Vesak is an annual holiday observed traditionally by practicing Buddhists in many ආසියාවn countries like India, Nepal, Hong Kong, Singapore, Vietnam, Thailand, Cambodia, Malaysia, Sri Lanka, Myanmar, ඉන්දුනීසියාව and Taiwan.

References

බුදු රජාණන් වහන්සේගේ තෙමඟුල සිහිකෙරෙනුයේ වෙසක් පුර පසළොස්වක පොහොය දිනයි. සුද්ධෝදන මහරජතුමාට හා මහාමයා දේවියට පුත්ව සිදුහත් කුමරු කිඹුල්වත්නුවර ලුම්බිණි සල්උයනේදී මෙලොව උපත ලැබුවේ වෙසක් පෝ දිනකය. සියලු සැප අතහැර ගිහිගෙයින් නික්ම හය වසක් දුෂ්කරක් ක්‍රියාකර බුද්ධත්වයට පත්වූයේද වෙසක් දිනකය. එසේම බුදුරජාණන් වහන්සේ මල්ලව රජදරුවන්ගේ උපවත්තන සල්උයනේදී අද වැනි දිනක පිරිනිවන් පෑහ. මේ තෙමඟුල සිහිකරමින් මුළු ලෝවැසි බෞද්ධයෝ ප්ර්තිපත්ති පූජාවන්ට මුල්තැන දෙමින් වෙසක් දිනය සමරති.
වෙසක් පුන් පොහොය දිනය සියළු ලෝකවාසී බෞද්ධ ජනතාවට ඉතාමත් වැදගත් වන පොහොය දිනයක් බව අප සැම හොදින් දන්නා කරුණකි. මෙම පොහොය දිනය දකුණු ආසියානු හා අග්නිදිග ආසියාතික රටවල් බොහෝවිට ඉතා උත්සවාකරයෙන් සමරති. එම නිසා මෙම උතුම් පොහොය ඒ ඒ රටවල සමරන දින වකවානු වෙනස් වේ. උදාහරණයක් ලෙස ගත් විට ථේරවාදී බෞද්ධයන් අනුගමනය කරනු ලබන දින දර්ශනයට අනුව වෙසක් පොහොය යෙදෙන්නේ පුර පසලොස්වක පොහොය දිනයකටයි. ඒහා සමානව ඒ ඒ රටවල දින දර්ශන වලට අනුව පොහොය යෙදෙන දිනය වෙනස් වේ. බොහෝ ආසියානු කලාපීය රටවල වල එරට ආණ්ඩුන් විසින් මෙම උතුම් තෙමඟුල සිදුවූ දින ප්රතසිද්ධ නිවාඩු දිනයක් ලෙස ප්රබකාශයට පත්කොට ඇත. (උදාහරණ ලෙස ශ්රීි ලංකාව, නේපාලය, තායිවානය, හොං කොං, ඉන්දුනීසියාව, වියට්නාමය, තායිලන්තය, සිංගප්පූරුව, මියැන්මාරය(භූතානය), මැලේසියාව)
බුදු රජාණන් වහන්සේගේ තෙමඟුල සිහිකෙරෙන වෙසක් පෝය ශ්රී් ලංකාවාසී සියළු බෞද්ධයන් හට තවත් කිහිප ලෙසකින් වැදගත් වේ. ඒ මන්ද අප ලොව්තුරා බුදු පියාණන් වහන්සේ බුද්ධත්වයෙන් අට වසරකට පසු ශ්රී් ලංකාවේ කැළණියට වැඩම කිරීම හා ඒ පැමිණීමත් සමඟම සුමන සමන් දිව්යෝුත්තමයාගේ ආරාධනය පිළිගෙන සමනල කන්ද මුදුනෙහි සිරිපත්ල සටහන් කිරීමද, මේ පොහොය දිනය තුළදී සිදුවීමයි. තවද විජය කුමරු ඇතුළු පිරිස ලක්දිවට පැමිණීමත්, දෙවන පෑ තිස් රජුට ධර්මාශෝක රජු විසින් යුව රජ ලෙසට දෙවන වරට අභිෂේක ලබා දීම හා දුටුගැමුණු රජතුමා රුවන්වැලි මහ සෑයේ වැඩ ආරම්භ කිරීම හා එහි බිම සකස් කිරීමත් යන විශේෂ අවස්ථා මෙම උතුම් වෙසක් පොහොය දිනයේදී සිදුවිය.
ලෝකයේ ඇතැම් ආගම්වල උත්සවවලදී සතුන් මැරීම බහුලව සිදු වෙනවා. නමුත් වෙසක් උත්සවයේ ඇති විශේෂත්වය එය අවිහිංසාව මුල් කරගත් උත්සවයක් වීමයි. බාහිර ලෝකයේ වෙසක් සඳ උදා වීමත් සමග විශාල බෞද්ධ ප්රිබෝධයක් ඇති කර ගන්නා අපි වෙසක් සඳ බැස යාමත් සමඟ ඒ ප්රඋබෝධයටත් බැස යන්නට ඉඩ හරිනවා නේද? නමුත් බුදු හිමියන්ගේ ප්ර භාශ්වර මනස නමැති පුන් සඳ අවුරුදු හතළිස් පහක් මුළුල්ලේ එක ලෙසම පෑව්වා. එමෙන්ම, අපටත් අභ්යදන්තර අවබෝධය තුළින් සැමදා අපේ හද තුළ වෙසක් සඳ ඇති කර ගත හැකියි. ඒ සඳහා අනුගමනය කළ යුතු මාර්ගය උන්වහන්සේ අපට පෙන්වා දී තිබෙනවා. ඒ සඳහා සකස් කළ යුත්තේ බාහිර පරිසරය නොව, අපේ අභ්ය න්තර පරිසරයයි. අවුරුදු 2500 කට වැඩි සංස්කෘතිය තුළ අපට උරුම වූ මේ බාහිර පරිසරය සැකසීම, නොඑසේනම් ආමිස පූජාව වැදගත් වුණත්, උන් වහන්සේ වඩාත් අගය කළ, අනුදැන වදාළ ආධ්්යා ත්මික පරිසරය සැකසීම හෙවත් ප්රහතිපත්ති පූජාවට මුල් තැන දීමට අප උත්සුක විය යුතුයි. ශීලය, සමාධිය, ප්ර ඥාව වැඩි දියුණු කර ගන්නට වෙහෙසිය යුතුයි.
ඓතිහාසික සිද්ධීන්ගෙන් ශ්රේවෂ්ඨත්වයට පත් වෙසක් පුන් පොහොය බෞද්ධයන්ට මහත් ප්රී තියක් උපදවන දිනයෙකි. බුදුරජාණන් වහන්සේ ගේ අනන්ත ගුණ සමුදාය මනසට නැගී එන උතුම් ආගමික පූජනීය දිනයෙකි. අවුරුදු දෙදහස් ගණනකට පෙර සිදු වූ ඓතිහාසික පෞරාණික ශාසනික පුරා වෘත්තයක් සිහිපත් කරවන වටිනා දිනයෙකි.
(සංස්කරණය අනිල් ලසන්ත)

External links
The Significance of Vesak - Buddha Day
Vesak 2007 article
Vesak festival - Vesak Thorana (pandol)
Buddha-marga, Way of Buddha
Vesak Music
How the Buddha died Dr Mettanando
Pictures of Pandols, Lanterns and Lights during Vesak Festival, Colombo, Sri Lanka
Jathaka Katha
Photos - Maha Vihara Temple, Brickfields, Malaysia (1 May 2007)
How to make a Vesak Lantern

Buddhist festivals
Festivals in India
May observances
Buddhist holidays

වෙසක් පසළොස්වක පෝය


Antonio Manetti ist der Name folgender Personen:

* Antonio Manetti (Architekt) (1423–1497), italienischer Schriftsteller, Mathematiker und Architekt
 Antonio Manetti (* 1970), italienischer Schauspieler, Regisseur und Drehbuchautor, siehe Gebrüder Manetti

Antonio Manetti


Pyotr Aleksandroviç Rumyantsev, (Rusça: Пётр Александрович Румянцев-Задунайский / Pyotr Aleksandrovich Rumyantsev-Zadunayskiy, d. 15 Ocak 1725, Moskova - ö. 19 Aralık 1796, Taşan, Rusya) Çariçe II. Katerina'nın emrinde 1768-1774 Osmanlı-Rus Savaşına kumandanlık etmiş, Larga ve Kartal Ovası Savaşı başta olmak üzere defalarca Osmanlı Ordusunu mağlup edip Kırım Hanlığı'nın Rus himayesine girmesini sağlayan Rus generali.

Yedi Yıl Savaşı sırasında Gross-Jägersdorf (30 Ağustos 1757) ve Kundersdorf çarpışmalarında Prusyalıların yenilgiye uğratılmasında önemli rol oynadı. 16 Aralık 1761'de Pomeranya'daki Kolberg (Kolobrzeg) Kalesi'ni ve liman kentini ele geçirdi. Kasım 1764'te getirildiği Ukrayna Genel Valiliği sırasında bölgenin Rusya'yla bütünleştirilmesini sağlamıştır.

1768-1774 Osmanlı-Rus Savaşı'nda, Boğdan'daki (Moldova) Larga ve Kagula muharebelerinde Osmanlı kuvvetleri karşısında kesin zaferler kazandı (1770). Tuna Nehri'ni geçerek Bulgaristan'a girdi ve Kozluca (Suvorovo) Çarpışması'nı (20 Haziran 1774) kazanarak, Osmanlıları barış istemek zorunda bırakarak, savaşı sonlandıran Küçük Kaynarca Antlaşması'nın imzalanmasını sağladı. 1787-1792 Osmanlı-Rus Savaşı'nda ise, Kırım üzerinde Rus egemenliğinin Osmanlı imparatorluğu tarafından kesin olarak kabulünü sağladı. Savaş sonunda Yaş Antlaşması imzalandı.

Temmuz 1775'te mareşalliğe yükseltilen Rumyantsev'e aynı zamanda "Kont" unvanı verildi.

Ayrıca bakınız
 Polkovodets Rumyantsev Harekâtı

1725 doğumlular
1796 yılında ölenler
Rus İmparatorluğu'nun generalleri
1768-1774 Osmanlı-Rus Savaşı'ndaki kişiler
1787-1792 Osmanlı-Rus Savaşı'ndaki kişiler

Pyotr Rumyantsev


මරණයට පත්වූ මිනිසුන් ආදාහනය කල පසු ඉතිරිවන නොපිලිසුනු හෝ අර්‍ධ ලෙස පිලිස්සුනු අස්ථි කොටස් භෂ්මාවශේෂ නම්වේ.

සංස්කෘතිය
ලොව බොහෝ සංස්කෘතීන් වල මේවා අසුබ ලෙස සලකනු ලබයි.

භෂ්මාවශේෂ


دار الشجرة.
من روائع الفن الإسلامي القديم. والتي بنيت في دار الخلافة للخليفة المقتدر بالله. وكانت هذه الشجرة الصناعية في دار من دور قصر الخليفة وهي تمثل جزء من أجزاء العمران والفن الإسلامي في دار الخلافة. حيث أهمل أكثر كتاب التاريخ هذا الجانب الجمالي والفني.

الأوصاف
عندما وصف القزويني حديقة قصر الخليفة العباسي المقتدر بالله قال:.

زيارة رسول ملك الروم

لما زار رسول ملك الروم دار الخلافة. دخل دار الشجرة فأُذهل منها. حيث كانت شجرة من الفضة وزنها 500ألف درهم. لها 18 غصن لكل غصن منها أغصان كثيرة وقفت عليها الطيور من كل نوع مذهبة ومفضضة. وأكثر قضبان الشجرة فضة وبعضها مذهب. وهي تتمايل في اوقات. ولها ورق مختلف الألوان يتحرك كما تحرك الريح ورق الشجر. وكل من هذه الطيور الفضية والذهبية يصفر ويهدر.

انظر أيضاً
 دار الخلافة العباسية
 دار الفيل
 دار البطيخ
 دار القطن
 دار البانوقة

المصادر

عمارة إسلامية
قصور عباسية

دار الشجرة


Bagassa,monotipski rod drveća od četrdesetak vrsta iz porodice dudovki raširen po tropskoj Južnoj Americi (sve tri Gvajane i Brazil).

Sinonimi
 Laurea Gaudich.
 Bagassa sagotiana Burch. ex Benth. & Hook.f.
 Bagassa tiliifolia (Desf.) Benoist
 Laurea tiliifolia <small>Gaudich.</small>
 Piper tiliifolium Desv.

Izvori

Moreae

Bagassa


Aceasta este o listă a membrilor Academiei Române (fondatori, titulari, corespondenți, de onoare și post-mortem) în ordine alfabetică.

A

B

C

D

E

F

G

H

I

J

K

L

M

N

O

P

Q

R

S

T

U

V

X

Z

Referințe
 Academia Română: Membrii Academiei Române din 1866 până în prezent

Lectură suplimentară
 Dorina N. Rusu: Dicționarul membrilor Academiei Române (1866–2010), Ediția a IV-a revăzută și adăugită, Editura Enciclopedică, București, 2010. ISBN 978-973-45-0617-0

Legături externe
 Academia Română - membri de onoare din străinătate

Vezi și
 Membri de onoare ai Academiei Române
 Academicieni români, membri de onoare din străinătate
 Lista chimiștilor membri ai Academiei Române
 Lista fizicienilor membri ai Academiei Române
 Lista matematicienilor membri ai Academiei Române
 Lista medicilor membri ai Academiei Române

Academia Română

Lista membrilor Academiei Române


Süzer Plaza ya da Gökkafes, İstanbul'un Beşiktaş ilçesinde bulunan bir gökdelen. Gökdelende konutlar, ofisler ve bir otel bulunmaktadır. 153,6 metre yüksekliğindeki bina 98.100 m2 oturum alanına sahiptir. Bina, şehircilik ilkelerine aykırılığı, tartışmalı inşaatı ve yeşil alan olarak ayrılmış bir vadide inşa edilmesi nedenleriyle yapımından itibaren çeşitli eleştirilere ve itirazlara konu olmuştur.

