La Dangote Fertilizer Plant est une usine nigériane de production d'engrais.

Histoire
La Dangote Fertilizer Plant est inaugurée le  par Dangote en présence des autorités du Nigeria.

L'usine représente une diversification des activités de l'entrepreneur nigérian, qui est par ailleurs présent dans la production de ciment pour la construction dans plusieurs pays africains, dans la logistique et la production de carburant au Nigeria avec des raffineries.

Caractéristiques

Usine
La Dangote Fertilizer Plant est construite sur une surface de plus de  et se situe dans la zone franche de , à proximité de la mégapole nigériane de Lagos. Cette usine est la deuxième plus grande au monde qui produit des intrants agricoles.

2,5 milliards de dollars ont été dépensés en coûts de construction, .

Objectifs de production
Urée, phosphate et potassium sont les intrants nécessaires à la production d'engrais. Ils sont principalement fournis par la Russie et l'Ukraine. Parmi ces entrants, l'usine importe son phosphate depuis le Togo.

Les objectifs sont d'assurer la sécurité alimentaire au Nigeria et d'exporter l'excédent d'engrais.

La production de l'usine permettra au Nigeria d'économiser 500 millions de dollars par an d'importation. Avec 70 % de Nigérians travaillant dans le secteur agricole, le Nigeria a un revenu annuel (devises) basé à 90 % sur le pétrole. L'usine a pour objectif de réduire la dépendance du Nigeria au pétrole et de diversifier le mix de revenus du pays.

Cinq milliards de dollars de recette d'exportation sont envisagés chaque année.

Marché
Les marchés et lieux déroulement de la production de l'usine sont le Nigeria, qui deviendra excédentaire en production d'engrais, les pays alentour et les États-Unis, le Brésil et le Mexique à l'international.

Notes et références

Usine au Nigeria
Entreprise ayant son siège au Nigeria

Dangote Fertilizer Plant


Pixinguinha, Um Homem Carinhoso é um filme biográfico brasileiro de 2021 dirigido por Allan Fiterman e Denise Saraceni a partir de um roteiro de Manuela Dias. Conta a vida e a obra do cantor Pixinguinha, considerado o pai da MPB, interpretado no filme por Seu Jorge e Dan Ferreira. O filme conta ainda com Taís Araújo, Milton Gonçalves, Agatha Moreira e Lílian Waleska no elenco.

Sinopse
O filme aborda a história de vida de Alfredo da Rocha Vianna FIlho, mais conhecido como Pixiguinha. A trama começa retratando a história do músico desde o início de sua carreira aos 14 anos até sua ascensão, sua morada em Paris e a relação com a esposa.

Elenco

Produção
A direção do filme é realizada em parceria entre Allan Fiterman e Denise Saraceni. A roteirista Manuela Dias, autora de Amor de Mãe, assim o texto do filme. Em 2013, Denise fez a primeira tentativa de tentar filmar o filme, em homenagem aos 40 anos de morte do cantor. Entretanto, o projeto não seguiu muito adiante. Em 2016, ela convidou Manuela Dias para condensar o material do filme e escrever um novo roteiro a partir dele. Carlos Moletta assina a produção do filme.

Foi a roteirista do filme que indicou Seu Jorge para o personagem principal pois, segundo ela, Pixinguinha deveria ser retratado não apenas por um ator, mas por alguém do ramo musical. Durante a captação de recursos e patrocínios, a diretora recebeu muitas recusas de investimentos com a justificativa de não incentivarem uma homenagem a um alcoólatra. As filmagens ocorreram em 2017, quase cinco anos antes da produção conseguir ser lançada.

Lançamento
Um evento de pré-estreia com o elenco, incluindo Seu Jorge e Taís Araújo, ocorreu em 8 de novembro de 2021 no Espaço Itaú de Cinema, no bairro de Botafogo, Rio de Janeiro. O filme foi lançado diretamente no circuito comercial a partir de 11 de novembro de 2021 pela Downtown Filmes.

Recepção

Crítica
Pixinguinha, Um Homem Carinhoso recebeu avaliações mistas e negativas por parte dos críticos especializados. Escrevendo para a Folha de S.Paulo, Naief Haddad destaca que o filme possui "muito açúcar e pouco contexto musical", dizendo que a cinebiografia prioriza mais a vida pessoal do cantor do que sua carreira musical. Em sua crítica ela ainda elogia a atuação de Seu Jorge mas pontua que o personagem foi totalmente mal escrito.

Já Rodrigo Fonseca do Estadão e do Correio da Manhã exalta que "Encantando plateias por onde passa, graças ao empenho de Seu Jorge para reviver os feitos do maestro e compositor, o genial flautista e saxofonista Alfredo da Rocha Vianna Filho (1897· 1973) o belo Pixinguinha, Um Homem Carinhoso" - que marca a estreia da diretora de TV Denise Saraceni como cineasta - ó saiu do papel graças ao empenho de seu produtor Carlos Moletta."

E a experiente Maria do Rosario Caetano elogia na Revista de Cinema o produtor e o filme: Carlos Moletta, alma de "O Homem Carinhoso", convidou Denise Saraceni, experiente diretora de telenovelas e séries, para assinar a cinebiografia de Pixinguinha. Ela contou com a ajuda de Allan Fiterman, quando necessário, pois as filmagens foram, por razões de orçamento, muito espaçadas. O que vemos na tela está longe de ser um filme autoral. É, e não esconde isso, um filme de produtor. Uma narrativa de fácil compreensão, que reúne muitos personagens e abarca o registro da trajetória de Pizindin dos 14 anos (quando fez sua estreia num palco) até sua morte, aos 75, num templo católico. São 61 anos de vida e música (40 composições, no total, selecionadas por Moletta). Clássicos de nosso cancioneiro criados ou arranjados por um de nossos maiores chorões."

Ligações externas

Filmes do Brasil de 2021
Filmes de drama do Brasil
Filmes biográficos do Brasil
Filmes em língua portuguesa
Filmes da Globo Filmes
Filmes distribuídos pela Downtown Filmes
Filmes de drama biográfico do Brasil
Filmes sobre afro-brasileiros
Pixinguinha

Pixinguinha, Um Homem Carinhoso


Le deuxième hôtel du Parlement à Québec est un édifice ayant abrité le Parlement de la province du Canada entre 1860 et 1866 puis le Parlement du Québec entre 1867 et 1883.

Historique

Après l'incendie du premier hôtel du Parlement à Québec en 1854, l'Assemblée législative est temporairement relogée à l'Académie de musique de la rue Saint-Louis tandis que le Conseil législatif siège dans le palais de justice.

En 1857, la reine Victoria choisit Ottawa comme nouvelle capitale du Canada. Néanmoins, le Parlement est divisé sur la question et Québec restera capitale encore quelques années. En 1859, le gouvernement crée un contrat pour la construction d'un édifice parlementaire à Québec en attendant la fin des travaux de la colline du Parlement d'Ottawa. Le projet est confié aux entrepreneurs Elliott et Melville d'après les plans de Frederick Preston Rubidge. La première pierre est posée en juillet de la même année. La 3e session de la 6e législature de la province du Canada s'ouvre dans le nouvel édifice le 28 février 1860.

En 1864, la Conférence de Québec portant sur la confédération canadienne s'y déroule.

Le Parlement est transféré à Ottawa en 1866. L'édifice ne sera pas longtemps laissé vacant puisque le parlement de la nouvelle province du Québec y emménage.

Cependant, le gouvernement québécois est à l'étroit et débute la construction de l'hôtel du Parlement du Québec. Les travaux du nouvel hôtel sont avancés quand, le 19 avril 1883, l'édifice du deuxième parlement est victime d'un incendie.

Le site est laissé en ruines jusqu'en 1893. Le gouvernement du Canada en fait la location à la Ville de Québec qui crée ensuite le parc Frontenac, devenu aujourd'hui le parc Montmorency.

Notes et références

Voir aussi

 Hôtel du Parlement du Québec
 Premier hôtel du Parlement à Québec
 Parc Montmorency

Bâtiment détruit à Québec (ville)
Édifice législatif au Canada
Architecture du XIXe siècle au Québec
Édifice construit en 1860
Architecture néo-classique au Canada
Bâtiment de Frederick Preston Rubidge
Bâtiment détruit lors d'un incendie au Canada
Bâtiment du gouvernement du Québec

Deuxième hôtel du Parlement à Québec


Hans-Ulrich Niemitz (Berlín, 22 de noviembre 1946 - † 2 de noviembre 2010) fue un ingeniero y exdirector del Centro de Historia de la Tecnología y el Museo del Auto de la Universidad de Tecnología, Economía y Cultura de Leipzig.

Niemitz estudió aeronáutica e ingeniería mecánica y en aquella época fue también asistente de investigación de matemáticas prácticas en la Universidad Técnica de Berlín. Él estudió la historia como un estudio secundario, así como la ética de la ciencia y la ingeniería, y recibió su doctorado en 1992. De 1995 a 2009 fue profesor en la Universidad de Tecnología, Economía y Cultura de Leipzig (FH) y estaba en la universidad responsable de los estudios generales.

Sus áreas de interés docente y de investigación eran la historia y la ética de la ciencia y la tecnología, cambios en las relaciones entre tecnología, cultura y sociedad, la evaluación de tecnologías, el cambio de modelo para el desarrollo de la tecnología, y la cronología.

Niemitz apoyó - como Heribert Illig - la teoría de un período de ficción en la Alta Edad Media (Hipótesis del tiempo fantasma). Él es el inventor del concepto del año fantasma. Niemitz mostró sus dudas en su libro en la precisión de la datación por radiocarbono y la dendrocronología, y todos los otros métodos científicos que datan en principio. Junto con Uwe Topper y Christian Blöss, fundó el salón histórico de Berlín en 1994.

Hans-Ulrich Niemitz también es conocido como un defensor de la nueva medicina germánica.

Tanto la hipótesis del tiempo fantasma como las leyes de la nueva medicina germánica son consideradas por algunos científicos profesionales como pseudo-ciencias. En el caso de la nueva medicina germánica muy pocos han dedicado tiempo para evaluar sus postulados, y sin nada que perder, se niegan a realizar una verificación de la misma, por lo cual sus posturas sobre la Nueva medicina Germánica no puede ser consideradas determinantes.

Obra
 Christian Blöss, Hans-Ulrich Niemitz: C14-Crash. Mantis Verlag 1997, ISBN 3-92885-2159.
 Monika Berger-Lenz, Christopher Ray, Hans-Ulrich Niemitz: faktor-L. Neue Medizin. Die Wahrheit über Dr.Hamers Entdeckung – Krebs und andere heilbare Krankheiten. Faktuell-Verlag, ISBN 3-9809203-9-9.
 Hans-Ulrich Niemitz: Gutachten zur Neuen Medizin. Hochschule für Technik, Wirtschaft und Kultur, Leipzig 2003.
 Hans-Ulrich Niemitz: Fälschungen im Mittelalter. In: Vorzeit Frühzeit Gegenwart (VFG), 1-91, S. 21 ff.).
 Hans-Ulrich Niemitz, Heribert Illig: Hat das dunkle Mittelalter nie existiert? In: VFG, 1-91, S. 36 ff.).
 Stefan Lanka, Hans-Ulrich-Niemitz, Veronika Widmer, Karl Kralfeld: Die Vogelgrippe. Der Krieg der USA gegen die Menschheit. klein-klein-verlag, ISBN 3-937342-15-X.

Referencias
 Nachruf auf Faktuell
Nachruf des Arbeitskreises Studium generale Sachsen
Christian Blöss, Hans-Ulrich Niemitz: 14-Crash. Das Ende der Illusion, mit Radiokarbonmethode und Dendrochronologie datieren zu können. 2.Auflage, Verlag IT&W, Berlín 2000.

Enlaces externos

The Germanic/German New Medicine a new Natural Science by Professor Dr. Hans Ulrich Niemitz

Ingenieros de Alemania del siglo XX
Nacidos en Berlín

Hans-Ulrich Niemitz


Phaethon (; , ), also spelled Phaëthon, was the son of the Oceanid Clymene and the sun-god Helios in Greek mythology.

According to most authors, Phaethon is the son of Helios, and out of desire to have his parentage confirmed, travels to the sun-god's palace in the east. There he is recognised by his father, and asks him for the privilege to drive his chariot for a single day. Despite Helios' fervent warnings and attempts to talk him out of it, counting the numerous dangers he would face in his celestial journey and reminding Phaethon that only he can control the horses, the boy is not dissuaded and does not change his mind. He is then allowed to take the chariot's reins; his ride is disastrous, as he cannot keep a firm grip on the horses. As a result, he drives the chariot too close to the Earth, burning it, and too far from it, freezing it. In the end, after many complaints, from the stars in the sky to the Earth itself, Zeus strikes Phaethon with one of his lightning bolts, killing him instantly. His dead body falls into the river Eridanus, and his sisters the Heliades are turned to black poplar trees as they mourn him.

Phaethon's tale was commonly used to explain why uninhabitable lands on both sides of extremity (such as hot deserts and frozen wastelands) exist, and why certain peoples have darker complexions, while his sisters' amber tears accounted for the river's rich deposits of amber.

Etymology
Ancient Greek , Phaethon, means "radiant", from the verb , meaning "to shine." Therefore, his name could be understood as, "the shining/radiant (one)" Ultimately the word derives from , phaos, the Greek word for light, from the Proto-Indo-European root *bheh2-, 'to shine.'

