Jordi Galceran i Ferrer (Barcelona, 5 de Março de 1964) é um guionista e tradutor catalão, internacionalmente conhecido pela sua obra O Método Grönholm. Atualmente vive em Barcelona. Escreve tanto em língua catalã como em língua castelhana. Estudou Filologia Catalã na Universidade de Barcelona e a partir de 1988 começou a escrever obras de teatro. Atualmente considera-se-o um referente pelo teatro catalão.

Em 1995, com Palavras encadeadas, ganhou o XX Premi Born de Teatre e, em 1996, o Premi de la Crítica Serra d'Or como melhor obra em língua catalã. A sua obra Dakota (1995) obteve o prémio Ignasi Iglésias. Ao lado de Albert Guinovart estreou em 2002 o musical Gaudí. Em 2005 escreveu e estreou Carnaval. Em 2007 escreveu a peça de teatro Cancún, que foi representada ao palco de Teatro Borràs, de Barcelona, em outubro de 2008. Em 2013 estreou El crèdit, na Sala Villarroel, de Barcelona. O filme Frágeis, de Jaume Balagueró, está baseada num guião de Galceran, enquanto El método, de Marcelo Piñeyro, é uma adaptação do livro El mètode Grönholm. Também participou no musical O Rei Leão, em Madrid, como adaptador do livro ao espanhol.

Peças em português
A suas obras foram representadas em português em várias ocasiões. O Método, traduzida por Joana Frazão e com a encenação de Virgílio Castelo, representou-se em 2005 em Portugal na Casa do Artista, com atuações de Maria João Bastos, Marco Delgado, António Pedro Cerdeira e José Boavida. O filme O Método, do realizador Marcelo Piñeyro e baseado nesta mesma peça, foi emitido pela RTP. No Brasil, representou-se em 2022 e em 2023 a versão brasileira O Método Grönholm com muito sucesso em São Paulo e no Rio de Janeiro. Além desta peça, também chegou ao palco Fuga em 2012, traduzida por Joaquim Monchique e com a representação dos atores Maria Rueff, José Pedro Gomes, Jorge Mourato, João Maria Pinto e Sónia Aragão. Outra peça que foi representada em Portugal foi O Crédito, com a tradução de Rita Marques e a encenação da atriz Rita Lello e a representação dos atores Manuel Marques e Miguel Thiréem, que chegou ao Casino de Lisboa em 2022.

Obra

 Paraules encadenades. Valência: Eliseu Climent / Teatre 3 i 4, 1996. Estreada no Teatre Romea de Barcelona, no ano 1998, em coprodução do Centre Dramàtic de la Generalitat i Focus. Protagonizaram-na Emma Vilarasau e Jordi Boixaderas sob a direção de Tamzin Townsend. A versão em castelhano estreou-se em Madrid, Buenos Aires, Caracas, Medellín e Miami. Laura Mañá dirigiu a versão cinematográfica.
 Dakota. Barcelona: Institut del Teatre, 1996.
 Cap nen sense joguina. Barcelona: Revista Cena, 1999.
 El mètode Grönholm (dentro de "T-6-2ª parte"). Barcelona: Proa, 2003.

Séries de televisão

 Nissaga de poder (com outros autores). TV3, 1997-1998.
 La memòria dels Cargols. TV3, 2000.
 El cor de la ciutat (com Lluís Arcarazo Martínez). TV3, 2000-2005.
 Nit i dia (com Lluís Arcarazo Martínez). TV3, 2016.

Guiões cinematográficos

 Dues dones. 2000.
 Cabell d'àngel. TV3, 2001.
 Gossos (de Lluís Arcarazo Martínez). TV3, 2002.
 Fràgils (dirigida por Jaume Balagueró). 2005.

Obras dramáticas representadas

 Dakota. Barcelona: Teatre Poliorama, 1996.
 Fuita. Barcelona: Teatre Principal, 1998.
 Surf. Barcelona: Villarroel Teatre, 1998.
 Paraules encadenades. Barcelona: Teatre Romea, 1998.
 Cap nen sense joguina (dentro de Sopa de ràdio). Barcelona: Auditori del Centre de Cultura Contemporània, 1999.
 Gaudí (com Esteve Miralles). Barcelona: Barcelona Teatre Musical, 2002.
 El mètode Grönholm. Barcelona: Teatre Nacional de Catalunya, 2003 e Teatre Poliorama, 2005.
 El crèdit. Barcelona: Villarroel Teatre, 2013.

Prémios

 Premi Ignasi Iglésias (1995): Dakota.
 XX Premi Born de Teatre (1995): Paraules encadenades.
 Premi Crítica "Serra d'Or" de teatre (1997): Paraules encadenades.
 Premi Butaca (temporades 1996-1997 e 1997-1998): Paraules encadenades e Dakota.
 Premi Butaca (2003): Gaudí.
 XXI Premi Ercilla de Teatre para a melhor criação dramâtica (2004): El mètode Grönholm.
 VIII Premi Max para o melhor autor teatral em catalão (2005): El mètode Grönholm.
 XXXIV Premio Mayte (2005): El mètode Grönholm.

Ligações externas

 «Jordi Galceran i Ferrer».   Associació d'Escriptors en Llengua Catalana (AELC).
 Ficha ao IMDb   .
 Entrevistas radiofónicas a Galceran
 "...Rey da Comedia Negra...", artigo do crítico teatral Marcos Ordóñez ao jornal espanhol O País, 26 de Julho de 2008 (em castelhano)

Pessoas vivas

Jordi Galceran


මූලාශ්‍ර

බාහිර සබැදි

Dennis Ritchie's home page at Bell Labs
"The C Family of Languages: Interview with Dennis Ritchie, Bjarne Stroustrup, and James Gosling" – article in Java Report, 5(7), July 2000 and C++ Report, 12(7), July/August 2000
"The Guru" – article in Linux Magazine, June 2001
Dennis Ritchie's video interview June 2011

1941 උපත්
2011 මරණ

ඩෙනිස් රිචි


Arielle Kayabaga (née en 1991 à Bujumbura, Burundi) est une femme politique canadienne. Elle est députée à la Chambre des communes du Canada, représentant la circonscription ontarienne de London-Ouest depuis les élections de 2021 sous la bannière du Parti libéral du Canada.

Depuis mai 2021, elle est présidente du caucus libéral noir.

Biographie

Née au Burundi, elle émigre au Canada avec sa quand elle a 11 ans, en tant que réfugiée de la guerre civile burundaise. La famille vit à Montréal pendant un an avant de déménager à London, en Ontario . Elle obtient un baccalauréat en sciences politiques de l'Université Carleton d'Ottawa en 2013. Elle est employée dans un établissement pour les nouveaux arrivants à London et à proximité de Sarnia.

En 2017 elle suit un programme de stage au City Hall de London, ce qui la décide à se présenter aux élections municipales l'année suivante dans le 13e quartier. Elle est élue, dans un contexte d'augmentation de la participation, et est à 27 ans la première femme noire à siéger au conseil dans l'histoire de la ville. Elle a préside le comité des services corporatifs et siège au comité permanent des finances municipales. En septembre 2020, la police de London ouvre enquête après que son bureau ait reçu des appels téléphoniques harcelants.

En 2021, le député Greg Fergus, président du caucus noir de la Chambre des communes, l'appelle pour l'encourager à se présenter à l'investiture des libéraux. Elle annonce sa candidatures quelques jours avant le début de la campagne électorale et remporte l'investiture. Elle est ensuite élue, remportant le siège avec 36,8% des voix, et remplace la députée libérale sortante Kate Young. Elle est la première Franco-Ontarienne à être députée de London-Ouest.

Elle siège dans le Comité permanent de la citoyenneté et de l'immigration et dans le Comité permanent des langues officielles. Depuis mai 2021, elle est présidente du caucus libéral noir.

Résultats électoraux

Notes et références

Liens externes

 Expérience politique fédérale — Bibliothèque du Parlement

Actuel député fédéral canadien
Naissance en 1991
Naissance au Burundi
Personnalité franco-ontarienne
Député du Parti libéral du Canada
Député fédéral canadien provenant de l'Ontario
Député à la Chambre des communes du Canada
Conseiller municipal de London (Ontario)
Étudiant de l'Université Carleton

Arielle Kayabaga


An Cleistogenes kitagawae in uska species han Liliopsida nga ginhulagway ni Masaji Masazi Honda. An Cleistogenes kitagawae in nahilalakip ha genus nga Cleistogenes, ngan familia nga Poaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Cleistogenes

Cleistogenes kitagawae


Kokica (kokošica, ružica, lat. Ophrys), rod malenih trajnica iz porodice orhideja kojemu pripada tridesetak vrsta i veliki broj hibridnih vrsta, raširenih uglavnom po Europi, te u jugozapadnoj Aziji i sjevernoj Africi.

Znatan broj raste i u Hrvatskoj. Dinarska kokica podvrsta je bumbarove kokice ili mačkovog uha (O. fuciflora) i priznata je kao Ophrys fuciflora subsp. fuciflora. Kvarnerska kokica također nema status vrste i priznata je kao Ophrys scolopax subsp. cornuta. Crnogorska kokica podvrsta je kokice paučice (O. sphegodes subsp. sphegodes)

