The Seven Crystal Balls () is the thirteenth volume of The Adventures of Tintin, the comics series by Belgian cartoonist Hergé. The story was serialised daily in , Belgium's leading francophone newspaper, from December 1943 amidst the German occupation of Belgium during World War II. The story was cancelled abruptly following the Allied liberation in September 1944, when Hergé was blacklisted after being accused of collaborating with the occupying Germans. After he was cleared two years later, the story and its follow-up Prisoners of the Sun were then serialised weekly in the new Tintin magazine from September 1946 to April 1948. The story revolves around the investigations of a young reporter Tintin and his friend Captain Haddock into the abduction of their friend Professor Calculus and its connection to a mysterious illness which has afflicted the members of an archaeological expedition to Peru.

The Seven Crystal Balls was a commercial success and was published in book form by Casterman shortly after its conclusion, while the series itself became a defining part of the Franco-Belgian comics tradition. Critics have ranked The Seven Crystal Balls as one of the best Adventures of Tintin, describing it as the most frightening installment in the series. The story was adapted for the 1969 Belvision film Tintin and the Temple of the Sun, the 1991 Ellipse/Nelvana animated series The Adventures of Tintin, the 1992-3 BBC Radio 5 dramatisation of the Adventures, the 1997 video game Prisoners of the Sun, and a 2001 musical in Dutch and French versions.

Synopsis

Young reporter Tintin and his dog Snowy, meet with their old friend Captain Haddock at his country estate. The naturally humble Haddock is attempting to fit the role at his newfound family château, becoming a socialite and dressing formally. The three spend an evening at a music hall, where they witness the performance of a clairvoyant, Madame Yamilah, who predicts the illness of one of the Sanders-Hardiman expedition members; this expedition has recently returned from an archaeological venture to the Andes mountains. The evening's entertainment also includes the act of a knife thrower whom Tintin recognises as General Alcazar, former President of San Theodoros. Having befriended Alcazar during one of his previous adventures, Tintin reunites with him backstage after the show. Alcazar introduces Tintin and Haddock to his Quechua assistant, Chiquito, and explains that he is in exile after being deposed (once again) by his rival, General Tapioca.

The next day, Tintin and Haddock learn that members of the Sanders-Hardiman expedition are falling into comas, with fragments of a shattered crystal ball found near each victim. Tintin, Haddock, and their friend Professor Calculus visit the only expedition member yet to be affected, Professor Hercules Tarragon, who is an old friend and former classmate of Calculus'. Under police guard, Professor Tarragon shows his visitors one of the expedition's discoveries from Peru: the mummified body of Inca king Rascar Capac. That evening, a lightning storm strikes the house and sends ball lightning down the chimney and onto the mummy—which evaporates. Worried, Tarragon states that this reflects the culmination of Capac's prophecy, which declares that punishment will descend upon those who desecrate his tomb. Spending the stormy night at Tarragon's house, Tintin, Haddock, and Calculus are each awoken by a dream involving Capac's mummy throwing a crystal ball to the floor. They find Tarragon comatose in his bed, with the accompanying crystal shards nearby; the attacker had bypassed the guards by climbing in via the chimney. The next day, Calculus is walking on the grounds of Tarragon's house when he discovers one of the mummy's bracelets, which he places on himself.

Tintin and Haddock later realise that Calculus has gone missing, and surmise that he has been kidnapped by the same individual who placed Tarragon in a coma. The police set up road blocks, but the kidnappers switch cars and are able to evade them. Tintin visits a hospital where the seven stricken members of the Sanders-Hardiman expedition are housed; he is astonished that at a precise time of day, all awaken and scream about figures attacking them before slipping back into their comas. Haddock is dejected by Calculus' abduction, but upon learning that police have spotted the kidnapper's car at a port, he and Tintin race there, believing that the abductors seek to board a boat with Calculus and take him abroad. At the docks, they spot Alcazar boarding a ship to South America; he reveals that Chiquito was one of the last descendants of the Inca and has disappeared. Tintin surmises that Chiquito must be one of Calculus' captors.

Having lost Calculus' trail, Tintin and Haddock decide to pay a visit to Haddock's old friend Chester, who has docked at another nearby port. They miss Chester, but instead discover Calculus' hat on the docks, indicating that he was taken to sea from here. Investigating, they realise that Calculus must be aboard the Pachacamac, a ship headed to Peru, and board a flight, intent on intercepting its arrival.

History

Background
The Seven Crystal Balls began serialization amidst the German occupation of Belgium during World War II. Hergé had accepted a position working for , Belgium's largest Francophone daily newspaper. Confiscated from its original owners,  was permitted by the German authorities to reopen under the directorship of Belgian editor Raymond de Becker, although it remained firmly under Nazi control, supporting the German war effort and espousing anti-Semitism. Joining  on 15 October 1940, Hergé was aided by old friend Paul Jamin and the cartoonist Jacques Van Melkebeke. Some Belgians were upset that Hergé was willing to work for a newspaper controlled by the occupying Nazi administration, although he was heavily enticed by the size of '''s readership, which reached 600,000. Faced with the reality of Nazi oversight, Hergé abandoned the overt political themes that had pervaded much of his earlier work, instead adopting a policy of neutrality. Without the need to satirise political types, entertainment producer and author Harry Thompson observed that "Hergé was now concentrating more on plot and on developing a new style of character comedy. The public reacted positively".

Following the culmination of his previous Tintin adventure, Red Rackham's Treasure, Hergé had agreed to a proposal that would allow the newspaper to include a detective story revolving around his characters, Thomson and Thompson. Titled Dupont et Dupond, détectives ("Thomson and Thompson, Detectives"), Hergé provided the illustrations, and the story was authored by  crime writer Paul Kinnet. While this was being serialised, Hergé began contemplating ideas for his new Tintin adventure, toying with the idea of a story surrounding a dangerous invention that Calculus had developed. The story was probably inspired by an article authored by  science correspondent, Bernard Heuvelmans, and while Hergé did not use this idea at the time, he revived it a decade later as the basis for The Calculus Affair.

As with Hergé's two previous stories, The Secret of the Unicorn and Red Rackham's Treasure, The Seven Crystal Balls was designed as part of a twofold story arc, to be concluded with the then yet unnamed Prisoners of the Sun. Hergé planned for the former story to outline a mystery, while the latter would see his characters undertake an expedition to solve it. His use of an ancient mummy's curse around which the narrative revolved was inspired by tales of a curse of the pharaohs which had been unearthed during the archaeologist Howard Carter's 1922 discovery of Pharaoh Tutankhamun's tomb. This was not the first time that Hergé had been inspired by this tabloid story, having previously drawn from it when authoring Cigars of the Pharaoh.

In autumn 1943, Hergé decided that he wanted Edgar P. Jacobs, a fellow cartoonist, to collaborate with him on The Adventures of Tintin. Although initially hesitant, Jacobs eventually agreed, adopting the paid position in January 1944. The two became close friends and artistic collaborators, as Jacobs aided Hergé in developing various aspects of the plot, such as the idea of the crystal balls and the story's title. Although stylistically the two men were different both in forms of illustration and narrative, they influenced each other greatly. Hergé used Jacobs as a life model from whom he drew various poses that characters adopt in the story. He also used Jacobs as a researcher, sending him to the Cinquantenaire Museum to study its collections of Incan material. Like Jacobs in "The U-Ray", he used as a basis for the creation of Rascar Capac the drawing of a Chachapoya mummy from the Larousse encyclopaedia and not, as was widely believed, a mummy from the Cinquantenaire Museum.

The museum's director, Professor Capart, exhibited similarities with Professor Tarragon, a new character that Hergé had developed for the story. Hergé also included a number of characters who had previously appeared in earlier adventures, among them Professor Cantonneau from The Shooting Star, General Alcazar from The Broken Ear, and Bianca Castafiore from King Ottokar's Sceptre.

The scenery and background of the story was meticulously copied from existing sources; car model types like the Opel Olympia 38 in which Calculus' abductors escaped the police were drawn from real examples, while Hergé closely adhered to the reality of the port and docks at Saint-Nazaire. Professor Tarragon's house was drawn from a real house in Avenue Delleur, Boitsfort, which Jacobs had identified for Hergé's purposes. Hergé and Jacobs stationed themselves outside the house and completed a sketch of the building. Immediately after, two grey cars containing German soldiers pulled up; the house had been requisitioned by the Schutzstaffel (SS). Hergé realised that, had he and Jacobs been discovered sketching, they would have been interrogated.

Publication
The story began serialisation in  under the title of  on 16 December 1943. However, Hergé's health declined, as he was afflicted with flu, sinusitis, and ear ache. This was accompanied by general exhaustion, depression, and fear that upon the imminent collapse of German administration, he would face retribution as a collaborator; many accused of being collaborators had already been killed by the Belgian Resistance. Experiencing a breakdown, he took a hiatus from producing The Seven Crystal Balls between 6 May and 6 July 1944, during which a message was posted in  stating:

They're coming! Who? Why, Tintin and Snowy, of course! Perhaps, since you have not heard anything about them lately, you have been afraid, dear readers, that something bad had happened to them? Nothing of the sort! Tintin and Snowy were simply waiting for our excellent associate and friend Hergé to return to better health, as he was sick for a few weeks.

The story returned to its serialisation in  on 7 July, starting with a summary of the story so far.
However, it would be interrupted again on 2 September 1944. Brussels was liberated from German occupation by the Allied forces on 3 September, upon which  immediately ceased publication. Hergé had been forced to abandon the story after 152 strips, equivalent to fifty pages of the later published book volume. The story had been left unfinished after the scene in which Tintin leaves the hospital where he sees the seven members of the expedition enduring a simultaneous fit. Three days later the entire staff were fired and a new editorial team introduced.

Hergé was arrested on 3 September, having been named as a collaborator in a Resistance document known as the "Gallery of Traitors". This would be the first of four incidents in which Hergé was arrested and freed: by the State Security, the Judiciary Police, the Belgian National Movement, and the Front for Independence, during which he spent one night in jail.
On 8 September the Supreme Headquarters Allied Expeditionary Force issued a proclamation announcing that "any journalist who had helped produce a newspaper during the occupation was for the time being barred from practising his profession". Blacklisted, Hergé was now unemployed. A newspaper closely associated with the Belgian Resistance, La Patrie, issued a strip titled The Adventures of Tintin in the Land of the Nazis, in which Hergé was lampooned as a collaborator.

The period witnessed widespread allegations against accused collaborators, with military courts condemning 30,000 on minor charges and 25,000 on more serious charges; of those, 5,500 were sentenced to life imprisonment or capital punishment. A judiciary inquiry into Hergé's case was launched by the deputy public prosecutor, Mr Vinçotte, although in his report he urged lenience, stating that "I am inclined to close the case. I believe it would bring ridicule on the judicial system to go after an inoffensive children's book author and illustrator. On the other hand, Hergé worked for  during the war, and his illustrations are what made people buy the newspaper". Unable to work for the press, Hergé worked from home re-drawing, and Jacobs colouring, the older Adventures of Tintin for publication by his book publisher Casterman, completing the second version of Tintin in the Congo and starting on King Ottokar's Sceptre. Casterman supported Hergé throughout his ordeal, for which he always remained grateful. He and Jacobs produced a comic strip under the pseudonym of "Olav", although no publishers accepted it. Although this period allowed him an escape from the pressure of daily production which had affected most of his working life, he also had family problems to deal with; his brother Paul returned to Brussels from a German prisoner-of-war camp and their mother had become highly delusional and was moved to a psychiatric hospital.

In October 1945, Hergé was approached by Raymond Leblanc, a former member of a conservative Resistance group, the National Royalist Movement (MNR), and his associates André Sinave and Albert Debaty. The trio were planning on launching a weekly magazine for children. Leblanc, who had fond childhood memories of Tintin in the Land of the Soviets, thought Hergé would be ideal for it. Hergé agreed, and Leblanc obtained clearance papers for him, allowing him to work. Concerned about the judicial investigation into Hergé's wartime affiliations, Leblanc convinced William Ugeux, a leader of the Belgian Resistance who was now in charge of censorship and certificates of good citizenship, to look into the comic creator's file. Ugeux concluded that Hergé had been "a blunderer rather than a traitor" for his work at . The decision whether Hergé would stand trial belonged to the general auditor of the Military Tribunal, Walter Ganshof van der Meersch. He closed the case on 22 December, declaring that "in regard to the particularly inoffensive character of the drawings published by Remi, bringing him before a war tribunal would be inappropriate and risky".

