O mel de cacau é uma bebida produzida a partir da polpa do cacau por decantação natural, prensagem natural ou mecânica. O mel de cacau é predominantemente aquoso, pouco viscoso, contém açúcares redutores como frutose e sacarose, compostos bioativos com atividade antioxidante, fibras alimentares, altos teores de vitaminas como vitamina C e minerais essenciais como potássio, sódio, cálcio, ferro, manganês e zinco. A bebida é um subproduto da produção de chocolate e pode ser utilizado como adoçante, consumida in natura ou utilizada em preparações culinárias. É doce e ácida com pH entre 3,4 e 3,6.

Devido à presença de açucares redutores e leveduras, o mel de cacau é perecível nas condições ambiente. Por isso, geralmente, o mel de cacau é consumido nas regiões próximas às fazendas de cacau. Para ser comercializado em regiões mais distantes das regiões produtoras, o mel de cacau é congelado ou pasteurizado. Os compostos fenólicos e flavonoides presentes no mel de cacau vem também sendo estudado no contexto da fabricação de cosméticos.

Cultura popular
O mel de cacau foi citado por Jorge Amado no livro Cacau de 1934, que menciona que os funcionários das fazendas precisavam "dançar sobre os caroços (de cacau) pegajosos e o mel aderia aos pés".

Bebidas não alcoólicas
Alimentos à base de cacau

Mel de cacau


Bayersk folkemusik er den gren af folkemusikken, der har udviklet sig i Sydtyskland, Schweiz, Østrig, Sydtyrol og Slovenien.

Alpernes folkemusik
På tysk kaldes bayersk folkemusik ofte for Alpenländische Volksmusik (Alpelandenes folkemusik).

Denne betegnelse gælder for folkemusikken i de tysk- og slovensk talende områder i Alperne, dvs. i Bayern, Schweiz, Liechtenstein, Østrig, Sydtyrol samt i dele af Slovenien og Baden-Württemberg.

Folkemusik
Bayern

Bayersk folkemusik


Karl Hauwede (* 27. August 1860 in Allerstedt; † 17. März 1937 in Ilmenau) war Landtagsabgeordneter der SPD im Landtag von Sachsen-Weimar.

Karl Hauwede war Kleinhändler in Ilmenau. Seit 1887 gehörte er dort zu den führenden Funktionären in der SPD. Von 1908 bis 1918 war er dort Stadtverordneter, zuletzt stellvertretender Stadtverordnetenvorsteher.

1906 wurde er erstmals Mitglied des Landtages von Sachsen-Weimar. Dieses Amt bekleidete er bis zum Jahre 1918. Für die SPD nahm er 1906 am Parteitag in Manheim als Parteitagsdelegierter teil.

1908 war Hauwege Gründungsmitglied der Kleingartenanlage Sonnenbad Ilmenau. Dort war er 31 Jahre lang Vorsitzender und musste 1933 auf Druck der Nationalsozialisten sein Amt abgeben. Trotz dieses Druckes ernannten ihn die Mitglieder des Vereines zum Ehrenvorsitzenden. Bis zu seinem Tode behielt er dieses Amt.

Weblinks
 Geschichte des Sonnenbades Ilmenau

Landtagsabgeordneter (Großherzogtum Sachsen-Weimar-Eisenach)
SPD-Mitglied
Deutscher
Geboren 1860
Gestorben 1937
Mann

Karl Hauwede


The Biblioteca Ambrosiana is a historic library in Milan, Italy, also housing the Pinacoteca Ambrosiana, the Ambrosian art gallery. Named after Ambrose, the patron saint of Milan, it was founded in 1609 by Cardinal Federico Borromeo, whose agents scoured Western Europe and even Greece and Syria for books and manuscripts. Some major acquisitions of complete libraries were the manuscripts of the Benedictine monastery of Bobbio (1606) and the library of the Paduan Vincenzo Pinelli, whose more than 800 manuscripts filled 70 cases when they were sent to Milan and included the famous Iliad, the Ilias Picta.

History

During Cardinal Borromeo's sojourns in Rome, 1585–95 and 1597–1601, he envisioned developing this library in Milan as one open to scholars and that would serve as a bulwark of Catholic scholarship in the service of the Counter-Reformation against the treatises issuing from Protestant presses. To house the cardinal's 15,000 manuscripts and twice that many printed books, construction began in 1603 under designs and direction of Lelio Buzzi and Francesco Maria Richini. When its first reading room, the Sala Fredericiana, opened to the public on 8 December 1609 it was one of the earliest public libraries. One innovation was that its books were housed in cases ranged along the walls, rather than chained to reading tables, the latter a medieval practice seen still today in the Laurentian Library of Florence. A printing press was attached to the library, and a school for instruction in the classical languages.

Constant acquisitions, soon augmented by bequests, required enlargement of the space. Borromeo intended an academy (which opened in 1625) and a collection of pictures, for which a new building was initiated in 1611–18 to house the Cardinal's paintings and drawings, the nucleus of the Pinacoteca.

Cardinal Borromeo gave his collection of paintings and drawings to the library, too. Shortly after the cardinal's death, his library acquired twelve manuscripts of Leonardo da Vinci, including the Codex Atlanticus. The library now contains some 12,000 drawings by European artists, from the 14th through the 19th centuries, which have come from the collections of a wide range of patrons and artists, academicians, collectors, art dealers, and architects. Prized manuscripts, including the Leonardo codices, were requisitioned by the French during the Napoleonic occupation, and only partly returned after 1815.

On 15 October 1816 the Romantic poet Lord Byron visited the library. He was delighted by the letters between Lucrezia Borgia and Pietro Bembo ("The prettiest love letters in the world") and claimed to have managed to steal a lock of her hair ("the prettiest and fairest imaginable.") held on display.

The novelist Mary Shelley visited the library on 14 September 1840 but was disappointed by the tight security occasioned by the recent attempted theft of "some of the relics of Petrarch" housed there.

Among the 30,000 manuscripts, which range from Greek and Latin to Hebrew, Syriac, Arabic, Ethiopian, Turkish and Persian, is the Muratorian fragment, of ca 170 A.D., the earliest example of a Biblical canon and an original copy of De divina proportione by Luca Pacioli. Among Christian and Islamic Arabic manuscripts are treatises on medicine, a unique 11th-century diwan of poets, and the oldest copy of the Kitab Sibawahaihi.

The library has a college of Doctors, similar to the scriptors of the Vatican Library. Among prominent figures have been Giuseppe Ripamonti, Ludovico Antonio Muratori, Giuseppe Antonio Sassi, Cardinal Angelo Mai and, at the beginning of the 20th century, Antonio Maria Ceriani, Achille Ratti (on 8 November 1888), the future Pope Pius XI, and Giovanni Mercati. Ratti wrote a new edition of the Acta Ecclesiae Mediolanensis ("Acts of the Church of Milan"), Latin work firstly published by the cardinal Federico Borromeo in 1582.

The building was damaged in World War II, with the loss of the archives of opera libretti of La Scala, but was restored in 1952 and underwent major restorations in 1990–97.

Artwork at the Pinacoteca Ambrosiana includes Leonardo da Vinci's Portrait of a Musician, Caravaggio's Basket of Fruit, Bramantino's Adoration of the Christ Child and Raphael's cartoon of "The School of Athens".

Some manuscripts
 Uncial 0135 — fragments of the gospels of Matthew, Mark and Luke
 Codex Ambrosianus 435, Ambrosianus 837 — treatise On the Soul of Aristotle
 Minuscule manuscripts of New Testament: 343, 344, 345, 346, 347, 348, 349, 350, 351, 352, 353, 614, 615
 Lectionaries ℓ 102, ℓ 103, ℓ 104, ℓ 105, ℓ 106, ℓ 284, ℓ 285, ℓ 286, ℓ 287, ℓ 288, ℓ 289, ℓ 290.
 Codices Ambrosiani, containing the Gothic language

References

Further reading
 Catalogus codicum graecorum Bibliothecae Ambrosianae (Mediolani 1906) Tomus I
 Catalogus codicum graecorum Bibliothecae Ambrosianae (Mediolani 1906) Tomus II

 Biblioteca Ambrosiana website, select English
 Ambrosiana Foundation, U.S. support organization
 Inventory Catalog of Drawings at the Biblioteca Ambrosiana
 http://www.1st-art-gallery.com/Edward-Clifford/Edward-Clifford-oil-paintings.html

External links
Virtual tour of the Biblioteca Ambrosiana provided by Google Arts & Culture

1609 establishments in Italy
Archives in Italy
Libraries in Milan
Culture in Milan
Tourist attractions in Milan
Education in Milan
Libraries established in 1609
Collections of museums in Italy
Art museums and galleries in Milan

Biblioteca Ambrosiana


Namecoin (ℕ, NMC) este prima criptomonedă alternativă (altcoin) la Bitcoin, apărută în anul 2011. Este limitată la 21 de milioane de unități.

Istorie
În septembrie 2010, pe forumul BitcoinTalk a început o discuție despre un sistem ipotetic numit BitDNS și generalizarea bitcoin. Gavin Andresen și Satoshi Nakamoto s-au alăturat discuției din forumul BitcoinTalk și au susținut ideea BitDNS, iar o recompensă pentru implementarea BitDNS a fost anunțată pe forum în decembrie 2010.

Namecoin a fost, de asemenea, menționat de ICANN într-un raport public drept cel mai cunoscut exemplu de distribuire a controlului și confidențialității în DNS.

Un studiu din 2015 a constatat că din cele 120.000 de nume de domenii înregistrate pe Namecoin, doar 28 erau în uz.

Subunități
mNMC (Milli Namecoin) - 0,001
µNMC (Micro Namecoin) - 0,000001
Satoshi - 0,00000001

Namecoin a fost prima monedă virtuală care a implementat tehnologia merged mining, ce permite minarea simultană a două criptomonede bazate pe același algoritm (exemplu: Litecoin și Dogecoin cu algoritmul scrypt, sau Namecoin și Bitcoin cu algoritmul SHA-256.)

Namecoin este și singura criptomonedă digitală care poate fi utilizată pentru a cumpăra și vinde domenii .bit pe internet, precum și posibilitatea de a stoca date în propriul lanț de blocuri. Avantajul constă în faptul că fiecare hash calculat de un miner contribuie la hashrate-ul total al tuturor rețelelor participante.

Tranzacționarea domeniilor, respectiv posibilitatea de a trimite sau a primi Namecoin, este înlesnită de software-ul Dot-BIT, utilizatorii softului împărțind o listă comună a domeniilor. Securitatea acestor operațiuni este asigurată prin chei publice și private păstrate în calculator.

Note

Legături externe

  wiki.namecoin.info
  Namecoin.org
 coinmarketcap.com/namecoin
  Dotbit.me

Criptomonedă
Comerț electronic

Namecoin


Sigurd Wåle (født 28. februar 1917 i København, død 31. december 1967 i Horsens) var en dansk forfatter.

