Victorien Sardou () a fost un dramaturg francez. El este cel mai bine amintit astăzi pentru realizarea, împreună cu Eugène Scribe, a "pieselor bine făcute". El a scris, de asemenea, mai multe piese care au fost transformate în opere populare ale secolului al XIX-lea precum La Tosca (1887), din care este inspirată opera Tosca (1900) a lui Giacomo Puccini, și Fedora de Umberto Giordano, o lucrare care a popularizat pălăria fedora.

Primii ani

Victorien s-a născut în strada Beautreillis din Paris pe 5 septembrie 1831. Familia Sardou locuise inițial în Le Cannet, un sat de lângă Cannes, unde deținuse o moșie, pe care erau plantați măslini. Înghețul dintr-o noapte a ucis toți copacii și familia a fost ruinată. Tatăl lui Victorien, Antoine Léandre Sardou, a venit la Paris în căutarea unui loc de muncă. El a fost pe rând contabil la un centru comercial, profesor de contabilitate, directorul unei școli provinciale, apoi profesor particular și director de școală la Paris, redactând cărți de gramatică, dicționare și tratate pe diverse subiecte. Cu toate aceste ocupații, a reușit cu greu să-și întrețină familia și, atunci când s-a retras în regiunea sa natală, Victorien a trebuit să se descurce după propriile posibilități. El a început să studieze medicina, dar a trebuit să renunțe din lipsă de fonduri. A predat limba franceză pentru elevii străini: de asemenea, el a ținut studenților lecții de limba latină, istorie și matematică și a scris articole pentru enciclopedii ieftine.

Cariera
În același timp, el încerca să facă progrese în lumea literară. Talentul său a fost încurajat de o veche membră a Societății Blue Stockings, Mme de Bawl, care publicase romane și se bucura de o bună reputație în perioada Restaurației, dar ea a putut face puțin pentru protejatul ei. Victorien Sardou a făcut eforturi pentru a atrage atenția lui Rachel Félix și pentru a-i câștiga susținerea prin trimiterea unei drame, La Reine Ulfra, inspirată dintr-o veche cronică suedeză. O piesă de-a lui, La Taverne des étudiants, a fost reprezentată la Odéon pe 1 aprilie 1854, dar a avut parte de o recepție furtunoasă, din cauza unui zvon că un debutant a fost instruit și însărcinat de guvern să-i insulte pe studenți. La Taverne fost retrasă după cinci spectacole. O altă dramă a lui Sardou, Bernard Palissy, a fost acceptată la același teatru, dar înțelegerea a fost anulată ca urmare a schimbării conducerii teatrului. O piesă canadiană, Fleur de Liane, ar fi fost reprezentată la Teatrul Ambigu, dacă nu ar fi murit directorul teatrului între timp. Le Bossu, pe care a scris-o pentru Charles Albert Fechter, nu l-a mulțumit pe actor; și atunci când piesa a fost reprezentată cu succes, au fost trecuți alți autori, printr-un aranjament nefericit. Sardou i-a prezentat lui Adolphe Lemoine, directorul teatrului Gymnase, o piesă intitulată Paris à l'envers, care conținea scene de dragoste, ulterior atât de faimoase, în Nos Intimes. Montigny a crezut de cuviință să-l consulte pe Eugène Scribe, care a fost revoltat de scena în cauză.

În 1857, Sardou a simțit durerile eșecului său și nenorocirile lui au culminat cu un atac de febră tifoidă. El trăia în sărăcie și era pe moarte într-o mansardă, înconjurat de manuscrisele respinse. O femeie care locuia în aceeași casă i-a venit pe neașteptate în ajutor. Numele ei a fost Dra de Brécourt. Ea avea relații la teatru și a fost favorita domnișoarei Déjazet. Ea l-a îngrijit, l-a vindecat și, când a fost din nou bine, l-a prezentat ca prietenul ei. Déjazet tocmai înființase teatrul care-i purta numele și fiecare spectacol după La Taverne a fost pus în scenă la acest teatru. Norocul a început să-i zâmbească autorului.

Este adevărat că Candide, prima piesa pe care a scris-o pentru dra Déjazet, a fost oprită de cenzură, dar Les Premières Armes de Figaro, Monsieur Garat și Les Prés Saint Gervais, produse aproape în succesiune, au avut parte de reprezentații splendide. Garat și Gervais au fost puse în scenă la Teatrul de Varietăți și în limba engleză, la Teatrul Criterion din Londra. Les Pattes de mouche (1860, ulterior anglicizată ca A Scrap of Paper) a obținut un succes similar la Gymnase.

Fédora (1882) a fost scrisă în mod expres pentru Sarah Bernhardt, la fel ca multe dintre piesele sale ulterioare. Acesta a fost ulterior adaptată de Umberto Giordano într-o operă intitulată Fedora. Piesa trata nihilismul, care fusese inventat în Părinți și copii de Ivan Turgheniev. Mai târziu el a introdus elemente istorice puternice în unele dintre dramele sale romantice. Astfel, el a împrumutat Théodora  (1884) din analele bizantine (care a fost, de asemenea, adaptată într-o operă de Xavier Leroux), La Haine (1874) din cronicile italiene, La Duchesse d'Athénes din cronicile uitate ale Greciei medievale. Patrie! (1869) se bazează pe dezvoltarea Geuzen-ului olandez la sfârșitul secolului al XVI-lea și a fost transformată într-o operă populară de Emile Paladihle în 1886. O scenă din La Sorcière (1904) se petrece în Spania în secolul al XVI-lea. Revoluția Franceză i-a inspirat trei piese de teatru, Les Merveilleuses, Thermidor (1891) și Robespierre (1899). Piesa Gismonda (1894) a fost adaptată într-o operă a lui Henry Février. Ultima menționată a fost scrisă în mod expres pentru Sir Henry Irving si pusă în scenă la Teatrul Lyceum din Londra, așa cum a fost și Dante (1903). Epoca Napoleoniană a fost reînviată în La Tosca (1887).

Madame Sans-Gêne (1893) a fost scrisă special pentru Gabrielle Réjane ca soția binevoitoare a mareșalului Lefevre. Piesa a fost tradusă în engleză și interpretată de Irving și Ellen Terry la Teatrul Lyceum. Piese ulterioare au fost La Pisie (1905) și Le Drame des poisons (1907). În multe din aceste piese de teatru, cu toate acestea, era prea evident că un strat subțire de cunoștințe istorice, dobândite în acest scop, fusese pus în mod artificial pentru a acoperi gândurile și sentimentele moderne. Dar puține dintre ele — Patrie! și La Haine (1874), de exemplu — prezintă o înțelegere adevărată a pasiunilor puternice ale veacurilor trecute. L'Affaire des Poisons (1907) a fost reprezentată la Théâtre de la Porte Saint-Martin și avea un foarte mare succes public la momentul morții sale. Piesa se referea la camarila nefastă din timpul regelui Ludovic al XIV-lea al Franței. Spre sfârșitul vieții sale, Sardou a realizat mai multe înregistrări în care el însuși citea pasaje din operele sale, inclusiv o scenă din Patrie!.

Viața personală și moartea
Sardou s-a căsătorit cu binefăcătoarea sa, Mlle de Brécourt, dar opt ani mai târziu el a devenit văduv și, curând după Revoluția din 1870, s-a căsătorit a doua oară cu Mlle Soulié pe 17 iunie 1872, fiica eruditului Eudore Soulié, care administra de mai mulți ani Musée de la Versailles. El a fost ales în Academia Franceză în locul poetului Joseph Autran (1813-1877) și a devenit oficial membru pe 22 mai 1878. El a locuit o perioadă în Castelul Marly.

El a fost decorat cu ordinul Legiunea de onoare în 1863 și a fost ales membru al Academiei Franceze în anul 1877. Sardou a murit pe 8 noiembrie 1908 la Paris. El a fost bolnav pentru o lungă perioadă de timp. Cauza oficială a morții a fost congestia pulmonară.

Opera

Piese de teatru

La Taverne des étudiants (1854)
Les Premières Armes de Figaro (1859), cu Emile VanderbuchLes Gens nerveux (1859), cu Théodore BarrièreLes Pattes de mouche (A Scrap of Paper; 1860)Monsieur Garat (1860)Les Femmes fortes (1860)L'écureuil (1861)L'Homme aux pigeons (1861), ca Jules PélissiéOnze Jours de siège (1861)Piccolino (1861), cu Charles-Louis-Etienne Nuitter și muzică de Ernest GuiraudNos Intimes! (1861)Chez Bonvalet (1861), ca Jules Pélissié, împreună cu Henri Lefebvre La Papillonne (1862)La Perle Noire (The Black Pearl; 1862)Les Prés Saint-Gervais (1862), cu Philippe Gille și muzică de Charles LecocqLes Ganaches (1862)Bataille d'amour (1863), cu Karl Daclin și muzică de Auguste VaucorbeilLes Diables noirs (1863)Le Dégel (1864)Don Quichotte (1864), rearanjată de Sardou și Charles-Louis-Etienne Nuitter și muzică de Maurice RenaudLes Pommes du voisin (1864)Le Capitaine Henriot (1864), de Sardou și Gustave Vaez, muzică de François-Auguste GevaertLes Vieux Garçons (1865)Les Ondines au Champagne (1865), ca Jules Pélissié, împreună cu Henri Lefebvre, muzică de Charles LecocqLa Famille Benoîton (1865)Les Cinq Francs d'un bourgeois de Paris (1866), cu Dunan Mousseux și Jules PélissiéNos Bons Villageois (1866)Maison neuve (1866)Séraphine (1868)Patrie! (Fatherland) (1869), revizuită ulterior în 1886 cu muzică de Emile PaladilheFernande (1870)Le roi Carotte (1872), muzică de Jacques OffenbachLes Vieilles Filles (1872), cu Charles de CourcyAndréa (1873)L'Oncle Sam (Uncle Sam; 1873)Les Merveilleuses (1873), muzică de Félix HugoLe Magot (1874)La Haine (Hatred; 1874), muzică de Jacques OffenbachFerréol (1875)L'Hôtel Godelot (1876), cu Henri CrisafulliDora (1877)Les Exilés (1877), cu Gregorij Lubomirski și Eugène NusLes Bourgeois de Pont-Arcy (1878)Les Noces de Fernande (1878), cu Émile de Najac și muzică de Louis-Pierre DeffèsDaniel Rochat (1880)Divorçons! (Let's Get a Divorce; 1880), cu Émile de NajacOdette (1881)Fédora  (1882)Théodora (1884), revizuită ulterior în 1907 împreună cu Paul Ferrier și muzică de Xavier LerouxGeorgette (1885)Le Crocodile (1886), cu muzică de Jules MassenetLa Tosca (1887)Marquise (1889)Belle-Maman (1889), cu Raymond DeslandesCléopâtre (1890), cu Émile Moreau și muzică de Xavier LerouxThermidor (1891)Madame Sans-Gêne (1893), cu Émile MoreauGismonda (1894)Marcelle (1895)Spiritisme (1897)Paméla (1898)Robespierre (1899)La Fille de Tabarin (1901), cu Paul și muzică de Gabriel PiernéLes Barbares (1901), cu Pierre-Barthélemy Gheusi, muzică de Camille Saint-SaënsDante (1903), with Émile MoreauLa Sorcière (The Sorceress; 1903)Fiorella (1905), cu Pierre-Barthélemy Gheusi și muzică de Amherst WebberL'Espionne (1906)La Pisie (1906)L'Affaire des Poisons (1908), ca Jules Pélissié

 Cărți
 Rabàgas (1872)
 Daniel Rochet (1880)

 Adaptări dramatice
 Nos Intimes! (1862), tradusă de Horace Wigan ca Friends or Foes? La Papillonne (1864), tradusă de Augustin Daly ca Taming of a Butterfly Le Degel (1864), tradusă de Vincent Amcotts ca Adonis Vanquished Les Ganaches (1869) tradusă și adaptată de Thomas William Robertson ca Progress Nos Intimes! (1872), tradusă de George March ca Our Friends Les Pres Saint-Gervais (1875), tradusă și adaptată de Robert Reece
 Divorçons! (1882), tradusă ca Cyprienne Patrie! (1886), o operă de Emile Paladihle
 Fedora (1898), o operă de Umberto Giordano
 Robespierre, tradusă de Laurence Irving
 Tosca (1900), o operă de Giacomo Puccini
 Les Merveilleuses (1907), adaptată de Basil Hood ca The Merveilleuses Théodora (1907), o operă de Xavier Leroux
 Madame Sans-Gêne (1915), o operă de Umberto Giordano
 Gismonda  (1919), o operă de Henry Février

 Referințe

Menționat în Capitolul II al lui De Guermantes din În Căutarea Timpului Pierdut, volumul III, al lui Proust.