Mythology

Details vary according to version, but most have Phaethon travel far east to meet his father, sometimes in order to get him to assure his paternity. There, he asks Helios for permission to drive his father's Sun-chariot for a single day. Despite Helios' protests and advice against, Phaethon doesn't back down from his initial wish, and thus Helios reluctantly allows him to drive his chariot. Placed in charge of the chariot, Phaethon was unable to control the horses. In some versions, the Earth first froze when the horses climbed too high, but when the chariot then scorched the Earth by swinging too near, Zeus decided to prevent disaster by striking it down with a thunderbolt. Phaethon fell to Earth and was killed in the process.

Family
Phaethon was said to be the son of the Oceanid Clymene and the sun god Helios. Alternatively, less common genealogies make him a son of Clymenus by Oceanid Merope, of Helios and Rhodos (thus a full brother of the Heliadae) or of Helios and Prote. According to a scholium on the Odyssey and a papyrus of the Società Italiana, Phaethon's mother Clymene was not an Oceanid, but rather a mortal woman, a daughter of Minyas, who married Helios.

Homer and Hesiod
For the two earliest ancient Greek authors, Homer and Hesiod, the chariot and the four horses that pull Helios each morning do not seem to exist at all; the oldest work in which they appear being the Homeric Hymns.

Neither seems to know Phaethon as an individual, as "Phaethon", meaning "the radiant" seems to be exclusively an epithet used for Helios by them. The only Phaethon Hesiod seems to recognize is the son of Eos, Helios' sister and the goddess of the dawn, whom she had by her lover Cephalus, an Athenian prince.

The late Roman author Hyginus however attributes a version of the story to Hesiod. According to Hyginus, Hesiod wrote that Phaethon was the son of Merope, an Oceanid, and Clymenus, a son of Helios by an unnamed woman or goddess. Phaethon, upon learning that his grandfather is the Sun, put his chariot to bad use, and scorched the Earth, turning the Indians black in the process. He was struck by a thunderbolt, and fell dead on the river Eridanus. Even the firmest believers of Hyginus find the attribution of the tale to Hesiod hard to accept. A fragment from Hesiod very possibly connects Eridanus to amber. it is uncertain, but possible, that the fragment also connected Eridanus and amber to the tears of the Heliades; what is certain however is that Hesiod was not connecting Eridanus, amber and perhaps the Heliades, to the myth of Phaethon.

The tragic poets

A now-lost tragedy by Aeschylus, titled Heliades ("daughters of the Sun") was written covering the subject of this myth. Very little of this play survives now, and the form of the myth as assumed by Aeschylus is impossible to know. It would seem that in Aeschylus' play, the sisters played a significant role; two of the surviving fragments (F 71 and F 72) focus on grief, mourning, and lamentation. He seems to have transferred the location of Phaethon's fall in Iberia, west of Italy.

By contrast, Euripides' version of the story, the now lost tragedy Phaethon, while similarly fragmentary, is much better preserved, with twelve fragments surviving covering some 400 lines of text. According to the summary of the play, Phaethon is the son of Helios by an Oceanid named Clymene, who nonetheless hid the boy's true parentage and claimed he had been fathered by her nominal husband Merops, the king of Aethiopia (Merops and Clymene are an interesting swap of the names in Hyginus' Hesiodic version, Merope and Clymenus). The main conflict of the play is the upcoming marriage of an unwilling Phaethon.

The identity of the bride seems to be this fragmentary play's greatest mystery. Euripides seems to have made Aphrodite the bride of the unfortunate youth; if that is the case, then it would seem that Euripides combined the stories of two Phaethons, that of the son of Helios who drove his father's car and died, and that of Phaethon the son of Helios' sister Eos whom Aphrodite abducted to be a watchman of her shrines, and whom late antiquity writers described as a lover of the goddess, as suggested by Wilamowitz. Another explanation on how Phaethon could possibly be getting married to the goddess of beauty is that Aphrodite had planned Phaethon's destruction from the very beginning, as revenge against his father for revealing to Hephaestus, her husband, the goddess' affair with Ares, the god of war. Henri Weil suggested that Phaethon is to marry one of the Heliades, and James Diggle, while deeming this suggestion improvable, is convinced of it being the case.

Clymene reveals her son his true parentage, perhaps to help him overcome his reluctance to get married. Although doubtful at first, his mother's words convince him and agrees to travel east to find his divine father and have his parentage confirmed. What happens next is that someone, perhaps a paedagogus, arrives in the scene to inform the audience of Phaethon's disastrous ride. According to his account, Helios actually escorted his son on his doomed journey, riding on a horse named Sirius next to him and shouting instructions and advice on how to drive the car, an element not found in subsequent treatments of the myth.

Surviving fragments do not clearly paint Zeus as the culprit of Phaethon's death; but next Clymene orders slave girls to hide Phaethon's smoking body from Merops (who is still unaware both of Phaethon's true parentage as well as his fiery death), pointing to Zeus having indeed played a role in the boy's death. Merops discovers his son's charred corpse, and the truth, a bit later.

The only other tragedy about the myth is Theodorides' now lost Phaethon, performed in 363 BC at the Lenaea festival, nothing of which survives to us.

References to the myth of Phaethon
With Aeschylus being the earliest (as far as it can be determined) that Phaethon's story would have been known, the next mention possibly came from a lost work of Philoxenus of Cythera (435~434 – 380~379 BC), a dithyrambic poet. Pliny the Elder mentions him second (after Aeschylus) among the authors who spoke of the myth of the Sun god's son. Pliny also names Nicander and Satyrus as other authors who knew of Phaethon.

Plato's Timaeus
In Plato's Timaeus, Critias tells the story of Atlantis as recounted to Solon by an Egyptian priest, who prefaced the story by saying:There have been, and will be again, many destructions of mankind arising out of many causes; the greatest have been brought about by the agencies of fire and water, and other lesser ones by innumerable other causes. There is a story that even you [Greeks] have preserved, that once upon a time, Phaethon, the son of Helios, having yoked the steeds in his father's chariot, because he was not able to drive them in the path of his father, burnt up all that was upon the earth, and was himself destroyed by a thunderbolt. Now, this has the form of a myth, but really signifies a declination of the bodies moving in the heavens around the Earth, and a great conflagration of things upon the Earth, which recurs after long intervals.

Palaphaetus' On Unbelievable Tales
Like other authors of around this period, Palaephatus's version is not too rich in details. Naming no mother, Palaphaetus speaks of Phaethon as a son of Helios who had the irrational desire to drive his father's chariot, but had no knowledge of how to handle the reins. Unable to keep balance he was swept off course by the wild horses and drowned into the Eridanus river. Unlike several other retellings, a party behind Phaethon's death is not named, as Zeus takes no action to stop Phaethon and save the Earth.

Apollonius Rhodius' Argonautica

While sailing up the Eridanus river on their way back, the Argonauts reach the outfall of the deep lake where Phaethon fell after he was struck with a lightning bolt. During the day, the crew of the Argo was tormented by the nauseating stench from Phaethon's corpse, still smoldering after all this time, and at night they had to listen to the lament of his sisters, now turned into poplar trees and shedding tears of amber.

Diodorus Siculus' Historic Library
Phaethon, the son of Helios, while still a youth persuaded his father to retire for a single day and give to him his chariot. His father eventually yielded to his son's wishes, and gave him his quadriga. The boy was unable to control the reins, and the horses left their accustomed course, setting ablaze the Heavens (creating the Milky Way) and the Earth (creating uninhabitable land) alike. Zeus, seeing the catastrophe, smote Phaethon with a thunderbolt and brought the Sun to its course. Phaethon fell into the Eridanus river, dead. His sisters mourned him, and turned into black poplar trees.

Ovid
The influence of Euripides' lost play can be easily recognized in Ovid's own version of the myth. Another possible inspiration of Ovid's version might have been Nicander, who is known to have written about Phaethon in some work, perhaps attested in the lost Heteroeumena (loosely translating into "transformations"). In the version of the myth told by Ovid, Phaethon is the son of Clymene and the sun-god Sol, who would often boast about being the son of the sun-god. Phaethon, challenged by Epaphus and his playmates, sought assurance from his mother that his father was Sol indeed. She gave him the requested assurance and told him to turn to his father for confirmation. He asked his father for some proof that would demonstrate his relationship with the Sun. When the god swore by the river Styx to grant him whatever he wanted, he insisted on being allowed to drive the Sun chariot for a day. Sol tried to talk him out of it by telling him that not even Jupiter (the king of the gods) would dare to drive it, as the chariot was fiery hot and the horses breathed out flames. He said:

The first part of the track is steep, and one that my fresh horses at dawn can hardly climb. In mid-heaven it is highest, where to look down on earth and sea often alarms even me and makes my heart tremble with awesome fear. The last part of the track is downwards and needs sure control. Then even Tethys herself, who receives me in her submissive waves, is accustomed to fear that I might dive headlong. Moreover, the rushing sky is constantly turning, and drags along the remote stars, and whirls them in rapid orbits. I move the opposite way, and its momentum does not overcome me as it does all other things, and I ride contrary to its swift rotation. Suppose you are given the chariot. What will you do? Will you be able to counter the turning poles so that the swiftness of the skies does not carry you away? Perhaps you conceive in imagination that there are groves there and cities of the gods and temples with rich gifts. The way runs through the ambush, and apparitions of wild beasts! Even if you keep your course, and do not steer awry, you must still avoid the horns of Taurus the Bull, Sagittarius the Haemonian Archer, raging Leo and Lion's jaw, Scorpio's cruel pincers sweeping out to encircle you from one side, and Cancer's crab-claws reaching out from the other. You will not easily rule those proud horses, breathing out through mouth and nostrils the fires burning in their chests. They scarcely tolerate my control when their fierce spirits are hot, and their necks resist the reins. Beware, my boy, that I am not the source of a gift fatal to you, while something can still be done to set right your request!

Phaethon, however, was adamant, and thus Sol was forced to relent. When the day came, the fierce horses that drew the chariot felt that it was empty because of the lack of the sun-god's weight and went out of control. Terrified, Phaethon dropped the reins. The horses veered from their course, scorching the Earth, burning the vegetation, bringing the blood of the Ethiopians to the surface of their skin and so turning it black, changing much of Africa into a desert, drying up rivers and lakes and shrinking the sea. Earth cried out to Jupiter who was forced to intervene by striking Phaethon with a lightning bolt. Like a falling star, Phaethon plunged blazing into the river Eridanus.

The epitaph on his tomb was:
Here Phaethon lies who in the sun-god's chariot fared. And though greatly he failed, more greatly he dared.

Sol, stricken with grief at his son's death, at first refused to resume his work of driving his chariot, but at the appeal of the other gods, including Jupiter, returned to his task.

The detail of Phaethon questioning the parentage he otherwise took pride in being the result of Epaphus' words is also present in the works of Servius, who wrote that Epaphus, now presented as the succeeded king of Egypt, mocked Phaethon for being born out of adultery; the outcome is largely the same, as Phaethon travels east to meet his father, gets Helios to promise him any favor, and then drives the chariot with disastrous results.

Other late authors
Philostratus, who follows the typical premise of Phaethon's tale (son of Helios who asks his father to drive his chariot and ends up burning the Earth) describes in great detail the extent of the catastrophe, putting more detail in the picture and the visual representation rather than the action; the Night drives away the Day from the noonday sky, the Sun's orb plunges into the Earth pulling the stars along with him, the Seasons abandon their posts in fear,  and the Earth raises her hands in supplication as she burns. In the end Phaethon falls from the chariot, himself on fire too, and dies. The Eridanus mourns him along with the Heliades.

According to Clement of Alexandria "... in the time of Crotopus occurred the burning of Phaethon, and the deluges of Deucalion". In The Twelve Caesars, Suetonius attributes to the emperor Tiberius the following repeated remark about the future emperor Gaius Caligula: "That to allow Gaius to live would prove the ruin of himself and of all men, and that he was raising a viper for the Roman people and a Phaethon for the world".

A scholiast on Homer's Odyssey provides a different parentage for Phaethon, making him the son of Helios and Rhodos instead (thus full brother to the Heliadae), here the daughter of Asopus, the river god. The scholiast follows the version of Phaethon being raised by his mother; when he learns the truth, he seeks out Helios and asks him to drive his chariot. Helios allows him not due to some promise or vow he made to his son, but rather because of his son's persistence, despite knowing what would follow. In accordance with other authors, Zeus strikes him with a thunderbolt. The element of Helios knowing what's in store for his child, but being unable to thwart it, is present in several tellings; Statius writes that "with tears did he warn the rejoicing youth of treacherous stars and zones that would fain not be o'errun and the temperate heat that lies midway between the poles; obedient was he and cautious, but he cruel Parcae would not suffer him to learn."

Valerius Flaccus gives attention to the wrecked chariot itself, and how Tethys, who is Phaethon's grandmother as well as the goddess who receives Helios in the western ocean as he sets, picks up the fragments of yoke and axle, and one of the horses too (Pyrois) who is fearful of a father's wrath.

Cicero, another Roman author, describes Sol as being "tricked" into letting his son drive his chariot, expressing surprise and disbelief that a god could be deceived like that.

Seneca speaks of Phaethon, the
 "youth who dared drive the everlasting chariot, heedless of his father's goal."