Vrste

 Ophrys × albertiana E.G.Camus
 Ophrys × angelarum Gennaio, Gargiulo, Medagli & Chetta
 Ophrys × apicula J.C.Schmidt ex Rchb.f.
 Ophrys apifera Huds., pčelina kokica
 Ophrys × arachnitiformis Gren. & M.Philippe
 Ophrys × araniferiformis Dalla Torre & Sarnth.
 Ophrys argolica H.Fleischm.
 Ophrys × barbaricina M.Allard & M.P.Grasso
 Ophrys × battandieri E.G.Camus
 Ophrys × baumanniana Soó
 Ophrys bertolonii Moretti, Bertolonijeva kokica
 Ophrys bombyliflora Link, svilena cvjetna kokica
 Ophrys × borgersiae P.Delforge
 Ophrys × bourlieri Maire
 Ophrys × breieri Wallenwein & Saad
 Ophrys × brigittae H.Baumann
 Ophrys × brigodeana P.Delforge
 Ophrys × campolati O.Danesch & E.Danesch
 Ophrys × carica H.Baumann & Künkele
 Ophrys × carpinensis O.Danesch & E.Danesch
 Ophrys × carquierannensis E.G.Camus
 Ophrys × chobautii G.Keller ex B.Tyteca & D.Tyteca
 Ophrys × cicmiriana P.Delforge
 Ophrys cilicica Schltr.
 Ophrys × circaea W.Rossi & Prola
 Ophrys × circlarium Pellegrino
 Ophrys × clapensis Balayer
 Ophrys × climacis Heimeier & Perschke
 Ophrys × cranbrookeana Godfery
 Ophrys cretica (Vierh.) E.Nelson
 Ophrys × cugniensis Soca
 Ophrys × daneschiana W.J.Schrenk
 Ophrys × denisiana H.Baumann, Künkele & R.Lorenz
 Ophrys × devenensis Rchb.f.
 Ophrys × diakoptensis M.Bayer
 Ophrys × domus-maria M.P.Grasso
 Ophrys × eliasii Sennen ex E.G.Camus & A.Camus
 Ophrys × emmae G.Keller ex H.Wettst.
 Ophrys × epidavrensis G.Eberle
 Ophrys × ettlingeriana P.Delforge
 Ophrys × extorris Soó
 Ophrys × feldwegiana B.Baumann & H.Baumann
 Ophrys × fernandii Rolfe
 Ophrys × ferruginea W.Rossi & Liuti
 Ophrys ferrum-equinum Desf.
 Ophrys × flavicans Vis.,  žučkasta dalmatinska kokica
 Ophrys fuciflora (F.W.Schmidt) Moench, bumbarova kokica
 Ophrys fusca Link, smeđa kokica
 Ophrys × grafiana Soó
 Ophrys × grampinii Cortesi
 Ophrys × gumprechtii O.Danesch & E.Danesch
 Ophrys × heraultii G.Keller ex Schrenk
 Ophrys insectifera L., muhina kokica
 Ophrys isaura Renz & Taubenheim
 Ophrys × jansenii P.Delforge
 Ophrys × kalteiseniana B.Baumann & H.Baumann
 Ophrys × kelleri Godfery
 Ophrys × kohlmuellerorum Soca
 Ophrys kojurensis Gölz
 Ophrys konyana Kreutz & Ruedi Peter
 Ophrys kopetdagensis K.P.Popov & Neshat.
 Ophrys kotschyi H.Fleischm. & Soó
 Ophrys kreutzii W.Hahn, R.Wegener & J.Mast
 Ophrys × kulpensis Kreutz
 Ophrys × laconensis Scrugli & M.P.Grasso
 Ophrys × laconica H.Baumann & Künkele
 Ophrys × liceana Renz & Taubenheim
 Ophrys × lievreae Maire
 Ophrys × luizetii E.G.Camus
 Ophrys lutea Cav.
 Ophrys lycia Renz & Taubenheim
 Ophrys × macchiatii E.G.Camus
 Ophrys × maladroxiensis Scrugli, Todde & Cogoni
 Ophrys × maremmae O.Danesch & E.Danesch
 Ophrys × mariae F.Fohringer
 Ophrys × marmarensis H.Baumann & Künkele
 Ophrys × methonensis H.Baumann & Künkele
 Ophrys × minuticauda Duffort
 Ophrys × montis-angeli O.Danesch & E.Danesch
 Ophrys × montis-grossi Kohlmüller
 Ophrys × moreana H.Baumann & Künkele
 Ophrys × morisii (Martelli) G.Keller & Soó
 Ophrys × nelsonii Contré & Delamain
 Ophrys × neocamusii Godfery
 Ophrys × neoruppertii A.Camus ex Ruppert
 Ophrys × nouletii E.G.Camus
 Ophrys × olbiensis E.G.Camus
 Ophrys omegaifera H.Fleischm.
 Ophrys × painiana P.Delforge
 Ophrys × paphosiana H.Baumann & Künkele
 Ophrys × pardui Giotta & Piccitto
 Ophrys × parenzani Medagli, D'Emerico & Ruggiero
 Ophrys × parvaisiana P.Delforge
 Ophrys × peltieri Maire
 Ophrys × personei Cortesi
 Ophrys × pietzschii Kümpel ex Rumsey & H.J.Crouch
 Ophrys × pizzulensis Soca
 Ophrys × placotica B.Willing & E.Willing
 Ophrys × plorae C.Alibertis & A.Alibertis
 Ophrys × pseudofusca Albert & Camus
 Ophrys × pseudoquadriloba Renz
 Ophrys × quintartiana P.Delforge
 Ophrys × rainei Albert & Jahand.
 Ophrys × rasbachii G.Eberle
 Ophrys × rauschertii Kümpel
 Ophrys × raynaudii P.Delforge
 Ophrys × rechingeri Soó
 Ophrys × regis-minois Halx
 Ophrys reinholdii Spruner ex Fleischm.
 Ophrys × resurrecta O.Danesch & E.Danesch
 Ophrys × salvatoris O.Danesch & E.Danesch
 Ophrys schulzei Bornm. & Fleischm.
 Ophrys scolopax Cav.
 Ophrys × semibombyliflora E.G.Camus
 Ophrys × sicana H.Baumann & Künkele
 Ophrys sicula Tineo
 Ophrys × sienaertiana P.Delforge
 Ophrys × soller M.Henkel
 Ophrys × sommieri E.G.Camus ex Cortesi
 Ophrys × sorrentinoi Lojac.
 Ophrys speculum Link
 Ophrys sphegodes Mill.,  kokica paučica
 Ophrys × spuria G.Keller ex Reinhard
 Ophrys × stefaniae G.Kretzschmar & H.Kretzschmar
 Ophrys × sulcitana Scrugli, Todde & Cogoni
 Ophrys tenthredinifera Willd., pilasta muha orhideja
 Ophrys × terschureniana P.Delforge
 Ophrys × torrensis H.Dekker
 Ophrys tremoris Gämperle & Gölz
 Ophrys × turiana J.E.Arnold
 Ophrys ulupinara W.Hahn, Passin & R.Wegener
 Ophrys umbilicata Desf.
 Ophrys urteae Paulus
 Ophrys × vamvakiae Kohlmüller
 Ophrys × varvarae Faller & Kreutz
 Ophrys × vernonensis O.Danesch & E.Danesch
 Ophrys × vespertilio W.Rossi & Contorni
 Ophrys × vetula Risso
 Ophrys × waldmanniana Soó
 Ophrys zagrica Gölz

Izvori

Vanjske poveznice

Orchideae

Kokica


පුරාතන රෝමානු ජනරජයේ රජයට අදාළ වන්නාවූ SPQR පදය යනු සෙනාටුස් පොපුලුස්ක්වේ රොමානුස් යන  ලතින් පාඨයෙහි,  ("රෝමයේ උත්තර මන්ත්‍රී මණ්ඩලය සහ ජනතාව", පරිවර්තනය බලන්න), මුලකුරුයෙදුමක් වන අතර වර්තමාන රෝමයේ කොමියුනයෙහි (මහ නගර සභා ප්‍රදේශය) නිල ලාංඡනය වෙයි. කාසි වල, ගලෙහි හෝ ලෝහයෙහි හෝ කොටා මහජනයා වෙත දැනුවත් කල ලේඛයන්හී අග, ස්මාරක හෝ මහජන පරිභෝජනය සඳහාවූ කර්මාන්ත ජනසතු කිරීමේදී මෙය පෙන්නුම් කර ඇති අතර, ලීජන් සේනාංකයන්හී පතාක දලය සැරසීම සඳහා යොදාගෙන තිබුණි.

SPQR


Barnabas ya da Barnaba (Yunanca: Απόστολος Βαρνάβας, Apostolos Varnavas), Hristiyanlığın erken döneminde Nasıralı İsa'nın yaşamı boyunca kendi etrafında oluşturduğu "On İkiler"in arasında yer almayan elçilerinden biriydi. Elçilerin İşleri'ne göre, Kıbrıs'taki Yahudi diaspora cemaatinden geliyordu ve Levililerin kâhin İsrail kabilesine mensuptu. Antakya'daki Hristiyan cemaatinin kurucu figürlerinden ve liderlerinden biridir ve mektuplarında (1. Korintliler, Galatyalılar) kendisinden birkaç kez bahseden Tarsuslu Pavlus'un öğretmeni olarak kabul edilir. Barnabas, Elçiler Çağı'nda Pavlus'la birlikte Hristiyan misyonerlik anlayışının gelişmesi için temel teşkil eden misyonerlik yolculuklarına çıkmış ve Elçiler Konsili'nin katılımcılarından biri olmuştur.

Apokrif Barnabas'ın İşleri'ne göre Barnabas, ulusal aziz olarak kabul edildiği Kıbrıs'ta şehit olarak ölmüştür. Bu gelenekte ölüm yılı olarak 61 yılı kabul edilir ve yer olarak da Mağusa yakınlarındaki Salamis gösterilir. Diğer efsanelere göre Roma'da da vaaz vermiş, Milano'nun ilk piskoposu olmuş ve Romalı Klement'i vaftiz etmiştir.

Barnabas İncili

Kanonik incillerden başka Barnabas'a atfedilen ve muhtemelen 16. yüzyılın son çeyreğinde bir Müslüman tarafından yazılmış düzmece ve uydurma bir incil bulunmaktadır.

Ayrıca bakınız
 Ashab-ı Karye
 Milano Başpiskoposları listesi

Dipnotlar

1. yüzyıl yazarları
Hristiyan aziz ve azizeleri
Kıbrıslı aziz ve azizeler
Yeni Ahit'te adı geçen kişiler
Roma İmparatorluğu'nda din

Barnabas


Tekno, elektronik dans müziğinin genellikle DJ setlerinde kullanılmak üzere üretilen ve tekrarlayan bir ritme sahip olan bir tarzıdır. Merkez ritim genellikle 4/4 ölçüdedir ve tempo dakikada 120 ile 150 vuruş arasıdır. Sanatçılar davul makinesi, sıralayıcı ve synthesizer gibi elektronik müzik aletlerini ve dijital ses işleme istasyonlarını kullanabilir. Roland'ın 1980'lerde ürettiği TR-808 ve TR-909 gibi davul makineleri sanatçılar tarafından oldukça rağbet görmekteyken aynı zamanda bu enstrümanların yazılım taklitleri de popülerdir.

"Tekno" terimi 1980'lerin başında Almanya'da ortaya çıkmasına rağmen 1988'de Techno! The New Dance Sound of Detroit derlemesinin Birleşik Krallık'ta yayımlanmasıyla Detroit kaynaklı bir elektronik dans müziği tarzı için kullanılmaya başlamıştır. Detroit tekno Kraftwerk, Giorgio Moroder ve Yellow Magic Orchestra gibi synthpop sanatçılarının müziğinin Afrikan Amerikan kökenli house, elektro ve funk gibi elektronik müzik tarzlarıyla birleşmesiyle ortaya çıkmıştır. Bunların yanında Amerikan geç kapitalist toplumunda popüler olan fütüristik ve bilimkurgusal temalar da etkili olmuştur. 1980'lerin ortalarından sonuna kadar Juan Atkins, Derrick May, Kevin Saunderson (The Belleville Three olarak da bilinirler); Eddie Fowlkes, Blake Baxter ve James Pennington'ın ürettiği müzik Detroit teknosunun "ilk dalgası" olarak görülür.

Ayrıca bakınız
 Elektronik müzik

Notlar

Elektronik dans müziği tarzları

Tekno müzik


Francisco del Toro, más conocido como Paco del Toro, es un cineasta, actor y escritor mexicano.

Sus producciones cinematográficas se caracterizan por abordar temas controvertidos y asuntos sociales con temáticas planteadas desde un punto de vista proveniente de su fe cristiana evangélica. En 2008, del Toro fue catalogado por un periodista del diario El Universal como "uno de los cineastas más prolíficos de la cinematografía mexicana" de los últimos años. Su película más destacada a la fecha ha sido Cicatrices (2005), que fue galardonada con tres premios "Diosa de Plata".

Biografía
Francisco del Toro nació en 1956, en Saltillo, Coahuila. Es egresado del Instituto de Arte Dramático Andrés Soler donde estudió cinematografía y de la Universidad Nacional Autónoma de México donde estudió economía.

Incursionó en el ambiente artístico a la edad de 17 años en el arte de la actuación, obteniendo papeles en teatro y televisión. En la década de 1980 participó como actor en varias películas mexicanas. Por su interpretación en Retrato de una mujer casada recibió una nominación al Mejor Actor de Reparto para el Premio "Diosa de Plata" de 1977.

En 1989, fundó la compañía Armagedón,  con la cual comenzó a producir numerosas películas que comenzaron por grabarse en formato de vídeo (23 video-home en 16 mm) y largometrajes en 35 mm.

Como director, ha trabajado a lado de destacados actores tales como Ignacio López Tarso, José Carlos Ruiz, Julio Alemán, Eric del Castillo, Leticia Perdigón, Norma Herrera, Humberto Zurita, Fernando Ciangherotti, Norma Lazareno, Rafael Inclán, María Rojo, Claudio Obregón, María Sorté, Mauricio Islas, Evangelina Sosa, Raúl Araiza, Nora Salinas, Alonso Echánove, Fernando Carrillo, Roberto Palazuelos, Pepe Magaña,entre otros.

Películas
Del Toro afirma que sus películas tratan de reflejar problemáticas que afectan a la compleja sociedad humana, mediante denuncias públicas en la pantalla grande. Debido a su fe cristiana evangélica, sus películas, que se ubican en el género dramático y melodramático, proponen una visión conservadora de las situaciones que plantean y usualmente incluyen mensajes evangélicos donde se hablan sobre Dios y promueve a aceptar a Jesucristo como Salvador.

Del Toro dice producir películas que no tienen por mira llegar a los festivales de cine, sino que tienen el objetivo primordial de "que mucha gente las vea y encuentre algo positivo en ellas".

Muchas de las producciones de Paco del Toro han abordado tabúes y temas altamente controvertidos en la sociedad mexicana, tales como la violación sexual (Altos instintos, 1994), la depresión (Mujer de la calle, 1994), el vandalismo (Chavos banda, 1995), el tráfico ilegal (Duro de salvar, 1995), el satanismo (Persecución infernal, 1995), la persecución religiosa (Chamula, tierra de sangre, 1999),  la religiosidad (A medias tintas, 1999), el sexo, alcoholismo (El chupes, 1992), la drogadicción (Círculo del vicio 1993, Drogadicto, 2000),  los conflictos entre el catolicismo y protestantismo (Religión, la fuerza de la costumbre, 2000), el movimiento de la Nueva Era (Milenio, El principio del fin), el aborto (Punto y aparte, 2002), el culto a la muerte (La Santa Muerte, 2007), la violencia familiar y el machismo (Luna de hiel 1994, Cicatrices, 2005), el abuso sexual (Secretos de familia, 2009) y la adopción de parejas homosexuales (Pink... el rosa no es como lo pintan, 2016).

Pink fue particularmente controversial y mal recibida por el público, al ser duramente criticada en los medios por promueve estereotipos de la homosexualidad y rechazar la percepción liberal de derechos sexuales que se tiene en la sociedad posmoderna. Aunque según Toro, lo que su película buscaba era defender el derecho de los niños adoptados a crecer con un padre y una madre, muchos redactores en medios de prensa le acusaron duramente de fomentar homofobia y le tacharon de discriminativa contra la comunidad LGBT. La película fue vetada en empresas importantes como Cinépolis y Netflix.

