William Webster Hansen (May 27, 1909 – May 23, 1949) was an American physicist and professor. He was one of the founders of the technology of microwave electronics.

Biography
Hansen's father William G Hansen, who was a son of immigrants from Denmark, was a hardware store owner in Fresno, California. He encouraged his son's early talent in mathematics and enthusiasm for electronics. He entered Stanford University at the age of 16, earning his B.A. in 1929 and his Ph.D. in 1933.

Hansen went on to become interested in the problem of accelerating electrons for X-ray experiments, using oscillating fields, rather than large static voltages. At the University of California, Berkeley, Ernest Lawrence and his assistant David H. Sloan, had worked on an accelerator driven by a resonant coil. Hansen proposed replacing the coil with a cavity resonator. In 1937,  brothers Russel H. Varian and Sigurd F. Varian came to Stanford to work on the foundations of what was to become radar. Hansen exploited some of the Varian's work to develop the klystron and during the years 1937 to 1940, along with collaborators such as John R. Woodyard, founded the field of microwave electronics.
In 1941, he moved his team to the Sperry Gyroscope Company where they spent the war years employing their expertise in radar applications and in other problems.

Returning to Stanford in 1945 as a full professor, he embarked on the construction of a series of linear accelerators based on klystron technology  and of GeV performance. Along with the Varian brothers and Edward Ginzton, he co-founded Varian Associates in 1948. Sadly, he was never to see the completion of the klystron project. He died at age 39 in Palo Alto, California of berylliosis and fibrosis of the lungs, caused by inhaling the beryllium used in his research. In 1947, the Hansen Experimental Physics Laboratory (HEPL) was founded as a facility at Stanford University.  The facility is designed to promote interdisciplinary enterprises across different branches of science and was named in his honor.

Personal life
In October 1938, William Webster Hansen married Betsy Ross, who was the younger daughter of Perley Ason Ross, professor of physics at Stanford.  Shortly after his death Betsy committed suicide. Their only child had died six months after his birth during the fall of 1947.

Honors
IEEE Morris N. Liebmann Memorial Award of the Institute of Radio Engineers (1944)
President's Certificate of Merit (1948)
Member of the National Academy of Sciences (1949)

References

Sources
Obituaries:
New York Times, 24 May 1949
Proceedings of the Institute of Radio Engineers, 37 (1949), 910

Related Reading

External links

Memorial Resolution-William Webster Hansen
 William Webster Hansen Papers
W. W. Hansen Experimental Physics Laboratory (HEPL)

1909 births
1949 deaths
20th-century American physicists
Accelerator physicists
American people of Danish descent
Members of the United States National Academy of Sciences
Stanford University alumni

W. W. Hansen


Kværn Sogn (på tysk Kirchspiel Quern) er et sogn i det nordøstlige Angel i Sydslesvig. Sognet lå dels i Ny Herred (Flensborg Amt) og dels i Munkbrarup Herred, nu i den vestlige del af Stenbjergkirke Kommune i Slesvig-Flensborg Kreds i delstaten Slesvig-Holsten.

I sognet ligger den tidligere danske domæneskov Frederiksdal eller Horskobbel.

I Kværn Sogn findes flg. stednavne:
 Bjerremark (på dansk også Bjergemark, Bargfeld)
 Butkær (ældre dansk Butkjær, tysk Bortkayr)
 Damsted (Dammstedt)
 Filipsdal (oprindelig: Pinningsand, tysk: Philipsthal)
 Frederiksdal el. Kastrup (tysk: Friedrichstal)
 Grøftsholt
 Hatlund (Hattlund)
 Hatlundmose
 Hatlundmølle
 Havernæs
 Jørgensby (Jürgensby)
 Kalleby
 Kværnskov el. Kværnholt (Quernholz)
 Lille Kværn (Klein-Quern)
 Munkekors
 Mølledam
 Nybøl (Nübel)
 Nybølmark (Nübelfeld)
 Rævegrav (Fuchsgraben)
 Rødeled (Rodeheck)
 Rojkær (Roikier)
 Skjold (Schiol)
 Skærsbjerg (også Skjærsbjerg)
 Store Kværn (Groß-Quern)
 Tingskov (Dingholz, resten hører til Sterup og Sørup Sogn)
 Vesterholm (Westerholm)

Litteratur
 M. Mørk Hansen og C. L. Nielsen: Kirkelig Statistik over Slesvig Stift, 2. bind, Kjøbenhavn 1864, side 265
 Jens Peter Trap: Statistisk-topographisk beskrivelse af hertugdømmet Slesvig, Kjøbenhavn 1864, sider 499/500

Eksterne henvisninger
 Kværn-Nykirke Menighed / Kirchengemeinde Quern-Neukirchen

Noter

Sogne i Sydslesvig

Kværn Sogn


O Tratado de Corbeil (1326) renovou a Antiga Aliança entre a França e a Escócia. Confirmou a obrigação de cada estado de se juntar ao outro na declaração de guerra se um deles fosse atacado pela Inglaterra. A delegação (delegação) da Escócia (então sob o domínio de Robert the Bruce) foi liderada por Thomas Randolph, 1º Conde de Moray.

Ver também
 Tratado de Corbeil

Referências

Corbeil
Corbeil
1326 na Europa

Tratado de Corbeil (1326)


Kálmán Benda () a fost un istoric și arhivar maghiar, laureat al premiului Széchenyi și membru titular al Academiei Ungare de Științe.

Biografie
În anii 1930 s-a înscris la Facultatea de Istorie-Geografie a Universității "Pázmány Péter" din Budapesta (PPTE), pe care a absolvit-o în 1937. În timpul studiilor universitare a fost membru al Colegiului Eötvös József. A beneficiat de o bursă și a studiat în perioada 1937-1938 la Viena, Berlin și Paris.

Între anii 1936 și 1938 a fost cercetător științific la  Institutul de Istorie Maghiară al Universității "Pázmány Péter" și la Institutul de Istorie Modernă al Academiei Ungare de Științe. În 1938 a devenit director al Școlii Populare din Tata, unde a lucrat timp de patru ani. În acest timp a fost profesor la Gimnaziul Reformat din Budapesta și funcționar auxiliar la Ministerul Instrucțiunii Publice și Cultelor. Între 1942 și 1945 a fost cercetător științific asociat la Institutul de Științe "Teleki Pál". După cel de-al Doilea Război Mondial a fost până în 1947 director adjunct al institutului de cercetare denumit Institutul de Științe Istorice. Între timp, între 1945 și 1949, a predat istoria Ungariei în perioada ocupației otomane la Universitatea "Pázmány Péter". Între 1947 și 1949 a fost director-adjunct al Institutului de Științe al Europei de Est, fiind concediat din motive politice.

A avut apoi servicii ocazionale și din 1950 a lucrat ca arhivar al Districtului Dunamelléki al Bisericii Reformate din Ungaria. După 1957 a îndeplinit pentru o scurtă perioadă funcția de director-adjunct al Institutului de Istorie al Academiei Ungare de Științe, apoi între 1958 și 1983 a fost cercetător și cercetător principal. În 1983 a fost numit șef de departament, iar din 1985 până în 1987 a fost consilier științific, apoi s-a pensionat, dar a continuat să lucreze pe post de consultant în cadrul institutului.

În 1961 și-a susținut teza de candidat în științe istorice, iar apoi în 1979 și teza de doctorat. A fost membru al Comitetului de Științe Istorice al Academiei Ungare de Științe. În 1990 a fost ales membru corespondent al Academiei Ungare de Științe, iar în 1991 membru titular. Începând din 1980 a administrat colecția Ráday a Districtului Dunamelléki al Bisericii Reformate din Ungaria. A fost implicat în activitatea comitetului redacțional al revistei științifice História. Între 1975 și 1977 a fost profesor la Colegiul Pedagogic "Juhász Gyula". În 1984 a obținut titlul de profesor titular al Universității "Eötvös Loránd".

Principalul său domeniu de cercetare a fost istoria culturii și politicii moderne maghiare, dar a fost preocupat și de istoria Principatului Transilvaniei.

Premii și alte distincții
 Doctor honoris causa al Facultății de Teologie Reformată din Budapesta (1988)
 Premiul Széchenyi (1992) – pentru cultivarea și popularizarea remarcabilă a istoriei
 Premiul Szent-Györgyi Albert (1992)
 Premiul Patrimoniului Maghiar (2000) /postum/

Opere principale

 A magyar nemzeti hivatástudat története a XV–XVII. században (1937)
 Bocskai István (1942)
 A török kor német újságirodalma (1942)
 Bocskai István függetlenségi harca (1952)
 A magyar jakobinusok iratai I–III. (1952–1957)
 A Bocskai-szabadságharc (1955)
 Ráday Pál iratai I–II. (coautor, 1955–1961)
 A magyar jakobinus mozgalom története (1957)
 A négyszáz éves debreceni nyomda (cu Károly Irinyi, 1961)
 Emberbarát vagy hazafi? Tanulmányok a felvilágosodás korának magyar történetéből (1978)
 A magyar korona regénye (cu Erik Fügedi, 1979)
 Magyarország története 1790–1848 I–II. (coautor, 1980)
 Magyarország történeti kronológiája I–IV. (redactor-șef, coautor, 1981–1982)
 Habsburg abszolutizmus és magyar rendi ellenállás a XVI–XVII.  században (1984)
 Moldvai csángó-magyar okmánytár I–II. (1989)
 Bocskai István levelei (1992)

Note

Bibliografie
 1994 Levéltári Közlemények 65/1-2, 258-260.
 Csetri Elek nekrológja az Erdélyi Múzeum 1994. évi 3–4. füzetében
 Glatz Ferenc interjúja a Históriában

Lectură suplimentară
 Szilágyi Ágnes Judit: Érdekes személyiségek, emlékezetes viták a magyar történetírásban, 27 történészportré, Budapest, Palatinus, 2007. 157-163.o.

