Ahmed Yasin Ghani (født 21. april 1991) er en irakisk-svensk fodboldspiller, der spiller på midtbanen for saudiarabiske Al-Kholood og Iraks fodboldlandshold. Han har tidligere spillet for blandet andet flere svenske klubber og danske AGF.

Karriere
I 2010 forlod Yasin barndomsklubben BK Forward til fordel for Örebro SK.

I efteråret 2012 blev Yasin portrætteret i fodboldmagasinet Offside, hvor læserne kunne følge en uge, der begyndte med en kamp mod GIF Sundsvall i Allsvenskan, der blev efterfulgt af en træningskamp på Swedbank Stadion i Malmø imod Brasilien.

AGF
Den 29. juni 2015 skrev Yasin en toårig kontrakt med superligaklubben AGF, gældende fra 1. januar 2016.. Den 9. juli 2015 blev Örebro og AGF enige om, at han kunne skifte allerede i sommerens transfervindue.

Han fik sin debut den 19. juli i superligapremieren imod Brøndby IF. Han blev ikke fast mand i startopstillingen i løbet af efteråret, og kort efter nytår 2016 imødekom AGF et ønske fra Yasin om at vende tilbage til Sverige af familiemæssige årsager, og han blev solgt til AIK Fotboll. Han nåede 21 kampe for AGF og scorede et enkelt mål.

AIK Fotboll
Den 7. januar 2015 blev det offentliggjort, at Ahmed Yasin skiftede til AIK.

International karriere
Den 24. juni 2012 debuterede Yasin for det irakiske A-landshold i en kamp mod Libanon. Efter denne er det blevet til yderligere syv optrædender for Yasin på landsholdet under ledelse af den brasilianske legende Zico. I alt har han spillet 44 landskampe og scoret seks mål pr. august 2022.

Referencer

Eksterne henvisninger

 Ahmed Yasins spillerprofil  hos agf.dk

Fodboldspillere fra Irak
Fodboldspillere fra Sverige
Fodboldspillere fra Örebro SK
Fodboldspillere fra AGF
Fodboldspillere fra AIK Fotboll
Fodboldspillere fra BK Häcken
Fodboldspillere fra Denizlispor

Ahmed Yasin


පුසුල්පිටිය යනු ශ්‍රී ලංකාවේ  මධ්‍යම පළාතේ නුවරඑළිය දිස්ත්‍රික්කයට අයත් ගම්මානයකි.

සංචාරක ආකර්ෂණ
පුසුල්පිටිය රජ මහා විහාරය - පුසුල්පිටිය ග්‍රාමයේ පිහිටි එෙතිහාසික වටිනාකමකින් යුත් පුරාණ විහාරස්ථානයක් වන පුසුල්පිටිය රජ මහා විහාරය, එළාර රජ විසින් අනුරාධපුරය පාලනය කල සමයේ දුටුගැමුණු කුමාරයා සිය ළමා අවධිය ගෙවූ ස්ථානයක් ලෙස ජනප්‍රවාදයේ විස්තර වේ.

මූලාශ්‍ර

පුසුල්පිටිය


Sakallar, Zonguldak ilinin Karadeniz Ereğli ilçesine bağlı bir köydür.

Tarihçe
Köyün eski adı Halilimam olarak geçmektedir.

Coğrafya
Köy, Zonguldak il merkezine 70 km, Karadeniz Ereğli ilçe merkezine 55 km uzaklıktadır.

Nüfus

Kaynakça

Dış bağlantılar

Karadeniz Ereğli belde ve köyleri

Sakallar, Karadeniz Ereğli


Simone Bolelli (født 8. oktober 1985 i Bologna) er en professionel italiensk tennisspiller.

Grand Slam-titler
  '''Australian Open
 Double herrer – 2015 (sammen med Fabio Fognini)

Eksterne henvisninger

Tennisspillere fra Italien
Tennisspillere ved sommer-OL 2008
Vindere af Australian Open

Simone Bolelli


Refflex a fost o formație de muzică pop și dance, origine din România. Membrii formației au fost Christian D (Cristian Dumitrescu) și Dony (Cornel Donici). Cei doi s-au cunoscut la Colegiul Energetic din Constanța rămânând de atunci cei mai buni prieteni. Ei au fost descoperiți de Viorel Sipoș de la 3 Sud Est și au ajuns în studioul lui Laurențiu Duță. Primul lor single a fost ,,Te iau cu mine''. Au urmat "Asta sunt eu" si "O aventura" care are si primul videoclip Refflex. În 2008, au lansat piesa ,,Fără ea". Această piesă are și o versiune în limba engleză (Here I am). Tot în 2008, formația s-a destrămat iar fiecare și-a găsit alt drum: Christian D a început să cânte cu Narcotic Sound (Marius Mirică), iar Dony cu David Deejay (Adi Colceru).

Discografie
Albume

O aventură

Discuri single

Te iau cu mine

Ăsta sunt eu

O aventură

Viteza luminii

2 inimi

Piesa noastră

Miss your love

De mii de ori

Obbsesion

Speranțe

Crazy

Fără ea

Here I am

Formații românești

Refflex


Tazio Giorgio Nuvolari (Castel d'Ario, Lombardija, Kraljevina Italija, 16. studenog 1892. - Mantova, Lombardija, Italija, 11. kolovoza 1953.) je bio talijanski vozač motociklističkih i automobilističkih utrka.

Nakon završetka Prvog svjetskog rata, gdje je radio kao vozač hitne pomoći, Tazio se počeo utrkivati u motociklizmu 1920., kada je imao 27 godina. Godine 1925. osvojio je naslov europskog prvaka u motociklizmu u klasi 350cc.

Nedugo nakon motociklizma, Tazio se počeo utrkivati u automobilizmu, te je tako 1921. pobijedio na utrci Coppa Verona. Godine 1925. trebao je zamijeniti Antonija Ascarija u Alfa Romeu, koji je poginuo na Velikoj nagradi Francuske u srpnju, no i sam Nuvolari je dva mjeseca kasnije doživio incident na Velikoj nagradi Italije, koji ga je izbacio iz utrkivanja neko vrijeme. Godine 1927. Tazio je osnovao vlastitu momčad, kupivši nekoliko Bugattija 35B za utrkivanje, gdje mu je momčadski kolega u početku bio sunarodnjak Achille Varzi, a kasnije i veliki rival. Nuvolari je s Bugattijem ostvario nekoliko pobjeda, među kojima su najznačajnije bile Velika nagrada Rima i Velika nagrada Tripolija.

Od 1931. do 1932. nastupao je u Europskom automobilističkom prvenstvu za Alfa Corse u bolidima Alfa Romea. Na Velikoj nagradi Belgije na Spa-Francorchampsu osvojio je prvo postolje, zajedno sa suvozačem Baconinom Borzacchinijem. Sljedeće 1932. dolazi do prve pobjede na Velikoj nagradi Italije na Monzi, a zatim i na Velikoj nagradi Francuske na stazi Reims-Gueux. Na posljednjoj utrci koja se vozila na Nürburgringu za Veliku nagradu Njemačke, Tazio osvaja drugo mjesto iza momčadskog kolege Rudolfa Caracciole. S četiri osvojena boda, osvaja naslov prvaka te sezone.

Nakon što se prvenstvo nije održavalo 1933. i 1934., Nuvolari je od 1935. do 1937. vozio za Ferrari. U prvoj sezoni upisao je pobjedu na Velikoj nagradi Njemačke, te sezonu završio na četvrtom mjestu konačnog poretka vozača, iza Rudolfa Caracciole, Luigija Fagiolija i Manfreda von Brauchitscha u dominantnim bolidima Mercedes-Benza. Sljedeće 1936. osvaja postolje na Velikoj nagradi Italije, te treće mjesto u konačnom poretku vozača iza Bernda Rosemeyera i Hansa Stucka u bolidima Auto Uniona. Sezonu 1937. započeo je u Ferrariju, a završio u Auto Unionu. Posljednju pobjedu ostvario je 1938. na domaćoj Velikoj nagradi Italije u bolidu Auto Uniona, te sezonu završio na petom mjestu konačnog poretka vozača. U trenutku kada je sezona 1939. bila prekinuta zbog izbijanja Drugog svjetskog rata, Nuvolari se nalazio na četvrtom mjestu iza Hermanna Paula Müllera, Hermanna Langa i Rudolfa Caracciole.

Nastupao je i na utrkama izdržljivosti, a najbolje rezultate je postigao 1930. i 1933. pobjedom na utrci Mille Miglia, 1931. i 1932. pobjedom na utrci Targa Florio, te pobjedom na utrci 24 sata Le Mansa 1933., kada je zajedno sa suvozačem Raymondom Sommerom slavio u bolidu Alfa Romeo 8C 2300MM.

Izvori

Vanjske poveznice
Tazio Nuvolari - Driver Database
Tazio Nuvolari - Racing Sports Cars

Talijanski automobilisti
Talijanski športski motociklisti

Tazio Nuvolari


محمد عبد العظيم بوشايب (مواليد 17 جويلية 1984 في بنغازي ليبيا) هو ممثل جزائري.

أعمال

سينما

تلفزيون

روابط خارجية

مراجع

أشخاص على قيد الحياة
أشخاص من بنغازي
ممثلو أفلام جزائريون
ممثلو تلفزيون جزائريون
ممثلون جزائريون في القرن 21
بوشايب محمد
مواليد 1404 هـ
مواليد 1984
مواليد في بنغازي

محمد بوشايب


Clash of Clans er et freemium mobil MMO strategi videospil udviklet og udgivet af Supercell. Spillet var udgivet til iOS d. 2 august 2012 og på Play Butik d. 7 oktober 2013.

Spillet er et af de største mobilspil som nogensinde er blevet udgivet. SuperCell har nu publiseret kort udgaven af Clash of Clans, nemlig lillebroren Clash Royale hvor vi ser de samme figurer men nu bare med kort hvor spillet fungerer lidt i samme stil som Heartstone.

Gameplay
Clash of Clans er et online multiplayer spil hvor man bygger sin village og træner mænd til at plyndre andre spilleres villages for at få guld og elixir. Guld og elixir kan man bruge til at beskytte sin village mod andre spillere ved at opgradere den. Hertil er der et hav af guides som kan bruges til at bygge en base op hurtigst muligt.

GamingOrbit har udgivet en guide på dansk som tilbyder lidt mere end det sædvanlige
.

Opdateringer

"Town Hall 11"
Version 8.67.3 - d. 10 december 2015 -
En af de største Clash of Clans opdateringer nogensinde.

Referencer

Eksterne henvisninger

Computerspil fra 2012
Free-to-play
Mobilapplikationer

Clash of Clans


Djibril Ouattara est un footballeur burkinabé né le 19 septembre 1999 à Bobo-Dioulasso est un footballeur international burkinabé qui évolue au poste d'attaquant avec le MC Oujda.

Carrière

En club
Il joue avec son compatriote issoufou dayo

en 2022 il remporta le championnat

il remporta aussi la coupe CAF cette même année

En sélection
Il remporte avec le Burkina Faso -20 ans la médaille de bronze aux Jeux africains de 2019.

Palmarès
 ASF Bobo-Dioulasso
 Championnat du Burkina Faso (1) :
 Champion : 2017-18.
Vainqueur de la coupe CAF en 2020 avec la Renaissance sportive de Berkane
Vainqueur de la super coupe d'Afrique en 2022 avec la Renaissance Sportive de Berkane

Liens externes

Footballeur international burkinabé
Naissance en septembre 1999
Naissance à Bobo-Dioulasso

Djibril Ouattara


පබළු වෙහෙර යනු  මහා පරාක්‍රමබාහු රජුගේ එක් බිසවක් වු ප්‍රභාවති දේවිය විසින් සදවන ලද ආරාමයකි. මහා පරාක්‍රමබාහු රජුගේ බිසවක් වු රූපවතී දේවිය ආදි රාජකීයන් පොළොන්නරු යුගයේ විවිධ ආරාම තැනවිය. පබළු වෙහෙර පිහිටා ඇත්තේ ශිව දේවාල අංක 2 ට ඊසාන දෙසට වන්නය.මුලුමනින්ම ගඩොලින් බැද ඇති පබලු වෙහෙර අග්‍රගන්‍යේ නිර්මාණයකි. Temple of Marbles කියා ද හදුන්වයි. මෙම විහාරය මේ වනවිට පිහිටා ඇත්තේ පොලොන්නරුව ගල්විහාර පාර ආසන්නයේය.

පබළු වෙහෙර


Gina Schwarz, née le  à Hollabrunn, est une instrumentiste et compositrice de jazz autrichienne. Elle joue de la contrebasse, de la guitare basse et de l'accordéon.

