Le Stadtpark (parc municipal) de Nuremberg est un espace vert d'environ 19 hectares. De 1855 à 1882 environ, il s'appelait Maxfeld, avant cela, l'endroit était connu sous le nom de Judenbühl depuis 1349.

Origine du nom
Le parc de la ville est situé dans un endroit qui a été nommé Judenbühl sur les cartes pendant plusieurs siècles. Le Stadtlexikon Nürnberg attribue ce nom au fait que pendant les pogroms de peste à Nuremberg en 1349, des Juifs ont été brûlés à l'endroit nommé d'après Judenbühl. Le fait que les décombres des maisons détruites du ghetto juif et de la synagogue (c'est là que se trouvent aujourd'hui la place principale du marché et la Frauenkirche) est utilisé comme raison du nom Judenbühl. Stadtpark est aussi le nom du district 262 dans le district 26 Maxfeld , mais la zone n'est pas identique au corridor vert.

Histoire

Les premiers débuts d'un parc peuvent être datés de 1759. À cette époque, l'officier forestier Johann Burkart Volkamer von Kirchensittenbach am Judenbühl fait planter systématiquement des tilleuls et des marronniers d'Inde. Une carte le documente. La gravure de 1780 de Johann Ludwig Stahl, "Spazier Platz devant la Lauffer Tor à Nuremberg appelée le Judenbül" montre l'espace vert, qui dans sa conception avec les rangées régulières d'arbres rappelle beaucoup l'espace vert le plus ancien de Nuremberg, le Hallerwiese, comme Friedrich Albert Annert dans des gravures à peu près contemporaines.

Un événement mémorable a eu lieu sur le Judenbühl lorsque le  aérien du Français Jean-Pierre Blanchard avec sa montgolfière le  y débuta et aurait attiré environ . Un autre spectacle était une assemblée populaire le  de l'année révolutionnaire 1849, à laquelle environ  ont participé pour exiger l'adoption de la Constitution impériale. Pendant longtemps, le Judenbühl a également été utilisé comme terrain de parade et champ de tir pour les exercices d'armes.

En 1854, la ville de Nuremberg a acheté des parties du Judenbühl à l'État bavarois. Le , le roi  de Bavière et son épouse ont participé au festival folklorique de Nuremberg, qui avait été déplacé au Judenbühl pour la première fois. Le magistrat de la ville demanda au roi l'autorisation de renommer le Judenbühl en Maxfeld. Le roi l'a autorisé, et c'est ainsi que le parc et plus tard le quartier urbain qui s'est développé autour de lui ont reçu ce nom.

Georg Zacharias Platner, l'un des principaux mécènes des parcs de Nuremberg, fit transformer à ses frais le Maxfeld en parc paysager anglais à partir de 1856. Un petit lac artificiel a été créé au cœur de l'espace vert, ouvert du 13 au  pendant le Festival de la chanson allemande, auquel  ont participé. Un vase en marbre érigé en 1891, qui se dresse toujours dans le parc, commémore cet événement.

Nuremberg a été choisi comme lieu de la première exposition nationale bavaroise en 1882. Depuis 1876, le Maxfeld a été développé avec cet événement à l'esprit. La zone d'exposition décorée de manière horticole a été conçue après la fin de l'exposition par le jardinier en chef Adolf Kowallek en fonction des besoins de la population ; les habitants de Nuremberg considéraient désormais l'espace vert comme leur parc officiel de la ville. En 1885, il a reçu un grand restaurant. La deuxième exposition nationale bavaroise de 1896 a apporté de nouvelles transformations et développements horticoles au site selon les plans du jardinier de la ville Franz Elpel. Entre autres, l'étang du parc municipal a été agrandi. Après 1900, le parc a été agrandi à plusieurs reprises. En 1905, le Deumentenhof, une ancienne ferme, a été démoli et sa zone intégrée au parc. Une plaque dans le parc le commémore. Les plans des années 1930/1932 montrent le parc de la ville avec des caractéristiques de conception qui remontent souvent à la conception du parc d'exposition de 1896 (roseraie, système d'allées principales).

Développements après 1945
Le parc municipal et son restaurant ont été en grande partie dévastés après la Seconde Guerre mondiale. En 1958, sous la direction du directeur du jardin Kurt Ahles, un projet de refonte a été créé et mis en œuvre. Le parc de la ville a reçu une nouvelle apparence moderne. Des cours-jardins, une roseraie et un nouveau restaurant-jardin de ville ont été créés, ainsi qu'une cour de chantier pour le bureau horticole et un jardin d'enfants en bordure du parc. Le système historique des chemins principaux a été complètement modifié. En 1962, la fontaine de Neptune, qui a été démolie du marché principal en 1934 à cause des rassemblements du parti nazi, a été placée dans un bassin en béton à l'ouest du Stadtparkweiher après avoir été érigée temporairement sur la Marienplatz (aujourd'hui Willy-Brandt-Platz) de 1937 à 1962. Des réaménagements et des rénovations ont eu lieu à partir de 1997 dans la zone de l'étang, des pergolas, de la roseraie et des aires de jeux.

Littérature

 Rita Fischer-Wildhagen : Fête folklorique pour le roi - le parc de la ville et son histoire mouvementée. Dans : Stadtpark Journal 63 / III / 90 ; éd. de l'association industrielle et culturelle e. V., Nuremberg 1990.
 Hans Hecht : La première ascension en montgolfière à Nuremberg avec beaucoup de garnitures . In : Communications de l'Association pour l'histoire de la ville de Nuremberg . Tome 39, Nuremberg 1944, .
 Theo Friedrich : Du Hesperidengarten au Volkspark. Culture des jardins et entretien des espaces verts urbains du Moyen Âge à nos jours à Nuremberg. Verlag Edelmann, Nuremberg 1993 .
 Anneliese Leindecker : Le parc municipal de Nuremberg à travers les siècles. Dans : Gudrun Vollmuth : Jardins et Gärtla dans et autour de Nuremberg. Une lecture pas seulement pour les jardiniers. Verlag Walter E. Keller, Treuchtlingen 1995 , .
 Anneliese Leindecker : Le parc de la ville au fil des saisons. Dans : Gudrun Vollmuth : Jardins et Gärtla dans et autour de Nuremberg. Un lecteur pas seulement pour les jardiniers. Verlag Walter E. Keller, Treuchtlingen 1995 , .
 Erich Mulzer : L'odyssée de Neptune (histoire de la fontaine de Neptune). Dans : Nürnberger Altstadtberichte, Ed. : Altstadtfreunde Nürnberg e. V., numéro 13 (1988)
 Rudi Viertel : De Judenbühl à Maxfeld. Le parc de la ville de Nuremberg et son histoire. (Ed. : Ville de Nuremberg, Office Horticole) 2. Édition Février 2007

Liens web

 FrankenWiki : Stadtpark Nürnberg (consulté le )

Références

Source de traduction

Parc ou jardin public en Allemagne
Nuremberg

Stadtpark de Nuremberg


Vitaly Konstantinov, né le  dans l'oblast d'Oulianovsk, est un lutteur russe spécialiste de la lutte gréco-romaine.

Il commence à pratiquer la lutte à l'adolescence et intègre le Dynamo d'Oulianovsk après ses premiers succès au niveau national. Il s'y s'entraîne sous la direction d'A.Winnik. Relativement grand pour un poids mouche, il semble parfois quelque peu gêné par la longueur de ses bras et de ses jambes mais cela ne l'empêche pas d'obtenir d'excellents résultats, notamment une troisième place à la Spartakiade de 1971, qui lui ouvre les portes de l'équipe nationale.

Pour sa première apparition au championnat d'Europe, en 1972, il décroche une seconde place après avoir triomphé de six adversaires dont le redoutable Bulgare Petar Kirov. Il s'incline en finale face au Polonais Jan Michalik. Ce dernier conservera son titre en 1973. Konstantinov est sélectionné pour les Jeux olympiques d'été de 1972 qui se traduisent par une déception puisqu'il ne se classe que treizième. Il remporte cependant le championnat national en 1973 et participe au championnat du monde à Téhéran, la même année. Il y fait meilleure figure mais termine au pied du podium, à la quatrième place, après une nouvelle défaite face à Michalik.

Il ne participe à aucune grande compétition internationale en 1974 mais un nouveau titre national obtenu en 1975 conduit les sélectionneurs à le retenir pour le championnat du monde, organisé à Minsk. Justifiant cette fois la confiance qui lui est faite, il remporte le titre.

Il est sélectionné pour les Jeux olympiques d'été de 1976, à Montréal. Malgré la pression due à une défaite d'emblée contre le concurrent japonais Koichiro Hirayama, il remporte tous les combats suivants et décroche la médaille d'or de la catégorie poids mouche (48-52 kg).

Konstantinov n'apparaît plus sur la scène internationale jusqu'en 1980, année au cours de laquelle il participe au championnat d'Europe dans la catégorie poids coq (52-57 kg). Il bénéficie de l'abandon de l'Allemand d'origine italienne Pasquale Passarelli, futur champion olympique, pour s'imposer. Il n'est cependant pas sélectionné pour les Jeux de Moscou, la même année, qui voient son compatriote et rival Shamil Serikov décrocher la médaille d'or.

Il met alors un terme à sa carrière sportive.

Notes et références

Liens externes

Champion olympique soviétique
Lutteur aux Jeux olympiques d'été de 1976
Lutteur aux Jeux olympiques d'été de 1972
Naissance en mars 1949

Vitaly Konstantinov


Emilio Conesa (Buenos Aires, 1823 – 1873) foi um militar argentino que se destacou nas guerras civis de seu país e na guerra do Paraguai.

Biografia
Era filho de José Antonio Conesa e Eustaquia de Casas, um casal espanhol recém chegado a Buenos Aires, fugindo das desordens do chamado Triênio Liberal.

Uniu-se a Juan Lavalle em sua campanha contra Juan Manuel de Rosas em 1840 e fez a suas ordens a campanha ao norte de seu país, participando das batalhas de Quebracho Herrado e Rodeo del Medio. Depois de fugir para o Chile, se exilou em Montevidéu. Foi oficial das forças argentinas na chamada Guerra Grande e por curto tempo combateu em Correntes às ordens do general José María Paz.

Combateu sob ordens também de Justo José de Urquiza na batalha de Monte Caseros. Apoiou a revolução do 11 de setembro de 1852 que separou o Estado de Buenos Aires da Confederação Argentina. Durante o cerco de Buenos Aires desse ano e o seguinte comandou alguns batalhões e brevemente foi comandante da ilha Martín García.

Em 1856 foi encarregado de repelir a invasão federal de Jerónimo Costa, que tinha sido condenado à morte de antemão por um decreto do governador Pastor Obligado. Derrotou-o na batalha de Villamayor, e negou a rendição aos oficiais e soldados que se entregavam. Ao dia seguinte fuzilou aos poucos prisioneiros que tomou, entre eles ao próprio general Costa, herói da defesa da ilha Martín García anos atrás.

Participou numa expedição às fronteiras do sul em 1857, e participou nas batalhas de Sol de Mayo, Cristiano Muerto e Pigüé.

