Mikaela Pauline Shiffrin (Vail, 13 de marzo de 1995) es una deportista estadounidense que compite en esquí alpino.

Participó en tres Juegos Olímpicos de Invierno, entre los años 2014 y 2022, obteniendo tres medallas, oro en Sochi 2014 (eslalon) y dos en Pyeongchang 2018, oro en eslalon gigante y plata en la prueba combinada.

Ganó catorce medallas en el Campeonato Mundial de Esquí Alpino entre los años 2013 y 2023. Además, ha sido la ganadora de la clasificación general de la Copa del Mundo en cinco ocasiones (2017, 2018, 2019, 2022 y 2023).

Palmarés internacional

Referencias

Esquiadores alpinos de Estados Unidos
Esquiadores alpinos de Estados Unidos en los Juegos Olímpicos de Sochi 2014
Esquiadores alpinos de Estados Unidos en los Juegos Olímpicos de Pyeongchang 2018
Esquiadores alpinos de Estados Unidos en los Juegos Olímpicos de Pekín 2022
Medallistas olímpicos de oro de esquí alpino
Medallistas olímpicos de plata de esquí alpino
Medallistas olímpicos de oro de Estados Unidos
Medallistas olímpicos de plata de Estados Unidos
Medallistas olímpicos de oro de Sochi 2014
Medallistas olímpicos de oro de Pyeongchang 2018
Medallistas olímpicos de plata de Pyeongchang 2018
Campeones mundiales de esquí alpino
Mujeres de Estados Unidos del siglo XXI
Deportistas femeninas de Estados Unidos
Esquiadoras

Mikaela Shiffrin


Osetya, (Osetçe: Ирыстон; Iryston, Rusça: Осетия; Osetiya, Gürcüce: ოსეთი; Oset'i) Kafkasya'da bulunan bir bölge.

Coğrafi bilgiler
Kafkas sıradağlarının kuzey ve güney yamaçlarına yayılmış dağlık bir bölge olan Osetya, kuzeyde Rusya Federasyonu'na bağlı Stavropol Krayı, doğuda Çeçenistan ve İnguşetya, batıda Kabardino-Balkarya Cunhuriyeti ve güneyde Gürcistan ile komşudur. Tarihsel ve kültürel olarak hemen hemen bütünlük arz eden tek bir ülke olan Osetya, Büyük Kafkaslar'ın ikiye böldüğü iki parçadan oluşur: Kuzey Osetya ve Güney Osetya.

Kuzey Osetya, Rusya Federasyonu'na bağlı özerk bir cumhuriyettir. Güney ise, 1991 yılında çıkan çatışmalar sonrasında Gürcistan'dan bağımsızlığını ilan etmiştir. De facto bağımsız geçen senelerden sonra Ağustos 2008 yılında Gürcistan ile yeni bir savaş yaşanmış; savaşa Rusya Federasyonu müdahale etmiş ve Güney Osetya'yı bağımsız bir devlet olarak tanımıştır. Nikaragua ve Venezuela da Güney Osetya'nın bağımsızlığını tanımıştır. Ülke ismini, çoğunluğu oluşturan Oset halkından alır. Ülkede Osetler dışında Ruslar, Gürcüler, Ermeniler, diğer Kafkasyalı halklar ve başka uluslar yaşar.

Tarih

Kuban kültürü
Osetya, en erken tarih öncesi dönemlerden beri bir yerleşim yeriydi. Milattan önce ikinci binyılın sonu ve binyılın ortalarına tarihlenen ve bir Geç Bronz Çağı - Demir Çağı arkeolojik kültürü olan Kuban kültürü, Kafkaslar'da bir özgün medeniyet olarak burada ortaya çıktı. Bu kültür, ismini aldığı Osetya'nın Koban köyünde bir sel sonucu kayan toprak altından çıkan savaş baltaları, hayvan figürlü heykelciklerle tanındı. Kuban uygarlığı, erken dönemlerden başlayarak İskitler ile ilişkiye girmeye başladı.

İskitler

Yunan kaynaklarının "Skithoi", Perslerin ise "Saka" ismini verdiği Avrasyalı bu göçebeler, MÖ 8. yüzyılda tarih sahnesine çıkmalarıyla, Kafkasya ile her zaman ilgili oldular. İran ve Anadolu üzerine yaptıkları seferlerde, bu bölgeyi bir geçiş noktası ve üs olarak kullandılar. Kafkasya'da bulunmuş birçok kurgan, İskitler'in yerli Kafkas kavimleriyle ilişkilerinin derinliğini ve uzun süren İskit etkisini ortaya koyar. İskitler yerli Kobanlılar'la da son derece yakın ilişkideydiler ve Osetya'nın her iki kısmı, İskit yerleşimlerine kucak açtı.

Alanlar
Osetya'nın bugünkü etnik ve dilsel yapısını belirleyen en önemli unsur Alanlar oldu. Alanlar da, İskitler gibi, göçebe bir kavimdi ve İskit dillerinin, doğuda konuşulan Hotan Sakacası gibi formları ile birlikte devamını oluşturan  bir dil konuşuyorlardı. Milat sıralarında, daha doğudaki yurtlarından ayrılıp Karadeniz civarına yerleştiler. Hun istilası sırasında bir kısmı Batı Avrupa'ya göçtü. Kafkasya'da kalanlar 8.-13. yüzyıllarda güçlü bir feodal krallık kurdular. Fakat bu devlet, Cengiz Han orduları tarafından yıkıldı. Alan nüfusu kıyıma uğradı. Daha sonra gelen Timur istilaları da, Alanların toparlanmasına fırsat vermedi. Osetya'nın dağlık bölgelerine çekilen Alanların, modern Oset halkını meydana getirdikleri düşünülmektedir.

Kaynakça

Osetya


Para el túnel norte-sur de Berlín utilizado por trenes de larga distancia, véase Nuevo túnel ferroviario bajo el Tiergarten (Berlín).

El túnel Norte-Sur del S-Bahn de Berlín (Nord-Süd-Tunnel en alemán) es una sección del S-Bahn de Berlín bajo el centro de la ciudad. El nombre "Túnel Norte-Sur" también se utiliza para el nuevo túnel ferroviario bajo el Tiergarten que forma parte de la línea principal norte-sur utilizado por trenes interurbanos y trenes regionales. La línea Norte-Sur que utiliza este túnel abarca la ruta desde "Bornholmer Straße" y "Gesundbrunnen" a través de "Friedrichstraße" y "Anhalter Bahnhof" hasta "Papestraße" (hoy Südkreuz) y "Schöneberg".

Función
Este túnel fue inicialmente previsto para ofrecer una conexión de S-Bahn desde las estaciones de Anhalter Bahnhof y Potsdamer Bahnhof (por aquel entonces estaciones donde finalizaban servicios de larga distancia) con las líneas S-Bahn este-oeste (Stadtbahn) en la estación Friedrichstraße. El túnel conecta tres líneas suburbanas del sur de Berlín (el ferrocarril "Wannsee", la línea suburbana "Anhalt" y la "Línea de Dresde") con tres líneas suburbanas del norte de Berlín (el ferrocarril "Dremmen", el ferrocarril "del Norte" y la línea "Stettiner").

Especificaciones
Debito a que el túnel recorre el centro de la ciudad, las curvas son de radios menores que en otras líneas. Al existir una curva con radio de solo 150 m y para que los trenes puedan operar con seguridad, se han tenido que desarrollar ruedas especiales para evitar descarrilamientos. La altura también está restringida, por este motivo algunos modelos de vagones del S-Bahn no están autorizados a usar el túnel.

Las restricciones en la altura y la longitud de los coches (debido a los radios de las curvas) limitan los trenes que se pueden utilizarse en el túnel. De hecho los trenes construidos para los sistemas de "S-Bahn" de otras ciudades alemanas no pueden ser utilizados en este túnel de Berlín.

Estaciones
 Humboldthain: Situada a nivel del suelo junto a la entrada norte del túnel.
 Nordbahnhof: Hasta 1950 llamada Stettiner Bahnhof. La estación anterior dejó de ser usasa en 1952 y posteriormente fue demolida.
 Oranienburger Straße.
 Friedrichstraße: Esta estación es un intercambiador con las líneas de S-Bahn que circulan por el Stadtbahn y con la línea 6 del U-Bahn.
 Brandenburger Tor: Situada en la Plaza de París, junto a la Puerta de Brandenburgo.
 Potsdamer Platz: La estación es utilizada además por trenes regionales e intercity. Una estación con el mismo nombre y situada en el mismo lugar pero a nivel del suelo funcionó hasta 1945
 Anhalter Bahnhof: Una estación con el mismo nombre y situada en el mismo lugar pero a nivel del suelo funcionó hasta 1952 y fue demolida en 1960 (excepto el portal de la estación).

Véase también
 S-Bahn de Berlín
 Ringbahn de Berlín
 Stadtbahn de Berlín

Enlaces externos

Transporte de Berlín
Túneles de Alemania
Infraestructuras de Alemania del siglo XX
Arquitectura de 1936
Alemania en 1936
Edificios y estructuras de Berlín

Túnel Norte-Sur del S-Bahn de Berlín


Leandro Climaco Pinto (São Paulo, estado de São Paulo, Brasil, 5 de enero de 1994) es un futbolista de Brasil. Juega de centrocampista y su equipo actual es el FK Proleter Novi Sad de la Superliga de Serbia.

Clubes

Referencias
 Ficha en El.soccerway.com

Futbolistas de Brasil
Futbolistas del Olympiakos Fútbol Club
Futbolistas del Doxa Drama Fútbol Club
Futbolistas del PAS Giannina
Futbolistas del Lamia FC
Futbolistas del Doxa Katokopias
Futbolistas del Olympiakos Volou
Futbolistas de la ciudad de São Paulo
Nacidos en São Paulo

Leandro Climaco Pinto


Jones Beach Island is one of the outer barrier islands off the southern coast of Long Island in the U.S. state of New York.

Etymology
It is named for Major Thomas Jones, who first came to Long Island in 1692, where he proceeded to build the island's first brick house near Massapequa. Jones built a whaling station on Jones Island near the present site of Jones Beach State Park in 1700.

Jones Beach Island is sometimes referred to as Oak Beach Island and is the former home of the infamous Oak Beach Inn.  Because of the ephemeral nature of the various inlets, the name Fire Island is sometimes used to refer collectively to the various barrier islands off the south shore of Long Island, but usually refers specifically to the island across the Fire Island Inlet to the east.

Geography
Jones Beach Island is separated from Long Island by South Oyster Bay and Great South Bay, from Long Beach Barrier Island by Jones Inlet to the west, and from Fire Island by Fire Island Inlet to the east.  It straddles the line between Nassau and Suffolk counties.

From west to east, Jones Beach Island contains the following communities and parks:

 Jones Beach State Park
John F. Kennedy Memorial Wildlife Sanctuary, a Town of Oyster Bay wildlife preserve
 Tobay Beach, a Town of Oyster Bay beach
 Gilgo, a census-designated place
 West Gilgo Beach, a private gated community
 Gilgo Beach, a community and Town of Babylon beach
 Cedar Beach, a Town of Babylon beach
 Overlook Beach, a residents-only Town of Babylon beach
 Gilgo State Park, an undeveloped beach
 Oak Beach, a census-designated place
 Captree, a census-designated place
 Captree State Park

The southern side of the island is known for its beaches that face the open Atlantic Ocean. The best known of the public beaches on the island, Jones Beach State Park on the western tip of the island, is a summer recreational destination for the New York City area.

Jones Beach Island is accessible from Long Island on its western end by the Meadowbrook State Parkway to Merrick (with the Loop Parkway providing a spur to Long Beach), and the Wantagh State Parkway to Wantagh.  The Robert Moses Causeway traverses its eastern end, linking to Babylon via the State Boat Channel Bridge and Great South Bay Bridge, as well as to Fire Island by the Fire Island Inlet Bridge. The Ocean Parkway connects all three causeways and runs the length of the island.

References

Tourist attractions on Long Island
Babylon (town), New York
Barrier islands of New York (state)
Hempstead, New York
Islip (town), New York
Oyster Bay (town), New York
Islands of Nassau County, New York
Islands of Suffolk County, New York
Islands of New York (state)

Jones Beach Island


An Carex oxylepis in uska species han Liliopsida nga ginhulagway ni John Torrey ngan William Jackson Hooker. An Carex oxylepis in nahilalakip ha genus nga Carex, ngan familia nga Cyperaceae.

Subspecies

Ini nga species ginbahin ha masunod nga subspecies:

 C. o. oxylepis
 C. o. pubescens

Mga kasarigan

Carex

Carex oxylepis


The Beacon Street Collection is the second studio album by American rock band No Doubt. It was released on March 25, 1995, by Beacon Street Records. Produced by the band and recorded in a homemade studio in the garage of their house on Beacon Avenue in Anaheim, California, from which the album takes its name, The Beacon Street Collection was released during a period when the band was receiving little attention from their label Interscope Records, and were not getting a chance to record a second album, as the label was disillusioned with them after the commercial failure of their 1992 eponymous debut. No Doubt had written large numbers of songs and knew that they would not make it onto any Interscope album, so they built their own studio and recorded the album there. Two singles were released: "Squeal" and "Doghouse".

The album sold over 100,000 copies, over three times as many as their first album sold. Its success ensured that Interscope financed the band's third album Tragic Kingdom, which was a massive success, selling 16 million copies worldwide and attracting extensive interest in the band. The Beacon Street Collection was re-released in 1997 by Interscope as part of the band's back catalog.

Background

No Doubt released their self-titled debut album in 1992, a year after being signed to Interscope. The group's blend of upbeat brass-dominated songs and funk-style bass riffs came at a time when most of the United States was in the thrall of grunge music, a genre whose angst-ridden lyrics and dirty sound could not have contrasted more with the atmosphere of most of the songs on No Doubt's pop-oriented album. Not surprisingly, the band lost out to the now-ubiquitous grunge music and the album was a commercial failure, with only 30,000 copies sold. In the words of the program director of KROQ, a Los Angeles radio station on which it was one of the band's driving ambitions to be played: "It would take an act of God for this band to get on the radio."

The band started to work on its second album in 1993 but Interscope, having lost faith in the band, rejected most of its material and so it was paired with producer Matthew Wilder. Eric Stefani did not like to relinquish creative control to someone outside the band and eventually stopped recording or rehearsing. He left No Doubt in 1994 to pursue an animation career on the cartoon TV series The Simpsons. Kanal then ended his seven-year relationship with Gwen, saying that he needed "space".

