La policía estatal de Yucatán es un cuerpo de policía responsable de la seguridad pública, tránsito y prevención del delito en la entidad federativa mexicana de Yucatán. Opera a través de la Secretaría de Seguridad Pública (S.S.P.), órgano administrativo centralizado del poder ejecutivo estatal y su sede central se encuentra ubicado en el Complejo de Seguridad que alberga también las sedes de la Fiscalía General del Estado y de la Fiscalía General de la República, al oeste de la ciudad de Mérida.

Su operación territorial es conducida a través de los Centros Integrales de Seguridad Pública (CISP). Se encuentra dividida, para el ejercicio de cobertura logística y operativa a lo largo de la geografía yucateca, de cinco regiones: litoral-norte, sur, oriente, poniente y centro. Desde el año 2013 la Secretaría de Seguridad Pública opera en convenio con las policías de los 106 municipios del Estado, en un sistema de mando único denominado Policía Coordinada.

Marco jurídico

Normatividad general

Constitución Política de los Estados Unidos Mexicanos
El artículo 21 de la Constitución Política de los Estados Unidos Mexicanos señala la competencia de las autoridades administrativas la aplicación de sanciones por las infracciones de los reglamentos gubernativos y de policía. A su vez, menciona en su párrafo noveno que:

A su vez, las instituciones de seguridad pública deberán ser de carácter civil, disciplinado y profesional

Ley General del Sistema Nacional de Seguridad Pública

Otras legislaciones generales
 Ley Nacional del Uso de la Fuerza
 Ley Nacional de Registro de Detenciones

Normatividad local

Constitución Política del Estado de Yucatán

Código para la Administración Pública de Yucatán

Ley del Sistema Estatal de Seguridad Pública

Otras legislaciones estatales

Estructura

De conformidad al artículo 186 del Reglamento del Código para la Administración Pública del Estado de Yucatán, la Secretaría de Seguridad Pública se estructura de la siguiente manera:

 I. Oficina del Secretario de Seguridad Pública
 Secretaría Particular
 Central de Mando
 Coordinación de Asuntos Internos e Información Policial
 Departamento de Atención Ciudadana
 Departamento de Comunicación Social
 Coordinación de Vigilancia General
 Unidad de Hangares y Servicios Aéreos
 Ayudantía

 II. Subsecretaría de la Policía Estatal de Caminos Peninsular
 Dirección de Operación de los Centros Integrales de Seguridad Pública (CISP)
 Dirección de Siniestros y Rescates
 Unidad Metropolitana
 Unidad Estatal
 Unidad Marítina

 III. Subsecretaría de Seguridad Ciudadana
 Dirección de Operación de los Sectores
 Dirección Operativa
 Grupo Especial Antimotines
 Grupo de Operaciones Especiales contra Robos y Asaltos (G.O.E.R.A.)
 Grupo motorizado para vigilancia de zonas bancarias, comerciales y empresariales
 Unidad de Monitoreo e Inteligencia Policial (UMIPOL C5i)
 Unidad de Policía Procesal
 Unidad Canina (K9)
 Unidad de Transportes
 Unidad de Policía Vecinal

 IV. Subsecretaría de Servicios Viales
 Dirección de Servicios Viales
 Escuadrón de Motociclistas (Grupo Águilas)
 Unidad de Policía Escolar
 Unidad de Ambulancias
 Unidad de Auxilio Vial
 Departamento de Educación Vial
 Dirección de Operativos Viales
 Unidad de Patrullas Viales (Vialidad)
 Unidad de Policía Turística
 Unidad de Servicios Extraordinarios
 Unidad de Salvamento y Arrastres
 Departamento de Peritos de Tránsito
 Departamento de Ingeniería de Tránsito
 Juzgados de Vialidad

 V. Subsecretaría de la Policía Estatal de Investigación (P.E.I.)
 Dirección de Policía Estatal de Investigación
 Dpto. de Investigaciones y Mandamientos
 Dpto. de Investigación de Delitos de Alto Impacto
 Departamento de Investigación de Sectores y Foráneas

 Dirección de la Policía Estatal de Investigación Especializada en la Escena del Crimen (P.E.I.E.E.C.)

 VI. Dirección General de Administración
 Departamento de Recursos Humanos
 Departamento de Depósito de Vehículos
 Departamento de Mantenimiento Vehicular
 Departamento de Servicios Generales
 Departamento de Sistemas y Procedimientos de Control
 Departamento Administratico
 Departamento de Control Presupuestal
 Departamento de Compras
 Departamento de Almacén
 Departamento del Registro de Control Vehicular
 Departamento de Servicios Médicos
 Departamento de Eventos Especiales

 VII. Dirección Jurídica
 Departamento de Asuntos Contenciosos
 Departamento de Trámites Jurídicos y Seguimientos

 VIII. Órganos Desconcentrados
 Instituto de Capacitación de las Corporaciones de Seguridad Pública
 Patronato Pro-Hijo del Policía

Rangos
De acuerdo al artículo 14, fracción I al XIII, del Manual de Vestuario e Identidad del Personal Policial de la Secretaría de Seguridad Pública del Estado de Yucatán y en concordancia con los artículos 39 y 40 de la Ley del Sistema Estatal de Seguridad Pública, estos son los rangos o escala jerárquica e insignias a portar entre elementos de la policía estatal.

Lo anterior, se homologa con lo estipulado en la Ley General del Sistema Nacional de Seguridad Pública en sus artículos 80 y 81, que estipula que las entidades federativas establecerán la organización jerárquica de las instituciones policiales con al menos, las siguientes escalas:

Operaciones tácticas

G.O.E.R.A.

El Grupo de Operaciones Especiales contra Robos y Asaltos (comúnmente llamados G.O.E.R.A.) es un grupo táctico de la Policía Estatal. Fue creado en el año de 1999 con el objetivo de contar con una unidad de élite. Están capacitados en la realización de operativos rápidos y sorpresivos así como manejo de armas cortas y largas. Ha recibido entrenamiento y capacitación de fuerzas de seguridad de Israel, el FBI y de la SWAT de los Estados Unidos.

Vehículos
Hasta el año 2015, la Policía Estatal contaba con un parque vehicular de aproximadamente 1,365 vehículos entre automóviles, camionetas, ambulancias, lanchas, un helicóptero y una avioneta.

Formación y capacitación
El personal de la policía estatal y de  las policías municipales del Estado se forman y capacitan en la Academia de Formación Policial, ubicado en el municipio de Umán, al sur de la ciudad de Mérida. La Academia de Formación Policial es un órgano desconcentrado de la Secretaría de Seguridad Pública, de conformidad con el Reglamento del Código de la Administración Pública del Estado de Yucatán en su artículo 186, fracción VIII, inciso A.

Lista de los Secretarios de Seguridad Pública

Esta es la lista de las personas que han sido titulares de la Secretaría de Seguridad Pública del estado de Yucatán. Hasta antes de 2008, se le conocía como Secretaría de Protección y Vialidad, y durante el siglo XX, se le conoció con otros nombres como Dirección de Protección y Vialidad, Departamento de Protección y Vialidad o Dirección General de Seguridad Pública y Tránsito.

Secretaría de Seguridad Pública

Secretaría de Protección y Vialidad

Dirección de Protección y Vialidad

Otros titulares (1984 hacia abajo)

Problemáticas
La policía estatal de Yucatán enfrenta o ha enfrentado diversas problemáticas como:

Respeto a los derechos humanos

Véase también
 Policía Municipal de Mérida
 Fiscalía General de la República
 Fiscalía General del Estado de Yucatán
 Guardia Nacional de México
 Anexo:Policías estatales de México
 Secretaría de Seguridad y Protección Ciudadana

Enlaces externos
 Secretaría de Seguridad Pública del Estado de Yucatán

Referencias

Yucatán
Gobierno del estado de Yucatán

Policía estatal de Yucatán


الهُضام أو عسر الهضم، المعروف أيضا باسم اضطراب المعدة  هو حالة طبية من ضعف الهضم. قد تشمل الأعراض امتلاء البطن العلوي، حرقة الفؤاد، غثيان، تجشؤ، أو ألم بطني علوي. قد يشعر الناس أيضا بالشبع في وقت أبكر مما كان متوقعا عند تناول الطعام. عسر الهضم شائع نسبيا، ويؤثر على 20٪ من الناس في مرحلة ما من حياتهم، وغالبا ما يحدث بسبب مرض الارتجاع المريئي أو التهاب المعدة.

يصنف عسر الهضم على أنه «عضوي» أو «وظيفي»، ولكن إجراء التشخيص يمكن أن يكون تحديا للأطباء. عسر الهضم العضوي هو نتيجة لمرض كامن، مثل التهاب المعدة، مرض القرحة الهضمية (قرحة في المعدة أو الاثني عشر) أو السرطان. عسر الهضم الوظيفي (الذي كان يسمى سابقا عسر الهضم غير التقرحي) هو عسر الهضم دون دليل على وجود مرض كامن. يقدر أن عسر الهضم الوظيفي يؤثر على حوالي 15٪ من عامة السكان في البلدان الغربية ويمثل غالبية حالات عسر الهضم.

في المرضى المسنين (60 عاما أو أكثر) أو الذين يعانون من أعراض مثيرة للقلق مثل صعوبة البلع، فقدان الوزن أو فقدان الدم، يوصى بالتنظير الداخلي (وهو إجراء يتم بموجبه إدخال كاميرا متصلة بأنبوب مرن أسفل الحلق وفي المعدة) لإجراء مزيد من التقييم وإيجاد سبب محتمل. في المرضى الذين تقل أعمارهم عن 60 عاما، يوصى بإجراء اختبار لبكتيريا الملوية البوابية وإذا كانت إيجابية، يوصى بعلاج العدوى.

العلامات والأعراض

أعراض
من المحتمل أن يبلغ المرضى الذين يعانون من عسر الهضم عن أحد الأعراض التالية أو مزيج منها أو جميعها:

 ألم أو إزعاج في الجزء العلوي من البطن
 الانتفاخ
 الشبع المبكر
 الامتلاء بعد الأكل
 غثيان مع أو بدون قيء
 فقدان الشهية
 أرجاع (قلس)

علامات
قد يكون هناك حنان في البطن، ولكن هذه النتيجة غير محددة وليست مطلوبة لإجراء تشخيص. ومع ذلك، هناك علامات الفحص البدني التي قد تشير إلى تشخيص مختلف وسبب أساسي لعدم الراحة المبلغ عنها للمريض. تشير علامة كارنيت الإيجابية (الحنان البؤري الذي يزداد مع تقلص جدار البطن والجس) إلى مسببات تنطوي على عضلات جدار البطن. قد يشير التوزيع الجلدي للألم إلى اعتلال متعدد الجذور الصدري. قد يشير الحنان إلى الجس فوق الربع العلوي الأيمن، أو علامة ميرفي، إلى التهاب المرارة أو مشاكل المرارة.

أعراض التنبيه
تعرف أيضا باسم ميزات الإنذار أو ميزات التنبيه أو الأعلام الحمراء أو علامات التحذير في أدبيات الجهاز الهضمي (GI).

يعتقد أن ميزات الإنذار مرتبطة بأمراض الجهاز الهضمي الخطيرة وتشمل:

 نزيف الجهاز الهضمي المزمن

 فقدان الوزن التدريجي غير المقصود
 صعوبة تدريجية في البلع (عسر البلع)
 القيء المستمر
 فقر الدم الناجم عن عوز الحديد
 فقر الدم الخبيث (نقص فيتامين بي12)
 كتلة شرسوفية

الأسباب
عسر الهضم هو تشخيص يتعلق بمزيج من الأعراض التي يمكن أن تعزى إلى أسباب «عضوية» أو «وظيفية». يجب أن يكون لعسر الهضم العضوي نتائج مرضية عند التنظير الداخلي، مثل القرحة في بطانة المعدة في مرض القرحة الهضمية. بمن غير المرجح أن يتم اكتشاف عسر الهضم الوظيفي عند التنظير الداخلي ولكن يمكن تقسيمه إلى نوعين فرعيين، متلازمة الألم الشرسوفي (EPS) ومتلازمة الضائقة ما بعد الأكل (PDS). الإضافة إلى ذلك، يمكن أن يحدث عسر الهضم بسبب الأدوية، الطعام، أو عمليات الأمراض الأخرى.

عسر الهضم العضوي
يحدث في وجود سبب عضوي، جهازي، أو أيضي ثابت مع حل الأعراض أو تحسنها بعد حل السبب الكامن.