Tarihçe
Süzer Plaza, bizzat II. Abdülhamid tarafından tapu kaydına "inşaat yapılamaz" şerhi düşülen bir araziye yapıldı. Pera Bahçeleri adı verilen parkta yer alan farklı kişilere ait arsalar Mustafa Süzer'e ait Süzer Holding tarafından satın alındı. Süzer, 1983'te İstanbul 1 No'lu Kültür ve Tabiat Varlıkları Koruma Kurulu'ndan araziye 24,5 metre - sekiz kat yüksekliğinde bir otel inşaatı yapmak için izin aldı. Bunun ardından Tapu Müdürlüğünden "inşaat yapılamaz" şerhini sildirdi. 1987'de ruhsatsız olarak inşaata başlayan Süzer, bir yıl sonra dönemin ANAP'lı İstanbul Büyükşehir Belediyesi'nden (İBB) inşaat ruhsatı aldı. Ruhsatın verildiği dönem Bedrettin Dalan'ın Belediye Başkanlığı dönemine denk gelir. Yine İBB, inşaatın yüksekliğini 134 metreye çıkardı, yoğunluğunu %20'den %80'e artırdı.

Süzer Plaza inşaatı, 1989 yılında İstanbul Büyükşehir Belediye Başkanı seçilen Nurettin Sözen tarafından aynı yıl mühürlendi. Sözen, "İstanbul'un bağrına saplanmış hançer" diye adlandırdığı ve kentin siluetini bozduğunu düşündüğü inşaata karşı hukuk savaşı başlattı. Açılan davayı mühürleme işleminin İBB tarafından değil, Beyoğlu Belediyesi tarafından yapılmış olmasının gerekmesi nedeniyle Süzer kazandı. Ancak Bayındırlık Bakanlığı, tarafından alınan ve Turizm Bakanlığı tarafından onaylanan kararla aynı yıl imar iznini yeniden 24,5 metreye indirdi.  İnşaat 1992'de yeniden başladı.

1994 yılında İstanbul Büyükşehir Belediye Başkanı seçilen Recep Tayyip Erdoğan da selefi Sözen gibi inşaatı durdurmak için çaba gösterdi. Göreve başlamasının ardından inşaatın yapıldığı bölgenin SİT alanı ilan edilmesi yönünde harekete geçti. 26 Haziran 1997'de inşaat bir kez daha mühürlendi. İBB avukatları, II. Abdülhamid'in "inşaat yapılamaz" şerhinin tapuya tekrar konulması için mahkemeye başvurdular.

Bu dava Yargıtay aşamasında iken zamanın Anavatan Partisi liderliğindeki koalisyon hükûmeti, aldığı bir kararla başında arsayı Refah Partisi'nin yönetmekte olduğu Beyoğlu Belediyesi'nden çıkararak Anavatan Partisi'ne bağlı Şişli Belediyesi'nin sınırlarına geçirdi. Şişli Belediyesi'nin mührü kaldırması üzerine inşaat yeniden başladı. Recep Tayyip Erdoğan, Şişli Belediyesi hakkında suç duyurusunda bulundu, ancak bu durum binanın yapılmasını engelleyemedi. Bina 2000 yılında tamamlandı ve kullanıma açıldı.

5 Ocak 2005'te, binanın giriş kısmındaki dört restoranın bahçe üzerinde yaptığı kış bahçeleri, ruhsata aykırı şekilde ve binaya kaçak eklenmeleri nedeniyle İstanbul Büyükşehir Belediyesi'ne ait buldozerlerle yıkıldı. Yıkım sırasında personel ile yıkım ekipleri arasında çıkan kavgayı polis ayırdı.

Eleştiriler

Süzer Plaza, şehircilik ilkelerine aykırılığı, tartışmalı inşaatı ve yeşil alan olarak ayrılmış bir vadide inşa edilmesi nedenleriyle eleştirilmektedir. Dolmabahçe Sarayı'nın ve Vodafone Park'ın (inşaatın yapıldığı dönemde 'İnönü Stadyumu') arkasında bulunan binaya "İstanbul'daki en büyük gecekondu" yakıştırması yapılmıştır.

Yine aynı nedenlerle bazı kişiler inşaatı protesto ederek bu binaya gitmemektedir.

Kaynakça

Dış bağlantılar

Beşiktaş'taki gökdelenler
1998'de tamamlanan yapılar
Beşiktaş'taki konutlar
Beşiktaş'taki ofis binaları
Türkiye'deki gökdelen ofis binaları
Vişnezade

Süzer Plaza


Stanford-le-Hope é uma cidade, antiga paróquia civil e paróquia da Igreja da Inglaterra situada no condado de Essex, Inglaterra. Muitas vezes conhecida localmente simplesmente como Stanford, a cidade está dentro da autoridade unitária de Thurrock e localizada 38,4 km a leste de Charing Cross, em Londres. Em 1931 a freguesia tinha uma população de 4311 habitantes.

O autor modernista Joseph Conrad viveu na cidade de 1896 a 1898.

Ligações externas

Cidades de Essex

Stanford-le-Hope


The Admiral Duncan is a public house in Old Compton Street, Soho, in central London that is well known as one of Soho's oldest gay pubs.

In 1999, the pub was bombed by neo-Nazi David Copeland, resulting in three people being killed and 83 being injured.

Etymology
The pub is named after Admiral Adam Duncan, who defeated the Dutch fleet at the Battle of Camperdown in 1797.

History

Early years
The Admiral Duncan has been trading since at least 1832.

In June of that year, Dennis Collins, a wooden-legged Irish ex-sailor living at the pub, was charged with high treason for throwing stones at King William IV at Ascot Racecourse. Collins was convicted and sentenced to be hanged, drawn and quartered, as the medieval punishment for high treason was then still in effect. However, his sentence was quickly commuted to life imprisonment. and he was subsequently transported to Australia.

In December 1881, a customer received eight years' penal servitude for various offences in connection with his ejection from the Admiral Duncan public house by keeper William Gordon. In 1887, the Algerian Coffee Stores was established next door to the Admiral Duncan.

During the 1920s, the Admiral Duncan was frequented by mob boss Charles "Darby" Sabini and was a gathering place for members of his gang. On February 4, 1930, there was a fierce brawl in the pub after six members of the Sabini gang's rivals, the Hoxton Gang, entered and attacked two of the Sabinis who were drinking there. Both men were slashed with a broken drinking glass; one - George Seawell - was badly beaten by four of the Hoxton gang. Around £200 worth of damage was caused. The fracas was broken up by police and the six Hoxton Gang members were arrested. Three of them - brothers John and Arthur Phillips, and John Daly - were later sentenced to five years, three years and 12 months in prison

In 1953, Dylan Thomas lost the only hand-written copy of his famous radio drama Under Milk Wood in the pub, leaving it there during the course of a drinking binge. It was later found by his radio producer, Douglas Cleverdon, who managed to retrace Thomas' steps.

By the 1980s, the Admiral Duncan had become known as a gay pub, although it was not exclusively so and was still attracting a diverse clientele.

Bombing

At around 6:05pm on Friday 30 April 1999, a bomb in a sports bag was planted in the Admiral Duncan by Neo-Nazi, David Copeland. It was the third bomb he had planted in London in a one-man campaign intended to stir up ethnic and homophobic tensions.

Copeland's previous bomb attacks, on 17 April in Brixton and on 24 April in Hanbury Street in Whitechapel, had made Londoners wary. The unattended bag aroused the suspicions of people in the pub, but the bag exploded at 6:37 pm just as it was being investigated by the pub manager, Mark Taylor. Three people died and 83 suffered burns and injuries - four of the injured needed amputations.

Copeland was still in the area and was close enough to hear the explosion. Police had identified him as a suspect around an hour before he planted the bomb. He was arrested at his home later that evening.

A large open air meeting was spontaneously organised in Soho Square on the Sunday following the attack, attended by thousands. Among the speeches was one from the Metropolitan Police Assistant Commissioner who undertook to maintain a crime scene van outside the pub to take witness statements and gather evidence until the perpetrator was found; the van would be staffed entirely with openly gay and lesbian police officers. This marked a turning point for the previously often tempestuous relationship between the LGBT community and the Metropolitan Police.

There is a memorial chandelier with an inscription and a plaque in the bar to commemorate those killed and injured in the blast.

The playwright Jonathan Cash, then working for Gay Times, was among the injured. He later used the experience as the basis for his play, The First Domino, about a fictional terrorist being interviewed by a psychiatrist in a top-security prison.

Assistant bar manager David Morley 37, from Chiswick, west London, was one of those injured in the bombing and was murdered in London after a robbery or homophobic attack on the morning of 30 October 2004. He and a friend were badly beaten near London's Hungerford Bridge and Waterloo station on the South Bank. In December 2005, four youths were found guilty of Morley's manslaughter. Reece Sargeant (21), Darren Case (18) and David Blenman (17), all from Kennington, South London, were sentenced to 12 years each. A fifteen-year-old girl, Chelsea O'Mahoney (aged fourteen at the time of the incident) was sentenced to an 8-year custodial sentence. The jury had returned a verdict of manslaughter as they are permitted to do.

Rainbow flags controversy
In late 2005, Westminster City Council ordered the Admiral Duncan and all other LGBT bars and gay businesses that operated in its jurisdiction, including those in Soho and Covent Garden, to remove their pride flags. The council claimed that the flags constituted advertising, which was forbidden by its local development plan, and said businesses would need to apply for advertising permits to fly the flags. Some businesses who applied to fly flags had their applications refused. Following media allegations of homophobia in the council, the I Love Soho campaign and intense pressure from the then Mayor of London, Ken Livingstone, the Council reversed its policy, allowing businesses to fly rainbow flags without applying for permission.

Ownership
In 2004 the pub was bought from the Scottish & Newcastle Brewery by the Tattershall Castle Group (TCG). In 2015, it was acquired by Stonegate Pub Company as one of 53 pubs purchased from TCG.

See also

Violence against LGBT people

References

1999 in London
19th-century establishments in England
History of the City of Westminster
Hotel buildings completed in the 19th century
LGBT pubs in London
Pubs in Soho
Tourist attractions in the City of Westminster

Admiral Duncan (pub)


Die Chronik der Stadt Düren listet Ereignisse in der Stadt Düren in Kurzform auf.

Aufgrund der großen Anzahl von Ereignissen ist die Chronik in die folgenden Teillisten unterteilt:

 Vor- und Frühgeschichte
 8. bis 11. Jahrhundert
 12. und 13. Jahrhundert
 14. Jahrhundert
 15. Jahrhundert
 16. Jahrhundert
 17. Jahrhundert
 18. Jahrhundert
 1701–1750
 1751–1800
 19. Jahrhundert
 1801–1825
 1826–1850
 1851–1875
 1876–1900
 20. Jahrhundert
 1901–1925
 1926–1950
 1951–1975
 1976–2000
 21. Jahrhundert

Literatur
 Jahrbuch des Kreises Düren
 Dürener Geschichtsblätter, herausgegeben vom Dürener Geschichtsverein
 Heinz J. Domsta, Düren 1940–1947, Düren 1994,
 Unterlagen des Stadt- und Kreisarchives Düren (PDF; 191 kB)
 Rölsdorfer Geschichte(n), herausgegeben von der Schützenbruderschaft Constantia 1877 e. V., 2002, ISBN 3927312509
 50 Jahre Rölsdorfer Siedlung, September 1959, Juliäumszeitung zum 50-jährigen Bestehen der Rölsdorfer Siedlung, von Addy Clemens

Geschichte (Düren)

Chronik der Stadt Düren


Le château de Magny-lès-Aubigny est un château du  situé à Magny-lès-Aubigny (Côte-dOr) en Bourgogne-Franche-Comté.

Localisation
Le château se trouve à l'extrémité nord du village.

Historique

.

L'actuel château date du milieu du .

Architecture

Edifié à l'emplacement d'un édifice des  le château actuel est de facture classique. Entouré d'un parc de cinq hectares, il possède de beaux communs en brique. Le tilleul du parc, planté au temps de Sully, est classé au patrimoine des arbres remarquables de France.

Les façades et les toitures sont inscrites aux monuments historiques par arrêté du  .

Mobilier
L'escalier intérieur avec sa rampe en fer forgé, le salon au rez-de-chaussée et sa décoration sont inscrits aux monuments historiques. Dans l'un des salons, une cheminée à l'ancienne a conservé tout son mécanisme.

Notes et références

Annexes

Articles connexes
 Liste des châteaux de la Côte-d'Or
 Liste des monuments historiques de la Côte-d'Or

Liens externes

Magny
Magny
Monument historique dans la Côte-d'Or
Monument historique inscrit en 1976
Monument historique inscrit en 2021

Château de Magny-lès-Aubigny


شادي جميل (22 سيبتمبر 1955 - ) مطرب سوري من مدينة حلب. ولد في مدينة حلب و انتسب إلى نقابة الفنانين في كانون الأول عام 1983.

يعتبر شادي جميل من فئة مغني الطرب العربي الأصيل حيث يمتاز بخامة صوت مميزة ورائعة، أتقن وأبدع بغناء القدود الحلبية، كما وأنه يعتبر من عمالقة الفن والطرب في الوطن العربي.