Filmografía

Productor y director
 Pink... El rosa no es como lo pintan (2016)
 Secretos de familia (2009)
 La Santa Muerte (2007)
 Cicatrices (2005)
 Punto y aparte (2002)
 Milenio, el principio del fin (2000)
 Religión, la fuerza de la costumbre (2000)
 Drogadicto (2000)
 A medias tintas (1999)
 Chamula, tierra de sangre (1999)
 Yuri: Mi verdadera historia (1997)
 Persecución infernal (1997)
 Chavos banda (1995)
 Duro de salvar (1995)
 Altos instintos] (1995)
 Mujer de la calle (1994)
 Luna de hiel (1994)
 Círculo del vicio (1993)
 Un paso al cielo (1993)
 Hades, vida después de la muerte (1993)
 S.I.D.A., Síndrome de muerte (1993)
 El chupes (1992)
 Persecución infernal (1992)
 Codicia mortal (1991)
 El despiadado (1990)
 De lengua me como un plato (1990)
 Marcado por el odio (1989)
 Más que vencedores
 Torre fuerte

Actor
 Chavos banda (1995)
 Retrato de una mujer casada (1982) - Felipe
 Aquel famoso Remington (1982) - Francisco del Toro
 La leyenda de Rodrigo
 La historia del Remington
 Crónica roja (1977) - Francisco del Toro

Televisión (actor)
 ¡¡Cachún Cachún Ra Ra!! (1981) - Paco
 Una limosna de amor (1981)

Referencias

Enlaces externos
 Paco del Toro

Nacidos en Saltillo
Actores de televisión de México
Actores de cine de México
Cristianos de México
Productores de cine de México
Directores de cine de México
Guionistas de cine de México
Alumnado de la Facultad de Economía de la Universidad Nacional Autónoma de México

Francisco del Toro (director)


Major Indoor Soccer League je bilo ime triju američkih liga profesionalnog dvoranskog nogometa:

Major Indoor Soccer League (1978.–92.), poznat posljednje dvije sezone kao Major Soccer League
Major Indoor Soccer League (2001.–08.), osnovali ju klubovi iz NPSL i poslije im se pridružili klubovi iz WISL
Major Indoor Soccer League (2008.–14.), poznata kao National Indoor Soccer League 2008. i uzela je ime MISL 2009.

Major Indoor Soccer League


ريكاردو ميجيوريني  (مواليد 4 سبتمبر 1985 في إسولا ديلا تشالا - إيطاليا) لاعب كرة قدم إيطالي يلعب حاليا لصالح نادي الدرجة الأولى باري الإيطالي منذ 2009 في مركز المهاجم .

روابط خارجية

مراجع

مهاجمو كرة قدم رجالية
أشخاص على قيد الحياة
لاعبو اتحاد بافيا لكرة القدم
لاعبو الدوري الإيطالي
لاعبو الدوري الإيطالي الدرجة الثانية
لاعبو إنتر ميلان
لاعبو باري
لاعبو بولونيا
لاعبو تورينو
لاعبو فيتشينزا
لاعبو كرة قدم إيطاليون
لاعبو كرة قدم من فينيتو
لاعبو كييفو فيرونا
لاعبو منتخب إيطاليا لكرة القدم للشباب
لاعبو نادي سبيزيا
لاعبو نادي سيتاديلا
لاعبو نوفارا
مواليد 1985

ريكاردو ميجيوريني


Net Impact ist eine große, internationale Nichtregierungsorganisation mit Sitz in San Francisco (USA), die das Ziel verfolgt, eine sozial gerechtere und ökologisch  nachhaltigere Wirtschaftswelt zu schaffen. Dabei werden Methoden der Wirtschaftswissenschaften genutzt. Über 25.000 Mitglieder organisieren sich weltweit ehrenamtlich in über 300 Untergruppen, die sie "Chapter" nennen. Neben professionellen Chaptern, in denen sich Berufstätige zusammenschließen, bestehen an vielen Universitäten Studierendenchapters. Das erste Chapter wurde 1993 in den USA gegründet.

Net Impact in Deutschland
Das erste deutsche Chapter wurde 2010 in Berlin gegründet, seit 2011 besteht auch ein Studierendenchapter an der Humboldt-Universität zu Berlin. Nach ihrem Vortrag zur Gründung des Studierendenchapters übernahm Gesine Schwan die Schirmherrschaft. Weitere Chapter befinden sich derzeit in Gründung.

Weblinks

 Netimpact Deutschland Offizielle Website
 Netimpact Berlin Students Homepage

Einzelnachweise

Studentenorganisation
Internationale Organisation
Organisation (Nachhaltigkeit)
Organisation (San Francisco)
Gegründet 1993

Net Impact


Včelince este o comună slovacă, aflată în districtul Rimavská Sobota din regiunea Banská Bystrica. Localitatea se află la , se întinde pe o suprafață de  și în 2017 număra 797 de locuitori. Se învecinează cu ,  și .

Istoric
Localitatea Včelince este atestată documentar din 1332.

Note

Legături externe

Localități din Slovacia

Včelince


Opera in German is that of the German-speaking countries, which include Germany, Austria, and the historic German states that pre-date those countries.

German-language opera appeared remarkably quickly after the birth of opera itself in Italy. The first Italian opera was Jacopo Peri's Dafne of 1598. In 1627, Heinrich Schütz provided the music for a German translation of the same libretto. Yet during much of the 17th and 18th centuries German-language opera would struggle to emerge from the shadow of its Italian-language rival, with leading German-born composers such as Handel and Gluck opting to work in foreign traditions such as opera seria.

Some Baroque composers, such as Reinhard Keiser, did try to challenge Italian dominance, and the theatre principal Abel Seyler became an eager promoter of German opera in the 1770s, but it was only with the appearance of Mozart that a lasting tradition of serious German-language opera was established. Mozart took the simple, popular genre of Singspiel and turned it into something far more sophisticated. Beethoven followed his example with the idealistic Fidelio; and with Der Freischütz of 1821, Weber established a uniquely German form of opera under the influence of Romanticism. Weber's innovations were eclipsed by those of Wagner, one of the most revolutionary and controversial figures in musical history. Wagner strove to achieve his ideal of opera as "music drama", eliminating all distinction between aria and recitative, employing a complex web of leitmotifs and vastly increasing the power and richness of the orchestra. Wagner also drew on Germanic mythology in his huge operatic cycle Der Ring des Nibelungen.

After Wagner, opera could never be the same again, so great was his influence. The most successful of his followers was Richard Strauss. Opera flourished in German-speaking lands in the early 20th century in the hands of figures such as Hindemith, Busoni and Weill until Adolf Hitler's seizure of power forced many composers into silence or exile. After World War II young opera writers were inspired by the example of Schoenberg and Berg who had pioneered modernist techniques such as atonality and serialism in the earlier decades of the century. Composers at work in the field of opera today include Hans Werner Henze.

As the names of Mozart, Weber, Wagner, Richard Strauss and Berg indicate, Germany and Austria have one of the strongest operatic traditions in European culture. This is also evidenced by the large number of opera houses, particularly in Germany where almost every major city has its own theatre for staging such works, as well as internationally renowned operatic events such as the Salzburg Festival.

Baroque era

Birth

The world's first opera was Dafne by Jacopo Peri, which appeared in Florence in 1598. Three decades later Heinrich Schütz set the same libretto in a translation by the poet Martin Opitz, thus creating the first ever German-language opera. The music to Schütz's Dafne is now lost and details of the performance are sketchy, but it is known to have been written to celebrate the marriage of Landgrave Georg II of Hessen-Darmstadt to Princess Sophia Eleonora of Saxony in Torgau in 1627. As in Italy, the first patrons of opera in Germany and Austria were royalty and the nobility, and they tended to favour composers and singers from south of the Alps. Antonio Cesti was particularly successful, providing the huge operatic extravaganza Il pomo d'oro for the imperial court in Vienna in 1668. Opera in Italian would continue to exercise a considerable sway over German-speaking lands throughout the Baroque and Classical periods. Nevertheless, native forms were developing too. In Nuremberg in 1644, Sigmund Staden produced the "spiritual pastorale", Seelewig, which foreshadows the Singspiel, a genre of German-language opera in which arias alternate with spoken dialogue. Seelewig was a moral allegory inspired by the example of contemporary school dramas and is the first German opera whose music has survived.

Hamburg 1678–1738
Another important development was the founding of the Theater am Gänsemarkt in Hamburg in 1678, aimed at the local middle classes who preferred opera in their own language. The new opera house opened with a performance of Johann Theile's Der erschaffene, gefallene und aufgerichtete Mensch, based on the story of Adam and Eve. The theatre, however, would come to be dominated by the works of Reinhard Keiser, an enormously prolific composer who wrote over a hundred operas, sixty of them for Hamburg. Initially, the works performed in Hamburg had all been on religious themes in an attempt to ward off criticisms by Pietist church authorities that the theatre was immoral, but Keiser and fellow composers such as Johann Mattheson broadened the range of subject matter to include the historical and the mythological. Keiser drew on foreign operatic traditions, for instance he included dances after the model of the French tradition of Lully. The recitative in his operas was always in German so the audience could follow the plot, but from Claudius in 1703 he began to include arias in Italian which allowed for florid vocal display. The hallmark of the Hamburg style was its eclecticism. Orpheus (1726) by Telemann contains arias in Italian setting texts taken from famous Handel operas as well as choruses in French to words originally set by Lully. Hamburg opera might also include comic characters (Keiser's Der Carneval von Venedig of 1707 has them speaking in the local Lower Saxon dialect), marking a great contrast to the elevated new style of opera seria as defined by Metastasio. Yet the immediate future belonged to Italian opera. The most famous German-born opera composer of the era, Handel, wrote four operas for Hamburg at the beginning of his career but soon moved on to write opera seria in Italy and England. In 1738, the Theater am Gänsemarkt went bankrupt and the fortunes of serious opera in German went into decline for the next few decades.

Other early opera houses in Germany included the Oper am Brühl in Leipzig and the Opernhaus vorm Salztor in Naumburg in 1701. Both played during the trade fairs in the towns, presenting both German and Italian opera, and a combination of both. While the house in Leipzig was financed by the town of Leipzig, the house in Naumburg was initiated and supported by the ruler, Moritz Wilhelm, Duke of Saxe-Zeitz, but offered public performances.

Opera seria, Singspiel, early serious German opera

The other leading German composers of the time tended to follow Handel's example. This was because the courts of the various German states favoured opera in Italian. In 1730 the chief proponent of opera seria, the Italian librettist Metastasio, took up residence as the imperial poet in Vienna. Johann Adolph Hasse wrote operas in Italian for the court of the Elector of Saxony in Dresden. Hasse also wrote operas for the court of Frederick the Great in Berlin, as did Carl Heinrich Graun. The king himself supplied the libretto for Graun's Montezuma, first performed in 1755.

Deprived of aristocratic patronage, opera in German was forced to look to the general public to survive. This meant theatrical companies had to tour from town to town. The Singspiel became the most popular form of German opera, especially in the hands of the composer Johann Adam Hiller. Hiller's 1766 reworking of the Singspiel Die verwandelten Weiber was a landmark in the history of the genre, although his most famous work would be Die Jagd (1770). These Singspiele were comedies mixing spoken dialogue and singing, influenced by the similar genres of the ballad opera in England and the opéra comique in France. Often having sentimental plots and extremely simple music, Singspiele were no match for contemporary opera serias in artistic sophistication.

In the 1770s the theatre company of Abel Seyler pioneered serious German-language opera, and Seyler commissioned operas by Hiller, Georg Benda, Anton Schweitzer and other composers. A milestone of German opera was Anton Schweitzer's Alceste, with a libretto by Wieland and commissioned by Seyler, which premiered in 1773 in Weimar. Alceste was called "a model for German opera" by Ernst Christoph Dressler and has been described as the first serious German opera. At the end of the 18th century a composer who would permanently change the German operatic tradition would emerge: Wolfgang Amadeus Mozart.

Classical era

Mozart's Singspiele

As music moved into the Classical era in the late 18th century, most German-born composers still avoided writing opera in their own language. The great figure of the early Classical period was Christoph Willibald Gluck but his pioneering reforms were directed at Italian and French opera, not the German repertoire. In 1778, Emperor Joseph II attempted to change this state of affairs by establishing a German-language opera troupe, the National Singspiel, at the Burgtheater in Vienna. The experiment was short-lived and the troupe was dissolved in 1783, yet the previous year it had produced one undoubted success with Die Entführung aus dem Serail by the young Mozart. Goethe immediately recognised the quality of the piece, declaring "it knocked us all sideways". In the following years commercial theatres sprang up in Vienna offering German-language opera. The impresario Emanuel Schikaneder had particular success with his Theater auf der Wieden on the outskirts of the city. In 1791, he persuaded Mozart to set one of his libretti, The Magic Flute. This proved to be no ordinary Singspiel. Though the traditional farcical elements remained, Mozart added a new seriousness, particularly in the music for Sarastro and his priests. Even more than Die Entführung, the Magic Flute pointed the way forward for future German opera.