 Lectură suplimentară
 Blanche Roosevelt (2009) Victorien Sardou BiblioLife
 Stephen Sadler Stanton (1990) Camille și Alte Piese: O Poziție Aparte; Pahar de Apă; La Dame aux Camelias; Olympe de Căsătorie; O bucată de Hârtie Deal și Wang
 McCormick, John. 1998. "Sardou, Victorien." În Cambridge Ghid pentru Teatru. Ed. Martin Banham. Cambridge: Cambridge. 964. .
 Lacour, L. 1880. Trois théâtres.
 Matthews, Brander. 1881. Dramaturgi Francezi. New York.
 Doumic, R. 1895. Écrivains d 'aujourd' hui. Paris.
 Sarcey, F. 1901. Quarante ans de théâtre''. Vol. 6.

Legături externe

 youthful portrait (arhivat)

Nașteri în 1831
Decese în 1908
Dramaturgi francezi
Membri ai Academiei Franceze

Victorien Sardou


الحوار في اللغة: من حاور يحاور محاورة، وقد ورد في تاج العروس أن الحوار يعني تراجع الكلام، كما ورد في لسان العرب لابن منظور تحت الجذر (حور) وهم يتحاورون أي: يتراجعون الكلام.

والمحاورة: مراجعة المنطق، والكلام في المخاطبة. وقد حاوره.والمَحُورَةُ: من المُحاوَرةِ مصدر كالمَشُورَةِ من المشاورة كالمَحْوَرَةِ، وأنشد:

إذا الحوار في اللغة، هو الرجوع عن الشئ، والارتداد عنه، وحار عن الأمر وإليه (رجع عنه، أو إليه).

أما الحوار في الاصطلاح : (مراجعة الكلام، وتداوله، بين طرفين، لمعالجة قضية من قضايا الفكر، والعلم، والمعرفة.. بأسلوب متكافئ، يغلب عليه طابع الهدوء، والبعد عن الخصومة).

آداب الحوار
للحوار آداب جمة، ينبغي للأطراف جميعهم التحلي والالتزام بها، حتى لا يتحول كلامهم إلى مراء، أو جدال.. ومن أهم آداب الحوار :
 أن يكون كافة الأطراف، على علم تام بموضوع الحوار.
 أن يكون لدى كافة أطراف الحوار، الجرأة، والشجاعة، على الاعتراف بالخطأ، في حال خالف (الصواب).
 أن يتأدب كل طرف مع الآخر، باختيار الألفاظ المناسبة، التي يرتضي المحاور أن يسمعها من غيره.
 أن يحترم كل طرف، عقيدة الطرف الآخر، ومبادئه، وأن يراعي نفسيته.
 أن يكون الدافع الرئيسي لدى جميع أطراف الحوار إصابة الحقيقة، وأن يكون الوصول إلى الصواب، والحق.
 البعد عن الغضب وأسبابه مع الحرص على الإعتدال حتى ينتهي الحوار .
 أن يكون لدى كافة الأطراف، القدرة على التعبير.
 المرونة في الحوار، وعدم التشنج.
 الإصغاء للطرف الآخر، والاستفادة من طرحه، وكبت جماح النفس عند الرغبة في الجدال، والعرب تقول: رأس الأدب كله الفهم، والتفهم، والإصغاء إلى المتكلم، ومن أهم الفوائد التي تستفيدها من هذه النقطة اكتساب صفة الحلم.

فوائد الحوار
 يتم من خلاله تبادل الأفكار بين الناس وتتفاعل فيه الخبرات.
 يساعد على تنمية التفكير وصقل شخصية الفرد.
 يولد أفكار جديدة.
 ينشط الذهن.
 يساعد على التخلص من الأفكار الخاطئة.
 يساعد على الوصول إلى الحقيقة.

ضوابط الحوار

الحوار في القرآن
الحوار في القرآن:" وردت مادة حوار ومشتقاتها ومترادفاتها (جادل، وحاج)، وما هو بحكمها مرات عديدة، في القرآن، ويقوم منهج القرآن الكريم على الحوار، لأنه جاء يخاطب الفطرة، والعقل، فمنهج الإسلام، يحترم العقل، ويجله، ويجعله مناط الإيمان والتكليف، ويذكر لنا القرآن صورا من الحوار ..مثل : (حوار الله تعالى مع الملائكة) .. في قوله تعالى:
 وكذلك (الحوار بين الله تعالى ، وإبليس) فقد قال تعالى:
  (حوار الأنبياء والرسل عليهم الصلاة والسلام .. مع أقوامهم) .. ففي حوار نبي الله موسى مع قومه فقد قال تعالى:
 وكذلك ( حوار أهل الجنة، وأهل النار )''' قال تعالى:

الحوار، في السنة النبوية
تقدم لنا السنة المطهرة، صورا رائعة من منهج رسول الله  في الحوار، نذكر منها حواره  مع جبريل عليه السلام، أبي طالب، قريش، وفد من أهل الحبشة، نصارى نجران، أهل الطائف، شاب يطلب رخصة بالزنا، حواره مع إبليس، حواره مع عبدالله بن سلام اليهودي.

وعليه .. فثقافة الحوار، تستند على ثقافة المتحاورين، وهذا يعني، تمكن المحاور، وغناه الفكري، ومعرفته الواسعة بآداب الحوار، وأساليب وطرائق إقناع الآخرين، وهي مجموعة معارف مكتسبة، تسمح بتنمية الحوار، والنقد، والقدرة في الحكم على الناس، في الأمور والأشياء.

وهي القدر اللفظي، الذي يتم من خلاله تداول الأفكار، وتقارب وجهات النظر، والتعبير عن الرأي، وتبادل الخبرات، وتنمية التفكير، وتفعيل طرائق الإتصال.

أساليب الحوار في القرآن والسنة

مجالات الحوار
 الحوار الديني.
 الحوار السياسي.
 الحوار الوطني.
 الحوار الأمني.
 الحوار العلمي.
 الحوار الأدبي.
 الحوار الفلسفي.

مراجع

انظر أيضًا
 حوار أسري
 سجال
 بلاغة
 حجاج (المنطق)
 نقاش مجتمعي

أنماط فنية (خيال)
بلاغة
تواصل إنساني
حوارات
خيال
فلسفة اللغة
مصطلحات
منهجية فلسفية

حوار


Clothru ist im Ulster-Zyklus der keltischen Mythologie Irlands die Schwester der Königin Medb von Connacht.

Mythologie
Clothru von Cruachan, so ihr Beiname, ist die Tochter von König Eochaid Fedlech und eine seiner insgesamt sechs Töchter. Ihre Burg soll sich auf Inis Clothrann ("Insel der Clothru", heute Inchcleraun/Inis Cloithrinn) im Loch Rí (Lough Ree) befunden haben, einem See im Flussgebiet des Shannon.

In der Erzählung Aided Medba/Meidbe ("Medbs Tod") wird in einer Nebenhandlung berichtet, dass Clothru noch vor Medb Königin von Cruachan gewesen sei, weswegen beide den Beinamen "von Cruachan" getragen hätten. Als ihre Brüder Bres, Nár und Lothar, genannt die Findemna ("die schönen Drillinge"), planten, den Vater vom Thron zu stürzen, habe sie dies zuerst durch Verrat verhindern wollen. Da dieser Plan aber fehlschlug, lud sie die drei auf ihre Burg ein, wo sie ihre Brüder verführte. Sie gebar einen Sohn, Lugaid Riab nDerg ("Lugaid mit den roten Streifen"), und drohte ihnen damit, diese Schande zu verraten, wenn sie noch jemals die Hand gegen den Vater erheben würden. Gleichzeitig wollte sie damit sicherstellen, dass der Stamm ihres Vaters beim von ihr befürchteten Tod der Söhne nicht ausstarb.

Später wird Clothru von Medb ermordet und von ihrem Sohn Furbaide Ferbend gerächt.

Siehe auch
 Liste keltischer Götter und Sagengestalten
 Keltische Frauen

Literatur
 Bernhard Maier: Lexikon der keltischen Religion und Kultur (= Kröners Taschenausgabe. Band 466). Kröner, Stuttgart 1994, ISBN 3-520-46601-5.

Einzelnachweise

Irische Sagengestalt

Clothru


Victoria Mierlescu (n. 18 septembrie 1905, Giurgiu -  d. 14 mai 1992, București) a fost o actriță română de film, radio, televiziune, scenă și voce.

Biografie
A fost actriță la Teatrul Național "I. L. Caragiale" și la Teatrul de Comedie din București. A fost distinsă în ianuarie 1953 cu Ordinul Muncii, clasa III "pentru merite deosebite, pentru realizări valoroase în artă și pentru activitate merituoasă". A obținut ulterior titlul de artistă emerită.

Filmografie
 Politică cu... delicatese (sm, 1964)
 Muntele ascuns (1975)
 Povestea dragostei (1977)
 Tufă de Veneția (1977)
 E-atît de-aproape fericirea (1978)
 Prea cald pentru luna mai (1984)
 Domnișoara Aurica (1986)
 Secretul lui Nemesis (1987)
 Fără lumini de poziție (1989)
Ochii care nu se văd (1990)

Note

Bibliografie

Nașteri în 1905
Nașteri pe 18 septembrie
Decese în 1992
Decese pe 14 mai
Actrițe de film române
Actrițe de radio române
Actrițe de teatru române
Actrițe de televiziune române
Actrițe de voce române
Actrițe române din secolul al XX-lea
Artiști emeriți ai Republicii Populare Romîne și ai Republicii Socialiste România
Giurgiuveni
Decese în București
Decorați cu Ordinul Muncii

Victoria Mierlescu


أم الجليل بلدية بدائرة عزيز ولاية المدية الجزائرية.
تتكون قرية ام الجليل من أربعة أحياء كبيرة وهي: الصوافين ولازواش وسيدي هزرش والمايمية. والمركز يدعى بالقرية وهي منطقة لها عادات وتقاليد عريقة.

توجد بها متوسطة وحيدة «الأخوة شخشوخ»

المصادر

أماكن مأهولة في ولاية المدية
أم الجليل

أم الجليل


Žabovlatka (konačac vodeni, vodeni konac, vodnica, lat. Callitriche), rod vodenih trajnica iz porodice trpučevki, nekada uključivane u vlastitu porodicu žabovlatkovki (Callitrichaceae).

Na popisu se nalazi 60 priznatih vrsta, od čega 9 vrsta i podvrsta raste i u Hrvatskoj.

