1363 - Osmanlı kuvvetleri Doğu Trakya'yı ele geçirdi.
 1364 - Sırpsındığı Muharebesi: Gümülcine, Serez, Drama, Kavala Osmanlı kuvvetleri tarafından fethedildi.
 1392 - Selanik, Halkidikya'nın fethi
 1397 - Yıldırım Bayezid komutasındaki Osmanlı kuvvetleri Atina'ya girdi. Mora Yarımadası ele geçirildi.
 1402 - Bizans kuvvetleri Selanik'i tekrar ele geçirdi.
 1430 - II. Murad komutasındaki Osmanlı kuvvetleri Selanik'i geri aldı.
 1431 - Osmanlı kuvvetleri Yanya'yı ele geçirdi.
 1458 - Fatih Sultan Mehmed komutasındaki Osmanlı kuvvetleri Atina'yı tekrar ele geçirdi.
 1460 - Fatih Sultan Mehmed komutasındaki Osmanlı kuvvetleri Mora Yarımadası'nı tekrar ele geçirdi. Şehzade Bayezid Yunan seferine çıktı.
 1499 - Osmanlı kuvvetleri İnebahtı'yı ele geçirdi.
 1500 - Osmanlı kuvvetleri Methon ve Koron'u ele geçirdi.
 1500-1700 - Osmanlı Barış Dönemi.
 1770 - Mora isyanı
 1796 - Rigas Velestinlis Ferraios ilk Eterya'yı kurdu.
 1812 - Atina'da Eterya kuruldu.
 1814 - Eflak'ta Filiki Eterya kuruldu
 1820 - Filiki Eterya başkanı Aleksandros İpsilanti isyan çıkarttı. İsyan kısa sürede Osmanlı kuvvetleri tarafından bastırıldı.
 1822 - Mora'daki isyancıların başkanı Aleksandro Mavrokordato, Yunanistan'ın bağımsızlığını ilan etti.
 1824-27 - İbrahim Paşa komutasındaki Osmanlı-Mısır kuvvetleri Atina'ya girdi ve isyanı bastırdı. İlerlemeye devam eden Osmanlı-Mısır kuvvetleri 1826'da Mesolongi'yi ele geçirdi.
 1825 - Yunan isyanı bastırılması nedeniyle Rus çarı I. Nikolay Osmanlı İmparatorluğu'na nota verdi.
 1826 - Akkerman Antlaşması imzalandı.
 1827 - Saint Petersburg Protokolü: İngiltere ve Rusya Yunanistan'ın bağımsız olması için anlaşmaya vardı.
 Londra Protokolü: İngiltere-Fransa-Rusya; Osmanlı İmparatorluğu'na, Yunanistan'ın bağımsızlığını isteyen bir nota verdi, Osmanlı bu notayı reddetti.
 Navarin Deniz Muharebesi: İngiltere-Fransa-Rusya Birleşik Donanması, Osmanlı-Mısır Birleşik Donanması'nı yok etti.
 Fransız kuvvetleri Mora Yarımadası'na çıktı.
 1828-29 Osmanlı-Rus Savaşı - Osmanlı yenildi. Edirne Antlaşması ile Yunanistan özerk bir prenslik oldu.
 1830 - Yunanistan bağımsızlığını kazandı.
 1864 - İyon Adaları Yunanistan'a verildi.
 1881 - İstanbul Antlaşması ile Tesalya Yunanistan'a verildi.
 1897 Osmanlı-Yunan Savaşı - Yunanistan'ın sınır tecavüzlerinin ve Girit'teki Türklere saldırıların artması üzerine Osmanlı kuvvetleri Yunanistan topraklarına girdi. Osmanlı kuvvetleri kısa sürede Yenişehir, Tırhala ve Volos'u ele geçirdi. Rusya ve İngiltere'nin uyarıları üzerine Yunanistan'ın başkenti Atina'ya 250 km kala durdu.
 İstanbul Antlaşması ile Girit özerk bir yapı haline getirildi. Osmanlı kuvvetleri Teselya'yı boşalttı.
 1908 - Girit Meclisi, Yunanistan'a katılma kararı aldı.
 1912 - Balkan Savaşları başladı. (Balkan Birliği: Yunanistan, Bulgaristan, Sırbistan, Karadağ). Selanik, Yunan kuvvetleri tarafından ele geçirildi.
 1913 - Yanya Kuşatması: Osmanlı komutanı Esad Paşa 3 aylık bir direnişin ardından kaleyi Yunanistan'a teslim etmek zorunda kaldı.
 1913 - Batı Trakya, Bulgar kuvvetleri tarafından işgal edildi.
 1913 - Atina Antlaşması: Selanik, Kavala, Güney Epir bölgeleri ile Girit, Sisam, Sakız, Midilli ve Limni adaları Yunanistan'a verildi.
 1917 - Yunanistan, Osmanlı İmparatorluğu'nun da içinde bulunduğu İttifak Devletleri'ne savaş açtı.
 1919 - Neuilly Antlaşması: Batı Trakya Yunanistan ve Bulgaristan arasında paylaşıldı, Dedeağaç Yunanistan'a verildi.
 1919 - Yunan kuvvetleri; İzmir, Gümülcine ve Dimetoka'yı işgal etti. Türk Kurtuluş Savaşı başladı.
 1920 - Sevr Antlaşması: Gökçeada, Bozcaada ve Batı Anadolu Yunanistan'a verildi.
 1921 - Batı Anadolu'da Türk kuvvetleri ile Yunan kuvvetleri arasında muharebeler başladı.
 I. İnönü Muharebesi: Türk kuvvetleri, Yunan kuvvetlerini İnönü mevkiinde durdurdu.
 II. İnönü Muharebesi: Türk kuvvetleri, Yunan kuvvetlerini İnönü mevkiinde tekrar durdurdu ve bu sefer karşı taarruza geçerek Bilecik ve Bozüyük'ü geri aldı.
 Kütahya-Eskişehir Muharebeleri: Yunan kuvvetleri genel bir taarruza başladı. Kütahya, Eskişehir ve Afyon, Yunan kuvvetleri tarafından ele geçirildi.
 Sakarya Meydan Muharebesi: Yunan kuvvetleri Ankara'ya doğru üç koldan taarruza başladı. 22 gün 22 gece süren savaşlar sonunda Yunan kuvvetleri geri çekilmek zorunda kaldı. Türk kuvvetleri karşı taarruza geçti.
 1922 - Büyük Taarruz: Türk kuvvetleri 10 ay süren hazırlıklar sonunda 26 Ağustos'ta genel bir taarruza başladı. Türk kuvvetleri 27 Ağustos'ta Kütahya'yı ve 1 Eylül'de Uşak'ı geri aldı. Yunan kuvvetleri kuşatma altına alındı.
 Dumlupınar Meydan Muharebesi: 30 Ağustos'ta başlayan savaşı bizzat Türk Ordusu Başkomutanı Mareşal Gazi Mustafa Kemal Paşa yönetti. Yunan Ordusu Başkomutanı Nikolaos Trikupis esir alındı. Savaş kesin bir şekilde Türk zaferiyle sonuçlandı. Mustafa Kemal Paşa aynı gün tüm kuvvetlere İzmir'e ilerleme emri verdi.
 Türk kuvvetleri, 9 Eylül'de İzmir'e ve 16 Eylül'de Bursa'ya girdi. 19 Eylül'de Batı Anadolu'da tek bir Yunan kuvveti kalmadı.
 Mudanya Mütarekesi: İstanbul ve Doğu Trakya Türkiye'ye bırakıldı. Yunan kuvvetleri kademe kademe İstanbul ve Doğu Trakya'dan çekilmeye başladı.
 1923 - Lozan Antlaşması: Batı Trakya ve Doğu Ege Adaları Yunanistan'a verildi. Mübadele: 1.300.000 kişi Yunanistan'a göç etti. Atatürk-Venizelos görüşmesi yapıldı.
 1924 - Yunanistan'da cumhuriyet ilan edildi. Karşılıklı büyükelçilikler açıldı.
 1930 - Ankara anlaşmaları: Venizelos, Türkiye'ye geldi.
 1931 - Başbakan İsmet İnönü ve Dışişleri Bakanı Tevfik Rüştü Aras Yunanistan'a gitti.
 1934-36 - Atina'da I. Balkan Antantı imzalandı. Türkiye ve Yunanistan askerî  ve siyasi ittifak kurdu.
 1935-41 - Yunanistan'da dikta yönetimleri yönetime egemen oldu.
 1936 - Montreux Boğazlar Sözleşmesi: Türk boğazları tamamen Türkiye'ye bırakıldı. Boğazlar Komisyonu kaldırıldı.
 1937 - İnönü Atina'yı, Yannis Metaksas Ankara'yı ziyaret etti.
 1938 - Atina: Ek protokol anlaşması. I. Balkan antantı toplantısı yapıldı.
 1939 - Ankara: anlaşmalar imzalandı.
 1947 - Truman Doktrini'nden iki ülke de faydalandı.
 1951 - İkili anlaşmalar.
 1952-57 - Türkiye ve Yunanistan birlikte NATO'ya katıldı. Celâl Bayar ve Adnan Menderes Atina'yı ziyaret etti. Venizelos Ankara'yı ziyaret etti.
 1953 - Yunan kralı, kraliçesi ve Aleksandros Papagos Ankara'yı ziyaret etti.
 1959 - Bağımsız Kıbrıs Cumhuriyeti kuruldu.
 1962 - Evangelos Averoff Ankara'yı ziyaret etti.
 1963 - Kıbrıs'ta Türklerle Rumlar arasında çatışmalar başladı.
 1964 - Londra ve Cenevre: konferansı: Türkiye 1930 antlaşmasını feshetti ve Yunan vatandaşı Rumların ikamet sürelerini uzatmadı.
 1967 - Süleyman Demirel ve Konstantinos Kolias, Keşan ve Dedeağaç'ta görüşme yaptı.
 1968 - Albaylar cuntası: Pattakos, Papadopulos, Makarezos. Ankara, Atina, Viyana görüşmeleri. Londra: Kıbrıs anlaşması. Kültür anlaşması.
 1972 - Kıbrıs görüşmeleri.
 1974 - Türkiye Kıbrıs'a askerî  müdahalede bulundu.
 1983 - Limni krizi.
 1986 - Turgut Özal ve Andreas Papandreu Davos'ta buluştu.
 1996 - Kardak krizi.

Kaynakça

Diplomasi
Kronolojiler

Türk-Yunan ilişkileri kronolojisi


ISMN, (Uluslararası Standard Müzik Numarası, İngilizce International Standard Music Number), ISO Standard 10597'ye dayanan bir numaradır. Numara 1993 tarihinde ISBN sistemine benzer bir sistem olarak yaratıldı; aslında ISMN, on haneli sayıların karıştırılmaması için küçük değişiklikler içeren ISBN'den başka bir şey değildir.

ISBN sisteminin kapasitesi çok büyük ise de dünya çapındaki yayınların kapasitesi de bir o kadar büyük. ISBN'in büyük bir kısmı halihazırda tanımlanmış ve ayıilmış olduğu için, bu sayının bir de çok miktardaki müzik yayınlarını kapsaması güç olurdu. İşlevsel bir sistemi tıkamak yerine, ikinci bir on hanelik sete başlamak daha mantıklı göründü.

ISMN basılı müziğin yanı sıra konuyla ilişkili bibliyografik verilerin işlenmesi ve kullanımın düzenlemek için tasarlandı. ISMN uluslararası 13 hanelik barkod ile uyumludur.

ISMN yayımcı tanımlayıcıları International ISMN Music Publishers' Directory içinde listelenecektir; bu da uluslararası müzik ticaretini kolaylaştıracaktır.

ISMN tek tek şirket katalogları yerine kapsamlı bir ticaret rehberi olan Music in Print için olmazsa olmaz koşuldur. Bu rehber pazarlama ve satış alanında yeni bakış açıları getirecektir.

ISMN bir şirket ya da ulusal bir sistem değil, uluslararası bir sistem olduğu için uluslararası dayanışma ve bilgi değişimini sağlar.

ISMN küresel bir bağlamda EDI (Elektronik Veri Değişimi) için gereklidir.

Dış bağlantılar
 https://web.archive.org/web/20060203200927/http://ismn.org.tr/
 https://web.archive.org/web/20051220094554/http://ismn-international.org/

ISO standartları
Müzik terimleri
Tanıtıcılar

Uluslararası Standart Müzik Numarası


Ljubinko Drulović (Nova Varoš, Yugoslavia, 11 de abril de 1968) es un exfutbolista serbio que se desempeñaba como extremo y actualmente ejerce de entrenador.

Clubes

Palmarés

FC Porto

 Primera División de Portugal: 1994-95, 1995-96, 1996-97, 1997-98, 1998-99
 Copa de Portugal: 1998, 2000, 2001
 Supercopa de Portugal: 1993, 1994, 1996, 1998, 2001

Futbolistas del FK Rad
Futbolistas del Gil Vicente Futebol Clube
Futbolistas del Fútbol Club Oporto
Futbolistas del Sport Lisboa e Benfica
Futbolistas del Partizán de Belgrado
Futbolistas del Futebol Clube de Penafiel
Futbolistas de la República Federal de Yugoslavia en la Copa Mundial de 1998
Futbolistas de la República Federal de Yugoslavia en la Eurocopa 2000
Entrenadores de fútbol de Serbia

Ljubinko Drulović


El patriotismo socialista, socialpatriotismo, patriotismo social, nacionalismo obrerista o nacionalismo proletario se refiere a una forma de patriotismo y nacionalismo de corte revolucionario propugnado por movimientos marxistas-leninistas que fue desarrollada en el libro El marxismo y la cuestión nacional de Iósif Stalin. Promueve que la gente tenga «amor ilimitado por la patria socialista, un compromiso con la transformación revolucionaria de la sociedad y con la causa del comunismo».

