the two remaining ciphertexts have statistical characteristics which suggest that they are not actually encryptions of an English plaintext. Alphabetical sequences such as  are both non-random, as indicated by Carl Hammer, and not words in English.
 Others have also questioned why Beale would have bothered writing three different ciphertexts (with at least two keys, if not ciphers) for what is essentially a single message in the first place, particularly if he wanted to ensure that the next of kin received their share (as it is, with the treasure described, there is no incentive to decode the third cipher).
 Analysis of the language used by the author of the pamphlet (the uses of punctuation, relative clauses, infinitives, conjunctives, and so on) has detected significant correlations between it and the writing style of Beale's letters, including the plaintext of the second cipher, suggesting that they may have been written by the same person.
 The letters also contain several English words, such as "improvise", not otherwise recorded before the 1820s in English but used from French from 1786 in the New Orleans area, and stampede (Spanish) "an uproar". Beale's "stampeding" apparently first appears in print in the English language in 1832 but was used from 1786 to 1823 in New Orleans in French and Spanish.
 The second message, describing the treasure, has been deciphered, but the others have not, suggesting a deliberate ploy to encourage interest in deciphering the other two texts, only to discover that they are hoaxes. In addition, the original sale price of the pamphlet, 50 cents, was a high price for the time (adjusted for inflation, it is equivalent to $ today), and the author writes that he expects "a wide circulation".
 The third cipher appears to be too short to list thirty individuals' next of kin.
 If the modified Declaration of Independence is used as a key for the first cipher, it yields alphabetical sequences such as  and others. According to the American Cryptogram Association, the chances of such sequences appearing multiple times in the one ciphertext by chance are less than one in a hundred million million.  Although it is conceivable that the first cipher was intended as a proof of concept letting decoders know that they were "on the right track" for one or more of the subsequent ciphers, such a proof would be redundant, as the success of the key with respect to the second document would provide the same evidence on its own.
 Robert Morriss, as represented in the pamphlet, says he was running the Washington Hotel in 1820, yet contemporary records show he did not start in that position until at least 1823.
In fact a common literary device of fiction is the story of finding a lost treasure map from Edgar Allan Poe's "The Gold-Bug" to Robert Louis Stevenson's Treasure Island to Milton Caniff's Terry and the Pirates.

There have been many attempts to break the remaining cipher(s). Most attempts have tried other historical texts as keys (e.g., Magna Carta, various books of the Bible, the U.S. Constitution, and the Virginia Royal Charter), assuming the ciphertexts were produced with some book cipher, but none have been recognized as successful to date. Breaking the cipher(s) may depend on random chance (as, for instance, stumbling upon a book key if the two remaining ciphertexts are actually book ciphers); so far, even the most skilled cryptanalysts who have attempted them have been defeated. Of course, Beale could have used a document that he had written himself for either or both of the remaining keys or either a document of his own or randomly selected characters for the third source, in either case rendering any further attempts to crack the codes useless.

Existence of Thomas J. Beale
A survey of U.S. Census records in 1810 shows two persons named Thomas Beale, in Connecticut and New Hampshire. However, the population schedules from the 1810 U.S. Census are completely missing for seven states, one territory, the District of Columbia, and 18 of the counties of Virginia. The 1820 U.S. Census has two persons named Thomas Beale, Captain Thomas Beale of the battle of New Orleans 1815 in Louisiana originally from Virginia Botetourt County – Fincastle area 12 miles from Bedford County and one in Tennessee, and a Thomas K. Beale in Virginia, but the population schedules are completely missing for three states and one territory.

Before 1850 the U.S. Census recorded the names of only the heads of households; others in the household were only counted.  Beale, if he existed, may have been living in someone else's household.

In addition, a man named "Thomas Beall" appears in the customer lists of St. Louis Post Department in 1820. According to the pamphlet, Beale sent a letter from St. Louis in 1822.

Additionally, a Cheyenne legend exists about gold and silver being taken from the West and buried in mountains in the East, dating from roughly 1820.

Poe's alleged authorship
Edgar Allan Poe has been suggested as the pamphlet's real author because he had an interest in cryptography. It was well known he placed notices of his abilities in the Philadelphia paper Alexander's Weekly (Express) Messenger, inviting submissions of ciphers which he proceeded to solve. In 1843 he used a cryptogram as a plot device in his short story "The Gold-Bug". From 1820, he was also living in Richmond, Virginia at the time of Beale's alleged encounters with Morriss. In February 1826, Poe enrolled as a student at the University of Virginia in Charlottesville, but with mounting debts, Poe left for Boston in April 1827.

However, research and facts debunk Poe's authorship. He died in 1849, well before The Beale Papers were first published in 1885. The pamphlet also mentions the American Civil War that started in 1861. William Poundstone, an American author and skeptic, had stylometric analysis performed on the pamphlet for his 1983 book Biggest Secrets, and found that Poe's prose is significantly different from the grammatical structure used by the author who wrote The Beale Papers.

Statistical analysis
Another method to check the validity of the ciphers is to investigate some statistical aspects in different number bases. For example, one can investigate the frequency of the last digit in each number in the ciphers. These frequencies are not uniformly distributed – some digits are more common than others. This is true for all three ciphers.

However, if one considers a base that is relatively prime to 10, then the last digits of the numbers in the unsolved ciphers turn uniform – each digit is equally common. The frequency of the solved cipher stays non-uniform. This indicates a complex behaviour in the solved cipher as one might expect from an encoded message, while the unsolved ciphers have a simpler behaviour.

Humans have limited abilities when it comes to generating random numbers out of thin air. One explanation for the difference between base 10 and the other ones is that the numbers were produced by a human in base 10, which would mean that the ciphers are fraudulent.

Search attempts
Despite the Beale Papers' unproven veracity, treasure hunters have not been deterred from trying to find the vault. The "information" that there is buried treasure in Bedford County has stimulated many expeditions with shovels, and other implements of discovery, looking for likely spots. For more than a hundred years, people have been arrested for trespassing and unauthorized digging; some of them in groups as in the case of people from Pennsylvania in the 1990s.

Several digs were completed at the top of Porter's Mountain, one in the late 1980s with the land owner's permission as long as any treasure found was split 50/50. However, the treasure hunters only found Civil War artifacts. As the value of these artifacts paid for time and equipment rental, the expedition broke even.

Media attention
The story has been the subject of multiple television documentaries, such as the UK's Mysteries series, a segment in the seventh special of Unsolved Mysteries; and the 2011 Declaration of Independence episode of the History Channel TV show Brad Meltzer's Decoded. There are also several books, and considerable Internet activity. In 2014, the National Geographic TV show The Numbers Game referred to the Beale ciphers as one of the strongest passwords ever created. In 2015 the UKTV series Myth Hunters (also known as Raiders of the Lost Past) devoted one of its season 3 episodes to the topic. Also in 2015, the Josh Gates series Expedition Unknown visited Bedford to investigate the Beale Ciphers and search for the treasure.

Simon Singh's 1999 book The Code Book explains the Beale cipher mystery in one of its chapters.

In 2010, an award-winning animated short film was made concerning the ciphers called The Thomas Beale Cipher.

See also

 List of ciphertexts
 Rennes-le-Château – a similar case where encrypted documents, discovered in a church in France, allegedly refer to a hidden treasure
 Oak Island mystery – an alleged undiscovered buried treasure on Oak Island in Nova Scotia
 Captain Kidd – a 17th-century pirate who is supposed to have left behind clues to buried treasure
 Treasure of Lima – another legendary lost treasure
 Lost Dutchman's Gold Mine – legendary lost treasure

References

Further reading
 Viemeister, Peter. The Beale Treasure: New History of a Mystery, 1997. Published by Hamilton's, Bedford, Virginia
 Gillogly, James J. "The Beale Cipher: A Dissenting Opinion April 1980 Cryptologia, Volume 4, Number 2
 Easterling, E.J.  In Search Of A Golden Vault: The Beale Treasure Mystery ( CD/AUDIO BOOK 70 min. ) copyright 1995/ Revised In 2011 . Avenel Publishing 1122 Easter Lane Blue Ridge, VA 24064.

External links

 , as text in separate pages, shown alongside images of the original.

  have been made in video format with audio for the whole pamphlet.

 "Historical and Analytical Studies in Relation to the Beale Ciphers"

Bedford County, Virginia
History of cryptography
Treasure
Undeciphered historical codes and ciphers
Urban legends

Beale ciphers


أراتوس (Άρατος) هي مدينة في رودوبي في مقاطعة فوريا إلادا في اليونان.

يبلغ عدد سكانها حوالي 1144   نسمة.

مراجع

مدن اليونان

أراتوس (رودوبي)


Melissa Felián (née le 13 janvier 1993) est une femme politique franco-ontarienne (Canada), candidate du parti conservateur dans la circonscription d'Orléans aux élections provinciales de 2022.

Elle a été candidate du parti conservateur dans la circonscription de Markham Thornhill aux élections fédérales de 2021.

Enfance et études
Melissa Felián grandit à Toronto (Ontario) dans une famille mixte.Son père est d'origine canadienne-française et sa mère vient de la Guyane. Elle est diplômée d'une maitrise en affaires publiques et internationales à l'université York.Elle vit à Ottawa.

