David Ben-Gurion veya David Grün (; 16 Ekim 1886 - 1 Aralık 1973), İsrail'in ilk başbakanı ve İsrail Devleti'nin kurucusudur. 14 Mayıs 1948'de Tel Aviv'de İsrail Bağımsızlık Bildirgesi'ni okumuş ve 1948 Arap-İsrail Savaşı'nda ülkenin liderliğini yapmıştır. 1942 yılında New York'ta düzenlenen Biltmore Konferansı'nın programını hazırlayan kişi oldu. Ayrıca Gurion, hükûmetteki görevinden ve daha sonra Knesset'ten ayrıldıktan sonra Ulusun Atası payesi ile onurlandırılmıştır.

Geçmişi
Ben-Gurion, Rus İmparatorluğu'nun bir parçası olan Polonya'nın Płońsk şehrinde doğdu. Babası, Avigdor Grün bir hukukçu ve aynı zamanda Hovevei Zion örgütünün lideriydi. Annesi Scheindel ise Ben-Gurion 11 yaşındayken öldü.

Ben-Gurion ateşli bir sosyalist ve Siyonist oldu ve 1906 yılında Filistin'e göç etti. Göç etmesinin kısmen nedeni babasının ticari çıkarlarıydı fakat bunun yanında Doğu Avrupa'daki anti-Semitizm ve soykırım da göç etmesinin nedeniydi.

Göç ettikten sonra ilk olarak portakal korularında tarım işçisi olarak çalıştı. Daha sonra gazeteci olarak çalışmaya başladı. Bu dönemde yani siyasi kariyerine ilk olarak başladığı sıralarda ismini İbranice bir isim olan Ben–Gurion olarak değiştirdi. Faaliyetleri Cemal Paşa tarafından takip edilen Ben-Gurion Osmanlı İmparatorluğu yönetimi altındaki Filistin'den siyasi aktiviteleri nedeniyle tutuklandıktan sonra pasaportuna "bir daha dönmemek üzere" ifadesi yazılarak sınır dışı edildi. Bu dönemde Cemal Paşa binlerce Yahudi'yi Filistin'den yolladı.

New York'a yerleşen Ben–Gurion burada Rus doğumlu bir Yahudi olan Paula Munweis ile tanıştı. 1917 yılında evlendiler. Ben–Gurion ve Paula Manweis çiftinin 3 çocukları oldu. Ben–Gurion 1918 yılında İngiliz ordusuna bağlı Yahudi Lejyonu'nun 38. Tabur'una katıldı. I. Dünya Savaşı'ndan sonra Filistin'in İngiltere tarafından ele geçirilmesiyle Ben-Gurion ve ailesi Filistin'e geri döndüler.

1912 yılında 8 ayda Türkçe öğrendikten sonra İstanbul'a taşınmış ve İstanbul Üniversitesi Hukuk Fakültesi'nde hukuk öğrenimi görmüştür.

Siyonist liderliği

Ben-Gurion, İsrail devletinin kurulmasıyla sona erecek süreçte sosyalist Siyonizmin önde gelen siyasi önderlerinden biriydi. Bu dönemde Sosyalist Siyonizm, Dünya Siyonist Örgütünün içinde hakim duruma geçmiş hareket idi.

Çetin, sofu bir idealist olan Ben-Gurion kendisini Yahudi Devletinin kurulmasına adamıştı. İsrail bağımsızlık bildirisinde, yeni kurulan ülkenin vatandaşlarının "ırk, din, cinsiyet ayrımı yapılmadan eşit sosyal ve siyasi haklara sahip olacağı" beyan ediliyordu.

Ben-Gurion Yahudileri İngiliz Ordusuna katılmaları konusunda cesaretlendirirken aynı zamanda da İngilizlerin Yahudi göçünü engellemeye çalıştığı bir zamanda Avrupa Yahudilerinin yasadışı olarak Filistin'e göç etmelerini sağlıyordu. Ben-Gurion aynı zamanda hem Yahudi İşçi Federasyonunun (Histadrut olarak da bilinen bu örgüt İngiliz yönetimi altında bir Yahudi devleti kurulmasını sağlamıştır) hem de Sosyalist Siyonist Hareketinin paramiliter silahlı kuvvetinin (Haganah olarak bilinen bu örgüt Yahudi yerleşimlerini saldırılara karşı korumuş, Yahudi göçünü sağlamış ve ileride kurulacak olan İsrail Silahlı Kuvvetlerinin temelini oluşturmuştur) mimarı olarak bilinir. Bu gelişmeler İngilizlere ya Filistin'de bir Yahudi devleti kurulmasına ya da Cemiyet-i Akvam Mandasından çıkma konusunda- İngilizler 1947 yılında toprakları Yahudiler ve Araplar arasında bölen BM kararıyla 2. seçeneği seçti- baskı yaptı.

Filistin'de devletin kurulmasından önceki dönemde, Ben-Gurion ana akım Yahudileri temsil etti ve bir ılımlı olarak tanındı. İngilizler Ben-Gurion'un önderliğini yaptığı Haganah örgütüyle, İngilizlere karşı direnen daha radikal Yahudilerle mücadele etmek için iş birliği yaptı. Ben-Gurion, Ze'ev Jabotinsky ve daha sonra da onun halefi olan Menahem Begin önderliğindeki Siyonist Revizyonistlere kuvvetli bir şekilde karşı idi.

Ben-Gurion, örgütünün Menahem Begin'in Irgun isimli örgütüyle iş birliği yaptığı kısa süreli zaman zarfında şiddete dayalı direniş hareketlerinde yer aldı. Fakat, her türlü terörist eyleme katılmayı reddetti ve sadece askeri hedeflere saldırılması gerektiğini savundu. Ben-Gurion ilk başta Begin'in King David Oteli Bombalamasına destek verdi. Fakat, bombalamanın çok sayıda insanın ölümüyle sonuçlanma ihtimali görülür hale gelince Ben-Gurion, Begin'e eylemi iptal etmesini söyledi fakat Begin bu isteği reddetti.

Ben-Gurion 14 Mayıs 1948'de İsrail Devleti'nin kurulma kararının 6 ya karşı 4 oyla kabul edilmesini sağladı. Bu kararın onaylanması sırasında kendi partisi de dahil olmak üzere siyasi yelpazenin her 2 tarafından da muhalefetle karşılaştı.

İsrail'in bağımsızlığının ilk haftalarında tüm direniş örgütlerinin tasfiye edilmesini ve bunların yerini bir resmi ordunun, İsrail Savunma Kuvvetlerinin alması kararının onaylanmasını sağladı. Bu karar nedeniyle, Ben-Gurion Irgun isimli direniş örgütüne silah taşıyan Altalena isimli geminin batırılması emrini verdi. Bu emir bugünde hala tartışmalı bir durumdadır.

İsrail'in ilk başbakanlığı

Ben-Gurion, İsrail'i İsrail Bağımsızlık Savaşında yönetti. Mısır'la ateşkesin ilan edildiği tarih olan 25 Şubat 1949 yılında Başbakan oldu. 1954 ve 1955 yıllarında 2 sene dışında Başbakanlık görevinde 1953 yılına kadar kaldı. Başbakan olarak ülkenin önemli kurumlarının kurulmasına başkanlık etti. Ülkenin gelişimini hedefleyen önemli projeleri yönetti. Yahudilerin Arap ülkelerinden helikopterlerle alınması olarak bilinen Operation Magic Carpet, National Water Carrier, kırsal yörelerin kalkınmasını amaçlayan projeler ve yeni kasaba ve şehirlerin kurulması gibi önemli projeler onun zamanında gerçekleşti. Özellikle ülkenin sınır kesimlerinde bilhassa Negev'de yerleşimlerin yapılması için öncülük etti.

1953 yılında Ben-Gurion hükûmetten çekilip İsrail Negevinde yer alan Kibbutz Sde-Boker'e yerleşmek istediğini beyan etti. Fakat, 1955 yılında hükûmete geri dönüp Savunma Bakanlığı ve daha sonra da Başbakanlık görevlerini yeniden devraldı.

Hükûmete geri döndükten sonra, Ben-Gurion Fransız ve İngilizlerle iş birliği yaparak Süveyş Krizine katıldı. Bu savaşta İsrail kuvvetleri Sina Yarımadasını bombaladı, böylece Süveyş Kanalını millileştireceğini söyleyen Mısır Başkanı Cemal Abdünnâsır'a rağmen İngiliz ve Fransızlara müdahale etmek için bahane sunmuş oldu. ABD ve Birleşmiş Milletler tarafından yapılan müdahaleler nedeniyle, İngiliz, Fransız ve İsrail geri adım atmak zorunda kaldı.

Ben-Gurion, İsrail'i kuruluşundan itibaren 30 yıl boyunca yöneten Mapai'nin kurucuları arasındaydı. Kişisel nedenlerle Başbakanlıktan ayrıldı ve yerine halef olarak Levi Eşkol'u atadı. 1 yıl sonra ikisi arasında Lavon Skandalı nedeniyle anlaşmazlık çıktı. Ben-Gurion 1965 yılında Eshkol'un Lavon Skandalını yönetimi nedeniyle partiden ayrıldı ve yeni bir parti kurdu. Yeni kurduğu parti Rafi seçimlerde Knesset'de 10 sandalye kazandı. 6 Gün Savaşından önce tansiyon artarken Ben-Gurion İsrail'in kendi tarafında Büyük Devletlerden birisini çekmesi konusunda ısrarlı oldu. Savaş, İsrail'in büyük toprak kazançlarıyla sonlandıktan sonra da Ben-Gurion İsrail'in Golan Tepeleri ve birleşik bir Kudüs dışındaki toprakları ilhak etmemesi gerektiğini savundu.

1968 yılında Rafi ve Mapai güçlerini birleştirerek ortak bir sol parti kurmaya çalıştığında, Ben-Gurion seçim sisteminin değiştirilmesi konusundaki ayrı düşüncesi nedeniyle eski partisiyle barışmayı reddetti. (Ben-Gurion oranlı seçim sistemi yerine çoğunlukçu seçim sistemine geçilmesini öneriyordu.) Bunun üzerine Ben-Gurion yeni bir parti kurdu; Ulusal Liste. Ulusal Liste 1969 seçimlerinde 4 sandalye kazandı. Ben-Gurion, 1970 yılında politikadan emekliye ayrıldı ve ömrünün son yılını kibbutzdaki yerleşkesinde geçirdi. Ben-Gurion, eşi Paula'nın yanına gömülmüştür.

Kaynakça

1886 doğumlular
1973 yılında ölenler
İsrailli siyasetçiler
Polonya Yahudileri
Knesset üyeleri
İsrail'de defnedilenler
İsrail savunma bakanları
İsrail başbakanları
İsrail adalet bakanları
İsrailli ateistler
Polonya Yahudisi asıllı İsrailliler
Rus İmparatorluğu'ndan Osmanlı İmparatorluğu'na göç edenler
İstanbul Üniversitesi Hukuk Fakültesinde öğrenim görenler
Demokratik sosyalistler
İsrailli Siyonistler

David Ben-Gurion


José Manuel Liaño Flores, né le 15 novembre 1921 à Monforte de Lemos et mort le 5 mai 2022 à La Corogne, est un avocat et homme politique espagnol.

Biographie
Il a siégé aux Cortes Españolas de l'Espagne franquiste de 1967 à 1977 et a été maire de La Corogne (1976-1979).

Références

Liens externes

Naissance en novembre 1921
Naissance à Monforte de Lemos
Personnalité politique espagnole
Maire de La Corogne
Centenaire espagnol
Décès à 100 ans
Décès à La Corogne
Décès en mai 2022

José Manuel Liaño Flores


Amontada es un municipio del estado brasileño del Ceará. Se localiza en la microrregión de Itapipoca, en la mesorregión del Norte Cearense. El municipio tiene 34 542 habitantes (2003) y 1582 km².

Geografía

Clima
Tropical caliente semiárido con un promedio de lluvias media de 1000 mm con lluvias concentradas de enero a la abril.

Hidrografía y recursos hídricos
Los principales cursos de agua forman parte de la cuenca del río Aracatiaçu y del río Aracatimirim.

Política
La administración municipal se localiza en la sede, Amontada.

Referencias

Enlaces externos

 Página de la Prefectura de Amontada

 Mapa de Amontada
 Página del IBGE
 Diario La Noticia

Localidades de Ceará

Amontada


Dacrydium leptophyllum er sígrænt tré frá vesturhluta Nýju-Gíneu.

Tilvísanir

Gagnviðarætt

Dacrydium leptophyllum


Diegodendron, monotipski biljni rod koji je nekada klasificiran vlastitoj porodici Diegodendraceae, a danas u orelanovke (Bixaceae). Jedini predstavnik je D. humbertii

Zimzeleno drvo, endem, raste na visinama do 500 metara na krajnjem sjeveru Madagaskara.

Izvori

Orelanovke
Endemska flora Madagaskara

Diegodendron


Københavns belejring eller slaget ved København var et slag, som fandt sted den 7. juli 1289 som en del af de fredløses krig.

Baggrund
Mordet på Erik Klipping i Finderup Lade i 1286 havde store politiske konsekvenser for den danske adel, der havde været hans modstandere. Adskillige havde magtfulde fjender, og de ønskede at straffe dem. Som et resultat flygtede de til Norge, hvor den norske konge Erik 2. beskyttede dem. På samme tid blev der aftalt en stor voldgift mellem det norske rigsråd og tyske købmænd. Kongeriget Norge havde et ønske om at udvide sin grænser mod syd. Tre år senere begyndte en dansk-norsk konflikt, der blev kaldt de fredløses krig.