Now free from threat of prosecution, he continued to support his colleagues at  who were being charged as collaborators; six of them were sentenced to death, and others to lengthy prison sentences. Among those sentenced to death was Hergé's friend, Paul Jamin, although his sentence was commuted to life imprisonment. In May 1946, Hergé was issued a certificate of good citizenship, which became largely necessary to obtain employment in post-war Belgium. Celebrations were marred by his mother's death at age 60 in April 1946.
Harry Thompson has described this post-war period as the "greatest upheaval" of Hergé's life. Hergé later described it as "an experience of absolute intolerance. It was horrible, horrible!" He considered the post-war trials of collaborators a great injustice inflicted upon many innocent people, and never forgave Belgian society for the way that he had been treated, although he hid this from his public persona.

Leblanc's new magazine was titled Tintin at the advice of Sinave, who believed that this would help attract a wide audience. Adopting the slogan of "The Newspaper for the Young Aged 7 to 77", the magazine's logo featured the Tintin character himself. Inspired by the example set by Le Petit Vingtième, Tintin magazine was to be a weekly, centred on the eponymous hero. The Adventures of Tintin would be serialised two pages per week, accompanied by other Franco-Belgian comics. For the first time, the Adventures would be in colour from the outset. Hergé assembled a team of artists for the purpose, including Edgar P. Jacobs and Jacques Van Melkebeke, who became the magazine's first editor.
Hergé continued at the point where he had left The Seven Crystal Balls, prior to embarking on Prisoners of the Sun, although both were published under the title of  (The Temple of the Sun). Rather than re-serialising the story from its beginning, he began the new magazine with a summary of the story so far, presented as a press clipping. The magazine was an instant success, soon gaining a weekly circulation of 100,000 in Belgium and the Netherlands. Serialisation of The Seven Crystal Balls concluded on 22 April 1948, four and a half years after it had begun.

Republication

As with previous adventures, it then began serialisation in the French Catholic newspaper Cœurs Vaillants, from 19 May 1946. After the story had finished serialisation, the publishing company Casterman divided it into two volumes,  and , which they released in 1948 and 1949 respectively.
One of the scenes that had been found in , in which Haddock is humiliated by the clairvoyant at the theatre, was removed from the story when it was being reformatted in book form.
The book contained additional backgrounds not found in the original serialised story which had been drawn by Jacobs.

When translated into English for a publication by Methuen in 1963, a number of Francophone place-names were changed; for instance, the port of Saint-Nazaire was renamed Westermouth, which, according to author Michael Farr, was probably inspired by the real English coastal town of Weymouth. As the English-language translation was published after the English translation of other Tintin adventures, which had actually been authored later than The Seven Crystal Balls, in the English version, references are made to events that would occur in The Calculus Affair and The Red Sea Sharks.

Critical analysis

Biographer Benoît Peeters described The Seven Crystal Balls as "the most terrifying of The Adventures of Tintin". He believed that in this story, Hergé had come under the clear influence of Jacobs, in that the "décor grows more lush; the details clearer. No more streets suggested by a few lines, monochromatic posters, or characters walking on the edge of the frame". Elsewhere, he noted that in this story, Hergé "produced a gripping tale that went further than any other in the direction of the supernatural".
Fellow biographer Pierre Assouline believed that The Seven Crystal Balls achieved "a more complete integration of narrative and illustrations" than previous adventures, and that from that point on, his books "begin to form a coherent body of work, an oeuvre".

Harry Thompson stated that the "overriding theme" of The Seven Crystal Balls was "fear of the unknown", adding that while it did blend humour with menace, it remained "Hergé's most frightening book". He noted that the story marks the complete transition of Captain Haddock from the "pitiable drunk" which he was introduced as in The Crab with the Golden Claws to the position of "chief sidekick and comic attraction", with Snowy being relegated to the position of "normal dog".

Michael Farr described both The Seven Crystal Balls and Prisoners of the Sun as "classic middle-period Tintin", commenting on their "surprisingly well-balanced narrative" and noting that they exhibited scant evidence of Hergé's turbulent personal life. He felt that The Seven Crystal Balls encapsulated the "air of doom" which pervaded the mood of Europe at the time to an even greater extent than Hergé had done in his earlier work, The Shooting Star. At the same time, Farr thought it to be "a simple detective story", comparing Tintin's hunt for clues regarding Calculus' disappearance to Arthur Conan Doyle's stories of fictional detective Sherlock Holmes. He thought that the story was "truly Hitchcockian in its suspense and quite cinematic in its presentation", comparing the use of the music hall in the story with its use in Hitchcock's film, The 39 Steps (1935). Farr suggested that in the scene in which Haddock dejectedly sits around Marlinspike awaiting news of Calculus, "Hergé had allowed himself to step for a moment into Haddock's shoes and to be autobiographical".

Jean-Marc Lofficier and Randy Lofficier believed that the two-story arc represents "one more leap forward in Hergé's graphic and narrative skills" as a result of the transition to full colour double pages as the initial means of publication. They noted that The Seven Crystal Balls is "bathed in the surreal atmosphere that Hergé knew how to create so well", with Tintin confronting "a dark and oppressive force" that was "worthy of a Hammer film". They particularly praised the characters of Professor Tarragon and Mark Falconer (Marc Chalet), describing the former as "to archaeology what Haddock is to the sea", and that the latter resembled an older Tintin with darker hair, noting that "one regrets that their appearances are all too brief, and wonders what the adventures of Falconer and Tarragon would be like". Ultimately, the Lofficiers awarded both halves of the story arc five out of five.

Literary critic Tom McCarthy also praised Tarragon, stating that he exudes a presence "far beyond what we might expect from a novelist, let alone a cartoonist". He then compared the scenario in which Tarragon was trapped within his home to that in The Calculus Affair in which Professor Topolino was tied up in his house. He also identified elements within the story that he believed reflected recurring themes within The Adventures of Tintin. He argued that the way in which Alcazar was presented as Tintin's friend in this story was a manifestation of the recurring theme of friendship. He thought that the appearance of Rascar Capac's jewels reflected Hergé's use of jewels as a theme throughout the series, while the mummy's removal from its tomb was a manifestation of the recurring concept of the tomb.

In his psychoanalytical study of the Adventures of Tintin, the academic Jean-Marie Apostolidès believed that The Seven Crystal Balls-Prisoners of the Sun arc reflects a confrontation between civilisations, and between the sacred and the secular.
He also discussed Haddock's position in the story, noting that the scene at the theatre in which a bull's head mask falls onto Haddock's head reflects "one of Hergé's most constant themes: the union of human and animal". He further added the opinion that Haddock's transformation from seaman to country gentleman was not believable.
He suggested that the appearance of Yamila and Castafiore at the start of the story injected "a feminine element" into the story, which represented an attempt to "round out Haddock's family", which was dominated by the male figures of Tintin, Calculus, and Snowy. He further argued that Calculus' kidnapping represented a "rite of passage" that would allow him to join Tintin and Haddock's family.

Adaptations

In 1969, the animation company Belvision Studios, which had produced the 1956–57 television series Hergé's Adventures of Tintin, released its first feature-length animated film, Tintin and the Temple of the Sun, adapted from the Seven Crystal Balls-Prisoners of the Sun story arc. Produced by Raymond Leblanc and directed by Eddie Lateste, it was written by Lateste, the cartoonist Greg, Jos Marissen, and Laszló Molnár. Music was by François Rauber and Zorrino's song was composed by Jacques Brel. Lofficier and Lofficier commented that the part of the film based on The Seven Crystal Balls "suffers from being overly condensed for timing reasons".

In 1991, a second animated series based upon The Adventures of Tintin was produced, this time as a collaboration between the French studio Ellipse and the Canadian animation company Nelvana. The Seven Crystal Balls was the eleventh story to be adapted and was divided into two thirty-minute episodes. Directed by Stéphane Bernasconi, the series has been praised for being "generally faithful" to the original comics, to the extent that the animation was directly adopted from Hergé's original panels.

The video game Prisoners of the Sun was developed and published by the French company Infogrames in 1997, based on The Seven Crystal Balls and Prisoners of the Sun.

At the turn of the new century, Tintin remained popular. In 2001, The Seven Crystal Balls and Prisoners of the Sun were adapted into a theatrical musical, Kuifje – De Zonnetempel (Tintin – The Temple of the Sun), which premiered at the Stadsschouwburg in Antwerp in the Dutch language on 15 September. The production, directed by Dirk de Caluwé, adapted by Seth Gaaikema and Frank Van Laecke with music by Dirk Brossé, featured Tom Van Landuyt as Tintin. The musical was adapted by Didier Van Cauwelaert into French and premiered a year later in Charleroi as Tintin – Le Temple du Soleil''. From there, the production was scheduled for Paris in 2003 but was cancelled. It returned for a brief run in Antwerp on 18 October 2007.

References

Notes

Footnotes

Bibliography

External links
 The Seven Crystal Balls at the Official Tintin Website
 The Seven Crystal Balls at Tintinologist.org

1948 graphic novels
Comics set in Brussels
Literature first published in serial form
Methuen Publishing books
Tintin books
Works originally published in Le Soir

The Seven Crystal Balls


Das Bierkartell war eine Vereinbarung zwischen fast allen Schweizer Brauereien. Es bestand zwischen 1935 und 1991 und erlaubte eine umfassende Marktregulierung. Das Kartell stand unter der Führung des 1877 gegründeten Schweizerischen Bierbrauervereins (seit 2005 Schweizer Brauerei-Verband).

Erste Schritte in Richtung Kartell
Erste Regulierungen des Marktes erfolgten schon lange vor der Gründung des Kartells. Hintergrund waren der scharfe Konkurrenzkampf, der grosse Finanzbedarf für die Modernisierung der Betriebe und das Brauereisterben.

1903 legte eine Vereinbarung im Kanton Zürich Minimalpreise fest. Lieferungen aus anderen Kantonen zu tieferen Preisen konnten allerdings nicht verhindert werden, so dass die Vereinbarung bald wieder hinfällig wurde. Von 1907 bis 1910 galt ein "Kundenschutzvertrag", der scharfe Proteste des Wirteverbands gegen die Bevormundung nach sich zog.

1919 präsentierte der Direktor der Winterthurer Haldengut dem Bierbrauerverein die Idee eines gesamtschweizerischen Zusammenschlusses aller Brauereien und einer umfassenden Sanierung der Branche. Ziel wäre es gewesen, nur noch mit einer reduzierten Anzahl Brauereien rationell einheitliche Biere zu produzieren. Aussenseiter hätte man mit der guten Qualität und den tieferen Preisen bekämpfen wollen. Elemente dieses Vorschlags fanden später Eingang in die Konvention von 1935.

1921, in der wirtschaftlich schwierigen Zeit nach dem Ersten Weltkrieg, einigten sich die Brauer mit dem Wirteverband auf einen fünfjährigen Sanierungsvertrag, gleichzeitig wurden die Importzölle für ausländisches Bier stark angehoben.

Ab 1927 wurde in mehreren Schritten die Bierherstellung steuerlich höher belastet. Die Brauereien drohten 1933 mit der direkten Weitergabe der Belastung durch die neuen Steuern auf den Bierpreis, um die Wirte für den politischen Kampf gegen die Abgaben zu gewinnen. Gleichzeitig begannen Verhandlungen zwischen den Brauereien mit dem Ziel, die bisherigen Vereinbarungen mit dem Handel und den Wirten durch eine umfassende neue Konvention zu ersetzen.

Das Kartell
Die umfassende Konvention, die unter der Leitung des Schweizerischen Bierbrauervereins ausgearbeitet wurde, trat am 1. März 1935 in Kraft. Sie regelte unter anderem die Gebietszuteilung, die Normierung der Produkte (Biersorten, Inhaltsstoffe, Stammwürze, Gebinde, Etiketten usw.), Nebenleistungen an Wirte, die Gross- und Einzelhandelspreise, die Kollektivwerbung und die Einschränkung der Einzelwerbung. Die Vereinbarung legte die Verfahren fest, die für die Gebiets- und Kundenzuteilung, Preisfestsetzung und Streitschlichtung vorgesehen waren. Für die Durchführung der Bestimmungen wurde die Schweiz in zehn Distrikte eingeteilt.

Der Wirteverband erkannte die Konvention zwar nie formell an, nahm sie aber zur Kenntnis und verpflichtete seine Mitglieder, die Vorgaben umzusetzen.

Rechtlicher Hintergrund
Die Schweizerische Bundesverfassung von 1874 ermöglichte mit ihrem liberal geprägten Artikel 31 über die Handels- und Gewerbefreiheit die Bildung von Kartellen. Ab den 1880er-Jahren entstanden zahlreiche Vereinbarungen in verschiedenen Branchen. Allgemein wurden in der Schweiz Kartelle nicht in erster Linie als Behinderung des freien Marktes betrachtet, sondern als sinnvolle Marktregulierung. Die kartellfreundliche Mentalität der Bevölkerung, der Politik und Wirtschaft sowie der Arbeitnehmervertretungen führte in der Folge zu Gesetzen und Verordnungen, die Kartelle grundsätzlich erlaubten und auch juristisch schützten.