Nașteri în 1913
Decese în 1994
Membri ai Academiei Maghiare de Științe
Istorici maghiari
Orădeni

Kálmán Benda


Acest articol descrie primul tur al Ligii Campionilor EHF Feminin 2019-2020.

Format
Cele 16 echipe au fost împărțite în patru grupe de câte patru. Fiecare echipă a disputat câte un joc pe teren propriu și unul în deplasare împotriva fiecărui adversar din grupă. Echipele clasate pe primele trei locuri au avansat în grupele principale, de unde primele patru echipe au avansat în fazele eliminatorii. Tragerea la sorți a avut loc pe 27 iunie 2019 și a fost transmisă în direct pe canalul ehfTV și printr-un live ticker.

Distribuția
Distribuția echipelor a fost publicată pe 24 iunie 2019. 16 echipe au fost implicate în acest proces, fiind împărțite în patru urne valorice de câte patru.

Tragerea la sorți
Cele 16 echipe din urnele valorice au fost trase la sorți în patru grupe de câte patru echipe, unde au jucat fiecare câte două meciuri una împotriva celeilalte, pe teren propriu și în deplasare, în total câte șase meciuri fiecare. Echipele clasate pe primele trei locuri în fiecare grupă au avansat în cele două grupe principale, de unde primele patru clasate din fiecare grupă s-au calificat în fazele eliminatorii.

Calendarul de mai jos respectă orele locale:

Grupa A

Grupa B

Grupa C

Grupa D

Note

Legături externe
Faza grupelor pe pagina EHF

Liga Campionilor EHF Feminin 2019-2020
2019 în handbal
2020 în handbal

Liga Campionilor EHF Feminin 2019-2020 - faza grupelor


براغي إله شعراء اسكندنافيا القدماء والشعر في الأساطير أإسكندنافية. وبالنظر إلى الدور الهام الذي لعبه الشعر في ذلك الوقت (حيث كان السبب في رواية القصص والحكايا والطريقة الأساسية للحفاظ على السجلات التاريخية بالإضافة إلى التكريم والتمجيد لما بعد وفاة الأبطال)، فكانت ألوهية براغي مهمة نسبيا في الأساطير الإسكندنافية بالرغم من أن الفايكينغ نادرا مايبجلون ويعظمون أسلافهم. ومع ذلك فإن الأغلب يتحدث عن أن براغي أتى اسمه من شاعر اسكندنافي قديم توفي في القرن التاسع (براغي بودسون) ولكن الإسكندنافيين القدماء رفعوه وضموه إلى مرتبة الآيسر

أصل الاسم
يرتبط اسم براجي بكلمة (bragr)، وتعني الشعر باللغة النرويجية القديمة. وربما يكون اسم الإله قد جاء من هذه الكلمة، أو تكون هذه الكلمة قد جاء من اسمه وتعني بذلك (ما يفعله براغي). أما ارتباط اسمه مع الكلمة الإنكلليزية القديمة (brego) والتي تعني الرئيس، قد طرحت سابقا ولكن حاليا لم تعد كذلك. أما مع (bragarfull) والتي تترجم إلى كأس براغي ففي بعض الأحيان يتم استخدامها.

الشهادات
كتب سنوري ستورلسون في قصيدة غيلفاغينينغ، بعدما وصف كلا من أودين، ثور وبالدر:

هناك إله آخر اسمه براغي، عُرف بالحكمة، واشتهر بمعرفته بتأثير الخطاب ومهارات الكلمة، أكثر من عرفوه هم الشعراء، وبسببه سمي الشعراء بهذا الاسم، ومن أجله يطلق على الشاعر (رجل، أو امرأة براغي)، وقد امتلك من البلاغة والفصاحة ما يفوق الآخرين، كانت زوجته إيدون.

كما كتب سنوري في سكالدسكابارمال

كيف يمكن لأحدهم أن يُدعى براغي، زوج إيدون، صانع الشعر الأولي، ذو اللحية البيضاء الطويلة، (لذلك الرجال أصحاب اللحى الطويلة كانوا يسمون رجال براغي)، ابن الإله الأعظم أودين.

ومن هنا وحسب ما ذكر أعلاه، فمن الواضح على مايبدو أن براغي اعتبر ابن أودين، وكذلك في بعض القوائم التي تعدد أبناء أودين (انظر قائمة أبناء أودين). ولكن مصادر أخرى تتحدث عن كونه (الابن المرغوب به) كما في لوكاسينا، المقطع 16، والتي ترجمها هولاند على أنها (قريب أودين). لم تُذكر اسم والدته نهائيا، وإن كانت والدته فريغ، فعلى ما يبدو فإنها رفضت براغي، ففي لوكاسينا المقطع 26، تذمرت فريغ وقالت لو كان لديها ابنا في قاعة إيجر شجاعا كما هو بالدر، لكان لوكي قد حارب من أجل أن يفقده حياته.

ففي هذه القصيدة منع براغي في بداية الأمر لوكي من الدخول إلى تلك القاعة لكن أودين سمح له بعد ذلك، وقد أرسل لوكي تحية لكل الآلهة كرامة لبراغي، فقد قام براغي، بسخاء، بإعطاء سيفه، حصانه، وخاتم ذراع كهدية سلام، ولكن لوكيي اتهم براغي بالخوف والجبن، لكونه أقل شخصا قدرة على المحاربة بين الآلهة والإلف والبشر في هذه القاعة، فأجاب براغي لو أنهم كانوا خارج هذه القاعة لكان قد قطع رأس لوكي، ولكن لوكي استمر بإلقاء اللعنات عليه، وعندما حاولت إيدون تهدئة براغي، استهزأ لوكي منها وأخبرها أنها تحتضن قاتل شقيقها. (في إشارة إلى بعض المسائل التي لم تحل بعض، ومنها أن براغي قد قتل شقيقة زوجته إيدون).

يصف مقطع في القصيدة الشعرية سيغردريفومال، إحدى قصائد إيدا الشعرية، تعاويذ محفورة في الشمس. واحدة على أذن أحد الأحصنة، وواحدة على حوافر الآخر، وعلى أسنان سليبنير، وعلى مخلب الدب، وعلى منقار النسر، وعلى مخلب الذئب. وعلى العديد من الأشياء الأخرى على لسان براغي. ثم كل هذه التعاويذ انتزعت من أماكنها وخلطت مع الميد (خمر العسل)، ثم أُخرجت فحصل الآيسر على قسم منها وحصل الإلف على بعض آخر، وكذلك الفانير والبشر، وتحولت هذه التعاويذ إلى تعويذة خشب الزان، وتعويذه الولادة، تعاويذ الخمر، تعاويذ سحرية، ومعنى هذه التعاويذ غامض.

في الجزء الأول من القصيدة الشعرية، سكالدسكابرمال لسنوري ستورلسون، يتحدث عن نقاش بين براغي وإيجر حول أصل الشعر عماة والشعر الإسكندنافي خاصة، فيذكر براغي أن خمر الشعر هو بالأساس دم كفايسير، وأول من حصل عليه كان أودين، فقام بعد ذلك بمناقشة كافة الاستعارات الشعرية المعروفة باسم الاستعارات المجازية.

أما سنوري فإنه يفصل تماما بين الإله براغي وبين الشاعر الشهير براغي بوديسون، فكان يُشار إليه بشكل منفصل تماما، وظهور براغي في القصيدة الشعرية سكادسكابرمال، يعني أن هاتين الشخصيتين مختلفتين بالنسبة لهذا المؤلف أيضا. أو أن التسلسل الزمني أصبح مشوشا وقد انتقل براغي بودسون إلى آخر الأسطورة بها. ولكن العديد من العلماء حاولوا أن يصلحوا هذا التشويش ويُثبتوا أن الإسمين لشخص واحد ولكن هذا النقاش لم يُحسم بعد.

في القصيدة الشعرية إريكسمال، سمع أودين بقدوم الملك النرويجي إريك بلودإكس، إلى قاعته فالهالا، وأمر كلا من سيغموند وسينفيوتلي بالخروج لإستقباله، ويشير براغي ويتساءل كيف أن أودين عرف أنه الملك ولماذا أساسا سمح لهذا الملك أن يموت. وفي قصيدة هاكونارمال، أُحضر هاكون الطيب إلى فالها بصحبة الفالكيير غوندول، وأرسل أودين كلا من هيرود وبراغي لاستقباله، ففي هذه القصيدة تظهر أن براغي إما أن يكون إلها أو بطلا من أبطال فالهالا.