Dicha doctrina sociopolítica es una fusión de nacionalismo popular e internacionalismo, y tiene como objetivo mezclar la lucha de clases con la identidad nacional y emancipación del proletariado entendiéndose como conceptos inseparables, este pensamiento no está para nada relacionado con el chovinismo, pues los marxistas-leninistas denuncian el carácter burgués de tal ideología desarrollada bajo el capitalismo y que enfrenta a los trabajadores entre sí. En el Manifiesto Comunista, obra fundamental del marxismo, se menciona el carácter nacional de la clase proletaria, si bien la concepción socialista del patriotismo sea contraria a su uso en la política burguesa:

En la Unión Soviética

Lenin diferenció el patriotismo en lo que definió como patriotismo socialista proletario del nacionalismo burgués. Lenin defendió el derecho de autodeterminación de todas las naciones y el derecho a la unidad de todos los trabajadores al interior de estas; sin embargo, condenó el chovinismo al sostener que existían sentimientos justificados e injustificados de orgullo nacional.

El patriotismo socialista fue promovido por Stalin. Así, los estalinistas afirmaban que el patriotismo socialista serviría tanto al interés nacional como al  internacional socialista. Si bien fomentó el patriotismo socialista para la Unión Soviética como un todo, durante su mandato se combatió a los movimientos nacionalistas de las quince repúblicas soviéticas.

En Europa

Oficialmente, el Partido Socialista Unificado de Alemania, que gobernó desde 1949 en la República Democrática Alemana (RDA), contenía el patriotismo socialista al interior de sus estatutos partidarios. Asimismo, la República Federal Socialista de Yugoslavia se adhirió al patriotismo socialista.

El autodenominado movimiento nacional-bolchevique, surgido en la década de 1920, entre una mezcla de patriotismo con leninismo, tiene bastante presencia en naciones como Rusia,  Alemania y España.

Durante los años de la Guerra Civil Española (1936-1939), el régimen de la República Española hizo eco de su «versión» de patria española republicana antifascista —para diferenciarse del nacionalismo español falangista dirigido por el bando sublevado, autodenominado bando nacional— haciendo referencia al Levantamiento del 2 de Mayo en Madrid de 1808 contra las tropas francesas en la Guerra de Independencia Española, la resistencia de los pueblos de Hispania en la Guerra numantina contra la República Romana, además del misticismo patriota del Cid, para intentar «desnacionalizar» al bando sublevado y la intervención militar de los regímenes fascistas de Alemania e Italia en favor de los rebeldes.

En China
El Partido Comunista de China y el gobierno defienden el patriotismo socialista. Mao Zedong habló de una nación china, pero especificó que los chinos son una nación cívica de múltiples grupos étnicos y condenó explícitamente el etnocentrismo Han, al que Mao calificó de chovinismo Han. La constitución de China establece que China es una sociedad multiétnica y que el estado se opone al nacionalismo étnico, especialmente al chovinismo Han. En palabras del líder chino:

En Corea del Norte

Kim Il-sung promovió el patriotismo socialista, a la vez que condenaba al nacionalismo al argumentar que destruía las relaciones fraternas entre los pueblos, debido a su exclusivismo. En Corea del Norte, el patriotismo socialista ha sido descrito como una ideología destinada a servir a su propio pueblo, ser fiel a la clase obrera y ser leal a su propio partido (comunista).

Véase también

Patria
Nacionalismo de izquierda
Estalinismo
 ¡La patria socialista está en peligro!

Referencias

Bibliografía

Socialista
Socialismo
Comunismo
Conceptos marxistas
Nacionalismo de izquierda

Patriotismo socialista


, également connue sous le nom de Vil'na dumka, Vilna Dumka (en ) est un hebdomadaire ukrainien publié en Australie depuis 1949. Il est destiné aux immigrants de l'après-Seconde Guerre mondiale et aux deuxième et troisième générations de ces immigrants, puis aux nouveaux immigrants de l'Ukraine post-soviétique. Il contient des sections en ukrainien et en anglais.

Histoire
Un nombre important d'immigrants ukrainiens est arrivé en Australie en 1948, 1949 et 1950 avec des contrats de travail de deux ans offerts par le gouvernement australien. Ce fut l'impulsion pour la création de deux journaux de langue ukrainienne en Australie, dont l'un était The Free Thought. Après avoir reçu l'autorisation du gouvernement fédéral, la première édition est publiée le 10 juillet 1949. Depuis lors, le journal a joué un rôle dans les reportages sur l'établissement et le développement de la vie culturelle et sociale des .

Dans les années 1980,  permet d'établir les Fondations d'études ukrainiennes en Australie Ltd. pour soutenir les études ukrainiennes au niveau universitaire. En 1994, The Free Thought s'est joint à la Fondation des études ukrainiennes pour publier une histoire intitulée Almanach de la vie ukrainienne en Australie. Un autre livre a été publié en 2001, cette fois avec l'Ukrainian Heritage Society en Australie, contenant plus de 2000 biographies d'Ukrainiens australiens, intitulé Ukrainiens en Australie : un guide encyclopédique.

Organisation
Le fondateur, propriétaire et rédacteur en chef est Wolodymyr Shumsky (Szumskyj), qui a édité plus de 3000 éditions du journal depuis son lancement en 1949. Membre actif de la communauté ukrainienne australienne, Shumsky a reçu une médaille de l'Ordre d'Australie en 2009 pour .

Au fil des ans, les contributeurs à Vilna Dumka ont inclus , Bohdan Podolianko et Wasyl Onufrienko.

Références

Bibliographie

Liens externes

 Entrée de catalogue pour Vil'na Dumka de la Bibliothèque nationale d'Australie
 Les détails du produit Free Thought sur www.wrapaway.com.au

Presse écrite en ukrainien
Presse hebdomadaire en Australie
Titre de presse créé en 1949
Presse écrite en anglais

The Free Thought


Erskine Records connue également sous le nom de Erskine est un label discographique britannique fondé par le chanteur anglais Harry Styles en 2016. Ce label opère comme filiale pour Sony Music Entertainment.

Artistes du label

Références

Label discographique ayant son siège au Royaume-Uni
Sony Music Entertainment
Entreprise fondée en 2016
Entreprise ayant son siège à Londres
Harry Styles

Erskine Records


مشعل سلطان الهندال هو لاعب كاراتيه كويتي (ولد في 27 يناير 1985). يعتبر من أبطال قارة آسيا، وبطل الخليج، وبطل العرب للكاراتيه، ويعد كلاعب للمنتخب الكويتي، ونادي الشباب للكاراتيه.

 الطول:173.
 الوزن:70.

معلومات عن اللاعب

 انضم إلى لعبة الكاراتيه عام 1996 حبا في لعبة الكاراتيه.
 سبب اختياه لنادي الشباب سماعه أنه ناديٍ ممتاز.
 أبرز الإنجازات ذهبيتين بطولة العالم للأندية، وذهبية آسيا.
 أفضل الانجازات:ذهبية العالم للاندية.

أشخاص على قيد الحياة
رياضيون كويتيون
ممارسو الكاراتيه
مواليد 1985

مشعل الهندال


Amiş (Pensilvanya Almancası: Amisch, İngilizce: Amish), ABD'nin Pensilvanya ve Ortabatı eyaletlerinde (ve Kanada'da) yaygın olan tutucu bir Hristiyan mezhebidir. 18. ve 19. yüzyılda Almanya, Fransa ve İsviçre'den gelen göçmenler tarafından kurulmuştur. Amişler basit bir yaşama inanırlar, otomobil, telefon, elektrik gibi modern yaşamın kolaylıklarını kullanmaktan sakınırlar. Fayton kullanımı yaygındır. Bu insanlar kendilerini toplumdan dinsel inanışları yüzünden ayırırlar. Örneğin orduya katılmazlar. Kurucusu Jakop Ammann (1644 - 1712 ya da 1730) adlı İsviçrelidir.

Amiş çocuklar 8. sınıfta devlet okullarından alınarak evde eğitim görmeye başlarlar. Amiş inancından olanların başka mezhep ya da dinden biriyle evlenmesine izin verilmez ve kendilerinin fotoğrafını çektirmeleri yasaktır. Amişlerde rumspringa adında bir terim vardır. Bu terimin anlamı, insanların çocukken değil yetişkinken vaftiz edilmesi yani yaşam tarzı konusunda bir seçim yapması ve Amiş kurallarını benimsemesi için yeterince büyümesidir. Aforoz denen bir sistem daha vardır. Amiş ihtiyarlar kurallara uymayanları aforoz ederler yani kişinin o çiftliğe bir daha geri dönememesi için yasak koyarlar. Amiş kurallarını çiğneyenler çiftlikten kovulur. Genelde kurallar katıdır.

Galeri

Kaynakça

Protestanlık mezhepleri

Amiş


Dove ist ein Einschlagkrater im Süden der Mondvorderseite, östlich des Kraters Spallanzani und westlich von Lockyer.
Der Krater ist stark erodiert und in seinem südlichen Teil von dem Nebenkrater Dove C überlagert.

Der Krater wurde 1935 von der IAU nach dem deutschen Physiker Heinrich Wilhelm Dove offiziell benannt.

Weblinks

 Dove auf The-Moon Wiki

Einzelnachweise

Einschlagkrater (Mond)

Dove (Mondkrater)


Sir Peter Wilfred Tapsell  (21 January 1930 – 5 April 2012) was Speaker of the New Zealand House of Representatives from 1993 to 1996. He was notable for being the first Māori Speaker, and for being the first Speaker since Bill Barnard in 1943 to hold office while not a member of the governing party.

He was an orthopaedic surgeon before entering politics.

Early life
Peter Wilfred Tapsell was born in 1930. His father Pita was a grandson of the early Danish-born trader Phillip Tapsell and Hine-i-tūrama Ngātiki.

Tapsell was born and raised in Rotorua, and went to Rotorua Boys' High School. With the help of a scholarship, he studied medicine at the University of Otago, graduating in 1952.

He worked at several hospitals throughout New Zealand before travelling to the United Kingdom to undertake further study. Upon his return to New Zealand, he took up a position in Rotorua. Highly active in Māori cultural organisations, Tapsell was made a Member of the Order of the British Empire in the 1968 Queen's Birthday Honours, for services to medicine and the Māori people.

Member of Parliament

Tapsell stood as the Labour Party candidate for Rotorua in the 1975 election and the 1978 election, but was not successful in entering Parliament until the 1981 election, when he stood as a candidate in the Eastern Maori electorate. In 1983 he was appointed as Labour's spokesperson for Youth Affairs and Sport and Recreation by Labour leader David Lange.

Cabinet Minister
He was a minister in the Fourth Labour Government. At various stages of his parliamentary career, Tapsell served as Minister of Internal Affairs, Minister for the Arts, Minister of Police, Minister of Civil Defence, Minister of Science, Minister of Forestry, and Minister of Defence.

Speaker of the House of Representatives

After the 1993 election, the National Party had a majority of only one seat. The appointment of the Speaker, therefore, presented a problem – if National selected a Speaker from among its own ranks, as was traditional, it would lose its majority, since the Speaker was not permitted to vote at that time. Therefore, Prime Minister Jim Bolger decided to offer the Speaker's position to a member of the Labour Party, thereby retaining the crucial vote. Tapsell was the person chosen by Bolger for this role.

Despite many objections from his Labour Party colleagues, Tapsell opted to accept the position. His elevation was not unchallenged, however, with an objection being raised by Winston Peters and his New Zealand First party. Peters claimed that his objection was on behalf of the incumbent Speaker, long-serving National MP Robin Gray, who had expected to resume his duties but was now being "cast aside" for political reasons. Critics of Peters, however, claimed that New Zealand First merely wanted to leave National and Labour deadlocked, as it would be New Zealand First that held the balance of power in that situation. Robin Gray, however, refused the nomination, and Tapsell took the Speaker's chair unopposed.

Retirement
In the 1996 election, however, Tapsell lost the electorate, now called Te Tai Rawhiti, by 4215 votes to New Zealand First's Tuariki Delamere, one of the Tight Five. Tapsell had not been put on the party list. This was part of a major shift away from the Labour Party by Māori voters, with New Zealand First capturing all of the Māori electorates. Whether Tapsell would have retained the Speaker's role is uncertain, as a reform of Parliamentary procedure meant the Speaker no longer lost their vote. The loss of his electorate seat, however, prompted Tapsell's retirement from politics.

In 1991, Tapsell's family was struck with tragedy when his daughter killed his mother. In the subsequent trial, she was judged not guilty by reason of insanity.

In the 1997 New Year Honours, Tapsell was appointed a Knight Companion of the New Zealand Order of Merit, for public services, lately as Speaker of the House of Representatives.

After his retirement, Tapsell was involved in a number of organisations, becoming the Patron of Monarchy New Zealand. He also assisted several medical charities, and the University of Waikato awarded him an honorary doctorate in 1997. In 2006, Tapsell spoke at an event with Hak Ja Han, wife of Unification Church leader Sun Myung Moon, and praised their teaching of a "concept of the ideal family as comprising a father, a mother, children and grandparents" living together in a three generation extended family, as being "very Māori."