Foi o herói da batalha de Cepeda (1859), dado que conseguiu retirar-se com êxito à frente da infantaria e da artilharia após a derrota, salvando-lhe a vida e o prestígio a seu chefe, Bartolomé Mitre, o que lhe valeu a ascensão ao posto de coronel. Reuniu-se com Urquiza preparando o futuro Pacto de San José de Flores.

Foi designado interventor na província de San Juan junto com o general Juan Saá, dedicando-se a entorpecer sua tarefa; mas não pôde impedir que este invadisse a província. Ficou a cargo do exército na capital durante a campanha da batalha de Pavón e as campanhas seguintes contra o interior. Dedicou-se à guerra contra os índios por alguns meses, até que foi eleito deputado nacional no ano 1862.

Foi promovido a general em 1863, e dirigiu a instalação de uma linha de fortins na região chaquenha, no norte do que atualmente é a província de Santa Fé. Ao iniciar-se a guerra do Paraguai, teve a seu cargo o embarque das tropas para território paraguaio. Teve um papel destacado ao negar-se a retirar suas tropas na batalha de Pehuajó, o que não impediu sua derrota, e em mudança causou um excessivo número de baixas entre suas próprias forças. De todos modos se lhe encarregou organizar a travessia do Exército a território paraguaio por Passo da Pátria, ação que conseguiu ter sucesso. Participou na Batalha do Boqueirão antes de solicitar sua dispensa e regressar a Buenos Aires por razões de saúde.

Parcialmente recuperado de suas doenças, foi posto a cargo da fronteira sul da província de Buenos Aires. Estava no sul da província de Córdoba, reorganizando a fronteira contra os indígenas, quando estourou em Cujo a Revolução dos Colorados de fins de 1866; organizou a formação de exércitos no sul de Córdoba, reunindo sucessivos contingentes que lhe enviava Mitre desde o Paraguai, e seu segundo, o general José Miguel Arredondo, os derrotou na decisiva batalha de San Ignacio. Algum tempo depois expulsou da cidade de Córdoba o caudilho Simón Luengo, que tinha derrubado o governador federal Mateo Luque e repôs este no governo. Mas limitou sua ação política em todas as formas possíveis, lhe impediu tomar nenhuma decisão e prendeu a vários de seus colaboradores. Sua atuação causou a renúncia de Luque pouco depois, e pressionou para que fosse substituído por um governador liberal, Félix da Peña.

Em 1868 mobilizou o Exército do interior para a província de Santa Fé, com a intenção de repor ao deposto governador mitrista Nicasio Oroño, mas fracassou na tentativa. Nesse mesmo ano foi eleito deputado nacional por Buenos Aires.

Ao estourar em Entre Rios a revolução dirigida pelo caudilho federal Ricardo López Jordán foi o chefe de uma das grandes colunas mobilizadas na contramão deste, e conseguiu a primeira vitória importante contra os federais, na batalha de Pontas do Sauce. Mas cedo regressou a Buenos Aires, com sua saúde muito deteriorada e visivelmente envelhecido. Em 1870 voltou a ser eleito deputado nacional e ao ano seguinte presidiu o Comité Argentino, base do que gradualmente converter-se-ia no Partido Autonomista.

Faleceu em Buenos Aires em 3 de setembro de 1873.

Tem o curioso privilégio de ter três localidades com seu nome na Argentina: General Conesa (Buenos Aires) (Tordillo, Buenos Aires), General Conesa (Rio Negro), e Conesa (San Nicolás, Buenos Aires); um departamento da província de Rio Negro: Conesa; e uma rua na Cidade Autónoma de Buenos Aires, ao longo dos bairros de Saavedra, Núñez, Belgrano e Colegiales. Também existem ruas com o nome de Conesa em outras localidades, como no partido de Lomas de Zamora, província de Buenos Aires, Córdoba e Rosario.

Referências

Bibliografia

Categoría:Hombres
Categoría:Nacidos en 1823
Categoría:Fallecidos en 1873
Guerras civis argentinas
Campanhas do Deserto
Militares Argentinos
Guerra do Paraguai
Cidadãos famosos de Buenos Aires
Generais da Argentina

Emilio Conesa


Vorbis, açık standartlara dayanan ve özgür yazılım olarak geliştirilmiş bir ses verisi sıkıştırma yöntemidir. Windows, GNU/Linux ve UNIX uyumlu pek çok sistemde müzik verisini sıkıştırarak depolamak ve çalmak için gerekli yapıyı sunar. Vorbis sıkıştırması ile depolanmış ses dosyaları genellikle OGG uzantısına sahiptir.

Vorbis ses depolama yönteminin sıkıştırma verimi MP3 yöntemine kıyasla daha iyidir. Başka bir deyişle, aynı kalitede bir ses sunmak için kullanılacak .ogg dosyası muadili olan .mp3 dosyasından daha küçüktür ya da aynı boydaki iki ses dosyasından .ogg uzantılı olanı MP3 biçiminde olana kıyasla daha çok yani daha kaliteli ses barındırır. Buna bağlı olarak OGG dosyaları MP3'e kıyasla daha güncel ve güçlü bir sisteme ihtiyaç duymaktadır.

Kaynakça
 http://www.vorbis.com/*  https://web.archive.org/web/20040201214628/http://faq.psp/
 http://www.savaskartal.com/2010/03/22/ogg-ses-verisi-sikistirma-yontemi/

İçerik biçimleri
Ses çözücüler
Özgür yazılım

Vorbis


Corbevax ou BioE COVID-19 est un vaccin contre la Covid-19 à sous-unités protéiniques mis au point au Baylor College of Medicine (école rattachée au Texas Children's Hospital) et distribué sous licence par la société pharmaceutique indienne  (BioE) pour son développement et sa production.

Technologie
Le vaccin est constitué d'une version du  (RBD, de l'anglais receptor binding domain) de la protéine de pointe du SRAS-CoV-2, ainsi que des adjuvants de gel d'hydroxyde d'aluminium et de
 1018. La protéine est produite par la levure Pichia pastoris ; le processus est similaire à celui des vaccin contre l'hépatite B.

Fabrication
En avril 2021, la U.S. International Development Finance Corporation (DFC) a annoncé qu'elle financerait l'expansion des capacités de fabrication de BioE (Biological E Ltd, Inde), afin qu'elle puisse produire au moins 1 milliard de doses d'ici la fin de 2022.

Le 28 décembre 2021, l'Inde a approuvé le vaccin pour un usage restreint en situation d'urgence. Le développement du vaccin a été financé à hauteur de 7 millions de dollars par des investisseurs majoritairement privés. La technologie du vaccin est donnée sans brevet aux fabricants, afin d'être utilisé dans les pays à faible revenu afin d'accroître l'accès aux vaccins et l'équité. Il est conçu pour être facilement stockable et fabriqué avec des procédés traditionnels.

Notes et références

Voir aussi

Articles connexes
 Vaccin contre la Covid-19
 COVAX

Liens externes

 Omicron : Covovax et Corbevax, ce que nous savons des nouveaux vaccins approuvés en Inde, BBC, 30 décembre 2021.
  Time for Africa to future-proof, starting with COVID-19, The Lancet, 13 janvier 2022.

Vaccin contre la Covid-19
Produit lancé en 2021

Corbevax


La iglesia de Santiago del Arrabal es un templo católico ubicado a las orillas del río Tormes en la ciudad de Salamanca (España). Su construcción data del , siendo una de las más antiguas de Salamanca. Se encuentra en las cercanías del puente romano de Salamanca y del verraco de piedra (el denominado verraco del puente). Es una de las iglesias cercanas a la Ruta de la Plata antes de la entrada a la ciudad en la peregrinación jacobea. El interior fue completamente barroco en el  debido a las transformaciones y rehabilitaciones que se hicieron. La iglesia era importante en las celebraciones de la fiesta de Santiago en la que los representantes del ayuntamiento acudían a caballo precedidos de un heraldo con bandera.

Historia
Se fundó en el año 1145 como una iglesia de mozárabes. Se ubicaba en el arrabal (fuera de las murallas) y tuvo una notable relevancia, ya que cada año hasta que fue clausurada en el  fue visitada por miembros del Ayuntamiento en el día y la víspera de Santiago. Además, hasta 1772 mantuvo, en exclusiva con la catedral, el derecho de asilo.

Características
Se trata de un templo construido en ladrillo. Originalmente de traza exterior románico-mudéjar, las reformas emprendidas en la misma entre 1951 y 1965 dirigidas por el arquitecto vallisoletano Anselmo Arenillas, cambiaron por completo su aspecto exterior, hasta el punto de que algunos autores, como el profesor José Ramón Nieto, afirman que "tal fue la intervención arquitectónica llevada a cabo en los años cincuenta de este siglo que prácticamente nada se conserva de lo antiguo", indicando que Arenillas "inventó un nuevo edificio tras eliminar la torre, cambiar los accesos, rehacer los ábsides y las paredes internas y externas, levantar un nuevo cimborrio y una espadaña de piedra, etc. Al observar la obra final apenas se aprecian restos de la iglesia anterior." .

Actualmente presenta en su interior una reforma reciente de estética de principios del  con un estilo artístico-catequético propio del Camino Neocatecumenal. En la nave central se observa un icono de Cristo Pantocrator pintado por el iniciador del Camino Neocatecumenal, Kiko Argüello. Se mantiene en la nave lateral derecha una pila bautismal y en la lateral izquierda una talla de Santiago Matamoros, ambas del .

Véase también
 Iglesia de San Polo

Referencias

Enlaces externos

Salamanca
Salamanca
Salamanca
Santiago del Arrabal
Bienes de interés cultural de la provincia de Salamanca
Arquitectura mudéjar de la provincia de Salamanca
1145
Monumentos histórico-artísticos de España declarados en 1931
Salamanca

Iglesia de Santiago del Arrabal (Salamanca)


Gökçekaya Barajı, Eskişehir'de, Sakarya Nehri üzerinde, Sarıyar Barajı mansabında (çıkışı) hidroelektrik enerji üretimi amaçlı, 1967 - 1972 yılları arasında inşa edilmiş bir barajdır.

Beton kemer tipi olan barajın gövde hacmi 650.000 m³, akarsu yatağından yüksekliği 115,00 m, normal su kotunda göl hacmi 910,00 hm³, normal su kotunda göl alanı 20,00 km²'dir. 278 MW güç kapasitesindeki HES (hidroelektrik santralı)yılda 562 GWh elektrik enerjisi üretmektedir.

Galeri

Ayrıca bakınız
 Türkiye'deki barajlar listesi

Kaynakça

Dış bağlantılar

Türkiye'deki hidroelektrik santralleri
Eskişehir ilindeki barajlar
Sakarya Nehri
1972'de tamamlanan enerji altyapısı

Gökçekaya Barajı ve Hidroelektrik Santrali


Milada Horáková (25 decembrie 1901, Praga – 27 iunie 1950, Praga) a fost o politiciană cehă executată de comuniști în urma acuzațiilor de conspirație și trădare.