براغي بوداسون
كان براغي بوداسون الكبير، شاعرا (يستخدم الطريقة اليوهيميرية)، وقد خدم عدة ملوك في السويد، راغنار لودبروك، أوسيتن بيل، ةبيورن أت هاوغ. ذاع صيته في النصف الأول من القرن التاسع. وهو أكثر الشعراء الإسكندنافيين شهرة وأكثرهم بقاء في الذاكرة. من بين أشعاره (حسب ما ذكر سنوري) وصفا للملك المعظم راغنار لودبرك ووصف للدرع الذي قدمه الملك للشاعر، وفيه كانت عدة صور جميلة تت حدث أحيانا عن اصطياد ثور للثعبان يورمونغاند، وعن قيام جيفيون بخلق شبه جزيرة زيلاند، وعن هجوم هامدر وسورلي على الملك يورمونريك وعن الصراع الأبدي بين هيدين وهوغني.

المصادر

 DuBois, Thomas A. Nordic Religions in the Viking Age. Philadelphia: University of Pennsylvania Press, 1999. ISBN 0-8122-1714-4
 Dumézil, Georges. Gods of the Ancient Northmen. Berkeley: University of California Press, 1973. ISBN 0-520-02044-8
 Lindow, John. Handbook of Norse mythology. Santa Barbara, CA: ABC-CLIO, 2001. ISBN 1-57607-217-7
 Munch, P. A. Norse Mythology: Legends of Gods and Heroes. London: H. Milford, Oxford University Press, 1926.
 Orchard, Andy. Cassell's Dictionary of Norse Myth and Legend. London: Cassell, 2002. ISBN 0-304-36385-5
 Sturlson, Snorri. The Prose Edda of Snorri Sturluson: Tales from Norse Mythology. Berkeley, CA: University of California Press, 1954. ISBN 0-520-01231-3
 Snorri Sturluson. The Prose Edda. New York: American-Scandinavian foundation, 1916.
 Turville-Petre, Gabriel. Myth and Religion of the North: The Religion of Ancient Scandinavia. New York: Holt, Rinehart and Winston, 1964.
 . http://www.newworldencyclopedia.org/

آلهة الفنون
آلهة الموسيقى والغناء
أساطير نوردية
إيسر (أساطير إسكندنافية)

براغي


The Breakers is a Gilded Age mansion located at 44 Ochre Point Avenue, Newport, Rhode Island, US. It was built between 1893 and 1895 as a summer residence for Cornelius Vanderbilt II, a member of the wealthy Vanderbilt family.

The 70-room mansion, with a gross area of  and  of living area on five floors, was designed by Richard Morris Hunt in the Renaissance Revival style; the interior decor was by Jules Allard and Sons and Ogden Codman Jr.

The Ochre Point Avenue entrance is marked by sculpted iron gates, and the  walkway gates are part of a  limestone-and-iron fence that borders the property on all but the ocean side. The footprint of the house covers approximately  or 43,000 square feet of the  estate on the cliffs overlooking Easton Bay of the Atlantic Ocean.

The house was added to the National Register of Historic Places in 1971, and was designated a National Historic Landmark in 1994. It is also a contributing property to the Bellevue Avenue Historic District. The property is owned and operated by the Newport Preservation Society as a museum and is open for visits all year.

History

Cornelius Vanderbilt II purchased the grounds in 1885 for $450,000 ($ million today). The previous mansion on the property was owned by Pierre Lorillard IV; it burned on November 25, 1892, and Vanderbilt commissioned famed architect Richard Morris Hunt to rebuild it in splendor. Vanderbilt insisted that the building be made as fireproof as possible, resulting in a structure composed of masonry and  steel trusses, with no wooden parts. He even required that the boiler be located away from the house in an underground space below the front lawn.

The designers created an interior using marble imported from Italy and Africa, and rare woods and mosaics from countries around the world. It also included architectural elements purchased from chateaux in France, such as the library mantel. Expansion was finally finished in 1892.

The Breakers is the architectural and social archetype of the "Gilded Age", a period when members of the Vanderbilt family were among the major industrialists of America. It was the largest, most opulent house in the Newport area upon its completion in 1895.

Vanderbilt died from a cerebral hemorrhage caused by a stroke in 1899 at age 55, leaving The Breakers to his wife Alice Gwynne Vanderbilt. She outlived him by 35 years and died at the age of 89 in 1934. She left The Breakers to her youngest daughter Countess Gladys Széchenyi (1886–1965), essentially because Gladys lacked American property; in addition, none of her other children were interested in the property, while Gladys had always loved the estate.

In 1948, Gladys leased the high-maintenance property to The Preservation Society of Newport County for $1 per year. The Preservation Society bought The Breakers and approximately 90% of its furnishings in 1972 for $365,000 ($ million today) from Countess Sylvia Szapary, Gladys's daughter, although the agreement granted her life tenancy. Upon her death in 1998, The Preservation Society agreed to allow the family to continue to live on the third floor, which is not open to the public. This occupancy ended in 2018.

It is now the most-visited attraction in Rhode Island, with approximately 450,000 visitors annually as of 2017.

Gardens
The pea-gravel driveway is lined with maturing pin oaks and red maples. The trees of The Breakers' grounds act as screens that increase the sense of distance between The Breakers and its Newport neighbors. Among the more unusual imported trees are two examples of the Blue Atlas Cedar, a native of North Africa. Clipped hedges of Japanese yew and Pfitzer juniper line the tree-shaded footpaths that meander about the grounds. Informal plantings of arbor vitae, taxus, Chinese juniper, and dwarf hemlock provide attractive foregrounds for the walls that enclose the formally landscaped terrace.

The grounds also contain several varieties of other rare trees, copper and weeping beeches. Today's pattern for the south parterre garden was determined from old photographs and laid out in pink and white alyssum and blue ageratum. The wide borders paralleling the wrought iron fence are planted with rhododendrons, mountain laurel, dogwoods, and many other flowering shrubs that effectively screen the grounds from street traffic and give visitors a feeling of seclusion.

Layout

Basement
Laundry
Staff's restrooms

First floor
Entrance foyer
Gentlemen's reception room
Ladies' reception room
Great hall ( ×  × ) – Over each of the six doors that lead from the Great Hall are limestone figure groups celebrating humanity's progress in art, science, and industry: Galileo, representing science; Dante, representing literature; Apollo, representing the arts; Mercury, representing speed and commerce; Richard Morris Hunt, representing architecture; and Karl Bitter, representing sculpture.
Main staircase
Arcade
Library – The library has coffered ceilings painted with a dolphin, symbolic of the sea and hospitality, supported by Circassian walnut paneling impressed with gold leaf in the form of a leather-bound book. Between the ceiling and the gold paneling lies green Spanish leather embossed with gold, which continues into the library from the alcove used for cards. Inside the central library are two busts: a bronze of William Henry Vanderbilt II, the oldest child of Cornelius II and Alice, who died of typhoid at the age of 21 while attending Yale University; and a marble of Cornelius Vanderbilt II. The fireplace, taken from a 16th-century French chateau (Arnay-le-Duc, Burgundy), bears the inscription "I laugh at great wealth, and never miss it; nothing but wisdom matters in the end."
Music room – The room's open interior was used for recitals and dances. Its woodwork and furnishings were designed by Richard Van der Boyen and completed by Jules Allard and Sons. The room has a gilt coffered ceiling lined with silver and gold, as well as an elliptical ceiling molding which bears the inscription in French of song, music, harmony and melody. Around the edge are the names of well-known composers. The fireplace is of Campan marble and the tables were designed to match. Mr. Vanderbilt was known to play the violin and Mrs. Vanderbilt the piano, which is a Second Empire French mahogany ormolu mounted piano.
Morning room – Designed by the French company head Jules Allard, this communal sitting room faces east to admit the morning sun, and was used throughout the day. Placed around the room are platinum-leafed panels illustrated with 8 of the 9 muses. All interior woodwork and furnishings were designed and constructed in France, then shipped to America before assembly.
Lower loggia
Billiards room – Designed in the style of ancient Rome, this room shows m Richard Morris Hunt's competence in stone works. The great slabs of Cippolino marble from Italy form the walls, while rose alabaster arches provide contrast. Throughout the room there is an assortment of semi-precious stones, forming mosaics of acorns (the Vanderbilt family emblem, intended to show strength and longevity) and billiards balls on the top walls. The Renaissance style mahogany furniture provides further contrast with that of the colored marble.
Dining room – The  dining room is the house's grandest room and has 12 freestanding rose alabaster Corinthian columns supporting a colossal carved and gilt cornice. Rich in allegory, this room serves as an exemplar of what 19th-century technology could do with Roman ideas and 18th-century inspiration. On the ceiling, the goddess Aurora is depicted bringing in the dawn on a four-horse chariot as Greek figures pose majestically. A 16th-century style table of carved oak seats up to 34. Two Baccarat crystal chandeliers light the room with either gas or electricity, and 18, 22 or 24 carat gold gilt is adhered to the wall with rabbit-skin glue.
Breakfast room – The breakfast room, with its modified Louis XV style paneling and furnishings, was used for family morning meals. The furnishings, colors and gilt, although still extravagant in their use, contrast with the dining room's more lavish decoration.
Pantry – A central dumbwaiter brought additional china and glassware down from the mezzanine level. The pantry was also used for the storage of the family's table silver; this was brought with the family when they traveled, and stored in a steel vault. An intercom system allows the butler to direct the necessary servants to their needed locations, and each number on the caller corresponds to a number on a room.
Kitchen – The kitchen, unlike others in the time period, was situated on the first floor away from the main house to prevent the possibility of fires and cooking smells reaching the main parts of the house. The well-ventilated room supports a  cast iron stove, which heats up as a single element through a coal burning stove. The work table is made of zinc, a metal which served as the forerunner to stainless steel; in front of it is a marble mortar used to crush various ingredients. Ice cut in winter from the local ponds kept the side rooms cool where food was stored, and facilitated a colder room for the assembling of confections. The kitchen and baking pantry each have one dumbwaiter that travels to the basement level where groceries were delivered and refuse removed.