Angrebet
Den norske ledingsflåde sejlede mod Danmark for at plyndre med den norske kong Erik 2. i spidsen. De sejlede ind i Øresund natten til den 7. juli. Ved et uheld blev et skib ødelagt, og 160 mænd druknede. Flåden angreb og nedbrændte Helsingør den 7. juli, hvorefter flåden sejlede videre mod København samme dag. København modstod dog angrebet, og nordmændene sejlede i stedet videres sydpå dagen efter. De nedbrændte bl.a. byen på Hven og Amager, inden de sejlede videre til Skanør, hvor der blev udkæmpet et slag den 9. juli.

Referencer

Slag med deltagelse af Danmark
Belejring (1289)
Begivenheder i 1289

Københavns belejring (1289)


Karl-Heinz "Charly" Körbel (fæddur 1. desember 1954 í Dossenheim) er þýskur fyrrverandi knattspyrnumaður sem lék allan sinn feril sem varnarmaður fyrir  Eintracht Frankfurt. Hann er núna einn af stjórnendum ungmenna akademíu Eintracht Frankfurt.

Titlar

Frankfurt
 Þýska bikarkeppnin: 1973–74, 1974–75, 1980–81, 1987–88
 Evrópukeppni félagsliða :
 Evrópukeppni bikarhafa: 1979–80

Heimild
https://web.archive.org/web/20050406234936/http://web.telia.com/~u31626597/spelare/korbel.html

Þýskir knattspyrnumenn

Karl-Heinz Körbel


Vale de Figueira Portekiz'de São João da Pesqueira belediyesine bağlı olan, 10,39 km2 yüzölçümüne sahip, 585 nüfuslu (2001) bir bucaktır (Portekizce: freguesia).

Portekiz'in freguesiaları
São João da Pesqueira

Vale de Figueira (São João da Pesqueira)


Rågummi fra Malaya I + II er en film instrueret af Hakon Mielche.

Handling
I. I de fleste gummiplantager dyrkes para-kausjuktræet. Frøene sås i kurve. Jorden tilberedes, og der sås undervegetation. De unge træer udplantes eller podes på gamle stammer. De ældre træer tappes Gummimælken vejes og hældes på store beholdere. II. Gummimælken køres til fabrikken. Der tilsættes syre. Rågummiet udvalses, tørres og røges. Det indpakkes og eksporteres fra Singapore.

Referencer

Eksterne henvisninger

Danske film fra 1954

Dokumentarfilm fra Danmark
Film fra Galathea 2

Rågummi fra Malaya I + II


Sverrir Ingi Ingason (født 5. august 1993 i Kópavogur, Island), er en islandsk fodboldspiller (forsvarer). Han spiller for FC Midtjylland, i Danmark , som han har været tilknyttet siden 2023.

Ingason startede sin seniorkarriere hos Kópavogur-klubben Breiðablik, men skiftede i 2014 til Viking Stavanger i Norge. Her spillede han en enkelt sæson, inden han efterfølgende tilbragte halvandet år hos Lokeren i den belgiske liga. Efter et kortvarigt ophold hos Granada i Spanien skiftede han i 2017 til den russiske Premier League-klub FC Rostov.

Landshold
Ingason har (pr. maj 2018) spillet hele 18 kampe og scoret tre mål for Islands landshold. Han debuterede for holdet 21. januar 2014 i en venskabskamp mod Sverige. Han var en del af den islandske trup, der nåede kvartfinalen ved EM 2016 i Frankrig, og blev også udtaget til VM 2018 i Rusland.

Referencer

Eksterne henvisninger

Fodboldspillere fra Island
Deltagere ved det europæiske mesterskab i fodbold 2016
Deltagere ved verdensmesterskabet i fodbold 2018
Fodboldspillere fra Viking FK
Fodboldspillere fra Granada CF
Fodboldspillere fra FC Rostov
Fodboldspillere fra KSC Lokeren

Sverrir Ingi Ingason


Jaipur veya Caypur (Hindi: जयपुर, Urduca: جے پور), popüler adıyla Pembe Şehir, Hindistan'ın Racasthan eyaletinin başkenti. Şehir 1728 yılında Mihrace Sawai II. Jai Singh tarafından kurulmuştur. 2011 yılında şehrin nüfusu 3.910.570 kişiye ulaşmıştır.

Resimler
Jaipur</div>

Kaynakça

Ayrıca bakınız
 Hindistan'daki şehirler listesi

Dış bağlantılar

 Jaipur turu

Jaipur


An Palmorchis lobulata in uska species han Liliopsida nga syahan ginhulagway ni Rudolf Mansfeld, ngan ginhatag han pagkayana nga asya nga ngaran ni Charles Schweinfurth och Donovan Stewart Correll. An Palmorchis lobulata in nahilalakip ha genus nga Palmorchis, ngan familia nga Orchidaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Palmorchis

Palmorchis lobulata


Die Liste der denkmalgeschützten Objekte in Senec enthält die vier nach slowakischen Denkmalschutzvorschriften geschützten Objekte in der Gemeinde Senec im Okres Senec.

Denkmäler

Legende

Einzelnachweise

Weblinks

!
Senec


Treoza este o monozaharidă cu formula moleculară C4H8O4. Este o aldoză, mai exact o aldotetroză, și are doi stereoizomeri: D-treoza și L-treoza.

Prefixul "treo-", provenit de la denumirea acestei aldoze, este folosit în stereochimie pentru denumirea structurilor organice care conțin centre de chiralitate în mod analog cu tetroza, adică o orientare de tip sin.

Vezi și
 Eritroză
 Eritruloză

Referințe

Monozaharide

Treoză


Titus D. Ciortea (n. 12 aprilie 1883, Cistei, com. Mihalț, jud. Alba - d. 30 iulie 1921, Târgu-Lăpuș) a fost un delegat al cercului electoral Lăpuș în Marea Adunare Națională de la Alba Iulia.

Biografie
Titus D. Ciortea, a fost avocat la Alba Iulia, iar mai apoi în Târgu-Lăpuș. A contribuit activ la formarea conștiinței naționale românești în inima populației de la sate. A luat parte și la Primul Război Mondial și a căzut prizonier rușilor, dar scapă și se întoarce în Târgu-Lăpuș în octombrie 1918, unde își reia activitatea. Este ales membru în Consiliul Național Român din zona Lăpuș și contribuie la formarea consiliilor și gărzilor din zonă.

Activitatea politică
Este ales membru în Consiliul Național Român din zona Lăpuș și contribuie la formarea consiliilor și gărzilor din zonă. După întoarcerea de la Marea Adunare Națională de la Alba Iulia ia parte la organizarea și convocarea adunării populare pentru a transmite cele decise la 1 decembrie. Adunarea respectivă se sfârșește prin atacul forțelor antiunioniste, Titus D. Ciortea fiind grav rănit.

Note

Bibliografie

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

Legături externe
  Membrii de drept ai Marii Adunării Naționale de la Alba-Iulia din 1 decembrie 1918, lista publicată în "Gazeta Oficială", Sibiu, nr. 1, 1/14 decembrie 1918

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

Nașteri în 1883
Decese în 1921
Avocați români
Delegați la Marea Adunare Națională de la Alba Iulia

Titus D. Ciortea


Petar (Pekiša) Vuksan (Počitelj kod Gospića, 19. siječnja 1905. - Medak, 20. studenoga 1941.), bio je narodni heroj Jugoslavije.

Životopis
Kovački zanat završio je u Bosanskoj Krupi i izvjesno vrijeme radio kao kovač u Divoselu, zatim u Belišću, Našicama i Požegi. Već u devetnaestoj godini postao je član KPJ (u proljeće 1923.). Vojsku je (1927. – 1928.) odslužio u Zrakoplovno-tehničkom zavodu u Petrovaradinu. U potrazi za poslom ilegalno je prešao granicu 1929. i devet godina radio po raznim zemljama diljem Europe i Azije. Radio je svakakve poslove u Francuskoj, Belgiji, Italiji, Siriji, Iraku, Palestini, Perziji, SSSR-u i Poljskoj. Kad je buknuo građanski rat u Španjolskoj, našao se s mnogim španjolskim borcima iz Jugoslavije u francuskom koncentracijskom logoru odakle je pobjegao i opet se našao u Lici, u svom rodnom selu, sredinom ljeta 1941. Odmah se priključio partizanima. Kao prekaljenog komunistu i iskusnog internacionaca izabrali su ga za člana KK KPH za kotar Gospić. Prilikom formiranja partizanskog odreda Velebit, postavljen je za zapovjednika 3. bataljuna u kojem su bili partizani iz podvelebitskih sela Počitelja i Metka. Međutim, kako je to bilo područje, naročito Medak, pod jakim utjecajem četnika i Talijana koji su se predstavljali kao zaštitnici Srba u Lici, u njegovoj postrojbi je došlo do nesuglasica. Izvršen je puč i Vuksan je ubijen 20. studnoga 1941. u Breziku kod Metka, svega nekoliko mjeseci nakon povratka iz Španjolskog građanskog rata. Za narodnog heroja proglašen je 27. studenog 1953. Nekadašnja gospićka Škola za učeniku u privredi nosila je njegovo ime.

Izvori

Narodni heroji Jugoslavije

Petar Vuksan


Shigemi Ishii (født 7. juli 1951) er en japansk fodboldspiller.

Japans fodboldlandshold

|-
|1974||4||0
|-
|1975||1||0
|-
|1976||0||0
|-
|1977||4||0
|-
|1978||0||0
|-
|1979||6||0
|-
!Total||15||0
|}

Eksterne henvisninger

Japan National Football Team Database

Fodboldspillere fra Japan

Shigemi Ishii


Barun Adrien Victor Joseph de Gerlache de Gomery (Hassel, Belgija, 2. kolovoza 1866. – Bruxelles, Belgija, 4. prosinca 1934.) bio je časnik u belgijskoj Kraljevskoj mornarici koji je vodio belgijsku ekspediciju Antarktika od 1897. do 1899.

Izvori

Životopisi, Belgija
Istraživači
Istraživači Antarktike

Adrien de Gerlache


Kingstone es una parroquia civil y un pueblo del distrito de East Staffordshire, en el condado de Staffordshire (Inglaterra).

Geografía
Según la Oficina Nacional de Estadística británica, Kingstone tiene una superficie de 11,86 km².

Demografía
Según el censo de 2001, Kingstone tenía 597 habitantes (49,92% varones, 50,08% mujeres) y una densidad de población de 50,34 hab/km². El 18,43% eran menores de 16 años, el 76,72% tenían entre 16 y 74, y el 4,86% eran mayores de 74. La media de edad era de 40,91 años. Del total de habitantes con 16 o más años, el 22,59% estaban solteros, el 64,07% casados, y el 13,35% divorciados o viudos.

Según su grupo étnico, el 98,32% de los habitantes eran blancos y el 1,68% asiáticos. La mayor parte (97%) eran originarios del Reino Unido. El resto de países europeos englobaban al 1% de la población, mientras que el 2% había nacido en cualquier otro lugar. El cristianismo era profesado por el 88,48%, el judaísmo por el 0,5%, el islam por el 1%, y el sijismo por el 0,67%. El 4,01% no eran religiosos y el 5,34% no marcaron ninguna opción en el censo.

Había 233 hogares con residentes y 6 vacíos.

Referencias

Enlaces externos

Localidades de Staffordshire
Parroquias civiles de Staffordshire

Kingstone (Staffordshire)


New York Knickerbockers NBA'de mücadele eden basketbol takımlarından biridir. Koçluğunu Tom Thibodeau'un yaptığı takım maçlarını Madison Square Garden'de oynamaktadır.NBA'da New York temsilcisi olarak bulunan iki takımdan biridir.Diğeri ise Brooklyn Nets'dir.Knicks 1950'li yılların başında üst üste 3 NBA Finali oynadı ancak hiçbirini kazanamadı.Daha sonraki yıllarda 2 kere NBA Şampiyonu olmuştur.8 kere ise Konferans Şampiyonu,7 kere ise Grup Şampiyonu olmuştur.

Ekonomi ve iş dergisi Forbes Magazine'e göre, Knicks tahmini olarak 3 milyar $'lık değerle ABD'deki en değerli basketbol kulübüdür.

Formalar

Takım kadrosu

Dış bağlantılar
 New York Knicks Resmi Sitesi

Kaynakça

NBA takımları
Manhattan'da spor
Eski Viacom şirketleri
1946'da New York eyaletinde kurulan oluşumlar
1946'da kurulan spor kulüpleri

New York Knicks


Tiha većina naziv je za veću grupu ljudi, inherentno natpolovičnu, čiji stavovi nisu proporcionalno zastupljeni u javnosti. Pojam tiha većina rabi se da bi se objasnila razlika između javnog mnijenja, onoga što se izvještava i propagira u javnim medijima i stvarnog stanja mišljenja nekog političkog tijela u nekoj demokratskoj zemlji. Pojam tihe većine vrijedi samo za demokratske zemlje sa slobodom izražaja. Pojam tiha većina prvi put se rabila u SAD-u u kojem je predsjednik Richard Nixon rabio u sadašnjem kontekstu, gdje se na kritike i pritiske medija, kulturnih i političkih elita za brzo i bezuvjetno povlačenje iz Vijetnamskog rata, dok je Nixon zauzeo stav postupnog povlačenja. Nixon je objasnio da njegovu odluku podržava 'tiha većina' američkih građana, koji nisu voljni ustupiti pritisku raznih elita. Nixonova odluka je na kraju bila ispravna, jer je tri godine kasnije pobijedio na predsjedničkim izborima. Pojam tiha većina je jako rasprostranjena u mnogim demokracijama (2016.), u kojima političari, teoretičari, mediji i ostali rabe da bi se objasnila razlika između stvarnih stavova među glasačima, i stavova raznih elita unutar nekog društva. Pojam tiha većina rabi se da bi se objasnila velika razlika između anketa prije izbora, izlaznih anketa te stvarih ishoda nekih izbora u nekim zemljama. Mnogi pripisivaju tu razliku zbog odvojenosti medija i elita od stvarnog mišljenja građana koji nisu željni promijeniti svoje stavove, bez obzira na razne pritiske koje se vrše preko medijskog prostora, i svoje krajnje mišljenje izražavaju kroz glasački listić, a svoje stavove, želje ili mišljenja nisu u stanju niti željni podijeliti zbog pristiska iz razloga da ne budu etiketirani kao primitivci, ili da ne slijede trendove elite koje su toliko uvriježene u medijskom prostoru.

