Ivica Frković (Lički Novi, 3. veljače 1894. - Buenos Aires 21. veljače 1980.) bio je hrvatski ministar šuma i ruda za vrijeme Nezavisne Države Hrvatske. Nakon drugog svjetskog rata odlazi u Argentinu u Ministarstvo poljodjelstva i stočarstva.

Životopis
Frković je rođen u Ličkom Novom, a Gimnaziju je završio u Gospiću. Šumarstvo je studirao na Šumarskoj akademiji u Zagrebu na kojoj je diplomirao 1919., međutim, studij mu je bio prekinut na duže od četiri godine zbog sudjelovanja u prvom svjetskom ratu.

U državnu službu u svojstvu privremenog šumsko-inženjerskog pristava stupio je 24. kolovoza 1919. Služio je kao šumarski činovnik u Državnom šumarskom uredu na Sušaku. Slijedi rad u Šumariji Ljeskovac, odakle je 1925. g. premješten u državnu šumariju u Pitomači u Podravini, ali već krajem godine premješten je u Ministarstvo šuma i ruda u Beograd, uz promaknuće za inspektora prve kategorije i postavljen je za šefa Personalnog odsjeka Generalne direkcije šuma. Budući da je na to mjesto postavljen na prijedlog pomoćnika ministra, kad je ovaj smijenjen i Frković je razriješen dužnosti u odsjeku, pa radi u raznim referadama do 1934. kad je premješten na Sušak, a odatle nakon nekoliko mjeseci Direkciji u Zagreb.

Osnivanjem Banovine Hrvatske, u rujnu 1939. prelazi u Bansku upravu Banovine, a početkom 1940. imenovan je predstojnikom Odjela za šumarstvo. Na toj dužnosti ostao je do početka 1941. kad je umirovljen kao nepoćudan.

Uspostavom NDH, Frković je 14. travnja 1941. imenovan za ministra šuma i ruda na kojem mjestu ostaje do listopada 1942., kad se reorganizirala vlada. Frković je tada obavljao razne političke dužnosti, sve do mjesta povjerenika za Bosnu u Sarajevu. Za svoj rad u to vrijeme primio je Velered Krune Kralja Zvonimira s Danicom i mačevima. Tako visoko odlikovanje daje pravo na nošenje naslova vitez.

Po slomu NDH, u svibnju 1945. odlazi u emigraciju. Najprije boravi u Austriji pod raznim imenima, a 1948. s ostalim šumarima emigrantima odlazi u Argentinu u Ministarstvo poljodjelstva i stočarstva, u Direkciju za šume Narodnoga šumarskog instituta (IFONA). Tu radi s ostalim kolegama na poslovima uređenja šuma i sastavljanju šumskoga katastra.

U Argentini nije postojao posebni zakon o šumama i njihovu iskorištavanju i uzgoju, kao što nije bilo ni školovanih šumara, pa su njihov posao obavljali inženjeri agronomije, koji su tijekom studija na agronomskom fakultetu apsolvirali i jednogodišnji studij šumarstva. U nesređene argentinske šume ljudi su rijetko zalazili, pa su mnogi predjeli, jezera, rijeke i razni geomorfološki oblici u njima bili bez imena i nepoznati. U sređivanju tog stanja argentinskoj su državi vrlo mnogo pomogli već ranije afirmirani i u šumarskoj znanosti dokazani hrvatski diplomirani inženjeri šumarstva, koji su doprli do Argentine. Među njima se je posebno istaknuo Ivica Frković.

Uočivši pitanja i potrebe argentinskog šumarstva i gospodarstva, Ivica Frković je na temelju svoga stručnog znanja bez pomoći stručne literature s kolegama izradio više stručnih elaborata, i među njima plan upravljanja Cuarte Forestal Lago Epeyen u Provinciji Chubut, koji je kao prva osnova toga tipa u cijeloj Južnoj Americi korišten kao uzor za stvaranje osnova za druge šumske komplekse.

Frković je predvodio skupinu hrvatskih inženjera u istraživanju i uređenju golemoga argentinskog neobilježenog šumskog prostranstva, koje su hrvatski šumari krstili raznim hrvatskim osobnim i zemljopisnim imenima. Tako se zahvaljujući hrvatskim političkim emigrantima dogodilo da su pojedine do tada bezimene argentinske planine, rijeke, jezera, slapovi, potoci, uvale i doline dobile hrvatska imena, pa u nacionalnom parku Neuquen na argentinsko-čileanskoj granici postoje rijeke koje su od studenoga 1952. imenjakinje rijeka Bosne i Like, od godine 1953. imenjakinje rijeka Bosuta, Cetine, Korane i Une i od početka godine 1954. imenjakinje rijeka Save, Drave, Mure i Drine. Te poslove Frković nije napuštao do umirovljenja, iako su mu nuđena bolja mjesta. Uostalom, i na tom mjestu uvodio je mlade šumarske inženjere u stručne poslove.

Ivica Frković je umro u Buenos Airesu 21. veljače 1980.

Izvori

Dužnosnici NDH
Hrvati u Argentini

Ivica Frković


El X Campeonato Europeo de Balonmano Femenino se celebró en Serbia entre el 4 y el 16 de diciembre de 2012 bajo la organización de la Federación Europea de Balonmano (EHF) y la Federación Serbia de Balonmano.

16 equipos europeos compitieron en el evento por el título de campeón europeo, cuyo anterior portador era el equipo de Noruega, ganador del Europeo de 2010. La selección de Montenegro se alzó con el título al derrotar en la final a  Noruega; el bronce fue para Hungría.

Sedes

Grupos

Primera Fase

Los primeros tres de cada grupo alcanzan la fase principal. Los equipos restantes juegan entre sí por los puestos 13 a 16.

Grupo A

Resultados

(¹) –  Todos en Belgrado.
(²) –  Hora local de Serbia (UTC+1).

Grupo B

Resultados

(¹) –  Todos en Niš.
(²) –  Hora local de Serbia (UTC+1).

Grupo C

Resultados

(¹) –  Todos en Novi Sad.
(²) –  Hora local de Serbia (UTC+1).

Grupo D

Resultados

(¹) –  Todos en Vršac.
(²) –  Hora local de Serbia (UTC+1).

Segunda fase

Los primeros dos de cada grupo disputan las semifinales.

Grupo I

Resultados

(¹) –  Todos en Belgrado.
(²) –  Hora local de Serbia (UTC+1).

Grupo II

Resultados

(¹) –  Todos en Novi Sad.
(²) –  Hora local de Serbia (UTC+1).

Fase final

Semifinales

(¹) –  En Belgrado.
(²) –  Hora local de Serbia (UTC+1).

Quinto lugar

Tercer lugar

Final

(¹) –  En Belgrado.
(²) –  Hora local de Serbia (UTC+1).

Medallero

Estadísticas

Clasificación general

Máximas goleadoras

Enlaces externos
Pág. web del evento (en inglés).
Resultados oficiales (en inglés).

2012
Balonmano en Serbia
Balonmano
Balonmano en 2012
Serbia en 2012

Campeonato Europeo de Balonmano Femenino de 2012


Monument Valley (, , meaning valley of the rocks) is a region of the Colorado Plateau characterized by a cluster of sandstone buttes, the largest reaching  above the valley floor. The most famous butte formations are located in northeastern Arizona along the Utah–Arizona state line. The valley is considered sacred by the Navajo Nation, the Native American people within whose reservation it lies.

Monument Valley has been featured in many forms of media since the 1930s. Director John Ford used the location for a number of his Westerns; critic Keith Phipps wrote that "its  have defined what decades of moviegoers think of when they imagine the American West".

Geography and geology

The area is part of the Colorado Plateau. The elevation of the valley floor ranges from  above sea level. The floor is largely siltstone of the Cutler Group, or sand derived from it, deposited by the meandering rivers that carved the valley. The valley's vivid red color comes from iron oxide exposed in the weathered siltstone. The darker, blue-gray rocks in the valley get their color from manganese oxide.

The buttes are clearly stratified, with three principal layers. The lowest layer is the Organ Rock Shale, the middle is de Chelly Sandstone, and the top layer is the Moenkopi Formation capped by Shinarump Conglomerate. The valley includes large stone structures, including the "Eye of the Sun".

Between 1945 and 1967, the southern extent of the Monument Upwarp was mined for uranium, which occurs in scattered areas of the Shinarump Conglomerate; vanadium and copper are associated with uranium in some deposits.

Major formations include West and East Mitten Buttes, Merrick Butte, and Hunts Mesa.

Tourism

Monument Valley includes much of the area surrounding Monument Valley Navajo Tribal Park, a Navajo Nation equivalent to a national park. Oljato, for example, is also within the area designated as Monument Valley.

Visitors may pay an access fee and drive through the park on a  dirt road. Parts of Monument Valley, such as Mystery Valley and Hunts Mesa, are accessible only by guided tour.

Climate
Monument Valley experiences a desert climate with cold winters and hot summers. While the summers may be hot, the heat is tempered by the region's high altitude. Although the valley experiences an average of 54 days above  annually, summer highs rarely exceed . Summer nights are comfortably cool, and temperatures drop quickly after sunset. Winters are cold, but daytime highs are usually above freezing. Even in the winter, temperatures below  are uncommon, though possible. Monument Valley receives an occasional light snowfall in the winter; however, it usually melts within a day or two.

In visual media

Monument Valley has been featured in numerous computer games, in print, and in motion pictures, including multiple Westerns directed by John Ford that influenced audiences' view of the American West, such as: Stagecoach (1939), My Darling Clementine (1946), Fort Apache (1948), She Wore a Yellow Ribbon (1949), and The Searchers (1956).

Many more recent movies, with other directors, were also filmed in Monument Valley, including Sergio Leone's Once Upon a Time in the West (in 1967), the first Spaghetti Western to be filmed outside Europe, and Gore Verbinski's The Lone Ranger.

In Airwolf: The Movie and the subsequent series, a hollow mesa in Monument Valley was the hiding place for the fictional helicopter. It was referred to as 'Valley of the Gods'.

Gallery

Panorama

See also
 List of sandstones
 Valley of the Gods
 Uluru
 Goulding's Lodge
 Tepui

References

Further reading

External links

Native American culture
Buttes of Arizona
Landforms of Apache County, Arizona
Landforms of Navajo County, Arizona
Colorado Plateau
Regions of Arizona
Valleys of Arizona
Rock formations of Arizona
Valleys of Utah
Rock formations of Utah
Regions of Utah
Landforms of San Juan County, Utah
Religious places of the indigenous peoples of North America
Protected areas of Apache County, Arizona
Protected areas of Navajo County, Arizona
Protected areas of San Juan County, Utah
Sacred mountains
Sacred rocks
Tourist attractions in Utah
Geography of the Navajo Nation

Monument Valley


Akhtuba (, ; også oversat Achtuba på nogle kort) er en venstreforgrening af Volgafloden.

Akhtuba udgrener sig fra Volga over byen Volgograd, og strømmer mod Volgadeltaet og Det Kaspiske Hav. Den gamle udgrening af Akhtuba blev blokeret af dæmningen ved Volgogradreservoiret; nu strømmer forgreningen fra Volga via en 6,5 km lang kanal, der udgår efter dæmningen. Floden er 537 km lang; den gennemsnitlige vandstrøm er 153 m³/sek.

Byerne Volzjskij (ved begyndelsen af forgreningen), Leninsk, Znamensk, Akhtubinsk, Kharabali ligger inden for 5 km fra Akhtuba. Den Gyldne Hordes hovedstad, Saraj, var sandsynligvis placeret ved Akhtuba, ikke langt fra Kharabali.

Området mellem Volga og Akhtuba er kendt som Volga-Akhtuba-sletten, og er et af Ruslands vigtigste grønsagsområder. Det er især kendt for sine vandmeloner, der forbruges i Rusland.