Vrste

 Callitriche alata A.I.Baranov & Skvortsov
 Callitriche albomarginata Fassett
 Callitriche anisoptera Schotsman
 Callitriche antarctica Engelm. ex Hegelm.
 Callitriche aucklandica R.Mason
 Callitriche brachycarpa Hegelm.
 Callitriche brevistyla Lansdown
 Callitriche brutia Petagna
 Callitriche christensenii Christoph.
 Callitriche compressa N.E.Br.
 Callitriche cophocarpa Sendtn.
 Callitriche cribrosa Schotsman
 Callitriche cycloptera Schotsman
 Callitriche deflexa A.Braun ex Hegelm.
 Callitriche fassettii Schotsman
 Callitriche favargera Schotsman
 Callitriche fehmedianii Majeed Kak & Javeid
 Callitriche fuscicarpa Lansdown
 Callitriche glareosa Lansdown
 Callitriche hamulata Kütz. ex W.D.J.Koch
 Callitriche hedbergiorum Schotsman
 Callitriche hermaphroditica L., jesenska žabovlatka
 Callitriche heterophylla Pursh
 Callitriche heteropoda Engelm. ex Hegelm.
 Callitriche × hybrida E.H.L.Krause
 Callitriche japonica Engelm. ex Hegelm.
 Callitriche keniensis Schotsman
 Callitriche lechleri (Hegelm.) Fassett
 Callitriche lenisulca Clavaud
 Callitriche longipedunculata Morong
 Callitriche lusitanica Schotsman
 Callitriche mandonis Van Heurck & Müll.Arg.
 Callitriche marginata Torr.
 Callitriche mathezii Schotsman
 Callitriche mouterdei Schotsman
 Callitriche muelleri Sond.
 Callitriche nubigena Fassett
 Callitriche obtusangula Le Gall
 Callitriche occidentalis Hegelm.
 Callitriche oreophila Schotsman
 Callitriche palustris L., proljetna žabovlatka
 Callitriche pedunculosa Nutt.
 Callitriche peploides Nutt.
 Callitriche petriei R.Mason
 Callitriche platycarpa Kütz., plosnatoplodna žabovlatka
 Callitriche pulchra Schotsman
 Callitriche quindiensis Fassett
 Callitriche raveniana Lansdown
 Callitriche regis-jubae Schotsman
 Callitriche rimosa Fassett
 Callitriche sonderi Hegelm.
 Callitriche stagnalis Scop., jezerska žabovlatka
 Callitriche stenoptera Lansdown
 Callitriche terrestris Raf.
 Callitriche transvolgensis Tzvelev
 Callitriche trochlearis Fassett
 Callitriche truncata Guss.,  odrezana žabovlatka
 Callitriche umbonata Hegelm.
 Callitriche × vigens K.Martinsson
 Callitriche vulcanicola Schotsman
 Callitriche wightiana Wall. ex Wight & Arn.

Vanjske poveznice

Izvori

Callitrichoideae

Žabovlatka


Sitara Begum é uma médica do Bangladesh, oficial do Exército e heroína de guerra. É uma das duas mulheres no Bangladesh que recebeu o prémio Bir Protik. Ela desempenhou um papel magnífico no Setor 2 durante a Guerra de Libertação do Bangladesh em 1971.

Juventude
Begum nasceu em Kishoreganj em 1946. O seu pai, Israil Mian, era advogado. Ela formou-se no Holy Cross College, Dhaka e completou o seu MBBS no Dhaka Medical College. O seu irmão era o major Abu Taher Mohammad Haider.

Carreira
Begum foi comissionada no Corpo Médico do Exército do Paquistão em 1970 como tenente. Ela e o seu irmão estavam colocados em Comilla Cantonment. Após o início da guerra de libertação do Bangladesh, ela e os seus pais, com a ajuda de membros da Mukti Bahini, mudaram-se de Kishorganj para Meghalaya. Ela então foi nomeada comandante do Hospital Bangladesh, um hospital Mukti Bahini localizado na Índia que funcionou durante a guerra. Ela regressou a Dhaka após a independência do Bangladesh.

Begum deixou o Bangladesh depois de o seu irmão ter sido morto no golpe de estado de Bangladesh a 7 de novembro de 1975 e passou a viver nos Estados Unidos.

Pessoas vivas
Nascidos em 1945
Militares de Bangladesh

Sitara Begum


Tarakuse ist ein Dorf (estnisch küla) in der Landgemeinde Alutaguse (bis 2017 Mäetaguse). Es liegt im Kreis Ida-Viru (Ost-Wierland) im Nordosten Estlands.

Beschreibung und Geschichte
Das Dorf hat 14 Einwohner (Stand 1. Januar 2011).

Der Ort entstand 1907, als einige Dutzend Esten aus Avinurme das Gut Tarakuse aufkauften und als Bauernland untereinander aufteilten.

Einzelnachweise

Ort in Estland
Alutaguse

Tarakuse


මීයන් යනු මධ්‍යම-ශරීර-ප්‍රමාණයෙන් යුතු හා  දිගු-වලගැති මියුරොයිඩියා උපරිකුලයට අයත් විවිධ කෘන්තකයෝ වෙති . "සැබෑ මියන්" යනු රැටස් ගණයෙහි සාමාජීකයන් වන අතර, ඒ අතුරින් මානවයන්ට වඩාත් වැදගත් වන්නේ කළු මීයා, රැටස් රැටස්, සහ දුඹුරු මීයා, රැටස් නෝර්වෙජිකස් වෙති. අනෙකුත් කෘන්තක ගණයන් හා කුලයන්හී බොහෝ සාමාජීකයන්ද මීයන් ලෙස හැඳින්වෙන අතර, සැබෑ මීයන්ගේ බොහෝ ගුණාංග ඔවුහූද දරති.

මීයන් මූසිකයන්ගෙන්  වෙන්කර හඳුනාගැනුම සාමාන්‍යයෙන් සිදු කෙරෙනුයේ ඔවුන්ගේ ශරීර ප්‍රමාණයෙනි; මීයන් සාමාන්‍යයෙන් විශාල ශරීර ප්‍රමාණ සහිත මුරොයිඩ් කෘන්තකයන් වන අතර, මූසිකයන් සාමාන්‍යයෙන් කුඩා සිරුරු සහිත මුරොයිඩ් කෘන්තකයන් වෙති. මුරොයිඩ් කුලය අතිශයින් විශාල හා සංකීර්ණ එකක් වන අතර, මීයා සහ මූසිකයා යනු පොදු පද යෙදුම් වර්ගීකරණරූපීව විශේෂිත ලෙසින් නොයෙදෙති. සාමාන්‍යයෙන්, කිසිවකු විශාල මුරොයිඩයෙකු සොයා ගත් කල, උගේ පොදු නම සඳහා මීයා (රැට්) යන පදය අඩංගු කරවන අතර, ඌ කුඩා නම්, නම වෙත අඩංගු වන්නේ මූසිකයා (මවුස්) යන පදයයි. විද්‍යාත්මක වශයෙන්, මෙම පදයන් රැටස් සහ මුස් ගණයන්ට සීමාවී නොමැති අතර, එයට උදහරණ වශයෙන් ඇහුරුම් මීයා (pack rat) සහ කපු මූසිකයා (cotton mouse) දැක්විය හැක.

සත්වයෝ

මීයා


Bayárcal, İspanya'nın on yedi otonom bölgesinden en kalabalık ikinci bölge olan Endülüs'e bağlı, İspanya'nın güneyinde bulunan Almería eyaletine bağlı belediye. 2009 yılındaki nüfusu 306 kişidir. Belediye, 37 km²'lik bir alanı kaplamaktadır.

Nüfus

Kaynak: INE (Spain)

Dış bağlantılar
  Bayárcal - Sistema de Información Multiterritorial de Andalucía
  Bayárcal - Diputación Provincial de Almería

Bayárcal


A Medalha pela Defesa do Cáucaso () foi uma medalha de campanha da Segunda Guerra Mundial da União Soviética .

História
A Medalha pela Defesa do Cáucaso foi instituída em 1º de maio de 1944 por decreto do Presidium do Soviete Supremo da URSS. Seu estatuto foi modificado por múltiplas resoluções do Presidium do Soviete Supremo da URSS, em 16 de maio de 1944, 2 de junho de 1944, 5 de junho de 1944, 10 de março de 1945, 15 de março de 1945, e por último pelo decreto № 2523-X do Presidium do Soviete Supremo da URSS de 18 de julho de 1980.

Estatuto da medalha
A Medalha "Pela Defesa do Cáucaso" foi concedida a todos os participantes na defesa do Cáucaso - soldados do Exército Vermelho, marinheiros da Marinha, tropas do NKVD, bem como civis que participaram a defesa do Cáucaso durante a batalha do Cáucaso.

A concessão da medalha foi feita em nome do Presidium do Soviete Supremo da URSS com base em documentos que atestam a participação efetiva na defesa do Cáucaso emitidos pelo comandante da unidade, chefe do estabelecimento médico militar ou por um representante relevante autoridade provincial ou municipal de Stavropol ou dos Sovietes de Deputados do Povo de Krasnodar, do Soviete Supremo da RSS da Geórgia, da RSS do Azerbaijão, da ASSR da Ossétia do Norte ou da ASSR de Kabardin. Militares em serviço receberam a medalha de seu comandante de unidade, aposentados do serviço militar receberam a medalha de um comissário militar regional, municipal ou distrital na comunidade do destinatário, membros da população civil, participantes da defesa do Cáucaso receberam sua medalha do conselho regional, Conselhos Municipais de Deputados do Povo dos territórios de Stavropol e Krasnodar, Sovietes de Deputados Operários ou dos Sovietes Supremos da Geórgia, do Azerbaijão, da Ossétia do Norte ou de Kabardin. Para os defensores que morreram em batalha ou antes da instauração da medalha, ela foi concedida postumamente à família.

O estatuto da Medalha "Pela Defesa do Cáucaso" foi alterado para incluir membros da população civil da RSSA do Daguestão , do Oblast de Grozny, da RSS da Armênia e da região de Rostov como destinatários elegíveis para a sua participação na defesa do Cáucaso.

A Medalha "Pela Defesa do Cáucaso" foi usada no lado esquerdo do peito e na presença de outros prêmios da URSS, foi localizada imediatamente após a Medalha pela Defesa de Kiev. Se usado na presença de Ordens ou medalhas da Federação Russa, estas últimas têm precedência.

Descrição da medalha
A Medalha "Pela Defesa do Cáucaso" era uma medalha circular de latão de 32 mm de diâmetro com aro elevado. No anverso ao centro, a imagem em relevo do Monte Elbrus, ao seu pé, torres de petróleo e um grupo de três tanques movendo-se para a esquerda; sobre as montanhas, três aeronaves voando para a esquerda. Uma faixa de 3 mm de largura coberta com imagens em relevo de cachos de uvas e flores percorre toda a circunferência da medalha, bem no topo, uma estrela de cinco pontas em relevo, na parte inferior, um pergaminho com a inscrição em relevo "URSS" () dividida pela imagem da foice e do martelo. No reverso, próximo ao topo, a imagem em relevo da foice e do martelo, abaixo da imagem, a inscrição em relevo em três fileiras "PARA NOSSA PÁTRIA SOVIÉTICA" (). A Medalha pela Defesa do Cáucaso era presa por um anel através do laço de suspensão da medalha a uma montagem pentagonal soviética padrão coberta por uma fita moiré de seda verde oliva de 24 mm de largura com listras azuis de 2,5 mm de largura, no meio, duas de 2 mm faixas brancas largas contornadas por faixas azuis e vermelhas de 1 mm separadas por uma faixa verde-oliva de 2 mm.