عسر الهضم العضوي يمكن أن يكون بسبب:

 التهاب المريء، وهو التهاب في المريء ناتج عن الارتجاع المعدي المريئي.
 التهاب المعدة تشمل القرحة الهضمية، العدوى مثل الملوية البوابية، بعض الأدوية مثل مضادات الالتهاب غير الستيروئيدية، أو يمكن أن يكون مناعيا ذاتيا.
 مرض البنكرياس الصفراوي وتشمل هذه تحص صفراوي، التهاب البنكرياس المزمن وسرطان البنكرياس.
 التهاب الإثني عشر الجزئي الناجم عن الكائنات الحية الدقيقة في الأمعاء الاثني عشر المتغيرة

عسر الهضم الوظيفي
عسر الهضم الوظيفي هو سبب شائع لحرقة الفؤاد المزمنة. أكثر من 70٪ من الناس ليس لديهم سبب عضوي واضح لأعراضهم بعد التقييم. قد تنشأ الأعراض من تفاعل معقد من زيادة الحساسية الحشوية الواردة أو تأخر إفراغ المعدة (خزل المعدة) أو ضعف الإقامة في الطعام. يرتبط القلق أيضا بعسر الهضم الوظيفي. في بعض الناس، يظهر قبل ظهور أعراض الأمعاء؛ في حالات أخرى، يتطور القلق بعد ظهور الاضطراب، مما يشير إلى أن اضطراب المحور الدماغي المعودي قد يكون سببا محتملا. على الرغم من أنها حميدة، إلا أن هذه الأعراض قد تكون مزمنة ويصعب علاجها. يمكن أن يكون بسبب:

 متلازمة الألم الشرسوفي (EPS)
 متلازمة الضائقة ما بعد الأكل (PDS)

أسباب أخرى
 قد يكون سبب عسر الهضم الحاد المحدود ذاتيا هو الإفراط في تناول الطعام، تناول الطعام بسرعة كبيرة، تناول الأطعمة الغنية بالدهون، تناول الطعام أثناء المواقف العصيبة أو شرب الكثير من الكحول أو القهوة.
 كما تبين أن الأعشاب الشائعة تسبب عسر الهضم، مثل توت الصفصاف الأبيض، الثوم، الجنكة، توت الشجرة العفيف، بلميط منشاري، وأقحوان.
 يمكن أن يساهم القمح والدهون الغذائية في عسر الهضم وتشير إلى أن الأطعمة الغنية بالكربوهيدرات قصيرة السلسلة (فودماب) قد ترتبط بعسر الهضم. يشير هذا إلى أن تقليل أو استهلاك نظام غذائي خال من الغلوتين و/أو قليل الدسم و/أو حمية فودماب قد يحسن الأعراض.
 تسبب العديد من الأدوية عسر الهضم، بما في ذلك الأسبرين، الأدوية غير الستيرويدية المضادة للالتهابات (مضادات الالتهاب غير الستيروئيدية)، المضادات الحيوية (المترونيدازول والماكروليدات)، موسعات الشعب الهوائية (الثيوفيلين) وأدوية السكري (الأكوربوز، الميتفورمين، مثبط ألفا جلوكوزيداز، مضادات مستقبلات GLP-1)، الأدوية الخافضة للضغط (مثبطات الإنزيم المحول للأنجيوتنسين [ACE]، ومضاد مستقبلات الأنجيوتنسين الثاني)، وعوامل خفض الكوليسترول (النياسين، والألياف)، والأدوية العصبية والنفسية (مثبطات الكولينستراز [دونيبيزيل، ريفاستيغمين])، و SSRIs (فلوكستين، سيرترالين)، مثبطات امتصاص السيروتونين والنورادرينالين (فينلافاكسين، دولوكسيتين)، أدوية باركنسون (ناهض الدوبامين، مثبطات أوكسيديز أحادي الأمين [MAO] -B)، أدوية إنقاص الوزن (أورليستات)، الكورتيكوستيرويدات، الإستروجين، الديجوكسين، الحديد، والمواد الأفيونية.
 بعض الأمراض الجهازية المزمنة.

العلاج

إذا كان المريض يعاني مع عسر الهضم من قرحة هضمية فيجب علاج القرحة للتخلص من عسر الهضم وأفضل علاج هو العلاج الثلاثي للقرحة.
أيضا يجب على الطبيب مراجعة الأدوية التي يتناولها المريض فقد يكون أحد الأدوية التي يتناولها المريض تسبب له عسر الهضم وفي هذه الحالة يجب تعديل أدوية المريض. قد يحتاج المريض لمزيد من الاستقصاءات والفحوص المخبرية والشعاعية وربما التنظير الهضمي لتحديد سبب وعلاج عسر الهضم.

علاج شخصي مبدئي
حالة شاب كان يعاني من الانتفاخ والأرياح وعسر الهضم، وكان علاجه وتحسنه بطريقة طبيعية للغاية واستعاد الشاب صحته ونشاطه.

وتوصف حالة هذا الشاب بأنه كان يعاني من:
 الانتفاخ.
 وجع البطن.
 التقيئ أحيانا.
 عدم سلامة البشرة.
 التعب.
 ووجع الظهر.

ووصف الطبيب المعالج وهو الدكتور «فون روزن» من ميونيخ بألمانيا حالة هذا الشاب في مقالة كتبها بإحدى المجلات (مجلة ريفورم روندشاو) لكي يستفيد منها الناس. هذا الشاب
كان يتناول الوجبة بسرعة، فلم تكن المضغة مخلوطة كافيا باللعاب، مما يتسبب مع الوقت في زيادة العبء على الأمعاء. فالغذاء لا يتحلل في الأمعاء بفعل عصارة المعدة بالطريقة السليمة، وإنما يتحلل الغذاء نصف تحلل مما يساعد على تكون مواد ضارة في الأمعاء. ويقوم الدم بنقل تلك المواد إلى الكبد من أجل تنظيفها والتخلص منها. ومع الوقت تتراكم المواد الضارة في جدران الأمعاء الدقيقة ثم تعاني الأمعاء الغليظة أيضا من تراكم تلك المواد الضارة ثم يعاني الكبد.

وخلاصة طريقة العلاج هي مضغ الطعام جيدا حتى تختلط كل مضغة تماما باللعاب، وهذه هي الخطوة الأولى في عملية هضم الطعام. ويجب على الإنسان أن يراعي الأكل ببطء مع مضغ الطعام جيدا، والاستمتاع بالطعم الطيب لكل مضغة، ثم بلع المضغة مطحونة ومختلطة بكثير من اللعاب.

وهذا ما اتبعه هذا الشاب، وبدأت بعد فترة - قد تصل شهرين – الأمعاء الدقيقة التخلص من المواد الضارة وما ترسب في جدرانها من تلك المواد، وتقوت العضلات التي تساعد على عملية الهضم. وبعد فترة استعادت الأمعاء الغليظة هي الأخرى نشاطها، ثم تحسن عمل الكبد.

أي أن التحسن يأتي على مراحل من بعد أن يداوم الإنسان على الاهتمام بالمضغ الجيد للطعام وخلطة كافيا باللعاب. وكان الشاب يمضغ كل مضغة نحو 40 مرة قبل بلعها. ترتاح أولا الأمعاء الدقيقة، وبعد فترة ترتاح الأمعاء الغليظة، وبعد فترة أخرى يرتاح الكبد. وتتحسن حالة الشخص المعاني، وتزول أعراض الشكوى. كما تروق بشرته وتستعيد لونها الوردي، ويختفي وجع الظهر.

ومن المأكولات التي تساعد الكبد على أداء عمله المأكولات التي تحتوي على مواد يميل طعمها إلى المرارة: مثل الخرشوف والجرجير والبابايا والأناناس، وغيرها.

ومن خلاصة الخرشوف نحو 5 نقط قبل الاكل بربع ساعة. وأيضا خلاصة الأناناس، ويمكن السؤال في الصيدلية على خلاصة الأناناس وطريقة الاستعمال.

وإذا كانت هناك حاجة بعد اتباع الطريقة عدة أسابيع إلى تحسن أكثر، فينصح الطبيب بأخذ انزيمات البنكرياس كتكملة للطريقة. ويمكن السؤال عن تلك الانزيمات في الصيدلية أيضا والسؤال عن الطريقة السليمة لتعاطيها. كذلك ينصح الطبيب بالببسين إذا لزم الأمر، وهو أيضا من العقارات التي يمكن شراؤها من الصيدليات مع السؤال فيها عن الطريقة السليمة لتعاطيه.

وينصح الطبيب أيضا بقربة الماء الساخنة، ووضعها على البطن، فهي تساعد على جريان الدم في الكبد والبنكرياس، وبالتالي على تنشيط الحركة في المعدة والأمعاء. ويجب تناول الخضار الطازج أكثر من أكل الفواكه وتقليل السكريات.

من الأطعمة المريحة للمعدة: البطاطس المسلوقة والجزر والموز والجبن قليل الدسم، ويجب الالتفات إليها وقت المعاناة. وإذا لم يوجد فقطعة خبز جاف.

ومن المشروبات المساعدة هي خليط متساوي من حبوب الكراوية والينسون والشمر، ويؤخذ من هذا المخلوط ملعقة شوربة ويصب عليها 1 لتر ماء مغلى ويغطى لمدة 8 دقائق، ثم يصفى. كما يمكن شرب النعناع، ومشروب الشيح البابونيك من الصيدلية.

نصائح مهمة
 إذا كنت تدخن توقف عن التدخين.
 إذا كان وزنك زائد حاول إنقاص وزنك.
 إذا كنت تعتقد أن بعض الأطعمة تسبب لك سوء الهضم تجنب تناول هذه الأطعمة.
 إذا عندك بعض الضغوط النفسية حاول تجنبها.
 إذا كنت ترتدي ملابس ضيقة جداً خصوصاً في منطقة البطن فحاول ارتداء الملابس الفضفاضة المريحة.
 إذا كنت تتناول كميات كبيرة من الأطعمة في الوجبات فحاول أن تأكل كميات بسيطة وأكثر من عدد الوجبات 5 - 6 وجبات خفيفة.
 إذا كنت تأكل قبل النوم مباشرة فحاول أن تكون آخر وجبة قبل النوم بساعتين على الأقل.
 إذا كنت تأخذ المسكنات بصورة كبيرة ومنتظمة تجنب الجرعة المتكررة وحاول أن تقلل تناولك للمسكنات.
 إذا كنت تشعر بارتجاع فحاول أن ترفع رأسك بمقدار 6 سم أثناء النوم بوضع مخدة أو شيء مرتفع تحت رأسك.
 حاول ممارسة الرياضة بشكل مستمر.
 لا تأكل وتنم مباشرة.
 تجنب الاطعمة الحارة والدهنية.

المصادر

أعراض أمراض الجهاز الهضمي
أمراض المريء والمعدة والاثني عشر

عسر الهضم


USS Tullibee (SS-284), a , was the first ship of the United States Navy to be named for the tullibee. Her keel was laid down on 1 April 1942 at Mare Island, California, by the Mare Island Navy Yard. She was launched on 11 November 1942 sponsored by Mrs. Kenneth C. Hurd; and commissioned on 15 February 1943, Commander Charles Frederic Brindupke in command.

Tullibee held shakedown training from 8–30 April 1943 and departed for Hawaii on 8 May. She arrived at Pearl Harbor on 15 May and held further training exercises in Hawaiian waters. Numerous air fitting leaks developed, and she was docked for repairs twice. When this proved ineffective, the submarine entered the navy yard until 11 July.

Tullibee started her first war patrol on 19 July 1943. She was sunk by one of her own torpedoes on 26 March 1944 while on her fourth patrol. One crew member survived the sinking of Tullibee.

First war patrol
On 19 July, Tullibee got under way for the Western Caroline Islands and her first war patrol. On 28 July, she sighted a passenger-cargo ship, accompanied by an escort and an aircraft that prevented her attack. On 5 August, the submarine began patrolling the Saipan-Truk traffic lanes. Five days later, she sighted smoke on the horizon that proved to be three freighters with an escort. Tullibee closed the range to ; launched one torpedo at the ship on the right and three at the vessel on the left. As the submarine fired the first torpedo, a ship rammed her and bent her number one periscope. She went deep and was depth charged by the escort as the ships sped away. As the torpedoes had been set to run at a depth of  – too deep for the draft of the largest target – none of the torpedoes exploded.