Phaethon as a legitimate offspring

Hyginus wrote that Phaethon, son of Helios / Sol and Clymene, secretly mounted his father's car without said father's knowledge and leave, but with the aid of his sisters the Heliades who yoked the horses. Being inexperienced, Phaethon drove the chariot too high, and it was fear that made him plunge into the Eridanus; when Zeus struck him with a thunderbolt, the Earth began to burn. Zeus then, pretending to want to put out the fire, let loose all the rivers everywhere, causing the flood that drowned everyone except for Deucalion and Pyrrha. Phaethon secretly stealing the chariot, and his sisters helping him out perhaps implies the existence of an early version, where Phaethon and his (full) sisters are legitimate offspring of the Sun god and his wife, brought up in their father's house, rather than product(s) of an extramarital liaison. After his death, Phaethon was conveyed to the stars by his father as a constellation. The constellation associated with Phaethon was the Auriga, or the Charioteer.

The satirical author Lucian of Samosata treated the myth in a comedic matter in his Dialogues of the Gods. In the short dialogue, Zeus angrily berates Helios for letting his inexperienced son drive his chariot, which almost resulted in the world being destroyed. Helios acknowledges his error, but claims he was pressured by Phaethon and Phaethon's mother Clymene both (another implication of the union between Helios and the mother of Phaethon being marital in nature, not an affair, and thus making their child legitimate), and could have not foreseen the extent of the disaster. Zeus is displeased to hear it, unconvinced that he would not know that an inexperienced driver like Phaethon would not be able to control the steeds. Helios then asks Zeus to be merciful, as his son has already been punished (being dead) and he himself is in great mourning. Zeus disagrees that this punishment is enough, returns Helios his damaged chariot which is in need of repair, and threatens to strike him with one of his thunderbolts should he ever do such thing again. In True History, another work of Lucian's, Phaethon is the king of the Sun and is at war with the Moon, ruled by King Endymion.

Nonnus' late version of the story is one of the two extensive narratives to survive, the other being Ovid's. Unlike other versions, Nonnus' is one of the few where Phaethon is a legitimate offspring of a married couple, with his motivation shifting from need to prove his parentage to him wanting to imitate his idolized father. In Nonnus' account, found in his epic Dionysiaca, Hermes tells Dionysus the tragic story of Phaethon. Helios and the beautiful nymph Clymene fall in love and get married with her father Oceanus' blessing, and together they have Phaethon. Phaethon is raised by his parents, in the company of Oceanus and the Oceanid nymphs. As a boy, he would mimic his father and his daily journey by driving a wagon of his own design, with burning torches standing in for the fire. When he grows up, he begs his father to let him drive his chariot, but Helios refuses, arguing that sons are not necessarily fit to follow on their fathers' footsteps (bringing up how Ares, Hephaestus, Apollo and Hermes do not hold lightning bolts like their father Zeus does). Phaethon nevertheless is not a bit discouraged by his worried father's words, and then pressures him more, as does Clymene; with great reluctance, Helios consents, and gives his son a very extensive and detailed speech about all the dangers and the hazards of the ride. He then dresses Phaethon up in his own robes, helmet and solar crown and gives him the reins. With a final warning from his father, Phaethon yokes the horses and ascends in the sky, as his mother Clymene cheerfully waves him goodbye, still unaware of the danger that awaits her son. Like in all other versions, his ride is a disaster, as he burns the Earth. Zeus then kills him with a lightning bolt, and places him among the stars as the constellation Auriga, the charioteer of the heavens. Nonnus's version of the events is similar to that of Lucian, as both make (or imply) Clymene a wife to Helios, their son Phaethon born in marriage, and Clymene is actively present in persuading Helios to let their son drive the chariot.

Mourning for Phaethon

The mournful sisters
A very common element of the story is that Phaethon's sisters, the Heliades, mourn his death by the river and transform into black poplars, shedding tears of amber for their lost brother. According to Pliny the Elder, it was Aeschylus who introduced the transformation of the sisters into poplar trees. Their number and names vary; a scholiast on Homer gives an alternative parentage where Phaethon and his three sisters (Phaethusa, Lampetia and Aegle) are the children of Helios and Rhodos, here the daughter of Asopus. Hyginus names seven; Merope, Helie, Aegle, Lampetia, Phoebe, Aetherie and Dioxippe. Ovid has at least three, but only two (Phaethusa and Lampetia) are named. Servius only mentions Phaethusa and Lampetia.

Although the Heliades' role and fate in the myth is not mentioned in any of the surviving fragments of Phaethon, Euripides briefly brings up the Heliades and their shedding of amber tears for their brother by the Eridanus in another play, Hippolytus.

Ovid vividly describes the sisters cry and mourn for their brother by the banks of the Eridanus for four months unmoving. Then, as they try to move, find themselves rooted to the ground, unable to leave. Their mother Clymene finds them, and although she tries to free her daughters by breaking off the forming branches and snapping  the barks, she is unable to help them and the metamorphosis is completed.

The Odyssey scholiast writes that Zeus, feeling pity for them, changed them into the amber-crying poplar trees, and allowing them to retain the memories of their old lives and sorrows.

According to Quintus Smyrnaeus, it was Helios who turned them into trees, for their honor to Phaethon, and Hyginus wrote that they were transformed into trees for yoking the chariot without their father's consent.

The part concerning the Heliades might have been a mythical device to account for the origin of amber; it is probably of no coincidence that the Greek word for amber, elektron (), resembles elektor (), an epithet of Helios. The poplar tree was considered sacred to Helios, due to the sun-like brilliance its shining leaves have.

The mournful lover
Later authors, particularly the Romans, mention the story of Cycnus, a man who was Phaethon's lover and deeply mourned his death and was turned into a swan, birds who are known for mourning the loss of their mates for days. In Ovid's account, the gods turned the inconsolable Cycnus into a swan soon after Phaethon's own death; even as a swan he retained memories of Phaethon's fiery demise, and the bird would thereafter avoid the sun's heat. Virgil instead writes that Cycnus mourned for Phaethon well into his old age, thereupon he was turned into a swan, his white hair becoming the bird's white feathers upon transformation. Pausanias and Servius explicitly name Apollo as the god who turned Cycnus into a swan, after having blessed him with talent in singing at some time before; Apollo then placed him among the stars, as the constellation Cygnus, "the swan". Cycnus' profession as a musician seems to be a direct reference to the swan song swans are famous for.

Artistic evidence
On one of the earliest extant artistic attestations of the myth, a cast taken from an Arretine mould now housed in the Museum of Fine Arts, Boston, Phaethon is shown fallen from the car, a wheel lying next to him while another is being collected by the water goddess Tethys, his grandmother, as Valerius Flaccus wrote. The god behind Phaethon's death, Zeus, is seen hurling his thunderbolt, while Helios appears on horse-back, with a spare horse by his side (matching Euripides' telling where Helios accompanies his son in the sky), having caught two of the horses and now directing his attention to the other two (like Lucretius describes him doing). Artemis is there too, perhaps alluding to some obscure version where she played a role in the story, as is Iris, the rainbow and messenger goddess. Another figure, perhaps Isis, is also present. An Apulian crater of c. 360-350 has a scene with named characters Merops, Clymene and Melanippus (TrGF adesp . 5f).

The myth of father and son was immortalized in Corinth (where Helios had a significant cult), where Pausanias describes two gilded chariots, one carrying Phaethon the other Helios, adorning a gateaway near Corinth's market:

On leaving the market-place along the road to Lechaeum you come to a gateway, on which are two gilded chariots, one carrying Phaethon the son of Helius (Sun), the other Helius himself.

Connections
The lesser-known myth of Sirius the dog star god and the harvest goddess Opora share some elements with the myth of Phaethon. In that myth, Sirius visits the earth on some mission but then meets and falls in love with Opora. His unfulfilled love makes him burn hotter, which results in the humans suffering under the great heat he causes. They pray to the gods, and eventually Boreas the god of the north wind orders his sons to deliver Opora to Sirius while he uses cold wind blasts to cool the earth. To commemorate the event, Sirius would continue to burn hot each year during the harvest season, explaining the intense heat of the dog-days of summer, attributed to Sirius by the ancients.

Phaethon's story shares some similarities to the myth of Asclepius, as mortal sons of divine fathers (Helios and Apollo) who disrupted natural order (Phaethon by driving the chariot off-course, Asclepius by resurrecting the dead) and were then killed by Zeus in order to establish that order again after complains from other divinities (Gaia and Hades), bringing sorrow to said fathers. Phaethon's myth was the preeminent myth involving amber in classical antiquity, and according to Celtic tradition, Apollo shed tears of amber for Asclepius' death; while Apollo's association with amber is not extraordinary, the context of it (mourning for his son) is significant. Diodorus Siculus in his own account of Phaethon ended by saying that amber was commonly used in connection to mourning the death of young people, and the link between resin and tears was not an uncommon one, as seen in the myths of Myrrha and Meleager (according to a lost play by Sophocles); the ancient Greek word for tear dakruon could also mean sap or gum. The first of the Vatican Mythographers tried to merge the two myths, writing that Phaethon brought Hippolytus back to life (Asclepius in myth), and that after he was killed by Zeus, Apollo slew the Sicilian smiths who forged Zeus' thunderbolts (Apollo slaying the Cyclopes who forged Zeus' lightning bolts after he slew Asclepius). The second narrative on Phaethon however, from the so-dubbed "Second Vatican Mythographer", recounts the more traditional version of the myth with no traces of amalgamation with other myths or any connection to Asclepius.

Post-classical works
 Dante refers to the episode in the Inferno, in "Purgatorio" canto IV and Paradiso canto XVII of his Divine Comedy.
 William Shakespeare uses the story of Phaethon in four places, most famously as an allegory in his play Richard II, comparing the King to the divinity of the sun: "Down, down I come; like glistering Phaethon, wanting the manage of unruly jades" (3.3). He also makes Juliet wish "Phaëthon would whip [Phoebus's horses] to the west" as she waits for Romeo in Romeo and Juliet 3.2.3. It also appears briefly in The Two Gentlemen of Verona 3.1.154, and twice in Henry VI, Part 3 (1.4.33 and 2.6.12)
 John Marston includes reference to Phaeton in The Malcontent whereby Mendoza's monologue describes the '... sparkling glances (of women), ardent as those flames that singed the world by heedless Phaeton!' – act 1, sc 5
 Jean-Baptiste Lully wrote a musical tragedy, Phaëton, in which he referred indirectly to the fate of Nicolas Fouquet, whose ambitions to imitate Louis XIV – The Sun King – brought about his downfall. This opera is also used in the second version of Paul Hindemith's opera Cardillac (1952).
 Camille Saint-Saëns wrote a symphonic poem entitled Phaéton in 1873.
 Niccolò Jommelli wrote an opera Fetonte to an Italian-language libretto by Mattia Verazi using various sources, principally Ovid, for the myth of Phaeton. It was first performed at the Ducal Theatre, Ludwigsburg in February, 1768, where Duke Karl-Eugen of Württemberg maintained an opera troupe.
 Wilhelm Waiblinger's epistolary novel Phaëthon amalgamates the Phaethon myth with Goethe's Werther as well as Hölderlin's Hyperion.
 Johann Wolfgang Goethe published a poetic reconstruction of Euripides' fragmented tragedy in Kunst und Altertum (1823), which served as a basis for various full-scale dramatic adaptations such as Marie Wernicke's Phaethons Sturz (1893), Karl Wilhelm Geißler's Phaëthon (1889) and Arnold Beer's Phaeton (1875).
 Gerhart Hauptmann's long poem Helios und Phaethon (1936) omits the cosmic disaster in order to focus on the relationship between godly father and mortal son.
 In Otakar Theer's symbolist tragedy Faëthón (1916), the hero epitomizes man's revolt against the world order ("the gods") and against human destiny. The tragedy was adapted in 1962 into a celebrated eponymous radio play by Miloslav Jareš (director) and Jaromír Ptáček (dramaturge).
 Paul Goodman's early Phaëthon, Myth (1934) juxtaposes the Phaethon myth with a grotesque version of a Christological narrative.
 Benjamin Britten's Six Metamorphoses after Ovid for oboe, first performed at the Aldeburgh Festival on 14 June 1951, include the short piece Phaeton, which as a solo piece seems to focus on the individual lost in space, rather than the furious effects emphasised by earlier instrumental renditions of the myth.
 In Ayn Rand's 1957 novel Atlas Shrugged, an in-universe opera is composed by the character of Richard Halley, where Phaeton succeeds in his attempt to control the chariot of the Sun, as an allegory for the power of mankind and individualism.
 Donald Cotton wrote a comedy radio play The Tragedy of Phaethon broadcast on BBC Network 3, 10 February 1965.
 Angus Wilson's novel Setting the World on Fire (1980) opens with the description of a Phaethon painting which proves pivotal to the protagonist's emerging self-conception, leading up to his production of Lully's Phaëton.
 John C. Wright's The Golden Oecumene trilogy (2002) features a protagonist named Phaethon, whose father's name is Helion. Mythical references abound.
 In 2002, Volkswagen introduced the VW Phaeton.
 In 2012, former Disco Inferno frontman Ian Crause adapted the story of Phaethon as The Song of Phaethon for his first musical release in over a decade. Crause used the story as an analogy for Britain's entry into the Second Gulf War.
 In 2016, Taffety Punk Theatre premiered Michael Milligan's play "Phaeton" in Washington, DC.
 In 2019, Carl Rütti set to music an early modern interpretation of Sebastian Brant's Phaethon story, which equates the fall of Phaethon with a solar eclipse, but has Phaethon survive and return triumphant. Two versions exist for male choir and mixed choir, the latter as part of Rütti's four-part solar eclipse cantata "Eklipsis".

Shared name
The name "Phaethon", which means "Shining One", was given also to Phaethon of Syria, to one of the horses of Eos (the Dawn), the Sun, the constellation Auriga, and the planet Jupiter, while as an adjective it was used to describe the sun and the moon. In some accounts the planet referred to by this name is not Jupiter but Saturn.