Biographie
Gina Schwarz suit des cours de basse, section jazz au Conservatoire de Vienne. Ensuite, elle étudie la basse à l'Université de musique et des arts du spectacle de Vienne, où elle obtient un Magister Artium. À partir de 2002, elle étudie au Berklee College of Music de Boston. Au cours d'un voyage d'étude à New York, elle approfondit ses connaissances instrumentales avec les musiciens Cecil McBee, Ron McClure, Buster Williams et Dennis Irwin.

Depuis 1992, elle joue dans divers groupes tels que le Yta Moreno Quartet, Wiener Salsa, les Groovehunters, Marianne Mendt, Harri Stojka, Willi Resetarits, Richard Oesterreicher, Zipflo Weinrich et le Robert Bachner Bigband. Elle est sollicitée pour des enregistrements en studios : Global Glue (Eardance, 2005), le Robert Bachner Big Band (Moments of Noise 2006, Spotlight on Ella Fitzgerald 2007, Live in Vienna 2009), George Garzone (In the Zone 2007), Muriel Grossmann (Natural Time 2016, Momentum 2017, Golden Rule 2018, Reverence 2019), Heinrich von Kalnein (Möbius Strip 2020)  ou le sextet de contrebasse Bass Instinct (Illusionista 2008, Butterfly 2010, Homebass 2016). En 2001, elle participe à la musique de scène de la pièce Damen der Gesellschaft au Burgtheater de Vienne.

Depuis 2005, elle dirige son quintette SchwarzMarkt. En 2006, elle sort un premier album sous son propre nom. Elle interprète ses propres compositions. En 2012, elle fonde son groupe Jazzista avec Bastian Stein, Bernhard Wiesinger, Robert Bachner, Heimo Trixner, Philipp Jagschitz et Harry Tanschek ainsi que la bandonéonne Ingrid Eder. Dans le groupe Airbass, dirigé par Richard Oesterreicher, elle joue avec Herbert Otahal, Clemens Salesny, Woody Schabata, Harry Tanschek et Primus Sitter. Elle dirige le projet Playground4 avec Esther Bächlin, Stephanie Wagner et Ingrid Oberkanins. Elle joue également en trio avec Gérard Guse et Ramón López. En 2017 et 2018, elle fait venir des musiciens comme Marilyn Mazur, Ingrid Jensen, Sylvie Courvoisier, Karin Hammar, Camila Meza, Angelika Niescier et Julia Hülsmann à Vienne dans le cadre de son projet Pannonica.

Gina Schwarz est enseignante à l'Institut de musique populaire de l'Université de musique et des arts du spectacle de Vienne.

Prix et récompenses
 Berklee Best Award
 lauréate du concours de composition MusicMaker, Mistelbach, 2002
 prix Hans Koller en tant que  « Side (wo) man of the year », 2007.

Discographies
 SchwarzMarkt (2006)
 Dans la zone exploit. George Garzone In the Zone (ATS Records 2007, avec Philippine Duchateau, Klemens Marktl )
 Gina Schwarz / Richard Oesterreicher Airbass (ATS Records 2008)
 Jazzista ( Unité Records 2013)
 Unité Gina Schwarz. exploit. Jim Black Woodclock (Cracked Anegg 2016)
 Pannonica (Cracked Anegg 2020, avec Lorenz Raab, Lisa Hofmaninger, Alois Eberl, Florian Sighartner, Clemens Sainitzer, Philipp Nykrin, Primus Sitter, Judith Schwarz )
 Kalnein / Schwarz / López : Une nuit à Vienne (Natango 2021)

Notes et références

Liens externes

Naissance en novembre 1968
Compositrice autrichienne
Compositeur autrichien de jazz
Accordéoniste de jazz
Bassiste de jazz
Contrebassiste autrichien
Pages avec des traductions non relues

Gina Schwarz


Yeminli tercüme, yeminli çevirmen tarafından imzalanıp mühürlenmiş tercümelerdir.

Yeminli Tercüman'lık noterler vasıtasıyla yapılır. Noterler, yabancı dilde üniversite düzeyinde diploması olan kişilere yemin ettirerek yeminli tercüman yetkisini verirler. Genellikle resmi evraklarda konsolosluklarca veya mahkemelerce, yapılan tercümelerde yeminli tercüman imzasını şart koşarlar.

Yeminli Tercüman tarafından yapılan tercümeler ayrıca noterden de tasdik gerektirebilir. Noter sadece kendisine bağlı olan yeminli tercümanın imzasını tasdik eder.

Ayrıca yeminli tercümanlar tercüme ettikleri belgelere gizlilik açısından katı kurallara haiz olmalıdırlar.

Çeviri

Yeminli tercüme


غرام مكسيكانا (1997)  هو الألبوم السادس للنجمة المكسيكية تاليا. أصبح الألبوم من أفضل البوماتها لليوم، خاصة النجاح الكاسح التي حققته أغنية «غرام مكسيكانا» (حبيبي المكسيكي) والتي اثبتت بأن تاليا فنانة حقيقية وموسيقية. أصدر الألبوم في الأول من يوليو (شهر السابع) عام 1997 تحت إشراف شركة EMI Music للمرة الثانية وقد تضمن أيضا أغاني من المنتج، الملحن والكاتب إيميليو استفان، وقد حصل الألبوم على الإسطوانة البلاتينية (Platinum record) لبيع أكثر من 300,000 نسخة في أميركا فقط. مبيعات الألبوم في جميع أنحاء العالم : 4,000,000(4 مليون) نسخة.

روابط خارجية

مراجع

ألبومات 1997
ألبومات باللغة الإسبانية

غرام مكسيكانا


Joseph Payne (17. janúar 1914 – 22. apríl 1975) var enskur knattspyrnumaður sem kunnastur er fyrir það afrek sitt að skora tíu mörk í einum og sama leiknum árið 1936. Það er enn met í ensku deildarkeppninni.

Líf og ferill
Joe Payne fæddist í smábæ í námunda við Chesterfield og starfaði sem kolanámumaður á táningsárum. Hann vakti athygli sem leikmaður hjá smáliðinu Bolsover Colliery og var fenginn til liðs við Luton Town, sem þá lék í þriðju deild-suður, árið 1934. Hann lék stopult fyrstu misserin en þann 13. apríl árið 1936 fékk hann tækifæri í framlínu Luton-liðsins vegna meiðsla fastamanna. Mótherjarnir voru Bristol Rovers og lauk leiknum með 12:0 sigri þar sem Payne skoraði tíu sinnum.

Næstu leiktíð varð hann markakóngur þriðju deildar með 55 mörk í 39 leikjum og leiddi Luton til meistaratignar. Vorið 1937 fékk hann að spreyta sig með enska landsliðinu í sínum fyrsta og eina leik. Hann skoraði tvívegis í 8:0 sigri á Finnum|.

Í mars 1938 var hann seldur til Chelsea F.C. fyrir 5.000 pund, sem talið var stórfé. Síðari heimsstyrjöldin setti stórt strik í reikninginn á ferli Payne og að stríðinu loknu gerðu þráðlát meiðsli það að verkum að hann þurfti að leggja skóna á hilluna árið 1947 eftir að hafa reynt fyrir sér hjá bæði West Ham og Millwall. Hann lést árið 1975.

Enskir knattspyrnumenn

Joe Payne


An Aechmea smithiorum in uska species han Liliopsida nga ginhulagway ni Carl Christian Mez. An Aechmea smithiorum in nahilalakip ha genus nga Aechmea, ngan familia nga Bromeliaceae.

Subspecies

Ini nga species ginbahin ha masunod nga subspecies:

 A. s. longistipitata
 A. s. smithiorum

Mga kasarigan

Mga sumpay ha gawas

Aechmea

Aechmea smithiorum


Olaylar
 Antipater, Hirodes'i öldürmeyi planladığı suçlamasıyla mahkemeye çıkarıldı.

Doğumlar
 13 Ocak - İmparator Guangwu, Çin'in Han Hanedanı'nın imparatoru ve Doğu Han Hanedanı'nın kurucusu (ö. 57)
 tarihi bilinmeyen
 Aemilia Lepida, Genç Julia'nın en büyük kızı (ö. 43)
 Lucius Vitellius, Publius Vitellius'un oğlu (ö. 51)

Ölümler

MÖ 5


Tel üstüvane, taşımak için katlanabilen veya iç içe sokulabilen ve kullanılacağı zaman açılan, silindir şeklinde, portatif dikenli tel engeli. Tel üstüvaneler, genel olarak, diğer engellerin kuvvet ve tesirini artırmak için kullanılır.

Gerilla
Türlerine göre müstahkem

Tel üstüvane


Vestborgen eller Kalundborgs Vestborg var en borg, der blev opført omkring år 1167 af Esbern Snare i Kalundborg på Vestsjælland.

Vestborgen blev grundlaget for byen Kalundborg, som opstod omkring den. Den ældste bydel, kaldet Højbyen, ligger umiddelbart øst for Vestborgen. Kalundborg blev befæstet i flere faser i 1200- og 1300-tallet med flere fæstningsmure. I den forbindelse blev også Kalundborg Slot, der ligger øst for Højbyen, opført. Dette skete i 1300-tallet, og sandsynligvis med Valdemar Atterdag som bygherre. Ny forskning og arkæologiske fund har dog fået Kalundborg Museum til at komme med en teori om, at Kalundborg Slot allerede blev opført i sidste halvdel af 1100-tallet, hvilket vil have betydet, at de to borge har eksisteret samtidig allerede fra byens tidlige historie.  Det nyere Kalundborg Slot har dog haft størst betydning og allerede omkring år 1600 var Vestborgen forsvundet.

I dag er kun ruinerne fra borgen bevaret, og disse består af borgbanken samt fundamentet fra flere bygninger. Området kaldes Ruinparken. Ruinerne er blevet udgravet fra 1907-1953, hvor man har fundet spor af flere bygninger, tårne, en stald og to porte.

Arkæologiske undersøgelser
I april 1907 stødte man i forbindelse med udstykningen af Lindevænget på de første ruinrester af Kalundborgs Vestborg. Nationalmuseet blev tilkaldt, og under ledelse af arkitekt C.M. Smidt blev der foretaget udgravninger, som hurtigt viste, at murværket var middelalderligt.

I perioden 1907-1935 foretog Nationalmuseet med jævne mellemrum arkæologiske undersøgelser på Kalundborgs Vestborg, som afdækkede borgens grundplan, og der foregik restaureringer og supplerende undersøgelser helt frem til 1935. Undersøgelser i 1980'erne gav indblik i borgbankens tilblivelse, oprindelige udseende og udvikling.

Se også
 Højbyen
 Kalundborg Slot

Referencer

Eksterne henvisninger

Bygninger, konstruktioner og anlæg fra middelalderen i Danmark
Borgruiner i Danmark
Bygninger, konstruktioner og anlæg i Kalundborg

Vestborgen


Das Dameneinzel der French Open 1988 war ein Tenniswettbewerb in Paris.

Titelverteidigerin war Steffi Graf. Das Finale bestritten Steffi Graf und Natallja Swerawa, das Graf nach nur 32 Minuten in zwei Sätzen gewann.

Setzliste

Hauptrunde

Viertelfinale, Halbfinale, Finale

Obere Hälfte

Obere Hälfte 1

Obere Hälfte 2

Obere Hälfte 3

Obere Hälfte 4

Untere Hälfte

Untere Hälfte 1

Untere Hälfte 2

Untere Hälfte 3

Untere Hälfte 4

Weblinks

Einzelnachweise

Dameneinzel
1988

French Open 1988/Dameneinzel


Bethany Balcer est une joueuse internationale de soccer américaine, née le  à Hudsonville (États-Unis), et évoluant au poste d'attaquante à l'OL Reign.

Biographie

Carrière en club
Bethany Balcer étudie à l'université de Spring Arbor, une petite université du Michigan qui fait partie de la NAIA, un championnat bien moins prestigieux que la NCAA. Elle ne se prédestine donc pas à une carrière professionnelle. Elle sera en effet la première joueuse de NAIA à évoluer en NWSL, puis avec l'équipe des États-Unis.

En 2019, elle est recrutée par le Reign, une franchise de NWSL. Pour sa première saison, elle est nommée Rookie de l'année. Elle reçoit comme récompense un bon d'achat de 50 $ à Chipotle, ce qui la fait réagir en demandant une convention collective pour les joueuses du championnat. En 2020 et 2021, elle est nommée dans la seconde équipe-type de l'année, et finit deuxième meilleure buteuse du championnat en 2021.

