Myte er en påstået litterær genre for kortere prosa der knytter sig til Johannes V. Jensen. Fra og med Myter og Jagter udgivet i 1907 udgav han en række bøger med samling af kortere prosa under fællesbetegnelsen "myter".
Begrebet myte anvendte Johannes V. Jensen første gang i Knokkelmanden,
— en tekst sammensat af to artikler fra Dagbladet København fra henholdsvis den 19 og 20. februar 1901.

Johannes V. Jensen forsøgte selv flere gange at indkredse formen.
I Myten som Kunstform fra 1916 skriver han, at myten opstod

I Efterskrift til Myter og Beskrivelser 1907–1944 hed det:

Endelig i 1947 skrev han:

I mange tilfælde er myterne ganske korte.
Blandt de korteste er for eksempel Fusijama, I Sverig og Det gamle Ur der hver er ikke meget mere end en side lang, Landskab endda en halv side, mens for eksempel Fru  Dominick spænder over 15 eller 25 sider (afhængig af opsætningen).

Iben Holk hævder at myten er "et kort prosastykke uden egentlig handling eller episode".
Der findes dog værker af Johannes V. Jensen som er udgivet under betegnelsen myte og som har en vægt mod en handling. Vandmøllen fra 1923 er en fortælling om en møller og hans datter. Den har karakter af en Himmerlandshistorie og blev da også optaget i senere udgaver af denne samling.
Myten Den hvide Mands Gerninger fortæller en bizar historie hvor det fortællende jeg og hans søn indgår i skjult kamera.

Martin Krogh Andersen mener at myternes stof er hentet i samtiden.
Det gælder for mange af teksterne, men der findes undtagelser.
Ved Livets Bred som man finder i samlingen Ved Livets Bred og andre myter er centreret om erindringen; Johannes V. Jensens egen og farens barndomserindringer.

Myten Naaede de Færgen? blev filmatiseret af Carl Th. Dreyer til kortfilmen De nåede færgen.
Filmen var et bestillingsarbejde fra Raadet for Større Færdselssikkerhed.

Udgaver

 Første bogudgivelse med samling af myter.

 Med undertitlen "Myter, fjerde bind" og indeholder 21 tekster, herunder myten "Ved livets bred", "Naaede de færgen?" og Bakmandens Hund.

 Femte bind. Indeholder 15 tekster.

 Sjette bind. Indeholder 12 tekster herunder Kornmarken, Aaen og Landevejen, Pigen fra Hvorvarp og Barndommens Sig.

 Syvende bind.

 Ottende bind.

 Niende bind. Indeholder 14 tekster.

Postume udgaver
  18 tekster betegnet "Myter og Beskrivelser" og udvalgt af Carl Bergstrøm-Nielsen. De var ikke tidligere udkommet i bogform.
  Udvalg af Leif Nedergaard.
  Udvalgt af Niels Birger Wamberg

Litteratur

Henvisninger

Johannes V. Jensen

Myte (Johannes V. Jensen)


In compiler theory, common subexpression elimination (CSE) is a compiler optimization that searches for instances of identical expressions (i.e., they all evaluate to the same value), and analyzes whether it is worthwhile replacing them with a single variable holding the computed value.

Example
In the following code:

 a = b * c + g;
 d = b * c * e;

it may be worth transforming the code to:

 tmp = b * c;
 a = tmp + g;
 d = tmp * e;

if the cost of storing and retrieving tmp is less than the cost of calculating b * c an extra time.

Principle
The possibility to perform CSE is based on available expression analysis (a data flow analysis). An expression b*c is available at a point p in a program if:
 every path from the initial node to p evaluates b*c before reaching p,
 and there are no assignments to b or c after the evaluation but before p.

The cost/benefit analysis performed by an optimizer will calculate whether the cost of the store to tmp is less than the cost of the multiplication; in practice other factors such as which values are held in which registers are also significant.

Compiler writers distinguish two kinds of CSE:
 local common subexpression elimination works within a single basic block
 global common subexpression elimination works on an entire procedure,
Both kinds rely on data flow analysis of which expressions are available at which points in a program.

Benefits

The benefits of performing CSE are great enough that it is a commonly used optimization.

In simple cases like in the example above, programmers may manually eliminate the duplicate expressions while writing the code. The greatest source of CSEs are intermediate code sequences generated by the compiler, such as for array indexing calculations, where it is not possible for the developer to manually intervene. In some cases language features may create many duplicate expressions. For instance, C macros, where macro expansions may result in common subexpressions not apparent in the original source code.

Compilers need to be judicious about the number of temporaries created to hold values. An excessive number of temporary values creates register pressure possibly resulting in spilling registers to memory, which may take longer than simply recomputing an arithmetic result when it is needed.

See also
 Global value numbering
 Loop-invariant code motion

References

 Steven S. Muchnick, Advanced Compiler Design and Implementation (Morgan Kaufmann, 1997) pp. 378–396
 John Cocke. "Global Common Subexpression Elimination." Proceedings of a Symposium on Compiler Construction, ACM SIGPLAN Notices 5(7), July 1970, pages 850-856.
 Briggs, Preston, Cooper, Keith D., and Simpson, L. Taylor. "Value Numbering." Software-Practice and Experience, 27(6), June 1997, pages 701-724.

Compiler optimizations

Common subexpression elimination


Skovfaldet er et dansk vejnavn og refererer bl.a. til følgende:

 Skovfaldet (Aarhus)
 Skovfaldet (Hadsten)
 Skovfaldet (Hammel)

Skovfaldet


George "Gogu" Constantinescu (Craiova, 4. listopada 1881. – Oxen House, 11. prosinca 1965.), rumunjski znanstvenik, inženjer i izumitelj, vlasnik više od 130 patenata i otac Sonične teorije o prijenosu mehaničke energije putem vibracija, jedan od pionira na području mehanike kontinuuma te jedan od najvećih rumunjskih znanstvenika uopće.

Velik utjecaj na njegov izumiteljski i znanstveni rad ostavio je otac George, profesor inženjerstva i matematike na pariškoj Sorbonni. Iako rođen i odrastao u Rumunjskoj, Constantinescu se još 1912. preselio u Ujedinjeno Kraljevstvo, gdje je i osmislio i patentirao svoje najpoznatije izume, među kojima se ističe i njegov automobil bez kvačila i kočnice, koji se usmjerava i kontrolira putem sudarivača.

Projektirao je betonski most u Bukureštu, kao i džamiju u Constanţi te nekoliko željezničkih mostova u Engleskoj. Patentirao je i željeznički motorni vagon, kao i nekoliko cestovno-željezničkih vozila.

Počasni je član Rumunjske akademije znanosti.

Izvori

Životopisi, Engleska
Rumunjski znanstvenici
Izumitelji

George Constantinescu


Flast v. Cohen, 392 U.S. 83 (1968), was a United States Supreme Court case holding that a taxpayer has standing to sue the government to prevent an unconstitutional use of taxpayer funds.

The Supreme Court decided in Frothingham v. Mellon (1923), that a taxpayer did not have standing to sue the federal government to prevent expenditures if his only injury is an anticipated increase in taxes. Frothingham v. Mellon did not recognize a constitutional barrier against federal taxpayer lawsuits. Rather, it denied standing because the petitioner did not allege "a breach by Congress of the specific constitutional limitations imposed upon an exercise of the taxing and spending power." Because the purpose of standing is to avoid burdening the court with situations in which there is no real controversy, standing is used to ensure that the parties in the suit are properly adversarial, "not whether the issue itself is justiciable."

In 1968, Florance Flast joined several others in filing a lawsuit against Wilbur Cohen, the Secretary of Health, Education, and Welfare, contending that spending funds on religious schools violated the First Amendment's ban on the establishment of religion. The district court denied standing, and the Supreme Court heard the appeal.

Decision
Writing for the majority, Chief Justice Earl Warren established a "double nexus" test which a taxpayer must satisfy in order to have standing. First, he must "establish a logical link between [taxpayer] status and the type of legislative enactment attacked." Second, "show that the challenged enactment exceeds specific constitutional limitations upon the exercise of the taxing and spending power and not simply that the enactment is generally beyond the powers delegated to Congress by Article I, Section 8." Only when both nexuses have been satisfied may the petitioner have standing to sue.

Flast test
The Court developed a two-part test to determine whether the plaintiffs had standing to sue. First, because a taxpayer alleges injury only by virtue of his liability for taxes, the Court held that "a taxpayer will be a proper party to allege the unconstitutionality only of exercises of congressional power under the taxing and spending clause of Art. I, § 8, of the Constitution." *479  Id., at 102, 88 S.Ct., at 1954. Second, the Court required the taxpayer to "show that the challenged enactment exceeds specific constitutional limitations upon the exercise of the taxing and spending power and not simply that the enactment is generally beyond the powers delegated to Congress by Art. I, § 8." Id., at 102-103, 88 S.Ct., at 1954."

Ruling
The Court ruled that petitioners had satisfied both nexuses and therefore had standing to sue as taxpayers. First, their Constitutional challenge concerned expenditures contained within a law passed pursuant to Congress's Article I, Section 8 power to spend for the general welfare. Second, the law at issue allocated funds to parochial schools and therefore violated the Establishment Clause of the First Amendment. The Court, however, expressed "no view at all on the merits of appellants' claims in this case."

Concurring opinion
Justice William O. Douglas advocated dealing with the seeming contradiction by overturning Frothingham completely.

See also
 List of United States Supreme Court cases, volume 392
 Hein v. Freedom From Religion Foundation
 Valley Forge Christian College v. Americans United for Separation of Church and State

References

Sources

External links

1968 in United States case law
United States Constitution Article Three case law
United States standing case law
United States Supreme Court cases
United States Supreme Court cases of the Warren Court

Flast v. Cohen


Joso (Josep Solana i Zapater, n. Santa Coloma de Gramanet, 23 de febrero de 1939) es un historietista y empresario español. Es el fundador de la Escola Joso, dedicada a la historieta.

Trayectoria

Josep Solana empezó muy joven a trabajar como historietista en la revista Tío Vivo, pero en los años 60 ya compaginaba esta labor con la publicidad, y puso en marcha un estudio propio con sus hermanos. En 1982, fundó la Escola Joso, dedicada la enseñanza de la disciplina.

Para el investigador Juan Antonio Ramírez, la obra de Joso para la Editorial Bruguera se caracterizó siempre por su equilibrio y sobriedad. No fue, como afirma Jesús Cuadrado, muy original, pero sí efectiva.

Obra

Referencias

Bibliografía

Enlaces externos
Quién es Joso, información oficial
Tebeosfera, ficha de Joso
Humoristán, entrevista en profundidad a Joso
Comic Barcelona 37, la exposición dedicada a los ochenta años de Joso

Historietistas de España
Ilustradores de España
Nacidos en Santa Coloma de Gramanet

Joso


Săruturi și focuri de armă (engleză: Kiss Kiss Bang Bang) este un film din 2005 regizat de Shane Black.

Prezentare

Distribuție
 Robert Downey, Jr. - Harry Lockhart, a petty thief who successfully auditions for a film to escape police officers
Indio Falconer Downey - Harry Lockhart la 9 ani
Richard Alan Brown - Harry Lockhart la 16 ani
 Val Kilmer - "Gay" Perry van Shrike
 Michelle Monaghan -  Harmony Faith Lane
 Ariel Winter - Harmony Faith Lane la 7 ani
 Stephanie Pearson - Harmony Faith Lane la 14 ani
 Corbin Bernsen - Harlan Dexter
 Rockmond Dunbar - Mustard
 Dash Mihok - Mr. Frying Pan
 Shannyn Sossamon - The Pink-Haired Girl
 Angela Lindvall - Flicka
 Ali Hillis - Marleah
 Larry Miller - Dabney Shaw

Note

Legături externe

Filme regizate de Shane Black
Filme din 2005
Filme noir
Filme de comedie din anii 2000
Filme de Crăciun
Filme americane

Săruturi și focuri de armă


Events from the year 1717 in Canada.

Incumbents
French Monarch: Louis XV
British and Irish Monarch: George I

Governors
Governor General of New France: Philippe de Rigaud Vaudreuil
Colonial Governor of Louisiana: Jean-Michel de Lepinay
Governor of Nova Scotia: Thomas Caulfeild then Samuel Vetch then Richard Philipps then John Doucett
Governor of Placentia: Samuel Gledhill

Events
 Fort Kaministiquia was founded by French merchants to be the first in a series of forts reaching westward to expand trade and seek a route to the western sea. (Daniel Greysolon Dulhut had built a fort, (Fort Caministigoyan), at the same location on the Kaministiquia River in 1679.)
 Fort Prince of Wales founded by the Hudson's Bay Company, (rebuilt later in stone in 1731.)

Births
 January 29 - Jeffrey Amherst, 1st Baron Amherst, army officer (died 1797)
 November 9 - Louis-Joseph Gaultier de La Vérendrye, French Canadian fur trader and explorer (died 1761).