Second floor
Mr. Vanderbilt's bedroom – As with the rest of the second floor, Ogden Codman designed this room, choosing Louis XIV Style. The bed is made of carved walnut and the mantel is of rouge royal marble, which hosts a large mirror above to bring more light into the room. There is much memorabilia of family and friends, though Cornelius Vanderbilt II lived only a year at the Breakers in good health, before dying the following year, 1899, of a stroke.
Mrs. Vanderbilt's bedroom – A perfect oval, Alice Vanderbilt's room has multiple doors connecting it to other bedrooms. Four closets to
allowed for her possible seven clothing changes per day, and a pager to administer and delegate family needs to the servants. This room also served as her study and had many bookshelves. Additionally, there are discreetly designed corridors that permitted female servants to maintain the laundry and costume needs of the family in a seemingly invisible fashion.
Miss Gertrude Vanderbilt's bedroom – Gertrude, daughter of Cornelius II and Alice, was a less conforming character who wished to be loved for her personality rather than her wealth and family; later she found her match in Harry Payne Whitney and became an artist. Multiple pieces of her artwork are featured in the room, including "The Engineer", which was inspired by her brother during World War I, "Laborer", and another that commemorates the American Expeditionary Force of World War I. She moved into The Breakers when she was 19. Above her bed is a portrait of her at age 5 by Raimundo de Madrazo y Garreta, and beside it, to the left of the bed, a sketch of her as a young woman.
Upper loggia – Opening east to the Atlantic, the upper loggia served as an informal living room. During the summer the glass doors overlooking the great hall could be opened to allow a breezeway. The walls are painted marble, and the ceiling is designed to depict three canopies covering the sky. The lawn, designed by James and Ernest Bowdwitch, hosted many parties and was well kept by a gardening staff of 20, who also introduced and maintained various non-indigenous trees.
Guest bedroom – This room exemplifies the Louis XVI style through furniture, woodwork and light fixtures, with Neoclassical style abounding in the interior. The wall paneling has never been retouched, though the rest of the room has been restored by the preservation society.
Countess Szechenyi's bedroom – Designed by Ogden Codman in 18th-century simple elegance style, this room features an ivory and cream-colored motif.
There are also two other rooms located on the second floor, possibly a nursery and a nanny's bedroom.

Third floor
The third floor contains eight bedrooms and a sitting room decorated in Louis XVI style walnut paneling by Ogden Codman. The north wing of the third-floor quarters were reserved for domestic servants. Using ceilings nearly , Richard Morris Hunt created two separate third floors to allow a mass aggregation of servant bed chambers. This was because of the configuration of the house, built in Italian Renaissance style, which included a pitched roof. Flat-roofed French classical houses built in the area at the time allowed a concealed wing for staff, whereas the Breakers' design did not permit this feature.

A total of 30 bedrooms are located in the two third-floor staff quarters. Three additional bedrooms for the butler, chef, and visiting valet are located on the mezzanine "entresol" floor, located between the first and second floor just to the rear of the main kitchen.

Attic floor
The attic floor contained more staff quarters, general storage areas, and the innovative cisterns. One smaller cistern supplied hydraulic pressure for the 1895 Otis elevator, still functioning in the house even though the house was wired for electricity in 1933. Two larger cisterns supplied fresh and salt water to the many bathrooms in the house.

Over the grand staircase is a stained glass skylight designed by artist John La Farge. Originally installed in the Vanderbilts' 1 West 57th Street (New York City) townhouse dining room, the skylight was removed in 1894 during an expansion of that house.

Materials
Foundation: brick, concrete, and limestone
Trusses: steel
Walls: Indiana limestone
Roof: red terra cotta tile
Wall panels: platinum leaf (eight reliefs of mythological figures only)
Other: marble (plaques), wrought iron (gates and fences)

The architect
The Breakers was designed by Richard Morris Hunt, one of the country's most influential architects.  It is regarded as
a definitive expression of American Beaux-Arts architecture.  Hunt's final project, it is also one of his few surviving works, and is valued for its architectural excellence. The home made Hunt the "dean of American architecture", as he was called by his contemporaries, and helped define the Gilded Era in American history.

Media
The house makes an appearance at the end of the establishing shot of the 1990 American drama Reversal of Fortune, where it stands in as the Newport mansion of Sunny and Claus von Bulow, which was instead the nearby Clarendon Court.

See also

List of Gilded Age mansions
List of largest houses in the United States
List of National Historic Landmarks in Rhode Island
National Register of Historic Places listings in Newport County, Rhode Island

Footnotes

References

Further reading
Wilson, Richard Guy, Diane Pilgrim, and Richard N. Murray. American Renaissance 1876–1917. New York: The Brooklyn Museum, 1979.
Baker, Paul R. Richard Morris Hunt. Cambridge, Massachusetts: The MIT Press, 1980.
Benway, Ann. A Guidebook to Newport Mansions. Preservation Society of Newport County, 1984.
Croffut, William A. The Vanderbilts and the Story of their Fortune. Chicago and New York: Belford, Clarke and Company, 1886.
Downing, Antoinette F. and Vincent J. Scully, Jr. The Architectural Heritage of Newport, Rhode Island. 2nd edition, New York: Clarkson N. Potter, Inc., 1967.
Ferree, Barr. American Estates and Gardens. New York: Munn and Company, 1904.
Gannon, Thomas. Newport Mansions: the Gilded Age. Fort Church Publishers, Inc., 1982.
Gavan, Terrence. 'The Barons of Newport: A Guide to the Gilded Age'. Newport: Pineapple Publications, 1998.
Jordy, William H., and Christopher P. Monkhouse. Buildings on Paper. Brown University, Rhode Island Historical Society and Rhode Island School of Design, 1982.
Lints, Eric P. "The Breakers: A Construction and Technologies Report" Newport, RI: The Newport Preservation Society of Newport County, 1992.
Metcalf, Pauline C., ed. Ogden Codman and the Decoration of Houses. Boston: The Boston Athenaeum, 1988.
Patterson, Jerry E. The Vanderbilts. New York: Harry N. Abrams, Inc., 1989.
Perschler, Martin. "Historic Landscapes Project" Newport, RI: The Preservation Society of Newport County, 1993.
Schuyler, Montgomery. "The Works of the Late Richard M. Hunt", The Architectural Record, Vol. V., October–December 1895: p. 180.
Smales, Holbert T. "The Breakers" Newport, Rhode Island. Newport, RI: Remington Ward, 1951.
Thorndike, Joseph J., ed. Three Centuries of Notable American Architects. New York: American Heritage Publishing Co., Inc., 1981.
Mackenzie Stuart, Amanda. Consuelo & Alva; Harper Perennial, London; 2006. .

External links

Preservation Society of Newport County - Breakers Page
Complete details of the building, from the United States Department of the Interior, National Park Service (Adobe PDF file)

Vanderbilt family residences
Houses in Newport, Rhode Island
Historic house museums in Rhode Island
Museums in Newport, Rhode Island
Biographical museums in Rhode Island
Houses completed in 1895
Houses on the National Register of Historic Places in Rhode Island
National Historic Landmarks in Rhode Island
Historic American Buildings Survey in Rhode Island
Richard Morris Hunt buildings
Italianate architecture in Rhode Island
Renaissance Revival architecture in Rhode Island
Gilded Age mansions
National Register of Historic Places in Newport, Rhode Island
Individually listed contributing properties to historic districts on the National Register in Rhode Island

The Breakers


Scrooge McDuck este un personaj fictiv, creat în 1947, de către Carl Barks în perioada în care era angajat la Compania Walt Disney. Scrooge McDuck reprezintă o rață antropomorfizată, de origine scoțiană, ce are cioc, picioare și labe galbene spre portocalii. De obicei este văzut cu o redingotă roșie, joben, ochelari în stilul Pince-nez și jambiere. În fiecare apariție animată el vorbește cu accent scoțian.

Numit după celebrul personaj Ebenezer Scrooge, din romanul Colind de Crăciun (A Christmas Carol), personajul reprezintă un magnat de afaceri extrem de bogat și un auto-proclamat "capitalist de aventură", a cărui caracteristică dominantă este chibzuința. Este unchiul maternal al Rățoiului Donald, și stră-unchiul lui Huey, Dewey și Louie.  Scrooge McDuck  este cel mai bogat din toată lumea. El este mare industriaș, businessman, deținătorul celor mai mari probleme miniere și multor fabrici ce operează diverse activități. Iar "Binul de Bani" ("Money Bin") al său (și chiar însăși Scrooge) sunt folosite, în cultura populară prin tot globul, adesea ca metonime și fac referire la o avere uriașă.