منذ نعومة أظفاره نهل من الكنيسة أصول الغناء والتراتيل، وفي المرحلة الابتدائية اهتم كثيراً بالموشحات الأندلسية، ثم انتسب إلى المركز الثقافي في مدينة حلب، وهناك تتلمذ على يد كبار الاساتذة، منهم: بهجت سليمان، والشيخ نديم الدرويش، وتعلم على رقص السماح و«السولفيج»، وحمل كل ذلك في صوته الرائع نحو أرجاء العالم، مؤكداً أن هذا النوع من الفن لا يمكن أن يتقنه إلا ابن حلب..

تعاون الفنان شادي جميل مع عدد كبير من المؤلفين من أمثال : صفوح شغالة، محمد البابا، وميشال جحا. أما الملحنون فمنهم جوزيف جحا، فتحي الجراح، جورج مردبسيان وإيلي شويري.

مراجع

وصلات خارجية

سيريا نيوز حوار مع المطرب شادي جميل

موسيقيون من حلب
أشخاص على قيد الحياة
أشخاص من حلب
مغنون ذكور سوريون في القرن 20
مغنون سوريون
مواليد 1375 هـ
مواليد 1955

شادي جميل


An Eleusine in uska genus han Liliopsida. An Eleusine in nahilalakip ha familia nga Poaceae.

An kladograma hini sumala ha Catalogue of Life:

Mga kasarigan

Mga sumpay ha gawas

Eleusine

Eleusine


Gtkm er en dansk kortfilm fra 2009, der er instrueret af Tommy Ipsen efter manuskript af ham selv og Rune Nøhr Christiansen. Filmen er fortalt igennem en videreudvikling af rotoscoping-teknikken. Den er optaget udelukkende med green ccreen i Danmark med engelske skuespillere i hovedrollerne. Baggrundene er hovedsageligt bearbejdede stills fra Berlin.

Handling
En fragmenteret kærlighedshistorie om et elskende pars sjæle, der sidder fast i en uendelig tidskarrusel. Spørgsmålet er, hvad der skal til for at standse karrusellen.

Referencer

Eksterne henvisninger

Kortfilm fra Danmark
Danske film fra 2009

Gtkm


Luka Šebetić (Bjelovar, 26. svibnja 1994.) hrvatski reprezentativni rukometaš

Bio je igrač Zagreba do kolovoza 2017, kada je otišao u francuski prvoligaš Tremblay-en-France.

Luka Šebetić je sa 17 godina debitirao u Ligi prvaka i tada je glasio za najveću nadu hrvatskog rukometa nakon Domagoja Duvnjaka. Svoju najbolju utakmicu u Ligi prvaka odigrao je protiv Flensburga, kada je zabio osam pogodaka i izabran je u momčad kola Lige prvaka.

S mladom reprezentacijom 2011. na svjetskom prvenstvu plasirao se na 8. mjesto. Nastupio je na
Europskom prvenstvu u Poljskoj 2016. na kojem je Hrvatska bila treća.

Oženio se krajem 2016. godine.

Izvori

Hrvatski rukometaši
Životopisi, Bjelovar

Luka Šebetić


Karl-Heinz Herbrich (* 28. Februar 1937 in Leipzig) ist ein ehemaliger Oberst des Ministeriums für Staatssicherheit (MfS) und letzter Leiter der Arbeitsgruppe  Bereich Kommerzielle Koordinierung (AG BKK).

Leben
Herbrich wurde 1937 in Leipzig geboren. Beide Eltern waren von Beruf zunächst Arbeiter, später wechselte sein Vater zum MfS. Herbrich trat 1953 der SED bei und schloss 1955 die Schule mit der mittleren Reife ab. Im selben Jahr wurde er beim MfS Berlin eingestellt und arbeitete dort für die Abteilung II (Spionageabwehr, später Hauptabteilung II). 1955/56 besuchte er einen Kurs an der Hochschule des Ministeriums für Staatssicherheit (JHS) in Potsdam-Eiche. Ein von 1974 bis 1979 dauerndes Fernstudium an der JHS schloss Herbrich als Diplom-Jurist ab. Von 1980 bis 1984 war er Offizier im besonderen Einsatz (OibE) als Leiter der Operativgruppe Warschau des MfS. Anschließend wurde er zum Stellvertretenden Leiter der Arbeitsgruppe des für die Devisenbeschaffung zuständigen Bereichs Kommerzielle Koordinierung ernannt. 1986 erfolgte seine Beförderung zum Oberst. Zum 5. Juni 1989 löste er wegen Disziplinargründen und finanzieller Unregelmäßigkeiten Wolfram Meinel als Leiter der Arbeitsgruppe Bereich Kommerzielle Koordinierung ab. Im Zuge der politischen Wende in der DDR und der Auflösung des MfS wurde Herbrich im Januar 1990 entlassen.

Literatur
 Jens Gieseke: Karl-Heinz Herbrich. In: BStU: Wer war wer im Ministerium für Staatssicherheit? (PDF; 900 kB), MfS-Handbuch V/4, Berlin 1998, S. 35.

 Reinhard Buthmann: Die Arbeitsgruppe Bereich Kommerzielle Koordinierung (PDF; 599 kB), BStU, MfS-Handbuch III/11, Berlin 2004.

Einzelnachweise

Oberst des Ministeriums für Staatssicherheit
SED-Mitglied
Deutscher
Geboren 1937
Mann

Karl-Heinz Herbrich


Bülent Usta (1973, İstanbul), Türk antropolog, yazar.

Bülent Usta, 1973 yılında İstanbul'da doğdu. İstanbul Üniversitesi Edebiyat Fakültesi Antropoloji Bölümü'nü bitirerek, İstanbul Üniversitesi Adli Tıp Enstitüsü'nde yüksek lisansını tamamladı. Klinik psikoloji alanında doktora yapmaktadır. Daha önce çeşitli dergilerde ve Radikal 2 gibi gazete eklerinde antropoloji, siyaset ve felsefe ağırlıklı yazılarıyla gözüken yazar, Milliyet Kitap, Varlık, Kitap-lık, Radikal Kitap, Cumhuriyet Kitap gibi dergi ve gazete eklerinde de deneme, eleştiri, söyleşi ve edebi ürünleriyle yer alarak  edebiyata ağırlık verdi. Siyahî dergisinin kurucuları ve editörleri arasında yer aldığı gibi, Eşik Cini öykü dergisinin editörlüğünü de yürütmüştü. Daha çok şiir ve öykü alanında olmak üzere, çok sayıda kitabın editörlüğünü yaptı. 2005-2012 yılları arasında Yasakmeyve şiir dergisinin editörlüğünü yapan yazar, on iki sayı çıkan "Sıcak Nal" edebiyat dergisinin yayın kurulunda yer aldı. 2012-2014 arasında Oğlak Yayınları'nda editörlük yaptı. Özcan Alper'in "Rüzgârın Hatıraları" adlı filminin iç seslerini yazdı ve halen çeşitli film projelerinin senaryo çalışmalarında yer almaktadır. Boğaziçi Üniversitesi'nde öğretim görevlisi olarak ders veren yazar, "Birgün" gazetesi kültür sanat sayfalarında yer alan "Karşılaşmalar" adlı köşesinde, güncel olayları sanat ve siyaset üzerinden değerlendiren yazılar yazmayı sürdürüyor. Çeşitli antoloji ve ortak çalışmalarda öykü ve yazıları yayımlanan yazarın, Ocak 2008'de Versus Kitap tarafından yayımlanmış Karınca Hastanesi adlı bir de romanı bulunmaktadır.

Çalışmalarından bazı örnekler
 "Aylakça Bir Yazı", Bülent Usta, Varlık, Temmuz 2006  .
 "Hipokrasiden Demokrasiye", Bülent Usta, Bianet, 29 Mart 2014  .
 "Karışan Gölgeler", Bülent Usta, Birgün Gazetesi, 12 Mart 2014  .
 "Maldoror'un Şarkıları Türkiye'de Yazılsaydı Kıymeti Anlaşılır mıydı?", Bülent Usta, IstanbulArtNews, Mart 2014  .
 "İşkenceciyi Anlamak", Bülent Usta, Birgün Gazetesi, 4 Kasım 2004 .
 "Kim Korkar Evrim Teorisinden?", Bülent Usta, Radikal 2, 10 Temmuz 2005 .
 "12 Eylül Hayaleti", Bülent Usta, Radikal 2, 5 Kasım 2006 .
 "Nietzsche'nin zihninde yolculuk ", Bülent Usta, Radikal Kitap, 3 Ağustos 2007 .
 "Barthes Roman mı Yazacaktı?", Bülent Usta, Kitap-lık, Mayıs 2007 .
 "Çağın Örtüsünü Kaldıran Denemeler", Bülent Usta, Milliyet Kitap, Nisan 2008  .
 "Akıntıya ve Zamana Karşı Yüzmenin Romanı", Bülent Usta, Milliyet Kitap, Şubat 2014  .
 "Nâzım İle Volta Atmak", Bülent Usta, Milliyet Kitap, 15 Ekim 2008 .
 "İçimizdeki Kuyular", Bülent Usta, Birgün Gazetesi-Karşılaşmalar, 11 Mart 2009  .
 "Cehennem olmak ya da olmamak...", Bülent Usta, Birgün Gazetesi-Karşılaşmalar, 11 Temmuz 2007  .
 "Pulbiber Mahallesi'ni Bilen Var mı?", Bülent Usta, Birgün Gazetesi-Karşılaşmalar, 20 Haziran 2007  .
 "Düşen Yıldızları Yakalamak", Bülent Usta, Birgün Gazetesi-Karşılaşmalar, 4 Şubat 2009  .
 "Psikolojik Kurabiyeler", Bülent Usta, Birgün Gazetesi-Karşılaşmalar, 1 Ocak 2009  .
 "V.E.F.", Bülent Usta, Birgün Gazetesi-Karşılaşmalar, 21 Mart 2007  .
 "Artistler Ölmez", Bülent Usta, Birgün Gazetesi-Karşılaşmalar, 22 Ocak 2014  .
 "Mutluluk ve Ahenk", Bülent Usta, Birgün Gazetesi-Karşılaşmalar, 30 Ocak 2008 .
 "Türk Şiirinin İki Abidesi", Bülent Usta, Milliyet Kitap, Şubat 2008  .
 "Çevirmenler İçin Türkçe Atölyesi", Bülent Usta, Edebiyat Haber, 26 Şubat 2013  .

Dış bağlantılar
BirGün gazetesi köşe yazıları
 Diğer yazıları

1973 doğumlular
İstanbul Üniversitesi Edebiyat Fakültesinde öğrenim görenler
Türk antropologlar
20. yüzyıl Türk yazarları
21. yüzyıl Türk yazarları
Yaşayan insanlar
İstanbul doğumlu yazarlar
Resim aranan yazarlar

Bülent Usta (yazar)


Nicolas Schmerkin (* 11. August 1973 in Buenos Aires, Argentinien) ist ein argentinischer Filmproduzent, der in Frankreich lebt und arbeitet.

Leben
Schmerkin absolvierte zunächst ein Studium der Biologie und Informatik. Er arbeitete anschließend vier Jahre lang in Philippe Bobers Firma The Coproduction Office, das unter anderem Spielfilme produzierte. Er gründete 1998 das französische Filmmagazin Repérages und arbeitete ab 2000 zunächst an Dokumentarfilmen für das Fernsehen, darunter Filmen für die Reihe Short Circuit von ARTE. Er verließ The Production Office 2001. Im selben Jahr gründete er in Paris seine eigene Produktionsfirma Autour de Minuit Productions, die sich der Förderung und Produktion von innovativen Kurzfilmen verschrieben hat. Seit 2004 vertreibt Autour de Minuit zudem Kurzfilme weltweit. Schmerkins größter Erfolg als Produzent wurde der Kurzanimationsfilm Logorama, für den er 2010 mit einem Oscar ausgezeichnet wurde.

Filmografie (Auswahl)
 2000: Obsessions du deuxième étage
 2002: Crisis? What Crisis?
 2003: Fast Film
 2003: Do You Have the Shine?
 2004: Mahdokht
 2004: Obras
 2005: Empire
 2005: Kontrol-Eskape
 2005: Flesh
 2006: Prof. Nieto Show
 2006: Carlitopolis
 2006: Mein wahnsinniger Nachbar (Silence is Golden)
 2007: Dog Days
 2008: S.I.T.E
 2008: Silken
 2008: Dix
 2008: Naïade
 2009: Lila
 2009: 4
 2009: Logorama
 2009: Capucine
 2010: The Gloaming
 2010: Civilisation
 2010: Les statues baroques ne mâchent pas de chewing-gum
 2010: Babioles
 2010: Spin
 2011: Aalterate
 2011: The Monster of Nix
 2011: Le crépuscule
 2012: Chase
 2017–2019: Nö-Nö Schnabeltier
 2017: La mort, père et fils

Auszeichnungen
 2010: Oscar, Bester animierter Kurzfilm, für Logorama
 2011: César, Bester Kurzfilm, für Logorama
 2011: César-Nominierung, Bester Animationsfilm, für Logorama

Weblinks

 Porträt Schmerkins bei den Vimeo Festival + Awards
 Website von Autour de Minuit

Einzelnachweise

Filmproduzent
Oscarpreisträger
Argentinier
Geboren 1973
Mann

Nicolas Schmerkin


During World War II, Operation Grenade was the crossing of the Roer river between Roermond and Düren by the U.S. Ninth Army, commanded by Lieutenant General William Hood Simpson, in February 1945, which marked the beginning of the Allied invasion of Germany.

On 9 February, the U.S. Ninth Army—operating under Field Marshal Bernard Montgomery's Anglo-Canadian 21st Army Group since the Battle of the Bulge—was to cross the Roer and link up with the Canadian First Army, under Lieutenant-General Harry Crerar, coming from the Nijmegen area of the Netherlands in Operation Veritable, which had started at 05:00 on 8 February. However, once the Canadians had advanced, the Germans opened the sluice gates of upstream dams (Rur Dam and Urft Dam). This stopped the Americans from crossing as planned. It had been anticipated that the Germans would try to do this, and that General Omar Bradley's U.S. 12th Army Group could capture them in time to stop the flooding.