Referencer

Eksterne henvisninger

Bifloder til Volga
Floder i Volgograd oblast
Floder i Astrakhan oblast

Akhtuba


Marcel Popescu (n. 1983) este un astronom român, specialist în spectroscopia asteroizilor și activează la Institutul Astronomic al Academiei Române din București. Are contribuții deosebite în caracterizarea  spectrală a asteroizilor din apropierea Pământului și în modelarea lor mineralogică.

Onoruri
În onoarea lui Marcel Popescu, asteroidul care primise denumirea provizorie 1985 PC, descoperit  la 14 august 1985 de astronomul american E. Bowell, la Anderson Mesa, a primit, la 12 iunie 2014, numele astronomului român: 22281 Popescu.

Note

Bibliografie

Legături externe

Nașteri în 1983
Astronomi români
Astronomi din secolul al XXI-lea

Marcel Popescu (astronom)


Vaterpolo klub "Đakovo" (VK Đakovo; Đakovo) je muški vaterpolski klub iz Đakova, Osječko-baranjska županija.  Klupsko sjedište je na adresi Zvečaj I. 9, Đakovo.

O klubu
U Đakovu je 1952. godine otvoren bazen dimenzija 50*22 m, te smatran za jedan od najljepših u Slavoniji. Ubrzo se javila potreba za osnivanjem plivačkog i vaterpolskog kluba. Vaterpolski klub u Đakovu je djelovao od 1953. do početka 1970.-ih pod različitim imenima i u okviru različitih športskih društava ("Mladost", "ĐŠK", "Jedinstvo"). Sljedećih desetljeća se bezuspješno pokušavala obnoviti vaterpolska aktivnost ili osnovati klub.
Konačno je u svibnju 2011. godine osnovan VK "Đakovo", koji je ubrzo registriran kao udruga i primljen u članstvo Hrvatskog vaterpolskog saveza. Seniorska momčad se natječe u 3. HVL - skupina Slavonija.

Uspjesi

Pregled plasmana

Poznati igrači

Poznati treneri

Unutrašnje poveznice
 Đakovo
 SD Jedinstvo Đakovo (vaterpolo)

Vanjske poveznice
 vk-djakovo.hr, službene stranice
 Vaterpolo klub Đakovo, facebook stranica
 hvs.hr, Đakovo
 hvs.hr (stare stranice), Đakovo
 sportilus.com, VATERPOLO KLUB ĐAKOVO

Izvori

 vk-djakovo.hr, Povijest - POVIJEST VK ĐAKOVO , pristupljeno 11. studenog 2018.
 vk-djakovo.hr, POVIJEST VATERPOLA U ĐAKOVU , objavljeno 8. lipnja 2018., pristupljeno 11. studenog 2018.
 hvs.hr, Registar članova , objavljeno 30. listopada 2018., preuzeto 11. studenog 2018.
 poslovna.hr, VATERPOLO KLUB ĐAKOVO
 bisnode.hr, VATERPOLO KLUB "ĐAKOVO"

Đakovo
Đakovo

VK Đakovo


Onthophagus yunkara é uma espécie de inseto do género Onthophagus, família Scarabaeidae, ordem Coleoptera.

Foi descrita cientificamente por Matthews em 1972.

Referências

Ligações externas

yunkara
Coleópteros descritos em 1972

Onthophagus yunkara


Donald Joseph Boomer Killick (Pietermaritzburg, 6 de mayo de 1926 - Pretoria, 16 de abril de 2008) fue un botánico sudafricano.

De 1940-1943 concurrió al Maritzburg College. E ingresó, de 1945 a 1950, en la Universidad Natal, obteniendo en 1950 su M.Sc. "An account of the plant ecology of the Table Mountain area of Pietermaritzburg, Natal (Cuenta de la ecología Vegetal de la zona de Montañas Table de Pietermaritzburg, Natal.") De 1954 a 1957, y de 1969 a 1971 fue Oficial de Enlace de Sudáfrica en el Real Jardín Botánico de Kew. En 1957 obtuvo su Ph.D. "An account of the plant ecology of the Cathedral Peak area of the Natal Drakensberg".

Algunas publicaciones
 . 2002. Medicinal and magical plants of southern Africa: an annotated checklist. Volumen 13. Editor Nat. Bot. Institute, 203 pp. ISBN 1-919795-62-6
 . 1990. A field guide to the flora of the Natal Drakensberg. Ilustró Rosemary Holcroft. Edición ilustrada de J. Ball, 200 pp. ISBN 0-947464-35-2
 ----------------------------------------------. 1987. The flowering plants of Africa. Volumen 49. Editor Du Plessis & Bot. Res. Institute Dept. of Agr. and Water supply
 ----------------------------------------------. 1982. Comptes-Rendus des séances du 10ème congrès de l'AETFAT qui s'est tenu du 18 au 23 janvier 1982 au Palais des Congrès du CSIR, Prétoria, République d'Afrique du Sud. 90 pp.
 ----------------------------------------------. 1981. Guide to science writing. Editor Dept. of Agriculture and Fisheries, 13 pp.
 ----------------------------------------------. 1972. Register of plant taxonomic and related research projects in Africa. Editor Bot. Res. Institute, 111 pp.
 ----------------------------------------------. 1963. An account of the plant ecology of the Cathedral Peak area of the Natal Drakensberg. Nº 34 de Bot. Survey memoir. Editor Govt. Printer, 178 pp.

 Honores
 1966: electo presidente de la South African Biological Society
 1975: presidente del Comité Internacional de las Espermatófitas

 Eponimia
Género
 (Lamiaceae) Killickia Bräuchler, Heubl & Doroszenko

Especies
 (Cyperaceae) Carex killickii Nelmes
 (Poaceae) Festuca killickii'' Kenn.-O'Byrne

Referencias

Botánicos de Sudáfrica
Escritores en inglés
Nacidos en Pietermaritzburg

Donald Joseph Boomer Killick


La Convención de Londres, también conocida como la Convención anglo-hispana, fue un acuerdo negociado entre el Reino de Gran Bretaña y el Imperio español sobre el estatus de los asentamientos británicos en Mosquitia. Fue firmado el 14 de julio de 1786.

Según los términos del Tratado de París (1783) que puso fin a la Guerra de Independencia de los Estados Unidos e incluía a España como signataria, los asentamientos británicos en el «continente español» debían ser evacuados, empleando un lenguaje similar al usado en el Tratado de París (1763) que terminó la Guerra de los Siete Años. Los colonos británicos en la zona resistieron la implementación del acuerdo de 1783, al observar (como lo habían hecho después del tratado de 1763) que los españoles nunca habían controlado realmente la región y que, por tanto, no pertenecía al «continente español». Después de que ambos bandos aumentaran las actividades militares en el área del asentamiento de Black River, donde vivía la mayor parte de los colonos británicos, se decidió entablar negociaciones para resolver el asunto.

En el acuerdo firmado el 14 de julio de 1786, Gran Bretaña acordó evacuar todos los asentamientos británicos de Mosquitia. A cambio, España acordó expandir el territorio disponible para los leñadores británicos en la península de Yucatán y permitirles talar caoba y otras maderas nobles que estaban aumentando en valor. A pesar de la oposición de los colonos de Mosquitia, el acuerdo fue implementado y los británicos evacuaron a más de dos mil personas. La mayor parte se dirigió a Belice, aunque otros fueron reubicados en Jamaica, Gran Caimán o Roatán. El control del asentamiento de Black River fue entregado formalmente a los españoles el 29 de agosto de 1787 por el nieto de su fundador, William Pitt.

Referencias

Bibliografía

Londres 1786
Londres 1786
Londres 1786
Londres 1786
Tratados suscritos en Londres

Virreinato de Nueva España en el siglo XVIII
Historia de Honduras
Historia de Nicaragua
Historia de Belice
Historia de Guatemala
Política en los años 1780

España en 1786
Tratados de paz de Gran Bretaña

Convención de Londres (1786)


Filip den Oprigtige eller Filip den Ædelmodige (tysk: Philipp I., Pfalzgraf bei Rhein, Philipp der Aufrichtige eller Philipp der Edelmütige) (født 14. juli 1448 i Heidelberg, død 28. februar 1508 i Germersheim) fra slægten Wittelsbach var pfalzgreve og kurfyrste af Pfalz fra 1476 til 1508.

Forældre
Filip den Oprigtige var søn af Ludvig 4., kurfyrste af Pfalz og prinsesse Margarethe af Savoyen (1420–1479). Hun var datter af greve Amadeus 8. af Savoyen (den senere modpave Felix 5.).

Ægteskab
Filip den Oprigtige var gift med Margarete af Bayern-Landshut (1456–1501), datter af hertug Ludvig den 9. (den rige) af Bayern-Landshut.

Filip og Margarete fik 14 børn. Af disse børn blev otte sønner og fire døtre voksne. To sønner blev kurfyrster. Fem sønner blev fyrstbiskopper, og den yngste overlevende søn blev statholder. Den længstlevende sønnesøn blev også kurfyrste. Efter sønnesønnens død i 1559, som forblev barnløs, var det en fjern slægtning, der blev kurfyrste.

Filips og Margaretes fire ældste børn var:
 Ludvig 5., kurfyrste af Pfalz (1478–1544), kurfyrste 1508-1544, gift 1511 med prinsesse Sibylle af Bayern-München (1489–1519). Hun var datter af hertug Albrecht 4. af Bayern-München.
 Filip (1480–1541), fyrstebiskop af Freising og Naumburg
 Ruprecht af Pfalz (biskop af Freising) (1481–1504), far til Otto Henrik, kurfyrste af Pfalz (1502–1559).
 Frederik 2. af Pfalz (1482–1556), kurfyrste 1544-1556, gift  1535 med prinsesse Dorothea af Danmark-Norge (ældste datter af kong Christian 2. af Danmark, Norge og Sverige).

kilder

Kurfyrster af Pfalz
Huset Wittelsbach
Personer i 1400-tallet
Personer i 1500-tallet

Filip den Oprigtige, kurfyrste af Pfalz


Langwedel Almanya'nın kuzeyinde Schleswig-Holstein eyaletinde, Rendsburg-Eckernförde iline bağlı bölge. 24,22 km² yüzölçüme sahiptir. Nüfusu, 30 Eylül 2006 itibarıyla yaklaşık 1406 olarak tespit edilmiştir. Belediye Başkanlığı Holger Spießhöfer tarafından yürütülmektedir.

Dış bağlantılar
 www.amt-nortorfer-land.de

Rendsburg-Eckernförde iline bağlı yerleşim birimleri

Langwedel (Holstein)


En ordinalskala er en skala i statistik, som bruges til fx spørgeskemaer. Et kendt eksempel på en ordinal skala er likertskalaen, som har fem kategorier: enig, delvis enig, hverken enig eller uenig, delvis uenig og uenig. Skalaen er altså lavet af ord og ikke af tal, mens der heller ikke vides, hvor distancen mellem kategorierne ikke vides. Man ved altså ikke, i hvor stor en grad en respondent, som svarer enig er mere enig med spørgsmålet end en, som svarer delvist enig. Det kunne eventuelt være, at den, som svarer delvist enig, faktisk er mere enig end nogle af de respondenter, der svarer enig. Dette kan ske, fordi det er subjektivt, hvilken kategori, man skal svare for at kunne afspejle sin holdning.

Ofte vil man, når man vil lave databehandling, nummerere tallene, så man kan lave statistiske test. Her er det vigtigt, at alle likert-skalaerne så at sige er nummereret rigtigt. Hvis man kategoriserer "enig" som 1 og uenig som 5, skal alle de andre likert-skalaer, man brugte i spørgeskemaet også have "enig" kategoriseret som 1 og uenig som 5.