When 1 Ceres and 2 Pallas – the first asteroids – were discovered, astronomer Heinrich Olbers suggested that they were fragments of a much larger hypothetical planet, which was later named Phaethon. However, the 'Phaeton hypothesis' has been superseded by the accretion model, in which the asteroid belt represented the remainder of the protoplanetary disk that never formed a planet, due to the interference of the gravity of Jupiter. However, fringe theorists still consider the Phaeton hypothesis likely.

In modern times, an asteroid whose orbit brings it close to the Sun has been named "3200 Phaethon" after the mythological Phaethon.

The French form of the name "Phaethon" is "Phaéton". This form of the word is applied to a kind of carriage and automobile.

An order, family, and genus of birds bear the name Phaethon in their taxonomic nomenclature, the tropicbirds.

Genealogy

See also
 Bellerophon
 Icarus
 Lucifer
 "Phaeton: The Chariot of Fire" episode

References

Sources

Greek

 Apollonius Rhodius, (1912). Argonautica translated by Robert Cooper Seaton (1853–1915), R.C. Loeb Classical Library Volume 1. London, UK: William Heinemann. Online version at the Topos Text Project.
 Diodorus Siculus, (1888–1890). Bibliotheca Historica. Vols 1–2. Immanel Bekker. Ludwig Dindorf. Friedrich Vogel. in aedibus B.G. Teubneri, Leipzig. Greek text available at the Perseus Digital Library.
 Tzetzes, John, (1826). Book of Histories, Books II–IV translated by Gary Berkowitz from the original Greek of T. Kiessling's edition. Online version at Theoi.com
 Philostratus the Elder, (1913). Imagines, translated by A. Fairbanks, Loeb Classical Library, No. 256. Harvard University Press, Cambridge, Massachusetts. 1931. . Internet Archive
 Quintus Smyrnaeus, Quintus Smyrnaeus: The Fall of Troy, translated by A.S. Way, Cambridge, Massachusetts: Harvard University Press. Internet Archive.
 Nonnus, (1940). Dionysiaca; translated by Rouse, W.H.D., III Books XXXVI–XLVIII. Loeb Classical Library No. 346, Cambridge, Massachusetts, Harvard University Press; London, UK: William Heinemann. Internet Archive.
 Lucian, (1905). Dialogues of the Gods; translated by Fowler, H.W. and F.G. Oxford, UK: The Clarendon Press.
 Palaephatus, (1996). On Unbelievable Tales, translation, introduction and commentary by Jacob Stem, Bolchazy-Carducci Publishers, . Google books
 Decharme, Paul, (1884). Mythologie de la Grèce antique, Garnier Frères. Google books (in French).
 Pausanias, (1918). Pausanias Description of Greece with an English Translation by W.H.S. Jones, Litt.D., and H.A. Ormerod, M.A., in 4 Volumes. Cambridge, MA: Harvard University Press; London, UK: William Heinemann. Online version at the Perseus Digital Library.
 Hesiod, (1914). Theogony, in The Homeric Hymns and Homerica with an English Translation by Hugh G. Evelyn-White, Cambridge, MA: Harvard University Press; London, UK: William Heinemann. Online version at the Perseus Digital Library.

Roman
 Ovid, (1977). Metamorphoses, Volume I: Books 1–8. Translated by Frank Justus Miller. Revised by G.P. Goold. Loeb Classical Library No. 42. Cambridge, Massachusetts: Harvard University Press, first published 1916. . Online version at Harvard University Press.
 Gaius Julius Hyginus, Astronomica from The Myths of Hyginus translated and edited by Mary Grant. University of Kansas Publications in Humanistic Studies. Online version at the Topos Text Project.
 Maurus Servius Honoratus, (1881). In Vergilii carmina comentarii. Servii Grammatici qui feruntur in Vergilii carmina commentarii; recensuerunt Georgius Thilo et Hermannus Hagen. Georgius Thilo. Leipzig, DE: B.G. Teubner. Online version at the Perseus Digital Library.
 Vergil, (1910). Aeneid. trans. Theodore C. Williams. Boston, MA: Houghton Mifflin. Online version at the Perseus Digital Library.
 Gaius Julius Hyginus, Fabulae from the Myths of Hyginus translated and edited by Mary Grant. University of Kansas Publications in Humanistic Studies. Online version at the Topos Text Project.
 Marcus Tullius Cicero, (1878). Nature of the Gods' from the Treatises of M.T. Cicero translated by Charles Duke Yonge (1812–1891), Bohn edition. Online version at the Topos Text Project.
 Marcus Tullius Cicero, (1917). De Natura Deorum. O. Plasberg. Leipzig, DE: Teubner.  Latin text available at the Perseus Digital Library.
 Pliny the Elder, (1938–1962). Pliny – Natural History, 10 volumes. Translated by Rackham, H.; Jones, W.H.S.; Eichholz, D.E. Loeb Classical Library.
 Seneca, (1917). Tragedies, translated by Miller, Frank Justus. Loeb Classical Library Volumes. Cambridge, Massachusetts: Harvard University Press; London, UK: William Heinemann.
 Hyginus, Gaius Julius, (1960). The Myths of Hyginus, Book 1. Edited and translated by Mary A. Grant, Lawrence: University of Kansas Press.
 Valerius Flaccus, (1928). Argonautica translated by Mozley, J.H. Loeb Classical Library Volume 286. Cambridge, MA: Harvard University Press; London, UK: William Heinemann. Online version at Theoi.com.

Secondary

  in two volumes: (Vol. 1) ; (Vol. 2) .

 The Vatican Mythographers, Ronald E. Pepin (2008), Fordham University Press, .

External links

 The translation and reconstruction of Euripides' "Phaethon" made by Vlanes is now available as an ebook on Amazon:
 George Stubbs's 'The Fall of Phaeton' at the Lady Lever Art Gallery
 Comet Phaethon's Ride, by Bob Kobres
 Theoi Project: Phaethon Greek demigod child of the sun
 Theoi Project: Phaethon Greek god of the star Jupiter

Children of Helios
Deeds of Zeus
Jovian deities
Phaeton
Sun myths
Metamorphoses characters
Epithets of Helios
Greek mythological heroes
Demigods in classical mythology
Solar chariot
Helios in mythology
Characters in the Argonautica

Phaethon


أم الطيور قرية سودانية بولاية نهر النيل تتبع لمحلية عطبرة تقع على الضفة الغربية لنهر النيل إلى الشمال من العاصمة الخرطوم بحوالي 300 كيلومتر في أقصى شمال دار قبيلة الجعليين وتحدها من الشمال قرية الفاضلاب ومن الجنوب قرية الحسبلاب ومن الشرق نهر النيل ومن الغرب على بعد 20 كم تقع محاجر الحجر الجيري وهي المادة الخام لصناعة الأسمنت حيث يوجد العديد من مصانع الأسمنت هناك وكان سكان هذه القرية يستخدمون البنطون لعبور النيل للتواصل مع مدينتي عطبره والدامر (والبنطون -أو المعدية - وسيلة للنقل النهري مزودة بماكينة أكبر من المراكب الشراعية وأصغر من البواخر). وفي العام 2009 تم إنشاء جسر أم الطيور العكد، والذي افتتحه الرئيس المخلوع عمر البشير مما سهل العبور بين ضفتي النهر بعد أن كان هاجساً للمواطنين ومقيداً لحركتهم .

التقسيم الإداري
إدارياً كانت تتبع لمجلس ريفى الزيداب ثم تحولت إلى عاصمة لمحلية سولا التي نشأت في التسعينيات ثم أصبحت الآن جزءاً من محلية عطبرة وتقسم إلى ثلاث وحدات كما يلى:
 أم الطيور الشمالية وتضم قريتى التنقاوى والنمراب والغابة
 أم الطيور وسط وتعرف باسم القيزان
 أم الطيور جنوب وتعرف باسم الدبيبة

المؤسسات والمرافق
عدد (12) مدرسة
و (8) مساجد
و (5) مراكز صحية ومستشفى السلام الجامعي

ويوجد بها الطريق الغربي من أم درمان إلى الشمالية ماراً بها
ويمر بها طريق عطبرة مروى
ويوجد بها الكثير من مصانع الإسمنت والسيراميك
وأغلبية المادة الخام لمصانع السلام ومصنع إسمنت عطبرة (الحجر الجيري) من هذه المنطقة.

قرى ولاية نهر النيل
ولاية نهر النيل

أم الطيور (السودان)


خطوط طيران أنتونوف (بالإنجليزية:Antonov Airlines) هي شركة شحن جوي مقرها كييف، أوكرانيا. فهى تابعة لشركة أنتونوف لصناعة الطائرات. يتركز مجال عملها في نقل الشحن العملاقة حول العالم. مطارها الرئيسى هو مطار جوستوميل بكييف.

التاريخ
أنشأت خطوط طيران أنتونوف عام 1989. عقدت في بدايتها عقد شراكة مع شركة آير فويل لتسويق الطائرة أن 124 حول العالم.

الأسطول
يحتوى أسطول طائرات خطوط طيران أنتونوف على الطائرات التالية وذلك حتى أغسطس 2006.
 طائرة واحدة أنتونوف أن-225.
 طائرتان أنتونوف أن-148.
 3 طائرات أنتونوف أن-140.
 7 طائرات أن 124.
 طائرة واحدة أنتونوف أن-72.
 طائرة واحدة أنتونوف أن-32.
 طائرة واحدة أنتونوف إيه إن - 28.
 طائرة واحدة أنتونوف أن-26.
 طائرة واحدة أنتونوف إيه إن - 22
 طائرتان أنتونوف إيه إن - 12.

الوجهات
لخطوط طيران أنتونوف 4 وجهات رئيسية تذهب لها باستمرار وهم :
 كالغاري كندا (بالطائرات أنتونوف 124).
 إسطنبول تركيا.
 أمستردام هولندا .
 لوكسمبورغ .

انظر أيضا
 شركة أنتونوف
 أوليغ أنتونوف

مصادر

وصلات خارجية
 الموقع الرسمي لخطوط طيران أنتونوف.

أنتونوف
العلاقات السوفيتية البريطانية
تأسيسات سنة 1989 في أوكرانيا
شركات الشحن الجوي في أوكرانيا
شركات شحن جوي
شركات طيران أوكرانية
شركات طيران الاتحاد السوفيتي
شركات طيران أسست سنة 1989
شركات أوكرانية أسست في 1989

خطوط طيران أنتونوف


مقام إبراهيم الخليل في برزة  يقع في سفح جبل قاسيون في منطقة برزة إلى الشمال من دمشق في الجمهورية العربية السورية، وهو عبارة عن مسجد مصغر في داخله مغارة ضيقة وعميقة، يقال أن النبي إبراهيم الخليل اختبأ فيها أشهرا وهو في طريقه من سوريا إلى فلسطين، كما يقال في رواية أخرى وحسب بعد المصادر أن إبراهيم الخليل ولد في هذه المغارة.

و قد كانت تأتي إليه الوفود من كل أنحاء دمشق وغوطتها ومن مناطق أخرى بأعداد كبيرة جالبة الهدايا بمهرجان عظيم كان يدعى «جمعة برزة» أو «النوبة» ، حيث تقدم عروض الشيش والخيل المدهشة وتقدم طبخةالهريسة لكل الحاضرين وتقام الاحتفالات.

تؤكد الروايات التاريخية بأن النبي إبراهيم الخليل وحسب الدلائل التاريخية بأنه قد مر بهذا المكان وهذا يتناسب مع المنطق ويسلم نسبيا بما يعرف بتواتر هذه المعلومات منذ القدم وعبر الاجيال، حيث أن إبراهيم الخليل مر من هنا وهذا منطقي، حيث مر في تنقله ومسيره من حران في الجزيرة السورية إلى فلسطين، وهذا ما ذكر في كتب التاريخ، وما يؤكذ صحة ذلك أن مدينة دمشق كانت في ذلك الزمان أكبر المدن والمراكز المعروفة في تلك الحقبة التاريخية، وبرزة تقع على تخوم دمشق، وقد عرف الموقع والكهف أو المغارة واشتهر عبر كافة الحضارات بما فيها حضارة الرومان.

انظر أيضا
 قائمة المقامات والأضرحة التاريخية في سوريا

مراجع وهوامش

أضرحة في سوريا
تاريخ سوريا
دمشق
كهوف
مدن مقدسة

مقام إبراهيم (برزة)


The year 1613 in science and technology involved some significant events.

Astronomy
 Galileo Galilei publishes Letters on Sunspots, the first major work on the topic.

Paleontology
 Bones, probably of an elephant, are found in France but at first interpreted to belong to a giant human.

Technology
 September 29 – The New River (engineered by Sir Hugh Myddelton) is opened to supply London with drinking water from Hertfordshire.

Births
 March 6 – Stjepan Gradić, Ragusan polymath (died 1683)
 September 25 – Claude Perrault, French architect and physicist (died 1688)

Deaths
 June 16 – Jakob Christmann, German orientalist and astronomer (born 1554)
 July 2 – Bartholomaeus Pitiscus, German trigonometrist (born 1561)
 August 25 – David Gans, German Jewish mathematician and astronomer (born 1541)
 Mathew Baker, English shipwright (born 1530)
 Johann Bauhin, Swiss physician and botanist (born 1541)
 Jacques Guillemeau, French surgeon (born 1550)

References

17th century in science
1610s in science

1613 in science


Foholau (Fohulau) ist ein osttimoresischer Suco im Verwaltungsamt Turiscai (Gemeinde Manufahi).