Beethoven and Fidelio
The greatest German composer of the next generation, Beethoven, seized on The Magic Flute'''s blend of domestic comedy and high seriousness for his only opera, Fidelio, the story of a devoted wife who saves her husband from political imprisonment. The years following the French Revolution of 1789 had been some of the most turbulent in European history. In Fidelio, Beethoven wanted to express the ideals of that Revolution: liberty, equality and fraternity. He was also inspired by contemporary French works, particularly the rescue operas of Luigi Cherubini. Beethoven was arguably not a natural composer of opera and, although Fidelio was premiered in 1805, it was not until 1814 that he produced its final version. Nevertheless, Fidelio is widely regarded as a masterpiece and is one of the key works in the German repertoire.

German Romantic opera

Early Romanticism
In the early years of the nineteenth century, the vast cultural movement known as Romanticism began to exert an influence over German composers. The Romantics showed a keen interest in the Middle Ages as well as German folklore. The fairy tale collections of the Brothers Grimm and the rediscovered Medieval German epic the Nibelungenlied were major sources of inspiration for the movement. There was also often a quest for a distinctively German identity, influenced by the new nationalism which had arisen in the wake of the Napoleonic invasions. Romanticism was already firmly established in German literature with writers such as Tieck, Novalis, Eichendorff and Clemens Brentano. One of the most famous German Romantic authors, E. T. A. Hoffmann, was also a music theorist and a composer in his own right and in 1816 he produced an opera, Undine, in Berlin. Another important early Romantic opera was Faust by Louis Spohr (also 1816). Both Hoffmann and Spohr took the basic form of the Singspiel as their starting point but began to group the individual numbers into extended scenes. They also employed "reminiscence motifs", recurring musical themes associated with characters or concepts in the opera, which would pave the way for Wagner's use of the leitmotif.

Weber

The major breakthrough in the history of German Romantic opera was Der Freischütz by Carl Maria von Weber, premiered in Berlin on 18 June 1821. Weber resented the Europe-wide dominance of the Italian operas of Rossini and wanted to establish a uniquely German style of opera. He turned to German folk songs and folklore for inspiration; Der Freischütz is based on a tale from the Gespensterbuch ("Book of Wraiths") of Apel and Laun concerning a marksman who makes a pact with the Devil. Weber's strong point was his striking ability to evoke atmosphere through orchestral colour. From the very first bars of the overture, it is obvious we are in the primeval forests of Germany. The highlight of the opera is the chilling Wolf's Glen Scene in which the hero Max makes his deal with the Devil. Der Freischütz was immensely popular, not only in Germany, but throughout Europe. Weber never really achieved his full potential as an opera composer due to his early death from tuberculosis and his poor choice of libretti. His major German opera after Der Freischütz, Euryanthe (1823), suffers from a particularly weak text and is rarely staged nowadays. Yet Euryanthe marks another important stage in the development of serious German opera. Weber completely eliminated spoken dialogue, producing a "through-composed" work where the distinction between recitative and aria is becoming blurred. Its lessons would not be lost on future composers, including Richard Wagner.

Other composers of the time
Weber's most important successor in the field of Romantic opera was Heinrich Marschner, who further explored the Gothic and the supernatural in works such as Der Vampyr (1828) and Hans Heiling (1833). On the other hand, it was with comic opera that Albert Lortzing scored his biggest successes. The popularity of pieces such as Zar und Zimmermann continues in Germany today, though Lortzing's operas are rarely staged abroad. Though he began in Germany, Giacomo Meyerbeer was more famous for his contributions to Italian and (especially) French opera. He fused elements from all three national styles into his conception of grand opera, which had an important influence on the development of German music, including Wagner's early works. Other notable operas of the time include Die lustigen Weiber von Windsor (1849) by Otto Nicolai and Martha (1847) by Friedrich von Flotow. Later came Peter Cornelius (Der Barbier von Bagdad, 1858), Hermann Goetz (Der Widerspänstigen Zähmung, 1874) and Karl Goldmark (Die Königin von Saba, 1875).

Mention should be made of two great composers of the era who wrote their major works in other genres yet also composed operas: Franz Schubert and Robert Schumann. Schubert wrote over a dozen operas, mostly in the Singspiel style. Hardly any were performed during the composer's lifetime. Schumann only wrote one opera, Genoveva, first staged in Leipzig in 1850. Though praised by Liszt, it failed to win lasting success. The verdict on both these composer's operas has generally been that, though they contain excellent music, they have too many dramatic weaknesses to be acclaimed as great stage works.

Wagner

Richard Wagner was one of the most revolutionary and controversial composers in musical history and his innovations changed the course of opera, not just in Germany and Austria but throughout Europe. Wagner gradually evolved a new concept of opera as a Gesamtkunstwerk (a "complete work of art"), a fusion of music, poetry and painting. His earliest experiments followed the examples set by Weber (Die Feen) and Meyerbeer (Rienzi), but his most important formative influence was probably the symphonic music of Beethoven. Wagner believed his career truly began with Der fliegende Holländer (1843). Together with the two works which followed, Tannhäuser and Lohengrin, this has been described as the "zenith of German Romantic opera". Yet these were merely a prelude to even more radical developments. In his mature dramas, Tristan und Isolde, Die Meistersinger von Nürnberg, Der Ring des Nibelungen and Parsifal, Wagner abolished the distinction between aria and recitative in favour of a seamless flow of "endless melody". He greatly increased the role and power of the orchestra, creating scores with a complex web of leitmotifs; and he was prepared to violate accepted musical conventions, such as tonality, in his quest for greater expressivity. Wagner also brought a new philosophical dimension to opera in his works, which were usually based on stories from Germanic or Arthurian legend. Finally, Wagner built his own opera house at Bayreuth, exclusively dedicated to performing his own works in the style he wanted.

Late Romantic opera

After Wagner
Wagner's innovations cast an immense shadow over subsequent composers, who struggled to absorb his influence while retaining their own individuality. One of the most successful composers of the following generation was Humperdinck, whose Hänsel und Gretel (1893) still has an assured place in the standard repertoire. Humperdinck turned back to folk song and the tales of the Brothers Grimm for inspiration. Yet, though Hänsel is often viewed as the ideal piece for introducing opera to children, it also has extraordinarily sophisticated orchestration and makes great use of leitmotifs, both tell-tale signs of Wagner's influence.

Other composers of the era who tried their hand at opera include Hugo Wolf (Der Corregidor, 1896) and Wagner's own son Siegfried.

Richard Strauss

Richard Strauss was heavily influenced by Wagner, despite his father's efforts to the contrary. By seventeen, he was unimpressed with Tannhäuser, Lohengrin and Siegfried but absolutely entranced by the other three pieces of the Ring and Tristan und Isolde. Although in his early years he was more famous for his orchestral tone poems, Salome (1905) and Elektra (1909) quickly established his reputation as Germany's leading opera composer. These two operas stretched the tonal music system to its breaking point. The highly chromatic music featured harsh dissonances and unresolved harmonies. This, paired with the gruesome subject matter, looked forward to expressionism. Elektra also marked the beginning of Strauss's working relationship with the leading Austrian poet and playwright Hugo von Hofmannsthal, who would provide another five libretti for the composer. With Der Rosenkavalier of 1911, Strauss changed direction, looking towards Mozart and the world of the Viennese waltz as much as towards Wagner. Modernist critics accused him of "selling out", but Rosenkavalier proved an immense success with audiences around the world. Strauss continued to ignore critical fashion, producing the mixture of farce and high tragedy of Ariadne auf Naxos, the complex allegory of Die Frau ohne Schatten, the domestic dramas of Intermezzo and Arabella, and the mythological Die ägyptische Helena and Daphne. Strauss bid farewell to the musical stage with Capriccio of 1942, a "conversation piece" which explores the relationship between words and music in opera.

Other late Romantics
Other composers styled "late Romantic", such as Franz Schreker (Der ferne Klang, 1912; Der Schatzgräber, 1920), Alexander von Zemlinsky (Eine florentinische Tragödie, 1917; Der Zwerg, 1922) and Erich Korngold (Die tote Stadt, 1920) explored similar territory to Strauss's Salome and Elektra. They combined Wagnerian influences, lush orchestration, strange harmonies and dissonances with "decadent" subject matter reflecting the dominance of Expressionism in the arts and the contemporary psychological explorations of Sigmund Freud. All three composers suffered persecution and eclipse under the Nazis, who condemned their works as entartete Musik ("degenerate music"). Hans Pfitzner was another late Romantic post-Wagnerian, albeit of a more conservative stripe. His major opera Palestrina (1917) makes the case for tradition and inspiration rather than musical modernism.

Heyday of operetta
In the late nineteenth century, a new, lighter form of opera, operetta, became popular in Vienna. Operettas had immediately attractive tunes, comic (and often frivolous) plots and used spoken dialogue between the musical "numbers". Viennese operetta was inspired by the fashion for the French operettas of Jacques Offenbach.  (1860) by Franz von Suppé is generally regarded as the first important operetta in the German language, but by far the most famous example of the genre is Die Fledermaus (1874) by Johann Strauss. Franz Lehár's The Merry Widow (1905) and Emmerich Kálmán's Die Csárdásfürstin (1915) were other massive hits. Other composers who worked in this style include Oscar Straus and Sigmund Romberg.

Modernism: Second Viennese School
Following the example of Wagner, Richard Strauss, Zemlinsky and Schreker had pushed traditional tonality to the absolute limits. Now a new group of composers appeared in Vienna who wanted to take music beyond. Operatic modernism truly began in the operas of two composers of the so-called Second Viennese School, Arnold Schoenberg and his acolyte Alban Berg, both advocates of atonality and its later development (as worked out by Schoenberg), dodecaphony. Schoenberg's early musico-dramatic works, Erwartung (1909, premiered in 1924) and Die glückliche Hand display heavy use of chromatic harmony and dissonance in general. Schoenberg also occasionally used Sprechstimme, which he described as: "The voice rising and falling relative to the indicated intervals, and everything being bound together with the time and rhythm of the music except where a pause is indicated". Schoenberg intended Moses und Aron as his operatic masterpiece, but it was left unfinished at his death.

The two operas of Schoenberg's pupil Alban Berg, Wozzeck and Lulu (left incomplete at his death) share many of the same characteristics described above, though Berg combined his highly personal interpretation of Schoenberg's twelve-tone technique with melodic passages of a more traditionally tonal nature (quite Mahlerian in character). This perhaps partially explains why his operas have remained in standard repertory, despite their controversial music and plots.

1918–1945: Weimar Germany, Inter-war Austria, Third Reich
The years following World War I saw German and Austrian culture flourishing in spite of the surrounding political turmoil. Late Romantic composers were still at work alongside the avowed modernists Schoenberg and Berg. The Italian-born Ferruccio Busoni ploughed an individual furrow, attempting to fuse Bach and the avant-garde, Mediterranean and Germanic culture in his music. He never lived to finish his most significant opera Doktor Faust (1925). Paul Hindemith began his operatic career with short, scandalous pieces such as Mörder, Hoffnung der Frauen ("Murder, Hope of Women") before turning to Bach, as Busoni had done. Hindemith saw Bach-inspired "neo-classicism" as a way of curbing the excesses of late Romanticism. Cardillac (1925) was his first work in this vein. Hindemith was also interested in putting contemporary life on the stage in his operas (a concept called Zeitoper), as was Ernst Krenek whose Jonny spielt auf (1927) has a jazz violinist as its hero. Kurt Weill reflected life in Weimar Germany in a more overtly political way. His most famous collaboration with Bertolt Brecht, The Threepenny Opera (1928), was both a scandal and an immense box-office success.

Adolf Hitler's assumption of power destroyed this thriving operatic scene. Ironically, after the burning of the Reichstag in 1933, the German seat of the government was moved to the Kroll Opera House, the state opera house in Berlin which, under the adventurous directorship of Otto Klemperer, had seen the premieres of many innovative works of the 1920s, including Hindemith's Neues vom Tage. Now Hindemith responded to the advent of the Third Reich with his chief work Mathis der Maler, a portrait of an artist trying to survive in hostile times. It received its premiere in Zürich in 1938, since all performances of Hindemith's music had been banned in Germany the previous year. In 1940, Hindemith left Switzerland for the United States, joining a transatlantic exodus of composers which included Schoenberg, Weill, Korngold and Zemlinsky. Schreker had died in 1934, having been dismissed from his teaching post by the Nazis; other composers, such as the promising Viktor Ullmann, would perish in the death camps. Some opera composers, including Carl Orff, Werner Egk and the ageing Richard Strauss, remained in Germany to accommodate with the new regime as best they could.