References

|-

1930 births
2012 deaths
New Zealand defence ministers
New Zealand Labour Party MPs
New Zealand monarchists
New Zealand orthopaedic surgeons
People from Rotorua
Speakers of the New Zealand House of Representatives
Members of the New Zealand House of Representatives
University of Otago alumni
New Zealand MPs for Māori electorates
Te Arawa people
Unsuccessful candidates in the 1996 New Zealand general election
Unsuccessful candidates in the 1975 New Zealand general election
Unsuccessful candidates in the 1978 New Zealand general election
Knights Companion of the New Zealand Order of Merit
New Zealand Members of the Order of the British Empire
Fellows of the Royal College of Surgeons of England
Fellows of the Royal College of Surgeons of Edinburgh

Peter Tapsell (New Zealand politician)


Diet or light beverages (also marketed as sugar-free, zero-calorie, low-calorie, zero-sugar or zero) are generally sugar-free, artificially sweetened beverages with few or no calories. They are marketed for diabetics and other people who want to reduce their sugar and/or caloric intake.

History
Though artificial sweeteners had been known since the discovery of saccharin in 1878, the diet beverage era began in earnest with the 1949 launch of La Casera (also known as Gaseosa) in Madrid, Spain using cyclamate. The product, which belongs now to Suntory Beverage and Food Europe (SBFE), is still in market. This was followed by the development of No-Cal ginger ale in 1952. Hyman and Morris Kirsch of Kirsch Beverages (Brooklyn, New York) formulated No-Cal for diabetic and otherwise sugar-restricted hospital patients, also using cyclamate calcium to replace the sugar. Recognizing Americans' growing desire for weight loss, Kirsch began marketing No-Cal to the general public, particularly to women. By 1953, the drink had become popular in New York City and the surrounding region. Canada Dry followed with Canada Dry Glamor in 1954.

In 1958, Royal Crown Cola introduced their own cyclamate and saccharin sweetened dietetic beverage, Diet Rite. Following highly successful trials in Chicago and North Carolina, RC began marketing Diet Rite nationwide for the general public in 1962. It shortly became the 4th-best selling soda in the US, behind only Coca-Cola, Pepsi, and RC Cola itself.

The following year (1963), Dr Pepper released a diet version of its own soft drink, "Dietetic Dr. Pepper" (later renamed to Sugar Free Dr. Pepper, then Diet Dr. Pepper), although it sold slowly due to the misconception that it was meant solely for diabetic consumption. The same year, The Coca-Cola Company joined the diet soft drink market with Tab, followed up by Pepsi with Patio Diet Cola (shortly renamed to Diet Pepsi). Coca-Cola added Fresca in 1966.

All of the above products were originally sweetened with cyclamates and saccharin, which soon proved disastrous. In 1969, an experiment at the University of Wisconsin-Madison found that a cyclamate combination caused bladder cancer in laboratory rats, quickly followed up by another from Abbott Labs (a manufacturer of cyclamate). This finding was quickly accepted in the medical field and by the public as evidence that cyclamate was carcinogenic in humans. Per the Delaney amendment, the FDA immediately announced a ban on cyclamate in food and drink products, to take effect in 1970. Diet sodas were quickly reformulated with saccharin alone (in the hopes that consumers would tolerate the metallic aftertaste), but the market share of diet sodas rapidly fell from 20% to 3% overall.

After further studies in the 1980s linked saccharin to cancer as well, most manufacturers switched to aspartame in 1983.

By the early 1990s, a wide array of companies had their own diet refreshments on supermarket shelves. Tab made a comeback during the late 1990s after new studies demonstrated that saccharin is not an important factor in the risk of cancer. Nevertheless, The Coca-Cola Company has maintained its 1984 reformulation, replacing some of the saccharin in Tab with NutraSweet.

By 2002, some beverage companies had diversified to include such flavors as vanilla and lemon among their products and diet drinks were soon being produced with those flavors as well (see Diet Vanilla Coke, Diet Pepsi Vanilla). By 2004, several alcohol companies had released sugar-free or "diet" alcoholic products too.

Sweeteners

Several different sweeteners are used to replace sugar in low-calorie diet beverages. The primary compounds worldwide are aspartame, saccharin, sucralose, cyclamates (outside the US), acesulfame potassium ("Ace K"), and stevia.

The ideal goal in artificial sweetening is to replicate the exact taste and texture effects of sucrose with one or more of these non-caloric sweeteners. Despite decades of research and development, this goal remains elusive. Most sweeteners carry a marked aftertaste, often described as "bitter" or "metallic". The perception of this aftertaste has been studied intensively, and appears to be based on genetic factors that vary from person to person.

In recent years, rising consumer preference for "natural" products and concern over the possible health effects of artificial sweeteners has spurred demand for stevia-based sweeteners and driven manufacturers to seek novel phytochemicals.

Aspartame
Aspartame, commonly known by the brand name NutraSweet, is one of the most commonly used artificial sweeteners. The 1982 introduction of aspartame-sweetened Diet Coke accelerated this trend. Today, at least in the United States, "diet" is nearly synonymous with the use of aspartame in beverages.

Neotame and advantame are further derivatives of aspartame. They received FDA approval in 1998 and 2014 respectively. Due to its high efficiency (20,000 times sucrose) which enables use of minute quantities for sweetening, advantame has the advantage of being safe to consume for individuals with phenylketonuria. As such, products sweetened with it are not required to carry a phenylalanine warning label.

Cyclamates
In 1970, the Food and Drug Administration banned cyclamates in the United States based on the results of a study which found that it caused bladder cancer in rats in combination with saccharin. This effect was later revealed to be specific to rodents; neither saccharin nor cyclamate are now considered human carcinogens. Nevertheless, cyclamate remains banned in the US.

Sucralose and acesulfame potassium; "sugar-free" soft drinks
Recently, two other sweeteners have been used with increasing frequency: sucralose (marketed as Splenda) and acesulfame potassium ("Sunett" or "Ace K"). The K in "Ace K" represents the chemical symbol for potassium. Acesulfame potassium is usually combined with aspartame, sucralose, or saccharin rather than alone and its use is particularly common among smaller beverage producers (e.g. Big Red). Diet Rite is the non-aspartame diet soft drink brand with the highest sales today; it uses a combination of sucralose and acesulfame potassium.

In the US, sucralose and Ace-K received FDA approval for use in soft drinks in 1998.

Advocates say drinks employing these sweeteners have a more natural sugar-like taste than those made just with aspartame, and do not have a strong aftertaste. The newer aspartame-free drinks can also be safely consumed by phenylketonurics, because they do not contain phenylalanine. Critics say the taste is not better, merely different, or note that the long-term health risks of all or certain artificial sweeteners is unclear.

The widespread, though not universal, agreement that the newest formulations taste much more "normal" (sugar-like) than the older diet soft drinks have prompted some producers, such as Jones Soda, to abandon the "diet" label entirely in favor of "sugar-free", implying that the taste is good enough to drink even when not trying to lose weight. (This idea was first floated by Diet Coke in 1984, with the tagline, "Just For the Taste of It.")

In 2005, The Coca-Cola Company announced it would produce a sucralose-containing formulation of Diet Coke known as Diet Coke with Splenda, but that it would continue to produce the aspartame version as well. There were also rumors that a sugar-free version of Coca-Cola Classic, also sweetened with sucralose, was being formulated as well. This formulation was eventually called Coca-Cola Zero, though it is sweetened with aspartame in conjunction with acesulfame potassium.

Stevia

Stevia-based sweeteners incorporate steviol glycosides, sweet-tasting compounds produced in the leaves of the Stevia rebaudiana plant.

One study investigated the electrochemical properties of stevia rebaudiana, a herb with potential as a glucose sugar alternative. By using a cyclic voltammetric technique with a nano-sensor modified glassy carbon electrode, the limited safety dose was determined as 0.4 mM (28 mg/mL), where the stevia compound acted as an anti-oxidative sweetener. The study also showed that the electrochemical properties of stevia varied in acidic and alkaline pH, with an oxidative behavior in acidic and an anti-oxidative behavior in alkaline solutions.

Initially launched in Argentina in 2013, Coca-Cola Life is made with a mix of stevia and sugar as its sweeteners. Pepsi has also released a variant of their cola sweetened with stevia and sugar, called Pepsi Next.

Amount of artificial sweeteners in diet soft drinks
The table below displays milligrams of sweetener and phosphorus in a 12-ounce (≈355 ml) serving of canned soft drink, as provided by the manufacturers in the US market in 2012. Fountain drinks may contain different sweeteners or different amounts of the same sweeteners.

Health concerns

Many consumers are concerned about possible health effects of sugar substitutes and caffeine overuse.

Reviews and dietetic professionals have concluded that moderate use of non-nutritive sweeteners as a safe replacement for sugars can help limit energy intake and assist with managing blood glucose and weight.

According to the World Health Organization, aspartame, a sweetener found in diet drinks and other food items, may be a potential cancer-causing agent. However, it is still considered safe to consume in moderation.

Nomenclature
In countries outside of the United States, United Kingdom and Canada, the term "light" is often used instead of "diet"; sometimes, even in countries that do not speak English, the word "light" in English is used (e.g., "Coca-Cola Light" in Spain). The formulation of these is slightly different than the "diet"-named versions and thus the taste is slightly different.

Reduced-calorie drinks

In an effort to profit on the surging popularity of low-carbohydrate diets, Coca-Cola and PepsiCo both released reduced-calorie versions of their flagship colas in 2004. The products contain approximately half the sugar of the regular versions. The Pepsi variant, Pepsi Edge, is sweetened with sucralose and corn syrup. The sweetening of the Coca-Cola variant, Coca-Cola C2, is a combination of corn syrup, aspartame, acesulfame potassium and sucralose. Pepsi discontinued Edge in 2005, citing lackluster sales. Coca-Cola soon followed suit. Pepsi then released Pepsi Max in 2012.

Half of the sugar of a can of regular cola still exceeds the daily sugar allowance of some popular low-carbohydrate diets. It is possible that these soft drinks were targeted to so-called "carb-conscious consumers", who are paying attention to their carbohydrate intake but not trying to drastically reduce it.

Consumption
According to a study by the National Center for Health Statistics, about one-fifth of the US population ages 2 years and over consumed diet drinks on a given day in 2009‒2010, and 11% consumed 16 fluid oz. of diet drinks or more. Overall, the percentage consuming diet drinks was higher among females compared with males. The percentage consuming diet drinks was similar for females and males at all ages except among 12- to 19-year-olds, where a higher percentage of females than males consumed diet drinks. A higher percentage of non-Hispanic white people consumed diet drinks compared with non-Hispanic black and Hispanic people. The study included calorie-free and low-calorie versions of soft drinks, fruit drinks, energy drinks, sports drinks, and carbonated water.

Regulation
Diet soda is defined in US law as a food of minimal nutritional value.

See also

Fat substitute
Light beer
List of brand name soft drinks products
List of soft drink flavors
List of soft drink producers
List of soft drinks by country

References

Products introduced in 1952
Convenience foods

Diet drink


بروسيانسكيي  هي مدينة في مقاطعة تولا أوبلاست في روسيا.

مراجع

مدن مقاطعة تولا

بروسيانسكيي


UltraHLE is a discontinued emulator for the Nintendo 64. Emulating the Nintendo 64 (which was only 3 years old at the time) made it the first of the N64 emulators to run commercial titles at a playable frame rate on the hardware of the time, and the first emulator for a currently-sold console system, which drew Nintendo to seek legal action against the developers.

The Ultra High-level (UHLE) technique
Earlier emulators had sought to accurately emulate all low-level operations of a target machine; this worked well for consoles such as the Super NES and Genesis that were substantially simpler than the computer running the emulator.

HLE was done even before the UltraHLE emulator (to emulate the BIOS, and the SNES enhancement chips). But UltraHLE introduced aggressive optimization and time-savers which go beyond traditional HLE.

Co-authors Epsilon and RealityMan realized that since N64 games were programmed in C, they could intercept (the far fewer) C library calls rather than machine-level operations, and simply reimplement the libraries. Thus UltraHLE is an emulator that is partly implemented as a simulator, in contrast to projects such as MAME. However it paved the way for playable emulators of recent consoles that require considerable graphical computational power which could be simulated easily with available PC graphic cards.

The final implementation was written in C and used the Glide API, specific to 3dfx adapters. Due to the emulator's popularity, several Glide to DirectX translation utilities were made specifically for UltraHLE for non-3dfx video cards.

UltraHLE's high-level emulation had its drawbacks; at the time of its release it was able to emulate only approximately 20 games to a playable standard as it emulated and simulated only those calls required by those specific games; it was necessary to adapt the emulator for games that used different parts of the N64 hardware. Nevertheless it supported many more titles than other contemporaneous N64 emulation projects such as Project Unreality.

The technique was taken over by the Cxbx-Reloaded emulator, which emulates the Microsoft Xbox, uses HLE to reimplement the Video, and audio DSP.

Emulators other than UltraHLE eventually adopted variants of high-level emulation as well. For example, the Dolphin emulator, which emulates the GameCube and Wii, uses HLE to reimplement the Wii's IOS operating system, and it also has an option for HLE of the GameCube's audio DSP.

