Elevator (engl., od kasnolat. elevator: podizatelj) je uređaj za prijenos (transport) materijala (prenosilo), najčešće okomiti, rjeđe pod nagibom. Pogon može biti ručni ili mehanički s motorom s unutarnjim izgaranjem, odnosno elektromotorom. Najviše je u upotrebi elevator s električnim pogonom.

Podjela
Elevatori se mogu razvrstati u elevatore za sipki materijal i elevatore za komadnu robu, a služe za okomit prijenos (transport) i za prijenos pod jakim kutom.

Elevatori za sipki materijal
Elevatori za sipki materijal imaju vedrice kruto pričvršćene na vučno sredstvo. Materijal se utovaruje u vedrice na donjemu dijelu elevatora, a istovaruje na njegovu gornjem dijelu. Kao vučno sredstvo upotrebljavaju se gumene i žičane trake ili kolutni lanci s tuljkom. Trakasta prenosila omogućuju veće brzine dobave i time, uz iste mjere (dimenzije) elevatora, veće volumenske protoke materijala. Vedrice su različita oblika, ali uglavnom postoje 3 vrste: duboke i plitke vedrice zaobljena oblika, te trokutaste šiljasta oblika. Duboke se vedrice upotrebljavaju za teške ili lako rasipne materijale kao cement, suhi pijesak, šljunak, suhi ugljen i slično; plitke vedrice su za lake materijale koji se veoma sliježu ili su vlažni, na primjer mokar pijesak, žitarice, brašno i slično; trokutaste su vedrice pogodne za grudast materijal (grude od 50 do 150 mm). Način pričvršćenja vedrice na vučno sredstvo prikazan je na slici. Vedrice su izrađene od čelika, lakog metala, polimernih materijala ili gume.

Pogonski mehanizam, koji ima i napravu za sprečavanje povratnog kretanja vedrica, smješten je na gornjem kraju elevatora, a na donjem se dijelu nalazi natezni uređaj.

Vedrice se pune grabljenjem materijala ili izravnim usipanjem. Grabljenje je materijala prikladno za prašinaste, zrnate i sitnogrudaste materijale. Za sitnogrudast materijal brzina vedrice treba biti manja od 1 m/s, a za prašinaste i zrnate materijale brzina vedrica nema većeg utjecaja. Ako se vedrice pune izravnim usipavanjem, one moraju biti gusto smještene jedna iza druge. Tako se vedrice pune krupnogrudastim i veoma abrazivnim materijalom (rudače, ugljen, drobljeni kamen i slično) jer bi otpor grabljenja bio prevelik. Pri izravnom usipavanju brzine vedrica iznose najviše 1 m/s.

Vedrice se prazne (istovaruju) pomoću centrifugalne sile ili pomoću sile teže, što najčešće ovisi o brzini vedrica. Centrifugalno pražnjenje dolazi u obzir najčešće tek pri brzini većoj od 1,5 m/s.

Dobava elevatora za sipki materijal iznosi do 400 (rijetko do 1 000) t/h, a visina dobave do 60 m (rijetko do 100 m). Brzina dobave trakastih prenosila iznosi od 1 do 2 (3) m/s, a lančanih elevatora od 0,3 do 1 m/s. Vedrice su široke od 100 do 1 000 mm, a imaju obujam (volumen) od 0,1 do 140 dm3 (litara).

Brzohodni trakasti elevatori služe za strmi i okomiti prijenos lakih prašinastih i zrnatih materijala (brašna, žitarica, kemikalija i slično), a sporohodni lančani elevatori mogu prenositi i teže grudaste materijale (koks, ugljen i slično).

Volumni protok pri dobavi sipkog materijala u pojedinačnim vedricama određuje se prema izrazu:

gdje je: tv - međusobni razmak vedrica, v - brzina dobave, a V - obujam materijala u jednoj vedrici, koji je jednak umnošku nazivnog obujma vedrice i stupnja punjenja φ = 0,4 - 0,8 (male vrijednosti za krupnogrudast materijal i veće brzine dobave). Nazivni je obujam vedrice obujam vode koji sadrži vedrica u radnom položaju.

Elevator je najisplativije prenosilo za okomiti prijenos (transport) prašinastih, zrnatih i sitnogrudastih materijala. Razlog je u tome što je uz ulaganja (investicije) veoma važna potrebna pogonska snaga. Tako na primjer za okomiti prijenos 100 t/h teških žitarica (0,75 t/m3) na visinu od 40 m potrebna snaga pogonskog motora elevatora (v = 4 m/s) iznosi 17 kW, žljebastoga zatvorenoga lančanog prenosila (redlera, v = 0,7 m/s) oko 46 kW, a pneumatskog prenosila (v = 25 m/s) oko 170 kW.

Elevator s lancem
Elevator s lancem sastoji se od para beskrajnih lanaca koji se gibaju preko lančanika. Upotrebljava se na gradilištima, u rudnicima, skladištima, radionicama i drugdje. Za prijenos sipkog materijala (pijesak, ugljen, ruda i slično), na lancima su pričvršćene posude koje grabe materijal i izbacuju ga kada prijeđu preko gornjeg lančanika. Za prijenos komadnoga materijala, na lancima su pričvršćene ploče, konzole ili držači. Na ratnim brodovima, elevator smješten u zatvorenom (često i oklopljenom) rovu služi za prijenos streljiva iz komora za streljivo do topovskog oružja.

Vijčani elevator
Vijčani elevator sastoji se od okomite ili kose cijevi i rotirajuće spiralne vijčane plohe, a služi za prijenos sipkog materijala.

Pneumatski elevator
Pneumatski elevator upotrebljava se za prijenos lakoga sipkog materijala (žito, brašno, piljevina). Sastoji se od sustava cijevi i sisaljke (crpke ili pumpe) koja stvara vakuum u spremniku (rezervoaru). Postoje i kombinacije s vakuumom i strujom zraka pod tlakom u pojedinim dijelovima cjevovoda.

Elevatori za komadnu robu

Elevatori za komadnu robu nose materijal pomoću traka ili lanaca na kojima su pričvršćene konzole različitih oblika ili vješalice. Elevatori s konzolama imaju malu brzinu kretanja, ne veću od 0,2 do 0,3 m/s, a služe za prijenos bačava, sanduka, kutija i slično. Elevatori s vješalicama imaju jedan ili više vučnih lanaca. Elevatori s jednim lancem služe za prijenos laganih predmeta u uredima, bolnicama, labaratorijama i slično, kao što su dokumenti, pošta, knjige, bočice i tako dalje.

Izvori

Strojevi
Građevinarstvo
Metaloprerađivačka industrija

Elevator


210444 Frithjof este un asteroid din centura principală de asteroizi.

Descriere
210444 Frithjof este un asteroid din centura principală de asteroizi. A fost descoperit pe  la Calar Alto de Felix Hormuth. Asteroidul prezintă o orbită caracterizată de o semiaxă mare de 2,33 ua, o excentricitate de 0,16 și o înclinație de 2,1° în raport cu ecliptica.

Vezi și
 Lista planetelor minore: 210001-211000
 Centura de asteroizi

Referințe

Obiecte astronomice descoperite în 2009
Centura de asteroizi

210444 Frithjof


Die Liste der Schweizer Skimeister listet alle Sportler und Sportlerinnen auf, die den Titel des Schweizer Skimeisters sowie der Schweizer Skimeisterin gewannen.

Bei den Herren wurde der Titel des Schweizer Skimeisters ab den ersten Schweizer Skimeisterschaften anno 1905 bis zum Jahr 1933 für die Kombination aus Langlauf und Sprunglauf vergeben. Meistertitel in den einzelnen Disziplinen gab es während dieser Zeit nicht, allerdings gab es bis 1908 neben der «Internationalen Skimeisterschaft», für die der Titel des Schweizer Skimeisters vergeben wurde und die von jedem Amateur, auch ausländischen Teilnehmern, gewonnen werden konnte, noch eine «Schweizerische Skimeisterschaft des SSV», ausschliesslich für Mitglieder eines dem Schweizerischen Skiverband angehördenden Clubs, sowie eine «Skimeisterschaft für Führer», die den aktiven Bergführern vorbehalten war. Ab 1909 gab es nur noch eine «Meisterschaft der Schweiz», bei der weiterhin ausländische Teilnehmer titelberechtigt waren. 1934 wurde der Titel des Schweizer Skimeisters erstmals in der Viererkombination aus Langlauf, Sprunglauf, Abfahrt und Slalom vergeben. Seit diesem Jahr gibt es bei den Schweizer Skimeisterschaften auch Meistertitel in den einzelnen Disziplinen, ab 1943 auch in Alpiner und Nordischer Kombination. Ab 1942 wurde auch ein Juniorenmeistertitel in der Viererkombination vergeben. Seit 1947 wird die Viererkombination der Herren nicht mehr ausgetragen und kein Titel des Schweizer Skimeisters mehr vergeben. Für die Junioren wurde diese Meisterschaft (mit Ausnahme des Jahres 1947) noch bis 1951 veranstaltet.

Bei den Damen gab es erstmals 1936 beim 30. Grossen Skirennen der Schweiz in Davos offizielle Meistertitel in Abfahrt und Slalom, nachdem diese Disziplinen für die Damen fünf Jahre zuvor erstmals im Rennprogramm der Schweizer Skimeisterschaften waren. Für die Kombination beider Disziplinen (=Alpine Kombination) wurde bis 1950 der Titel der Schweizer Skimeisterin vergeben.

Herren
(1905 bis 1933: Kombination Langlauf und Sprunglauf; 1934 bis 1946: Viererkombination Langlauf, Sprunglauf, Abfahrt und Slalom)

Damen
(Die Siegerin in der Alpinen Kombination aus Abfahrt und Slalom erhielt von 1936 bis 1950 den Titel der Schweizer Skimeisterin)

Junioren
(Viererkombination aus Langlauf, Sprunglauf, Abfahrt und Slalom)

Literatur
 Paul Simon: Die Schweizerischen Skirennen 1905–1939. In: Jahrbuch des Schweizerischen Skiverbandes, Band XXXV, 1939. S. 59–78.
 Max Senger: Wie die Schweiz zum Skiland wurde. M. S. Metz, Zürich 1941, S. 121–122, 188, 307–308.
 Berichte zu den Schweizer Skimeisterschaften in den Jahrbüchern des Schweizerischen Skiverbandes.

Einzelnachweise

Siehe auch
 Liste der Schweizer Meister im Alpinen Skisport
 Liste der Schweizer Meister im Skispringen
 Liste der Schweizer Meister im Skilanglauf
 Liste der Schweizer Meister in der Nordischen Kombination

!
Skimeister
Ski Alpin (Schweiz)
Schweizer Skimeister

Liste der Schweizer Skimeister


La bélite est un minéral industriel important dans la fabrication du ciment Portland. Son constituant principal est le silicate dicalcique, de formule  (ou ,  en notation cimentière).

Étymologie
Le nom a été donné par Törnebohm en 1897 à un cristal identifié lors d'une étude microscopique du ciment Portland. Belite est un nom d'usage courant dans l'industrie du ciment, mais n'est pas un nom minéral reconnu. Il se produit naturellement comme le minéral larnite, le nom étant dérivé de Larne, en Irlande du Nord, la ville la plus proche de Scawt Hill où il a été découvert.

Composition et structure

La bélite est présente dans le ciment Portland qui diffère par sa composition du silicate dicalcique pur. C'est une solution solide qui contient des quantités mineures d'autres oxydes en plus de CaO et SiO2. La composition type de la bélite est :

Sur cette base, la formule peut être exprimée sous la forme Ca1,94 Mg0,02 Na0,01 K0,03 Fe0,02 Al0,07 Si0,90 P0,01 O3,93 . En pratique, la composition varie avec la composition massique du clinker, sous réserve de certaines limites. La substitution des ions calcium ou des ions orthosilicate nécessite que les charges électriques soient maintenues en équilibre. Par exemple, un nombre limité d'ions orthosilicate (SiO44−) peuvent être remplacés par des ions sulfate (SO42−), à condition que pour chaque ion sulfate, deux ions aluminate (AlO45−) soient également substitués.

Polymorphes
Le silicate dicalcique est stable et se prépare facilement à partir de CaO réactif et de SiO2 à 300 °C. La forme basse température est la γ-bélite, ou chaux olivine. Cette forme ne s'hydrate pas et est évitée dans la fabrication du ciment.

Lorsque la température augmente, elle passe par plusieurs états polymorphes :

Hydratation
La bélite est le minéral du ciment Portland responsable du développement de la résistance "tardive". L'autre silicate, l'alite, apporte une résistance "précoce", en raison de sa plus grande réactivité. La bélite réagit avec l'eau (grossièrement) pour former des hydrates de silicate de calcium (CSH) et de la portlandite (Ca(OH)2) selon la réaction :

\underbrace{{2 Ca2SiO4}}_{{Belite}} + \underbrace{{4 H2O}}_{{Water}} -> 3 CaO . 2 SiO2. 3 H2O + \underbrace{{Ca(OH)2}}_{{Portlandite}}\underbrace{{2 Ca2SiO4}}_{{Belite}} + \underbrace{{4 H2O}}_{{Water}} -> 3 CaO . 2 SiO2. 3 H2O + \underbrace{{Ca(OH)2}}_{{Portlandite}}\underbrace{{2 Ca2SiO4}}_{{Belite}} + \underbrace{{4 H2O}}_{{Water}} -> 3 CaO . 2 SiO2. 3 H2O + \underbrace{{Ca(OH)2}}_{{Portlandite}}

Cette réaction rapide est "chimiquement analogue" à la lente hydratation naturelle de la forstérite (l'extrémité magnésienne de l'olivine ) conduisant à la formation de serpentine et de brucite dans la nature, bien que la cinétique d'hydratation de la bélite artificielle mal cristallisée soit beaucoup plus rapide que l'altération lente de la forstérite bien cristallisée dans des conditions naturelles.