During the two weeks that the river was flooded, Hitler would not allow Generalfeldmarschall Gerd von Rundstedt to withdraw behind the Rhine, arguing that it would only delay the inevitable fight. He ordered him to fight where his forces stood. Those forces comprised the 15th Army, commanded by Gustav-Adolf von Zangen, and the 1st Parachute Army, commanded by Alfred Schlemm.

The Ninth Army was finally able to cross the river on 23 February. By then, other Allied forces were also close to the Rhine. German forces west of the Rhine during operations Veritable, Blockbuster and Grenade lost 90,000 men, of which more than 50,000 became prisoners of war (POW). Allied casualties amounted to some 23,000 men.

Notes
Footnotes

Citations

References

External links
https://web.archive.org/web/20101119074119/http://104infdiv.org/grenade.htm
From the Rur to the Elbe (pdf, 92 pages)
https://web.archive.org/web/20060629050112/http://www-cgsc.army.mil/carl/download/csipubs/fromroer/from_cii.pdf (PDF)

Western Allied invasion of Germany
Rhine Province
February 1945 events in Europe
1945 in military history
1945 in Germany

Operation Grenade


Deveti Doktor je inkarnacija Doktora, protagonista BBC-jeve znanstveno-fantastične serije Doctor Who. Glumi ga Christopher Eccleston tokom prve sezone nove serije, u 2005. Unutar serije, Doktor je humanoidni izvanzemaljac, putnik kroz vrijeme. Pripada rasi Gospodara vremena. Kad se Doktor nađe pred smrću, može se regenerirati, no tad mu se mijenja fizički izgled i osobnost.

Pristup produkcijskog tima prema liku i Ecclestonovoj izvedbi bio je namjerno drukčiji od njegovih prethodnika, prema Ecclestonu, lik je manje ekscentričan. Kako bi se uklopio s publikom 21. stoljeća, liku je dodijeljen neovisan i hrabar suputnik, poput samog Doktora, u formi Rose Tyler. Također kratko putuje s Adamom Mitchellom, sebičnim mladićem genijalcem, koji postaje uzrok problema, te se pokazuje nedostojan putovanja TARDIS-om, i Jackom Harknessom, bivšim vremenskim agentom iz 51. stoljeća. Doktor, Rose i Jack postaju tim s bliskim odnosima, no bivaju razdvojeni u finalnoj epizodi 1. sezone, u kojoj svaki lik mora donijeti teške odluke i žrtvovati se.

2006., čitatelji Doctor Who Magazine-a izglasali su Ecclestonova Doktora trećim najpopularnijim Doktorom. Posebno su hvaljene interakcije između Doktora i njegovih dušmana, Daleka. Eccleston je osvojio nekoliko nagrada za glumu u jednoj sezoni, među kojima je i National Television Award 2005. za najboljeg glumca.

Pojavljivanja

Televizijska
Deveti Doktor se po prvi put pojavljuje u epizodi "Rose" gdje spašava devetnaestogodišnju prodavačicu Rose Tyler (Billie Piper) od Autonskog napada u prodavaonici gdje ona radi. Nakon što Rose pomogne Doktoru pobijediti Nestensku Svijest (živuću plastiku), pozove ju da putuje s njim u TARDIS-u. Na prvom putovanju odvede ju da vidi uništenje planeta Zemlje 5 000 000 000. godine. Otkirva se da je Doktorov narod, Gospodari vremena, uništen, i da je on zadnji od svoje vrste. Nadalje, posjete Cardiff 1869. g., gdje susretnu autora Charlesa Dickensa, čiji je Doktor veliki obožavatelj. Tijekom situacije bliske smrti, Doktor prizna Rose kako mu je drago što ju je upoznao. Odvevši Rose kući, Doktor ju slučajno vrati 12 mjeseci nakon što su otišli. Roseina majka Jackie (Camille Coduri) ga zbog toga tretira kao da je internetski predator , a Rosein dečko Mickey (Noel Clarke) je osumnjičen za Roseino ubojstvo. Nakon što Mickey pomogne Doktoru i Rose, ispalivši raketu na Slidinsku (Slitheen) bazu u Downingovoj ulici 10 (adresa premijera Velike Britanije), Doktor mu ponudi da bude suputnik u TARDIS-u, no on odbije. U epizodi "Dalek" Doktor susretne Daleka, iako je vjerovao kako su se Daleci i Gospodari vremena uzajamno uništili—događaj koji je Doktor završio. Doktor muči Daleka i pokušava ga hladnokrvno ubiti. Kad ga Rose opomene, suzdrži se od toga.

Adam Mitchell (Bruno Langley) pridružuje se Doktoru i Rose kao suputnik na kraju epizode "Dalek". Međutim, kada pokuša prokrijumčariti znanje iz budućnosti sa Satelita 5 natrag u svoje vrijeme u "Dugoj igri" Doktor ga izbacuje iz TARDISa. Nakon što Rose spasi oca Petea Tylera (Sean Дингуолл) od smrti i uzrokuje paradoks, Doktor je ljut na nju. Međutim, kada Pete umire kako bi popravio vrijeme, suosjeća s njom, i ohrabruje ju da bude s njim dok umire. Nakon što susretne kapetana Jacka Harknessa (John Barrowman) (prevaranta i bivšeg vremenskog agenta iz 51. stoljeća) 1941. godine, Doktor shvaća kako je on odgovoran za nanotehnologiju koja pretvara ljude u zombije s gas maskama. Nakon rješavanja situacije, Jack je spreman žrtvovati se, ali ga Doktor spašava i pozove da putuje u TARDIS-u. Kada se Doktor suočava s Blon (Annette Badland), jedinim preživjelim Slidincem iz Downing streeta u Cardiffu, počinje sumnjati u svoju odluku da ju pošalje na matični planet, Raxacoricofallapatorius, na smaknuće. U ovoj epizodi Doktor po prvi put primijeti da se on i Rose stalno susreću s riječima "Bad Wolf (Zli vuk)". U epizodi "Zločesti vuk" Doktor, Rose i Jack nađu se u reality showovima koje vodi misteriozna tvrtka Zločesti vuk", utemeljena na Satelitu 5. Međutim, pravi neprijatelj su im Daleci. Dalečki car je preživio Vremenski rat i stvorio novu Dalečku rasu od najnižih slojeva ljudi. Doktor šalje Rose natrag u 21. stoljeće da ju zaštiti, prije nego što pokuša uništiti Dalečku vojsku. Kad shvaća da ovaj čin može uništiti i većinu planeta Zemlje, ne može to učiniti, i priznaje da je radije kukavica, nego ubojica. Nakon što upije energiju Vremenskog vrtloga, Rose se vrača Doktoru, uništava Daleke i vrača Jacka nazad u život (no ne zna raspon svojih moći, pa ga učini besmrtinm.) Kako bi spasio Rose, Doktor upija Vremenski vrtlog u sebe, što ga dovodi do regeneracije u desetog Doktora (David Tennant), koji zauzima njegovo mjesto.

Porijeklo devetog Doktora izvorno nije istraživano, ali je objašnjeno u epizodi pedesete obljetnice, "Doktorov dan", 2013. Nakon Vremenskog rata, Ratni Doktor (John Hurt) podliježe starijoj dobi. Scena regeneracije nije u potpunosti prikazana, jer je Eccleston odbio sudjelovati u snimanju. Međutim, pojavljuju se video materijali i snimke Ecclestona zajedno s prvih osam Doktora.

Izvori

Vanjske poveznice
 Deveti Doktor na stranicama serije Doctor Who
 Trailer za prvu sezonu
 Uvodna špica prve sezone

Doctor Who

Deveti Doktor (Doctor Who)


Julio César Corzo (27 de septiembre de 1936 - Posadas, 23 de septiembre de 1989) fue un político argentino. Fue el primer ministro de Salud del gobierno de Carlos Menem. Su muerte se produjo cuando el avión en el que se desplazaba, un Learjet de nueve plazas,  tuvo que realizar un descenso de emergencia sobre el Río Paraná, cerca del aeropuerto de la ciudad de Posadas. Corzo, que se hallaba inconsciente, quedó atrapado en la cabina y falleció ahogado.

Biografía
Comenzó a trabajar desde joven como vendedor en un local de trajes en el centro de La Rioja. Inició en aquel tiempo su actividad sindical, llegando a dirigir el Sindicato de Empleados de Comercio en la década de 1970.

Se destacó como líder sindical y dirigente peronista local, alcanzando a ser Secretario General de la CGT de La Rioja, durante la década de 1980, cuando Carlos Menem se desempeñaba como gobernador de aquella, del cual era uno de sus principales colaboradores.

Asumió como diputado Nacional por La Rioja por primera vez por el período 1983 y 1987, electo por el Partido Justicialista, y reelecto ese último año. Renunció en 1989 para asumir como ministro, siendo reemplazado por Jorge Yoma en el congreso.

Referencias

Ministros de Salud de Argentina
Fallecidos por accidentes aéreos
Gabinete de Carlos Menem

Julio Corzo


الابن الأكبر للسلطان شمس الدين التتمش تولى حكم دلهي بعد وفاة أبيه عام 1229م/626 هـ. بدأ حكمه بقتل أخيه عز الدين ليقضى على أيه منافسة على العرش ثم حاول قتل أخته رضية التي نجت ثم ذهبت إلى المسجد الكبير بدلهي مرتدية ملابس ملونة متبعة أسس العدل الذي أرساه أبوها وقالت أن السلطان ركن الدين قد قتل أخيه عز الدين وحاول قتلها أيضاً وذكرت الناس بمأثر أبيها العظيم ودعت إلى إحلال العدل فتحرك الناس فقبضوا على السلطان ثم حاكموه وأعدموه ونصبوا أخته رضية سلطانة.

مراجع

حكام ترك
سلاطين مماليك الهند
سنة الولادة غير معروفة
مسلمون سنة هنود
ملكيون قتلوا في القرن 13
ملوك هنود من القرن 13
وفيات 1236
وفيات 634 هـ

ركن الدين فيروز شاه بن التتمش


An Ventenata macra in uska species han Liliopsida nga syahan ginhulagway ni Christian von Steven, ngan ginhatag han pagkayana nga asya nga ngaran ni Benedict Balansa och Pierre Edmond Boissier. An Ventenata macra in nahilalakip ha genus nga Ventenata, ngan familia nga Poaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Mga sumpay ha gawas

Ventenata

Ventenata macra


is a music scene and movement that originated in Japan during the late 1980s, influenced by glam rock and other 1980s rock music styles. It is sometimes called a genre, a style, or a music scene, similar to how Shibuya-kei is described.

Defined by its emphasis on visuals and performance,  musical artists involved in the movement incorporate varying levels of make-up, elaborate hairstyles and costumes, often coupled with an androgynous aesthetic.

Visual kei was pioneered by groups including X Japan, Dead End, Buck-Tick, D'erlanger and Color and gained further notoriety in the 1990s through the success of groups like Luna Sea, Glay, L'Arc-en-Ciel and Malice Mizer. Its success continued through the 2000s with more musically broad bands such as Dir En Grey, the Gazette, Alice Nine, Girugamesh and Versailles, a period which some critics termed "neo-visual kei".

Etymology
The term "visual kei" was derived from one of X Japan's slogans, "Psychedelic Violence Crime of Visual Shock", seen on the cover of their second studio album Blue Blood (1989). This derivation is credited as being coined by Seiichi Hoshiko, the founding editor of Shoxx magazine, which was founded in 1990 as the first publication devoted to the subject. However, he explained in a 2018 interview with JRock News that visual kei was technically coined, or at least inspired by, X Japan's lead guitarist hide. Hoshiko also said that at the time they were called , "but it simply felt... too cheap... Even though X Japan was a big band and people used the term 'Okeshou kei' to describe them, the term was still lacking substance, I didn't like the term at all! Because of this, I tried to remind all the writers to not use this term as 'They are not okeshou kei, they are visual-shock kei'. From there, it went from 'Visual-shock kei' to 'Visual-kei' to 'V-kei'. After we spread the word, fans naturally abbreviated it to 'V-kei'. The Japanese love to abbreviate everything as a matter of fact." Hoshiko considers visual kei a distinctive Japanese music genre and defined it "as the music itself along with all the visual aspects of it."

History

1980–1992: Origins and success
Visual kei emerged in the 1980s Japanese underground music scene, pioneered by bands such as X Japan, Dead End, Buck-Tick, D'erlanger, and Color. Japanese pop culture website Real Sound wrote that similarities between the appearances and behaviour of the founders of visual kei and members of the yankī delinquent subculture are often noted. The movement designated a new form of Japanese rock music influenced by Western hard rock and glam rock/metal acts like David Bowie, Kiss, Twisted Sister, Hanoi Rocks, Mötley Crüe, as well as punk-gothic rock and was established in the late 1980s and early 1990s. In The George Mason Review, Megan Pfeifle described the movement as being roughly divided into two generations, with the first in three transitional eras, of which the first era lasted just over a decade.

In the late 1980s and until the mid-1990s, visual kei received increasing popularity throughout Japan, when album sales from such bands started to reach record numbers. The first band with recordings that achieved notable success was Dead End, whose independent album Dead Line (1986) sold over 20,000 copies, and whose major label debut album Ghost of Romance (1987) released by Victor Entertainment reached No. 14 on the Oricon Albums Chart. That same year, Buck-Tick released their major debut Sexual XXXXX! through the same record label. Dead End even had albums Ghost of Romance and Shámbara (1988) released by American label Metal Blade Records, with radio station and MTV exposure in the United States. In 1990, D'erlanger's major debut album Basilisk reached No. 5 on the Oricon chart, but they and Dead End both disbanded that same year.