Scrooge McDuck și-a făcut prima apariție în povestea numită "Christmas on Bear Mountain", publicată în numărul 178 din benzile desenate Four Color Comics, din decembrie 1947, de către artistul Carl Barks. Este posibil ca aspectul său fizic să fie bazat pe ipostaza Rățoiului Donald, ca un "salvator de economii", în desenul propagandist din 1943 The Spirit of '43. Mai târziu, Barks a remarcat faptul că a vrut să-l folosească pe Scrooge doar ca un personaj într-o singură poveste, dar mai târziu a decis că acesta (pe lângă norocul său) poate fi util pentru a motiva și alte povești. Barks a continuat experimentarea cu apariția lui Scrooge și personalitatea sa peste următorii patru ani.

După ce creatorul său s-a pensionat, personajul și-a continuat viața sub tutela altor artiști. În 1972 Barks a fost presat în a scrie mai multe povești pentru Disney. În câteva povești de pe vremea aceea, Scrooge a jucat rolul de răufăcător, similar cu rolul pe care îl avea înainte de a-și obține propria serie. Sub Barks, Scrooge era tot timpul un personaj maleabil, care avea personalități diferite, depinzând de premisa poveștii. Artistul italian Romano Scarpa a realizat diverse noutăți în universul lui Scrooge McDuck, printre care amanta sa stilată, Brigitta McBridge, și Gideon McDuck, fratele său ce este editor de ziare. Iar aceste personaje au apărut cel mai mult în benzi desenate europene.

Ca personaj, Scrooge McDuck este foarte neînțeles. În primii ani era drăguț și politicos, dar insultele societății de către oamenii cruzi, pe lângă și ingratitudinea celor pe care el i-a ajutat să treacă peste problemele lor, l-au transformat pe Scrooge într-o persoană crudă, egoistă și cu multă putere. Crezând că s-a făcut abuz de el, nu dorea să accepte că alții aveau probleme reale. Asta l-a făcut foarte respingător și fără inimă. Iar nimeni nu-i putea înțelege problemele, nici măcar nepoții lui. Această izolare i-a deschis calea către putere și avere nespusă. Totuși, el tot are o inimă bună, și îi va ajuta mereu pe cei stresați sau panicați.

Ca și alte personaje din franciza Disney, popularitatea internațională a personajului a rezultat în literatură ce a fost tradusă în alte limbi. Benzile desenate au fost mijlocul său principal de apariții, deși a apărut și în multe apariții animate, cea mai notabilă fiind desenul animat din 1967 numit "Scrooge McDuck and Money", unde acesta îi învață pe nepoții lui despre importanța și istoria banilor de pretutindeni. În 1974 Disneyland Records a realizat o adpatare audio după clasicul lui Charles Dickens, Colind de Crăciun, în care personajul joacă rolul fix personajului după care a fost bazat, și anume Ebenezer Scrooge. Opt ani mai târziu, compania Disney a făcut un film animat după aceeași poveste, sub forma lui Colindul lui Mickey (Mickey's Christmas Carol). A apărut și ca el însuși în episodul special Sport Goofy in Soccermania (1987).

Însă, cel mai mare rol al acestui personaj a fost în propriul serial animat, unde el este personajul principal, Povești cu Mac-Mac (DuckTales,) din 1987, ce se bazează pe benzile desenate ale lui Carl Barks. În aceste episoade, Scrooge a devenit purtătorul de grijă al lui Huey, Dewey și Louie, în timp ce Donald se alătură Marinei SUA. Personalitatea sa din serialul acesta este ceva mai blândă decât în aparițiile anterioare; cruzimea i-a fost înjosită de-a binelea, iar atitudinea abrazivă îi este redusă în o mulțime de episoade la un unchi capricios dar iubăreț. Chiar și așa, câteva părți din caracterul lui Barks mai pot fi văzute, în special în primele episoade.

Mai apare ca un personaj ocazional în câteva episoade din Fabrica de râs a lui Mickey (Mickey Mouse Works), Casa lui Mickey Mouse (Disney's House of Mouse) și noul serial Mickey Mouse din 2013.

În noul reboot Povești cu Mac-Mac din 2017, Scrooge îi aduce atât pe nepoții săi cât și pe Donald în noua sa casă la sfârșitul episodului-pilot. Acest serial indică că Scrooge s-a aventurat în trecut cu nepotul Donald, cât și cu nepoata Della Duck. Însă un eveniment petrecut cu 10 ani înaintea începerii acestui reboot a făcut ca Donald și Scrooge să taie orice legătură între ei. Din această cauză acum el pare a avea o atitudine negativă asupra familiei, și inițial este dezinteresat în a petrece timpul cu băieții până în momentul în care aceștia îl asistă în câteva aventuri.

Legături externe

Personaje de desen animat
Personaje Disney
Mickey Mouse

Scrooge McDuck


Villalba del Alcor ist eine spanische Gemeinde der Provinz Huelva in Andalusien.

Geschichte
Bis zur römischen Kolonisierung gibt es keine klaren Anzeichen für die Besiedlung des unter dem Namen El Giraldo bekannten Gebietes. Während der islamischen Epoche war die Zone wegen des Aufeinandertreffens der Königreiche Niebla und Sevilla gefährlich. Aus diesem Grund wurde zu Beginn des 12. Jahrhunderts, in der almohadischen Epoche eine Burg am Hang des Gebirges gebaut, das als Castillo de Ostia bekannt ist.

1248 eroberte Ferdinand III. Sevilla und das Gebiet Aljarafe. Villalba und seine Burg fielen dieser Eroberung zum Opfer, liegen jedoch immer noch im Grenzgebiet, bis 1262 schließlich auch das Königreich Niebla fällt. Daraufhin zerfällt die islamische Macht, doch Villalba bleibt immer noch unbewohnt. Erst ab 1327 setzt ein schneller Prozess der Wiederbesiedlung ein. 1588 wird ein Karmeliterkloster gegründet und 1618 ein weiteres. Diese Einrichtungen bewirken eine rasche Entwicklung des Ortes.

Nach dem 17. Jahrhundert wird ein Hospital für Typhuskranke errichtet. Dadurch erhielt Villalba eine herausragende Stellung innerhalb des Condado.

Wirtschaft
Die Haupterwerbszweige sind die Landwirtschaft, besonders der Weinbau, und die Gastronomie.

Einwohnerentwicklung
Einwohnerzahlen der letzten Jahre:

Sehenswürdigkeiten
 Kirchenfestung San Bartolomé
 Kloster San Juan Bautista mit Barockkirche
 Einsiedlerei Santa Águeda
 Kapelle Santísima Trinidad.
 Kapelle Nuestra Señora de las Reliquias
 Kapelle Santa Cruz in der Calle Real
 Kapelle Santa Cruz in der Calle Paterna
 Kapelle Santa Cruz in der Calle Cerrillo

Feste
 Fest des Heiligen Kreuzes im Mai (Cruces de Mayo)
 Fest der Heiligen Agatha (Schutzheilige des Ortes)
 Fest der Virgen del Carmen in der letzten Woche des August bzw. der ersten Woche des Septembers
 Rundfahrt der Virgen del Carmen, die zum obengenannten Fest stattfindet

Persönlichkeiten
 Nicolás Tenorio Cerero, Richter und Geschichtsschreiber (1863–1930)
 Carmelo del Toro (* 28. Januar 1972 in Villalba), Keramiker
 Francisco García Garrido (* 1990 in Huelva), Maler und Schriftsteller des minimalistischen Surrealismus

Einzelnachweise

Weblinks

 Offizielle Webseite von Villalba del Alcor
 Infoseite von GuadalInfo über Villalba del Alcor
 Villalba del Alcor – Sistema de Información Multiterritorial de Andalucía
 Webseite von Francisco García Garrido
 Webseite über – Página incluida en la búsqueda de Carmelo del Toro

Provinz Huelva
Ort in Andalusien
Weinbauort in Spanien

Villalba del Alcor


Ruthild Hahne (née le  à Wilmersdorf et morte le  à Berlin) est une sculptrice allemande. Parfois considérée comme une spécialiste des héros communistes, elle a réalisé bien d'autres œuvres d'une grande qualité. Son nom reste cependant  lié à la construction inachevée du monument Ernst Thälmann auquel elle a consacré quinze ans de sa vie. Durant la Seconde Guerre mondiale, elle fait partie du réseau de résistance Orchestre rouge, est condamnée à quatre ans de prison et réussit à s'évader durant un bombardement.

Biographie

Jeunesse et formation
Ruthild Hahne est née le 19 décembre 1910 à Wilmersdorf dans une famille de la grande bourgeoisie constituée de marchands et de fabricants. Elle grandit dans une villa de Berlin-Schmöckwitz avec une femme de ménage, un jardinier et un chauffeur.