Carrière en sélection
Bethany Balcer est appelée pour la première fois pour un stage de l'équipe américaine en octobre 2020.

Vie personnelle
Bethany Balcer tient un blog sur lequel elle parle principalement de santé mentale et de sa foi catholique, poussant l'OL Reign à recruter une psychologue.

Palmarès

En équipe universitaire
 Spring Arbor Cougars :
 NAIA National Champions (2) : 2015, 2017

En club
 Grand Rapids FC :
 UWS Championship (1) : 2017

 Seattle Sounders :
 WPSL (1) : 2018

Notes et références

Liens externes
 blog de Bethany Balcer

Joueuse de l'OL Reign
Joueuse de soccer internationale américaine
Naissance en mars 1997

Bethany Balcer


Josef Steger (* 5. Oktober 1879 in Balzers; † 18. Februar 1963 ebenda) war ein liechtensteinischer Politiker.

Biografie
Steger war der Sohn des Bäckers Johann Anton Steger und dessen Frau Louisa (geborene Frick). Er war Bürger der Gemeinde Balzers und arbeitete als Maurer und Landwirt. Von 1924 bis 1927 sowie erneut von 1930 bis 1933 war er Mitglied im Gemeinderat von Balzers. Des Weiteren war Steger von April 1926 bis 1928 für die Volkspartei (VP) Abgeordneter im Landtag des Fürstentums Liechtenstein. Nachdem er bereits von 1923 bis 1926 Regierungsrat war, bekleidete er dieses Amt von 1932 bis 1936 ein weiteres Mal. Während dieser zweiten Amtszeit wechselte er zur Fortschrittliche Bürgerpartei (FBP).

Von 1936 bis 1945 war er Mitglied des Aufsichtsrates der Spar- und Leihkasse des Fürstentums Liechtenstein.

1920 heiratete er Anna Wille. Aus der Ehe ging ein Sohn, der spätere Regierungsrat Gregor Steger, hervor.

Weblinks

 Eintrag zu Josef Steger auf www.e-archiv.li

Regierungsrat (Liechtenstein)
Landtagsabgeordneter (Liechtenstein)
Mitglied der Christlich-sozialen Volkspartei (Liechtenstein)
FBP-Mitglied
Liechtensteiner
Geboren 1879
Gestorben 1963
Mann

Josef Steger


Toma Crijević O.P. (tal. Tommaso Cervino, Cervinus, de Zrieva, Ćerva, Červa; Dubrovnik, oko 1474. – Dubrovnik, 10. studenog 1562.) bio je prelat Katoličke Crkve koji je služio kao biskup trebinjsko-mrkanskog od 1532. do 1562. godine. Istovremeno je bio biskup stonski od 1541. do 1551.

Životopis

Rođen je oko 1474. godine u dubrovačkoj plemićkoj obitelji – Crijevići. Otac mu se zvao Ivan. Oko 1500. ušao je u dominikanski red. Tamo je učio dijalektiku i slobodna umijeća. Godine 1497. zaređen je za svećenika te je 5. lipnja poslan na daljnje studije. Filozofske i teološke studije pohađao je u Ferrari od 1497. do 1501. Zatim, 15. srpnja 1501., odlazi na studij u Padovu gdje se zadržava godinu dana. Zatim, 28. lipnja 1502., odlazi u Veneciju gdje ostaje do 1505. godine. Opća skupština Reda premješta ga 11. svibnja 1505. za bakalaureusa u Ferraru, gdje se zadržava do 1506. godine. Tamo je prema nekim izvorima postao doktor teologije i obaju prava.

U Dubrovniku je u dva navrata obnašao službu generalnog vikara Dubrovačke dominikanske kongregacije (1511. – 1513. i 1528. – 1530.). Godine 1512. bio je zamjenik generalnog vikar Dubrovačke kongregacije, a 1515. prior u gruškom samostanu.

U razdoblju od 1530. do 1532., za vrijeme pokušaja prodora protestantizma na dubrovačko područje, imenovan je prvim crkvenim inkvizitorom.

Dubrovačka vlada mu je više puta povjeravala diplomatske službe. Dana 18. studenog 1521. odlazi u tajnu misiju u Ugarsku te 1522. u Napulj kako bi vladama kršćanskog Zapada prenio vijesti o Osmanskom Carstvu. U veljači 1528. odlazi u Senj kapetanu Petru Kružiću te 1530. i 1532. Karlu V. zbog obrane raznih dubrovačkih interesa i obnove trgovačkih povlastica.

Dana 4. listopada 1529. dobio je dopuštenje poglavara svoga reda da može poći na hodočašće u Svetu Zemlju, ali se ne zna je li na kraju poduzeo to putovanje.

U listopadu 1532. umro je trebinjsko-mrkanski biskup Frane Pucić te je bilo potrebno izabrati njegova nasljednika. Dubrovački ga Senat predlaže, 29. listopada 1532., a papa Klement VII., 16. studenog 1532., potvrđuje za trebinjsko-mrkanskog biskupa.  Poglavara dominikanskog reda, Serafin Bandelli, mu je 8. siječnja 1533. odobrio izbor te izdao povlasticu kako može uživati sve povlastice i duhovna dobra svoga reda te da može uzeti dva ili tri dominikanska brata suradnika za sve svoje potrebe.

Godine 1541. odlazi u Rim papi Pavlu III. gdje je isposlovao odvajanje Stonske od Korčulanske biskupije.

Od 2. prosinca 1541. biskup je obnovljene Stonske biskupije ne gubeći naslov i obveze u prijašnjoj biskupiji. Na njegov zahtjev dubrovačka vlada je dala u Stonu izgraditi novu katedralu te je povećala prilog za uzdržavanje biskupa. Za uzvrat, 1549., Crijević je od pape Pavla III. isposlovao pravo da dubrovački Senat imenuje stonske biskupe. Dana 27. svibnja 1550. odobrio je družbu pobožnih žena na brdu Svetog Mihajla u Stonu te im je dao pravila svog Reda. Družbi je poklonio crkvicu sv. Mihajla kraj Stona, pripadajućom kućicom te okolnom zemljom.

Od 1545. godine, u Dubrovniku je zamjenjivao nadbiskupa Giovannija Angela Medicija, koji će kasnije postati papa Pio IV. Iscrpljen zbog brojnih dužnosti, 1551., odrekao se službe stonskog biskupa. Ipak, nastavio je upravljati Trebinjsko-mrkanskom biskupijom. Kasnije se povukao u benediktinsku opatiju sv. Jakova u Višnjici kraj
Dubrovnika. Umro je od moždanog udara, 10. studenog 1562., na povratku u Dubrovnik iz samostana. Pokopan je u dubrovačkoj katedrali.

Talijanski filozof i teolog, Toma Kajetan, posvetio mu je djelo "O kupovini stvari otetih u nepravednome ratu" ("De emptione rerum raptarum in bello iniusto") (Lyon, 1541.).

Izvori

Literatura

Knjige

Članci

Mrežna sjedišta

Životopisi, Dubrovnik
Hrvatski dominikanci
Trebinjsko-mrkanski biskupi
Hrvatski diplomati

Toma Crijević


Der Sündenbock von Spatzenhausen ist eine deutsche Heimatfilm-Komödie von Herbert B. Fredersdorf aus dem Jahr 1958. Die Hauptrollen sind neben Hans Moser mit Isa Günther und Jutta Günther sowie Bert Fortell und Albert Rueprecht besetzt.

Handlung
Der alte Ferdinand Schöberl, der als Bahnhofsvorsteher von Spatzenhausen arbeitet, erhält eines Tages Besuch von seiner Großnichte Margot. Sie hat mit ihrer Zwillingsschwester Inge das Haus geerbt, in dem Ferdinand lebt. Beide wollen das Häuschen verkaufen, um sich ihr Studium finanzieren zu können, doch überlegt es sich Margot anders, als sie die Stille des Ortes kennenlernt. Nur das Rattern der Züge stört die Idylle von Zeit zu Zeit. Die Züge treiben auch Ferdinand um, so hat er seit 40 Jahren den Traum, Spatzenhausen zu einer Station für den Eilzug zu machen, doch wurden bisherige Vorstöße immer abgelehnt. Als Bürgermeister Angerholzer zudem beschließt, eine 300 Meter lange Straße zum Ort auszubauen, um den Autoverkehr von Spatzenhausen anzuregen, wird Ferdinand zum erbitterten Verfechter der Eilzugidee. Obwohl sein persönliches Vorsprechen beim Amt mit einem freundlichen Rauswurf endete, verkündet er bei der nächsten Dorfsitzung, dass Spatzenhausen ein Haltepunkt für den Eilzug werde. Ferdinand überredet seinen Nachbarn Blasius, im Zug die Notbremse zu ziehen, wenn der Zug Spatzenhausen passiert. Tatsächlich können so erste Passagiere bequem das Dorf erreichen. Als Nächstes positioniert Ferdinand am Bahnhof ein Haltesignal und auch das nächste Mal muss der Zug halten. Als Ferdinands Vorgesetzter jedoch droht, ihn für seine Eigenmächtigkeiten zu entlassen, gibt Ferdinand nach und der nächste Zug passiert Spatzenhausen, ohne anzuhalten.

Die Reisenden sind empört und wollen Ferdinand nachts auf dem Heimweg von der Bar verprügeln, doch hat er sich Polizeischutz organisiert. Angerholzers Straßenprojekt hat durch den Eklat nun so großen Zulauf bekommen, dass es umgesetzt wird. Die beiden Streithähne Angerholzer und Ferdinand stehen kurz vor der Zwangsversöhnung, als Angerholzers Sohn Martin sich in Ferdinands Großnichte Margot verliebt. Deren Zwillingsschwester Inge flirtet unterdessen mit dem Arzt Dr. Staudinger, der als Witwer seine kleine Tochter Claudia allein großzieht. Angerholzer und Ferdinand untersagen die Beziehung zwischen Margot und Martin, zumal sich im Streit der beiden Männer am Ende auch die Kinder auf die Seite ihrer Verwandten schlagen. Inge wiederum wird von Dr. Staudinger sitzengelassen, weil der glaubt, sie sei Margot und betrüge ihn mit Martin. Beide Mädchen reisen enttäuscht zurück in die Stadt.

Gerade als Dr. Staudinger in der Stadt ist, wo schließlich das Geheimnis um die Zwillinge gelöst wird, setzen bei Angerholzers hochschwangerer Tochter die Wehen ein. Da Dr. Staudinger mit dem Eilzug nicht rechtzeitig in Spatzenhausen aussteigen könnte, bittet Angerholzer Ferdinand darum, den Zug am Spatzenhausener Bahnhof anzuhalten. Obwohl Ferdinand weiß, dass ihn das seine Position kosten wird, hält er den Zug angesichts der Notlage an. Dr. Staudinger ist jedoch für alle unerwartet nicht im Zug, sondern per Auto zu den Angerholzers gefahren. Wenig später erhält Ferdinand postalisch eine Vorladung zum Disziplinargespräch – die Vorstufe zur Kündigung. Nun setzt sich Angerholzer für ihn ein. Nicht nur kann er bei seinem Schwager, dem Landrat, durchsetzen, dass Ferdinand seine Arbeit behält. Er schafft es zudem, über den Landrat Spatzenhausen endlich zur Station für den Eilzug zu machen. Auch für die Zwillinge kommt es zum glücklichen Ende: Nach der Versöhnung von Angerholzer und Ferdinand steht auch der Ehe von Margot und Martin nichts mehr im Wege. Auch Inge und Dr. Staudinger werden ein Paar, sodass Claudia endlich eine neue Mutter erhält.

Produktion

Produktionsnotizen
Der Sündenbock von Spatzenhausen wurde unter anderem in den Carlton-Ateliers München gedreht. Viele Außenaufnahmen entstanden in Au bei Bad Aibling. Der Bahnhof befand sich in Au in der Kohlbachstraße gegenüber dem Haus Singer. Im Haus Singer wurden damals einige Innenaufnahmen des Filmes gedreht. Inzwischen ist die Bahnstrecke Bad Aibling-Feilnbach jedoch stillgelegt und demontiert. Die Bauten des Films schuf Curt Stallmach, die Kostüme stammen von Teddy Turai. Für die Animation der Credits waren Arno Wothe und Robert Salvagnac zuständig.

Im Film sind mehrere Lieder zu hören:
 Christa Williams: Was die Männer lieben
 Ivo Carraro und Die Cornels: Danke Schön
 Hans Moser: Ich bin ein stiller Zecher

Veröffentlichung
Es war die letzte Kino-Inszenierung von Fredersdorf und zugleich der letzte Film, in dem die Günther-Zwillinge auftraten. Der Sündenbock von Spatzenhausen erlebte am 23. Oktober 1958 seine Premiere.