\underbrace{{2 Mg2SiO4}}_{{Forsterite}}
 +\underbrace{{3H2O}}_{{Water}} -> \underbrace{{Mg3Si2O5(OH)4}}_{{serpentine }} + \underbrace{{Mg(OH)2}}_{{brucite }}

La phase hydratée, [3 CaO · 2 SiO2 · 3 H2O], est appelée phase « C-S-H ». Elle se développe sous la forme d'une masse d'aiguilles imbriquées qui fournissent la résistance du système de ciment hydraté. Une réactivité relativement élevée de la bélite est souhaitable dans la fabrication du ciment Portland, et la formation de la forme γ non réactive doit être rigoureusement évitée. Ceci est réalisé par un refroidissement rapide, formant des cristaux petits, déformés et très défectueux. Les défauts fournissent des sites pour l'attaque initiale de l'eau. L'absence de refroidissement rapide du clinker conduit à l'inversion de la bélite en forme γ. La forme γ a une structure et une densité sensiblement différentes, de sorte que l'inversion conduit à la dégradation du cristal et de sa matrice environnante, et peut également déclencher la décomposition de l'alite voisine. Ceci s'observe macroscopiquement sous forme de « saupoudrage » : les nodules de clinker tombent en une fine poussière.

Détection

Les minéraux du clinker de ciment Portland peuvent être observés et quantifiés par microscopie pétrographique. Les nodules de clinker sont coupés et broyés en une surface plane et polie. Les minéraux exposés sont rendus visibles et identifiables en gravant la surface. La surface peut alors être observée en lumière réfléchie par microscopie optique. Dans l'exemple, un nodule de clinker a été poli et attaqué avec de la vapeur de fluorure d'hydrogène. L'alite apparaît en marron, la bélite en bleu et les phases fondues en blanc. La microscopie électronique peut également être utilisée, auquel cas les minéraux peuvent être identifiés par analyse à la microsonde . La méthode privilégiée pour quantifier avec précision les minéraux est la diffraction des rayons X sur le clinker en poudre, en utilisant la technique d'analyse de Rietveld. La bélite est beaucoup plus difficile à broyer dans un broyeur à ciment que l'alite.

Notes et références

Voir aussi
 Réaction d'hydratation de la forstérite (olivine) en serpentinisation
 CCN, notation chimiste du ciment

Ciment
Silicate de calcium

Bélite


Birlikte işlerlik ürünlerin, sistemlerin veya iş süreçlerinin beraber çalışarak ortak bir işlemi yerine getirmelerine denir. Bu terim, teknik alanlarda kullanılabileceği gibi; sosyal, politik ve organizasyonel alanlar da dikkate alınarak daha geniş bir kapsamda tanımlanabilir ve kullanılabilir.

Yazılım alanında birlikte işlerlik, farklı programların belirli iş süreçlerini kullanarak bilgi alışverişinde bulunabilmesi, aynı dosyaları okuyup yazabilmesi ve aynı protokolleri kullanabilmesidir. Bir üründe birlikte çalışabilirliğin bulunmaması bir tasarım yetersizliği olarak görülebilir.

Bilgisayar terimleri

Birlikte işlerlik


Karakaya, Diyarbakır ilinin Çüngüş ilçesine köyüdür.

Coğrafya

Diyarbakır il merkezine 150 km, Çüngüş ilçesine 19 km uzaklıktadır.

Nüfus

Dış bağlantılar
 Yerelnet

Resmi sitesi
http://www.karakayakoy.com/index-old.htm

Çüngüş'ün mahalleleri

Karakaya, Çüngüş


is a town located on Tokunoshima, in Ōshima District, Kagoshima Prefecture, Japan.

As of June 2013, the town has an estimated population of 6,594 and a population density of 105 persons per km². The total area is 62.70 km². Isen is known for its abundant nature, long-lived residents, and Tōgyū (bullfighting).

Geography
Isen occupies the southern tip of the island of Tokunoshima, with the East China Sea to the west and Pacific Ocean to the east.

Climate
The climate is classified as humid subtropical (Köppen climate classification Cfa) with very warm summers and mild winters (average temperature ). Precipitation is high throughout the year, but is highest in the months of May, June and September. Because of its climate, tropical and sub-tropical fruits are in abundance.

Surrounding municipalities
Tokunoshima
Amagi

History
The early history of Isen is difficult to trace, as there was no formal writing system. Archaeological sites have revealed historic ruins (pottery and tools) dating back 30,000 years. The now famous "Kamuiyaki" historic ruins were discovered in 1983 and declared a national historic landmark in 2006. The findings suggest that the Sue ware pottery that spread around the Ryukyu Islands and up into the Kyushu mainland were largely made in Tokunoshima.

On April 1, 1908, Shimajiri Village was founded; it was renamed Isen on June 29, 1921. As with all of Tokunoshima, the village came under the administration of the United States from 1 July 1946 to 25 December 1953.  On 1 January 1962, Isen was upgraded to town status.

Economy
While mountainous in the north, the majority of land is relatively flat and arable, making Isen a prime location for agriculture. Isen's main agricultural products include sugar cane, potatoes, pumpkins, horticulture, and fruit trees.

Education
Isen has eight elementary and three junior high schools.

Local attractions
Isen has numerous sightseeing locations, including the Kamyuiki Ruins, Cape Inutabu, Yamamoto War Memorial, Seta-umi Beach, Kinenbama Beach, and a historical museum showcasing many of the archaeological discoveries found in Isen.

Among historical sites is Shigechiyo Izumi's (泉重千代) grave site. Shigechiyo was Isen's oldest resident, being born on June 29, 1865, and dying February 21, 1986, making him 120 years old at the time of his death. He was inducted into the Guinness Book of World Records for being the oldest living person alive; however subsequent research has brought into question his birth date. He is now widely considered to have lived until he was 105 years old, putting his real birthday as June 29, 1880.

Isen is also famous for Tōgyū (bullfighting). Different from western bullfighting, in Tōgyū two bulls fight each other while people cheer them on. There are four main tournaments held every year: January (New Year Tournament), May (Golden Week Tournament), August, and October (All Tokunoshima Championship).

Noted people from Isen
Shigechiyo Izumi – Japanese centenarian

Notes

External links

Isen official website

Towns in Kagoshima Prefecture
Populated coastal places in Japan

Isen, Kagoshima


Sarıkamış öncesi 3. Kolordunun yükünü azaltmak için Rusların kuvvetlerini ana saldırı yönünden uzaklaştırmak üzere 3. Piyade Alayının bulunduğu Trakya mevkinden Çoruh'a taşınmasına ve başına Alman binbaşı Colonel Strange'in getirilmesine karar verilmiştir. Görevin amacı Rusları Batum kıyıları üzerinde tutmak olarak belirlenmiştir. 3. Piyade Alayı İstanbul'u Yavuz Zırhlısı'yla terk edip Rize'ye gelmiş.Rize'de 2.000 kadar gönüllü saflarına katıldıkdan sonra Ardahan'a 27 Aralık'ta ulaşmıştır. Bu birlik birkaç gün sonra Rus piyadeleri ve bir süvari birliği tarafından püskürtülmüştür. Birlik bu bölgede iki ay Ruslarla çarpıştıktan sonra 1 Mart 1915'te Çoruh'a geri çekilmiştir. Böylece Ardahan Harekâtı Osmanlı İmparatorluğu için başarısızlıkla sonuçlanmıştır.

I. Dünya Savaşı Kafkasya Cephesi'nde muharebeler
Ardahan tarihi
1914'te Ermenistan
1915'te Ermenistan

Ardahan Muharebesi


Se denominan montes bocineros (en euskera Deiadar-mendiak) a cinco cumbres de Vizcaya, en el País Vasco, España, desde las cuales se convocaba a Juntas Generales del Señorío de Vizcaya mediante señales sonoras y luminosas.

Los montes
Estos montes, repartidos estratégicamente por el territorio, son:

 Coliza, de 879 metros de altitud en la comarca de Las Encartaciones.

 Ganekogorta ,de 998 metros de altitud sobre Bilbao.

 Gorbea, de 1.481 metros de altitud sobre la comarca de Arratia-Nervión en el límite con Álava.

 Oiz, de 1.026 metros de altitud sobre el Duranguesado, Lea Artibai y Urdaibai.

 Sollube, de 686 metros de altitud sobre Bermeo, Urdaibai y el Valle de Asúa.

Desde estas cimas, visibles desde todo el territorio, se realizaban señales sonoras con bocinas, hechas de cuernos y otros materiales, y luminosas con grandes hogueras, que se mantenían hasta una vez que había amanecido, convocando a los apoderados de las Juntas Generales de Vizcaya. Esta forma de convocatoria se realizaba desde la Edad Media.

Las Juntas del Señorío
El Señorío de Vizcaya estaba formado por tres territorios básicos, los cuales se fueron incorporando en el transcurso del tiempo. Todos ellos gozaban de sus instituciones y sus Juntas. Las antiguas Juntas las formaban:

 La Tierra Llana, representada por las 72 anteiglesias agrupadas en seis merindades con voto individual por cada anteiglesia.
 Las Encartaciones, con gobierno en la Junta de Avellaneda y con fuero propio, eran representadas por un síndico elegido por la Junta de Avellaneda hasta 1804.
 Merindad de Durango, con sus Juntas que se reunían en la Campa Foral de Guerediaga, frente a la ermita de San Salvador y San Clemente de Abadiano, con Fuero propio hasta 1876.
 Las 14 villas: Valmaseda, Bermeo, Bilbao, Durango, Ermua, Guernica, Lanestosa, Lequeitio, Marquina, Ondárroa, Ochandiano, Portugalete, Plencia, Munguía, Villaro, Rigoitia, Larrabezúa, Guerricaiz, Miravalles y Elorrio.
 La ciudad de Orduña.

La Tierra Llana, que obedecía (y obedece) al Derecho Civil Foral y era la parte rural del territorio descendiente directo de la organización feudal, y las villas y ciudades. La Tierra Llana estaba formada por las anteiglesias que se agrupaban en merindades, mientras que las villas y ciudades (en Vizcaya solamente hay una población que tiene el título de ciudad, Orduña) atendían a su fuero propio, al derecho común, que le había sido otorgado por el rey.

Eran competencia de las Juntas Generales las siguientes:
 Elaboración de ordenanzas y reglamentos.
 Tomar juramento al Señor de Vizcaya y salvaguardar la integridad foral a través de los mecanismos dispuestos por el Pase Foral.
 Elección de diferentes funcionarios y representantes, diputados, regidores, síndicos...
 Ordenar la actividad económica.
 Consentir la prestación del servicio militar.

Día de los Montes Bocineros
En el año 2004 las Juntas Generales de Vizcaya institucionalizaron el "Día de los Montes Bocineros" coincidiendo con el vigésimo quinto aniversario de su restitución. La intención inicial era rememorar la costumbre y el uso de convocar a Juntas mediante el toque simultáneo de bocinas en los cinco montes a la vez. La fecha elegida fue el 8 de mayo. La intención era recordar y hacer partícipe a la ciudadanía de la práctica histórica y del propio hecho histórico del Señorío de Vizcaya.

La celebración consiste en subir cada año las autoridades a uno de estos montes; se realiza también una marcha popular convocando a los ciudadanos y a sus familias.

Referencias
 https://web.archive.org/web/20190604164520/https://www.deia.eus/2019/06/03/bizkaia/el-tanido-del-cuerno-atruena-en-el-ganeko

Enlaces externos
 Los montes bocineros de Bizkaia

Historia de Vizcaya
Señorío de Vizcaya
Sierras del País Vasco
Montañas de Vizcaya

Montes bocineros


Flying Microtonal Banana est le neuvième album studio du groupe de rock psychédélique australien King Gizzard & the Lizard Wizard. Il a pour sous-titre , cet album est le premier du groupe utilisant les micro-intervalles. Il sort le 24 février 2017 sur Flightless Records en Australie, ATO Records aux États-Unis, et Heavenly Recordings au Royaume-Uni. C'est le premier des cinq albums sortis par le groupe en 2017.

L'album vaut au groupe une nomination pour le meilleur groupe aux ARIA Music Awards de 2017, perdant face à Gang of Youths pour .  atteint la deuxième place du classement ARIA, leur premier top 10, et c'est également le premier album du groupe à figurer dans le Billboard 200, atteignant la  place.

Musique
Sous-titré , l'album est enregistré en accordage en quart de ton, où une octave est divisée en 24 quarts de ton (logarithmiquement) à distance égale. Il est conçu à l'origine pour être joué sur un bağlama, les membres du groupe ont donc utilisé des instruments spécifiquement modifiés pour l'accordage microtonal, ainsi que d'autres instruments du Moyen-Orient comme la zurna. Le nom  vient de la guitare jaune customisée de Stu Mackenzie, équipée de frettes microtonales supplémentaires.

L'album est décrit comme du rock psychédélique, de l'acid rock  et du rock expérimental avec des éléments de krautrock et de musique turque.