Vidi
Bradleyev efekt (Wilderov efekt)
pristranost društvene poželjnosti
spirala šutnje
čimbenik stidljivih torijevaca
vidljiva manjina
većinski izborni sustav
diktatura većine
glavnostrujaški mediji

Vrela

Vanjske poveznice

Sustavi glasovanja

Tiha većina


Cantonese opera is one of the major categories in Chinese opera, originating in southern China's Guangdong Province. It is popular in Guangdong, Guangxi, Hong Kong, Macau and among Chinese communities in Southeast Asia. Like all versions of Chinese opera, it is a traditional Chinese art form, involving music, singing, martial arts, acrobatics, and acting.

History
There is debate about the origins of Cantonese opera, but it is generally accepted that opera was brought from the northern part of China and slowly migrated to the southern province of Guangdong in the late 13th century, during the late Southern Song dynasty. In the 12th century, there was a theatrical form called the Nanxi or "Southern drama", which was performed in public theatres of Hangzhou, then capital of the Southern Song. With the invasion of the Mongol army, Emperor Gong of the Song dynasty fled with hundreds of thousands of Song people into Guangdong in 1276. Among them were Nanxi performers from Zhejiang, who brought Nanxi into Guangdong and helped develop the opera traditions in the south.

Many well-known operas performed today, such as Tai Nui Fa originated in the Ming Dynasty and The Purple Hairpin originated in the Yuan Dynasty, with lyrics and scripts in Cantonese. Until the 20th century all the female roles were performed by males.

Early development in Shanghai
In the 1840s, a large number of Guangdong businessmen came to Shanghai for opportunities. They owned abundant resources, therefore, their influence in Shanghai has gradually increased (Song, 1994). Later, various clansmen associations have been established to sponsor different cultural activities, Cantonese opera was one of them. From the 1920s to the 1930s, the development of Cantonese opera in Shanghai was very impressive (Chong, 2014). At that time, the department stores opened by the Cantonese businessmen in Shanghai had their Cantonese opera theater companies. Moreover, the Guangdong literati in Shanghai always put great effort into promotions of Guangdong opera. A newspaper recorded that "The Cantonese operas were frequently played at that time. And the actors who came to perform in Shanghai were very famous. Every time many Cantonese merchants made reservations for inviting their guests to enjoy the opera".(Cheng, 2007)

Development in Hong Kong
Beginning in the 1950s immigrants fled Shanghai to areas such as North Point. Their arrival significantly boosted the Cantonese opera fan-base. Also, the Chinese Government wanted to deliver the message of socialist revolution to Chinese people under colonial governance in Hong Kong. Agents of the Chinese government founded newspaper platforms, such as Ta Kung Pao () and Chang Cheung Hua Pao () to promote Cantonese Opera to the Hong Kong audience. These new platforms were used to promote new Cantonese Opera releases. This helped to boost the popularity of Cantonese Opera among the Hong Kong audience. Gradually, Cantonese Opera became a part of daily entertainment activity in the colony.

The popularity of a Cantonese Opera continued to grow during the 1960s. More theatres were established in Sheung Wan and Sai Wan, which became important entertainment districts. Later, performances began to be held in playgrounds, which provided more opportunities to develop Cantonese Opera in Hong Kong. As the variety of venues grew, so the variety of audiences became wider. However, Cantonese Opera began to decline as TV and cinema started to develop in the late 1960s. Compared to Cantonese Opera, cinema was cheaper and TV was more convenient. Subsequently, some theatres started to be repurposed as commercial or residential buildings. The resulting decline in available theatres further contributed to the decline of Cantonese Opera in the territory.

Since the demolition of Lee Theatre and the closing down of many stages (Tai Ping Theatre, Ko Shing Theatre, Paladium Theatre, Astor Theatre or former Po Hing Theatre, Kai Tak Amusement Park and Lai Chi Kok Amusement Park) that were dedicated to Cantonese genre throughout the decades, Hong Kong's Sunbeam Theatre is one of the last facilities that is still standing to exhibit Cantonese Opera.

By the early 1980s, Leung Hon-wai was one of the first in his generation of the Chinese Artists Association of Hong Kong (hkbarwo) who gave classes and actively engaged in talent-hunting. The Cantonese Opera Academy of Hong Kong classes started in 1980.

To intensify education in Cantonese opera, they started to run an evening part-time certificate course in Cantonese Opera training with assistance from The Hong Kong Academy for Performing Arts in 1998. In 1999, the Association and the Academy further conducted a two-year daytime diploma programme in performing arts in Cantonese Opera in order to train professional actors and actresses. Aiming at further raising the students' level, the Association and the Academy launched an advanced course in Cantonese opera in the next academic year.

In recent years, the Hong Kong Arts Development Council has given grants to the Love and Faith Cantonese Opera Laboratory to conduct Cantonese opera classes for children and young people. The Leisure and Cultural Services Department has also funded the International Association of Theatre Critics (Hong Kong Branch) to implement the "Cultural Envoy Scheme for Cantonese Opera" for promoting traditional Chinese productions in the community.

Also, the Hong Kong Government planned to promote Cantonese Opera through different communication channels. They wanted to build more theatres for the Hong Kong public to have more opportunities to enjoy Cantonese Opera. The scheme also arrived to develop professional talents in Cantonese Opera. Cantonese Opera became a part of the compulsory Music subject in primary school. For teachers, the Education Bureau provided some training and teaching materials related to Cantonese Opera.

Art festivals
In the first decade of the Hong Kong Arts Festivals and the Festivals of Asian Arts, Cantonese opera performances contributed by those representing the lion share of the market, (well-established troupes, well-known performers Lang Chi Bak as well as Leung Sing Poh in their golden years or prominent performers in their prime) are:-

Fung Wong-nui (1925–1992)
1974, 2nd Hong Kong Arts Festival (self-financing 3 titles)
《薛平貴》Xue Pinggui
《胡不歸》Time To Go Home
《貍貓換太⼦》Substituting a Racoon for the Prince
1979, 7th Hong Kong Arts Festival*
1980, 8th Hong Kong Arts Festival

Lam Kar Sing (1933–2015), bearer of the tradition handed down by Sit Gok Sin and owner of name brand/tradition (personal art over lucrative "for hire" careers in films or on stage) as well as volunteer tutor to two ( 1987, 2008) students handpicked right out of training schools
1976, 1st Festival of Asian Arts
1977, 2nd Festival of Asian Arts
《雙槍陸文龍》Lu Wen-long
《紅樓寶黛》 Bao and Dai of Red Chamber
1978, 6th Hong Kong Arts Festival*
《梁祝恨史》Butterfly Lovers
Yam-Fong title
For two decades a regular if opposite Lee Bo-ying
Loong Kim Sang lost the only compatible co-star for this title in 1976
One of many traceable artistic interpretations of same legend
Lam forged his own (still opposite Lee Bo-ying) in November 1987 and made that the contemporary prevailing version
1978, 3rd Festival of Asian Arts
1980, 5th Festival of Asian Arts
1982, 7th Festival of Asian Arts
1984, Chinese Opera Fortnight ()
《胡不歸》Time To Go Home – the contemporary prevailing version
《雷鳴金鼓戰笳聲》The Sounds of Battle
《三夕恩情廿載仇》Romance and Hatred
《無情寶劍有情天》Merciless Sword Under Merciful Heaven

Last time both Lang Chi Bak (1904-1992)and Leung Sing Poh performed was in 1979.

Loong Kim Sang
1983, 8th Festival of Asian Arts
1984, 9th Festival of Asian Arts
《帝女花》Di Nü Hua
《紫釵記》The Purple Hairpin
《紅樓夢》Dream of Red Chamber
40 years since Yam's best known role and title (opposite Chan Yim Nung) in 1944
New script debuted in November 1983
Contemporary prevailing version
《花田八喜》Mistake at the Flower Festival
《再世紅梅記》The Reincarnation of a Beauty
《牡丹亭驚夢》The Peony Pavilion
1985, 10th Festival of Asian Arts

Obscure groups of experimental nature, let alone those late boomers without market value, were not on the map or in the mind of those organizing these events. That changed since the 40 something Leung Hon-wai found his way to the stepping stone or launching pad he desired for pet projects of various nature.

Public funding
To continue the tradition by passing on what elders and veterans inherited from former generations and to improve sustainability with new and original music, lyrics and scripts.
Cantonese Opera Development Fund
Hong Kong Arts Development Council, Grants

Heritage is as abstract a concept as traditions is while monetary support is real. However, elders are not ombudspersons in any sense and they take public funds for their own reasons. That is, they are knee deep in commercial performances even as a member of the above organizations.

A juren a century ago can be an adjunct associate professor now in Hong Kong. How business was conducted in a community by a juren was illustrated by Ma Sze Tsang in a film called the Big Thunderstorm (1954).

Trend-setting figure, Leung Hon-wai, talked on camera about his doctrine related to new titles he wrote and monetary backings from the various Hong Kong authorities. That is, art festivals provided him financial means, identity, advertising resources and opportunities not otherwise available. Curious audience makes good box-office for the only 2–3 shows of a single new title. In addition, he only paid 50% to collect the new costumes in his procession for future performances of different titles.

A Sit Kok Sin classic fetched HK$105,200 plus in 2015. The parents who had over 100 years of experience combined found sharing the stage with their son as not feasible without subsidies for Golden Will Chinese Opera Association and Wan Fai-yin, Christina.

Time To Go Home is different from those Leung debuted at arts festivals since:-
This 1939 Sit classic has been a rite of passage for new performers to become prominent male leads.
It only involves minimum costumes, props and crew size.
It is popular as afternoon fillers by third tier performers in bamboo theaters.

In 2019, Yuen Siu Fai talked on radio that he found the readily available funding made beneficiaries financially irresponsible, unlike himself and others who put their own money where their mouths were. Yuen, who works regularly for troupes with secure public funding, did not draw a link between his two roles.

Contrary to Africa, the entire village is responsible for raising the children of a certain crowd only. Both political and social guanxi is making or breaking the future of up-and-coming performers in the same way as whether Bak Yuk Tong is remembered as one of the Four Super Stars or not. According to Yuen, Bak is anti-communist and therefore his status is different in Mainland China (PRC).

Crowdfunding

Private funding
The Art of Fong Yim-fun Sustainability Project, Shaw College, CUHK. In August 2014, the Fong Yim Fun Art Gallery was formally opened.
 Dr. Yang Leung Yin-fong Katie, the Honorary Life Chairman, donated one of her properties to be the permanent office of the Chinese Artists Association of Hong Kong to provide residences for aged musicians.

Jumping the shark
In 2019, Yuen Siu Fai said that old performers are to stay front and center on stage as long as they want to take center stage instead of sharing, let alone ceding, the limelight to the next or even younger generations. Yuen insists that performers without bags under their eyes could not be any good.

In 2018, Law Kar Ying said Chan Kam Tong had already jumped the shark in the mid-1950s, more than ten years before Chan actually left the stage or more than 60 years for it to be confirmed to the public. The (Yuen, Law and others) generation with bags under their eyes picked up where Leung left off. By such, these old performers are upholding the Chan tradition and making up records along the way. However, the Chan caliber of masters needed no directors.

Two performers Chan worked with closely, who definitely left the stage at will with dignity, are Yam Kim Fai and Fong Yim Fun. They both openly rebuked (in 1969 and in 1987 respectively in no harsher way than what Lam Kar Sing and his wife did in 1983) individual off-springs who were under their wings briefly but officially. The popularity of Yam-Fong in Hong Kong continues to thrive notwithstanding their apparent lack of official successors as Loong Kim Sang and Lee Bo Ying picked up where they left off.

Cantonese opera in Hong Kong rocketed around 1985/86, according to Li Jian, born Lai Po Yu, (), an observer. De facto successors to master performers, Lee Bo Ying, Lam Kar Sing, and Loong Kim Sang all left the stage in or before 1993, last watershed moment of Cantonese opera for Hong Kong and beyond in the 20th century. The consequences are also significant and long lasting. Unlike Fong and Loong, Yam and Lee never returned.

For the rest of her life, Yam didn't even take the bow at curtain calls although she was in the audience on most days that Loong's troupe performed in Hong Kong. Comfortable enough around Yam, Yuen called Yam lazy because she did not comment on some cake served backstage in those days.

All for naught
Local Teochew opera troupes lost their ground regarding live-on-stage Ghost Festival opera performances when the business environment was destroyed. Since then, the Teochew category disappeared in Hong Kong.

Chan Kim-seng, the former chairperson of Chinese Artists Association of Hong Kong, saw similar threats towards Cantonese opera and fought tooth and nail for job security of members. Chan, Representative Inheritor of Cantonese opera in the List of Intangible Cultural Heritage of Humanity, passed away on 19 August 2013.

Characteristics
Cantonese opera shares many common characteristics with other Chinese theatre genres. Commentators often take pride in the idea that all Chinese theatre styles are similar but with minor variations on the pan-Chinese music-theatre tradition and the basic features or principles are consistent from one local performance form to another. Thus, music, singing, martial arts, acrobatics and acting are all featured in Cantonese opera. Most of the plots are based on Chinese history and famous Chinese classics and myths. Also, the culture and philosophies of the Chinese people can be seen in the plays. Virtues (like loyalty, love, patriotism and faithfulness) are often reflected by the operas.