Se også
 Korrelation
 Måleskala

Kilder

Statistik
Sammenligning (matematisk)

Ordinalskala


فهد جاسم محمد جاسم أحمد الحشاش ، من مواليد الكويت ، لاعب كرة قدم كويتي.

و هو يلعب مع نادي العربي الكويتي منذ موسم 2006/2007.

مراجع

لاعبو النادي العربي (الكويت)
لاعبو كرة قدم كويتيون
مواليد 1990

فهد الحشاش


Papinsko vijeće za zakonodavne tekstove (lat.: Pontificium Consilium de Legum Textibus) jedno je od papinskih vijeća (dikasterija) Rimske kurije. Zadaća ovoga Vijeća je tumačiti univerzalni zakon u Katoličkoj Crkvi i pomagati drugim papinskim vijećima, da su njihovi dokumenti (norme, uredbe, upute) u skladu s važećim zakonom. Na zahtjev biskupskih konferencija, ispituje usklađenost dokumenata koje su izdali s odgovarajućim zakonom.

Od 2007., prefekt Papinskoga vijeća za zakonodavne tekstove je talijanski kardinal Francesco Coccopalmerio, a tajnik španjolski biskup Juan Ignacio Arrieta Ochoa de Chinchetru.

Prvi odbor koji se bavio tumačenjem Kodeksa kanonskoga prava utemeljio je papa Benedikt XV. 1917. godine motuproprijem "Cum iuris canonici". Novi oblik povjerenstva utemeljio je papa Ivan XXIII. 1963. godine, dajući mu zadatak da radi na novom kanonskome zakonu. Nakon Drugoga vatikanskog koncila, 1967. godine, papa Pavao VI. utemeljio je komisiju za tumačenje uredbi Drugoga Vatikanskog koncila. Godine 1984. papa Ivan Pavao II. utemeljio je komisiju autentičnog tumačenja Kodeksa kanonskoga prava. Prema ustavu, Pastor Bonus iz 1988. godine, komisija je podignuta na rang Papinskoga vijeća. Godine 1999., Vijeće je dobilo ime koje još uvijek vrijedi: Papinsko vijeće za zakonodavne tekstove.

Izvori

Papinska vijeća

Papinsko vijeće za zakonodavne tekstove


El Jardín de Cítricos del Palacio Carnolès (en francés: Jardin d'agrumes du Palais Carnolès) es un jardín botánico de 2 hectáreas de extensión, especializado en cítricos, que se encuentra en Menton, Francia.

"Collection National" por el Conservatorio de colecciones vegetales especializadas gracias a su colección de Cítricos que consta de 137 variedades (1999).

Gracias a su diseño y cultivo de variedades de cítricos está clasificado por el Ministerio de Cultura de Francia como  « Jardin Remarquable» ( jardín notable ).

Localización

Jardin d'agrumes du Palais Carnolès Menton, Département de Alpes-Maritimes, Provence-Alpes-Côte d'Azur France-Francia.

Planos y vistas satelitales,

Está abierto al público todos los días del año.

Historia

El jardín fue creado en el llano de Carnolès próximo al convento de Madone, originalmente rodeaba a la residencia de verano del Príncipe Honoré II de Mónaco

En 1725, el jardín fue construido y plantado con diferentes variedades de cítricos.

En el , el Príncipe Honoré II Grimaldi de Monaco tiene, en la llanura de Carnolès tierras contiguas al convento de Madone_(Nuestra Señora).

El « jardin du prince» (jardín del príncipe) fue creado en 1725 por el arquitecto Latour ".... este era una vez nada más que un prado con una plantación en estrella de grandes naranjos......"

El Príncipe Anton I° plantó una espaldera de limoneros, una paseo  con árboles jóvenes de naranjos rodeando el jardín, así como una espaldera de naranjas de   Portugal.

La colección actual de cítricos se planta a partir de 1970, gracias al "INRA de Corse" (INRA de Cócega). Tras un acuerdo firmado en 1997 con la « station de recherche agronomique de San Guiliano» (Estación de Investigación Agrícola de San Giuliano), este jardín se convierte en centro de aclimatación y investigación.

Actualmente el jardín alberga 137 variedades de cítricos en cultivo, incluyendo 24 naranjas dulces (Citrus sinensis), 6 naranjos amargos (Citrus aurantium); 6 limoneros (Citrus limon)....

La colección del "Palais Carnolès" es un campo de pruebas de los principios fundamentales de la gestión integrada de lucha contra las plagas de los cítricos.

Colecciones
La colección existente actualmente fue plantada en 1997.

El jardín botánico alberga unas 137 variedades de árboles cítricos, incluyendo naranjos dulces, naranjos amargos, pomelos, mandarinos y limoneros.

Desde 1994, se exhiben esculturas de arte contemporáneo en el parque.

Algunas esculturas en el "Jardin du Palais Carnolès".

Referencias

Enlaces externos

 Les Jardins de Menton page

Palais Carnolès, Jardin d'agrumes du
Palais Carnolès, Jardin d'agrumes du
Palais Carnolès, Jardin d'agrumes du
Menton
Escultura en Francia del siglo XX
Escultura contemporánea
Parques de esculturas
Organizaciones fundadas en 1997
Francia en 1997

Jardín de cítricos del Palacio Carnolès


David Cole (* 1971 in Los Angeles, Kalifornien) ist ein US-amerikanischer Geschichtsrevisionist, der den Holocaust leugnet. Darüber war er als konservativer Netzwerker und Veranstalter in Hollywood aktiv und agierte 15 Jahre unter dem Pseudonym David Stein, bis seine Identität 2013 aufgedeckt wurde.

Leben

Jugend
Cole wuchs nach eigenen Angaben in einer jüdischen Familie auf. Seine Mutter beschrieb er als säkulare Jüdin. Seine Eltern ließen sich scheiden und seine Mutter heiratete erneut, als Cole vier Jahre alt war. Sein Stiefvater ist ein jüdischer Brite, der eher orthodox orientiert sei. Er besuchte die Hamilton-Highschool in Los Angeles, wurde jedoch nach einer Auseinandersetzung mit einem Lehrer von der Schule verwiesen. In der Highschool schloss er sich verschiedenen radikalen Gruppierungen an, unter anderem der Church of the Creator. Auf einer Atheisten-Versammlung lernte er schließlich den Neonazi David McCalden kennen, der ihn in die antisemitische Szene einführte und auch mit dem Holocaustleugner Ernst Zündel bekanntmachte.

Revisionistische Karriere
Cole zog anschließend nach Beverly Hills und lebte von einem Trust Fund seiner Eltern. Nebenbei arbeitete er ab 1991 als Kameramann für den Holocaustleugner Bradley Smith. Smith streckte Cole auch das Geld für sein erstes Filmprojekt vor.

Zusammen mit Ernst Zündel drehte Cole 1993 den Film Ein Deutscher und ein Jude untersuchen Auschwitz!, der ihn und Zündel bei einem Besuch in KZ Auschwitz zeigt. Dabei verkleidete sich Cole als orthodoxer Jude mit Kippa, um so die angebliche Wahrheit über Auschwitz zu erfahren. Der Film kolportiert das Gerücht, dass die Konzentrationslager in Wirklichkeit nur Arbeitslager gewesen seien. Zudem bestritt Cole die Authentizität von Augenzeugenberichten. Das Video wurde in Deutschland von der Bundesprüfstelle für jugendgefährdende Schriften 1994 indiziert.

Der Film wurde über das Institute for Historical Review (IHR) zum Kauf angeboten. Eine Broschüre mit einem Brief von David Cole wurde beigefügt, in dem er seine Intention darlegte:

Im Jahre 1994 drehte er mit dem Geld von Smith ein ähnliches Filmprojekt im KZ Stutthof, bei dem unter anderem die Revisionisten Pierre Guillaume und Henri Roques anwesend waren. Dabei wurde Cole jedoch ausgeraubt und seine Notizen wurden gestohlen. Smith veröffentlichte ein acht-minütiges Video, in dem Cole eine vermutlich erfundene Geschichte über einen anti-revisionistischen Hinterhalt erzählte. 1994 veröffentlichte er außerdem ein weiteres Video mit einer Auschwitz-Tour aus der Sicht eines Holocaustleugners. Dieses sendete er auch an verschiedene College-Magazine, wobei drei eine unkritische Zusammenfassung abdruckten. 1995 veröffentlichte er 46 Unanswered Questions About the German Gas Chambers, die auch als Werbung für seine Videos dienten.

"Ausstieg"
1998 distanzierte sich Cole von der revisionistischen Szene in einer notariell beglaubigten schriftlichen Erklärung, datiert auf den 5. Januar 1998, in dem er dem Revisionismus abschwor und erklärte, bereits 1994 aus der revisionistischen Szene ausgestiegen zu sein. Er würde nun die Lehrmeinung teilen. Da er 1997 in einem, einer Todesdrohung gleichkommenden, Artikel der Jewish Defense League (JDL) von Robert F. Newman verbal angegriffen und als "Krankheit" ('a sickness') bezeichnet wurde, unterstellten ehemalige Gesinnungsgenossen wie Bradley Smith und Ingrid Rimland aus der rechtsextremen Szene, dass die JDL das Statement erzwungen habe, was erklären könnte, wieso er 2013 seine Haltung widerrufen hat (s. unten).

Coles Karriere ab 1998
Im Januar 1998, kurz vor seinem oben erwähnten Statement, nahm er das Pseudonym David Stein an. Unter diesem Namen wurde er in politischen Foren tätig und begann eine Karriere als konservativer Blogger und Netzwerker. Zudem arbeitete er an verschiedenen, konventionellen Dokumentationen über den Holocaust, die er Schulen und Universitäten zur Verfügung stellte. 2009 übernahm er die Website "Republican Party Animal" und begann verschiedene Events für konservative Politiker zu veranstalten. 2013 geriet er in Streit mit einer Freundin, der er seine wahre Identität anvertraut hatte. Diese outete ihn schließlich, indem sie Unterstützern von Cole YouTube-Clips mit früheren Auftritten von ihm vorspielte. Cole gab schließlich in einem Interview in der britischen Zeitung The Guardian zu, weiterhin seine alten Standpunkte hinsichtlich des Holocausts zu vertreten, die er als Stein ausblendete.

Rezeption
Anfang der 1990er Jahre wurde David Cole für kurze Zeit zum Star der rechtsextremen Szene. Seine jüdische Abstammung machte ihn als Referenzfigur unter Holocaustleugnern beliebt, da man durch Bezugnahme auf ihn Vorwürfe antisemitischer Ressentiments von sich zu weisen versuchte. Er wurde sogar in der populären Nachrichtensendung 48 Hours auf CBS News und der The Montel Williams Show interviewt. Seine Beiträge wurden unter anderem von David Icke weiterverwendet.

Publikationen
 Republican Party Animal: The "Bad Boy of Holocaust History" Blows the Lid Off Hollywood's Secret Right-Wing Underground. Feral House, Port Townsend 2014.

Literatur
 Elizabeth Applebaum: Rebel without a Cause. In: The Jewish Week vom 14. April 1994. Online: Vorschau über HighBeam Research

Einzelnachweise

Holocaustleugner
Autor (Antisemitismus)
Mitglied einer rechtsextremen Organisation
US-Amerikaner
Geboren 1971
Mann

David Cole (Holocaustleugner)


Porțile Ciliciene sau Pasul Gülek este o trecătoare prin Munții Taurus care leagă câmpiile joase ale Ciliciei de Podișul Anatolian, prin cheile înguste al râului Gökoluk. Cea mai mare altitudine a zonei este de aproximativ 1000 m.

Porțile Ciliciene au reprezentat o importantă arteră comercială și militară timp de milenii. La începutul secolului al XX-lea, prin ele a fost construită o cale ferată cu ecartament îngust, iar astăzi trece prin ele Autostrada Tarsus-Ankara (E90, O-21).