Music
A large number of songs on The Beacon Street Collection were written by Eric Stefani, who left the group before their third album was recorded. This gave the album a similar sound to their first album, No Doubt, in which Eric Stefani had collaborated in the writing of all the songs. Because the lyrics in Tragic Kingdom were written mainly by Gwen Stefani about her experiences in life, the style of music changed from what No Doubt had previously produced. Tom Dumont explained the change in sound in an interview for Backstage Online:

Production
No Doubt became frustrated at the lack of progress they were making with Interscope, who were proving unreliable in their support of the band. Instead, they built their own studio in their garage on Beacon Avenue in Anaheim, California Although the band had knowledge that they didn't want any songs to be released in an Interscope-distributed album, they recorded The Beacon Street Collection in their studio and Clear Lake Audio in one long weekend. Their independence shocked their company representative, Tony Ferguson, who had assumed they were recording a third single.

Singles

In 1994, before recording of the album had even begun, No Doubt released two seven-inch singles for their fans. The first was "Squeal", a song written by Eric Stefani, detailing a criminal's reaction to her partner's betrayal to the police. They had agreed to be "in this together" but, after he "squeals", she resolves to "kill the narc who wrote it and said it [that she was guilty of a crime]". The single's B-side was "My Room Is Still Clean", written by Tony Kanal and recorded live at the Icehouse in Fullerton, California on February 13, 1993.

The second single was "Doghouse", written by Eric Stefani. It is about a man who is bullied and dominated by his girlfriend and is unwilling to force the situation to change. The song uses the metaphor of a dog and its master to illustrate the nature of the relationship, saying that she had got him "by the reins" and he has been "conditioned" by her. The single's B-side was "You Can't Teach an Ol' Dog New Tricks", written by Eric Stefani.

Reception

Significance

On its original release in March 1995, The Beacon Street Collection was only available in local record stores in Orange County, California and at No Doubt's shows. Its rawer sound proved popular with the band's fans and the band's first batch of one thousand copies sold out within only a few months after its release. Interscope realized the band's potential and allowed them to record their third album, Tragic Kingdom in various Los Angeles studios, "wherever they could get a deal on a studio". During a recording session, the band was introduced to Paul Palmer, who was interested in mixing the new album. He owned his own record label Trauma Records, which was associated with Interscope. Interscope willingly sublicensed the project to Trauma Records in 1995 and Tragic Kingdom got the personal focus that comes from a small company.

By the end of the year, 100,000 copies of The Beacon Street Collection had been sold, over three times as many as their first album, No Doubt. These sales were mostly due to the release of Tragic Kingdom, which was released seven months after The Beacon Street Collection in October 1995. Tragic Kingdom was a massive commercial success, reaching sales of over 10 million in the United States and 16 million worldwide, peaking at number one on several charts and being certified Diamond (10,000,000 units) in the US and Canada and Platinum in the UK and Australia. This success created an extensive interest in the band's back catalog so, in October 1997, The Beacon Street Collection was re-released on Interscope.

In an interview with Axcess Magazine in April 1996, Gwen Stefani described the release of The Beacon Street Collection as "one of the best things [they] ever did because [they] were able to take some songs that would have probably gotten lost and document them".

Critical
AllMusic called the album "finer than the [band's] debut", and described it as containing more of a "raw sound inspired [...] by punk" than the style of No Doubt's first album, which was heavily "synth and new wave". Entertainment Weekly, in 1997, called it "more focused than Tragic Kingdom" with "reggae frat-house grooves and perky horns", and complimented "Gwen's feisty Kewpie-doll wail" and the "swaying ballads", attributing it to "the band's willing spirit". Rock on the Net retrospectively called the album "a raw expression of their sound" and describing it as "80s punk with 90s grunge.

Track listing

Credits

Personnel
 Gwen Stefani – vocals
 Tom Dumont – guitar
 Tony Kanal – bass
 Adrian Young – percussion, drums
 Eric Stefani – keyboard
 Phil Jordan – trumpet
 Eric Carpenter – saxophone

Additional personnel
 Bradley Nowell – vocals
 Gabrial McNair – percussion, trombone
 Gerard Boisse- baritone, tenor, soprano saxophones

Production
 Producer: No Doubt
 Engineers: Ray Blair, Tom Dumont, Colin "Dog" Mitchell
 Mixing: Tom Dumont, Nicholas Hexum, Colin "Dog" Mitchell, No Doubt, Scott Ralston, Adrian Young
 Mixing assistants: Nick Hexum, Scott Ralston, Adrian Young
 Mastering: Robert Vosgien
 Advisor: Albhy Galuten
 Design: Gwen Stefani
 Layout design: Matt Wignall
 Liner notes: No Doubt

Release history

All information is from the AllMusic [ page] and No Doubt's official website discography.

References

External links
 Official No Doubt website

1995 albums
No Doubt albums
Interscope Records albums
Self-released albums
Grunge albums

The Beacon Street Collection


Paul E. Poincy (* 11. März 1833 in New Orleans; † 14. November 1909 ebenda) war ein US-amerikanischer Maler und Kunstlehrer.

Leben

Paul Poincy wurde 1833 als Creole in New Orleans geboren. Er stammte aus einer gebildeten, wohlhabenden Familie französischer Abstammung.

In seiner Kindheit besuchte Poincy Jesuitenschulen in Grand Coteau, Louisiana, und in St. Louis. Von ca. 1852 bis 1858 studierte er in Paris an der École des Beaux-Arts, bei Gleyre, Cogniet und Rodolphe Julian. Im Januar 1859 kam er in seine Heimatstadt und eröffnete gemeinsam mit Richard Clague ein Atelier. Nach Ausbruch des Bürgerkrieges diente er in der Confederate States Army. Danach kehrte er nach New Orleans zurück und arbeitete wieder als Maler. Er war einer der Initiatoren der 1880 gegründeten Künstlergruppe Southern Art Union.  1885 gründete er zusammen mit Bror A. Wikstrom, Andres Molinary und Achille Peretti die New Orleans Artists' Association, eine Organisation, die bis 1905 jährliche Ausstellungen veranstaltete und eine Kunstschule unterhielt, an der Poincy lehrte. Er war Mitglied der Auswahljury für die Tennessee Centennial Exposition (1897).

Werk

Paul Poincy malte vor allem Porträts (insbesondere von Kindern), Landschafts- und Genrebilder mit Motiven aus New Orleans sowie religiöse Darstellungen. Zahlreiche seiner Werke wurden in Kirchen und öffentlichen Gebäuden von New Orleans ausgestellt. Zu seinen bekanntesten Werken gehört das großflächige Bild Volunteer Firemen's Parade, das er 1872 gemeinsam mit Victor Pierson schuf. Mehrere Bilder von Paul Poincy befinden sich im Besitz des Louisiana State Museums.

Ausstellungen (Auswahl)

 Seebold's (1879–1880)
 Lilienthals (1883)
 Artists' Association of New Orleans (1886–1887, 1890–1892, 1896–1897, 1899, 1901)
 Tulane University (1892)
 Tennessee Centennial Exposition, Nashville (1897)
 Moses & Son (1901)

Literatur

 John A. Mahe, Rosanne McCaffrey: Encyclopaedia of New Orleans Artists 1718–1918 The Historic New Orleans Collection, New Orleans 1987, ISBN 0-917860-23-3, S. 309–310.
 Martin Wiesendanger, Margaret Wiesendanger: Nineteenth Century Louisiana Painters and Paintings. Firebird Press, 1999, ISBN 978-0-911116-53-3, S. 85.

Weblinks

 Bilder von Paul E. Poincy

Einzelnachweise

Maler (Vereinigte Staaten)
Kunstlehrer
Person (New Orleans)
US-Amerikaner
Geboren 1833
Gestorben 1909
Mann

Paul Poincy


ලේසරයක් යනු සමචාරී ආ‍ලෝක විකිරණ විමෝචනය කරන ඉලෙක්ට්‍රොනික ප්රකාශ
 උපකරණයකි. "laser" යන ඉංග්‍රීසි වදන "Light Amplification by Stimulated Emission of Radiation"  යන යෙදුමෙහි සංක්ෂිප්ත ආකාරයක් වන අතර එහි අරුත "උත්තේජිත විකිරණ විමෝචනය මඟින් ආලෝක වර්ධනය" යන්නයි. නිශ්චිත තරංග ආයාමයක් සහිත ඒක වර්ණ, අඩු අපසාරී, පටු ආලෝක කදම්භයක් විමෝචනය කරයි. (ලේසර් දෘශ්‍යමාන වර්ණාවලියේ ක්‍රියාත්මක වන විට තනි වර්ණයකින් යුතුව පෙනේ) ඒ අනුව පුළුල් ප්‍රදේශයක් පුරා වර්ණාවලියේ පුළුල් තරංග ආයාම පරාසයකට අයත් විකිරණ විමෝචනය කරන තාප දීප්ත විදුලි බුබුලු වැනි ආලෝක ප්‍රභව වලින් ලේසර් ආලෝකය වෙනස් වේ.

1960 මැයි මාසයේ දී තියඩෝ මේමන් (Theodore Maiman) විසින් "හියුජ්" පරීක්ෂණ විද්‍යාගාරයේ දී පළමු ක්‍රියාකාරී ලේසරය ආදර්ශනය කරන ලදී. වර්තමානයේ ලේසර් නිර්මාණය භාවිතය ඩොලර් බිලියන ගණනක කර්මාන්තයක් බවට පත් වී තිබේ. වඩාත් ප්‍රචලිත  ලේසර් භාවිතයන් වනුයේ සංයුක්ත තැටි හා DVD ධාවක වැනි ප්‍රකාශ සංචායක උපකරණ ආශ්‍රිත වේ. මෙහි දී ලේසරය (විශාලත්වයෙන් මිලි මීටර් කීපයක් වූ) තැටියේ මතුපිට පෘෂ්ටය පරිලෝකනය කිරීමට භාවිතා වේ. ලේසර්වල අනෙකුත් පොදු භාවිතයන් අතර බාර්කෝඩ් කියවන ලේසර් මුද්‍රණ යන්ත්‍ර හා ලේසර් සූචක ආදිය අයත් වේ.
කාර්මිකව වානේ හා වෙනත් ලෝහ කැපීම සඳහාත් විවිධ රටා මුද්‍රණය (පරිගණක යතුරු පුවරුවක අකුරු මුද්‍රණය වැනි) සඳහා ලේසර් කිරණ භාවිතා වේ. වර්ණාවලීක්ෂණය ආදී විවිධ විද්‍යාත්මක ක්ෂේත්‍රවල දී ලේසර් කිරණ භාවිතා වන අතර ලේසර් කිරණ නිශ්චිත තරංග ආයාම සහිත වීම හෝ ස්පන්ද ලේසර් කිරණවල කුඩා ස්පන්ද කාලය සාමාන්‍යයෙන් මෙසේ යොදා ගැනීමට හේතු වේ. තවද යුධමය කටයුතුවලදි පරාස සූචක ඉලක්ක හඳුනාගැනීමේ උපකරණ සඳහා හා අවි ආයුධ ක්‍රියාකාරීත්වය සඳහා ප්‍රදීපනයට ලේසර් භාවිතා කරයි. තව ද වෛද්‍ය විද්‍යාවේ දී අභ්‍යන්තර ශල්‍යකර්ම හා අංගරාග යෙදුම් (cosmetic applications) සඳහා ලේසර් යොදා ගැනේ.

ලේසර් උත්පාදකයක සැකැස්ම

ලේසර් කිරණ නිපදවන උපකරණය සෑදී ඇත්තේ ක්‍රියාකාරී ලේසර් මාධ්‍යක් (වර්ධක මාධ්‍ය gain medium), පරාවර්තක ප්‍රකාශ කුහරයක් ලේසර් මාධ්‍ය වෙත ශක්තිය ලබාදීමට බල සැපයුමක් ආදියෙනි. වර්ධක මාධ්‍ය යනු උත්තේජිත විමෝචනය මගින් ආලෝකය වර්ධනය කිරීමේ ගුණය සහිත ද්‍රව්‍යයකි. සරලම ආකාරය සැලකූ විට, කුහරය තුල තල දර්පණ දෙකක් එකිනෙකට මුහුණට මුහුණ ලා තබා ඇත. එනම් එහි වදින ආලෝකය මාධ්‍ය හරහා කිහිපවරක් එහා මෙහා යාමට හැකි ආකාරයට සකස් කර ඇත. මෙම දර්පණ දෙකෙන් එකක්, අර්ධ පාරදෘෂ්‍ය වේ. එනම් ප්‍රතිදානය හෙවත් ආලෝක පිටවුම සිදුවන්නේ මෙම දර්පණය හරහාය.

යම් නිශ්චිත තරංග ආයාමයක් සහිත ආලෝක කිරණ ලේසර් මාධ්‍ය හරහා ගම්න කිරීමේදී වර්ධනය (ශක්තිය) වීමකට භාජනය වේ. දෙපස ඇති දර්පණ මගින් ආලෝක කිරණය කිහිප වතාවක් මාධ්‍ය හරහා ගමන් කරවයි. එමගින් කිරණය සතු ශක්තිය නැවත නැවතත් වර්ධනය වේ. දර්පණ දෙක අතර පරාවර්තනය වෙමින් පවතින ආලෝක කිරණ අර්ධ පාරදෘෂ්‍ය දර්පණය හරහා ආලෝක කදම්භයක් ලෙසින් පිටතට පැමිණෙයි.

ආලෝකය වර්ධනය කිරීම සඳහා ශක්තිය සැපයීම ලේසර් පොම්ප කිරීම ලෙසින් හැඳින්වේ. ශක්තිය සාමාන්‍යයෙන් විද්‍යුතය ලෙස හෝ වෙනත් තරංග ආයාමයක් සහිත ආලෝකය ලෙස ලබාදෙනු ලැබේ. එවැනි ආලෝකයක් බොහෝ විට ලබා දෙන්නේ සෙනොන් ලාම්පුවකින් හෝ වෙනත් ලේසරයකිනි. බොහෝ භාවිතයේ ඇති ලේසර වල පිටකරන ආලෝකයේ තරංග ආයාමය වෙනස් කිරීම ආලෝක කදම්භයේ හැඩය වෙනස් කිරීම ආදිය සිදුකළ හැක.

ලේසර් වර්ග හා ඒවායේ මූලධර්ම

ලේසර් වල යෙදීම්
1960 දී ලේසර් සොයා ගත් විට එය "ගැටළුවක් සොයන විසදුමක්" ලෙස හඳුන්වනු ලැබීය. එතැන් සිට ඒවා  සාර්වත්‍රික බවට පත්වී තිබෙන අතර නවීන සමාජයේ සෑම ක්ෂේත්‍රයකම දහස් ගණන් විවිධ යෙදුම්වලදී එනම්, පාරිභෝගික ඉලෙක්ට්‍රොනික,  තොරතුරු තාක්ෂණය විද්‍යාව, වෛද්‍ය විද්‍යාව, කර්මාන්ත, විනෝදාංශ, නීති  වලංගු කරණය හා යුධමය කටයුතු ආදී ක්ෂේත්‍රවලදී භාවිතා කරයි.