Since 1945
Composers writing after World War II had to find a way of coming to terms with the destruction caused by the Third Reich. The modernism of Schoenberg and Berg proved attractive to young composers, since their works had been banned by the Nazis and were free of any taint of the former regime. Bernd Alois Zimmermann looked to the example of Berg's Wozzeck for his only opera Die Soldaten (1965), and Aribert Reimann continued the tradition of expressionism with his Shakespearean Lear (1978). Perhaps the most versatile and internationally famous post-war German opera composer is Hans Werner Henze, who has produced a series of works which mix Bergian influences with those of Italian composers such as Verdi. Examples of his operas are Boulevard Solitude, The Bassarids (to a libretto by W. H. Auden) and Das verratene Meer. Karlheinz Stockhausen set off in an even more avant-garde direction with his enormous operatic cycle based on the seven days of the week, Licht (1977–2003). Giselher Klebe created an extensive body of work in the operatic genre based on literary works. Other leading composers still producing operas today include Wolfgang Rihm and Olga Neuwirth.

See also
:Category:German-language operas

Notes and references

Sources

Further readingThe New Grove Dictionary of Opera'', ed. Stanley Sadie (Oxford University Press, 1992)

German literature
German music history
German styles of music
German
Ger

Opera in German


Goldebek (Danca: Goldbæk, Frizce: Golbäk), Almanya'nın kuzeyinde Schleswig-Holstein eyaletinde, Nordfriesland iline bağlı yerleşim yeri. 10,18 km² yüzölçümüne sahiptir. Nüfusu, 31 Aralık 2015 itibarıyla yaklaşık 334 olarak tespit edilmiştir. Kilometrekare başına yaklaşık 33 kişilik bir nüfus yoğunluğuna sahiptir. Belediye Başkanlığı Peter Jessen tarafından yürütülmektedir.

Dış bağlantılar
 http://www.goldebek.de

Kaynakça

Nordfriesland iline bağlı yerleşim birimleri

Goldebek


An Bromus pseudobrachystachys in uska species han Liliopsida nga ginhulagway ni Hildemar Wolfgang Scholz. An Bromus pseudobrachystachys in nahilalakip ha genus nga Bromus, ngan familia nga Poaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Bromus

Bromus pseudobrachystachys


المدرسة المرادية هي إحدى مدارس مدينة تونس، وتعود إلى العهد المرادي، وهي من المعالم التاريخيّة للمدينة العتيقة. وتقع هذه المدرسة في سوق القماش رقم 37 بجانب باب سوق الجرابة، وهي غربي جامع الزيتونة، و تعد أقرب المدارس إليه، إذ لا يفصلها عنه إلا السور الذي لا يتجاوز عرضه الأربعة أمتار. يناظر باب الدخول السبيل الموجود في الجدار الغربي للزيتونة قرب الباب الذي أنشأه الخراسانيون.

تأسيسها
بنيت المدرسة المرادية مكان قشلة أي ثكنة للجيش الإنكشاري، وقد وقع تهديـم هذه القشلة بعد انتفاضة قام بها جنودها1083ه/1673م، ولذلك سميت مدرسة التوبة ، إلا أنها اشتهرت بعد ذلك باسم المدرسة المرادية نسبة إلى اسم مؤسسها مراد باي الثاني، وهو ثالث بايات العائلة المرادية التي حكمت البلاد التونسية في القرن السابع عشر، وكان لمراد باي الثاني من وراء بنائها هدف سياسي، يتمثل أولا في معقابة الجنود وإبعادهم عن مركز السلطة بالقصبة، وثانيا في ربح قلوب السكان المحليين المتشبثين بالمذهب المالكي، ولذلك خصص هذه المدرسة لطلبة هذا المذهب. ويعود تأسيس هذه المدرسة إلى عام 1084 هـ/1673 م، حسب ما يظهر من خلال نقيشة معلقة على يسار مدخلها. وهي أول مدرسة من نوعها يقع تأسيسها في العهد العثماني من قبل الدولة، بعد أن وقع الاكتفاء في البداية بترميم وإعادة تشغيل المدارس الموروثة من العهد الحفصي كالمدرسة الشماعية.

وصفها
تبلغ المساحة الجملية للمدرسة المرادية 460 ، وهي مساحة هامة بالنظر إلى موقعها في قلب المدينة العتيقة. كما تمتاز هذه المدرسة باشتمالها على طابق علوي مثلما هو الحال بالنسبة للمدرسة الشماعية. يحيط بباب المعلم إطار مضاعف، الأول يتكون من حجارة الكذال وهي نفس المادة التي استعملت لتبليط السقيفة والصحن و لتأطير أباب الغرف وكذلك الأعمدة والتيجان التي صنعت من نفس المادة. أما الإطار الثاني فهو متكون من حجارة الحرش، وهي الطريقة المستعملة عامة لتأطير أغلب أبواب المدرسة، سواءا الدينية منها أو المدنية. يتم الدخول إليها عبر ردهة، أو سقيفة، منعرجة مسقوفة بقباب نصف أسطوانية يحيط بقسمها الأعلى نقيشة مكتوبة بالخط النسخي وتتمثل في العبارتين «العافية النافية» وهي تتكرر على كامل الشريط. كما حليث هذه الكتابة بزخرفة بسيطة متعاكسة على شكل أنصاف معينات. وتؤدي هذه الرّدهة المنعرجة إلى ساحة مبلّطة بحجر كلسي شبه مربعة، غير منتظمة الأضلاع. تحيط بتلك الساحة أربعة أروقة مسقوفة بعوارض خشبية مدعومة بأقواس دائرية مرفوعة على أعمدة متوّجة على النمط الحفصي. ويفتح على الرواق الغربي مسجد مستطيل الشكل، وعلى الجوانب الثلاثة الأخرى تفتح عشرون غرفة، كان يتقاسمها الطلبة.<ref name="أحمد السعداوي">Ahmed Saadaoui, Tunis, ville ottomane, trois siècles d'urbanisme et d'architecture, Centre de Publication Universitaire, Tunis 2001, pp. 104-105.</ref> وتتمثل أهم أجزاء المدرسة فيما يلي:
 المسجد: مستطيل الشكل، عمقه أكثر من طوله (8.5م على 7أمتار), ويتم الدخول إليه عبر باب خشبي مقوّس، ذي عقود ثنائية اللّون، محلى بمسامير متناوبة التركيب ومدمج في إطار من من نفس القطعة الرخامية التي تكون العضادة، كما يعلوه تاج من الطراز الأندلسي المغربي. وينقسم إلى فضاءين مغطيين بقباب مضلّعة وإلى ممرّين محدّدين بأعمدة تعلوها أقواس نصف دائرية، بينما زُيّن حائط القبلة بألواح خزفية، ذات زخارف زهرية وهندسية، صُنِعت في ورشات القلالين بتونس (مدينة) بإيطاليا.
 الطابق العلوي: يضمّ غرفًا مسقوفةً بقباب نصف أسطوانية، وقد كانت على الأرجح مستخدمةً لإيواء الطلبة. وتفتح أبواب هذه الغرف على أروقة مغطاة بسقوف مدعومة بسواكف مستندة على أعمدة صنعت من حجارة الهوارية الصفراء اللون. سقف هذه الأروقة مماثل أيضا للطابق السفلي، فهو متكون من خشب ذي جوائز بارزة وهي الطريقة التي استعملت في أفريقية منذ الفترات الإسلامية الأولى. ويحيط بالحافة العليا للصحن سياج خشبي متكون من أعربة يعلوها قرميد أخضر موضوع حسب الطريقة المنتشرة انطلاقا من القرن 11ه/17م، وهو ما نجده في العديد من دور ومعالم المدينة العتيقة، وهي في شكلها الحالي من التأثيرات الأندلسية التي وردت علي تونس خلال العهد الحفصي.

مصاريفها
تفيدنا أوقاف المدرسة الراجعة إلى أوائل سنة 1085ه/1674 بمعلومات هامة عن عدة نقاط تهم حياة المدرسة؛ من ذلك مثلا عدد الموظفين الذين يشتغلون فيها وعدد الطلبة القاطنين بها وكذلك المرتبات والجرايات التي تمنح لهؤلاء. خصّص المراديون لهذه المدرسة في هذا الإطار عدّة أوقاف لتغطية مصاريفها المختلفة، وتتمثل أهم تلك الأوقاف في قيساريّة وفندق ودار للسكنى وثلاثة مخازن بالإضافة إلى عقارات أخرى مختلفة. يعلمنا كذلك ابن أبي دينار أن المؤسس قد أوقف عليها عدة متاجر بإزائها وحبس عليها كذلك أبو الحسن علي ابن مؤسس المدرسة مقهى بسوق الترك سنة 1101ه/1689م. ومن مداخيل تلك الأوقاف يتسلّم الطلبة مبلغا ماليا بناصريين يوميا، ويعين من بينهم إمام للمسجد يتقاضى كذلك ناصريين، ويعيّن للمدرسة أيضا مجوّد ونقيب ووكيل ويتقاضى كل واحد منهم أربعة نواصر، في حين يتقاضى المدرس 8 نواصر. كما أن جانبا من مداخيل أوقاف المدرسة، يخصص لبقية مصاريفها من ترميم وتبييض وإصلاح وغيرها.

تطور وظيفتها
كانت المدرسة المرادية مثلها مثل بقية المدارس، تقوم بوظيفة مزدوجة، لتعليم الطلبة ولإيوائهم بها. ثم تقلص دور هذه المدارس في القرن العشرين، ليقتصر على إسكان الطلبة الزيتونيين الذين كانوا يخرجون منها ليتلقوا دروسهم بجامع الزيتونة. وبعد الاستقلال وإلغاء التعليم الزيتوني، بقيت مغلقة مدة طويلة. ليقع التفكير في استغلالها من جديد في مطلع الثمانينات، بعد أن تولى وزارة الثقافة البشير بن سلامة، وهكذا وقع الشروع في ترميم العديد من المعالم الأثرية بالمدينة العتيقة، وكانت في مقدمتها المدرسة المرادية التي كانت أول معلم تاريخي وأثري يقع ترميمه من قبل الوزارة، وكان ذلك عام 1981 حسب مصادر جمعية صيانة مدينة تونس أو عامي 1982 و1983 حسب النقيشة المعلقة بمدخل المدرسة، وقد جاء بعد ذلك دور كل من المدرسة السليمانية والمدرسة العاشورية. ثم ألحقت المدرسة المرادية بالاتحاد الوطني للمرأة التونسية، حيث جعلتها نيابته الجهوية لتونس المدينة مركزا للتكوين المهني، مثلها في ذلك مثل المدرسة الشماعية والمدرسة الباشية
، خلافا لمدارس أخرى خصصت للنشاط الثقافي والعلمي مثل المدرسة السليمانية.

مدارس مرادية أخرى
أطلق اسم المدرسة المرادية على مدرستين أخرى ين أسسهما المراديون داخل البلاد، وهما :
 المدرسة المرادية بجربة، وتسمى أيضا المدرسة الجمنية نسبة إلى الشيخ إبراهيم الجمني.
 المدرسة المرادية بقابس لتدريس علوم الدين والقرآن الكريم.

مراجع
 محمد بن الخوجة، تاريخ معالم التوحيد في القديم وفي الجديد، تحقيق الجيلاني بالحاج يحي وحمادي الساحلي، دار الغرب الإسلامي، بيروت 1985.
محمد الباجي بن مامي، مدارس مدينة تونس من العهد الحفصي إلى العهد الحسيني'''، المعهد الوطني للتراث تونس 2006.
 Ahmed Saadaoui, Tunis, ville ottomane, trois siècles d'urbanisme et d'architecture'', CPU, Tunis 2001

وصلة خارجية
المدرسة المرادية

معرض صور
 صورة لأعمدة المدرسة المرادية
 منظر من الداخل
 فوق سطح المدرسة المرادية

إشارات مرجعية

مدارس إسلامية في مدينة تونس
معالم أثرية مصنفة في ولاية تونس
هيئات تعليمية أسست في القرن 17

المدرسة المرادية


Rödersheim ist einer von zwei Ortsteilen der Ortsgemeinde Rödersheim-Gronau im Rhein-Pfalz-Kreis in Rheinland-Pfalz. Bis 1969 war er eine selbständige Gemeinde.

Lage
Rödersheim liegt in der Oberrheinischen Tiefebene im westlichen Teil der Ortsgemeinde und ist baulich mit dem Nachbarort Gronau zusammengewachsen. Durch den Ort fließt der Stechgraben. Vor Ort wuchs das mittlerweile ausgestorbene Übersehene Filzkraut.