On 14 August, Tullibee sighted a convoy of three freighters with an escort and began an end-around run to get into good attack position. She launched a torpedo from a range of  and went deep. It missed, and she returned to periscope depth to fire three torpedoes at the last ship. It apparently saw their wakes as it turned and combed them. The submarine again went deep. When she surfaced, the targets had escaped. On 22 August, Tullibee sighted a convoy of five ships escorted by two destroyers; closed to ; and launched three torpedoes at the nearest freighter. Two minutes later, she fired three more at another ship. As she went deep to avoid a destroyer heading her way, she heard one explosion. She soon heard the bursts of two more torpedo explosions, followed by breaking up noises. When she surfaced, she sighted over 1000 empty  oil drums, but no ships. Postwar examination of Japanese records indicated that Tullibee had damaged one freighter and had sunk the passenger-cargo ship Kaisho Maru. The patrol terminated when the submarine reached Midway Island on 6 September.

Second war patrol
On 28 September, Tullibee began her second war patrol. Her assigned area was in the East China Sea between the Ryukyu Islands and the China coast. On 4 October, she sighted a convoy of nine passenger-cargo ships with three destroyer escorts. The submarine pulled well ahead of the convoy and tracked them until the next morning. At 00:58, she fired a spread of three torpedoes at a large freighter, with one hitting the target a minute later. Another spread of three from the bow tubes produced two hits on a heavily laden cargo ship. Minor explosions and breaking up noises began immediately as Chicago Maru sank. Twelve days later, Tullibee contacted a convoy of seven ships with three escorts that later separated into two groups; one hugging the China coast and the other heading for Pescadores Channel. She attacked the largest ship in the latter group with six torpedoes; one hit the target. The submarine began an end-around run and launched four torpedoes at another ship. Two torpedoes soon broached, and Tullibee broke off the attack. She went deep and rigged for silent running to evade the escorts. On 5 November, the submarine was running submerged near Okinoyerabu Shima when she sighted a large, three-story building on the island. She surfaced and fired 55 shells into the barracks before retiring at full speed. She began the voyage back to Hawaii the next day and reached Pearl Harbor, via Midway Island, on 16 November. Her official score for this patrol was one passenger-cargo ship sunk, a tanker damaged, and a passenger-cargo ship damaged.

Third war patrol
Tullibees third patrol was in a "wolfpack" with sister ships  and . The trio sortied from Pearl Harbor on 14 December 1943 for the Mariana Islands to intercept enemy shipping plying between Truk and Japan. On 2 January 1944, Tullibee sighted a Japanese  on the surface and launched four torpedoes at a range of . The enemy saw the wakes and combed the four of them as Tullibee was forced deep by an enemy floatplane that dropped six bombs.

On 19 January, Haddock reported that she had damaged the Japanese escort carrier , which limped to Saipan. Tullibee sighted the carrier there on 25 January, close ashore and well protected by escorts and aircraft. The submarine remained on station for several days awaiting an opportunity to sink the aircraft carrier. However, when she surfaced on 28 January, she learned that the carrier had slipped away. Three days later, the submarine made radar contact with two targets. She launched three torpedoes at what appeared to be a freighter and swung left to fire one at the escort. The first target, net tender Hiro Maru, took two hits and disintegrated in about one minute. The torpedo fired at the escort missed, and the submarine went deep to evade. Tullibee cleared the area the following day and returned to Pearl Harbor on 10 February.

Fourth war patrol and loss
On 5 March, Tullibee stood out of Pearl Harbor to begin her fourth war patrol. Nine days later, she called at Midway Island to top off her fuel and then proceeded to her patrol area in the Palau Islands. She was scheduled to support aircraft carrier strikes against those islands on 30–31 March. On 25 March, Tullibee arrived on station and began patrolling. The next day, off the Palau Islands she made radar contact on a convoy consisting of a large passenger-cargo ship, two medium-sized freighters, a destroyer, and two other escorts. The submarine made several surface runs on the transport but kept losing her in rain squalls. Tullibee finally closed to  and launched two torpedoes from her bow tubes at the target. About two minutes later, the submarine was rocked by a violent explosion. It was only learned after the war that Tullibees torpedo had run a circular course and she had sunk herself.

Gunner's Mate Second Class Clifford Weldon Kuykendall, on the bridge at the time, was knocked unconscious and thrown into the water. When he regained consciousness, the submarine was gone. He heard voices in the water for about ten minutes before they stopped. The next day, he was picked up by Japanese destroyer Wakatake. Kuykendall survived as a prisoner of war and was released after V-J Day.

Tullibee received three battle stars for World War II service.

Tullibee was stricken from the Naval Vessel Register on 29 July 1944.

References

External links

Gato-class submarines
World War II submarines of the United States
Lost submarines of the United States
United States submarine accidents
Submarine accidents caused by torpedoes
World War II shipwrecks in the Pacific Ocean
Ships built in Vallejo, California
1942 ships
Maritime incidents in March 1944

USS Tullibee (SS-284)


Henry Chadwick Scholfield (-) est un homme politique canadien de l'Ontario. Il est député provincial conservateur de la circonscription ontarienne de Wellington-Sud de 1911 à 1914 et de Saint-Georges de 1926 à 1934.

Biographie
Né à  dans le Canada-Ouest (Ontario), Scholfield travaille à la  et devient gestionnaire de la succursale de Guelph. Alors installé à Toronto, il devient cofondateur et vice-président de Page-Herrsey and Company.

Élu dans Wellington-Sud en 1911, il réalise un mandat. Candidat défait dans Toronto-Sud-Est en 1919, il redevient député dans St. George en 1926. Réélu en 1929, il est défait en 1934. Durant son dernier mandat, il sert comme ministre sans portefeuille dans le gouvernement de George Stewart Henry.

Après sa retraite de la politique, il souffre d'une attaque cardiaque en août 1935 et meurt à son domicile de Toronto dix jours plus tard.

Résultats électoraux

Références
Henry Scholfield - Assemblée législative de l'Ontario

Naissance en septembre 1866
Député du Parti progressiste-conservateur de l'Ontario
Décès en septembre 1935
Décès à Toronto

Henry Scholfield


راشد عبد الله أحمد الفرحان، نائب سابق في مجلس الأمة الكويتي.

شارك في انتخابات مجلس الأمة الكويتي 1963 في الدائرة الثانية، وحصل على المركز الثاني فيها بـ266 صوت وفاز بالانتخابات ، وشارك في انتخابات مجلس الأمة الكويتي 1967 في الدائرة السادسة، وحصل على المركز الثاني بـ627 صوت وفاز بالانتخابات ولكنه رفض المقعد ، وشارك في انتخابات مجلس الأمة الكويتي 1971 في الدائرة السادسة، وحصل على المركز الأول بـ730 صوت وفاز بالانتخابات ، وشارك في انتخابات مجلس الأمة الكويتي 1975 في الدائرة السادسة، وحصل على المركز الخامس بـ578 صوت وفاز بالانتخابات ، وشارك في انتخابات مجلس الأمة الكويتي 1985 في الدائرة السادسة، وحصل على المركز الرابع بـ297 صوت وخسر بالانتخابات.

في عام 1971 تم تعيينه وزيرا للأوقاف والشؤون الإسلامية في الحكومة السابعة.

مراجع

أعضاء مجلس الأمة الكويتي 1963
أعضاء مجلس الأمة الكويتي 1967
أعضاء مجلس الأمة الكويتي 1971
أعضاء مجلس الأمة الكويتي 1975
وزراء أوقاف كويتيون

راشد الفرحان


Ary Beira Fontoura () este un actor și regizor brazilian.

A creat personaje de neuitat, cum ar fi profesorul botanist Baltazar Câmara din O Espigão, profesorul sinistru Aristóbolo Camargo din Saramandaia; mizerabilul Nonô Correia din Amor com Amor Se Paga; primarul emblematic Florindo "Seu Flô" Abelha din Roque Santeiro; actorul Nero Petraglia din Copilul la bord; colonelul autoritar Artur da Tapitanga din Tieta; deputatul corupt Pitágoras de A Indomada și Porto dos Milagres; misteriosul Silveirinha de A Favorita; primarul Isaías "Zazá" Junqueira din Morde & Assopra și personajul Dr. Lutero din Dragoste de viață.

În 2016, a interpretat fermierul Quinzinho în Êta Mundo Bom, romanul celor 6 de Rede Globo, scris de Walcyr Carrasco.

Note

Legături externe

Nașteri în 1933
Actori brazilieni
Oameni în viață

Ary Fontoura


Mišji lemuri noćni su lemuri koji pripadaju rodu Microcebus. Kao i ostali lemuri, mišji lemuri nastanjuju Madagaskar.

Sveukupnom duljinom glave, tijela i repa manjom od 27 cm, mišji lemuri najmanji su primati na svijetu (najmanja vrsta mišjih lemura je M. berthae); međutim njihova se težina mijenja ovisno u trajanju dana.  Godine 1992. bile su poznate dvije vrste mišjih lemura. Godine 2016. taj broj se popeo na 24.

Vrste
 Rod Microcebus: mišji lemuri
 Microcebus arnholdi
 Microcebus berthae
 Microcebus bongolavensis
 Microcebus boraha
 Microcebus danfossi
 Microcebus ganzhorni
 Microcebus gerpi
 Microcebus griseorufus
 Microcebus jollyae
 Microcebus jonahi
 Microcebus lehilahytsara
 Microcebus macarthurii
 Microcebus mamiratra, sinonim vrsti Microcebus lokobensis
 Microcebus manitatra
 Microcebus margotmarshae
 Microcebus marohita
 Microcebus mittermeieri
 Microcebus murinus
 Microcebus myoxinus
 Microcebus ravelobensis
 Microcebus rufus
 Microcebus sambiranensis
 Microcebus simmonsi
 Microcebus tanosi
 Microcebus tavaratra

Izvori

Vanjske poveznice

 Mouse Lemurs, Encyclopedia of Life
 Microcebus Geoffroy 1827 (mouse lemur) , Fossilworks
 Microcebus É.Geoffroy Saint-Hilaire, 1834, Global Biodiversity Information Facility
 Mouse Lemurs, National Geographic

Strepsirrhini
Madagaskarske endemske vrste

Mišji lemur


الحرم، جمعها: أحرام أو حُرَمات. ما لا يحل انتهاكه، وما يحميه الرجل حول ملكه، فلا يدخله أحد إلا بإذنه، وسمّيت مكة وما حولها حرما، لأن الله، حسب عقيدة المسلمين، يحميها
ويحمى الحجاج فيها.

الحرم يمكن أن تشير إلى:
 الحرم المكي
 الحرم النبوي
 الحرم الإبراهيمي
 الحرم القدسي
 الحرمان الشريفان

أماكن
 الحرم (العدين) : محلة في قرية ما جديد، عزلة الجبلين، مديرية العدين، محافظة إب اليمنية
 الحرم (بني دركول) : دوار تابع لجماعة بني دركول في إقليم شفشاون، المغرب
 الحرم (يافا)

كما تشير الكلمة لمعان قريبة منها
 حرم جامعي
 حرملك

وأماكن منها
 حرم (اليمن) : مستوطنة بشرية

طالع أيضا
 حرمة
 حريم
 حرام

مراجع

عمارة المسجد
مصطلحات إسلامية
مصطلحات عربية

الحرم (توضيح)


Le raïon de Zolotonocha (en ) est un raïon situé dans l'oblast de Tcherkassy en Ukraine. Son chef-lieu est Zolotonocha.
Avec la réforme administrative de 2020, le raïon fusionne avec ceux de Drabiv, de Tchornobaï.

Lieux culturels

Références

Zolotonocha

Raïon de Zolotonocha


Ansamblul de fântâni din Piața Unirii din București, România este administrat de către Apa Nova, concesionar al furnizării serviciilor de alimentare cu apă și canalizare pentru municipiu. Au fost construite în timpul regimului comunist în urma planurilor de sistematizare ale lui Nicolae Ceaușescu, când a fost amenajat și bulevardul Unirii (pe atunci, Victoria Socialismului). Degradate mult până în anii 2010, ele eu fost reabilitate în anii 2018–2019 de firma germană Oase GmbH.

Note

Clădiri și structuri din București

Ansamblul de fântâni din Piața Unirii, București


Lygromma senoculatum est une espèce d'araignées aranéomorphes de la famille des Prodidomidae.

Distribution
Cette espèce est endémique du Venezuela.

Description
Le mâle syntype mesure  et les femelles syntypes de  à .

Les mâles mesurent de  à  et la femelle .

Systématique et taxinomie
Cette espèce a été décrite par Simon en 1893.