Nintendo's response and UltraHLE's discontinuation
Also notable for its time, UltraHLE was capable of playing commercial games while the console was still commercially viable, a feat which was ultimately noticed by Nintendo. In February 1999, Nintendo began the process of filing a lawsuit against the emulator's authors, along with the website hosting the emulator. Speaking to PC Zone, Nintendo representative Beth Llewellwyn commented: "Nintendo is very disturbed that RealityMan and Epsilon have widely distributed a product designed solely to play infringing copies of copyrighted works developed by Nintendo and its third-party licensees. We are taking measures to further protect and enforce our intellectual property rights which, of course, includes the bringing of legal action." Despite this, UltraHLE had grown beyond either its authors' or Nintendo's control. Subsequently, Epsilon and RealityMan abandoned their pseudonyms and went silent.

After the source code was leaked in 2002, an OpenGL version of UltraHLE called UltraHLE 2064 was released, though it garnered little acclaim, as several more powerful emulators had subsequently been released. UltraHLE 2064 was available at its official site until the site was de-registered.

See also
 List of video game emulators

References

External links
UltraHLE Resources on Zophar's Domain

Nintendo 64 emulators
Windows emulation software
Proprietary video game console emulators

UltraHLE


Solo Dios puede juzgarme es una obra de teatro de Emilio Romero Gómez, estrenada en 1969.

Argumento
La historia cuenta la historia de dos jóvenes locamente enamorados el uno del otro, que un día deciden casarse. Pero antes de producirse el enlace, descubren un secreto que cambiará el rumbo de su historia. Ambos descubren que son hermanos, aunque solo de padre, la madre de la joven fue durante muchos años amante del padre de él.

Estreno
 Teatro Infanta Isabel, Madrid, 15 de marzo de 1969.
 Dirección: Ricardo Lucia.
 Escenografía: Sigfrido Burmann.
 Intérpretes: Vicente Parra,  Armando Calvo, Encarna Paso sustituida por Fiorella Faltoyano, , Luisa María Payan, María Luisa Ponte sustituida por Conchita Bardem, Raúl Sender, Luz Olier, Juan Antonio Gálvez, Avelino Canovas

Referencias

Obras de teatro de España
Obras de teatro en español
Obras de teatro del siglo XX
Obras de teatro de 1969
Literatura de España del siglo XX

Solo Dios puede juzgarme


Sacais (sakais) são uma comunidade tribal na Indonésia, tradicionalmente vivendo no interior de Riau, Sumatra. Alguns deles ainda levam um estilo de vida nômade e caçador-coletor no interior remoto de Sumatra. Existem várias teorias sobre sua origem. Uma teoria é que são descendentes das tribos proto-malaia e negrito que foram empurradas para o interior devido à chegada dos malaios em Sumatra. Alguns deles afirmam que são de origem minangkabau e migraram à margem do rio Gassibe, a montante do , no interior de Riau no . Os sacais se consideravam originários do . A maioria da comunidade que vive hoje está envolvida na agricultura. Não há dados definitivos sobre seus números. Os dados populacionais emitidos pelo Ministério dos Assuntos Sociais da República da Indonésia indicam que o número de sacais na  é de  habitantes.

Bibliografia

Grupos étnicos da Indonésia

Sacais


El término Churubusco es un topónimo de origen náhuatl, resultado de la castellanización bárbara de Huitzilopochco ('Lugar donde se adora a Huitzilopochtli'). Es el nombre de:

Huitzilopochco, antigua aldea mexica en el borde sudoccidental del lago de Texcoco.
Churubusco, pueblo originario del Distrito Federal (hoy la Ciudad de México), México.
Churubusco, aldea en el estado de Indiana (Estados Unidos).
Churubusco, aldea en el estado de Nueva York (Estados Unidos).
El río Churubusco, un cauce de agua entubado bajo la avenida del mismo nombre en la Ciudad de México.
El templo de San Mateo Apóstol de Churubusco, del culto católico, en la localidad del mismo nombre en México.
La batalla de Churubusco, ocurrida el 20 de agosto de 1847 durante la Intervención estadounidense en México.
Los Estudios Churubusco Azteca, estudios cinematográficos en la Ciudad de México.
El Churubusco Country Club, un club social exclusivo en la Ciudad de México.
La colonia San Diego Churubusco, barrio al sur de la Ciudad de México, donde se encuentra, entre otras cosas, el Exconvento de Churubusco, hoy llamado Museo Nacional de las Intervenciones.

Churubusco (desambiguación)


Baiba Bendika (* 27. Juni 1991 in Cēsis) ist eine lettische Biathletin und Skilangläuferin. 2011 debütierte sie im Biathlon-Weltcup und erreichte dort 2016 als erste Sportlerin ihres Landes ein Ergebnis unter den besten Fünf. Im Januar 2021 wurde sie Europameisterin im Sprint.

Karriere

Erste Erfolge (bis 2016)
Bendika, deren Vater ebenfalls als Biathlet aktiv war, begann im Alter von zehn Jahren mit dem regelmäßigen Training auf Skiern. Parallel dazu übte sie zunächst weitere Sportarten aus – unter anderem Orientierungslauf und Unihockey –, ehe sie sich auf Biathlon konzentrierte. Sie besuchte die Sportschule in Cēsis und studierte im Anschluss von 2010 bis 2014 Tourismusmanagement an der Hochschule Vidzeme. Persönlicher Trainer der mit einer Körpergröße von 1,55 m zu den kleinsten Athletinnen im Weltcupfeld zählenden Bendika ist seit Mitte der 2010er Jahre der lettische WM-Medaillengewinner Ilmārs Bricis.

Ihre ersten internationalen Rennen bestritt Bendika beim Europäischen Olympischen Winter-Jugendfestival 2009, wo sie im Sprint den 31. Rang belegte und mit der Mixed-Staffel Zehnte wurde. In den folgenden Jahren bis 2012 trat sie regelmäßig zu internationalen Nachwuchsmeisterschaften an, bei denen sie zumeist Ergebnisse im hinteren Mittelfeld belegte. Ihr bestes Einzelresultat bei einer Junioren-Weltmeisterschaft erzielte sie 2011 als 34. im 12,5-Kilometer-Einzelrennen. Im kleinen lettischen Biathlonteam rückte Bendika binnen weniger Jahre in die erste Mannschaft auf und erhielt ab dem Winter 2011/12 erste Einsätze im IBU-Cup und im Weltcup. In der höchsten internationalen Wettkampfserie verpasste sie bis 2015/16 die Punkteränge der besten 40 in jedem ihrer Einzelauftritte deutlich, im IBU-Cup erreichte sie diese Positionen vereinzelt. Bei ihren ersten Weltmeisterschaften 2012 in Ruhpolding wurde Bendika 95. im Sprint und 99. im Einzel (bei jeweils gut 110 Teilnehmerinnen). Die lettischen Staffeln, in denen sie lief, wurden jeweils überrundet.

Im Februar 2016 belegte Bendika – die bis dahin noch keinen Weltcuppunkt gewonnen hatte – im Sprint von Canmore den fünften Platz. Sie blieb in diesem Rennen als eine von sieben Sportlerinnen ohne Fehlschuss und wies am Ende 23,7 Sekunden Rückstand auf die Siegerin Olena Pidhruschna auf. Mit ihrem Ergebnis übertraf sie Ieva Cederštrēmas siebten Rang im Antholzer Einzel von 1994, der bis dahin das beste Resultat einer lettischen Biathletin im Weltcup war. In den darauffolgenden Weltcuprennen von Presque Isle erreichte Bendika in Sprint und Verfolgung die Plätze 15 und 13. Sie beendete die Saison 2015/16 als 49. des Gesamtweltcups. Gemeinsam mit Andrejs Rastorgujevs kam sie in diesem Winter zudem in beiden im Rahmen des Weltcups ausgetragenen Single-Mixed-Staffeln auf Rang acht.

Etablierung im Weltcup (seit 2016)
Bendika lief in den Wintern von 2016 bis 2020 mit zunehmender Häufigkeit in die Punkteränge im Weltcup und steigerte dabei vor allem ihre Laufleistungen: Im Winter 2016/17 waren ihre Zeiten auf der Strecke zwei Prozent langsamer als der Schnitt des Teilnehmerfeldes, vier Jahre später lief sie um zwei Prozent schneller als die durchschnittliche Weltcupathletin. Sporadisch gelangen der Lettin weitere Top-Ten-Ergebnisse. Im Dezember 2018 stellte sie als Fünfte des 15-Kilometer-Einzelrennens auf der Pokljuka ihr bestes Weltcupergebnis ein; bei den Weltmeisterschaften 2020 in Antholz lief sie – nach Platz zwölf im Sprint – auf den neunten Rang in der Verfolgung. Im Massenstartrennen der WM 2021 kam Bendika zusammen mit Lisa Hauser in Führung liegend zum letzten Schießen, verfehlte dort zwei Scheiben und fiel auf den neunten Platz im Ziel zurück. Die Saison 2019/20 schloss sie als 32. des Gesamtweltcups ab. Zudem stand Bendika während dieser Jahre im Sprint von Martell im Januar 2017 als Dritte erstmals auf dem Podium eines IBU-Cup-Wettkampfs und nahm 2018 (als einzige lettische Biathletin) an den Olympischen Winterspielen in Pyeongchang teil, wo sie bei ihren drei Starts in Einzelrennen Resultate zwischen den Plätzen 33 und 38 erreichte. Ihren ersten internationalen Titel gewann sie als Sprint-Europameisterin 2021 in Duszniki-Zdrój vor der Norwegerin Karoline Erdal.

Im Februar und März 2021 nahm Bendika als Skilangläuferin an der Nordischen Ski-WM in Oberstdorf teil. Unter knapp 90 Teilnehmerinnen belegte sie Rang 35 im 10-Kilometer-Freistilrennen. Zuvor hatte sie die Vorausscheidung der nicht bereits qualifizierten Sportlerinnen gewonnen. Bei den Olympischen Winterspielen 2022 in Peking startete Bendika sowohl im Biathlon als auch im Skilanglauf. Sie erklärte, sie sei zehn Tage vor ihrer geplanten Abreise nach Peking positiv auf COVID-19 getestet worden, was ihre Planung und ihre Leistungen eingeschränkt habe. In beiden Sportarten erreichte sie kein Einzelergebnis unter den besten 30 Athletinnen. Am 5. März 2023 stand Bendika zusammen mit Andrejs Rastorgujevs zum ersten Mal in ihrer Laufbahn auf dem Podium im Biathlon-Weltcup: In der Single-Mixed-Staffel in Nové Město belegten die beiden Sportler den dritten Rang hinter den Teams aus Norwegen und der Schweiz. Insgesamt verschlechterte sich Bendikas Schießleistung Anfang der 2020er-Jahre deutlich: Nachdem sie zuvor regelmäßig mit mehr als 80 Prozent ihrer Schüsse getroffen hatte, sank ihre durchschnittliche Trefferquote im Winter 2022/23 auf 72 Prozent. Die Athletin erklärte dieses Ergebnis zum Teil mit Abnutzungsspuren am Lauf ihres Gewehres.

Statistiken

Weltcupstatistik

Biathlon-Weltmeisterschaften
Ergebnisse bei Weltmeisterschaften:

Olympische Winterspiele
Ergebnisse bei Olympischen Winterspielen:

Weblinks

 Statistische Auswertung auf realbiathlon.com (englisch)

Einzelnachweise

Biathlet (Lettland)
Skilangläufer (Lettland)
Olympiateilnehmer (Lettland)
Teilnehmer der Olympischen Winterspiele 2018
Teilnehmer der Olympischen Winterspiele 2022
Lette
Geboren 1991
Frau
Europameister (Biathlon)

Baiba Bendika


Football Club Dordrecht je nizozemski nogometni klub iz Dordrechta. U sezoni 2019./20. se natječe u Eerste divisie, drugom rangu nizozemskog nogometa. Klub je osnovan 16. kolovoza 1883. godine kao Dordrechtsche Football Club, a postao je profesionalan 1954. godine kad i većina ostalih klubova u Nizozemskoj. Domaće utakmice igra na GN Bouw Stadionu, koji može primiti 4.235 gledatelja. Dva puta su osvojili nizozemski kup, 1914. i 1932. godine.

Vanjske poveznice
Službene stranice

Dordrecht

FC Dordrecht


15397 Ksoari este un asteroid din centura principală de asteroizi.

Descriere
15397 Ksoari este un asteroid din centura principală de asteroizi. A fost descoperit pe  la Observatorul Starkenburg din Heppenheim. Asteroidul prezintă o orbită caracterizată de o semiaxă mare de 2,63 ua, o excentricitate de 0,05 și o înclinație de 2,8° în raport cu ecliptica.

Vezi și
 Lista planetelor minore: 15001-16000
 Centura de asteroizi

Referințe

Obiecte astronomice descoperite în 1997
Centura de asteroizi

15397 Ksoari


es una película japonesa de terror dirigida por Masaki Okano, narra nueve historias diferentes de terror. En México se transmitió por el Canal 11 del Politécnico, aunque lo transmitieron como serie de tv.

Episodios de la película
 La Cuenta del Rosario: Una mujer está a punto de perder la cordura cuando su esposo desaparece.

 La Máquina de refrescos: Una pareja de novios va a una montaña, se encuentra con una máquina expendedora, pero las bebidas son muy adictivas, y esta máquina no es lo que aparenta.

 Soy yo: Yuki junto con amigo Yakuza extorsionan a personas por medio de llamadas telefónicas. Pero éstos recibirán una lección que no olvidarán.

 Real: Un trabajador se queja de constantes dolores de cabeza, por lo que va a un médico. No le queda otra que la cirugía, pero descubren algo horrible dentro de la cabeza.

 Cacería de hongos: Unos amigos que se conocieron por medio del chat van a conocerse en persona a una montaña. Sus lugareños les advierten sobre una extraña leyenda. Luego en la noche, unos hongos empiezan a atacarlos.

