Hori II., Sohn des Kama, war ein Vizekönig von Kusch in der 19. und 20. Dynastie.

Sicher belegt ist Hori nur unter Siptah, jedoch könnte er noch bis unter Ramses III. amtiert haben. Sein Geburtsort war Bubastis, wo auch sein Grab entdeckt wurde. Von ihm sind zwei Inschriften bekannt, die sein Sohn Webechsenu hinterließ. Die eine stammt aus Buhen und datiert ins Jahr sechs von König Siptah. Die andere findet sich in Sehel und zeigt den Sohn stehend hinter seinem Vater. In beiden wird Hori bei der Verehrung der Göttin Bastet gezeigt. In Buhen fand sich zudem ein Türsturz seines Hauses.

Nachfolger im Amt des Vizekönigs von Kusch wurde sein Sohn Hori III.

Literatur

Einzelnachweise

Vizekönig von Kusch
Altägyptischer Beamter (Neues Reich)
19. Dynastie (Ägypten)
20. Dynastie (Ägypten)
Geboren im 13. Jahrhundert v. Chr.
Gestorben im 12. Jahrhundert v. Chr.
Mann

Hori II.


Dziga Vertov (doğum adı: Denis Arkadievich Kaufman; 2 Ocak 1896, Białystok - 12 Şubat 1954), Rus film yönetmeni ve sinemada "Sine-göz" (Kinoglaz Manifestosu) akımının kuramcısıdır.

Hayatı
O zamanlar Rus İmparatorluğu'nda, günümüzde ise Polonya'da bulunan Bialystok'da, 1912-14 arasında, lise yıllarında müzik eğitimi aldı. 1915'te Petrograd'a gitti ve Psiko-Nöroloji Enstitüsü'nde okumaya başladı. Avant-garde ve fütürist gruplara katıldı. 1918 yılı başında yazar Mikhail Koltsov'un isteğiyle Moskova Film Komitesi'nde yazar ve kurgucu olarak çalışmaya başladı. Yazın Komitesi'nin Belgesel Bölümü Sekreterliği'ne getirildi. Adını bu dönemde Dziga Vertov'a dönüştürmüştür.

Sinemada kurmacaya karşıdır. Dramayı, "burjuvazinin elindeki bir afyon" olarak nitelendirir. Kameranın işlevini, sadece görüntüyü kopyalayan değil, "gözün güçsüzlüğünün aşılması için bir araç" olarak tanımlar. Filmleri Ajit-trenlerle Sovyetler Birliği'ni baştan sona dolaşmıştır.

Filmografisi

 1918-19 Kinonedelia (Haftalık Sinema, 45 bölüm, kısa) (ortak yön: Mikhail Koltsov)
 1919 Anniversary of the Revolution
 1919 The Mironov Trial (kısa)
 1919 The Exhumation of the Remains of Sergei Radonejz (kısa)
 1920 The Battle of Tsaritsyn (kısa)
 1920 Instructional Steamer 'The Red Star' (kısa)
 1920 The All-Russian Elder Kalinin (kısa)
 1921 Agit-Train 'Vtsik' (kısa)
 1921 Commander of the 13th Army, Comrade Kozhevnikov (kısa)
 1922 History of the Civil War
 1922 The Trial of the S.R. (kısa)
 1922 Department Store (kısa)
 1922-25 Kino-Pravda (23 bölüm, kısa) (süpervizör)
 1923 Yesterday, Today, Tomorrow (no: 13)
 1923 Spring Film-Truth (no: 16)
 1924 Black Sea-Arctic Ocean-Moscow (no: 20)
 1924 Leninist Film-Truth (no: 21)
 1925 In the Heart of the Peasant Lenin is Alive (no: 22)
 1925 Radio Film-Truth (no: 23)
 1923 Five Years of Struggle and Victory
 1923 Today (kısa animasyon) (süpervizör)
 1923-25 Goskinocalendar (55 bölüm, kısa)
 1924 Soviet Toys (kısa animasyon) (süpervizör)
 1924 Humoresques (kısa animasyon)
 1924 Give Us Air! (kısa)
 1924 Kino-Glaz
 1925 The Foreign Cruise of the Ship of the Baltic Fleet (kısa)
 1926 Forward, Soviet! (süpervizör)
 1926 One Sixth of the World (süpervizör)
 1928 Eleventh (süpervizör)
 1929 The Man With the Movie Camera (Kameralı Adam) (süpervizör)
 1930 Enthusiasm- Symphony of the Don Basin
 1934 Three Songs of Lenin (Lenin İçin Üç Şarkı)
 1937 Lullaby
 1937 Memories of Sergo Ordzhonikidze (kısa)
 1937 Sergo Ordzhonikidze
 1938 Glory to Soviet Heroines (kısa)
 1938 Three Heroines
 1941 In the Region of Peak A (kısa)
 1941 Blood for Blood, Death for Death (kısa)
 1941 News Men - In the Line of Fire (kısa)
 1942 To You, Front – Kazakhstan's Tribute to the Front
 1944 In the Mountains of Ala-Tau (kısa)
 1944 The Oath of the Young (kısa)
 1944-54 News of the Day (54 bölüm) (süpervizör)

Ayrıca bakınız
 Avangart
 Fütürizm
 Kinoglaz Manifestosu

Kaynakça

1896 doğumlular
Białystok doğumlular
1954 yılında ölenler
Sovyetler Birliği'nde kanserden ölenler
Novodeviçi Mezarlığı'na defnedilenler
Sovyet film yönetmenleri
Sovyet görüntü yönetmenleri
Rus film yönetmenleri
Rus senaristler
Film teorisyenleri
Kurgucular

Dziga Vertov


Nottingham University Business School (NUBS) is the business school of the University of Nottingham, United Kingdom situated on the university's Jubilee Campus, close to Nottingham city centre.

The school is an internaitonal leader in finance and management education and a research pioneer in entrepreneurship, innovation and sustainability. Its three business schools in the UK, China and Malaysia give it unrivalled global reach. It is among an elite group of international business schools that hold 'triple crown' accreditation from the leading accrediting organisations: AACSB, AMBA and EQUIS.

Rankings
The University of Nottingham is among the global top 100 in the 2024 QS World University Rankings.

The full-time MBA program consistently featured in the world's top 100 Which MBA by The Economist, until the ranking ended in 2021.

The Corporate Knights 2022 Top 40 Better World MBA ranking rated Nottingham University Business School among the global top 20 for sustainability research and education.

Nottingham University Business School was among the first to become a UN PRME (Principles for Responsible Management Education) Champion school, contributing research and action leadership on responsible management education in the context of the United Nations' sustainable development goals.

Academic departments

Research and teaching in the Business School is organised into eight academic departments:

Accounting
Entrepreneurship and Innovation
Finance, Risk and Banking
Industrial Economics
Marketing
Operations Management and Information Systems
Organisational Behaviour and Human Resource Management
Strategy and International Business

Academic staff in these departments are also members of the Business School's research centres and institutes.

Research centres and institutes
The Business School is home to the following research centres and institutes:
 The Centre for Risk, Banking and Financial Services (CRBFS)
 The Global Centre for Banking and Financial Innovation (GCBFI)
 The Haydn Green Institute for Innovation and Entrepreneurship (HGI)
 Centre for Private Equity and MBO Research (CMBOR) sponsored by Equistone Partners Europe
 International Centre for Corporate Social Responsibility (ICCSR)
 The Digital Centre of Excellence in partnership with Microsoft and SAP
 The Centre for Research in the Behavioural Sciences (CRIBS)
 Centre for Health Innovation, Leadership and Learning (CHILL)
 China Research Group (CRG)
 Africa Research Group (ARG)

Degree programmes
Nottingham University Business School offers a full portfolio of undergraduate, masters, MBA, PhD and executive education programs in the UK. The one-year MBA is also offered at the Semenyih, Malaysia campus while the part-time Executive MBA is available in Singapore in association with the PSB Academy.

Many of the school's masters programs are accredited or recognised by professional organisations like CFA, ACCA, CIM, Chartered Banker Institute, CIPD, CIPFA, CII, CIMA, CMI offering examination exemptions and work placement opportunities for students.

Full details of Nottingham University Business School programs

Staff
The School's academic, professional, and research staff are from all over the world

Nottingham University Business School staff

Careers and employability
The school has a large team of professional careers support specialists for all students. The University of Nottingham is the second most targeted UK university by top recruiters, The Graduate Market 2023, High Fliers Research.

Deans
Professor Leigh Drake (2007- 2010),
Professor Martin Binks (2010 - 2015),
Professor Alistair Bruce (2015 - 2017),
Professor James Devlin (2017- 2019),
Professor Duncan Angwin (2019 - 2023)
Professor David Park (2023 -

References

External links

Nottingham University Business School Malaysia
Nottingham University Business School China

Business schools in England
University of Nottingham

Nottingham University Business School


Der afghanische Botschafter residiert in der Cinnah Caddesi No. 88 Çankaya (Innenstadt) von Ankara.

Botschafter

Einzelhinweise

Turkei
Afghanistan
!

Liste der afghanischen Botschafter in der Türkei


Die Parlamentswahl in Griechenland 2000 fand am 8. April 2000 statt.

Wahlsystem
Es wurden 300 Sitze im Griechischen Parlament für eine Legislaturperiode von vier Jahren bestimmt. Für die zugelassenen Parteien galt eine Drei-Prozent-Sperrklausel. Gewählt wurde nach dem Verhältniswahlrecht. Für alle griechischen Bürger über 18 Jahre herrschte Wahlpflicht.

Parteien

Zur Wahl traten 25 verschiedene Parteien an.

Die bisher im Parlament vertretenen Parteien:

Wahlergebnis
Die Panhellenische Sozialistische Bewegung (PASOK) wurde Wahlsieger mit recht knappen Vorsprung vor der Neue Demokratie (ND). Alle linken Parteien mussten bei der Wahl Verluste hinnehmen. Die zuvor im Parlament vertretene Demokratische Sozialbewegung (DIKKI) scheiterte an der Drei-Prozent-Hürde und konnte somit keine Vertreter mehr entsenden.

Weblinks
 Griechisches Innenministerium Offizielle Webseite (griechisch, englisch)
 Griechisches Parlament Offizielle Webseite (griechisch)

Einzelnachweise

2000
Griechenland Parlamentswahl
Griechische Geschichte (20. Jahrhundert)

Parlamentswahl in Griechenland 2000


එඩියුලංකා ලෙසින් හදුන්වන්නේ ශ්‍රී ලංකාව තුල ක්‍රියාත්මක වන විශාලතම අධ්‍යාපන  සහ විශාල පිරිසක් දෛනිකව සේවා සහ තොරතුරු ලබාගන්නා  වූ ඔන්ලයින් අධ්‍යාපන සේවාව වේ. මෙහි ප්‍රධානතම නිර්මාණය එඩියුලංකා ලෙසින් ත්‍රි භාෂා මගින්ම සේවා ලබා දෙන වෙබ් මුහුණතයි.  මෙහි ඉංග්‍රීසි නාමය edulanka ද සිංහල නාමය එඩියුලංකා ද දෙමළ නාමය எடியுலங்கா ද වේ. එඩියුලංකා සිය සේවාව ලබාදෙනුයේ මුදලක් අයකිරීමෙන් තොරවය. එඩියුලංකා සංකල්පය බිහිවූ කාලය ලෙස 2006 වසරේ අගභාගය හැදින්විය හැකි අතර ප්‍රධාන වශයෙන් සේවාව ක්‍රියාත්මක වූ දිනය ලෙස 2007 වසරේ මැයි 15 ගත හැක. 2010 වසරේදී විශාල වෙනස්කම් කිහිපයකට භාජනය වූ මෙය ශ්‍රී ලංකාවට අනන්‍ය වූ වසම නාමයකින් සහ ශ්‍රී ලංකාව තුල භාවිතා වන භාෂා වසම නාමයන්ගෙන් සපිරි විය. ඉන් පසුව පාසල් සිසුන්, විශ්ව විද්‍යාල සිසුන්, ගුරුවරුන් ඇතුලු බොහෝ දෙනාගේ  සහභාගීත්වයෙන් විශාල  ජනප්‍රිය තාවයක් ලැබීය. සාමාන්‍ය පෙළ ගණිතය , උසස් පෙළ විද්‍යා ගණිත , පරිපාලන සේවා විභාග උදවු, රජයේ රැකියා තොරතුරුයනාදී ක්ෂේත්‍ර සදහා පළකල ලිපි සදහා ඉහල පාඨක නැරඹුම් වාර්තා විය.

මේ ගැන
මෙය ප්‍රධාන වෙබ් අඩවියක ශාඛාවක් සහවසම ලෙසින් ආරම්භ වී 2007 දී පමණ තනි වෙබ් අඩවියක් ලෙස නිල වශයෙන් ආරම්භ විය. 2010 වසරේදී eduLanka.lk නම් රටකට අදාල වසම නාමය ශ්‍රී ලාංකීය ඩොමේන් නාමයක් ලබාගත් අතර 2010 වසර අවසානයේදී සහ 2011 වසරේදී සිංහල සහ දෙමල වසම නාමයන් හෙවත් භාෂා වසම නාමයන් නාමයන් ලබාගැනිනි. ඇලෙක්සා වර්ගීකරණයට අනුව - 100,645 (2012-09-12) වන ස්ථානයට පිවීසීමටද හැකිවිය. එම වර්ගීකරණය අනුව සලකා බලන කල ශ්‍රී ලංකාවේ පුද්ගලයන් කරඹන ප්‍රධාන වෙබ් අඩවි 150 තුල නිරන්තරයෙන් පවතී. අද වන විට  ශ්‍රී ලංකාව තුල පවතින සිංහල, දෙමළ සහ ඉංග්‍රීසි යන භාෂා 3න් ම ලිපි ලබා දීම සිදුවේ.