In 1988 and 1989, Buck-Tick and X Japan started to gain mainstream success that continues to present-day. Buck Tick's single "Just One More Kiss" entered No. 6 and "Aku no Hana" is first visual kei No. 1 single on the Oricon Singles Chart, while their studio albums Seventh Heaven (1988) and Taboo (1989) charted at No. 3 and 1 respectively and were the first Japanese rock band to hold a concert at the Tokyo Dome. They continued to have success, with nearly all of their subsequent albums topping the charts until 1995 and later reaching the top ten on the charts. X Japan's first album, the independently released Vanishing Vision, reached No. 19 in 1988, making them the first indie band to appear on the main Oricon Albums Chart. Their second and major debut album Blue Blood (1989) reached number 6 and has since sold 712,000 copies. Their third and best-selling album Jealousy was released in 1991, topped the charts and sold over 1 million copies. They went on to release two more number one studio albums, Art of Life (1993) and Dahlia (1996). In 1992, X Japan tried to launch an attempt to enter the American market, even signing with Atlantic Records for a US album, but this ultimately did not happen.

Two record labels formed in 1986, Extasy Records (Tokyo) and Free-Will (Osaka), were instrumental in promoting the visual kei scene. Extasy was created by X Japan drummer and leader Yoshiki and signed bands, not limited to visual kei acts, that would go on to make marks on the Japanese music scene, including Zi:Kill, Tokyo Yankees and Ladies Room. Luna Sea and Glay, who both went on to sell millions of records, with Glay being one of Japan's best-selling musical acts, had their first albums released by Extasy in 1991 and 1994 respectively. Free-Will was founded by Color vocalist and leader Dynamite Tommy, and while at the time not as popular as Extasy, it had many moderately successful acts, such as By-Sexual and Kamaitachi.

1993–2000: Expansion and decline

Pfeifle described the second transition era as beginning in 1993 with bands such as L'Arc-en-Ciel, Glay (although formed in 1988, their first album was released in 1994) and Malice Mizer. They gained mainstream awareness, although they were not as commercially successful, except for L'Arc-en-Ciel and Glay whose later huge success was accompanied by a drastic change in their appearance and are often not associated with visual kei. Around 1995, visual kei bands experienced a booming success in the general population, which lasted for four years. According to Pfeifle, the third transition era began by bands such as La'cryma Christi, Penicillin and Rouage achieving moderate success. At the time, "the big four of visual kei" were Malice Mizer, La'cryma Christi, Shazna and Fanatic Crisis. In 1998, Pierrot released their major debut single, and Dir en grey's three major label singles were released with the help of Yoshiki the following year. They were called "the big two" in the scene at that time.

Around the early 1990s, a visual kei scene that placed more emphasize on music rather than fashion arouse in the city of Nagoya, and as such was later dubbed Nagoya kei. Silver-Rose (formed in 1989) and Kuroyume (formed in 1991) were described as the "Nagoya big two" in the underground scene, and with Laputa (formed in 1993), are credited with "creating the early Nagoya kei style." During the 1990s, several other conceptual subgenres like Eroguro kei (notably represented by Cali Gari), Angura kei (underground style, wearing traditional kimono or Japanese uniforms) and Ouji kei or Kodona kei (prince style or boy style, notably Plastic Tree) emerged.

By the late 1990s, the mainstream popularity of visual kei was declining; Luna Sea went on a year-long hiatus in 1997 before disbanding in 2000, X Japan disbanded at the end of 1997 and one year later their lead guitarist hide died. In 1999, Malice Mizer's drummer Kami died after the departure of singer Gackt, who with a toned down appearance became one of the most popular and successful visual kei solo singers, and L'Arc-en-Ciel publicly distanced themselves from the movement (although, in 2012 they were partly promoted internationally as a visual kei band). In 1998, Billboards Steve McClure commented that "To a certain extent, hide's death means the end of an era, X were the first generation of visual kei bands, but the novelty has worn off. For the next generation of bands, it's like: That's it. The torch has been passed to us". As other bands could not meet financial expectations, most major companies backed out of the movement, and it became an underground style often associated with the rebellious generation, non-conforming to proper society.

2001–2009: International expansion and neo-visual kei

A second generation emerged in small visual kei-specific live houses managed by record companies like PS Company (Free-Will) and Maverick DC Group. The difference between the first and second generation is that the second; has no straightforward music style, ranging from metal to pop, but still seemingly focused on heavy rock genres; the fashion and gender ambiguities are of central importance. Although economically not very significant in the Japanese music market, it became the first Japanese music to succeed on an international scale.

Notable newer visual kei bands include Dir en grey, the Gazette, Alice Nine, D'espairsRay and Girugamesh, as well as solo performer Miyavi, who have all performed overseas. Veterans of the scene also established new acts, such as Malice Mizer's Mana with his band Moi dix Mois and three members of Pierrot forming Angelo. In 2007, visual kei was revitalized as Luna Sea performed a one-off performance and X Japan officially reunited with a new single and a world tour. With these developments, visual kei bands enjoyed a boost in public awareness, with acts formed around 2004 having been described by some media as . From this generation the subgenre  emerged, where the musicians produce upbeat pop rock and wear bright colorful attire. Pioneers of this style include Baroque, Kra, Charlotte and An Cafe.

Although the first international concert by a visual kei act was held in Taiwan by Luna Sea in 1999, it was not until 2002 that many visual kei bands started to perform worldwide (United States, in Europe from 2004), with the initial interest coming from Japanese-themed conventions like A-Kon. In the first five years Dir en grey was especially well received. In 2007, the Jrock Revolution event was held in Los Angeles and featured visual kei bands. Although some bands like the Gazette have played at Tokyo Dome (not at full capacity), the majority of acts play in much smaller venues like Shibuya O-East. In 2009 the V-Rock Festival at Makuhari Messe was reported as the "world's largest Visual Kei music festival" gathering over 50 "visual artists," although this included some Western acts like Marilyn Manson. A second V-Rock Festival was held in 2011 at Saitama Super Arena.

2009–present: Reunions and further expansion

Dead End officially reunited in 2009 and La'cryma Christi (which disbanded in 2007) reunited for an anniversary tour in 2010. Kiyoharu announced the reformations of both Kuroyume and Sads, and Luna Sea reunited and began a world tour.

As an epilogue to their 25th anniversary, Luna Sea hosted a rock festival titled Lunatic Fest on 27 and 28 June 2015, with an estimated 60,000 fans attending. Held at Makuhari Messe, there were three stages and 12 artists, most visual kei acts including X Japan, Dead End, Dir en grey, Siam Shade and Tokyo Yankees the first night, and Aion, Buck-Tick, D'erlanger, Glay and Mucc the second night.

A large three-day visual kei rock festival titled Visual Japan Summit was held at Makuhari Messe between October 14–16, 2016. Luna Sea hosted another two-day Lunatic Fest at Makuhari Messe on June 23 and 24, 2018.

According to sales figures from online music store CDJapan, some of the internationally popular visual kei acts on the late 2010s include the Gazette, Kamijo, Nocturnal Bloodlust, Versailles, Jupiter, Mejibray, lynch., Dimlim, Matenrou Opera, Miyavi, D, Diaura, Dadaroma, Initial'L, A9, Buck-Tick, Yoshiki, Hyde, Luna Sea, Mucc, Hizaki and Gackt.

In 2021, visual kei journalist Chiaki Fujitani noted how newer acts were combining visual kei with other elements to create originality. She cited Nocturnal Bloodlust's muscular vocalist Hiro for defying the usual delicate appearance of visual kei musicians, 0.1g no Gosan for utilizing tropes of underground idols, such as playing tug of war with fans during concerts, Choke for their avant-garde form of rap metal, and former D'espairsRay drummer Tsukasa Mogamigawa for being the first visual kei enka singer.

Characteristics
Sources have variously referred to visual kei as a movement, scene, subculture and music genre. Visual Kei is not associated with any one musical style, with visual kei artists playing music of varying genres including punk rock, heavy metal, pop and electronica, instead, it is primarily defined by a bands' emphasis on aesthetics, particularly their fashion and use of makeup,  with a number of visual kei artists and critics describing it as a freedom of expression and experimental fashion.

Visual kei musicians often have elaborate, dyed hair, extravagant costumes, frequently with leather, PVC or lace, or based on traditional Japanese clothing piece and excessive jewelry. Many musicians make use of androgynous and gender bending aesthetics, with some male musicians even crossdress in a manner similar to the traditional Japanese Onnagata performers. This rose to prominence through the success of Malice Mizer, whose guitarist Mana performed dressed as a woman and singer Gackt being a "living specimen of bishōnen" (but his late solo career aesthetics became more "macho"). Such aesthetics have the same tradition as the aesthetics of the shōjo manga. Different artists have taken aesthetic influence from various fashion styles including glam, metalhead, punk, goth and cyberpunk, and many subsects of visual kei exist to describe separate styles. Eroguro kei is one such subsect which is influenced by BDSM and horror imagery, while angura kei makes use of traditional Japanese clothing styles like kimonos.

However, visual kei is not only characterized by musical and visual specifics, often the artists have a wider "decorative fantasy" concept and context while the on-stage performances are "overwhelming, multisensory experience whose constructed nature is made apparent to audiences" (e.g. observed in Gackt's career claim about being a vampire).

Japanese music divisions
The Japanese divide their music into categories that do not match American and European categories of music. Ryukoka, kayokyoku, shibuya-kei and visual kei - are all "divisions of music" that the Japanese use to describe categories of musical artists; the first 3 are considered sub-genres of pop, the last being considered a type of rock.

Criticism
There has been criticism directed at newer visual kei bands for having lost the spirit of their forefathers by copying each other in design and sound, and becoming all the same. As far back as 1998, Neil Strauss reported that to visual kei bands "after X" makeup and outrageous looks became "more important than music." Several musicians have expressed their discontent; in 2008, Kirito (Pierrot, Angelo) said "now it's more like people are dressing up a certain way because they want to be visual kei or look visual kei. They are doing it to look like others instead of doing it to look different. This is obviously very different from when we started out more than ten years ago," while Sugizo (Luna Sea) stated in 2010 that "they cannot make good sounds and music is more like a hobby for them. I cannot feel their soul in the music."

Although almost from the newer generation himself, Dir en grey bassist Toshiya said in 2010 "to be honest, when we first started and we were wearing a lot of makeup on stage and stuff, there were a lot of bands doing that at the time in Japan and people thought it was cool. But not anymore, ha ha." and added "the music was so unique, too – bands like X Japan. At that time, there weren't any two bands that sounded alike; these days everyone sounds exactly the same." Kenzi (Kamaitachi, The Dead Pop Stars, Anti Feminism) commented in 2009 that "back in the day, there were bands, but people would try to do things differently. Nowadays, there's one band and everyone copies off of them," with Free-Will founder and Color frontman Tommy concluding with "I don't think our breed of visual kei exists anymore." In 2013, Kiyoharu (Kuroyume, Sads) said that although he, Ryuichi (Luna Sea) and Hyde (L'Arc-en-Ciel) were influenced by Morrie (Dead End), they "sublimated each other" inventing something new, but the younger generation is more imitative. He proposed that from Morrie's perspective this probably appears to be a "copy of his copy's copy". In the same interview, Morrie added that the problem with new visual kei bands is that "they're established as a genre... well, there's probably a part of it that's business-wise, but it wouldn't be fun if it got stiff. I would like to see people who are trying to break through that area. It doesn't matter how good you are, whether you're doing it on the visual kei route or not, it's something fundamental."

Time Out Tokyos Bunny Bissoux concluded in 2015 that the movement "today is basically a parallel of the J-pop idol system" and "that originally prided itself on being different, it now attracts those who want to 'look' visual kei. Genuine originality (in the music, at least) seems to be dying out." In 2018, Seiichi Hoshiko said that he was worried about this trend's effect on the movement's future.

Popularity

Magazines published regularly in Japan with visual kei coverage are Arena 37 °C, Cure, Fool's Mate Express, Shoxx, Shock Wave, Rock and Read among others. The popularity and awareness of visual kei groups outside Japan has seen an increase in recent years, mostly through internet and Japanese anime, shown for example by German magazines Peach (discontinued in 2011) and Koneko, as well European record label Gan-Shin. The biggest fan communities are found in United States, Germany, Poland, Russia, France and Brazil and to some extent Finland, Chile and Sweden.

From these international youth subcultures and influence emerged bands like Cinema Bizarre, but they hesitate to consider themselves as visual kei because are not ethnically Japanese and instead as glam rock. Despite the existence of visually similar music acts in the West such as Marilyn Manson, Tokio Hotel and Lady Gaga, Pfeifle said that the androgynous look of visual kei bands often has a repulsive effect on Westerners.

According to the musicologists, the Lacanist psychoanalysis of the subculture indicates that the fascination with the singer's voice (the lack of understanding amplifies the effect), as well ineffable and unfulfillable desire, are what attracts most of the (predominantly female) fans to the groups on an international scale. The female fans () show a behavioral pattern while attending the concerts, and there are several furi (movements) like tesensu (arm fan), gyakudai (reversed dive), hedoban (headbang), saku (spread hands in the air). The explicit fan fiction and homoerotic acts on the stage by some musicians called fan sabisu (fan service; a sexual term borrowed from manga culture), are related to the Lacanian man's type of desire (to be recognized by the other, desire of the other), i.e. the female fans do not desire the musician himself, but his desire; a kind of cultural social training ground for the inescapable process of learning how to desire.