Accueil critique

À sa sortie,  reçoit des critiques positives de la part des critiques musicaux. Sur Metacritic, l'album détient une note de 72 sur 100, basée sur 15 critiques, indiquant .

Tim Sendra d'AllMusic écrit : , décrivant les mélodies comme  par rapport aux albums précédents. Tout en le comparant défavorablement à son prédécesseur, Stuart Bremen, collaborateur de Pitchfork, a tout de même fait l'éloge de l'album, écrivant que .

Classements

Distinctions

Liste des pistes
Sur les versions vinyles, les pistes ont un ordre différent. Les pistes 1 à 3 sont sur la face A et les pistes 4 à 9 sur la face B.

Crédits
Crédits pour Flying Microtonal Banana issus des notes de livret

Musiciens
 Michael Cavanagh - batterie , bongos , percussions
 Cook Craig - guitare microtonale , guitare basse microtonale
 Ambrose Kenny-Smith – harmonica microtonal , chant , piano , synthétiseur
 Stu Mackenzie – guitare microtonale , guitare basse microtonale , zurna , chant , percussions
 Eric Moore – batterie , bongos
 Lucas Skinner - guitare basse microtonale
 Joey Walker - guitare microtonale , guitare basse microtonale , chant

Production
L'équipe de production de l'album est composée des personnes suivantes :
 Stu Mackenzie – enregistrement
 Jarvis Taveniere – mixage
 Joe Carra – master
 Jason Galea – illustrations et mise en page

Références

Liens externes

Album musical sorti en 2017

Flying Microtonal Banana


The Surfaris es un grupo de rock estadounidense formado en Glendora, California, en 1962. Son reconocidos por dos canciones de las listas de éxitos de Los Ángeles, California y que se convirtieron en éxitos de nivel nacional en mayo de 1963: "Surfer Joe" en la cara A y "Wipe Out" en la cara B de su disco de 45 RPM.

Carrera

Los miembros originales de la banda fueron Ron Wilson (batería), Jim Fuller (primera guitarra), Bob Berryhill (guitarra rítmica) y Pat Connolly (bajo). El saxofonista Jim Pash se unió después de "Wipe Out/Surfer Joe", grabando sus sesiones en Pal Studios. Forsi Ken, sustituyó en el bajo a Pat Connolly posteriormente.

Wilson toca un potente solo de batería en "Wipe Out", consiguiendo que sea una de las canciones instrumentales más recordadas de la época. La canción también es recordada sobre todo por su presentación, ya que comienza con un peculiar crujido que imita a una tabla de surf rompiéndose, seguido de una risa maníaca y las dos únicas palabras de la canción "wipe out (anular, destruir)" añadidas por su mánager Dale Smallin. Wipe Out fue escrita en el estudio de los 4 miembros originales de la banda y originalmente iba a ser titulada "Switchblade (navaja de muelles). Se vendieron más de un millón de copias y fue galardonado con un disco de oro.

El grupo lanzó una serie de grabaciones, con otros dos singles: "Surfer Joe" y "Point Panic", teniendo buena acogida en las listas de éxitos.

The Surfaris se disolvieron en 1966, pero se han reunido periódicamente y hasta la fecha siguen en activo, tocando y regrabando versiones de sus antiguas canciones.

Discografía

Álbumes
 1963: Wipe Out (Dot 3535)
 1963: The Surfaris Play (Decca 4470)
 1964: Hit City '64 (Decca 4487)
 1964: Fun City USA (Decca 4560)
 1965: Hit City '65 (Decca 4614)
 1965: It Ain't Me, Babe (Decca 4683)
 1994: Surf Party - The Best of The Surfaris Live (GNP Crescendo 2239)
 2005: Wipe Out

Sencillos
 1963 "Wipe Out" / "Surfer Joe" (Dot 16479)
 1963 "Point Panic" / "Waikiki Run"
 1963 "I'm a Hog for You"
 1964 "Murphy the Surfie" / "Go Go Go for Louie's Place"

Compilaciones
 1973: Yesterday's Pop Scene
 1973: Wipe Out, Surfer Joe & Other Great Hits
 1976: Surfers Rule
 1977: Gone with the Wave
 1982: The History of Surf Music
 1989: Surfin Hits
 1994: Wipe Out! The Best Of
 1994: Surf Party!: The Best of the Surfaris Live!
 1995: Pulp Rock Instros - Vol. 1
 1995: Surfaris Stomp
 1996: Cowabunga! Surf-Box
 1996: Teen Beat - Vol. 3
 1996: Let's Go Trippin'
 1996: Surf Crazy
 1997: Guitar Heroes
 1997: Hot Rod - Big Boss Instrumentals
 1997: Kahuna Classics
 1998: Hard Rock Records - Surf
 1998: Surf! Sand! Sun!
 1998: Wipe Out
 1999: Surfers Rule / Gone with the Wave
 2000: Water Logged
 2000: Teen Beat - Vol. 5
 2003: Lost Legends Of Surf Guitar - Vol. 02
 2003: Basic Tracks w/ Jim Fuller
 2005: Wipe Out, Surfer Joe and Other Great Hits
 2006: Street Party w/ Jim Fuller

Referencias
 Murrells, Joseph (1978). The Book of Golden Discs (2nd ed.). London: Barrie and Jenkins Ltd. p. 167. ISBN 0-214-20512-6.
 Página oficial de The Surfaris Consultado el 31-1-12

Grupos de rock de California
Grupos de surf rock
Grupos de música de los años 1960
Grupos de música de los años 1970
Grupos de música de los años 1980
Grupos de música de los años 1990
Grupos de música de los años 2000
Grupos de música de los años 2010
Grupos de música formados en 1962

The Surfaris


Büyüktekke, Zonguldak ilinin Alaplı ilçesine bağlı bir köydür.

Tarihçe
Köy, 1928 yılından beri aynı adı taşımaktadır.

Coğrafya
Köy, Zonguldak il merkezine 65 km, Alaplı ilçe merkezine 5 km uzaklıktadır.

Nüfus

Kaynakça

Dış bağlantılar

Alaplı belde ve köyleri

Büyüktekke, Alaplı


දූපත් රටවල් ලෙස හැඳින්වෙන්නේ තම ප්‍රධාන භූමි ප්‍රදේශය දූපත් එකක් හෝ සමූහයකින් හෝ දූපත් කොටස් වලින් සමන්විත වන්නා වූ රටවල්. ක්‍රි.ව. 2011 වර්ෂය වන විට එක්සත් ජාතීන්ගේ සංවිධානයේ සාමාජික රාජ්‍යය 193න්, 46 ක සංඛ්‍යාවක් (දළවශයෙන් 24%) දූපත් රාජ්‍යයන් විය.

ආශ්‍රිත

Archipelagic state
Effects of climate change on island nations
Landlocked country
List of Caribbean island countries by population
List of island countries
භූමි ප්‍රමාණය අනුව දූපත් ලැයිස්තුව
රට අනුව දූපත් ලැයිස්තුව
List of sovereign states and dependent territories in Oceania
List of sovereign states and dependent territories in the Indian Ocean
Microstate
City state
Pacific Islands Forum
Small Island Developing States
Thalassocracy

මූලාශ්‍ර

භාහිර සබැඳි
Island countris – NationsOnline.org

Island nation
Types of countries

දූපත් රටවල්


الغيب في العقيدة الاٍسلامية هو العلم الذي يختص به الله سبحانه وتعالى دون غيره من خلقه وقد يظهر بعض من يصطفي من الرسل والأنبياء على بعض الغيبيات، والغيب لايعلمه الا الله سبحانه وتعالى وادعاء الغيب يعتبر كفرا أكبر مخرجا من الملة ومن امثلة ادعاء الغيب هو برج الحظ أو ماشابه في الجرائد والمجلات.

والغيب هو كل حقيقة لا يدرك طبيعتها العقل أو لا يتعامل معها الإنسان بالحواس حيث لا سبيل إلى معاينتها أو الوقوف عليها، لكنه يدركها كحقيقة ، كالملائكة والجن والشياطين والجنة والنار أو كالمستقبل وما سيقع فيه.
والروح التي تحيي هذا الجسد عند الإنسان والحيوان هي من علم الغيب أيضاً، ندركها كحقيقة لكن لا سبيل إلى معاينتها أو إدراك طبيعتها.

والغيب هو ما خلف المنظور ( ما وراء الطبيعة ) .

ولترسيخ هذا المعنى في نفوس الناس أبطل الإسلام كل طريق يدعي البشر أنهم يعلمون الغيب من خلاله، فأبطل الطيرة، وهي: محاولة استكشاف الغيب عن طريق تهييج الطير من أعشاشها، فإن ذهب يميناً ظن المتشائم أن في سفره خيراً فيمضي فيه، وإن ذهب يساراً ظن أن في سفره شراً فيرجع عنه، فقال - عليه الصلاة والسلام - : ( الطيرة شرك، الطيرة شرك ) رواه أحمد .

وأبطل الإسلام الكهانة وهي: ادعاء علم الغيب عن طريق الشياطين، فقال - عليه الصلاة والسلام -: ( من أتى كاهناً أو عرّافاًً فصدَّقه بما يقول فقد كفر بما أنزل على محمد ) رواه أحمد .

وأبطل الإسلام التنجيم، وهو: الاستدلال بأحوال الكواكب في اجتماعها وافتراقها على أحوال الخلق والأرض من جفاف وخصب ومطر وموت وحياة، فقال - عليه الصلاة والسلام - : ( من اقتبس علما من النجوم اقتبس شعبة من السحر زاد ما زاد ) رواه أبو داود وابن ماجة .

ومن التنجيم الباطل ما يسمى بعلم «الأبراج» والاستدلال به على مستقبل الإنسان وما سيحصل له من خير أو شر أو نجاح أو فشل، وقد ولع الناس بهذا اللون من التنجيم وتسامحوا في تعاطيه، رغبة في إشباع تطلعهم لمعرفة المستقبل .

وأبطل الإسلام ما يعرف بالطَرْقَ، وهو: ادعاء علم الغيب عن طريق رسم خطوط على الأرض، وبين أنها من جنس السحر والكهانة، فقال - عليه الصلاة والسلام - : ( العيافة والطيرة والطرق من الجبت ) رواه أبو داود .

ونص العلماء على حرمة ما يفعله الجهلة من قراءة الكف والفنجان، لمعرفة الغيب واستكشاف المستقبل، وبينوا أن ذلك كله من طرق الشيطان لإضلال بني آدم ، ومن أبواب الخرافة التي يجب على الإنسان أن ينزه عقله عن النزول إلى دركاتها، وأن يعلم أن الغيب باب مقفول لا يمكن أن يفتح إلا بإذن الله، كوحي من عنده، أو رؤيا صادقة، أو كرامة يمن الله بها على عبد من عباده، يكشف له بها حجب الغيب، وكل ذلك من عنده سبحانه لا تدخل للعبد في حصول شيء منه ، وما عداه مما يخترعه البشر فهو باطل وضلال .

وبهذا يظهر بوضوح تام كيف حمى الإسلام العقل وحرره من الخرافات التي سيطرت عليه طويلاً فجعلته أسير تطلعه لغيب لا يعلمه إلا الله.

مصطلحات قرآنية
معتقدات إسلامية

علم الغيب


Insineratehymn je peti studijski album američkog death metal-sastava Deicide. Album je 27. lipnja 2000. godine objavila diskografska kuća Roadrunner Records.

Popis pjesama

 "Bible Basher" - 2:23
 "Forever Hate You" - 3:08
 "Standing in the Flames" - 3:33
 "Remnant of a Hopeless Path" - 2:59
 "The Gift That Keeps On Giving" - 3:02
 "Halls of Warship" - 3:03
 "Suffer Again" - 2:19
 "Worst Enemy" - 2:48
 "Apocalyptic Fear" - 3:21
 "Refusal of Penance" - 4:34

Osoblje

 Glen Benton – vokali, bas-gitara
 Eric Hoffman – gitara
 Brian Hoffman – gitara
 Steve Asheim – bubnjevi

Izvori

Albumi sastava Deicide
Albumi iz 2000.

Insineratehymn


Martin Tjøtta, né le , est un coureur cycliste norvégien.

Biographie

Palmarès

Par année
 2018
  du championnat de Norvège du contre-la-montre par équipes juniors
 2022
 Classement général du Tour de Saône-et-Loire
 Arden Challenge :
 Classement général

 Sundvolden GP
  de la Vuelta Hispania
 2023
 Tour du Charolais
 Circuit boussaquin
 Tour du Gévaudan Occitanie
  du Tour de la Vallée d'Aoste
  du Grand Prix de Puyloubier
  du Tour du Pays de Montbéliard
  de Le Poinçonnet-Panazol
  du Grand Prix de Vougy
  du Châtillon-Dijon

Classements mondiaux

Notes et références

Liens externes

Coureur cycliste norvégien
Naissance en mars 2001
Étudiant de l'université d'Oslo

Martin Tjøtta


The Panama–Pacific International Exposition was a world's fair held in San Francisco, California, United States, from February 20 to December 4, 1915. Its stated purpose was to celebrate the completion of the Panama Canal, but it was widely seen in the city as an opportunity to showcase its recovery from the 1906 earthquake. The fair was constructed on a   site along the northern shore, between the Presidio and Fort Mason, now known as the Marina District.

Exhibits and themes

Among the exhibits at the Exposition was the C. P. Huntington, the first steam locomotive purchased by Southern Pacific Railroad; the locomotive is now on static display at the California State Railroad Museum in Sacramento. A telephone line was also established to New York City so people across the continent could hear the Pacific Ocean. The Liberty Bell traveled by train on a nationwide tour from Philadelphia, Pennsylvania, to attend the exposition.