Auswirkungen in der Brauereibranche
Das Bierkartell und die rechtlichen Rahmenbedingungen sorgten dafür, dass die Brauereien bezüglich ihrer wirtschaftlichen Zukunft von einer hohen Planungssicherheit profitieren konnten. Dabei stand die Besitzstandwahrung und Vermeidung unnötiger Kosten durch den Konkurrenzkampf im Vordergrund, nicht die Entwicklung neuer Produkte oder Absatzmärkte. Es erfolgten keine nennenswerten Exportaktivitäten. Zusammenschlüsse mit ausländischen Brauereien blieben aus. Der inländische Markt wurde durch restriktive Importhürden vor ausländischen Bieren geschützt.

Ausdruck für die weitgehende Normierung der Biere war beispielsweise, dass die Kartellbrauereien bis Anfang der 1980er-Jahre gemeinsam Werbung für "Schweizer Bier" ohne Nennung von Markennamen platzierten. Bier war auf dem Schweizer Markt ein austauschbares Massenprodukt geworden. Seitens der Kartellmitglieder war das durchaus erwünscht: Gegenüber den Abnehmern konnten Einwände gegen die Lieferantenzuteilung mit dem Argument entkräftet werden, die Produkte aller Marken seien ohnehin normiert und unterschieden sich dadurch kaum.

Angriffe auf das Kartell
Die rechtliche Situation erschwerte den Angriff auf das Bierkartell, denn Kartellvereinbarungen waren gerichtlich durchsetzbar. Zunächst kam ein Vorstoss von politischer Seite: Im Januar 1958 scheiterte ein Volksbegehren, die sogenannte Kartellverbotsinitiative (offiziell "Missbrauch wirtschaftlicher Macht"), mit 74,1 % Neinstimmen in der Volksabstimmung. Die Bierbrauer argumentierten im Abstimmungskampf, das Bierkartell führe zu niedrigen Kosten und damit zu einem geringen Bierpreis. 1964 trat das Kartellmissbrauchsgesetz in Kraft, das entgegen anfänglichen Befürchtungen der Bierbrauer keine unmittelbaren Auswirkungen auf das Bierkartell zeigte. Spätere Untersuchungen des Bundes kamen zum Schluss, beim Bierkartell sei keine schädigende Wirkung festzustellen. Dabei konnten die Brauer wiederum das Kostenargument ausspielen.

 Die 1960 gegründete Brasserie du Boxer S.A. in Romanel-sur-Lausanne, seit 2012 in Yverdon-les-Bains, trat dem Kartell nicht bei und begann 1962 gleich zu Beginn ihrer Produktionsaufnahme, Bier in der ganzen Schweiz zu vertreiben. Sie tat dies mit einer Flaschengrösse von 50 cl (0,5 Liter), die von der Kartellnorm (60 cl, später 58 cl) abwich, und auch die Merkmale der Biere entsprachen nicht den Kartellvorgaben. Den Wirten war es erlaubt, Bier eines Aussenseiters zu führen, den Händlern wurde hingegen mit der Beendigung der Kundenbeziehung gedroht, falls sie ihr Sortiment in diese Richtung ergänzten.
 1974 erwarb ein Arzt die Quartiergaststätte Fischerstube in Basel. Er ersuchte die Basler Brauerei Warteck um einen Liefervertrag, erhielt aber den Bescheid, sein Lokal müsse wie schon früher Anker-Bier aus Frenkendorf beziehen. Die Weisung, ein nicht in Basel gebrautes Bier ausschenken zu müssen, ignorierte er und richtete in der Folge die erste Hausbrauerei in der Schweiz ein.
 Die Kronenbrauerei in Herisau (1979 nach einem Brand stillgelegt) und die Brauerei Lupo (heute Ramseier Suisse) in Hochdorf gehörten ebenfalls nicht zum Kartell. Lupo stellte ab 1963 Bier her, ab 1967 vor allem eine Eigenmarke für Denner.
 Ausländische Billigbiere in Einweggebinden setzten dem Kartell ab den 1970er-Jahren zu. Die Schweizer Brauereien widersetzten sich aus Kostengründen lange dem Trend zu Einwegflaschen und Dosen.

Denner im Schlagabtausch mit dem Kartell
Der Discounter Denner legte sich wiederholt mit dem Bierkartell an. Boykotte, Klagen, Gegenklagen, zahlreiche Gerichtsprozesse durch alle Instanzen und ein rauer Ton in der Werbung gehörten zum Schlagabtausch:

Im Herbst 1969 kündigte Denner in der Presse an, er werde künftig in den Discountgeschäften die Flasche Lagerbier zu 50 Rappen verkaufen. Alle Schweizer Brauereien, die dem Bierbrauerverein angehörten, weigerten sich in der Folge, Bestellungen für Lagerbier in Flaschen zu 60 cl auszuführen. Denner kaufte bis zu diesem Zeitpunkt die Flasche Lagerbier 60 cl von seinen Lieferanten Hürlimann und Löwenbräu Zürich zu 46 Rappen netto ein. Den Mindestverkaufspreis legte das Kartell auf 70 Rappen fest. Dem Boykott folgten Prozesse über mehrere Instanzen. Das Bundesgericht entschied am 28. November 1972, der Boykott sei rechtmässig (BGE 98 II 365).

Es begründete das Urteil unter anderem damit, eine Preisbindung sei im Interesse der Brauereien wie auch der Konsumenten, da mit einem Mindestpreis jene Händler geschützt würden, die nicht mit einer derart günstigen Kostenstruktur wie ein Discounter arbeiten könnten. Eine grössere Anzahl Verkaufsstellen stelle einen Kundendienst dar, der wegfiele, wenn dem Handel eine zu geringe Marge zugestanden würde. Seitens der Brauer liege kein Marktausschluss vor, sondern eine bedingte Liefersperre, die wegfiele, sofern sich Denner an den Mindestverkaufspreis hielte.

Weiter hielt das Urteil fest, nach den Feststellungen der Schweizerischen Kartellkommission im Bericht über den Biermarkt (VKK 1966) gebe es in der Schweiz neben der Lupo-Brauerei in Hochdorf nur noch zwei Aussenseiter, die Boxer SA in Romanel-sur-Lausanne und die Kronenbrauerei AG in Herisau. Der Marktanteil dieser Aussenseiter-Brauereien betrage 1 %, jener der Importbiere etwas mehr als 1 % des Gesamtausstosses der Mitglieder des Schweizerischen Bierbrauervereins. Das Kartellgesetz sei gegen "volkswirtschaftlich oder sozial schädliche Auswirkungen von Kartellen und ähnlichen Organisationen" erlassen worden. Es müsse also Kartelle und ähnliche Organisationen grundsätzlich anerkennen und sich darauf beschränken, Missbräuche in der Ausübung kollektiver Wirtschaftsmacht zu bekämpfen.

Ab Herbst 1980 lieferten Kartellmitglieder wieder Markenbier, nachdem sich Denner verpflichtet hatte, den festgesetzten Mindestpreis von damals einem Franken einzuhalten. Mit Wirkung auf 1. November 1981 erhöhte der Bierbrauerverein den sogenannten Interventionspreis auf Fr. 1.10. Denner weigerte sich, dieser Erhöhung zu folgen, und verkaufte die 58-cl-Mehrwegflasche Lagerbier weiterhin zu Fr. 1.00, worauf erneut eine Liefersperre folgte.

Denner verlangte, den Boykott als vorsorgliche Massnahme zu widerrufen. Eine staatsrechtliche Beschwerde an das Bundesgericht wurde am 20. Juli 1982 abgewiesen (BGE 108 II 228).

Ab November 1982 folgte eine Reihe von Klagen, Gegenklagen und Prozessen um den Boykott sowie Behauptungen in der Werbung. Am 6. Mai 1986 hob das Bundesgericht ein Urteil des Handelsgerichts des Kantons Zürich vom 16. November 1984 mit Bezug auf die Hauptklage auf und wies die Sache zur neuen Entscheidung an die Vorinstanz zurück (BGE 112 II 268). Der Rechtsstreit endete erst 1993 mit einem Sieg Denners und somit zwei Jahre nach dem Zusammenbruch des Bierkartells.

Mit Zeitungsinseraten warb Denner 1985 für sein kartellfreies Schweizer "Denner-Lager-Bier" zu 60 Rappen für 50 cl. Die Illustration mit Wilhelm Tell und seinem Sohn trug die Überschrift "Wir wollen frei sein wie unsere Väter waren … und neue Gessler-Vögte bekämpfen …". Denner behauptete im Text, den Mindestpreis des Bierkartells von Fr. 1.10 für 58 cl zu akzeptieren heisse, den Preis-Vogt zu grüssen, darum "Kampf dem Bierkartell", denn das Denner-Bier stamme aus einer "kleinen, kartellfreien, schweizerischen Brauerei". Deren Name (Lupo) ging aus dem Inserat nicht hervor.

Das Ende
Die Sibra-Holding (Cardinal), ein Mitglied des Kartells, kündigte die Konvention 1988 einseitig, nachdem es schon in den Vorjahren zu Verstössen gegen die Vereinbarungen gekommen war. Sie betrafen unter anderem die Einführung eines neuen Gebindes und die Abwerbung von Kunden. Nach dem Austritt der Grossbrauereien Feldschlösschen und Hürlimann lief die Konvention Ende 1991 aus.

Nachwirkungen
Das Ende des Kartells, aber schon zuvor die Marktöffnung für ausländische Biere, traf die schweizerischen Brauereien teilweise unvorbereitet. Die Branche war es nicht gewohnt, mit Marketingmassnahmen um ihre Kunden zu kämpfen und neue Produkte zu entwickeln. Mit Ausnahme alkoholfreier Biere gingen nur sehr unbedeutende Mengen in den Export. Bereits zu Zeiten des Kartells war es den Brauereien in gewissem Masse erlaubt, neben ihren eigenen Bieren auch ausländische Spezialitäten zu vertreiben. Schweizer Bier hatte nach den Jahrzehnten der normierten Produkte und der Gemeinschaftswerbung das Image des Gewöhnlichen, so dass die Konsumenten empfänglich waren für neue Angebote. Ausländische Anbieter mit ihren internationalen Marketingkampagnen, neuen Produkten und anderen Gebindegrössen sorgten dafür, dass die Marktanteile der Importbiere im Jahre 1991 bereits 13,7 Prozent betrugen, bis 2012 stiegen sie auf 24 Prozent. Parallel dazu entwickelte sich der Bierkonsum pro Kopf in dieser Zeit rückläufig: von 71 Litern im Jahre 1991 auf 57 Liter im Jahre 2012.

Weitere Entwicklungen
Die geänderten Marktverhältnisse führten zu zwei gegensätzlichen Entwicklungen: Zu einem Boom bei der Neugründung von Kleinbrauereien, aber auch zu einer Konzentration bei den etablierten ehemaligen Kartellbetrieben. Die Zahl der registrierten Brauereien stieg von 34 im Jahre 1985 auf 483 im Dezember 2014 und 869 im Dezember 2017.

Unter den Mitgliedern des zusammengebrochenen Kartells kam es zu einer Reihe von Zusammenschlüssen und Betriebsstilllegungen, zur Diversifikation in Richtung Spezialbiere, Mineral- und Süsswasser und zur stärkeren Gewichtung des Immobiliengeschäfts.

Beispielhaft für die Fusionen und Stilllegungen ist die Feldschlösschen-Gruppe in Rheinfelden. Sie integrierte ab 1988 die Brauereien Hochdorf (stillgelegt), Warteck in Basel (stillgelegt), Valaisanne in Sion, Cardinal in Fribourg (stillgelegt) und Hürlimann in Zürich (stillgelegt), bis sie ihrerseits im Jahre 2000 von der dänischen Carlsberg übernommen wurde.

Haldengut in Winterthur und Calanda in Chur schlossen sich 1990 zusammen und gingen 1993 an die niederländische Heineken, 2008 kam Eichhof in Luzern dazu. Der alte Standort von Haldengut in Winterthur wurde geschlossen.

Gleichzeitig entwickelten sich in der Schweiz so viele lokale Hausbrauereien, Mikrobrauereien und Craft-Beer-Produzenten wie in keinem anderen Land Europas. Die Brauereidichte in der Schweiz liegt bei 12 Brauereien pro 100.000 Einwohner – viermal so hoch wie in den Nachbarländern und zehnmal so hoch wie zum Ende des Bierkartells 1991.