සේවාවන්
එඩියුලංකා මගින් අ.පො.ස සාමාන්‍ය පෙළ පාඩම්, අ.පො.ස උසස්පෙළ පාඩම්, තොරතුරු තාක්ෂණය පාඩම්, ඉංග්‍රීසි භාෂාව පාඩම් ,විශ්ව විද්‍යාල වලට අදාල පාඩම්, පස්චාත් උපාධි පාඩම්, පර්යේෂණ සහය පාඩම් යනාදිය මූලික වශයෙන් ලබාදේ. ඊට අමතරව රජයේ රැකියා විස්තර, විභාග උදව්, පොතපත දැනුම, ගුරුවරු, ආයතන, සහ අධ්‍යාපනයට සම්බන්ධ බොහෝ තොරතුරු ලබාදේ. ශ්‍රී ලංකාවේ සෑම ප්‍රදේශයකම පිහිටි පාසල් හා ටියුෂන් පන්ති පිළිබද තොරතුරු පිහිටීම සහිත සිතියම් මගින්ද ලබා දෙනු ලැබේ. මෙම කිසිදු සේවාවක් සදහා මුදල් අයකිරීමක් නොමැත.

තොරතුරු පල කිරීම
මෙම සේවාව වෙත අධ්‍යාපනය යන විෂයයට සම්බන්ධ ඕනෑම තොරතුරක් ඕනෑම පුද්ගලයෙකුට ලබා දිය හැකිවේ. අධ්‍යාපන පාඩම්, අධ්‍යාපන වීඩියෝ, ටියුෂන් පන්ති, ටියුෂන් ගුරුවරු සහ පාඨමාලා තොරතුරු මෙසේ ලබා දිය හැකි තොරතුරු වේ.

ත්‍රි භාෂා වසම නාම
භාෂා වසම නාමයන් ශ්‍රී ලංකාව තුල ආරම්භයත් සමගම සිංහල බසින් එඩියුලංකා.ලංකා ලෙසින්ද දෙමළ බසින් எடியுலங்கா.இலங்கை ලෙසින්ද රටක භාෂාවකට අනන්‍ය වූ වසම නාමයන් ලැබූ මුල්ම  වෙබ් අඩවි අතරටද එඩියුලංකා පැමිණේ. මෙවැනි වසම නාමයන් භාවිතය තවමත් ශ්‍රී ලංකාව තුල එතරම් ජනප්‍රිය වී නොමැති නමුත් වෙබ් බ්‍රවුසරයන් කිපියක් මගින් මෙම ආකාරයේ භාෂා වසම නාමයන් වෙත පිවිසිය හැකිය.

මේවත් බලන්න

 අධ්‍යාපනය
 අධ්‍යාපන ප්‍රතිපත්ති - ශ්‍රී ලංකා

භාවිත

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අමතර ලිපි
ප්‍රධාන වෙබ් අඩවිය
සිංහල වසම නාමය
දෙමළ වසම නාමය

ශ්‍රී ලංකාවේ අධ්‍යාපනය

එඩියුලංකා


Álbum
Blá Blá Blá (álbum) – lançado em 2004 pelo grupo Rouge

Canção
"Blá Blá Blá" (canção de Rouge) – canção lançada em 2004
"Blah Blah Blah" (canção de Kesha) — canção lançada em 2010
"Blah Blah Blah" (canção de Armin van Buuren) — canção lançada em 2018

Pessoas
Moses Blah
Desambiguação

Blah Blah Blah


Augustine Cochet, dite aussi Mademoiselle Saint-Omer, est une peintre française née à Saint-Omer le  et morte à Paris en .

Biographie

Augustine Joseph (sic) Cochet, née à Saint-Omer le , est la fille de Marguerite-Thérèse-Joseph Dehenne et de François-Norbert-Daniel Cochet.

Elle étudie la peinture à Paris auprès de Philippe Chéry.

Alors qu'elle expose au Salon de 1812 à 1819 sous son patronyme de naissance, elle adopte progressivement dans les années 1820 le pseudonyme de Saint-Omer, d'après sa ville natale. Au Salon de 1824, elle est listée dans le livret de l'exposition comme «  », puis «  » en 1827, «  » en 1831, enfin «  » en 1833 et 1835. La signature qu'elle appose sur ses tableaux suit la même progression :  elle signe ses œuvres « St Omer », souvent suivi de la date, depuis au moins 1826.

Elle tient aussi un atelier d'élèves. Elle compte parmi eux sa compatriote Henriette-Louise Defrance (1797-1868), épouse de Charles-Joseph Pagart d'Hermensart, qui avait étudié auparavant avec Alexandre Lebour à Saint-Omer et qui a exposé au Salon de 1849.

Elle meurt de façon soudaine à Paris en février 1833 — probablement le 13 — emportée en deux jours par une , dans son nouveau logement et atelier du 8 bis, rue de Furstemberg, où elle venait d'emménager.

Œuvre
 Portrait de  [sic], Salon de 1812 ().
 Portrait de , artiste du théâtre de l'Impératrice, Salon de 1812 ().
 Saint Jean prêchant dans le désert, Salon de 1814 (supplément, ).
 Portrait de femme en pied, Salon de 1814 (supplément, ).
 Mort de Camille, reine des Volsques, Salon de 1817 ().
 Portrait de , Salon de 1817 ().
 Cérès — Elle allume ses flambeaux sur le mont Etna pour chercher sa fille Proserpine ravie par Pluton, Salon de 1819 ().
 Portrait d'homme, Salon de 1824 ( supplément, ).
 Portrait du docteur Broussais, vers 1825, refusé au Salon de 1827; Exposition au profit des blessés des 27, 28 et 29 juillet 1830 ().
 Portrait des fils du général Foy, 1826, huile sur toile, . Exposition au profit des Grecs (galerie Lebrun,  présentation, 1826, hors livret); refusé au Salon de 1827.
 Portrait de , Salon de 1827 ().
 Portrait de , Salon de 1827 ().
 Portrait de la comtesse Foy; Exposition au profit des blessés des 27, 28 et  (); Salon de 1831 ().
 Le Dépit d'un écolier, vers 1830, Exposition au profit des blessés des 27, 28 et  ().
 Le Frère, vers 1830, Exposition au profit des blessés des 27, 28 et  ().
 La Sœur, vers 1830, Exposition au profit des blessés des 27, 28 et  ().
 Portrait du colonel Beauvais Poque, blessé à Rambouillet, le , 1830, huile sur toile, ; Exposition au profit des blessés des 27, 28 et  (2e présentation, janvier 1831, hors livret); Salon de 1831 (), Rouen, musée des beaux-arts, 890.30.
 Portrait de Don Antonio Quiroga, général en chef de la première armée nationale d'Espagne, Salon de 1831 ().
 Portrait de , Salon de 1831 ().

 Portrait du docteur Pierre-Marcel Gaubert, Salon de 1831 (); gravé par Charles-Victor Normand et publié en 1843 dans Les Classiques de la table.
 Portrait du docteur Fournier Pescay, vers 1831, huile sur toile, , Salon de 1831 (); Paris, musée du Service de santé des armées (Val-de-Grâce).
 , artiste du théâtre de …, effrayée d'une balle entrée chez elle, Salon de 1831 (supplément, ).
 Portrait d'Élisa-Suzanne Riverin, 1832, huile sur toile, , collection privée.
 Le Docteur Clot-Bey faisant une démonstration d'anatomie dans l'hôpital d'Abouzabel, au Caire. Il est entouré de quelques-uns de ses principaux élèves, Salon de 1833 ().
 Un officier égyptien sous sa tente; Salon de 1833 ().
 Portrait de , député, Salon de 1833 ().
 Portrait de , artiste, Salon de 1833 ().
 Portrait du docteur Louis Jacques Bégin, 1832, huile sur toile, , Salon de 1833 (). Paris, musée du Service de santé des armées (Val-de-Grâce).
 Portrait de , Salon de 1833 ().
 Portrait de  et de sa fille, Salon de 1833 ().
 Portrait de , artiste dramatique, Salon de 1833 ().
 Portrait de , Salon de 1833 ().
 Portrait de femme au bonnet rouge et blanc, 1833, huile sur toile, , Barnard Castle, Bowes Museum, B.M.506.
 Portrait de , vers 1833, Salon de 1835 () (exposition à titre posthume).
 Le Retour du soldat, non daté.
 L'Écolier, non daté.
 La Madeleine pénitente, non daté.
 La Petite plumeuse, non daté.
 La Mendiante, non daté.
 La Fille séduite, non daté.
 Un an de ménage, non daté.

Réception critique
 Maximilien Sébastien Foy, à propos du Portrait du docteur Broussais, dans ses Notes journalières du  : .
 Ambroise Tardieu, à propos des oeuvres exposées au Salon de 1831 : .

Bibliographie
 .
 .
 .

Notes et références

Notes

Références

Liens externes

Peintre français du XIXe siècle
Peintre française
Peintre portraitiste français
Peintre d'histoire français
Peintre de genre français
Naissance en janvier 1792
Naissance à Saint-Omer (Pas-de-Calais)
Décès en février 1833
Décès dans l'ancien 10e arrondissement de Paris
Décès à 41 ans

Augustine Cochet de Saint-Omer


An Carex stenocarpa in uska species han Liliopsida nga ginhulagway ni Porphir Kiril Nicolai Stepanowitsch Turczaninow ngan V.I. Kreczetowicz. An Carex stenocarpa in nahilalakip ha genus nga Carex, ngan familia nga Cyperaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Carex

Carex stenocarpa


Der Papierene Gustl ist der jährlich vergebene Preis der österreichischen Filmjournalisten an die österreichischen Verleiher.

Geschichte

Er wird seit dem Jahre 2003 vergeben. Initiator des undotierten Preises – eine einfache Papierurkunde – ist der Wiener Filmjournalist Herbert Wilfinger (u. a. Verlag Filmindex; Filmarchiv Austria). Preisträger sind die österreichischen Verleiher der Siegerfilme. Zur Auswahl stehen sämtliche in einem Kalenderjahr in Wien regulär angelaufenen Filme. Der Preis wird derzeit in vier Kategorien vergeben: Zum Papierenen Gustl für den Sieger unter allen (internationalen) angelaufenen Filmen des Kalenderjahres (seit 2003) kommt der Papierene Gustl für die beste österreichische Produktion, die aus dem Gesamtergebnis herausgefiltert wird (seit 2006). Seit 2012 erhält auch der beste Dokumentarfilm des Jahres eine Auszeichnung. Seit 2022 wird auch der Beste Animationsfilm mit einer Urkunde geehrt. Teilnahmeberechtigt sind alle Filmjournalisten Österreichs.
Im Jahre 2013 wurde der Papierene Gustl auch für den besten internationalen Film der letzten zehn Jahre (2003–2012) vergeben. Der Preis ging an die österreichisch-deutsch-französisch-italienische Co-Produktion aus dem Jahr 2009, Das weiße Band (Regie: Michael Haneke).

Abstimmverfahren

Der Siegerfilm wird durch Auszählung ermittelt: Jeder Journalist reicht eine Liste seiner zehn besten Filme des Jahres ein. Die Liste kann je nach Vorliebe gereiht oder ungereiht sein, die Punkte werden entsprechend gewichtet. Vergeben wird der Preis durch den Verein Österreichischer Filmjournalisten DPG in Kooperation mit der Austrian Film Critics' Guild (AFCG) im Frühjahr des Folgejahres.

Name

Der Name Papierener Gustl entsprang dem Wunsch des Initiators nach einem typischen Wiener Namen (ursprünglich waren nur Wiener Filmjournalisten teilnahmeberechtigt), der sich ganz dezidiert von den üblichen glamourösen Namen sonstiger Filmpreise unterscheiden sollte. Die auf der Urkunde abgebildete Figur des "Gustl" ist in Anlehnung an eine Selbstkarikatur des heute nahezu unbekannten Regisseurs Malcolm St. Clair entstanden.
Bei der Verleihung im Jahre 2016 (Papierener Gustl 2015) wurde erstmals ein neues Gustl-Logo vorgestellt, das von Absolventen der HTL Spengergasse entwickelt worden war.

Verleihung

Die Preisvergabe erfolgt in einem Wiener Wirtshaus in Anwesenheit von Filmverleihern, Filmjournalisten sowie Darstellern und Mitgliedern des Produktionsteams der jeweiligen österreichischen Siegerfilme. Im Jahr 2020 wurde der Preis aufgrund der Corona-Krise und des damit einhergehenden Lockdowns ausnahmsweise nur virtuell vergeben. Der Papierene Gustl ist seit Beginn eine Auszeichnung ohne jegliche finanzielle Unterstützung, getragen einzig vom Engagement sämtlicher Mitglieder. Der Verein Österreichischer Filmjournalisten DPG verzichtet auch auf die Einhebung eines Mitgliedsbeitrages.