Gallery

See also

 Emo
 List of visual kei musical groups
 Japanese rock
 Japanese metal
 Scene (subculture)

Notes

References

English

Japanese

External links

Japanese fashion
Japanese styles of music
Japanese subcultures
Punk rock genres
Heavy metal genres
Rock music genres
Music genres
Androgyny

Visual kei


Finn Peter Bach (født 28. april 1946 i Vammen) er en dansk handelsmand og ejer af Bach Gruppen.

Historie
Bach blev født i 1946 i landsbyen Vammen nordøst for Viborg. 1. oktober 1960 kom han i direktionen i selskabet Bladcentralen ApS, hvis formål var "at drive handelsvirksomhed med fast ejendom og løsøre samt virksomhed som bygmester og anden hermed beslægtet virksomhed". Senere blev han udlært mekaniker.

I juli 1967 stiftede han selskabet Handelsfirmaet Finn Bach, der skulle beskæftige sig med detailhandel med biler og udlejning af erhvervsejendomme. I 1969 begyndte han at bygge huse.

Ved siden af forretningslivet kørte Finn Bach også rally. I august 1972 deltog han sammen med tyskeren Klaus-Dieter Pleiser i én EM-afdeling, Olympia Rally ved Kiel, for "Swarfega Team Perle" i en BMW 2002 tii.

Aktiviteterne blev udvidet til blandt at omfatte salg og udlejning af betonbiler, salg af tørbetonprodukter, produktion af alufacader, betonfabrikker, granitbrud og grusgrave, samt ferie- og aktivitetscentre. I 2015 var Bach Gruppens egenkapital på over en milliard kroner.

Finn Bach blev i maj 2010 optaget i Kraks Blå Bog.

I 2021 var der flere historier i medierne om overtrædelse af byggetilladelser, idet det udførte byggeri ikke stemte overens med de tilladelser der var udstedt.  Disse historier, i første omgang om det 86 meter høje Njals Tårn på Amager, er opført på et usikkert fundament. blev i første omgang afvist, men efterfølgende fik en tidligere direktør i et datterselskab i koncernen skylden for overtrædelserne. Der var tale om en nu afdød person, hvorfor beskyldningerne i første omgang ikke blev afvist.  TV 2s Operation X forsøgte at afdække sagen og viste flere vidner der sagde at  Finn Bach  selv havde givet de ulovlige ordrer, for derefter at forsøge at give den nu afdøde direktør i datterselskabet skylden. Udsendelsen fik Bach-Gruppen til at anmelde en af Operation X kilder for injurier

Privat
Finn Bach er søn af murer Peter Bach (død 1987) og husmoder Dagmar Bach (død 1997). Han blev gift med Ulla Bloch Jensen (f. 27. januar 1947), med hvem han har to døtre.

Referencer

Eksterne henvisninger
 Bach Gruppens officielle websted

Personer fra Viborg
Erhvervsfolk fra Danmark
Motorsportsfolk fra Danmark
Personer i Kraks Blå Bog

Finn Bach


Bontius ist der Familienname folgender Personen:

 Gerard Bontius (* um 1536/1539; † 1599), niederländischer Mediziner, Botaniker, Mathematiker und Astronom
 Jacobus Bontius (1599–1631), niederländischer Arzt, siehe Jacob de Bondt
 Reiner Bontius (1576–1623), niederländischer Mediziner

Siehe auch:

 Bondt (Begriffsklärung)
 Bont (Begriffsklärung)
 Pontius (Name)

Bontius


Halloween II er en amerikansk gyserfilm fra 2009 instrueret af Rob Zombie.

Medvirkende
Malcolm McDowell som Dr. Samuel Loomis
Scout Taylor-Compton som Laurie Strode
Tyler Mane som Michael Myers
Danielle Harris som Annie Brackett
Brad Dourif som Sheriff Brackett
Caroline Williams som Dr. Maple
Chase Wright Vanek som unge Michael
Sheri Moon Zombie som Deborah Myers

Eksterne Henvisninger

Gyserfilm fra USA
Amerikanske film fra 2009
Seriemorderfilm
Film om Halloween
Slasher film

Halloween II (film fra 2009)


Metal, astronomide helyumdan ağır olan bütün elementlerdir ve bazı kimyasal elementlerin ait olduğu grup.
 Metal, bir müzik tarzı.

Metal (anlam ayrımı)


ديافاتوس (Διαβατός) هي مدينة في إيماثيا في مقاطعة فوريا إلادا في اليونان.

يبلغ عدد سكانها حوالي 1273 نسمة.

المراجع

مدن اليونان
أماكن مأهولة في إيماثيا

ديافاتوس (إماثيا)


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

Mga kasarigan

Panicum

Panicum nigromarginatum


La isla [de] Werd () es la principal de las pequeñas islas del grupo de Werd en la parte occidental del lago Inferior  del lago de Constanza justo antes de que el Alto Rin salga de la parte del lago conocido como Rheinsee. Se encuentra en territorio suizo entre Stein am Rhein y Eschenz.

Tiene una superficie de 1,59 hectáreas, administrativamente hace parte del municipio de Eschenz, en el cantón suizo de Turgovia. Está conectado con la orilla sur del río por un puente de madera 125 metros de largo.

Véase también
Isla Vitali
Isla Wa
Isla Weizhou
Isla Wellesley

Referencias

 Heinz Finke: Inselspaziergänge. Werd, Liebesinsel, Reichenau, Mainau, Dominikanerinsel, Lindau., 1991, ISBN 3-87685-122-X
 Karl Keller-Tarnuzzer: Die Inselleute vom Bodensee, 1935

Enlaces externos
 foto de la isla

Archipiélagos e islas de Suiza

Geografía del cantón de Turgovia

Isla Werd


Republika Hrvatska i Kraljevina Španjolska održavaju diplomatske odnose od 9. ožujka 1992. Sjedište veleposlanstva je u Madridu.

Veleposlanici
Veleposlanstvo Republike Hrvatske u Kraljevini Španjolskoj osnovano je odlukom predsjednika Republike od 10. prosinca 1992.

Vidi još
Ministarstvo vanjskih i europskih poslova Republike Hrvatske

Vanjske poveznice
 Španjolska na stranici MVEP-a

Izvori

Španjolska

Popis hrvatskih veleposlanika u Španjolskoj


Ferdinand (von) Hiller () a fost un muzician, compozitor și dirijor german.

Biografie
Ferdinand Hiller s-a născut într-o bogată familie evreiască din Frankfurt pe Main, unde tatăl său Justus (inițial Isaac Hildesheim, un nume pe care l-a schimbat la sfârșitul secolul al XVIII-lea pentru a-și ascunde originile evreiești) era un comerciant de stofe englezești – o afacere care a continuat în cele din urmă cu fratele lui Ferdinand, Joseph. Talentul lui Hiller a fost descoperit de timpuriu și a urmat lecții de pian cu muzicianul Alois Schmitt din Frankfurt, de vioară cu Jörg Hofmann și de armonie și contrapunct cu Georg Jacob Vollweiler; la vârsta de 10 ani a interpretat un concert de Mozart cu public; și doi ani mai târziu, el a scris prima sa compoziție.

În 1822, tânărul Felix Mendelssohn, pe atunci în vârstă de 13 ani, a intrat în viața lui. Familia Mendelssohn a locuit în acea vreme o scurtă perioadă la Frankfurt și tânărul Hiller a vizitat-o, fiind extrem de impresionat de interpretarea lui Felix (și chiar mai mult de cea a surorii lui, Fanny Mendelssohn). Când s-au reîntâlnit în 1825, cei doi băieți au legat imediat o prietenie strânsă, care avea să dureze până în 1843. Hiller a descris cu tact conflictul ulterior ca decurgând din "susceptibilități sociale și nu personale". Dar, de fapt, acest conflict pare să fi avut mai mult de-a face cu faptul că Hiller i-a succedat lui Mendelssohn în calitate de director al Orchestrei Gewandhaus din Leipzig în 1843.

Din 1825 până în 1827, Hiller a fost elevul lui Johann Nepomuk Hummel la Weimar; în timp ce era, împreună cu Hummel, la căpătâiul lui Beethoven, Hiller a tăiat o șuviță din părul compozitorului. Această șuviță se află acum la San Jose State University, după ce a fost vândută într-o licitație organizată de Sotheby's în 1994. În timp ce se afla la Viena pentru funeraliile lui Beethoven, Hiller și Hummel i-au auzit pe Johann Michael Vogl și Franz Schubert interpretând piesa Winterreise a lui Schubert. Hiller a scris că maestrul său a fost atât de mișcat, că-i curgeau lacrimi din ochi.

Din 1828 până în 1835, Hiller s-a aflat la Paris, unde a fost angajat ca profesor de compoziție la Școala de Muzică a lui Choron. În cele din urmă a renunțat la această poziție, astfel că s-a putut pregăti mai bine ca pianist și compozitor. El a petrecut un timp în Italia, în speranța că acest lucru îl va ajuta să scrie o operă de succes (o speranță care nu a fost niciodată împlinită). În 1836, el se afla la Frankfurt, unde s-a dedicat compoziției. Abilitățile sale i-au fost recunoscute și, deși, avea doar 25 de ani, a fost rugat să activeze ca dirijor al Cäcilienverein în timpul bolii dirijorului Schelble.

Hiller a fost ales membru al Academiei Prusace de Arte în 1849, iar în 1868 a primit titlul de doctor al Universității din Bonn. El a murit în Köln.

Lucrări
El a compus, printre alte lucrări, șase opere între 1839 și 1865, și un concert pentru vioară.

Hiller a scris cel puțin patru simfonii; una în 1831, alta, în la minor, tot în 1831; de asemenea, Im Freien în sol major, compusă la Londra în 28 iunie 1852, și una în mi minor publicată de Schott ca opus 67 în Mainz în 1865.

Note

Bibliografie

 The Grove Dictionary of Music and Musicians

Legături externe

Nașteri în 1811
Decese în 1885
Evrei germani
Compozitori germani de muzică cultă
Dirijori germani
Compozitori de operă germani
Oameni din Frankfurt

Ferdinand Hiller


Random House este o editură americană de carte, una dintre cele mai mari edituri de cărți de interes general din lume. Compania are o mulțime de subsidiare gestionate independent în toată lumea. Este parte din grupul editorial Penguin Random House, care este deținut de conglomeratul media german Bertelsmann.

Istoric

Istoria timpurie
Random House a fost fondată în 1927 de către tinerii editori americani Bennett Cerf și Donald Klöpfer, la doi ani după ce au achiziționat marca editorială Modern Library de la editorul Horace liveright, care reedita opere clasice ale literaturii. Cerf ar fi spus cu acest prilej: "Tocmai am spus că avem de gând să publicăm câteva cărți la întâmplare", ceea ce a sugerat numele Random House. În anul 1934 ei au publicat prima ediție autorizată a romanului Ulise al lui James Joyce în lumea anglofonă.

Ulise a lansat într-adevăr Random House. ... Random House a devenit o editură formidabilă în următoarele două decenii. În 1936 ea a absorbit firma lui Smith și Haas - Robert Haas a devenit cel de-al treilea partener până când s-a retras și a vândut înapoi partea sa de acțiuni lui Bennett și Donald în 1956 - ceea ce i-a adus autori precum Faulkner, Isak Dinesen, André Malraux, Robert Graves și Jean de Brunhoff, care a scris cărțile pentru copii cu Babar. Random House i-a angajat pe legendarii redactori Harry Maule, Robert Linscott și Saxe Commins, iar ei au adus autori ca Sinclair Lewis și Robert Penn Warren.

Editurile americane Alfred A. Knopf, Inc. și Pantheon Books au fost achiziționate de Random House în 1960 și respectiv 1961; cărțile au continuat să fie publicate sub aceste mărci cu independență editorială, cum este cazul colecției Everyman's Library de reeditări din literatura clasică.

În 1965 corporația RCA a cumpărat Random House ca parte a unei strategii de diversificare și mai târziu a vândut-o către compania media Advance Publications în 1980.

În 1988 Random House a achiziționat editura Crown Books. Tot în același an, McGraw-Hill a cumpărat divizia de cărți educaționale a editurii Random House Inc.

Achiziționarea de către Bertelsmann
În 1998 conglomeratul media german Bertelsmann AG a cumpărat Random House și a fuzionat-o cu Bantam Doubleday Dell și curând a devenit o editură globală. Editura s-a extins tot mai mult și în 1999 a cumpărat editorul de audiobook-uri pentru copii Listening Library.

Fuziunea cu Penguin
În octombrie 2012 Bertelsmann a intrat în discuții cu conglomeratul rival Pearson plc cu privire la posibilitatea fuzionării editurilor lor, Random House și Penguin Group. Fuziunea a fost finalizată la data de 1 iulie 2013, iar noua companie a fost numită Penguin Random House. Bertelsmann deține 75% din joint-venture, în timp ce Pearson deține 25%. La momentul achiziției, cele două companii controlau 25% din comerțul de carte și aveau mai mult de 10.000 de angajați, 250 de mărci independente și venituri anuale de aproximativ 3,9 miliarde $. această mișcare de consolidare i-a oferit un avantaj în competiția cu Amazon.com și a oprit reducerea numărului de librării.

Organizare

Sediu
Sediul principal al editurii din Statele Unite ale Americii este situat pe 1745 Broadway în Manhattan, la 208 metri de Random House Tower, care a fost finalizat în 2009 și acoperă întreaga parte vestică a blocului situat între West 55th Street și West 56th. Holul său conține vitrine de sticlă din plafon până la tavan umplute cu cărți publicate de numeroasele mărci ale companiei. Adresele anterioare au fost: 457 Madison Avenue, New York 22, NY; 20 East 57th Street, New York 22, NY; and 201 East 50th Street, New York, NY 10022.