The 1915 American Grand Prize and Vanderbilt Cup auto races were held February 27 and March 6 on a  circuit set up around the Exposition grounds. The Smithsonian Institution also had an exhibition at the Exposition.

Indigenous representation
Native American culture was a topic of interest during the nine-month-long exposition with multiple attractions dedicated to Native American life. The most popular attraction at the exposition that depicted Native American life is James Earle Fraser's statue The End of the Trail. Fraser's statue, which showed a Native American man slumped over on a horse, reflected the American idea at the time, that the Native American race was doomed for extinction. The exposition not only celebrated the completion of the Panama Canal, but also advances made by the American people, part of which were the conquests of indigenous people by Americans as well as Europeans. These celebrations over the Native community, can be seen through artworks such as The End of the Trail  and The Pioneer or tributes to Francisco Pizarro and Hernán Cortés. In comparison to previous world fairs, the Panama–Pacific International Exposition showcased Native Americans more as nobles rather than savage people, but who were still inevitably destined to become extinct. These ideas were presented in plays, known as pageants, where Native Americans played small roles such as in "Catalonian dragoons, muleteers, and a tribe of Carmel Indians." While the demise of Native American people was a rhetoric created by fair organizers, scholars have argued that in reality, the Native persona was very present and did not reflect the idea that it was a disappearing civilization. Native Americans were in fact part of the fair, but also attended as visitors, performers, and workers. More recently, scholars have focused on Native representation in San Francisco's 1915 rival world fair, San Diego's 1915 Panama-California Exposition, that showed Native American life in a more anthropological light versus this American ideal.

Women and gender roles
During the Panama–Pacific International Exposition women were in charge of their own board, known as the Woman's Board of San Francisco's Panama–Pacific International Exposition. The board, also called the Board of Lady Managers, allowed women to take part in organizing different aspects of the fair and more importantly gave them the opportunity to have a campaigning platform for discussing women's rights and social issues. It was commonly argued that the fair celebrated male dominance over women by not providing a building for women. Also, men and women were depicted differently in artworks advertising the exposition. White women, specifically, were presented as caretakers while men as strong and powerful saviors, such as in the poster "13th Labor of Hercules."

At the time, there was an idea of a "New Woman" who was more progressive and advanced intellectually and sexually. This idea of a "New Woman" related to the overarching themes of the fair: modernity, and progress. In efforts to promote the fair, organizers used the "New Woman" as an advertising tactic and proof that San Francisco was an evolving and safe environment for tourists. During the fair, women could be seen posing with agriculture from around the state in celebration of California's produce. All the women were young, beautiful white women who were often the highlight of newspaper articles and events. This use of women presented the idea that they were useful only for their beauty but failed to appreciate their intellectual capacity and physical abilities.

The International Conference of Women Workers to Promote Permanent Peace was held on July 4–7 in the "Peace Palace", a transformation of the Civic Auditorium (now the Bill Graham Civic Auditorium). May Wright Sewall, by appointment of Charles C. Moore, chair of the exposition, organized the peace conference. It was attended by women pacificists from all over the world, especially the neutral countries of World War I.

One of the most memorable achievements of the Women's Board was the installation of statues that celebrated women, specifically mothers, known as the Pioneer Mother.

The National Society Colonial Dames XVII Century was established by six women while attending the exposition.

Architecture

The centerpiece was the Tower of Jewels, which rose to  and was covered with over 100,000 cut glass Novagems. The  colored "gems" sparkled in sunlight throughout the day and were illuminated by over 50 powerful electrical searchlights at night.

South of the Tower, the Fountain of Energy flowed at the center of the South Gardens, flanked by the Palace of Horticulture on the west and the Festival Hall to the east. The arch of the Tower served as the gateway to the Court of the Universe, leading to the Court of the Four Seasons to the west and the Court of Abundance to the east. These courts formed the primary exhibit area for the fair, which included the Palaces of Food Products, Agriculture, Liberal Arts, and Education and Social Economy and  surrounding the Court of the Four Seasons; and the Palaces of Transportation, Mines and Metallurgy, Varied Industries, and Manufacturers surrounding the Court of Abundance.

The central court group was bookended on the east by the Palace of Machinery, the largest of all the halls built for the Exhibition, and on the west by the Palace of Fine Arts, which survives onsite.

Further west into the Presidio, down The Avenue of the Nations, were national and states' buildings, displaying customs and products unique to the area represented. The far western end of the Fair, past the states' pavilions, was reserved for live stock exhibits. At the opposite end of the Fair, near Fort Mason was "The Zone", an avenue of popular amusements and concessions stands.

Construction
Constructed from temporary materials (primarily staff, a combination of plaster and burlap fiber), almost all the fair's various buildings and attractions were pulled down in late 1915. Intended to fall into pieces at the close of the fair (reportedly because the architect believed every great city needed ruins), the only presently-surviving building on the Exposition grounds, Bernard Maybeck's Palace of Fine Arts, remained in place, slowly falling into disrepair. The hall, used to display painting and sculpture during the Fair, was repurposed as a garage for jeeps during World War II. The Palace, including the colonnade with its signature weeping women and rotunda dome, was completely reconstructed in the 1960s and a seismic retrofit was completed in early 2009.  The Exploratorium, an interactive science museum, occupied the northern 2/3 of the Palace from 1969 to 2013; the city-owned Palace of Fine Arts Theater, has occupied the southern 1/3 since 1970.

Several other buildings were saved immediately following the Exposition, including the California, Missouri, and Philippine buildings, which were built on government land.

Other surviving buildings
Buildings from the Exposition that still stand today (other than the Palace of Fine Arts) include what is now called the Bill Graham Civic Auditorium at Civic Center Plaza and the Japanese Tea house, which was barged down the Bay to Belmont, California, and operated successively as a private residence, speakeasy, and restaurant.

Also surviving are the one-third scale steam locomotives of the Overfair Railroad that operated at the Exposition.  They had been maintained in working order at the  Swanton Pacific Railroad Society located on Cal Poly San Luis Obispo's Swanton Ranch just north of Santa Cruz. But a forest fire swept through the area in 2020, severely damaging the railroad, which has not run since then.

The Legion of Honor Museum, in Lincoln Park, was the gift of Alma de Bretteville Spreckels, wife of the sugar magnate and thoroughbred racehorse owner/breeder Adolph B. Spreckels. The building is a full-scale replica of the French Pavilion from the 1915 Panama Pacific International Exposition, which in turn was a  three-quarter-scale version of the Palais de la Légion d'Honneur also known as the Hôtel de Salm in Paris by George Applegarth and H. Guillaume. At the close of the exposition, the French government granted Spreckels permission to construct a permanent replica of the French Pavilion, but World War I delayed the groundbreaking until 1921.

The warehouse for the exposition was moved to Fort Hunter Liggett in South Monterey County and the structure, nicknamed the "Tin Barn", has served as the base fire department for the last 30 years. After its move, it initially served as a horse barn, and since then, it has served as a gym, PX and a movie theater for the base.

Commemorations and legacy

The US Post Office issued a set of four postage stamps to commemorate the exposition, with designs depicting a profile of Vasco Núñez de Balboa (1¢), the Pedro Miguel Locks of the Panama Canal (2¢), the Golden Gate (5¢), and the discovery of San Francisco Bay (10¢). The stamps were first put on sale in 1913, to promote the coming event, and perforated 12, and then reissued in 1914 and 1915, perforated 10. Their prices today range widely; the 2¢ of 1913 is available for under a dollar in used condition, while an unused 10¢ of the scarcer orange-yellow variety in 1915 can be worth up to a thousand United States dollars.

The United States Congress authorized the San Francisco Mint (also known as "The Granite Lady") to issue a series of five commemorative coins. Said coins were the 1915-S silver Panama-Pacific half dollar and four gold coins. The denominations of the gold coins were $1, $ (quarter eagle) and $50 (in two types: a round coin, and an unusual octagonal coin). The Panama-Pacific coins have the distinction of being the first commemorative coins to bear the motto "In God We Trust", and were also the first commemoratives to be struck at a branch mint.  The two lower denomination gold coins are scarce, while the two $50 ones are extremely rare.  The silver half dollar had a mintage of 27,134 and in modestly worn condition is available for several hundred dollars.

Numismatist Farran Zerbe supervised the creation of a series of commemorative medals, an award medal, a souvenir medal, and diplomas.

Centennial
In 2015, the California Historical Society, the Maybeck Foundation, and Innovation Hangar partnered with the City and County of San Francisco to commemorate the centennial of the transformative 1915 Panama Pacific International Exposition.

On June 20, 2015 a commemorative orchestra, chorus and band concert was held at the Palace of Fine Arts to celebrate the 100th anniversary of the fair.

A feature film, When the World Came to San Francisco, which tells the story of the fair, was made by writer and director R. Christian Anderson. It was part of the city's official centennial celebration sanctioned by the California Historical Society. The film had its world premiere at the de Young Fine Arts Museum in Golden Gate Park on October 30, 2015.

Gallery

See also
The Tower of Jewels
The Pioneer, a sculpture by Solon Borglum that debuted at the exposition
Mabel and Fatty Viewing the World's Fair at San Francisco
"Lines on "The Muse Finding the Head of Orpheus" by John E. D. Trask
Golden Gate International Exposition (1939-40 SF World's Fair)
List of world expositions
List of world's fairs

References

Further reading

 Laura A. Ackley, "San Francisco's Jewel City: The Panama-Pacific International Exposition of 1915." Berkeley, CA: Heyday, 2014.
 Lee Bruno, "Panorama: Tales from San Francisco's 1915 Pan-Pacific International Exposition." Petaluma, CA: Cameron+Company, 2014.
 Abigail M. Markwyn, "Empress San Francisco: The Pacific Rim, the Great West, and California at the Panama-Pacific International Exposition." Lincoln, NE: University of Nebraska Press, 2014.
 Sarah J. Moore, Empire on Display: San Francisco's Panama-Pacific International Exposition of 1915. Norman, OK: University of Oklahoma Press, 2013.

External links

Official website of the BIE
Historical photography of the Panama Pacific International Exposition
JB Monaco Panama Pacific International Exposition Photo Gallery
The Panama-Pacific International Exposition at San Francisco, 1915 (1915). From Internet Archive.
Panama-Pacific International Exposition, San Francisco, 1915 (1914) From Internet Archive
Catalogue de luxe of the Department of Fine Arts, Panama-Pacific International Exposition From Internet Archive
Panama-Pacific International Exposition AND mediatype:movies From Internet Archive.
The Panama Pacific International Exposition, from San Francisco Memories
Panama-Pacific International Exposition Map — 1915, from the Virtual Museum of the City of San Francisco
Virtual Tour of the Panama Pacific International Exposition from the History Center at the San Francisco Public Library
Panama-Pacific International Exposition photographic collections, via Calisphere
California Digital Library Guide to the Panama Pacific International Exposition Records at The Bancroft Library
Books about the Exposition at Project Gutenberg

History of the West Coast of the United States
1915 in California
1910s in San Francisco

Panama–Pacific International Exposition


«Amor» es una canción popular compuesta por Gabriel Ruíz Galindo. Formó parte de la banda sonora de la película Broadway Rhythm.

La letra en español fue editada por Gabriel Ruíz Galindo y Ricardo López Méndez, y en inglés por Sunny Skylar, lanzado como "More and more Amor". Dicha canción fue publicada en 1943.

Dos grabaciones conocidas en Estados Unidos fueron de Bing Crosby y Andy Russell. La primera por Crosby fue lanzada para Decca Records junto a la canción Long Ago (and Far Away) y llegó a ser elegida por Billboard magazine como canción posicionada en junio de 1944 con el puesto #4. La segunda de Russell fue lanzada por Capitol Records, posicionándose por 8 semanas en el puesto #5 Billboard magazine el 25 de mayo de 1944. En la década de 1940, el acordeonista John Serry Sr. grabó la canción con la Orquesta Alfredo Antonini con la cantante Victoria Cordova para Muzak.

En 1961, el cantante de soul estadounidense Ben E. King hizo una versión para el álbum Spanish Harlem. Con el lanzamiento de su sencillo, se posicionó en el puesto #18 on the Billboard Hot 100 y #10 en la lista de R&B.

Rod McKuen grabó un versión en disco en 1977.

Julio Iglesias grabó una versión en español titulada Amor, amor, amor incluida en su álbum Momentos (1982). Basadas en esta versión grabó nuevas versiones en italiano, portugués, francés e inglés para ser incluidas en sus álbumes cantados en estos idiomas.

Luis Miguel realizó una versión de la canción en español de Julio Iglesias para el álbum Mis romances (2001). Esta canción se ubicó en el #13 de los más escuchados en los Billboard Hot Latin Songs.

Referencias

Canciones de 1943
Sencillos de 1961
Canciones de 1982
Sencillos de 2001
Canciones de 2001
Canciones de Luis Miguel
Canciones de Julio Iglesias
Sencillos de Luis Miguel

Amor (canción)


Nateran (en hindi:  ) es una localidad de la India en el distrito de Vidisha, estado de Madhya Pradesh.

Geografía
Se encuentra a una altitud de 415  a 102 km de la capital estatal, Bhopal, en la zona horaria UTC +5:30.

Demografía
Según estimación 2010 contaba con una población de 4 784 habitantes.