Some particular features of Cantonese opera are:
Cing sik sing (程式性; Jyutping: cing4 sik1 sing3) – formulaic, formalised.
Heoi ji sing (虛擬性; Jyutping: heoi1 ji5 sing3) – abstraction of reality, distancing from reality.
Sin ming sing (鮮明性; Jyutping: sin1 ming4 sing3) – clear-cut, distinct, unambiguous, well-defined.
Zung hap ngai seot jing sik (綜合藝術形式; Jyutping: zung3 hap6 ngai6 seot6 jing4 sik1) – a composite or synthetic art form.
Sei gung ng faat (四功五法; Pinyin: sì gōng wǔ fǎ, Jyutping: sei3 gung1 ng5 faat3) – the four skills and the five methods.

The four skills and five methods are a simple codification of training areas that theatre performers must master and a metaphor for the most well-rounded and thoroughly-trained performers. The four skills apply to the whole spectrum of vocal and dramatic training: singing, acting/movements, speech delivery, and martial/gymnastic skills; while the five methods are categories of techniques associated with specific body parts: hands, eyes, body, hair, and feet/walking techniques.

The acting, acrobat, music and singing, live on stage, are well known as essential characteristics of live performances in theaters. Recordings did not replace the human voice backstage behind prop only when choir members were actually introduced to the audience at curtain call.

Significance
Before widespread formal education, Cantonese opera taught morals and messages to its audiences rather than being solely entertainment.  The government used theatre to promote the idea of be loyal to the emperor and love the country ().  Thus, the government examined the theatre frequently and would ban any theatre if a harmful message was conveyed or considered. The research conducted by Lo showed that Cantonese Operatic Singing also relates older people to a sense of collectivism, thereby contributing to the maintenance of interpersonal relationships and promoting successful ageing. (Lo, 2014). Young people construct the rituals of learning Cantonese opera as an important context for their personal development.

Operas of Deities

Cantonese opera is a kind of Operas of Deities. Operas for Deities are often performed in celebration of folk festivals, birthdays of deities, establishments or renovations of altars and temples. A community organises a performance of opera, which is used to celebrate the birth of the gods or to cooperate with the martial arts activities, such as "Entertaining People and Entertaining God" and "God and People". These performances can be called " Operas for Deities ". This king of acting originated from the Ming Dynasty and the Qing Dynasty. It was also called the sacred drama in the performance of God's birthday. It is a meritorious deed for God. According to the study, most of the Cantonese operas in Hong Kong belong to the Operas for Deities, and the nature of the preparations of the "God Circus" can be broadly divided into three categories: the celebration of the gods, the Hungry Ghost Festival, the Taiping Qing Dynasty, the temple opening and the traditional festival celebrations. In the 1960s−1970s, the Chinese opera was at a low ebb. However, due to the support of Opera for Deities, some of the troupes can be continue to perform. In the 1990s, the total performance rate of Operas for Deities has been reduced from two-thirds to two-fifths in the 1980s, there is no such thing as a performance in the Cantonese opera industry.

Performers and roles

Types of play
There are two types of Cantonese opera plays: Mou (武, "martial arts") and Man (文, "highly educated", esp. in poetry and culture). Mou plays emphasize war, the characters usually being generals or warriors. These works contain action scenes and involve a lot of weaponry and armour. Man plays tend to be gentler and more elegant. Scholars are the main characters in these plays. Water sleeves are used extensively in man plays to produce movements reflecting the elegance and tenderness of the characters; all female characters wear them. In man plays, characters put a lot of effort into creating distinctive facial expressions and gestures to express their underlying emotions.

Roles
There are four types of roles: Sang (Sheng), Daan (Dan), Zing (Jing), and Cau (Chou).

Sang
The Sang (; Sheng) are male roles. As in other Chinese operas, there are different types of male roles, such as:
Siu2 Sang1 () – Literally, young gentleman, this role is known as a young scholar.
Mou5 Sang1 () – Male warrior role.
Siu2 Mou5 Sang1 () – Young Warrior (usually not lead actor but a more acrobatic role).
Man4 Mou5 Sang1 () – Literally, civilized martial man, this role is known as a clean-shaven scholar-warrior. Actresses for close to a century, of three generations and with huge successes worldwide, usually perform this male role are Yam Kim Fai (mentor and first generation), Loong Kim Sang (protégée and second generation), Koi Ming Fai and Lau Wai Ming (the two youngest listed below both by age and by experience).
Lou5 Sang1 () – Old man role.
Sou1 Sang1 () – Bearded role

Daan
The Daan (旦; Dan) are female roles. The different forms of female characters are:
Faa1 Daan2 () – Literally 'flower' of the ball, this role is known as a young belle.
Ji6 Faa1 Daan2 (二花旦) – Literally, second flower, this role is known as a supporting female.
Mou5 Daan2 (武旦) – Female warrior role.
Dou1 Maa5 Daan2 (刀馬旦) – Young woman warrior role.
Gwai1 Mun4 Daan2 (閨門旦) – Virtuous lady role.
Lou5 Daan2 (老旦) – Old woman role.

Zing
The Zing (淨; Jing) are known for painted-faces. They are often male characters such as heroes, generals, villains, gods, or demons. Painted-faces are usually:
Man4 Zing2 (文淨) – Painted-face character that emphasizes singing.
Mou5 Zing2 (武淨) – Painted-face character that emphasizes martial arts.
Some characters with painted-faces are:
Zhang Fei (張飛; Zœng1 Fei1) and Wei Yan (魏延; Ngai6 Jin4) from Three Humiliations of Zhou Yu (三氣周瑜; Saam1 Hei3 Zau1 Jyu4).
Xiang Yu (項羽; Hong6 Jyu5) from The Hegemon-King Bids His Concubine Farewell (霸王別姬; Baa3 Wong4 Bit6 Gei1).
Sun Wukong (孫悟空; Syun1 Ng6 Hung1) and Sha Wujing (沙悟凈; Saa1 Ng6 Zing6) from Journey to the West (西遊記; Sai1 Jau4 Gei3).

Cau
The Cau (丑; Chou) are clownish figures. Some examples are:
Cau2 Sang1 () – Male clown.
Cau2 Daan2 () – Female clown.
Man4 Cau2 () – Clownish civilized male.
Coi2 Daan2 () – Older female clown.
Mou5 Cau2 () – Acrobatic comedic role.

Notable people

Major Cantonese Opera artists
Major Cantonese Opera (Stage) Career Artists include:

   nurtured generation.

Political-economic crisis led to overall very hard time for Cantonese Opera in Hong Kong. Early 1960s, a sole proprietor in private sector built and operated this facility to provide performance venue, similar (in purpose) to the current Yau Ma Tei Theatre, in which upcoming artists could attain stage experience. Volunteers who managed this Amusement Park Theatre were veteran performer  with his wife and others. Work opportunities and incomes nurtured these young promising performers for years.

The Female Leads
This is a list of female Cantonese opera performers who are known for female leads ():

Female Vocal Styles
This is a list of female Cantonese opera performers who are known for her own female vocal styles ():

The Male Leads
This is a list of female Cantonese opera performers who are known worldwide for singing and performing as male leads. They each has or had spent decades on stage, managed own troupe and established own repertoire as career performers.():

Great Male Vocals
This is a list of female Cantonese opera singers who are known as Four Great Male Vocals ():

Four Super Stars
This is a list of male Cantonese opera performers who are known as Four Super Stars ():

Four Super Clowns
This is a list of male Cantonese opera performers who are known as Four Super Clowns (Cau) ():

Visual elements

Makeup

Applying makeup for Cantonese opera is a long and specialized process. One of the most common styles is the "white and red face": an application of white foundation and a red color around the eyes that fades down to the bottom of cheeks. The eyebrows are black and sometimes elongated. Usually, female characters have thinner eyebrows than males. There is black makeup around the eyes with a shape similar to the eyes of a Chinese phoenix (鳳眼; fung6 ngaan5). Lipstick is usually bright red (口唇膏; hau2 seon4 gou1).

A female-role actress is in the processes of applying her markup: spreading a creamy. foundation on her cheeks and forehead; putting blusher on her cheeks, eyelids and both sides of the nose; darling her eyebrows and drawing eye-lines and eye-shadows; pasting hairpieces around her face to create an oval-shaped look; lipstick has been put on prior to this; placing hairpins on the hairpiece.

Actors are given temporary facelifts by holding the skin up with a ribbon on the back of the head. This lifts the corners of the eyes, producing an authoritative look.

Each role has its own style of make-up: the clown has a large white spot in the middle of his face, for example. A sick character has a thin red line pointing upwards in between his eyebrows. Aggressive and frustrated character roles often have an arrow shape fading into the forehead in between the eyebrows (英雄脂; jing1 hung4 zi1).

Strong male characters wear "open face" (開面; hoi1 min4) makeup. Each character's makeup has its own distinct characteristics, with symbolic patterns and coloration.

Costumes

Costumes correspond to the theme of the play and indicate the character being portrayed. Costumes also indicate the status of the characters. Lower-status characters, such as females, wear less elaborate dresses, while those of higher rank have more decorative costumes.

Prominent performers () listed above, playing the six main characters (generally a combination of 2 Sang, 2 Daan, Zing, and Cau), are usually supposed to pay for their own costumes. Over time, these performers would reinvest their income into their wardrobe which would give an indication of their success. A performer's wardrobe would be either sold or passed on to another performer upon retirement.

To career performers, sequin costumes are essential for festive performances at various "Bamboo Theatres" (). These costumes, passed from generation to generation of career performers, are priceless according to some art collectors. With time, the materials used for the costumes changed. From the 1950s to the 1960s, sequins were the most prevalent material used for designing the costumes. Nowadays, designers tends to use rhinestones or foil fabric (). Compared to sequins, rhinestones and foil fabric are lighter. However, many older generation performers continue to use sequins and they regard them as more eye-catching on stage.

Most of the costumes in Cantonese Opera come from traditional design. Since costume design is largely taught through apprenticeships, costume design remains largely constant. Some designers are taught the skill from family members, inheriting a particular style.

In 1973, Yam Kim Fai gave Loong Kim Sang, her protégée, the complete set of sequin costumes needed for career debut leading her own commercial performance at Chinese New Year Bamboo Theatre.

Some costumes from famous performers, such as Lam Kar Sing and Ng Kwun-Lai, are on loan or donation to the Hong Kong Heritage Museum.

Hairstyle, hats, and helmets

Hats and helmets signify social status, age and capability: scholars and officials wear black hats with wings on either side; generals wear helmets with pheasants' tail feathers; soldiers wear ordinary hats, and kings wear crowns. Queens or princesses have jeweled helmets. If a hat or helmet is removed, this indicates the character is exhausted, frustrated, or ready to surrender.

Hairstyles can express a character's emotions: warriors express their sadness at losing a battle by swinging their ponytails. For the female roles, buns indicated a maiden, while a married woman has a 'dai tau' ().

In the Three Kingdoms legends, Zhao Yun and especially Lü Bu are very frequently depicted wearing helmets with pheasants' tail feathers; this originates with Cantonese opera, not with the military costumes of their era, although it's a convention that was in place by the Qing Dynasty or earlier.

Aural elements

Speech types
Commentators draw an essential distinction between sung and spoken text, although the boundary is a troublesome one.
Speech-types are of a wide variety: one is nearly identical to standard conversational Cantonese, while another is a very smooth and refined delivery of a passage of poetry; some have one form or another of instrumental accompaniment while others have none; and some serve fairly specific functions, while others are more widely adaptable to variety of dramatic needs.

Cantonese opera uses Mandarin or Guān Huà (Cantonese: Gun1 Waa6/2) when actors are involved with government, monarchy, or military. It also obscures words that are taboo or profane from the audience. The actor may choose to speak any dialect of Mandarin, but the ancient Zhōngzhōu () variant is mainly used in Cantonese opera. Zhōngzhōu is located in the modern-day Henan province where it is considered the "cradle of Chinese civilization" and near the Yellow River.  retains many of the initial sounds of many modern Mandarin dialects, but uses initials and codas from Middle Chinese. For example, the words  and  are both pronounced as /tsœːŋ˥˥/ () in Modern Cantonese, but will respectively be spoken as /tʂɑŋ˥˥/ () and /tɕiɑŋ˥˥/ () in operatic . Furthermore, the word  is pronounced as /kɐm˥˥/ () in modern Cantonese and /tɕin˥˥/ () in standard Mandarin, but operatic Guān Huà will use /kim˥˥/ (). However, actors tend to use Cantonese sounds when speaking Mandarin. For instance, the command for "to leave" is  and is articulated as /saː˨˨ tsʰɵy˧˧/ in operatic Guān Huà compared to /haː˨˨ hɵy˧˧ / () in modern Cantonese and /ɕi̯ɑ˥˩ tɕʰy˩/ () in standard Mandarin.

Music

Cantonese opera pieces are classified either as "theatrical" or "singing stage" (). The theatrical style of music is further classified into western music () and Chinese music (). While the "singing stage" style is always Western music, the theatrical style can be Chinese or western music. The "four great male vocals" () were all actresses and notable exponents of the "singing stage" style in the early 20th century.

The western music in Cantonese opera is accompanied by strings, woodwinds, brass plus electrified instruments. Lyrics are written to fit the play's melodies, although one song can contain multiple melodies, performers being able to add their own elements. Whether a song is well performed depends on the performers' own emotional involvement and ability.

Musical instruments

Cantonese instrumental music was called ching yam before the People's Republic was established in 1949. Cantonese instrumental tunes have been used in Cantonese opera, either as incidental instrumental music or as fixed tunes to which new texts were composed, since the 1930s.

The use of instruments in Cantonese opera is influenced by both western and eastern cultures. The reason for this is that Canton was one of the earliest places in China to establish trade relationships with the western civilizations. In addition, Hong Kong was under heavy western influence when it was a British colony. These factors contributed to the observed western elements in Cantonese opera.

For instance, the use of erhu (two string bowed fiddle), saxophones, guitars and the congas have demonstrated how diversified the musical instruments in Cantonese operas are.

The musical instruments are mainly divided into melodic and percussive types.