Deaths
 Pierre Boucher, explorer (born 1622)

References

1710s in Canada
1717 in New France
Canada
Years of the 18th century in Canada

1717 in Canada


In architecture, a niche (CanE,  or ) is a recess, a cavity in a wall, typically holding a decorative element: a statue, a vase, etc. In Classical architecture examples are an exedra or an apse that has been reduced in size, retaining the half-dome heading usual for an apse.

Etymology
The word derives from the Latin  (), via the French .  The Italian nicchio () may also be involved in the origin of the word,  as the traditional decoration for the top of a niche is a scallop shell, hence also the alternative term of "conch" for a semi-dome, usually reserved for larger exedra.

Types

A  is a very shallow niche, usually too shallow to contain statues, and may resemble a blind window (a window without openings) or sealed door. (Compare: blind arcade)

In Gothic architecture, a niche may be set within a tabernacle framing, like a richly decorated miniature house (aedicula), such as might serve for a reliquary. The backings for the altars in churches (reredos) can be embedded with niches for statues.

Though a niche in either Classical or Gothic contexts may be empty and merely provide some articulation and variety to a section of wall, the cult origins of the niche suggested that it be filled with a statue.

Examples
One of the earliest buildings which uses external niches containing statues is the Church of Orsanmichele in Florence, built between 1380 and 1404.

The Uffizi Palace in Florence (1560–81) modified the concept by setting the niche within the wall so it did not protrude. The Uffizi has two dozen or so such niches containing statues of great historical figures. In England, the Uffizi style niches were adopted at Montacute House (c. 1598), where there are nine exterior niches containing statues of the Nine Worthies.

In Fra Filippo Lippi's Madonna, the trompe-l'œil niche frames her as with the canopy of estate that was positioned over a personage of importance in the late Middle Ages and Early Modern Europe. At the same time, the Madonna is represented as an iconic sculpture who has "come alive" with miraculous immediacy.

Gallery

See also

Alcove (architecture)
Grotto
Mihrab
Formation of wave-cut platforms

References

Sir John Summerson. Heavenly Mansions, 1948.  .  Discussion of the Gothic aedicule.

Architectural elements

Niche (architecture)


Majella eller Maiella er et bjergmassiv in the de Centrale Appenniner, i den italienske region Abruzzo.

Geografi

Bjerget ligger i grænseområdet mellem provinserne Chieti, Pescara og L'Aquila.

Den højeste top er Monte Amaro på 2.793 moh., som er den næsthøjeste top i Appenninerne. Nationalparken Nationalpark Majella er oprettet omkring bjergmassivet.

Maiella er dannet af et kompakt kalkstensmassiv som de høje toppe ligger på: Monte Amaro 2.793 m, Monte Acquaviva 2.737 m, Monte Focalone 2.676 m, Monte Rotondo 2.656 m, Monte Macellaro 2.646 m, Pesco Falcone 2.546 m, Cima delle Murelle 2.598 m. En yderligere top er Blockhaus (2.145 moh.), som nogle gange bruges etapeafslutning i cykelløbet Giro d'Italia.

Der er store plateauer i op til 2.500 meters højde. Skråningerne er karakteriseret af stejle dale og kløfter, skåret ud af floder som Orfento, Foro m.fl.

I området omkring ligger bjergene Monte Morrone, Monte Porrara og Monti Pizzi. I Maiella ligger et frossent vandfald, kendt som Il Principiante i 1.600 meters højde og med en højde på 25 meter.

Forskning
Området Montagna della Maiella var fra 1998 til 2005 i fokus for international geovidenskabelige undersøgelser under projektet .

Cykling
Maiella, og især Blockhaus, er et populært terræn for amatørcykelryttere, men har også været brugt på etaper af Giro d'Italia. Første gang var i 1967, da Eddy Merckx vandt etapen. Da Merckx senere etablerede en cykelfabrik, opkaldte han sine sycler efter Blockhaus. Senere Blockhausetaper blev vundet af Franco Bitossi (1968), José Manuel Fuente (1972), Moreno Argentin (1984), Ivan Basso (2006), og Franco Pellizotti (2009, efterfølgende diskvalificeret). Seneste Blockhausetape på Giro d'Italia var 14. maj, 2017, da etapen blev vundet af den Colombianske rytter Nairo Quintana.

Se også
 Nationalparker i Italien

Referencer

Abruzzo
Appenninerne
Bjerge i Italien

Majella


Ansichten eines Clowns ist ein deutscher Spielfilm aus dem Jahr 1976 nach der gleichnamigen Erzählung von Heinrich Böll. Unter der Regie von Vojtěch Jasný spielte Helmut Griem die Titelrolle.

Handlung
Die Bundesrepublik Deutschland in der Spätphase der Adenauer-Ära. Hans Schnier, der Spross einer Industriellen-Familie, kann den sinnlosen Tod seiner Schwester nicht überwinden. Seine nationalsozialistisch ausgerichtete Mutter drängte die 16-Jährige in den letzten Tagen des Zweiten Weltkriegs dazu, sich "freiwillig" zur Flak zu melden, um, wie sie sich ausdrückte, an der Front "die heilige deutsche Erde zu verteidigen". Anderthalb Jahrzehnte später scheinen Hans alle ihm seit jeher vertrauten Menschen in seinem Umfeld die Erinnerungen daran verdrängt zu haben. Man hat sich im Wirtschaftswunderparadies Westdeutschland gemütlich eingerichtet.

Aus Protest gegen diese perfekten Verdrängungsmechanismen und Verlogenheiten seines familiären Umfeldes beginnt Hans, den Clown zu spielen. Doch nun hat er sich am Bein verletzt und muss für längere Zeit pausieren. Das Geld ist knapp. Er plant, seine Eltern daheim in Bonn zu besuchen. Dies ist die Ausgangssituation des Films, dessen drei zeitliche Erzählebenen häufig zwischen Gegenwart und Vergangenheit pendeln.

Schnier reist kreuz und quer durch Deutschland. Mit seinen Auftritten als Clown oder als Charlie Chaplin in mager besuchten Vorstellungen armseliger Veranstaltungsorte kann er sich nur mühsam finanziell über Wasser halten. In Rückblenden reflektiert er über sein Leben und die schwierige Beziehung zu seiner großen Liebe, der religiösen Marie Derkum. Die hatte ihn einst verlassen, um den strenggläubigen Katholiken Züpfner zu heiraten. Seitdem sieht sich Schnier nicht mehr imstande, eine Beziehung zu einer anderen Frau aufzubauen, zu sehr wirkt diese zerbrochene Partnerschaft nach.

Nach vielen Jahren kehrt Hans wieder in die elterliche Villa nach Bonn zurück. Im Kreise einer von seiner Mutter gegebenen Gesellschaft, an der auch der päpstliche Prälat Sommerwild teilnimmt, spürt er augenblicklich wieder die ihm seit seiner Kindheit so gut bekannte und zutiefst verhasste Bigotterie und gesellschaftliche Verlogenheit. Sofort kommen all die schrecklichen Erinnerungen an die verhängnisvollen letzten Kriegstage im Frühjahr 1945 zurück, als sein Jugendfreund Georg beim Hantieren mit einer Panzerfaust ums Leben kam. Die Eiseskälte seiner Mutter, die ihn umfängt, stößt ihn zutiefst ab. Aus der einst glühenden Hitler-Anhängerin ist eine heuchelnde Grande Dame der bundesrepublikanischen Gegenwart geworden, die in ihrem Teekränzchen auch einen Juden integriert hat. Hans sucht angesichts dieser geballten Falschheit und des wohlfeilen Opportunismus die Auseinandersetzung und konfrontiert seine Mutter mit ihren nazistisch-ideologischen Ansichten aus der Vergangenheit.

Im persönlichen Zwiegespräch mit dem katholischen Prälat zeigt sich Hans später erbittert darüber, dass Marie ihn wegen dieses erzkatholischen Herrn Züpfner verlassen hat. Erzürnt und frustriert verlässt Hans die elterliche Villa, um seinen Bruder Leo, der katholischer Laie geworden ist, im Kloster zu besuchen. Doch er hat keinen Erfolg; der Pförtner sagt, dass Frater Leo jetzt nicht gestört werden dürfe.

In den folgenden Rückblenden erinnert sich Hans an die schönen Stunden voller Liebe und Vertrautheit mit Marie. Eines Tages war Marie fort, nach Köln, wie Hans von ihrem Vater erfährt, und er reist ihr nach. Dort muss er feststellen, dass Maries katholischer Glauben immer stärkere, ihm zutiefst befremdliche Züge angenommen hat. Hans nimmt jede Gelegenheit war, in trauten Runden mit Marie und anderen Anwesenden provozierend gegen Katholizismus, Protestantismus und selbst Atheismus zu sticheln.

Auch die Aussprache mit seinem Vater, bis 1945 nicht weniger nazistisch aber weniger dogmatisch als seine Mutter eingestellt, scheitert. Während Hans an der Gegenwart wie der Vergangenheit zweifelt und verzweifelt, fordert der ihn in seiner Wohnung aufsuchende Vater seinen ältesten Sohn dazu auf, "sich abzufinden" – abzufinden mit der Gegenwart und der Vergangenheit, abzufinden mit den vielfältigen Formen des Scheiterns und vergeblichen Opponierens.

Was bleibt, ist Hans Schniers Hoffnung, die er in seinen kleinen Bruder setzt, obwohl beider Verhältnis seit dem Moment getrübt ist, als Leo katholischer Glaubensbruder wurde. Es kommt zu einem kurzfristig anberaumten Treffen zwischen Hans und Leo. Doch Hans, larmoyant und wieder einmal sehr knapp bei Kasse, stößt mit seinem Weltschmerz auch bei Leo auf taube Ohren. In provozierender Clownsmaskerade kommt Hans zu dem gemeinsamen Treffpunkt in einem Park. Er und Leo reden jedoch aneinander vorbei. Leos Welt ist nicht kompatibel mit der des älteren Bruders. In seiner Maskierung sitzt Hans Schnier am Ende resigniert vor dem Bahnhof und singt traurige Weisen mit religionskritischem Inhalt.

Produktion
Ansichten eines Clowns wurde am 14. Januar 1976 uraufgeführt und für Jugendliche ab 12 Jahren freigegeben.

Der Großteil des Films ist in Farbe; lediglich Rückblenden, die im Zweiten Weltkrieg spielen, sind in Schwarzweiß gehalten.

Joachim von Vietinghoff war Produktionsleiter, die Kostüme entwarf Charlotte Flemming. Von Georg von Kieseritzky stammten die Bauten, für den Ton zeichnete Bernhard Kellermann verantwortlich.

Kritik
Für Die Zeit schrieb Wolf Donner 1976: "Die Umsetzung des Romans in den Film, der Erinnerungen und vielen Telephonate Schniers in reale Rückblenden ist glaubwürdig und sehr genau: sozusagen eine optimale Literaturverfilmung. Viel authentischer Text ist erhalten im durchgehenden inneren Monolog Schniers wie in den von Böll geschriebenen Dialogen, und Walter Lassallys Kamera dient der Vorlage mit funktionalem Realismus." Und zu den Schauspielerleistungen ist zu lesen: "Helmut Griem als Schnier, nuanciert, sympathisch; überzeugend selbst, wo er Probleme von gestern intoniert, rettet den Film über alle Themen der frühen Jahre hinweg. Sein Gesicht, bisher im Kino vorwiegend als blauäugig blonde Germanenlarve eingesetzt, spiegelt die unterschiedlichsten Vorgänge und Regungen, Liebe, Ekel, Resignation, seine wache Sensibilität. Er hat wunderbare Szenen mit seinem Vater (Gustav Rudolf Sellner) und dem der Marie (Hans Christian Blech), er spielt mit seinen 43 Jahren völlig glaubhaft die schöne, scheue erste Liebesnacht eines Schülers. Neben ihm bleibt die Marie Hanna Schygullas merkwürdig staksig und altdeutsch. Eine trübe Förderturm-Landschaft, ein Zug, das schwermütige, müde Gesicht des Clowns am Fenster: eine Reise in die Vergangenheit und in die kranke deutsche Seele, ein road picture in die Innenwelt, auf der Suche nach sich selber."