Marktführer
Die beiden ausländischen Giganten Carlsberg und Heineken decken mit ihrer Produktion in Schweizer Brauereien etwa 60 Prozent des inländischen Konsums ab, zusammen mit ihren Importbieren etwa 65 Prozent des Marktes.

Die beiden grössten, von einem ausländischen Konzern unabhängigen Schweizer Brauereien sind die zur fenaco gehörende Ramseier Suisse in Hochdorf (ehemals Lupo) sowie Schützengarten in St. Gallen. Ramseier Suisse weist als Produzent von Eigenmarken 45 Millionen Produktionseinheiten (ca. 210'000 Hektoliter) aus (2012), Schützengarten im Braujahr 2011/12 einen Ausstoss von 170'700 Hektolitern. Der Gesamtmarkt im Kalenderjahr 2012 inklusive Importe betrug 4'622'509 Hektoliter, die Exporte in 32 Länder beliefen sich auf knapp 80'000 Hektoliter.

Literatur
 Matthias Wiesmann: Bier und wir, Geschichte der Brauereien und des Bierkonsums in der Schweiz. Verlag hier + jetzt, Baden 2011, ISBN 978-3-03919-193-2.

Weblinks
 Website des Schweizer Brauerei-Verbands

Einzelnachweise

Organisationsform
Schweizerische Wirtschaftsgeschichte
Wirtschaftskartell
Wettbewerbstheorie
Kartell
Kriminalität in der Schweiz

Bierkartell (Schweiz)


193158 Haechan este un asteroid din centura principală de asteroizi.

Descriere
193158 Haechan este un asteroid din centura principală de asteroizi. A fost descoperit pe  la Bohyunsan de S.-L. Kim. Asteroidul prezintă o orbită caracterizată de o semiaxă mare de 3,20 ua, o excentricitate de 0,09 și o înclinație de 6,7° în raport cu ecliptica.

Vezi și
 Lista planetelor minore: 193001-194000
 Centura de asteroizi

Referințe

Obiecte astronomice descoperite în 2000
Centura de asteroizi

193158 Haechan


آنا أنتوانيت فيبر فان بوس (Anna Antoinette Weber-van Bosse) كانت عالمة نبات هولندية، ولدت في 27 مارس 1852 بأمستردام (هولندا) وتوفيت في 29 أكتوبر 1942 بآربيك (هولندا).

معرض صور

روابط خارجية

مراجع

فرسان وسام أورانج ناسو
خريجو جامعة أمستردام
عالمات أحياء بحرية
عالمات القرن 19
عالمات القرن 20
عالمات طحالب
عالمات نبات هولنديات
علماء من أمستردام
علماء نبات ذوو مختصرات اسمية
علماء نبات هولنديون
مواليد 1852
مواليد في أمستردام
وفيات 1942
وفيات في آربيك
علماء نباتات هولنديون في القرن 20
علماء نباتات هولنديون في القرن 19
علماء طحالب هولنديون
عالمات نباتات هولنديات

آنا أنتوانيت فيبر فان بوس


Ifigenia în Taurida (în greaca veche Ἰφιγένεια ἐν Ταύροις / Iphigéneia en Taúrois) este o tragedie greacă de Euripide, compusă între 414 î.Hr. și 412 î.Hr.

Acțiune

Înlocuită printr-o căprioară în momentul sacrificiului la Aulis / Aulida, Ifigenia este depusă de către Artemis în Taurida (actuala Crimeea). Acolo, a devenit preoteasă a zeiței și supusă a regelui Thoas. Potrivit riturilor barbare ale locului, îi incumbă să ducă la moarte pe orice străin care se aventurează în Taurida.

Însoțit de fidelul său tovarăș Pylade, Oreste, fratele Ifigeniei, acostează în Taurida. După consultarea oracolului lui Apollo de la Delphi, el a venit să fure statuia sacră a zeiței Artemis. Oracolul îi prezisese, într-adevăr, că zbuciumările sale – cauzate de uciderea mamei sale, Clitemnestra – vor lua sfârșit aducând înapoi statuia la Atena.

În cursul acțiunii lor, Oreste și Pylade sunt capturați. Ifigenia se pregătește să poruncească sacrificarea celor doi greci, când ea îl recunoaște într-unul din ei pe fratele său. Înșelând supravegherea lui Thoas, ea a evadat cu ei.

Personajele (în ordinea intrării în scenă)
 Ifigenia, fiica lui Agamemnon
 Oreste, fratele ei
 Pylade, prietenul și vărul lui Oreste
 Corul femeilor captive, slujitoarele Ifigeniei
 Boarul
 Thoas, regele taurienilor
 Crainicul
 Atena
 Soldați din garda lui Thoas, slujitori ai templului

Traduceri în limba română
 Ifigenia în Taurida, în Euripide, Hecuba, Electra, Ifigenia în Taurida, Hipolit, traducere, prefață și note de Alexandru Miran, Biblioteca pentru toți, nr. 898, Editura Minerva, București, 1976.

Note

Piese de teatru de Euripide
Piese de teatru din Grecia Antică
Piese de teatru adaptate la operă
Anagnorisis

Ifigenia în Taurida (Euripide)


البلدة القديمة لليجيانج أو Lìjiāng Gǔ Chéng (بالصينية)، هي بلدة صغيرة مسجلة ضمن الثرات العالمي حسب اليونيسكو تقع في منطقة يونان بالصين.

نبذة تاريخية

القرية لها تاريخ كبير يصل لـ 800 سنة، حيت كانت نقطة التقاء الطريق التجارية لتجار الشاي في ذلك الوقت، وتشتهر منذ القدم بممراتها المائية وجسورها، وتختلف عن غيرها من البلدات الصيينية، في مجال العمارة والتاريخ والثقافة التقليدية للسكان حيث كانت مكانا لإقامة شعب الناخي.

البلدة القديمة اختيرت في 4 ديسمبر 1997 كترات عالمي من طرف اليونيسكو ومنذ ذلك الحين، اتخدت الحكومة الصينية على عاتقها مسؤولية تطوير وحماية القرية القديمة، حيث أنها أصبحت مزدهرة بالسياح من مختلف سياح العالم، الشيء الذي يخيف السكان المحليين إذا ما بادرت الحكومة إلى تجديد القرية وتغيير شكلها التقليدي القديم.

و مؤخرا، بدأت الحكومة بالفعل في توسيع البلدة لكي تصلح لاستيعاب العدد الكبير من السياح الذين يملئون الشوارع (التي يمنع مرور السيارات فيها).

معرض صور

طالع أيضاً
 الجبل الثلجي يولونغ

مراجع

وصلات خارجية
 اذاعة الصين العربية

انظر ايضاً
 قائمة مواقع التراث العالمي في الصين

جغرافيا ليجيانج
ليجيانج
مواقع التراث العالمي في الصين
مواقع جذب سياحي في يونان

البلدة القديمة لليجيانج


Lactatio Bernardi o lactación de San Bernardo son nombres con los que en hagiografía e historiografía del arte se conoce una escena de la vida de este santo y su iconografía, muy vinculada a la Virgo lactans (Virgen de la Leche).

La anécdota se recoge por primera vez en uno de los exempla del Ci nous dit (1313-1330 obra anónima, de un fraile mendicante): cuando el obispo de Chalon visitó Cîteaux, Bernardo, entonces un joven monje, fue encargado por el abad de predicar. Temiendo defraudarles, se puso a rezar ante una imagen de la Virgen hasta quedarse dormido. En sueños se le apareció la Virgen, que le otorgó el don de la elocuencia al ponerle en la boca leche de su propio pecho. También aparece en el Cancionero de Úbeda (1588). Un milagro similar es reflejado anteriormente en las Cantigas de Santa María: la resurrección de un monje cisterciense tras recibir en la boca leche de la propia Virgen.

Como tema pictórico se difundió especialmente por España, desde fechas muy tempranas, puesto que la primera muestra conocida es de finales del : el Retablo de San Bernardo de la Capilla de los Templarios de Palma (Museo de Mallorca). Hay cuadros sobre este tema en el Museo del Prado (Juan Correa de Vivar, 1545, Alonso Cano, 1650, y Bartolomé Esteban Murillo, 1660). En el museo parroquial de Pastrana hay un Premio lácteo a San Bernardo de Juan Carreño Miranda (1668).

Amplexus Bernardi

No deben confundirse estas visiones marianas con la visión mística en la que Cristo y San Bernardo se abrazan.

Como tema artístico, fue tratado en un famoso cuadro de Francisco Ribalta (hacia 1626, Museo del Prado).

Notas

Enlaces externos

Iconografía cristiana

Lactatio Bernardi


Agrilus tsavoensis é uma espécie de inseto do género Agrilus, família Buprestidae, ordem Coleoptera.

Foi descrita cientificamente por Curletti & Sakalian, 2009.

Referências

tsavoensis

Agrilus tsavoensis


Passport var et bilmærke, som eksisterede i årene 1987 til 1991. Det tilhørte General Motors og blev kun markedsført i Canada.

Mærket, som blev solgt gennem Pontiac/Buick/Cadillac-forhandlernettet, lavede kun én model, Passport Optima, som var en omdøbt version af Daewoo Racer, som igen var en af det sydkoreanske Daewoo på licens bygget version af Opel Kadett E.

Passport blev i efteråret 1992 afløst af Asüna.

Eksterne henvisninger

 Reklame for Passport Optima

General Motors
Bilmærker
Etableret i 1987
Ophørt i 1991

Passport (bilmærke)


O caso das joias envolvendo Jair Bolsonaro refere-se a um episódio iniciado em outubro de 2021, quando o governo Jair Bolsonaro tentou trazer ao Brasil de forma possivelmente ilegal joias presenteadas pela Arábia Saudita para primeira dama e para o presidente. O caso foi exposto em 2023 pelo jornal O Estado de S. Paulo, que levantou suspeita sobre a legalidade do caso. Na reportagem, as peças foram descritas no valor de 16,5 milhões de reais, a Receita Federal posteriormente avaliou em 5 milhões de reais O inquérito aberto pela Polícia Federal brasileira investiga possíveis crimes de descaminho e peculato.

Itens
A priori, os itens interceptados encontravam-se numa escultura em formato de cavalo, com danos visíveis na região das patas. Nele, encontrava-se um estojo, cujo conteúdo era colar, anel, relógio e um par de brincos de diamantes da marca suíça Chopard avaliados em 3 milhões de euros, o equivalente a 16,5 milhões de reais. Posteriormente, a imprensa relatou a existência de um segundo pacote, que apresentava itens masculinos, como relógio, abotoaduras, anel, caneta e um masbaha. Esses artigos, segundo o ex-presidente, foram destinados ao seu acervo pessoal.

Caso

Em meados de 2021, o ministro de Minas e Energia Bento Albuquerque foi à Arábia Saudita representar o governo brasileiro na reunião de cúpula "Iniciativa Verde do Oriente Médio", realizada na capital daquele país. Ao retornar em 27 de outubro de 2021, as joias, que estavam na mochila de seu assessor Marcos André Soeiro, foram apreendidas no aeroporto de Guarulhos numa fiscalização de rotina. No Brasil, é obrigatória a declaração ao Fisco de qualquer bem que entre no país cujo valor seja superior a mil dólares, caso contrário, a entrada é ilegal.

A maneira correta de se retirar as joias seria fazer o pagamento do imposto de importação, que equivale a 50% do valor estimado do item, além de uma multa de mais 25%, pela tentativa de entrar no país de forma ilegal. Portanto, a retirada formal e legítima das joias apreendidas e estimadas em 16,5 milhões de reais custaria 12,3 milhões. Como o pagamento estava fora de cogitação, restou a Bolsonaro recorrer a órgãos do próprio governo.

Pouco tempo depois, o ministro retornou à área da alfândega e tentou usar o cargo para liberá-los. Neste momento, registrado em câmeras de segurança, Albuquerque disse que se tratava de um presente do governo da Arábia para Michelle Bolsonaro. Mesmo assim, o agente da Receita reteve as joias. Logo depois de não conseguir retirar os itens na alfândega, o Ministério de Minas e Energia acionou, em 3 de novembro de 2021 o Ministério de Relações Exteriores. O Itamaraty reforçou a pressão sobre a Receita, pedindo "providências necessárias para liberação dos bens retidos", por meio de ofício. Também por meio de ofício, o departamento da Receita responsável pela área negou novamente a liberação das peças e informou que o único procedimento a ser adotado seria o pagamento da multa e do imposto. Cerca de um mês após a interceptação das joias, o secretário da Receita Federal, chefe da autarquia, foi demitido pelo então ministro da Economia, Paulo Guedes.