Publication originale
 Simon, 1893 : « Arachnides. Voyage de M. E. Simon au Venezuela ( - ). 21e Mémoire. » Annales de la Société Entomologique de France, ,  (texte intégral).

Liens externes

Notes et références

Prodidomidae
Espèce d'araignées (nom scientifique)
Faune endémique du Venezuela

Lygromma senoculatum


Dyakia, monotipski rod epifitskih orhideja, smješten u podtribus Aeridinae, dio tribusa Vandeae. Jedina je vrsta D. hendersoniana endem sa Bornea.

Raste po nizinskim i brdskim šumama.

Sinonimi
 Ascocentrum hendersonianium (Rchb.f.) Schltr.
 Saccolabium hendersonianum Rchb.f.

Izvori

Aeridinae
Flora Bornea

Dyakia (Plantae)


වට්සැප් (Whatsapp)යනු සිංහල, ඉංග්‍රීසි භාශා දෙකෙන් ම පණිවිඩ යැවිය හැකි App එකකි. මෙය සාමාන්‍ය පණිවිඩ යැවීමට වඩා වේගවත් අතර ඡායාරූප, වීඩියෝ පට වැනි දෑ පහසුවෙන් යැවිය හැක. මේ අතර මෙම පණිවිඩ යැවිය හැක්කේ අන්තර්ජාල පහසුකමක් සමඟිනි. (WI-FI,MOBILE DATA) ඔබේ  ජංගම දුරකතනය Android මෙහෙයුම් පද්ධතියට අයත් නම් ඔබට Play Store හරහා ද, Appel නම් App Store හරහා ද Whatsapp බාගත කර ගත හැකි ය.නමුදු වර්තමානයේ එය වෙනස්කම් කීපයක් සිදු වී ඇත

වට්ස්ඇප්


"My Tears Ricochet" (estilizada em letras minúsculas) é uma canção gravada pela artista musical estadunidense Taylor Swift, presente em seu oitavo álbum de estúdio Folklore (2020). A faixa foi escrita inteiramente por Swift, sendo a única canção do álbum escrita exclusivamente pela artista. Swift produziu a canção com Jack Antonoff, enquanto Joe Alwyn foi creditado como co-produtor. "My Tears Ricochet" é uma balada "sombria" com influências do arena rock e da música gospel, incorporando vocais em camadas flexionados em coro, sintetizadores suaves e bateria trêmula em sua produção, trazendo à tona uma paisagem sonora que os críticos descreveram como assustadora e triste. Sua letra é a narração do fantasma de uma mulher morta, que encontra seu assassino, a quem ela amou profundamente, em seu próprio funeral.

"My Tears Ricochet" recebeu críticas positivas da mídia especializada, que elogiaram o conceito, a imagem, a emoção, a voz e a produção. Após o lançamento, a faixa alcançou a posição dezesseis na Billboard Hot 100 dos Estados Unidos e na posição quinze das paradas de singles na Austrália, Canadá, Malásia e Cingapura. "My Tears Ricochet" foi incluída no repertório da The Eras Tour (2023), sexta turnê de Swift.

Antecedentes e lançamento
"My Tears Ricochet" foi a primeira faixa escrita para o álbum, escrita inteiramente por Swift. O co-produtor do álbum, Aaron Dessner, considerou a música um "farol" para o disco. Em entrevista à Entertainment Weekly, Swift disse que, após a venda de suas masters para Scooter Braun, narrativas em torno do divórcio a desencadearam, e ela incorporou imagens do fim do casamento em "My Tears Ricochet", escrevendo os primeiros versos da música após assistir ao filme Marriage Story (2019), que conta a história de um divórcio.

Swift anunciou seu oitavo álbum de estúdio, Folklore, em 23 de julho de 2020. Na carta que precedeu o lançamento, Swift descreveu "My Tears Ricochet" como imagens de "um atormentador amargurado aparecendo no funeral de seu objeto caído de obsessão" e "navios de guerra afundando no oceano, para baixo, para baixo, para baixo".

Estrutura musical e conteúdo lírico
"My Tears Ricochet" é uma balada "gótica" de arena rock e música gospel com elementos de synthpop, sobre o fantasma de uma mulher morta assombrando seu assassino. A faixa posteriormente utilizou simbolismo fúnebre para retratar o efeito da traição total. A faixa abrange uma caixa de música cintilante, coro de apoio, improvisações reverenciadas na ponte e atinge um clímax tumultuado sobre tambores trêmulos. Os backing vocals da faixa são fornecidos pelo produtor Jack Antonoff.

Liricamente, "My Tears Ricochet" vê a narradora questionar o merecimento dos maus-tratos e admitir que optou por não "ir com graça" assombrando o memorial. A canção pergunta por que o ex-amante escolheu comparecer ao funeral dela apesar de "amaldiçoar [seu] nome" e compara seu relacionamento desorientado a navios de guerra afundados no mar. A letra e os símbolos da faixa fazem referência à disputa das masters de Swift e ao amargo fim de seus laços com Scott Borchetta, fundador da Big Machine Records. Além do tema fúnebre abrangente, Swift usa a imagem de navios de guerra afundando no oceano, para desenhar uma imagem dramática de como é fazer um movimento errado e perder algo enorme.

Recepção crítica
"My Tears Ricochet" recebeu críticas positivas da mídia especializada, com elogios ao conceito da faixa, a letra, as imagens, a emoção, os vocais e a produção de Swift. Hannah Mylrea, do NME, fez comparações entre "My Tears Ricochet" e "Clean", faixa presente no disco 1989 (2014), observando que "uma canção pop envolta em vocais em camadas e instrumentais brilhantes de caixas de música". Jody Rosen, do Los Angeles Times, disse em uma crítica que a faixa chegou a "um clímax tumultuado" e que a faixa era "gótica, como a Catedral de Chartres é gótica". Jason Lipshutz, da Billboard, escreveu que a canção "se transforma em um hino triste" e que "uma separação amarga se torna uma morte literal". Em um artigo para a Slant Magazine, Eric Mason chamou esta faixa de "uma das histórias mais francamente ressentidas do Folklore", dizendo que "as batidas agudas das cordas no refrão lembram as pontes das canções de Swift do início de 2010", comparando com "Mad Woman" e "Cruel Summer", do Lover (2019).

Ann Powers, da NPR considerou a música "mais sofisticada" do que a escrita anterior de Swift, permanecendo "a clássica Taylor Swift", e afirmou que a cantora pega um evento "específico quase apenas para ela, e o abre em algo universal. .porque todos nós experimentamos uma sensação de traição e perda de autopropriedade". Lucy Harbron, do Clash, escreveu que "My Tears Ricochet" é uma das canções mais "comoventes" de Swift; ela disse que a faixa "se transforma em um lamento fúnebre que vocaliza perfeitamente toda a tristeza, raiva e deslocamento que vem com um mega desgosto".

Desempenho comercial
Impulsionado pelo lançamento de Folklore, "My Tears Ricochet" estreou na posição dezesseis na Billboard Hot 100 dos Estados Unidos, entre as dez faixas do álbum que entraram na posição quarenta e cinco que entraram na posição vinte; ficou nas paradas por duas semanas antes de sua saída. A música alcançou ainda na posição número três na parada Hot Rock & Alternative Songs. Também alcançou a sétima posição nas paradas de singles de Singapura e da Malásia, a oitava posição na ARIA Singles Chart da Austrália e a décima quarta posição no Canadian Hot 100.

Notas

Referências

Canções de 2020
Canções gravadas por Taylor Swift
Canções compostas por Taylor Swift
Canções produzidas por Taylor Swift
Canções produzidas por Jack Antonoff

My Tears Ricochet


Hrvatska se kao država članica IAAF-a natjecala na Svjetskom prvenstvu u atletici 2013. u Moskvi, od 10. do 18. kolovoza, sa sedam predstavnika. Zlatno i jedino odličje osvojila je Sandra Perković u disciplini bacanje diska.

Osvajači odličja

Rezultati
(q - kvalificirao se, SB - najbolji rezultat sezone (eng. Season best), DNA - nije ušao u finale (eng. Did not advance), NM - bez rezultata)

Muškarci

Bacačke i skakačke discipline

Žene

Bacačke i skakačke discipline

Izvori

 2013

Hrvatska na Svjetskom prvenstvu u atletici 2013.


Claudio da Passano Gallo (Buenos Aires, 12 de mayo de 1957-25 de enero de 2023) fue un actor argentino. Hijo de los actores Camilo da Passano y María Rosa Gallo, y hermano de la actriz Alejandra da Passano.

Biografía
Se formó actoralmente con María Esther Fernández, Agustín Alezzo y Joy Morris. Tomó cursos y seminarios de otras disciplinas como clown, esgrima, técnicas vocales, expresión corporal y tocó instrumentos musicales como el piano, la batería y el clarinete.

Hizo su debut teatral en 1983, y desarrolló una extensa carrera en ese ámbito, tanto en producciones independientes como del circuito comercial. Fue fundador e integrante del grupo de teatro independiente La Banda de la Risa, con el que realizó varias presentaciones en el país y en el exterior. Con la obra I pagliacci ganaron el premio ACE al mejor espectáculo de humor.

En 2019 obtuvo un premio ACE por su brillante actuación en Hamlet, en el papel de Polonio.

En 2021 la Fundación Konex le "heredó" la premiación de su madre en las ediciones 1981 y 1991, otorgándole en aquélla edición el Konex en la disciplina Actor de Teatro por el período 2011-2020.

Trabajos

Teatro
Los hijos se han dormido
La gaviota
Jettatore
Huellas de tinta (las marcas de un Siglo)
Perla
Todos los grandes gobiernos han evitado el teatro íntimo
Entre bueyes no hay cornadas
El retrato del pibe
El Fausto o rajemos que viene Mefisto
La noche canta sus canciones
Derrame
El día que Nietzsche lloró
Orejitas perfumadas
La resistible ascensión de Arturo Ui
Sinvergüenzas
El himno
Un enemigo del pueblo
Pingüinos
Las visiones de Simone Machard
Memoria del infierno
El Martín Fierro
Invisibles
Los Faustos
Romeo y Julieta
Terrenal - Pequeño misterio ácrata (2014-continúa)
Hamlet
El río en mi
Toc toc

Cine
Abierto día y noche (1981)
Atrapadas (1984)
Chechechela, una chica de barrio (1986)
Vínculos (1987)
Paraíso Relax (Casa de masajes) (1988)
Delito de corrupción (1991)
¿Dónde estás, amor de mi vida, que no te puedo encontrar? (1992)
Un hijo genial (2003)
Papá se volvió loco (2005)
Nuevo mundo (2006)
La loma... no todo es lo que aparenta (2007)
Martín Fierro: la película (2007)
Barrefondo (2017)
Yo nena, yo princesa (2021)
El paraíso (2022)
Argentina, 1985 (2022)

Televisión
Amor prohibido (1986)
Requetepillos (1988)
Alta comedia
Corazones de fuego (1992)
CyberSix (1995)
Poliladron (1995-1997)
Chiquititas (1997-1998) - Raúl
Frecuencia 04 (2004)
Los secretos de papá (2004-2005) - José
El jardín de bronce (2017-2019) - Oficial Marcos Silva
El Tigre Verón (2021) - Sergio
Limbo (2022) - Antonio García

Referencias

Enlaces externos

Ficha en Cine Nacional

Actores de cine de la ciudad de Buenos Aires
Actores de teatro de la ciudad de Buenos Aires
Actores de televisión de la ciudad de Buenos Aires
Reparto de Chiquititas

Claudio da Passano


Nina Åström (* 1962 auf Öja, Westfinnland) ist eine finnische Gospelsängerin und Songschreiberin. Sie startete ihre Gesangskarriere in den 1980er Jahren, ihr Debütalbum erschien 1991. Sie wurde ausgewählt, Finnland beim Eurovision Song Contest 2000 in Stockholm zu vertreten. Mit ihrem Popsong A Little Bit kam sie auf Platz 18.

Nina Åström lebt in Kokkola, ist verheiratet und hat zwei Töchter.