Traditional musical instruments used in Cantonese opera include wind, strings and percussion. The winds and strings encompass erhu, gaohu, yehu, yangqin, pipa, dizi, and houguan, while the percussion comprises many different drums and cymbals. The percussion controls the overall rhythm and pace of the music, while the gaohu leads the orchestra. A more martial style features the use of the suona.

The instrumental ensemble of Cantonese opera is composed of two sections: the melody section and the percussion section. The percussion section has its own vast body of musical materials, generally called lo gu dim () or simply lo gu (). These 'percussion patterns' serve a variety of specific functions.

To see the pictures and listen to the sounds of the instruments, visit
page 1 and page 2.

Terms
This is a list of frequently used terms.
Pheasant feathers (雉雞尾; Cantonese: Ci4 Gai1 Mei5)
These are attached to the helmet in mou (武) plays, and are used to express the character's skills and expressions. They are worn by both male and female characters.
Water sleeves (水袖; Cantonese: Seoi2 Zau6)
These are long flowing sleeves that can be flicked and waved like water, used to facilitate emotive gestures and expressive effects by both males and females in man (文) plays.
Hand Movements (手動作; Cantonese: Sau2 Dung6 Zok3)
Hand and finger movements reflect the music as well as the action of the play. Females hold their hands in the elegant "lotus" form (荷花手; Cantonese: Ho4 Faa1 Sau2).
Round Table/Walking (圓臺 or 圓台; Cantonese: Jyun4 Toi4)
A basic feature of Cantonese opera, the walking movement is one of the most difficult to master. Females take very small steps and lift the body to give a detached feel. Male actors take larger steps, which implies travelling great distances. The actors glide across the stage while the upper body is not moving.
Boots (高靴; Cantonese: Gou1 Hœ1)
These are black boots with high white soles worn by males, which can impede walking.
Gwo Wai (過位; Cantonese: Gwo3 Wai6/2)
This is a movement in which two performers move in a cross-over fashion to opposite sides of the stage.
Deoi Muk (對目; Cantonese: Deoi3 Muk6)
In this movement, two performers walk in a circle facing each other and then go back to their original positions.
"Pulling the Mountains"' (拉山; Cantonese: Laai1 Saan1) and "Cloud Hands" (雲手; Cantonese: Wan4 Sau2)
These are the basic movements of the hands and arms. This is the MOST important basic movement in ALL Chinese Operas.  ALL other movements and skills are based on this form.
Outward Step (出步; Cantonese: Ceot1 Bou6)
This is a gliding effect used in walking.
Small Jump (小跳; Cantonese: Siu2 Tiu3)
Most common in mou (武) plays, the actor stamps before walking.
Flying Leg (飛腿; Cantonese: Fei1 Teoi2)
A crescent kick.
Hair-flinging (旋水髮; Cantonese: Syun4 Seoi2 Faat3)
A circular swinging of the ponytail, expressing extreme sadness and frustration.
Chestbuckle/ Flower (繡花; Cantonese: Sau3 Faa1)
A flower-shaped decoration worn on the chest. A red flower on the male signifies that he is engaged.
Horsewhip (馬鞭; Cantonese: Maa5 Bin1)
Performers swing a whip and walk to imitate riding a horse.
Sifu (師傅; Cantonese: Si1 Fu6/2)
Literally, master, this is a formal term, contrary to mentor, for experienced performers and teachers, from whom their own apprentices, other students and young performers learn and follow as disciples.

See also
 Cantopop
 Red Boat Opera Company
 Music of China
 Music of Hong Kong
 Culture of Hong Kong
 Hong Kong Heritage Museum
 Chinese Artists Association of Hong Kong

References

External links

Bay Area Cantonese Opera
More Cantonese Opera Artists
Can You Hear Me?: The Female Voice and Cantonese Opera in the San Francisco Bay Area at The Scholar and Feminist Online (via archive.org) (original at barnard.edu)

Culture of Hong Kong
Intangible Cultural Heritage of Humanity

Cantonese opera


ඓතිහාසික පොලොන්නරුව නගරයේ ශිව දෙවියන් සදහා ඉදි කල ශිව දේවාල කිහිපයක් දැකගත හැකිවේ. අනුරාධපුර යුගයට පසු ලක්දිව බලයට පත් චෝලයන් විසින් තම ආගමික ඕනෑ එපාකම් සදහා මේ හින්දු ආගමික ගොඩනැගීම් කළහ.

ශිව දේවාලය I

මෙම ශිව දේවාලයෙහි පැරණි නාමය සහ නිර්මාපකයා අවිනිශ්චිත වේ. කෙසේ නමුදු දැකගත හැකි වාස්තු ලක්ෂණ අනූව මෙම නිර්මාණය 13 වන සියවසේ පමණ ඉදිකරන ලද්දක් සේ සැළකේ.

දේවාලය රාජකීය ඇතුල් නගරය හා දළදා මළුව අතර පිහිටා ඇත. මෙහි ගර්භ කොටස තුල දැකගත හැකි ශෙෙලමය ශිව ලිංගය ප්‍රධානතම පූජා වස්තුව වේ. මෙම දේවාලයේ ගොඩනැගිලි සැරසිලි අතර අත් කිසිම තැනක හමු නොවන තියුණු දත් විහිදා සිටින කැරකුණු අන් සහිත සත්ව රූපයක් දක්නට ඇත. කළුගල් මාද්‍ය කොට ගෙන ඉදිකොට ඇති මෙම ගොඩනැගිල්ල හින්දු ගෘහ නිර්මාණ ශිල්පය පිලිබදව තොරතුරු හෙළි කරයි. මෙම නිර්මාණය චෝළ වාස්තු විද්‍යාවට අනුව ඔවුන්ගේ උවමනාවට ඉදිකර නිමවා ඇත. හොදින්ම ආරක්ෂා වී ඇති පැරණිතම ශිව දේවාල ගොඩනැගිල්ල ලෙස මෙය හැදින්විය හැක. මෙය රන්කොත් වෙර දෙසට වැටී ඇති මාර්ගයේ මැණික් වෙහෙරට ආසන්නයේ පිහිට ඇත.

ශිව දේවාලය II

ශිව දේවාල අංක 2 ගොඩනැගිල්ල පොළොන්නරුව පෞරාණික නගරය තුල දැකගත හැකි පැරණිම ගොඩනැගිල්ලක් සේ සැළකේ. මෙය මාදේවි ඉසාර මුදියර් දේවිය සිහිවීම පිණිස ඇගේ පුත් රාජේන්ද්‍ර රජ විසින් ක්‍රි.ව. 1015-1044 කාලයේදී තනවන ලද බව ද්‍රවිඩ අක්ෂර සහිත සෙල් ලිපියෙන් සනාථ වේ. පාණ්ඩ ගෘහ නිර්මාණ ශිල්පය අනුව සොලින් විසින් ශිව දේවාලය ඉදි කළ බවට සාක්ෂි හමුවේ.

ශිව දේවාලය VI

පිටත නගරයේ උතුරු ද්වාරය ආසන්නයේ, විෂ්ණු හා ගණපති දේවාල සමීපයේ මෙම ශිව දේවාලය ඉදිකොට තිබේ.

මූලාශ්‍ර
හැඳින්වීම් පුවරුව - ශ්‍රී ලංකා පුරාවිද්‍යා දෙපාර්තමේන්තුව

දේවාල
පොළොන්නරුව දිස්ත්‍රික්කයේ හින්දු සිද්ධස්ථාන
පොළොන්නරුව දිස්ත්‍රික්කයේ පුරාවිද්‍යා ආරක්‍ෂිත ස්මාරක

පොළොන්නරුව ශිව දේවාල


Doguérawa (auch: Dogaraoua, Dogéraoua, Doguéraoua) ist eine Landgemeinde im Departement Malbaza in Niger.

Geographie
Doguérawa liegt am Übergang der Großlandschaft Sudan zur Sahelzone und grenzt im Süden an den Nachbarstaat Nigeria. Die Nachbargemeinden in Niger sind Malbaza im Westen, Badaguichiri im Norden, Tama im Nordosten, Galma Koudawatché im Osten und Sabon-Guida im Südosten. Bei den Siedlungen im Gemeindegebiet handelt es sich um 46 Dörfer, 43 Weiler und 4 Lager. Der Hauptort der Landgemeinde ist das Dorf Doguérawa. Es liegt auf einer Höhe von . Weitere größere Dörfer in der Gemeinde sind Galmi, Gounfara und Kawara. Durch das Gemeindegebiet verläuft das Trockental Maggia.

Geschichte
Die französische Kolonialverwaltung richtete Anfang des 20. Jahrhunderts einen Kanton in Doguérawa ein, dessen erster Kantonschef Ibrahim el Dassouki wurde, der vormalige und zu Gunsten seines Sohnes abgesetzte Sultan von Agadez. Der Kanton Doguérawa wurde 1964 dem neu geschaffenen Arrondissement (und späteren Departement) Birni-N'Konni zugeschlagen und erhielt zusätzlich den Status eines Verwaltungspostens (poste administratif) im Gebiet des Arrondissements. Der Verwaltungsposten wurde 1973 nach Malbaza-Usine verlegt, den Industrievorort der Nachbargemeinde Malbaza. Die Landgemeinde Doguérawa ging 2002 bei einer landesweiten Verwaltungsreform aus dem Kanton Doguérawa hervor, aus dem im Zuge dessen Malbaza als eigenständige Landgemeinde herausgelöst wurde. Seit 2011 gehört die Landgemeinde nicht mehr zum Departement Birni-N'Konni, sondern zum neugeschaffenen Departement Malbaza.

Bevölkerung

Bei der Volkszählung 2012 hatte die Landgemeinde 117.975 Einwohner, die in 19.222 Haushalten lebten. Bei der Volkszählung 2001 betrug die Einwohnerzahl 82.794 in 13.957 Haushalten.

Im Hauptort lebten bei der Volkszählung 2012 8673 Einwohner in 1553 Haushalten, bei der Volkszählung 2001 7188 in 1216 Haushalten und bei der Volkszählung 1988 3794 in 619 Haushalten.

Politik
Der Gemeinderat (conseil municipal) hat 25 gewählte Mitglieder. Mit den Kommunalwahlen 2020 sind die Sitze im Gemeinderat wie folgt verteilt: 14 PNDS-Tarayya, 4 ADR-Mahita, 3 RANAA, 2 PJP-Génération Doubara, 1 MODEN-FA Lumana Africa und 1 MPN-Kiishin Kassa.

Jeweils ein traditioneller Ortsvorsteher (chef traditionnel) steht an der Spitze von 44 Dörfern in der Gemeinde, darunter dem Hauptort.

Wirtschaft und Infrastruktur
Die Gemeinde liegt in jener schmalen Zone entlang der Grenze zu Nigeria, die von Tounouga im Westen bis Malawa im Osten reicht und in der Bewässerungsfeldwirtschaft für Cash Crops betrieben wird. In den 1960er Jahren wurden die Kawara-Talsperre und die Mouléla-Talsperre, in den 1970er Jahren die Guidan-Magagi-Talsperre und in den 1980er Jahren die Guidan-Kodidi-Talsperre errichtet. Im Dorf Galmi befindet sich ein bedeutender Markt für Zwiebeln, die bis nach Niamey, Burkina Faso, Nigeria und der Elfenbeinküste verkauft werden. Der erstmals 1975 gezüchtete Violet de Galmi gilt als eine der bekanntesten Zwiebelsorten Westafrikas. Das staatliche Versorgungszentrum für landwirtschaftliche Betriebsmittel und Materialien (CAIMA) unterhält eine Verkaufsstelle im Hauptort.

Gesundheitszentren des Typs Centre de Santé Intégré (CSI) sind im Hauptort sowie in den Siedlungen Galmi, Gounfara, Kawara und Sabonga vorhanden. Das Gesundheitszentrum im Hauptort verfügt über ein eigenes Labor und eine Entbindungsstation. Die christliche Missionsorganisation Serving In Mission (SIM) betreibt in Galmi ein Privatkrankenhaus. Der CEG Doguérawa und der CEG Galmi sind allgemein bildende Schulen der Sekundarstufe des Typs Collège d'Enseignement Général (CEG). Beim Centre de Formation aux Métiers de Doguérawa (CFM Doguérawa) handelt es sich um ein Berufsausbildungszentrum.

Doguérawa liegt an der Nationalstraße 1, die hier Teil der internationalen Fernstraße Dakar-N'Djamena-Highway ist.

Persönlichkeiten
 Sani Magori (* 1971), Filmregisseur

Literatur

Weblinks

 Observations for location Dogueraoua. In: West African Bird DataBase (englisch).

Einzelnachweise

Ort in Niger
Tahoua (Region)
Ort in Afrika

Doguérawa


An Neottia taibaishanensis in uska species han Liliopsida nga ginhulagway ni P.H.Yang ngan Kai Yung Lang. An Neottia taibaishanensis in nahilalakip ha genus nga Neottia, ngan familia nga Orchidaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Neottia

Neottia taibaishanensis


Storakalsøy er en ø i Austevoll i Vestland fylke i Norge. Øen har 167 indbyggere og Bakkasund er den største bygd på øen. Her er  butik og en lille havn. Der er broforbindelse til Hundvåkøy. Vest for øen ligger Marstein fyr. Arealet er 6 km².

Navnet Storakalsøy blev fastsat i 1978. Navneformerne Storakalsøy og Stora Kalsøya er foreslået.