Prêmios estabelecidos em 1944
Prêmios da União Soviética
Condecorações militares soviéticas

Medalha pela Defesa do Cáucaso


The flag of Haiti (, ) is the national flag of the Republic of Haiti. It is a bicolour flag featuring two horizontal bands coloured blue and red, emblazoned by a white rectangular panel bearing the coat of arms of Haiti. The coat of arms depicts a trophy of weapons atop a green hill and a royal palm symbolizing independence. The palm is topped by the Cap of Liberty. The motto L'Union fait la Force ("Unity makes strength") appears on a white ribbon below the arrangement.

Present design

National flag
The present design was first used by the Republic of Haiti under President Alexandre Pétion in 1806. It was most recently readopted on 25 February 2012 under Title I, Chapter I, Article 3 of the current Constitution of Haiti:L'emblême de la Nation Haïtienne est le Drapeau qui répond à la description suivante:

The English translation adopted by the Embassy of Haiti in Washington, D.C., reads:The emblem of the Haitian Nation shall be a flag with the following description:

Contrary to the constitutional mandate, the white field is rarely (if ever) rendered as a square. A rectangle with an 11:9 ratio has been adopted by the Haitian Ministry of Information and Coordination since 1987 or earlier.

The flag of Haiti is one of seven national flags whose designs incorporate a depiction of the flag itself, the others being the flags of Bolivia, Costa Rica, the Dominican Republic, Ecuador, El Salvador, and Venezuela. The flag is one of four national flags of UN member states to feature a gun, the others being those of Mozambique, Guatemala, and Bolivia.

Civil flag
The civil flag and ensign omits the coat of arms.

Colours scheme

History
The first purely Haitian flag was adopted on 18 May 1803, on the last day of the Congress of Arcahaie, about  north of Port-au-Prince. Haitian lore holds that the newly appointed revolutionary leader Jean-Jacques Dessalines created the flag by taking a French tricolor and ripping out the white center, which he discarded. He then asked Catherine Flon, his god-daughter, to sew the remaining bands together. The white pale removed, the blue was taken to represent Haiti's Black African citizens and the red the gens de couleur. The story is widely known in Haiti: the anniversary of the date is celebrated as the Flag and Universities Day and images of Catherine Flon have appeared on Haitian currency and stamps.

Following his proclamation as Emperor Jacques I, Dessalines promulgated a new constitution on 20 May 1805. In it, the colors of the flag were altered to black and red. This flag being subsequently adopted by Henri Christophe, the republicans under Alexandre Pétion returned to the colors blue and red, subsequently turning them horizontal and adding the newly adopted Haitian coat of arms.

During the period of the Haitian Empire of Faustin I, his coat of arms was used on the flag and for official functions, but it was subsequently abandoned upon his removal from office.

Between 1964 and 1986, the family dictatorships of François "Papa Doc" and Jean-Claude "Baby Doc" Duvalier returned to Dessalines' black and red design. They included the national coat of arms, but altered the flags in its trophy to black as well.

See also

 Haitian Flag Day
 List of Haitian flags
 Coat of arms of Haiti
 Flag of France
 Flag of Liechtenstein

Notes

References

External links

 The Armorial of Haiti: Symbols of Nobility in the Reign of Henry Christophe
 République d'Haïti

Haiti
National symbols of Haiti

Haitian culture

Flag of Haiti


In This Skin is the third studio album by American recording artist Jessica Simpson. The album was released on August 19, 2003, by Columbia Records. It was reissued on March 2, 2004, with three new songs. Simpson began taking more creative control of her music with the album, both musically and lyrically, co-writing 10 out of 14 tracks on the album, thus moving away from the teen pop styles of her previous two albums, Sweet Kisses (1999) and Irresistible (2001), as well as including elements of Middle Eastern music, dance, acoustic, and pop rock, while also lyrically talking about more mature subject matters. The album was a huge success in North America, reaching number two on the US Billboard 200 and being certified triple platinum by the Recording Industry Association of America (RIAA). Internationally, In This Skin went on to become the thirty-fifth best selling album of 2004. It was ranked number 153 on the list of the top-selling albums of the 2000s by Billboard magazine. As of 2020, In This Skin has sold 7 million copies worldwide.

The album spawned four singles, including two top 20 hits worldwide, "With You" and "Take My Breath Away," which peaked at number fourteen and twenty on the Billboard Hot 100 respectively. "Sweetest Sin" and "Angels," the lead and final single, both failed to make an impact on charts.  Simpson performed songs from In This Skin on a number of occasions. In middle 2004, she embarked on her second headlining tour, titled the Reality Tour, to promote the album.

Background
After the release of her 2001 album Irresistible, Simpson stated she wanted to write songs for her third record. In an interview with MTV in October 2002, her then-husband, Nick Lachey, revealed that Simpson was in the studio, working on a new record. Lachey said, "She's finally writing her own music, which I've told her she could do forever but she's been shy about stepping out there and doing it. But she's an incredible writer, and she's doing stuff that's really from the heart." About the album's sound, he said, "It's a much more organic record and it's more true to herself ... There's all live instrumentation and it's very musical as opposed to the pop thing that was happening before for her. I think she finally feels like this is her record and her chance to do exactly what she wants." In March 2003, Simpson revealed that her third album would be called In This Skin.

Production and development

Simpson said in an interview with Billboard, "I wanted to make a romantic, organic album, there are songs that say something that I hope will move or inspire people." Billboard'''s Chuck Taylor compared the record to her first album, saying, "Simpson's soaring vocals give 'In This Skin' a smooth touch, as it sways between spirited midtempo melodies and her signature ballads."

Originally, the album was planned to be primarily produced by American rapper Missy Elliott, while the sole featured appearance was to be made by Nick Lachey. However, the pair's contributions never made the final cut of the album. About the recording process, Simpson said that A&R executive Teresa LaBarbera Whites "had the incredible idea of creating a songwriting camp. I would go from room to room with one songwriter after another... We would sit there for two or three hours—write an entire song—and then go in and record it in 90 minutes. It was so refreshing." Much of the album was recorded in Nashville and Los Angeles, with the help of established writers and producers.

"Sweetest Sin," the album's first single, was written by Diane Warren and is about losing one's virginity. MTV described the song as a "sweet track." In an interview with Billboard, Simpson said the song was "nothing negative, it's all about love." About the second single, "With You," Simpson said, "It's cool for me just because it's my personality ... Nick loves me with nothing but a T-shirt on so that's where the song idea came from."Billboard cited "I Have Loved You" and "Underneath" as the most expressive tracks from the album, citing the latter as "a four-month period where Simpson and Lachey called it quits, then-in the wake of Sep. 11, 2001 ... realized the value of making a relationship work." The magazine described the title track as "a plucky pop anthem about self-acceptance." About the song, Simpson said, "I was 102 pounds and people at the record label were telling me that I needed to lose weight. The song is saying that I am worthy to feel beautiful in my skin. It's something that every woman experiences in one way or another."

The album was subsequently reissued with three new recordings: an acoustic version of "With You" and two covers. The Berlin cover "Take My Breath Away" is Simpson and Lachey's love theme, she said, "because it was playing the first time Nick kissed me." Simpson also said that she had "been obsessed with 'Take My Breath Away' for a very long time." Another cover on the album was Robbie Williams' "Angels." Simpson described the recording session for the two songs as difficult because she had to do both songs in one day. Lachey helped produce the vocals for both songs, and Simpson credited him with helping her get in the right mood by keeping his hand in her back pocket "and being right there" during the recording session.

Critical reception

Initial critical response to In This Skin was mixed. Sal Cinquemani of Slant Magazine gave the album 2.5 stars and criticized it as "glossy, ever-so-slightly over-produced ... weighed down by soggy, overwrought pop ballads" and "sickeningly sweet" lyrics. However, he praised "Forbidden Fruit," comparing it to Madonna's single "Music," and "Loving You," which he described as "a seductively contrived reminder that, with teen pop long dead, Simpson should be aiming to recapture the club audience that helped launch her career with 'I Wanna Love You Forever.'"

Stephen Thomas Erlewine from AllMusic also gave the album 2.5 stars in a mixed review, writing, "The problem with In This Skin is that its heart is in the mature middle of the road but its sound is still pitched too young, making [it] a record that satisfies neither audience."

Jon Caramanica of Rolling Stone gave the album 2 stars, criticizing Simpson's lack of vocal "subtlety." However, he added, "Her powerful voice is done a disservice by insipid songwriting and arrangements — as on the loathsome club track 'Forbidden Fruit' and the uncomfortably stately ballad 'You Don't Have to Let Go' — that consistently get in the way of her pipes."

Commercial performanceIn This Skin debuted at number 10 on the Billboard 200 albums chart with 64,000 copies sold. Within five months of release, the album had sold 565,000 copies. In March 2004, the album was re-released and it jumped from number 16 to number two, selling 160,000 copies in that week and seeing a 205% increase in sales. It was her highest weekly sales at the time, beating the sales of her sophomore album Irresistible, which debuted at number six with 120,000 copies. On August 19, 2004, it was reported that after a year of release, In This Skin had sold over 2.4 million copies in the US. As of February 2009, it has sold 2.9 million copies, according to Billboard. In total the album charted on the Billboard 200 for 75 consecutive weeks. Towards the end of 2004 In This Skin was ranked at number 14 on Billboards year-end albums chart. In December 2004, the album was certified triple platinum by the RIAA for shipments of three million copies.

In Australia, April 4, the album debuted at number 40. In peaked at number 13 in its seventh week, becoming Simpson's highest album peak in Australia to date. In This Skin stayed in the top 50 for 27 weeks. The album was later certified Platinum by the ARIA. In Ireland, In This Skin debuted at number 58. In its second week fell to number 75, but in its fourth week the album rose to a new peak of number 27. The album remained in the top 75 for 8 weeks. In the UK, the album debuted at number 36, the same peak of her first album Sweet Kisses. It remained in the top 75 for 5 weeks. In Canada, the album reached number 45 in May 2004. The album stayed on the chart for 30 weeks. It was later certified Gold by the CRIA. In Switzerland, it peaked at number 78 and remained on the chart for three weeks. At the end of 2004 In This Skin was ranked as the 35th best selling album globally by the IFPI. As of 2020, In This Skin has sold 7 million copies worldwide.

Singles

"Sweetest Sin" was released as the lead single from In This Skin. The music video, directed by Dean Paraskavopoulos, starts with black-and-white shots of Simpson dancing and looking at viewers. It cuts to Simpson swaying on a beach, and embracing Nick Lachey underneath a waterfall on the beach. Further scenes are presented, such as one in which Simpson lies on a bed by herself. The video continues with intercut footage of the previous scenes, until the final seconds of the song, when Simpson is joined by her husband, in which they move on their bed on the beach. The video ends when Lachey disappears, leaving the singer alone. "With You" was released as the album's second single on September 16, 2003. The song received positive reviews from critics. Enjoyed more success, reaching at top ten on Australia and UK and top-twenty on Ireland, Norway and United States. The single was her first number one in Top 40 Mainstream chart. Later was certified Gold in US and Platinum on Australia. The video of the song was released as a DVD single. Simpson received one and only MTV Europe Music Award nomination for Best Female, enjoying her commercial success outside America. It received two MTV Video Music Award nominations for Best Female Video and Best Pop Video. "I Have Loved You" peaked at number one on Paraguay Charts.