සාමාන්‍ය ජනයා‍ට  එදිනෙදා ජීවිතයේදී දැකගත හැ කිලේසර්වල පළමු යෙදීම වූයේ 1974 දී හඳුන්වාදෙන ලද සුපිරි වෙළෙඳ සැල්වල කේත දඩු (Barcode) පරිලෝකන උපකරණයි. 1978 දී හඳුන්වා දෙන ලද ලේසර් තැටි ධාවකය ලේසර් භාවිතා කර නිපද වූ ප්‍රථම සාර්ථක පාරිභෝගික නිෂ්පාදනය වන නමුත් 1982 දී හඳුන්වාදුන් සංයුක්ත තැටි ධාවකය සත්‍ය වශයෙන්ම පාරිභෝගික නිවෙස්වල සුලභ වූ පළමු ලේසර්වලින් යුත් උපකරණය විය. ටික කලකට පසුව ලේසර් මුද්‍රක ද නිපදවිය.

තවත් භාවිතයේ ඇති යෙදීම්

	වෛද්‍ය විද්‍යා - රුධිරය රහිත සැත්කම්, ලේසර් සුව කිරීම්, ශල්‍ය කර්ම ප්‍රතිකාර, වකුගඩු ගල් සදහා වූ ප්‍රතිකාර , අක්ෂි ප්‍රතිකාර, දන්ත වෛද්‍ය විද්‍යාව
	කර්මාන්ත ක්ෂේත්‍රය - කැපීම, පෑස්සීම, ද්‍රව්‍ය තාපන ප්‍රතිකර්ම, ස්පර්ශ නොකර මිනුම් ගැනීම.
	ආරක්ෂක කටයුතු - ඉලක්ක ලබා ගැනීම, යුධෝපකරණ නියාමනය, මිසයිල ආරක්ෂණය, ප්‍රකාශ විද්‍යුත් ප්‍රති මිනුම් (EOCM), රේඩාර් වලට විල්පයක් ලෙස.

 නීති ක්‍ෂේත්‍රය - ඇඟිලි සලකුණු හඳුනාගැනීම සඳහා
	පර්යේෂණ කටයුතු - වර්ණාවලීක්ෂණය, ලේසර් ගෙවී යෑම, ලේසර් මෘදු කිරීම, ලේසර් ප්‍රකිරණය, ලේසර් නිරෝධනය, ලිඩාර් (LIDAR)
	නිෂ්පාදන සංවර්ධනය / වාණිජ්‍ය - ලේසර් මුද්‍රක උපකරණ, CD/DVD තැටි, කේත දඬු (Barcode)  පරිලෝකන, උෂ්ණත්වමාන, ලේසර් දර්ශක, හොලෝග්‍රෑම් තාක්ෂණය

2004 දී ඩයෝඩ ලේසර් හැරුණු කොට අමරිකන් ඩොලර් බිලියන 2.19 ක පමණ වටිනාකමක් ඇති ලේසර් ආසන්න වශයෙන් 131000 ක් ලෝකය පුරා අලෙවි විය. එම වර්ෂයේ දීම ඩොලර් බිලියන 3.2 ක් වටිනා ඩයෝඩ ලේසර් ආසන්න වශයෙන් මිලියන 733 ක් අලෙවි විය.

ජවය මඟින් උදාහරණ

විවිධ භාවිතයන් සඳහා වෙනස් ප්‍රතිදාන ජවයන්  ඇති ලේසර් අවශ්‍ය වේ. අඛණ්ඩ කදම්භයක් හෝ කෙටි ස්පන්ධ ශ්‍රේණියක් නිපදවන ලේසර් ඒවායේ මධ්‍යන්‍ය ජවය මත පදනම්ව සංසන්දනය කළ හැක. ස්පන්ද නිපදවන ලේසර් එම ස්පන්දවල කුළු ජවය මත පදනම්ව වර්ගීකරණය කළ හැක. ස්පන්ද ලේසරයක ඇති කුළු ජවය එහි මධ්‍යන්‍යය ජවයට වඩා අතිශය විශාලත්වයකින් යුක්ත වේ. මධ්‍යන්‍යය ප්‍රතිදාන ජවය නිතරම භාවිතා කළ ජවයට වඩා අඩු වේ.

සමහර යෙදීම් සදහා අවශ්‍ය වන අඛණ්ඩ හෝ මධ්‍යන්‍යය ජවයන්

ඉහළ කුළු ජවයක් සහිත ස්පන්දන පද්ධති සදහා නිදසුන්

	700 TW (ටෙරා වොට්) (700x1012 W) - National Ignition Facilityහි පිහිටා ඇත, කදම්භයන් 192 ක් අඩංගු වන මීටර් 10 ක විශ්කම්භයක් ඇති ඉලක්ක කුටියක් සහිත 1.8 MJ (මෙගා ජුල්) ක ලේසර්  පද්ධතියකි.
	1.3 PW (පෙටා වොට්) (1.3x1015 W) – 1998 වන විට ලෝකයේ වඩාත්ම බලවත් ලේසරය වන අතර ලෝරන්ස් ලිවර්මොර් විද්‍යාගාරයේ (Lawrence Livermore Laboratory) පිහිටුවා ති‍ෙබ්.

විනෝදාංශීය භාවිතා කිරීම

නූතන වර්ෂවලදී විනෝදාංශකරුවන් ලේසර් පිළිබඳ වැඩි උනන්දුවක් ඇති කරගෙන ඇත. විනෝදාංශකරුවන් විසින් භාවිතා කරන ලේසර් සාමාන්‍යයෙන්  IIIa හෝ IIIb කාණ්ඩවල ඒවා වන නමුත් සමහරෙක් ඔවු‍න් විසින් නිපද වූ IV කාණ්ඩයේ ලේසර් ද භාවිතා කරයි. කෙසේ නමුත් අනෙක් විනෝදාංශකරුවන් හා සසඳන විට ලේසර් විනෝදාංශකරුවන් එතරම් සුලභ නොවේ. එයට හේතුව වන්නේ ලේසර්වල මිළ අධික කම හා අනතුරුදායක කමයි. ලේසර්වල මිළ අධිකකම නිසා සමහර විනෝදාංශකරුවන්  DVD දාහකවලින් ලබාගන්නා ඩයෝඩ ලබා ගැනීම  වැනි මිල අධික නොවන ක්‍රම ලේසර් ලබා ගැනීමට භාවිතා කරයි.

එලෙසම විනෝදාංශකයන් විසින් ඉවතලන යුද උපකරණවලින් ද ලබා ගන්නා අධි ස්පන්ධ ලේසර ලබා ගන්නා අතර ඒවා ස්පන්දිත හොලෝ ග්‍රැපි සදහා නවීකරණය කරයි. ස්පන්දිත රබි  හා ස්පන්දිත YAG ලේසර් ද භාවිතා කරයි.

ආරක්‍ෂාව

ප්‍රථම ලේසරය අනතුරුදායක ලෙස හදුනා ගැනුනත්, තියඩෝර් මේමන් (Theodore Maiman) ප්‍රථම ලේසරය එක් ජිලට් එකක බලයක් තිබෙන ලෙස වර්ගීකරණය කළේය. එයට හේතුව වුයේ එම ලේසර් කදම්භයට එක් ජිලට් රේසර් බ්ලේඩ් තලයක් පුළුස්සා දැමිය හැකි වීමයි. වර්ථමානයේ පිළිගනු ලබන්නේ මිලිවොට් (mW) කිහිපයක ප්‍රතිදාන බලයකින් යුත් අඩුබල ලේසර් වලට පවා මනුෂ්‍ය පෙනීමට හානි පැමිණ විය හැකි බවයි.

ස්වච්චයට හා කාචයට හොදින් නාභිගත කර හැකි තරංග ආයාම වලදී ලේසර් ආලෝකයේ සංශක්තිය හා අඩු අපසරණය නිසා එය ඇස මගින් දෘෂ්ඨි විතානය ඉතාමත් කුඩා ලක්ෂ්‍යයකට නාභිගත වීම සිදු විය හැක. මේ නිසා ස්ථානීය පිලිස්සීම් හා තත්ත්පර ගණනකදී හෝ ඊටත් වඩා අඩු කාලයකදී ස්ථිර පලුදු වීම් සිදු විය හැක. ලේසර I (ආරක්ෂිතයි) සිට IV (විසිරි ආලෝකයෙන් පවා ඇසට හා / හෝ සමට හානිකල හැක) දක්වා ආරක්ෂිතතභාවය පදනම් කරගෙන පංති වලට වර්ගීකරණය කර ඇත.

 Class I/1  ආරක්ෂිතයි. උදා: CD වාදක
 Class II/2 සාමාන්‍ය භාවිතය සඳහා ආරක්ෂිතය. ඇසිපිය ගැසීම ආරක්ෂාව සඳහා ප්‍රමාණවත්ය. සාමාන්‍යයෙන් 1 mW දක්වා වූ ලේසර මෙම පංතියට අයත්වේ. උදා: ලේසර් දර්ශක (laser pointers)
 Class IIIa/3R සාමාන්‍යයෙන් 5 mW දක්වා ලේසර මෙම පංතියට අයත් වේ. ඇසිපිය ගසන මොහොතකදී වුවද ඇස‍ට හානිකිරීමට සුළු ඉඩක් ඇති අතර එවැනි කදම්භයක් දෙස තත්පර ගණනක් බලා සිටීමෙන් දෘෂ්ඨි විතානයට හානි පැමිණිය හැක.
 Class IIIb/3B නිරාවරණය වීමෙන් ක්‍ෂණික අක්‍ෂි හානියක් සිදු කළ හැකිය.
 Class IV/4 විසිරි ආලෝකයෙන් පවා ඇසට හා / හෝ සමට හානිකල හැක. බොහෝ විද්‍යාත්මක හා කර්මාන්තමය ලේසර මෙම පංතියට අයත් වේ.

තරංග ආයාමය මයික්‍රෝමීටර 1.4 ට වඩා වැඩි සමහරක් අධෝරක්ත ලේසර අක්ෂි ආරක්ෂිත ලේසර ලෙස හදුන්වනු ලැබේ. මෙයට හේතුව වන්නේ ජල අනුවල නිසඟ කම්පනය වීම් මගින් වර්ණාවලියේ මෙම කොටසේ ඇති ආලෝකය ඉතා තදින් උරාගන්නා අතර එමනිසා මෙම තරංග ආයාම වල ඇති ලේසර් කදම්භ එය ඇසෙහි ස්වච්චය හරහා යාමේදී සම්පුර්නයෙන්ම අවශෝෂණය වන අතර ඒ හේතුවෙන් කාචයෙන් දෘෂ්ඨි විතානයට නාභිගත කිරීම‍ට ආලෝකයක් ඉතිරි නොවේ. කෙසේ නමුත් අක්ෂි ආරක්ෂිත යන ලේබලය යම්තාක් දුරකට නොමග යවන්නක් විය හැක. එයට හේතුව මෙම තරංග ආයාම වල අධි ශක්ති හෝ Q ස්විච් කරණය කරන ලද ලේසරයක් මගින් බරපතල අක්ෂි ආබාධ ඇති කරමින් ස්වච්චය පුළුස්සා දැමිය හැක.

භෞතික විද්‍යාව
විද්‍යාව

ලේසර්


Solgăbirăul (în , în , în ) a fost un funcționar al Regatului Ungariei care a existat începând din secolul al XIII-lea până în 1950. Funcția sa corespundea cu cea a pretorului sau primpretorului de mai târziu.

Istoric
Această funcție este menționată pentru prima dată într-o cartă din 1232, în timpul domniei regelui Andrei al II-lea al Ungariei, când au fost numiți patru solgăbirăi pe comitat pe o perioadă de un an. Ei îndeplineau funcții judiciare și administrative într-un comitat. La început împărțeau dreptatea numai pentru nobilii din regat, și apoi mai târziu, de asemenea, pentru cetățenii de rând și iobagi.

Solgăbirăii erau aleși, de obicei, din rândul nobilimii mijlocii, fiind unii dintre proprietarii de pământuri cei mai respectați. În urma extinderii și regrupării anumitor comitate începând din secolul al XVI-lea, ei erau numiți uneori solgăbirău-șef (főszolgabíró) și erau asistați de către un adjunct (alszolgabíró) la conducerea unei diviziuni administrative mai mici din cadrul comitatului. În secolul al XX-lea solgăbirăul era ales de dieta comitatului. Substitutul său era numit direct de főispán.

Note

Legături externe
 foszolgabiro, Kislexikon

Istoria dreptului
Regatul Ungariei

Solgăbirău


Ebru, kitreyle yoğunlaştırılmış su üstünde, özel hazırlanmış boyalarla oluşturulan desenlerin kâğıt üzerine geçirilmesi yoluyla yapılan bir süsleme sanatıdır. Fırça ve boyaları özeldir.

Tarih
Ebru sanatının ne zaman ve hangi ülkede ortaya çıktığı bilinmemekle beraber bu sanatın doğu ülkelerine özgü bir süsleme sanatı olduğu düşünülmektedir. Bazı İran kaynaklarında Hindistan'da ortaya çıktığı yazılıdır. Bazı kaynaklara göre de Türkistan'daki Buhara kentinde doğmuş ve İran yoluyla Osmanlılar'a geçmiştir. Batıda ebru "Türk Kağıdı" ya da "mermer kâğıdı" olarak adlandırılmaktadır.

Ebru, geven otunun özsuyundan elde edilen kitre veya deniz kadayıfı bitkisi (kerajin) ile kıvamı arttırılmış suyun üzerine, içine öd katılarak suyun dibine çökmeyecek hale getirilen boyaların serpilmesi ve su yüzeyinde meydana gelen şekillerin olduğu gibi ya da biz adı verilen metal uçlu bir aletle müdahale edilerek bir kağıda geçirilmesi yoluyla yapılır.