Après avoir fréquenté une école secondaire pour filles de Neukölln jusqu'en 1927, elle souhaite suivre une formation de peinture à l'Académie des arts de Charlottenbourg mais échoue à l'examen d'entrée. Elle suit alors une formation de professeur de gymnastique orthopédique et de physiothérapeute à la clinique universitaire de Berlin et exerce cette profession jusqu'en 1936. Elle est alors en contact avec la misère de ses patients, des ouvriers de l'est de la ville. Elle découvre aussi le marxisme en lisant Le Capital de Karl Marx et prend contact avec le mouvement ouvrier et le Parti communiste d'Allemagne (KPD).

En 1930, elle rencontre Jean Weidt, le directeur de la troupe Roten Tänzer, qui l'initie à la danse expressionniste. Elle danse des chorégraphies sur la lutte des classes, comme Bergarbeitertanz (danse des mineurs) sur une musique de Hanns Eisler. En 1933, elle participe à la première Olympiade révolutionnaire du théâtre à Moscou mais, avec l'arrivée au pouvoir des nazis, sa carrière de danseuse prend fin et Jean Weidt fuit à l'étranger. Cette expérience restera une importante source d'inspiration pour la sculptrice.

En 1936, elle est finalement admise en sculpture à l'École supérieure des beaux-arts de Berlin, où elle est l'élève de  et apprend la sculpture monumentale avec Arno Breker. Elle passe l'année 1941 à la Villa Massimo à Rome grâce à une bourse. À cette époque, elle réalise de petites sculptures et des portraits d'enfants d'inspiration classique.

Nazisme et résistance
Parmi les étudiants de Wilhelm Gerstel figurent Hermann Blumenthal, Gustav Seitz, , Fritz Cremer et  qui se réunissent chez Ruthild Hahne. À partir de 1941, elle vit avec  qui a déjà passé deux ans en prison pour avoir jeté des tracts d'un train à la Porte de Cottbus.

Le cercle des étudiants en art devient un groupe de résistance du réseau Orchestre rouge, dans lequel Ruthild Hahne s'investit également. Ils travaillent, entre autres, pour le journal illégal Die Innere Front dans son appartement de la Nachodstrasse 20 à Berlin-Wilmersdorf. Après la découverte du groupe à l'automne 1942, Wolfgang Thiess est condamné à mort et exécuté. Ruthild Hahne est condamnée à quatre ans de prison. Durant la tourmente des derniers mois de la Seconde Guerre mondiale, elle réussit à s'évader de la prison de Cottbus, se rend sur le front de l'Est et passe en Union soviétique.

Sculpture
En juin 1945, elle revient à Berlin, sans le sou. En 1946/1947, Ruthild Hahn est cofondatrice de la Hochschule für Angewandte Kunst (Haute école des arts appliqués, devenue ) où elle travaille également comme chargée de cours pendant plusieurs années. Lors de la première grande exposition d'art en 1946, elle fait sensation avec une tête de Lénine. Une carrière de portraitiste s'ouvre à elle, en particulier d'hommes politiques du mouvement communiste tels que Karl Liebknecht et Wilhelm Pieck. Elle réalise également plusieurs portraits d'enfants.

En 1950, le projet de Ruthild Hahne, Der Freiheitskämpfer, pour un monument en hommage à Ernst Thälmann, est retenu parmi 182 projets concurrents. Jamais, dans l'histoire de l'art, un projet de cette taille n'a été confié à une femme. Elle dirige un collectif de sculpteurs pour la réalisation de ce gigantesque monument comprenant plus de 60 personnages. La figure d'Ernst Thälmann, le poing levé, doit faire six mètres de haut, deux mouvements de personnes poings levés et portant des drapeaux, censés symboliser les partis ouvriers, KPD et SPD, se rejoignent derrière lui. L'idée bien que peu originale, convient parfaitement au culte de la personnalité en vogue à cette époque.

En 1958, un plâtre partiel du monument est présenté à la  . Pendant plus de , Ruthild Hahne se consacre entièrement à cette commande. Avec la construction du mur de Berlin en 1961, l'emplacement prévu sur la place Thälmann devient une zone d'accès restreint et il n'est plus possible d'y ériger le monument. De plus, le goût artistique a changé au sein du département de la culture du Comité central du Parti socialiste unifié d'Allemagne qui considère maintenant le monument comme une . Dans des lettres internes du département de la culture, on reproche à la camarade Hahne d'être paresseuse, d'avoir échoué dans la formation d'un collectif et de ne vouloir que se créer un moyen de subsistance.

En 1965, Ruthild Hahne doit mettre fin à son travail sur le mémorial d'Ernst Thälmann. Jusqu'au bout elle refuse d'admettre qu'elle a travaillé en vain. La Wilhelmplatz, sur laquelle était prévu son monument Thälmann, est également détruite à la fin de la RDA. Une partie de ce qui est terminé sera détruit, d'autres parties, comme la figure d'Ernst Thälmann et le groupe Ouvrier et paysanne à l'échelle 1: 2 sont toujours dans l'atelier devenu un musée. Le Märkisches Museum Berlin en conserve deux parties en relief à l'échelle 1:4.

Ruthild Hahne tombe ensuite dans l'oubli, bien qu'elle continue la sculpture et crée un certain nombre de portraits en buste et de petites sculptures de femmes, d'enfants et de dirigeants ouvriers d'une grande précision technique et anatomique. Durant les trente années suivantes, elle se consacre surtout à sa passion des voyages, rendue possible par le passeport ouest-allemand qu'elle a conservé lors de son installation à Berlin-Est. En guise de « consolation » pour le monument Ernst Thälmann, la RDA lui offre deux voyages de quatre semaines en Syrie et en Inde. Durant sa vie, elle s'est rendue au moins 25 fois en Italie dont elle parle couramment la langue.

Ruthild Hahne meurt le  à Berlin. Dans son sac, son fils trouve une lettre de Wolfgang Thiess écrite le , quelques heures avant son exécution.  écrit-il. Elle est inhumée au .

Son atelier abrite désormais le musée de l'atelier Ruthild Hahne et peut être visité sur demande. Il sert également occasionnellement de lieu de conférence. Son fils, Stefan Hahne, rejette le qualificatif de sculptrice politique, voire communiste pour sa mère, préférant qu'on la considère plutôt comme une bonne sculptrice.

Distinctions

 1971 : Ordre patriotique du mérite en argent.

Œuvres (sélection)
 Garçon debout (statue, bronze à patine brun noirâtre)
 Portrait du jeune garçon Tobby (buste, bronze ; exposé en 1949 à la  Exposition d'art allemand)
 Portrait d'enfant Nora (buste, bronze, 1947 ; exposé en 1949 à la  Exposition d'art allemand)
 Karl Liebknecht (buste, bronze ; dans l'inventaire du Musée d'histoire de la ville de Leipzig)
 Wilhelm Pieck ( buste, bronze ; exposé à la  Exposition d'art allemand en 1958-1959)
 Walter Ulbricht (buste; bronze ; vers 1969)
 Kurt Stern (buste ; vers 1971)

Expositions (sélection)
Ruthild Hahne n'a eu sa première exposition personnelle qu'à .

Expositions personnelles (sélection)

 1971 : Berlin, Galerie im Turm (avec Hans Kies et Heinz Worner )
 1979 : Berlin, pavillon d'exposition à la station S-Bahn Friedrichstrasse (avec Ernst Jazdzewski )
 1995: Ruthild Hahne, Geschichte einer Bildhauerin, Berlin, Schadow-Haus

Participation à des expositions (sélection)

 1949, 1953/1954, 1958/1959 et 1967/1968 : Dresde, Exposition d'art allemand et Exposition d'art de la RDA
 1951 : Künstler schaffen für den Frieden Berlin, bâtiment du musée sur le Kupfergraben
 1968 : Sieger der Geschichte, Halle-sur-Saale,
 1970: Auferstanden aus Ruinen, Berlin
 1970 : Im Geiste Lenins, Berlin, Altes Museum
 1970 : Die Akademie ehrt Lenin, Berlin, Galerie de l'Académie
 1970/1971 : Berliner Bildhauer – Deutsche Demokratische Republik, Linz, Nouvelle galerie de la ville de Linz
 1971 : Das Antlitz der Arbeiterklasse in der bildenden Kunst der DDR, Berlin, Altes Museum
 1979 : Weggefährden – Zeitgenossen, Berlin, Altes Museum
 1979 : Jugend in der Kunst, Berlin, Altes Museum
 1981 : 25 Jahre NVA, Dresde
 1982 :  Berlin, parc de Treptow
 2015 : Porträt Berlin - Künstlerische Positionen der Berliner Nachkriegsmoderne 1945-1955, Kunsthaus Dahlem