Preisträger
 2003: Mein Leben ohne mich / My Life Without Me (Verleih: Tobis)
 2004: Lost in Translation (Verleih: Constantin)
 2005: Match Point (Verleih: Polyfilm)
 2006:
 Good Night, and Good Luck. (Verleih: Stadtkino) ex aequo mit
 Das Leben der Anderen (Verleih: Buena Vista)
 Österreich: Exile Family Movie von Arash T. Riahi – noch ohne Urkunde an den Verleih (Filmladen)
 2007
 Tödliche Versprechen – Eastern Promises (Verleih: Tobis)
 Österreich: Import Export von Ulrich Seidl (Verleih: Filmladen)
 2008:
 Gomorrha – Reise in das Reich der Camorra (Verleih: Polyfilm) ex aequo mit
 No Country for Old Men (Verleih: Universal Pictures)
 Österreich: Revanche von Götz Spielman (Verleih: Filmladen)
 2009
 Das weiße Band (Verleih: Filmladen)
 Österreich: Das weiße Band (Verleih: Filmladen)
 2010
 Tödliches Kommando – The Hurt Locker (Verleih: Constantin)
 Österreich: Die unabsichtliche Entführung der Frau Elfriede Ott (Verleih: Luna)
 2011
 Melancholia (Verleih: Filmladen)
 Österreich: Atmen (Verleih: Thimfilm)
 2012
 Liebe (Verleih: Filmladen)
 Österreich: Paradies: Liebe (Verleih: Stadtkino)
 Bester Dokumentarfilm: Searching for Sugar Man (Verleih: Polyfilm)
 2013
 Django Unchained (Verleih: Sony)
 Österreich: Paradies: Glaube (Verleih: Stadtkino)
 Bester Dokumentarfilm: Der letzte der Ungerechten (Verleih: Filmladen)
Bei der Abstimmung 2013 wählten 98 Journalisten aus 55 Medien auch den besten Film der vergangenen zehn Jahre. Dabei standen die 12 Gewinnerfilme aus den Jahren 2003 bis 2012 zur Auswahl. Sieger wurde Michael Hanekes Das weiße Band vor Lars von Triers Melancholia und No Country for Old Men von den Coen-Brüdern.
 2014
 Boyhood (Verleih: UPI)
 Österreich: Das finstere Tal (Verleih: Filmladen)
 Bester Dokumentarfilm: The Act of Killing (Verleih: alphaville)
 2015
 Birdman (Verleih: Twentieth Century Fox)
 Österreich: Ich seh Ich seh (Verleih: Stadtkino)
 Bester Dokumentarfilm: The Look of Silence (Verleih: Polyfilm)
 2016
 Toni Erdmann (Verleih: Filmladen)
 Österreich: Vor der Morgenröte (Verleih: Filmladen)
 Dokumentarfilm: Mobilisierung der Träume / Dreams Rewired (Verleih: Polyfilm) vom Regietrio Manu Luksch, Martin Reinhart und Thomas Tode
Bei der Abstimmung 2016 wurde auch der beste österreichische Film der letzten zehn Jahre gewählt. Dabei standen die 12 Gewinnerfilme aus den Jahren 2006–2015 zur Auswahl. Sieger wurde Michael Hanekes Das weiße Band vor Revanche (Regie: Götz Spielmann) und Das finstere Tal (Regie: Andreas Prochaska)
 2017
 Manchester by the Sea (Verleih: UPI)
 Österreich: Die beste aller Welten (Verleih: Poylfilm)
 Dokumentarfilm: I Am Not Your Negro (Verleih: Poylfilm)
 2018
 Three Billboards Outside Ebbing, Missouri (Verleih: Twentieth Century Fox)
 Österreich: Murer – Anatomie eines Prozesses (Verleih: Filmladen)
 Dokumentarfilm: Waldheims Walzer (Verleih: Filmladen)
2019
 Parasite (Verleih: Filmladen)
 Österreich: Joy (Filmladen)
 Dokumentarfilm: Heimat ist ein Raum aus Zeit (Verleih: Filmgarten)
2020
Little Women (Verleih: Sony)
Österreich: Die Dohnal (Verleih: Filmdelights)
Dokumentarfilm: Die Dohnal (Verleih: Filmdelights)
Animationsfilm: Bunuel im Labyrinth der Schildkröten (Verleih: Polyfilm)
2021
Große Freiheit (Verleih: Filmladen)
Österreich: Große Freiheit (Verleih: Filmladen)
Dokumentarfilm: Aufzeichnungen aus der Unterwelt (Verleih: Stadtkino)
Animationsfilm: Encanto (Verleih: Disney)
2022
Everything Everywhere All at Once (Verleih: Constantin Film)
Österreich: Eismayer (Verleih: Filmladen)
Dokumentarfilm: Ennio Morricone – Der Maestro (Verleih: Filmladen)
Animation: Guillermo del Toros Pinocchio (Verleih: Netflix)

Galerie

Weblinks

 filmering.at ("Der papierene Gustl 2011 – Shortlist für den österreichischen Kritikerpreis")
 diepresse.com ("Österreichs Filmkritiker küren die besten Filme 2011")
 "Der papierene Gustl" in Skip – Das Kinomagazin
  Video von der Verleihung des Papierenen Gustl 2020/2021

Einzelnachweise

 bz-Wiener Bezirkszeitung Nr. 10, 10. März 2010
 VON Magazin Kultur-Tipps 1 (2010)
 Die Presse 9. März 2010 ("Filmschauen – Papierener Gustl an Das weiße Band")
 Kleine Zeitung 27. Februar 2010 Aktuell-Bester Film
 Wiener Zeitung 4. März 2010 ("Kurz notiert")
 Ray 03/2010 Editorial (Andreas Ungerböck)
 Kurier: John der Woche (20. Februar 2011) "Der Oscar und der Gustl"
 Kurier: 11. März 2014 (Kultur – Papierener Gustl – Österreichs Filmjournalisten zeichnen Boyhood aus)
 Der Standard: 11. März 2014 (Kultur – Kurz gemeldet – Filmkritiker zeichnen Boyhood aus)
 ("Der papierene Gustl 2014"), Skip Das Kinomagazin
 ray-magazin.at
 Kurier: 18. März 2016 (Kultur – Papierener Gustl für Birdman)

Filmpreis (Österreich)
Erstverleihung 2003

Der Papierene Gustl


Samuel Falson (n. 8 noiembrie 1982 în Sydney), mai bine cunoscut sub numele de scenă Sam Sparro, este un cântăreț, textier și producător australian. Are un contract cu casa de discuri Island Records. Este cunoscut pentru piesa Black and Gold. În anul 2008 a fost nominalizat la cinci premii ARIA.

Discografie
 Sam Sparro (2008)
 Return to Paradise (2012)

Note

Legături externe

Site oficial

Nașteri în 1984
Nașteri pe 8 noiembrie
Cântăreți australieni
Oameni din Sydney

Sam Sparro


غورياتشيفودسكيي  هي مدينة في مقاطعة ستافروبول كراي في روسيا.

يبلغ عدد سكانها حوالي 36204   نسمة.

مراجع

مدن كراي ستافروبول

غورياتشيفودسكيي (ستافروبول)


Marit Nybakk (født 14. februar 1947 i Nord-Odal) er en norsk politiker (Ap). Hun har været medlem af Stortinget siden 1986 og har været Stortingets 1. vicepræsident siden 2013. Hun var præsident for Nordisk Råd i 2013. Hun er formand for Norsk Kvinnesaksforening fra 2016.

Eksterne henvisninger

 Biografi på Stortinget (norsk)

Stortingsrepræsentanter fra Arbeiderpartiet

Marit Nybakk


As segundas eleições presidenciais portuguesas do Estado Novo, tiveram lugar a 8 de Fevereiro de 1942.

Como esperado, Óscar Carmona foi reeleito para um terceiro mandato.

Resultados

Arquivo Histórico Parlamentar

Gráfico

1942 em Portugal
Portugal
1942

Eleições presidenciais portuguesas de 1942


Megaloblastična anemija je naziv za anemije koje nastaju kao posljedica inhibicije sinteze DNK tijekom nastanka crvenih krvnih stanica (eritrocita).

Zbog poremećaja sinteze DNK dolazi do kontinuiranog rasta stanica bez daljnje diobe što uzrokuje nastanak velikih stanica eritrocita. Megaloblastične anemije se prema veličini stanica ubrajaju u makrocitne anemije. Poremećaj sinteze DNK najčešće nastaje kao posljedica nedostatka vitamina B12 ili folne kiseline.

Do poremećaj sinteze može doći i zbog djelovanja lijekova (kao što su npr. azatioprin ili trimetoprim), u sklopu infekcije virusom HIV-a, te kao posljedica mijelodisplastičnih poremećaja.

U koštanoj srži se stvaraju veliki nezreli disfunkcionalni eritrociti koji se nazivaju megaloblasti i hipersegmentirani neutrofilni granulociti. Dio megaloblasta se uništi u koštanoj srži što se naziva intramedularna hemoliza, dok dio ulazi u krvotok.

Nedostatak vitamin B12 može biti posljedica različitih bolesti kao što su npr. aklorhidrija, celijakija, kronični pankreatitis. Do nedostatka folata (folne kiseline) može doći kao posljedica npr. alkoholizma, malapsorpcije.

Bolest se najčešće utvrđuje osnovnim laboratorijski pretragama kojima se utvrdi makrocitna anemija, te zatim mjerenjem koncentracije vitamina B12 i folata u krvi, utvrdi deficit. Dodatno se ovisno o sumnji na primarni uzrok nedostatka vitamina B12 ili folata rade pretrage. Rijetko se u dijagnostici koristi i tzv. Schillingov test.

U liječenje bolesti nadoknađuje se nedostatak vitamina B12 i folata, te se pokušava djelovati na prvotni uzork nedostatka.

Izvori

 Članak o megaloblasičnoj anemiji na stranicama Medscape, pristupljeno 24.03.2019.

 Hematologija
Anemije

Megaloblastična anemija


El-Cenub Stadyumu Katar'ın Vekre şehrinde 16 Mayıs 2019'da açılışı yapılan, açılır kapanır bir çatı futbol stadyumudur. Iraklı mimar Zaha Hadid ve AECOM firması tarafından tasarlandı.

El-Cenub Stadyumunda çoğunlukla futbol müsabakaları yapılmaktadır. Katar'ın El-Cenub takımının maçlarını yaptığı El-Cenub Stadyumu, 20.000 seyirci kapasitelidir.

Stadyum, eğrisel postmodernist ve neo-fütürist bir tasarıma sahiptir. Çatının görünümü, bölgeden inci dalgıçları tarafından kullanılan ve Basra Körfezi'nin akıntılarında ören geleneksel Dhow teknelerinin yelkenlerinden ilham almıştır.

Katar Yıldızlar Ligi maçlarının oynanacağı futbol kulübü Al-Wakrah SC'nin resmi koltuğu olacak. Stadyumun kapasitesi 40.000, Dünya Kupası'ndan sonra yarı yarıya 20.000'e düşmesi bekleniyor.

Kaynakça

Dış bağlantılar
El-Cenub Stadyumu YouTube'de

Katar'daki stadyumlar
2022 FIFA Dünya Kupası stadyumları

El-Cenub Stadyumu


Kibernetički štit je godišnja kibernetička vježba Koordinacije za sustav domovinske sigurnosti u Ministarstvu obrane Republike Hrvatske.Vrsta je vježbe u kojoj svi sudionici zajedno za stolom rješavaju neki zajednički problem (eng. table-top exercise). Sprovodi ju se radi jačanja svijesti o sigurnosti svih korisnika kibernetičkog prostora, ukazivanja na značaj koordinacije i suradnje javnog, akademskog i gospodarskog sektora te za potaknuti raspravu na strateškoj razini o smjernicama za postupanje u slučaju kibernetičke krize.  Uz članove Koordinacije, sprovode ju i predsjednik Koordinacije, potpredsjednik Vlade i ministar obrane. Vježbovno i nastavno pomagalo su računala. Tijekom vježbe očekuje se i rasprava sudionika oko pojedinih pitanja. U vježbi se raščlanjuje nekoliko potencijalno zlonamjernih aktivnosti po zamišljenom scenariju, a od sudionika vježbe očekuje se donijeti odgovarajuće odluke. Nositelj vježbe je Samostalni sektor za informacijske i komunikacijske sustave MORH-a. Prva je održana 15. ožujka 2018. godine. Ciljevi vježbe su jačasti svijest o sigurnosti svih korisnika kibernetičkog prostora i sigurnosti kritične infrastrukture, potaknuti raspravu o smjernicama za postupanje na strateškoj razini te ukazivanje na moguće izazove u slučaju kibernetičke krize, ukazati na značaj koordinacije unutar javnog sektora i suradnje javnog, akademskog i gospodarskog sektora, ukazati na važnost strateških komunikacija u kriznim situacijama i ukazati na ulogu Koordinacije za sustav domovinske sigurnosti.

Izvori

Računalna sigurnost
Nacionalna sigurnost

Oružane snage Hrvatske

Kibernetički štit


Clemente Ballén y Millan (Guayaquil, 22 de marzo de 1828 - París, 18 de julio de 1893) fue un banquero y hombre público ecuatoriano.

Biografía

Realizó sus estudios en el Colegio Seminario, luego se dedicó al comercio y en 1865 fue nombrado comandante de la Compañía de Bomberos "Salamandra" durante tres años. En 1869 viajó a París, Francia y en 1875, el gobierno nacional lo nombró cónsul general del Ecuador y a pesar de estar ausente de su patria, fue propuesto como candidato a la Presidencia de la República a petición de la gente, pero siempre fue rechazada dicha candidatura. Ballén siguió ejerciendo su cargo de cónsul en París donde murió el 18 de julio de 1893.

Referencias

Personas de Guayaquil
Banqueros de Ecuador
Comerciantes
Cónsules (diplomacia)
Bomberos
Fallecidos en París

Clemente Ballén


Close-up ou close up peut désigner :

 Magie rapprochée
 Close-up (film)
 Gros plan (cadrage)

Close-up


Stortorget er navnet på torve i mange byer i Sverige, Norge og Finland:
 Stortorget (Malmø) – torv i Malmø
 Stortorvet (Oslo) – torv i Oslo (kan også skrives Stortorget)
 Stortorget (Stockholm) – torv i Stockholm

Stortorget


Sheldonian Theatre este o clădire unde au loc evenimentele festive ale Universității din Oxford. Acesta a fost inaugurată în anul 1669 și numită după fondatorul ei Gilbert Sheldon, pe atunci Arhiepiscop de Canterbury si cancelar al Universității.

Clădirea

Teatrul a fost primul mare proiect al arhitectului Christopher Wren. Ca model pentru clădire clasică, i-a servit lui Wren anticul teatru Teatro di Marcello din Roma.

Utilizare

Imobilul este folosit pentru concerte, conferințe și ceremonii universitare.

Primul spectacol în Sheldonian Theatre a avut loc pe 10 iunie 1733 și a fost oratoriul Athalia de Händel.

Legături externe

 oficială (engleză)
  (engleză)
 Celebrating the Sheldonian Theater
 The Sheldonian Theatre – British History online

Note

Teatrul în Regatul Unit
Anii 1660 în arhitectură
Fondări în 1669

Sheldonian Theatre


Chaenomeles is a genus of four species of deciduous spiny shrubs, usually 1–3 m tall, in the family Rosaceae. They are native to Southeast Asia. These plants are related to the quince (Cydonia oblonga) and the Chinese quince (Pseudocydonia sinensis), differing in the serrated leaves that lack fuzz, and in the flowers, borne in clusters, having deciduous sepals and styles that are connate at the base.

The leaves are alternately arranged, simple, and have a serrated margin. The flowers are 3–4.5 cm diameter, with five petals, and are usually bright orange-red, but can be white or pink; flowering is in late winter or early spring. The fruit is a pome with five carpels; it ripens in late autumn.

Chaenomeles is used as a food plant by the larvae of some Lepidoptera species including the brown-tail and the leaf-miner Bucculatrix pomifoliella.