Wolfgang Limmer kritisierte 1976 im Spiegel, dass man mit der Verfilmung des Böll-Romans einen Stoff gewählt habe, der längst von den Zeitströmungen überholt worden sei: "Den Kontroversen, die das Buch bei seinem Erscheinen 1963 auslöste, ist längst der Boden der Aktualität entzogen. Die bundesdeutsche Wirklichkeit hat sich im dazwischen liegenden Jahrdutzend auf andere Konfrontationen hin entwickelt, und Böll ist ihnen gefolgt. Warum also heute die Verfilmung der "Ansichten eines Clowns"?, denen man allenfalls einen literaturhistorischen Wert beimessen könnte? Vojtech Jasný ("Wenn der Kater kommt") hat sich bei seiner Adaption diese Frage erst gar nicht gestellt. Sein Clown Hans Schnier (von hochdeutschem Ernst durchweht: Helmut Griem) quält sich durch eine rheinische Realität, der man höchstens an den alten Taxis ansieht, dass sie in den frühen 60er Jahren situiert ist. Jener typisch kölsche klerikal-industrielle Komplex, in dem sich so kongenial der kapitalistisch-transzendentale Begriff von Wirtschaftswunder manifestiert, wird atmosphärisch nirgends spürbar. Jasnýs Köln und Bonn wirken allein schon durch den Verzicht auf Dialektfärbung aseptisch." Auch das Gros der schauspielerischen Leistungen wurde bemängelt: "Die gesellschaftlichen Kräfte treten in zu Knallchargen eingeplätteten Figuren auf […] Einzig Schniers Vater (Gustav Rudolf Sellner) gewinnt in der besten Szene, einer langen, vergeblichen Aussprache mit dem verlorenen Sohn etwas von jener komplexen Plastizität, wie man sie allen Personen gewünscht hätte." Limmers Fazit: "Hier wird noch einmal ein Böll aufgewärmt, dessen ratloses Heilsrezept der totalen Verweigerung er selbst schon längst überwunden hat."

Im Lexikon des Internationalen Films heißt es: "Jasnýs sensibel gestaltete Verfilmung des Romans von Heinrich Böll überzeugt durch die Klage lauterer Menschlichkeit über die fatale Verstrickung des Individuums im Netz opportunistischer Gruppenansprüche, wirkt dagegen in den zeitkritischen Teilen oft hausbacken und klischeebeladen. Im Tonfall elegisch bis resignativ, gelingt es dem Film außerdem nur selten, dem bissigen Humor der Vorlage gerecht zu werden."

Der Zoom-Filmberater führt dazu aus: "Jasný hält sich so sklavisch an die literarische Vorlage Heinrich Bölls, dass er nurmehr dem Buchstaben, nicht aber dem Geist des Romans gerecht wird. Die deutsche Bürgerschaft der sechziger Jahre, die von einem desillusionierten und verkrachten Clown den Spiegel vorgehalten bekommt, erfährt so nicht jene brisante Demaskierung, die Bölls Roman noch heute aktuell erscheinen lässt. Der Film erweckt vielmehr den Eindruck einer zwar mit formaler Könnerschaft gestalteten, aber reichlich verspäteten Abrechnung mit den Wunderkindern von damals."

Weblinks

Einzelnachweise

Filmtitel 1976
Deutscher Film
Filmdrama
Heinrich-Böll-Verfilmung

Ansichten eines Clowns (Film)


Zemplínska Teplica este o comună slovacă, aflată în districtul Trebišov din regiunea Košice. Localitatea se află la , se întinde pe o suprafață de  și în 2017 număra 1.696 de locuitori.

Istoric
Localitatea Zemplínska Teplica este atestată documentar din 1263.

Note

Legături externe

Localități din Slovacia

Zemplínska Teplica


Johnny Rivers (born John Henry Ramistella; November 7, 1942) is an American musician. His repertoire includes pop, folk, blues and old-time rock 'n' roll. Rivers charted during the 1960s and 1970s but remains best known for a string of hit singles between 1964 and 1968, among them "Memphis" (a Chuck Berry cover), "Mountain of Love" (a Harold Dorman cover), "The Seventh Son" (a Willie Mabon cover), "Secret Agent Man", "Poor Side of Town" (a US No. 1), "Baby I Need Your Lovin'" (a 1967 cover of the Four Tops single from 1964) and "Summer Rain".

Life and career

Early years
Rivers was born John Henry Ramistella in New York City, of Italian descent. His family moved from New York to Baton Rouge, Louisiana. Influenced by the distinctive Louisiana musical style, Rivers began playing guitar at age eight, taught by his father and uncle. While still in junior high school, he started sitting in with a band called the Rockets, led by Dick Holler, who later wrote several hit songs, including "Abraham, Martin and John" and the novelty song "Snoopy vs. the Red Baron".

Ramistella formed his own band, the Spades, and made his first record at 14 while he was a student at Baton Rouge High School. Some of their music was recorded on the Suede label as early as 1956.

On a trip to New York City in 1958, Ramistella met Alan Freed, who advised him to change his name to "Johnny Rivers" referencing the Mississippi River that flows through Baton Rouge. Freed also helped Rivers get several recording contracts on the Gone label. From March 1958 to March 1959, Johnny Rivers released three records, including "Baby Come Back" (a non-Christmas version of Elvis Presley's "Santa Bring My Baby Back (To Me)"), none of which sold well.

Rivers returned to Baton Rouge in 1959 and began playing throughout the American South alongside comedian Brother Dave Gardner. One evening in Birmingham, Alabama, Rivers met Audrey Williams, Hank Williams' first wife. She encouraged Rivers to move to Nashville, Tennessee, where he found work as a songwriter and demo singer. Rivers also worked alongside Roger Miller. By this time, Rivers had decided he would never make it as a singer and songwriting became his priority.

1960s
In 1958, Rivers met fellow Louisianan James Burton, a guitarist in a band led by Ricky Nelson. Burton later recommended one of Rivers' songs, "I'll Make Believe," to Nelson who recorded it. They met in Los Angeles in 1961, where Rivers subsequently found work as a songwriter and studio musician. His big break came in 1963 when he filled in for a jazz combo at Gazzarri's, a nightclub in Hollywood where his instant popularity drew large crowds.

In 1964, Elmer Valentine gave Rivers a one-year contract to open at the Whisky a Go Go on Sunset Strip in West Hollywood. The Whisky had been in business just three days when the Beatles song "I Want to Hold Your Hand" entered the Billboard Hot 100. The subsequent British Invasion knocked almost every American artist off the top of the charts but Rivers was so popular that record producer Lou Adler decided to issue Johnny Rivers Live at the Whisky a Go Go, which reached No. 12. Rivers recalled that his most requested live song then was "Memphis", which reached No. 2 on Cash Box on 4–11 July 1964 and also on the Hot 100 on 11–18 July 1964. It sold over one million copies and was awarded a gold disc. According to Elvis Presley's friend and employee, Alan Fortas, Presley played a test pressing of "Memphis" for Rivers that Presley had made but not released. Rivers was impressed and much to Presley's chagrin, Rivers recorded and released it even copying the arrangement.  Rivers' version far outsold the Chuck Berry original from August 1959, which stalled at No. 87 in the US.

Rivers continued to record mostly live performances throughout 1964 and 1965, including Go-Go-style records with songs featuring folk music and blues rock influences including "Maybellene" (another Berry cover), after which came "Mountain of Love", "Midnight Special", "Seventh Son" (written by Willie Dixon) plus Pete Seeger's" Where Have All the Flowers Gone?", all of which were hits.

In 1963, Rivers began working with writers P.F. Sloan and Steve Barri on a theme song for the American broadcast of a British television series Danger Man, starring Patrick McGoohan. At first Rivers balked at the idea but eventually changed his mind. The American version of the show, titled Secret Agent, went on the air in the spring of 1965. The theme song was very popular and created public demand for a longer single version. Rivers' recording of "Secret Agent Man" reached No. 3 on the Billboard Hot 100 chart in 1966. It sold a million copies also winning gold disc status.

In 1966, Rivers began to record ballads that featured background vocalists. He produced several hits including his own "Poor Side of Town", which became his biggest chart hit and his only No. 1 record. He also started his own record company, Soul City Records, which included the 5th Dimension. The group's recordings of "Aquarius/Let the Sunshine In" and "Wedding Bell Blues" became No. 1 hits for the new label. In addition, Rivers is credited with giving songwriter Jimmy Webb a major break when the 5th Dimension recorded his song "Up, Up and Away". Rivers also recorded Webb's "By the Time I Get to Phoenix". It was covered by Glen Campbell, who had a major hit with it.

Rivers continued to record more hits covering other artists, including "Baby I Need Your Lovin'", originally recorded by the Four Tops, and "The Tracks of My Tears" by the Miracles, both going Top 10 in 1967. In 1968, Rivers put out Realization, a No. 5 album that included the No. 14 pop chart single "Summer Rain", written by a former member of the Mugwumps, James Hendricks. The album included some of the psychedelic influences of the time, like the song Hey Joe with a two-minute introduction and marked a change in Rivers' musical direction with more introspective songs including "Look to Your Soul" and "Going Back to Big Sur".

1970s

In the 1970s, Rivers continued to record more songs and albums that were successes with music critics but did not sell well. L.A. Reggae (1972) reached the LP chart as a result of the No. 6 hit "Rockin' Pneumonia and the Boogie Woogie Flu," a cover version of the Huey "Piano" Smith and the Clowns song. The track became Rivers' third million seller, which was acknowledged with the presentation of a gold disc by the Recording Industry Association of America (R.I.A.A.) on January 29, 1973.

Reviewing L.A. Reggae in Christgau's Record Guide: Rock Albums of the Seventies (1981), Robert Christgau said, "there are modernization moves, of course—two get-out-the-vote songs (just what George needs) plus the mysterious reggae conceit plus a heartfelt if belated antiwar song—but basically this is just Johnny nasalizing on some fine old memories. 'Rockin' Pneumonia' and 'Knock on Wood' are especially fine."

Other Hot 100 top 40 hits from that time period were 1973's "Blue Suede Shoes" (originally recorded in 1955 by Carl Perkins) and 1975's "Help Me Rhonda" (originally a No. 1 hit for the Beach Boys), on which Brian Wilson sang back-up vocals.

Rivers' last Top 10 entry was his 1977 recording of "Swayin' to the Music (Slow Dancing)," written by Jack Tempchin and originally released by Funky Kings. Rivers' last Hot 100 entry, also in 1977, was "Curious Mind (Um, Um, Um, Um, Um, Um)," originally released by Major Lance and written by Curtis Mayfield. In addition, Rivers recorded the title song for the late night concert-influenced TV show The Midnight Special. His career total is nine Top 10 hits on the Hot 100 and 17 in the Top 40 from 1964 to 1977.

1980s to present

Rivers continued releasing material into the 1980s (e.g. 1980's Borrowed Time LP), garnering an interview with Dick Clark on American Bandstand in 1981, although his recording career was winding down. Around this time, Rivers turned to Christianity.

In 1998 he reactivated his Soul City Records label and released Last Train to Memphis. In early 2000, Rivers recorded with Eric Clapton, Tom Petty and Paul McCartney on a tribute album dedicated to Buddy Holly's backup band, the Crickets.

He is one of a small number of performers whose names are listed as the copyright owner on their recordings. Most records list the recording company as the owner of the recording. Others include Mariah Carey, Paul Simon, Billy Joel, Pink Floyd (from 1975's Wish You Were Here onward), Queen, Genesis (though under the members' individual names and/or the pseudonym Gelring Limited), and Neil Diamond. The practice began with the Bee Gees and their $200 million lawsuit against RSO Records, the largest successful lawsuit against a record company by an artist or group.

On June 12, 2009, Johnny Rivers was inducted into the Louisiana Music Hall of Fame. His name has been suggested many times for induction into the Rock and Roll Hall of Fame, but he has never been selected. Rivers, however, was a nominee for 2015 induction into America's Pop Music Hall of Fame.

On April 9, 2017, he performed a song, accompanying himself on acoustic guitar, at the funeral for Chuck Berry, at The Pageant, in St. Louis, Missouri.

In 2019, Rivers announced his farewell tour. His last live performance was in July 2023 at Commerce Casino near Los Angeles.
E .

Discography

References

External links

1942 births
Living people
Singers from New York City
Musicians from Baton Rouge, Louisiana
Baton Rouge Magnet High School alumni
American rock guitarists
American male guitarists
American male singers
Imperial Records artists
Cub Records artists
Record producers from New York (state)
American rock songwriters
Atlantic Records artists
Epic Records artists
Era Records artists
Grammy Award winners
Liberty Records artists
Big Tree Records artists
Songwriters from New York (state)
Songwriters from Louisiana
Singers from Louisiana
Guitarists from Louisiana
Guitarists from New York City
20th-century American guitarists
20th-century American male musicians
Rock and roll musicians
American male songwriters
Blues rock musicians

Johnny Rivers


Arnold Scholten (født 5. december 1962) er en tidligere hollandsk fodboldspiller.

Eksterne henvisninger

Fodboldspillere fra Holland

Arnold Scholten


Larmorova precesija određuje frekvenciju precesije elektrona u vanjskom magnetskom polju, a odredio ju je 1897. J. Larmor.

Larmorova precesija i dijamagnetizam

O djelovanju magnetskog polja na atome daje vrlo dobar uvid osnovni teorem koji je našao J. Larmor. U atomima izvode elektroni vrlo brza periodična gibanja oko svoje jezgre. Kad ukopčamo magnetsko polje, tad po Larmoru čitav elektronski sustav zadobije jednoliku vrtnju (rotaciju) oko smjera magnetskog polja. Ova pridošla precesija neovisna je o specijalnoj strukturi atoma.