Vie politique

Elle se lance en politique lors des élections fédérales de 2021 comme candidate du parti conservateur dans la circonscription de Markham Thornhill. Elle était à la deuxième place avec 26,31 % des suffrages et plus de 10000 voix.

Notes et références

Liens externes
Site Web des résultats du soir d'élection - Élections Canada

Naissance en janvier 1993
Femme politique canadienne

Melissa Felián


SloMo ( en Français : ) est une chanson de l'artiste cubano-espagnole Chanel, sortie dans sa version actuelle le . Cette chanson a représentée l'Espagne lors du Concours Eurovision de la chanson 2022 qui se déroule à Turin en Italie auquel elle a terminée en troisième position derrière le Royaume-Uni représenté par Sam Ryder et sa chanson  « Space Man » et l'Ukraine , gagnante de cette édition  avec la chanson « Stefania » du groupe Kalush Orchestra .

Concours Eurovision de la chanson 2022

Benidorm Fest 2022

À la suite de sa victoire lors du concours espagnol de chanson Benidorm Fest 2022 avec un total de 96 points, la chanson SloMo représente l'Espagne lors de l'édition 2022.

À l'Eurovision
En tant que pays du Big Five de l'Eurovision, l'Espagne est automatiquement qualifiée pour participer à la finale le . Elle finit troisième du Concours, meilleure place depuis 1995.

Notes et références

Chanson représentant l'Espagne au Concours Eurovision de la chanson
Chanson de l'Eurovision de 2022
Chanson en espagnol
Chanson en anglais
Single musical sorti en 2021

SloMo


În spațiul cultural german, Landsturm este un termen folosit în domeniul militar care, începând cu secolul al XV-lea, se referă la "ultimul contingent" al recruților care nu fac parte nici din armata terestră, nici din marina militară și care, în eventualitatea unui atac inamic, sunt folosiți ca forțe de apărare. În plan istoric, Landsturm a fost sinonim cu trupe de miliție mai puțin bine pregătite decât celelalte forțe armate.

Organizare militară
Forțe armate neregulate
Armata Austro-Ungară

Landsturm


Padding is thin cushioned material sometimes added to clothes. Padding may also be referred to as batting when used as a layer in lining quilts or as a packaging or stuffing material. When padding is used in clothes, it is often done in an attempt to soften impacts on certain zones of the body or enhance appearance by adding size to a physical feature. In fashion, there is padding for:

 Breasts – sometimes called falsies
 The male crotch – usually called a codpiece.
 Height – usually in shoes and often called elevator shoes
 Width of shoulders, called shoulder pads – in coats and other garments for men, and sometimes for women.

Bombast, consisting of horsehair, flock, bran, wool, rags, or cotton, was the padding used to give the required bulk to certain fashionable items of dress in Western Europe around 1600. It was used in particular for men's trunk hose, but also for women's trunk or cannon sleeves (1575-1620).

To alter features
Some padding is added to emphasize particular physical features. Women, for instance, rarely have prominent shoulders, but for some years shoulder pads have been added to women's blazers, dresses (blouses, etc.). This gave them a more masculine outline which was sometimes thought to be of benefit in business situations. Many men's blazers also have a little padding in the shoulders, but not to the same extent.

Padding can also be used to alter the silhouette or appearance of the lower half of the body. This may include a form of padding in the shape of male genitals, or hip and buttock padding worn to appear curvier and create a stereotypically feminine hourglass silhouette.

As protection

Padding is also added to clothing for insulation or cushioning reasons. Thus, many coats and outergarments (especially those for outdoor use in cold climates) are padded with such materials as felt or down or feathers or artificial insulations. Cushioning padding is included in some sporting goods, especially those intended for use in combat sports (e.g., fencing, some martial arts, etc.). Garments intended for actual use in combat were once commonly padded (e.g., by warriors in the Aztec empire, by the ancient Greeks under armor, or by the Japanese until the mid-19th century), but have largely been replaced by light armor made of, for instance, Kevlar. If included in a vest, such armor makes a bullet-proof vest. Padding is also used by athletes in sports where friction is an issue, most notably in cycling shorts where it is termed a cycling pad.

References

Sewing
Protective gear

Padding


غران تورزمو  هي سلسلة ألعاب فيديو من عدة أجزاء وهي لعبة سباق سيارات. أنتجت لتعمل على أجهزة سوني بلايستيشن وبلايستيشن 2 وبلايستيشن 3 وبي أس بي بورتابل. واسم اللعبة هو إيطالي إسباني ل"Grand Touring" والتي تعني التجوال العظيم. قامت شركة بوليفوني ديجيتال بتطوير اللعبة، في حين أن المنتج للأجزاء الثمانية من اللعبة هو كازنوري ياموتشي.

وتتلخص هذه اللعبة عن سباقات السيارات في بعض الحلبات الحقيقية التصميم الموجودة في أنحاء العالم حيث من الممكن أن تبدأ اللعبة بحصولك على رخصة تخولك لخوض بعض سباقات الحلبات وفي كل رخصة تحصل عليها تتاح لك بعض السباقات المحجوبة.

وقد تبدأ أنت العب بمبلغ زهيد لتستطيع ان تشتري سيارة للمنافسة وبعد ذلك تطويرها وتزويدها بالقوة اللازمة لخوض السباقات السريعة والقوية وفي حال فوزك بالسباقات تحصل على مبلغ من المال يخولك لـ شراء سيارة جديدة لإضافتها لقائمة الجراج الخاص بك لتغيير نوع بعض السباقات حيث يطلب منك سيارات بمواصفات خاصة لخوض هذه السباقات.

ألعاب

إصدرات رئيسية

إصدرات فرعية

أغلفة

انظر أيضًا
 نيد فور سبيد
 فورزا موتورسبورت 3

مراجع

ألعاب تحكم سباقات
ألعاب فيديو حولت إلى أفلام
ألعاب فيديو مطورة في اليابان
سلاسل ألعاب الفيديو
سلاسل ألعاب فيديو ظهرت في سنة 1997
سلاسل سوني إنتراكتيف إنترتينمنت
سلسلة غران تورزمو

غران تورزمو (سلسلة)


Patrik Schick (Prag, 24. siječnja 1996.) češki je nogometaš koji igra na poziciji napadača. Trenutačno igra za Bayer Leverkusen.

Klupska karijera

Sparta Prag
Za prašku Spartu debitirao je 3. svibnja 2014. u utakmici protiv Teplica koju je Sparta izgubila 1:3. Tijekom dvije sezone za klub je nastupao 4 puta te je postigao 0 golova, stoga je u sezoni 2015./16. posuđen klubu Bohemians 1905. Za Bohemians 1905 zabio je osam golova u 27 utakmica te je tijekom te sezone bio prvi put pozvan u češku reprezentaciju.

Sampdoria
U lipnju 2016. prešao je u Sampdoriju za iznos od 4 milijuna eura. U svojoj prvoj sezoni za klub u ligi je zabio 11 golova u 32 utakmice. Tijekom te sezone u ligi je igrao samo 14 puta od prve minute te je uspio zabiti jedan gol svakih 137 minuta. U svibnju 2017. odbio je produžiti ugovor jer je smatrao da će ostvariti transfer u neki drugi klub. Idući mjesec Juventus je aktivirao njegovu otkupnu klauzulu od 30 milijuna eura,  no Juventus se 18. srpnja odlučio povući iz dogovora jer Schick dva puta nije uspio proći liječnički pregled.

Roma
Dana 28. kolovoza 2017. Schick je posuđen Romi za 5 milijuna eura s uvjetom obavezne kupnje nakon što su postignuti određeni sportski ciljevi. Početni iznos tog transfera iznosio je 9 milijuna eura te je mogao narasti za još 8 milijuna eura preko bonusa. Za Romu je u 58 utakmica uspio postići samo 8 golova.

RB Leipzig (posudba)
Dana 2. rujna 2019. RB Leipzig objavio je da je doveo Schicka na posudbu do kraja sezone s opcijom kupnje. Svoj prvi gol za RB Leipzig postigao je 11. studenog 2019. u utakmici protiv Paderborna koju je RB Leipzig izgubio 2:3. Tijekom te sezone postigao je 10 golova u 28 utakmica te je njegov klub završio na 3. mjestu u Bundesligi i u polufinalu UEFA Lige prvaka.

Bayer Leverkusen
Dana 8. rujna 2020. prešao je u Bayer Leverkusen za 26,6 milijuna eura plus bonuse. S klubom je potpisao petogodišnji ugovor. Svoj prvi gol u Europskoj ligi postigao je 26. studenog 2020. u utakmici protiv Hapoel Be'er Sheve (4:1).

Reprezentativna karijera
Tijekom omladinske karijere igrao je za sve selekcije Češke od 16 do 21 godine, osim one do 20 godina.