Capătul sudic al Porților Ciliciene este la aproximativ 44 km nord de Tarsus, iar capătul nordic duce spre Cappadocia .

Istorie
Yumuktepe (modernul Mersin), care păzește partea Adana a porții, cu 23 de straturi de ocupație, era la 4500 î.Hr. una dintre cele mai vechi așezări fortificate din lume. Calea antică era o potecă pentru caravanele de cai, nu pentru vehiculele cu roți.  Hitiții, grecii, Alexandru cel Mare, romanii, mongolii și cruciații au călătorit cu toții pe această rută în timpul campaniilor lor. Biblia mărturisește că Sfântul Paul din Tarsus și Sila au mers pe aici în timp ce treceau prin Siria și Cilicia. Cartea Galateanilor vorbește despre orașele Derbe, Lystra și Iconium - orașe vizitate de Pavel în prima călătorie (Fapte 14, Galateni 1: 2), în scopul întăririi bisericilor lor, la începutul celei de-a doua predicări (Faptele Apostolilor 15: 40-41).

Distanța de la Platoul anatolian la Câmpia ciliciană este de aproximativ . În antichitate, aceasta era o călătorie de aproape cinci zile. Armata celor zece mii, Alexandru cel Mare înainte de bătălia de la Issus, Paul din Tarsus pe drumul său spre Galateni și o parte a armatei de la Prima Cruciadă au trecut prin Porțile Ciliciene.  Cruciații s-au aliat cu Regatul Armean al Ciliciei.

Deasupra Porților la sud - vest este Gülek Kalesi (armeană: Kuklak; Arab: Kawlāk), o fortificație mare antică, care păstrează dovezi ale perioadelor de ocupație bizantină și arabă, dar este în primul rând o construcție armeană din secolele 12 și 13.   Pereții și turnurile sale de la sud și vest acoperă o distanță de peste 450 de metri. De asemenea, în vecinătatea Porților se află un fort construit în anii 1830 de Ibrahim Pașa al Egiptului în timpul campaniei sale siriene împotriva otomanilor.

Când inginerii germani lucrau la căile ferate din Bagdad dintre Istanbul și Bagdad, nu au reușit să urmeze traseul vechi, strâmt, îngust și încurcat al acestor porți. Seria de viaducte și tuneluri pe care le-au construit se numără printre minunile ingineriei căilor ferate. Calea ferată a fost deschisă în 1918; linia de lucru cu ecartament îngust  mutat trupele otomane și materialul de război pe frontul Mesopotamiei în ultimele luni ale primului război mondial.

Referințe

Vezi și
 Cilicia

Legături externe
 Livius.org: Poarta Ciliciană
 Ingineria căilor ferate prin Porțile Ciliciene

Cilicia
Turcia
Munții Turciei
Cappadocia

Porțile Ciliciene


Gremersdorf, Almanya'nın kuzeyinde Schleswig-Holstein eyaletinde, Ostholstein iline bağlı bölge. 45,78 km² yüzölçüme sahiptir. Nüfusu 30 Eylül 2006 itibarıyla yaklaşık 1494 olarak tespit edilmiştir. Belediye Başkanlığı Klaus Klinckhamer tarafından yürütülmektedir.

Dış bağlantılar
 www.amt-oldenburg-land.de

Ostholstein iline bağlı yerleşim birimleri

Gremersdorf


Valdomiro Duarte de Macedo, kurz Valdomiro, (* 6. Dezember 1979 in Salvador da Bahia) ist ein ehemaliger brasilianischer Fußballspieler.

Karriere
Valdomiro spielte zu Beginn seiner Karriere in Brasilien für EC Bahia und blieb dort sieben Jahre. Es folgten kurzzeitige Engagements bei Flamengo Rio de Janeiro, EC Santo André und Palmeiras São Paulo. Er verließ im Jahr 2006 seine Heimat und wechselte nach Portugal zu União Leiria. In Leiria blieb der Abwehrspieler genau wie in seinen Stationen zuvor auch nur eine Spielzeit. Der Innenverteidiger ging zu CD Trofense und spielte zwei Saisons, bis er erneut das Land verließ. Er wechselte in die VAE zu Al Wasl.

Nach nur fünf Monaten verließ Valdomiro wieder die Emirate und kehrte zurück nach Portugal und spielte jeweils für Vitória Guimarães und Vitória Setúbal. Seit Sommer 2011 ist der Brasilianer in der Türkei bei Samsunspor unter Vertrag. Im April 2012 löste er seinen Vertrag mit Samsunspor auf und wechselte in seine Heimat zu Associação Portuguesa de Desportos. Dem schlossen sich noch 2016 Anstellungen bei J. Malucelli Futebol und 2017 beim Anápolis FC} an. Dann beendete er seine aktive Laufbahn.

Erfolge
Bahia
 Staatsmeisterschaft von Bahia: 1998, 1999, 2001
 Copa do Nordeste: 2002

Portuguesa
 Staatsmeisterschaft von São Paulo 2. Liga: 2013

Weblinks

Fußballspieler (EC Bahia)
Fußballspieler (Flamengo Rio de Janeiro)
Fußballspieler (EC Santo André)
Fußballspieler (Palmeiras São Paulo)
Fußballspieler (União Leiria)
Fußballspieler (CD Trofense)
Fußballspieler (al-Wasl)
Fußballspieler (Vitória Guimarães)
Fußballspieler (Vitória Setúbal)
Fußballspieler (Samsunspor)
Fußballspieler (Associação Portuguesa de Desportos)
Fußballspieler (Anápolis FC)
Brasilianer
Geboren 1979
Mann

Valdomiro Duarte de Macedo


كي نو تسورايوكي  كان مؤلف وشاعر ياباني من فترة هييآن، ولد عام 872 وتوفي عام 945.

كان كي نو تسوراكي أحد أربع شعراء قاموا بتجميع كوكين واكوشو عام 905، كموسوعة لمقتطفات من الشعر الياباني في وقتها بأوامر من الإمبراطور دايغو.

بعد عمله في كيوتو، تم تعيينه كحاكم لمقاطعة توسا، وبقي هناك في الفترة بين 930 و 935، ثم تم تعيينه كحاكم لمقاطعة سوو .

مراجع

كي نو تسورايوكي
خطاطون يابانيون في القرن 10
خطاطون يابانيون في القرن 9
شعراء يابانيون
شعراء يابانيون في القرن 10
شعراء يابانيون في القرن 9
مواليد 872
وفيات 945

كي نو تسورايوكي


هنا قائمة ببطولات ويمبلدون لسنة 1971:

الكبار

فردي رجال

 جون نيوكومب هزم  ستان سميث, 6-3, 5-7, 2-6, 6-4, 6-4

فردي سيدات

 إيفون غولاغونغ هزم  مارغريت سميث كورت, 6-4, 6-1

زوجي رجال
 روي إيمرسون و رود لافر هزم  أرثر أش و دينيس رالستون, 4-6, 9-7, 6-8, 6-4, 6-4

زوجي سيدات
 روزماري كاسالس و بيلي جين كينغ هزم  مارغريت سميث كورت و إيفون غولاغونغ, 6-3, 6-2

زوجي مختلط
 أوين ديفيدسون و بيلي جين كينغ هزم  مارتي رسن و مارغريت سميث كورت, 3-6, 6-2, 15-13

الشباب

فردي أولاد
 Robert Kreiss هزم  ستيفن واربويز 2-6, 6-4, 6-3

فردي بنات
 Marina Kroshina هزم  سوزان مينفورد, 6-4, 6-4

زوجي أولاد
بدأت البطولة في 1982

 زوجي بنات بدأت البطولة في 1982

مراجع

بطولة ويمبلدون 1971
أحداث 1971 الرياضية في لندن
أحداث يوليو 1971 الرياضية في المملكة المتحدة
أحداث يونيو 1971 الرياضية في المملكة المتحدة
كرة المضرب في 1971

بطولة ويمبلدون 1971


Die Liste der denkmalgeschützten Objekte in Rovinka enthält das eine nach slowakischen Denkmalschutzvorschriften geschützte Objekt in der Gemeinde Rovinka im Okres Senec.

Denkmäler

Legende

Einzelnachweise

!
Rovinka


An Thurniaceae in uska familia han Liliopsida. An Thurniaceae in nahilalakip ha ordo nga Poales, classis nga Liliopsida, punoan nga Tracheophyta, ngan regnum nga Plantae. An familia nga Thurniaceae in naglalakip hin 4 ka mga species, sumala ha Catalogue of Life.

An kladograma hini sumala ha Catalogue of Life:

Mga kasarigan

Mga sumpay ha gawas

Thurniaceae

Thurniaceae


مدينة زنجبار هي العاصمة وأكبر مدن جزيرة زنجبار التنزانية، وهي أيضا عاصمة (زنجبار الحضرية / المنطقة الغربية). وتعداد السكان بها حسب إحصاء عام 2002 كان 205,870.

تقع تلك المدينة على الساحل الغربي من زنجبار، والمكان الجميل بها هو (المدينة القديمة)، وهو مركز تاريخي ويعتبر منذ عام 2000 من مواقع التراث العالمي. فهناك العديد من المنازل مصنوعة من حجر المرجان. وقد تم تجديدها خلال العقود الماضية.

المناخ
يظهر الجدول التالي التغييرات المناخية على مدار السنة لمدينة زنجبار:

توأمة
لمدينة زنجبار اتفاقيات توأمة مع:
 هايكو (30 أكتوبر 1997 - )

أعلام

 عبيد كرومي
 ماجد بن سعيد
 إميلي رويتي
 تيبوتيب
 فريدي ميركوري

المصادر

أماكن ساحلية مأهولة في زنجبار
عواصم دول سابقة
مدن في زنجبار
مدن موانئ في تنزانيا
ولايات زنجبار الحضرية / المقاطعة الغربية
مدينة زنجبار

مدينة زنجبار


HRŠK Zagorac iz Varaždina, hrvatski nogometni klub

Povijest
Povjerenik za šport NDH Miško Zebić 21. svibnja 1941. je donio odluku kojim se raspustilo sve športske saveze i olimpijski odbor. Ista odluka uvodi povjerenički sustav u sve hrvatske športske klubove i organizacije. Mnogi su varaždinski klubovi prestali raditi, jer mnogi igrači više nisu smjeli nastupati zbog svog podrijetla i/ili političkog opredjeljenja. ustaške vlasti odlukom spojile ŠK Slaviju iz Varaždina i HŠK Zagorac, koji se dotad natjecao u lokalnoj varaždinskoj župi. Ime kluba promijenjeno je u HRŠK Zagorac. U godinama NDH odigrao je četiri "Prvenstva hrvatskog državnog razreda".
HRŠK Zagorac je počeo djelovati od srpnja 1941. godine. Tivar je i nakon prisilna spajanja sa Zagorcem novčano pomagao klub. Klub se često nazivalo Hrsovim Zagorcem.

Odigrao je Zagorac četiri prvenstva hrvatskog državnog razreda. 1941. bio je šestoplasirani među devet klubova. 1942. je bio zadnji u Skupini B, iza zagrebačkih Concordije i HAŠK-a. Plasirao se u glavno prvenstvo 1943. u osminu završnice, koje je izborio kao prvak Provincije Zagrebačkog nogometnog dosaveza 1942./43. U skupini D ispao je od zagrebačkog Ličanina. Nije bio na završnom natjecanju 1944. godine.

Poslije rata iz njega se razvio NK Tekstilac, poslije NK Varteks, današnji NK Varaždin.