À época, até o comando da Receita entrou na força-tarefa para liberar as joias. Entretanto, os servidores do órgão, que têm estabilidade na função e são funcionários de Estado, resistiram às pressões e fizeram valer a lei.

Bolsonaro tentou recuperar as joias oito vezes utilizando seu próprio gabinete, três ministérios (Economia, Minas e Energia e Relações Exteriores) e militares — a última em 29 de dezembro de 2022, três dias antes do fim de seu mandado — mas não teve sucesso.

Acerca do episódio, a Receita Federal publicou no dia 4 de março de 2023 uma nota de esclarecimento por meio da qual afirma que:

Exposição

Em 3 de março de 2023, Adriana Fernandes e André Borges publicaram uma matéria n'O Estado de S. Paulo expondo o caso. Houve repercussão internacional por jornais como o The Washington Post, Clarín e Le Figaro, da imprensa americana, argentina e francesa, respectivamente.

Ver também
 Desembaraço aduaneiro
 Frederick Wassef
 Presente diplomático
 Regulamento aduaneiro do Brasil

Presentes diplomáticos
Governo Jair Bolsonaro
Controle aduaneiro no Brasil
Joias do Brasil
Relações entre Arábia Saudita e Brasil
2021 no Brasil
Colares de diamante
Chopard
Jair Bolsonaro

Caso das joias envolvendo Jair Bolsonaro


Locomotiva British Rail Clasa 92 (cunoscută ca CC 92000 sub clasificarea franceză) este o locomotivă electrică bicurentă care poate funcționa cu 25 kV CA alimentată prin LEA sau prin 750V CC prin șina a treia. Destinată traficului mixt prin Canalul Mânecii între Regatul Unit și Franța, în special a trenurilor de marfă respectiv a trenurilor de noapte Nightstar, care nu au mai fost introduse, a fost produsă între 1992-1996. Încă din 1993 când au fost pentru prima oară introduse pe rețeaua feroviară britanică, flota de 46 de locomotive a fost alocată exclusiv traficului de marfă, cu excepția locomotivelor deținute de SERCO, care, începând cu 2015, au fost plasate pe ruta Londra-Scoția pentru trenurile de noapte Caledonian Sleeper, astfel încât aceste locomotive au fost folosite pentru prima oară la cârma unui tren de călători. Totodată, un număr de locomotive au fost vândute în România și în Bulgaria, la operatorul privat DB Schenker Rail. Restul de locomotive sunt deținute de către GB RailFreight/Europorte 2, respectiv de către DB Schenker Rail UK (fostă EWS).

Design
Flota de 46 de locomotive au fost construite de către un consorțiu între Brush Traction (Loughborough), ABB și Procor (Wakefield). Construcția de piese a fost subcontractată, iar asamblarea finală avea loc la atelierele Brush Traction, unde au fost fabricate între 1993 și 1996. (Prima locomotiva a fost fabricată în 1992 dar a fost pusă în circulație în aprilie 1993).

Cutia locomotivei, similară cu cea a locomotivei Class 60, dar cu o parte frontală modificată, au fost produse de către Procor Horbury/Wakefield, fiind livrate deja vopsite în schema de vopsire standard de gri. Propulsia este asigurată de două convertoare de tracțiune cu dispozitive gate turnoff thyristor, controlate prin ABB MICAS-S2. Locomotiva are o putere maximă de 5000 kW în modul CA și 4000 kW în modul CC.

Locomotiva este dotată cu frâne rerostatice respectiv cu frâne recuperative, pe lângă frânele normale Westinghouse. Totodată, locomotiva este echipată cu echipamente electrice speciale pentru a circula în dublă tracțiune, sau în configurație push-pull, cu un DVT sau cu un DBSO.

Pentru a reduce posibilitatea defectării în Tunelul Canalului Mânecii, o mare parte din electrice sunt dublate.

Istoric

Înainte de a intra în circulație, locomotivele 92001 și 92002 au fost testate pe inelul feroviar de la Velim, Cehia. 92002 ulterior a fost mutată la Viena pentru testare la temperaturi de -25°C.

Locomotivele au fost numite după scriitori europeni. Această tradiție de numire a locomotivelor a continuat chiar și după ce 6 locomotive au fost cumpărate de către DB Cargo România, locomotivele fiind numite după scriitori români. După privatizare, acestea au intrat sub proprietatea EWS, Eurostar UK și SNCF.

În 2000, Eurostar UK a încercat să vânda 7 locomotive (92020/21/32//40/44-46) după ce acestea au fost considerate surplus. Nimeni nu le-a cumpărat însă, deci au fost conservate la depoul Crewe Electric TMD/IEMD. Ulterior 5 bucăți au fost cumpărate de Europorte 2, alături de cele deținute de SNCF, cu un total de 16 bucăți deținute.

În 2009 s-a decis ca un număr de locomotive să fie modificate pentru a circula pe HSL1, care include dotarea locomotivelor cu semnalizare TVM. Proiectul a primit fonduri de la Comisia Europeană, iar pe 25 martie 2011 prima locomotivă modificată cu aceste sisteme a circulat între Dollands Moor și Singlewell folosind sistemul de semnalizare TVM430. Primul tren încărcat cu containere a circulat pe 27 mai 2011 iar primele trenuri săptămânale cu containere swap bodies folosind aceste locomotive au început pe 11 moiembrie 2011, între Barking, Londra și Polonia folosind HSL1 și chunnelul.

Locomotiva 92003 Beethoven este cunoscută deoarece a transportat ultimul tren care a circulat vreodată aparținând de British Rail, înainte ca procesul de privatizare să fie complet. A transportat trenul 2315 între Dollands Moor și Wembley, pe 21 noiembrie 1997.

Începând cu aprilie 2015, GB Railfreight a semnat un contract cu Serco pentru a permite locomotivelor să tracteze trenul Caledonian Sleeper între gara Londra Euston și Glasgow Central/Edinburgh Waverley. Pe 31 martie 2015 locomotiva 92018 a plecat din Euston către Scoția cu primul tren Serco Caledonian Sleeper.

Locomotive electrice
Locomotive britanice

Clasa 92 (BR)


Aceasta este o listă de filme românești din 1983:

Lista

Note

Legături externe
Filme românești din 1983 la IMDb.com
Filme românești din 1983 la Cinemagia.ro

Filme din 1983Filme românești
România
Liste de filme românești

Listă de filme românești din 1983


José Rubio Urrea (auch Pepe Rubio; * 10. September 1931 in Lubrín; † 15. März 2012 in Madrid) war ein spanischer Schauspieler.

Leben
Rubio, Sohn eines Bergmannes, kam mit seinen Eltern 1939 nach Barcelona, wo er als Jugendlicher bis zu seinem Militärdienst in einer Textil- und einer Chemiefabrik arbeitete. Rubio debütierte 1952 in El divinmo impaciente von José María Permán auf der Bühne; nachdem er Francisco Rabal kennenlernte, der zu seinem väterlichen Freund wurde, kam er zum Ensemble der "Compañía Lope de Vega", wo er unter José Tamayo in Sophokles' König Ödipus besetzt wurde. Später feierte Rubio Erfolge am Teatro Español der spanischen Hauptstadt in Stücken wie Sechs Personen suchen einen Autor, Tod eines Handlungsreisenden und Don Juan Tenorio. Unter seinen anderen Rollen ragten die in Das Tagebuch der Anne Frank, Orpheus in der Unterwelt und Der Richter von Zalamea heraus. 1969 spielte er erstmals im fünfzehn Jahre lang und etwa 12.000 Mal auf dem Spielplan stehenden Erfolgsstück Enseñar a un sinvergüenza.

Der Sprung ins Kino gelang Rubio – nach zwei kleinen Rollen – 1959 mit La casa de la Troya; bekannte Filme unter seiner Mitwirkung sind Siempre es domingo (1961), El señor de la salle und Escala en Hi-Fi (beide 1963), Los guardiamarinas (1966), die Verfilmung von Enseñar a un sinvergüenza (1969), La casa de los Martínez (1971) und Blanca por fuera, rosa por dentro (1972). Ab Mitte der 1970er Jahre war er nur noch in einigen Fernsehserien mit Gastauftritten zu sehen.

Sein letzter professioneller Auftritt erfolgte 2006. 2008 erhielt er den "Premio Ercilla" für sein Lebenswerk.

Filmografie (Auswahl)
 1959: El casa de la Troya
 1961: Die Irrfahrten des Herkules (Goliath contro i giganti)
 1964: Zorros grausamer Schwur (El Zorro cabalga otra vez)
 1967: Glut der Sonne (Dove si spara di più)

Weblinks

 Nachruf bei Rtve
 Nachruf in terra.es
 Nachruf in La vanguardia

Einzelnachweise

Filmschauspieler
Theaterschauspieler
Spanier
Geboren 1931
Gestorben 2012
Mann

José Rubio (Schauspieler)


Garéfio, en , ou Garéfi (), auparavant appelé Tsernévo (), jusqu'en 1922, est un village du district régional de Pella en Macédoine-Centrale, Grèce. En 2010, il est intégré au sein du dème d'Almopie.

Selon le recensement de 2011, la population du village s'élève à .

Notes et références

Voir aussi

Liens externes

Village en Macédoine-Centrale

Garéfio


E-pitaph er en dansk kortfilm fra 1999 med instruktion og manuskript af Gritt Uldall-Jessen.

Handling
e-pitaph er en interaktiv, virtuel gravsten. Brugeren kan skænde, udsmykke, rengøre eller rive gravstenen ned. Brugeren kan også sende videopost til og aflæse videopost fra den afdøde. Muligheden for at oprette sit eget gravsted på en tilstødende virtuel kirkegård forestår. e-pitaph er en multimedieside med flere spil-elementer.

Referencer

Eksterne henvisninger

Danske film fra 1999

Kortfilm fra Danmark

E-pitaph


Dulfi Al-Jabouri (31. december 1990) er en dansk skuespiller, kendt for forskellige film som R (2010), Nordvest (2013), Krigen (2015) og Underverden fra 2017. Han medvirkede også i tv-serien Broen og tredje sæson af Bedrag.

I 2023 deltager Al-Jabouri i sæson 20 af Vild med dans.
Han skal danse med den professionelle danser Malene Østergaard.

Filmografi
 Alting bliver godt igen (2010)
 R (2010)
 Nordvest (2013)
 Krigen (2015)
 Underverden (2017)
 Valhalla (2019)

Referencer

Eksterne henvisninger

Tjek fødselsår
Skuespillere fra Danmark

Dulfi Al-Jabouri


ෆරීඩා රැජින (උපත සෆීනාස් සුල්ෆිකාර් ලෙස 1921 සැප්තැම්බර් 5 – 1988 ඔක්තෝබර් 16) (අරාබි: صافيناز ذوالفقار) යනුවෙන් හැඳින්වෙන්නේ ෆාරූක් රජුගේ පළමු බිරිඳයි. ආසන්න වශයෙන් වසර එකොළහක් පමණ ඇය ඊජිප්තුවේ රැජින ලෙස කටයුතු කළා ය.

ආශ්‍රේයයන්

බාහිර සබැඳි

|-

ඊජිප්තු වල්ලභ රැජිනියෝ
ඊජිප්තු කලාකාරිනියෝ
1921 උපත්
1988 මරණ
ඊජිප්තු චිත්‍ර ශිල්පියෝ
තුර්කි සම්භවයක් සහිත ඊජිප්තු ජනයා
ලියුකේමියාව නිසා සිදුවූ මරණ
ඊජිප්තුවේ ෆාරූක්
ඇලෙක්සැන්ඩ්‍රියාවේ ජනයා
20වන සියවසේ ඊජිප්තු චිත්‍ර ශිල්පියෝ
20වන සියවසේ කලාකාරිනියෝ
ප්‍රංශය වෙත ඊජිප්තු සංක්‍රමණිකයෝ
ලෙබනනය වෙත ඊජිප්තු සංක්‍රමණිකයෝ

ඊජිප්තුවේ ෆරීඩා


Almatı ili (Kazakça: Алматы облысы, (Almaty oblysy), الماتى وبلىسى; Rusça: Алматинская область), Kazakistan'ın bir eyaletidir. Başkenti Taldıkorgan'dır.

Tarihçe
Bugünün Almatı Bölgesi'nin öncülü olan Alma-Ata Bölgesi, 10 Mart 1932'de Yedisu tarihi bölgesinden kuruldu. Nisan 2001'de Almatı Bölgesi'nin idari merkezi Almatı'dan Taldıkorgan'a taşındı.