Larmorov teorem dokazat ćemo na jednostavnom primjeru da se elektron u kružnici vrti oko težišta atoma. Brzina elektrona u kružnici jednaka je r∙ω0, gdje je ω0 kutna brzina, a ubrzanje ν/r = r∙ω2. S F označit ćemo silu koja drži elektron u atomu. Newtonov zakon gibanja, specijaliziran za vrtnju glasi:

Na elektron sada neka djeluje i magnetsko polje koje stoji okomito na ravninu gibanja elektrona. Njegova sila stoji okomito na brzinu elektrona. Pod djelovanjem tih dviju centralno orijentiranih sila elektron će se opet kretati u kružnici, ali s drugom brzinom. Novu kutnu brzinu označit ćemo s ω. Zakon gibanja glasi:

Za silu magnetskog polja uzeli smo suprotan predznak, jer ona za pozitivno nabijenu česticu, koja se vrti u pozitivno određenom smjeru, ima smjer suprotan od sile F. Promjenu frekvencije označit ćemo s ωL:

Uvrstimo li to u jednadžbu gibanja, dobivamo:

Ovdje se ukida prvi član lijeve strane s prvim članom desne strane jednadžbe. Vanjsko magnetsko polje izaziva malu smetnju u atomskom sustavu. Promjena frekvencije bit će mala. Prema tome možemo zanemariti član s ωL2 i član s ωL∙H. Za promjenu kutne brzine dobivamo:

Ovo je Larmorova jednadžba za promjenu kutne brzine, izazvanu vanjskim magnetskim poljem. Kutna brzina ω jednaka je 2∙π∙ν. Za promjenu frekvencije u magnetskom polju dobivamo time:

Bez obzira na to da li se elektroni vrte u velikim ili malim kružnicama, oni jednako mijenjaju u magnetskom polju svoju frekvenciju. Djelovanjem magnetskog polja sustav elektrona zadobije jednoliku vrtnju oko magnetskih silnica. Budući da je električni naboj elektrona negativan, ta inducirana vrtnja ide u pozitivno određenom smjeru.

Ovdje nam se nameće pitanje: Kako može magnetsko polje ubrzati ili usporiti vrtnju elektrona kad uvijek djeluje okomito na smjer vrtnje? Ovaj paradoks razjašnjuje se u elektrodinamici. Pri ukopčavanju magnetskog polja javlja se i električno polje i ono uzrokuje Larmorova ubrzanja. Kad magnetsko polje postane konstantno, električno polje opet iščezava.

Larmorovom precesijom mijenjaju se impulsi vrtnje atoma, a time ujedno i njihovi magnetski momenti. Izračunat ćemo koliko ta promjena impulsa vrtnje iznosi za elektron koji kruži u ravnini okomitoj na smjer magnetskog polja. Prije ukopčavanja magnetskog polja elektron ima impuls vrtnje:

U magnetskom polju mijenja se kutna brzina za Larmorovu veličinu ωL, pa promjena impulsa vrtnje iznosi:

Toliki bi impuls vrtnje magnetsko polje induciralo svim elektronskim stazama kojima je os paralelna sa smjerom polja. Međutim, ravnina vrtnje elektrona može stajati u bilo kojem smjeru prema magnetskim silnicama. Prema tome, moramo u gornjem izrazu mjesto r2 uzeti neku srednju vrijednost. Kvadrat udaljenosti elektrona od jezgre jednak je:

Ako ravnina gibanja elektrona stoji okomito na smjer magnetskog polja, tad je r2 jednak x2 + y2. Očito mora umjesto r2 u zadnjoj jednadžbi stajati srednja vrijednost od x2 + y2. Kod slučajno razbacanih radijvektora po svim smjerovima srednja je vrijednost od x2 jednaka 1/3∙r2. Dakle:

Za prosječni inducirani impuls vrtnje dobivamo, prema tome, izraz:

S promjenom impulsa vrtnje vezana je i promjena magnetskog momenta. Općenito postoji između magnetskog momenta i impulsa vrtnje odnos:

Uvrstimo li ovdje Larmorovu kutnu brzinu, dobivamo:

Odatle možemo lako proračunati polarizaciju ili magnetski moment jedinice volumena. U 1 m3 neka je N atoma. Svaki atom ima Z elektrona. Z je redni broj elementa. Za r2 moramo staviti prosječnu vrijednost svih elektrona u atomu. Magnetska polarizacija jednaka je:

Magnetska susceptibilnost odatle je jednaka:

Inducirana polarizacija ima pozitivan smjer od smjera magnetskog polja. Magnetska susceptibilnost je negativna. Odatle vidimo, da je dijamagnetizam opće svojstvo svih atoma. U tvarima, koje se ponašaju paramagnetski dijamagnetičnost je zastrta paramagnetizmom, koji potječe od stalnih (permanentnih) magneta.

Mjesto da računamo s polarizacijom po m2 možemo računati i s polarizacijom po gramu. N u gornjoj jednadžbi tada nam znači broj atoma po gramu. Ako s A označimo atomsku težinu elementa, tad je broj atoma u 1 g dan omjerom između Avogadrovog broja L i atomske težine. Magnetska susceptibilnost po gramu iznosi, dakle:

Za sve elemente je omjer između Z i A približno 1/2. Polumjer atoma je prosječno velik 10-10 m. L/6 jednako je 1023. Veličina e2/(m∙c2), takozvani klasični polumjer elektrona, iznosi 2,8∙10-15 m. Prema tome dobivamo da je magnetska susceptibilnost po gramu reda veličine 10-6. To se vrlo dobro slaže s iskustvom.

Na osnovu teoretskog izraza za dijamagnetičku susceptibilnost možemo izračunati promjer atoma. Ta nova metoda stoji u suglasju s ostalim određivanjima veličine atoma. Prema elementima s najvišim rednim brojem postaje prosječni polumjer sve manji, što znači da su elektroni bliže privučeni atomskoj jezgri.

Za bizmut dobiva se prevelik polumjer atoma. To odstupanje od klasične jednadžbe za susceptibilnost objasnila je kvantna teorija.

Izvori

Nuklearna fizika
Elektromagnetizam

Larmorova precesija


Sommeiller peut désigner :
 Germain Sommeiller (1815-1871), un ingénieur savoyard ;
 la pointe Sommeiller, une montagne des Alpes située à la frontière entre la France et l'Italie ;
 le col Sommeiller, un col des Alpes situé à la frontière franco-italienne, sous la pointe Sommeiller ;
 le glacier Sommeiller, un glacier de France situé en Savoie, sous la pointe Sommeiller ;
 le lac Sommeiller, un lac d'Italie situé dans le Piémont, sous la pointe Sommeiller, au col du même nom ;
 la villa Sommeiller, une voie du  de Paris, en France.

Sommeiller


Gjalddagi er sá dagur þegar kröfuhafi getur fyrst krafið skuldara um efndir á viðkomandi greiðslu, nema efndahindrun leiði til annars. Að jafnaði eru gjalddagar greiðslna ákveðnir sérstaklega en séu þeir hvorki ákveðnir með landslögum né í samningi er miðað við þann tíma sem viðsemjandinn afhendir sína greiðslu.

Gjalddagar geta haft þýðingu við að ákveða upphaf fyrningarfrests, dráttarvaxta og annað er varðar kröfusambandið.

Kröfuréttur
Lögfræði

Gjalddagi


Chihiro Yamanaka (jap. , Yamanaka Chihiro; * 26. Dezember 1974 in Kiryū, Präfektur Gunma) ist eine japanische Jazzpianistin.

Leben und Wirken
Yamanaka spielt seit ihrem vierten Lebensjahr Klavier und errang mit zwölf Jahren ihren ersten großen Preis bei einem Talentwettbewerb im japanischen Gunma. Sie studierte an der Royal Academy of Music in London und setzte ihre Studien am Berklee College of Music bis 2000 fort. 2001 legte sie in Japan mit Living Without Friday ihr Debütalbum vor. 2010 erschien bei Universal Records Forever Begins, das in Japan auf #1 der Jazz-Charts stieg. Sie lebt inzwischen in New York City, wo sie Auftritte in der Carnegie Hall, dem Kennedy Center und auf dem JVC Jazz Festival New York hatte. Ferner konzertierte sie auf dem Umbria Jazz, dem Tokyo Jazz Festival und in der Wiener Oper.

Auszeichnungen
Noch während ihrer Studienzeit erhielt Yamanaka vom amerikanischen Jazzmagazin Down Beat einen Outstanding Performance Award und ging dann siegreich aus dem von der International Association for Jazz Education organisierten Wettbewerb Sisters in Jazz hervor. 2005 wurde sie zum "Best New Artist" des japanischen Swing Journal gewählt. Ihr Album After Hours (2009) gewann eine Goldene Schallplatte als bestverkauftes Jazzalbum des Jahres; Abyss von 2007 wurde Album des Jahres beim Leserpoll des Swing Journal.

Diskografie
Alben
 Living Without Friday (Atelier Sawano, 2001)
 When October Goes (Atelier Sawano, 2002)
 Madrigal (Atelier Sawano, 2004)
 Outside by the Swing (Universal, 2005)
 Lach Doch Mal (Universal, 2006)
 Abyss (Universal, 2007)
 After Hours (Universal, 2008)
 Bravogue (Universal, 2008)
 Runnin' Wild – Tribute To Benny Goodman (Universal, 2009)
 Forever Begins (Universal, 2010)
 Reminiscence (Universal, 2011)

Videoalben
 Leaning Forward (Atelier Sawano, 2003)
 Live In Tokyo (Universal, 2007)
 Live in New York (Universal, 2011)

Weblinks

 Webpräsenz
 Artikel (Jazz Echo)
 Porträt bei All About Jazz

Einzelnachweise

Jazz-Pianist
Musiker (Japan)
Japaner
Geboren im 20. Jahrhundert
Frau

Chihiro Yamanaka


Aclens is a municipality in the Swiss canton of Vaud, located in the district of Morges.

History
Aclens is first mentioned in 1002 as Astlegus.

Geography

Aclens has an area, , of .  Of this area,  or 68.7% is used for agricultural purposes, while  or 13.6% is forested.   Of the rest of the land,  or 16.9% is settled (buildings or roads),  or 0.3% is either rivers or lakes and  or 0.5% is unproductive land.

Of the built up area, industrial buildings made up 4.6% of the total area while housing and buildings made up 3.3% and transportation infrastructure made up 4.6%.  Power and water infrastructure as well as other special developed areas made up 4.4% of the area  Out of the forested land, all of the forested land area is covered with heavy forests.  Of the agricultural land, 61.0% is used for growing crops and 4.1% is pastures, while 3.6% is used for orchards or vine crops.  All the water in the municipality is flowing water.

The municipality was part of the old Morges District until it was dissolved on 31 August 2006, and Aclens became part of the new district of Morges.

The municipality is located on a high valley above the right bank of the Venoge river.

Coat of arms
The blazon of the municipal coat of arms is Gules, a Fountain Gules and Argent fimbriated Argent, Chief of the same.

Demographics
Aclens has a population () of .  , 21.1% of the population are resident foreign nationals.  Over the last 10 years (1999–2009 ) the population has changed at a rate of 27.5%.  It has changed at a rate of 16.9% due to migration and at a rate of 10.3% due to births and deaths.

Most of the population () speaks French (323 or 89.0%), with German being second most common (22 or 6.1%) and Italian being third (6 or 1.7%).

Of the population in the municipality 99 or about 27.3% were born in Aclens and lived there in 2000.  There were 134 or 36.9% who were born in the same canton, while 65 or 17.9% were born somewhere else in Switzerland, and 56 or 15.4% were born outside of Switzerland.

In  there were 8 live births to Swiss citizens and 4 births to non-Swiss citizens, and in same time span there was 1 death of a Swiss citizen and 1 non-Swiss citizen death.  Ignoring immigration and emigration, the population of Swiss citizens increased by 7 while the foreign population increased by 3.  There was 1 Swiss man who emigrated from Switzerland.  At the same time, there were 4 non-Swiss men and 6 non-Swiss women who immigrated from another country to Switzerland.  The total Swiss population change in 2008 (from all sources, including moves across municipal borders) was an increase of 26 and the non-Swiss population increased by 15 people.  This represents a population growth rate of 9.9%.

The age distribution, , in Aclens is; 54 children or 11.8% of the population are between 0 and 9 years old and 52 teenagers or 11.4% are between 10 and 19.  Of the adult population, 65 people or 14.2% of the population are between 20 and 29 years old.  76 people or 16.6% are between 30 and 39, 83 people or 18.1% are between 40 and 49, and 53 people or 11.6% are between 50 and 59.  The senior population distribution is 32 people or 7.0% of the population are between 60 and 69 years old, 26 people or 5.7% are between 70 and 79, there are 16 people or 3.5% who are between 80 and 89, and there is 1 person who is 90 and older.

, there were 150 people who were single and never married in the municipality.  There were 181 married individuals, 11 widows or widowers and 21 individuals who are divorced.