Common names
Although all quince species have flowers, gardeners in the West often refer to these species as "flowering quince", since Chaenomeles are grown ornamentally for their flowers, not for their fruits. These plants have also been called "Japanese quince", and the name "japonica" (referring to C. japonica) was widely used for these plants in the 19th and 20th centuries, although this common name is not particularly distinctive, since japonica is a specific epithet shared by many other plants. The names "japonica" or "Japanese quince" were (and still are) often loosely applied to Chaenomeles in general, regardless of their species. The most commonly cultivated Chaenomeles referred to as "japonica" are actually the hybrid C. × superba and C. speciosa; C. japonica itself is not as commonly grown.

Species and hybrids
Species accepted by the Plants of the World Online as of :

Four named hybrids have been bred in gardens. The most common is C. × superba (hybrid C. speciosa × C. japonica), while C. × vilmoriniana is a hybrid C. speciosa × C. cathayensis, and C. × clarkiana is a hybrid C. japonica × C. cathayensis. The hybrid C. × californica is a tri-species hybrid (C. × superba × C. cathayensis). Numerous named cultivars of all of these hybrids are available in the horticultural trade.

Uses

The species have become popular ornamental shrubs in parts of Europe and North America, grown in gardens both for their bright flowers and as a spiny barrier. Some cultivars grow up to 2 m tall, but others are much smaller and creeping. The fruits are hard and – although less astringent than quinces – are unpleasant to eat raw, tasting like an unripe apple with the acidity of a lemon, though they do soften and become less astringent after frost (via the process of bletting).  The fruits are suitable for making liqueurs, as well as marmalade and preserves, as they contain more pectin than apples and true quinces. The tree is suitable for cultivation as a bonsai.

References

External links
 Chaenomeles speciosa entry in Plants for a Future database
 University of Arkansas Division of Agriculture: Flowering Quince, Japonica: ''Chaenomeles speciosa

Japanese fruit
Maleae
Plants used in bonsai
Rosaceae genera

Chaenomeles


Hymeniacidon longistylus est une espèce d'éponges de la famille des Halichondriidae.

Systématique
L'espèce Hymeniacidon longistylus est décrite en 1972 par Ruth Desqueyroux-Faúndez.

Voir aussi

Bibliographie

Références biologiques

Notes et références

Halichondriidae
Espèce d'éponges (nom scientifique)

Hymeniacidon longistylus


Miodrag Anđelković (født 7. december 1977) er en tidligere serbisk fodboldspiller.

Eksterne henvisninger

Fodboldspillere fra Serbien

Miodrag Anđelković


Das Hospital zum Heiligen Geist ist zum einen die Bezeichnung für den dreiflügeligen Gebäudekomplex des ehemaligen Spitals im Stadtkern von Schwäbisch Hall in Baden-Württemberg. Zum anderen ist es der offizielle Name der heute noch existierenden Stiftung, die das Hospital und dessen Nebeneinrichtungen betrieb.

Hospitalgebäude

Die historischen Hospitalgebäude befinden sich an der Straße Am Spitalbach am nördlichen Rand der historischen Altstadt von Schwäbisch Hall in nur geringem Abstand zum östlichen Kocherufer. Nach einem großen Stadtbrand im Jahr 1728 wurde der Spitalkomplex ab 1731 in seiner heutigen Form neu erbaut. Heute beherbergen die Gebäude das Goethe-Institut und die Fachhochschule Schwäbisch Hall. In der 1964 zum Konzertsaal umgebauten ehemaligen Hospitalkirche finden kulturelle Veranstaltungen statt.

Hospitalstiftung
Die Stiftung (Eigenbezeichnung: Der Hospital zum Heiligen Geist) ist eine rechtlich selbständige Institution der freien Wohlfahrtspflege und wird durch die Stadt Schwäbisch Hall geführt und verwaltet. Sie ist eine rechtsfähige Stiftung. Schirmherr war und ist das jeweilige Stadtoberhaupt, zu Reichsstadtzeiten der Stättmeister, später der Stadtschultheiß, heute der Oberbürgermeister.

Die Stiftung verfügt über großen Waldbesitz und über einen umfangreichen Wohnungsbestand. Dadurch ist sie finanziell unabhängig und stellt einen wichtigen wirtschaftlichen Faktor innerhalb der Stadt dar. Mit diesen Mitteln stellt sie Wohnraum für sozial schwache Familien bereit. Sie fördert und unterstützt Einrichtungen der Jugendhilfe und verschiedene weitere Bildungseinrichtungen, wie zum Beispiel die Fachhochschule. Des Weiteren betreibt sie vier Altenwohnheime. Auch im Bereich der Gesundheitsfürsorge und Naherholung ist die Hospitalstiftung finanziell engagiert. Zur materiellen Unterstützung von Hilfsbedürftigen stellt sie einen jährlich neu aufgelegten Sozialfonds zur Verfügung.

Geschichte des Hospitals
Eine erste Erwähnung des Spitals findet sich in einem Stiftungsbrief von 1228, in welchem ein Sivridus und eine Agatha ihr Vermögen einer bereits bestehenden, aber in Verfall geratenen Hospitalstiftung übertrugen. Diese Urkunde wurde von 39 Zeugen unterzeichnet und dem damaligen Haller Schultheißen besiegelt, was darauf hinweist, dass der Spitalstiftung eine große Bedeutung zugemessen wurde.

Im Jahr 1249 wurde die Leitung des Spitals der Kommende des damals in Hall ansässigen Johanniterordens übertragen. Die Brüder des Ritterordens verpflichteten sich zur Aufnahme von höchstens 20 Kranken. Blinde, Lahme und chronisch Kranke waren dabei von der Versorgung ausgeschlossen. Als Gegenleistung dafür erhielten die Johanniter das Vermögen des Spitals.

Im Jahr 1317 wurde den Johannitern die Bewirtschaftung des Spitals und auch das Hospitalvermögen durch die Stadt wieder entzogen. Von da an leitete die Stadt den Hospitalbetrieb selbst, verwaltete das Vermögen und führte die Geschäfte der Hospitalstiftung.

In einem Ablassbrief von 1319 wurde der Personenkreis, den das Spital fortan zu betreuen hatte erheblich erweitert: neben den akut Erkrankten hatte das Spital nun auch Blinde, Lahme, Waisen, Unmündige, chronisch Kranke und Körperbehinderte aufzunehmen und zu versorgen. Im selben Dokument wurde es auch erstmals urkundlich als Hospital zum Heiligen Geist bezeichnet. Die Aufsicht über das Hospitalvermögen wurde nun durch zwei Vertreter des Rates der Stadt geführt. Diese wurden als Hospitalpfleger bezeichnet. Der Leiter der Verwaltung des gesamten Hospitalbetriebes wurde Hospitalmeister genannt. In der Folgezeit wurden dem Spital oft große Nachlässe vermacht und Vermögenswerte gestiftet. Dadurch und durch die gewinnbringende Anlage von Überschüssen wurde der Besitz des Spitals beträchtlich vermehrt.

Im Jahr 1400 gehörtem dem Spital schon 8 große Höfe, 18 kleinere Güter, 14 Feldlehen und 230 Morgen Wald. Die Spitalinsassen wurden bis in die 1390er Jahre aus Barmherzigkeit aufgenommen. Nach dieser Zeit konnten sich wohlhabende Bürger auch einen Pflegeplatz im Spital erkaufen, indem sie ihr Vermögen dem Spital überschrieben, dafür im Spital aber Nahrung, Wohnung und Pflege auf Lebenszeit erhielten. Diese Spitalbewohner wurden als Pfründner bezeichnet. Aus dem Spital war aus einem Armen- und Krankenhaus nun auch ein Altersheim geworden.

Im 15. Jahrhundert erweiterte das Spital seinen Grundbesitz um ein Vielfaches. Ursache dafür waren Besitzübertragungen von Stiftern, aber auch große eigene Ankäufe. Als größten Zukauf erwarb das Spital von der Stadt Hall 1446 das gesamte hällische Amt Honhardt. Eine weitere wichtige Erwerbung war der Kauf des Teurershofes 1479.

Im 16. Jahrhundert, nach der Reformation, erhielt das Spital keine Nachlässe und Vermögensübertragungen mehr. Die Gläubigen konnten sich nun nicht mehr durch gute Werke von ihren Sünden loskaufen. Dennoch konnte das Spital in diesem Jahrhundert einen enormen wirtschaftlichen Erfolg vorweisen.

Im 17. Jahrhundert war dieser, nicht zuletzt bedingt durch den Dreißigjährigen Krieg und dessen Folgen, eher unbedeutend. Aufgrund seines großen Vermögens, vor allem an Grundbesitz, konnte das Spital aber auch in dieser Zeit seinen Aufgaben nachkommen.

Im 18. Jahrhundert war das prägende Ereignis für die ganze Stadt Hall der Stadtbrand von 1728, bei dem auch die Gebäude des Hospitals vollkommen zerstört wurden. Die Insassen des Spitals wurden nach dem Brand auf verschiedene Quartiere im gesamten Stadtgebiet und in den Vorstädten verteilt (das Spital verpflegte zu dieser Zeit 370 Personen). 1730 begann der Wiederaufbau des Spitals und der Hospitalkomplex wurde in seiner heutigen Form an alter Stelle errichtet.

Anfang des 19. Jahrhunderts verlor Hall seine Selbständigkeit als Reichsstadt und wurde zur württembergischen Oberamtsstadt. Mit der Verstaatlichung der Saline 1804 begann eine Phase der wirtschaftlichen Stagnation und des Rückschritts. Im Jahr 1856 wurde das Spital als Krankenhaus geschlossen.

Weblinks

 Am Spitalbach 8 – ehemaliges Spital zum Heiligen Geist im Gebäudeverzeichnis der Stadt Schwäbisch Hall

Einzelnachweise

Bauwerk in Schwäbisch Hall
Ehemaliges Krankenhaus in Baden-Württemberg
Stiftung in Baden-Württemberg
Karitative Stiftung
Pfrundhaus
Gegründet 1228
Mittelalterliches Hospital
Schwabischhall
Geschichte (Schwäbisch Hall)
Organisation (Landkreis Schwäbisch Hall)

Hospital zum Heiligen Geist (Schwäbisch Hall)


Michael Allan Ribers (født 19. maj 1981) er en dansk tidligere fodboldspiller.

Karriere
Ribers skiftede i juni 2005 til FC Nordsjælland på en transfer, hvor han skrev under på en toårig aftale. Denne aftale blev i juli 2006 forlænget frem til sommeren 2008.

Det blev den 11. marts 2008 offentliggjort, at Michael Ribers stoppede karrieren grundet skader.

Landsholdskarriere
Han fik sin debut i landsholdssammenhæng den 6. august 1996 for Danmarks U/17-fodboldlandshold. Han spillede i alt 42 kampe for danske ungdomslandshold fordelt på 32 kampe på U/17-landsholdet og 10 kampe på U/19-landsholdet.

Han blev i december 2006 efterudtaget til Ligalandsholdets tur til USA og Mellemamerika grundet afbud fra Ulrik Laursen. På denne tur spillede han en kamp, da han startede inde og spillede alle 90 minutter i et 1-0-nederlag ude til El Salvador.

Referencer

Eksterne henvisninger

 Michael Ribers  på FC Nordsjællands hjemmeside
 Michael Ribers  på Brøndby IF's hjemmeside

Fodboldspillere fra Danmark
Fodboldspillere fra Brøndby IF
Fodboldspillere fra Herfølge Boldklub
Fodboldspillere fra Boldklubben Skjold
Fodboldspillere fra FC Nordsjælland

Michael Ribers


Malci 2: Kako je Gru postao Gru (eng. Minions: The Rise of Gru) je američki računalno-animirani film iz 2022. godine studija Illumination Entertainment i nastavak animiranoga hita, Malci, iz 2015. godine. Redatelji filma su Kyle Balda, distributerska kuća je Universal Pictures. Premijera filma bila je 1. srpnja 2022. godine u SAD-u.

Pretpostavka
Smješten neposredno nakon događaja iz prvog filma, ovoga puta početkom 1970-ih, 12-godišnji Gru odrasta u predgrađu. Obožavatelj grupe superzlikovaca poznate kao Vicious 6, Gru kuje plan da postane dovoljno zao da im se pridruži. Kada Vicious 6 otpusti svog vođu, legendarnog borca Wild Knucklesa, Gru intervjuira kako bi postao njihov najnoviji član.

Ne ide dobro, a stvari se samo pogoršavaju nakon što im Gru ukrade dragi kamen uz pomoć Kevina, Stuarta, Boba, Otta i ostalih Miniona i odjednom se nađe kao smrtni neprijatelj vrhunca zla. U bijegu, Gru i Minions će se obratiti neobičnom izvoru za smjernice, samom Wild Knucklesu, i otkriti da čak i lošim dečkima treba mala pomoć njihovih prijatelja.

Glavne uloge
 Pierre Coffin – Kevin, Stuart, Bob, Otto
 Steve Carell – Gru
 Taraji P. Henson – Belle Bottom
 Michelle Yeoh – Master Chow
 Jean-Claude Van Damme – Jean Clawed
 Lucy Lawless – Nunchuck
 Dolph Lundgren – Svengeance
 Danny Trejo – Stronghold
 Russell Brand – Dr. Nefario
 Julie Andrews – Marlena
 Alan Arkin – Wild Knuckles

Hrvatska sinkronizacija

Ostali glasovi
 Duško Valentić
 Marko Cindrić
 Darko Janeš
 Mirta Zečević
 Ivan Tunica
 Boris Barberić
 Marko Juraga
 Mladen Vujčić
 Goran Malus
 Ivica Zadro
 Daniel Dizdar
 Noa Zelenko

Sinkronizacija
 Sinkronizacija: Rubikon Sound Factory
 Prijevod i redateljica dijaloga: Lea Anastazija Fleger

Unutarnje poveznice
 Illumination Entertainment
 Universal Pictures

Vanjske poveznice

Američki animirani filmovi 2020-ih
Kako je Gru ukrao mjesec

Malci 2: Kako je Gru postao Gru


XSL ya da tam adıyla Extensible Stylesheet Language Family (Türkçe karşılığı: Genişletilebilir Biçimlendirme Dili Ailesi), XML dosyalarının içindeki verilere ulaşma, ulaştıklarını başka şekillere dönüştürme ve gösterime hazırlama emirleri içeren kendileri de XML kurallarina uyan diller ailesinin adıdır.