Biografie
Milada Horáková s-a născut sub numele de Milada Králová la Praga. A studiat dreptul la Universitatea Carolină și a absolvit în 1926. A lucrat apoi în Consiliul Municipal din Praga. În anul în care a absolvit studiile universitare, ea a intrat în Partidul Național-Socialist Cehoslovac, care a fost un adversar puternic al naziștilor, în ciuda asemănărilor de nume cu nazism, care este prescurtarea pentru Național-Socialism sau, în .

După ocuparea Cehoslovaciei de către germani în 1939, Horáková s-a alăturat mișcării de rezistență, dar a fost arestată de Gestapo în 1940. Ea a fost inițial condamnată la moarte, dar mai târziu, sentința a fost comutată în cea de închisoare pe viață. A fost trimisă în lagărul de concentrare Terezín și apoi în diferite închisori din Germania.

După eliberare, în mai 1945, Horáková a revenit la Praga și s-a alăturat Partidului Social Democrat. În 1946 a fost aleasă membru al Adunării Naționale Constituante a Cehoslovaciei, dar a demisionat după lovitura de stat comunistă din februarie 1948. Prietenii ei i-au cerut să părăsească Cehoslovacia, dar ea a rămas în țară și a continuat să fie activă pe plan politic.

În 27 septembrie 1949 a fost arestată. Ea a fost în cele din urmă acuzată că ar fi organizatoarea unui presupus complot de răsturnare a regimului comunist. StB, poliția secretă cehoslovacă infamă pentru metodele de interogare brutale, a încercat să o despartă de grupul de presupuși complotiști și să o forțeze să mărturisească trădarea și conspirația, folosind atât tortură fizică, cât și pe cea psihologică.

Procesul Horákovei și a doisprezece dintre colegii ei a început pe 31 mai 1950. Acesta a fost destinat să fie un proces spectacol, precum cele din timpul Marilor Epurări Sovietice din anii 1930. A fost difuzat la radio și chiar supravegheat de către consilierii sovietici. Procurorii statului  au fost dr. Josef Urválek și Ludmila Brožová-Polednová, printre alții. Procesul a avut un scenariu pe care toți cei implicați trebuiau să-l urmeze, dar în mai multe rânduri atât procurorii, cât și inculpații au reușit să-și expună sentimentele adevărate. Horáková a rămas fermă și s-a apărat pe sine, precum și idealurile ei, chiar dacă știa că acest lucru i-ar putea înrăutăți condițiile și rezultatul final.

Milada Horáková a fost condamnată la moarte, împreună cu trei coinculpați, pe 8 iunie 1950. Multe personalități proeminente din Occident, mai ales Albert Einstein, Winston Churchill și Eleanor Roosevelt, au semnat o petiție pentru salvarea vieții sale, dar sentința a fost confirmată și a fost executată în închisoarea Pankrác pe 27 iunie 1950 printr-o ștrangulare în mod intenționat lentă și deosebit de chinuitoare, care, potrivit istoricilor a durat 15 minute. Ea avea vârsta de 48 de ani.

În 2005, înregistrarea originală, necenzurată, a procesului a fost găsită de către regizorul Martin Vadas.

I-a supraviețuit fiica sa, Jana (Yana).

Alți inculpați

 Jan Buchal (1913-1950), ofițer de Securitate a Statului (executat)
 Vojtěch Dundr (1879-1957), fost secretar al Partidului Social Democrat Cehoslovac (15 ani)
 dr. Jiří Hejda (1895-1985), fost proprietar de fabrică (închisoare pe viață)
 dr. Bedřich Hostička (1914-1996), secretar al Partidului Poporului Cehoslovac (28 de ani)
 Záviš Kalandra (1902-1950), jurnalist (executat)
 Antonie Kleinerová (1901-1996), fost membru al Parlamentului din partea Partidului Național-Socialist Cehoslovac (închisoare pe viață)
 dr. Jiří Křížek (1895-1970), avocat (22 de ani)
 dr. Josef Nestával (1900-1976), administrator (închisoare pe viață)
 dr. Oldřich Pecl (1903-1950), fost proprietar de mină (executat)
 profesor dr. Zdeněk Peška (1900-1970), profesor universitar (25 de ani)
 František Přeučil (1907-1996), editor (închisoare pe viață)
 Františka Zemínová (1882-1962), editoare și fost membru al Parlamentului din partea Partidul Național-Socialist Cehoslovac (20 de ani)

Verdictul a fost anulat în iunie 1968, în timpul Primăverii de la Praga, dar din cauza ocupației sovietice a Cehoslovaciei care a urmat, reputația Horákovei nu a fost restabilită deplin până după Revoluția de Catifea din 1989. 27 iunie, ziua executării ei, a fost declarată "Ziua Comemorării Victimelor Regimului Comunist" în Republica Cehă începând din anul 2004. O arteră principală din districtul Praga 6 a fost redenumit în onoarea ei în 1990.

La 11 septembrie 2008, Ludmila Brožová-Polednová (în vârstă de 87 ani), procuroare în cadrul procesului Horáková, a fost condamnată la șase ani de închisoare, după trecerea a 58 de ani de la crima ei.

Note

Bibliografie
 Tazzer, Sergio (2008). Praga Tragica. Milada Horáková. 27 iunie 1950., Editrice Goriziana, Gorizia, 2008

Legături externe
 Milada Horakova – Czech in history, from archives of Czech Radio with RealAudio stream version.
 Brief biography
 Martyr for freedom
 I Shall Always Be With You - A letter to her daughter the night before Milada's execution.

Vezi și
 Rudolf Slánský
 Procesul Slánský
 Rudolf Margolius
 László Rajk
 Traicio Kostov
 Heliodor Píka

Nașteri în 1901
Decese în 1950
Politicieni cehi
Politicieni executați

Milada Horáková


جامعة كابوسفار (بالمجرية:Kaposvári Egyetem) هي جامعة دولة في مدينة كابوسفار المجرية، يبلغ عدد طلابها نحو 5.000، تأسست الجامعة عام 2000 وتقسمت إلى أربع كليات عام 2004. رئيس جامعة كابوسفار هو بيتر هورن (عضو في أكاديمية العلوم المجرية).

مراجع

وصلات خارجية
 موقع الجامعة (باللغة المجرية)

التعليم في مقاطعة شومود
جامعات المجر
مبان ومنشآت في مقاطعة شومود
هيئات تعليمية أسست في 2000
جامعات وكليات في المجر
مبان ومنشآت في كابوشفار
تأسيسات سنة 2000 في المجر

جامعة كابوسفار


La république de Noli (italien : Repubblica di Noli / ligure : Repubbrica de Nöi) était une république maritime ayant pour capitale Noli, en Ligurie, et ayant existé de 1192 à 1797, date de son annexion par la république ligurienne instaurée par Napoléon Ier.

Histoire

La république de Noli devient indépendante le , par décret de l'empereur Henri VI. Craignant d'être attaquée par les États voisins de Finale et la ville libre de Savone, qui a menacé la république en 1202, Noli signe un pacte d'alliance avec Gênes la même année. Pour la protection militaire de Gênes, Noli leur laissait utiliser leur port. En 1227, dans son conflit avec Savone, Noli brûle la ville de Spotorno, qui appartenait à Savone.

En 1797, la république est annexée par Napoléon, qui l'incorpore dans la république ligurienne.

Économie
La ville était très petite, mais avait un bon port, qui leur a assuré une importance sur le commerce naval. En raison de sa bonne relation avec Gênes, la petite république maritime pouvait commercer avec elle pour seulement une pièce, alors que l'Espagne devait en payer 60 à Gênes.

Drapeau

Le drapeau de Noli est créé au  et se compose d'une croix blanche sur un mât rouge, l'opposé du drapeau de Gênes. Cependant, un grand nombre de marchands locaux ont préféré faire voler le drapeau de Gênes, qui était plus reconnu.

Religion
En 1239, Grégoire IX créé le .

Notes et références

Voir aussi

Articles connexes
 Liste des anciens États italiens

Bibliographie
 .
  .
 .
 .
 .

Liens externes

Cité-État
Ancien État italien
Ancienne république en Europe
Histoire de la Ligurie
Province de Savone
Noli (Italie)

République de Noli


L Electronic Attack Squadron 209 ou VAQ-209, connu sous le nom de "Star Warriors", est un escadron  de chasseur d'attaque  de guerre électronique aéroporté de l'United States Navy Reserve  (USNR) pilotant le [[Boeing EA-18G Growler|EA-18G Growler''']]  . L'escadron est basé à la Naval Air Station Whidbey Island dans l'État de Washington et fait partie de la Tactical Support Wing de la Réserve navale des États-Unis. Leur indicatif radio est River et leur code de queue est AF.

 Historique
Le VAQ-209 a été établi à la base aéronavale de Norfolk, en Virginie, le , dans le cadre du Carrier Air Wing Reserve Twenty (CVWR-20). L'escadron a d'abord piloté l'EA-6A Intruder. L'escadron a reçu une autorisation spéciale de Lucasfilm pour utiliser le nom et la ressemblance de Dark Vador dans leur livrée.

En 1990, le VAQ-209'' a déménagé au Naval Air Facility Washington et a commencé à passer au EA-6B Prowler. Cela a amélioré la capacité d'attaque électronique du CVWR-20. En 1995, l'escadron a été déployé pour des opérations de combat au-dessus de la Bosnie et a participé à l'opération Deny Flight et à l'opération Deliberate Force. Du 22 mars au 22 septembre 1995, un détachement de deux avions est déployé à bord du porte-avions  dans le cadre du Carrier Air Wing Eight.

En 1998, il participe à l'opération Northern Watch et en 1999 à l'opération Force alliée durant la guerre du Kosovo.

En 2001, il est déployé à la Base aérienne de Prince Sultan (Arabie saoudite pour l'opération Southern Watch...

Voir aussi

Notes et références

Liens internes
 Tactical Support Wing
 Histoire de l'United States Navy

Liens externes
  VAQ-209 - Site GlobaleSecurity.org
  VAQ-209 Star Warroirs - Site Seaforces.org
  VAQ-209 -  Site Wings-Aviation.ch

Electronic Attack Squadron de l'United States Navy
Unité ou formation militaire créée en 1977

VAQ-209


Matt Nix (* 4. September 1971 in Los Angeles, Kalifornien) ist ein US-amerikanischer Drehbuchautor, Regisseur und Filmproduzent.

Leben
Nix besuchte zunächst die High School in Sebastopol und studierte im Anschluss an der University of California, Los Angeles. 1997 drehte er den zwanzigminütigen Kurzfilm Chekhov's Gun, für den er auch das Drehbuch verfasst hatte. Es folgten bis Mitte der 2000er Jahre einige weitere Kurzfilme. 2006 entwickelte er das Konzept für die Fernsehserie Burn Notice. Der Pilotfilm, in dem unter anderem Bruce Campbell und Sharon Gless zu sehen waren, wurde von USA Network gekauft und eine erste Staffel mit insgesamt zwölf Episoden in Auftrag gegeben. Da die Serie ein Publikumserfolg war, wurden weitere Staffeln in Auftrag gegeben; 2012 wird in den USA die sechste Staffel ausgestrahlt. Nix ist in vielfältiger Hinsicht an der Serie beteiligt; er schrieb das Drehbuch für 79 Episoden, fungierte bei 60 Folgen als ausführender Produzent und  führte bei drei Folgen die Regie. 2011 schrieb und produzierte er Burn Notice: The Fall of Sam Axe, das Prequel zur Serie mit Bruce Campbell in der Hauptrolle. 2010 entwickelte Nix das Konzept für die Krimiserie The Good Guys. Anders als Burn Notice erzielte diese Serie jedoch nur mäßige Einschaltquoten. Fox stellte die Serie nach der ersten Staffel mit 20 Episoden ein.