Am 25. Juni 2007 gab die UFA den Film erstmals auf DVD heraus.

Kritik
Für den film-dienst war Der Sündenbock von Spatzenhausen ein "bescheidenes Lustspiel, das trotz einiger Selbstironie mit den üblichen Klischees und allen 'Spezialitäten' des Heimatfilms aufwartet."

Weblinks

 Der Sündenbock von Spatzenhausen Illustrierte Film-Bühne Nr. 4528

Einzelnachweise

Filmtitel 1958
Deutscher Film
Heimatfilm
Filmkomödie
Zwillinge im Film

Der Sündenbock von Spatzenhausen


Constantin N. Șuțu () a fost un politician român din secolul al XIX-lea, ministrul Lucrărilor Publice în guvernul Alexandru C. Moruzi format la Iași, între 5 octombrie 1861 și 22 ianuarie 1862, după Mica Unire, dar înainte de unirea administrativă a Principatelor Române.

Note

Nașteri în secolul al XIX-lea
Decese în 1879
Constantin N.
Guvernul Alexandru C. Moruzi
Politicieni români
Politicieni români din secolul al XIX-lea
Români din secolul al XIX-lea
Miniștri români

Constantin N. Șuțu


Zachary Stephen Williams (Pensacola, 5 de março de 1981), mais conhecido como Zach Williams, é um artista de rock cristão estadunidense. Ele foi criado em Jonesboro e, de 2007 a 2012, ele foi membro e vocalista do Zach Williams & The Reformation. Ele também foi o vocalista do grupo cristão Brothers of Grace, rebatizado como Zach Williams and the Brothers of Grace. Em 2016, ele começou sua carreira solo. O cantor possui cinco nomeações nos Grammys e duas vitórias, em 2018 venceu a categoria de Melhor Álbum de Música Cristã Contemporânea com Chain Breaker e em 2021 venceu a categoria de Melhor Canção de Música Cristã Contemporânea com There Was Jesus. O artista também possui quatro GMA Dove Awards, incluindo o de Artista Compositor do Ano, conquistado em 2020.

Prêmios e indicações

American Music Awards

|-
| 2018
| rowspan="2" | Zach Williams
| rowspan="2" | Artista Contemporâneo Inspiracional Favorito
|
|-
| 2021
|

Billboard Music Awards

|-
| rowspan="2" | 2018
| Zach Williams
| Melhor Artista Cristão
|
|-
| "Old Church Choir"
| Melhor Música Cristã
|
|-
| 2019
| rowspan="2" | Zach Williams
| rowspan="2" | Melhor Artista Cristão
|
|-
| rowspan="3" | 2021
|
|-
| Rescue Story
| Melhor Álbum Cristão
|
|-
| "There Was Jesus"
| Melhor Música Cristã
|

Grammy Awards

|-
| 2017
| "Chain Breaker"
| Melhor Performance/Canção de Música Cristã Contemporânea
|
|-
| 2018
|Chain Breaker
| rowspan="2" | Melhor Álbum de Música Cristã Contemporânea
|
|-
| 2019
| Survivor: Live From Harding Prison
|
|-
| 2020
| "Rescue Story"
| rowspan="2" | Melhor Performance/Canção de Música Cristã Contemporânea
|
|-
| 2021
| "There Was Jesus"
|

GMA Dove Awards

|-
| rowspan="5" | 2017
| rowspan="2" | Zach Williams
| Novo Artista do Ano
|
|-
| Artista Cristão Contemporâneo do Ano
|
|-
| rowspan="2" | "Chain Breaker"
| Música do Ano
|
|-
| Música Gravada Pop/Contemporânea do Ano
| *
|-
| Chain Breaker
| Álbum Pop/Contemporâneo do Ano
|
|-
| rowspan="2"| 2019
| Zach Williams
| Artista Cristão Contemporâneo do Ano
|
|-
| Survivor: Live From Harding Prison
| Vídeo de Formato Longo do Ano
|
|-
| rowspan="5"| 2020
| "Rescue Story"
| Música do Ano
|
|-
| rowspan="2" | Zach Williams
| Artista Cristão Contemporâneo do Ano
|
|-
| Artista do Ano
|
|-
| rowspan="2" | Rescue Story
| Álbum Pop/Contemporâneo do Ano
|
|-
| Pack de Música Gravada do ano
|
|-
| rowspan="6"| 2021
| "There Was Jesus"
| Música do Ano
|
|-
| rowspan="2" | Zach Williams
| Artista Cristão Contemporâneo do Ano
|
|-
| Artista do Ano
|
|-
| "Stand My Ground"
| Música Gravada de Rock/Contemporânea do Ano
|
|-
| "There Was Jesus"
| Música gravada Pop/Contemporânea do Ano
|

*

Músicos vencedores do Grammy

Zach Williams


Journey to the Center of the Earth (also called Jules Verne's Journey to the Center of the Earth) is a 1959 American science fiction adventure film in color by De Luxe, distributed by 20th Century Fox. The film, produced by Charles Brackett and directed by Henry Levin, stars James Mason, Pat Boone, and Arlene Dahl. Bernard Herrmann wrote the film score, and the film's storyline was adapted by Charles Brackett from the 1864 novel of the same name by Jules Verne.

Plot
In 1880 Edinburgh, Professor Sir Oliver Lindenbrook, a geologist at the University of Edinburgh, is given a piece of volcanic rock by his admiring student, Alec McEwan, who is in love with Lindenbrook's niece Jenny. Finding the rock unusually heavy, Lindenbrook discovers a plumb bob inside bearing a cryptic inscription. Lindenbrook and Alec discover that it was left by a scientist named Arne Saknussemm, who, almost 100 years earlier, had found a passage to the center of the Earth by descending into the volcano Snæfellsjökull, in western Iceland. After translating the message, Lindenbrook immediately sets off with Alec to follow in the Icelandic pioneer's footsteps.

Professor Göteborg, upon receiving correspondence from Lindenbrook regarding the message, attempts to reach the Earth's center first. Lindenbrook and McEwan chase him to Iceland. There, Göteborg and his assistant kidnap and imprison them in a cellar. They are freed by local Hans Bjelke and his pet duck Gertrud. They later find Göteborg dead in his hotel room. Lindenbrook finds potassium cyanide crystals in Göteborg's goatee and concludes that he was murdered.

Göteborg's widow, Carla, who initially believed Lindenbrook was trying to capitalize on her deceased husband's work, learns the truth. She provides the equipment and supplies that her husband had accumulated, including much sought after Ruhmkorff lamps, but only on the condition that she accompanies them to protect her husband's reputation. Lindenbrook grudgingly agrees. Hans and Gertrud also join the new expedition.

On a specific date, they mark the sunrise's exact location on Snæfellsjökull and descend into the Earth from there, following markings left by Saknussemm. However, they are not alone. Göteborg's murderer, Count Saknussemm, believes that, as Saknussemm's descendant, only he has the right to be there. He and his manservant trail the group secretly. When Alec becomes separated from the others, he comes upon Saknussemm. When Alec refuses to take the place of Saknussemm's servant, who has died from overexertion, Saknussemm shoots Alec in the arm. Lindenbrook locates them through the gunshot's echoes and, after a quick trial for murder, sentences Saknussemm to death. No one is willing to execute him, however, so they reluctantly take him along.

The explorers eventually come upon a subterranean ocean. They construct a raft to cross it, but not before narrowly escaping a family of large dimetrodons. Their raft begins circling in a large mid-ocean whirlpool. The professor deduces that this must be the center of the Earth: The magnetic forces of north and south meet there and are powerful enough to snatch away even the gold in their rings and tooth fillings. Now completely exhausted, they reach the opposite shore.

While the others are asleep, a hungry Saknussemm catches and eats Gertrud. When Hans finds out, he rushes at the count. Reeling back, Saknussemm inadvertently loosens a column of large stones and is buried beneath them, killing him. Right behind the collapse, the group comes upon the ruins of the sunken city of Atlantis. They also find the skeleton of Arne Saknussemm, whose right hand points toward a volcanic chimney. While a strong updraft suggests it leads directly to the surface, a huge rock partially blocks the way. Lindenbrook decides to blow up the obstruction with gunpowder left by Saknussemm, and they take shelter in a large sacrificial altar bowl. A giant lizard attacks, but is buried under molten lava released by the explosion. The bowl floats toward the passage and is finally driven upward at great speed by a lava plume. It finally reaches the surface, where the explorers are ejected, coming down away from the lava eruption.

When they return to Edinburgh, they are hailed as heroes. Lindenbrook turns down all the honors due to the loss of their documented evidence, but encourages the next generations to follow in their footsteps. Alec soon marries Jenny, and Lindenbrook and Carla kiss, a pledge of their coming wedding.

Cast

  James Mason as Sir Oliver Lindenbrook
  Pat Boone as Alec McEwan
  Arlene Dahl as Carla Göteborg
  Diane Baker as Jenny Lindenbrook
  Peter Ronson as Hans Bjelke
  Thayer David as Count Saknussemm
  Bob Adler as Groom (Credited as Robert Adler)
 Alan Napier as Dean
 Ivan Triesault as Professor Göteborg
 Alex Finlayson as Professor Boyle

Production
The film was a co-production between 20th Century-Fox and Joseph M. Schenck, who had been instrumental in helping establish Fox in 1935. The film was produced by Charles Brackett, who said:
Our picture describes action and events, with not the slightest shadow of Freud. The serious thing about Jules Verne is that all he does is tell a story in exciting episodes, but his stories have always pushed man a little closer towards the unknown. What we've tried to do is retell his story in the best way of all - in the Verne vernacular.
Brackett called the original story "a delightful book, written for young people. We simply couldn't have any solemnity about it. I wanted very much to do it at this time. I'm tired of all these films based on thoughts at the back of sick minds."

The script was written by Walter Reisch who later said:
I had written a lot of science fiction for magazines, and Charles Brackett knew about that. They also knew that I had written magazine articles on Jules Verne. I had studied Jules Verne, and always wanted to write his biography, but I never got around to doing it. When they bought the Jules Verne novel from his estate and assigned me, I was delighted. The master's work, though a beautiful basic idea, went in a thousand directions and never achieved a real constructive "roundness". With the exception of the basic idea, there is very little of the novel left in the film. I invented a lot of new characters—the Pat Boone part, the part of the professor's wife played by Arlene Dahl, the [part of the] villain—and the fact that it all played in Scotland.
Pat Boone was the first star announced. He said he was reluctant to make the film because it was science fiction, even after Fox promised to add some songs. It was only when they offered him 15% of the profits that he agreed at the urging of his management. He said, "Later on, I was very glad I did it, because it was fun to do, it had some good music and it became a very successful film".

Following up on that point, Diabolique magazine later observed:
It remains a mystery why Boone never appeared in another fantasy/sci-fi adventure in his entire career. Boone was believable in them, and he could easily sing a song over the credits if he wanted. He wouldn't have to worry about kissing any of his co-stars or "morality" issues. And it wasn't as though Fox weren't making them. When he was under contract they turned out The Lost World (1960), Voyage to the Bottom of the Sea (1961) and Five Weeks in a Balloon (1962). The last two even featured pop stars Frankie Avalon and Fabian respectively, but no Boone. Was he too expensive? Did the dates not work out? Did he insist on playing the lead? Whatever the reason it was a great shame. For me, this is the biggest misstep Boone made in his film career.

The role of the professor was meant to be played by Clifton Webb. Reisch said:
That was absolutely the most beautiful idea, because Clifton Webb had a certain tongue-in-cheek style, suited to playing a professor with crazy notions, which could be paired with Pat Boone as his favorite disciple. Every week Clifton visited Brackett's office, where we described scenes to him and he became very excited at the prospect of playing that kind of part. Maybe two or three weeks before we actually began to shoot, Clifton Webb went to the hospital for a checkup, and they never let him out. He had to undergo major surgery. Unless my memory fails me completely, it was a double hernia, and he was, as you can imagine, a very sensitive man, very touchy about sickness. He called Zanuck himself on his private line, and said he could not play the part because it was such a physical part.
Webb was replaced at the last minute by James Mason, who had previously appeared as Captain Nemo in Disney's earlier adaptation of Jules Verne's novel, 20,000 Leagues Under the Sea (1954). Reisch:
I think it was [longtime head of Twentieth Century-Fox casting] Billy Gordon or Lew Schreiber [Twentieth Century-Fox production executive] who suggested James Mason. James Mason was, of course, British, with a beautiful voice, and he liked the idea [of the part]. He felt it was his duty as Clifton's colleague to take over. From there on it was clear sailing, except that Pat Boone had about three or four songs, if not more, and I think all of them died in the end, with the exception of one or two. The moment that Zanuck saw [their effect on] the action, those songs just fell by the wayside.
Some of the underground sequences for Journey to the Center of the Earth were filmed at Carlsbad Caverns National Park. Other shooting locations included Amboy Crater and Sequit Point, California, as well as Edinburgh, Scotland. Principal photography took place from late June to mid-September 1959.