 Eddie: Un niño tiene mala suerte, el jardín de niños donde estudia se incendia, sus padres mueren, y su vecino fue atropellado. Por lo que se va a vivir con su abuelo, cuando llega empiezan a suceder extraños susceso en el río Edo.

Ecos: Yumika es asesinada violentamente, por lo que sus abuelos tratan de seguir la pista al asesino. Sin embargo resulta que el asesino tiene poderes psíquicos.

Pata de gato: La vida de Shota es muy triste, para compesarlo tiene a una amigo gato estilo anime llamado Nyanta. Sin embargo Shota empieza a notar que la vida real se mezcla con el anime.

Apartamento: Un padre está a punto de divorciarse, y separar a su familia. Parece inevitable, en este episodio se ven algunos protagonistas de los anteriores.

Enlaces externos

 Sarudama.com Reseña de la película (en inglés)

Cine de terror de los años 2000

Cuentos japoneses de terror


Der FC Unterstrass (FCU) ist ein Schweizer Fussballverein aus der Stadt Zürich. Er ist nach dem Zürcher Quartier Unterstrass benannt. Der Club wurde 1921 als FC Black Boys gegründet und erhielt 1943 seinen jetzigen Namen. Die erste Mannschaft spielt in der 2. Liga des Regionalverbandes Zürich.

Der FCU unterhält in der Saison 2018/19 drei Aktivmannschaften sowie zwei Senioren- und eine Veteranenmannschaft. Hinzu kommen zwölf Juniorenmannschaften der Altersklassen A–G und eine Frauenmannschaft.

Ehemalige Spieler
  René Deck
  Blerim Džemaili
  Stefan Huber
   Feliciano Magro
  Davide Mariani
   Yassin Mikari

Auszeichnungen
Der FC Unterstrass wurde in den Saisons 2004/05 bis 2008/09 sowie in den Saisons 2010/11 bis 2013/14 vom Fussballverband Region Zürich als "Vorbildlicher Verein" ausgezeichnet.

Den wohl grössten Erfolg im Juniorenbereich erreichte der Verein in der Saison 1965/66.
Die C-Junioren wurden Regionalmeister und gewannen zudem den "Kickiboy-Cup".

Weblinks
 Offizielle Website
 Der klassische Drittligist in der 2. Liga. In: Tages-Anzeiger, 11. April 2012, abgerufen am 31. August 2012.

Fußballverein aus Zürich
Gegründet 1921

FC Unterstrass


Patricia Olga Figueroa Vásquez, (Lima, Perú, 21 de junio de 1969) es una presentadora de televisión, modelo, empresaria y periodista peruana nacionalizada costarricense. Actualmente es la presentadora de la revista matutina Giros de Repretel junto con el actor Italo Marenco y la modelo costarricense, María Teresa Rodríguez. También fue presentadora del noticiero Noticias Repretel.

Estudios
Estudió ciencias de la comunicación con énfasis en publicidad en el Instituto peruano de publicidad y en la universidad de Lima.

Referencias

Patricia Figueroa


Das Freilichtmuseum Stará Ľubovňa ("Ethnographische Ausstellung in der Natur - Freilichtmuseum Stará Ľubovňa", ) befindet sich in Stará Ľubovňa, im Prešovský kraj im Norden der Slowakei. Es besteht aus einer Gruppe von Gebäuden, welche die Volksarchitektur, Lebensweise und Kultur der nordöstlichen Zips und oberen Šariš präsentieren, in einer seit Jahrhunderten ethnisch gemischten Region, in der Slowaken, Karpatendeutsche, Russinen, Goralen, Juden und Roma lebten. Die ethnische Vielfalt zeigt sich in der markanten Volksarchitektur wie auch in der Form von Kulturerleben. Insgesamt 25 Holzbauten stammen aus dem späten 19. bis zum frühen 20. Jahrhundert. Die Nähe der Lublauer Burg (slowakisch Ľubovniansky hrad) gibt dem Freilichtmuseum eine besondere Attraktivität.

Definition und Geschichte

Die durch Ľubovňa-Museum verwaltete Exposition wurde im Jahre 1985 eröffnet. Die Objekte stammen meist aus der ukrainisch-ruthenischen Umgebung, dazu kommt ein Goralen-Haus mit Scheune aus einem slowakischen Dorf, und ein deutscher Zips-Bewohner Haus mit Dufart. Es handelt sich zumeist um ehemalige Wohngebäude aus den Dörfern: Veľký Lipník, Litmanová, Veľká Lesná, Údol, Jarabina, Jakubany, Kremná und Kamienka. Landwirtschaftliche Gebäude wie Schuppen, Scheunen und Getreidespeicher stammen aus dem Údol bzw. Legnava und Kremná. Aus Litmanová kommen Saisonbehausungen. Technische Denkmäler sind durch schmiedeeiserne Produkte aus Torysa, eine Mühle aus Malý Sulín und eine Tischlerwerkstatt aus Piľhovčík repräsentiert.

Sehenswürdigkeiten

Die griechisch-katholische Holzkirche des Erzengel Michael aus Matysová gilt als kostbarstes Exponat der gesamten Exposition. Das Gebäude in Blockbauweise mit Turm und Kirchenschiff stammt aus dem Jahr 1833. Im Innenraum befindet sich die Ikonostase, Altar der Verklärung und auch selbstständige Ikonen aus der Mitte des siebzehnten Jahrhunderts. Sie wurden unter dem Einfluss der byzantinischen Kunst gemalt. Die Ikone des Erzengel Michaels aus dem Jahr 1640 ist die älteste. Dieses Orthodoxe Kirchenobjekt kam im Jahr 1979 in das Museum und wurde 1991 wieder geweiht. Während hoher religiöser Feiertage wird hier die Liturgie bzw. der Gottesdienst gefeiert.

Das zweiräumige Haus aus Litmanová, das die Lebensweise eines ruthenischen Dorfes repräsentiert, wurde 1921 für den Dorfhirten erbaut. Der Hauptwohnraum ist ein einfach eingerichtetes Zimmer, das der Familie den ganzen Sommer diente. In dem Eingangsbereich befindet sich der älteste in der oberen Zips erhaltene Backofen.

Das Haus mit sogenannter Dufart gehörte einer Familie von Zipser Sachsen. Deutsche Siedlungen (in der Unterzips vor allem Bergbausiedlungen) stammen aus dem 12. Jahrhundert, die meisten nach dem Mongoleneinfall 1242. Von den ungarischen Königen ins Land geholte deutsche Spezialisten und Bergleute aus Schlesien und Mitteldeutschland sollten bei der Wiedererrichtung des durch die Mongolen zerstörten Landes helfen. Das Gebäude unterscheidet sich vom slowakischen Haus nicht nur äußerlich, sondern auch durch die abweichende Konstruktion und Innengliederung. Diese Siedlungsart kommt auch in der Umgebung von Ružbachy und Zamagurie vor.

Das Goralenhaus des Dorfrichters aus Veľká Lesná aus dem Jahr 1909 hat einen symmetrisches Grundriss. Der Hauptraum liegt in der Mitte des Hauses. Der Flur wurde ursprünglich nicht beheizt, durch den Einbau des Sparherdes wurde er nach dem Zweiten Weltkrieg zur Küche umfunktioniert. Das Haus hatte ursprünglich vorn vom Hof eine große Eingangspforte.

Die Schmiede des Dorfes Torysa – ein Einabteilungs-Holzgebäude – stammt aus der zweiten Hälfte des 19. Jahrhunderts. Für das Beschlagen von Pferden und Rindern diente ein überdachter Raum vor der Schmiede. Die Ausstellung besteht aus Grundausstattung einer Esse mit einer umfassenden Kollektion von Schmiedewerkzeug und Schmiedprodukten.

Die Mühle von Sulín – ein Holzgebäude mit Keller und zwei Stockwerken – wurde in den 1930er Jahren von der ursprünglichen Steinmühle zu einer Walzenmühle umgebaut. Im Untergeschoss gibt es einen Getriebe-Antriebseinheit. Im Erdgeschoss befindet sich die Mühleneinrichtung (Rollensatz und Schälmaschine für Grütze); in der Mitte des Raums steht ein Getreidebehälter. Mit Holzpfeifen zogen sie das Getreide in den oberen Kornbehälter, von wo es dann auf die Mahlwalzen fiel. Das Mahlen der Kornteile wurde mehrmals durchgeführt und danach auch mehrere Male abgesiebt.

Siehe auch
 Liste europäischer Freilichtmuseen

Einzelnachweise

Weblinks
 www.muzeumsl.sk (slowakisch) (englisch)
 Beschreibung des Freilichtmuseums auf www.muzeumsl.sk (englisch)

Stará Ľubovňa
Volkskundemuseum
Freilichtmuseum in der Slowakei
Bauernhofmuseum
Heimatmuseum in der Slowakei
Gegründet 1985

Freilichtmuseum Stará Ľubovňa


Die Vernon Township ist eine von 17 Townships im Dubuque County im Osten des US-amerikanischen Bundesstaates Iowa.

Geografie
Die Vernon Township liegt im Osten von Iowa am südwestlichen Stadtrand Dubuque, dem am Iowa von Illinois trennenden Mississippi gelegenen Zentrum der Region.

Die Vernon Township liegt auf 42°25′52″ nördlicher Breite und 90°50′26″ westlicher Länge. Die Township erstreckt sich über 94,3 km².

Die Vernon Township liegt im südlichen Zentrum des Dubuque County und grenzt im Norden an die Center Township, im Nordosten an die Stadt Dubuque, im Osten an die Table Mound Township, im Südosten an die Washington Township, im Süden an die Prairie Creek Township, im Südwesten an die Whitewater Township, im Westen an die Taylor Township und im Nordwesten an die Iowa Township.

Verkehr
Durch die Township verläuft in Ost-West-Richtung der zum Freeway ausgebaute U.S. Highway 20, der die kürzeste Verbindung von Waterloo nach Dubuque bildet. Daneben gibt es innerhalb der Township County Roads und zum Teil unbefestigte weiter untergeordnete Straßen.

Durch den Norden der Center Township Vernon eine Eisenbahnstrecke der Canadian National Railway, die von Chicago über Dubuque nach Westen führt.

Die nächstgelegenen Flugplätze sind der Dubuque Regional Airport (rund 20 km östlich) und der Monticello Regional Airport (rund 40 km südwestlich).

Bevölkerung
Bei der Volkszählung im Jahr 2010 hatte die Township 3072 Einwohner. In der Vernon Township gibt es neben Streubesiedlung zwei Orte, die beide über den Status "City" verfügen:

 Centralia1
 Peosta

1 – überwiegend in der Center Township

Einzelnachweise

Weblinks
 www.city-data.com - Vernon Township

Vernon Township (Dubuque County, Iowa)


Alick Maemae (10 de diciembre de 1985 en Suraina) es un futbolista salomonense que juega como delantero.

Carrera

Comenzó su carrera futbolística en el Fawkner Blues australiano en 2001. Pero al año siguiente el Koloale FC de su país natal lo fichó para afrontar la temporada 2003/04. A mediados de 2003 llegó al Makuru FC y jugó allí hasta 2005, cuando fue transferido al YoungHeart Manawatu neozelandés. En 2007 regresó al Makuru para jugar una temporada, y volvió a viajar a Nueva Zelanda para ser parte del YoungHeart. En 2009 se trasladó a Papúa Nueva Guinea para jugar en el Hekari United, con el club papú logró el título de la O-League 2010. Luego del logro internacional, se incorporó al Amicale FC.

Clubes

Selección nacional

Jugó 15 partidos por las eliminatorias de la OFC a los mundiales de 2006 y 2010, convirtió 5 goles. Además, jugó 4 partidos no oficiales en lo que hizo 1 gol.

Referencias

Enlaces externos

Maemae en ceroacero

´

Futbolistas de las Islas Salomón
Futbolistas de la selección de fútbol de Islas Salomón
Futbolistas del Koloale FC
Futbolistas del Manawatu United

Futbolistas del Hekari United Football Club

Futbolistas del Amicale Football Club
Futbolistas del Makuru FC

Alick Maemae


Emma Township ist der Name folgender Townships in den Vereinigten Staaten:

 Emma Township (Illinois)
 Emma Township (Kansas)

Emma Township


Die Western Australia International 2002 im Badminton fanden Anfang Juli 2002 statt.

Sieger und Platzierte

Weblinks
 http://tournamentsoftware.com/sport/tournament.aspx?id=A2D3A557-27F8-4E7D-8E60-6545F545100E

2002
Badminton 2002

Western Australia International 2002


Skådalen Station (Skådalen stasjon) er en metrostation på Holmenkollbanen på T-banen i Oslo. Stationen ligger 206,9 meter over havet. Den ligger i nærheden af Oslo Montessoriskole og Oslo kompetansecenter og har derfor mange passagerer i myldretiden.

T-banestationer i Oslo
Etableret i 1898

Skådalen Station


Johan Lund Heinsen (født 1984) er en dansk historiker og forfatter og lektor ved Historiestudiet på Aalborg Universitet. Heinsen modtog som den første Den Danske Historiske Forenings pris Årets Historiske Forskningsresultat som blev overrakt ved Dansk Historikermøde i august 2018 for udgivelsen Mutiny in the Danish Atlantic World: Convicts, Sailors and a Dissonant Empire.