Nix ist der Urenkel des 1942 für den Oscar nominierten Drehbuchautors Harry Chandlee.

Filmografie (Auswahl)
 1997: Chekhov's Gun (Drehbuch, Regie)
 1999: Me and the Big Guy (Drehbuch, Regie, Produktion)
 2002: Mementoke (Drehbuch, Regie, Produktion)
 2007–2013: Burn Notice (Fernsehserie, Konzept, Drehbuch, Regie, Produktion)
 2010: The Good Guys (Fernsehserie, Konzept, Drehbuch, Regie, Produktion)
 2011: Burn Notice: The Fall of Sam Axe (Fernsehfilm, Drehbuch, Produktion)
 2017: APB – Die Hightech-Cops (APB, Fernsehserie, Konzept, Drehbuch)
 2017–2019: The Gifted (Fernsehserie, Konzept, Drehbuch)
 2023: True Lies  (Fernsehserie, Konzept, Drehbuch)

Auszeichnungen
 2008: Edgar Allan Poe Award für Burn Notice

Weblinks

Filmregisseur
Showrunner
Drehbuchautor
Filmproduzent
US-Amerikaner
Geboren 1971
Mann

Matt Nix


L'économie militaire est un domaine de l'économie caractérisé par une approche large et interdisciplinaire. En plus des considérations économiques, la stratégie militaire, la science politique, l'histoire, la géographie et l'étude de la technologie sont également inclus dans les analyses. Ces connaissances sont souvent enseignées et étudiées dans des think tanks,ou dans des institutions ou académies militaires, ayant pour conséquence que les connaissances acquises dans le domaine de l'économie militaire sont moins communiquées publiquement que les avancées de l'économie plus traditionnelle. La branche a également aidé à développer certaines connaissances économiques fondamentales, par exemple la théorie des jeux  via l'analyse de la menace nucléaire et de sa défense pendant la guerre froide.

Les recherches de la RAND corporation fournissent d'autres exemples, comme le paradoxe d'Ellsberg (1961) ou des rapports importants tels que The Economics of Defence in the Nuclear Age. Le fait que ces connaissances fondamentales ont leur source dans l'économie militaire est rarement connu. Dans les pays de la francophonie, certaines institutions responsables pour la recherche en économie militaire sont l'institut de recherche stratégique de l'Ecole Militaire à Paris, l'académie militaire à l'école polytechnique fédérale de Zürich, le département de recherche et développement pour la défense Canada à Ottawa, ou encore l'école royale militaire à Bruxelles.

Thèmes et principes de recherche

Le thème de recherche classique est le déploiement, l'approvisionnement et l'entretien des armées de manière économiquement optimale - tant en temps de paix qu'en temps de guerre. Il existe une tradition scientifique d'économie militaire qui remonte à Leibniz. L'objectif est, entre autres, de s'assurer que les ressources utilisées à cette fin sont à la fois économiquement efficaces (par exemple, fourniture de services au coût le plus bas possible) et efficaces en matière de sécurité (par exemple, usage de technologies appropriées).

D'autres sujets se sont orientés vers des cas d'utilisation concrets et spécifiques, par exemple : la sécurité centrale de l'approvisionnement et la résilience du pays en cas de conflits ou de guerres, la protection des infrastructures critiques, mais aussi l'analyse économique des conflits non étatiques (terrorisme, cybermenaces, trafic de drogue, fuite et déplacement de personnes, etc.), les conséquences des dépenses de la défense ou encore les implications stratégiques d'une modification des structures de sécurité (navigabilité du passage du Nord-Est ; vulnérabilité du canal de Suez).

En outre, l'économie militaire comporte également des domaines de recherche plus abstraits et davantage axés sur la théorie, tels que : les effets macroéconomiques des dépenses de la défense, diverses études de théorie des jeux et des jeux de simulation (par exemple, en relation avec les menaces nucléaires et la dissuasion nucléaire), la formation d'alliances militaires et leur financement, ou les structures de marchés publics spécifiques à la défense.

Pour une meilleure compréhension, une distinction peut être faite entre une perspective macro- et micro-économique. Les principaux sujets d'étude au niveau micro-économique sont les mécanismes de fixation des prix des biens et services militaires, l'économie industrielle, la réglementation des contrats et des fournitures d'armements, ainsi que l'analyse structurelle économique de l'industrie de la défense, ou encore les possibilités de substituer diverses méthodes ou technologies à l'utilisation des forces armées. Les questions importantes au niveau macro-économique sont étroitement liées à celles du commerce international, de l'aide au développement et de son économie, de la théorie de la croissance et - de manière très significative - de l'institutionnalisme. Dans les interactions stratégiques, les considérations de la théorie des jeux occupent une place centrale, par exemple dans l'étude systématique des courses aux armements et de leur contrôle, de la dissuasion militaire (nucléaire) ou encore de la prévention, du déclenchement ou de la fin de la guerre.

Critiques
Un problème fondamental de l'économie militaire est qu'une grande partie de son champ d'application ne répond pas aux exigences axiomatiques strictes des théories économiques (néo-)classiques. Ainsi, les études économétriques dans le contexte de l'économie militaire doivent faire face au problème fondamental de l'absence d'une mesure réellement objectivable des résultats. Il est possible de mesurer les dépenses économiques ex ante - telles que les coûts d'une brigade de chars - mais pas les résultats obtenus. Ce n'est qu'en cas de guerre, c'est-à-dire après que les dépenses ont déjà été effectuées, qu'une mesure concrète des résultats est possible. Le bien public produit dans ce processus, la sécurité militaire de l'État et de son peuple, profite à chaque individu de la nation indépendamment de la mesure dans laquelle l'individu participe à la production de ce bien. En outre, les biens militaires sont, entre autres, intrinsèquement liés à des externalités. Tout cela rend le transfert et l'application de méthodes et de modèles déjà établis problématiques. Pour cette raison, les tentatives de faire fructifier des perspectives économiques alternatives et institutionnelles s'établissent de plus en plus en remplacement ou complément des perspectives classiques.

Dépenses militaires mondiales

Littérature
Keupp, Marcus Matthias: Économie militaire. 1ère édition. Springer Gabler, Wiesbaden 2019, , 147 p.

Hitch, Charles J.; McKean, Roland N.: The Economics of Defense in the Nuclear Age. Harvard University Press, 1960, , 422 p. (rand.org)

Hartley, Keith; Sandler, Todd (Ed.): Handbook in Defense Economics, Defense Economics in the post-cold war era. Volume 1. North Holland, 1995, , 606 p.

Hartley, Keith; Sandler, Todd (Ed.): Handbook in Defense Economics, Defense in a globalized World. Volume 2. North Holland, 2007, , 698 p.

Notes et références

Liens externes
Economie militaire sur https://www.vtg.admin.ch/fr/

Economie de Défense sur https://www.defense.gouv.fr

Économie

Économie militaire


Locust Fork may refer to:
Locust Fork, Alabama
Locust Fork of the Black Warrior River
Locust Fork (band)

Locust Fork


"Ode on a Grecian Urn" is a poem written by the English Romantic poet John Keats in May 1819, first published anonymously in Annals of the Fine Arts for 1819 (see 1820 in poetry).

The poem is one of the "Great Odes of 1819", which also include "Ode on Indolence", "Ode on Melancholy", "Ode to a Nightingale", and "Ode to Psyche". Keats found existing forms in poetry unsatisfactory for his purpose, and in this collection he presented a new development of the ode form. He was inspired to write the poem after reading two articles by English artist and writer Benjamin Haydon. Through his awareness of other writings in this field and his first-hand acquaintance with the Elgin Marbles, Keats perceived the idealism and representation of Greek virtues in classical Greek art, and his poem draws upon these insights.

In five stanzas of ten lines each, the poet addresses an ancient Greek urn, describing and discoursing upon the images depicted on it. In particular he reflects upon two scenes, one in which a lover pursues his beloved, and another where villagers and a priest gather to perform a sacrifice. The poet concludes that the urn will say to future generations of mankind: Beauty is Truth, Truth Beauty.' – that is all / Ye know on earth, and all ye need to know". Critics have debated whether these lines adequately perfect the conception of the poem. Critics have also focused on the role of the speaker, the power of material objects to inspire, and the paradoxical interrelation between the worldly and the ideal reality in the poem.

"Ode on a Grecian Urn" was not well received by contemporary critics. It was only by the mid-19th century that it began to be praised, and it is now considered to be one of the greatest odes in the English language. A long debate over the poem's final statement divided 20th-century critics, but most agreed on the beauty of the work, despite certain perceived inadequacies.

Background

By the spring of 1819, Keats had left his job as assistant house surgeon (where he dressed wounds), at Guy's Hospital, Southwark, London, to devote himself entirely to the composition of poetry. Living with his friend Charles Brown, the 23-year-old was burdened with money problems and despaired when his brother George sought his financial assistance. These real-world difficulties may have given Keats pause for thought about a career in poetry, yet he did manage to complete five odes, including "Ode to a Nightingale", "Ode to Psyche", "Ode on Melancholy", "Ode on Indolence", and "Ode on a Grecian Urn". The poems were transcribed by Brown, who later provided copies to the publisher Richard Woodhouse. Their exact date of composition is unknown; Keats simply dated "Ode on a Grecian Urn" May 1819, as he did its companion odes. While the five poems display a unity in stanza forms and themes, the unity fails to provide clear evidence of the order in which they were composed.

In the odes of 1819, Keats explores his contemplations about relationships between the soul, eternity, nature, and art. His idea of using classical Greek art as a metaphor originated in his reading of Haydon's Examiner articles of 2 May and 9 May 1819. In the first article, Haydon described Greek sacrifice and worship, and in the second article, he contrasted the artistic styles of  Raphael and Michelangelo in conjunction with a discussion of medieval sculptures. Keats also had access to prints of Greek urns at Haydon's office, and he traced an engraving of the "Sosibios Vase", a Neo-Attic marble volute krater, signed by Sosibios, in The Louvre, which he found in Henry Moses's A Collection of Antique Vases, Altars, Paterae.

Keats's inspiration for the topic was not limited to Haydon, but embraced many contemporary sources. He may have recalled his experience with the Elgin Marbles and their influence on his sonnet "On Seeing the Elgin Marbles". Keats was also exposed to the Townley, Borghese, and Holland House vases and to the classical treatment of subjects in Robert Burton's The Anatomy of Melancholy. Many contemporary essays and articles on these works shared Keats's view that classical Greek art was both idealistic and captured Greek virtues. Although he was influenced by examples of existing Greek vases, in the poem he attempted to describe an ideal artistic type, rather than a specific original vase.