Geographie

Vor der Gebietsreform 2015 hatte Foholau eine Fläche von 17,58 km². Nun sind es 20,58 km². Der Suco liegt im Südosten des Verwaltungsamts Turiscai. Nördlich befindet sich der Suco Matorec, westlich der Suco Beremana und südlich der Suco Orana. Im Osten grenzt Foholau an das Fatuberlio mit seinem Suco Caicassa. Der Fluss Ahangcain durchquert den Suco von Norden als Limetain kommend nach Süd und bildet auch einen Teil der Grenze zu Orana. Der Fluss gehört zum System des Südlichen Laclós.

Größere Straßen, die den Suco mit der Außenwelt verbinden, fehlen. So mussten für die Parlamentswahlen in Osttimor 2007 die Wahlurnen zum Wahllokal im Sitz des Suocs mit einem Hubschrauber hingebracht und wieder abgeholt werden. Im Osten liegen die Dörfer Tarabula und Fatulelo. Hier gibt es auch eine Grundschule und eine medizinische Station.

Im Suco befinden sich die drei Aldeias Leubuti  (Leobuti), Lutarmata und Tarabula.

Einwohner
Im Suco leben 269 Einwohner (2022), davon sind 141 Männer und 128 Frauen. Im Suco gibt es 59 Haushalte. Fast 83 % der Einwohner geben Isní als ihre Muttersprache an. Über 13 % sprechen Mambai und über 3 % Tetum Prasa.

Geschichte

Das Reich von Foholau wurde 1883 vom portugiesischen Gouverneur Bento da França Pinto de Oliveira der 8º Comando militar de Alas zugeordnet.

Während des Bürgerkriegs zwischen FRETILIN und UDT 1975 griffen FRETILIN-Kämpfer im September die Aldeia Leubuti an. Die Bewohner, zumeist Anhänger der APODETI, flohen in die Wälder. Drei von ihnen wurden getötet. Andere wurden nach Turiscai gebracht und mussten dort auf den Feldern arbeiten.

1975 marschierten die Indonesier in Osttimor ein. Der Widerstand der FRETILIN und ihres militärischen Arms, der FALINTIL, formierte sich in den Bergen, auch in Turiscai. 1978 griffen die Indonesier Foholau und weitere Sucos in Turiscai an. Häuser und Getreidespeicher wurden niedergebrannt. Die Einwohner flohen nach Süden in Richtung Alas und Fatuberlio. 90 starben durch Hunger und Krankheiten. 150 von ihnen wurden eingefangen und wieder zurückgebracht.

Politik
Bei den Wahlen von 2004/2005 wurde Alberto Tilman zum Chefe de Suco gewählt. Bei den Wahlen 2009 gewann Paulo Sousa Pereira und 2016 Natalino Barbosa.

Weblinks

 Ergebnisse des Zensus 2010 für den Suco Foholau (tetum; PDF; 8,4 MB)
 Ergebnisse des Zensus 2015 für den Suco Foholau (tetum; PDF)
 Seeds of Life: Suco information sheets Turiscai (tetum)
 Seeds of Life: Agriculture Calendar (englisch)

Einzelnachweise

Suco in Manufahi

Foholau


عبد الحميد العبار (1894 في سلوق - 20 سبتمبر 1977 في بنغازي) مجاهد ليبي ورئيس سابق لمجلس النواب الليبي في العهد الملكي.

حياته
بدأ الجهاد منذ الغزو الإيطالي لليبيا ولم يبرح السلاح يده إلا بعد شنق عمر المختار بأربعة شهور سنة 1932 م، وكانت إيطاليا تسميه شيخ القبيلة الشاب وكانت تنشر الإعلانات وتمنى بدفع مئات الآلاف النقدية لمن يأتي به حيا أو ميتا. لشيخ عبد الحميد أخواله من مصراتة، وإن بيتهم يُعرف فيما بين آل العبار بـ بيت المصراتية، حيث قيل فيهم هذا البيت ((اجعنهم خوال الناس كيف خوالي * جود وكرم تاريخ صرحه عالي))

هو من أغنياء برقة وأجودهم. زاره أحمد الشريف السنوسي ومعه مائة مجاهد، فاستضافهم ستين ليلة. ثم خرجت إيطاليا بجيوشها لإخضاعه، فحمل متاعه على مائة ناقة، وقاتل من أجلها من الشروق إلى الغروب، ثم انفلقت بطن حصانه الأبيض المشهور به ففاز ببندقيته ورأسه.
ومكث يقاتل مع عمر المختار، وكان من أقرب المقربين إليه، إلى أن استشهد هذا وأخذت إيطاليا كل القبائل العربية من مواقع المجاهدين والمستسلمة لها إلى «معتقل العقيلة» وأقامت الأسلاك الشائكة على حدود مصر - برقة، ومنعت المؤن عن المجاهدين، فغادر العبار ومعه 64 رجلا معاقلهم ببرقة، قاصدين حدود مصر وبقوا 12 يوما بدون طعام ولا شراب سوى أرنب ساقها لهم القدر فاصطادوها، ثم قاتلوا جند الحدود وتعدوا الأسلاك بمهارة حارت فيها قيادة الإيطاليين. واستقبلهم المصريون بحفاوة وأطعموا العبار أياما طويلة بالسمن ليسهل عليه أكل الطعام الذي حرم منه مدة، وكان يتستر بخرق بالية من خيش الخيم، وهو الذي كان أغنى رجل في برقة ومن أشهر أجاويدها. لكنه لم يندم، فقد دفع ذلك في سبيل الجهاد ووطنه، وقد تنعم بحسن العافية.

حياته السياسية
لاينقص العبار جهادا عن أبطال ليبيا أمثال عمر المختار، رمضان السويحلي، يوسف بورحيل المسماري، الفضيل بوعمر، سعدون السويحلي وسليمان الباروني وغيرهم من المجاهدين ضد الغزو الإيطالي لليبيا.
بعد الاستقلال أصبح رئيسا لمجلس النواب، توفي عام 1977 م.

مصادر

د/فرج عبد العزيز نجم. مصراتة سرة الوطن.

سياسيون ليبيون
مجاهدون ليبيون
وفيات 1977
وفيات في بنغازي

عبد الحميد العبار


De Bielkeske Legater er et legat for værdigt trængende kvinder og lovende unge kunstnere; oprettet sidst i 1800-tallet af den adelige frøken Julie Bielke, den sidste kvindelige arving i den danske Bielke-slægt.

Legaterne er kendt i Danmark i egenskab af mange danske kunstnere har siden sidst i 1800-tallet frem til i dag fået tildelt legatet.
Julie Bielke som stifteren af Legaterne er blevet beskrevet i arkivaren Johanne Skovgaards biografiske bog i 1915, »Stiftsdame, frøken Julie Bielke, stifterinde af de Bielkeske legater« som blev genudgivet i 2010 under den forkortede titel "Stiftsdame, frøken Julie Bielke" med .

Legatets historie
I 1812, ifølge gehejmeråd Johan Rudolph Bielkes testamente, oprettedes af hans formue den såkaldte "Rudolph Bielkeske Fidei Commis", der efter hans død skulle tildeles Rudolphs 2 nevøer, kommandøren Johan Christian August Bielke, og hofmarskal af Weimer, Frederik Bielke - og efter deres død, deres ældste sønner. Gehejmråd Johan Rudolph døde i 1813 og hans testamentebevilling blev bekræftet i 1814. Johan Christian August og Frederik døde i henholdsvis 1846 og 1850, og deres sønner døde ugifte eller uden arvinger i løbet af 1850-60-erne, hvor dr. phil. Carl Frederik Bielke som den sidste mandlige arving døde i Jena den 17. juni 1869. Efter et forlig i 1869, tilfaldt halvdelen af Formuekapitalen nu Julie Bielke, den eneste datter af Johan Christian August, og den anden halvdel Frederiks Bielkes ældste datter, Helene Bielke, gift med gehejmregeringsråd Salviati i Berlin. Da Julie Bielke forblev ugift til sin død i 1889, brugte hun sin halvdel af familieformuen til at stifte De Bielkeske Legater og fonden dertil. Renterne af den Bielkeske formues hovedkapital bruges den dag i dag til at uddele legaterne.

Praktiske oplysninger
De Bielkiske Legater var i starten opdelt i tre slags støtte af Julie Bielke:
 Støtte til uformuende, ældre, trængende døtre af afdøde kongelige embedsmænd, fortrinsvis søofficerer.
 Støtte til uformuende, ældre trængende svagelige tjenestepiger.
 Støtte til unge lovende kunstnere.
For støttekategori 1) og 2) er det stadig en betingelse, at ansøgeren ikke har været gift.
For støttekategori 3) er det stadig en betingelse, at kunstneren er under 35 år og legatet bruges til uddannelsesforløb eller studierejse.

Da i dagens Danmark er forholdet mellem adelige og tjenestepiger anderledes end på Julie Bielkes tid, uddeles legatet nu til værdigt trængende ældre frøkner uden formue og til ældre kvinder, der på grund af alder eller sygdom ikke længere er i stand til at arbejde; samt til unge, lovende malere, billedhuggere, kunsthåndværkere eller arkitekter under 35 år til videreuddannelse i deres fag, herunder også studierejser.

Legaterne uddeles en gang om året i december. Ansøgningsfristen er typisk medio november. Legaternes sum for støtte 1 til frøkener er på 4000 kroner, støtte2 til tjenestepiger er på 2000 danske kroner og støtten til unge lovende kunstnere er 5 legater à cirka 3-4000 kroner hver.

Kildehenvisninger
 De Bielkeske Legater på Studerende Online
 De Bielkeske Legater i Legatbogen
 Historien af Bielkeske formuekapital fordeling, som tilfaldt Julie Bielke
 Slægtsoplysninger om Julie Bielke og hendes forældre
 Afsnit om Johanne Skovgaards bog om Julie Bielke

Fonde (stiftelser)
Legater fra Danmark
Slægten Bielke

De Bielkeske Legater


Robert Knud Friedrich Pilger (fæddur 3. júlí 1876 í Helgoland; dáinn 9. janúar 1953 í Berlín) var þýskur grasafræðingur, og fékkst aðallega við barrtré. Skammstöfunin sem vísar til hans er Pilg.

Líf
Robert var sonur apótekarans Friedrich Wilhelm Robert Pilger (1841–1915). Hann var fyrst aðstoðarmaður, síðar kurator og síðast prófessor og stjóri grasagarðsins í Berlín (frá 1945 til 1950) eftir Friedrich Ludwig Emil Diels.
Hann fór  einnig í leiðangur til Mato-Grosso í Brasilíu, þar sem hann sem hann fékkst við greiningu og flokkun á grösum og barrtrjám og þörungum auk fleiri ætta.

Ættkvíslirnar Pilgerodendron Florin (Cupressaceae)  og Pilgerochloa Eig (Poaceae) eru nefndar til heiðurs honum.

Verk
Valin verk
Pilger, R. (1926). Phylogenie und Systematik der Coniferae. In: Engler, A., & Prantl, K. A. E. (eds.). Die natürlichen Pflanzenfamilien XIII. Leipzig.
Pilger, R. (1926). Pinaceae. In: Urban, I. (ed.). Plantae Haitienses III. Ark. Bot. 20 (4): A15: 9-10.
Pilger, R. (1931). Die Gattung Juniperus L. Mitt. Deutsch. Dendrol. Ges. 43: 255–269.

Heimildir

 Robert Zander: Zander Handwörterbuch der Pflanzennamen. Hrsg.: Fritz Encke, Günther Buchheim, Siegmund Seybold. 13., neubearbeitete und erweiterte Auflage. Eugen Ulmer, Stuttgart 1984, ISBN 3-8001-5042-5.
 Umberto Quattrocchi: CRC World Dictionary of Plant Names. Common names, scientific names, eponyme, synonyme, an etymology. CRC Press LCC, Boca Raton 2000; S. 2070–2071. (Google Books)

Tenglar
 Pilg. IPNI

Þýskir grasafræðingar

Robert Knud Friedrich Pilger


Oristano (sardisk: Aristànis) er en by og en kommune (comune) i provinsen Oristano i regionen Sardinien i Italien. Byen ligger i 9 meters højde og har 31.687 indbyggere (2016). Kommunen har et areal på 84,57 km² og grænser til kommunerne Baratili San Pietro, Cabras, Nurachi, Palmas Arborea, Santa Giusta, Siamaggiore, Siamanna, Simaxis, Solarussa, Villaurbana og Zeddiani.

Referencer

Henvisninger

Kommuner i provinsen Oristano

Oristano


Ludwig Seitz henviser til:

 Ludwig Seitz (maler) (1844-1908) – tysk maler
 Ludwig Seitz (læge) (1872-1961) – tysk gynækolog og fødselshjælper

Ludwig Seitz


Hans Jakob Dünz (II.) (getauft am  in Bern; † 9. September 1668 in Brugg) war ein Schweizer Maler.

Dünz war der Sohn des Glasmalers Hans Jakob Dünz (I.) und der Vater von Johannes Dünz. Er schenkte 1633 der Stadtbibliothek Zürich den von Salomon Vögelin wiederentdeckten Holbeintisch.

Literatur
 Klaus Speich: Die Künstlerfamilie Dünz aus Brugg. Kommissionsverlag Effingerhof, Brugg 1984.

Weblinks

Maler (Schweiz)
Maler des Barock
Porträtmaler
Schweizer
Geboren 1603
Gestorben 1668
Mann

Hans Jakob Dünz (II.)