Geschichte
Der Ort wurde im frühen Mittelalter von den Franken gegründet. Die erste derzeit bekannte urkundliche Erwähnung als "Villa Ratherisheim" ("Haus des Rothaar") findet sich in einer Urkunde Ludwig des Deutschen aus dem Jahr 858 n. Chr. Dort wurde die Villa "der Brüder des Domes (zu Speyer)" unter anderem zur Lieferung von vier Fudern Wein an den Bischof von Speyer verpflichtet. Die enge Verbindung zum Dom und dem Bistum Speyer blieb fast eintausend Jahre erhalten. Ursprünglich existierte in der Ortsmitte ein Dorfteich, der 1738 zunächst teilweise und im Zuge der Erweiterung der örtlichen Kirche vollständig verfüllt wurde. Bis zur Französischen Revolution gehörte Rödersheim zum Hochstift Speyer und war dort als Herrschaft Rödersheim dem Amt Deidesheim unterstellt.

Von 1798 bis 1814, als die Pfalz Teil der Französischen Republik (bis 1804) und anschließend Teil des Napoleonischen Kaiserreichs war, war Rödersheim in den Kanton Dürkheim eingegliedert und Sitz einer Mairie. 1815 hatte der Ort 646 Einwohner. Im selben Jahr wurde der Ort Österreich zugeschlagen. Anschließend wechselte der Ort in das Königreich Bayern. Von 1818 bis 1862 gehörte er dem Landkommissariat Neustadt an; aus diesem ging das Bezirksamt Neustadt hervor. 1902 wechselte die Gemeinde in das neu geschaffene Bezirksamt Dürkheim, ehe dieses 1931 wieder in sein Neustadter Pendant eingegliedert wurde. Zudem kam es immer wieder zu Überschwemmungen, so beispielsweise während der ersten Hälfte des 20. Jahrhunderts.

1928 hatte Rödersheim 1236 Einwohner, die in 225 Wohngebäuden lebten. Die Katholiken besaßen seinerzeit eine Pfarrei vor Ort, während die Protestanten zu derjenigen von Meckenheim (Pfalz) gehörten. Ab 1939 war der Ort Bestandteil des Landkreises Neustadt. Nach dem Zweiten Weltkrieg wurde Rödersheim innerhalb der französischen Besatzungszone Teil des damals neu gebildeten Landes Rheinland-Pfalz. Im Zuge der ersten rheinland-pfälzischen Verwaltungsreform wurde Rödersheim am 7. Juni 1969 mit der Nachbargemeinde Alsheim-Gronau zur neuen Ortsgemeinde Rödersheim-Gronau zusammengelegt. Gleichzeitig wechselte der Ort in den Landkreis Ludwigshafen am Rhein, der seit 2004 Rhein-Pfalz-Kreis heißt.

Wirtschaft und Infrastruktur
Rödersheim ist ein Winzerort. Um 1900 war Rödersheim Zentrum der pfälzischen Zigarrenfabrikation, mit rund 850 Zigarrenarbeitern in vier Fabriken und einer Reihe von Kleinbetrieben arbeiteten während der damaligen Zeit über zwanzig Prozent der gesamten Zigarrenarbeiterschaft der Pfalz. In Rödersheim existiert eine Filiale der Kreissparkasse Rhein-Pfalz, die bis 1978 eine solche der Kreissparkasse Grünstadt war. In der örtlichen vom Neustadter Architekten Wilhelm Schulte I. errichteten Pfarrkirche St. Leo befinden sich zwei Seitenaltäre, die ursprünglich in der Anfang des 19. Jahrhunderts abgerissenen Kapuzinerkirche in Mannheim standen. Vor Ort gibt es insgesamt zwölf Objekte, die unter Denkmalschutz stehen. Mit dem TV Rödersheim verfügt der Ort über einen Handballverein, dessen erste Frauenmannschaft in der Saison 2001/02 ein Jahr lang in der Regionalliga Südwest spielte.

Verkehr
Der Ort ist über die Buslinie 580 des Verkehrsverbundes Rhein-Neckar, die ihn mit Ludwigshafen am Rhein und mit Meckenheim verbindet, an den Nahverkehr angeschlossen.

Kultur
1987 fand anlässlich eines Vereinsjubiläums vor Ort eine Mundartveranstaltung statt, aus der sich in den Folgejahren der Mundartwettbewerb Dannstadter Höhe entwickelte. Vor Ort befindet sich außerdem das Sozialhistorische Zigarrenfabrikmuseum der Pfalz.

Persönlichkeiten

Söhne und Töchter des Ortes
 Richard Reiß (1890–1942), Viehhändler aus München, Opfer des Holocaust, an ihn erinnert in München ein Stolperstein
 Nikolaus Hofen (* 1938), Pädagoge und Dichter

Personen, die vor Ort gewirkt haben
 Dieter Kitzmann (* 1964), Fußballspieler, spielte in seiner Jugend bei der SpVgg Rödersheim

Einzelnachweise

Rödersheim-Gronau
Ort im Rhein-Pfalz-Kreis
Ehemalige Gemeinde (Rhein-Pfalz-Kreis)
Gemeindeauflösung 1969

Rödersheim


An Sarcochilus hillii in uska species han Liliopsida nga syahan ginhulagway ni Ferdinand von Mueller, ngan ginhatag han pagkayana nga asya nga ngaran ni Ferdinand von Mueller. An Sarcochilus hillii in nahilalakip ha genus nga Sarcochilus, ngan familia nga Orchidaceae.

Subspecies

Ini nga species ginbahin ha masunod nga subspecies:

 S. h. hillii
 S. h. thycolus

Mga kasarigan

Sarcochilus

Sarcochilus hillii


NGC 5624 est une galaxie spirale magellanique située dans la constellation du Bouvier. Sa vitesse par rapport au fond diffus cosmologique est de , ce qui correspond à une distance de Hubble de . NGC 5624 a été découverte par l'astronome américain Lewis Swift en 1887.

NGC 5624 présente une large raie HI.

Groupe d'IC 1029
Selon A. M. Garcia, NGC 5624 fait probablement partie du groupe d'IC 1029. Ce groupe de galaxies compte au moins 11 membres. Les autres galaxies du groupe sont NGC 5602, NGC 5660, NGC 5673, NGC 5676, NGC 5682, NGC 5689, NGC 5693, NGC 5707, IC 1029 et UGC 9426.

Abraham Mahtessian mentionne aussi ce groupe, mais sa liste ne comprend que six galaxies : NGC 5660, NGC 5673, NGC 5676, NGC 5689, NGC 5693 et IC 1029.

Notes et références

Voir aussi

Articles connexes
 Liste des objets du New General Catalogue

Liens externes

 NGC 5624 sur le site du professeur C. Seligman

5624
Constellation du Bouvier
Galaxie spirale
Galaxie spirale magellanique
Objet céleste découvert en 1887
Objet céleste découvert par Lewis Swift

NGC 5624


is an airline with its headquarters on the grounds of Ryūgasaki Airfield in Ryūgasaki, Ibaraki Prefecture, Japan. It operates domestic services and its main base is Chōfu Airport, Tokyo.

Destinations
The airline operates flights from Chōfu Airport, in Tokyo, to the following destinations within Japan islands (as of June 2014):

Fleet
The New Central Airservice fleet consists of the following aircraft (as of August 2019):

Former fleet
New Central Airservice has also operated the following aircraft, which have since been retired;

References

External links
Official website

Airlines of Japan
Regional airlines of Japan
Companies based in Ibaraki Prefecture

New Central Airservice


An Guzmania rugosa in uska species han Liliopsida nga ginhulagway ni Lyman Bradford Smith ngan Robert William Read. An Guzmania rugosa in nahilalakip ha genus nga Guzmania, ngan familia nga Bromeliaceae.

Mabibilngan ini ha Colombia. Waray hini subspecies nga nakalista.

Mga kasarigan

Guzmania

Guzmania rugosa


An Panicum trichoides in uska species han Liliopsida nga ginhulagway ni Olof Swartz. An Panicum trichoides in nahilalakip ha genus nga Panicum, ngan familia nga Poaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Mga sumpay ha gawas

Panicum

Panicum trichoides


Accademia Nazionale dei Lincei este cea mai veche academie de științe din lume. A fost fondată la Roma în anul 1603, ca Accademia dei Lincei, cu scopul de a fi sediul unor întâlniri dedicate progresului științelor. Numele e derivat de la cuvântul italian lince, în română râs sau linx, un animal despre care se zice că are vederea deosebit de ageră, așa cum este mintea celor care se dedică științelor.

Fondări în 1603
Societăți științifice
Academii naționale
Institute de cercetări din Italia
Roma

Accademia Nazionale dei Lincei


Linsurrection de 1972-1975 au Bangladesh fait référence à la période qui a suivi l'indépendance du Bangladesh, lorsque des insurgés de gauche, en particulier les Gonobahini, ont combattu le gouvernement de Sheikh Mujibur Rahman.

Le gouvernement a répondu en formant le Jatiya Rakkhi Bahini, qui a commencé à réprimer la population. Cette force a été impliquée dans de nombreuses accusations de violation des droits de l'homme, notamment des assassinats politiques, des fusillades par des escadrons de la mort et des viols.

Contexte
En 1972, le Jatiyo Samajtantrik Dal est né d'une scission de la Bangladesh Chhatra League, l'aile étudiante de la Ligue Awami, sous la direction de Serajul Alam Khan, Mohammad Abdul Jalil, A. S. M. Abdur Rab et Shajahan Siraj. Son bras armé, Gonobahini, dirigé par le colonel Abu Taher et Hasanul Haq Inu, entame une campagne armée contre le gouvernement de Sheikh Mujibur Rahman afin d'établir un socialisme scientifique et un État marxiste.

Assassinats politiques
Anthony Mascarenhas affirme qu'à la fin de 1973, le nombre de meurtres à motivation politique au Bangladesh après l'indépendance s'élevait à plus de . Parmi les victimes figuraient des membres du parlement et nombre de ces meurtres étaient le résultat de conflits internes au sein de la Ligue Awami. Les Gonobahini ont également tué de nombreux membres de la Bangladesh Chhatra League et de la Ligue Awami.

D'autre part, des maoïstes tels que  du parti Purba Banglar Sarbahara et Abdul Haq ont commencé à attaquer le gouvernement et les personnes qu'ils considéraient comme des .

Le gouvernement a répondu en formant le Jatiya Rakkhi Bahini. Anthony Mascarenhas a affirmé qu'en l'espace de trois ans, le nombre de morts, principalement des membres du Jatiya Samajtantrik Dal, a atteint , tous tués par le Jatiya Rakkhi Bahini.

Fin de l'insurrection
Après avoir été le dirigeant de facto de la nation, Ziaur Rahman se rend compte que le désordre déclenché par la mutinerie des soldats doit être réprimé fermement si l'on veut rétablir la discipline dans l'armée. Ziaur Rahman déclare la loi martiale, réprime le Jatiyo Samajtantrik Dal, Abu Taher est condamné à mort et d'autres personnalités du parti se voient infliger diverses peines d'emprisonnement.

Héritage
Human Rights Watch affirme que la violence institutionnalisée commise par le Jatiya Rakkhi Bahini au cours de l'insurrection a établi la culture de l'impunité et la prévalence généralisée des abus commis par les forces de sécurité dans le Bangladesh indépendant.

Références

Bataille de 1972
Bataille de 1973
Bataille de 1974
Rébellion en Asie
Rébellion pendant la guerre froide

Insurrection de 1972-1975 au Bangladesh


Râul Coșuștea Mică este un curs de apă, afluent al râului Coșuștea.

Râuri din județul Mehedinți
Bazinul Jiu

Râul Coșuștea Mică, Coșuștea


Museo Colonial é um museu histórico, cultural e religioso localizado em Santiago, Chile. O museu explora o período colonial do Chile e da América do Sul, com uma coleção de pinturas, esculturas, móveis e outros objetos. Muitas das peças são religiosas e foram criadas no Peru, a antiga capital colonial. O museu também apresenta uma árvore genealógica da Ordem Franciscana que é "gigante" em tamanho e inclui 644 retratos em miniatura.

O museu está instalado no convento adjacente à Igreja de São Francisco.

Referências

Colonial

Museu de Arte Colonial de São Francisco


Sprawl may refer to:

Sprawl (grappling), a defensive technique in wrestling and martial arts used to prevent a takedown.
Urban sprawl, also called suburban sprawl
Server sprawl, when servers in a data center are underused
Sprawl trilogy, a trilogy of novels by William Gibson
The Sprawl, the nickname of Titan Station, the setting of the video game Dead Space 2

See also

Sprawl


Yargı, egemenlik veya devlet adına hukuku yorumlayan ve ona başvuran mahkemeler düzenidir. Yargı ayrıca uyuşmazlıkların çözümü için bir işleyiş de sağlar. Kuvvetler ayrılığı öğretisi altında, yargı genellikle yasa çıkarmaz (bu, bütün üyelerin hazır bulunduğu bir yüksek tabakada, yasamanın sorumluluğundadır) ya da yasaları uygulamaz (bu da yürütmenin sorumluluğundadır), daha çok yasaları yorumlar ve onları her hukuksal olayın gerçeklerine uygular. Bu devlet erki sık sık "Yasalar önünde herkes eşittir." ilkesini sağlama almakla görevlendirilir. Genellikle bir son-başvuru mahkemesinden (Yüce Divan ya da Anayasa Mahkemesi denir) ve daha düşük mahkemelerden oluşur.