Diskografie

 Person 2 Person (1991)
 A Matter of Time (1994)
 Moods (1995)
 A Friend (1999)
 A Little Bit of Love (2000)
 Vierelle jäät (2000)
 Merry Christmas Jesus (2001)
 Real Life (2003)
 Landscape of my Soul (2007)
 The Way We Are (2010)
 Avoin taivas (2012)
 Minun aarteeni (2014)
 Joulun Kuningas (2014)
 Takaisin kotiin (2016)
 Rauhaa ja rohkeutta (2018)

Weblinks

 Homepage

 Finnland: Nina Åström bei eurovision.de

Quellen

Sänger
Interpret eines finnischen Beitrags beim Eurovision Song Contest
Musiker (Finnland)
Gospel
Singer-Songwriter
Finnlandschwede
Literatur (Schwedisch)
Literatur (Finnland)
Finne
Geboren 1962
Frau

Nina Åström


Die Tour de Tunisie ist ein tunesisches Etappenrennen. Es gehörte 2004 zur UCI Africa Tour (Klasse 2.5), das zugleich das vorerst letzte Rennen war. Im Jahr 2016 wurde wieder ein Radrennen durchgeführt.

Geschichte
1953 organisierte ein tunesischer Fahrrad-Club in Zusammenarbeit mit einer tunesischen Zeitung die erste Ausgabe dieses Rennens. 73 Radrennfahrer, darunter 11 Tunesier, starteten das Rennen. Der Tunesier Béchir Mardassi gewann das Rennen. Wegen der großen Beteiligung wurden 1954 und 1955 weitere Rennen gestartet.

Die nächste Ausgabe fand erst 1959 statt; die Organisation wurde diesmal von der tunesischen Zeitung Le Sport übernommen und – mit einer Unterbrechung 1963 – bis 1964 jährlich ausgeführt. Diese fünf Fahrten waren wohl die bedeutendste Zeit des Rennens. Internationale Stars, wie Walter Godefroot, Gösta Pettersson und Lucien Aimar waren Teilnehmer.

1978 wurde die Rundfahrt wieder gestartet. Dieses Mal organisierte der tunesische Radsportverband in Zusammenarbeit mit einer tunesischen Zeitung die Fahrt. Bis 1997 wurde das Rennen jährlich ausgeführt, mit einer Ausnahme, 1984. 1983–1988 wurde das Rennen von Deutschen und Polen gewonnen. Eine folgende tunesische Siegesserie wurde 1994, wieder von einem Deutschen, unterbrochen. 1997 gewann mit Patrick Moster der letzte deutsche Fahrer.

Von 2000 bis 2004 wurde das Rennen wieder jährlich durchgeführt und pausierte dann bis zum Jahr 2016.

Siegerliste

Einzelnachweise

Etappenrennen
Ehemaliges Straßenradrennen
Erstveranstaltung 1953
Radsportwettbewerb in Tunesien

Tour de Tunisie


Rhaeto-Romance, Rheto-Romance, or Rhaetian, is a purported subfamily of the Romance languages that is spoken in south-eastern Switzerland and north-eastern Italy. The name "Rhaeto-Romance" refers to the former Roman province of Raetia. The question of whether these languages actually form a subfamily is called the Questione Ladina. The Italian linguist Graziadio Ascoli, writing in 1873, found them to share a number of intricacies and believed they formed a linguistic group.  The Rhaeto-Romance languages differ from Italian in their evolution from Latin by having passed through a stage with phonemic vowel length, undergone certain consonant developments, and possibly developed a pair of central rounded vowels (now lost everywhere). If the subfamily is genuine, three languages would belong to it: Romansh in Switzerland, and Ladin and Friulian in Italy. Their combined number of speakers is about 660,000; the large majority of these (about 500,000) speak Friulian.

Origin

Before the Roman conquest, the Alps were Celtic-speaking in the north and Rhaetian-speaking in the south. The area was incorporated into the Roman Empire during the reign of Augustus. The Rhaeto-Romance languages originated as a dialect of the provincial Latin of the central Alps.

By the end of the Roman Empire, there was an unbroken region of distinctive Romance speech here, which was gradually fragmented into secluded areas in the high valleys by the encroachment of German dialects from the north and of Gallo-Italic languages from the south.

Rhaeto-Romance was spoken over a much wider area during Charlemagne's rule, stretching north into the present-day cantons of Glarus and St. Gallen, to the Walensee in the northwest, and Rüthi and the Alpine Rhine Valley in the northeast. In the east, parts of modern-day Vorarlberg were Romance speaking, as were parts of Austrian Tyrol. The northern areas of what is currently Switzerland, called "Lower Raetia", became German-speaking by the 12th century; and by the 15th century, the Rhine Valley of St. Gallen and the areas around the Walensee were entirely German-speaking.

This language shift was a long, drawn-out process, with larger, central towns adopting German first, while the more peripheral areas around them remained Romansh-speaking longer. The shift to German was caused in particular by the influence of the local German-speaking elites and by German-speaking immigrants from the north, with the lower and rural classes retaining Romansh longer.

Related languages

The family is most closely related to its nearest neighbors: French, Franco-Provençal, Occitan, Venetian, Istriot and Lombard.

A number of lexical items are shared with Ibero-Romance due to the similar date of Latinization for both regions, although it can also be explained by means of Bartoli's areal linguistics theory, Ibero-Romance being a peripheral area, as are Balkano-Romance, Southern-Italian and Rhaeto-Romance, whereas Gallo-Romance and Italo-Romance are the central area. The Rhaeto-Romance languages were linked to other Romance languages that existed in bordering areas but have later disappeared, like the Moselle Romance and the Austrian Romance.

History and classification

While the areas that now speak Friulian were originally inhabited by speakers of Venetic (likely Italic) and Celtic languages, the areas of Northeastern Italy that now speak Ladin initially spoke a non-Indo-European language called Raetic. Ladin and Romansh originate from the Vulgar Latin spoken by Roman soldiers during the conquests of Raetia.

Romansh
By the mid-9th century, Romansh was spoken over a far wider area. However, with the migration of many German elite land owners, Romansh dissipated across Northern Italy.  The oldest literary text in the Romansh language is the Chianzun dalla guerra dagl Chiaste da Müs, which details the Musso War.

By 1803, the state of Grisons became a part of Switzerland, of whose population half spoke Romansh.  The strength of the central government of Grisons began to impose on the Romansh-speaking people, as the official language was German which resulted in many Romansh speakers to adopt German.  With the 20th century came a rise in tourism that took the focus away from the region's agricultural focus and German became the more practical language to learn.  Many in the intellectual class found this to be beneficial to the local population, as Romansh appeared to hinder their intellectual development as noted by Heinrich Bansi, a notable priest in 1897: "The biggest obstacle to the moral and economical improvement of these regions is the language of the people". This viewpoint was countered with the belief that the Romansh language was a hybrid of both Italian and German, allowing the Romansh speakers to have a moderate understanding of the other two more widely used languages.

By the mid-19th century, amidst a dwindling Romansh-speaking population a renaissance of sorts appeared.  This culminated in the 1885 creation of an association of all Romansh regions known as Società Retorumantscha.  Later, in 1919 the Lia Rumantscha was created to encompass all of the regional Romansh-speaking societies.  Additionally, more schools began to teach Romansh by the mid 19th century, and by 1860 Romansh became a subject in a teachers' college and an officially recognized language by 1880.

Despite these efforts, with more and more of the surrounding area speaking German, the Lia Rumantscha created Romansh-speaking daycare schools in the 1940s.  This effort failed to deliver, and the last school was closed by 1979.

Friulian

Friulian traces its roots back to the Latin Aquileia.  Prior to Roman contact in 181 BC the region of northeastern Italy was of Raetian, Italic and Celtic origins and used a form of either Raetian, Venetic or Celtic.  The transition from Vulgar Latin to Friulian occurred in the 6th century CE.  The first official use of Friulian can be traced back to the 13th century and by the 15th century a majority of the population spoke the language, while the noble classes continued to use Latin or German.  In 1420 the area of Friuli transitioned under Venetian rule and Venetian dialect became the dominant language.  Over the years with the influence of Venetian and Italian becoming more abundant the Friulian language stagnated.  In the mid 20th century an earthquake struck that devastated the local region and many found solace in sharing the local language of Friulian.  While the teaching of Friulian in higher education is rapidly declining it still has its imprint on the local geography as many of the local towns and geographical landmarks (mountains, woods, animals, plants) were given Celtic names that survive to this day.

Ladin

Ladin was initially a Vulgar Latin language from the Alps of northern Italy.  Beginning in the 6th century the Ladin language began to shrink due to the encroachment of Bavarian and Gallo-Italic languages, surviving in only the isolated mountainous areas.  In the early Middle Ages the Ladin region came under House of Habsburg and Republic of Venice rule.  From these two influences the Ladin area underwent the process of Germanisation.

By the end of World War I Italy had annexed the region that encompassed the Ladin language.  Along with the nationalism of the 20th century, Ladin was considered by many Italians to be an Italian dialect. Benito Mussolini would later push forward an Italianization of the region which further dwindled the Ladin language user base.  Despite the small amount of Ladin speakers, by 1972 the Italian government afforded Ladin the status of a secondary language.

Geographic distribution

Romansh

Spoken in the Swiss canton of Graubünden by 60,561 people – 0.83% of the Swiss population – but this number is rapidly dropping.

Friulian

Spoken in Italy, most notably the provinces of Udine and Pordenone, by about 600,000 people.

Ladin
Spoken in northeastern Italy, in Trentino-Alto Adige and the Province of Belluno in Veneto, by about 41,000 people.

Official status

Romansh
The first Swiss constitution of 1848 along with its revision of 1872 neglected to mention the Romansh language; however, it was translated into two Romansh dialects after the first revision.  In 1938 Romansh became a national language, though a delineation was made between "national" and "official" languages.  National languages were largely symbolic while official languages (French, German, and Italian) were used in an official capacity by the government.  One notable disadvantage of being a national, rather than official language was that parents would have to register their children's names under one of the official languages.

By 1996 Romansh was recognized as an official language beside French, German and Italian, and Rhaeto-Romansh is now the official correspondence used when communicating with Romansh people.

At this time the Canton of Grison is the only place where Romansh is the official language.  This allows for any citizen to request official documents from the local government in the Romansh language.

Friulian
An official language of the autonomous region of Friuli, it has protected status, and is used in all forms of education in the region. Still used at popular levels for daily conversation.

Ladin
Ladin is recognized by both provincial and national law in Italy.  In the early 1990s Italy signed European Charter for Regional or Minority Languages which is meant to protect and promote minority languages such as Ladin.

Dialects

Romansh
 Sursilvan
 Putèr
 Vallader
 Surmiran
 Sutsilvan

Friulian

 Central Friulian, spoken in the Udine province.
 Northern Friulian, spoken in Carnia.
 Southeastern Friulian, spoken in areas along the Isonzo river.
 Western Friulian, spoken in the Pordenone province.

Ladin
 Athesian group of the Sella, spoken in South Tyrol.
 Trentinian group of the Sella, spoken in the Fassa Valley.
 Agordino group of the Sella, spoken most prominently Livinallongo del Col di Lana and Colle Santa Lucia.
 Ampezzan group, spoken in Cortina d'Ampezzo.
 Cadorino group, spoken in Cadore and Comelico.
 Nones and Solando group, spoken in In Western Trentino, in Non Valley, Val di Sole, Val di Peio, Val di Rabbi, and Val Rendena.

Varieties

The area where Rhaeto-Romance languages (also called Ladin languages in a wider sense, not to be confused with Ladino or Judaeo-Spanish) were spoken during the Middle Ages stretched from Switzerland to the Julian Alps (in modern-day western Slovenia).

The Rhaeto-Romance languages can be distinguished into the following varieties:

 Romansh: Switzerland. In Switzerland, Romansh is one of country's four national languages; however, its usage is rather limited to the canton of Graubünden (). It is composed of the following dialects:
 Puter (Engadin valley)
 Vallader (Engadin valley)
 Surmiran
 Sursilvan
 Sutsilvan
 Rumantsch Grischun, the standardized literary language, constructed by the Swiss linguist Heinrich Schmid in 1982.
 Ladin:
 Dolomitic Ladin in Italy (in Trentino, South Tyrol and the province of Belluno)
 Friulian: Friuli region, Italy

A phylogenetic classification using basic lexicon identifies a primary split between Romansh in Switzerland and Ladin in Italy. One secondary split distinguishes Engadinic from the other Romansh varieties in Switzerland. In Italy, another secondary split is evidently caused by the Dolomite mountain range that divides Ladin into a northern and a southern subbranch, with Friulian being grouped closest to the southern branch.

In this study, the divergence of the Rhaeto-Romance languages from their reconstructed lexical ancestor is about 7% on average. This would correspond to a time depth of about 500 years if the glottochronological replacement rate of 14% per millennium for Romance were trustworthy. However, the earliest available Romance text from the Alpine area is somewhat older and dates to AD 1200.