Tanımlama Parçaları

 XSLT
 XPath(Aynı zamanda XLink tanımlama kapsamına da girmektedir)
 XSL-FO

Dış bağlantılar
 W3C XSL standardı

İnternet terimleri
Bilgisayar bilimi

XSL


الأسلوب المُتكَلَّف أو النهجية أو الأسلوبية أو التكلفية  هي حركة فنية أثرت في فن عصر النهضة الإيطالي في مرحلته الأخيرة، وشملت التصوير الزيتي والجداريات والنحت والعمارة، والفنون الصغرى. عملية توصيفها مثيرة للجدل على الرغم من أنها عرفت في البداية كتقليد للأساتذة الكبار في بدايات عصر النهضة (فعلى سبيل المثال، أراد تينتوريتو أن يرسم مثل ميغيل آنجلو ويلوّن مثل تيزيانو)، بعد ذلك فهمت كردة فعل معاكسة لجماليات الفن الكلاسيكي والتعقيد المتاهي، سواء على صعيد الشكل (الخط السيربينتيناتا، انامورفويسيس، المبالغة في الحركات، الرسمات، القوام، المفروشات والإضراب في العناصر المعمارية) أو من حيث المفهوم (الزج بالديكورات والتوازنات بداية عصر النهضة) ما يشبه الطابع الباروكي.

الهدف الكامن وراء التغيير، أن يتمرد الفنانون على المدرسة الاتباعية التي انتشرت في إيطاليا وأوروبا، والتي حددت الموضوعات التي يتناولها الفنانون؛ وكذلك التشكيلات الفنية، وفق قواعد ثابتة، وأنظمة لونية تحمل الانسجامات الموسيقية. وتأسست المحترفات الفنية التي حددت وسائل التعليم الفني، وأعطت شكلاً محدداً يصعب اختراقه أو التمرد عليه. وجاءت النهجية لتقوم بتبديل شامل، وتفضيل الفوضى عليه، أو التغريب والشذوذ على الهدوء والاعتدال والثقة. واستطاعت أن تضع لنفسها قواعدها الفنية المستقلة عن غيرها والتي أبعدتها عن أن تكون مجرد تيار سلبي يهاجم الاتباعية، ولها ما يسوّغ وجودها، وذلك لأن الواقع الأوروبيّ هو الذي دفع الفنانين للتمرد على الاتباعية. وقد غدا التغيير ضرورياً حين تحولت إلى (مثل أعلى) و (وهم)، بدلاً من أن تكون واقعاً حياتياً. واتجه الفنانون إلى إحلال السمات الذاتية محلها، أو الإحيائية بدلاً من الطابع المعياري الذي يعلو على الأشخاص تعميقاً لتجربة صوفية في الحياة، وصبغها بطابع روحاني جديد، أو نمو لنزعة شكلانية متكلفة، ينحل فيها كل شيء، ويسعى كل فنان إلى لغة التسابق أو التفوق على الآخرين، في مرحلة جديدة، طغت عليها الرغبة في التغيير في كل شيء.

ومن ناحية أخرى، تُعرّف التكلفية أيضاً على أنها فن المفكرين وفن النخبة، مخالفة تماماً الباروك الذي يتسم بالفن الحسي والشعبي. يعتبر التكلف مجرد امتداد للعبقرية الخلاّقة لكبار الفنانين في بدايات عصر النهضة مثل: ليوناردو، رفائيل، مايكل أنجلو، تيتسيانو وأتباعهم من أنصار أسلوب ليوناردو دافنشي الفني، وقد استهان النقاد ومؤرخو الفن بالتكلفية بوصفه أسلوبا مبالغا فيه ومتدنيا ورديئا نظراً لما يحتويه من إغراء جنسي وتكلف مصطنعع ولذلك لم تثمن مزاياه وأناقته بشكل كامل حتى تم إعادة تقييمه في القرن العشرين حيث بدأ ينظر إليه بطريقة إيجابية باعتباره مرجع ذاتي للفن.

أصل الكلمة

يعود أصل مصطلح التكلف، إلى استخدام كلمة maniera باللغة الإيطالية في كتابات معينه من القرن السادس عشر، حيث كانت تعني لهم «شخصية فنية» أي الأسلوب بالمعنى الواسع للكلمة، بين عدة معان أخرى، ممثلة النواحي الأسلوبية والمراحل الزمنية (التكلف اليوناني والتكلف الكلاسيكي والتكلف الثالث الذي نريد تسميته التكلف الحديث)، ومن أبرز تلك الكتابات كتاب جورجيو فازراي (حياة أعظم الرسامين والنحاتين والمعماريين بدءًا منن تشيمابو وصولاً إلى عصرنا الحالي 1550-1568، المسمى اختصارًا «حياة الفنانين»). وفي النهاية، أُطلقت كلمة «مانيري» وتعني فناني التكلف على الفنانين المعاصرين للرسام الإيطالي فازراي الذين كانوا يرسمون على غرار الرسامين الإيطالين (ليوناردو دافنشي والذي يمثل «التكلف الليوناردي» والفنان رافاييل والذي يمثل «التكلف الرافايليي» والفنان ميكيل انجيلو الذي يمثل «التكلف العظيم» أو «التكلف الميجيلي»). وفي البداية حافظت التكلفية على ى وضوح الشخصية الفنيه بينما في النهاية اُستخدمت للتحقير والازدراء من فنانين أكاديمين في القرن السابع عشر لأن التكلف بالنسبة لهم كان فنا تقليديا باردا للأستاذة العظماء، على هيئة تمارين فنية نفيسة، وعلى شكل قوالب مصاغة فيي سلسلة من الأشكال.

الأصل والتطور

مع نهاية عصر النهضة العليا، عانى الفنانون الشباب من أزمة مفادها أنه من الواضح أن كل ما يُمكن إنجازه أُنجز مسبقًا. لم يعد هناك صعوبات تتطلب حلًا، سواء كانت صعوبات تقنية أو صعوبات من نوع آخر. بلغت المعرفة التفصيلية بعلم التشريح، والضوء، وعلم الفراسة، والطريقة التي يتعرف فيها البشر على العواطف في التعابير والإيماءات، والاستخدام المتطور للشكل البشري في التعبير المجازي، واستخدام التدرج الحاذق في الأسلوب حد الكمال. وجب على الفنانين الشباب إيجاد هدف جديد، وسعوا باتجاهات جديدة. بدأت النهجية في الظهور عند تلك النقطة. تطور الأسلوب الجديد بين عامي 1510 و 1520 في فلورنسا أو روما، أو في كلتا المدينتين في آن واحد.

الأصول والقدوة
وُصفت هذه الفترة بأنها «امتداد طبيعي» لفن أندريا ديل سارتو، ومايكل أنجلو، ورافايل. طوّر مايكل أنجلو أسلوبًا خاصًا به في عمر صغير، وكان أسلوبه أصليًا بشكل عميق، بالإضافة إلى أنه قُدِّر بشكل كبير في بدايته، ثم نسخه وقلده فنانون آخرون ينتمون للفترة نفسها. كان أسلوب تيريبيليتا (بالإيطالية: Terribilita) أحد أكثر الأساليب التي أُعجب بها معاصريه، وهو شعور بعظمة مذهلة، وحاول فنانون لاحقون تقليده. تعلم فنانون آخرون أسلوب مايكل أنجلو العاطفي والشخصي للغاية عن طريق نسخ أعماله، وكانت تلك طريقة قياسية تعلمها الطلاب للرسم والنحت. شكّل سقف كنيسة سيستينا أمثلة أمكنهم اتباعها، بالأخص عرضه لمجموعة من الأشخاص التي يُطلق عليها عادة اسم إينودي (بالإيطالية: Ignudi) وعرضه للعرّاف الليبي، وردهة المكتبة اللورنتية، والأشكال الموجودة على قبر ميديسي، بالإضافة إلى كل ذلك لوحة الحساب الأخير. كان مايكل أنجلو في نهاية حياته واحدًا من أهم الاشخاص القدوة في النهجية. اقتحم الفنانون الشباب منزله وسرقوا لوحاته. أشار جورجو فازاري في كتابه حياة أكثر الرسامين والنحاتين والمعماريين تميزًا إلى أن مايكل أنجلو صرّح ذات مرة قائلًا: «لا يمكن للأتباع أبدًا التفوق على متبوعيهم».

الروح التنافسية
صقل الرعاة -ممن شجعوا الفنانين المدعومين على التأكيد على الأساليب البارعة والتنافس مع بعضهم مقابل عمولة- الروح التنافسية. ما دفع الفنانين للبحث عن طرق جديدة ومشاهد مُتفتحة بشكل كبير، والاهتمام بالتفصيل بالأزياء والتراكيب والتناسب الكبير والوضعيات الحديثة جدًا. أعطى بيير سوديريني، الذي كان يشغل منصب غونفالونييري العدل، مايكل أنجلو وليوناردو دافينشي عمولة مقابل تزيين حائط في قاعة الخمسمئة (بالإنجليزية: The Hall of Five Hindred) في فلورنسا. كان هذان الرسامان يتنافسان بالرسم جنبًا إلى جنب، ما يعزز الدافع لتحقيق أكبر قدر ممكن من الإبداع.

بداية النهجية
تميز رواد النهجية الأوائل في فلورنسا -بالأخص تلاميذ أندريا ديل سارتو مثل بونتورمو وروسو فيورينتينو- بالأشكال الممتدة والوضعيات المتوازنة بشكل غير ثابت والمنظور الضعيف، والخلفيات غير المنطقية، والإضاءة المسرحية. كان بارميجانينو (تلميذ أنطونيو دا كوريدجو) وجوليو رومانو (رئيس مساعدي رافايل) يسلكان اتجاهات جمالية منمقة مشابهة في روما. نضج هؤلاء الفنانون متأثرين بعصر النهضة العليا، ووُصف أسلوبهم بأنه رد فعل أو امتداد مبالغ فيه لتلك الفترة. بدلًا من دراسة الطبيعة بشكل مباشر، بدأ الفنانون الأصغر سنًا بدراسة المنحوتات الهيلنستية ولوحات السادة ممن سبقوهم. لذا، يُعرَّف هذا الأسلوب عادة بأنه «مناهض للكلاسيكية»، ولكن في ذلك الوقت كان يُعد تطورًا طبيعيًا للنهضة العليا. امتدت المرحلة التجريبية الأولى للنهجية، التي تُعرف باسم الأشكال «المناهضة للكلاسيكية»، حتى عام 1540 أو 1550. كتبت مارشا بي. هال -وهي أستاذة في قسم تاريخ الفن في جامعة تيمبل- ملاحظات في كتابها الذي يحمل عنوان ما بعد رافايل (بالإنجليزية: After Raphael) أن وفاة رافايل المبكرة شكلت نقطة بداية للنهجية في روما.

في التحليلات القديمة، لوحظ أن النهجية برزت في بداية القرن السادس عشر بالتزامن مع عدد من الحركات الاجتماعية والعلمية والدينية والسياسية الأخرى مثل نظرية نيكولاس كوبرنيكوس حول مركزية الشمس، واحتلال روما (1527)، وتحدي الإصلاح البروتستانتي المتزايد لقوة الكنيسة الكاثوليكية. وبسبب ذلك كله، فُسّرت الأشكال الممتدة والمنحنية على أنها رد فعل على التراكيب المثالية السائدة في فن عصر النهضة العليا. لم تكن التفسيرات التي بررت التغيير الجذري في الأسلوب عام 1520 لصالح العلماء، على الرغم من كون الفن في مرحلة بداية النهجية يتناقض بشكل كبير مع اتفاقيات النهضة العليا، ولم يعُد يبدو أن الموصولية والتوازن التي حققتها لوحة مدرسة رافايل في أثينا موضع اهتمام بالنسبة إلى الفنانين الشباب.

انتشار النهجية

كانت روما وفلورنسا ومانتوفا مراكز للنهجية في إيطاليا، بينما سلك الرسم الفينيسي -الذي قدمه تيتيان خلال حياته المهنية الطويلة- اتجاهًا مختلفًا. هرب العديد من فناني النهجية الأوائل الذين عملوا في روما أثناء عشرينيات القرن السادس عشر من المدينة بعد احتلال روما عام 1527. وأثناء انتشارهم في أوروبا القارية بحثًا عن عمل، انتشر أسلوبهم في إيطاليا وشمال أوروبا. وأصبح أسلوبهم هو الأسلوب الفني العالمي الأول بعد الفن القوطي. لم تكن أجزاء أخرى من أوروبا الشمالية على اتصال مباشر مع الفنانين الإيطاليين، ولكن كان أسلوب الفنانين النهجيين ظاهرًا في المطبوعات والكتب المصورة. اشترى الحكام الأوروبيين، بالإضافة إلى حكام آخرين، الأعمال الإيطالية، بينما استمر فنانون من أوروبا الشمالية بالسفر إلى إيطاليا، للمساعدة على نشر النمط الأسلوبي. أنشأ فنانون إيطاليون يعملون في الشمال حركة تُعرف باسم النهجية الشمالية. على سبيل المثال، صوّر برونزينو فرانسوا الأول ملك فرنسا في لوحته فينوس وكيوبيد، الحماقة والوقت (بالإنجليزية: Venus, Cupid, Flollu and Time). تراجع الأسلوب في إيطاليا بعد عام 1580، مع ظهور جيل جديد من الفنانين الذين أعادوا إحياء المذهب الطبيعي، من بينهم الإخوة كاراتشي، وكارافاجيو، وسيغولي. عرّف والتر فريدلاندر هذه الفترة بانهت «مناهضة للنهجية»، وكان أتباع النهجية الأوائل «مناهضين للكلاسيكية» في رد فعلهم الذي يبتعد عن القيم الجمالية لعصر النهضة العليا، واتُّفق اليوم على أن الإخوة كاراتشي وكارافاجيو هم من بدأوا الانتقال لرسم اللوحات بأسلوب الباروك الذي كان مسيطرًا بحلول القرن السابع عشر.