Originally, Life magazine editor and science writer Lincoln Barnett was to write the screenplay and later acted as one of the technical advisers on the film.

The giant Dimetrodon depicted at the center of the Earth action sequence were actually rhinoceros iguanas with a large, glued-on make-up appliance added to their back. The giant chameleon seen later in the ruins of Atlantis scene was actually a painted Tegu lizard.

Boone recalled filming the dramatic whirlpool sea scene:
 James Mason, Arlene Dahl, Peter Ronson and I were on a raft, caught in a giant whirlpool. It was a tricky thing to shoot — the raft was on a revolving platform that tilted when it went around. It had to look like we were being tossed violently. Hundreds of gallons of water were being dumped on us to simulate a stormy sea. The noise was deafening, but not enough to drown out Dahl, who started screaming as she held on for dear life. She screamed at the director, Henry Levin, 'Get me off this thing. Get me down. I'm going to pass out!' She kept yelling. Mason had little patience for it. He thought Dahl had already overplayed the role of a dainty creature when we had to wear very heavy parkas, feigning winter amid very hot July weather, for another scene (Dahl complained then of heat prostration). Mason was not amused as this time he yelled back at her, 'Shut up woman! We're going to have to do this ten times if you don't keep quiet.' We were going to have to dub dialogue anyway, and they got the shot.
Dahl became unconscious and it took 30 minutes to revive her.

Reception

Box office
At the time of release, Journey to the Center of the Earth was a financial success, grossing $10,000,000 at the box office (well over its $3.44 million budget).

Critical response
Film review aggregator website Rotten Tomatoes assigns a rating of 84% based on 31 critics, with an average rating of 6.9/10. The website's critical consensus describes Journey to the Center of the Earth as "a silly but fun movie with everything you'd want from a sci-fi blockbuster – heroic characters, menacing villains, monsters, big sets and special effects".

Upon the film's release, New York Times film critic Bosley Crowther said Journey to the Center of the Earth is "really not very striking make-believe, when all is said and done. The earth's interior is somewhat on the order of an elaborate amusement-park tunnel of love. And the attitudes of the people, toward each other and toward another curious man who happens to be exploring down there at the same time, are conventional and just a bit dull".

Ian Nathan, writing a retrospective review for Empire, gave the film four stars, stating that "it has dated a fair bit, but it's a film that takes its far-fetchedness seriously, and delivers a thrilling adventure untrammelled by cheese, melodrama or ludicrous tribes of extras, shabbily dressed bird-beings or lizard men", ultimately concluding that the film is "still captivating despite the obviously dated effects".

Accolades
Journey to the Center of the Earth won a second place Golden Laurel award for Top Action Drama in 1960.

The film was nominated for three Academy Awards: for Best Art Direction-Set Decoration (Lyle R. Wheeler, Franz Bachelin, Herman A. Blumenthal, Walter M. Scott, Joseph Kish), for Best Effects, Special Effects, and for Best Sound (Carlton W. Faulkner).

Comic book adaptation
 Dell Four Color #1060 (November 1959)

See also
 At the Earth's Core
 Journey to the Center of the Earth (2008)
 Where Time Began

References

Notes

Bibliography

 Warren, Bill. Keep Watching the Skies: American Science Fiction Films of the Fifties, 21st Century Edition. Jefferson, North Carolina: McFarland & Company, 2009, (First edition: 1982). .

External links

1959 films
1950s science fiction adventure films
American science fiction adventure films
Icelandic-language films
Films scored by Bernard Herrmann
Films directed by Henry Levin
Films produced by Charles Brackett
Films set in Atlantis
Films set in Iceland
Films set in Scotland
Films set in the 1880s
Films shot in Edinburgh
Films shot in New Mexico
Films based on Journey to the Center of the Earth
Films based on science fiction novels
Films with screenplays by Charles Brackett
20th Century Fox films
Films adapted into comics
Travel to the Earth's center
Films about dinosaurs
1950s English-language films
1950s American films

Journey to the Center of the Earth (1959 film)


18665 Sheenahayes este un asteroid din centura principală de asteroizi.

Descriere
18665 Sheenahayes este un asteroid din centura principală de asteroizi. A fost descoperit pe  la Socorro, New Mexico, în cadrul proiectului LINEAR. Asteroidul prezintă o orbită caracterizată de o semiaxă mare de 2,62 ua, o excentricitate de 0,12 și o înclinație de 2,2° în raport cu ecliptica.

Vezi și
 Lista planetelor minore: 18001-19000
 Centura de asteroizi

Referințe

Obiecte astronomice descoperite în 1998
Centura de asteroizi

18665 Sheenahayes


Mazepa er et maleri af Horace Vernet fra 1826.

Motiv

Maleriet skildrer et motiv fra Ivan Mazepas omskiftelige liv: efter at have tjent som page hos den polske konge Johan 2. Kasimir og være blevet udstødt på grund af sin ortodokse tro af sine katolske kolleger og endda være endt i en fægtningsduel inde i kongepaladset, blev han forvist til sin moders gods i Volhynien. Der indledte han et forhold til en gift adelsdame. En dag blev de to taget på fersk gerning af ægtefællen. Mazepa blev, nøgen og rullet i tjære, fastbundet på sin hest, der sattes i galop. Da han nåede frem til sin moders gods, var han så såret og fyldt med ar, at det knapt var muligt at genkende ham.

Maleriet viser dette, Mazepas vilde ridt på hesteryggen. Man ser ham bundet til hesteryggen på hesten, der galopperer over et ujævnt terræn, i færd med at springe over en træstamme. Mazepa og hesten forfølges af brune ulve.

Skitse
En skitse til det endelige billede findes i Kunsthalle Bremen.

Maleriet er generelt holdt i dystre farver: hesten er grå, terrænet er kun lige antydet og også himlen er overskyet. Hesten er i galop fra venstre mod højre, skråt fremad og forbi beskueren. Det høje tempo angives af det flagrende hår og hestehalen. Et par mørke fugle er i luften. Mazepa selv fremtræder som billedets midtpunkt, det mest lyse element i billedet, kun med et rødt lændeklæde.

På det endelige billede ses, at Mazepa og hesten - som er hvidere end på skitsen - forfølges af ulve, fuglene er væk, ansigtet er tydeligt og der er andre mindre ændringer i billedets motiv.

Datering
Maleriet er dateret 1826 (nederst til højre). Det er signeret.

Proviens
Billedet befinder sig i Calvet Museum i Avignon.

Andet maleri med samme motiv

Horace Vernet har malet et andet billede med samme motiv men i en anden udførsel: her ser man hesten med Mazepa på ryggen komme op af en flod. Dette maleri er imidlertid hverken dateret eller signeret. Det dateres til samme tid.

Noter

Litteratur
Alfred Jensen: Mazepa. Historiska bilder från Ukraina och Karl XII:s dagar; Lund 1909 (kopi af billedet s. 59)

Malerier fra 1826
Malerier af Horace Vernet

Mazepa (maleri af Horace Vernet)


Bargfeld-Stegen er en by og kommune i det nordlige Tyskland, beliggende i Amt Bargteheide-Land under Kreis Stormarn. Kreis Stormarn ligger i den sydøstlige del af delstaten Slesvig-Holsten.

Geografi
Bargfeld-Stegen ligger nordøst for Hamborg, mellem kommunerne Nahe og Elmenhorst ved Bundesstraße 82.

I kommunen ligger ud over Bargfeld-Stegen landsbyerne og bebyggelserne Bargfeld-Rögen, Bornhorst, Gräberkate og Viertbruch, samt godset Stegen.

Eksterne kilder/henvisninger

 Kommunens websted
 Statistikamt Nord – Bevölkerung der Gemeinden in Schleswig-Holstein 4. Quartal 2014 (XLSX-Data) (Fortschreibung auf Basis des Zensus 2011)

Byer i Slesvig-Holsten
Byer i Kreis Stormarn

Bargfeld-Stegen


HMS Orion was the lead ship of her class of four dreadnought battleships built for the Royal Navy in the early 1910s. She spent the bulk of her career assigned to the Home and Grand Fleets, generally serving as a flagship. Aside from participating in the failed attempt to intercept the German ships that had bombarded Scarborough, Hartlepool and Whitby in late 1914, the Battle of Jutland in May 1916 and the inconclusive action of 19 August, her service during World War I generally consisted of routine patrols and training in the North Sea.

After the Grand Fleet was dissolved in early 1919, Orion was transferred to back to the Home Fleet for a few months before she was assigned to the Reserve Fleet. She served as a gunnery training ship from mid-1921 until she was listed for disposal the following year. The ship was sold for scrap in late 1922 and subsequently broken up.

Design and description
The Orion-class ships were designed in response to the beginnings of the Anglo-German naval arms race and were much larger than their predecessors of the  to accommodate larger, more powerful guns and heavier armour. In recognition of these improvements, the class was sometimes called "super-dreadnoughts". The ships had an overall length of , a beam of  and a deep draught of . They displaced  at normal load and  at deep load as built; by 1918 Orions deep displacement had increased to . Her crew numbered 754 officers and ratings as of 1914.

The Orion class was powered by two sets of Parsons direct-drive steam turbines, each driving two shafts, using steam provided by 18 Babcock & Wilcox boilers. The turbines were rated at  and were intended to give the battleships a speed of . During her sea trials in September 1911, Orion reached a maximum speed of  from . The ships carried enough coal and fuel oil to give them a range of  at a cruising speed of .

Armament and armour

The Orion class was equipped with 10 breech-loading (BL)  Mark V guns in five hydraulically powered twin-gun turrets, all on the centreline. The turrets were designated 'A', 'B', 'Q', 'X' and 'Y', from front to rear. Their secondary armament consisted of 16 BL  Mark VII guns. These guns were split evenly between the forward and aft superstructure, all in single mounts. Four  saluting guns were also carried. The ships were equipped with three 21-inch (533 mm) submerged torpedo tubes, one on each broadside and another in the stern, for which 20 torpedoes were provided.

The Orions were protected by a waterline  armoured belt that extended between the end barbettes. Their decks ranged in thickness between  and 4 inches with the thickest portions protecting the steering gear in the stern. The main battery turret faces were  thick, and the turrets were supported by  barbettes.

Modifications
In 1914 the shelter-deck guns were enclosed in casemates. By October 1914, a pair of  anti-aircraft (AA) guns had been added. A fire-control director was installed on a platform below the spotting top in April–May 1915. Additional deck armour was added after the Battle of Jutland in May 1916. Around the same time, three 4-inch guns were removed from the aft superstructure and the ship was modified to operate kite balloons. In mid-to-late 1917, Orion was the only battleship in the Royal Navy to receive a director for her secondary armament. Two flying-off platforms were fitted aboard the ship during 1917–1918; these were mounted on 'B' and 'Q' turret roofs and extended onto the gun barrels. A high-angle rangefinder was fitted in the forward superstructure by 1921.

Construction and career

Orion, named after the mythological hunter, Orion, was the fourth ship of her name to serve in the Royal Navy (RN). The ship was laid down at HM Dockyard, Portsmouth on 29 November 1909. She was launched on 20 August 1910, and was commissioned on 2 January 1912. Including her armament, her cost is variously quoted at £1,855,917 or £1,918,773. Orion was assigned to the 2nd division of the Home Fleet as the flagship of Rear-Admiral Sir Herbert King-Hall, the division's second-in-command. The ship was slightly damaged on 7 January when the pre-dreadnought battleship  broke loose from her moorings and collided with Orions bow. The division was redesignated as the 2nd Battle Squadron (BS) on 1 May. The ship, together with her sister ships  and , participated in the Parliamentary Naval Review on 9 July at Spithead. They then participated in training manoeuvres. King-Hall was relieved by Rear-Admiral Rosslyn Wemyss on 29 October. On 13 November, the ship participated in comparative gunnery trials with Thunderer to evaluate the effectiveness of the latter's gunnery director. Thunderer decisively outshot Orion, although some of her success was because her director was above the smoke that obscured the target from Orions guns. The test was repeated in better conditions on 4 December and Orion performed much better, apparently beating Thunderer. The three sisters were present with the 2nd BS to receive the President of France, Raymond Poincaré, at Spithead on 24 June 1913 and then participated in the annual fleet manoeuvres in August. Wemyss was relieved in his turn by Rear-Admiral Sir Robert Arbuthnot, 4th Baronet on 28 October. Captain Frederic Dreyer assumed command of Orion that same day. On 4 November, Orion, Thunderer, the dreadnought  and the predreadnought  fired at and sank the target ship  to give their crews experience in firing live ammunition against a real ship.