Za A selekciju Češke debitirao je 27. svibnja 2016. u prijateljskoj utakmici protiv Malte (6:0). U toj utakmici ušao je kao zamjena u 66. minuti te je postigao svoj prvi gol i asistenciju za A selekciju. Dana 25. svibnja 2021. bio je uvršten u momčad Češke za odgođeno Europsko prvenstvo 2020. U prvoj utakmici grupne faze odigrane 14. lipnja protiv Škotske, Schick je zabio jedina dva gola, uključujući gol s polovice terena. To je bio najdalji postignuti gol na nekom Europskom prvenstvu od Europskog prvenstva 1980. Time je postao prvi igrač Češke koji je zabio dva gola na nekom natjecanju od Tomáša Rosickýja na Svjetskom prvenstvu 2006. te prvi koji je zabio dva gola na Europskom prvenstvu od Milana Baroša 2004.

Priznanja

Individualna
 Češki talent godine: 2016.

Klupska
Sparta Prag
 Prva češka nogometna liga: 2013./14.
 Češki nogometni kup: 2013./14.
 Češki nogometni superkup: 2014.

Reprezentativna
Češka
 China Cup (bronca): 2018.

Izvori

Vanjske poveznice
 Profil, Fotbal DNES

Životopisi, Prag
Češki nogometaši
Nogometaši Sparte Prag
Nogometaši Sampdorije
Nogometaši A.S. Rome
Nogometaši RB Leipziga
Nogometaši Bayer Leverkusena
Aktivni nogometaši

Patrik Schick


Kyritz også kaldt  Kyritz an der Knatter er en  Hansestadt i  landkreis
Ostprignitz-Ruppin i den nordvestlige del af  tyske delstat   Brandenburg.

Geografi
Byen ligger i det historiske landskab Prignitz i den nordvestlige del af   Brandenburg. Kyritz ligger ved grænsen mellem landskaberne Kyritzer Platte mod vest og Dosseniederung mod øst, hvor søerne  i Kyritzer Seenkette ligger. Længst mod øst  ved Teetz støder den til   Wittstock-Ruppiner Heide.

Nabobyer, amter og kommuner er  Heiligengrabe mod nord, Wittstock/Dosse og  Amt Temnitz mod nordøst, Wusterhausen/Dosse mod øst,  Amt Neustadt (Dosse) i syd samt  Plattenburg mod sydvest og  Gumtow mod vest.

Kyritz kaldes i folkemunde "an der Knatter", en talemåde der stammer fra de tidligere talrige knirkende (knatternden) vandmøller ved en biflod til  Jäglitz som byen har navn efter. I dag er flodarmen rørført og af de fem vandmøller, eksisterer kun bygningerne fra den ene.

Inddeling
I bykommunen  Kyritz ligger hovedbyen Kyritz

10 landsbyer:

 Berlitt
 Bork
 Drewen
 Gantikow
 Holzhausen med bebyggelsen  Vollmersdorf
 Kötzlin
 Lellichow
 Mechow
 Rehfeld mit den Wohnplätzen Klosterhof og Wilhelmsgrille
 Teetz-Ganz med den Wohnplätzen Teetz og Ganz

samt bebyggelserne  Blechern Hahn, Feldsiedlung, Grünfelde, Heinrichsfelde, Karl-Friedrichshof, Karnzow, Köhnsbau, Rüdow, Stolpe, Waldkolonie og Wolfswinkel.

Kilder og henvisninger

 Byens websted

Kyritz


මහා පිපුරුම් ආකෘතියට අනුව විශ්වය ව්‍යාප්ත වූයේ අධික ලෙස ඝනත්වයකින් හා තාප තත්වයක සිට අතර දැනුදු ව්‍යාප්ත වේ. අභ්‍යාවකාශ ව්‍යාප්ත වෙනවා යන්න විස්තර කිරීමට පොදු හා වැදගත් සදෘශ්‍යයක් වන්නේ අභ්‍යවකාශය, පිපෙන බනිස් ගෙඩියක වූ වියලි බෝංචි කරලක්  මෙන්, ඒ සමඟ මන්දාකිණි රැගෙන යාමයි. කෙසේ නමුත් සාමාන්‍ය සාපේක්ෂිත අභ්‍යාවකාශ විද්‍යා , අභ්‍යාවකාශයට කිසියම් හෝ "රසායනිකත්වයක්" ආරෝපණය නොකරයි.

මහා පිපුරුම යනු ස්වධීන නිරීක්ෂණ ගණනක් මඟින් හොඳ සංකළණයකින් ලැබෙන විශ්වයේ අභ්‍යාවකාශ විද්‍යාත්මක ආකෘතියයි.  දී එඩ්වින් හබල් විසින් මන්දාකිණි අතර දුරවල් ඒවායේ වර්ණාවලියේ විස්ථාපනවලට සමානුපාතික බව ගැනීමෙන් පසුව විශ්වය ව්‍යාප්ත වන බව දැක්වීමට එම උදාහරණය යොදා ගන්නා ලදී. දැන් විශ්වය ව්‍යාප්ත වෙමින් පවතී නම් අතීතයේ දී එය කුඩා, වැඩි ඝනත්වයෙන් හා වැඩි උෂ්ණත්වයෙන් යුක්ත විය යුතුය. මෙම අදහස ඉතා අධික ඝනත්ව හා උෂ්ණත්ව දක්වාම විස්තර සහිතව සලකා ඇති අතර එයින් ඇතිවන නිගමනය ඉතාමත් සමීපව නිරීක්ෂිත දේ තහවුරු කරයි.

ඉතිහාසය
උපහාසාත්මකව, බිග් බෑන්ග් යන වදන හඳුන්වා දු‍න්නේ ෆ්‍රෙඩ් හොයිල් (Fred Hoyle) ඔහු විසින් නිවැරදි යයි විශ්වාස නොකළ සිද්ධාන්තයක් පහත් කොට සැලකීමට කරන ලද එතරම් වැදගත්කමක් නැති ප්‍රකාශයක දීය. කෙසේ නමුත් 1964 දී අන්තරීක්ෂ ක්ෂුද්‍ර තරංග පසුබිම පිළිබඳ සොයා ගැනීම, මහා පිපිරුම සඳහා වූ නොපිලිගත නොහැකි ආධාරයක් විය. දුරස්ථ මන්දිකිණි වලින් වූ ආලෝක වර්ණාවලි විශ්ලේෂණ හෙලි කරන්නේ, හබල් නීතිය මඟින් විස්තර කරන සබඳතාවයක දී , දිගු තරංග ආයාම දෙසට වූ විස්ථාපන එක් එක් ගැලැක්සීය දුරවල්වලට සමානුපාතික වන බවයි. මෙය විශ්වය තවමත් ප්‍රසාරණය වන බව දැක්වීමට යොදා ගනී. තවදුරටත් , 1964 දී අන්තරීක්ෂ ක්ෂුද්‍ර තරංග පසුබිම විකිරණය (cosmic microwave background radiation) සොයා ගැනීම, ප්‍රසාරණය නිසා විශ්වය ඉතා උණුසුම් හා ඉහල ඝනත්වයකින් යුත් මුල් තත්වයකින් සිසිල් වූ බවට ප්‍රබල සාක්ෂියක් සපයයි. අන්තරීක්ෂ ක්ෂුද්‍ර තරංග පසුබිම සොයා ගැනීම, මහා පිපිරුම බොහෝ දුරට විශ්වයේ නිර්මාණය වීම විස්තර කරන බව භෞතිකඥයන් , තාරකා විද්‍යාඥයන් හා තාරකා භෞතිකඥයන් විසින් පිළි ගැනීමට බොහෝ සෙයින් ඉවහල් විය.

සනාත කිරීම
තවදුරටත් මහා පිපිරුමට සහාය දෙන සාක්ෂි, විශ්වයේ වූ සැහැල්ලු මූලද්‍රව්‍යවල සාපේක්ෂ සමානුපාතය මඟින් ඇති විය. විශ්වය පුරාවට වූ හයිඩ්‍රජන් හා හීලියම් වල නිරීක්ෂිත බහුලත්වය, මහා පිපිරුම් න්‍යෂ්ටික සංස්ලේෂණයට අනුව තාර්කිකව හා ප්‍රමාණාත්මක විස්තර කර ඇති පරිදි විශ්වයේ වේගයෙන් ප්‍රසාරණය හා සිසිලනය සිදු වූ ප්‍රථම මිනිත්තු කිහිපයේ සිදු වූ න්‍යෂ්ටික ක්‍රියාවලියෙන් උත්පාදිත මෙම මූලද්‍රව්‍යවල ගණනය කරන ලද අනුමාන සමඟ සමීපවම ගැලපිනි.