على أي حال، استمر وجود النهجية خارج إيطاليا حتى القرن السابع عشر، وكانت تُعرف في فرنسا -التي سافر إليها روسو ليعمل في مجلس مدرسة فونتينبلو الفنية- باسم «أسلوب الملك هنري الثاني»، وكان لها أثر مهم على فن العمارة. يُعد مجلس رودولف الثاني في براغ من بين المراكز الأخرى المهمة للنهجية الشمالية في أوروبا القارية، بالإضافة إلى هارلم (شمال هولندا) وأنتويرب. لا يُطبق الأسلوب النهجي كثيراً على الفنون البصرية والزخرفية الإنجليزية، إذ تُطبق الأساليب الأصلية مثل أسلوب العصرين «الإليزابيثي» و«اليعقوبي» بشكل أكبر. يمكن استثناء النهجية الحرفية في القرن السابع عشر من ذلك، إذ تُطبق على فن العمارة الذي يعتمد على كتب النماذج بدلًا من الاعتماد على الأنماط السابقة الموجودة في أوروبا القارية.

معرض صور

مراجع

الفن في القرن 16
الفن في القرن 17
باروك
طرز معمارية
عمارة عصر النهضة
فن عصر النهضة
فن غربي

تكلفية


مركز دبي العالمي هي الشركة التي يعمل في ظلها عدد من المشاريع المخطط لها والتي يجري بناؤها في دبي، في الإمارات العربية المتحدة

مشاريع المركز
يضم مركز دبي التجاري العالمي ستة مشاريع هي:

 المدينة السكنية في مركز دبي التجاري العالمي
 مدينة دبي اللوجستية
 Dubai World Central Enterprise Park
 المدينة التجارية في مركز دبي التجاري العالمي
 مدينة دبي للطيران
 مطار آل مكتوم الدولي
 Dubai World Central Staff Village
 مدينة الغولف في مركز دبي التجاري العالمي

حجم المقاولات والإنشاءات يبلغ ضعفي مساحة جزيرة هونغ كونغ.

روابط إضافية
 الموقع الإلكتروني لمركز دبي التجاري العالمي.

مراجع

شركات مقرها في دبي
مناطق اقتصادية خاصة

مركز دبي العالمي


La Recopa Aerosur fue una competición de fútbol, organizada por la compañía aérea Aerosur de Bolivia desde 2009, y que enfrentava al campeón de la Copa Aerosur contra el campeón de la  Copa Aerosur del Sur.

El trofeo se jugaba según la fecha que disponía la FBF, ya que era esta que organizaba el calendario. Era disputada en dos partidos, uno de ida y otro de vuelta, ganando el equipo que tenía mayor diferencia de goles con respecto al otro, si la igualdad persistía, la final era decidida en las Tanda de penales.

Apareció como novedad en la Copa Aerosur del año 2009, pero no se disputó de forma continua. En 2011 la competición tuvo su última edición.

Ediciones

Títulos por equipo

Véase también
Copa Aerosur
Copa Aerosur del Sur
Copa Cine Center

Enlaces externos
Previa de la Recopa 2011.
Universitario gana en el año 2011.
Universitario gana por penaltis en el año 2011.
.
Artículo del periódico El Deber, que informa de la creación de la Recopa Aerosur en el año 2009.
Artículo en el cual se detalla la Copa Aerosur 2010, no se menciona una posterior Recopa.

Recopa Aerosur

Recopa Aerosur


Voloska je staroslavenska božicom kućnog ognjišta i doma. Bračna je družica boga Volosa. Još u najstarije doba Slaveni su ju štovali zaštitnicu doma stočara i ratara, te su ju stoga predstavljali uz rogatu kravu. Trag u toponimima je Volovska glava u Zenici.

Izvori

Slavenska mitologija
Božanstva

Voloska


Barnabás Szőllős, né le  à Budapest, est un skieur alpin hongrois, naturalisé israélien.

Biographie
Fils du skieur alpin Peter Szőllős, sa famille déménage en Autriche durant son enfance et y découvre alors le ski. Sa sœur Noa et son frère Benjamin sont aussi des skieurs alpins qui représentent Israël.

Il commence sa carrière officielle lors de la saison 2014-2015, durant laquelle, il participe au Festival olympique de la jeunesse européenne, aux Championnats du monde junior et aux Championnats du monde élite à Beaver Creek ( du slalom géant). Un an plus tard, il concourt aux Jeux olympiques de la jeunesse à Lillehammer, où sa septième place au slalom est son meilleur résultat.

En décembre 2017, en raison de soucis financiers avec sa fédération et du fait que son père a entraîné l'équipe israélienne, le skieur juif adopte la nationalité sportive israélienne. Il fait alors ses débuts en Coupe d'Europe quelques semaines plus tard, après avoir obtenu un top vingt aux Championnats du monde junior à Davos ( de la descente). Lors de l'édition 2019, il prend la  de cette même épreuve.

En février 2021, il retourne au plus niveau aux Championnats du monde à Cortina d'Ampezzo, où il est inscrit à toutes les courses et finit quatre fois dans le top 30 :  de la descente,  du super G,  du slalom géant et  du combiné alpin.

Il fait sa première apparition en Coupe du monde en décembre 2021 au super G de Val Gardena ().

Barnabás Szőllős participe aux Jeux olympiques d'hiver de 2022 à Pékin, où il est qualifié pour les cinq disciplines, finissant  de la descente,  du super G,  du slalom géant,  du slalom géant et plus notamment sixième du combiné alpin, lors duquel il signe le deuxième temps de la manche de slalom et enregistre ainsi le meilleur résultat israélien de l'histoire en ski alpin, tout en égalant la meilleure performance israélienne aux Jeux d'hiver (comme le couple Galit Chait et Sergueï Sakhnovski en 2002).

Palmarès

Jeux olympiques d'hiver

Championnats du monde

Références

Liens externes

Skieur alpin israélien
Skieur alpin hongrois
Naissance en décembre 1998
Naissance à Budapest
Skieur alpin aux Jeux olympiques d'hiver de 2022

Barnabás Szőllős


Páos (), plus connu sous son ancien nom Skoúpi (), est un village du dème de Kalávryta, district régional d'Achaïe, en Grèce-Occidentale.

Selon le recensement de 2011, le village est inhabité.

Notes et références

Voir aussi

Liens externes

Village en Grèce-Occidentale

Skoúpi


Croods (enska: The Croods) er bandarísk kvikmyndasería, fyrsta kvikmyndin kom út árið 2013 og sú síðasta árið 2020.

Kvikmynd
 Croods (2013)
 Croods: Ný Öld (2020)

Kvikmyndagerð í Bandaríkjunum
Kvikmyndir
Bandarískar kvikmyndir
DreamWorks Animation-kvikmyndir

Croods (kvikmyndasería)


20000 Varuna, provisional designation , is a large trans-Neptunian object in the Kuiper belt. It was discovered in November 2000 by American astronomer Robert McMillan during a Spacewatch survey at the Kitt Peak National Observatory. It is named after the Hindu deity Varuna, one of the oldest deities mentioned in the Vedic texts.

Varuna's light curve is compatible with the body being a Jacobi ellipsoid, suggesting that it has an elongated shape due to its rapid rotation. Varuna's surface is moderately red in color due to the presence of complex organic compounds on its surface. Water ice is also present on its surface, and is thought to have been exposed by past collisions which may have also caused Varuna's rapid rotation. Although no natural satellites have been found or directly imaged around Varuna, analysis of variations in its light curve in 2019 suggests the presence of a possible satellite orbiting closely around Varuna.

History

Discovery

Varuna was discovered by American astronomer Robert McMillan using the Spacewatch 0.9-meter telescope during a routine survey on 28 November 2000. The Spacewatch survey was conducted by McMillan at the Kitt Peak National Observatory near Tucson, Arizona. At the time of discovery, Varuna was located at a moderately dense star field close to the northern galactic equator. Although Varuna was not detected by McMillan's real-time computer software, he was able to identify Varuna moving slowly among the background stars by manually comparing multiple scans of the same region using the blinking technique. After McMillan's observing shift, follow-up observations of Varuna were conducted by astronomer Jeffrey Larsen in order to confirm the object. By the end of Larsen's observing shift, both McMillan and Larsen had made a total of 12 observations that spanned three nights.

The discovery of Varuna was formally announced in a Minor Planet Electronic Circular on 1 December 2000. It was given the provisional designation , indicating that it was discovered during the second half of November 2000. Varuna was the 2667th object observed in the latter half of November, as indicated by the last letter and numbers in its provisional designation. At the time, Varuna was thought to be one of the largest and brightest minor planets in the Solar System due to its relatively high apparent magnitude of 20 for a distant object, which implied that it might be around one-fourth the size of Pluto and comparable in size to the dwarf planet .

Subsequently, after the announcement of Varuna's discovery, precovery images of Varuna were found by German astronomers Andre Knofel and Reiner Stoss at the Palomar Observatory. One particular precovery image, which was taken with the Palomar Observatory's Big Schmidt telescope in 1955, showed that Varuna was located three degrees away from its extrapolated location based on the approximate circular orbit determined in December 2000. The oldest known precovery image of Varuna was taken on 24 November 1954. These precovery images along with additional observations from Japan, Hawaii, and Arizona helped astronomers refine its orbit and determine Varuna's proper classification.

In January 2001, Varuna was assigned the minor planet number 20000 by the Minor Planet Center as its orbit was well determined from precovery images and subsequent observations. The minor planet number 20000 was particularly chosen to commemorate Varuna's large size, being the largest classical Kuiper belt object known at that time and was believed to be as large as Ceres. The number 20000 was also chosen to commemorate the coincidental 200th anniversary of the discovery of Ceres, which occurred in the same month as the numbering of Varuna.

Name
Varuna is named after the eponymous Hindu deity Varuna, following the International Astronomical Union naming convention for non-resonant Kuiper belt objects after creator deities. The name was proposed by Indian choreographer Mrinalini Sarabhai, and was approved by the IAU in March 2001. Varuna is one of the oldest Vedic deities of Hindu literature, being mentioned in the earliest hymns of the Rigveda. In Hindu literature, Varuna created and presided over the waters of the heaven and of the ocean. Varuna is the king of gods and men and the universe, and has unlimited knowledge.

Planetary symbols are no longer much used in astronomy, so Varuna never received a symbol in the astronomical literature. There is no standard symbol for Varuna used by astrologers either. Denis Moskowitz, a software engineer in Massachusetts who designed the symbols for most of the dwarf planets, proposed a symbol for Varuna (): it derives from the Devanagari letter va व and Varuna's snake-lasso. This symbol is occasionally mentioned on astrology websites, but is not broadly used.

Orbit and classification

Varuna orbits the Sun at an average distance of , taking 279 years to complete a full orbit. Its orbit is nearly circular, with a low orbital eccentricity of 0.056. Due to its low orbital eccentricity, its distance from the Sun varies slightly over the course of its orbit. Varuna's minimum distance possible (MOID) from Neptune is 12.04 AU. Over the course of its orbit, Varuna's distance from the Sun ranges from 40.3 AU at perihelion (closest distance) to 45.1 AU at aphelion (farthest distance). Varuna's orbit is inclined to the ecliptic by 17 degrees, similar to Pluto's orbital inclination. Varuna had passed its perihelion in 1928 and is currently moving away from the Sun, approaching aphelion by 2071.

With a nearly circular orbit at around 40 to 50 AU, Varuna is classified as a classical Kuiper belt object (KBO). Varuna's semi-major axis of 42.8 AU is similar to that of other large classical KBOs such as Quaoar (a=43.7 AU) and Makemake (a=45.6 AU), although other orbital characteristics such as inclination widely differ. Varuna is a member of the "dynamically hot" class of classical KBOs, meaning that it has an orbital inclination greater than 4 degrees, the imposed maximum inclination for dynamically cold members of its population. As a classical KBO, Varuna is not in orbital resonance with Neptune and is also free from any significant perturbation by Neptune.

Rotation

Varuna has a rapid rotation period of approximately 6.34 hours, derived from a double-peaked solution for Varuna's rotational light curve. Varuna's rotation was first measured January 2001 by astronomer Tony Farnham using the McDonald Observatory's 2.1-meter telescope, as part of a study on the rotation and colors of distant objects. CCD photometry of Varuna's light curve in 2001 revealed that it displays large brightness variations with an amplitude of about 0.5 magnitudes. The measured rotational light curve of Varuna provided two ambiguous rotation periods of 3.17 and 6.34 hours, for a single-peaked and a double-peaked solution, respectively. Additional possible rotation periods of 2.79 and 3.66 hours were also obtained by Farnham, although these values could not be ruled out at the time.

A single-peaked interpretation of Varuna's rotational light curve (3.17 h) would assume a spherical shape for Varuna, with albedo features on its surface that would account for its brightness variations. However, in order for this interpretation to be valid, Varuna must have a density much greater than  (roughly the density of water), otherwise it would deform and break apart as the given rotation period exceeds the critical rotation rate of ~3.3 hours for a body with a density of . A double-peaked interpretation of Varuna's rotational light curve (6.34 h) would assume that Varuna's shape is an elongated ellipsoid, with an estimated a/b aspect ratio of 1.5–1.6. The rotational light curve of Varuna was later investigated by astronomers David Jewitt and Scott Sheppard during February and April 2001, and concluded that the double-peaked interpretation for Varuna's light curve is the most plausible solution due to the absence of rotational variation in Varuna's color in the visible spectrum.

Examination of past photometric observations of Varuna's light curve has shown that its light curve amplitude had increased by roughly 0.13 magnitudes from 2001 to 2019. This increase in amplitude is due to the combined effects of Varuna's ellipsoidal shape, rotation, and varying phase angle. Geometric models for Varuna's changing amplitude have provided several possible solutions for the orientation of Varuna's rotational poles in ecliptic coordinates, with the best-fit solution adopting a spin axis right ascension and declination of 54° and −65°, respectively. The best-fit pole orientation of Varuna implies that it is being viewed at a near-edge on configuration, in which Varuna's equator nearly faces directly toward Earth.

Varuna's rapid rotation is believed to have resulted from disruptive collisions that have sped up its rotation during the formation of the Solar System. The present collision rate in the trans-Neptunian region is minimal, though collisions were more frequent during the formation of the Solar System. However, Jewitt and Sheppard calculated that the rate of disruptive collisions among large trans-Neptunian objects (TNOs) during the Solar System's formation is extremely uncommon, contradictory to the current abundance of binary and rapidly rotating TNOs that are believed to have originated from such collisions. To explain the abundance of binary and rapidly rotating TNOs, the rate of collisions among TNOs had likely increased as a result of Neptune's outward migration perturbing the orbits of TNOs, thus increasing the frequency of collisions which may have led to Varuna's rapid rotation.