Heinsen blev i 2013 ph.d. i Historie fra Aalborg Universitet med afhandlingen Intet andet end støj: Poetik og politik i engelske sørejseberetninger, 1577-1744 og har efterfølgende udgivet flere artikler og bøger om fængsels- og strafhistorie, kolonialisme, maritim historie og socialhistorie.

I den populærvidenskabelige genre har Heinsen skrevet Det første fængsel (2017) til serien 100 danmarkshistorier, der udkommer på Aarhus Universitetsforlag. Bogen handler blandt andet om hvordan man i 1600-tallets Danmark straffede kriminelle med tvangsarbejde - ikke henrettelse - og om hvordan fangerne udviklede snedige flugtplaner og gravede tunneller.

Heinsens arbejde med søfolk og transporterede straffefanger nyfortolker hele fortællingen om grundlæggelsen af de danske koloniale besiddelser i Caribien. Gennem sit arbejde er Heinsen i stand til at genskabe, hvad skibenes besætninger talte om, hvordan de forstod deres situation og hvordan rygtestrømme førte til konkret handling. I gennem sine undersøgelser har Heinesen skabt en helt ny forståelse for, hvordan St. Thomas udviklede sig til en af Caribiens værste sørøverreder.

Priser
2017: Atlandtic Studies Early Career Essay Prize for artiklen "Dissonance in the Danish Atlantic: Speech, violence and mutiny, 1672-1683".

2018: Årets Historiske Forskningsresultat for bogen Mutiny in the Danish Atlantic World: Convicts, Sailors and a Dissonant Empire som handler om mytteri i Dansk Vestindien.

Bogudgivelser
2018. Det første fængsel (Aarhus: Aarhus University Press).

2017. Mutiny in the Danish Atlantic World: Convicts, sailors and adissonant empire, (London: Bloomsbury).

Udvalgte videnskabelige artikler
2018. 'The Scandinavian Empires in the Seventeenth and Eighteenth Centuries', in: A Global History of Convicts and Penal Colonies, ed. Clare Anderson (Bloomsbury).

2018. 'Ind og ud af slaverierne: Straffearbejde i 1700-tallets Danmark- Norge,' Arbeiterhistorie.

2017. 'Maritime Cultures of Crime, 1600–1800', in: Cultural Histories of Crime in Denmark, ed. Tyge Krogh (Routledge).

2016. 'Dissonance in the Danish Atlantic: speech, power and mutiny, 1672–1683,' Atlantic Studies 13, no. 2: 187–205.

2016. 'Flygtige stemmer: Straffefanger i Dansk Vestindien', TEMP 13: 4– 26.

2015. '"Nothing but Noyse": The political complexities of English maritime and colonial soundscapes,' Radical History Review 121: 106–122.

2014. '"Others sat murmuring and idle upon the deck": The poetics of English Voyage Narratives,' E-Rea 11 (2).

2014. 'Sørøveriets indbildte friheder: Taler og tunger på sørøverskibets dæk, ca. 1680,' TEMP 9: 43–67.

Eksterne henvisninger
Johan Lund Heinsens hjemmeside på Aalborg Universitet.

Referencer
http://www.historie-online.dk/nyheder-og-aktiviteter-2-2/aarets-historiske-forskningsresultat

Historikere fra Danmark
Faglitterære forfattere fra Danmark
Ansatte ved Aalborg Universitet

Johan Lund Heinsen


Joseph Martin (September 24, 1852 – March 2, 1923) was a lawyer and politician in Manitoba, British Columbia and the United Kingdom often referred to as "Fighting Joe".

Early life
Born in Milton, Canada West, the son of Edward Martin, a former Reeve, and Mary Ann Fleming, Martin was educated at the Milton public school, the Toronto Normal School and University of Toronto. He was a telegraph operator and afterwards obtained a First-class Teacher's certificate, and was appointed principal of the public school in New Edinburgh, Ontario. He studied law in Ottawa and moved to Portage la Prairie, Manitoba in 1882. He was called to the Bar of Manitoba in 1882.

Political career

Manitoba
He was first elected as the member of the Legislative Assembly of Manitoba for the Portage la Prairie riding in 1883 and served as Attorney-General in the government of Thomas Greenway. In 1890, he initiated legislation to end French language instruction and support for Catholic separate schools, prompting the Manitoba Schools Question crisis.

Canada
Martin ran unsuccessfully as a Liberal candidate in the 1891 election to become the Member of Parliament for Selkirk.  When Sir Hugh Macdonald resigned his Winnipeg seat, Martin ran in the 1893 by-election and won by acclamation.  He lost the seat to Macdonald when they both ran for re-election in Selkirk in the 1896 election.  He later ran in the 1908 election as an Independent in the Vancouver City riding but was not elected.

British Columbia
After his defeat in Manitoba, Martin left for British Columbia to settle in Vancouver. He arrived at a time of booming prosperity.  He took up the practice of law and made a fortune developing the Hastings Manor subdivision in Vancouver.

Martin was first elected to the British Columbia Legislative Assembly in 1898 election in the multi-member Vancouver City riding.  The election did not yield a majority for any one party.  With increased representation for mainland ridings and a shift in popular support from the Turner government, a government of special interests, railway industrialists, coal barons, lumber and fishing capitalists, Turner's support fell to 17 of 38 seats.  Lieutenant-Governor Thomas R. McInnes dismissed Turner on August 8, 1898 without allowing him the constitutional right to meet the legislature.  Instead he turned to former premier Robert Beaven, even though he had not been elected in his constituency, to form a government.  He was unable to do so, and McInnes then turned to Charles Semlin to form a government.  Semlin took office as premier and chose Martin as his Attorney-General.

During the two year Semlin government, Martin produced controversy by introducing measures such as an eight-hour work day (opposed by mine owners) and an Alien Exclusion Act to prevent Chinese from owning mining claims.  The federal government, at the instance of American interests, took steps to disallow the legislation.  During a controversial public meeting about the issue, Martin breached cabinet solidarity and criticized his own government resulting in a request from Premier Semlin for Martin's resignation. Semlin reconstituted his ministries and met the legislature facing strong opposition from Martin, often requiring the Speaker of the house to break ties by using his casting vote.  On February 27, 1900 McInnes dismissed Semlin and, the following day, asked Martin to form a government.  The result was a vote of non-confidence by the house which carried by a majority of 28 to 1.  Nevertheless, Martin formed a cabinet and governed for three months before going to the polls in the 1900 election.  Although hard fought, Martin had only 13 supporters elected.  The Semlin faction had even fewer at 6 and Semlin was defeated personally.  Following the election, Prime Minister Laurier dismissed McInnes and appointed Sir Henri-Gustave Joly de Lotbinière lieutenant-governor.  The legislature was able to agree to support James Dunsmuir to lead a government.  Martin served in the opposition (He became the first leader of the Liberal party of British Columbia) until he was defeated in the 1903 election, the first in British Columbia organized on party lines.

In 1907, he founded the Vancouver Guardian newspaper.  After his return from England, he ran in the 1920 election in Vancouver as an Independent under the banner of the Asiatic Exclusion League.  He was defeated and lost his deposit.

Martin, who died of complications from diabetes in March 1923, was the first person in Vancouver to be treated with insulin.

United Kingdom
He moved to the United Kingdom where he won a seat in the British House of Commons as a Liberal Member of Parliament for St Pancras East. He served from 1910 until 1918.

In December 1911, Winston Churchill, then the First Lord of the Admiralty, had announced to the House of Commons that the British fleet was ready for war. Martin fiercely attacked the Admiralty over the grounding of the warship Niobe "only to be completely and unceremoniously silenced by a biting answer from the First Lord."

The St Pancras East Liberal Association and Martin had a difficult relationship. By 1914 the association did not want Martin to continue as their MP and in May selected Richard Leopold Reiss to be their candidate for the general election expected to be called late 1914/early 1915. Martin said he would resign his seat and contest the resulting by-election as an Independent Lib-Lab candidate. Confronted with the prospect of losing the by-election to the Unionist, due to a split Liberal vote, the Liberal association told Martin in June that they would not contest the by-election. In July Martin announced that he would instead resign his seat and return to his native Canada, allowing Reiss to run against a Unionist in the by-election. Martin changed his mind again and decided not to resign his seat. In August war was declared, the general election was deferred, Reiss resigned as candidate to enlisted and Martin continued as MP.

Relations between Martin and his local Liberal association continued to be uncertain. Finally he crossed the floor to join the Labour Party. In early 1918 he was selected to run as Labour candidate in neighbouring Islington South. However, by close of nominations, there was no Labour candidate nominated.

Martin was also a candidate for mayor of Vancouver in 1914 and founded another newspaper there in 1916.

Sources

References

External links

Canadian Encyclopedia

When 'Fisticuffs Ensued' in BC's Legislature, Tom Barrett, The Tyee, May 9, 2013

1852 births
1923 deaths
Premiers of British Columbia
Liberal Party (UK) MPs for English constituencies
Liberal Party of Canada MPs
Leaders of BC United
BC United MLAs
Members of the House of Commons of Canada from Manitoba
Attorneys General of British Columbia
People from the Regional Municipality of Halton
UK MPs 1910
UK MPs 1910–1918
Members of the Executive Council of Manitoba
University of Toronto alumni
Labour Party (UK) MPs for English constituencies

Joseph Martin (Canadian politician)


සෝමාවතිය ජාතික වනෝද්‍යානය

උතුරු මැද පළාතේ පොළොන්නරුව දිස්ත්‍රික්කයේ එගොඩපත්තු සහ මැදපත්තුවල කොටසට හා නැගෙනහිර පළාතේ ත්‍රිකුණාමලය දිස්ත්‍රික්කයේ කොඩ්ඩියාර්පත්තුවට අයත් සෝමාවතිය ජාතික වනෝද්‍යානය වර්ග සැතපුම් 81.3 ක විශාලත්වයෙන් යුතුවෙයි.

මෙම ජාතික වනෝද්‍යානය 1986 සැප්තැම්බර් 12 වෙනිදා ප්‍රකාශයට පත්කොට තිබෙයි. මෙම ජාතික වනෝද්‍යානය පිහිටුවීමේ මූලික අරමුණ වී මහවැලි ගංගාව ආශ්‍රිත මෙම ප්‍රදේශයේ ගැවසෙන අලි ඇතුන්ගේ ආරක්ෂාව වෘක්ෂලතා ආදියෙහි පැවත්ම තහවුරු කිරීම වෙයි. මෙම වනෝද්‍යානය වසරේ වැඩි කාලයක් වියළි කාළගුණික තත්වයක් පෙන්නුම් කලද මහවැලි ගංගාවේ ඩෙල්ටා ප්‍රදේශය තුළ පිහිටීම නිසා සරුසාර මෙන්ම වර්ෂා කාලයේ ගංවතුර තර්ජනයටද ලක්වෙයි.

ඓතිහාසික මෙන්ම පූජනීය සෝමාවතිය චෛත්‍ය ප්‍රමුඛ පුදබිම පිහිටා ඇත්තේද මෙම වනෝද්‍යානය තුළවෙයි.මෙම වනෝද්‍යානය තුළ අඩම්පනාරු, මදුර ආරු, වෙරුගල් ආරු ආදී අතු ගංගා ආශ්‍රිතව තැනුනු විල්ලු විස්සක් පමණ පිහිටා තිබෙයි.

මෙවැනි පාරිසරික , ඓතිහාසික හා සෞන්දර්යාත්මක වටිනාකමෙන් යුතු සෝමාවතිය ජාතික වනෝද්‍යානය ආරක්ෂා කරගනිමින් ඉහලම සංචාරක ආකර්ශනයක් දිනාගත හැකි අයුරින් සංචාරක ප්‍රවර්ධන සැලසුම් රාශියක් හිටපු මහවැලි සංවර්ධන රාජ්‍ය අමාත්‍ය රොෂාන් රණසිංහ මහතා ජනගත කළ " අනාගත පොළොන්නරුව - පස් අවුරුදු සංවර්ධන සැලස්ම " තුළ අන්තර්ගත කොට තිබීම අගය කළ යුතු කටයුත්තකි.
දිනේෂර#2020|06|01#..

සෝමාවතිය ජාතික උද්‍යානය


Kulturna politika uključuje vladine radnje, zakone i programe koji reguliraju, štite, potiču i financijski (ili na drugi način) podupiru aktivnosti povezane s umjetničkim i kreativnim sektorima, poput slikarstva, kiparstva, glazbe, plesa, književnosti i filmske produkcije te kulture, koja može uključivati aktivnosti vezane uz jezik, baštinu i raznolikost. Ideja kulturne politike razvijena je u UNESCO-u šezdesetih godina prošlog stoljeća. Ta ideja uključuje vlade koje uspostavljaju procese, pravne klasifikacije, propise, zakonodavstvo i institucije (npr. galerije, muzeje, knjižnice, operne kuće itd.) koje promiču i olakšavaju kulturnu raznolikost i kreativno izražavanje kroz niz umjetničkih formi i kreativnih aktivnosti. Kulturne se politike razlikuju u različitim državama, ali općenito imaju za cilj poboljšati dostupnost umjetnosti i kreativnih aktivnosti građanstvu te promicati umjetničke, glazbene, etničke, sociolingvističke, književne i druge izričaje svih ljudi u državi. U nekim zemljama, naročito od 1970-ih godina, naglasak je na podršci kulturi autohtonih naroda i marginaliziranih zajednica i na tome da kulturne industrije (npr. filmska ili TV produkcija) predstavljaju raznoliku kulturnu baštinu te etničku i jezičnu demografiju zemlje.