ගැටලු
කෙසේ නමුත් මහා පිපුරුමෙන් පමණක් විස්තර නොකළ විශ්වයේ රහස් ඇත. උදාහරණයක් ලෙස විශ්වයේ එක් දිශාවකට ආලෝක වර්ෂ බිලියන 12 ක් දිග ප්‍රදේශයක් ප්‍රතිවිරුද්ධ දිශාවට ආලෝක වර්ෂ බිලියන 12ක් දිග ප්‍රදේශයට වඩා ස්වල්ප වෙනස් වීම් දක්වයි. නමුත් විශ්වය වසර බිලියන 13.7 ක් පමණ පමණක් පැරණි නිසා මෙම ප්‍රදේශ කිසි විටෙක හේතු කාරකව සම්බන්ධ වී ඇතැයි දර්ශනය වේ. එසේ නම් ඒවා එතරම් සමාන වූයේ ඇයි? 1981 ඇලන් ගත්ගේ (Alan Guth) විශ්වීය පිම්ඹීම පිළිබඳ සිද්ධාන්තය , කෙටියෙන් ඉතාමත් මුල් කාලීන විශ්වයේ අතිශය දර්ශීය ප්‍රසාරණයේ අහඹු පිපිරීමක්, මෙම ක්ෂිතිජ ගැටලුවට හා මහා පිපිරුම මඟින් පැහැදිලි නොවූ තවත් ගැටලු ගණනක් සඳහා විසඳුම් සැපයීය. "ගත්"ගේ සිද්ධාන්තයට අනියම් සහයන් ලැබී තිබුණත් මහා පිපුරුම මෙන් සමීපව හා හොඳින් සහය ලැබී නැත.

අභ්‍යවකාශ විද්‍යාව
තාරකා විද්‍යාව

මහා පිපිරුම


Vârful Nemira Mare () este cel mai înalt vârf din Munții Nemira, având o altitudine de 1649 m, fiind al doilea ca mărime din județul Bacău după vârful Grindușu (1664 m) aflat în Munții Tarcău.

Geografie
Vârful Nemira Mare este poziționat pe culmea principală a Munților Nemira, în lungime de 32 km pe cumpăna apelor. Alte vârfuri de peste 1.600 m de pe această culme sunt Nemira Mică (1629 m) și Șandru Mare (1640 m, al doilea ca înălțime din acești munți). Culmea pătrunde în dreptul acestor vârfuri în zona de gol alpin a rezervației naturale denumită "Plaiurile și stâncăriile Nemirei", care se întinde pe o suprafață de 671 ha.

Pe vârf există borna și piramida geodezică din rețeaua de triangulare a țării, dar și tranșee și amplasamente de tunuri din Primul Război Mondial.

Există o perspectivă completă spre nord, culmea principală cu vârfurile Farcu Mare și Farcu Mic, iar la orizont, peste Valea Uzului, vârful Lapoș și Munții Ciucului; spre est, Plaiul Ciungetului mărginit de pârâul Izvorul Negru și pârâul Ciunget, valea Dofteana și la orizont Munții Berzunți; spre sud, culmea principală cu vârfurile Nemira Mică și Șandru Mare; spre vest, valea Apa Roșie, iar la orizont Munții Repatului și Munții Bodoc.

Note

Bibliografie
 Mihail Albotă (ing.); Munții Nemira, ghid turistic; Colecția Munții Noștri nr. 29, Editura Sport-Turism, București, 1983

Vârfuri montane din România
Geografia județului Bacău

Vârful Nemira Mare


Mount Dundas ist der Name zweier Berge in Australien:
Mount Dundas (Tasmanien) in der West Coast Range
Mount Dundas (Victoria)

Mount Dundas


Le ministère de la Femme et des Populations vulnérables () est le département du pouvoir exécutif chargé de faire respecter les droits des femmes dans l'État péruvien. Son siège est à Lima.

La ministre actuelle est Grecia Rojas.

Le ministère a comme objectif de diriger des politiques décentralisées pour vaincre la pauvreté, les inégalités et l'exclusion, destiné aux personnes en situation de pauvreté et aux groupes vulnérables, et contribuer à tendre vers l'égalité des chances entre hommes et femmes.

Histoire

Le 29 octobre 1996, le gouvernement d'Alberto Fujimori décide la création du ministère de la Promotion de la femme et du Développement humain (PROMUDEH). La première titulaire du ministère est Miriam Schenone Ordinola.

Le 11 juillet 2002, par la loi organique n°27779, le ministère est renommé en « ministère de la Femme et du Développement social (MIMDES) ». En 2012, l'intitulé du ministère change une ultime fois et devient le « ministère de la Femme et des Populations vulnérables (MIMPV). »

Ce ministère n'a jusqu'à présent été occupé que par des femmes ; ce n'est cependant qu'une tradition perpétuée, puisqu'aucun texte légal ne fixe d'obligation sur le genre du ministre.

Organisation

 Secrétaire générale
 Vice-ministère de la Femme
 Direction générale de l'égalité des genres et de la non-discrimination
 Direction générale de l'intégration de l'approche genre
 Direction générale de Lutte contre les Violences de Genre
 Vice-ministère des Populations vulnérables
Direction générale de la population, du développement et du volontariat
 Direction générale de la famille et de la communauté
 Direction générale de l'enfance et de l'adolescence
 Direction générale des adoptions

Organismes liés au ministère

  (CONADIS)
 « Programa Integral Nacional para el Bienestar Familiar » (INABIF)
 « Programa Nacional Contra la Violencia Familiar y Sexual »

Liste des ministres

Notes et références

Ministere de la Femme et des Populations vulnerables
Femme_et_des_Populations_vulnérables

Pérou

Ministère de la Femme et des Populations vulnérables


Sikkerhed er graden af beskyttelse mod fare, beskadigelse, tab og kriminalitet.

Sikkerhed kan også henføre til:

 it-sikkerhed
 Energisikkerhed
 Ernæringssikkerhed
 Personlig sikkerhed
 Datasikkerhed
 Retssikkerhed
 National sikkerhed
 Fysisk sikkerhed

Finans
 Økonomisk sikkerhed

Sikkerhed (flertydig)


Ovar belediyesi, Portekiz'in Centro bölgesine bağlı Baixo Vouga altbölgesinin belediyelerinden biridir.

Bucaklar
Belediyede 8 bucak (Por.: freguesia) yer almaktadır.

 Arada
 Cortegaça
 Esmoriz
 Maceda
 Ovar
 São João de Ovar
 São Vicente de Pereira Jusã
 Válega

Baixo Vouga'nın belediyeleri

Ovar


Die Okeraue bei Volkse ist ein Naturschutzgebiet in den niedersächsischen Gemeinden Hillerse, Leiferde und Meinersen in der Samtgemeinde Meinersen im Landkreis Gifhorn.

Das Naturschutzgebiet mit dem Kennzeichen NSG BR 135 ist 496 Hektar groß. Es ist vollständig Bestandteil des FFH-Gebietes "Aller (mit Barnbruch), untere Leine, untere Oker". Im Süden grenzt es an das Naturschutzgebiet "Okeraue bei Didderse", im Norden an das Naturschutzgebiet "Okeraue zwischen Meinersen und Müden (Aller)".

Das Naturschutzgebiet liegt zwischen Hillerse und Meinersen. Es stellt einen naturnahen, mäandrierenden Abschnitt der Oker einschließlich der Talaue und der angrenzenden Hangterrasse unter Schutz. Die Aue ist von Grünland geprägt, das periodisch überschwemmt wird. Daneben sind auf höher gelegenen Flächen auch Acker zu finden. Die teilweise unbefestigten Ufer der Oker bilden Abbruchkanten und Aufsandungen. Entlang des Flusslaufes sind Altarme und Flutmulden zu finden. Die Uferbereiche sind vielfach von Hochstaudenfluren und Röhrichtflächen geprägt. Daneben sind Auwaldreste und Eichenmischwälder zu finden.

Zwischen Seershausen und Meinersen teilt sich der Flusslauf in zwei Arme. Zwischen den beiden Flussarmen sind mehrere Fischteiche angelegt worden. Der östliche Arm ist durch ein Wehr, der westliche durch ein Mühlenstau geregelt. Die Durchgängigkeit des Flussabschnittes ist seit 2005 durch eine Umgehungsrinne in Meinersen gewährleistet. Der Abstieg wird durch ein Fluchtrohr erleichtert.

Das Gebiet steht seit dem 26. März 2009 unter Naturschutz. Zuständige untere Naturschutzbehörde ist der Landkreis Gifhorn.

Einzelnachweise

Weblinks

Naturschutzgebiet im Landkreis Gifhorn
Schutzgebiet (Umwelt- und Naturschutz) in Europa
Hillerse
Leiferde
Geographie (Meinersen)
Oker

Okeraue bei Volkse


تقع بلدة البيرة على سفح جبل في منطقة الدريب الأوسط في قضاء عكار، شمال لبنان.

جغرافياً

تبعد عن مدينة طرابلس مسافة 40 كلم و 132 كلم عن العاصمة بيروت، ارتفاعها 550 م عن سطح البحر، وتنتشر فيها بساتين اللوز والتين والزيتون والرمان والجوز والعنب واحراج الصنوبر على أنواعه والسنديان والعفص ونباتات الزعتر والزوبع والهليون وغيرها مما يستخدم في المستحضرات الطبية والوصفات المحلية.

تتميز بوفرة المياه وكثرة الينابيع والآبار السطحية والجوفية،

توجد فيها آثار عثمانية ومسجد قديم بني في سنة 1300 للهجرة بالحجارة السوداء المنتشرة في تلك المنطقة.