Although "Ode on a Grecian Urn" was completed in May 1819, its first printing came in January 1820 when it was published with "Ode to a Nightingale" in the Annals of Fine Art, an art magazine that promoted views on art similar to those Keats held. Following the initial publication, the Examiner published Keats's ode together with Haydon's two previously published articles. Keats also included the poem in his 1820 collection Lamia, Isabella, The Eve of St Agnes, and Other Poems.

Structure
In 1819, Keats had attempted to write sonnets, but found that the form did not satisfy his purpose because the pattern of rhyme worked against the tone that he wished to achieve. When he turned to the ode form, he found that the standard Pindaric form used by poets such as John Dryden was inadequate for properly discussing philosophy. Keats developed his own type of ode in "Ode to Psyche", which preceded "Ode on a Grecian Urn" and other odes he wrote in 1819. Keats's creation established a new poetic tone that accorded with his aesthetic ideas about poetry. He further altered this new form in "Ode to a Nightingale" and "Ode on a Grecian Urn" by adding a secondary voice within the ode, creating a dialogue between two subjects. The technique of the poem is ekphrasis, the poetic representation of a painting or sculpture in words. Keats broke from the traditional use of ekphrasis found in Theocritus's Idyll, a classical poem that describes a design on the sides of a cup. While Theocritus describes both motion found in a stationary artwork and underlying motives of characters, "Ode on a Grecian Urn" replaces actions with a series of questions and focuses only on external attributes of the characters.

"Ode on a Grecian Urn" is organized into ten-line stanzas, beginning with an ABAB rhyme scheme and ending with a Miltonic sestet (1st and 5th stanzas CDEDCE, 2nd stanza CDECED, and 3rd and 4th stanzas CDECDE). The same overall pattern is used in "Ode on Indolence", "Ode on Melancholy", and "Ode to a Nightingale" (though their sestet rhyme schemes vary), which makes the poems unified in structure as well as theme. The word "ode" itself is of Greek origin, meaning "sung". While ode-writers from antiquity adhered to rigid patterns of strophe, antistrophe, and epode, the form by Keats's time had undergone enough transformation that it represented a manner rather than a set method for writing a certain type of lyric poetry. Keats's odes seek to find a "classical balance" between two extremes, and in the structure of "Ode on a Grecian Urn", these extremes are the symmetrical structure of classical literature and the asymmetry of Romantic poetry. The use of the ABAB structure in the beginning lines of each stanza represents a clear example of structure found in classical literature, and the remaining six lines appear to break free of the traditional poetic styles of Greek and Roman odes.

Keats's metre reflects a conscious development in his poetic style. The poem contains only a single instance of medial inversion (the reversal of an iamb in the middle of a line), which was common in his earlier works. However, Keats incorporates spondees in 37 of the 250 metrical feet. Caesurae are never placed before the fourth syllable in a line. The word choice represents a shift from Keats's early reliance on Latinate polysyllabic words to shorter, Germanic words. In the second stanza, "Ode on a Grecian Urn", which emphasizes words containing the letters "p", "b", and "v", uses syzygy, the repetition of a consonantal sound. The poem incorporates a complex reliance on assonance, which is found in very few English poems. Within "Ode on a Grecian Urn", an example of this pattern can be found in line 13 ("Not to the sensual ear, but, more endear'd") where the "e" of "sensual" connects with the "e" of "endear'd" and the "ea" of "ear" connects with the "ea" of "endear'd".

Poem

The poem begins with the narrator's silencing the urn by describing it as the "bride of quietness", which allows him to speak for it using his own impressions. The narrator addresses the urn by saying:

The urn is a "foster-child of silence and slow time" because it was created from stone and made by the hand of an artist who did not communicate through words. As stone, time has little effect on it and ageing is such a slow process that it can be seen as an eternal piece of artwork. The urn is an external object capable of producing a story outside the time of its creation, and because of this ability the poet labels it a "sylvan historian" that tells its story through its beauty:

The questions presented in these lines are too ambiguous to allow the reader to understand what is taking place in the images on the urn, but elements of it are revealed: there is a pursuit with a strong sexual component. The melody accompanying the pursuit is intensified in the second stanza:

There is a hint of a paradox in that indulgence causes someone to be filled with desire and that music without a sound is desired by the soul. There is a stasis that prohibits the characters on the urn from ever being fulfilled:

In the third stanza, the narrator begins by speaking to a tree, which will ever hold its leaves and will not "bid the Spring adieu". The paradox of life versus lifelessness extends beyond the lover and the fair lady and takes a more temporal shape as three of the ten lines begin with the words "for ever". The unheard song never ages and the pipes are able to play forever, which leads the lovers, nature, and all involved to be:

A new paradox arises in these lines because these immortal lovers are experiencing a living death. To overcome this paradox of merged life and death, the poem shifts to a new scene with a new perspective. The fourth stanza opens with the sacrifice of a virgin cow, an image that appeared in the Elgin Marbles, Claude Lorrain's Sacrifice to Apollo, and Raphael's The Sacrifice at Lystra<ref group=A>The Raphael is one of the Raphael Cartoons then at Hampton Court Palace. The Claude is now usually called Landscape with the Father of Psyche sacrificing to Apollo, and is now at Anglesey Abbey. It was one of the pair of "Altieri Claudes", among the most famous and expensive paintings of the day. See Reitlinger, Gerald; The Economics of Taste, Vol I: The Rise and Fall of Picture Prices 1760–1960, Barrie and Rockliffe, London, 1961, and Art and Money , by Robert Hughes. Image of the Raphael, and image of the Claude </ref>

All that exists in the scene is a procession of individuals, and the narrator conjectures on the rest. The altar and town exist as part of a world outside art, and the poem challenges the limitations of art through describing their possible existence. The questions are unanswered because there is no one who can ever know the true answers, as the locations are not real. The final stanza begins with a reminder that the urn is a piece of eternal artwork:

The audience is limited in its ability to comprehend the eternal scene, but the silent urn is still able to speak to them. The story it tells is both cold and passionate, and it is able to help mankind. The poem concludes with the urn's message:

Themes

Like many of Keats's odes, "Ode on a Grecian Urn" discusses art and art's audience. He relied on depictions of natural music in earlier poems, and works such as "Ode to a Nightingale" appeal to auditory sensations while ignoring the visual. Keats reverses this when describing an urn within "Ode on a Grecian Urn" to focus on representational art. He previously used the image of an urn in "Ode on Indolence", depicting one with three figures representing Love, Ambition and Poesy. Of these three, Love and Poesy are integrated into "Ode on a Grecian Urn" with an emphasis on how the urn, as a human artistic construct, is capable of relating to the idea of "Truth". The images of the urn described within the poem are intended as obvious depictions of common activities: an attempt at courtship, the making of music, and a religious rite. The figures are supposed to be beautiful, and the urn itself is supposed to be realistic. Although the poem does not include the subjective involvement of the narrator, the description of the urn within the poem implies a human observer that draws out these images. The narrator interacts with the urn in a manner similar to how a critic would respond to the poem, which creates ambiguity in the poem's final lines: "'Beauty is truth, truth beauty,' – that is all / Ye know on earth, and all ye need to know." The lack of a definite voice of the urn causes the reader to question who is really speaking these words, to whom they are speaking, and what is meant by the words, which encourages the reader to interact with the poem in an interrogative manner like the narrator.

As a symbol, an urn cannot completely represent poetry, but it does serve as one component in describing the relationship between art and humanity. The nightingale of "Ode to a Nightingale" is separated from humanity and does not have human concerns. In contrast, being a piece of art, the urn requires an audience and is in an incomplete state on its own. This allows the urn to interact with humanity, to put forth a narrative, and allows for the imagination to operate. The images on the urn provoke the narrator to ask questions, and the silence of the urn reinforces the imagination's ability to operate. This interaction and use of the imagination is part of a greater tradition called ut pictura poesis – the contemplation of art by a poet – which serves as a meditation upon art itself. In this meditation, the narrator dwells on the aesthetic and mimetic features of art. The beginning of the poem posits that the role of art is to describe a specific story about those with whom the audience is unfamiliar, and the narrator wishes to know the identity of the figures in a manner similar to "Ode on Indolence" and "Ode to Psyche". The figures on the urn within "Ode on a Grecian Urn" lack identities, but the first section ends with the narrator believing that if he knew the story, he would know their names. The second section of the poem, describing the piper and the lovers, meditates on the possibility that the role of art is not to describe specifics but universal characters, which falls under the term "Truth". The three figures would represent how Love, Beauty, and Art are unified together in an idealised world where art represents the feelings of the audience. The audience is not supposed to question the events but instead to rejoice in the happy aspects of the scene in a manner that reverses the claims about art in "Ode to a Nightingale". Similarly, the response of the narrator to the sacrifice is not compatible with the response of the narrator to the lovers.

The two contradictory responses found in the first and second scenes of "Ode on a Grecian Urn" are inadequate for completely describing art, because Keats believed that art should not provide history or ideals. Instead, both are replaced with a philosophical tone that dominates the meditation on art. The sensual aspects are replaced with an emphasis on the spiritual aspects, and the last scene describes a world contained unto itself. The relationship between the audience with the world is for benefiting or educating, but merely to emphatically connect to the scene. In the scene, the narrator contemplates where the boundaries of art lie and how much an artist can represent on an urn. The questions the narrator asks reveal a yearning to understand the scene, but the urn is too limited to allow such answers. Furthermore, the narrator is able to visualise more than what actually exists on the urn. This conclusion on art is both satisfying, in that it allows the audience to actually connect with the art, and alienating, as it does not provide the audience the benefit of instruction or narcissistic fulfilment. Besides the contradictions between the various desires within the poem, there are other paradoxes that emerge as the narrator compares his world with that of the figures on the urn. In the opening line, he refers to the urn as a "bride of quietness", which serves to contrast the urn with the structure of the ode, a type of poem originally intended to be sung. Another paradox arises when the narrator describes immortals on the side of an urn meant to carry the ashes of the dead.

In terms of the actual figures upon the urn, the image of the lovers depicts the relationship of passion and beauty with art. In "Ode to a Nightingale" and "Ode on Melancholy", Keats describes how beauty is temporary. However, the figures of the urn are able to always enjoy their beauty and passion because of their artistic permanence. The urn's description as a bride invokes a possibility of consummation, which is symbolic of the urn's need for an audience. Charles Patterson, in a 1954 essay, explains that "It is erroneous to assume that here Keats is merely disparaging the bride of flesh wed to man and glorifying the bride of marble wed to quietness. He could have achieved that simple effect more deftly with some other image than the richly ambivalent unravished bride, which conveys ... a hint of disparagement: It is natural for brides to be possessed physically ... it is unnatural for them not to be." John Jones, in his 1969 analysis, emphasises this sexual dimension within the poem by comparing the relationship between "the Eve Adam dreamed of and who was there when he woke up" and the "bridal urn" of "Ode on a Grecian Urn". Helen Vendler expands on the idea, in her 1983 analysis of Keats's odes, when she claimed "the complex mind writing the Urn connects stillness and quietness to ravishment and a bride". In the second stanza, Keats "voices the generating motive of the poem – the necessary self-exhaustion and self-perpetuation of sexual appetite." To Vendler, desire and longing could be the source of artistic creativity, but the urn contains two contradicting expressions of sexuality: a lover chasing after a beloved and a lover with his beloved. This contradiction reveals Keats's belief that such love in general was unattainable and that "The true opponent to the urn-experience of love is not satisfaction but extinction."