Ebru sanatının köklerinin 9. ve 10. yüzyıla kadar uzandığı varsayılmaktadır. Bilinen o ki bu sanat, kağıdın tarih sahnesine girmesiyle gelişmiştir. 10.yüzyılda Çinli bürokrat Su Yijian (MS 957-995) Fırça, mürekkep, mürekkep taşı ve desenli kağıdı " Wen Fang Si Pu (Çalışmanın dört hazinesi) " olarak kaydetmiştir. Çin'de liu-şa-cien (流沙箋), 12. asırdan itibaren Japonya'da suminagaşi (墨流し) ve beninagaşi (紅流し) isimleriyle yapılan bir takım çalışmaların mevcudiyeti, daha sonraki asırlarda Çağatay Türkçesi'yle ebre (اَبره) adını alarak Türkistan'da ortaya çıkan bu sanatın tarihi gelişimi hakkında, müphem de olsa bir fikir vermektedir. Türkistan'dan en geç 16. asır başlarında İpekyolu'nu takiben İran'a geçişinde ebri (اَبری) olarak isimlendirilen bu sanat, görünüşüyle gerçekten bulut kümelerine benzer şekiller taşıdığından, buluta nisbet ifade eden bu Farsça ismi doğrulamaktadır. Osmanlı ülkesinde de revaç bulan aynı isim, telaffuz zorluğundan son yüzyılda Türkçede "ebru"ya dönüşmüştür. Galat olmakla beraber, kaş gibi şekiller de ihtiva ettiğinden, bu sanata ebru denilmesi bir çelişki sayılmamalıdır; çünkü ebru kelimesi Farsça'da kaş manasına gelmektedir. 16. asır ortalarında Mir Muhammed Tahir (میر محمد طاهر) tarafından Hindistan'da yapılmaya başlandığı rivayet olunan ebruculuk, buradan İran'a ve sonra da İstanbul'a kadar yayılmıştır. Aynı yüzyılın sonlarında, İstanbul'dan Avrupalı seyyahlar tarafından kendi memleketlerine götürülen ebru kâğıtları önce Almanya'da, sonra da Fransa ve İtalya'da mermer kağıdı veya Türk mermer kağıdı, hatta sadece Türk kağıdı adıyla tanınıp benimsenmiş ve oralarda da yapılmaya başlanmıştır. Zaman içinde İngiltere ve Amerika'ya da yayılan ebru kağıdı, her ülkenin sanat anlayışına göre bir başkalık gösterir. Bunda, kullanılan değişik malzemenin de rolü olmalıdır. Belgelenen en eski ebru örneği 16. yüzyıla aittir. Kağıdın süslenmesinde, kıt'a ve levhaların iç ve dış pervazlarında, yazma ciltlerinde yan kağıdı olarak sıkça kullanılmıştır. (Derman، M.Uğur Osmanlı Ansiklopedisi. C.11,s.189)

Ebru hakkında Türkçe kaleme alınmış bilinen en eski eser, 1615'ten sonra yazılan "Tertib-i Risâle-i Ebrî" (تَرتیبِ رسالۀ اَبری) adlı yazma kitapçıktır. Günümüzde bilinen ebru tarzındaki eserler ilk kez Orta Asya - Osmanlı coğrafyasında ortaya çıkmıştır. Ebrunun tarihi ile ilgili olarak sayın Uğur Derman (Türk Santında Ebrû), tarihi kestirilebilen en eski ebru olarak, üzerinde Mâlikî Deylemî'ye ait bir kıt'anın bulunduğu ve Gürcistan'da yazılmış olan 1554 tarihli bir ebruyu gösterir. Bu ebrunun, hafif ebru olarak yapılmış olması ve hafif ebrunun ancak belli bir ustalaşmadan sonra yapılabildiği göz önüne alınacak olursa, ebrunun orijinin çok daha eskilere dayandığı düşünülmektedir.

Osmanlı döneminde başlı başına bir sanat ve iş kolu olan ebruculuk, 20. yüzyıl başlarına gelindiğinde unutulma noktasına gelmiştir. Bu sanatın tekrar hayat kazanması, ebru sanatına 'çiçekli ebru'yu geliştiren büyük sanatçı Necmeddin Okyay sayesinde olmuştur. Okyay'dan sonraki büyük merhale Mustafa Düzgünman'dır.

27 Kasım 2014 tarihinde UNESCO tarafından somut olmayan kültürel miras olarak tanımlanmıştır.

Ebru Malzemeleri

Kâğıt
Emici özelliği fazla ve mat olanları tercih edilir. Genellikle birinci hamur kâğıt kullanılır.

Su
Kitre, deniz kadayıfı, boy tohumu veya sahlep gibi suyun yoğunluğunu sağlayacak doğal maddeler ile karıştırılır. Su kireçsiz ise dinlendirilmiş musluk suyu olabilir. Eskiler yağmur suyu kullanırmış. Tercihen saf su kullanılmalıdır.

Toprak boya
Ebruda kullanılan boyalar eskiden doğada bulunan topraktan elde edilmektedir. Bu toprak ezilip, elekle elenip suda süzülerek kullanıma hazır hale getirilirmiş.
Günümüzde ezilmeye hazır halde ya da ezilmiş toz boyalar kullanılmaktadır. Toprak boyalar mermer ve destiseng denilen el taşının yardımıyla ezilerek macun kıvamına getirilerek kullanılır.

Öd
Öd genellikle büyükbaş hayvanların safrakesesinden elde edilir. Safra keseleri delinir ve içindeki öd süzülerek bir kapta toplanır, benmari usulü kaynar suda 20 dakika bekletilir. Yüzeyde biriken köpük bir kaşık yardımıyla alınır. Bu işlem kötü bir kokuya neden olduğu için açık havada yapılması önerilir. Kalkan balığı ödü de kumlu-kıçıklı ebru yapımı için uygundur. Günümüzde resim malzemesi satılan yerlerde rafine öd bulunmaktadır.

Kitre
Ebru yapımında kullanılan suyun belli bir yoğunluğa sahip olması ve özel olarak hazırlanan boyayı üzerinde tutabilmesi gerekmektedir, herhangi bir suyla ebru yapılamaz. Ebrunun suyuna bu özelliği veren maddenin ismi kitredir. Kitre, Türkiye'nin güney ve güneydoğu bölgelerinde kırlarda yetişen yabani bir dikenin(geven) özsuyudur. Yerel halk, kırlarda geven dikeninin gövdesine bıçakla çizik atar, birkaç gün beklerler. Bitkinin özsuyu çizik bölgeden akar ve kurur. Bir ağaç kabuğuna benzer görünüm alır. Bu kabuklar tek tek toplanır. Kabuk şeklinde olan kitre aktarlarda satılmaktadır. Ebrunun suyu hazırlanırken saf suyun içine belli ölçülerde kitre konulur. Su, ağzı kapalı bir kapta bu şekilde bir süre bekletilir. Belli zaman aralıklarıyla mıncıklanarak eriyen kitre özünün dağıtılması gerekir. Suyun yeterli yoğunluğa ulaşmasından sonra, içinde kalan erimemiş kitre kalıntılarını ayırmak için, ebru suyu iyice süzülmelidir.

Kitre ebru yapımında kullanılan, suyun belli bir yoğunlukta olması için suya karıştırılan maddelerden biridir. Ünlü Ebrucu Sacid Okyay ebru yapımında en iyi sonucu salebin verdiğini ancak kitrenin daha ucuz olması sebebi ile kitre kullandığından bahseder.

Deniz kadayıfı
Kitrenin hazır hale gelmesi yaklaşık 5-6 gün gerektiği için deniz kadayıfı denilen deniz yosunu kullanılabilir. Hazır toz halde satılır. 50 g toza 5 l saf su ilave edilerek topaklanma olmamasına dikkat edilerek mikserle veya kaşık ile karıştırılır. Bir saat içinde hava kabarcıkları yüzeye çıkıp patlayana kadar karıştırılır. Ve kullanıma hazır hale gelir.

At kılı ve Gül Dalı
Fırça yapımında kullanılan at kılları tercihen yaşlı atların kuyruklarından elde edilir. Yele kılları da kullanılmaktadır, ancak bu tür fırçalar kuyruk kılından yapılanlar kadar düzgün olmamaktadır. At kılı tercih edilmesinin nedenleri gözenekleri nedeniyle boyaların fırçadan bir vuruşta dökülmemesidir. Böylece tüm yüzeye eşit büyüklükte ve miktarda boya dökülebilir ve tabanı oluşturur.

Fırçada gül dalı kullanılması; gül dalının esnek olması, kolay küf tutmaması nedeniyledir.

Ebru çeşitleri

Battal ebru
İki veya üç renk boyanın fırçayla damlalar halinde su yüzeyine serpilmesinden sonra hiçbir ek müdahelede bulunmaksızın kağıda geçirilmesi yoluyla olur. Tüm ebru çeşitlerinin yapımına önce battal ebru yapılarak başlanır.

Gelgit ebru
Battal ebrudan sonra biz yardımıyla tekne yüzeyinde eşit aralıklı, teknenin kenarlarına paralel zıt yönde çizgiler oluşturulur.

Bülbül yuvası
Helezonik yuvarlaklar oluşturacak biçimlerin tekne yüzeyinde eşit büyüklüklerle sıralanması yoluyla oluşturulur.

Şal ebrusu
Uçları kıvrımlı s harfine benzer kıvrımlı şekiller oluşturularak yapılır.

Taraklı ebru
Ebru tarağı adı verilen bir araçla gelgit ebru üzerinde oluşturulan bir çeşittir.

Hatip ebrusu
Pastel renkli bir şal ya da taraklı ebru zemin üzerine çiçek, çarkıfelek ya da yıldız benzeri şekiller oluşturularak yapılır.

Çiçek ebrusu
Pastel renkli bir şal ya da taraklı ebru zemin üzerine karanfil, papatya, gül, sümbül, gelincik gibi çiçek figürlerinin stilize edilerek kendilerine özgü tekniklerle yapılmasıyla elde edilir.

Türkiye'de Çağdaş Ebru Sanatı Yorumları
Çağdaş dönemde klasik ebru tekniklerinden yola çıkarak, farklı malzemeler ya da yeni formların eklenmesiyle kitreli su yüzeyinde yapılan bir çeşit figüratif baskı resim tarzı oluşmuştur. Bu tür çalışmaları yapan sanatçılar arasında Hikmet Barutçugil, Timuçin Tanarslan, Fuat Başar, Nedim Sönmez, Sevim Sağdıç,  Nusret Hepgül, Ahmet Çoktan, Feridun Özgören, T. Alparslan Babaoğlu sayılabilir.

Kaynakça

Başar, Fuat; Tiryaki, Yavuz: Türk Ebru Sanatı, Gözen Yayınları, 2000.
Özemre, Ahmet Yüksel: Üsküdar'da Bir Attar Dükkanı, Kubbealtı Neşriyat İstanbul, 1993.
Ayvazoğlu, Beşir : Aşk Estetiği, Ötüken Neşriyat, İstanbul, 1993.

Dış bağlantılar
 Evrenin Görsel Müziği Ebru
 Ebru Sanatı Örnekleri: Albüm-1  ve Albüm-2  (+)
 Çağdaş ebru sanatında resimsel figüratif çalışmalar yapan sanatçılar ve eserleri

Somut olmayan kültürel miras

Ebru


Huka es un género de arañas araneomorfas pertenecientes a la familia Agelenidae. Se encuentra en Nueva Zelanda.

Especies
Según The World Spider Catalog 12.0:
 Huka alba Forster & Wilton, 1973
 Huka lobata Forster & Wilton, 1973
 Huka minima Forster & Wilton, 1973
 Huka minuta Forster & Wilton, 1973
 Huka pallida Forster & Wilton, 1973

Referencias

Enlaces externos

 ION
 Nomenclator Zoologicus

Agelenidae

Huka


Michael George Luby est un informaticien et mathématicien américain, PDG de la compagnie BitRipple, chercheur principal à l', ancien vice-président de la technologie chez Qualcomm, cofondateur et ancien directeur de la technologie de l'entreprise Digital Fountain.

Biographie
Luby obtient au Massachusetts Institute of Technology un baccalauréat en mathématiques en 1975,  et il obtient un doctorat (Ph. D.) en 1983 à l'université de Californie à Berkeley, sous la supervision de Richard M. Karp (Monte-Carlo Methods for Estimating System Reliability).

Il a été boursier postdoctoral (1983-85), professeur assistant (1985-1988), et professeur associé avec titularisation (1988-1990) à l'Université de Toronto. Il a été chef du groupe de théorie à l'Institut international d'informatique (1989-1999). Il a fondé et a été directeur technique de Digital Fountain Inc. (1999-2009), et a été vice-président de la technologie chez Qualcomm (2009-2018) après l'acquisition de Digital Fountain, Inc. par cette dernière.

Travaux

Luby a apporté des contributions en théorie du codage : les , qui sont des codes de parité à faible densité pour le codage avec effacement, les codes LT (nommés d'après son nom Luby Transformation codes), une première réalisation de  codes fontaine qui sont des codes d'effacement quasi-optimaux, certains  codes de Reed-Solomon et  à la cryptographie.

Il a montré que toute fonction à sens unique peut être utilisée en cryptographie asymétrique et a analysé, avec Charles Rackoff,  le chiffrement par réseau de Feistel. Avec Russell Impagliazzo, Johan Håstad et Leonid Levin, il a prouvé que les générateurs pseudo-aléatoires cryptographiquement sécurisés existent si et seulement si des fonctions à sens unique  existent (article pour lequel ils ont reçu le SIAM Outstanding Paper Prize en 2003).

Il a développé les codes tornado, qui sont un exemple de code d'effacement rapide, en l'International Computer Science Institute (ICSI) de Berkeley. Pour la distribution de grandes quantités de données sur un réseau (même avec perte de données) à des groupes d'utilisateurs hétérogènes, il a développé le protocole Digital Fountain basé sur des codes tornado. Les brevets pour les codes tornado et les codes LT sont détenus par la société Digital Fountain.

Luby est également à l'origine d'un algorithme parallèle pour le problème de la recherche d'ensembles indépendants maximaux dans les réseaux.

Distinctions
En 2012, Luby a reçu la médaille Richard-Hamming et en 2015 le prix Paris-Kanellakis pour son développement des codes correcteurs d'effacement qui sont devenus importants pour la transmission sans erreur de vidéo en streaming sur les réseaux. En 2015, il est nommé membre de l'Association for Computing Machinery.

Publications

 .

Notes et références

Liens externes
 Page personnelle à l'ICSI, Berkeley
 Prix Paris Kannelakis 2015

Date de naissance non renseignée (XXe siècle)
Informaticien américain

Michael Luby


මහාචාර්ය සාගර කරුණාතිලක (), නොබෙල් ත්‍යාගයට නිර්දේශ වූ ප්‍රථම ශ්‍රී ලාංකිකයා ය.

ඔහු කොඳු ඇට පෙළේ ආබාධ ගැන විශේෂඥ වෛද්‍යවරයෙකි.