Referencias

Enlaces externos

Localidades de Madhya Pradesh

Nateran


Yenipınar, Aksaray - Aksaray ili merkez ilçesine bağlı köy
 Yenipınar, Elmadağ - Ankara ili Elmadağ ilçesine bağlı mahalle
 Yenipınar, Beşiri - Batman ili Beşiri ilçesine bağlı köy
 Yenipınar, Dulkadiroğlu, Kahramanmaraş ili Dulkadiroğlu ilçesine bağlı mahalle
 Yenipınar, Türkoğlu - Kahramanmaraş ili Türkoğlu ilçesine bağlı mahalle
 Yenipınar, Hisarcık - Kütahya ili Hisarcık ilçesine bağlı köy
 Yenipınar, Darende - Malatya ili Darende ilçesine bağlı mahalle
 Yenipınar, Korgan - Ordu ili Korgan ilçesine bağlı mahalle

Yenipınar


The Music Lovers is a 1971 British drama film directed by Ken Russell and starring Richard Chamberlain and Glenda Jackson. The screenplay by Melvyn Bragg, based on Beloved Friend, a collection of personal correspondence edited by Catherine Drinker Bowen and Barbara von Meck, focuses on the life and career of 19th-century Russian composer Pyotr Ilyich Tchaikovsky. It was one of the director's biographical films about classical composers, which include Elgar (1962), Delius: Song of Summer (1968), Mahler (1974) and Lisztomania (1975), made from an often idiosyncratic standpoint.

Plot
Much of the film is without dialogue and the story is presented in flashbacks, nightmares, and fantasy sequences set to Tchaikovsky's music. As a child, the composer sees his mother die horribly, forcibly immersed in scalding water as a supposed cure for cholera, and is haunted by the scene throughout his musical career. Despite his difficulty in establishing his reputation, he attracts Madame Nadezhda von Meck as his patron. His marriage to the allegedly nymphomaniacal Antonina Miliukova is plagued by his homosexual urges and lustful desire for Count Anton Chiluvsky. The dynamics of his life lead to deteriorating mental health and the loss of von Meck's patronage, and he dies of cholera after deliberately drinking contaminated water while his wife ends up in an insane asylum.

Cast
 Richard Chamberlain as Pyotr Ilyich Tchaikovsky
 Glenda Jackson as Nina (Antonina Milyukova)
 Max Adrian as Nikolai Rubinstein
 Christopher Gable as Count Anton Chiluvsky
 Kenneth Colley as Modeste Tchaikovsky
 Izabella Telezynska as Madame Nadezhda von Meck
 Maureen Pryor as Nina's Mother
 Sabina Maydelle as Sasha Tchaikovsky
 Andrew Faulds as Davidov
 Bruce Robinson as Alexei Sofronov
 Ben Aris as Young Lieutenant
 Xavier Russell as Koyola
 Dennis Myers as Von Meck, twin
 John Myers as Von Meck, twin
 Joanne Brown as Olga Bredska
 Alexei Jawdokimov as Dmitri Shubelov
 Alex Russell as Von Meck child (as Alexander Russell)
 Clive Cazes as Doctor
 Georgina Parkinson as Odile (SWAN LAKE ballet)
 Alan Dubreuil as Prince in Swan Lake
 Graham Armitage as Prince Balukin
 Ernest Bale as Headwaiter
 Consuela Chapman as Tchaikovsky's Mother
 James Russell as Bobyek
 Victoria Russell as Tatiana
 Alex Brewer as Young Tchaikovsky

Production

Development
Harry Saltzman had seen some of Russell's television work and wanted to make a film with him. Russell had made many films for television about composers and artists, including Debussy and Richard Strauss, and suggested a biopic of Tchaikovsky, who he had long admired. Saltzman wanted to do something more commercial, leading to Billion Dollar Brain. After that movie Russell tried to get Saltzman to finance the Tchaikovsky film again but the producer declined as Dimitri Tiomkin was making his own Tchaikovsky movie.

Eventually United Artists agreed to finance following the success of Women in Love. Russell later claimed: "if I hadn't told United Artists that it was a story about a homosexual who fell in love with a nymphomaniac it might have never been financed."

The film was originally called Tchaikovsky. It focused on the years 1874–76 which Russell felt were the most crucial in the composer's life.

The script was based on a collection of letters from Tchaikovsky, Beloved Friend, published in 1937.

The title was changed to The Lonely Heart to differentiate it from Tchaikovsky, a Russian film released the previous year. The film's title card eventually reads Ken Russell's Film on Tchaikovsky and The Music Lovers .

Russell said: "The film is about the fact that Tchaikovsky couldn't love anyone even though he wrote some of the world's most beautiful music. He loved himself really and his sister. The film is about how artists transcend personal problems, how he used these problems and their results to create this particular kind of music." The director later added "there's as much tranquillity in my film on Tchaikovsky as there is in his music."

"Great heroes are the stuff of myth and legend, not facts," he added. "Music and facts don't mix. Tchaikovsky said: 'My life is in my music.' And who can deny that the man's music is not utterly fantastic? So likewise the movie! I sought to honour his genius by offering up my own small portion of his courage to create."

Casting
Russell offered the two lead roles to actors he worked with on Women in Love, Glenda Jackson and Alan Bates. Both accepted, but Bates then changed his mind. Russell felt this was because Bates "thought it might not be good for his image to play two sexually deviant parts in rapid succession."

United Artists wanted a star to play Tchaikovsky but Russell struggled to find someone who was willing. Eventually someone suggested Richard Chamberlain, who had relocated to the UK. Russell said "When his name was originally put forward I nearly had a heart attack. I'd only seen him as a bland TV doctor." However the director changed his mind after he saw the actor in a TV version of Portrait of a Lady ("I knew we had a contender"). When he discovered that Chamberlain was a skilled piano player, the actor was cast.

Chamberlain called the role "easily the biggest challenge of my career." Russell said Chamberlain "had a certain quiet dignity... which I felt the character needed. He was good to work with, very gentle and sweet; he did everything we asked him."

Production
Jackson said the filmmakers tried to research insane asylums in Russia at the time by asking the Russian embassy "but they told us they were all wonderful so we ended up literally making the film out of the imagination of Ken Russell."

Jackson said "I think people will love it or hate it but I doubt that anyone will go away feeling nothing. I think it's really quite extraordinary." She also said she preferred Women in Love to The Music Lovers "because it had the better script and that makes all the difference."

Rafael Orozco recorded the piano pieces played by Tchaikovsky in the film.

Director Russell hired his wife Shirley as costume designer and cast four of their children –  Alexander, Victoria, James, and Xavier – in small roles.

In one sequence, Tchaikovsky and his patron glimpse each other from a distance as she passes through a wood in her carriage. In real life their paths accidentally crossed in an Italian park. Later, his wife Nina loses her mind and is placed in an insane asylum; in reality she was not institutionalised until after his death.

Glenda Jackson and Andrew Faulds later served together as Labour Party MPs in the British House of Commons from 1992 to 1997, while the screenwriter Melvyn Bragg has been a Labour member of the House of Lords since 1998.

Soundtrack
The London Symphony Orchestra, conducted by André Previn, performs excerpts from the following pieces by Tchaikovsky:

 Piano Concerto in B-flat minor (soloist Rafael Orozco)
 Eugene Onegin (soprano April Cantelo)
 Symphony No. 6 in B minor, Pathétique
 Manfred Symphony
 Romeo and Juliet
 1812 Overture
 Incidental music to Hamlet
 Symphony No. 5 in E minor
 Symphony No. 4 in F minor

Reception
In his review for The New York Times, Vincent Canby stated:

Roger Ebert of the Chicago Sun-Times called it "an involved and garish private fantasy" and "totally irresponsible as a film about, or inspired by, or parallel to, or bearing a vague resemblance to, Tchaikovsky, his life and times."

Time commented: "Seventy-seven years have passed since Tchaikovsky's death. In this epoch of emancipated morality, it would be reasonable to expect that his life would be reviewed with fresh empathy. But no; the same malignant attitudinizing that might have been applied decades ago is still at work . . . [the film's] arch tableaux, its unstable amalgam of life and art, make it a director's picture . . . attempting to reveal psychology through music, Russell makes every character grotesque, every bar of music programmatic."

Variety opined, "By unduly emphasizing the mad and the perverse in their biopic . . . producer-director Ken Russell and scripter Melvyn Bragg lose their audience. The result is a motion picture that is frequently dramatically and visually stunning but more often tedious and grotesque . . . Instead of a Russian tragedy, Russell seems more concerned with haunting the viewers' memory with shocking scenes and images. The opportunity to create a memorable and fluid portrait of the composer has been sacrificed for a musical Grand Guignol."

In the Cleveland Press, Toni Mastroianni said, "The movies have treated composers notoriously badly but few films have been quite so awful as this pseudo-biography of Tchaikovsky."

Dave Kehr of the Chicago Reader described the film as a "Ken Russell fantasia – musical biography as wet dream" and added, "[it] hangs together more successfully than his other similar efforts, thanks largely to a powerhouse performance by Glenda Jackson, one actress who can hold her own against Russell's excess."

TV Guide calls it "a spurious biography of a great composer that is so filled with wretched excesses that one hardly knows where to begin . . . all the attendant surrealistic touches director Ken Russell has added take this out of the realm of plausibility and into the depths of cheap gossip."

Time Out New York calls it "vulgar, excessive, melodramatic and self-indulgent . . . the drama is at fever pitch throughout . . . Chamberlain doesn't quite have the range required in the central role, though his keyboard skills are impressive."

In the London Times, John Russell Taylor wrote of Russell when reviewing this film: "His talent, his sheer zest for film-making are not in doubt. But there is no doubt that his unique gifts are matched at times by a unique talent for misapplying them."

Pauline Kael would later say in an interview: "You really feel you should drive a stake through the heart of the man who made it. I mean it is so vile. It is so horrible."

Home media
The Music Lovers was released to DVD by MGM Home Entertainment on October 12, 2011 via its DVD-on-demand service available through Amazon.

See also
 List of British films of 1971

References

Bibliography

External links

1971 films
1970s biographical drama films
1971 LGBT-related films
British biographical drama films
British LGBT-related films
Films scored by André Previn
Films about classical music and musicians
Films about composers
Films directed by Ken Russell
United Artists films
Cultural depictions of Pyotr Ilyich Tchaikovsky
Films set in the 19th century
1971 drama films
1970s English-language films
1970s British films

The Music Lovers


Ana Lendvaj (1949. – 23. veljače 2016.), hrvatska modna i likovna kritičarka, hrvatska pjesnikinja, kolumnistica i vrhunska publicistica,

Životopisi
Rođenja 1949. godine. 1960-ih i 1970-ih studirala je jugoslavistiku i komparativnu književnost na zagrebačkom Filozofskom fakultetu te biotehnologiju na BTO-u u Zagrebu. Prisutna u omladinskom i studentskom tisku. Skupa s Brankom Malešom bila je nezaobilazni dio dio umjetničkog emancipiranog buđenja zagrebačke urbane pozornice. U isto vrijeme pisala je i pjesme, koje je objavila u zbornicima Mladi hrvatski pjesnici uz autore kao što su Stjepan Gulin, Branko Maleš, Sead Begović, Božica Jelušić, Drago Štambuk, Rene Matoušek i dr. Bila je u tom razdoblju voditeljica književne večeri. Zagrebački Lapidarij imao je čast ugostiti njene večerei. Zadnjih godina uređivala je i poetske zbirke za zagrebačku Altagamu. Bila je članicom ULUPUH-a (Udruženja primijenjenih umjetnika Hrvatske), koji ju je 2013. nagradio. Kustosica brojnih izložbi i autorica brojnih kataloških tekstova za izložbe.U ULUPUHU-u je bila članica Studijske sekcije. Osobito je priređivala izložbe i programe u svezi s dizajnom i suvremenom umjetnošću. U Hrvatskoj je među prvima prepoznavala i pisala o prvim obrtima koji su stvarali modu u nas 1970-ih i 1980-ih godina. Kritički je vrednovala prve industrijske kolekcije i konfekcije od Kamenskoga, Varteksa, DTR-a i ostalih, a s druge strane pisal je tekstove o revijama obrtnika i tranziciji iz nekadašnjih socijalističkih kolektiva modne industrije prema poimeničnom doprinosu modnom dizajnu od 1990-ih godina i prvih desetljeća 21. stoljeća. Pratila je na stotine modnih revija, Zlatnih igala, Tjedana mode i Modnih ormara.

Suautorica knjige Feđe Vukića i Ivana Rogića "Zagreb – modernost i grad" iz 2003. Nije dovršila monografiju Primijenjena modna umjetnost Hrvatske. Sociologu Žarku Paiću uredila je knjigu Vrtoglavica u modi – prema vizualnoj semiotici tijela. Knjiga je važna jer je prva hrvatska modologija odnosno sveobuhvatna, interdisciplinarna studija o modi.
U antologiju hrvatske modne pozornice upisala je imena Branke Donassy, Dženise Pecotić, I-gle, Roberta Severa, Igora Galaša, Tončija Vladislavića, Ruže Hodak, Davora Klarića, Renate Svetić i brojnih drugih kreatora.