Phonology

Romansh

The Romansh language has up to 26 consonant phonemes.  Word stress occurs either on the last or second to last syllable.

Friulian

Ladin

Grammar

Morphology

Romansh

In Romansh word order directs the grammar rather than the noun being inflected.  Additionally, similar to most other Romance languages there are two genders in addition to s being used to indicate a plural word.

Friulian

Similar to Italian and Spanish, most Friulian nouns end in a vowel based on the gender, with feminine nouns ending in e while masculine nouns end in i.

Syntax
The general word order is subject-verb-object, however this can change at times where the verb can come before the subject.

Vocabulary

Romansh

Many place names in Romansh date back before Roman contact stemming from Raetic and Celtic origins.

Friulian

Most words in Friulian are of the Romance variety due to its Latin roots; however, it still has many place names and flora that trace back to Raetic, Venetic and Celtic origins.

See also
Rhaetian language, an unrelated language spoken in ancient times around the area where Rhaeto-Romance is now spoken.
Western Romance languages

References

Rhaeto-Romance languages


Los nueve capítulos sobre arte matemático () es un libro de matemática. Su origen se remonta al período de la Dinastía Zhou y fue compilado por varias generaciones de escribas entre los siglos II y I a.C. Es uno de los libros de matemáticas más antiguos de China, después de Suàn shù shū y Zhou Bi Suan Jing (compilados durante el período de la Dinastía Han y hasta el ). El enfoque matemático está centrado en hallar los métodos más generales de resolución de problemas, en contraste con la idea común de los matemáticos antiguos griegos, que tendían a deducir proposiciones a partir de un conjunto inicial de axiomas.

El libro está dispuesto en forma tal que enuncia un problema primero, y después le sigue otro enunciado con la solución y una explicación del proceso que condujo a tal solución. Comentado en el  por Liu Hui.

Historia

El título completo de Los nueve capítulos sobre arte matemático aparece en dos marcas de bronce que datan del año 179, aunque subsisten especulaciones sobre si el libro no existía desde antes con otros títulos.

La mayoría de los especialistas coinciden en que la matemática china así como la matemática del mundo mediterráneo antiguo ya se habían desarrollado de manera más o menos independiente para la época en que Los nueve capítulos toma su forma final. El método descrito en el capítulo 7 no se encuentra en Europa hasta el , y el método del capítulo 8 utiliza la eliminación de Gauss-Jordan antes de Carl Friedrich Gauss (1777–1855). Existen además pruebas matemáticas en el tratado para el teorema de Pitágoras. La influencia de Los nueve capítulos fue notable en el desarrollo de las matemáticas antiguas en Corea y Japón. Su influencia sobre la enseñanza matemática en China persistió hasta la era de la Dinastía Qing.

Liu Hui  escribió un comentario detallado del libro en 263. Analiza los procedimientos de Los nueve capítulos paso a paso, de un modo claramente concebido para darle al lector la seguridad de que son confiables, aunque no se preocupa por dar demostraciones formales a la manera de Euclides. Los comentarios de Liu tienen importancia matemática por sí mismos. Lui le acredita a los matemáticos anteriores Zhang Cang (fl. 165 a.C. - 142 a.C.) y Geng Shouchang (fl. 75 a.C. - 49 a.C.) (véase esfera armilar) el arreglo inicial y los comentarios, pero los registros de la Dinastía Han no indican ningún nombre de autores de comentarios, ni tampoco son mencionados hasta el .

Los nueve capítulos es un trabajo anónimo, cuyos orígenes no están del todo claros. Hasta años recientes no se contaba con evidencia substancial relacionada con los escritos matemáticos que pudieron haberle precedido, además de los trabajos matemáticos de Jing Fang (78–37 a. C.), Liu Xin (d. 23) y Zhang Heng (78–139) y las cláusulas geométricas de el Mozi en el  Este ya no es el caso. El Suàn shù shū (算數書) o Textos sobre cuentas es un antiguo escrito chino de aproximadamente siete mil caracteres de largo, escrito sobre 190 tiras de bambú. Fue descubierto junto con otros escritos en 1983 cuando los arqueólogos abrieron una tumba en la provincia de Hubei. Hace parte del cuerpo de textos conocido como los Textos de bambú Zhangjiashan Han. El Zhou Bi Suan Jing, un texto matemático de astronomía china, también fue compilado durante el período Han, e incluso mencionado como escuela de matemática alrededor del año 180 por Cai Yong.

Tabla de contenidos

 方田   Fangtian - Campos rectangulares. Áreas de campos de diversa formas; Numeración con varillas.
 粟米   Sumi - Mijo y arroz. Intercambio de bienes a tarifas distintas.
 衰分   Cuifen - Distribución proporcional. Repartición de bienes y dinero según el principio de proporcionalidad.
 少廣   Shaoguang - El menor largo. Numeración con varillas con números mixtos; extracción de raíces cuadradas y cúbicas; dimensión, área y volumen del círculo y la esfera.
 商功   Shanggong - Reflexiones sobre los trabajos. Volumen de sólidos de varias formas.
 均輸   Junshu - Impuesto equitable. Problemas de proporción más avanzados.
 盈不足 Yingbuzu - Excedente y déficit. Problemas lineales resueltos utilizando el principio conocido más tarde en Occidente como el Método de la regla falsa.
 方程   Fangcheng - La disposición rectangular. Numeración con varillas, problemas con múltiples variables, resueltos según un principio similar a la eliminación de Gauss
 勾股   Gougu - Base y altura. Problemas sobre el principio conocido en Occidente como el teorema de Pitágoras.

Accesibilidad

Traducción al inglés abreviada: Florian Cajori: Arithmetic in Nine Sections, 1893.
Traducción al inglés abreviada: Lam Lay Yong: Jiu Zhang Suanshu, Archivo, 1994 Springer Verlag.
Traducción íntegra y estudio de los Nueve capítulos y los comentarios de Liu Hui's está disponible en SHEN Kangshen "Los nueve capítulos sobre arte matemático" Oxford 1999. ISBN 0-19-853936-3
Traducción en francés con detalles escolares adicionados y una edición crítica del texto chino, comentado por Chemla, Karine y Shuchun Guo. 2004. Les neuf chapitres: le classique mathématique de la Chine ancienne et ses commentaires. Paris: Dunod. ISBN 978-2-10-049589-4.
Traducción al alemán: Kurt Vogel: "Neun Bücher Arithmetischer Technik", Friedrich  Vieweg und Sohn Braunsweig, 1968.
Traducción al ruso: E. I Brerezkina: Mathematika V Devyati Knigah, Moscow Science Press, 1980.
Traducción al japonés.

Véase también
Historia de las matemáticas
Historia de la geometría

Notas y referencias

 Needham, Joseph (1986). Science and Civilization in China: Volume 3, Mathematics and the Sciences of the Heavens and the Earth. Taipéi: Caves Books, Ltd.
 Straffin, Philip D. "Liu Hui and the First Golden Age of Chinese Mathematics," Mathematics Magazine (Volume 71, Number 3, 1998): 163–181.

Enlaces externos
 Versión completa (en chino)

Matemáticas chinas
Libros de matemáticas
Historia de la ciencia y tecnología en China

Jiuzhang Suanshu


An Malleola honhoffii in uska species han Liliopsida nga ginhulagway ni André Schuiteman ngan A.Vogel. An Malleola honhoffii in nahilalakip ha genus nga Malleola, ngan familia nga Orchidaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Malleola

Malleola honhoffii


est un jeu vidéo de tir tactique free-to-play développé par Ubisoft Montréal et édité par Ubisoft, qui est sorti sur iOS et Android. Il s'agit de la version mobile du jeu Tom Clancy's Rainbow Six: Siege sorti en 2015.

Système de jeu

Développement

Le jeu n'a pas de date officielle de lancement. Les préinscriptions sont disponibles sur Android et iOs.

Accueil

Références

Jeu vidéo Rainbow Six
Jeu de tir tactique
Jeu iOS
Jeu Android
Jeu vidéo développé au Canada
Jeu Ubisoft
Free-to-play
Jeu vidéo sorti en 2023

Tom Clancy's Rainbow Six Mobile


Motomami  est le troisième album de la chanteuse espagnole Rosalía, sorti le  sous le label Columbia Records. L'album est produit par Noah Goldstein, Michael Uzowuru, Dylan Wiggins, Pharrell Williams et el Guincho. C'est un album conceptuel sur les sentiments que la chanteuse a éprouvés au cours des trois dernières années, notamment les périodes troublées par la célébrité, le mal du pays et l'isolement, sous la forme d'un collage de ses influences musicales dont la musique latine. Il comprend des participations de The Weeknd et de Tokischa, et est présenté comme l'album le plus personnel et le plus confessionnel de la chanteuse. Une édition deluxe, intitulée Motomami +, est sortie le  et contient cinq titres supplémentaires, dont le single Despechá. Rosalía entame une tournée de  à  à travers l'Europe et l'Amérique.

Dès sa sortie, l'album reçoit une acclamation universelle de la part des critiques musicaux, dont beaucoup soulignent l'expérimentation et les sonorités qui bousculent les genres. Il devient par la suite l'album le mieux évalué et le plus discuté de l'année sur Metacritic. Sur le plan commercial, l'album entre dans vingt-deux classements dans dix-neuf pays et atteint le top 10 dans sept pays. Motomami figure dans les quarante premières places du UK Albums Chart et du Billboard 200. En Espagne, il occupe la première place du classement PROMUSICAE pendant six semaines consécutives. Il est par ailleurs le deuxième album féminin le plus écouté de l'année dans le monde.

Contexte
En , Rosalía publie son deuxième album El mal querer, salué par la critique et rencontrant un succès commercial. L'album s'inspire du roman occitan  du , Flamenca écrit par Daude de Pradas, et propulse la carrière de la chanteuse. Les sessions d'enregistrement du projet suivant de la chanteuse débutent à Los Angeles en 2019. En tournée cette année-là, la chanteuse sort une collection de singles.

Interrogée lors d'une interview pour la station de radio néerlandaise, sur une éventuelle compilation de singles ou un box set, la chanteuse s'explique : . Elle révèle : . La chanteuse est ensuite apparue dans des studios d'enregistrement avec Michael Uzowuru, Mike Dean, The Neptunes et Playboi Carti, entre autres.

En , sa directrice artistique, Rebecca León, confirme qu'il n'y a pas d'album en 2021. La chanteuse révèle que l'album prend forme, mais que le nombre de chansons n'est pas encore connu. Elle annonce sur TikTok en  que le projet est prévu pour bientôt et dévoile en avant-première  du premier single de l'album. Lors d'une rencontre avec des fans au Mexique, Rosalía déclare que son nouvel album est très différent de son prédécesseur et que le premier single sort en .

L'album est officiellement annoncé le , accompagné d'une bande-annonce de 15 secondes réalisée par Daniel Sannwald, qui contient un extrait de l'album ainsi qu'une date de sortie en 2022. Le , la chanteuse dévoile le premier single, La Fama en duo avec le chanteur canadien The Weeknd.

Enregistrement
Rosalía commence à travailler sur l'album en  et termine en . La confection de l'album est passée par de nombreuses étapes, car la chanteuse est convaincue de réaliser plusieurs en même temps, à savoir un disque de flamenco, une ballade au piano, un disque de pop et un disque de reggaeton.

La chanteuse est parvenue à trouver un but dans le chaos, en adoptant une palette de couleurs au niveau du son. La production de l'album distingue six éléments qui sont utilisés dans presque tous les morceaux : une batterie agressive, des filtres qui donnent l'impression que la musique est distante, une voix nue (pas d'utilisation d'harmonies vocales), l'utilisation de cordes vocales et une production minimaliste répétée. Lors de la création de l'album, Rosalía s'est inspirée d'artistes tels que Héctor Lavoe, Nina Simone, Patti Smith, Bach, Michèle Lamy, Ocean Vuong, Yayoi Kusama, Ricardo Bofill et Andreï Tarkovski. Le , elle partage une playlist Spotify, baptisée , qui comprend des interprètes qui l'inspire : Daddy Yankee, Madonna, David Bowie, Björk, Snoop Dogg, Lole y Manuel ou encore Carla Bruni.