Yukarısöğüt, Eskişehir ilinin Seyitgazi ilçesine bağlı bir mahalledir.

Coğrafya
Eskişehir iline 52 km, Seyitgazi ilçesine 10 km uzaklıktadır.

Nüfus

Dış bağlantılar
 Yerelnet

Seyitgazi'nin mahalleleri

Yukarısöğüt, Seyitgazi


Güney Adası, Yeni Zelanda'nın, 35 kilometre genişliğindeki Cook Boğazı ile yoğun yerleşimi olan Kuzey Adası'ndan ayrılan adasıdır. Alanı 151.757 km² tutar. Ada üzerinde, Yeni Zelanda'nın en yüksek dağı olan, Yeni Zelanda Alpleri'nin Cook Dağı (Mount Cook) bulunur. Adanın doğusunda Canterbury Düzlükleri bölgesi bulunurken, güneyinde çok sayıda fiyort vardır. Güney Adası'nın en büyük şehirleri Christchurch ve Dunedin'dir.

Güney Adası'nın Maori'deki ismi Te Wai Pounamu 'dur (Yeşim Su). Aynı zamanda Te Waka a Māui yani Maori mitolojisinde yarıtanrı olan "Maui'nin kanosu" olarak da bilinir.

Tarihçe
Güney Adası, 19. yüzyılda Orta Ada olarak tanımlanır. O zamanlar Güney Adası olarak, bugünkü Güney Adası'nın güneyinde kalan küçük Stewart Adası kabul edilir.

Güney Adası'nın tarihi eyaletleri şunlardı
 Nelson
 Otago
 Canterbury
 Marlborough
 West Coast
 Southland

Güney Adası'nın bazı şehir ve beldeleri

 Ashburton
 Blenheim
 Christchurch
 Dunedin
 Greymouth
 Hokitika
 Invercargill
 Kaikoura
 Nelson
 Oamaru
 Omarama
 Te Anau
 Timaru
 Queenstown
 Wanaka
 Westport

Kaynakça

Güney Adası


El delta del río Misisipi es el área moderna de tierra del estado de Luisiana (Estados Unidos) formada por los aluviones depositados por el río Misisipi, ya que se hace más lento al entrar en el golfo de México. El proceso de formación del delta, durante los últimos 5000 años, provocó que la costa del sur de Luisiana avanzase hacia el mar desde 15 hasta 50 millas (24 a 80 km).

Es una región de importancia biológica, que comprende 12 000 km ² de los humedales costeros y el 40 % de las marismas en los estados sureños de Estados Unidos. También es una región de importancia comercial, el apoyo a la economía de Nueva Orleans con un tráfico marítimo importante, que provee un 16 a un 18 % del suministro de petróleo en los EE. UU., y proporcionando el 16 % de la cosecha de las pesquerías en los EE. UU., incluyendo camarones, cangrejos y cangrejos de río.

El delta del río Misisipi no se debe confundir con la región del Delta del Misisipi, una llanura aluvial situada a unos 300 millas (480 km) hacia el norte en el oeste de Misisipi a lo largo del río.

A mediados del siglo XX, se observó que el Misisipi abandonó su canal actual como un canal de escurrimiento de primaria, y migró a la cuenca Atchafalaya.

La zona del delta del Misisipi fue profundamente afectada por los huracanes Katrina y Rita en agosto y septiembre de 2005.

Véase también
 Lago Pontchartrain
 Lago Borgne
 Estrecho de Rigoleto
 Río Atchafalaya

Referencias

Misisipi
Accidentes geográficos de Estados Unidos
Geografía de Luisiana

Delta del río Misisipi


Cassidy, der Rebell ist eine britische Filmbiografie aus dem Jahr 1964. Die Regisseure Jack Cardiff und John Ford, der im Vorspann nicht genannt wird, inszenierten den Film, der das Leben des irischen Dramatikers und politischen Aktivisten Seán O'Casey (1880–1964) zum Thema hat. Grundlage für das Drehbuch war O'Caseys 1956 veröffentlichte Autobiografie Mirror in My House.

Handlung
In der irischen Stadt Dublin kommt es 1911 zu immer stärker werdenden Protesten gegen die britische Krone. Der junge John Cassidy ist tagsüber Hilfsarbeiter. Abends und nachts verteilt er Flugblätter, die zum Protest gegen die britischen Behörden aufrufen. Cassidy ist Mitglied der Gewerkschaft Irish Transport and General Workers' Union und der Irish Citizen Army, die sich gegen die Briten auflehnt.

Cassidy erkennt, dass seine Flugblätter zu immer neuen und stärker werdenden Unruhen führen. Ihm wird klar, dass er mit dem Stift mehr ausrichten kann als mit der Waffe. Während der Unruhen lernt er die Tänzerin Daisy Battles kennen und verliebt sich in sie. Doch ihre Romanze hält nicht lange an. Kurze Zeit später begegnet Cassidy Nora. Nora ist in einer Buchhandlung angestellt und ermuntert Cassidy zum Schreiben. Es dauert nicht lange, bis sich die Frau in den aufstrebenden Schriftsteller verliebt.

Cassidy bringt eines seiner Manuskripte für ein Bühnenstück zum Intendanten des Abbey Theatres, William Butler Yeats. Das Stück wird abgelehnt, doch ein weiteres, The Shadow of a Gunman, wird angenommen. Die Aufführung wird, wie bei zwei weiteren Stücken, ein großer Erfolg. Cassidys Stück The Plough and the Stars, das Sex, Religion und irischen Patriotismus zum Thema hat, löst bei seiner Uraufführung Krawalle unter den Zuschauern aus. Zwar verliert Cassidy dadurch viele seiner Freunde, doch er wird gleichzeitig als Irlands herausragendster Bühnenautor angesehen. Als er nach Europa reist, merkt Nora, dass er sie nicht mehr braucht.

Kritik
Das Lexikon des internationalen Films bemängelte: "Trotz ambitionierter Ansätze, am Beispiel dieses dramatisch bewegten Lebens die soziale und gesellschaftskritische Stellung des Schriftstellers zu fixieren, kommt der Film über die übliche Kinobiographie nicht hinaus."

Die Filmzeitschrift Cinema befand den Film hingegen als "fesselnd und dramatisch, trotz kleiner Schwächen".

Auszeichnungen
Maggie Smith wurde 1966 für den BAFTA-Award als beste britische Darstellerin nominiert. Eine weitere Nominierung erhielt Margaret Furse in der Kategorie Beste Kostüme (Farbe).

Hintergrund
Der Film wurde im Februar 1965 in London uraufgeführt. In Deutschland erschien er erstmals am 12. November 1965 in den Kinos.

Gedreht wurde in den britischen Studios der MGM in Borehamwood sowie in der Grafschaft Wicklow in Irland.

John Ford hatte 1936 O'Caseys Stück The Plough and the Stars verfilmt. O'Casey war von Fords Verfilmung seines Stücks nicht begeistert. Der Film wurde allerdings von den Produzenten neu geschnitten, viele Szenen wurden nachgedreht, so dass Fords ursprüngliche enge Bindung an die Originalgeschichte nicht mehr zu sehen war. O'Casey änderte mit der Zeit jedoch seine Meinung und gab kurz vor seinem Tod seine Zustimmung zur Verfilmung seiner Autobiografie.

Ford erkrankte während der Dreharbeiten und musste von Jack Cardiff ersetzt werden. Fords Arbeit umfasst ca. 10 Minuten des Films. Nach seiner Genesung drehte Ford nur noch einen weiteren Film.

Weblinks

Einzelnachweise

Filmtitel 1965
Britischer Film
Filmbiografie
Literaturverfilmung
John Ford
Jack Cardiff
Sean O'Casey

Cassidy, der Rebell


Olaylar
 Pan-Çao komutasındaki Çin orduları Sin-kiang bölgesini aldıktan sonra Hun kuvvetlerini yenilgiye uğratarak tüm Orta Asya'yı ele geçirdi.

Doğumlar

Ölümler
 Julia Flavia, İmparator Titus'un kızı ve İmparator Domitian'ın eşi (d. 64)

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ජේම්ස් මැඩියන් විශ්ව විද්‍යාලයේ ඉංග්‍රිසි මහාචාර්ය ජෝආන් ගැබින් දක්වන ආකාරයට අනුව අප්‍රිකානු ඇමරිකානු සාහිත්‍ය යනු ඇමරිකානු සාහිත්‍යය අභ්‍යන්තරයේ හා එහි බාහිරය  තුළ අන්තර්ගත වන්නකි.තවද අප්‍රිකානු ඇමරිකානු සාහිත්‍යය යම් හෙයින් වෙනත් මට්ටමකට ගෙන යනු ලැබුව ද ඇමරිකානු සාහිත්‍යය තුළ එය ඇතුලත් වන්නක් බවයි.

අප්‍රිකානු ඇමරිකානු සාහිත්‍යයෙහි අන්තර්ගකය කළු ජාතිකයන්ගේ අත්දැකිම් මත පාදක වේ. අප්‍රිකානු ඇමරිකානුවන් ඇමරිකානු ජාතිකයන් බවට පිළිගත්ත ද  ඉතිහාසයේ බොහෝ අවස්ථා වලදී ඔවුන් සම්පුර්ණ පුරවැසි භාවය හිමි නොවුවන් ලෙස සැලකිණි. එහි ප්‍රතිඵලයක් ලෙස ඔවුන්ඇමරිකාවේ කොටසක් ලෙස මෙන්ම,ඇමරිකාවේ කොටස්කරුවන් නොවන ලෙස ද පිළිගැනිණි.

මෙයට සමාන තත්වයක් අප්‍රිකානු ඇමරිකානු සාහිත්‍යයට ද හිමිවිය. එය ඇමරිකානු සාහිත්‍යයේ රාමුව තුළම අන්තර්ගත වුවත් එය එයින් පරිබාහිරව පැවතුණි. මෙහි ප්‍රථිඵලයක් ලෙස නව හඬවල් හා නව කථා කිරිමේ විලාශයන් එයට එක් විය. මෙහි වාසි සහගත තත්ත්වයන් වනුයේ මෙම නව අංග මඟින් සමස්ත ලෝක සාහිතයයේ ඇති වන දියුණුවයි. (Me lay 2004) මෙම කලා රටාවන් අප්‍රිකානු ඇමරිකානු සංස්කෘතිය හා බැඳී පවතී. පසුගිය සියවස් මුළුල්ලේම ජෑස් හා හිප් පොප් යන ශෛලීන් කළු ජාතිකයන් අතර වෙනමම දියුණු වු ශෛලීන් වලට උදාහරණ වේ. පසුව මේවා විශාල සභාවන් හා දියුණුවන/ අළුත්වන ඇමරිකානු සාහිත්‍යය තුළින්ද ප්‍රදර්ශනය වූ අතර ඒ තුළටද ඇතුලත් වුණි.

මෙම රටාව අප්‍රිකානු ඇමරිකානු සාහිත්‍ය තුළ දිගටම පවතීද යන්න කිව නොහැකිය. මෙම ශෛලීන් දැනටත් විශාල වශයෙන් ජනප්‍රිය වන අතර මේවායින් තව තවත් නව ශෛලීන් බිහි විමේ ඉඩකඩ ඇත. එමෙන්ම ඒවා වෙනසකට භාජනය නොවී ආවේනික අයුරින්ම පැවතිය හැකි බව විද්වතුන්ගේ මතයයි.

සටහන්

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|Existing both inside and outside American literature
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දැනට පවතින ඇමෙරිකානු සාහිත්‍යය (ඇතුලාන්තය හා බාහිරාන්තය)


චාල්ස් ඇන්තනී යනු වේළුපිල්ලේ ප්‍රබාකරන්ගේ ලොකු පුතාය.ප්‍රභාකරන්ගෙන් පසුව එමසන්විදානයේ නායක තන්තුර හෙබවීමට සිටියේ මොහුය. නමුත් 2009/03/18 දින නන්දික්ඩාල් කලපුව අශ්‍රිතව සිදුවූ අවසන් සටන් වලදී යුදහමුදා වෙඩි පහරකින් මිය ගියේය

චාල්ස් ලූකස් ඇන්තනී


Créteil–Université () is a station on line 8 of the Paris Métro in the commune of Créteil. It is on the surface.

The station opened on 10 September 1974 with the extension of the line from Créteil–L'Échat to Créteil–Préfecture. Its name refers to the nearby Paris 12 Val de Marne University.

Station layout

References
Roland, Gérard (2003). Stations de métro. D'Abbesses à Wagram. Éditions Bonneton.

Paris Métro stations in Créteil
Railway stations in France opened in 1974

de:Créteil – Préfecture (Métro Paris)

Créteil–Université station


La faujasita es una serie de tres minerales con el mismo nombre, de la clase de los tectosilicatos y dentro de estos del grupo de las zeolitas (subgrupo de la faujasita). Fue identificada como una nueva especie por Damour, en ejemplares procedentes de las canteras de Limberg, en    Kaiserstuhl,  Baden-Württemberg (Alemania), que consecuentemente es su localidad tipo. El nombre es un homenaje a  Barthélemy Faujas de Saint-Fond, geólogo francés que escribió sobre el origen de los volcanes.

Especies minerales
El término faujasita incluye actualmente tres especies minerales distintas, según la clasificación aceptada por la Asociación Mineralógica Internacional:
Faujasita-Ca: (Ca,Na,Mg)5(Si,Al)12O24·15H2O
Faujasita-Mg: (Mg,Na,K,Ca)5(Si,Al)12O24·15H2O
Faujasita-Na: (Na,Ca,Mg)5(Si,Al)12O24·15H2O

Las diferencias en composición se deben al tipo de catión predominante entre los intercambiables. La especie más común es aquella en la que el sodio es el prodominante, que fue también la descrita originariamente por Damour.