Referenser

Austevoll
Øer i Vestland

Storekalsøy


Hawkeye may refer to:

Places

United States
 Hawkeye, Iowa, a city
 Hawkeye, Kansas, a small settlement in Kansas
 Hawkeye, Missouri, an unincorporated community
 Hawkeye Point, the highest natural point in Iowa
 Iowa, a state nicknamed the "Hawkeye State"

Arts and entertainment

Book and comic characters
 Natty Bumppo or Hawkeye, a character in James Fenimore Cooper's 1826 novel The Last of the Mohicans: A Narrative of 1757
 Hawkeye (Clint Barton), the first Marvel Comics character to use the name
 Hawkeye (Kate Bishop), the second Marvel Comics character to use the name
 One of the main characters in the Hawkeye Collins and Amy Adams, children's book series
 An agent of The Shadow
 Riza Hawkeye, a character in Fullmetal Alchemist
 Dracule "Hawkeye" Mihawk, a character in One Piece
 Hawkeye Pierce, a character in Richard Hooker's 1968 novel MASH: A Novel About Three Army Doctors

Film and television
 Hawkeye (film), a 1988 action film starring George Chung
 Hawkeye (TV series), focusing on the Natty Bumppo character
 Hawkeye (miniseries), centered on the Marvel Comics character
 Benjamin Franklin "Hawkeye" Pierce, one of the main characters in the M* A* S* H franchise
 Hawkeye (M*A*S*H episode), an episode of the TV series

Video games
 Hawkeye (Seiken Densetsu 3), a character in Seiken Densetsu 3
 Hawkeye, a SAM vehicle in Military Madness: Nectaris
 Hawkeye, a character in Fire Emblem: The Blazing Blade

Music
 "Hawkeye", an instrumental on the 1985 Alan Parsons Project album Vulture Culture

Nickname
 Hockey Driscoll (1876–?), Hawkeye pronounced Hockey, or Ockey, rugby union and rugby league footballer who played in the 1890s and 1900s
 Dragutin Matić (1888-1970), nicknamed Hawkeye (Serbian Cyrillic: Oko соколово), most famous Serbian scout in two Balkan Wars and the First World War.
 Giora Epstein (born 1938), retired colonel in the Israeli Air Force
 Monty "Hawkeye" Henson (born 1953), American three-time world champion saddle bronc rider
 Kenneth Lee (RAF) (1915–2008), British Second World War flying ace
 Timber Hawkeye (born 1977), author of Buddhist Boot Camp
 Tom Webster (ice hockey) (born 1948), Canadian National Hockey League and World Hockey Association retired player and coach
 Charles Whitney (born 1957), American former professional basketball player and convicted kidnapper
 Jack Womer (1917–2013), decorated American World War II veteran and a member of the Filthy Thirteen

Other uses
 Northrop Grumman E-2 Hawkeye, a US Navy early warning aircraft
 The Hawk Eye, a newspaper in Burlington, Iowa
 Hawkeye (brand), a professional videocassette brand
 Hawkeye (spirits), a brand of liquor sold by Luxco
 Hawkeye Transfer Company Warehouse, listed on the National Register of Historic Places in Polk County, Iowa
 Red Delicious or Hawkeye apple, a type of apple
 Iowa Hawkeyes, sports teams of the University of Iowa
 Hawkeye Open, a golf tournament in Iowa City, Iowa, from 1991 to 1993
 Hawkeye Community College, a community college, with its main campus located just outside Waterloo, Iowa
 Ruger Hawkeye, a single-shot pistol
 Ruger M77, a bolt-action rifle

See also
 Hawk-Eye, a tracking system used in cricket, Gaelic football, hurling, tennis and other sports
 Hawkeye State, a nickname for the state of Iowa
 The Hawkeye Initiative, a Tumblr page that places the fictional comic character Hawkeye in poses held by female characters
 Hawk's Eye (Sailor Moon), a member of the Amazon Trio in the Sailor Moon series
 Hawk's eye, a gemstone which is a variant of Tiger's Eye

Hawkeye


Takuya Muguruma (født 13. juni 1984) er en tidligere japansk fodboldspiller.

Han har spillet for flere forskellige klubber i sin karriere, herunder Kyoto Purple Sanga, Albirex Niigata og Tokushima Vortis.

Eksterne henvisninger

Fodboldspillere fra Japan

Takuya Muguruma


Martha Warren Beckwith (Wellesley, Massachusetts, 19. siječnja 1871. — 28. siječnja 1959.) bila je američka etnografkinja. Njezino je najpoznatije djelo knjiga Hawaiian Mythology, u kojoj je opisala havajsku mitologiju.

Djela
Folk-Games of Jamaica
Black Roadways: A Study of Jamaican Folk Life
Polynesian Analogues to the Celtic Other-World and Fairy Mistress Themes
Jamaica Anansi Stories
Jamaica Proverbs
Notes on Jamaican Ethnobotany
Jamaica Folk-Lore
Myths and Hunting Stories of the Mandan and Hidatsa Sioux
Mandan-Hidatsa Myths and Ceremonies
Hawaiian Mythology
The Kumulipo: A Hawaiian Creation Chant

Izvori i bilješke

Etnografi
Američki antropolozi

Martha Warren Beckwith


Horovce este o comună slovacă, aflată în districtul Púchov din regiunea Trenčín. Localitatea se află la , se întinde pe o suprafață de  și în 2017 număra 837 de locuitori.

Istoric
Localitatea Horovce este atestată documentar din 1259.

Note

Legături externe

Localități din Slovacia

Horovce, Púchov


مجزئ الجهد هو دائرة كهربية مكونة من عدة مقاومات موصولة على التوالي، ويمكن بواسطتها تجزئة الجهد الكهربي بحيث أن يكون الجهد الخارج، جزءا من الجهد الداخل.

أبسط نوع من مجزئات الجهد يتكون من مقاومتين موصولتين على التوالي. وقد يستخدم كمهدئ للإشارات عند الترددات المنخفضة.

حساب الجهد
من أجل حساب الجهد U2 عبر R2 نبدأ بحساب المقاومة الكلية :

وطبقا لقاعدة التوصيل على التوالي يكون التيار I المار في كلتا المقاومتين متساويا:

وبذلك نحصل على الجهد U2:

وبالمثل نحصل على الجهد U1:

إذن يمكننا كتابة العلاقة بين U2 و U<sub> .

تعميم
في حالة ثلاث مقاومات أوأكثر، كلها مركبة على التوالي، يحسب الجهد الكهربائي Un بين طرفي مقاومة معينة Rn بالعلاقة التالية:

حيث يمثل U الجهد الكلي المطبق على كافة المقاومات.

انظر أيضاً
 مجزئ التيار
 قنطرة وهيتستون
 قنطرة ماكسويل
 مبرهنة ميلمان
 مهدئ (إلكتروني)

مراجع

جهد كهربائي
دارات تشابهية
دارة كهربائية
كهرباء

مجزئ الجهد


Ivan Novak, hrvatski malonogometni sudac i sudac dvoranskog nogometa
Pet je puta uzastopce bio sudački instruktor i kontrolor sudaca na završnim turnirima europskog prvenstva u dvoranskom nogometu.

Izvori

Hrvatski malonogometni suci

Ivan Novak (malonogometni sudac)


كنيسة الشحّارة أو كنيسة سيّدة البشارة نسبة إلى السيدة العذراء، وتلقّب الكنيسة العجائبية المقدسة هي كنيسة سوريّة تاريخية تقع في بلدة المزينة في وادي النصارى بريف حمص الغربي. تتضمن «كنيسة الشحارة» ثلاث كنائس واحدة أثرية وكنيستان حديثتان، إحداهما تحوي صالة استقبال كبيرة، إضافة إلى دار مسنين، وحضانة أطفال، وتتبع لها عدة أنشطة مثل الكشافة وغيرها. تعتبر الكنيسة مقصداً لأبناء القرية في المهجر وللمسيحيين السوريين عموماً بحكم أهميتها التاريخية والدينية.

تحتفل الكنيسة بعيد البشارة في 25 آذار، وعيد رقاد السّيدة العذراء في 15 آب إذ تعد مريم العذراء شفيعة هذه الكنيسة. الكنيسة مبنية من حجارة المنطقة البازلتّية السّوداء وتحوي على بعض الأواني المقّدسة التي ترجع إلى عام 1814، وبعض الأيقونات التي ترجع إلى عام1861، وأمّا بقايا الأيقونسطاس الخشبيّ المحفور قديمًا فهو يعود إلى عام 1889م. وتحوي الكنيسة اليوم جرن معمودية ومائدة مقدسة وأيقونسطاس من الحجر البازلتي المحفور بطريقة مزخرفة تحاكي النمط المتبع في بناء الكنائس التاريخية في سوريا.

التاريخ القديم
سّميت ب(الشّحّارة) نسبةَ إلى قرية قديمة اسمها الشّحّارة تقع الكنيسة القديمة في وسطها (وهذا ما تؤكده الكتابة الموجودة على اللوحة الأثرية الفضية العائدة لعام 1814) وهي قريبة من قرية المزينّة التّي بنيت على الهضبة. وقد اندثرت هذه القرية ولم يبق من آثارها سوى هذه الكنيسة، وطاحون الشحارة، وبعض آثار البيوت والمقابر المتعددة حول القرية المندثرة. لا توجد أي أدلة على تاريخ بناء الكنيسة، لكنها تعود إلى أكثر من ألف عام تقريباً.

تاريخ الكنيسة الحديث
في السبعينّيات من القرن الماضي ازداد سكان قرية المزينة عددًا، ونمت الكنيسة روحيًّا ومعماريًّا فشيـّدت كنيسة متّسعة ملاصقة للكنيسة القديمة.
وفي العامين 2004-2005 تمَّ ترميم الكنيسة القديمة من الدّاخل ومن الخارج بإشراف الكاهن بطرس حزوري الموقر. يأخذ البناء شكلًا أنبوبّيًا ويبلغ طول الكنيسة من الدّاخل 15م وعرضها 5.5 م، وطولها من الخارج 20م وعرضها10م. وقد أعيدت أثناء التّرميم إلى شكلها القديم حيث أزيل الإسمنت والطلاء عن الجدران، ونظفت حجارتها وكحّلت بشكل مدروس لتكون باقية على شكلها القديم التراثي. بعد اكتمال التّرميم وإزالة المظاهر الحديثة، عادت الكنيسة إلى صورتها الأثرية.
ومؤخرًا تم وضع حجر الأساس لبناء مجمع البشارة من جهود المتبرعين الذي يحوي على دار للمسنين وحضانة القديس يوحنا الروسي وعلى كنيسة القديس اسبيريدون التي تم افتتاحها عام 2017 وصالة لاستقبال التعازي وتخديم الرعية بكافة الميادين ومركزًا للمخيمات تستقبل الكنيسة زوّارها على مدار الأسبوع وفق أوقات معيّنة.

قصص روحانية
في العشرينيّات من القرن العشرين وما تلاها حَدَثَ فيها الكثير من العجائب والأحداث الموثّقة على مرأىً من شهود عيان كظهور النّور من الكنيسة، وحمايتها لأبناء القرية المهدّدين بالغزو والمضايقات والأسفار، والكثير من الأمور والأحداث العجائبية المدونة في نشرة البطريركية 1956، وبعد ذلك في حرب 67 سمعت فيها صلوات وأصوات ملائكية لم يتبين مصدرها بعد ذلك عجائب وغرائب في تاريخ هذة الكنيسة المقدسة.

مراجع

كنائس في سوريا
وادي النصارى

كنيسة الشحارة


الهندسة الرياضية الرقمية هي فرع الهندسة الرياضية التي تتعامل مع المجموعات المتقطعة (غالباً مجموعات نقاط متقطعة)، مثلاً النماذج الرقمية أو الصور الرقمية في الفضاء الإقليدي ثنائي البعد أو ثلاثي البعد.

وبشكل بسيط فإن التحويل الرقمي  هي عملية يتم فيها استبدال الأجسام بمجموعة من النقاط المنفصلة، مثلاً الصور التي نراها على الشاشة، أو الصور المطبوعة في الصحيفة هي جميعها نماذج رقمية متقطعة إلى عناصر نقطية.

تطبيقات
من أبرز تطبيقات الهندسة الرياضية الرقمية في الرسوميات الحاسوبية وتحليل الصور.

مراجع

هندسة رياضية رقمية


مارغو في العرس (بالإنجليزية: Margot at the Wedding) فيلم تراجيدي - كوميدي أمريكي من تأليف وإخراج نوا بومباش وبطولة نيكول كيدمان، من إنتاج عام 2007.

مارغو (نيكول كيدمان) كاتبة قصص قصيرة تصل مع ابنها إلى بيت الطفولة التي تشغله حالياً شقيقتها بولين (جينيفر لايسون ليغ)، وتكون هذه الأخيرة في صدد إعداد زفافها مع خطيبها العاطل عن العمل مالكوم (جاك بلاك). تقوم جميع هذه الشخصيات التي تجد نفسها في وضع غير مريح باستغلال الوضع لتصفية جميع الحسابات القديمة فيما بينها مسببة الألم أحياناً الواحدة تجاه الأخرى. ولكن مع نهاية الفيلم ينكشف فيها الجانب الإنساني الضعيف المثير للشفقة والذي يتشاطره جميع البشر.

تمثيل
 نيكول كيدمان في دور مارغو
 جينيفر لايسون ليغ في دور بولين
 جاك بلاك في دور مالكوم
 زان بي في دور كلود
 جون تورتورو في دور جيم
 كياران هيندس في دور ديك كوسمان
 فلورا كروس في دور أنغريد
 سيث باريش في دور توبي
 هالي فييفير بدور ميزي كوسمان

مراجع

وصلات خارجية

 الموقع الرسمي للفيلم

أفلام باللغة الإنجليزية في عقد 2000
أفلام أخرجها نواه باومباخ
أفلام أمريكية
أفلام أمريكية في عقد 2000
أفلام إنتاج 2007
أفلام باراماونت فانتاج
أفلام باللغة الإنجليزية
أفلام دراما كوميدية أمريكية
أفلام عن أخوات
أفلام عن الأسر المفككة
أفلام عن مؤلفين
أفلام مستقلة 2007
أفلام من إنتاج سكوت رودين
اضطراب الشخصية الحدي في الخيال

مارغو في العرس (فيلم)


Lempira is one of the 18 departments in Honduras. located in the western part of the country, it is bordered by the departments of Ocotepeque and Copán to the west, Intibucá to the east, and Santa Bárbara to the north. To its south lies the El Salvador–Honduras border. The departmental capital is Gracias.