, there were 149 private households in the municipality, and an average of 2.4 persons per household.  There were 47 households that consist of only one person and 8 households with five or more people.  Out of a total of 154 households that answered this question, 30.5% were households made up of just one person.  Of the rest of the households, there are 42 married couples without children, 48 married couples with children  There were 10 single parents with a child or children.  There were 2 households that were made up of unrelated people and 5 households that were made up of some sort of institution or another collective housing.

 there were 39 single family homes (or 40.2% of the total) out of a total of 97 inhabited buildings.  There were 24 multi-family buildings (24.7%), along with 21 multi-purpose buildings that were mostly used for housing (21.6%) and 13 other use buildings (commercial or industrial) that also had some housing (13.4%).  Of the single family homes 15 were built before 1919, while 5 were built between 1990 and 2000.  The most multi-family homes (12) were built before 1919 and the next most (8) were built between 1971 and 1980.  There were 2 multi-family houses built between 1996 and 2000.

 there were 165 apartments in the municipality.  The most common apartment size was 4 rooms of which there were 50.  There were 8 single room apartments and 37 apartments with five or more rooms.  Of these apartments, a total of 136 apartments (82.4% of the total) were permanently occupied, while 27 apartments (16.4%) were seasonally occupied and 2 apartments (1.2%) were empty.  , the construction rate of new housing units was 0 new units per 1000 residents.  The vacancy rate for the municipality, , was 0%.

The historical population is given in the following chart:

Politics
In the 2007 federal election the most popular party was the SP which received 24.7% of the vote.  The next three most popular parties were the Green Party (17.28%), the SVP (16.91%) and the FDP (13.35%).  In the federal election, a total of 128 votes were cast, and the voter turnout was 50.0%.

Economy
, Aclens had an unemployment rate of 2.8%.  , there were 33 people employed in the primary economic sector and about 11 businesses involved in this sector.  234 people were employed in the secondary sector and there were 23 businesses in this sector.  932 people were employed in the tertiary sector, with 43 businesses in this sector.  There were 196 residents of the municipality who were employed in some capacity, of which females made up 45.9% of the workforce.

 the total number of full-time equivalent jobs was 1,103.  The number of jobs in the primary sector was 20, all of which were in agriculture.  The number of jobs in the secondary sector was 228 of which 65 or (28.5%) were in manufacturing and 163 (71.5%) were in construction.  The number of jobs in the tertiary sector was 855.  In the tertiary sector; 134 or 15.7% were in wholesale or retail sales or the repair of motor vehicles, 680 or 79.5% were in the movement and storage of goods, 13 or 1.5% were in a hotel or restaurant, 22 or 2.6% were technical professionals or scientists, 2 or 0.2% were in education.

, there were 353 workers who commuted into the municipality and 131 workers who commuted away.  The municipality is a net importer of workers, with about 2.7 workers entering the municipality for every one leaving.  About 1.7% of the workforce coming into Aclens are coming from outside Switzerland.  Of the working population, 9.7% used public transportation to get to work, and 63.8% used a private car.

Religion
From the , 101 or 27.8% were Roman Catholic, while 170 or 46.8% belonged to the Swiss Reformed Church.  Of the rest of the population, there were 13 individuals (or about 3.58% of the population) who belonged to another Christian church.  There were 10 (or about 2.75% of the population) who were Islamic.  There were 1 individual who belonged to another church.  57 (or about 15.70% of the population) belonged to no church, are agnostic or atheist, and 17 individuals (or about 4.68% of the population) did not answer the question.

Education
In Aclens about 142 or (39.1%) of the population have completed non-mandatory upper secondary education, and 48 or (13.2%) have completed additional higher education (either university or a Fachhochschule).  Of the 48 who completed tertiary schooling, 56.3% were Swiss men, 35.4% were Swiss women.

In the 2009/2010 school year there were a total of 54 students in the Aclens school district.  In the Vaud cantonal school system, two years of non-obligatory pre-school are provided by the political districts.  During the school year, the political district provided pre-school care for a total of 631 children of which 203 children (32.2%) received subsidized pre-school care.  The canton's primary school program requires students to attend for four years.  There were 34 students in the municipal primary school program.  The obligatory lower secondary school program lasts for six years and there were 20 students in those schools.

, there were 11 students in Aclens who came from another municipality, while 60 residents attended schools outside the municipality.

References

External links

Articles which contain graphical timelines

Aclens


Trči, psiću! (eng. Go, Dog. Go!) američka je animirana serija koja je 2021. nastala pod vodstvom Adama Peltzmana. Serija ima 3 sezone i sve skupa 26 epizoda od 24 minuta.

Glasovi

 Michela Luci - Tag Barker
 Callum Shoniker - Scooch Pooch
 Katie Griffin - Ma Barker
 Martin Roach - Paw Barker
 Tajja Isen - Cheddar Biscuit
 Lyon Smith - Spike Barker / Gilber Barker
 Judy Marshank - Grandma Marge Barker
 Patrick McKenna - Grandpaw Mort Barker
 Linda Ballantyne - Lady Lydia / Sgt Pooch / Mayor Sniffington
 Joshua Graham - Sam Whippet
 Deven Mack - Fetcher
 David Berni - Frank
 Anand Rajaram - Beans

Izvori

Vanjske poveznice

Animirane televizijske serije
Televizijske serije koje su počele 2021.
Televizijske serije u Netflixovoj produkciji

Trči, psiću!


The Working Life er en dansk dokumentarfilm fra 2013 instrueret af Caroline Sascha Cogez og efter manuskript af Nikolaj Heltoft.

Handling
"The Working Life" af Superflex og Caroline Sascha Cogez en kommentar til vækstsamfundets hamsterhjul og konstante bestræbelser på produktionsoptimering. Filmen er en hypnoterapeutisk øvelse i at forlade det kontorlandskab, man er fanget i, efterlade de uendelige bunker af opgaver, møder, opkald, påmindelser og træde ud på den anden side, hvor der er ro – i dette tilfælde toilettet. Bag hypnosen står den certificerede hypnoterapeut Tommy Rosenkilde, og dermed bliver filmen ikke blot en refleksion over vidensarbejderens konstante følelse af at være bagud og ikke gøre det godt nok, men også et eksperiment: Måske filmen kan bruges som redskab; hypnotisere tilskueren til at stå af ræset og ryste skyldfølelsen over aldrig at slå til af sig. Måske er det i orden ikke altid at være brugbar.

Medvirkende

 Tommy Rosenkilde

Referencer

Eksterne henvisninger

Dokumentarfilm fra Danmark
Danske film fra 2013

The Working Life


Robert Bruce Dickson (* 22. April 1931 in Edmonton) ist ein ehemaliger kanadischer Eishockeyspieler. Bei den Olympischen Winterspielen 1952 gewann er als Mitglied der kanadischen Nationalmannschaft die Goldmedaille.

Karriere
Robert Dickson begann seine Karriere als Eishockeyspieler beim Edmonton Athletic Club, für den er von 1947 bis 1949 in der Edmonton Junior Hockey League aktiv war. Die Saison 1949/50 verbrachte er bei den Medicine Hat Tigers aus der Western Canada Junior Hockey League (WCJHL). In der Saison 1950/51 bestritt er mehrere Testspiele für eine Juniorenmannschaft, die ab 1951 unter dem Namen Edmonton Oil Kings bekannt war. Dort konnte er überzeugen und wurde von der Seniorenmannschaft Edmonton Mercurys verpflichtet, mit der er 1952 Kanada bei den Olympischen Winterspielen repräsentierte.

International
Für Kanada nahm Dickson an den Olympischen Winterspielen 1952 in Oslo teil, bei denen er mit seiner Mannschaft die Goldmedaille gewann. In acht Spielen erzielte sieben Tore und zwei Vorlagen.

Erfolge und Auszeichnungen
 1952 Goldmedaille bei den Olympischen Winterspielen

Weblinks

Eishockeynationalspieler (Kanada)
Olympiateilnehmer (Kanada)
Teilnehmer der Olympischen Winterspiele 1952
Olympiasieger (Eishockey)
Kanadier
Geboren 1931
Mann

Robert Dickson


Korsbenet eller sacralbenet (latin: os sacrum) er en stor trekantet knogle i menneskeskelettet, som udgør en del af rygsøjlens (columna vertebralis) nedre afslutning og - med sin placering mellem de to hofteben (os coxae) – tillige bækkenets (pelvis) bagvæg.

Korsbenet er opbygget af fem sammenvoksede ryghvirvler (vertebrae) de såkaldte sacral-hvirvler (vertebrae sacrales, S1–5) som danner en tydelig søjle midt i knoglen. Tidligt i livet udgør knoglens laterale dele endnu fem par separate segmenter, som hos voksne individer vokser sammen. Hos enkelte individer er sammenvoksningen mellem sacralhvirvlerne mer fuldstændig kaudalt end kranielt (fremad/opad).

Korsbenet perforeres af fire par huller (foramina sacralia anterius/posterius) som er rettet lateralt og fremad, gennem hvilke de ventrale grene af spinalnerverne samt arterier passerer lateralt.
Knoglen er buet med den konkave side rettet ventralt och kaudalt (fremad/nedad). Ved at være rettet bagud giver korsbenet bedre plads i bækkenhulen (cavitas pelvis).

Korsbenet leder mod fire knogler: Femte lumbale diskus, højre henholdsvis venstre hofteben og halebenet (os coccygis).
Kranielt leder korsbenets overflade (basis ossis sacri) mod den femte og sidste lændehvirvel (vertebrae lumbales).

Kilder

 Finn Bojsen-Møller m.fl. Bevægelsesapparatets anatomi, Munksgaard,

Skelet
Knogler i bækkenet

Korsbenet


İspanik, Hispanik veya İspano, genel olarak İspanya'dan, İspanyollardan ve İspanyol kültüründen türemiş ya da bu kültürle ilgili anlamında kullanılan bir sözcüktür. Dile dayalı bir tanımlamadır ve ırksal bir aidiyet belirtmez. Hispanik terimi 1970'li yıllarda ortaya çıkmış ve kültürel kökenleri Meksika, Porto Riko, Küba, Orta Amerika ve diğer Latin Amerika ülkeleri olanlar için Amerikan Nüfus Dairesi tarafından kullanılmıştır. Terim kimi zaman İspanyolları ve Brezilyalıları da içine alır. (Brezilya'nın asıl dili Portekizcedir.) Hispanik terimi Amerikan Nüfus Dairesi tarafından resmi olarak türetilmiş ve kullanılmış olmasına rağmen, birçok insan bu tabirin kendilerini temsil ettiğini kabul etmemektedir.

Meksika ve Orta Amerika'daki bazı Latin Amerika ülkeleri halklarına ABD'de verilen ad olarak sıkça kullanılır. ABD'de 44 milyon nüfus ve yüzde 15 seçmen oranıyla azınlıklar arasında ilk sırayı oluştururlar. Nüfus yoğunluğu en çok olan eyaletler, Meksika sınırında olan ve başta Kaliforniya olmak üzere Teksas, Arizona, Florida ve New Mexico eyaletleridir.

İspanik nüfusun dağılımı
 Meksikalı - 28 milyon nüfus (%65)
 Porto Rikolu - 4 milyon nüfus (%8.6)
 Kübalı - 1.5 milyon nüfus (%3.7)

Çok ırklılık
İspanyol diasporası

Hispanik


මෙම පුරා විද්‍යා ක්ෂේත්‍රය තුළ දී කරදියේ, මිරිදියේ හෝ ජලය සමඟ තැන්පත් වූ අවසාදනයන්ගේ අඩංගු භෞතික වස්තූන්/ නටඹුන් ඇසුරින් ආදි මානව ජීවිතය ඔවුන්ගේ හැසිරීම් සහ ඔවුන්ගේ සංස්කෘතීන් පිළිබඳ අධ්‍යයනය කෙරේ. මෙය බොහෝ විට සමුද්‍ර පුරා විද්‍යාවට අයත් ක්‍ෂේත්‍රයක් ලෙස සැලකේ. දිය යට පිහිටි පුරා විද්‍යාත්මක වශයෙන් වැදගත්කමක් ඇති ස්ථාන ළඟා වීමට තිබූ අපහසුතාවය හේතුවෙන් මෙම ක්ෂේත්‍රයට අදාල ආරම්භක ශක්‍යතාවයන් සහ උපකරණ, දියේ ගිලුණු වස්තූන් ගොඩ ගැනීම සම්බන්ධ ආයතන සහ පුද්ගලයන් ආශ්‍රිතව භාවිතයට පැමිණියේය. ආරම්භයේ දී මෙම ක්ෂේත්‍රය නියමාකාර පුරා විද්‍යාත්මක ක්ෂේත්‍රයක් ලෙස පිළිගැනීමේ දී මත ගැටුම් පැවතුණි.

මෙම ක්ෂේත්‍රයට අයත් පුරා විද්‍යාත්මක වැදගත්කමක් ඇති ස්ථාන සහ පිහිටුම් අතරට ගිලී ගිය නැව් හා ගුවන් යානා, පාලම්, වරාය සහ ක්‍රැනොග් ආදී ජලාශ්‍රිත ඉදි කිරීම්වල නටඹුන් හෝ පසුකාලීනව ඉහල ගිය මුහුදු මට්ටම හෝ වෙනත් හේතු නිසා ජලයට යට වූ මානව වාසස්ථාන ආදිය අයත් වේ.