Pek çok yargıda yargı erkinin yargısal denetim yoluyla yasaları değiştirme gücü vardır. Yargısal denetim gücü olan mahkemeler devletin yasalarını ve kurallarını bir anayasanın hükümleriyle çelişkili bulursa bozabilir. Yargıçlar bir anayasanın yorumlanması ve uygulanması için bir eleştirmen güç atarlar, böylece ortak hukuk ülkelerinde genelgeçer bir anayasal hüküm topluluğu yaratılmış olur. Son onyıllarda yargı anayasaca kurulmuş ekonomik haklara ilişkin ekonomik konularda etkinleşmiştir; çünkü ekonomi bilimi doğru yasal yorumlama ile ilgili soruların içyüzünü anlama koşulunu koyar. Çoktan beri devletin ekonomik siyasetinden bağımsız kuramsal bir yasal belge olarak anayasasını işlemeyi sürdüren ve siyasal ve ekonomik düzende geçişler yaşayan bir ülkede, yürütme ve yasama erklerinin ekonomik işlerinin yargısal denetiminin uygulaması büyümüştür.

1980'lerde, neredeyse on yıldır Hindistan Yüce Divanı, Hint Anayasası'nın birkaç metninin çok geniş bir yorumlamasını kullanarak yoksul ve ezilen adına kamu yararı davasına özendirmekteydi.

Geçiş yaşayan ve gelişen ülkelerin pek çoğunda yargının bütçesi neredeyse bütünüyle yürütmenin denetimindedir. Bu durum, yargıya eleştirel mali bir bağımlılık yarattığından güçler ayrılığının temelini çürütür. Yargı için harcama yapan hükûmet de içinde olmak üzere doğru ulusal servet dağılımı anayasal ülke ekonomisinin konusudur. Yargıda yozlaşmanın iki yöntemini ayırt etmek önemlidir. Bu iki yöntem; özel kişi ve bütçe tasarlaması ve çeşitli ayrıcalıklar yoluyla devlettir.

"Yargı" terimi hem bir yargının çekirdeğini oluşturan yargıçlar, sulh hakimleri ve öteki yargıcılar gibi topluca çalışanları, hem de düzenin düzgünce işlemesini sürdüren kadroları belirtmek için de kullanılır.

Ayrıca bakınız
 Kuvvetler ayrılığı
 Yasama
 Yürütme

Yargı


Armistițiul de la Salonic (cunoscut, de asemenea, ca Armistițiul de la Tesalonic) a fost semnat la 29 septembrie 1918 între Bulgaria și Puterile Aliate la Salonic. Încheierea acestei convenții a avut loc ca urmare a unei cereri formulate de guvernul bulgar pe 24 septembrie pentru încetarea focului. Armistițiul a pus capăt participării Bulgariei în Primul Război Mondial de partea Puterilor Centrale și a intrat în vigoare pe frontul bulgar la amiaza zilei de 30 septembrie. Armistițiul reglementa demobilizarea și dezarmarea forțelor armate bulgare.

Semnatarii au fost, pentru Aliați, generalul francez Louis Franchet d'Espérey, comandantul Armatei Aliate din Orient, și o comisie numită de către guvernul bulgar, compusă din generalul Ivan Lukov (membru al Marelui Cartier al Armatei Bulgare), Andrei Liapcev (membru al guvernului) și Simeon Radev (diplomat).

Termeni
Condițiile armistițiului prevedeau încetarea imediată a tuturor activităților militare bulgare. Se cerea evacuarea teritoriile grecești și sârbești ocupate de bulgari, erau instituite limite și restricții referitoare la dimensiunea forțelor militare ale Bulgariei și cerea ca Bulgaria să restituie echipamente militare care fuseseră confiscate de la Corpul de Armată IV al Greciei în timpul ocupării de către bulgari a Macedoniei de Est în 1916. Trupele germane și austro-ungare trebuiau să părăsească Bulgaria în decurs de 4 săptămâni. Bulgaria și, mai ales, Sofia nu urmau să fie ocupate, dar Aliații aveau dreptul de a ocupa temporar unele puncte strategice și de a transfera trupe pe teritoriul bulgar.

Potrivit articolului cinci din Armistițiu aproximativ 150 000 de soldați bulgari care se aflau la vest de Skopje erau luați de Antanta ca ostatici.

Francezii urmau să trimită trupe în România, iar britanicii și grecii în Turcia Europeană, care se afla la acel moment încă în război cu Aliații.

Documentul a rămas în vigoare până la încheierea tratatului de pace final (Tratatul de la Neuilly-sur-Seine, în noiembrie 1919).

Referințe

Bibliografie
 (1919) "Bulgaria Armistice Convention, September 29th, 1918". The American Journal of International Law Vol. 13 No.4 Supplement: Official Documents, 402-404.

Vezi și
 Bătălia de la Dobro Pole
 Campania din Serbia din Primul Război Mondial
 Frontul din Macedonia

Armistiții
Bulgaria în Primul Război Mondial

Armistițiul de la Salonic


Thomas Mukarobgwa fue un pintor y escultor de Zimbabue, nacido el año 1924  en Nyanga  y fallecido en 1999. Trabajó como bedel de museo durante la mayor parte de su carrera.

Datos biográficos
Mukarobgwa nació en Nyanga, en el campo de lo que entonces era Rodesia, y tuvo poca educación. Su primer contacto con el arte fue en 1956 cuando conoció a Frank McEwen, el recién nombrado director de la Galería Nacional de Zimbabue. McEwen le contrató como asistente de la galería y le dio los materiales artísticos, invitándole a unirse a una escuela de arte que entonces se formó en el sótano del museo. Mukarobgwa se convirtió así en uno de los miembros originales de lo que iba a ser conocida como la Workshop School (Escuela Taller).

Mukarobgwa comenzó su carrera artística como pintor, pero prosiguió con la escultura a partir de 1962; volvió a pintar sólo en la década de 1990. Rápidamente se ganó una reputación internacional por su talento, y en 1963 Alfred Barr adquirió dos de sus pinturas para las colecciones del Museo de Arte Moderno de Nueva York. Sin embargo, siguió trabajando como asistente de la galería hasta su jubilación en 1997. Había planeado dedicar sus últimos años a la pintura en su casa de campo, pero murió en Harare antes de tener la oportunidad.

Las obras de Mukarobgwa se inspiraron en el paisaje natal y en las leyendas y la cultura de los pueblos Shona, de quien era descendiente. Sus composiciones eran simples, y con frecuencia utilizan colores brillantes y contrastes audaces. Sus esculturas fueron en general más redondeadas y suaves, con la talla mínima en sus superficies.

Notas y referencias

Enlaces externos

Escultores de Zimbabue
Pintores de Zimbabue
Escultores del siglo XX
Pintores del siglo XX
Zimbabuenses del siglo XX

Thomas Mukarobgwa


Dolné Lovčice este o comună slovacă, aflată în districtul Trnava din regiunea Trnava. Localitatea se află la , se întinde pe o suprafață de  și în 2017 număra 757 de locuitori.

Istoric
Localitatea Dolné Lovčice este atestată documentar din 1292.

Note

Legături externe

Localități din Slovacia

Dolné Lovčice


Frankenau ist ein Ortsteil von Reichstädt im Landkreis Greiz in Thüringen. Der Ort verschmolz mit Thal.

Lage
Frankenau befindet sich nordwestlich von Reichstädt im Vorland des Ackerbaugebietes um Dobitschen. Die Siedlung Thal befindet sich 300 m östlich von Frankenau, mit dem es zusammengewachsen ist.

Geschichte

Am 8. Juni 1322 wurde der Ortsteil erstmals urkundlich genannt. In der Zeit der Romanik wurde auch eine Kirche gebaut, die später mehrfach umgebaut wurde. Frankenau gehörte zum wettinischen Amt Altenburg, welches ab dem 16. Jahrhundert aufgrund mehrerer Teilungen im Lauf seines Bestehens unter der Hoheit folgender Ernestinischer Herzogtümer stand: Herzogtum Sachsen (1554 bis 1572), Herzogtum Sachsen-Weimar (1572 bis 1603), Herzogtum Sachsen-Altenburg (1603 bis 1672), Herzogtum Sachsen-Gotha-Altenburg (1672 bis 1826). Bei der Neuordnung der Ernestinischen Herzogtümer im Jahr 1826 kam der Ort wiederum zum Herzogtum Sachsen-Altenburg. Nach der Verwaltungsreform im Herzogtum gehörte Frankenau bezüglich der Verwaltung zum Ostkreis (bis 1900) bzw. zum Landratsamt Ronneburg (ab 1900). Das Dorf gehörte ab 1918 zum Freistaat Sachsen-Altenburg, der 1920 im Land Thüringen aufging. 1922 kam Frankenau zum Landkreis Gera.

Am 1. Juli 1950 wurde Frankenau mit Thal nach Reichstädt eingemeindet. Bei der zweiten Kreisreform in der DDR wurden im Juli 1952 die bestehenden Länder aufgelöst und die Landkreise neu zugeschnitten. Somit kam Frankenau als Ortsteil der Gemeinde Reichstädt zunächst mit dem Kreis Schmölln an den Bezirk Leipzig. Im Dezember 1952 erfolgte die Umgliederung der Gemeinde Reichstädt und ihrer Ortsteile zum Kreis Gera-Land im Bezirk Gera; jener gehörte seit 1990 als Landkreis Gera zu Thüringen und ging bei der thüringischen Kreisreform 1994 im Landkreis Greiz auf. 96 Einwohner leben im Ortsteil.

Verkehr
Frankenau liegt an der Bahnstrecke Meuselwitz–Ronneburg. Zwischen 1887 und 1972 wurde die Haltestelle Reichstädt (bis 1953 Haltestelle Frankenau) im Personenverkehr bedient. Durch Frankenau verläuft die Kreisstraße 112.

Weblinks

Einzelnachweise

Ort im Landkreis Greiz
Reichstädt
Ehemalige Gemeinde (Landkreis Greiz)
Ersterwähnung 1322
Gemeindeauflösung 1950

Frankenau (Reichstädt)


David Dobkin (Washington D.C., 23 de junio de 1969) es un productor, director y guionista de cine y televisión estadounidense. Ha dirigido películas como Clay Pigeons (1998), Shanghai Knights (2003), Wedding Crashers (2005) y The Change-Up (2011). Entre sus trabajos también se encuentran numerosos anuncios de televisión y videoclips.

Primeros años
Nació el 23 de junio de 1969 en Washington D.C., Estados Unidos. Asistió a la Walt Whitman High School en Bethesda. Posteriormente se graduó en la Universidad de Nueva York en 1991, donde obtuvo la calificación de matrícula de honor. Después de su graduación en la Universidad de Nueva York se trasladó a Los Ángeles con la intención de iniciar su carrera profesional como director.

Carrera
Su primer trabajo como director fue en 1992 con 52nd St. Serenade. Después de filmar comerciales de televisión, irrumpió en el cine con Clay Pigeons (1998), para Scott Free Productions, la primera película de la productora de Ridley y Tony Scott que ellos mismos no dirigieron. La comedia negra sobre una serie de asesinatos en un pequeño pueblo estuvo protagonizada por Vince Vaughn, Joaquin Phoenix y Janeane Garofalo. Su siguiente proyecto vino de la mano de la comedia Shanghai Knights (2003), protagonizada por Jackie Chan y Owen Wilson. En 2005 se estrenó el film más exitoso de su carrera hasta la fecha, la comedia protagonizada por Vince Vaughn y Owen Wilson, Wedding Crashers; la cinta sumó 285 millones de dólares a nivel internacional. Posteriormente dirigió a Vince Vaughn y Rachel Weisz en la comedia navideña Fred Claus (2007); este mismo año también produjo Mr. Woodcock, cuyo reparto estaba encabezado por Billy Bob Thornton, Sean William Scott y Susan Sarandon. En 2011 se encargó de la dirección y producción de The Change-Up, protagonizada por Ryan Reynolds y Jason Bateman. Así mismo dirigió el primer episodio de la serie de televisión Friends with Benefits y produjo, en las tareas de productor ejecutivo, doce episodios de dicha producción televisiva.

Ha dirigido numerosos anuncios de televisión para marcas reconocidas como Coca-Cola, Heineken, Honda o PlayStation. Por otro lado también figuran en su filmografía como director los videoclips de canciones como "One Bourbon, One Scotch, One Beer" de George Thorogood; "You Can Make History" de Elton John; o "1, 2, 3, 4" de Coolio. También ha participado en vídeoclips de artistas y grupos como Extreme, Robin Zander o Blues Traveler, entre otros.