المناخ

تتميز البيرة أيضا بمناخ معتدل عموما، فهي متوسطة البرودة شتاء ولطيفة الجو صيفا.

المراجع

أماكن مأهولة في قضاء عكار
أماكن مأهولة في لبنان
أماكن مأهولة في محافظة عكار
تجمعات سنية في لبنان

البيرة (عكار)


Čeljust je jedna od dviju koštanih struktura u većine kralježnjaka koja omeđuje usta i nosi zube. Gornja čeljust i donja čeljust glavni su dio kostura lica u čovjeka. Alveolni nastavci svake čeljusti nose po jedan zubni niz. Gornja čeljust (lat. maxilla) sastoji se od dviju simetričnih polovica (desne i lijeve). Svaka ima tijelo u obliku trostrane vodoravne piramide i četiri nastavka. Alveolni nastavak nosi zube, a ostali se spajaju sa susjednim kostima lica. S gubitkom zuba dolazi i do gubitka alveolnog nastavka čeljusti. Donja čeljust (lat. mandibula) neparna je kost, kojoj tijelo (lat. corpus mandibulae) ima oblik potkove. Na oba kraja uzdižu se dva kraka (lat. ramus mandibulae), koji završavaju dvama nastavcima, zglobnim i mišićnim, preko kojih se čeljust spaja sa sljepoočnom kosti. Na gornjem rubu donje čeljusti nalazi se alveolni nastavak koji nosi zube. Kut između tijela donje čeljusti i uzlaznoga kraka (lat. angulus mandibulae) u djeteta je tup, a u odrasla čovjeka približava se pravomu kutu. On se mijenjao i tijekom filogenetskoga čovjekova razvoja. Skraćivanje donje čeljusti pratilo je smanjivanje kuta mandibule u čovjekovu razvoju.

Anatomija

Čeljust


Đoko Mazalić (Bosanska Kostajnica, 23. travnja 1888. – Sarajevo, 1975.) bio je bosanskohercegovački slikar srpskog podrijetla. Jedan je od slikara iz prve generacije umjetnika koji su pohađali umjetničke škole, uključujući i Gabrijela Jurkića, Petra Tiješića, Karla Mijića, Špiru Bocarića, Petra Šaina, Romana Petrovića i Lazara Drljaču.

Studirao je slikarstvo u Visokoj školi za likovne umjetnosti u Budimpešti (1910. – 1914.). Izlagao je 1912. s Bijelićem i Tiješićem u Sarajevu. Radio je kao profesor crtanja u Sarajevu i Travniku, te u Zavodu za zaštitu spomenika kulture Bosna i Hercegovine. U međuratnom razdoblju sudjelovao je u formiranju i radu umjetničkih grupa Četvorice od 1929. do 1930. i Kruga od 1935. do 1937. godine. Također, između dva svjetska rata pisao je likovne kritike, bavio se restauriranjem i konzervisanjem slika i umjetničkih predmeta, pisao članke i studije o ikonama, o tehnologiji starih ikonopisaca i o starim bosanskim gradovima. Dobitnik je 27-srpanjske nagrade Bosne i Hercegovine, koju je za knjigu Slikarska umjetnost u Bosni i Hercegovini u tursko doba, dobio 1966. godine. Pored ove knjige, 1967. godine napisao je i Leksikon umjetnika slikara, kipara, graditelja, zlatara, kaligrafa i drugih koji su radili u Bosni i Hercegovini. Njegova djela se nalaze u Umjetničkoj galeriji Bosne i Hercegovine, ali i u Muzeju grada Sarajeva.

Preminuo je u Sarajevu, 1975. godine. Po njemu se zove jedna od sarajevskih ulica.

Krađa djela
Iako Đoko Mazalić predstavlja jedan od simbola bosanskohercegovačke umjetnosti, njegova djela su vremenom postala i meta krađe. Jedna od njegovih slika pod nazivom Magdalena ukradena je i trenutno se nalazi u Srbiji.

Zavod za zaštitu spomenika kulture Grada Novog Sada je na zvaničnoj stranici 2020. godine objavio digitalnu formu slike Magdalena. U opisu su objasnili vrijeme njenog nastanka kao i tehniku kojom je rađena, a ono što je promijenjeno je ime, pa se djelo zove Magdalena pokojnica.

Pravi vlasnici slike su Damirka i Enver Mulabdić, državljani Bosne i Hercegovine, a umjetničko djelo je Komisija za očuvanje nacionalnih spomenika Bosne i Hercegovine proglasila nacionalnim spomenikom.

Skandal oko groba
Prilikom pregleda evidencije, KJKP Pokop Sarajevo vodi računa i o naplati održavanja grobnih mjesta. Ovu obvezu na sebe obično preuzimaju najbliži članovi obitelji ili bliski prijatelji koji na godišnjem nivou plaćaju određeni iznos za redovno održavanje grobnog mjesta.

Međutim, problem nastaje kada osoba nema bliskih srodnika ili prijatelja koji bi na sebe preuzeli ovu obvezu. U tom slučaju, ukoliko se nakon određenog vremena ne reguliraju obveze, firma zadužena za održavanje groblja ima mogućnost da prekopa grobno mjesto i da ga dodijeli nekome drugom.

Upravo takav slučaj mogao se dogoditi i sa Đokom Mazalićem na čijem je posljednjem počivalištu na sarajevskom groblju Bare studenog 2021. godine, zbog neizmirivanja obveza koje se tiču grobnog mjesta, okačena obavijest gdje se "mole srodnici ukopanih osoba ili druga lica koja vode brigu o ovom grobnom mjestu da se u što kraćem roku jave u najbliži grobni ured KJKP Pokop Sarajevo".

Zahvaljujući stanovnicima Sarajeva pokrenuta je akcija prikupljanja sredstava koja bi se uplatila za saniranje dugova i održavanje grobnog mjesta Đoke Mazalića. Novac je naposljetku prikupljen, a Sarajevo spašeno velike sramote.

Djela

 Kopači, 1918.
 Osuđeni, 1920.
 Bijeg u Egipat, 1926.
 Herojski kraj, 1927., ulje na platnu
 Stari jablanovi
 Stari grad

Izvori

Literatura
 Umjetnost Bosne i Hercegovine 1894 – 1923, katalog, Sarajevo

Bosanskohercegovački umjetnici
Bosanskohercegovački slikari

Đoko Mazalić


La Unión Regional Deportiva, conocida en sus orígenes como Unión Transitoria de Ligas o Unión Permanente de Ligas, es una unión de ligas de fútbol de la provincia de Buenos Aires bajo la órbita del Consejo Federal de Fútbol, indirectamente asociadas a la Asociación del Fútbol Argentino. Esta unión, constituida en 2007, está actualmente conformada por la Liga Tandilense de Fútbol, la Liga Ayacuchense de Fútbol, la Liga Rauchense de Fútbol y la Liga Juarense de Fútbol —que se unió en 2010—.

La temporada inicial, que data de 2007, enfiló a 18 equipos. En el año 2010 se sumó la liga cabecera de Benito Juárez, ampliándose la cantidad de escuadras. En la temporada 16.°, 2023, 23 clubes formen parte de la primera división, récord para la unión deportiva. Con este panorama, se convierte en una de las uniones de ligas más grandes del sistema de ligas argentino.

A partir de 2019, tras varias temporadas, las categorías mayores pasaron a jugar en días domingo. A su vez, se disputó un torneo con carácter de transición, ya que estaba pautado que a partir de la temporada 2020, se divida la Primera división en dos categorías, A y B. Finalmente, el comité organizador terminó suspendiendo la temporada oficial completa, debido a la pandemia de COVID-19.

Desde la temporada 2021 los equipos participantes se dividen en dos categorías: «A» y «B», con sistema de ascensos y descensos directos, más promociones.

La Unión Regional Deportiva regularmente otorga plazas para el Torneo Regional Federal Amateur, certamen de la cuarta categoría en el sistema de ligas argentino. Anteriormente los campeones disputaban los Torneo Argentino B, C y/o Torneo del Interior, según el nombre del momento.

Clubes registrados

Primera división «A»

Primera división «B»

Ediciones

Formato de una sola categoría

Formato de dos categorías: Primera «A» y Primera «B»

Formato de dos categorías: Primera «A» y Primera «B», con títulos intermedios

Copa de la URD

Cantidad de títulos por equipo
A partir de la 16.ª temporada, la 2023, los campeones de los torneos dentro del año calendario también contarán como título oficial.

Primera división «A»
Hasta la decimoquinta temporada, la 2022, solo se contabilizaron como campeones a los vencedores anuales. A partir de 2023, con el estreno de Gimnasia y Esgrima en el podio, los campeonatos intermedios de la temporada se contabilizan como títulos oficiales.

Primera división «B»

Goleadores por torneo

Clasificación histórica

Primera división «A»

Actualizada al término de la Unión Regional Deportiva 2021.