ජලය යට පිහිටි වැඩ බිම්වලදී මතු වන අභියෝග

ජලය යට පිහිටි වැඩ බිම් ගොඩබිමෙහි පිහිටන වැඩ බිම් හා සැසදීමේදී ප්‍රවේශයට වඩා අපහසුවන අතර වඩා අනතුරුදායක වේ. වැඩ බිමට සෘජුවම ප්‍රවේශ වීම සඳහා කිමිදීම උපකරණ හා කිමිදීමේ හැකියාව අත්‍යවශ්‍ය වේ. කිමිදුම්කරුවන්ට යා හැකි ගැඹුර හා ඒ ඒ ගැඹුරවල්වලදී ගත කළ හැකි කාල පරාසය සීමා සහිත වේ. කිමිදුම්කරුවන්ට යාමට නොහැකි ගැඹුරු වැඩ බිම් සඳහා සබ්මැරීන හෝ දුරස්ථ සංවේදන උපකරණ අවශ්‍ය වේ.

සමුද්‍රාශ්‍රිත වැඩ බිමක් සඳහා යම් ආකාරයක වැඩ කිරීමේ වේදිකාවක් (සාමාන්‍යයෙන් බෝට්ටුවක් හෝ නෞකාවක්) අවශ්‍ය වේ. මෙය ප්‍රවර්ධන ගැටළු මතු කරයි. ජලය යට පිහිටි පුරා විද්‍යා සඳහා වූ වැඩ කිරීමේ වේදිකාවකට විශේෂිත දුරස්ථ සංවේදන උපකරණ සැපයීමට, පුරා විද්‍යාත්මක ප්‍රතිඵල විශ්ලේෂණයට, ජලය තුළදී සිදුවන කටයුතුවලට සහාය දැක්වීමට, අවශ්‍ය ද්‍රව්‍ය ගබඩා කර තැබීමට, ජලයෙන් සොයා ගත් අයිතම සංරක්ෂණය කිරීමට මෙන්ම සේවකයන් සඳහා අවශ්‍ය ඉඩ පහසුකම් සැලසීමට  හැකි විය යුතුය. ජල ඉසින හා වායු සෝපාන ඇතුළුව පුරා විද්‍යාත්මක පර්යේෂණ සඳහා යොදා ගන්නා උපකරණ ද අතිරේක අනතුරු හා ප්‍රවර්ධන ගැටළු මතු කරයි. තවදුරටත් සමුද්‍රාශ්‍රිත වැඩ බිම් බලවත් රළ පහරවල්වලට හෝ දුර්වල කාළගුණික තත්වයන්ට භාජනය විය හැක. එනම් වැඩ බිමට ප්‍රවේශ විය හැක්කේ සීමා සහිත කාල ප්‍රමාණයකට පමණි.

ජලය යට පිහිටි වැඩ බිම් සාමාන්‍යයෙන් ගතික වේ. එනම් ඒවා ධාරා, සුළි, කුණාටු හෝ උදම් ප්‍රවාහ මඟින් චලනය විය හැකිය. අදාල ව්‍යුහ නොසිතූ පරිදි අනාවරණය වීම හෝ මුහුදු පත්ලේ සැඟවී යාම සිදු විය හැක. අධික කාලයක් තිස්සේ අනාවරණය වූ ව්‍යුහ මල කා කෑලිවලට කැඩී විසිරී යා හැකිය. අවට පරිස‍රයේ ඇති ගතික ස්වභාවය මඟින් සමහරක් විට සවාස්ථික සංරක්ෂණය  අවලංගු කළ හැකිය. විශේෂයෙන් මුහුදු බත් වූ නැවක ලී වැනි අනාවරණය වූ කාබනික ද්‍රව්‍ය පිඩොක් වැනි මුහුදු ජීවීන් විසින් පරිභෝජනය කිරීමට ඉඩ ඇත. මීට අමතරව ජලය යට පිහිටි වැඩ බිම් රසායනිකව ක්‍රියාකාරී විය හැකි අතර මෙහි ප්‍රතිඵලයක් ලෙස ලෝහ ව්‍යුහවල ඇති යකඩ පිඩු ඇති වීම සඳහා ක්ෂය වීම සිදු විය හැක. ඉන්පසු මුල් ලෝහය භංගුර තත්වයේ තිබෙනු ඇත. ජලය යට පිහිටි වැඩ බිම්වලින් සොයා ගන්නා ලද මානව කෘති සඳහා විශේෂ සැලකිල්ලක් අවශ්‍ය වේ.

මන්ඩි හෝ ඇල්ගී හා අඩු ආලෝක විනිවිද යාම නිසා දර්ශනය දුර්වල විය හැක. එනම් භූමිය මත දී හොඳින් ක්‍රියාත්මක වන සමීක්ෂණ තාක්ෂණික ක්‍රම (ත්‍රිකෝණකරණය වැනි) සාමාන්‍යයෙන් ජලය යට දී කාර්යක්ෂමව යොදා ගත නොහැකි බවයි.

ඊට අමතරව පුරා විද්‍යාත්මක පර්යේෂණවල ප්‍රතිඵල සඳහා ප්‍රවේශයක් සැපයීම පහසු විය හැක. එයට හේතුව ජලය යට පිහිටි වැඩ බිම් හොඳ ප්‍රවේශ වීමේ හැකියා හෝ සාමාන්‍ය ජනතාව සඳහා ප්‍රවේශ සපයන්නේ නැති නිසාය.

තාක්ෂණික ක්‍රම
දියයට වැඩ කිරීමේ දී ඇති වන බාධක මැඩ පැවැත්වීම සදහා විශේෂිත තාක්ෂණික ක්‍රම හා මෙවලම් දියුණුකර තිබුණත් පුරාවිද්‍යාත්මක අරමුණු හා ක්‍රියා වලි අනෙක් ඕනෑම සන්දර්භයක් මෙන්ම සමාන වෙයි. කෙසේ නමුත් දිය යට පිහිටි ප්‍රදේශයක් සමීක්ෂණය කිරීම ඒහා සමාන භූමි ප්‍රදේශයක් සමීක්ෂණයට වඩා වැඩි කාලයක් ගන්නා අතර වඩා වියදම් අධික වෙයි.

ව්‍යාපෘති සැලසුම් කරනයේ වැදගත් අංගයක් වන්නේ බො‍්ට්ටුවෙන් සිදුවන මෙහෙයුම් ප්‍රවර්ධනය කළමනා කරණය හා කිමිදුම් ක්‍රියාවලි කළමණාකරණයයි. ප්‍රදේශයේ පිහිටි ජලයෙහි ගැඹුර හා ප්‍රවේශය, රළ, වර්ථමාන හා ඉදිරියට පැමිණෙන කාලගුණික තත්ත්ව වැනි බාධක මගින් අවහිරවී ඇත්දැයි යන්න භාවිතා කෙරෙන තාක්ෂණික ක්‍රම මත බලපෑම් ඇති කිරීම හෝ දී ඇති වියදමක දී හෝ කාල ප්‍රාන්තරයකදී සිදු කළ හැකි ගවේෂණ ප්‍රමාණය මත බලපෑම් ඇති කිරීම සිදු කරයි. ඉතා සුපරික්ෂාකාරීව ගවේෂණය සිදු කරන ප්‍රදේශ බොහෝමයක් (මේරි රෝස් ඇතුළත්ව) වෘත්තීය පුරා විදයාඥයින් සැලකිය යුතු කාලාන්තරයක් පුරා සේවයෙහි යොදවා ඇත.

ගොඩබිමෙහි වු පුරාවිද්‍යාව මෙන් සමහරක් තාක්ෂණික ක්‍රම සරළ උපකරණ යොදා ගනිමින් අතින් සිදු කරන ඒවා (සාමාන්‍යයෙන් කිමිදුම් කරුවන් ඒක අයෙකුගේ හෝ කිහිපයකගේ මහන්සිය මත රදා පවතියි.) වන අතර අනෙක්වා උසස් තාක්ෂනික ක්‍රම හා වඩා සංකිර්ණ ප්‍රවර්ධන යොදා ගනිමින් (උදාහරණ ලෙස උපකරණ හැසිරවීමේ දොඹකර අඩංගු විශාල සහය නෞකා, දියයට සන්නිවේදනය හා පරිගණක දෘෂ්‍ය කරණය)

ආශ්‍රිත
 ජලාශ්‍රිත පුරා විද්‍යාව

References

http://en.wikipedia.org/wiki/Underwater_archaeology

දිය යට පවතින වස්තූන් සම්බන්ධ පුරා විද්‍යාව


L'université technique d'État de l'Azov  de Marioupol (en ), est un établissement d'enseignement supérieur fondée en 1929.

Historique
Les premiers bâtiments datent de 1910 par l'architecte Victor Nilsen, c'était une école diocésaine. L'université compte actuellement douze bâtiments.

Enseignement
Elle compte cinq instituts, dix facultés ayant quarante deux départements, quatre collèges.

Références

Lien externe

Azov
Organisme fondé en 1929
Édifice construit en 1910
Enseignement à Marioupol
Patrimoine classé d'Ukraine

Université technique d'État de l'Azov


Les séries 3 et 4 sont un type d'automotrice électrique pour tramway du tramway de Genève en Suisse construit par Duewag.

Histoire

Série 3
Ces 30 rames, à l'origine, ont été construites par Duewag, Vevey Technologies et Brown, Boveri & Cie et mises en service entre 1987 et 1989 afin de remplacer les vieillissantes « Normalisés », l'essai réalisé avec le prototype 741 s'étant avéré concluant. En 1995/1996, les rames 823, 824 et 827 à 830 sont transformées en Be 4/8 par ajout d'une caisse centrale.

D'une longueur de  et d'une largeur de , elles peuvent accueillir 178 personnes dont 137 debout et 41 assises. Non climatisées, elles sont à plancher bas aux deux premières portes et disposent d'une rampe pour l'accès aux personnes à mobilité réduite. Elles ont été intégralement révisées entre 2006 et 2009 et sont cantonnées à la ligne 12 du fait qu'elles sont unidirectionnelles.

Série 4
Ces 22 rames sont issues pour partie de la transformation de rames Be 4/6 en 1995/1996 par l'ajout d'une caisse centrale, augmentant leur capacité. En dehors de ce fait, elles sont identiques aux Be 4/6.

D'une longueur de  et d'une largeur de , elles peuvent accueillir 265 personnes dont 200 debout et 65 assises. Non climatisées, elles ont une différence avec la DAV 03, elles n'ont pas de plancher bas pour l'accès aux personnes à mobilité réduite. Elles ont été intégralement révisées entre 2006 et 2009 et sont cantonnées à la ligne 12 du fait qu'elles sont unidirectionnelles, et toujours en unité multiple avec des Be 4/6 (DAV 03) et toujours en motrice 2.

Caractéristiques

Générales

Bogies

Aménagement
Les motrices des deux séries possèdent un plancher plat à  au dessus du rail à l'exception des espaces au dessus des bogies moteurs en extrémité de rame où le plancher est à  (avec deux marches entre les deux espaces). La série 4 possède quatre portes, la série 6 six portes, à raison de deux portes par caisse, toutes situées dans l'entraxe bogies. Les portes à fonctionnement électrique sont pliantes à deux vantaux couplés à un marche-pied permettant l'accès depuis l'extérieur par deux marches : marche-pied et marche intérieure.

En  et , les vingt-quatre motrices de la série 3 sont modifiées pour en faciliter l'accès aux personnes à mobilité réduite (PMR), le châssis au niveau des deux portes avant est modifié pour abaisser le plancher de  à  au dessus du rail (hauteur du marche-pied) supprimant la marche intérieure, mais ajoutant deux marches à l'intérieur, l'une avant la première porte pour accéder aux espaces au dessus des bogies moteurs (passant de deux à trois marches), l'autre après la seconde porte pour accéder au reste de la motrice dont le plancher est maintenu à .

Notes et références

Voir aussi

Articles connexes
 Matériel roulant du tramway de Genève
 Duewag

Matériel roulant du tramway de Genève
Tramway Duewag

Séries 3-4 (Genève)


7603 Salopia este un asteroid din centura principală de asteroizi.

Descriere
7603 Salopia este un asteroid din centura principală de asteroizi. A fost descoperit pe  la Church Stretton de Stephen P. Laurie
. Asteroidul prezintă o orbită caracterizată de o semiaxă mare de 2,98 ua, o excentricitate de 0,06 și o înclinație de 9,6° în raport cu ecliptica.

Vezi și
 Lista planetelor minore: 7001-8000
 Centura de asteroizi

Referințe

Obiecte astronomice descoperite în 1995
Centura de asteroizi

7603 Salopia


Serrasalmus elongatus (Syn.: Serrasalmus pingke) ist eine kleinwüchsige Sägesalmlerart aus dem tropischen Südamerika. Sie ähnelt S. humeralis und wird auf Englisch wegen ihrer Körperform auch Elongated Piranha ("Langgestreckter Piranha") oder Pike Piranha ("Hechtpiranha") genannt. Lokalnamen sind Caribe Pinche oder Piranha Mucura.