Coğrafya
Almatı Eyaleti, Almatı şehrini çevreler ve Kırgızistan ve Çin Sincan Uygur Özerk Bölgesi ile sınır komşusudur. Bölgenin kuzeybatı sınırının büyük kısmı, başlıca su kaynağı olan İli Nehri bölgenin en önemli nehri olduğu Balkaş Gölü boyunca uzanıyor.

Charyn Kanyonu, bölgenin ünlü doğal noktalarından biridir.

Kaynakça

Almatı (eyalet)


DIN 2093 er en DIN-Standart for en tallerken fjederskive.

Kilde
http://bolte.dk/tallerkenfjederskiver-din-2093/
DIN-standarder

DIN 2093


Pierogi are filled dumplings, made by wrapping unleavened dough around a filling, and occasionally flavored with a savory or sweet garnish and cooking in boiling water.

Pierogi or their varieties are associated with the cuisines of Central, Eastern and Southeastern Europe.  Dumplings most likely originated in Asia and came to Europe via trade in the Middle Ages. The widely used English name pierogi was derived from Polish. In East Europe and parts of Canada they are known as varenyky, or, in some dialects, pyrohy. Pierogi are also popular in modern-day American cuisine where they are sometimes known under different local names.

Typical fillings include potato, cheese, quark, sauerkraut, ground meat, edible mushrooms, fruits, and/or berries. Savory pierogi are often served with a topping of sour cream, fried onions, or both.

Terminology

The English word "pierogi" comes from Polish  , which is the plural form of  , a generic term for one filled dumpling. It derives from Old East Slavic  () and further from Proto-Slavic *pirъ, "feast". While dumplings as such are found throughout Eurasia, the specific name pierogi, with its Proto-Slavic root and its cognates in the West and East Slavic languages, including Russian  (, "pie") and  (, "small pies"), shows the name's common Slavic origins, antedating the modern nation states and their standardized languages. In most of these languages the word means "pie". However, a recent theory speculates that the words bierock, pierogi or pirog may be derived from Turkic bureg.

Among Ukrainians and the Ukrainian diaspora, they are known as varenyky (вареники). The word is the plural form of  (), which derives from Ukrainian  () "boiling liquid", indicating boiling as the primary cooking method for this kind of dumpling. The same term is used in the Mennonite community, sometimes spelled varenikie or wareniki; and vareniki among Canadian Doukhobors

Bryndzové pirohy is the Slovak term for dumplings filled with sheep milk cheese.

Colțunași is the Romanian term for filled dumplings. It is derived from Greek , kaltsúni, itself a borrowing from Italian calzoni. A similarly named type of dumpling related to, or considered a variety of, pierogi, is known in Belarus as калдуны́, in Lithuania as koldūnai, and in Poland as kołduny.

Pierogi had a local variant in Poland known as Saint Peter's pierogi or pierogi Świętego Piotra.

Origins

While the origin of the pierogi is often under debate, the exact origin of the dish is unknown and unverifiable. Dumplings most likely originated in China and became widespread in Europe during the Middle Ages or later periods. Some claim that pierogi were spread by Marco Polo's expeditions through the Silk Road, thus suggesting a connection to Chinese mantou. Other sources theorize that in the 13th century, pierogi were brought by Saint Hyacinth of Poland from the Far East (Asia) via what was then the Kievan Rus'. These became characteristic to Central and East European cuisines, where different varieties (preparation methods, ingredients, fillings) were invented.

Ingredients and preparation

Fillings
Pierogi may be stuffed (singularly or in combinations) with mashed potatoes, fried onions, quark or farmer cheese, cabbage, sauerkraut, ground meat, mushrooms, spinach, or other ingredients depending on the cook's preferences. Dessert versions of the dumpling can be stuffed with sweetened quark or with a fresh fruit filling such as cherry, strawberry, raspberry, bilberry, blueberry, apple, or plum; stoned prunes are sometimes used, as well as jam. For more flavor, sour cream can be added to the dough mixture, and this tends to lighten the dough.

Preparation
The dough, which is made by mixing flour and warm water, sometimes with an egg, is rolled flat and then cut into squares with a knife or circles using a cup or drinking glass. The dough can be made with some mashed potato, creating a smoother texture. Another variation, popular in Slovakia, uses dough made of flour and curd with eggs, salt, and water.

The filling is placed in the middle and the dough folded over to form a half circle or rectangle or triangle if the dough is cut squarely. The seams are pressed together to seal the pierogi so that the filling will remain inside when it is cooked. The pierogi are simmered until they float, drained, and then sometimes fried or baked in butter before serving or fried as leftovers.  They can be served with melted butter or sour cream, or garnished with small pieces of fried bacon, onions, and mushrooms. Dessert varieties may be topped with apple sauce, jam, or varenye.

Countries

Poland

Traditionally considered peasant food, pierogi eventually gained popularity and spread throughout all social classes, including the nobility. Cookbooks from the 17th century describe how during that era, the pierogi were considered a staple of the Polish diet, and each holiday had its own special kind of pierogi created. They have different shapes, fillings and cooking methods. Important events like weddings had their own special type of pierogi kurniki – baked pie filled with chicken. Also, pierogi were made especially for mournings or wakes, and some for caroling season in January. In the east baked pierogi are a common and well-liked Christmas dish. They were stuffed with potatoes, cheese, cabbage, mushrooms, buckwheat, or millet. The most famous is the Biłgoraj pierogi stuffed with buckwheat, potatoes, and cheese and then baked in the oven.

Pierogi are an important part of Polish festive seasons, particularly Christmas Eve (Wigilia supper) and Christmastide. They are also served during public events, markets or festivals in a variety of forms and tastes, ranging from sweet to salty and spicy. At the 2007 Pierogi Festival in Kraków, 30,000 pierogi were consumed daily.

Polish pierogi are often filled with fresh quark, boiled and minced potatoes, and fried onions. This type is known in Polish as pierogi ruskie ("Ruthenian pierogi"). Other popular pierogi in Poland are filled with ground meat, mushrooms and cabbage, or for dessert an assortment of fruits (berries, with strawberries or blueberries the most common).

Sweet pierogi are usually served with sour cream mixed with sugar, and savory pierogi with bacon fat and bacon bits. Poles traditionally serve two types of pierogi for Christmas Eve supper. One kind is filled with sauerkraut and dried mushrooms, anothersmall uszka filled only with dried wild mushroomsis served in clear barszcz. Leniwe pierogi ("lazy pierogi") are a different type of food, similar to lazy vareniki (see below), kopytka, or halušky.

Ukraine
Varenyky in Ukraine are a popular national dish, served both as a common everyday meal and as a part of some traditional celebrations, such as Christmas Eve Supper (). In some regions in or bordering modern-day Western Ukraine, particularly in Carpathian Ruthenia and Galicia, the terms varenyky and pyrohy are used to denote the same dish. However, Ukrainian varenyky are often not pan-fried.

Varenyky are considered by Ukrainians as one of their national dishes and plays a fundamental role in Ukrainian culture. Contrary to many other countries that share these dumplings, Ukrainians tended to use fermented milk products (soured milk or ryazhanka) to bind the dough together; however, today eggs tend to be used instead. Typical Ukrainian fillings for varenyky include quark, potato, boiled beans, cabbage, mushy peas, plum, currants, sour cherries (and other fruits), meat, fish, and buckwheat.

In Ukraine, varenyky are traditionally topped with sour cream () and butter, as well as with fried onions, and fried pieces of salo (). Whilst traditionally savory, varenyky can also be served as a dessert by simply substituting the filling of the dumpling to a sweet one. Dessert varenyky fillings include sour cherry, bilberries, sweet quark, and various fruits. The central regions of Ukraine are known for their more unusual varenyky, Poltava being known for its flour varenyky filling, in which the dumplings are filled with a mixture of flour, lard and fried pieces of bacon. However, unusual fillings can also be found in other regions, such as the hempseed varenyky from Polissia and Galicia.

Varenyky are so beloved in Ukraine that a yearly festival commemorating them is held at the Ukrainian ski resort town of Bukovel in the Carpathian Mountains. In 2013, a snow monument to varenyky was made in Bukovel, and was submitted to the Guinness Book of Records as the biggest snow varenyk in the world.

In Ukraine, varenyky are not just a national dish, but also played a symbolic and ritualistic role. Ukrainian ancestors equated varenyky with a young moon due to the similar shape, and used the dumplings as part of pagan and sacrificial rituals. For example, cheese varenyky would be sacrificed near water springs, and years ago farmers also believed that varenyky helped bring a rich harvest, so they took homemade dumplings with them to the fields.

German-speaking regions

The common term Pirogge (pl. Piroggen) describes all kinds of Eastern European filled dumplings and buns, including pierogi, pirozhki and pirogs. Certain types of piroggen, both boiled and baked, were common fare for Germans living in Eastern Europe and the Baltic are still prepared by their descendants living there and in Germany. In particular, baked pīrādziņi are known as Kurländer Speckkuchen ("Courland bacon/speck pies") in the cuisine of Baltic Germans.

Schlutzkrapfen closely resemble pierogi; they are common in Tirol and northern Italy's German-speaking region of South Tyrol, and are occasionally found in Bavaria. Fillings may include meat or potatoes, but the most widespread filling is a combination of spinach and quark (Topfen) or ricotta. Another similar Austrian dish, known as Kärntner Nudel (Carinthian noodles), is made with a wide range of fillings, from meat, mushrooms, potato or quark to apples, pears or mint. These regional specialties differ significantly from the most common Swabian filled dumplings known as Maultaschen.

Hungary
In Hungarian cuisine, the derelye  is similar to pierogi, consisting of pasta pockets filled with jam, cottage cheese, or sometimes meat. Derelye is consumed primarily as a festive food for special occasions such as weddings; it is also eaten for regular meals, but this tradition has become rare.

Romania and Moldova
In Romania and Moldova, a similar recipe is called colțunași, with regional varieties such as piroști in Transylvania and Bukovina regions and chiroște in Moldavia region. Colțunași is either a dessert filled with jam (usually plum), fresh sour cherries, or cottage cheese, or savory, filled with dill seasoned cheese (telemea or urdă), mashed potatoes, or chopped meat. The dough is made with wheat flour and the colțunași are boiled in salted water, pan-fried in oil, or baked in the oven.

The word is a cognate with Slavic kalduny, a type of dumplings. In both Bukovina and Transylvania, the name piroști is used in Romanian families of German or Slavic origin and the filling can also be a whole, fresh, seedless plum. The term colțunaș is used by native Romanian families and are usually filled with cottage cheese or quark and served topped with sour cream smântână, traditionally called colțunași cu smântână.

Russia

Vareniki are most often filled with potatoes (sometimes mixed with mushrooms), quark cheese, cabbage, beef, and berries. They can be topped with fried onions and bacon, or butter, and served with sour cream. This Ukrainian dish became especially popular in Russia during the Soviet period, when it became part of the menu of public catering and international Soviet cuisine. Pelmeni are significantly different; they are smaller, shaped differently and usually filled with ground meat (pork, lamb, beef, fish) or mushrooms as well as salt, pepper, and sometimes herbs and onions.

In modern Russian, pirozhki always mean a baked, in oven, or sometimes in a frying pan, usually under the lid, dough with filling.  For dough with fillings, cooked in boiling water, exact naming is used – vareniki, pelmeni, pozy (steamed), etc.

Russian Mennonite cuisine
Due to centuries of close-knit community and mass migration from the Netherlands, northern Prussia, the Russian Empire, and the Americas, the Russian Mennonites developed a unique ethnicity and cuisine. In Russian Mennonite cuisine the pierogi is more commonly called vereniki and almost always is stuffed with cottage cheese and served with a thick white cream gravy called schmaunt fat. Russian Mennonites will also stuff the vereniki with fruit such as Saskatoon berries or blueberries. It is often accompanied with farmer sausage (formavorscht) or ham. Mennonite-style vereniki is no longer common in Poland, Russia, or Ukraine, but is very common in the Canadian prairies, Chihuahua, Mexico, Paraguay, Bolivia, and other places where Russian Mennonites settled.

Slovakia

A traditional dish in Slovak cuisine is , dumplings filled with salty  cheese mixed with mashed potatoes.  are served with some more  (mixed with milk or sour cream, so it has a liquid consistency and serves as a dip) and topped with bacon or fried onion. In Slovakia,  are semicircular in shape.

Along with ,  is one of Slovakia's national dishes. Some other varieties include pirohy filled with mashed potatoes, apples, jam, or quark.

Bosnia and Herzegovina
Klepe are popular in Sarajevo, filled with minced meat, and topped with sour cream, garlic, and paprika.