මූලාශ්‍ර

ශ්‍රී ලාංකිකයෝ

සාගර කරුණාතිලක


Brian Michael Roberts (born October 9, 1977) is an American former professional baseball second baseman. He made his Major League Baseball (MLB) debut with the Baltimore Orioles in 2001, and played for the team until 2013. He played his final season for the New York Yankees in 2014.

Early life, education and college baseball career
Roberts was born in Durham, North Carolina, to parents Mike and Nancy  Roberts. He lived in Chapel Hill. At the age of 5, Roberts underwent open heart surgery to repair an atrial septal defect. He graduated from Chapel Hill High School.

College-baseball career
Roberts enrolled at the University of North Carolina, where he played college baseball for the North Carolina Tar Heels baseball team in the Atlantic Coast Conference (ACC) of NCAA Division I. His father, Mike Roberts, was the head coach of the Tar Heels. No other Division I baseball program offered Roberts a scholarship.

During Roberts' freshman year in 1997, he batted .427, with 102 hits, including 24 doubles, and 47 stolen bases. His batting average was the second highest in the ACC. He was named to the National Collegiate Baseball Writers Association's (NCBWA) Second Team and the Collegiate Baseball Third Team. During his sophomore year, he hit .353, with 13 home runs, 49 runs batted in (RBIs), 21 doubles, 63 stolen bases and was named to the NCBWA First Team, The Sporting News Second Team and the Collegiate Baseball Second Team. His 63 stolen bases were more than any player in college baseball that year. He became the fifth Tar Heel to be named ACC player of the year, and was a first team All-America. In 1998, he played collegiate summer baseball for the Chatham A's of the Cape Cod Baseball League.

Mike Roberts was fired after the 1998 season. After the firing, Brian opted to transfer to the University of South Carolina, to continue his college baseball career with the South Carolina Gamecocks baseball team. Starting at shortstop, Roberts was named the best defensive college player by Baseball America. Playing in the Southeastern Conference (SEC), he batted .353, hit 12 home runs, and collected 36 RBI. He still owns the school and SEC record for stolen bases in a season with 67. He again was named an All-American and was a member of the All-SEC team.

Professional career

Minor leagues
Roberts was drafted by the Orioles in the first round (50th overall) of the 1999 MLB draft. He played for the Delmarva Shorebirds of the Class A South Atlantic League in , where he appeared in 47 games and hit .240 with 21 RBI.

In , he started with the Gulf Coast League Orioles, batting .310 with a home run and 3 RBI in nine games. He also played 48 games with the Frederick Keys of the Class A-Advanced Carolina League, hitting .301 with 16 RBI.

In , Roberts spent parts of the season with the Triple-A Rochester Red Wings and the Double-A Bowie Baysox, batting a combined .277 with two home runs and 19 RBI in 66 games.

Baltimore Orioles

2001–05

Roberts made his Major League debut for the Orioles on June 14,  against the New York Mets, starting at shortstop and finishing the game 1-for-4. He played 75 games for Baltimore, batting .253 with two home runs and 17 RBI.

In 2002, he played 38 games with the Orioles and batted .227 with a home run and 11 RBI while stealing nine bases on 11 attempts. He also played 78 games with Triple-A Rochester, batting .275 with three home runs and 30 RBI.

In 2003, he started for Ottawa, playing 44 games and hitting .315 with 15 RBI. In late May, he was called up for injured second baseman Jerry Hairston Jr. He hit his first Major League grand slam in his second game (and his first in any sort of professional play) in the ninth inning against the Anaheim Angels to win that game. He finished with a .270 average, five home runs and 41 RBI in 112 games, and stole 23 bases on 29 attempts (tied for eighth in American League).

The Orioles season started spring training in  with both Hairston and Roberts on the roster. Hairston fractured his finger in spring training, however, and Roberts became the Opening Day starter. After Hairston returned from the disabled list, he was moved to right field, leaving Roberts at second base. In August, Roberts batted .346 with ten doubles in 107 at-bats. During the second week of August, Roberts was named the American League Player of the Week for hitting .531 over a span of six games. He finished 2004 with a .273 average, four home runs and 53 RBI while collecting 175 hits in 159 games. He also hit 50 doubles, which led the American League and was third-best in the majors. His 50 doubles also broke the Orioles single-season record for doubles (originally set by Cal Ripken Jr.) and the single-season AL record for doubles by switch hitters.

Prior to the 2005 season, Hairston was traded to the Chicago Cubs (along with Oriole prospects Mike Fontenot and David Crouthers) for Sammy Sosa, thereby cementing Roberts's position as the Orioles' starting second baseman. In 2005, Roberts led the AL in batting average for the first several months of the season. In addition, he showed an increase in power; prior to the 2005 season, he had only 12 career home runs, but by late June, he had already outmatched that total. Fans awarded Roberts explosive offensive first half by voting him the starting second baseman in the 2005 Major League Baseball All-Star Game. It was Roberts' first appearance in the All-Star Game. As the season wore on, Roberts slumped and the Orioles slipped in the standings.

On September 20, 2005, Roberts dislocated his elbow in a game against the New York Yankees. The injury occurred in a collision with New York's Bubba Crosby at first base in the bottom of the second inning, and resulted in Roberts missing the rest of the season.

2006–09
Roberts rebounded from his 2005 injury with a strong 2006 campaign. He played in 138 games, batting .286 with 10 home runs and 55 RBI, while also scoring 85 runs. He stole 36 bases in 43 attempts, and hit seven home runs in the last two months of the season. Roberts spent the early part of May on the 15-day disabled list with a strained left groin. He was activated on May 24.

Roberts played in over 150 games for the Orioles in 2007. Along with teammate Nick Markakis, he finished in the AL top 10 for at-bats, batting .290 with 12 home runs, 57 RBI, and a .377 OBP on the way to his second All-Star berth. His 50 stolen bases, a career high, was tied with Carl Crawford for the AL lead; Roberts also set career marks in hits and walks.

On June 24, 2008, Roberts went 3-for-5 against the Cubs in a 7–5 victory. His third hit of the game was his 1,000th career base hit. He collected the 250th double of his career on July 28 against the New York Yankees. On September 21, 2008, Roberts grounded into the final out in the history of Old Yankee Stadium.

The Orioles and Roberts agreed to a four-year contract extension worth $40 million on February 20, 2009. The contract secured Roberts through the 2013 season. Following an injury to Boston Red Sox second baseman Dustin Pedroia, Roberts was added to Team USA's roster for the World Baseball Classic. Roberts batted .438 with one home run, two runs batted in and one stolen base in four games as the United States lost in the semifinals to Japan.

On August 4, in a game against the Detroit Tigers, Roberts hit his 300th career double in the first inning off of Jarrod Washburn. On September 15, he broke his own Orioles franchise record by hitting his 52nd double of the season. According to Spencer Fordin, "the two-time All-Star became one of four players all-time – along with Hall of Famers Tris Speaker, Paul Waner, and Stan Musial – to amass three 50-double seasons in his career."

On September 29, Roberts hit his 56th double of the season against the Tampa Bay Rays, setting the all-time single season mark for doubles in a season by a switch-hitter. His 56 doubles led the majors in 2009. On October 3, Roberts was named "Most Valuable Oriole" for 2009 and awarded an engraved lead trophy for his accomplishments.

2010–13
Roberts missed much of spring training in 2010 with a herniated disc in his lower back. He recovered in time for Opening Day, but started the season 2-for-14 (.143) before suffering an abdominal strain stealing second base and being forced onto the 15-day disabled list, effective as of April 10. On July 12, Roberts began to play in rehab games without having a setback, as it is the first time he has been on the field since April 10. On July 23, Roberts returned to the Orioles' lineup for the first time since April 9.

Roberts suffered a concussion on September 27, 2010, after he hit himself in the head with his baseball bat out of frustration. He suffered his second concussion on May 16, 2011, when he slid into first base headfirst and hit the back of his head. He did not return for the remainder of the season.

Through the beginning of the season, Roberts continued his stay on the disabled list, but traveled with the team and remained an active member of the dugout. On May 22, Buck Showalter announced Roberts would be starting his rehab stint with the Double-A Bowie Baysox. His final five rehab games were played with the Triple A Norfolk Tides. Roberts returned to the Orioles on June 12, 2012, starting at second base and finishing the game 3-for-4 in an 8–6 win over the Pittsburgh Pirates. However, a groin strain returned him to the disabled list on July 3, and after a brief attempt at another rehab assignment, he elected to have season-ending hip surgery on July 29 in hopes to return fresh to spring training in 2013.

In spring training in 2013, Roberts reported that he was free of the post-concussion syndrome resulting from his 2011 concussion. On April 4, during the Orioles' third game of the season, Roberts ruptured a tendon behind his right knee while stealing second base in the ninth inning of a 6–3 victory over the Tampa Bay Rays. He was placed on the 15-day DL, with an expected downtime of three to four weeks. Roberts was activated from the disabled list on June 30. In 77 games with the Orioles, he batted .249 with eight home runs and 39 RBI.

Steroid allegations
On September 30, 2006, the Los Angeles Times reported that during a June 6, 2006, federal raid, former relief pitcher Jason Grimsley named Roberts as a user of anabolic steroids. The Times reported that Roberts was one of five names blacked out in an affidavit filed in federal court. However, on October 3, 2006, The Washington Post reported that San Francisco United States attorney Kevin Ryan said that the Los Angeles Times report contained "significant inaccuracies."  On December 20, 2007, the actual names in the Grimsley search warrant affidavit were revealed to the public. Roberts, Jay Gibbons, Andy Pettitte and Roger Clemens were not actually named in the report and Miguel Tejada was named only for having a conversation about amphetamines.  Roberts, along with the other four players named, denounced the story. Roberts was subsequently named in George Mitchell's report on performance-enhancing drugs. According to page 158 of the Mitchell Report, Roberts lived with then-teammate Larry Bigbie in David Segui's house near the end of the 2001 season. Bigbie and Segui were regular steroid users; while they were using the performance-enhancing drugs and Roberts was present, he asserted that he did not participate. According to Bigbie's testimony, Roberts told him in 2004 that he had injected himself with steroids "once or twice" in 2003.

On December 17, 2007, Roberts released a statement in which he admitted to using steroids on a single occasion.

"In 2003, when I took one shot of steroids", he said. "I immediately realized that this was not what I stood for or anything that I wanted to continue doing. I never used steroids, human growth hormone or any other performance-enhancing drugs prior to or since that single incident.

"I can honestly say before God, myself, my family and all of my fans, that steroids or any performance-enhancing drugs have never had any effect on what I have worked so hard to accomplish in the game of baseball."
Roberts further stated that he had no ill-will against Larry Bigbie, whose testimony to the Mitchell Committee was responsible for his inclusion in the report.

New York Yankees
Roberts became a free agent for the first time in his career after the 2013 season. Roberts agreed to a one-year contract with the New York Yankees worth $2 million, which had incentives that could have raised the deal's value to $4.6 million On August 1, 2014, Roberts was designated for assignment by the Yankees, and he was released on August 9. In 91 games with the Yankees, Roberts batted .237 with five home runs, 21 RBI, and seven stolen bases.

Retirement and broadcasting work
On October 17, 2014, Roberts announced his retirement from professional baseball. He issued a statement that said that he felt like he could not play well anymore.

Roberts joined the Baltimore Orioles Radio Network prior to the 2018 season as a part-time color analyst.

Personal life
In January 2009, he married Diana Chiafair. They had their first child, Jax Isaac, in August 2013.

See also

List of Major League Baseball annual doubles leaders
List of Major League Baseball career stolen bases leaders
List of Major League Baseball players named in the Mitchell Report
List of Major League Baseball annual stolen base leaders

References

External links

1977 births
Living people
Aberdeen IronBirds players
American expatriate baseball players in Canada
American League All-Stars
American League stolen base champions
American sportspeople in doping cases
Baltimore Orioles announcers
Baltimore Orioles players
Baseball players from Durham, North Carolina
Bowie Baysox players
Chatham Anglers players
Delmarva Shorebirds players
Doping cases in baseball
Frederick Keys players
Gulf Coast Orioles players
Major League Baseball second basemen
New York Yankees players
Norfolk Tides players
North Carolina Tar Heels baseball players
Ottawa Lynx players
People with congenital heart defects
Rochester Red Wings players
South Carolina Gamecocks baseball players
Sportspeople from Chapel Hill, North Carolina
World Baseball Classic players of the United States
2009 World Baseball Classic players
Chapel Hill High School (Chapel Hill, North Carolina) alumni

Brian Roberts (baseball)


David Chavalarias est un mathématicien et écrivain français, né en 1975. Il est directeur de recherche au CNRS et au Centre d'analyse et de mathématique sociales (CAMS) de l'EHESS. Il est également directeur de l'Institut des Systèmes Complexes de Paris Île-de-France.

Biographie
David Chavalarias est ancien élève de l'Ecole Normale Supérieure de Cachan, agrégé de mathématiques, il rejoint le Centre de recherche en épistémologie appliquée (CREA) à l'École Polytechnique où il obtient le DEA de sciences cognitives.

Ses travaux portent sur l'étude les dynamiques sociales et cognitives, notamment à partir de données Web à grande échelle.

En 2022, il publie Toxic Data, un essai analysant notamment l'influence de Twitter et Facebook sur les opinions politiques. Le travail s'appuie entre autres sur Politoscope, un outil d'observation et d'analyse des données générées sur les réseaux sociaux notamment à l'approche des élections présidentielles françaises. Ces résultats permettent de démontrer de manière empirique la conjecture de von Foerster appliquée aux sociétés humaines à l'ère du numérique.

Ouvrages

 Toxic Data, éditions Flammarion, 300 p., 2022.

Publications

 David Chavalarias, Jean-Philippe Cointet "Phylomemetic Patterns in Science Evolution—The Rise and Fall of Scientific Fields", PLoS ONE 8(2): e54847, 2013 (lire en ligne )
 Chavalarias David, Beatrice De Gelder, Guido Caldarelli et Melanie Dulong de Rosnay, « Toward a Research Agenda on Digital Media and Humanity Well-Being»

Notes et références

Liens externes

Sciences humaines et sociales
Écrivain français du XXIe siècle
Élève de l'École polytechnique
Élève de l'École normale supérieure Paris-Saclay

David Chavalarias


Udruženje Hrvatsko prosvjetno društvo "Franjo Štefanović" je prosvjetna ustanova Hrvata u Petrovaradinu.