Critical response
The first response to the poem came in an anonymous review in the July 1820 Monthly Review, which claimed, "Mr Keats displays no great nicety in his selection of images. According to the tenets of that school of poetry to which he belongs, he thinks that any thing or object in nature is a fit material on which the poet may work ... Can there be a more pointed concetto than this address to the Piping Shepherds on a Grecian Urn?" Another anonymous review followed in the 29 July 1820 Literary Chronicle and Weekly Review that quoted the poem with a note that said that "Among the minor poems, many of which possess considerable merit, the following appears to be the best". Josiah Conder, in a September 1820 Eclectic Review, argues that:
Mr Keats, seemingly, can think or write of scarcely any thing else than the 'happy pieties' of Paganism. A Grecian Urn throws him into an ecstasy: its 'silent form,' he says, 'doth tease us out of thought as doth Eternity,'—a very happy description of the bewildering effect which such subjects have at least had upon his own mind; and his fancy having thus got the better of his reason, we are the less surprised at the oracle which the Urn is made to utter:
'Beauty is truth, truth beauty,'—that is all
Ye know on earth, and all ye need to know.
That is, all that Mr Keats knows or cares to know.—But till he knows much more than this, he will never write verses fit to live.

George Gilfillan, in an 1845 essay on Keats, placed the poem among "The finest of Keats' smaller pieces" and suggested that "In originality, Keats has seldom been surpassed. His works 'rise like an exhalation.' His language has been formed on a false system; but, ere he died, was clarifying itself from its more glaring faults, and becoming copious clear, and select. He seems to have been averse to all speculative thought, and his only creed, we fear, was expressed in the words— Beauty is truth,—truth beauty". The 1857 Encyclopædia Britannica contained an article on Keats by Alexander Smith, which stated: "Perhaps the most exquisite specimen of Keats' poetry is the 'Ode to the Grecian Urn'; it breathes the very spirit of antiquity,—eternal beauty and eternal repose." During the mid-19th century, Matthew Arnold claimed that the passage describing the little town "is Greek, as Greek as a thing from Homer or Theocritus; it is composed with the eye on the object, a radiancy and light clearness being added."

'Beauty is truth' debate
The 20th century marked the beginning of a critical dispute over the final lines of the poem and their relationship to the beauty of the whole work. Poet laureate Robert Bridges sparked the debate when he argued:
The thought as enounced in the first stanza is the supremacy of ideal art over Nature, because of its unchanging expression of perfect; and this is true and beautiful; but its amplification in the poem is unprogressive, monotonous, and scattered ... which gives an effect of poverty in spite of the beauty. The last stanza enters stumbling upon a pun, but its concluding lines are very fine, and make a sort of recovery with their forcible directness.
Bridges believed that the final lines redeemed an otherwise bad poem. Arthur Quiller-Couch responded with a contrary view and claimed that the lines were "a vague observation – to anyone whom life has taught to face facts and define his terms, actually an uneducated conclusion, albeit most pardonable in one so young and ardent." The debate expanded when I. A. Richards, an English literary critic who analysed Keats's poems in 1929, relied on the final lines of the "Ode on a Grecian Urn" to discuss "pseudo-statements" in poetry:
On the one hand there are very many people who, if they read any poetry at all, try to take all its statements seriously – and find them silly ... This may seem an absurd mistake but, alas! it is none the less common. On the other hand there are those who succeed too well, who swallow 'Beauty is truth, truth beauty ...,' as the quintessence of an aesthetic philosophy, not as the expression of a certain blend of feelings, and proceed into a complete stalemate of muddle-mindedness as a result of their linguistic naivety.
Poet and critic T. S. Eliot, in his 1929 "Dante" essay, responded to Richards:
I am at first inclined to agree ... But on re-reading the whole Ode, this line strikes me as a serious blemish on a beautiful poem, and the reason must be either that I fail to understand it, or that it is a statement which is untrue. And I suppose that Keats meant something by it, however remote his truth and his beauty may have been from these words in ordinary use. And I am sure that he would have repudiated any explanation of the line which called it a pseudo-statement ... The statement of Keats seems to me meaningless: or perhaps the fact that it is grammatically meaningless conceals another meaning from me.
In 1930, John Middleton Murry gave a history of these responses "to show the astonishing variety of opinion which exists at this day concerning the culmination of a poem whose beauty has been acknowledged for many years. Whether such another cause, and such another example, of critical diversity exists, I cannot say; if it does, it is unknown to me. My own opinion concerning the value of those two lines in the context of the poem itself is not very different from Mr. Eliot's."

Cleanth Brooks defended the lines from critics in 1947 and argued:
We shall not feel that the generalization, unqualified and to be taken literally, is meant to march out of its context to compete with the scientific and philosophical generalizations which dominate our world. 'Beauty is truth, truth beauty' has precisely the same status, and the same justification as Shakespeare's 'Ripeness is all.' It is a speech 'in character' and supported by a dramatic context. To conclude thus may seem to weight the principle of dramatic propriety with more than it can bear. This would not be fair to the complexity of the problem of truth in art nor fair to Keats's little parable. Granted; and yet the principle of dramatic propriety may take us further than would first appear. Respect for it may at least insure our dealing with the problem of truth at the level on which it is really relevant to literature.
M. H. Abrams responded to Brooks's view in 1957:
I entirely agree, then, with Professor Brooks in his explication of the Ode, that 'Beauty is truth'  ... is to be considered as a speech 'in character' and 'dramatically appropriate' to the Urn. I am uneasy, however, about his final reference to 'the world-view ...'  For the poem as a whole is equally an utterance by a dramatically presented speaker, and none of its statements is proffered for our endorsement as a philosophical generalization of unlimited scope. They are all, therefore, to be apprehended as histrionic elements which are 'in character' and 'dramatically appropriate,' for their inherent interest as stages in the evolution of an artistically ordered ... experience of a credible human being.
Earl Wasserman, in 1953, continued the discussion over the final lines and claimed, "the more we tug at the final lines of the ode, the more the noose of their meaning strangles our comprehension of the poem ... The aphorism is all the more beguiling because it appears near the end of the poem, for its apparently climactic position has generally led to the assumption that it is the abstract summation of the poem ... But the ode is not an abstract statement or an excursion into philosophy. It is a poem about things".

Walter Evert, discussing the debate in 1965, justified the final lines of the poem to declare "The poem, then, accepts the urn for the immediate meditative imaginative pleasure that it can give, but it firmly defines the limits of artistic truth. In this it is wholly consistent with all the great poetry of Keats's last creative period." Hugh Kenner, in 1971, explained that Keats "interrogates an urn, and answers for it, and its last answer, about Beauty and Truth, may seem almost intolerably enigmatic". To Kenner, the problem with Keats's Beauty and Truth statement arises out of the reader's inability to distinguish between the poet, his reflections on the urn, and any possible statement made by the urn. He concluded that Keats fails to provide his narrator with enough characterization to be able to speak for the urn. Charles Rzepka, in 1986, offered his view on the matter: "The truth-beauty equation at the end of the 'Ode on a Grecian Urn' offers solace but is finally no more convincing than the experience it describes is durable." Rick Rylance picked up the debate again in 1990 and explained that the true meaning of the final lines cannot be discerned merely by studying the language. This posed a problem for the New Critics, who were prone to closely reading a poem's text.

Later responses
Not every 20th-century critic opined primarily on the quality of the final lines when discussing the success or failure of the poem; Sidney Colvin, in 1920, explained that "while imagery drawn from the sculptures on Greek vases was still floating through his mind, he was able to rouse himself to a stronger effort and produce a true masterpiece in his famous Ode on a Grecian Urn." In his 1926 analysis, H. W. Garrod felt that the end of the poem did not match with the rest of the poem: "Perhaps the fourth stanza is more beautiful than any of the others—and more true. The trouble is that it is a little too true. Truth to his main theme has taken Keats rather farther than he meant to go ... This pure cold art makes, in fact, a less appeal to Keats than the Ode as a whole would pretend; and when, in the lines that follow these lines, he indulges the jarring apostrophe 'Cold Pastoral' [...] he has said more than he meant—or wished to mean." In 1933, M. R. Ridley described the poem as a "tense ethereal beauty" with a "touch of didacticism that weakens the urgency" of the statements. Douglas Bush, following in 1937, emphasized the Greek aspects of the poem and stated, "as in the Ode to Maia, the concrete details are suffused with a rich nostalgia. The hard edges of classical Greek writing are softened by the enveloping emotion and suggestion. In his classical moments Keats is a sculptor whose marble becomes flesh."

In 1954, Charles Patterson defended the poem and claimed, "The meaningfulness and range of the poem, along with its controlled execution and powerfully suggestive imagery, entitle it to a high place among Keats's great odes. It lacks the even finish and extreme perfection of To Autumn but is much superior in these qualities to the Ode to a Nightingale despite the magic passages in the latter and the similarities of over-all structure. In fact, the Ode on a Grecian Urn may deserve to rank first in the group if viewed in something approaching its true complexity and human wisdom." Walter Jackson Bate argued in 1962 that "the Grecian Urn possesses a quiet and constrained composure hardly equaled by the other odes of this month and perhaps even unsurpassed by the ode To Autumn of the following September ... there is a severe repose about the Ode on a Grecian Urn; it is both 'interwoven' and 'complete'; and within its tensely braced stanzas is a potential energy momentarily stilled and imprisoned." In 1964, literary critic David Perkins claimed in his essay "The Ode on a Nightingale" that the symbol of the urn "may possibly not satisfy as the principal concern of poetry ... but is rather an element in the poetry and drama of human reactions".

F. W. Bateson emphasized in 1966 the poem's ability to capture truth: "The Ode to a Nightingale had ended with the explicit admission that the 'fancy' is a 'cheat,' and the Grecian Urn concludes with a similar repudiation. But this time it is a positive instead of a negative conclusion. There is no escape from the 'woe' that 'shall this generation waste,' but the action of time can be confronted and seen in its proper proportions. To enable its readers to do this is the special function of poetry." Ronald Sharp followed in 1979 with a claim that the theme of "the relationship between life and art ... receives its most famous, and its most enigmatic and controversial, treatment" within the poem. In 1983, Vendler praised many of the passages within the poem but argued that the poem was unable to fully represent what Keats wanted: "The simple movement of entrance and exit, even in its triple repetition in the Urn, is simply not structurally complex enough to be adequate, as a representational form, to what we know of aesthetic experience – or indeed to human experience generally." Later in 1989, Daniel Watkins claimed the poem as "one of [Keats's] most beautiful and problematic works."