Slovenia

Ajdovi krapi (literally buckwheat carps) are a dish popular in the northeastern and Alpine regions of Slovenia. Made with buckwheat rather than wheat flour and filled with a mixture of cottage cheese (skuta), millet, and fried onions, they are traditionally topped with pork fat crisps, fried bacon, or fried onion, but today often with butter breadcrumbs. Along with žganci and štruklji, they form a trio of buckwheat-based dishes typical of Slovenian cuisine.

Turkey
Piruhi is a traditional dish made in some parts of Anatolia which was also existed in Ottoman court cuisine. It is usually made with wheat flour and egg
and filled with a mixture of Tulum cheese, parsley, and onion. Served with toasted walnuts in butter.

United States and Canada

Pierogi were brought to the United States and Canada by Central and Eastern European immigrants. They are particularly common in areas with large Polish or Ukrainian populations, such as the Province of Alberta, Pittsburgh, Chicago, and New York City (particularly in the East Village of Manhattan and Greenpoint in Brooklyn) along with its New Jersey suburbs. Pierogi were at first a family food among immigrants as well as being served in ethnic restaurants. The pierogi in America initially came from Cleveland, Ohio, when the first documented sale of pierogi was made at the Marton House Tavern in Cleveland in 1928. In the post–World War II era, freshly cooked pierogi became a staple of fundraisers by ethnic churches. By the 1960s, pierogi were a common supermarket item in the frozen food aisles in many parts of the United States and Canada, and are still found in grocery stores today.

Numerous towns with Central and Eastern European heritage celebrate the pierogi. They have become a symbol of Polish-American cultural identity. Many families make them together for Christmas. The city of Whiting, Indiana, celebrates the food at its Pierogi Fest every July. Pierogis are also commonly associated with Cleveland, where there are yearly events such as the Slavic Village Pierogi Dash and the Parma Run-Walk for Pierogies. Pittsburgh, Pennsylvania, also celebrates pierogi. There is a "pierogi race" at every home Pittsburgh Pirates baseball game. In the race, six runners wearing pierogi costumes race toward a finish line. In 1993, the village of Glendon, Alberta, erected a roadside tribute to this culinary creation: a  fibreglass perogy (preferred local spelling), complete with fork.

The United States has a substantial pierogi market because of its large Central and Eastern European immigrant populations. Unlike other countries with newer populations of European settlers, the modern pierogi is found in a wide selection of flavors throughout grocery stores in the United States. Many of these grocery-brand pierogi contain non-traditional ingredients to appeal to American tastes, including spinach, jalapeño, and chicken.

Pierogi enjoyed a brief popularity as a sports food when Paula Newby-Fraser adopted them as her food of choice for the biking portion of the 1989 Hawaii Ironman Triathlon. For more than a decade thereafter, Mrs. T's (the largest American pierogi manufacturer) sponsored triathlons, some professional triathletes and "fun runs" around the country. For many triathletes, pierogi represented an alternative to pasta as a way to boost their carbohydrate intakes.

According to pierogi manufacturer Mrs. T's, based in Shenandoah, Pennsylvania, pierogi consumption in the United States is largely concentrated in a geographical region dubbed the "Pierogi Pocket", an area including New York, New Jersey, Pennsylvania, Ohio, Indiana, Chicago, Detroit, parts of the northern Midwest and southern New England which accounts for 68 percent of annual US pierogi consumption.

Canada has a large Polish population, as well as Ukrainian populations, and pierogi (known locally as perogies) are common throughout the country. The Canadian market for pierogi is second only to that of the U.S. market, the latter having been the destination of choice for the majority of Central and Eastern European immigrants before and during World War II.

Packed frozen pierogi can be found wherever Central and Eastern European immigrant communities exist and are generally ubiquitous across Canada, even in big chain stores. Typically frozen flavors include analogs of ruskie pierogi filled with potato and either Cheddar cheese, onion, bacon, cottage cheese, or mixed cheeses. Homemade versions are typically filled with either mashed potatoes (seasoned with salt and pepper and often mixed with dry curd cottage cheese or cheddar cheese), sauerkraut, or fruit. These are then boiled, and either served immediately, put in ovens and kept warm, or fried in oil or butter. Popular fruit varieties include strawberry, blueberry, and saskatoon berry.

Potato and cheese or sauerkraut versions are usually served with some or all the following: butter or oil, sour cream (typical), fried onions, fried bacon or kielbasa (sausage), and a creamy mushroom sauce (less common). Some ethnic kitchens will deep-fry perogies; dessert and main course dishes can be served this way.

The frozen varieties are sometimes served casserole-style with a mixture of chopped ham, onions, peppers, and cheddar cheese or with an Italian-style mixture of ground beef, onions, and tomato sauce.

National chain restaurants in Canada feature the dish or variations. Boston Pizza has a sandwich and a pizza flavored to taste like pierogies, while Smitty's serves theirs as an appetizer deep-fried with a side of salsa.

Lazy pierogi and lazy varenyky

Lazy varenyky (, ) in Ukrainian and Russian cuisine or leniwe pyrohy in Rusyn are gnocchi-shaped dumplings made by mixing domashniy sir (curd cheese) with egg and flour into quick dough. The cheese-based dough is formed into a long sausage about  thick, then cut diagonally into gnocchi, called halushky in Ukrainian and Rusyn, halušky in Czech, and  galushki in Russian. The dumplings are then quickly boiled in salted water and served with sour cream or melted butter.

The name "lazy varenyky" reflects the quick preparation time of the dish, usually taking 10 to 15 minutes from assembling the simple ingredients to serving the cooked dumplings. Lazy varenyky differ from standard varenyky in the same way that Italian gnocchi differ from ravioli or tortellini: these are fluffy solid dumplings, rather than stuffed pockets of dough. The same dish in Polish cuisine is called lazy pierogi ().

In culture
Pierogi have their own patron saint: Saint Hyacinth of Poland, a monk tied to the history of pierogi. He is sometimes called "Święty Jacek z pierogami" (St. Hyacinth with his pierogi) and prayed to under this moniker, this custom is especially tied to the traditional "baked pierogi of St. Hyacinth" of Nockowa in Subcarpathia. In addition, "Święty Jacek z pierogami!" is an old Polish expression of surprise, roughly equivalent to the English language "good grief" or American "holy smokes!" The origin of this usage is unknown.

In Ukrainian literature varenyky appeared as a symbol of national identity, sometimes stressing its distinction from Russian. In the poem by Stepan Rudansky Varenyky-Varenyky (1858), a Russian soldier asks a Ukrainian countrywoman to cook varenyky for him. However, he cannot think of the word "varenyky", while the woman pretends not to understand him.

The Great Pittsburgh Pierogi Race N'at, commonly called the Great Pierogi Race, is an American mascot race between innings during a Pittsburgh Pirates baseball game that features six contestants racing in giant pierogi costumes: Potato Pete (blue hat), Jalapeño Hannah (green hat), Cheese Chester (yellow hat), Sauerkraut Saul (red hat), Oliver Onion (purple hat), and Bacon Burt (orange hat).

Monuments
A monument to varenyky was inaugurated in Cherkasy, Ukraine in September 2006. The monument erected at the entrance to a hotel depicts Cossack Mamay (a Ukrainian folklore hero whose fondness for varenyky was narrated by Taras Shevchenko and Nikolay Gogol) eating varenyky from an earthenware pot, with a huge crescent-shaped varenyk behind him.

In 1991, a giant -tall pierogi statue on a fork was erected in the village of Glendon in Alberta, Canada. In January 2010, a pierogi statue was proposed to be erected in Minneapolis, Minnesota.

See also

 Pelmeni
 Momo
 Eastern European cuisine
 Kalduny
 Kreplach
 List of stuffed dishes
 Pampuchy
 Speķrauši
 Syrniki
 Uszka
 Jiaozi
 Manti
 Naleśniki
 Gujiya
 Empanada
 Romani cuisine
 Mennonite cuisine
 Comfort food

Notes

References

External links

The Pierogi Renaissance: How Poland's Most Famous Dish is Reinventing Itself

Culture of Cleveland
Cuisine of the Mid-Atlantic states
Cuisine of the Midwestern United States
Czech cuisine
Dumplings
Hungarian cuisine
Ashkenazi Jewish cuisine
Lithuanian cuisine
Mennonite cuisine
Moldovan cuisine
National dishes
National symbols of Poland
National symbols of Ukraine
Polish-American culture
Polish-Australian culture
Polish-Canadian culture
Polish-New Zealand culture
Polish cuisine
Romanian cuisine
Belarusian cuisine
Russian cuisine
Slovak cuisine
Ukrainian cuisine
Soviet cuisine
Stuffed dishes
Ground meat
Serbian cuisine
Slovenian cuisine
Croatian cuisine
Bulgarian cuisine
German cuisine
Austrian cuisine
Georgian cuisine
Ossetian cuisine
Caucasian cuisine
Romani culture
Cuisine of Manitoba
Peasant food

Pierogi


Le vegvísir est un symbole apparaissant dans le manuscrit de Huld écrit par Geir Vigfússon (1813 – 1880) à Akureyri en 1860.

Étymologie
Vegvísir est dérivé de deux mots islandais, vegur et vísir . Vegur signifie « chemin, route, chemin » et vísir signifie « chemin, guide ».

Vegur est dérivé du vieux norrois vegr , du proto-germanique * wegaz ou du proto-indo-européen * weǵʰ- . Vísir est dérivé du vieux norrois vísa signifiant 'montrer, souligner, indiquer', ou du proto-germanique wīsōną ou wisaz , signifiant 'visiter'.

Histoire
Jusqu'à présent, les sources les plus anciennes sur le vegvisir, proviennent de trois manuscrits datant tous les trois du 19e siècle. La source la plus ancienne est le manuscrit de Huld, écrit par Geir Vigfússon (1813 – 1880) à Akureyri en 1860. Dans cette version, le vegvisir est carré avec un texte d'accompagnement :

"Beri maður stafi essa á sér villist maður ekki í hríðum né vondo veðri ó ókunnugur sá"

Traduction française : "Emportez ces bâtons avec vous et vous ne vous perdrez pas dans les tempêtes ou le mauvais temps, même dans un environnement inconnu."

Nous trouvons également le vegvisir dans deux autres manuscrits nommés tous deux « Galdrakver », le premier écrit par Olgeir Geirsson en 1868 et le second est d'un auteur inconnu. Dans ces versions, il y a déjà quelques différences avec le vegvisir du manuscrit de Huld tant au niveau du symbole que du texte.

Texte qui accompagne le vegvir dans le Galdrakver d'Olgeir Geirsson : "Beri maður þennan staf á sér mun maður trauðla villast í hríð eða verða úti og eins rata ókunnugur."

Traduction française : "Porte ce signe avec toi et tu ne te perdras pas dans les tempêtes, ni mourras dans le mauvais temps froid, et tu trouveras facilement ton chemin à partir de l'inconnu."

Texte qui accompagne le vegvisir dans le Galdrakver (auteur inconnu) : "At maður villist ekki : geim þennan staf undir þinni vinstri hendi, hann heitir Vegvísir og mun hann duga þér, hefir þú trú á honum – ef guði villt trúa i Jesu nafni – þýðing þessa stafs er falinn i þessum orðum að þú ei i (…) forgangir. Guð gefi mér til lukku og blessunar i Jesu nafni."

Traduction française : "Pour éviter de se perdre : Gardez ce signe sous votre bras gauche, son nom est Vegvisír et vous servira si vous y croyez – Si vous croyez en Dieu et au nom de Jésus – La signification de ce symbole est cachée dans ces mots, afin que vous ne puissiez périr. Que Dieu me donne la chance et me bénisse au nom de Jésus."

On entend souvent dire que le vegvisir apparaît dans le Galdrabók (daté d'environ 1600) mais il s'agit d'une idée fausse. La confusion vient de la traduction qu'a publiée Steven Flowers (Edred Thorsson) en 1989 dans son ouvrage : The Galdrabók: An Icelandic Grimoire.

Il y mentionne le vegvisir mais en tant que note et non en tant que symbole appartenant au manuscrit original. De plus, la version qu'Edred Thorsson montre dans son ouvrage est une vague copie d'une autre version récente (celle de  Ólafur Davíðsson réalisée en 1903 dans son essai). Le vegvisir est devenu rond et certaines branches ont encore changé.

Si nous devons considérer le vegvisir du manuscrit de Huld comme la version originale, alors, celle créée au 20e siècle et propagée par Edred Thorsson, n'est qu'une mauvaise copie qui a subi les dégâts du temps et des interprétations personnelles. Car entre la version de Huld et celle de Thorsson, il y a une différence telle que le symbole n'a plus du tout la même symbolique.