Promotion

Simpson performed "Sweetest Sin" live at the Trump Taj Mahal in Atlantic City, New Jersey. The performance, dedicated to Lachey, was recorded and later broadcast on the second season of Newlyweds: Nick and Jessica. "With You" was also performed on American late-night show The Tonight Show with Jay Leno and American morning show Live with Regis and Kelly on October 17 and October 23, 2003. She also gave a memorable performance of "With You"/"Angels" at 2004 MTV Video Music Awards. The promotion of "Angels" by Simpson was extensive; she sang a Spanglish duet of the song with Spanish singer David Bisbal at the 2004 Latin Grammy Awards, performed it on VH1 Divas 2004 and on shows like Late Show with David Letterman and The Early Show. She later performed it during the seventh season of Dancing with the Stars.

The Reality Tour
The Reality Tour to promote In This Skin was the second concert tour by Jessica Simpson. While promoting the re-release of her album, Simpson stated in several interviews the possibility of a tour, wanting to break away from filming her TV series and connect with her fans. The tour was officially announced in May 2004 through various media outlets, with sponsorship from Ice Breakers and Proactiv Solution.

During an interview with the Associated Press, the singer said she wanted the concerts to focus on her music and her personality. Onstage, Simpson was joined by a seven-piece band, with no dancers or choreography for the show. Simpson would perform songs from her three current albums, while providing anecdotes about her life and the songs. Unseen footage from her reality series and variety show (titled The Nick and Jessica Variety Hour'') were included in the show as well. Each night, the singer dedicated "I Have Loved You" to the American armed forces and conducted a Q&A session with contest winners.

Before the tour commenced, Simpson performed at several radio-sponsored music festivals including Your Show, Wango Tango, Summer Music Mania, Zootopia, Kiss Concert, and Play Safe in the Park.

The tour began in Chula Vista in May, visiting over 50 cities, ending in West Springfield. Despite early reports of poor ticket sales, Simpson's tour became one of the biggest summer tours in North America, prompting the singer to add more shows in the U.S. The tour ranked number 86 on Pollstar's "Top 100 Tours 2004", earning over seven million dollars.

Track listing

Original release

Reissue

Personnel
Credits adapted from AllMusic.

 J.D. Andrew – digital editing, engineer
 Jim Annunziato – assistant engineer, mixing assistant
 Romeo Antonio –  electric guitar
 Rich Balmer – engineer
 Greg Barnhill –  producer
 Charlie Bisharat – violin
 Dan Bucchi – mixing assistant
 Pat Buchanan – electric guitar
 Julian Bunetta – engineer, string arrangements, strings
 Darryl Bush – production coordination
 John Catchings – cello
 Earl Cohen – tracking
 J. T. Corenflos – electric guitar
 Chad Cromwell – drums
 Neil Devor – engineer
 Tony Duran – photography
 Damon Elliott –  keyboards, percussion, producer, programming
 Greg Fitzgerald –  producer
 Rob Fusari –  producer
 James Ginnetti – keyboards
 Chris Goercke – acoustic guitar
 Franne Golde –  piano, producer, vocals, background vocals
 Kara DioGuardi – background vocals
 Trina Harmon –  piano, producer, string arrangements, strings
 Carlos Henderson – bass
 Dan Hetzel – digital editing, engineer, mixing
 Hooshik – collage
 Jun Ishizeki – assistant engineer
 Richie Jones – producer, programming
 Jennifer Karr – background vocals
 Anthony Kilhoffer – assistant engineer
 Brendan Kuntz – assistant engineer, mixing assistant
 Eric Kupper – acoustic guitar, keyboards
 Holly Lamar –  producer
 Victor Lawrence – cello
 Kasia Livingston –  producer, background vocals
 Billy Mann – arranger,  drum programming, engineer, electric guitar, producer
 Lee Mars – mixing, vocal producer
 Andy Marvel – arranger,  drum programming, engineer, midi guitar, keyboard programming, producer
 Tony Maserati – mixing
 Dave Matthews – engineer
 Mary Maurer – art direction
 Bart Migal – tracking
 Nick Moroch – acoustic guitar
 Pablo Munguia – engineer, vocal engineer
 David Munk – vocal producer
 Dave Pensado – mixing
 Alison Prestwood – bass
 Greg Price – assistant engineer
 Mark Russell – production coordination
 Dave Scheuer – digital editing, engineer
 Jaime Sickora – engineer, vocal engineer
 Jessica Simpson –  primary artist, vocals
 Matt Snedecor – mixing assistant
 Michael Spriggs – acoustic guitar
 Keith Thomas – arranger, bass, keyboards, mixing, producer, programming
 Luz Vasquez – assistant engineer, mixing assistant
 John LeVasseur – engineer, Mellotron
 Rick Wake – producer
 Bill Whittington – mixing
 Andrew Williams – engineer, instrumentation, producer
 Ethan Willoughby – assistant
 Patrick Woodward – mixing
 Chris Yoakum – digital editing, MIDI technician
 Jonathan Yudkin – strings

Charts

Weekly charts

Year-end charts

Decade-end charts

Certifications and sales

Release history

References

2003 albums
Jessica Simpson albums
Columbia Records albums
Albums produced by Billy Mann
Albums produced by Ric Wake
Albums with cover art by Tony Duran

In This Skin


Bouçoães Portekiz'de Valpaços belediyesine bağlı olan, 25,74 km2 yüzölçümüne sahip, 541 nüfuslu (2001) bir bucaktır (Portekizce: freguesia).

Portekiz'in freguesiaları
Valpaços

Bouçoães


Mandsaur (en hindi; मंदसौर जिला) es un distrito de la India en el estado de Madhya Pradesh. Código ISO: IN.MP.MS.

Comprende una superficie de 5 530 km².

El centro administrativo es la ciudad de Mandsaur.

Demografía
Según censo 2011 contaba con una población total de 1 339 832 habitantes, de los cuales 658 393 eran mujeres y 681 439 varones.

Localidades
 Bhanpura

Referencias

Enlaces externos

Mandsaur

Distrito de Mandsaur


Nuruosmaniye, Sakarya ilinin Geyve ilçesine bağlı bir mahalledir.

Tarihçe
Nuruosmaniye mahallesinin adı İstanbul Eminönü Semtindeki Nuruosmaniye Camiinden gelmiştir. 1877 Rus harbi döneminde Gürcistan yöresinden gelen Gürcüler tarafından kurulmuştur. Köy içinde ve havarisinde mahallenin ismi Bıçkıdere diye de anılmaktadır.

Coğrafya
Sakarya il merkezine 20 km, Geyve ilçesine 19 km uzaklıktadır.

Nüfus

Dış bağlantılar

 Yerelnet

Geyve'nin mahalleleri

Nuruosmaniye, Geyve


Itaperuna es un municipio en el estado brasileño de Río de Janeiro. Tenía una población de 95.841 habitantes en 2010, y tiene un área de 1.105,3km².

Historia

El municipio fue fundado en 1889, después de haber sido separado del municipio de Campos dos Goytacazes. Su actual prefecto (de 2008 a 2011) es Cláudio Cerqueira Bastos (PSDB).

Ubicación
La ciudad está ubicada a 230km de la capital del estado, la ciudad de Río de Janeiro. Sus municipios vecinos son:

 Bom Jesus do Itabapoana – norte a este
 Campos dos Goytacazes – este
 Italva – este y sureste
 Cambuci – sur
 São José de Ubá – sur
 Miracema – suroeste
 Laje do Muriaé – oeste
 Patrocínio de Muriaé – noroeste
 Eugenópolis - noroeste
 Antônio Prado de Minas - noroeste

Referencias

Localidades de Río de Janeiro

Itaperuna


Los eupulmonados (Eupulmonata) son un clado taxonómico de caracoles terrestres. La gran mayoría de especies de este grupo son caracoles de tierra y babosas, aunque también incluye algunos caracoles marinos y otros que pueden habitar entornos salobres.

Taxonomía linneana
Suborden Eupulmonata Haszprunar & Huber, 1990
Infraordia Acteophila Dall, 1885 (= formerly Archaeopulmonata)
Superfamilia Melampoidea Stimpson, 1851
Infraorden Trimusculiformes Minichev & Starobogatov, 1975
Superfamilia Trimusculoidea Zilch, 1959
Infraorden Stylommatophora A. Schmidt, 1856 (land snails)
Subinfraorden Orthurethra
Superfamilia Achatinelloidea Gulick, 1873
Superfamilia Cochlicopoidea Pilsbry, 1900
Superfamilia Partuloidea Pilsbry, 1900
Superfamilia Pupilloidea Turton, 1831
Subinfraorden Sigmurethra
Superfamilia Acavoidea Pilsbry, 1895
Superfamilia Achatinoidea Swainson, 1840
Superfamilia Aillyoidea Baker, 1960
Superfamilia Arionoidea J.E. Gray in Turnton, 1840
Superfamilia Buliminoidea Clessin, 1879
Superfamilia Camaenoidea Pilsbry, 1895
Superfamilia Clausilioidea Mörch, 1864
Superfamilia Dyakioidea Gude & Woodward, 1921
Superfamilia Gastrodontoidea Tryon, 1866
Superfamilia Helicoidea Rafinesque, 1815
Superfamilia Helixarionoidea Bourguignat, 1877
Superfamilia Limacoidea Rafinesque, 1815
Superfamilia Oleacinoidea H. & A. Adams, 1855
Superfamilia Orthalicoidea Albers-Martens, 1860
Superfamilia Plectopylidoidea Moellendorf, 1900
Superfamilia Polygyroidea Pilsbry, 1894
Superfamilia Punctoidea Morse, 1864
Superfamilia Rhytidoidea Pilsbry, 1893
Superfamilia Sagdidoidera Pilsbry, 1895
Superfamilia Staffordioidea Thiele, 1931
Superfamilia Streptaxoidea J.E. Gray, 1806
Superfamilia Strophocheiloidea Thiele, 1926
Superfamilia Trigonochlamydoidea Hese, 1882
Superfamilia Zonitoidea Mörch, 1864

Taxonomía 2005
En la Taxonomía de Gastropoda (Bouchet & Rocroi, 2005), Eupulmonata es un clado sin clasificar:

Referencias

Enlaces externos

Panpulmonata

Eupulmonata


Barkod bir ışık kaynağının (genelde kırmızı ışık) barkotlu yüzeye (siyah dikey veya yatay çizgiler) çarparak siyah çizgilerden daha az (daha fazla soğurulma ve kırılma) aralardaki beyaz boşluklardan daha fazla (daha az kırılma daha fazla yansıma) yansıyan ışığı çözümleyip elektriksel sinyallere çevirerek çalışan cihazdır. Düz tarayıcılar gibi, bir ışık kaynağı, bir lens ve optik işaretleri elektriksel sinyallere çeviren bir fotoiletken içerir. Ek olarak günümüzde üretilen tüm barkod okuyucular fotoiletken tarafından sağlanan barkod verisini analiz eden ve barkodun içeriğini tarayıcının çıkışına gönderen bir kod çözücü devre içerir.

Barkod okuyucu tipleri
Birçok barkod okuyucu tipi mevcuttur. Aşağıda açıklandığı şekilde ayrılırlar:

Işık kaynağına göre
 LED tarayıcı : aslında CCD ışık kaynağı olmayıp fotoiletken olmasında rağmen, aynı zamanda CCD tarayıcı olarak da bilinirler.
 Laser tarayıcı : tek boyutlu veya "doğrusal kodları" tararlar. Tipik olarak hareketli parçalar içerdikleri için LED tarayıcılardan daha az dayanıklı olurlar.
 İki boyutlu görüntü tarayıcıları : Bu tarayıcılar kameralarda olduğu gibi barkodun iki boyutlu bir görüntüsünü çeker, Datamatrix gibi iki boyutlu barkod tipleriyle beraber aynı zamanda en yaygın tek boyutlu barkod tiplerini taramak için kullanılırlar.