Sigurd Wåle var i fem år sømand, derefter bl.a. arbejdsmand, kontorist (Politiet og Grønlands Tekniske Organisation) og højskolelærer. Han var formand for Kampagnen mod dansk NATO-medlemskab fra 1965-1967.

Forfatterskab
Wåle udgav omkring 20 bøger og et utal af artikler m.m.

Udgivelser
 - bare slå ihjel (novelle, 1949)
 Martyrideologierne i den europæiske kristne krigskultur (1949)
 Hjemmet (roman, 1952)
 Aborten (noveller, 1952)
 På en øde ø (fabler, 1952)
 Jubilæums Dekameron 1353-1953 (antologi, 1953)
 Kærlighed, tre glas portvin og en bajer - Sandheden 4 (roman, 1953)
 Aborten (roman, 1954)
 På en øde ø (fabler, 1954)
 Min satans mor - Sandheden 1 (roman, 1955)
 Dødsskolen, homosex og prygl - Sandheden 2  (roman, 1955)
 Drengen der fik alle til at danse (børnebog, 1958)
 Sømandsliv, kærlighedsdrøm og ludderliv - Sandheden 3 (roman, 1959)
 Den søde kløe ... - Sandheden 6 (roman, 1962)
 Kæmp for alt (essays, 1962)
 Miraklet - Sexspil (roman, 1964)
 Det erotiske paradis – på en øde ø (roman, 1965)
 Kærlighed, tre glas portvin og en bajer (roman, 1965)
 Ny Decameron 1-2 (antologi, 1965 og 1966)
 Elsk mig rigtigt - Min satans mor (roman, 1966)
 Pigen på drengehjemmet (roman, 1966)
 De mange senge : en kvinde og tusind mænd (roman, 1967)
 Himmelbroen, den erotiske landevej (roman, 1967)

Anerkendelser
 1952:  Konkurrence: Informations novellekonkurrence, 2. præmie
 1967: Statens Kunstfond. Engangsydelse

Litteratur
 100 publicister. Den danske Publicistklub, 1980 (heri s. 276-278: Erik Nørgaard: En kultur-gangster)

Eksterne henvisninger
 Oplysninger om enkelte personer på litteraturpriser.dk
 Danske forfattere/bidragydere til skønlitteratur indtil 1959 på danskforfatterleksikon.dk

Digtere fra Danmark
Personer fra København
Dansksprogede forfattere fra Danmark
Redaktører fra Danmark
Danskere i 1900-tallet

Sigurd Waale


Sociosexuality, sometimes called sociosexual orientation, is the individual difference in the willingness to engage in sexual activity outside of a committed relationship. Individuals who are more restricted sociosexually are less willing to engage in casual sex; they prefer greater love, commitment and emotional closeness before having sex with romantic partners. Individuals who are more unrestricted sociosexually are more willing to have casual sex and are more comfortable engaging in sex without love, commitment or closeness.

Measurement

The revised Sociosexual Orientation Inventory (SOI-R) was designed to measure sociosexuality, with high SOI scores corresponding to an unrestricted orientation and low SOI scores denoting a more restricted orientation. The SOI-R also allows for the separate assessment of three facets of sociosexuality: behavior, attitude and desire.

Gender differences and sexual orientation
Men tend to have higher SOI scores and be more unrestricted than women across a variety of cultures. However, there is more variability in scores within each gender than between men and women, indicating that although the average man is less restricted than the average woman, individuals may vary in sociosexuality regardless of gender.

Bisexual women are significantly less restricted in their sociosexual attitudes than both lesbian and heterosexual women. Bisexual women are also the most unrestricted in sociosexual behavior, followed by lesbians and then, heterosexual women. Gay and bisexual men are similar to heterosexual men in sociosexual attitudes, in that they express relatively unrestricted attitudes relative to women. However, gay men are the most unrestricted in sociosexual behavior, followed by bisexual men and then, heterosexual men. This may be because gay men have more potential partners who prefer short-term, casual sexual encounters.

Unrestricted sociosexuality is associated with early life experiences with sex, more frequent sexual activity and a greater number of lifetime sex partners.  Unrestricted men tend to have greater rape myth acceptance, past sexual aggression and more conservative attitudes about women than restricted men. Unrestricted women tend to have more sexual fantasies involving having power or control over another person and lower levels of sexual conservatism than restricted women.

Individual differences
Individuals who are sociosexually unrestricted tend to score higher on openness to experience, and be more extraverted, less agreeable, lower on honesty-humility, more erotophilic, more impulsive, more likely to take risks, more likely to have an avoidant attachment style, less likely to have a secure attachment style, and score higher on the Dark Triad traits (i.e. narcissism, Machiavellianism, psychopathy). Higher masculinity and eveningness in women is related to unrestricted sociosexuality. High self-monitoring is also associated with unrestricted sociosexuality, regardless of gender or sexual orientation.

Individuals with an intrinsic religious orientation (i.e., religion as an end) tend to be sociosexually restricted, while those with an extrinsic religious orientation (i.e., religion as a means to achieve non-religious goals) tend to be unrestricted.

Mating tendencies

Motives
Unrestricted women are more motivated to engage in casual sex than restricted women as they perceive more benefits associated with short-term mating. These include sexual benefits (e.g., experiencing the novelty of a new partner), resource benefits (e.g., receiving expensive gifts) and the improvement of their seduction skills. Sociosexuality is not associated with short-term benefits for men.

When viewing attractive female models, unrestricted men are more interested in the models' physical attractiveness, while restricted men show more interest in the social traits presumably possessed by attractive females. Unrestricted women report more interest in attractive male models' popularity and are less interested in their willingness to commit, compared to restricted women.

Mate preferences
Men and women with an unrestricted sociosexual orientation view short-term mates with greater sexual experience as more desirable, whereas restricted women perceive partners' sexual inexperience as desirable. Unrestricted individuals place more importance on partners' physical attractiveness and sex appeal, while restricted individuals place more weight on characteristics indicative of good personal and parenting qualities (e.g., kind, responsible, faithful). Judgement of sexual attractiveness is more variable in unrestricted men than in restricted males.

Individuals are able to accurately assess the sociosexuality of computer-generated and real faces, with unrestricted sociosexuality being associated with greater attractiveness in female faces and greater masculinity in male faces. Women tend to prefer male faces associated with restricted sociosexuality, while men prefer unrestricted female faces, both for short-term and long-term partners.

Relationship interactions
Unrestricted women report engaging in more social interactions with men on a daily basis than restricted women. However, unrestricted individuals rate their interactions with their best friends (non-romantic) as lower in quality (i.e., as less pleasant and satisfying) than restricted individuals. Unrestricted individuals are also more likely to view cheating or infidelity as acceptable under certain conditions (e.g., when involved in a bad relationship), and report engaging in more cheating than restricted individuals. The relationship between sociosexual orientation and infidelity is mediated by commitment, meaning unrestricted individuals may cheat because they are less committed to their partner than restricted individuals.

Hormones
Individuals who are partnered typically have lower testosterone levels than individuals who are single. However, this was found to apply solely to individuals who have a restricted sociosexuality. Partnered, unrestricted men and women's testosterone levels are more similar to the levels of single men and women.

Culture
In regions that suffer from a high prevalence of infectious diseases, both men and women report lower levels of sociosexuality, as the costs of an incautious lifestyle (i.e., being unrestricted) may outweigh the benefits.

Implications
Possessing an unrestricted sociosexuality seems to increase the likelihood of having a son by 12-19% in American samples. This may be explained by the generalized Trivers-Willard hypothesis, which states that parents who possess any heritable trait that increases males' reproductive success above females'  will have more sons, and will have more daughters if they possess traits that increase females' reproductive success above males'. Since unrestricted sociosexuality increases the reproductive fitness of sons more than daughters (as males have the potential to have more offspring through casual sex), unrestricted parents have a higher-than-expected offspring sex ratio (more sons).

Relevant theories

Parental investment theory
According to the parental investment theory, the gender that invests more in offspring tends to be more discriminating and more sociosexually restricted (usually women, due to pregnancy, childbirth and lactation). In a year, a woman can give birth once (except in the case of a multiple pregnancy), regardless of the number of partners she has had, whereas a man can potentially have more children than the number of women with whom he has slept due to multiple births. Thus, women should be more selective and restricted in order to have children with partners possessing good genes and resources, who can provide for potential offspring. Men, however, may increase their reproductive fitness by being unrestricted and having many children with many women. Thus, since men do not need to invest as much physically (no pregnancy), they tend to have a more unrestricted sociosexuality.

Sex ratio theory
Operational sex ratio is the number of sexually competing males versus the number of sexually competing females in the local mating pool. High sex ratios indicate that there are more men than women available, while low sex ratios imply more women than men are sexually available. High sex ratios (more men) are associated with lower SOI scores (more restricted sociosexual orientation), as men must satisfy women's preference for long-term monogamous relationships if they are to effectively compete for the limited number of women. Low sex ratios (more women) are correlated with more unrestricted sociosexuality, as men can afford to demand more casual sex if they are relatively scarce and in demand.

Strategic pluralism theory
Strategic pluralism suggests that women evolved to evaluate men on two dimensions: their potential to be a good provider for offspring and their degree of genetic quality. The local environment should have influenced which mate characteristics were preferred by women. In demanding environments where biparental care was critical to infant survival, women should have valued good parenting qualities more, leading men to adopt a more restricted sociosexuality and invest more in their offspring to help ensure their children survive. In disease-prevalent environments, good genes that would help offspring resist pathogens should have been prioritized by women, leading healthy men to be more sociosexually unrestricted in order to pass on their genes to many offspring.

Social structural theory
According to social structural theory, the division of labor and social expectations lead to gender differences in sociosexuality. In cultures with more traditional gender roles (where women have less freedom than men), gender differences in sociosexuality are larger. In these societies, where women have less access to power and money than men, it is expected that women should be more sexually restricted and only have sexual relations with men in the context of a committed relationship, whereas men may be sexually unrestricted if they wish. In more egalitarian societies, where men and women have equal access to power and money, the gender difference in sociosexuality is less pronounced, as individuals may take on the social role of the other gender.

See also

 Friends with benefits relationships
 Human sexuality
 Polyamory
 Promiscuity
 Sexual arousal
 Sexual orientation

References

External links
 The revised Sociosexual Orientation Inventory

Sociological terminology
Sexology

Sociosexuality


Craig Anthony Washington (born October 12, 1941) is an American lawyer and Democratic Party politician from Texas who served in the Texas State Senate and the United States House of Representatives.

The son of Roy and Azalia Washington, Washington graduated from Prairie View A&M University in 1966 and was originally interested in becoming a doctor, but as admissions to medical school had already ceased, Washington decided to instead apply at Texas Southern University's law school.