Kulturna politika može se provoditi na razini države, na podnacionalnoj razini (npr. savezne države SAD-a ili kanadske provincije), na regionalnoj ili na općinskoj razini (npr. gradska uprava osniva muzej ili umjetnički centar) . Primjeri kreiranja kulturne politike na razini nacionalne države imaju širok raspon, od financiranja glazbenog obrazovanja ili kazališnih programa uz malo ili bez ikakvih troškova, do ugošćavanja umjetničkih izložbi koje sponzoriraju privatna poduzeća u državnom muzeju, do uspostavljanja pravnih kodeksa (poput američke Internal Porezne oznake 501(c)(3) Porezne uprave za neprofitna poduzeća) i stvaranja političkih institucija (poput različitih ministarstava kulture i odjela za kulturu te nacionalnih zaklada), vijeća za podršku umjetnosti i kulturnih institucija poput galerija i muzeja.

Većim dijelom dvadesetog stoljeća su mnoge aktivnosti kulturne politike bile pod nazivom "umjetničke politike". Umjetnička politika uključuje izravno financiranje umjetnika, stvaratelja i umjetničkih institucija te neizravno financiranje umjetnika i umjetničkih institucija kroz porezni sustav (npr. davanjem donacija dobrotvornim umjetničkim ustanovama kao porezne olakšice). Međutim, kao što je primijetio Kevin Mulcahy, "kulturna politika obuhvaća puno širi niz aktivnosti nego što je to bilo obuhvaćeno umjetničkom politikom. Dok je umjetnička politika bila ograničena na rješavanje estetskih pitanja (npr. financiranje umjetničkih galerija i opernih kuća), značaj transformacije kulturne politike može se uočiti u njezinom vidljivom naglašavanju kulturnog identiteta, valorizaciji autohtonog [kulture autohtonog naroda] i analizama povijesne dinamike (poput hegemonije i kolonijalizma)." Opći trend u zapadnim industrijaliziranim zemljama od 1970-ih i 1980-ih je pomak od potpore malom broju elitnih profesionaliziranih umjetničkih formi i institucija (npr. klasična glazba, slikarstvo, skulptura, umjetničke galerije) prema potpori amaterskih i kulturnih i kreativnih aktivnosti zajednice (npr. kazalište u zajednici) te kulturnih formi koje nisu smatrane dijelom zapadnog kanona (npr. tradicionalna glazba poput bluesa, glazbe svijeta i tako dalje).

Povijest
Prije dvadesetog stoljeća, umjetnost je obično podržavala pokroviteljstvo crkve, aristokrata poput kraljeva i kraljica i bogatih trgovaca. Tijekom devetnaestog stoljeća umjetnici su sve više koristili privatno tržište kako bi zaradili. Primjerice, skladatelj Beethoven je u 19. stoljeću priređivao javne koncerte za koje se ulaz naplaćivao. Tijekom dvadesetog stoljeća vlade su počele preuzimati neke od uloga pokroviteljstva umjetnosti. Prvi napori vlada da podrže kulturu obično su bili osnivanje arhiva, muzeja i knjižnica. Tijekom dvadesetog stoljeća vlade su uspostavile niz drugih institucija, poput umjetničkih vijeća i odjela za kulturu. Prvi odjeli za kulturu obično su podržavali glavne umjetnosti koje su dio zapadnog kanona, kao što su slikarstvo i kiparstvo, te glavne izvedbene umjetnosti (klasična glazba i kazalište).

Umjetnička politika

U dvadesetom su stoljeću zapadne vlade u Ujedinjenom Kraljevstvu, Kanadi, Australiji, Novom Zelandu i mnogim europskim državama razvile mjere umjetničke politike za promicanje, potporu i zaštitu umjetnosti, umjetnika i umjetničkih institucija. Umjetničke političke inicijative ovih vlada općenito su imale dva cilja: podupiranje izvrsnosti u umjetnosti i olakšavanje pristupa umjetnosti za građane. Primjer inicijative umjetničke politike koja podupire izvrsnost bio bi vladin program bespovratnih sredstava koji osigurava financiranje najuspješnijim umjetnicima u državi. Konkretan primjer bila bi književna nagrada od 100.000 dolara za najbolje autore beletristike koje izabire žiri sastavljen od vrhunskih stručnjaka. Primjer inicijative umjetničke politike koja ima za cilj povećanje dostupnosti umjetnosti bio bi glazbeni program u školama koji financira vlada. Konkretan primjer bio bi program koji financira orkestar ili jazz kvartet i plaća im besplatne koncerte u osnovnim školama. To bi omogućilo djeci iz obitelji s nižim i srednjim primanjima da uživo čuju glazbu.

Ova dva cilja, podrška izvrsnosti i širenje dostupnosti, često su kompromisi, budući da povećanje jednog obično utječe na smanjenje drugog. Primjerice, ako neka država ima program bespovratnih sredstava od 12 milijuna dolara godišnje za orkestre te se njezina vlada usredotoči na cilj podržavanja glazbene izvrsnosti, ona može odlučiti uložiti 4 milijuna dolara godišnje za tri najbolja orkestra u zemlji koje odabire vijeće neovisnih profesionalnih glazbenih kritičara, dirigenata i profesora glazbe. Ova bi odluka pogodovala cilju povećanja izvrsnosti budući da bi financiranje išlo samo vrhunskim glazbenim skupinama. Međutim, ovaj pristup omogućio bi građanima samo tri grada pristup profesionalnim orkestrima.

S druge strane, ako se vlada usredotoči na širenje pristupa simfonijskim koncertima, mogla bi naložiti nezavisnom povjerenstvu da odabere 12 orkestara u zemlji, po jedan orkestar za jedan grad. Ako bi se uložilo milijun dolara godišnje za 12 orkestara u 12 gradova, to bi omogućilo građanima iz 12 gradova u zemlji da vide nastupe orkestara uživo. No, financiranje 12 orkestara značilo bi da bi sredstva išla ansamblima koji ne zadovoljavaju najviše standarde izvrsnosti. Stoga su izvrsnost i širi pristup često kompromisi.

Teorijski pristupi

Kulturna politika, iako mali dio proračuna čak i najizdašnijih vlada, upravlja sektorom goleme složenosti. To uključuje "veliki, heterogeni skup pojedinaca i organizacija angažiranih u stvaranju, proizvodnji, prezentaciji, distribuciji i očuvanju i obrazovanju o estetskoj baštini i zabavnim aktivnostima, proizvodima i artefaktima". Kulturna politika nužno obuhvaća široku lepezu aktivnosti i obično uključuje javnu potporu za:

 Mjesta baštine, bojišta i povijesne spomenike
 Zoološke i botaničke vrtove, arboretume, akvarije, parkove
 Knjižnice i muzeje (umjetničke, znanstvene, povijesne)
 Vizualne umjetnosti (film, slikarstvo, kiparstvo, keramika, arhitektura)
 Izvedbene umjetnosti (simfonijska, komorna i zborska glazba; jazz, hip-hop i narodna glazba; balet, dvoranski i moderni ples; opera i glazbeno kazalište; cirkuske predstave, rodeo i koračnice)
 Javne humanističke programe (javna radiotelevizija, kreativno pisanje, poezija)

Neke vlade smještaju područja politika s ovog popisa u druga ministarstva ili odjele. Na primjer, nacionalni parkovi mogu biti dodijeljeni odjelu za okoliš, a javne humanističke znanosti mogu biti delegirane odjelu za obrazovanje.

Budući da je kultura javno dobro (tj. doprinosi vrijednosti čitavog društva, uključujući i one koji ju ne plaćaju, budući da cijelo društvo ima koristi od umjetnosti i kulture) i smatra se zasluženim dobrom, mnoge vlade potiču programe za promicanje veće dostupnosti. Tim pristupom trebalo bi se osigurati da značajna estetska djela poput slika i skulptura postanu široko dostupna javnosti. Drugim riječima, "visoka kultura" ne bi trebala biti rezervirana isključivo za određene društvene klase ili građane velegrada. Umjesto toga, dobrobiti najviših dosega kulturne izvrsnosti trebale bi se ostvarivati na egalitarni način; nacionalno kulturno blago mora biti dostupno bez obzira na prepreke klasnih prilika, obrazovanja ili mjesta stanovanja. Demokratska država ne može se promatrati kao jednostavno povlađivanje estetskim preferencijama nekolicine ili otvoreno unošenje političkih vrijednosti u umjetnost. Posljedično, demokratska kulturna politika mora artikulirati svoju svrhu na načine koji pokazuju kako služi javnom interesu. Ta se svrha često izražava kao uključivanje ili stvaranje kulturne demokracije ili kao demokratizacija kulture .

Cilj kulturne demokratizacije je estetsko prosvjećenje, povećanje dostojanstva i obrazovni razvoj općeg građanstva. "Diseminacija je bila ključni koncept s ciljem uspostavljanja jednakih mogućnosti za sve građane da sudjeluju u javno organiziranim i financiranim kulturnim aktivnostima".  Kako bi se postigao ovaj cilj, izvedbe i izložbe su pristupačnih cijena; javno umjetničko obrazovanje promiče jednakost estetskih mogućnosti; nacionalne institucije organiziraju izvedbe na radnim mjestima, u domovima za umirovljenike i stambenim kompleksima.

Kao što je ranije navedeno, "demokratizacija kulture" pristup je odozgo prema dolje koji promiče određene oblike kulturnog programiranja koji se smatraju javnim dobrom. Jasno je da je takav cilj podložan kritici zbog onoga što se naziva kulturnim elitizmom; t.j., pretpostavke da su neki estetski izrazi inherentno superiorni - barem kako to određuju poznavatelji koji se bave stjecanjem kulturnog kapitala .  "Problem s ovom politikom je to što ona, u osnovi, namjerava stvoriti veću publiku za predstave čiji se sadržaj temelji na iskustvu privilegiranih društvenih skupina. Ukratko, uzeto je zdravo za gotovo da su kulturne potrebe svih članova društva iste". Cilj je kulturne demokracije, s druge strane, omogućiti participativniji (ili populistički) pristup u definiranju i pružanju kulturnih mogućnosti.

Povezivanje koncepta demokratizacije kulture s kulturnom demokracijom ima pragmatičnu, ali i filozofsku komponentu. Kulturno pokroviteljstvo u demokratskim vladama značajno se razlikuje od pokroviteljstva bogatih pojedinaca ili korporacija. Privatni ili politički najvažniji pokrovitelji odgovorni su samo sebi i slobodni su se prepustiti svojim ukusima i preferencijama. Demokratske vlade, s druge strane, odgovorne su biračkom tijelu i smatraju se odgovornima za svoje političke odluke.

Ova dva cilja - širenje visoke kulture i sudjelovanje u širem rasponu kulturnih aktivnosti - vezana su uz raspravu o sadržaju javne kulture: "elitističkom" ili "populističkom".

Elitizam
Zagovornici elitističke pozicije tvrde da bi kulturna politika trebala naglašavati estetsku kvalitetu kao odlučujući kriterij za javno subvencioniranje. Ovo gledište obično podržavaju glavne kulturne organizacije, kreativni umjetnici u tradicionalno definiranom području likovne umjetnosti, kulturni kritičari i dobro obrazovana, dobrostojeća publika za ove umjetničke forme. Ronald Dworkin to naziva "uzvišenim pristupom", koji "inzistira na tome da umjetnost i kultura moraju doseći određeni stupanj sofisticiranosti, bogatstva i izvrsnosti kako bi ljudska priroda mogla cvjetati, te da država mora osigurati tu izvrsnost ako ljudi neće ili ga ne mogu sami sebi osigurati." Zagovornici elitističke pozicije općenito se usredotočuju na potporu stvaranju, očuvanju i izvedbi djela zapadnog kanona, skupine umjetničkih djela koja se smatraju najboljim umjetničkim i kulturnim proizvodima zapadnog društva.

Populizam
Nasuprot tome, populistička pozicija zagovara široko i uključivo definiranje kulture i njezinu dostupnost. Populistički pristup naglašava manje tradicionalan, a više pluralistički pojam umjetničke vrijednosti i svjesno nastoji stvoriti politiku kulturne raznolikosti. S fokusom na osobno poboljšanje, pozicija populista postavlja vrlo ograničene granice između amaterskih i profesionalnih umjetničkih aktivnosti. Doista, cilj je pružiti prilike za one izvan profesionalne mainstream. Na primjer, dok elitni pristup zagovara potporu profesionalnim glazbenicima, posebno onima iz klasične glazbe, populistički pristup zagovara podršku amaterima, pjevačima i glazbenicima iz zajednice.

"Zagovornici populizma često su zagovornici manjinskih umjetnosti, narodnih umjetnosti, etničkih umjetnosti ili protukulturnih aktivnosti", kaže Kevin V. Mulcahy. Kulturni "elitisti", s druge strane, podržavaju izvrsnost u odnosu na amaterizam i favoriziraju estetiku umjesto "kulture za sve". Postoje "dvije ključne tenzije u vezi s nacionalnom kulturnom politikom -  izvrsnost naspram pristupačnosti i uloga vlade kao pomagača naspram arhitekta".