Izvori

Grad Varaždin Marijan Hižak: 100 godina nogometa 1909. – 2009. u Varaždinu,
 RSSSF

Šport u Varaždinu
Zagorac
 Zagorac

HRŠK Zagorac Varaždin


Alexei Pavlovich Okladnikov (;  – ) foi um arqueólogo, historiador e etnógrafo soviético, especialista na nas culturas antigas da Sibéria e da Bacia do Pacífico. Foi eleito membro titular da Academia de Ciências da União Soviética em 1968, e recebeu o título honorário de Herói do Trabalho Socialista (1978).

Viveu a infância na aldeia de Biryulka, na Sibéria.

Em 1938–1961 trabalhou na Divisão de Leningrado do Instituto de Arqueologia da Academia de Ciências da União Soviética.

Foi desde 1962 professor e chefe do Departamento de História da Universidade Estadual de Novosibirsk.

O museu de Khabarovsk é denominado "Okladnikov Museum" em sua memória.

Obras
The Soviet Far East in Antiquity: An Archaeological and Historical Study of the Maritime Region of the U.S.S.R. (1965)
Окладников А.П. и др. "Древний Зашиверск", Москва, 1977
Okladnikov, Alexei "Art of the Amur : Ancient Art of the Russian Far East", New York, 1982

Academia de Ciências da URSS
Heróis do Trabalho Socialista
Professores da Universidade Estadual de Novosibirsk
Arqueólogos da Rússia
Etnógrafos da Rússia
Historiadores da Rússia
Historiadores da União Soviética
Historiadores do século XX

Alexei Okladnikov


Crécy-en-Ponthieu, på gammelt engelsk Cressy, er en kommune i franske departement somme i Hauts-de-France. Det ligger i det nordlige Frankrig syd for Calais. Byen har givet navn til Crécyskoven, der begynder omkring 2 km sydvest for byen, og som er en af de største skove i Nordfrankrig. En lille flod, kaldet Maye, løber gennem byen, som har 1.594 indbyggere. Slaget ved Crecy foregik her i 1346 under hundredårskrigen mellem England og Kongeriget Frankrig. Englænderne vandt slaget blandt andet takket være deres effektive brug af langbuer.

Eksterne henvisninger

 Somme Tourism Board Crécy-en-Ponthieu information

Byer i Somme

Crécy-en-Ponthieu


La Coupe des Pays-Bas de football 2007-2008, nommée la KNVB beker, est la  édition de la Coupe des Pays-Bas. La finale se joue le 27 avril 2008 au stade De Kuip à Rotterdam.

Le club vainqueur de la coupe est qualifié pour le premier tour de la Coupe UEFA 2008-2009.

Finale
Feyenoord Rotterdam joue à domicile contre le SV Roda JC Kerkrade et remporte son onzième titre après une victoire 2 à 0.

Notes et références

Lien externe
 tous les résultats de la Coupe 2007-08 sur rsssf.com

2007-2008
Pays-Bas
Football
Football


Myatt Township ist der Name folgender Townships in den Vereinigten Staaten:

 Myatt Township (Arkansas)
 Myatt Township (Missouri)

Myatt Township


Rahimli est un village de la région de Kelbajar en Azerbaïdjan.

Histoire
En 1993-2020, Rahimli était sous le contrôle des forces armées arméniennes. Le 25 novembre 2020, sur la base d'un accord trilatéral entre l'Azerbaïdjan, l'Arménie et la Russie en date du 10 novembre 2020, la région de Kelbajar, y compris le village de Rahimli, a été restituée sous le contrôle de l'Azerbaïdjan.

Sources
Novlu boulag, Bark boulag, Lazimin boulaghi, Golme boulag, Zeynalin boulaghi, Najafolen boulag, etc.

Voir aussi

 Daraqichlag (Kelbajar)
 Narinjlar
 Saridach (Kelbajar)
Zargoulou

Notes et références

Ville en Azerbaïdjan

Rahimli (Kelbajar)


La cultura polaca durante la Segunda Guerra Mundial fue suprimida por las fuerzas de ocupación de la Alemania nazi y la Unión Soviética, pues ambas eran hostiles al pueblo y la herencia cultural de Polonia. Las políticas dirigidas al genocidio cultural resultó en la muerte de miles de académicos y artistas, así como al robo y destrucción de innumerables obras culturales. El «maltrato de los polacos fue una de las muchas formas en las cuales los regímenes nazi y soviético llegaron a parecer el uno al otro», escribió el historiador británico Niall Ferguson. Los ocupantes saquearon y destruyeron gran parte del patrimonio histórico y cultural de Polonia, mientras perseguían y asesinaban a los miembros de la élite cultural polaca. La mayoría de escuelas polacas fue cerrada y aquellas que permanecieron abiertas vieron su currícula significativamente alterada. No obstante, las organizaciones y personas en la clandestinidad, en particular, el Estado secreto polaco, salvaron buena parte de los tesoros culturales más valiosos de Polonia y trabajaron para preservar la mayor cantidad posible de instituciones y artefactos culturales. La Iglesia católica y los individuos ricos contribuyeron a la supervivencia de algunos artistas y sus obras. A pesar de los severos castigos por los nazis y los soviéticos, las actividades culturales en la clandestinidad polaca, incluyendo publicaciones, conciertos, teatro en vivo e investigación académica, continuó a lo largo de toda la Segunda Guerra Mundial.

Antecedentes

En 1795, Polonia cesó de existir como una nación soberana y, a lo largo del , continuó dividida entre los imperios alemán, austriaco y ruso. No fue hasta el final de la Primera Guerra Mundial cuando la independencia polaca fue restaurada y la nación se reunificó, aunque el diseño de las fronteras fue, necesariamente, un asunto contencioso. La Polonia independiente duró solo 21 años, antes de ser nuevamente atacada y dividida entre potencias extranjeras.

El 1 de septiembre de 1939, la Alemania nazi de Hitler invadió Polonia e inició la Segunda Guerra Mundial. El 17 de septiembre de ese año, según lo acordado en el Pacto Ribbentrop-Mólotov, Polonia fue invadida por la Unión Soviética. Posteriormente, Polonia fue dividida nuevamente entre estas dos potencias y permaneció bajo su ocupación durante la mayor parte de la guerra. Para el 1 de octubre, Alemania y la Unión Soviética habían invadido por completo Polonia, aunque el Gobierno polaco nunca se rindió formalmente y el Estado secreto polaco, subordinado al Gobierno polaco en el exilio, fue formado con prontitud. El 8 de octubre, en las áreas occidentales de la Polonia en la preguerra y en la zona ocupada restante se estableció el Gobierno General. La Unión Soviética había renunciado temporalmente a sus ganancias territoriales que hizo en 1939 debido a la invasión alemana de la Unión Soviética, pero los reanexionó permanentemente después de recuperarlas a mediados de 1944. En el transcurso de la guerra, Polonia perdió más del 20% de la población que tenía antes de la guerra, en medio de una ocupación que marcó el fin de la Segunda República Polaca.

Destrucción de la cultura polaca

Ocupación alemana

Política
La política de Alemania con respecto a la nación polaca y su cultura evolucionó durante el curso de la guerra. En un primer momento, muchos oficiales alemanes no recibieron directrices claras sobre el tratamiento de las instituciones culturales polacas, pero esta situación cambió rápidamente. Inmediatamente después de la invasión de Polonia en septiembre de 1939, el gobierno de la Alemania nazi implementó las primeras etapas (el "pequeño plan) del Generalplan Ost. La política básica fue delineada por la Rassenpolitisches Amt (Oficina de Políticas Raciales) en un documento titulado «Con respecto al tratamiento de los habitantes de los antiguos territorios polacos desde un punto de vista racial-político». El pueblo eslavo que habitaba al este de la frontera alemana de la preguerra debía ser germanizado, esclavizado o erradicado, dependiendo si vivían en los territorios directamente anexados al Estado alemán o en el Gobierno General.

Buena parte de la política alemana sobre la cultura polaca fue formulada durante una reunión entre el gobernador del Gobierno General, Hans Frank, y el Ministro de Propaganda nazi Joseph Goebbels, en Łódź el 31 de octubre de 1939. Goebbels declaró que «la nación polaca no merece ser llamada una nación cultivada».<ref name="Czocher">{{citation|last=Czocher|first=Anna|title=Jawne polskie życie kulturalne w okupowanym Krakowie 1939–1945 w świetle wspomnień ["Open Polish Cultural Life in Occupied Kraków, 1939–1945, in the Light of Memoirs"]|journal=Pamięć i Sprawiedliwość [Remembrance and Justice]|issue=1|volume=7|year=2005|pages=227–252|language=polaco}}</ref> Él y Frank acordaron que las oportunidades para que los polacos experimentaran su cultura debían ser severamente restringidas: ningún teatro, cine o cabaret; ningún acceso a la radio o prensa; y ninguna educación. Frank sugirió que se debía mostrar periódicamente a los polacos películas que resaltaran los logros del Tercer Reich y solo debían ser interpelados por medio de un megáfono. Durante las siguientes semanas, las escuelas polacas más allá del nivel secundario vocacional fueron clausuradas, así como los teatros y cualquier otra institución cultural. El único periódico en polaco publicado en la Polonia ocupada también fue cerrado y se iniciaron los arrestos de intelectuales polacos.

En marzo de 1940, todas las actividades culturales recayeron bajo control del Departamento de Educación y Propaganda del Pueblo (Abteilung für Volksaufklärung und Propaganda) del Gobierno General, cuyo nombre fue cambiado un año más tarde a "Departamento Central de Propaganda" (Hauptabteilung Propaganda). Otras directivas emitidas en la primavera e inicios del verano reflejaron las políticas que habían sido esbozadas por Frank y Goebbels durante el otoño anterior. Uno de los primeros decretos del Departamento prohibió la organización de todas las actividades cultural, con excepción de las más "primitivas", sin la aprobación previa del Departamento. No obstante, los espectáculos de "baja calidad", incluyendo aquellos de naturaleza erótica o pornográfica, fueron una excepción: aquellos debían ser popularizados para apaciguar a la población y mostrar al mundo la "verdadera" cultura polaca, así como para crear la impresión de que Alemania no estaba impidiendo que los polacos se expresaran por sí mismos. Los especialistas en propaganda alemana invitaron a críticos de países neutrales, para quienes organizaron presentaciones "polacas" que estaba específicamente diseñadas para ser aburridas o pornográficas y las presentaban como típicas actividades culturales polacas. La cooperación polaco-alemana en temas culturales, tales como actuaciones públicas conjuntas, fueron estrictamente prohibidas. Mientras tanto, se introdujo un esquema de registro obligatorio para escritores y artistas en agosto de 1940. Luego, en octubre, fue prohibida la impresión de nuevos libros en polacos; los títulos existentes fueron censurados y, a menudo, confiscados y retirados.

En 1941, la política alemana evolucionó aún más, al demandar la completa destrucción del pueblo polaco, al que los nazis consideraban "subhumano" (Untermenschen''). En un período de entre diez y veinte años, los territorios polacos bajo ocupación alemana debía ser limpiados por completo de polacos étnicos para pasar a ser habitados por colonos alemanes. La política se relajó un poco en los años finales de la ocupación (1943-1944), en vista de las derrotas militares alemanas y la aproximación del Frente Oriental. Los alemanes esperaban que una política cultural más flexible reduciría el descontento y debilitaría la Resistencia polaca. Se les permitió a los polacos volver a los museos que, para entonces, apoyaban la propaganda y adoctrinamiento alemán, como el recién creado Museo Chopin, que enfantizaba las raíces alemanas inventadas del compositor.