Bibliographie
  Jörg Fidorra, Katrin Bettina Müller, Ruthild Hahne : Geschichte einer Bildhauerin. In Zusammenarbeit mit dem Verein Berliner Künstlerinnen, Berlin, Eigenverlag Schadow-Gesellschaft e.V., 1995
  Hahne, Ruthild, dans : Dietmar Eisold (éd. ), Lexikon Künstler der DDR, Berlin, Verlag Neues Leben, 2010,
  Gertrud Heider, « Für eine bessere Zukunft. Ruthild Hahne zum 75. Geburtstag », dans Bildende Kunst, Berlin, 1985,
  Astrid von Killisch-Horn, Bürgerpark Pankow – Grüner Lebensraum im Zeitenwandel, Rudolstadt, 2007 , , 175-181. (Texte détaillé et illustré sur le travail de Ruthild Hahne dans son atelier du Bürgerpark Pankow 1951-1963, où furent réalisées les maquettes du monument Thälmann.)
  Peter Michel, « Schlichtheit und Größe. Eine Erinnerung an die Bildhauerin Ruthild Hahne anlässlich ihres 110. Geburtstages am 19. Dezember », dans Junge Welt du
 Jean Mortier, « La situation des artistes plasticiens en zone d'occupation soviétique et en RDA (1945-1955) », dans Allemagne d'aujourd'hui, 2013/3 ,   (lire en ligne)
  Stefan Roloff, Die Rote Kappelle, Ulstein, 2002
  Gert Rosiejka, Die Rote Kapelle. "Landesverrat" als antifaschistischer Widerstand, introduction de Heinrich Scheel. Hambourg, 1986
  Jutta Schmitt, « Wirken für die Sache der Arbeiterklasse. Zu Leben und Werk von Ruthild Hahne, Hans Kies und Heinz Worner », dans Bildende Kunst, Berlin, 1971,

Liens externes

 Ruthild Hahne sur Bildindex der Kunst und Architektur

 Ruthild Hahne sur Artnet
 Ruthild Hahne sur Who's Who

Références

Récipiendaire de l'ordre du mérite patriotique en argent
Sculptrice allemande
Personnalité féminine du XXe siècle
Orchestre rouge
Résistante allemande
Naissance en décembre 1910
Naissance à Berlin
Décès en septembre 2001
Décès à Berlin
Décès à 90 ans

Ruthild Hahne


An Dendrocalamus sikkimensis in uska species han Liliopsida nga ginhulagway ni James Sykes Gamble ngan Daniel Oliver. An Dendrocalamus sikkimensis in nahilalakip ha genus nga Dendrocalamus, ngan familia nga Poaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Mga sumpay ha gawas

Dendrocalamus

Dendrocalamus sikkimensis


In organic chemistry, an aldol describes a structural motif consisting of a 3-hydroxy ketone, , or 3-hydroxyaldehyde, . Both are composed of a hydroxy group () and either a ketone () or an aldehyde (, which is merely a ketone with a hydrogen substituent). An aldol consisting of a 3-hydroxy ketone is called a β-hydroxy ketone, and an aldol consisting of a 3-hydroxy aldehyde is called a β-hydroxy aldehyde. The term "aldol" may refer to 3-hydroxybutanal.

Synthesis and reactions

Aldols are usually the product of aldol addition, i.e. the condensation of two aldehydes. Stereoselective syntheses of aldols is an active area of asymmetric synthesis.

The chemistry of aldols is dominated by one reaction, dehydration:
RC(O)CH2CH(OH)R'  →  RC(O)CH=CHR'  +  H2O

Applications
When two molecules of aldehydes react to form an aldol (β-hydroxy aldehyde), the aldol usually produces secondary compounds since it is unstable. Secondary compounds can be diols, unsaturated aldehydes, or alcohols. The aldol 3-hydroxybutanal is a precursor to quinaldine, a precursor to the dye quinoline Yellow SS.

Aldols are also used as intermediates in the synthesis of natural products and drugs. The synthesis of Oseltamivir, an antiviral medicine used to treat the flu, involves the aldol reaction.

The structural motif of aldols is often found in polyketide natural products, which can be used to manufacture antibiotics.

Hydroxypivaldehyde is a rare example of a relatively robust aldol.

See also
Mukaiyama aldol addition

References

Aldehydes

Aldol


සිංහල වියරණ යනු සිංහල බසෙහි වැකි සහ වදන් සෑදිය යුතු අයුර පිලිබඳ කියැවෙන රීති සංග්‍රහයයි. පළමු වියරණ සංග්‍රහය ලෙස හැඳින්වෙන්නේ සිදත් සඟරාව යි.

උක්තාඛ්‍යාත පද සම්බන්ධය
වචන භේදය
පුරුෂ භේදය
කාල භේදය
ලිංග භේදය
කාරක භේදය

වචන භේදය
සිංහල බසෙහි වචන භේදය "ඒක" හා "බහු" වචන ලෙස බෙදේ. ඒ අනුව ආඛ්‍යාතය වෙනස් වේ.

ඒක වචන - ඔහු පොතක් කියවයි.  (අනතීත කාලය)
බහු වචන - ඔවුහු පොත් කියවති.  (අනතීත කාලය)

පුරුෂ භේදය
සිංහල බසෙහි පුරුෂ භේදය, සාමාන්‍යයෙන් භේද තුනකට බෙදේ. ඒවා නම්;

1.උත්තම පුරුෂ
ඒක වචන - මම - මම පොතක් කියවමි.
බහු වචන - අපි - අපි පොතක් කියවමු.

2.මධ්‍යම පුරුෂ
ඒක වචන  - නුඹ, තෝ, තී, ඔබ, යුෂ්මතා, තමුන්නාන්සේ -  නුඹ පාසැල් යන්නෙහි.
බහු වචන  -  නුඹලා, තොපි, ඔබ, යුෂ්මත්හු, තමුන්නාන්සේලා - ඔබ සැම ගුරුතුමාට ආචාර කරන්නෙහු.

3.ප්‍රථම පුරුෂ
උත්තම පුරුෂයටත්, මධ්යම ප්පුරුෂයටත් යන දෙකටම අයත් නොවන සියලුම ප්‍රාණවාචී හ අප්‍රාඅණවාචී නාම මීට අයත්වේ.
ඒක වචන  - ළමයා, දැරිය, ඔහු, ඈ, ගස -  ගුරුතුමා පාඩම උගන්වයි.
බහු වචන  - ළමයි, දැරියෝ, ඔවුහු, ගස් - ගුරුවරු පාඩම් උගන්වති.

මෙයට අමතරව අසල සිටින අයෙකුට "මොහු" (හෝ ව්‍යවහාරික බසෙහි "මෙයා") යන්නද යොදා ගත හැක.

කාල භේදය
සිංහල බසෙහි කාල භේදය අතීත හා  අනතීත ලෙස බෙදේ. අනතීත කාලයෙන් වර්තමාන හා අනාගත කාල දෙකම නිර්ණය වේ. අනාගත කාලය ස්ථිර ලෙස නිර්ණය කිරිඉමට "හෙට", 'ලබන ඉරිදා" වැනි වචන යොදා ගැනේ.

1.අතීත කාලය
ඒක - දරුවා පාසැල් ගියේය.
බහු -  දරුවෝ පාසැල් ගියෝය/ගියහ.

2.අනතීත කාලය
ඒක -  දරුවා පාසැල් යයි/යන්නේය.
බහු -   දරුවෝ පාසැල් යති/යන්නෝය.

ලිංග භේදය
සිංහල බසෙහි ස්ත්‍රී පුරුෂ ලිංග භේදය අනුව ඒක වචන ආඛ්‍යාතය වෙනස් වේ. නපුංසක ලිංග ඒක වචන හා බහු වචන ආඛ්‍යාතය පුරුෂ ලිංග ඒක වචන ආඛ්‍යාතයට සමානය.

1.ස්ත්‍රී
ඒක - ඈ බණ අසයි/අසන්නීය.  ඈ බණ ඇසුවාය.
බහු - උපාසිකාවෝ බණ අසති/අසන්නෝය.  උපාසිකාවෝ බණ ඇසූහ/ඇසුවෝය.

2.පුරුෂ
ඒක - ඔහු බණ අසයි/අසන්නේය.  උපාසකයා බණ ඇසුවේය.
බහු - උපාසකයෝ බණ අසති/අසන්නෝය.  උපාසකයෝ බණ ඇසූහ/ඇසුවෝය.

3.නපුංසක
ඒක - ගස සුළඟට සෙලවෙයි.  ගස සුළඟට සෙලැවුණි/සෙලවුණේය.
බහු -  ගස් සුළඟට සෙලවෙයි.  ගස් සුළඟට සෙලවුණි/සෙලවුණේය.

කාරක භේදය

කර්තෘකාරක වැකි
කාරකය යනු ආඛ්‍යාතයෙන් ඉස්මතු වන ප්‍රධාන පදයයි. කර්තෘකාරක වැකියක කර්තෘ ඉස්මතු වේ. එම නිසා කර්තෘ උක්ත වන අතර කර්‍මය අනුක්ත වේ. ආඛ්‍යාතය උක්ත කර්‍තෘට ගැලපිය යුතුයි.

      උදා:- මම පොත කියවමි.
            අපි දෙමාපියන් නමදිමු.

කර්‍මකාරක වැකි
කර්‍මකාරක වාක්‍ය‍යක කර්‍මය ඉස්මතු වේ. මෙහිදී කර්‍මය උක්ත වන අතර කතෘ අනුක්ත වේ. උක්ත කර්‍මයට ආඛ්‍යාතය ගැලපිය යුතුයි.
කර්තෘකාරක වැකියක් කර්‍මකාරකයට හැරවීමේ පියවර.
 කර්තෘ අනුක්ත කිරීම.
 අනුක්ත කර්තෘට පසුව විසින් නිපාතය යෙදීම.
 කර්‍මය උක්ත කිරීම.
 උක්ත වූ කර්‍මයට ආඛ්‍යාතය ගැලපීම.