Podatci o društvu

Udruženje je osnovano 2015. godine. Adresa društva je Vladimira Nazora 3.
Nosi ime Franje Štefanovića, hrvatskog skladatelja i pjesnika, tvorca prve opere za djecu na svijetu, nastavnika i zborovođe.

Izvori

Srijemski Hrvati
Petrovaradin
Hrvatska kulturno-umjetnička društva iz Vojvodine


Edgar Müller (Mülheim an der Ruhr, Renania del Norte-Westfalia, 10 de julio de 1968) es un pintor callejero alemán, conocido por sus efectos ilusionistas tridimensionales. Su fama creció gracias a sus vídeos en YouTube. Fue presentado como el "Maestro Madonnaro" en el Festival de Tiza Sarasota.

En la Avenida de Colores, Müller creó una pintura 3-D de 100 'x 40' que es la primera pintura contemporánea de calle conocida, y en el Festival de Tiza Sarasota hizo junto con el artista Vera Bugatti la primera pintura de calle con diseño de metamorfosis en 3-D, lo cual le dio reconocimientos y premios del Libro Guinness de los récords.

Referencias

Enlaces externos
 "Edgar Müller"(inglés)

Artistas de Alemania
Alemanes del siglo XXI
Nacidos en Mülheim an der Ruhr

Edgar Müller


Wilhelm Friedrich Ludwig Beth (* 1855 in Lübeck; † 27. August 1922 ebenda) war ein überregional bekannter Industriepionier.

Leben
Beths Vater war Mühlenbauer und Monteur bei der Lübecker Mühlenbaufirma Jaacks & Behrns. Wilhelm Beth begann seine Laufbahn ebenfalls als Mühlenbauer und Monteur. Seine Ersparnisse verwandte er dazu, seine Kenntnisse in der Baugewerkschule zu Holzminden zu erweitern, die er als Civilingenieur und Mühlenbaumeister abschloss.

Zurück in Lübeck wurde er erst Technischer Zeichner, dann Büroleiter der Firma Jaacks & Behrns.

Nach seiner dort im Jahr 1886 gemachten Erfindung, der Aspiration der Mahltechnik, gründete er Ende 1887 sein eigenes Geschäft, die W. F. L. Beth, Mühlenbauanstalt, die später in W. F. L. Beth Maschinenfabrik umbenannt wurde. Aus Beths Erfindung entwickelte sich eine bedeutende Entstaubungs-Industrie.

Wilhelm Beth konstruierte Schlauchfilter, gab den Mühlenbau bald auf und wandte sich ganz der Konstruktion von Filterapparaten zu. Diese wurden bald nicht nur in Getreidemühlen verwendet, sondern auch bei der Hartzerkleinerung wie etwa in der Zementindustrie.

Ihm kam zugute, dass die die Volksgesundheit fördernden Kreise erkannten, dass mit seinen Filtern die Luft in den Arbeitsräumen merklich verbessert werden konnte. Im Kampf gegen die Staubkrankheit erhielten die Konstruktionen Beths einen besonderen Wert.

Anfang der 1890er-Jahre begann Beth mit dem Bau von Exhaustoren eigener Konstruktion. Seine Filteranlagen fanden Eingang in fast alle stauberzeugenden Industriezweige und die Firma W. T. L. Beth wurde zu einem Weltunternehmen, dessen Produkte inner- und außerhalb Europas bekannt waren.

Da der tatkräftige Begründer bei seinen Arbeiten kein hinreichendes Vermögen angesammelt hatte, wurde seine Firma 1921 in eine Aktiengesellschaft gewandelt. Als deren Generaldirektor setzte er sein Werk fort.

Seinen Lebenslauf veröffentlichte er in der Schrift Mein Lebenslauf im selben Jahr.

Soziale Belange der Arbeiterschaft
Bemerkenswert war zu jener Zeit seine Einstellung dazu. Die Soziale Fürsorge war ein persönliches Anliegen Beths. Dies war für jeden ersichtlich, der nur einen Blick in die Werkstätten der Fabrik tat.

Um 1910 gab es kein anderes Unternehmen, das einen fotografischen Einblick in den Waschraum seiner Arbeiter gezeigt hätte.

Es gab technische Büros und einen großen, hellen Zeichensaal. Neben vier kaufmännischen Kontorräumen existierte ein Maschinen- und Kesselhaus, sowie für die technischen Entwicklungen eine elektrisch betriebene Versuchsstation. Alles war auf dem neuesten Stand.

Patente
 1886: #38396, Staubfilter
 1889: #53553, Lüftungseinrichtungen in Eisenbahnwaggons
 1906: US-Patent 832450,Shaking Device For Tubular And Like Filters
 1906: US-Patent 833117, Cleaning Filter Cloths In Dust-Collectors And The Like
 1921: US-Patent 1389481, Shaking Device For Cleaning Filters
 1921: US_Patent 1389482, Air or Gas Filter
 1921: US-Patent 1390966, Air Filter
 1922: US-Patent 1433115, Shaking Device For Cleaning Filters

Quellen
 Von Lübecks Türmen. 32. Jahrgang, Nr. 18, Ausgabe vom 9. September 1922, Artikel: Generaldirektor Wilhelm Beth †.
 Wilhelm Beth: Mein Leben. Lübeck 1921.
 Rüdiger Segenbusch: Zeitenwende – Fabriken in Lübeck. Lübeck 1993, ISBN 3-7950-0114-5, Kapitel: Beth und Dräger – Ohne Idee keine Fabrik

Weblinks

Autor
Unternehmer (19. Jahrhundert)
Unternehmer (Handel)
Industrieller (Lübeck)
Erfinder
Mäzen
Geboren 1855
Gestorben 1922
Mann

Wilhelm Beth


Odile of Alsace, also known as Odilia and Ottilia, born c. 662 - c. 720 at Mont Sainte-Odile), is a saint venerated in the Catholic Church and the Eastern Orthodox Church. She is a patroness saint of good eyesight and of the region of Alsace.

Biography

Odile was the daughter of Etichon (also known as Athich, Adalrich or Aldaric), Duke of Alsace and founder of the Etichonid noble family. According to the 9th century "Life of Odilia", she was born blind. Her father did not want her because she was a girl and handicapped, so her mother Bethswinda had her brought to Palma (perhaps present day Baume-les-Dames in Burgundy), where she was raised by peasants there.

A tenth-century legend relates that when she was twelve, Odile was taken into a nearby monastery.  Whilst there, the itinerant bishop Erhard of Regensburg was led, by an angel it was said, to Palma where he baptised her Odile (Sol Dei), whereupon she miraculously recovered her sight.  Her younger brother Hughes had her brought home again, which enraged Etichon so much that he accidentally killed his son. Odile miraculously revived him, and left home again.

She fled across the Rhine to a cave or cavern in one of two places (depending on the source:  the Musbach valley near Freiburg im Breisgau, Germany, or Arlesheim near Basel, Switzerland.) Supposedly, the cliff face opened up in order to rescue her from her plight.  In the cave, she hid from her father. When he tried to follow her, he was injured by falling rocks and gave up.

When Etichon fell ill, Odile returned to nurse him. He finally gave up resisting his headstrong daughter and founded the Augustine monastic community of Mont Sainte-Odile Abbey (also known as Hohenburg Abbey) for her. in the Hochwald (Hohwald), Bas-Rhin, where Odile became abbess and where Etichon was later buried. Some years later Odile was shown the site of Niedermünster at the foot of the mountain by St. John the Baptist in a vision.  There she founded a second monastery, including a hospital. Here, the head and an arm of St. Lazarus of Marseille were displayed but later transferred to Andlau. The buildings of the Niedermünster burned down in 1542, but the local well is still said to cure eye diseases.

St. Odile died about 720 at the convent of Niedermünster. At the insistent prayers of her sisters she was returned to life, but after describing the beauties of the afterlife to them, she took communion by herself and died again. She was buried at Ste. Odile. She was succeeded as abbess of Mont Sainte-Odile Abbey by her niece, Saint Eugénie d'Alsace.

Veneration

The cult of St. Odile spread rapidly, and spread outside France to Germany.  She was mentioned in the litanies of Freising, Utrecht and Ratisbon at least from the 9th century.  Amongst the common people, pilgrimages to her shrine were popular, and were by no means limited to the masses; from Charlemagne onwards, emperors also conducted pilgrimages in her honour. Indeed, Charlemagne granted immunity to the convent at Hohenberg, which was later officially ratified by Louis the Pious on 9 March 837.

By the 14th century, Odile's cult had grown so strong that her relics were split and removed to Corbie, Prague and Einsiedeln.  She enjoyed especial popularity in Strasbourg.  The strength of her cult is supposed to have been a result of her patronage of the blind and partially sighted, which was especially pertinent in a time before the invention of spectacles.

St. Odile was long considered the patron of Alsace and eye patients, at least since before the 16th century; however, this was made official in 1807 by pope Pius VII. Her feast day is 13 December.

Cultural representations

As the patroness of ocular afflictions and ear diseases, St. Odile is often depicted with a pair of eyes on a book - particularly fine examples of such images can be found from the 14th-16th centuries.  A notable sculpture of her exists at the Bavarian National Museum in Munich, which portrays the event of her baptism.  The larkspur is connected to St. Odile as well and is believed to cure eye diseases in popular medicine and superstition.

A Life of St. Odilia was written about the 10th century, mostly dedicated to the retelling of her legend, the antagonism of her father, and the death of her brother Hughes.  From internal evidence, it seems that it was based upon an earlier, 8th century Life; however, as an account of her life, it cannot be considered to have much historical validity.

Legacy
Mont Sainte-Odile in Alsace, is named for her.

Places dedicated to Saint Odile

St. Odile pilgrim's chapel, near Freiburg
In the valley of the Musbach, a small river that runs near Freiburg im Breisgau, pilgrims have venerated St. Odile for centuries. In ca. 1300 a chapel was built; the present church was started in 1503 and finished in the 18th century. The church is built adjacent to a spring whose water contains radon, which is supposedly beneficial to eyesight. In the 18th century the spring became part of the church building: in 1714 the source was included by enlarging the building, in 1780 the cave with the source in it was renovated and decorated in the fanciful style of the time.

Places where she had been
 Barr, Bas-Rhin, Alsace, France
 Freiburg, Baden-Württemberg, Germany: St. Odile's Church
 Arlesheim, Basel-Landschaft, Switzerland

Other places dedicated to her
 Absberg, Bavaria, Germany (St. Odile's Church )
 Bettringen, Schwäbisch Gmünd, Baden-Württemberg, Germany (St. Odile's Church )
 Buttisholz, Canton of Lucerne, Switzerland (St. Odile's chapel )
 Eppingen, Baden-Württemberg, Germany (St. Odile's Mountain )
 Fehren, Canton of Solothurn, Switzerland (St. Odile's Church )
 Gohr, Dormagen, North Rhine-Westphalia, Germany (St. Odile's Church )
 Graz, Styria, Austria (St. Odile's Institute for the Blind )
 Hofen, Bönnigheim, Baden-Württemberg, Germany (St. Odile's Church )
 Kersbach, Forchheim, Bavaria, Germany (St. Odile's Church )
 Lörrach, Baden-Württemberg, Germany (St. Odile's Church )
 Losheim am See, Saarland, Germany
 Möschenfeld (Grasbrunn), Bavaria, Germany: St. Odile's Church )
 Offenhausen, Bavaria, Germany (St. Odile's Chapel )
 Paris, France, Sainte-Odile, Paris
 Plochingen, Baden-Württemberg, Germany (St. Odile's Chapel )
 Randegg (Gottmadingen, Baden-Württemberg, Germany (St. Odile's Church )
 Sankt Ottilien, Eresing, Bavaria, Germany (Abbey St. Odile )
 Schorndorf, Baden-Württemberg, Germany (St. Odile's Mountain )
 Stuttgart-Münster, Baden-Württemberg, Germany (St. Odile's Church )
 Walzenhausen, Appenzell Ausserrhoden, Switzerland
 Wengen, Burgheim, Bavaria, Germany (St. Odile's Church )

Gallery

See also

 Etichonids
 Adalrich, Duke of Alsace
 401 Ottilia

References

External links

Short biography of St Odilia of Alsace with many images of statues and old prayer cards
Mont Sainte-Odile
 "The Pagan Wall of the Mount Sainte Odile", Text in basic English French original

Prayers to the patroness of good eyesight
Prayer to St Odilia
Litany of St Odilia

662 births
720 deaths
People from Obernai
Medieval German saints
8th-century Frankish saints
Etichonid dynasty
Female saints of medieval France
Alsatian saints
Colombanian saints
Female saints of medieval Germany
7th-century Frankish women
7th-century Frankish nobility
8th-century Frankish women

Odile of Alsace


الاتحاد الدولي لألعاب القوى (الاسم الرسمي منذ عام 2019، عرف سابقا باسم «الاتحاد الدولي لألعاب القوى للهواة» و«الرابطة الدولية لاتحادات ألعاب القوى» وكلاهما مختصر باسم IAAF) هي الهيئة الدولية المنظمة لرياضة ألعاب القوى، وتشمل سباقات المضمار والميدان والجري عبر الضواحي (العدو الريفي) وسباق الطرقات وسباق المشي، والجري فوق الجبال والجري الفائق. تشمل مسؤوليتها توحيد القواعد واللوائح الخاصة بالرياضة، والاعتراف بالأرقام القياسية العالمية وإدارتها، وتنظيم وفرض العقوبات في مسابقات ألعاب القوى، بما في ذلك بطولة العالم لألعاب القوى. رئيس المنظمة هو سيباستيان كو من المملكة المتحدة، الذي انتُخب عام 2015 وأعيد انتخابه مرة أخرى في عام 2019 لمدة أربع سنوات أخرى.

التاريخ
أُنشأت المؤسسة سنة 1912 خلال مؤتمر في دورته الأولى في ستوكهولم، من جانب ممثلي 17 من الاتحادات الوطنية لألعاب القوى، واختارو لها اسم الاتحاد الدولي لألعاب القوى للهواة، تم تغير الاسم إلى الاسم الحالي في مؤتمر 2001، عندما تم الاستعاضة عن هواة.

رغم أن الاتحاد تأسس سنة 1912، ولكنه لم يبدأ الاهتمام بتسويق الرياضة تجارياً إلا في بداية الثمانينات، حيث بدأ يقيم بطولات للعالم، بالإضافة إلى دورات مختلفة أخرى تقدم جوائز مادية.

الرئيس
السنغالي لمين دياك هو الرئيس الحالي للاتحاد الدولي لألعاب القوى، بعد أن وصل إلى أعلى منصب مؤقتا بعد وفاة الرئيس السابق بريمو نيبيولو سنة 1999، وتولى منصب الرئاسة رسميا في مؤتمر 2001.