Dado que la Segunda República Polaca era un Estado multicultural, las políticas y propaganda alemana también procuraron crear y fomentar los conflictos entre grupos étnicos, alimentando la tensión entre polacos y judíos y entre polacos y ucranianos. En Łódź, los alemanes forzaron a los judíos a destruir un monumento al héroe polaco Tadeusz Kościuszko y los filmaron cometiendo el acto. Poco después, los alemanes incendiaron una sinagoga judía y filmaron a espectadores polacos, a quienes presentaron en las emisiones de propaganda como una «muchedumbre vengativa». Esta política divisoria se reflejó en la decisión alemana de destruir la educación polaca, al mismo tiempo que mostraban una relativa tolerancia hacia el sistema escolar ucraniano. Como explicó el oficial nazi de alto rango Erich Koch, «Debemos hacer todo lo posible para que cuando un polaco se encuentre con un ucraniano, estará dispuesto a matarlo y, a su vez, el ucraniano estará dispuesto a matar al polaco».

Véase también

 Ocupación de Polonia (1939-1945)
 Crímenes de guerra alemanes en Polonia
 Arte expoliado por los nazis

Referencias

Bibliografía

Enlaces externos

The German New Order in Poland: Part 1, Part 2
mirror()
Polish War losses during World War II – gallery on Wikimedia Commons
Polish World War II posters of Occupied Poland – gallery on Wikimedia Commons
World War II in Poland, its Impact on Everyday Life; Personal Perspective
The Nazi Kultur in Poland by several authors of necessity temporarily anonymous written in Warsaw during the German Occupation

Polonia en la Segunda Guerra Mundial
Cultura de Polonia
Historia de la cultura
Historia cultural de la Segunda Guerra Mundial

pl:Grabież polskich dóbr kultury w czasie II wojny światowej

Cultura polaca durante la Segunda Guerra Mundial


An Prescottia plantaginea in uska species han Liliopsida nga ginhulagway ni John Lindley. An Prescottia plantaginea in nahilalakip ha genus nga Prescottia, ngan familia nga Orchidaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Mga sumpay ha gawas

Prescottia (Orchidaceae)

Prescottia plantaginea


Os torneios de basquetebol nos Jogos Pan-Americanos de 2023 em Santiago, Chile, estão sendo realizados de 22 de outubro a 4 de novembro de 2023 no Poliesportivo 1 (5x5) e no Estádio Español (3x3) A sede do basquete 5x5 é localizada no cluster do Estádio Nacional e do 3x3 em Las Condes. Um total de oito equipes masculinas e oito femininas disputarão os torneios 5x5, enquanto 12 equipes por gênero participarão dos torneios 3x3, dobrando o tamanho da competição em relação a 2019.

Qualificação

As competições de basquetebol 5x5 tiveram um total por gênero de 192 atletas, em 8 equipes, constituídas por 12 atletas. Por sua vez, o basquetebol 3x3, teve um total de 96 atletas, em 12 equipes, constituídas por 10 atletas. Em ambos os casos, a quantidade de atletas foi numericamente dividida igualmente entre ambos os gêneros.

No basquetebol 5x5, uma vaga de equipe foi garantida ao país anfitrião, Chile. O restante das sete equipes do masculino foi qualificada pelos resultados da Copa América de 2022; já no feminino foi pela Copa América de 2023.

Por sua vez, no basquetebol 3x3, novamente, uma vaga de equipe foi garantida ao país anfitrião, outra pelo resultado dos Jogos Pan-Americanos Júnior de 2021 e o restante pela AmeriCup de basquete 3x3, em ambos os gêneros.

5x5 masculino

5x5 feminino

* As equipes dos Estados Unidos e Canadá optaram por não participar do basquete 5x5 em ambos os gêneros.

3x3 masculino

3x3 feminino

Medalhistas

Quadro de medalhas

Ver também
Basquetebol nos Jogos Olímpicos de Verão de 2024

Eventos dos Jogos Pan-Americanos de 2023
Basquetebol nos Jogos Pan-Americanos
Pan-Americanos

Basquetebol nos Jogos Pan-Americanos de 2023


Hindustani classical music is the classical music of northern regions of the Indian subcontinent. It may also be called North Indian classical music or, in Hindustani, Shastriya Sangeet. The term shastriya sangeet literally means classical music, and can also mean Indian classical music in general.  It is played on instruments like the veena, sitar and sarod. Its origins from the 12th century CE, when it diverged from Carnatic music, the classical tradition in South India. While Carnatic music largely uses compositions produced in Sanskrit, Kannada, Telugu, Tamil and sometimes in Malayalam, Hindustani music largely uses compositions written in Hindi, Punjabi, Rajasthani, Urdu, and Braj Bhasha.

Hindustani classical music arose in subcontinent, especially the Northern parts. This music combines the Indian classical music tradition, resulting in a unique tradition of gharana system of music education. Hindustani classical music is an integral part of the culture of India and is performed across the country and internationally. Exponents of Hindustani classical music such as Ustad Bismillah Khan, Pandit Bhimsen Joshi, and Ravi Shankar have been awarded with the Bharat Ratna, the highest civilian award of India, for their contributions to the arts.

History
Around the 12th century, Hindustani classical music diverged from what eventually came to be identified as Carnatic classical music.The central notion in both systems is that of a melodic musical mode or raga, sung to a rhythmic cycle or tala. It is melodic music, with no concept of harmony. These principles were refined in the musical treatises Natya Shastra, by Bharata (2nd–3rd century CE), and Dattilam (probably 3rd–4th century CE).

In medieval times, the melodic systems were fused with ideas from Persian music, particularly through the influence of Sufi composers like Amir Khusro, and later in the Mughal courts, noted composers such as Tansen flourished, along with religious groups like the Vaishnavites. Artists such as Dalptaram, Mirabai, Brahmanand Swami and Premanand Swami revitalized classical Hindustani music in the 16-18th century.

After the 16th century, the singing styles diversified into different gharanas patronized in different princely courts. Around 1900, Vishnu Narayan Bhatkhande consolidated the musical structures of Hindustani classical music, called ragas, into a few thaats based on their notes. This is a very flawed system but is somewhat useful as a heuristic.

Distinguished musicians who are Hindu may be addressed as Pandit  and those who are Muslim as Ustad. An aspect of Hindustani music going back to Sufi times is the tradition of religious neutrality: Muslim ustads may sing compositions in praise of Hindu deities, and Hindu pandits may sing similar Islamic compositions.

Vishnu Digambar Paluskar in 1901 founded the Gandharva Mahavidyalaya, a school to impart formal training in Hindustani classical music with some historical Indian Music. This was a school open to all and one of the first in India to run on public support and donations, rather than royal patronage. Many students from the School's early batches became respected musicians and teachers in North India. This brought respect to musicians, who were treated with disdain earlier. This also helped spread of Hindustani classical music to masses from royal courts.

Sanskritic tradition

Ravana and Narada from Hindu mythology are accomplished musicians; Saraswati with her veena is the goddess of music. Gandharvas are presented as spirits who are musical masters, and the gandharva style looks to music primarily for pleasure, accompanied by the soma rasa. In the Vishnudharmottara Purana, the Naga king Ashvatara asks to know the swaras from Saraswati.

While the term raga is articulated in the Natya Shastra (where its meaning is more literal, meaning "color" or "mood"), it finds a clearer expression in what is called Jati in the Dattilam, a text composed shortly after or around the same time as Natya Shastra. The Dattilam is focused on Gandharva music and discusses scales (swara), defining a tonal framework called grama in terms of 22 micro-tonal intervals (shruti) comprising one octave. It also discusses various arrangements of the notes (Murchhana), the permutations and combinations of note-sequences (tanas), and alankara or elaboration. Dattilam categorizes melodic structure into 18 groups called Jati, which are the fundamental melodic structures similar to the raga. The names of the Jatis reflect regional origins, for example Andhri and Oudichya.

Music also finds mention in a number of texts from the Gupta period; Kalidasa mentions several kinds of veena (Parivadini, Vipanchi), as well as percussion instruments (mridang), the flute (Vamshi) and conch (Shankha). Music also finds mention in Buddhist and Jain texts from the earliest periods of the common era.

Narada's Sangita Makarandha treatise, from about 1100 CE, is the earliest text where rules similar to those of current Hindustani classical music can be found. Narada actually names and classifies the system in its earlier form before the Persian influences introduced changes in the system. Jayadeva's Gita Govinda from the 12th century was perhaps the earliest musical composition sung in the classical tradition called Ashtapadi music.

In the 13th century, Sharangadeva composed the Sangita Ratnakara, which has names such as the Turushka Todi ("Turkish Todi"), revealing an influx of ideas from Islamic culture. This text is the last to be mentioned by both the Carnatic and the Hindustani traditions and is often thought to date the divergence between the two.

Hindustani music's influence during the Delhi Sultanate

The advent of Islamic rule under the Delhi Sultanate and later the Mughal Empire over northern India caused considerable cultural interchange. Increasingly, musicians received patronage in the courts of the new rulers, who in their turn, started taking an increasing interest in local musical forms. While the initial generations may have been rooted in cultural traditions outside India, they gradually adopted many aspects from the Hindu culture from their kingdoms. This helped spur the fusion of Hindu and Muslim ideas to bring forth new forms of musical synthesis like qawwali and khyal.

The most influential musician of the Delhi Sultanate period was Amir Khusrau (1253–1325), a composer in Persian, Turkish, Arabic, as well as Braj Bhasha. He is credited with systematizing some aspects of Hindustani music, and also introducing several ragas such as Yaman Kalyan, Zeelaf and Sarpada. He created six genres of music: khyal, tarana, Naqsh, Gul, Qaul, and Qalbana. A number of instruments (such as the sitar) were also introduced in his time.

Amir Khusrau is sometimes credited with the origins of the khyal form, but the record of his compositions does not appear to support this. The compositions by the court musician Sadarang in the court of Muhammad Shah bear a closer affinity to the modern khyal. They suggest that while khyal already existed in some form, Sadarang may have been the father of modern khyal.

Much of the musical forms innovated by these pioneers merged with the Hindu tradition, composed in the popular language of the people (as opposed to Sanskrit) in the work of composers like Kabir or Nanak. This can be seen as part of a larger Bhakti tradition, (strongly related to the Vaishnavite movement) which remained influential across several centuries; notable figures include Jayadeva (11th century), Vidyapati (fl. 1375 CE), Chandidas (14th–15th century), and Meerabai (1555–1603 CE).

As the Mughal Empire came into closer contact with Hindus, especially under Jalal ud-Din Akbar, music and dance also flourished. In particular, the musician Tansen introduced a number of innovations, including ragas and particular compositions. Legend has it that upon his rendition of a night-time raga in the morning, the entire city fell under a hush and clouds gathered in the sky and that he could light fires by singing the raga "Deepak".

At the royal house of Gwalior, Raja Mansingh Tomar (1486–1516 CE) also participated in the shift from Sanskrit to the local idiom (Hindi) as the language for classical songs. He himself penned several volumes of compositions on religious and secular themes and was also responsible for the major compilation, the Mankutuhal ("Book of Curiosity"), which outlined the major forms of music prevalent at the time. In particular, the musical form known as dhrupad saw considerable development in his court and remained a strong point of the Gwalior gharana for many centuries.

After the dissolution of the Mughal empire, the patronage of music continued in smaller princely kingdoms like Awadh, Patiala, and Banaras, giving rise to the diversity of styles that is today known as gharanas. Many musician families obtained large grants of land which made them self-sufficient, at least for a few generations (e.g. the Sham Chaurasia gharana). Meanwhile, the Bhakti and Sufi traditions continued to develop and interact with the different gharanas and groups.

Modern era

Until the late 19th century, Hindustani classical music was imparted on a one-on-one basis through the guru-shishya ("mentor-protégé") tradition.  This system had many benefits, but also several drawbacks; in many cases, the shishya had to spend most of his time serving his guru with a hope that the guru might teach him a "cheez" (piece or nuance) or two.  In addition, the system forced the music to be limited to a small subsection of the Indian community. To a large extent, it was limited to the palaces and dance halls. It was shunned by the intellectuals, avoided by the educated middle class, and in general, looked down upon as a frivolous practice.