Referencias

Enlaces externos

 Diario el Eco
 Minuto 91´
 Esperanzas del fútbol
 Deporte Tandilense
 Ayacucho al Día
 Diario La Verdad de Ayacucho
 El Fenix Digital de Benito Juárez
 Fútbol URD
 Asociación Tandilense de Árbitros
 Agrupación Árbitros de Ayacucho
 Agrupación Rauchense de Árbitros

Unión Regional Deportiva


Ignacio María Beteta Quintana (Hermosillo, Sonora; 23 de octubre de 1898-Ciudad de México, 31 de agosto de 1988) fue un militar, arquitecto, académico, profesor, deportista ecuestre, pintor, diplomático y político mexicano.

Participó en la Revolución mexicana en el Ejército Constitucionalista. Se desempeñó como jefe del Estado Mayor Presidencial de 1934 a 1939 y como secretario de Educación Pública de 1939 a 1940 durante la presidencia de Lázaro Cárdenas. Fue un deportista ecuestre de talla nacional. Trabajó como catedrático en su alma mater, la Universidad Nacional Autónoma de México. En sus últimos años fue un pintor cuyos trabajos fueron expuestos a nivel internacional.

Biografía
Fue hijo de Enrique Beteta Méndez y de su esposa, Sara Quintana Oviedo. Hermano mayor de Ramón Beteta Quintana, secretario de Hacienda y Crédito Público con Miguel Alemán Valdés y padre de Óscar Ignacio, Mario Ramón, Sara María y Armando Federico, todos Beteta Monsalve.

Asimismo, fue padre de Enrico Juan, Ramón Ignacio y Fernando Alberto, apellidados Beteta Sorgato. Su hijo Mario Ramón Beteta, fue secretario de Hacienda, Director General de PEMEX y Gobernador del Estado de México.

Primeros años
Estudió arquitectura en la Academia de San Carlos. Sus maestros fueron el Dr. Atl, Germán Gedovius, Saturnino Herrán y Eduardo Solares Gutiérrez. Abandonó sus estudios y participó activamente en la Revolución Mexicana. De 1914 a 1920 intervino en más de 50 combates, al lado del Primer Jefe del Ejército Constitucionalista Venustiano Carranza, a quien acompañó hasta el día de su asesinato, en la Hacienda de Tlaxcalantongo, Puebla. Participó en la Batalla de El Ébano en San Luis Potosí. Al término de la Revolución fue secretario Particular del General Joaquín Amaro Domínguez. En el Ejército Mexicano, alcanzó el grado de General de División.

Carrera deportiva
En 1928 fue campeón nacional de salto de obstáculos a caballo dentro del ejército y un jinete de talla mundial. De 1928 a 1932 instructor de equitación del Colegio Militar y de la Escuela Politécnica de Guatemala, Centro América. De 1939 a 1942, Director Nacional de Educación Física y Premilitar. Fue el primer Presidente de la Federación Ecuestre Mexicana y miembro de la actual Federación Mexicana de Charrería. Presidente de la Confederación Deportiva Mexicana y Presidente de la Federación Mexicana de Polo.

Fue condecorado por los gobiernos de Guatemala, Ecuador, Panamá, Colombia, Chile y Perú. El gobierno mexicano le otorgó la especial del "Mérito Deportivo Militar".

Carrera política

Fue Embajador Extraordinario y Plenipotenciario ante los gobiernos de Ecuador, Panamá, Colombia, Chile y Perú.

Fue Jefe del Estado Mayor Presidencial de 1934 a 1939, y del 23 de enero de 1939 al 30 de noviembre de 1940, Secretario de Educación Pública con el General Lázaro Cárdenas del Río; Director del Departamento Autónomo de Educación Física y posteriormente Comandante del 21.º Regimiento de Caballería en Municipio de Teotihuacán con el Presidente Manuel Ávila Camacho, y Director General de la Industria Militar de 1946 a 1952, con Miguel Alemán Valdés. En 1948, fue Jefe de la Misión Olímpica Mexicana que compitió en los Juegos Olímpicos de Londres 1948, donde México obtuvo varias medallas. Fue miembro activo tanto de la Sociedad Mexicana de Geografía y Estadística como del Comité Olímpico Mexicano. Fungió hasta el día de su fallecimiento como Presidente de Honor Vitalicio de la Asociación Nacional Automovilística (ANA).

Pintor

A partir de 1952 se dedicó de lleno a la pintura, especialmente a la acuarela, y llevó a cabo más de un centenar de exposiciones en México y alrededor del mundo.

Enseñó pintura en la Escuela de Arquitectura de la Universidad Nacional Autónoma de México (UNAM), en el Instituto de Arte de México y en la Escuela de Verano de Acapulco. Tuvo notoria influencia en la obra de Ignacio Barrios y de otros destacados artistas mexicanos a quienes invitaba a pintar a su estudio y a sus giras por la provincia.

Ilustró y publicó varios libros y colaboró en diarios y revistas de México, Italia y Estados Unidos. Su obra plástica es reconocida mundialmente y forma parte de importantes colecciones particulares y de reconocidos museos. Embajada de México en Canadá, Ottawa; Embajada de México en EUA, Washington; Museo del Vaticano, sala de Arte Moderno; Pinacoteca del Palacio Presidencial Yakarta, Indonesia; Galería de la Casa Blanca, Washington; museos de arte de Belgrado, Serbia; de Tel Aviv, Israel; de Hiroshima, Japón; y el de la Acuarela en México, entre otros.

Fallecimiento
Falleció el 31 de agosto de 1988 en la Ciudad de México. Sus restos mortales fueron cremados y descansan en una cripta de la iglesia de la Covadonga en la Ciudad de México.

Referencias

 Quién es Quién en los Deportes, Directorio Biográfico, Talleres Gráficos de la Nación, México, 1944.
 Dawn, A. Diccionario Biográfico Enciclopédico de la Pintura Mexicana, 500 Años Editores, México, 1979.
 Enciclopedia de México, Tomo II, Secretaría de Educación Pública, México, 1987.
 Humberto Musacchio: Diccionario enciclopédico de México ilustrado, Tomo I, Andrés León (editor), México, 1989.

Enlaces externos

 Página oficial en Facebook

Nacidos en Hermosillo
Gabinete de Lázaro Cárdenas
Pintores de México del siglo XX
Ilustradores de México
Militares de Sonora
Miembros del PRI de Sonora
Jinetes de México
Secretarios de Educación Pública (México)
Fallecidos en Ciudad de México

Ignacio Beteta Quintana


An Uncinia ferruginea in uska species han Liliopsida nga ginhulagway ni Francis M.B. Boott. An Uncinia ferruginea in nahilalakip ha genus nga Uncinia, ngan familia nga Cyperaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Uncinia

Uncinia ferruginea


قاعدة التثليث  أو القاعدة الثلاثية في التصوير هي قاعدة في التصوير للحصول على صورة ناجحة.

التوسيط في الصورة بمعنى وقوع الجسم المراد تصويره في وسط الصورة، عادة لا يعطي نتائج جيدة في الصورة.

وقاعدة التثليث تنص على وقوع الاجزاء المحتواة في الصورة في إحدى أثلاث الصورة، حيث لو أننا قسمنا الصورة إلى ثلاثة أثلاث فسوف يقع كل جزء من محتويات الصورة في إحدى الأثلاث. أحيانا يتعذر على المصور التقاط صورة تكون محتوياتها مطابقة 100 في 100 لقاعدة التثليث. احتواء الصورة على مكونات تقع تقريبا في إحدى الأثلاث تكون أيضا مرضية. فقد لا تطبق قاعدة التثليث في كل صورة.

وعند التقاط الصورة من المهم مطابقة خط أفق المنظور مع الخط الافقي السفلي أو العلوي، بدلاً من مطابقته مع الخط الوسطي للمشهد.

هي تقنية تكوين ايضا مستخدمة ايضا في الفن والعمارة لإنشاء تأثير مرئي متوازن عن طريق تقسيم المساحة المعنية إلى تسعة أجزاء متساوية، وحيث يجب وضع عناصر التكوين المهمة على طول هذه الخطوط أو تقاطعاتها. تعد كاتدرائية نوتردام مثالاً بارزا على استخدام قاعدة الأثلاث في التكوين المعماري.

المراجع

تقنيات التصوير
قواعد الإبهام

قاعدة التثليث في التصوير


Turagajčaj (azerski: Turağayçay) je rijeka koja je zemljopisno de jure u Azerbajdžanu, a de facto u Gorskom Karabahu. Teče kroz Mali Kavkaz. Duga je 35 km. Izvire na Malom Kavkazu. Desna je pritoka Tartara.

Rijeke u azijskom dijelu Azerbajdžana
Pritoke Tartara

Turagajčaj


Properdin, insan serumunda bulunan bir proteindir.
Properdin, insan ve bazı hayvanların serumunda bulunan bir globulin (proteini). Bağışıklık sistemine yardımcı etkisi olduğu kanıtlanmıştır; bazı virüsleri nötralize edebilirken bazı bakterileri de tahrip edebilmektedir. Properdin eksikliğinde özellikle menengokok (neisseria meningitidis) ve gonokok (neisseria gonorrhoeae) enfeksiyonlarına sık rastlanır.