Musiques et paroles
Principalement, c'est un disque de pop et de reggaeton alternatif qui explore également la bachata, le hip-hop, le flamenco, l'art pop, le chiptune, le boléro, l'electropop, le dembow ainsi que le mambo et le funk carioca. Dans une interview pour Rolling Stone, la chanteuse décrit l'album comme , dont les paroles tournent autour des thèmes de la métamorphose, de la sexualité, du chagrin d'amour, de la célébration, de la spiritualité, de l'estime de soi et de l'isolement. L'album est largement inspiré par la musique latine sur laquelle elle dansait avec ses cousins lorsqu'elle est enfant, et qu'elle retrouve lors de ses voyages à travers le monde.

Concept
Lors d'une interview accordée à Zane Lowe pour Apple Music 1, la chanteuse décrit l'album comme un autoportrait. Elle révèle également que l'album est plus amusant que les précédents : .

En ce qui concerne le titre, elle déclare avoir choisi de l'appeler Motomami en l'honneur de sa mère, Pilar Tobella, qui avait l'habitude de la promener à moto dans toute la ville. Elle raconte à Brut que ce mot était dans l'adresse mail utilisée par son amie Maite au lycée. Il fait également référence à l'entreprise que sa mère dirige, créée en 2018 pour gérer les activités liées à la représentation des artistes.

Elle explique qu'elle a choisi ce nom pour l'album parce qu'il est  : Moto est la partie divine, expérimentale, frictionnelle et la plus forte, tandis que Mami est la partie authentique, personnelle, confessionnelle et vulnérable. La chanteuse indique que . Rosalía espère que l'album puisse apporter un équilibre féministe à la misogynie dans l'industrie de la musique.

Promotion

Les stratégies promotionnelles commencent en , avec l'annonce de l'album et la sortie de son premier single. Qualifiée de , la camapgne derrière ce troisième album mêle des bannières promotionnelles physiques, des singles radio, des articles dans des magazines, des interactions avec les réseaux sociaux et une utilisation intensive de TikTok pour dévoiler le contenu à venir.

Pendant la semaine d'Art Basel en , divers graffitis promotionnels de l'album apparaissent dans les rues de Miami Beach. Ce type de bannières est ensuite exporté dans d'autres villes, notamment Barcelone, Buenos Aires, New York, Madrid, Mexico, Milan, Séoul et Tokyo. Ces bannières contiennent des paroles de l'album. Des panneaux d'affichage sponsorisés par Spotify sont placés dans des espaces publics dans certaines villes lors de la sortie de l'album.

Critiques

Liste des titres

Tournée

En , dans le cadre d'une conférence musicale, son tour manager Agustín Boffi révèle que la chanteuse effectue une tournée mondiale en 2022, préparée depuis plus d'un an. Il a également fait savoir que l'équipe de la tournée comptera plus de , contre  pour la précédente tournée. Le , les dates de la tournée sont dévoilées. La série de quarante-six concerts commence le  à Almería, Espagne et se termine le  à Paris, France.

Notes et références

Liens externes

Album musical sorti en 2022
Album de Rosalía

Motomami


Tak for sidst er det tredje album fra den danske rockgruppe Shit & Chanel. Det udkom i september 1978 på Metronome Records.

Sange

Medvirkende

Musikere
 Astrid Elbeck: El-piano, flygel, orgel, clavinet, synthesizer (strygere) (moog), clavinet
 Ulla Tvede Eriksen: Trommer, koklokker, maracas, timbales, percussion
 Anne Linnet: Sang, kor, guitar, el-guitar, 12-streget guitar, saxofon
 Lis Sørensen: Sang, kor, guitar, el-guitar
 Lone Poulsen: Bas, el-guitar

Øvrige
 Shit & Chanel: Producer
 Freddy Hansson, Thomas Brecklin: Lydteknikere
 Shit og Chanel, John Ovesen: Coverdesign
 Jette Michaelsen: Grafik
 Shit & Chanel, Tue Lütken: Fotos

Cover
På forsiden af albummets cover ses centralt en lidt gammeldags seng med messingknopper på hjørnerne, en pude på et lagen og en buket med fem røde roser og et kort med teksten "Tak for sidst" (albummets titel). Sengen er fotograferet en smule fra siden, så man ikke ser det hele af den; til gengæld ser man en spansk guitar liggende på gulvet med halsen på kanten af sengen, og bagved denne, ved bagvæggen, et sengebord med en grøn plante.

Bagsiden er domineret af et gruppebillede fra studiet, hvor gruppens medlemmer sammen med lydteknikerne sidder/ligger henslængt delvis over hinanden med store smil. Ovenover er der en oversigt over albummets indhold, og nedenunder over de medvirkende og andre tekniske informationer.

På indercoveret finder man tekster og detaljerede oplysninger om de enkelte sange samt nogle billeder, primært fra indspilningerne.

Eksterne henvisninger

Album fra 1978
Shit & Chanel-album

Tak for sidst (album)


Jean Vogt, né à Strasbourg (Bas-Rhin) le 13 mars 1929 et mort dans la même ville le 5 juin 2005, est un géologue, sismologue et historien français.

Biographie
Jean Vogt, né à Strasbourg le 13 mars 1929, est un géologue et historien alsacien. Enfant, il passe ses vacances à Wissembourg, . D'où, sans doute, l'attrait qu'il a pour les campagnes d'Alsace, du pays de Bade, qu'il connaît si bien, et du Palatinat, qui sont l'objet de son Diplôme d'études supérieures en 1951 puis de sa thèse en 1963. Il se forme à l'Université de sa ville natale, avec Jean Tricard. Il effectue de nombreux voyages dans le monde, à l'instar d'un globe trotter, dans le cadre de sa spécialisation en géomorphologie.

Il meurt le 5 juin 2005 à Strasbourg.

Publications
Jean Vogt publie de nombreux ouvrages et articles, ainsi que des cartes géologiques, notamment  sur Persée.

Références

Articles connexes
 Nicolas Théobald

Liens externes

Géologue français
Géomorphologue

Jean Vogt


Nikolaus Bachler ist der Name folgender Personen:

* Nikolaus Bachler (Intendant) (Klaus Bachler, * 1951), österreichischer Schauspieler und Intendant
 Nikolaus Bachler (Jurist) (* 1967), österreichischer Jurist

Siehe auch:
 Klaus Bachler

Nikolaus Bachler


Tage Jørgensen (født 15. oktober 1918 i København, død 9. december 1999 i Gentofte) var dansk fægter og læge med speciale i røntgendiagnostik.

Fægtning
Han var elev af Leonce Mahaut og repræsenterede Akademisk Fægteklub, af hvis bestyrelse han var medlem 1948-1955.

Han deltog som 17-årig i ungdomslejren ved sommer-OL 1936 i Berlin og som 29-årig i sommer-OL 1948 i London på det danske fleuret-hold.

Som 17-årig, nyoprykket fra juniorrækken gjorde han sig i 1936 bemærket i herrernes individuelle danmarksmesterskab på fleuret, hvor han opnåede en placering som nr. 6 ud af 10 finaledeltagere. Han blev individuel dansk mester på fleuret i 1945.

Lægevirksomhed
Han blev student fra Christianshavns Gymnasium i 1937 og medicinsk kandidat fra Københavns Universitet i 1945, hvorefter han arbejdede på sygehusene i Sønderborg, Nyborg, Holbæk, Hillerød, Gentofte samt på Øresundshospitalet, Bispebjerg Hospital og Kommunehospitalet. Han blev speciallæge i røntgendiagnostik og virkede som overlæge på røntgenafdelingerne i Svendborg (1959-1963) og fra 1963 på Diakonissestiftelsen på Frederiksberg i 25 år indtil hospitalets lukning - i en årrække sideløbende med undervisning af lægesekretærer og røntgensygeplejersker.

Fodbold
Han var under sin tid i Svendborg formand for Svendborg Boldklub (SB) og - efter sammenslutning i 1962 med Kammeraternes Boldklub - Svendborg forenede Boldklubber (SfB). Han var i årene 1969-1972 næstformand i Boldklubben af 1893 (B.93) og var i en periode formand for Dansk Boldspil Unions (DBU) ungdomsudvalg.

Kilder

Eksterne henvisninger

Læger fra Danmark
Fægtere fra Danmark
Deltagere for Danmark ved sommer-OL 1948

Tage Jørgensen


Lamia (; ), in ancient Greek mythology, was a child-eating monster and, in later tradition, was regarded as a type of night-haunting spirit (daemon).

In the earliest stories, Lamia was a beautiful queen of Ancient Libya who had an affair with Zeus. Upon learning this, Zeus's wife Hera robbed Lamia of her children, the offspring of her affair with Zeus, either by kidnapping or by killing them. The loss of her children drove Lamia insane, and in vengeance and despair, Lamia snatched up any children she could find and devoured them. Because of her cruel acts, her physical appearance changed to become ugly and monstrous. Zeus gave Lamia the power of prophecy and the ability to take out and reinsert her eyes, possibly because she was cursed by Hera with insomnia or because she could no longer close her eyes, so that she was forced to always obsess over her lost children.

The lamiai () also became a type of phantom, synonymous with the empusai who seduced young men to satisfy their sexual appetite and fed on their flesh afterward. An account of Apollonius of Tyana's defeat of a lamia-seductress inspired the poem "Lamia" by John Keats.

Lamia has been ascribed serpentine qualities, which some commentators believe can be firmly traced to mythology from antiquity; they have found analogues in ancient texts that could be designated as lamiai (or lamiae) which are part-snake beings. These include the half-woman, half-snake beasts of the "Libyan myth" told by Dio Chrysostom, and the monster sent to Argos by Apollo to avenge Psamathe.

In previous centuries, Lamia was used in Greece as a bogeyman to frighten children into obedience, similar to the way parents in Spain, Portugal and Latin America used the Coco.

Etymology
A scholiast to Aristophanes claimed that Lamia's name derived from her having a large throat or gullet (; laimós). Modern scholarship reconstructs a Proto-Indo-European stem *, "nocturnal spirit", whence also comes lemures.

Classical mythology
In the myth, the Lamia was originally a beautiful woman beloved of Zeus, but Zeus's jealous wife Hera robbed her of her children, either by kidnapping and hiding them away, killing them, or causing Lamia herself to kill her own offspring. She became disfigured from the torment, transforming into a terrifying being who hunted and killed the children of others.

Aristotle's Nicomachean Ethics (vii.5) refers to the lore of some beastly lifeform in the shape of a woman, which tears the bellies of pregnant mothers and devours their fetuses. An anonymous commentator on the passage states this is a reference to the Lamia, but muddlingly combines this with Aristotle's subsequent comments and describes her as a Scythian of the Pontus (Black Sea) area.

De-mythologized
Diodorus Siculus ( 1st century BC) gave a de-mythologized account of Lamia as a queen of Libya who ordered her soldiers to snatch children from their mothers and kill them, and whose beauty gave way to bestial appearance due to her savageness. The queen, as related by Diodorus, was born in a cave. Heraclitus Paradoxographus (2nd century) also gave a rationalizing account.

According to one myth, Hera deprived Lamia of the ability to sleep, making her constantly grieve over the loss of her children, and Zeus provided relief by endowing her with removable eyes. He also gifted her with a shapeshifting ability in the process.

Diodorus's rationalization was that the Libyan queen in her drunken state was as if she could not see, allowing her citizens free rein for any conduct without supervision, giving rise to the folk myth that she places her eyes in a vessel. Heraclitus's euhemerized account explains that Hera, consort of Zeus, gouged the eyes out of the beautiful Lamia.

Genealogy
Lamia was the daughter born between King Belus of Egypt and Lybie, according to one source.

According to the same source, Lamia was taken by Zeus to Italy, and that Lamos, the city of the man-eating Laestrygonians, was named after her. A different authority remarks that Lamia was once queen of the Laestrygonians.

Aristophanes
Aristophanes wrote in two plays an identically worded list of foul-smelling objects which included the "Lamia's testicles", thus making Lamia's gender ambiguous. This was later incorporated into Edward Topsell's 17th-century envisioning of the lamia.

It is somewhat uncertain if this refers to the one Lamia or to "a Lamia" among many, as given in some translations of the two plays; a generic  is also supported by the definition as some sort of a "wild beast" in the Suda.

Hellenistic folklore

As children's bogey
The "Lamia" was a bogeyman or bugbear term, invoked by a mother or a nanny to frighten children into good behavior. Such practices are recorded by the 1st century Diodorus, and other sources in antiquity.

Numerous sources attest to the Lamia being a "child-devourer", one of them being Horace. Horace in Ars Poetica cautions against the overly fantastical: "[nor should a story] draw a live boy out of a Lamia's belly". Lamia was in some versions thus seen as swallowing children alive, and there may have existed some nurse's tale that told of a boy extracted alive out of a Lamia.