First, as the power of the maharajahs and nawabs declined in the early 20th century, so did their patronage. With the expulsion of Wajid Ali Shah to Calcutta after 1857, the Lucknavi musical tradition came to influence the music of the renaissance in Bengal, giving rise to the tradition of Ragpradhan gan around the turn of the century. Raja Chakradhar Singh of Raigarh was the last of the modern-era Maharajas to patronize Hindustani classical musicians, singers and dancers.

Also, at the turn of the century, Vishnu Digambar Paluskar and Vishnu Narayan Bhatkhande spread Hindustani classical music to the masses in general by organizing music conferences, starting schools, teaching music in classrooms, devising a standardized grading and testing system, and standardizing the notation system.

Vishnu Digambar Paluskar emerged as a talented musician and organizer despite having been blinded at age 12. His books on music, as well as the Gandharva Mahavidyalaya music school that he opened in Lahore in 1901, helped foster a movement away from the closed gharana system.

Paluskar's contemporary (and occasional rival) Vishnu Narayan Bhatkhande recognized the many rifts that had appeared in the structure of Indian classical music. He undertook extensive research visits to a large number of gharanas, Hindustani as well as Carnatic, collecting and comparing compositions. Between 1909 and 1932, he produced the monumental four-volume work Hindustani Sangeeta Paddhati, which suggested a transcription for Indian music, and described the many traditions in this notation. Finally, it suggested a possible categorization of ragas based on their notes into a number of thaats (modes), subsequent to the Melakarta system that reorganized Carnatic tradition in the 17th century. The ragas that exist today were categorized according to this scheme, although there are some inconsistencies and ambiguities in Bhatkande's system.

In modern times, the government-run All India Radio, Bangladesh Betar and Radio Pakistan helped to bring the artists to public attention, countering the loss of the patronage system. The first star was Gauhar Jan, whose career was born out of Fred Gaisberg's first recordings of Indian music in 1902.  With the advance of films and other public media, musicians started to make their living through public performances. A number of Gurukuls, such as that of Alauddin Khan at Maihar, flourished. In more modern times, corporate support has also been forthcoming, as at the ITC Sangeet Research Academy. Meanwhile, Hindustani classical music has become popular across the world through the influence of artists such as Ravi Shankar and Ali Akbar Khan.

Characteristics
Indian classical music has seven basic notes with five interspersed half-notes, resulting in a 12-note scale. Unlike the 12-note scale in Western music, the base frequency of the scale is not fixed, and intertonal gaps (temperament) may also vary. The performance is set to a melodic pattern called a raga characterized in part by specific ascent (aroha) and descent (avaroha) sequences, "king" (vadi) and "queen" (samavadi) notes and characteristic phrases (pakad).

Ragas may originate from any source, including religious hymns, folk tunes, and music from outside the Indian subcontinent. For example, raga Khamaj and its variants have been classicized from folk music, while ragas such as Hijaz (also called Basant Mukhari) originated in Persian maqams.

Principles of Hindustani music
The Gandharva Veda is a Sanskrit scripture describing the theory of music and its applications in not just musical form and systems but also in physics, medicine and magic. It is said that there are two types of sound: āhata (struck/audible) and anāhata (unstruck/inaudible). The inaudible sound is said to be the principle of all manifestation, the basis of all existence.

There are three main 'Saptak' which resemble to the 'Octaves' in Western Music except they characterize total seven notes or 'swaras' instead of eight. These are- low (mandra), medium (madhya) and high (tāra). Each octave resonates with a certain part of the body, low octave in the heart, medium octave in the throat and high octave in the head.

The rhythmic organization is based on rhythmic patterns called tala. The melodic foundations are called ragas. One possible classification of ragas is into "melodic modes" or "parent scales", known as thaats, under which most ragas can be classified based on the notes they use.

Thaats may consist of up to seven scale degrees, or swara. Hindustani musicians name these pitches using a system called Sargam, the equivalent of the Western movable do solfege:
 Sa (ṣaḍja षड्ज)  = Do
 Re (Rishabh ऋषभ)  = Re
 Ga (Gāndhāra गान्धार)  = Mi
 Ma (Madhyama (music) मध्यम)  = Fa
 Pa (Pancham पञ्चम)  = So
 Dha (Dhaivat धैवत) = La
 Ni (Nishād निषाद)   = Ti
 Sa (ṣaḍja षड्ज)  = Do

Both systems repeat at the octave.  The difference between sargam and solfege is that re, ga, ma, dha, and ni can refer to either "Natural" (shuddha) or altered "Flat" (komal) or "Sharp" (teevra) versions of their respective scale degrees. As with movable do solfege, the notes are heard relative to an arbitrary tonic that varies from performance to performance, rather than to fixed frequencies, as on a xylophone. The fine intonational differences between different instances of the same swara are called srutis. The three primary registers of Indian classical music are mandra (lower), madhya (middle) and taar (upper). Since the octave location is not fixed, it is also possible to use provenances in mid-register (such as mandra-madhya or madhya-taar) for certain ragas. A typical rendition of Hindustani raga involves two stages:

 Alap: a rhythmically free improvisation on the rules for the raga in order to give life to the raga and flesh out its characteristics. The alap is followed by a long slow-tempo improvisation in vocal music, or by the jod and jhala in instrumental music.
Tans are of several types like Shuddha, Koot, Mishra, Vakra, Sapaat, Saral, Chhoot, Halaq, Jabda, Murki
 Bandish or Gat: a fixed, melodic composition set in a specific raga, performed with rhythmic accompaniment by a tabla or pakhavaj. There are different ways of systematizing the parts of a composition.  For example:
 Sthaayi: The initial, rondo phrase or line of a fixed, melodic composition
 Antara: The first body phrase or line of a fixed, melodic composition. Explores the upper octave of a Raag. In Khayal compositions, this is sometimes where the poet's name can be found.
 Sanchaari: The third body phrase or line of a fixed, melodic composition, seen more typically in dhrupad bandishes. Usually explores the lower section of a given Raag.
 Aabhog: The fourth and concluding body phrase or line of a fixed, melodic composition, seen more typically in Dhrupad bandishes. Continues to explore the upper octave of a Raag just like an Antara, but with more expansive phrases. This is often where the poet's name resides as a signature for Dhrupad compositions.
 There are three variations of bandish, regarding tempo:
 Vilambit bandish: A slow and steady melodic composition, usually in largo to adagio speeds
 Madhyalaya bandish: A medium tempo melodic composition, usually set in andante to allegretto speeds
 Drut bandish: A fast tempo melodic composition, usually set to allegretto speed or faster

Hindustani classical music is primarily vocal-centric, insofar as the musical forms were designed primarily for a vocal performance, and many instruments were designed and evaluated as to how well they emulate the human voice.

Types of compositions
The major vocal forms or styles associated with Hindustani classical music are dhrupad, khyal, and tarana. Light classical forms include dhamar, trivat, chaiti, kajari, tappa, tap-khyal, thumri, dadra, ghazal and bhajan; these do not adhere to the rigorous rules of classical music.

Dhrupad

Dhrupad is an old style of singing, traditionally performed by male singers. It is performed with a tambura and a pakhawaj as instrumental accompaniments. The lyrics, some of which were written in Sanskrit centuries ago, are presently often sung in brajbhasha, a medieval form of North and East Indian languages that were spoken in Eastern India. The rudra veena, an ancient string instrument, is used in instrumental music in dhrupad.

Dhrupad music is primarily devotional in theme and content. It contains recitals in praise of particular deities. Dhrupad compositions begin with a relatively long and acyclic alap, where the syllables of the following mantra is recited:

 "Om Anant tam Taran Tarini Twam Hari Om Narayan, Anant Hari Om Narayan".

The alap gradually unfolds into more rhythmic jod and jhala sections. These sections are followed by a rendition of bandish, with the pakhawaj as an accompaniment. The great Indian musician Tansen sang in the dhrupad style. A lighter form of dhrupad called dhamar, is sung primarily during the spring festival of Holi.

Dhrupad was the main form of northern Indian classical music until two centuries ago when it gave way to the somewhat less austere khyal, a more free-form style of singing. Since losing its main patrons among the royalty in Indian princely states, dhrupad risked becoming extinct in the first half of the twentieth century. However, the efforts by a few proponents, especially from the Dagar family, have led to its revival.

Some of the best known vocalists who sing in the Dhrupad style are the members of the Dagar lineage, including the senior Dagar brothers, Nasir Moinuddin and Nasir Aminuddin Dagar; the junior Dagar brothers, Nasir Zahiruddin and Nasir Faiyazuddin Dagar; and Wasifuddin, Fariduddin, and Sayeeduddin Dagar. Other leading exponents include the Gundecha Brothers and Uday Bhawalkar, who have received training from some of the Dagars. Leading vocalists outside the Dagar lineage include the Mallik family of Darbhanga tradition of musicians; some of the leading exponents of this tradition were Ram Chatur Mallick, Siyaram Tiwari, and Vidur Mallick. At present Prem Kumar Mallick, Prashant and Nishant Mallick are the Dhrupad vocalists of this tradition. A Very ancient 500 years old Dhrupad Gharana from Bihar is Dumraon Gharana, Pt. Tilak Chand Dubey, Pt. Ghanarang Baba was founder of this prestigious Gharana.Dumraon Gharana Dist-Buxar is an ancient tradition of Dhrupad music nearly 500 years old. This Gharana flourished under the patronage of the king of Dumraon Raj. The dhrupad style (vanis) of the gharana is Gauhar, Khandar and Nauharvani.The living legends of this gharana is Pt. Ramjee Mishra

A section of dhrupad singers of Delhi Gharana from Mughal emperor Shah Jahan's court migrated to Bettiah under the patronage of the Bettiah Raj, giving rise to the Bettiah Gharana.

Khyal

Khyal is the modern Hindustani form of vocal music. Khyal, literally meaning "thought" or "imagination" in Hindustani and derived from the Persian/Arabic term, is a two- to eight-line lyric set to a melody. Khyal contains a greater variety of embellishments and ornamentations compared to dhrupad. Khyal's features such as sargam and taan as well as movements to incorporate dhrupad-style alap have led to it becoming popular.

The importance of the khyal's content is for the singer to depict, through music in the set raga, the emotional significance of the khyal. The singer improvises and finds inspiration within the raga to depict the khyal.

The origin of Khyal is controversial, although it is accepted that this style was based on dhrupad and influenced by other musical traditions. Many argue that Amir Khusrau created the style in the late 14th century. This form was popularized by Mughal Emperor Mohammad Shah through his court musicians; some well-known composers of this period were Sadarang, Adarang, and Manrang.

Tarana

Another vocal form, taranas are medium- to fast-paced songs that are used to convey a mood of elation and are usually performed towards the end of a concert. They consist of a few lines of bols either from the rhythmic language of Tabla, Pakhawaj, or Kathak dance set to a tune. The singer uses these few lines as a basis for fast improvisation. The tillana of Carnatic music is based on the tarana, although the former is primarily associated with dance.

Tappa

Tappa is a form of Indian semi-classical vocal music whose specialty is its rolling pace based on fast, subtle, knotty construction. It originated from the folk songs of the camel riders of Punjab and was developed as a form of classical music by Mian Ghulam Nabi Shori or Shori Mian, a court singer for Asaf-Ud-Dowlah, the Nawab of Awadh. "Nidhubabur Tappa", or tappas sung by Nidhu Babu were very popular in 18th and 19th-century Bengal.