Beschreibung
Serrasalmus elongatus ist ein langgestreckter, seitlich abgeflachter Sägesalmler der eine maximale Gesamtlänge von 30 Zentimeter TL erreichen kann. Die Kopfform ist bei juvenilen und adulten Tieren spitz. Die Körperfarbe ist bei Jungtieren einheitlich grünlich silbrig. Einige Exemplarer zeigen einen Caudalfleck, ansonsten ist keine Zeichnung vorhanden. Ihre Flossen sind farblos und transparent. Die Färbung adulter Tiere ist bleigrau, ihr Brust- und Bauchbereich ist orange bis rot. Auf der Schulterregion befindet sich ein Fleck in der Größe der Augen. Rückenflosse und Afterflosse sind gräulich, Brustflossen und Bauchflossen sind leicht rötlich oder orange. Die Iris ist rot. Die Rückenflosse (Dorsale) wird von zwei ungeteilten und gewöhnlich von 13 (12 bis 24) geteilten Flossenstrahlen gestützt. Ein präanaler Stachelstrahl ist vorhanden.

Serrasalmus elongatus hat gewöhnlich 38 (37 bis 38) Wirbel. Die Schuppen sind klein und zahlreich, Die Anzahl entlang der Seitenlinie beträgt in der Regel 94 (89 bis 98). Vor dem Beginn der Bauchflossen befinden sich 23 (20 bis 26), nach dem Beginn der Bauchflossen 10 (10 bis 11) Abdominalzähne (Serrae). Die 17 (15 bis 19) Kiemenreusendornen sind kurz und an der Basis breit. Das Ectopterygoid ist, auch bei Jungtieren deutlich, kräftig und zahlreich bezahnt (8 bis 9).

Interessant ist der scheinbare Polymorphismus bei Jungtieren in Bezug auf den Fleck am Schwanzstiel. Da beide Formen sympatrisch vorkommen, ist es schwierig, auf Umwelteinflüsse zu schließen. Es könnte sich um einen frühen Geschlechtsdimorphismus handelt, eine Klärung steht allerdings noch aus. Von den anderen Serrasalmus Arten unterscheidet sich Serrasalmus elongatus durch die langgestreckte Körperform. Mit Ausnahme sehr junger Serrasalmus irritans teilt keine Serrasalmus Art diese Körperform, jedoch unterscheidet sich Serrasalmus irritans  durch seine gefleckte Farbmusterung.

Verbreitung
Serrasalmus elongatus kommt in Südamerika im  Einzugsgebiet des Amazonas und Orinoco vor. Im unteren Rio Machado im brasilianischen Minas Gerais ist er einer der häufigsten Piranhas.

Lebensweise
Serrasalmus elongatus ernährt sich überwiegend von Flossenstücken und Schuppen anderer Fische. Gelegentlich werden Fleischstücke aus anderen Fische herausgebissen. Die mit Abstand am häufigsten herausgebissenen Schuppen stammen nach Goulding von Kropfsalmler. Die Flossenstücke wurden am häufigsten aus den Schwanzflossen gebissen.

Literatur
 Antonio Machado-Allison, William Fink: Los Peces Caribes de Venezuela, Diagnosis, Claves, Aspectos Ecologicos Y Evolutivos. 1996, Universidad Central de Venezuela, CDCH

Anmerkungen und Einzelnachweise

Weblinks
 Artporträt auf Piranha-Info.com

Sägesalmler
Serrasalmidae

Serrasalmus elongatus


In sociology, the post-industrial society is the stage of society's development when the service sector generates more wealth than the manufacturing sector of the economy.

The term was originated by Alain Touraine and is closely related to similar sociological theoretical concepts such as post-Fordism, information society, knowledge economy, post-industrial economy, liquid modernity, and network society. They all can be used in economics or social science disciplines as a general theoretical backdrop in research design.

As the term has been used, a few common themes, including the ones below have begun to emerge.

 The economy undergoes a transition from the production of goods to the provision of services.
 Knowledge becomes a valued form of capital; see Human capital.
 Producing ideas is the main way to grow the economy.
 Through processes of globalization and automation, the value and importance to the economy of blue-collar, unionized work, including manual labor (e.g., assembly-line work) decline, and those of professional workers (e.g., scientists, creative-industry professionals, and IT professionals) grow in value and prevalence.
 Behavioral and information sciences and technologies are developed and implemented (e.g., behavioral economics, information architecture, cybernetics, game theory and information theory).

Origins
Daniel Bell popularized the term through his 1974 work The Coming of Post-Industrial Society. Although some have credited Bell with coining the term, French sociologist Alain Touraine published in 1969 the first major work  on the post-industrial society. The term was also used extensively by social philosopher Ivan Illich in his 1973 paper Tools for Conviviality and appears occasionally in Leftist texts throughout the mid-to-late 1960s.

The term has grown and changed as it became mainstream. The term is now used by marketers such as Seth Godin, public policy PhDs such as Keith Boeckelman, and sociologists such as Neil Fligstein and Ofer Sharone. U.S. President Bill Clinton used the term to describe Chinese growth in a round-table discussion in Shanghai in 1998.

Valuation of knowledge
The post-industrialized society is marked by an increased valuation of knowledge. This itself is unsurprising, having been foreshadowed in Daniel Bell's presumption as to how economic employment patterns will evolve in such societies. He asserts employment will grow faster in the tertiary (and quaternary) sector relative to employment in the primary and secondary sector and that the tertiary (and quaternary) sectors will take precedence in the economy. This will continue to occur such that the "impact of the expert" will expand and power will be monopolized by knowledge.

As tertiary and quaternary sector positions are essentially knowledge-oriented, this will result in a restructuring of education, at least in its nuances.  The "new power… of the expert" consequently gives rise to the growing role of universities and research institutes in post-industrial societies. Post-industrial societies themselves become oriented around these places of knowledge production and production of experts as their new foci. Consequently, the greatest beneficiaries in the post-industrial society are young urban professionals. As a new, educated, and politicized generation, more impassioned by liberalism, social justice, and environmentalism, comes into being; the shift of power into their hands, as a result of their knowledge endowments, is often cited as a good thing.

The increasing importance of knowledge in post-industrial societies results in a general increase in expertise through the economy and throughout society. In this manner, it eliminates what Alan Banks and Jim Foster identify as "undesirable work as well as the grosser forms of poverty and inequality". This effect is supplemented by the aforementioned movement of power into the hands of young educated people concerned with social justice.

Economists at Berkeley have studied the value of knowledge as a form of capital, adding value to material capital, such as a factory or a truck. Speaking along the same lines of their argument, the addition or 'production' of knowledge, could become the basis of what would undoubtedly be considered 'post-industrial' policies meant to deliver economic growth.

The valuation of specifically scientific knowledge and technology can paradoxically be devalued by individuals in a post-industrial society as they still expect its benefits but are more sensitized to moral trade-offs and risks.

Creativity culture
Similarly, post-industrial society has serviced the creative culture. Many of those most well-equipped to thrive in an increasingly technological society are young adults with tertiary education. As education itself becomes more and more oriented towards producing people capable of answering the need for self-actualization, creativity, and self-expression, successive generations become more endowed with the ability to contribute to and perpetuate such industries. This change in education, as well among the emerging class of young professionals, is initiated by what James D Wright identifies as an "unprecedented economic affluence and the satiation of basic material needs". Ellen Dunham-Jones as well observes this feature of post-industrial society where "abundant goods [are] equitably distributed [in order that] laborless leisure and self-determination" can be consumed.

The post-industrial society is stressed to be one where knowledge is power and technology is the instrument. Naturally, where one is creatively inclined, they are advantaged by such a society. The doctrine of "speed, mobility, and malleability" is well suited to a dynamic creative industry and as industries of good production decrease in precedence, the way is paved for artists, musicians, and other such types, whose skills are better utilized by the tertiary and quaternary sector. Urban geographer Trevor Barnes, in his work outlining the Vancouver experience in post-war development, evokes the post-industrial condition, citing the emergence and consolidation of a significant video games industry as a constituent of the elite service sector.

This increased faculty of the post-industrialist society with respects to the creative industry is reflected by the economic history of post-industrial societies. As economic activities shift from primarily primary and secondary sector-based to tertiary, and later quaternary, sector-based, cities in which this shift occurs become more open to exchanges of information. This is necessitated by the demands of a tertiary and quaternary sector: in order to better service an industry focused on finance, education, communication, management, training, engineering, and aesthetic design, the city must become points of exchange capable of providing the most updated information from across the globe. Conversely, as cities become a convergence of international ideas, the tertiary and quaternary sector can be expected to grow.

A cult of 'creatives' have sprung up embodying and often describing and defending the post-industrial ethos. They argue that businesses that create intangibles have taken a more prominent role in the wake of manufacturing's decline.

Actor and then-artistic director of the Old Vic Theatre, Kevin Spacey, has argued the economic case for the arts in terms of providing jobs and being of greater importance in exports than manufacturing (as well as an educational role) in a guest column he wrote for The Times.

Critics
Post-industrialism is criticized for the amount of real fundamental change it produces in society, if any at all. A mild view held by Alan Banks and Jim Foster contends that representations of post-industrial society by advocates assume professional, educated elites were previously less relevant than they have become in the new social order, and that changes that have occurred are minor but greatly embellished. More critical views see the entire process as the highest evolution of capitalism, wherein the system produces commodities as opposed to practical goods and is determined privately instead of socially. This view is complemented by the assertion that "the characteristic feature of a modern [that is, post-industrial] society is that it is a technocracy". Such societies then become notable for their ability to subvert social consciousness through powers of manipulation rather than powers of coercion, reflective of the "ideology of the ruling class [as] … predominantly managerial".

In line with the view that nothing fundamental has changed in the transition from industrial societies to post-industrial societies is the insistence of lingering problems from past development periods. Neo-Malthusian in essence, this outlook focuses on post-industrial society's continuing struggle with issues of resource scarcity, overpopulation, and environmental degradation, all of which are remnants from its industrial history. This is exacerbated by a "corporate liberalism" that seeks to continue economic growth through "the creation and satisfaction of false needs", or as Christopher Lasch more derisively refers to it, "subsidized waste".

Urban development (UD) in the context of post-industrialism is also a point of contention. In opposition to the view that the new leaders of post-industrial society are increasingly environmentally aware, this critique asserts that UD rather leads to environmental degradation, which is rooted in the patterns of development. Urban sprawl, characterised behaviourally by cities "expanding at the periphery in even lower densities" and physically by "office parks, malls, strips, condo clusters, corporate campuses, and gated communities", is singled out as the main issue. Resulting from a post-industrialist culture of "mobile capital, the service economy, post-Fordist disposable consumerism and banking deregulation", urban sprawl has caused post-industrialism to become environmentally and socially regressive. Of the former, environmental degradation results from encroachment as cities meet demands on low-density habitation; the wider spread of population consumes more of the environment while necessitating more energy consumption in order to facilitate travel within the ever-growing city, incurring greater pollution. This process evokes the neo-Malthusian concerns of overpopulation and resource scarcity that inevitably lead to environmental deterioration. Of the latter, "post-industrialism's doctrine of … mobility and malleability" encourage a disconnect between communities where social belonging falls into the category of things considered by the "post-Fordist disposable consumer[ist]" attitude as interchangeable, expendable, and replaceable.

Post-industrialism as a concept is highly Western-centric. Theoretically and effectively, it is only possible in the Global West, which its proponents assume to be solely capable of fully realizing industrialization and then post-industrialization. Herman Kahn optimistically predicted the "economic growth, expanded production and growing efficiency" of post-industrial societies and the resultant "material abundance and… high quality of life" to extend to "almost all people in Western societies" and only "some in Eastern societies". This prediction is treated elsewhere by contentions that the post-industrial society merely perpetuates capitalism.

Recalling the critical assertion that all modern societies are technocracies, T. Roszak completes the analysis by stating that "all societies are moving in the direction of technocracies". From this, the foremost "suave technocracies" reside in the West, whereas all others are successively graded in descending order: "vulgar technocracies", "teratoid technocracies", and finally "comic opera technocracies". This view importantly presumes one transition and furthermore one path of transition for societies to undergo, i.e. the one that Western societies are slated to complete. Much like the demographic transition model, this prediction does not entertain the idea of an Eastern or other alternative models of transitional development.

Neologism
When historians and sociologists considered the revolution that followed the agricultural society they did not call it a "post-agricultural society". "Post-industrial society" signifies only a departure, not a positive description.

One of the word's early users, Ivan Illich, prefigured this criticism and invented the term Conviviality, or the Convivial Society, to stand as a positive description of his version of a post-industrial society.

Social critique
A group of scholars (including Allen Scott and Edward Soja) argue that industry remains at the center of the whole process of capitalist accumulation, with services not only becoming increasingly industrialized and automated but also remaining highly dependent on industrial growth.