Career
In 1972, the state of Texas began electing members of the state House of Representatives and State Senate, for the first time, by single-member districts. Washington, along with four other minority candidates, Anthony Hall, George T. "Mickey" Leland, Benny Reyes and Cecil Bush, (dubbed the "People's Five"), ran for seats in the Texas House of Representatives. Washington was elected, and represented District 86 in the state House from 1973 to 1982. He then represented District 13 in the state senate from 1983 until 1989.

Washington was elected as a Democrat to the 101st United States Congress for Texas's 18th congressional district, by special election, December 9, 1989, to fill the vacancy caused by the death of Mickey Leland. He was reelected to the 102nd United States Congress and 103rd United States Congress and served from December 9, 1989, to January 3, 1995. He took stands against some projects, like the International Space Station, where spending would have flowed to his district.

In March, 1994, Washington was routed in the Democratic primary by Houston City Councilwoman Sheila Jackson Lee, winning only 36.5 percent of the vote.  Lee won in November and still holds the seat today.

Since leaving Congress, Washington has practiced law in Houston and Bastrop, Texas.

See also
 List of African-American United States representatives

References

External links

1941 births
Living people
Democratic Party members of the Texas House of Representatives
People from Longview, Texas
Democratic Party Texas state senators
African-American members of the United States House of Representatives
African-American state legislators in Texas
Politicians from Houston
Texas Southern University alumni
Prairie View A&M University alumni
Thurgood Marshall School of Law alumni
Texas lawyers
Democratic Party members of the United States House of Representatives from Texas
21st-century African-American people
20th-century African-American people

Craig Washington


was a town located in Hashima District, Gifu Prefecture, Japan.

On January 1, 2006, Yanaizu was merged into the expanded city of Gifu and no longer exists as an independent municipality.

Education

When the city was independent it housed a North Korean school, Gifu Korean Elementary and Junior High School (岐阜朝鮮初中級学校).

References

External links
Yanaizu official website  (Archive)
Gifu city official website

Dissolved municipalities of Gifu Prefecture

Yanaizu, Gifu


Carnavalul este un film românesc din 1972 regizat de Ion Truică.

Prezentare

Note

Legături externe

Vezi și
 1972 în film

Filme românești
Filme în limba română
Filme din 1972

Carnavalul (film din 1972)


Paulette Poujol-Oriol, née le   à Port-au-Prince et morte le  est une écrivaine, féministe et éducatrice haïtienne. Elle a été reconnue comme l'une des principales figures littéraires d'Haïti ainsi que l'une des actrices les plus dynamiques du mouvement féministe haïtien. Elle a fondé Picolo Teatro, une école d'arts du spectacle pour enfants.

Petite enfance et éducation
Paulette Poujol est née à Port-au-Prince en 1926 dans un milieu socio-économique privilégié, de Joseph Poujol, actif dans les affaires et le théâtre, et d'Augusta Auxila Sa famille a déménagé à Paris alors qu'elle avait moins d'un an, puis est retournée en Haïti quand Paulette Poujol était âgée de six ans. Son père a fondé à Haïti l'Institut Commercial Joseph Poujol, un établissement d'enseignement. Paulette Poujol a étudié à l'École Normale Supérieure de Port-au-Prince et plus tard au London Institute of Commerce and Business Administration en Jamaïque.

Carrière
Dès son plus jeune âge, grâce aux encouragements de son père, elle s'intéresse à la culture, en particulier à la littérature classique française et au théâtre. En 1949, elle intègre la Société Nationale d'Art Dramatique (SNAD) qui se produit au Rex Théâtre. Elle enseigne ensuite les langues, puis le théâtre, dans l'école de son père, puis au collège Saint François d'Assise où elle reste . Elle a été associée pendant de nombreuses années à l'École Nationale de Jardinières d'Enfants de Marie-Thérèse Colimon-Hall. Elle a enseigné au Département Théâtre de l'École Nationale des Arts, qu'elle a dirigé de 1983 à 1991, assurant également des missions d'enseignement à l'Université Quisqueya. Elle a fondé et dirigé le Piccolo Teatro, établissement d'enseignement du théâtre destiné aux enfants.

Engagement féministe
Féministe, pendant , elle s'est associée à plusieurs organisations féminines, dont la Ligue Féminine d'Action Sociale, dont elle a été la présidente de 1997 jusqu'à sa mort. Elle a été membre fondatrice du Club des femmes de carrière libérale et commerciale et, en 1994, de l'Alliance des femmes haïtiennes, un organisme coordonnant le travail d'une cinquantaine d'organisations féministes.

Littérature
Ses œuvres littéraires se concentrent principalement sur les problèmes sociaux et économiques à Haïti Inspirée en partie par les classiques français, notamment les écrits d'Emile Zola, Guy de Maupassant, Honoré de Balzac et Alexandre Dumas, elle transpose La Comédie humaine de Balzac dans le contexte d'Haïti ; elle s'intéresse particulirement à la représentation            des interactions entre des individus appartenant à des milieux divers. Son roman en langue française, Le creuset, et les nouvelles du recueil La fleur rouge comportent des passages significatifs en créole haïtien. Dans Le creuset (1980), considéré par beaucoup comme la meilleure de ses œuvres, elle retrace la vie d'une famille haïtienne pendant plus d'un siècle. Alors que le roman évoque un certain nombre d'histoires d'amour, il excelle dans la présentation des difficultés sociales à Haïti, difficultés liées à la race, aux préjugés, aux conditions d'éducation et à la condition des femmes. Le recueil de nouvelles de Poujol-Oriol, La fleur rouge écrit en 1988, présente des histoires de personnalités haïtiennes en quête de fortune. Sa nouvelle La fleur rouge qui remporte le prix RFI-Le Monde pour la "Meilleure Nouvelle de Langue Française" est rééditée dans la Revue des deux Mondes en juillet 1994 et reçoit un succès considérable. Il a été traduit en anglais et en espagnol.

Vie privée
Poujol-Oriol s'est mariée deux fois. Du premier mariage, elle a eu un fils, Georges Michel, médecin, et une fille, Claudine Michel, professeur à l'université de Californie à Santa Barbara. Après son divorce, elle a épousé Marc Oriol. Elle est décédée d'une crise cardiaque en mars 2011 à Port-au-Prince.

Œuvres choisies
En plus de nombreux articles de revues, dont des commentaires sur la constitution haïtienne et la place de la femme dans la société, ses publications comprennent :
 1980, Le creuset (The Crucible), roman, Editions Deschamps, lauréat du prix Henri Deschamps 1980
 1992, La fleur rouge, recueil de nouvelles, la nouvelle titre ayant remporté le prix Le Monde de la nouvelle francophone en 1988
 1996, Le passage, roman, traduit en anglais sous le titre Vale of Tears (2006)
 2008, Madan Marye et sept autres nouvelles, nouvelles

Elle a également écrit une pièce de théâtre inédite, Trou-Soleil.

D'autres publications comprennent "La femme haïtienne dans la littérature : problèmes de l'écrivain" (The Journal of Haitian Studies 3/4, 1996 – 1998); "Petite histoire du théâtre en Haïti" (Conjonction 207 (2002): 7 – 13; "Pour Jacques Roche: Acta, Non Verba » (La Revue des études haïtiennes 11.2, automne 2005) ; Ma rencontre avec Jacques Roumain, Mon Roumain à moi (Port-au-Prince : Presses nationales d'Haïti, 2007).

Récompenses
 1980, Prix Littéraire Henri Deschamps (seulement la deuxième femme à recevoir le prix)
 1988, prix Le Monde de la nouvelle de langue française (onzième concours de la meilleure nouvelle de langue française)
 1995, Prix Jacques-Stephen Alexis, troisième prix pour sa nouvelle Madan Marié
 2001, Prix Gouverneur de la rosée du livre et de la littérature, décerné par le ministère haïtien de la Culture
 2005, prix à la Conférence Caraïbes et Amérique Latine sur les Femmes et la Citoyenneté pour sa contribution au mouvement des femmes haïtiennes .

Références

Bibliographie

Liens externes

Nouvelliste haïtien
Romancière haïtienne
Féministe haïtienne
Professeur haïtien
Naissance en mai 1926
Décès en mars 2011
Décès à 84 ans

Paulette Poujol-Oriol


Inge Müller (nacida Inge Meyer; Berlín, 13 de marzo de 1925 - ibídem, 1 de junio de 1966) fue una poetisa de Alemania Oriental.

Biografía
Durante la Segunda Guerra Mundial, participó en el  Reichsarbeitsdienst en diferentes localidades de Estiria hasta que fue enviada a Berlín como ayudante de la Luftwaffe. Sus padres fallecieron en un accidente aéreo y yacieron tres días entre los escombros con un perro. Este hecho marcaría mucho la vida de Inge.

En la postguerra, trabajó de secretaria, Trümmerfrau, periodista y corresponsal. Su primer matrimonio con Kurt Loose duró muy poco pero tuvieron un hijo. Ya en 1948, se casó con Herbert Schwenker, gestor del Friedrichstadt-Palast y más tarde un miembro importante de Zirkus Busch, se hizo miembro del SED y disfrutó de una vida acomodada en Lehnitz (Oranienburg) entre 1954 y 1959.

En otoño de 1953, conoció a  Heiner Müller en una función de la Arbeitsgemeinschaft Junger Autoren y pronto se mudó a un apartamento con él con quien se casó en 1955.  La pareja, que llegó a ganarse la vida como escritores freelance, trabajó en dramas radiofónicos y teatrales.

Pero el sueño de Inge de trabajar con su marido como iguales empezó a derrumbarse, no dejaban de verla a la sombra de Heiner, a quien ella veía más como un co-trabajador que como un igual y en 1956 comenzó un romance con el hermano de Heiner de 16 años, Wolfgang Müller, que complicó aún más la relación marital.

El reconocimiento de ambos con el Premio Heinrich Mann en 1959 y el hecho de que a Heiner lo expulsaran de la Deutscher Schriftstellerverband empeoró mucho más la situación. Aquejada de depresiones y problemas psicosomáticos intentó quitarse la vida varias veces hasta que lo consiguió el 1 de junio de 1966. Se editó póstumamente un poemario, pero su obra pasó rápidamente al olvido porque el suicidio no cuadraba con la política de Alemania Oriental y además Heiner reclamaba la autoría de muchas de sus colaboraciones.

Obra
 Wölfchen Ungestüm (1955)
 Zehn Jungen und ein Fischerdorf (1958)
 Die Weiberbrigade
 Auf dem Wege
Ich Jona.
Der Lohndrücker (1956)
Die Umsiedlerin (1956)
Die Korrektur (1957)
Klettwitzer Bericht (1958
Unterwegs (1963)
Poesiealbum (1976), póstumo.
Wenn ich schon sterben muß (1985), póstumo.
Pero al margen de novelas y otras obras literarias, fue poetisa aunque en vida casi no pudo publicar poesía, sobre todo lo hizo en la antología In diesem besseren Land.