تعاقب على الاتحاد خمسة رؤساء منذ تأسيسه.

المسابقات
الاتحاد الدولي لألعاب القوى مهمته توحيد أساليب ممارسة الألعاب، وتدوين وتوثيق الأرقام والإنجازات، كما أنه ينظم العديد من المسابقات الرياضية الدولية الرئيسية.

الاتحادات القارية

يتشكل الاتحاد الدولي لألعاب القوى من 6 إتحادات قارية و212 عضو في الاتحادات الوطنية.

      AAA – الاتحاد الآسيوي لألعاب القوى في آسيا
      CAA – الاتحاد الأفريقي لألعاب القوى في أفريقيا
      CONSUDATLE – اتحاد أمريكا الجنوبية لألعاب القوى في أمريكا الجنوبية
      NACACAA – اتحاد أمريكا الشمالية والوسطى والكاريبي لألعاب القوى في أمريكا الشمالية
      EAA –الاتحاد الأوروبي لألعاب القوى في أوروبا
      OAA – اتحاد أوقيانوسيا لألعاب القوى في أوقيانوسيا

مراجع

وصلات خارجية

 الموقع الرسمي للإتحاد

اتحادات ألعاب قوى
اتحادات رياضية دولية
الاتحاد العالمي لألعاب القوى
تأسيسات سنة 1912 في السويد
مجالس إدارية رياضية
منظمات رياضية أسست في 1912
منظمات رياضية في موناكو
منظمات سباقات مضمار وميدان
هيئات تنظيم ألعاب قوى

الاتحاد الدولي لألعاب القوى


Chelmsford 123 is a British television situation comedy produced for Channel 4 by Hat Trick Productions. Chelmsford ran for two series, of six and seven episodes respectively, in 1988 and 1990.

The series was set in the British town of Chelmsford in the year AD 123 and concerned the power struggle between Roman governor Aulus Paulinus (Jimmy Mulville) and the British chieftain, Badvoc (Rory McGrath). Britain is a miserable place, cold and wet – just the place to exile Aulus for accidentally insulting the Emperor's horse but also give him something useful to do. Aulus, probably a play on Aulus Platorius Nepos, the governor of Roman Britain between 122 and 125, was a rather delicate Roman and was usually outwitted by the scheming Badvoc, who hadn't had a haircut for twenty-five years. Many of the other regular "Hat Trick" actors, previously seen in shows such as Who Dares Wins, appeared.

Both series are available on All 4.
Series 1 and 2 were released on DVD by Acorn Media UK on 15 September 2011.

Principal cast
 Rory McGrath as Badvoc, A British chieftain
 Jimmy Mulville as Aulus Paulinus, the Roman Governor of Britain
 Philip Pope as Grasientus, Aulus' Brother in-law. (Pope also wrote the series' title music.)
 Howard Lew Lewis as Blag
 Neil Pearson as Mungo
 Erika Hoffman as Gargamadua, Badvoc's girlfriend (Series 1 only)
 Robert Austin as Functio (Series 1 only)
 Geoffrey McGivern as Wolfbane (one episode in Series 1, regular cast member in Series 2)

Also appearing in a number of episodes were:
 Geoffrey Whitehead as Viatorus, engineer, bringer of rain, sculptor (3 episodes)
 Andy Hamilton as Taranis, British "warrior" (2 episodes) (also sometime programme associate).
 Chris Langham as The Gate Guard and later Chief Of Security (2 episodes)
 Bill Wallis as Emperor Hadrian (2 episodes).

Episode list

Series 1: 1988
 Arrivederci Roma—9 March 1988 (sections in Rome played entirely in Latin, until Aulus arrives in Britain)
 What's Your Poison?—16 March 1988
 The Girl of My Dreams—23 March 1988
 One For The Road—30 March 1988
 Vidi Vici Veni—6 April 1988
 Peeled Grapes and Pedicures—13 April 1988

Series 2: 1990
 Heads You Lose—9 January 1990
 Get Well Soon—16 January 1990
 Bird Trouble—23 January 1990
 Odi, et Amo—30 January 1990
 The Secret War—6 February 1990
 Mine's a Double—13 February 1990
 Something Beginning With 'E' —20 February 1990 (as with first episode, sections in Rome played entirely in Latin, until the Emperor arrives in Britain)

References

External links

Channel 4 sitcoms
Fiction set in Roman Britain
1988 British television series debuts
1990 British television series endings
1980s British sitcoms
1990s British sitcoms
Television series by Hat Trick Productions
Television series set in the Roman Empire
Latin-language television

Chelmsford 123


Adriana Gabriela Erosa Rodríguez, conocida como Adrianna Foster (Guadalajara, Jalisco, ), es una cantautora mexicana de soul, jazz y pop. Es una de las cantantes mexicanas más prominentes del género. Ganó fama en 2008 con su sencillo «Pienso en ti», y se destaca por su gran rango vocal y emotivas interpretaciones. Se la ha referenciado como «La Mariah Carey mexicana»; cantautores como Francisco Céspedes y José José la han llamado «La voz de México».

Biografía

Comienzos
Adrianna Foster muestra su talento musical a los 3 años de edad, al escuchar una canción de su agrado ella era capaz de interpretarla de manera sorprendente, es ahí cuando su familia descubre que nació para cantar.

A los 8 años, gana su primer concurso de canto en el colegio y a partir de ese momento es invitada a participar como la artista principal en todos los festivales.

En el año de 1998, en Cancún Quintana Roo, Adrianna conoce a Barry Ivan White, Integrante del exitoso grupo "The Platters", quién al escucharla cantar queda maravillado con su voz, pues con tan solo 12 años ya mostraba tablas para dominar un escenario, así como ángel y un gran carisma para cautivar al público. Barry Ivan White la invita a participar en el show que estaban presentando en un conocido hotel de esa ciudad y Adrianna con gran talento interpreta la canción My Heart will go on.

Encantado, Barry Ivan White vuelve a invitar a Adrianna a cantar, esta vez en un festival en donde "The Platters" darían un concierto, esto fue en Rhode Island, cerca de la ciudad de Boston Massachusetts. En dicho evento Adrianna interpreta 4 canciones y de nueva cuenta logra robar la atención del público siendo cálidamente ovacionada.

2000-2004: Preparación y primeros éxitos
En el año 2000, Adrianna viaja a la ciudad de Miami en Florida, para perfeccionar su técnica de canto con la reconocida maestra de muchos famosos, Gina Maretta. En ese mismo año es invitada a participar como la artista principal en el festival "Victory for Youth".

En el 2004, Adrianna viaja a su natal Guadalajara para estudiar un curso de audio en la escuela "8 Bit", al concluirlo, se queda con la plaza de asistente de audio por 10 meses, combinándolo con clases de guitarra y bajo.
En ese mismo año, en Orlando Florida, se lleva a cabo el festival "Fashion Rock", al que Adrianna se inscribe y queda como triunfadora entre 2000 participantes, obteniendo el premio como la mejor cantante juvenil de dicho evento.

Para el año 2005, Adrianna forma parte de una banda de Guadalajara, llamada "Stinky Cows", con la que no solo adquiere más tablas en el escenario si no que logra atrapar al público tapatío con su voz. En ese tiempo también se presenta en el Hard Rock Live de esa ciudad, con un éxito impresionante. A finales de ese año, en Miami Florida, Adrianna se gradúa del SAE Institute, como Ingeniero en audio y producción.

2005 - 2007: Inicio de su carrera
En el 2006 Adrianna prepara una gran presentación con la que daría inicio en definitiva su carrera como solista. A dicho evento acuden alrededor de 400 personas quienes por más de 2 horas, pudieron deleitarse con su encanto al hablar y su profesionalismo al cantar.

A su regreso a Miami en ese mismo año, participa haciendo coros en el track "Say Something" de Mariah Carey, producido por Sugar Dip Productions y en el show de Lauryn Hill, en el hotel "The Standart".

2007 - 2010: Primer álbum, congracie artístico y Éxito Internacional

En el año 2007, Adrianna graba y produce su primer disco en Castle Studios, con temas de su autoría, al lado del Productor Rodolfo Castillo. En este también participan grandes músicos como Lee Levin, Michael Thompson, Ricardo Martínez y Dan Warner, entre otros.

Paralelamente con su álbum, Adrianna crea la compañía "La Puerta Production" junto con Orlando Mosqueda, quien fuera productor musical de Oscar de León.

Mientras Adrianna preparaba el lanzamiento de su primer disco y la gira de promoción por México, tuvo la oportunidad de conocer a José José "El príncipe de la Canción", quien ya había escuchado el que sería su primer sencillo "Pienso en Ti", éste al quedar asombrado con el talento de Adrianna, se ofreció para apradinarla en su carrera y brindarle su apoyo en los próximos años de éxito que él mismo le auguró. A partir de entonces, surgió una gran amistad entre ellos, siendo él maestro en las técnicas de interpretación y apoyo en la transmisión de sentimientos al cantar.

En poco tiempo "Pienso en Ti" se colocó en el segundo lugar del Monitor Latino manteniéndose ahí por varias semanas así como en el primer lugar de diversas estaciones de radio.

A menos de un año del debut de Adrianna, artistas de la talla de José José , Oscar De León, Francisco Céspedes, El Maestro Eduardo Magallanes, Kike Santander y Amaury Gutiérrez (con quién participó en un proyecto), le han expresado su admiración al escucharla, considerándola una gran cantautora.

Adrianna Foster, es una mujer apasionada, dedicada y entregada a la música, que es su vida y a través de sus letras nos transmite una parte de ella, pues como bien lo dice: "cada canción es un pedazo de mi corazón".

2011- 2012: Embarazo y nuevo álbum

En 2011 hizo público su embarazo,, a finales de 2012 anunció el lanzamiento un nuevo álbum.

2013
En la actualidad promociona el sencillo titulado "Toda De Ti" que se desprende de su próxima producción llamada "Maya", este sencillo ya se colocó entre los 10 favoritos del chart pop de Monitor Latino en las primeras 3 semanas de su lanzamiento.

Ya pueden encontrar su nuevo sencillo "Toda De Ti" en acústico

Discografía

Álbumes de estudio

 2008 Esperándote
 2013 Maya (próximamente)

Sencillos

 «Pienso En Ti»
 «No Me Compares Con Ella»
 «Esperándome»
 «Toda De Ti»

Véase también
 Latin American Idol

Enlaces externos
 Web oficial Adrianna Foster
 Facebook
 Twitter
 YouTube
 Instagram

Nacidos en Guadalajara (México)
Cantantes de Jalisco
Cantantes femeninas de México
Cantantes en español

Adrianna Foster


La Roda de Albacete es una estación ferroviaria situada en el municipio español de La Roda en la provincia de Albacete, comunidad autónoma de Castilla-La Mancha. Dispone de servicios de media distancia operados por Renfe.

Situación ferroviaria
Se encuentra en el punto kilométrico 242,9 de la línea férrea de ancho ibérico Madrid-Valencia a 704,98 metros de altitud, entre las estaciones de Minaya y de La Gineta.

El tramo es de doble vía y está electrificado.

Historia
La estación fue inaugurada el 18 de marzo de 1855 con la apertura del tramo Alcázar de San Juan-Albacete de la línea férrea entre Madrid y Almansa que prolongaba el trazado original entre Madrid y Aranjuez y que tenía por objetivo final llegar a Alicante. Fue construida por parte de la Compañía del Camino de Hierro de Madrid a Aranjuez que tenía a José de Salamanca como su principal impulsor. El 1 de julio de 1856 José de Salamanca, que se había unido con la familia Rothschild y con la compañía du Chemin de Fer du Grand Central obtuvieron la concesión de la línea Madrid-Zaragoza que unida a la concesión entre Madrid y Alicante daría lugar al nacimiento de la Compañía de los Ferrocarriles de Madrid a Zaragoza y Alicante o MZA. En 1941 la nacionalización de ferrocarril en España supuso la integración de MZA en la recién creada RENFE.

Desde el 31 de diciembre de 2004 Renfe Operadora explota la línea mientras que Adif es la titular de las instalaciones ferroviarias.

La estación
Se sitúa al suroeste del núcleo urbano. En su diseño guarda una gran similitud con la estación de Villarrobledo al tener base rectangular, dos plantas y el mismo esquema decorativo basado en pequeños frontones triangulares colocados en la parte superior de puertas y ventanas. Dispone de dos andenes uno lateral y otro central. El cambio de vías se realiza a nivel.

Servicios ferroviarios

Media Distancia
Los servicios de Media Distancia que ofrece Renfe gracias a trenes MD y Regional Exprés cubren los siguientes trayectos:

Referencias

Enlaces externos
 Larga Distancia en la web de Renfe.
 Media Distancia Castilla-La Mancha en la web de Renfe.

La Roda de Albacete
La Roda de Albacete
La Roda de Albacete
Estaciones de ferrocarril de España inauguradas en 1855
Estaciones de ferrocarril de Castilla-La Mancha inauguradas en el siglo XIX
La Roda (Albacete)

Estación de La Roda de Albacete


Todd J. McCaffrey () este un scriitor american de origine irlandeză de științifico-fantastic. Este cel mai cunoscut pentru continuarea seriei Dragonriders of Pern împreună cu mama sa Anne McCaffrey.

Lucrări scrise
Până la sfârșitul anilor 1990 a publicat sub pseudonimul Todd Johnson.

Pern
 "Training and Fighting Dragons" (1989), în The Dragonlover's Guide to Pern
 Dragon's Kin (2003), Anne și Todd McCaffrey
 Dragonsblood (2005)
 Dragon's Fire (2006), Anne și Todd McCaffrey
 Dragon Harper (2007), Anne și Todd McCaffrey
 Dragonheart (2008)
 Dragongirl (2010)
 Dragon's Time (2011), Anne și Todd McCaffrey
 Sky Dragons (2012), Anne și Todd McCaffrey

Alzele

Ca Todd Johnson
 Slammers Down! (Combat Command: In the World of David Drake's Hammer's Slammers) (1988)
 "The Archimedes Effect", The War Years #1: The Far Stars War (1990)
 "Dasher", The War Years #3: The Jupiter War (1991)
 "Ploughshare", Bolo: Honor of the Regiment (1993)
 "Legacy", Bolos 2: The Unconquerable (1994)
 "A Question of Valor", Bolos: Last Stand (1997)

Ca Todd McCaffrey
 "Best Evidence" (1998)
 Dragonholder: The Life and Dreams (so Far) of Anne McCaffrey (1999)

 "The Dragons of Prague", (Doctor Who) Short Trips: Destination Prague (2007)
 "Tribute", Jim Baen's Universe, August 2008 (2008)
 "Tree" (2008)
 "DragonCon: Trials and Tribulations" (2008)
 "The Terrorist in My Kitchen" (2012)
"Robin Redbreast" (2012)
"Men!" (2012)
"Stone the Crows" (2012)
"The One Tree of Luna" (2012)
"Why I Shot My Car" (2012)
"Rhubarb and Beets" (2013)
"To the Nearest Planet" (2013)
"Red Roses" (2014)
"Golden" (2014)
"With Fones" (2016)

Note

Todd McCaffrey (1999). Dragonholder: The Life and Dreams (So Far) of Anne McCaffrey by her son. New York: Ballantine.