Kompleman sistemi
İnsan kromozom X üzerindeki genler
Bilgi kutusu bulunmayan tiyatro oyunları

Properdin


Cet article répertorie les équipes confirmées pour le tournoi de la Coupe d'Afrique des nations féminine de hockey sur gazon 2022 qui s'est tenu à Accra, au Ghana, du 17 au 23 janvier 2022. Les huit équipes nationales devaient inscrire une équipe de dix-huit joueuses et deux réserves.

Ghana
La composition suivante du Ghana pour la Coupe d'Afrique des nations 2022.

Entraîneur :  Patrick Taylor

Afrique du Sud
La composition suivante de l'Afrique du Sud pour la Coupe d'Afrique des nations 2022.

Entraîneur :  Inky Zondi

Nigeria
La composition suivante du Nigeria pour la Coupe d'Afrique des nations 2022.

Entraîneur :  Helen Otah

Kenya
La composition suivante du Kenya pour la Coupe d'Afrique des nations 2022.

Entraîneur :  Jacqueline Jow

Namibie
La composition suivante de la Namibie pour la Coupe d'Afrique des nations 2022.

Entraîneur :  Jacqueline Jow

Zimbabwe
La composition suivante du Zimbabwe pour la Coupe d'Afrique des nations 2022.

Entraîneur :  Patricia Davies

Zambie
La composition suivante de la Zambie pour la Coupe d'Afrique des nations 2022.

Entraîneur :  Floyd Chomba

Ouganda
La composition suivante de l'Ouganda pour la Coupe d'Afrique des nations 2022.

Entraîneur :  Jacqueline Jow

Références

Hockey sur gazon en 2022
Sport au Ghana en 2022
Événement sportif à Accra
Coupe d'Afrique des nations féminine de hockey sur gazon
Championnat d'Afrique au Ghana
Championnat d'Afrique en 2022
Sport en janvier 2022

Composition des équipes féminines de hockey sur gazon à la Coupe d'Afrique des nations 2022


Hennstedt er en by og kommune i det nordlige Tyskland, beliggende i Amt Kirchspielslandgemeinden Eider i den nordlige del af Kreis Dithmarschen. Kreis Dithmarschen ligger i den sydvestlige del af delstaten Slesvig-Holsten.

Geografi
Kommunen er beliggende ca. 4 km syd for Ejderen i Eider-Treene-Niederung. Ud over Hennstedt ligger Apeldör, Busch, Feierabend, Horst, Julianka, Kleverweg, Kummerfeld, Neuhof og Pferdekrug i kommunen.

Nabokommuner
Nabokommuner er (med uret fra nord) kommunerne Drage (i Kreis Nordfriesland), Süderstapel (i Kreis Slesvig-Flensborg) samt Bergewöhrden, Hollingstedt, Glüsing, Linden, Süderheistedt, (Exklave Hägen), Fedderingen og Kleve (alle i Kreis Dithmarschen).

Eksterne kilder/henvisninger

 Kommunens side  på amtets websted.
 Statistikamt Nord – Bevölkerung der Gemeinden in Schleswig-Holstein 4. Quartal 2013 (XLSX-Data) (Fortschreibung auf Basis des Zensus 2011)

Kommuner i Slesvig-Holsten
Byer i Slesvig-Holsten
Byer i Kreis Dithmarschen

Hennstedt (Ditmarsken)


Andrija I. (mađ. I. András) (?, oko 1015. – Zirc, prije 6. prosinca 1060.), ugarski kralj od 1046. do 1060. godine iz dinastije Arpadovića. Potomak je mlađe grane dinastije, koja vuče porijeklo od njegova djeda, vojvode Mihaela († oko 990.), mlađeg sina velikog kneza Takšonja († oko 970.), od kojeg potječu svi kasniji članovi kraljevske dinastije.

Godine 1031. umro je Emerik, sin prvog ugarskog kralja Stjepana I. († 1038.), nakon čega je kralj oslijepio svog rođaka Vazula, koji je imao pravo na prijestolje, kako bi krunu ostavio nećaku Petru, iz mletačke obitelji Orseolo. Stjepan I. je Vazulove sinove Andriju, Belu i Leventa prognao iz Ugarske. Našli su utočište u Češkoj, na dvoru kneza Oldrika. U isto vrijeme, u prognanstvu u Češkoj bio je i poljski kralj Mješko II., koji se vratio 1032. godine u Poljsku i ponovno preuzeo prijestolje, a s njim su došli i Vazulovi prognani sinovi. Bela se oženio kćerkom poljskog kralja, a druga dvojica braće su napustila Poljsku i naposljetku došla u Kijev, na dvor velikog kneza Jaroslava Mudrog.

Godine 1046. izbila je u Ugarskoj pobuna poganskih vođa protiv kralja Petra Orseola i crkvenih prelata. Ustanici su uništavali crkve i ubijali svećenstvo i biskupe. Pozvali su braću Andriju i Levanta da se vrate iz progonstva i stanu na čelo pobune. Andrija je prihvatio zahtjeve poganskih pobunjeničkih vođa kako bi ratovali uz njega. Tijekom sukoba, Andrija je porazio kralja Petra, namamio ga na sastanak te zarobio i dao oslijepiti, nakon čega je preuzeo kraljevsku krunu. Okrunjen je krajem iste godine ili početkom 1047. godine u Stolnom Biogradu.

Kako bi osigurao svoju vladavinu, tražio je priznanje od njemačkog cara Henrika III. (1046. – 1056.), a zauzvrat mu je nudio godišnji danak i vjernu službu. Godine 1048. pozvao je brata Belu da se vrati iz Poljske u Ugarsku i predao mu na upravu jednu trećinu kraljevstva. U kolovozu 1051. njemačka carska vojska napala je Ugarsku, ali su braća Andrija I. i Bela uspješno primijenili taktiku spaljene zemlje pa se njemačka vojska morala povući. Kralj Andrija I. je pokrenuo nove pregovore s njemačkim carem, ali su propali. Sljedećeg ljeta, njemačke su snage započele opsadu Požuna, a mir je sklopljen tek na intervenciju rimskog pape Lava IX. (1049. – 1054.). Andrija I. se nije držao dogovorenih obaveza, već je sklopio savez s bavarskim vojvodom Konradom, protivnikom njemačkog cara.

Andrijina supruga, kraljica Anastazija Kijevska je 1053. godine rodila sina Salomona, kojemu je otac Andrija I. odlučio osigurati nasljedstvo krune, unatoč činjenici da je po pravilu seniorata, veće pravo na nasljedstvo krune imao njegov brat Bela. Kako bi učvrstio šanse svog sina za nasljedstvo krune, okrunio ga je 1057. godine za suvladara i objavio zaruke svog sina s Juditom kćerkom pokojnog cara Henrika III. i sestrom novog njemačkog cara Henrika IV. (1056. – 1105.), koji je tada bio maloljetan te je u njegovo ime upravljala zemljom njegova majka, carica Agneza. Kralj Andrija I. je prisilio svog brata, vojvodu Belu da se odrekne krune, ali je Bela nakon dogovora, kojim je sebi spasio život, pobjegao u Poljsku, na dvor poljskog kralja Boleslava II. Smjelog (1058. – 1079.), uz pomoć čije vojske je napao Ugarsku, kako bi bratu Andriji preoteo krunu. U isto vrijeme, Andrija I. je dobio pomoć od njemačke regentice, carice Agneze te je uz pomoć njene vojske suprotstavio mlađem bratu. U odlučujućoj bitci, Andrija I. je teško ranjen i morao se povući. Pri bjegu su ga uhvatili bratovi ljudi, zatočili ga te je uskoro preminuo, vjerojatno tijekom studenog 1060. godine.

Mađarski vladari
Arpadovići

Andrija I.


Diamond Head is a 1962 Eastmancolor drama romance film starring Charlton Heston, Yvette Mimieux, George Chakiris, and James Darren, directed by Guy Green, and released by Columbia Pictures. The original music score was composed by John Williams, Hugo Winterhalter composed the theme, and Darren sang the title song. The soundtrack album was released by Colpix Records (CP 440). It was released on compact disc in 2006 by Film Score Monthly paired with Lalo Schifrin's Gone with the Wave

Silent film star Billie Dove makes her last film appearance in a brief cameo.

Plot summary
Richard "King" Howland is a swaggering land baron living on the Big Island of Hawaii. He objects when his sister, Sloane Howland, announces she plans to marry Paul Kahana, a native Hawaiian, though Richard is having a torrid affair with an Asian woman, Mai Chen. During Sloane and Paul's engagement party, Mai Chen's brother attacks Richard with a knife. Paul tries to break up the fight and is killed. Bitter at her brother for Paul's death, Sloane runs off to Honolulu, where she is taken in by Paul's brother, Dean, and his family.

Meanwhile, Mai Chen gives birth to Richard's child, but dies during childbirth. Richard refuses to accept the child, so Sloane takes it upon herself to care for the baby. After an angry fight with Sloane and Dean, Richard is confronted with a personal dilemma—whether to continue on with his close-minded ways or to welcome his newborn son into his family.

Note
Although the story is based on the novel by Peter Gilman, the screenplay by Marguerite Roberts makes several significant changes in Gilman's story. Several characters are eliminated, including Richard's father, Richard's wife, and his hapa haole (half-Hawaiian/half white) half-brother. Roberts also changed the ending of the story.