World War I

Between 17 and 20 July 1914, Orion took part in a test mobilisation and fleet review as part of the British response to the July Crisis. Arriving in Portland on 25 July, she was ordered to proceed with the rest of the Home Fleet to Scapa Flow four days later to safeguard the fleet from a possible surprise attack by the Imperial German Navy. In August 1914, following the outbreak of World War I, the Home Fleet was reorganised as the Grand Fleet, and placed under the command of Admiral Sir John Jellicoe. On 8 August, Orion was towing a target for the dreadnought  and Monarch when the latter reported that she had been unsuccessfully attacked by a torpedo and the gunnery exercise was terminated. Almost two weeks later, the ship began having serious problems with her condensers and Jellicoe ordered that they be retubed while she was detached to the coaling base at Loch Ewe, on the northwest coast of Scotland. Orion rejoined the Grand Fleet on 9 September. Repeated reports of submarines in Scapa Flow led Jellicoe to conclude that the defences there were inadequate and he ordered that the Grand Fleet be dispersed to other bases until the defences be reinforced. On 16 October the 2nd BS was sent to Loch na Keal on the western coast of Scotland. The squadron departed for gunnery practice off the northern coast of Ireland on the morning of 27 October and the dreadnought  struck a mine, laid a few days earlier by the German armed merchant cruiser . Thinking that the ship had been torpedoed by a submarine, the other dreadnoughts were ordered away from the area, while smaller ships rendered assistance. Shortly afterwards, Orion had to be sent to Greenock for repairs to her turbine mounts.

Bombardment of Scarborough, Hartlepool, and Whitby

The Royal Navy's Room 40 had intercepted and decrypted German radio traffic containing plans for a German attack on Scarborough, Hartlepool and Whitby in mid-December using the four battlecruisers of Konteradmiral (Rear-Admiral) Franz von Hipper's I Scouting Group. The radio messages did not mention that the High Seas Fleet with fourteen dreadnoughts and eight predreadnoughts would reinforce Hipper. The ships of both sides departed their bases on 15 December, with the British intending to ambush the German ships on their return voyage. They mustered the six dreadnoughts of Vice-Admiral Sir George Warrender's 2nd BS, including Orion and her sisters, Monarch and , and the four battlecruisers of Vice-Admiral Sir David Beatty.

The screening forces of each side blundered into each other during the early morning darkness and heavy weather of 16 December. The Germans got the better of the initial exchange of fire, severely damaging several British destroyers, but Admiral Friedrich von Ingenohl, commander of the High Seas Fleet, ordered his ships to turn away, concerned about the possibility of a massed attack by British destroyers in the dawn's light. A series of miscommunications and mistakes by the British allowed Hipper's ships to avoid an engagement with Beatty's forces. One of these occurred when Orions lookouts spotted the light cruiser  and failed to engage because Arbuthnot refused to allow the ship to open fire without a command from Warrender.

1915–1916

Jellicoe's ships, including Orion, conducted gunnery drills on 10–13 January 1915 west of the Orkneys and the Shetland Islands. Rear-Admiral Arthur Leveson relieved Arbuthnot on 15 January. On the evening of 23 January, the bulk of the Grand Fleet sailed in support of Beatty's battlecruisers, but Orion and the rest of the fleet did not participate in the ensuing Battle of Dogger Bank the following day. On 7–10 March, the Grand Fleet conducted a sweep in the northern North Sea, during which it conducted training manoeuvres. Another such cruise took place on 16–19 March. On 11 April, the Grand Fleet conducted a patrol in the central North Sea and returned to port on 14 April; another patrol in the area took place on 17–19 April, followed by gunnery drills off Shetland on 20–21 April. Orion was given a brief refit in late April in Devonport.

The Grand Fleet conducted sweeps into the central North Sea on 17–19 May and 29–31 May without encountering any German vessels. During 11–14 June, the fleet conducted gunnery practice and battle exercises west of Shetland and more training off Shetland beginning on 11 July. The 2nd BS conducted gunnery practice in the Moray Firth on 2 August and then returned to Scapa Flow. On 2–5 September, the fleet went on another cruise in the northern end of the North Sea and conducted gunnery drills. Throughout the rest of the month, the Grand Fleet conducted numerous training exercises. The ship, together with the majority of the Grand Fleet, conducted another sweep into the North Sea from 13 to 15 October. Almost three weeks later, Orion participated in another fleet training operation west of Orkney during 2–5 November and repeated the exercise at the beginning of December.

The Grand Fleet sortied in response to an attack by German ships on British light forces near Dogger Bank on 10 February 1916, but it was recalled two days later when it became clear that no German ships larger than a destroyer were involved. The fleet departed for a cruise in the North Sea on 26 February; Jellicoe had intended to use the Harwich Force to sweep the Heligoland Bight, but bad weather prevented operations in the southern North Sea. As a result, the operation was confined to the northern end of the sea. Another sweep began on 6 March, but had to be abandoned the following day as the weather grew too severe for the escorting destroyers. On the night of 25 March, Orion and the rest of the fleet sailed from Scapa Flow to support Beatty's battlecruisers and other light forces raiding the German Zeppelin base at Tondern. By the time the Grand Fleet approached the area on 26 March, the British and German forces had already disengaged and a strong gale threatened the light craft, so the fleet was ordered to return to base. On 21 April, the Grand Fleet conducted a demonstration off Horns Reef to distract the Germans while the Imperial Russian Navy relaid its defensive minefields in the Baltic Sea. The fleet returned to Scapa Flow on 24 April and refuelled before proceeding south in response to intelligence reports that the Germans were about to launch a raid on Lowestoft, but only arrived in the area after the Germans had withdrawn. On 2–4 May, the fleet conducted another demonstration off Horns Reef to keep German attention focused on the North Sea.

Battle of Jutland

In an attempt to lure out and destroy a portion of the Grand Fleet, the High Seas Fleet, composed of sixteen dreadnoughts, six pre-dreadnoughts and supporting ships, departed the Jade Bight early on the morning of 31 May. The fleet sailed in concert with Hipper's five battlecruisers. Room 40 had intercepted and decrypted German radio traffic containing plans of the operation. In response the Admiralty ordered the Grand Fleet, totalling some 28 dreadnoughts and 9 battlecruisers, to sortie the night before to cut off and destroy the High Seas Fleet.

On 31 May, Orion, under the command of Captain Oliver Backhouse, was the lead ship of the 2nd Division of the 2nd BS and was the fifth ship from the head of the battle line after deployment. During the first stage of the general engagement, the ship fired four salvos of armour-piercing, capped (APC) shells from her main guns at the battleship  at 18:32, scoring one hit that knocked out a  gun and killed or disabled its crew. About 19:15, she engaged the battlecruiser  at a range of  with six salvos of APC shells and claimed to straddle her with the last two salvos. These last salvos were actually fired at the destroyer  which was screening the battlecruiser and laying a smoke screen. Lützow was also fired at by Monarch during this time and was hit five times between the sisters. They knocked out two of her main guns, temporarily knocked out the power to the sternmost turret as well as causing a fair amount of flooding. This was the last time that Orion fired her guns during the battle, having expended a total of fifty-one 13.5-inch APC shells.

Subsequent activity

The Grand Fleet sortied on 18 August to ambush the High Seas Fleet while it advanced into the southern North Sea, but a series of miscommunications and mistakes prevented Jellicoe from intercepting the German fleet before it returned to port. Two light cruisers were sunk by German U-boats during the operation, prompting Jellicoe to decide to not risk the major units of the fleet south of 55° 30' North due to the prevalence of German submarines and mines. The Admiralty concurred and stipulated that the Grand Fleet would not sortie unless the German fleet was attempting an invasion of Britain or there was a strong possibility it could be forced into an engagement under suitable conditions. Rear-Admiral William Goodenough assumed command of the division on 5 December and Captain Eric Fullerton relieved Backhouse on the 14th.

In April 1918, the High Seas Fleet again sortied, to attack British convoys to Norway. They enforced strict wireless silence during the operation, which prevented Room 40 cryptanalysts from warning the new commander of the Grand Fleet, Admiral Beatty. The British only learned of the operation after an accident aboard the battlecruiser  forced her to break radio silence to inform the German commander of her condition. Beatty then ordered the Grand Fleet to sea to intercept the Germans, but he was not able to reach the High Seas Fleet before it turned back for Germany. The ship was present at Rosyth, Scotland, when the High Seas Fleet surrendered there on 21 November and she remained part of the 2nd BS through 1 March 1919.

By 1 May, Orion had been assigned to the 3rd BS of the Home Fleet and was serving as the flagship for Rear-Admiral Sir Douglas Nicholson, second-in-command of the squadron. On 1 November, the 3rd BS was disbanded and Orion was transferred to the Reserve Fleet at Portland, together with her sisters. Nicholson still hoisted his flag aboard her, although he was now commander of the Reserve Fleet there. Nicholson hauled down his flag on 1 April 1920 and the ship was transferred back to Portsmouth by 14 September. Orion then became the flagship of the Reserve Fleet, which was commanded by Vice-Admiral Richard Phillimore. In June 1921 she became a gunnery training ship at Portland. On 12 April 1922, she was paid off and placed on the disposal list in accordance with the terms of the Washington Naval Treaty. On 19 December Orion was sold for scrap to Cox and Danks and she arrived at Upnor in February 1923 to begin demolition.

Notes

Citations

Bibliography

Further reading

External links

 Maritimequest HMS Orion Photo Gallery
 Battle of Jutland Crew Lists Project - HMS Orion Crew List

Orion-class battleships
Ships built in Portsmouth
1910 ships
World War I battleships of the United Kingdom

HMS Orion (1910)


Ilgın, Konya ilinin bir ilçesidir.

Tarihçe
Ilgın'da 3.500 yıl önce M.Ö . 1500- 1200 yılları arasında şimdiki ilçe merkezinin 25 km. kuzeydoğusunda Hititler tarafından Yalburt adında bir şehir kurulmuştur. Ilgın ve çevresi tarih boyunca, sırasıyla Hitit, Frig, Lidya, Roma, Bizans, Anadolu Selçuklu, Karamanoğulları ve Osmanlı yönetiminde kalmıştır. 1077 yılından 1308 yılına kadar Anadolu Selçuklu bağlısı olan Ilgın, Anadolu Selçuklu'nun yıkılmasıyla Eşrefoğulları Beyliği bağlısı olmuştur. Daha sonra Hamitoğulları Beyliği'nin himayesine geçen Ilgın, 1381'de Osmanlı hakimiyetine geçmiştir. Osmanlı- Karaman mücadeleleri sonrasında Karamanoğulları'nın eline geçmiştir. 1467'de II. Mehmed tarafından yeniden Osmanlı himayesine alınmıştır. II. Bayezid zamanında Ilgın kaza olarak gösterilmiştir. Mustafa Kemal Atatürk Büyük Taarruz öncesi bir süre Ilgın'da kalmıştır.

Yerel yönetim
Eylül 2016'da, FETÖ'ye yardım ve destek verdiği gerekçesiyle 1 Eylül'de tutuklanan belediye başkanı Halil İbrahim Oral'ın yerine 1 Eylül 2016 tarihinde yürürlüğe giren 674 sayılı Kanun Hükmünde Kararname uyarınca kayyum olarak belediye meclisi üyesi Mehmet Karahan atandı.

Nüfus

Kaynakça

Ilgın, Konya


Zatomus é um gênero extinto de pseudosúquio do Triássico Superior. Seus restos fósseis foram encontrados na Carolina do Norte, nos Estados Unidos. É classificado como um rauisúquio, e já foi considerado um dinossauro.

Referências

Rauisuchia

Zatomus


Kleingeschwenda ist ein Ortsteil der Stadt Leutenberg im Landkreis Saalfeld-Rudolstadt in Thüringen.

Geografie
Kleingeschwenda liegt wie Steinsdorf auf einem stark kupierten von Wald umgebenem Hochplateau  im Südostthüringer Schiefergebirge. Das Dorf ist mit der Kreisstraße 167 verkehrsmäßig erschlossen.

Geschichte
1379 wurde das Dorf erstmals urkundlich erwähnt. Der Ort gehörte zur Grafschaft Schwarzburg-Leutenberg und nach dessen Erlöschen von 1564 bis 1918 zur Oberherrschaft der Grafschaft bzw. des Fürstentums Schwarzburg-Rudolstadt.