Note

Vezi și
Ballantine Books
 :Categorie:Cărți Random House

Legături externe
 Site-ul oficial

Edituri din Statele Unite ale Americii
Fondări în 1927

Random House


The Realistic DX-302 is a general coverage (long-wave, medium-wave, and short-wave) radio manufactured by General Research of Electronics (GRE) of Chiba, Japan and marketed in the United States by Radio Shack (Tandy Corporation) from 1980 through 1982.  The radio's theory of operation is based on the principle of the Wadley Loop tuner (developed by Trevor Wadley in the 1960s), and was one of the first radios marketed by Tandy Corporation to have a digital frequency display. The DX-302 succeeded and improved upon the similar Realistic DX-300.

The frequency range is from 10 kHz to 30 MHz.  The Reception Modes are AM, LSB, USB, and CW.

References

Amateur radio receivers

Realistic DX-302


Maison de jour, maison de nuit est un roman polonais de Olga Tokarczuk publié en 1998 en polonais par Wydawnictwo Literackie, et en français par les éditions Noir sur Blanc en 2021 traduit par Maryla Laurent.

Résumé
Le roman se compose d'une centaine de chapitres de longueur inégale, entrecroisant diverses époques, entremêlant diverses vies.
L'action se déroule dans l'actuelle voïvodie de Basse-Silésie, région de Wrocław (Breslau), au sud-ouest de la Pologne, dans le massif des Sudètes : Wambierzyce (Albendorf), Nowa Ruda  (Neurode), Kłodzko (Glatz), Wałbrzych (Waldenburg), Jedlina-Zdrój (Bad Charlottenbrunn). La région (Duché de Silésie, 1138–1335) a eu un passé riche, et troublé, sur plusieurs siècles, jusqu'au dernier partage après 1945 entre Allemagne, Tchéquie et Pologne, dont l'évacuation des Allemands des Sudètes (1335-1945), ici expulsion des Silésiens germanophones, dans le cadre de l'expulsion des Allemands d'Europe de l'Est.

La narratrice anonyme s'est installée, avec son compagnon R., , dans un hameau (Krajanów, à côté de Pietno, anciennement Einsiedler), dans une petite vallée, isolée, pittoresque, aux confins du monde, à la frontière tchèque, dans les années 1990-2000, après avoir vécu plus à l'Est. Déplacement dans une Pologne déjà post-communiste, sans raison manifeste, sans implication sociale, sans activité lucrative signalée, simplement pour vivre au calme, ou rêver ou écrire.

 (p. 9).
 (p. 10).
 (p. 142).

Même si collecter des rêves (ou des cauchemars), sans rémunération, seul internet le permet, ou les émissions et feuilletons de Radio Nowa Hutta. Dès la première journée, au printemps, entre pluie et neige, la terre argileuse ne laisse pas l'eau pénétrer, et, en plus de la rivière chargée, le couple le comprend aussitôt, leur cave est traversée par un torrent qui va se jeter dans l'étang, et la maison semble bien avoir été construite ainsi, en toute connaissance… Le grenier n'est rangé que près de dix ans plus tard, au départ annoncé.

Et cet écart du monde devient un microcosme, aussi puissant que tout autre, et propre à une épopée. Dans ce tout petit lieu, à peine un canton, comme ailleurs sans doute,

Voisins et voisines se croisent, se rendent visite, sans contrainte. On s'informe, on s'entraide. On parle beaucoup et on se tait beaucoup. Marta et la narratrice se coupent les cheveux. Et, à la suite d'une remarque de Marta ( (p. 76), la perruquière finit par confectionner une perruque spécialement pour sa voisine. Le couple reçoit parfois, des amis (d'ailleurs), particulièrement sur sa terrasse pour admirer la pleine lune de juillet.

Le contact principal est la proche voisine, Marta (Poniewierka, errance ou adversité), veuve, âgée, ancienne perruquière : elle parle beaucoup, se raconte, jaspine, invente, entremêle.
Elles discutent, cuisinent (pommes de terre, petits pois, rhubarbe, champignons, camomille sauvage, cornichons, orties), cultivent (salades, dahlias, aloès), se promènent, circulent en voiture, pour les courses (fruits, légumes, clous) ou non, sortent parfois, pour cueillir des herbes ou visiter.

La narratrice, généralement discrète, revendique sa « champignité », son attirance pour les champignons et leur consommation : croquettes aux collybies, bolet blafard au vin et à la crème, dessert sucré aux vesses-de-loup, gâteau à l'oronge, oronge de printemps à la crème, collybie…

Marta est ce passeur, qui permet à des passants clandestins de franchir une frontière.  (p. 15.)

Les autres voisins sont tout aussi ordinaires, étranges, uniques, merveilleux, traversés de rêves, de récits, même si leur mise en récit reste souvent à peine ébauchée : "Bidule Machin", radoteur répétitif, qui leur raconte la mort de cet autre voisin, "Marek Marek", le bon à rien, qui se soûle à mort pour ne plus sentir dans sa poitrine l'énorme oiseau aux ailes battantes, "Agnieszka", qui remplit le bidon de lait, et qui a visité Auschwitz, "Bobol", le fermier (arrivé en famille en 1945), "Zezula", "l'Homme à la Scie"...

Certaines vies gagent une autonomie : "Krystyna" (Poploch, panique), autre voisine, célibataire, ex-employée de banque, rêveuse, visitée (au printemps 1969) par une voix se disant "Amos", de Mariand, à la recherche de cet Amos, peut-être Andrzej Mos, à Częstochowa… Ses parents, les Poploch, liquident leur trésor inconnu, une ménagère en argent, récupérée dans la maison octroyée en 1945.
"Ergo Sum", persuadé qu'il aurait mangé de la viande humaine autrefois, quelque part en déportation en Sibérie, professeur de latin en fuite, redoute de se changer en loup-garou, se transforme en arrivant à Pietno en Bronislaw Sum, dit Bronek, valet de ferme, qui donne son sang à la collecte en ville.
À Nowa Ruda, on croise le Prophète, le Voyant, hirsute, "Lew" (Lion), invalide, à la suite d'un accident de mine de charbon, devenu spirite, prédisant plusieurs fois une fin du monde, et pleurant de survivre dans un monde qui n'existe plus.
La famille "Frost", dont le mari aurait construit la maison de la narratrice dans les années 1930 (l'année de la comète), dont un fils meurt d'un plat de champignons, et qui se plaint de faire des rêves qui ne sont pas à lui, se fabrique un chapeau de bois…
"Peter Dieter" (et sa femme Erika), allemand des Sudètes, essayant de réactiver ses souvenirs quarante ou cinquante ans trop tard, mort à la frontière, repoussé alternativement par les gardes tchèques et polonais.
Le couple sans nom ("Elle et Lui"), arrivés en Silésie après 1945, sans enfant, où chacun rencontre un/une "Agni" : satisfaction sexuelle et existentielle, manque, nostalgie...

Plus loin dans le temps, la famille des comtes "von Götzen" (p. 205), expulsés de leur château, qu'ils habitent sans l'avoir  (p. 193), les couteliers (originaires de Solingen), peut-être de la même confrérie (hussite ( ?)) que ces couteliers supposés hérétiques qui hébergent quelque temps le frère-sœur Feu (Paschalis).

Bien sûr, beaucoup de racontars, de légendes : le latimeria (50), le monstre-dragon du fond de l'étang. Et surtout l'hagiographie de la sainte silésienne (et d'ailleurs) Kümmernis, dont une représentation orne(rait) une chapelle de la basilique de Wambierzyce, un de ces tableaux votifs catholiques (vierge miraculeusement barbue, martyre crucifiée) : sainte Wilgeforte, ou Sainte-Débarras ou Dérobade, originaire de Broumov (Braunau), interdite de culte par le pape.
Mais aussi l'histoire du moine Paschalis, du monastère de Rosenthal, mal dès l'enfance dans sa peau d'homme masculin, se rêvant femme, dont la tâche fixée par la mère supérieure du couvent des bénédictines est d'.
On regarde de loin la procession paroissiale.

La véritable histoire locale n'est pas absente, jamais insistante. L'ancienne germanique marche vers l'Est a longtemps imposé une présence commerciale, culturelle, militaire et industrielle (dont la métallurgie, la coutellerie), jusqu'à l'expulsion des Allemands d'Europe de l'Est en 1945. Ils ont laissé des trésors, cachés ou non, un couteau oublié ou enfoui, une assiette en étain, un napperon brodé à inscription allemande, une ménagère en argent. Tunczil, fondateur de la ville de Nowa Ruda, a sans doute trouvé un couteau de Solinge. Et la narratrice l'avoue :  (p. 239.)

 (p. 141).

L'autre monde pourrait s'entrevoir, mais reste peu accessible (hors mort) : divination, prédictions, prophéties, mantique, éphémérides, signes (comète, éclipse de lune). La cosmogonie des frères couteliers pose une  Mécanique du salut (p. 290).

Édition
En 1998, la première édition est le fait de la maison d'édition indépendante Wydawnictwo Ruta.
En 1999, le livre est déjà un best-seller en Pologne (.
Fin 2000, via Bertelsmann, c'est le premier roman en Pologne à être publié sur internet sous forme électronique, marquant le début du marché du livre électronique en Pologne.

 Première édition française, traduction du polonais par Christophe Glogowski, Robert Laffont, "Pavillons", 302 pages
 Seconde édition française, traduction par Maryla Laurent, Noir sur Blanc, 304 pages

Distinctions
 Prix Władysław Reymont (1998)
 Prix Nike des lecteurs (1999)

Réception francophone

Entretien avec l'auteure

Annexes

Bibliographie

Articles connexes
 Littérature polonaise
 Réalisme magique

Liens externes

Notes et références

Roman paru en 1998
Roman polonais

Maison de jour, maison de nuit


patch هو إحدى برمجيات يونكس، يقوم بتحديث ملفات نصية طبقاً لأوامر موجودة في ملف مستقل، يطلق عليه ملف باتش أو ملف ترقيعي patch file. الملف الترقيعي (يطلق عليه أيضاً باتش اختصاراً) هو ملف نصي يحتوي على قائمة من الاختلافات تم إنتاجها عن طريق تشغيل برنامج ديف مع تمرير الملف الأصلي والملف المُحدث إلى البرنامج. تحديث الملفات باستخدام patch يطلق عليه أحياناً تطبيق الباتش أو تطبيق الترقيع أو ببساطة ترقيع أو باتشينج patching.

مراجع

برامج ترقيع
برمجيات 1984
برمجيات 1985
خدمات مواصفات يونكس المنفردة

باتش (يونكس)


Urocoma limbalis este un gen de molii din familia Lymantriinae.
Este cunoscută în Australia, inclusiv în Queensland și New South Wales.

Aripile sunt lungi de aproximativ 40 mm. Adulții au un corp maro închis și aripi maro. Aripile au o bandă albă de-a lungul marginilor.

Firele de păr de pe omidă și cocon pot provoca iritații ușoare până la severe ale pielii.

Referințe

Legături externe
  Baza de date a genului Lepidoptera la Muzeul de istorie naturală

Lymantriidae
Molii
Genuri de insecte

Urocoma limbalis


Creta sau calcarul din Creta este o rocă sedimentară calcaroasă de origine organică, albă, poroasă și moale. Ea este prelucrată sub forma unor batoane cilindrice și folosită ca material didactic pentru scriere și desen.  Formarea sa se datorează acumulării unor cantități mari de resturi de cocolitofore, alge microscopice acoperite cu straturi minuscule de calcit (cocolite). Se întâmplă frecvent să se găsească noduli de silex asemănători cretei.

Un exemplu de roci formate din cretă sunt Stâncile albe de la Dover din sudul Angliei.

Perioada geologică Cretacic își trage numele de la această piatră.

Note

Calcar

Cretă (rocă)


الفحيح هو صوت الأفاعي والثعابين الصادر من فمها، ويسمى صوت الأفاعي والثعابين عندما تزحف ويحتك جلدها مع الأرض بالحفيف.

تعرف كذلك على أصوات الحيوانات

أصوات الحيوانات

فحيح


La grève de Saint-Nazaire de 1967 est un mouvement de protestation s'étant déroulé du  au  dans la ville de Saint-Nazaire. Elle fut menée par les cols blancs employés dans les chantiers navals (principalement les techniciens, dessinateurs et agents de maîtrise) car ils estimaient que leurs conditions de travail s'étaient dégradées. Ce mouvement est considéré comme l'un des prémices de Mai 68 et a parfois tendance à éclipser ces évènements tant il a marqué les esprits locaux.

Contexte

Le passé de la ville
Le passé de Saint-Nazaire est chargé de nombreuses contestations ouvrières. Détruite en très grande partie durant la Seconde Guerre mondiale, la ville portuaire commence à être reconstruite à partir de 1947. De nouvelles protestations surviennent dès le début de l'année 1950, comme lors des grèves de 1955, avec pour revendication une revalorisation des salaires des prolétaires.

Les craintes des cols blancs
En parallèle, la concurrence des chantiers navals asiatiques force le gouvernement français à intégrer Saint-Nazaire dans le dispositif des zones spéciales de conversion. Mais les aides de l'État n'empêchent pas certaines usines de fonderie de faire faillite dans les , laissant  sans emploi. Tous ces éléments amènent les cols blancs à douter quant à la pérennité de leur travail : ces derniers observent aussi une importante différence salariale entre les employés de Saint-Nazaire et ceux travaillant à poste égal en région parisienne.

Vers la grève
Des négociations sont alors entamées dans le but de réduire les inégalités de paie, mais les responsables des sociétés démettent les affirmations et rejettent les revendications portées par les cols blancs. En réponse à cela, ces derniers font grève le 17 février 1967 puis, à la suite du nouvel échec des négociations salariales du 27 février, décident d'entrer pour la première fois dans un mouvement de protestation, d'une durée de plus de 60 jours, dans l'optique d'obtenir une revalorisation de leurs conditions de travail.