Main cast

Production
Clark Gable was originally slated for Heston's role but died before production began. " I suppose every studio in town had projects waiting for Gable," Heston wrote in his memoirs. "Had he lived to do the film, he would have been a widower and the kid sister his daughter, but the adjusted script worked just as well, though the King's shoes were a loose fit for me."

Charlton Heston was sent the script and wrote about it in his diary on 12 December 1961 calling it a good part in an overwritten and melodramatic script. If it's treated with good care it might work out alright." Heston met with Guy Green, who he liked, and both men wanted Yvette Mimieux to play the female lead. It seemed she would not be available and Carroll Baker was discussed - Heston said "I don't think Carrol Baker is right". Then Mimieux became available and Heston wrote "On the basis of what we saw in Light in the Piazza she's ideal for the part. My main concern now is to see what kind of rewriting Guy can elicit from our scrivener."

Filming began on the island of Kauai in March 1962, with the unit moving to Honolulu in April for further work, then to the studio in Los Angeles. Filming finished in May. Heston wrote "It's hard to tell what I think now, except that I'm still high on Green. He may have made a film that rises above the melodramatic qualities of the script. He didn't push me as hard as I should be pushed, but he gave me a lot, all the same." (Heston would later recommend Green take over from Nicholas Ray on 55 Days at Peking.)

Heston saw a cut of the film in October. He wrote it "looks very slick, smooth, not terribly real, and as though there might be some money in it. I have acted better. I must not indicate." In his memoirs, Heston wrote " I never have figured out why I feel that I fell short on that film. Looking back on what I've written about it here, I notice I had a lot to say about my family coming to visit and the quality of the horse. No, that's not a crack about the people who made the film, but maybe I was focusing on the wrong agenda when we shot Diamond Head."

Guy Green called it a "potboiler" but he enjoyed working with Heston.

Reception
Heston wrote in 1996 "The film turned out to be outrageously successful; I still get checks. I haven't seen it in a number of years; I'm not sure how good I thought it really was, though it did serve to show again that I could carry a film alone."

In October 1965 Heston listed the movie as one he had made which was a "bust with me and the critics", along with The Pigeon That Took Rome, The Buccaneer and Major Dundee.

See also
List of American films of 1962
This film was also unique in portraying the Hawaii of the early 1960's, featuring a cast of many Hawaiian locals. The miscasting of the "Hawaiian" leads with George Chakiris and James Darren would not be acceptable today and is conspicuous in its political incorrectness.

References

Bibliography

External links

1960s English-language films
1962 romantic drama films
Films scored by John Williams
Films based on American novels
Films based on romance novels
Columbia Pictures films
Films directed by Guy Green
Films set in Hawaii
American romantic drama films
1960s American films
English-language romantic drama films

Diamond Head (film)


Eugen Hoffmann (, Dresde - , Dresde) fue un escultor alemán.

Biografía
Durante el periodo entre 1906 y 1910 se formó como diseñador de modelos para revestimientos de paredes en Dresde, tomó clases nocturnas en la escuela de arte. Fue alistado en el Ejército de Alemania para hacer el servicio militar en 1915 y fue hecho prisionero de guerra en Ucrania. A partir de 1918 estudió en la Academia de Dresde, fue alumno de Karl Albiker desde 1919 y miembro a partir de 1920 de la Secesión de Dresde. Tenía en ese momento gran reconocimiento entre otros artistas. Uno de sus profesores compró a título privado una de sus obras.

En 1923 se afilió al Partido Comunista de Alemania y en 1924 participó en la Primera Exposición General de Arte de Alemania en Moscú y en 1929 fue cofundador de ASSO, en Dresde. Sospechoso de participar en actividades revolucionarias fue arrestado en 1933 después de la toma del poder nazi. Afectado por las prohibiciones de trabajo de 1936 (no se les permite hacer, exhibir o vender sus propias obras) e incluido en la lista de artistas degenerados en 1937. Con la ayuda de Oskar Kokoschka en 1938 emigró a Praga y a través de Polonia llegó a Inglaterra en 1939. Allí trabajó en la industria y retrató a los obreros amenazados por los bombardeos.

Regresó a Dresde el año 1946. En 1947 fue nombrado Profesor de Escultura en la Academia, cargo que ocupó hasta 1954, año en que abandonó la docencia. Su marcha se debió en parte a la decepción que le suponía no poder desarrollar un estilo moderno, ya que la Academia se mantuvo anclada en los cánones del pasado.

Murió solo y pobre en 1955.

Notas y referencias

Bibliografía
 Nationalgalerie Berlin - Kunst in der DDR. Bestandskatalog, Seemann Verlag, 2003, ISBN 3-86502-077-1
 Seemanns Lexikon der Kunst, Leipzig 2004, ISBN 3-86502-084-4
 Mensch - Figur - Raum. Werke deutscher Bildhauer des 20. Jahrhunderts, Berlín 1988
 Ausstellungskatalog: Eugen Hoffmann - zum 30. Todestag des Künstlers, Galerie Rähnitzgasse, Dresde 1985
 Christian Tümpel [Hrsg.], Deutsche Bildhauer, 1900 - 1945, entartet, Königstein im Taunus : Langewiesche , 1992 ISBN 3-7845-7180-8

Enlaces externos

Escultores de Alemania del siglo XX
Pintores de Alemania del siglo XX
Artistas exiliados del nazismo
Escultores de Alemania en la República Checa
Escultores de Alemania en Reino Unido
Nacidos en Dresde
Escultores de Sajonia
Fallecidos en Dresde

Eugen Hoffmann


Cezerye (Cezeriye)(Donmuş Helva), özellikle Mersin ve Adana bölgesinde yaygın tatlı türü. Osmanlı mutfağında yer alır. Havuç, toz şeker, ceviz ve hindistan cevizinden yapılır. Adını, Arapça'da havuç anlamına gelen (Cezer; جزر) kelimesinden alır. Rendelenen havuç önce haşlanır haşlandıktan sonra şekerle kavrulur. Üzerine hindistan cevizi; içine antep fıstığı, fındık, yer fıstığı ya da ceviz koyulur.
Mersin Cezeryesi Türk Patent ve Marka Kurumu tarafından tescillenmiş ve coğrafi işaret almıştır.

Kaynakça

Mersin mutfağı
Türk mutfağındaki şekerlemeler
Osmanlı mutfağındaki tatlılar

Cezerye


Die Filialkirche Knappenberg steht in 1072 Meter Höhe in Knappenberg in der Gemeinde Hüttenberg. Die der heiligen Barbara geweihte Kirche wurde 1928 als Filiale der Pfarre Hüttenberg eingerichtet.

Beschreibung
Das Kirchengebäude ist ein ehemaliges Bremshaus aus dem 19. Jahrhundert mit seitlichen Zubauten. Der freistehende hölzerne Glockenturm diente früher als Schichtturm.  Im Inneren zeigt sich die Kirche als großer flachgedeckter Raum, der durch einen nur wenig eingestellten Triumphbogen gegliedert ist. Die Ausstattung stammt zum Teil aus der Umbauzeit. An der Stirnwand des Altarraumes ist eine spätbarocke Kreuzigungsgruppe angebracht. Das Gemälde des heiligen Nikolaus ist vermutlich ein ehemaliges Altarbild aus der Pfarrkirche Hüttenberg. Weiter besitzt die Kirche zwei Bilder der heiligen Barbara, ein großes von 1862 und ein kleines um 1800 entstandenes mit Szenen aus dem Bergbau.

Literatur
 Dehio-Handbuch. Die Kunstdenkmäler Österreichs. Kärnten. Anton Schroll, Wien 2001, ISBN 3-7031-0712-X, S. 409.

Weblinks

Knappenberg
Knappenberg
Knappenberg
Erbaut in den 1920er Jahren
Knappenberg
Baudenkmal (Kärnten)

Filialkirche Knappenberg


Mata Sy Diallo surnommée la Lionne du Ndoucoumane est une personnalité politique sénégalaise née en 1945 à Kaffrine. Elle est plusieurs fois ministre, secrétaire d'État et parlementaire.

Biographie
Mata Sy Diallo à longtemps milité au Parti socialiste (PS) avant de rejoindre l'Alliance des forces de progrès (AFP) de Moustapha Niasse et plus tard le Gp de Malick Gakou.

Au début des années 1990, elle est ministre des Sénégalais de l'extérieur et des Émigrés. Elle a été aussi députée et vice-présidente à l'Assemblée nationale du Sénégal.

À l'arrivée de Macky Sall au pouvoir, elle fait partie des six femmes nommées ministres dans son premier gouvernement. Dans ce gouvernement elle occupe le poste de ministre du Commerce, de l'Industrie et de l'Artisanat.

Références

Député sénégalais
Ministre sénégalaise
Ministre sénégalais de l'Artisanat
Ministre sénégalais du Commerce
Ministre sénégalais de l'Industrie
Ministre sénégalais de l'Immigration
Naissance en 1945
Naissance à Kaffrine

Mata Sy Diallo