1999 beging das Dorf die 650-Jahr-Feier. Die Kirche und der Herrenhof sind Wahrzeichen des Ortes. Der bäuerlich geprägte Ort war dem Tourismus wegen seiner naturnahen Lage immer verbunden.

Weblinks

 Kleingeschwenda auf der Website der Stadt Leutenberg

Einzelnachweise

Geographie (Leutenberg)
Ort im Landkreis Saalfeld-Rudolstadt
Ersterwähnung 1379
Ehemalige Gemeinde (Landkreis Saalfeld-Rudolstadt)
Gemeindeauflösung 1960
Gemeindegründung 1990
Gemeindeauflösung 1994

Kleingeschwenda (Leutenberg)


A Ponte de Vila Nova de Milfontes, é uma infra-estrutura rodoviária sobre o Rio Mira, situada junto à localidade de Vila Nova de Milfontes, na região do Alentejo, em Portugal.

Descrição
A ponte transporta a Estrada Regional 393, estando situada no PK 0,6 daquele corredor, e cruza o Rio Mira nas imediações de Vila Nova de Milfontes. Apresenta uma estrutura em betão armado e pré-esforçado, com um tabuleiro suportado por quatro pilares bifurcados centrais situados no leito do rio, e outros dois pilares nas margens. Tem uma extensão total de 363 m, que inclui três lanços centrais de 68 m e dois lanços nas margens, com 59.5 m e 20 m. O perfil transversal atinge uma largura total de 15.6 m, que é formada por uma faixa de rodagem com 7 m, duas bermas laterais de 7 m, e e dois passeios de 1.30 m. Os pilares da ponte são bifurcados, em forma de V, que são vazados no interior, no sentido longitudinal da ponte. São suportados por bases maciças em betão, tendo os pilares P2 e P4 sido fundados indirectamente em estacas e o P3 em barretas, enquanto que o P5 foi fundado directamente no solo rochoso. As barretas atingiram uma profundidade de 71 m, alcançando um recorde a nível nacional. Os dois pilares das margens foram construídos em pórtico de viga superior, e utilizam sapatas de fundação directa. A estrutura principal do tabuleiro foi executada em aduelas, de forma a aproveitar a forma dos pilares centrais, que foram construídos utilizado os avanços incrementais a partir das lâminas dos pilares. Nas suas pontas, em consola, estes lanços suportam os tramos situados no centro, que foram construídos com recurso a vigas pré-fabricadas em forma de barriga de peixe, criando desta forma uma estrutura que é conhecida como tabuleiro em vigas gerber.

A ponte dispõe de sistemas para reduzir os efeitos de um abalo sísmico, que funciona através do amortecimento das forças horizontais, e do controlo do movimento longitudinal dos tramos independentes, no sentido de reduzir o risco da queda destes elementos devido à falta de apoio.

História

Antecedentes
Nos finais do século XVI, Vila Nova de Milfontes situava-se na importante estrada litoral entre a Moita e Lagos, que unia Lisboa ao Algarve, mas os viajantes encontravam grandes dificuldades em atravessar o Rio Mira, cuja foz forma um largo estuário. A situação melhorou após a construção do Forte de São Clemente, quando foi construída uma estalagem e instituída uma barca de passagem, nos princípios do século XVII. Este percurso foi percorrido por algumas grandes figuras, incluindo o coronel inglês George Thomas Landmann (en). Durante a primeira metade do século XIX, quando o governo lançou os primeiros programas para o desenvolvimento dos transportes, a estrada litoral ganhou uma nova importância, por constituir uma ligação terrestre entre o Algarve e a capital. Nesta altura, Vila Nova de Milfontes também era um cruzamento de estradas, estando ligada a Sines, ao Cercal e a São Luís. Porém, devido a várias circunstâncias, incluindo os problemas na travessia do Rio Mira, a estrada litoral acabou por ser abandonada.

Planeamento e construção
O projecto para a ponte foi elaborado em 1973 por Lobo Fialho, da empresa ENARCO. As obras decorreram entre 1976 e 1978.

A construção foi feita em 1978, pela companhia Zagope. Durante as obras foram descobertos vários fragmentos de cerâmica dos séculos I a III, correspondentes ao período romano, que porém foram muito danificados durante o processo de remoção. A instalação da ponte teve uma grande importância do ponto de vista das comunicações rodoviárias em Vila Nova de Milfontes, fazendo com que a povoação deixasse de ser apenas o ponto terminal de um ramal de estrada.

A ponte foi uma das obras incluídas na exposição itinerante Arquitectura de Engenheiros. Séculos XIX e XX, organizada pela Fundação Calouste Gulbenkian a partir dos finais da década de 1970.

Século XXI
Em 2013 foi alvo de obras de restauro por parte das empresas Obrecol e VSL, tendo o correspondente projecto sido desenhado em 2010 por Júlio Appleton, Rita Gonçalves e António Costa. Em Setembro de 2015, a operadora Infraestruturas de Portugal fez uma inspecção subaquática dos pilares da ponte, no âmbito do Sistema de Gestão de Conservação das Pontes, tendo averiguado que estes se encontravam em bom estado de conservação.

Ver também
Lista de património edificado em Odemira
Cinema Girassol
Ermida de Santo António da Cela
Ermida de São Sebastião (Vila Nova de Milfontes)
Estalagem da Ordem de Santiago
Moinho de Maré da Asneira
Moinho de Maré do Bate-pé
Ponte D. Maria (Odemira)
Ponte do Guadiana (Ramal de Moura)
Ponte de Odemira
Ponte do Sol Posto
Ponte Pedonal de Odemira
Portinho da Casa Branca

Bibliografia

Ligações externas

Vila Nova de Milfontes
Pontes no distrito de Beja
Infraestrutura de transporte terminada em 1978
Fundações em Portugal em 1978
Pontes rodoviárias de Portugal
Rio Mira

Ponte de Vila Nova de Milfontes


Domagoj Pavlović (Ivanić-Grad 21.3.1993.), hrvatski je rukometni reprezentativac.

S mladom reprezentacijom 2011. na svjetskom prvenstvu plasirao se na 8. mjesto.

Izvori

Hrvatski rukometaši
Životopisi, Ivanić-Grad

Domagoj Pavlović


These Days puede referirse a:

These Days (1986): canción del álbum Lifes Rich Pageant, del grupo R.E.M.
These Days (1995): sexto álbum de Bon Jovi
These Days (1995): gira por 35 países de Bon Jovi
These Days (1995): canción del álbum homónimo, del grupo Bon Jovi
These Days (2011): canción del álbum Wasting Light, de la banda Foo Fighters.

These Days


Standesamt Budsin was a civil registration district (Standesamt) located in Kreis Kolmar, province of Posen of the German Empire (1871–1918) and administered the communities of:

Bud = Budsin; Cza = Czarnikau, Kr Czarnikau; Gra = Gramsdorf, Kr Obornik; Jan = Jankendorf; Kol = Kolmar; Mar = Margonin; Rit = Ritschenwalde, Kr. Wirsitz; Wil = Wilhelmstreu
Population data may be inaccurate (see German census of 1895).

External links

This article is part of the project Wikipedia:WikiProject Prussian Standesamter. Please refer to the project page, before making changes.

Civil registration offices in the Province of Posen

Standesamt Budsin


Veolia Nuclear Solutions Inc., anciennement Kurion Inc., est une entreprise américaine spécialisée dans le démantèlement nucléaire et la gestion des déchets faiblement et moyennement radioactifs, basée à Irvine en Californie. Kurion Inc. est une filiale du groupe français Veolia depuis 2016.

Historique

Le 14 janvier 2015, Kurion Inc. remporte un contrat de robotique pour le développement d'un bras robotique avancé afin de réparer les fuites de confinement primaire à l'intérieur du réacteur endommagé de la centrale nucléaire de Fukushima Daiichi.

En , Kurion Inc. est rachetée par la multinationale française Veolia pour 350 millions de dollars. Cette acquisition complète le savoir-faire d'Asteralis, filiale française de Veolia spécialisée dans la caractérisation des déchets et l'évaluation des installations nucléaires. Cet investissement constitue la première acquisition de taille moyenne du plan 2016-2018. Un cycle qui, outre l'accélération de la croissance, vise à poursuivre l'effort drastique d'économies.

En , Veolia Nuclear Solutions et l'électricien français EDF annoncent la création de Graphitech, une entreprise chargée du démantèlement de réacteurs nucléaires de technologie graphite.

Le 30 novembre 2021, la création d'une société baptisée Waste2Glass a été annoncée, détenue à parts égales, par les filiales respectives d'EDF et de Veolia, via sa filiale Veolia Nuclear Solutions, Waste2Glass, basée à Limay (Yvelines), devrait ouvrir début 2022, près d'une nouvelle unité pilote et de démonstration qui visait à obtenir les qualifications nécessaires au déploiement de cette filière industrielle nouvelle et est mission pour développer la filière de vitrification de déchets radioactifs de Veolia, GeoMelt qui depuis les années 2010 traite déjà les déchets d'amiante, sols pollués et d'autres déchets toxiques industriels.

Voir plus

Notes et références

Articles connexes

 Veolia

Liens externes

Veolia
Entreprise fondée en 2008
Entreprise ayant son siège en Californie

Veolia Nuclear Solutions


La pintura de Chile abarca todas las obras pictóricas realizadas dentro de territorio chileno, desde la época prehispánica, cuando fue desarrollada por los pueblos indígenas, hasta los tiempos modernos, donde figuran desde las vanguardias hasta el arte desarrollado por artistas independientes.

Las épocas de la pintura chilena no están estrictamente definidas por los historiadores y existen ciertas variaciones al elaborar una estructura cronológica. Ciertos autores restan importancia a ciertos grupos o intercambian a sus participantes. Sin embargo, existe un esquema cronológico de acuerdo a los grupos y generaciones que se van sucediendo a través de la historia chilena, que es la forma más común de periodificación en términos artísticos.

Según lo anterior, la pintura chilena se inició con los objetos rituales y las telas de los pueblos diaguita, atacameño, rapanui, mapuche y otros pueblos asociados, incluyendo la civilización inca. Se sabe también que los pueblos del extremo austral desarrollaron el arte petroglifo que perdura hasta hoy.

Posteriormente, el arte chileno fue tomado en manos de la Compañía de Jesús a la llegada de los españoles al actual territorio chileno a mediados del . Tras la independencia, el arte pictórico chileno fue comandado por un grupo de artistas extranjeros que trajeron la pintura de caballete al país. A mediados del , nació la Academia de pintura y tras ella la «generación del medio siglo» y la «generación de los grandes maestros de la pintura chilena», conformada por Juan Francisco González, Pedro Lira, Alberto Valenzuela Llanos y Alfredo Valenzuela Puelma.

A comienzos del , nació el primer conglomerado de pintores chilenos conocido como la «generación del trece», liderada por Álvarez de Sotomayor, junto con sus sucesores: los vanguardistas del «grupo Montparnasse», impulsado por Camilo Mori, y la «generación del 28», que abrieron paso a un nuevo arte chileno. Durante este periodo, se creó el Museo Nacional de Bellas Artes de Chile en 1910, por iniciativa del escultor José Miguel Blanco, entre otros personajes.

A mitad del , se llevaron a cabo variadas experiencias visuales y surgieron autores como Roberto Matta y Claudio Bravo que incursionaron en el surrealismo y el hiperrealismo, respectivamente. La época contemporánea está marcada por la entrada de la pintura autónoma llevada a cabo por artistas independientes sin establecerse una tendencia pronunciada hacia el arte abstracto o el figurativo.

Pintura prehispánica

La pintura prehistórica chilena o también llamada pintura precolombina chilena se refiere a todo tipo de pintura o técnica pictórica usada para representar objetos o personas durante el periodo anterior a la conquista española. El arte prehistórico esta estrechamente relacionado con el arte rupestre y los petroglifos desarrollados durante el periodo prehipánico en América especialmente en el Norte grande donde se puede apreciar la influencia de la civilización incaica en las culturas nortinas,  El historiador de arte Luis Álvarez Urquieta fue uno de los primeros autores en tocar el tema en su libro "Pintura en Chile". El autor explica que la mayor parte de la pintura desarrollada antes de la llegada de los españoles fue puesta en practica por los siguientes pueblos:
 1) La cultura Atacameña.
 2) Los Incas y,
 3) El pueblo Araucano.