Formación y yacimientos
Aparece normalmente como vesículas en rocas volcánicas de tipo basalto, metapiroxenitas y también junto a augita en limburgitas. También en rocas volcánicas fonolitas y tobas.

Minerales a los que normalmente aparece asociado son: otras zeolitas, olivino, augita y nefelina.

Usos
El mineral de faujasita es usado en la industria petroquímica como catalizador en el proceso de "craqueo catalítico", para convertir las fracciones del crudo de petróleo de alto grado de ebullición en gasolina, gasóleo y otros productos valiosos.

Otros uso es en las unidades de hidrocraqueo, como soporte del platino/paladio, para incrementar el contanido aromático de los productos de las refinerías.

Referencias

 Faujasita-Na, mindat.org.
 Faujasita-Na, webmineral.com.
 Manual de faujasita, Mineral Data Publishing.

Enlaces externos

Tectosilicatos
Catalizadores
Minerales de magnesio
Minerales de calcio
Minerales de potasio
Minerales de sodio
Sistema cúbico
Minerales descubiertos en Francia del siglo XIX
Minerales descubiertos en 1842
Francia en 1842
Minerales epónimos

Faujasita


La statue-menhir de Montagnol, est une statue-menhir appartenant au groupe rouergat découverte à Le Bez, dans le département du Tarn en France.

Description
Elle e été découverte en 1996 par Jean Bonnet et Yvette Jeanjean au lieu-dit Montagnol consécutivement à des travaux routiers. Elle correspond au fragment inférieur d'une statue plus grande, gravée sur un bloc de granite. Le fragment découvert mesure  de hauteur,  de largeur et  d'épaisseur. La face antérieure comporte des irrégularités, la face postérieure est bombée mais lisse.

Les seuls caractères anthropomorphes visibles sont les jambes jointes et une amorce des pieds (orteils gauches sous forme de tirets verticaux). C'est probablement une statue masculine. Le personnage porte une ceinture légèrement contrée avec une boucle rectangulaire assez soignée. La face postérieure de la statue n'est pas travaillée.

La statue est conservée au centre d'interprétation des mégalithes à Murat-sur-Vèbre.

Notes et références

Annexes

Bibliographie

Articles connexes
 Sites mégalithiques du Tarn
 Liste des statues-menhirs de France

Liens externes

 Statue-menhir de Montagnol (construit par stéréophotogrammétrie)

Montagnol
Site mégalithique dans le Tarn

Statue-menhir de Montagnol


Jacques Nissim Pacha, né à Salonique le 20 novembre 1850 et décédé dans cette même ville le 22 août 1903, est un médecin militaire de l'armée ottomane.

Issu d'une longue lignée de médecins sépharades, il effectue des études de médecine à Constantinople et fait ensuite sa carrière dans l'armée, servant en Serbie et dans le vilayet de Bosnie. Il porte le titre de pacha à partir de 1896 et est promu général de division en 1901, soit le plus haut grade auquel peut aspirer un non musulman dans l'armée ottomane. Il meurt de manière inattendue de septicémie en 1903 après avoir pansé un soldat blessé atteint de gangrène.

Biographie

Carrière
Jacques Nissim est issu d'une vieille famille de médecins juifs de Salonique dont les origines se situent en Italie. Son grand-père pratique la chirurgie et son père David Jacob Nissim est médecin.

Comme ses quatre frères, Abraham, Elias, Moïse et Daniel, il est envoyé à Constantinople pour effectuer ses études à l'École impériale de médecine. il en sort diplômé en 1874. Il exerce ensuite un an à l'hôpital Haydar Pacha puis est nommé adjudant major de première classe et attaché à un bataillon de réserve cantonné à Novi Pazar en Serbie ottomane. Il est ensuite cantonné avec son corps d'armée en Bosnie-Herzégovine. Jacques Nissim est nommé en 1877 médecin en second de l'hôpital central de Sarajevo. Il est ensuite attaché à l'hôpital  militaire de Salonique. En 1881 il devient médecin-major avec le grade de chef d'escadron. En 1886 il est élevé au rang de lieutenant colonel Jacques bey.

En 1888 il est promu colonel puis, en 1901, général de division soit le plus haut grade que peut atteindre un non musulman dans l'armée ottomane. En 1902, il est nommé inspecteur sanitaire des troupes du  corps d'armée et inspecteur d'hygiène publique et privée du vilayet de Salonique.

Il s'investit aussi dans les œuvres caritatives juives de Salonique. Il est vice-président de la société d'assistance aux pauvres malades Bikour-Holim et joue un rôle important dans la fondation de l'hôpital Hirsch, institution crée par le baron Maurice de Hirsch pour les besoins de la communauté juive de Salonique. Jacques Pacha a publié plusieurs études sur le paludisme dans le vilayet de Salonique et sur des questions de chirurgie dans la Gazette médicale d'Orient et dans des journaux de médecine militaire français.

Décès
En août 1903, pendant de l'insurrection d'Ilinden–Préobrajénié, des affrontements ont lieu à Sorovitch en Macédoine, entre forces bulgares et armée ottomane. Les blessés ottomans sont évacués à l'hôpital militaire de Salonique où officie Jacques Pacha. En pansant un blessé atteint de gangrène, il contracte une infection et meurt de septicémie quelques jours plus tard le 22 août 1903.

Ses funérailles, organisées le 26 août, rassemblent une foule nombreuse. Y assistent les autorités civiles et militaires de Salonique ainsi que le corps consulaire et un grand nombre de Juifs de la ville. Sur sa tombe, dans le cimetière juif de Salonique, le gouvernement ottoman fait élever un monument funéraire, avec une inscription, en turc ottoman et en français, où il est indiqué :

Sa sépulture a été détruite lorsque la municipalité à procédé, avec l'assentiment de l'occupant allemand, à la destruction du cimetière juif pendant la Seconde Guerre mondiale.

Décorations

  classe de l'ordre du Médjidié en 1877
  classe de l'ordre de l'Osmaniye en 1881
  classe de l'ordre du Médjidié en 1887
  classe de l'ordre du Médjidié en 1890
  classe de l'ordre de l'Osmaniye en 1897

Références

Naissance en novembre 1850
Décès en août 1903
Médecin militaire
Histoire des Juifs à Thessalonique
Général ottoman
Décès à 52 ans

Jacques Nissim Pacha


Dinah Pfizenmaier (* 13. Januar 1992 in Bielefeld) ist eine ehemalige deutsche Tennisspielerin.

Karriere
Pfizenmaier, die Sandplätze bevorzugte, begann mit acht Jahren mit dem Tennisspielen. Im Sommer 2011 bestand sie ihr Abitur am Städtischen Gymnasium Kamen; im selben Jahr wurde sie zum ersten Mal Deutsche Meisterin bei den Aktiven. In ihrer Profikarriere gewann sie bislang neun Einzel- und zwei Doppeltitel auf ITF-Turnieren.

2008 bis 2011
Pfizenmaier spielte 2008 ihr erstes Turnier auf dem ITF Women's Circuit in Versmold, wo sie in der ersten Runde ausschied. 2009 gelang ihr in fünf Partien nur ein Sieg auf Mallorca gegen Awgusta Tsybyschewa. Das Jahr 2010 schloss sie bei ebenfalls fünf Matches ohne Sieg ab.

2011 gelang ihr auf ITF-Ebene der Durchbruch. Zunächst erreichte sie im Juli das Halbfinale in Knokke-Heist, nachdem sie sich durch die Qualifikation gespielt hatte. Eine Woche später erreichte sie ohne Satzverlust das Finale in Tampere, wo sie Piia Suomalainen mit 5:7 und 0:6 unterlag. Es folgten zwei Viertelfinalteilnahmen in Savitaipale und Versmold sowie ein Halbfinale in Ratingen, bevor Pfizenmaier in Braunschweig ihren ersten ITF-Titel gewann, ohne dabei einen Satz abzugeben. Das darauffolgende Turnier in Rotterdam, bei dem sie als Qualifikantin an den Start gegangen war, gewann sie ebenfalls. Es folgten zwei weitere Titel in Plowdiw und Netanja, letzterer auf Hartplatz. Somit hatte Pfizenmaier vier Turniere in Folge gewonnen. Anfang November spielte sie ein weiteres Turnier in Ismaning, bei dem sie das Viertelfinale erreichte, und eine Serie von Turnieren in Helsinki, bei denen sie jedoch relativ früh ausschied.

2012
Das Jahr 2012 begann für Pfizenmaier mit einer Erstrundenniederlage in Stuttgart. Eine Woche später gewann sie das Turnier in Kaarst auf Teppich ohne Satzverlust, erreichte in Moskau das Viertelfinale und gewann ein weiteres Turnier in Phuket, bei dem sie vier gesetzte Spielerinnen ohne Satzverlust schlug und ihren ersten Titel in der Halle holte. Beim WTA-Turnier von Barcelona spielte Pfizenmaier erstmals auf der WTA Tour; in der Qualifikation scheiterte sie jedoch in drei Sätzen an Elena Bogdan. Auch in Stuttgart kam sie nicht über die erste Qualifikationsrunde hinaus und unterlag der Russin Anastassija Piwowarowa mit 4:7 und 6:7.

Bei den French Open spielte sie erstmals die Qualifikation für ein Grand-Slam-Turnier. In den beiden ersten Qualifikationsrunden besiegte sie Kristýna Plíšková mit 2:6, 6:2, 6:1 und die an Position 7 gesetzte Japanerin Misaki Doi mit 6:4, 3:6 und 6:2. Im Qualifikationsfinalspiel besiegte sie Mónica Puig aus Puerto Rico mit 5:7, 7:5 und 6:2 und erreichte so zum ersten Mal das Hauptfeld eines Grand-Slam-Turniers. Hier bezwang sie in der ersten Runde die Französin Caroline Garcia mit 3:6, 6:4 und 6:3, ehe sie sich der Weltranglistenersten Wiktoryja Asaranka mit 1:6 und 1:6 geschlagen geben musste.

2013
Das Jahr 2013 begann für Dinah Pfizenmaier mit dem Ausscheiden in der ersten Qualifikationsrunde der Australian Open gegen Monique Adamczak aus Australien. Beim Copa Bionaire 2013 schied sie in der Auftaktrunde des Hauptfelds gegen Alexandra Dulgheru 7:610, 5:7 und 3:6 aus. Eine Woche später spielte sie sich ins Qualifikationsfinale des WTA-Turniers in Bogotá, das sie gegen Teliana Pereira verlor. Ihren ersten Titel im Jahr 2013 holte sie als Topgesetzte beim ITF-Turnier auf Mallorca. Den nächsten Titel gewann sie im spanischen Torrent. Im April überstand sie die Quali beim Porsche Tennis Grand Prix in Stuttgart, schied aber schon in der ersten Runde gegen Nadja Petrowa aus. Beim $50.000-ITF-Turnier im französischen Saint-Gaudens unterlag sie erst im Finale der Argentinierin Paula Ormaechea.

Ihren größten Erfolg der Saison erreichte sie – wie schon 2012 – bei den French Open in Paris. Nach überstandener Qualifikation besiegte sie zunächst die Luxemburgerin Mandy Minella. In Runde zwei folgte ein Zweisatzsieg über die Polin Urszula Radwańska, bevor sie gegen deren ältere Schwester Agnieszka Radwańska ebenfalls in zwei Sätzen verlor. Im weiteren Saisonverlauf schied sie in der ersten Runde beim WTA Nürnberg aus und in der ersten Qualifikationsrunde von Wimbledon. Im Juli holte sie sich ihren dritten Saisontitel in Versmold, bevor sie im italischen Palermo das Viertelfinale gegen Klára Zakopalová knapp verlor. Beim WTA-Turnier in Båstad schied sie gegen Teliana Pereira aus. Gegen die Weltranglistendritte Wiktoryja Asaranka verlor sie bei den US Open mit 0:6 und 0:6. Beim vorletzten WTA-Turnier der Saison in Linz scheiterte sie in der Qualifikation. Beim WTA-Turnier in Taipei erreichte sie nach Siegen über Misaki Doi, Stéphanie Dubois und Katarzyna Piter das Halbfinale, das sie gegen die spätere Siegerin Alison Van Uytvanck mit 6:75 und 3:6 verlor.

Seit 2014
Bei den French Open 2015 schied Pfizenmaier im Einzel nach erfolgreicher Qualifikation in der ersten Runde gegen Sarina Dijas aus. Ihr nächstes Match bestritt sie erst 2016, als sie in der ersten Qualifikationsrunde der US Open gegen Walerija Strachowa verlor. Es folgte erneut eine lange Pause, bis sie im April 2017 beim WTA-Turnier in Stuttgart antrat, wo sie in der zweiten Qualifikationsrunde ausschied.

Ihr letztes internationales Turnier spielte Pfizenmaier im August 2017. Sie wird in der Weltrangliste daher nicht mehr geführt.