Déroulement de la grève

Les débuts du mouvement

À la suite de l'échec des négociations en faveur d'une augmentation de leur salaire, les mensuels nazairiens entrent en grève à partir du , et ce pour une durée qu'ils annoncent illimitée. Parmi les entreprises touchées, on compte les Chantiers de l'Atlantique, Sud-Aviation ou encore les Ateliers et forges de l'Ouest : le taux de grévistes s'élève à plus de 80% lors de la première semaine. Soutenus dans un premier temps par des syndicats tels que la CGT, la CFDT, la CGC et FO, les cols blancs vont aussi chercher à prouver à l'opinion publique que leurs revendications sont légitimes : pour cela, ils dévoilent leurs salaires en public et les comparent à ceux des employés parisiens, afin de prouver la différence d'environ 20% entre leurs revenus et ceux des franciliens.

L'arrivée des ouvriers
À partir du , les usines sont fermées aux ouvriers dits « horaires », soit les travailleurs payés à l'heure : ce lockout est décidé en raison de l'impossibilité de garantir de bonnes conditions de travail. Ces derniers se joignent donc au mouvement de protestation des cols blancs : pour la première fois, ces deux classes sociales jusqu'alors opposées s'unissent dans un mouvement populaire. Des barrages routiers et des piquets de grèves sont organisés, des meetings politiques auxquels assistent les grévistes sont tenus, et les manifestations rassemblent jusqu'à . Par ailleurs, lors de ces rassemblements, les syndiqués esquivent les CRS en empruntant d'autres rues, alors qu'il était de coutume de se confronter à eux, ou de battre en retraite. Des pique-niques sont même organisés lors du weekend de Pâques, un évènement qui contribue à renforcer les amitiés entre les deux classes manifestantes.

L'implication des habitants
Les habitants de Saint-Nazaire participent pleinement au mouvement protestataire. À partir du mois d'avril, de la nourriture est mise à disposition à l'intention des grévistes (sont servis du poisson, du poulet, des pommes de terre et des carottes), des dons sont récoltés et des services tels que les coiffeurs sont rendus gratuits le . Les femmes prennent elles aussi part aux manifestations, en vue de soutenir leur mari : pleinement impliquées, leur nombre s'élève entre  et  à chacune de leurs participations.

La fin de la grève
Mais petit à petit, le mouvement suscite un certain ennui auprès des grévistes : en effet, la moitié des employés commence à se lasser des grèves et souhaite reprendre le travail, estimant que leurs revendications ne seront pas entendues. Mais ces réfractaires n'osent pas manifester leur opposition, craignant d'être exclus socialement en raison d'absence de soutien du mouvement. Finalement, les négociations se poursuivent et aboutissent le soir du . Le lendemain se tiennent les classiques manifestations du , et un reportage est alors réalisé par l'ORTF. Mais celui-ci est censuré par le gouvernement.

Bilan
Le , c'est donc  blancs et  qui retournent travailler, après  de grève. Ils reviennent avec des revendications plus ou moins satisfaites, notamment une hausse des salaires de plus de 7%, un salaire minimum de  par mois, ainsi qu'une hausse de la classification du métier. Ainsi, ces évènements resteront gravés dans la tête des nazairiens, et sont en partie responsables de la faible implication de la classe ouvrière durant .

Notes et références

Grève au XXe siècle
Saint-Nazaire
1967
Grève en France

Grève de Saint-Nazaire de 1967


Kahla steht für:

 Kahla, Stadt im Saale-Holzland-Kreis, Thüringen
 Kahla (Plessa), Ortsteil der Gemeinde Plessa im Landkreis Elbe-Elster, Brandenburg
 KAHLA/Thüringen Porzellan, deutscher Porzellanhersteller
 Johann Alexander Hübler-Kahla (1902–1965), österreichisch-deutscher Filmregisseur, Drehbuchautor und Produzent

Siehe auch:
 Kaala
 Kala
 Kalah

Kahla (Begriffsklärung)


Olaylar
 İstanbul'da çok sayıda ölüm ve yaralanmaya neden olan bir deprem meydana geldi.
 Akroinon Muharebesi gerçekleşti.

Doğumlar
 Abdulmelik el-Esmaî, Arap zooloji ve filoloji bilgini (ö. 828)

Ölümler
 Battal Gazi, hakkında çeşitli inanışlar bırakmış bir lider, Malatya Serdarı Hüseyin Gazi'nin oğlu
 Zeyd bin Ali, Zeydiyye mezhebinin kurucusu, Tabiin'den fıkıh alimi (d. 699)

740


Seder Zeraim (, lit. "Order of Seeds") is the first of the six orders, or major divisions, of the Mishnah, Tosefta, and the Talmud, and, apart from the first tractate which concerns the rules for prayers and blessings, primarily deals with the laws of agricultural produce and tithes of the Torah which apply in the Land of Israel, in both their religious and social aspects.

Topics
Zeraim deals principally with the religious and social aspects of the agricultural laws of the Torah. It explains and elaborates upon the Torah commandments regarding to the rights of the poor and of the Kohens and Levites to the produce of the harvest, as well as the rules and regulations concerning the cultivation and sowing of fields, gardens and orchards. These laws are dealt with in eleven tractates, each of which concerns a separate aspect of the general subject for which this Order is named. The first tractate, Berakhot, concerns the daily prayers and blessings that observant Jews are obligated to recite.

One explanation for the inclusion of the tractate Berakhot, whose topic is seemingly quite different from the remainder of the tractates of the Order is given in the Talmud itself (Shabbat 31a), by Shimon ben Lakish, who homiletically states that the first of the six terms in a verse in Isaiah () – the word emunah "faith"  corresponds to Seder Zeraim. This designation is seen as addressing how regulations regarding prayers and blessings – and especially those concerning the recital of the Shema Yisrael – the emblematic Jewish declaration of faith in the One God – came to be grouped with agricultural laws, which are seen both as an expression of faith through reliance on God and, according to Rashi, the foremost Talmudic commentator (1040 – 1105 CE), as an expression of faithfulness in social relationships, by providing their respective dues to the poor and the Kohens and Levites as described in the other tractates of this Order.

Content
Seder Zeraim comprises eleven tractates, with a total of 74 chapters, as follows:

 Berakhot "Blessings", consists of nine chapters and deals with the rules for daily prayer, particularly the Shema and the Amidah, and other blessings and prayers said before and after eating, and on other occasions.
 Pe'ah ("Corner"), has eight chapters and deals with the commandments concerning the gifts to the poor from the produce of the land, namely from the corners of the field which must be left to the poor, gleanings, and forgotten produce assigned to them, as specified in the Torah ,  and (), and with the topic of charity and rights of the poor in general.
 Demai ("Doubtfully Tithed Produce"), has seven chapters and deals with cases in which it is uncertain that tithes have been set aside from produce for the Kohanim (priests) and Levites.
 Kil'ayim ("Mixed Species"), has nine chapters and deals with rules regarding forbidden mixtures in agriculture, clothing and animal breeding, as specified in  and .
 Shevi'it ("Seventh Year") has ten chapters which deal with the agricultural and fiscal regulations concerning the Sabbatical Year, and the remission of debts, as specified in ,  and
 Terumot ("Donations") comprises eleven chapters dealing with the laws regarding the terumah donation given to the Kohanim, as specified in , .
 Ma'aserot or Ma'aser Rishon ("Tithes" or "First Tithes") has five chapters concerning the rules regarding the tithe to be given to the Levites as specified in .
 Ma'aser Sheni ("Second Tithe"), comprising five chapters, deals with the rules concerning the tithe or its equivalent which was to be eaten in Jerusalem in the first, second, fourth and sixth years of the seven-year agricultural cycle culminating in the Sabbatical Year and as mandated by the Torah, as stated in .
 Hallah ("Dough") comprises four chapters that deal with the laws regarding the offering of dough to be given to the Kohanim as specified in .
 Orlah ("First Fruits of Trees") with three chapters deals chiefly with the prohibitions on the use of a tree for the first three years after it has been planted, as specified in  and the requirements regarding the fruit of the fourth year.
 Bikkurim ("First Fruits") has three chapters with the laws concerning the first-fruit gifts to the Kohanim and the Temple and a description of the donation ceremony, as specified in  and .

Structure
Zeraim is the first seder (order or division) of the Mishnah, in accordance with the traditional order specified by Rabbi Shimon ben Lakish in the Talmud (Shabbat 31a), although Rabbi Tanhuma suggests in the Midrash (Bamidbar Rabbah 13:15–16) that another tradition has Zeraim as the second order of the Mishnah.

Seder Zeraim differs from the general pattern of the other orders that the tractates are arranged in descending order of the number of chapters and, in fact, according to an early tradition, Shevi'it and Kil'ayim come between Terumot and Ma'aserot. There is also evidence that Demai was placed between Kilayim and Ma'aserot.

In many editions of the Mishnah, even early ones like those of Naples (1492), and of Riva (1559), as well as in most of the editions of the Babylonian Talmud, a fourth chapter, which is likely a Baraita, has been added to Bikkurim. The sequence of the volumes of Zeraim in both editions (as above) corresponds with that given by Maimonides.

Talmud

Zeraim was compiled and edited between 200–220 CE by Rabbi Yehudah haNasi and his colleagues, as part of the Mishnah, the first major composition of Jewish law and ethics based on the Oral Torah. Subsequent generations produced a series of commentaries and deliberations relating to the Mishnah, known as the Gemara. These together with the Mishnah compose the Talmud: one produced in the Land of Israel  300–350 CE (the Jerusalem Talmud); and a second, more extensive Talmud compiled in Babylonia and published  450–500 CE (the Babylonian Talmud).

For Zeraim, in the Babylonian Talmud, there is Gemara – rabbinical commentary and analysis –  only for tractate Berakhot. In the Jerusalem Talmud there is a Gemara for all the tractates of Zeraim, as the laws with which they deal mostly concern the Land of Israel, where this Talmud was compiled and these laws were applicable.

References and sources

Mishnah
Talmud
Jewish agrarian laws
Land of Israel laws in Judaism

Zeraim


Carlos Enrique Herrera Gutiérrez OFM (Manágua, Nicarágua, 21 de dezembro de 1948) é bispo de Jinotega, presidente da Conferência Episcopal da Nicarágua.

Carlos Enrique Herrera Gutiérrez ingressou na ordem religiosa dos franciscanos e recebeu o sacramento da ordenação em 10 de janeiro de 1982.

Em 10 de maio de 2005, o Papa Bento XVI o nomeou bispo de Jinotega. O Arcebispo de Manágua, Leopoldo José Brenes Solórzano, doou-lhe a ordenação episcopal em 24 de junho do mesmo ano; Os co-consagradores foram o Núncio Apostólico na Nicarágua, Dom Jean-Paul Aimé Gobel, e o Bispo Emérito de Jinotega, Pedro Lisímaco Vílchez.

Ver também

Bispos católicos da Nicarágua

Carlos Enrique Herrera Gutiérrez


Cet article relate le parcours de l'équipe du Brésil masculine de handball lors des Jeux olympiques de 2020 ayant lieu au Japon en . Il s'agit de la  du Brésil aux Jeux olympiques.

Maillots

Qualification

En terminant à la troisième place aux Jeux panaméricains de 2019, le  est initialement éliminé de la compétition. Il obtiendra une place au tournoi de qualification grâce aux victoires en  de l' au Championnat d'Europe et de l' au Championnat d'Afrique des nations.

Tournoi mondial n°1
En s'imposant face à la  et au , le  décroche sa place pour les Jeux olympiques de 2020.

Effectif pour la compétition

Résultats

Phase de groupe

Statistiques

Buteurs

Gardiens de but

Notes et références

Voir aussi
 Équipe du Brésil masculine de handball
 Équipe du Brésil féminine de handball aux Jeux olympiques d'été de 2020
 Brésil aux Jeux olympiques d'été de 2020
 Handball aux Jeux olympiques d'été de 2020
 Tournoi masculin de handball aux Jeux olympiques d'été de 2020
 Composition des équipes masculines de handball aux Jeux olympiques d'été de 2020

Jeux olympiques d'été de 2020
Bresil
Jeux olympiques d'été de 2020

Équipe du Brésil masculine de handball aux Jeux olympiques d'été de 2020


Blas Sanchis Bonet fue un historietista español (Amposta, 14 de abril de 1919-Deltebre, 1 de septiembre de 1995).

Biografía
Blas Sanchis entró a trabajar en la Editorial Bruguera en 1957. Sin alcanzar gran éxito con sus propios personajes, fue el encargado de dirigir y coordinar las series de otros artistas de la casa, en especial las de Vázquez y las de Ibáñez que se producían en la misma editorial, en el llamado "Estudio Sanchis", una verdadera escuela de futuros artistas. Dibujante por encima de historietista, hombre comprometido y esencialmente culto, no dudó en contratar los servicios de Santiago Scalabroni y  Daniel Branca, huidos de la Junta Militar argentina, y futuros activos de  Disney.

En 1978 abandonó Bruguera para crear la agencia de dibujos infantiles Estudios Bonnet S.A. que se abrió paso en el mercado internacional. Contactó con diferentes editoriales europeas, entre ellas Bastei, Kauka y Hachette, pero sería mediante la empresa danesa Gutenberghus Publishing Service, reconvertida posteriormente en Egmont, con la que tuvo una estrecha y potente relación artística. Entre diversos personajes Disney, cabe resaltar las series de Winnie the Pooh que dibujó durante diez años. El trato y la delicadeza que imprimió en el personaje le valieron el reconocimiento final a una vida dedicada al universo infantil.

Obra

Bibliografía

Enlaces externos
 Comic creator: Blas Sanchis en la Comiclopedia de Lambiek (inglés)

Nacidos en Amposta
Fallecidos en la provincia de Tarragona
Historietistas de España
Ilustradores de España

Blas Sanchis