Literatura
Biografías:
 Ines Geipel: Dann fiel auf einmal der Himmel um. Henschel Verlag 2002
 Sonja Hilzinger: Das Leben fängt heute an. Aufbau Verlag Berlin 2005
 Richard Pietraß: Wenn ich schon sterben muß. Aufbau Verlag Berlin 1985
 Sonja Hilzinger: Daß ich nicht ersticke am Leisesein. Aufbau Verlag Berlin 2002

Escritores de Alemania del siglo XX
Escritores en alemán
Escritores que cometieron suicidio
Suicidas de Alemania
Ganadores del Premio Heinrich Mann
Suicidios femeninos
Suicidios en 1966
Poetisas de Alemania
Alemanas del siglo XX
Nacidos en Berlín

Inge Müller


Mağlova Kemeri ya da Muallakkemer, Kanunî Sultan Süleyman'ın emriyle, Mimar Sinan tarafından 1555-1562 yılları arasında İstanbul'da, Alibey Deresi vadisi üzerinde yapılmış olan su kemeri. Bugün Sultangazi ilçesi sınırlarında bulunan Cebeci köyü yakınlarındadır. 1563 yılında selden zarar görmüşse de aynı yıl onarılarak eski haline getirilmiştir. Alibeyköy barajının göl suyu yapıtın dörtte birini kaplamaktadır. Kemer İstanbul'a su taşımaya devam etmektedir.

Eser dünya su mimarisinin baş yapıtlarından biri olarak kabul edilir. 35 metre yüksekliğinde ve 257 metre uzunluğunda olan kemer, iki katlıdır. Kemerin alt katında 8 büyük üst katında 8 küçük gözü bulunmaktadır. Alt katında bulunan gözlerden 4 tanesi diğerlerine nazaran daha büyük yapılmıştır. Genişlikleri 18,4 metredir. Üst katındaki orta 4 gözün genişlikleri ise 13,4 metredir.

Tarihçi Semavi Eyice, kemer için "Dini mimaride Süleymaniye ve Selimiye camileri neyse, sivil mimaride de Mağlova kemeri o derece önemli bir eserdir. Benim nazarımda onu baraj gölü içinde bırakmak Türk sanat tarihi açısından yapılmış en büyük cinayettir" demiştir.

2005 yılında, 20 TL değerinde 5.000 adet Mağlova Kemeri Hatıra Parası basılmıştır.

Kaynakça

Osmanlı kemerleri
Mimar Sinan'ın eserleri
İstanbul'daki su kemerleri

Mağlova Kemeri


Panzer Dragoon is a 1995 rail shooter game for the Sega Saturn, published by Sega and developed by Sega's Team Andromeda studio. It is the first game in the Panzer Dragoon series. The game follows hunter Keil Fluge, who becomes the rider of a powerful dragon. The player moves an aiming reticle (representing the dragon's laser and Kyle's gun) and shoots enemies while the dragon flies through 3D environments on a predetermined track.

As one of six games available at the Sega Saturn's surprise North American launch, Panzer Dragoon was the first game created by Team Andromeda. It was also the directorial debut of Yukio Futatsugi, who was 25 years old at the time of release.

Panzer Dragoon received positive reviews in 1995 and in retrospective coverage. Electronic Gaming Monthly named it game of the month and the best Saturn game of the year, and named it the 140th-best game of all time in 2006. In particular, its art direction and post-apocalyptic universe gained acclaim.

Panzer Dragoon was ported to Windows and PlayStation 2, and was followed by Panzer Dragoon II Zwei (1996) and Panzer Dragoon Saga (1998) for Saturn and Panzer Dragoon Orta (2002) for Xbox, which includes the original Panzer Dragoon as a bonus feature. A remake of Panzer Dragoon was developed by MegaPixel Studio and published by Forever Entertainment in 2020 for Nintendo Switch, Stadia, Windows, PlayStation 4, Amazon Luna and Xbox One.

Gameplay

Panzer Dragoon spans six levels, each lasting about five minutes, with a variety of boss battles. Over the course of the game, the plot is revealed through cutscenes using the game's own graphic engine. Gameplay consists of a player controlling a flying dragon and his rider through an aiming reticle that can be moved over the whole screen with the D-pad; the player must shoot a variety of enemies (ranging from machines to monsters) in a 3D post-apocalyptic fantasy environment of barren landscapes and mysterious ruins of a fallen civilization. Progression through the levels is made at a predetermined pace, as the player is constantly set along a rail of gameplay. The only time the game pauses is during boss battles. The field of vision can be directed with the aiming reticle on the x and y-axis, but the overall direction of travel is predetermined. The dragon follows the reticle movements, allowing the player to avoid enemy projectiles and obstacles.

The player has a full, 360-degree field of view, and can quickly look left, right, forward, and behind the dragon. Enemies come from all directions, varying in size and health, and also appear on an on-screen radar that monitors the dragon's surroundings. Two weapons are available: the rider's handgun, which can be fired with a single button press when an enemy enters the aiming reticle, and the homing laser fired by the dragon, which can lock on up to eight enemies by moving the reticle over them while holding down the fire button. Some situations with many enemies on screen require the use of the lock-on laser, while in others, quick gunshots to weak spots will prove more efficient.

Plot
Panzer Dragoon is set in the distant future, thousands of years after a great war between humans and their biologically engineered weapons, when humans live in everything from small tribes to large nations. One nation, the Empire, has discovered a black tower in the middle of a lake near their capital, which gave them access to large amounts of ancient weapons which they used to beat back and control the ever present monsters in the world. The Imperials were corrupted by this power and became conquerors of others as opposed to liberators from a violent world.

The introduction movie opens with the protagonist, Keil Fluge (unnamed in the North American version), hunting in a canyon. After seeing an Imperial flying battleship in the sky, he is attacked by two creatures and chases one of them to a large, ancient complex built directly into the rock. He explores the ruin, and sees relics of old technology still hanging from the ceilings. Another gigantic creature suddenly attacks him, and though his weapon is useless against the armored creature, a rumbling triggers a cave in, which crushes the monster and saves Keil. From the newly created hole, an armored, blue dragon flies down the cavern with a rider across its shoulders, being chased by an even bigger black dragon as the cavern is destroyed in an explosion. Regaining consciousness outside, Keil sees the two dragons locked in combat in the air before him. Dodging a blast from the black dragon, the blue dragon's rider is then hit by single shot to the chest, and the black dragon flies away. The blue dragon flies towards Keil. A psychic connection is made between the rider and Keil, who is told not to let the black dragon reach the black tower. The rider then dies and Keil picks up his fallen gun, climbs atop the dragon and flies away, determined to finish the rider's quest.

During the first level of the game, Keil and his dragon fly through a drowned city, where they encounter a small Imperial patrol ship. That ship sends a report to a large fleet of ships flying above the clouds. It is revealed that the Imperial forces are specifically searching for the blue dragon. The second level is a desert, where Keil and the dragon encounter gigantic worm-like creatures. At the stormy edge of the desert, they are confronted by the Black Dragon, which is defeated and speeds away. The third level is a mountainous landscape at night-time where Keil and the dragon get reacquainted with the Imperial forces, which were exploring ancient ruins. These encounters illustrate the ongoing conflict between the Imperial forces and the ancient machines and creatures. The fourth level is an ancient facility in which Keil and the dragon are pursued by both Imperial airships and cybernetic sentinels left behind by the ancient civilization. During the fifth level, they defeat a large armada of the most powerful Imperial ships over a forested area. A cutscene then shows a fleet of dragon-like creatures coming out of the tower to attack the Imperial forces. The sixth level features the black dragon and Keil racing through the battle-scarred Imperial capital. During this, they are both waylaid by the creatures and machines seen attacking the Imperial fleet around the tower while also being fired on by Imperial defenses. The black dragon then reaches the Tower and is mutated into a gigantic super-dragon and begins a climactic battle with Keil and the blue dragon, after which the black dragon is defeated and falls into the ocean.

In the ending cutscene, Keil and the dragon enter the tower. While traveling down a long corridor, the dragon surrounds Keil in a force field, lifting him from the saddle and suspending him in the hallway. Keil watches as the dragon continues on to the core of the tower, then a blinding light is seen and the tower explodes. Keil wakes up some time later in a desert area abutting the ocean. Looking down, he sees the foot prints of the blue dragon around him, indicating that after the explosion, the dragon carried him to safety and flew away.

Development

Panzer Dragoon was created in the early 1990s as the Japanese video game company Sega was preparing to release its Saturn console. In 1993, as the Saturn lacked third-party games, Sega asked its developers for game ideas; according to art director Manabu Kusunoki, Sega asked for shooting game ideas to add variety to the Saturn's launch library. Twenty-three-year-old Yukio Futatsugi, who had joined Sega only two years before, proposed several concepts, including Panzer Dragoon. Futatsugi became the head of Team Andromeda, a development team that Sega assembled for the project in early 1994 and was built around the duo formed by Futatsugi and Kusunoki. Development lasted almost a year, with a staff of 15.

The project was designed as arcade-style, as core members of the team like Kusunoki came from Sega's arcade department. Team Andromeda wanted to create a fully 3D arcade game, having worked on similar games such as Out Run which were not truly 3D. With influences including Space Harrier, Starblade, Star Fox, and RayForce, the project became a 3D rail shooter. Usually, in 3D shooters, the player rides a 3D object like a jet fighter or a tank. Futatsugi and Kusunoki decided it would be more original for the player to ride an armored dragon, a living creature which would also allow for richer animations. The original concept for the game was named "Armored Dragon" (kikō-ryū in Japanese), but Futatsugi, feeling that this was too bland, decided to change it to the pseudo-German translation "Panzer Dragoon".

With this basic concept in mind, the creators had 3 months to define a visual identity and a setting for their game, prior to development. The game would be set in a post-apocalyptic science fantasy world, featuring ruins and relics of a fallen civilization with mankind rebuilding itself while surviving, enduring and so forth in that era of perdition. A theme presented in many anime series at that time. Futatsugi was particularly influenced by one of his childhood readings, The Long Afternoon of Earth, a science-fiction novel by Brian Aldiss, in which one side of the earth became perpetually hot, the other perpetually cold. The first presentation video featured a green dragon, in line with traditional European/medieval depictions, however the team quickly decided to change it and make it "more sci-fi". In order for the dragon to be more original, it was made blue and covered in a white, bone-like armor. The dragon was supposed to come from the ancient times, so ruins and ancient flying technology also featured this white, shell-like material.

The overall fantasy look of the game's world, which mixed natural and technological elements, was also chosen in order to set it apart from classic science-fiction 3D games of the time. This world, as well as dragon and character designs, were mainly the work of Manabu Kusunoki, who took inspiration from various sources, including anime and manga, and who pushed the art direction toward a more Turkish/Ottoman style to avoid the European aesthetics of the early presentation video. Critics have noted similarities with the works of French artist Moebius (notably his comic book Arzach,) of whom Kusunoki was a fan, as well as with Hayao Miyazaki's Nausicaa of the Valley of the Wind, and David Lynch's Dune movie.  Kentaro Yoshida, texturing and modeling artist, described the creation process as similar in style to Star Wars, in that it "made an unearthly world appear so real". Takashi Iwade, in charge of the opening cutscene and character models, designed the enemies using a lot of various influences: "I got inspiration from antique clocks and various industrial products from the era of the industrial revolution for mechanics, and myriapods, marine mollusks, ammonite, and a rusty fishing boat for creatures when I started thinking of the original battleship". The team wanted a famous artist to make the game's cover art. Manabu Kusunoki suggested Moebius, who accepted, and the team sent him designs that he was to interpret. The resulting illustration was used as the cover art for the Japanese release of the game.