Pisala je kritike za Večernji list, za koji je pisala honorarno od 1975. i za stalno od 1979. pa sve do smrti. Uvijek je bila otvorena ka mladim, kreativnim ljudima i praksama što joj je otvaralo novinske stranice mnogih specijaliziranih časopisa, novina, priloga. U Večernjem listu pisala je u kulturnoj rubrici gdje je pratila novu umjetničku praksu, a od 1985. posvetila se modnoj i tekstilnoj sceni, motivacijom dizajn kao umjetnost). Rad Ane Lendvaj dotakao se poznatih osoba poput Branke Donassy, Dženise Pecotić, Tonča Vladislavića, Matije Vuice i drugih. Poznatoj Vuici Ana Lendvaj organizirala je modne revije još osamdesetih godina 20. stoljeća.

Važna je osoba hrvatskog novinarstva, zato što je bila novinarkom novinarka koja je modu i modnu kritiku uvela na stranice dnevnog tiska. Također je bila važna za etabliranje modnih manifestacija.
Hrvatsku publicistiku obogatila je kolumnom u Večernjakovu Ekranu, u kojoj je pisala o medijski potpuno zanemarenom radijskom programu. Često je pisala na sva tri svoja polja: u modi o modnim revijama, u književnmosti o pjesničkim prvijencima ili u likovnosti o izložbama nestora hrvatske likovne pozornice.

Pokretač i organizator Fashion.hr Vinko Filipić Večernjem listu prvi je predložio osnovati Modnu nagradu koja će nositi ime Ane Lendvaj, što se i ostvarilo. Zajedno će ju pokrenuti Večernji list i Fashion.hr, a prva će biti dodijeljena za 2016. godinu. Nagradu će dobiti autor najbolje kolekcije prikazane te godine. U konkurenciju ulaze sve kolekcije hrvatske mode, iz svih modnih manifestacija, ali i prikazane kao samostalne revije. Modni novinari odlučit će o pobjedniku.

Izvori

Vanjske poveznice
Večernji list Anine riječi koje treba upamtiti: Dobro je ono što je dobro za život, Denis Derk, 29. lipnja 2016.

Hrvatski novinari
Hrvatski likovni kritičari
Moda
Hrvatski pjesnici
Hrvatski publicisti
Životopisi, Zagreb

Ana Lendvaj


Niels Otto Møller (1920 i Aarhus – 1982) var en dansk møbelsnedker og møbelarkitekt.

N.O. Møller, som han oftest tituleres, tilhører den skare af danske møbelarkitekter, der omtales som "de der udgjorde den danske møbelarkitektoniske guldalder". Andre møbelarkitekter fra denne æra inkluderer bl.a. Arne Jacobsen, Hans J. Wegner, Børge Mogensen, Poul Kjærholm og Finn Juhl, men modsat disse studerede Møller aldrig på kunsthåndværkerskolen eller kunstakademiet. I stedet uddannede Møller sig til møbelsnedker hvorunder han fik svendebrev i 1939.

I 1944 etablerede Niels Otto Møller, J.L. Møllers  møbelfabrik i centrum af Aarhus. Fabrikken fik en flyvende start og allerede i begyndelsen af 50'erne eksporterede fabrikken møbler til bl.a. Tyskland og USA.
Den overvældende start betød, at J.L. Møllers møbelfabrik måtte udvide og det besluttedes derfor, at man ville flytte produktionen til Aarhus-forstaden Højbjerg. I 1961 købte fabrikken en 33.000 kvm. stor grund på Oddervej og man byggede en 6000 kvm. stor fabrik på grunden.

I 1972 udvidede J.L. Møller produktionsfaciliteterne med 2500 kvm. og kort efter udvidede man eksporten til også at omfatte Japan.

I 1981 modtog JL. Møllers møbelfabrik dansk møbelindustris møbelpris. I motivet for uddelingen hed det bl.a. at "J.L. Møllers møbelfabrík på bedste vis formår at kombinere de bedste håndværksmæssige traditioner med moderne kunsthåndværk i den moderne møbelproduktion."

Referencer

Møbelarkitekter fra Danmark

Niels Otto Møller


Geraldo Teixeira (nome completo: Geraldo Teixeira da Costa Filho), Belém, 10 de outubro de 1953, é um artista plástico brasileiro. Foi fundador da Associação dos Artistas Plásticos do Pará e curador geral do Salão Paraense de Arte Contemporânea (SPAC).

Biografia
O artista iniciou suas atividades em 1975 e participou de diversas exposições coletivas e individuais, no Brasil e no exterior.

Principais exposições coletivas
 Mostra Nacional de Arte (1975, MNBA, Rio de Janeiro)
 Projeto Arco-íris (1978, Galeria M.F. Andrade - FUNARTE, Rio de Janeiro)
 II Coletiva COARTE (1979, Galeria Rio Arte, Brasília)
 44º Salão Paranaense (1987, Curitiba)
 Salão de Arte de Pernambuco (1989, Recife)
 "Rivoli 90" (1990, Roterdã, Holanda)
 "Art in Paradise" (1992, Miami, EUA)
 XI Salão Arte Pará - Grande Prêmio (1992, Galeria Rômulo Maiorana, Belém)
 "Graphos" (1993, Espaço Cultural Sebrae, Brasília)
 "Art in Paradise" (1993, Brazilian American Cultural Institute, Washington DC)
 I Salão de Arte Contemporânea (1994, Museu de Arte Moderna, Salvador)
 Painel da Arte Contemporânea Brasileira (1994, MAC, São Paulo)
 "Memorial de Curitiba" (2001, Paraná)
 "Contiguidades" (2008, Museu Histórico do Estado do Pará, Belém)
 "Traços Locais" (2013, Museu da UFPA, Belém)
 "Ambiência" (2014, Centro Cultural Sesc Boulevard, Belém)
 "A Cidade que vejo" - Exposição Comemorativa aos 400 anos de Belém (2016, Elf Galeria, Belém)
 "Margens" (2016, Galeria Virgílio, São Paulo)
 "Route 25" (2016, Centro Cultural Brasil-Estados Unidos – MABEU, Belém)

Principais mostras individuais
 Galeria Angelus (1978, Teatro da Paz, Belém)
 Galeria Angelus (1980, Teatro da Paz, Belém)
 Galeria de Arte do IBEU (1988, Rio de Janeiro)
 Galeria Arte Assinada (1991, Belém)
 Museu da UFPA (1995, Belém)
 "Lâminas D'Água" (2005, Galeria de Arte do CCBEU, Belém)
 "Azulejos Periféricos" (2007, Espaço Cultural Banco da Amazônia, Belém)
 "Santo de Casa" (2008, Galeria ELF, Belém)
 "Organicidade" (2010, Galeria Colorida, Lisboa, Portugal)
 "Pintura Azulejo" (2011, Casa Manuel Teixeira Gomes, Portimão, Portugal)
 "Além do Jardim" (2011, Galeria de Arte CCBEU, Belém)
 "Geometria do Tempo" (2013, Elf Galeria)
 "Paisagem do Tempo" (2016, Elf Galeria)

Ligações externas
 Geraldo Teixeira

Nascidos em 1953
Naturais de Belém (Pará)
Artistas plásticos do Pará

Geraldo Teixeira


شاه رخ بن تيمورلنك، (851هـ-1447م). هو القان معين الدين، سلطان هراة، وسمرقند، وبخارى وشيراز، من بلاد العجم وغيرها. ملك البلاد بعد ابن أخيه خليل بن ميران شاه بن تيمورلنك. وكان ملكاً عادلاً ديناً خيرا.

حياته
لما مات تيمور بأهنكران من شرقي سمرقند، وثب خليل على الأمر وتسلطن. وبلغ شاه رخ هذا الخبر في هراة، فجمع ومشي عليه، ووقع بينهما حروب وخطوب إلى أن ملك شاه رخ، واستقل بممالك العجم وعراقة، وعظم أمره وهابته الملوك، وحمدت سيرته، وشكرت أفعاله، وقدمت رسله إلى البلاد المصرية مراراً عديدة.

وراسلته ملوك مصر، إلى أن تسلطن الملك الأشرف برسباي، وقع بينهما وحشة بسبب طلب شاه رخ هذا أن يكسو البيت الشريف، فأبى الأشرف وخشن له الجواب. وترددت الرسل بينهما مراراً، واحتج شاه رخ أنه نذر أن يكسو البيت الشريف، فلم يلتفت الأشرف إلى كلامه، ورد قصاده إليه بالخيبة. ثم أرسل بعد ذلك شاه رخ بجماعة آخر وزعم أنهم أشراف، وعلى يدهم خلعة للملك الأشرف برسباي، فجلس الأشرف مجلساً عاماً للحكم بالإصطبل السلطاني على عادة الملوك، ثم طلب القصاد المذكورين، فحضروا ومعهم الخلعة، فأمر بها الأشرف فمزقت شذرمذر، ثم أمر بضرب حاملها عظيم القصاد، فضرب بين يدي السلطان ضرباً مبرحاً أشرف منه على الهلاك، ثم ضرب الباقين، ثم أمر بهم فألقوا في فسقية ماء بالإصطبل السلطاني منكوسين، رءوسهم إلى أسفل وأرجلهم إلى فوق، والأوجاقية تمسكهم بأرجلهم، واستمروا يغمسونهم في الماء حتى أشرفوا على الهلاك، ولا يستجرئ أحد من الأمراء يشفع فيهم ولا يتكلم لشدة غضب السلطان في أمرهم بكلمة واحدة، والسلطان يسب شاه رخ جهارا، ويحط من قدره، على أنه كان قليل الفحش والسب لآحاد الناس، وصار لونه يتغير لعظم حنقه، ثم طلب القصاد إلى بين يديه، وحدثهم بكلام طويل، سمعت غالبه، محصوله أنه قال لهم: قولوا لشاه رخ الكلام الكثير ما يصلح إلا من النساء، وأما الرجال فإن كلامهم فعل لا سيما الملوك، وها أنا قد أبدعت فيكم كسراً لحرمة شاه رخ، فإن كان له مادة وقوة فيتقدم ويسير إلى نحوي، وأنا ألقاه حيث شاء، وإن كان بعد ذلك ما ينتج منه أمر فكلامه كله فشار، وهو أفشر من كلامه، وكتب له بأشياء من هذا المعنى، وانفض الموكب، فتحقق كل واحد بمجيء شاه رخ إلى البلاد الشامية، وقاسوا على أنه ما أرسل هذه الخلعة إلا وهو قد تهيأ للقتال، وقد أفحش الأشرف أيضاً وأمعن في الجواب.

فلما بلغ القان شاه رخ ما فعل الأشرف بقصاده، ما زاده ذلك إلا رعباً، وسكت عن كسوة الكعبة، ولم يذكرها بعد ذلك إلى أن مات الملك الأشرف، وآل الملك إلى الملك الظاهر جقمق، بعث شاه رخ رسله إلى الملك الظاهر بهدايا وتحف، وأظهر السرور الزائد بسلطنته، وأنه لما بلغه سلطنة الملك الظاهر جقمق دقت البشائر بهراة وزينت له أياماً، فأكرم الملك الظاهر جقمق قصاده وأنعم عليهم، ثم بعث السلطان إليه في الرسلية الأمير ششك بغا دوادار السلطان بدمشق فتوجه إليه وعاد إلى السلطان الملك الظاهر جقمق بأجوبة مرضية.

ثم بعد ذلك في سنة 846هـ، أرسل شاه رخ يستأذن في إرسال ما نذر قديماً أنه يكسو الكعبة، فأذن له السلطان الملك الظاهر جقمق في ذلك، فأرسل شاه رخ بعد ذلك كسوة للكعبة. فصعب ذلك على الأمراء وعلى أعيان الديار المصرية، فلم يلتفت السلطان لكلامهم، وأمر أن يأخذها ناظر الكسوة بالقاهرة، ويبعثها كي تلبس من داخل البيت، وتكون كسوة السلطان من خارج البيت على العادة، يقول المؤرخ ابن تغري بردي: «ورأيت أنا الكسوة المذكورة، وما أظنها تساوي ألف دينار.» واستمرت الصحبة بين الملك الظاهر جقمق وبين شاه رخ إلى أن مات شاه رخ في سنة 851هـ.

كان خرج لقتال حفيده محمد سلطان بن بايسنقر بن شاه رخ، وتولى الملك من بعده حفيده علاء الدولة بن بايسنقر، نصبته جدته لأبيه جوهرشاد خاتون، أرادت بولاية علاء الدولة المذكور، وعدم ولايتها ولدها ألوغ بك صاحب سمرقند، أن يكون الأمر إليها. فلما سمع ألوغ بك ذلك عز عليه، وحشد ومشى على والدته جوهرشاد المذكورة وعلى ابن أخيه علاء الدولة بن بايسنقر، ووقع له معهما أمور وحوادث. ثم قُتل ألوغ بك على يد ابنه عبد اللطيف ميرزا، واستمرت الفتنة بين بني تيمور بعد موت شاه رخ، وبعد قتل ولده ألوغ بك صاحب سمرقند.

وكان شاه رخ ملكاً عادلاً ديناً خيراً، فقيهاً متواضعاً، محبباً لرعيته، غير محجوب عنهم، لم يسلك طريقة والده تيمور. وكان يحب أهل العلم والصلاح، ويكرمهم ويقضي حوائجهم. وكان متضعفاً في بدنه، يعتريه مرض الفالج فلا يزال يتداوى منه. وكان يحب السماع الطيب، وله حظ منه، بل كان يعرف يضرب بالعود، وكان ينادمه الأستاذ عبد القادر بن الحاج غيبى ويختص به. وكان له حظ من العبادة وله أوراد هائلة، لم يزل غالب أوقاته على طهارة كاملة، مستقبل القبلة والمصحف بين يديه، وكان مسيكاً لا يصرف المال إلا لحقه،

انظر أيضًا
 تيمورلنك مؤسس الدولة التيمورية
 الدولة التيمورية
 بايسنقر، وهو ابنه.