Filmografía

Referencias

Enlaces externos

David Dobkin en Box Office Mojo (en inglés)

Directores de cine de Estados Unidos
Productores de cine de Estados Unidos
Guionistas de cine de Estados Unidos
Alumnado de la Universidad de Nueva York
Nacidos en Washington D. C.

David Dobkin


Fiães Portekiz'de Valpaços belediyesine bağlı olan, 10,14 km2 yüzölçümüne sahip, 146 nüfuslu (2001) bir bucaktır (Portekizce: freguesia).

Portekiz'in freguesiaları
Valpaços

Fiães (Valpaços)


Accounts payable (AP) is money owed by a business to its suppliers shown as a liability on a company's balance sheet. It is distinct from notes payable liabilities, which are debts created by formal legal instrument documents. An accounts payable department's main responsibility is to process and review transactions between the company and its suppliers and to make sure that all outstanding invoices from their suppliers are approved, processed, and paid. The accounts payable process starts with collecting supply requirements from within the organization and seeking quotes from vendors for the items required. Once the deal is negotiated, purchase orders are prepared and sent. The goods delivered are inspected upon arrival and the invoice received is routed for approvals. Processing an invoice includes recording important data from the invoice and inputting it into the company's financial, or bookkeeping, system. After this is accomplished, the invoices must go through the company's respective business process in order to be paid.

Overview
An accounts payable is recorded in the Account Payable sub-ledger at the time an invoice is vouched for payment. Vouchered, or vouched, means that an invoice is approved for payment and has been recorded in the General Ledger or AP subledger as an outstanding, or open, liability because it has not been paid. Payables are often categorized as Trade Payables, payables for the purchase of physical goods that are recorded in Inventory, and Expense Payables, payables for the purchase of goods or services that are expensed. Common examples of Expense Payables are advertising, travel, entertainment, office supplies and utilities. AP is a form of credit that suppliers offer to their customers by allowing them to pay for a product or service after it has already been received. Suppliers offer various payment terms for an invoice. Payment terms may include the offer of a cash discount for paying an invoice within a defined number of days. For example, 2%, Net 30 terms mean that the payer will deduct 2% from the invoice if payment is made within 30 days. If the payment is made on Day 31 then the full amount is paid.

In households, accounts payable are ordinarily bills from the electric company, telephone company, cable television or satellite dish service, newspaper subscription, and other such regular services. Householders usually track and pay on a monthly basis by hand using cheques, credit cards or internet banking. In a business, there is usually a much broader range of services in the AP file, and accountants or bookkeepers usually use accounting software to track the flow of money into this liability account when they receive invoices and out of it when they make payments. Increasingly, large firms are using specialized Accounts Payable automation solutions (commonly called ePayables) to automate the paper and manual elements of processing an organization's invoices.

Commonly, a supplier will ship a product, issue an invoice, and collect payment later. This is a cash conversion cycle, or a period of time during which the supplier has already paid for raw materials but hasn't been paid in return by the final customer.

When the invoice is received by the purchaser, it is matched to the packing slip and purchase order, and if all is in order, the invoice is paid. This is referred to as the three-way match. The three-way match can slow down the payment process, so the method may be modified. For example, three-way matching may be limited solely to large-value invoices, or the matching is automatically approved if the received quantity is within a certain percentage of the amount authorized in the purchase order. Invoice processing automation software handles the matching process differently depending upon the business rules put in place during the creation of the workflow process. The simplest case is the two way matching between the invoice itself and the purchase order.

Estimates from 2009 suggested that more than a billion business-to-business invoices were being processed each week, and 97% of these were still processed manually. The average cost to process and pay a supplier invoice was between $5 and $15, with 10% processed too late to be paid within discounting terms, and nearly 2% containing errors.

Internal controls
A variety of checks against abuse are usually present to prevent embezzlement by accounts payable personnel. Separation of duties is a common control. In countries where cheques payment are common nearly all companies have a junior employee process and print a cheque and a senior employee review and sign the cheque. Often, the accounting software will limit each employee to performing only the functions assigned to them, so that there is no way any one employee – even the controller – can singlehandedly make a payment.

Some companies also separate the functions of adding new vendors to the master vendor file and entering vouchers. This makes it impossible for an employee to add themselves as a vendor and then write a cheque to themselves without colluding with another employee. The master vendor file is the repository of all significant information about the company's suppliers. It is the reference point for accounts payable when it comes to paying invoices.

In addition, most companies require a second signature on cheques whose amount exceeds a specified threshold.

Accounts payable personnel must watch for fraudulent invoices. In the absence of a purchase order system, the first line of defense is the approving manager. However, AP staff should become familiar with a few common problems, such as "Yellow Pages" ripoffs in which fraudulent operators offer to place an advertisement. The walking-fingers logo has never been trademarked, and there are many different Yellow Pages-style directories, most of which have a small distribution. According to an article in the Winter 2000 American Payroll Association's Employer Practices, "Vendors may send documents that look like invoices but in small print they state "this is not a bill". These may be charges for directory listings or advertisements. Recently, some companies have begun sending what appears to be a rebate or refund check; in reality, it is a registration for services that is activated when the document is returned with a signature."

In accounts payable, a simple mistake can cause a large overpayment. A common example involves duplicate invoices. An invoice may be temporarily misplaced or still in the approval status when the vendors calls to inquire into its payment status. After the AP staff member looks it up and finds it has not been paid, the vendor sends a duplicate invoice; meanwhile the original invoice shows up and gets paid. Then the duplicate invoice arrives and inadvertently gets paid as well, perhaps under a slightly different invoice.

Audits of accounts payable
Auditors often focus on the existence of approved invoices, expense reports, and other supporting documentation to support checks that were cut. The presence of a confirmation or statement from the supplier is reasonable proof of the existence of the account. It is not uncommon for some of this documentation to be lost or misfiled by the time the audit rolls around. An auditor may decide to expand the sample size in such situations.

Auditors typically prepare an aging structure of accounts payable for a better understanding of outstanding debts over certain periods (30, 60, 90 days, etc.). Such structures are helpful in the correct presentation of the balance sheet as of fiscal year end.

Automation
Many companies are involved in work to streamline or automate the business process of their accounts payable departments. This process is straightforward but can become very cumbersome, especially if the company has a very large number of invoices. This problem is compounded when invoices that require processing are on paper. This can lead to lost invoices, human error during data entry, and invoice duplicates. These and other problems lead to a high cost per invoice metric. The goal of automating the accounts payable department is to streamline this invoicing process, eliminate potential human error, and lower the cost per invoice.

Some of the most common AP automation solutions include e-invoicing, scanning of documents, optical character recognition, automation of workflow rules, online tracking, reporting capabilities, electronic invoice user interfaces, supplier networks, payment services and spend analytics for all invoices. Effective automation functions include freeform recognition (ability to interpret invoice documents regardless of layout or the need to create a supplier template) and automatic learning capabilities.

Electronic Invoicing can be a very useful tool for the AP department. Electronic invoicing allows vendors to submit invoices over the internet and have those invoices automatically routed and processed. Because invoice arrival and presentation is almost immediate invoices are paid sooner; therefore, the amount of time and money it takes to process these invoices is greatly reduced. (Financial Operations Networks, 2008) These solutions usually involve a third-party company that provides and supports an application which allows a supplier to submit an electronic invoice to their customer for immediate routing, approval, and payment. These applications are tied to databases which archive transaction information between trading partners. (US Bank, Scott Hesse, 2010)  The invoices may be submitted in a number of ways, including EDI, CSV, or XML uploads, PDF files, or online invoice templates. Because E-invoicing includes so many different technologies and entry options, it is an umbrella category for any method by which an invoice is electronically presented to a customer for payment.

Enterprise resource planning systems typically use software to provide integrated business process management services to enterprises.

History
Since the mid-1967s companies have begun to establish data links between their trading partners to transfer documents, such as invoices and purchase orders. Inspired by the idea of a paperless office and more reliable transfer of data, they developed the first EDI systems. These systems were unique to the respective company that developed them, meaning they were difficult to deploy across a large number of corporations. Recognizing this, the Accredited Standards Committee X12—a standards institution under the umbrella of ANSI—made preparations to standardize EDI processes. This resulted in what is known today as the ANSI X12 EDI standard.

This remained the main way to exchange transactional data between trading partners for nearly 3 decades. The 1990s came with advances in internet technology. Companies began to appear offering more robust user interface web applications with functions that catered to both supplier and customer. These new web-based applications allowed for online submission of individual invoices as well as EDI file uploads. Along with other methods of file uploads including CSV and XML. These services allow suppliers to present invoices to their customers for matching and approval via a user-friendly web application. Suppliers can also see a history of all the invoices they submitted to their customer without having direct access to the customers' systems. This is because all the transactional information is stored in the data centers of the third-party company that provides the invoicing web app. This proprietary information can be regulated by the customer in order to control how much transactional information the vendor is allowed to see. (For example, payment dates, or check information).

As companies advance into the digital era, more and more are switching to electronic invoicing services to automate their accounts payable departments. Some even believe it to be an industry standard in the near future. According to a report done by the GXS team in 2013, Europe is adopting government legislation encouraging businesses to adopt electronic invoicing practices. The United States has no such legislation yet but does recognize the value of this technology. The US Treasury estimated that implementing e-invoicing across the entire federal government would reduce cost by 50% and save $450 million annually.

With the increasing availability of robotic solutions, businesses are driving process improvement in AP even further. By applying end-to-end robotic process automation or RPA to their accounts payable department, organizations can accelerate invoice processing speed and accuracy while improving operational costs. Some organizations report that by implementing RPA they have managed to almost eliminate human intervention from the AP process, thus saving 65% to 75% of the time that was previously had spent on manual processing.

See also

 List of accounting topics
 Accounts receivable
 Payroll
 Invoice reader
 Creditor Reference

References

Accounting terminology
Liability (financial accounting)

hu:Kötelezettség

Accounts payable


الخط الهمايونى(لغة تركية عثمانية:  خط همايون, اللغة تركية: hatt-ı hümayun أو hatt-ı hümâyûn) والمعروف أيضا بالخط الشريف هو مصطلح دبلوماسى لوثيقة أو مذكرة مكتوبة بخط اليد تتسم بطابع رسمي تُكتب بواسطة السلطان العثماني. وتلك المذكرات عادة ما تكتب بواسطة السلطان شخصياً، على الرغم من أنها أيضا قد تكون سُجلت من قبل كاتب القصر. عادة ما تُكتب للردعلى، ومباشرةً على وثيقة مقدمة من الصدر الأعظم أو من أحد موظفى الحكومة العثمانية للسلطان.ومن ثم، يمكن أن تكون موافقات أو رفض لخطاب العريضة، إشعارات الاستلام من تقرير، منح الإذن لطلب، تعليق توضيحي لمرسوم، أو مستندات حكومية أخرى. بعد قانون الإصلاحات «التظيمات» (1856) التي تهدف من تطوير الدولة العثمانية، الخط الهمايونى نوع من الروتين حل محله تطبيق «الإرادة السنية» والتي تعنى المرسوم الإمبراطورى حيث يتم تسجيل رد السلطان على الوثيقة من قبل الكاتب الخاص بالسلطان.

هناك ما يقارب 100,000 وثيقة للخط الهمايونى في الأرشيف العثمانى في إسطنبول. ومن بين أكثر شهرة هي فرمان الكلخانة عام 1839م وفرمان الإصلاحات(الخط الهمايونى) عام 1856م. ولهذا الأخير، المصطلح التركي فرمان التنظيمات أكثر دقة. هذا المرسوم، الذي بدأ ما يسمى إصلاحات التنظيمات، سميت بذلك الاسم لأنه يحمل أمر مكتوب بخط اليد من قبل السلطان إلى الصدر الأعظم لتنفيذ أمره.

ومصطلح الخط الهمايونى في بعض الأحيان يمكن أن تستخدم أيضا بالمعنى الحرفي، وهذا يعني وثيقة بخط اليد من قبل السلطان العثماني.

أنواع الخط الهمايونى
الخط الهمايونى عادة ما تكتب للصدر الأعظم، أو في حاله غيابة تكون لنائبة (قائم مقام)، أو لأحد موظفى الدولة الكبار مثل (قبطان باشا)، أو للحاكم العام (بكلربكي) للروملى. ويوجد ثلاثة أنواع من الخط الهمايونى ː
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وصلات خارجية

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سياسة الدولة العثمانية
الحكومة العثمانية

الخط الهمايوني


Missouri ex rel. Gaines v. Canada (1938), foi uma decisão da Suprema Corte dos Estados Unidos determinando que os estados que ofereciam uma escola para estudantes brancos também deveriam fornecer educação estadual para negros. Os estados poderiam atender a esse requisito permitindo que negros e brancos frequentassem a mesma escola ou criando uma segunda escola para negros.

Casos da Suprema Corte dos Estados Unidos

Caso Missouri ex rel. Gaines v. Canada