Legături externe
 Pern Home ((c) Todd McCaffrey)
 Anne McCaffrey official website at Pern Home
 Todd McCaffrey official website at Pern Home
 – summary bibliography

Nașteri în 1956
Scriitori americani de literatură științifico-fantastică
Scriitori americani
Anne McCaffrey

Todd McCaffrey


Thomas Nugent (* ca. 1700; † 27. April 1772 im Gray's Inn, London) war ein irischer Gelehrter, Historiker und Reiseschriftsteller. Er ist heute vor allem bekannt durch seine Reiseführer zur Grand Tour, der damals besonders bei jungen englischen Adeligen beliebten Bildungsreise durch Europa. Seine detaillierten Beschreibungen des damaligen Frankreichs, Italiens, Deutschlands und der Niederlande liefern heutigen Historikern eine ergiebige Quelle zur Situation in der zweiten Hälfte des 18. Jahrhunderts.

Leben
Über seine frühen Jahre ist wenig bekannt. Er stammte zwar aus Irland, verbrachte jedoch die meiste Zeit seines Lebens in London. Dort betätigte er sich als Schriftsteller und Übersetzer. Im Jahr 1749 veröffentlichte er das mehrbändige Werk "The Grand Tour - containing an exact description of most of the cities, towns and remarkable places of Europe". Dies war der erste umfangreiche Reiseführer für englische Gentlemen, die sich auf die Grand Tour durch Europa begeben wollten. Ob Nugent davor selbst diese Reise unternommen hatte, ist unbekannt, jedoch auf Grund der äußert detaillierten Angaben und der offensichtlichen Ortskenntnisse anzunehmen. Die folgenden Jahre widmete Nugent der Übersetzung von Werken namhafter Wissenschaftler seiner Zeit, meist aus dem Französischen ins Englische. Dazu gehören eine 1751 veröffentlichte Übersetzung von "Principes du droit politique" des Schweizer Juristen aus Genf Jean-Jacques Burlamaqui (1694–1748) ins Englische ("Principles of Politic Law", 1752), im Jahr 1756 folgte eine Übersetzung von Étienne Bonnot de Condillacs "Essai über den Ursprung der menschlichen Erkenntnisse" ("Essay on the origin of Human Knowledge").

Ebenfalls 1756 wurde sein Reiseführer in einer aktualisierten Fassung neu aufgelegt, diesmal unter dem Titel "The Grand Tour, or, A journey through the Netherlands, Germany, Italy and France". Im Jahr 1759 veröffentlichte er weiters eine Übersetzung des französischen Historikers Philippe Macquer (1720–1770) zur römischen Geschichte ("Chronological abridgment of the Roman History"). Danach widmete er sich der Geschichte Frankreichs von Charles-Jean-François Hénault ("Chronological abridgment of the History of France", 1762). Im Jahr 1765 wurde Nugent an der schottischen Universität Aberdeen zum Doktor der Rechte promoviert. Danach plante er eine Geschichte der Vandalen zu schreiben und begab sich dazu zum Quellenstudium auf eine Reise nach Deutschland. Er reiste durch Norddeutschland, von Hamburg über Lübeck nach Mecklenburg, wo er die Urheimat oder das frühere Siedlungsgebiet der Vandalen vermutete. Zurückgekehrt nach England veröffentlichte er 1766 nicht nur seine Vandalengeschichte ("The history of Vandalia Containing the ancient and present state of the country of Mecklenburg"), sondern publizierte 1768 auch seine deutschen Reiseerfahrungen in Form von mehreren Briefen an einen fiktiven zu Hause gebliebenen Freund. Dieses Werk (Originaltitel: Travels through Germany : containing observations on customs, manners, religion, government, commerce, arts, and antiquities : with a particular account of the Courts of Mecklenburg in a series of letters to a friend) beschreibt unter anderem Hamburg, Lübeck und zahlreiche Städte und Dörfer im damaligen Mecklenburg-Schwerin und Mecklenburg-Strelitz, darunter Schwerin, Rostock, Wismar, Ludwigslust, Doberan, Güstrow, Bützow, Waren, Neustrelitz, Mirow und Neubrandenburg.

1771 schrieb er ein Buch über den florentinischen Renaissancebildhauer Benvenuto Cellini. Durch den Erfolg seiner Reiseliteratur angeregt übersetzte er nun auch einen Reiseführer über London und damit erstmals ein Werk, das sich an ausländische Leser richtet, die England besuchen. Dieses Buch (Originaltitel: "A tour to London, or, New observations on England and its inhabitants") erschien 1772, im selben Jahr in dem Nugent in London verstarb.

Nach seinem Tod erfreuten sich vor allem seine Reiseführer weiterhin großer Beliebtheit. 1778 erschien die dritte Auflage seiner "Grand Tour". Sein 1768 erschienener zweibändiger Reisebericht über Norddeutschland – Travels through Germany – stieß nun dort auf Interesse. Der mecklenburgische Professor Lorenz Karsten übersetzte das Werk ins Deutsche und publizierte es 1781 bei Friedrich Nicolai. Dieses Buch, in dem unter anderem der Lübecker Totentanz in der Textfassung von Nathanael Schlott übersetzt und beschrieben ist, machte Nugent in Deutschland bekannt und wurde stark gekürzt 1938, sowie im Jahr 1998 und 2000 in kommentierter Fassung neu verlegt. Goethes Übersetzung von Leben des Benvenuto Cellini aus dem Jahre 1803 basiert teilweise auf dem italienischen Original, teilweise auf der englischen Version von Thomas Nugent.

Digitalisate
 Travels through Germany: with a particular account of the court of Mecklenburg, Band 1, Band 2,  London 1768
 "The Grand Tour, or, A journey through the Netherlands, Germany, Italy and France", London, 1778,4 Bände, Band 1,  Band 2, Band 3, Band 4
 The History Of Vandalia, Band 1
 Riverston peerage. Case on behalf of William Thomas Nugent claiming to be baron Nugent of Riverston , Digitalisat
 The new pocket-dictionary of the French and English languages, London 1807, Digitalisat

Weblinks

Einzelnachweise

Autor
Ire
Gestorben 1772
Mann
Geboren im 17. oder 18. Jahrhundert
Reiseliteratur

Thomas Nugent


El Mausoleo de los Mártires de Artemisa es un conjunto monumental y recinto mortuorio construido en 1977 en la ciudad de Artemisa (Cuba) en homenaje a los combatientes artemiseños caídos en el asalto al cuartel Moncada en Santiago de Cuba en 1953, acción comandada por Fidel Castro que se considera el inicio de la Revolución Cubana, que triunfaría en 1959.

El monumento incluye también otros tres héroes de Artemisa que tomaron parte en aquella acción y cayeron en combate posteriormente durante la guerra en la Sierra Maestra. Este mausoleo es un símbolo de la provincia de Artemisa. Fue la primera obra conmemorativa de carácter funerario construida en el período revolucionario y fue declarado Monumento Nacional de Cuba en 1987.

Historia de su creación

En 1976 se realizó en Santiago de Cuba un proyecto para perpetuar la memoria de los caídos en la acción del 26 de julio. A petición de los familiares de los combatientes artemiseños que tomaron parte en esa gesta, fue aprobada por el gobierno la construcción de un monumento ubicado justamente en Artemisa. Se encomendó la tarea a un equipo compuesto por los arquitectos Augusto Rivero, Marcial Díaz y María Dolores Espinosa. La obra fue inaugurada con motivo del aniversario XXIV de los hechos, por Fidel Castro, el 16 de julio de 1977.

Concepción arquitectónica conmemorativa

El monumento no se concibió como una obra de marcada función ritual, por el contrario debía verse como una obra vigente, representando la  permanencia de las ideas de los héroes en la vida cotidiana, de proyección de hacia la comunidad que los vio nacer.

El Cubo de la Victoria es la obra distintiva del Mausoleo. El mismo se  sitúa sobre la lápida de grandes proporciones, revestida de granito, que cobija la sala funeraria. En la cara frontal del cubo se muestra un vitral con la conocida imagen de la victoria con Fidel Castro y un grupo de rebeldes en la Sierra Maestra alzando sus fusiles.

A la sala funeraria se accede mediante un túnel que constituye la entrada del monumento, cuyas paredes están cubiertas de bajorrelieves de
barro cristalizado con imágenes históricas de la época batistiana y relativas a la acción del Movimiento 26 de Julio y a José Martí, reclamado como autor intelectual del asalto.

La sala funeraria contiene los nichos con los restos mortales de los combatientes colocados en paredes inclinadas, en forma de talud. La sala no está completamente cubierta por la lápida que le sirve de techo, de modo que quedan aberturas al exterior sobre los taludes donde se incrustan los nichos que permiten que entre el aire, la luz, las hojas desprendidas de los árboles y la lluvia en singulares cascadas. En el centro de la sala se halla un nicho central, en el cual se depositan flores en homenaje a los caídos.

Por último, debajo del Cubo se encuentra una sala-museo con exposiciones históricas y piezas pertenecientes a los asaltantes. La salida en forma de escalera de caracol con una puerta en la fachada lateral del Cubo.

Junto a la entrada un muro con una frase de Fidel Castro, tomada del Alegato La historia me absolverá, recibe al visitante: "Mis compañeros, además, no están ni olvidados ni muertos: viven hoy más que nunca, y sus matadores han de ver aterrorizados como surge de sus cadáveres el espectro victorioso de sus ideas."

Otros monumentos del complejo

El complejo monumentario comienza en la Carretera Central entre Guanajay y Artemisa con varios túmulos conmemorativos dispuestos en la parte derecha de la carretera (de Artemisa hacia La Habana) que indican la partida de los asaltantes hacia Santiago de Cuba. Los túmulos tienen en total 17 cubos de mármol en su cima, cada uno con el nombre de un héroe. Se escogió este elemento geométrico por ser el más simple y puro, como representación de las ideas por las cuales lucharon.

El 17 de enero de 2000, tras una reparación capital, al monumento le fue agregado un nuevo panteón, donde descansan los restos de combatientes artemiseños que intervinieron en las acciones del 26 de julio o la Sierra Maestra, fallecidos después del triunfo de la Revolución de 1959.

Restos mortales de los combatientes

Caídos en el Asalto al Moncada y al cuartel Carlos Manuel de Céspedes en Bayamo el 26 de julio de 1953:
 Tomás Álvarez Brito
 Antonio Betancourt Flores
 Flores Betancourt Rodríguez
 Gregorio Careaga Medina
 Rigoberto Corcho López
 Alfredo Corcho Cinta
 José Costa Velázquez
 Guillermo Granados Lara
 Emilio Hernández Cruz
 José A. Labrador Díaz
 Marcos Martí Rodríguez
 Carmelo Noa Gil
 Ismael Ricondo Fernández
 Lázaro Hernández Arroyo

Caídos en la Sierra Maestra:
 José Ramón Martínez Álvarez
 Julio Díaz González
 Ciro Redondo García

Enlaces externos

 Sobre el mausoleo en el sitio  de Radio Artemisa.

Referencias

Monumentos de Cuba
Revolución cubana
Provincia de Artemisa
Mártires de Artemisa
Artemisa (Cuba)

Mausoleo de los Mártires de Artemisa


José Gonçalves Pereira dos Santos (Carreira de São João, Lavos, 27 de dezembro de 1855 — Lisboa, 3 de julho de 1927) foi um oficial de engenharia militar do Exército Português, lente da Escola do Exército e do Instituto Industrial de Lisboa, que exerceu importantes funções políticas. Eleito deputado nas listas do Partido Regenerador a partir de 1881, foi líder parlamentar daquele partido em 1905-1907 e Ministro das Obras Públicas, Comércio e Indústria em governos presididos por Hintze Ribeiro (26 de junho a 30 de novembro de 1900 e de 21 de março a 19 de maio de 1906) e por António Teixeira de Sousa (26 de junho a 5 de outubro de 1910).

Biografia
Nasceu na povoação de Carreira de São João, Lavos, filho de João Gonçalves Curado e de Maria Pereira dos Santos.

Referências

Militares de Portugal
Políticos de Portugal

José Gonçalves Pereira dos Santos


Orthotrichaceae, porodica pravih mahovina u redu Orthotrichales koja se po nekim izvorima sastoji od četrdesetak rodova.,

Rodovi

 Amphidium Schimp.
 Atlantichella F. Lara, Garilleti & Draper
 Australoria F. Lara, Garilleti & Draper
 Bryodixonia Sainsbury
 Bryomaltaea Goffinet
 Bryomyces Miq.
 Cardotiella Vitt
 Ceuthotheca Lewinsky
 Codonoblepharon Schwägr.
 Dasymitrium Lindb.
 Desmotheca Lindb.
 Drummondia Hook.
 Euzygodon Jur.
 Florschuetziella Vitt
 Groutiella Steere
 Kleioweisiopsis Dixon
 Leiomitrium Mitt.
 Leiostoma (Mitt.) Mitt.
 Leptodontiopsis Broth.
 Leratia Broth. & Paris
 Lewinskya F. Lara, Garilleti & Goffinet
 Macrocoma (Hornsch. ex Müll. Hal.) Grout
 Macromitrium Brid.
 Matteria Goffinet
 Muelleriella Dusén
 Nauia Borkh.
 Nyholmiella Holmen & E. Warncke
 Octogonella Dixon
 Orthomitrium Lewinsky & Crosby
 Orthotrichum Hedw.
 Pentastichella Müll. Hal.
 Plenogemma Plášek, Sawicki & Ochyra
 Pleurorthotrichum Broth.
 Pleurozygodontopsis Dixon
 Ptychodes F. Weber
 Pulvigera Plášek, Sawicki & Ochyra
 Schlotheimia Brid.
 Sehnemobryum Lewinsky & Hedenäs
 Stoneobryum D.H. Norris & H. Rob.
 Teichodontium Müll. Hal.
 Trigonodictyon Dixon & P. de la Varde
 Ulota D. Mohr
 Zygodon Hook. & Taylor

Izvori

Orthotrichales

Orthotrichaceae