Il n'est rien indiqué de plus sur le vegvisir, dans les manuscrits qui en font mention. En revanche, le symbole a fait l'objet de nombreuses interprétations de la part des néopaïens.

Une interprétation courante, est celle qui identifie chaque branche du vegvisir à l'un des neuf mondes de la mythologie nordique, Midgard se situant au centre.

En soi, rien ne peut prouver que cette interprétation soit juste. Il s'agit d'une étude subjective qui peut éventuellement être probable mais, elle ne constitue pas une certitude sur la valeur symbolique du vegvisir.

Rien ne peut prouver non plus que cette interprétation soit fausse. Comme beaucoup de symboles, chacun y voit ce qui lui semble logique et surtout, ce qu'il a envie d'y voir.

Le lien entre le vegvisir et la mythologie nordique est très controversé car la Scandinavie était christianisée depuis plus de huit-cents ans. Néanmoins, le folklore scandinave nous prouve que les héros de la mythologie nordique ainsi que sa cosmogonie étaient toujours présents dans l'esprit des habitants. Par exemple le poème "Aasgaardsreia" de Johan Sebastian Welhaven en 1845 met en scène des héros mythologiques tel que Thor ou Sigurd le tueur de Fafnir. Bien que diabolisés par l'église, les mythes païens existaient toujours et certains des personnages mythologiques sont présents dans le manuscrit de Huld, d'où est tiré le vegvisir.

Références
La section Histoire de cet article est en totalité tiré du livre Le petit livre des symboles controversés, Jara, La Taverne Cooper, 2021.

Symbole
Culture en Islande

Vegvísir


Körücek, Çorum ilinin Mecitözü ilçesine bağlı bir köydür.

Tarihçe
Köyün adı, 1928 yılı kayıtlarında Göricek Alevi olarak geçmektedir.

Coğrafya
Köy, Çorum il merkezine 20 km, Mecitözü ilçe merkezine 19 km uzaklıktadır.

Nüfus

Kaynakça

Dış bağlantılar

Mecitözü belde ve köyleri

Körücek, Mecitözü


Saint-Denis er höfuðstaður frönsku handanhafssýslunnar Réunion í Indlandshafi. Íbúar eru rúmlega 150 þúsund.

Réunion

Saint-Denis


Pieter de Molijn (Londres, 6 de abril de 1595-Haarlem, 23 de marzo de 1661) fue un pintor y grabador holandés de la época barroca, especializado en el género del paisaje. En ocasiones colaboró con Frans Hals.

Carrera
Nació en Londres en el seno de una familia flamenca. Sus padres procedían de Gante y Bruselas; se supone que emigraron a Inglaterra por motivos laborales.

Poco se sabe de los primeros años del artista. Se cree que emprendió un viaje a Italia antes de 1616, cuando ingresó en la guilda (gremio) de San Lucas de Haarlem. Por desgracia no se le conocen obras fechadas anteriores a 1625.

Entre 1616 y 1627 residió en Delft, donde se casó en 1624 y tuvo siete hijos. Se estableció definitivamente en Haarlem y allí falleció. Fue una figura socialmente reconocida, y así, fue miembro de la Guardia Cívica de la ciudad en tres ocasiones (1624, 1627 y 1630).

Se cree que Molijn fue aprendiz de Esaias van de Velde. Se especializó en cuadros de paisaje, pero también pintó retratos, interiores de edificios y escenas de género. Su producción se suele clasificar en tres etapas:

 En la primera (1625-31) desarrolló con estilo fluctuante una gran variedad de temas: paisajes con dunas, escenas de viajeros, batallas de caballería, vistas invernales, granjas entre árboles y escenas de labriegos.

 Su segunda etapa (1632-47) se caracteriza por paisajes más simples y espaciosos, con vegetación más frondosa y luces más difusas. Sus obras fechadas de la década de 1630 son más bien escasas, pero abundan las del decenio siguiente. Su obra maestra ha de ser Campesinos regresando a casa (1647) del Museo Frans Hals de Haarlem. En esta etapa colaboró ocasionalmente con Frans Hals y Gerard ter Borch, pintando los fondos de paisaje de algunos de sus retratos; éste ha de ser el caso del gran cuadro de Hals Grupo familiar con siervo negro del Museo Thyssen-Bornemisza de Madrid.

 A partir de 1648 se desarrolla la etapa final de Molijn, cuando el artista retomó composiciones previas para nuevas versiones más refinadas y con empastes más atrevidos que recuerdan a Rembrandt. De todas formas, en estos años disminuye su producción pictórica a favor de los dibujos.

Molijn trabajó también como grabador. Ya en 1625, año de su primera pintura fechada, grabó un grupo de cuatro aguafuertes sobre campesinos y militares en paisajes, al modo de Abraham Bloemaert. Además fue un artista copiado por otros grabadores, como Jan van de Velde II, quien reprodujo composiciones suyas como La estrella de los Reyes Magos y Martes de carnaval.

La producción dibujística de Molijn es amplia, sobre todo en su madurez; muchas de estas piezas están firmadas y fechadas en la década de 1650. Por su cuidadoso acabado, hubo de crearlas como obras en sí mismas y no como simples bocetos para futuros cuadros. En España, el Gabinete de Dibujos y Estampas del Museo del Prado posee una de ellas, un Paisaje, firmado y datado en 1655.

En cuanto a estilo, Molijn es un autor relevante en la transición del paisaje entre el manierismo procedente de finales del  y el naturalismo de la generación de Jacob van Ruysdael. Junto con Jan van Goyen fue uno de los pioneros del paisaje tonal. No fue tan hábil pintando las figuras humanas y a veces encomendaba esta tarea a otros autores. Entre sus discípulos se cuentan artistas luego famosos como Gerard ter Borch y Allart van Everdingen.

Hay obras de Pieter de Molijn en los más ilustres museos: Louvre de París, Rijksmuseum de Ámsterdam, Metropolitan Museum de Nueva York, Getty Center de Los Ángeles, Museo Fitzwilliam de Cambridge...

Referencias

Enlaces externos
 Biografía de Molijn (en inglés), en la web de la galería Sphinx Fine Art de Kensington (Londres).
 Reseña sobre Molijn en la web del Getty Center de Los Ángeles (en inglés).
 Biografía de Pieter Molyn incluida en De groote schouburgh der Nederlantsche konstschilders en schilderessen (1718), escrita por Arnold Houbraken, incluida en la Digital library for Dutch literature

Nacidos en Londres
Fallecidos en Haarlem
Pintores del Siglo de oro neerlandés
Miembros del Gremio de San Lucas de Haarlem

Pieter de Molijn


Nintendo Switch este o consolă de jocuri video concepută și dezvoltată de Nintendo, lansată pe 3 martie 2017. Este o consolă hibridă, ce poate fi folosită atât ca o consolă "normală", pentru acasă, cât și ca o consolă portabilă. Controllerele Joy-Con, ce au butoane standard, joystick-uri și alte tehnologii incorporate, se pot atașa la ambele părți laterale a consolei, pentru a permite funcționalitatea de consolă portabilă. Acestea pot fi utilizate și folosind un accesoriu ("Joy-Con Grip") pentru a oferi un format de tip gamepad, sau se pot folosi individual, precum un Wii Remote și Nunchuck, pentru modurile de multiplayer local. Software-ul Nintendo Switch permite conectarea la Internet pentru jocuri online, cât și conectivtate wireless ad-hoc cu alte console. Jocurile Nintendo Switch și alte softuri sunt disponibile atat fizic, sub forma unor carduri de memorie flash, cât și prin distribuire digitală via magazinul online Nintendo eShop; de asemenea, consola nu este blocată regional. O ediție revizuită pentru modul portabil, denumită Nintendo Switch Lite, a fost lansată pe 20 septembrie 2019.

Consola Nintendo Switch a fost dezvăluită pe 20 octombrie 2016. Cunoscută în timpul dezvoltării sub numele de cod NX, conceptul Switch a provenit ca o reacție din partea Nintendo la pierderi financiare majore în 2014, atribuite vânzărilor slabe a consolei precedente, Wii U, cât și competiția oferită de jocurile de pe telefoane (mobile gaming). Președintele Nintendo de atunci, Satoru Iwata, a încurajat compania să continue în direcția jocurilor de pe telefon și a hardware-ului nou și inovativ. Design-ul Nintendo Switch este îndreptat către un demografic larg de jucători video, prin diferitele moduri de utilizare. Nintendo a optat pentru folosirea a mai multor componente electronice standard, precum un chipset bazat pe linia Nvidia Tegra, pentru a facilita procesul de dezvoltare de jocuri pentru Switch, dar și pentru a asigura o compatibilitate crescută cu motoarele grafice existente. Din moment ce consola Wii U a avut parte de o susținere externa scăzut, Nintendo a căutat și asigurat susținerea a mai multor dezvoltatori de jocuri video, inclusiv a multor studiouri de jocuri video independente pentru a ajuta la adunarea unui număr mare de jocuri disponibile, alături de cele oferite de către Nintendo. În timp ce Nintendo a anticipat, inițial, în jur de 100 de jocuri diferite, peste 320 de jocuri pentru Switch au fost lansate până la final de 2017.

Ca o consolă din a opta generație, Nintendo Switch concurează cu PlayStation 4 de la Sony și Xbox One de la Microsoft. Aproape trei milioane de exemplare au fost produse și achiziționate în prima lună de la lansare, depășind proiecția inițială de două milioane, iar la primul an de la lansare numărul de exemplare a trecut de 14 milioane în toată lumea, depășind numărul total de console Wii U produse. La începutul anului 2018, Nintendo Switch a devenit cea mai rapid vândută consolă atât în Japonia, cât și în Statele Unite ale Americii. Până în decembrie 2019, Nintendo Switch și Switch Lite au vândut peste 52 de milioane de unități în toată lumea. Vanzările Switch sunt în strânsă legătură cu vânzările a șase jocuri Nintendo, fiecare trecând de 10 milioane de exemplare achiziționate, și anume: "The Legend of Zelda: Breath of the Wild", "Super Smash Bros. Ultimate", "Super Mario Odyssey", "Mario Kart 8 Deluxe", "Pokémon: Let's Go, Pikachu! & Let's Go, Eevee!", și "Pokémon Sword & Shield". Alte titluri populare sunt "Captain Toad: Treasure Tracker", "Overcooked! 2", "Splatoon 2", "Fire Emblem: Three Houses", "Luigis Mansion 3" și "The Legend of Zelda: Link's Awakening".

Console de jocuri Nintendo

Nintendo Switch


An Haworthia gracilis in uska species han Liliopsida nga ginhulagway ni Karl von Poellnitz. An Haworthia gracilis in nahilalakip ha genus nga Haworthia, ngan familia nga Xanthorrhoeaceae.

Subspecies

Ini nga species ginbahin ha masunod nga subspecies:

 H. g. gracilis
 H. g. isabellae
 H. g. picturata
 H. g. tenera
 H. g. viridis

Mga kasarigan

Mga sumpay ha gawas

Haworthia

Haworthia gracilis


Oliver Marach (født 16. juli 1980 i Graz, Østrig) er en professionel mandlig tennisspiller fra Østrig.

Eksterne henvisninger

Tennisspillere fra Østrig
Personer fra Graz

Oliver Marach


La Copa Campeonato 1904 fue el decimotercer torneo de Primera División. Se disputó por el sistema de todos contra todos, en dos ruedas, entre el 9 de mayo y el 24 de septiembre.

El campeón fue el Belgrano Athletic Club, cortando la racha del Alumni Athletic Club.

Incorporaciones y relegamientos

Tabla de posiciones final

Notas y referencias

Bibliografía

Enlaces externos
 RSSSF: Argentina 1904

1904
Deporte en Argentina en 1904
Fútbol en 1904
Fútbol en Argentina en 1904

Campeonato de Primera División 1904 (Argentina)


Eskihisar, Elmalı - Antalya ili Elmalı ilçesine bağlı mahalle
 Eskihisar, Sultanhisar - Aydın ili Sultanhisar ilçesine bağlı mahalle
 Eskihisar, Merkezefendi - Denizli ili Merkezefendi ilçesine bağlı mahalle
 Eskihisar, Gebze - Kocaeli ili Gebze ilçesine bağlı mahalle
 Eskihisar, Halkapınar - Konya ili Halkapınar ilçesine bağlı mahalle
 Eskihisar, Demirci - Manisa ili Demirci ilçesine bağlı mahalle
 Eskihisar, Nusaybin - Mardin ili Nusaybin ilçesine bağlı mahalle
 Eskihisar, Yatağan - Muğla ili Yatağan ilçesine bağlı mahalle

Eskihisar