Physical characteristics

Size and shape

As a result of its rapid rotation, the shape of Varuna is deformed into a triaxial ellipsoid. Given the rapid rotation, rare for objects so large, Varuna's shape is described as a Jacobi ellipsoid, with an a/b aspect ratio of around 1.5–1.6 (in which Varuna's longest semi-axis a is 1.5–1.6 times longer than its b semi-axis). Examination of Varuna's light curve has found that the best-fit model for Varuna's shape is a triaxial ellipsoid with the semi-axes a, b, and c in ratios in the range of b/a = 0.63–0.80, and c/a = 0.45–0.52.

Due to Varuna's ellipsoidal shape, multiple observations have provided different estimates for its diameter, ranging from . Most diameter estimates for Varuna were determined by measuring its thermal emission, although size estimates have been constrained to smaller values as a result of higher albedos determined by space-based thermal measurements. Observations of stellar occultations by Varuna have also provided varying size estimates. An occultation by Varuna in February 2010 yielded a chord length of , inferred to be across its longest axis. Later occultations in 2013 and 2014 yielded mean diameters of  and  respectively.

Since the discovery of Varuna, , another larger rapidly rotating (3.9 h) object over twice the size of Varuna, has been discovered and is also thought to have an elongated shape, albeit slightly less pronounced (estimated ratios of b/a = 0.76~0.88, and c/a = 0.50~0.55, possibly due to a higher estimated density approximately ).

Unlikely to be a dwarf planet

Astronomer Gonzalo Tancredi considered Varuna likely to be a dwarf planet and a Jacobi ellipsoid in shape. Based on a best-fit Jacobi ellipsoid model for Varuna, Lacerda and Jewitt estimate that Varuna has a quite low density, of , just under Tancredi's minimum density criterion. Despite this, they assumed Varuna was in hydrostatic equilibrium for their calculations. Astronomer William Grundy and colleagues propose that dark, low-density TNOs around the size range of approximately  are likely to be uncompressed, partially porous bodies. While the larger objects in this range, such as Varuna, may have fully collapsed into solid material in their interiors, their surfaces likely remain uncompressed. That is, they would not be in hydrostatic equilibrium and not dwarf planets.

Thermal measurements

Ground observations of Varuna's thermal emission from 2000 to 2005 yielded large diameter estimates ranging from  to , making it comparable to the size of Ceres. Contrary to the ground-based estimates, space-based thermal observations from the Spitzer Space Telescope provided a smaller diameter range of . The discrepancy between ground-based and space-based size estimates are due to the limited observable wavelengths for ground-based observations, as a result of absorption of Earth's atmosphere. Distant trans-Neptunian objects such as Varuna intrinsically emit thermal radiation at longer wavelengths due to their low temperatures. However, at long wavelengths, thermal radiation cannot pass through Earth's atmosphere and ground-based observations could only measure weak thermal emissions from Varuna at near-infrared and submillimeter wavelengths, hindering the accuracy of ground-based thermal measurements.

Space-based observations provided more accurate thermal measurements as they are able to measure thermal emissions at a broad range of wavelengths that are normally interfered by Earth's atmosphere. Preliminary thermal measurements with Spitzer in 2005 provided a higher albedo constraint of 0.12 to 0.3, corresponding to a smaller diameter constraint of . Further Spitzer thermal measurements at multiple wavelength ranges (bands) in 2007 yielded mean diameter estimates around  and  for a single-band and two-band solution for the data, respectively. From these results, the adopted mean diameter was . Follow-up multi-band thermal observations from the Herschel Space Observatory in 2013 yielded a mean diameter of , consistent with previous constraints on Varuna's diameter.

Occultations

Previous attempted observations of stellar occultations by Varuna in 2005 and 2008 were unsuccessful due to uncertainties in Varuna's proper motion along with undesirable conditions for observing. In 2010, an occultation by Varuna was successfully observed by a team of astronomers led by Bruno Sicardy on the night of 19 February. The occultation was observed from various regions in southern Africa and north-eastern Brazil. Although observations of the occultation from South Africa and Namibia had negative results, observations from Brazil, particularly at São Luís in Maranhão, successfully detected a  occultation by Varuna of an 11.1 magnitude star. The occultation yielded a chord length of , quite large compared to mean diameter estimates from thermal measurements. Because the occultation occurred near Varuna's maximum brightness, the occultation was observing the maximum apparent surface area for an ellipsoidal shape; the longest axis of Varuna's shape was observed during the occultation. São Luís was also located very close to the predicted centerline of Varuna's shadow path, meaning the chord length was close to the longest measurable during the event, closely constraining the possible maximum equatorial diameter.

Results from the same event from Camalaú, Paraíba, approximately  south (and on what was predicted to be the very southern extent of the shadow path), showed a 28-second occultation, corresponding to an approximately  chord, much longer than might otherwise have been expected. However, Quixadá,  south of São Luís–between it and Camalaú–paradoxically had a negative result. To account for the negative Quixadá results, the apparent oblateness (flattening) of Varuna was imposed at a minimum value of approximately 0.56 (aspect ratio c/a ≤ 0.44), corresponding to a minimum polar dimension of approximately , based on the given chord length of . The resulting lower bound on Varuna's polar dimension is approximately equal to Lacerda and Jewitt's lower bound c/a aspect ratio of 0.45, which they previously calculated in 2007. A preliminary conference presentation, given before the Camalaú results were fully analyzed, concluded that the São Luís and Quixadá results together suggested a significantly elongated shape is required for Varuna.

Later occultations in 2013 and 2014 yielded mean diameters of  and , respectively. The mean diameter of , calculated from both chords from the occultations, appears seemingly consistent with the Spitzer and Herschel thermal measurement of . While the apparent oblateness of Varuna could not be determined from the single chord obtained from the 2014 occultation, the 2013 occultation yielded two chords, corresponding to an apparent oblateness of approximately 0.29. The imposed oblateness for the 2013 chord length of  as Varuna's diameter corresponds to a polar dimension of approximately , somewhat consistent with the calculated 2010 minimum polar dimension of .

Spectra and surface

Varuna's spectrum was first analyzed in early 2001 with the Near Infrared Camera Spectrometer (NICS) at the Galileo National Telescope in Spain. Spectral observations of Varuna at near-infrared wavelengths revealed that the surface of Varuna is moderately red and displays a red spectral slope between the wavelength range of 0.9 and 1.8 μm. Varuna's spectrum also exhibits strong absorption bands at wavelengths of 1.5 and 2 μm, indicating the presence of water ice on its surface.

The red color of Varuna's surface results from the photolysis of organic compounds being irradiated by sunlight and cosmic rays. The irradiation of organic compounds such as methane on Varuna's surface produces tholins, which are known to reduce its surface reflectivity (albedo) and are expected to cause its spectrum to appear featureless. Compared to , which was observed along with Varuna in 2001, it appears less red and displays more apparent water ice absorption bands, suggesting that Varuna's surface is relatively fresh and had maintained some of its original material in its surface. The fresh appearance of Varuna's surface may have resulted from collisions that have exposed fresh water ice beneath Varuna's layer of tholins above its surface.

Another study of Varuna's spectra at near-infrared wavelengths in 2008 yielded a featureless spectrum with a blue spectral slope, contrary to earlier results in 2001. The spectra obtained in 2008 showed no clear indication of water ice, contradictory to the 2001 results. The discrepancy between the two results was interpreted as an indication of surface variation on Varuna, though this possibility was later ruled out by a 2014 study of Varuna's spectra. The 2014 results closely matched the previous spectra obtained in 2001, implying that the featureless spectra obtained in 2008 is likely erroneous.

Models for Varuna's spectrum suggest that its surface is most likely formed of a mixture of amorphous silicates (25%), complex organic compounds (35%), amorphous carbon (15%) and water ice (25%), with a possibility of up to 10% methane ice. For an object with a size similar to Varuna, the presence of volatile methane could not be primordial as Varuna is not massive enough to retain volatiles on its surface. An event that had occurred subsequently after Varuna's formation–such as an energetic impact–would likely account for the presence of methane on Varuna's surface. Additional near-infrared observations of Varuna's spectra were conducted at the NASA Infrared Telescope Facility in 2017 and have identified absorption features between 2.2 and 2.5 μm that might be associated with ethane and ethylene, based on preliminary analysis. For mid-sized bodies such as Varuna, volatiles such as ethane and ethylene are more likely to be retained than lighter volatiles such as methane according to volatile retention theories formulated by astronomers Schaller and Brown in 2007.

Brightness

Varuna's apparent magnitude, its brightness as seen from Earth, varies from 19.5 to 20 magnitudes. At opposition, its apparent magnitude can reach up 20.3 magnitudes. Combined thermal measurements from the Spitzer Space Telescope and the Herschel Space Observatory in 2013 obtained a visual absolute magnitude (HV) of 3.76, comparable to that of the similarly-sized Kuiper belt object  (HV=3.83). Varuna is among the twenty brightest trans-Neptunian objects known, despite the Minor Planet Center assuming an absolute magnitude of 3.6.

The surface of Varuna is dark, with a measured geometric albedo of 0.127 based on thermal observations in 2013. Varuna's geometric albedo is similar to that of the possible dwarf planet , which has a geometric albedo of 0.109. Varuna was initially thought to have a much lower geometric albedo, as early ground observations of Varuna's thermal emissions from 2000 to 2005 estimated albedo values ranging from 0.04 to 0.07, around eight times darker than Pluto's albedo. Later thermal measurements of Varuna with space-based telescopes refuted these previous albedo measurements: Spitzer measured a higher geometric albedo of 0.116 while further thermal measurements from Spitzer and Herschel in 2013 estimated a geometric albedo of 0.127.

Photometric observations of Varuna in 2004 and 2005 were carried out to observe changes in Varuna's light curve caused by opposition surges when the phase angle of Varuna approaches zero degrees at opposition. The photometry results showed that Varuna's light curve amplitude had decreased to 0.2 magnitudes at opposition, less than its overall amplitude of 0.42 magnitudes. The photometry results also showed an increase in asymmetry of Varuna's light curve near opposition, indicating variations of scattering properties over its surface. The opposition surge of Varuna differs from those of dark asteroids, which gradually becomes more pronounced near opposition in contrast to Varuna's narrow opposition surge, in which its light curve amplitude sharply changes within a phase angle of 0.5 degrees. The opposition surges of other Solar System bodies with moderate albedos behave similarly to Varuna, indirectly suggesting that Varuna might have a higher albedo in contrast to ground-based albedo estimates. This implication of a higher albedo for Varuna was confirmed in subsequent thermal measurements from Spitzer and Herschel.

Internal structure
Varuna is estimated to have a bulk density of , marginally less than that of water (). Varuna's low bulk density is likely due to a porous internal structure composed of a nearly proportional ratio of water ice and rock. To explain its porous internal structure and composition, Lacerda and Jewitt suggested that Varuna may have a granular internal structure. Varuna's granular internal structure is thought to have resulted from fractures caused by past collisions likely responsible for its rapid rotation. Other objects including Saturn's moons Tethys and Iapetus are also known to have a similarly low density, with a porous internal structure and a composition that is predominantly water ice and rock. William Grundy and colleagues proposed that dark, low-density TNOs around the size range of approximately  are transitional between smaller, porous (and thus low-density) bodies and larger, denser, brighter and geologically differentiated planetary bodies (such as dwarf planets). The internal structures of low-density TNOs, such as Varuna, had only partially differentiated, as their likely rocky interiors had not reached sufficient temperatures to melt and collapse into pore spaces since formation. As a result, most mid-sized TNOs had remained internally porous, thus resulting in low densities. In this case, Varuna may not be in hydrostatic equilibrium.

Possible satellite

Photometric observations of Varuna's light curve, led by Valenzuela and colleagues in 2019, indicate that a possible satellite might be orbiting Varuna at a close distance. By using the Fourier analysis method of combining four separate light curves obtained in 2019, they derived a lower quality light curve amplitude with a greater amount of residuals. Their result indicated that Varuna's light curve experiences subtle changes over time. They plotted the residuals of the combined light curve in a Lomb periodogram and derived an orbital period of 11.9819 hours for the possible satellite. The satellite varies in brightness by 0.04 magnitudes as it orbits Varuna. Under the assumption that Varuna's density is  and the satellite is tidally locked, the team estimates that it orbits Varuna at a distance of , just beyond the estimated Roche limit of Varuna (~). Due to the satellite's close proximity to Varuna, it is not yet possible to resolve it with space-based telescopes such as the Hubble Space Telescope as the angular distance between Varuna and the satellite is smaller than the resolution of current space-based telescopes. Although direct observations of Varuna's satellite are unfeasible with current telescopes, Varuna's equator is being directly viewed at an edge-on configuration, implying that mutual events between the satellite and Varuna could possibly occur in the future.

Exploration
Planetary scientist Amanda Zangari calculated that a flyby mission to Varuna could take just over 12 years using a Jupiter gravity assist, based on a launch date of 2035 or 2038. Alternative trajectories using gravity assists from Jupiter, Saturn, or Uranus have been also considered. A trajectory using gravity assists from Jupiter and Uranus could take just over 13 years, based a launch date of 2034 or 2037, whereas a trajectory using gravity assists from Saturn and Uranus could take under 18 years, based on an earlier launch date of 2025 or 2029. Varuna would be approximately 45 AU from the Sun when the spacecraft arrives before 2050, regardless of the trajectories used.

Notes

References

External links

 (20000) Varuna – Large TNO precovered on several old plates Precovery images of Varuna. Retrieved 22 September 2019.
 Beyond Jupiter: The World of Distant Minor Planets – (20000) Varuna

Classical Kuiper belt objects
Discoveries by the Spacewatch project
Varuna
Possible dwarf planets
Objects observed by stellar occultation
20001128

20000 Varuna


Luvart er den side på et skib, hvor vinden kommer ind, dvs. det modsatte af læ. Benævnes også luv side. Ved kraftig vind kunne man på et sejlførende krigsskib opleve, når man lå til luvart for en modstander, at kanonportene på nederste batteridæk ikke kunne åbnes uden fare for at oversvømme dækket.