The Saturn's hardware was new to the team, and it was their first attempt at creating an original environment. It was also Futatsugi's first year working as a full developer at Sega, so he was only able to do simple things while having a clear vision of what he wanted, which helped him to keep the overall style pure, with stark and minimalist cutscenes. Similarly, Iwade kept the enemies easy to understand visually, with simple shapes, and this overall simple style ended up fitting well with the Saturn's hardware. Then, Team Andromeda set to work on elaborating an extensive back story, and Futatsugi, to be original and to avoid using Japanese or English, went so far as to create a fictional language for the game: a mix of Ancient Greek, Latin and Russian. This was apparently inspired by the anime The Wings of Honneamise, of which team members were fans and which also features an invented language.

After the story and art were established, the team set to work on the graphics. Working on new hardware proved difficult for the young team, and the game ended up missing the initial deadline given by Sega, which was the Saturn Japanese launch on November 1994. One of the problems was that the Saturn hardware was only finalized in mid-1994, and without actual Saturn prototype to test their progress, the programmers initially had to work with hypothetical hardware performance. Team Andromeda created its own graphics library and mapping tools instead of using Sega's, in order to make the most of their first game on the new system. The game's graphics and cutscenes were done with Softimage, and the 3D elements were programmed on SGI workstations using OpenGL. The programmers were eventually able to transition to the debug Saturn they had received, but the process was difficult and the game had a very low frame rate at first, before it increased to approx. 20 FPS. The six levels of Panzer Dragoon are barren landscapes with ancient ruins, which is consistent with the "simple" style appropriate for the Saturn. The first two levels that the team programmed, a desert (level 2) and a forest (level 5), did not have any objects or anything besides sand and forest effects, again because the team was unsure how far the hardware could be pushed. Keeping CPU limitations in mind, simple tornado effects were added to level 2, so that it did not look too bland.

Work on the soundtrack began after completion of the game, similar to the way movie soundtracks are made. The idea was to create music that would specifically reflect each level's art-style and events. As the game had an "on rails" progression system, the developers knew exactly where the player would be at any given time, so they showed videos to the composer and asked him to write specifically timed pieces that would match the player's progression in each level. The soundtrack was outsourced to Yoshitaka Azuma, who was composing music for NHK TV programs at that time. The music of Panzer Dragoon is a mix between orchestral and synthesizer tracks.

Sega of America made several alterations to the game to make the North American release more challenging. These alterations were retained in the PAL version.

Releases
Panzer Dragoon was released in Japan on March 10, 1995, North America on May 11, 1995 as one of the six launch games for the North American release, and Europe on August 30, 1995, on the Sega Saturn console. It was followed by Panzer Dragoon II Zwei (1996) and Panzer Dragoon Saga (1998), both for Saturn, and Panzer Dragoon Orta (2002) for Xbox.

In 1996, Panzer Dragoon was ported to Windows. Identical to the Saturn version except with a higher resolution, this version was also included as a bonus in Panzer Dragoon Orta. Aside from providing the source code, Team Andromeda had no involvement in the development of the Windows version. It was sold bundled with the NV1 PCI Card. In 1997, a software rendered version was released, requiring at least an Intel Pentium P5 processor.

An updated version of Panzer Dragoon was included in the Japan-only Sega Ages 2500 collection for PlayStation 2 in 2006. The port was handled by development studio Land Ho!, and features the original Saturn game and an "arrange" version with anti-aliasing filter, better texturing, and improved 3D models for the dragon and some enemies. The "arrange" version also adds unlockable extras such as level selection and artworks, in the form of a "Pandora's Box" option menu.

Reception

Panzer Dragoon received positive reviews, both in 1995 and in retrospective coverage. Though sales were not as high as Sega expected, possibly due to the success of Sony's PlayStation console over the Saturn, they were substantial enough for Sega to develop sequels.

As one of the first Saturn games, Panzer Dragoon was highly anticipated by journalists after its appearance in promotional material. A reviewer for Next Generation said the game "orchestrates incredible story animation with brilliant, 3D flight graphics to create what is, basically, the ultimate evolution of Space Harrier." He also highly praised the gameplay, particularly the variety of enemies, the difficulty slope, and the controls. Ed Semrad and Danyon Carpenter from Electronic Gaming Monthly praised the game for its "innovative game play" and its "awe-inspiring visuals" from the opening cinematic to the backgrounds and the dragon's animations. Al Manuel and Ken Williams criticized the game's lack of diversity in weapons and its predetermined progression; but the four EGM reviewers agreed that it was a must-have game for Saturn owners. Similarly, The Unknown Gamer from GamePro called the game a "masterpiece", highlighted its high-quality graphics and music, and described the story as "captivat[ing]". However, the journalist noted the game's overall difficulty "will single out all but advanced players" with its lack of power-ups or extra lives of any kind. Nevertheless, the game was seen as a good example of the Saturn's capabilities. In contrast, a reviewer from Maximum said that the game was much too easy even on the highest difficulty setting, greatly reducing its already low longevity. He also said the gameplay would be too simplistic for many players, with its on-rails shooting and selection of only two weapons, but was overall very positive in his assessment of the game, highly praising the 360 degrees of rotation and most especially the textured 3D graphics of the enemies, settings, and bosses.

Patrick Baggatta from Game Players stated that while the game may come off as "just a simple shooter", it is at least a "very good one" that "puts a twist on the tired formula", again praising the game play and the variety in camera angles. Chris Gore from VideoGames & Computer Entertainment named the game "the best shooter since Star Fox", and a must-have for fantasy and sci-fi fans, with its "eerie" atmosphere noted by editor Betty Hallock. While the story itself was said to be "somewhat typical" and editor Chris Bieniek criticized the on-rail aspect, Gore noted the game's "spectacular visuals", and presented it as one of the Saturn's system sellers. Famitsu magazine's Reader Cross Review gave the game a 9 out of 10 in April 1995. The game's universe itself was deemed "coolly surreal" by Entertainment Weekly reviewer Albert Kim, who thought the game's seven-minute "movie-quality" introduction was "gorgeous" and "nearly overshadowed the game itself". Kim argued that Panzer Dragoon could be seen as a "lyrical and exhilarating epic", a "story, not just a game" which could pave the way for a "transformation" of the videogame industry. Film director Steven Spielberg approached Team Andromeda to say he was impressed by the game's presentation at the 1995 E3 show.

James Mielke from online game magazine 1UP.com gave Panzer Dragoon a retroactive review of 8/10 for what the game offered in 1995, but gave it a modern score of 6/10.  Mielke highlighted the music as "one of the finest game soundtracks ever produced," but said that the game itself "staggers a bit under the glaring light of a critical rereview[sic]", arguing it is "little more than Space Harrier with a 3D camera and cut-scenes." By contrast, Levi Buchanan from IGN gave the game a retrospective score of 9/10, opining that "the fact that Panzer Dragoon holds up as well in 2008 as it did in 1995 is a just testament to the staying power of good art and tight gameplay." Kurt Kalata, in a Gamasutra retrospective, also praised its art and universe, but said the actual game looked "a bit cut and dried" compared to its sequels.

Game developer Taro Yoko is a well known fan of the game.

Accolades
It was named "Best Saturn Game of 1995" by Electronic Gaming Monthly in their 1996 Buyers' Guide.  Panzer Dragoon ranked 140th in EGM′s "The Greatest 200 Videogames of their time" feature published in 2006. In 1996, GamesMaster ranked the game 5th on their "The GamesMaster Saturn Top 10."

Remake

A remake of Panzer Dragoon was developed by MegaPixel Studio and published by Forever Entertainment in March 2020 for Nintendo Switch. It was released on Stadia on June 1, with Windows, PlayStation 4, Xbox One, and Amazon Luna versions later in 2020.

The remake features updated graphics and an optional new control system that allows players to aim independently of movement with the second control stick. Switch reviewers criticized the updated controls and short length. Nintendo Life concluded that it was "a decent take on an all-time classic that goes some way to modernising it, but doesn't quite nail the landing".

Notes

References

External links

Official PS2 version website
Official PC version website
The History of Panzer Dragoon at Gamasutra
Panzer Dragoon retrospective at 1UP.com

1995 video games
Video games about dragons
Single-player video games
PlayStation 2 games
PlayStation 4 games
Xbox One games
Rail shooters
Sega video games
Sega Saturn games
Windows games
Airships in fiction
Video games set in the future
Panzer Dragoon
Video game remakes
Nintendo Switch games
Stadia games
Video games developed in Japan
Forever Entertainment games
Land Ho! games

Panzer Dragoon (video game)


Die Burg (auch Die Burg – Prominent im Kettenhemd) war eine von ProSieben im Januar und Februar 2005 ausgestrahlte Reality-Show. Die Sendung war der Nachfolger von Die Alm, das im Jahr zuvor ausgestrahlt wurde. Beide Sendungen wurden von Elton und Sonya Kraus moderiert. Die Show wurde von Montag bis Freitag zur Hauptsendezeit um 20.15 Uhr ausgestrahlt und am Wochenende (Samstag und Sonntag) gegen 22 Uhr. Drehort war die Burg Rappottenstein. Die erste und einzige Staffel gewann Christian Anders.

Konzept
Die 12 Kandidaten sollten ein Leben wie auf einer mittelalterlichen Burg führen. Dabei wurden sie in "Adel" und in "Pöbel" eingeteilt. Während der Adel sich verwöhnen ließ, schuftete der Pöbel für den Adel. Diverse meist ekelerregende Aufgaben sorgten für eine Wechselmöglichkeit.

Teilnehmer

Ursprünglich sollte Lothar Vosseler, der Halbbruder des damaligen Bundeskanzlers Gerhard Schröder, an dem Format teilnehmen, er sagte aber kurzfristig ab.

Frédéric Prinz von Anhalt musste am 2. Februar die Burg verlassen, nachdem er gemeinsam mit Karim Maataoui in die Badewanne von Kader Loth uriniert hatte. Anschließend kam es zu einer Essensschlacht zwischen den Kandidaten, bei der Loth und von Anhalt verletzt wurden. Als Bestrafung wurde von Anhalt zunächst in einen Käfig gesperrt und später dazu verdonnert, die Burg zu verlassen.
Im anschließenden Rechtsstreit zwischen den beiden Kontrahenten unterlag Loth gegen von Anhalt vor dem Landgericht Berlin.