It was named Gracias department until 1943. In colonial times, Gracias was an early important administrative center for the Spaniards. It eventually lost importance to Antigua, in Guatemala.

Lempira is a rugged department, and it is relatively isolated from the rest of the country. The highest mountain peak in Honduras, Cerro las Minas, is in Lempira. The department was named after Lempira, a local chieftain of the Lenca people who fought against the Spanish conquistadores in the early 16th century. Opals are mined near the town of Erandique.

The department covers a total surface area of 4,290 km². In 2005, had an estimated population of 277,910.

Municipalities

 Belén
 Candelaria
 Cololaca
 Erandique
 Gracias
 Gualcince
 Guarita
 La Campa
 La Iguala
 Las Flores
 La Unión
 La Virtud
 Lepaera
 Mapulaca
 Piraera
 San Andrés
 San Francisco
 San Juan Guarita
 San Manuel Colohete
 San Marcos de Caiquín
 San Rafael
 San Sebastián
 Santa Cruz
 Talgua
 Tambla
 Tomalá
 Valladolid
 Virginia

Notes

References

Departments of Honduras

Lempira Department


This article lists the winners and nominees for the NAACP Image Award for Outstanding Actor in a Drama Series. The award was first given in 1972. Not to be confused with the Award for Outstanding Actor in a Television Movie, Mini-Series or Dramatic Special. Currently, LL Cool J holds the record for most wins in the category with four.

Winners and nominees
Winners are listed first and highlighted in bold.

1970s

1980s

1990s

2000s

2010s

2020s

Multiple wins and nominations

Wins

 4 wins
 LL Cool J

 3 wins
 Hill Harper
 Eriq La Salle
 Blair Underwood
 Malik Yoba
 Omari Hardwick

 2 wins
 Sterling K. Brown
 Isaiah Washington
 Howard Rollins

Nominations

 9 nominations
 Hill Harper

 8 nominations
 André Braugher

 7 nominations
 Eriq La Salle
 LL Cool J
 Jesse L. Martin

 6 nominations
 Sterling K. Brown
 Steve Harris
 Omari Hardwick

 5 nominations
 Dennis Haysbert
 Kofi Siriboe
 Blair Underwood

 4 nominations
 Anthony Anderson
 Taye Diggs
 Yaphet Kotto
 Wendell Pierce

 3 nominations
 Omar Epps
 Terrence Howard
 Malik Yoba

 2 nominations
 Michael Beach
 Avery Brooks
 Mike Colter
 Keith David
 Gary Dourdan
 Laurence Fishburne
 Shemar Moore
 Billy Porter
 Isaiah Washington
 Forest Whitaker

References

Outstanding Actor in a Drama Series


A 119.ª edição da clássica de ciclismo Paris-Roubaix foi uma competição na França que se celebrou a 17 de abril de 2022 sobre um percurso de 257,2 quilómetros entre a cidade francesa de Compiègne e velódromo do município de Roubaix.

A corrida fez parte do UCI WorldTour de 2022, calendário ciclístico de máximo nível mundial, sendo a décimo quinta corrida de dito circuito e foi vencida pelo neerlandês Dylan van Baarle do Ineos Grenadiers. Completaram o pódio, como segundo e terceiro classificado respectivamente, o belga Wout van Aert do Jumbo-Visma e o suíço Stefan Küng do Groupama-FDJ.

Equipas participantes
Tomaram parte na corrida 25 equipas: 18 de categoria UCI WorldTeam e 7 de categoria UCI ProTeam convidados pela organização. Formaram assim um pelotão de 170 ciclistas dos quais finalizaram 107. As equipas participantes foram:

Classificação final
 ''A classificação finalizou da seguinte forma:

Classificação geral

Ciclistas participantes e posições finais

Convenções:
 AB-N: Abandono na corrida
 FLT-N: Retiro por chegada fora do limite de tempo na corrida
 NTS-N: Não tomou a saída para a corrida
 DES-N: Desclassificado ou expulsado na corrida

UCI World Ranking
A Paris-Roubaix outorgou pontos para o UCI World Ranking para corredores das equipas nas categorias UCI WorldTeam, UCI ProTeam e Continental. As seguintes tabelas são o barómetro de pontuação e os dez corredores que obtiveram mais pontos:

Referências

Ligações externas
 Página oficial

UCI WorldTour de 2022
2022
Desporto na França em 2022

Paris-Roubaix de 2022


ලලිත් යනුවෙන් හැඳින්වෙන්නේ හින්දුස්තානී ශාස්ත්‍රීය සංගීතය තුළ හමුවන ප්‍රමුඛ රාගයකි. මෙය අරුණෝදයෙහි වැයෙන භක්තිය හා සම්බන්ධ රාගයක් ලෙස සැළකේ.

ආශ්‍රේයයන්

බාහිර සබැඳි
 More details about the Lalit raga

හින්දුස්තානී රාග

ලලිත් (රාගය)


Lumière ve Ortakları (Lumière et compagnie), aralarında Yimou Zhang, Theo Angelopoulos, Abbas Kiarostami, David Lynch, Michael Haneke, Arthur Penn, Constantin Costa-Gavras, Peter Greenaway ve Merchant-Ivory'nin de bulunduğu 40 çağdaş yönetmenin çektiği bir kısa film derlemesidir.

Bu sinemacıların hepsi, Lumière kardeşlerin elden geçirilmiş bir kamerasını kullanarak kendi "Lumière" filmlerini çektiler. Bu kısa filmler her ne kadar tamamen farklı mekanlar, yaklaşımlar ve üsluplar sunsa da, hepsi de bir Lumière filminden bir noktaya değiniyor. Bu "Lumière" tarzı sekansların aralarında ise yönetmen Sarah Moon'un çektiği, sinemanın ataları ile bugünkü kâşiflerini etkili bir şekilde bir araya getiren parçalar bulunuyor.

Dış bağlantılar
 sinema.com - Lumière ve Ortakları
 IMDb - Lumière ve Ortakları

1995 çıkışlı filmler
1996 çıkışlı filmler
Auguste ve Louis Lumière
Teodoros Angelopulos'un yönettiği filmler
John Boorman'ın yönettiği filmler
Yusuf Şahin'in yönettiği filmler
Kısa filmler
Bilgi kutusu bulunmayan filmler
Abbas Kiyarüstemi'nin yönettiği filmler
Andrey Konçalovski'nin yönettiği filmler
Arthur Penn'in yönettiği filmler
Claude Lelouch'un yönettiği filmler
Costa-Gavras'ın yönettiği filmler
David Lynch'in yönettiği filmler
Idrissa Ouedraogo'nun yönettiği filmler
Jacques Rivette'in yönettiği filmler
James Ivory'nin yönettiği filmler
Jerry Schatzberg'in yönettiği filmler
Lasse Hallström'ün yönettiği filmler
Michael Haneke'nin yönettiği filmler
Spike Lee'nin yönettiği filmler
Wim Wenders'in yönettiği filmler
Zhang Yimou'nun yönettiği filmler
David Lynch'in senaryosunu yazdığı filmler

Lumiere ve Ortakları


يمونه هي إحدى القرى اللبنانية من قرى قضاء بعلبك في محافظة بعلبك الهرمل. أغلب سكانها هم من المسلمين الشيعة.

تبعد عن بيروت مسافة 113 كلم وتبعد عن بعلبك 31 كلم. وترتفع عن سطح البحر 1370م وتبلغ مساحتها 2952 هكتار وتتميز بالمناظر الطبيعية فيها كبحيرة اليمونه

عدد السكان في يمونة 865 ساكن. ويحتفظ بعض الأهالي في اليمونه بالعديد من المقتنيات القديمة في دلالة واضحة على تعلّقهم الشديد بتراث الأجداد. أهل اليمونه محبون أيضا للعلم وقد برز منهم الشعراء والأساتذة ومدراء المدارس والبنوك والمحامون والقضاة والأطباء والموظفون في السلك الدبلوماسي. وهذا يدل أن عزلة البلدة خلال فصل الشتاء لا تحول دون طلب العلم اذ يقصد معظم أهلها مدينتي بعلبك وبيروت سعيا لاكمال الدراسة أو الدخول الى الجامعة.

المعبد الروماني القديم
يوجد في القرية أطلال معبد روماني (ربما من أصول فينيقية يونانية) و هو مدرج ضمن مجموعة المعابد الرومانية في وادي البقاع. يقال أنه مخصص لكوكب الزهرة (أو ربما أيضًا لعشتروت، قبل العصر الروماني في المنطقة). بقي جزء من جدارين وأساسات المعبد سليمة. تم العثور في موقع المعبد على العديد من النقوش المكتوبة باللغة اللاتينية. كما تم العثور على عدد قليل من النقوش اليونانية القديمة. من المحتمل أن تكون من أصل فينيقي، لكن تم توسيعها وتحسينها بشكل كبير على يد الرومان.
كل ما تبقى من المعبد الروماني اليوم هو جدار استنادي من كتل الحجر الجيري الذي يصل إلى مستوى البحيرة. من المفترض أن تكون هناك غرف تحت الأرض. من المفترض أنها مخصصة لفينوس-عشتروت، تقول الأسطورة أنه عندما شن تايفون حربًا ضد السماء، في اليمونه حولت فينوس نفسها إلى سمكة... وهناك كهف مائي كبير غرب المعبد يملأ البحيرة كل عام، على الرغم من أنه في بعض الأحيان وفي أماكن أخرى قد يبدو جافًا تقريبًا. كانت الفيلات الرومانية الفاخرة تشغل المنطقة الواقعة بين الكهف والمعبد، وتم اكتشاف العديد من المذابح والتماثيل والعناصر الأخرى في مكان قريب.

قام إرنست رينان بزيارة الموقع واكتشف أجزاء من إفريز وأجزاء من قوصرة منسوبة إلى المعبد. كما تم العثور مؤخرًا على قوقعة مكسورة جزئيًا عليها صورة إلهة بأذرع ممدودة أثناء الحرث بواسطة جرار. الاسم القديم لليمونه غير معروف ولكن البعض اقترح أنها كانت في يوم من الأيام موقعًا لمهرجان أدونيس.
يقع المعبد على تلة تبعد حوالي 300 متر (980 قدمًا) من النبع الرئيسي في المنطقة المسمى نبع الأربعين. ويقع بجوار البحيرة حيث يعتبر قدماء المصلين كانوا يحجون من معبد أفقا ليتطهروا في مياه المعبد. عثر ميشيل علوف على تمثال لأدونيس في المعبد، وهو يحمل سنبلة في يد وجعبة وحمل في اليد الأخرى. وقام بتخزين التمثال في متحف أسسه في آثار بعلبك.

كما عثر علوف على طريق روماني يبلغ طوله 200 متر (0.12 ميل)، ويقع على بعد 2 كيلومتر (1.2 ميل) جنوب شرق البحيرة. كما عثر أيضًا على مبنى مربع آخر مساحته حوالي 12 مترًا مربعًا (130 قدمًا مربعًا) بجوار هذا الطريق. تم بناء المبنى من الحجارة الكبيرة وعثر بداخله على نقش يوناني قديم. واعتبرها دار حراسة قديمة أو برج مراقبة لحماية المسافرين. واقترح أن العرافين في المعبد تابعين للملكة زنوبيا، التي تقول الأسطورة إنها أرسلت القرابين إلى الإلهة بوضعها على البحيرة. ثم إذا غاصت القرابين إلى قاع البحيرة، فهذا يعني أن الإلهة قد قبلتها. وإذا طفت القرابين فقد تم رفضها وأعطت نذير شؤم لتدمر والأراضي المحيطة بها.
وثق يوسابيوس أن الإمبراطور قسطنطين دمر معبد فينوس "على قمة جبل لبنان". ومن المحتمل أنه كان هذا المعبد الوثني المخصص لفينوس.

خلال السبعينيات، عاش علي أكبر محتشامبور في اليمونه أثناء تلقيه تدريبًا عسكريًا في معسكر فتح. وشغل فيما بعد عددًا من المناصب العليا في الحكومة الإيرانية. وكتب عن القرية: "رجالهم شجعان ومعظمهم مسلحون… لا يخضعون لسلطة الحكومة ولا يدفعون ثمن الماء والكهرباء. لقد قاتلوا عدة مرات سكان القرى المسيحية المجاورة وانتصروا. إنهم يحبون رجال الدين الشيعة."

جيولوجيا
تقع القرية على خط صدع اليمون، وهو صدع جيولوجي مسؤول عن العديد من الزلازل التاريخية في المنطقة. تم اكتشاف قسم جديد من الصدع في عام 2010م من قبل عطا إلياس من الجامعة الأمريكية في بيروت. حيث درسوا عينات من خندق في مرجاهين مما سيسمح لهم بتحسين التأريخ للزلازل التاريخية والتنبؤ بشكل أفضل بالزلزال المستقبلية.

بحيرة اليمونه
بحيرة اليمون هي موطن للأسماك المستوطنة الوحيدة في لبنان Pseudophoxinus libani . في الأساطير الفينيقية حولت الإلهة عشتروت نفسها إلى سمكة ذهبية في بحيرة اليمون هربًا من انتقام تيفون الغاضب شقيق أدونيس.

تتغذى البحيرة من كهف مائي إلى الغرب من المعبد، وله مجرى واحد فقط يخرج من خلال حفرة كبيرة، واقترح روبرت بولانجر أنها قد تجف تمامًا في نهاية الصيف. ويتجه وادي عيون أرجوش من اليمونه نحو مرجعين.

تخرج شبكة من قنوات الري الصخرية والمجاري المائية من بحيرة اليمونه لتوفير الري لمنطقة وادي البقاع حول بعلبك.