المصادر

أشخاص من سمرقند
أشخاص من هراة
الدولة التيمورية
القاهرة
تيموريون
ملوك
ملوك القرن 15 في آسيا
ملوك بلاد فارس
مواليد 1377
مواليد 779 هـ
مواليد 807 هـ
هرات
وفيات 1447
وفيات 850 هـ

شاه رخ بن تيمورلنك


Lysias (; ; c. 445 – c. 380 BC) was a logographer (speech writer) in Ancient Greece. He was one of the ten Attic orators included in the "Alexandrian Canon" compiled by Aristophanes of Byzantium and Aristarchus of Samothrace in the third century BC.

Life
According to Dionysius of Halicarnassus and the author of the life ascribed to Plutarch, Lysias was born in 459 BC, which would accord with a tradition that Lysias reached, or passed, the age of eighty.  This date was evidently obtained by reckoning back from the foundation of Thurii (444 BC), since there was a tradition that Lysias had gone there at the age of fifteen. Modern critics, in general, place his birth later, c. 445 BC, and place the trip to Thurii around 430 BC.

Cephalus, his father, was a native of Syracuse, and on the invitation of Pericles had settled at Athens. The opening scene of Plato's Republic is set at the house of his eldest son, Polemarchus, in Piraeus. The tone of the picture warrants the inference that the Sicilian family were well known to Plato, and that their houses must often have been hospitable to such gatherings. Further, Plato's Phaedrus opens with Phaedrus coming from conversation with Lysias at the house of Epicrates of Athens: he meets Socrates, with whom he will read and discuss the speech of Lysias he heard.

At Thurii, the colony newly planted on the Tarentine Gulf, the boy may have seen Herodotus, now a man in middle life, and a friendship may have grown up between them. There, too, Lysias is said to have commenced his studies in rhetoric—doubtless under a master of the Sicilian school possibly, as tradition said, under Tisias, the pupil of Corax, whose name is associated with the first attempt to formulate rhetoric as an art. The Athenian invasion of Sicily in 415–413 BC during the Peloponnesian War would ultimately create difficulties for Lysias's family, especially when the campaign ended in a devastating defeat for Athens. The continued attempt to link Lysias to the famous names of the era is illustrated by the ancient ascription to Lysias of a rhetorical exercise purporting to be a speech in which the captive Athenian general Nicias appealed for mercy to the Sicilians. The terrible blow to Athens quickened the energies of an anti-Athenian faction at Thurii. Lysias and his elder brother Polemarchus, with three hundred other persons, were accused of Atticizing. They were driven from Thurii and settled at Athens (412 BC).

Lysias and Polemarchus were rich men, having inherited property from their father, Cephalus; and Lysias claims that, though merely resident aliens, they discharged public services with a liberality which shamed many of those who enjoyed the franchise (Against Eratosthenes xii.20). The fact that they owned house property shows that they were classed as isoteleis (), i.e. foreigners who paid only the same tax as citizens, being exempt from the special tax (μετοίκιον) on resident aliens. Polemarchus occupied a house in Athens itself, Lysias another in the Piraeus, near which was their shield factory, employing a hundred and twenty skilled slaves.

In 404 BC, the Thirty Tyrants were established at Athens under the protection of a Spartan garrison. One of their earliest measures was an attack upon the resident aliens, who were represented as disaffected to the new government. Lysias and Polemarchus were on a list of ten singled out to be the first victims. Polemarchus was arrested and compelled to drink hemlock. Lysias had a narrow escape, with the help of a large bribe. He slipped by a back-door out of the house in which he was a prisoner and took a boat to Megara. It appears that he rendered valuable services to the exiles during the reign of the tyrants, and in 403 Thrasybulus proposed that these services be recognised by the bestowal of the citizenship. The Boule, however, had not yet been reconstituted, and hence the measure could not be introduced to the ecclesia by the requisite preliminary resolution (προβούλευμα). On this ground, it was successfully opposed.

During his later years, Lysias—now probably a comparatively poor man owing to the rapacity of the tyrants and his own generosity to the Athenian exiles—appears as a hard-working member of a new profession—that of logographer,  a writer of speeches to be delivered in the law courts. The thirty-four extant are but a small fraction. From 403 to about 380 BC, his industry must have been incessant. The notices of his personal life in these years are scanty. In 403 he came forward as the accuser of Eratosthenes, one of the Thirty Tyrants. This was his only direct contact with Athenian politics. The story that he wrote a defence for Socrates, which the latter declined to use, probably arose from a confusion. Several years after the death of Socrates, the sophist Polycrates composed a declamation against him, to which Lysias replied.

A more authentic tradition represents Lysias as having spoken his own Olympiacus at the Olympic festival of 388 BC, to which Dionysius I of Syracuse had sent a magnificent embassy. Tents embroidered with gold were pitched within the sacred enclosure, and the wealth of Dionysius was vividly shown by the number of chariots which he had entered. Lysias lifted up his voice to denounce Dionysius as, next to Artaxerxes, the worst enemy of Hellas, and to impress upon the assembled Greeks that one of their foremost duties was to deliver Sicily from a hateful oppression. The latest work of Lysias which can be dated (a fragment of a speech For Pherenicus) belongs to 381 or 380 BC. He probably died in or soon after 380 BC.

Style

Lysias displays literary tact, humour, and attention to character in his extant speeches, and is famous for using his skill to conceal his art. It was obviously desirable that a speech written for delivery by a client should be suitable to his age, station and circumstances. Lysias was the first to make this adaptation really artistic. His language is crafted to flow easily, in contrast to his predecessor Antiphon's pursuit of majestic emphasis, to his pupil (and close follower in many respects) Isaeus' more conspicuous display of artistry and more strictly logical manner of argumentation, and later to the forceful oratory of Demosthenes.

Translated into terms of ancient criticism, he became the model of the plain style (: genus tenue or subtile). Greek and then Roman critics distinguished three styles of rhetorical composition—the grand (or elaborate), the plain and the middle, the plain being nearest to the language of daily life. Greek rhetoric began in the grand style; then Lysias set an exquisite pattern of the plain; and Demosthenes might be considered as having effected an almost ideal compromise.

The vocabulary of Lysias is relatively simple and would later be regarded as a model of pure diction for Atticists. Most of the rhetorical figures are sparingly used—except such as consist in the parallelism or opposition of clauses. The taste of the day not yet emancipated from the influence of the Sicilian rhetoric probably demanded a large use of antithesis. Lysias excels in vivid description; he has also the knack of marking the speaker's character by light touches. The structure of his sentences varies a good deal according to the dignity of the subject. He has equal command over the periodic style (κατεστραμμένη λέξις) and the non-periodic or continuous (εἰρομένη, διαλελυμένη). His disposition of his subject-matter is always simple. The speech has usually four parts: introduction (προοίμιον), narrative of facts (διήγησις), proofs (πίστεις), which may be either external, as from witnesses, or internal, derived from argument on the facts, and, lastly, conclusion (ἐπίλογος).

It is in the introduction and the narrative that Lysias is seen at his best. In his greatest extant speech—that Against Eratosthenes—and also in the fragmentary Olympiacus, he has pathos and fire; but these were not characteristic qualities of his work. In Cicero's judgment (De Orat. iii. 7, 28) Demosthenes was peculiarly distinguished by force (vis), Aeschines by resonance (sonitus); Hypereides by acuteness (acumen); Isocrates by sweetness (suavitas); the distinction which he assigns to Lysias is subtilitas, an Attic refinement—which, as he elsewhere says (Brutus, 16, 64) is often joined to an admirable vigour (lacerti). Nor was it oratory alone to which Lysias rendered service; his work had an important effect on all subsequent Greek prose, by showing how perfect elegance could be joined to plainness. Here, in his artistic use of familiar idiom, he might fairly be called the Euripides of Attic prose. His style has attracted interest from modern readers, because it is employed in describing scenes from the everyday life of Athens.

Works

Table of extant speeches
From Lysias we have thirty-four speeches. Three fragmentary ones have come down under the name of Lysias; one hundred and twenty-seven more, now lost, are known from smaller fragments or from titles. In the Augustan age four hundred and twenty-five works bore his name, of which more than two hundred were allowed as genuine by the critics.

The table below shows the name of the speech (in the ordered listed in the Lamb translation), the suggested date of the speech, the primary rhetorical mode, the main point of the speech, and comments. Forensic is synonymous with judicial and denotes speeches made in law courts. Epideictic is ceremonial and involves the praise or, less often, the criticism, of the subject. Deliberative denotes speeches made in legislatures. Notes (e.g., A1, B3, etc.) refer to the list of qualifications below the table.

NOTES "A": FORENSIC, RELATING TO PUBLIC CASES
 Relating to Offences directly against the State (); such as treason, malversation in office, embezzlement of public moneys.
 Cases relating to Unconstitutional Procedure ()
 Cases relating to *Claims for Money withheld from the State ().
 Cases relating to a Scrutiny (δοκιμασία); especially the Scrutiny, by the Senate, of Officials Designate
 Cases relating to Military Offences ()
 Cases relating to Murder or Intent to Murder ()
 Cases relating to Impiety ()

NOTES "B": FORENSIC, RELATING TO PRIVATE CASES
 Action for Libel (δίκη κακηγορίας)
 Action by a Ward against a Guardian ()
 Trial of a Claim to Property (διαδικασία)
 Answer to a Special Plea ()

Miscellaneous
To his Companions, a Complaint of Slanders, viii. (certainly spurious).

The speech attributed to Lysias in Plato's Phaedrus 230e–234. This speech has generally been regarded as Plato's own work; but the certainty of this conclusion will be doubted by those who observe:
the elaborate preparations made in the dialogue for a recital of the erōtikos which shall be verbally exact,
the closeness of the criticism made upon it.
If the satirist were merely analysing his own composition, such criticism would have little point. Lysias is the earliest writer who is known to have composed erōtikoi; it is as representing both rhetoric and a false erōs that he is the object of attack in the Phaedrus.  Stylistic differences between the speech and the rest of the Phaedrus have also been taken to suggest that the speech was genuine.

Fragments
Three hundred and fifty-five of these are collected by Hermann Sauppe, Oratores Attici, ii. 170–216. Two hundred and fifty-two of them represent one hundred and twenty-seven speeches of known title; and of six the fragments are comparatively large. Of these, the fragmentary speech For Pherenicus belongs to 381 or 380 BC, and is thus the latest known work of Lysias. In literary and historical interest, the first place among the extant speeches of Lysias belongs to that Against Eratosthenes (403 BC), one of the Thirty Tyrants, whom Lysias arraigns as the murderer of his brother Polemarchus. The speech is an eloquent and vivid picture of the reign of terror which the Thirty established at Athens; the concluding appeal, to both parties among the citizens, is specially powerful.

Next in importance is the speech Against Agoratus (388 BC), one of our chief authorities for the internal history of Athens during the months which immediately followed; the defeat at Aegospotami. The Olympiacus (388 BC) is a brilliant fragment, expressing the spirit of the festival at Olympia, and exhorting Greeks to unite against their common foes. The Plea for the Constitution (403 BC) is interesting for the manner in which it argues that the well-being of Athens—now stripped of empire—is bound up with the maintenance of democratic principles. The speech For Mantitheus (392 BC) is a graceful and animated portrait, of a young Athenian hippeus, making a spirited defence of his honor against the charge of disloyalty. The defence For the Invalid is a humorous character-sketch. The speech Against Pancleon illustrates the intimate relations between Athens and Plataea, while it gives us some picturesque glimpses of Athenian town life. The defence of the person who had, been charged with destroying a mona, or sacred olive, places us amidst the country life of Attica. And the speech Against Theomnestus deserves attention for its curious evidence of the way in which the ordinary vocabulary of Athens had changed between 600 and 400 BC.

Notes

References
Editions by
Aldus (Editio princeps, Venice, 1513)
with variorum notes, by J. J. Reiske (1772)
Immanuel Bekker (1823)
W. S. Dobson (1828) in Oratores Attici
Johann Georg Baiter and Hermann Sauppe, Oratores Attici, vol. 1, Zurich, 1839, pp. 59 ff.
C. Scheibe (1852)
T. Thalheim (1901, Teubner series, with bibliography) – PDF
C. G. Cobet (4th ed., by J. J. Hartman, 1905)
, Oxford Classical Texts, 1912
W. R. M. Lamb, Loeb Classical Library, 1930
Umberto Albini, Greek text and Italian translation, Florence: Sansoni, 1955
Louis Gernet and , Collection Budé, 2 vols., 1959–1962
Enrico Medda, Greek text and Italian translation, 2 vols., Milan: BUR, 1992–1995
Christopher Carey, Oxford Classical Texts, 2007

Editions of select speeches by
J. H. Bremi (1845)
R. Rauchenstein (1848, revised by C. Fuhr, 1880–1881)
H. Frohberger (1866–1871)
H. van Herwerden (1863)
Andreas Weidner (1888)
Evelyn Shirley Shuckburgh (1882) – PDF
 F. J. Snell, Epitaphios, Clarendon Press, (1887)
A. Westermann and W. Binder (1887–1890)
G. P. Bristol (1892)
M. H. Morgan (1895) – PDF
W. H. Wait (1898) – PDF
C. D. Adams (1905) – PDF
 There is a special lexicon to Lysias by D. H. Holmes (Bonn, 1895, online). See also Jebb's Attic Orators (1893, vol. 1, vol. 2) and Selections from the Attic Orators (2nd ed.; 1st ed. online).
 The first volume of a full commentary on the speeches is S. C. Todd, A Commentary on Lysias, Speeches 1–11. Oxford: Oxford University Press, 2007. pp. ix, 783. .