Rezeption

Einschaltquoten

Kurz nach Ende der Ausstrahlung äußerte der damalige Geschäftsführer Dejan Jocic, zukünftig keine ähnlichen Formate produzieren zu wollen. Grund hierfür waren insbesondere die Einschaltquoten, die mit wenigen Ausnahmen unter Senderschnitt lagen. Auch unvorhersehbare Auseinandersetzungen und Eskalationen führten dazu, weniger Reality-Sendungen zeigen zu wollen, sondern sich an HBO zu orientieren, US-Fiction auszustrahlen sowie eigene Fernsehserien und Entertainment-Shows produzieren zu wollen.

Pressestimmen

Einzelnachweise

Fernsehserie (Deutschland)
Spielshow
Fernsehsendung (ProSieben)
Fernsehsendung der 2000er Jahre

Die Burg (Realityshow)


Daizen Maeda (født 20. oktober 1997) er en japansk fodboldspiller, som spiller for den skotske fodboldklub Celtic FC.

Referencer

Eksterne henvisninger

Fodboldspillere fra Japan
Angribere (fodbold)
Fodboldspillere ved sommer-OL 2020
Deltagere ved verdensmesterskabet i fodbold 2022
Deltagere for Japan ved sommer-OL 2020

Daizen Maeda


Liste complète des pièces pré-modernes nô encore existantes, avec leurs auteurs présumés et leur catégorisation. Une brève traduction en français du titre est donnée lorsqu'il en existe une.

Certaines pièces portent des noms différents selon les différentes écoles. Les mots bangai kyoku signifient qu'une pièce ne fait plus partie du répertoire courant.

Les nô se rangent en cinq catégories différentes :
  : pièces de dieux
  : pièces de guerriers
  : pièces de femmes
  : pièces de femmes folles ou de folie
  : pièces de démons

Cette liste est en grande partie une version condensée de celle compilée par Michael Watson à l'Université Meiji Gakuin qui comprend de plus amples renseignements sur les traductions dans les langues européennes et les articles de journaux pertinents.

Notes et références

Sources de la traduction

Théâtre japonais

Pièces de théâtre nô

Liste de pièces de théâtre nô


أدولفو دي لا ويرتا  (1881 - 1955)، رئيس المكسيك لفترة انتقالية من 1 يونيو إلى 30 نوفمبر 1920. ولد في هرموزيلو في عاصمة ولاية سونورا. كان عضواً في المجلس الثلاثي مع أدولفو بريغون وبلوتاركو إلياس كايس الذي حكم المكسيك بعد اغتيال فينوستيانو كارانزا في مايو 1920.

كان وزير المالية تحت حكم أوبريغون (1920 – 1933) ولكن عندما اختير كرئيس للحكومة عام 1924 نظم ويرتا تمردا قمع مع دعم أمريكي وعاش في الولايات المتحدة بين عامي 1924 – 1935 وعاد بعد توجيه تهم ضده وتمت تبرئته من قبل الرئيس لازارو كارديناس وعاش في مكسيكو سيتي حتى وفاته.

روابط خارجية

مصادر

 1978 Encyclopedia Britannica

أشخاص من هيرويكا غوايماس
أشخاص من ولاية سونورا
ثوريون مكسيكيون
جنرالات مكسيكيون
حكام ولاية سونورا
رؤساء المكسيك
سياسيون مكسيكيون في القرن 20
سياسيون من ولاية سونورا
شخصيات الثورة المكسيكية
قادة وصلوا إلى السلطة عن طريق انقلاب
مواليد 1881
وزراء مالية مكسيكيون
وفيات 1955
وفيات في مدينة مكسيكو

أدولفو دي لا ويرتا


Stress–strain analysis (or stress analysis) is an engineering discipline that uses many methods to determine the stresses and strains in materials and structures subjected to forces. In continuum mechanics, stress is a physical quantity that expresses the internal forces that neighboring particles of a continuous material exert on each other, while strain is the measure of the deformation of the material.

In simple terms we can define stress as the force of resistance per unit area, offered by a body against deformation. Stress is the ratio of force over area (S = R/A, where S is the stress, R is the internal resisting force and A is the cross-sectional area). Strain is the ratio of change in length to the original length, when a given body is subjected to some external force (Strain= change in length÷the original length).

Stress analysis is a primary task for civil, mechanical and aerospace engineers involved in the design of structures of all sizes, such as tunnels, bridges and dams, aircraft and rocket bodies, mechanical parts, and even plastic cutlery and staples.  Stress analysis is also used in the maintenance of such structures, and to investigate the causes of structural failures.

Typically, the starting point for stress analysis are a geometrical description of the structure, the properties of the materials used for its parts, how the parts are joined, and the maximum or typical forces that are expected to be applied to the structure. The output data is typically a quantitative description of how the applied forces spread throughout the structure, resulting in stresses, strains and the deflections of the entire structure and each component of that structure.  The analysis may consider forces that vary with time, such as engine vibrations or the load of moving vehicles. In that case, the stresses and deformations will also be functions of time and space.

In engineering, stress analysis is often a tool rather than a goal in itself; the ultimate goal being the design of structures and artifacts that can withstand a specified load, using the minimum amount of material or that satisfies some other optimality criterion.

Stress analysis may be performed through classical mathematical techniques, analytic mathematical modelling or computational simulation, experimental testing, or a combination of methods.

The term stress analysis is used throughout this article for the sake of brevity, but it should be understood that the strains, and deflections of structures are of equal importance and in fact, an analysis of a structure may begin with the calculation of deflections or strains and end with calculation of the stresses.

Scope

General principles
Stress analysis is specifically concerned with solid objects. The study of stresses in liquids and gases is the subject of fluid mechanics.

Stress analysis adopts the macroscopic view of materials characteristic of continuum mechanics, namely that all properties of materials are homogeneous at small enough scales.  Thus, even the smallest particle considered in stress analysis still contains an enormous number of atoms, and its properties are averages of the properties of those atoms.

In stress analysis one normally disregards the physical causes of forces or the precise nature of the materials.  Instead, one assumes that the stresses are related to strain of the material by known constitutive equations.

By Newton's laws of motion, any external forces that act on a system must be balanced by internal reaction forces, or cause the particles in the affected part to accelerate.  In a solid object, all particles must move substantially in concert in order to maintain the object's overall shape.  It follows that any force applied to one part of a solid object must give rise to internal reaction forces that propagate from particle to particle throughout an extended part of the system.  With very rare exceptions (such as ferromagnetic materials or planet-scale bodies), internal forces are due to very short range intermolecular interactions, and are therefore manifested as surface contact forces between adjacent particles — that is, as stress.

Fundamental problem
The fundamental problem in stress analysis is to determine the distribution of internal stresses throughout the system, given the external forces that are acting on it. In principle, that means determining, implicitly or explicitly, the Cauchy stress tensor at every point.

The external forces may be body forces (such as gravity or magnetic attraction), that act throughout the volume of a material; or concentrated loads (such as friction between an axle and a bearing, or the weight of a train wheel on a rail), that are imagined to act over a two-dimensional area, or along a line, or at single point.  The same net external force will have a different effect on the local stress depending on whether it is concentrated or spread out.

Types of structures
In civil engineering applications, one typically considers structures to be in static equilibrium: that is, are either unchanging with time, or are changing slowly enough for viscous stresses to be unimportant (quasi-static). In mechanical and aerospace engineering, however, stress analysis must often be performed on parts that are far from equilibrium, such as vibrating plates or rapidly spinning wheels and axles. In those cases, the equations of motion must include terms that account for the acceleration of the particles.  In structural design applications, one usually tries to ensure the stresses are everywhere well below the yield strength of the material.  In the case of dynamic loads, the material fatigue must also be taken into account.  However, these concerns lie outside the scope of stress analysis proper, being covered in materials science under the names strength of materials, fatigue analysis, stress corrosion, creep modeling, and other.

Experimental methods
Stress analysis can be performed experimentally by applying forces to a test element or structure and then determining the resulting stress using sensors. In this case the process would more properly be known as testing (destructive or non-destructive). Experimental methods may be used in cases where mathematical approaches are cumbersome or inaccurate. Special equipment appropriate to the experimental method is used to apply the static or dynamic loading.

There are a number of experimental methods which may be used:

Tensile testing is a fundamental materials science test in which a sample is subjected to uniaxial tension until failure. The results from the test are commonly used to select a material for an application, for quality control, or to predict how a material will react under other types of forces. Properties that are directly measured via a tensile test are the ultimate tensile strength, maximum elongation and reduction in cross-section area. From these measurements, properties such as Young's modulus, Poisson's ratio, yield strength, and the strain-hardening characteristics of the sample can be determined.
Strain gauges can be used to experimentally determine the deformation of a physical part.  A commonly used type of strain gauge is a thin flat resistor that is affixed to the surface of a part, and which measures the strain in a given direction.  From the measurement of strain on a surface in three directions the stress state that developed in the part can be calculated.
 Neutron diffraction is a technique that can be used to determine the subsurface strain in a part.

The photoelastic method relies on the fact that some materials exhibit  birefringence on the application of stress, and the magnitude of the refractive indices at each point in the material is directly related to the state of stress at that point. The stresses in a structure can be determined by making a model of the structure from such a photoelastic material.
Dynamic mechanical analysis  (DMA) is a technique used to study and characterize viscoelastic materials, particularly polymers.  The viscoelastic property of a polymer is studied by dynamic mechanical analysis where a sinusoidal force (stress) is applied to a material and the resulting displacement (strain) is measured. For a perfectly elastic solid, the resulting strains and the stresses will be perfectly in phase. For a purely viscous fluid, there will be a 90 degree phase lag of strain with respect to stress. Viscoelastic polymers have the characteristics in between where some phase lag will occur during DMA tests.

Mathematical methods
While experimental techniques are widely used, most stress analysis is done by mathematical methods, especially during design.

Differential formulation
The basic stress analysis problem can be formulated by Euler's equations of motion for continuous bodies (which are consequences of Newton's laws for conservation of linear momentum and angular momentum) and the Euler-Cauchy stress principle, together with the appropriate constitutive equations.

These laws yield a system of partial differential equations that relate the stress tensor field to the strain tensor field as unknown functions to be determined.  Solving for either then allows one to solve for the other through another set of equations called constitutive equations.  Both the stress and strain tensor fields will normally be continuous within each part of the system and that part can be regarded as a continuous medium with smoothly varying constitutive equations.

The external body forces will appear as the independent ("right-hand side") term in the differential equations, while the concentrated forces appear as boundary conditions.  An external (applied) surface force, such as ambient pressure or friction, can be incorporated as an imposed value of the stress tensor across that surface.  External forces that are specified as line loads (such as traction) or point loads (such as the weight of a person standing on a roof) introduce singularities in the stress field, and may be introduced by assuming that they are spread over small volume or surface area. The basic stress analysis problem is therefore a boundary-value problem.