Kılıfına göre
 El tipi tarayıcı : bir tutma yeri ve ışık kaynağını açan bir tetik mekanizması.
 Kalem tarayıcı (veya wand tarayıcı) : görüntü üzerinde kaydırılan kalem şeklinde tarayıcı.
 Masaüstü tarayıcı : duvara veya masa üstüne monte edilen ve barkodun altından veya yanından geçirildiği tarayıcı. Bunlar genel olarak süpermarket kasalarında ve diğer perakendecilerde bulunurlar.
 Sabit tarayıcı : üretim veya lojistik aşamalarında ürünleri tanımlayan endüstriyel bir barkod okuyucu. Genellikle konveyör hatlarında başka bir işlem veya yükleme noktasına yönlendirilmesi gereken karton veya paletleri tanımlamak için kullanılırlar.
 PDA tarayıcı : bütünleşik barkod okuyucu içeren veya barkod tarayıcı bağlanmış bir PDA.

Teknoloji ve mühendislik
 laser tarayıcılar : tipik laser tarayıcılar CD/DVD sürücüleri için üretilen ve bu nedenle düşük maliyetli olan 650 nm laser diyod kullanırlar. Diyod genel olarak ısı yayınımına yardımcı olmak için metal kılıf içinde bulunur. Üretilen laser ışını bir lens yardımıyla yoğunlaştırılır ve dönen poligonal bir ayna veya osilasyon yapan bir ayna yardımıyla yansıtılır. Bu barkod üzerine yönlendirilen tek bir çizgi veya çizgi demeti üretir. Barkoddan yansıyan ışın bir fotodiyod tarafından yakalanır ve oluşan akım güçlendirilip kod çözücü devre tarafından işlenir. Alınan sinyal (ki bu ışın profili Gauss ışınına benzer) barkoddaki siyah ve beyaz çizgilerin sırasına göre laser ışınının değişimidir. Tarayıcının performansı aşağıdakilerin bir fonsiyonudur:
 Sinyal gürültü oranı (laserin gücü, laser ışınının boyutu, optik parçaların yansıma/iletme seviyesi, gelen ışını toplama alanı, barkoda olan mesafe, güneş, floresan ışık gibi optik gürültü kaynaklarının seviyesi ve bu gürültüyü filtreleme yeteneği vb. tarafından belirlenir). Laserin gücü genelde CDRH Sınıf I/II güvenlik gereksinimleri ile sınırlıdır.
 Cihazın okuma hızı. Basitçe kod çözme hızı ve kod çözülecek alanın boyutu arasındaki ilişki
 barkod (baskı kontrast oranı, bozuklular, barkodun boyutu, ve barkodun tarayıcıya göre yönü). Genel olarak laser kod çözmek için çizgi dizilerine ulaşmadan önce barkod üzerinde belli bir 'boş bölge' üzerinden geçmek zorunda.
 Kod çözen devrenin barkoddaki hataları, optik gürültüyü işleme ve kod çözme yeteneği ve sinyalin modüle edildiği frekans aralığı.

Bağlantı tipleri
Çoğu barkod okuyucular bağlantı için PS/2 veya USB kablo kullanır: PS/2 kablolar ana bilgisayara Y şeklinde bağlanır, PS/2 klavye ucu birinci uç, klavyeye bağlanan ikinci uç ve barkod okuyucuya bağlanan üçüncü ve son uç. Alınan barkod karakterleri tarayıcıdan klavye girişine uygun hale getirilerek gönderilir ve ana bilgisayarda sanki klavyeden giriliyormuş gibi algılanır. Birçok okuyucu verileri bilgisayarlardaki RS-232 bağlantı kapılarına gönderecek şekilde RS-232 çıkış kapısına da sahip olabilirler. USB çoğu yeni tarayıcı tarafından desteklenir, birçok durumda da farklı USB bağlantı şekilleri (HID, CDC) sunulur.

Daha az bilinen başka bağlantı şekilleri de vardır. SDL tipi konnektör kullanan ve RS485 protokolünü baz alan IBM'in sahibi olduğu arabirimler (port 5B, port 9B ve port 17). Kodu çözmeden aktaran arabirim barkoddan gelen ham dalganın güçlendirilmiş halidir ve bir kod çözücüye ihtiyaç duyar, genel olarak eski tip yazarkasalarda kullanılır. Wand emulasyonu ham dalgayı alan ve işleyen başka bir çıktı türüdür ve çıktıyı ana makine tarafından kolayca çözülecek şekilde normalize eder. Wand emulasyonu ama makine tarafından algılanmayan sembolojileri başka sembolojilere çevirebilir (örneğin Code 39).

Semboloji tipleri
Günümüz barkod tarayıcıları EAN/UPC, Code 39, Interleaved 2 of 5 veya Code 128 gibi tüm popüler barkod sembolojilerini işler. Özel tip bir barkod okuyucu alansal görüntü okuyucu veya iki boyutlu okuyucu dijital kamera gibi çalışan LED aydınlatması ve bir CCD veya CMOS görüntü işleyici kullanır. Bunlar tek boyutlu ve iç içe geçmiş kodların yanında Data Matrix, QR Code, Aztec Code ve MaxiCode gibi iki boyutlu matrix kodları çözmek için gereklidir. PDF417 ve RSS gibi bazı kod tipleri matrix barkodlara benzeyen bileşenler içerebilir, buna rağmen bu kodlar hem tek boyutlu hem de iki boyutlu tarayıcılar tarafından okunabilir.

Kullanım alanları
 Süpermarketler
 Kimlik tanıma
 Ürün kimliği tanıma
 Kitap etiketi tanıma
gibi birçok önemli noktada kullanılır.

Kullanılan sektörler
Market, Mağaza, Büfe, Hırdavat,  Şarküteri, Kuruyemiş, Yedek Parça, Kasap, Zücaciye, Kozmetik, Tuhafiye ve diğer tüm perakende sektörleri için Barkod okuyucu uygundur.

Üreticiler
 Argox
 Datalogic
 KEYENCE
 Hand Held Products
 Honeywell
 Intermec
 Metrologic Instruments
 NCR Corporation
 PSC
 SICK
 Symbol Technologies
 Zebex
 Code Corporation
 Microscan

Otomatik tanıma ve veri toplama
Gömülü sistemler
okuyucu
Ambalaj
Görüntü tarayıcılar
Belge yönetimi
Bilgisayar donanımları
Amerika Birleşik Devletleri icatları

Barkod okuyucu


Echavarren, Etchavarren en el País Vasco francés o Etxabarren (grafía normativa actual) es un apellido vasco originario de Navarra, cuyo significado etimológico es "la parte o terreno inferior de la casa", de etxe (casa) y barren (extremo inferior, parte de abajo).

El apellido en la actualidad
Se encuentra principalmente en Navarra siendo el 1434º apellido más común, con 76 habitantes que lo poseen como primer apellido y 72 como segundo apellido. Es escaso fuera de este territorio aunque está presente en Madrid, Vizcaya y Guipúzcoa. También hay ramas familiares en Uruguay, Brasil y Estados Unidos.

El escudo de armas
En campo de oro, cinco abejas, de su color, puestas en jefe.

Historia
El escudo aparece inicialmente desde el  al , particularmente en la campaña de Don Lope Diaz de Haro contra Sancho el Fuerte de Navarra, formando parte de las tropas que se apoderaron de varios castillos y poblaciones. Las referencias de esta familia parecen precisarse con más frecuencia desde el  al  en especial los hechos de la promoción del cultivo de la caña de azúcar en las Antillas en 1644.

Referencias

Apellidos
Apellidos del País Vasco
Apellidos vascos

Echavarren


Doamna Manet în seră este o pictură în ulei pe pânză din 1881 realizată de pictorul francez Édouard Manet. Acum se află în Galeria Națională din Oslo, Norvegia.

Manet o prezintă pe soția sa într-o seră, unde venea adesea să-l ajute pe Manet să îl ajute la aranjarea pentru ședințele realizării picturii În seră. S-a despărțit cu reticență de munca sa în august 1895 din cauza unei nevoi urgente de bani. Pictura a fost cumpărată de la ea pentru 6.000 de franci de către Maurice Joyant, colecționar de artă și prieten din copilărie cu Toulouse-Lautrec. În iulie 1911, Joyant a vândut-o lui Georges Bernheim. Prietenii Galeriei Naționale din Oslo a achiziționat-o în 1918.

Manet a avut și o copie a acesteia, făcută de Jean-Georges Vibert pentru fiul nelegitim al lui Suzanne, Léon Leenhoff, al cărui tată a fost probabil chiar Manet. Aceasta a circulat în Germania pentru o perioadă îndelungată ca o lucrare originală Manet.

Note

Picturi din 1879
Picturi realizate de Édouard Manet

Doamna Manet în seră


Bizim Diyar, Nil Burak'ın dördüncü albümüdür. 1982 yılında Kervan Plakçılık etiketi ile yayınlanan albüm LP ve kaset formatlarında basılmış olup, sanatçının katıldığı aynı yıl Şili'de düzenlenen müzik festivalinde Türkiye'yi temsilen seslendirdiği "Oryantal" adlı parçayı da içermektedir.

Parçalar
 Oryantal - söz: Ülkü Aker / müzik: Selmi Andak / düzenleme: Buğra Uğur
 Sitem - söz: Ülkü Aker / müzik: T. Vosco / düzenleme: Buğra Uğur
 Bu Defa - söz: Aysel Gürel / müzik: Selmi Andak / düzenleme: Buğra Uğur
 Geri Dönülmez Bir Yoldayım - söz-müzik: Rıfat Şanlıel / düzenleme: Osman İşmen
 Özledim - söz: Ülkü Aker / müzik: Erdener Koyutürk / düzenleme: Osman İşmen
 Bir Kadın - söz: Ülkü Aker / müzik: Marinella & T. Vosco / düzenleme: Osman İşmen
 Hiç Sevilmesen Bile - söz: Fikret Şeneş / müzik: S. Bassey / düzenleme: Buğra Uğur
 Bizim Diyar - söz: Ülkü Aker / müzik: Norayr Demirci / düzenleme: Buğra Uğur
 Bulamadık ki - söz-müzik: Orhan Gencebay / düzenleme: Osman İşmen
 Aşk Merdiveni - söz: Ülkü Aker / müzik: T. Pupo / düzenleme: Osman İşmen

Nil Burak albümleri
1982 albümleri
Pop albümleri

Bizim Diyar


Nihat Şahin (* 15. September 1989 in Izmir) ist ein türkischer Fußballtorhüter.

Karriere
Şahin kam in Izmir zur Welt und zog im Kindesalter mit seiner Familie nach Antalya. Hier begann er mit dem Fußballspielen in der Jugendmannschaft von Kar İçecek Sarılar Spor und anschließend in den Jugendmannschaften von Antalyaspor, Varsak Spor und İskenderun Demir Çelikspor. Bei İskenderun DÇ bekam er 2007 einen Profi-Vertrag, spielte aber lediglich für die zweite Auswahl.

In der Winterpause der Saison 2008/09 wechselte er an die Schwarzmeerküste zum Drittligisten Ofspor und kam bis zum Saisonende zu sporadischen Einsätzen. Ab der Saison 2009/10 wurde er dann regelmäßig eingesetzt.

2011/12 wechselte er zum Süper-Lig-Klub Sivasspor. Obwohl er als dritter Torwart eingekauft wurde und in der zweiten Auswahl eingesetzt werden sollte, kam er zu mehreren Ligaeinsätzen für das Profi-Team. Aktuell hat er einen Vertrag bis 30. Juni 2015

Im Sommer 2014/15 wechselte innerhalb der Süper Lig zum Aufsteiger Mersin İdman Yurdu. Nachdem dieser Verein zum Sommer 2016 den Klassenerhalt verfehlte zog Şahin zur nächsten Saison zum Ligarivalen Gençlerbirliği Ankara weiter.  Die Hauptstädter verließ er ebenfalls nach zwei Jahren und einem verfehlten Klassenerhalt und wechselte zum Zweitligisten Gazişehir Gaziantep FK.