Andrew Bennett, in 1994, discussed the poem's effectiveness: "What is important and compelling in this poem is not so much what happens on the urn or in the poem, but the way that a response to an artwork both figures and prefigures its own critical response". In 1999, Andrew Motion claimed that the poem "tells a story that cannot be developed. Celebrating the transcendent powers of art, it creates a sense of imminence, but also registers a feeling of frustration." Ayumi Mizukoshi, in 2001, argued that early audiences did not support "Ode to Psyche" because it "turned out to be too reflexive and internalised to be enjoyed as a mythological picture. For the same reason, the 'Ode on a Grecian Urn' drew neither attention nor admiration. Although the poet is gazing round the surface of the urn in each stanza, the poem cannot readily be consumed as a series of 'idylls'."

Notes

References

Bibliography

 Abrams, M. H. "Ode on a Grecian Urn" in Twentieth Century Interpretations of Keats's Odes Editor Jack Stillinger. Englewood Cliffs: Prentice-Hall, 1968. .
 Arnold, Matthew. Lectures and Essays in Criticism. Ann Arbor: University of Michigan Press, 1962. .
 Bate, Walter Jackson. John Keats. Cambridge MA: Belknap Press of Harvard University Press, 1963. .
 Bate, Walter Jackson. The Stylistic Development of Keats. New York: Humanities Press, 1962. .
 Bateson, F. W. "Ode on a Grecian Urn" in Twentieth Century Interpretations of Keats's Odes Editor Jack Stillinger. Englewood Cliffs: Prentice-Hall, 1968. .
 Bennett, Andrew. Keats, Narrative, and Audience. Cambridge: Cambridge University Press, 1994.
 Bloom, Harold. The Visionary Company. Ithaca: Cornell University Press, 1993.
 Blunden, Edmund. Leigh Hunt's "Examiner" Examined. Hamden: Archon Books, 1967. .
 Brooks, Cleanth. The Well-Wrought Urn: Studies in the Structure of Poetry. New York: Harcourt, Brace & World, 1947. .
 Bush, Douglas. "Introduction" in John Keats: Selected Poems and Letters. Ed. Douglas Bush. Cambridge MA: Harvard University Press, 1959. .
 Bush, Douglas. Mythology and the Romantic Tradition in English Poetry. Cambridge: Harvard University Press, 1937.
 Carr, J. W. Comyns. "The Artistic Spirit in Modern Poetry". New Quarterly Magazine, Vol. 5 (1876), pp. 146–165. .
 Colvin, Sidney. John Keats. London: Macmillan, 1920.
 Eliot, T. S. "Dante" in Selected Essays. London: Faber and Faber, 1932. .
 Evert, Walter. Aesthetics and Myth in the Poetry of Keats. Princeton: Princeton University Press, 1965. .
 Gittings, Robert. John Keats. London: Heinemann, 1968. .
 Gumpert, Matthew. "Keats's 'To Haydon, With a Sonnet on Seeing the Elgin Marbles' and 'On Seeing the Elgin Marbles'." The Explicator, Vol. 58, No. 1 (1999), pp. 19–22.
 Hofmann, Klaus, 'Keats's Ode to a Grecian Urn,' Studies in Romanticism 45, 2 (Summer 2006), 251 – 84.
 Jones, John. John Keats's Dream of Truth. London: Barnes and Noble, 1969. '
 Keats, John. . Editor Ernest de Sélincourt.  New York: Dodd, Mead & Company, 1905.
 Kelley, Theresa. "Keats and 'Ekphrasis'" in The Cambridge Companion to John Keats. Editor Susan Wolfston. Cambridge: Cambridge University Press, 2001.
 Kenner, Hugh. The Pound Era. University of California Press, 1971.
 MacGillivray, J. R. "Ode on a Grecian Urn", Times Literary Supplement (9 July 1938): 465–466.
 Magunson, Paul. Reading Public Romanticism. Princeton: Princeton University Press, 1998.
 Matthews, G. M. John Keats: The Critical Heritage. New York: Barnes & Noble Publishers, 1971.
 Mizukoshi, Ayumi. Keats, Hunt and the Aesthetics of Pleasure. New York: Palgrave, 2001.
 Motion, Andrew. Keats. Chicago: University of Chicago Press, 1999.
 Murry, John. Keats. New York: Noonday Press, 1955.
 Patterson, Charles. "Passion and Permanence in Keats's Ode on a Grecian Urn" in Twentieth Century Interpretations of Keats's Odes Editor Jack Stillinger. Englewood Cliffs: Prentice-Hall, 1968. .
 Perkins, David. "The Ode on a Nightingale" in Keats: A Collection of Critical Essays. Ed. Walter Jackson Bate, 103–112. Englewood, NJ: Prentice-Hall, 1964.
 Richards, I. A. Practical Criticism. London: Kegan Paul, Trench, Trubner, 1929.
 Ridley, Maurice. Keats' Craftsmanship. Oxford: Clarendon, 1933.
 Rylance, Rick. "The New Criticism". Encyclopedia of Literature and Criticism. Ed. Martin Cole et al. 730–731. London: Routledge, 1990.
 Rzepka, Charles. The Self as Mind. Cambridge, Mass.: Harvard University Press, 1986.
 Sharp, Ronald. Keats, Skepticism, and the Religion of Beauty. Athens: University of Georgia Press, 1979.
 Sheats, Paul. "Keats and the Ode" in The Cambridge Companion to John Keats. Editor Susan Wolfston. Cambridge: Cambridge University Press, 2001.
 Sheley, Erin. "Re-Imagining Olympus: Keats and the Mythology of Individual Consciousness". Harvard University. Reprinted in "Romanticism on the Net", No. 45 (November 2007). Accessed 6 December 2008.
  Sikka, Sonia. "On The Truth of Beauty: Nietzsche, Heidegger, Keats". The Heythrop Journal, Vol. 39, No. 3 (1998), pp. 243–263. . Accessed 30 June 2011.
 Swanson, Roy Arthur. "Form and Content in Keats's 'Ode on a Grecian Urn'". College English, Vol. 23, No. 4 (January 1962), pp. 302–305.
 Vendler, Helen. The Odes of John Keats. Cambridge MA: Harvard University Press, 1983.
 Wasserman, Earl. The Finer Tone. Baltimore: Johns Hopkins University Press, 1967.
 Watkins, Daniel. Keats's Poetry and the Politics of the Imagination. Rutherford: Fairleigh Dickinson University Press, 1989.
 Wigod, Jacob. "Keats's Ideal in the Ode on a Grecian Urn" in Twentieth Century Interpretations of Keats's Odes Editor Jack Stillinger. Englewood Cliffs: Prentice-Hall, 1968. .

External links

 Ode on a Grecian Urn'' – Annotated text and analysis aligned to Common Core Standards

1819 poems
1820 poems
British poems
Poetry by John Keats
Works originally published in British magazines
Works based on art
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Ancient Greece in fiction
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Ode on a Grecian Urn


John Hungerford Pollen (22 de setembro de 1858–1925) foi um jesuíta inglês, conhecido como historiador da Reforma Protestante.

Vida
John Hungerford Pollen era filho de John Hungerford Pollen e Maria Margaret Pollen. O terceiro de dez filhos, nasceu em Londres em 1858. Seu pai era professor de belas artes na Universidade Católica de Dublin. Pollen junior foi educado na The Oratory School em Birmingham e depois na London University.

Pollen entrou na Companhia de Jesus em 1877 e foi ordenado em 1891.  Em 1895, foi-lhe atribuída a tarefa de criar uma história da Sociedade na Inglaterra. Pollen envolveu-se em pesquisas históricas e arquivos. Sua pesquisa o levou pela Inglaterra, França e Itália. Em 1920, ele detinha o título de Guardião dos Arquivos.

Ele fez parte do grupo de historiadores jesuítas que restauraram a reputação de Robert Persons. Ele foi influente na história do termo Contra-Reforma, aceitando para o lado católico a denominação para o período da reforma católica centrada no Concílio de Trento , mas ao mesmo tempo oferecendo uma interpretação que o tornava menos reativo, em relação à Reforma Protestante . Essas idéias foram apresentadas no artigo da Enciclopédia Católica de 1908 que ele escreveu sobre o assunto.  Pollen também foi colaborador do The Month e do Dublin Review.

Pollen foi vice-postulador para a beatificação dos mártires ingleses.

Foi correspondente de Georg Cantor, desde 1896  e membro fundador com Joseph Stanislaus Hansom da Catholic Record Society em 1904.

Obras

 Acts of the English Martyrs (1891)
 Life of Father John Morris (1886)
 Papal Negotiations with Mary, Queen of Scots (1901)
 Unpublished Documents Relating to the English Martyrs (1908)
 The Bedingfield Papers (1909)
 A Jesuit Challenge: Edmund Campion's Debates at the Tower of London in 1581 (1914; ed. com Joseph Rickaby)
 The English Catholics in the Reign of Queen Elizabeth (1920)

Referências

Links externos

 New Catholic Dictionary

Historiadores do Reino Unido

John Hungerford Pollen


Vesterbro er en dansk dokumentarfilm fra 2007 instrueret af Michael Noer efter eget manuskript.

Handling
Michael Noer gav sine 20-årige naboer et digitalt videokamera og sagde, at de skulle filme de dramatiske hændelser, der skete i deres liv. Som mange på deres alder er Martin og Julie impulsive, vilde og konstant på udkig efterer stimulation. Kameraet blev deres trofaste følgesvend i deres konstante op og nedture. 'Vesterbro' er deres historie.

Medvirkende

 Julie E. Pedersen
 Martin Jensen-Maar

Referencer

Eksterne henvisninger

Dokumentarfilm fra Danmark
Ungdomsfilm fra Danmark
Danske film fra 2007
Dansksprogede film
Film instrueret af Michael Noer

Vesterbro (dokumentarfilm)


O sismo na Papua-Nova Guiné de 2022 foi um sismo de magnitude 7,6 ou 7,7 que atingiu a Papua-Nova Guiné, em 11 de setembro de 2022, na parte norte da província de Morobe. O sismo de falha normal ocorreu com uma profundidade de hipocentro de 90 km abaixo da Faixa de Finisterra. Foi estimada uma intensidade máxima de Mercalli Modificada percebida de VIII (Severo). A agitação foi amplamente sentida em todo o país e até na vizinha Indonésia. Doze pessoas morreram e 42 ficaram feridas. É o sismo mais forte a atingir o país desde 2002.

Antecedentes e configuração tectônica

O moto ocorreu em uma região tectônica complexa onde a placa australiana se move em direção leste-nordeste em relação à placa do Pacífico. Ele se move a uma velocidade de cerca de 100 milímetros por ano. Os sismos nesta região geográfica estão geralmente associados à convergência em larga escala dessas duas placas principais e às interações complexas de várias microplacas associadas, mais notavelmente a Placa Bismarck do Sul, a microplaca do Mar de Salomão e a Placa Woodlark.

O sismo ocorreu nas profundezas da cordilheira de Finisterra. Esta grande cordilheira consiste principalmente de vulcânicos e estratos vulcânicos que foram erguidos há 3,7 milhões de anos. A cordilheira é propensa a deslizamentos de terra devido a chuvas e sismos. Em 1993, uma série de sismos atingiu a cordilheira e causou séria destruição.