Kevin V. Mulcahy tvrdi kako je elitizam zapravo kulturna demokracija, a populizam demokratizacija kulture. Nažalost, postoji tendencija da se ta dva stajališta vide kao međusobno isključiva, a ne komplementarna. "Elitisti" se smatraju "snobovima" koji zagovaraju ezoteričnu kulturu fokusiranu na umjetničku glazbu i vrste umjetnosti kakve se mogu vidjeti u muzejima i galerijama; populisti su odbačeni kao "povlađujući filistri" koji promiču trivijaliziranu i komercijaliziranu kulturu, budući da podržavaju popularnu glazbu i narodnu umjetnost . Međutim, ovi međusobni stereotipi opovrgavaju komplementarnost između dva kraja umjetnički autonomne i politički odgovorne kulturne politike. Postoji sinteza koja se može nazvati "latitudinarnim pristupom" javnoj kulturi; odnosno onim koji je estetski uključiv i široko dostupan.

Globalizacija umjetnosti
Muzikolozi David Hebert i Mikolaj Rykowski pišu da kada je "glazba prepoznata kao neprocjenjivo kulturno naslijeđe, uključujući jedinstvene artefakte intelektualnog vlasništva, novi razvoji u ovom polju tada postaju priznati kao važni oblici društvene inovacije;" Međutim, oni upozoravaju kreatore politike da uz glokalizaciju, uspon "'velikih podataka' nudi moćne alate bez presedana, ali također neizbježno uključuje mnoge rizike za sve vrste umjetnika (i glazbenike i njihove suradnike u drugim umjetnostima), kao i održivost tradicionalne kulturne prakse."

Gledišta
Prema dr. Mulcahyju, takva javno-kulturna politika ostala bi vjerna najvišim standardima izvrsnosti iz širokog spektra estetskih izričaja, a istodobno bi omogućila najširi mogući pristup ljudima iz različitih zemljopisnih sredina, socioekonomskih slojeva i obrazovanja. Shvaćajući javnu politiku kao priliku za pružanje alternativa koje nisu lako dostupne na tržištu, javne kulturne agencije bile bi bolje pozicionirane da nadopune napore privatnog sektora, umjesto da dupliciraju njihove aktivnosti. Slično, kulturne agencije mogu promicati razvoj zajednice podupiranjem umjetničke baštine koja je u nepovoljnijem položaju u odnosu na konkurenciju u svijetu kulture koji je sve više vođen profitom. Ukratko, izvrsnost treba promatrati kao postignuća iz horizontalne, a ne vertikalne perspektive, a kulturnu politiku kao podršku ukupnosti ovih varijanti izvrsnosti.

Ovi stavovi o javnoj kulturnoj odgovornosti u izrazitoj su suprotnosti s velikim dijelom ostatka svijeta, gdje je kultura pitanje povijesnog naslijeđa ili nacionalnog identiteta naroda, bilo u neovisnim državama ili u regijama unutar moćnijih država. Osjetljiva pitanja su neizbježan dio svake rasprave o kulturi kao javnoj politici. Međutim, s obzirom na zahtjeve u demokratskom sustavu da javne politike prikazuju korist poreznih obveznika, kulturna se politika često zalaže za potporu utemeljenu na korisnosti. Može se reći da postoji paritet između odgovornosti države za društveno-ekonomske i fizičke potrebe građana i njenog pristupa kulturi i prilikama za umjetničko samoizražavanje. Međutim, estetska dimenzija javne politike nikada nije bila široko shvaćena kao očita ili kao politički imperativ. U skladu s tim, kulturni sektor se često zalaže za svoju stranu uz pomoć sekundarnih, sporednih koristi koje proizlaze iz javne potpore programima koji su samo naizgled estetske prirode. Kulturna politika obično se ne opravdava samo na temelju toga što je sama po sebi dobra, već i jer daje druge dobre rezultate.

Čini se da budućnost kulturne politike predviđa sve neumoljiviji zahtjev da umjetnost "podnese svoj teret", umjesto da se oslanja na javne subvencije za "umjetnost radi umjetnosti". Kevin V. Mulcahy smatra ovaj "kulturni darvinizam" najizraženijim u Sjedinjenim Državama gdje su javne subvencije ograničene i gdje se od javno podržanih estetskih aktivnosti očekuje da pokažu izravnu javnu korist. Neameričke kulturne institucije manje su ograničene potrebom za održavanjem diverzificiranih tokova prihoda koji zahtijevaju visoke razine zarađenog prihoda te donacije pojedinaca i poduzeća kako bi se nadoknadila i nadopunila ograničena državna izdvajanja.

S druge strane, kulturne institucije su sve više orijentirane na tržište u svojoj potrebi za dodatnim sredstvima i kao opravdanje za nastavak javne potpore. Američki model suštinski privatizirane kulture sve je privlačniji vladama koje žele smanjiti svoje kulturne subvencije. U sustavu mješovitog financiranja, javna kultura može podržavati umjetničke grupe i kulturne aktivnosti koje pridonose osobnoj vrijednosti pojedinca i definiranju zajednice, čak i ako su manje ekonomski isplative. Kulturna politika se iz korijena bavi stvaranjem javnih sfera koje ne ovise ni o profitnim motivima niti ih potvrđuju komercijalne vrijednosti. Budući da politička demokracija ovisi o postojanju civilnog društva i društveno-ekonomskog pluralizma, kulturna politika predstavlja ključnu javnu obvezu u ostvarivanju ovih temeljnih preduvjeta.

Jedan od dostupnih, a nedovoljno cijenjenih alata u kulturnoj politici na nacionalnoj razini je smanjenje stopa PDV-a za kulturna dobra i usluge. Ekonomska teorija može se koristiti za objašnjenje očekivanja kako će smanjene fiskalne stope smanjiti cijene i povećati količine potrošene kulturne robe i usluga. Fiskalna politika može biti važan dio kulturne politike, posebice popusti stope PDV-a na kulturnu potrošnju, ali joj se posvećuje puno manje pozornosti nego što zaslužuje.

Opseg
Na međunarodnoj razini UNESCO je zadužen za kulturnu politiku. Kontakt podaci za ministarstva kulture i nacionalna umjetnička vijeća u 160 zemalja dostupni su na web stranici Međunarodne federacije umjetničkih vijeća i kulturnih agencija (IFACCA). Na lokalnoj razini, subnacionalne (npr. državne ili pokrajinske vlade), gradske i lokalne vlasti nude građanima i lokalnim vlastima priliku za razvoj umjetnosti i kulture s Agendom 21 za kulturu.

Istraživanje
Istraživanje kulturne politike područje je akademskog istraživanja koje je izraslo iz kulturnih studija 1990-ih. Izrastao je iz ideje da kulturni studiji ne bi trebali biti samo kritički, već i pokušati biti korisni. Od 2010-ih postoji mnogo odjela za studije kulturne politike diljem svijeta. Dokument koji daje pregled kulturnih politika u svijetu je Globalno izvješće (2018.) Konvencije o zaštiti i promicanju raznolikosti kulturnih izričaja iz 2005. godine.

Vidi također

 Umjetničko vijeće
 Studiji kulturnih institucija
 Kulturni inženjering
 Subvencija za kulturu
 Kulturna diplomacija
 Socijalne mjere

Izvori

Bibliografija

 Madden, C, 2009., "Neovisnost državnog financiranja umjetnosti: pregled", D'Art Topics in Arts Policy, br. 9, Međunarodna federacija umjetničkih vijeća i kulturnih agencija, Sydney, www.ifacca.org/themes
 Marcello Sorce Keller, "Why is Music so Ideological, Why Do Totalitarian States Take It So Seriously: A Personal View from History, and the Social Sciences", Journal of Musicological Research, XXVI(2007), br. 2-3, str. 91–122;
 Marja Heimonen & David G. Hebert, " Pluralizam i prava manjina u glazbenom obrazovanju: Implikacije pravne i društvene filozofske dimenzije  ", Vizije istraživanja u glazbenom obrazovanju, Svezak 15 (2010.).
 Mario d'Angelo, Paul Vesperini, Kulturne politike u Europi (niz u četiri toma) : 1) Komparativni pristup 2) Regije i decentralizacija 3) Metoda i praksa evaluacije 4) Lokalna pitanja, Izdavanje Vijeća Europe, Strasbourg, 1999.-2001.
 Philippe Poirrier (ur.), Pour une histoire des politiques culturelles dans le monde, 1945-2011, La Documentation française, Pariz, 2011.
 Dave O'Brien, Kulturna politika: Menadžment, vrijednost i modernost u kreativnim industrijama, Routledge, Abingdon, 2014.
 Tony Bennett, Culture, A reformator's Science, SAGE, London, 1998.
 Jim McGuigan, Rethinking Cultural Policy, Open University Press, Milton Keynes, 2004.

Vanjske poveznice

 Međunarodna federacija umjetničkih vijeća i kulturnih agencija
 Organizacija Ujedinjenih naroda za obrazovanje, znanost i kulturu
 Les Rencontres - Udruga europskih gradova i regija za kulturu
 Kompendij - Kulturne politike i trendovi u Europi
Kultura
Stranice s nepregledanim prijevodima

Kulturna politika


Frederic Pujulà i Vallès () (12 November 1877 – 14 February 1962) was a Spanish journalist, dramatist, and a passionate Esperantist and contributor to the field of Esperanto literature. Born in Palamós, Girona, he travelled through Europe and stayed for a long time in Paris. He was involved in Joventut (1900–1906), the best "modernisme" review of Catalonia. During World War I, he fought with the French army.

Pujulà wrote "Homes Artificials" (Artificial Men) which is the first short science fiction novel in the canon of Catalan literature. It was originally published in 1912, by Biblioteca Joventut in Barcelona. In this novel, the protagonist Doctor Pericart wants to obtain a new society, unsocialized and perfect. Transformed into a demigod, he creates a group of individualized androids, which will be the seeds of the new society.

In 1914, he was in Paris with his first wife, where he was organizing en International Convention of Esperanto. When that very year the 1914-1918 war broke out, he enlisted as an infantry soldier and took part at the first battles against the German army.
Later on, as he could read and write the Morse alphabet, he was transferred to Communications between detachments of the French Army. It was during this period that, as a war correspondent of the daily paper "El Diluvio" he wrote a series of articles in Spanish about how life was in the trenches.
When he returned to Barcelona, he was appointed Staff editor of that newspaper, which was favourable to a federal system for Spain.
When in 1941 the fascist armies entered into Barcelona, they closed "El Diluvio", because Franco considered Federalism to be an offense. Consequently, Frederic Pujulà Vallès was sent to prison, together with the owner of the paper and the owner's two sons.
Frederic Pujulà received the death penalty, which was two weeks later commuted  to twenty years and one day.
At the end, he was set free two years and two months after he was imprisoned.

Pujulà died in Bargemon, France, in 1962.

Works

Catalan
Theater
El geni (1904)
El boig (1907, second part of El geni)
Dintre la gàbia (1906, with Emili Tintoré)
La veu del poble i El poble de la veu (1910, with Lluís Via)
 Novels
Titelles febles (1902)
Creuant la plana morta (1903)
El metge nou (1903)
Homes artificials (1912), considered as the first science fiction novel in Catalan, published again 1986 Edicions Pleniluni, .
Estudi Francesc Pi i Margall (1902), set of articles edited in Joventut.
Translations into Catalan:
Més enllà de las forsas, of the Norwegian Björnson (1904)
Kaatje, theater of the Belgian Paul Spaak (1914)
 Various novels by Georges Simenon

Esperanto
Naivulo
Karabandolo la plugisto
Fiŝkaptisto kaj rigardanto
La grafo erarinta (1908)
Monologues
 La Rompantoj (1907)
 Senhejmulo
 La Pipamanto
 Theater
 Aŭtunaj ventoj (1909)
 Novelo (1908)

External links
About  Homes Artificials (and Spanish)
Biography in Kataluna esperantisto n° 327 (Catalan)

1877 births
1962 deaths
People from Baix Empordà
Writers of Esperanto literature
Catalan-language writers
Writers from Catalonia
Translators to Catalan
Translators from Catalonia
Spanish Esperantists
Modernisme

Frederic Pujulà i Vallès


Una mano de bridge (título original en inglés, A Hand of Bridge, Op. 35, es una ópera en un solo acto con música de Samuel Barber y libreto en inglés de Gian Carlo Menotti. Es posiblemente la ópera más breve que se interpreta regularmente, dura menos de diez minutos. Está formada por dos parejas jugando una mano de bridge, durante la cual cada personaje tiene una breve arietta en la que él o ella canta un monólogo. La primera representación tuvo lugar en el Festival de los Dos Mundos en Spoleto el 17 de junio de 1959.

Esta ópera rara vez se representa en la actualidad; en las estadísticas de Operabase aparece con solo 1 representación en el período 2005-2010.

Personajes

Argumento
Sally recuerda un sombrero que ella vio en un escaparate antes ese día. Bill, el abogado, recuerda a su antiguo amante y se pregunta dónde está ahora. Geraldine lamenta no amar a su madre, que ahora está moribunda, mientras ella aún estaba bien. Finalmente, David fantasea sobre lo que él haría si fuese rico como su jefe "Mr. Pritchett."

Grabaciones
 Vladímir Goldschmann (director) / Patricia Neway, William Lewis, Philip Maero y Eunice Alberts. Simphony of the Air, Vanguard, 1960.
 Gregg Smith (dir.) / Catherine Aks, Fay Kittelson, William Carney, Richard Muenz. Cámara de Adirondack, Premier, 1991.

Referencias
Notas

Bibliografía
 Hayman, B.: «Samuel Barber» en Grove Music Online  ed. L. Macy (consultado el 8-04-2008).
Descripción en el catálogo Schirmer

Enlaces externos
Libreto en kareol.es (en inglés y español) y discografía de referencia

Óperas de Samuel Barber
Óperas en inglés
Óperas de 1959
Óperas estrenadas en Spoleto

Una mano de bridge