Further reading
 Bateman, John J. 1958. "Lysias and the Law." Transactions of the American Philological Association 89:276–285.
 Dover, Kenneth J., ed. 1968. Lysias and the Corpus Lysiacum. Berkeley and Los Angeles: California Univ. Press.
 Figueira, T. 1986. "Sitopolai and Sitophylakes in Lysias' "Against the Graindealers": Governmental Intervention in the Athenian Economy." Phoenix 40:149–171.
 Gagarin, Michael. 2001. "Women's Voices in Attic Oratory." In Making Silence Speak. Women's Voices in Greek Literature and Society. Edited by L. McClure and A. Lardinois, 161–176. Princeton, NJ: Princeton Univ. Press.
 Griffith-Williams, Brenda. 2013. Violence in Court: Law and Rhetoric in Athenian and English Assault Cases. Greece and Rome 60.1: 89–100.
 Lateiner, Donald. 1981. "An Analysis of Lysias' Political Defense Speeches." Rivista storica dell'Antichità 11:147–160.
 Loening, Thomas C. 1981. "The Autobiographical Speeches of Lysias and the Biographical Tradition." Hermes 109:280–294.
 Rydberg-Cox, Jeff. 2005. "Talking about Violence: Clustered Participles in the Speeches of Lysias." Literary and Linguistic Computing 20.2: 219–235.
 Shear, Julia L. 2013. "Their Memories Will Never Grow Old: The Politics of Remembrance in the Athenian Funeral Orations." Classical Quarterly 63.2: 511–536.
 Wolpert, Andrew. 2002. "Lysias 18 and Athenian Memory of Civil War." Transactions of the American Philological Association 132.1–2: 109–126.

External links

 The Speeches of Lysias – links to online translations
 Life of Lysias – attributed to Plutarch

Attic orators
Sicilian Greeks
Metics in Classical Athens
5th-century BC Greek people
4th-century BC Greek people
440s BC births
380s BC deaths

Lysias


سيتي سكيب مول يقع في قلب مدينة السادس من أكتوبر في الحي الثاني عشر ما بين مسجد الحصري وكنيسة السادس من أكتوبر.

التصاميم الداخلية

سيتى سكيب مول مصمم تمامًا من قبل شركة إيطالية كبرى وأفضل المهندسين المعماريين وفنانين من مجالات التصميم البياني مما جعله من أكثر إبداعية.

مرافق التسوق
سيتي سكيب مول هو المكان الذي تستطيع من خلاله أفضل الأسماء التجارية الدولية وذلك لخدمة جميع أفراد الأسرة وذلك عبر 57 محل يمكنك ان تجد المناسب للرجال والسيدات والأطفال

مرافق الطعام
في سيتى سكيب مول يبذل قصارى الجهد لتقديم الراحة والترف لضيوف المول وتلبية كل احتياجاته وذلك من خلال 20 من أشهر المطاعم والمقاهي حيث يمكنك التمتع بأفضل وأرقى المطاعم الموجودة في المستوى الأول والثاني.

الترفيه

يعتبر سيتي سكيب مول عاصمة للترفيه في مدينة السادس من أكتوبر حيث يقدم مجموعة متنوعة من وسائل الترفيه تحت سقف واحد من ألعاب فيديو وألعاب إلكترونية للأطفال بالإضافة إلى 4 دور للسينما مع قدرة 550 مقعد لمشاهدة نجوم السينما المفضلة لديك والاستمتاع بتجربة جميلة.

إجراءات الطوارئ والسلامة

حيث جهز سيتى سكيب مول بالاحتياطات اللازمة من أجل سلامة الضيوف والمحلات والسيارات ووجود مخارج للحالات الطارئة

وصلات خارجية
 الرسمي للمول

مولات القاهرة

سيتى سكيب مول


جامعة مصر للعلوم والتكنولوجيا  أو ماست (MUST) هي جامعة مصرية خاصة أنشأت بالقرار الجمهوري رقم 245 لسنة 1996، استنادا للقانون 101 لسنة 1992، الخاص بإنشاء الجامعات الخاصة. والجامعة عضو عامل في اتحاد الجامعات العربية، واتحاد الجامعات الأفريقية. تحتوي الجامعة أيضا على مستشفى ودار للأوبرا داخل الجامعة.

كليات الجامعة
 كلية الطب البشري.
 كلية طب الأسنان.
 كلية الصيدلة.
 كلية العلاج الطبيعي.
 كلية التكنولوجيا الحيوية.
 كلية الاقتصاد والإدارة.
 كلية الإعلام.
 كلية اللغات والترجمة.
 كلية تكنولوجيا المعلومات.
 كلية العلوم الطبية التطبيقية.
 كلية الآثار والإرشاد السياحي.
 كلية التربية الخاصة.
 كلية الهندسة.
 كلية التمريض .

كلية الهندسة
تتكون الكلية من الأقسام التالية:
 قسم الهندسة المعمارية.
 قسم هندسة التشييد والبناء:
 شعبة هندسة المواصلات.
 شعبة هندسة الإنشاءات.
 شعبة هندسة الهيدروليكا، البيئة، إدارة التشييد أو مزيج من موادها الاختيارية.
 قسم الهندسة الكهربية:
 شعبة هندسة القوى والآلات الكهربية.
 شعبة هندسة الالكترونيات والاتصالات.
 شعبة هندسة الحاسبات والبرمجيات.
 شعبة الهندسة الطبية الحيوية.
 قسم هندسة القوى الميكانيكية:
 تركيز هندسة الطيران.
 تركيز هندسة السيارات.
 تركيز هندسة التبريد والتكييف.
 تركيز التصميم الميكانيكي.
 تركيز هندسة المواد.
 تركيز هندسة الطاقة المتجددة.
 قسم هندسة الميكاترونكس.
 قسم الهندسة الصناعية والأنظمة.

مراكز الجامعة
 مركز الأبحاث.
 مركز الليزر للأسنان.
 مركز العلوم الأساسية.
 مركز تكنولوجيا التعليم.
 مركز ضمان الجودة والاعتماد.
 مركز الحاسبات والمعلومات.
 مركز تحقيق التراث العربي.
 مركز التنمية الإدارية.
 مركز التبادل الطلابى.

انظر أيضًا
 جامعة 6 أكتوبر
 جامعة النيل
 قائمة كليات الهندسة في مصر.

مراجع

م
التعليم في القاهرة
التعليم في مدينة السادس من أكتوبر
تأسيسات سنة 1996 في مصر
جامعات خاصة في مصر
جامعات مصر
هيئات تعليمية أسست في 1996
جامعات في الجيزة

جامعة مصر للعلوم والتكنولوجيا


5811 Keck este un asteroid din centura principală de asteroizi.

Descriere
5811 Keck este un asteroid din centura principală de asteroizi. A fost descoperit pe  la Observatorul Palomar de Eleanor Francis Helin. El prezintă o orbită caracterizată de o semiaxă mare de 2,60 ua, o excentricitate de 0,30 și o înclinație de 10,3° în raport cu ecliptica.

Vezi și
 Lista planetelor minore: 5001-6000
 Centura de asteroizi

Referințe

Obiecte astronomice descoperite în 1988
Centura de asteroizi

5811 Keck


Czarnocin ist der Name folgender Orte in Polen:
 Czarnocin (Powiat Kazimierski), Dorf und Gemeindesitz im Powiat Kazimierski, Woiwodschaft Heiligkreuz
 Czarnocin (Powiat Piotrkowski), Dorf und Gemeindesitz im Powiat Piotrkowski, Woiwodschaft Łódź
 Czarnocin (Dobre), Dorf im Powiat Miński, Woiwodschaft Masowien
 Czarnocin (Radzanów), Dorf im Powiat Białobrzeski, Woiwodschaft Masowien
 Czarnocin (Strzegowo), Dorf im Powiat Mławski, Woiwodschaft Masowien
 Czarnocin, deutsch Scharnosin, Dorf im Powiat Strzelecki, Woiwodschaft Oppeln
 Czarnocin (Piątnica), Dorf im Powiat Łomżyński, Woiwodschaft Podlachien
 Czarnocin (Skarszewy), Dorf im Powiat Starogardzki, Woiwodschaft Pommern
 Czarnocin (Stepnica), Dorf im Powiat Goleniowski, Woiwodschaft Westpommern

Czarnocin


La série des Angélique, composée de cinq films réalisés par Bernard Borderie, a été un énorme succès commercial lors de sa sortie, et a été très souvent rediffusée à la télévision depuis.

Liste des films
 1964 : Angélique, marquise des anges
 1965 : Merveilleuse Angélique
 1966 : Angélique et le Roy
 1967 : Indomptable Angélique
 1968 : Angélique et le Sultan

Fiche technique

Entrées au box-office

Personnages récurrents
 : seuls les personnages apparaissant dans au moins deux des cinq films de la série figurent dans ce tableau.

Notes et références

Série de films français

Angélique (série de films)


إن سرعة شريط التصوير الضوئي هي قياس حساسية الفيلم الفوتوغرافي للضوء. الفيلم ذو الحساسية المنخفضة (سرعة آزا/أيزو منخفضة) يتطلب تعريضا أطول ولهذا يسمي فيلم بطيء، بينما الفيلم الذي له حساسية أعلى (سرعة آزا/أيزو عالية) يمكنه التقاط نفس المشهد بزمن تعريض أقل ويسمي فيلم سريع.

قاعدة المعاملات المتبادلة
عندما يتعرض الفيلم الفوتوغرافي للضوء فإن مستحلب التصوير الفوتوغرافي الكيميائي الحساس للضوء يتأثر بالضوء الساقط عليه وتحدث به تغيرات كيميائية تتناسب مع شدة الإضاءة الساقطة علي كل جزء من أجزائه حسب انعكاس الضوء من أجزاء الموضوع المصوّر. وكلما زاد زمن تعرض المستحلب للضوء زاد التأثير التراكمي للضوء عليه. فإذا زيدت الإضاءة الساقطة على الفيلم بدرجة معينة وأنقص معها زمن التعريض الفيلم للضوء بدرجة متناسبة فإن التأثير الناتج على الفيلم ينتج صور بنفس الكثافة.
وعلى هذا الأساس يمكن التحكم في إضاءة الصورة الناتجة مع ثبات حساسية الفيلم (سرعته) بالتحكم في زمن التعريض (سرعة الغالق) وكمية الضوء الساقط على الفيلم (فتحة العدسة).

معلومات تقنية

تدرجات سرعة الأيزو
يعرف المعيار الدولي ISO 5800:1987 من المنظمة الدولية للمعايير تدريجين لقياس سرعة الفيلم الملون السالب أحدهما حسابي والآخر لوغاريتمي. التدريجات الأخرى ISO 6:1993 و ISO 2240:2003 تعرف تدريجات السرعة للفيلم السالب الأبيض والأسود والفيلم الملون العكسي.

في تدريج أيزو الحسابي (المناظر لتدريج آزا ASA الأمريكي القديم)، تكون مضاعفة سرعة الفيلم (بما يعني نصف كمية الضوء المطلوبة لتعريض الفيلم) تعني مضاعفة القيمة الرقمية الدالة على السرعة. بينما في تدريج أيزو اللوغاريتمي (المناظر لتدريج المعهد الألماني للتوحيد القياسي القديم ) تكون مضاعفة سرعة الفيلم تعني إضافة 3 إلى القيمة الرقمية الدالة على سرعة الفيلم. على سبيل المثال الفيلم ذو الحساسية ISO 200/24° بضعف حساسية الفيلم ISO 100/21°.

ومن الشائع أن يتم إهمال السرعة اللوغاريتمية، وتعطى فقط السرعة الحسابية على سبيل المثال ISO 100. ففي هذه الحالة تكون سرعة أيزو مماثلة لسرعة آزا القديمة.

أما معيار معايير GOST (يكتب بالروسية ГОСТ ) فهو تدريج حسابي قديم كان مستخدماً في الاتحاد السوفيتي السابق قبل عام 1987. وكان مطابقاً تقريباً (ليس تماماً) لمعيار آزا. وبعد عام 1987 تم ضمه مع تدريج أيزو. وتوجد علامات هذا التدريج فقط على معدات التصوير (أفلام، كاميرات، مقاييس إضاءة، إلخ) المصنعة في الاتحاد السوفيتي قبل عام 1987.

أكثر سرعات أيزو الشائعة هي
 25/15°، 50/18°، 100/21°، 200/24°، 400/27°، 800/30°، 1600/33°، و 3200/36°.
أما السرعات المنتشرة بين المستخدمين فهي فيما بين 100/21° إلى 800/30°.

يمكن التحويل من السرعة اللوغاريتمية S° إلى السرعة الحسابية S باستخدام العلاقة:

والتقريب إلى أقرب سرعة حسابية معيارية من الجدول بأسفل. ويمكن التحويل بين السرعة الحسابية إلى اللوغاريتمية باستخدام العلاقة:

ثم التقريب إلى أقرب عدد صحيح، وأساس دالة اللوغاريتم هنا هو 10.

ويعرض الجدول الحالي السرعات المتناظرة بين تدريجات السرعة المتنوعة:

مراجع

علم التصوير
كميات فيزيائية
كيمياء

سرعة شريط التصوير الضوئي