موطن محتمل لإيل
حدد مارفن بوب (جامعة ييل) موطن إيل في النصوص الأوغاريتية حوالي العام 1200 قبل الميلاد, الموصوفة بأنها "عند منبع النهرين, وسط ينابيع الواديين", بالتطابق مع هذا المنبع الشهير لنهر أدونيس واليمونه, وهي بحيرة على الجانب الآخر من الجبل, والذي أكد بوب أنه مرتبط ارتباطًا وثيقًا به في الأسطورة.

محمية اليمونه الطبيعية
تم تصنيف المنطقة كمحمية طبيعية علمية وثقافية منذ عام 1998م وتشتهر بأشجار العرعر المميزة. تشتهر المنطقة بأنها مسار للمشي لمسافات طويلة.

المراجع

أماكن مأهولة في قضاء بعلبك
السياحة في لبنان
تجمعات شيعية في لبنان
عمارة إغريقية
قضاء بعلبك
مبان ومنشآت في اليونان القديمة
محميات طبيعية في لبنان
مدن لبنان
مستعمرات هلنستية
معابد إغريقية
معابد رومانية قديمة
مواقع أثرية رومانية في لبنان
مواقع أثرية في لبنان
مواقع جذب سياحي في لبنان
نزاعات في 2012

اليمونه


Parlamentsvalget i Burma 2015 blev afholdt i Burma den 8. november 2015. Valget finder sted i alle dele af Burma, og omfatter begge Burmas parlamentariske kammer, 330 ud af 440 pladser skal vælges til underhuset(Huset for repræsentanter) og 168 ud af 224 til underhuset(Huset for nationaliteter), resten af pladserne er tildelt militæret i henhold til Burmas valglove.

I 2010 besluttet Burmas militærjunta, som indtil da i 25 år havde holdt på magten, at der skulle være en civil ledet regering. Der var i 2010 valg i Burma, men dette blev erklæret udemokratisk, valget i 2015 betegnes derfor som det første demokratiske valg i 25år.

Valgresultat

Referencer

Politiske valg i Burma
Burma 2015

Parlamentsvalget i Burma 2015


رافال مورافسكي (Rafał Murawski) ، من مواليد 9 أكتوبر 1981 في مالبورك في بولندا ، لاعب كرة قدم بولندي.

يلعب مع نادي ليتش بوزنان منذ عام 2006.

بدأ باللعب مع منتخب بولندا لكرة القدم في عام 2007.

روابط خارجية

مراجع

لاعبو كرة قدم رجالية بولنديون مغتربون
لاعبو كرة قدم رجالية بولنديون
لاعبو كرة قدم رجالية مغتربون في روسيا
أشخاص على قيد الحياة
أشخاص من مالبورك
تتار ليبكا
رياضيون بولنديون مغتربون في روسيا
رياضيون من محافظة بوميرانيا
لاعبو الدوري البولندي الدرجة الثانية
لاعبو الدوري البولندي الممتاز
لاعبو الدوري الروسي الممتاز
لاعبو اميكا فيرونكي
لاعبو أركا غدينيا
لاعبو بطولة أمم أوروبا 2008
لاعبو بطولة أمم أوروبا 2012
لاعبو بوغون شتشين
لاعبو روبين كازان
لاعبو كرة قدم بولنديون
لاعبو كرة قدم بولنديون مغتربون
لاعبو كرة قدم مغتربون في روسيا
لاعبو لخ بوزنان
لاعبو منتخب بولندا لكرة القدم
لاعبو وسط كرة قدم رجالية
مواليد 1981
لاعبو كرة قدم من محافظة بوميرانيا

رافال مورافسكي


Lääne, Estonya'nın batısında, 2,383 km²lik, 30,000 nüfuslu bir ildir. Merkezi Haapsalu'dur.

Şehir Belediyeleri:
 1 Haapsalu

Belde Belediyeleri:
 2 Hanila
 3 Kullamaa
 4 Lihula
 5 Lääne-Nigula
 6 Martna
 7 Noarootsi
 8 Nõva
 9 Ridala
 10 Vormsi

Ayrıca bakınız
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වෝටර් is a 2005 drama film written and directed by Deepa Mehta, with screenplay by Anurag Kashyap. It is set in 1938 and explores the lives of widows at an ashram in Varanasi, India. The film is also the third and final instalment of Mehta's Elements trilogy. It was preceded by Fire (1996) and Earth (1998). Author Bapsi Sidhwa wrote the 2006 novel based upon the film, Water: A Novel, published by Milkweed Press. Sidhwa's earlier novel, Cracking India was the basis for Earth, the second film in the trilogy. Water is a dark introspect into the tales of rural Indian widows in the 1940s and covers controversial subjects such as misogyny and ostracism. The film premiered at the 2005 Toronto International Film Festival, where it was honoured with the Opening Night Gala, and was released across Canada in November of that year. It was first released in India on 9 March 2007.

The film stars Seema Biswas, Lisa Ray, John Abraham, and Sarala Kariyawasam in pivotal roles and Manorama, Kulbhushan Kharbanda, Waheeda Rehman, Raghuvir Yadav, and Vinay Pathak in supporting roles. Featured songs for the film were composed by A. R. Rahman, with lyrics by Sukhwinder Singh and Raqeeb Alam. After Rahman quit the film following nationwide controversy associated with the film the background score was composed by Mychael Danna. Cinematography is by Giles Nuttgens, who has worked with Deepa Mehta on several of her films.

In 2008, inspired by the film, Dilip Mehta directed a documentary, The Forgotten Woman about widows in India. The film was also written by Deepa Mehta.

Composer A. R. Rahman opted out of the project following the controversy,
following which American composer Mychael Danna stepped in to compose the background score. The songs which Rahman had composed before opting out were retained in the film.

Plot

The film is set in 1938 when India was still under British occupation. Child marriage was common practice, and widows had a diminished position in society.

Chuyia (Sarala Kariyawasam) is an eight-year-old girl, whose husband suddenly dies. In keeping with traditions of widowhood, she is dressed in a white sari, her head is shaven and she is left in an ashram, to spend the rest of her life in renunciation. There are fourteen women who live in the dilapidated house, sent there to expiate bad karma, as well as to relieve their families of the financial and emotional burdens of caring for widows. The ashram is ruled by Madhumati (Manorama), a pompous lady in her 70s. Her only friend is the pimp, Gulabi (Raghuvir Yadav), a hijra who keeps Madhumati supplied with cannabis. The two also have a side business: Gulabi helps Madhumati prostitute Kalyani (Lisa Ray), a beautiful young widow, by ferrying her across the Ganges to customers. Kalyani was forced into prostitution as a teenager to support the ashram.

Shakuntala (Seema Biswas) is perhaps the most enigmatic of the women. Attractive, witty and sharp, she is also one of the few widows who can read. She exudes enough anger that even Madhumati leaves her alone. Shakuntala is caught between being a God-fearing, devout Hindu, and her hatred of being a widow. She seeks the counsel of Sadananda (Kulbhushan Kharbanda), a priest, who makes her aware of her unjust and unholy situation. She becomes attached to Chuyia upon her arrival at the ashram.

Chuyia is convinced that her stay is a temporary one and that her mother will come to take her away but quickly adapts to her new life. She befriends Kalyani, and witnesses Kalyani's budding romance with Narayan (John Abraham), a charming upper-class follower of Mahatma Gandhi. Despite her initial reluctance, Kalyani eventually buys into his dream of marriage and a new life in Calcutta. She agrees to go away with him.

Her plan is disrupted when Chuyia accidentally reveals their affair to Madhumati. Enraged at losing a source of income and afraid of the social disgrace, Madhumati locks Kalyani up. Much to everyone's surprise, the God-fearing Shakuntala lets Kalyani out to go meet Narayan, who ferries her across the river to take her to his home. However, when Kalyani recognizes Narayan's bungalow, she realizes that Narayan is the son of one of the men whom she has been pimped out to. In shock, she demands that he take her back. Narayan confronts his father, learning the reason for Kalyani's actions. Disgusted, he decides to walk out on his father and join Mahatma Gandhi (Mohan Jhangiani). He arrives at the ashram to take Kalyani with him, only to find that Kalyani has fatally drowned herself.

Madhumati sends Chuyia away to be prostituted as a replacement for Kalyani. Shakuntala finds out and tries to prevent the worst, but she is too late. When Shakuntala finds Chuyia, Chuyia is deeply traumatized and catatonic. Cradling Chuyia, Shakuntala spends the night on the shores of the river. Walking through town with Chuyia in her arms, she hears talk of Gandhi speaking at the train station, ready to leave town. She follows the crowd to receive his blessing. As the train departs, in an act of desperation Shakuntala runs alongside the train, asking people to take Chuyia with them. She spots Narayan on the train and hands Chuyia over to him. The train departs, carrying Chuyia away while leaving the teary-eyed Shakuntala behind.

Cast
 Seema Biswas as Shakuntala/Gyanvati Twins double role
 Lisa Ray as Kalyani
 John Abraham as Narayan
 Waheeda Rehman as Bhagavati, Narayan's Mother
 Sarala Kariyawasam as Chuyia
 Buddhi Wickrama as Baba
 Ronica Sajnani as Kunti
 Manorama as Madhumati
 Rishma Malik as Snehalata
 Vidula Javalgekar as Patiraji (auntie)
 Daya Alwis as Saduram
 Raghuvir Yadav as Gulabi
 Vinay Pathak as Rabindra
 Kulbhushan Kharbanda as Sadananda
 Gerson Da Cunha as Seth Dwarkanath
 Mohan Jhangiani as Mahatma Gandhi
 Sanoja Bibile as Woman Bather

Production
Water is a co-production between Canada, India and the United States. The film was shot twice with the same (bilingual) actors, once in Hindi, once in English.

Release
The film debuted on 8 September 2005 at the Toronto International Film Festival and opened in other theatres at the dates given below. After several controversies surrounding the film in India, the Indian censor boards cleared the film with a "U" certificate. It was released in India on 9 March 2007.

During Sri Lanka screening, the film collected Rs. 42 million for its 38 days screening.

Reception

Accolades

Critical response
The film received high praise from Kevin Thomas, writing in the Los Angeles Times:
For all her impassioned commitment as a filmmaker, Mehta never preaches but instead tells a story of intertwining strands in a wholly compelling manner. "Water," set in British occupied India of 1938, is as beautiful as it is harrowing, its idyllic setting beside the sacred Ganges River contrasting with the widows' oppressive existence as outcasts. The film seethes with anger over their plight yet never judges, and possesses a lyrical, poetical quality. Just like the Ganges, life goes on flowing, no matter what. Mehta sees her people in the round, entrapped and blinded by a cruel and outmoded custom dictated by ancient religious texts but sustained more often by a family's desire to relieve itself of the economic burden of supporting widows. As a result, she is able to inject considerable humour in her stunningly perceptive and beautifully structured narrative. "Water" emerges as a film of extraordinary richness and complexity.

Jeannette Catsoulis of The New York Times selected Water as NYT Critics' Pick, calling it "exquisite": "Serene on the surface yet roiling underneath, the film neatly parallels the plight of widows under Hindu fundamentalism to that of India under British colonialism."

Water received mostly positive reviews. On Rotten Tomatoes the film has an approval rating of 90% based on reviews from 94 critics, with an average rating of 7.63 out of 10. The site's consensus is that "This compassionate work of social criticism is also luminous, due to both its lyrical imagery and cast." On Metacritic the film has a weighted average score of 77 out of 100, based on 25 critics reviews, indicating "generally favorable reviews".

Roger Ebert of Chicago Sun-Times said "The film is lovely in the way Satyajit Ray's films are lovely and the best elements of Water involve the young girl and the experiences seen through her eyes. I would have been content if the entire film had been her story" and gave it three stars out of four. Carrie Rickey of The Philadelphia Inquirer also praises Mehta's work on the trilogy saying that "Profound, passionate and overflowing with incomparable beauty, Water, like the prior two films in director Deepa Mehta's "Elements" trilogy, celebrates the lives of women who resist marginalisation by Indian society."

In December 2005, it was named to the Toronto International Film Festival's annual Canada's Top Ten list of the year's best Canadian films.

Soundtrack

Controversies
Mehta had originally intended to direct Water in February 2000, with the actors Shabana Azmi, Nandita Das and Akshay Kumar. Her earlier film, Fire, however, had previously attracted hostility from conservative right-wing organizations, which objected to her subject matter and portrayal of conservative households in a negative light. Protestors organised protests and attacks on cinemas that screened that film. The day before filming of Water was due to begin, the crew was informed that there were complications with their location permits for filming. The following day, they learned that 2,000 protesters had stormed the ghats, destroying and burning the main film set and throwing the remnants into the Ganges in protest of what ultimately were revealed to be false accusations regarding the subject matter of the film. A right-wing politician Arun Pathak also organised a suicide protest to stop the film production.

The resulting tensions and economic setbacks led to several years of struggle as Mehta was eventually forced to film Water in Sri Lanka, rather than in India. Finally Mehta was able to make the film, but with a new cast and under a false title (River Moon) in 2003. The struggle to make the film was detailed by Mehta's daughter, Devyani Saltzman, in a non-fiction book, Shooting Water: A Mother-Daughter Journey and the Making of the Film.

See also
 List of Canadian submissions for the Academy Award for Best Foreign Language Film

References

Bibliography

 Displacing Androcracy: Cosmopolitan Partnerships in Bapsi Sidhwa's Water

External links

2005 films
2005 drama films
Canadian films
Canadian drama films
English-language films
2000s Hindi-language films
English-language Indian films
Cultural depictions of Mahatma Gandhi
Films about women in India
Films about widowhood in India
Films shot in Sri Lanka
Films set in 1938
Films set in India
Films set in the British Raj
Films directed by Deepa Mehta
Films scored by Mychael Danna
Films with screenplays by Anurag Kashyap

වෝටර් (2005 චිත්‍රපටය)