Elastic and linear cases
A system is said to be elastic if any deformations caused by applied  forces will spontaneously and completely disappear once the applied forces are removed.  The calculation of the stresses (stress analysis) that develop within such systems is based on the theory of elasticity and infinitesimal strain theory.  When the applied loads cause permanent deformation, one must use more complicated constitutive equations, that can account for the physical processes involved (plastic flow, fracture, phase change, etc.)

Engineered structures are usually designed so that the maximum expected stresses are well within the realm of linear elastic (the generalization of Hooke's law for continuous media) behavior for the material from which the structure will be built. That is, the deformations caused by internal stresses are linearly related to the applied loads.  In this case the differential equations that define the stress tensor are also linear.  Linear equations are much better understood than non-linear ones; for one thing, their solution (the calculation of stress at any desired point within the structure) will also be a linear function of the applied forces.  For small enough applied loads, even non-linear systems can usually be assumed to be linear.

Built-in stress (preloaded)

A preloaded structure is one that has internal forces, stresses, and strains imposed within it by various means prior to application of externally applied forces. For example, a structure may have cables that are tightened, causing forces to develop in the structure, before any other loads are applied. Tempered glass is a commonly found example of a preloaded structure that has tensile forces and stresses that act on the plane of the glass and in the central plane of glass that causes compression forces to act on the external surfaces of that glass.

The mathematical problem represented is typically ill-posed because it has an infinitude of solutions. In fact, in any three-dimensional solid body one may have infinitely many (and infinitely complicated) non-zero stress tensor fields that are in stable equilibrium even in the absence of external forces.  These stress fields are often termed hyperstatic stress fields and they co-exist with the stress fields that balance the external forces.  In linear elasticity, their presence is required to satisfy the strain/displacement compatibility requirements and in limit analysis their presence is required to maximise the load carrying capacity of the structure or component.

Such built-in stress may occur due to many physical causes, either during manufacture (in processes like extrusion, casting or cold working), or after the fact (for example because of uneven heating, or changes in moisture content or chemical composition).  However, if the system can be assumed to behave in a linear fashion with respect to the loading and response of the system, then effect of preload can be accounted for by adding the results of a preloaded structure and the same non-preloaded structure.

If linearity cannot be assumed, however, any built-in stress may affect the distribution of internal forces induced by applied loads (for example, by changing the effective stiffness of the material) or even cause an unexpected material failure.  For these reasons, a number of techniques have been developed to avoid or reduce built-in stress, such as annealing of cold-worked glass and metal parts, expansion joints in buildings, and roller joints for bridges.

Simplifications

Stress analysis is simplified when the physical dimensions and the distribution of loads allow the structure to be treated as one- or two-dimensional. In the analysis of a bridge, its three dimensional structure may be idealized  as a single planar structure, if all forces are acting in the plane of the trusses of the bridge. Further, each member of the truss structure might then be treated a uni-dimensional members with the forces acting along the axis of each member. In which case, the differential equations reduce to a finite set of equations  with finitely many unknowns.

If the stress distribution can be assumed to be uniform (or predictable, or unimportant) in one direction, then one may use the assumption of plane stress and plane strain behavior and the equations that describe the stress field are then a function of two coordinates only, instead of three.

Even under the assumption of linear elastic behavior of the material, the relation between the stress and strain tensors is generally expressed by a fourth-order stiffness tensor with 21 independent coefficients (a symmetric 6 × 6 stiffness matrix). This complexity may be required for general anisotropic materials, but for many common materials it can be simplified. For orthotropic materials such as wood, whose stiffness is symmetric with respect to each of three orthogonal planes, nine coefficients suffice to express the stress–strain relationship.  For isotropic materials, these coefficients reduce to only two.

One may be able to determine a priori that, in some parts of the system, the stress will be of a certain type, such as uniaxial tension or compression, simple shear, isotropic compression or tension, torsion, bending, etc.  In those parts, the stress field may then be represented by fewer than six numbers, and possibly just one.

Solving the equations
In any case, for two- or three-dimensional domains one must solve a system of partial differential equations with specified boundary conditions. Analytical (closed-form) solutions to the differential equations can be obtained when the geometry, constitutive relations, and boundary conditions are simple enough. For more complicated problems one must generally resort to numerical approximations such as the finite element method, the finite difference method, and the boundary element method.

Factor of safety

The ultimate purpose of any analysis is to allow the comparison of the developed stresses, strains, and deflections with those that are allowed by the design criteria. All structures, and components thereof, must obviously be designed to have a capacity greater than what is expected to develop during the structure's use to obviate failure. The stress that is calculated to develop in a member is compared to the strength of the material from which the member is made by calculating the ratio of the strength of the material to the calculated stress. The ratio must obviously be greater than 1.0 if the member is to not fail. However, the ratio of the allowable stress to the developed stress must be greater than 1.0 as a factor of safety (design factor) will be specified in the design requirement for the structure. All structures are designed to exceed the load those structures are expected to experience during their use. The design factor (a number greater than 1.0) represents the degree of uncertainty in the value of the loads, material strength, and consequences of failure. The stress (or load, or deflection) the structure is expected to experience are known as the working, the design or limit stress. The limit stress, for example, is chosen to be some fraction of the yield strength of the material from which the structure is made. The ratio of the ultimate strength of the material to the allowable stress is defined as the factor of safety against ultimate failure.

Laboratory tests are usually performed on material samples in order to determine the yield and ultimate strengths of those materials. A statistical analysis of the strength of many samples of a material is performed to calculate the particular material strength of that material. The analysis allows for a rational method of defining the material strength and results in a value less than, for example, 99.99% of the values from samples tested. By that method, in a sense, a separate factor of safety has been applied over and above the design factor of safety applied to a particular design that uses said material.

The purpose of maintaining a factor of safety on yield strength is to prevent detrimental deformations that would impair the use of the structure. An aircraft with a permanently bent wing might not be able to move its control surfaces, and hence, is inoperable. While yielding of material of structure could render the structure unusable it would not necessarily lead to the collapse of the structure. The factor of safety on ultimate tensile strength is to prevent sudden fracture and collapse, which would result in greater economic loss and possible loss of life.

An aircraft wing might be designed with a factor of safety of 1.25 on the yield strength of the wing and a factor of safety of 1.5 on its ultimate strength. The test fixtures that apply those loads to the wing during the test might be designed with a factor of safety of 3.0 on ultimate strength, while the structure that shelters the test fixture might have an ultimate factor of safety of ten. These values reflect the degree of confidence the responsible authorities have in their understanding of the load environment, their certainty of the material strengths, the accuracy of the analytical techniques used in the analysis, the value of the structures, the value of the lives of those flying, those near the test fixtures, and those within the building.

The factor of safety is used to calculate a maximum allowable stress:

Load transfer
The evaluation of loads and stresses within structures is directed to finding the load transfer path. Loads will be transferred by physical contact between the various component parts and within structures.  The load transfer may be identified visually or by simple logic for simple structures.  For more complex structures more complex methods, such as theoretical solid mechanics or numerical methods may be required. Numerical methods include direct stiffness method which is also referred to as the finite element method.

The object is to determine the critical stresses in each part, and compare them to the strength of the material (see strength of materials).

For parts that have broken in service, a forensic engineering or failure analysis is performed to identify weakness, where broken parts are analysed for the cause or causes of failure. The method seeks to identify the weakest component in the load path. If this is the part which actually failed, then it may corroborate independent evidence of the failure. If not, then another explanation has to be sought, such as a defective part with a lower tensile strength than it should for example.

Uniaxial stress
A linear element of a structure is one that is essentially one dimensional and is often subject to axial loading only. When a structural element is subjected to tension or compression its length will tend to elongate or shorten, and its cross-sectional area changes by an amount that depends on the Poisson's ratio of the material. In engineering applications, structural members experience small deformations and the reduction in cross-sectional area is very small and can be neglected, i.e., the cross-sectional area is assumed constant during deformation. For this case, the stress is called engineering stress or nominal stress and is calculated using the original cross section.

where P is the applied load, and Ao is the original cross-sectional area.

In some other cases, e.g., elastomers and plastic materials, the change in cross-sectional area is significant. For the case of materials where the volume is conserved (i.e. Poisson's ratio = 0.5), if the true stress is desired, it must be calculated using the true cross-sectional area instead of the initial cross-sectional area, as:

where

The relationship between true strain and engineering strain is given by

In uniaxial tension, true stress is then greater than nominal stress. The converse holds in compression.

Graphical representation of stress at a point
Mohr's circle, Lame's stress ellipsoid (together with the stress director surface), and Cauchy's stress quadric are two-dimensional graphical representations of the state of stress at a point. They allow for the graphical determination of the magnitude of the stress tensor at a given point for all planes passing through that point. Mohr's circle is the most common graphical method.
Mohr's circle, named after Christian Otto Mohr, is the locus of points that represent the state of stress on individual planes at all their orientations. The abscissa, , and ordinate, , of each point on the circle are the normal stress and shear stress components, respectively, acting on a particular cut plane with a unit vector  with components .

Lamé's stress ellipsoid

The surface of the ellipsoid represents the locus of the endpoints of all stress vectors acting on all planes passing through a given point in the continuum body. In other words, the endpoints of all stress vectors at a given point in the continuum body lie on the stress ellipsoid surface, i.e., the radius-vector from the center of the ellipsoid, located at the material point in consideration, to a point on the surface of the ellipsoid is equal to the stress vector on some plane passing through the point. In two dimensions, the surface is represented by an ellipse (Figure coming).

Cauchy's stress quadric

The Cauchy's stress quadric, also called the stress surface, is a surface of the second order that traces the variation of the normal stress vector  as the orientation of the planes passing through a given point is changed.

The complete state of stress in a body at a particular deformed configuration, i.e., at a particular time during the motion of the body, implies knowing the six independent components of the stress tensor , or the three principal stresses , at each material point in the body at that time. However, numerical analysis and analytical methods allow only for the calculation of the stress tensor at a certain number of discrete material points. To graphically represent in two dimensions this partial picture of the stress field different sets of contour lines can be used:
 Isobars are curves along which the principal stress, e.g.,  is constant.
 Isochromatics are curves along which the maximum shear stress is constant. These curves are directly determined using photoelasticity methods.
 Isopachs are curves along which the mean normal stress is constant.
 Isostatics or stress trajectories are a system of curves which are at each material point tangent to the principal axes of stress - see figure
 Isoclinics are curves on which the principal axes make a constant angle with a given fixed reference direction. These curves can also be obtained directly by photoelasticity methods.
 Slip lines are curves on which the shear stress is a maximum.