Erfolge
 Mit Gazişehir Gaziantep FK
 Play-off-Sieger der TFF 1. Lig und Aufstieg in die Süper Lig: 2018/19

Weblinks

Fußballtorhüter (Gaziantep FK)
Fußballtorhüter (Gençlerbirliği Ankara)
Fußballtorhüter (Körfez Iskenderunspor)
Fußballtorhüter (Mersin İdman Yurdu)
Fußballtorhüter (Ofspor)
Fußballtorhüter (Sivasspor)
Sportler (Izmir)
Türke
Geboren 1989
Mann

Nihat Şahin


ليونيل سيباستيان سكالوني  (مواليد 16 مايو 1978 في روساريو - الأرجنتين) لاعب كرة قدم أرجنتيني سابق ومدرب كرة قدم حاليا كان يلعب لصالح نادي الدرجة الأولى لاتسيو الإيطالي منذ 2007 في مركز الظهير الأيمن كما يجيد اللعب في مركز الوسط الأيمن وقد أحرزت بلاده بقيادته الفنية اللقب الكروي الثالث لها وذلك في بطولة كأس العالم 2022 في قطر.

مسيرته الكروية
لعب ليونيل سكالوني خلال مسيرته الاحترافية مع 8 أندية في خمسة وعشرون موسمًا وسجل خلالها 24 هدفًا ضمن 389 مباراة. حيث فاز في موسمين بالكأس وفي موسم واحد بالدوري.

خاض ليونيل سكالوني مسيرته مع  في موسم 1994–95 ولمدة موسمين، مشاركًا في 12 مباراة ولم يسجل أي هدف. ثم انتقل إلى نادي إستوديانتيس دي لا بلاتا في موسم 1996–97 ولمدة موسمين، حيث شارك في 37 مباراة سجل خلالها 7 أهداف. لينتقل بعدها إلى نادي ديبورتيفو لاكورونيا في موسم 1997–98 ليلعب معه تسعة مواسم، مشاركًا في 202 مباراة سجل خلالها 14 هدفًا. ثم انتقل إلى نادي وست هام يونايتد في موسم 2005–06 لمدة موسم واحد، مشاركًا في 13 مباراة ولم يسجل أي هدف. هذا وانتقل لاحقًا إلى نادي راسينغ سانتاندير في موسم 2006–07 لمدة موسم واحد، مشاركًا في 30 مباراة سجل خلالها هدفين. ثم انتقل بعدها إلى نادي ريال مايوركا في موسم 2007–08 ولمدة موسمين، مشاركًا في 28 مباراة ولم يسجل أي هدف. ليعود وينتقل من جديد، لكن هذه المرة إلى نادي لاتسيو في موسم 2009–10 ليلعب معه أربعة مواسم، مشاركًا في 52 مباراة سجل خلالها هدفًا واحدًا. لينتقل بعدها إلى نادي أتالانتا في موسم 2012–13 واستمر معه طيلة ثلاثة مواسم، مشاركًا في 15 مباراة ولم يسجل أي هدف.

الإنجازات

كلاعب
ديبورتيفو
 الدوري الإسباني: 1999–2000
 كأس ملك إسبانيا: 2001–02
 كأس السوبر الإسباني: 2002

ويست هام
 وصيف كأس الاتحاد الإنجليزي: 2005–06

الأرجنتين
 بطولة العالم للشباب: 1997

كمدرب
الأرجنتين
 كوبا أمريكا: 2021
 كأس الأبطال كونميبول–يويفا: 2022
 كأس العالم 2022 البطل.

الفردية
 جائزة أفضل مدرب منتخب من الاتحاد الدولي لتاريخ وإحصاءات كرة القدم: 2022

 جائزة الفيفا لأفضل مدرب: 2022

روابط خارجية

مراجع

لاعبو كرة قدم رجالية مغتربون في إيطاليا
أرجنتينيون من أصل إيطالي
أشخاص على قيد الحياة
رياضيون أرجنتينيون مغتربون في إسبانيا
رياضيون أرجنتينيون مغتربون في إنجلترا
رياضيون أرجنتينيون مغتربون في إيطاليا
رياضيون من روساريو
رياضيون من سانتا في (الأرجنتين)
لاعبو الدوري الإسباني
لاعبو الدوري الإنجليزي الممتاز
لاعبو الدوري الإيطالي
لاعبو أتالانتا
لاعبو إستوديانتيس دي لا بلاتا
لاعبو دوري الدرجة الأولى الأرجنتيني
لاعبو دوري الدرجة الأولى الإنجليزي
لاعبو ديبورتيفو لاكورونيا
لاعبو راسينغ سانتاندير
لاعبو ريال مايوركا
لاعبو كأس العالم 2006
لاعبو كرة قدم أرجنتينيون
لاعبو كرة قدم رجالية أرجنتينيون
لاعبو كرة قدم رجالية أرجنتينيون مغتربون
لاعبو كرة قدم رجالية مغتربون في إسبانيا
لاعبو كرة قدم رجالية مغتربون في إنجلترا
لاعبو كرة قدم مغتربون أرجنتينيون
لاعبو كرة قدم مغتربون في إسبانيا
لاعبو كرة قدم مغتربون في إنجلترا
لاعبو كرة قدم مغتربون في إيطاليا
لاعبو كرة قدم من روساريو
لاعبو كرة قدم من سانتا في (الأرجنتين)
لاعبو لاتسيو
لاعبو منتخب الأرجنتين تحت 20 سنة لكرة القدم
لاعبو منتخب الأرجنتين لكرة القدم
لاعبو نهائي كأس الاتحاد الإنجليزي
لاعبو نيولز أولد بويز
لاعبو وست هام يونايتد
لاعبو وسط كرة قدم رجالية
مدافعو كرة قدم رجالية
مدربو كأس العالم 2022
مدربو كرة قدم أرجنتينيون
مدربو كوبا أمريكا 2019
مدربو كوبا أمريكا 2021
مدربو منتخب الأرجنتين لكرة القدم
مدربو منتخب الأرجنتين لكرة القدم تحت 20 سنة
مدربو منتخبات فائزة بكأس العالم
مواليد 1978
مواليد في روساريو

ليونيل سكالوني


El hormiguero del Tapajós (Myrmelastes rufifacies), es una especie de ave paseriforme de la familia Thamnophilidae perteneciente al género Myrmelastes. Hasta recientemente hizo parte del género Schistocichla, que fue todo integrado a Myrmelastes en 2013. Es endémico de la cuenca del Amazonas de Brasil, al sur del río Amazonas.

Distribución y hábitat
Se distribuye en la Amazonia brasileña, al este del río Madeira, hacia el este hasta Pará (a occidente del río Tocantins) y hacia el sur hasta el norte de Rondônia y extremo norte de Mato Grosso).

Esta especie habita en el denso sotobosque de selvas húmedas de tierras bajas, principalmente de terra firme o selvas de transición, ocasionalmente en bosques estacionalmente inundables; hasta los 500 m de altitud, localmente hasta los 800 m.

Sistemática

Descripción original
La especie M. rufifacies fue descrita por primera vez por el ornitólogo austríaco Carl Eduard Hellmayr en 1929 bajo el nombre científico de subespecie Schistocichla leucostigma rufifacies; la localidad tipo es «Apaçy, Río Tapajós, Brasil.»

Etimología
El nombre genérico masculino «Myrmelastes» se compone de las palabras del griego «murmēx» que significa 'hormiga' y «lastēs» que significa 'asaltante'; y el nombre de la especie «rufifacies», se compone de las palabras del latín «rufus» que significa 'rojo, rufo' y «facies» que significa 'apariencia'.

Taxonomía
La presente especie fue elevada a tal rango (antes era la subespecie Schistocichla leucostigma rufifacies) siguiendo a Isler et al (2007), con base en diferencias de plumaje y vocalización, lo que fue aprobado en la Propuesta N° 301 al Comité de Clasificación de Sudamérica (SACC).

Los amplios estudios de Isler et al. 2013 en relación con el género Myrmeciza, demostraron que Myrmeciza hyperythra se encontraba agrupada dentro del grupo de especies que entonces formaban el género Schistocichla (entre las cuales la presente) y que todo este grupo estaba hermanado a Sclateria naevia. A todo este grupo lo denominaron un «clado Sclateria», dentro de una tribu Pyriglenini. Para resolver esta cuestión taxonómica, propusieron agrupar M. hypeythra y Schistocichla en el género resucitado Myrmelastes. En la Propuesta N° 628 al SACC, se aprobó este cambio, junto a todos los otros envolviendo el género Myrmeciza.

Es monotípica.

Referencias

Enlaces externos
 Videos, fotos y sonidos de Myrmelastes rufifacies en eBird.
 Sonidos y mapa de distribución de Myrmelastes rufifacies en xeno-canto.
 Fotos y sonidos de  formigueiro-de-cara-ruiva Myrmelastes rufifacies en Wikiaves.

Aves del Amazonas
Aves endémicas de Brasil
rufifacies
Animales descritos en 1929
Taxones descritos por Carl Eduard Hellmayr

Myrmelastes rufifacies


Jaime Riba Fernández (Vera, Almería; 3 de junio de 1992) es un actor español de teatro, cine y televisión, conocido por interpretar a Giorgi en La Que Se Avecina.

Biografía
Jaime Riba nació el 3 de junio de 1992 en la localidad de Vera (Provincia de Almería, Andalucía). Hijo de profesores, se interesó desde pequeño por las artes como la música, la pintura y el teatro. Su primera relación con la música fue en el Conservatorio de Almería donde estudió guitarra y solfeo musical, además de canto y coro.

En el año 2014 ingresa en la Real Escuela Superior de Arte Dramático de Madrid (RESAD) donde se gradúa en interpretación y se especializa en teatro musical e interpretación con profesionales como Miguel Tubía, Domingo Ortega o Patricia Montero, entre otros.

Riba debuta como actor en el año 2008 en la conocida obra de La zapatera prodigiosa, obra dramática de Federico García Lorca. De esta manera comienza a trabajar en los escenarios y en diversas piezas como Hoy no me puedo levantar, Grease o Mamma Mia!.

En el año 2009 fue galardonado con el Premio Buero Vallejo en la categoría de Mejor Actor Andaluz por su papel de Pelimplín en la obra de teatro Amor de Don Perlimplín con Belisa en su jardín de Federico García Lorca.

En el año 2011 da el salto al cine y trabaja con directores como David Eating, Clara Serrano o Rubén Serra, pudiendo destacar la película La Banda Aparte o el cortometraje Tetas.

En el año 2014 se traslada a Madrid donde consigue papeles como Mowgli en El Libro de la Selva, Juan en Peter Pan o, una de sus papeles más importantes, Adrián, en la obra original de Iker Azkoitia, Una Corona Para Claudia, que consigue 16 nominaciones en los Premios Broadway World 2016 y también en los Premios Max, entre la que se encuentra Mejor Actor de Reparto para Jaime Riba.

En 2018 participa en la obra musical Futbolísimos, estrenada en el Teatro La Latina, interpretando a Pakete.