Turniersiege

Einzel

Doppel

Abschneiden bei Grand-Slam-Turnieren

Einzel

Zeichenerklärung: S = Turniersieg; F, HF, VF, AF = Einzug ins Finale / Halbfinale / Viertelfinale / Achtelfinale; 1, 2, 3 = Ausscheiden in der 1. / 2. / 3. Hauptrunde; Q1, Q2, Q3 = Ausscheiden in der 1. / 2. / 3. Runde der Qualifikation; n. a. = nicht ausgetragen

Weblinks

Einzelnachweise

Tennisspieler (Deutschland)
Deutscher Meister (Tennis)
Deutscher
Geboren 1992
Frau

Dinah Pfizenmaier


Miguel Cruchaga Tocornal (Santiago, 4 de mayo de 1869 - Santiago, 3 de mayo de 1949) fue un abogado, diplomático y político chileno, miembro del Partido Conservador. Se desempeñó como diputado de la República en representación de los departamentos de La Victoria y Melipilla durante dos periodos consecutivos, entre 1900 y 1906. Paralelamente, fungió como ministro de Estado —en las carteras de Hacienda y de Interior— bajo el gobierno del presidente Germán Riesco entre 1903 y 1906. Posteriormente, ejerció como ministro de Relaciones Exteriores en el segundo gobierno del presidente Arturo Alessandri desde 1932 hasta 1937, para luego ejercer como senador por la 1ª Agrupación Provincial de Tarapacá y Antofagasta durante el periodo legislativo entre 1937 y 1945, y seguidamente en el mismo cargo pero en representación de la 5ª Agrupación Provincial de O'Higgins y Colchagua, desde 1945 hasta 1949.

Familia y estudios
Nació en Santiago, Chile, el 4 de mayo de 1869; hijo del exdiputado, economista y escritor, Miguel Cruchaga Montt y María del Carmen Tocornal Vergara. Perdió a su padre a muy temprana edad, por lo que debió ayudar a su madre en la educación de sus hermanos menores. A través de su hermana Ana, fue tío del jesuita Alberto Hurtado Cruchaga.

Realizó sus estudios secundarios en Liceo Rafael Valentín Valdivieso y en el Instituto Nacional en Santiago. Posteriormente estudió derecho, en la Escuela de Leyes que existía en esos tiempos, en los Sagrados Corazones de la ciudad de Valparaíso. Y paralelamente trabajó en Aduanas. Se tituló de abogado en 1889.

Se casó con Elvira Matte Gormaz (hija del exdiputado Eduardo Matte Pérez y Eloísa Gormaz Araos) y no tuvieron descendencia.

Carrera política

Inicios
Militante del Partido Conservador, inició su vida pública como secretario de la Municipalidad de Viña del Mar, en 1886.

Estaba en pleno ejercicio de su profesión cuando estalló a guerra civil de 1891, se enroló como capitán en las filas revolucionarias. Fue secretario del ministro de Hacienda en campaña y luchó contra el gobierno del presidente José Manuel Balmaceda en las batallas de Placilla y Concón, obteniendo el grado de mayor del Ejército, luego se retiró del mismo.

Se le encomendó la defensa de los intereses fiscales en Santiago, desde 1891 a 1895 y formó parte del Consejo de Defensa Fiscal, desde este último año hasta 1900. Paralelamente, ingresó como docente y fue profesor de derecho internacional en la Universidad Católica de Chile y en la Universidad de Chile.

En 1902 formó parte de la Junta de Beneficencia de Santiago y del Consejo de Instrucción Pública.

Embajador
En 1908 fue nombrado enviado extraordinario y ministro plenipotenciario de Chile ante Argentina y Uruguay, donde permaneció hasta 1913, y en este mismo año, se fue como ministro plenipotenciario en Alemania y Holanda, hasta 1920, año, este último, en que fue nombrado ministro en Brasil, desde 1920 hasta 1925, y desde 1925, se lo invistió con el cargo de embajador pleno.

Al año siguiente, fue posicionado como embajador de Chile en Estados Unidos, fue agente del gobierno de Chile para las cuestiones relacionadas con el arbitraje de Tacna y Arica en Washington D. C., permaneció en la embajada desde 1926 hasta septiembre de 1927, fecha en que llegó el nuevo embajador, Carlos G. Dávila. Regresó brevemente a Chile, pero su oposición al gobierno de Carlos Ibáñez del Campo lo obligó a regresar a Estados Unidos en calidad de exiliado. Al caer Ibáñez en 1931, el gobierno de Juan Esteban Montero lo restituyó como embajador en Washington, dónde presidió los Tribunales Mixtos de reclamaciones entre Estados Unidos y México, y entre Alemania, España y Estados Unidos. En junio de 1932 renunció a la Embajada luego del establecimiento de la República Socialista, pasando el resto del año en Nueva York.

Diputado
Fue al Congreso Nacional por primera vez, en las elecciones parlamentarias de 1900 cuando fue electo diputado, en representación de los departamentos de La Victoria y Melipilla, por el período 1900-1903. Integró la Comisión Permanente de Relaciones Exteriores; y fue diputado reemplazante en la Comisión Permanente de Hacienda e Industria; miembro de la Comisión Conservadora para el receso 1901-1902 y 1902-1903.

En las elecciones parlamentarias de 1903, obtuvo la reelección por el período legislativo 1903-1906, integrando la Comisión Permanente de Relaciones Exteriores; y la de Hacienda.

Ministro de Estado del gobierno de Germán Riesco
El 1 de septiembre de 1903 fue nombrado como ministro de Hacienda, en el gobierno del presidente liberal Germán Riesco, cargo que sirvió hasta el 10 de enero de 1904. Durante la misma instancia fue nombrado como titular del Ministerio del Interior, el 21 de octubre de 1905 hasta el 19 de marzo de 1906; y sirviendo como ministro del Interior, fue subrogante del Ministerio de Industria y Obras Públicas, entre el 25 y el 26 de diciembre de 1905.

Ministro de Estado de Arturo Alessandri

El 24 de diciembre de 1932, en el marco del segundo gobierno del presidente Arturo Alessandri Palma, fue nombrado por este como ministro de Relaciones Exteriores y Comercio, cargo que desempeñó hasta el 16 de febrero de 1937. De manera simultánea, entre el 29 de enero y el 26 de agosto de 1935, actuó como ministro de Salubridad Pública, en calidad de subrogante. Asimismo, volvió a asumir nuevamente —en calidad de subrogante— el Ministerio del Interior, entre los días el 4 y 14 de febrero de 1937.

Durante su labor a cargo de la cartera de Interior, llevaron su firma varias leyes, entre las que se destacan la ley de Habitaciones Obreras, Establecimiento de Apuestas Mutuas en los Hipódromos, Reglamentación de Pagos por las Tesorerías Fiscales, Caja de Retiro para los Empleados Públicos, Reforma de la Ley de Elecciones, Creación de la Comisión Revisora de Poderes de los Diputados, y Creación de la Oficina Fiscal de Útiles de Escritorio y Especies Valoradas.

Senador
En las elecciones parlamentarias de 1937, fue electo senador, por la Primera Agrupación Provincial de Tarapacá y Antofagasta, por el período 1937-1945. Durante su gestión, fue presidente del Senado, entre el 24 de mayo de 1937 y el 27 de mayo de 1941, fecha en que asumió como presidente provisorio, mientras se elegía, para el nuevo período, el presidente. Integró la Comisión Permanente de Relaciones Exteriores y Comercio; y la de Policía Interior y Reglamento.

En las elecciones parlamentarias de 1945, fue reelecto como senador, pero por la Quinta Agrupación Provincial de O´Higgins y Colchagua, por el período 1945-1953. Bajo esta gestión, fue uno de los senadores que presentó al Senado el proyecto de ley que concedió el voto femenino en Chile. Falleció el 3 de mayo de 1949, sin terminar su período senatorial; se incorporó en su reemplazo, el 2 de agosto del mismo año, Sergio Fernández Larraín, quien triunfó en la elección complementaria realizada el 26 de junio.

Otras actividades
Entre otras actividades, se dedicó a escribir, especialmente en el ámbito del derecho internacional y colaboró con diarios y revistas, tanto nacionales como extranjeros.

Fue benefactor de la Sociedad Protectora de la Infancia y fundador de la Escuela de Servicio Social de la Universidad Católica, a la cual puso el nombre de su esposa, Elvira Matte, ya que fue construida con sus propias donaciones.

Fue director del Club Hípico y socio y socio honorario del Club de La Unión, socio del Jockey Club de Buenos Aires y Río de Janeiro.

Poco antes de morir, fue mencionado como posible candidato al premio Nobel de la Paz.

Fue además, miembro de la Academia de Ciencias Morales y Políticas de Madrid y del Instituto de Derecho Internacional; miembro de la Academia Diplomática Internacional, de la Corte Permanente de Arbitraje de la Haya, de la Sociedad Brasileña de Derecho Internacional; presidente de la Academia Chilena de la Historia; y miembro no nacional de la Comisión de Conciliación entre los Estados Unidos y España.

Referencias

Enlaces externos
 Reseña biográfica en el sitio de la Biblioteca del Congreso Nacional de Chile

Nacidos en Santiago de Chile
Alumnado del Instituto Nacional General José Miguel Carrera
Abogados de Chile
Conservadores de Chile
Diputados de Chile
Presidentes del Senado de Chile
Políticos de Chile
Católicos de Chile
Diplomáticos de Chile
Senadores del XXXIX Período Legislativo del Congreso Nacional de Chile
Senadores del XL Período Legislativo del Congreso Nacional de Chile
Ministros del Interior de Chile
Ministros de Hacienda de Chile
Ministros de Relaciones Exteriores de Chile
Ministros de Obras Públicas de Chile
Ministros de Salud de Chile
Ministros de Estado de Germán Riesco
Ministros de Estado de Arturo Alessandri Palma
Senadores de Tarapacá
Senadores de Antofagasta
Profesores de Derecho de la Universidad de Chile
Embajadores de Chile en Brasil
Embajadores de Chile en Argentina
Embajadores de Chile en Uruguay
Embajadores de Chile en Estados Unidos
Miembros de la Academia Chilena de la Lengua
Candidatos al Premio Nobel de la Paz

Miguel Cruchaga Tocornal


Ahlersbach steht für:
Ahlersbach, ein Stadtteil von Schlüchtern im Main-Kinzig-Kreis, Hessen, Deutschland
Ahlersbach (Kinzig, Schlüchtern-Herolz), linker bzw. südlicher Zufluss der Kinzig
Ahlersbach (Kinzig, Schlüchtern-Niederzell), linker bzw. südlicher Zufluss der Kinzig

Ahlersbach (Begriffsklärung)


Districtul Dêqên sau Deqin (în , în ) este un district administrativ din nord-vestul provinciei Yunnan a Chinei, situat în partea de sud a provinciei tradiționale Kham din estul Tibetului. El face parte din punct de vedere administrativ din prefectura autonomă tibetană Diqing.

Numele districtului provine de la exploratorul-misionar belgian Constant De Deken, care a desfășurat activitatea misionară în China și apoi în Congo Belgian. Regele Leopold al II-lea era în căutarea unor noi colonii, iar Constant De Deken a fost însărcinat să pună în aplicare acest proiect.

În 1881 el a ajuns în Vicariatul Apostolic de Kan-Su-Koukounor (actuala provincie Gansu) și și-a continuat misiunea în Tibet și în China până în 1891. (Vezi De Deken, C., Dwars door Azië, Clément Thibaut, Antwerpen, 1902, 400 p.) Preotul Deqen a părăsit China în acel an.

Geografie și climă
Districtul Dêqên ocupă colțul nord-vestic al prefecturii Diqing și are o latitudine ce variază între 27° 33'−29° 15' N și o longitudine ce variază între 98° 36'−99° 33' E, acoperind o suprafață de 7596 km2. El se învecinează la nord-vest cu regiunea autonomă Tibetși la nord-est cu provincia Sichuan. Este situat în partea centrală a Munților Hengduan și cuprinde văile râurilor Salween, Mekong și Jinsha.

Aflat la o altitudine de 3.300 de metri, districtul Dêqên se află în zona de tranziție dintre climatul subtropical montan (Köppen Cwb) și climatul continental umed (Köppen Dwb), care este remarcabilă datorită latitudinii sale. Astfel, temperaturile maxime rămân pe tot parcursul anului peste temperatura de îngheț, la fel ca în Lhasa și Shigatse; valorile minime sunt sub temperatura de îngheț din noiembrie până în martie și temperatura medie este de -2,1 °C (28,2 °F) în ianuarie, 12,7 ºC (54,9 °F) în iulie, în timp ce media anuală este de 5,65 °C (42,2 °F). Cu toate acestea, orașul este puțin mai cald în timpul iernii decât Shangri-La (aflat la est), în ciuda faptului că se află la o altitudine mai mare, datorită situării sale mai la sud. Ploile cad în principal între lunile iunie și septembrie, totalizând aproape 60% din totalul anual de 622 mm; ninsorile sunt rare, dar cauzează încă probleme de transport în timpul iernii. Cu un procent lunar de zile însorite, cuprins între 29% în iulie și 62% în decembrie, districtul are parte de 1.989 ore însorite anual, iar zilele de toamnă și iarnă sunt mai însorite decât cele de primăvară și vară.

Demografie
Populația districtului era de 58.348 locuitori în 1999.

Cultură
 Biserica catolică din Cizhong, biserică romanică construită de misionarii francezi în secolele al XIX-lea și al XX-lea, distrusă în urma unui incendiu și reconstruită între 1907 și 1911.

Turism
 Meili Xueshan, un masiv situat la granița dintre regiunea autonomă Tibet și provincia Yunnan al cărui vârf cel mai înalt este Khawa Karpo (6.740 m).

Note

Legături externe
  Site-ul administrației
 Fotografii din districtul Dêqên pe site-ul Panoramio
 Film de pe drumul către Deqin

Dêqên

Districtul Dêqên