The Byzantine lexicon Suda (10th century) gave an entry for lamia (Λαμία), with definitions and sources much as already described. The lexicon also has an entry under mormo (Μορμώ) stating that Mormo and the equivalent mormolykeion are called lamia, and that all these refer to frightful beings.

"Lamia" has as synonyms "Mormo" and "Gello" according to the Scholia to Theocritus.

Other bogeys have been listed in conjunction with "Lamia", for instance, the Gorgo, the eyeless giant Ephialtes, a Mormolyce named by Strabo.

As a seductress
In later classical periods, around the 1st century A. D., the conception of this Lamia shifted to that of a sultry seductress who enticed young men and devoured them.

Apollonius of Tyana
A representative example is Philostratus's novelistic biography Life of Apollonius of Tyana.

It purports to give a full account of the capture of "Lamia of Corinth" by Apollonius, as the general populace referred to the legend. An apparition (phasma ) which in the assumed guise of a woman seduced one of Apollonius's young pupils.

Here, Lamia is the common vulgar term and empousa the proper term. For Apollonius in speech declares that the seductress is "one of the empousai, which most other people would call lamiai and mormolykeia". The use of the term lamia in this sense is however considered atypical by one commentator.

Regarding the seductress, Apollonius further warned, "you are warming a snake (ophis) on your bosom, and it is a snake that warms you". It has been suggested from this discourse that the creature was therefore "literally a snake". The empousa admits in the end to fattening up her victim (Menippus of Lycia) to be consumed, as she was in the habit of targeting young men for food "because their blood was fresh and pure". The last statement has led to the surmise that this lamia/empusa was a sort of blood-sucking vampiress.

Another aspect of her powers is that this empusa/lamia is able to create an illusion of a sumptuous mansion, with all the accoutrements and even servants. But once Apollonius reveals her false identity at the wedding, the illusion fails her and vanishes.

Lamia the courtesan
A longstanding joke makes a word play between Lamia the monster and Lamia of Athens, the notorious hetaira courtesan who captivated Demetrius Poliorcetes (d. 283 BC). The double-entendre sarcasm was uttered by Demetrius's father, among others. The same joke was used in theatrical Greek comedy, and generally. The word play is also seen as being employed in Horace's Odes, to banter Lucius Aelius Lamia the praetor.

Golden Ass
In Apuleius's The Golden Ass appear two Thessalian "witches", Meroe and her sister Panthia, who are called lamiae in one instance.

Meroe has seduced a man named Socrates, but when he plots to escape, the two witches raid his bed, thrust a knife in the neck to tap the blood into a skin bag, eviscerate his heart, and stuff the hole back with sponge.

Some commentators, despite the absence of actual blood-sucking, find these witches to share "vampiric" qualities of the lamiae (lamiai) in Philostratus's narrative, thus offering it up for comparison.

Kindreds
Lamia's possible kindred kind appear in Classical works, but may be known by other names except for isolated instance which calls it a lamia. Or they may be simply unnamed or differently named. And those analogues that exhibit a serpentine form or nature have been especially noted.

Poine of Argos
One such possible lamia is the avenging monster sent by Apollo against the city of Argos and killed by Coroebus. It is referred to as Poine or Ker in classical sources, but later in the Medieval period, one source does call it a lamia (First Vatican Mythographer, c. 9th to 11th century).

The story surrounds the tragedy of the daughter of King Crotopus of Argos named Psamathe, whose child by Apollo dies and she is executed for suspected promiscuity. Apollo as punishment then sends the child-devouring monster to Argos.

In Statius' version, the monster had a woman's face and breasts, and a hissing snake protruding from the cleft of her rusty-colored forehead, and it would slide into children's bedrooms to snatch them. According to a scholiast to Ovid, it had a serpent's body carrying a human face.

In Pausanias's version, the monster is called Poinē (), meaning "punishment" or "vengeance", but there is nothing about a snake on her forehead.

One evidence this may be a double of the Lamia comes from Plutarch, who equates the word empousa with poinē.

Libyan myth
A second example is a colony of man-eating monsters in Libya, described by Dio Chrysostom. These monsters had a woman's torso, the lower extremities of a snake, and beastly hands. The idea that these creatures were lamiai seems to originate with Alex Scobie (1977), and accepted by other commentators.

Middle Ages
By the Early Middle Ages, lamia (pl. lamiai or lamiae) was being glossed as a general term referring to a class of beings. Hesychius of Alexandria's lexicon ( 500 A.D.) glossed lamiai as apparations, or even fish. Isidore of Seville defined them as beings that snatched babies and ripped them apart.

The Vulgate used "lamia" in Isaiah xxxiv:14 to translate "Lilith" of the Hebrew Bible. Pope Gregory I (d. 604)'s exegesis on the Book of Job explains that the lamia represented either heresy or hypocrisy.

Christian writers also warned against the seductive potential of lamiae. In his 9th-century treatise on divorce, Hincmar, archbishop of Reims, listed lamiae among the supernatural dangers that threatened marriages, and identified them with geniciales feminae, female reproductive spirits.

Interpretations

This Lamia of Libya has her double in Lamia-Sybaris of the legend around Delphi, both indirectly associated with serpents. Strong parallel with the Medusa has also been noted. These, and other considerations have prompted modern commentators to suggest she is a dragoness.

Another double of the Libyan Lamia may be Lamia, daughter of Poseidon. Lamia by Zeus gave birth to a Sibyl according to Pausanias, and this would have to be the Libyan Lamia, yet there is a tradition that Lamia the daughter of Poseidon was the mother of a Sibyl. Either one could be Lamia the mother of Scylla mentioned in the Stesichorus (d. 555 BC) fragment, and other sources. Scylla is a creature depicted variously as anguipedal or serpent-bodied.

Identification as a serpent-woman
Diodorus Siculus ( 1st century BC), for instance, describes Lamia of Libya as having nothing more than a beastly appearance. Diodorus, Duris of Samos and other sources which comprise the sources for building an "archetypal" picture of Lamia do not designate her as a dragoness, or give her explicit serpentine descriptions.

In the 1st-century Life of Apollonius of Tyana the female empousa-lamia is also called "a snake", which may seem to the modern reader to be just a metaphorical expression, but which Daniel Ogden insists is a literal snake. Philostratus's tale was reworked by Keats in his poem Lamia, where it is made clear she bears the guise of a snake, which she wants to relinquish in return for human appearance.

Modern commentators have also tried to establish that she may have originally been a dragoness, by inference. Daniel Ogden argues that one of her possible reincarnations, the monster of Argos killed by Coroebus had a "scaly gait", indicating she must have had an anguipedal form in an early version of the story, although the Latin text in Statius merely reads inlabi (declension of labor) meaning "slides".

One of the doubles of Lamia of Libya is the Lamia-Sybaris, which is described only as a giant beast by Antoninus Liberalis (2nd century). It is noted that this character terrorized Delphi, just as the dragon Python had.

Close comparison is also made with the serpentine Medusa. Not only is Medusa identified with Libya, she also had dealings with the three Graeae who had the removable eye shared between them. In some versions, the removable eye belonged to the three Gorgons, Medusa and her sisters.

Hecate
Some commentators have also equated Lamia with Hecate. The basis of this identification is the variant maternities of scylla, sometimes ascribed to Lamia (as already mentioned), and sometimes to Hecate. The identification has also been built (using transitive logic) since each name is identified with empousa in different sources.

Stench of a lamia
A foul odor has been pointed out as a possible common motif or attribute of the lamiai. The examples are Aristophanes's reference to the "lamia's testicles", the scent of the monsters in the Libyan myth which allowed the humans to track down their lair, and the terrible stench of their urine that lingered in the clothing of Aristomenes, which they showered upon him after carving out his friend Sophocles's heart.

Mesopotamian connection
Lamia may originate from the Mesopotamian demoness Lamashtu.

Modern age

Renaissance writer Angelo Poliziano wrote Lamia (1492), a philosophical work whose title is a disparaging reference to his opponents who dabble in philosophy without competence. It alludes to Plutarch's use of the term in De curiositate, where the Greek writer suggests that the term Lamia is emblematic of meddlesome busybodies in society. Worded another way, Lamia was emblematic of the hypocrisy of such scholars.

From around the mid-15th century into the 16th century, the lamia came to be regarded exclusively as witches.

Bestiary

In Edward Topsell's History of Four-footed Beasts (1607), the lamia is described as having the upper body (i.e., the face and breasts) of a woman, but with goatlike hind quarters with large and filthy "stones" (testicles) that smell like sea-calves, on authority of Aristophanes. It is covered with scales all over.

Adaptations
John Keats's "Lamia" in his Lamia and Other Poems is a reworking of the tale in Apollonius's biography by Philostratus, described above. In Keats's version, the student Lycius replaces Menippus the Lycian. For the descriptions and nature of the Lamia, Keats drew from Burton's The Anatomy of Melancholy. August Enna wrote an opera called Lamia.

English composer Dorothy Howell composed a tone poem Lamia which was played repeatedly to great acclaim under its dedicatee Sir Henry Wood at the London Promenade concerts in the 1920s. It has been recorded more recently by Rumon Gamba conducting the BBC Philharmonic Orchestra for Chandos Records in a 2019 release of British tone poems.

The 1982 novel Lamia by Tristan Travis sees the mythological monster relocated to 1970s Chicago, where she takes bloody vengeance on sex offenders while the cops try to figure out the mystery.

Lamia, also known as Ramia, also appears as a boss in the Nintendo DS action role-playing game Deep Labyrinth.

Lamia is the main antagonist in the 2009 horror movie Drag Me to Hell voiced by Art Kimbro. In the film, Lamia is described as "the most feared of all Demons" and having the head and hooves of a goat. A gypsy curse associated with him has Lamia torment the victim for three days before having its minions drag them into Hell to burn in its fires for all eternity.

Lamia appears as an antagonist in Rick Riordan's The Demigod Diaries, appearing in its fourth short story "The Son of Magic". She is depicted as the daughter of Hecate and as having glowing green eyes with serpentine slits, shriveled-up hands with lizard-like claws on them, and crocodile-like teeth.

In the anime Monster Musume, the character Miia is a lamia.

Lamias are featured in the progressive rock album The Lamb Lies Down on Broadway by Genesis on the track "The Lamia". They are depicted as female creatures with "snake-like" bodies and seduce the protagonist Rael in an attempt to devour him, but as soon as they "taste" Rael's body, the blood that enters the lamias' bodies causes their death.

Lamia is mentioned several times in the Iron Maiden song "Prodigal Son" from their 1981 album Killers. The band often refer to mythology and mythical beasts in their compositions.

Raised by Wolves features a character named Lamia, an android mother, who has removable eyes and the ability to shapeshift.

Modern folk traditions

In modern Greek folk tradition, the Lamia has survived and retained many of her traditional attributes. John Cuthbert Lawson remarks "the chief characteristics of the Lamiae, apart from their thirst for blood, are their uncleanliness, their gluttony, and their stupidity". The contemporary Greek proverb, "της Λάμιας τα σαρώματα" ("the Lamia's sweeping"), epitomises slovenliness; and the common expression, "τό παιδί τό 'πνιξε η Λάμια" ("the child has been strangled by the Lamia"), explains the sudden death of young children.

Later traditions referred to many lamiae; these were folkloric monsters similar to vampires and succubi that seduced young men and then fed on their blood.

Fine arts

In a 1909 painting by Herbert James Draper, the Lamia who moodily watches the serpent on her forearm appears to represent a hetaera. Although the lower body of Draper's Lamia is human, he alludes to her serpentine history by draping a shed snakeskin about her waist. In Renaissance emblems, Lamia has the body of a serpent and the breasts and head of a woman, like the image of hypocrisy.

See also

 Abyzou
 Aswang
 Banshee
 Ceto
 La Llorona
 Lamashtu
 Lamia (Basque mythology)
 Lamnidae
 Melusine
 Moloch
 Nāga
 Undine
 Vrykolakas

Explanatory notes

References

Citations

General and cited references

Kerényi, Karl (1951), The Gods of the Greeks pp 38–40. Edition currently in print is Thames & Hudson reissue, February 1980, .

External links

Bogeymen
Children of Poseidon
Classical oracles
Daimons
Deeds of Hera
Demons
Female legendary creatures
Greek legendary creatures
Legendary serpents
Libyan characters in Greek mythology
Metamorphoses in Greek mythology
Monsters in Greek mythology
Mortal women of Zeus
Mythological cannibals
Mythological hematophages
Queens in Greek mythology
Succubi

Lamia