Filmografía

Televisión

Teatro

Cine

Cortometrajes

Largometrajes

Premios y nominaciones

Premios Buero Vallejo

Premios Broadway World

Premios Max

Referencias

Enlaces externos

Actores de la provincia de Almería
Actores de teatro de España
Actores de cine de España
Reparto de La que se avecina
Nacidos en Almería
Actores gais
Personas homosexuales de España

Jaime Riba


Komi-Permyak Okrug (, Komi-Permyatsky okrug; , Komi-Perem kyč), or Permyakia is a territory with special status within Perm Krai, Russia. Its administrative center is the town of Kudymkar. Population:

It was a federal subject of Russia (an autonomous okrug) until December 1, 2005. It was known as Komi-Permyak Autonomous Okrug (; ) at the time.

Geography
Area: 32,770 km². Location: foothills of the Ural Mountains, upper basin of the Kama River.

History
Komi-Permyak Autonomous Okrug was established on February 26, 1925. It was an administrative division for Komi-Permyaks, a branch of the Komis, within Perm Oblast. After a referendum held in October 2004, the autonomous okrug was merged with Perm Oblast to form Perm Krai. The referendum was held both in Komi-Permyak Autonomous Okrug and Perm Oblast, and the majority of citizens of both regions voted for merging.

Administrative divisions
 (prior to December 1, 2005)
 (after December 1, 2005)

Demographics

Vital statistics
Source: Russian Federal State Statistics Service

Ethnic groups
According to the 2002 Census, Komi-Permyaks make up 59.0% of the okrug's population.  Other groups include Russians (38.2%), Tatars (1,100, or 0.8%), Ukrainians (706, or 0.5%), Belarusians (672, or 0.5%), and a host of other groups, each accounting for less than 0.5% of the total population.

References

Further reading

Geography of Perm Krai
States and territories established in 1925
2005 disestablishments in Russia
Perm Krai
Russian-speaking countries and territories
1925 establishments in Russia

Komi-Permyak Okrug


දකුණු අක්ෂාංශ 23.5  මකර නිවර්තනය නම් වේ.

නිවර්තනය කලාපයට අයත්ය.

මකර නිවර්තනයේ ලක්ෂණ:

1)අවුරුද්ද පුරා අධික වර්ෂාපතනයක් ලැබීම.

2) උණුසුම් කාලගුණයක් පැවතීම.

මකර නිවර්තනය (හෝ දක්ෂිණ නිවර්තනය) යනු  දෙසැම්බර් (හෝ දක්ෂිණ) සූර්ය නිවෘත්තිය තුලදී අවසෞර ලක්ෂ්‍යය අඩංගු වන  අක්ෂාංශක වෘත්තය වෙයි.

මකර නිවර්තනය


يا طريق هو أول ألبوم غنائي للمغني المصري عمرو دياب. صدر في سبتمبر 1983 من قبل شركة صوت المدينة.

قائمة الأغاني

كليبات تم تصويرها من الألبوم
 الزمن

مراجع

وصلات خارجية

ألبومات 1983
ألبومات عمرو دياب

يا طريق (ألبوم)


Askerî Mahkemeler Kuruluşu ve Yargılama Usulü Hakkında Kanun, 25 Ekim 1963 yılında kabul edilen, kanun numarası 353 olan, 26 Ekim 1963 tarihinde 11541 Mükerrer sayılı Resmi Gazete'de yayınlanarak yürürlüğe giren kanundur.

Bu kanun adındanda anlaşılabileceği üzere Askeri Mahkemelerin kuruluşu ve askerî personelin yargılanmaları usulü hakkındadır.

Bu Kanunda geçen "ilk tahkikat" ibaresi 04/06/1985 tarih ve 3206 sayılı Kanunun 83 üncü maddesi ile "hazırlık tahkikatı" olarak değiştirilmiştir.

Türk Milleti adına yargı yetkisini kullanacak askerî mahkemelerin ; kolordu, ordu (deniz ve havada eşidi) ve kuvvet komutanlıkları ile Genelkurmay Başkanlığı nezdinde Millî Savunma Bakanlığınca kurulmasını öngörür.

General ve amirallerin yargılanması ise 15. Madde ile; General ve amirallerin askeri mahkemelere tabi suçlarından dolayı yargılanmaları Genelkurmay Başkanlığı nezdinde kurulan askeri mahkemede yapılır şeklinde düzenlenmiştir.

Türkiye Cumhuriyeti yasaları
Türkiye Cumhuriyeti askeri mahkemeleri
1963'te Türkiye


Henry Charles Beck (4 June 190218 September 1974) was an English technical draughtsman who created the present London Underground Tube map in 1931. Beck drew the diagram after being fired at the London Metro Signal Office. Although his design was initially rejected, the Publicity Office of London Transport changed their minds after Beck resubmitted an updated copy and the map was first issued as a pocket edition in January 1933. It was immediately popular, and the Underground has used topological maps to illustrate the network ever since. Harry Beck wanted to make the network easier to understand by colouring each train route and using straight lines and 45 degree angles.

London Underground map

Before Beck

Prior to the Beck diagram (the underground map that he created), the various underground lines had been laid out geographically, often superimposed over the roadway of a city map. This meant the centrally located stations were shown very close together and the out-of-town stations spaced far apart. From around 1909 a new type of 'map' appeared inside the train cars; it was a non-geographic linear diagram, in most cases a simple straight horizontal line, which equalized the distances between stations.

By the late 1920s most Underground lines and some mainline (especially LNER) services displayed these, many of which had been drawn by George Dow. Some writers and broadcasters have speculated that Dow's maps partly inspired Beck's work. The geographical-based map, used immediately prior to Beck, in 1932, was produced by the underground map designer for the period 1926–1932, F. H. Stingemore. It was Stingemore's idea to slightly expand the central area of the map for ease of reading.

Beck's concept

It was however, Beck who had the idea of creating a full system map in colour. He believed that Underground passengers were not concerned with geographical accuracy and were more interested in how to get from one station to another and where to change trains. While drawing an electrical circuit diagram, Beck came up with a new idea for a map that was based upon the concept of an electrical schematic on which all the stations were more-or-less equally spaced rather than a geographic map. Beck first submitted his idea to Frank Pick of London Underground in 1931 but it was considered too radical because it did not show distances relative from any one station to the others. The design was therefore rejected by the Publicity department at first, but the designer persisted. So, after a successful trial of 500 copies in 1932, distributed via a few select stations, the map was given its first full publication in 1933 (700,000 copies). The positive reaction from customers proved it was a sound design, and a large reprint was required after only one month.

It is suggested by Degani (2013) that one of the configuration techniques employed by Beck was that of an "underlying grid". In some cases the vertical and horizontal grid units are equalised, but on the whole the grid is rectilinear. The result is a "relaxed grid ... which has a certain rhythm and charm – somewhat similar to the grid used by modern artists (e.g. Piet Mondrian's painting Composition With Yellow, Blue and Red, 1937–42.)"

The map after Beck

Beck tried to regain control of the map, threatening legal action until 1965,  "bitter and betrayed by the very organisation he had helped, so admirably, to promote."

In 1997, Beck's importance was posthumously recognised, and currently (2022) the statement 'This diagram is an evolution of the original design conceived in 1931 by Harry Beck' is printed on every London Underground map.

Design Icon
As part of the Transported by Design programme of activities, on 15 October 2015, after two months of public voting, Harry Beck's tube map was elected by Londoners as number 3 of the 10 favourite transport design icons.

Other works
In 1938 he produced a diagram of the entire rail system of the London region (as far as St Albans in the north, Ongar in the north east, Romford in the east, Bromley in the south east, Mitcham in the south, Hinchley Wood in the south west, Ashford in the west, and Tring in the north west). It included both the Underground and mainlines. It was not published at the time but was seen in Ken Garland's book, first published in 1994; it took until 1973 until any official attempt was made to replicate a rail diagram for the entire London region.

Beck produced at least one map for British Railways. After nationalisation, the Eastern Region commissioned Beck to produce a map of the suburban lines out of Marylebone, King's Cross, Liverpool Street and Fenchurch Street, similar in scope to earlier maps produced by George Dow for the London & North Eastern Railway.

Beck produced at least two versions of a diagram for the Paris Métro. The project, which Beck was never commissioned to do, may have been begun, according to Ken Garland, as early as before the start of World War II. A version dating from approximately 1946 is published in Garland's book. His second version is published for the first time in Mark Ovenden's book about the Paris Métro.

Recognition

According to some accounts, Beck was never formally commissioned to develop his initial idea and worked on the map only in his spare time. He was thus never actually paid for the map. Other sources report that he was paid a fee of five or ten guineas.

London Regional Transport created the Beck gallery at the London Transport Museum in the early 1990s, where his works are displayed. A commemorative plaque was installed at Finchley Central Underground station. Beck's home at 60 Court House Road, Finchley was marked with a plaque by the Finchley Society in 2003.

In March 2006 viewers of BBC2's The Culture Show and visitors to London's Design Museum voted Harry Beck's Tube map as their second-favourite British design of the 20th century in the Great British Design Quest. The winner was Concorde.

GB Railfreight named locomotive 66721 after Beck in January 2007.

In January 2009 the Royal Mail included Beck's map when it issued a set of postage stamps celebrating British design classics.

In March 2013 a blue plaque was unveiled on the house where Beck was born, in Wesley Road in Leyton, to mark the 80th anniversary of the Tube map.

References

Further reading

External links
Harry Beck's Original Tube Map
Early Sketch by Beck of his new London Underground map from the V&A website
London Transport Museum official website
Transport for London's London Tube map (December 2020(d))

1902 births
1974 deaths
British graphic designers
Information graphic designers
People associated with transport in London
Transport design in London
Academics of the London College of Communication
People from Leyton

Harry Beck


طيران البحرين كانت شركة طيران في مملكة البحرين ومقرها في المحرق وكانت قاعدتها الرئيسية مطار البحرين الدولي. حلقت الشركة إلى 16 وجهة في الشرق الأوسط وأفريقيا وجنوب آسيا. في تصريحات سابقة كانت شركة الطيران تخطط لزيادة وجهاتها إلى 23 مدينة بحلول عام 2009 وتصل إلى 25 مدينة بحلول عام 2010. قبل التصفية الطوعية في عام 2013 طار طيران البحرين إلى 17 وجهة (كانت توجد رحلات موسمية إلى الإسكندرية). شركة الطيران أعلنت إفلاسها في 12 فبراير عام 2013، وفقا للخبراء هذا حدث لأسباب واضحة أن إدارة الشركة فشلت في تحقيق أهدافها. سوء التخطيط تم بسبب صعوبات مالية.

بدأت طيران البحرين عملياتها في 1 فبراير 2008 كشركة طيران منخفضة التكلفة ولكن غيرت نموذج عملها إلى الخدمة الكاملة بحلول مطلع 2010. قامت بالرحلة الافتتاحية في 3 فبراير 2008 من البحرين إلى دبي. استخدمت شركة الطيران الجديدة أسطول طائرات إيرباص إيه 320 التي تتكون من 12 مقعد في درجة رجال الأعمال و150 مقعد في الدرجة الاقتصادية. وكانت مجلة خطوطها الجوية الخاصة في الطيران تسمى ريشة.

الوجهات
تستخدم طيران البحرين لخدمة الوجهات التالية (حتى ديسمبر 2012):

الأسطول
اعتبارا من ديسمبر 2012 يتألف أسطول طيران البحرين من الطائرات التالية مع متوسط عمر 4.5 سنة:

انظر أيضا
 طيران الخليج.
 العربية للطيران.

مصادر

وصلات خارجية
 الموقع الرسمي لطيران البحرين
 تفاصيل أسطول طيران البحرين

أعضاء إياتا سابقون
انحلالات في البحرين في 2013
شركات بحرينية أسست في 2007
شركات طيران انحلت في 2013
شركات طيران بحرينية منحلة
شركات طيران أسست سنة 2007
شركات طيران منخفضة التكلفة

طيران البحرين