Thumri

Thumri is a semi-classical vocal form said to have begun in Uttar Pradesh with the court of Nawab Wajid Ali Shah, (r. 1847–1856). There are three types of thumri: poorab ang, Lucknavi, and Punjabi thumri. The lyrics are primarily in older, more rural Hindi dialects such as Brij Bhasha, Awadhi, and Bhojpuri. The themes covered are usually romantic in nature, hence giving more importance to lyrics rather than Raag, and bringing out the storytelling qualities of music. The need to express these strong emotional aesthetics makes Thumri and Kathak a perfect match, which, before Thumri became a solo form, were performed together.

Some recent performers of this genre are Abdul Karim Khan, the brothers Barkat Ali Khan and Bade Ghulam Ali Khan, Begum Akhtar, Nirmala Devi, Girija Devi, Prabha Atre, Siddheshwari Devi, Shobha Gurtu, and Chhannulal Mishra.

Ghazal

In the Indian sub-continent during Mughal rule, the Persian Ghazal became the most common poetic form in the Urdu language and was popularized by classical poets like Mir Taqi Mir, Ghalib, Daagh, Zauq and Sauda amongst the North Indian literary elite. The Ghazal genre is characterized by its romance, and its discourses on the various shades of love. Vocal music set to this mode of poetry is popular with multiple variations across Central Asia, the Middle East, as well as other countries and regions of the world.

Instruments
Although Hindustani music clearly is focused on vocal performance, instrumental forms have existed since ancient times. In fact, in recent decades, especially outside South Asia, instrumental Hindustani music is more popular than vocal music, partly due to a somewhat different style and faster tempo, and partly because of a language barrier for the lyrics in vocal music.

Many musical instruments are associated with Hindustani classical music. The veena, a string instrument, was traditionally regarded as the most important, but few play it today and it has largely been superseded by its cousins the sitar and the sarod, both of which owe their origin to Persian influences. The tambura is also regarded as one of the most important instruments, due to its functioning as a fundamental layer that the rest of the instruments adhere to throughout a performance. Among bowed instruments, the sarangi and violin are popular. The bansuri, shehnai and harmonium are important wind instruments. In the percussion ensemble, the tabla and the pakhavaj are the most popular. Rarely used plucked or struck string instruments include the surbahar, sursringar, santoor, and various versions of the slide guitar. Various other instruments have also been used in varying degrees.

Festivals
One of the earliest modern music festivals focusing on Hindustani classical music was the Harballabh Sangeet Sammelan, founded in 1875 in Jallandhar. Dover Lane Music Conference notably debuted in 1952 in Kolkata and Sawai Gandharva Bhimsen Festival in 1953 in Pune, while festivals such as the ITC SRA Sangeet Sammelan appeared in the early 1970s. The Society for the Promotion of Indian Classical Music And Culture Amongst Youth SPIC MACAY since 1977 is a voluntary youth movement which promotes intangible aspects of Indian cultural heritage by promoting Indian classical music and other traditional art forms of India.

See also

List of composers who created ragas
Arabic maqam
Persian traditional music

References

Further reading
Indian Classical Music and Western Pop

Pakistani styles of music
Indian styles of music

Hindustani classical music


Irvington station is a commuter rail stop on the Metro-North Railroad's Hudson Line, located in  Irvington, New York.

History

The Hudson River Railroad reached the settlement by 1849; the first passengers on a regularly scheduled run through the village paid fifty cents to travel from Peekskill to Chambers Street in Manhattan on September 29, 1849.  The community was in the process of renaming itself after author Washington Irving, despite the fact that he was still alive at the time. In 1852, Irvington was also named for the first coal-fueled steam locomotive of the Hudson River Railroad. The HRR was acquired by the New York Central and Hudson River Railroad in 1869, and the New York Central Railroad in 1913.

The existing station house was built in 1889 and designed by the Shepley, Rutan and Coolidge architectural firm. As with most of the stations along the Hudson Line, it was transformed into a Penn Central station when New York Central merged with the Pennsylvania Railroad in 1968. Bankruptcy of the company followed by 1970, and Penn Central eventually turned passenger service over to the Metropolitan Transportation Authority of New York, who made it part of Metro-North in 1983.

Irvington's former New York Central Railroad station, built in 1889, has been a contributing property of the Irvington Historic District since January 15, 2014.  Since being retired as a ticket office in 1957, it has been utilized as an art and curio shop, an office for the Weyerhauser lumber yard which was located on the other side of the tracks – now Scenic Hudson Park – and the office of an architectural firm.  In 2016, with the addition of an outdoor garden, it was converted into a 20-seat café serving frozen yogurt.

Station layout
The station has two slightly offset high-level side platforms each eight cars long. Track 1 is only used by diesel trains since it does not have a third rail.

References

External links

Irvington Metro-North Station (The Subway Nut)
 Entrance from Google Maps Street View

Metro-North Railroad stations in New York (state)
Former New York Central Railroad stations
Railway stations in Westchester County, New York
Historic district contributing properties in New York (state)
Irvington, New York
National Register of Historic Places in Westchester County, New York
Railway stations on the National Register of Historic Places in New York (state)
Railway stations in the United States  opened in 1849
1849 establishments in New York (state)

Irvington station (Metro-North)


Krpasta češljugovina (češljasta češljiga, lat. Dipsacus laciniatus), biljna vrsta iz porodice kozokrvnica, rod češljugovina. raširena je po dijelovima Europe i jugozapadne Azije. Raste i u Hrvatskoj.

Izvori

Češljugovke

Krpasta češljugovina


An Chordifex chaunocoleus in uska species han Liliopsida nga syahan ginhulagway ni Ferdinand von Mueller, ngan ginhatag han pagkayana nga asya nga ngaran ni Barbara Gillian Briggs och Lawrence Alexander Sidney Johnson. An Chordifex chaunocoleus in nahilalakip ha genus nga Chordifex, ngan familia nga Restionaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Chordifex

Chordifex chaunocoleus


Augustin Deac (n. 12 noiembrie 1879, Vădurele, comitatul Sălaj, Regatul Ungariei – d. 1960, Orăștie, Republica Populară Romînă) a fost un doctor în drept și avocat din Orăștie. A fost deputat în Marea Adunare Națională de la Alba Iulia, organismul legislativ reprezentativ al "tuturor românilor din Transilvania, Banat și Țara Ungurească", cel care a adoptat hotărârea privind Unirea Transilvaniei cu România, la 1 decembrie 1918..

Biografie
Augustin Deac s-a născut în comuna Vădurele din Comitatul Sălaj la data de 12 noiembrie 1879. A finalizat studiile la Universitatea din Cluj, iar din anul 1905 a fost avocat în orașul Orăștie. A participat la Primul Război Mondial în calitate de ofițer de rezervă în armata Austro-Ungară până la încheierea conflictului..

Activitatea politică
Ca deputat în Adunarea Națională din 1 decembrie 1918 a fost delegat al cercului electoral Orăștie alături de dr. Ioan Mihu..

După Unire, Augustin Deac profesează la Ilia și din nou la Orăștie, remarcându-se ca un bun magistrat..

Note

Bibliografie
 Gelu Neamțu, Mircea Vaida-Voevod, 1 decembrie 1918. Mărturii ale participanților, vol. I-II, Editura Academiei Române, București, 2005, ISBN 973-27-1258-9 (vol. I); ISBN 973-27-1264-3 (vol. II).
 Ioan I. Șerban, Nicolae Josan (coord.), Dicționarul personalităților Unirii. Trimișii românilor transilvăneni la Marea Adunare Națională de la Alba Iulia, Alba Iulia, Editura Altip, 2003.

Lectură suplimetară
 Daniela Comșa, Eugenia Glodariu, Maria M. Jude, Clujenii și Marea Unire, Muzeul Național Transilvania, Cluj-Napoca, 1998
 Florea Marin, Medicii și Marea Unire, Editura Tipomur, Târgu Mureș, 1993
 Silviu Borș, Alexiu Tatu, Bogdan Andriescu, (coord.), Participanți din localități sibiene la Marea Adunare Națională de la Alba Iulia din 1 decembrie 1918, Editura Armanis, Sibiu, 2015

Legături externe
  Membrii de drept ai Marii Adunării Naționale de la Alba-Iulia din 1 decembrie 1918, lista publicată în "Gazeta Oficială", Sibiu, nr. 1, 1/14 decembrie 1918
 1 decembrie 1918, Marea Unire de la Alba Iulia. Mărturii, documente și semnificații
http://www.orastieinfo.ro/ioan-mihu.html

Vezi și
 Lista delegaților la Marea Adunare Națională de la Alba Iulia

Nașteri în 1879
Decese în 1960
Delegați la Marea Adunare Națională de la Alba Iulia
Avocați români
Transilvăneni
Români din Austro-Ungaria

Augustin Deac (delegat)


Kantitatif genetik, ayrı ayrı tanımlanabilir fenotipler ve gen ürünlerinin (göz rengi veya belirli bir biyokimyasalın varlığı gibi) aksine, sürekli değişen (boy veya kütle gibi karakterlerde) fenotiplerle ilgilenir.

Her iki dal da üreyen popülasyonlarda (gamodemler) bir genin farklı alellerinin frekanslarını kullanır ve bunları nesiller ve nesiller boyunca kalıtım kalıplarını analiz etmek için basit Mendel kalıtımındaki kavramlarla birleştirir. Popülasyon genetiği belirli genlere ve bunların müteakip metabolik ürünlerine odaklanabilirken, kantitatif genetik daha çok dışa dönük fenotiplere odaklanır ve yalnızca altta yatan genetiğin özetlerini yapar.

Fenotipik değerlerin sürekli dağılımı nedeniyle, kantitatif genetik, fenotipleri (nitelikleri) genotiplere bağlamak için diğer birçok istatistiksel yöntemi (etki büyüklüğü, ortalama ve varyans gibi) kullanmalıdır. Bazı fenotipler, kesme noktalarının tanımına veya onları ölçmek için kullanılan metriğe bağlı olarak ayrık kategoriler veya sürekli fenotipler olarak analiz edilebilir. : 27–69

  Mendel'in kendisi bu konuyu ünlü eserinde tartışmak zorunda kaldı. kağıt, özellikle bezelye özniteliği uzun/cüce, aslında "gövde uzunluğu" idi.

Kantitatif özellik lokuslarının veya QTL'nin analizi, kantitatif genetiğe daha yeni bir ektir ve onu daha doğrudan moleküler genetiğe bağlar.

Kaynakça

Genetiğin alt alanları

Kantitatif genetik


Fairplay Township ist der Name folgender Townships in den Vereinigten Staaten:

 Fairplay Township (Arkansas)
 Fairplay Township (Indiana)
 Fairplay Township (Kansas)

Fairplay Township


النادي الأولمبي للنقل (COT)هو نادي رياضي تونسي مقره منطقة الملاسين الواقعة غرب وسط العاصمة التونسية. تأسس في  يرأسه السيدة سيرين مرابط ويدربه نبيل الفرشيشي.
يلعب فريق كرة القدم للنادي في الرابطة التونسية المحترفة الثانية لكرة القدم. يتلقى الفريق دعما ماليا عبر شركات النقل العمومية خصوصا أن الحي الذي يقع فيه يعد من أكثر أحياء العاصمة صعوبة.
ألوانه الأزرق و الأسود.

أبرز اللاعبين القدامى

أحسن هداف (الرابطة الأولى)

الأكثر مشاركة (الرابطة الأولى)

الألقاب

وصلات خارجية
 صفحة النادي الأولمبي للنقل على موقع كوووة.
 الموقع الرسمي للجامعة التونسية لكرة القدم.

مراجع

أندية رياضية في تونس
أندية كرة قدم أسست في 1945
أندية كرة قدم أسست في 1966
أندية كرة قدم في تونس
أندية كرة قدم في مدينة تونس
تأسيسات سنة 1945 في تونس
فرق رياضية في تونس

النادي الأولمبي للنقل