Some observers, including Soja (building on the theories of the French philosopher of urbanism Henri Lefebvre), suggest that although industry may be based outside of a "post-industrial" nation, that nation cannot ignore industry's necessary sociological importance.

Further concerns can be raised regarding the difference in mindset and objectives between those in an industrial society, and those in a post-industrial one. For instance, if the industrial society (producing the raw materials and goods consumed by its peer) were for some reason to cut off supply to the post-industrial nation, there would be little recourse for the latter to ensure that supply chains were not disrupted. Since the society based on ideas would have diminished real product output, the industrial society would be in a position to dictate terms to its counterpart. The response from the "more advanced" nation might be eventually effective or damaging, however it would be hard pressed to bridge the gap until domestic industry could makeup for the lack of imported manufactured goods.

See also

 Deindustrialization
 Late modernity
 Late capitalism
 Industrial society
 Information society
 Information revolution
 Knowledge economy
 Network society
 Post-capitalism
 Post-democracy
 Post-Marxism
 Post-modernity
 Post-scarcity economy
 Sleepers, Wake!
 Sociocultural evolution
 Technological unemployment
 Urban decay
 Future Shock

People
 Heinz von Foerster
 Alvin Toffler
 Alain Touraine

References

External links
 Post Industrial Society Essay Criticism of Bell's analysis of the role of information and knowledge in relation to contemporary social change and the extent of these changes. Technology essays, 2005.

Industrial society
Social philosophy
Stages of history
Information economy

Post-industrial society


Martín Sarmiento est un savant bénédictin espagnol, né Villafranca del Bierzo le , mort le  à Madrid.

Biographie
Martín Sarmiento nait à Ségovie le . Jeune encore, il entre chez les bénédictins de Madrid, passe ensuite à l'Université d'Alcalà d'Hénarès, où il est reçu docteur en droit ; de retour dans la capitale, il y occupe successivement les chaires de philosophie, de morale, de théologie ; il se distingue en même temps dans la prédication. Il a déjà publié plusieurs écrits sur ces diverses sciences et sur les belles-lettres, lorsque le Théâtre critique et universel du P. Benito Jerónimo Feijoo, confrère de Sarmiento, parait à Madrid en 1732. Cet ouvrage, où sont combattus les préjugés qui règnent en Espagne, a, dès ses premières livraisons, excité contre l'auteur plusieurs ennemis, dont les plus nombreux sont dans les autres ordres monastiques. Les réclamations sont telles que l'autorité charge le P. Sarmiento d'examiner le Théâtre critique et d'en dire son avis. Il se prononçe en faveur de l'ouvrage ; et alors tous les ennemis de Feijoo se déchaînent contre son défenseur. Il leur répond par son Apologie du Théâtre critique, imprimée la même année 1732 ; et l'on doit à Sarmiento la conservation et la continuation d'un livre qui est un monument dans la littérature espagnole. Martín Sarmiento meurt à Madrid le .

Œuvres
On trouve la liste de ses ouvrages dans les journaux espagnols du temps, et plus particulièrement dans le Courier de l'Europe. Ses œuvres posthumes furent publiées à Madrid en 1775, 4 vol. in-8°. On y distingue ses Mémoires pour l'histoire de la poésie et des poètes espagnols. Ce fut à cette époque que parut l'ouvrage de Tomás Antonio Sánchez sur le même sujet. Les deux auteurs avaient travaillé à l'insu l'un de l'autre, et ayant pour guide la lettre du marquis de Santillane sur la poésie espagnole, adressée au prince dom Pedro de Portugal.

Source

Liens externes

Naissance en mars 1695
Décès en décembre 1772
Décès à 77 ans

Martín Sarmiento


Shannon (Air) Radio, auch Shannon Aeradio oder Shanwick Radio, ist die bedeutendste Bodenfunkstelle für den europäischen Transatlantik-Flugverkehr in der irischen Gemeinde Newmarket-on-Fergus, County Clare. Die von der Irish Aviation Authority betriebene Station (offiziell North Atlantic Communications Centre) strahlt Wetter und Warnmeldungen für ihr Fluginformationsgebiet über dem Nordatlantik aus (ICAO-Code: EIAA) und empfängt und bestätigt Anfragen von Piloten über Kurzwelle und UKW Funk, und leitet Nachrichten der Flugsicherung an Flugzeuge weiter.

Geschichte
Shannon Aeradio wurde 1936 für die Kommunikation mit Flugbooten eingerichtet, die den Atlantik überquerten. Die Flüge dauerten in der Regel bis zu 18 Stunden und starteten in Foynes, in Irland und landeten in Botwood, in Neufundland. Die Kommunikation wurde in Morsetelegrafie abgewickelt.

Die Bodenfunkstelle bestand zunächst aus den räumlich voneinander getrennten Stationen in Ballygirreen  (rx), Urlanmore  (tx), Foynes (Landanbindung) und Rineanna oder Shannon (Kontrolleinheit). Mittelwellensender wurden hauptsächlich für die Übermittlung meteorologischer Daten eingesetzt.

Nach dem Zweiten Weltkrieg wurde Sprechfunk für die Kommunikation zu Flugzeugen und Fernschreiben RTTY für die Übermittlung im Festen Flugfunkdienst eingeführt.

Bis in die frühen 1950er-Jahre strahlte Shannon VOLMET Flugwetter für die Flughäfen Shannon, Dublin, Prestwick, Hurn (Bournemouth), Amsterdam und Brüssel im Morse-Code aus; seit 1960 findet nurmehr Sprechfunk Verwendung.

Flugfunk
Heute werden für den VOLMET-Dienst die Kurzwellenfrequenzen 5505 kHz und 8957 kHz (ganztags), 3413 kHz (nachts) und 13264 kHz (tagsüber) benutzt. Angaben zum Flughafen Frankfurt Main etwa kommen zur vollen Stunde, zur halben Stunde und 10 Minuten vor der vollen Stunde.

Arbeitsfrequenzen von Shannon Radio:

Seit 2001 nimmt der Datenfunk via Satellit zu. Derzeit (2012) nutzen schätzungsweise 40 Prozent der Flugzeuge, die der  Shanwick Oceanic Control Area  zugeordnet werden, die Systeme Automatic Dependent Surveillance (ADS) und Controller/Pilot Data Link Communications (CPDLC) für ihre Kommunikation zum Boden. Dennoch nimmt auch der Sprechfunkbetrieb über HF zu: 2007 verzeichnete die Station 414.570 Kontakte bei 1.029.335 Sprachnachrichten; Spitzentag war bisher der 23. Juni 2016 mit Kontakten zu 1.772 Flugzeugen.

Weblinks
 Irish Aviation Authority: North Atlantic Communications; alle Frequenzen

Einzelnachweise

Flugfunk

Shannon Radio


Le trigone olfactif (en latin : trigonum olfactorium) est une petite zone triangulaire située devant l'espace perforé antérieur.

Son sommet, dirigé vers l'avant, occupe la partie postérieure du sillon olfactif, et apparaît en rejetant le tractus olfactif.

Il fait partie de la voie olfactive.

Références

Système nerveux central
Anatomie du cerveau

Trigone olfactif


أبي الحجاج يوسف بن اسحاق السبتي المغربي أي يوسف بن يهوذا بن عقنين (بالعبرية: יוסף בן יהודה אבן עקנין؛  1150 –  1220) كان كاتبا ومترجما وطبيبا وفلكيا يهوديا مشهورا. كان من أبرز تلاميذ موسى بن ميمون وألف الكثير، خصوصا عما يخص المشناه والتلمود. هو أندلسي المولد فولد في برشلونة ولكنه مغربي الأصل واستقر في مدينة فاس، حيث عاش يمارس التقية كيهودي متخفٍ حسب اعترافه.

بالإضافة إلى نسخة من التلمود باللغة العربية (هناك ترجمة إلى العبرية على موقع مافو ها-تلمود) ومقالة عن أوزان ومقاييس تلمودية، من أعماله هناك:

 Sefer ha Musar («كتاب الأخلاق»)

 تعليق على كتاب أخلاق الآباء مثل تعليق موسى بن ميمون

 طب النفوس («نذافة الأرواح الصحية ومعالجة الأرواح المريضة»)

 كتاب عن علم النفس فيه فصول عن الصداقة والفصاحة والصمت والاحتفاظ بسر والكذب والطعام والشرب والزهد والتعليم واحتياجات الروح ومصيرها والاضطهاد وأفضل الردود عليه والتوبة. الفصل عن التعليم يحاجج بأن دراسة المنطق والعلم لا ينبغي أن تخاض قبل الثلاثين من العمر، وبعد أساس في التعليم التقليدي فقط كيلا تدنس المعتقدات الدينية من شكك فلسفية.

 انكشاف الأسرار وظهور الأنوار

 تعليق عن سفر نشيد الأنشاد، يتناول كل آية على 3 مستويات: المستوى الحرفي فيما يستشهد بنحويين معاصرين لشرح كل كلمة في المخطوطة، والمستوى الحاخامي على أساس نصوص مدرسية رمزا إلى علاقة بني إسرائيل بالله، والمستوى المجازي فيما يصف الروح ساعية إلى الاتحاد مع الفكر، استنادا إلى شعراء يهود وعرب وفلسفة الفارابي وابن سينا

 ترجمة كتاب الموسيقى الكبير للفارابي إلى العبرية[1][1][./Joseph_ben_Judah_ibn_Aknin#cite_note-2 [2]]

وهناك أعمال فقدت مثل حكم أومشپاتم (مجموعة عن القانون اليهودي) ورسالة الإبانة في أصول الديانة

ومن المعروف أن بن عقنين عاصر موسى بن ميمون في فاس، ويستشهد بالكثير من نفس المصادر ويتبنى موقفا شبيها، إلا أنه ليس «يوسف بن يهوذا» الذي كتاب يوجِّه دلالة الحائرين إليه.

مراجع

<nowiki>

أشخاص من برشلونة
أطباء عرب
فلكيون
كتاب القرن 13
كتاب عرب في القرن 12
كتاب عرب في القرن 13
كتاب عرب في القرن 6 هـ
كتاب يهود
مغاربة من أصل إسباني
مواليد عقد 1150
وفيات عقد 1220
يهود إسبان
يهود مغاربة

يوسف بن عقنين


6401 Roentgen este un asteroid din centura principală de asteroizi.

Descriere
6401 Roentgen este un asteroid din centura principală de asteroizi. A fost descoperit pe  la Observatorul Palomar de Shoemaker, C. S., Shoemaker, E. M., Levy, D. H.. Asteroidul prezintă o orbită caracterizată de o semiaxă mare de 2,68 ua, o excentricitate de 0,13 și o înclinație de 13,5° în raport cu ecliptica.

Vezi și
 Lista planetelor minore: 6001-7000
 Centura de asteroizi

Referințe

Familia Eunomia

Obiecte astronomice descoperite în 1991
Centura de asteroizi

6401 Roentgen


An Nervilia gammieana in uska species han Liliopsida nga syahan ginhulagway ni Joseph Dalton Hooker, ngan ginhatag han pagkayana nga asya nga ngaran ni Ernst Hugo Heinrich Pfitzer. An Nervilia gammieana in nahilalakip ha genus nga Nervilia, ngan familia nga Orchidaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Nervilia

Nervilia gammieana


Crkva sv. Ivana Krstitelja, crkva u Hvaru, zaštićeno kulturno dobro

Opis dobra
Crkva sv. Ivana Krstitelja izgrađena je u Hvaru u predjelu Groda, u središnjemu dijelu stambenoga bloka kojem je na sjeveru izgrađena gotička crkva sv. Duha. Renesansna crkva sagrađena je vjerojatno krajem 15. ili početkom 16. stoljeća. Crkva sv. Ivana Krstitelja unatoč oštećenjima predstavlja lijep primjer renesansne sakralne građevine, kao i urbanističke interpolacije sakralne građevine u stambeni blok dominantno gotičkoga graditeljstva.

Zaštita
Pod oznakom Z-6710 zavedena je kao nepokretno kulturno dobro - pojedinačno, pravna statusa zaštićena kulturnog dobra, klasificirano kao "sakralna graditeljska baština".

Izvori

Zaštićene sakralne građevine u Splitsko-dalmatinskoj županiji
Ivan Krstitelj
Hvar

Crkva sv. Ivana Krstitelja u Hvaru


Voice of the Void drugi je studijski album kanadskog progresivnog metal sastava Anciients. Album je 14. listopada 2016. godine objavila diskografska kuća Season of Mist.

Popis pjesama

Osoblje
Anciients
 Kenneth Cook – vokali, solo gitara
 Chris Dyck – vokali, gitara
 Mike Hannay – bubnjevi
 Aaron "Boon" Gustafson – bas-gitara
Ostalo osoblje
 Mark Mckitrick – snimanje
 Alan Douches – mastering
 Jesse Gander – produkcija, snimanje, miksanje
 Shimon Photo – fotografija
 Alison Lilly – naslovnica

Izvori

Albumi iz 2016.
Kanadski glazbeni albumi

Voice of the Void