Papua Nova Guiné é uma das áreas geologicamente e sismicamente mais ativas do mundo. Estima-se que mais de 100 sismos de magnitude 5 ou maior ocorram a cada ano no país. A vulnerabilidade sísmica de Papua Nova Guiné foi reconhecida em 1982 após o desenvolvimento de mapas de risco. No entanto, esses mapas não refletiam com precisão o nível real de perigo, muitas vezes subestimado. Os códigos de construção atuais no país foram baseados em informações desatualizadas. Além disso, a maioria dos edifícios são construídos com alvenaria e não são resistentes a sismos.

Sismo
O sismo mediu 7,6 na magnitude do momento da fase W (M) escala a uma profundidade de 90 km pelo Serviço Geológico dos Estados Unidos (USGS). Enquanto isso, GEOSCOPE mediu no momento magnitude 7,7 M a uma profundidade de 39 km enquanto o Centro Sismológico Europeu-Mediterrâneo mediu em 7,6 M com profundidade de 80 km. Foi o resultado de falhas normais em uma profundidade intermediária ao longo de um plano de mergulho noroeste-leste oeste e raso de norte-nordeste ou um plano de mergulho sul íngreme e leste. O USGS disse que os eventos normais de falha deste tamanho são tipicamente cerca de 75 km por 30 km em tamanho (comprimento × largura). Considerado um sismo de profundidade intermediária, esses eventos representam deformação dentro de lajes subduzidas em vez de na interface de placas rasas entre as placas tectônicas subduzidas e sobrepostas. Eles normalmente causam menos danos na superfície do solo acima de seus focos do que é o caso de sismos de foco raso de magnitude semelhante, mas grandes sismos de profundidade intermediária podem ser sentidos a grandes distâncias de seus epicentros. Sismos de foco profundo, aqueles com profundidades focais superiores a 300 km, também ocorrem sob Papua Nova Guiné e no Mar de Bismarck, a nordeste.

Danos

Um total de doze pessoas foram mortas e 42 ficaram feridas, O primeiro-ministro James Marape afirmou que a extensão da destruição e das baixas era desconhecida e que várias regiões foram impactadas. De acordo com Kessy Sawang, um político local, havia sérios e potenciais para mais vítimas em assentamentos ao redor da cordilheira de Finisterre e ao longo da costa. Ela acrescentou que muitas pessoas e casas foram engolidas por deslizamentos de terra. Um funcionário de Port Moresby, capital do país, disse que os danos provavelmente foram significativos para um sismo desse tamanho. Três mortes foram relatadas em Wau, uma cidade de mineração de ouro. O diretor de desastres da província de Morobe, Charley Masange, relatou ferimentos causados por estruturas e detritos desmoronados. Instalações médicas, casas, estradas e estradas principais foram danificadas. Uma pessoa foi morta no distrito de Rai Coast devido a um deslizamento de terra. Em Kabwum, três pessoas morreram e muitas ficaram feridas. Edifícios desabaram no distrito e alguns sobreviventes foram transportados de avião. Autoridades disseram que mineiros foram soterrados por um deslizamento de terra na província de Lae.

Uma aerofotogrametria da província de Morobe pela Mission Aviation Fellowship revelou deslizamentos de terra, mas os danos foram limitados. A maioria das casas nas aldeias montanhosas permaneceu intacta. Moradores da cidade relataram "tremor muito forte". Os danos consistiram em estradas rachadas, prédios e carros danificados e itens caindo das prateleiras dos supermercados. Oleodutos quebrados e escombros caindo foram relatados em Kainantu, uma cidade de 10.000 pessoas. Lá, o tremor durou mais de um minuto. A região montanhosa onde existem aldeias dispersas e dezenas de milhares de habitantes, também pode ter sido afetada. Na Universidade de Goroka, um dormitório de sete andares sofreu grandes rachaduras e os toldos das janelas caíram. Dez estudantes da universidade ficaram feridos e mais de 150 foram deslocados. O tremor foi sentido em todo o país. Também foi sentido nas cidades indonésias de Merauke, Jayapura e Wamena.

A usina hidrelétrica de Ramu em Kainantu foi danificada, levando a uma interrupção completa de energia nas províncias de Madang e Morobe. Instalações de fornecimento de energia em toda a região, inclusive em Lae e Madang, também foram danificadas. A rede de cabos submarinos Kumul que liga Port Moresby e Madang, bem como o Pipe Pacific Cable que liga Port Moresby e Sydney foram interrompidos. Vários danos foram relatados nos cabos, causando interrupção nos serviços de Internet. A ruptura dos cabos afetou as Terras Altas da Nova Guiné, as ilhas e as regiões de Momase. A Highlands Highway foi danificada, principalmente em Markham e Ramu. Um reconhecimento aéreo da cordilheira de Finisterre encontrou deslizamentos de terra ativos. Deslizamentos de terra também foram suspeitos no distrito de Rai Coast, perto do epicentro do sismo. Pelo menos 15 casas em uma vila do governo em Madang foram danificadas ou desabaram. Muitos habitantes em outras partes da província ficaram desabrigados. Na própria cidade de Madang, 389 casas foram destruídas e 10 pessoas ficaram feridas.

Respostas
Às 23:55 UTC, o Centro de Alerta de Tsunami do Pacífico emitiu uma mensagem de ameaça de tsunami alertando sobre o potencial de ondas de tsunami perigosas ao longo das costas de Papua Nova Guiné e Indonésia, dentro de  km do epicentro. O PTWC anunciou às 00:25 UTC que a ameaça do tsunami havia terminado. No entanto, observou que "pequenas flutuações do nível do mar em algumas áreas costeiras" eram possíveis. O USGS estimou que "algumas baixas e danos são possíveis e o impacto deve ser relativamente localizado" em seu serviço PAGER. Temendo um tsunami, os habitantes costeiros evacuaram para terrenos mais altos depois de relatar uma queda no nível do mar.

Pequenas companhias aéreas e grupos missionários ajudaram no transporte aéreo de sobreviventes feridos das comunidades da selva. Um participante das operações disse que o relevo da paisagem e o clima estão tornando o transporte aéreo dos sobreviventes um desafio. O primeiro-ministro Marape instruiu grupos de desastres nacionais e provinciais a fazer um levantamento dos danos. Ele acrescentou que o grau de dano deve ser menor do que o causado pelo sismo de 2018. A mineradora K92 em Kainantu interrompeu temporariamente as operações para realizar uma inspeção no local e garantir a segurança dos trabalhadores. Nenhum dano maior foi relatado. No entanto, bombas e tubulações foram levemente danificadas. As operações foram retomadas após oito horas para reparar os equipamentos danificados. Avaliações de danos estavam sendo feitas na Barragem de Yonki.

Mais de 150 estudantes deslocados da Universidade de Goroka foram temporariamente alojados nas aldeias de Okiyufa, Asariufa e North Goroka, e também em salas de aula. A universidade também impediu que os alunos entrassem no dormitório danificado. Em Bulolo, um funcionário disse que os danos ainda estavam sendo avaliados em 13 de setembro. Rockfalls ainda estavam sendo relatados. Muitos sobreviventes nas comunidades rurais das montanhas ainda esperavam para serem resgatados por voluntários e companhias aéreas particulares. A DataCo PNG Ltd disse que estão sendo feitos trabalhos de avaliação e restauração de danos ao longo de seu sistema de cabos submarinos. Eles acrescentaram que os clientes podem sofrer interrupções nas regiões de Eastern Highlands, Lae e Kokopo. As escolas em Morobe foram aconselhadas a relatar danos aos funcionários de desenvolvimento do distrito para que a assistência pudesse ser prestada, no entanto, tais relatórios ainda não foram feitos.

Funcionários do governo distrital de Madang e Morobe se reuniram para discutir os planos de distribuição dos esforços de socorro. A extensão dos danos ainda estava sendo avaliada e as comunidades afetadas continuam a ser identificadas. Autoridades disseram que a distribuição de alimentos e outros suprimentos essenciais seria uma prioridade. As autoridades de Kabwum disseram que não puderam prestar assistência porque os prédios do governo foram destruídos durante a violência eleitoral. O primeiro-ministro Marape disse que 10 milhões de kinas seriam fornecidos para financiar os esforços de socorro.

Ligações externas
 Página principal para este evento (em inglês). Consultado em 14 de setembro de 2022

Sismos em 2022
2022 na Papua-Nova Guiné
Sismos na Papua-Nova Guiné
Desastres naturais em 2022
Eventos de setembro de 2022

Sismo na Papua-Nova Guiné de 2022


Os Prémios Screen Actors Guild 2023 (no original em inglês 29th Screen Actors Guild Awards), homenageando as melhores performances em cinema e televisão no ano de 2022, foi apresentado no dia 26 de fevereiro de 2023 no Fairmont Century Plaza em Century City, Califórnia. Os indicados foram anunciados em 11 de janeiro de 2023 por Haley Lu Richardson e Ashley Park por meio de uma live no Instagram.

Em maio de 2022, foi confirmado que a cerimônia não iria mais ao ar na TNT e TBS (no ar na TNT desde 1998 e TBS desde 2006); um porta-voz insistiu que encontrar um novo lar a cerimônia "não é incomum e já ocorreu várias vezes ao longo da história do SAG Awards. Isso não é diferente". A cerimônia foi transmitida ao vivo no canal da Netflix no YouTube.

Sally Field foi anunciada como homenageada pelo SAG Life Achievement Award de 2022 no dia 17 de Janeiro de 2023.

Vencedores e nomeados

Cinema

Filmes com múltiplas nomeações

Televisão

Screen Actors Guild Life Achievement Award

 Sally Field

Séries com múltiplas nomeações

In Memoriam

 Leslie Jordan
 Louise Fletcher
 David Warner
 Liz Sheridan
 Irene Cara
 Ray Liotta
 Paul Sorvino
 Cindy Williams
 William Hurt
 Lisa Loring
 Fred Ward
 Tony Dow
 Marsha Hunt
 Annie Wersching
 Tim Considine
 Mitchell Ryan
 Bo Hopkins
 Stella Stevens
 Charles Kimbrough
 Robert Morse
 Gina Lollobrigida
 Roger E. Mosley
 Nehemiah Persoff
 Philip Baker Hall
 Melinda Dillon
 Larry Storch
 Henry Silva
 John Aylward
 Bob McGrath
 Emilio Delgado
 Anne Heche
 Tony Sirico
 John Aniston
 Nichelle Nichols
 Clarence Gilyard
 Barbara Bosson
 Gregory Itzin
 Olivia Newton-John
 Pat Carroll
 Gilbert Gottfried
 Estelle Harris
 Raquel Welch
 Robbie Coltrane
 Richard Belzer
 Kirstie Alley
 James Caan
 Angela Lansbury

Ver também
 BAFTA 2023
 Oscar 2023
 Prêmios Globo de Ouro de 2023
 Prémios Critics' Choice 2023
 Prémios Satellite 2023
 Annie Awards 2023

Ligações externas

Edições do Prémio Screen Actors Guild
2023 no cinema
2023 na televisão nos Estados Unidos
2023 em Los Angeles
Eventos de fevereiro de 2023

Prémios Screen Actors Guild 2023


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مراجع

برمجيات معلوماتية حيوية
تطبيقات سير العمل
معلوماتية حيوية

نظام إدارة العمل المعلوماتية الحيوية