See also

Forensic engineering
Piping
Rockwell scale
Structural analysis
Stress
Worst case circuit analysis
List of finite element software packages
Stress–strain curve

References

Structural analysis

Stress–strain analysis


Țestoasele Ninja (; cunoscut de asemenea ca Aventurile Țestoaselor Ninja pentru al cincilea și ultimul sezon) este un serial american de animație realizată pe computer dezvoltat de Ciro Nieli, Joshua Sternin și J.R. Ventimilia. Este al treilea serial de animație al francizei Țestoasele Ninja. Serialul a fost difuzat în Statele Unite din 28 septembrie 2012 până pe 12 noiembrie 2017, la început pe Nickelodeon și la final pe Nicktoons. A fost produs de LowBar Productions și Nickelodeon Animation Studio, cu serviciile de animație fiind realizate în principal de Bardel Entertainment. Serialul începe cu Țestoasele ieșind din afara canalelor pentru prima lor oară în viețile lor. Ei folosesc antrenamentul lor în ninjutsu pentru a se lupta cu răufăcători în New York City.

Serialul a fost anunțat prima oară în octombrie 2009, urmând știrii că Viacom, compania părinte a Nickelodeon, a cumpărat drepturile asupra francizei Țestoasele Ninja. Serialul a fost creat pentru ca să ajungă la audiența centrală de copii între 6 și 11 ani; aceasta a fost o jumătate din strategia lui Nickelodeon ca să realizeze reboot-uri la două mărci consacrate pentru telespectatori noi, fiind coincis cu dezvoltarea de episoade noi a Winx Club de către Nickelodeon Animation Studio pentru fete.

În lunile care au condus la serial, Nickelodeon și Playmates Toys au lansat linii de mărfuri prezentând noile designuri ale personajelor. Premiera de două părți a luat loc în decursul a două zile, între 28 și 29 septembrie 2012, fiind urmărită de 3,9 milioane de spectatori. Numărul de vizionări de debut au fost cele mai mari pentru o premieră pe Nickelodeon din 2009, conducând la reînnoirea pentru un al doilea sezon în octombrie. Încă trei sezoane au urmat; al cincilea și ultimul sezon a fost redenumit ca Aventurile Țestoaselor Ninja, dar nu a fost difuzat în întregime pe Nickelodeon, cu ultimele șapte episoade având premiera pe canalul soră Nicktoons.

Premisă
Patru țestoase, expuse la o substanță extraterestră misterioasă și devenite pe jumătate oameni, trebuie să se ridice din canale pentru ca să-și apere orașul de forțe ale răului din trecut și prezent.

Personaje
 Leonardo (Jason Biggs până în episodul "Mânia lui Gheară de Tigru", Dominic Catrambone pentru restul sezonului 2, și Seth Green pentru restul serialului) - Liderul echipei, numit pe scurt "Leo", și un entuziast student de ninjitsu, purtând o mască albastră și având în bătălie două săbii numite Niten Ryu.
 Donatello (Rob Paulsen) - Chemat "Donnie" pe scurt, el este un hacker înnăscut, geniul echipei, și inventatorul tuturor echipamentelor tehnologice ale echipei. El poartă o mască violet și are un baston bō în luptă.
 Raphael (Sean Astin) - Chemat pe scurt "Raph", el e cunoscut pentru mânia lui și de obicei, se ceartă cu Mikey, și în ocazii, cu Leo. El poartă o mască roșie și luptă cu două sai, și este forțosul echipei.
 Michelangelo (Greg Cipes) - Cunoscut ca "Mikey", el e cel mai imatur dintre frații săi, iubește jocurile video, pizza și benzile desenate, și are o mască portocalie. El poartă în luptă două nunchaku, care se pot transforma în kusarigama via o lamă din interiorul fiecărui mâner al celor două nunchaku și lanțului în plus din celelalte.

Producție
În 2009, când Nickelodeon a cumpărat franciza de la co-creatorul Peter Laird cu $60 de milioane, un film de la Paramount Pictures și un nou desen animat pentru Nickelodeon au fost anunțate.

Jason Biggs (pentru primele două sezoane) i-a dat voce lui Leonardo, iar Rob Paulsen i-a dat voce lui Donatello. Sean Astin, în iunie 2011, s-a alăturat distribuției în rolul lui Raphael, iar Greg Cipes a fost confirmat să-i dea voce lui Michelangelo. Mae Whitman s-a alăturat distribuției în rolul lui April O'Neil în august 2011. Phil LaMarr și Nolan North, în aprilie 2012, au intrat în rolurile lui Baxter Stockman și respectiv extratereștrilor Kraang, Roseanne Barr fiind în rolul liderului lor, Kraang Prime. Kelly Hu a confirmat că îi dă voce lui Karai în mai 2012. Corey Feldman s-a alăturat distribuției în rolul lui Slash.  Fostul star de la Nickelodeon, Josh Peck, din sezonul 2, intră în rolul lui Casey Jones.

Trailer-ul oficial a fost lansat pe 21 iunie 2012 de Nickelodeon. În 2014, Seth Green a fost anunțat ca din sezonul 3 să-i succeadă pe Jason Biggs și Dominic Catrambone pentru rolul lui Leonardo.

Episoade

Primire
Serialul a fost bine primit de critici și de audiență.

Animații similare
Un episod special animat în 2D, "TMNT Half-Shell Heroes: Blast from the Past", a fost difuzat la Nickelodeon pe data de 22 noiembrie 2015.

O serie de scurtmetraje au fost difuzate între 2016 și 2017, incluzând Turtles Take Time, Teenage Mecha Ninja Turtles și TMNT Team-Up.

Promoții

Jucării
Playmates Toys s-a ocupat de figurinele bazate pe serial.

Seturi Lego bazate pe serial au fost valabile între 2013 și 2014.

Benzi desenate
Asemănător cu serialul din 1987, acesta a primit benzi desenate publicate de firma IDW Publishing. Prima serie, New Amazing Adventures, a fost lumgă de 24 de numere. Amazing Adventures a revizuit seria New Amazing Adventures și a fost publicată până în septembrie 2017. A fost lungă de 14 numere, un număr special, și o miniserie numită Batman/Teenage Mutant Ninja Turtles Adventures.

Home media
Toate cele cinci sezoane sunt valabile pe DVD de către Paramount Home Entertainment.

Jocuri video
În 2013, aplicația Rooftop Run a fost lansat de Nickelodeon pentru device-uri iOS ca iPad, iPhone și iPad Touch.

Activision a realizat trei jocuri video bazate pe serial: Teenage Mutant Ninja Turtles: Out of the Shadows (2013), Teenage Mutant Ninja Turtles (2013) și Teenage Mutant Ninja Turtles: Danger of the Ooze (2014).

Referințe

Legături externe

2012
Seriale de animație
Desene animate
Seriale de televiziune din 2012

Țestoasele Ninja (serial TV din 2012)


Rainer Sellien (* 6. November 1963 in Celle) ist ein deutscher Schauspieler.

Leben
Sellien absolvierte seine Ausbildung von 1987 bis 1990 an der Westfälischen Schauspielschule Bochum und war im folgenden Jahrzehnt überwiegend als Theaterschauspieler an renommierten deutschsprachigen Bühnen tätig. Bis 1995 war er am Schauspielhaus Bochum engagiert, 1995/1996 am Deutschen Nationaltheater Weimar und anschließend am Berliner Ensemble. 1998 spielte er am Deutschen Theater Berlin und 1999 am Schauspielhaus Zürich. Er arbeitete u. a. mit den Regisseuren Jürgen Gosch und Frank-Patrick Steckel. Von 2000 bis 2002 war er Mitglied der freien Theatergruppe Lubricat in Berlin.

Ab dem Jahr 2000 begann Sellien, vermehrt für Film und Fernsehen zu arbeiten. So war er 2001 in Kai Wessels viel beachtetem Fernsehfilm Hat er Arbeit? zu sehen. Sellien erhielt wiederholt Hauptrollen, so in Michael Verhoevens Bloch-Folge Vergeben, nicht vergessen oder 2014 als Kaiser Wilhelm II. im BBC-Dokudrama 37 Days. In internationalen Kinoproduktionen wie Der Vorleser, Unknown Identity und zuletzt All the Money in the World war er in Nebenrollen zu sehen.

Rainer Sellien ist Mitglied der Deutschen Filmakademie. Er lebt in Berlin.

Filmografie (Auswahl)

Kino

Fernsehen

Hörspiele
 1998: Volker Braun: Der Staub von Brandenburg – Regie: Joachim Staritz (Hörspiel – DLF/SFB)
 1999: Isaak Babel: Die Reiterarmee (Sidorov) – Regie: Joachim Staritz (Hörspiel (3 Teile) – MDR/DLR)
 2021: Noam Brusilovsky/Ofer Waldmann: Adolf Eichmann: Ein Hörprozess - Regie: Noam Brusilovsky (Hörspiel - RBB/DLF)                    Hörspielpreis der ARD 2021
 2022: Caroline Labusch: Caro ermittelt (Podcast) - Regie: Marion Pfaus - RBB Kultur
 2023: Noam Brusilovsky: Exzess, eine TechnoOper - Regie: Noam Brusilovsky - (Hörspiel - RBB KULTUR/DLF)

Weblinks

 Rainer Sellien bei der Agentur Anke Balzer

Einzelnachweise

Filmschauspieler
Theaterschauspieler
Hörspielsprecher
Darstellender Künstler (Berlin)
Deutscher
Geboren 1963
Mann

Rainer Sellien


Gündüzlü, Kozluk - Batman ili Kozluk ilçesine bağlı köy
 Gündüzlü, İnegöl - Bursa ili İnegöl ilçesine bağlı mahalle
 Gündüzlü, Ulubey - Ordu ili Ulubey ilçesine bağlı mahalle
 Gündüzlü, Yakakent - Samsun ili Yakakent ilçesine bağlı mahalle
 Gündüzlü, Süleymanpaşa - Tekirdağ ili Süleymanpaşa ilçesine bağlı mahalle
 Gündüzlü, Sarıkaya - Yozgat ili Sarıkaya ilçesine bağlı köy

Gündüzlü


es una popular bebida isotónica japonesa, producida por Otsuka Pharmaceutical Co., Ltd. Fue creada en 1978, lanzada en 1980 y es vendida en Asia Oriental, Sureste Asiático, Medio Oriente y Norte América (México)

Es de un sabor suave, dulce, ligero y sin gas. Es publicitada como una "bebida ionizante" con un ligero sabor a pomelo. Sus ingredientes son agua, azúcar, ácido cítrico, citrato de sodio, cloruro de sodio, cloruro de potasio, lactato de calcio, carbonato de magnesio y aromas. Es vendido en latas de aluminio, botellas plásticas y en forma de polvo para mezclar con agua.

Nombre

El nombre Sweat (sudor) fue elegido originalmente por los fabricantes con el objetivo de insertar el producto en el mercado japonés donde la gente generalmente no traduce los nombres en inglés. En realidad el nombre viene de lo que la bebida intenta reponer al consumidor, todos los nutrientes y electrolitos que se pierden al sudar.

La primera parte del nombre Pocari no tiene ningún significado. Fue elegida por su "sonido brillante".

Véase también
 Calpis

Referencias

Enlaces externos

Bebidas
Gastronomía de Japón

Pocari Sweat