Actualmente se identifican también a los pueblos diaguita y a numerosos pueblos australes y de la zona central del país que también han desarrollado este tipo de arte, en particular el que se refiere a los denominados petroglifos, figuras de colores generalmente de símbolos enmarcadas en piedras que perduraron debido a la composición química de la muestra.

Pintura del período colonial

La pintura colonial chilena se enmarca en la tiempo histórico del Chile colonial, época que, en palabras de Mariano Picon-Salas "no fue un mero trasplante de Europa, sino que, en gran parte, una obra de fusión de cosas europeas y cosas indígenas".

Comenzó aproximadamente a mediados del  y es comandada en principio por los jesuitas españoles y ciertos artesanos de poca monta con falta de instrucción especializada en el tema. El arte colonial es esencialmente en sus inicios influencia directa de los corrientes artísticas de Europa tales como el Manierismo y el barroco, sin embargo, al igual que todas las demás artes de que se desarrollaron durante este periodo, la pintura chilena sufrió las influencias del arte indígena desgastando acadámicamente la calidad de la obra, pero al mismo tiempo, creando un estilo nuevo y autóctono de vital importancia para la educación y evangelización de los pueblos originarios.

Precursores de la pintura chilena

El grupo de los precursores de la pintura chilena, o también llamados "pintores viajeros del siglo XIX",  fue un término acuñado por el coleccionista e historiador del arte, Luis Álvarez Urquieta, quien resalta el grupo de pintores independientes que llegan a Chile a fines del  y principios del . Se desempeñaron distintas áreas que varían en estilo y tema del arte colonial chileno. Nuevas temáticas y elementos van a abordar la pintura nacional: desde el retrato de personajes ilustres llevado a cabo por artistas como el peruano José Gil de Castro y el francés Raymond Monvoisin, la representación de escenas de la independencia donde destacó el chileno Manuel Antonio Caro y el alemán Mauricio Rugendas hasta la representación bibliográfica de plantas, animales y ciudades puestas en práctico por personajes como Claudio Gay, Charles Wood y el científico Charles Darwin.

Si bien la pintura anterior al  se caracterizaba por su capacidad funcional( poseía una función evangelizadora, conciliadora y educacional), las nuevas tendencias europeas dejan de lado la labor de la docencia vinculándola al valor estético natural que lleva por sí misma. De esta manera la pintura dejó de ser un complemento de las demás artes y ciencias para llegar a cumplir la labor que por naturaleza le correspondía.

El arte chileno en general sufrió también de los conflictos internos del país tras la independencia y le fue muy difícil marcar una tendencia estilística en algún sentido. Durante el periodo de los pintores viajeros conviven el realismo, el neoclasicismo y el romanticismo sin que se pueda uno imponer su importancia sobre otro más que en nichos particulares y durante periodos breves.

Entre los historiadores está preestablecido que el inicio de arribo de los artistas extranjeros a Chile se marca con la llegada del peruano José Gil de Castro. El popular pintor se dedica a retratar personajes de la época y los caudillos de la liberación española tales como  Ramón Freire,  Bernardo O'Higgins, José de San Martín y Simón Bolívar. Su técnica asemeja en gran medida con la escuela cusqueña por lo que no era muy precisa a la hora de retratar rostros, los cuales son planos y con falta de expresión particular. Independiente de su habilidad como pintor de rostros los detalles decorativos de sus obras son alabados por Ricardo Bindis en su libro de  "Historia de la pintura chilena ", quien destaca la manera de tratar las medallas de los caudillos representados.

Otro pintor extranjero de gran importancia para la nueva nación fue Charles Wood, pintor inglés especialista en marinas, el cual legó un gran grupo de lienzos con destacable valor histórico. Entre sus obra más famosas se encuentran "Naufragio del Arethusa", "Toma de la fragata Esmeralda por la Escuadra de Chile de Lord Cochrane" y "El General Baquedano en Campaña". Según cuenta la bibliografía fue testigo personal de la toma de la esmeralda escena de la que creó varias reproducciones. También como importante logro para la república chilena se le atribuye la invención del escudo nacional de Chile.

El alemán Mauricio Rugendas y el francés Ernesto Charton desarrollaron ambos labores importantes retratando las costumbres típicas del país. Su paso por Chile dejó múltiples escenas del inicio de la república. Entre las obras más populares de estos autores encontramos "Fiesta campestre", ""la batalla de Maipú" y "El huaso y la lavandera" de Rugendas, en tanto de Charton destacan "Plaza de Armas de Santiago""  y "La casa de la moneda". Ambos pintores son ejemplo del arte documental que elaboraron los pintores viajeros.

En su época uno de los más reconocidos pintores de Chile fue el francés Raymond Monvoisin, uno de los precursores del retrato en Chile. Sus trabajos se centraron en la representación de los aristócratas más destacados del momento, entre los que destacan doña "Carmen Alcalde y Velasco de Cazotte",  el general y presidente Manuel Bulnes, el venezolano Andrés Bello y el político Mariano Egaña.

El francés popularizó el retrato dentro de la alta élite chilena, sus discípulos directos fueron Francisco Javier Mandiola y José Manuel Ramírez Rosales quienes heredaron gran parte de sus técnicas y colores incluyendo en el caso de Rosales su fascinación por la cultura francesa. El caso de Mandiola desvió a los campesinos, niños e indigentes, es decir, prefirió el retrato de la clase baja chilena. Monvoisin fue consultado varias veces para ser director de la academia de Bellas Artes que el gobierno buscaba crear, sin embargo el artista se negó en variadas ocasiones tras lo cual tomó el cargo Alejandro Cicarelli.

Gran cantidad de pintores extranjeros se ubican en este grupo(por esto se le llamaba pintores viajeros). Normalmente la bibliografía ubica en este grupo:

 Claudio Gay= Botánico y naturalista francés, uno de los primeros estudiosos de la flora y fauna chilena.
 José Gil de Castro= Artista de transición para los precursores, retratista de personajes ilustres de la independencia de América tales como José de San Martín y Simón Bolívar.
 Charles Wood= Pintor inglés y documentalista de la época, diseñó el escudo nacional de Chile agregando el huemul y el cóndor.
 Mauricio Rugendas= Pintor y dibujante alemán, recorrió varios países de Latinoamérica detallando su cultura, flora y fauna. Entre sus cuadros figura la escena el huaso y la lavandera y La batalla de Maipú. Trabajó junto al Padre de la Geografía Moderna Universal, Alexander Humboldt.
 Raymond Monvoisin= Pintor retratista francés, contribuye a la creación de la academia de pintura en Chile y deja retratos famosos en Chile hasta la actualidad como los hechos a Andrés Bello y Manuel Ramírez Rosales
 Ernest Charton= Pintor francés que en Chile plantea obras de características costumbristas.
 Otto Grashof=  Pintor, dibujante y retratista alemán.
 Thomas Somerscales= Pintor inglés marinista, famoso por pinturas como el Combate naval de Iquique.

La Academia de Pintura

La Academia de Pintura fue el primer instituto chileno en impartir la enseñanza profesional del arte en Chile. Creada en Santiago el 17 de marzo de 1849 e impulsada por el gobierno de Manuel Bulnes para el fomento de las Bellas Artes, se ubicó en un principio en el edificio perteneciente a la Universidad de San Felipe, actual Teatro Municipal de Santiago. En 1891 se trasladó de lugar y cambió su nombre original por el de Escuela de Bellas Artes; desapareció, en esencia, en 1910 tras unir sus dependencias con el Museo de Bellas Artes, pasando a depender su dirección de la Universidad de Chile en 1932.

La Academia dio al país sus primeros artistas nacionales y fue el inicio para destacados pintores chilenos, entre los que se cuentan los cuatro grandes maestros de la pintura chilena, los seguidores de Pedro Lira y Antonio Smith, y la generación del 13. Sus primeros directores fueron el napolitano Alejandro Cicarelli, el alemán Ernesto Kirchbach, el florentino Juan Mochi, Cosme San Martín (el primer chileno en asumir la dirección) y el escultor Virginio Arias.

Los grandes maestros de la pintura chilena

Los grandes maestros de la pintura chilena es un concepto acuñado por el historiador Antonio Romera que agrupa a cuatro importantes pintores chilenos, cuya obra fue determinante en términos de docencia y su influencia se extiende hasta hoy. Estos artistas desarrollaron su labor durante las dos últimas décadas del  y las dos primeras del .

Fueron alumnos de las primeras generaciones de la Academia de Arte en Chile, los cuatro se perfeccionaron en Francia y fueron a su vez maestros de otros artistas, por lo que enlazan la caída del academicismo con la sensibilidad de las nacientes vanguardias. A pesar de tener marcadas diferencias estéticas, existe una unidad temporal y educacional, por lo que se conocieron entre sí. Los pintores nombrados son Pedro Lira, Juan Francisco González, Alfredo Valenzuela Puelma y Alberto Valenzuela Llanos. Lira y Valenzuela Puelma son de inspiración naturalista, mientras que González y Valenzuela Llanos pertenecen a tendencias más renovadoras. Las obras de estos pintores están en exposición en la mayoría de los museos de arte del país incluyendo: La Casa del Arte en Concepción, el Museo Nacional de Bellas Artes de Santiago, el Palacio de la Moneda, la Biblioteca Nacional de Chile, el Museo Histórico Nacional, entre otros.

Actualmente, existe discrepancia entre algunos autores sobre si faltan artistas a esta nómina; Gaspar e Ivaelic nombran por ejemplo a Alfredo Helsby como parte de este «grupo» de artistas.

Generación del 13

La generación del 13 fue el primer grupo pictórico de Chile. Su nombre se debió a la exposición conjunta que desarrollaron en 1913, en los salones del diario chileno El Mercurio. Entre las características del grupo están la fascinación por el arte criollo y sus costumbres, la crítica social y el retrato de un personaje inédito hasta entonces en la pintura nacional, el proletariado.

El grupo tenía un carácter bohemio similar al comienzo al revelado por los primeros integrantes del romanticismo, pero abocado a una labor más social. Su origen humilde y las bajas  remuneraciones por sus cuadros hicieron que muchos de ellos murieran jóvenes y de enfermedades como la malaria y la tuberculosis.

La generación del 13 emergió de los barrios más pobres del país. En un principio, sus miembros estudiaron con Pedro Lira y luego recibieron las influencias del español Álvarez de Sotomayor, de quien heredaron el estilo, semejante en esencia a Velásquez.

En cuanto al estilo practicó la pintura con relación al realismo vernacular, esto es, la pintura relacionada con la realidad de la situación abocada al ámbito del campesinado y la vida normal. Se alejaron, entonces, de los temas tradicionales manteniendo ciertos conceptos como el respeto por el volumen y el color, así como la solvencia técnica para tratar la figura humana.

También exploraron el tema melancólico con colores sombríos, pincelada ancha y formas amplias. Resurgió con fuerza el tema del retrato y se abandonó la mitología y se prestó menor atención a la religión.

Grupo Montparnasse

El grupo Montparnasse fue un colectivo artístico chileno formado en 1922 por pintores influenciados por la tendencia postimpresionista europea y, sobre todo, por el fauvismo.

El grupo tomó el nombre del barrio parisino homónimo, centro social de las vanguardias artísticas, después de un viaje a Francia que realizaron en conjunto sus integrantes. Durante la estadía, conocieron a Juan Gris y participaron en el Salón de Otoño de la capital francesa. Además, absorbieron en menor medida otras tendencias, como el expresionismo y el cubismo.

El grupo manifestaba de plano su rechazo al arte academicista y al criollismo romántico que se imponía en Chile por aquel tiempo.

Algunos de los miembros del grupo y sus adherentes fueron:
 Pablo Burchard (1873-1960)
 Julio Ortiz de Zárate (1885-1943)
 Jorge Letelier (1887-1966)
 Manuel Ortiz de Zárate (1887-1946)
 Isaías Cabezón (1891-1963)
 Pablo Vidor (1892-1991)
 Augusto Eguiluz (1893-1969)
 Álvaro Yáñez Bianchi [Juan Emar] (1893-1964)
 Henriette Petit (1894-1983)
 Waldo Vila (1894-1979)
 Camilo Mori (1896 -1973)
 Héctor Cáceres (1897-1980)
 Luis Vargas Rosas (1897-1977)
 José Perotti (1898-1956)
 Marta Villanueva (1900-1995)
 Jorge Caballero (1902-1992)
 Ana Cortés (1906-1998)
 Inés Puyo (1906-1996)

En Santiago de Chile, se integró el escritor y pintor Juan Emar, quien escribió en el periódico La Nación columnas acerca del grupo y las figuras europeas de la vanguardia plástica, como Pablo Picasso y Georges Braque.

Referencias

Bibliografía

Pintura de Chile