     උදා:- මා විසින් පොත කියවේ.
           අප විසින් දෙමාපියෝ නැමදෙති.

විභක්ති විවරණය
වාක්‍යයක සම්පූර්ණ අර්ථය සහිත වන්න්නේ එයට නාම පදයක් හා ඊට සම්බන්ධ ක්‍රියා පදයක් ඇති විටයි. නාම පදයක් අර්ථවත් වීමට නම් එය වාක්‍යයක යෙදිය යුතුය.එසේ යෙදීමේ දී අර්ථය හා පද රටාව වෙනස් විය හැකිය. නාම පදයකට පසුව අර්ථ බෙදා දැක්වීම (විභක්ති යනු බෙදීමයි) සඳහා සංයෝග වන්නේ විභක්තියි.නාම ප්‍රකෘතියකට වභක්ති ප්‍රත්‍යක් එක් වු විට එය විවිධ අර්ථවල යෙදයි.

සිංහලයෙහි  විභක්ති නවයක් දක්නට ලැබේ.
ප්‍රථමා විභක්තිය
කර්ම විභක්තිය
කර්තෘ විභක්තිය
කරණ විභක්තිය
සම්ප්‍රදාන විභක්තිය
අවධි විභක්තිය
සම්බන්ධ විභක්තිය
ආධාර විභක්තිය
ආලපන විභක්තිය

විභක්ති හැඳින්වීම

1. ප්‍රථමා විභක්තිය

වාක්‍යක අවසාන ක්‍රියාවෙන් උක්ත වන පදය හෙවත් උක්ත කර්තෘ ද කර්ම කාරක වාක්‍යක උක්ත කර්මය ද ප්‍රථමා විභක්ති ගනි.
    උදා: පුතා අලුයම පිබිදෙයි.
         වඩුවා විසින් පුටුව සදනු ලබයි/සෑදෙයි.
         තාත්තා සේවකයා ලවා වැඩ කරවයි.
මෙම වාක්‍ය වල පුතා, පුටුව, තාත්තා යන පද ප්‍රථමා විභක්තිය ගනියි

2. කර්ම විභක්තිය

ආඛ්‍යාතයෙන් උක්ත වන පද හෙවත් උක්ත කතෘගේ ක්‍රියාවට යටත් වන පද කර්ම විභක්තිය ගනී.
    උදා: ලේඛකයෝ පොත් ලියති.
         මම මලක් කඩමි
මෙම වාක්‍ය වල පොත්, මලක් යන පද කර්ම විභක්තිය ගනියි.

3. කර්තෘ විභක්තිය

කර්‍මකාරක වාක්‍ය‍යක අනුක්ත කර්තෘ, කර්තෘ විභක්තිය ගනී. ඒ සමගම "විසින්" නිපාතය ද යෙදේ. මෙම වාක්‍යයේ සදනු 'ලබයි/සෑදෙයි'යන ආක්‍යාතයෙන් උක්ත වන්නේ පුටුව යන්නයි. වඩුවා විසින් යන්න මෙහි උක්ත නොවේ. එය'අනුක්ත කර්තෘ' වෙයි.
    උදා: වඩුවා විසින් පුටුව සදනු ලබයි/සෑදෙයි.
         අප විසින් මල් කඩනු ලැබේ/කැඩේ.
         ගුරුවරුන් විසින් ශිෂ්‍යයෝ යහ මග යැවේ/යවනු ලැබේ.
         අයියා සෑදූ සරුංගලය හැඩයි.
         ළමයා මාමා ලවා අඹ කඩවයි.
         ඔබ ගාලු යතොත් මමත් එමි.
මෙම වාක්‍ය වල වඩුවා, අප, ගුරුවරුන්, අයියා, මාමා, ඔබ යන පද කර්තෘ විභක්තිය ගනියි.

4. කරණ විභක්තිය

යම් ක්‍රියාවක් සඳහා කර්තෘට උපකාරී වන පද කරණ විභක්තිය ගනියි. මෙම විභක්තියෙන් "කරණකොට" ගෙන යන අරුත දෙයි.
    උදා: මාමා කෙක්කෙන් අඹ කඩයි.
         ගස් මල්වලින් පිරී තිබේ.
         විදිලි බුබුළුවලින් තොරණ බබලයි
මෙම වාක්‍ය වල කෙක්කෙන්, මල්වලින්, විදිලි බුබුළුවලින් යන පද කරණ විභක්තිය ගනියි.

5. සම්ප්‍රදාන විභක්තිය

පැහැදි හැඟීමකින් යුතු යමක් ලබන්නා හඟවන පද සම්ප්‍රදාන විභක්තිය ගනියි. ඒ සමගම "පිණිස" හා "ට" නිපාත ද යෙදේ.
    උදා: අපි සතුන්ට කරුණාව දක්වමු.
         අම්බලම මගීන්ගේ පහසුව පිණිස නිමවා ඇත
මෙම වාක්‍ය වල සතුන්ට, පහසුව යන පද සම්ප්‍රදාන විභක්තිය ගනියි.

6. අවධි විභක්තිය

යමක් යමකින් පහ වීමක හෝ වෙන් වීමක සීමාව හඟවන පද අවධි විභක්තිය ගනියි. එය "ගෙන් " යන අරුත දක්වයි.
    උදා: වහලෙන් වතුර බිමට වැටේ.
         බල්ලා කුඩුවෙන් එලියට ආවේය.
මෙම වාක්‍ය වල වහලෙන්, කුඩුවෙන් යන පද අවධි විභක්තිය ගනියි.

කරණ හා  අවධි විභක්ති දෙකෙහිම '+එන්', '+වලින්' යන ආකාර යෙදුනද ඒවා එම විභක්ති අනුව වෙනස් අරුත් පෙන්වයි.

උදා .

විදිලි බුබුළුවලින් තොරණ බබලයි. - /කරණ විභක්තිය/ මෙහිදී  විදිලි බුබුළු කරනකොට (නිසා) තොරණ බබලයි.

විදිලි බුබුළුවලින් ආලෝකය විහිදේ. - /අවධි විභක්තිය/  මෙහිදී  විදිලි බුබුළු වෙතින් (ගෙන්) ආලෝකය විහිදේ.

7. සම්බන්ධ විභක්තිය

කිසියම් අයිතියක් හෝ සම්බන්ධයක් හඟවන පද සම්බන්ධ විභක්තිය ගනියි.
    උදා: ඇතාගේ දළ සුදු පාටය.
         ගසේ අතු කපා දමන්න.
මෙම වාක්‍ය වල ඇතාගේ, ගසේ යන පද සම්බන්ධ විභක්තිය ගනියි.

8. ආධාර විභක්තිය

යමක් පැවතීමට, දරා ගැනීමට අධාරවන පද අධාර විභක්තිය ගනියි.
    උදා: ඔහු මුහුදේ පිහිනයි.
         සතුරෝ රණබිමෙහි ඇද වැටුනෝය.
         අඹ ගස්වල ගෙඩි පිරී ඇත.
මෙම වාක්‍ය වල මුහුදේ, රණබිමෙහි, ගස්වල යන පද ආධාර විභක්තිය ගනියි.

9. ආලපන විභක්තිය

ආමන්ත්‍රණය කිරීමෙදී  එය ලබන තැනැත්තා ආලපන විභක්ති ගනියි.
    උදා: මිතුරනි, මා කියන බස් අසන්න.
         මාමේ, අපට කතාවක් කියන්න.
මෙම වාක්‍ය වල මිතුරනි, මාමේ යන පද ආලපන විභක්තිය ගනියි.

ආශ්‍රිත ලිපි
සිංහල අක්‍ෂර වින්‍යාසය

යොමුව

සටහන්

තව දුර කියවීමට

බැහැර පිටු

භාෂා- ශ්‍රී ලංකා
සිංහල භාෂාව
අබුගිඩා ලේඛන භාෂා

සිංහල ව්‍යාකරණ


Bargischow er en by og kommune i det nordøstlige Tyskland, beliggende i Amt Anklam-Land i den centrale del af Landkreis Vorpommern-Greifswald. Landkreis Vorpommern-Greifswald ligger i delstaten Mecklenburg-Vorpommern. Ind til 31. december 2004 var kommunen en del af Amt Ducherow.

Geografi
Kommunen Bargischow er beliggende omkring fem kilometer øst for Hansestaden Anklam. Jernbanen mellem Berlin og Stralsund krydser kommunens område mellem Bargischow og Woserow, mens Bundesstraße B 109 krydser i den vestlige del ved landsbyen Woserow. Mod vest grænser kommunen op til Hansestadt Anklam og mod nord løber floden Peene ud i Peenestrom. Mod øst deler kommunen grænse med halvøen Anklamer Fähre til Stettiner Haff, der mod nordøst forener sig med Peenestrom. Mod sydøst ligger moseområdet Anklamer Torfmoor. Bargischow grænser mod sydøst op til Bugewitz og mod syd til Neu Kosenow.

Eksterne kilder og henvisninger

 Byens side  på amtets websted
 Statistik

Byer i Mecklenburg-Vorpommern
Kommuner i Mecklenburg-Vorpommern
Amt Anklam-Land
Byer i Kreis Vorpommern-Greifswald

Bargischow