Skibsterminologi

Luvart


Pedro de Miranda (n. en Larraga, Navarra, entre 1517-1519; Santiago de Chile, 1 de noviembre de 1573) fue un capitán español durante la Conquista de Chile. Estuvo casado con doña Esperanza de Rueda, con quien tuvo nueve hijos.

Caballero hidalgo notorio en España, se unió a la expedición de Pedro de Valdivia antes de llegar a Tarapacá. Asistió a la fundación de Santiago de Chile en febrero de 1541, y en septiembre de ese mismo año debió partir con Alonso de Monroy y cuatro hombres en busca de socorros a Lima inmediatamente después de la destrucción de la ciudad por parte de los indígenas encabezados por Michimalonco. El viaje fue por tierra, ya que había sido quemado el barco que se construía en Concón, y al pasar por el valle de Copiapó la expedición fue sorprendida y tomada prisionera por los indígenas, muriendo los cuatro soldados, pero logró escapar junto a Monroy y llegar a Perú.

A su retorno, recibió encomiendas en Santiago y Copequén, y ostentó diversos cargos en el Cabildo de Santiago entre 1549 y 1563, como procurador, Fiel Ejecutor, regidor, Alférez Real y  alcalde.

Falleció asesinado por su yerno Bernabé Mejía el 1 de noviembre de 1573.

Referencias
 Genealogía de la familia Miranda en Chile. Pedro de Miranda

Conquistadores españoles de Chile
Militares de España del siglo XVI
Militares de Navarra
Exploradores de España del siglo XVI
Nacidos en Larraga

Pedro de Miranda


Marsupiomonas, monotipski rod zelenih algi smješten u porodicu Marsupiomonadaceae, dio reda Marsupiomonadales. Jedina vrsta M. pelliculata, živi po bočatim vodama

Vrsta je opisana 1994. godine.

Izvori

Vanjske poveznice
 An ultrastructural study of Marsupiomonas pelliculata gen. et sp. nov., a new member of the Pedinophyceae
Pedinophyceae

Marsupiomonas


Divizia B 1997-1998 a fost a 58-a ediție a Diviziei B, al doilea eșalon fotbalistic al României.

Echipele de pe locul 1 au promovat în Divizia A la finalul sezonului, locurile 2 au jucat un baraj pentru promovare, în timp ce ultimele 3 din fiecare serie au retrogradat în Divizia C.

Seria I

M = Meciuri jucate; V = Victorii; E = Egaluri; Î = Înfrângeri; GM = Goluri marcate; GP = Goluri primite; DG = Diferență goluri; Pct = Puncte

Seria II

M = Meciuri jucate; V = Victorii; E = Egaluri; Î = Înfrângeri; GM = Goluri marcate; GP = Goluri primite; DG = Diferență goluri; Pct = Puncte

Baraj promovare Divizia A

<div id="ded1"></div id>

Sezoane Liga a II-a

Divizia B 1997-1998


Vysoká pri Morave este o comună slovacă, aflată în districtul Malacky din regiunea Bratislava, pe malul râului Morava. Localitatea se află la , se întinde pe o suprafață de  și în 2017 număra 2.297 de locuitori. Se învecinează cu comuna .

Istoric
Localitatea Vysoká pri Morave este atestată documentar din 1271.

Note

Legături externe

Localități din Slovacia

Vysoká pri Morave


إنريكو ألبرتوزي ، (بونتريمولي بمقاطعة ماسا كرارا 2 نوفمبر 1939) ، لاعب كرة قدم إيطالي سابق.

لعب مع منتخب إيطاليا لكرة القدم.

مراجع

روابط خارجية

حراس مرمى كرة قدم رجالية
أشخاص على قيد الحياة
لاعبو الدوري الإيطالي
لاعبو الدوري الإيطالي الدرجة الثالثة
لاعبو الدوري الإيطالي الدرجة الرابعة
لاعبو إيه سي ميلان
لاعبو بطولة أمم أوروبا 1968
لاعبو فيورنتينا
لاعبو كأس العالم 1962
لاعبو كأس العالم 1966
لاعبو كأس العالم 1970
لاعبو كأس العالم 1974
لاعبو كالياري
لاعبو كرة قدم إيطاليون
لاعبو كرة قدم من توسكانا
لاعبو منتخب إيطاليا لكرة القدم
لاعبو نادي سبيزيا
لاعبون فائزون ببطولة أمم أوروبا
مواليد 1939

إنريكو ألبرتوزي


Erkesuden var et klinkbygget langskib som deltog i slaget ved Fimreite den 15. juni 1184, under ledelse af Nikolas Kuvung (af Giskeslægten).

Erkesuden skal have været en 20-sesse, og er derfor det mindste skib som benævnes som en sud i sagalitteraturen. Ærkebiskop Øystein Erlendsson gav dette skibet til Nikolas Kuvung, som var biskoppens frænde.

Nikolas tilhørte Heklungerne, som støttede kong Magnus Erlingsson i 1180'erne i kampen om kongemagten over Norge mod Sverre Sigurdsson, birkebeinernes tronemne. Slaget ved Fimreite var slaget, hvor kong Magnus og de fleste af hans høvdingerne faldt, mens Nikolas Kuvung klarede at komme derfra.

Se også
 Sud
 Vikingeskib

Referencer

Skibe fra Norge

Erkesuden


Das gibt Ärger (Originaltitel This Means War) ist eine US-amerikanische Action-Komödie des Regisseurs McG aus dem Jahr 2012. Er handelt von zwei Geheimagenten, dargestellt von Chris Pine und Tom Hardy, die sich in dieselbe Frau, gespielt von Reese Witherspoon, verlieben.

Handlung
Nach einem missglückten Auftrag in Hongkong gegen den international gesuchten Verbrecher Karl Heinrich werden die beiden CIA-Kollegen und besten Freunde FDR Foster und Tuck Henson in den Innendienst versetzt. Da es dort nicht viel zu tun gibt, lernt Tuck über ein Dating-Portal die attraktive und sympathische Lauren kennen. Allerdings begegnet auch FDR unabhängig von Tuck Lauren in einer Videothek. Als die Freunde herausfinden, dass sie beide um dieselbe Frau werben, beschließen sie, daraus einen Wettkampf zu machen, von dem Lauren nichts weiß.

Lauren trifft beide Männer mehrmals unabhängig voneinander, wobei die Konkurrenten jeweils Technik und Personal des Geheimdienstes missbrauchen, um sich einen Vorteil zu verschaffen. Lauren gerät dadurch aber immer mehr unter Druck. Als allerdings Karl Heinrich in die USA einreist, um sich an FDR und Tuck zu rächen, die für den Tod seines Bruders verantwortlich sind, müssen die beiden gegenüber Lauren gestehen, dass sie sich schon sehr lange kennen. Als sie ein Restaurant verlassen wollen, tauchen plötzlich Karl Heinrich und seine Männer auf und eine Verfolgungsjagd beginnt, an deren Ende Karl Heinrich ums Leben kommt. Dabei wird Lauren in eine lebensgefährliche Situation gebracht, in der sie sich für ihre wahre Liebe entscheiden muss, und ihre Wahl fällt auf FDR. Tuck wiederum wird von seiner geschiedenen Frau und seinem Sohn mit offenen Armen empfangen, nachdem die beiden die Verfolgungsjagd am Fernsehgerät verfolgt haben und auf diese Weise entdeckt haben, dass Tuck in Wirklichkeit als Geheimagent tätig ist und nicht als Reiseveranstalter.

Hintergrund
Der Film Das gibt Ärger war bereits Jahre vor dem eigentlichen Produktionsbeginn geplant, zunächst noch mit Martin Lawrence und Chris Rock in den Hauptrollen. Das Projekt kam jedoch nicht zustande. In den folgenden Jahren wurde das Drehbuch weiterentwickelt und verschiedene Schauspieler wurden für die Hauptrollen in Betracht gezogen.

Die Rolle des Tuck Henson wurde so auch Sam Worthington angeboten. Nachdem dieser jedoch abgelehnt hatte, übernahm Tom Hardy die Rolle.

Der Film sollte ursprünglich am 14. Februar 2012 – zum Valentinstag – in den Vereinigten Staaten in die Kinos kommen. Die Produktionsfirma 20th Century Fox verlagerte den offiziellen Starttermin jedoch auf den 17. Februar 2012, da auf diese Weise eine Konkurrenz des Films mit dem Romantik-Drama Für immer Liebe (The Vow) vermieden werden sollte. Stattdessen wurde der Film am 14. Februar 2012 in rund 2000 Kinos als Überraschungspremiere aufgeführt. In Deutschland erschien der Film am 1. März 2012 in den Kinos.

Deutsche Synchronfassung
Die deutsche Synchronbearbeitung entstand bei Film- & Fernseh-Synchron in Berlin. Das Dialogbuch verfasste Klaus Bickert, Synchronregie führte Norman Matt.

Til Schweiger synchronisierte sich in der deutschsprachigen Fassung selbst, während Matthias Klages gleich mehrere Rollen einsprach.

Kritiken

Auszeichnungen
John Paul Ruttan erhielt eine Nominierung für den Young Artist Award in der Kategorie Beste Leistung eines Jugenddarstellers in einer Nebenrolle.

Weblinks
 Offizielle deutsche Website zum Film

Einzelnachweise

Filmtitel 2012
US-amerikanischer Film
Actionfilm
Filmkomödie

Das gibt Ärger


Die Liste der deutschen Botschafter in Angola enthält die Botschafter der Bundesrepublik Deutschland in Angola. Sitz der Botschaft ist in Luanda.

Die Bundesrepublik Deutschland eröffnete 1954 ein Konsulat in Luanda. Dieses wurde 1969 in ein Generalkonsulat umgewandelt. 1979 wurden diplomatische Beziehungen aufgenommen und das Generalkonsulat wurde zur Botschaft.

Siehe auch
 Botschafter der DDR in Angola
 Deutsche Botschaft Luanda

Weblinks
 Website der Deutschen Botschaft Luanda

Einzelnachweise

!
Angola
Deutschland


Klada ADA, klada mahunarki koja je dobila ime po prvim slovima monofiletskih podtribusa Angylocalycinae, Dipteryginae i Amburaneae sa ukupno 19 rodova.

Rodovi

 Subtribus Angylocalycinae (Yakovlev) Povydysh
 Xanthocercis Baill. (3 spp.)
 Angylocalyx Taub. (7 spp.)
 Castanospermum A. Cunn. (1 sp.)
 Alexa Moq. (10 spp.)
 Subtribus Dipteryginae Polhill
 Monopteryx Spruce ex Benth. (3 spp.)
 Taralea Aubl. (6 spp.)
 Pterodon Vogel (5 spp.)
 Dipteryx Schreb. (11 spp.)
 Subtribus Amburaneae clade
 Petaladenium Ducke (1 sp.)
 Dussia Krug & Urb. ex Taub. (10 spp.)
 Myrospermum Jacq. (2 spp.)
 Myrocarpus Allemão (5 spp.)
 Myroxylon L. fil. (2 spp.)
 Amburana Schwacke & Taub. (3 spp.)
 Cordyla Lour. (5 spp.)
 Dupuya J. H. Kirkbr. (2 spp.)
 Mildbraediodendron Harms (1 sp.)
 Neoharmsia R. Vig. (2 spp.)
 Sakoanala R. Vig. (2 spp.)

Izvori

Vanjske poveznice

Faboideae

Klada ADA


Južna lokalna superpraznina je strahovito velik, gotovo prazan međugalaktički prostor (praznina).

Leži pokraj mjesnog superskupa, koji sadrži našu galaksiju Mliječni put. Središte ove praznine udaljeno je 96 megaparseka, a praznina je na svom najužem dijelu široka 112 megaparseka. Njezin volumen je približno 600 milijarda puta veći od volumena Mliječnog puta.

Poveznice
 Popis najvećih struktura u svemiru

Izvori

Praznine (astronomija)

Južna lokalna superpraznina


Liga Confederacionista, fundada em São Paulo pelo grupo mais radical da Liga de Defesa Paulista, foi uma organização política brasileira que buscava criar um Estado confederado no país, uma forma alternativa ao separatismo que começou a crescer no Estado de São Paulo desde o início da Era Vargas.

História
Cinco meses após a derrota dos paulistas na Revolução Constitucionalista, funda-se a Liga Confederacionista em 11 de março 1933, em São Paulo, sendo inspirada nas ideias contidas no livro Confederação ou Separação de Alfredo Ellis Jr., publicado pela primeira vez em 1932. A organização, observando o Brasil, pelas suas vastas proporções territoriais, diferenças climáticas, formação étnica e grande diversidade cultural, julga que é o país típico para um regime confederacionista. O objetivo dos confederacionistas era conquistar uma ampla autonomia dos Estados, só sendo permitida a intervenção do Governo central em caso de guerra externa, agressão ao desrespeito de outro Estado, ou solicitação dos governos locais. A organização considerava o regime unitário inviável para o Brasil devido às grandes diferenças regionais existentes.

Com sede localizada na Praça da Sé, em São Paulo, para alcançar seu objetivo, a Liga Confederacionista usou os meios da imprensa e conferências. Seu primeiro presidente foi René Thiollier que, por motivos profissionais, não pode continuar seu mandato. Posteriormente, foi eleito Alfredo Ellis Jr.

A Liga imprimiu em 1934, mais de 20 mil cópias do manifesto e os espalhou por todos os lugares de São Paulo e do Brasil, inclusive para os partidos políticos. Publicou na imprensa diária de São Paulo e de outros estados noventa e dois artigos em defesa de seu ideal ou em resposta às críticas recebidas. A secretaria da organização enviou 42 comunicados à imprensa em nível nacional sobre as decisões da diretoria. Foram distribuídos pelo país 36 mil cópias dos boletins mensais com artigos de colaboração dos sócios. Cederam 14 entrevistas na imprensa diária de São Paulo e distribuíram 50 mil cópias das circulares dirigidas a várias categorias profissionais. Foram realizadas sete conferências na capital paulista e no interior de São Paulo, duas no Club Comercial de São Paulo, duas em Araras, uma em São Carlos, uma em Jundiahy, e uma em Santos, todas com grande público.

Organizações políticas do Brasil
História do estado de São Paulo
Revolução Constitucionalista de 1932
Era Vargas

Liga Confederacionista